Sunday, November 13, 2011

Beetlejuice (20th Anniversary Deluxe Edition)

HP 74XL CB336WN & HP 75XL CB338WN Compatible Remanufactured Combo Pack - 1 Black & 1 Color Ink Cartridges

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Forest Whitaker, Kim Basinger, Danny Devito, Kelsey Grammer and Ray Liotta star in director Mark Rydell's ensemble addiction drama detailing the manner in which gambling and drugs affect a variety of people's lives during the weeks leading up to a championship college basketball game.The lure of easy cash drives the interlocking storylines of Easy Money, an all-star tale of gamblers, bookies, and gangsters. The movie draws together a blocked novelist addicted to the slots (Kim Basinger, L.A. Confidential), a magician on the skids (Danny DeVito, Get Shorty), a bookie with stress-induced stomach problems (Jay Mohr, Jerry Maguire), a debt-r! idden plumber (Forest Whitaker, The Last King of Scotland) who persuades his basketball-playing brother (Nick Cannon, Love Don't Cost a Thing) to shave points, and a gangster by turns mincing and menacing (Tim Roth, Reservoir Dogs). Tying them all together is a murder investigation conducted by a detective on crutches (an unrecognizable Kelsey Grammer, X-Men: The Last Stand). Even Money never achieves the raw, spontaneous energy of a Robert Altman movie (clearly an influence) or the social complexity of Crash (produced by the same company), but individual scenes and actors (particularly Whitaker as he twists his brother's affection to perverse ends) have an impact. Unfortunately, the movie never grips the viewer with the rush of winning or the knife-twist of losing; without that visceral punch, Even Money feels inauthentic and a little preachy. Also featuring Ray Liotta (Goodfellas) as Basinger's long-suffering husba! nd and Carla Gugino (Snake Eyes) as a nurse in love wit! h a brut al debt collector. --Bret FetzerThe New York Times-bestselling authors return with a heart-stopping new novel.

O n the first day of Royal Ascot, the world's most famous horse race, the crowd rejoices in a string of winning favorites. Ned Talbot has worked all his life as a bookmaker- taking over the family business from his grandfather- so he knows not to expect any sympathy from the punters as they count their winnings, and he his losses. He's seen the ups and downs before-but, as the big gambling conglomerates muscle in on small concerns like his, Ned wonders if it's worth it any more.

When a gray-haired man steps forward from the crowd claiming to be his father, Ned's life is thrown into far deeper turmoil. He'd been told since he was a baby that his parents had died in a car crash.

Barely an hour later, his newly found father is stabbed by an unknown assailant in the Ascot parking lot. Blood oozing from his abdomen, his father ! warns Ned to "be very careful." But of whom? Of what? Ned finds himself in a race to solve his father's riddle-a race where coming in second could cost him more than even money-it could cost him his life. . . .Ned Talbot is a small-time bookmaker on the edge of giving it all up when his world is turned upside down by a man who claims to be his father, long thought dead. And when the mysterious stranger is murdered, Ned feels compelled to find out exactly what is going on. But the more he discovers, the longer the odds become for his survival.Ned Talbot is a small-time bookmaker on the edge of giving it all up when his world is turned upside down by a man who claims to be his father, long thought dead. And when the mysterious stranger is murdered, Ned feels compelled to find out exactly what is going on. But the more he discovers, the longer the odds become for his survival.Forest Whitaker Kim Basinger Danny Devito Kelsey Grammer and Ray Liotta star in director Mark Rydell's! ensemble addiction drama detailing the manner in which gambli! ng and d rugs affect a variety of people's lives during the weeks leading up to a championship college basketball game.System Requirements:Running Time: 112 Mins.Format: DVDSave even more money and time with our combo pack deals. This combo pack comes with 1 compatible recycled HP 74XL + 1 compatible recycled HP 75XL. As with our individual products our combo packs come with our 100% satisfaction guarantee.Supported printers: HP Deskjet D4260, HP Deskjet D4268, HP OfficeJet J5730, HP OfficeJet J5740, HP OfficeJet J5750, HP OfficeJet J5780, HP OfficeJet J5785, HP OfficeJet J5788, HP PhotoSmart C4240, HP PhotoSmart C4250, HP PhotoSmart C4280, HP PhotoSmart C5240, HP PhotoSmart C5250, HP PhotoSmart C5280, HP PhotoSmart D5360, HP PhotoSmart C4385, HP PhotoSmart C4200, HP PhotoSmart C4210, HP Officejet J6480, HP PhotoSmart C4380, HP PhotoSmart C4480, HP PhotoSmart C4400, HP Officejet J6450

The Cowboys [Blu-ray]

  • A veteren rancher risks everything when he recruits schoolboys to man a dangerous cattle drive. One of John Wayne's solid twilight hits, co-starring Bruce Dern and Colleen Dewhurst. Year: 1972 Director: Mark Rydell Starring: John Wayne, Roscoe Lee Browne, Bruce DernRunning Time: 134 min. Format: BLU-RAY DISC Genre: WESTERN Rating: NR Age: 085391142706 UPC: 0853911427
Daniel Craig and Harrison Ford star in this action-packed sci-fi western from the director of Iron Man (Jon Favreau) that critics call "wickedly original, unlike anything you've ever seen" (Jake Hamilton, Fox-TV Houston, TX). A stranger (Craig) stumbles into the desert town of Absolution with no memory of his past and a futuristic shackle around his wrist. With the help of mysterious beauty Ella (Olivia Wilde) and the iron-fisted Colonel Dolarhyde (Ford), he finds himself leading an unlikely posse of cowboys, outlaws, and ! Apache warriors against a common enemy from beyond this world in an epic showdown for survival. Starring: Daniel Craig, Harrison Ford, Olivia Wilde, Sam Rockwell, Adam Beach, Paul Dano, Noah Ringer, Keith Carradine, Clancy Brown, Ana de la Reguera Directed by: Jon FavreauCowboys & Aliens fuses rip-snortin' horse opera with some whiz-bang sci-fi, melding dry and austere badlands with slimy, mucusy aliens. Jake Lonergan (Daniel Craig, of James Bond fame) wakes up in the midst of sagebrush with a mysterious gadget around his wrist and no idea who he is--but he sure does remember how to take care of the bounty hunters who want to bring him in. His path soon crosses with a ruthless cattle baron named Woodrow Dolarhyde (Harrison Ford, of Indiana Jones fame), who's not too happy with Lonergan, who got Dolarhyde's son in trouble. But their fracas becomes beside the point when spaceships descend and start lassoing people like cattle. The humans, including a mysterious woman ! (Olivia Wilde, Tron), a Native American tribe, and some! snaggle toothed outlaws, band together to fight off this invasion from another world. The first two-thirds of Cowboys & Aliens is peppy fun, with its tongue-in-cheek Wild West-ness and colorful supporting cast (including Sam Rockwell, Keith Carradine, Paul Dano, and Walton Goggins) and fairly understated CGI. The last third, with the obligatory assault on the alien vessel and a mess of clichés and inconsistencies, deflates a bit, which isn't surprising given that six screenwriters were involved. Director Jon Favreau (Iron Man) does what he can to keep things lively. Fortunately, the good spirits of the first two-thirds will carry most viewers through to the end. --Bret FetzerThe Old West.. where a lone cowboy leads an uprising against a terror from beyond our world. 1873. Arizona Territory. A stranger with no memory of his past stumbles into the hard desert town of Absolution. The only hint to his history is a mysterious shackle that encircles one wrist. What h! e discovers is that the people of Absolution don't welcome strangers, and nobody makes a move on its streets unless ordered to do so by the iron-fisted Colonel Dolarhyde (Ford). It's a town that lives in fear. But Absolution is about to experience fear it can scarcely comprehend as the desolate city is attacked by marauders from the sky. Screaming down with breathtaking velocity and blinding lights to abduct the helpless one by one, these monsters challenge everything the residents have ever known. Now, the stranger they rejected is their only hope for salvation. As this gunslinger slowly starts to remember who he is and where he's been, he realizes he holds a secret that could give the town a fighting chance against the alien force. With the help of the elusive traveler Ella (Olivia Wilde), he pulls together a posse comprised of former opponents-townsfolk, Dolarhyde and his boys, outlaws and Apache warriors-all in danger of annihilation. United against a common enemy, they! will prepare for an epic showdown for survival. Cowboys & ! Aliens fuses rip-snortin' horse opera with some whiz-bang sci-fi, melding dry and austere badlands with slimy, mucusy aliens. Jake Lonergan (Daniel Craig, of James Bond fame) wakes up in the midst of sagebrush with a mysterious gadget around his wrist and no idea who he is--but he sure does remember how to take care of the bounty hunters who want to bring him in. His path soon crosses with a ruthless cattle baron named Woodrow Dolarhyde (Harrison Ford, of Indiana Jones fame), who's not too happy with Lonergan, who got Dolarhyde's son in trouble. But their fracas becomes beside the point when spaceships descend and start lassoing people like cattle. The humans, including a mysterious woman (Olivia Wilde, Tron), a Native American tribe, and some snaggletoothed outlaws, band together to fight off this invasion from another world. The first two-thirds of Cowboys & Aliens is peppy fun, with its tongue-in-cheek Wild West-ness and colorful supporting cast (including Sam R! ockwell, Keith Carradine, Paul Dano, and Walton Goggins) and fairly understated CGI. The last third, with the obligatory assault on the alien vessel and a mess of clichés and inconsistencies, deflates a bit, which isn't surprising given that six screenwriters were involved. Director Jon Favreau (Iron Man) does what he can to keep things lively. Fortunately, the good spirits of the first two-thirds will carry most viewers through to the end. --Bret FetzerThis box set includes 8 westerns, all containing elements of sci-fi, horror, robots, death rays, and mystery: Radio Ranch, Ghost Patrol, Tombstone Canyon, Riders of the Whistling Skull, Sky Bandits, Gun Packer, Saddle Mountain Roundup, and Vanishing Riders. Filmed two years before Predator, many have commented that Alien Outlaw could have been that film's inspiration -- An alien ship lands in a remote mountain location and its occupants go on a hunting party. And, yes, their prey is human! This science f! iction adventure has been praised for its subtle social comme! ntary an d humankind's relationship with guns, friends and nature. Fashioned like an old comic book story, ALIEN OUTLAW is the second film that B-Western film star Lash La Rue did for Writer/Director Phil Smoot. Always starring in cowboy flicks that featured him with a whip, La Rue said, "They just won't let me put that thing down!" But in his last leading role, Lash La Rue breaks the mold in a film that features both guns and horses but allows him to put down his trademark weapon. Perhaps, as a result, this has been called La Rue's finest film performance. Bonus Features: Uncut and Available for the first time in the USA| Contains a New Widescreen (1.66:1 Anamorphic) and a New Full screen version| Commentary track with both the Writer/Director (Phil Smoot) and the Editor (Sherwood Jones)| Meet the Legends: A one of a kind interview as Republic "B" Western Star, Sunset Carson, interviews legendary "King of the Bullwhip" Lash La Rue| Meet the Ingénue: Sunset'! s behind-the-scenes interview with newcomer Kari Anderson| Behind the News: News Conference before the filming| Behind the scenes: Home video footage on the set of Alien Outlaw| Trailer of The Dark Power with Lash La Rue. Specs: DVD9; Dolby Digital Mono; 90 minutes; Color; 1.66:1&1.33:1 Aspect Ratio; MPAA - NR; Year - 1985; SRP - $5.99.A veteren rancher risks everything when he recruits schoolboys to man a dangerous cattle drive. One of John Wayne's solid twilight hits, co-starring Bruce Dern and Colleen Dewhurst. Year: 1972 Director: Mark Rydell Starring: John Wayne, Roscoe Lee Browne, Bruce DernNotorious as the first John Wayne film that does the unthinkable--subject Wayne's character to a nasty fate after only a short time--the 1972 Cowboys isn't much more interesting beyond that. The story finds Wayne playing a rancher who takes 11 boys on a cattle drive. They run into a nut case (Bruce Dern) who deprives the kids of their leader, and the rest of th! e film is a tale of revenge. Mark Rydell (Cinderella Libert! y) d irects an unexciting production, although performances by some of the younger actors such as A. Martinez and Robert Carradine are memorable. --Tom Keogh

House, M.D.: Season Six

  • Condition: New
  • Format: DVD
  • AC-3; Box set; Color; Dolby; DVD; Subtitled; Widescreen; NTSC
Studio: Uni Dist Corp. (mca) Release Date: 08/30/2011 Rating: NrGet ready for a full dose of medical mysteries with 21 episodes of the riveting drama series, House. Hugh Laurie is joined by James Earl Jones (Star Wars), Laura Prepon (That '70s Show) and David Strathairn (The Bourne Ultimatum) in guest appearances as he returns to his Golden Globe® winning and Primetime Emmy® Award-nominated role as Dr. Gregory House. In this brilliant sixth season, House finds himself in an uncomfortable positionâ€" away from the examination room. As he works to regain his license and his life, his coworkers deal with the staff shakeups, moral dilemmas, and their own tricky relationships with House. And when House returns more obstinate than ever, Princeton-Plainsboro Teaching Hospital will never be th! e same again.The sixth season of House, M.D. starts off with a phenomenal two-part episode that sets the tone for the rest of the year. After years of abusing prescription drugs (and colleagues), Dr. Gregory House (Hugh Laurie) finds himself in a psychiatric ward as a patient who is not so patient with his own doctor. Smart and manipulative, House tries to finagle his way out of the hospital. But his selfish actions set off a chain reaction of events that manage to shake even his own confidence--temporarily, at least. This season spends a lot of time delving into House's psyche and the writers do a wonderful job depicting a brilliant, sad, and flawed man who knows more than most, but not enough to save every patient who comes to see him. That glimpse allows viewers to sympathize with his addictions but leaves them guessing as to whether the good doctor will be able to shake his dependency on drugs for good. However, viewers are never actually convinced when House qui! ts his job. In many ways, he is his job.

House has ! always t ackled fascinating cases and that continues this season, though the symptoms aren't overly dramatic by House standards. The team tries to save a man whose family history indicates that he will die of a heart attack before he turns 40. They try to help a brilliant scientist whose depression and addictions make him feel he's better suited for a simpler life as a courier. And Wilson (Robert Sean Leonard) may once again be grappling with cancer. It's a credit to this show that while it features such a strong lead character, the costars don't get shafted in the process. Wilson is one of the show's most charming characters and, by default, has become House's best friend. The two of them share a home and bicker like an old married couple. When a woman they both are attracted to mistakenly assumes that they're a complicated gay couple, we can't help but laugh. But Wilson's love life is made difficult by the return of his ex-wife and House doesn't want to see his friend hurt a! gain. He can abuse Wilson, but he doesn't want her to do the same.

House's boss Cuddy (Lisa Edelstein) has her own issues, juggling a harried personal life and the complications that come with trying to keep House in line. Chase (Jesse Spencer) falls under scrutiny this season after treating a controversial politician who he fears will murder innocent civilians. He finds himself struggling with the Hippocratic oath to treat all patients--even the ones he finds distasteful--to the best of his ability. And of the main characters on the show, one will be fired, another will profess their love for a colleague, and three of them will look for love via a speed-dating service. Yes, the story lines are all over the place, but then again, so is House. --Jae-Ha Kim

Combat of Giants Dinosaurs

  • Roam the Jurassic world in full 3D and feel the depth of the jungle, crush trees and rocks to get special rewards.
  • Perform real-time actions such as blocking, dodging, hitting and execute your new super combination attack with a unique fighting style for each dinosaur.
  • Choose your favorite dinosaur among 18 breeds customize them with over 35 colors and patterns, your dinosaur will be more unique than ever.
  • Wirelessly battle others player's champions when your 3DS' come into range of each other using StreetPass.
  • In Combat of Giant Dinosaurs 3D players become the Dino of their choice, customizing it as they choose and leveling it up in order to challenge the top dinosaur, Arkosaurus.
Over 150 million years ago in a world dominated by Dinosaurs, natural disasters were changing earth and causing chaos.  In the fight to become the top predator, only the most powerf! ul dinosaurs could survive and had to battle the Arkosaurus, the most ferocious dinosaur species in the Jurassic world.

Combat of Giant Dinosaurs 3D for 3DS is a single player, handheld, adventure that blends dinosaur-on-dinosaur combat action with the modern functionality possible with the Nintendo 3DS.* Players engage in unique light role-playing game (RPG) elements in which a dinosaur champion is chosen that they will utilize in exploring the gameworld, as well as in battle against all challenging dinosaurs in a competition that will eventually decide ultimate power in the Jurassic world. Additional features include: fast-paced, real-time fights; dinosaur customization, Interaction with other players via Nintendo 3DS StreetPass functionality and more.

Combat of Giant Dinosaurs 3D game box

Story

Over 150 million years ago in a world dominated by dinosaurs, natural disasters were changing earth and causing chaos. In the fight to become the top predator, only the most powerful dinosaurs could survive and had to battle the Arkosaurus, the most ferocious dinosaur species in the Jurassic world.

A customized dinosaur battling an Albertosaurus in Combat of Giant Dinosaurs 3D
Battle for supremacy in the Jurassic world as the dinosaur of your choice.
View larger.

Gameplay

Combat of Giant Dinosaurs 3D is a unique single player blend of action combat from the perspec! tive of dinosaurs, with light role-playing game (RPG) elements in which the goal is to become the top dinosaur and then challenge the main boss in the game, Arkosaurus. The game contains 4 groups of playable dinosaurs: apex predators, mid-level fast hunters, large aggressive herbivores and large defensive herbivores. Players choose one, customizing it as they see fit and controlling it in a series of rampages through the various environments found in the game. Along the way you must master the abilities of your beast as well as work on leveling it up by finding hidden items. More importantly you will also battle dinosaurs that you encounter. These will be both from your dinosaur's group and the other three. Battles require both offensive and defensive techniques in order to succeed at the highest level and special attacks are available. Additional gameplay elements are available via the 3DS' StreetPass functionality.

StreetPass

Social and wired like no Nin! tendo system before it, Nintendo 3DS brings fellow players tog! ether in exciting new ways with StreetPass communication. Simply set your Nintendo 3DS to Sleep Mode and carry it with you wherever you go. In Combat of Giant Dinosaurs 3D this means that your designated dinosaur champion can automatically battle other champions stored on other 3DS handhelds with StreetPass enabled that you come into wireless range of. Through StreetPass you can also exchange rare game items wirelessly. You control what data you exchange, making virtual connections with real world people you encounter in your daily life.

Key Game Features

  • Dive Into a 3D Jurassic World - Roam the Jurassic world in full 3D and feel the depth of the jungle, crush trees and rocks to get special rewards. Enjoy as well a strong 3D storytelling between 2 intense fights.
  • Spectacular Combat and Real-Time Fights - Engage in fast-paced fights with direct control over your giant creature. Perform real-time actions such as blocking, dodging, h! itting and execute your new super combination attack with a unique fighting style for each dinosaur.
  • Ultimate Dino Customization - Choose and customize your favorite dinosaur among 18 breeds such as T-Rex, Stegosaurus, Velociraptor, Triceratops, Ankylosaurus, and Baryonyx. With over 35 colors and patterns, your dinosaur will be more unique than ever.
  • StreetPass Functionality - Wirelessly battle others player's champions when your 3DS' come into range of each other.
  • Light RPG Action - In Combat of Giant Dinosaurs 3D players become the dinosaur of their choice, customizing it as they choose and leveling up their stats in order to challenge the top dinosaur, Arkosaurus.

Additional Screenshots

T. Rex from Combat of Giant Dinosaurs 3D
18 dinos to choose from.
View larger.
View of a gameworld as seen from space in Combat of Giant Dinosaurs 3D
Diverse environments.
View larger.
A triceratops in a desert environment in Combat of Giant Dinosaurs 3D
Extreme customization.
View larger.
An allosaurus ready to pounce in Combat of Giant Dinosaurs 3D
Unleash devastating attacks.
View larger.

* Nintendo 3DS sold separately.


Analyze That (Widescreen)

  • They locked up mob boss Paul Vitti in Sing Sing and that's where he sang sang - bellowing West Side Story tunes and convincing officials he's more suited for a nut house than the Big House. Better yet, the Feds say, let's release Vitti into the custody of his therapist Ben Sobel.ROBERT DE NIRO (Vitti) and BILLY CRYSTAL (Sobel) reprise their Analyze This roles and reteam with filmmaker HAROLD RAMIS
They locked up mob boss Paul Vitti in Sing Sing and that's where he sang sang - bellowing West Side Story tunes and convincing officials he's more suited for a nut house than the Big House. Better yet, the Feds say, let's release Vitti into the custody of his therapist Ben Sobel. ROBERT DE NIRO (Vitti) and BILLY CRYSTAL (Sobel) reprise their Analyze This roles and reteam with filmmaker HAROLD RAMIS (Caddyshack) and co-star LISA KUDROW.

DVD Features:
Audio Commentary
Document! ary
Other
Theatrical Trailer

Analyze That has more bada bing than its lukewarm reception would lead you to expect. Analyze This (1999) had the advantage of a then-fresh idea--Robert De Niro as a neurotic mob boss seeking therapy with reluctant shrink Billy Crystal--but that idea's stale (and has been handled more authentically in The Sopranos), so this sequel relies on established chemistry and zesty dialogue that matches the original. There's nothing wrong with a retread when it's this funny, and De Niro's latter-day penchant for comedy suits him well when, as kingpin Paul Vitti, he lures Dr. Sobel (Crystal) into a prison breakout scheme involving faked catatonia and West Side Story show tunes. The contrived plot involves Vitti's criminal comeback. Unfortunately, there's little room for Lisa Kudrow as Sobel's sarcastic wife, but De Niro's Raging Bull costar Cathy Moriarty-Gentile is welcomed as a riv! al mob queen. You want a comedy masterpiece? Fuhgeddaboudit. ! You want 95 minutes of easy fun? It's right here... and don't miss those obligatory outtakes. --Jeff Shannon

Moneymakers: The Wicked Lives and Surprising Adventures of Three Notorious Counterfeiters

  • ISBN13: 9781594202872
  • Condition: New
  • Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
In 1695, Isaac Newton—already renowned as the greatest mind of his age—made a surprising career change. He left quiet Cambridge, where he had lived for thirty years and made his earth-shattering discoveries, and moved to London to take up the post of Warden of His Majesty’s Mint.
 
Newton was preceded to the city by a genius of another kind, the budding criminal William Chaloner. Thanks to his preternatural skills as a counterfeiter, Chaloner was rapidly rising in London’s highly competitive underworld, at a time when organized law enforcement was all but unknown and money in the modern sense was just coming into being. Then he crossed paths with the formidabl! e new warden. In the courts and streets of London—and amid the tremors of a world being transformed by the ideas Newton himself had set in motion—the chase was on. This revelatory tale of Isaac Newton’s journey through London’s underworld will appeal to fans of The Professor and the Madman.

Product Description
In 1695, Isaac Newton--already renowned as the greatest mind of his age--made a surprising career change. He left quiet Cambridge, where he had lived for thirty years and made his earth-shattering discoveries, and moved to London to take up the post of Warden of His Majesty's Mint. Newton was preceded to the city by a genius of another kind, the budding criminal William Chaloner. Thanks to his preternatural skills as a counterfeiter, Chaloner was rapidly rising in London's highly competitive underworld, at a time when organized law enforcement was all but unknown and money in the modern sense was just coming into being.! Then he crossed paths with the formidable new warden. In the ! courts a nd streets of London--and amid the tremors of a world being transformed by the ideas Newton himself had set in motion--the two played out an epic game of cat and mouse.



A Q&A with Thomas Levenson, Author of Newton and the Counterfeiter

Q: Why did you decide to write Newton and the Counterfeiter?

A: I first encountered the connection at the heart of Newton and the Counterfeiter when I was working on a very different project in the mid '90s. A long out of print book quoted from one of the few letters between my counterfeiter, William Chaloner, and Isaac Newton--and on reading it I wondered: what on earth was such a scoundrel doing in correspondence with the greatest mind of the age? The question stuck with ! me for a decade, and finally I made the time to dig a little deeper. Once I did, I discovered two things that made this book both possible, and from a writer's point of view, inescapable. The first was a trove of original documents that chronicled Newton's involvement in the pursuit and prosecution of not just Chaloner, but dozens of other currency criminals. The second was the insight this one story gives into Newton himself--and of the real extent and impact of the revolutions (plural deliberate) which he so prominently led. Isaac Newton is best remembered, of course, as the man at the vanguard of the scientific revolution--a status established by his discoveries: the laws of motion, gravity, the calculus, and much more. But I found that this story gave me a sense of what it was like to live through that revolution at street level. It provided an example of Newton's mind at work, for one, and for another, it involved Newton in the second of the great 17th century transfo! rmations, the financial revolution that occurred in conjunctio! n, and w ith some connection to the scientific one.

Newton, I found, was a bureaucrat, a man with a job running England's money supply at a time with surprising parallels to our own: new, poorly understood financial engineering to deal with what was a national currency and economic crisis. He was asked to think about money, and he did--and at the same time, he was given the job of Warden of the Mint, which among other duties put him charge of policing those who would fake or undermine the King's coins. So there I had it: a gripping true crime story, with life-and-death stakes and enough information to follow my leading characters through the bad streets and worse jails of London--and one that at the same time let me explore some of critical moves in the making of the world we inhabit through the mind and feelings of perhaps the greatest scientific thinker who ever lived. How could I resist that?

Q: Are there comparisons to be made to the financial times ! we are living in today in this country?

A: When I started writing this book, (c. 2005) the American and the global economy was seemingly in robust health. The American housing market was booming; financial markets the world over were trading happily back and forth, the Dow in June, when I started working in earnest on the project, stood comfortably over 10,000, with a 40% rise to come through the first and second drafts of the work. And then, of course, things changed--and by that time (too late to do my own financial situation any good) I realized that in the story of Newton's confrontation with Chaloner I could see many of the pathologies that define our current predicament. England's currency and its system of high finance--the big loans and big banks behind them needed to fund government--were both under increasing strain when Newton arrived at the Mint.

Part of the damage was being done through imbalances of trade, as silver flowed out of! England to the European continent and ultimately to India and! China. (Sound familiar?) That loss of metal had huge economic consequences when you remember that money itself was made of silver back then. No silver, no coins. No coins--and how are you going to buy a loaf of bread, a pound of beef, a barrel of beer (which was a staple, and not a luxury given the state of London’s drinking (sic) water). At the same time, England was waging a war it could not pay for. (Sound familiar?) The Treasury was broke. Financial engineering got its start in the ever more desperate attempts by the government to raise the money it needed to keep its army in the field against France. Newton and his counterfeiting nemesis William Chaloner both found themselves operating on unfamiliar territory, with paper abstractions standing in for what used to be literally hard cash. This was when bank notes were invented--and Chaloner forged some. This was when the government began to issue what were in essence bonds--and Chaloner forged some of those too. Personal chequ! es were coming in, and--you guessed it--Chaloner passed a couple of duds. Most significantly, the Bank of England invented fractional reserve lending--lending out a multiple of the actual cash reserves it held at any one time. This was the birth of leverage. Put it all together and you have most of the crucial ideas in modern finance appearing at almost the same instant. These are fantastically useful tools; the enormous expansion of wealth, of material comfort, of human well being that we’ve seen over the last three centuries, derives in part from the fact that the English and their trading counterparties were so impressively inventive in those decades. But at the same time, as we know now all too well, each and every one of those financial ideas are capable of abuse. Now add to the usual temptations to financial sin the besetting danger of ignorance, of the sheer unfamiliarity of the new instruments, and you have the makings of an almost inevitable disaster.

! In 2009, we are dealing with that double trouble: deliberate ! frauds c ombining with the larger problem that the complexity and sheer deep strangeness of new financial products allowed a lot of so-called smart money to make big bets they didn’t understand. Exactly the same kinds of pressures were building in Newton's day, and the financial crisis that Newton helped resolve in the 1690s kept spawning sequels, until in the 1720s, Newton himself got caught up in a disaster that in many ways eerily anticipates the one we are living through now. The South Sea Bubble of 1720 was born of a good idea--what we would now call a debt-for-equity swap--but rapidly turned into a fraud and then at the last a Madoff-style Ponzi scheme. What I found most striking is that Newton, who of all men had the mathematical chops to figure out that the South Sea promises couldn't possibly be met, still got sucked in by the promise of outsize returns. Avarice, desire, or perhaps in Newton's case just the agony of the thought that others were getting richer while he was ! not, propelled him into investing in the bubble at its very peak. According to his niece, he lost 20,000 pounds in a matter of months--which in today’s money would be roughly three million pounds, or close to five million dollars. The moral, at least the lesson I took from this personally? No one, not even Newton, and certainly not me, is smart enough to be smarter than one's own emotions. And that grim fact, as much as any specific financial innovation, lies behind our current economic woes, and surely caught that great thinker Isaac Newton in its grip as well.

Q: Tell us about your research.

A: I was fortunate in this project--in fact, I only took on the book--because there was a rich lode of little-known documents that told the story of the clash between Newton and Chaloner. Five large folders survive of Newton's own notes, drafts and memos covering his official duties at the Mint. Examining them, especially drafts of replies to som! e of Chaloner's most audacious attacks on him at Parliamentary! hearing s, it is possible to see across time to Newton's mounting frustration and anger at his antagonist: his handwriting gets worse, more cramped, swift, and in general ticked off as he works through his responses. I was also able to find the handful of documents that can be unequivocally attributed to Chaloner: a couple of pamphlets he had printed to display his expertise in the making and manipulation of coin, and to allege incompetence, or worse at Newton's Mint. To that I added a marvelous, if not entirely reliable, moralizing biography of Chaloner, hastily written and published within days of his execution. That was one of the early examples of what became a staple pulp genre--edifying and titillating accounts of the wicked, in which any admiration for the rascals being chronicled were carefully wrapped up through the appropriate bad ends to which all the subjects of such works were doomed.

But of all the wellsprings of this book, none were more important than the ! file it took me over a year to find. I knew that some of the records Isaac Newton's criminal interrogations survived, because I found reference to them in a couple of the older biographies and other secondary sources. But in the reorganization of British official records that took place in the decades after World War II, the cataloguing systems for Mint files had undergone enough changes that this crucial set of documents had slipped out of sight of the contemporary Newton scholarly community. I managed to track it down to its current location in the Public Records Office, and then I had writer's gold: more than four hundred separate documents, most countersigned by Newton himself, that allowed me to retrace his steps as a criminal investigator informer by informer. Most fortunately--Newton’s nephew-in-law reported that he helped his wife's uncle burn many of his Mint interrogation records. But the entire Chaloner case remained in the one surviving folder, and it made for! fascinating, gripping reading. Once Newton realized how formi! dable an opponent he had in Chaloner, he proved relentless in reconstructing not just particular crimes, but the whole architecture of counterfeiting and coining as it was practiced in London in the 1690s. You get to see, smell, hear how the bad guys worked, in their own words, as elicited by a man who (surprise!) proved to be exceptionally good at extracting the evidence he needed to solve a problem.

(Photo © Joel Benjamin)




Art Williams was a precocious student with a bright future, but his dreams shattered when his father abandoned the family and his bipolar mother lost her wits. Living in one of Chicago’s worst housing projects, Williams was breaking open parking meters at age twelve and by his mid-teens he was robbing drug dealers. His quest for both a father figure and stable income would merge at the age of sixteen, when a criminal master nicknamed “Da Vinci” taught him the centuries-old art of counterfeit! ing. Following a stint in prison, Williams returned to society to find that the Treasury Department had issued the most secure hundred-dollar bill ever created: the 1996 New Note. He spent months trying to circumvent its security features before arriving at a bill so perfect that even law enforcement had difficulty distinguishing it from the real thing. Williams went on to print millions in counterfeit, selling it to criminal organizations and using it to fund cross-country spending sprees. Spending his fake money as quickly as he could print it but still unsatisfied, he dropped everything to track down his long-lost father in the wilds of Alaska, setting in motion a chain of betrayals that would be his undoing. The Art of Making Money is a stirring portrait of the rise and inevitable fall of a modern-day criminal mastermind.A young artist pursues a search for knowledge through the treatment of homosexuality and the collapse of morality in middle class France.The l! ively and enthralling tale of three notorious counterfeiters o! ffers in sights into the makings of the American financial mind.

In Moneymakers, Ben Tarnoff chronicles the lives of three colorful counterfeiters who flourished in early America, shedding fresh light on the country's financial coming of age. The speculative ethos that pervades Wall Street today, Tarnoff suggests, has its origins in the craft of counterfeiters who first took advantage of a turbulent American economy.

Few nations have as rich a counterfeiting history as the United States. Since the colonies suffered from a chronic shortage of precious metals, they were the first place in the Western world to use easily forged paper bills. And until the national currency was standardized in the last half of the nineteenth century, the United States had a dizzying variety of banknotes, making early America a counterfeiter's paradise.

In Moneymakers, Tarnoff recounts how three of America's most successful counterfeiters-Owen Sullivan, David L! ewis, and Samuel Upham- each cunningly manipulated the political and economic realities of his day, driven by a desire for fortune and fame. Irish immigrant Owen Sullivan (c. 1720-1756) owed his success not just to his hustler's charm and entrepreneurial spirit, but also to the weak law enforcement and craving for currency that marked colonial America. The handsome David Lewis (1788-1820) became an outlaw hero in backwoods Pennsylvania, infamous for his audacious jailbreaks and admired as a Robin Hood figure who railed against Eastern financial elites. Shopkeeper Samuel Upham (1819-1885) sold fake Confederate bills to his fellow Philadelphians during the Civil War as "mementos of the rebellion," enraging Southern leaders when Union soldiers flooded their markets with the forgeries.

Through the tales of these three memorable counterfeiters, Moneymakers spins the larger story of America's financial ups and downs during its infancy and adolescence, tracing its ! evolution from a patchwork of colonies to a powerful nation wi! th a sin gle currency. It was only toward the end of the Civil War that a strengthened federal government created the Secret Service to police counterfeiting, finally bringing the quintessentially American pursuit to an end. But as Tarnoff suggests in this highly original financial history, the legacy of early American counterfeiters lives on in the get-rich-quick culture we see on Wall Street today.
Author Q&A with Ben Tarnoff

Q: Can you explain the significance of the title Moneymakers?

A: “Moneymaker” was the colonial word for counterfeiter. When Owen Sullivan, the first counterfeiter profiled in my book, gets into a drunken fight with his wife in Boston in 1749, she calls him a “forty-thousand-po! und moneymaker.” The neighbors overhear this remark and tell the police, who discover fake bills and printing materials at Sullivan’s house and arrest him. I liked the word “moneymaker” because it’s so literal: of all the ways to acquire money, only “moneymaking” involved actually manufacturing it. A disgruntled silversmith could disappear for a week and return richer than the city’s wealthiest merchant. Getting rich quick inspired as much awe and envy back then as it does today. For those riches to be fabricated by hand, and not earned the old-fashioned way, made counterfeiting seem like magic. It’s easy to see why counterfeiters became the outlaw celebrities of their day. They embodied the enduring fantasy of instant wealth. Their fortunes were, in every sense, self-made.

Q: What initially drew you to the topic of counterfeiting?

A: When I started reading about the subject, I became fascinated with the stories of the in! dividual counterfeiters. Very few began as professional crimin! als. Mos t started out as craftsmen: silversmiths or engravers, usually. Creating a plate for printing counterfeit bills required tremendous dexterity. The success of an entire operation essentially rested on one pair of hands. So counterfeiters tended to be talented artistsâ€"but they were also aggressively entrepreneurial. They needed to think on several levels: quality of the craftsmanship wasn’t the only factor determining the success of a counterfeiting enterprise. There was the sale of the notes themselves, whether to regional distributors or to gangs of “passers.” There was the geographical question of which communities to target. Perhaps most importantly, counterfeiters had to elude law enforcement and, as their notoriety grew, the prospect of lifetime imprisonment or execution. For these reasons they came to understand the political and economic landscape of early America far better than most criminals of the era.

Q: Do you think your book has special! relevance today?

A: The financial crisis reminded us how rapidly wealth can evaporate. It reminded us that, despite huge advances in technology, we still live in a very precarious system. What Moneymakers brings into focus is that financial volatility hasn’t been the exception in American history: it’s been the rule. It’s tempting to think of our economic trajectory as one continuous ascent since the 18th century. But America’s path to prosperity has been anything but linear: it’s run from boom and bust, through wars and political upheavals, and impoverished people at least as often as it’s enriched them. Men and women two hundred years ago were not substantially different from us. They were just as delusional about the prospect of inexhaustible growth in the 19th century as we were in the early part of the 21stâ€"and just as shocked and angry when those delusions gave way. Of course, many specific circumstances have changed since then.! Counterfeiters were once ubiquitous in American life; today, ! they’v e virtually disappeared. Until the final decades of the 19th century, counterfeiters provided a significant portion of the nation’s money supply, feeding America’s addiction to paper credit with fresh infusions of fake currency. These days, counterfeit bills account for a negligible portion of the total in circulation. But though physical counterfeiting has declined, the spirit of counterfeiting endures. Counterfeiters’ core insight was that confidence creates value. If a paper rectangle carried the right marks in the right places, and the person holding it appeared trustworthy, then it became valuable. Much of today’s financial trickery proceeds from the same principle.

Q: What surprised you most while researching and writing?

A: There was a lot that surprised me. Maybe the most surprising single fact was how many different private paper currencies circulated in the United States before the Civil War. I’d thought we’d always had ! a single federal currency, but it wasn’t until the 1860s that it became politically possible for Congress to phase out the bills of some sixteen hundred state banks and replace them with national notes. More surprising than this, however, was how long the American people enduredâ€"and in many cases, endorsedâ€"a system with so many evident flaws. From the Revolution until the Civil War, they dealt with hundreds, and eventually thousands, of different banknotes, each fluctuating in value. They were victimized by predatory lenders, speculators, and a banking sector that swung from prosperity to panic, with devastating effects. The federal government could’ve stepped in to simplify and stabilize this state of affairs. But the American people generally resisted the idea of a federal government powerful enough to make meaningful interventions in the economy and the currency, even if it would be to their benefit. The resistance to federal power was rooted in a particular inte! rpretation of the Constitution and a long legacy of limited go! vernment . It led people to act against their economic self-interest, en masse and for long periods of time. Outdated notions of proper governance proved remarkably persistent, even when modern circumstances demanded something very different.

Q: Your book focuses on three counterfeiters. What made you decide on these people in particular?

A: With this subject there’s no shortage of colorful characters and engaging anecdotes. But I wanted to focus on people who, in some way, illustrated the story of America’s financial evolution. These three men stood out because they intersected with the broader currents of their respective eras in exceptionally interesting ways. They were each active at moments of major change in the American monetary landscape. For example, Owen Sullivan launched his counterfeiting career in 1749, the same year that the Massachusetts legislature passed a highly controversial bill phasing out the colony’s paper currency within ! the next two years. Decades later, David Lewis picked a similarly momentous time: just as the rapid proliferation of note-issuing banks flooded the early United States with new bills, with obvious benefits for counterfeiters. Samuel Upham took advantage of the unique circumstances brought about by the Civil War. He forged Confederate money with impunity from the safety of Philadelphia, peddling his fakes openly to soldiers and smugglers headed South. Sullivan, Lewis, and Upham gave me a way to connect the story of American counterfeiting with the story of America as a whole.

Q: What did you learn about America through writing this book? What did you learn about Americans?

A: When you write history, you begin to see a lot of common ground between the past and the present. Almost every day, I would encounter a fact or a story that called to mind current events. America may look a lot different in 2010 than it did in 1690-1865, which is roughl! y the period covered by my book. But there are certain resonan! ces. One theme that seems to have persisted, despite the major realignments of the last century, is the notion of getting “something for nothing.” America’s first settlers thought of this country as a blank: “vacuum domicilium,” in John Winthrop’s words, or vacant land. This was a fantasy, of course: the land wasn’t vacant, and clearing it involved a centuries-long struggle. But the idea of forging value in a void remained a powerful one.

Paper money belongs to this tradition. It makes something out of nothing by investing an otherwise worthless material with monetary value typically reserved for gold or silver. In fact, the American colonies were the first governments in the Western world to print paper currency. The notes first appeared in 1690 in response to the severe shortage of precious metals that plagued colonial life. Faced with a scarcity of coin, colonial America needed a way to fund wars and collect taxes and conduct trade: more broadly, it n! eeded a way to convert the ambitions of its inhabitants into real economic growth. Paper currency met that need. It provided a country with few natural resources and little political or economic leverage the fuel to colonize an entire continent. Our economy ran on paper promises that, in many cases, couldn’t be keptâ€"yet our collective faith in these promises helped produce real things, like canals and railroads. By postponing the present in anticipation of the future, paper promises helped America grow.

Q: Did you develop a new appreciation or understanding of the American economy through writing this book?

A: Our economy has grown so much in scale and sophistication that it’s hard to draw exact parallels. But there are certain patterns that feel very familiar. In the book I write a lot about confidence. It sustains the economy by underpinning the value of our currency; it also enriched counterfeiters over the centuries, who grew very ad! ept at cultivating it. In the period covered by the book, Amer! icans te nded to have a confidence problem: they either had too much of it, taking risks as everything surged, or too little, fleeing the market as everything crumbled. As long as everyone believed something had valueâ€"whether a piece of colonial money or a stock certificateâ€"it did. But when that faith faltered, mistrust spread throughout the system, triggering a panic. The essential features of our most recent crisis would be familiar to people living through the Panics of 1819 or 1837 or any of the several subsequent disruptions in the following decades. The issue of how crises are created is very contentious, and I’ve tried to be careful about not drawing unfair comparisons. Without diminishing the complexity of the debate, though, there are fascinating convergences between past and present when it comes to America’s turbulent finances.

Q: What do you hope readers take away?

A: I think the most exciting thing about history is that it’s ! filled with real people. They felt pain when they lost their life savings in financial panics. They argued bitterly about the role of government in the economy, just as bitterly as we do today. The more time I spend reading about the past, the more I’m reminded of people I know today. The correspondences aren’t perfect, but enough of them exist to suggest human that nature hasn’t changed much in the last three centuries. If there’s a larger lesson to the book, that might be it.


Gone, Baby, Gone: A Novel

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Gone Baby Gone is Ben Affleck s directorial debut, adapted by Affleck from the novel by Dennis Lehane "Mystic River".
It is an intense look inside an ongoing investigation about the mysterious disappearance of a little girl. As two young private detectives (Casey Affleck and Michelle Monaghan) hired to take the case get closer to finding her, they discover that nothing is as it seems and more dangerous than they ever thought possible. Also starring Academy Award® winners Morgan Freeman (Million Dollar Baby) and Ed Harris (Pollack).For his initial offering as director, Ben Affleck returns to the site of his first Oscar: South Boston. (He and Matt Damon shared the award for Good Will Hunting! .) Hot on the heels of his moving turn in Hollywoodland, Affleck's Dennis Lehane adaptation marks one of the more seamless actor-to-filmmaker transitions in recent years. Ostensibly, a procedural about the search for a missing child, class and corruption emerge as his primary concerns. First off, there's low-rent private eye Patrick Kenzie (Casey Affleck, equally adept in The Assassination of Jesse James by the Coward Robert Ford). Then there's the girl's drug mule mother, Helene (Amy Ryan, Before the Devil Knows You're Dead). She and Patrick grew up in Dorchester, but he took a different path, setting up an agency with his girlfriend, Angie (Michelle Monaghan). Helene's aunt, Bea (Amy Madigan), hires the duo to augment the investigation, and they team up with Captain Doyle (Morgan Freeman) and Detective Bressant (Madigan's husband, Ed Harris). The authorities don't appreciate the interference, but Patrick knows how to get the local populace talking, an! d he soon finds there's more to the story than anyone could po! ssibly i magine. Hard-hitting, but never soft-headed, the evocative end result proves Affleck has a flair for this directing thing and that his little brother can carry a major motion picture with aplomb. Gone Baby Gone belongs on the list of great Boston crime dramas, along with The Departed and Mystic River, Clint Eastwood’s take on Lehane. --Kathleen C. FennessyGone Baby Gone is Ben Affleck s directorial debut, adapted by Affleck from the novel by Dennis Lehane "Mystic River." It is an intense look inside an ongoing investigation about the mysterious disappearance of a little girl. As two young private dete ctives (Casey Affleck and Michelle Monaghan) hired to take the case get closer to finding her, they discover that nothing is as it seems and more dangerous than they ever thought possible. Also starring Academy Award® winners Morgan Freeman (Million Dollar Baby) and Ed Harris (Pollack).For his initial offering as director, Ben! Affleck returns to the site of his first Oscar: South Boston. (He and Matt Damon shared the award for Good Will Hunting.) Hot on the heels of his moving turn in Hollywoodland, Affleck's Dennis Lehane adaptation marks one of the more seamless actor-to-filmmaker transitions in recent years. Ostensibly, a procedural about the search for a missing child, class and corruption emerge as his primary concerns. First off, there's low-rent private eye Patrick Kenzie (Casey Affleck, equally adept in The Assassination of Jesse James by the Coward Robert Ford). Then there's the girl's drug mule mother, Helene (Amy Ryan, Before the Devil Knows You're Dead). She and Patrick grew up in Dorchester, but he took a different path, setting up an agency with his girlfriend, Angie (Michelle Monaghan). Helene's aunt, Bea (Amy Madigan), hires the duo to augment the investigation, and they team up with Captain Doyle (Morgan Freeman) and Detective Bressant (Madigan's husb! and, Ed Harris). The authorities don't appreciate the interfer! ence, bu t Patrick knows how to get the local populace talking, and he soon finds there's more to the story than anyone could possibly imagine. Hard-hitting, but never soft-headed, the evocative end result proves Affleck has a flair for this directing thing and that his little brother can carry a major motion picture with aplomb. Gone Baby Gone belongs on the list of great Boston crime dramas, along with The Departed and Mystic River, Clint Eastwood’s take on Lehane. --Kathleen C. Fennessy

The tough neighborhood of Dorchester is no place for the innocent or the weak. Its territory is defined by hard heads and even harder luck; its streets are littered with the detritus of broken families, hearts, dreams. Now, one of its youngest is missing. Private investigators Patrick Kenzie and Angela Gennaro don’t want the case. But after pleas from the child’s aunt, they open an investigation that will ultimately risk everythingâ€"their relationship, their sa! nity, and even their livesâ€"to find a little girl lost.

Cheese Olamon, "a six-foot-two, four-hundred-and-thirty-pound yellow-haired Scandinavian who'd somehow arrived at the misconception he was black," is telling his old grammar school friends Patrick Kenzie and Angie Gennaro why they have to convince another mutual chum, the gun dealer Bubba Rugowski, that Cheese didn't try to have him killed. "You let Bubba know I'm clean when it comes to what happened to him. You want me alive. Okay? Without me, that girl will be gone. Gone-gone. You understand? Gone, baby, gone." Of all the chilling, completely credible scenes of sadness, destruction, and betrayal in Dennis Lehane's fourth and very possibly best book about Kenzie and Gennaro, this moment stands out because it captures in a few pages the essence of Lehane's success.

Private detectives Kenzie and Gennaro, who live in the same working-class Dorchester neighborhood of Boston where they grew up, ha! ve gone to visit drug dealer Cheese in prison because they thi! nk he's involved in the kidnapping of 4-year-old Amanda McCready. Without sentimentalizing the grotesque figure of Cheese, Lehane tells us enough about his past to make us understand why he and the two detectives might share enough trust to possibly save a child's life when all the best efforts of traditional law enforcement have failed. By putting Kenzie and Gennaro just to one side of the law (but not totally outside; they have several cop friends, a very important part of the story), Lehane adds depth and edge to traditional genre relationships. The lifelong love affair between Kenzie and Gennaro--interrupted by her marriage to his best friend--is another perfectly controlled element that grows and changes as we watch. Surrounded by dead, abused, and missing children, Kenzie mourns and rages while Gennaro longs for one of her own. So the choices made by both of them in the final pages of this absolutely gripping story have the inevitability of life and the dazzling ! beauty of art.

Other Kenzie/Gennaro books available in paperback: Darkness, Take My Hand, A Drink Before the War, Sacred. --Dick Adler