question stringlengths 10 175 | answer1 stringlengths 1 171 | answer2 stringlengths 1 171 | document stringlengths 1.13k 6.04k |
|---|---|---|---|
What emotion other than love consumes Rosmer and Rebecca? | Guilt | Guilt | The play opens one year after the suicide of Rosmer's wife, Beata. Rebecca had previously moved into the family home, Rosmersholm, as a friend of Beata, and she lives there still. It becomes plain that she and Rosmer are in love, but he insists throughout the play that their relationship is completely platonic.
A highly respected member of his community, Rosmer intends to support the newly elected government and its reformist, if not revolutionary, agenda. However, when he announces this to his friend and brother-in-law Kroll, the local schoolmaster, the latter becomes enraged at what he sees as his friend's betrayal of his ruling-class roots. Kroll begins to sabotage Rosmer's plans, confronting him about his relationship with Rebecca and denouncing the pair, initially in guarded terms, in the local newspaper. Rosmer becomes consumed by his guilt, now believing he, rather than mental illness, caused his wife's suicide. He attempts to escape the guilt by erasing the memory of his wife and proposing marriage to Rebecca. But she rejects him outright. Kroll accuses her of using Rosmer as a tool to work her own political agenda. She admits that it was she who drove Mrs. Rosmer to deeper depths of despair and in a way even encouraged her suicideâinitially to increase her power over Rosmer, but later because she actually fell in love with him. Because of her guilty past she cannot accept Rosmer's marriage proposal.
This leads to the ultimate breakdown in the play where neither Rosmer nor Rebecca can cast off moral guilt: she has acknowledged her part in the destruction of Beata but she has also committed incest with her supposedly adoptive father while suspecting that he was in truth her natural parent. Her suspicion is harshly confirmed by Kroll when he attempts to come between her and Rosmer; they can now no longer trust each other, or even themselves. Rosmer then asks Rebecca to prove her devotion to him by committing suicide the same way his former wife didâby jumping into the mill-race. As Rebecca calmly seems to agree, issuing instructions about the recovery of her body from the water, Rosmer says he will join her. He is still in love with her and, since he cannot conceive of a way in which they can live together, they will die together. The play concludes with both characters jumping into the mill-race and the housekeeper, Mrs. Helseth, screaming in terror: "The dead woman has taken them". |
What do Rosmer and Rebecca do together at the end of the story? | commit suicide together | Commit Suicide by jumping into the mill-race | The play opens one year after the suicide of Rosmer's wife, Beata. Rebecca had previously moved into the family home, Rosmersholm, as a friend of Beata, and she lives there still. It becomes plain that she and Rosmer are in love, but he insists throughout the play that their relationship is completely platonic.
A highly respected member of his community, Rosmer intends to support the newly elected government and its reformist, if not revolutionary, agenda. However, when he announces this to his friend and brother-in-law Kroll, the local schoolmaster, the latter becomes enraged at what he sees as his friend's betrayal of his ruling-class roots. Kroll begins to sabotage Rosmer's plans, confronting him about his relationship with Rebecca and denouncing the pair, initially in guarded terms, in the local newspaper. Rosmer becomes consumed by his guilt, now believing he, rather than mental illness, caused his wife's suicide. He attempts to escape the guilt by erasing the memory of his wife and proposing marriage to Rebecca. But she rejects him outright. Kroll accuses her of using Rosmer as a tool to work her own political agenda. She admits that it was she who drove Mrs. Rosmer to deeper depths of despair and in a way even encouraged her suicideâinitially to increase her power over Rosmer, but later because she actually fell in love with him. Because of her guilty past she cannot accept Rosmer's marriage proposal.
This leads to the ultimate breakdown in the play where neither Rosmer nor Rebecca can cast off moral guilt: she has acknowledged her part in the destruction of Beata but she has also committed incest with her supposedly adoptive father while suspecting that he was in truth her natural parent. Her suspicion is harshly confirmed by Kroll when he attempts to come between her and Rosmer; they can now no longer trust each other, or even themselves. Rosmer then asks Rebecca to prove her devotion to him by committing suicide the same way his former wife didâby jumping into the mill-race. As Rebecca calmly seems to agree, issuing instructions about the recovery of her body from the water, Rosmer says he will join her. He is still in love with her and, since he cannot conceive of a way in which they can live together, they will die together. The play concludes with both characters jumping into the mill-race and the housekeeper, Mrs. Helseth, screaming in terror: "The dead woman has taken them". |
Who does the housekeeper blame for Rosmer and Rebecca's death? | The "deadwoman" | The dead woman. | The play opens one year after the suicide of Rosmer's wife, Beata. Rebecca had previously moved into the family home, Rosmersholm, as a friend of Beata, and she lives there still. It becomes plain that she and Rosmer are in love, but he insists throughout the play that their relationship is completely platonic.
A highly respected member of his community, Rosmer intends to support the newly elected government and its reformist, if not revolutionary, agenda. However, when he announces this to his friend and brother-in-law Kroll, the local schoolmaster, the latter becomes enraged at what he sees as his friend's betrayal of his ruling-class roots. Kroll begins to sabotage Rosmer's plans, confronting him about his relationship with Rebecca and denouncing the pair, initially in guarded terms, in the local newspaper. Rosmer becomes consumed by his guilt, now believing he, rather than mental illness, caused his wife's suicide. He attempts to escape the guilt by erasing the memory of his wife and proposing marriage to Rebecca. But she rejects him outright. Kroll accuses her of using Rosmer as a tool to work her own political agenda. She admits that it was she who drove Mrs. Rosmer to deeper depths of despair and in a way even encouraged her suicideâinitially to increase her power over Rosmer, but later because she actually fell in love with him. Because of her guilty past she cannot accept Rosmer's marriage proposal.
This leads to the ultimate breakdown in the play where neither Rosmer nor Rebecca can cast off moral guilt: she has acknowledged her part in the destruction of Beata but she has also committed incest with her supposedly adoptive father while suspecting that he was in truth her natural parent. Her suspicion is harshly confirmed by Kroll when he attempts to come between her and Rosmer; they can now no longer trust each other, or even themselves. Rosmer then asks Rebecca to prove her devotion to him by committing suicide the same way his former wife didâby jumping into the mill-race. As Rebecca calmly seems to agree, issuing instructions about the recovery of her body from the water, Rosmer says he will join her. He is still in love with her and, since he cannot conceive of a way in which they can live together, they will die together. The play concludes with both characters jumping into the mill-race and the housekeeper, Mrs. Helseth, screaming in terror: "The dead woman has taken them". |
Rebecca moved into Rosmerholm as a friend of who? | Rebecca was a friend of Beata. | Beata. | The play opens one year after the suicide of Rosmer's wife, Beata. Rebecca had previously moved into the family home, Rosmersholm, as a friend of Beata, and she lives there still. It becomes plain that she and Rosmer are in love, but he insists throughout the play that their relationship is completely platonic.
A highly respected member of his community, Rosmer intends to support the newly elected government and its reformist, if not revolutionary, agenda. However, when he announces this to his friend and brother-in-law Kroll, the local schoolmaster, the latter becomes enraged at what he sees as his friend's betrayal of his ruling-class roots. Kroll begins to sabotage Rosmer's plans, confronting him about his relationship with Rebecca and denouncing the pair, initially in guarded terms, in the local newspaper. Rosmer becomes consumed by his guilt, now believing he, rather than mental illness, caused his wife's suicide. He attempts to escape the guilt by erasing the memory of his wife and proposing marriage to Rebecca. But she rejects him outright. Kroll accuses her of using Rosmer as a tool to work her own political agenda. She admits that it was she who drove Mrs. Rosmer to deeper depths of despair and in a way even encouraged her suicideâinitially to increase her power over Rosmer, but later because she actually fell in love with him. Because of her guilty past she cannot accept Rosmer's marriage proposal.
This leads to the ultimate breakdown in the play where neither Rosmer nor Rebecca can cast off moral guilt: she has acknowledged her part in the destruction of Beata but she has also committed incest with her supposedly adoptive father while suspecting that he was in truth her natural parent. Her suspicion is harshly confirmed by Kroll when he attempts to come between her and Rosmer; they can now no longer trust each other, or even themselves. Rosmer then asks Rebecca to prove her devotion to him by committing suicide the same way his former wife didâby jumping into the mill-race. As Rebecca calmly seems to agree, issuing instructions about the recovery of her body from the water, Rosmer says he will join her. He is still in love with her and, since he cannot conceive of a way in which they can live together, they will die together. The play concludes with both characters jumping into the mill-race and the housekeeper, Mrs. Helseth, screaming in terror: "The dead woman has taken them". |
What sort of relationship do Rosmer and Rebecca have? | They begin as friends but they are in love after Beata dies. | destructive | The play opens one year after the suicide of Rosmer's wife, Beata. Rebecca had previously moved into the family home, Rosmersholm, as a friend of Beata, and she lives there still. It becomes plain that she and Rosmer are in love, but he insists throughout the play that their relationship is completely platonic.
A highly respected member of his community, Rosmer intends to support the newly elected government and its reformist, if not revolutionary, agenda. However, when he announces this to his friend and brother-in-law Kroll, the local schoolmaster, the latter becomes enraged at what he sees as his friend's betrayal of his ruling-class roots. Kroll begins to sabotage Rosmer's plans, confronting him about his relationship with Rebecca and denouncing the pair, initially in guarded terms, in the local newspaper. Rosmer becomes consumed by his guilt, now believing he, rather than mental illness, caused his wife's suicide. He attempts to escape the guilt by erasing the memory of his wife and proposing marriage to Rebecca. But she rejects him outright. Kroll accuses her of using Rosmer as a tool to work her own political agenda. She admits that it was she who drove Mrs. Rosmer to deeper depths of despair and in a way even encouraged her suicideâinitially to increase her power over Rosmer, but later because she actually fell in love with him. Because of her guilty past she cannot accept Rosmer's marriage proposal.
This leads to the ultimate breakdown in the play where neither Rosmer nor Rebecca can cast off moral guilt: she has acknowledged her part in the destruction of Beata but she has also committed incest with her supposedly adoptive father while suspecting that he was in truth her natural parent. Her suspicion is harshly confirmed by Kroll when he attempts to come between her and Rosmer; they can now no longer trust each other, or even themselves. Rosmer then asks Rebecca to prove her devotion to him by committing suicide the same way his former wife didâby jumping into the mill-race. As Rebecca calmly seems to agree, issuing instructions about the recovery of her body from the water, Rosmer says he will join her. He is still in love with her and, since he cannot conceive of a way in which they can live together, they will die together. The play concludes with both characters jumping into the mill-race and the housekeeper, Mrs. Helseth, screaming in terror: "The dead woman has taken them". |
Who is Kroll to Rosmer? | Kroll is Rosmer's brother in law, friend and local school master. | His friend and brother-in-law | The play opens one year after the suicide of Rosmer's wife, Beata. Rebecca had previously moved into the family home, Rosmersholm, as a friend of Beata, and she lives there still. It becomes plain that she and Rosmer are in love, but he insists throughout the play that their relationship is completely platonic.
A highly respected member of his community, Rosmer intends to support the newly elected government and its reformist, if not revolutionary, agenda. However, when he announces this to his friend and brother-in-law Kroll, the local schoolmaster, the latter becomes enraged at what he sees as his friend's betrayal of his ruling-class roots. Kroll begins to sabotage Rosmer's plans, confronting him about his relationship with Rebecca and denouncing the pair, initially in guarded terms, in the local newspaper. Rosmer becomes consumed by his guilt, now believing he, rather than mental illness, caused his wife's suicide. He attempts to escape the guilt by erasing the memory of his wife and proposing marriage to Rebecca. But she rejects him outright. Kroll accuses her of using Rosmer as a tool to work her own political agenda. She admits that it was she who drove Mrs. Rosmer to deeper depths of despair and in a way even encouraged her suicideâinitially to increase her power over Rosmer, but later because she actually fell in love with him. Because of her guilty past she cannot accept Rosmer's marriage proposal.
This leads to the ultimate breakdown in the play where neither Rosmer nor Rebecca can cast off moral guilt: she has acknowledged her part in the destruction of Beata but she has also committed incest with her supposedly adoptive father while suspecting that he was in truth her natural parent. Her suspicion is harshly confirmed by Kroll when he attempts to come between her and Rosmer; they can now no longer trust each other, or even themselves. Rosmer then asks Rebecca to prove her devotion to him by committing suicide the same way his former wife didâby jumping into the mill-race. As Rebecca calmly seems to agree, issuing instructions about the recovery of her body from the water, Rosmer says he will join her. He is still in love with her and, since he cannot conceive of a way in which they can live together, they will die together. The play concludes with both characters jumping into the mill-race and the housekeeper, Mrs. Helseth, screaming in terror: "The dead woman has taken them". |
What does Kroll plan to do since he is unsupportive of Rosmer's support of the newly elected government? | Kroll plans to sabotage Rosmer's plans. | Sabatoges him | The play opens one year after the suicide of Rosmer's wife, Beata. Rebecca had previously moved into the family home, Rosmersholm, as a friend of Beata, and she lives there still. It becomes plain that she and Rosmer are in love, but he insists throughout the play that their relationship is completely platonic.
A highly respected member of his community, Rosmer intends to support the newly elected government and its reformist, if not revolutionary, agenda. However, when he announces this to his friend and brother-in-law Kroll, the local schoolmaster, the latter becomes enraged at what he sees as his friend's betrayal of his ruling-class roots. Kroll begins to sabotage Rosmer's plans, confronting him about his relationship with Rebecca and denouncing the pair, initially in guarded terms, in the local newspaper. Rosmer becomes consumed by his guilt, now believing he, rather than mental illness, caused his wife's suicide. He attempts to escape the guilt by erasing the memory of his wife and proposing marriage to Rebecca. But she rejects him outright. Kroll accuses her of using Rosmer as a tool to work her own political agenda. She admits that it was she who drove Mrs. Rosmer to deeper depths of despair and in a way even encouraged her suicideâinitially to increase her power over Rosmer, but later because she actually fell in love with him. Because of her guilty past she cannot accept Rosmer's marriage proposal.
This leads to the ultimate breakdown in the play where neither Rosmer nor Rebecca can cast off moral guilt: she has acknowledged her part in the destruction of Beata but she has also committed incest with her supposedly adoptive father while suspecting that he was in truth her natural parent. Her suspicion is harshly confirmed by Kroll when he attempts to come between her and Rosmer; they can now no longer trust each other, or even themselves. Rosmer then asks Rebecca to prove her devotion to him by committing suicide the same way his former wife didâby jumping into the mill-race. As Rebecca calmly seems to agree, issuing instructions about the recovery of her body from the water, Rosmer says he will join her. He is still in love with her and, since he cannot conceive of a way in which they can live together, they will die together. The play concludes with both characters jumping into the mill-race and the housekeeper, Mrs. Helseth, screaming in terror: "The dead woman has taken them". |
What does Kroll put in the local newspaper? | Kroll denounces Rebecca and Rosmer's relationship. | a denounciation of Rosmer | The play opens one year after the suicide of Rosmer's wife, Beata. Rebecca had previously moved into the family home, Rosmersholm, as a friend of Beata, and she lives there still. It becomes plain that she and Rosmer are in love, but he insists throughout the play that their relationship is completely platonic.
A highly respected member of his community, Rosmer intends to support the newly elected government and its reformist, if not revolutionary, agenda. However, when he announces this to his friend and brother-in-law Kroll, the local schoolmaster, the latter becomes enraged at what he sees as his friend's betrayal of his ruling-class roots. Kroll begins to sabotage Rosmer's plans, confronting him about his relationship with Rebecca and denouncing the pair, initially in guarded terms, in the local newspaper. Rosmer becomes consumed by his guilt, now believing he, rather than mental illness, caused his wife's suicide. He attempts to escape the guilt by erasing the memory of his wife and proposing marriage to Rebecca. But she rejects him outright. Kroll accuses her of using Rosmer as a tool to work her own political agenda. She admits that it was she who drove Mrs. Rosmer to deeper depths of despair and in a way even encouraged her suicideâinitially to increase her power over Rosmer, but later because she actually fell in love with him. Because of her guilty past she cannot accept Rosmer's marriage proposal.
This leads to the ultimate breakdown in the play where neither Rosmer nor Rebecca can cast off moral guilt: she has acknowledged her part in the destruction of Beata but she has also committed incest with her supposedly adoptive father while suspecting that he was in truth her natural parent. Her suspicion is harshly confirmed by Kroll when he attempts to come between her and Rosmer; they can now no longer trust each other, or even themselves. Rosmer then asks Rebecca to prove her devotion to him by committing suicide the same way his former wife didâby jumping into the mill-race. As Rebecca calmly seems to agree, issuing instructions about the recovery of her body from the water, Rosmer says he will join her. He is still in love with her and, since he cannot conceive of a way in which they can live together, they will die together. The play concludes with both characters jumping into the mill-race and the housekeeper, Mrs. Helseth, screaming in terror: "The dead woman has taken them". |
How does Rebecca respond to Rosmer's proposal? | Rebecca outright refuses the proposal. | She rejected his proposal | The play opens one year after the suicide of Rosmer's wife, Beata. Rebecca had previously moved into the family home, Rosmersholm, as a friend of Beata, and she lives there still. It becomes plain that she and Rosmer are in love, but he insists throughout the play that their relationship is completely platonic.
A highly respected member of his community, Rosmer intends to support the newly elected government and its reformist, if not revolutionary, agenda. However, when he announces this to his friend and brother-in-law Kroll, the local schoolmaster, the latter becomes enraged at what he sees as his friend's betrayal of his ruling-class roots. Kroll begins to sabotage Rosmer's plans, confronting him about his relationship with Rebecca and denouncing the pair, initially in guarded terms, in the local newspaper. Rosmer becomes consumed by his guilt, now believing he, rather than mental illness, caused his wife's suicide. He attempts to escape the guilt by erasing the memory of his wife and proposing marriage to Rebecca. But she rejects him outright. Kroll accuses her of using Rosmer as a tool to work her own political agenda. She admits that it was she who drove Mrs. Rosmer to deeper depths of despair and in a way even encouraged her suicideâinitially to increase her power over Rosmer, but later because she actually fell in love with him. Because of her guilty past she cannot accept Rosmer's marriage proposal.
This leads to the ultimate breakdown in the play where neither Rosmer nor Rebecca can cast off moral guilt: she has acknowledged her part in the destruction of Beata but she has also committed incest with her supposedly adoptive father while suspecting that he was in truth her natural parent. Her suspicion is harshly confirmed by Kroll when he attempts to come between her and Rosmer; they can now no longer trust each other, or even themselves. Rosmer then asks Rebecca to prove her devotion to him by committing suicide the same way his former wife didâby jumping into the mill-race. As Rebecca calmly seems to agree, issuing instructions about the recovery of her body from the water, Rosmer says he will join her. He is still in love with her and, since he cannot conceive of a way in which they can live together, they will die together. The play concludes with both characters jumping into the mill-race and the housekeeper, Mrs. Helseth, screaming in terror: "The dead woman has taken them". |
Who drove Ms. Rosmer to despair and enabled her suicide? | Rebecca drove her to it and encouraged it. | Rebecca | The play opens one year after the suicide of Rosmer's wife, Beata. Rebecca had previously moved into the family home, Rosmersholm, as a friend of Beata, and she lives there still. It becomes plain that she and Rosmer are in love, but he insists throughout the play that their relationship is completely platonic.
A highly respected member of his community, Rosmer intends to support the newly elected government and its reformist, if not revolutionary, agenda. However, when he announces this to his friend and brother-in-law Kroll, the local schoolmaster, the latter becomes enraged at what he sees as his friend's betrayal of his ruling-class roots. Kroll begins to sabotage Rosmer's plans, confronting him about his relationship with Rebecca and denouncing the pair, initially in guarded terms, in the local newspaper. Rosmer becomes consumed by his guilt, now believing he, rather than mental illness, caused his wife's suicide. He attempts to escape the guilt by erasing the memory of his wife and proposing marriage to Rebecca. But she rejects him outright. Kroll accuses her of using Rosmer as a tool to work her own political agenda. She admits that it was she who drove Mrs. Rosmer to deeper depths of despair and in a way even encouraged her suicideâinitially to increase her power over Rosmer, but later because she actually fell in love with him. Because of her guilty past she cannot accept Rosmer's marriage proposal.
This leads to the ultimate breakdown in the play where neither Rosmer nor Rebecca can cast off moral guilt: she has acknowledged her part in the destruction of Beata but she has also committed incest with her supposedly adoptive father while suspecting that he was in truth her natural parent. Her suspicion is harshly confirmed by Kroll when he attempts to come between her and Rosmer; they can now no longer trust each other, or even themselves. Rosmer then asks Rebecca to prove her devotion to him by committing suicide the same way his former wife didâby jumping into the mill-race. As Rebecca calmly seems to agree, issuing instructions about the recovery of her body from the water, Rosmer says he will join her. He is still in love with her and, since he cannot conceive of a way in which they can live together, they will die together. The play concludes with both characters jumping into the mill-race and the housekeeper, Mrs. Helseth, screaming in terror: "The dead woman has taken them". |
How does Rosmer want Rebecca to prove her love? | Rosmer wants her to commit suicide like Ms. Rosmer did. | by committing suicide | The play opens one year after the suicide of Rosmer's wife, Beata. Rebecca had previously moved into the family home, Rosmersholm, as a friend of Beata, and she lives there still. It becomes plain that she and Rosmer are in love, but he insists throughout the play that their relationship is completely platonic.
A highly respected member of his community, Rosmer intends to support the newly elected government and its reformist, if not revolutionary, agenda. However, when he announces this to his friend and brother-in-law Kroll, the local schoolmaster, the latter becomes enraged at what he sees as his friend's betrayal of his ruling-class roots. Kroll begins to sabotage Rosmer's plans, confronting him about his relationship with Rebecca and denouncing the pair, initially in guarded terms, in the local newspaper. Rosmer becomes consumed by his guilt, now believing he, rather than mental illness, caused his wife's suicide. He attempts to escape the guilt by erasing the memory of his wife and proposing marriage to Rebecca. But she rejects him outright. Kroll accuses her of using Rosmer as a tool to work her own political agenda. She admits that it was she who drove Mrs. Rosmer to deeper depths of despair and in a way even encouraged her suicideâinitially to increase her power over Rosmer, but later because she actually fell in love with him. Because of her guilty past she cannot accept Rosmer's marriage proposal.
This leads to the ultimate breakdown in the play where neither Rosmer nor Rebecca can cast off moral guilt: she has acknowledged her part in the destruction of Beata but she has also committed incest with her supposedly adoptive father while suspecting that he was in truth her natural parent. Her suspicion is harshly confirmed by Kroll when he attempts to come between her and Rosmer; they can now no longer trust each other, or even themselves. Rosmer then asks Rebecca to prove her devotion to him by committing suicide the same way his former wife didâby jumping into the mill-race. As Rebecca calmly seems to agree, issuing instructions about the recovery of her body from the water, Rosmer says he will join her. He is still in love with her and, since he cannot conceive of a way in which they can live together, they will die together. The play concludes with both characters jumping into the mill-race and the housekeeper, Mrs. Helseth, screaming in terror: "The dead woman has taken them". |
How is Rosmer going to participate in Rebecca's suicide? | Rosmer is going to commit suicide along with her. | By jumping into the mill-race with her. | The play opens one year after the suicide of Rosmer's wife, Beata. Rebecca had previously moved into the family home, Rosmersholm, as a friend of Beata, and she lives there still. It becomes plain that she and Rosmer are in love, but he insists throughout the play that their relationship is completely platonic.
A highly respected member of his community, Rosmer intends to support the newly elected government and its reformist, if not revolutionary, agenda. However, when he announces this to his friend and brother-in-law Kroll, the local schoolmaster, the latter becomes enraged at what he sees as his friend's betrayal of his ruling-class roots. Kroll begins to sabotage Rosmer's plans, confronting him about his relationship with Rebecca and denouncing the pair, initially in guarded terms, in the local newspaper. Rosmer becomes consumed by his guilt, now believing he, rather than mental illness, caused his wife's suicide. He attempts to escape the guilt by erasing the memory of his wife and proposing marriage to Rebecca. But she rejects him outright. Kroll accuses her of using Rosmer as a tool to work her own political agenda. She admits that it was she who drove Mrs. Rosmer to deeper depths of despair and in a way even encouraged her suicideâinitially to increase her power over Rosmer, but later because she actually fell in love with him. Because of her guilty past she cannot accept Rosmer's marriage proposal.
This leads to the ultimate breakdown in the play where neither Rosmer nor Rebecca can cast off moral guilt: she has acknowledged her part in the destruction of Beata but she has also committed incest with her supposedly adoptive father while suspecting that he was in truth her natural parent. Her suspicion is harshly confirmed by Kroll when he attempts to come between her and Rosmer; they can now no longer trust each other, or even themselves. Rosmer then asks Rebecca to prove her devotion to him by committing suicide the same way his former wife didâby jumping into the mill-race. As Rebecca calmly seems to agree, issuing instructions about the recovery of her body from the water, Rosmer says he will join her. He is still in love with her and, since he cannot conceive of a way in which they can live together, they will die together. The play concludes with both characters jumping into the mill-race and the housekeeper, Mrs. Helseth, screaming in terror: "The dead woman has taken them". |
What does the housekeeper think when she witnesses them committing suicide? | The housekeeper thinks that Ms. Rosmer has taken them. | That the dead wife has taken them. | The play opens one year after the suicide of Rosmer's wife, Beata. Rebecca had previously moved into the family home, Rosmersholm, as a friend of Beata, and she lives there still. It becomes plain that she and Rosmer are in love, but he insists throughout the play that their relationship is completely platonic.
A highly respected member of his community, Rosmer intends to support the newly elected government and its reformist, if not revolutionary, agenda. However, when he announces this to his friend and brother-in-law Kroll, the local schoolmaster, the latter becomes enraged at what he sees as his friend's betrayal of his ruling-class roots. Kroll begins to sabotage Rosmer's plans, confronting him about his relationship with Rebecca and denouncing the pair, initially in guarded terms, in the local newspaper. Rosmer becomes consumed by his guilt, now believing he, rather than mental illness, caused his wife's suicide. He attempts to escape the guilt by erasing the memory of his wife and proposing marriage to Rebecca. But she rejects him outright. Kroll accuses her of using Rosmer as a tool to work her own political agenda. She admits that it was she who drove Mrs. Rosmer to deeper depths of despair and in a way even encouraged her suicideâinitially to increase her power over Rosmer, but later because she actually fell in love with him. Because of her guilty past she cannot accept Rosmer's marriage proposal.
This leads to the ultimate breakdown in the play where neither Rosmer nor Rebecca can cast off moral guilt: she has acknowledged her part in the destruction of Beata but she has also committed incest with her supposedly adoptive father while suspecting that he was in truth her natural parent. Her suspicion is harshly confirmed by Kroll when he attempts to come between her and Rosmer; they can now no longer trust each other, or even themselves. Rosmer then asks Rebecca to prove her devotion to him by committing suicide the same way his former wife didâby jumping into the mill-race. As Rebecca calmly seems to agree, issuing instructions about the recovery of her body from the water, Rosmer says he will join her. He is still in love with her and, since he cannot conceive of a way in which they can live together, they will die together. The play concludes with both characters jumping into the mill-race and the housekeeper, Mrs. Helseth, screaming in terror: "The dead woman has taken them". |
When does this story take place in relation to time? | A year after the suicide of Rosmer's wife. | one year after the wife's suicide | The play opens one year after the suicide of Rosmer's wife, Beata. Rebecca had previously moved into the family home, Rosmersholm, as a friend of Beata, and she lives there still. It becomes plain that she and Rosmer are in love, but he insists throughout the play that their relationship is completely platonic.
A highly respected member of his community, Rosmer intends to support the newly elected government and its reformist, if not revolutionary, agenda. However, when he announces this to his friend and brother-in-law Kroll, the local schoolmaster, the latter becomes enraged at what he sees as his friend's betrayal of his ruling-class roots. Kroll begins to sabotage Rosmer's plans, confronting him about his relationship with Rebecca and denouncing the pair, initially in guarded terms, in the local newspaper. Rosmer becomes consumed by his guilt, now believing he, rather than mental illness, caused his wife's suicide. He attempts to escape the guilt by erasing the memory of his wife and proposing marriage to Rebecca. But she rejects him outright. Kroll accuses her of using Rosmer as a tool to work her own political agenda. She admits that it was she who drove Mrs. Rosmer to deeper depths of despair and in a way even encouraged her suicideâinitially to increase her power over Rosmer, but later because she actually fell in love with him. Because of her guilty past she cannot accept Rosmer's marriage proposal.
This leads to the ultimate breakdown in the play where neither Rosmer nor Rebecca can cast off moral guilt: she has acknowledged her part in the destruction of Beata but she has also committed incest with her supposedly adoptive father while suspecting that he was in truth her natural parent. Her suspicion is harshly confirmed by Kroll when he attempts to come between her and Rosmer; they can now no longer trust each other, or even themselves. Rosmer then asks Rebecca to prove her devotion to him by committing suicide the same way his former wife didâby jumping into the mill-race. As Rebecca calmly seems to agree, issuing instructions about the recovery of her body from the water, Rosmer says he will join her. He is still in love with her and, since he cannot conceive of a way in which they can live together, they will die together. The play concludes with both characters jumping into the mill-race and the housekeeper, Mrs. Helseth, screaming in terror: "The dead woman has taken them". |
What is Rebecca's relationship to Beata? | She was a friend of Beata's and lived in the Rosmerholm. | Friend. | The play opens one year after the suicide of Rosmer's wife, Beata. Rebecca had previously moved into the family home, Rosmersholm, as a friend of Beata, and she lives there still. It becomes plain that she and Rosmer are in love, but he insists throughout the play that their relationship is completely platonic.
A highly respected member of his community, Rosmer intends to support the newly elected government and its reformist, if not revolutionary, agenda. However, when he announces this to his friend and brother-in-law Kroll, the local schoolmaster, the latter becomes enraged at what he sees as his friend's betrayal of his ruling-class roots. Kroll begins to sabotage Rosmer's plans, confronting him about his relationship with Rebecca and denouncing the pair, initially in guarded terms, in the local newspaper. Rosmer becomes consumed by his guilt, now believing he, rather than mental illness, caused his wife's suicide. He attempts to escape the guilt by erasing the memory of his wife and proposing marriage to Rebecca. But she rejects him outright. Kroll accuses her of using Rosmer as a tool to work her own political agenda. She admits that it was she who drove Mrs. Rosmer to deeper depths of despair and in a way even encouraged her suicideâinitially to increase her power over Rosmer, but later because she actually fell in love with him. Because of her guilty past she cannot accept Rosmer's marriage proposal.
This leads to the ultimate breakdown in the play where neither Rosmer nor Rebecca can cast off moral guilt: she has acknowledged her part in the destruction of Beata but she has also committed incest with her supposedly adoptive father while suspecting that he was in truth her natural parent. Her suspicion is harshly confirmed by Kroll when he attempts to come between her and Rosmer; they can now no longer trust each other, or even themselves. Rosmer then asks Rebecca to prove her devotion to him by committing suicide the same way his former wife didâby jumping into the mill-race. As Rebecca calmly seems to agree, issuing instructions about the recovery of her body from the water, Rosmer says he will join her. He is still in love with her and, since he cannot conceive of a way in which they can live together, they will die together. The play concludes with both characters jumping into the mill-race and the housekeeper, Mrs. Helseth, screaming in terror: "The dead woman has taken them". |
What is Rebecca's relationship to Rosmer? | The two are in love, though Rosmer insists it is a platonic relationship. | She was a friend of Rosmer's wife | The play opens one year after the suicide of Rosmer's wife, Beata. Rebecca had previously moved into the family home, Rosmersholm, as a friend of Beata, and she lives there still. It becomes plain that she and Rosmer are in love, but he insists throughout the play that their relationship is completely platonic.
A highly respected member of his community, Rosmer intends to support the newly elected government and its reformist, if not revolutionary, agenda. However, when he announces this to his friend and brother-in-law Kroll, the local schoolmaster, the latter becomes enraged at what he sees as his friend's betrayal of his ruling-class roots. Kroll begins to sabotage Rosmer's plans, confronting him about his relationship with Rebecca and denouncing the pair, initially in guarded terms, in the local newspaper. Rosmer becomes consumed by his guilt, now believing he, rather than mental illness, caused his wife's suicide. He attempts to escape the guilt by erasing the memory of his wife and proposing marriage to Rebecca. But she rejects him outright. Kroll accuses her of using Rosmer as a tool to work her own political agenda. She admits that it was she who drove Mrs. Rosmer to deeper depths of despair and in a way even encouraged her suicideâinitially to increase her power over Rosmer, but later because she actually fell in love with him. Because of her guilty past she cannot accept Rosmer's marriage proposal.
This leads to the ultimate breakdown in the play where neither Rosmer nor Rebecca can cast off moral guilt: she has acknowledged her part in the destruction of Beata but she has also committed incest with her supposedly adoptive father while suspecting that he was in truth her natural parent. Her suspicion is harshly confirmed by Kroll when he attempts to come between her and Rosmer; they can now no longer trust each other, or even themselves. Rosmer then asks Rebecca to prove her devotion to him by committing suicide the same way his former wife didâby jumping into the mill-race. As Rebecca calmly seems to agree, issuing instructions about the recovery of her body from the water, Rosmer says he will join her. He is still in love with her and, since he cannot conceive of a way in which they can live together, they will die together. The play concludes with both characters jumping into the mill-race and the housekeeper, Mrs. Helseth, screaming in terror: "The dead woman has taken them". |
What happens when Rosmer suports the newly elected government? | His friend, Kroll, becomes enraged at hime for going against his ruling class roots. | he is sabotaged by his friend Kroll | The play opens one year after the suicide of Rosmer's wife, Beata. Rebecca had previously moved into the family home, Rosmersholm, as a friend of Beata, and she lives there still. It becomes plain that she and Rosmer are in love, but he insists throughout the play that their relationship is completely platonic.
A highly respected member of his community, Rosmer intends to support the newly elected government and its reformist, if not revolutionary, agenda. However, when he announces this to his friend and brother-in-law Kroll, the local schoolmaster, the latter becomes enraged at what he sees as his friend's betrayal of his ruling-class roots. Kroll begins to sabotage Rosmer's plans, confronting him about his relationship with Rebecca and denouncing the pair, initially in guarded terms, in the local newspaper. Rosmer becomes consumed by his guilt, now believing he, rather than mental illness, caused his wife's suicide. He attempts to escape the guilt by erasing the memory of his wife and proposing marriage to Rebecca. But she rejects him outright. Kroll accuses her of using Rosmer as a tool to work her own political agenda. She admits that it was she who drove Mrs. Rosmer to deeper depths of despair and in a way even encouraged her suicideâinitially to increase her power over Rosmer, but later because she actually fell in love with him. Because of her guilty past she cannot accept Rosmer's marriage proposal.
This leads to the ultimate breakdown in the play where neither Rosmer nor Rebecca can cast off moral guilt: she has acknowledged her part in the destruction of Beata but she has also committed incest with her supposedly adoptive father while suspecting that he was in truth her natural parent. Her suspicion is harshly confirmed by Kroll when he attempts to come between her and Rosmer; they can now no longer trust each other, or even themselves. Rosmer then asks Rebecca to prove her devotion to him by committing suicide the same way his former wife didâby jumping into the mill-race. As Rebecca calmly seems to agree, issuing instructions about the recovery of her body from the water, Rosmer says he will join her. He is still in love with her and, since he cannot conceive of a way in which they can live together, they will die together. The play concludes with both characters jumping into the mill-race and the housekeeper, Mrs. Helseth, screaming in terror: "The dead woman has taken them". |
What does Kroll do to Rosmer? | He smear him and his relationship with Rebecca in the local newspaper. | Kroll attempts to come between Rosmer and Rebecca by gossiping about them in public media and ruin Rosmer's plans. | The play opens one year after the suicide of Rosmer's wife, Beata. Rebecca had previously moved into the family home, Rosmersholm, as a friend of Beata, and she lives there still. It becomes plain that she and Rosmer are in love, but he insists throughout the play that their relationship is completely platonic.
A highly respected member of his community, Rosmer intends to support the newly elected government and its reformist, if not revolutionary, agenda. However, when he announces this to his friend and brother-in-law Kroll, the local schoolmaster, the latter becomes enraged at what he sees as his friend's betrayal of his ruling-class roots. Kroll begins to sabotage Rosmer's plans, confronting him about his relationship with Rebecca and denouncing the pair, initially in guarded terms, in the local newspaper. Rosmer becomes consumed by his guilt, now believing he, rather than mental illness, caused his wife's suicide. He attempts to escape the guilt by erasing the memory of his wife and proposing marriage to Rebecca. But she rejects him outright. Kroll accuses her of using Rosmer as a tool to work her own political agenda. She admits that it was she who drove Mrs. Rosmer to deeper depths of despair and in a way even encouraged her suicideâinitially to increase her power over Rosmer, but later because she actually fell in love with him. Because of her guilty past she cannot accept Rosmer's marriage proposal.
This leads to the ultimate breakdown in the play where neither Rosmer nor Rebecca can cast off moral guilt: she has acknowledged her part in the destruction of Beata but she has also committed incest with her supposedly adoptive father while suspecting that he was in truth her natural parent. Her suspicion is harshly confirmed by Kroll when he attempts to come between her and Rosmer; they can now no longer trust each other, or even themselves. Rosmer then asks Rebecca to prove her devotion to him by committing suicide the same way his former wife didâby jumping into the mill-race. As Rebecca calmly seems to agree, issuing instructions about the recovery of her body from the water, Rosmer says he will join her. He is still in love with her and, since he cannot conceive of a way in which they can live together, they will die together. The play concludes with both characters jumping into the mill-race and the housekeeper, Mrs. Helseth, screaming in terror: "The dead woman has taken them". |
How does Rosmer take Kroll's attacks on him? | He takes them personally, even beginning to believe he was the cause of Beata's suicide. | he begins to feel guilty | The play opens one year after the suicide of Rosmer's wife, Beata. Rebecca had previously moved into the family home, Rosmersholm, as a friend of Beata, and she lives there still. It becomes plain that she and Rosmer are in love, but he insists throughout the play that their relationship is completely platonic.
A highly respected member of his community, Rosmer intends to support the newly elected government and its reformist, if not revolutionary, agenda. However, when he announces this to his friend and brother-in-law Kroll, the local schoolmaster, the latter becomes enraged at what he sees as his friend's betrayal of his ruling-class roots. Kroll begins to sabotage Rosmer's plans, confronting him about his relationship with Rebecca and denouncing the pair, initially in guarded terms, in the local newspaper. Rosmer becomes consumed by his guilt, now believing he, rather than mental illness, caused his wife's suicide. He attempts to escape the guilt by erasing the memory of his wife and proposing marriage to Rebecca. But she rejects him outright. Kroll accuses her of using Rosmer as a tool to work her own political agenda. She admits that it was she who drove Mrs. Rosmer to deeper depths of despair and in a way even encouraged her suicideâinitially to increase her power over Rosmer, but later because she actually fell in love with him. Because of her guilty past she cannot accept Rosmer's marriage proposal.
This leads to the ultimate breakdown in the play where neither Rosmer nor Rebecca can cast off moral guilt: she has acknowledged her part in the destruction of Beata but she has also committed incest with her supposedly adoptive father while suspecting that he was in truth her natural parent. Her suspicion is harshly confirmed by Kroll when he attempts to come between her and Rosmer; they can now no longer trust each other, or even themselves. Rosmer then asks Rebecca to prove her devotion to him by committing suicide the same way his former wife didâby jumping into the mill-race. As Rebecca calmly seems to agree, issuing instructions about the recovery of her body from the water, Rosmer says he will join her. He is still in love with her and, since he cannot conceive of a way in which they can live together, they will die together. The play concludes with both characters jumping into the mill-race and the housekeeper, Mrs. Helseth, screaming in terror: "The dead woman has taken them". |
What does Kroll learn about Rebecca when he confronts her? | That she drove Beata to depression and to commit suicide, not Rosmer. | she loved Rosmer | The play opens one year after the suicide of Rosmer's wife, Beata. Rebecca had previously moved into the family home, Rosmersholm, as a friend of Beata, and she lives there still. It becomes plain that she and Rosmer are in love, but he insists throughout the play that their relationship is completely platonic.
A highly respected member of his community, Rosmer intends to support the newly elected government and its reformist, if not revolutionary, agenda. However, when he announces this to his friend and brother-in-law Kroll, the local schoolmaster, the latter becomes enraged at what he sees as his friend's betrayal of his ruling-class roots. Kroll begins to sabotage Rosmer's plans, confronting him about his relationship with Rebecca and denouncing the pair, initially in guarded terms, in the local newspaper. Rosmer becomes consumed by his guilt, now believing he, rather than mental illness, caused his wife's suicide. He attempts to escape the guilt by erasing the memory of his wife and proposing marriage to Rebecca. But she rejects him outright. Kroll accuses her of using Rosmer as a tool to work her own political agenda. She admits that it was she who drove Mrs. Rosmer to deeper depths of despair and in a way even encouraged her suicideâinitially to increase her power over Rosmer, but later because she actually fell in love with him. Because of her guilty past she cannot accept Rosmer's marriage proposal.
This leads to the ultimate breakdown in the play where neither Rosmer nor Rebecca can cast off moral guilt: she has acknowledged her part in the destruction of Beata but she has also committed incest with her supposedly adoptive father while suspecting that he was in truth her natural parent. Her suspicion is harshly confirmed by Kroll when he attempts to come between her and Rosmer; they can now no longer trust each other, or even themselves. Rosmer then asks Rebecca to prove her devotion to him by committing suicide the same way his former wife didâby jumping into the mill-race. As Rebecca calmly seems to agree, issuing instructions about the recovery of her body from the water, Rosmer says he will join her. He is still in love with her and, since he cannot conceive of a way in which they can live together, they will die together. The play concludes with both characters jumping into the mill-race and the housekeeper, Mrs. Helseth, screaming in terror: "The dead woman has taken them". |
What happens when Rosmer encourages Rebecca to commit suicide the same way Beata did? | She begins to agree, and Rosmer intends to join her. | she agrees | The play opens one year after the suicide of Rosmer's wife, Beata. Rebecca had previously moved into the family home, Rosmersholm, as a friend of Beata, and she lives there still. It becomes plain that she and Rosmer are in love, but he insists throughout the play that their relationship is completely platonic.
A highly respected member of his community, Rosmer intends to support the newly elected government and its reformist, if not revolutionary, agenda. However, when he announces this to his friend and brother-in-law Kroll, the local schoolmaster, the latter becomes enraged at what he sees as his friend's betrayal of his ruling-class roots. Kroll begins to sabotage Rosmer's plans, confronting him about his relationship with Rebecca and denouncing the pair, initially in guarded terms, in the local newspaper. Rosmer becomes consumed by his guilt, now believing he, rather than mental illness, caused his wife's suicide. He attempts to escape the guilt by erasing the memory of his wife and proposing marriage to Rebecca. But she rejects him outright. Kroll accuses her of using Rosmer as a tool to work her own political agenda. She admits that it was she who drove Mrs. Rosmer to deeper depths of despair and in a way even encouraged her suicideâinitially to increase her power over Rosmer, but later because she actually fell in love with him. Because of her guilty past she cannot accept Rosmer's marriage proposal.
This leads to the ultimate breakdown in the play where neither Rosmer nor Rebecca can cast off moral guilt: she has acknowledged her part in the destruction of Beata but she has also committed incest with her supposedly adoptive father while suspecting that he was in truth her natural parent. Her suspicion is harshly confirmed by Kroll when he attempts to come between her and Rosmer; they can now no longer trust each other, or even themselves. Rosmer then asks Rebecca to prove her devotion to him by committing suicide the same way his former wife didâby jumping into the mill-race. As Rebecca calmly seems to agree, issuing instructions about the recovery of her body from the water, Rosmer says he will join her. He is still in love with her and, since he cannot conceive of a way in which they can live together, they will die together. The play concludes with both characters jumping into the mill-race and the housekeeper, Mrs. Helseth, screaming in terror: "The dead woman has taken them". |
How does the story end? | With both Rebecca and Rosmer jumping to their death. | Rebecca And Rosmer commit suicide | The play opens one year after the suicide of Rosmer's wife, Beata. Rebecca had previously moved into the family home, Rosmersholm, as a friend of Beata, and she lives there still. It becomes plain that she and Rosmer are in love, but he insists throughout the play that their relationship is completely platonic.
A highly respected member of his community, Rosmer intends to support the newly elected government and its reformist, if not revolutionary, agenda. However, when he announces this to his friend and brother-in-law Kroll, the local schoolmaster, the latter becomes enraged at what he sees as his friend's betrayal of his ruling-class roots. Kroll begins to sabotage Rosmer's plans, confronting him about his relationship with Rebecca and denouncing the pair, initially in guarded terms, in the local newspaper. Rosmer becomes consumed by his guilt, now believing he, rather than mental illness, caused his wife's suicide. He attempts to escape the guilt by erasing the memory of his wife and proposing marriage to Rebecca. But she rejects him outright. Kroll accuses her of using Rosmer as a tool to work her own political agenda. She admits that it was she who drove Mrs. Rosmer to deeper depths of despair and in a way even encouraged her suicideâinitially to increase her power over Rosmer, but later because she actually fell in love with him. Because of her guilty past she cannot accept Rosmer's marriage proposal.
This leads to the ultimate breakdown in the play where neither Rosmer nor Rebecca can cast off moral guilt: she has acknowledged her part in the destruction of Beata but she has also committed incest with her supposedly adoptive father while suspecting that he was in truth her natural parent. Her suspicion is harshly confirmed by Kroll when he attempts to come between her and Rosmer; they can now no longer trust each other, or even themselves. Rosmer then asks Rebecca to prove her devotion to him by committing suicide the same way his former wife didâby jumping into the mill-race. As Rebecca calmly seems to agree, issuing instructions about the recovery of her body from the water, Rosmer says he will join her. He is still in love with her and, since he cannot conceive of a way in which they can live together, they will die together. The play concludes with both characters jumping into the mill-race and the housekeeper, Mrs. Helseth, screaming in terror: "The dead woman has taken them". |
Who tries to capture moose? | Eddie | Eddie | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
How long is the fishing trip in Nova Scotia? | Three weeks | three weeks | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
What fish motivated Paine and Breck to come to Nova Scotia? | Trout | trout | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
Who is a New England novelist? | Paine | Paine | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
What part of Nova Scotia did the fishing trip go through? | Central Nova Scotia | Central Nova Scotia | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
What wilderness area was highlighted? | Tobeatic Wildnerness Area | Kejimkujik Park and the Tobeatic wilderness area | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
What park area was highlighted? | Kejimkujik Park | The park area highlighted was Kejimujik Park and Tobeatic Wilderness Area. | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
According to Paine, where will you find soul? | In the wildnerness | the wilderness | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
What type of rain has affected the trout? | Acid rain | acid rain | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
Besides the rain, what else has affected the trout? | Increased fishing pressure | increased fishing pressure | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
Where is the fishing trip being held? | Novia Scotia | Central Nova Scotia. | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
How long is the fishing trip? | Three weeks | 3 weeks | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
What does Eddie try to capture? | A moose | Eddie tries to capture a moose. | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
What brought Paine and Breck to Nova Scotia? | The Trout | trout | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
Why are Trout less abundant? | Acid rain and fishing pressure | fishing pressure and acid rain | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
What did Paine have some difficulties with? | Lack of modern amneties | Lack of modern amenities. | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
What is missing from this sentence? "if you are willing to get____ and stay ___ " ? | Wet | "wet" and "wet" | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
What has Paine come to love? | The beauty and solitude of the woods. | The rugged beauty and solitude of the woods. | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
Where are the back-country campers located? | Kejmkujik Park and The Tobeatic Wilderness Area | Central Nova Scotia wilderness | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
For whom do the trout provide good sport for? | Anglers | The trout provide good sport for the group. | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
How long was the fishing trip? | three weeks | Three weeks. | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
Which animal does Eddie try to capture? | a moose | moose | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
What problems did Paine have adjusting to camp life? | He missed modern amenities . | Paine struggled with the lack of modern amenities. | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
Why wouldn't Paine suggest camping for everyone? | not everyone can handle the lack of comforts | lack of modern ammenities | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
Why are trout less abundant now? | because of acid rain and more pressure from fishing | acid rain and increased fishing pressure | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
Why was the story called The Tent Dwellers? | Because it was about people who were camping in tents | they camped in tents | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
What is Paine's job now? | biographer and novelist | Paine is a novelist and biographer. | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
What are the areas explored in the story known as today? | Kejimkujik Park and Tobeatic Wilderness | Kejimkujik Park and Tobeatic Wilderness Area. | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
What 2 animals did the group come across? | moose and beavers | trout and beaver | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
Where was the story set? | Nova Scotia | the Nova Scotia wilderness | The book chronicles a three-week fishing trip through central Nova Scotia, and is an excellent account of the unspoiled Nova Scotia wilderness that existed at the time, which has been largely diminished since. The group encounters moose (which Eddie tries to capture and bring back alive), beaver, and numerous trout, the first of which is now very scarce in the region, and legions of mosquitos, moose flies, black flies, noseeums, and midges, all of which are regrettably abundant to this day.
Many of the areas described in the book, then virtually unexplored and uncharted, are now well known to back-country campers in Kejimkujik Park and the Tobeatic Wilderness Area. The descriptions of the central Nova Scotia woods contained in the book are beautifully written and uncannily accurate, and while the trout which brought Paine and Breck to Nova Scotia are less abundant, due in part to acid rain and increased fishing pressure, they still provide good sport for anglers.
Paine, a famous New England novelist and biographer, initially had some difficulties with the lack of modern amenities in camp life, but soon came to love the rugged beauty and solitude of the woods. As advice to other potential campers, he has this to offer:
"...if you are willing to get wet and stay wet - to get cold and stay cold - to be bruised, and scuffed, and bitten - to be hungry and thirsty, and to have your muscles strained and sore from unusual taxation: if you will welcome all these things, not once, but many times, for the sake of moments of pure triumph and that larger luxury which comes with the comfort of the camp and the conquest of the wilderness, then go!
The wilderness will welcome you, and teach you, and take you to its heart. And you will find your own soul there; and the discovery will be worth while!" |
What do they regard as the "Great Personage"? | The Danube River | The river | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
During the night what do the willow appear to have done? | Changed locations. | Changed location. | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
What two sounds do the men hear during the first night? | Tapping outside the tent, and shifting gong like sounds. | tapping and gong-like sounds | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
What is missing in the morning after the first night? | One of the paddles, and some food. | one of the canoe paddles | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
During the second night the Swede attempts to do what? | Hurl himself into the river as a sacrifice. | hurl himself into the river as a "sacrifice" | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
What do they find the day after the second night? | A peasant's body lodged in roots near the shore. | The Swede attempts to hurl himself into the river as a "sacrifice" | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
When the body is swept away what do the men think it resembles? | An otter. | An otter. | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
What held their craft on it's shoulders? | The river. | violent desires | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
Where had they seen the funnel shaped pock marks from the peasant's body before? | The sands of the island. | In the sand. | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
The story suggests that the landscape is what? | A point of contact for a different dimension. | alive | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
Where are the two men canoeing? | On the Danube River. | Danube River. | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
What does the man on the flat bottomed boat do? | He tries to warn them of something and disappears down river. | Warning the two men before hurtling out of sight. | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
What happens while the two men are sleeping in the tent? | Dark shapes move around and make noise outside of their tent. | The wind whips through the willows outside. | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
What do the willows do while the two men are sleeping? | They seem to change positions. | relocate | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
When the two men awake what do they find is missing? | One of their canoe paddles and some food. | a paddle and some of their food | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
What do the two men need to repair before continuing on their trip? | Their canoe. | Their canoe | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
What does the Swede attempt to do to himself on the second night? | Sacrifice himself to the river. | Throw himself in the river | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
Why does the Swede believe that the river has found another sacrifice? | They find a body of a peasant near the shore. | the corpse of a peasant is found | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
What do they find on the peasants body? | Marks that are funnel shaped. | funnel shapes | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
What is the name of the river introduced in the beginning of the story? | Danube | Danube River | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
How does the main character initially see the river? | As sleepy | Great Personage | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
How does the main character describe the river once it has revealed itself? | As having violent desires | potency, human qualities | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
What do the men hear outside of their tent? | Tapping and Gong-like sounds | tapping and gong sounds | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
What do the two men notice missing in the morning? | Two paddles | One of their oars and some food. | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
On which day this the howling winds die down? | The second day and night | Second | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
What did the two men find lodged in roots along the shore? | A peasant's dead body | corpse of a peasant | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
What is the corpse body pockmarked with? | Funnel shapes | funnel shapes | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
What color are the willows described as being? | Silver | silvery | Two friends are midway on a canoe trip down the Danube River. Throughout the story Blackwood personifies the surrounding environmentâriver, sun, windâand imbues them with a powerful and ultimately threatening character. Most ominous are the masses of dense, desultory, menacing willows, which "moved of their own will as though alive, and they touched, by some incalculable method, my own keen sense of the horrible." Just after managing to land their canoe for the evening on the shifting, sandy islands just downstream across the Austria/Hungary frontier, the main character reflects on the river's potency, human qualities and will:
Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.
Blackwood also specifically characterizes the silvery, windblown willows as sinister:
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
At one point the two men see a man in a "flat-bottomed boat". However, the man appears to be warning the two, and ultimately crosses himself before hurtling forward on the river, out of sight. During the night and into the next day and night, the mysterious, hostile forces emerge in force, including large, dark shapes that seem to trace the consciousness of the two men, tapping sounds outside their tent, shifting gong-like sounds, and the appearance that the willows have changed location. In the morning the two discover that one of their two paddles is missing, there is a slit in the canoe that needs repair, and some of their food has disappeared. A hint of distrust arises between them. The howling wind dies down on the second day and night, and humming calm ensues. During the second night, the second man, the Swede, attempts to hurl himself into the river as a "sacrifice," "going inside to Them," but he is saved by the first character. The next morning, the Swede claims that the mysterious forces have found another sacrifice that may save them. They find the corpse of a peasant lodged in roots near the shore. When they touch the body, a flurry of living presence seems to rise from it and disappear into the sky, and later they see the body is pockmarked with funnel shapes as had been formed on the sands of the island during their experience. These are "Their awful mark!" the Swede says. The body is swept away, resembling an "otter" they thought they had seen the previous day, and the story ends.
The precise nature of the mysterious entities in "The Willows" is unclear, and they appear at times malevolent and treacherous, and at times simply mystical, almost divine: "a new order of experience, and in the true sense of the word unearthly," and a world "where great things go on unceasingly...vast purposes...that deal directly with the soul, and not indirectly with mere expressions of the soul." These forces are also often contrasted with the fantastic natural beauty of the locale, itself a vigorous dynamic. In sum the story suggests that the landscape is an intersection, a point of contact with a "fourth dimension" â "on the frontier of another world, an alien world, a world tenanted by willows only and the souls of willows." |
What Dr Sebastian invented? | A serum to make things invisible? | An invisibility serum. | Scientist Dr. Sebastian Caine (Bacon) has developed a serum that can make a subject invisible. His team of scientists, which includes ex-girlfriend Dr. Linda McKay (Shue) and Dr. Matt Kensington (Brolin), eventually enable the serum to work on a female gorilla and restore the animal back to visibility. Sebastian once again becomes obsessed with Linda while unbeknownst to him, she has become involved with Matt. Instead of reporting his success to the military, Sebastian lies to the oversight committee, which includes his mentor Dr. Howard Kramer (Devane), convincing his team to go right into human testing. The procedure is performed on Sebastian. It is successful and Sebastian turns completely invisible. He then enjoys sneaking around the lab in order to scare and play pranks on his fellow co-workers. They become worried that he is taking it too far. After three days, however, he is unable to revert to visibility.
Sebastian is quarantined in the laboratory due to his condition and the other researchers construct a latex mask for him to wear around the lab. Unable to cope with the isolation, he defies instructions and heads to his apartment to bring some things back to the lab. There, he happens to notice his neighbor disrobing and goes to her apartment where he rapes her. Linda warns him that if he leaves again, she and Matt will tell the committee about the experiment. Ignoring their threat, Sebastian assembles a device that runs a video loop of his heat signature in his quarters. He leaves the lab again and spies on Linda and Matt, becoming enraged when he sees them having sex.
The team soon discover that they have been watching a recording and that Sebastian has been escaping without their knowledge. Linda and Matt go to Dr. Kramer's house and confess their experiments. After they leave, Kramer attempts to warn the military but Sebastian, who has followed Linda and Matt to the house, cuts off Kramer's phone connection before drowning him in his swimming pool. The next day, Sebastian waits until all of the team is in the lab and then disables the phones and the elevator codes except for his own. He removes his clothing and latex mask and invisible, begins his killing spree, with Janice being his first victim.
Linda and the others hide in the lab, while Matt and Carter take tranquilizer guns to hunt for Sebastian, using thermal imaging goggles. While on top of a pipe, Sebastian throws Carter toward a steel bar, which hits his carotid artery, and leaves him mortally wounded. Matt tries to shoot Sebastian, but is almost killed until Linda drags him to safety. After Carter dies from his injuries, Sarah heads to the freezer to get blood for a transfusion but is killed by Sebastian. He then kills Frank with a crowbar when he lets his guard down, and locks an injured Matt and Linda in the freezer-store room, leaving them to freeze to death. Linda then constructs an electromagnet using a defibrillator and other equipment, to open the freezer door. She then gathers parts to assemble a flamethrower. Sebastian goes to the lab and creates nitroglycerin and puts it in a centrifuge with a timer which is meant to destroy the facility after he leaves; he smashes the keyboard so nobody can stop the machine.
Just as he enters the elevator to leave, Linda appears and fires the flamethrower at him. Sebastian barely manages to escape the flames and the two fight. Just as she is about to lose, Matt appears and hits Sebastian with the crowbar. Sebastian recovers and approaches Matt and Linda from behind with the crowbar but Matt deflects the blow, throwing Sebastian into a nearby circuit box, apparently electrocuting him and rendering him partially visible. Linda and Matt find the nitroglycerin about to explode and decide to climb up the elevator shaft to escape. The two are almost out when an injured and partially visible Sebastian appears. He fights with Linda, and forcibly kisses her one last time, before she grabs the elevator cable and knocks the car loose, sending Sebastian falling to his death into the explosion in the shaft below. Linda and Matt emerge from the burning laboratory and medics take them away in an ambulance. |
How Dr Sebastian Knew Linda and Matt? | They were ex girlfriend of Dr Sebastian. | They are part of his team of scientists. | Scientist Dr. Sebastian Caine (Bacon) has developed a serum that can make a subject invisible. His team of scientists, which includes ex-girlfriend Dr. Linda McKay (Shue) and Dr. Matt Kensington (Brolin), eventually enable the serum to work on a female gorilla and restore the animal back to visibility. Sebastian once again becomes obsessed with Linda while unbeknownst to him, she has become involved with Matt. Instead of reporting his success to the military, Sebastian lies to the oversight committee, which includes his mentor Dr. Howard Kramer (Devane), convincing his team to go right into human testing. The procedure is performed on Sebastian. It is successful and Sebastian turns completely invisible. He then enjoys sneaking around the lab in order to scare and play pranks on his fellow co-workers. They become worried that he is taking it too far. After three days, however, he is unable to revert to visibility.
Sebastian is quarantined in the laboratory due to his condition and the other researchers construct a latex mask for him to wear around the lab. Unable to cope with the isolation, he defies instructions and heads to his apartment to bring some things back to the lab. There, he happens to notice his neighbor disrobing and goes to her apartment where he rapes her. Linda warns him that if he leaves again, she and Matt will tell the committee about the experiment. Ignoring their threat, Sebastian assembles a device that runs a video loop of his heat signature in his quarters. He leaves the lab again and spies on Linda and Matt, becoming enraged when he sees them having sex.
The team soon discover that they have been watching a recording and that Sebastian has been escaping without their knowledge. Linda and Matt go to Dr. Kramer's house and confess their experiments. After they leave, Kramer attempts to warn the military but Sebastian, who has followed Linda and Matt to the house, cuts off Kramer's phone connection before drowning him in his swimming pool. The next day, Sebastian waits until all of the team is in the lab and then disables the phones and the elevator codes except for his own. He removes his clothing and latex mask and invisible, begins his killing spree, with Janice being his first victim.
Linda and the others hide in the lab, while Matt and Carter take tranquilizer guns to hunt for Sebastian, using thermal imaging goggles. While on top of a pipe, Sebastian throws Carter toward a steel bar, which hits his carotid artery, and leaves him mortally wounded. Matt tries to shoot Sebastian, but is almost killed until Linda drags him to safety. After Carter dies from his injuries, Sarah heads to the freezer to get blood for a transfusion but is killed by Sebastian. He then kills Frank with a crowbar when he lets his guard down, and locks an injured Matt and Linda in the freezer-store room, leaving them to freeze to death. Linda then constructs an electromagnet using a defibrillator and other equipment, to open the freezer door. She then gathers parts to assemble a flamethrower. Sebastian goes to the lab and creates nitroglycerin and puts it in a centrifuge with a timer which is meant to destroy the facility after he leaves; he smashes the keyboard so nobody can stop the machine.
Just as he enters the elevator to leave, Linda appears and fires the flamethrower at him. Sebastian barely manages to escape the flames and the two fight. Just as she is about to lose, Matt appears and hits Sebastian with the crowbar. Sebastian recovers and approaches Matt and Linda from behind with the crowbar but Matt deflects the blow, throwing Sebastian into a nearby circuit box, apparently electrocuting him and rendering him partially visible. Linda and Matt find the nitroglycerin about to explode and decide to climb up the elevator shaft to escape. The two are almost out when an injured and partially visible Sebastian appears. He fights with Linda, and forcibly kisses her one last time, before she grabs the elevator cable and knocks the car loose, sending Sebastian falling to his death into the explosion in the shaft below. Linda and Matt emerge from the burning laboratory and medics take them away in an ambulance. |
How Dr Sebastian used the serum first time? | He applied on a Gorilla and restored it back? | On a female gorilla. | Scientist Dr. Sebastian Caine (Bacon) has developed a serum that can make a subject invisible. His team of scientists, which includes ex-girlfriend Dr. Linda McKay (Shue) and Dr. Matt Kensington (Brolin), eventually enable the serum to work on a female gorilla and restore the animal back to visibility. Sebastian once again becomes obsessed with Linda while unbeknownst to him, she has become involved with Matt. Instead of reporting his success to the military, Sebastian lies to the oversight committee, which includes his mentor Dr. Howard Kramer (Devane), convincing his team to go right into human testing. The procedure is performed on Sebastian. It is successful and Sebastian turns completely invisible. He then enjoys sneaking around the lab in order to scare and play pranks on his fellow co-workers. They become worried that he is taking it too far. After three days, however, he is unable to revert to visibility.
Sebastian is quarantined in the laboratory due to his condition and the other researchers construct a latex mask for him to wear around the lab. Unable to cope with the isolation, he defies instructions and heads to his apartment to bring some things back to the lab. There, he happens to notice his neighbor disrobing and goes to her apartment where he rapes her. Linda warns him that if he leaves again, she and Matt will tell the committee about the experiment. Ignoring their threat, Sebastian assembles a device that runs a video loop of his heat signature in his quarters. He leaves the lab again and spies on Linda and Matt, becoming enraged when he sees them having sex.
The team soon discover that they have been watching a recording and that Sebastian has been escaping without their knowledge. Linda and Matt go to Dr. Kramer's house and confess their experiments. After they leave, Kramer attempts to warn the military but Sebastian, who has followed Linda and Matt to the house, cuts off Kramer's phone connection before drowning him in his swimming pool. The next day, Sebastian waits until all of the team is in the lab and then disables the phones and the elevator codes except for his own. He removes his clothing and latex mask and invisible, begins his killing spree, with Janice being his first victim.
Linda and the others hide in the lab, while Matt and Carter take tranquilizer guns to hunt for Sebastian, using thermal imaging goggles. While on top of a pipe, Sebastian throws Carter toward a steel bar, which hits his carotid artery, and leaves him mortally wounded. Matt tries to shoot Sebastian, but is almost killed until Linda drags him to safety. After Carter dies from his injuries, Sarah heads to the freezer to get blood for a transfusion but is killed by Sebastian. He then kills Frank with a crowbar when he lets his guard down, and locks an injured Matt and Linda in the freezer-store room, leaving them to freeze to death. Linda then constructs an electromagnet using a defibrillator and other equipment, to open the freezer door. She then gathers parts to assemble a flamethrower. Sebastian goes to the lab and creates nitroglycerin and puts it in a centrifuge with a timer which is meant to destroy the facility after he leaves; he smashes the keyboard so nobody can stop the machine.
Just as he enters the elevator to leave, Linda appears and fires the flamethrower at him. Sebastian barely manages to escape the flames and the two fight. Just as she is about to lose, Matt appears and hits Sebastian with the crowbar. Sebastian recovers and approaches Matt and Linda from behind with the crowbar but Matt deflects the blow, throwing Sebastian into a nearby circuit box, apparently electrocuting him and rendering him partially visible. Linda and Matt find the nitroglycerin about to explode and decide to climb up the elevator shaft to escape. The two are almost out when an injured and partially visible Sebastian appears. He fights with Linda, and forcibly kisses her one last time, before she grabs the elevator cable and knocks the car loose, sending Sebastian falling to his death into the explosion in the shaft below. Linda and Matt emerge from the burning laboratory and medics take them away in an ambulance. |
Why the serum used for human testing? | Dr Sebastian managed his mentor Dr Howard for testing. | Sebastian told the oversight committee that it was safe and ready for human testing. | Scientist Dr. Sebastian Caine (Bacon) has developed a serum that can make a subject invisible. His team of scientists, which includes ex-girlfriend Dr. Linda McKay (Shue) and Dr. Matt Kensington (Brolin), eventually enable the serum to work on a female gorilla and restore the animal back to visibility. Sebastian once again becomes obsessed with Linda while unbeknownst to him, she has become involved with Matt. Instead of reporting his success to the military, Sebastian lies to the oversight committee, which includes his mentor Dr. Howard Kramer (Devane), convincing his team to go right into human testing. The procedure is performed on Sebastian. It is successful and Sebastian turns completely invisible. He then enjoys sneaking around the lab in order to scare and play pranks on his fellow co-workers. They become worried that he is taking it too far. After three days, however, he is unable to revert to visibility.
Sebastian is quarantined in the laboratory due to his condition and the other researchers construct a latex mask for him to wear around the lab. Unable to cope with the isolation, he defies instructions and heads to his apartment to bring some things back to the lab. There, he happens to notice his neighbor disrobing and goes to her apartment where he rapes her. Linda warns him that if he leaves again, she and Matt will tell the committee about the experiment. Ignoring their threat, Sebastian assembles a device that runs a video loop of his heat signature in his quarters. He leaves the lab again and spies on Linda and Matt, becoming enraged when he sees them having sex.
The team soon discover that they have been watching a recording and that Sebastian has been escaping without their knowledge. Linda and Matt go to Dr. Kramer's house and confess their experiments. After they leave, Kramer attempts to warn the military but Sebastian, who has followed Linda and Matt to the house, cuts off Kramer's phone connection before drowning him in his swimming pool. The next day, Sebastian waits until all of the team is in the lab and then disables the phones and the elevator codes except for his own. He removes his clothing and latex mask and invisible, begins his killing spree, with Janice being his first victim.
Linda and the others hide in the lab, while Matt and Carter take tranquilizer guns to hunt for Sebastian, using thermal imaging goggles. While on top of a pipe, Sebastian throws Carter toward a steel bar, which hits his carotid artery, and leaves him mortally wounded. Matt tries to shoot Sebastian, but is almost killed until Linda drags him to safety. After Carter dies from his injuries, Sarah heads to the freezer to get blood for a transfusion but is killed by Sebastian. He then kills Frank with a crowbar when he lets his guard down, and locks an injured Matt and Linda in the freezer-store room, leaving them to freeze to death. Linda then constructs an electromagnet using a defibrillator and other equipment, to open the freezer door. She then gathers parts to assemble a flamethrower. Sebastian goes to the lab and creates nitroglycerin and puts it in a centrifuge with a timer which is meant to destroy the facility after he leaves; he smashes the keyboard so nobody can stop the machine.
Just as he enters the elevator to leave, Linda appears and fires the flamethrower at him. Sebastian barely manages to escape the flames and the two fight. Just as she is about to lose, Matt appears and hits Sebastian with the crowbar. Sebastian recovers and approaches Matt and Linda from behind with the crowbar but Matt deflects the blow, throwing Sebastian into a nearby circuit box, apparently electrocuting him and rendering him partially visible. Linda and Matt find the nitroglycerin about to explode and decide to climb up the elevator shaft to escape. The two are almost out when an injured and partially visible Sebastian appears. He fights with Linda, and forcibly kisses her one last time, before she grabs the elevator cable and knocks the car loose, sending Sebastian falling to his death into the explosion in the shaft below. Linda and Matt emerge from the burning laboratory and medics take them away in an ambulance. |
After how many it was unable to revert to visibility? | Three days | Three. | Scientist Dr. Sebastian Caine (Bacon) has developed a serum that can make a subject invisible. His team of scientists, which includes ex-girlfriend Dr. Linda McKay (Shue) and Dr. Matt Kensington (Brolin), eventually enable the serum to work on a female gorilla and restore the animal back to visibility. Sebastian once again becomes obsessed with Linda while unbeknownst to him, she has become involved with Matt. Instead of reporting his success to the military, Sebastian lies to the oversight committee, which includes his mentor Dr. Howard Kramer (Devane), convincing his team to go right into human testing. The procedure is performed on Sebastian. It is successful and Sebastian turns completely invisible. He then enjoys sneaking around the lab in order to scare and play pranks on his fellow co-workers. They become worried that he is taking it too far. After three days, however, he is unable to revert to visibility.
Sebastian is quarantined in the laboratory due to his condition and the other researchers construct a latex mask for him to wear around the lab. Unable to cope with the isolation, he defies instructions and heads to his apartment to bring some things back to the lab. There, he happens to notice his neighbor disrobing and goes to her apartment where he rapes her. Linda warns him that if he leaves again, she and Matt will tell the committee about the experiment. Ignoring their threat, Sebastian assembles a device that runs a video loop of his heat signature in his quarters. He leaves the lab again and spies on Linda and Matt, becoming enraged when he sees them having sex.
The team soon discover that they have been watching a recording and that Sebastian has been escaping without their knowledge. Linda and Matt go to Dr. Kramer's house and confess their experiments. After they leave, Kramer attempts to warn the military but Sebastian, who has followed Linda and Matt to the house, cuts off Kramer's phone connection before drowning him in his swimming pool. The next day, Sebastian waits until all of the team is in the lab and then disables the phones and the elevator codes except for his own. He removes his clothing and latex mask and invisible, begins his killing spree, with Janice being his first victim.
Linda and the others hide in the lab, while Matt and Carter take tranquilizer guns to hunt for Sebastian, using thermal imaging goggles. While on top of a pipe, Sebastian throws Carter toward a steel bar, which hits his carotid artery, and leaves him mortally wounded. Matt tries to shoot Sebastian, but is almost killed until Linda drags him to safety. After Carter dies from his injuries, Sarah heads to the freezer to get blood for a transfusion but is killed by Sebastian. He then kills Frank with a crowbar when he lets his guard down, and locks an injured Matt and Linda in the freezer-store room, leaving them to freeze to death. Linda then constructs an electromagnet using a defibrillator and other equipment, to open the freezer door. She then gathers parts to assemble a flamethrower. Sebastian goes to the lab and creates nitroglycerin and puts it in a centrifuge with a timer which is meant to destroy the facility after he leaves; he smashes the keyboard so nobody can stop the machine.
Just as he enters the elevator to leave, Linda appears and fires the flamethrower at him. Sebastian barely manages to escape the flames and the two fight. Just as she is about to lose, Matt appears and hits Sebastian with the crowbar. Sebastian recovers and approaches Matt and Linda from behind with the crowbar but Matt deflects the blow, throwing Sebastian into a nearby circuit box, apparently electrocuting him and rendering him partially visible. Linda and Matt find the nitroglycerin about to explode and decide to climb up the elevator shaft to escape. The two are almost out when an injured and partially visible Sebastian appears. He fights with Linda, and forcibly kisses her one last time, before she grabs the elevator cable and knocks the car loose, sending Sebastian falling to his death into the explosion in the shaft below. Linda and Matt emerge from the burning laboratory and medics take them away in an ambulance. |
Where Linda and Matt went to confess the experiment? | Dr Kramers house | Dr. Kramer's house. | Scientist Dr. Sebastian Caine (Bacon) has developed a serum that can make a subject invisible. His team of scientists, which includes ex-girlfriend Dr. Linda McKay (Shue) and Dr. Matt Kensington (Brolin), eventually enable the serum to work on a female gorilla and restore the animal back to visibility. Sebastian once again becomes obsessed with Linda while unbeknownst to him, she has become involved with Matt. Instead of reporting his success to the military, Sebastian lies to the oversight committee, which includes his mentor Dr. Howard Kramer (Devane), convincing his team to go right into human testing. The procedure is performed on Sebastian. It is successful and Sebastian turns completely invisible. He then enjoys sneaking around the lab in order to scare and play pranks on his fellow co-workers. They become worried that he is taking it too far. After three days, however, he is unable to revert to visibility.
Sebastian is quarantined in the laboratory due to his condition and the other researchers construct a latex mask for him to wear around the lab. Unable to cope with the isolation, he defies instructions and heads to his apartment to bring some things back to the lab. There, he happens to notice his neighbor disrobing and goes to her apartment where he rapes her. Linda warns him that if he leaves again, she and Matt will tell the committee about the experiment. Ignoring their threat, Sebastian assembles a device that runs a video loop of his heat signature in his quarters. He leaves the lab again and spies on Linda and Matt, becoming enraged when he sees them having sex.
The team soon discover that they have been watching a recording and that Sebastian has been escaping without their knowledge. Linda and Matt go to Dr. Kramer's house and confess their experiments. After they leave, Kramer attempts to warn the military but Sebastian, who has followed Linda and Matt to the house, cuts off Kramer's phone connection before drowning him in his swimming pool. The next day, Sebastian waits until all of the team is in the lab and then disables the phones and the elevator codes except for his own. He removes his clothing and latex mask and invisible, begins his killing spree, with Janice being his first victim.
Linda and the others hide in the lab, while Matt and Carter take tranquilizer guns to hunt for Sebastian, using thermal imaging goggles. While on top of a pipe, Sebastian throws Carter toward a steel bar, which hits his carotid artery, and leaves him mortally wounded. Matt tries to shoot Sebastian, but is almost killed until Linda drags him to safety. After Carter dies from his injuries, Sarah heads to the freezer to get blood for a transfusion but is killed by Sebastian. He then kills Frank with a crowbar when he lets his guard down, and locks an injured Matt and Linda in the freezer-store room, leaving them to freeze to death. Linda then constructs an electromagnet using a defibrillator and other equipment, to open the freezer door. She then gathers parts to assemble a flamethrower. Sebastian goes to the lab and creates nitroglycerin and puts it in a centrifuge with a timer which is meant to destroy the facility after he leaves; he smashes the keyboard so nobody can stop the machine.
Just as he enters the elevator to leave, Linda appears and fires the flamethrower at him. Sebastian barely manages to escape the flames and the two fight. Just as she is about to lose, Matt appears and hits Sebastian with the crowbar. Sebastian recovers and approaches Matt and Linda from behind with the crowbar but Matt deflects the blow, throwing Sebastian into a nearby circuit box, apparently electrocuting him and rendering him partially visible. Linda and Matt find the nitroglycerin about to explode and decide to climb up the elevator shaft to escape. The two are almost out when an injured and partially visible Sebastian appears. He fights with Linda, and forcibly kisses her one last time, before she grabs the elevator cable and knocks the car loose, sending Sebastian falling to his death into the explosion in the shaft below. Linda and Matt emerge from the burning laboratory and medics take them away in an ambulance. |
Why Sebastian smashed the keyboard? | So that nobody could stop the machine | So nobody could stop the facility from blowing up. | Scientist Dr. Sebastian Caine (Bacon) has developed a serum that can make a subject invisible. His team of scientists, which includes ex-girlfriend Dr. Linda McKay (Shue) and Dr. Matt Kensington (Brolin), eventually enable the serum to work on a female gorilla and restore the animal back to visibility. Sebastian once again becomes obsessed with Linda while unbeknownst to him, she has become involved with Matt. Instead of reporting his success to the military, Sebastian lies to the oversight committee, which includes his mentor Dr. Howard Kramer (Devane), convincing his team to go right into human testing. The procedure is performed on Sebastian. It is successful and Sebastian turns completely invisible. He then enjoys sneaking around the lab in order to scare and play pranks on his fellow co-workers. They become worried that he is taking it too far. After three days, however, he is unable to revert to visibility.
Sebastian is quarantined in the laboratory due to his condition and the other researchers construct a latex mask for him to wear around the lab. Unable to cope with the isolation, he defies instructions and heads to his apartment to bring some things back to the lab. There, he happens to notice his neighbor disrobing and goes to her apartment where he rapes her. Linda warns him that if he leaves again, she and Matt will tell the committee about the experiment. Ignoring their threat, Sebastian assembles a device that runs a video loop of his heat signature in his quarters. He leaves the lab again and spies on Linda and Matt, becoming enraged when he sees them having sex.
The team soon discover that they have been watching a recording and that Sebastian has been escaping without their knowledge. Linda and Matt go to Dr. Kramer's house and confess their experiments. After they leave, Kramer attempts to warn the military but Sebastian, who has followed Linda and Matt to the house, cuts off Kramer's phone connection before drowning him in his swimming pool. The next day, Sebastian waits until all of the team is in the lab and then disables the phones and the elevator codes except for his own. He removes his clothing and latex mask and invisible, begins his killing spree, with Janice being his first victim.
Linda and the others hide in the lab, while Matt and Carter take tranquilizer guns to hunt for Sebastian, using thermal imaging goggles. While on top of a pipe, Sebastian throws Carter toward a steel bar, which hits his carotid artery, and leaves him mortally wounded. Matt tries to shoot Sebastian, but is almost killed until Linda drags him to safety. After Carter dies from his injuries, Sarah heads to the freezer to get blood for a transfusion but is killed by Sebastian. He then kills Frank with a crowbar when he lets his guard down, and locks an injured Matt and Linda in the freezer-store room, leaving them to freeze to death. Linda then constructs an electromagnet using a defibrillator and other equipment, to open the freezer door. She then gathers parts to assemble a flamethrower. Sebastian goes to the lab and creates nitroglycerin and puts it in a centrifuge with a timer which is meant to destroy the facility after he leaves; he smashes the keyboard so nobody can stop the machine.
Just as he enters the elevator to leave, Linda appears and fires the flamethrower at him. Sebastian barely manages to escape the flames and the two fight. Just as she is about to lose, Matt appears and hits Sebastian with the crowbar. Sebastian recovers and approaches Matt and Linda from behind with the crowbar but Matt deflects the blow, throwing Sebastian into a nearby circuit box, apparently electrocuting him and rendering him partially visible. Linda and Matt find the nitroglycerin about to explode and decide to climb up the elevator shaft to escape. The two are almost out when an injured and partially visible Sebastian appears. He fights with Linda, and forcibly kisses her one last time, before she grabs the elevator cable and knocks the car loose, sending Sebastian falling to his death into the explosion in the shaft below. Linda and Matt emerge from the burning laboratory and medics take them away in an ambulance. |
Why does Sebastian lie to the oversight committee? | To convince his team to go to human testing. | So that he can use the serum on himself. | Scientist Dr. Sebastian Caine (Bacon) has developed a serum that can make a subject invisible. His team of scientists, which includes ex-girlfriend Dr. Linda McKay (Shue) and Dr. Matt Kensington (Brolin), eventually enable the serum to work on a female gorilla and restore the animal back to visibility. Sebastian once again becomes obsessed with Linda while unbeknownst to him, she has become involved with Matt. Instead of reporting his success to the military, Sebastian lies to the oversight committee, which includes his mentor Dr. Howard Kramer (Devane), convincing his team to go right into human testing. The procedure is performed on Sebastian. It is successful and Sebastian turns completely invisible. He then enjoys sneaking around the lab in order to scare and play pranks on his fellow co-workers. They become worried that he is taking it too far. After three days, however, he is unable to revert to visibility.
Sebastian is quarantined in the laboratory due to his condition and the other researchers construct a latex mask for him to wear around the lab. Unable to cope with the isolation, he defies instructions and heads to his apartment to bring some things back to the lab. There, he happens to notice his neighbor disrobing and goes to her apartment where he rapes her. Linda warns him that if he leaves again, she and Matt will tell the committee about the experiment. Ignoring their threat, Sebastian assembles a device that runs a video loop of his heat signature in his quarters. He leaves the lab again and spies on Linda and Matt, becoming enraged when he sees them having sex.
The team soon discover that they have been watching a recording and that Sebastian has been escaping without their knowledge. Linda and Matt go to Dr. Kramer's house and confess their experiments. After they leave, Kramer attempts to warn the military but Sebastian, who has followed Linda and Matt to the house, cuts off Kramer's phone connection before drowning him in his swimming pool. The next day, Sebastian waits until all of the team is in the lab and then disables the phones and the elevator codes except for his own. He removes his clothing and latex mask and invisible, begins his killing spree, with Janice being his first victim.
Linda and the others hide in the lab, while Matt and Carter take tranquilizer guns to hunt for Sebastian, using thermal imaging goggles. While on top of a pipe, Sebastian throws Carter toward a steel bar, which hits his carotid artery, and leaves him mortally wounded. Matt tries to shoot Sebastian, but is almost killed until Linda drags him to safety. After Carter dies from his injuries, Sarah heads to the freezer to get blood for a transfusion but is killed by Sebastian. He then kills Frank with a crowbar when he lets his guard down, and locks an injured Matt and Linda in the freezer-store room, leaving them to freeze to death. Linda then constructs an electromagnet using a defibrillator and other equipment, to open the freezer door. She then gathers parts to assemble a flamethrower. Sebastian goes to the lab and creates nitroglycerin and puts it in a centrifuge with a timer which is meant to destroy the facility after he leaves; he smashes the keyboard so nobody can stop the machine.
Just as he enters the elevator to leave, Linda appears and fires the flamethrower at him. Sebastian barely manages to escape the flames and the two fight. Just as she is about to lose, Matt appears and hits Sebastian with the crowbar. Sebastian recovers and approaches Matt and Linda from behind with the crowbar but Matt deflects the blow, throwing Sebastian into a nearby circuit box, apparently electrocuting him and rendering him partially visible. Linda and Matt find the nitroglycerin about to explode and decide to climb up the elevator shaft to escape. The two are almost out when an injured and partially visible Sebastian appears. He fights with Linda, and forcibly kisses her one last time, before she grabs the elevator cable and knocks the car loose, sending Sebastian falling to his death into the explosion in the shaft below. Linda and Matt emerge from the burning laboratory and medics take them away in an ambulance. |
What does Sebastian first do when he becomes invisible? | He scares and pranks his co-workers in the lab. | He plays pranks involving his coworkers | Scientist Dr. Sebastian Caine (Bacon) has developed a serum that can make a subject invisible. His team of scientists, which includes ex-girlfriend Dr. Linda McKay (Shue) and Dr. Matt Kensington (Brolin), eventually enable the serum to work on a female gorilla and restore the animal back to visibility. Sebastian once again becomes obsessed with Linda while unbeknownst to him, she has become involved with Matt. Instead of reporting his success to the military, Sebastian lies to the oversight committee, which includes his mentor Dr. Howard Kramer (Devane), convincing his team to go right into human testing. The procedure is performed on Sebastian. It is successful and Sebastian turns completely invisible. He then enjoys sneaking around the lab in order to scare and play pranks on his fellow co-workers. They become worried that he is taking it too far. After three days, however, he is unable to revert to visibility.
Sebastian is quarantined in the laboratory due to his condition and the other researchers construct a latex mask for him to wear around the lab. Unable to cope with the isolation, he defies instructions and heads to his apartment to bring some things back to the lab. There, he happens to notice his neighbor disrobing and goes to her apartment where he rapes her. Linda warns him that if he leaves again, she and Matt will tell the committee about the experiment. Ignoring their threat, Sebastian assembles a device that runs a video loop of his heat signature in his quarters. He leaves the lab again and spies on Linda and Matt, becoming enraged when he sees them having sex.
The team soon discover that they have been watching a recording and that Sebastian has been escaping without their knowledge. Linda and Matt go to Dr. Kramer's house and confess their experiments. After they leave, Kramer attempts to warn the military but Sebastian, who has followed Linda and Matt to the house, cuts off Kramer's phone connection before drowning him in his swimming pool. The next day, Sebastian waits until all of the team is in the lab and then disables the phones and the elevator codes except for his own. He removes his clothing and latex mask and invisible, begins his killing spree, with Janice being his first victim.
Linda and the others hide in the lab, while Matt and Carter take tranquilizer guns to hunt for Sebastian, using thermal imaging goggles. While on top of a pipe, Sebastian throws Carter toward a steel bar, which hits his carotid artery, and leaves him mortally wounded. Matt tries to shoot Sebastian, but is almost killed until Linda drags him to safety. After Carter dies from his injuries, Sarah heads to the freezer to get blood for a transfusion but is killed by Sebastian. He then kills Frank with a crowbar when he lets his guard down, and locks an injured Matt and Linda in the freezer-store room, leaving them to freeze to death. Linda then constructs an electromagnet using a defibrillator and other equipment, to open the freezer door. She then gathers parts to assemble a flamethrower. Sebastian goes to the lab and creates nitroglycerin and puts it in a centrifuge with a timer which is meant to destroy the facility after he leaves; he smashes the keyboard so nobody can stop the machine.
Just as he enters the elevator to leave, Linda appears and fires the flamethrower at him. Sebastian barely manages to escape the flames and the two fight. Just as she is about to lose, Matt appears and hits Sebastian with the crowbar. Sebastian recovers and approaches Matt and Linda from behind with the crowbar but Matt deflects the blow, throwing Sebastian into a nearby circuit box, apparently electrocuting him and rendering him partially visible. Linda and Matt find the nitroglycerin about to explode and decide to climb up the elevator shaft to escape. The two are almost out when an injured and partially visible Sebastian appears. He fights with Linda, and forcibly kisses her one last time, before she grabs the elevator cable and knocks the car loose, sending Sebastian falling to his death into the explosion in the shaft below. Linda and Matt emerge from the burning laboratory and medics take them away in an ambulance. |
Why is Sebastian isolated? | He is unable to return to visibility. | He is invisible | Scientist Dr. Sebastian Caine (Bacon) has developed a serum that can make a subject invisible. His team of scientists, which includes ex-girlfriend Dr. Linda McKay (Shue) and Dr. Matt Kensington (Brolin), eventually enable the serum to work on a female gorilla and restore the animal back to visibility. Sebastian once again becomes obsessed with Linda while unbeknownst to him, she has become involved with Matt. Instead of reporting his success to the military, Sebastian lies to the oversight committee, which includes his mentor Dr. Howard Kramer (Devane), convincing his team to go right into human testing. The procedure is performed on Sebastian. It is successful and Sebastian turns completely invisible. He then enjoys sneaking around the lab in order to scare and play pranks on his fellow co-workers. They become worried that he is taking it too far. After three days, however, he is unable to revert to visibility.
Sebastian is quarantined in the laboratory due to his condition and the other researchers construct a latex mask for him to wear around the lab. Unable to cope with the isolation, he defies instructions and heads to his apartment to bring some things back to the lab. There, he happens to notice his neighbor disrobing and goes to her apartment where he rapes her. Linda warns him that if he leaves again, she and Matt will tell the committee about the experiment. Ignoring their threat, Sebastian assembles a device that runs a video loop of his heat signature in his quarters. He leaves the lab again and spies on Linda and Matt, becoming enraged when he sees them having sex.
The team soon discover that they have been watching a recording and that Sebastian has been escaping without their knowledge. Linda and Matt go to Dr. Kramer's house and confess their experiments. After they leave, Kramer attempts to warn the military but Sebastian, who has followed Linda and Matt to the house, cuts off Kramer's phone connection before drowning him in his swimming pool. The next day, Sebastian waits until all of the team is in the lab and then disables the phones and the elevator codes except for his own. He removes his clothing and latex mask and invisible, begins his killing spree, with Janice being his first victim.
Linda and the others hide in the lab, while Matt and Carter take tranquilizer guns to hunt for Sebastian, using thermal imaging goggles. While on top of a pipe, Sebastian throws Carter toward a steel bar, which hits his carotid artery, and leaves him mortally wounded. Matt tries to shoot Sebastian, but is almost killed until Linda drags him to safety. After Carter dies from his injuries, Sarah heads to the freezer to get blood for a transfusion but is killed by Sebastian. He then kills Frank with a crowbar when he lets his guard down, and locks an injured Matt and Linda in the freezer-store room, leaving them to freeze to death. Linda then constructs an electromagnet using a defibrillator and other equipment, to open the freezer door. She then gathers parts to assemble a flamethrower. Sebastian goes to the lab and creates nitroglycerin and puts it in a centrifuge with a timer which is meant to destroy the facility after he leaves; he smashes the keyboard so nobody can stop the machine.
Just as he enters the elevator to leave, Linda appears and fires the flamethrower at him. Sebastian barely manages to escape the flames and the two fight. Just as she is about to lose, Matt appears and hits Sebastian with the crowbar. Sebastian recovers and approaches Matt and Linda from behind with the crowbar but Matt deflects the blow, throwing Sebastian into a nearby circuit box, apparently electrocuting him and rendering him partially visible. Linda and Matt find the nitroglycerin about to explode and decide to climb up the elevator shaft to escape. The two are almost out when an injured and partially visible Sebastian appears. He fights with Linda, and forcibly kisses her one last time, before she grabs the elevator cable and knocks the car loose, sending Sebastian falling to his death into the explosion in the shaft below. Linda and Matt emerge from the burning laboratory and medics take them away in an ambulance. |
How does Sebastian trick his team into thinking he was still in isolation? | He runs a video loop of his heat signature. | He creates a video loop of his heat signatures | Scientist Dr. Sebastian Caine (Bacon) has developed a serum that can make a subject invisible. His team of scientists, which includes ex-girlfriend Dr. Linda McKay (Shue) and Dr. Matt Kensington (Brolin), eventually enable the serum to work on a female gorilla and restore the animal back to visibility. Sebastian once again becomes obsessed with Linda while unbeknownst to him, she has become involved with Matt. Instead of reporting his success to the military, Sebastian lies to the oversight committee, which includes his mentor Dr. Howard Kramer (Devane), convincing his team to go right into human testing. The procedure is performed on Sebastian. It is successful and Sebastian turns completely invisible. He then enjoys sneaking around the lab in order to scare and play pranks on his fellow co-workers. They become worried that he is taking it too far. After three days, however, he is unable to revert to visibility.
Sebastian is quarantined in the laboratory due to his condition and the other researchers construct a latex mask for him to wear around the lab. Unable to cope with the isolation, he defies instructions and heads to his apartment to bring some things back to the lab. There, he happens to notice his neighbor disrobing and goes to her apartment where he rapes her. Linda warns him that if he leaves again, she and Matt will tell the committee about the experiment. Ignoring their threat, Sebastian assembles a device that runs a video loop of his heat signature in his quarters. He leaves the lab again and spies on Linda and Matt, becoming enraged when he sees them having sex.
The team soon discover that they have been watching a recording and that Sebastian has been escaping without their knowledge. Linda and Matt go to Dr. Kramer's house and confess their experiments. After they leave, Kramer attempts to warn the military but Sebastian, who has followed Linda and Matt to the house, cuts off Kramer's phone connection before drowning him in his swimming pool. The next day, Sebastian waits until all of the team is in the lab and then disables the phones and the elevator codes except for his own. He removes his clothing and latex mask and invisible, begins his killing spree, with Janice being his first victim.
Linda and the others hide in the lab, while Matt and Carter take tranquilizer guns to hunt for Sebastian, using thermal imaging goggles. While on top of a pipe, Sebastian throws Carter toward a steel bar, which hits his carotid artery, and leaves him mortally wounded. Matt tries to shoot Sebastian, but is almost killed until Linda drags him to safety. After Carter dies from his injuries, Sarah heads to the freezer to get blood for a transfusion but is killed by Sebastian. He then kills Frank with a crowbar when he lets his guard down, and locks an injured Matt and Linda in the freezer-store room, leaving them to freeze to death. Linda then constructs an electromagnet using a defibrillator and other equipment, to open the freezer door. She then gathers parts to assemble a flamethrower. Sebastian goes to the lab and creates nitroglycerin and puts it in a centrifuge with a timer which is meant to destroy the facility after he leaves; he smashes the keyboard so nobody can stop the machine.
Just as he enters the elevator to leave, Linda appears and fires the flamethrower at him. Sebastian barely manages to escape the flames and the two fight. Just as she is about to lose, Matt appears and hits Sebastian with the crowbar. Sebastian recovers and approaches Matt and Linda from behind with the crowbar but Matt deflects the blow, throwing Sebastian into a nearby circuit box, apparently electrocuting him and rendering him partially visible. Linda and Matt find the nitroglycerin about to explode and decide to climb up the elevator shaft to escape. The two are almost out when an injured and partially visible Sebastian appears. He fights with Linda, and forcibly kisses her one last time, before she grabs the elevator cable and knocks the car loose, sending Sebastian falling to his death into the explosion in the shaft below. Linda and Matt emerge from the burning laboratory and medics take them away in an ambulance. |
Why does Sebastian remove his clothing and mask before killing his team? | So that he will be completely invisible. | So that he will not be visible | Scientist Dr. Sebastian Caine (Bacon) has developed a serum that can make a subject invisible. His team of scientists, which includes ex-girlfriend Dr. Linda McKay (Shue) and Dr. Matt Kensington (Brolin), eventually enable the serum to work on a female gorilla and restore the animal back to visibility. Sebastian once again becomes obsessed with Linda while unbeknownst to him, she has become involved with Matt. Instead of reporting his success to the military, Sebastian lies to the oversight committee, which includes his mentor Dr. Howard Kramer (Devane), convincing his team to go right into human testing. The procedure is performed on Sebastian. It is successful and Sebastian turns completely invisible. He then enjoys sneaking around the lab in order to scare and play pranks on his fellow co-workers. They become worried that he is taking it too far. After three days, however, he is unable to revert to visibility.
Sebastian is quarantined in the laboratory due to his condition and the other researchers construct a latex mask for him to wear around the lab. Unable to cope with the isolation, he defies instructions and heads to his apartment to bring some things back to the lab. There, he happens to notice his neighbor disrobing and goes to her apartment where he rapes her. Linda warns him that if he leaves again, she and Matt will tell the committee about the experiment. Ignoring their threat, Sebastian assembles a device that runs a video loop of his heat signature in his quarters. He leaves the lab again and spies on Linda and Matt, becoming enraged when he sees them having sex.
The team soon discover that they have been watching a recording and that Sebastian has been escaping without their knowledge. Linda and Matt go to Dr. Kramer's house and confess their experiments. After they leave, Kramer attempts to warn the military but Sebastian, who has followed Linda and Matt to the house, cuts off Kramer's phone connection before drowning him in his swimming pool. The next day, Sebastian waits until all of the team is in the lab and then disables the phones and the elevator codes except for his own. He removes his clothing and latex mask and invisible, begins his killing spree, with Janice being his first victim.
Linda and the others hide in the lab, while Matt and Carter take tranquilizer guns to hunt for Sebastian, using thermal imaging goggles. While on top of a pipe, Sebastian throws Carter toward a steel bar, which hits his carotid artery, and leaves him mortally wounded. Matt tries to shoot Sebastian, but is almost killed until Linda drags him to safety. After Carter dies from his injuries, Sarah heads to the freezer to get blood for a transfusion but is killed by Sebastian. He then kills Frank with a crowbar when he lets his guard down, and locks an injured Matt and Linda in the freezer-store room, leaving them to freeze to death. Linda then constructs an electromagnet using a defibrillator and other equipment, to open the freezer door. She then gathers parts to assemble a flamethrower. Sebastian goes to the lab and creates nitroglycerin and puts it in a centrifuge with a timer which is meant to destroy the facility after he leaves; he smashes the keyboard so nobody can stop the machine.
Just as he enters the elevator to leave, Linda appears and fires the flamethrower at him. Sebastian barely manages to escape the flames and the two fight. Just as she is about to lose, Matt appears and hits Sebastian with the crowbar. Sebastian recovers and approaches Matt and Linda from behind with the crowbar but Matt deflects the blow, throwing Sebastian into a nearby circuit box, apparently electrocuting him and rendering him partially visible. Linda and Matt find the nitroglycerin about to explode and decide to climb up the elevator shaft to escape. The two are almost out when an injured and partially visible Sebastian appears. He fights with Linda, and forcibly kisses her one last time, before she grabs the elevator cable and knocks the car loose, sending Sebastian falling to his death into the explosion in the shaft below. Linda and Matt emerge from the burning laboratory and medics take them away in an ambulance. |
How does Sebastian plan on destroying the lab? | He puts nitroglycerin in a centrifuge. | With nitroglycyerin in a centrifuge | Scientist Dr. Sebastian Caine (Bacon) has developed a serum that can make a subject invisible. His team of scientists, which includes ex-girlfriend Dr. Linda McKay (Shue) and Dr. Matt Kensington (Brolin), eventually enable the serum to work on a female gorilla and restore the animal back to visibility. Sebastian once again becomes obsessed with Linda while unbeknownst to him, she has become involved with Matt. Instead of reporting his success to the military, Sebastian lies to the oversight committee, which includes his mentor Dr. Howard Kramer (Devane), convincing his team to go right into human testing. The procedure is performed on Sebastian. It is successful and Sebastian turns completely invisible. He then enjoys sneaking around the lab in order to scare and play pranks on his fellow co-workers. They become worried that he is taking it too far. After three days, however, he is unable to revert to visibility.
Sebastian is quarantined in the laboratory due to his condition and the other researchers construct a latex mask for him to wear around the lab. Unable to cope with the isolation, he defies instructions and heads to his apartment to bring some things back to the lab. There, he happens to notice his neighbor disrobing and goes to her apartment where he rapes her. Linda warns him that if he leaves again, she and Matt will tell the committee about the experiment. Ignoring their threat, Sebastian assembles a device that runs a video loop of his heat signature in his quarters. He leaves the lab again and spies on Linda and Matt, becoming enraged when he sees them having sex.
The team soon discover that they have been watching a recording and that Sebastian has been escaping without their knowledge. Linda and Matt go to Dr. Kramer's house and confess their experiments. After they leave, Kramer attempts to warn the military but Sebastian, who has followed Linda and Matt to the house, cuts off Kramer's phone connection before drowning him in his swimming pool. The next day, Sebastian waits until all of the team is in the lab and then disables the phones and the elevator codes except for his own. He removes his clothing and latex mask and invisible, begins his killing spree, with Janice being his first victim.
Linda and the others hide in the lab, while Matt and Carter take tranquilizer guns to hunt for Sebastian, using thermal imaging goggles. While on top of a pipe, Sebastian throws Carter toward a steel bar, which hits his carotid artery, and leaves him mortally wounded. Matt tries to shoot Sebastian, but is almost killed until Linda drags him to safety. After Carter dies from his injuries, Sarah heads to the freezer to get blood for a transfusion but is killed by Sebastian. He then kills Frank with a crowbar when he lets his guard down, and locks an injured Matt and Linda in the freezer-store room, leaving them to freeze to death. Linda then constructs an electromagnet using a defibrillator and other equipment, to open the freezer door. She then gathers parts to assemble a flamethrower. Sebastian goes to the lab and creates nitroglycerin and puts it in a centrifuge with a timer which is meant to destroy the facility after he leaves; he smashes the keyboard so nobody can stop the machine.
Just as he enters the elevator to leave, Linda appears and fires the flamethrower at him. Sebastian barely manages to escape the flames and the two fight. Just as she is about to lose, Matt appears and hits Sebastian with the crowbar. Sebastian recovers and approaches Matt and Linda from behind with the crowbar but Matt deflects the blow, throwing Sebastian into a nearby circuit box, apparently electrocuting him and rendering him partially visible. Linda and Matt find the nitroglycerin about to explode and decide to climb up the elevator shaft to escape. The two are almost out when an injured and partially visible Sebastian appears. He fights with Linda, and forcibly kisses her one last time, before she grabs the elevator cable and knocks the car loose, sending Sebastian falling to his death into the explosion in the shaft below. Linda and Matt emerge from the burning laboratory and medics take them away in an ambulance. |
When does Linda build the electromagnet and flamethrower? | While she is locked in the freezer. | After she is locked in the freezer. | Scientist Dr. Sebastian Caine (Bacon) has developed a serum that can make a subject invisible. His team of scientists, which includes ex-girlfriend Dr. Linda McKay (Shue) and Dr. Matt Kensington (Brolin), eventually enable the serum to work on a female gorilla and restore the animal back to visibility. Sebastian once again becomes obsessed with Linda while unbeknownst to him, she has become involved with Matt. Instead of reporting his success to the military, Sebastian lies to the oversight committee, which includes his mentor Dr. Howard Kramer (Devane), convincing his team to go right into human testing. The procedure is performed on Sebastian. It is successful and Sebastian turns completely invisible. He then enjoys sneaking around the lab in order to scare and play pranks on his fellow co-workers. They become worried that he is taking it too far. After three days, however, he is unable to revert to visibility.
Sebastian is quarantined in the laboratory due to his condition and the other researchers construct a latex mask for him to wear around the lab. Unable to cope with the isolation, he defies instructions and heads to his apartment to bring some things back to the lab. There, he happens to notice his neighbor disrobing and goes to her apartment where he rapes her. Linda warns him that if he leaves again, she and Matt will tell the committee about the experiment. Ignoring their threat, Sebastian assembles a device that runs a video loop of his heat signature in his quarters. He leaves the lab again and spies on Linda and Matt, becoming enraged when he sees them having sex.
The team soon discover that they have been watching a recording and that Sebastian has been escaping without their knowledge. Linda and Matt go to Dr. Kramer's house and confess their experiments. After they leave, Kramer attempts to warn the military but Sebastian, who has followed Linda and Matt to the house, cuts off Kramer's phone connection before drowning him in his swimming pool. The next day, Sebastian waits until all of the team is in the lab and then disables the phones and the elevator codes except for his own. He removes his clothing and latex mask and invisible, begins his killing spree, with Janice being his first victim.
Linda and the others hide in the lab, while Matt and Carter take tranquilizer guns to hunt for Sebastian, using thermal imaging goggles. While on top of a pipe, Sebastian throws Carter toward a steel bar, which hits his carotid artery, and leaves him mortally wounded. Matt tries to shoot Sebastian, but is almost killed until Linda drags him to safety. After Carter dies from his injuries, Sarah heads to the freezer to get blood for a transfusion but is killed by Sebastian. He then kills Frank with a crowbar when he lets his guard down, and locks an injured Matt and Linda in the freezer-store room, leaving them to freeze to death. Linda then constructs an electromagnet using a defibrillator and other equipment, to open the freezer door. She then gathers parts to assemble a flamethrower. Sebastian goes to the lab and creates nitroglycerin and puts it in a centrifuge with a timer which is meant to destroy the facility after he leaves; he smashes the keyboard so nobody can stop the machine.
Just as he enters the elevator to leave, Linda appears and fires the flamethrower at him. Sebastian barely manages to escape the flames and the two fight. Just as she is about to lose, Matt appears and hits Sebastian with the crowbar. Sebastian recovers and approaches Matt and Linda from behind with the crowbar but Matt deflects the blow, throwing Sebastian into a nearby circuit box, apparently electrocuting him and rendering him partially visible. Linda and Matt find the nitroglycerin about to explode and decide to climb up the elevator shaft to escape. The two are almost out when an injured and partially visible Sebastian appears. He fights with Linda, and forcibly kisses her one last time, before she grabs the elevator cable and knocks the car loose, sending Sebastian falling to his death into the explosion in the shaft below. Linda and Matt emerge from the burning laboratory and medics take them away in an ambulance. |
How does Sebastian become partially visible? | He is electrocuted when he is thrown into the circuit box. | He's electrocuted. | Scientist Dr. Sebastian Caine (Bacon) has developed a serum that can make a subject invisible. His team of scientists, which includes ex-girlfriend Dr. Linda McKay (Shue) and Dr. Matt Kensington (Brolin), eventually enable the serum to work on a female gorilla and restore the animal back to visibility. Sebastian once again becomes obsessed with Linda while unbeknownst to him, she has become involved with Matt. Instead of reporting his success to the military, Sebastian lies to the oversight committee, which includes his mentor Dr. Howard Kramer (Devane), convincing his team to go right into human testing. The procedure is performed on Sebastian. It is successful and Sebastian turns completely invisible. He then enjoys sneaking around the lab in order to scare and play pranks on his fellow co-workers. They become worried that he is taking it too far. After three days, however, he is unable to revert to visibility.
Sebastian is quarantined in the laboratory due to his condition and the other researchers construct a latex mask for him to wear around the lab. Unable to cope with the isolation, he defies instructions and heads to his apartment to bring some things back to the lab. There, he happens to notice his neighbor disrobing and goes to her apartment where he rapes her. Linda warns him that if he leaves again, she and Matt will tell the committee about the experiment. Ignoring their threat, Sebastian assembles a device that runs a video loop of his heat signature in his quarters. He leaves the lab again and spies on Linda and Matt, becoming enraged when he sees them having sex.
The team soon discover that they have been watching a recording and that Sebastian has been escaping without their knowledge. Linda and Matt go to Dr. Kramer's house and confess their experiments. After they leave, Kramer attempts to warn the military but Sebastian, who has followed Linda and Matt to the house, cuts off Kramer's phone connection before drowning him in his swimming pool. The next day, Sebastian waits until all of the team is in the lab and then disables the phones and the elevator codes except for his own. He removes his clothing and latex mask and invisible, begins his killing spree, with Janice being his first victim.
Linda and the others hide in the lab, while Matt and Carter take tranquilizer guns to hunt for Sebastian, using thermal imaging goggles. While on top of a pipe, Sebastian throws Carter toward a steel bar, which hits his carotid artery, and leaves him mortally wounded. Matt tries to shoot Sebastian, but is almost killed until Linda drags him to safety. After Carter dies from his injuries, Sarah heads to the freezer to get blood for a transfusion but is killed by Sebastian. He then kills Frank with a crowbar when he lets his guard down, and locks an injured Matt and Linda in the freezer-store room, leaving them to freeze to death. Linda then constructs an electromagnet using a defibrillator and other equipment, to open the freezer door. She then gathers parts to assemble a flamethrower. Sebastian goes to the lab and creates nitroglycerin and puts it in a centrifuge with a timer which is meant to destroy the facility after he leaves; he smashes the keyboard so nobody can stop the machine.
Just as he enters the elevator to leave, Linda appears and fires the flamethrower at him. Sebastian barely manages to escape the flames and the two fight. Just as she is about to lose, Matt appears and hits Sebastian with the crowbar. Sebastian recovers and approaches Matt and Linda from behind with the crowbar but Matt deflects the blow, throwing Sebastian into a nearby circuit box, apparently electrocuting him and rendering him partially visible. Linda and Matt find the nitroglycerin about to explode and decide to climb up the elevator shaft to escape. The two are almost out when an injured and partially visible Sebastian appears. He fights with Linda, and forcibly kisses her one last time, before she grabs the elevator cable and knocks the car loose, sending Sebastian falling to his death into the explosion in the shaft below. Linda and Matt emerge from the burning laboratory and medics take them away in an ambulance. |
How is Sebastian finally defeated? | He falls down the elevator shaft during the explosion. | Elevator car falls down the shaft with him inside. | Scientist Dr. Sebastian Caine (Bacon) has developed a serum that can make a subject invisible. His team of scientists, which includes ex-girlfriend Dr. Linda McKay (Shue) and Dr. Matt Kensington (Brolin), eventually enable the serum to work on a female gorilla and restore the animal back to visibility. Sebastian once again becomes obsessed with Linda while unbeknownst to him, she has become involved with Matt. Instead of reporting his success to the military, Sebastian lies to the oversight committee, which includes his mentor Dr. Howard Kramer (Devane), convincing his team to go right into human testing. The procedure is performed on Sebastian. It is successful and Sebastian turns completely invisible. He then enjoys sneaking around the lab in order to scare and play pranks on his fellow co-workers. They become worried that he is taking it too far. After three days, however, he is unable to revert to visibility.
Sebastian is quarantined in the laboratory due to his condition and the other researchers construct a latex mask for him to wear around the lab. Unable to cope with the isolation, he defies instructions and heads to his apartment to bring some things back to the lab. There, he happens to notice his neighbor disrobing and goes to her apartment where he rapes her. Linda warns him that if he leaves again, she and Matt will tell the committee about the experiment. Ignoring their threat, Sebastian assembles a device that runs a video loop of his heat signature in his quarters. He leaves the lab again and spies on Linda and Matt, becoming enraged when he sees them having sex.
The team soon discover that they have been watching a recording and that Sebastian has been escaping without their knowledge. Linda and Matt go to Dr. Kramer's house and confess their experiments. After they leave, Kramer attempts to warn the military but Sebastian, who has followed Linda and Matt to the house, cuts off Kramer's phone connection before drowning him in his swimming pool. The next day, Sebastian waits until all of the team is in the lab and then disables the phones and the elevator codes except for his own. He removes his clothing and latex mask and invisible, begins his killing spree, with Janice being his first victim.
Linda and the others hide in the lab, while Matt and Carter take tranquilizer guns to hunt for Sebastian, using thermal imaging goggles. While on top of a pipe, Sebastian throws Carter toward a steel bar, which hits his carotid artery, and leaves him mortally wounded. Matt tries to shoot Sebastian, but is almost killed until Linda drags him to safety. After Carter dies from his injuries, Sarah heads to the freezer to get blood for a transfusion but is killed by Sebastian. He then kills Frank with a crowbar when he lets his guard down, and locks an injured Matt and Linda in the freezer-store room, leaving them to freeze to death. Linda then constructs an electromagnet using a defibrillator and other equipment, to open the freezer door. She then gathers parts to assemble a flamethrower. Sebastian goes to the lab and creates nitroglycerin and puts it in a centrifuge with a timer which is meant to destroy the facility after he leaves; he smashes the keyboard so nobody can stop the machine.
Just as he enters the elevator to leave, Linda appears and fires the flamethrower at him. Sebastian barely manages to escape the flames and the two fight. Just as she is about to lose, Matt appears and hits Sebastian with the crowbar. Sebastian recovers and approaches Matt and Linda from behind with the crowbar but Matt deflects the blow, throwing Sebastian into a nearby circuit box, apparently electrocuting him and rendering him partially visible. Linda and Matt find the nitroglycerin about to explode and decide to climb up the elevator shaft to escape. The two are almost out when an injured and partially visible Sebastian appears. He fights with Linda, and forcibly kisses her one last time, before she grabs the elevator cable and knocks the car loose, sending Sebastian falling to his death into the explosion in the shaft below. Linda and Matt emerge from the burning laboratory and medics take them away in an ambulance. |
Why does Sebastian wear a latex mask in the lab? | So that people can see where he is. | So his coworkers can see him | Scientist Dr. Sebastian Caine (Bacon) has developed a serum that can make a subject invisible. His team of scientists, which includes ex-girlfriend Dr. Linda McKay (Shue) and Dr. Matt Kensington (Brolin), eventually enable the serum to work on a female gorilla and restore the animal back to visibility. Sebastian once again becomes obsessed with Linda while unbeknownst to him, she has become involved with Matt. Instead of reporting his success to the military, Sebastian lies to the oversight committee, which includes his mentor Dr. Howard Kramer (Devane), convincing his team to go right into human testing. The procedure is performed on Sebastian. It is successful and Sebastian turns completely invisible. He then enjoys sneaking around the lab in order to scare and play pranks on his fellow co-workers. They become worried that he is taking it too far. After three days, however, he is unable to revert to visibility.
Sebastian is quarantined in the laboratory due to his condition and the other researchers construct a latex mask for him to wear around the lab. Unable to cope with the isolation, he defies instructions and heads to his apartment to bring some things back to the lab. There, he happens to notice his neighbor disrobing and goes to her apartment where he rapes her. Linda warns him that if he leaves again, she and Matt will tell the committee about the experiment. Ignoring their threat, Sebastian assembles a device that runs a video loop of his heat signature in his quarters. He leaves the lab again and spies on Linda and Matt, becoming enraged when he sees them having sex.
The team soon discover that they have been watching a recording and that Sebastian has been escaping without their knowledge. Linda and Matt go to Dr. Kramer's house and confess their experiments. After they leave, Kramer attempts to warn the military but Sebastian, who has followed Linda and Matt to the house, cuts off Kramer's phone connection before drowning him in his swimming pool. The next day, Sebastian waits until all of the team is in the lab and then disables the phones and the elevator codes except for his own. He removes his clothing and latex mask and invisible, begins his killing spree, with Janice being his first victim.
Linda and the others hide in the lab, while Matt and Carter take tranquilizer guns to hunt for Sebastian, using thermal imaging goggles. While on top of a pipe, Sebastian throws Carter toward a steel bar, which hits his carotid artery, and leaves him mortally wounded. Matt tries to shoot Sebastian, but is almost killed until Linda drags him to safety. After Carter dies from his injuries, Sarah heads to the freezer to get blood for a transfusion but is killed by Sebastian. He then kills Frank with a crowbar when he lets his guard down, and locks an injured Matt and Linda in the freezer-store room, leaving them to freeze to death. Linda then constructs an electromagnet using a defibrillator and other equipment, to open the freezer door. She then gathers parts to assemble a flamethrower. Sebastian goes to the lab and creates nitroglycerin and puts it in a centrifuge with a timer which is meant to destroy the facility after he leaves; he smashes the keyboard so nobody can stop the machine.
Just as he enters the elevator to leave, Linda appears and fires the flamethrower at him. Sebastian barely manages to escape the flames and the two fight. Just as she is about to lose, Matt appears and hits Sebastian with the crowbar. Sebastian recovers and approaches Matt and Linda from behind with the crowbar but Matt deflects the blow, throwing Sebastian into a nearby circuit box, apparently electrocuting him and rendering him partially visible. Linda and Matt find the nitroglycerin about to explode and decide to climb up the elevator shaft to escape. The two are almost out when an injured and partially visible Sebastian appears. He fights with Linda, and forcibly kisses her one last time, before she grabs the elevator cable and knocks the car loose, sending Sebastian falling to his death into the explosion in the shaft below. Linda and Matt emerge from the burning laboratory and medics take them away in an ambulance. |
How does Sebastian manage to sneak out of the lab without anyone knowing he has gone? | He makes a device to run a video loop of his heats signature. | He plays a looped tape of his heat signature | Scientist Dr. Sebastian Caine (Bacon) has developed a serum that can make a subject invisible. His team of scientists, which includes ex-girlfriend Dr. Linda McKay (Shue) and Dr. Matt Kensington (Brolin), eventually enable the serum to work on a female gorilla and restore the animal back to visibility. Sebastian once again becomes obsessed with Linda while unbeknownst to him, she has become involved with Matt. Instead of reporting his success to the military, Sebastian lies to the oversight committee, which includes his mentor Dr. Howard Kramer (Devane), convincing his team to go right into human testing. The procedure is performed on Sebastian. It is successful and Sebastian turns completely invisible. He then enjoys sneaking around the lab in order to scare and play pranks on his fellow co-workers. They become worried that he is taking it too far. After three days, however, he is unable to revert to visibility.
Sebastian is quarantined in the laboratory due to his condition and the other researchers construct a latex mask for him to wear around the lab. Unable to cope with the isolation, he defies instructions and heads to his apartment to bring some things back to the lab. There, he happens to notice his neighbor disrobing and goes to her apartment where he rapes her. Linda warns him that if he leaves again, she and Matt will tell the committee about the experiment. Ignoring their threat, Sebastian assembles a device that runs a video loop of his heat signature in his quarters. He leaves the lab again and spies on Linda and Matt, becoming enraged when he sees them having sex.
The team soon discover that they have been watching a recording and that Sebastian has been escaping without their knowledge. Linda and Matt go to Dr. Kramer's house and confess their experiments. After they leave, Kramer attempts to warn the military but Sebastian, who has followed Linda and Matt to the house, cuts off Kramer's phone connection before drowning him in his swimming pool. The next day, Sebastian waits until all of the team is in the lab and then disables the phones and the elevator codes except for his own. He removes his clothing and latex mask and invisible, begins his killing spree, with Janice being his first victim.
Linda and the others hide in the lab, while Matt and Carter take tranquilizer guns to hunt for Sebastian, using thermal imaging goggles. While on top of a pipe, Sebastian throws Carter toward a steel bar, which hits his carotid artery, and leaves him mortally wounded. Matt tries to shoot Sebastian, but is almost killed until Linda drags him to safety. After Carter dies from his injuries, Sarah heads to the freezer to get blood for a transfusion but is killed by Sebastian. He then kills Frank with a crowbar when he lets his guard down, and locks an injured Matt and Linda in the freezer-store room, leaving them to freeze to death. Linda then constructs an electromagnet using a defibrillator and other equipment, to open the freezer door. She then gathers parts to assemble a flamethrower. Sebastian goes to the lab and creates nitroglycerin and puts it in a centrifuge with a timer which is meant to destroy the facility after he leaves; he smashes the keyboard so nobody can stop the machine.
Just as he enters the elevator to leave, Linda appears and fires the flamethrower at him. Sebastian barely manages to escape the flames and the two fight. Just as she is about to lose, Matt appears and hits Sebastian with the crowbar. Sebastian recovers and approaches Matt and Linda from behind with the crowbar but Matt deflects the blow, throwing Sebastian into a nearby circuit box, apparently electrocuting him and rendering him partially visible. Linda and Matt find the nitroglycerin about to explode and decide to climb up the elevator shaft to escape. The two are almost out when an injured and partially visible Sebastian appears. He fights with Linda, and forcibly kisses her one last time, before she grabs the elevator cable and knocks the car loose, sending Sebastian falling to his death into the explosion in the shaft below. Linda and Matt emerge from the burning laboratory and medics take them away in an ambulance. |
How does Sebastian kill Kramer? | He drowns him in a swimming pool. | He drowned him in the swimming pool | Scientist Dr. Sebastian Caine (Bacon) has developed a serum that can make a subject invisible. His team of scientists, which includes ex-girlfriend Dr. Linda McKay (Shue) and Dr. Matt Kensington (Brolin), eventually enable the serum to work on a female gorilla and restore the animal back to visibility. Sebastian once again becomes obsessed with Linda while unbeknownst to him, she has become involved with Matt. Instead of reporting his success to the military, Sebastian lies to the oversight committee, which includes his mentor Dr. Howard Kramer (Devane), convincing his team to go right into human testing. The procedure is performed on Sebastian. It is successful and Sebastian turns completely invisible. He then enjoys sneaking around the lab in order to scare and play pranks on his fellow co-workers. They become worried that he is taking it too far. After three days, however, he is unable to revert to visibility.
Sebastian is quarantined in the laboratory due to his condition and the other researchers construct a latex mask for him to wear around the lab. Unable to cope with the isolation, he defies instructions and heads to his apartment to bring some things back to the lab. There, he happens to notice his neighbor disrobing and goes to her apartment where he rapes her. Linda warns him that if he leaves again, she and Matt will tell the committee about the experiment. Ignoring their threat, Sebastian assembles a device that runs a video loop of his heat signature in his quarters. He leaves the lab again and spies on Linda and Matt, becoming enraged when he sees them having sex.
The team soon discover that they have been watching a recording and that Sebastian has been escaping without their knowledge. Linda and Matt go to Dr. Kramer's house and confess their experiments. After they leave, Kramer attempts to warn the military but Sebastian, who has followed Linda and Matt to the house, cuts off Kramer's phone connection before drowning him in his swimming pool. The next day, Sebastian waits until all of the team is in the lab and then disables the phones and the elevator codes except for his own. He removes his clothing and latex mask and invisible, begins his killing spree, with Janice being his first victim.
Linda and the others hide in the lab, while Matt and Carter take tranquilizer guns to hunt for Sebastian, using thermal imaging goggles. While on top of a pipe, Sebastian throws Carter toward a steel bar, which hits his carotid artery, and leaves him mortally wounded. Matt tries to shoot Sebastian, but is almost killed until Linda drags him to safety. After Carter dies from his injuries, Sarah heads to the freezer to get blood for a transfusion but is killed by Sebastian. He then kills Frank with a crowbar when he lets his guard down, and locks an injured Matt and Linda in the freezer-store room, leaving them to freeze to death. Linda then constructs an electromagnet using a defibrillator and other equipment, to open the freezer door. She then gathers parts to assemble a flamethrower. Sebastian goes to the lab and creates nitroglycerin and puts it in a centrifuge with a timer which is meant to destroy the facility after he leaves; he smashes the keyboard so nobody can stop the machine.
Just as he enters the elevator to leave, Linda appears and fires the flamethrower at him. Sebastian barely manages to escape the flames and the two fight. Just as she is about to lose, Matt appears and hits Sebastian with the crowbar. Sebastian recovers and approaches Matt and Linda from behind with the crowbar but Matt deflects the blow, throwing Sebastian into a nearby circuit box, apparently electrocuting him and rendering him partially visible. Linda and Matt find the nitroglycerin about to explode and decide to climb up the elevator shaft to escape. The two are almost out when an injured and partially visible Sebastian appears. He fights with Linda, and forcibly kisses her one last time, before she grabs the elevator cable and knocks the car loose, sending Sebastian falling to his death into the explosion in the shaft below. Linda and Matt emerge from the burning laboratory and medics take them away in an ambulance. |
What sort of goggles do Carter and Matt wear when hunting for Sebastian? | Thermal imaging goggles. | Thermal imaging goggles. | Scientist Dr. Sebastian Caine (Bacon) has developed a serum that can make a subject invisible. His team of scientists, which includes ex-girlfriend Dr. Linda McKay (Shue) and Dr. Matt Kensington (Brolin), eventually enable the serum to work on a female gorilla and restore the animal back to visibility. Sebastian once again becomes obsessed with Linda while unbeknownst to him, she has become involved with Matt. Instead of reporting his success to the military, Sebastian lies to the oversight committee, which includes his mentor Dr. Howard Kramer (Devane), convincing his team to go right into human testing. The procedure is performed on Sebastian. It is successful and Sebastian turns completely invisible. He then enjoys sneaking around the lab in order to scare and play pranks on his fellow co-workers. They become worried that he is taking it too far. After three days, however, he is unable to revert to visibility.
Sebastian is quarantined in the laboratory due to his condition and the other researchers construct a latex mask for him to wear around the lab. Unable to cope with the isolation, he defies instructions and heads to his apartment to bring some things back to the lab. There, he happens to notice his neighbor disrobing and goes to her apartment where he rapes her. Linda warns him that if he leaves again, she and Matt will tell the committee about the experiment. Ignoring their threat, Sebastian assembles a device that runs a video loop of his heat signature in his quarters. He leaves the lab again and spies on Linda and Matt, becoming enraged when he sees them having sex.
The team soon discover that they have been watching a recording and that Sebastian has been escaping without their knowledge. Linda and Matt go to Dr. Kramer's house and confess their experiments. After they leave, Kramer attempts to warn the military but Sebastian, who has followed Linda and Matt to the house, cuts off Kramer's phone connection before drowning him in his swimming pool. The next day, Sebastian waits until all of the team is in the lab and then disables the phones and the elevator codes except for his own. He removes his clothing and latex mask and invisible, begins his killing spree, with Janice being his first victim.
Linda and the others hide in the lab, while Matt and Carter take tranquilizer guns to hunt for Sebastian, using thermal imaging goggles. While on top of a pipe, Sebastian throws Carter toward a steel bar, which hits his carotid artery, and leaves him mortally wounded. Matt tries to shoot Sebastian, but is almost killed until Linda drags him to safety. After Carter dies from his injuries, Sarah heads to the freezer to get blood for a transfusion but is killed by Sebastian. He then kills Frank with a crowbar when he lets his guard down, and locks an injured Matt and Linda in the freezer-store room, leaving them to freeze to death. Linda then constructs an electromagnet using a defibrillator and other equipment, to open the freezer door. She then gathers parts to assemble a flamethrower. Sebastian goes to the lab and creates nitroglycerin and puts it in a centrifuge with a timer which is meant to destroy the facility after he leaves; he smashes the keyboard so nobody can stop the machine.
Just as he enters the elevator to leave, Linda appears and fires the flamethrower at him. Sebastian barely manages to escape the flames and the two fight. Just as she is about to lose, Matt appears and hits Sebastian with the crowbar. Sebastian recovers and approaches Matt and Linda from behind with the crowbar but Matt deflects the blow, throwing Sebastian into a nearby circuit box, apparently electrocuting him and rendering him partially visible. Linda and Matt find the nitroglycerin about to explode and decide to climb up the elevator shaft to escape. The two are almost out when an injured and partially visible Sebastian appears. He fights with Linda, and forcibly kisses her one last time, before she grabs the elevator cable and knocks the car loose, sending Sebastian falling to his death into the explosion in the shaft below. Linda and Matt emerge from the burning laboratory and medics take them away in an ambulance. |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.