Artemis Fowl: The Eternity Code - Plot

Plot

Artemis Fowl II, the 13-year-old criminal mastermind, has created a supercomputer which he calls the "C Cube", from stolen fairy technology. It far surpasses any human technology made so far. When Fowl meets Chicago businessman Jon Spiro to show him the Cube, Spiro ambushes Artemis and steals it. In the process, Butler, his bodyguard is killed by one of Spiro's staff. However, Artemis manages to revive him with the aid of cryogenics and fairy healing magic, courtesy of Captain Holly Short of the LEPrecon squad.

After Butler is revived, Artemis convinces the LEP to track down the Cube. They agree on one condition: that Artemis' mind is to be wiped later. They head to The Spiro Needle, where Jon Spiro has held the Cube. The Cube is recovered with the aid of Butler's sister and Mulch Diggums, who is later incarcerated. Nearing the end of the book, Mulch discovers that Artemis has cleared him of all charges and tasked him with restoring Artemis' memory, which is wiped at the end. In the epilogue, it is revealed that the LEP questioned him to reveal any plans he had to retain his memory, but he managed to fool them, and his plans remained secret from the LEP.

Read more about this topic:  Artemis Fowl: The Eternity Code

Famous quotes containing the word plot:

    We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. “The king died and then the queen died” is a story. “The king died, and then the queen died of grief” is a plot. The time sequence is preserved, but the sense of causality overshadows it.
    —E.M. (Edward Morgan)

    The plot! The plot! What kind of plot could a poet possibly provide that is not surpassed by the thinking, feeling reader? Form alone is divine.
    Franz Grillparzer (1791–1872)

    James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.”
    James Thurber (1894–1961)