Download 1 File

Total Page:16

File Type:pdf, Size:1020Kb

Download 1 File THE FOREIGN LEGION (photoplay Jitieqf THE RED MIRAGE Br I. A. R. WYLIE CORNELL UNIVERSITY LIBRARY Cornell University Library PS 3545.Y52R3 1914 The foreign legioniphotoplay title of Th 3 1924 021 732 940 Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924021732940 THE RED MIRAGE A Universal-Jewel Production. The Foreign Legior}- Photoplay title of The Red Mirage. "GOODBYE, GABRIELLE—YOU HAVE OPENED MY EYES " THE FOREIGN LEGION PHOTOPLAY TITLE OF THE RED MIRAGE BY I. A. R. WYLIE AUTHOR OF FOUR SONS ILLUSTRATED WITH SCENES FROM THE PHOTOPLAY A UNIVERSAL-JEWEL PRODUCTION q£K^ NEW TORK GROSSET & DUNLAP P1JBI,I,SHERS All Rights Reserved Tte Boebs-Merrill Company CONTENTS CHAPTER PACr I No. 3112 1 n The Man She Left Behind Her 14 III The Fourth Floor Back ,25 IV The Great Law Comes Into Force . .37 V Mrs. Farquhar Explains 47 VI Colonel Destinn of the Legion 57 VII Richard Nameless 6S VIII Corporal Gotz Plays "Rule, Brittania'* . .73 IX At the Villa Bernotto's 8& X It Is the Devil W^ho Drives 91 XI Justification lOJ XII A Grave Is Opened 108 XIII The Rising Tide 120 XIV Behind the Mosque 124- XV The Choice 132 XVI Dreams 148 XVII The End of Ramazan 160 XVIII Mrs. Farquhar 177 XIX In the Teeth of the Storm 187 XX The Return 199 XXI Masquerade 213 XXII The Last Offer , 226 XXIII FateDeodes 239 XXIV Atonement 254 XXV Toward Dawn 265 XXVI Kismet 279 XXVII The Oasis 291 THE RED MIRAGE THE RED MIRAGE CHAPTER I jsro. 3112 NIGHT lay on the desert. Terrible in its solitude, the great waste stretched out beneath an emerald darkness, its frozen billows of sand rolling on to the blank invisible horizon where all commingled in brooding mystery and silence. To the south there was more than silence—a spirit of watchfulness, a somber enigma, heavy with formless menace; to the north a veil had been let down, soon to be lifted, hiding a vague but living promise of the future. No moon; overhead uncounted myriads whose signals flashed down through the frosty atmosphere in cold ironic splendor. But they were signals without key, and it was not their light which hung over the trackless desolation. Out of the desolation itself a gray unearthly luminousness rose up and spread on over the hills, stealing beneath their shadows and throwing shadows where no corporal form was visible. No life, no moving thing—save to the south. From thence a dark line wound, itself out of the obscurity and came on without halt or hesitation, seeming to follow some unseen track between the silver ridges of the hills. It was scarcely possible to recognize them as human. They marched four deep, anyhow, yet mechanically and steadily, like drunken men kept to a straight path by a relentless, omnipotent will. I — THE RED MIRAGE double beneath the burden of their knapsacks, their fixed ; trailed by the strap, their heads bowed, their eyes sightless, jaws set, they bore no semblance to military r save for the dogged persistency of their advance their silence. A man stumbled and reeled against his ibor. There was a curse and a groan, but no more—no ment, no change in the shuffling step. A tortured crea- lulled by a narcotic, had been stung to momentary con- isness by a keener pang, that was all. Theirs was the by of despair. t the head of the column an officer strode on alone. ; was no weariness, no faltering, but the indomitable itself, the very symbol of the power which kept the :ed crowd silent and patient at his heels. Shoulders red, head erect, he pressed on, the sand eddying beneath tride, the semi-darkness magnifying his spare figure to jthing sinister and superhuman. A little to his right a ier kept pace beside a limping exhausted charger. He no more than a boy, delicate in build, with bloodshot in which glittered a curious, fascinated terror. From to time he looked back over his shoulder, passing his ue over his cracked and swollen lips, but he made no id, no plaint. Then suddenly he stumbled with a cry of jressible suffering. !" Silence there fie command grated brutally on the quiet. The leaders fie column in their torpor seemed not to hear, but the bent his head lower, like a dog cringing under the whip, lently he began to drop behind. With one swift, terri- glance at the blank faces of his comrades he shifted his )sack on to the saddle, then crept on again, hiding in the t shadow of the horse beside him. The action had been t and almost noiseless. The lonely officer turned his I a little. NO. 3112 3 "3708!" "My Colonel !" "Take this coward's place. Give him your rifle." !" "My Colonel It was Hke a smothered scream of agony. The sharply cut, impassive features under the kepi remained expression- less. "Add your knapsack—^back to the column, you cur. Cor- poral, see that 31 12 keeps his place. Forward—^march!" All was still again. Except for that stifled scream of protest, which seemed to linger like some ghost of sound on the still luminous air, there was nothing audible. The tramp of the thousand feet lost itself in the sand. An hour passed. Westward behind the darkness some- thing had begun to stir—^the faint, scarcely perceptible movement of reawakened life. The veil was lifting, and from whence the horizon slowly revealed itself against the flaming dawn a pale glow spread out over the desert, chang- ing with roseate fingers the gray twilight to a transparent, fiery iridescence. A chill wind, which for a moment had whirled up the sand to tiny spiral columns, died down. In hushed expectancy the desert awaited the hour of her trans- figuration. The thud of galloping horses—a tremor which seemed to pass through the whole length and breadth of the weary column. A lieutenant marching at the side of his men swung round sharply on his heel. "Who goes there?" No answer. Something shot out of the blackness which still hung sullenly over the south, and sped up the thin long line to where the commanding officer held his post. He turned his face. The hard blue eyes under the heavy brows flittered as he lifted them to the increasing light. "Well?" 4 THE RED MIRAGE The spahi drew rein sharply, dragging his foam-flecked animal to its haunches. With his flint-lock he pointed back into the shadow. "Arabs, my Colonel, Arabs to the southwest. Two hun- dred strong. They have followed all night. They will at- tack before the hour." The colonel shrugged his shoulders. His stride had not faltered. "They will not attack. It is too late. By nightfall we shall be in Sidi-bel-Abbes." The spahi drew his fluttering bumoose closer about him and set his horse to a walk. His bronzed features were sul- len with doubt and disappointment. "Sidi-bel-Abbes lies yet forty kilometers to the north." "We shall be there before nightfall." No one spoke. The spahi dropped back and, like some bird of ill-omen, hovered around the regiment, passing rest- lessly up and down the exhausted lines, his white teeth bared in a grin of malicious mockery. As he passed No. 3 1 12 he pulled up for an instant, his free hand stemmed insolently against his thigh. "Ah, mon bleu, what good spirits ! And what a nice little piece of luggage you have there ! When the sun rises it will !" help to keep you warm. Allah be praised The boy made no answer, but as though the taunt had awakened his mind to some terrifying presage of the fu- ture, he lifted his head and stared out westward. In a burst of golden splendor the red orb of the sun had risen above the horizon, and with its rising the night desert faded into an earthly paradise of color. Where there had seemed utter desolation there were now long stretches of waving grass, patches of green oasis where stately palms rose out of some hidden lake and silhouetted their leaves against the sapphire sky-line. And over all an atmosphere surcharged NO. 31 12 S with radiance, all warmth, all healing. The chill of the night softened, and yet on every haggard face, lifted for an in- stant to greet this resurrection of life, there was carved a speechless dread. The hours passed. The sun stood high above the crest of the sand-hills. It was no longer red, but a fierce merciless bronze. There was no longer life nor color; all—oasis, hills, that hidden promise that lay northward—^had sunk in shimmering, stifling waves which beat down upon the sand and rose again in fierce reflection to the brazen skies of their creation. !" "The whole column—^halt A shrill whistle, which yet sounded lifeless in the dead air. The men dropped where they stood. With their faces buried in their arms they lay inert, indifferent. Only the colonel remained standing. With a curt gesture he refused the flask which his adjutant courteously extended to him. "I thank you. One marches better on an empty stomach." "Surely you will use your horse now. Colonel ?" "No." For the first time the hard face softened as he turned and laid his gloved hand on the animal's neck. "The poor brute is done up already." "And you, my Colonel, are you never done up ?" "No." He glanced impatiently at his wrist-watch.
Recommended publications
  • The Films of Raoul Walsh, Part 1
    Contents Screen Valentines: Great Movie Romances Screen Valentines: Great Movie Romances .......... 2 February 7–March 20 Vivien Leigh 100th ......................................... 4 30th Anniversary! 60th Anniversary! Burt Lancaster, Part 1 ...................................... 5 In time for Valentine's Day, and continuing into March, 70mm Print! JOURNEY TO ITALY [Viaggio In Italia] Play Ball! Hollywood and the AFI Silver offers a selection of great movie romances from STARMAN Fri, Feb 21, 7:15; Sat, Feb 22, 1:00; Wed, Feb 26, 9:15 across the decades, from 1930s screwball comedy to Fri, Mar 7, 9:45; Wed, Mar 12, 9:15 British couple Ingrid Bergman and George Sanders see their American Pastime ........................................... 8 the quirky rom-coms of today. This year’s lineup is bigger Jeff Bridges earned a Best Actor Oscar nomination for his portrayal of an Courtesy of RKO Pictures strained marriage come undone on a trip to Naples to dispose Action! The Films of Raoul Walsh, Part 1 .......... 10 than ever, including a trio of screwball comedies from alien from outer space who adopts the human form of Karen Allen’s recently of Sanders’ deceased uncle’s estate. But after threatening each Courtesy of Hollywood Pictures the magical movie year of 1939, celebrating their 75th Raoul Peck Retrospective ............................... 12 deceased husband in this beguiling, romantic sci-fi from genre innovator John other with divorce and separating for most of the trip, the two anniversaries this year. Carpenter. His starship shot down by U.S. air defenses over Wisconsin, are surprised to find their union rekindled and their spirits moved Festival of New Spanish Cinema ....................
    [Show full text]
  • Bransford of Rainbow Range
    RANG BRANSFORD OF RAINBOW RANGE THE HORSES WERE TTNWILLING TO F.NTKR THE CIRCLE OF FTRKI.K;H r Page 181 Originally Published under tht title of BRANSFORD IN ARCADIA OR, THE LITTLE EOHIPPUS BY EUGENE MANLOVE RHODES AUTHOR OF THE DESIRE OF THE MOTH, GOOD MEN AND TRUE, WEST IS WEST, ETC. FRONTISPIBCE BY HARVEY T. DUNN GROSSET & DUNLAP PUBLISHERS NEW YORK M*de in the United Stale* of Anwic* Copyright, 1913. by CURTIS PUBLISHING COMPANY Copyright, 1914, by HENRY HOLT AND COMPANY Copyright, 1920, by THE H. K. FLY COMPANY CONTENTS MH PROLOGUE ......... i THE PITCHER THAT WENT TO THE WELL . ay FIRST AID 35 MAXWELTON BRAES 47 THE ROAD TO ROME 61 THE MASKERS 71 THE ISLE OF ARCADY 86 STATES-GENERAL 95 ARCADES AMBO 106 TAKEN 113 THE ALIBI 125 THE NETTLE, DANGER 136 THE SIEGE OF DOUBLE MOUNTAIN . .150 THE SIEGE OF DOUBLE MOUNTAIN (continued) 169 FLIGHT 181 GOOD-BY 194 THE LAND OF AFTERNOON 205 . TWENTIETH CENTURY r. ; . 215 AT THE RAINBOW'S END . 226 BRANSFORD OF RAINBOW RANGE BRANSFORD IN ARCADIA PROLOGUE long fall round-up was over. The THEwagon, homeward bound, made camp for the last night out at the Sinks of Lost River. Most of the men, worn with threescore night- guards, were buried under their tarps in the deep sleep of the weary; sound as that of the just, and much more common. By the low campfire a few yet lingered: old- timers, iron men, whose wiry and seasoned strength was toil-proof and Leo Ballinger, for whom youth, excitement and unsated novelty served in lieu of fitness.
    [Show full text]
  • Raoul Walsh to Attend Opening of Retrospective Tribute at Museum
    The Museum of Modern Art jl west 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart NO. 34 FOR IMMEDIATE RELEASE RAOUL WALSH TO ATTEND OPENING OF RETROSPECTIVE TRIBUTE AT MUSEUM Raoul Walsh, 87-year-old film director whose career in motion pictures spanned more than five decades, will come to New York for the opening of a three-month retrospective of his films beginning Thursday, April 18, at The Museum of Modern Art. In a rare public appearance Mr. Walsh will attend the 8 pm screening of "Gentleman Jim," his 1942 film in which Errol Flynn portrays the boxing champion James J. Corbett. One of the giants of American filmdom, Walsh has worked in all genres — Westerns, gangster films, war pictures, adventure films, musicals — and with many of Hollywood's greatest stars — Victor McLaglen, Gloria Swanson, Douglas Fair­ banks, Mae West, James Cagney, Humphrey Bogart, Marlene Dietrich and Edward G. Robinson, to name just a few. It is ultimately as a director of action pictures that Walsh is best known and a growing body of critical opinion places him in the front rank with directors like Ford, Hawks, Curtiz and Wellman. Richard Schickel has called him "one of the best action directors...we've ever had" and British film critic Julian Fox has written: "Raoul Walsh, more than any other legendary figure from Hollywood's golden past, has truly lived up to the early cinema's reputation for 'action all the way'...." Walsh's penchant for action is not surprising considering he began his career more than 60 years ago as a stunt-rider in early "westerns" filmed in the New Jersey hills.
    [Show full text]
  • Report to the U. S. Congress for the Year Ending December 31, 2003
    Report to the U.S.Congress for the Year Ending December 31,2003 Created by the U.S. Congress to Preserve America’s Film Heritage Created by the U.S. Congress to Preserve America’s Film Heritage April 30, 2004 Dr. James H. Billington The Librarian of Congress Washington, D.C. 20540-1000 Dear Dr. Billington: In accordance with Public Law 104-285 (Title II), The National Film Preservation Foundation Act of 1996, I submit to the U.S. Congress the 2003 Report of the National Film Preservation Foundation. It gives me great pleasure to review our accomplishments in carrying out this Congressional mandate. Since commencing service to the archival community in 1997, we have helped save 630 historically and culturally significant films from 98 institutions across 34 states and the District of Columbia. We have produced The Film Preservation Guide: The Basics for Archives, Libraries, and Museums, the first such publication designed specifically for regional preservationists, and have pioneered in pre- senting archival films on widely distributed DVDs and on American television. Unseen for decades, motion pictures preserved through our programs are now extensively used in study and exhibition. There is still much to do. This year Congress will consider the reauthorization of our federal grant programs. Increased funding will enable us to expand service to the nation’s archives, libraries, and museums and do more toward saving America’s film heritage for future generations. The film preser- vation community appreciates your efforts to make the case for increased federal investment. We are deeply grateful for your leadership. Space does not permit my acknowledging all those supporting our efforts in 2003, but I would like to single out several organizations that have played an especially significant role: the National Endowment for the Humanities, The Andrew W.
    [Show full text]
  • La Grande Avventura Di Raoul Walsh
    LA GRANDE AVVENTURA DI RAOUL WALSH The Big Adventure of Raoul Walsh Programma.a.cura.di./.Programme curated by. Peter von Bagh Note.di./.Notes by. Paola Cristalli,.Dave Kehr.e.Peter von Bagh 176 Dopo gli omaggi a Josef von Sternberg, Frank Capra, John Ford e After Sternberg, Capra, Ford and Hawks, the name that symbolizes Howard Hawks, ecco il nome che rappresenta l’avventura e il cine- the sense of adventure and pure cinema, action and meditation, ma puro, l’azione e la meditazione, lo spettacolo e il silenzio: Raoul spectacle and silence – Raoul Walsh (1887-1980). In the words of Walsh (1887-1980). Come ha scritto Jean Douchet, i film di Walsh Jean Douchet, Walsh’s films are “an inner adventure”: “This pas- sono “un’avventura interiore”: “Questo shakespeariano passionale sionate Shakespearian is so intensely phisical because, above all, è un regista intensamente fisico perché dipinge prima di tutto il he is painting the tumultuous mental world”. Our series consists tumultuoso mondo mentale”. Il nostro programma si compone di of a full set of silents, too often ignored as indifferent sketches on una selezione di film muti, importanti quanto spesso trascurati, e the way to things to come, plus selected treasures of the sound di alcuni tesori del periodo sonoro, a partire dalla magnifica avven- period, especially the early years which include the magnificent tura in formato panoramico di The Big Trail del 1930. 1930 adventure in widescreen The Big Trail plus some brilliant A Hollywood Walsh fu un ribelle solitario: rifiutò la rete di sicurezza bonuses from later years.
    [Show full text]
  • Catalogo Giornate Del Cinema Muto 2016
    ASSOCIAZIONE CULTURALE Chiba, Max Laiguillon, Eric Lange (Lobster Films); “LE GIORNATE DEL CINEMA MUTO” Lenny Borger. Germania: Thilo Gottschling, Andreas Lautil, Soci fondatori Matteo Lepore (ARRI Media GmbH); Karl Griep, Paolo Cherchi Usai, Lorenzo Codelli, Evelyn Hampicke, Egbert Koppe, Julika Kuschke Piero Colussi, Andrea Crozzoli, Luciano De (Bundesarchiv-Filmarchiv, Berlin); Hans-Michael Giusti, Livio Jacob, Carlo Montanaro, Mario Bock (CineGraph, Hamburg); Dirk Foerstner, Quargnolo†, Piera Patat, Davide Turconi† Martin Koerber (Deutsche Kinemathek, Presidente Berlin); Anke Mebold, Michael Schurig, Thomas Livio Jacob Worschech (Deutsches Filminstitut – DIF); Direttore emerito Andreas Thein (Filmmuseum Düsseldorf); David Robinson Stefan Drössler (Filmmuseum München); Ralf Forster (Filmmuseum Potsdam); Anke Wilkening Direttore (Friedrich-Wilhelm-Murnau-Stiftung); Christiane Jay Weissberg Reuter (Spielzeugmuseum der Stadt Tübingen); Lea-Aimee Frankenbach; Jeanpaul Goergen; Ringraziamo sentitamente per aver collaborato Megumi Hayakawa; Martin Loiperdinger. al programma: Giappone: Hisashi Okajima, Akira Tochigi Argentina: Fernando Martín Peña (Filmoteca (National Film Center of The National Museum of Buenos Aires); Paula Félix-Didier, Leandro Listorti Modern Art, Tokyo); Hiroshi Komatsu; (Museo del Cine Pablo C. Ducros Hicken, Buenos Johan Nordström. Aires). Italia: Flavia Barretti, Andrea Meneghelli, Australia: Joel Archer (Golden Oldies Cinema, Davide Pozzi, Elena Tammaccaro (Cineteca di Brisbane); Sally Jackson, Meg Labrum, Michael
    [Show full text]
  • National Gallery of Art Fall 2012 Film Program
    FILM FALL 2012 National Gallery of Art 9 Art Films and Events 16 A Sense of Place: František Vláčil 19 Shostakovich and the Cinema 22 Chris Marker: A Tribute 23 From Tinguely to Pipilotti Rist — Swiss Artists on Film 27 Werner Schroeter in Italy 29 American Originals Now: James Benning 31 On Pier Paolo Pasolini 33 Marcel Carné Revived Journey to Italy p. 9 National Gallery of Art cover: Marina Abramović: The Artist Is Present p. 11 Films are screened in the Gallery’s East Building Audito- This autumn’s offerings celebrate work by cinematic rium, Fourth Street and Pennsylvania Avenue NW. Works pioneers, innovators, and master filmmakers. The ciné- are presented in original formats and seating is on a concert Alice Guy Blaché, Transatlantic Sites of Cinéma first-come, first-seated basis. Doors open thirty minutes Nouveau features films by this groundbreaking direc- before each show and programs are subject to change. tor, accompanied by new musical scores, presented in For more information, visit www.nga.gov/programs/film, association with a University of Maryland symposium. e-mail [email protected], or call (202) 842-6799. Other rare screenings include three titles from the 1960s by Czech filmmaker František Vláčil; feature films made in Italy by German Werner Schroeter; two programs of work by the late French film essayist Chris Marker; an illustrated lecture about, a feature by, and a portrait of Italian auteur Pier Paolo Pasolini; a series devoted to the film scores of composer Dmitri Shostakovich; highlights from the 2012 International Festival of Films on Art; and recent docu- mentaries on a number of Switzerland’s notable contem- porary artists.
    [Show full text]
  • Report to the U. S. Congress for the Year Ending December 31, 2009
    Report to the U.S. Congress for the Year Ending December 31, 2009 Created by the U.S. Congress to Preserve America’s Film Heritage Created by the U.S. Congress to Preserve America’s Film Heritage April 12, 2010 Dr. James H. Billington The Librarian of Congress Washington, D.C. 20540-1000 Dear Dr. Billington: In accordance with The Library of Congress Sound Recording and Film Preservation Programs Reauthorization Act of 2008 (Public Law 110-336), I submit to the U.S. Congress the 2009 Report of the National Film Preservation Foundation. The NFPF presents this Report proud of deeds accomplished but humbled by the work still left to do. When the foundation started its grant program in 1998, only a handful of institutions had the resources to preserve historically significant American films in their collections. Now, thanks to federal funding secured through the Library of Congress as well as the support of the entertainment industry, 202 archives, libraries, and museums from coast to coast are saving American films and sharing them with the public. These efforts have rescued 1,562 works that might otherwise have been lost—newsreels, documentaries, silent-era features, avant-garde films, home movies, industrials, and independent productions. Films preserved through the NFPF are now used widely in education and reach audiences everywhere through theatrical exhibition, television, video, and the Internet. More culturally significant American films are being rediscovered every day—both here and abroad. Increasingly preservationists are finding that archives in other countries hold a key to unlocking America’s “lost” silent film heritage.
    [Show full text]
  • Report to the U.S. Congress for the Year Ending December 31, 2016
    Report to the U.S. Congress for the Year Ending December 31, 2016 Created by the U.S. Congress to Preserve America’s Film Heritage Created by the U.S. Congress to Preserve America’s Film Heritage August 15, 2017 Dr. Carla Hayden The Librarian of Congress Washington, D.C. 20540-1000 Dear Dr. Hayden: In accordance with The Library of Congress Sound Recording and Film Preservation Programs Reauthorization Act of 2008 (P.L. 110-336), I submit to the U.S. Congress the 2016 Report of the National Film Preservation Foundation. Americans have been making films for more than 120 years, but it is only in the last 30 that we have rallied to save those images. In 1996, Congress created the NFPF to help archives, libraries, and museums to rescue this history and share it with the public. Thanks to federal funding secured through the Library of Congress, entertainment industry and foundation support, and the unwaver- ing dedication of preservationists, there is much good news to report. As of 2016, the NFPF programs have preserved more than 2,290 motion pictures—newsreels, actualities, cartoons, silent-era productions, avant-garde films, home movies, and other independent works that might otherwise have faded from public memory. Tremendous credit is due to the 284 public institutions that have participated in our programs to save culturally significant motion pic- tures. Once copied to film stock and safely archived, the works begin a new life through teaching, exhibition, broadcast, DVD, and most especially, the Internet. With international partners, the NFPF has helped archives in the United States bring home 240 early American films that had not been seen in decades.
    [Show full text]
  • THE RED MIRAGE Br I
    THE FOREIGN LEGION (photoplay Jitieqf THE RED MIRAGE Br I. A. R. WYLIE CORNELL UNIVERSITY LIBRARY Cornell University Library PS 3545.Y52R3 1914 The foreign legioniphotoplay title of Th 3 1924 021 732 940 Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924021732940 THE RED MIRAGE A Universal-Jewel Production. The Foreign Legior}- Photoplay title of The Red Mirage. "GOODBYE, GABRIELLE—YOU HAVE OPENED MY EYES " THE FOREIGN LEGION PHOTOPLAY TITLE OF THE RED MIRAGE BY I. A. R. WYLIE AUTHOR OF FOUR SONS ILLUSTRATED WITH SCENES FROM THE PHOTOPLAY A UNIVERSAL-JEWEL PRODUCTION q£K^ NEW TORK GROSSET & DUNLAP P1JBI,I,SHERS All Rights Reserved Tte Boebs-Merrill Company CONTENTS CHAPTER PACr I No. 3112 1 n The Man She Left Behind Her 14 III The Fourth Floor Back ,25 IV The Great Law Comes Into Force . .37 V Mrs. Farquhar Explains 47 VI Colonel Destinn of the Legion 57 VII Richard Nameless 6S VIII Corporal Gotz Plays "Rule, Brittania'* . .73 IX At the Villa Bernotto's 8& X It Is the Devil W^ho Drives 91 XI Justification lOJ XII A Grave Is Opened 108 XIII The Rising Tide 120 XIV Behind the Mosque 124- XV The Choice 132 XVI Dreams 148 XVII The End of Ramazan 160 XVIII Mrs. Farquhar 177 XIX In the Teeth of the Storm 187 XX The Return 199 XXI Masquerade 213 XXII The Last Offer , 226 XXIII FateDeodes 239 XXIV Atonement 254 XXV Toward Dawn 265 XXVI Kismet 279 XXVII The Oasis 291 THE RED MIRAGE THE RED MIRAGE CHAPTER I jsro.
    [Show full text]
  • Viewed Through the UAF Web Site
    Report to the U.S.Congress for the Year Ending December 31,2006 Created by the U.S. Congress to Preserve America’s Film Heritage Created by the U.S. Congress to Preserve America’s Film Heritage April 6, 2007 Dr. James H. Billington The Librarian of Congress Washington, D.C. 20540-1000 Dear Dr. Billington: In accordance with Public Law 109-9 (Title IIIB), The National Film Preservation Foundation Reauthorization Act of 2005, I submit to the U.S. Congress the 2006 Report of the National Film Preservation Foundation. As you know, the 2005 legislation increased the annual federal funding for our national preservation programs to $530,000. These resources have made a significant difference. This past year, we were able not only to assist more institutions but also to support larger, more complex projects, such as the restoration of the silent-era classic Huckleberry Finn and newly discovered small-town portraits by itinerant filmmaker H. Lee Waters. All told, the NFPF has now helped 150 archives, libraries, and museums across 38 states to save historically and culturally significant films that might otherwise have been lost to the public. The Library of Congress took extraordinary steps to secure full funding for our first year under the reauthorization, and we are deeply grateful for your leadership. This past year also marked a watershed for cooperative access projects. We published The Field Guide to Sponsored Films, the first introduction to the motion pictures commissioned by businesses, charities, and advocacy groups over the past century, and began work on two more DVD sets of long-unavailable films.
    [Show full text]
  • Guide to the Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera
    Guide to the Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera NMAH.AC.1211 Franklin A. Robinson, Jr. 2019 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Stage Musicals and Vaudeville, 1866-2007, undated............................... 4 Series 2: Motion Pictures, 1912-2007, undated................................................... 327 Series 3: Television, 1933-2003, undated............................................................ 783 Series 4: Big Bands and Radio, 1925-1998,
    [Show full text]