Sentences for Rolling – General

Sources

  1. Big Boris (to give) right skills to clever people.(1)
  2. They (to see) many new opportunities in life.(1)
  3. These creatures (to seek for) fellowship among the stars.(2)
  4. Not remotely human creatures (to feel) awe and wonder.(2)
  5. The Lords of the Universe (to encounter) life in many forms in their explorations.(2)
  6. Those creatures (to watch) the workings of evolution on a thousand worlds.(2)
  7. The survey ship (to look down on) Earth.(2)
  8. The explorers (to observe) a world swarming with life.(2)
  9. Their servants (to do) the rest.(2)
  10. The changeless Moon (to carry) it’s secret from the stars.(2)
  11. Strange and beautiful and terrible empires (to pass on) their knowledge to their successors.(2)
  12. They (to transfer) their brains, and then their thoughts alone into shining new homes of metal and gemstone.(2)
  13. They (to roam) the Galaxy.(2)
  14. That race (to build) sophisticated spaceships.(2)
  15. They (to learn) to store knowledge in the structure of space itself.(2)
  16. Those inhabitants of the Universe (to transform) themselves into pure energy.(2)
  17. They (to discard) the empty shells.(2)
  18. The Lords of the Galaxy (to forget) their origin in the warm slime of a vanished sea.(2)
  19. Their marvelous instruments (to watch over) the started so many ages ago experiments.(2)
  20. They (to discover and seek) goals of their own.(2)
  21. People (to annoy) him.(2)
  22. My spouse (to answer) ‘Sorry!’(2)
  23. He (to leave) the village.(2)
  24. We (to deploy) the sun-screen.(2)
  25. Our scientists (to wrap) a comet’s core in a sheet of reflective film only a few molecules thick, but kilometers on a side.(2)
  26. People (to obey) this ridiculous request.(2)
  27. The crew (to collect) information.(2)
  28. They (to nudge) the ice from the rings of Saturn towards Venus and Mercury.(2)
  29. I (to support) their accusations of celestial vandalism.(2)
  30. He (to round up) stragglers from the Kuiper Belt.(2)
  31. They (to make) planets suitable for life.(2)
  32. The Pacific asteroid (to cause) the tsunami.(2)
  33. A land impact (to do) much less damage.(2)
  34. This particular package (to reach) its destination.(2)
  35. A delay of a week (to make) much difference.(2)
  36. Our engineers (to do) the calculations.(2)
  37. They (to radio) the results back to Mars for checking.(2)
  38. They (to do) the sums carefully.(2)
  39. The ancient photograph above his desk (to show) a three-masted steamship.(2)
  40. I (to disorient) you.(2)
  41. Thawing carbon and sulphur compounds out (to produce) unpleasant surprises.(2)
  42. The expedition (to investigate) the target.(2)
  43. They (to forget) to cancel another Millennium Committee project.(2)
  44. The committee (to plan) the events.(2)
  45. The human race (to resume) its normal activities.(2)
  46. Solar System (to produce) surprises.(2)
  47. Some imaginative idiot (to sight) the fabled Golden Asteroid.(2)
  48. Chandler (to bring) life to barren worlds.(2)
  49. He (to take) one possibility quite seriously.(2)
  50. The human race (to scatter) its robot probes through a volume of space a hundred light-years across.(2)
  51. Goliath (to detect) the echo at extreme range.(2)
  52. Mankind (to toss) myriad pieces of space-junk towards the stars.(2)
  53. This (to provide) the only evidence that the human race had ever existed.(2)
  54. Captain Chandler (to realize) the truth.(2)
  55. Some patient historian (to check) the earliest records of the Space Age.(2)
  56. The computers (to give) him the answer.(2)
  57. Chandler (to radio) ‘Goliath here’ Earthwards.(2)
  58. We (to bring) aboard a thousand-year-old astronaut.(2)
  59. The most primitive, and evocative, of his senses (to tell) him the truth.(2)
  60. That reckless teenager (to break) a rib in the Arizona Hang-gliding Championship.(2)
  61. Each his breath (to bring) the faint and not unpleasant tang of antiseptics in the air.(2)
  62. It (to trigger) his memory.(2)
  63. An icy hand (to grip) his heart.(2)
  64. That runaway space-pod (to outstretch) metal claws.(2)
  65. He (to try) reconnecting his broken air-hose.(2)
  66. Dave (to rescue) him.(2)
  67. Lack of oxygen (to do) permanent brain damage.(2)
  68. The new crew (to take) me back to Earth.(2)
  69. Good old Dave (to thank) me.(2)
  70. Old Dave (to tell) me the truth.(2)
  71. The arrival of a Matron and two nurses (to break) his confused train of thought.(2)
  72. They (to awaken) him.(2)
  73. The idea (to give) him a childish feeling of satisfaction.(2)
  74. He (to say) ‘Hello!’(2)
  75. One of them (to lift) his right arm.(2)
  76. Matron (to press) something against the side of his neck.(2)
  77. The three women (to exchange) glances.(2)
  78. Matron (to enunciate) her words very slowly and carefully.(2)
  79. Professor Anderson (to explain) everything.(2)
  80. Poole (to place) her accent.(2)
  81. The opened door (to give) Poole a brief glimpse of a small crowd of inquisitive onlookers.(2)
  82. Professor Anderson (to do) an obvious double-take.(2)
  83. You (to answer) a few questions.(2)
  84. Poole (to catch) new words.(2)
  85. One of the nurses (to open) a wall-cupboard.(2)
  86. One of the nurses (to produce) a slim metal band.(2)
  87. Professor (to dredge) the word up from the depth of memory.(2)
  88. We (to monitor) your brain functions.(2)
  89. Poole (to grumble) something silently.(2)
  90. I (to use) my brain.(2)
  91. Professor Anderson (to greet) Poole by holding up his right palm.(2)
  92. Poole (to nod) agreement.(2)
  93. Dave Bowman (to rescue) me.(2)
  94. He (to bring) me back to the ship.(2)
  95. No one (to tell) me anything!(2)
  96. They (to revive) me.(2)
  97. The space-station (to orbit) the Earth.(2)
  98. Professor Anderson (to rehearse) some quite unfamiliar gesture.(2)
  99. Poole (to do) some mental calculations.(2)
  100. Dave (to put) him in the hibernaculum .(2)
  101. Dave (to revive) the rest of the crew.(2)
  102. The crew (to complete) the mission to Jupiter.(2)
  103. He (to ask) ‘Just what date is it?’ as calmly as possible.(2)
  104. Professor and Matron (to exchange) glances.(2)
  105. Poole (to feel) that cold wind on his neck.(2)
  106. Bowman (to face) a desperately serious crisis.(2)
  107. A serious crisis (to threaten) his survival.(2)
  108. We (to blame) him.(2)
  109. Professor and Matron (to consult) an invisible monitor.(2)
  110. They (to nod) agreement.(2)
  111. Administration (to plug) them into the hospital information circuit.(2)
  112. Poole (to guess) the answer.(2)
  113. They (to link) him to the headband.(2)
  114. Poole (to wear) headband.(2)
  115. Professor Anderson (to make) a smooth switch to the role of long-time family physician.(2)
  116. You (to leave) Earth.(2)
  117. He (to regain) consciousness.(2)
  118. Images on the walls (to show) land and sea-scapes.(2)
  119. They carefully (to program) his present surroundings.(2)
  120. A savage (to encounter) civilization.(2)
  121. He (to regain) his strength.(2)
  122. Poole (to learn) the language.(2)
  123. The advent of sound recording (to prevent) major changes in grammar and pronunciation.(2)
  124. The patient (to make) a shrewd guess at the meaning of the new words.(2)
  125. He (to build up) a data bank.(2)
  126. His teachers (to interrupt) most of his conversations with potted biographies.(2)
  127. Professor Anderson (to include) scholars of several disciplines.(2)
  128. They all (to treat) him with the utmost respect.(2)
  129. They all (to over-protect) him from culture shock.(2)
  130. The arrival of Doctor Indra Wallace (to change) everything.(2)
  131. Poole (to picture) her as a rather mature Geisha Girl.(2)
  132. They (to appoint) Indra Wallace his official guide.(2)
  133. She (to get) me out of here.(2)
  134. No input device (to recognize) your existence.(2)
  135. Poole (to answer) ‘Just what I expected.’(2)
  136. Many people (to hate) the idea.(2)
  137. They (to take) their compaks with them.(2)
  138. He (to test) her.(2)
  139. He (to map out) her personality.(2)
  140. A plate in his suite (to emit) urgent beepings.(2)
  141. He (to ignore) the beepings.(2)
  142. Someone else (to deal with) the problem.(2)
  143. Dr Wallace (to lay) the palm of her hand upon the plate.(2)
  144. She (to glance at) Poole.(2)
  145. The inscription (to make) a good deal of sense.(2)
  146. You (to forget) that.(2)
  147. You (to feel) your implant.(2)
  148. You (to give) us a small problem.(2)
  149. He (to exclaim) ‘This space-station must be enormous!’(2)
  150. We (to move) your date of birth up a thousand years.(2)
  151. You (to leave) the rest of the Ident empty.(2)
  152. You (to use) the Ident for personal messages.(2)
  153. They (to improve) other people’s morals.(2)
  154. Poole (to adapt to) the low gravity.(2)
  155. Frank (to take) long strides.(2)
  156. They (to meet) only a few people on their walk.(2)
  157. Every one (to give) a smile of recognition.(2)
  158. Indra (to smile back at) him.(2)
  159. He (to correct) her absent-mindedly.(2)
  160. He (to estimate) the scale of this structure.(2)
  161. Any man on Earth (to imagine) a space-station large enough to boast a subway.(2)
  162. A single small coach (to seat) only a dozen passengers.(2)
  163. Indra (to order) ‘Observation Lounge Three’.(2)
  164. Poole (to check) the time on the elaborate wrist-band.(2)
  165. Poole (to explore) the functions of the elaborate wrist-band.(2)
  166. The advent of global communications (to sweep away) the confusing patchwork of Time Zones.(2)
  167. Certain people (to suggest) that Solar should be replaced by Sidereal Time.(2)
  168. That particular job (to wait for) somewhat major advances in technology.(2)
  169. People of that age (to correct) one of God’s minor mistakes.(2)
  170. Those people (to adjust) the Earth’s orbit.(2)
  171. Adjusting the Earth’s orbit (to give) every year twelve months of thirty exactly equal days.(2)
  172. The machine (to alter) the strength and the direction of gravity.(2)
  173. Such a displacement (to change) the gee-vector.(2)
  174. The designers of this audacious piece of engineering (to curve) the huge window both vertically and horizontally.(2)
  175. Indra (to restrain) him.(2)
  176. He (to move) his head from side to side.(2)
  177. He (to recall) Euclid’s definition ‘A lie has length, but no thickness’.(2)
  178. Some (to apply) the word ‘thin’ to express the thing.(2)
  179. Indra (to look at) him with a quizzical smile.(2)
  180. She (to say) ‘Go closer to the window’.(2)
  181. He (to cry) ‘My God!’(2)
  182. Gently curving wall (to indicate) a diameter of several kilometres.(2)
  183. He (to assume) that it must continue all the way to the surface.(2)
  184. He (to whisper) ‘How high are we?’(2)
  185. He (to dream) to see the reality.(2)
  186. He (to point towards) the distant thread.(2)
  187. Engineers equally (to space) the towers around the Equator.(2)
  188. They (to complete) only a few hundred level.(2)
  189. Poole (to absorb) this stupendous concept.(2)
  190. The engineers (to avoid) collisions.(2)
  191. That (to make) sense.(2)
  192. They (to need) the things.(2)
  193. The four gigantic towers (to provide) all the facilities.(2)
  194. Spaceships (to leave) earth.(2)
  195. Indra (to look at) him with surprise.(2)
  196. She (to point to) the ceiling.(2)
  197. I (to believe) it.(2)
  198. Poole (to digest) this.(2)
  199. A trivial anomaly (to catch) his attention.(2)
  200. Spaceships (to re-enter) the atmosphere.(2)
  201. Its rays streaming down through the great window (to paint) a brilliant band of light on the floor underfoot.(2)
  202. The frame of the window (to throw) a double shadow.(2)
  203. The spectacle of two suns (to leave) him momentarily speechless.(2)
  204. He (to gasp) ‘What’s that?’ (2)
  205. He (to recover) his breath.(2)
  206. It (to give) us much heat.(2)
  207. Thousands of satellites and space-stations (to provide) all the facilities.(2)
  208. They (to tell) you.(2)
  209. It (to put) the Moon out of business.(2)
  210. Second Mission (to look for) you.(2)
  211. The events (to both astonish and delight) Poole.(2)
  212. They (to wheel) the television set into the room.(2)
  213. They (to position) the television at the end of his bed.(2)
  214. We (to give) it back.(2)
  215. Matron (to inform) him.(2)
  216. He (to fondle) the remote-control.(2)
  217. Poole (to feel) a wave of acute nostalgia.(2)
  218. A wave of acute nostalgia (to sweep over) him.(2)
  219. Few other artefacts (to bring back) memories of his childhood.(2)
  220. His question (to puzzle) her.(2)
  221. Archives (to put together) a collection.(2)
  222. That (to make) you feel at home.(2)
  223. Someone familiar with the early twenty-first century (to do) the selection well.(2)
  224. They (to include) episodes from each Star Trek series.(2)
  225. Poole (to meet) both Patrick Stewart and Leonard Nimoy.(2)
  226. He (to start) to explore these relics of the past.(2)
  227. They (to maintain) that figure.(2)
  228. Even the most hardened cynic (to admit) that.(2)
  229. Millions of them (to pass) the highest standards of excellence.(2)
  230. Poole aimlessly (to surf) the channels.(2)
  231. Inquisitive and influential citizens (to filter past) the palace guard established by Matron and Professor Anderson.(2)
  232. Indra Wallace (to accompany) the venerable antique.(2)
  233. It (to help) you to adjust.(2)
  234. You (to enjoy) it.(2)
  235. We (to find) something.(2)
  236. The opening (to take) him back to his old life.(2)
  237. He (to recognize ) one of the most famous voices of his age.(2)
  238. We (to explore) the future.(2)
  239. Somebody (to transport) persons living in Ad. 1000 across the centuries.(2)
  240. Telecommunications, the ability to record images and sounds once irrevocably lost, the conquest of the air and space (to create) a civilization beyond the wildest fantasies of the past.(2)
  241. Copernicus, Newton, Darwin and Einstein (to change) our mode of thinking and our outlook on the universe.(2)
  242. Our successors (to look back on) us with the same pity.(2)
  243. The Third Millennium (to hold) some surprises for us.(2)
  244. A great bell (to toll) the strokes of midnight.(2)
  245. The accent (to bring) him up to the present.(2)
  246. You (to watch) the people of 2001.(2)
  247. The people of 2001 (to anticipate) many of our technological achievements.(2)
  248. Those people (to expect) satellite cities, and colonies on the Moon and planets.(2)
  249. We (to send) probes only to the nearest stars.(2)
  250. We (to disappoint) them.(2)
  251. Indra (to switch off) the recording abruptly.(2)
  252. The rest (to help) you to adjust.(2)
  253. All this (to prove) one point.(2)
  254. Rock (to drop) me into 2001.(2)
  255. That development (to justify) their confidence.(2)
  256. I (to meet) magic in this new world.(2)
  257. Poole (to make) an agonizing decision.(2)
  258. Professor Anderson’s smile (to neutralize) the exaggerated gravity of his words.(2)
  259. Antimatter (to release) energy with 100 percent efficiency.(3)
  260. Antimatter (to create) no pollution or radiation.(3)
  261. The researchers (to create) antimatter only in very small amounts.(3)
  262. The new Antiproton Decelerator (to promise) to create antimatter in much larger quantities.(3)
  263. This highly volatile substance (to save) the world.(3)
  264. People (to use) it to create the most deadly weapon ever made.(3)
  265. Physicist Leonardo Vetra (to smell) burning flesh.(3)
  266. He (to stare up in terror at) the dark figure.(3)
  267. The raspy voice (to reply): “The password.”(3)
  268. The intruder (to grind) the white hot object deeper into Vetra’s chest.(3)
  269. Vetra (to cried out) in agony: “There is no password!”(3)
  270. The figure (to glare) “I was afraid of that.”(3)
  271. The figure (to produce) a blade.(3)
  272. He (to bring) it to Vetra’s face.(3)
  273. Vetra (to scream) “For the love of God!”(3)
  274. A young woman (to call down to) him.(3)
  275. He (to beg) “Wait!”(3)
  276. The man (to curl) his lips into a lonely grimace.(3)
  277. He (to let out) a scream of anguish.(3)
  278. Robert Langdon (to pick up) the receiver.(3)
  279. I (to look for) Robert Langdon.(3)
  280. You (to get) the right Langdon.(3)
  281. You (to write) three books on symbology.(3)
  282. A stripper from Oklahoma (to promise) Langdon the best sex of his life.(3)
  283. Langdon (to verify) the authenticity of the cruciform.(3)
  284. The man (to get) my number.(3)
  285. His book’s site (to include) his home phone number.(3)
  286. I (to pay) you well.(3)
  287. He (to put on) his robe.(3)
  288. Robert Langdon (to wander barefoot through) his deserted Massachusetts Victorian home.(3)
  289. Robert Langdon (to nurse) his ritual insomnia remedy – a mug of steaming Nestlé’s Quik.(3)
  290. He (to pack) his shelves with religious artifacts from around the world.(3)
  291. Langdon (to savor) the warmth of the chocolate.(3)
  292. The bay window (to catch) his reflection.(3)
  293. Langdon’s female colleagues (to refer) to the thing as an “erudite” appeal.(3)
  294. Langdon (to maintain) his body of a swimmer, a toned, six foot physique in the university pool.(3)
  295. Langdon’s friends (to view) him as a bit of an enigma – a man caught between centuries.(3)
  296. He (to discuss) computer graphics or religious history with students.(3)
  297. He (to relish) recreation with an infectious fanaticism.(3)
  298. The ring of his fax machine (to shatter) the silence of his home. (3)
  299. Langdon (to force) a tired chuckle.(3)
  300. He (to return) his empty mug to the kitchen.(3)
  301. He (to scoop up) the paper.(3)
  302. A wave of nausea (to hit) him.(3)
  303. Langdon (to rotate) the fax 180 degrees.(3)
  304. He (to look at) the word upside down.(3)
  305. He (to whisper) “Illuminati”.(3)
  306. Langdon (to gaze at) the blinking light.(3)
  307. He (to pick up) the receiver.(3)
  308. Langdon (to answer) the line.(3)
  309. You (to explain) yourself.(3)
  310. The caller’s claim (to make) no sense.(3)
  311. People (to extract) user information from the Web.(3)
  312. Langdon (to analyze) the fax in his hand.(3)
  313. The image (to represent) the epigraphical find of the century, a decade of his research confirmed in a single symbol.(3)
  314. Langdon (to lock) his eyes on the brand.(3)
  315. He (to base) his work (on) the symbolic equivalent of fossils – ancient documents and historical hearsay.(3)
  316. He (to produce) a heavy electronic device.(3)
  317. He (to set) it on the table.(3)
  318. We (to change) the world.(3)
  319. Langdon (to lock) his car.(3)
  320. He (to don) his usual classroom attire – a pair of chinos, a turtleneck, and a Harris tweed suit jacket.(3)
  321. The fax in his jacket pocket (to depict) that image.(3)
  322. The man (to lead) Langdon the length of the hangar.(3)
  323. They (to round) the corner onto the runway.(3)
  324. Langdon (to gape at) the aircraft parked on the tarmac.(3)
  325. He (to send) the big boy.(3)
  326. He (to lead) Langdon across the tarmac toward the plane.(3)
  327. The pilot (to motion up) the gangplank.(3)
  328. The pilot (to buckle) him into the front row.(3)
  329. A mild case of claustrophobia (to haunt) him.(3)
  330. He (to overcome) the vestige of a childhood incident.(3)
  331. It (to frustrate) him.(3)
  332. He (to avoid) enclosed sports like racquetball or squash.(3)
  333. He (to pay) gladly a small fortune for his airy, high‑ceilinged Victorian home.(3)
  334. Tika Waylan (to straighten) her back with a sigh.(4)
  335. Tika Waylan (to flex) her shoulders to ease her cramped muscles.(4)
  336. She (to toss) the soapy bar rag into the water pail.(4)
  337. She (to keep up) the old inn.(4)
  338. The inhabitants (to rub) a lot of love into the warm finish of the wood.(4)
  339. Love and tallow (to hide) the cracks and splits in the well-used tables.(4)
  340. Those feelings (to prevent) a customer from sitting on an occasional splinter.(4)
  341. She (to hear about) the Inn of the Last Home in Haven.(4)
  342. The living tree (to wrap) its ancient arms around it lovingly.(4)
  343. They (to craft) the walls and fixtures around the boughs of the tree.(4)
  344. Those people (to make) it impossible.(4)
  345. The stained glass in the window panes (to cast) welcoming flashes of vibrant color across the room.(4)
  346. Their servants (to polished) tables.(4)
  347. She (to sweep) the floor.(4)
  348. Magic (to envelope) Otik in fragrant steam.(4)
  349. Otik (to squeeze) his stout body behind the bar.(4)
  350. He (to set out) mugs, whistling cheerfully.(4)
  351. Tika (to walk) her feet (off).(4)
  352. Everybody (to jump at) every sound.(4)
  353. Poor girl (to drop) a mug.(4)
  354. Retark (lo draw) his sword.(4)
  355. Otik (to snort) «Pah!».(4)
  356. He (to listen to) us.(4)
  357. The residents of Solace (to put up with) much more.(4)
  358. The ugly creatures (to drag) people to who knows where.(4)
  359. He (to close) us (down).(4)
  360. She (to grab) the broom.(4)
  361. Theocrats (to fill) their bellies.(4)
  362. They (to wash) the fire and brimstone from their throats.(4)
  363. Otik (to look at) the nineteen-year-old girl fondly.(4)
  364. He (to pat) her cheek.(4)
  365. He (to tweak) her red curls.(4)
  366. He (to sniff) «War. Pooh.»(4)
  367. The Theocrat (to make) it (up) just to keep people in line.(4)
  368. Tika (frown) «I don’t know.»(4)
  369. They (to build) the Inn of the Last Home high in the branches of a mighty vallenwood tree.(4)
  370. The townspeople (to decide) to take to the trees during the terror and chaos following the Cataclysm.(4)
  371. Sturdy wooden bridge-walks (to connect) the houses and businesses perched high above the ground. (4)
  372. Stairs (to run around) the ancient vallenwood’s gnarled trunk.(4)
  373. He (to peer around) the Inn.(4)
  374. He (to lean) on a worn oak staff.(4)
  375. He (to draw) the tattered hood of his plain, gray robe over his head.(4)
  376. Its shadow (to obscure) the features of his face except for his hawkish, shining eyes.(4)
  377. Tika (to exchange) worried glances (with) Otik.(4)
  378. The old man (to scratch) his head.(4)
  379. The old man (to glance around) the porch.(4)
  380. The old man (to look down to) the ground below.(4)
  381. He (to make) a playful swipe at Tika with his staff.(4)
  382. He (to confirm) the location and position of each table and chair in the room.(4)
  383. The common room (to wrap around) the trunk of the vallenwood.(4)
  384. He (to look) with particular interest (at) the fireplace.(4)
  385. Dwarven (to handscraft) the only stonework in the Inn.(4)
  386. They (to bring down) pine logs from the high mountains.(4)
  387. No resident of Solace (to consider) burning the wood of their own great trees.(4)
  388. A few of Otik’s customers (to find) this setup very convenient.(4)
  389. He (to mutter) satisfied comments to himself.(4)
  390. The old man (to drop) his staff.(4)
  391. He (to hitch up) the sleeves of his robes.(4)
  392. He (to rearrange) the furniture.(4)
  393. Tika (to lean on) her broom.(4)
  394. The old man (to drag) a long, narrow table across the floor.(4)
  395. The old man (to shove) it (up) against the trunk of the huge vallenwood, right across from the firepit.(4)
  396. He grunted «There.»(4)
  397. Tika (to bring over) two more chairs.(4)
  398. A scream from the cook (to indicate) the fire.(4)
  399. He (to puff) «He’s harmless.»(4)
  400. He (to pass) Tika.(4)
  401. He (to throw) a party.(4)
  402. Tika (to take) two chairs (over) to the old man.(4)
  403. She (to set) them.(4)
  404. Tika (to protest) «It’s sitting in full sunlight!»(4)
  405. Tika (to falter) «I-I suppose so …»(4)
  406. The old man (to gesture at) a spot in front of the firepit.(4)
  407. You (to give) a party.(4)
  408. The thought (to strike) the old man as funny.(4)
  409. He (to chuckle) «A party?»(4)
  410. (4)
  411. He (to pat) her shoulder.(4)
  412. He (to tousle) her hair.(4)
  413. He (to order) «A mug of ale.»(4)
  414. Tika (to pour) the ale.(4)
  415. Tika (to bring) the old man his drink.(4)
  416. Flint Fireforge’s old dwarven bones (to support) him.(4)
  417. His long bones (to unwill) to continue without complaint.(4)
  418. Flint (to grumble) «I should never have left.»(4)
  419. Flint Fireforge (to look down into) the valley below.(4)
  420. Long years of solitary wandering (to force) the dwarf into the habit of talking to himself.(4)
  421. He (to slap) both hands on his knees.(4)
  422. He (to announce) vehemently «And I’ll be damned if I’m ever leaving again!»(4)
  423. The sun (to warm) the boulder.(4)
  424. The mountainside below him (to form) one side of a high mountain bowl.(4)
  425. Flint (to pull) a block of wood and a gleaming dagger from his pack.(4)
  426. He (to put) the knife to the wood.(4)
  427. He (to watch) the smoke.(4)
  428. He (to grumble) loudly, “My house has been sitting empty.”(4)
  429. The rain (to ruin) the furniture.(4)
  430. A distant voice (to answer) him.(4)
  431. The dwarf’s hand (to drop) the wood.(4)
  432. He (to peer down) the path.(4)
  433. The dwarf (to place) the familiar voice.(4)
  434. Flint (to squint into) the setting sun.(4)
  435. A man (to stride up) the path.(4)
  436. The elves (to love) the intricate designs.(4)
  437. He (to hold) open his arms.(4)
  438. He (to engulf) Flint in a hug.(4)
  439. The hug (to lift) Flint off the ground.(4)
  440. The dwarf (to clasp) his old friend close.(4)
  441. The dwarf (to free) himself from the half-elf’s embrace.(4)
  442. You (to learn) no manners.(4)
  443. You (to hoist) me (around) like a sack of potatoes.(4)
  444. His eyes (to study) his stocky friend fondly.(4)
  445. He (to say) the same of others.(4)
  446. He (to scowl) up at Tanis.(4)
  447. Tanis (to scratch) his chin.(4)
  448. I (to hide) my heritage.(4)
  449. (4)
  450. I (to do) much to hide my heritage.(4)
  451. Flint (to turn) the wood in his hand.(4)
  452. You (to examine) it.(4)
  453. Tanis (to draw) his hood (up) over his face.(4)
  454. Tanis (to keep) the sun out of his eyes.(4)
  455. The Highseekers in Haven (to appoint) a man named Hederick to govern as High Theocrat in Solace.(4)
  456. He (to turn) the town into a hotbed of fanaticism with his new religion.(4)
  457. Lights (to make) the homes in the trees visible among the vallenwood.(4)
  458. A mother (to call) her children to dinner.(4)
  459. A human warrior (to rape) his mother.(4)
  460. Many wars (to divide) the different races of Krynn.(4)
  461. I (to parade) my beliefs in the street.(4)
  462. Flint (to snort) his motto.(4)
  463. This one rotten apple in Solace (to spoil) the whole barrel.(4)
  464. Tanis (to seek) some sign of the ancient, true gods.(4)
  465. Flint (to turn) the piece of wood in his hands.(4)
  466. We (to smell) the cooking fires.(4)
  467. Tanis (to wave) «Go.»(4)
  468. Tanis unconsciously (to slow) his pace.(4)
  469. Flint unconsciously (to quicken) his.(4)
  470. Flint (to pursue) «So you found nothing?»(4)
  471. Tanis (to reply) «Nothing.»(4)
  472. The only clerics and priests in this world (to serve) false gods.(4)
  473. Our friend Raistlin (to teach) me what to watch.(4)
  474. Raistlin (to poke) his nose where it (to belong).(4)
  475. Raistlin‘s twin brother (to look after) him.(4)
  476. Someone (to put) an end to his magic.(4)
  477. His beard (to hide) his smile.(4)
  478. Flint (to glance up at) Tanis.(4)
  479. Tanis (to hold out) a warning hand.(4)
  480. Flint (to reach for) the battle-axe.(4)
  481. Flint (to strap) the battle-axe behind his back.(4)
  482. Tanis (to see) it.(4)
  483. Tanis (to lose) it.(4)
  484. The sun (to leave) the sky glowing a rich violet.(4)
  485. The sun’s glowing (to cause) night’s shadows to creep through the forest trees.(4)
  486. His elvensight (to detect) the warm red aura visible only to the elves.(4)
  487. All living beings (to cast) the warm red aura.(4)
  488. (4)
  489. An eerie sound (to make) the hair rise on the half-elf’s neck.(4)
  490. The ghost of the grape (to curse) us for not being able to outdrink a hill dwarf.(4)
  491. Elven wanderer (to leave) the dwarf behind.(4)
  492. The whining, whirring sound (to accompany) the spirit voice.(4)
  493. Tanis (to grab) the angry dwarf’s shoulder to keep him from charging headlong into the brush.(4)
  494. Many on Krynn (to consider) the kender, one of a race of people, to be as much a nuisance as mosquitoes.(4)
  495. His slight build and perpetually childlike face (to make) him seem smaller.(4)
  496. He (to ware) bright blue leggings.(4)
  497. He (to dip) his head in a mock bow.(4)
  498. Tanis’s quick eyes (to spot) the metallic gleam.(4)
  499. This staff (to create) the eerie noise.(4)
  500. Whirling his staff in the air (to produce) that screaming whine.(4)
  501. They sharply (to point) the bottom end.(4)
  502. They (to fork) the top end.(4)
  503. He (to hug) the dwarf.(4)
  504. Flint (to return) the embrace reluctantly.(4)
  505. He (to gasp) «Who’s this?»(4)
  506. He (to hold out) his short arms.(4)
  507. Tanis (to pull) Flint off the kender.(4)
  508. The half-elf (to put) his hand on the hilt of his sword.(4)
  509. He (to lose) any advantage he might have gained through alertness.(4)
  510. Tanis (to stare at) the figure emerging from the shadows.(4)
  511. A peculiar odor (to hit) Tanis .(4)
  512. He (to wrinkle) his nose in disgust.(4)
  513. He (to loosen) his sword.(4)
  514. The dwarf (to give) a tremendous sneeze.(4)
  515. He (to sit up on) the kender.(4)
  516. His pink eyes (to reflect) the last lingering traces of sunlight.(4)
  517. We (to deal with) fools here in Solace.(4)
  518. The hobgoblin (to speak) the Common Tongue with a thick accent.(4)
  519. Five goblin guards (to take up) positions on either side of their leader’s horse.(4)
  520. The creature’s huge belly (to engulf) the pommel.(4)
  521. The forces (to keep) Solace protected from undesirable elements.(4)
  522. He (to flick) his mount with a riding crop.(4)
  523. Flint (to swing) his battle-axe from its holder on his back.(4)
  524. Flint (to plant) his feet firmly on the path.(4)
  525. I (to advise) you to retreat.(4)
  526. Tanis (to throw) his cloak over one shoulder.(4)
  527. My friend and editor, Jason Kaufman, (to work) so hard (on) this project.(5)
  528. Michael Palgon and others (to head) the initial core of early inhouse supporters.(5)
  529. The five members of Opus Dei (to recount) their stories, both positive and negative, regarding their experiences inside Opus Dei.(5)
  530. Water Street Bookstore (to track down) so many of my research books.(5)
  531. I (to mention) the two extraordinary women.(5)
  532. The two extraordinary women (to touch) my life.(5)
  533. Opus Dei (to complete) construction of a $47 million World Headquarters at 243 Lexington Avenue in New York City.(5)
  534. Renowned curator Jacques Saunière (to grab) the gilded frame.(5)
  535. The seventy six years old man (to grab) the gilded frame.(5)
  536. The man (to heave) the masterpiece toward himself.(5)
  537. A thundering iron gate (to barricade) the entrance to the suite.(5)
  538. He (to scan) the cavernous space for someplace to hide.(5)
  539. The curator (to turn) his head slowly.(5)
  540. The albino (to draw) drew a pistol from his coat.(5)
  541. The albino (to aim) the barrel through the bars, directly at the curator.(5)
  542. The man (to hide) it somewhere.(5)
  543. The man (to level) his gun at the curator’s head.(5)
  544. The man (to tilt) his head.(5)
  545. The man (to peer down) the barrel of his gun.(5)
  546. Saunière (to hold up) his hands in defense.(5)
  547. The curator (to speak) his next words carefully.(5)
  548. Saunière (to rehearse) that lie.(5)
  549. They (to protect) the ancient secret.(5)
  550. The people (to tell) the same lie.(5)
  551. The attacker (to aim) his gun.(5)
  552. The curator (to grasp) the true horror of the situation.(5)
  553. People (to lose) the truth.(5)
  554. He (to scramble for) cover.(5)
  555. A small circle of blood a few inches below his breastbone (to frame) the bullet hole in his white linen shirt.(5)
  556. The bullet (to miss) his heart.(5)
  557. The curator (to witness) this horribly drawnout death before.(5)
  558. His stomach acids (to poison) him from within.(5)
  559. The attacker (to trap) Jacques Saunière.(5)
  560. The fear (to grip) him.(5)
  561. I (to pass on) the secret.(5)
  562. He (to picture) his three murdered brethren.(5)
  563. He (to pull) himself to his feet.(5)
  564. He (to summon) all of his faculties and strength. (5)
  565. The desperate task before him (to require) every remaining second of his life.(5)
  566. The jacquard bathrobe hanging on his bedpost (to bear) the monogram “Hotel Ritz Paris“.(5)
  567. Langdon (to pick up) the receiver.(5)
  568. I (to awake) you.(5)
  569. Langdon (to look at) the bedside clock.(5)
  570. I (to apologize for) this intrusion.(5)
  571. The American University of Paris proudly(to present) An Evening with Robert Langdon Professor of Religious Symbology, Harvard University.(5)
  572. A slide shown about pagan symbolism hidden in the stones of Chartres Cathedral probably(to ruffle) some conservative feathers in the audience.(5)
  573. Some religious scholar (to trail) him home to pick a fight.(5)
  574. The concierge (to lower) his voice to an urgent whisper.(5)
  575. His books on religious paintings and cult symbology (to make) him a reluctant celebrity in the art world.(5)
  576. Media widely(to publicize) the incident at the Vatican.(5)
  577. He (to take) the man’s name and number.(5)
  578. He (to appreciate) seeing proof in the mirror.(5)
  579. A dark stubble (to shroud) his strong jaw and dimpled chin.(5)
  580. The gray highlights (to make) their way deeper into his thicket of coarse black hair around his temples.(5)
  581. The gray only(to accentuate) his bookish appeal.(5)
  582. Boston Magazine (to list) him as one of that city’s top ten most intriguing people.(5)
  583. Dubious honor (to make) him the brunt of endless ribbing by his Harvard colleagues.(5)
  584. His Harvard colleagues endlessly(to rib) him.(5)
  585. The accolade (to haunt) him at the lecture.(5)
  586. He (to write) the book on Religious Iconology.(5)
  587. Many of you (to use) his textbooks in class.(5)
  588. I (to introduce) him.(5)
  589. I (to share) his impressive curriculum vitae.(5)
  590. They (to seat) Langlon.(5)
  591. An audience member (to hand) me a far more, shall we say… intriguing introduction.(5)
  592. She (to hold up) a copy of Boston Magazine.(5)
  593. The hostess (to read) choice excerpts from the inane article.(5)
  594. The woman (to show) no signs of letting up.(5)
  595. Langdon (to speak publicly about) his unusual role in last year’s Vatican conclave.(5)
  596. Langdon’s refusal to speak publicly about his unusual role in last year’s Vatican conclave certainly(to win) him points on our intrigueometer.(5)
  597. The community (to consider) Professor Langdon hunkhandsome like some of our younger awardees.(5)
  598. His unusually low, baritone speaking voice (to punctuate) his captivating presence.(5)
  599. His female students (to describe) his voice as ‘chocolate for the ears.’(5)
  600. Langdon (to force) an awkward smile.(5)
  601. Langdon (to edge) her away from the podium.(5)
  602. One of you (to provide) that article (5)
  603. The consulate (to deport) you.(5)
  604. The ringing of Langdon’s hotel phone (to break) the silence.(5)
  605. I (to alert) you.(5)
  606. You (to send) someone to my room.(5)
  607. I (to presume) the authority to stop him.(5)
  608. Langdon (to don) the hotel bathrobe.(5)
  609. Langdon (to leave) the security chain in place.(5)
  610. The stranger’s sallow eyes (to study) him.(5)
  611. My capitaine (to require) your expertise in a private matter.(5)
  612. The agent (to give) a dire sigh.(5)
  613. The agent (to slide) a Polaroid snapshot through the narrow opening in the door.(5)
  614. We (to take) this photo inside the Louvre.(5)
  615. You (to help) us answer that very question.(5)
  616. We (to consider) your knowledge in symbology and your plans to meet with him.(5)
  617. The image (to bring) with it an unsettling sense of dejà vu.(5)
  618. Langdon (to receive) a photograph of a corpse and a similar request for help.(5)
  619. He almost(to lose) his life inside Vatican City.(5)
  620. The agent (to check) his watch.(5)
  621. Somebody (to position) his body.(5)
  622. Monsieur Saunière (to do) that to himself.(5)
  623. He (to wear) spiked cilice around his thigh.(5)
  624. His red eyes (to scan) the lobby.(5)
  625. He (to close) the door behind him.(5)
  626. They (to bless) him with a similar sanctuary in New York City.(5)
  627. The Lord (to provide) me shelter and purpose in my life.(5)
  628. Silas (to repay) his debt.(5)
  629. Silas (to place) a call.(5)
  630. The killer (to glean) information from his victims.(5)
  631. All four (to confirm) the existence of the clef de voute… the legendary keystone.(5)
  632. He (to hear) a quick intake of breath over the phone.(5)
  633. The brotherhood (to create) a map of stone.(5)
  634. The engraved tablet (to reveal) the final resting place of the brotherhood’s greatest secret.(5)
  635. Silas (to relay) the earlier events of the evening.(5)
  636. All four of his victims (to buy back) their godless lives by telling their secret.(5)
  637. They ingeniously(to hide) the keystone at a precise location inside one of Paris’s ancient churches – the Eglise de Saint Sulpice.(5)
  638. They (to mock) us.(5)
  639. You (to do) a great service to God.(5)
  640. We (to wait for) this.(5)
  641. (5)
  642. You (to retrieve) the stone for me.(5)
  643. Silas (to hang up) the phone.(5)
  644. He (to carry out) the necessary penance before entering a house of God.(5)
  645. I (to purge) my soul of today’s sins.(5)
  646. He (to commit) holy in purpose sins.(5)
  647. The brotherhood (to commit) acts of war against the enemies of God.(5)
  648. The god (to assure) forgiveness.(5)
  649. The teacher (to give) him time.(5)
  650. Absolution (to require) sacrifice.(5)
  651. Silas (to pull) his shades.(5)
  652. He (to examine) the spiked cilice belt clamped around his thigh.(5)
  653. All true followers of The Way (to wear) this device – a leather strap, studded with sharp metal barbs.(5)
  654. The device (to cause) the pain.(5)
  655. He (to grasp) the buckle.(5)
  656. He (to cinch) the strap one notch tighter.(5)
  657. He (to savor) the cleansing ritual of his pain.(5)
  658. Silas (to repeat) the sacred mantra of Father Josemarìa Escrivá–the Teacher of all Teachers.(5)
  659. Thousands of faithful servants around the globe (to whisper) his words.(5)
  660. They (to perform) the sacred practice known as “corporal mortification”.(5)
  661. Silas (to turn) his attention to a heavy knotted rope coiled neatly on the floor beside him.(5)
  662. He (to cake) the knots with dried blood.(5)
  663. Silas (to say) a quick prayer.(5)
  664. He (to grip) one end of the rope.(5)
  665. He (to close) his eyes.(5)
  666. He (to swing) it hard over his shoulder.(5)
  667. He (to whip) it over his shoulder.(5)
  668. Robert Langdon (to clear) his thoughts.(5)
  669. His quick shower and shave (to ease) his anxiety.(5)
  670. Langdon (to force) the picture from his mind.(5)
  671. Street vendors (to wheel) carts of candied amandes.(5)
  672. Waiters (to carry) bags of garbage to the curb.(5)
  673. The Citroen (to navigate) the chaos with authority.(5)
  674. Its dissonant two-tone siren (to part) the traffic like a knife.(5)
  675. Langdon (to feel) anything but fortunate.(5)
  676. He entirely(to trust) the concept.(5)
  677. Langdon (to spend) his life doing this.(5)
  678. He (to explore) the hidden interconnectivity of disparate emblems and ideologies.(5)
  679. Langdon (to view) the world as a web of profoundly intertwined histories and events.(5)
  680. (5)
  681. (5)
  682. (5)
  683. Interpol officials (to pinpoint)exactly everybody’s place all across Europe.(5)
  684. Langdon (to recall) their playful promise.(5)
  685. He (to kiss) Vittoria in a noisy airport in Rome.(5)
  686. Langdon (to mount) Eiffel Tower.(5)
  687. Langdon (to roll) his eyes.(5)
  688. I haven (to climb) the tower.(5)
  689. They (to reach) the intersection at Rue de Rivoli.(5)
  690. The agent (to gun) the sedan across the junction.(5)
  691. Parisian contractors (to mine) clay from an enormous, polluted excavation pit.(5)
  692. Parisian contractors (to manufacture) the city’s famous red roofing tiles – or tuiles.(5)
  693. The agent (to turn off) the blaring siren.(5)
  694. Langdon (to savor) the sudden quiet.(5)
  695. Claude Monet literally(to inspire) the birth of the Impressionist movement.(5)
  696. They (to hold) the orgiastic rituals at the Arc du Carrousel.(5)
  697. Art aficionados (to revere) this place for another reason entirely.(5)
  698. The ancient obelisk of Ramses (to mark) the Musée du Jeu de Paume.(5)
  699. Langdon (to feel) a familiar tinge of wonder.(5)
  700. His eyes (to make) a futile attempt to absorb the entire mass of the edifice.(5)
  701. They (to shape) the Louvre like an enormous horseshoe.(5)
  702. The million square feet of open plaza between the museum wings (to challenge) the majesty of the facade’s breadth.(5)
  703. Langdon (to walked) the Louvre’s entire perimeter, an astonishing three mile journey.(5)
  704. A visitor properly(to appreciate) the 65,300 pieces of art in this building.(5)
  705. Most tourists (to choose) an abbreviated experience referred to as “Louvre Lite” – a full sprint through the museum.(5)
  706. The driver (to pull out) a handheld walkie-talkie.(5)
  707. The agent (to stow) the device.(5)
  708. The driver (to ignore) the signs prohibiting auto traffic on the plaza.(5)
  709. The driver (to gun) the Citroen up over the curb.(5)
  710. Seven triangular pools (to encircle) The Louvre’s main entrance.(5)
  711. Chineseborn American architect I. M. Pei (to design) the controversial, neomodern glass pyramid.(5)
  712. The new entrance to the Paris Louvre (to evoke) scorn from traditionalists.(5)
  713. The construction (to destroy) the dignity of the Renaissance courtyard.(5)
  714. Goethe (to describe) architecture as frozen music.(5)
  715. Pei’s critics (to describe) this pyramid as fingernails on a chalkboard.(5)
  716. Progressive admirers (to hail) Pei’s seventy one foot tall transparent pyramid as a dazzling synergy of ancient structure and modern method – a symbolic link between the old and new – helping usher the Louvre into the next millennium. (5)
  717. The late French president (to commission) the pyramid.(5)
  718. He (to fill) Paris with Egyptian obelisks, art, and artifacts.(5)
  719. The French (to refer) to François Mitterrand as the Sphinx.(5)
  720. Langdon (to change) topics.(5)
  721. (5)
  722. The driver (to approach) the pyramid’s main entrance.(5)
  723. We (to call) him the Bull.(5)
  724. The man (to) arch his eyebrows.(5)
  725. The agent (to pull) the car to a stop.(5)
  726. Langdon (to heave) a sigh.(5)
  727. Langdon (to watch) the departing taillights.(5)
  728. He (to exit) the courtyard.(5)
  729. He (to grab) a taxi.(5)
  730. He (to cross) an imaginary threshold into another world.(5)
  731. Harvard’s revered Egyptologists (to expect) an answer.(5)
  732. He (to rise) his hand to bang on the glass.(5)
  733. A dark double-breasted suit (to cover) his wide shoulders.(5)
  734. Langdon (to hold out) his hand to shake.(5)
  735. Captain Bezu Fache (to tuck) his chin hard into his chest.(5)
  736. An arrow like widow’s peak (to divide) his jutting brow.(5)
  737. It (to precede) him like the prow of a battleship.(5)
  738. His dark eyes (to scorch) the earth before him.(5)
  739. His dark eyes (to radiate) a fiery clarity.(5)
  740. Langdon (to follow) the captain down the famous marble staircase into the sunken atrium beneath the glass pyramid.(5)
  741. Langdon (to fight) a rising trepidation.(5)
  742. They (to construct) this pyramid of exactly 666 panes of glass.(5)
  743. The lobby (to giving) the entire space a cold and crypt like atmosphere.(5)
  744. Langdon (to question) the integrity of Fache’s team.(5)
  745. Someone (to gain) entry.(5)
  746. My people (to question) all Louvre night wardens in the Sully Wing.(5)
  747. My own agents (to take over) museum security.(5)
  748. Fache (to scribbled) some notes in a little book.(5)
  749. Fache (to guid) Langdon up a short set of stairs to the mouth of an arched tunnel.(5)
  750. He (to request) that night’s meeting.(5)
  751. His secretary (to contact) me via email.(5)
  752. We (to share) similar interests.(5)
  753. He (to demand) specifics.(5)
  754. That professor (to discuss) Art with you.(5)
  755. The pointedness of the question (to make) Langdon uncomfortable.(5)
  756. I (to use) his texts in my classes.(5)
  757. Fache (to make) note of that fact in his book.(5)
  758. The draft for the book (deal with) Mr. Saunière’s primary area of expertise.(5)
  759. I (to learn) his thoughts on the topic.(5)
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