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Today's Stichomancy for David Boreanaz

The first excerpt represents the past or something you must release, and is drawn from The Lost Princess of Oz by L. Frank Baum:

"I hope not. I believe it has stopped for good," said Princess Dorothy.

"Then stand from under, so you won't get hurt!" shouted the PatchworkGirl, and as soon as they had obeyed this request, she let go the chandelier and came tumbling down heels over head and twisting and turning in a very exciting manner. Plump! She fell on the tiled floor, and they ran to her and rolled her and patted her into shape again.

CHAPTER 23

THE DEFIANCE OF UGU THE SHOEMAKER

The delay caused by Scraps had prevented anyone from running to the


The Lost Princess of Oz
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Wyoming by William MacLeod Raine:

the semicircle, and passed within fifty yards of the second man from the end, the one she had picked out as the leader of the party. He was a black, swarthy fellow in plain leather chaps and blue shirt. As they passed he took a long, steady aim.

"Duck!" shouted the man beside her, and dragged her down on the seat so that his body covered hers.

A puff of wind fanned the girl's cheek.

"Near thing," her companion said coolly. He looked back at the swarthy man and laughed softly. "Some day you'll mebbe wish you had sent your pills straighter, Mr. Judd Morgan."

Yet a few wheel-turns and they had dipped forward out of range

The third excerpt represents the future or something you must embrace, and is drawn from The Commission in Lunacy by Honore de Balzac:

the metal screech; all kinds of industries combine to produce a noise which the number of instruments renders distracting.

The general system of decoration in this passage, which is neither courtyard, garden, nor vaulted way, though a little of all, consists of wooden pillars resting on square stone blocks, and forming arches. Two archways open on to the little garden; two others, facing the front gateway, lead to a wooden staircase, with an iron balustrade that was once a miracle of smith's work, so whimsical are the shapes given to the metal; the worn steps creak under every tread. The entrance to each flat has an architrave dark with dirt, grease, and dust, and outer doors, covered with Utrecht velvet set with brass