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heavenly creatures explained

(Walsh and Jackson, p. 215). Her next resolution is “a far more selfish one”; finally, she considers killing her mother the only way out of her situation, and while “Naturally we feel a trifle nervous, but the pleasure of anticipation is great,” [...] “Peculiarly enough I have no qualms of conscience.”, “PAULINE RIEPER: 16 - dark-haired, shorter and stockier than Juliet.” JULIET (Angry):  I’m not going to England without Gina! PAULINE:  No, silly. They were genteel schoolgirls who fell in love with each other and, goaded by that love, committed a terminally unladylike crime. Hilda looks hurt. With ebullient imagination, they invented a secret, mischievous universe open only to “heavenly creatures” like themselves. PAULINE (Scornful):  What do you know? Dying breath escapes from Pauline’s mouth… she goes limp. (Walsh and Jackson, p. 190). The fretful Mrs. Rieper prevents Pauline from going away with Juliet; a sympathetic Mrs. Hulme allows them to be together for a final three weeks, which is when they hatch the plan to kill Mrs. Rieper. (Walsh and Jackson, p. 214), “JULIET HULME: nearly 16 - tall, blond and willowy” She writes to the hospitalized Juliet in the character of Charles, fantasizing that she was “compelled to execute several peasants just to alleviate the boredom…”; separated from the Hulmes by her mother, Pauline considers: The firm ideas of the academic Dr. Hulme and strict Riepers dominate the freer-thinking of Mrs. Hulme and the psychiatrist, and lead the desperate girls to wilder imaginings—which they unfortunately act out. “HERBERT:  This story of yours—maybe the school newspaper will print it when it’s finished. She starts to bend down. (Walsh and Jackson, p. 196). Pauline’s unthinking responses to situations are inappropriate: Pauline reacts to Juliet’s T.B. “He reaches down… for a silver ring, set with a small pink stone. PAULINE (Diary V.O. Herbert chuckles. She sniffs and pulls a face. Pauline feels limited—by the social status of her peasant family, by her physical limitations, by her mother’s control. MISS STEWART:  Of course… Juliet’s father is Dr. Hulme, the Rector of the University. “Pauline’s eyes are shut. ; distressed over the one obstacle standing in her way, Pauline causes an effect—her mother’s death—having carefully worked out the steps of the murder plan. In her attempt to extort money from her mother, Juliet finds her parents’ marriage is rapidly deteriorating; Mrs. Hulme’s “deep therapy” gets her client, Bill, farther from repairing his marriage; involved in her own creative writing, the standard of Pauline’s school work is slipping, and she drops out to take a job. HONORA:  You’re not going anywhere. But she hasn’t thought this premise through to its conclusion: How would killing her mother ensure her staying together with Juliet? HENRY (Annoyed):  Of course not. Back of Honora’s head. JULIET:  I’m not! “Diello grabs a huge ax, swings it up above his head, and brings it crashing down onto… You’d better put my name down for an advance copy! Pauline deliberately puts aside her familial childhood memories for a new life with her best friend. “HERBERT:  Thought I’d have a go at building the birdhouse on Saturday… anyone want to give me a hand? Pauline reacts with a degree of shock. Beautiful! Juliet shrieks! (Walsh and Jackson, p. 194) Pauline reacts with a degree of shock. Pauline transfers her trust away from her family to her new friend, Juliet, and assumes that their relationship will continue despite the obstacles it meets. Visited by what seems the perfect solution to her problem—murdering her mother—Pauline regains confidence in a future with Juliet so much that she doesn’t worry about the consequences of her crime. Adolescence is such a crazy time.” The concerned parents of Pauline and Juliet conceive the notion that the more the girls spend time together, the more “unhealthy” their relationship is becoming. (Walsh and Jackson, p. 192) Juliet and Pauline conceive of Hollywood as an escape from their problems, and scheme to raise the airfare; to keep her from his daughter, Dr. Hulme comes up with the idea of sending Pauline to a psychiatrist; he conceives of divorce from Mrs. Hulme, and sending Juliet away to South Africa; Pauline invents the plan to murder Mrs. Rieper as the way to keep herself and Juliet together. PAULINE:  No, silly. And I don’t think Pauline and Juliet are so very different from anybody else; I think several things went wrong in their lives—Juliet’s parents broke up, and Pauline became very alienated from her family (she was an obsessional manic-depressive character)—and I think it was this terrible combination of things that led to this extraordinarily horrible act. She is forever separated from her beloved Juliet, who “was released in November 1959 and immediately left New Zealand to join her mother overseas.” No less arrogantly delusional than Leopold and Loeb, Pauline and Juliet had come to inhabit a dream world populated by imaginary royalty and teen-age fave raves (they shared a huge crush on the singer Mario Lanza), who sometimes acted as stand-ins for the adults in their lives. Please, don’t! (Walsh and Jackson, p. 185). Pauline’s theory of how she will live her life conflicts with her parents’ plans for her. Reluctant to be in the school photo, Pauline adapts to the situation by hanging her head down rather than running away; Pauline responds to Juliet’s tuberculosis by wishing illness on herself and refusing to eat; when her mother threatens to not let her see Juliet again, Pauline’s initial response is to wish herself dead; she responds to threatening authority figures internally by having them killed by Diello in the 4th World of Borovnia. PAULINE: (Diary V.O. Like Leopold and Loeb, their American counterparts, Pauline and Juliet scandalized their countrymen in ways that have not yet been forgotten. They were smugly superior; they were caught in the grip of illicit passion; they were capable of murdering an innocent relative for no good reason. (Walsh and Jackson, p. 208) Distressed at being unable to obtain a passport, Pauline finds solace in spending time with Juliet and they descend into madness together. Juliet’s mastery of the French language, and the way she lets everyone know it by one-upping the teacher, makes Pauline admire her; Juliet’s understanding of what it’s like to suffer a major illness, and what to say to Pauline to comfort her, brings them closer together and separates them from others: !” ):  The thought is too dreadful. Pauline has a history of traumatic childhood illness: (Maslin, p. 389), “But the other reason why it was important that we tell this as a true story is that it has a kind of universal truth for anybody growing up. It took them two years to drain all the muck out. Pauline is sullen, withdrawn, and friendless until she falls under the influence of Juliet’s optimism—then she looks forward to a bright future, spending the rest of her life with Juliet and expecting fame and fortune from the publication of their writings. Heavenly Creatures is a 1994 New Zealand psychological thriller directed by Peter Jackson, from a screenplay he co-wrote with his partner, Fran Walsh, and starring Melanie Lynskey and Kate Winslet in their feature film debuts, with supporting roles by Sarah … Pauline gets the idea to apply the same method to her mother, bringing a rock in a sock crashing down onto her head, after it works to get rid of her nuisance of a lover, John/Nicholas: PAULINE (Poem V.O. (Walsh and Jackson, p. 208). When Pauline becomes aware of Juliet’s talent and assertiveness in school, she’s immediately drawn to her; the discovery that they have childhood illness in common separates them from the other students; Juliet teaches Pauline the wonders of the 4th World, a secret they share; learning of Juliet’s T.B., Pauline affects a sympathetic illness; learning that Juliet’s to be shipped to South Africa, Pauline tries to become part of the Hulme family. She holds it up and it twinkles in the sunlight.” Pauline finds that as she’s currently only 15 years old, she’s unable to get the passport she needs to go overseas with Juliet—she needs her mother’s permission, which is denied. This also means it has been incorporated into the Dramatica Story Expert application itself as an easily referenced contextual example. Juliet looks confused. Juliet and Pauline transform their movie star heartthrobs into saints. Mrs. Hulme muses that Pauline and Juliet’s relationship is probably harmless; the psychiatrist thinks Pauline’s homosexuality may be a passing phase she’ll grow out of; Pauline thinks she doesn’t need school, as her writing will be her career. Mr. Hulme tells Mrs. Rieper his theory, based on a series of observations of his daughter with Pauline, that Pauline’s turning homosexual. “HONORA:  You’re failing English… you used to be top of the class— In Juliet, she sees a soulmate with similar interests and attitude, and flourishes creatively. (Walsh and Jackson, p. 185) PAULINE:  I’m doing my own writing! Foreshadowing what she and Pauline have in store for Mrs. Rieper later, Juliet premeditates about a murder weapon in her garden: JULIET:  I’ve got scars… they’re on my lungs. Juliet, upset that her plan to go to Hollywood is thwarted by Pauline’s inability to get a passport, commits to maintaining the relationship with her only friend: Their process of arriving at this idea parallels Pauline’s descent into madness. PAULINE:  But we’re all going to Heaven! (Walsh and Jackson, p. 190)—and: The insight into dealing with obstacles that Pauline and Juliet discern from their fantasy world is misguided, for they have neither the experience nor the wisdom to think through the consequences of their murder of Mrs. Rieper to its logical conclusion—imprisonment and separation. ):  We have decided how sad it is for other people that they cannot appreciate our genius… ...but we hope the book will help them do so a little, though no one could full appreciate us. The school headmistress introduces her: [...]  Juliet picks up the pink stone. You've reached the "hub" for any and all Dramatica analysis of Heavenly Creatures. Experiencing adolescence and the possibility of other worlds shown to her by Juliet, Pauline changes from a dull, obedient daughter with straight-A grades to an imaginative person with a purpose: At the moment Juliet learns her parents are considering a vacation without her, she’s stunned—and withdraws into the imaginary Fourth World; discovering her mother in bed with Bill, Juliet takes the opportunity to extort money, assuming her mother wouldn’t want her father to know; Juliet justifies the murder she’s in the midst of executing by referring to the present state of mind of their victim, Mrs. Rieper: (Walsh and Jackson, p. 212) “JULIET:  Daddy says the Bible’s a load of bunkum! Pauline giggles. Patent #5,734,916; #6,105,046. ):  Mummy and Daddy sent me to the Bahamas to recuperate. Feeling abandoned, she joins in Pauline’s plan to “moider her mother.”, Like Pauline, Juliet suffered from a traumatic childhood illness: Attracted by Juliet’s superiority complex, the withdrawn Pauline finds Juliet’s home life and imaginative mind wonderful places to cohabit. ):  Suddenly a means of ridding myself of this obstacle occurred to me. Unlike most of the analysis found here—which simply lists the unique individual story appreciations—this in-depth study details the actual encoding for each structural item. ):  Mummy and Daddy sent me to the Bahamas to recuperate. “LOW ANGLE… bricks, piled up beside the garage. HERBERT (Laughs):  Is that a fact?

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