He walked towards her, took off his jacket and wrapped it around her shivering body. "Miss are you lost? Do you need help?" he asked her. She looked at him, and for the first time he saw her face. She looked so beautiful, yet looked so fragile. She moved towards him, cutting the distance between them. Then suddenly, she kissed him on his lips. He felt her hands run through his hair. She held him at the nape of his head, pulling him closer, deepening their kiss. He doesn’t know why, but he kissed her back, wanting more. But then suddenly she pulled out of the kiss, looked at him and gave him her sweetest smile. And at that very moment, he fell in love. He doesn’t know what to say, and before he could utter a word, she ran away. "Wait!" he shouted while looking at the direction she was heading. But he didn't saw her. He started to walk and he pushed himself through the crowd, but still he couldn't see her. He lost her. His name is Jared and this is the story on how he fell in love with a stranger which started with A KISS IN THE RAIN.

    When the patriarch of the Weston clan disappears one hot summer night, the family reunites at the Oklahoma homestead, where long-held secrets are unflinchingly and uproariously revealed. The three-act, three-and-a-half-hour mammoth of a play combines epic tragedy with black comedy, dramatizing three generations of unfulfilled dreams and leaving not one of its thirteen characters unscathed.

    The thorough introduction discusses the tragicomedy as a genre, the writers thought to have collaborated on this play and the question of its authorship, and the significance of collaboration and censorship in the era when the play was written, as well as other notes on historical context. The editor goes on to address the public, literary, and theatrical contexts within and surrounding the play; the play's afterlife in theatrical adaptation and academia; and technical notes on editing the drama. Six appendices follow the text of The Two Noble Kinsmen. They are: "John Fletcher, 'Upon An Honest Man's Fortune'"; "The Portrait--Frontispiece of John Fletcher, 1647"; "Francis Beaumont, The Masque of the Inner Temple and Gray's Inn"; "Beaumont's 1613 Masque and The Two Noble Kinsmen"; "The Morris"; and "The Music." Finally, a reference section provides a list of abbreviations and references, a catalog of Shakespeare's works and works partly by Shakespeare, and citations for the modern productions mentioned in the text, other collated editions of The Two Noble Kinsmen, and other related reading.The Arden Shakespeare has developed a reputation as the pre-eminent critical edition of Shakespeare for its exceptional scholarship, reflected in the thoroughness of each volume. An introduction comprehensively contextualizes the play, chronicling the history and culture that surrounded and influenced Shakespeare at the time of its writing and performance, and closely surveying critical approaches to the work. Detailed appendices address problems like dating and casting, and analyze the differing Quarto and Folio sources. A full commentary by one or more of the play's foremost contemporary scholars illuminates the text, glossing unfamiliar terms and drawing from an abundance of research and expertise to explain allusions and significant background information. Highly informative and accessible, Arden offers the fullest experience of Shakespeare available to a reader.

    Through a psychiatrist's analysis of the events, Shaffer creates a chilling portrait of how materialism and convenience have killed our capacity for worship and passion and, consequently, our capacity for pain. Rarely has a playwrite created an atmosphere and situation that so harshly pinpoint the spiritual and mental decay of modern man.

    Many have large casts and an equal mix of boy and girl parts. In this dramatization of Barry Hines's novel, 15-year-old Billy trains a kestrel for whom he learns to feel great affection.

    That is, until the doorbell rings. Standing on her front step is a young man who looks so much like Max; same smile, same eyes, same age, same adorable bump in his nose; he could be Max's long-lost relation. He introduces himself as Paolo, an Italian editor of American coffee table books, and shows Shelley some childhood photos. Paolo tells her that the man in the photos, the bearded man who Paolo says is his grandfather though he never seems to age, is Max. Her Max. And he is alive and well.As outrageous as Paolo's claims seem; how could her husband be alive? And if he is, why hasn't he looked her up? Shelley desperately wants to know the truth. She and Paolo jet across the globe to track Max down; if it is really Max and along the way, Shelley recounts the European package tour where they had met. As she relives Max's stories of bloody Parisian barricades, medieval Austrian kitchens, and buried Roman boathouses, Shelley begins to piece together the story of who her husband was and what these new revelations mean for her "happily ever after." And as she and Paolo get closer to the truth, Shelley discovers that not all stories end where they are supposed to.

    Answers for each lesson are included; passages are given full-sentence answers and puzzle/hidden message exercises are reproduced with the correct answers filled in. 11 pages, softcover.

    The name indicates that this is a set of stories having it's own fragrance.

    She flaunts it and she's proud of it. Tamako Sia, the only guy that caught her interest. He's something her money can't buy. He's someone who broke her heart without even a blink of an eye. She swears never to trust him again. Ever. Anyway, it's rust a broken heart, she can handle it. And even if hell freezes over, she's still Krizza Marie Yen, mayaman.But then he's back with a vengeance and a body to die for as her fiance. And he's not only threatening to take her heart but also her wealth.Now, what would she choose? A broken heart with her wealth intact or to be poor but her heart still whole?

    Plus the portrait of a hip chick from then Swinging London as she discourses indelicately on a most delicate topic: the Filipino as Lover.

    Inspired by Frank Wedekind’s controversial 1891 play about teenage sexuality and society’s efforts to control it, the piece seamlessly merges past and present, underscoring the timelessness of adolescent angst and the universality of human passion.Steven Sater’s plays include the long-running Carbondale Dreams, Perfect for You, Doll (Rosenthal Prize/Cincinnati Playhouse), Umbrage (Steppenwolf New Play Prize), and a reconceived version of Shakespeare’s Tempest, which played in London.Duncan Sheik is a singer/songwriter who also collaborated with Sater on the musical The Nightingale. He has composed original music for The Gold Rooms of Nero and for The Public Theater’s Twelfth Night in Central Park.

    May is hiding out at an old motel in the Mojave Desert. Eddie, an old flame and childhood friend, finds her there and threatens to drag her back into the life from which she had fled. Reality and dream; truth and lies; past and present mingle in an explosive, emotional experience.

    Set in mid-nineteenth century Gloucestershire, a saga focusing on two farms and families who own them.

    Witness Kristy's eureka moment, when she gets the idea for a "baby-sitters club" and enlists her best friends, shy Mary Anne and artistic Claudia, in an exciting new venture. But the baby-sitting business isn't the only thing absorbing their attention: Kristy is having a hard time accepting her stepdad-to-be, and the newest member of the gang, Stacey, seems to be hiding a secret.

    Its fourteen-year-old heroine Wendla is killed by abortion pills. The young Moritz terrorized by the world around him and especially by his teachers shoots himself. The ending seems likely to be the suicide of Moritz's friend Melchior but in a confrontation with a mysterious stranger (the famous Masked Man) he finally manages to shed his illusions and face the consequences.