"Off there to the right – somewhere – is a large island," said Whitney. "It's rather a mystery–" "What island is it?" Rainsford asked.

"The old charts call it 'Ship-Trap Island,'" Whitney replied. "A suggestive name, isn't it? Sailors have a curious dread of the place. I don't know why. Some superstition–"

"Can't see it," remarked Rainsford, trying to peer through the dank tropical night that was palpable as it pressed its thick warm blackness in upon the yacht.

"You've good eyes," said Whitney, with a laugh, "and I've seen you pick off a moose moving in the brown fall bush at four hundred yards, but even you can't see four miles or so through a moonless Caribbean night."

—"The Most Dangerous Game,"
Richard Connell

What purposes does the dialogue serve? Check all that apply.

to create a mysterious mood
to show the location
to reveal that Rainsford is a hunter
to explain what Whitney looks like
to show the time of day

On what evidence did you base your predictions? check the four boxes that apply. there is a rope around his neck. he is in alabama. his hands are tied behind his back. he is standing high above a river. the bridge is for railroads. some crimes are punished by hanging.

How can behavioral science be applied in improving public health? a.by tracking a disease to determine its sourceb.by creating promotions that improve health habitscboth by tracking a disease to determine its source and by creating promotions that improve health habitsd.neither by tracking a disease to determine its source or by creating promotions that improve health habits

Read the excerpt from act 1 of a doll's house. helmer: nora! [goes up to her and takes her playfully by the ear.] the same little featherhead! suppose, now, that i borrowed fifty pounds today, and you spent it all in the christmas week, and then on new year's eve a slate fell on my head and killed me, and— nora: [putting her hands over his mouth]. oh! don't say such horrid things. helmer: still, suppose that happened, —what then? nora: if that were to happen, i don't suppose i should care whether i owed money or not. helmer: yes, but what about the people who had lent it? nora: they? who would bother about them? i should not know who they were. helmer: that is like a woman! but seriously, nora, you know what i think about that. no debt, no borrowing. there can be no freedom or beauty about a home life that depends on borrowing and debt. we two have kept bravely on the straight road so far, and we will go on the same way for the short time longer that there need be any struggle. nora: [moving towards the stove]. as you , torvald. how does the interaction between helmer and nora advance the plot? nora realizes that helmer will completely disapprove of her having borrowed money, so she has to continue to keep it a secret from him. nora realizes that she and helmer have the same ideas about financial issues, and the conversation brings them closer together later in the play. helmer realizes that nora is more responsible with money than he originally thought, and he trusts her more with finances later in the play. nora realizes that helmer knows a lot more about borrowing and lending, and she will seek his input later when she needs it.