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Today's Stichomancy for Steven Spielberg

The first excerpt represents the past or something you must release, and is drawn from War and the Future by H. G. Wells:

secondly what it might /become/, thirdly what it might /do/, and fourthly what, if anything, had to be done to it.

It is a novelty to an English mind to find banking thus mixed up with politics, but it is not a novelty in Italy. All over Venetia there are agricultural banks which are said to be "clerical." I grappled with this mystery. "How are they clerical?" I asked Captain Pirelli. "Do they lend money on bad security to clerical voters, and on no terms whatever to anti- clericals?" He was quite of my way of thinking. "/Pecunia non olet/," he said; "I have never yet smelt a clerical fifty lira note."... But on the other hand Italy is very close to Germany;

The second excerpt represents the present or the deciding factor of the moment, and is drawn from Merry Men by Robert Louis Stevenson:

was a very nice animal to have about. In this way, she had little to do with Jean-Marie; but the sympathy which had been established between them on the first night remained unbroken; they held occasional conversations, mostly on household matters; to the extreme disappointment of the Doctor, they occasionally sallied off together to that temple of debasing superstition, the village church; madame and he, both in their Sunday's best, drove twice a month to Fontainebleau and returned laden with purchases; and in short, although the Doctor still continued to regard them as irreconcilably anti-pathetic, their relation was as intimate, friendly, and confidential as their natures suffered.

The third excerpt represents the future or something you must embrace, and is drawn from The Girl with the Golden Eyes by Honore de Balzac:

this perpetual expectation of a pleasure which never comes, this permanent /ennui/ and emptiness of soul, heart, and mind, the lassitude of the upper Parisian world, is reproduced on its features, and stamps its parchment faces, its premature wrinkles, that physiognomy of the wealthy upon which impotence has set its grimace, in which gold is mirrored, and whence intelligence has fled.

Such a view of moral Paris proves that physical Paris could not be other than it is. This coroneted town is like a queen, who, being always with child, has desires of irresistible fury. Paris is the crown of the world, a brain which perishes of genius and leads human civilization; it is a great man, a perpetually creative artist, a

The Girl with the Golden Eyes