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English, 15.04.2021 21:20, aevans3503

What is the central idea of "Cars Without Gasoline Are Here"?​

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English, 21.06.2019 19:30, willveloz4
Which three parts of this passage from chapter 6 of emily brontë's wuthering heights show that hindley earnshaw did not care about the well-being of catherine and heathcliff after the death of mr. earnshaw? they both promised fair to grow up as rude as savages; the young master being entirely negligent how they behaved, and what they did, so they kept clear of him. he would not even have seen after their going to church on sundays, only joseph and the curate reprimanded his carelessness when they absented themselves; and that reminded him to order heathcliff a flogging, and catherine a fast from dinner or supper. but it was one of their chief amusements to run away to the moors in the morning and remain there all day, and the after punishment grew a mere thing to laugh at. the curate might set as many chapters as he for catherine to get by heart, and joseph might thrash heathcliff till his arm ached; they forgot everything the minute they were together again: at least the minute they had contrived some naughty plan of revenge; and many a time i’ve cried to myself to watch them growing more reckless daily, and i not daring to speak a syllable, for fear of losing the small power i still retained over the unfriended creatures. one sunday evening, it chanced that they were banished from the sitting-room, for making a noise, or a light offence of the kind; and when i went to call them to supper, i could discover them nowhere. we searched the house, above and below, and the yard and stables; they were invisible: and, at last, hindley in a passion told us to bolt the doors, and swore nobody should let them in that night. the household went to bed; and i, too, anxious to lie down, opened my lattice and put my head out to hearken, though it rained: determined to admit them in spite of the prohibition, should they return.
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Read the following scene from trifles. sheriff (chuckling). married to the law. (moves toward the other room.) i just want you to come in here a minute, george. we ought to take a look at these windows. county attorney (scoffingly). oh, windows! sheriff. we’ll be right out, mr. hale. (hale goes outside. the sheriff follows the county attorney into the other room. then mrs. hale rises, hands tight together, looking intensely at mrs. peters, whose eyes take a slow turn, finally meeting mrs. hale’s. a moment mrs. hale holds her, then her own eyes point the way to where the box is concealed. suddenly mrs. peters throws back quilt pieces and tries to put the box in the bag she is wearing. it is too big. she opens box, starts to take the bird out, cannot touch it, goes to pieces, stands there . sound of a knob turning in the other room. mrs. hale snatches the box and puts it in the pocket of her big coat. enter county attorney and sheriff.) county attorney (facetiously). well, henry, at least we found out that she was not going to quilt it. she was going to—what is it you call it, ladies! mrs. hale (her hand against her pocket). we call it—knot it, mr. henderson. what changes might a director or screenwriter make to the original version of this scene in order to best emphasize the mood? cut dialogue from the scene to make it a more appropriate length update the setting to appeal to a more modern-day audience omit the actions of the characters to avoid confusion and chaos include the use of lighting, camera angles, and sound effects
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What is the central idea of "Cars Without Gasoline Are Here"?​...

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