A15. Crisis choices: what hard choice does the lead face in each act? AI
Story and structure. One line per book. Open a book for the full answer, charts and cited lines.
| Book | Genre | Result |
|---|---|---|
| Treasure Island | Thriller and adventure | Act One: Jim must decide to open the sea-chest (Ch 4). Act Two: Jim must choose to report the mutiny (Ch 12). Act Three: Jim must escape the blockhouse (Ch 22). Act Four: Jim must decide to trust Silver (Ch 28). Act … |
| The Thirty-Nine Steps | Thriller and adventure | Act One: Hannay chooses to flee rather than contact police (Chapter 2). Act Two: He chooses to trust Sir Harry despite danger (Chapter 4). Act Three: He chooses to act on instinct and arrest the spies despite doubt … |
| The Prisoner of Zenda | Thriller and adventure | Act One: accept the impersonation or refuse (Ch 4, accepts). Act Two: maintain deception or expose truth (Ch 7, maintains). Act Three: secure throne or rescue King (Ch 10, chooses King). Act Four: assault castle or … |
| Around the World in Eighty Days | Thriller and adventure | Act One: Fogg chooses to stake his fortune on an impossible wager (Ch 3). Act Two: Fogg chooses to rescue Aouda despite delay (Ch 12). Act Three: Fogg chooses to charter the Tankadere after Passepartout is drugged … |
| King Solomon's Mines | Thriller and adventure | Act One: Accept the expedition despite danger (1 to 3). Act Two: Support Ignosi's rebellion knowing Twala will hunt them (10). Act Three: Launch a doomed frontal assault to win the battle (13). Act Four: Enter the … |
| The Hound of the Baskervilles | Crime and mystery | Act One: Holmes chooses to take the case despite supernatural elements (Ch1 to 3). Act Two: Watson chooses to go to Devon in Holmes's place (Ch5). Act Three: Watson chooses to confront Barrymore and investigate (Ch7 to 9). … |
| A Study in Scarlet | Crime and mystery | Act One: Watson chooses to lodge with Holmes (Ch 2). Act Two: Holmes chooses to test the pills despite doubt (Ch 7). Act Three: Ferrier chooses to flee Utah (Ch 11). Act Four: Hope chooses to confess (Ch 13). Act … |
| The Adventures of Sherlock Holmes | Crime and mystery | Holmes faces no hard moral choices within cases. He solves puzzles and hands criminals to police. Chapter 8 is closest: Holmes must choose to confront Dr. Roylott at night, risking his life. Chapter 7 shows mercy … |
| The Moonstone | Crime and mystery | Act One: Franklin must decide whether to give Rachel the Moonstone despite the curse (Chapter 13, he chooses to give it). Act Two: Franklin must choose between protecting Rosanna or helping the investigation (Chapter … |
| The Woman in White | Crime and mystery | Act One: Walter must choose between refusing Limmeridge (safety) or accepting it (danger of loving Laura). Act Two: Marian must choose between protecting Laura or investigating Percival. Act Three: Walter must choose … |
| Pride and Prejudice | Romance | Act One: accept Wickham's account or doubt it (Chapter 16, she accepts). Act Two: reject or accept Darcy's proposal (Chapter 34, she rejects). Act Three: believe Darcy's letter or dismiss it (Chapter 35, she … |
| Persuasion | Romance | Act One (Ch 4): Accept or reject the belief that breaking the engagement was right. Act Two (Ch 10): Acknowledge or deny her lingering feelings for Wentworth. Act Three (Ch 17): Accept or refuse Mr Elliot's implied … |
| Emma | Romance | Act One: Persuade Harriet to refuse Martin (Chapter 7). Act Two: Manage Elton's rejection (Chapter 16). Act Three: Decide whether to help Jane despite suspicions (Chapter 44). Act Four: Confess love to Knightley or … |
| Jane Eyre | Romance | Act One: Jane chooses to fight John Reed and face punishment (Ch 1). Act Two: Jane chooses to accept Rochester's love despite social inequality (Ch 23). Act Three: Jane chooses to leave Rochester despite loving him, … |
| Dracula | Gothic and horror | Act One: Jonathan must choose between trusting the Count or fleeing (Ch 4). Act Two: Seward must choose between medical science and supernatural belief (Ch 10 to 12). Act Three: The band must choose to desecrate Lucy's … |
| Frankenstein | Gothic and horror | Act 1: Victor chooses to pursue natural philosophy despite his father's warnings (Ch 6 to 7). Act 2: Victor chooses to create life, knowing the cost (Ch 8). Act 3: Victor chooses to hear the creature's tale and agrees … |
| Strange Case of Dr Jekyll and Mr Hyde | Gothic and horror | Act One: Promise to help Hyde despite disliking him (Ch 3). Act Two: Whether to reveal Jekyll's connection to police (Ch 5). Act Three: Whether to break down the cabinet door (Ch 8). Act Four: Whether to read sealed … |
| The Picture of Dorian Gray | Gothic and horror | Act One: Accept Lord Henry's philosophy or reject it (Ch 2, chooses acceptance). Act Two: Marry Sibyl or abandon her (Ch 7, abandons her). Act Three: Confess to Basil or kill him (Ch 13, kills him). Act Four: Flee or … |
| Wuthering Heights | Gothic and horror | Act One: Lockwood chooses to stay at Wuthering Heights despite hostility (Ch 1). Act Two: Catherine chooses Edgar over Heathcliff (Ch 9). Act Three: Nelly chooses to carry Heathcliff's letter to Catherine (Ch 14). … |
| The Turn of the Screw | Gothic and horror | Act One: keep the dismissal letter secret (Chapter 2). Act Two: confront or protect (Chapter 12). Act Three: expose Flora or protect her (Chapter 19). Act Four: leave or stay with Miles (Chapter 21). Act Five: force … |
| The Time Machine | Science fiction | Act 1 (Ch 1 to 3): choose to demonstrate the machine. Act 2 (Ch 4 to 8): choose to descend into caverns despite danger. Act 3 (Ch 9 to 13): choose to use fire as weapon, losing Weena. Final choice (Ch 16): vanish again into … |
| The War of the Worlds | Science fiction | Act One: whether to flee or stay (Chapter 7). Act Two: whether to hide or fight (Chapter 12). Act Three: whether to silence the curate by force (Chapter 21). Act Four: whether to follow the artilleryman's plan … |
| The Invisible Man | Science fiction | Act One: Griffin chooses to reveal himself rather than hide (Ch 7). Act Two: Griffin coerces Marvel into servitude (Ch 9). Act Three: Griffin trusts Kemp with his secrets (Ch 17 to 23). Act Four: Kemp chooses to betray … |
| Alice's Adventures in Wonderland | Fantasy and children's | Alice faces one major crisis choice in Chapter 12: defy the Queen and reject Wonderland's logic, or submit to its nonsense. She chooses defiance, declaring the cards are nothing but a pack and waking up. |
| The Wonderful Wizard of Oz | Fantasy and children's | Act One: none (swept away). Act Two: trust Oz or turn back (Ch 11, chooses to hunt Witch). Act Three: surrender or fight Witch (Ch 12, fights). Act Four: stay with companions or go home (Ch 23, chooses home). Act … |
| The Secret Garden | Fantasy and children's | Act One: Mary must accept her orphaning and travel to a strange house (ch 1 to 3). Act Two: Mary must decide whether to trust Dickon with the garden secret (ch 10). Act Three: Mary must choose to visit Colin despite … |
| The Wind in the Willows | Fantasy and children's | Toad faces hard choices: whether to reform (chapter 6, he refuses), whether to steal a car despite knowing the cost (chapter 10, he does), and whether to accept help from friends (chapter 12, he does). Each choice … |
| Great Expectations | Literary | Act One: Pip chooses to steal for the convict (Chapter 1). Act Two: Pip chooses to pursue gentility over Joe (Chapter 14). Act Three: Pip chooses to protect Magwitch despite horror (Chapter 41). Act Four: Pip chooses … |
| A Christmas Carol | Literary | Stave I: accept or reject Marley's warning (Scrooge accepts). Stave II: face or flee painful memory (Scrooge flees by covering the light). Stave III: acknowledge or deny his cruelty (Scrooge is moved). Stave IV: … |
| The Great Gatsby | Literary | Act One: Nick chooses to engage with the Buchanans. Act Two: Gatsby chooses to reveal himself to Nick. Act Three: Gatsby chooses to confront Tom. Act Four: Gatsby refuses to flee. Act Five: Nick chooses to leave the … |
| Heart of Darkness | Literary | Chapter 1: Marlow chooses to accept the job despite warnings. Chapter 2: Marlow chooses to continue upriver despite danger and moral doubt. Chapter 3: Marlow chooses to lie to the Intended about Kurtz's final words, … |
| Kidnapped | Thriller and adventure | Act One: Trust uncle or flee (Ch 4, chooses to flee). Act Two: Help Alan or stay safe (Ch 9, chooses Alan). Act Three: Separate from Alan or stay hunted (Ch 24, chooses Alan). Act Four: Interfere in James's case or … |
| The Count of Monte Cristo | Thriller and adventure | Act One: Dantès must choose between reporting the letter or destroying it (Ch 7, Villefort chooses destruction). Act Two: Dantès chooses to escape via burial sack (Ch 20). Act Three: Monte Cristo chooses to … |
| The Three Musketeers | Thriller and adventure | Act One: D'Artagnan chooses to challenge three Musketeers despite being outnumbered (Chapter 4). Act Two: D'Artagnan chooses to undertake the dangerous London mission (Chapter 18). Act Three: D'Artagnan chooses to … |
| The Riddle of the Sands | Thriller and adventure | Act One: Accept the cruise despite discomfort (Ch 2). Act Two: Commit to investigating Dollmann despite uncertainty (Ch 8). Act Three: Infiltrate Memmert despite danger (Ch 21). Act Four: Pursue intelligence alone … |
| The Scarlet Pimpernel | Thriller and adventure | Act One: Marguerite chooses to accept Chauvelin's blackmail to save Armand (Chapter 8). Act Two: She chooses to betray Percy at the ball (Chapter 14). Act Three: She chooses to warn Percy despite the cost (Chapter … |
| The Lost World | Thriller and adventure | Act One: Accept adventure despite danger (ch 5). Act Two: Trust Challenger's leadership despite blank envelope (ch 7). Act Three: Venture alone to lake despite fear (ch 12). Act Four: Attack ape-men despite being … |
| Captain Blood | Thriller and adventure | Act One: Blood chooses to treat the rebel despite danger (Chapter 1). Act Two: Blood chooses to seize the ship and become pirate (Chapter 9). Act Three: Blood chooses to accept the King's commission over his crew's … |
| Lady Audley's Secret | Crime and mystery | Act One: Robert must choose whether to pursue George's disappearance seriously (Chapter 10, chooses yes). Act Two: Robert chooses to investigate Lady Audley despite family loyalty (Chapter 16, chooses investigation). … |
| The Murders in the Rue Morgue | Crime and mystery | Dupin faces no explicit hard choice. His only decision is whether to pursue the investigation, which he does without hesitation. The sailor faces the hard choice of confessing and risking blame or remaining silent. |
| The Innocence of Father Brown | Crime and mystery | Father Brown makes no hard choices. He observes, deduces, and reveals truth. Flambeau chooses redemption in Chapter 10. Wilfred Bohun chooses confession in Chapter 20. The lead reacts to others' crises rather than … |
| The Big Bow Mystery | Crime and mystery | Act One: Mortlake must decide whether to flee or stay (Ch 1 to 3, stays). Act Two: Denzil must choose between poverty and betrayal (Ch 5 to 7, accepts money). Act Three: Mortlake must choose between arrest and escape (Ch … |
| The Leavenworth Case | Crime and mystery | Act One: Raymond must choose between duty to investigate and love for Eleanore (Chapter 10). Act Two: Raymond must decide whether to trust Gryce's theory that Mary is guilty (Chapter 25). Act Three: Raymond must … |
| The Red Thumb Mark | Crime and mystery | Act One: Accept the case or refuse (Ch2, Thorndyke accepts). Act Two: Pursue investigation or abandon it (Ch10, Thorndyke continues). Act Three: Reveal findings or stay silent (Ch16, Thorndyke exposes forgery). Act … |
| The Amateur Cracksman | Crime and mystery | Chapter 1: Bunny chooses to help Raffles commit crime rather than face ruin alone. Chapter 10: Raffles chooses to help Rutter escape rather than let him confess. Chapter 14: Raffles chooses to fake his death to … |
| The Secret Agent | Crime and mystery | Verloc faces no hard choices; he drifts passively. Winnie's crisis choice comes in Chapter 11: murder Verloc or live with his betrayal. She chooses murder. Ossipon's crisis in Chapter 12 is whether to help Winnie or … |
| Sense and Sensibility | Romance | Act One: Elinor chooses to conceal her feelings for Edward to protect her family (Ch 4). Act Two: Elinor chooses to keep Lucy's secret engagement hidden from her mother and sister (Ch 22). Act Three: Elinor chooses … |
| North and South | Romance | Act One: accept family move or stay (Chapter 4). Act Two: visit Higgins family despite class difference (Chapter 8). Act Three: shield Thornton at riot or stay safe (Chapter 22). Act Four: lie to protect Frederick or … |
| Far from the Madding Crowd | Romance | Act One: Gabriel chooses to propose despite knowing Bathsheba's independence (4). Act Two: Bathsheba chooses to send the valentine on impulse (13). Act Three: Bathsheba chooses to marry Troy in desperation (34). Act … |
| The Enchanted April | Romance | Act One: Mrs. Wilkins chooses to deceive her husband and leave. Act Two: She chooses to invite Mellersh, risking her newfound peace. Act Three: She chooses to forgive Mellersh and renew her marriage. Act Four: She … |
| The Sheik | Romance | Chapter 5: Diana chooses between escape and surrender. Chapter 8: Diana chooses between resistance and survival. Chapter 10: Diana chooses between life and death, forcing Ahmed's confession. |
| Daddy Long Legs | Romance | Act One: accept college or stay at orphanage (she accepts). Act Two: hide feelings for Master Jervie or confess (she hides). Act Three: maintain independence or accept Master Jervie's help (she chooses independence). … |
| Carmilla | Gothic and horror | Act one: Laura chooses to befriend Carmilla despite unease (ch 3). Act two: Laura chooses to confide in her father about symptoms (ch 7). Act three: Laura accepts the General's help (ch 9). Act four: Laura witnesses … |
| The Castle of Otranto | Gothic and horror | Manfred faces no genuine moral choice; he acts on obsession. Chapter 1: pursue Isabella or accept fate (chooses pursuit). Chapter 3: fight Frederic or negotiate (chooses negotiation under duress). Chapter 4: divorce … |
| The Phantom of the Opera | Gothic and horror | Act One: Raoul chooses to pursue Christine despite warnings (2). Act Two: Christine chooses between revealing Erik or protecting him (12). Act Three: Raoul chooses rescue over obedience to the Persian (15). Act Four: … |
| The Great God Pan | Gothic and horror | Act One: Raymond chooses to perform the experiment despite moral doubts. Act Two: Clarke chooses to help Villiers despite danger. Act Three: Villiers chooses to confront Helen with a rope, forcing her to choose death … |
| The Yellow Wallpaper | Gothic and horror | Section 1: narrator chooses to write secretly despite John's ban. Section 2: narrator chooses to peel wallpaper and hide her actions. Section 3: narrator chooses complete identification with the trapped woman over … |
| The Call of Cthulhu | Gothic and horror | Section 1: continue investigating or stop. Section 2: accept the cult's reality or dismiss it. Section 3: seek Johansen or abandon the search. Section 4: accept cosmic horror or deny it. The narrator chooses … |
| The Island of Doctor Moreau | Science fiction | Act one: accept rescue or drown (1). Act two: trust Moreau or flee (7). Act three: maintain control or lose authority (18). Act four: kill the Hyena-swine or be hunted (21). Act five: rejoin society or withdraw (22). |
| Journey to the Centre of the Earth | Science fiction | Act One: reveal the secret or hide it (Ch 3, Harry chooses to tell). Act Two: turn back or continue despite thirst (Ch 18, uncle refuses to abandon). Act Three: search for companions or accept death (Ch 24, Harry … |
| A Princess of Mars | Science fiction | Act One: escape the cave or stay paralysed (Ch 2). Act Two: declare love to Dejah Thoris or protect her silence (Ch 13 to 14). Act Three: sacrifice himself to let Dejah Thoris escape or flee together (Ch 17). Act Four: … |
| Herland | Science fiction | Van faces no clear act-by-act choices. His main crisis choice comes in Chapter 12 when he must decide whether to leave Herland or stay. He chooses to depart with Ellador, accepting her values over his original … |
| Flatland | Science fiction | Act One: no hard choice (exposition). Act Two: accept or reject the Sphere's claim (chapter 17 to 18, the Square chooses to believe after physical proof). Act Three: seek knowledge of four dimensions or accept three … |
| Erewhon | Science fiction | Act One (Ch 4): cross the saddle alone or turn back. Act Two (Ch 9): accept hospitality from an embezzler or refuse. Act Three (Ch 16): declare love for Arowhena or remain silent. Act Four (Ch 21): stay in Erewhon or … |
| The Last Man | Science fiction | Act One: Lionel chooses to trust Adrian despite his rage (Chapter 2). Act Two: Lionel chooses to help Idris escape her mother (Chapter 5). Act Three: Lionel chooses to leave Windsor and attempt rescue of Juliet … |
| Through the Looking Glass | Fantasy and children's | Act One: Alice chooses to enter the mirror (Chapter 1). Act Two: Alice accepts the pawn role and illogic (Chapter 2). Act Three: Alice helps the White Queen despite confusion (Chapter 5). Act Four: Alice seizes the … |
| A Little Princess | Fantasy and children's | Act One: Sara must accept separation from her father (Ch 2). Act Two: Sara chooses to befriend Becky despite class boundaries (Ch 5). Act Three: Sara must decide whether to keep or share her fourpenny piece with a … |
| The Jungle Book | Fantasy and children's | Mowgli faces hard choices in chapter 3 (stay with Pack or leave for men) and chapter 8 (return to jungle or stay in village). He chooses to leave the Pack and later to return to it, torn between two worlds. |
| Five Children and It | Fantasy and children's | Hard choices are sparse. In Chapter 4, Anthea chooses to ask the Psammead for advice. In Chapter 11, the children choose to use their final wishes to undo Jane's damage and promise never to wish again. Most chapters … |
| The Railway Children | Fantasy and children's | Act One: accept poverty or resist (accept). Act Two: help strangers or protect family (help). Act Three: tell Mother the secret or keep it (tell). Act Four: risk danger for Jim or stay safe (risk). Act Five: trust … |
| The Princess and the Goblin | Fantasy and children's | Act One: Irene chooses to explore the staircase despite fear (Chapter 2). Act Two: Curdie chooses to follow goblins into the palace (Chapter 9). Act Three: Irene chooses to trust the thread over Curdie's doubt … |
| Peter and Wendy | Fantasy and children's | Act One: Wendy chooses to fly away with Peter (Ch 3). Act Two: Peter chooses to save Tiger Lily over safety (Ch 8). Act Three: Children choose to leave Neverland (Ch 11). Act Four: Peter chooses to bar the window … |
| The Worm Ouroboros | Fantasy and children's | Act One: accept the quest or defend home (Section 3). Act Two: pursue Goldry or attack Carcë (14). Act Three: trust Gro or reject him (39 to 40). Act Four: break the Witch centre or hold position (51). Act Five: accept … |
| Anne of Green Gables | Fantasy and children's | Act One: Marilla must choose whether to keep Anne (Chapter 6, chooses yes). Act Two: Anne must apologize to Mrs. Lynde (Chapter 10, does so). Act Three: Anne must resist her imagination's dangers (Chapter 20, learns … |
| Black Beauty | Fantasy and children's | Act One: accept breaking in despite fear (ch 3). Act Two: endure check-rein pain or rebel like Ginger (ch 23). Act Three: survive decline through multiple cruel owners (ch 28 to 31). Act Four: collapse or continue under … |
| Middlemarch | Literary | Act One: Accept Casaubon or refuse him (ch 5), she accepts. Act Two: Confess unhappiness or endure (ch 21), she endures. Act Three: Alter the will to benefit Will or remain loyal (ch 38), she resolves to alter it. Act … |
| Tess of the d'Urbervilles | Literary | Act One: Tess chooses to work for the d'Urbervilles despite misgivings (Chapter 6). Act Two: she chooses to accept Angel's proposal despite her past (Chapter 30). Act Three: she chooses to confess (Chapter 34). Act … |
| Mrs Dalloway | Literary | Clarissa's hard choice in Act One (Sections 1 to 5) is whether to dwell on her past with Peter or accept her present marriage. In Act Four (Section 20), she chooses to accept Septimus's death as part of life's meaning. … |
| To the Lighthouse | Literary | Act 1: Lily must choose between art and social connection (chapter 4). Act 2: Mrs. Ramsay must choose between her own needs and others' demands (chapter 8). Act 3: The family must accept loss and absence (chapter … |
| Anna Karenina | Literary | Act One: Levin chooses to propose despite fear of rejection (Chapter 13). Act Two: Levin chooses farm work over intellectual despair (Chapter 74). Act Three: Karenin chooses forgiveness over revenge (Chapter 118); … |
| Crime and Punishment | Literary | Act One (Ch 6): commit murder or abandon plan, he commits. Act Two (Ch 13): confess or hide, he hides. Act Three (Ch 25): admit guilt to Porfiry or deny, he denies. Act Four (Ch 36): let Dounia be trapped or expose … |
| Madame Bovary | Literary | Act One: Will Emma accept her marriage to Charles or seek escape? (Ch 5 to 7). Act Two: Will Emma declare love to Léon or accept Rodolphe's seduction? (Ch 16 to 17). Act Three: Will Emma elope with Rodolphe or stay with … |
| The Age of Innocence | Literary | Act One (Ch 2): Support May or acknowledge Ellen's appeal? Newland chooses duty. Act Two (Ch 16): Advance wedding or confess doubt to May? Newland cannot confess. Act Three (Ch 19): Accept hollow marriage or pursue … |
| Silas Marner | Literary | Act One: Silas must choose to report the theft and seek community help (Ch 5). Act Two: Godfrey must choose to confess his secret marriage or hide it (Ch 9, chooses to hide). Act Three: Silas must choose to keep or … |
| Adventures of Huckleberry Finn | Literary | Act One: stay civilised or flee (Chapter 5, chooses flight). Act Two: betray Jim or help him (Chapter 17, chooses loyalty). Act Three: expose frauds or protect them (Chapter 27, chooses exposure). Act Four: rescue … |
| Hamlet | Plays | Act I: follow the ghost or stay safe (chooses to follow, Scene 4). Act II: feign madness or act openly (chooses feigning, Scene 6). Act III: kill Claudius at prayer or wait (chooses to wait, Scene 10). Act IV: go to … |
| Macbeth | Plays | Act I: Macbeth chooses to murder Duncan despite moral doubts (scene 7). Act II: he chooses to kill the chamberlains to cover the crime (scene 10). Act III: he chooses to murder Banquo and Fleance (scene 12). Act IV: … |
| Romeo and Juliet | Plays | Act I: Romeo chooses to attend the feast despite his premonition (chapter 5). Act II: Romeo chooses to marry Juliet in secret (chapter 12). Act III: Romeo chooses to kill Tybalt in revenge (chapter 13). Act IV: … |
| Othello | Plays | Act One: Othello chooses to marry Desdemona despite Brabantio's rage. Act Two: Othello chooses to trust Iago over his own judgment. Act Three: Othello chooses to believe Iago's hints over Desdemona's denials. Act … |
| A Midsummer Night's Dream | Plays | Act I: Hermia chooses between death, nunnery, or fleeing (she flees). Act II: Oberon chooses to enchant Titania and the lovers (he does). Act III: Puck chooses to transform Bottom (he does). Act IV: Oberon chooses to … |
| Twelfth Night | Plays | Viola's disguise conceals her true self and her love for Orsino. She believes hiding is necessary for survival and that love cannot flourish while disguised. This belief is tested when Olivia falls for Cesario (Scene … |
| Doctor Faustus | Plays | Faustus faces one crisis choice in Section 2: repent with the Old Man or embrace Helen and damnation. He chooses Helen, rejecting grace and sealing his doom. |
| The Importance of Being Earnest | Plays | Act I: Jack must choose between maintaining his Ernest fiction or confessing to Gwendolen. Act II: Jack must decide whether to kill off Ernest or confess the deception. Act III: Jack must accept his true identity as … |
| A Doll's House | Plays | Act I: Nora chooses to ask Helmer to save Krogstad, risking exposure. Act II: Nora chooses to dance and distract rather than confess. Act III: Nora chooses to leave her husband and children to discover herself, … |
| Hedda Gabler | Plays | Act One: accept marriage or rebel. Act Two: manipulate Lovborg or let him reform. Act Three: destroy the manuscript or preserve it. Act Four: submit to Brack or die. Each choice tightens Hedda's trap. |
| Pygmalion | Plays | Act I: accept Higgins's offer or stay a flower girl. Act II: submit to training or refuse. Act III: maintain composure or speak her truth. Act IV: beg Higgins for security or leave him. Act V: marry Freddy for love … |
| The School for Scandal | Plays | Act One: Charles must choose between extravagance and restraint (chooses extravagance). Act Two: Sir Oliver must choose whether to trust Joseph or test both brothers (chooses to test). Act Three: Charles must choose … |
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