LIZ: (suddenly) Julian! We have to turn around. I think I left the oven on at the house!
JULIAN: What! I thought you turned it off before we left.
LIZ: I thought I did, too, but I'm not sure.
JULIAN: (frustrated) We are nearly 10 miles away at this point. We can't just turn around. Can you call Michelle and see if she can use her spare key to check for us?
LIZ: Michelle is visiting her sister in Michigan this weekend, remember?
JULIAN: What about Carlos? Doesn't he have a spare key?
LIZ: (with a sigh of relief) You're right! I'm going to call him right now.
JULIAN: (nodding) Okay, let me know what he says.
LIZ: (on the phone) Hey Carlos, sorry to bother you but can you do me a huge favor? Can you go to our house and check if I left the oven on?
CARLOS: (on the phone) Of course, no problem. I have your spare key, so I can let myself in.
LIZ: (on the phone) Thank you so much, Carlos. Let me know what you find out.
CARLOS: (on the phone) Will do. Talk to you soon.
JULIAN: (curious) So, what did he say?
LIZ: Carlos is going to check for us. He has our spare key and will let us know if the oven is on or not.
JULIAN: (nodding) Okay, good. Let's keep going, and hopefully, we'll hear back soon.
Wait no I didn't ask the question right
I'm sorry, can you please clarify what you are asking?
Use the script to answer the question.
LIZ: (suddenly) Julian! We have to turn around. I think I left the oven on at the house!
JULIAN: What! I thought you turned it off before we left.
LIZ: I thought I did, too, but I'm not sure.
JULIAN: (frustrated) We are nearly 10 miles away at this point. We can't just turn around. Can you call Michelle and see if she can use her spare key to check for us?
LIZ: Michelle is visiting her sister in Michigan this weekend, remember?
JULIAN: What about Carlos? Doesn't he have a spare key?
LIZ: (with a sigh of relief) You're right! I'm going to call him right now.
In one to two sentences, analyze how the stage directions would impact the way actors perform this scene.
The stage directions show the characters' actions and movements, which would help actors embody their roles and create a more dynamic performance. The dialogue cues their emotions, motivations and reactions, and the stage directions set the scene for the characters' physicality and pacing.
Use the excerpt from Peter Pan to answer the question.
Mrs. Darling came to the window, for at present she was keeping a sharp eye on Wendy. She told Peter that she had adopted all the other boys, and would like to adopt him also.
“Would you send me to school?” he inquired craftily.
"Yes.”
“And then to an office?”
"I suppose so.”
“Soon I would be a man?”
“Very soon.”
“I don’t want to go to school and learn solemn things,” he told her passionately. “I don’t want to be a man. O Wendy’s mother, if I was to wake up and feel there was a beard!”
“Peter,” said Wendy the comforter, “I should love you in a beard;” and Mrs. Darling stretched out her arms to him, but he repulsed her. “Keep back, lady, no one is going to catch me and make me a man.”
“But where are you going to live?”
“With Tink in the house we built for Wendy. The fairies are to put it high up among the treetops where they sleep at nights.”
“How lovely,” cried Wendy so longingly that Mrs. Darling tightened her grip.
“I thought all the fairies were dead,” Mrs. Darling said.
"There are always a lot of young ones,” explained Wendy, who was now quite an authority, “because you see when a new baby laughs for the first time a new fairy is born, and as there are always new babies there are always new fairies. They live in nests on the tops of trees; and the mauve ones are boys and the white ones are girls, and the blue ones are just little sillies who are not sure what they are.”
“I shall have such fun,” said Peter, with one eye on Wendy.
“It will be rather lonely in the evening,” she said, “sitting by the fire.”
“I shall have Tink.”
In one to two sentences, determine how Wendy's point of view changes as the dialogue continues.
At first, Wendy is comforted by Peter's words, but as the dialogue continues, she becomes more wistful and longing for the adventures he describes.
Use the excerpt from the poem "Late September" by Amy Lowell to answer the question.
Warmth of earth, and cloudless wind
Tearing off the husky rind,
Blowing feathered seeds to fall
By the sun-baked, sheltering wall.
In three to five sentences, explain how the poet uses figurative language to express meaning in this stanza.