Countess Nicolette de Gobignon pressed a wet cloth tothe King's brow. Though he lay there helpless, still she found him an awesome figure, like a fallen cathedral tower. Only two other men are as tall, she thought. Amalric and Orlando. She felt a pang of guilt. How could she be thinking about the troubadour here where her royal master lay slowly dying? She fixed her eyes on Louis, and on the ivory and wood crucifix that rose and fell on his chest with his labored breathing. Nicolette felt as if she, too, could hardly breathe. Across the crowded room a fire roared in a huge stone-lined fireplace. The air was stifling. She resented all that made it so, down to the woolen draperies and wall hangings and the thick carpets that sealed in the heat. But she knew that this northern chateau, Pontoise-les-Noyons, a day's ride from Paris, had had to be built to withstand cold, its walls thick and its windows tiny ? so totally unlike the bright, airy Languedoc manor she had grown up in. Sweat trickled down her brow and stung her eyes. Her breath was coming in little gasps. She felt as if she would faint if she couldn't go outside soon. Dozens of people, the King's family and courtiers, had packed themselves uselessly into the room, making it even more suffocating. Their whispers, like the buzzing of mosquitoes, irritated Nicolette. Almost all of them, she was sure, worried more about their own welfare than about the King's. And even Louis's wife and mother, though they grieved for him, were too distracted to do much to alleviate his suffering. She saw the King's lips quiver, and quickly she bent close to him. Any last words could be terribly important. "Jerusalem," he mumbled. "Towers - golden. Gates of pearl. Crystal waters." Then he panted heavily. "Hush, sire," she whispered. "Rest easy." Nicolette bent close to the King: A. not enough information B. When she saw the King's lips quiver C. To press a wet cloth to the King's brow D. When she felt guilt
B

I will never own a Chanel suit. It is unlikely that I will ever own a (genuine) Chanel handbag. However, a Chanel nail polish was definitely attainable. Whilst they are ridiculously expensive compared with most other nail polishes ($AU39), they are still much more affordable than the $AU1,000,000,000 a handbag costs (or so I estimate as I have never actually priced one). After seeing swatches of Peridot online, I knew that baby would one day be mine. The other two polishes in the collection - Quartz and Graphite - did not excite me the way Peridot did. That was until I read this review of Graphite on the Polish Police. Suddenly, Graphite was on my radar. It was stuck in my head like an ear worm; another baby, soon to be adopted. I argued with myself for about a month on whether to get these polishes or not. Could I really spend nearly $80 on nail polish. It did seem rather excessive to me. Then, Myers sent me a $10 voucher for my birthday and I got a $30 voucher for doing a survey so the decision was made. For $38 of my own money (less than the cost of two OPI's!) I became the proud owner of Peridot and Graphite. Here is my review of Graphite. Graphite is the most stunningly intriguing nail polish I have ever owned. In the bottle it looks a little bit dull and boring - grey and bland. But on the nail it is completely different. In some lights it is silvery, others a more gun metal grey, and in others it has almost a goldish tone to it. It is super sparkly, yet is not a glitter polish - though in saying that it appears more glitter than shimmer. It is quite opaque. Two coats and you can't see the nail line. In the photos below I have actually applied three coats (plus an addition two top coats of clear) because I was going to a wedding and I wanted it to be perfect. But ordinarily two would be sufficient. What is probably true about the writer: A. not enough information B. She owns many Chanel suits C. She always wears three coats of nail polish D. She thinks highly of Polish Police reviews
D

Television drama's whole point is to bring you through an often slow start, followed by a complex development to a point where there are two or three potential denouements before, "Cut!", it is the end of the episode and you will have to await the "right answer" in the following week's show. This post came to me at 10pm last night, on Day 16 of this challenge, after a day of holidaying in London and with my head (and feet) too weary to put finger to touchscreen. Mrs Mc and I had just watched another live instalment of Broadchurch, murder mystery extraordinaire, particularly since in the second series there is no actual fresh murder to investigate. The verdict is about to be given on the accused killer from Series 1 when the inevitable happens... Cue title music. This moment has even gained a moniker in British homes, based on the theme tune to the real masters of the four-times-a-week cliffhanger, London-based soap opera Eastenders. It's call a "ba...ba...ba...ba, ba, ba-ba-ba-ba" (YouTube will provide overseas readers with auditory explanation). Eastenders is such a master of writing in the perfect pace that every 28 minute episode ends with a tantalising screen freeze on the latest shocked face / smirking baddy / confused victim. For really big stories the cliffhanger can last significantly longer. This week, to celebrate the show's 30 year birthday, we will finally find out the answer to a question unanswered for the past 14 months: "Who killed Lucy Beale?" Now, most classrooms do not involve murder, incest, dodgy deals and danger, but "good teaching" encourages a type of pacing that totally ignores the ingredients that have millions in the edges of their seats every day: the good old cliffhanger. In fact, we see teachers giving away the punchline at the beginning: "Today we are learning this:..." The author probably believes that: A. not enough information B. The answers to the cliffhangers will be known soon C. The longer the movie, the better it would be D. Movie drama cannot be exciting without murders
B