They've got the world at their feet, but have they got what it takes? When Sammy Lieberman joins the National Academy of Dance he soon learns there’s a lot on his plate: overcoming his weak ankles, fighting his father’s determination that he should become a doctor and running from Saturday class to synagogue. But just when Sammy thinks he’s making progress his own feelings confront him with even greater challenges.
Matt Blake, is a heart old banker, who never had any compassion for his employees. He did not pay them generously, to put it mildly, and he fired them for outrageous reasons, like they have been sick and left work for a day. One fine day, Blake is holding a meeting at the First Central Bank of East Main where he works as the president of the bank. He leers at a pretty blond haired woman with blue eyes and ample breasts who walks into the building. The great-looking woman happens to carry a sawed-off shotgun and orders the bank employees to give her money in bags. The workers obey her. When Blake tried to intervene, she shoots him down.
Before security guards could stop her, she rushes to an elevator with the money she just robbed. Of course, security guards are waiting for her on the upper floor, however, the woman mysteriously disappears on her way there. Nobody can understand how and where she could escape, along with the money she robbed. When the doors of the elevator slide open, nobody is there. Who killed Matt Blake? Where did she go? Match wits with Alex French and see if you can catch the killer.
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Êtes-vous prêt pour la Déferlante ? Découvrez l’ultime saison d’Effet de Vague ! Trop tard. Je suis arrivé trop tard pour la sauver et ça me tue. Je suis son mari. Celui qui doit la mettre à l’abri. Je suis nul comme mari. Je voudrais repousser les pierres, remonter le temps, sauf que j’ai encore la sensation d’avoir reçu un coup dans le ventre en la découvrant étendue à même le sol. Aussi livide que si on lui avait retiré tout son sang. Tout est remonté à la surface, putain. J’étais terrifié et tremblant comme s’il approchait à nouveau derrière moi. Je l’ai cru morte. Rien sur cette Terre ne pourra faire disparaître cette image. La plupart du temps, j’arrive à repousser les souvenirs au fin fond de mon esprit, mais cette image-là, je sais que je n’y parviendrai pas. C’était bizarre. D’un coup, je n’entendais plus sa voix dans ma tête.
Les mots étaient les siens mais c’est ma voix intérieure que j’entendais. Pas la sienne.
J’aurais donné n’importe quoi pour l’entendre à nouveau me parler et la colère s’y rajoute. Pure et violente, l’envie de tuer se répand dans mon corps et élimine tout ce qui me reste d’humanité, d’éducation bourgeoise ou de souffrance. Peu importe ce que veulent faire Kabbani ou le FBI, l’autre enfoiré avait déjà échappé aux hommes de Luba à mon arrivée mais je jure que je vais le retrouver avant eux. Dussé-je fouiller la Terre entière, centimètre par centimètre, le restant de mes jours. Et je filmerai sa mort pour me la repasser en boucle. *** Matt Garrett, c’est zéro émotion. D’énormes moyens.
Aucune morale pour les utiliser. En affaires, s’il n’y a pas de danger, un Guerrier comme lui ne fait pas la guerre. S’il n’y a pas d’enjeu, Matt Garrett n’agit pas. Si le but n’est pas atteignable, il n’engage pas ses troupes. Alors que la passion embrouille tout, que les siens sont menacés, que l’ennemi se sert de son intimité pour l’affaiblir, la folie est de croire que l’homme sans émotion ni morale va se comporter de la même manière qu’un autre. Mais qu’en sera-t-il quand les événements l’amèneront à endosser un nouveau rôle ? Un rôle pour lequel le Guerrier n’est pas du tout préparé… *** L’ultime saison de la série ! Love you Épisode 3 sur 3.
WHO KNOWS WHAT EVIL LURKS IN THE HEARTS OF MEN? The marks of death were upon them. A mysterious round burn no bigger than a dime scarred each forehead; upon each throat was a thin, almost invisible white line. The police were baffled, but each of the victims knew that his time was up and his page in the book of death had come due. It was obviously a case for THE SHADOW but the most famous crimefighter of all was missing! Where was the Master of Darkness? Had he finally succumbed to his brilliant adversary, the High Priest of the Cult of Kali? The evil genius who had infiltrated New York's underworld like a disease was now determined to destroy the last obstacle in his mad lunge for total power: THE SHADOW! Originally published in Shadow Magazine, Volume II, Number 6, July 1932.
From the beginning, American culture was steeped in the language of theology. The arts, in particular, were inextricably linked with religion. As author Gene Edward Veith shows in Painters of Faith, belief in the spiritual power of art provided the basis for America’s first major artistic movement, the Hudson River School. The personal faith of Thomas Cole, Asher B. Durand, Jasper Cropsey, Frederic Church, and the other Hudson River School painters inspired their transcendent landscapes. In this fascinating and beautifully illustrated work, Veith explores that faith and the crucial role it played in their artistic creations. Aesthetics, he shows, could not be separated from theology. In reconstructing the worldview of the artists as well as of much of the American public in the nineteenth century, Veith delves into the writings of Martin Luther, John Calvin, and the American Puritan preacher Jonathan Edwards to find the roots of a Protestant aesthetic. While Protestantism is not ordinarily associated with a strong artistic tradition, Veith reveals how Protestant Christianity in nineteenth-century America was indeed a catalyst for the arts. In fact, the clergy were among the most ardent promoters of the arts in the new republic, and theological journals continually carried on discussions about art. The Hudson River School artists, in particular, expressed ambitious themes, employing narrative, symbolism, and allegory to convey moral and spiritual truths. Complete with forty-two full-color illustrations, Painters of Faith is an in-depth examination of the artistic and theological context in which these painters worked—and a gripping look at the cultural development of early America.
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