Difference between revisions of "Talk:Some Buried Caesar"
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‘He has no right to be talking about me. Anyway, not to you.’ Her eyes moved up me and over me, up from my chest over my face to the top of my head, and then slowly travelled down again. ‘Not to you, Escamillo,’ she said. I wanted to slap her, because her tone, and the look in her eyes going over me, made me feel like a potato she was peeling. | ‘He has no right to be talking about me. Anyway, not to you.’ Her eyes moved up me and over me, up from my chest over my face to the top of my head, and then slowly travelled down again. ‘Not to you, Escamillo,’ she said. I wanted to slap her, because her tone, and the look in her eyes going over me, made me feel like a potato she was peeling. | ||
| − | == | + | == chapter 10 (a lesson in lying from Archie Goodwin) == |
| − | Wolfe has taught me that one of the most important requirements for successful lying is relaxed vocal cords and throat muscles; otherwise you are forced to put extra pressure to push the lie through, and the result is that you talk faster and raise the pitch and the blood shows in your face. | + | Wolfe has taught me that one of the most important requirements for successful lying is relaxed vocal cords and throat muscles; otherwise you are forced to put on extra pressure to push the lie through, and the result is that you talk faster and raise the pitch and the blood shows in your face. |
Revision as of 23:08, 5 July 2007
Archie Goodwin in chapter 4
¶ ‘Much obliged for nothing. Phooey. You’re accustomed to feeling pleased because you’re Nero Wolfe, aren’t you? All right, on my modest scale I permit myself a similar feeling about Archie Goodwin. When did you ever give me an errand that you seriously expected me to perform and I didn’t perform it? I’ve got a right to expect that when Archie Goodwin is told to watch a pasture and see that nothing happens to a bull, nothing will happen. And you tell me that nothing happened to the bull, the bull’s all right, he just killed a man ... what do you call that kind of suds?’ ¶
chapter 6 (Lily Rowan 'peels' Archie Goodwin in a Methodist tent)
‘He has no right to be talking about me. Anyway, not to you.’ Her eyes moved up me and over me, up from my chest over my face to the top of my head, and then slowly travelled down again. ‘Not to you, Escamillo,’ she said. I wanted to slap her, because her tone, and the look in her eyes going over me, made me feel like a potato she was peeling.
chapter 10 (a lesson in lying from Archie Goodwin)
Wolfe has taught me that one of the most important requirements for successful lying is relaxed vocal cords and throat muscles; otherwise you are forced to put on extra pressure to push the lie through, and the result is that you talk faster and raise the pitch and the blood shows in your face.
