contents of the dead man’s pocket by jack finneymap+contents...4 part 1 collection 1: plot and...
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4 Collection 1: Plot and SettingPart 1
“Contents of the Dead Man’s Pocket” is full of suspense, as the main character
faces a series of life-and-death decisions. Stay calm and read the story carefully,
one step at a time, and whatever you do—don’t look down!
LITERARY FOCUS: TIME AND SEQUENCEMost short stories can be read in one sitting, usually in less than an hour.
The events in a short story, however, may span hours, weeks, months, or
years. “Contents of the Dead Man’s Pocket” is striking because its events
take place in “real time.” In other words, the time it takes you to read the
story roughly equals the time frame of the story itself.
• As you read, notice how the slowness of the time frame helps create
suspense.
• As events unfold, pay attention to the main character’s internal conflict:
his struggle against fear.
READING SKILLS: UNDERSTANDING CAUSE AND EFFECTA cause is what makes something happen. An effect is the result, or what
happens. Imagine, for example, that a hurricane blows through a seaside
town. The fierce winds overturn boats and destroy houses. The winds are
the cause. The effect, or result, is the damage.
In a well-written story, the events that make up the plot are closely related:
One event causes another event, which leads to another event, and so on.
To find a cause, ask yourself, “Why did this event happen?” To identify an
effect, ask yourself, “What happened as a result of this event?” Keep in
mind that an effect, or result, can stem from several causes, and that one
cause can lead to several effects.
To help you track cause-and-effect relationships as you read, fill in a chart
like the one below. In the left-hand column, list the cause; in the right-hand
column, list the effect. The first one has been done as an example.
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Contents of the Dead Man’sPocket by Jack Finney
Literary SkillsUnderstand
time andsequence.
ReadingSkills
Understandcause and
effect.
VocabularySkills
Understandprefixes.
The apartment door is opened. A sheet of yellow paper is blown
out the window.
Cause Effect
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Contents of the Dead Man’s Pocket 5
projection (pr£·jek√◊¥n) n.: something that juts
out from a surface.
Tom’s paper was trapped between the ledge andthe decorative projection sticking out from thewall.
discarding (dis·kärd√i«) v. used as adj.: abandon-
ing; getting rid of.
He rejected one plan after another, discardingall useless ideas.
confirmation (kän≈f¥r·m†√◊¥n) n.: proof.
As confirmation that he could walk on theledge, he made sure that it was wide enough tofit his shoe.
exhalation (eks≈h¥·l†√◊¥n) n.: something
breathed out; breath.
After holding his breath, Tom felt an exhalationof air as he breathed again.
imperceptibly (im≈p¥r·sep√t¥·bl≤) adv.: in such a
slight way as to be almost unnoticeable.
Tom moved along the ledge imperceptibly,taking tiny, cautious steps.
rebounded (ri·b¡nd√id) v.: bounced back.
After he broke the window, Tom’s armrebounded, bouncing backward from the force of the blow.
interminable (in·t∞r√mi·n¥·b¥l) adj.: endless.
Although the time seemed interminable, Tomhad been on the ledge only a few minutes.
irrelevantly (i·rel√¥·v¥nt·l≤) adv.: in a way not
relating to the point or situation.
Tom thought irrelevantly about the apartmentfurnishings, as if the cozy rooms could stop himfrom plunging to his death.
incomprehensible (in·käm≈pr≤·hen√s¥·b¥l) adj.:
not understandable.
The puzzling sheet of paper in his pocket wouldbe incomprehensible to anyone who found hisbody.
unimpeded (un≈im·p≤d√id) adj.: not blocked;
unobstructed.
The yellow paper flew out the window; itsprogress was unimpeded.
PREVIEW SELECTION VOCABULARYPreview the following words from the story before you begin reading.
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PREFIXESJust by adding a few letters up front, you can turn appear into reappear,
likely into unlikely, and freezing into subfreezing. Re–, un–, and sub– are
prefixes, word parts that attach to the front of a word or word root to
change its meaning. Re– means “again”; un– means “not”; sub– means
“below.”
As you read, look for words with these or other prefixes. Use your
knowledge of prefixes to help you figure out the meanings of some
unfamiliar words.
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At the little living-room desk Tom Benecke rolled two sheets
of flimsy1 and a heavier top sheet, carbon paper sandwiched
between them, into his portable. Interoffice Memo, the top sheet
was headed, and he typed tomorrow’s date just below this; then
he glanced at a creased yellow sheet, covered with his own hand-
writing, beside the typewriter. “Hot in here,” he muttered to
himself. Then, from the short hallway at his back, he heard the
muffled clang of wire coat hangers in the bedroom closet, and
at this reminder of what his wife was doing he thought: hot
guilty conscience.
He got up, shoving his hands into the back pockets of his
gray wash slacks, stepped to the living-room window beside the
desk and stood breathing on the glass, watching the expanding
circlet of mist, staring down through the autumn night at
Lexington Avenue,2 eleven stories below. He was a tall, lean,
dark-haired young man in a pullover sweater, who looked as
though he had played not football, probably, but basketball in
college. Now he placed the heels of his hands against the top
edge of the lower window frame and shoved upward. But as
usual the window didn’t budge, and he had to lower his hands
and then shoot them hard upward to jolt the window open a
few inches. He dusted his hands, muttering.
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Jack Finney
Setting is the time and placeof a story. Underline thewords in line 15 that tell how far above the streetTom’s apartment is.
1. flimsy n.: thin paper used for typing carbon copies. Before computersand copying machines, copies of business communications weremade with carbon paper.
2. Lexington Avenue: one of the main streets in New York City.
Portable is usually an adjec-tive, meaning “able to becarried.” Here, in line 3, theword is a noun, naming athing. Read on, and circlewhat portable refers to.
“Contents of the Dead Man’s Pocket” by Jack Finney. Copyright © 1956 by Crowell-Collier Company; copyright renewed © 1984 by Jack Finney. Reprinted by permission of Don Congdon Associates, Inc.
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But still he didn’t begin his work. He crossed the room to
the hallway entrance and, leaning against the doorjamb, hands
shoved into his back pockets again, he called, “Clare?” When his
wife answered, he said, “Sure you don’t mind going alone?”
“No.” Her voice was muffled, and he knew her head and
shoulders were in the bedroom closet. Then the tap of her high
heels sounded on the wood floor, and she appeared at the end of
the little hallway, wearing a slip, both hands raised to one ear,30
Contents of the Dead Man’s Pocket 7
NotesNotes
© Pete Seaward/Getty Images.
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clipping on an earring. She smiled at him—a slender, very pretty
girl with light brown, almost blond, hair—her prettiness empha-
sized by the pleasant nature that showed in her face. “It’s just
that I hate you to miss this movie; you wanted to see it, too.”
“Yeah, I know.” He ran his fingers through his hair. “Got to
get this done, though.”
She nodded, accepting this. Then, glancing at the desk
across the living room, she said, “You work too much, though,
Tom—and too hard.”
He smiled. “You won’t mind, though, will you, when the
money comes rolling in and I’m known as the Boy Wizard of
Wholesale Groceries?”
“I guess not.” She smiled and turned back toward the
bedroom.
At his desk again, Tom lighted a cigarette; then a few moments
later, as Clare appeared, dressed and ready to leave, he set it on
the rim of the ashtray. “Just after seven,” she said. “I can make
the beginning of the first feature.”
He walked to the front-door closet to help her on with her
coat. He kissed her then and, for an instant, holding her close,
smelling the perfume she had used, he was tempted to go with
her; it was not actually true that he had to work tonight, though
he very much wanted to. This was his own project, unannounced
as yet in his office, and it could be postponed. But then they
won’t see it till Monday, he thought once again, and if I give it to
the boss tomorrow he might read it over the weekend . . . “Have
a good time,” he said aloud. He gave his wife a little swat and
opened the door for her, feeling the air from the building hall-
way, smelling faintly of floor wax, stream gently past his face.
He watched her walk down the hall, flicked a hand in
response as she waved, and then he started to close the door,
but it resisted for a moment. As the door opening narrowed, the
current of warm air from the hallway, channeled through this
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Circle the words in lines35–36 that tell why Tom isstaying home. What do hiswords tell you about whatTom values most at thebeginning of the story?
Underline the phrase in lines50–53 that tells what Tom istempted to do. Circle thesentence that tells what he “very much wanted” todo. How does Tom resolvethis internal conflict?
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smaller opening now, suddenly rushed past him with accelerated
force. Behind him he heard the slap of the window curtains
against the wall and the sound of paper fluttering from his desk,
and he had to push to close the door.
Turning, he saw a sheet of white paper drifting to the floor
in a series of arcs, and another sheet, yellow, moving toward the
window, caught in the dying current flowing through the nar-
row opening. As he watched, the paper struck the bottom edge
of the window and hung there for an instant, plastered against
the glass and wood. Then as the moving air stilled completely,
the curtains swinging back from the wall to hang free again, he
saw the yellow sheet drop to the window ledge and slide over
out of sight.
He ran across the room, grasped the bottom of the window
and tugged, staring through the glass. He saw the yellow sheet,
dimly now in the darkness outside, lying on the ornamental
ledge a yard below the window. Even as he watched, it was
moving, scraping slowly along the ledge, pushed by the breeze
that pressed steadily against the building wall. He heaved on the
window with all his strength, and it shot open with a bang, the
window weight rattling in the casing. But the paper was past
his reach and, leaning out into the night, he watched it scud3
steadily along the ledge to the south, half plastered against the
building wall. Above the muffled sound of the street traffic far
below, he could hear the dry scrape of its movement, like a leaf
on the pavement.
The living room of the next apartment to the south
projected a yard or more further out toward the street than this
one; because of this the Beneckes paid seven and a half dollars
less rent than their neighbors. And now the yellow sheet, sliding
along the stone ledge, nearly invisible in the night, was stopped
by the projecting blank wall of the next apartment. It lay
motionless, then, in the corner formed by the two walls—a good
five yards away, pressed firmly against the ornate corner
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Contents of the Dead Man’s Pocket 9
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Pause at line 76. What hap-pens when the wind rushesthrough the apartment?
Circle the prefix in the wordinvisible (line 94). What doesthe prefix mean? What doesinvisible mean?
3. scud v.: glide or move swiftly.
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ornament of the ledge by the breeze that moved past Tom
Benecke’s face.
He knelt at the window and stared at the yellow paper for a
full minute or more, waiting for it to move, to slide off the ledge
and fall, hoping he could follow its course to the street, and then
hurry down in the elevator and retrieve it. But it didn’t move,
and then he saw that the paper was caught firmly between a
projection of the convoluted4 corner ornament and the ledge.
He thought about the poker from the fireplace, then the broom,
then the mop—discarding each thought as it occurred to him.
There was nothing in the apartment long enough to reach
that paper.
It was hard for him to understand that he actually had to
abandon it—it was ridiculous—and he began to curse. Of all the
papers on his desk, why did it have to be this one in particular!
On four long Saturday afternoons he had stood in supermarkets,
counting the people who passed certain displays, and the results
were scribbled on that yellow sheet. From stacks of trade publi-
cations, gone over page by page in snatched half hours at work
and during evenings at home, he had copied facts, quotations,
and figures onto that sheet. And he had carried it with him to
the Public Library on Fifth Avenue, where he’d spent a dozen
lunch hours and early evenings adding more. All were needed to
support and lend authority to his idea for a new grocery-store
display method; without them his idea was a mere opinion. And
there they all lay, in his own improvised shorthand—countless
hours of work—out there on the ledge.
For many seconds he believed he was going to abandon the
yellow sheet, that there was nothing else to do. The work could
be duplicated. But it would take two months, and the time to
present this idea was now, for use in the spring displays. He struck
his fist on the window ledge. Then he shrugged. Even though his
plan was adopted, he told himself, it wouldn’t bring him a raise
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After reading lines 125–141,what do you predict Tom will do?
projection (pr£·jek√◊¥n) n.:something that juts out froma surface.
Pro– is a Latin prefix meaning“forward”; the root –ject–means “throw” or “thrust.”
discarding (dis·kärd√i«) v.used as adj.: abandoning;getting rid of.
Pause at line 124. Why is theyellow paper so important toTom? Underline the detailsthat tell you why.
4. convoluted (kän√v¥·lºt≈id) adj.: intricate; coiled.
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Contents of the Dead Man’s Pocket 11
in pay—not immediately, anyway, or as a direct result. It won’t
bring me a promotion either, he argued—not of itself.
But just the same—and he couldn’t escape the thought—this
and other independent projects, some already done and others
planned for the future, would gradually mark him out from the
score of other young men in his company. They were the way to
change from a name on the payroll to a name in the minds of
the company officials. They were the beginning of the long, long
climb to where he was determined to be—at the very top. And
he knew he was going out there in the darkness, after the yellow
sheet fifteen feet beyond his reach.
By a kind of instinct, he instantly began making his inten-
tion acceptable to himself by laughing at it. The mental picture
of himself sidling along the ledge outside was absurd—it was
actually comical—and he smiled. He imagined himself describ-
ing it; it would make a good story at the office and, it occurred
NotesNotes
Re-read lines 133–141. Whatcan you infer about Tom byhis thoughts?
© Nat Norman/Getty Images.
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confirmation(kän≈f¥r·m†√◊¥n) n.: proof.
Confirmation comes from theLatin word firmus, meaning“strong.” What other Englishwords are from this root?
Pause at line 176, and consid-er what has happened so far.In your own words, explainwhy Tom decides to go outon the ledge.
Circle the words in lines177–180 that describe thesecond setting in the story.How does the new settingincrease the suspense?
to him, would add a special interest and importance to his
memorandum, which would do it no harm at all.
To simply go out and get his paper was an easy task—he
could be back here with it in less than two minutes—and he
knew he wasn’t deceiving himself. The ledge, he saw, measuring
it with his eye, was about as wide as the length of his shoe, and
perfectly flat. And every fifth row of brick in the face of the
building, he remembered—leaning out, he verified this—was
indented half an inch, enough for the tips of his fingers, enough
to maintain balance easily. It occurred to him that if this ledge
and wall were only a yard aboveground—as he knelt at the
window staring out, this thought was the final confirmation
of his intention—he could move along the ledge indefinitely.
On a sudden impulse, he got to his feet, walked to the front
closet, and took out an old tweed jacket; it would be cold outside.
He put it on and buttoned it as he crossed the room rapidly
toward the open window. In the back of his mind he knew he’d
better hurry and get this over with before he thought too much,
and at the window he didn’t allow himself to hesitate.
He swung a leg over the sill, then felt for and found the
ledge a yard below the window with his foot. Gripping the
bottom of the window frame very tightly and carefully, he slowly
ducked his head under it, feeling on his face the sudden change
from the warm air of the room to the chill outside. With infinite
care he brought out his other leg, his mind concentrating on
what he was doing. Then he slowly stood erect. Most of the
putty, dried out and brittle, had dropped off the bottom edging
of the window frame, he found, and the flat wooden edging
provided a good gripping surface, a half inch or more deep, for
the tips of his fingers.
Now, balanced easily and firmly, he stood on the ledge
outside in the slight, chill breeze, eleven stories above the street,
staring into his own lighted apartment, odd and different-
seeming now.
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First his right hand, then his left, he carefully shifted his
fingertip grip from the puttyless window edging to an indented
row of bricks directly to his right. It was hard to take the first
shuffling sideways step then—to make himself move—and the
fear stirred in his stomach, but he did it, again by not allowing
himself time to think. And now—with his chest, stomach, and
the left side of his face pressed against the rough cold brick—his
lighted apartment was suddenly gone, and it was much darker
out here than he had thought.
Without pause he continued—right foot, left foot, right
foot, left—his shoe soles shuffling and scraping along the rough
stone, never lifting from it, fingers sliding along the exposed
edging of brick. He moved on the balls of his feet, heels lifted
slightly; the ledge was not quite as wide as he’d expected. But
leaning slightly inward toward the face of the building and
pressed against it, he could feel his balance firm and secure, and
moving along the ledge was quite as easy as he had thought it
would be. He could hear the buttons of his jacket scraping
steadily along the rough bricks and feel them catch momen-
tarily, tugging a little, at each mortared crack. He simply did
not permit himself to look down, though the compulsion5 to
do so never left him; nor did he allow himself actually to think.
Mechanically—right foot, left foot, over and again—he shuffled
along crabwise, watching the projecting wall ahead loom steadily
closer. . . .
Then he reached it, and at the corner—he’d decided how he was
going to pick up the paper—he lifted his right foot and placed
it carefully on the ledge that ran along the projecting wall at a
right angle to the ledge on which his other foot rested. And now,
facing the building, he stood in the corner formed by the two
walls, one foot on the ledging of each, a hand on the shoulder-
high indentation of each wall. His forehead was pressed directly
into the corner against the cold bricks, and now he carefully
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Pause at line 205. Whydoesn’t Tom permit himselfto look down?
5. compulsion n.: driving force.
In lines 181–189, notice howtime seems to slow down asTom tries to overcome hisfear. Underline details thatshow that time is passingslowly.
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lowered first one hand, then the other, perhaps a foot farther
down, to the next indentation in the rows of bricks.
Very slowly, sliding his forehead down the trough of the brick
corner and bending his knees, he lowered his body toward the
paper lying between his outstretched feet. Again he lowered his
fingerholds another foot and bent his knees still more, thigh
muscles taut, his forehead sliding and bumping down the brick
V. Half squatting now, he dropped his left hand to the next
indentation and then slowly reached with his right hand toward
the paper between his feet.
He couldn’t quite touch it, and his knees now were pressed
against the wall; he could bend them no farther. But by ducking
his head another inch lower, the top of his head now pressed
against the bricks, he lowered his right shoulder and his fingers
had the paper by a corner, pulling it loose. At the same instant
he saw, between his legs and far below, Lexington Avenue
stretched out for miles ahead.
He saw, in that instant, the Loew’s theater sign, blocks
ahead past Fiftieth Street; the miles of traffic signals, all green
now; the lights of cars and street lamps; countless neon signs;
and the moving black dots of people. And a violent, instanta-
neous explosion of absolute terror roared through him. For a
motionless instant he saw himself externally—bent practically
double, balanced on this narrow ledge, nearly half his body
projecting out above the street far below—and he began to
tremble violently, panic flaring through his mind and muscles,
and he felt the blood rush from the surface of his skin.
In the fractional moment before horror paralyzed him, as
he stared between his legs at that terrible length of street far
beneath him, a fragment of his mind raised his body in a spas-
modic jerk to an upright position again, but so violently that
his head scraped hard against the wall, bouncing off it, and his
body swayed outward to the knife-edge of balance, and he very
nearly plunged backward and fell. Then he was leaning far into
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Lines 241–247 tell aboutthree events—one is a cause;the others are effects. Circlethe cause, and underline theeffects.
In lines 224–230, underlinethe words that tell why Tom’sfear suddenly increases.
You may know the termtrough (trôf), meaning “along, open container forpigs’ food.” In this context,however, trough (line 216)means “groove” or “longindentation.”
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the corner again, squeezing and pushing into it, not only his face
but his chest and stomach, his back arching; and his fingertips
clung with all the pressure of his pulling arms to the shoulder-
high half-inch indentation in the bricks.
He was more than trembling now; his whole body was
racked with a violent shuddering beyond control, his eyes
squeezed so tightly shut it was painful, though he was past
awareness of that. His teeth were exposed in a frozen grimace,
the strength draining like water from his knees and calves. It
was extremely likely, he knew, that he would faint, slump down
along the wall, his face scraping, and then drop backward, a limp
weight, out into nothing. And to save his life he concentrated on
holding on to consciousness, drawing deliberate deep breaths of
cold air into his lungs, fighting to keep his senses aware.
Then he knew that he would not faint, but he could not
stop shaking nor open his eyes. He stood where he was, breath-
ing deeply, trying to hold back the terror of the glimpse he had
had of what lay below him; and he knew he had made a mistake
in not making himself stare down at the street, getting used to it
and accepting it, when he had first stepped out onto the ledge.
It was impossible to walk back. He simply could not do it.
He couldn’t bring himself to make the slightest movement. The
strength was gone from his legs; his shivering hands—numb, cold,
and desperately rigid—had lost all deftness;6 his easy ability to
move and balance was gone. Within a step or two, if he tried to
move, he knew that he would stumble clumsily and fall.
Seconds passed, with the chill faint wind pressing the side
of his face, and he could hear the toned-down volume of the
street traffic far beneath him. Again and again it slowed and
then stopped, almost to silence; then presently, even this high, he
would hear the click of the traffic signals and the subdued roar
of the cars starting up again. During a lull in the street sounds,
he called out. Then he was shouting “Help!” so loudly it rasped
his throat. But he felt the steady pressure of the wind, moving
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Circle the prefix in impossible(line 268). What word is theprefix attached to? How doesthe prefix change the word’smeaning?
Pause at line 273. Do youpredict that Tom will make itto safety? Why or why not?
6. deftness n.: skillfulness; coordination.
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between his face and the blank wall, snatch up his cries as he
uttered them, and he knew they must sound directionless and
distant. And he remembered how habitually, here in New York,
he himself heard and ignored shouts in the night. If anyone
heard him, there was no sign of it, and presently Tom Benecke
knew he had to try moving; there was nothing else he could do.
Eyes squeezed shut, he watched scenes in his mind like
scraps of motion-picture film—he could not stop them. He saw
himself stumbling suddenly sideways as he crept along the ledge
and saw his upper body arc outward, arms flailing. He saw a
dangling shoestring caught between the ledge and the sole of his
other shoe, saw a foot start to move, to be stopped with a jerk,
and felt his balance leaving him. He saw himself falling with a
terrible speed as his body revolved in the air, knees clutched
tight to his chest, eyes squeezed shut, moaning softly.
Out of utter necessity, knowing that any of these thoughts
might be reality in the very next seconds, he was slowly able to
shut his mind against every thought but what he now began to
do. With fear-soaked slowness, he slid his left foot an inch or
two toward his own impossibly distant window. Then he slid the
fingers of his shivering left hand a corresponding distance. For a
moment he could not bring himself to lift his right foot from
one ledge to the other; then he did it, and became aware of the
harsh exhalation of air from his throat and realized that he was
panting. As his right hand, then, began to slide along the brick
edging, he was astonished to feel the yellow paper pressed to the
bricks underneath his stiff fingers, and he uttered a terrible,
abrupt bark that might have been a laugh or a moan. He opened
his mouth and took the paper in his teeth, pulling it out from
under his fingers.
By a kind of trick—by concentrating his entire mind on
first his left foot, then his left hand, then the other foot, then
the other hand—he was able to move, almost imperceptibly,
trembling steadily, very nearly without thought. But he could
feel the terrible strength of the pent-up horror on just the other
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exhalation (eks≈h¥·l†√◊¥n) n.:something breathed out;breath.
Change exhalation to itsopposite by changing theprefix.
imperceptibly(im≈p¥r·sep√t¥·bl≤) adv.: insuch a slight way as to bealmost unnoticeable.
Change imperceptibly to itsopposite by dropping theprefix.
NotesNotes
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Contents of the Dead Man’s Pocket 17
side of the flimsy barrier he had erected in his mind; and he
knew that if it broke through he would lose this thin, artificial
control of his body.
During one slow step he tried keeping his eyes closed; it
made him feel safer, shutting him off a little from the fearful
reality of where he was. Then a sudden rush of giddiness swept
over him and he had to open his eyes wide, staring sideways at
the cold rough brick and angled lines of mortar, his cheek tight
against the building. He kept his eyes open then, knowing that
if he once let them flick outward, to stare for an instant at the
lighted windows across the street, he would be past help.
He didn’t know how many dozens of tiny sidling steps he
had taken, his chest, belly, and face pressed to the wall; but he
knew the slender hold he was keeping on his mind and body
was going to break. He had a sudden mental picture of his
apartment on just the other side of this wall—warm, cheerful,
incredibly spacious. And he saw himself striding through it,
lying down on the floor on his back, arms spread wide, reveling7
in its unbelievable security. The impossible remoteness of this
7. reveling (rev√¥l·i«) v. used as adj.: taking great pleasure or delight.
Re-read lines 320–325. Circlewhat Tom tries to do as hewalks the ledge. Then,underline two immediateeffects of that action.
NotesNotes
Pause at line 319. What sortof conflict is Tom facing? Is it an internal or externalconflict?
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utter safety, the contrast between it and where he now stood,
was more than he could bear. And the barrier broke then, and
the fear of the awful height he stood on coursed through his
nerves and muscles.
A fraction of his mind knew he was going to fall, and he began
taking rapid blind steps with no feeling of what he was doing,
sidling with a clumsy desperate swiftness, fingers scrabbling
along the brick, almost hopelessly resigned to the sudden
backward pull and swift motion outward and down. Then
his moving left hand slid onto not brick but sheer emptiness,
an impossible gap in the face of the wall, and he stumbled.
His right foot smashed into his left anklebone; he staggered
sideways, began falling, and the claw of his hand cracked against
glass and wood, slid down it, and his fingertips were pressed
hard on the puttyless edging of his window. His right hand
smacked gropingly beside it as he fell to his knees; and, under
the full weight and direct downward pull of his sagging body,
the open window dropped shudderingly in its frame till it closed
and his wrists struck the sill and were jarred off.
For a single moment he knelt, knee bones against stone on
the very edge of the ledge, body swaying and touching nowhere
else, fighting for balance. Then he lost it, his shoulders plunging
backward, and he flung his arms forward, his hands smashing
against the window casing on either side; and—his body moving
backward—his fingers clutched the narrow wood stripping of
the upper pane.
For an instant he hung suspended between balance and
falling, his fingertips pressed onto the quarter-inch wood strips.
Then, with utmost delicacy, with a focused concentration of all
his senses, he increased even further the strain on his fingertips
hooked to these slim edgings of wood. Elbows slowly bending,
he began to draw the full weight of his upper body forward,
knowing that the instant his fingers slipped off these quarter-
inch strips he’d plunge backward and be falling. Elbows
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Re-read lines 340–354. Whatis the “sheer emptiness” Tomencounters? Explain whathappens next.
What causes the “barrier” tobreak (lines 337–339)?
Read the boxed passagealoud twice. On your secondread, focus on your pacingand delivery.
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imperceptibly bending, body shaking with the strain, the sweat
starting from his forehead in great sudden drops, he pulled, his
entire being and thought concentrated in his fingertips. Then,
suddenly, the strain slackened and ended, his chest touching
the windowsill, and he was kneeling on the ledge, his forehead
pressed to the glass of the closed window.
Dropping his palms to the sill, he stared into his living
room—at the red-brown davenport8 across the room, and a
magazine he had left there; at the pictures on the walls and the
gray rug; the entrance to the hallway; and at his papers, type-
writer, and desk, not two feet from his nose. A movement from
his desk caught his eye and he saw that it was a thin curl of
blue smoke; his cigarette, the ash long, was still burning in the
ashtray where he’d left it—this was past all belief—only a few
minutes before.
His head moved, and in faint reflection from the glass
before him, he saw the yellow paper clenched in his front teeth.
Lifting a hand from the sill he took it from his mouth; the
moistened corner parted from the paper, and he spat it out.
For a moment, in the light from the living room, he stared
wonderingly at the yellow sheet in his hand and then crushed
it into the side pocket of his jacket.
He couldn’t open the window. It had been pulled not
completely closed, but its lower edge was below the level of the
outside sill; there was no room to get his fingers underneath it.
Between the upper sash and the lower was a gap not wide
enough—reaching up, he tried—to get his fingers into; he
couldn’t push it open. The upper window panel, he knew from
long experience, was impossible to move, frozen tight with
dried paint.
Very carefully observing his balance, the fingertips of his
left hand again hooked to the narrow stripping of the window
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The many details, or compli-cations, of Tom’s dangerousexperience make it seem as if Tom had been on the ledgefor a long time. Circle thewords in lines 380–384 thattell how long he has reallybeen on the ledge.
8. davenport (dav√¥n·pôrt≈) n.: large sofa or couch.
Pause at line 399. What mightTom do now?
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casing, he drew back his right hand, palm facing the glass, and
then struck the glass with the heel of his hand.
His arm rebounded from the pane, his body tottering, and
he knew he didn’t dare strike a harder blow.
But in the security and relief of his new position, he simply
smiled; with only a sheet of glass between him and the room
just before him, it was not possible that there wasn’t a way past
it. Eyes narrowing, he thought for a few moments about what
to do. Then his eyes widened, for nothing occurred to him. But
still he felt calm; the trembling, he realized, had stopped. At the
back of his mind there still lay the thought that once he was
again in his home, he could give release to his feelings. He
actually would lie on the floor, rolling, clenching tufts of the rug
in his hands. He would literally run across the room, free to
move as he liked, jumping on the floor, testing and reveling
in its absolute security, letting the relief flood through him,
draining the fear from his mind and body. His yearning for this
was astonishingly intense, and somehow he understood that he
had better keep this feeling at bay.
He took a half dollar from his pocket and struck it against
the pane, but without any hope that the glass would break and
with very little disappointment when it did not. After a few
moments of thought he drew his leg up onto the ledge and
picked loose the knot of his shoelace. He slipped off the shoe
and, holding it across the instep, drew back his arm as far as he
dared and struck the leather heel against the glass. The pane
rattled, but he knew he’d been a long way from breaking it. His
foot was cold and he slipped the shoe back on. He shouted
again, experimentally, and then once more, but there was
no answer.
The realization suddenly struck him that he might have to
wait here till Clare came home, and for a moment the thought
was funny. He could see Clare opening the front door, with-
drawing her key from the lock, closing the door behind her, and
then glancing up to see him crouched on the other side of the
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Why does Tom have to keephis desire for security andrelief “at bay,” or in thebackground (lines 418–420)?
Tom is so close to safety, yetso far away. In lines 421–431,circle the three ways Tomtries to get into the room.
rebounded (ri·b¡nd√id) v.:bounced back.
Circle the prefix in rebounded.What does the prefix mean?
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window. He could see her rush across the room, face astounded
and frightened, and hear himself shouting instructions: “Never
mind how I got here! Just open the wind—” She couldn’t open
it, he remembered, she’d never been able to; she’d always had
to call him. She’d have to get the building superintendent or a
neighbor, and he pictured himself smiling and answering their
questions as he climbed in. “I just wanted to get a breath of fresh
air, so—”
He couldn’t possibly wait here till Clare came home. It was
the second feature she’d wanted to see, and she’d left in time to
see the first. She’d be another three hours or— He glanced at his
watch; Clare had been gone eight minutes. It wasn’t possible,
but only eight minutes ago he had kissed his wife goodbye. She
wasn’t even at the theater yet!
It would be four hours before she could possibly be home,
and he tried to picture himself kneeling out here, fingertips
hooked to these narrow strippings, while first one movie,
preceded by a slow listing of credits, began, developed, reached
its climax, and then finally ended. There’d be a newsreel next,
maybe, and then an animated cartoon, and then interminable
scenes from coming pictures. And then, once more, the begin-
ning of a full-length picture—while all the time he hung out
here in the night.
He might possibly get to his feet, but he was afraid to try.
Already his legs were cramped, his thigh muscles tired; his knees
hurt, his feet felt numb, and his hands were stiff. He couldn’t
possibly stay out here for four hours or anywhere near it. Long
before that his legs and arms would give out; he would be forced
to try changing his position often—stiffly, clumsily, his coordi-
nation and strength gone—and he would fall. Quite realistically,
he knew that he would fall; no one could stay out here on this
ledge for four hours.
A dozen windows in the apartment building across the
street were lighted. Looking over his shoulder, he could see the
top of a man’s head behind the newspaper he was reading; in
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Circle the words in lines445–450 that tell how longClare has been gone. Under-line the words in lines451–455 that tell how long it will be before Clare getshome.
interminable(in·t∞r√mi·n¥·b¥l) adj.:endless.
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another window he saw the blue-gray flicker of a television
screen. No more than twenty-odd yards from his back were
scores of people, and if just one of them would walk idly to his
window and glance out. . . . For some moments he stared over
his shoulder at the lighted rectangles, waiting. But no one
appeared. The man reading his paper turned a page and then
continued his reading. A figure passed another of the windows
and was immediately gone.
In the inside pocket of his jacket he found a little sheaf of
papers, and he pulled one out and looked at it in the light from
the living room. It was an old letter, an advertisement of some
sort; his name and address, in purple ink, were on a label pasted
to the envelope. Gripping one end of the envelope in his teeth,
he twisted it into a tight curl. From his shirt pocket he brought
out a book of matches. He didn’t dare let go the casing with
both hands but, with the twist of paper in his teeth, he opened
the matchbook with his free hand; then he bent one of the
matches in two without tearing it from the folder, its red-tipped
end now touching the striking surface. With his thumb, he
rubbed the red tip across the striking area.
He did it again, then again, and still again, pressing harder
each time, and the match suddenly flared, burning his thumb.
But he kept it alight, cupping the matchbook in his hand and
shielding it with his body. He held the flame to the paper in his
mouth till it caught. Then he snuffed out the match flame with
his thumb and forefinger, careless of the burn, and replaced the
book in his pocket. Taking the paper twist in his hand, he held it
flame down, watching the flame crawl up the paper, till it flared
bright. Then he held it behind him over the street, moving it
from side to side, watching it over his shoulder, the flame flick-
ering and guttering in the wind.
There were three letters in his pocket and he lighted each
of them, holding each till the flame touched his hand and then
dropping it to the street below. At one point, watching over his
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Pause at line 502. How is Tomtrying to solve his problem?
NotesNotes
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shoulder while the last of the letters burned, he saw the man
across the street put down his paper and stand—even seeming,
to Tom, to glance toward his window. But when he moved, it
was only to walk across the room and disappear from sight.
There were a dozen coins in Tom Benecke’s pocket and he
dropped them, three or four at a time. But if they struck anyone,
or if anyone noticed their falling, no one connected them with
their source, and no one glanced upward.
His arms had begun to tremble from the steady strain of
clinging to this narrow perch, and he did not know what to do
now and was terribly frightened. Clinging to the window strip-
ping with one hand, he again searched his pockets. But now—
he had left his wallet on his dresser when he’d changed clothes—
510
Contents of the Dead Man’s Pocket 23
Pause at line 509. At this pointin the story, what eventscould happen next?
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there was nothing left but the yellow sheet. It occurred to him
irrelevantly that his death on the sidewalk below would be an
eternal mystery; the window closed—why, how, and from where
could he have fallen? No one would be able to identify his body
for a time, either—the thought was somehow unbearable and
increased his fear. All they’d find in his pockets would be the
yellow sheet. Contents of the dead man’s pockets, he thought, one
sheet of paper bearing penciled notations—incomprehensible.
He understood fully that he might actually be going to die;
his arms, maintaining his balance on the ledge, were trembling
steadily now. And it occurred to him then with all the force of a
revelation that, if he fell, all he was ever going to have out of life
he would then, abruptly, have had. Nothing, then, could ever be
changed; and nothing more—no least experience or pleasure—
could ever be added to his life. He wished, then, that he had not
allowed his wife to go off by herself tonight—and on similar
nights. He thought of all the evenings he had spent away from
her, working; and he regretted them. He thought wonderingly
of his fierce ambition and of the direction his life had taken; he
thought of the hours he’d spent by himself, filling the yellow
sheet that had brought him out here. Contents of the dead man’s
pockets, he thought with sudden fierce anger, a wasted life.
He was simply not going to cling here till he slipped and
fell; he told himself that now. There was one last thing he could
try; he had been aware of it for some moments, refusing to think
about it, but now he faced it. Kneeling here on the ledge, the
fingertips of one hand pressed to the narrow strip of wood, he
could, he knew, draw his other hand back a yard perhaps, fist
clenched tight, doing it very slowly till he sensed the outer limit
of balance, then, as hard as he was able from the distance, he
could drive his fist forward against the glass. If it broke, his fist
smashing through, he was safe; he might cut himself badly, and
probably would, but with his arm inside the room, he would be
secure. But if the glass did not break, the rebound, flinging his
arm back, would topple him off the ledge. He was certain of that.
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irrelevantly (i·rel√¥·v¥nt·l≤)adv.: in a way not related tothe point or situation.
incomprehensible(in·käm≈pr≤·hen√s¥·b¥l) adj.:not understandable.
Pause at line 526. Why doesit matter to Tom that no onewould understand the yellowsheet of paper?
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He tested his plan. The fingers of his left hand clawlike on
the little stripping, he drew back his other fist until his body
began teetering backward. But he had no leverage now—he
could feel that there would be no force to his swing—and he
moved his fist slowly forward till he rocked forward on his knees
again and could sense that his swing would carry its greatest
force. Glancing down, however, measuring the distance from
his fist to the glass, he saw that it was less than two feet.
It occurred to him that he could raise his arm over his head,
to bring it down against the glass. But, experimentally in slow
motion, he knew it would be an awkward blow without the force
of a driving punch, and not nearly enough to break the glass.
Facing the window, he had to drive a blow from the shoulder,
he knew now, at a distance of less than two feet; and he did not
know whether it would break through the heavy glass. It might;
he could picture it happening, he could feel it in the nerves of
his arm. And it might not; he could feel that too—feel his fist
striking this glass and being instantaneously flung back by the
unbreaking pane, feel the fingers of his other hand breaking
loose, nails scraping along the casing as he fell.
He waited, arm drawn back, fist balled, but in no hurry
to strike; this pause, he knew, might be an extension of his life.
And to live even a few seconds longer, he felt, even out here
on this ledge in the night, was infinitely better than to die a
moment earlier than he had to. His arm grew tired, and he
brought it down and rested it.
Then he knew that it was time to make the attempt. He
could not kneel here hesitating indefinitely till he lost all
courage to act, waiting till he slipped off the ledge. Again he
drew back his arm, knowing this time that he would not bring
it down till he struck. His elbow protruding over Lexington
Avenue far below, the fingers of his other hand pressed down
bloodlessly tight against the narrow stripping, he waited, feeling
the sick tenseness and terrible excitement building. It grew and
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Underline the sentence inlines 574–579 that explainswhy Tom hesitates.
Examine the word instanta-neously (line 571). Circle thesmaller word within it that is familiar to you. Then,underline its suffix, or word ending. What doesinstantaneously mean?
Pause at line 565. Will Tombe able to break the glass?Explain.
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swelled toward the moment of action, his nerves tautening. He
thought of Clare—just a wordless, yearning thought—and then
drew his arm back just a bit more, fist so tight his fingers pained
him, and knowing he was going to do it. Then with full power,
with every last scrap of strength he could bring to bear, he shot
his arm forward toward the glass, and he said “Clare!”
He heard the sound, felt the blow, felt himself falling
forward, and his hand closed on the living-room curtains, the
shards and fragments of glass showering onto the floor. And
then, kneeling there on the ledge, an arm thrust into the room up
to the shoulder, he began picking away the protruding slivers and
great wedges of glass from the window frame, tossing them in
onto the rug. And, as he grasped the edges of the empty window
frame and climbed into his home, he was grinning in triumph.
He did not lie down on the floor or run through the apartment,
as he had promised himself; even in the first few moments it
seemed to him natural and normal that he should be where he
was. He simply turned to his desk, pulled the crumpled yellow
sheet from his pocket, and laid it down where it had been,
smoothing it out; then he absently laid a pencil across it to
weight it down. He shook his head wonderingly, and turned
to walk toward the closet.
There he got out his topcoat and hat and, without waiting
to put them on, opened the front door and stepped out, to go
find his wife. He turned to pull the door closed and warm air
from the hall rushed through the narrow opening again. As he
saw the yellow paper, the pencil flying, scooped off the desk and,
unimpeded by the glassless window, sail out into the night and
out of his life, Tom Benecke burst into laughter and then closed
the door behind him.
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unimpeded (un≈im·p≤d√id)adj.: not blocked; unobstructed.
Unimpeded has the prefixun–, meaning “not.” If youremove the prefix, you havethe word impeded, meaning“blocked; obstructed.” TheLatin root –pede– means“foot.” Impede comes direct-ly from a Latin word meaning“to hold someone by thefoot.”
At the end of the story, whydoes Tom laugh when hesees the yellow sheet ofpaper fly out the window?
The climax is the most excit-ing part of a story. Underlinethe sentence in lines 588–593that is the climax.
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Contents of the Dead Man’s Pocket 27
Story Map Review the sequence of events in “Contents of the Dead Man’s
Pocket.” Then, fill in the Story Map below.
Contents of the Dead Man’s Pocket
Title
Setting
Characters
Problem
Event 1
Event 2
Event 3
Event 4
Event 5 (Climax)
Resolution
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Complete the sample test item below. The box at the right explains why three of these
choices are not correct.
Contents of the Dead Man’s Pocket
Skills ReviewSkills Review
28 Collection 1: Plot and SettingPart 1
Explanation of the Correct Answer
The correct answer is B.
A is incorrect because Tom’s boss is not
mentioned in the story. C is incorrect be-
cause Tom and his wife haven’t argued.
D is also incorrect; Tom has trouble
lighting the matches, but the matches
present only a minor difficulty.
Sample Test Item
One conflict of the story takes place
between—
A Tom and his boss
B Tom and his own ambition
C Tom and his wife
D Tom and a book of matches
4. The author slows down time by—
F using flashback and foreshadowing
G describing the events moment by
moment
H setting the story on the eleventh-
floor ledge
J focusing on one character
5. At the resolution of “Contents of
the Dead Man’s Pocket” Tom realizes
that—
A work is less important
B work is more important
C family and work are of equal
importance
D family is less important
1. The setting of “Contents of the Dead
Man’s Pocket” provides—
A beauty C suspense
B humor D romance
2. All of the following describe Tom’s
internal conflicts except—
F deciding between work and the
movies
G overcoming his fear
H fighting the temptation to look
down
J rescuing the paper from the ledge
3. In the story’s sequence of events,
which event happens last?
A Tom breaks the window.
B Tom lights the matches.
C Clare goes to the movies.
D Tom steps out onto the ledge.
DIRECTIONS: Answer the following questions by circling the letter of the best response.
Literary SkillsAnalyze time
and sequence.
HRW SE_10-01_1stP_Round 2 4/10/03 12:07 PM Page 28 impos06 108:hrhrs10:hrhrs10ch01:hrs10ch01%0:
Cop
yrig
ht ©
by
Hol
t,R
ineh
art
and
Win
ston
.A
ll ri
ghts
res
erve
d.
Contents of the Dead Man’s Pocket 29
Skills ReviewSkills Review
1. _____ re– a. no; not
2. _____ un– b. forward
3. _____ sub– c. again
4. _____ pro– d. below
Prefixes
DIRECTIONS: Match each prefix with its definition by writing
the correct letter on the line.
Contents of the Dead Man’s Pocket
Vocabulary in Context
DIRECTIONS: Complete the paragraph by writing a word from the word box
to fit in each sentence below. Not all words will be used.
projection
discarding
confirmation
exhalation
incomprehensible
rebounded
unimpeded
irrelevantly
interminable
imperceptibly
Word BoxWord Box Tom crept on the ledge, holding his breath, then let out a great
(1) of air. So (2) did
he move that Tom felt as if he were standing still. He had been on the
ledge, he thought, an (3) length of time.
However, his burning cigarette was (4) that he
had actually been there only a few minutes. Staring at his unreadable,
(5) scrawl on the sheet of paper, he wondered
why the work had seemed so important.
VocabularySkillsUnderstandprefixes. Usewords incontext.
HRW SE_10-01_1stP_Round 2 4/10/03 12:07 PM Page 29 impos06 108:hrhrs10:hrhrs10ch01:hrs10ch01%0:
Student Pages with Answers 3
Co
nte
nts
of
the
Dea
d M
an’s
Po
cket
5
pro
ject
ion
(pr£
·jek√
״n
)n
.:so
met
hin
g t
hat
juts
ou
t fr
om
a s
urf
ace.
Tom
’s pa
per
was
tra
pped
bet
wee
n th
e le
dge
and
the
deco
rati
ve p
roje
ctio
nst
icki
ng o
ut fr
om t
hew
all.
dis
card
ing
(dis
·kär
d√i«
)v.
use
d a
s ad
j.:ab
and
on
-
ing
; get
tin
g r
id o
f.
He
reje
cted
one
pla
n af
ter
anot
her,
disc
ardi
ng
all u
sele
ss id
eas.
con
firm
atio
n(k
än≈f
¥r·m
†√◊
¥n)
n.:
pro
of.
As
con
firm
atio
nth
at h
e co
uld
wal
k on
the
ledg
e,he
mad
e su
re t
hat
it w
as w
ide
enou
gh t
ofi
t hi
s sh
oe.
exh
alat
ion
(eks
≈h¥·
l†√◊
¥n)
n.:
som
eth
ing
bre
ath
ed o
ut;
bre
ath
.
Aft
er h
oldi
ng h
is b
reat
h,To
m fe
lt a
n ex
hala
tion
ofai
r as
he
brea
thed
aga
in.
imp
erce
pti
bly
(im
≈p¥r
·sep
√t¥·
bl≤
)ad
v.:i
n s
uch
a
slig
ht
way
as
to b
e al
mo
st u
nn
oti
ceab
le.
Tom
mov
ed a
long
the
ledg
e im
perc
epti
bly,
taki
ng t
iny,
caut
ious
ste
ps.
reb
ou
nd
ed(r
i·b¡
nd
√id)
v.:b
ou
nce
d b
ack.
Aft
er h
e br
oke
the
win
dow
,Tom
’s ar
mre
bou
nde
d,bo
unci
ng b
ackw
ard
from
the
fo
rce
ofth
e bl
ow.
inte
rmin
able
(in
·t∞
r√m
i·n¥·
b¥l
)ad
j.:en
dle
ss.
Alt
houg
h th
e ti
me
seem
ed i
nte
rmin
able
,Tom
had
been
on
the
ledg
e on
ly a
few
min
utes
.
irre
leva
ntl
y(i
·rel
√¥·v
¥nt·
l≤)
adv.
:in
a w
ay n
ot
rela
tin
g t
o t
he
po
int
or
situ
atio
n.
Tom
tho
ught
irr
elev
antl
yab
out
the
apar
tmen
tfu
rnis
hing
s,as
ifth
e co
zy r
oom
s co
uld
stop
him
from
plu
ngin
g to
his
dea
th.
inco
mp
reh
ensi
ble
(in
·käm
≈pr≤
·hen
√s¥·
b¥l
)ad
j.:
no
t u
nd
erst
and
able
.
The
puz
zlin
g sh
eet
ofpa
per
in h
is p
ocke
t w
ould
be i
nco
mpr
ehen
sibl
eto
any
one
who
foun
d hi
sbo
dy.
un
imp
eded
(un
≈im·p
≤d√id
)ad
j.:n
ot
blo
cked
;
un
ob
stru
cted
.
The
yel
low
pap
er fl
ew o
ut t
he w
indo
w; i
tspr
ogre
ss w
as u
nim
pede
d.
PREV
IEW
SEL
ECTI
ON
VOCA
BULA
RYPr
evie
w t
he
follo
win
g w
ord
s fr
om
th
e st
ory
bef
ore
yo
u b
egin
rea
din
g.
Copyright © by Holt,Rinehart and Winston.All rights reserved.
PREF
IXES
Just
by
add
ing
a f
ew le
tter
s u
p f
ron
t, y
ou
can
tu
rn a
pp
ear
into
rea
pp
ear,
likel
y in
to u
nlik
ely,
and
fre
ezin
gin
to s
ub
free
zin
g. R
e–, u
n–,
and
su
b–
are
pre
fixe
s,w
ord
par
ts t
hat
att
ach
to
th
e fr
on
t o
f a
wo
rd o
r w
ord
ro
ot
to
chan
ge
its
mea
nin
g. R
e–m
ean
s “a
gai
n”;
un
–m
ean
s “n
ot”
; su
b–
mea
ns
“bel
ow
.”
As
you
rea
d, l
oo
k fo
r w
ord
s w
ith
th
ese
or
oth
er p
refi
xes.
Use
yo
ur
kno
wle
dg
e o
f p
refi
xes
to h
elp
yo
u f
igu
re o
ut
the
mea
nin
gs
of
som
e
un
fam
iliar
wo
rds.
4C
olle
ctio
n 1
:Pl
ot
and
Set
tin
gPa
rt 1
“Co
nte
nts
of
the
Dea
d M
an’s
Po
cket
” is
fu
ll o
f su
spen
se, a
s th
e m
ain
ch
arac
ter
face
s a
seri
es o
f lif
e-an
d-d
eath
dec
isio
ns.
Sta
y ca
lm a
nd
rea
d t
he
sto
ry c
aref
ully
,
on
e st
ep a
t a
tim
e, a
nd
wh
atev
er y
ou
do
—d
on
’t lo
ok
do
wn
!
LITE
RARY
FO
CUS:
TIM
E AN
D SE
QUE
NCE
Mo
st s
ho
rt s
tori
es c
an b
e re
ad in
on
e si
ttin
g, u
sual
ly in
less
th
an a
n h
ou
r.
The
even
ts in
a s
ho
rt s
tory
, ho
wev
er, m
ay s
pan
ho
urs
, wee
ks, m
on
ths,
or
year
s. “
Co
nte
nts
of
the
Dea
d M
an’s
Po
cket
” is
str
ikin
g b
ecau
se it
s ev
ents
take
pla
ce in
“re
al t
ime.
” In
oth
er w
ord
s, t
he
tim
e it
tak
es y
ou
to
rea
d t
he
sto
ry r
ou
gh
ly e
qu
als
the
tim
e fr
ame
of
the
sto
ry it
self
.
•A
s yo
u r
ead
, no
tice
ho
w t
he
slo
wn
ess
of
the
tim
e fr
ame
hel
ps
crea
te
susp
ense
.
•A
s ev
ents
un
fold
, pay
att
enti
on
to
th
e m
ain
ch
arac
ter’
s in
tern
al c
on
flic
t:
his
str
ug
gle
ag
ain
st f
ear.
READ
ING
SKIL
LS:
UNDE
RSTA
NDIN
G CA
USE
AND
EFFE
CTA
cau
seis
wh
at m
akes
so
met
hin
g h
app
en. A
n e
ffec
tis
th
e re
sult
, or
wh
at
hap
pen
s. Im
agin
e, f
or
exam
ple
, th
at a
hu
rric
ane
blo
ws
thro
ug
h a
sea
sid
e
tow
n. T
he
fier
ce w
ind
s o
vert
urn
bo
ats
and
des
tro
y h
ou
ses.
Th
e w
ind
s ar
e
the
cau
se. T
he
effe
ct, o
r re
sult
, is
the
dam
age.
In a
wel
l-w
ritt
en s
tory
, th
e ev
ents
th
at m
ake
up
th
e p
lot
are
clo
sely
rel
ated
:
On
e ev
ent
cau
ses
ano
ther
eve
nt,
wh
ich
lead
s to
an
oth
er e
ven
t, a
nd
so
on
.
To f
ind
a c
ause
, ask
yo
urs
elf,
“W
hy
did
th
is e
ven
t h
app
en?”
To
iden
tify
an
effe
ct, a
sk y
ou
rsel
f, “
Wh
at h
app
ened
as
a re
sult
of
this
eve
nt?
” K
eep
in
min
d t
hat
an
eff
ect,
or
resu
lt, c
an s
tem
fro
m s
ever
al c
ause
s, a
nd
th
at o
ne
cau
se c
an le
ad t
o s
ever
al e
ffec
ts.
To h
elp
yo
u t
rack
cau
se-a
nd
-eff
ect
rela
tio
nsh
ips
as y
ou
rea
d, f
ill in
a c
har
t
like
the
on
e b
elo
w. I
n t
he
left
-han
d c
olu
mn
, lis
t th
e ca
use
; in
th
e ri
gh
t-h
and
colu
mn
, lis
t th
e ef
fect
. Th
e fi
rst
on
e h
as b
een
do
ne
as a
n e
xam
ple
.
Copyright © by Holt,Rinehart and Winston.All rights reserved.
Cont
ents
of
the
Dead
Man
’sPo
cket
by
Jack
Fin
ney
Lit
era
ry S
kills
Und
erst
and
tim
e an
dse
quen
ce.
Readin
gSkills
Und
erst
and
caus
e an
def
fect
.
Voca
bula
rySkills
Und
erst
and
pref
ixes
.
The
apar
tmen
t d
oo
r is
op
ened
.A
sh
eet
of
yello
w p
aper
is b
low
n
ou
t th
e w
ind
ow
.
Ca
use
Eff
ect
Collection 1Student Pages 4–5
4 The Holt Reader: Teacher’s Manual
Copyright © by Holt,Rinehart and Winston.All rights reserved.
Bu
t st
ill h
e di
dn’t
beg
in h
is w
ork.
He
cros
sed
the
room
to
the
hal
lway
en
tran
ce a
nd,
lean
ing
agai
nst
th
e do
orja
mb,
han
ds
shov
ed in
to h
is b
ack
pock
ets
agai
n,h
e ca
lled,
“Cla
re?”
Wh
en h
is
wif
e an
swer
ed,h
e sa
id,“
Sure
you
don
’t m
ind
goin
g al
one?
”
“No.
”H
er v
oice
was
mu
ffle
d,an
d h
e kn
ew h
er h
ead
and
shou
lder
s w
ere
in t
he
bedr
oom
clo
set.
Th
en t
he
tap
ofh
er h
igh
hee
ls s
oun
ded
on t
he
woo
d fl
oor,
and
she
appe
ared
at
the
end
of
the
littl
e h
allw
ay,w
eari
ng
a sl
ip,b
oth
han
ds r
aise
d to
on
e ea
r,30
Co
nte
nts
of
the
Dea
d M
an’s
Po
cket
7
Notes
Notes
© P
ete
Seaw
ard
/Get
ty Im
ages
.
Copyright © by Holt,Rinehart and Winston.All rights reserved.
At
the
littl
e liv
ing-
room
des
k To
m B
enec
ke r
olle
d tw
o sh
eets
offl
imsy
1an
d a
hea
vier
top
sh
eet,
carb
on p
aper
san
dwic
hed
betw
een
th
em,i
nto
his
por
tabl
e.In
tero
ffic
e M
emo,
the
top
shee
t
was
hea
ded,
and
he
type
d to
mor
row
’s d
ate
just
bel
ow t
his
;th
en
he
glan
ced
at a
cre
ased
yel
low
sh
eet,
cove
red
wit
h h
is o
wn
han
d-
wri
tin
g,be
side
th
e ty
pew
rite
r.“H
ot in
her
e,”
he
mu
tter
ed t
o
him
self
.Th
en,f
rom
th
e sh
ort
hal
lway
at
his
bac
k,h
e h
eard
th
e
mu
ffle
d cl
ang
ofw
ire
coat
han
gers
in t
he
bedr
oom
clo
set,
and
at t
his
rem
inde
r of
wh
at h
is w
ife
was
doi
ng
he
thou
ght:
hot
guilt
y co
nsc
ien
ce.
He
got
up,
shov
ing
his
han
ds in
to t
he
back
poc
kets
of
his
gray
was
h s
lack
s,st
eppe
d to
th
e liv
ing-
room
win
dow
bes
ide
the
desk
an
d st
ood
brea
thin
g on
th
e gl
ass,
wat
chin
g th
e ex
pan
din
g
circ
let
ofm
ist,
star
ing
dow
n t
hro
ugh
th
e au
tum
n n
igh
t at
Lexi
ngt
on A
ven
ue,
2el
even
sto
ries
bel
ow.H
e w
as a
tal
l,le
an,
dark
-hai
red
you
ng
man
in a
pu
llove
r sw
eate
r,w
ho
look
ed a
s
thou
gh h
e h
ad p
laye
d n
ot f
ootb
all,
prob
ably
,bu
t ba
sket
ball
in
colle
ge.N
ow h
e pl
aced
th
e h
eels
of
his
han
ds a
gain
st t
he
top
edge
of
the
low
er w
indo
w f
ram
e an
d sh
oved
upw
ard.
Bu
t as
usu
al t
he
win
dow
did
n’t
budg
e,an
d h
e h
ad t
o lo
wer
his
han
ds
and
then
sh
oot
them
har
d u
pwar
d to
jolt
th
e w
indo
w o
pen
a
few
inch
es.H
e du
sted
his
han
ds,m
utt
erin
g.
10 20
6C
olle
ctio
n 1
:Pl
ot
and
Set
tin
gPa
rt 1
Jack
Fin
ney
Sett
ing
is t
he
tim
e an
d p
lace
of
a st
ory
. Un
der
line
the
wo
rds
in li
ne
15 t
hat
tel
l h
ow
far
ab
ove
th
e st
reet
Tom
’s a
par
tmen
t is
.
1.fl
imsy
n.:
thin
pap
er u
sed
fo
r ty
pin
g c
arb
on
co
pie
s. B
efo
re c
om
pu
ters
and
co
pyi
ng
mac
hin
es, c
op
ies
of
bu
sin
ess
com
mu
nic
atio
ns
wer
em
ade
wit
h c
arb
on
pap
er.
2.Le
xin
gto
n A
ven
ue:
on
e o
f th
e m
ain
str
eets
in N
ew Y
ork
Cit
y.
Port
able
is u
sual
ly a
n a
dje
c-ti
ve, m
ean
ing
“ab
le t
o b
eca
rrie
d.”
Her
e, in
lin
e 3,
th
ew
ord
is a
no
un
, nam
ing
ath
ing
. Rea
d o
n, a
nd
cir
cle
wh
at p
ort
able
refe
rs t
o.
“Co
nte
nts
of
the
Dea
d M
an’s
Po
cket
” b
y Ja
ck F
inn
ey. C
op
yrig
ht
© 1
956
by
Cro
wel
l-C
olli
er C
om
pan
y;
cop
yrig
ht
ren
ewed
© 1
984
by
Jack
Fin
ney
. Rep
rin
ted
by
per
mis
sio
n o
f D
on
Co
ng
do
n A
sso
ciat
es, I
nc.
Collection 1Student Pages 6–7
Student Pages with Answers 5
smal
ler
open
ing
now
,su
dden
ly r
ush
ed p
ast
him
wit
h a
ccel
erat
ed
forc
e.B
ehin
d h
im h
e h
eard
th
e sl
ap o
fth
e w
indo
w c
urt
ain
s
agai
nst
th
e w
all a
nd
the
sou
nd
ofpa
per
flu
tter
ing
from
his
des
k,
and
he
had
to
push
to
clos
e th
e do
or.
Turn
ing,
he
saw
a s
hee
t of
wh
ite
pap
er d
rift
ing
to t
he
floo
r
in a
ser
ies
ofar
cs,a
nd
anot
her
sh
eet,
yello
w,m
ovin
g to
war
d th
e
win
dow
,cau
ght
in t
he
dyin
g cu
rren
t fl
owin
g th
rou
gh t
he
nar
-
row
ope
nin
g.A
s h
e w
atch
ed,t
he
pap
er s
tru
ck t
he
bott
om e
dge
ofth
e w
indo
w a
nd
hun
g th
ere
for
an in
stan
t,pl
aste
red
agai
nst
the
glas
s an
d w
ood.
Th
en a
s th
e m
ovin
g ai
r st
illed
com
plet
ely,
the
curt
ain
s sw
ingi
ng
back
fro
m t
he
wal
l to
han
g fr
ee a
gain
,he
saw
th
e ye
llow
sh
eet
drop
to
the
win
dow
ledg
e an
d sl
ide
over
out
ofsi
ght.
He
ran
acr
oss
the
room
,gra
sped
th
e bo
ttom
of
the
win
dow
and
tugg
ed,s
tari
ng
thro
ugh
th
e gl
ass.
He
saw
th
e ye
llow
sh
eet,
dim
ly n
ow in
th
e da
rkn
ess
outs
ide,
lyin
g on
th
e or
nam
enta
l
ledg
e a
yard
bel
ow t
he
win
dow
.Eve
n a
s h
e w
atch
ed,i
t w
as
mov
ing,
scra
pin
g sl
owly
alo
ng
the
ledg
e,pu
shed
by
the
bree
ze
that
pre
ssed
ste
adily
aga
inst
th
e bu
ildin
g w
all.
He
hea
ved
on t
he
win
dow
wit
h a
ll h
is s
tren
gth
,an
d it
sh
ot o
pen
wit
h a
ban
g,th
e
win
dow
wei
ght
ratt
ling
in t
he
casi
ng.
Bu
t th
e pa
per
was
pas
t
his
rea
ch a
nd,
lean
ing
out
into
th
e n
igh
t,h
e w
atch
ed it
scu
d3
stea
dily
alo
ng
the
ledg
e to
th
e so
uth
,hal
fpl
aste
red
agai
nst
th
e
build
ing
wal
l.A
bove
th
e m
uff
led
sou
nd
ofth
e st
reet
tra
ffic
far
belo
w,h
e co
uld
hea
r th
e dr
y sc
rape
of
its
mov
emen
t,lik
e a
leaf
on t
he
pave
men
t.
Th
e liv
ing
room
of
the
nex
t ap
artm
ent
to t
he
sou
th
proj
ecte
d a
yard
or
mor
e fu
rth
er o
ut
tow
ard
the
stre
et t
han
th
is
one;
beca
use
of
this
th
e B
enec
kes
paid
sev
en a
nd
a h
alf
dolla
rs
less
ren
t th
an t
hei
r n
eigh
bors
.An
d n
ow t
he
yello
w s
hee
t,sl
idin
g
alon
g th
e st
one
ledg
e,n
earl
y in
visi
ble
in t
he
nig
ht,
was
sto
pped
by t
he
proj
ecti
ng
blan
k w
all o
fth
e n
ext
apar
tmen
t.It
lay
mot
ion
less
,th
en,i
n t
he
corn
er f
orm
ed b
y th
e tw
o w
alls
—a
good
five
yar
ds a
way
,pre
ssed
fir
mly
aga
inst
th
e or
nat
e co
rner
70 80 90
Co
nte
nts
of
the
Dea
d M
an’s
Po
cket
9
Copyright © by Holt,Rinehart and Winston.All rights reserved.
Pau
se a
t lin
e 76
. Wh
at h
ap-
pen
s w
hen
th
e w
ind
ru
shes
thro
ug
h t
he
apar
tmen
t?
A y
ello
w s
hee
t o
f
pap
er b
low
s o
ut
the
win
do
w a
nd
ou
t o
f
sig
ht.
Cir
cle
the
pre
fix
in t
he
wo
rdin
visi
ble
(lin
e 94
). W
hat
do
esth
e p
refi
x m
ean
? W
hat
do
esin
visi
ble
mea
n?
Pref
ix in
–m
ean
s “n
ot”
;
invi
sib
lem
ean
s “n
ot
able
to
be
seen
.”
3.sc
ud
v.:g
lide
or
mo
ve s
wif
tly.
clip
pin
g on
an
ear
rin
g.Sh
e sm
iled
at h
im—
a sl
ende
r,ve
ry p
rett
y
girl
wit
h li
ght
brow
n,a
lmos
t bl
ond,
hai
r—h
er p
rett
ines
s em
pha-
size
d by
th
e pl
easa
nt
nat
ure
th
at s
how
ed in
her
fac
e.“I
t’s ju
st
that
I h
ate
you
to
mis
s th
is m
ovie
;you
wan
ted
to s
ee it
,too
.”
“Yea
h,I
kn
ow.”
He
ran
his
fin
gers
th
rou
gh h
is h
air.
“Got
to
get
this
don
e,th
ough
.”
She
nod
ded,
acce
ptin
g th
is.T
hen
,gla
nci
ng
at t
he
desk
acro
ss t
he
livin
g ro
om,s
he
said
,“Yo
u w
ork
too
mu
ch,t
hou
gh,
Tom
—an
d to
o h
ard.
”
He
smile
d.“Y
ou w
on’t
min
d,th
ough
,will
you
,wh
en t
he
mon
ey c
omes
rol
ling
in a
nd
I’m
kn
own
as
the
Boy
Wiz
ard
of
Wh
oles
ale
Gro
ceri
es?”
“I g
ues
s n
ot.”
She
smile
d an
d tu
rned
bac
k to
war
d th
e
bedr
oom
.
At
his
des
k ag
ain
,Tom
ligh
ted
a ci
gare
tte;
then
a f
ew m
omen
ts
late
r,as
Cla
re a
ppea
red,
dres
sed
and
read
y to
leav
e,h
e se
t it
on
the
rim
of
the
ash
tray
.“Ju
st a
fter
sev
en,”
she
said
.“I
can
mak
e
the
begi
nn
ing
ofth
e fi
rst
feat
ure
.”
He
wal
ked
to t
he
fron
t-do
or c
lose
t to
hel
p h
er o
n w
ith
her
coat
.He
kiss
ed h
er t
hen
an
d,fo
r an
inst
ant,
hol
din
g h
er c
lose
,
smel
ling
the
perf
um
e sh
e h
ad u
sed,
he
was
tem
pted
to
go w
ith
her
;it
was
not
act
ual
ly t
rue
that
he
had
to
wor
k to
nig
ht,
thou
gh
he v
ery
mu
ch w
ante
d to
.Thi
s w
as h
is o
wn
pro
ject
,un
ann
oun
ced
as y
et in
his
off
ice,
and
it c
ould
be
post
pon
ed.B
ut
then
th
ey
won
’t s
ee it
till
Mon
day,
he
thou
ght
once
aga
in,a
nd
ifI
give
it t
o
the
boss
tom
orro
w h
e m
igh
t re
ad it
ove
r th
e w
eeke
nd
...“
Hav
e
a go
od t
ime,
”h
e sa
id a
lou
d.H
e ga
ve h
is w
ife
a lit
tle
swat
an
d
open
ed t
he
door
for
her
,fee
ling
the
air
from
th
e bu
ildin
g h
all-
way
,sm
ellin
g fa
intl
y of
floo
r w
ax,s
trea
m g
entl
y pa
st h
is f
ace.
He
wat
ched
her
wal
k do
wn
th
e h
all,
flic
ked
a h
and
in
resp
onse
as
she
wav
ed,a
nd
then
he
star
ted
to c
lose
th
e do
or,
but
it r
esis
ted
for
a m
omen
t.A
s th
e do
or o
pen
ing
nar
row
ed,t
he
curr
ent
ofw
arm
air
fro
m t
he
hal
lway
,ch
ann
eled
th
rou
gh t
his
40 50 60
8C
olle
ctio
n 1
:Pl
ot
and
Set
tin
gPa
rt 1
Copyright © by Holt,Rinehart and Winston.All rights reserved.
Cir
cle
the
wo
rds
in li
nes
35–3
6 th
at t
ell w
hy
Tom
isst
ayin
g h
om
e. W
hat
do
his
wo
rds
tell
you
ab
ou
t w
hat
Tom
val
ues
mo
st a
t th
eb
egin
nin
g o
f th
e st
ory
?
He
valu
es s
ucc
ess
and
mo
ney
.
Un
der
line
the
ph
rase
in li
nes
50–5
3 th
at t
ells
wh
at T
om
iste
mp
ted
to d
o. C
ircl
e th
ese
nte
nce
th
at t
ells
wh
at
he
“ver
y m
uch
wan
ted
” to
do
. Ho
w d
oes
To
m r
eso
lve
this
inte
rnal
co
nfl
ict?
Tom
dec
ides
to
sta
y
ho
me
and
wo
rk
inst
ead
of
go
ing
to
th
e
mo
vies
wit
h h
is w
ife.
Collection 1Student Pages 8–9
6 The Holt Reader: Teacher’s Manual
Copyright © by Holt,Rinehart and Winston.All rights reserved.
140
Co
nte
nts
of
the
Dea
d M
an’s
Po
cket
11
in p
ay—
not
imm
edia
tely
,any
way
,or
as a
dir
ect
resu
lt.I
t w
on’t
brin
g m
e a
prom
otio
n e
ith
er,h
e ar
gued
—n
ot o
fit
self
.
Bu
t ju
st t
he
sam
e—an
d h
e co
uld
n’t
esca
pe
the
thou
ght—
this
and
oth
er in
depe
nde
nt
proj
ects
,som
e al
read
y do
ne
and
oth
ers
plan
ned
for
th
e fu
ture
,wou
ld g
radu
ally
mar
k h
im o
ut
from
th
e
scor
e of
oth
er y
oun
g m
en in
his
com
pany
.Th
ey w
ere
the
way
to
chan
ge f
rom
a n
ame
on t
he
payr
oll t
o a
nam
e in
th
e m
inds
of
the
com
pany
off
icia
ls.T
hey
wer
e th
e be
gin
nin
g of
the
lon
g,lo
ng
clim
b to
wh
ere
he
was
det
erm
ined
to
be—
at t
he
very
top
.An
d
he
knew
he
was
goi
ng
out
ther
e in
th
e da
rkn
ess,
afte
r th
e ye
llow
shee
t fi
ftee
n f
eet
beyo
nd
his
rea
ch.
By
a ki
nd
ofin
stin
ct,h
e in
stan
tly
bega
n m
akin
g h
is in
ten
-
tion
acc
epta
ble
to h
imse
lfby
lau
ghin
g at
it.T
he
men
tal p
ictu
re
ofh
imse
lfsi
dlin
g al
ong
the
ledg
e ou
tsid
e w
as a
bsu
rd—
it w
as
actu
ally
com
ical
—an
d h
e sm
iled.
He
imag
ined
him
self
desc
rib-
ing
it;i
t w
ould
mak
e a
good
sto
ry a
t th
e of
fice
an
d,it
occ
urr
ed
Notes
Notes
Re-
read
lin
es 1
33–1
41. W
hat
can
yo
u in
fer
abo
ut
Tom
by
his
th
ou
gh
ts?
He
is a
mb
itio
us.
© N
at N
orm
an/G
etty
Imag
es.
orn
amen
t of
the
ledg
e by
th
e br
eeze
th
at m
oved
pas
t To
m
Ben
ecke
’s f
ace.
He
knel
t at
th
e w
indo
w a
nd
star
ed a
t th
e ye
llow
pap
er f
or a
full
min
ute
or
mor
e,w
aiti
ng
for
it t
o m
ove,
to s
lide
off
the
ledg
e
and
fall,
hop
ing
he
cou
ld f
ollo
w it
s co
urs
e to
th
e st
reet
,an
d th
en
hurr
y do
wn
in t
he
elev
ator
an
d re
trie
ve it
.Bu
t it
did
n’t
mov
e,
and
then
he
saw
th
at t
he
pape
r w
as c
augh
t fi
rmly
bet
wee
n a
pro
ject
ion
ofth
e co
nvol
ute
d4co
rner
orn
amen
t an
d th
e le
dge.
He
thou
ght
abou
t th
e po
ker
from
th
e fi
repl
ace,
then
th
e br
oom
,
then
th
e m
op—
dis
card
ing
each
th
ough
t as
it o
ccu
rred
to
him
.
Th
ere
was
not
hin
g in
th
e ap
artm
ent
lon
g en
ough
to
reac
h
that
pap
er.
It w
as h
ard
for
him
to
un
ders
tan
d th
at h
e ac
tual
ly h
ad t
o
aban
don
it—
it w
as r
idic
ulo
us—
and
he
bega
n t
o cu
rse.
Of
all t
he
pape
rs o
n h
is d
esk,
why
did
it h
ave
to b
e th
is o
ne
in p
arti
cula
r!
On
fou
r lo
ng
Satu
rday
aft
ern
oon
s h
e h
ad s
tood
in s
upe
rmar
kets
,
cou
nti
ng
the
peo
ple
wh
o pa
ssed
cer
tain
dis
play
s,an
d th
e re
sult
s
wer
e sc
ribb
led
on t
hat
yel
low
sh
eet.
From
sta
cks
oftr
ade
publ
i-
cati
ons,
gon
e ov
er p
age
by p
age
in s
nat
ched
hal
fh
ours
at
wor
k
and
duri
ng
even
ings
at
hom
e,h
e h
ad c
opie
d fa
cts,
quot
atio
ns,
and
figu
res
onto
th
at s
hee
t.A
nd
he
had
car
ried
it w
ith
him
to
the
Pu
blic
Lib
rary
on
Fif
th A
ven
ue,
wh
ere
he’
d sp
ent
a do
zen
lun
ch h
ours
an
d ea
rly
even
ings
add
ing
mor
e.A
ll w
ere
nee
ded
to
supp
ort
and
len
d au
thor
ity
to h
is id
ea f
or a
new
gro
cery
-sto
re
disp
lay
met
hod
;wit
hou
t th
em h
is id
ea w
as a
mer
e op
inio
n.A
nd
ther
e th
ey a
ll la
y,in
his
ow
n im
prov
ised
sh
orth
and—
cou
ntl
ess
hou
rs o
fw
ork—
out
ther
e on
th
e le
dge.
For
man
y se
con
ds h
e be
lieve
d h
e w
as g
oin
g to
aba
ndo
n t
he
yello
w s
hee
t,th
at t
her
e w
as n
oth
ing
else
to
do.T
he
wor
k co
uld
be d
upl
icat
ed.B
ut
it w
ould
tak
e tw
o m
onth
s,an
d th
e ti
me
to
pres
ent
this
idea
was
now
,for
use
in t
he s
prin
g di
spla
ys.H
e st
ruck
his
fis
t on
th
e w
indo
w le
dge.
Th
en h
e sh
rugg
ed.E
ven
th
ough
his
plan
was
ado
pted
,he
told
him
self
,it
wou
ldn’
t br
ing
him
a r
aise
100
110
120
130
10
Co
llect
ion
1:
Plo
t an
d S
etti
ng
Part
1
Copyright © by Holt,Rinehart and Winston.All rights reserved.
Aft
er r
ead
ing
lin
es 1
25–1
41,
wh
at d
o y
ou
pre
dic
tTo
m
will
do
?
Sam
ple
an
swer
: To
m
will
go
ou
t o
n t
he
led
ge
to t
ry t
o r
escu
e
the
yello
w p
aper
.
pro
ject
ion
(pr£
·jek√
״n
)n
.:so
met
hin
g t
hat
juts
ou
t fr
om
a su
rfac
e.
Pro
–is
a L
atin
pre
fix
mea
nin
g“f
orw
ard
”; t
he
roo
t –j
ect–
mea
ns
“th
row
” o
r “t
hru
st.”
dis
card
ing
(dis
·kär
d√i«
)v.
use
d a
s ad
j.:ab
and
on
ing
;g
etti
ng
rid
of.
Pau
se a
t lin
e 12
4. W
hy
is t
he
yello
w p
aper
so
imp
ort
ant
toTo
m?
Un
der
line
the
det
ails
that
tel
l yo
u w
hy.
4.co
nvo
lute
d(k
än√v
¥·lº
t≈id
)ad
j.:in
tric
ate;
co
iled
.
Collection 1Student Pages 10–11
Student Pages with Answers 7
Firs
t h
is r
igh
t h
and,
then
his
left
,he
care
fully
sh
ifte
d h
is
fin
gert
ip g
rip
from
th
e pu
ttyl
ess
win
dow
edg
ing
to a
n in
den
ted
row
of
bric
ks d
irec
tly
to h
is r
igh
t.It
was
har
d to
tak
e th
e fi
rst
shu
fflin
g si
dew
ays
step
th
en—
to m
ake
him
self
mov
e—an
d th
e
fear
sti
rred
in h
is s
tom
ach
,bu
t h
e di
d it
,aga
in b
y n
ot a
llow
ing
him
self
tim
e to
th
ink.
An
d n
ow—
wit
h h
is c
hes
t,st
omac
h,a
nd
the
left
sid
e of
his
fac
e pr
esse
d ag
ain
st t
he
rou
gh c
old
bric
k—h
is
ligh
ted
apar
tmen
t w
as s
udd
enly
gon
e,an
d it
was
mu
ch d
arke
r
out
her
e th
an h
e h
ad t
hou
ght.
Wit
hou
t pa
use
he
con
tin
ued
—ri
ght
foot
,lef
t fo
ot,r
igh
t
foot
,lef
t—h
is s
hoe
sol
es s
huff
ling
and
scra
pin
g al
ong
the
rou
gh
ston
e,n
ever
lift
ing
from
it,f
inge
rs s
lidin
g al
ong
the
expo
sed
edgi
ng
ofbr
ick.
He
mov
ed o
n t
he
balls
of
his
fee
t,h
eels
lift
ed
slig
htl
y;th
e le
dge
was
not
qu
ite
as w
ide
as h
e’d
expe
cted
.Bu
t
lean
ing
slig
htl
y in
war
d to
war
d th
e fa
ce o
fth
e bu
ildin
g an
d
pres
sed
agai
nst
it,h
e co
uld
fee
l his
bal
ance
fir
m a
nd
secu
re,a
nd
mov
ing
alon
g th
e le
dge
was
qu
ite
as e
asy
as h
e h
ad t
hou
ght
it
wou
ld b
e.H
e co
uld
hea
r th
e bu
tton
s of
his
jack
et s
crap
ing
stea
dily
alo
ng
the
rou
gh b
rick
s an
d fe
el t
hem
cat
ch m
omen
-
tari
ly,t
ugg
ing
a lit
tle,
at e
ach
mor
tare
d cr
ack.
He
sim
ply
did
not
per
mit
him
self
to lo
ok d
own
,th
ough
th
e co
mpu
lsio
n5
to
do s
o n
ever
left
him
;nor
did
he
allo
w h
imse
lfac
tual
ly t
o th
ink.
Mec
han
ical
ly—
righ
t fo
ot,l
eft
foot
,ove
r an
d ag
ain
—h
e sh
uff
led
alon
g cr
abw
ise,
wat
chin
g th
e pr
ojec
tin
g w
all a
hea
d lo
om s
tead
ily
clos
er..
..
Th
en h
e re
ach
ed it
,an
d at
th
e co
rner
—h
e’d
deci
ded
how
he
was
goin
g to
pic
k u
p th
e pa
per—
he
lifte
d h
is r
igh
t fo
ot a
nd
plac
ed
it c
aref
ully
on
th
e le
dge
that
ran
alo
ng
the
proj
ecti
ng
wal
l at
a
righ
t an
gle
to t
he
ledg
e on
wh
ich
his
oth
er f
oot
rest
ed.A
nd
now
,
faci
ng
the
build
ing,
he
stoo
d in
th
e co
rner
for
med
by
the
two
wal
ls,o
ne
foot
on
th
e le
dgin
g of
each
,a h
and
on t
he
shou
lder
-
hig
h in
den
tati
on o
fea
ch w
all.
His
for
ehea
d w
as p
ress
ed d
irec
tly
into
th
e co
rner
aga
inst
th
e co
ld b
rick
s,an
d n
ow h
e ca
refu
lly
190
200
210
Co
nte
nts
of
the
Dea
d M
an’s
Po
cket
13
Copyright © by Holt,Rinehart and Winston.All rights reserved.
Pau
se a
t lin
e 20
5. W
hy
do
esn
’t T
om
per
mit
him
self
to lo
ok
do
wn
?
If h
e lo
oks
do
wn
, he
mig
ht
pan
ic a
nd
lose
his
bal
ance
.
5.co
mp
uls
ion
n.:
dri
vin
g f
orc
e.
In li
nes
181
–189
, no
tice
ho
wti
me
seem
s to
slo
w d
ow
n a
sTo
m t
ries
to
ove
rco
me
his
fear
. Un
der
line
det
ails
th
atsh
ow
th
at t
ime
is p
assi
ng
slo
wly
.
Copyright © by Holt,Rinehart and Winston.All rights reserved.
150
160
170
180
12
Co
llect
ion
1:
Plo
t an
d S
etti
ng
Part
1
con
firm
atio
n(k
än≈f
¥r·m
†√◊
¥n)
n.:
pro
of.
Co
nfi
rmat
ion
com
es f
rom
th
eLa
tin
wo
rd f
irm
us,
mea
nin
g“s
tro
ng
.” W
hat
oth
er E
ng
lish
wo
rds
are
fro
m t
his
ro
ot?
Poss
ible
an
swer
s: f
irm
,
affi
rm
Pau
se a
t lin
e 17
6, a
nd
co
nsi
d-
er w
hat
has
hap
pen
ed s
o f
ar.
In y
ou
r o
wn
wo
rds,
exp
lain
wh
y To
m d
ecid
es t
o g
o o
ut
on
th
e le
dg
e.
Sam
ple
exp
lan
atio
n:
He
nee
ds
the
pap
er t
o
wri
te h
is r
epo
rt. H
e
ho
pes
th
at t
he
rep
ort
will
lead
to
a p
rom
o-
tio
n a
nd
a r
aise
.
Cir
cle
the
wo
rds
in li
nes
177–
180
that
des
crib
e th
ese
con
d s
etti
ng
in t
he
sto
ry.
Ho
w d
oes
th
e n
ew s
etti
ng
incr
ease
th
e su
spen
se?
Sam
ple
an
swer
:
A le
dg
e is
a m
ore
dan
ger
ou
s p
lace
to
be
than
insi
de
an
apar
tmen
t.
to h
im,w
ould
add
a s
pec
ial i
nte
rest
an
d im
port
ance
to
his
mem
oran
dum
,wh
ich
wou
ld d
o it
no
har
m a
t al
l.
To s
impl
y go
ou
t an
d ge
t h
is p
aper
was
an
eas
y ta
sk—
he
cou
ld b
e ba
ck h
ere
wit
h it
in le
ss t
han
tw
o m
inu
tes—
and
he
knew
he
was
n’t
dece
ivin
g h
imse
lf.T
he
ledg
e,h
e sa
w,m
easu
rin
g
it w
ith
his
eye
,was
abo
ut
as w
ide
as t
he
len
gth
of
his
sh
oe,a
nd
perf
ectl
y fl
at.A
nd
ever
y fi
fth
row
of
bric
k in
th
e fa
ce o
fth
e
build
ing,
he
rem
embe
red—
lean
ing
out,
he
veri
fied
th
is—
was
inde
nte
d h
alf
an in
ch,e
nou
gh f
or t
he
tips
of
his
fin
gers
,en
ough
to m
ain
tain
bal
ance
eas
ily.I
t oc
curr
ed t
o h
im t
hat
ifth
is le
dge
and
wal
l wer
e on
ly a
yar
d ab
oveg
rou
nd—
as h
e kn
elt
at t
he
win
dow
sta
rin
g ou
t,th
is t
hou
ght
was
th
e fi
nal
con
firm
atio
n
ofh
is in
ten
tion
—h
e co
uld
mov
e al
ong
the
ledg
e in
defi
nit
ely.
On
a s
udd
en im
puls
e,h
e go
t to
his
fee
t,w
alke
d to
th
e fr
ont
clos
et,a
nd
took
ou
t an
old
tw
eed
jack
et;i
t w
ould
be
cold
ou
tsid
e.
He
put
it o
n a
nd
butt
oned
it a
s h
e cr
osse
d th
e ro
om r
apid
ly
tow
ard
the
open
win
dow
.In
th
e ba
ck o
fh
is m
ind
he
knew
he’
d
bett
er h
urr
y an
d ge
t th
is o
ver
wit
h b
efor
e h
e th
ough
t to
o m
uch
,
and
at t
he
win
dow
he
didn
’t a
llow
him
self
to h
esit
ate.
He
swu
ng
a le
g ov
er t
he
sill,
then
fel
t fo
r an
d fo
un
d th
e
ledg
e a
yard
bel
ow t
he
win
dow
wit
h h
is f
oot.
Gri
ppin
g th
e
bott
om o
fth
e w
indo
w f
ram
e ve
ry t
igh
tly
and
care
fully
,he
slow
ly
duck
ed h
is h
ead
un
der
it,f
eelin
g on
his
fac
e th
e su
dden
ch
ange
from
th
e w
arm
air
of
the
room
to
the
chill
ou
tsid
e.W
ith
infi
nit
e
care
he
brou
ght
out
his
oth
er le
g,h
is m
ind
con
cen
trat
ing
on
wh
at h
e w
as d
oin
g.T
hen
he
slow
ly s
tood
ere
ct.M
ost
ofth
e
putt
y,dr
ied
out
and
brit
tle,
had
dro
pped
off
the
bott
om e
dgin
g
ofth
e w
indo
w f
ram
e,h
e fo
un
d,an
d th
e fl
at w
oode
n e
dgin
g
prov
ided
a g
ood
grip
pin
g su
rfac
e,a
hal
fin
ch o
r m
ore
deep
,for
the
tips
of
his
fin
gers
.
Now
,bal
ance
d ea
sily
an
d fi
rmly
,he
stoo
d on
th
e le
dge
outs
ide
in t
he
slig
ht,
chill
bre
eze,
elev
en s
tori
es a
bove
th
e st
reet
,
star
ing
into
his
ow
n li
ghte
d ap
artm
ent,
odd
and
diff
eren
t-
seem
ing
now
.
Collection 1Student Pages 12–13
8 The Holt Reader: Teacher’s Manual
the
corn
er a
gain
,squ
eezi
ng
and
push
ing
into
it,n
ot o
nly
his
fac
e
but
his
ch
est
and
stom
ach
,his
bac
k ar
chin
g;an
d h
is f
inge
rtip
s
clu
ng
wit
h a
ll th
e pr
essu
re o
fh
is p
ulli
ng
arm
s to
th
e sh
ould
er-
hig
h h
alf-
inch
inde
nta
tion
in t
he
bric
ks.
He
was
mor
e th
an t
rem
blin
g n
ow;h
is w
hol
e bo
dy w
as
rack
ed w
ith
a v
iole
nt
shu
dder
ing
beyo
nd
con
trol
,his
eye
s
squ
eeze
d so
tig
htl
y sh
ut
it w
as p
ain
ful,
thou
gh h
e w
as p
ast
awar
enes
s of
that
.His
tee
th w
ere
expo
sed
in a
fro
zen
gri
mac
e,
the
stre
ngt
h d
rain
ing
like
wat
er f
rom
his
kn
ees
and
calv
es.I
t
was
ext
rem
ely
likel
y,h
e kn
ew,t
hat
he
wou
ld f
ain
t,sl
um
p do
wn
alon
g th
e w
all,
his
fac
e sc
rapi
ng,
and
then
dro
p ba
ckw
ard,
a lim
p
wei
ght,
out
into
not
hin
g.A
nd
to s
ave
his
life
he
con
cen
trat
ed o
n
hol
din
g on
to
con
scio
usn
ess,
draw
ing
delib
erat
e de
ep b
reat
hs
of
cold
air
into
his
lun
gs,f
igh
tin
g to
kee
p h
is s
ense
s aw
are.
Th
en h
e kn
ew t
hat
he
wou
ld n
ot f
ain
t,bu
t h
e co
uld
not
stop
sh
akin
g n
or o
pen
his
eye
s.H
e st
ood
wh
ere
he
was
,bre
ath
-
ing
deep
ly,t
ryin
g to
hol
d ba
ck t
he
terr
or o
fth
e gl
imps
e h
e h
ad
had
of
wh
at la
y be
low
him
;an
d h
e kn
ew h
e h
ad m
ade
a m
ista
ke
in n
ot m
akin
g h
imse
lfst
are
dow
n a
t th
e st
reet
,get
tin
g u
sed
to it
and
acce
ptin
g it
,wh
en h
e h
ad f
irst
ste
pped
ou
t on
to t
he
ledg
e.
It w
as im
poss
ible
to
wal
k ba
ck.H
e si
mpl
y co
uld
not
do
it.
He
cou
ldn’
t br
ing
him
self
to m
ake
the
slig
hte
st m
ovem
ent.
Th
e
stre
ngt
h w
as g
one
from
his
legs
;his
shi
veri
ng
han
ds—
num
b,co
ld,
and
desp
erat
ely
rigi
d—h
ad lo
st a
ll de
ftn
ess;
6h
is e
asy
abili
ty t
o
mov
e an
d ba
lan
ce w
as g
one.
Wit
hin
a s
tep
or t
wo,
ifh
e tr
ied
to
mov
e,h
e kn
ew t
hat
he
wou
ld s
tum
ble
clu
msi
ly a
nd
fall.
Seco
nds
pas
sed,
wit
h t
he
chill
fai
nt
win
d pr
essi
ng
the
side
ofh
is f
ace,
and
he
cou
ld h
ear
the
ton
ed-d
own
vol
um
e of
the
stre
et t
raff
ic f
ar b
enea
th h
im.A
gain
an
d ag
ain
it s
low
ed a
nd
then
sto
pped
,alm
ost
to s
ilen
ce;t
hen
pre
sen
tly,
even
th
is h
igh
,he
wou
ld h
ear
the
clic
k of
the
traf
fic
sign
als
and
the
subd
ued
roa
r
ofth
e ca
rs s
tart
ing
up
agai
n.D
uri
ng
a lu
ll in
th
e st
reet
sou
nds
,
he
calle
d ou
t.T
hen
he
was
sh
outi
ng
“Hel
p!”
so lo
udl
y it
ras
ped
his
th
roat
.Bu
t h
e fe
lt t
he
stea
dy p
ress
ure
of
the
win
d,m
ovin
g
250
260
270
280
Co
nte
nts
of
the
Dea
d M
an’s
Po
cket
15
Copyright © by Holt,Rinehart and Winston.All rights reserved.
Cir
cle
the
pre
fix
in im
po
ssib
le(l
ine
268)
. Wh
at w
ord
is t
he
pre
fix
atta
ched
to
? H
ow
do
esth
e p
refi
x ch
ang
e th
e w
ord
’sm
ean
ing
?
The
pre
fix
is im
–;it
is
atta
ched
to
po
ssib
le;i
t
chan
ges
th
e w
ord
to
mea
n “
no
t p
oss
ible
.”
Pau
se a
t lin
e 27
3. D
o y
ou
pre
dic
tth
at T
om
will
mak
e it
to s
afet
y? W
hy
or
wh
y n
ot?
Poss
ible
res
po
nse
:
Tom
will
no
t m
ake
it
to s
afet
y b
ecau
se h
e
is p
aral
yzed
by
fear
.
6.d
eftn
ess
n.:
skill
fuln
ess;
co
ord
inat
ion
.
low
ered
fir
st o
ne
han
d,th
en t
he
oth
er,p
erh
aps
a fo
ot f
arth
er
dow
n,t
o th
e n
ext
inde
nta
tion
in t
he
row
s of
bric
ks.
Ver
y sl
owly
,slid
ing
his
for
ehea
d do
wn
th
e tr
ough
of
the
bric
k
corn
er a
nd
ben
din
g h
is k
nee
s,h
e lo
wer
ed h
is b
ody
tow
ard
the
pape
r ly
ing
betw
een
his
ou
tstr
etch
ed f
eet.
Aga
in h
e lo
wer
ed h
is
fin
gerh
olds
an
oth
er f
oot
and
ben
t h
is k
nee
s st
ill m
ore,
thig
h
mu
scle
s ta
ut,
his
for
ehea
d sl
idin
g an
d bu
mpi
ng
dow
n t
he
bric
k
V.H
alf
squ
atti
ng
now
,he
drop
ped
his
left
han
d to
th
e n
ext
inde
nta
tion
an
d th
en s
low
ly r
each
ed w
ith
his
rig
ht
han
d to
war
d
the
pape
r be
twee
n h
is f
eet.
He
cou
ldn’
t qu
ite
tou
ch it
,an
d h
is k
nee
s n
ow w
ere
pres
sed
agai
nst
th
e w
all;
he
cou
ld b
end
them
no
fart
her
.Bu
t by
du
ckin
g
his
hea
d an
oth
er in
ch lo
wer
,th
e to
p of
his
hea
d n
ow p
ress
ed
agai
nst
th
e br
icks
,he
low
ered
his
rig
ht
shou
lder
an
d h
is f
inge
rs
had
th
e pa
per
by a
cor
ner
,pu
llin
g it
loos
e.A
t th
e sa
me
inst
ant
he
saw
,bet
wee
n h
is le
gs a
nd
far
belo
w,L
exin
gton
Ave
nu
e
stre
tch
ed o
ut
for
mile
s ah
ead.
He
saw
,in
th
at in
stan
t,th
e Lo
ew’s
th
eate
r si
gn,b
lock
s
ahea
d pa
st F
ifti
eth
Str
eet;
the
mile
s of
traf
fic
sign
als,
all g
reen
now
;th
e lig
hts
of
cars
an
d st
reet
lam
ps;c
oun
tles
s n
eon
sig
ns;
and
the
mov
ing
blac
k do
ts o
fpe
ople
.An
d a
viol
ent,
inst
anta
-
neo
us
expl
osio
n o
fab
solu
te t
erro
r ro
ared
th
rou
gh h
im.F
or a
mot
ion
less
inst
ant
he
saw
him
self
exte
rnal
ly—
ben
t pr
acti
cally
dou
ble,
bala
nce
d on
th
is n
arro
w le
dge,
nea
rly
hal
fh
is b
ody
proj
ecti
ng
out
abov
e th
e st
reet
far
bel
ow—
and
he
bega
n t
o
trem
ble
viol
entl
y,pa
nic
fla
rin
g th
rou
gh h
is m
ind
and
mu
scle
s,
and
he
felt
th
e bl
ood
rush
fro
m t
he
surf
ace
ofh
is s
kin
.
In t
he
frac
tion
al m
omen
t be
fore
hor
ror
para
lyze
d h
im,a
s
he
star
ed b
etw
een
his
legs
at
that
ter
ribl
e le
ngt
h o
fst
reet
far
ben
eath
him
,a f
ragm
ent
ofh
is m
ind
rais
ed h
is b
ody
in a
spa
s-
mod
ic je
rk t
o an
upr
igh
t po
siti
on a
gain
,bu
t so
vio
len
tly
that
his
hea
d sc
rape
d h
ard
agai
nst
th
e w
all,
bou
nci
ng
off
it,a
nd
his
body
sw
ayed
ou
twar
d to
th
e kn
ife-
edge
of
bala
nce
,an
d h
e ve
ry
nea
rly
plu
nge
d ba
ckw
ard
and
fell.
Th
en h
e w
as le
anin
g fa
r in
to
220
230
240
14
Co
llect
ion
1:
Plo
t an
d S
etti
ng
Part
1
Copyright © by Holt,Rinehart and Winston.All rights reserved.
Lin
es 2
41–2
47te
ll ab
ou
tth
ree
even
ts—
on
e is
a c
ause
;th
e o
ther
s ar
e ef
fect
s. C
ircl
eth
e ca
use
, an
d u
nd
erlin
e th
eef
fect
s.
In li
nes
224
–230
, un
der
line
the
wo
rds
that
tel
l wh
y To
m’s
fear
su
dd
enly
incr
ease
s.
You
may
kn
ow
th
e te
rmtr
ou
gh
(trô
f),
mea
nin
g “
alo
ng
, op
en c
on
tain
er f
or
pig
s’ f
oo
d.”
In t
his
co
nte
xt,
ho
wev
er, t
rou
gh
(lin
e 21
6)m
ean
s “g
roo
ve”
or
“lo
ng
ind
enta
tio
n.”
Collection 1Student Pages 14–15
Student Pages with Answers 9
Copyright © by Holt,Rinehart and Winston.All rights reserved.
320
330
Co
nte
nts
of
the
Dea
d M
an’s
Po
cket
17
side
of
the
flim
sy b
arri
er h
e h
ad e
rect
ed in
his
min
d;an
d h
e
knew
th
at if
it b
roke
th
rou
gh h
e w
ould
lose
th
is t
hin
,art
ific
ial
con
trol
of
his
bod
y.
Du
rin
g on
e sl
ow s
tep
he
trie
d ke
epin
g h
is e
yes
clos
ed;i
t
mad
e h
im f
eel s
afer
,shu
ttin
g h
im o
ffa
littl
e fr
om t
he
fear
ful
real
ity
ofw
her
e h
e w
as.T
hen
a s
udd
en r
ush
of
gidd
ines
s sw
ept
over
him
an
d h
e h
ad t
o op
en h
is e
yes
wid
e,st
arin
g si
dew
ays
at
the
cold
rou
gh b
rick
an
d an
gled
lin
es o
fm
orta
r,h
is c
hee
k ti
ght
agai
nst
th
e bu
ildin
g.H
e ke
pt h
is e
yes
open
th
en,k
now
ing
that
ifh
e on
ce le
t th
em f
lick
outw
ard,
to s
tare
for
an
inst
ant
at t
he
ligh
ted
win
dow
s ac
ross
th
e st
reet
,he
wou
ld b
e pa
st h
elp.
He
didn
’t k
now
how
man
y do
zen
s of
tiny
sid
ling
step
s h
e
had
tak
en,h
is c
hes
t,be
lly,a
nd
face
pre
ssed
to
the
wal
l;bu
t h
e
knew
th
e sl
ende
r h
old
he
was
kee
pin
g on
his
min
d an
d bo
dy
was
goi
ng
to b
reak
.He
had
a s
udd
en m
enta
l pic
ture
of
his
apar
tmen
t on
just
th
e ot
her
sid
e of
this
wal
l—w
arm
,ch
eerf
ul,
incr
edib
ly s
paci
ous.
An
d h
e sa
w h
imse
lfst
ridi
ng
thro
ugh
it,
lyin
g do
wn
on
th
e fl
oor
on h
is b
ack,
arm
s sp
read
wid
e,re
velin
g7
in it
s u
nbe
lieva
ble
secu
rity
.Th
e im
poss
ible
rem
oten
ess
ofth
is
7.re
velin
g(r
evô
l·i«
)v.
use
d a
s ad
j.:ta
kin
g g
reat
ple
asu
re o
r d
elig
ht.
Re-
read
lin
es 3
20–3
25. C
ircl
ew
hat
To
m t
ries
to
do
as
he
wal
ks t
he
led
ge.
Th
en,
un
der
line
two
imm
edia
teef
fect
s o
f th
at a
ctio
n.
Notes
Notes
Pau
se a
t lin
e 31
9. W
hat
so
rto
f co
nfl
ict
is T
om
fac
ing
? Is
it
an
inte
rnal
or
exte
rnal
con
flic
t?
Tom
is b
attl
ing
his
fea
r
of
hei
gh
ts. H
is c
on
flic
t
is in
tern
al.
© L
awre
nce
Th
orn
ton
/Get
ty Im
ages
.
betw
een
his
fac
e an
d th
e bl
ank
wal
l,sn
atch
up
his
cri
es a
s h
e
utt
ered
th
em,a
nd
he
knew
th
ey m
ust
sou
nd
dire
ctio
nle
ss a
nd
dist
ant.
An
d h
e re
mem
bere
d h
ow h
abit
ual
ly,h
ere
in N
ew Y
ork,
he
him
self
hea
rd a
nd
ign
ored
sh
outs
in t
he
nig
ht.
Ifan
yon
e
hea
rd h
im,t
her
e w
as n
o si
gn o
fit
,an
d pr
esen
tly
Tom
Ben
ecke
knew
he
had
to
try
mov
ing;
ther
e w
as n
oth
ing
else
he
cou
ld d
o.
Eye
s sq
uee
zed
shu
t,h
e w
atch
ed s
cen
es in
his
min
d lik
e
scra
ps o
fm
otio
n-p
ictu
re f
ilm—
he
cou
ld n
ot s
top
them
.He
saw
him
self
stu
mbl
ing
sudd
enly
sid
eway
s as
he
crep
t al
ong
the
ledg
e
and
saw
his
upp
er b
ody
arc
outw
ard,
arm
s fl
ailin
g.H
e sa
w a
dan
glin
g sh
oest
rin
g ca
ugh
t be
twee
n t
he
ledg
e an
d th
e so
le o
fh
is
oth
er s
hoe
,saw
a f
oot
star
t to
mov
e,to
be
stop
ped
wit
h a
jerk
,
and
felt
his
bal
ance
leav
ing
him
.He
saw
him
self
falli
ng
wit
h a
terr
ible
spe
ed a
s h
is b
ody
revo
lved
in t
he
air,
knee
s cl
utc
hed
tigh
t to
his
ch
est,
eyes
squ
eeze
d sh
ut,
moa
nin
g so
ftly
.
Ou
t of
utt
er n
eces
sity
,kn
owin
g th
at a
ny o
fth
ese
thou
ghts
mig
ht
be r
ealit
y in
th
e ve
ry n
ext
seco
nds
,he
was
slo
wly
abl
e to
shu
t h
is m
ind
agai
nst
eve
ry t
hou
ght
but
wh
at h
e n
ow b
egan
to
do.W
ith
fea
r-so
aked
slo
wn
ess,
he
slid
his
left
foo
t an
inch
or
two
tow
ard
his
ow
n im
poss
ibly
dis
tan
t w
indo
w.T
hen
he
slid
th
e
fin
gers
of
his
sh
iver
ing
left
han
d a
corr
espo
ndi
ng
dist
ance
.For
a
mom
ent
he
cou
ld n
ot b
rin
g h
imse
lfto
lift
his
rig
ht
foot
fro
m
one
ledg
e to
th
e ot
her
;th
en h
e di
d it
,an
d be
cam
e aw
are
ofth
e
har
sh e
xhal
atio
nof
air
from
his
th
roat
an
d re
aliz
ed t
hat
he
was
pan
tin
g.A
s h
is r
igh
t h
and,
then
,beg
an t
o sl
ide
alon
g th
e br
ick
edgi
ng,
he
was
ast
onis
hed
to
feel
th
e ye
llow
pap
er p
ress
ed t
o th
e
bric
ks u
nde
rnea
th h
is s
tiff
fin
gers
,an
d h
e u
tter
ed a
ter
ribl
e,
abru
pt b
ark
that
mig
ht
hav
e be
en a
lau
gh o
r a
moa
n.H
e op
ened
his
mou
th a
nd
took
th
e pa
per
in h
is t
eeth
,pu
llin
g it
ou
t fr
om
un
der
his
fin
gers
.
By
a ki
nd
oftr
ick—
by c
once
ntr
atin
g h
is e
nti
re m
ind
on
firs
t h
is le
ft f
oot,
then
his
left
han
d,th
en t
he
oth
er f
oot,
then
the
oth
er h
and—
he
was
abl
e to
mov
e,al
mos
t im
per
cep
tib
ly,
trem
blin
g st
eadi
ly,v
ery
nea
rly
wit
hou
t th
ough
t.B
ut
he
cou
ld
feel
th
e te
rrib
le s
tren
gth
of
the
pen
t-u
p h
orro
r on
just
th
e ot
her
290
300
310
16
Co
llect
ion
1:
Plo
t an
d S
etti
ng
Part
1
Copyright © by Holt,Rinehart and Winston.All rights reserved.
exh
alat
ion
(eks
≈h¥·
l†√◊
¥n)
n.:
som
eth
ing
bre
ath
ed o
ut;
bre
ath
.
Ch
ang
e ex
hal
atio
nto
its
op
po
site
by
chan
gin
g t
he
pre
fix.
inh
alat
ion
imp
erce
pti
bly
(im
≈p¥r
·sep
√t¥·
bl≤
)ad
v.:i
nsu
ch a
slig
ht
way
as
to b
eal
mo
st u
nn
oti
ceab
le.
Ch
ang
e im
per
cep
tib
lyto
its
op
po
site
by
dro
pp
ing
th
ep
refi
x.
per
cep
tib
ly
Notes
Notes
Collection 1Student Pages 16–17
10 The Holt Reader: Teacher’s Manual
impe
rcep
tibl
y be
ndi
ng,
body
sh
akin
g w
ith
th
e st
rain
,th
e sw
eat
star
tin
g fr
om h
is f
oreh
ead
in g
reat
su
dden
dro
ps,h
e pu
lled,
his
enti
re b
ein
g an
d th
ough
t co
nce
ntr
ated
in h
is f
inge
rtip
s.T
hen
,
sudd
enly
,th
e st
rain
sla
cken
ed a
nd
ende
d,h
is c
hes
t to
uch
ing
the
win
dow
sill,
and
he
was
kn
eelin
g on
th
e le
dge,
his
for
ehea
d
pres
sed
to t
he
glas
s of
the
clos
ed w
indo
w.
Dro
ppin
g h
is p
alm
s to
th
e si
ll,h
e st
ared
into
his
livi
ng
room
—at
th
e re
d-br
own
dav
enpo
rt8
acro
ss t
he
room
,an
d a
mag
azin
e h
e h
ad le
ft t
her
e;at
th
e pi
ctu
res
on t
he
wal
ls a
nd
the
gray
ru
g;th
e en
tran
ce t
o th
e h
allw
ay;a
nd
at h
is p
aper
s,ty
pe-
wri
ter,
and
desk
,not
tw
o fe
et f
rom
his
nos
e.A
mov
emen
t fr
om
his
des
k ca
ugh
t h
is e
ye a
nd
he
saw
th
at it
was
a t
hin
cu
rl o
f
blu
e sm
oke;
his
cig
aret
te,t
he
ash
lon
g,w
as s
till
burn
ing
in t
he
ash
tray
wh
ere
he’
d le
ft it
—th
is w
as p
ast
all b
elie
f—on
ly a
few
min
ute
s be
fore
.
His
hea
d m
oved
,an
d in
fai
nt
refl
ecti
on f
rom
th
e gl
ass
befo
re h
im,h
e sa
w t
he
yello
w p
aper
cle
nch
ed in
his
fro
nt
teet
h.
Lift
ing
a h
and
from
th
e si
ll h
e to
ok it
fro
m h
is m
outh
;th
e
moi
sten
ed c
orn
er p
arte
d fr
om t
he
pape
r,an
d h
e sp
at it
ou
t.
For
a m
omen
t,in
th
e lig
ht
from
th
e liv
ing
room
,he
star
ed
won
deri
ngl
y at
th
e ye
llow
sh
eet
in h
is h
and
and
then
cru
shed
it in
to t
he
side
poc
ket
ofh
is ja
cket
.
He
cou
ldn’
t op
en t
he
win
dow
.It
had
bee
n p
ulle
d n
ot
com
plet
ely
clos
ed,b
ut
its
low
er e
dge
was
bel
ow t
he
leve
l of
the
outs
ide
sill;
ther
e w
as n
o ro
om t
o ge
t h
is f
inge
rs u
nde
rnea
th it
.
Bet
wee
n t
he
upp
er s
ash
an
d th
e lo
wer
was
a g
ap n
ot w
ide
enou
gh—
reac
hin
g u
p,h
e tr
ied—
to g
et h
is f
inge
rs in
to;h
e
cou
ldn’
t pu
sh it
ope
n.T
he
upp
er w
indo
w p
anel
,he
knew
fro
m
lon
g ex
peri
ence
,was
impo
ssib
le t
o m
ove,
froz
en t
igh
t w
ith
drie
d pa
int.
Ver
y ca
refu
lly o
bser
vin
g h
is b
alan
ce,t
he
fin
gert
ips
ofh
is
left
han
d ag
ain
hoo
ked
to t
he
nar
row
str
ippi
ng
ofth
e w
indo
w
370
380
390
400
Co
nte
nts
of
the
Dea
d M
an’s
Po
cket
19
Copyright © by Holt,Rinehart and Winston.All rights reserved.
The
man
y d
etai
ls, o
r co
mp
li-ca
tio
ns,
of
Tom
’s d
ang
ero
us
exp
erie
nce
mak
e it
see
m a
s if
To
m h
ad b
een
on
th
e le
dg
efo
r a
lon
g t
ime.
Cir
cle
the
wo
rds
in li
nes
380
–384
th
atte
ll h
ow
lon
g h
e h
as r
eally
bee
n o
n t
he
led
ge.
8.d
aven
po
rt(d
avô
n·p
ôrt
≈)n
.:la
rge
sofa
or
cou
ch.
Pau
se a
t lin
e 39
9. W
hat
mig
ht
Tom
do
no
w?
Tom
mig
ht
bre
ak
the
win
do
w o
r tr
y
to f
ind
an
oth
er
win
do
w t
o e
nte
r.
utt
er s
afet
y,th
e co
ntr
ast
betw
een
it a
nd
wh
ere
he
now
sto
od,
was
mor
e th
an h
e co
uld
bea
r.A
nd
the
barr
ier
brok
e th
en,a
nd
the
fear
of
the
awfu
l hei
ght
he
stoo
d on
cou
rsed
th
rou
gh h
is
ner
ves
and
mu
scle
s.
A f
ract
ion
of
his
min
d kn
ew h
e w
as g
oin
g to
fal
l,an
d h
e be
gan
taki
ng
rapi
d bl
ind
step
s w
ith
no
feel
ing
ofw
hat
he
was
doi
ng,
sid
ling
wit
h a
clu
msy
des
per
ate
swif
tnes
s,fi
nge
rs s
crab
blin
g
alon
g th
e br
ick,
alm
ost
hop
eles
sly
resi
gned
to
the
sudd
en
back
war
d pu
ll an
d sw
ift
mot
ion
ou
twar
d an
d do
wn
.Th
en
his
mov
ing
left
han
d sl
id o
nto
not
bri
ck b
ut
shee
r em
ptin
ess,
an im
poss
ible
gap
in t
he
face
of
the
wal
l,an
d h
e st
um
bled
.
His
rig
ht f
oot
smas
hed
into
his
left
an
kleb
one;
he s
tagg
ered
side
way
s,be
gan
fal
ling,
and
the
claw
of
his
han
d cr
acke
d ag
ain
st
glas
s an
d w
ood,
slid
dow
n it
,an
d h
is f
inge
rtip
s w
ere
pres
sed
har
d on
th
e pu
ttyl
ess
edgi
ng
ofh
is w
indo
w.H
is r
igh
t h
and
smac
ked
grop
ingl
y be
side
it a
s h
e fe
ll to
his
kn
ees;
and,
un
der
the
full
wei
ght
and
dire
ct d
ownw
ard
pull
ofh
is s
aggi
ng
body
,
the
open
win
dow
dro
pped
shu
dder
ingl
y in
its
fram
e ti
ll it
clo
sed
and
his
wri
sts
stru
ck t
he
sill
and
wer
e ja
rred
off
.
For
a si
ngl
e m
omen
t h
e kn
elt,
knee
bon
es a
gain
st s
ton
e on
the
very
edg
e of
the
ledg
e,bo
dy s
way
ing
and
tou
chin
g n
owh
ere
else
,fig
hti
ng
for
bala
nce
.Th
en h
e lo
st it
,his
sh
ould
ers
plu
ngi
ng
back
war
d,an
d h
e fl
un
g h
is a
rms
forw
ard,
his
han
ds s
mas
hin
g
agai
nst
th
e w
indo
w c
asin
g on
eit
her
sid
e;an
d—h
is b
ody
mov
ing
back
war
d—h
is f
inge
rs c
lutc
hed
th
e n
arro
w w
ood
stri
ppin
g of
the
upp
er p
ane.
For
an in
stan
t h
e hu
ng
susp
ende
d be
twee
n b
alan
ce a
nd
falli
ng,
his
fin
gert
ips
pres
sed
onto
th
e qu
arte
r-in
ch w
ood
stri
ps.
Th
en,w
ith
utm
ost
delic
acy,
wit
h a
foc
use
d co
nce
ntr
atio
n o
fal
l
his
sen
ses,
he
incr
ease
d ev
en f
urt
her
th
e st
rain
on
his
fin
gert
ips
hoo
ked
to t
hes
e sl
im e
dgin
gs o
fw
ood.
Elb
ows
slow
ly b
endi
ng,
he
bega
n t
o dr
aw t
he
full
wei
ght
ofh
is u
pper
bod
y fo
rwar
d,
know
ing
that
th
e in
stan
t h
is f
inge
rs s
lippe
d of
fth
ese
quar
ter-
inch
str
ips
he’
d pl
un
ge b
ackw
ard
and
be f
allin
g.E
lbow
s
340
350
360
18
Co
llect
ion
1:
Plo
t an
d S
etti
ng
Part
1
Copyright © by Holt,Rinehart and Winston.All rights reserved.
Re-
read
lin
es 3
40–3
54. W
hat
is t
he
“sh
eer
emp
tin
ess”
To
men
cou
nte
rs?
Exp
lain
wh
ath
app
ens
nex
t.
The
“sh
eer
emp
tin
ess”
is t
he
op
en a
par
tmen
t
win
do
w. T
om
stu
mb
les
and
acc
iden
tally
clo
ses
the
win
do
w.
Wh
at c
ause
s th
e “b
arri
er”
tob
reak
(lin
es 3
37–3
39)?
The
“bar
rier
” se
par
at-
ing
To
m f
rom
pan
ic
bre
aks
wh
en h
e re
al-
izes
th
at h
e p
rob
ably
can
’t r
etu
rn t
o t
he
apar
tmen
t—ev
en
tho
ug
h it
is o
nly
a
wal
l aw
ay.
Rea
d t
he
bo
xed
pas
sag
eal
ou
d t
wic
e. O
n y
ou
r se
con
dre
ad, f
ocu
s o
n y
ou
r p
acin
gan
d d
eliv
ery.
Collection 1Student Pages 18–19
Student Pages with Answers 11
win
dow
.He
cou
ld s
ee h
er r
ush
acr
oss
the
room
,fac
e as
tou
nde
d
and
frig
hte
ned
,an
d h
ear
him
self
shou
tin
g in
stru
ctio
ns:
“Nev
er
min
d h
ow I
got
her
e! J
ust
ope
n t
he
win
d—”
She
cou
ldn’
t op
en
it,h
e re
mem
bere
d,sh
e’d
nev
er b
een
abl
e to
;sh
e’d
alw
ays
had
to c
all h
im.S
he’
d h
ave
to g
et t
he
build
ing
supe
rin
ten
den
t or
a
nei
ghbo
r,an
d h
e pi
ctu
red
him
self
smili
ng
and
answ
erin
g th
eir
ques
tion
s as
he
clim
bed
in.“
I ju
st w
ante
d to
get
a b
reat
h o
ffr
esh
air,
so—
”
He
cou
ldn’
t po
ssib
ly w
ait
her
e ti
ll C
lare
cam
e h
ome.
It w
as
the
seco
nd
feat
ure
sh
e’d
wan
ted
to s
ee,a
nd
she’
d le
ft in
tim
e to
see
the
firs
t.Sh
e’d
be a
not
her
th
ree
hou
rs o
r— H
e gl
ance
d at
his
wat
ch;C
lare
had
bee
n g
one
eigh
t m
inu
tes.
It w
asn’
t po
ssib
le,
but
only
eig
ht
min
ute
s ag
o h
e h
ad k
isse
d h
is w
ife
good
bye.
She
was
n’t
even
at
the
thea
ter
yet!
It w
ould
be
fou
r h
ours
bef
ore
she
cou
ld p
ossi
bly
be h
ome,
and
he
trie
d to
pic
ture
him
self
knee
ling
out
her
e,fi
nge
rtip
s
hoo
ked
to t
hes
e n
arro
w s
trip
pin
gs,w
hile
fir
st o
ne
mov
ie,
prec
eded
by
a sl
ow li
stin
g of
cred
its,
bega
n,d
evel
oped
,rea
ched
its
clim
ax,a
nd
then
fin
ally
en
ded.
Th
ere’
d be
a n
ewsr
eel n
ext,
may
be,a
nd
then
an
an
imat
ed c
arto
on,a
nd
then
inte
rmin
able
scen
es f
rom
com
ing
pict
ure
s.A
nd
then
,on
ce m
ore,
the
begi
n-
nin
g of
a fu
ll-le
ngt
h p
ictu
re—
wh
ile a
ll th
e ti
me
he
hun
g ou
t
her
e in
th
e n
igh
t.
He
mig
ht
poss
ibly
get
to
his
fee
t,bu
t h
e w
as a
frai
d to
try
.
Alr
eady
his
legs
wer
e cr
ampe
d,h
is t
hig
h m
usc
les
tire
d;h
is k
nee
s
hurt
,his
fee
t fe
lt n
um
b,an
d h
is h
ands
wer
e st
iff.
He
cou
ldn’
t
poss
ibly
sta
y ou
t h
ere
for
fou
r h
ours
or
anyw
her
e n
ear
it.L
ong
befo
re t
hat
his
legs
an
d ar
ms
wou
ld g
ive
out;
he
wou
ld b
e fo
rced
to t
ry c
han
gin
g h
is p
osit
ion
oft
en—
stif
fly,
clu
msi
ly,h
is c
oord
i-
nat
ion
an
d st
ren
gth
gon
e—an
d h
e w
ould
fal
l.Q
uit
e re
alis
tica
lly,
he
knew
th
at h
e w
ould
fal
l;n
o on
e co
uld
sta
y ou
t h
ere
on t
his
ledg
e fo
r fo
ur
hou
rs.
A d
ozen
win
dow
s in
th
e ap
artm
ent
build
ing
acro
ss t
he
stre
et w
ere
ligh
ted.
Look
ing
over
his
sh
ould
er,h
e co
uld
see
th
e
top
ofa
man
’s h
ead
beh
ind
the
new
spap
er h
e w
as r
eadi
ng;
in
440
450
460
470
Co
nte
nts
of
the
Dea
d M
an’s
Po
cket
21
Copyright © by Holt,Rinehart and Winston.All rights reserved.
Cir
cle
the
wo
rds
in li
nes
445–
450
that
tel
l ho
w lo
ng
Cla
re h
as b
een
go
ne.
Un
der
-lin
e th
e w
ord
s in
lin
es45
1–45
5 th
at t
ell h
ow
lon
g
it w
ill b
e b
efo
re C
lare
get
sh
om
e.
inte
rmin
able
(in
·t∞
r√m
i·n¥·
b¥l
)ad
j.:en
dle
ss.
casi
ng,
he
drew
bac
k h
is r
igh
t h
and,
palm
fac
ing
the
glas
s,an
d
then
str
uck
th
e gl
ass
wit
h t
he
hee
l of
his
han
d.
His
arm
reb
oun
ded
from
th
e pa
ne,
his
bod
y to
tter
ing,
and
he
knew
he
didn
’t d
are
stri
ke a
har
der
blow
.
Bu
t in
th
e se
curi
ty a
nd
relie
fof
his
new
pos
itio
n,h
e si
mpl
y
smile
d;w
ith
on
ly a
sh
eet
ofgl
ass
betw
een
him
an
d th
e ro
om
just
bef
ore
him
,it
was
not
pos
sibl
e th
at t
her
e w
asn’
t a
way
pas
t
it.E
yes
nar
row
ing,
he
thou
ght
for
a fe
w m
omen
ts a
bou
t w
hat
to d
o.T
hen
his
eye
s w
iden
ed,f
or n
oth
ing
occu
rred
to
him
.Bu
t
still
he
felt
cal
m;t
he
trem
blin
g,h
e re
aliz
ed,h
ad s
topp
ed.A
t th
e
back
of
his
min
d th
ere
still
lay
the
thou
ght
that
on
ce h
e w
as
agai
n in
his
hom
e,h
e co
uld
giv
e re
leas
e to
his
fee
lings
.He
actu
ally
wou
ldlie
on
th
e fl
oor,
rolli
ng,
clen
chin
g tu
fts
ofth
e ru
g
in h
is h
ands
.He
wou
ld li
tera
lly r
un
acr
oss
the
room
,fre
e to
mov
e as
he
liked
,ju
mpi
ng
on t
he
floo
r,te
stin
g an
d re
velin
g
in it
s ab
solu
te s
ecu
rity
,let
tin
g th
e re
lief
floo
d th
rou
gh h
im,
drai
nin
g th
e fe
ar f
rom
his
min
d an
d bo
dy.H
is y
earn
ing
for
this
was
ast
onis
hin
gly
inte
nse
,an
d so
meh
ow h
e u
nde
rsto
od t
hat
he
had
bet
ter
keep
th
is f
eelin
g at
bay
.
He
took
a h
alf
dolla
r fr
om h
is p
ocke
t an
d st
ruck
it a
gain
st
the
pan
e,bu
t w
ith
out
any
hop
e th
at t
he
glas
s w
ould
bre
ak a
nd
wit
h v
ery
littl
e di
sapp
oin
tmen
t w
hen
it d
id n
ot.A
fter
a f
ew
mom
ents
of
thou
ght
he
drew
his
leg
up
onto
th
e le
dge
and
pick
ed lo
ose
the
knot
of
his
sh
oela
ce.H
e sl
ippe
d of
fth
e sh
oe
and,
hol
din
g it
acr
oss
the
inst
ep,d
rew
bac
k h
is a
rm a
s fa
r as
he
dare
d an
d st
ruck
th
e le
ath
er h
eel a
gain
st t
he
glas
s.T
he
pan
e
ratt
led,
but
he
knew
he’
d be
en a
lon
g w
ay f
rom
bre
akin
g it
.His
foot
was
col
d an
d h
e sl
ippe
d th
e sh
oe b
ack
on.H
e sh
oute
d
agai
n,e
xper
imen
tally
,an
d th
en o
nce
mor
e,bu
t th
ere
was
no
answ
er.
Th
e re
aliz
atio
n s
udd
enly
str
uck
him
th
at h
e m
igh
t h
ave
to
wai
t h
ere
till
Cla
re c
ame
hom
e,an
d fo
r a
mom
ent
the
thou
ght
was
fu
nny
.He
cou
ld s
ee C
lare
ope
nin
g th
e fr
ont
door
,wit
h-
draw
ing
her
key
fro
m t
he
lock
,clo
sin
g th
e do
or b
ehin
d h
er,a
nd
then
gla
nci
ng
up
to s
ee h
im c
rou
ched
on
th
e ot
her
sid
e of
the
410
420
430
20
Co
llect
ion
1:
Plo
t an
d S
etti
ng
Part
1
Copyright © by Holt,Rinehart and Winston.All rights reserved.
Wh
y d
oes
To
m h
ave
to k
eep
his
des
ire
for
secu
rity
an
dre
lief
“at
bay
,” o
r in
th
eb
ackg
rou
nd
(lin
es 4
18–4
20)?
Poss
ible
res
po
nse
: To
m
can
’t a
ffo
rd t
o b
e to
o
rela
xed
bec
ause
he
mu
st c
on
cen
trat
e o
n
savi
ng
him
self
.
Tom
is s
o c
lose
to
saf
ety,
yet
so f
ar a
way
. In
lin
es 4
21–4
31,
circ
le t
he
thre
e w
ays
Tom
trie
s to
get
into
th
e ro
om
.
reb
ou
nd
ed(r
i·b¡
nd
√id)
v.:
bo
un
ced
bac
k.
Cir
cle
the
pre
fix
in r
ebo
un
ded
.W
hat
do
es t
he
pre
fix
mea
n?
“bac
k” o
r “a
gai
n”
Collection 1Student Pages 20–21
12 The Holt Reader: Teacher’s Manual
Copyright © by Holt,Rinehart and Winston.All rights reserved.
shou
lder
wh
ile t
he
last
of
the
lett
ers
burn
ed,h
e sa
w t
he
man
acro
ss t
he
stre
et p
ut
dow
n h
is p
aper
an
d st
and—
even
see
min
g,
to T
om,t
o gl
ance
tow
ard
his
win
dow
.Bu
t w
hen
he
mov
ed,i
t
was
on
ly t
o w
alk
acro
ss t
he
room
an
d di
sapp
ear
from
sig
ht.
Th
ere
wer
e a
doze
n c
oin
s in
Tom
Ben
ecke
’s p
ocke
t an
d h
e
drop
ped
them
,th
ree
or f
our
at a
tim
e.B
ut
ifth
ey s
tru
ck a
nyon
e,
or if
anyo
ne
not
iced
th
eir
falli
ng,
no
one
con
nec
ted
them
wit
h
thei
r so
urc
e,an
d n
o on
e gl
ance
d u
pwar
d.
His
arm
s h
ad b
egu
n t
o tr
embl
e fr
om t
he
stea
dy s
trai
n o
f
clin
gin
g to
th
is n
arro
w p
erch
,an
d h
e di
d n
ot k
now
wh
at t
o do
now
an
d w
as t
erri
bly
frig
hte
ned
.Clin
gin
g to
th
e w
indo
w s
trip
-
pin
g w
ith
on
e h
and,
he
agai
n s
earc
hed
his
poc
kets
.Bu
t n
ow—
he
had
left
his
wal
let
on h
is d
ress
er w
hen
he’
d ch
ange
d cl
oth
es—
510
Co
nte
nts
of
the
Dea
d M
an’s
Po
cket
23
Paus
e at
line
509
. At
this
poi
ntin
th
e st
ory
, wh
at e
ven
tsco
uld
hap
pen
nex
t?
Pred
icti
on
s w
ill v
ary.
Som
e st
ud
ents
may
pre
dic
t so
meo
ne
will
spo
t To
m a
nd
res
cue
him
.
© E
uan
Myl
es/G
etty
Imag
es.
anot
her
win
dow
he
saw
th
e bl
ue-
gray
flic
ker
ofa
tele
visi
on
scre
en.N
o m
ore
than
tw
enty
-odd
yar
ds f
rom
his
bac
k w
ere
scor
es o
fpe
ople
,an
d if
just
on
e of
them
wou
ld w
alk
idly
to
his
win
dow
an
d gl
ance
ou
t...
.For
som
e m
omen
ts h
e st
ared
ove
r
his
sh
ould
er a
t th
e lig
hte
d re
ctan
gles
,wai
tin
g.B
ut
no
one
appe
ared
.Th
e m
an r
eadi
ng
his
pap
er t
urn
ed a
pag
e an
d th
en
con
tin
ued
his
rea
din
g.A
fig
ure
pas
sed
anot
her
of
the
win
dow
s
and
was
imm
edia
tely
gon
e.
In t
he
insi
de p
ocke
t of
his
jack
et h
e fo
un
d a
littl
e sh
eaf
of
pape
rs,a
nd
he
pulle
d on
e ou
t an
d lo
oked
at
it in
th
e lig
ht
from
the
livin
g ro
om.I
t w
as a
n o
ld le
tter
,an
adv
erti
sem
ent
ofso
me
sort
;his
nam
e an
d ad
dres
s,in
pu
rple
ink,
wer
e on
a la
bel p
aste
d
to t
he
enve
lope
.Gri
ppin
g on
e en
d of
the
enve
lope
in h
is t
eeth
,
he
twis
ted
it in
to a
tig
ht
curl
.Fro
m h
is s
hir
t po
cket
he
brou
ght
out
a bo
ok o
fm
atch
es.H
e di
dn’t
dar
e le
t go
th
e ca
sin
g w
ith
both
han
ds b
ut,
wit
h t
he
twis
t of
pape
r in
his
tee
th,h
e op
ened
the
mat
chbo
ok w
ith
his
fre
e h
and;
then
he
ben
t on
e of
the
mat
ches
in t
wo
wit
hou
t te
arin
g it
fro
m t
he
fold
er,i
ts r
ed-t
ippe
d
end
now
tou
chin
g th
e st
riki
ng
surf
ace.
Wit
h h
is t
hum
b,h
e
rubb
ed t
he
red
tip
acro
ss t
he
stri
kin
g ar
ea.
He
did
it a
gain
,th
en a
gain
,an
d st
ill a
gain
,pre
ssin
g h
arde
r
each
tim
e,an
d th
e m
atch
su
dden
ly f
lare
d,bu
rnin
g h
is t
hum
b.
Bu
t h
e ke
pt it
alig
ht,
cupp
ing
the
mat
chbo
ok in
his
han
d an
d
shie
ldin
g it
wit
h h
is b
ody.
He
hel
d th
e fl
ame
to t
he
pape
r in
his
mou
th t
ill it
cau
ght.
Th
en h
e sn
uff
ed o
ut
the
mat
ch f
lam
e w
ith
his
thu
mb
and
fore
fin
ger,
care
less
of
the
burn
,an
d re
plac
ed t
he
book
in h
is p
ocke
t.Ta
kin
g th
e pa
per
twis
t in
his
han
d,h
e h
eld
it
flam
e do
wn
,wat
chin
g th
e fl
ame
craw
l up
the
pape
r,ti
ll it
fla
red
brig
ht.
Th
en h
e h
eld
it b
ehin
d h
im o
ver
the
stre
et,m
ovin
g it
from
sid
e to
sid
e,w
atch
ing
it o
ver
his
sh
ould
er,t
he
flam
e fl
ick-
erin
g an
d gu
tter
ing
in t
he
win
d.
Th
ere
wer
e th
ree
lett
ers
in h
is p
ocke
t an
d h
e lig
hte
d ea
ch
ofth
em,h
oldi
ng
each
till
th
e fl
ame
tou
ched
his
han
d an
d th
en
drop
pin
g it
to
the
stre
et b
elow
.At
one
poin
t,w
atch
ing
over
his
480
490
500
22
Co
llect
ion
1:
Plo
t an
d S
etti
ng
Part
1
Copyright © by Holt,Rinehart and Winston.All rights reserved.
Pau
se a
t lin
e 50
2. H
ow
is T
om
tryi
ng
to
so
lve
his
pro
ble
m?
He
is t
ryin
g t
o s
et f
ire
to t
he
lett
er s
o t
hat
som
eon
e lo
oki
ng
ou
t
a w
ind
ow
or
wal
kin
g
on
th
e st
reet
wo
uld
see
him
.
Notes
Notes
Collection 1Student Pages 22–23
Student Pages with Answers 13
He
test
ed h
is p
lan
.Th
e fi
nge
rs o
fh
is le
ft h
and
claw
like
on
the
littl
e st
ripp
ing,
he
drew
bac
k h
is o
ther
fis
t u
nti
l his
bod
y
bega
n t
eete
rin
g ba
ckw
ard.
Bu
t h
e h
ad n
o le
vera
ge n
ow—
he
cou
ld f
eel t
hat
th
ere
wou
ld b
e n
o fo
rce
to h
is s
win
g—an
d h
e
mov
ed h
is f
ist
slow
ly f
orw
ard
till
he
rock
ed f
orw
ard
on h
is k
nee
s
agai
n a
nd
cou
ld s
ense
th
at h
is s
win
g w
ould
car
ry it
s gr
eate
st
forc
e.G
lan
cin
g do
wn
,how
ever
,mea
suri
ng
the
dist
ance
fro
m
his
fis
t to
th
e gl
ass,
he
saw
th
at it
was
less
th
an t
wo
feet
.
It o
ccu
rred
to
him
tha
t he
cou
ld r
aise
his
arm
ove
r hi
s he
ad,
to b
rin
g it
dow
n a
gain
st t
he
glas
s.B
ut,
exp
erim
enta
lly in
slo
w
mot
ion
,he
knew
it w
ould
be
an a
wkw
ard
blow
wit
hou
t th
e fo
rce
ofa
driv
ing
pun
ch,a
nd
not
nea
rly
enou
gh t
o br
eak
the
glas
s.
Faci
ng
the
win
dow
,he
had
to
driv
e a
blow
fro
m t
he
shou
lder
,
he
knew
now
,at
a di
stan
ce o
fle
ss t
han
tw
o fe
et;a
nd
he
did
not
know
wh
eth
er it
wou
ld b
reak
th
rou
gh t
he
hea
vy g
lass
.It
mig
ht;
he
cou
ld p
ictu
re it
hap
pen
ing,
he
cou
ld f
eel i
t in
th
e n
erve
s of
his
arm
.An
d it
mig
ht
not
;he
cou
ld f
eel t
hat
too
—fe
el h
is f
ist
stri
kin
g th
is g
lass
an
d be
ing
inst
anta
neo
usl
y fl
un
g ba
ck b
y th
e
un
brea
kin
g pa
ne,
feel
th
e fi
nge
rs o
fh
is o
ther
han
d br
eaki
ng
loos
e,n
ails
scr
apin
g al
ong
the
casi
ng
as h
e fe
ll.
He
wai
ted,
arm
dra
wn
bac
k,fi
st b
alle
d,bu
t in
no
hurr
y
to s
trik
e;th
is p
ause
,he
knew
,mig
ht
be a
n e
xten
sion
of
his
life
.
An
d to
live
eve
n a
few
sec
onds
lon
ger,
he
felt
,eve
n o
ut
her
e
on t
his
ledg
e in
th
e n
igh
t,w
as in
fin
itel
y be
tter
th
an t
o di
e a
mom
ent
earl
ier
than
he
had
to.
His
arm
gre
w t
ired
,an
d h
e
brou
ght
it d
own
an
d re
sted
it.
Th
en h
e kn
ew t
hat
it w
as t
ime
to m
ake
the
atte
mpt
.He
cou
ld n
ot k
nee
l her
e h
esit
atin
g in
defi
nit
ely
till
he
lost
all
cou
rage
to
act,
wai
tin
g ti
ll h
e sl
ippe
d of
fth
e le
dge.
Aga
in h
e
drew
bac
k h
is a
rm,k
now
ing
this
tim
e th
at h
e w
ould
not
bri
ng
it d
own
till
he
stru
ck.H
is e
lbow
pro
tru
din
g ov
er L
exin
gton
Ave
nu
e fa
r be
low
,th
e fi
nge
rs o
fh
is o
ther
han
d pr
esse
d do
wn
bloo
dles
sly
tigh
t ag
ain
st t
he
nar
row
str
ippi
ng,
he
wai
ted,
feel
ing
the
sick
ten
sen
ess
and
terr
ible
exc
item
ent
build
ing.
It g
rew
an
d
560
570
580
Co
nte
nts
of
the
Dea
d M
an’s
Po
cket
25
Copyright © by Holt,Rinehart and Winston.All rights reserved.
Un
der
line
the
sen
ten
ce in
lines
574
–579
th
at e
xpla
ins
wh
y To
m h
esit
ates
.
Exam
ine
the
wo
rd in
stan
ta-
neo
usl
y(l
ine
571)
. Cir
cle
the
smal
ler
wo
rd w
ith
in it
th
at
is f
amili
ar t
o y
ou
. Th
en,
un
der
line
its
suff
ix, o
r w
ord
en
din
g. W
hat
do
esin
stan
tan
eou
sly
mea
n?
“in
an
inst
ant”
or
“im
med
iate
ly”
Pau
se a
t lin
e 56
5. W
ill T
om
be
able
to
bre
ak t
he
gla
ss?
Exp
lain
.
Poss
ible
an
swer
s:
Yes,
he
will
pu
t al
l his
ener
gy
into
th
e ef
fort
.
No
, he
is w
orn
ou
t.
ther
e w
as n
oth
ing
left
bu
t th
e ye
llow
sh
eet.
It o
ccu
rred
to
him
irre
leva
ntl
yth
at h
is d
eath
on
th
e si
dew
alk
belo
w w
ould
be
an
eter
nal
mys
tery
;th
e w
indo
w c
lose
d—w
hy,h
ow,a
nd
from
wh
ere
cou
ld h
e h
ave
falle
n?
No
one
wou
ld b
e ab
le t
o id
enti
fy h
is b
ody
for
a ti
me,
eith
er—
the
thou
ght
was
som
ehow
un
bear
able
an
d
incr
ease
d h
is f
ear.
All
they
’d f
ind
in h
is p
ocke
ts w
ould
be
the
yello
w s
hee
t.C
onte
nts
ofth
e de
ad m
an’s
pock
ets,
he
thou
ght,
one
shee
t of
pape
r be
arin
g pe
ncile
d no
tati
ons—
inco
mpr
ehen
sibl
e.
He
un
ders
tood
fu
lly t
hat
he
mig
ht
actu
ally
be
goin
g to
die
;
his
arm
s,m
ain
tain
ing
his
bal
ance
on
th
e le
dge,
wer
e tr
embl
ing
stea
dily
now
.An
d it
occ
urr
ed t
o h
im t
hen
wit
h a
ll th
e fo
rce
ofa
reve
lati
on t
hat
,if
he
fell,
all h
e w
as e
ver
goin
g to
hav
e ou
t of
life
he
wou
ld t
hen
,abr
upt
ly,h
ave
had
.Not
hin
g,th
en,c
ould
eve
r be
chan
ged;
and
not
hin
g m
ore—
no
leas
t ex
per
ien
ce o
r pl
easu
re—
cou
ld e
ver
be a
dded
to
his
life
.He
wis
hed
,th
en,t
hat
he
had
not
allo
wed
his
wif
e to
go
off
by h
erse
lfto
nig
ht—
and
on s
imila
r
nig
hts
.He
thou
ght
ofal
l th
e ev
enin
gs h
e h
ad s
pen
t aw
ay f
rom
her
,wor
kin
g;an
d h
e re
gret
ted
them
.He
thou
ght
won
deri
ngl
y
ofh
is f
ierc
e am
biti
on a
nd
ofth
e di
rect
ion
his
life
had
tak
en;h
e
thou
ght
ofth
e h
ours
he’
d sp
ent
by h
imse
lf,f
illin
g th
e ye
llow
shee
t th
at h
ad b
rou
ght
him
ou
t h
ere.
Con
tent
s of
the
dead
man
’s
pock
ets,
he
thou
ght
wit
h s
udd
en f
ierc
e an
ger,
a w
aste
d lif
e.
He
was
sim
ply
not
goi
ng
to c
ling
her
e ti
ll h
e sl
ippe
d an
d
fell;
he
told
him
self
that
now
.Th
ere
was
on
e la
st t
hin
g h
e co
uld
try;
he
had
bee
n a
war
e of
it f
or s
ome
mom
ents
,ref
usi
ng
to t
hin
k
abou
t it
,bu
t n
ow h
e fa
ced
it.K
nee
ling
her
e on
th
e le
dge,
the
fin
gert
ips
ofon
e h
and
pres
sed
to t
he
nar
row
str
ip o
fw
ood,
he
cou
ld,h
e kn
ew,d
raw
his
oth
er h
and
back
a y
ard
perh
aps,
fist
clen
ched
tig
ht,
doin
g it
ver
y sl
owly
till
he
sen
sed
the
oute
r lim
it
ofba
lan
ce,t
hen
,as
har
d as
he
was
abl
e fr
om t
he
dist
ance
,he
cou
ld d
rive
his
fis
t fo
rwar
d ag
ain
st t
he
glas
s.If
it b
roke
,his
fis
t
smas
hin
g th
rou
gh,h
e w
as s
afe;
he
mig
ht
cut
him
self
badl
y,an
d
prob
ably
wou
ld,b
ut
wit
h h
is a
rm in
side
th
e ro
om,h
e w
ould
be
secu
re.B
ut
ifth
e gl
ass
did
not
bre
ak,t
he
rebo
un
d,fl
ingi
ng
his
arm
bac
k,w
ould
top
ple
him
off
the
ledg
e.H
e w
as c
erta
in o
fth
at.
520
530
540
550
24
Co
llect
ion
1:
Plo
t an
d S
etti
ng
Part
1
Copyright © by Holt,Rinehart and Winston.All rights reserved.
Pau
se a
t lin
e 55
3. W
hat
are
the
po
ssib
le e
ffec
ts o
f To
m’s
pla
n?
If t
he
gla
ss d
oes
no
t
bre
ak, h
e w
ill f
all o
ff
the
led
ge.
irre
leva
ntl
y(i
·rel
√¥·v
¥nt·
l≤)
adv.
:in
a w
ay n
ot
rela
ted
to
the
po
int
or
situ
atio
n.
inco
mp
reh
ensi
ble
(in
·käm
≈pr≤
·hen
√s¥·
b¥l
)ad
j.:n
ot
un
der
stan
dab
le.
Pau
se a
t lin
e 52
6. W
hy
do
esit
mat
ter
to T
om
th
at n
o o
ne
wo
uld
un
der
stan
d t
he
yello
wsh
eet
of
pap
er?
Tom
wo
rked
har
d o
n
the
pap
er; i
f h
e d
ied
,
the
wo
rk w
ou
ld b
e
use
less
.
Collection 1Student Pages 24–25
14 The Holt Reader: Teacher’s Manual
Copyright © by Holt,Rinehart and Winston.All rights reserved.
Co
nte
nts
of
the
Dea
d M
an’s
Po
cket
27
Stor
y M
apR
evie
w t
he
sequ
ence
of
even
ts in
“C
onte
nts
of
the
Dea
d M
an’s
Pock
et.”
Th
en,f
ill in
th
e St
ory
Map
bel
ow.
Sam
ple
en
trie
s ap
pea
r b
elo
w.
Cont
ents
of
the
Dea
d M
an’s
Pock
et
Titl
e
“Co
nte
nts
of
the
Dea
d M
an’s
Po
cket
”
Sett
ing
insi
de
and
on
th
e le
dg
e o
uts
ide
of
an a
par
tmen
t, o
n t
he
elev
enth
flo
or
Ch
arac
ters
Tom
an
d C
lare
Ben
ecke
Pro
ble
m
An
imp
ort
ant
pie
ce o
f p
aper
has
blo
wn
on
to t
he
led
ge.
Even
t 1
The
yello
w s
hee
t o
f p
aper
blo
ws
ou
t th
e w
ind
ow
an
d o
nto
th
e le
dg
e.
Even
t 2
Tom
cra
wls
ou
t th
e w
ind
ow
an
d o
nto
th
e le
dg
e to
res
cue
the
pap
er.
Even
t 3
Tom
ret
riev
es t
he
pap
er b
ut
is o
verc
om
e b
y fe
ar.
Even
t 4
Tom
acc
iden
tally
pu
lls t
he
win
do
w s
hu
t.
Even
t 5
(Clim
ax)
Tom
bre
aks
the
win
do
w a
nd
get
s b
ack
into
his
ap
artm
ent.
Res
olu
tio
n
Wh
en t
he
pap
er f
lies
ou
t th
e w
ind
ow
a s
eco
nd
tim
e, T
om
lau
gh
s. H
e ca
res
less
ab
ou
t w
ork
no
w a
nd
mo
re a
bo
ut
his
wif
e.
swel
led
tow
ard
the
mom
ent
ofac
tion
,his
ner
ves
tau
ten
ing.
He
thou
ght
ofC
lare
—ju
st a
wor
dle
ss,y
earn
ing
thou
ght—
and
then
drew
his
arm
bac
k ju
st a
bit
mor
e,fi
st s
o ti
ght
his
fin
gers
pai
ned
him
,an
d kn
owin
g h
e w
as g
oin
g to
do
it.T
hen
wit
h f
ull
pow
er,
wit
h e
very
last
scr
ap o
fst
ren
gth
he
cou
ld b
rin
g to
bea
r,h
e sh
ot
his
arm
for
war
d to
war
d th
e gl
ass,
and
he
said
“C
lare
!”
He
hear
d th
e so
un
d,fe
lt t
he b
low
,fel
t hi
mse
lffa
llin
g
forw
ard,
and
his
han
d cl
osed
on
the
livi
ng-
room
cu
rtai
ns,
the
shar
ds a
nd
frag
men
ts o
fgl
ass
show
erin
g on
to t
he f
loor
.An
d
then
,kn
eelin
g th
ere
on t
he le
dge,
an a
rm t
hru
st in
to t
he r
oom
up
to t
he s
hou
lder
,he
bega
n p
icki
ng
away
the
pro
tru
din
g sl
iver
s an
d
grea
t w
edge
s of
glas
s fr
om t
he w
indo
w f
ram
e,to
ssin
g th
em in
onto
the
ru
g.A
nd,
as h
e gr
aspe
d th
e ed
ges
ofth
e em
pty
win
dow
fram
e an
d cl
imbe
d in
to h
is h
ome,
he w
as g
rin
nin
g in
tri
um
ph.
He
did
not
lie
dow
n o
n t
he
floo
r or
ru
n t
hro
ugh
th
e ap
artm
ent,
as h
e h
ad p
rom
ised
him
self
;eve
n in
th
e fi
rst
few
mom
ents
it
seem
ed t
o h
im n
atu
ral a
nd
nor
mal
th
at h
e sh
ould
be
wh
ere
he
was
.He
sim
ply
turn
ed t
o h
is d
esk,
pulle
d th
e cr
um
pled
yel
low
shee
t fr
om h
is p
ocke
t,an
d la
id it
dow
n w
her
e it
had
bee
n,
smoo
thin
g it
ou
t;th
en h
e ab
sen
tly
laid
a p
enci
l acr
oss
it t
o
wei
ght
it d
own
.He
shoo
k h
is h
ead
won
deri
ngl
y,an
d tu
rned
to w
alk
tow
ard
the
clos
et.
Th
ere
he
got
out
his
top
coat
an
d h
at a
nd,
wit
hou
t w
aiti
ng
to p
ut
them
on
,ope
ned
th
e fr
ont
door
an
d st
eppe
d ou
t,to
go
fin
d h
is w
ife.
He
turn
ed t
o pu
ll th
e do
or c
lose
d an
d w
arm
air
from
th
e h
all r
ush
ed t
hro
ugh
th
e n
arro
w o
pen
ing
agai
n.A
s h
e
saw
th
e ye
llow
pap
er,t
he
pen
cil f
lyin
g,sc
oope
d of
fth
e de
sk a
nd,
un
imp
eded
by t
he
glas
sles
s w
indo
w,s
ail o
ut
into
th
e n
igh
t an
d
out
ofh
is li
fe,T
om B
enec
ke b
urs
t in
to la
ugh
ter
and
then
clo
sed
the
door
beh
ind
him
.
590
600
610
26
Co
llect
ion
1:
Plo
t an
d S
etti
ng
Part
1
Copyright © by Holt,Rinehart and Winston.All rights reserved.
un
imp
eded
(un
≈im·p
≤d√id
)ad
j.:n
ot
blo
cked
; u
no
bst
ruct
ed.
Un
imp
eded
has
th
e p
refi
xu
n–,
mea
nin
g “
no
t.”
If y
ou
rem
ove
th
e p
refi
x, y
ou
hav
eth
e w
ord
imp
eded
,mea
nin
g“b
lock
ed; o
bst
ruct
ed.”
Th
eLa
tin
ro
ot
–ped
e–m
ean
s“f
oo
t.”
Imp
ede
com
es d
irec
t-ly
fro
m a
Lat
in w
ord
mea
nin
g“t
o h
old
so
meo
ne
by
the
foo
t.”
At
the
end
of
the
sto
ry, w
hy
do
es T
om
lau
gh
wh
en h
ese
es t
he
yello
w s
hee
t o
fp
aper
fly
ou
t th
e w
ind
ow
?
Poss
ible
res
po
nse
:
Tom
rea
lizes
th
at t
her
e
are
mo
re im
po
rtan
t
thin
gs
in li
fe t
han
wo
rk, e
spec
ially
his
love
fo
r C
lare
.
The
clim
axis
th
e m
ost
exc
it-
ing
par
t o
f a
sto
ry. U
nd
erlin
eth
e se
nte
nce
in li
nes
588
–593
that
is t
he
clim
ax.
Collection 1Student Pages 26–27
Student Pages with Answers 15
Copyright © by Holt,Rinehart and Winston.All rights reserved.
Co
nte
nts
of
the
Dea
d M
an’s
Po
cket
29
Skill
s Re
view
Skill
s Re
view
1.__
___
re–
a.n
o; n
ot
2.__
___
un
–b
.fo
rwar
d
3.__
___
sub
–c.
agai
n
4.__
___
pro
–d
.b
elo
w
Pref
ixes
DIR
ECTI
ON
S:M
atch
eac
h p
refi
x w
ith
its
def
init
ion
by
wri
tin
g
the
corr
ect
lett
er o
n t
he
line.
Cont
ents
of
the
Dead
M
an’s
Poc
ket
Voca
bula
ry i
n Co
ntex
t
DIR
ECTI
ON
S:C
om
ple
te t
he
par
agra
ph
by
wri
tin
g a
wo
rd f
rom
th
e w
ord
bo
x
to f
it in
eac
h s
ente
nce
bel
ow
. No
t al
l wo
rds
will
be
use
d.
pro
ject
ion
dis
card
ing
con
firm
atio
n
exh
alat
ion
inco
mp
reh
ensi
ble
reb
ou
nd
ed
un
imp
eded
irre
leva
ntl
y
inte
rmin
able
imp
erce
pti
bly
Wor
d Bo
xW
ord
Box
Tom
cre
pt
on
th
e le
dg
e, h
old
ing
his
bre
ath
, th
en le
t o
ut
a g
reat
(1)
of
air.
So (
2)
did
he
mo
ve t
hat
To
m f
elt
as if
he
wer
e st
and
ing
sti
ll. H
e h
ad b
een
on
th
e
led
ge,
he
tho
ug
ht,
an
(3)
le
ng
th o
f ti
me.
Ho
wev
er, h
is b
urn
ing
cig
aret
te w
as (
4)
that
he
had
act
ual
ly b
een
th
ere
on
ly a
few
min
ute
s. S
tari
ng
at
his
un
read
able
,
(5)
scra
wl o
n t
he
shee
t o
f p
aper
, he
wo
nd
ered
wh
y th
e w
ork
had
see
med
so
imp
ort
ant.
Voca
bula
rySkills
Und
erst
and
pref
ixes
. Use
wor
ds in
cont
ext.
Copyright © by Holt,Rinehart and Winston.All rights reserved.
Co
mp
lete
th
e sa
mp
le t
est
item
bel
ow
. Th
e b
ox
at t
he
rig
ht
exp
lain
s w
hy
thre
e o
f th
ese
cho
ices
are
no
t co
rrec
t.
Cont
ents
of
the
Dead
M
an’s
Poc
ket
Skill
s Re
view
Skill
s Re
view
28
Co
llect
ion
1:
Plo
t an
d S
etti
ng
Part
1
Ex
pla
na
tio
n o
f th
e C
orr
ect
An
swe
r
The
corr
ect
answ
er is
B.
Ais
inco
rrec
t b
ecau
se T
om
’s b
oss
is n
ot
men
tio
ned
in t
he
sto
ry. C
is in
corr
ect
be-
cau
se T
om
an
d h
is w
ife
hav
en’t
arg
ued
.
Dis
als
o in
corr
ect;
To
mh
as t
rou
ble
ligh
tin
g t
he
mat
ches
, bu
t th
em
atch
es
pre
sen
t o
nly
a m
ino
r d
iffi
cult
y.
Sa
mp
le T
est
Ite
m
On
eco
nfl
ict
of
the
sto
ry t
akes
pla
ce
bet
wee
n—
ATo
m a
nd
his
bo
ss
BTo
m a
nd
his
ow
n a
mb
itio
n
CTo
m a
nd
his
wif
e
DTo
m a
nd
a b
oo
k o
f m
atch
es
4.Th
e au
tho
r sl
ow
s d
ow
n t
ime
by—
Fu
sin
g f
lash
bac
k an
d f
ore
shad
ow
ing
Gd
escr
ibin
g t
he
even
ts m
om
ent
by
mo
men
t
Hse
ttin
g t
he
sto
ry o
n t
he
elev
enth
-
flo
or
led
ge
Jfo
cusi
ng
on
on
e ch
arac
ter
5.A
t th
e re
solu
tio
no
f “C
on
ten
ts o
f
the
Dea
d M
an’s
Po
cket
” To
m r
ealiz
es
that
—
Aw
ork
is le
ss im
po
rtan
t
Bw
ork
is m
ore
imp
ort
ant
Cfa
mily
an
d w
ork
are
of
equ
al
imp
ort
ance
Dfa
mily
is le
ss im
po
rtan
t
1.Th
ese
ttin
go
f “C
on
ten
ts o
f th
e D
ead
Man
’s P
ock
et”
pro
vid
es—
Ab
eau
tyC
susp
ense
Bh
um
or
Dro
man
ce
2.A
ll o
f th
e fo
llow
ing
des
crib
e To
m’s
inte
rnal
co
nfl
icts
exce
pt—
Fd
ecid
ing
bet
wee
n w
ork
an
d t
he
mo
vies
Go
verc
om
ing
his
fea
r
Hfi
gh
tin
g t
he
tem
pta
tio
n t
o lo
ok
do
wn
Jre
scu
ing
th
e p
aper
fro
m t
he
led
ge
3.In
th
e st
ory
’s s
equ
ence
of
even
ts,
wh
ich
eve
nt
hap
pen
s la
st?
ATo
m b
reak
s th
e w
ind
ow
.
BTo
m li
gh
ts t
he
mat
ches
.
CC
lare
go
es t
o t
he
mo
vies
.
DTo
m s
tep
s o
ut
on
to t
he
led
ge.
DIR
ECTI
ON
S:A
nsw
er t
he
follo
win
g q
ues
tio
ns
by
circ
ling
th
e le
tter
of
the
bes
t re
spo
nse
.
Lit
era
ry S
kills
Ana
lyze
tim
ean
d se
quen
ce.
Collection 1Student Pages 28–29
196 Graphic Organizers
Name Date
Selection Title
Co
pyr
igh
t ©
by
Ho
lt, R
ineh
art
and
Win
sto
n. A
ll ri
gh
ts r
eser
ved
.
Story Map
Plot is the series of related events that make up a story. Complete the story map below for
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Characters Setting
Problem
Events1.
2.
3.
4.
Climax
Resolution
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