New shop kamagra australia online with a lot of generic and brand medicament with mean price and fast delivery.

Microsoft word - flying the friendly skies by patrick gabridge _preview_

Copyright 2003 by Patrick Gabridge
All rights reserved

: Professionals & amateurs are hereby warned that Flying the Friendly Skies is subject to a royalty. This play is fully protected under
the copyright laws of the United States of America, Canada, the British Commonwealth and all other countries of the Copyright Union.
RIGHTS RESERVED: All rights to this play are strictly reserved, including professional and amateur stage performance rights. Also reserved
are: motion pictures, recitation, lecturing, public reading, radio broadcasting, television, video and the rights of translation into non-English
PERFORMANCE RIGHTS & ROYALTY PAYMENTS: All amateur and stock performance rights to this play are controlled exclusively by
Brooklyn Publishers, LLC. No amateur or stock production groups or individuals may perform this play without securing license and royalty
arrangements in advance from Brooklyn Publishers, LLC. Questions concerning other rights should be addressed to Brooklyn Publishers, LLC.
If necessary, we will contact the author or the author’s agent. PLEASE NOTE that royalty fees for performing this play can be located online at
Brooklyn Publishers, LLC website ( Royalty fees are subject to change without notice. Professional and stock fees
will be set upon application in accordance with your producing circumstances. Any licensing requests and inquiries relating to amateur and
stock (professional) performance rights should be addressed to Brooklyn Publishers, LLC. You will find our contact information on the following
Royalty of the required amount must be paid, whether the play is presented for charity or profit and whether or not admission is charged. Only
forensics competitions are exempt from this fee.
AUTHOR CREDIT: All groups or individuals receiving permission to produce this play must give the author(s) credit in any and all
advertisement and publicity relating to the production of this play. The author’s billing must appear directly below the title on a separate line
where no other written matter appears. The name of the author(s) must be at least 50% as large as the title of the play. No person or entity may
receive larger or more prominent credit than that which is given to the author(s).
PUBLISHER CREDIT: Whenever this play is produced, all programs, advertisements, flyers or other printed material must include the following

Produced by special arrangement with Brooklyn Publishers, LLC

TRADE MARKS, PUBLIC FIGURES, & MUSICAL WORKS: This play may include references to brand names or public figures. All references
are intended only as parody or other legal means of expression. This play may contain suggestions for the performance of a musical work
(either in part or in whole). Brooklyn Publishers, LLC have not obtained performing rights of these works. The direction of such works is only a
playwright’s suggestion, and the play producer should obtain such permissions on their own. The website for the U.S. copyright office is
COPYING from the book in any form (in whole or excerpt), whether photocopying, scanning recording, videotaping, storing in a retrieval
system, or by any other means, is strictly forbidden without consent of Brooklyn Publishers, LLC.
Royalty fees must be paid to Brooklyn Publishers, LLC before permission is granted to use and perform the playwright’s work. Royalty of the required amount must be paid each time the play is performed, whether the play is presented for charity or profit and whether or not admission is charged. When performing one-acts or full-length plays, enough playbooks must be purchased for cast and crew. Copying or duplication of any part of this script is strictly forbidden. Any changes to the script are not allowed without direct authorization by Brooklyn Publishers, LLC. Credit to the author and publisher is required on all promotional items associated with this play’s performance(s). Do not break copyright laws with any of our plays. This is a very serious matter and the consequences can be quite expensive. We must protect our playwrights, who earn their living through the legal payment of script and performance royalties. If you have questions concerning performance rules, contact us by the various ways listed below: Email: Copying, rather than purchasing cast copies, and/or failure to pay royalties is a federal offense. Cheating us and our
wonderful playwrights in this manner will be prosecuted to the full extent of the law. Please support theatre and follow
federal copyright laws.
SCENE: An airplane. Two seats next to each other.

AT RISE: LYNNE is sitting in her aisle seat, carry-on by her feet. SHE reads a magazine.
(DAPHNE enters, a little flustered after making her way through the gauntlet of folks pushing and cramming
things into the overheads, etc. SHE looks at her boarding pass, then down at the empty seat next to LYNNE, sees
LYNNE, and hesitates.)

DAPHNE: Lynne!
LYNNE: Daphne!
(After a beat, they embrace warmly.)

LYNNE: What a surprise! Are you.
DAPHNE: 24A. We're seat partners.
(They take their seats.)

LYNNE: You just made it. So how are you?
DAPHNE: Fine. How about you?
LYNNE: Great. Great. Where are you coming from?
DAPHNE: Boston. I was here in Boston.
LYNNE: Oh. You were here.
DAPHNE: It was a business trip. Meetings with some new clients. You know how it is.
LYNNE: Sure, but--
DAPHNE: So where are you heading?
LYNNE: Um. Denver.
DAPHNE: I see.
LYNNE: My sister had her baby.
DAPHNE: Right. I saw her at the store a few weeks ago. Beautiful. Looks just like her.
LYNNE: I can't wait to see her. But you know how babies are--so all-consuming. Diapers, feeding, cuddling. Meredith
really needs a break. I didn't think I'd have a moment to spare. DAPHNE: I only live two blocks away from your sister. LYNNE: I should have told you. But you know how it is. DAPHNE: How is it? LYNNE: For example: when did you arrive in Boston? DAPHNE: Thursday. LYNNE: It's Monday. Two days of meetings and a weekend for sightseeing? I've been here long enough to know my way around now. I could have given you a private tour. DAPHNE: I didn't think you'd really want to. to see me. LYNNE: What are you talking about? We're friends. DAPHNE: We were. Best friends. LYNNE: Sure. We're still friends. We talk on the phone. We have e-mails, Christmas letters. DAPHNE: Right. Yeah. Everyone loved the Christmas letter. LYNNE: We would have been happy to have you stay with us. Or at least get together for lunch or dinner. Just like old DAPHNE: We just talked on the phone two weeks ago, and you didn't tell me you were coming to Denver.
LYNNE: You didn't tell me you were coming to Boston.
DAPHNE: Exactly. We didn't tell each other. This is not something that best friends should do.
LYNNE: (looking out the window) You're right. Oh, Lord, I hate take-offs. They say that's the time you're most likely to
crash. That and landing. The air-ground transition, I guess.
(LYNNE grips the hand rests of her seat tightly. Tries deep breathing to calm down. Closes her eyes. DAPHNE
watches her closely, then looks out the window.)

DAPHNE: That's it. We're up. No turning back now.
LYNNE: I'm fine once we're off the ground. I'm fine.

DAPHNE: I knew you were coming to Denver. And I knew you hid it from me.
LYNNE: What?
DAPHNE: That's why I didn't call you.
LYNNE: How did you know that I. My sister.
DAPHNE: She can't wait to show you the baby.
LYNNE: It wasn't you. I didn't want her to tell anyone I was coming. I just was going to make time for family. I still miss all
of you, the whole gang, but it just gets so complicated. This time I thought I'd just glide in-- DAPHNE: Sneak in. LYNNE: Sneak in, sneak out. That's all. It wasn't anything about you. DAPHNE: That would be fine if we were just acquaintances. Just neighbors. But we were best friends for seven years. Who watched Amy and Samantha when Josh had pneumonia? When you and Thomas were. wavering, who did you call at midnight? You helped me decide to quit my job and go back to school. All our girls' nights out at the Coffee Jam. Just talking and sharing every Tuesday night. Tuesday nights were the high point of my week for years. LYNNE: They were great times. We were close. Really close. I--


Pii: s0015-0282(01)02929-6

FERTILITY AND STERILITY ௡ VOL. 77, NO. 1, JANUARY 2002 Copyright ©2002 American Society for Reproductive MedicinePublished by Elsevier Science Inc. Printed on acid-free paper in U.S.A. A nomogram to predict the probability of live birth after clomiphene citrate induction of ovulation in normogonadotropic oligoamenorrheic infertility Babak Imani, M.D., a Marinus J. C. Eijkemans, M.Sc.,

orange-yellow colour; derived from the root of the curcuma (turmeric) plant, but can be artificially produced; used in cheese, margarine, baked sweets and fish fingers 'Vitamin B2' and colour; occurs naturally in green vegs, eggs, milk, liver and kidney; used in margarine and cheese FD&C Yellow No.5; known to provoke asthma attacks (though the US FDA** do not recognise this) and urticaria (

Copyright © 2010-2014 Pdf Physician Treatment