text:
Code Lyoko Episode 81: X
Author: James the Lesser/The Bunnyman
Disclaimer: I Do Not Own These Characters! Moonscape Does!
Jeremie and Aelita were alone at the Factory, they had skipped Friday's classes, they were to close to leave their work now. Using the power of the Super Computer they had found a way to bring Sanne to Earth, all they needed was a piece of her DNA, for her to go into the right Tower, and a little more power. Sanne had been on Lyoko the longest, she had been the first, and when Franz sent her the way she was, before the painless Scanner Tubes, it had connected her to Lyoko in a way the other two weren't. It would take a lot of power, even more then the Super Computer, Jeremie's laptop, and even if he brought his desktop to the Factory it wouldn't be enough power.
"Are you sure you want to do one?" Aelita and Jeremie were arguing whether or not a return to the past was needed.
"If we do one now it will make Franz stronger, and we still need your Mom to go to the Tower in the Forest Sector, and a piece of her DNA." They had part of it, from Aelita, but not the complete strand. "I'm not sure where to go for it, I could do a partial transfer, get a piece of her hair like I did with you, but that might not even work and could destroy your Mother."
"We can wait then Jeremie." Aelita kisses him on the cheek. "I want to bring my Mom here so badly I'm not thinking right." She shakes her head trying to stop thinking with her heart and thinking with her brain.
"Or left." Aelita stares at him not sure what he meant. "That was a joke, right," Jeremie raises his right arm, "And left." He raises his left arm.
"Oh, sorry." There were still some things Aelita didn't understand. "Maybe we can ask her if there are any parts left of her, a fingernail, anything would work right?"
"As long as it had her DNA it would." Jeremie brings up another screen. "Sanne, can you hear me?" Another program Aelita and Jeremie had been working on was one to allow them to contact Sanne without Franz hearing them.
"Good timing, I am about to attack that bastard, if you would call your friends and get them here I could start." Sanne was talking as if she was part of the group, the better to get them to trust her, let her get close.
"Uh, wait, I was wondering…"
"Now Jeremie! Before he figures out what I am doing and shuts me out of my home!" Sanne wanted Sector 5 back no matter what the cost.
"Ok Sanne we'll call our friends, give us a few minutes ok?" Jeremie brings up Ulrich's number while Aelita uses her cell phone to call Odd.
"Odd, we're going after Franz, come to the Factory now, we can't wait."
"Really?" Odd was excited, they were going to attack Franz, they weren't going to play defense anymore. "We'll be there as soon as possible." Odd hangs up the phone. "Come on S.S. we get to have some fun, well, more fun." He kisses her and starts out towards the nearest sewer entrance with S.S. following.
"I'll be there, call Yumi, she won't answer if my number shows up." Ulrich gets off his bed and heads for the Factory.
"Leave me alone!" Yumi had to go through her bag to find her phone when it rang and was mad she had. "I'm not going there, never, you hear me, never!" Yumi had packed two bags. Her parents were sending her back to Japan to live with her Grand Parents for awhile. Her parents weren't the type to believe in superstitions or legends but maybe, just maybe, the Mikura-jima hot springs in Sato would clean her soul of the pain she was dealing with.
"Yumi we need everyone, if we go with Sanne we will be able to defeat Franz, leaving us with Sanne to deal with."
"I don't care! I'm going home!" Yumi hangs up the phone before Jeremie can say anything else.
"I guess she isn't coming, Aelita I'll send you under Yumi's program, ok?" Aelita nods. "Sanne, they're coming, just give us a few minutes."
"I heard you Jeremie, I'll be waiting, they have five minutes to get here or that bastard will know what is happening out here." The minutes tick away, Jeremie and Aelita cross their fingers hoping their friends will get there before Sanne attacks. Franz was powerful, even more in Sector 5; this would take everything they had. If only Yumi would come along, it could mean the difference between victory and defeat.
A minute before the time was up Aelita and Jeremie hear the elevator come down, it doesn't stop at the Control Room and keeps going to the Scanner Room. "Who am I sending to Lyoko?"
"Me and S.S., we're ready to go when you are Einstein." Odd and S.S. step into separate Scanners waiting for transfer.
"Wait, I'll send Aelita down." The elevator comes up and Aelita gets on it going down to the Scanner Room. "Are you ready?"
"As ready as we'll ever be Brain." S.S. was just as excited as Odd, she didn't understand why the group always waited for Sanne or Franz to attack, wouldn't it make sense to bring the fight to them?
"Transfer Odd, Transfer Sandra, Transfer Aelita, Scanner Odd, Scanner Sandra, Scanner Aelita, Virtualization." The three land in the Ice Sector next to several of Sanne's monsters.
"Weird, this reminds me of the time when Jeremie's Marabounta went crazy." Odd looks around at the different monsters, it wasn't everyday one could get so close to them without lasers flying around.
"When was that?" S.S. hadn't been there, she hadn't fought along side the Sanne monsters before.
"A long time ago, so what are we waiting for?" Odd looks and sees Aelita, she looks different from before. "Something go wrong Aelita?"
"No, Yumi isn't coming so Jeremie sent me under her program." Aelita takes the two fans out. "Been awhile, I think I remember how to use these things." She looks at them, flexes her wrists, she was ready.
"You are two members short, where are they?" Sanne's voice comes from nowhere and everywhere, like when Jeremie talked to them.
"Yumi's taking a break and Ulrich's on his way." Odd raises his arm incase this was all a trap. "You better not be messing with us Sanne, our friends will come and make you pay if you do anything."
"Trust me now or this will fail. You will be enough I hope, I will send you to Sector 5, no need for the transporter." The ground underneath the three starts to glow; the glowing spreads and goes underneath all the monsters waiting on the edge. "If you're not ready it is to late." A flash of light comes from the edge and the three find themselves in Sector 5 along with the monsters from the Ice Sector and many more from other Sectors.
"Is there a timer?" Aelita looks around for the switch, not seeing any she looks for any Franz monsters. "He has to know we're here, why isn't he attacking?" Aelita has the fans up ready to block any lasers but none came.
"No timer, I turned it off already, no need for that annoyance now." Sanne's voice was still like Jeremie's, not coming from any one place.
"Franz just activated the Tower!" Jeremie saw the Super Scan come up as the elevator ran behind him. "Ulrich is here, Sector 5 is open, I'll send him there now." Jeremie brings up the program to send people directly to Sector 5. "Ulrich are you ready?"
"Yes Jeremie, did you call Yumi?" Ulrich was ready to go and fight even if Yumi didn't come along. She still needed time and he was going to let her have it.
"She said she isn't coming, she's going home." Jeremie starts to send Ulrich when an error comes up. "Ulrich, Ulrich!"
"She's not going home!" Ulrich ran back to the elevator and took it up to the Factory floor.
"Ulrich get back here we need you!" Jeremie brings up the security cameras and sees Ulrich run out of the Factory. "Never mind, Ulrich is going to Yumi's house for some reason."
"Uh Jeremie you know Yumi probably meant she was going to Japan, right?" Odd was a little mad at Ulrich for not coming but he understood why Ulrich did it, if S.S. ever said she was going home, back to America, he would do whatever he could to keep her here.
"A door's opening!" Aelita points towards the ceiling, as the door opens the group sees Dragons flying down into the room.
"Laser Arrow!" Odd starts to fire as many as he can as the Dragons come through the door, where they couldn't dodge the Arrows.
"Another door is opening!" S.S. points her pole towards the far wall as another door opens and dozens of Creepers, Raptors, and three Walking Mega Tanks come out. "Extend!" S.S. had pointed the pole towards the floor at an angle so she is launched through the air landing on top of a Walking Mega Tank. "Retract." The pole goes back to normal size. She raises it over her head and does an axe swing hitting the nearest Raptor. "This would be easier if they had Eyes!" She jumps off the walking Mega Tank and continues to beat the Raptor until it is destroyed.
"Hai!" Aelita throws both fans towards the ceiling hitting a Dragon causing it to explode. But unlike Yumi she was not able to control the fans and they land several meters away. "I've never used it before but here goes nothing." She concentrates on the fans, trying to use Yumi's psychic powers, bringing the fans to her.
Lasers start to fly everywhere, from Sanne monsters and Franz monsters, as the group continues to fight. Aelita uses the fans as shields so she can get close to the Franz monsters on the ground and hit them with the fans, cutting legs off to leave the monsters helpless. S.S. dodges laser after laser going after the Raptors and Creepers, avoiding the Walking Mega Tanks knowing her power pole could do little damage to them. Odd was frantically firing Laser Arrows hitting as many Dragons as possible as they came through the door but with no Eye they weren't destroyed. The Dragons wiped out the Hornets quickly before moving onto the Tarantulas, Assassins, and Blocks on the ground. "Sanne send more, they need help!"
"What do you think I am trying to do Jeremie? He has locked me out again!"
"Then let me send them, I am still able to send my friends there using the Transporter, I could…"
"Very good, I knew there was a reason I let you live." Jeremie sees a new screen come up, the code SCIPIO is typed in.
"Sanne, did it work?"
"Of course it did." Dozens more Hornets appear in Sector 5 but instead of firing lasers the fly towards the door in the ceiling and start to explode.
"There we go, that should hold them off for now." Odd turns his attention to the monsters on the ground aiming carefully. His Arrows were guided, but couldn't tell the difference between a Franz monster and Sanne monster. Sanne uses the Transporter again and sends four Mega Tanks, one from every Sector. They aim towards one Walking Mega Tank firing, destroying it. Before one can close a Raptor gets a laser to hit the Eye destroying the Mega Tank leaving three left while there were two Walking Mega Tanks.
"We need help; Franz just keeps sending more Dragons!" S.S. was doing damage to the Raptors and Creepers but was getting hit by lasers from the Dragons. The Raptors were weak, only 50 hit points, they made up for it with speed and numbers, but the Dragons were strong, agile, and a monster only someone like Odd or Yumi could hit. Aelita was there under Yumi's program but couldn't control the fans like Yumi could.
"I don't know what to tell you, Sanne, can you do anything?"
"I'm doing everything I can, that bastard is to powerful! If I activate a Tower will you stop me?"
"What, of course not, we're here to help you, you're helping us." Seconds later Jeremie sees the Super Scan come up as dozens of Towers are activated. "I don't think you need that many…" Sanne ignores him, she keeps activating more Towers, and the group on Lyoko sees a change in the battle.
"They're glowing." The Assassins, Tarantulas, Blocks, Mega Tanks, and Hornets all have a golden glow around them. When the next Hornet flies up towards the door in the ceiling where the Dragons continue to come out it explodes sending a shockwave through out the room, destroying at least a dozen Dragons.
"That's where he is, he's hiding up there." With the destruction of the Dragons Aelita could see up through the door. "S.S. come here." S.S. is across the room near the other door as more Raptors come out.
"I can't Aelita. I'm a little busy here." S.S. had been hit by another laser, leaving her with 20 hit points. She blocks a laser with her pole before she feels a weird tugging on it.
"Sorry but I need that." Aelita uses the psychic powers from Yumi's program and takes the power pole from S.S. "I think I remember how to use this, I point this down and just say a word."
"Aelita what are you doing!" Odd raises his shield and runs to S.S. "Come on, I don't know what she's doing but I can't leave you defenseless." Odd blocks lasers with the shield while firing more Laser Arrows. The tide of the battle was slowly turning; the Sanne monsters had been powered up so even a Block could destroy a Walking Mega Tank by freezing it.
"Extend!" Aelita does what S.S. usually did. Pointing the pole at the ground and having it send her up through the door.
"Get back here!" Odd and S.S. can only watch as Aelita disappears through the door. "Jeremie she did something I would do."
Back on Earth Ulrich had gotten to Yumi's house and without knocking entered. Running up the stairs he goes to Yumi's room and bursts in. "What the hell are you doing?" Ulrich sees two bags on the floor and Yumi lying on her bed. Yumi sits up startled by Ulrich knocking over her doll.
"What do you think you're doing?" Yumi had wanted to be on the plane before telling the others but now she was caught. She knew she shouldn't have told Jeremie she was going home.
"Stopping you, you aren't going anywhere Yumi!" Ulrich slams the door behind him. "You won't go anywhere until you get past me! I won't lose you Yumi I love you to much to let you run away."
"Leave me alone if you know what's good for you Ulrich." Yumi gets off her bed and pushes Ulrich. "This is my room and my house, get out!" She pushes him again knocking him into the door. Ulrich gets back up quickly not letting Yumi get the upper hand.
"Never, not until you unpack your things and come with me to the Factory." Ulrich walks towards Yumi grabbing both wrists when she tries to push him away. "I let you sulk, I let you cry, I won't let you do it anymore!"
"You're not the boss of me!" Yumi pulls one wrist free and goes to punch Ulrich who dodges it, causing Yumi to lose her balance and fall into Ulrich who catches her, pinning her arms to the side with a hug.
"I'm not letting you go until you agree to come with me to the Factory. We are attacking Franz; don't you want to go, to fight Franz, to get revenge for what he did to William?" Ulrich whispers this into Yumi's ear, getting a different reaction from Yumi then he thought he would.
"I love you, please, kiss me." Yumi cranes her head back exposing her neck. "You know you want to, you love me, do it."
"Not now Yumi, we need to get to the Factory, come on." Yumi slips out of his arms and turns around.
"I offered you a chance to kiss me and you don't take it, you do love me." Her smile was big but wrong, it wasn't how Yumi smiled.
"Yumi what's wrong?" Ulrich looks into Yumi's eyes seeing something was wrong, they weren't her eyes. "Sanne, no, Franz…"
"That's right Ulrich, she was weak, and she couldn't fight me off. I already took care of her family and now I will kill you, I can't wait to see how she reacts when she finds all that she loves gone."
"No, Hiroki, her parents, you didn't, no." Ulrich didn't think anything of it that they didn't see what was going on, that someone ran into their house without knocking, but if they were dead then there was nothing left here.
"Even better I used her hands to do it, when the police find her family slaughtered, her finger prints on the knife, even if my Wife wins back Sector 5 I will have won!" Yumi swings at Ulrich hitting him, he was too stunned to move, to even try and dodge the attack. "You better fight back Ulrich or this won't be any fun. What do you think the others would do if I went to the Factory with your severed head?" Charging her hands Yumi forms a sword out of the energy. "When the police find your headless body, follow the clues I leave behind, and find your friends dead, what do you think will happen to Yumi?"
"No, stop this Franz, leave Yumi alone." Ulrich dodges the energy sword coming from Yumi's hand rolling right and stopping next to the door. Opening it he runs out being chased by Yumi.
"Franz!" Aelita was in another hallway, she had gotten lost looking for Franz in the new level of Sector 5. "Where are you?" Aelita had lost the power pole when S.S. was devirtualized and had the fans out instead.
"I'm sending the vehicles, find Aelita, and get her out of there!" Jeremie sends the Overboard to Sector 5. Odd goes up through the door that had stopped sending Dragons out, after the enter it the door closes.
Ulrich had gotten his phone out and called Jeremie with Yumi still chasing after him. "Jeremie! Franz possessed Yumi, he killed her family, and he's trying to kill me!" Ulrich ducks as a trash can flies over his head.
"I can't do anything, the Tower he activated, Aelita; she went off on her own." Jeremie was lost, there was nothing he could do, and he was useless. "I don't know what to tell you Ulrich, keep running, I'll try and get Aelita to go to the Tower and deactivate it." Jeremie knows where the Tower is, it was the only on in Sector 5, he just had to get Aelita there.
"It's more then that! She killed her family, her fingerprints are on the knife, she'll go to jail!" Even worse she would have to deal with knowing she killed her parents, her brother, her whole family.
"A return to the past should take her prints off, and put them back to normal, just not alive." Ulrich hangs up the phone on Jeremie. "Aelita! You have to deactivate the Tower!"
Aelita was still busy looking for Franz, she couldn't even hear Jeremie from where she was, when she hears something coming from behind. "Franz! Answer me you bastard!" She turns around and sees Odd on the Overboard.
"There you are Aelita, we're here to give you a lift, hop on." Odd stops next to Aelita and waits for her to get on the Overboard.
"You have to help me find Franz." Odd nods. "Ok, let's go." Odd and Aelita take off on the Overboard down the hallway.
"Get out of the way!" Ulrich had run towards the city with Yumi following behind him. Yumi, with the powers of being possessed by Franz, was flying after Ulrich sending energy blast after energy blast. A car is blown up, Ulrich hopes it was a parked car with no one inside, people start to scream and run away.
"You can't run forever Ulrich, join the others in death, when I am done with you and the others I will lead Yumi to her own death." Another energy blast rocks the cities street as another car explodes.
"There, that door, that's where he is, Sanne!" A black mist flies down the hallway and forms into Sanne. "Mom, he's behind there, we have to get him now!" Sanne nods her head and turns towards the door.
"You're right Aelita, that bastard will die today!" Sanne floats to the door, charges her hands, then blasts the door open. "You will die! I will make you beg for death before killing you!" Sanne storms into the room where Franz was waiting for her at his desk.
"Dear I have already won, Yumi Ishiyama has killed her family, is about to kill Ulrich, and will come for Jeremie next. When I have killed all of My Princess's friends she will have no choice, she will have to join me!"
"What, you bastard!" Aelita throws a fan, Franz knocks it away. "You bastard I'll never join you! Mom kill that bastard!"
"With pleasure Aelita." Sanne fires an energy ball at Franz who knocks it away easily.
"Foolish women, I am a God! You can't kill a God!"
"Yes you can, Odin and Thor died yet they were Gods." Aelita knew a lot about the different religions of Earth, she always wondered why some were followed and others weren't when, in her opinion, they were all ridiculous.
"They weren't real, I am!" Franz fires an energy bolt and hits Odd sending him back to Earth. "Now I will have my wife and Princess back!" Franz heals the door behind Sanne and Aelita, cutting them off from the rest of Lyoko.
"Stop it!" Ulrich was cornered by Yumi. Yumi had destroyed a block of the city in a single blast and was now using cars; some empty some with people inside, as weapons. She had stacked the rubble from the buildings she destroyed around Ulrich trapping him.
"Aelita is mine, Sanne is mine, I have won. I have gotten what I wanted finally and no longer need this body." Yumi falls from the sky to the ground below, nearly ten meters, before landing on her back.
"Yumi!" Ulrich runs over and picks Yumi up. "Don't, no, Yumi!" Ulrich starts running east towards the nearest hospital that he knew of.
"What do we do Jeremie?" S.S. and Odd were in the Control Room with Jeremie.
"I don't know, I can't get a hold of Aelita, even if I did what do we do about Yumi?" Yumi had killed her family, this would take more then a return to the past, she was already hurt from what happened to William and now this, they might lose her because of it.
"A return to the past, will that get Aelita out? If we go back to before we went to Lyoko?" S.S. had no idea what to do and was grabbing at straws.
"No, not with where they are, we can't get in there." Jeremie looks at some information on the screen that Odd and S.S. don't understand. "Sanne still has every Tower activated, she should be strong enough to beat Franz and get them out of there." Jeremie crosses his fingers and hopes Sanne is able to get Aelita out, he couldn't, neither could his friends.
"Please, help her!" Ulrich had gotten Yumi to the hospital but according to the nurse they were busy. "Fine!" Ulrich lays Yumi down on the floor in front of the desk then jumps over it kicking the clerk in the chest knocking them over in their chair. Ulrich sees a penknife and grabs it before taking the clerk into a headlock and putting the penknife to their neck. "I said help her!"
"Ok I'll call Doctor Alfred, please don't hurt me, I don't make the decision on who gets seen." The clerk pushes a button. "Doctor Alfred we have an emergency, please send a stretcher to the front office." A minute later two nurses and a man in a white coat come out of a hallway through double swing doors and see what was going on in the front office.
"Help her, she's hurt, she fell from, uh, her roof." Ulrich keeps the penknife up to the clerks neck. "Do it!"
"I don't know what we can do son, don't hurt her, she's just a clerk, we'll get your friend the help she needs." The doctor looks at Yumi still lying on the floor, she didn't look good, just by looking at her he can see she had broken several bones. "Get her on the stretcher, careful, there may be internal bleeding." The two nurses lift Yumi up onto the stretchers before taking her through the double swinging doors with the doctor following.
"I'm sorry, I didn't hurt you did I?" The clerk shakes her head. "I'll wait over there, if you want to call the police I don't care, Yumi needed help." Ulrich lets go of the woman and puts the penknife down on the counter. He jumps over the desk and goes over to a seat and sits down. Putting his head in his hands Ulrich keeps himself from crying by thinking Yumi would pull through.
"Come on, damn it!" Jeremie pounds on the control panel. "I can't get anything through to Sector 5! Aelita hang in there, I'll get you out, or your Mom will." Jeremie takes his glasses off to rub the tears out of his eyes, he was scared for Aelita and for Ulrich, Yumi, everyone. This might be it, if they defeated Franz then he would do a return to the past and hope they had the power to bring Sanne to Earth, to finally end the threat. Yes they still needed a piece of hair, skin, anything with her DNA, and figure out how to separate her from Lyoko, but they would be one step closer.
"What's going on in Sector 5, are they still fighting, the monsters I mean?" S.S. looks over Jeremie's shoulder at the screen.
"I don't know, I'm locked out, I can't even send you there through the Transporter." Franz had made it impossible for a rescue mission.
Inside the room, Franz Hopper's panic room, Franz and Sanne were fighting. "I will win Sanne, I am the man, I am the God, and you are my wife."
"I am not your wife! You used me for your damn computer you bastard! Aelita hates you, do you think imprisoning her here will make her happy?"
"Is that what you want for her, happiness? Then stay here as my wife where we can be a family forever!" Franz knocks Sanne down with an energy blast. "If you want her to be happy then you should make me happy."
"She'll never do that you bastard!" Aelita throws the second fan at Franz distracting him long enough for Sanne to get up and fire an energy blast at Franz knocking him down.
"Aelita speaks the truth you bastard, I would never do anything that would make you happy, ever!" Sanne sends energy out of her hands shocking Franz making him shake on the ground. "Aelita dear, go to the door and use your powers to make it open." Aelita nearly fell over where she stood, her Mother had just called her 'Aelita Dear', her Mother was fighting for her, her Mother loved her. Aelita runs over to the door, gets on her knees, and starts to sing, changing the pitch until finally the door opens.
"Mom I did it, Mom?" Aelita turns around and sees Sanne standing over Franz, she had stopped shocking him, and he wasn't moving.
"Finally, your power will be mine!" Sanne leans over Franz, shoving a hand into his chest before pulling out a yellow orb.
"Wait Mom!" Aelita runs over. "We can use that energy to free you from here."
"What do you mean Aelita?" Sanne looks at the yellow orb, then at Aelita.
"Jeremie, he found a way to bring you back to Earth, we just need a little more power, your DNA, and some other things, but we know how."
"I can't go back, I died more then ten years ago, your friends hate me, do you want that for me?"
"They don't hate you Mom, they hate Franz, if he hadn't sent you here, created this, none of this would have happened." Aelita reaches up and takes the yellow orb from Sanne. "With this, and a return to the past, and a little more you will be home Mom."
"No, I won't go back." Sanne takes the orb out of Aelita's hand and shoves it into her chest. "Yes, the power, the energy, its amazing!" Sanne starts to glow yellow, she rises in the air as the energy coming out of her grows and gets brighter. "No, wait, that, no, stop!" The glow goes from a bright yellow to black and seconds later Sanne falls to the floor. "Aelita get it out of me! Pull it out of me, please Dear, get it out!" Aelita runs over and listening to her Mother puts her hand in Sanne's chest feeling the orb. Pulling it out the black glow goes away.
"Mom, are you ok?" Sanne sits up and gets off the floor.
"That bastard made it so I couldn't use the energy, couldn't steal it from him like I stole the Keys to Lyoko from him. That energy is useless."
"No it isn't Mom, we can get you home, please Mom, I love you."
"Years ago that would have meant something to me, back when I was a Mother. Now I am nothing but a computer program." Sanne puts a hand on Aelita's shoulder. "Grow up Aelita, become a woman, find love, and forget about me and this hell."
"Mom wait…" Sanne throws Aelita through the entrance to the room before blasting her with an energy beam.
"Aelita?" Jeremie saw it for just a second, a blip on the screen, it had to be Aelita. "Aelita are you there? Can you hear me?"
"Yes Jeremie, send me back, quickly." Aelita was still standing in the Scanner.
"I can't Aelita I nearly lost you and I won't risk it."
"Now Jeremie! She killed Franz, she sent me back, I know we can save her! If you love me Jeremie you will do this for me."
"You're right Aelita, I love you, and you need this. Transfer Aelita, Scanner Aelita, Virtualization." Aelita lands in Sector 5, with Franz dead Jeremie was no longer locked out of it.
"Mom!" Aelita knew her way this time and gets back to the room Sanne was in.
"I told you to leave!"
"I won't leave without you Mom, we can get you home, we know how!"
"You have no idea, you need a vessel, someone willing to have me inside them, who do you know that would allow such a thing?"
"I would Mom, if that is what it takes to get you home, anything Mom, for you."
"We would share your body, the same memories, the same feelings, would you really be willing to share your life with me?"
"Yes Mom, please, how do we do this?"
"Join me, we will become one." Sanne reaches a hand out, Aelita takes it, and follows Sanne out of the room.
"Aelita?" Jeremie sees Aelita go into the Forest Sector, and she wasn't alone. "What are you doing?"
"I'll be back soon Jeremie, wait for me." Aelita and Sanne walk into a Tower, the one Aelita had considered her home for many years, the one she used to materialize herself the first time back to Earth.
Ulrich was still sitting in the chair when two police officers walked in. They walk to the front counter and talk to the clerk, she points at Ulrich, they walk over and stand in front of him. "Kid did you assault the clerk earlier?"
"Yes, she wouldn't get my friend help, I don't care what you do to me I got a doctor to look after Yumi." Ulrich stands up and sticks his hands out.
"Kid we aren't arresting you we're just escorting you off the property, come with us." Ulrich follows the two officers out of the hospital and out onto the sidewalk. "She could have you arrested but she didn't, I'd stay away and tell your friends family where she is. Do you need a ride?" Ulrich shakes his head. "Behave kid." The two officers get in their car and drive away.
"We're heading down to the Scanner Room Jeremie. Tell us when she is coming ok?" Odd would normally call him Einstein but the situation, what had happened, it was too serious for nicknames, for fun. Getting on the elevator S.S. and Odd head down to the Scanners.
"Ok Mom I'm ready."
"This is it Aelita, your last chance to say no, are you sure Aelita Dear?"
"Yes Mom." All the Towers on Lyoko deactivate, their power drained into one Tower, the Tower Aelita and Sanne were in. The Tower starts to glow, not red or blue, not green like a Jeremie Tower, but a deep gold color.
"What are you doing?" A screen had come up on the Super Computer showing Aelita and Sanne, the information was mixing, forming into one. "Answer me Aelita!"
"What's going on Jeremie?" Odd and S.S. had made it to the Scanner Room and could only hear Jeremie yelling.
"I don't know, maybe Franz came back and attacked them, I can't tell from here!" Jeremie tries to get more information on what was going on but the Super Computer froze something that had never happened before.
"Code Blue, Code Blue!" The doctor had been working on a young Asian girl when her heart stopped. They had stopped most of the bleeding but a rib had pierced a main artery and they had trouble stopping it. "Need 50cc of…" The doctor continues his work on the young girl.
"No, Aelita!" The screen had disappeared, Aelita, according to the computer, was gone. So was Sanne, so was Franz, there was nothing left on Lyoko. "No!" Jeremie starts to cry, he had lost Aelita, he had sent her back to Lyoko…
"What Jeremie?" Aelita's voice!
"Aelita where are you, I don't see you anywhere on Lyoko!"
"She's with us Jeremie." Odd and S.S. had to help Aelita up after she fell out of the Scanner.
"Ok, return to the past now." The white bubble takes over the world, reversing what it could…
"Yumi!" Ulrich was running towards Yumi's house after a return to the past sent him back to his dorm room. Ulrich rushes through the door and up to Yumi's room, seeing her lying on her bed, not moving. "No!" He runs over and shakes Yumi.
"What the hell are you doing?" Yumi woke up from her nap as Ulrich shakes her.
"Yumi you're ok, I'm so sorry, Franz, he, he…" Ulrich kisses Yumi to make sure she was really there. Feeling the warmth on her lips set his mind at ease. "You're family, I, Franz he killed them!"
"No, he couldn't have, no…" Yumi gets up off her bed. "Hiroki!"
"What Yumi?" Hiroki yells back through the wall.
"See, it might have been close but they aren't dead." Yumi turns around and looks at Ulrich, something was different about him. "Ulrich, did you change your hair cut?"
"No, why?" Yumi leads Ulrich to the bathroom and shows him in a mirror, his hair was different, and now that he thought about it, Yumi looked different. "You look, something about you, I can't tell." The two look at each other trying to figure it out, they were both different, but couldn't tell what it was. Ulrich's phone rings scaring both. He gets it out not noticing the time, or the date, on the phone. "Hello?"
"Ulrich, you made it, is Yumi there?"
"Yes, you guys did it?"
"We sure did, and even better, Franz is dead, Sanne, she's not dead but she's not here either, meet me at the Factory ok?"
"Ok Jeremie." Ulrich puts his cell phone away. "Jeremie wants us to meet him and the others at the Factory."
"Ok." The two leave the house, Yumi noticing that a picture her and her family had wasn't up anymore, they had just gotten it and her Dad had made room for it on the walls. Walking outside they go to the Factory hand in hand, something had changed, they weren't sure what, but something had definitely changed.
Getting to the Factory the two take the elevator down to the Control Room. Getting out they see the others and notice they all look different. "Hi Jeremie, what happened?" Looking at him Jeremie to seemed different, and so did Odd, but S.S., she wasn't there.
"Sanne, she used the power from Franz to modify the return to the past." Jeremie was holding Aelita's hand who seemed to be giving off an aura of maturity.
"What do you mean?"
"Did you look at the date on your cell phone?" Ulrich shakes his head and gets it out and nearly chokes on his spit when he sees what it says, May 28th, 2004. "She undid all the damage she did, all the people who died are alive again, and no one remembers a thing."
"Really, nothing, none of that ever happened? But how is Aelita here? And where is S.S.?"
"Sanne, she did it, and S.S. is in America, she won't come over here for a few more years." Odd looked down at the ground, he had no idea how to reach S.S., would he have to wait for her to come back to France to talk to her?
"Wow, so we start over? We get to live our lives? What happened to Sanne." Aelita holds a hand up to her chest.
"She's right here, she's talking to me right now, she is so happy that we saved her, stopped Franz, but we have one last thing to do." Aelita turns to Jeremie.
"What turn the Super Computer off?" Jeremie was more then ready to do that.
"No, delete it, all of it, I saw the program, you called it the Omega Program." Aelita squeezes his hand tightly. "Use it, we never need to go back, get rid of it Jeremie."
"Ok, is everyone ready?" The group nods, this would be it, they had defeated Franz, gotten Sanne, once known as Xana, out of the computer, and now, time to delete Lyoko.
"Code Lyoko." The Super Computer beeps twice, the screen flickers, then goes black.
"That's it? I thought it would be more dramatic." Odd laughs, getting the others to laugh, they were all nervous, wondering if it could be over so easily.
"Wait, she, she changed everything right? So William is alive, right?" Yumi looks at Jeremie then Aelita. She was the one with Sanne inside of her.
"Yes, but he won't go to school for another year will he?" Aelita and Jeremie look at each other, it was over, they could be a normal couple, two kids in love.
"It feels weird, we're so young, we have all these memories that we can't tell anyone about." Odd pats his chest, making sure he was real, this wasn't a dream
"I know, I guess we have to go to school, what about Aelita?" Yumi looks at Aelita, she wasn't a student at Kadic Academy this year.
"Mom says we can stay at the Hermitage, she had a bank account shared with Franz, it is still open, and after interest should be more then enough for me to buy furniture and food, get utilities going."
"Party at the Hopper's!" Odd hugs Aelita, kisses her on the cheek. "So cousin got some money to loan your favorite cousin?"
"Leave her alone Odd, in fact, I think it is almost time for lunch." Ulrich looks at his cell phone making sure the date was right.
"Ok let's go eat!" The group walks to the elevator, looking at the useless Super Computer Control panel, the doors close. The group walks off the elevator onto the Factory floor before going up to the bridge.
"This is it, right, no more Lyoko?" Ulrich looks at the old Factory, all the times he had been there, and now this was the last time he would ever have to go here again.
"It is over, Sanne says no one else is left, Franz is dead, she's in me, Lyoko was deleted. We're free from this place forever." Aelita, as the others, are trying to hold back tears, Lyoko had been a large part of their lives for years, but now those years no longer existed. They had become friends, grown close, found love in the group through the years, but now it was over.
"We'll stay friends, even without Lyoko, friends forever." Aelita grabs Odd's hand, who grabs Yumi's, who holds Ulrich's, who holds Jeremie's completing the circle.
"It doesn't seem right without S.S. does it?"
"Don't worry Odd I'll use the phone database and find her number so you can call her." The group may not have been complete on the bridge but they wouldn't forget S.S., or the time they spent with her just because she was in America.
"You know what this means right?" The group looks at Odd, what did he mean, they knew it was over, no more Lyoko, no more Sanne, no more Franz, monsters, Towers, attacks. "Two more years of Sissy!" The group laughs as the nerves and worries go away. They walk back to the school, skipping the sewer path, not caring how long it took to get back. They had done it, they had saved the world countless times and now would be able to live like normal kids.
"So Odd you going to use your time to build muscle for S.S. so when she does come over here you aren't so scrawny?"
"I'm not scrawny I'm Svelte."
The group gets to the Kadic Academy campus talking about all the things they could do now, all the things they missed when fighting Sanne and Franz, and how it would all change. Yumi and Ulrich were more then friends now, Jeremie had Aelita unlike before, and Odd had someone to wait for in America. The years they would now live would be so much better, no worries, time to be with each other, friends and lovers.
A/N: That's right, the end of Lyoko! The kids have finally done it, they won! All the death and pain was erased, everything ends on an upbeat, like the show should. I wasn't exactly sure what line should end the show but I went with what I typed. I hope you enjoyed my version on Season 3 and 4, plus the OVA, please Read and Review all my Code Lyoko Stories, I like to hear what people liked and didn't like.
A/N Part Deux: I may, in the future, write an alternate ending, that doesn't end Lyoko, but only after I finish some of my other Stories or get some chapters done on them. I ended My Series because I was neglecting other stories, so when I finish them, or get some chapters done, I may write an alternate ending. Something that changes so Lyoko Continues. But not sure, it would mean Yumi would be really messed up, maybe Sissy gets in the group, the future Sanne showed would have been correct, Sissy, not Yumi was in the group, hmmm, maybe I will have to do an alternate ending, sounds really fun!


text:
Lourd De Veyra
The Rest Is Noise
SPOT.ph blogger Lourd de Veyra savors the silence.
A Letter to My Unborn Grandchild
Lolo Lourd wishes you all the best.
Troll Man ay Tao Rin
(Or PUT4NGINA NiO LAHAT MMATAe NA KAü SANA MA-RAPE NG ADEK ANG BoONG PAMILya Mo dPAT…. #OBOSEN!!!!)'
Sa Pelikulang Pinoy
Ilang eksenang hinding-hindi puwedeng mawala sa Pinoy cinema.
The Big Sleep
SPOT.ph blogger Lourd de Veyra pays tribute to Pinoy showbiz legend German Moreno
Life Before, During, and Beyond the 15 Years of FHM
As Lourd de Veyra says, "Man does not live by breasts alone."
So Help Me God, Putangina Niyo Lahat
Rodrigo Duterte's imaginary inaugural address
Bakit nga ba laging nakaupo si Mabini?
Si Aguinaldo nga ba ang nag-utos na patayin si Luna? SPOT.ph blogger Lourd de Veyra elaborates.
The Pope's Guide to Metro Manila
SPOT.ph blogger Lourd de Veyra gives His Holiness a personal tour of the must-see sights around the city.
An Open Letter to Pope Francis: On the Occasion of His Visit to Tacloban, Leyte in 2015
SPOT.ph blogger Lourd de Veyra writes some things for Pope Francis to keep in mind when he visits Tacloban
Sermon Sa Mga Fashyown
SNEAK PEEK: A speech from the soon-to-be-launched book by SPOT.ph blogger Lourd de Veyra, Lourd de Veyra's Little Book of Speeches!
The Dos and Don'ts of Doing an Interview
SPOT.ph blogger Lourd de Veyra revises the rules of media engagement for the benefit of self-absorbed celebrity.
Four Hundred and Twenty-Five Flying Elephants: Gabriel Garcia Marquez, R.I.P.
SPOT.ph blogger Lourd de Veyra mourns the loss of an author who made magic with his words.
"Patay" ang Diyos: Ilang Repleksiyon para sa Semana Santa
SPOT.ph blogger Lourd de Veyra reflects on the holy days
Anak ng Teteng
SPOT.ph blogger Lourd de Veyra on Bong Revilla's privilege speech...and what it says about the Philippine Senate.
An Open Letter to Vic Sotto
SPOT.ph blogger Lourd de Veyra has a few things to say to "Bossing"
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text:
Owen eyes England recall
Michael Owen is refusing to give up on his international ambitions and believes he can earn an England recall.
By Chris Burton
Last Updated: 08/09/10 7:19pm
Michael Owen is refusing to give up on his international ambitions and believes he can earn an England recall.
The Manchester United striker last appeared for his country in March 2008, with Fabio Capello choosing to overlook him on a consistent basis.
The Italian has opted to take the side in a different direction, with Owen finding himself on the outside looking in.
The former Liverpool and Newcastle star has seen his efforts hindered by niggling injuries, but has been in contention for long periods of Capello's reign.
Owen has seen the likes of Jermain Defoe and Darren Bent edge ahead of him in the pecking order, with youth favoured over experience.
The one-time golden boy of English football is not prepared to give up without a fight, though, and hopes a number of impressive showings for United could see him drafted back in from the wilderness.
In a question and answer session, as part of a Manchester United education initiative, with pupils from Manchester's Mount Carmel RC Primary School, Owen said: "I've got 89 caps so far. I played for England for many years, starting when I was 18.
"I played basically right the way through until about two years ago, which was my last game. So hopefully I will play for them again one day, you never know."
Owen insists his fitness should no longer be a cause for concern, as he feels capable of turning out for club and country on a regular basis.
He said: "I've had my fair share (of injuries) but also had plenty of games. When I look back and see the amount of matches I have played at club level, international level, I do not feel harshly treated by too many injuries.
"I get in about 9am. I do all my preparation work for training for 45 minutes. I see the physio and we make sure everything is in the right place and moving right. Then we start all together at 9.45."
Of more immediate concern for Owen is forcing his way into Sir Alex Ferguson's plans for an away date at boyhood heroes Everton on Saturday - a game which can be seen live on Sky Sports 2, HD 2 and in Sky 3D.
"When I was growing up my sporting hero was always Gary Lineker," he said.
"I supported Everton when I was a little boy.
"Now I am just impressed with anyone who does their sport at a high level. I know how hard it is."


text:
BUS381 - Solutions-Focused Leadership
Argosy University Online3 credit hour(s)
This course examines the process by which leaders and team members generate alternatives and select appropriate courses of action to meet organizational objectives. Competing principles of leadership are considered and the characteristics of effective leadership across multiple settings are considered.
Prerequisite(s): ENG101


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Land – for living, Sale, Šaľa, Slovakia
29.990,00 €
Land – for living, Sale, Dlhá nad Váhom, Num. ZR-200779
We sell building land in the village of Long Váhom.
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Location: Near the food, school, kindergarten, post office, bus stop. The property is fitted into the countryside near the dike with private street.
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Women writers, international writers, marginalized writers
German writer Cora Buhlert has a post on Women writers, international writers, marginalized writers well-worth reading:
There are the subtle and not so subtle assumptions that your grasp of the English language will be flawed, because you are not a native speaker (Read what Juliette Wade has to say about that here). This must be even more painful if English actually is your first language, because you come from one of the many countries around the world where English is an official language due to the legacy of British imperialism. The assumption that you are a bad writer because you don't adhere to random (American) taboos regarding the use of adjective, the passive voice, complicated syntax or anything else that is considered "bad writing" by the edict of Messrs Strunk and White. The assumption that your characters and setting will be either too exotic for Anglo-American audiences or conversely not exotic enough. The assumption that you are only supposed to write a certain kind of story, because that's the sort of story expected from someone of your ethnic and national background (I would probably have no problems selling an urban fantasy about evil Nazi werewolves in Berlin – provided I would actually want to write one). The feeling that all the discussions about diversity within the SFF genre, while valuable and important, are still largely US-centric and don't address your situation at all.
When I first started submitting, I was always very open about my nationality. In those days of postal submissions, I figured editors could tell where I was from anyway just by looking at the colourful stamps on the envelope. And besides, I naively thought "As long as the story is good, what does it matter where the writer is from?" In those days, a few of my stories were set in Germany (I never wrote very many German set stories, because Germany isn't all that interesting to me). Others were set in Belgium or the Netherlands (I wrote urban fantasy set in Antwerp before I even knew the term "urban fantasy"). I wrote SF featuring Germans, Poles, Dutchmen, Finns, Danes, Greeks, Turks, etc… in space. And none of them sold.
Of course, it's likely that those stories didn't sell because they simply weren't very good. In fact, it's very likely. However, over time I also began to suspect that my nationality and the unconventional settings were an additional strike against me. Because why would anybody want to buy an urban fantasy set in the secret underground world of Antwerp or a fantasy about river spirits in the Ardennes, when some ninety percent of the readership wouldn't even be able to locate those places on a map. Of course, as an international reader was always expected to be interested in urban fantasies set in Milwaukee or Cleveland – cities I can locate on a map but don't know anything about otherwise. But the reverse obviously wasn't true. – continue reading!
7 Comments
It still amuses me that I had a sample chapter of a novel (written by a New Zealander and set in Australia) called BS by some anonymous critiquer because, "It's clearly not written by an American!"
Comment by Paul Mannering | August 23, 2011
The Antwerp story sounds fascinating, and I'm not that fond of UF. But yes, even this small part of the article strikes chords. Just recently over on Evil Editor I was reading a query for a novel with Arthurian and Scottish influences, and it's set in…Baltimore. Perhaps Arthur travels in his sleep.
Comment by Debbie Moorhouse | August 23, 2011
I like this commentary because it is dealing with privilege in its many cultural guises: language, setting, gender, etc. And the corollary of whether or not to wear a label. As a reader who seeks out non-USian sf, it has struck me as odd that some writers don't want that label: they see it as a limitation.
Comment by amy west | August 24, 2011
[…] of a statsalanche today, because my post on the issues facing international writers has been picked up by the World SF blog. The same post has also been linked from the website of the Israeli Society for Science Fiction and […]
Pingback by Of Thunderstorms and Deceased Comedians | Cora Buhlert | August 24, 2011
[…] Hosting the Hugos. Cora Buhlert on Women writers, international writers, marginalized writers. [via The World SF Blog] Overland literary journal on Gender and China Miéville's Embassytown. N.K. Jemisin on Reading […]
Pingback by SF Signal: SF Tidbits for 8/24/11 | August 24, 2011
[…] I read a round table discussion at the World SF blog whose participants were international women SF/F writers. The focus was, […]
Pingback by Astrogator's Logs » Blog Archive » Safe Exoticism, Part 2: Culture | September 2, 2011
[…] Representat… on Monday Original Content: On Th…Astrogator's L… on Women writers, international w…Shared Worlds, inter… on Monday Original Content: […]
Pingback by Friday Original Content: Safe Exoticism, Part 2 — Culture « The World SF Blog | September 9, 2011
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31 March 2008
How the West Was Watched
Stagecoach (1939) dir. by John Ford
My Darling Clementine (1946) dir. by John Ford
These are the two that started this whole fascination. I watched both of them for an American Film class and was impressed by how surpisingly engaging they were. Not only that, but I saw a lot of similar characterizations, film techniques, and situations that were echoed by Kurosawa, who I am much more familiar with.
Stagecoach was also my first real film experience with John Wayne, who always existed as an American icon, but who I did not really recognize other than a stereotyped (often mocked) caricature. My Darling Clementine made me like Henry Fonda even more, making him one of my favorite classic Hollywood stars.
The Searchers (1956) dir. by John Ford
A follow-up to my interest in Ford westerns was this 1956 film featuring John Wayne as Ethan Edwards, a Civil War vet (for the Confederacy) who is disillusioned, angry, and a stranger in his own home. This is often cited as one of Ford's greatest films. There are lots of underlying themes and tensions in the film, not to mention pointed framing techniques that convey meaning. Take a look at that still on the left - Edwards is outside the home framed by the door, the wilderness in the background; he belongs nowhere.
Tin Star (1957) dir. by Anthony Mann
I bought this one on a whim after remembering it being mentioned by a friend of mine a while ago. I figured I liked Anthony Perkins and Henry Fonda enough and that Anthony Mann is supposed to be an interesting Western director, so it was a safe bet. I was right. Perkins is an effeminate (again?) sheriff who needs Henry Fonda to get him to toughen up and shoot straight in order to assert his authority in the dead-end town. Classic.
Red River (1948) dir. by Howard Hawks
Another class-required screening, which I happily Netflixed. John Wayne is an overbearing self-made cattle driver who brings up young Montgomery Clift as his son/protoge. Eventually Clift takes control when Wayne reaches a level of near insanity, which I think is fantastically portrayed. You can also see a divide between the two characters in terms of acting style, Clift being one of those who practiced "the method." (You know it's funny; as I was typing this post my iPod shuffled to "Right Profile" by the Clash, a song about Montgomery Clift. How appropriate.)
Fistful of Dollars (1964)
For a Few Dollars More (1965)
The Good, the Bad, and the Ugly (1966) dir. by Sergio Leone
There is no one cooler than Clint Eastwood as the man with no name. I actually saw The Good, the Bad, and the Ugly a long time before I saw the other two (and maybe even before all the other movies on this list), but could appreciate the trilogy as a whole after knowing more about Westerns and the intertextual dialog between Ford, Kurosawa, and Leone.
The visual style and overall feel to these films are so quirky that they completely transport you to a different world, some madeup Western landscape with non-synch sound, with people too cool to be real, with washed-out color, and with an INCREDIBLE score behind it all. The music to these films is so good; each has its own little theme (the one from The Good, the Bad, and the Ugly probably being the most instantly recognizable) that plays throughout the the film as almost chapter headings or act transitions. Anyway, yeah, awesome.
McCabe & Mrs. Miller (1971) dir. by Robert Altman
A sad and wonderful poem of a film. The washed out visual style (shot by Vilmos Zsigmond, who also did Altman's Long Goodbye, among other things) gave the feeling of a faded photograph, a moment passed. The film is a revisionist Western in that it is dealing with the same time period of Western expansion in US history, yet decides to revise the content - not the historic content, but the content and conventions of the Western film. There is no glory to the man with the gun; the film actually makes him extremely unattractive in an emblematic scene containing an obnoxious gunslinger and a passerby on a bridge. There is almost nothing romanticized in the film other than the beauty of nature and the longing of one person for another. "I've got poetry in me!"
My Own Private Idaho (1991) dir. by Gus Van Sant
Midnight Cowboy (1969) dir. by John Schlesinger
Easy Rider (1969) dir. by Dennis Hopper
I am grouping these films together because they are all modern responses to the Western film and each of them in some way references the myths and ideals of the Western hero and turns it inside out. In Midnight Cowboy we have Joe Buck coming from the West into grimy New York City. In My Own Private Idaho we see a the staple Western campfire scene in which Mike confesses his love for Scott - homosexual cowboys? Easy Rider is most blatant, I think, in their reference to the Western myth as Wyatt (Earp) aka "Captain America" and Billy (the Kid) go from West to East on their bikes in search of "freedom." I like the first two films on the list very much, especially Midnight Cowboy. I think My Own Private Idaho is my favorite Van Sant and arguably his best. Easy Rider is an okay movie that felt a bit too self-conscious to me, though it contains a great side character played by Jack Nicholson.
3:10 to Yuma (2007) dir. by James Mangold
The Assassination of Jesse James by the Coward Robert Ford (2007) dir. by Andrew Dominik
I group these two together for kind of obvious reasons: they are updated Westerns that were both released in 2007. 3:10 to Yuma was a lot of fun to watch and it made me want to dig back deeper to take look at older Westerns (this is also after having seen Stagecoach and My Darling Clementine). Anything related to the Western that I'd seen of films from the late '60s to the present had been kind of ironic or sought to reverse the conventions of the Western, like the group of films listed before this. However, to find straightforward, non-ironic Westerns being made today was kind of refreshing. The Assassination of Jesse James was less of a "straight-forward" Western, but still an unironic drama that was soaked in the period without wanting to turn it inside out. Come to think of it, I can probably even include No Country for Old Men in this list, though it only really has Western elements as opposed to being a typical "Western."
Well, that's about it. I have lots of more films to watch. I have The Man Who Shot Liberty Valance and The Wild Bunch at home waiting for me, as well as tons of other stuff in my Netflix queue. Overall, I'm excited to have been able to more deeply explore a genre I knew little about last year. I think it would be interesting to have a different genre focus every 6 months or every year, since there's always so much to learn and take in.
26 March 2008
Going Back Home: The Longing to Return in Written on the Wind
In Douglas Sirk's Written on the Wind, the Hadley mansion is absurdly huge; with a winding staircase and high ceilings that echo emptiness off the white walls and marble floors, it is clear that this house is not a home. This large, extravagant house that cannot be filled is the most striking of Sirk's interior constructions in the film and, like other interior upper-class spaces throughout the film, makes a comment on the affluence and emptiness of post-war 1950s
A strong contrast that is established early in the film comes through the characters of Mitch Wayne and Kyle Hadley; while Mitch is easy going and obedient, Kyle is an impassioned and irrational alcoholic. Later we find that Mitch comes from a Daniel Boone-type outdoorsman father who lives in the woods, while Kyle has grown up in affluence and privilege due to his father's fortune made through oil. The dichotomy between these two characters established through their respective homes and their fathers, as well as the relationship they keep with their fathers, reveals Sirk's interpretation of home in 1950s
When Kyle first brings Lucy home to his father after a long vacation, Mr. Hadley talks with Lucy and expresses his trust in her due to Mitch's insight. "So you trust Mitch's judgment more than Kyle's?" she asks. After Lucy asks him to trust Kyle a little more, Mr. Hadley responds with, "How much liquor has he been putting away?" It is no wonder Kyle took such a long time coming back home after his wedding; the judgment from his father and their inability to communicate with each other are strong signs of a family barely held together apart from blood and money. In fact, the only intimate conversation Mr. Hadley shares with anyone is with Mitch, expressing his wish for Mitch to marry his daughter. Then, only after Mitch's approval, does Mr. Hadley talk alone with Lucy. We never see Kyle and his father sharing any words alone together.
Unlike Kyle, Mitch shares a close relationship with his father, to whom he confides his love for Lucy, his most personal secret, and from whom he finds comfort and advice. It is not accidental that the setting of the
As Kyle takes his final steps out of the Hadley house after he has been shot his final words are, "What are we doing here? Let's go to the river where we belong. I'll be down at the river waiting." His death immediately afterwards makes the river seem like a type of heaven that Kyle wishes to go to, a place equally as beautiful and unattainable in his adult life. Marylee also goes to the river, replaying a childhood scene in her mind that embodies the innocence and splendor of days past. She even drags Mitch there, wanting him to share the same feelings she has – both her nostalgia for the river and her love for him. Sirk's view on past and present isn't black and white, but rather ambiguous. That is to say, Sirk is not suggesting that America needs to return to a more natural and simple way of life before big business and the shiny veneer of affluence, but that this return can solely remain as a longing, for the past is the past and it can not be returned to.
One critique that Sirk is more clear about in Written on the Wind is the emptiness and constriction of the affluent life built up by the wealthy such as Jasper Hadley. Sirk suggests that the glamour of their money – seen especially in the hotel room scene in which Kyle eagerly shows Lucy her drawers filled with treasures and closets filled with gowns – is only an outer display that conceals a broken and repressed interior. Again, the Hadley house is the most prominent and striking example. Even though it is a grand and impressive home from the outside, inside there is a family that does not communicate with each other, with broken-hearted individuals longing for meaning.
The most striking and effective way that Sirk conveys this idea is through the way he sets up and shoots the interior of the Hadley house. Sirk makes full use of color by having the hallway and entrance painted in cool whites with high ceilings that give an even greater feeling of coldness and emptiness. Sirk also uses domestic objects to frame his shots – doorways, window frames, mirrors, and screens. The effect of such a composition is the conveyance of restriction and even claustrophobia; it is as if the house is trapping the characters within their frame. Mirrors add even greater effect by conjuring up images of things that can not truly grasped, but only seen; seeing through a glass darkly. Through a glass darkly is exactly how Kyle and Marylee look back to the river and to the past, their own constructed ideal of home.
Towards the end of the film the Hadley house itself becomes such a source of menace that Sirk has Mr. Hadley die by falling down the winding stairs. As Kyle leaves Lucy after slapping her she says to Mitch, "Take me out of this house" as if the house was the embodiment of everything she wants to get away from, and possibly a pointed reflection of Sirk's own opinion. The open front door with the wind blowing in dead leaves adds to the effect by confirming the Hadley house is a cold, dead place.
The portrayals of the Hadley house suggests that Sirk is saying the concept of home is not defined merely by location – even the more romanticized natural
Home is also the social unit of the family in Written on the Wind; it is certainly true that Mitch has a home with his father while Kyle and Marylee do not. It can also be argued that another reason that Mitch and Lucy can end up together is because they can have children together, they can create a nuclear family. The fact that Mr. Hadley is without wife is significant. Instead of marrying again, he is married to the business – this is encapsulated in the painting hung above his study in which he holds an oil rig statuette instead of a wife. Indeed, Mr. Hadley's wealth and business displaces the affection and care he should be sharing with his children.
Kyle and Marylee's lack of parental affection results in repressed and emotionally unfulfilled characters that seek for love in the wrong places. Marylee wants Mitch possibly for the fact that he is able to step in the shoes of her father, who she never received love from. Kyle wants to marry a girl like Lucy possibly for the approval of his father, something he never gets. When they can't get what they want they resort to symbols of moral deterioration and vices of the rich: Kyle takes to the skies in his private plane or drowns himself in scotch; Marylee hunts around town for a man. Their fondest memories of the river are attached to a time in childhood before any of these psychological afflictions could fully take root.
During the final scenes of Written on the Wind, Mitch and Lucy get into a car as they prepare to leave the Hadleys for good. On the margin of the screen and through the framed window is the figure of Marylee, peering out to watch as the person she loves most, Mitch, leaves her. Inside, she sits in her father's chair, clutching an erect oil rig statuette in despair then stroking it in longing – she will unavoidably continue her father's legacy. The sequence, and the movie, ends with Mitch and Lucy leaving the gates of the Hayden estate, which close behind them and frame the house in vertical bars like those of a prison cell.
By the film's end, Sirk's message on the concept of home is left slightly open-ended. As discussed, it is not a physical location, but a state of being. However, this state of being can be realized, as in the case of Mitch and Lucy, or it can't be, as in the case of Kyle and Marylee. The determining factor, then, seems to come from the past. Kyle and Marylee were raised on the affluence of a big businessman, a social condition which restricted their growth and leaves them unfulfilled. Mitch comes from a natural, pioneer-like home reminiscent of
To audiences of the 1950s, the decade in which the film is supposed to take place, the situation of Kyle and Marylee may have been the most distressing. It may seem that Sirk is offering a warning on the pursuit of a lifestyle that bears internally empty, home-less children such as the Hadleys, but the film actually goes beyond that to say that America's situation is the very same as the Hadleys' and that characters such as Mitch don't exist anymore – he is merely a vision of the past that America cannot attain again but can only long for in the same way Kyle and Marylee long for the river.
25 March 2008
RIP Paul Arthur
19 March 2008
Van Sant and Paranoid Park
Van Sant's latest Paranoid Park revisits a subject matter that Van Sant seems drawn to: outsider youth subculture. Amateur pill-popping dealers in Drugstore Cowboy, male prostitutes and druggie squatters in My Own Private Idaho, and "disturbed" school outcasts in Elephant. Had I seen more films I'm sure there could be more correlations made. In Paranoid Park we get the skateboarder subculture of Portland, focusing mostly on Alex, a soft-spoken 16-year-old with a mop of brown hair hanging in front of listless eyes.
The "outsider" is appropriate for Van Sant because his focus in film is centered around "non-straight" filmmaking. This isn't to say everything about Van Sant is prefigured by his homosexuality, but I mean to use "non-straight" as in unconventional or with disregard to preordained rules (though it sometimes does explicitly pertain to homosexuality, such as in My Own Private Idaho). Van Sant loves to mix bits of experimental film techniques between the passages of straight-forward narrative, which often catch the viewer off-guard. Van Sant also loves to play with time, cutting up narrative so as to go from past to future to present to flashback almost with no indication of what is what. The sequences in Elephant are repeated, as if Van Sant is pressing rewind on his film and making us watch the same passage again, maybe from a different angle the second time. Paranoid Park is also jumps in time, repeats certain scenes, and goes from dream to reality in smooth transition. Van Sant would give us information early on in the film that wouldn't make sense to us until we see several other scenes much later, mixing the past and present, but all the while guiding us along in a way that's easy to understand.
Van Sant also has some lucid, almost sublime footage of skateboarders shot in slo-mo through a filter that gives the image a home-movie look (a visual effect that Van Sant seems to enjoy and associate with memories and dreams). The visual aspect of the film was probably my favorite; even when I started to care less and less for the character, I was still stuck to the screen by beautiful compositions. Watch this one:
Aside from the visual aspect, the main character, Alex, and eventually the story, were incredibly dull. I think Van Sant used mostly all non-professional actors, except for Alex's girlfriend (she was the little who in Ron Howard's How the Grinch Stole Christmas!) and the detective, and their mumbling, self-conscious presence on screen was less engaging than talking to an actual glaze-eyed teen. Maybe that's what Van Sant was trying to do, but... ::yawn:: To give Van Sant some credit, at least he portrayed how teens actually talk, as opposed to the pun-a-second Juno. Still, after watching this character that you care less and less about, the story surrounding him involving manslaughter (and a particularly gruesome scene) and the detective bringing together clues starts to fall apart and eventually does as the film comes to close leaving things up in the air. Van Sant may argue that the point of the film is not in the crime thriller aspect but on Alex's self-redemption, but it's still a let-down.
In the end, it is a pretty film which I would suggest renting. Actually, see My Own Private Idaho and Drugstore Cowboy first. If that doesn't stop you, then see Paranoid Park. It's certainly interesting considering Van Sant's other work, but as a stand-alone film, it may bore (or even upset!) the average viewer.
04 March 2008
A ONE AND A TWO... : Three Well-Spent Hours
The film focuses on the nuclear family of the Jiangs living in modern day Taipei and peers into the lives of each of its members, each dealing with their own crises - NJ, the father, meets with an old lover while trying to deal with a failing business; Min Min, the mother, struggles to find meaning in her life with her mother in a coma and retreats to a Buddhist seminary; the gentle, moon-faced Ting Ting, the teenage daughter, finds out some tough realities about love and life for the first time; and Ying Ying, the grade-school boy, tries to keep himself occupied without getting into too much trouble at school (while also discovering his first crush).
The film opens at a wedding, with lush red velvet colors and strongly contrasted black and white tuxedos. From the onset we see the gathering of family, indiscernible at first except for a chubby groom and pregnant bride in white. After a little while we see a loud, brass woman yelling and screaming, then getting on her knees to seemingly apologize to an old woman saying, "I'm sorry. It should have been me marrying your son today," only to be ushered away by the arms. Immediately, Yang establishes the motif of the clash between past and present, decisions and regrets,love and hostility between family, and individual problems beneath a normal, happy veneer. Not that this hasn't been done before. Such a description could bring to mind Sam Mendes's American Beauty (1999) or Ang Lee's The Ice Storm (1997) among a dozen other films about family life. However, Yang is working in a different vein, a much gentler, nuanced and delicate examination of everyday life more akin to Yasujiro Ozu and any number of his family dramas.
Like Ozu, Yang does not move the camera very much. At most we will see the camera pan, but there are no dolly shots, no hand-held camera, not even tilts. Yang's camera sets us up as the quiet observer, composing most of his shots in long shot or in full shots of characters within interior and exterior spaces. This lack of visual camera style speaks to the nature of the film, which is supposed to be uninterrupted, ordinary life unfolding. He especially likes to shoot scenes from the reflections seen in glass. We either see the reflection of the city against the glass with the characters behind it, or the city behind the glass and the characters' reflections playing out the scene. This technique reinforces the idea of anonymity - these are just some people in a city; it could really be anyone. Even so, their stories are compelling; the ordinary is extraordinary.
What makes Yi Yi so special are the way life's biggest questions are brought up and dealt with in an inconclusive yet affirming way. For example, NJ has a chance to reunite with an old lover, someone whom he seems to connect with better than his own wife. Did he make the wrong decision? It goes without saying that regrets and the hold the past has on us are things that each viewer can relate with. Yet, instead of offering a black or white - this was the right decision/this was the wrong decision - Yang offers us this through NJ towards the end of the film: "I had a chance to relive my youth and thought I could make things turn out differently, but they turned out much the same or not much different. Then I thought that even if I was given a second chance, I wouldn't need it. I really wouldn't."
This bittersweet reflection is added upon by his wife's realization after coming back from a Buddhist temple in search of enlightenment and meaning after an existential breakdown, in which she says, "Things aren't really so complicated." The implication being that they really are, but the way we deal with them should not be. In each of these realizations there is a submitting to absurdity and in that an affirmation to go on living, lined with an inescapable sadness.
The wisest, however, seems to be NJ's son, Ying Ying. As he gets into the car with his dad, NJ, he says, "Daddy, I can't see what you see and you can't see what I see." NJ says he doesn't understand and Ying Ying offers this: "I can only see what's in front and not what's behind, so I can only know half of the truth, right?" NJ laughs and says that it may be true and that's what Ying Ying needs a camera for. From there Ying Ying takes pictures of the backs of his classmates' heads, offering to show them what they can't see. This little emblematic metaphor for truth is both cute and insightful, like Ying Ying. Yang suggests that truth is something we know, yet do not completely know, like the back of our heads.


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Her exterior areas are much larger than with most yachts in her size range. As such, her designers have created large socializing areas with the available space. Access to the water also is a focus on the yacht, which offers a large fold-down swim platform and integrated stairs that uncover an aft beach club and adjacent full-beam tender garage. The M50 boasts a Jacuzzi pool on the sundeck and a beautiful Nikki Beach-style sunken seating area on the foredeck.
Guests are showered in natural sunlight and views of the horizon from each room of the M50. She offers full-height panoramic windows that run the length of the main salon and skylounge, as well as large hull-side windows in each guest cabin and master balcony. The M50 is designed to bring the outside in. Her exterior features sharp, aggressive lines combined with a sleek, curving transom to create an attractive profile along with an ergonomic function.
The interior of the M50 is an blank canvas. Owners can choose to utilize the talented Hot Labs designers (which created the exterior) or bring in a designer of their own to completely customize this yacht, making her truly unique. The large master stateroom will host a Jacuzzi tub and all guests accommodations on board will have en-suite bathrooms.
With speeds of up to 20 knots and a range of up to 3500nm, the M50 offers the best of both worlds, sitting somewhere in between a fast semi-displacement yacht and an extended cruiser.


text: KrisMeekesBetter - Unregistered March 16, 2009 9:22 PM Totally agree Sam. What amazing me is that the PR person puts out the same drivel about Wilson and Ford after every race. Successive points finishes, stage win, all true but come on give me something impressive, like Loebs stats! I understand you have to put a positive spin on things but nobody who reads believes a word of it! 4 agree 2 disagree


text: An energy bar was a form of foodstuff packaged in foil-sealed bars. AppearancesEdit Firefly – "Serenity" Retrieved from "http://firefly.wikia.com/wiki/Energy_bar?oldid=20604" Ad blocker interference detected! Wikia is a free-to-use site that makes money from advertising. We have a modified experience for viewers using ad blockers Wikia is not accessible if you've made further modifications. Remove the custom ad blocker rule(s) and the page will load as expected. Categories: Food Add category Cancel Save


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Three women and two children were killed while 15 others were injured when a dumper fell into a river early this morning here.
The victims hailing from Bodgaon village in Manor town in the district were returning home after attending a marriage ceremony in Virar, Thane district rural police said.
The driver apparently lost control over the dumper, causing the speeding vehicle to fall into the Vadri river from a bridge, police said.
Three of the injured, who are said to be critical, have been shifted to a hospital in Borivali.


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What is JotForm?
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How Can a Selection on a Drop Down Have It's Own Drop Down?Asked by political on April 11, 2016 at 05:52 AM
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Is it possible to edit size and layout of dynamic dropdowns so it matches the layout of the form?
JotForm Support
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Polytechnic Marathon
The Polytechnic Marathon, often called the Poly, was a marathon held annually between 1909 and 1996, over various courses in or near London. It was the first marathon to be run regularly over the distance of 26 miles, 385 yards which is now the global standard. A total of eight world marathon bests were set in the Poly, including the first authenticated time under 2 hours, 20 minutes which had been regarded as the marathon equivalent of the four-minute mile. At the time of its demise in 1996, the Poly was Europe's oldest regular marathon. It had seen more world records and had been run over 42.195 kilometres (26.219 mi) more often than any other marathon.
The Polytechnic Marathon had its origins in the marathon of the 1908 Summer Olympics, held in London. This race was organized by the Polytechnic Harriers, the athletics club of the London Polytechnic at Regent Street (now the University of Westminster). In those days, there was no set distance for the marathon; it was simply a long race, around 40 km (25 mi) in length. The Polytechnic Harriers decided to start the Olympic marathon in front of the Royal apartments at Windsor Castle and end it on the track at White City Stadium in front of the Royal Box, a distance that turned out to be 26 miles, 385 yards.
There was immense public interest in the 1908 Olympic race, with its dramatic finish in which Dorando Pietri of Italy entered the stadium well clear of the field and staggered around the last lap to the finish line—only to be disqualified for receiving assistance. Building on this interest, The Sporting Life newspaper offered a magnificent trophy [1] for an annual international marathon that would be second in importance only to the Olympic event itself. The Polytechnic Harriers were again asked to organize the event, and the Polytechnic Marathon was born.
Early races[edit]
The first Polytechnic Marathon was held on May 8, 1909.[1] Henry Barrett won, followed by Fred Lord, and Harry Green.[1]
As with the Olympic race, the start was at Windsor Castle and the course was 26 miles, 385 yards; this distance was adopted as the international standard for marathons in 1924. (The older Boston Marathon, founded in 1897, adopted the 42.195-kilometre (26.219 mi) distance in 1924, but was slightly short for the first three years and was shorter still from 1951–56 [2].)
Over the years, the route of the Poly Marathon varied. From 1909 until 1932, it ended at Stamford Bridge in west London; then in 1933, it moved back to the White City stadium, where the 1908 Olympic marathon had finished. From 1938, the race ended at the new Polytechnic Harriers stadium in Chiswick, west London. It was on this course that Jim Peters, the greatest marathoner of his day, broke the 2 hours and 20 minutes barrier in 1953. Even more remarkably, remeasurement showed the course to have been about 150 yards too long.
In 1961, The Sporting Life withdrew its sponsorship, having ceased to report on athletics. A new sponsor was found in the form of confectionery company Callard and Bowser; and in the next few years, the race went from strength to strength, with a succession of world records (see table).
Decline and fall[edit]
By 1970, the Polytechnic Harriers and the Poly Marathon were in decline. Traffic problems made it difficult to continue with the Windsor-to-Chiswick route, and from 1973 until 1992, the race was restricted to the Windsor area. Performances declined, and so did the status of the Poly Marathon. With the introduction of mass marathons and big-money events elsewhere, the Poly Marathon could not compete.
There were organizational changes, too. In 1985, the Polytechnic Harriers merged with Kingston AC and moved in with them at Kingsmeadow Stadium in Kingston, Surrey. Some ex-Polytechnic Harriers remained at the Polytechnic sports ground in Hartington Road, Chiswick, where they formed a new club—West 4 Harriers—which was to become involved with the Polytechnic Marathon some years later.
Management of the race passed to the London Road Runners Club (LRRC) for 1986 and 1987, but the LRRC then folded. After a four-year gap, the race was revived in 1992 by Capital Road Runners (an even shorter-lived successor to LRRC) in conjunction with West 4 Harriers. A revised route was introduced, from Windsor to the Polytechnic stadium at Chiswick, recalling the event's former glory days.
From 1993 to 1995, the Poly Marathon was organized by a group from West 4 Harriers. In 1996, responsibility passed to a commercial events organizer, but increased traffic and other difficulties made it impossible to keep the race going beyond 1996.
World records set in the Polytechnic Marathon[2]
|1909 May 8 (see note 1)
|Henry Barrett (GBR)
|1913 May 31
|Alexis Ahlgren (SWE)
|1952 June 14
|Jim Peters (GBR)
|1953 June 13
|Jim Peters (GBR)
|2:18:40.2 (see note 2)
|1954 June 26
|Jim Peters (GBR )
|1963 June 15
|Leonard "Buddy" Edelen (USA)
|1964 June 13
|Basil Heatley (GBR)
|1965 June 12
|Morio Shigematsu (JPN)
Note 1: Date wrongly given as May 26 in some sources. Note 2: Distance measured as 42.337 km.
- ^ a b Lambie, James. "A Marathon Trophy". The Story of Your Life: A History of the Sporting Life Newspaper (1859-1998. Leicester, UK: Troubadour Publishing Ltd. pp. 276–278. ISBN 978-1-84876-291-6. Retrieved September 29, 2011.
- ^ The Polytechnic Marathon 1909–1996 by Ian Ridpath
- Kingston AC & Polytechnic Harriers website
- The Polytechnic Marathon 1909–1996 by Ian Ridpath (race director 1993–95)
- University of Westminster archives [3]


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Best Hotel Mini-Bars: Trump International Hotel and Tower in Chicago Gets Props
The Trump International Hotel and Tower in Chicago just got a shout-out for its hotel mini-bar. As we pointed out last year in an article about "The Fabulous Evolution of the Hotel Mini-Bar," the in-room amenity has been completely made over in recent years with lots of quirky items. In a recent round-up of the world's best, Askmen.com applauds the Trump International in Chitown:
Entrepreneur-cum-hotelier Donald Trump, who is a well-known teetotaler, has stocked the mini-fridges of his Chicago hotel with four hard-to-find waters -- Welsh Tau, Australian Tasmanian Rain, 420, and Bling H20.
The mini-bar isn't the only thing you'll enjoy in this soaring tower overlooking the Chicago River and the Magnificent Mile. The sprawling accommodations have urban style kitchens, Kohler deep soaking tubs, and 10-foot floor-to-ceiling windows with unobstructed lake, river or city views.
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Welcome to the Wentworth Mansion. To step through the doors is to step into a world of refinement where the work of artisans encompasses you, and unlocks the secrets of a long time past, a gentler time, when refinement and grace... more >>


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Proto Labs announced a new program called Cool Idea! Award. The new program will award $100,000 worth of prototyping and short-run production services to award recipients. The idea behind Cool Idea! Award is to help product designers, engineers, entrepreneurs and innovators the opportunity to bring innovative products to life. The focus is on helping designers take a product idea or part from a 3D CAD model to its first-run production stage. One or more winners will be selected each quarter.
Winners will receive $100,000 in Firstcut CNC machined and/or Protomold injection molded parts. Award recipents can use their fully functional Firstcut and Protomold parts for prototyping, design iterations, testing, or even an initial production run-in short, helping move a project from pie-in-the-sky to product-on-the-shelf.
To apply for a Cool Idea! award, you need to download and complete the application form. You will need to provide the following information:
- A description of the project/product
- An explanation for why you think their project/product is cool
- What kind of support do you need (molded parts, machined parts, quantities, time line, etc.)?
- What is the overall benefit to the end-user of your product
After you've sent in your application, you will need to upload your 3D CAD model for review. Cool Idea! Award recipients will have 90 days to use their award.
Proto Labs is a custom manufacturer of prototype and low-volume parts. Their Firstcut CNC machining service and Protomold injection molding services provide real parts from a 3D CAD model in as fast as one business day.
More info: Cool Idea! Award