The Golden Scorpion

Total Page:16

File Type:pdf, Size:1020Kb

The Golden Scorpion THE GOLDEN SCORPION BY SAX ROHMER © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc This PDF eBook was produced in the year 2009 by Tantor Media, Incorporated, which holds the copyright thereto. © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc Contents Part I: The Cowled Man Chapter I: The Shadow of a Cowl Chapter II: The Pibroch of the M’Gregors Chapter III: The Scorpion’s Tail Chapter IV: Mademoiselle Dorian Chapter V: The Sealed Envelope Chapter VI: The Assistant Commissioner Chapter VII: Contents of the Sealed Envelope Chapter VIII: The Assistant Commissioner’s Theory Chapter IX: The Chinese Coin Chapter X: “Close Your Shutters at Night” Chapter XI: The Blue Ray Part II: Statement of M. Gaston Max I. The Dancer of Montmartre Chapter I: Zara El-Khala Chapter II: Concerning the Grand Duke Chapter III: A Strange Question Chapter IV: The Fight in the Café II. “Le Balafre” Chapter I: I Become Charles Malet Chapter II: Baiting the Trap Chapter III: Disappearance of Charles Malet Chapter IV: I Meet an Old Acquaintance Chapter V: Conclusion of Statement Part III: At the House of Ah-Fang-Fu Chapter I: The Brain-Thieves Chapter II: The Red Circle Chapter III: Miska’s Story Chapter IV: Miska’s Story (concluded) 2 © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc Chapter V: The Heart of Chunda Lal Chapter VI: The Man with the Scar Chapter VII: In the Opium Den Chapter VIII: The Green-Eyed Joss Part IV: The Lair of the Scorpion Chapter I: The Sublime Order Chapter II: The Living Death Chapter III: The Fifth Secret of Rache Churan Chapter IV: The Guile of the East Chapter V: What Happened to Stuart Chapter VI: “Jey Bhowani!” Chapter VII: The Way of the Scorpion 3 © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc. © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc © 2009 Tantor Media, Inc.
Recommended publications
  • Issue Hero Villain Place Result Avengers Spotlight #26 Iron Man
    Issue Hero Villain Place Result Avengers Spotlight #26 Iron Man, Hawkeye Wizard, other villains Vault Breakout stopped, but some escape New Mutants #86 Rusty, Skids Vulture, Tinkerer, Nitro Albany Everyone Arrested Damage Control #1 John, Gene, Bart, (Cap) Wrecking Crew Vault Thunderball and Wrecker escape Avengers #311 Quasar, Peggy Carter, other Avengers employees Doombots Avengers Hydrobase Hydrobase destroyed Captain America #365 Captain America Namor (controlled by Controller) Statue of Liberty Namor defeated Fantastic Four #334 Fantastic Four Constrictor, Beetle, Shocker Baxter Building FF victorious Amazing Spider-Man #326 Spiderman Graviton Daily Bugle Graviton wins Spectacular Spiderman #159 Spiderman Trapster New York Trapster defeated, Spidey gets cosmic powers Wolverine #19 & 20 Wolverine, La Bandera Tiger Shark Tierra Verde Tiger Shark eaten by sharks Cloak & Dagger #9 Cloak, Dagger, Avengers Jester, Fenris, Rock, Hydro-man New York Villains defeated Web of Spiderman #59 Spiderman, Puma Titania Daily Bugle Titania defeated Power Pack #53 Power Pack Typhoid Mary NY apartment Typhoid kills PP's dad, but they save him. Incredible Hulk #363 Hulk Grey Gargoyle Las Vegas Grey Gargoyle defeated, but escapes Moon Knight #8-9 Moon Knight, Midnight, Punisher Flag Smasher, Ultimatum Brooklyn Ultimatum defeated, Flag Smasher killed Doctor Strange #11 Doctor Strange Hobgoblin, NY TV studio Hobgoblin defeated Doctor Strange #12 Doctor Strange, Clea Enchantress, Skurge Empire State Building Enchantress defeated Fantastic Four #335-336 Fantastic
    [Show full text]
  • Ancient Egyptian Chronology.Pdf
    Ancient Egyptian Chronology HANDBOOK OF ORIENTAL STUDIES SECTION ONE THE NEAR AND MIDDLE EAST Ancient Near East Editor-in-Chief W. H. van Soldt Editors G. Beckman • C. Leitz • B. A. Levine P. Michalowski • P. Miglus Middle East R. S. O’Fahey • C. H. M. Versteegh VOLUME EIGHTY-THREE Ancient Egyptian Chronology Edited by Erik Hornung, Rolf Krauss, and David A. Warburton BRILL LEIDEN • BOSTON 2006 This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Ancient Egyptian chronology / edited by Erik Hornung, Rolf Krauss, and David A. Warburton; with the assistance of Marianne Eaton-Krauss. p. cm. — (Handbook of Oriental studies. Section 1, The Near and Middle East ; v. 83) Includes bibliographical references and index. ISBN-13: 978-90-04-11385-5 ISBN-10: 90-04-11385-1 1. Egypt—History—To 332 B.C.—Chronology. 2. Chronology, Egyptian. 3. Egypt—Antiquities. I. Hornung, Erik. II. Krauss, Rolf. III. Warburton, David. IV. Eaton-Krauss, Marianne. DT83.A6564 2006 932.002'02—dc22 2006049915 ISSN 0169-9423 ISBN-10 90 04 11385 1 ISBN-13 978 90 04 11385 5 © Copyright 2006 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Hotei Publishing, IDC Publishers, Martinus Nijhoff Publishers, and VSP. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Brill provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA.
    [Show full text]
  • (“Spider-Man”) Cr
    PRIVILEGED ATTORNEY-CLIENT COMMUNICATION EXECUTIVE SUMMARY SECOND AMENDED AND RESTATED LICENSE AGREEMENT (“SPIDER-MAN”) CREATIVE ISSUES This memo summarizes certain terms of the Second Amended and Restated License Agreement (“Spider-Man”) between SPE and Marvel, effective September 15, 2011 (the “Agreement”). 1. CHARACTERS AND OTHER CREATIVE ELEMENTS: a. Exclusive to SPE: . The “Spider-Man” character, “Peter Parker” and essentially all existing and future alternate versions, iterations, and alter egos of the “Spider- Man” character. All fictional characters, places structures, businesses, groups, or other entities or elements (collectively, “Creative Elements”) that are listed on the attached Schedule 6. All existing (as of 9/15/11) characters and other Creative Elements that are “Primarily Associated With” Spider-Man but were “Inadvertently Omitted” from Schedule 6. The Agreement contains detailed definitions of these terms, but they basically conform to common-sense meanings. If SPE and Marvel cannot agree as to whether a character or other creative element is Primarily Associated With Spider-Man and/or were Inadvertently Omitted, the matter will be determined by expedited arbitration. All newly created (after 9/15/11) characters and other Creative Elements that first appear in a work that is titled or branded with “Spider-Man” or in which “Spider-Man” is the main protagonist (but not including any team- up work featuring both Spider-Man and another major Marvel character that isn’t part of the Spider-Man Property). The origin story, secret identities, alter egos, powers, costumes, equipment, and other elements of, or associated with, Spider-Man and the other Creative Elements covered above. The story lines of individual Marvel comic books and other works in which Spider-Man or other characters granted to SPE appear, subject to Marvel confirming ownership.
    [Show full text]
  • The Muppets Take the Mcu
    THE MUPPETS TAKE THE MCU by Nathan Alderman 100% unauthorized. Written for fun, not money. Please don't sue. 1. THE MUPPET STUDIOS LOGO A parody of Marvel Studios' intro. As the fanfare -- whistled, as if by Walter -- crescendos, we hear STATLER (V.O.) Well, we can go home now. WALDORF (V.O.) But the movie's just starting! STATLER (V.O.) Yeah, but we've already seen the best part! WALDORF (V.O.) I thought the best part was the end credits! They CHORTLE as the credits FADE TO BLACK A familiar voice -- one we've heard many times before, and will hear again later in the movie... MR. EXCELSIOR (V.O.) And lo, there came a day like no other, when the unlikeliest of heroes united to face a challenge greater than they could possibly imagine... STATLER (V.O.) Being entertaining? WALDORF (V.O.) Keeping us awake? MR. EXCELSIOR (V.O.) Look, do you guys mind? I'm foreshadowing here. Ahem. Greater than they could possibly imagine... CUT TO: 2. THE MUPPET SHOW COMIC BOOK By Roger Langridge. WALTER reads it, whistling the Marvel Studios theme to himself, until KERMIT All right, is everybody ready for the big pitch meeting? INT. MUPPET STUDIOS The shout startles Walter, who tips over backwards in his chair out of frame, revealing KERMIT THE FROG, emerging from his office into the central space of Muppet Studios. The offices are dated, a little shabby, but they've been thoroughly Muppetized into a wacky, cozy, creative space. SCOOTER appears at Kermit's side, and we follow them through the office.
    [Show full text]
  • Superman Real Name: Kal-El (Krypton), Clark David Xavier (Earth) Occupation: X-Man Marital Status: Engaged to Phoenix (Jean Grey) Ht: 6'3" Wt: 225 Lbs
    Superman Real Name: Kal-el (Krypton), Clark David Xavier (Earth) Occupation: X-Man Marital Status: Engaged to Phoenix (Jean Grey) Ht: 6'3" _ Wt: 225 lbs. Eyes/Hair: Blue / Black First Appearance: "What if Superman were an X-Man?" Vol. 1 (current), Action Comics #1 (June 1938) (historical) Superman is the last son of a doomed world. After the Skrulls found themselves unable to conquer Krypton, they destroyed the planet. Due to the Eradicator Virus, most Kryptonians would have died if they had left the planet, but Superman's father, Jor-el, had used an experimental serum, which left his newborn son immune to the virus. Rather than watch their son die, Jor-el and Lara chose to take a chance and send Kal-el to another world. Having studied Earth, and finding it to his liking, Jor-el sent his son there. Arriving on Earth, fate lead to Kal-el's discovery by young mutant Charles Xavier. Learning of the child's origin from a telepathic transmitter in the ship, Xavier dubbed the infant Clark, and decided to raise the boy as his own. Thus Clark became one of the founding members of the X-Men, a mutant super-hero team, dedicated to promoting peace between mutants and 'normal' humans. In this role he has encountered many hero and villains. When not out saving the world, Superman acts a linguistics teacher at the Xavier Institute, trains with his fellow X-Men, and engages in 'normal' activities (going on dates with Jean, taking the students to baseball games, etc).
    [Show full text]
  • Rampart-Scorpion-Catalog.Pdf
    Canada’s leading supplier of operational equipment 1-855-729-0446 WE HAVE ACCESS TO 50,000+ PRODUCTS AND 500+ MANUFACTURERS [email protected] WE CAN MEET EVEN THE MOST CHALLENGING MISSION REQUIREMENTS. BRING US YOURS. RAMPARTCORP.COM Scorpion Personal Protective Equipment The global market for Personal Protective Equipment (PPE) is evolving rapidly in response to the ever-changing needs of the security sector. It is therefore essential for security forces to equip themselves with protection that will perform in the highest risk environments and offer excellent durability and resilience. Public Order Training, USA FEMALE OFFICER PROTECTION Scorpion PPE has been recognised as a market-leading, high quality brand, able to cope (with SOLO SHIELD) with many different situations. The Scorpion Range of Personal Shields range is designed to offer a high degree of protection and an ease of deployment that greatly increases its effectiveness as well as ‘behind-the-scenes’ features such as ergonomic handles and a stacking capability for storage that ensure a perfect fit for the modern security department. TESTED AND APPROVED DMS Protective Equipment Ltd has a Quality Management System certified to the very latest ISO9001:2015 standard. Scorpion Limb FM: 56364 BS EN ISO 9001:2015 Protection has been tested and certified to both BS7971-4:2002 and the UK Home Office CAST standard 20/07. The Scorpion range of personal shields has been tested and certified to BS7971-3:2002. MADE IN THE UK Based in Ludlow, in the heart of England, our factory produces PPE of the highest standards to be deployed by police and security forces around the world.
    [Show full text]
  • Super Heroes
    BRP WRE Bizarro Day! (DC Super Friends) Crime Wave! (DC Super Friends) Super Hardcover B8555BR Brain Freeze! (DC Super Friends) Heroes H2934GO Going Bananas (DC Super Friends) S5395TR T. Rex Trouble (DC Super Friends) W9441CR Crime Wave! (DC Super Friends) Juvenile Fiction Beginning Readers Paperback JUV ASH Batman: The Brave and the Bold Paperback BRP ASH Batman and Friends JUV DCS The Flash: Shadow of the Sun Captain Cold’s Artic Eruption (The BRP BRI Batman Versus Man-Bat Flash) Gorilla Warfare (The Flash) BRP ELI Flying High (DC Super Friends) Shell Shocker (The Flash) BRP FIG Spider-Man Saves the Day The Attack of Professor Zoom! (The Flash) BRP HIL Spider-Man Versus the Scorpion Wrath of the Weather Wizard (The Flash) Spider-Man Versus the Lizard Battle of the Blue Lanterns (Green Spider-Man Amazing Friends Lantern) Beware Our Power (Green Lantern) BRP LEM Superman Versus the Silver Banshee Guardian of Earth (Green Lantern) Batman: Who is Clayface? The Last Super Hero (Green Lantern) The Light King Strikes! (Green Lantern) BRP ROS Friends and Foes (Superman) Man of Steel: Superman’s Superpowers JUV JAF Wonder Woman Team Spirit (Marvel Super Hero Squad) The Trouble with Thor JUV JUS In Darkest Night (Justice League) BRP SAZ Superman: Escape from the Phantom Secret Origins (Justice League) Zone The Gauntlet (Justice League) Wings of War (Justice League) BRP SHE T. Rex Trouble (DC Super Friends) Aliens Attack (Marvel Super Hero JUV LER Batman Begins: The Junior Novel Squad) JUV SUP Superman Returns: The Last Son of BRP STE I Am Wonder
    [Show full text]
  • 1279 PROTO, EARLY DYNASTIC EGYPT, and EARLY BRONZE I-II of the SOUTHERN LEVANT: SOME UNEASY 14C CORRELATIONS Eliot Braun The
    PROTO, EARLY DYNASTIC EGYPT, AND EARLY BRONZE I-II OF THE SOUTHERN LEVANT: SOME UNEASY 14C CORRELATIONS Eliot Braun Israel Antiquities Authority, P.O. Box 21, Jerusalem 91004. Email: [email protected]. ABSTRACT. A number of recent radiocarbon determinations from several sites in Israel suggest advancing, by some con- siderable period of time, both the onset of the cultural horizon known as Early Bronze I and the appearance of its latest phases. The logical outcome of the acceptance of these new dates puts such a strain on chronological correlations between the 14C data and the archaeological record that the entire system would no longer be tenable if they were accepted. This paper examines in detail the problematic nature of these “uneasy correlations.” INTRODUCTION The later prehistory (from Upper Paleolithic through Early Bronze) of the southern Levant (the land mass covered by the modern polities of Israel, Jordan, the Palestinian Autonomous Authority, and Egyptian Sinai) is represented by a well known sequence of cultural facies, for which archaeologists have determined a basic relative chronology (Mazar 1990:30). For most of these periods radiocar- bon determinations are the backbone of an absolute chronology that has become more and more pre- cise with the honing of scientific methodology that allows for calibration of raw data expressed as calendric dates. They are, indeed, our only source of absolute chronology for all these millennia until the end of a cultural horizon known as EB I,1 and the beginning of the succeeding cultural phase EB II. Initial phases of EB I are conventionally believed to follow the collapse of the Late Chalcolithic cul- ture (Braun 1989; Joffe and Dessel 1995:512; Gilead 1994:10), though just when this event took place has been subject to debate (cf.
    [Show full text]
  • Cwiek, Andrzej. Relief Decoration in the Royal
    Andrzej Ćwiek RELIEF DECORATION IN THE ROYAL FUNERARY COMPLEXES OF THE OLD KINGDOM STUDIES IN THE DEVELOPMENT, SCENE CONTENT AND ICONOGRAPHY PhD THESIS WRITTEN UNDER THE SUPERVISION OF PROF. KAROL MYŚLIWIEC INSTITUTE OF ARCHAEOLOGY FACULTY OF HISTORY WARSAW UNIVERSITY 2003 ACKNOWLEDGMENTS This work would have never appeared without help, support, advice and kindness of many people. I would like to express my sincerest thanks to: Professor Karol Myśliwiec, the supervisor of this thesis, for his incredible patience. Professor Zbigniew Szafrański, my first teacher of Egyptian archaeology and subsequently my boss at Deir el-Bahari, colleague and friend. It was his attitude towards science that influenced my decision to become an Egyptologist. Professor Lech Krzyżaniak, who offered to me really enormous possibilities of work in Poznań and helped me to survive during difficult years. It is due to him I have finished my thesis at last; he asked me about it every time he saw me. Professor Dietrich Wildung who encouraged me and kindly opened for me the inventories and photographic archives of the Ägyptisches Museum und Papyrussammlung, and Dr. Karla Kroeper who enabled my work in Berlin in perfect conditions. Professors and colleagues who offered to me their knowledge, unpublished material, and helped me in various ways. Many scholars contributed to this work, sometimes unconsciously, and I owe to them much, albeit all the mistakes and misinterpretations are certainly by myself. Let me list them in an alphabetical order, pleno titulo: Hartwig
    [Show full text]
  • Before the Pyramids Oi.Uchicago.Edu
    oi.uchicago.edu Before the pyramids oi.uchicago.edu before the pyramids baked clay, squat, round-bottomed, ledge rim jar. 12.3 x 14.9 cm. Naqada iiC. oim e26239 (photo by anna ressman) 2 oi.uchicago.edu Before the pyramids the origins of egyptian civilization edited by emily teeter oriental institute museum puBlications 33 the oriental institute of the university of chicago oi.uchicago.edu Library of Congress Control Number: 2011922920 ISBN-10: 1-885923-82-1 ISBN-13: 978-1-885923-82-0 © 2011 by The University of Chicago. All rights reserved. Published 2011. Printed in the United States of America. The Oriental Institute, Chicago This volume has been published in conjunction with the exhibition Before the Pyramids: The Origins of Egyptian Civilization March 28–December 31, 2011 Oriental Institute Museum Publications 33 Series Editors Leslie Schramer and Thomas G. Urban Rebecca Cain and Michael Lavoie assisted in the production of this volume. Published by The Oriental Institute of the University of Chicago 1155 East 58th Street Chicago, Illinois 60637 USA oi.uchicago.edu For Tom and Linda Illustration Credits Front cover illustration: Painted vessel (Catalog No. 2). Cover design by Brian Zimerle Catalog Nos. 1–79, 82–129: Photos by Anna Ressman Catalog Nos. 80–81: Courtesy of the Ashmolean Museum, Oxford Printed by M&G Graphics, Chicago, Illinois. The paper used in this publication meets the minimum requirements of American National Standard for Information Service — Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984 ∞ oi.uchicago.edu book title TABLE OF CONTENTS Foreword. Gil J.
    [Show full text]
  • Menes, La Memoire Monarchique Et La Chronologie Du Iue Millenaire
    ArcIJeo-Nilno9 - 1999 Menes, la memoire monarchique et la chronologie du IUe millenaire NE LOXGUE TRADITION H1STORIQUE EG\1'Tffi\XE FAIT DE ME,\'Es LE PREMIER Dl= et, scIon Herodote, le fondateur de Memphis. Derriere cette figure legendalre, dont le nom n'est pas atteste sous une forme royale dans les sources archalques, se cacherait soit Narmer, soit son Usuccesseur Aha (pour un etat de la question, cf. Midant-Reynes 1992 : 231-234 ; Ver- coutter 1992 : 207-209; wilkinson 1999 : 66-68). En faveur du second, on invoque l'installation de la necropole de Saqqara-Nord, temoin indirect de la fondation de la capitale (EmelY 1961 : 36-37). Une seule tombe etant concernee par un materieI coherent date de Aha (S 3357), l'argument reste fragile, d'autant que la necropole de la I" dyn. n'a pas encore ete fouillee exhaustivement, pa11icu­ lierement dans sa pa11ie sud (Jefii'eys & Tavares 1994 : 147), comme le confirment des decouvertes recentes du CSA (ibid. etJeffreys 1996 : 3). r.e lien avcre de la necropole de Hclouan avec la (future?) capitale montre, par ailleurs, en raison de l'attestation d'un roi anterieur a Narmer, I'Horus Ka (Naqada lIIB, selon la terminologie rm11e par Hendrickx 1996), que la fondation du site urbain est au Illoins contemporaine de la fin de la dynastie 0 (Wilkinson 1996: 347-348). L'analyse recente d'un sceau-cylindre en relation avec le palais royal (1), date de Naqada IlIA1-B, pourrait bien confir­ mer a la fois l'anciennete de la fondation de la ville et son statut de capitale (Kohler 1999).
    [Show full text]
  • Cyberscribe 165-May 2009
    Cyberscribe 165 1 CyberScribe 165 - May 2009 Perhaps the most interesting…accompanied by the most silly…news item this past month is the story about CAT scanning the famous bust of Nefertiti. A wonderful article appeared in ‘Radiology’: Volume 251: Number 1—April 2009, pp 233-240, the paper entitled: ‘Nondestructive Insights into Composition of the Sculpture of Egyptian Queen Nefertiti with CT’ by Alexander Huppertz, Dietrich Wildung, Barry J. Kemp, Tanja Nentwig, Patrick Asbach, Franz Maximilian Rasche, Bernd Hamm. The CyberScribe regrets that he cannot reprint the main article, but the abstract data below give the gist of the study: “Purpose: To assess the conservation status of, to gain information on the creation of, and to provide surface reformations of the core and the surface of the bust of the pharaoh-queen Nefertiti, considered to be one of the greatest treasures of ancient Egyptian art, with computed tomography (CT). “Materials and Methods: Multisection CT was performed with 0.6-mm section thickness. Two- and three-dimensional reformations were made to depict the core and the surface separately. “Results: The stucco layer on the face and the ears was very thin, a maximum of 1–2 mm thick. The rear part of the reconstructed crown showed two thick stucco layers of different attenuation values, indicating that a multistep process was used to create the sculpture. Within the stucco, a great number of air- Equivalent hypoattenuating areas, filamentous fissures parallel to the surface, and an inhomogeneous bonding between the layers were delineated. Nefertiti’ s inner face was not anonymous, but rather delicately sculpted by the royal sculptor Thutmose.
    [Show full text]