She rubbed her eyes and stretched, then sat up, her hands going to her hair.

She helped him with the dishes, then he brought more water in from the spring before it got dark.

She was carrying a quirt, and she started to raise it, then let it fall again and dangle from her wrist.

She saw it then, the distant derrick of the wildcat -- a test well in unexplored country.

She stood up, pulled the coat from her shoulders and started to slide it off, then let out a high-pitched scream and I let out a low-pitched, wobbling sound like a muffler blowing out.

`` She didn't really say '' -- She glanced away at the floor, then swooped gracefully and picked up one of Scotty's slippers.

She just about made me carry her upstairs and then she clung to me and wouldn't let me go.

She had surprised Hans like she had surprised me when she said she'd go, and then she surprised him again when she came back so quick like she must have, because when I came in with the snow she was there with a bottle with three white feathers on its label and Hans was holding it angrily by the throat.

She went into the living room and turned on three lamps, then back into the kitchen where she turned on the ceiling light and the switch that lit the floods on the barn, illuminating the driveway.

She then went over them thoroughly giving each a strenuous test in showmanship.

She was then trained on the trot until December 29, hitched to a breaking cart once around the half-mile track and hoppled again.

She patronized Greenwich Village artists for awhile, then put some money into a Broadway show which was successful ( terrible, but successful ).

She then described her experience as one in which she first had difficulty accepting for herself a state of being in which she relinquished control.

She retreated by leaving the room when we suggested that our meeting might well terminate right then and there.

She was the John Harvey, one of those Atlantic sea-horses that had sailed to Bari to bring beans, bombs, and bullets to the U.S. Fifteenth Air Force, to Field Marshal Montgomery's Eighth Army then racing up the calf of the boot of Italy in that early December of 1943.

She was Mary Lou Brew then, wide-eyed, but not naive.

She worked as a domestic, first in Newport for a year, and then in South Bethlehem, Pennsylvania, for another year.

She had assumed before then that one day he would ask her to marry him.

She was thirty-one years old then.

She walked restlessly across the room, then back to the windows.

She smoothed the skirt, sat down, then stood up and went back to the windows.

She made a face at him and then she laughed.

She threw back a cushion over one of the seats, unlocked a padlock on the chest beneath it, then presently straightened, holding a long knife and a wicked looking spear gun in her hand.

She took postgraduate work at the University of Grenoble in France and then returned to London to work on market research with an advertising firm.

She wrote gay plays about the girls for family entertainments, like `` Oh, What Fun!!

She called him `` Stuck-up -- that's why nobody plays with you, Mister Stuck-up ''.

She plays a central role in the first part of G. A. Henty's novel Beric the Briton and in a children's novel by Henry Treece.

She was introduced anonymously while still a teenager in the third book in the series and plays a larger role in several of the titles of the 1930s and 1940s.

" She had been a model since she was sixteen and had acted in two failed plays.

She provides the only major element of Bring It On that plays as tweaking parody rather than slick, strident, body-slam churlishness.

She leans forward to restrain the Christ Child as he plays roughly with a lamb, the sign of his own impending sacrifice.

She plays Katherine Rhumor, a New York socialite who finds herself drawn into the central intrigue of a think tank, after the death of her husband.

She also read the plays of William Shakespeare, and novels by Charles Dickens and Sir Walter Scott.

She wrote fourteen plays, including " Fools Errand " which ran on Broadway in 1927.

She plays Sofia, the love interest of Eduardo Noriega's lead character.

She plays poker each week with them and also runs the onboard theatre troupe, being a skilled actress and director.

She went on to star in several other plays in Washington.

She plays a major part in various adventures of Jason's crew, suffered injury in a battle at Colchis, and was healed by Medea.

She plays a woman raped, along with her sister, by a ruthless gang at a fairground and seeks revenge for her sister's now vegetative state by systematically murdering her rapists.

She plays hopscotch in the Villa and sees the patient as a noble hero who is suffering.

She discovers his name is Nino Quincampoix, and she plays a cat and mouse game with him around Paris before eventually anonymously returning his treasured album.

She plays beautiful, sensitive, deep parts with a little bit of intelligence behind them.

She also began to participate in amateur plays and musicals, starting in 1780, in a theatre built for her and other courtiers who wished to indulge in the delights of acting and singing.

She has also published two plays but has not yet translated either.

She composes plays for her sisters to perform and writes short stories.

She also plays the ukulele.

She also cites verbal similarities between both Shrew plays and the anonymous play A Knack to Know a Knave ( c1592 ), which was first performed at The Rose on 10 June 1592.

She is mentioned briefly in The Lord of the Rings, and plays a supporting role in The Silmarillion.