ï»¿The Project Gutenberg EBook of The Magnificent Ambersons, by Booth TarkingtonThis eBook is for theuse of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give itaway orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Magnificent AmbersonsAuthor: Booth TarkingtonRelease Date: September,2005 [EBook #8867]Posting Date: August 2, 2009Language: English*** START OF THIS PROJECTGUTENBERG EBOOK THE MAGNIFICENT AMBERSONS ***Produced by An Anonymous VolunteerTHEMAGNIFICENT AMBERSONSBy Booth TarkingtonChapter IMajor Amberson had "made a fortune" in 1873,when other people werelosing fortunes, and the magnificence of the Ambersons began then.Magnificence,like the size of a fortune, is always comparative, as evenMagnificent Lorenzo may now perceive, if he hashappened to haunt NewYork in 1916; and the Ambersons were magnificent in their day and place.Theirsplendour lasted throughout all the years that saw their Midlandtown spread and darken into a city, butreached its topmost during theperiod when every prosperous family with children kept aNewfoundlanddog.In that town, in those days, all the women who wore silk or velvet knewall the otherwomen who wore silk or velvet, and when there was a newpurchase of sealskin, sick people were got towindows to see it go by.Trotters were out, in the winter afternoons, racing light sleighs onNationalAvenue and Tennessee Street; everybody recognized boththe trotters and the drivers; and again knewthem as well on summerevenings, when slim buggies whizzed by in renewals of the snow-timerivalry. Forthat matter, everybody knew everybody else's familyhorse-and-carriage, could identify such a silhouettehalf a mile downthe street, and thereby was sure who was going to market, or to areception, or cominghome from office or store to noon dinner or eveningsupper.During the earlier years of this period,elegance of personal appearancewas believed to rest more upon the texture of garments than upontheirshaping. A silk dress needed no remodelling when it was a year or soold; it remained distinguishedby merely remaining silk. Old men andgovernors wore broadcloth; "full dress" was broadcloth with"doeskin"trousers; and there were seen men of all ages to whom a hat meant onlythat rigid, tall silk thingknown to impudence as a "stove-pipe."In town and country these men would wear no other hat, and,withoutself-consciousness, they went rowing in such hats.Shifting fashions of shape replaced aristocracyof texture: dressmakers,shoemakers, hatmakers, and tailors, increasing in cunning and in power,foundmeans to make new clothes old. The long contagion of the "Derby"hat arrived: one season the crown ofthis hat would be a bucket; thenext it would be a spoon. Every house still kept its bootjack,buthigh-topped boots gave way to shoes and "congress gaiters"; and thesewere played through fashionsthat shaped them now with toes likebox-ends and now with toes like the prows of racing shells.Trouserswith a crease were considered plebeian; the crease proved thatthe garment had lain upon a shelf, andhence was "ready-made"; thesebetraying trousers were called "hand-me-downs," in allusion to theshelf.In the early 'eighties, while bangs and bustles were havingtheir way with women, that variation of dandyknown as the "dude" wasinvented: he wore trousers as tight as stockings, dagger-pointed shoes,a spoon"Derby," a single-breasted coat called a "Chesterfield," withshort flaring skirts, a torturing cylindricalcollar, laundered to apolish and three inches high, while his other neckgear might be a heavy,puffedcravat or a tiny bow fit for a doll's braids. With evening dresshe wore a tan overcoat so short that hisblack coat-tails hung visible,five inches below the over-coat; but after a season or two he lengthenedhisovercoat till it touched his heels, and he passed out of his tighttrousers into trousers like great bags.Then, presently, he was seenno more, though the word that had been coined for him remained inthevocabularies of the impertinent.It was a hairier day than this. Beards were to the wearers' fancy,andthings as strange as the Kaiserliche boar-tusk moustache werecommonplace. "Side-burns" foundnourishment upon childlike profiles;great Dundreary whiskers blew like tippets over youngshoulders;moustaches were trained as lambrequins over forgotten mouths; and itwas possible for aSenator of the United States to wear a mist of whitewhisker upon his throat only, not a newspaper in theland finding theornament distinguished enough to warrant a lampoon. Surely no more isneeded to provethat so short a time ago we were living in another age!At the beginning of the Ambersons' great period


ï»¿The Project Gutenberg EBook of The Deserted Village, by Oliver GoldsmithThis eBook is for the use ofanyone anywhere in the United States and mostother parts of the world at no cost and with almost norestrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe ProjectGutenberg License included with this eBook or online atwww.gutenberg.org.  If you are not located in theUnited States, you'll haveto check the laws of the country where you are located before using thisebook.Title: The Deserted VillageAuthor: Oliver GoldsmithIllustrator: The Etching ClubRelease Date:November 19, 2015 [EBook #50500]Language: English*** START OF THIS PROJECT GUTENBERGEBOOK THE DESERTED VILLAGE ***Produced by David Widger from page images generouslyprovided byGoogle BooksTHE DESERTED VILLAGEBy Oliver GoldsmithIllustrated by the Etching ClubNew York: D.Appleton And Co. BroadwayMDCCCLVII[Illustration: 0001][Illustration: 0008]The Illustrations in thisVolume are copied, with permission,from a series of Etchings published some years since by the"EtchingClub." Only a few impressions of that work wereprinted, the copper-plates were destroyed, and the book,exceptin a very expensive form, has long been unattainable. Greatcare has been taken to render thepresent Wood-blocks as likethe original Etchings as the different methods of engravingwillallow.ILLUSTRATIONS                                                                     Page    Sweet Auburn! loveliestmilage of the plain...T. Creswick, R.A....007    The never-failing brook, the busy mill........T. Creswick,R.A....008    The hawthorn bush, with seals in shade........C. W. Cope, R.A.....009    The matron's glancethat would reprove........H. J. Townsend......010    The hollow sounding bittern guards its nest...F.Tayler...........012    These, far departing, seek a kinder shore.....C. Stonhouse........014    Amidst theswains show my book-learn'd skill..J. C. Horsley.......015    And, as a hare, whom hounds and hornspursue..F. Tayler...........016    To spurn imploring famine from the gale.......C. W. Cope,R.A.....017    While resignation gently slopes the way.......T. Creswick, R.A....018    The playful childrenlet loose from school....T. Webster, R.A.....019    All but yon widow'd solitary thing............F.Tayler...........020    The village preacher's modest mansion rose....T. Creswick, R.A....021    He chid theirwanderings; relieved pain.......C. W. Cope, R.A.....022    Shoulder'd his crutch, and show'd fields won..C.W. Cope, R.A.....023    Beside the bed where parting life was laid....R. Redgrave, R.A....025    Andpluck'd his gown, share the man's smile...J. C. Horsley.......026    The village master taught his littleschool...T. Webster, R.A.....027    Full well they laugh'd with glee..............T. Webster,R.A.....028    Convey'd the dismal tidings when he frown'd...T. Webster, R.A.....028    In arguing too theparson own'd his skill.....C. W. Cope, R.A.....029    Near yonder thorn, that lifts its head high...T.Creswick, R.A....030    Where village statesmen with looks profound...F. Tayler...........031    But the longpomp, the midnight masquerade....J. C. Horsley.......033    Proud swells the tide with loads of ore.......T.Creswick, R.A....034    If to some common's fenceless limit stray'd...C. Stonhouse........036    Where thepoor houseless female lies..........J. C. Horsley.......037    She left her wheel and robes of brown.........J.C. Horsley.......038    The rattling terrors of the vengeful snake....T. Creswick, R.A....040    The coolingbrookt the grassy-vested green....T. Creswick, R.A....041    The good old sire the first prepared togo....C. W. Cope, R.A.....042    Whilst her husband strove to lend relief......R. Redgrave,R.A....043    Down where yon vessel spreads the sail........T. Creswick, R.A....044    Or winter wraps thepolar world in snow.......T. Creswick, R.A....045    As rocks resist the billows aNd the sky.......T. Creswick,R.A....046Drawn on wood, from the original Etchings, by E. K. Johnson, andengraved by Horace Harral,Thomas Bolton, and James Cooper.{007}[Illustration: 0016]THE DESERTED VILLAGESweet Auburn!loveliest village of the plain,Where health and plenty cheer'd the labouring swain,Where smiling spring itsearliest visit paid,And parting summer's lingering blooms delay'd.{008}[Illustration: 0017]Dear lovelybowers of innocence and ease,Seats of my youth, when every sport could please,How often have I loiter'do'er thy green,Where humble happiness endear'd each scene!How often have I paused on everycharm,The shelter'd cot, the cultivated farm,{009}[Illustration: 0020]The never-failing brook, the busymill,The decent church that topt the neighbouring hill,The hawthorn bush, with seats beneath theshade,For talking age and whispering lovers made!How often have I blest the coming day,When toil


ï»¿Project Gutenberg's Mrs. Warren's Profession, by George Bernard ShawThis eBook is for the use ofanyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Mrs. Warren's ProfessionAuthor: George Bernard ShawRelease Date: February11, 2006 [EBook #1097][Last updated: July 6, 2011]Language: English*** START OF THIS PROJECTGUTENBERG EBOOK MRS. WARREN'S PROFESSION ***Produced by An Anonymous Volunteer and DavidWidgerMRS WARREN'S PROFESSIONby George Bernard Shaw1894With The Author's Apology (1902)THEAUTHOR'S APOLOGYMrs Warren's Profession has been performed at last, after a delay ofonly eight years;and I have once more shared with Ibsen the triumphantamusement of startling all but thestrongest-headed of the Londontheatre critics clean out of the practice of their profession. Noauthor whohas ever known the exultation of sending the Press into anhysterical tumult of protest, of moral panic, ofinvoluntary and franticconfession of sin, of a horror of conscience in which the power ofdistinguishingbetween the work of art on the stage and the real lifeof the spectator is confused and overwhelmed, willever care for thestereotyped compliments which every successful farce or melodramaelicits from thenewspapers. Give me that critic who rushed from my playto declare furiously that Sir George Crofts oughtto be kicked. What atriumph for the actor, thus to reduce a jaded London journalist tothe condition of thesimple sailor in the Wapping gallery, who shoutsexecrations at Iago and warnings to Othello not tobelieve him! Butdearer still than such simplicity is that sense of the sudden earthquakeshock to thefoundations of morality which sends a pallid crowd ofcritics into the street shrieking that the pillars ofsociety arecracking and the ruin of the State is at hand. Even the Ibsen championsof ten years agoremonstrate with me just as the veterans of those bravedays remonstrated with them. Mr Grein, thehardy iconoclast who firstlaunched my plays on the stage alongside Ghosts and The Wild Duck,exclaimedthat I have shattered his ideals. Actually his ideals! Whatwould Dr Relling say? And Mr William Archerhimself disowns me because I"cannot touch pitch without wallowing in it". Truly my play must bemoreneeded than I knew; and yet I thought I knew how little the others know.Do not suppose, however,that the consternation of the Press reflectsany consternation among the general public. Anybody canupset thetheatre critics, in a turn of the wrist, by substituting for theromantic commonplaces of the stagethe moral commonplaces of the pulpit,platform, or the library. Play Mrs Warren's Profession to anaudienceof clerical members of the Christian Social Union and of women wellexperienced in Rescue,Temperance, and Girls' Club work, and no moralpanic will arise; every man and woman present will knowthat as longas poverty makes virtue hideous and the spare pocket-money of richbachelordom makes vicedazzling, their daily hand-to-hand fight againstprostitution with prayer and persuasion, shelters andscanty alms,will be a losing one. There was a time when they were able to urge thatthough "thewhite-lead factory where Anne Jane was poisoned" may be afar more terrible place than Mrs Warren'shouse, yet hell is still moredreadful. Nowadays they no longer believe in hell; and the girls amongwhomthey are working know that they do not believe in it, and wouldlaugh at them if they did. So well have therescuers learnt that MrsWarren's defence of herself and indictment of society is the thing thatmost needssaying, that those who know me personally reproach me, notfor writing this play, but for wasting myenergies on "pleasantplays" for the amusement of frivolous people, when I can build up suchexcellentstage sermons on their own work. Mrs Warren's Profession isthe one play of mine which I could submit toa censorship without doubtof the result; only, it must not be the censorship of the minor theatrecritic, norof an innocent court official like the Lord Chamberlain'sExaminer, much less of people who consciouslyprofit by Mrs Warren'sprofession, or who personally make use of it, or who hold the widelywhispered viewthat it is an indispensable safety-valve for theprotection of domestic virtue, or, above all, who are smittenwith asentimental affection for our fallen sister, and would "take her uptenderly, lift her with care,fashioned so slenderly, young, and SOfair." Nor am I prepared to accept the verdict of the medicalgentlemenwho would compulsorily sanitate and register Mrs Warren, whilst leavingMrs Warren's patrons,especially her military patrons, free to destroyher health and anybody else's without fear of reprisals. But


<title>Fault in Our Stars, The Script at IMSDb.</title><meta name="description"content="Fault in Our Stars, The script at the Internet Movie Script Database."><metaname="keywords" content="Fault in Our Stars, The script, Fault in Our Stars, The movie script, Fault inOur Stars, The film script"><meta name="viewport" content="width=device-width, initial-scale=1"/><meta name="HandheldFriendly" content="true"><meta http-equiv="content-type"content="text/html; charset=iso-8859-1"><meta http-equiv="Content-Language" content="EN"><metaname=objecttype CONTENT=Document><meta name=ROBOTS CONTENT="INDEX, FOLLOW"><metaname=Subject CONTENT="Movie scripts, Film scripts"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT="2 days"><linkhref="/style.css" rel="stylesheet" type="text/css"><tablewidth="99%" border="0" cellspacing="0" cellpadding="0" class="body">

The Internet Movie Script Database(IMSDb)

     <imgsrc="/images/logo_middle.gif" border="0">
      <imgsrc="/images/logo_bottom.gif" width="170" border="0">
 <spanclass="smalltxt">The web's largest
movie script resource!

        <tableclass=body border=0 cellspacing=0 cellpadding=2 width="100%">
           Search IMSDb
<form method="post" action="/search.php">            <tdwidth="180">
                <input type="text" name="search_query"maxlength="255" size="15">                <input type="submit" value="Go!"name="submit">
	</form>

Alphabetical<tralign="center">        #         <ahref="/alphabetical/A">A        B        <ahref="/alphabetical/C">C        D        <ahref="/alphabetical/E">E        F        <ahref="/alphabetical/G">G        H<tralign="center">         I        <ahref="/alphabetical/J">J        K        <ahref="/alphabetical/L">L        M        <ahref="/alphabetical/N">N        O        <ahref="/alphabetical/P">P        Q<tralign="center">         R        <ahref="/alphabetical/S">S        T        <ahref="/alphabetical/U">U        V        <a


ï»¿The Project Gutenberg EBook of War and the Future, by H. G. WellsThis eBook is for the use of anyoneanywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: War and the FutureAuthor: H. G. WellsRelease Date: March 21, 2006 [EBook#1804]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK WAR AND THE FUTURE***Produced by Morgan L. Owens and David WidgerWAR AND THE FUTUREItaly, France and Britain atWarby H. G. WellsContents     The Passing of the Effigy     The War in Italy (August, 1916)     I. TheIsonzo Front     II. The Mountain War     III. Behind the Front     The Western War (September,1916)     I. Ruins     II. The Grades of War     III. The War Landscape     IV. New Arms for Old Ones     V.Tanks     How People Think About the War     I. Do they Really Think at all?     II. The Yielding Pacifist andthe Conscientious Objector     III. The Religious Revival     IV. The Riddle of the British     V. The SocialChanges in Progress     VI. The Ending of the WarTHE PASSING OF THE EFFIGY1One of the minorpeculiarities of this unprecedented war is the Tour ofthe Front. After some months of suppressedinformation--in which eventhe war correspondent was discouraged to the point of elimination--itwasdiscovered on both sides that this was a struggle in which Opinionwas playing a larger and moreimportant part than it had ever donebefore. This wild spreading weed was perhaps of decisiveimportance;the Germans at any rate were attempting to make it a cultivated flower.There was Opinionflowering away at home, feeding rankly on rumour;Opinion in neutral countries; Opinion getting intogreat tanglesof misunderstanding and incorrect valuation between the Allies. Theconfidence and courageof the enemy; the amiability and assistance ofthe neutral; the zeal, sacrifice, and serenity of the homepopulation;all were affected. The German cultivation of opinion began longbefore the war; it is still themost systematic and, because of thepsychological ineptitude of the Germans, it is probably theclumsiest.The French _Maison de la Presse_ is certainly the best organisation inexistence for makingthings clear, counteracting hostile suggestion, theBritish official organisations are comparativelyineffective; but whatis lacking officially is very largely made up for by the good willand generous efforts ofthe English and American press. An interestingmonograph might be written upon these various attemptsof thebelligerents to get themselves and their proceedings explained.Because there is perceptible in thesedevelopments, quite over andabove the desire to influence opinion, a very real effort to getthingsexplained. It is the most interesting and curious--one might almostwrite touching--feature of theseorganisations that they do notconstitute a positive and defined propaganda such as theGermansmaintain. The German propaganda is simple, because its ends are simple;assertions of themoral elevation and loveliness of Germany; of theinsuperable excellences of German Kultur, the Kaiser,and Crown Prince,and so forth; abuse of the "treacherous" English who allied themselveswith the"degenerate" French and the "barbaric" Russians; nonsense about"the freedom of the seas"--theemptiest phrase in history--childishattempts to sow suspicion between the Allies, and still morechildishattempts to induce neutrals and simple-minded pacifists of alliednationality to save the face ofGermany by initiating peacenegotiations. But apart from their steady record and reminder ofGermanbrutalities and German aggression, the press organisations of the Allieshave none of thisdefiniteness in their task. The aim of the nationalintelligence in each of the allied countries is not to exaltone's ownnation and confuse and divide the enemy, but to get a real understandingwith the peoples andspirits of a number of different nations, anunderstanding that will increase and become a fruitful andpermanentunderstanding between the allied peoples. Neither the English, theRussians, the Italians, northe French, to name only the bigger Europeanallies, are concerned in setting up a legend, as theGermans areconcerned in setting up a legend of themselves to impose upon mankind.They are realitydealers in this war, and the Germans are effigymongers. Practically the Allies are saying each to oneanother, "Praycome to me and see for yourself that I am very much the human stuff thatyou are. Comeand see that I am doing my best--and I think that isnot so very bad a best...." And with that is somethingelse still moresubtle, something rather in the form of, "And please tell me what youthink of me--and all


<title>Up Script at IMSDb.</title><meta name="description" content="Up script at theInternet Movie Script Database."><meta name="keywords" content="Up script, Up movie script, Up filmscript"><meta name="viewport" content="width=device-width, initial-scale=1" /><metaname="HandheldFriendly" content="true"><meta http-equiv="content-type" content="text/html;charset=iso-8859-1"><meta http-equiv="Content-Language" content="EN"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT="INDEX, FOLLOW"><meta name=SubjectCONTENT="Movie scripts, Film scripts"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT="2 days"><linkhref="/style.css" rel="stylesheet" type="text/css"><tablewidth="99%" border="0" cellspacing="0" cellpadding="0" class="body">

The Internet Movie Script Database(IMSDb)

     <imgsrc="/images/logo_middle.gif" border="0">
      <imgsrc="/images/logo_bottom.gif" width="170" border="0">
 <spanclass="smalltxt">The web's largest
movie script resource!

        <tableclass=body border=0 cellspacing=0 cellpadding=2 width="100%">
           Search IMSDb
<form method="post" action="/search.php">            <tdwidth="180">
                <input type="text" name="search_query"maxlength="255" size="15">                <input type="submit" value="Go!"name="submit">
	</form>

Alphabetical<tralign="center">        #         <ahref="/alphabetical/A">A        B        <ahref="/alphabetical/C">C        D        <ahref="/alphabetical/E">E        F        <ahref="/alphabetical/G">G        H<tralign="center">         I        <ahref="/alphabetical/J">J        K        <ahref="/alphabetical/L">L        M        <ahref="/alphabetical/N">N        O        <ahref="/alphabetical/P">P        Q<tralign="center">         R        <ahref="/alphabetical/S">S        T        <ahref="/alphabetical/U">U        V        <ahref="/alphabetical/W">W        X        <a


ï»¿The Project Gutenberg EBook of Quality Street, by J. M. BarrieThis eBook is for the use of anyoneanywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: Quality Street       A ComedyAuthor: J. M. BarrieRelease Date: February 12,2010 [EBook #31266]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK QUALITYSTREET ***Produced by Al HainesTHE PLAYS OF J. M. BARRIEQUALITY STREETA COMEDYCHARLESSCRIBNER'S SONSNEW YORK ::::::::: 1923COPYRIGHT, 1918, BYJ. M. BARRIEPrinted in the UnitedStates of America_All rights reserved under the International Copyright Act.Performance forbidden andright of representation reserved.Application for the right of performing this play must be made toCharlesFrohman, Inc., Empire Theatre, New York.__THE WORKS OF J. M. BARRIE.__NOVELS, STORIES, ANDSKETCHES.__Uniform Edition._  AULD LIGHT IDYLLS, BETTER DEAD.  WHEN A MAN'S SINGLE.  AWINDOW IN THRUMS, AN EDINBURGH ELEVEN.  THE LITTLE MINISTER.  SENTIMENTAL TOMMY.  MYLADY NICOTINE, MARGARET OGILVY.  TOMMY AND GRIZEL.  THE LITTLE WHITE BIRD.  PETER ANDWENDY.  _Also_  HALF HOURS, DER TAG.  ECHOES OF THE WAR._PLAYS.__Uniform Edition._  DEARBRUTUS  A KISS FOR CINDERELLA  ALICE SIT-BY-THE-FIRE.  WHAT EVERY WOMAN KNOWS.  QUALITYSTREET.  THE ADMIRABLE CRICHTON.  ECHOES OF THE WAR.  _Containing_: The Old Lady Shows HerMedals--The New  Word--Barbara's Wedding--A Well-Remembered Voice.  HALF HOURS.  _Containing_:Pantaloon--The Twelve-Pound  Look--Rosalind--The Will._Others in Preparation.__INDIVIDUALEDITIONS._PETER PAN IN KENSINGTON GARDENS.  Illustrated by ARTHUR RACKHAM.PETER ANDWENDY.  Illustrated by F. D. BEDFORD.PETER PAN AND WENDY.  Illustrated by MISS ATTWELL.TOMMYAND GRIZEL.  Illustrated by BERNARD PARTRIDGE.MARGARET OGILVY.*** For particulars concerning_The Thistle Edition_ of the Works of J.M. BARRIE, sold only by subscription, send for circular.NEW YORK:CHARLES SCRIBNER'S SONSACT ITHE BLUE AND WHITE ROOM_The scene is the blue and white room inthe house of the Misses Susanand Phoebe Throssel in Quality Street; and in this little country townthereis a satisfaction about living in Quality Street which evenreligion cannot give.  Through the bowed windowat the back we have aglimpse of the street.  It is pleasantly broad and grass-grown, and islinked to theouter world by one demure shop, whose door rings a bellevery time it opens and shuts.  Thus by merelypeeping, every one inQuality Street can know at once who has been buying a Whimsy cake, andusuallywhy.  This bell is the most familiar sound of Quality Street.Now and again ladies pass in their pattens, amaid perhaps protectingthem with an umbrella, for flakes of snow are falling discreetly.Gentlemen in thestreet are an event; but, see, just as we raise thecurtain, there goes the recruiting sergeant to remind usthat we are inthe period of the Napoleonic wars.  If he were to look in at the windowof the blue and whiteroom all the ladies there assembled would drawthemselves up; they know him for a rude fellow whosmiles at theapproach of maiden ladies and continues to smile after they havepassed.  However, helowers his head to-day so that they shall not seehim, his present design being converse with the MissesThrossel's maid.__The room is one seldom profaned by the foot of man, and everything init is white orblue.  Miss Phoebe is not present, but here are MissSusan, Miss Willoughby and her sister Miss Fanny,and Miss HenriettaTurnbull.  Miss Susan and Miss Willoughby, alas, already wear caps; butall the four aredear ladies, so refined that we ought not to bediscussing them without a more formal introduction.  Thereseems nosufficient reason why we should choose Miss Phoebe as our heroinerather than any one of theothers, except, perhaps, that we like hername best.  But we gave her the name, so we must support ourchoice andsay that she is slightly the nicest, unless, indeed, Miss Susan isnicer.__Miss Fanny is readingaloud from a library book while the others sewor knit.  They are making garments for our brave soldiersnow far awayfighting the Corsican Ogre._MISS FANNY.  '... And so the day passed and evening came,black,mysterious, and ghost-like.  The wind moaned unceasingly like ashivering spirit, and the vegetationrustled uneasily as if somethingweird and terrifying were about to happen.  Suddenly out of thedarknessthere emerged a _Man_.(_She says the last word tremulously but without looking up.  Thelisteners knitmore quickly._)The unhappy Camilla was standing lost in reverie when, without pausingto advertise her


<title>Gods and Monsters Script at IMSDb.</title><meta name="description"content="Gods and Monsters script at the Internet Movie Script Database."><meta name="keywords"content="Gods and Monsters script, Gods and Monsters movie script, Gods and Monsters filmscript"><meta name="viewport" content="width=device-width, initial-scale=1" /><metaname="HandheldFriendly" content="true"><meta http-equiv="content-type" content="text/html;charset=iso-8859-1"><meta http-equiv="Content-Language" content="EN"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT="INDEX, FOLLOW"><meta name=SubjectCONTENT="Movie scripts, Film scripts"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT="2 days"><linkhref="/style.css" rel="stylesheet" type="text/css"><tablewidth="99%" border="0" cellspacing="0" cellpadding="0" class="body">

The Internet Movie Script Database(IMSDb)

     <imgsrc="/images/logo_middle.gif" border="0">
      <imgsrc="/images/logo_bottom.gif" width="170" border="0">
 <spanclass="smalltxt">The web's largest
movie script resource!

        <tableclass=body border=0 cellspacing=0 cellpadding=2 width="100%">
           Search IMSDb
<form method="post" action="/search.php">            <tdwidth="180">
                <input type="text" name="search_query"maxlength="255" size="15">                <input type="submit" value="Go!"name="submit">
	</form>

Alphabetical<tralign="center">        #         <ahref="/alphabetical/A">A        B        <ahref="/alphabetical/C">C        D        <ahref="/alphabetical/E">E        F        <ahref="/alphabetical/G">G        H<tralign="center">         I        <ahref="/alphabetical/J">J        K        <ahref="/alphabetical/L">L        M        <ahref="/alphabetical/N">N        O        <ahref="/alphabetical/P">P        Q<tralign="center">         R        <ahref="/alphabetical/S">S        T        <ahref="/alphabetical/U">U        V        <a


ï»¿The Project Gutenberg eBook, A Sentimental Journey through France andItaly, by Laurence Sterne,Edited by Henry MorleyThis eBook is for the use of anyone anywhere in the United States and mostotherparts of the world at no cost and with almost no restrictionswhatsoever.  You may copy it, give it away orre-use it under the terms ofthe Project Gutenberg License included with this eBook or onlineatwww.gutenberg.org.  If you are not located in the United States, you'll haveto check the laws of thecountry where you are located before using this ebook.Title: A Sentimental Journey through France andItalyAuthor: Laurence SterneEditor: Henry MorleyRelease Date: April 7, 2015  [eBook #804][This file wasfirst posted on February 12, 1997]Language: EnglishCharacter set encoding: UTF-8***START OF THEPROJECT GUTENBERG EBOOK A SENTIMENTAL JOURNEY THROUGHFRANCE AND ITALY***Transcribedfrom the 1892 George Bell and Son edition by David Price,emailccx074@pglaf.org                                    A                           SENTIMENTALJOURNEY                                 THROUGH                            FRANCE AND ITALY;                              BYMR. YORICK.                     [THE REV. LAURENCE STERNE, M.A.]                        [FIRST PUBLISHED IN1768.]THEY order, said I, this matter better in France.âYou have been inFrance? said my gentleman,turning quick upon me, with the most civiltriumph in the world.âStrange! quoth I, debating thematter with myself,That one and twenty miles sailing, for âtis absolutely no further fromDover toCalais, should give a man these rights:âIâll look into them: so,giving up the argument,âIwent straight to my lodgings, put up half adozen shirts and a black pair of silk breeches,ââthecoat I have on,âsaid I, looking at the sleeve, âwill do;ââtook a place in the Doverstage;and the packet sailing at nine the next morning,âby three I hadgot sat down to my dinner upon africaseed chicken, so incontestably inFrance, that had I died that night of an indigestion, the wholeworldcould not have suspended the effects of the _droits dâaubaine_; {557}âmyshirts, and blackpair of silk breeches,âportmanteau and all, must havegone to the King of France;âeven the littlepicture which I have so longworn, and so often have told thee, Eliza, I would carry with me into mygrave,would have been torn from my neck!âUngenerous! to seize upon thewreck of an unwary passenger,whom your subjects had beckoned to theircoast!âBy heaven! Sire, it is not well done; and much doesit grieve me,âtis the monarch of a people so civilized and courteous, and so renownedfor sentimentand fine feelings, that I have to reason with!âBut I have scarce set a foot in yourdominions.âCALAIS.When I had fished my dinner, and drank the King of Franceâs health,tosatisfy my mind that I bore him no spleen, but, on the contrary, highhonour for the humanity of histemper,âI rose up an inch taller for theaccommodation.âNoâsaid Iâthe Bourbon is by nomeans a cruel race: they may be misled,like other people; but there is a mildness in their blood.  AsIacknowledged this, I felt a suffusion of a finer kind upon my cheekâmorewarm and friendly to man,than what Burgundy (at least of two livres abottle, which was such as I had been drinking) could haveproduced.âJust God! said I, kicking my portmanteau aside, what is there in thisworldâs goodswhich should sharpen our spirits, and make so manykind-hearted brethren of us fall out so cruelly as wedo by the way?When man is at peace with man, how much lighter than a feather is theheaviest of metalsin his hand! he pulls out his purse, and holding itairily and uncompressed, looks round him, as if hesought for an objectto share it with.âIn doing this, I felt every vessel in my framedilate,âthearteries beat all cheerily together, and every power whichsustained life, performed it with so little friction,that âtwould haveconfounded the most _physical prÃ©cieuse_ in France; with all hermaterialism, shecould scarce have called me a machine.âIâm confident, said I to myself, I should have oversether creed.The accession of that idea carried nature, at that time, as high as shecould go;âI was atpeace with the world before, and this finishâd thetreaty with myself.ââNow, was I King ofFrance, cried Iâwhat a moment for an orphan to havebeggâd his fatherâs portmanteau ofme!THE MONK.CALAIS.I HAD scarce uttered the words, when a poor monk of the order of St.Franciscame into the room to beg something for his convent.  No mancares to have his virtues the sport ofcontingenciesâor one man may begenerous, as another is puissant;â_sed non quoad


ï»¿The Project Gutenberg EBook of The Cask of Amontillado, by Edgar Allan PoeThis eBook is for the useof anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The Cask of AmontilladoAuthor: Edgar Allan PoeRelease Date: June 6, 2010[EBook #1063]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE CASK OFAMONTILLADO ***Produced by Levent Kurnaz.  HTML version by Al Haines.The Cask ofAmontilladobyEdgar Allan PoeThe thousand injuries of Fortunato I had borne as I best could, butwhen heventured upon insult, I vowed revenge.  You, who so well knowthe nature of my soul, will not suppose,however, that I gave utteranceto a threat.  _At length_ I would be avenged; this was a pointdefinitelysettled--but the very definitiveness with which it was resolved,precluded the idea of risk.  I mustnot only punish, but punish withimpunity.  A wrong is unredressed when retribution overtakesitsredresser.  It is equally unredressed when the avenger fails to makehimself felt as such to him who hasdone the wrong.It must be understood that neither by word nor deed had I givenFortunato cause todoubt my good will.  I continued, as was my wont, tosmile in his face, and he did not perceive that mysmile _now_ was atthe thought of his immolation.He had a weak point--this Fortunato--although in otherregards he was aman to be respected and even feared.  He prided himself on hisconnoisseurship inwine.  Few Italians have the true virtuoso spirit.For the most part their enthusiasm is adopted to suit thetime andopportunity--to practise imposture upon the British and Austrian_millionaires_.  In painting andgemmary, Fortunato, like his countrymen,was a quack--but in the matter of old wines he was sincere.  Inthisrespect I did not differ from him materially: I was skillful in theItalian vintages myself, and boughtlargely whenever I could.It was about dusk, one evening during the supreme madness of thecarnivalseason, that I encountered my friend.  He accosted me withexcessive warmth, for he had been drinkingmuch.  The man wore motley.He had on a tight-fitting parti-striped dress, and his head wassurmountedby the conical cap and bells.  I was so pleased to see him,that I thought I should never have donewringing his hand.I said to him--"My dear Fortunato, you are luckily met.  How remarkablywell you arelooking to-day!  But I have received a pipe of what passesfor Amontillado, and I have my doubts.""How?"said he.  "Amontillado?  A pipe?  Impossible!  And in the middleof the carnival!""I have my doubts," Ireplied; "and I was silly enough to pay the fullAmontillado price without consulting you in the matter. Youwere not tobe found, and I was fearful of losing a bargain.""Amontillado!""I have mydoubts.""Amontillado!""And I must satisfy them.""Amontillado!""As you are engaged, I am on my way toLuchesi.  If any one has acritical turn, it is he.  He will tell me--""Luchesi cannot tell Amontillado fromSherry.""And yet some fools will have it that his taste is a match for yourown.""Come, let usgo.""Whither?""To your vaults.""My friend, no; I will not impose upon your good nature.  I perceiveyouhave an engagement.  Luchesi--""I have no engagement;--come.""My friend, no.  It is not theengagement, but the severe cold withwhich I perceive you are afflicted.  The vaults are insufferablydamp.They are encrusted with nitre.""Let us go, nevertheless.  The cold is merely nothing.Amontillado!You have been imposed upon.  And as for Luchesi, he cannot distinguishSherry fromAmontillado."Thus speaking, Fortunato possessed himself of my arm. Putting on a maskof black silk, anddrawing a _roquelaire_ closely about my person, Isuffered him to hurry me to my palazzo.There were noattendants at home; they had absconded to make merry inhonour of the time.  I had told them that Ishould not return until themorning, and had given them explicit orders not to stir from the house.Theseorders were sufficient, I well knew, to insure their immediatedisappearance, one and all, as soon as myback was turned.I took from their sconces two flambeaux, and giving one to Fortunato,bowed himthrough several suites of rooms to the archway that led intothe vaults.  I passed down a long and windingstaircase, requesting himto be cautious as he followed. We came at length to the foot of thedescent, andstood together on the damp ground of the catacombs of theMontresors.The gait of my friend wasunsteady, and the bells upon his cap jingledas he strode."The pipe," said he."It is farther on," said I; "butobserve the white web-work whichgleams from these cavern walls."He turned towards me, and looked


ï»¿The Project Gutenberg EBook of The Return of the Soldier, by Rebecca WestThis eBook is for the useof anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Return of the SoldierAuthor: Rebecca WestRelease Date: August 24, 2011[EBook #37189]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE RETURN OFTHE SOLDIER ***Produced by Chuck Greif and the Online DistributedProofreading Team athttp://www.pgdp.net (This book wasproduced from scanned images of public domain materialfrom theGoogle Print project.)[Illustration: frontispiece]THE RETURNOF THE SOLDIERBYREBECCA WESTNEW[Illustration: colophon] YORKGEORGE H. DORAN COMPANYCOPYRIGHT, 1918,BY GEORGE H. DORANCOMPANYTHE RETURN OF THE SOLDIER-C-PRINTED IN THE UNITED STATES OF AMERICALIST OFILLUSTRATIONSHe lay there in the confiding relaxation ofa child                                     _Frontispiece_                                                    FACING                                                      PAGE"Give it a brushnow and then, like a goodsoul"                                                    6She would get into the four-foot puntthatwas used as a ferry and bring it over veryslowly                                                  66"I oughtn't to doit, ought I?"                        176THE RETURNOF THE SOLDIERCHAPTER I"Ah, don't begin to fuss!" wailedKitty. "If a woman began to worry inthese days because her husband hadn't written to her for afortnight!Besides, if he'd been anywhere interesting, anywhere where the fightingwas really hot, he'dhave found some way of telling me instead of justleaving it as 'Somewhere in France.' He'll be allright."We were sitting in the nursery. I had not meant to enter it again, nowthat the child was dead; but Ihad come suddenly on Kitty as she slippedthe key into the lock, and I had lingered to look in at the highroom,so full of whiteness and clear colors, so unendurably gay and familiar,which is kept in all respects asthough there were still a child in thehouse. It was the first lavish day of spring, and the sunlightwaspouring through the tall, arched windows and the flowered curtains sobrightly that in the old days afat fist would certainly have beenraised to point out the new, translucent glories of the rosebud.Sunlightwas lying in great pools on the blue cork floor and the softrugs, patterned with strange beasts, and threwdancing beams, whichshould have been gravely watched for hours, on the white paint and thebluedistempered walls. It fell on the rocking-horse, which had beenChris's idea of an appropriate present forhis year-old son, and showedwhat a fine fellow he was and how tremendously dappled; it picked outMaryand her little lamb on the chintz ottoman. And along themantelpiece, under the loved print of the snarlingtiger, in attitudesthat were at once angular and relaxed, as though they were ready forplay at theirmaster's pleasure, but found it hard to keep from drowsingin this warm weather, sat the Teddy Bear andthe chimpanzee and thewoolly white dog and the black cat with eyes that roll. Everything wasthereexcept Oliver. I turned away so that I might not spy on Kittyrevisiting her dead. But she called afterme:"Come here, Jenny. I'm going to dry my hair." And when I looked again Isaw that her golden hair wasall about her shoulders and that she woreover her frock a little silken jacket trimmed with rosebuds. Shelookedso like a girl on a magazine cover that one expected to find a large "15cents" somewhere attachedto her person. She had taken Nanny's bigbasket-chair from its place by the high-chair, and was pushing itoverto the middle window. "I always come in here when Emery has washed myhair. It's the sunniestroom in the house. I wish Chris wouldn't haveit kept as a nursery when there's no chance--" She satdown, swept herhair over the back of the chair into the sunlight, and held out to meher tortoiseshellhair-brush. "Give it a brush now and then, like a goodsoul; but be careful. Tortoise snaps so!"I took thebrush and turned to the window, leaning my forehead againstthe glass and staring unobservantly at theview. You probably know thebeauty of that view; for when Chris rebuilt Baldry Court after hismarriage hehanded it over to architects who had not so much the wildeye of the artist as the knowing wink of themanicurist, and betweenthem they massaged the dear old place into matter for innumerablephotographsin the illustrated papers. The house lies on the crest ofHarrowweald, and from its windows the eye dropsto miles of emeraldpasture-land lying wet and brilliant under a westward line of sleekhills; blue withdistance and distant woods, while nearer it range thesuave decorum of the lawn and the Lebanon cedar,


ï»¿Project Gutenberg's Germania and Agricola, by Caius Cornelius TacitusThis eBook is for the use ofanyone anywhere in the United States and mostother parts of the world at no cost and with almost norestrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe ProjectGutenberg License included with this eBook or online atwww.gutenberg.org.  If you are not located in theUnited States, you'll haveto check the laws of the country where you are located before using thisebook.Title: Germania and AgricolaAuthor: Caius Cornelius TacitusPosting Date: February 24, 2015[EBook #9090]Release Date: October, 2005First Posted: September 4, 2003Language: Latin*** STARTOF THIS PROJECT GUTENBERG EBOOK GERMANIA AND AGRICOLA ***Produced by David Starner, TapioRiikonen and Distributed ProofreadersThe GERMANIA and AGRICOLAOfCaius Cornelius TacitusWith Notesfor CollegesBy W. S. TylerProfessor of the Greek and Latin Languages in Amherst CollegePREFACE.Thisedition of the Germania and Agricola of Tacitus is designed to meetthe following wants, which, it isbelieved, have been generally felt byteachers and pupils in American Colleges.1. A Latin text, approvedand established by the essential concurrence ofall the more recent editors. The editions of Tacitus now inuse in thiscountry abound in readings purely conjectural, adopted without due regardto the peculiaritiesof the author, and in direct contravention of thecritical canon, that, other things being equal, the moredifficultreading is the more likely to be genuine. The recent German editionslabor to exhibit and explain,so far as possible, the reading of the bestMSS.2. A more copious illustration of the grammaticalconstructions, also ofthe rhetorical and poetical usages peculiar to Tacitus, withouttranslating, however,to such an extent as to supersede the properexertions of the student. Few books require so muchillustration of thiskind, as the Germania and Agricola of Tacitus; few have received more inGermany, yetfew so little here. In a writer so concise and abrupt asTacitus, it has been deemed necessary to payparticular regard to theconnexion of thought, and to the particles, as the hinges of thatconnexion.3. Acomparison of the writer and his cotemporaries with authors of theAugustan age, so as to mark conciselythe changes which had been alreadywrought in the language and taste of the Roman people. It is chieflywitha view to aid such a comparison, that it has been thought advisable toprefix a Life of Tacitus, which isbarren indeed of personal incidents,but which it is hoped may serve to exhibit the author in his relationtothe history, and especially to the literature, of his age.4. The department in which less remained to bedone than any other, forthe elucidation of Tacitus, was that of Geography, History, andArchaeology. Thecopious notes of Gordon and Murphy left little to bedesired in this line; and these notes are not onlyaccessible to Americanscholars in their original forms, but have been incorporated, more orless, into allthe college editions. If any peculiar merit attaches tothis edition, in this department, it will be found in thefrequentreferences to such classic authors as furnish collateral information, andin the illustration of theprivate life of the Romans, by the help ofsuch recent works as Becker's Gallus. The editor has also beenable toavail himself of Sharon Turner's History of the Anglo Saxons, which shedsnot a little light on themanners of the Germans.5. Many of the ablest commentaries on the Germania and Agricolahaveappeared within a comparatively recent period, some of them remarkableexamples of criticalacumen and exegetical tact, and others, models ofschool and college editions. It has been the endeavorof the editor tobring down the literature pertaining to Tacitus to the present time, andto embody in smallcompass the most valuable results of the labors ofsuch recent German editors as Grimm, GÃ¼nther,Gruber, Kiessling, Dronke,Roth, Ruperti, and Walther.The text is, in the main, that of Walther, though theother editors justnamed have been consulted; and in such minor differences as exist betweenthem, Ihave not hesitated to adopt the reading which seemed best toaccord with the usage and genius ofTacitus, especially when sanctionedby a decided preponderance of critical suffrage. Other readings havebeenreferred to in the Notes, so far as they are of any considerableimportance, or supported byrespectable authority. Partly forconvenience, but chiefly as a matter of taste, I have ventured to followtheGerman editions in dispensing entirely with diacritical marks, and insome peculiarities of less importance,which if not viewed with favor, itis hoped, will not be judged with severity. The punctuation is the resultofa diligent comparison of the best editions, together with a carefulstudy of the connexion of language and


<title>Supergirl Script at IMSDb.</title><meta name="description" content="Supergirlscript at the Internet Movie Script Database."><meta name="keywords" content="Supergirl script,Supergirl movie script, Supergirl film script"><meta name="viewport" content="width=device-width,initial-scale=1" /><meta name="HandheldFriendly" content="true"><meta http-equiv="content-type"content="text/html; charset=iso-8859-1"><meta http-equiv="Content-Language" content="EN"><metaname=objecttype CONTENT=Document><meta name=ROBOTS CONTENT="INDEX, FOLLOW"><metaname=Subject CONTENT="Movie scripts, Film scripts"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT="2 days"><linkhref="/style.css" rel="stylesheet" type="text/css"><tablewidth="99%" border="0" cellspacing="0" cellpadding="0" class="body">

The Internet Movie Script Database(IMSDb)

     <imgsrc="/images/logo_middle.gif" border="0">
      <imgsrc="/images/logo_bottom.gif" width="170" border="0">
 <spanclass="smalltxt">The web's largest
movie script resource!

        <tableclass=body border=0 cellspacing=0 cellpadding=2 width="100%">
           Search IMSDb
<form method="post" action="/search.php">            <tdwidth="180">
                <input type="text" name="search_query"maxlength="255" size="15">                <input type="submit" value="Go!"name="submit">
	</form>

Alphabetical<tralign="center">        #         <ahref="/alphabetical/A">A        B        <ahref="/alphabetical/C">C        D        <ahref="/alphabetical/E">E        F        <ahref="/alphabetical/G">G        H<tralign="center">         I        <ahref="/alphabetical/J">J        K        <ahref="/alphabetical/L">L        M        <ahref="/alphabetical/N">N        O        <ahref="/alphabetical/P">P        Q<tralign="center">         R        <ahref="/alphabetical/S">S        T        <ahref="/alphabetical/U">U        V        <ahref="/alphabetical/W">W        X        <a


<title>Little Nicky Script at IMSDb.</title><meta name="description" content="LittleNicky script at the Internet Movie Script Database."><meta name="keywords" content="Little Nickyscript, Little Nicky movie script, Little Nicky film script"><meta name="viewport"content="width=device-width, initial-scale=1" /><meta name="HandheldFriendly"content="true"><meta http-equiv="content-type" content="text/html; charset=iso-8859-1"><metahttp-equiv="Content-Language" content="EN"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT="INDEX, FOLLOW"><meta name=Subject CONTENT="Movie scripts, Filmscripts"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT="2 days"><link href="/style.css" rel="stylesheet" type="text/css"><tablewidth="99%" border="0" cellspacing="0" cellpadding="0" class="body">

The Internet Movie Script Database(IMSDb)

     <imgsrc="/images/logo_middle.gif" border="0">
      <imgsrc="/images/logo_bottom.gif" width="170" border="0">
 <spanclass="smalltxt">The web's largest
movie script resource!

        <tableclass=body border=0 cellspacing=0 cellpadding=2 width="100%">
           Search IMSDb
<form method="post" action="/search.php">            <tdwidth="180">
                <input type="text" name="search_query"maxlength="255" size="15">                <input type="submit" value="Go!"name="submit">
	</form>

Alphabetical<tralign="center">        #         <ahref="/alphabetical/A">A        B        <ahref="/alphabetical/C">C        D        <ahref="/alphabetical/E">E        F        <ahref="/alphabetical/G">G        H<tralign="center">         I        <ahref="/alphabetical/J">J        K        <ahref="/alphabetical/L">L        M        <ahref="/alphabetical/N">N        O        <ahref="/alphabetical/P">P        Q<tralign="center">         R        <ahref="/alphabetical/S">S        T        <ahref="/alphabetical/U">U        V        <a


<title>Air Force One Script at IMSDb.</title><meta name="description" content="AirForce One script at the Internet Movie Script Database."><meta name="keywords" content="Air ForceOne script, Air Force One movie script, Air Force One film script"><meta name="viewport"content="width=device-width, initial-scale=1" /><meta name="HandheldFriendly"content="true"><meta http-equiv="content-type" content="text/html; charset=iso-8859-1"><metahttp-equiv="Content-Language" content="EN"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT="INDEX, FOLLOW"><meta name=Subject CONTENT="Movie scripts, Filmscripts"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT="2 days"><link href="/style.css" rel="stylesheet" type="text/css"><tablewidth="99%" border="0" cellspacing="0" cellpadding="0" class="body">

The Internet Movie Script Database(IMSDb)

     <imgsrc="/images/logo_middle.gif" border="0">
      <imgsrc="/images/logo_bottom.gif" width="170" border="0">
 <spanclass="smalltxt">The web's largest
movie script resource!

        <tableclass=body border=0 cellspacing=0 cellpadding=2 width="100%">
           Search IMSDb
<form method="post" action="/search.php">            <tdwidth="180">
                <input type="text" name="search_query"maxlength="255" size="15">                <input type="submit" value="Go!"name="submit">
	</form>

Alphabetical<tralign="center">        #         <ahref="/alphabetical/A">A        B        <ahref="/alphabetical/C">C        D        <ahref="/alphabetical/E">E        F        <ahref="/alphabetical/G">G        H<tralign="center">         I        <ahref="/alphabetical/J">J        K        <ahref="/alphabetical/L">L        M        <ahref="/alphabetical/N">N        O        <ahref="/alphabetical/P">P        Q<tralign="center">         R        <ahref="/alphabetical/S">S        T        <ahref="/alphabetical/U">U        V        <a


ï»¿The Project Gutenberg EBook of The Lure of the Mask, by Harold MacGrathThis eBook is for the use ofanyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Lure of the MaskAuthor: Harold MacGrathIllustrator: HarrisonFisher             Karl AndersonRelease Date: July 27, 2007 [EBook #22158][Last updated: July 22,2011]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE LURE OF THE MASK***Produced by Rick Niles, Mary Meehan and the OnlineDistributed Proofreading Team athttp://www.pgdp.net                      _The_ LURE OF THE MASK                      _By_ HAROLD MACGRATH                      WITH ILLUSTRATIONS BY                         HARRISONFISHER                               AND                          KARLANDERSON                          INDIANAPOLIS                   THE BOBBS-MERRILLCOMPANY                           PUBLISHERS                         COPYRIGHT 1908                            PRESSOF                        BRAUN WORTH & CO.                     BOOKBINDERS ANDPRINTERS                         BROOKLYN, N.Y.TOMY FELLOW TRAVELERANDGENTLECRITICCONTENTS       I THE VOICE IN THE FOG      II OBJECT, MATRIMONY     III MADAME ANGOT      IVBLINDFOLDED       V THE MASK      VI INTO THE FOG AGAIN     VII THE TOSS OF A COIN    VIII WHATMERRIHEW FOUND      IX MRS. SANDFORD WINKS       X CARABINIERI      XI THE CITY IN THESEA     XII A BOX OF CIGARS    XIII KITTY ASKS QUESTIONS     XIV GREY VEILS      XV MANYNAPOLEONS     XVI O'MALLY SUGGESTS    XVII GIOVANNI   XVIII THE ARIA FROM IL TROVATORE     XIXTWO GENTLEMEN FROM VERONA      XX KITTY DROPS A BANDBOX     XXI AN INVITATION TO ABALL    XXII TANGLES   XXIII THE DÃNOUEMENT    XXIV MEASURE FOR MEASURE     XXV FREE    XXVITHE LETTER   XXVII BELLAGGIOTHE LURE OF THE MASKCHAPTER ITHE VOICE IN THE FOGOut of theunromantic night, out of the somber blurring January fog,came a voice lifted in song, a soprano, rich, fulland round, young, yetmatured, sweet and mysterious as a night-bird's, haunting and elusive asthemurmur of the sea in a shell: a lilt from _La Fille de MadameAngot_, a light opera long since forgotten inNew York. Hillard,genuinely astonished, lowered his pipe and listened. To sit dreaming byan openwindow, even in this unlovely first month of the year, in thatgrim unhandsome city which boasts of itsriches and still accepts withsmug content its rows upon rows of ugly architecture, to sit dreaming,then, ofred-tiled roofs, of cloud-caressed hills, of terracedvineyards, of cypresses in their dark aloofness, is notout of thenatural order of things; but that into this idle and pleasant dreamthere should enter so divine avoice, living, feeling, pulsing, this wasnot ordinary at all.And Hillard was glad that the room was indarkness. He rose eagerly andpeered out. But he saw no one. Across the street the arc-lampburneddimly, like an opal in the matrix, while of architectural outlines notone remained, the fog havingkindly obliterated them.The Voice rose and sank and soared again, drawing nearer and nearer. Itwasjoyous and unrestrained, and there was youth in it, the touch ofspring and the breath of flowers. Themusic was Lecocq's, that is tosay, French; but the tongue was of a country which Hillard knew to bethegarden of the world. Presently he observed a shadow emerge from theyellow mist, to come within thecircle of light, which, faint as it was,limned in against the nothingness beyond the form of a woman. Shewalkeddirectly under his window.As the invisible comes suddenly out of the future to assumedistinctproportions which either make or mar us, so did this unknown cantatricecome out of the fog thatnight and enter into Hillard's life, toreadjust its ambitions, to divert its aimless course, to give impetustoit, and a directness which hitherto it had not known."Ah!"He leaned over the sill at a perilous angle, thebright coal of his pipespilling comet-wise to the area-way below. He was only subconscious ofhavingspoken; but this syllable was sufficient to spoil theenchantment. The Voice ceased abruptly, with an oddbreak. The singerlooked up. Possibly her astonishment surpassed even that of heraudience. For a fewminutes she had forgotten that she was in New York,where romance may be found only in thebook-shops; she had forgottenthat it was night, a damp and chill forlorn night; she had forgotten thepainin her heart; there had been only a great and irresistible longingto sing.Though she raised her face, he


ï»¿The Project Gutenberg EBook of The Research Magnificent, by H. G. WellsThis eBook is for the use ofanyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Research MagnificentAuthor: H. G. WellsPosting Date: August 3, 2008[EBook #1138]Release Date: December, 1997Language: English*** START OF THIS PROJECTGUTENBERG EBOOK THE RESEARCH MAGNIFICENT ***Produced by Donald LainsonTHE RESEARCHMAGNIFICENTby H. G. Wells(1915)CONTENTS     THE PRELUDE           ON FEAR ANDARISTOCRACY     THE STORY       I.  THE BOY GROWS UP      II.  THE YOUNG MAN ABOUTTOWN     III.  AMANDA      IV.  THE SPIRITED HONEYMOON       V.  THE ASSIZE OFJEALOUSY      VI.  THE NEW HAROUN AL RASCHIDTHE RESEARCH MAGNIFICENTTHE PRELUDEON FEARAND ARISTOCRACY1The story of William Porphyry Benham is the story of a man who was ledintoadventure by an idea. It was an idea that took possession of hisimagination quite early in life, it grewwith him and changed with him,it interwove at last completely with his being. His story is its story.It wastraceably germinating in the schoolboy; it was manifestly presentin his mind at the very last moment ofhis adventurous life. He belongedto that fortunate minority who are independent of daily necessities,sothat he was free to go about the world under its direction. It led himfar. It led him into situations thatbordered upon the fantastic, itmade him ridiculous, it came near to making him sublime. And this ideaofhis was of such a nature that in several aspects he could documentit. Its logic forced him to introspectionand to the making of a record.An idea that can play so large a part in a life must necessarilyhavesomething of the complication and protean quality of life itself. It isnot to be stated justly in anyformula, it is not to be rendered by anepigram. As well one might show a man's skeleton for his portrait.Yet,essentially, Benham's idea was simple. He had an incurable, an almostinnate persuasion that he hadto live life nobly and thoroughly. Hiscommoner expression for that thorough living is "the aristocraticlife."But by "aristocratic" he meant something very different from thequality of a Russian prince, let ussay, or an English peer. He meant anintensity, a clearness.... Nobility for him was to get something outofhis individual existence, a flame, a jewel, a splendour--it is a thingeasier to understand than to say.Onemight hesitate to call this idea "innate," and yet it comes sooninto a life when it comes at all. In Benham'scase we might trace itback to the Day Nursery at Seagate, we might detect it stirring alreadyat thepetticoat stage, in various private struttings and valiantdreamings with a helmet of pasteboard and awhite-metal sword. We havemost of us been at least as far as that with Benham. And we havedied likeHoratius, slaying our thousands for our country, or we haveperished at the stake or faced the levelledmuskets of the firingparty--"No, do not bandage my eyes"--because we would not betray thesecret paththat meant destruction to our city. But with Benham thevein was stronger, and it increased instead offading out as he grewto manhood. It was less obscured by those earthy acquiescences, thosediscretions,that saving sense of proportion, which have made most ofus so satisfactorily what we are. "Porphyry," hismother had discoveredbefore he was seventeen, "is an excellent boy, a brilliant boy, but, Ibegin to see,just a little unbalanced."The interest of him, the absurdity of him, the story of him, is that.Most of usare--balanced; in spite of occasional reveries we do come toterms with the limitations of life, with thosedesires and dreams anddiscretions that, to say the least of it, qualify our nobility, we takerefuge in oursense of humour and congratulate ourselves on a certainamiable freedom from priggishness orpresumption, but for Benham thateasy declension to a humorous acceptance of life as it is did notoccur.He found his limitations soon enough; he was perpetuallyrediscovering them, but out of theseinterments of the spirit he roseagain--remarkably. When we others have decided that, to be plain aboutit,we are not going to lead the noble life at all, that the thing istoo ambitious and expensive even toattempt, we have done so becausethere were other conceptions of existence that were good enough forus,we decided that instead of that glorious impossible being of ourselves,we would figure in our own eyesas jolly fellows, or sly dogs, or sane,sound, capable men or brilliant successes, and soforth--practicablethings. For Benham, exceptionally, there were not these practicablethings. He


<title>8MM Script at IMSDb.</title><meta name="description" content="8MM script atthe Internet Movie Script Database."><meta name="keywords" content="8MM script, 8MM movie script,8MM film script"><meta name="viewport" content="width=device-width, initial-scale=1" /><metaname="HandheldFriendly" content="true"><meta http-equiv="content-type" content="text/html;charset=iso-8859-1"><meta http-equiv="Content-Language" content="EN"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT="INDEX, FOLLOW"><meta name=SubjectCONTENT="Movie scripts, Film scripts"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT="2 days"><linkhref="/style.css" rel="stylesheet" type="text/css"><tablewidth="99%" border="0" cellspacing="0" cellpadding="0" class="body">

The Internet Movie Script Database(IMSDb)

     <imgsrc="/images/logo_middle.gif" border="0">
      <imgsrc="/images/logo_bottom.gif" width="170" border="0">
 <spanclass="smalltxt">The web's largest
movie script resource!

        <tableclass=body border=0 cellspacing=0 cellpadding=2 width="100%">
           Search IMSDb
<form method="post" action="/search.php">            <tdwidth="180">
                <input type="text" name="search_query"maxlength="255" size="15">                <input type="submit" value="Go!"name="submit">
	</form>

Alphabetical<tralign="center">        #         <ahref="/alphabetical/A">A        B        <ahref="/alphabetical/C">C        D        <ahref="/alphabetical/E">E        F        <ahref="/alphabetical/G">G        H<tralign="center">         I        <ahref="/alphabetical/J">J        K        <ahref="/alphabetical/L">L        M        <ahref="/alphabetical/N">N        O        <ahref="/alphabetical/P">P        Q<tralign="center">         R        <ahref="/alphabetical/S">S        T        <ahref="/alphabetical/U">U        V        <ahref="/alphabetical/W">W        X        <a


<title>12 Script at IMSDb.</title><meta name="description" content="12 script at theInternet Movie Script Database."><meta name="keywords" content="12 script, 12 movie script, 12 filmscript"><meta name="viewport" content="width=device-width, initial-scale=1" /><metaname="HandheldFriendly" content="true"><meta http-equiv="content-type" content="text/html;charset=iso-8859-1"><meta http-equiv="Content-Language" content="EN"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT="INDEX, FOLLOW"><meta name=SubjectCONTENT="Movie scripts, Film scripts"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT="2 days"><linkhref="/style.css" rel="stylesheet" type="text/css"><tablewidth="99%" border="0" cellspacing="0" cellpadding="0" class="body">

The Internet Movie Script Database(IMSDb)

     <imgsrc="/images/logo_middle.gif" border="0">
      <imgsrc="/images/logo_bottom.gif" width="170" border="0">
 <spanclass="smalltxt">The web's largest
movie script resource!

        <tableclass=body border=0 cellspacing=0 cellpadding=2 width="100%">
           Search IMSDb
<form method="post" action="/search.php">            <tdwidth="180">
                <input type="text" name="search_query"maxlength="255" size="15">                <input type="submit" value="Go!"name="submit">
	</form>

Alphabetical<tralign="center">        #         <ahref="/alphabetical/A">A        B        <ahref="/alphabetical/C">C        D        <ahref="/alphabetical/E">E        F        <ahref="/alphabetical/G">G        H<tralign="center">         I        <ahref="/alphabetical/J">J        K        <ahref="/alphabetical/L">L        M        <ahref="/alphabetical/N">N        O        <ahref="/alphabetical/P">P        Q<tralign="center">         R        <ahref="/alphabetical/S">S        T        <ahref="/alphabetical/U">U        V        <ahref="/alphabetical/W">W        X        <a


ï»¿The Project Gutenberg EBook of The Kempton-Wace Letters, by Jack London and Anna StrunskyThiseBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You maycopy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBookor online at www.gutenberg.orgTitle: The Kempton-Wace LettersAuthor: Jack London        AnnaStrunskyRelease Date: February 27, 2010 [EBook #31422]Language: English*** START OF THISPROJECT GUTENBERG EBOOK THE KEMPTON-WACE LETTERS ***Produced by Curtis Weyant, MartinPettit and the OnlineDistributed Proofreading Team at http://www.pgdp.net (Thisfile was produced fromimages generously made availableby The Internet Archive/American Libraries.)THE KEMPTON-WACELETTERS       *       *       *       *       *JACK LONDON'S BOOKS"_He opened windows for them upon thesplendour and the savagery, thepomp and the pitifulness that he had found in many corners of theearth.He saw that in every scene, in every human activity there was an elementwhich lifted it into theregion of the beautiful, and he made all hisreaders see it, whether he was learned or ignorant; cultivatedor onlyjust able to read. Full justice has never been done to him. There was nosilver in his purse, onlygold._"--Hamilton Fyfe in "The Daily Mail."The Valley of the Moon              7s. 6d. net and 4s. netJerry ofthe Islands                7s. 6d. net and 2s. 6d. netMichael, Brother of Jerry           7s. 6d. net and 2s.netHearts of Three                     6s. net and 2s. 6d. netIsland Tales                        7s. 6d. netThe RedOne                         6s. net and 2s. netThe Acorn-Planter                   3s. 6d. netThe Little Lady of theBig House    6s. net and 2s. 6d. net[A]The Mutiny of the Elsinore       6s. net and 2s. netThe Strength ofthe Strong          6s. net and 1s. 6d. netThe Night-Born                      6s. net and 2s. net[A]A Daughterof the Snows          7s. 6d. net and 2s. 6d. netLost Face                           6s. net and 1s. 6d. netSouthSea Tales                     6s. net and 1s. 6d. netWhen God Laughs                     6s. net and 1s. 6d.net[A]Smoke Bellew                     6s. net and 1s. 6d. netThe Kempton-Wace Letters            2s. 6d.netSmoke and Shorty                    6s. and 2s. 6d. netThe Cruise of the Snark             2s. netThe Cruiseof the Dazzler           1s. 6d. netTurtles of Tasman                   1s. 6d. netBeforeAdam                         1s. 6d. netThe Scarlet Plague                  1s. 6d. netThe God of HisFathers              1s. 6d. netAdventure                           2s. netThe House of Pride                  1s. 6d.netLove of Life                        1s. 6d. netA Son of the Sun                    6s. net and 2s. netAn Odysseyof the North             1s. 6d. netChildren of the Frost               1s. 6d. net[A]JohnBarleycorn                  6s. net and 2s. net[A]The Jacket                       6s. net and 2s.netRevolution                          2s. netWar of the Classes                  2s. netThe HumanDrift                     6s. net and 2s. netThe Iron Heel                       2s. netTheRoad                            2s. net[A] Films have been founded on these novelsMILLS & BOON, Ltd., 49Rupert St., London, W.1.       *       *       *       *       *THE KEMPTON-WACE LETTERSBYJACKLONDONANDANNA STRUNSKY     "_And of naught else than Love would we           discourse._"--DANTE,Sonnet II.MILLS & BOON, LIMITED 49 RUPERT STREET LONDON, W.1_Copyright in the United States ofAmerica, 1903, by the MacmillanCompany Printed in Great Britain by Love & Malcomson Ltd. LondonandRedhill._KEMPTON-WACE LETTERSIFROM DANE KEMPTON TO HERBERT WACELONDON,3 A QUEEN'SROAD, CHELSEA, S.W.August 14, 19--.Yesterday I wrote formally, rising to the occasion like theconventionalhappy father rather than the man who believes in the miracle and livesfor it. Yesterday Istinted myself. I took you in my arms, glad of whatis and stately with respect for the fulness of yourmanhood. It isto-day that I let myself leap into yours in a passion of joy. I dwell onwhat has come to passand inflate myself with pride in your fulfilment,more as a mother would, I think, and she your mother.Butwhy did you not write before? After all, the great event was notwhen you found your offer of marriageaccepted, but when you found youhad fallen in love. Then was your hour. Then was the timeforcongratulation, when the call was first sounded and the reveille of Timeand About fell upon your souland the march to another's destiny wasbegun. It is always more important to love than to be loved. Iwish ithad been vouchsafed me to be by when your spirit of a sudden grewwilling to bestow itself withoutquestion or let or hope of return, whenthe self broke up and you grew fain to beat out your strength in


<title>Arsenic and Old Lace Script at IMSDb.</title><meta name="description"content="Arsenic and Old Lace script at the Internet Movie Script Database."><meta name="keywords"content="Arsenic and Old Lace script, Arsenic and Old Lace movie script, Arsenic and Old Lace filmscript"><meta name="viewport" content="width=device-width, initial-scale=1" /><metaname="HandheldFriendly" content="true"><meta http-equiv="content-type" content="text/html;charset=iso-8859-1"><meta http-equiv="Content-Language" content="EN"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT="INDEX, FOLLOW"><meta name=SubjectCONTENT="Movie scripts, Film scripts"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT="2 days"><linkhref="/style.css" rel="stylesheet" type="text/css"><tablewidth="99%" border="0" cellspacing="0" cellpadding="0" class="body">

The Internet Movie Script Database(IMSDb)

     <imgsrc="/images/logo_middle.gif" border="0">
      <imgsrc="/images/logo_bottom.gif" width="170" border="0">
 <spanclass="smalltxt">The web's largest
movie script resource!

        <tableclass=body border=0 cellspacing=0 cellpadding=2 width="100%">
           Search IMSDb
<form method="post" action="/search.php">            <tdwidth="180">
                <input type="text" name="search_query"maxlength="255" size="15">                <input type="submit" value="Go!"name="submit">
	</form>

Alphabetical<tralign="center">        #         <ahref="/alphabetical/A">A        B        <ahref="/alphabetical/C">C        D        <ahref="/alphabetical/E">E        F        <ahref="/alphabetical/G">G        H<tralign="center">         I        <ahref="/alphabetical/J">J        K        <ahref="/alphabetical/L">L        M        <ahref="/alphabetical/N">N        O        <ahref="/alphabetical/P">P        Q<tralign="center">         R        <ahref="/alphabetical/S">S        T        <ahref="/alphabetical/U">U        V        <a


<title>Arbitrage Script at IMSDb.</title><meta name="description" content="Arbitragescript at the Internet Movie Script Database."><meta name="keywords" content="Arbitrage script,Arbitrage movie script, Arbitrage film script"><meta name="viewport" content="width=device-width,initial-scale=1" /><meta name="HandheldFriendly" content="true"><meta http-equiv="content-type"content="text/html; charset=iso-8859-1"><meta http-equiv="Content-Language" content="EN"><metaname=objecttype CONTENT=Document><meta name=ROBOTS CONTENT="INDEX, FOLLOW"><metaname=Subject CONTENT="Movie scripts, Film scripts"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT="2 days"><linkhref="/style.css" rel="stylesheet" type="text/css"><tablewidth="99%" border="0" cellspacing="0" cellpadding="0" class="body">

The Internet Movie Script Database(IMSDb)

     <imgsrc="/images/logo_middle.gif" border="0">
      <imgsrc="/images/logo_bottom.gif" width="170" border="0">
 <spanclass="smalltxt">The web's largest
movie script resource!

        <tableclass=body border=0 cellspacing=0 cellpadding=2 width="100%">
           Search IMSDb
<form method="post" action="/search.php">            <tdwidth="180">
                <input type="text" name="search_query"maxlength="255" size="15">                <input type="submit" value="Go!"name="submit">
	</form>

Alphabetical<tralign="center">        #         <ahref="/alphabetical/A">A        B        <ahref="/alphabetical/C">C        D        <ahref="/alphabetical/E">E        F        <ahref="/alphabetical/G">G        H<tralign="center">         I        <ahref="/alphabetical/J">J        K        <ahref="/alphabetical/L">L        M        <ahref="/alphabetical/N">N        O        <ahref="/alphabetical/P">P        Q<tralign="center">         R        <ahref="/alphabetical/S">S        T        <ahref="/alphabetical/U">U        V        <ahref="/alphabetical/W">W        X        <a


<title>Strangers on a Train Script at IMSDb.</title><meta name="description"content="Strangers on a Train script at the Internet Movie Script Database."><meta name="keywords"content="Strangers on a Train script, Strangers on a Train movie script, Strangers on a Train filmscript"><meta name="viewport" content="width=device-width, initial-scale=1" /><metaname="HandheldFriendly" content="true"><meta http-equiv="content-type" content="text/html;charset=iso-8859-1"><meta http-equiv="Content-Language" content="EN"><meta name=objecttypeCONTENT=Document><meta name=ROBOTS CONTENT="INDEX, FOLLOW"><meta name=SubjectCONTENT="Movie scripts, Film scripts"><meta name=rating CONTENT=General><metaname=distribution content=Global><meta name=revisit-after CONTENT="2 days"><linkhref="/style.css" rel="stylesheet" type="text/css"><tablewidth="99%" border="0" cellspacing="0" cellpadding="0" class="body">

The Internet Movie Script Database(IMSDb)

     <imgsrc="/images/logo_middle.gif" border="0">
      <imgsrc="/images/logo_bottom.gif" width="170" border="0">
 <spanclass="smalltxt">The web's largest
movie script resource!

        <tableclass=body border=0 cellspacing=0 cellpadding=2 width="100%">
           Search IMSDb
<form method="post" action="/search.php">            <tdwidth="180">
                <input type="text" name="search_query"maxlength="255" size="15">                <input type="submit" value="Go!"name="submit">
	</form>

Alphabetical<tralign="center">        #         <ahref="/alphabetical/A">A        B        <ahref="/alphabetical/C">C        D        <ahref="/alphabetical/E">E        F        <ahref="/alphabetical/G">G        H<tralign="center">         I        <ahref="/alphabetical/J">J        K        <ahref="/alphabetical/L">L        M        <ahref="/alphabetical/N">N        O        <ahref="/alphabetical/P">P        Q<tralign="center">         R        <ahref="/alphabetical/S">S        T        <ahref="/alphabetical/U">U        V        <a


ï»¿The Project Gutenberg EBook of Boon, The Mind of the Race, The Wild Assesof the Devil, and The LastTrump;, by Herbert George WellsThis eBook is for the use of anyone anywhere at no cost and withalmostno restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the ProjectGutenberg License includedwith this eBook or online at www.gutenberg.netTitle: Boon, The Mind of theRace, The Wild Asses of the Devil, and The Last Trump;       Being a First Selection from the LiteraryRemains of George       Boon, Appropriate to the TimesAuthor: Herbert George WellsRelease Date:January 15, 2011 [EBook #34962]Language: English*** START OF THIS PROJECT GUTENBERG EBOOKBOON, THE MIND OF THE RACE ***Produced by Malcolm Farmer, Barbara Tozier, and theOnlineDistributed Proofreading Team at http://www.pgdp.net (Thisfile was produced from imagesgenerously made availableby The Internet Archive/Canadian Libraries)                     Boon, The Mind ofthe Race,                     The Wild Asses of the Devil,                         _and_ The LastTrump                   Being a First Selection from the                   Literary Remains of GeorgeBoon,                       Appropriate to the Times                     Prepared for Publicationby                            REGINALD BLISS             AUTHOR OF "THE COUSINS OF CHARLOTTEBRONTE,"              "A CHILD'S HISTORY OF THE CRYSTAL PALACE,"                 "FIRELIGHT RAMBLES,""EDIBLE FUNGI,"                "WHALES IN CAPTIVITY," AND OTHERWORKS                                 WITH                     An Ambiguous Introduction by                             H.G. WELLS                        T. FISHER UNWIN, LTD.                       LONDON; ADELPHITERRACE                      _First published in 1915_                        (All rightsreserved)INTRODUCTIONWhenever a publisher gets a book by one author he wants anIntroductionwritten to it by another, and Mr. Fisher Unwin is no exception to therule. Nobody readsIntroductions, they serve no useful purpose, andthey give no pleasure, but they appeal to the businessmind, I think,because as a rule they cost nothing. At any rate, by the pressure of acertain inseparableintimacy between Mr. Reginald Bliss and myself,this Introduction has been extracted from me. I willconfess that Ihave not read his book through, though I have a kind of first-handknowledge of itscontents, and that it seems to me an indiscreet,ill-advised book....I have a very strong suspicion that thisIntroduction idea is designedto entangle me in the responsibility for the book. In America, at anyrate,"The Life of George Meek, Bath Chairman," was ascribed to meupon no better evidence. Yet any one wholikes may go to Eastbourneand find Meek with chair and all complete. But in view of thecomplications ofthe book market and the large simplicities of thepublic mind, I do hope that the reader--and by that Imean thereviewer--will be able to see the reasonableness and the necessity ofdistinguishing between meand Mr. Reginald Bliss. I do not wish toescape the penalties of thus participating in, and endorsing,hismanifest breaches of good taste, literary decorum, and friendlyobligation, but as a writer whosereputation is already too crowdedand confused and who is for the ordinary purposes of every dayknownmainly as a novelist, I should be glad if I could escape the publicidentification I am nowrepudiating. Bliss is Bliss and Wells isWells. And Bliss can write all sorts of things that Wells couldnotdo.This Introduction has really no more to say than that.                                                      H. G.WELLS.CONTENTSINTRODUCTIONCHAPTER THE FIRSTTHE BACK OF MISS BATHWICK AND GEORGEBOONCHAPTER THE SECONDBEING THE FIRST CHAPTER OF "THE MIND OF THE RACE"CHAPTER THETHIRDTHE GREAT SLUMP, THE REVIVAL OF LETTERS, AND THE GARDEN BY THE SEACHAPTER THEFOURTHOF ART, OF LITERATURE, OF MR HENRY JAMESCHAPTER THE FIFTHOF THE ASSEMBLING ANDOPENING OF THE WORLD CONFERENCE ON THE MIND OFTHE RACECHAPTER THE SIXTHOF NOT LIKINGHALLERY AND THE ROYAL SOCIETY FOR THE DISCOURAGEMENT OFLITERATURECHAPTER THESEVENTHWILKINS MAKES CERTAIN OBJECTIONSCHAPTER THE EIGHTHTHE BEGINNING OF "THE WILDASSES OF THE DEVIL"CHAPTER THE NINTHTHE HUNTING OF THE WILD ASSES OF THE DEVILCHAPTERTHE TENTHTHE STORY OF THE LAST TRUMP       BOON, THE MIND OF THE RACE, THE WILD ASSES OFTHE DEVIL,                        _and_ THE LAST TRUMPCHAPTER THE FIRSTThe Back of Miss Bathwick andGeorge BoonÂ§ 1It is quite probable that the reader does not know of the death ofGeorge Boon, and that


<title>All About Eve Script at IMSDb.</title><meta name="description" content="AllAbout Eve script at the Internet Movie Script Database."><meta name="keywords" content="All AboutEve script, All About Eve movie script, All About Eve film script"><meta name="viewport"content="width=device-width, initial-scale=1" /><meta name="HandheldFriendly"content="true"><meta http-equiv="content-type" content="text/html; charset=iso-8859-1"><metahttp-equiv="Content-Language" content="EN"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT="INDEX, FOLLOW"><meta name=Subject CONTENT="Movie scripts, Filmscripts"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT="2 days"><link href="/style.css" rel="stylesheet" type="text/css"><tablewidth="99%" border="0" cellspacing="0" cellpadding="0" class="body">

The Internet Movie Script Database(IMSDb)

     <imgsrc="/images/logo_middle.gif" border="0">
      <imgsrc="/images/logo_bottom.gif" width="170" border="0">
 <spanclass="smalltxt">The web's largest
movie script resource!

        <tableclass=body border=0 cellspacing=0 cellpadding=2 width="100%">
           Search IMSDb
<form method="post" action="/search.php">            <tdwidth="180">
                <input type="text" name="search_query"maxlength="255" size="15">                <input type="submit" value="Go!"name="submit">
	</form>

Alphabetical<tralign="center">        #         <ahref="/alphabetical/A">A        B        <ahref="/alphabetical/C">C        D        <ahref="/alphabetical/E">E        F        <ahref="/alphabetical/G">G        H<tralign="center">         I        <ahref="/alphabetical/J">J        K        <ahref="/alphabetical/L">L        M        <ahref="/alphabetical/N">N        O        <ahref="/alphabetical/P">P        Q<tralign="center">         R        <ahref="/alphabetical/S">S        T        <ahref="/alphabetical/U">U        V        <a


ï»¿Project Gutenberg's The Shewing-up of Blanco Posnet, by George Bernard ShawThis eBook is for theuse of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give itaway orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Shewing-up of Blanco PosnetAuthor: George Bernard ShawRelease Date:May, 2004 [EBook #5722]This file was first posted on August 17, 2002Last Updated: April 10,2013Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE SHEWING-UP OF BLANCOPOSNET ***Produced by Eve Sobol and Distributed ProofreadersTHE SHEWING-UP OF BLANCOPOSNETBy Bernard Shaw1909TRANSCRIBER'S NOTE: The edition from which this work was takenwasprinted without contractions, so there is Ill for I'll and dont fordon't, for example, and show is speltshew.PREFACETHE CENSORSHIPThis little play is really a religious tract in dramatic form. If oursillycensorship would permit its performance, it might possibly help toset right-side-up the pervertedconscience and re-invigorate the starvedself-respect of our considerable class of loose-lived playgoerswhosepoint of honor is to deride all official and conventional sermons. As itis, it only gives me anopportunity of telling the story of the SelectCommittee of both Houses of Parliament which sat last yearto enquireinto the working of the censorship, against which it was alleged bymyself and others that as itsimbecility and mischievousness could notbe fully illustrated within the limits of decorum imposed on thepress,it could only be dealt with by a parliamentary body subject to no suchlimits.A READABLEBLUEBOOKFew books of the year 1909 can have been cheaper and more entertainingthan the report ofthis Committee. Its full title is REPORT FROM THEJOINT SELECT COMMITTEE OF THE HOUSE OF LORDSAND THE HOUSE OF COMMONSON THE STAGE PLAYS (CENSORSHIP) TOGETHER WITH THEPROCEEDINGS OF THECOMMITTEE, MINUTES OF EVIDENCE, AND APPENDICES. What the phrase"theStage Plays" means in this title I do not know; nor does anyone else.The number of the Bluebook is214.How interesting it is may be judged from the fact that it containsverbatim reports of long andanimated interviews between the Committeeand such witnesses as W. William Archer, Mr. GranvilleBarker, Mr. J.M. Barrie, Mr. Forbes Robertson, Mr. Cecil Raleigh, Mr. John Galsworthy,Mr. LaurenceHousman, Sir Herbert Beerbohm Tree, Mr. W. L. Courtney, SirWilliam Gilbert, Mr. A. B. Walkley, MissLena Ashwell, Professor GilbertMurray, Mr. George Alexander, Mr. George Edwardes, Mr. ComynsCarr,the Speaker of the House of Commons, the Bishop of Southwark, Mr. HallCaine, Mr. Israel Zangwill,Sir Squire Bancroft, Sir Arthur Pinero, andMr. Gilbert Chesterton, not to mention myself and a number ofgentlemenless well known to the general public, but important in the world of thetheatre. The publicationof a book by so many famous contributors wouldbe beyond the means of any commercial publishing firm.His Majesty'sStationery Office sells it to all comers by weight at the veryreasonable price ofthree-and-threepence a copy.HOW NOT TO DO ITIt was pointed out by Charles Dickens in Little Dorrit,which remainsthe most accurate and penetrating study of the genteel littleness ofour class governmentsin the English language, that whenever an abusebecomes oppressive enough to persuade our partyparliamentariansthat something must be done, they immediately set to work to facethe situation anddiscover How Not To Do It. Since Dickens's daythe exposures effected by the Socialists have so shatteredtheself-satisfaction of modern commercial civilization that it is no longerdifficult to convince ourgovernments that something must be done,even to the extent of attempts at a reconstruction ofcivilization ona thoroughly uncommercial basis. Consequently, the first part of theprocess described byDickens: that in which the reformers were snubbedby front bench demonstrations that the administrativedepartments wereconsuming miles of red tape in the correctest forms of activity, andthat everything wasfor the best in the best of all possible worlds,is out of fashion; and we are in that other phase,familiarized by thehistory of the French Revolution, in which the primary assumption isthat the country isin danger, and that the first duty of all parties,politicians, and governments is to save it. But as the effectof thisis to give governments a great many more things to do, it also gives apowerful stimulus to the artof How Not To Do Them: that is to say, theart of contriving methods of reform which will leave mattersexactly asthey are.The report of the Joint Select Committee is a capital illustration ofthis tendency. The


ï»¿Project Gutenberg's The Legend of Sleepy Hollow, by Washington IrvingThis eBook is for the use ofanyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: The Legend of Sleepy HollowAuthor: Washington IrvingPosting Date: June 25,2008 [EBook #41]Release Date: October, 1992Language: English*** START OF THIS PROJECTGUTENBERG EBOOK THE LEGEND OF SLEEPY HOLLOW ***Produced by Ilana M. (Kingsley) Newby andGreg NewbyTHE LEGEND OF SLEEPY HOLLOWby Washington IrvingFOUND AMONG THE PAPERS OF THELATE DIEDRICH KNICKERBOCKER.        A pleasing land of drowsy head it was,          Of dreams thatwave before the half-shut eye;        And of gay castles in the clouds that pass,          Forever flushinground a summer sky.                                         CASTLE OF INDOLENCE.In the bosom of one of thosespacious coves which indent the easternshore of the Hudson, at that broad expansion of the riverdenominatedby the ancient Dutch navigators the Tappan Zee, and where they alwaysprudently shortenedsail and implored the protection of St. Nicholaswhen they crossed, there lies a small market town or ruralport, whichby some is called Greensburgh, but which is more generally and properlyknown by the nameof Tarry Town. This name was given, we are told, informer days, by the good housewives of the adjacentcountry, from theinveterate propensity of their husbands to linger about the villagetavern on marketdays. Be that as it may, I do not vouch for the fact,but merely advert to it, for the sake of being preciseand authentic.Not far from this village, perhaps about two miles, there is a littlevalley or rather lap ofland among high hills, which is one of thequietest places in the whole world. A small brook glides throughit,with just murmur enough to lull one to repose; and the occasionalwhistle of a quail or tapping of awoodpecker is almost the only soundthat ever breaks in upon the uniform tranquillity.I recollect that,when a stripling, my first exploit insquirrel-shooting was in a grove of tall walnut-trees that shadesoneside of the valley. I had wandered into it at noontime, when all natureis peculiarly quiet, and wasstartled by the roar of my own gun, as itbroke the Sabbath stillness around and was prolonged andreverberatedby the angry echoes. If ever I should wish for a retreat whither I mightsteal from the worldand its distractions, and dream quietly away theremnant of a troubled life, I know of none morepromising than thislittle valley.From the listless repose of the place, and the peculiar character ofitsinhabitants, who are descendants from the original Dutch settlers, thissequestered glen has long beenknown by the name of SLEEPY HOLLOW, andits rustic lads are called the Sleepy Hollow Boys throughoutall theneighboring country. A drowsy, dreamy influence seems to hang over theland, and to pervade thevery atmosphere. Some say that the placewas bewitched by a High German doctor, during the early daysof thesettlement; others, that an old Indian chief, the prophet or wizard ofhis tribe, held his powwowsthere before the country was discovered byMaster Hendrick Hudson. Certain it is, the place still continuesunderthe sway of some witching power, that holds a spell over the minds ofthe good people, causingthem to walk in a continual reverie. They aregiven to all kinds of marvellous beliefs, are subject totrances andvisions, and frequently see strange sights, and hear music and voices inthe air. The wholeneighborhood abounds with local tales, haunted spots,and twilight superstitions; stars shoot and meteorsglare oftener acrossthe valley than in any other part of the country, and the nightmare,with her wholeninefold, seems to make it the favorite scene of hergambols.The dominant spirit, however, that hauntsthis enchanted region, andseems to be commander-in-chief of all the powers of the air, is theapparitionof a figure on horseback, without a head. It is said by someto be the ghost of a Hessian trooper, whosehead had been carried awayby a cannon-ball, in some nameless battle during the Revolutionary War,andwho is ever and anon seen by the country folk hurrying along inthe gloom of night, as if on the wings ofthe wind. His haunts are notconfined to the valley, but extend at times to the adjacent roads,andespecially to the vicinity of a church at no great distance. Indeed,certain of the most authentichistorians of those parts, who have beencareful in collecting and collating the floating facts concerningthisspectre, allege that the body of the trooper having been buried in thechurchyard, the ghost rides forthto the scene of battle in nightlyquest of his head, and that the rushing speed with which he


ï»¿The Project Gutenberg EBook of McTeague, by Frank NorrisThis eBook is for the use of anyoneanywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: McTeagueAuthor: Frank NorrisRelease Date: March 12, 2006 [EBook#165]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK MCTEAGUE ***Produced byPauline J. Iacono and David WidgerMcTEAGUEA Story of San Franciscoby Frank NorrisCHAPTER 1It wasSunday, and, according to his custom on that day, McTeague tookhis dinner at two in the afternoon atthe car conductors' coffee-jointon Polk Street. He had a thick gray soup; heavy, underdone meat,veryhot, on a cold plate; two kinds of vegetables; and a sort of suetpudding, full of strong butter andsugar. On his way back to his office,one block above, he stopped at Joe Frenna's saloon and bought apitcherof steam beer. It was his habit to leave the pitcher there on his way todinner.Once in his office, or,as he called it on his signboard, "DentalParlors," he took off his coat and shoes, unbuttoned his vest,and,having crammed his little stove full of coke, lay back in his operatingchair at the bay window, readingthe paper, drinking his beer, andsmoking his huge porcelain pipe while his food digested; crop-full,stupid,and warm. By and by, gorged with steam beer, and overcome by theheat of the room, the cheap tobacco,and the effects of his heavy meal,he dropped off to sleep. Late in the afternoon his canary bird, in itsgiltcage just over his head, began to sing. He woke slowly, finishedthe rest of his beer--very flat and stale bythis time--and taking downhis concertina from the bookcase, where in week days it kept the companyofseven volumes of "Allen's Practical Dentist," played upon it somehalf-dozen very mournful airs.McTeaguelooked forward to these Sunday afternoons as a period ofrelaxation and enjoyment. He invariably spentthem in the same fashion.These were his only pleasures--to eat, to smoke, to sleep, and to playupon hisconcertina.The six lugubrious airs that he knew, always carried him back to thetime when he was acar-boy at the Big Dipper Mine in Placer County, tenyears before. He remembered the years he had spentthere trundling theheavy cars of ore in and out of the tunnel under the direction of hisfather. For thirteendays of each fortnight his father was a steady,hard-working shift-boss of the mine. Every other Sundayhe became anirresponsible animal, a beast, a brute, crazy with alcohol.McTeague remembered hismother, too, who, with the help of the Chinaman,cooked for forty miners. She was an overworkeddrudge, fiery andenergetic for all that, filled with the one idea of having her son risein life and enter aprofession. The chance had come at last when thefather died, corroded with alcohol, collapsing in a fewhours. Two orthree years later a travelling dentist visited the mine and put up histent near thebunk-house. He was more or less of a charlatan, but hefired Mrs. McTeague's ambition, and youngMcTeague went away with himto learn his profession. He had learnt it after a fashion, mostly bywatchingthe charlatan operate. He had read many of the necessary books,but he was too hopelessly stupid to getmuch benefit from them.Then one day at San Francisco had come the news of his mother's death;shehad left him some money--not much, but enough to set him up inbusiness; so he had cut loose from thecharlatan and had opened his"Dental Parlors" on Polk Street, an "accommodation street" of smallshops inthe residence quarter of the town. Here he had slowlycollected a clientele of butcher boys, shop girls,drug clerks, and carconductors. He made but few acquaintances. Polk Street called him the"Doctor" andspoke of his enormous strength. For McTeague was a younggiant, carrying his huge shock of blond hairsix feet three inchesfrom the ground; moving his immense limbs, heavy with ropes of muscle,slowly,ponderously. His hands were enormous, red, and covered with afell of stiff yellow hair; they were hard aswooden mallets, strongas vises, the hands of the old-time car-boy. Often he dispensed withforceps andextracted a refractory tooth with his thumb and finger.His head was square-cut, angular; the jaw salient,like that of thecarnivora.McTeague's mind was as his body, heavy, slow to act, sluggish. Yet therewasnothing vicious about the man. Altogether he suggested the draughthorse, immensely strong, stupid,docile, obedient.When he opened his "Dental Parlors," he felt that his life was asuccess, that he couldhope for nothing better. In spite of the name,there was but one room. It was a corner room on thesecond floor overthe branch post-office, and faced the street. McTeague made it do fora bedroom as well,