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THE HORSE WHISPERER PDF

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The Horse Whisperer first became famous in , a year before it was completed. She hears of the special skills that Tom Booker has with horses. At. The Horse Whisperer. NICHOLAS EVANS. Level 3. Retold by Andy Hopkins and Jocelyn Potter. Series Editors: Andy Hopkins and Jocelyn Potter. PDF | On Nov 21, , Claire Bacha and others published Horse Whisperer: Therapist, Power and Love.


The Horse Whisperer Pdf

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traumatised horses. This inspired him to start work on what was to be his first novel. The Horse Whisperer was published in and has now sold around 15 . While reading. Chapters 1–2. 1 Find the right words in Chapters 1–2. a Something that is built over a river. (p. 1) b When something loses its. This free PDF version is available from nissart.info © Andrew How has Robert Redford adapted and presented The Horse Whisperer for the cinema?.

Such behavioral changes in a horse would normally be the result of sustained, long-term animal abuse. A practitioner of natural horsemanship, John Lyons , provided an equestrian's critique of the film, noting that while there were many positive messages, there was also the potential for people to get some dangerous messages about horse training from certain sequences.

He first noted that the multiple horses that played Pilgrim were all well-trained animals and that the movie did not represent a real-life time frame for training a single real-life animal. He pointed out that the film made the rehabilitation of the horse appear to be a one-session event, when in reality it would take considerable time for such a change to occur.

Lyons criticized a number of dangerous practices shown in the movie, and was particularly critical of the scene where Booker hobbles, ropes, and lays the exhausted horse on the ground, then has Grace get on the recumbent horse, which is then allowed to rise, and the horse and girl miraculously are both cured of their fears and once again a horse and rider team.

He argued that the actual real-life practical risk of injury to horse and human in such a method is considerable, that a horse pushed to exhaustion is not "trained," and pushing a fearful rider in such a fashion is ill-advised. However, Lyons' critique also recognized the limitations of Hollywood film-making, stating, "In order to tell a story, things are often done that would be imprudent for horse owners to attempt.

Janet Maslin in The New York Times says that the film "sustains great visual intensity thanks to Robert Richardson's majestic cinematography" but its "rock-solid values" are diluted by "a misconceived ending", [5] whereas CNN in a rather sarcastic review complains that the storytelling was "all done very, very slowly" [6] and mentions the film's length. Leonard Maltin gave the film three and a half stars out of a possible four, and called the film an "exquisite rendering of Evans' novel". Moorer performs the song in the movie.

In popular culture[ edit ] The movie's popularity led to the word "whisperer" being coined as a slang term for anyone with a strong affinity for a particular animal or being. Robert and Annie exchange an anxious look.

The MacLean car is parked by the barn. They are walking towards the stables under their umbrellas as Liz runs to greet them. LIZ Hello How ya doing? Aren't you kiddo? LIZ Well, come on. He's out back now It's pretty muddy back there. Why isn't he in the barn with the other horses?

Liz stops, causing everyone to stop. She turns to face Grace, realizing she doesn't know. She looks at Robert and Annie, accusingly. She tries to explain: LIZ Well, Grace, you see Pilgrim just Liz looks at Annie.

Annie nods. Liz leads them on. They reach a row of empty old stalls. They cross to one of the stalls -- its doors are closed. Liz draws back the bolt on top half of the door. There is an immediate explosion of sound inside the stall, the sound of fear, startling them. Then it's still. Liz slowly opens the door. Grace, with the aide of her cane, walks to the stall. She hesitates, then looks in. It takes a moment for her eyes to grow accustomed to the dark.

She sees Pilgrim with his head down in the shadows He lifts his head at the sound of her voice. Grace, and the audience, see him for the first time -- His mad eyes, his terrible disfigurement Grace cries out, stepping backwards, nearly stumbling in the mud What is left of her horse are gone.

Annie realizes what's happened and, together with Robert, rush to her They too see the monster Pilgrim has become and are horrified. Grace angrily pushes away from them and "runs" off. Robert goes after her. Annie is standing in the rain with Liz -- her eyes unable to move away from the sight of Pilgrim.

LIZ O. You should have told her, Annie. I tried to explain to you how bad it was I guess you had to see it. But, there's nothing to be done. This animal's beyond help. Annie, can I have your permission now to put him down? We sense she's been at it a while Interested, she brings it up on the screen. Her voice tells us what she's reading: They first knew man as the hunted knows the hunter, for long before man saw horses as a means to killing other beasts, man killed them for meat The alliance with man would forever be fragile -- for the fear he'd struck into their hearts was too deep to be dislodged Since that Neolithic moment when a horse was first haltered, there were those among men who understood this There's a discomforting distance in her expression.

They could see into the creature's soul and soothe the wounds they found there The worn wooden bleachers, crowded. Lines of cars and pick-up trucks. For secrets uttered softly into troubled ears, these men were known as The Whisperers A moment later the Man gets out of the car. Holding a cowboy hat, he has a certain quality, a self-respect, that men who know themselves seem to have.

A weathered redheaded woman named RONA -- late forties, strong, wiry horsewoman's build -- is walking towards him. RONA Hey, darlin'.

TOM Hey, Rona. Sorry I'm late.

RONA I wouldn't know what to do if you were on time. They walk together towards the fairgrounds. TOM You're looking fit. RONA Fit? You want to check my teeth. Tom laughs Good crowd today. I think you'll have some fun. You going to stay for dinner? TOM Oh-oh Maybe I better get back in the truck. Rona lets out a hearty laugh as they enter the horse arena. As he rides and narrates into a radio microphone to the crowd, we sense this is a man of good humor and great skill -- guileless, sensible, of the earth.

It's always kind of interesting to hear the horse's side of the story The crowd laughs warmly. TOM Now if he was cranky or lazy, like you say he is, we'd be seeing his tail twitching there and his ears back, maybe.

But this isn't a cranky horse, it's a scared horse. You see how braced he is up around the neck back there. He just doesn't know which way to turn The Woman nods. Tom turns the horse on a dime so that he always stays facing the circling thoroughbred TOM You see how he keeps pointing his hindquarters in at me? Well, I'd guess the reason he seems reluctant to move out is because when he does, he gets in trouble for it.

When I want him to move from a trot to a lope, say You may think you're asking for a lope, but your body may be saying something else altogether. You might be putting too many conditions on him. For instance, you might be saying "GO, but, hey, don't go too fast.

Your body can't lie. You ever give him a kick to make him move out? TOM And then he goes and you feel like he's going too fast, so you yank him back? The people laugh. The Woman smiles self-consciously. TOM It's a dance, see Somebody has to lead and somebody has to follow. Tom gracefully moves his horse around the ring, "dancing".

He then takes up a long coiled rope and throws it so that the coils slap against the black horse's flank, making it burst into a lope.

And again Making the animal go from a trot to a lope, letting it slow, then up to a lope again. TOM I want him to get so he can leave real soft. He's getting the idea now. He's not all braced up and tense like he was at the start. He's finding out it's okay. He throws the rope again and this time the transition to the lope is a smooth one.

TOM You see that? He's getting better already. Pretty soon, if you work at it, you'll be able to make all these transitions easy on a loose rein.

She nods, but he can see she's upset, feeling foolish. He walks the horse over to her, turns off the microphone and speaks sympathetically: TOM Look, the truth is it's all about self- preservation. These animals. There's nothing they want more than to do what you want them to do. But when the messages get all confused, the only thing they know to do is try and save themselves Now, why don't you go saddle up and see what happens.

Feeling better, and not a little attracted to his heartfelt man's man, the Woman smiles and reaches for his hand to climb over the rail. Her horse lets her come right up to him and stroke his neck. Tom comments; TOM They won't ever hold a thing against you. They're the most forgiving creatures God ever made.

Turning on his mike and turning back to the crowd, he says: TOM Okay, who's next? A Young Boy leads a mule into the ring. Tom smiles: TOM Now God has another idea entirely with the mule.

The Woman in the Ralph Lauren approaches: He faces the Woman: I'm Dale. I just wanted to -- I can't get over the way he felt under me after you'd finish with him. Everything had just, I don't know, freed up or something. The Woman is flirting. Tom shrugs, uncomfortably; TOM Well, that'll happen.

TOM What stuff is that? I'd love to learn more about it myself. Do you offer any private lessons for riders? TOM getting the message Well TOM Well, if the rider's nuts, the horse bolts. You have a good day now He leaves her, entering the trailer. Tom and Rona are finishing dinner like comfortable old friends.

Rona rises, taking the plates into the kitchen and starts rinsing them: You had a call from some woman in New York.

She sounded pretty wound up. But from what I hear, most of them are wound up. RONA The number's by the phone. He nods but doesn't move. He just looks at Rona and smiles. She's a good woman. But Tom hopes she doesn't want anymore than what they have together. Rona notices him looking and smiles: RONA What are you looking at, young man? TOM How long were you married? RONA Long enough. TOM You ever miss it? RONA Does a horse miss a saddle? TOM Sometimes. She chuckles, shuts the water off and crosses back to him, sitting beside him.

She starts unbuttoning his shirt. TOM You know, Rona, we weren't all that good together even when we were good together. RONA Honey I was always good. Tom smiles as Rona leans in. She is unhappy. Some general whines and groans as her assistant hands her a note. She waits for them to leave as she sits before the phone. One of her lines is lit: An empty ribbon of two-lane highway in Utah. A small roadside station. Tom's pick-up truck, his horse trailer hitched to it, getting gas. Tom is on the pay phone.

We hear Annie's voice: This is Annie MacLean. TOM Yeah.

This is Tom Booker. I got a message you called. Thank you for calling back. Uh, all right, let me try to explain my situation as briefly as possible You see, my daughter had an accident with her horse They were both injured and she, my daughter, she hasn't been able to It was an extremely traumatic experience Tom, sensing her turmoil, listening compassionately.

Looking for homework ideas for year 7?

It says you're a Horse Whisperer, that you And you have quite a success rate when it comes to traumatized -- TOM Well, see, truth is, ma'am, I help horses with people's problems. I called Montana and your sister-in-law, I think, gave me this number. I don't do that sort of thing. New York's only a few hours by plane, I'd have you home by dinner TOM Look, even if it was nearer, that's just not what I do.

I give clinics. And I'm not even doing them for a while. I'm heading back to Montana right now. I got a ranch to take care of I'll send you to Montana first class. TOM getting impatient Ma'am, first class to Montana is a waste of good money. Annie is taken aback.

Tom feels badly. TOM I, I don't mean to sound insensitive. I understand your situation. But there's nothing I can do. You just called the wrong person, that's all. I hear there are a bunch of therapists in New York.

Maybe you should call one of them. Goodbye now. He hangs up before Annie can continue. She realizes she should knock.

The Horse Whisperer

She does and whispers: Annie slowly opens the door. She finds Grace's bed empty. She looks over to the window to find Grace sitting in a chair, in the dark, looking out the window. What are you doing? Not looking up, Grace speaks in a hollow voice.

It's not fair to let him suffer. He's not much use anymore. He'd hate living like that. Why can't they be compassionate to me? What frightens Annie most is the calm and apathy in Grace's voice. She's surrendering Annie, for the first time in a long time, feels she's losing control.

Robert enters and sits opposite her, wearing a tuxedo -- his tie and collar undone. I thought to myself, we've been friends with these people almost twenty years and nobody knows anybody. We're so afraid we won't like each other and have nobody go to dinners with. It's nothing serious. You kid about them all the time And I could tell Paul really appreciated me being there. He drinks Annie's wine as she looks at him.

Annie sips her wine. Maybe we should think about the three of us going someplace warm Remember that house we rented in Bermuda The pink one with the -- His arm accidentally spills the wine. As he bends down to wipe it up with a napkin, Annie watches Robert clean the spill. Something about his movements, his posture -- a sense of weakness, of surrendering, of not having the inclination to fight, of just accepting and smoothing over the rough sports -- strikes her hard.

Annie realizes the love she feels for Robert isn't fading.

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It's gone. He finishes cleaning and sits. Someplace Grace'll have to wear shorts or bathing suits or summer dresses Robert looks at her and realizes it's a bad idea. He nods, again, getting the message. In that silence, Annie looks at him Drive him out to Montana With Grace. Robert is confused You just said he said no. I think I can change his mind. Absolutely not.

And she can't sit in this apartment all day I think it would be good for her. What are you -- you're serious about this?

They can set me up with a trailer for Pilgrim.

I thought we'd stay at motels along the way I was just researching. Calm down. I can't just pick up and leave I'll do it. I know horses, Robert. I'm the one who taught Grace how to ride.

What about the magazine? I went back very soon after the accident. They didn't expect me for a couple of months. I'll just take that time now I can still oversee things from Montana Take my fax My computer Robert fears this is about the marriage.

It's, uh He said it takes time. We have to do something, Robert! I can't sit here and trust everything's going to work out just by pretending it will.

Robert just stares at her. He looks concerned Annie gets uncomfortable. He stops. Annie knows where he headed and prays to God he doesn't continue. He doesn't. A thick silence hangs between them. We're losing her.

The truth is, they don't know anymore than we do -- less, when it comes to Grace This may not sound sensible or I can't explain it, Robert. I just have this feeling I just know it!

Robert can feel the strength of her will. He can find no way around it. I'm not a dictator. If you feel you should come, then come. Just do whatever you think is right. At some moment, they realize Grace is standing at the entrance to the kitchen.

They are surprised. I don't care what she says! Annie lowers her head. Robert stares at Grace as she walks to him. I don't want to go.

Grace stands next to Robert. He holds her hands. Annie looks at him, without sympathy. Robert looks back.

In his face is the total acceptance of what must be. As well as the sadness of it's inevitability. He looks back at his daughter, whose eyes have never left him.

Annie watches with anxiety -- an almost giddy Liz by her side. LIZ Problem is, there aren't many volunteers. He's already had enough to sink a battleship. You have a pin, just in case? LIZ Probably best. You may want to shoot yourself half way to Ohio. Hearing Pilgrim's struggle. Putting her walkman on her ears and raising the volume Non- committal. As trucks pass by, their time slapping the pavement, she reacts and turns to the other window. Annie, in sunglasses, shifts her attention between the road and her rear-view mirror -- checking on Grace.

Grace sits up in bed watching TV, with no expression. A sitcom with canned laughter serves as a hypnotic drug. Annie enters from the bathroom, after showering, drying her hair.

Grace doesn't bother to look up. Grace shakes her head We have to get up early tomorrow. She begins moving off the bed. I know. Annie realizes she may have pushed too hard, but she also realizes there's no talking to Grace now. Grace hobbles off the bed, enters the bathroom and shuts the door. Annie lays in bed, wide awake. It is the middle of the night.

Grace, asleep in the other bed, begins whimpering. She's having a bad dream. Annie rises -- considering whether or not to intercede Finally, Grace begins to cry out Annie appears right by her side. Shaken, Grace cannot fight how much she needs her mother at that moment.

She wraps her arms around her, tightly, and tries to catch her breath. Happens sometimes. It's Ok. It's OK. Once again -- Annie, in the front, and Grace, in the rear, drive without a word between them. Annie is on the car phone with her office.

When I get to the next motel, I'll see if they have a fax. If not, I'll call you tomorrow to -- Annie continues O. As if Pilgrim made a sudden move. Grace quickly turns her head. Annie looks in the rear view at Grace. Annie hangs up and smiles at Grace through the mirror. Grace reaches for her walkman and headphones. Grace shrugs. Annie shrugs it off as well. Grace replaces the headphone. Annie turns on the radio -- nothing but country or gospel or religious talk shows She shuts it off.

Frustrated, Annie looks up ahead and sees: She exits the car, banging the door. As she walks acrund the car to help Grace, she talks to herself in a sarcastic whisper: I want to eat lunch and I want to smoke a cigarette and I want to keep talking to myself for the next two thousand fucking miles She opens Grace's door. Grace senses her mother's anger. They look around: Formica floors, truckers in caps and beer bellies stuffed into booths or at the counter.

There is not a single space available. Annie and Grace stand near the entrance. Another Trucker enters and they step aside, huddled together in this foreign land. Neither comments. Annie exits O.

Annie's surprised This morning. When you went running. You didn't tell me. Annie exits past her to the car. Once again, Annie is wide awake.

The Horse Whisperer

The clock reads: But Annie can not sleep. Camera moves away from Annie, past her side of the bed, to the other side of the room. The Woman gently shakes little Annie awaken. Annie, sweetheart The little girl, with sleep in her eyes, turns and sees her. Your Daddy's gone. Annie, in present time next to Grace, thinks of this as she stays awake. Putting her jogging parka on over her nightgown, she goes outside. She looks in through the siding at Pilgrim, checking on him.

She sees he is caught his halter on the side of the van. She crosses to the trailer door, hesitates, then opens it. Pilgrim looks at her. Gathering her courage, she climbs inside. He is still, looking at her. She carefully frees his halter. And suddenly he bares his teeth, biting at her.

She stumbles back out of the trailer, slamming the door shut. She stands leaning against the trailer -- wondering if she's out of her mind for attempting this. As she crosses to her motel room, she stops by the window, looking in to see: Grace, on the floor, straining to do her exercises.

Annie fills with compassion for her girl -- reminded of the struggle she faces everyday. Annie switches radio stations, from Bible thumping to Farm reports. Grace reads the sign. Annie's comic mimicking, throws Grace off center. Annie turns off onto the exit.

They drive by a massive casino -- it's neon sign flickering. They drive up a hill past a cafe, two Indians in high crowned Cowboy hats standing outside of the cafe.

She drives up a hill towards the parking lot of the Monument We haven't seen any of the sights yet. It's history. When I was thirteen I used to love seeing things like this. Annie laughs, taking it as a joke. Grace almost smiles. The park was closed at six. Annie stops the car. She's hit a brick wall once more. So now what?

Is this the way we're going to be from now on? Ignoring her, Grace edges to the passenger side and exits the car. Annie gets out of the driver's side and walks around as she speaks: Do you? You didn't ask me if I wanted to come in the first place -- now I get to decide? Forget it! She begins to turn away. Annie grabs her arm. I'm doing this for you! It's about you! About you deciding! About you always being right! You always getting everything your way, controlling everybody -- like we work for you or something!

Whatever problems your father and I are having, have nothing to do with this. You act like I don't live in that house! Don't you think I hear the two of you!? Don't you think I can tell what's going on? I'm not five years old, Mom! Annie is stopped You want to divorce Daddy and Daddy doesn't want to. It's, like, so obvious you can't stand him. I know you think it is, but it's not.

The truth is, I don't really know what I want to do. I don't have all the answers. Annie is choked with fury. She doesn't know whether to scream, cry or strangle Grace. She turns away and begins walking quickly, blindly, up past a grove of trees. At the crest of the hill there's a stone monument "The Little Bighorn Cemetery. A place of sorrow. A cool breeze ruffles her coat and she sticks her hands in her pockets. Frustrated, alone, at a complete loss as to what to do, what action to take -- Annie, for the first time in frozen, standing still -- and with her, comes a rush of emotion.

She sits with her back against the monument and begins to weep. For Grace, for Robert, herself, for the tombstones, for everyone. Annie realizes she left Grace alone as it got darker. I'm sorry Annie rises and is escorted back to the Suburban by the Ranger. She sees: Grace is sitting in the front seat now, waiting for her -- like a little girl lost.

Buckles up. Grace holds back tears. Grace nods You cold? Annie reaches into the back seat and pulls a blanket out, handing it to Grace, making sure it covers her. Grace turns towards the window and closes her eyes. Annie starts the car. They stop. POV -- Through the windshield is an endless sky and a rolling sea of land.

Did I miss it? Their Suburban is the only vehicle on what seems like miles of road. Annie sighs and puts the Suburban in drive. Peterson runs out from the main house to greet Annie as she gets out of the car. Peterson's directions to Tom's ranch -- written on Peterson motel stationary.

She is lost once again. ANNIE reading What main road!? She stops the Suburban no longer carrying the trailer. She sighs and starts the car again. As she moves forward, she senses an almost indistinguishable rise in the road -- as we follow her POV up the road through the windshield to reveal: Annie is impressed. Frank is a good man -- solid work ethic, Christian fearing, wry sense of humor. With the build of a football player, his strength never overwhelms his boyish, good-natured heart. Joe is eleven, wearing his cowboy hat like a badge of honor.

The three men seem as inseparable to each other, as they are to the land. As they work: As long as she don't mind. JOE There's a kid at school says we should've imprint-trained him. Tom and Frank don't say anything. Just nod, knowingly. JOE He says if you do it soon as they're born, it makes them real easy to handle later on. He has this airplane and these baby geese all grow up thinking it's their mom, and he flies it and they just follow.

TOM Yeah, I hear about that. JOE Well, what do you think about that stuff? Maybe it's okay for them to grow up thinking they're airplanes.

But horses, as far as I can tell, can't fly. Frank laughs. Joe smirks as Tom messes his hat up. There's the sound of a car. They turn. The Suburban is coming over the ridge, heading down the driveway in a cloud of dust. JOE We expecting company? Frank shakes his head. As the Suburban slows down, Tom recognizes the driver. TOM I don't believe it. Annie, out of her element, hiding behind sunglasses, gets out as Tom approaches her by himself.

Annie girds herself for the confrontation. Annie MacLean. From New York. We talked on the phone. She extends her hand.

TOM shakes it, nodding, staring at her curiously. I had a little bit of a hard time finding the place. There are no signs. TOM Plenty of signs -- just none of them printed. Who do I get the idea you're not just passing through! I'd like you to take a look at my horse. Now -- it won't take long and if, after that, you still don't feel TOM Were you thinking of personally driving me back East? She's here. I brought him along. And my daughter, too. We're staying at Peterson's TOM You mean you hauled him all the way out here?

Just like that? I had a trailer. It's not like I made him run along side of the car.Annie looks at him, without sympathy. Are you there? The truck has stopped halfway in the road. RONA I wouldn't know what to do if you were on time. Your mother around? Knowing she must read all of them at some point, she breathes a disgusted sign.

She looks in through the siding at Pilgrim, checking on him. An editor. Grace cries out, stepping backwards, nearly stumbling in the mud