9
" He thought of the boys and girls who looked for sweethearts at Mountain View Cemetery, and chorus girls who met their beaux behind scrim, and office romances that flourished in the buildings on Market Street, and he felt like there were little lights in alcoves here and there across the city, in cozy dens, in doorways during rainstorms, or even a chilly balcony on the Ferry building. Everywhere, little pairs of glowing lights. When you walked a city, wherever you looked, someone had probably fallen in love. "
― Glen David Gold , Carter Beats the Devil
10
" Each piece of the set was on a winch and pulley, bag-dropped, counterbalanced by nests of fifty-pound bags of sand. The setup was called a "Fairbanks," for the reason that when a stagehand so wanted, he could stand upon a knot on the rope, untie as few or as many bags of sand as he wanted, and ride nearly to the rafters like Zorro as the scenery lowered.
There was no particular reason to ride that way, but because Carter allowed it, the team of men did so all night long, trading places at the top, jumping onto the ropes and riding back down later. With the mighty Egyptian set descending in its many pieces, the audience was deprived of a behind-the-scenes tableau of beauty: Carter's team swiftly riding ropes up to the catwalk and down to the stage again, simply because they could. "
― Glen David Gold , Carter Beats the Devil
17
" Carter, who'd never seen a ghost, nonetheless found the idea of them wonderful. Who wouldn't want to see a ghost? Whenever he visited the park at night, he saw nothing. On weekend afternoons, he detoured through its rambles on his way to the ferry, watching the boaters, the Sunday painters, the wild and frantic children, and he thought how odd it was that the same joyful places, minus sunlight, became frightening. "
― Glen David Gold
