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Ferris and his CIA subordinate, Skip, undertake surveillance of the safe house along with Jordanian agents. Skip identifies a local asset on the scene whom he does not expect to see, Ziyad Abishi, and who prematurely establishes contact with one of the safe house terrorists and blows his cover. The terrorist flees to inform his colleagues and Ferris chases and kills him in a place and manner that implies the death is a random robbery. During the chase Ferris is bitten on the legs by dogs tied up in an alley, and is concerned the dogs might be rabid, he seeks treatment at a local clinic. While at the hospital Ferris meets an attractive nurse named Aisha.

Ferris goes back to his apartment and discovers that Aisha has been kidnapped. He desperately asks Salaam for help, admitting he fabricated Omar Sadiki's terrorist cell and the attack. Salaam refuses to help because of Ferris' lies. Ferris offers himself in exchange to Aisha's kidnappers and is brought to the middle of the desert, with Hoffman watching everything via a surveillance drone. At the exchange location, Ferris is surrounded by a group of SUVs, which circle him to create an obscuring dust cloud before picking him up. The dust cloud blocks Hoffman's view, so that he cannot determine which of the SUVs, now headed in different directions, is carrying Ferris.

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Body of Lies received mixed reviews from critics. On Rotten Tomatoes the film has a rating of 55%, based on 216 reviews, with an average rating of 5.90/10. The critical consensus reads, "Body of Lies relies too heavily on the performances of DiCaprio and Crowe to lift it above a conventional espionage thriller."[32] On Metacritic the film has a score of 57 out of 100, based on 37 critics, indicating "mixed or average reviews".[33]

During a visit to Washington in the autumn of 1861, poet Julia Ward Howe attended a public parade and review of Union troops. On her way back to Willard's Hotel she found her carriage delayed by marching regiments. To spend some time, she and her cohorts in the carriage sang a few of the war songs so popular those days, among them, "John Brown's Body," which contained the provocative words, "John Brown's body lies-a-mouldering in the ground.... His soul is marching on."

Howe would have assumed that the John Brown of the song was the famous abolitionist. But the song belonged to a young Scotsman in the Massachusetts Volunteer Militia who shared Brown's name.

The Scotsman was well aware of John Brown the abolitionist. Having the same name made him a prime target for many good-natured jokes. As the soldiers marched, they would hammer out, in folk-song fashion, the tune that Julia Ward Howe would later hear. Lines like "His Soul's Marching On" were meant to tease the Scotsman. But as the catchy verse traveled to other units, it was known only as a song about the John Brown who was captured at Harpers Ferry. New verses were constantly added:

Old John Brown's body is a-mouldering in the dust,

Old John Brown's rifles red with blood-spots turned to rust,

Old John Brown's pike has made its last, unflinching thrust,

His soul is marching on!

Old John Brown's body lies a-mouldering in the grave,

While weep the sons of bondage whom he ventured all to save;

But though he lost his life in struggling for the slave,

His truth is marching on.

Chorus:

Glory, Glory, Hallelujah!

His truth is marching on!

John Brown was a hero, undaunted, true and brave;

Kansas knew his valor when he fought her rights to save;

And now though the grass grows green above his grave,

His truth is marching on.

Chorus

He captured Harpers Ferry with his nineteen men so few,

And he frightened "Old Virginny" till she trembled through and through,

They hung him for a traitor, themselves a traitor crew,

But his truth is marching on.

Chorus

John Brown was John the Baptist for the Christ we are to see,

Christ who of the bondsman shall the Liberator be;

And soon throughout the sunny South the slaves shall all be free.

For his truth is marching on.

Chorus

The conflict that he heralded, he looks from heaven to view,

On the army of the Union with its flag, red, white, and blue,

And heaven shall ring with anthems o'er the deeds they mean to do,

For his truth is marching on.

Chorus

Oh, soldiers of freedom, then strike while strike you may

The deathblow of oppression in a better time and way;

For the dawn of old John Brown was brightened into day,

And his truth is marching on.

Chorus

John Brown's body lies a-mouldering in the grave,

But his soul goes marching on.

Chorus:

Glory, Glory, Hallelujah!

His soul goes marching on.

He's gone to be a soldier in the Army of the Lord

His soul goes marching on.

Chorus

John Brown's knapsack is strapped upon his back

His soul goes marching on.

Chorus

John Brown died that the slaves might be free

But his soul goes marching on.

Chorus

The stars above in Heaven now are looking kindly down

On the grave of old John Brown.

Chorus

In the beauty of the lilies Christ was bornacross the sea,

With a glory in His bosom that transfigures you and me:

As He died to make men holy, let us die to make men free,

While God is marching on.

Feinstein's body will lie in state in the City Hall rotunda, with everyone from elected leaders to city residents expected to say goodbye. She died Thursday at her Washington, D.C., home after a series of illnesses.

Referencing the real (and highly successful) Operation Mincemeat, "Ferris's plan is inspired by a masterpiece of British intelligence during World War II: He prepares a body of lies, literally the corpse of an imaginary CIA officer who appears to have accomplished the impossible by recruiting an agent within the enemy's ranks.

South Hampstead [London]: 1917. Rackham, Arthur. No binding. Original sketch printed to recto only, dimensions: about 7" by 4.5" Near fine. Item #19032303

A wonderful original drawing by Arthur Rackham (1867-1939), done in simple, flowing lines, depicting a Civil War-era soldier carrying a flag which seems to be flowing in the breeze; beneath which Mr. Rackham wrote two lines from the poem "John Brown's Body", thus: "John Brown's body lies a-mouldering / in the grave / BUT HIS SOUL GOES MARCHING ON". Beneath is written "with kindest regards [space] Arthur Rackham".

The sketch is on letterhead with the printed address of 16, Chalcot Gardens, South Hampstead N.W., with the numeral "3" written next to the address, and the date writted above of "3.4.17" - since Mr. Rackham presumably used the British convention for dating, we assume this means "April 3, 1917". Arthur Rackham married in July of 1903, and although they began their life together at another address (3, Primrose Hill Studios), they "shortly" moved to the "attractive, unusual, high-gabled house" at 16, Chalcot Gardens, which had two studios - one for Mrs. Rackham, an artist in her own right, and another for Arthur Rackham.

In 1917 Arthur Rackham was 50 years old and was known as "the leading decorative illustrator of the Edwardian period" (n.b., from "Arthur Rackham, His Life and Work", by Derek Hudson), having had many of his best-known illustrations already published, including those in "Peter Pan" and "Alice in Wonderland"; in 1917 his illustrated version of "The Romance of King Arthur" would be published.

There is no indication of the person for whom Mr. Rackham drew this sketch; we presume it was done for an individual who may have been visiting him, since it is on his letterhead and has "with kindest regards" at the bottom margin. Perhaps he and the visitor discussed the pending entrance of the United States into World War I (President Woodrow Wilson declared war on Germany on April 6, 1917) and that might have brought to mind other "just wars", such as the U.S. Civil War and its importance for the abolition of slavery. All of this is, of course, sheer (but interesting) conjecture; we are fortunate that the sketch, on plain letterhead, has survived over 100 years; it is a fascinating, and somewhat different, example of Arthur Rackham's genius as an artist.

___DESCRIPTION: A single sheet with the address of Arthur Rackham printed at the upper right, the sheet measures approximately 7" by 4.5", with the image extending up to within 5/8" of the top edge, and Arthur Rackham's inscription and signature right at the bottom margin; depiction and quote as set forth above.

___CONDITION: Near fine overall; the paper is smooth, with no tears, edgewear or creases; the ink remains deep and strong in colour, with no fading to the illustration or the quotation from the poem; when we acquired it, the paper was adhered to a backing, which a professional restorer removed (name of restorer available upon request). The paper and backing was housed in an old frame, resulting in some light sunning to the edges most close to the frame, and some lightening to the inscription and signature (please see pictures and request more if needed). The verso has a few, light stains likely from the old adhesive; fortunately, these do not come through to the front of the sketch.

___POSTAGE: International customers, please note that additional postage may apply as the standard does not always cover costs; please inquire for details.

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