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Page "Austin Maxi" ¶ 20
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She and then
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 and walks
She read avidly and took long walks amongst a natural environment that inspired her greatly.
She does so by ascending on a flying tire until she reaches a structure resembling clouds, into which she disappears, although in the film version of Cats she ascends with Old Deuteronomy and then she walks up a giant metal hand to the Heaviside layer.
She walks around the table occupied by gamblers — including Luis — and thanks them for allowing her to watch.
* She walks as gracefully as a cat.
She changes visually when she walks into the Magic Box, a store owned by Anya and Giles, telekinetically retrieves dozens of dark magic books from the shelves, and leeches the words from the pages with her fingertips.
She made iconic, colorful paintings of flowers and bones she collected during her walks through the desert.
She hesitates, and flirts with the messenger, when Antony walks in and angrily denounces her behaviour.
She walks out on him, saying that she will go to Dallas and tells Hunsecker that she pities, rather than hates him.
She walks away, the gun still pointed at her, and explains that while the first murder carried extenuating circumstances of his own mental state, murdering her as well surely would result in the electric chair.
She composes herself and walks away.
She walks along and hails a taxi, which another man hails down in an echo of Vicky and Steve in the beginning of the film.
She walks up to the ticket counter to ask the ticket agent when the bus will arrive, and he gruffly replies that this is her third time there.
She walks out of the picture, and out of his life, leaving Al to his first love: singing.
She finds a can of chicken, but before she can open it, a man also wearing a military uniform ( Charles Bronson ) walks in and eyes the food from the doorway.
She / he then walks backwards past the centre into the rear-right corner, across to the rear-left corner, and finally ends back in the centre.
She throws it into the air and shrieks when the President walks into her office for the first time.
She walks off into the wintry landscape just as she drifted into the Ward's household at the beginning.
She shrinks in the wide frame as she walks farther away from us, up and down sand dunes, until we find her frantically collecting rocks back on the shore.
She denies knowing them, but when Giacoppetti walks in and greets her, she bursts into tears.
She begins to realize that what Paul said about being all the puppets is true, and slowly walks to Reynardo and dances with him.
She walks out on him at the altar to go and live her own life.
She doesn't believe him and walks off, but Arvide subtly encourages him.
She is dressed and made up as a Kumari and then leaves the Taleju temple and walks across the square on a white cloth to the Kumari Ghar that will be her home for the duration of her divinity.
She lays a trap for Sue Storm, who walks blindly into it.
She kisses him on the cheek and as she walks off, Bowden tells her to " be good.

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