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 thus rejects Aphrodite's values and becomes, to some extent, her chaste, domestic complementary, or antithesis.

She rejects his first fumbling attempt to kiss her, but mostly in an effort not to seem overeager.

She rejects Claudius ' advances, enraging him, and he has her abducted.

She initially rejects the idea of marriage and romance, feeling that it would break up her family and separate her from the sisters she adores.

She very much likes Tom, a boy her age, but when he proposes to her she rejects him (" I don't love yer so as ter marry yer ").

She rejects his offer and the thought of splitting up her family.

She rejects both men in favour of Raskolnikov's loyal friend, Razumikhin.

She rejects " Leonard's " overtures, as a married woman should, and he is about to reveal himself to her.

She is turned into a white doe by a wizard of the tribe when she rejects his advances.

She also rejects the notion that her song lyrics are autobiographical.

She eventually rejects the Platonic notion that human goodness can fully protect against peril, siding with the tragic playwrights and Aristotle in treating the acknowledgment of vulnerability as a key to realizing the human good.

She rejects him, and later that day, the heart-broken Daisuke undergoes a strange mutation that changes him into another person.

She starts to compare herself to the seagull that Konstantin killed in Act II, then rejects that and says " I am an actress.

She tries to reconcile with Tenma, but he quietly rejects her.

She gently rejects his proposal, as she has been infatuated with Gussie since their first meeting ; however she assures a relieved Wooster that, if ever she felt the need to return Fink-Nottle to the store, Bertie is the first person she'd look to as a replacement fiancé.

She tries to befriend his daughter, Lily, giving Lily a puppy, but Lily rejects her.

She rejects the offer because her husband, Dr. Edward Ashley, does not want to leave his medical practice, and she is not willing to be separated from him.

She also rejects the hand of Caspar Goodwood, the charismatic son and heir of a wealthy Boston mill owner.

She rejects him but he persists ; he says that if she gives him no hope, he will destroy Neville, the brother of her dear friend Helena.

She locks herself in a tower and rejects her idolatry in favor of Joseph's God Yahweh, and receives a visit from an angel who accepts her conversion.

She rejects clothing and beauty.

She rejects any attachment, dumping men as fast as she can pick them up.

She then rejects them both, for example, finding that a study of eroticism in the context of perception goes beyond the capabilities of the psychoanalytic framework.

She quotes Engels, " for now we know nothing about it " and rejects him because he " dodges " the answers.