Dr. Chamomile Toser specializes in analyzing evidence and bones, with the help of her partner, FBI Agent Seth Billings, who brings her a new, mysterious case pops up. Twelve people have been murdered, and there's almost no usable evidence. Toser agrees to take the case, and soon her team of talented scientists is neck-deep in the investigation.

This serial killer is good, but no criminal can run forever. Meanwhile, Toser is dealing with some uncomfortable emotions-she's falling in love with her partner. Seth feels the same way, but he knows there's more to Toser than law and science. He suspects she's been lying to him, or at least hiding a secret from her past.

It's not long before that past catches up with her. The serial killer is someone she knows, and he has chosen his next target: her. Now, Toser has to make a tough call. Does she tell Seth the truth and accept his assistance in catching the killer, or does she keep her secrets safe and set out on her own to stop further bloodshed?

On a sunny afternoon in August of 1970, the Eastern Caribbean was, without warning, confronted with a terrible and tragic event. The Christena, a well-used ferry that regularly crossed the eleven-mile expanse between the twin islands if St. Kitts and Nevis sank. The two British colonial societies were suddenly thrown into turmoil, finding themselves unprepared to deal with such sudden tragedy. The ferry was registered to carry 155 passengers, but it was severely overloaded. While ninety-nine people survived that afternoon, nearly 250 other passengers perished disaster.

As if their struggle to heal after the tragedy was not taxing enough, the islands had yet more adversity to conquer. However, both societies were determined to overcome that terrible event, even as they fought to achieve greater political independence.

Told from the perspective of Whitman T. Browne, PhD, a native if Nevis, who lived on the island at the time of the tragedy. "The Christena Disaster Forty-Two Years Later" is a moving, firsthand account of how these sister communities banded together, not only to win their political autonomy, but also to overcome their emotional suffering as a result of greater tragedy.

Charles Jeremiah Wells (1798-1879) was an English poet. in 1875, Algernon Charles Swinburne wrote a study of Joseph and His Brethren (originally produced in 1824) in the Fortnightly Review and the drama was reprinted in 1876.

A collection of three radio plays, including a Poirot story, for live performance comprised of Personal Call, Yellow Iris, and Butter in a Lordly Dish. Personal Call sees James Brent haunted by his dead wife when he receives a mysterious telephone call, seemingly from beyond the grave. Yellow Iris marked Hercule Poirot's debut appearance on radio in which the famous detective is called to the hotel Jardin des Cygnes to solve an old case in which a cold-blooded killer escaped justice and slipped through his fingers. Butter in a Lordly Dish sees eminent prosecution barrister Sir Luke Enderby get his comeuppance in one of Christie's most gruesome and horrifying murders.

George Bernard Shaw (1856-1950) won the Nobel Prize in Literature in 1925 and was one of the great literary minds of his day, in addition to being one of its most entertaining personalities. In his youth he became an ardent socialist and wrote five novels, which are still very entertaining, although Shaw truly found his creative identity on the stage and lectern. While he was a great dramatist, it is possible to argue that Shaw's prefaces are better than his plays. Certainly they are masterful expositions of his ideas, and among the finest essays in English. If there is one defining virtue in Shaw, it is his ability to ask awkward questions. He was not someone who accepted the status quo; instead he spent the whole of his very long life in search of something better, as wit, critic, curmudgeon, and revolutionary. Among his greatest plays are CAESAR AND CLEOPATRA, MAN AND SUPERMAN, BACK TO METHUSELAH, SAINT JOAN, MAJORA BARBARA, PYGMALION (the basis for the musical -- and film -- MY FAIR LADY), and ANDROCLES AND THE LION. He wrote voluminously on social and political issues. His THE INTELLIGENT WOMAN'S GUIDE TO SOCIALISM (1928) was enormously popular at the time. He continued to publish until nearly the end of his life. Among his last works are SIXTEEN SELF-SKETCHES (1948), BOUYANT BILLIONS (1948) and FAR-FETCHED FABLES (1950).

The Servant of Two Masters - rough and tumble, lightning paced world of street theatre and strolling players - is the crowning glory of the Commedia del'Arte tradition that so influenced Shakespeare's comedies and western theatrics. Truffaldino couldn't be happier with his change of circumstance balancing two jobs and earning double the wage. But his 'masters' turn out to be separated lovers on the run staying at the same inn. Hoop-la and hilarity take hold in this comedy of love gone wrong and mistaken identity in romantic Venice. This version of the play was produced by Bell Shakespeare - to critical acclaim - in 2003 with a return season in 2004.

PHOTOGRAPHIC MAKE-UP HARRY ROY Photograph by the Author PHOTOGRAPHIC MAKE-UP By JACK EMERALD Associate Institute of British Photographers Associate Royal Photographic Society FOUNTAIN PRESS - LOJtfDON CONTENTS Page Foreword by MAX FACTOR, JR 9 Introduction . . . . . . . . . . . . - - 13 Section One BASIC MAKE-UP TECHNIQUE Make-up for Women . . . . . . . . - - 17 Technique of Application . . . . . . . - 17 Application of Foundation Make-up . . . . . . 18 Pan-Cake Make-up Foundation . . . . - - 19 Pan-Stik Make-up 19 Highlighting . . . . . . . - - 20 Eye-shadow . . . . . . . - 21 Powdering . . . . . . - . . - - 22 Re - shaping Eyebrows . . . . . . - . - - 23 Lip-Colour and Its Use . . . . . . 23 Mascara and Its Use 30 Make-up for Men . . . . . - 31 Section Two CORRECTIVE TECHNIQUE Face Shapes . . . . - 35 Re-modelling Triangular Face Contours . . . . 36 Foundation Colour for the Triangular Face . . . . 37 Re-modelling the Inverted Triangle Face . . . . 38 Re-modelling the Round Face 42 Re-modeElng the Square Face 42 Re-modelling the Chin - - - 44 Re-styling Eyes 45 Re-shaping the Nose . . . . . . . - 50 Making up the Lips . . . . . . . . - 52 General Points for Lip Re-styling 54 Removal of Wrinkles . . . . . . . . . . 54 Summary . . . . . . - - - - 57 Section Three CHARACTER MAKE-UP Crepe Hair 61 Applying Hair to the Face . . . . . . . . 63 Creating a Beard with Crepe Hair . . . . ., 63 A Most Exacting Example . . . . . . . . 68 A Make-up Expert 69 Reconstructing the Facial Structure . . . . . . 76 Partial Reconstruction . . . . . . 77 Creating Old-Age Effects 77 Old-Age Make-up . . . . . . . . - - 77 Flexible Collodion 80 Non-flexible Collodion 80 Collodion and Cotton Wool Make-up . . .. . . 81 Creating Scars and Wounds . . . . . . . . 90 Indian Make-up . . . . . . . . . . . 91 Bald-Head Make-up 94 Chinese Make-up . . . . . . . . . . 95 Max Factor Make-up Chart for Black and White Photo graphy . . . . . . . . - . . . 96 Section Four MAKE-UP IN COLOUR PHOTOGRAPHY Corrective Make-up . . . . . - - - 99 Application of Make-up for a Colour Photograph . . 101 Applying Eye-shadow . ., . . . - 102 Applying Cheek Rouge .......... 104 The Use of Powder .......... 104 Completion of Eye Make-up . . . . . . - - 105 Re-styling the Lips .......... 106 Max Factor Make-up for Colour Photography . . 108 Section Five CLINICAL MAKE-UP Facial Disfigurements . . . . . 109 Make-up Treatment .. .. . - HO Treatment of Birthmarks ........ HI Treatment for Other Skin Conditions . . . . - . HI INDEX The Author gratefully acknowledges the help he has received from many sources, with special thanks to MAX FACTOR LIMITED, HOLLYWOOD AND LONDON UNIVERSAL-INTERNATIONAL FILMS OF AMERICA GENERAL FILM DISTRIBUTORS CENTRAL OFFICE OF INFORMATION CROWN FILM UNIT CINEGUILD LIMITED B. B. C. TELEVISION SERVICE GEORGE BLACKLER, Esq., P1NEWOOD STUDIOS ERNEST TAYLOR, Esq., EALING FILM STUDIOS ERIC CARTER, Esq., PINEWOOD STUDIOS THE professional photographer has long been aware that the advantages of the art of make-up can apply to portrait photography as much as to cinematography. But many amateur photographers are not so cognisant of how skilled practice in make-up can greatly increase the excellence of their own portrait photography. Or, even if they are conscious of these advantages, they tend to overestimate the difficulties involved in making up their pictures subjects. The result is that they continue toignore the possibilities of make-up. Make-up must begin where nature has left off. Com plexions and facial characteristics diffei, and every individual presents a different problem. The function of make-up, in photography of any sort, is to fit the face dramatically for the part or pose to be portrayed. In motion picture work, this regularly presents an interest ing challenge to the make-up artist, and it can offer an equally inspiring one to the photographer...

Aeschylus' Oresteia opens with Agamemnon sacrificing his daughter to the gods; an act which sets in motion a bloody cycle of revenge and counter-revenge. When he in turn is killed at the hands of his wife Clytemnestra, their son Orestes takes up the mantle of avenging his father, continuing the bloodshed until peace is ultimately found in the rule of law. Zinnie Harris reimagines this ancient drama, using a contemporary sensibility to rework the stories, placing the women in the centre. Orestes' leading role is replaced by his sister Electra, who as a young child witnesses her father's murder and is compelled to take justice into her own hands until she too must flee the Furies.

LaShae "Shae" Byrts is a hot commodity in her hood. Using her body and beauty has earned her the title, "Project Queen." She's got it and was born to flaunt it She's determined to break away from her abusive mother, and leave her impoverished lifestyle far behind. When she begins dating a notorious drug dealer, she assumes all of her problems are over. She couldn't be further from the truth. She finds out that beauty is only skin deep, and all of the money, spinning rims, and glitter, can come at a violent price.

This is Tom Stoppard's award-winning play, set in Derbyshire. The orderly classicism of Lady Croom's Capability Brown grounds are being turned into picturesque romantic chaos, as fashion dictates, by landscape architect "Culpability Noakes". In a Regency room overlooking the work is Lady Croom's brilliant adolescent daughter - Thomasina Coverly, with her handsome, clever tutor Septimus Hodge. Their maths lesson is disturbed by, among others, the imperious, amorous Lady Croom and Ezra Chater, a cuckold and minor poet, determined on satisfaction. One hundred and eighty years later, in the same room, a corresponding group, comprising a mathematician, a biographer/historian, and a vulgar academic, try to unravel the events of 1809 - with spectacularly wrong results.

Polyneices and Eteocles, two brothers leading opposite sides in Thebes' civil war, have both been killed in battle. Creon, the new ruler of Thebes, has declared that Eteocles will be honored and Polyneices disgraced. The rebel brother's body will not be sanctified by holy rites, and will lay unburied to become the food of carrion animals. Defying Creon's edict Antigone buries her brother and in so doing unleashes a terrible tragedy.

George Bernard Shaw (1856-1950) won the Nobel Prize in Literature in 1925 and was one of the great literary minds of his day, in addition to being one of its most entertaining personalities. In his youth he became an ardent socialist and wrote five novels, which are still very entertaining, although Shaw truly found his creative identity on the stage and lectern. While he was a great dramatist, it is possible to argue that Shaw's prefaces are better than his plays. Certainly they are masterful expositions of his ideas, and among the finest essays in English. If there is one defining virtue in Shaw, it is his ability to ask awkward questions. He was not someone who accepted the status quo; instead he spent the whole of his very long life in search of something better, as wit, critic, curmudgeon, and revolutionary. Among his greatest plays are CAESAR AND CLEOPATRA, MAN AND SUPERMAN, BACK TO METHUSELAH, SAINT JOAN, MAJORA BARBARA, PYGMALION (the basis for the musical -- and film -- MY FAIR LADY), and ANDROCLES AND THE LION. He wrote voluminously on social and political issues. His THE INTELLIGENT WOMAN'S GUIDE TO SOCIALISM (1928) was enormously popular at the time. He continued to publish until nearly the end of his life. Among his last works are SIXTEEN SELF-SKETCHES (1948), BOUYANT BILLIONS (1948) and FAR-FETCHED FABLES (1950).

Ruth Finnegan's Oral Literature in Africa was first published in 1970, and since then has been widely praised as one of the most important books in its field. Based on years of fieldwork, the study traces the history of storytelling across the continent of Africa. This revised edition makes Finnegan's ground-breaking research available to the next generation of scholars. It includes a new introduction, additional images and an updated bibliography, as well as its original chapters on poetry, prose, "drum language" and drama, and an overview of the social, linguistic and historical background of oral literature in Africa. This book is the first volume in the World Oral Literature Series, an ongoing collaboration between OBP and World Oral Literature Project. A free online archive of recordings and photographs that Finnegan made during her fieldwork in the late 1960s is hosted by the World Oral Literature Project (http: //www.oralliterature.org/collections/rfinnegan001.html) and can also be accessed from publisher's website.

The Cratylus has always been a source of perplexity to the student of Plato. While in fancy and humour, and perfection of style and metaphysical originality, this dialogue may be ranked with the best of the Platonic writings, there has been an uncertainty about the motive of the piece, which interpreters have hitherto not succeeded in dispelling. We need not suppose that Plato used words in order to conceal his thoughts, or that he would have been unintelligible to an educated contemporary. In the Phaedrus and Euthydemus we also find a difficulty in determining the precise aim of the author. Plato wrote satires in the form of dialogues, and his meaning, like that of other satirical writers, has often slept in the ear of posterity.

Umberto Menotti Maria Giordano (1867-1948) was an Italian composer, mainly of operas, best known for his opera based on the life of the French poet, Andre Chenier. Luigi Illica (1857-1919) was an Italian librettist who also wrote for Giacomo Puccini and is best known for the libretti of La boheme, Tosca, and Madama Butterfly.

Jacobean tragedy is typically seen as translating a general dissatisfaction with the first Stuart monarch and his court into acts of calculated recklessness and cynical brutality. Drawing on theoretical influences from social history, psychoanalysis and the study of discourses, this innovative book proposes an alternative perspective: Jacobean tragedy should be seen in the light of the institutional and social concerns of the early modern stage and the ambiguities which they engendered. Although the stage's professionalization opened up hitherto unknown possibilities of economic success and social advancement for its middle-class practitioners, the imaginative, linguistic and material conditions of their work undermined the very ambitions they generated and furthered. The close reading of play texts and other, non-dramatic sources suggests that playwrights knew that they were dealing with hazardous materials prone to turn against them: whether the language they used or the audiences for whom they wrote and upon whose money and benevolence their success depended. The notorious features of the tragedies under discussion - their bloody murders, intricately planned revenges and psychologically refined terror - testify not only to the anxiety resulting from this multifaceted professional uncertainty but also to theatre practitioners' attempts to civilize the excesses they were staging.