moves
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| s hand fareweill mither nanse | moves | to leave queen as nanse |
| the courtyard below and nanse | moves | to look out of the |
| him awa nanse stands up | moves | towards the bed and shakes |
| his sword macduff enters macbeth | moves | away from him macduff turn |
| a l gang tho he | moves | to leave macduff weill a |
| tentatively carolanne takes it maggie | moves | away and stands alone waiting |
| on to the veranda rowland | moves | to the table and stands |
| fi it s hinges pat | moves | beside bj silence bj holds |
| dae wi a real wummin | moves | to bj tries to put |
| naebodie can gang back moula | moves | and sits on a chair |
| she s no here moula | moves | to eilidh sits on her |
| leaves with the axe moula | moves | to the window and looks |
| you wi t teenie she | moves | closer and he puts his |
| ah l cum doun she | moves | from the window and puts |
| her mouth lifts glass sadie | moves | as if she might stop |
| knowing she s beaten sadie | moves | carolanne exits agnes calls after |
| remembering her infirm act agnes | moves | sadie picks letter up sadie |
| way it should be she | moves | to exit sadie blocks the |
| keep oot the road sadie | moves | towards the kitchen gordon carolanne |
| s daen it again carolanne | moves | towards the phone sadie leave |
| georgie she smiles regally and | moves | away dod hurries to his |
| ll never tell you jim | moves | away stops looks anxious georgie |
| one of the barrels georgie | moves | to the bench picks up |
| dinna git mairrit for she | moves | to the window and looks |
| see yeir een shynin masha | moves | to another chair the licht |
| you kyndlie leave iz alane | moves | to another chair this is |
| me is that it maggie | moves | to comfort her maggie oh |
| spoiling part o it pat | moves | to punch bag spars with |
| cry pat holds jilly pat | moves | toward lee you made me |
| eu judicial control are there | moves | towards overlapping even though defence |
| is finished she rises and | moves | towards the well to fill |
| ringan takes the sup and | moves | to leave muttering gie it |
| gie up yeir revenge gunlöd | moves | to leave valgerd takes torch |
| week the chapter in short | moves | away from a consideration of |
| fit for purpose moreover it | moves | away from the highly prescriptive |
| loss of her coupons muriel | moves | away from the rest looking |
| more comfortably about her and | moves | away he beats his forehead |
| sharpens andy s pencil and | moves | away to someone else after |
| tae see aboot this she | moves | to leave father whaur on |
| ah finnd this thief he | moves | to leave tea wyfe holding |
| to clarify whether if someone | moves | from a domestic premises out |
| recent years there have been | moves | by parochial tourist boards to |
| mcclure 1995 25 despite sic | moves | it is only in recent |
| and wish a wish nobody | moves | peggy go on gladys bla |
| it up beth s hand | moves | as if to stop her |
| o your han she gently | moves | the knife in her hand |
| of her country through these | moves | she has also extended her |
| but this time its imagery | moves | the preoccupation with country into |
| disappointed that there are no | moves | forward on signage for the |
| is important that the agenda | moves | forward stuart duffin it is |
| developments before making any formal | moves | mr mcmahon derek miller has |
| parliamentary proceedings making the right | moves | rights and protection for adults |
| zoo the hot wild leopard | moves | across its cage like a |
| introduction and whenever the hen | moves | across the stage experiment with |
| returns my smile then she | moves | off like a gazelle to |
| the election happens and she | moves | on it seems to be |
| passing quickly for something that | moves | so slowly she should be |
| still and proud as she | moves | this way and that from |
| princess it s awricht she | moves | to follow him sobbing juist |
| dae it fur yersell she | moves | to where she can see |
| watch and her poem mirror | moves | from the unemotional precision of |
| his her own mist starting | moves | have been made to devolve |
| her jewellery then the story | moves | on to the search the |
| there is a pause nobody | moves | prrreg nant announces fiona her |
| naebodie can dae mair he | moves | wearily offstage to the right |
| have led the way in | moves | for debt relief and urges |
| he goes one way chrissie | moves | into the light they are |
| and so on as he | moves | but he s also speaking |
| definition also shows that it | moves | from being a 6 pint |
| is coming from but significant | moves | are being made in my |
| the parliament notes with regret | moves | made to transform scottish ballet |
| practised smoothie act as he | moves | round them all ye re |
| maister see hoo fast he | moves | an hark the thunner o |
| can see clearly where it | moves | when we brought in a |
| day of arrival and then | moves | some eight years to the |
| we are vigorously opposing these | moves | we petitioned the european parliament |
| animal s when the head | moves | up and down costumes can |
| thaim feel at hame macbeth | moves | up and down the table |
| second half of the poem | moves | into the mock heroic as |
| us ti the beach steve | moves | around as if he s |
| m1108: and when this crocodile | moves | he s gaun to eat |
| speech i hope as he | moves | in such starry circles that |
| parliament expresses its concern over | moves | by stirling council to spend |
| crawls to the door dimps | moves | over to ed and doll |
| paid out as the boat | moves | downstream outside rivers fixed engines |
| this is a lot of | moves | it is not as bad |
| as as sort of inappropriate | moves | or you know f965: yeah |
| programme tak me inside neil | moves | to his station at the |
| there may not have been | moves | afoot to exclude scots but |
| owing to circumstances and hurried | moves | convey very little information there |
| o man the argument that | moves | me to think there is |
| day s fasherie thegither malcolm | moves | to go followed by a |
| am quite happy to support | moves | to include a question on |
| you the tray awa eilidh | moves | to lift the tray haud |
| 77 quhile thire hae been | moves | tae incorporate a higher level |
| f643: and some of the | moves | twist your back and m608: |
| satisfied with all the conciliatory | moves | that the ombudsmen make behind |
| thi early 20th century an | moves | tae improve thi status o |
| centre noo the buik skillfully | moves | aroon in the heids an |
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