At the same time, the semantic sequence of figures is realized by a series of clause complexes; the grammar is in fact doing a good deal of work in construing the episode. It realizes the figures that make up the episode as clauses; and it combines these clauses into complexes of clauses - as he came to a thicket, he heard the faint rustling of leaves; he pointed his arrow, but saw nothing; and so on. These complexes serve to construe semantic sequences of figures - not the whole episode, but local sequences in the flow of events that together make up the episode. For example, while Kukul walked on through the forest is a single clause that is not related grammatically to other clauses, the clause in pain, Kukul pulled out the arrow is related to the clause [he] headed for the river, which is in turn related to the clause [for him] to wash his wound; together these three clauses form the clause complex In pain, Kukul pulled out the arrow [~] and headed for the river [ ~] to wash his wound, as shown in Figure 7-1 below (the different representations of the first and second link will be explained later). Here the clauses are related structurally by the grammar; the first structural link is marked by the structural conjunction and and the second by a certain non-finite form of the verb, the perfective to wash. It is reflected in patterns of ellipsis that are possible only within a clause complex; thus the Subject is ellipsed in both headed for the river and to wash his wound.