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tin oxide ( sno2 ) is considered an important wide - bandgap n - type semiconductor which has received a great deal of attention over the past few years due to its high transparency in the visible part of the spectrum and sensitivity to certain gases which make it technologically important for optoelectronic devices [ 1 - 6 ] and sensors .
in addition sn is readily available and cheaper compared to indium ( in ) which is used for the growth of indium oxide ( in2o3 ) .
furthermore , in recent years , the field of semiconducting metal oxides has benefited a great deal from the development of one - dimensional nanostructures such as nanowires ( nws ) and nanorods ( nrs ) due to their interesting properties arising from their small size and high surface - to - volume ratio . in view of this
, there has been growing interest in the synthesis of sno2 nws , the study of their fundamental electronic and optoelectronic properties , and finally device applications [ 10 - 13 ] . despite the potential applications of sno2 nws
there has been no detailed study of the fundamental , ultrafast carrier relaxation mechanisms of the photogenerated carriers in this nanostructured material .
consequently , here we investigate the carrier dynamics in sno2 nws and obtain a detailed understanding of the various relaxation mechanisms and the influence of trap states using transient white light absorption spectroscopy [ 14 - 16 ] with femtosecond resolution .
we find that the band gap of the sno2 nws is 3.77 ev and contains two broad absorption bands , the first of which is located below the band edge and is related to shallow trap states while the second is near the center of the band gap due to deep trap states .
detailed transient measurements revealed their energetic position , carrier relaxation times , and the importance of auger recombination .
the sno2nws were grown using an atmospheric pressure chemical vapour deposition ( apcvd ) reactor which consists of four mass flow controllers ( mfc s ) and a horizontal quartz tube furnace , capable of reaching a maximum temperature of 1100 c .
initially , approximately 0.2 g of fine sn powder ( aldrich , < 150 m , 99.5% ) was weighed and loaded into a quartz boat together with a square piece of si(111 ) which was coated with 0.5 nm of au .
the au layer was deposited via sputtering at a slow rate < 5 / s using an ar plasma under a pressure < 10 mbar .
the sample was positioned a few mm downstream from the sn and subsequently the boat was loaded into the reactor and positioned directly above the thermocouple used to measure the heater temperature at the centre of tube .
after loading the boat at room temperature ( rt ) , ar ( 99.999% ) was introduced at a flow rate of 500 standard cubic centimetres per minute ( sccm ) for 5 min in order to purge the tube . following this
the temperature was ramped to 800 c in an ar flow of 100 sccm at a rate of 30 c / min . upon reachingtg
, the flow of ar was maintained at 100 sccm for a further 90 min after which the tube was allowed to cool down over at least an hour in an inert gas flow of ar , 100 sccm .
the sample was removed only when the temperature was lower than 100 c . for the optical measurements ,
nws were grown directly onto square pieces of quartz that were coated with 0.5 nm of au and had an area of 6 6 mm .
the morphology of the sno2nws was examined with a tescan scanning electron microscope ( sem ) while the crystal structure and the phase purity of the nws were investigated using a shimadzu , xrd-6000 , x - ray diffractometer , and cu ka source .
a scan of 2 in the range between 20 and 80 was performed for the sno2nws that were grown on si(111 ) and quartz . in this study , we investigate the ultrafast dynamic behavior of carriers in sno2 nws following femtosecond pulse excitation through the temporal behavior of differential absorption [ 14 - 16 ] . the experimental study was carried out using an ultrafast amplifier system operating at 5 khz .
a self mode - locked ti : sapphire oscillator centered at 796 nm and generating 45 fs pulses was the source of short pulses .
approximately 1 mj of amplified energy was used to pump an optical parametric amplifier ( opa ) providing ultrafast pulses in the uv range of the spectrum .
the rest of the energy from the amplifier was used to generate 400 nm from a bbo crystal via second harmonic generation and white light super continuum .
the uv femtosecond pulses from the opa were used to excite the nanowires given that the expected band gap of this material is around 3.7 ev .
a small part of the fundamental 796 nm pulses were used to generate vis - ir super continuum light by focusing the beam on a 1 mm thick sapphire plate .
similarly a super continuum light in the uv region of the spectrum was also generated using 400 nm pulses .
the white light probe beam was used in a pump - probe non - collinear geometry , with the pump beam been generated from the opa . to minimize the broadening of the laser pulse , optical elements such as focusing mirrors were utilized in the setup .
the reflected and transmission probe beams were separately directed onto their respective detectors after passing through a band pass filter and thus selecting the probe wavelength from the broad band white light . the differential reflected and
transmission signals were measured using lock - in amplifiers with reference to the optical chopper frequency of the pump beam .
the temporal variation in the photo - induced absorption was extracted using the transient reflection and transmission measurements , thus providing a means of monitoring the carrier dynamics within the probing region .
tin oxide nws have been grown so far by a variety of methods including thermal evaporation , chemical vapour deposition , and the vls method using carbothermal reduction of stannous oxide sno at 880 c for 90 min . on the other hand , stannic oxide , sno2 nws
have been grown by direct oxidation of sn at 900 c under a flow of 10 sccm o2 .
similarly , yang et al . obtained sno2 nws at 900 c under a flow of 50 sccm o2 while wan et al .
obtained sb doped sno2 nws by heating up the mixture at 20 c / min up to 900 c under a flow of 500 sccm ar with a trace of o2 . a typical scanning electron microscope ( sem ) image of the sno2 nws grown on quartz is shown in fig . 1 where it is apparent that a large coverage has been obtained .
furthermore the diameter of the sno2 nws was found to be uniform along their length .
the growth of the sno2 nws occurs via the formation of au nanoparticles ( nps ) from the thin layer of au and the vls mechanism .
in addition we have found that direct oxidation using a flow of o2 during growth hinders the formation of sno2 nws due to the oxidation of the sn upstream , which melts at 232 c and which in turn reduces the vapour pressure , especially at low temperatures i.e. , t 800 c . while we obtained sno2 nws at temperatures as low as 700 c
we find that the optimum temperature for a high yield and uniform coverage is 800 c .
the optimum growth conditions are therefore close to those described by wan et al . who use only a trace of oxygen under a larger flow of ar i.e. , 500 sccm as opposed to 100 sccm used here . in our case
the formation of sno2 nws is due to the oxygen admitted into the apcvd reactor at rt prior to the temperature ramp .
the sno2 nws grown at the optimum temperature i.e. , tg = 800 c on quartz are characterized by the ( 1 1 0 ) , ( 1 0 1 ) , ( 2 1 1 ) , ( 2 2 0 ) , ( 3 1 0 ) , and ( 3 0 1 ) peaks in the x - ray diffraction spectrum shown in fig .
we should point out that the al peaks appearing in the xrd spectrum of fig .
sem images of sno2nws grown at 800 c with an average diameter of 50 nm xrd spectrum of the sno2nws grown at 800 c on 0.5 nm au / quartz following the growth of sno2 nws , we performed steady state transmission measurements on the nws grown on quartz . figure 3 shows the optical absorption of the sno2 nws covering a spectral range from the uv near to the ir .
given that sno2 is a direct gap semiconductor , a plot of the square of the absorption versus the incident photon energy provides a measure of the bandgap which was determined to be approximately 3.77 ev ( see inset of fig .
we should point out that there appears to be a broad absorption band around 4.2 ev which we believe to be due to lower lying valance bands .
in addition to determining the energy bandgap , the absorption spectrum depicts several features within the energy gap of these nws .
there appears to be a broad absorption band below the band edge covering a range from 3.7 ev to 1.8 ev which may be divided into two regions . the first broad absorption band which starts just below the conduction - band edge of the nws is associated with impurity traps and these are therefore commonly referred to as shallow trap states ( s.t.s .
band generated by defects or / and surface imperfections . both of these absorption bands seem to play a crucial role in the relaxation of photoexcited carriers on a femtosecond timescale .
furthermore , there appears to be a weak absorption band centred around 2.2 ev ( see fig .
3 ) which corresponds to the well known surface plasmon resonance ( sp.r . ) of au nanoparticles that are required as catalysts for the formation of the sno2 nws on quartz .
the upper corner inset shows a plot of the square of the absorption versus incident photon energy , providing us with an estimate of the bandgap energy 3.77 ev .
there are two broad absorption bands below the bandgap referred to as d.t.sdeep trap states and s.t.s.shallow trap states figure 4shows typical time resolved differential absorption measurements for the sno2nws excited at fluence of approximately 0.5 mj / cmwith uv ultrafast pulses at 4.00 ev ( 310 nm ) and probed at different photon probing energies ranging from uv to near ir .
thex - axis on this graph corresponds to the optical delay between the pump and the probe pulse whereas they - axis indicates the induced absorption .
for some of the probing wavelengths there is a sharp drop in the absorption reaching a minimum value and then followed by a slower recovery toward equilibrium that takes hundreds of picoseconds , whereas in other cases there is a positive change in the absorption with again a recovery towards equilibrium .
time - resolved differential absorption of sno2nanowires excited with 4.00 ev photons ( 310 nm ) at fluence of 500 j / cmand probe at different photon energies ranging from uv to near ir these observed changes in absorption are associated with excitation of the sno2nws by photons whose energy is larger than the bandgap energy which results in the generation of non - equilibrium carriers .
these non - equilibrium carriers will distribute themselves along energy states that are normally unoccupied under equilibrium conditions .
the occupation of states ( referred to as state filling ) following an ultrafast laser pulse will appear as a reduction in the absorption at the probing energy states .
clearly the observed recovery of this negative absorption change will be a direct measure of the time required by the photogenerated carriers to move out of the occupied states .
furthermore , a positive change in the induced absorption is also observed in the transient absorption measurements .
this phenomenon is mainly due to secondary excitation of the photo - generated carriers by the probing photons from their initial states to higher energy states .
this free - carrier absorption depends on the number of carriers present at the initial states and the coupling coefficient between the two energy bands .
the temporal profile of this positive induced absorption is again a direct measure of the presence of the photo - generated carrier at the probing energy states .
we will begin the analysis of the data from the degenerate induced absorption measurements where the excitation and probing photon energies were 4.00 ev .
it is important to point out that the observed sharp drop reaching a minimum ( state filling ) is pulse width limited , which is expected since we are probing the same energy states that we are exciting . to obtain a better understanding of the dynamics for the degenerate pump - probe data , we have performed intensity measurements as seen in fig .
time - resolved normalized differential absorption intensity measurements of sno2nws excited with 4.0 ev and probe at 4.0 ev .
the inset shows the fits ( solid lines ) to the actual differential absorption data ( points ) using a simple model which includes multi - exponential decays and auger recombination the normalized induced absorption measurements seen in fig .
5clearly indicate that with increasing fluence there is a faster recovery on the long time scale .
this suggests that auger recombination is a contributing factor at the fluence used in this study . with decreasing fluence
, auger recombination becomes less important , and for the nws used in this study at fluence less than 50 j / cm , this contribution may be considered negligible . a simple multi - exponential fit to the experimental result at 50
j / cmshows that a minimum requirement of three exponential function is necessary for a good fit to the data .
the time constants obtained from this fit were 2.4 ps ( 18% ) , 68 ps ( 22% ) , and 2.3 ns ( 60% ) .
a more detailed analysis of the experimental data was performed using a simple differential equation model which incorporated the above three exponential decay mechanisms along with auger recombination .
making use of the time constants obtained for the lowest fluence utilized in these experiments , where auger recombination was negligible , it was possible to obtain fits to the differential absorption data at higher fluences .
5 ) were obtained using an auger coefficient of 7.5 2.5 10 cm / s . a schematic diagram of the various proposed relaxation paths is shown in fig .
the first time constant ( 2.4 ps ) listed above , corresponds to mechanism 1 , ( see fig .
6 ) whereas the second time constant is associated with mechanism 2 or 3 through carrier saturation in the shallow trap states .
given that no direct recombination was observed from the conduction to the valence band which is corroborated by the absence of photoluminescence near 3.75 ev , we believe that the long time constant is associated with the carriers moving through the shallow and deep trap states .
saturation of these states from the large number of carriers will result in the decay of paths 4 and/or 5 being effectively seen when probing above the band gap . a schematic diagram of the energy band gap diagram of sno2nws with the various relaxation mechanisms following carrier photoexcitation by an ultrafast pulse we should also point out that the fast decay component , which is associated with mechanism 1 of the photo - generated carriers when they are moving into the shallow traps states , appears to become slower with increasing fluence ( fig .
furthermore , in the above proposed model , the holes generated near the point will also relax to the top of the valence band .
however , the expected relaxation within the valence band is much faster than the multi - picosecond relaxation mechanisms shown in fig .
this is expected given the small excess kinetic energy received by the holes during excitation .
4 ) for probing photon energies below the band gap energy ( shallow traps ) from 3.54 ev ( 350 nm ) to 3.3 ev ( 380 nm ) , we notice that although the maximum state filling occurs very close tot = 0 ( within the pulse width ) , there appears to be a small drop and then a small rise after a few picoseconds .
this behavior is due to a small free - carrier contribution which reduces the state filling contribution thus artificially making this feature ( dip ) appear near the tip of the maximum signal .
the free - carrier dip increases with increasing probing wavelength and eventually becomes the main contributing factor at the longer probing wavelengths .
furthermore , intensity measurements carried out over a range of 50050 j / cmat the probing photon energy of 3.54 ev ( 350 nm ) indicate that auger recombination has a noticeable effect only at the maximum fluence , however , at fluence as low as ~50 j / cm , this effect becomes negligible .
a multi - exponential fit to the data shows a minimum requirement of two exponential function for a good fit with time constants of 72 ps ( 27% ) and 2.08 ns ( 73% ) .
most likely the fast time constant is associated with carriers moving into the deep traps ( path 3 in fig .
6 ) whereas the long decay is associated with recombination of the carriers ( path 5 in fig . 6 ) . here
we should point out that differential absorption intensity measurements have also been carried at other probing photon energies within the top shallow trap states with similar results . considering the differential absorption measurements in fig .
4for the longer probing wavelengths , we notice an increase in free - carrier contribution .
this contribution becomes dominant for probing photon energies below 1.65 ev ( 750 nm ) , where no trap states can be reached from the valence band thus excluding state filling .
the initial fast recovery component which is of the order of a few picoseconds seen in these measurements is attributed to free - carrier contributions within the trap states .
finally we should point out that due to the presence of au nanoparticles ( nps ) which are required as a catalysts in the formation of the sno2 nws , transient absorption measurements in the probing region 2.42.1 ev depict the well known surface plasmon resonance of au [ 28 - 30 ] .
time resolved measurements outside the above probing spectral region show no evidence of differential absorption signal from au .
furthermore , measurements with excitation photons having energy below the band gap of sno2 show signal only at the probing region of the surface plasmon resonance .
identical results were obtained when transient absorption measurements were carried out on just the quartz substrate coated with the 0.5 nm film of the au catalyst .
it appears that the au nps required for the formation of the nws have no effect on probing the carrier dynamics in sno2 nws despite the strong plasmon resonance . in conclusion
, we have investigated the ultrafast dynamic behavior of sno2nanowires using above band gap excitation uv femtosecond pulses .
transmission measurements of the nws provided us with an estimate of the band gap at 3.75 ev and reveal broad absorption bands below the band edge .
these absorption bands appear to play an important role in the relaxation of the photogenerated carriers in the nws .
transient differential absorption measurements reveal the different pathways and time constants associated with the relaxation of the photogenerated carriers .
measurements suggest that the photogenerated carriers take a few picoseconds to move into the shallow traps states whereas it takes ~70 ps to move from the shallow to the deep trap states .
furthermore , recombination of electrons from these traps states with holes in the valence band takes ~2 ns . auger recombination has a contribution to the carrier dynamics at the highest fluence used in this study ( ~500 j / cm ) , however at fluence of 50 j / cmauger recombination appears to be negligible .
transient absorption intensity measurements provided us with an estimate of the auger coefficient for the sno2nws to be approximately 7.5 2.5 10 cm / s .
the study in this article was partially supported by the research programs ; epyne/0504/06 , eryan/0506/04 , and eryne/0506/02 funded by the cyprus research promotion foundation in cyprus . | pubmed |
Harry Potter El veneno de su alma
_**Disclaimer:**__ HP = JKR, así que nada me pertenece. _
_"Esta historia participa de Desafíos "Buscando la inspiración" del Foro First Generation: The story before books"_
…
**El veneno de su alma**
…
_**SdI SdI-SdI-SdI-SdI-SdI-SdI-SdI**_
_**SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI**_
_**SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI SdI-SdI-SdI-SdI-SdI-SdI-SdI**_
El concepto de la muerte le causaba cierta fascinación.
No porque fuera una asesina en potencia, sino porque era algo que no conocía del todo, es decir, no estaba tan familiarizada con la muerte como con la vida.
Se preguntaba constantemente qué era lo que había más allá, ¿acaso encontraría al mismo Merlín? ¿O quizás la magia tenía alguna manera de trascender? ¿Dolería morir?
- ¿Señorita Weasley?- una estricta voz la regresó a la realidad.
La pelirroja salió de su ensoñación encarando la adusta figura de su profesora de Transformaciones, la mujer la miraba a través de sus lentes rectangulares con desaprobación.
- ¿Hn?- fue lo más inteligente que salió de su boca, y más allá escuchó una risita ahogada.
La otra mujer frunció el ceño.
- Sería prudente que prestara atención a la clase en lugar de soñar despierta- le dijo dando media vuelta para continuar con la explicación.
Ginny soltó un bufido mirando a la Ravenclaw que le había tocado como pareja de pupitre en esa clase, era una niña 'rara', por decirlo de alguna manera. Tenía el cabello rubio claro peinado de una manera desordenada, sus aretes eran un par de corchos de botella y sus ojos azules parecían divagar por todo el lugar.
Luego paseó su mirada por los demás Gryffindor de su grado, sin embargo nadie parecía demasiado abierto a entablar una amistad…en general, no era un buen inicio de año.
- ¿Señorita Weasley?- volvió a llamarla la profesora.
- ¿Sí?- logró articular regresando nuevamente su atención a la mujer quien la miró severamente por segunda vez.
- No la veo muy interesada en mi clase, ¿por qué no se retira y aprovecha su 'inesperado' tiempo libre para comenzar con un ensayo sobre las propiedades de la materia?- preguntó sin esperar una respuesta.
- ¿Un ensayo sobre qué?- no pudo evitar la pregunta porque sinceramente no sabía de lo que le hablaban.
- Exacto, vaya a averiguarlo porque no podrá entrar a mi siguiente clase sin ese trabajo- le dijo McGonagall señalándole la puerta.
La menor contuvo un suspiro y asintió, guardó su pergamino en blanco, su pluma y su tintero en su mochila de segunda mano que tanto detestada, y salió del aula sin molestarse en mirar a los ojos a sus compañeros, ni siquiera se despidió de la rubia cuyo nombre no recordaba.
Los pasillos del castillo estaban vacíos porque todos se encontraban en sus respectivas clases, así que meditó sobre si regresar a su Sala Común o ir a la biblioteca para comenzar con su 'inesperada' tarea.
No obstante, no tuvo mucho tiempo para pensarlo.
- ¡Hermanita!- gritaron dos voces al unísono y la chica podría reconocer ese tono en cualquier lado.
Dio media vuelta encontrándose con dos de sus hermanos mayores, Fred y George, quienes la miraban sonrientes.
- ¿Qué haces fuera de tu clase?- le preguntó Fred.
- Me sacaron- confesó encogiéndose de hombros como si nada.
Si era posible, la sonrisa de los gemelos se hizo más extensa.
- ¡Genial, al parecer seguirás nuestros pasos!- declaró George con orgullo.
La otra rodó sus ojos divertida, ese par eran todo un caos.
- ¿Cómo supieron que estaba aquí? ¿Y no deberían estar en su propia clase?- inquirió cruzándose de brazos, no le gustaba que sus hermanos la sobreprotegieran.
- Lo primero es un secreto- dijo Fred.
- Y lo segundo, salimos de clase porque fuimos al baño- completó George.
- ¿Salen juntos al baño?- ellos asintieron y la niña enarcó sus cejas con incredulidad- ¿A nadie le parece extraño?
- Nadie pregunta- confesó Fred.
- Dinos, oh pequeña hermana ¿por qué te expulsaron del aula de la sabiduría?- preguntó George cambiando de tema.
- No es asunto suyo- bufó sin querer confesar el motivo.
- Oh vamos hermanita, sea lo que sea estaremos orgullosos- insistió Fred pasándole una mano por sus hombros.
- No- se soltó con una agilidad de quien lo hace constantemente- Nos vemos, tengo cosas qué hacer- agregó apresurando su paso para alejarse de sus animosos hermanos. Pensándolo bien, debió pedirles ayuda con su dichoso ensayo considerando que iban en 4to año y ya habían llevado esa clase.
Luego lo pensó mejor y decidió que lo más inteligente sería preguntarle a Percy, después de todo era un alumno de 6to grado y presuntamente muy dedicado, o al menos eso presumía en la casa.
Ahora, ¿dónde podría encontrar a Percy?
Si no tenía clase ¿dónde podría estar? Explorando el castillo no (ese sería Bill), en los terrenos del castillo no (ese sería Charlie), en el campo de Quidditch no (esos serían Fred y George), en el Gran Comedor no (ese sería Ron)… ¡en la biblioteca!
Ante tal deducción se dirigió al lugar por el cual ya le habían dado un pequeño tour, entró sintiendo el abrumador silencio al que tan poco estaba acostumbrada; enseguida comenzó a buscar a su hermano entre los estantes y mesas del lugar, hasta que dio con la cabeza pelirroja típica de su familia.
El chico de lentes estaba sentado con una chica, ambos leyendo un libro y con varios tomos más apilados en la mesa, parecían bastante concentrados.
- Percy- lo llamó como si nada.
El aludido dio un saltito pues estaba de espaldas a su hermana, luego giró su rostro con la sorpresa y la molestia mezcladas en su expresión.
- ¿Ginny?- la reconoció- ¿Qué haces aquí?- susurró a lo que su acompañante contuvo una risita.
- Necesito de tu ayuda, la profesora McGonagall me dejó hacer un ensayo sobre una cosa- le pidió con naturalidad.
- ¿Una cosa?- ese tipo de referencias siempre horrorizaban al joven erudito.
- Algo sobre las propiedades de la materia- elaboró sin querer perder más tiempo.
El otro giró su cuerpo por completo y frunció el ceño.
- La profesora McGonagall no deja ese ensayo hasta el final del primer semestre- comentó recordando sus propias clases- ¿No deberías estar precisamente en esa clase justo ahora?- preguntó notando la hora.
La niña bufó.
- Me sacó- confesó llanamente.
Percy frunció el ceño y sus lentes le dieron la expresión severa que su hermana detestaba.
- No puedes comenzar tu vida académica de esta manera Ginevra…- inició el otro en su modo de regaño.
- ¡No me llames Ginevra!- reclamó indignada, detestaba su nombre completo.
- Shhh- la calló su hermano mirando hacia todos lados con alarma- Ese es tu nombre, y estoy seguro que a mamá no le complacerá saber que te sacaron de clase en tu primer día- añadió severamente.
La aludida comenzó a ponerse roja del coraje, había ido ahí a que su hermano la ayudara no a que la reprendiera y amenazara con delatarla ante sus padres.
- Percy, déjala en paz, suficiente tuvo con el regaño de la profesora McGonagall- intervino la joven que estaba sentada con el chico, su rostro era de rasgos gentiles y de sonrisa fácil- Ginny ¿verdad?- preguntó a lo que la otra asintió- Te ayudaremos con tu ensayo mientras inicia la siguiente clase- ofreció suavemente.
- Pero...- protestó Percy.
- Tenemos tiempo y ella es tu hermana, luego seguiremos estudiando- lo calmó la chica- Por cierto, mi nombre es Penélope Clearwater de la prestigiosa Casa de Ravenclaw- se presentó ampliamente y Ginny notó que efectivamente su uniforme llevaba los colores azul y café de esa Casa.
- Gracias- sonrió la menor, al menos los amigos de su hermano no eran unos estirados como él mismo.
_**. . .**_
'_Mata. Desgarra. Asesina.'_
Esas tres palabras resonaban en su mente con una frecuencia inusual, y sus jaquecas eran cada vez más intensas; concentrarse en sus clases era más complicado de lo que esperó, aunque al menos ahora no la sacaban por no prestar atención pues había aprendido a fingir muy bien.
Trataba de despejar su mente hablando con Luna, la excéntrica ravenclaw se había convertido en una buena amiga pues hacía pocas preguntas y hablaba casi de cualquier cosa. De igual manera, su corazón se aceleraba cuando veía a Harry Potter, el mejor amigo de su hermano Ron, y su ídolo personal.
El Niño-Que-Vivió era todo lo que describían los libros, era noble y caballeroso, además de guapo y agradable; además, ese año en particular había llegado Gilderoy Lockhart a dar clases y ella no podía ser más feliz que al estar en el mismo lugar que esos dos grandes magos.
Pero luego todo se arruinó.
Empezó con un murmullo y se convirtió en un grito.
Primero había sido la Señora Norris, el gato del celador había sido encontrado colgado de la cola de una de las antorchas de la pared.
Pintado con sangre en dicha pared había un mensaje.
'_LA CÁMARA SECRETA HA SIDO ABIERTA. ENEMIGOS DEL HEREDERO, TEMED'_
El animal estaba muerto y Argus Flich había acusado a Harry Potter de asesino gritando que tendría su venganza, afortunadamente el director había intervenido antes que pasara otra cosa.
¿Heredero? ¿Heredero de qué? Se preguntaba Ginny escribiendo en su diario, no estaba segura de lo que pasaba en Hogwarts pero si habían matado a un gato seguramente algo estaba mal.
Los profesores doblaron las guardias y la investigación sobre ese caso se extendió hasta el punto en el que comenzaron a interrogar a posibles testigos.
- Es la Cámara de los Secretos- pronunció una voz conocida, y la pelirroja detuvo sus pasos detectando a Harry, Ron y la amiga de ambos llamada Hermione Granger- Es el monstruo que habita en ella- repitió Ron con nerviosismo.
- Esa es una leyenda Ron, no puede haber un monstruo en la escuela sin que el profesor Dumbledore lo hubiera notado- alegó la chica de grandes incisivos.
- Había un perro de tres cabezas y un troll- le recordó el pelirrojo.
- Porque esos eran obstáculos diseñados por los profesores…- alegó ella.
- El heredero de Slytherin es quien despertó al monstruo- intervino Harry pensativamente, se le veía preocupado especialmente porque se rumoraba que dicho heredero era él.
Súbitamente, los ojos verdes del chico chocaron con los de Ginny y ella se sonrojó alejándose del lugar antes de que el otro pudiera delatarla ante los otros dos.
Corrió hasta llegar al baño de chicas de ese piso donde se encerró en uno de los cubículos para tratar de calmar a su alocado corazón.
_**. . .**_
'_Ven... ven a mí... déjame rasgarte... déjame despedazarte... déjame matarte'_
Eran esos extraños pensamientos los que inundaban sus noches y la mantenían distraída durante el día, ni siquiera las pociones que Madame Pomfrey le había facilitado le funcionaban.
Quizás estaba enferma.
Así fue como se enteró de la noticia.
Colin Creevey, un gryffindor de su año al que ocasionalmente le pedía fotos de Harry, había sido encontrado muerto.
El animoso niño que llevaba una enorme cámara mágica a donde quiera que fuese, uno de los primeros que trató de hablarle y el único que podía pasar horas explicándole cómo funcionaba la vida sin magia de los muggles.
Su cuerpo estaba intacto, como si únicamente se encontrara dormido y pudiese despertar en cualquier momento, no había sangre derramada ni expresión de terror impresa en sus facciones.
Lo que fuera que lo mató, había sido aparentemente rápido e indoloro.
Sus padres muggles no quisieron asistir al colegio y exigieron que el cuerpo de su hijo les fuera devuelto de inmediato, por lo que el día del funeral, el profesor Dumbledore colocó una pequeña lápida conmemorativa en los terrenos del castillo.
Ella misma se había quedado contemplado la minúscula lápida de mármol con el nombre de su compañero y los años de su nacimiento y muerte. Su corazón se agitó y sus ojos derramaron lágrimas de tristeza, no podía creer que realmente Colin hubiese muerto.
- Encontraré al culpable- dijo una conocida aunque poco frecuente voz.
A su lado estaba Harry, sus ojos igual de húmedos que los suyos y portando una expresión que prometía retribución; sus manos estaban cerradas en puños y Ginny quiso estirar sus propias manos para abrazarlo, sin embargo no se movió y el pelinegro dio media vuelta para marcharse.
- ¡No lo entiendes!- fue el grito que la regresó nuevamente a la realidad.
- ¡Sé perfectamente el riesgo que todos corremos Ronald!- respondió otra voz con igual intensidad.
Eran su hermano y Hermione Granger discutiendo entre sí, él tenía el rostro enrojecido en un acceso de furia típico de su familia, y ella tenía el ceño fruncido con claro descontento.
- ¡Tú corres más riesgo que nosotros Hermione! ¿No lo entiendes? ¿No escuchaste a Malfoy?- espetó levantando sus brazos para dar énfasis a sus palabras.
- ¡¿Entonces quieres que me marche?! ¡¿Qué abandone la magia?! ¡¿Qué no regrese?!- reclamó ella también moviendo sus manos.
Ron se mantuvo en silencio tratando de controlar sus emociones.
- Prefiero eso a verte como Colin- declaró y Ginny tuvo que forzar su oído para escucharlo.
Tal declaración dulcificó el rostro de Hermione y la pelirroja nunca la vio más bonita, su severa expresión de siempre ocultaba su sutil belleza, en algunos años seguramente sería una mujer hermosa, de grades incisivos, pero bonita.
Cuando la castaña se acercó a abrazar a Ron, supo que estaba presenciando un momento privado así que dio media vuelta y se retiró del lugar.
En todo el castillo se instauró un toque de queda bastante estricto, los profesores incrementaron aún más las rondas en todo momento y ningún alumno podía caminar solo.
Comenzaron las discusiones sobre el cierre del colegio aunque se esperaba que durante las vacaciones de invierno, pudieran resolver algo del presunto asesinato de Colin.
Pero, poco antes regresar a Londres, hubo otro ataque y ella lo soñó todo.
Tuvo una pesadilla en la cual ella le ordenaba a un monstruo que asesinara a un chico de hufflepuff, el mismo que había propagado cómo Harry Potter encantó a una serpiente que casi lo muerde…y al otro día, ese chico había aparecido muerto y el fantasma de Nick Casi Decapitado no fue visto nuevamente.
Algo en su interior se removió al contemplar el pálido rostro de Justin Fitch-Fletchley, un mago hijo de muggles que ya jamás abriría sus ojos nuevamente.
- Ginny, estás pálida ¿te sientes bien?- le preguntó su hermano Ron quien la miraba con sus ojos azules repletos de preocupación. Era verdad que su hermano podía ser un bobo, pero siempre la cuidaba.
- Quiero irme a casa- musitó la niña sin poder evitarlo, tenía miedo y no necesariamente por ella misma sino por las pesadillas que la invadían.
- Todos irán a casa, el colegio cerrará sus puertas hasta encontrar al culpable de todo esto- anunció Dumbledore con el más sombrío de sus semblantes- Comiencen a empacar, mañana mismo partirán- agregó conversando con la profesora McGonagall mientras se retiraban de la escena.
Madame Pomfrey comenzó entonces a desalojar el área para poder retirar el cuerpo de Justin sin tanto público, ningún alumno presente se resistió. Todos tenían un semblante preocupado y algunos de los más pequeños estaba llorando silenciosamente porque adoraban Hogwarts y el saberlo peligroso, era terrible para sus ingenuos corazones.
Esa misma noche, Ginny se despertó en medio de otra pesadilla, en ella se vio atacando a Hermione Granger y disfrutando el ver cómo el brillo desaparecía de sus ojos marrones…
Su corazón estaba agitado y supo que debía hacer algo, no sabía qué pero debía hacerlo.
Se levantó de su cama poniéndose su capa negra y saliendo sigilosamente del dormitorio, sabía que le sería muy difícil escabullirse por los pasillos, dadas las guardias constantes de los profesores, sin embargo debía salir.
- Ginny- una voz hizo que casi soltara un grito y se giró para ver la sombría figura de Harry Potter sentado frente a la chimenea de la Sala Común,
El chico parecía cansado, sus ojos verdes estaban hundidos y su rostro mantenía una expresión de eterno pesar.
- Ha…Harry- tartamudeó la niña súbitamente consciente de que estaba hablando con su ídolo, con el chico al que había decidido amar en secreto.
- No deberías estar aquí, es peligroso- declaró sin demasiada emoción, llevaba un suéter desgastado y un libro abierto entre sus manos.
- Tú estás aquí- susurró casi sin querer.
El chico le regresó una mirada curiosa que luego cambió a ser amarga.
- Precisamente- suspiró pasando una de sus manos por la indomable cabellera que tenía- Todos creen que yo lo hice…- confesó.
Ginny sintió que su pecho se agitaba al ver semejante vulnerabilidad en el héroe que creía imbatible, dio un paso para acercarse a él pero de detuvo en seco…debía irse de ahí.
- Tú no lo hiciste- declaró tan segura como de que el sol saldría mañana.
Harry no se molestó en levantar su mirada, sino que siguió observando atentamente el contenido de su libro.
- ¿Cómo estás tan segura? A penas me conoces- le preguntó con incredulidad, estaba enojado y triste porque cerrarían el único lugar que le había dado la esperanza de finalmente poder escapar de sus tíos. Lo regresarían con los Dursley y su vida volvería a ser un infierno…
La pelirroja apretó sus pequeñas manos y contuvo unas lágrimas, estaba segura porque tenía un gran temor de acertar sobre quién era el verdadero culpable.
- Tú no lo hiciste- repitió sin esperar a escuchar la respuesta, simplemente salió del lugar a toda prisa, no le importaba nada más que alejarse de ese trágico niño para no hacerle más daño.
Corrió por los obscuros pasillos del castillo, por alguna razón desconocida no se topó con ningún profesor y pudo llegar hasta los fríos terrenos del colegio donde el aire soplaba con fuerza.
Su largo cabello se agitó al compás del viento y sus piernas comenzaron a temblar, pero no le importó, nada le importaba más que el profundo deseo de saber la verdad.
¿Acaso ella…?
Corrió hasta las orillas del Lago Negro donde la luna era reflejada por la obscura superficie del agua haciéndola ver casi sobrenatural.
Entonces lo vio frente a ella.
- Ginny ¿qué haces?- le preguntó el guapo joven de negro cabello y amable mirada, le habló con tanta familiaridad que la niña supo que lo conocía de alguna manera.
- ¿Quién eres tú?- preguntó casi con temor.
El chico sonrió sin moverse demasiado pues era sencillamente un reflejo en el agua.
- Sabes quién soy- respondió.
La niña volvió a examinarlo y de su túnica extrajo un diario de piel, el diario que había encontrado entre sus pertenencias y que sorprendentemente se había convertido en su confidente. Lo miró encontrando rápidamente las iniciales de quien le había contestado sus pensamientos y calmado sus inquietudes.
T.M.R.
- ¿Tom?- susurró con inseguridad.
El reflejo amplió su sonrisa y asintió.
- Así es Ginny, he esperado este momento por mucho tiempo- declaró- Había querido conocerte desde que comenzamos a escribirnos…
- ¿Cómo es posible? Tú no existes…
- Todo es posible con magia- la interrumpió sin perder su tono gentil- Es posible que dejes atrás la sombra de tus hermanos y hagas tu propio nombre, es posible que dejes atrás la pobreza de tu familia y te hagas famosa, es posible que el chico que quieres se enamore de ti…- enumeró recordando las confesiones de la niña.
- He tenido terribles pesadillas…- objetó la otra incapaz de olvidar la desesperación que la había orillado a ir hasta ese lugar.
- Lo sé, pero todo terminará pronto- la calmó el otro- Regresa al castillo y juntos lo resolveremos- dijo ofreciendo su consejo como si realmente esa fuera la solución.
Ginny supo que no debía aceptar, su mente le decía que lo hiciera pero su corazón se negaba rotundamente. El recuerdo de unos ojos verdes la hizo tomar la decisión que cambiaría su vida y la de muchos.
Recordando que era una gryffindor, inspiró profundamente y miró a la luna una vez más.
Era una luna llena, enorme y hermosa pues poseía un matiz sepia que la llenaba de misterio, deseó poder contemplarla para siempre pues su resplandor la hacía creer que jamás se ocultaría…pero el sol debía salir y la luna debía partir entonces.
Bajó su mirada encarando nuevamente al reflejo de Tom y lo supo. Ahí, en el fondo de sus ojos claros, detectó ese brillo de maldad y de ser de sangre que poseía…Tom no era un ángel, era un demonio y ahora lo sabía.
Miró el diario que llevaba en sus manos, lo abrazó con fuerza y saltó al agua rogando porque su convicción fuera suficiente para redimir el gran error que había cometido.
A lo lejos escuchó el colérico grito de Tom y el diario comenzó a calentarse entre sus brazos, pero ella seguía hundiéndose en las aguas del Lago Negro.
Mientras descendía y su oxígeno se agotaba, pensó en su vida. No había sido mala, de hecho había sido muy buena pese a todas las complicaciones de vivir con seis hermanos mayores y usar ropa de segunda calidad; recordó el amoroso rostro de su papá, los regaños cariñosos de sus mamá, las personalidades de sus hermanos, los ojos de Harry…y, al tiempo que sus pulmones colapsaban, esbozó una sonrisa.
Al final conocería un poco más de la muerte.
…
_**SdI SdI-SdI-SdI-SdI-SdI-SdI-SdI**_
_**SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI**_
_**SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI-SdI SdI-SdI-SdI-SdI-SdI-SdI-SdI**_
**A/N: De acuerdo, admito que este reto fue complicado pero creo que logré darle vida a algo (mejor dicho, muerte) pues nunca tuvimos presente lo que pudo haber vivido Ginny al lado de ese diario y, pese a ser tan pequeña, logró darse cuenta que algo no cuadraba.**
**El detonante evidentemente fueron las muertes porque originalmente solamente habían sido petrificados y había seguridad en su despertar, pero algo más radical tiene mayores consecuencias.**
**Por cierto, el amor en el sacrificio de Ginny destruyó ese horcrux (¿qué no el amor salvó a Harry?), sé que ese no es uno de los métodos para destruirlos pero aquí salió de esa manera.**
**Gracias a quienes se tomaron la molestia de leerme y si gustan dejarme algún comentario, adelante.**
**Saludos!**
End file.
| fanfiction |
Ann Hughes born 1960, is a female former judoka who competed for Great Britain and England.
Judo career
Hughes won the 1986 World Championship gold medal, a bronze medal in 1987 and a silver medal in 1989. She represented England and won a bronze medal in the 56kg lightweight category, at the 1990 Commonwealth Games in Auckland, New Zealand.
References
Category:1960 births
Category:English female judoka
Category:Commonwealth Games medallists in judo
Category:Commonwealth Games bronze medallists for England
Category:Judoka at the 1990 Commonwealth Games
Category:Living people | wikipedia |
Hollyoaks 1. Chapter 1
**Sequel To The Arrest. **
The Argument
Seamus proudly watched as his name replaced Darren and Nancy Osborne's, the local pub which was now owned by Seamus Brady. Cheryl was delighted for him as she walked behind him, with Nate who couldn't get those words Brendan spoke to him at his and Cheryl's engagement party out of his head, maybe Brendan was telling the truth after all.
"Isn't this great" Cheryl spoke with a grin, Nate just gave a little nod.
Seamus walked closer to the bar, placing his hand on top of the bar, looking around the place. Then he looked outside the window, the Savage boat will have to go. As he watched Liberty Savage happily walk into her boat-house.
"That boat will have to go" Seamus insisted, turning back towards Cheryl and Nate.
"Where will the Savage's go?" Nate asked, he wasn't fooled by Seamus's laid back attitude. He had an almost instant dislike to the man and now even more so.
"They will find somewhere else" Seamus replied simply, he never liked Nate back. They only got on together for Cheryl, they can be civil towards one another for her sake.
...
Over at Steven and Brendan's house, things were not going exactly great. As a knock on the door was heard, Steven pecked Brendan's lips before walking towards the sound of the knocking. He looked through the peephole to see who it was, he was confused.
"What are you doing here?" Steven asked, as soon as he opened the door.
It was Eileen, he never expected to see her. As she crossed her arms, she was alone. As she just stood with her suitcase in one hand. Her brown hair falling perfectly by her sides, she didn't look pleased.
"Well that's a nice welcome" Eileen replied, she was bitter.
As she looked over his shoulder.
"Brendan, we need to talk" Eileen spoke, as she noticed Brendan looking over.
Steven moved to the side, letting her walk past him. As she dragged her suitcase across the carpet, she took one look at the place and you could tell she looked down upon it.
"Eileen, do you want a cup of tea?" Brendan asked.
"I'm not stopping long" Eileen replied, as she sat opposite him on the other couch.
Things were a little bit tense, since their last encounter was not exactly a good one. They always part on bad terms it seems,whether its to do with Brendan's lies or their two children. One or the two, sometimes both at the same time.
"They haven't been asking for you" Eileen told him, again she sounded bitter but with all the lies Brendan told her, she had every right to be.
"No I wouldn't think so" Brendan replied simply.
Eileen breathed, as she moved herself up more.
"You like standing don't you Ste?" Eileen spoke in a mild acrimonious tone.
Steven still just standing in the same place, he didn't know what she wanted. All she done so far is insult them both. Hardly a reason to travel from Ireland to England, so they must be some sort of major reason she is here.
"What do you want Eileen?" Ste asked, slightly pissed of.
She cleared her throat, trying to find the words. She was going to tell Brendan the news, go to her friends and then go back home. Though she thinks she will have to stay longer if Brendan actually cares.
"I have some rather bad news, Brendan" Eileen finally spoke.
...
"So dad, what are you going to do for opening night?" Cheryl asked as they were all now sitting in his new living room.
"Just a small one" Seamus told her.
"Okay, me and Nate are going back to Ireland next week; so I was thinking we could have the opening night on the same night as our leaving do" Cheryl told him, she had it all planned out.
Seamus was very upset of the thought of Cheryl leaving and he blames Brendan completely, no questions asked. He also blames Steven for taking away Brendan's 'last remaining bits of pride'.
"What am I gonna do without you, eh" Seamus spoke with a smile.
Cheryl breathed, Seamus has been let out on bail. Though they won't arrest her father 'for something he never done' She will have major words with Steven later, telling him to admit to 'his dirty lies'. The only reason she can think of is that 'Ste wants Brendan all to himself'
"I'm going to talk to Ste" Cheryl told them.
...
Anne 'Mitizeee' Minniver was talking to Sienna, about why the police wanted to question her about Seamus.
"I don't know exactly" Sienna replied.
"Well what was it about?" Anne asked her, as she was trying to catch up to her.
"I don't know Anne, I already told you this; they asked me if I seen him and that's that" Sienna replied, as she finally let Anne catch up to her.
"Was it about Brendan?" Anne asked, worried.
Sienna sighed.
"I don't know anything" Sienna replied before walking away from her again.
Anne letting her go, Sienna won't know anything. If Anne found out what Steven told the police, she would believe Brendan and Steven completely. Especially after finding out about Brendan's vile childhood.
...
"Why didn't you tell me?" Brendan asked, Steven walked over now as he sat besides him. Placing his hand over his hand.
"I don't know Brendan, you never seemed to care" Eileen replied, now with a more gentle tone.
She did feel sorry for Brendan on this, it must be quite a shock to find out your mother died all of a sudden.
"Of cause I care" Brendan replied, did he really seem that horrible to her? That she thinks he wouldn't care about his own mother's death.
She looked quite sad, she really did underestimate him. He isn't heartless, though from everything she went through with him. She sometimes forgets that he has feelings and does care about some people.
"If it makes you feel better, she never died in any pain" Eileen replied, though she knew that wouldn't make things better.
Though at least he knows she died in peace and didn't have to suffer. Like his grandmother Florence who went through weeks and weeks of pain through her cancer and then she just died.
"Okay, thanks for letting me know" Brendan spoke, he looked like he was about to cry but he never did. Not in front of Eileen anyway, they were never that sort of couple.
"Brendan, I'm sorry but she left you something in her will" Eileen told him, biting her top lip.
"Does Paddy and Declan know?" Brendan asked.
She just nodded, they never really knew their grandmother. She kept herself to herself, she had no husband the time she died. After Seamus, she really didn't let any other guy in her life. She couldn't trust anyone around her after him.
"Bren, are you okay?" Ste asked, as he moved up closer to him slightly.
"Not now Steven" Brendan replied, he couldn't take all of this in.
Eileen passed him the will reading. She left Brendan the remains of her money, he sighed passing it back to Eileen.
"I don't want it" Brendan admitted.
"Well you are going to have to take it" Eileen replied.
"Give it to the kids; keep it for them for when they get older" Brendan then replied.
...
"I can't believe this" Jack muttered under his breath, as his family were all cramped in Becca's old flat, the one in which she lived in before she was stabbed in prison.
"At least we got a home" Darren spoke, as he looked across the room.
Ruby stood up.
"I'm going out, can't just sit here and do nothing" Ruby spoke, putting her coat over herself before going out the door and shutting it behind herself.
Charlie and Tom had to sit on the floor as the couch wasn't big enough to fit them all in. They had to bring in some kitchen chairs as well which Esther and previously Ruby was sat on.
"Yeah I'm going out too" Esther told them, also getting her coat and she was out the door.
Charlie and Tom went towards the kitchen chairs, sitting down on them instead since both Esther and Ruby are now out.
"We can't just stay here, it's too cramped" Frankie spoke.
Nancy sighed.
"Well we can hardly go anywhere else, seriously Darren, why did you have to gamble with Seamus Brady, he is a Brady; what did you expect?" Nancy asked, she was still angry at him.
"I don't know Nancy, I thought he was my friend" Darren told her.
"I'm going to have words with Seamus, we can't go on like this" Jack told them, he was going to have a word with him alright.
...
"Do you have any sort of licence to be here?" Seamus asked Liberty, since she was the first Savage he seen.
"Whats a licence?" Liberty asked him.
Seamus shook his head.
"Do you have permission?" Seamus then asked.
"I think so, Jack let us stay here; is that what licence means?" Liberty asked, Seamus eyes widened.
"Is your dad here?" Seamus asked her finally, she would be no help it seems.
"Yeah, I go and get him and ask if we got a licence; I mean I know cars has licences but I never knew boats did" Liberty told him before going inside the boat to get Dirk.
Seamus scoffed, he thought she was just some dumb girl. As he waited for Dirk, he thought all the Savages were dumb, he would be 'ashamed' if he was apart of that clan.
"Why do you need to know?" Dirk asked him, as he walked out of his boat-house.
"Because your boat is on my property" Seamus told him, passing him the letter which explains how much he owns and that this part is his also.
Dirk passed him back the letter.
"You can't just get rid of us, its out home" Dirk told him, Seamus showed no remorse as he had no intention of letting them stay.
"Some home" Seamus hissed.
"Please Seamus, can't we come to sort of arrangement?" Dirk asked.
"Yes, you get rid of this ugly boat" Seamus snarled.
"This is our home, me, my son and daughter are perfectly happy here and you're not getting rid of us, we are happy here" Dirk replied, as he slightly got in his face.
"Well I'm sorry Dirk but you are to expect a visit from the police if you don't move" Seamus replied simply.
...
After Eileen left, for once her and Brendan left on reasonable terms. It was just him and Steven again now.
"I'm sorry" Steven spoke to him as soon as she left.
"Steven, its fine; she is dead, let the dead stay dead' Brendan replied, walking back into the living room.
Steven was worried about him, he said the same thing about his grandmother. Though Ste doesn't know what his relationship with them was like.
"What was she like?" Ste asked him, as he sat back besides him.
"I don't know, she left when I was about ten; so I don't really remember her" Brendan was cut of.
"You must do if you were ten" Steven replied.
"Just drop it Steven, besides maybe you should sort out your own family before interrupting in mine" Brendan replied, it sounded quite bitter.
"Brendan, stop pushing me out" Steven replied.
"I'm not pushing you out Steven, I trusted you and I believed you but it's never enough" Brendan replied, as he pulled away from his touch.
"Brendan, I won't mistrust you again" Steven insisted.
"Until the next person comes along and accuses me of attacking them" Brendan replied to him, then regretted it slightly as Steven looked slightly scared.
"I'm sorry" Brendan then spoke.
Steven placed his arm around him.
"No its okay; listen to me, I'm not going to leave you over any of this, I know you wouldn't do anything like that again, I will trust you" Steven told him, as he gave him another quick kiss on his lips.
"Thank you" Brendan spoke.
...
Sam Lomax walked up to the Savage's boat-house, after the phone-call from Seamus about them being on his property. She was the long-term wife of Danny Lomax, who just got a job here.
"Yeah? Wait there" Dirk commented, as he quickly rushed towards the door and he opened it to find PC Lomax.
"Are you Mr Savage?" Lomax asked him.
"Is this about the boat, has the owner of the pub actually done it?" Dirk asked, he looked furious.
"Yes, Mr Savage; you are breaking the law by staying here" Sam told him.
Dirk looked shocked.
"No, the previous owner was happy letting us stay here" Dirk replied.
"Exactly, you had his permission but you don't have the new owner's permission" Sam informed him.
...
Eileen was waiting for her taxi.
"Not even a hello" Cheryl spoke, as she crossed her arms.
Eileen turned towards Cheryl. They haven't spoken to each other in person for quite some time and the last time they spoke over the phone was Cheryl telling Eileen that Brendan and Steven are married.
"I'm on my way to a friends" Eileen replied to her.
Cheryl walked closer to her.
"Did you tell Brendan about his mam?" Cheryl asked her, she just nodded.
"Oh, he is going through just a hard time right now and can you believe that after everything, Ste would lie" Cheryl really did refuse to believe that her 'daddy' would do something so disgusting.
...
Seamus found himself face to face with an angry Jack Osborne, as he stood at the door. As he attempted to shut the door, though Jack placed his shoe in front of it to stop it closing.
"Get away!" Seamus hissed.
Jack breathed, he has to tell Seamus exactly what he thinks about him. He heard the news about Dirk also being chucked out because of this man. The Savages are now living with Leanne Holiday and Douglass Carter.
"Why Seamus? Why are you doing this?" Jack asked him, he wasn't afraid of standing up to Seamus Brady like so many before him. Jack had the guts.
"Because I can and because I will" Seamus snarled, as he still kept the door ajar. Refusing to let Jack fully in.
"You have just chucked out two families; don't you feel guilty?" Jack asked, as he still kept his shoe firmly in place to prevent the door from closing.
"No, I have no reason to" Seamus replied.
Jack couldn't believe what he was hearing.
"You won't be hearing the last of me" Jack told him before finally moving his shoe, Seamus soon slammed the door tightly.
...
There were a knock on Steven and Brendan's door, with Steven answering it again to find Cheryl this time.
"What is it?" Ste asked her, he had an ideal to why she was here.
Cheryl didn't look happy in the slightest as she walked past Steven into the living room to find Brendan still sitting on the couch with the same sad expression.
"Look Brendan; I'm really sorry about your mam, she was a good lady but you don't have to get rid of dad too" Cheryl spoke to him, as she stood with her arms crossed.
Steven scoffed, even now.
"Cheryl, Seamus did do it" Ste told her, she shook her head.
"I want to hear it from Brendan" Cheryl spoke looking back over at Brendan.
If Brendan told her then she would likely accept the truth though she wouldn't want to, though for a reason, Steven telling her just isn't enough.
"No, I tried to stop Steven but he wouldn't listen; he took it out of context" Brendan nervously replied, Steven looked shocked.
He shook his head.
"No Brendan, just tell her the truth; we can get Seamus locked up" Steven looked towards Cheryl, who just nodded.
"Out of pretext; I know you Ste and I'm not being rude but that is something that you could do" Cheryl told him, wishing Brendan was telling the truth.
"How could I take something like that out of pretext; Brendan, please" Steven shivered.
"I told you, me and dad had a little fight at the club and things turned nasty; you could easily of taken things out of context but its okay" Brendan didn't dare look him in the eyes.
"Bren, why?" Ste asked with tears in his eyes.
"Ste, enough is enough; I know you don't like my dad but that is no reason to lie about him like that" Cheryl walked closer slightly.
"I'm not lying" Steven was still shocked, the fact that even now Brendan can't tell the truth, though he can't say he blames him. Its his sister after all.
"Ste I mean it, just drop it" Cheryl hissed slightly.
...
So Cheryl almost forced Ste to admit he was 'lying' as she made him go to the station with her and he finally lied about lying, saying he took it out of context when in reality he never. All charges made against Seamus were dropped.
"Thank you Ste but never ever put me in that position again" Cheryl spoke, as she walked with him and Brendan.
Steven just shook his head as he kept close by Brendan.
"Now listen to me; me and Nate are having an leaving do in the pub on Sunday, so can you and Brendan get along with my dad" Cheryl wondered.
"Of cause" Brendan spoke up for Steven.
Steven shook his head again, this felt so wrong.
...
_TBC? I don't know I might do..._
2. Chapter 2
"I can't believe this" Will spoke, as he invited Liberty, Mark, Dennis and Dirk in.
"Can he do that?" Leanne asked.
"Appears so" Dirk sighed, as he shut the door behind himself.
As he stood in the middle of the house, he couldn't believe they are homeless once again. Usually Dirk goes to his brother Walter for help but after Walter admitted to Mark about Patrick really being his father, he hardly speaks to him anymore.
"So he just kicked you out? Leanne then asked.
Dirk just nodded, he really didn't feel like speaking at the moment. Though like Jack, he will have firm words with Seamus. Seamus is fast becoming the most hated man in Hollyoaks and not just from Steven and Brendan now but everybody else.
"I'm not going to let Seamus drive us out" Dirk told them all before sitting down on the couch besides Dennis.
Mark looked at Will, he can't life with him. Not yet anyway, he just can't forgive him after Texas. He was meant to be his brother and he betrayed him.
"I'm not staying here" Mark piped up, he was going to Maxine, Patrick and Sienna's house. Patrick has allowed him to come, so both his daughter and son are now living underneath the same roof.
...
Seamus was looking out the window with a smile as he watched the Savage boat-house being knocked down. As he has been looking out the window of his new home for some time now, he loved watching the boat-house being destroyed and he loved being the new landlord of the local pub.
As he turned back around, he was in Nancy and Darren's old bedroom. As he started to take all of the pillows of the bed and he changed the bed quilt to just plain black. He was making the pub his own already. Ironically Seamus has finished Sienna's job on his own accord, as he got rid of anything related to Nancy and Darren.
"Dad" Cheryl spoke in the doorway.
He looked behind himself.
"Did Steven fix his mistake?" Seamus asked his daughter, as he sat on top of the bed. With the same emotionless expression.
"Yes, he took it out of pretext" Cheryl replied to him, he nodded.
Seamus breathed.
...
"Steven; I couldn't" Brendan told him, as they returned home.
Steven locked the door, he didn't understand why Brendan lied. Cheryl would have believed him, she almost believed Steven. Now he doubts that she will ever believe him again or trust him.
"She would have believed you and you know she would have" Steven replied,as he stayed by the door.
"Steven; stay with me" Brendan replied, a bit taken aback. He can't lose Steven.
He sat back besides Brendan, he just doesn't understand why Brendan did that. He really doesn't want to go to Cheryl and Nate's leaving do since Seamus will be there. He placed one arm around Brendan, not knowing where to go from here.
"Thank you" Brendan spoke.
...
Sienna entered the pub, as she looked over at Seamus who was serving behind the bar already. He couldn't wait, so he opened it early. As she cocked her head to one side, walking over to him.
"Yes what can I get you?" Seamus asked her, as she sat on one the stools.
She stayed silent as she looked behind him at the other wine glasses, trying to make her choice though she wasn't here for a drink.
"You choose" Sienna finally spoke, as she watched him twitch slightly.
They were other people in the pub, including Theresa McQueen who wanted a drink and since the club wasn't open yet. She chose to come to the pub instead, she didn't have a problem with Seamus or Brendan, even after Joel.
"Rosé then" Seamus spoke, as he poured some Rosé wine into the wine glass.
Sienna smiled as she passed him the right amount of money and took a slip, as Seamus waited for her answer.
"It's a little sweet" Sienna told him, placing it back down.
Theresa looked over, while she drank her white wine. The pub was very calm as some people now refuse to come here. The Savages and the Osborne's being one. Nancy is coming on Sunday though only to say goodbye to Cheryl on her leaving do.
"Sweet? I think the sweet is a nice mixture with the bitter" Seamus replied, as she shrugged.
"Depends on your taste" Sienna reminded him, taking another slip to confirm. As she nodded to alert him that it still tasted too sweet for her liking.
"Seamus, another one please" Theresa spoke with a nervous laugh
As she lifted her empty wine glass as he walked over, grabbing it gently back. He gave it a quick rinse and poured some more white wine in it as he passed it back to Theresa. She passed him the money, he soon walked back over to Sienna.
"Lovely pub" Sienna piped up, trying to get to the point quicker without making it too obvious.
He was about to reply though three students came noisily in, it was George Smith, Tilly Evans and Phoebe McQueen. As they interrupted the once peaceful pub, as they all sat on the stools.
"You must be joking" Seamus spoke, as he walked over to them.
He knew how old they were and he knew they were not old enough to be here. As all three looked up at him.
"No joke" George spoke, making Tilly laugh.
Seamus sighed, he already disliked this kid.
"Would you all like to leave because none of you look over eighteen" Seamus spoke, they all looked surprised.
"Were always allowed in here" Tilly spoke trying to sound as polite as she could.
"Oh really? Well not anymore" Seamus told them.
Theresa and Sienna were just happily taking slips out of their wine glass, as the students finally left. They didn't want to cause any trouble
"I wouldn't call it a lovely pub" Seamus then spoke, walking back towards Sienna.
...
"I don't want her guilt money" Brendan told Steven, referring to his mothers will reading. He was shocked that she left him anything, though he called it guilt.
Steven understood what he was saying, it made sense. She left him alone with Seamus when he was ten. Regardless whether she knew about the abuse or not, she still abandoned him and left Seamus a single parent.
"So what are you going to do? I think you should take the money and spend it on something you want" Steven breathed, as he thought he should take it.
Enjoy her money, at least then she would have gave him something. He would likely do the same thing if his mother done the same thing though his mother doesn't have a penny to her name.
"No, I don't want it" Brendan stuck to his words.
Steven just nodded, he didn't want to force Brendan into anything. There has been enough of that, enough forced onto him already. Without this as well, if he doesn't want to take the money then Steven will agree.
"Are you going to give it to Patrick and Declan then?" Steven asked him, wondering if he was serious when he said that to Eileen.
"Yeah" Brendan told him, picking up the will reading.
His mother left him over ten thousand, Eileen claims that she won it on a scratch card years ago and kept it.
"It's a lot of money" Steven reminded him.
Brendan placed the will reading back on the table. He really didn't understand this at all, he presumed she would have gave it to her grandchildren herself though his mother must feel guilty enough to give it to her son instead.
"Yeah I know but it's not for me" Brendan replied.
He also thought it was quizzical since he once stole fifty pounds out of her purse and spent it all on cola bottles. Now she is giving him ten thousand, that would be a lot of cola bottles. A part of him doesn't think he deserves the money from her anyway.
"Okay; You don't need it anyway; the club is doing great and I got the deli" Steven insisted, as he moved up slightly.
...
Cheryl has invited all of her closet friends to her leaving do and they can bring anyone they want to. Tomorrow is her last day in the village, she thinks she can leave now. Seamus's charges has been dropped so she got the confidence to leave the village.
"I'm going to miss it here but its my time to go" Cheryl spoke, as she sat next to Anne in the club.
"Yeah I got a confession to make; I'm going too, Carl needs me so I'm going out there" Anne admitted to her.
Cheryl looked slightly surprised.
"Wow, well good luck" Cheryl spoke.
She smiled, her and Cheryl hasn't really got along. Ever since Anne and Brendan faked a relationship, they really took a slight dislike to each other. Though it was when Anne started dating Warren that it really started.
"I can't believe we were fighting over Warren" Anne spoke, looking towards her.
Cheryl smiled.
"Oh don't remind me; we are better than that" Cheryl joked.
Anne smiled back, she still doesn't know what Steven said to the police about Seamus, though she just passed it on. She didn't think it mattered anymore, after all it has hardly been mentioned.
"To be honest I think Warren loved Theresa more than both of us" Anne piped up, as she looked across the club.
"Theresa McQueen? I wouldn't be surprised if Warren did love her more than us" Cheryl replied to her, she always thought that as well.
...
The pub was closing up now, as Seamus was now locking up. Feeling pretty pleased with himself, as he went to shut the door though Dirk pushed past him. He was slightly stronger as he crossed his arms.
"Get out" Seamus hissed, he didn't have any time for this.
Dirk needed some words with Seamus right now.
"I just want to know why, Jack told me all about you ignoring the question so answer me" Dirk spoke quickly before Seamus could breath another word.
"You get out of my pub otherwise I phone the police on you again" Seamus snarled.
"You are ignoring the question" Dirk tutted, as he walked towards the door.
"Then go because the answer you want will not be said" Seamus breathed, as he watched him leave.
Dirk will come back tomorrow and he bring Jack with him, they will not let Seamus drive them out like this.
...
Steven and Brendan returned to bed, just to sleep. They haven't had intercourse for about three weeks and neither wanted to. Not yet, not after what happened in the club. It put them of for a good couple of weeks.
"Its hot tonight" Steven spoke, as they got under the covers.
Once again, not touching, no good night kiss. Nothing, just lying side by side and looking up at the ceiling and thinking.
"Yeah, summer nights are the worst" Brendan spoke, as he felt very distant.
He also felt slightly uncomfortable, not because of Steven. Just because of this position and the fact he is sharing a bed with another person. Though it was nice to have a warm body next to his, his bed use to feel cold and now the coldness is slowly returning.
"I know" Steven answered, moving even further away from him.
As he was now on the complete opposite side of the bed, he is scared any sort of closeness will bring back bad memories for him. He doesn't want to risk it, as they face opposite each other as well.
"Night" Brendan spoke simply, as Steven bit his top lip.
"Night"
Steven didn't know how to comfort him in this situation, it was something that he never really thought of before.
...
_TBC_
3. Chapter 3
Sienna returned home after her conversation with Seamus, she was confident he hasn't figured out her motivation for speaking with him. As she was asking him how he could afford the pub, he claimed to of won big on the horses. She had a feeling that he would say that, though she did find out some valuable information. He admitted to her that he keeps the remainder of his winnings in his safe.
"Sienna; Where did you go?" Mark asked from the living room, as he was watching some television.
"The pub" Sienna told him truthfully, with a hidden sly smile.
...
Sunday was finally here, as Cheryl was already in the pub. She was sorting out the pub for her leaving do,she had invited her friends. Which she has many of, as quite a few people will turn up.
"I can't wait to leave" Nate spoke, as he sat on one of the stools.
He didn't like the feeling here, Seamus's presence unnerved him. There was something wrong with his future father-in-law and it wasn't even in a peculiar way, it was just in an unsettling way.
"Do you ever get a feeling, somebody is trying to take your money" Seamus breathed, making Nate and Cheryl look towards him.
"Why?" Cheryl asked.
"This Sienna girl was very interested in my money; asking me all questions based around my money and the pub" Seamus told them
He wasn't easily fooled. Not even by Sienna who seems all sweetness and light when you first meet her. Sienna cannot pull the wool over his eyes, he is smarter than that.
"I would think she has enough money of her own, I know her da is only a headmaster but they get paid a reasonable amount" Cheryl insisted.
"I was thinking exactly that" Seamus breathed, as he took a slip of his cool stout, which he took out of the fridge two minutes ago.
"I'm sure its nothing" Cheryl replied with a smile, as she went behind the bar.
...
Steven and Brendan both entered the local corner shop, they have hardly anything in and they didn't have enough time to go the supermarket in town As Steven grabbed one of the plastic shopping baskets. Steven has become understandably clingy.
"I won't let him near you" Steven told him, as he kept him purposefully close by.
As they walked down one of the aisles. Cindy Cunningham was looking over, as she stood behind the counter. She found it amusing that Steven has been married twice now, as she wants to say something to him about it.
"Right Holly, take over" Cindy said as her daughter stepped into the shop.
Holly was about to reply though Cindy was out of the door quicker then ever. As she scoffed, watching her leave. She looked over to notice them shopping, she sighed as she went behind the bar without much choice.
"Great" Holly muttered under her breath, going behind the counter.
As she sat down on the seat, getting out her phone. While looking up every few moments to check nobody want to purchase anything. As she was texting her new boyfriend Callum Kane while also texting Jason Roscoe.
"Excuse me" Steven said, as she forgot to look up.
She sighed again, placing her phone back in her pocking. Standing up as she started to scan all the items without much care.
"Is is the wrong time to say congratulations" Holly spoke with obvious sarcasm.
Even Holly could tell they were unhappy, they didn't act like a loved up couple who just got married. They looked more like they were getting a bitter divorce, as she placed all their items in the plastic bag.
"That will be thirty pounds please, enjoy your honeymoon in Hollyoaks" Holly spoke with a little smile, as she passed Brendan the bag.
Steven sighed, as he passed her the money. Steven hesitated before passing Holly the money, her sarcasm was vexatious to him. As he tried to ignore her childish comments, as she placed his money in the till.
"Theres your receipt; don't have too much fun with it" Holly spoke, Ste sighed as he grabbed it of her.
...
The actual leaving do has finally arrived. As some people were already in there, including Nancy, Anne, Sienna, Ash and Cindy. Seamus was behind the bar serving Mercedes who was with her sister Carmel and her grandmother who was almost flirting with Seamus.
"Nana, I don't understand your taste" Mercedes spoke discreetly, as she took a slip of the white wine she ordered.
"Not many men around here are even close to my age but he is" Nana insisted, despite the fact that she was around twenty years older than Seamus.
Mercedes made a face, turning away from her.
"He is closer to my age, mother" Myra insisted, Seamus was around tens year older than Myra so she was right technically.
"No Myra, They always want the younger one" Nana replied to her daughter.
"I'm the younger one, you're my mother." Myra replied to her, as Nana just drank some of her wine.
Mercedes sighed.
"Yeah but he doesn't know that" Nana spoke.
Seamus found it amusing because he could quite clearly hear, though they were speaking as if he wasn't in ear-shot. He looked at Marlene 'Nana' McQueen, she seemed a funny lady and wasn't bad-looking either.
"You two must be desperate if you're fighting over a Brady" Mercedes spoke.
As she drank more wine. She needed it if they were going to argue about Seamus Brady of all people. Nobody could fancy him surely, though she can't blame her grandmother. She is right though, all the local men who are even close to her age are already taken.
"Excuse me but I once had a thing with a Brady" Carmel replied to her sister, who just laughed.
"Yeah Carm, you went out with Brendan once and he dumped you because you lost some money" Mercedes replied with a smile.
"I think it was more the fact that he was gay" Myra reminded her.
...
It must have been around thirty minutes when Steven and Brendan arrived, though they were late, twenty minutes late.
"Nice to see you two finally" Cheryl spoke, as they entered.
As they stood by the door, not wanting to go any closer. As Steven didn't want to look at Seamus or hear his voice, he hates him. People say hate is a strong word though for Steven it isn't strong enough to how much he hates Seamus.
"Were here aren't we" Steven spoke, keeping Brendan close by.
He didn't want to fall out with Cheryl, though at times like this it was incredibly difficult not to. As he and Brendan had their back against the wall, Steven held onto his hand. Keeping him close by still.
"Alright, well come in the pub in your sweet time" Cheryl spoke before wandering of again.
Seamus looked over at them, as he could almost see the fear in Brendan's eyes. As he didn't want to come in any closer.
"You know what Bren, we can leave anytime you want" Steven told him, gripping tighter.
Steven refused to look into the pub, refused to look at all the happy faces and refused to look at Cheryl but most of all, he refused to look at Seamus. That man was the cause for his husband's long-term suffering and now he has done it once again.
"Thank you" Brendan has been saying that to Steven a lot recently.
The slight bit of kindness means the world to him now, he doesn't think he deserves Steven at all. After everything he done to him, including beating him up just three weeks ago because of his own demons which are still filled with rage and sorrow.
...
"Come on" Cheryl pressured as she tried to make Steven come in.
Leanne and Douglass were looking over from the couch, Douglass was wondering why Steven was refusing to come in as well.
"No Cheryl, were fine here" Steven insisted.
Cheryl sighed, she really didn't understand. First Brendan claims that Seamus and him fought in the pub, then Steven 'lies' to the police that he sexually abused Brendan and now there both acting really strange towards her.
"I mean it Brendan, you have to get along with dad for your own sake" Cheryl spoke, Steven couldn't believe what she was saying.
"He doesn't have to do anything Cheryl, just leave it" Steven replied to her, making others turn towards them, as they were making quite a scene.
"Stop bringing attention on us Ste" Cheryl replied, as she actually raised her voice. She was the one bringing more attention to them.
"I'm not Cheryl, we don't want to come in" Ste told her.
Brendan didn't know what to say, as the two people he loved were arguing to each other. He didn't want that to happen. Though he was finding it hard to please both of them at the same time, though he didn't want Cheryl to find out the truth.
"It's okay Steven" Brendan spoke, as he slowly entered with him.
Steven looked quite upset, Brendan is trying too hard for Cheryl. He sometimes feels second best to her, even though there sister and brother. He still does feel second best, as he still held onto his hand.
"No you don't have to Brendan" Steven replied.
Cheryl tutted, as she walked back over to the stools. Steven was about to led Brendan away again though because Cheryl insisted that they come in, he stayed in. As he lead him towards one of the empty pub couches instead.
"I don't want you to fall out with Cheryl" Brendan finally replied to him, as he let go of his hand because they were in full view of Seamus now.
Steven didn't want to fall out with her either but it's just so hard when she is treating them both like their in the wrong. He never though that he say this but he will be happy to see the back of Cheryl. He doesn't want to hate her, so its best she leaves now.
"I'm not going to" Steven replied.
...
Sienna adjusted herself back in the stool, as she took a slip of her wine glass. As she was trying to find the right words.
"Hello again" Sienna finally spoke, as she looked up at Seamus.
"Sienna" Seamus simply said, he remembered her clearly.
She nodded, she was slightly surprised that he remembered her name. Though Seamus seems like a clever man so his memory would be decorous as well. Though that didn't stop her trying to outsmart him because she was clever as well.
"Yes, nice party" Sienna replied, with secret sarcasm that he also noticed.
"Thank you, nice dress" Seamus replied, also with secret sarcasm which she also noticed.
They were playing each other at their own game, yet neither were entirely sure the other knew.
"Not really" Sienna replied, he smiled.
She was here for the pub, she wanted it back for Darren Osborne. Which Seamus has already guessed from their earlier encounter from yesterday. He gathered because she was apart of the Savage family, that she wanted some sort of revenge.
"Don't lower your standards... when it comes to picking what pub you come to" Seamus spoke, as he paused half-way through that line, making a snide comment though without making it clear.
...
Brendan and Steven has not touched a drink all night, as they just stayed sitting down and saying little to each other, just half-conjunctions.
"I want to go" Steven told him, as he could tell that Brendan was feeling just as incommodious as he was.
Brendan almost placed his hand over his though took it away when it was inches away from Steven's pale hand. He took it away, as he could feel his father's eyes on his. He knew what Seamus thought of him.
"I know" Brendan replied, he was trembling with fear and coldness.
Steven took his hand away from his side. He knew Brendan wouldn't hold it again, Seamus almost made sure of that.
"Come on" Steven breathed.
Brendan just stayed silent as he looked over at Cheryl, who was smiling as she was drinking with her friends.
"I don't know" Brendan replied to him, his voice sounded even more distant.
Brendan felt like a stranger at his own sister's leaving party, the usual him would be at the bar and having a quick drink with Steven. Though not anymore, he cannot force himself to be happy, he can't even force himself to smile anymore.
"We can go" Steven spoke again.
As he looked across the pub, he could tell everyone was having an decent time. Everyone but him and Brendan it seemed. He wanted to go home and he wanted to look after Brendan again like last night when Brendan broke down in the middle of the night and Steven had to hold him for the rest of the night like the previous night.
"Cheryl" Brendan replied simply, he was putting himself through this just for her.
if she knew the truth, she wouldn't be acting like this towards them. Though that is the thing, she doesn't know the truth so she will carry on treating them like this.
...
_TBC_
4. Chapter 4
The mood has not improved for them, in fact they felt more suffocated and more invisible as people seemed to disacknowledge them on purpose. With Douglass even staying way clear because he doesn't entirely like the fact that Steven married somebody else. Anne has tried to get over there though her sister Maxine keeps passing her a drink before she has the chance.
"Nobody wants you here" Seamus hissed as them, as Steven instantly grabbed onto Brendan's arm.
"Don't come near us" Steven replied, as he held onto Brendan tighter.
Seamus just laughed as he walked back over to his bar to serve some waiting punters as he left Brendan a little more scared though Steven tried to make him feel better. As he placed his arm around Brendan.
"No stop" Brendan replied, as he brushed him of him.
He refused Steven to touch him here, where his father can see. He sometimes finds it hard to believe that his father has any sort of love inside him, the only love that Seamus knows is his love for Cheryl it seems. Though Seamus was Brendan once and Brendan's grandfather was Seamus once.
"Brendan its okay" Steven tries to say, he has never seen Brendan looking so frangible and detriment.
...
Everyone else was pretty much enjoying themselves, even Nancy and she hasn't enjoyed herself for quite some time. Douglass and Leanne were getting slightly tipsy along with Ashley Kane.
"You can hold your drink, I will give you that" Seamus told Sienna, as she didn't seem drunk in the slightest despite the fact she had has around five wine glasses now.
"What can I say" Sienna replied with an half-hearted smile, as she looked at him.
He smiled back slightly, serving Theresa McQueen again who smiled as she passed him the money.
...
Cheryl walked over to Steven and Brendan. She still didn't look pleased with them as she was trying to find the words.
"Can you at least sit on the stools for me" Cheryl commented, knowing they were distant from everyone else.
"Were fine here Cheryl" Steven replied to her, she sighed.
"Ste, what is your problem? I'm serious, you been acting weird ever since you and Brendan married" Cheryl wondered, as she was confused.
He was about to the reply, though Brendan cut him of. Steven would never just admit it to her here in public, he wouldn't want to tell her anything against Brendan's wishes.
"Were fine, come on Steven" Brendan spoke as he stood up.
Steven held back onto him, as they walked around the wooden circular shaped table. As they looked towards the stools, Sienna and Theresa were sitting down on the stools. Cheryl was watching Brendan and Steven as they reluctantly sat down on the stools.
"Good, See we don't bite"Cheryl spoke before retreating back to Nate.
Sienna was looking over at Brendan, she does remember speaking to Seamus outside of the club, though she could have sworn that she heard something in there. Only reason she didn't tell the police about this was because she thought it was irrelevant.
"Seamus, can I have another drink?" Sienna asked, her words made Brendan shiver
She spoke Seamus's name and that made him shiver just hearing his name being spoken. As he looked away from her as he could hear Seamus passing her the drink as she said thank you and gave him the money.
"Whats wrong Brendan?" Seamus asked, as he walked over to the bar.
Sienna still looking over, with her inquisitive hazel coloured eyes.
"You don't go near us" Steven hissed, as he held back onto Brendan.
Almost protecting Brendan from him, he cannot believe this man had the nerve to come and be so patronizing.
"Whats up Steven? My son is no husband to you" Seamus spoke quietly, so it was out of everybody elses ear-shot.
Steven hesitated before unexpectedly lunging at Seamus, as he punched him. As the whole room turned towards him, Brendan trying to hold him back.
"You're sick! You know that!" Steven shouted, as Brendan held him back, with Cheryl rushing over.
"Get out Ste, I have had enough" Cheryl spoken, as she went behind the counter to comfort her father.
Steven shook his head.
"Come on Brendan" Steven spoken, as he locked arms with him.
He wanted to get Brendan away from here, he didn't deserve to listen to this. Nor did he deserve to see Cheryl comforting her father instead of her brother. As he almost pulled Brendan away and outside the door.
...
"I don't understand why he hates me so much" Seamus told Cheryl, as he dabbed a flannel on the blood patch which was at the side of his head on the top-left.
"Right everyone out" Nate spoke, as he opened the door.
As all the party guests made their way out of the door, putting all their drinks down. As there were chatter amongst them too. They were quite shocked that Steven flipped out like that, it was sudden.
"Should I check on him?" Douglass asked Leanne, as they stepped out of the pub and down the pavement which lead to the pub.
"Let him cool of" Leanne replied, as she just wanted to go home now.
...
Nate locked up, turning back towards Seamus and Cheryl. As he entered behind the bar, Nate would draw the line of attacking Seamus. That was too far he thought, he knew Seamus was slightly dodgy but he wouldn't attack him.
"Are you alright?" Nate asked him, as he looked at him.
"It's just a scratch" Seamus insisted.
Cheryl shook her head, as she switched of the pub light before taking Seamus into the living room. As they both sat on the couch, as she placed her arm around him. It comforted knowing that his daughter still loves him.
"Thank you Cheryl" Seamus spoken as he took the flannel away.
Nate sat on the opposite couch.
...
Brendan and Steven returned home, as Steven locked his door. Leading Brendan towards the couch as he placed his arm around him.
"Steven, are you okay?" Brendan asked, as he cupped Steven's neck.
He just nodded, he was as alright as he could be in this saddening circumstance. He wasn't alright because of what villainous act that Seamus condemned on Brendan and in Seamus's mind, that's all it was, a condemning.
"Don't worry about me" Steven replied, as Brendan placed his forehead against Steven's forehead.
"Thats impossible" Brendan replied, keeping him close by.
As Brendan let tears fall down, Steven was use to this now. As he pulled him in closer, wrapping his arms around him, trying to console him.
"Steven, I just want this to go away" Brendan spoke quietly, as his tears stopped falling and they were replaced by shivering and murmurs.
...
_TBC_
5. Chapter 5
Cheryl and Nate dragged their suitcases across the ground, away from the pub and Hollyoaks. As she gave her father a hug before, leaving him behind. As they waited for their cab to pick them up, to get to the ferry which is is leaving for Dublin. She felt like it was her time to go, this village hasn't been exactly kind to her.
"I can't face them Nate" Cheryl told him, referring to Brendan and Steven.
"Are you sure?" Nate asked her, her was not convinced.
Cheryl hesitated before nodding. Though she will likely regret it the time she gets in the cab and she is out of the village. Though she really doesn't want to see them just yet, so she will just ring them when she gets to the ferry.
...
Brendan was already awake as he had his back against his bed-frame as he slid his fingers through Steven's hair. He has been doing this for at least half an hour, he was just appreciating what he has left. He was surprised that Steven has stayed with him, he still believes that Stevens should have left him three years ago.
"Morning" Steven spoke solicitously, as his hand locked in Brendan's free hand.
Brendan gave him a quick kiss on the top of his head, still feeling shaken from last night's previous events. He also feels apprehensive because of Cheryl leaving which indicates that the last bits of love that Seamus shares will be taken away and replaced with more odium.
"Are you alright now?" Brendan asked him, he feels the need to ask this again.
Steven stayed in this relaxed position, feeling relieved that Brendan has not been completely subverted despite what has happened.
"Yeah" Steven replied simply, taking slight advantage of this alluring situation.
Brendan breathed, as he kept looking down on his husband. He could safety say that Steven was the love of his life, nobody else came close. He would do anything for Steven and Steven would do anything for Brendan.
"I wish I could stay like this forever" Brendan told him.
...
With Cheryl long gone by now, Seamus was all alone. Though nobody would feel sorry for him, a lot would say he deserves this. As he started to walk out of the pub, closing it up. He looked towards the now empty lake with a smile, pleased that the boat-house has been destroyed.
He walked on, feeling the soft breeze on his neck. Walking through the village, still with the mark on his face from when Steven hit him last night. Has to admit himself that he didn't quite expect Steven's assault. He felt quite peckish.
As he wandered into the deli without much choice, as he needed something quick to eat. Douglass Carter was serving behind the bar, as he passed the customer. It was an average looking-girl he was serving, though she seemed to of fancied Doug.
"Thank you" she smiled, as she walked past Seamus with a grin on her face.
Seamus watched her leave.
"I can't believe you're not taking advantage of that" Seamus started, as he went in front of the counter.
"Of what?" Douglass asked, slightly confused, he wasn't paying attention.
"Her, she would have been up to it and she wasn't bad-looking either" Seamus told him, Doug laughed nervously. Thinking he was joking since he was pretty sure Seamus knew he was gay.
"What can I get for you?" Doug asked him.
"Just get me a cheese wrap" Seamus replied to him simply, already passing him the money since he knew the exact price from looking at the menu.
"What was up with Ste last night?" Doug asked him, as he passed him the cheese wrap and his one pence change.
"Just family stuff" Seamus replied simply, not giving anything away.
...
Cheryl is long gone now, as she got onto the ferry. Nate was exactly right, she regretted not seeing Steven and Brendan before she left. As she picked up her mobile phone and clicked phone.
"Hello" Cheryl spoke, as she waited anxiously for his reply.
_"Chez, where are you?" Brendan asked, he didn't even know she left._
"I'm on the ferry, look Brendan I know I should have seen you two but after last night, I couldn't face you" Cheryl admitted, she could hear him breaking down the phone.
_"I didn't even get to say goodbye, did last night really upset you that much?" Brendan asked her, he felt hurt._
"Yeah it did Bren, I love da and I love you and that's why last night upset me, I don't like it when you two fight and I really don't want to see Ste" Cheryl replied.
_"Leave Steven out of this Chez, he has nothing to do with you not seeing me before you left" Brendan replied to her, as he kept his phone near his ear while Steven was in the kitchen._
"He has everything to do with this Brendan, he was the one who hit da in a pub packed with people, da isn't exactly in best shape" Cheryl paused.
_"Please Cheryl, I love you too but you have to understand that I'm never choosing between you and Steven, if you don't want to see each other than fine but don't bring our relationship into this" Brendan told her._
"So you're just going to let Ste carry on this way, he doesn't like da but that doesn't give him the right to hit a man in his fifties" Cheryl insisted.
_"Were going to stay clear of him Chez, that's all I can promise you" Brendan told her._
"Look I got to go but remember what I said" Cheryl placed the phone down before he could reply, as she went back over to Nate who was watching the sea.
...
"I got the worst hangover ever" Theresa spoke as she slumped down on the couch, feeling poorly and she feels like she is going to throw up.
"Oh I bet, I had to hold your hair back while you were sick in the toilet last night"Carmel replied, as she passed Theresa a cup of tea.
"Thanks" Theresa spoke, as she wrapped her hand around the cup handle.
Their were a knock on the door, Theresa groaned quietly. It was too loud that knocking, she already has a headache. Carmel walked towards the door as she opened it to find nobody just a bunch of flowers.
"Flowers" Carmel told them, as she lifted them up and carried them inside. As she read the tag which was stuck on the material which held the flowers together. _To Theresa, I wish you were here, from a mysterious sliver fox._
"There for you" Carmel told her, as she passed her them.
Theresa was confused as she grabbed them.
"What does sliver fox mean?" Theresa asked, as she read the tag again.
...
"She's gone" Brendan told Steven as soon as he returned.
He sat besides him as he passed him a cup of tea. He knew exactly what Brendan meant and as much as he hates to say it, he is glad.
"I'm sorry" Steven spoke gently to him, not knowing what else he could say to him without offending Cheryl which he doesn't want to do because he doesn't hate her at all.
"Its okay, I still got you" Brendan replied, making Steven smile despite of himself.
...
_TCB_
6. Chapter 6
**Author Notes: Okay so I'm going to re-write chapter six, I was not happy about my last chapter and I don't think bringing back 'Foxy' will suite the theme of the story. So you can ignore the Theresa sub-plot now. This contains a very disturbing theme, I have been debating whether to go through with this and I have decided yes. Now rated M, I hope people realize that this needs to be in here to make it work. I don't think enjoy is the right word.**
...
When Seamus first heard about his ex-wife's death, he felt a small particle of guilt. He knew that he destroyed the woman, from the moment Brendan was born, their relationship went to tatters. Mainly because Seamus was still in love with his deceased lover, he never got over her death and his ex wife knew it.
Though that wasn't the reason that she left him, she had no ideal of the sexual abuse that Seamus plagued on her son, Brendan. If she knew that, then she would have took Brendan and ran for the hills. She regrets leaving Brendan, hence the reason she left him everything. It was indeed guilt money as Brendan likes to call it.
Guilt for leaving him alone with Seamus, she knew that Seamus was controlling. The final straw came when he refused to send Brendan to the high school that she wanted, the high school that she insisted that he go to but of cause she couldn't have that.
Seamus took away everything from her, her pride being the major one. He treated her as if she was a fool, she had to do everything he wanted. His dinner had to be made the time he came back from work, she had to look after Brendan all the time, she had to wear what he wanted her to wear. It became unbearable for her and she finally left after taking his possessiveness for years upon years.
...
"Are you going?" Steven asked Brendan, as Eileen has returned once again, passing on more sad news about his mother.
"Yes" Brendan replied simply
He was going to her funeral and it was going to be conducted back in Ireland so he will have to take another trip back to Ireland. Where his mother will be laid to rest in front of family and close friends.
"I'm coming with you Bren, I can't take no for an answer" Steven spoke firmly
As he refused to let him go on his own.
"Steven, you don't have to; besides it's for family and close friends only" Brendan replied
He scoffed. He knew that Brendan has been through a lot but he is getting fed up with all this rejection. As he shook his head and entered his bedroom, shutting the door behind himself.
"Steven" Brendan spoke, as he looked across the living room at the bedroom door. He knows that Steven is hurt from all his rejections and he doesn't like knowing that.
...
Seamus sat on his own, as he returned to his living room. He hasn't opened the pub today which will be a surprise for regular punters who come here on a daily basic. The reason is that he needs time to comprehend everything in his mind. What happened with Brendan in the club, Cheryl leaving him once again and his ex wifes death.
He still doesn't take any responsibility for what occurred between him and Brendan, he still refuses to acknowledge his heinous transgressions. Brendan hit a nerve that night, when he mentioned his father who is now deceased .
He died around ten years ago, Florence Brady, or 'Nana' to Cheryl and Brendan claimed that she woke up to find him dead. Though a certain member of the family has a different version of events. Seamus has always disliked his father, as a little boy he did look up to him though that all changed.
Seamus felt the wrath of his father a number of times, it could have been over little things like washing the dishes. He would hit him on a daily basic, sometimes more than once and it wasn't just a little slap. It was viscous attacks and they happened constantly all throughout his childhood.
He took no responsibility when he was a teenager, blamed all his wrong doings on his fathers treatment of him. His also defunct girlfriend Brenda Cross took his wrath and all his actions. The abuse his father plagued on him was his 'get out of jail free' card and he played it on Brenda every time.
She fell for it, he never let anyone else hurt her. He wouldn't let anyone near her, including his family members. He still remembers the first time that he laid hands on her, she looked so scared that night. That was the night he confessed all about what happened between him and his father. She forgave him though she wished she didn't by the end of their relationship.
She loved Seamus Brady, the only woman who did. This was before Brendan was born, before he met his first wife. He hasn't layed a finger on any innocent child at this point in his almost empty life. He started to control Brenda after the truth about his sordid childhood came out, he started to do something he never wanted to do. He started to abuse her, at first it was just emotional then it got physical.
By the time of her death which he still doesn't know the complete truth about, she was already dead inside anyway. The moment he found out about her death, he began to deny it though after a while he had to face it. The only woman who actually cared about him was dead and it might have been his fault, the moment she died was the moment Seamus died inside too.
He met his first wife who was the spit of Brenda almost, her name was June. His second wife had the same sort of personality as Brenda, her name was Laurel. All the women he went out with after Brenda looked like her or acted like her in some sort of way. He has never got over her. He looks across the living room as he thought about Brenda though he didn't cry. He cannot remember the last time he property cried.
...
"Steven, I want you to come with me" Brendan emotionlessly spoke as he didn't want to lose him. Not now, rejection is the last thing he wants right now and quite possibly needs.
He heard Steven walk towards the door, he wasn't exactly convinced that Brendan was being genuine about actually wanting him to attend the funeral with him. He was so against it before.
"Are you sure?" Steven asked, as he opened the door after around five minutes of silent moping.
Brendan just nodded, not wanting to let his tone of voice give away his secret reluctance and disinclination of this forced agreement. He didn't want Steven there, he wanted to leave Steven out of that part of his life.
"I don't want them looking at us Steven, my mam didn't have many of her own friends you know, I don't want them looking at us" Brendan breathed, he was clearly making no sense to Steven.
"Who is them?" Steven asked him, he had a bit of an ideal though not much of one.
Brendan didn't reply as he returned to the couch, he grabbed the will reading of the table and placed it in the bin which was on the opposite side of the couch. He breathed, his anger was slowly returning.
"I won't change Steven, get out now well you still can" Brendan spoke, his tone wasn't angry or sad, it was taciturn. It was almost emotionless, almost.
Which worried Steven more. He didn't want to lose Brendan but he was afraid of that right now. He didn't sound the same to him and you could actually see his vulnerability which use to be rare now its common.
"I love you too much to do that, Brendan" Steven told him, though that was redundant at this much.
Them loving each other was not the problem here, it wasn't the reason. It may have been at the start but not anymore.
"I will hurt you again and you know I will" Brendan spoke as an almost whisper.
...
_TCB_
7. Chapter 7
Steven was completely and inadvertently unaware of Brendan's relationship with his mother and grandmother though he was determined to find out as he sat back besides his despairing husband.
"I know you won't hurt me again Brendan; don't speak like that otherwise you end up believing it" Steven almost broke into tears himself though he could easily fight them of, he didn't want to show self-pity.
"I'm exactly like my dad Steven; you know if it wasn't for Anne" Brendan paused, as he shivered.
Thinking back to a couple of weeks ago where he almost tried to seduce Kevin Foster though luckily Anne made him see sense. He wasn't exactly in the right mind-frame when that happened and would likely of regrettably slept with Kevin.
"We wouldn't be sitting here right now" Brendan breathed, as Steven was confused though he was slowly joining up the dots.
"What do you mean?" Steven asked, not liking where this was going.
If he finds out about this almost incident then he would feel so betrayed that he even would think about finding comfort in another man's arms. Though he wasn't like Seamus in any way, Steven could mention that.
"I was thinking about seducing another man but I never went through with it, Anne reminded me how lucky I am to have you, you know and I don't know what I would have done if she hasn't been there Steven; tells you a lot about me doesn't it" Brendan breathed as he couldn't believe himself that he just told Steven something like that out of the blue.
"No, you wouldn't have done it" Steven croaked, he did feel very uneasy now.
Brendan nodded, he likely would have stopped once they got to the bedroom. Though just the thought of him even thinking about seducing someone else just upset Steven as he wished that Brendan never mentioned this now.
"I slept with the enemy as well though I think he hated it just as much as I hated it" Brendan replied, as he was almost trying to see if Steven would still want him generally even after all these confessions.
"No" Steven weakly spoke, as his tears were finally released.
He knew exactly what Brendan meant, he slept with Walker and that hurt him greatly. It makes him question what else Brendan hasn't told him.
"You asked me what my relationship with my nana and mam was like, well I took the life out of my nana" Brendan replied, Steven shook his head as he moved slightly away from him. He was shocked as he looked at him with fresh tears.
"I killed a man called Michael Cornish; Joel's step-father, he use to beat Joel as a kid you know; so we hung over the light-house; we didn't mean to kill him, just to scare him; but he fell; slipped out of our hands" Brendan paused.
Steven looked horrified.
"We removed the body, me Walker and Joel; put him in the boot and he stayed there as well even when Cheryl, my Nana and Theresa were in the car" Brendan was cut of.
"I don't want to know anymore" Steven cried, he felt so devastated at all these revelations. He had no ideal about any of them.
"Then run away" Brendan spoke, as he watched Steven just stay in the same posture, he looked frozen in shock.
"Have you always loved me?" Steven asked, wiping away tears though they kept falling down his cheek.
"Yes" Brendan replied firmly.
Of cause he has, sleeping with all those other men were just a way of blocking out his love for Steven who was 'happily' engaged to Doug at the time. Those other men meant nothing, sleeping with Walker was just for the hope of getting full control. Meant nothing more than that.
"Would you put yourself out again if I left? Would you lower yourself down again?" Steven asked, that is how he seen that. Brendan sleeping with loads of men was a way of Brendan losing some of his respect almost.
"I don't know" Brendan honestly replied, even after his father's sexual abuse, he may still find it tolerable to be touched no matter how unpleasing it might be.
Steven breathed nervously, he was worried for Brendan's safety. Might sound a bit foolish to think someone like Brendan needs protecting though after everything he has been through. He might sleep with anyone and Steven can't let that happen.
"I'm staying with you" Steven told him, as he found it in his heart to hold back onto Brendan's hand.
Brendan just looked down at Steven's hand, as it was holding onto his. He doesn't think he deserves Steven, he admitted to him of thinking about seducing another man, killing his own grandmother, sleeping with countless men (Including Walker) and killing another person. Yet Steven is still here, holding on.
"Don't do that to yourself again Brendan; even if something happens, don't let any man take you for a ride" Steven wiped away the last tear, he didn't know if he could ever trust Brendan completely again now.
...
Seamus was on the look-out for staff, as he put up a 'need staff' poster. Many of the university students were jumping at the chance. Though Sienna was the first to ask him and he told her no, insisting that he is aware of her game.
"Can I have the job?" the new student Jade asked with a small smile.
Seamus looked at her, she was pretty and seemed quirky. He nodded, he didn't need much persuading. Jade seemed nice enough and she wasn't exactly one of those students who would steal a wine bottle so he accepted.
"Yes" Seamus spoke after a few moments. Jade grinned.
She couldn't wait to tell Tilly Evans and Esther Bloom about this new job. Besides she really needs to start to impress them in hope of racy sexual favours.
"Okay; so when do I start?" Jade was very enthusiastic about the job.
"Tomorrow" Seamus told her.
...
Leanne and Doug were not exactly pleased about having to share with the whole Savage family, minus Mark. As they watched them slowly start to disrespect the fact that this house is not owned by them.
"Liberty has taken my pillow" Leanne spoke to Doug, as they were both sat in Doug's bedroom, both having a little rant about life in general.
"Well I walked into the deli today and guess what; I'm still on my own" Doug was understandably annoyed at Steven's lack of punctuality lately.
"Yeah well Ste and Brendan need to get use to married life" Leanne insisted, looking around his bedroom, avoiding his gaze now.
"Me and Ste got use to married life in work" Doug crossed his arms, he was honestly jealous and everyone around him was fully aware of this so-called hidden feeling of his.
"Oh yeah sorry" Leanne bit her top lip, though she has got to be honest. Doug does sound a bit too desperate now though she wouldn't tell him face to face.
Doug shrugged.
"Its alright just wish Ste would come back to work" Doug admitted to her, her eyes widened.
Leanne knew that Steven would never loved Doug the way he would want him to. She always known this, told Doug himself while he was still currently with Ste so she was no stranger to telling Doug the truth in the Brendan and Steven subject area.
"Ste loves Brendan though Doug; why do you keep putting yourself through this; You deserve better" Leanne tried to say, she was using the being cruel to be kind tactic.
"I don't know Leanne" Doug replied, not knowing what else to say to her surprisingly tough reply.
...
"Don't pity me Steven" Brendan spoke, as he felt Steven snuggling up to him. They were still sat on the couch.
"I love you Brendan and I want to stay with you; I'm not here out of pity" Steven replied truthfully, he wouldn't lie about something like that.
Brendan held onto him tighter, he refused to let go of him now. Steven has plenty of opportunities and reasons to leave him, yet here he stays. Though he looked less content then before.
"I don't deserve you, not really" Brendan spoke as he slid his fingers through Steven's fair hair.
"Bren, I can't sleep in the same bed as you tonight; I sleep on the couch and you can have the bed" Steven told him, still putting Brendan's needs before his own.
"I go back to mine" Brendan replied, as he untangled himself from Steven.
...
8. Chapter 8
Seamus found himself face to face, with his estranged brother who called Thomas. They were not exactly fond of each other, their reason for not staying in touch that often. Only reason Thomas is here now is because he heard about June's tragic passing.
"I'm sorry" Thomas spoke.
As he put his arms around his younger brother Seamus to comfort him. Though Seamus felt so cold to him, as Seamus refused to hug him back.
"You feel like father" Thomas told him, hitting one of his nerves.
"Don't mention father here" Seamus spoke, losing some of his emotionless expressions and his tone sounded different, he sounded distressed.
"I'm so sorry Seamus, it's like Brenda all over again" Thomas replied to him, changing the subject.
Thomas was a thin man, he looked a bit too underweight. Though that was likely due to all the stress he has been put under these last few years. With him having to sort out both his mother and father's funeral. His wife leaving him alone with his eleven year old daughter who was called Abi Brady.
"How are Brendan and Cheryl?" Thomas asked before Seamus could even respond the first time.
"Cheryl has gone Thomas and Brendan, I don't want to discuss that excuse of a man" Seamus hissed, he was filled with just hatred and self-pity.
"What has Brendan done now?" Thomas asked him.
He doesn't know Brendan very well. He knows a little about him, he went to Brendan's daughter's funeral. Though he was so careless and so distant from the rest of the family that he even forgot her name.
"Married some poof called Steven" Seamus told him, he almost looked _ashamed. _As he looked away from his brother's reaction who was speechless.
"Two men can't get married; not in church anyway" Thomas replied, he had the same views as his brother and father.
"I know, the vicar is not exactly a believer is he?" Seamus asked him, rhetorically. As he didn't expect an answer.
"Seamus, I hope you don't look at him as a son, just put a wig and a dress on him and you got another daughter" Thomas chuckled at his own homophobic slur.
"I wish I didn't pass him of to my mother all the time, she mothered him too much; though we can't blame mother for that excuse of a man" Seamus replied to him, as he walked over to the couch.
"Father use to beat us, make slurs against us but we all turned out stronger in the end didn't we?" Thomas asked him.
"I hated that man Thomas and if I could do it again; I would" Seamus paused, he was just about to admit something he has kept hidden for years upon years.
"Watch him die all over again" Seamus quickly changed what he was about to say, as he knew that Thomas couldn't perchance what he almost said.
Seamus did indeed kill his own father.
...
Brendan was packing his bags, with Steven reluctantly watching him. As he bit his top lip, Brendan was a broken man and he wasn't anyway near getting fixed.
"Don't bother coming with me to my mam's funeral; I don't want you there" Brendan spoke in an unsettling and uncertain tone
Just to add to insult to injury, Brendan passed him his wedding ring. Steven was puzzled, this can't be the end, surely not. They have been through so much together, Steven shook his head. He would be damned if he was going to let Seamus ruin their relationship.
"Bren, wait" Steven spoke.
As he witnessed Brendan clutching onto his darkened suitcase, which suited the mood almost perfectly as he slid it carelessly across the carpet. Ignoring his husband's pleas which were almost begging for him to stay.
"Steven, this is the end" Brendan spoke, taking away his last bit of hope away almost instantly.
"No, stay; we can sort something out" Steven pointlessly pleaded with him one last time, as Brendan opened the door.
"Please" Steven sounded desperate now.
He tried to grab onto Brendan's arm though he felt Brendan viciously push him back, giving him a nasty reminder of what their relationship was like at the unfortunate beginning. It almost felt as if everything that Brendan has been previously and forcefully working on has been snatched away from him by some unknown force.
"What don't you understand, Steven?" Brendan asked him, in an almost inhuman like tone, it didn't sound like the man who he has spent the best part of three years with.
As Steven kept still on the floor, he looked a mixture between petrified and anguished. As he watched Brendan leave again, without even a second glance. Mainly because Brendan could not bare to see his face after his cruel rejection.
...
Thomas has been looking around the village for quite some time, as he was looking around where his tortured brother lived, he wasn't that impressed with it. He still hasn't triggered onto what Seamus was previously getting at. He was not the sharpest tool in the box by any stretch of the imagination.
...
Anne was talking to Maxine, she was going sooner than expected. She booked a flight for next week, one way ticket to America, California. Doug insisted to her that she would love it, he went once before for the funeral of his dead friend Riley Costello. Not the happiest of reasons to travel of cause.
"Be careful, you might go into labor on the plane" Maxine playfully teased, Anne didn't look impressed.
"Don't say that Maxine" Anne replied, feeling her stomach. She was thirteen weeks gone at this point, it was too early so she was safe enough to fly over.
"You going to have a leaving do like Cheryl?" Maxine asked her, with a long grin. She was hoping she would say yes.
"No, oh that reminds me; I have to tell Brendan" Anne replied to her
As she wanted to say goodbye to him personally. He was one of her dearest friends and she cannot leave without saying farewell. Though she had one week yet, so she will have enough time to think about how to break it gently to him.
...
The Nolan family has just rang Brendan, to say how sorry they are about his mother's death. Him just politely thanking them for paying their respects, they plan to go to the funeral though it might bring back painful memories of their beloved Lynsey who was murdered by the ruthless Paul Browning.
Brendan entered his empty home, Cheryl has stripped quite a lot of the flat away. The majority of the furniture and objects belonged to Cheryl. As Brendan entered the almost bare house, he felt as empty as the house.
He lightly shut the door behind himself, he regretted what he has just done to Steven. Though he thought it was for the best, he doesn't want Steven to spend the rest of his life with him. He thought he deserved better, as he sat down on the couch.
...
Steven was sitting in his house, in complete darkness. As he as sat in the living room, staring at nothing. As he replayed his and Brendan's last encounter over and over again. Something snapped in him and it killed him knowing that there is nothing he can do.
He tried Brendan's number again, despite being nervous about his reaction. No reply and his phone was losing charge. Though he didn't have the strength to put his mobile phone on charge, as he just stayed still, frozen almost.
...
June's funeral was planning to be held in just two more days, with only a few attending. Three members of the Nolan family, four members of the Brady family. Eileen has refused to take her children there.
The person who had to plan the funeral was a man called Phillip Brogan. He was a dear friend of June, he has known her since childhood and he knew June more than anymore else. So it felt fitting that not only does he plan it but he also does the funeral oration.
Phillip is a nice enough man and he was definitely not going to judge his best friend's son. So he has no problem with Brendan unlike the person who was supposed to love him, protect him and talk to him about things that father's and son's should talk about.
Seamus hated Phillip, for no particular reason. Seamus was just a very bias, negative and disturbed man. With Brenda and Cheryl being the only two people in the world he loved and respected it seemed.
Brenda did bring out the best in Seamus, she made him see the world in a better light. Took away some of his abhorrence and replaced them with small bits of love. Something that was and still is very rare in his vocabulary.
Cheryl doing the same thing, he felt the need to protect his little girl and he did. All of her life, anyone who even looked at her in the wrong way would feel his wrath. When Brenda died, it was no major surprise that he went of the railings.
Though when Cheryl was born, his already attenuate remains of love were slowly restored and would stay there though they were very small remains of love, they were still pretty rare to see.
Seamus was not pleased about going to this funeral, though he will have to. Might look a bit strange if he doesn't show up to the mother of his son's funeral. When Brendan was born, it was different story.
He seen a boy, like himself and he didn't like it. Despite everything, despite all the disgusting things that Seamus done to him. He kept one promise to himself and that was keep his father away from his son. He made sure his father never went near Brendan, June understood why.
When Seamus's mother and Brendan's grandmother Florence found about the abuse that Seamus was doing to her beloved grandson. She was in bits, as all memories of her own husband, who called William, came flooding back.
When she looked at her son, she seen her husband too. She seen the pain behind Seamus's long dead eyes. William has taken away his innocence away long ago and he showed no remorse for it.
Florence stayed with William out of fear, she never told anyone about the abuse because her husband William scared her to death. He would surely of destroyed her life and would have took no mercy.
He didn't care, Florence had to take the sad implementation ages ago. William doesn't care who he hurts, it just wasn't in his nature. Sadly Seamus ended up the exact same way and Florence blamed herself till the day she died.
She died in her grandson's arms, the person who she least expected. Took away her last breath and she let him. Knowing she died because of the little boy who she once knew before Seamus took away his innocence away was basically killing her.
...
Brendan heard his door being knocked on, he was startled by the sudden sound. As he walked towards the sound, he looked through the peephole and opened it almost straight away.
"Steven" Brendan spoke, he sounded more like himself now. His anger has been replaced by sadness once again.
"Brendan, please let me in" Steven replied, as he passed him back his ring.
Brendan was almost giving up now, his self-pity for the first time was taking over everything else and that terrified him. He couldn't resist this, so he invited the younger man, who he hours ago rejected so cruelly, in his now empty house.
"Steven; I'm surprised you came for me" Brendan was almost fishing for complements.
He wanted Steven to reassure him of his own self-worth. Once again this terrified him for reasons only known to him.
"Of cause I would come back for you" Steven replied, not giving him the reassurance he was after.
"That's the only reason?" Brendan asked, he sounded so fragile and weak.
"You know the reason, Brendan" Steven insisted
As he walked over to his husband who did look scared and you could clearly see that he was almost cowering inside. As he held onto Brendan's hands, as he pulled him closer towards him. Hoping to take away whatever fears he has, he has only one.
His one fear is turning into his father Seamus, and he is scared that it's happening right now. The 'wanting to be told of his own self-worth' and the 'almost making Steven blame himself to make yourself feel better'
"Are you okay?" Brendan asked Steven, trying to get all those ideals out of his mind.
Steven nodded.
...
_TCB_
9. Chapter 9
Thomas was currently on the phone to his eleven year old daughter Abi, who seemed to miss her father quite a lot as she was just chatting away to him. She was currently being looked after by a friend of Thomas's called Lawrence.
_"Da, when are you coming back?" Abi asked her father, as she was sat on the couch, talking on Lawrence's house-phone. _
"Your uncle Seamus has lost someone and I'm going to stay there for three days until June's funeral, alright?" Thomas asked her with a smile, he loved his daughter more than anything else in the whole world. A common trait in the Brady family.
_"Is uncle Seamus alright?" Abi asked him, she has spoken to Seamus from time to time. Though Seamus hardly made any conversation with the child, he ignored her for most of his time spend there. _
"Yeah, he is; Abi, I don't want you speaking to Declen and Patrick alright?" Thomas questioned her.
_"Okay, I hardly speak to them anyway da" Abi told him, that was true though Thomas wanted to make sure for good, they don't live that far from Eileen and the children._
"Alright, good; Have you been in school? Been doing all your homework?" Thomas asked, he heard the taps going on, Seamus was running a bath for himself.
_"Of cause da, Lawrence refused to make me dinner unless I did it, you know like what you do" Abi told him, she was a good child though only because Thomas kept her hidden from the rest of the world, he kept her very sheltered. _
"Good, you been eating healthy meals; I don't want you turning into one of those fat kids" Thomas replied, he always has had high expectations for everyone around him though they rarely met it.
_"Yeah, Lawrence made me a roast dinner; he made me eat it all up; he read your list" Abi breathed, at the tender age of eleven she knew she was being controlled but she accepted it because it's all she ever known._
"I'm glad; What do you say to your da before I go?" Thomas asked her, waiting for those four words that make him so happy.
_"I love you da" Abi told him, those were the exact words he wanted. She was use to it, she knew it made him happy._
"I love you too, Abi; goodbye" Thomas placed the phone down, he was still not entirely satisfied though he is never entirely satisfied because his expectations are too perfect to be physically possible.
...
"I don't want to lose you, Brendan" Steven started, as he finally admitted his fears to him. As he snuggled up to him on the couch, staring into thin air; half-expecting that to solve every problem.
"I can't make you any promises" Brendan admitted, just increasing his concern about their future which at the minute doesn't look very bright.
"Stop speaking like that Brendan" Steven spoke quietly, as he moved away from him. The closeness scared him, he didn't want to make things uncomfortable for him.
"We need to be realistic here Steven, I can't promise you a happy ending because they don't exist; Amy hates me, your ex is still living and working here and my da is still here in the pub; so excuse me if I'm having second thoughts" Brendan told him, then almost cowered again.
"I'm sorry" Brendan quickly said, he didn't like being the pitied one so he refused to say anymore about how much of a bad time he is having.
"No, don't say sorry" Steven spoke, as he didn't want to hear Brendan blaming himself for being 'selfish' which is what Brendan believes he sounds like at the minute.
"I should Steven; after everything I put you through; I'm a bad man" Brendan told him, Steven shook his head.
"Brendan, I haven't forgotten, I forgave and you're not a bad man; okay, I know that and Cheryl knows that" Steven spoke, as he moved up slightly closer again. He didn't know what else to say to him.
"I'm a murderer, an abuser, a thug; how can there be any good in that?" Brendan asked him, not convinced at all.
"You protect those you love Brendan; you care about other people, you just had a lot of bad things happen to you okay; I know what people think about you and I don't care because I love you, I know you Brendan okay" Steven tried to say, as he gave him a quick peck on his dry lips.
"Thank you Steven; by the way you can stop with the flattery; you have me tied to you by law now" Brendan spoke, Steven smiled as he gave him a quick kiss again.
As he wrapped his arms around Brendan's neck, warming him up as the breeze came through. He moved his body close to his, blocking of any gaps in between them. As he felt Brendan kiss him back for once, though Steven thought it was too early.
"Are you sure about this?" Steven asked him, breaking away, surprised that he never pulled away from him sooner.
Brendan nodded, though he wasn't that sure at all.
Steven smiled nervously as he leaned back in for another long, lingering kiss. Brendan breathed, as he adjusted himself carefully on top. Wanting to take back control in this area though something about this felt very wrong because of recent events.
"If you want me to stop, just say" Steven told him, placing one hand around Brendan's neck again, as he looked up at him.
Brendan gave a half-hearted smile, he really wasn't in it tonight. As he started to kiss Steven's neck, starting it of slow to ease Steven into this unpassionate love-making session. Unenthusiastic it was as well.
"Brendan" Steven spoke, though he was cut of by Brendan's kiss which felt rough but not in an inviting way, it was more in an aggressive way.
As Steven tried to soften the mood by sliding his fingers up and down Brendan's leg though that triggered the night in the club as Brendan abruptly ended the kiss as he leaned back, moving away from Steven.
"Bren, what's wrong?" Steven asked, as he felt nervous and felt like he has done something wrong.
...
"So Seamus, have you planned anything for June's funeral?" Thomas asked him, he didn't expect him of to though sometimes his brother can surprise him.
"No; I haven't" Seamus replied to him, just as he had expected him to.
"Did you really mean all those things you said about Brendan? Because if I'm honest, I didn't expect you to laugh with me when I called him unmanly" Thomas replied, as he looked up at him now.
"Brendan is unmanly, he always has been; couldn't even hold his drink on his sister's engagement party" Seamus hissed, every time the Brendan subject came up, his tone changed rapidly.
"He is still your son regardless of everything else" Thomas spoke, Seamus glared at him, he wasn't impressed.
"You better shut your fucking mouth, Thomas" Seamus replied, Thomas eyes widened. Even he seemed surprised to his brother's sudden change, it was a very jarring mood change.
"You always did have a problem with father and son relationships; I don't remember you crying at our father's funeral" Thomas was playing with unknown fire, as he thought that he got the same treatment as his brother.
"That man beat us daily Thomas, why would I cry at that monster's death-bed?" Seamus asked him, he was slowly losing his temper.
"I know he did Seamus but deep down he loved us" Thomas spoke.
Seamus suddenly pushed the table forward, Thomas gasped and choked. As he felt the table digging into his thin stomach. As he pushed it back, with Seamus looking more furious than ever.
"Who even are you?" Thomas asked before walking into the spare bedroom, shocked to the core of his brother's shocking behaviour.
Seamus shook his head, as he pushed a glass of the table, making it smash as it hit the floor. He sighed, as he poured himself another drink, he was drinking to forget.
...
Later that night, Steven was just staring at Brendan. He wanted to fix him and look after him though he just didn't know how, as he held softly onto his hand. As he watched him open and close his tired eyes. Brendan looked exhausted.
"Try and get some sleep" Steven spoke, with a small yawn.
Brendan breathed, as he wrapped the blanket around them more. It was freezing tonight and it was going to say that way for many nights to come. As he wrapped his arms around Steven more, as he let him snuggle up to him.
"I love you" Brendan told him, kissing the top of Steven's head and sliding his fingers through his hair, relaxing him as he watched him slowly drift of.
Brendan waited and waited for Steven to fall asleep, he felt quite safe in here. He felt content here as he too was snuggling up to Steven, in his bedroom away from the rest of the world. It felt nice and he wouldn't change it.
...
Brendan was pulling his suitcase back home, it was around eight in the morning. As him and Steven were both returning to Steven's flat. He persuaded Brendan to return, they walked towards the door.
"Home sweet home" Brendan spoke in an unenthusiastic and emotionless tone.
Steven opened the door, as he let Brendan go in front. He closed the door behind himself, locking it.
"Do you want anything to eat?" Steven asked him simply.
...
_TCB_
10. Chapter 10
Steven knew that he would have to go back to work, eventually. He actually managed to induce Brendan to come with him. Steven insisted that it was not due to the fact that he wanted to look over him but deep down he knew Brendan knew.
"Wow, Ste; you remembered where you worked" Doug sounded annoyed and furious, as he showed no signs of being fortunate for his return.
"And you brought Brendan too; that is just great" Doug spoke with obvious sarcasm as he scoffed.
Brendan eyes widened as he sat on the couch, watching Steven walk over to the counter as he went behind it. They were both silent, they were not going to tell Doug the truth about why Steven wasn't coming into work.
"We got to go to Ireland tomorrow" Steven told him simply, hoping he wouldn't question it. Brendan's private life is of no concern to anyone but them.
"Oh that is great, because it's not like you had any time of already" Doug replied, in the same annoyed tone.
"Sorry Doug but we needed to settle in; there were some stuff we needed to sort" Steven spoke, keeping his reason for staying of work to a minimum. He was simplifying it down to the basics.
"I been working on my own for seven days Ste, that is not fair; this business belongs to both of us but right now, you don't seem to care about it" Doug answered him, luckily he didn't question it yet.
"Douglass; pass me a cheese wrap" Brendan spoke, interrupting their public colloquy. Doug was ready to shout.
"Get your own cheese wrap!" Doug finally shouted, letting of some steam. As he went into the store cupboard.
"Bad day already" Brendan spoke with a small smile, he still liked winding Douglass up.
Steven smiled, it was nice seeing Brendan back to his old-self even if it was just for a couple of moments. Though perhaps taking the fuck out of someone wasn't exactly the type of 'old-self' Steven wanted to see from him.
"Behave, Brendan" Steven spoke, chucking him a cheese wrap over from the counter. Brendan snatched it as it landed on the table in front of him.
...
The pub re-opened with Seamus serving behind the bar, Jade walked in. She was here for her job that Seamus offered her yesterday. She brushed her natural blonde colored hair back, as she looked over at him.
"Jade, your job starts today" Seamus informed her, he has been expecting her. He was quite pleased that she has arrived early; gives him time to tell her the rules.
"I heard" Jade replied simply, as she walked over to the bar where he was.
It was quite early though he needed to hire some more staff, not to mention the fact he needs money and quite frankly he does not want to spend the rest of his winnings on debts, wages and everything else in between.
"Next time I would like you to look a little bit more respectful" Seamus muttered under his breath
She didn't look like his type of waitress. Jade didn't look very impressed with that comment as she placed her hands in either side of her leather jacket. She moved her boot to the side, resulting in a box going sideways.
"Sorry; I'm really sorry" Jade replied sarcastically and she made it manifest. He just smiled, he actually liked her despite what she just done.
Though it was her looks that drawn him towards her, she looked a little bit like his precious Brenda who died over thirty years ago; so it was good enough for him. He hoped that he could make her act like her as well. He and Jade both share something at least, their strange fetishes.
"Not a problem Jade, though if you do it again; then well you might hazard a guess about what will happen" Seamus replied, walking closer towards her. He didn't scare her though he worried her for different reasons.
"About that outfit, I'm sure I can rustle something up"Jade told him, as she leaned back with a cunning smile.
"Make sure you do" Seamus replied to her, as he clicked his fingers making her jump slightly. He laughed.
"Clean up your own mess" Seamus ordered her, she just nodded.
She disliked him already though she needed this job to lure Esther into thinking she was stable. Though Jade will likely get it all wrong since she refuses to acknowledge, understand or recognize her derangement. She was very delusional into thinking she didn't have any subjective problems and flaws.
"They smashed" Jade told him, he sighed. As he looked at the small bits of glass that were scattered across the floor.
He almost ventured into the kitchen, as if he had no ideal of what was inside. His brother has been ignoring him like a cantankerous and quarrelsome child who had just discovered that he cannot go on the school trip after all.
"I like you better mute" Seamus told Thomas who was not impressed with that childish comment.
As he went into the kitchen, to get out a dustpan and brush for Jade to use. He gave Thomas another dissatisfied and disappointed look before returning to the bar. Where Jade was still standing, looking around.
"Clean it up" Seamus told her, chucking the dustpan and brush on the floor.
Jade laughed, as she stood in the same position. With no intention of cleaning up the mess, despite the fact that it was her who made it.
"This wasn't on your job description; I never signed up for cleaning up glass though if you really want me to then sure" Jade told him, she was just teasing as she did eventually start to clean up the glass.
...
Brendan was still sat on the couch, with the deli becoming more packed as the long and boresome day continued. As he watched customers come and go, he made pointless comments to them now and again.
"I'm going for a nap" Brendan told them, though it was only to wind up Doug again. As he placed his legs across the couch and his head on the couch arm.
"Get up; you can't be serious" Doug replied, he sounded shocked to see a fully grown man falling asleep on the couch in a public place in the middle of the afternoon while the business is still running.
"Steven; come here for a minute" Brendan spoke, while yawning slightly.
As he waited for the sound of his footsteps. Steven eyes widened as he slowly walked towards him, half-expecting the obvious gag. Brendan opened his eyes again, as he adjusted himself back to sitting up.
"Let's go home but before we go home" Brendan spoke out loud for an already jealous Doug to hear. As he gently grabbed onto Steven's arm. He wanted some fun before the return to Ireland tomorrow.
"What?" Steven asked, leaning in closer, not expecting the other obvious gag.
Brendan teeth were shown, as a small, seductive smile appeared on his face. He bit his top lip on purpose, licking his lips slowly. Steven falling for his trick, as he was still a little bit confused. Though he felt Brendan quickly place his hand behind his head, giving him a passionate kiss.
"Brendan" Steven said, wiping his mouth, Douglass didn't look impressed.
"Come on then Steven; nice day Douglass" Brendan spoke, again he said it just to purposefully spite Doug.
As he untangled Steven's apron, chucking it on the floor. Before Steven could even think of replying.
"Er, well see you in about four days Doug" Steven told him, as he found himself being led out by Brendan.
As he shut the door, with Doug just tutting and muttering insults about Brendan and the current situation he finds himself in; to himself. With Brendan placing his arm around Steven, almost forgetting about the downgrading presence.
"You don't get to do fun work, do you Steven?" Brendan asked, with a hint of a smile still.
"Brendan, you're only saying that because you don't like cooking" Steven insisted, _among other things _Steven thought to himself with his hand wrapped in Brendan's hand.
"I was thinking more of the company you get, the customers aren't exactly the best are they?" Brendan asked, Steven knew exactly who he meant and it wasn't the customers as he liked to tell him.
"No but you have to leave them alone" Steven told him, as they carried on walking through the village without a care in the world.
"No promises" Brendan replied to him, Steven tutted.
...
Sienna found herself being questioned by Liberty, her half-sister. and Will, her half-brother. Though Sienna wasn't pay much attention as they sat in _College Coffee_.
"Did you find out anything?" Will asked, as he sat in his wheelchair.
He was still a bit annoyed about his fiancé Ash who has been teasing him over his money problems. Insisting that she can buy her own engagement ring since he is running out of cash quickly.
"I've been barred from the pub" Sienna confessed to them both, Will sighed. This plan has already failed.
"Can Seamus do that?" Liberty asked, Will sighed again.
He loves his sister to bits, he really does but sometimes she can be a little bit foolish. Like now being the prime example. Of cause he can bar Sienna from his own pub, he actually stayed silent for a couple of moments to see if she can figure it out on her own.
"Yeah he can" Liberty spoke after a few moments, WIll just nodded. Still with his hand pressed against his forehead.
"We can't let Seamus get away with kicking us out of our home, dad won't do anything so it's up to us" Will insisted, he was planning to rob Seamus of his betting money. He hates what Seamus has done to his family.
"I miss my boat-house" Liberty pouted, Sienna was as bored as sin. As she really didn't have any interest in this conservation.
"I can get Ash to talk to Brendan and them maybe he can tell us something, I bet he knows something" Will spoke, he looked like he just said something intelligent as he gave a nod and a smile.
"Well done" Sienna spoke with no emotion, she found it amusing that he only just worked that out.
"Yeah but Brendan is just as strange as his dad" Liberty insisted, as she took a slip of her hot coffee. She rubbed her tongue with her finger, she looked like she just gorged. Sienna smiled slightly.
"That was really hot" Liberty spoke, still trying to get the heat of her tongue.
Will sighed a third time. This conservation was going nowhere.
...
Leanne wandered into the local pub, as she wanted to have a look around. Dennis Savage was not pleased with this but he let her go. He couldn't stop her going in the local pub, she sat on one of the stools, waiting for Doug.
"Hello, can I get you a drink?" Jade asked, practicing her watering job.
As she now just worn her checkered shirt and a black apron wrapped around her waist with baggy jeans clinging onto her. As Seamus took her leather jacket, hanging it on the door. She looked a little bit more respectful to him now.
"Yeah, can I have two white wines please; Doug is coming soon so don't go thinking there both for me" Leanne spoke with a little laugh of perseverance as she got out her purse.
Jade eyes widened as she gave an awkward smile. As she got out a white wine bottle and collected two glasses from down below. As she came back up again, Leanne kept checking her phone every five minutes.
"Are you new here then?" Leanne asked Jade, she hasn't seen her around before she was curious.
"Moved in last week with the students, Tilly and George" Jade informed her, as she poured some white wine into both glasses.
"That be six pounds please for both glasses; it's a bargain if you ask me" Jade told her, trying to act professional.
"You clearly got money to burn; can I wait till Doug comes, we pay three pounds each" Leanne spoke, as if she couldn't afford six pounds.
She could really afford it though she was currently saving up her money.
"I guess" Jade spoke, as she waited for the three pounds. As Leanne placed it in her hand, just as the man himself walked in.
"Speak of the devil; Doug you got to pay three pounds now" Leanne spoke, as he walked over, confused to why she wants three pounds of him.
"Why?" Doug asked, trying to remember if he owes her anything.
"Wine glass, I paid for my one so you have to pay for yours, you know I'm saving" Leanne insisted. She didn't seem to understand the meaning of the phase. 'I will buy us both a drink each later'
"Okay, Leanne you do understand that you promised to buy me one" Doug paused than reluctantly passed Jade three pounds, she mouthed thank you.
Doug sat on the stool besides Leanne.
"You know I'm basically working on my own all week again; Ste and Brendan are going to Ireland for three days tomorrow; leaving me working on my own, I really need to hire some more staff" Doug ranted to Leanne, as he took a couple of slips of his white wine.
"Honeymoon?" Leanne asked him, quite inappropriate.
"I don't know Leanne" Doug admitted to her.
...
Brendan returned home with Steven, though as soon as he arrived back he slumped down on the couch and has been this way ever since.
"I'm starving" Steven spoke, walking into the kitchen.
As he opened his fridge and took out the first thing he could find which was some hard as rock chocolate bar. As he slumped besides Brendan, they had to get an early night tonight. They were going to the airport early in the morning.
"Will you be alright for tomorrow?" Steven asked him, a bit concerned. He still couldn't trust Brendan completely though.
"Will you?" Brendan asked, Steven bit his top lip. As he just nodded, not entirely convinced this time.
"Yeah" Steven finally spoke, holding onto Brendan's hand though it was not as tight as usual. As Brendan let go.
"I mean it Steven, I can do it on my own if you don't want to go" Brendan reassured him.
"I'm going with you" Steven told him, it was the same conservation and the same agreement every day now.
"Okay" Brendan replied, he was grateful that Steven has struck with him.
...
_TCB. I hope it's not getting boring this fanfiction but I got all my plots and I need to get the boring bits out the way first. I don't like plot-holes. _
11. Chapter 11
"Come on then, it was nice seeing where you live Seamus; I got to admit though, it hasn't got a patch on Dublin" Thomas spoke, as he lifted up his medium-sized bag.
Seamus pulled his suitcase across the living room floor, he was on his way to the airport. He was waiting for their cab which would take them to the airport. Seamus was not looking forward to seeing Phillip again.
"Don't lie" Seamus hissed, as he knew that Thomas was supposed to criticize the village, including the pub.
"Okay, if I'm honest Seamus; you could do a lot better than this place, the people look like they just come out of a reality TV show and this pub looks like it's going to fall apart" Thomas admitted to him, it didn't take long.
Thomas was quite innocent if you look at his father, mother and brother. His major flaw was his offensive disparagement. Though he still had family values, he would never do some of the things that Seamus and William has done to their child. He wouldn't even dream of it. He would disown Seamus completely if he knew the truth.
"Thank you very much" Seamus replied to Thomas, showing no signs of being offended or irritated by his intentional discourteous pronouncement.
"So the airport then, do you want to sit together like two loving brothers?" Thomas wondered, as he looked at Seamus's unfortunate reaction.
"Don't push your luck" Seamus replied, Thomas chuckled. He knew he was making Seamus antagonized by this current suggestion.
"I will sit next to your son and his husband instead" Thomas then replied, he really was pushing his luck with Seamus now except the only difference is that he knew it this time .
"You don't know when to stop" Seamus snarled, his tone worried Thomas again. He could see that Seamus was clenching his fists and trying to keep his anger under control.
Thomas has felt the wrath of Seamus now and again. Though he has never received a full on beating from his brother. They were never the type of brothers who fought as children, though that was mainly due to the fact that Thomas is seven years older. Not to mention the fact that by the time Seamus turned eleven, Thomas had already left school to work in the local factory.
"I remember when you were first born Seamus, mother was so proud" Thomas started, changing the subject quickly.
"Is this going somewhere?" Seamus asked, he didn't understand why this subject has instantaneously come up, it was unanticipated.
Thomas has always covertly been wary of Seamus, he does remember when he was a child and a teenager. Seamus was never the popular child though he wasn't the outcast either. He was in between, he had some friends though they were only his friends for the sake of having friends.
"I also remember when father was too drunk to be by mother's side when she was in labor with you" Thomas was cut of, when Seamus asked the question that only his brother can now tell him.
"Was I a mistake?" Seamus asked, wondering. He always thought that something must have made William 'despise' him so much.
"No" Thomas spoke, he sounded so shocked at this insinuation.
"Is that why he chose me?" Seamus asked, proceeding on with his allegations against their father.
"Chose you for what exactly? I never got a look in when you were born" Thomas replied, he was confused. He always thought that he was second best to Seamus but in the end, he was okay with that.
...
The journey to the airport felt like it dragged on for hours, as Steven and Brendan both sat in the cab that had just come for them. They both had medium sized bags, so they could place it on their lap.
"I can't believe it's been almost a year now" Steven started, it felt very strange.
To know that they almost passed the one year mark. It seems like a small triumph to know that everyone who was and still is against their relationship has lost basically. Though many of those people have every right to be.
"Don't remind me Steven" Brendan replied, he already felt a bit on tenterhooks. He doesn't know how he will be able to cope with his mother's burial.
He has been to many funerals, including his grandfather's. He remembers being twenty-three and stepping into the church. With Eileen at his side, he can remember everyone's reaction. Not one person cried, not even Thomas. William was not exactly going to be mourned by many.
"What was your mum like then?" Steven asked, he really did want to know more about Brendan's childhood.
"She was quiet, very quiet" Brendan breathed, he does remember her though it was personal to him. Idiosyncratic as well.
He can remember the day she left, she left his father a note. At the age of ten, he didn't understand what she meant. She wrote unorthodox phases like _'I don't hate you, I hate what he made you' _or _'Brendan will never be your son, he won't gain your blood'_
"Why did she leave?" Steven asked him, he hoped that he wasn't being too inconsiderate or sounding too careless.
Brendan shook his head, he honestly had no ideal. Though now, looking back at the letter. It was clear that it wasn't his own fault. He is honestly is quite a tragic figure and it almost seemed out-of-place that his mother left because of someone else and not him.
"My da, he kept pushing her and pushing her, she _had _to go" Brendan answered after a few moments, he spoke the word 'had' in a sarcastic way. He will never forgive her for leaving him alone with his father.
"She should have took you with her" Steven nervously replied, as a parent himself. Steven doesn't understand how you could leave your child alone with someone like Seamus.
...
Seamus closed and locked the front door, as the cab had just arrived. He told Jade yesterday before she left, that she wouldn't be working again until at least four days has passed.
"Liverpool airport?" the cab driver asked them, he looked like he just come out of a shower.
The cab driver was called Robert, he looked as clean anything. As he opened the door for them, he always is polite towards customers. No matter who they were or how disrespectful they might be towards him.
"Yes, thank you" Thomas spoke, as Seamus pulled his suitcase in, adjusting it across the floor which had just been cleaned.
"Going on holiday?" Robert asked them, just to ease the tension.
"My ex wifes funeral" Seamus told him, he stepped back and went to shut the door. Not knowing what to say.
"I'm sorry, I drive you to the airport" Robert answered after a few moments, as he shut the door quietly.
Seamus looked towards Thomas, he clearly didn't like this cab driver. Anyway who showed him a bit of kindness made him suspicious, he really was that self-doubting of himself. He didn't believe that anyone would be kind to him.
"What's wrong now? You're turning into one of those grumpy old men" Thomas looked outside the window as the cab was leaving Hollyoaks.
"Be careful" Robert called to two children who ran across the road without looking property. They both had red-faces, as he drove away. They were wearing the blue Hollyoaks High School uniform.
"My Abi would never do that" Thomas piped up, with a smile.
Seamus looked towards him. Was his brother really gloating about his eleven year old daughter's road safety skills?
"Doesn't take much to impress you, perhaps that's why you married Glenda" Seamus hissed, Glenda was the mother of Abi.
That was not true in the slightest. Thomas was a very proud man, he just liked to gloat about things as much as he could. Glenda was beautiful, though her personality didn't match her face because she was also vindictive.
"She will come back one day and when she does, she will be heartbroken because Abi will send the bitch away" Thomas reminded Seamus. Seamus smiled though it was more of a bitter smile.
...
_TCB_
12. Chapter 12
It was around two hours later when all four finally made it to the plane itself, there was some sort of delay which is why it took longer then it was supposed to. Apparently the plane has just arrived back from Germany and the pilot was ten minutes late in bringing it back to England.
"Finally, ten minutes later" Seamus tutted, as he walked through the aisles, trying to find his and Thomas's seat number.
Brendan and Steven were not far behind, they were still clutching onto their bags. As they too tried to find their seat number, like the rest of the passengers as they were some chatter amongst the crowd.
"Where is it?" Steven asked, as he looked at the numbers.
He couldn't seem to find his number anywhere, it was becoming quite an unneeded nuisance at this point. He looked down, he hoped he was sitting next to Brendan or at least near him. They booked at last-minute.
"Steven, I got to sit down here" Brendan told him
They were not sitting together unfortunately though not everything can come their way, these last few weeks has proven that. With all the occurrences that went on, including some unsettling confessions and forced complications.
He sighed, of cause he couldn't even be near Brendan, that would mean that something lucky has come and right now, nothing lucky is coming as he finally found his seat which was near the end as some teenage boy was sat there on his own.
"Sorry" Steven spoke, as he had to move past the boy.
The boy sighed, as he had to stand up to let him sit near the window. He didn't look any older than fourteen, his name was John. He was going to Dublin for a holiday with his parents Karen and Archie.
...
Brendan on the other hand found himself sitting besides a girl in her late-twenties. She looked quite unique with her almost reddish coloured hair and lip-piercing. Her name was Joan, she was going on holiday with her husband Lawrence.
She wrapped the belt around her waist, the plane was going to take of in around ten minutes as people were still wandering around, looking for their seats as they kept bumping into people by accident.
"Joan, alright?" Lawrence asked, he was clearly behind her, as she looked at him as he looked between the thin gap which was between both seats.
"Yes, remind me again why we didn't this book sooner?" Joan asked with a smile, as he playfully pushed her chair forwards slightly.
"Alright, I know I should have booked sooner" Lawrence admitted, as he slumped back down, looking out the window which was just currently the outside area of the airport.
Brendan sighed, that is what a happy marriage should look like he supposed and he could tell since both were wearing the same type of ring on their digitus medicinalis.
...
Thomas and Seamus were both sitting next to each other much to Seamus's disappointment and Thomas's amusement as he was honestly trying not to laugh, as he found Seamus slumping besides him.
"Oh dearly me, I told you we would be sitting next to each other like the two loving brothers that we are" Thomas spoke, as he looked out the window with a smile.
"I want to go back home already" Seamus told him, resulting in Thomas smirking even more and finding this even more hilarious.
"Look Seamus, please don't get involved in any more fights; not with Phillip; he is finding it hard, he loved June as a friend" Thomas reminded him, trying to make him see sense now before it's too late.
That was a out-of-place comment however as no mentions of Phillip, June or even fighting came up on Seamus's part. As he buckled his belt around his waist, refusing to answer him as expected.
"Right, so is there any room in your house for your brother?" Seamus asked him, he really didn't want to spend money on a hotel when there is a perfect chance of him not having to.
"Of cause, you're family" Thomas replied, he doesn't have the heart to tell him no. He loves his family, including his father and brother. Mainly because he doesn't know what there really like.
"Right" Seamus spoke simply, grateful that he has not declined him like so many.
...
In Hollyoaks, Anne was slightly shaking. She was leaving for good in five days and Brendan was gone, for three days so she was worried that he wouldn't be in time to see her of.
"I'm sure it will be fine" Maxine began, as she tried to reassure her sister who didn't seem convinced in the slightest.
"It's easy for you to say" Anne insisted, as she paced up and down the carpet, thinking about what to do next.
...
13. Chapter 13
They arrived in the familiar city of Dublin, it held some nice memories for Steven at least. As they held onto their medium-sized bags, again it felt familiar. Though the reason why they were here dampened the mood.
"Where are we going?" Steven asked him
He has been speculating all throughout the seemingly long plane trip about where on Earth they were going to stay , he presumed a hotel like most people. Though he didn't feel like 'most people' right now.
"Phillip, he was a friend of my mam's; he said _I, _we can stay at his" Brendan replied, in a raucous tone.
He was almost forgetting about the _we_ part for a few seconds, he really didn't want Steven here. It meant a lot for certain though that didn't automatically mean he was glad about this just grateful.
"Okay, where are we going to meet him?" Steven questioned, he could sense a feeling of regret coming from Brendan.
A small part of Steven felt a tad guilty for forcing himself here with him. He knew Brendan wasn't being sincere about it when he apparently gave in to him and let him come to the funeral.
"The Ha'penny bridge" Brendan replied to him, as they started to walk.
He didn't know how long Phillip was going to be, he wouldn't be surprised if he forgotten. The amount of things that man has to remember would make any sane man rage with anger and frustration.
"I don't remember where it is to be honest" Steven lied, of cause he remembered.
He just didn't say, he already felt like a burden now as he walked besides Brendan, still clutching onto his bag. As he looked around, remembering all the major details about this place. He gave a small smile as he looked at the familiar street.
...
Thomas knocked on Lawrence's door. Seamus was outside the gate, his back leaned against it as he took out a cigar. Trying to ease his pain, Dublin wasn't the happiest place in the world for him.
"Thomas; yes she is all dressed and packed" Lawrence spoke as soon as he opened the door, he had been expecting him all day.
Abi has been a well-behaved girl, she always was. Nobody ever said a bad word against her, the child didn't behave like a child. Not like all children are naughty but they are at least immature. She however, never gets the chance to be immature.
"She's been good?" Thomas asked him
He already knew the answer. Of cause she has, she wouldn't break the rules that her father set out for her. What he says goes, no questions asked. If she does happen to break his strict rules then she does get punishment_. His_ punishment.
"Good as gold" Lawrence wanted to cut the girl some slack
He hasn't been totally true to his friend's rules. He gave her some treats, like chocolate and an extra hour of television. For her that is a treat. Even a close friend of Thomas doesn't approve of his harsh boundaries.
"Bring her to me" Thomas commanded, not particularly a polite thing to say to someone who just done him a favour on their own accord.
Lawrence nodded, leaving the door ajar. As he entered the living room to find Abi, she had not moved a muscle since he left her there moments ago. Nor had she breathed a word of any kind.
"Your da is here" Lawrence simply told her, she stood up.
As she worn two plats in her hair, a coat that covered her entire body. So you could not see her grey coloured dress or her grey tights. She looked as miserable as she felt, she has not been looking forward to seeing her father again. She enjoyed her time with Lawrence and was disappointed that she had to go so soon.
"Thank you for letting me stay here" Abi spoke, that would please her father. Saying thank you before he even got the chance to tell her.
"Your welcome" Lawrence gave a smile, as he led her towards the ajar door.
She looked so innocent and naïve, almost as if she hasn't got a clue about the real world. Thomas has made her believe that the world has just got two set of people. Intelligent and unintelligent people are those specific two.
"Hello; I missed you" Thomas spoke, as she walked outside. Sliding her suitcase across the floor as she stepped outside.
"I missed you too, da" Abi replied, as he gave her a small hug.
Showing her some comfort though it didn't last long as he let go seconds later. She waved at her uncle Seamus who gave a reluctant wave back. She looked like a sweet girl, unblemished almost.
"Alright, well thank you Lawrence, Abi and I are very grateful" Thomas insisted, Lawrence gave a nod.
As watched Thomas grab Abi's suitcase, as they both made their way towards the open gate, Seamus taking out his cigar as he stubbed out his cigar and chucked it on the floor out of the girl's eye-sight.
"Hello" Seamus spoke softly.
Thinking about how Abi looked nothing like Cheryl when she was her age. Both took after their mothers so that must be the reason for them looking nothing alike despite being family. If he is honest, she looked more like Brendan.
"Hello uncle Seamus" Abi smiled, being polite as always.
Too polite for Seamus's liking, Cheryl never behaved like this as her age. He brought his children up in a different way though, he was still preventative of Cheryl though he never sheltered her the way Thomas has sheltered Abi.
...
Brendan stood right outside the bridge, with Steven firmly by his side. As Steven felt nice chills, this place will always have a nice feel to it. This was where their first open relationship got started after all.
"What does he look like?" Steven asked, his accent seemed out of his place in this area. As it filled the cold air.
Brendan sighed, he really didn't feel like giving a description right now. He was not in the mood for long conversations though Steven could talk for England and Ireland put together so he didn't really have a choice.
"I don't really remember Steven; he says that he will ring me if he doesn't see me" Brendan replied, expecting the loud, instant reply.
"How can we tell when he comes then?" Steven asked, he was a little bit disappointed.
He was hoping he would at least know what the man looked liked before staying in with him, after all he was a complete stranger to him. At least Brendan has seen him before, though it has been a long time.
"I will know when I see him" Brendan replied, looked around.
He was convinced he would recognize him despite the fact that it has been over fifteen years, maybe more. He forgotten how many years it has been. That part of his life was something he hoped he would forget though he never will forget.
"Okay" Steven didn't sound convinced however, he sighed.
They have been sat in the same place now for over twenty minutes, it was not as riveting as it sounded unsurprisingly. Phillip should have been here by now, though he was on his way and he would be here in less than ten minutes.
"Do you know anything about him?" Steven asked, he could picture Phillip as an axe murderer which wasn't a very nice image to say the least.
"He was a good friend of my mams, I swear something went on between them though I think he loved her more than she loved him, he use to take his children around to our house; we lived together, me , my mum and _him_" Brendan paused, as it brought back some unpleasant memories.
"So I presume he has got a wife still, though I wouldn't have blamed her if she ditched him, the amount of time he spent with my mam, I think it made _him _jealous which is why I think the visits stopped" Brendan informed him, that was the most information he could give him right now.
"He sounds alright" Steven replied, now knowing what else to say.
Brendan looked across to see some man looking flustered, as he was stood in the freezing cold. Staring into space, he looked ill. He seen him get out his mobile phone, as soon as he placed the phone against the ear, he heard his own phone go of.
"Phillip" Brendan called, that must be him.
He seen the man wave, putting his phone in his pocket as he rushed over to them. His pants were too long for him, as they dragged across the cold pavement, his hair was all wet despite the fact it has not been raining, he stuck out like a sore thumb.
"Brendan?" Phillip questioned him, to make sure for good.
Steven eyes widened, this was not what he expected. As he looked towards Brendan to hide his unexpected surprise.
"Brendan Brady"
Philip nodded, as he looked towards Steven. He knew Brendan has a husband and he honestly never cared. He didn't mind who Brendan was with, just as long as they were not going to cause him any grief.
"You must be Steven" Phillip spoke, his voice sounded tired now.
"Yeah, you can just call me Ste"
"Well what you both sitting down for? It's freezing; now come on" Phillip said, as they both looked at each other in amusement. He was quirky alright.
...
Abi placed her coat on the coat hanger, as well as placing her white flat shoes in the shoe rack. Her father's house was absolutely well-kept of cause. You couldn't see anything on the clean floor.
"Nice house" Seamus grunted, shocked to how tidy it actually was. He looked around in astonishment.
...
_TCB_
End file.
| fanfiction |
it is well known that the rado graph @xmath5 @xcite is characterized by being existentially complete .
namely , for every two finite disjoint subsets of vertices @xmath6 there is an additional vertex @xmath7 that is adjacent to all vertices in @xmath8 and to none in @xmath9 .
many variations on this theme suggest themselves , specifically concerning finite and @xmath2-free graphs .
first , the aforementioned extension property of @xmath5 suggests a search of small finite graphs that satisfy this condition whenever @xmath10 .
it is known that paley graphs and finite random graphs of order @xmath11 have this property @xcite .
the rado graph is also _ homogeneous _ , that is to say , every isomorphism between two of its finite subgraphs can be extended to an automorphism of @xmath5 .
henson @xcite has discovered the generic infinitely countable _ triangle - free _
graph @xmath12 that is homogeneous as well .
it is uniquely defined by the following property . given two finite disjoint subsets
@xmath13 with @xmath8 _ independent _ , there is an additional vertex @xmath7 that is adjacent to all vertices in @xmath8 and to none in @xmath9 .
the graph @xmath12 suggests an extremely interesting question that was raised and studied by cherlin @xcite .
namely , do there exist finite graphs with a similar property ?
we say that a triangle - free graph is @xmath1-_existentially complete _ if it satisfies this condition whenever @xmath10 .
are there @xmath1-existentially complete triangle - free graphs for every @xmath1 ?
a weaker variant of this question had been raised by erds and pach @xcite .
similar questions for graphs and other combinatorial structures appear in @xcite . in the literature
one occasionally finds the shorthand _ @xmath1-e.c . _ as well as the alternative term _
@xmath1-existentially closed_. cherlin s question can be viewed as an instance of a much wider subject in graph theory , namely understanding the extent to which the local behavior of infinite graphs can be emulated by finite ones . here
are some other instances of this general problem .
the infinite @xmath14-regular tree @xmath15 is the ultimate @xmath14-regular expander in at least two senses .
it has the largest possible number of edges emanating from every finite set of vertices
. it also has the largest spectral gap that a @xmath14-regular graph can have .
this observation suggests the search for finite arbitrarily large ramanujan graphs , and for the limits on expansion in finite @xmath14-regular graphs .
@xmath15 is also , of course , acyclic that leads to the question how large the girth can be in a finite @xmath14-regular graph .
there are several examples of local conditions that can be satisfied in an infinite graph but not in a finite one .
a nice example comes from an article of blass , harari and miller @xcite .
they define the link of a vertex to be the subgraph induced by its neighbors , and consider graphs in which all links are isomorphic to some fixed graph @xmath2 . as they observe
, there is an infinite graph with all links isomorphic to @xmath16 = [ circle , draw , fill = black!20 , inner sep=0pt , minimum width=3pt ] at(0.0,0.0)(0 ) ; at(0.2,0.1)(1 ) ; at(0.0,0.2)(2 ) ; at(0.4,0.2)(3 ) ; at(0.4,0.0)(4 ) ; at(0.6,0.1)(5 ) ; at(0.8,0.2)(6 ) ; at(0.8,0.0)(7 ) ; ; , but this is impossible for finite graphs .
for all the currently known @xmath1-existentially complete triangle - free graphs , the parameter @xmath1 is bounded by @xmath4 .
the question is wide open for @xmath17 .
the known finite graphs with the @xmath5-like extension property do not seem adjustable to the triangle - free case .
in fact we tend to believe that there is some absolute constant @xmath18 such that no triangle - free graph is @xmath18-existentially complete . for general @xmath19 , henson s universal countable @xmath20-free graph @xmath21
is defined by the analogous extension property , where the subset @xmath8 is only required to be @xmath22-free .
there is a simple connection between the existential completeness properties of @xmath20-free graphs for different values of @xmath23 .
thus , if , as we suspect , no finite @xmath18-existentially complete triangle - free graphs exist , then no finite @xmath24-free graph can be @xmath25-existentially complete , etc .
this follows since the link of every vertex in a @xmath3-existentially complete @xmath20-free graph is a @xmath1-existentially complete @xmath22-free graph .
finite random @xmath26-partite graphs provide an easy lower bound , since they are @xmath20-free and @xmath27-existentially complete .
cherlin gives several examples of finite @xmath4-existentially complete triangle - free graphs , or shortly 3ectf , and asks which additional properties they can have .
in particular , for what @xmath28 it is possible that every @xmath29 nonadjacent vertices have at least @xmath28 common neighbors ?
similarly , can every independent set of @xmath4 vertices have @xmath30 common neighbors ?
maybe the search for more robust examples for finite 3ectf graphs , would shed light on the question of finite 4ectf graphs and beyond .
the main purpose of this article is to investigate cherlin s examples and construct some more 3ectf graphs .
we also study and extend a construction by erds @xcite and pach @xcite . for @xmath31
even we show that there are at least @xmath32 3ectf graphs on @xmath31 vertices .
we show ( corollary [ many1 ] ) that in these graphs the average degree can be as small as @xmath33 and as high as @xmath34 . for all @xmath28 , we find @xmath35 distinct 3ectf graphs of order @xmath36 in which every two nonadjacent vertices have at least @xmath28 common neighbors ( corollary [ many2 ] ) . however , some independent triplets in these graphs may have only one common neighbor .
the constructions are presented in three main phases . in each of sections [ albertsect ] , [ hypersect ] and [ twistsect ]
we describe a basic construction , which we then extend in various ways .
table [ 3ectftable ] exhibits three main parameters of the graph families under discussion : the number of vertices , the vertex degrees , and @xmath28 , the minimum number of common neighbors of nonadjacent pairs .
l l c c c & * graph * & * vertices * & * degrees * & * @xmath28 * + * albert * & @xmath37 , @xmath38 ( @xcite , section 13.1 ) & @xmath39 & @xmath40 & 2 + & @xmath41 , @xmath42 * & @xmath43 & @xmath44 & 2 + * hypercube * & @xmath45 ( erds @xcite , pach @xcite ) & @xmath46 & @xmath47 * * & @xmath48 + & @xmath49 , @xmath50 , @xmath51 & @xmath52 & @xmath53 * * & @xmath48 + & @xmath54 , @xmath55 & @xmath56 & @xmath57 * * & @xmath58 + * twisted * & @xmath59 , @xmath60 & @xmath61 & @xmath62 & @xmath29 + & @xmath63 , @xmath64 tournament * & @xmath65 & @xmath66 * * & @xmath48 + + although this work is meant to be self - contained , the reader is encouraged to consult part iii of cherlin s article @xcite for more background of the subject and many additional details . to simplify matters we maintain a graph - theoretic terminology , and refrain from using cherlin s view of maximal triangle - free graphs as combinatorial geometries .
we believe that this presentation makes the structure and the symmetries of the graphs more transparent .
notation : we denote the fact that vertices @xmath67 are adjacent in the graph under discussion by @xmath68 .
the _ neighborhood _ of @xmath7 is @xmath69 .
here are some definitions and useful reductions that are due to cherlin .
let @xmath1 be a positive integer .
the following properties of a triangle - free graph @xmath70 are defined thus : 1 . _
@xmath71 , [ also known as @xmath1-existentially complete ] : _ for every @xmath72 where @xmath73 and @xmath9 is independent , there exists a vertex @xmath74 that is adjacent to each vertex of @xmath9 and to no vertex of @xmath75 .
@xmath76 : _ for every @xmath72 where @xmath8 is independent of cardinality _ exactly _ @xmath1 there exists a vertex @xmath74 , adjacent to each vertex of @xmath9 and to no vertex of @xmath75 . + also , every independent set with fewer than @xmath1 vertices is contained in an independent set of cardinality @xmath1 .
_ @xmath77 : _ every independent set of cardinality @xmath78 has a common neighbor .
an @xmath79 graph is also called _ maximal triangle - free _ , since the addition of any edge would create a triangle . in other words , the graph has diameter @xmath80 . in
a _ twin - free _ graph no two vertices have the same neighborhood .
we have the following implications for triangle - free graphs ( cherlin @xcite , lemmas 11.2 - 11.4 ) .
[ ext1 ] for @xmath81 , the properties @xmath71 and @xmath76 are equivalent .
[ ext2 ] for @xmath82 , property @xmath71 is equivalent to the conjunction of @xmath77 and @xmath83 .
[ ext3 ] a graph has property @xmath84 iff it is maximal triangle - free , twin - free , and contains an anti - triangle . in order to bridge between lemmas [ ext2 ] and [ ext3 ] , cherlin investigates triangle - free graphs that are @xmath85 and @xmath84 but not @xmath83 . in sections 11.4 - 11.5 of @xcite these exceptions
are described in terms of linear combinatorial geometries , which can be interpreted as graphs of a certain circular structure . in general , _ circular _ graphs can be defined as a set of arcs in a cyclically ordered set , where adjacency means disjointness of the corresponding arcs .
such graphs , defined by disjointedness in a family of subsets , are sometimes called ( general ) kneser graphs ( e.g. @xcite ) . here and below we only consider finite graphs . the circular graph @xmath86
is formed by all arcs of @xmath31 consecutive elements in @xmath87 .
it was independently introduced several times , e.g. , erds and andrsfai @xcite , woodall @xcite , pach @xcite , and van den heuvel @xcite . in terms of rational complete graphs
@xcite , @xmath86 is equivalent to @xmath88 , being almost a triangle .
as shown in @xcite , these are the only finite triangle - free twin - free graphs where every independent set has a common neighbor . by lemma 11.15 of @xcite , the circular graphs @xmath89 are the only finite triangle - free graphs that are @xmath85 and @xmath84 but not @xmath83 . moreover , the @xmath90-cycle @xmath91 and the edge @xmath92 are the only maximal triangle - free graphs that are twin - free and do not contain an anti - triangle . taking into account these exceptions , lemmas [ ext2 ] and [ ext3 ] easily imply the following corollary .
[ eck ] for @xmath82 , a finite triangle - free graph @xmath0 is @xmath1-existentially complete if and only if the following conditions hold . 1 . every independent set of cardinality @xmath78 has a common neighbor . 2 .
there do not exist two vertices @xmath67 with @xmath93 .
3 . @xmath0 is not isomorphic to @xmath86 for @xmath94 . in section 12 of @xcite ,
the notion of @xmath77 is refined to the @xmath1-th _ multiplicity _ of @xmath0 .
this is done by considering the smallest possible number of common neighbors of an independent set of @xmath1 vertices : @xmath95 cherlin proves the following chain of implications for 3ectf graphs : @xmath96 in these terms , the strongest known example is the strongly regular higman
sims graph , on @xmath97 vertices , for which @xmath98 and @xmath99 .
however , by a beautiful spectral calculation ( @xcite , section 12.3 ) no strongly regular graph has property 4ectf .
perhaps the higman
sims construction should be viewed as a sporadic example . on the other hand , here we introduce a large collection of 3ectf graphs with arbitrarily large @xmath100 and @xmath101 .
thus the two lowest levels in this hierarchy are not very restrictive .
we turn to describe an infinite sequence of 3ectf graphs which cherlin attributes to michael albert .
the clebsch graph is a triangle - free strongly regular graph on 16 vertices .
it can be represented as the union of four @xmath102-cycles , where each vertex is adjacent as well to its antipodes in the other cycles .
one can check directly that this graph is @xmath4-existentially complete , e.g. by corollary [ eck ] .
albert s construction is the extension of the clebsch graph to any number of @xmath102-cycles .
formally , albert s 3ectf graphs sequence @xmath37 is defined by @xmath103 where addition is in @xmath104 .
this construction was thoroughly generalized by cherlin , to albert geometries . here ,
we offer a different viewpoint of these graphs .
let @xmath105 be integers .
an @xmath106 zero - one matrix @xmath107 is said to be _ shattered _ if the submatrix corresponding to any three rows or three columns contains all four possible patterns @xmath108 .
namely , it must contain at least one of the strings @xmath109 and @xmath110 , and one of @xmath111 and @xmath112 , and so on . the _ albert graph _
@xmath41 of a shattered matrix @xmath107 is obtained from an @xmath113-matching and an @xmath31-matching .
the corresponding entries of @xmath107 tell us how to connect these @xmath43 vertices .
@xmath114 for example , when @xmath107 is the @xmath115 identity matrix , @xmath41 is the clebsch graph .
albert s construction corresponds to larger identity matrices .
if the matrix @xmath107 is shattered , then the albert graph @xmath41 is 3ectf .
we first observe that @xmath41 is triangle - free .
of any three vertices at least two must either come from @xmath116 , or from @xmath117 .
but an edge in @xmath118 must be of the form @xmath119 , and @xmath120 and @xmath121 have no common neighbors .
we proceed to verify the conditions in corollary [ eck ] .
it is easy to see that @xmath41 is twin - free and not an @xmath86 .
property @xmath85 follows since @xmath107 is shattered .
an independent triplet in @xmath118 must consist of either @xmath120 or @xmath121 , either @xmath122 or @xmath123 and either @xmath124 or @xmath125 for some distinct @xmath126 .
a common neighbor exists thanks to the appropriate pattern in the restriction of @xmath107 to the rows @xmath127 , @xmath128 , and @xmath1 . for an independent set with two vertices in @xmath118 and one in @xmath129 , the neighbor of the latter inside @xmath129 is adjacent also to the first two .
the constructions of albert geometries in examples 13.1 of @xcite , come from explicit shattered matrices .
random matrices can be used as well .
thus , simple counting arguments yield [ many1]@xmath130 1 .
almost every zero - one @xmath106 matrix with @xmath131 and @xmath132 is shattered . here
@xmath133 is some absolute constant .
2 . for even @xmath31 ,
the number of @xmath31-vertex 3ectf graphs is at least @xmath32 .
this gives some insight on the possible behavior of 3ectf graphs .
on the one hand , taking @xmath134 we get a regular graph of degree @xmath135 . on the other hand , if @xmath136 the graph has @xmath137 vertices of degree close to @xmath138 while most vertices have only @xmath137 neighbors . as for multiplicities , in every albert graph @xmath139 and @xmath140 .
recall that the clebsch graph is a cayley graph of @xmath141 , with generators the unit vectors and the all - ones vector .
equivalently , @xmath68 iff their hamming distance @xmath142 is @xmath143 or @xmath102 . following franek and rdl @xcite
, we denote this graph by @xmath144 .
note that it also equals @xmath145 . here , we consider the graphs @xmath146 which erds @xcite used in the study of ramsey numbers . as mentioned , @xmath147 is the clebsch graph .
the extension properties of these graphs were studied by pach @xcite . for future use , we record a variant of his argument in the following lemma .
[ tri ] if @xmath148 satisfy @xmath149 for some integers @xmath150 , then there is some @xmath151 for which @xmath152 define the vector @xmath113 by the coordinate - wise majority vote of @xmath7 , @xmath153 , and @xmath154 .
note that the three vectors @xmath155 , @xmath156 , and @xmath157 have disjoint supports . we find a @xmath158 satisfying the claim for these three vectors and
let @xmath159 .
if the hamming weights satisfy @xmath160 , @xmath161 and @xmath162 , then we are done by taking @xmath163 . otherwise , by assumption , at most one of these inequalities can be violated , say @xmath164 .
we take @xmath158 to have weight @xmath165 and satisfy @xmath166 coordinate - wise . obviously
@xmath167 . but also , @xmath168 and similarly @xmath169
. [ hc1 ] the graphs @xmath45 are 3ectf . to see that @xmath45 is triangle - free , suppose @xmath170 , then @xmath171 , where @xmath172 is @xmath153 s antipode , namely @xmath173 .
therefore @xmath174 .
now we check the conditions of corollary [ eck ] .
clearly @xmath175 is not equal to @xmath176 for @xmath177 , since both are distinct hamming balls of the same radius .
property @xmath85 follows using lemma [ tri ] .
indeed , if the set @xmath178 is independent , apply the lemma with @xmath179 . for @xmath74 as in the lemma
, @xmath180 is at least @xmath181 away from each of the three vectors .
[ hc2 ] @xmath182 , @xmath183 .
we check that every two nonadjacent vertices in @xmath45 have at least @xmath48 common neighbors .
let @xmath7 and @xmath153 be two vectors of even hamming distance @xmath184 where @xmath185 .
we count some of the common neighbors of @xmath7 and @xmath153 . of the @xmath186
coordinates in which they agree , we flip @xmath187 coordinates of our choice , and keep the other @xmath188 unchanged .
the remaining @xmath184 coordinates are divided equally , @xmath189 as in @xmath7 and @xmath189 as in @xmath153 .
each resulting vector is at hamming distance @xmath181 from both @xmath7 and @xmath153 , which hence have at least @xmath190 distinct joint neighbors .
this expression is decreasing in @xmath189 , and hence always @xmath191 , with equality for @xmath192 .
for @xmath193 odd , we argue similarly .
we flip @xmath194 of the @xmath195 common coordinates , and divide the other @xmath196 to @xmath189 and @xmath197 .
this yields @xmath198 common neighbors .
the minimum , @xmath48 , is again attained at @xmath192 . finally , it is easy to demonstrate three vectors in @xmath45 with a single joint neighbor .
take three vectors , @xmath7 , @xmath153 , and @xmath154 , of hamming weight @xmath1 and disjoint supports . for a common neighbor @xmath74 we have @xmath199 since in @xmath200
coordinates at most two of the distances can contribute .
but equality is reached only by the all - ones vector @xmath201 . by propositions
[ hc1][hc2 ] , the sequence @xmath45 constitutes an example for 3ectf graphs with @xmath202 .
here @xmath203 , where @xmath204 is the number of vertices . also
, these graphs are @xmath205-regular , where @xmath206 . a neighborhood of a vertex in these graphs is also a largest possible independent set .
see @xcite . here
are two variations where the 2-multiplicity and the degree are traded off .
we first apply albert s idea to @xmath45 . for @xmath207 denote @xmath208 .
we first partition @xmath45 as follows .
@xmath209 of course , we may forget the first two coordinates , and regard the elements of each @xmath210 as @xmath211 .
the adjacencies within each @xmath210 correspond to hamming distances @xmath212 and @xmath213 .
also , two vertices from distinct @xmath210 s are adjacent iff their hamming distance is between @xmath214 and @xmath215 .
this leads to the following definition of @xmath49 .
@xmath216 by the above discussion @xmath217 , and @xmath49 is 3ectf for @xmath51 , since any three vertices belong to an isomorphic copy of @xmath45 . for the same reason @xmath218 , and for constant @xmath1 and large @xmath113
the graph is @xmath219-regular .
to introduce the second variation , consider the following graph .
@xmath220 by considering the two matchings on odd - parity and on even - parity vectors we see that this is an albert graph .
in fact , each odd distance @xmath14 can be separately replaced by @xmath221 to yield another albert graph .
@xmath45 and @xmath222 are the first and last members of a simple sequence of 3ectf graphs , @xmath54 for @xmath223 .
these graphs are also defined in terms of the hamming metric on the hypercube .
we describe these graphs without proving their properties , since this is not needed henceforth .
having seen 3ectf graphs with unbounded @xmath28 , we move to the next construction in search of many such graphs .
we start with variation of a 3ectf construction from section 13.2 of @xcite . given positive integers @xmath225 , @xmath226 , @xmath227 and @xmath228
, we define the twisted graph @xmath229 as follows .
@xmath230 _ remark : _ the graph @xmath231 differs from @xmath232 in example 13.3 of @xcite , unless we switch two edges inside @xmath233 .
we do not know how to place both graphs on a common ground .
the following proposition reveals some of the structure of these graphs .
although it is a special case of proposition [ gtmk ] , we believe that it is easier to follow and would make the more complicated proposition [ gtmk ] more transparent .
for @xmath235 let @xmath236 note that the restriction of @xmath0 to each @xmath210 is isomorphic to @xmath237 ( see section [ albertsect ] ) .
moreover , the subgraph induced on @xmath238 is @xmath239 . to see this , twist
the @xmath240 last @xmath102-cycles in @xmath239 , by sending @xmath241 .
this affects only cross edges with @xmath242 .
therefore , we only need to consider triplets from distinct @xmath210 s .
we next find a common neighbor for three independent vertices @xmath245 , @xmath246 , and @xmath247 for distinct @xmath127 , @xmath248 , and @xmath249 .
suppose first that the parity of @xmath7 differs from those of @xmath250 and @xmath251 . which is the neighbor of @xmath246 in the @xmath102-cycle @xmath252 ?
from parity considerations , and since @xmath253 , it must be @xmath254 . for similar reasons
@xmath254 is the neighbor of @xmath247 in that @xmath102-cycle .
this implies that @xmath255 is a common neighbor of @xmath245 , @xmath246 , and @xmath247 for any @xmath256 .
now if @xmath7 , @xmath250 and @xmath251 have equal parities , then each of @xmath246 and @xmath247 is adjacent to one of the elements of the set @xmath257 . if both are adjacent to the same one , it is the common neighbor and we are done .
a similar solution may exist in different roles of the three vertices .
if all fails , then either @xmath258 and @xmath259 or @xmath260 and @xmath261 . in this case , the common neighbor is in the fourth part @xmath262 , being @xmath263 and @xmath264 , respectively , for any @xmath265 .
a _ tournament _ is an orientation of a complete graph .
edges @xmath266 are denoted @xmath267 .
note that the set of ordered pairs @xmath268 , that appears in the above definition of @xmath229 , can be encoded by the following tournament that we call @xmath269 .
[ main node/.style = circle , draw , thick , font= , main edge/.style=->,shorten < = 2pt , shorten > = 2pt,>=stealth,node distance=1cm , thick , ] at ( 0,2 ) ( 1 ) 1 ; at ( 0,0.75 ) ( 0 ) 0 ; at ( -1.25,0 ) ( 2 ) 2 ; at ( 1.25,0 ) ( 3 ) 3 ; ( 0 ) edge node ( 1 ) ( 0 ) edge node ( 2 ) ( 0 ) edge node ( 3 ) ( 1 ) edge node ( 2 ) ( 2 ) edge node ( 3 ) ( 3 ) edge node ( 1 ) ; the tournament @xmath270 is obtained from @xmath269 by reversing all edges .
these two four - vertex tournaments are characterized by the property that every two vertices are connected by exactly one path of length two . in other words , for each pair of vertices one remaining vertex is attached to them in the same way , while the other one is attached in opposite ways .
it is exactly this property that allowed us to find the common neighbor in the previous argument .
a tournament is _ shattered _ if every three of its vertices extend to a copy of either @xmath269 or @xmath270 .
we next associate a graph @xmath271 to a shattered tournament @xmath64 and a positive integer @xmath113 .
@xmath272 it is easy to apply the proof of proposition [ gmmmm ] to general shattered tournaments and conclude the following broader statement .
the graphs that were constructed so far in this section have @xmath274 and @xmath275 .
the next example integrates them with @xmath49 , thus increasing the @xmath29-multiplicity . to this end
, we first define a similar _ twist _ function in the hypercube . for @xmath276 , define @xmath277 note that @xmath278 for all @xmath276 .
we adapt the proof of proposition [ gmmmm ] to @xmath282 . for @xmath283
, we partition the vertices as follows : @xmath284 the induced graph on each @xmath210 is isomorphic to @xmath49 .
since @xmath285 is an isometry , also @xmath238 induces a copy of @xmath286 . by our previous comments these subgraphs are 3ectf .
we next show that three vertices from distinct parts never form a triangle .
for each edge between parts @xmath287 we have @xmath288 .
therefore at least @xmath289 of the last @xmath290 coordinates of @xmath7 and @xmath250 differ .
suppose , toward a contradiction , that a triangle of such three edges exists , and consider two cases . 1 .
suppose that along some of the edges the hamming distance of the last @xmath290 coordinates is at least @xmath212 .
then the three differences can not add up to @xmath291 , because at least one of the last @xmath290 coordinates flips three times .
if , on the other hand , they all equal @xmath289 , then in each such edge @xmath292 , and hence @xmath293 . but @xmath285 switches parity , so the parity changes three times around the triangle a contradiction .
next , we seek a common neighbor for the independent set @xmath294 , with @xmath295 distinct
. define @xmath296 if @xmath297 , and @xmath298 otherwise .
correspondingly define @xmath299 and so on . also , define the following two sets of three distances .
@xmath300 by the independence assumption , @xmath301 .
note that @xmath302 and @xmath303 are defined by the same two vectors up to three applications of @xmath285 or @xmath304 , so that @xmath305 , @xmath306 , and @xmath307 .
let us assume first @xmath308 .
apply lemma [ tri ] to the vectors @xmath309 , @xmath310 , and @xmath311 , with @xmath312 and @xmath313 and obtain some @xmath314 with @xmath315 if @xmath316 then @xmath317 is a common neighbor , while for @xmath318 it is @xmath319 for any @xmath320 . for @xmath321
any @xmath128 would do .
the _ restricted parity _ of @xmath276 , is defined as the parity of its first two coordinates .
we claim that , under the above assumption , @xmath327 , @xmath328 and @xmath309 all have the same restricted parity .
otherwise , say @xmath309 is the exception .
this implies several further properties . 1 . the vectors @xmath329 and @xmath330 have different restricted parity .
2 . since @xmath331
, at least one of the first two coordinates of @xmath310 and @xmath311 that appear in the definition of @xmath303 must differ .
but then , from restricted parity considerations , they both differ .
3 . also by restricted parity and by the previous property
, @xmath309 agrees either with @xmath310 or with @xmath311 on the first two coordinates , and disagrees on them with the other one .
say it disagrees with @xmath310 .
properties 1 and 3 imply that @xmath332 , an already settled case . therefore , the three vectors must have the same restricted parity .
now , by the reasoning of property 2 , each of the three following vector pairs differs in both of the first two coordinates .
@xmath333 here
the shattered tournament comes in .
there is an @xmath334 for which @xmath335 induces either a @xmath269 or a @xmath270 tournament .
therefore exactly one of @xmath336 differs from its counterpart in @xmath337 .
consequently , @xmath338 and @xmath339 agree on their first two coordinates . denoting their distance by @xmath340 , we have @xmath341 and likewise @xmath342 .
apply lemma [ tri ] to @xmath338 , @xmath339 , and @xmath343 with @xmath344 , to obtain @xmath314 at distance at most @xmath345 from each of the three .
this yields the desired common neighbor @xmath346 for any possible @xmath128 .
as every two vertices of @xmath347 are covered by some embedded copy of @xmath45 , we have @xmath348 by proposition [ hc2 ] .
one can verify that this is in fact an equality .
since there are @xmath349 nonisomorphic tournaments on @xmath350 vertices , and for large @xmath31 almost all of them are shattered , proposition [ gtmk ] yields | arxiv |
Saman Ediriweera (also known as S. Saman Ediriweera) is the current Chairman of Airport & Aviation Services (Sri Lanka) Limited (AASL).
Early life and education
After receiving his education from Nalanda College, Colombo, Ediriweera entered University of Sri Lanka in 1972 and graduated with a B.Sc in Electronics and Telecommunications Engineering. He is also one of the first batch of engineering students at Moratuwa University.
Professional career
Ediriweera has served Sri Lanka in the capacity of Secretary Ministry of Telecommunications, Chairman of Telecommunication Regulatory Commission (TRC), Secretary Ministry of Tertiary Education and Training, Director Policy Planning at Sri Lanka Telecom and Director of Telecommunications at the Ministry of Posts, Telecommunications and the Media., Chairman of Sri Lanka Rupavahini Corporation, Director General of Sri Lanka Rupavahini Corporation, Director of Sri Lanka Rupavahini Corporation,
General References
Emirate Group Careers
Diploma Awards 2015
Sinhala and Hindu New Year Celebrations at BIA-2016
Sri Lankan Buddhists
Sinhalese engineers
Alumni of Nalanda College, Colombo
Living people
Year of birth missing (living people) | slim_pajama |
Dragon Ball Z Spin-off: Senzu Bean Master
Just a one shot I made...enjoy!
* * *
><p>Goku, the young adult in his orange uniform, flew on the Flying Nimbus, looking at the scenery. He sighed and said, "What a beautiful world.."<p>
Goku heard a scream from the forest. He flew downwards to investigate.
On the ground were tiny beans...Senzu Beans!
Goku smiled and bent down to take one..
"HOLD IT!"
Goku flinched and looked up to see a tall, white, cat with a small mustache and a beard. _Looks like Korin, but bigger, _Goku thought.
Goku asked, "Who are you?"
The cat replied, "Me? I AM TORIN, THE SENZU BEAN MASTER!"
Goku scratched his head, then asked, "So why can't I eat these Senzu Beans?"
Torin quickly ran over to Goku, and knocked him to the ground with a blow.
The cat gathered the Senzu Beans and then put them into his pocket.
Goku was angered by this cat.
Goku: "You want to fight, cat? Let's do it then!"
Goku immediately put his hands into the form needed to use the Kamehameha, and the cat took out hundreds of Senzu Beans from his pocket.
Torin: "SENZU POWER!"
He gobbled up all of the beans and his muscles rippled, and he grew in size.
Goku used the Kamehameha wave, launching the beam of blue energy at his opponent, who countered it in the oddest of ways.
Torin ate the Kamehameha, and licked his lips, while Goku watched in shock.
Torin: "Not bad."
Torin leaned over to Goku, and hit him with a punch to the side of the head.
* * *
><p>Korin: "Goku, are you alright?"<p>
Goku woke up with alarm.
Goku: "Where's Torin?!"
Korin: "Torin?"
Goku explained the story to Korin, who laughed and said, "It must have been a dream."
Goku shook his head and went onto his Nimbus, in pursuit of 'Torin.'
When Goku was gone, Korin ate 100 beans and grew in size, like his muscles.
Korin: "DON'T MESS WITH THE SENZU, GOKU!"
End file.
| fanfiction |
quantum mechanics allows for correlations that can not be understood within the classical paradigm of local realism , which naturally grows out of experiences gathered in the macroscopic world @xcite .
models based on this paradigm are not able to reproduce fully predictions of the quantum theory unless supplied with additional controversial assumptions like non - locality , superluminal communication , or negative probabilities @xcite . a great deal of effort has been dedicated to identify the borders defined by local realistic theories , beyond which quantum mechanics offers the most dramatic manifestations of its unique character .
this work currently finds applications in novel , quantum - based protocols for secure communication and information processing @xcite .
one of the major sources of excitement in quantum optics has been tracing effects that can be explained only on the grounds of the fully quantum theory of light and matter . a standard reference point here
is the semiclassical theory of photodetection , in which a quantized material system interacts with light treated classically .
this theory suffices to explain a wealth of optical observations in systems comprising stochastic classical fields , linear optical elements , and typical photodetectors @xcite .
a direct demonstration of the quantum nature of light requires one to resort to more exotic ways to generate and manipulate light @xcite .
the semiclassical regime can be viewed as a special case of a local realistic theory , and its bounds are typically tighter , as discussed in detail for two - photon interference effects @xcite .
however , the semiclassical regime can be easily implemented in an optical laboratory using readily available resources , unlike other models considered in general local realistic theories which may include highly speculative assumptions . when identifying the limits of the semiclassical regime , it is crucial to take into account a realistic description of the employed components .
for example , most detectors with single photon sensitivity do not have photon number resolution . as a result
, intensity correlations typical for non - classical sources of optical radiation can be mimicked by suitably engineered non - stationary classical fields , and additional tests of quantumness are needed @xcite .
a thorough study of the actual construction details of standard photon counting modules can even provide a complete control over their behaviour using classical light @xcite , which leads to new eavesdropping strategies for quantum cryptography @xcite .
this clearly shows that understanding the precise borders between semiclassical , local realistic , and quantum regimes remains full of challenges that grow out of previous advances in quantum optics and are highly relevant to emerging quantum - enhanced technologies .
the purpose of this paper is to explore the question to what degree the semiclassical regime can reproduce polarization correlations .
such correlations are a celebrated signature of quantumness @xcite and nowadays can be routinely observed for photon pairs produced in a suitably arranged process of parametric down - conversion @xcite .
typical for most quantum optical experiments , we will assume here that the photodetectors provide only a binary response telling whether at least one photon has been detected or none at all @xcite .
the probability of a click is a non - linear function of the incident intensity .
this can be viewed as a generalization of the malus law @xcite considered within the semiclassical theory .
the theoretical discussion is illustrated with a photon counting measurement performed on a pair of collectively depolarized light beams that provide the strongest form of polarization correlations allowed in the semiclassical regime .
the quest to understand the exact relation between the classical and the quantum has been vigorously pursued by and will remain an important element of the scientific legacy of late krzysztof wdkiewicz . this contribution is dedicated to his memory .
the notion of correlations in classical physics is reserved to the statistical description of systems for which complete knowledge is _ not available_. the state of a system is said to be correlated whenever the joint probability distribution describing parameters of the entire system does not factorize into marginal probability distributions for individual subsystems .
if the complete knowledge about the system is available , the probability distribution is clearly a product of marginal probability distributions , since the state of each subsystems is definite and hence no correlations are present . according to the standard interpretation of quantum mechanics , the complete knowledge of a quantum system
is encoded in a vector @xmath2 in an appropriate hilbert space .
the superposition principle together with the tensor product structure of composite states implies the existence of _ entangled states_a unique quantum concept comprising the complete knowledge about the composite system and correlations within .
the strength of correlations present in entangled states may well outperform any conceivable classical ones and therefore they provide an argument for the incompatibility of local realistic theories with the quantum world via bell s inequalities @xcite .
one of the simplest and at the same time the most characteristic examples of an entangled state is the _
singlet state_. when realized in the polarization degree of freedom of two photons , the singlet state reads : @xmath3 where the kets @xmath4 and @xmath5 correspond to the horizontal and the vertical polarization states respectively , and the indices @xmath6 and @xmath7 refer to the two photons that are assumed to be distinguishable by another degree of freedom , for example the direction of propagation .
a feature that distinguishes the singlet state from other two - photon entangled states is its invariance under arbitrary polarization transformations , provided that the same transformation is applied to both the photons .
consequently , the anticorrelations present in the horizontal - vertical basis in eq .
( [ eq : singlet ] ) manifest themselves also in any other basis the polarization is being measured .
more generally , let @xmath8 and @xmath9 be two bloch vectors of unit length representing the polarization basis in which the polarizations are being measured on the two photons respectively .
it is easy to verify that the density operator corresponding to the singlet state can be written as a special case of a two - qubit werner state @xcite @xmath10 with @xmath11 . in the above formula , @xmath12
are pauli operators .
this representation allows us to calculate in a straightforward way , using trace properties of pauli operators , the joint probability of measuring the two photons in respective polarizations @xmath8 and @xmath9 : @xmath13 \\ = \frac{1}{4}[1 + \eta { \bf u}_a \cdot { \bf u}_b ] \end{gathered}\ ] ] where @xmath14 denotes a three - component vector composed of the pauli operators .
thus the joint probability for polarization settings @xmath8 and @xmath9 is a function of the angle @xmath15 between the corresponding bloch vectors , given by @xmath16 .
when performing a _ common _ transformation on both measured polarizations @xmath8 and @xmath9 , the probability is left unchanged .
it is seen that the visibility of polarization correlations is given by @xmath17 , reaching @xmath1 for the singlet state . the density operator defined in eq .
( [ eq : varrho = sigma ] ) is positive definite for @xmath18 .
thus although perfect _ anticorrelations _ in the polarization degree of freedom are possible , there is no physical quantum state in which the two photons would always have identical polarizations in an arbitrary basis .
let us consider a pair of light beams distributed between two parties @xmath6 and @xmath7 . because of the employed detection scheme , it will be sufficient to take into account only the intensity and the polarization degrees of freedom .
classically , a general state of polarization is described by a four - component stokes vector . for a fully polarized beam the component corresponding to the total intensity
is unambiguously defined by the remaining three coordinates . in order to retain correspondence with the quantum mechanical case , we will order these coordinates identically as in the bloch vectors and we will call here the resulting three - component objects _ generalized _ bloch vectors .
thus an individual preparation of the two beams is described by generalized bloch vectors @xmath19 and @xmath20 , whose length corresponds to the intensity , and the direction to the polarization state of the respective beam .
if the complete knowledge about the beams is unavailable , the joint state is described by a probability distribution @xmath21 . in the following
, we shall assume that the state is invariant with respect to an arbitrary common polarization transformation @xmath22 , where @xmath23 belongs to the so(3 ) group of proper rotations in three real dimensions .
the measurement is performed by selecting polarization components corresponding to @xmath8 and @xmath9 in the respective beams , and detecting clicks using single photon counting modules . assuming that the detector fires whenever one or more photons are detected , the click probability for the classical light of normalized intensity @xmath24 entering the detector reads @xmath25 @xcite .
therefore , the probability of a coincidence event in the semiclassical model is given by @xmath26 detector losses are described by multiplying the argument of @xmath27 by the detection efficiency , which can be included in the above formula by appropriate rescaling of the probability @xmath28 .
let us now represent @xmath29 , where @xmath30 is a reference unit vector , @xmath31 is a certain rotation , and @xmath32 .
writing the integration measure as @xmath33 and making use of the assumed rotational invariance of @xmath28 allows us to write @xmath34 substituting @xmath35 yields : @xmath36 it will be convenient to assume in the following that the measure over @xmath31 is normalized to one , @xmath37 . using the explicit form of the count probability @xmath27 , the integral over @xmath31 in eq .
( [ eq : probsc ] ) can be simplified to @xmath38 where the only term depending on the polarizations @xmath8 and @xmath9 being measured reads @xmath39 this integral can be calculated explicitly when @xmath40 , leading to a closed expression for the coincidence probability @xmath41 of the form @xmath42,\ ] ] where @xmath15 is the angle between the vectors @xmath8 and @xmath9 and @xmath43 . in fig .
[ fig : coinc ] we depict the dependence of the @xmath41 on the angle @xmath15 for several values of the intensity @xmath24 . in order to aid comparison
, the graphs have been rescaled by the the probability @xmath44 of a coincidence event when the polarizers are removed from the setup .
it is seen than the correlations are much weaker than in the quantum mechanical case of a singlet state , and for larger intensities they loose the purely harmonic form .
note that choosing @xmath45 in eq .
( [ eq : udef ] ) leads to an expression analogous to eq .
( [ eq : coinccurve ] ) with @xmath46 replaced by @xmath47
. we will now derive bounds on @xmath48 for arbitrary generalized bloch vectors @xmath19 and @xmath20 , which will be used to analyze the visibility of polarization correlations in a more general case . in order to find a lower bound on @xmath48
let us start from an observation that the integral in eq .
( [ eq : udef ] ) is invariant under the substitution @xmath49 .
taking @xmath50 to be a @xmath51 rotation around the axis perpendicular to the plane spanned by @xmath30 and @xmath9 implies that the value of @xmath48 does not change under simultaneous substitutions @xmath52 and @xmath53 .
this allows us to write : @xmath54 using the convexity of the hyperbolic cosine function and the inverse triangle inequality we obtain @xmath55 evaluating the two integrals over @xmath23 yields @xmath56.\ ] ] an upper bound on @xmath48 can be found with the help of the cauchy - schwarz inequality @xmath57 the two derived bounds allow us to estimate from above and from below the coincidence probability @xmath41 over all possible settings of @xmath8 and @xmath9 .
let us first discuss the limit of weak intensities @xmath58 , when the probability of a click on a detector can be approximated by @xmath59 . in this case
, the probability of a coincidence event can be written as @xmath60 where the angular brackets denote the average @xmath61 .
the cauchy - schwarz inequality means that @xmath62 , which implies that the visibility can not exceed @xmath0 . in a symmetric scenario ,
when both the beams always have orthogonal polarizations and equal intensities @xmath63 , we can use eq .
( [ eq : coinccurve ] ) to calculate the visibility of polarization correlations @xmath64 this quantity , shown in fig .
[ fig : visibility ] , is a monotonically decreasing function of the intensity @xmath24 , with the maximum value @xmath65 reached in the limit @xmath66 .
note that in this scenario the bounds given in eqs .
( [ eq : umin ] ) and ( [ eq : umax ] ) are tight .
more generally , we can use the inequalities derived in eqs .
( [ eq : umin ] ) and ( [ eq : umax ] ) to find an upper bound on the visibility of polarization correlations for arbitrary intensities @xmath67 and @xmath68 .
this bound is depicted in fig .
[ fig : boundplot ] .
it is seen that the visibility indeed does not exceed @xmath0 except regions when one of the intensities @xmath67 or @xmath68 is small .
let us have a closer look at the limit when one of the intensities approaches zero . for concreteness ,
let us take @xmath69 .
it is then justified to expand @xmath70 this expression can be evaluated analytically to yield @xmath71 , @xmath72 , half and quarter wave plates ; wp , a wave plate introducing an @xmath73 rad phase shift ; pbs , polarizing beam splitters ; spcm , single photon counting modules . ]
it is seen that the minimum and the maximum values of the coincidence probability are obtained when the product @xmath74 .
it can be verified by a straightforward yet lengthy calculation that the visibility of polarization correlations obtained using this expression approaches @xmath0 when @xmath69 .
this shows that the upper bound derived with the help of the inequalities given in eqs .
( [ eq : umin ] ) and ( [ eq : umax ] ) is not tight and suggests that the limit @xmath0 might be universal for arbitrary intensities @xmath67 and @xmath68 .
let us note that the bound @xmath0 does not discriminate between positive and negative polarization correlations .
the quantum mechanical counterpart a statistical ensemble discussed above is a situation when each of the two photons has a well defined polarization state , and only statistical averaging is permitted , i.e. the pair is prepared in a _
separable state_. for werner states introduced in eq .
( [ eq : varrho = sigma ] ) the separability criterion takes a form symmetric with respect to the sign of the parameter @xmath75 : @xmath76 @xcite , also leading to the visibility limit of @xmath0 for polarization correlations .
of the polarizer pbs2 placed in the path of the beam @xmath7 .
the three panels display results for scans of the polarization of the beam @xmath7 along the great circles in the @xmath77 plane ( top ) , the @xmath78 plane ( middle ) , and the @xmath79 plane ( bottom ) .
the solid lines depict least - squares sinusoidal fits .
the insets specify the polarization of the beam @xmath6 for each of the datasets along with visibilities obtained from the fits . ]
the semiclassical limit of polarization correlations can be demonstrated experimentally using a pair of orthogonally polarized light beams , submitted to identical polarization transformations selected randomly according to the haar measure on the rotation group so(3 ) .
mechanical implementation @xcite of such depolarization would lead to excessively long averaging times .
however , for low intensities , when the probability of a count is proportional to the incident intensity , the polarization measurement is sensitive only to certain moments of the distribution of output polarizations : @xmath80 these moments can be reproduced by a discrete set of bloch vectors , or a continuous one - parameter family .
the latter solution is a convenient choice for an implementation in an optical setup .
an exemplary realization is a set of two waveplates with phase delays equal respectively to @xmath73 rad and @xmath51 rad that rotate in opposite directions with the same constant angular velocities . for a suitably selected input linear polarization
the output bloch vector draws a curve depicted in fig .
[ fig : travel ] , which yields the output ensemble with desired statistical properties .
the complete experimental setup is presented in fig .
[ fig : setup ] .
the light source was a highly attenuated pulsed beam from a mode - locked ti : sapphire oscillator with the central wavelength @xmath81 and the full width at half - maximum bandwidth @xmath82 , corresponding to subpicosecond pulse duration .
the polarizing beam splitter pbs1 followed by a silver mirror was used to prepare two parallel beams in horizontal @xmath83 and vertical @xmath84 polarizations with respect to the plane of the setup .
the half wave plate inserted before pbs1 served to equalize the intensities of the two beams .
the two wave plates introducing depolarization were mounted on rotation stages driven by stepper motors . in order to produce the correct output ensemble ,
the axes of the waveplates were initially aligned parallel to each other . for each measurement point , the waveplates were rotated in opposite directions with constant angular velocities , completing an integer number of 10 full rotations .
the two emerging beams were transmitted through separate quarter wave plates @xmath72 followed by polarizers , which selected individual polarization components , and then focused on the active areas of single photon counting modules spcm ( model perkin elmer spcm - aq-131 ) .
the input beam was attenuated to an intensity at which single count rates on the spcms with removed polarizers were approximately equal to @xmath85 hz . given the laser repetition rate of @xmath86 this yields the intensity parameter @xmath87 . in order to verify the correlations , we chose six different polarizations for the beam @xmath6 : horizontal @xmath83 , vertical @xmath84 , diagonal at @xmath88 degrees @xmath89 and @xmath90 , as well as right- and left - circular @xmath91 and @xmath92 .
for each of these six polarizations , we measured coincidence count rates as a function of the polarization selected for the beam @xmath7 sweeping one of three great circles on the bloch sphere , shown in fig .
[ fig : circles ] .
the great circles were scanned by setting the quarter wave plate in the beam @xmath7 to an the appropriate orientation or removing it altogether for the scan of the @xmath77 circle , and rotating the polarizer pbs2 in 10 steps , which corresponds to 20 increments on a great circle . for each setting , photocounts were collected over a @xmath93 time interval , and both single and coincidence count numbers were recorded . the measured polarization correlations are depicted in fig .
[ fig : results ] .
the data sets were fitted using the least - squares method with sinusoidal patterns to obtain corresponding visibilities , specified in the graph insets .
the experimentally determined values are close to the predicted value of @xmath0 .
small deviations can be attributed to non - uniform depolarization of the two beams .
this imperfection could also be noticed as weak dependence of single count rates on the measured polarization , with relative variations up to @xmath94 .
we investigated the strength of polarization correlations that can be achieved using classical optical fields and detectors without photon number resolution .
we showed under certain symmetry assumptions that there is a substantial gap between the semiclassical regime and the correlations allowed by quantum mechanics .
it is worthwhile to note that the maximum value @xmath0 of the visibility of polarization correlations is lower than the bound of @xmath95 in local realistic theories required to satisfy standard bell s inequalities .
this illustrates that the semiclassical description of optical fields is only a particular case in the general class of local realistic theories . from a more general perspective
, the gap between classical and quantum theories calls for a deeper understanding of the role of quantumness in information protocols based on quantum interference and entanglement .
this research direction has been shaped by krzysztof wdkiewicz in his last works @xcite .
one intriguing problem is to what degree and under what assumptions classical theories can describe quantum protocols for information processing , especially when one uses input states that have classical counterparts .
this issue has been analyzed thoroughly for the case of continuous - variable quantum teleportation @xcite , which motivates looking into other scenarios , one interesting candidate being quantum cloning of spin - coherent states @xcite .
furthermore , despite dramatic differences between predictions of quantum mechanics and classical theories , it is possible to draw insightful parallels between classical and quantum interference phenomena @xcite , leading to feasible experimental observations in the optical domain @xcite .
this opens up a question whether one can find ways to employ classical interference in some applications that are currently thought to depend indispensably on quantum resources .
we acknowledge the financial support of the future and emerging technologies ( fet ) programme within the seventh framework programme for research of the european commission , under the fet - open grant agreement corner no .
we thank michael raymer for his comments . | arxiv |
Good references for Elastodynamics
**Before answering, please see [our policy](http://meta.physics.stackexchange.com/a/4698) on resource recommendation questions.** Please write substantial answers that detail the style, content, and prerequisites of the book, paper or other resource. Explain the nature of the resource so that readers can decide which one is best suited for them rather than relying on the opinions of others. **Answers containing only a reference to a book or paper will be removed!**
I'm looking for a graduate-level reference about Elastodynamics.
If possible i would prefer it mainly rooted in vector notation better than Einstein notation (although i understand some proofs will be inevitabily carried out with this latter notation i guess).
Rigorous approach is best, with little intuitive notes is super.
For general reference, I would suggest:
* **Graff, K. F. (2012). Wave motion in elastic solids. Courier Corporation.** This book it's a good starting point since it first presents the wave motion in simpler setups such as strings and rods and moves towards three-dimensional solids.
* **Achenbach, J. (1975). Wave propagation in elastic solids. Elsevier.** This book starts from the elasticity equations and moves from there. This is a "must-read" reference for some people.
On more advanced topics, I suggest:
* **Auld, B. A. (1973). Acoustic fields and waves in solids. Рипол Классик.** This is one of the best references that I have found when studying elastodynamics in anisotropic solids.
* **Carcione, J. M. (2007). Wave fields in real media: Wave propagation in anisotropic, anelastic, porous and electromagnetic media. Elsevier.** Besides anisotropic solids, this book considers anelastic media. Auld's book might be difficult to find, this is a good replacement.
| stackexchange/physics |
Outside temp of vessel of is 40 Deg C and Water inside it is 86 Deg C.. Why?
I was boiling water in a steel utensil.
Used Fluke's IR Gun (59 Max) to measure the temperature of Water inside AND the surface temp of vessel outside.
The boiling water read 86 Deg C whereas the outside surface temp of vessel read just 40 Deg C. Why is that? If I touched the outside of the vessel it would 'feel' extremely hot but measurement shows just 40 Deg C. So what's going on here?
[](https://i.stack.imgur.com/L2eYF.jpg)
[](https://i.stack.imgur.com/w5Lgn.jpg)
How these thermometers works is based on the principle of blackbody radiation and the [Stefan-Boltzmann law](https://en.wikipedia.org/wiki/Stefan%E2%80%93Boltzmann_law). There is an IR sensor housed inside the thermometer that senses the total power radiated in a window of IR. And this power is related to the temperature of the emitter. But there is also a dependence on emissivity which is governed by the material properties of the emitter like the reflectivity and such. From the [wiki](https://en.wikipedia.org/wiki/Infrared_thermometer) page for Infrared Thermometer:
>
> Most surfaces have high emissivity (over 0.9 for most biological surfaces)[citation needed], and most IR thermometers rely on this simplifying assumption; however, reflective surfaces have lower emissivity than non-reflective surfaces. Some sensors have an adjustable emissivity setting, which can be set to measure the temperature of reflective and non-reflective surfaces. A non-adjustable thermometer may be used to measure the temperature of a reflective surface by applying a non-reflective paint or tape, with some loss of accuracy.
>
>
>
So maybe you can modify the emissivity to the right value and see if you get the right temperature.
When the surface is reflecting (like the metal) you are actually measuering then temperature of what can be seen in the reflection, not the reflecting body.
| stackexchange/physics |
Sookie Stackhouse/Southern Vampire Mysteries 1. Welcome to the Dollhouse
**Stiletto.**
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**A/N: I'm back! And tackling a second story. For those of you who got here from the shameless story-pimping in 'Drawn', I love you guys. I've gotten a really reception from 'Drawn', and I thought I'd try this story. While this is an AU story, I've retained a lot of original elements. For example, everyone who is featured in this story, any kind of supernatural affiliation they may have carried over. So the vampires are vampires, the shifters are shifters, etc. And Sookie is still a telepath. The original plot is non-existent (hence AU) as well as most pre-existing relationships. I will perhaps put some people back together, but who knows for now. Oh, and an additional note, Dahlia from 'Drawn' is a character in 'Stiletto' as well. I just got such a good response on her character and, quite frankly, I love her. So I decided to give her a fairly integral part in this story.**
**Without further ado, Enjoy 'Stiletto'!**
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**Chapter One- Welcome to the Dollhouse**
Sookie Stackhouse took one last look at the neon sign before going inside. _Fangtasia_, it read. She thought the name sounded really cheesy, but she supposed that it was an apt name for a gentlemen's club. She also wondered what the hell she was doing in a gentlemen's club. And looking for a job, no less. Sookie knew that her Gran would be rolling in her grave, rest her soul, if she knew. But a girl's got to eat, right? She had just exhausted the last of the money she had left over after she was forced to sell her Gran's old house. It had broken her heart, but she had no other choice. So she was currently living in a two-bedroom apartment, which she rented, and she only had enough money to pay her share of the rent. Hence, the job search. Her roommate, Amelia, was an exotic dancer and had suggested this place. Hence, Fangtasia.
As Sookie took in her musty, smoke-filled surroundings, she was feeling really stupid for not looking for work sooner. She had opted instead to "grieve". Said grieving had lasted almost a year. By the time Sookie needed to find a job, pretty much everything was filled up due to the current recession. Truth be told, her skill set was pretty limited having not gone to college. With her "gift", school was unbearable. So when Amelia said that there was a waitress opening at her work, Sookie practically jumped at the chance. She knew a bit about slinging drinks from working at the local watering hole, and she knew her assets would be beneficial in a gentlemen's club. That, and Amelia said the pay was pretty good. So here she was, in a skin-tight dress, telling her inhibitions and Christian upbringing to take a hike.
As Sookie stepped out into the main floor of the club, Amelia spotted her and bounced over, clad in a bikini. "I was starting to wonder if you were actually gonna show up," Amelia stated.
"So was I. But hell, I need the money."
"Don't we all," she responded, tapping her stiletto on the tile absentmindedly. "I'll show you to Sam's office." Sookie smiled as Amelia led her towards the back. Amelia had told her earlier that meeting with Sam, one of the managers, was basically a formality and that she pretty much had the job. When they approached an unmarked door, Amelia knocked tentatively. A few moments later, a big man (who Sookie was pretty sure was a Were) opened the door for them. Amelia led the way, and both women were greeted by a man who appeared to be in his early thirties. Sookie picked up that he was a shifter.
"Good evening. I'm Sam Merlotte, manager of this fine establishment. And you must be Sookie Stackhouse. Amelia, my dear, your description barely did her justice." Could this guy be any more full of himself? Sookie couldn't help but admit to herself that he was kind of attractive, but his hubris was extremely off-putting. He extended a hand to Sookie, which she accepted. Amelia started to back out of the room, she had to be on stage in a couple of minutes.
Sookie watched her roommate leave the room before turning back to Mr. Merlotte, who was still holding her hand. She pulled away from him gently and Sam stepped back to lean against his desk. "You can start tonight, right?" Sookie nodded. "Great. I'll just have to get you some different shoes. Follow me." Sookie complied and followed, looking down at her black flip-flops periodically. Sam was right, she needed a different pair of shoes, but it wasn't like she owned anything like what the girls here wore. How many times in a girl's life would she need a pair of clear-heeled, platform stilettos? Amelia had offered her a pair of hers, but they didn't fit. As Sam lead her into what was apparently the dressing room area, Sookie tried to get a mental map of the place. Looking around the dressing room area, she saw a couple of chairs in front of a long vanity table, which was covered in a variety of makeup and hair products. There was a thick, black curtain towards the back, which they were currently walking toward. Once behind the curtain, Sookie saw racks of costumes and shelves full of shoes.
"All the pairs on the top shelf are standard wear. They're all brand new. Find your size and they're all yours," Sam said before leaving. Sookie barely had time to mutter 'thanks' before she was left alone with the wall of shoes. After finding a small stepladder, she had found a pair in her size. She exited out into the vanity area, found a plush chair to sit on, and opened her shoebox. Sookie stifled a giggle when she discovered that they were exactly the clear-heeled, platform stilettos she had been thinking about earlier. She strapped them onto her feet and stood up, wobbling a bit. Sookie heard giggling and looked up to see Amelia sliding on a robe, post-performance.
"You ok there?" Amelia managed to ask through her giggles.
"Yeah, I'm fine. They're just kind of…high." _Slutty_ was the word that she wanted to use, but she didn't think that would go over well. Plus, who was she to judge. She worked here now, too. Granted she wasn't stripping, but still. Sookie knew that there was a stigma associated with girls who worked in these types of places, no matter what their job, and she didn't want to contribute to it by using such words.
"Meh. You get used to it," Amelia responded. "Now were just about to get ready for the introduction show for tonight, so you can meet the rest of the girls before you hit the floor."
As if on cue, four girls came into the dressing room. After they introduced themselves, Sookie was pretty sure she had names with faces. She knew that this was a gentlemen's club that catered to gentlemen of all persuasions-- human and Supe alike. So it seemed only natural that they had strippers of all persuasions, right? There was Crystal, who she gathered was a Were of some form or another. She was a pretty girl, and Sookie was pretty sure that she'd seen her with her brother, Jason, before. Jason was somewhat of a ladies man. The next girl was another one that Sookie recognized, for the same reason. Her name was Cassidy, and she was a shifter. Dawn and Arlene were both human, except Dawn was a stripper and Arlene was a waitress. The last girl in the group was also a waitress, her name was Dahlia. She was also human, but upon further probing, Sookie discovered that she was a telepath, like herself. Sookie was chatting with the girls while they got ready-- she had found out that the waitresses had just come back to meet the new girl, so they quickly left after introductions. She had also found out that there was one stripper that she hadn't met yet. Her name was Pam, she was vampire, and she _always_ showed up late. Sookie remembered Amelia mentioning that she fashioned herself as some sort of Prima Dona of the exotic dancing world, and she had some sort of connection to the owner of the club. Amelia said that all the other girls speculated that they were fuck buddies, and that was why she got preferential treatment and could show up whenever.
After a few more minutes of talking, Sam appeared to give the one minute warning. Sookie took that as a warning for herself as well, so she headed out to the bar/waitress station to find Arlene and Dahlia. She was kind of happy that she blended in with them, as they were both wearing short, black dresses and the same shoes. The only major difference between them is that while Sookie was blonde, both the other girls were redheads-- Dahlia natural and Arlene…well, not. After they showed Sookie where everything was in the two areas, she was pretty much left to her own devices. She was ok with that, though-- she preferred solidarity anyway. Sookie scanned the floor. It was pretty empty, but it was still pretty early. During her scan of the floor, she noticed a table made of a dark wood. It was in the back of the club, but it was directly across from the stage. It stood out for two reasons: one, the rest of the tables were made of some kind of material that looked like metal; and two, there was a large, high back chair behind it, with two curved, plush bench seats attached, one on each side.
As Dahlia came back to the bar, she noticed Sookie staring. "That's the owner's table," she pointed out.
Sookie raised an eyebrow, "The owner? Does he come in often?"
"Pretty much every night. At least every night Pam is working," Dahlia scoffed. Sookie didn't have to be telepathic to tell that Dahlia had some ill-feelings towards Pam and her alleged relationship with the owner. She wondered what all the fuss was about. He couldn't be that fantastic, could he? After all, he did own a strip club. There it was again, that stigmatization of the industry. _What the hell, Stackhouse? Since when do you judge people without knowing them?_ She scolded herself-- she was usually the judgee and not the judger, so she knew how it felt.
"Well she's working tonight, isn't she? Maybe I'll get a chance to meet him," Sookie said, continuing the conversation.
"Don't count on it," was all that Dahlia said before picking up her tray and going to check on one of her tables. Sookie shrugged and looked around again. She noticed that the tables were starting to fill up. As she picked up her tray, the lights dimmed. As the applause from the small crowd subsided, a voice came over the loud speaker.
"Good evening, and welcome to Fangtasia. Sam Merlotte here, your resident manager and resident DJ." Sookie suppressed another giggle. So Mr. Manager was also Mr. DJ? How…jack-of-all-trades of him. "For tonight's first performance, we have the Fangtasia-traditional Dollhouse Dance, featuring all our lovely ladies." Sam put the microphone down, and the speakers were flooded with music. Music that Sookie could only describe as the kind used in bad 70s porno movies. After taking a drink order, she looked up at the stage to see the girls starting to parade out in racy 70s style costumes as their names were called. Amelia shot her a little wave during her walk, and then Sookie turned to the bar to fill her order.
The bar wasn't the type that you could sit at, so it basically looked like one of those islands that people sometimes have in their kitchens. There were no seats of any kind around it, and it was surrounded by various types of liquor and accoutrements-- save for a few spaces where some one could fit in order to make drinks. There was also a wall stocked with liquor and synthetic blood, so you could still have the whole top shelf/bottom shelf delineation. The whole area itself was surrounded by a fence-like barrier. It was made out of the same metal-looking material as the table tops and it had a lockable swinging door for the waitresses to use. Sookie had just finished assembling her last rum and coke for her table when she heard something over the P.A. system that got her attention.
"And last, but certainly not least-- the pride of Fangtasia-- Pam!" Sookie had just put her table's drinks down as the announcement finished. No wonder this chick had a big head. She was back at the bar with Arlene and Dahlia when Pam appeared from behind the curtains. She was wearing an extremely low-cut, maroon, bell-sleeved dress, that was intentionally cropped short so part of her gold hot pants were visible. Sookie was stunned-- she looked like fucking Disco Barbie. Sookie was as straight as an arrow, but she thought the owner had to be either blind or gay not to favor, let alone notice, her. She suddenly understood the animosity among the rest of the girls.
"So that's Pam," Sookie stated, placing her tray on the bar. Dahlia just nodded and walked away. Arlene, who had drinks to make, stuck around.
"Yeah. All the other girls think that she's screwing Eric, but I _swear_ she bats for the other team."
Sookie laughed, "I could actually see that. Maybe she's bi. Wait, who's Eric?"
"Eric Northman, the owner."
"Oh, I didn't know his name. Dahlia said something about him being here on some nights?"
"Yeah, he's usually in when Pam works. I have no clue why though…maybe she is bi."
"It's entirely possible since your sure that she's gay, and everyone else thinks she's sleeping with the boss," Sookie pondered.
"Hmm…I don't know why we haven't seen him yet." Arlene shrugged and took her drinks to her customers. The next hour or so went pretty smoothly, and Sookie was actually starting to enjoy her job. The girls were nice, except she still hadn't formally met Pam, and Dahlia was still carrying some kind of chip on her shoulder. And you would think that a telepath wouldn't want to work in such an environment. But, since most of the clientele were Supes, Sookie could deal with the occasional inappropriate thought from the human customers. Besides, most of those thoughts weren't directed at her, but at the dancers.
It was around 10pm when Sookie saw someone sit down at one of the closer tables, so she started to head over that way. That table could have been only five feet away and her shoes still wouldn't have cooperated with her. Sookie wobbled first, like she had after putting them on, but she thought she caught herself. She tried to take another step, but those shoes would have none of it, and she tripped, unable to recover a second time. She took a moment to look at the ceiling, which she noticed was quite ornate, while she prepped herself for impact with the floor. However, she landed comfortably-- and unexpectedly-- in someone's arms. Sookie was set on her feet, where she turned around to thank whoever caught her.
"Thank you…"
"Eric," he offered. It took a second before Sookie registered who he was.
"So you're the owner," was what so eloquently came out of her mouth.
He gave a small laugh, "Yes, I am. And it's not too often we get female customers in here, so I'm assuming you're a new waitress?"
"Yes I am." Oh God, where were her manners? This was her boss and all she could get out were short sentences.
Eric couldn't help but smile at the petite blonde, "And your name would be?"
"Oh, yeah…I'm Sookie Stackhouse." Sookie smiled at him, trying to regain some semblance of a first impression with her boss.
"Nice to make your acquaintance, Miss Stackhouse. I'm glad I could save you from hurting that pretty little head of yours." And with that, he walked off to his table, leaving Sookie standing there with her mouth wide open. She then caught sight of Dahlia, whose mouth was equally agape at their exchange, and she quickly closed her mouth and scurried off to the table she was attempting to wait on in the first place. She continued to wait on her tables for the rest of the night, pushing thoughts of the undeniably attractive Mr. Northman out of her head for fear of tripping all over again. On the other hand, if he was around to catch her, tripping might not be so bad.
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**So, there's chapter one. I'm kinda proud of it. I'm glad I got to bring out some more of Dahlia's bitchy streak and I am THRILLED to be writing a Sookie story. Please let me know what you think. All comments, questions, suggestions, etc. are welcome. They give me the warm fuzzies :)**
**Love ya'll
-Sydney**
2. Indiscretions
**Stiletto.**
**A/N: Hello everyone! Let me first start off by saying, Holy Crap! I'm pretty sure that I had a mild heart attack when I opened my email this morning. I am super excited about the reception that this story is getting after one chapter. I seriously love all you guys. And my internet is being retarded, so I'd like to give a shout-out to my lovely reviewers for this chapter. So, VampFan4, VampSexual, vmp1, Silver Moon Goddess1, uvgottobekidding, and tropicalsorbet: Thanks for your awesome reviews and for all of your support. I appreciate it immensely and once again, I love you guys! This update is dedicated to you guys.**
**Enjoy!**
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**Chapter Two- Indiscretions**
Sookie took about five steps into her apartment before flopping onto the couch. She dropped her bag, which held the obnoxiously high heels, and kicked off her flip flops. Amelia joined her shortly
after, bearing two cups of coffee. "So, interesting first night, huh?" pondered Sookie.
Amelia laughed, "Yeah, I heard about your…uh, graceful first meeting with the boss man. Everyone did."
"Really? It wasn't that big of a deal," Sookie ran a hand through her hair.
"Dahlia would have everyone thinking differently."
"Why?"
"That girl is seriously hard up for Eric. I have no clue why, he doesn't seem to give anyone but Pam the time of day. Well, except you now."
"What the hell, Ame. He just caught me so I didn't split my head wide open."
"That may be so, but you can't deny that he's gorgeous." Sookie was unresponsive, so Amelia stared her down.
"Fine! Fine, he is…kind of attractive."
Amelia stood up, "You just keep living in denial of his hotness. I'm going to bed."
Sookie shook her head and got up to put her coffee cup in the sink. She clicked off the living room lamp, and headed to her bedroom.
---
Around 6'oclock the following night, both Sookie and Amelia were running around the apartment. Both girls were in the early stages of getting ready for the night. They met in the hallway. "Is there any bylaw that says that I have to wear a black dress?" Sookie asked Amelia.
"Not that I'm aware of. I've seen the other girls wear colors. I don't think they really care, as long as it's sexy."
Sookie nodded, and the two girls crossed each other-- Sookie to her room and Amelia to the bathroom. Once in her room, Sookie made a beeline for her closet. She wasn't sure why she wanted to stand out, but she was pretty sure that it had something to do with a certain blonde vampire boss of hers.
_Wait, what the hell, Stackhouse? You just said it-- he's your boss. You sooo can't go there_, she thought.
_But he's so good-looking. He looks like a Viking for the love of God_, argued the libidinous part of her brain. This was the part that was in control when she pulled the low-cut, red dress out of her closet and put it on.
_And it's not even like he's interested. He's got Pam…and potentially Dahlia. All he did was keep you front hitting your head_, the rational part chimed in.
_But he saved your 'pretty little head'_, the libidinous side argued. _And if you don't care so much, what's with the dress?_
_I happen to like this dress, thank you very much. It has nothing to do with Eric._
Her mental conversation was interrupted by her roommate. "Hey. Ready to go?" Amelia asked.
"Yeah." She picked up her purse and her shoe bag, and they were out the door.
---
The house lights were on when they entered Fangtasia. Sookie bid Amelia goodbye as she scampered into the dressing room. Sookie looked around and saw Arlene refilling the napkin holders on the tables. While she was putting her purse and shoe bag in the cabinet behind the bar, Arlene walked over. "Hey Sookie-- oh, nice dress."
"Thanks."
"What did I come over to tell you…" she tapped her chin. "Oh yeah! Eric said to send you back to his office for a formal introductory meeting, since your meeting last night was…less than formal."
"Jesus, does everyone know about that."
"Pretty much. You have Dahlia to thank for that. Which reminds me, I thought I saw that girl around here. She's supposed to be working."
"Bathroom, maybe?" Sookie shrugged and headed to the back. She understood that Eric's office was right next to Sam's. She was sure the protocol was to knock first, but from her vantage point at the end of the hall, she could see that the door was open. As Sookie rounded the corner into Eric's office, she became mildly disturbed at the fact that it was open. In front of God and everybody who happened to walk into that open door was Dahlia, straddled across Eric's lap, the two of them engaged in some rather not-open-door activities.
"Oh shit, sorry," she blurted, backing out of the door, closing it behind her. _Well that was something I certainly didn't need to see_, she thought as she made her way out of the back hallway. Whatever inkling she had that Eric might have been interested in her was just completely wiped out by the display she just witnessed. She had just made it to the end of the long hallway when someone blew by her, knocking her off balance. Sookie then felt a hand wrap around her forearm and hoist her back up.
"We've got to stop meeting like this," joked a disheveled Eric. Sookie jerked away from him.
"Sorry that I interrupted…whatever that was," she apologized before starting to walk out again. She was prevented from doing so by a hand on her wrist.
"We have a meeting, don't we?" Eric asked, releasing her and walking back to his office. Sookie stood there for a minute, dumbfounded, before she followed him.
---
Dahlia had finished straightening herself out by the time she got back to the waitress area. "So nice of you to join us," Arlene commented when she saw Dahlia at the bar. Dahlia shot her an acidic look and went to finish prepping the tables.
Twenty minutes later, the house lights were down and the ambience lights were on. The earlier crowd was starting file in, Crystal was dancing, and the rest of the girls (including, surprisingly enough, Pam) were walking around and playing hostess. Dahlia had avoided Arlene by waiting on the few tables that were occupied, but she was forced to come back to the bar to fill her orders. She couldn't help but blurt out, "What the hell is taking Sookie so long?"
Arlene just looked at her. "She has a meeting with Eric, unlike whatever the hell it was you were doing back there." Dahlia opened her mouth to say something, but Arlene cut her off, "I know that you were back there with him. I just hope that Pam doesn't find out."
"You wouldn't."
"I won't." Dahlia let out a visible sigh of relief. "But you might wanna go fix yourself in the bathroom. Pam's blonde, but she not stupid." Dahlia scooted off to the ladies' room as fast as humanly possible. Arlene just chuckled, smiled at Pam because she was looking in their direction, and went to check on Dahlia's tables.
---
Sookie seated herself in one of the black leather chairs in front of his desk. Eric sat down in his high-backed office chair, as if completely oblivious to the fact that he was just with Dahlia in that same chair. "So um, what did you want to see me about?" she asked, severely hoping it wasn't what he apparently wanted to see Dahlia about. Well, maybe not…just a little bit.
"Is everything here to your liking so far, Sookie?"
_With the exception of me just having walked in on my boss giving it to one of my co-workers_, "Yeah, everything is great."
"Excellent. I wouldn't want any of my girls to be unhappy." _So that explains the benefits package?_
"Nope, I am perfectly happy. So if that's it then I'll--" Sookie couldn't finished her sentence as Eric was around the desk and directly in front of her in seconds. She could, however, stand up.
"Are you really, perfectly, _happy_?" He asked, and Sookie couldn't mistake the way he purred the word 'happy'. That libidinous side of her was desperately trying to take over, but the rational side kept it in check. After a few minutes of mental warfare, she managed to move away from him and to the door.
"Yes, I am. Just remember to close your door next time," she flashed him a sneaky smile and left his office. Eric leaned against his desk and shook his head. This Sookie Stackhouse girl was different than the other girls that worked for him, Dahlia and Pam included. He decided that he was going to have to give Sam a bonus for hiring this one.
---
Sookie made a pit stop in the back bathroom before heading out to the floor. She needed a minute to collect herself. After about fifteen more minutes, Sookie emerged from the bathroom and headed over to the waitress area, where she saw Arlene. She also spotted Dahlia, who still looked pretty out of sorts, walking towards one of the front bathrooms. Walking up to the bar, she greeted Arlene, "Hey. Dahlia going to the bathroom again?" She was attempting to sound nonchalant.
Arlene looked confused for a moment, but quickly shook it off, "Oh, uh, yeah…but didn't you--"
"Yeah I did," Sookie grimaced, "but I wasn't sure if you knew or not."
"Well she was kind of obvious about it. The funny thing though, is that she thought she looked put-together when she walked out from the back hallway," Arlene snorted and walked away as Dahlia came back.
"Way to go, bitch," Dahlia spat.
"Honestly, Dahlia, I don't have time for this," Sookie replied, walking away. She took the orders of two tables and returned to the bar.
"He'll probably never want to see me again, and it's all your fault," she hissed.
"If all it took was me mistakenly walking in on you guys, then it probably didn't mean much to him. And I've got news for you: You're not seeing each other. You're fucking in his office!" Sookie countered, trying to keep her voice as low as possible. She picked up her tray and went to wait on her tables. Sookie got about three steps when she heard something hit the floor, followed by a sharp pain at the back of her head. Dahlia had thrown her own tray on the ground, grabbed a fistful of Sookie's blonde hair, and yanked. She started to struggle, but was forced to give up when her heels betrayed her once again.
Once Sookie managed to right herself, she made to lunge at Dahlia, but was promptly grabbed around the middle and subdued by Alcide, one of the bouncers. Dahlia was being held back by Sam. "Now are you ladies going to calm down, or do we have to take you back to Mr. Northman?" someone asked; Sookie was pretty sure it was Alcide.
_Why don't you just do it? That's what Dahlia would want anyway. _Sookie bit down and resisted the urge to vocalize that thought. She really didn't want to out their tryst or whatever, she just wanted to get the bitch back for pulling her hair and being angry for something that didn't even happen. Sookie relaxed her body in a sign of surrender, and Alcide let her go. Sam let Dahlia go as well, but instructed her to go stand up front and play hostess for the rest of the night. On his way back to the DJ booth, Sam shot Sookie a sideways smile. Alcide did the same before heading back to his post at the side of the stage.
Sookie blinked, shrugged, and turned to Arlene, who had watched the whole exchange from one of her tables. "Oh, I am so glad I am not you right now," she commented, walking over. "The guy at the table I was at wanted me to give this to you," she said, handing her a couple of one-dollar bills.
"What is this, some kind of girl fight tip?" Sookie asked. Arlene shrugged and nodded. "And what do you mean you're glad you aren't me?"
"All I'm saying is you better hope that her pull with Eric isn't what she thinks it is, otherwise your days here might be numbered." Arlene grabbed a couple of bottles of TruBlood, heated them, and took them to a table full of vamps. Sookie tucked the money into her purse, and then turned around to lean against the bar. She wasn't really worried about Dahlia. She knew for a fact that her pull with Eric wasn't what she thought it was, and judging by the smiles she had just received from Sam and Alcide, she guessed that Dahlia didn't have much of a pull with anyone here.
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**And there's chapter two. So much catty behavior, I love getting to play the bitch on a multi-person level. In this chapter, I was kind of skeptical of the way I was working with Sookie's initial impression of Eric. I def. don't want it to feel forced. But hell, would any warm-blooded female be able to resist six and a half feet of hot, blonde, Viking? But in saying that, I'm also really excited to get to write snaky, conniving Eric. So yays all around. And once again, I love getting love from the readers. It's an addiction, like crack. Love ya'll!**
**Addendum to the concluding Author's Note: I am seriously sorry about the delay in updating with this chapter. I was all set to post it at 10am today, but something decided to malfunction during the posting process (I don't know if anyone else has had this problem, but whatev). I have copy and pasted this chapter like 7 times, and I even emailed it to myself in an attempt to try and post it from my desktop PC (I mostly operate from my laptop). None of those methods worked. So like an hour ago, I decided to try this method of putting it in one of my already-posted documents, so that is what I did. So I copy and pasted it an eighth time, which meant I had to do some reformatting, but luckily last week's episode of True Blood happens to be on right now, so I was somehow given strength to finish what I started at 10 this morning. And all because I love you guys. And I love hearing from you guys. Seriously, seeing everyone's interest in this little story of mine makes me extremely happy. So here is this chapter, and hopefully by the time the next update time rolls around (a couple of days from now), the glitch or whatever will be fixed. Either way, I will get you guys a chapter update, come hell or high water. So I apologise for any formatting issues, the editing job I did wasn't as thorough as it ususally is. Thanks for bearing with me :)**
**-Sydney**
3. Coffee Break
**Stiletto.**
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**A/N: Hello everyone! You guys continue to blow me away with your support. I sincerely appreciate it. Anywho, I'd like to use this space to address a couple of questions and concerns. For anyone who is wondering, yes, Eric is a vampire. He falls under that 'everyone in this story maintains their supernatural affiliation' clause I included back in chapter one's author's note. Also, I've discovered a bit of animosity towards Dahlia. Just a word to anyone who's read Drawn, this Dahlia's anti-Sookie mentality is separate from anything she thinks in the Drawn universe. Just clearing that up in case anyone was curious. This Dahlia's bitchy personality, however is congruent to her personality in Drawn, she just chooses to tone it down in that story. All in all, she's a pretty laid back person until she's confronted with a problem (i.e. Sookie in Stiletto). Oh, and I've also taken some things into consideration and will be adding some of them in the future.**
**Thanks and Enjoy!**
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**Chapter Three- Coffee Break**
They had all pretty much finished closing for the evening when Sookie went to the back bathroom in an attempt to get the smell of bleach off of her hands. The bathroom at the back of the club had one entrance, which lead to the communal washroom. From that communal washroom there were two doors, one to the men's room and one to the ladies'. Sookie washed her hands about three times before determining that she did the best that she could about the bleach, and reached for a paper towel. She tossed the paper towel she had used toward the trashcan. She missed. Sookie walked over to the crumpled up wad of paper, and bent down to retrieve it.
"That's some view," came a smooth voice from the other side of the doorless frame that was the entrance to both bathrooms. Sookie popped up quickly, placing the paper towel in the can, finally. She spun around to see Eric leaned against the wall, across from the doorway.
---
Eric had just been leaving his office when he spotted Miss Stackhouse bent over by the bathroom entrance. It was just to good an opportunity to pass up. He had already decided that he was going to approach the little blonde after closing, but he was actually glad he found her by herself. No, it was nothing perverse like that. He had simply caught word of her little girl fight with Dahlia from Merlotte.
He was sad that he had missed it. There was nothing quite like a catfight.
Eric knew that he enjoyed Dahlia immensely, and was pretty sure he didn't want to give that little arrangement up so quickly, so he'd have to ply her with a gift or dinner, or something for throwing her out of his office so abruptly. There was just something intriguing about Sookie, and he had to talk to her right then, even if it wasn't an intense conversation. And if that meant throwing the feisty little redhead out mid-coitus, then so be it. Maybe it was a blonde thing. He smiled, thinking of Pam. He knew he'd have to take her out as well, to appease her. These women were pretty easy to manage if you had the necessary…means. After enjoying the sight of the Stackhouse girl bent over for a couple of seconds, he made his presence known. She jumped at his voice, then turned to face him.
"I didn't think anyone would be back here," she stated plainly.
"You do know my office is right over there, right?" he asked, jerking a thumb to indicate the door about two down from the one that was currently between them. He took a moment, then laughed to himself, "What am I saying? You know exactly where my office is." He smiled as he watched her shudder at the reminder of her intrusion on his quickie earlier.
"I said I was sorry about that," Sookie offered.
"No matter. I was done anyway," Eric replied, brushing it off with a smirk. Sookie rolled her eyes, exiting the bathroom. She was almost at the end of the hall, when she heard Eric call her. She turned back around.
"What?"
"I wanted to let you know that I was on my way to find you when I spotted you…"_…on your knees…_"…in the bathroom."
"Ok…and here I am." Sookie was unsure of what was going on.
Eric smiled, "That you are. Would you be interested in grabbing a post-work cup of coffee?"
"As a matter of fact that's where I was heading after I washed my hands." She started for the end of the hall once more. Once again, Eric stopped her.
"I meant with me."
"I know you did." She smirked at him. He thought it was the sexiest thing he'd ever seen her do with her lips. Well, perhaps the second sexiest…but that was only in his mind.
"So do you want to?" he asked. Sookie looked at him for a moment. That was perhaps the most loaded question he could have asked her. She decided she'd just stick with the coffee possibility.
"Sure. Why not?" Sookie figured that there was no harm in getting coffee with him. Besides, he wouldn't even be getting coffee himself. She knew there was no sense in over-analyzing a freaking cup of coffee at the present moment.
"Ok, I'll meet you out front." Sookie tilted her head. "I heard about your confrontation with Dahlia earlier," he smiled at her. She shrugged and walked out ahead of him to go and find Amelia.
---
By the time she returned to the main floor, she noticed that both Dahlia and Arlene had already left. She poked her head into the dressing room area, where she found Pam and Amelia. Amelia was brushing out a wig she'd used in a performance, and Pam looked up at Sookie. She stood up from where she was sitting at the vanity and walked toward the door.
Sookie acknowledged the other blonde, "Hi. I don't believe we've met-- I'm Sookie."
A smile spread across the taller blonde's face. "Charmed," she purred before heading out of the dressing room. Sookie watched her walk out before turning her gaze on Amelia.
"Um…I'm kind of going with Eric for coffee in a few. Are you ok to walk home by yourself?"
"Yeah, it's fine. Wait…with Eric?"
"Uh huh." Sookie couldn't help but blush a little bit. She had no clue why she was blushing at all, she assured herself that it was just a friendly cup of coffee-- _a meeting continuation, if you will. Ok, so maybe that was a lie._ She knew exactly why she was blushing. _Stupid Viking-looking vampire_.
Amelia got up and the two girls headed to the employee entrance, turning the lights off in the dressing room. They were outside in enough time to catch another one of the bouncers, Tray Dawson, and he offered Amelia a ride home. Sookie was about ninety percent sure that the ride wouldn't end at their apartment. She smiled to herself. Even though Tray was a Were, she was happy that her friend could enjoy a relatively normal dating life. Being able to hear all the disgusting things your date wanted to do with you was mildly off-putting to say the least. Besides, most guys in Bon Temps knew her as 'crazy Sookie'. Being in Shreveport was a little better, and she had been on a couple of dates, but it was always the same routine. Sookie was lost in thought about some of her past dates when she felt a hand on her shoulder. She was all set to spin around and pepper spray whoever was touching her, until he spoke.
"Relax, Sookie. It's just me." She looked up to meet a pair of blue eyes. Eric.
"You could have made your presence a little better known. I was just about to mace your ass," she scolded.
Eric laughed. _Like mace would even work_. He would just let her think what she wanted. "Sorry. So how about that coffee? There's a 24-hour Denny's up the road."
Sookie couldn't help but smile at the fact that this big, intimidating-looking vampire was suggesting a Denny's. "Lead the way, sir." Eric offered Sookie his arm. She was reluctant to take it at first, but did anyway. And what a nice arm it was! Sookie's libidinous side was creeping up again. As they were walking to Denny's, Sookie was starting to think that Amelia was right and she should just go on and swipe her V-card. Especially if just holding her boss's arm was starting her up. She resolved to blame it on Eric and his arm. _His big, strong, muscular arm…Damn it, Sookie!_ She wracked her brain for something to say-- anything to say.
"Isn't sitting and watching me drink coffee going to be boring?" she asked. _Good…that was a nice, tame sentence. Nothing wrong with that_.
"Watching you could never be boring." _Well, shit. So much for that plan_, she thought, stumbling a little from his words. She was thankful that Eric didn't notice. If he did, he just wasn't letting on. "Besides, this Denny's stocks TruBlood."
"Oh." It wasn't much longer until they were standing in front of the aforementioned Denny's. It was one of those diner-style ones, the cute ones that looked like something out of Grease. Eric walked behind her as Sookie walked up the little ramp to the door. She nearly giggled when the little bell on the door jingled as she opened it. Sookie was the first to approach the hostess podium. The waitress that approached it was a girl of about eighteen maybe, with dyed black hair and red lipstick. Anyone could tell that she was excited at the prospect of seating a vampire. So much so, she fumbled with the menus and almost tripped on the way to the table. Sookie suppressed another giggle, and looked at Eric. She could tell that he was used to that kind of thing.
Once they got to the table, Eric sat on one side of the booth. He wanted to see how Sookie would handle the seating situation. She slid into the booth on the opposite side. He wasn't really all that surprised, considering he could tell that she was getting worked up just from the slightest bit of contact on the walk over to the restaurant. Eric watched her as she studied the menu, which he figured was an attempt not to make eye contact with him. "Are you hungry?" he asked, breaking the silence hanging between them.
Sookie looked up at him, "Me? Well…kind of, I guess."
"Then order something."
"No, I can't. I mean…it would be rude."
"Don't worry about that. If you are hungry, order something." To Sookie, it sounded more like an order than a request. Thus, when the waitress came back around to deliver Sookie's coffee and Eric's TruBlood, she ordered a Grand Slam. When the waitress returned, Sookie caught some envious thoughts from the small wannabe fangbanger. She had also gathered that she had spit in the eggs. Taking that into consideration, she waited until the girl walked away, pushed the eggs to the side, and started on her pancakes. Sookie rolled her eyes. It's not even like she was dating Eric. _Wait, is this a date?_ she wondered. She decided to make like Scarlet and worry about it later.
"What's with the eggs?" Eric asked.
"The waitress spit in them," Sookie replied, as casual as anything.
"How do you know that?" he stared at her incredulously.
"I uh, am a telepath."
"Like Dahlia?" Sookie was a bit surprised that he knew.
"Yeah I guess."
Eric smiled at the thought of the redhead. His smiled bigger at the prospect of having two telepaths under his employment. "So I am to assume that you can't read vampire minds then either?" Sookie nodded.
"Yeah. So that's how I know she spit in my eggs. She's extremely jealous that I'm here with you. She also wants you to, and I quote, 'fuck her brains out'," she finished, using air quotes to emphasize her point. Eric actually laughed out loud at that. At the sound of his laugh, Sookie relaxed a little. She was pretty sure she had successfully diffused the situation and that Eric wasn't going to hurt her because of her gift.
When the waitress came back around to drop of the check, both Sookie and Eric could tell that she was pissed because Sookie didn't eat the tainted eggs. All either of them could do was laugh as she slammed the check down and stormed off. Sookie reached into her purse to get money to pay for her food. When she looked back up, she saw Eric at the cashier's counter, paying. _Great, he's paying-- he definitely thinks this is a date_, she sighed to herself as she gathered her purse and her shoe bag. While she waited for Eric to finish paying, she walked outside to wait on the ramp. She really didn't feel like waiting in there and listening to that waitress's thoughts-- both the ones about her, and the lewd ones about Eric. Sookie was having a hard enough time thinking tame thoughts around Eric with out the added stress of this teenage girl's rendition of the Kama Sutra. She didn't even really know why she would even be attracted to a guy like Eric. He was cocky, he was arrogant, and not to mention he was just having sex with another girl like, seven hours ago. A girl that she had to work with…in his office! And in addition to all of that, said girl now had a personal vendetta against her.
_She already hates you…you might as well give her something to hate you about_, libidinous-Sookie decided to make her opinion known. Rational-Sookie managed to successfully put it to bed by the time Eric walked out of the restaurant. "You didn't have to pay you know."
"I know. But what kind of man would I be if I didn't pay when I was the one who asked you out?" Sookie was about to protest the evening's date-status, but Eric flashed her that killer smile of his. She had to spend the next couple minutes walking, while beating her libido back into submission.
"I understand that you live around here." It wasn't a question.
"Yeah, I do. I can make it home from here. Thanks for breakfast and I'll see you tomorrow night."
"Let me at least walk you home. I wouldn't want anything to happen to one of my girls." It was the way that he referred to her as 'one of his girls' that made Sookie sure that her libido was done for the night. She then figured that since that was settled, there was no harm in him walking her home. The walk home was silent, and when they got to her apartment, Eric stood at the foot of the stairs. "I can't come in unless you invite me. I'm standing at the bottom of the steps to be polite." Sookie breathed a sigh of relief at the concession of that particular fact.
"Good night, Eric. Err, good morning, I guess." She smiled at him. Eric took her hand and kissed it gently. Then, he was gone. Sookie stood on her doorstep for a couple of moments, then finally went inside. She was going to have so much to tell Amelia when she woke up, and judging from the sounds coming from Amelia's room, she'd have a lot to tell Sookie as well.
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**Chapter three, ladies and gents. Once again, feel free to send questions, comments, otherwise. Thanks for reading, and chapter four is on the way.**
**-Sydney**
4. Theme Night
**Stiletto.**
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**A/N: First of all, I'd like to give a huge THANK YOU to all of the awesome people who have alerted, favorited, and/or reviewed either me as an author or this story. I also have some serious love for my repeat reviewers. All of you guys that read this story and write me things keep me going seriously. And because you keep me going, you're getting this chapter early. You're also getting early because next week is going to be pretty hectic as I leave for college on Thursday. I'm hoping to at least pen chapter five, if not post it as well.**
**Enjoy!**
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**Chapter Four- Theme Night**
Eric was standing by his car; he had left Sookie at her doorstep but a short twenty minutes ago. He was very confused as to why he stood at the foot of her stairs, and why he conceded the fact that she had to invite him in. He wondered why in the hell would he need, or even want, to be polite to this one. The reason Eric remained standing outside his car was that he was debating whether or not to pay his visit to Dahlia then. He knew that she lived in an apartment complex that was closer to Fangtasia than Sookie's. There were a couple hours left until dawn, and he also knew that she had a light-proofed bedroom. He smiled to himself before heading off in the direction of his redheaded distraction.
---
Sookie was sitting on the couch watching TV when Amelia finally emerged from her room around 2pm. She honestly couldn't blame her though, Sookie had only been up for about an hour herself. That was one of the many perks of having a nighttime job. "Good afternoon, sunshine."
"Hey Sook. When did you get in this morning?"
"I don't know. Maybe around 3ish? You were occupied."
Amelia blushed, "Yeah, about that…"
Sookie held her hand up in the universal gesture for 'stop', "Please, no explanation necessary." Both girls started laughing.
"So what about you? Not sleeping with the boss already are you?"
"I'm not. But Dahlia is."
"No shit?"
"I, uh, saw it for myself." Amelia looked at her sideways. "I kind of accidentally walked in on them at work."
"In his office?"
"Uh huh."
"Dahlia is one classy girl," Amelia responded sarcastically. "So that's what the catfight was about?" Sookie nodded.
"Yup. She tried to pick a fight with me because Eric threw her out right in the middle in favor of the meeting I was supposed to have with him. Well, maybe it was more towards the end of their ordeal, as he so eloquently pointed out."
"Nice. And you still went out with him for coffee."
"It was not _going out_. I'd like to think of it as a continuation of the initial meeting. Plus, he paid. Oh, and some vamp at the club tipped me four dollars for the Dahlia-catfight."
"So it was a good night then?"
"A very good night, I'd say."
"But you didn't sleep with him."
"No, I didn't. I'm not Dahlia. Besides, he's kind of cocky."
"That's not surprising. He's banging two of the girls that work for him."
"Do you think that either of them know about the other one?"
"Dahlia definitely knows about Pam, because she wears it like a badge of honor. I doubt Pam knows about Dahlia. If she did, you wouldn't have been the one getting tipped for the girl fight."
"Good point."
Amelia nodded, "Any plans for today?"
"Sunbathing. Want to join me?"
"I'd love to, but I'm grabbing a late lunch with Tray." She looked at her watch. "A late lunch that I'm actually late for," Amelia said laughing. She pulled on a jacket, picked up her purse, and was out the door. Sookie stood up and headed back to her room to change into her swimsuit. She loved their little apartment building because they had access to a really nice roof where she could sunbathe. Once she was up on the roof, Sookie set up a chair, put down a down, and slathered on some low SPF sunscreen. She knew it wasn't very good for her, but sunbathing was pretty much her only hobby. She cracked open her book and within thirty minutes, she was asleep.
---
Sookie awoke to Amelia tapping her on the shoulder. The tapping gradually turned to gentle shaking when it took Sookie a minute to actually open her eyes. "Hey. What time is it?" she asked.
"It's about 4:30, but I didn't want to leave you out here to roast."
"Thanks." Sookie stood up and gathered her sunbathing things. The two girls left the roof and went back down to their apartment. Amelia started to head to her room, but turned around when she remembered something.
"Oh, hey, we got a shipment of costumes that we had ordered yesterday and we all thought it would be fun if we used them and had a theme night tonight. I can't tell you any details because we were afraid you'd call in sick or something. I'm only telling you now so you don't stress yourself over getting ready. But it's going to be _awesome_."
Sookie kind of just looked at her roommate. "You're serious."
"Absolutely. We asked Sam and everything."
"Alright. Maybe this could actually be kind of fun," Sookie decided.
"Yup. So just do your makeup and put on some street clothes. Do you want to grab food beforehand?" Sookie nodded. They watched a little TV, got ready, and headed out to grab some dinner at a little sandwich place a little walk from their building.
---
There was a soft light on in the room when Eric awoke that night. He pawed at the silky, red sheets for a moment before he remembered where he was. He had only visited Dahlia's apartment once before, and that was on the night of their initial encounter. She kept a simple apartment; Eric deemed it modest enough for a girl who worked as a waitress. Speaking of the waitress, Eric noticed that she was absent from the bed. He was hungry and he knew that Dahlia knew that this particular sleeping arrangement came with a meal plan. If he wasn't so damn hungry, he would have split already. He really had no purpose in staying around after he awoke; it's not like they were going to walk to work together or anything. Eric knew full and well that he regarded Dahlia as nothing more than a feed and fuck, or in this case a feed and fuck-a-certain-blonde-waitress-out-of-his-system. He was pretty sure that Dahlia knew the score, but that she didn't care as long as he was occupying her bed. She definitely had a thing for him, but she seemed happy with the occasion lay rather than nothing at all. He only had to wait a couple of minutes before she wiggled her hot little self back into the room. Apparently, she had already started getting ready for work.
"It's a theme night tonight," she practically squealed before sitting on the side of the bed.
"What's the theme?" Eric genuinely enjoyed the themes that the girls would come up with. That was mostly the reason he allowed them to be approved by Sam rather than him. He considered it a present from his girls.
"It's a surprise," Dahlia responded, pushing him on the knee lightly. "But, it's gonna be fun." She smiled warmly at him. He had to admit, she was quite adorable. It was cute the way she got excited about her job. Dahlia nonchalantly flipped her hair behind her shoulder, exposing the cream-white skin of her neck. That was when Eric remembered why he was still in her apartment-- and bit. While he was feeding from Dahlia, it occurred to him that Miss Stackhouse would be participating in the theme night as well. _Interesting_.
---
"No, absolutely not," Sookie whined as Amelia held up her costume for her.
"But you have to. I snagged the best one for you," Amelia argued. Sookie looked from her friend, back to the costume in her hands. They had barely made it ten steps into the club when she realized the theme: Moulin Rouge. Apparently the bouncers got into this whole theme-thing too, as they had helped decorate the rest of the club. They put red velvet tablecloths over the tables, there were strands of beads and feathers strewn about, and there were ornate chandeliers hanging from hooks that Sookie had just noticed were in the ceiling. She guessed that they did this theme-business often. There was one really large chandelier over the stage, in a Phantom of the Opera kind of fashion. Sookie had to admit that it did look really pretty. Amelia dragged her into the dressing room before she had a chance of thinking about leaving. That was how she ended up in a burlesque costume in front of a full-length mirror.
If Sookie had ever thought of dressing like a Moulin Rouge girl, she was pretty sure that the costume that Amelia was holding would make the top of her list of options. It really was a nice costume. The bodice was corseted, with lacing up the front. The lacing was pretty spaced, so you could see about a two-inch strip of skin down her front. The corset was also creating a crazy amount of cleavage, not that Sookie really needed any additional help in that department. It had a sweetheart neckline that was trimmed in black with rhinestones, and the whole thing was vertically-striped in red and black. The skirt was made of red, crushed velvet-looking material that was gathered up at the sides. There was a black ruffled trim on the bottom, and the back came together in a gathered bunch of red velvet and black ruffles. It was finished off with two black bows, one over the other, in the center of the back of the skirt.
"All the dancers are coordinating in blue, and the waitresses are coordinating in red," Dawn added, tossing her a pair of striped thigh-highs. Sookie pulled on a black garter belt over her black silky panties, clipping the stockings to it. The girls skipped the clear heels in favor of black high-heeled Mary Janes. Sookie was happy about the change in footwear; she felt a whole hell of a lot more stable in the MJ's. She sat down while the rest of the girls got ready. Amelia was right, her costume did outshine both Arlene and Dahlia's. Sookie wondered if this was Amelia's subtle attempt to try and have her one-up Dahlia in front of Eric. At that point, she really didn't care-- she was starting to love the way she looked in her costume along with accompanying confidence boost. Amelia was pinning a couple feathers in Sookie's hair while Dahlia was getting ready. She sensed the mean vibe Dahlia was emitting at the sight of her costume, so she tried to block her thoughts out as best as she could. She did pick up the occasional _bitch_, however. Once the three waitresses were all finished, they made their way out to the floor to start the evening.
---
Eric had left Dahlia's apartment as soon as he had gotten his fill of her. Once he arrived at Fangtasia, he went straight to his office-- he felt like being surprised with tonight's theme. He bided his time by going over revenue reports and other things that required his attention, and he was soundly occupied up until he heard a knock on his door about two hours later. Eric called out a signal of entrance and the door opened, Merlotte strolling through it.
"You owe me big time for approving this one, Northman. This might be our best theme night yet," Sam commented, leaning against the door frame. "The waitresses are on the floor, if you want to come out now. Or I could come back and get you for the Dollhouse Dance?"
"No, no. I'll come out now." Eric was mostly concerned with seeing his two waitresses. He was anxious to see Pam as well, but he knew he'd have to wait for the Dollhouse Dance either way. Might as well take in some pretty sights during the wait. He stood up and walked with Merlotte down the long hallway. When they made it out onto the main floor of the club, it took Eric a minute to realize that Sam was no longer walking beside him. He looked back at his manager, who epitomized the figurative 'deer in the headlights'. Following Sam's line of sight, Eric realized why he had stopped. He also adopted the same deer-look.
Sookie was standing at the bar, apparently engaged in a conversation with Arlene. Eric wasn't exactly sure what she was doing, not that he really gave two shits at that moment, as his eyes were immediately pulled to her outfit. She was standing with one foot kicked back behind her a little bit, so that was where Eric started his scan of her body. First, he looked at the heels that she was wearing, and he thought that they complimented her more than the clear shoes that the rest of the girls wore. Trailing up, his eyes followed the lines of her legs, where he noticed that her stockings were attached to a garter that was deliciously peeking out from under the short, full skirt of the dress. _But, oh, that skirt!_ He was pleased with the way that it was short, but still long enough to be tasteful. Eric continued his gaze up further to her bodice. He didn't think he could be stunned any further by her costume, but he was pleasantly proved wrong. Sookie looked as if she had stuffed herself in that corset-- but in the best possible way. Eric never claimed to know much about ladies' costumes, but he was pretty positive that her corset was perhaps a couple of sizes too small for her ample bosom. The blonde vampire never wanted to hug someone more than he wanted to hug whoever gave her that costume. He, shockingly enough, managed to pull his eyes away from her chest quickly and let his eyes take in her blonde hair; it was done up in some soft curls and complimented by a few black and red feathers. Sookie never once looked his way as he stood there staring like a moron. Eric turned to look at Merlotte, and suddenly wanted to tear his throat out for doing the exact same he was doing. _How very…hypocritical?_ Eric shook his head. He felt someone approaching him as he watched Sam go and check in with the front bouncers.
He turned to the direction he felt the person approaching from. Dahlia. The costume that the curvy redhead was wearing paled in comparison to Sookie's. Dahlia wore a corseted dress as well, and while she was as well-endowed as Sookie, the corset was just more plain. It was solid red and was attached to a black can-can skirt, much shorter than Sookie's. He noticed that Dahlia and Arlene's costumes matched. From where she was standing, Eric noticed that Dahlia was wearing fence-net stockings, and he followed the line of them up to her ass, which was partially visible under the skirt. Although her costume was less detailed than Sookie's, Eric still couldn't deny that Dahlia looked sexy. He looked around the club; the only people on the floor were Merlotte and the bouncers up front (apparently having a meeting), Sookie and Arlene at the bar, and Dahlia and himself. Eric figured there was no harm in interacting with the cute little redhead. He just knew that they'd have to maintain a professional distance.
"You look great," he stated simply. The sentence was followed by a low growl.
Dahlia giggled, "Aren't you glad I kept it a secret?" She did a little spin for Eric. He nodded in agreement, but his gaze kept shifting over to Sookie. Dahlia noticed his waning attention. "Do you want to have a more private viewing in your office?"
Although some instant gratification would certainly help the current situation in his pants, Dahlia wasn't who was occupying his thoughts or controlling his blood flow at the moment. "Maybe later. Why don't you go help welcome some patrons?" Dahlia couldn't really say no to him, and after a playful slap on the butt from Eric, she turned and walked to the front.
---
Arlene and Sookie had gotten the prep work done considerably fast, so they were spending their free time just chatting. Sookie had learned that Arlene had two young children, as well as horrible luck with men. They both gossiped a bit about the Dahlia-Eric situation. Speaking of, neither of them were aware of anyone else in the room until they saw Dahlia walk by. She was on her way to the front, and she looked _pissed_. Sookie knew that she wasn't the source this time, so she took a moment to look for whoever was. That was when she saw Eric. She didn't know how long he'd been standing there, but she could tell by the way his eyes followed Dahlia while she walked up front that he was the cause of her frustration. Additionally, she could tell that from the way Eric's gaze turned to her shortly after, she probably wouldn't be getting off scot-free tonight-- from either party involved.
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**Ok, so here's some things I was thinking about while writing this chapter. **
**-First, I'd just like to mention that I am a fashion major, which is why I ended up going into such detail about the costumes. I plan on doing more Fangtasia "theme nights" in the future, so expect some more of that. Plus I just had too damn much fun looking at costumes online.**
**-Second, while writing this chapter I did some extensive research on stockings and pantyhose, mostly because I love them a lot and I'm a clothes geek. For clarification for anyone who needs it, fence-net is the technical term for those stockings that look like really big fishnets. **
**-Third, while I was writing the first section of this chapter (the Eric part), I had a serious debate with myself whether or not to include some Eric/Dahlia light lemons. So I'd really like to hear some feedback about that for future reference.**
**-Fourth, I made a bunch of references to some of my favorite things in this chapter. The first one was the theme, Moulin Rouge is like my all-time favorite movie. Phantom of the Opera is pretty high on that list as well. I also have an unhealthy addiction to high-heeled Mary Janes.**
**-And Fifth, I've added a link to the inspiration for Sookie's costume in my profile, so if you're interested, you can check that out.**
**All that said, much love, and I shall update as soon as I can!**
**-Sydney**
5. Why Yes, You Can CanCan
**Stiletto.**
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******A/N: Welcome to chapter five of Stiletto. You have me all to yourselves, pre-college leaving, and at 4am writing this A/N and some of this chapter. Oh, and I made my presence known over at the Sookieverse, and I love it there. So, the show must go on! And yes, the title is a shameless reference to Moulin Rouge the movie, as was the last sentence. And there probably will be some more in the story…what can I say, I love that damn movie. And thanks to VampFan4 for catching the fact that I didn't put the link to Sookie's Moulin Rouge costume in my profile. But it's there now, lol. And I'd like to send big bundles of thanks and love to my first-time and return reviewers once again. Oh, and I put my Paint skills to good use for you guys and drew up a floor plan to Fangtasia the gentlemen's club. It is of course not accurate to scale, but it gives a pretty good idea of what I'm going for with the descriptions.**
**Enjoy!**
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**Chapter Five- Why Yes, You Can Can-Can!**
Eric stood and watched Dahlia walk for a minute. He was sure that she was pissed at him, but it was nothing he couldn't either fix later or get over. As she walked past Sookie, he allowed his gaze to shift over to her. He also noticed that Sookie saw Dahlia huff off to the front, then saw him, and had made the connection of their exchange. Eric had to hand it to Sookie, the girl was bright. He let himself get caught watching her, before deciding '_the hell with it'_, and walking over.
"Sookie, a word?" Arlene took a hint and went to help greet the patrons that were slowly filling the club. Once she was gone, Eric continued speaking, "You look absolutely ravishing tonight, my dear." He watched the heat rise in Sookie's cheeks.
"Thanks," she managed to stammer out. Sookie knew that she was blushing, and that was mostly because she was seriously considering letting him ravish her. She knew that he thought that she wasn't paying attention, but she saw him openly ogle her out of the corner of her eye while she had been speaking with Arlene.
"I have a proposition for you."
"Oh, I'm sure you do," spilled out of her mouth before she realized that she was talking to her boss, and that there were patrons within earshot. Her mind was put at ease when she heard him chuckle softly.
"You're right, but this one is business-related." _Ok, so frank is the name of the game tonight_, Sookie thought as she looked at him for a second.
"So what did you have in mind, sir?" She asked, adding the 'sir' as a customer walked right in front of them. Sookie was pretty sure of a gist of what he might have in mind, but she was supremely glad that she didn't _actually_ know what was up there.
"A lot of things, my dear." He shot her one of his trademark smirks. "But tonight I'd like you to be my table girl." _What the?_ A myriad of different definitions for that term scrolled through her brain. Logic somehow managed to pick the right one, but Sookie was still unsure of the complete job description.
"So I get that I would be your personal waitress, but does this entail anything else?"
"Not really, but I'd like you to spend at least an hour sitting with me though."
"Sounds good." Yeah, the prospect of taking a break that would last 'at least an hour' did sound pretty good.
"Great, your presence is requested right after the Dollhouse Dance." He smiled at her before walking off to his table. Sookie took a couple of orders and made her way back to the bar. Arlene was already there, making martinis.
"What was that all about?"
"Eric wants me to be his table girl tonight."
Arlene just stared at Sookie for a moment. "Wow, he hasn't requested that someone do that other than Pam, and she hasn't done it for quite some time."
"Oh." It was all that Sookie could say. Arlene started to deliver her martinis, when Sookie stopped her. "Do you know what kind of TruBlood he likes?"
"Whatever your type is, hun." She walked off to drop off her drinks and take more orders. Sookie barely had time to process her statement when she heard the static noise of the P.A. system starting up.
"Good evening, and welcome to Fangtasia. As you may have gathered, it's another theme night here, and tonight's theme is Moulin Rouge. So without further ado, tonight's Dollhouse Dance." Sookie looked up at Sam in the DJ booth. Apparently the dancers had talked him into a tuxedo and top hat. He turned a spotlight on the stage, and music began to flow through the speakers.
Sookie couldn't help herself, she laughed out loud when she realized what the song was. The unmistakable beat of the updated 'Lady Marmalade' thumped through the club. Sookie went on and delivered the order she was working on. She took a couple more orders and filled them; she knew that it was only a couple minutes before she'd have to entertain Eric. _But the word 'entertain' makes it sound like a chore. But it's not a chore, Sookie, _and the mental conversation began.
_But it is my job. I'm just doing my job._
_Yes, but going and sitting with him isn't part of the job. You opted for that part._ The little voice that was talking to Sookie's thoughts resembled her conscience. Except instead of trying to put her on the straight and narrow, the voice's path of choice was more wobbly and uncertain. Uncertain and strangely…wonderful-sounding? She thought that maybe her conscience had finally caught up with the rest of her body, joined the fight against whatever was inside her that was holding on to her virginity. That part was looking for someone who simply cared about her, and at that point, she was sure it probably wasn't mister tall, blonde, and emotionally-unattached.
Before she could further contemplate that figurative war, the song had ended. She grabbed her bottle of TruBlood out of the microwave and headed toward Eric's table.
---
Eric was pleasantly amused by the group number this evening. All of the dancers' costumes coordinated, he noticed, and consisted mostly of corsets without skirts and ruffled panties. Eric decided that he _definitely_ need to find whoever was responsible for the costumes. He sat back, smiling, and taking occasional looks at the parade of women. He knew Pam always came out last, which was largely due to the Prima Dona reputation she had fostered for herself. Eric also knew that the vast majority of his staff was under the impression that her "status" was the result of him playing favorites, or sexual favors, or both. He was constantly intrigued by the rumors that Merlotte would catch wind of, and while it was true that they had once been intimate, but that was long since in the past. The nature of their relationship had graduated to more of a playful friendship, or as close to that as their two personalities would possibly allow. That was simply the style of their maker-child dynamic these days. That didn't mean that they both didn't actively do their part to keep the façade up for show. Pam was well-adjusted to her Queen Bee role, and Eric was happy that she was happy.
Eric had become interested in Dahlia shortly after Sam had hired her. He was attracted by her at first sight, after all, she was quite stunning. She had a blatant attitude and she was quite forward in her advances, but he just brushed it off initially. The first theme night she had participated in was a 40s pin-up one. If there was anyone who was born in the wrong decade, it was Dahlia. Having actually lived in the 40s, Eric was fast to realize that this girl oozed the sex appeal of that time. Everything about her was incredibly accurate, from her clothes to her hair. I was informed later that she was the only girl who didn't wear something from the club's costume closet. Eric loved it and knew that he had to have her. This was no difficult task, everyone in the damn club could see that she was smitten, and soon after that he had a guaranteed lay whenever he wanted. It was always the same arrangement, sex and a feeding. His eyes slid over to her at the hostess podium. He was content with that arrangement; she was a good partner, but he didn't feel anything other than that. Their trysts became less frequent, and Dahlia began to leave with guys from the club more frequently, as if to spite Eric. Any hopes of Eric actually caring about her were effectively dashed when Sookie was hired. Sookie was so unlike Dahlia it was almost polar. Dahlia exuded sexuality and Sookie was a breath of fresh air, so to speak. There was a dichotomy between naïve and sexy with Sookie, Eric had noticed, and it was intriguing.
Eric concluded his reminiscing when he realized the song had ended and Sookie would be joining him soon. As if she responded to him thinking about her, she was at the booth almost instantly, a bottle of TruBlood in hand. Eric made a motion for her to sit and accepted the bottled blood. He could have cared less about what type it was-- he didn't even bother to look-- he was just happy that it could stave off his current hunger. Hunger for Sookie. "Thank you," he said as she scooted into the booth.
Sookie smiled at him, "Did you enjoy the group number?" she asked.
"I did very much, but none of their outfits held a candle to yours." He smirked as he watched that lovely shade of pink wash over her features.
"Not even Pam's? Or Dahlia's?"
"Between you and me, I'm not Pam's type." Eric had no clue why he had just dropped the ball on their façade, but he wanted Sookie to know the truth about that particular subject. Sookie just nodded; he wondered if Pam's current orientation was becoming more obvious to the others. He'd have to investigate that later. Right now, he just wanted to focus on the blonde sitting next to him. "And Dahlia…" Speaking of, the redhead strolled over to the table.
"Mr. Northman, Mr. Merlotte wanted me to inform you that there is something that needs your attention in your office." Sookie made an audible gagging sound.
Eric looked at Sookie, said "I'll be right back", and walked toward his office. Sookie was surprised that Dahlia didn't follow.
"Oh, I'm going back there," Dahlia responded to Sookie's thought. "I just wanted to tell you to back off, or it'll be worse than a little hair pulling next time." She got up and walked to the bar to give Arlene some "bathroom" excuse, before scampering to the back.
Sookie rolled her eyes and made to get up when she heard another voice. "Wait a second, Blondie." She turned to see Pam heading toward the table. "What brings you to this table?" Sookie was speechless-- the girl had gone from zero to sixty in the word department.
"Uh…Eric?"
"Of course, dear. Now next question, why is the redheaded slut on your shit?"
"Uh…Eric?"
Pam laughed out loud. "I figured as much. I don't know why she's so uptight, she's the only one fucking him." Sookie's eyes bugged. "What? Don't look surprised, I know Eric told you. And I know what everyone thinks, but God, it's been at least a couple hundred years since we've fucked. Just keep that to yourself."
"Why are you telling me all of this, Pam?"
"I heard about your catfight. When I saw you in the dressing room afterwards, I didn't make the connection. I only wish you could've gotten a hold of her. I'm sure she's bound to come after you again, so do some damage next time, will ya?" Pam walked back to the dressing room.
Sookie turned her head in the direction of the back hall and she realized that she had to use the restroom. She headed down the hall. _At least they had the decency to close the door this time_, she thought as she entered the ladies' side. Sookie took care of business, exiting the ladies' side only to see someone on the other side of the open frame, entering the communal washroom. _What the hell was with this bathroom, anyway?_
Sookie recognized the someone as Alcide, the only time they had ever interacted was when he pulled her away from Dahlia. Upon further appraisal, she noticed that he was quite attractive in a rugged kind of way. Her mind immediately slipped to the smile he had given her after the catfight. "Hey, Alcide," Sookie greeted, utilizing the sink next to him.
He nodded in her direction, not looking up, "Sookie." Alcide finished washing his hands shortly before Sookie. While she dried her hands, Alcide got a chance to look at her. He had front door duty that night, as a result of drawing the short straw at the meeting earlier that night. He had also caught wind of Sookie's little get-up from Quinn, the bouncer who had relieved him so that he could, well, relieve himself. After seeing it in person, Alcide decided that Quinn's description did her no justice whatsoever. He already thought that she was a knockout, but seeing her in her little Can-Can outfit brought a couple of things to life. One of them was the desire to ask her out. Three guesses what the other one was. He pushed the latter aside for the moment. He caught her attention just as she was about to exit the washroom.
"Would you be interested in getting a drink with me after work?" _Might as well just put it all out there._
"Um, sure. But are there even any bars open that late?" Sookie wasn't heavily into the drinking scene, and she was even less familiar with any bars in Shreveport other than the one she worked in.
"Yeah, I was thinking of one a couple of streets over from here."
"Ok, sounds great. I'll meet you out from after closing." She flashed him a hundred-watt smile. Alcide thought it was breathtaking. He stood still a couple moments, watching her leave, before returning to his post through the back door.
---
As Sookie exited the bathroom, she glanced to her left-- Eric's office door was open and the lights were off. She entered the main area and saw Eric sitting back at his booth. "Sorry. Bathroom," she said as she scooted back into the booth.
"Yeah. And sorry…Dahlia." Sookie didn't press the statement-- she didn't really care. Her mind was too busy being occupied with Alcide's newfound active interest, rather than being occupied with a guy who had left her to get blown in his office. She had gathered that much from both Dahlia's mind and her stupid grin.
"Did I miss anything good?" she asked, gesturing toward the stage.
"You missed Amelia. She did 'Diamonds Are A Girl's Best Friend'."
"Oh." A couple minutes of awkward silence passed between them. Sookie glanced at her watch and realized that her hour was almost complete. She didn't want to stay any longer, and she didn't care if Eric thought she was skipping out early-- she was including his Dahlia-time as part of the hour. "This was great," _liar!_, "but I really have to get back to work."
"Alright. But at least grant me the privilege of getting another cup of coffee with me tonight."
Was there a more ladylike way to say "fuck no after you left me to have Dahlia suck your cock"? If there was, Sookie wished she knew it. She opted instead for, "Thanks, but I have plans already." He was her boss after all. She picked herself up out of the booth and went back to the bar.
* * *
**Oh, no! Eric seems to have lost this round. I know that this is kind of a weird place to leave it, but it kind of works. I also wanted to get this out to you guys before I start the hecticness that is packing for college and because I love you guys so much.**
**So there that is. I listened to you guys' suggestions and left off the possible Dahlia/Eric scene. AND I would like to point out my giddyness due to Pam's 'redheaded slut' reference. It's a drink for anyone who's curious. It consists of Jäger, peach schnapps, and cranberry juice. I've never had one, but I was glad I could throw that liquor allusion in there, and it also seemed very appropriate. I hope everyone had a good Labor Day weekend and feel free to address me with any other questions or concerns you all might have.**
**Oh, and I might just be up to taking suggestions for the next theme night *hint, double hint***
**xoxo**
**-Sydney**
6. Mind Games
**Stiletto.****A/N: So I'm starting to get the impression that everyone is happy that Pam and Eric aren't doing it. This chapter is out so fast because I leave for college tomorrow, and I have to finish my halloween costume today. Due to it's being out so fast, I apologise for it being shorter than the others. Oh, and a golden star to **reading all night** for writing a review for every chapter; that's an ego-boost like nobody's business lol. I've also been getting a lot of great feedback re: my costume descriptions. All I've got to say is, thanks and I'll be sure to keep up with it in future chapters. ****Chapter Six- Mind Games**
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Eric had a dumbfounded look plastered on his face as he watched Sookie make her way back to the bar. She had plans? He wondered if something had transpired while he was in his office. As convenient as it might of sounded, Merlotte did send Dahlia to get Eric. It turned out that he had missed a fairly important message about switching a certain alcohol provider, and Sam had gotten curious when Eric hadn't said anything to him about it. Dahlia just happened to capitalize on that situation. Eric could certainly understand why Sookie would be upset, after all, he had left her to take care of something that would look pretty sketchy. Especially with Sookie's knowledge of prior Eric-Dahlia office relations.
He sighed to himself, and thoughts concerning Sookie's plans began to seep into his mind. _What plans? With who? And why the fuck do I care?_ Before he could linger on that last thought for too long, he was joined by Pam.
"What did you do now?"
"Damn it, Pam. I didn't do anything this time actually."
"She saw you leave, and she saw the redheaded slut leave shortly after. I wouldn't surprised if the whole staff didn't think you were up to something."
"I really wish that you'd stop comparing Dahlia to a cheap shot." He refused to acknowledge her other statement.
"I call them like I see them." Eric shot Pam a threatening look. "Fine, fine. I see that I've overstayed my welcome this time. Besides, I'm due on stage in five," she said, getting up and wiggling toward the backstage curtain to the right of the stage.
Eric looked back over at Sookie, who was making some variation of a martini, he gathered, from the glasses and shaker in front of her. He continued to watch her, but immediately wished he hadn't when she started to shake that god damned canister, which caused a strain in his slacks. As frustrated as he was by this reaction, Eric's eyes narrowed when someone stepped into his line of sight. It was Dahlia again, and she was walking toward him.
"I thought I made myself clear in my office, Dahlia."
"You did," she replied, rather dejectedly. "I just thought you might be interested in some information about Sookie."
"And why would I care about that?" Eric really wasn't in the mood to deal with anymore of Dahlia's shit tonight. He also didn't want to stoke Dahlia's more-than-apparent hatred of Sookie.
"I'm not stupid, Eric. But if you really don't care, I'll just keep my information about her date to myself then." She turned to walk off.
_A date?_ "Wait…with who?"
Dahlia laughed, "I thought you didn't care. But if you must know, she's grabbing a drink with Alcide after work. And you _so_ owe me for this information, hun. Come home with me."
Eric stood up. "Dahlia, I owe you nothing. And a word of advice: you should really get payment up front before you divulge information," he said before walking away.
Dahlia stood at his table for a moment before finishing up her tables for the night. Even if nothing had gone on in the office earlier, Sookie at least thought that something had-- she had made sure of that. And that was satisfaction enough for the time being.
---
Sookie couldn't have been more happy that she had her street clothes in the dressing room. After she finished her closing duties, she headed toward the curtains by the stage. After she had left Eric's table earlier that evening, Sookie had every intention of steering clear of Eric for the rest of the night. He had gone to such lengths to get her to sit with him, only to leave her for a quickie with Dahlia in his office, and quite frankly, she was pissed about it. She had no clue why she was so pissed about it, but she was.
It turned out that avoiding him wasn't so difficult. While refilling her 'martini table' of the evening, she noticed him start a conversation with Dahlia. By the time she glanced at his table again, he was gone.
Once in the dressing room, Sookie found Amelia and informed her of her plans with Alcide.
"That's fantastic, Sook. And also crazy-convenient since I'm leaving with Tray again." Amelia waggled her eyebrows.
"Great. Just make sure it's down to a dull roar when I get back," Sookie teased her friend. She grabbed the clothes she had worn in-- a pair of jeans and a red v-neck t-shirt-- and put them on. It was simple, yet classy. At least, that's what Amelia had told her before she left the dressing room.
Sookie found Alcide standing right outside the club's front doors. "All ready to go?" he asked. Sookie nodded, and he led her to his car. On the short ride over, she learned that Alcide lived a significant distance from the club, which made driving a car necessary. Most of the other employees lived within walking distance of the club, most of the bouncers rode motorcycles of every persuasion, and most were handy for taking the girls home when they wanted a lift.
They pulled into the little parking lot on the side of the bar, and lucked out with a front parking space. Sookie was pleasantly surprised when Alcide opened her door for her. After holding the bar door open for her as well, she decided that she liked the gentlemanly side of the seemingly badass bouncer. They both took seats at the bar, where Alcide ordered a beer while Sookie ordered a gin and tonic. After a couple moments of drinking-related silence, Sookie excused herself to the bathroom.
After doing her business and reapplying some lip gloss, Sookie was on her way back to the table when she noticed something out of the corner of her eye. Or rather, someone. He was tall, blonde, and…wait, not Eric. _Oh great, now I'm seeing things. But why him of all thing? I need another drink._ Sookie rejoined Alcide at the bar and sated her mind's request. She drank it slowly-- she cut herself off at two drinks, she was never one to get drunk off her ass.
While she may not have been drunk, Sookie was feeling the gin kicking in. The gin was mostly to blame for her sudden talkativeness. "So what's the deal with Dahlia?"
Alcide looked at her, a little confused. "You mean other than the fact she's banging the boss? Nothing really. No one really likes her, though, mostly due to the fact she tries to flaunt her…erm, connection with Eric."
"How classy."
"Yeah, well…that's Dahlia. Sam knew her prior to her gig at Fangtasia, and he's mentioned a couple times that it's just how she is. We tolerate it and we anticipate stuff like what happened with you two."
"The catfight, you mean."
Alcide nodded, "She thinks you're encroaching on her territory. She's very much like a Were in that aspect," he said reflectively. "We're just all amazed she hasn't gone after Pam yet."
Sookie wondered how much Dahlia really knew about the Eric-Pam dynamic. She guessed not much; she didn't figure Eric as the pillow-chat type. "Pam would kick her ass."
"You think? I mean, I haven't had much interaction with Pam."
"Definitely. She praised me for the catfight, and I didn't even start that."
They sat and chatted for about another hour and half. Both had switched to soda, and they spent the time talking about work, family, and other things. Sookie realized that Alcide was no love match, but he was a good listener and actually engaging, conversationally. He paid their tab, and then they were on their way to Sookie's apartment.
---
Eric saw the car pull up to the sidewalk as her walked down the street to Sookie's building. He waited for Alcide to pull away before quickening his gait. After watching her fumble with her keys for a moment, he cleared his throat. Sookie turned around, mace at the ready.
"Sookie, it's just me." He wondered how much she had to drink.
"Go home, Eric." _Apparently not enough._
"Alcide is no good for you." _Might as well get right down to it._
"What-- and you are?" she countered.
"Well since you ask, yes. I think so."
"Oh, that's rich, Eric. Don't you have somewhere else to be? Off fucking Dahlia perhaps," she spat. "Or didn't you get enough of her tonight?" She traveled three of the steps of her stoop so that she was standing at his eye level.
"What the hell are you talking about? I haven't done shit with her tonight." He wondered why he felt compelled to explain himself to her. He also thought that she was even sexier while she was pissed off at him.
"Yeah, right. That's not what her mind told me. You know, when you left me to get blown in your office!"
"Blown in my…is that what she was thinking?"
"Yeah, it was. And I'm sure you were thinking about it too."
"I _wasn't_ thinking about it, Sookie."
"Wow, you're even more casual than I thought then."
Eric let out an exasperated sigh, "I wasn't thinking about it because it _didn't fucking happen!_ Damn it Sookie, you're so frustrating."
"I'm frustrating!?!"
"Yeah, you are. And you know what else?"
"What?"
His answer wasn't one of words, but rather action. As soon as that syllable left her mouth, Eric grabbed her waist, pulling her to him-- and into a searing kiss. Sookie's first response was to call out and push away, but this was futile. In fact, when she opened her mouth to scream, Eric deepened the kiss, sliding his tongue against hers. Sookie involuntarily moaned into his mouth, and Eric's grip on her waist tightened. After a few more seconds of his assault on her mouth, Sookie gained control of her body and pushed him away, this time it was effective. Eric released her, uttered a "Goodnight, Sookie," and was gone. Sookie blinked a couple of times before returning to her door.
She had an even harder time getting her hands to cooperate with her keys this time, and it had absolutely nothing to do with the gin in her system.
**---**
When Sookie woke up at 2pm the following day, she was no less a confused woman than when she went to bed. She just couldn't wrap her mind around the fact that Eric had taken it upon himself to show up at her house. Moreover, she couldn't believe that he had kissed her. _And he says I'm the frustrating one_.
She rolled out bed and into the bathroom to brush her teeth. _The audacity _(word of the day) _of that asshole! To lie about Dahlia AND kiss me?_ She made a displeased sound out loud.
_Ok, and now you're lying-- you liked it, admit it._ Sookie was really getting tired of her traitorous conscience, or whatever it was that constantly argued with her rationality. She didn't even want to justify that with another thought, because she'd either be lying or admitting a truth she didn't want to.
---
Eric awoke that night to the same dream he'd been having for the last two. The only difference with that day's dream was that Sookie was in that little can-can outfit, and she was dancing. Dancing for him, and him alone. Of course, Sookie's costume didn't last much longer than one song worth of music, but that was always the point where he woke up.
Eric sat in his bed in his light proofed room. He was frustrated, both sexually and emotionally. He knew that Sookie was the cause of both.
He wondered what was with this girl that wouldn't yield to him. He also wondered why he bolted after kissing her last night. Despite the reason for either one of those thoughts, he knew his night at Fangtasia wasn't going to be an easy one.
* * *
**So I had originally planned on leaving it off at the kiss, but I added a bit more because I thought it was too short. Plus, I love you guys. So the next chapter will start back at Fangtasia. Wonder what will happen. There's a pretty good chance that the next update will be when I'm up in Savannah because I just have so much left to do. So I'm just giving the heads up. I might put another chapter up of Drawn tomorrow though, because it's already written. See you at the top of the next page, and probably from a different state.**
**-Sydney**
7. Boiling Point
**Stiletto.**
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**A/N: First off, I would just like to thank everyone for their well wishes re: my trip to college. You guys are the best. And I'm currently doing a happy dance after seeing a day of over 1,000 hits.**
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**Chapter Seven- Boiling Point**
Sookie had decided that tonight would be part two of Operation: Avoid Eric. She ending up opting to wear a red, one-strap dress that was ruched on the side with the strap, and the ruching topped with a little cascade of fabric that draped to the hem, which lay at her knee. While it wasn't as simple as some of the other things that she owned, it offered more coverage of "the girls", as Amelia would refer to them. Sookie was feeling pretty positive about her low-key look, up until the point where she met Amelia in their living room.
"Damn, girl. Look at you."
Sookie's hands flew to the fabric of her dress. "What?" she whined.
"That dress. You look hot."
"Oh, no I don't, cause I'm changing." She spun on her heel, but Amelia grabbed her arm.
"We don't have time, we have to go." She opened the door to their apartment. "What's gotten into you, anyway? And since when do you not want to look hot?"
Both girls started down the steps after locking the door. "Since Eric decided to lay one on me last night." Sookie stopped walking; Amelia slammed into her.
She took a few steps back, dazed, before saying to Sookie, "He did WHAT!?!"
"He kissed me. He called me frustrating, and then he kissed me."
"And you're just telling me about this now?"
"Yeah, it was late when I got in. Trey was gone, you were asleep. I didn't want to wake you up."
"That makes sense. Although, for that tidbit of info, I'd have been willing to wake up."
"I'll make a note of that for next time."
"Next time? You mean there's gonna be a next time?"
"No! Figure of speech, Amelia." Sookie rolled her eyes at her roommate.
"So that explains your attempt to dress like a nun?"
"Yes. That explains my futile attempt to look low-key for work."
It was almost as if Amelia completely disregarded the last part of their conversation. "So…how was it? The kiss, I mean."
_Like it wasn't obvious what you meant, Amelia._ "Way to change the subject."
"Way to avoid the subject."
_Touché. _"It was just a kiss."
"_Just__a kiss?!?_ Damn it Sookie, details woman! Good, bad. Tongue…like it, or not."
"Like I said…it was just a kiss."
"Sookie, I know that you're the one that reads minds, but I can still tell when you're lying."
"Fine! It was an amazing kiss, spectacular really. But when it was over, he left."
"You didn't want him to?"
"I never even wanted him to kiss me." Ok, so that might have been a lie. "But you can't just kiss someone like that and then leave."
Amelia nodded in understanding. "So, since your attempt to blend in failed, why don't you use that failure to your advantage."
"What are you getting at, Ame?"
"Work it. Make him pay for leaving you last night after the kiss. And for leaving you for Dahlia at work." Sookie gave an inquisitive look. "Crystal told me-- she was on stage and saw it."
"Ok. So you're saying I should mess with him."
"Right."
"Ok, I'll try. Oh, and he also tried to tell me that nothing happened with Dahlia, which I don't buy for a second."
Their conversation was cut off by the fact that they arrived at the club. Sookie caught sight of Eric, who was outside talking to a bouncer who she was pretty sure went by the name of Quinn. The two girls walked straight by them, but Sookie could feel Eric's eyes on her as they passed.
---
Sookie was standing at the bar, assembling a tray and trying to conceive a plan of action for the newly-acquired Operation: Payback, when Eric approached the waitress' area. _Well that settles that part. At least he's good for something._ The only problem she was having now was deciding what to do now that he was there. She did the only logical thing that she could think of: she ignored Eric, grabbed her tray, and sashayed away-- effectively giving her time to think.
Or so she thought.
"Quit trying to avoid me, Sookie." Eric's voice caused Sookie to stop in her tracks. She turned around, and he was right behind her.
"I'm not avoiding you, Eric." Truthfully, she wasn't. That was the first instance. She did have to deliver her drinks. "Now if you'll excuse me, I have work to do." Sookie continued her journey to a table full of Weres.
"When you're done with that, I'd like to see you in my office."
_I'm sure you would_. "I have other tables. I can't just come to your office when you want. I won't do it, and you can't make me." Sookie honestly didn't care that she was defying her boss; she wasn't going to be alone with him again.
"Oh, but Sookie, I _can_ make you come."
The double meaning of his words was not lost on her. Not in the least. She opened her mouth to snap something back at him, but her words escaped her.
"That's what I thought. I'll see you in ten." Eric turned to walk to the back. He took a few steps before turning back to Sookie. "Oh, and by the way-- nice dress." And then he continued on.
And that's how Operation: Payback started to go to shit. _Damn it._
---
Eric was sitting at his desk, feet propped up, when Sookie entered. "I was beginning to think you weren't coming."
"Like I said earlier, Eric, I had tables. In case you didn't notice, we're slammed out there." Sookie made no attempts at disguising her rolling eyes.
"Honestly, Sookie, I didn't notice. You in that damned dress took care of that."
Sookie was stuck between being flattered, being angry, and being happy that her plan wasn't completely ruined. She opted to stick to game plan. "Cut the crap, Eric. What did you want to see me for?" It wasn't like she didn't know, she actually wanted to hear him say it himself.
She didn't have to wait long. Eric was in front of her in the next second. "_Cut the crap?_ Seriously, Sookie? What's that expression about pots and kettles?"
"The pot shouldn't call the kettle black-- wait, you think I'm pulling something too?" _Shit._
"I don't think you are pulling anything. I just think you're not being honest."
"Not being honest about what?"
There were about five inches of space between them at this point. Sookie was bound and determined to maintain eye contact with him, but she found herself distracted by his lips, especially considering the current subject matter.
"I think you know."
"I can assure you, I don't."
"Do I honestly have to remind you?"
"Maybe you do," she challenged him.
For someone who was so hell-bent on ignoring what happened, the fact that she practically asked him to kiss her again confused him. But, then again, who was he to refuse the request of a beautiful lady?
Eric wrapped a strong arm around Sookie's waist, much like their first kiss, and planted his lips on hers, delicately. Plans be damned, Sookie gave into that kiss. It wasn't abrupt like the previous one; it was one of those foot-popping, knee-buckling kisses. After a few seconds of blissful torture, Eric released both Sookie's lips and waist, causing her to slump down into the desk chair behind her. She saw Eric start to move away from her, so she put her hand up to block him. That was about all of the strength she could muster at that point.
"You are definitely not leaving this time, buster."
Eric could have simply pushed her arm away, but if she didn't want him to leave, he wouldn't. Hell, he thought it had the potential to become interesting. He glided back over and perched on his desk.
"You really shouldn't make a habit of kissing people senseless and then taking off. It gives people the wrong impress--"
"So it was good for you too, then?" Eric waggled his eyebrows at her.
"Damn it, Eric. Since you can't be serious, _I'm _going to leave this time." She got up and made for the door. Sookie had barely laid a finger on the doorknob before Eric was on her again. After a few more heated seconds, he hoisted one of her legs up and wrapped it around his hip. Sookie knew that this wasn't part of the plan, but he was just such an exceptional kisser. It wasn't until he ground his pelvis against her that she realized what she was doing.
"Eric, stop," she said as she broke the kiss. He went in to kiss her again, so she turned her head to the side; Eric's mouth connected with her cheek. Sookie thought she communicated her point effectively, but then his lips found her earlobe. Considering the fact that her leg was still wrapped around him, Sookie decided to make use of the foot part of that leg and kick him repeatedly in the back.
"You're making this difficult, Sookie," Eric growled against her skin.
"Then I'm doing a good job."
"I thought you wanted this. In fact, I know you do. I can smell it." He ran a hand up the wrapped leg to where her dress had started to ride up.
"If you think I'm going to just let you bend me over your desk, you've got another thing coming."
"I never said it had to be my desk. I'm willing to negotiate." Eric flashed her a smile.
"You know what I mean, Eric. Now if you don't mind, I still have work to do."
He released his grasp on her. "I do, in fact, mind, but I will let you go. For now."
Sookie set herself to rights and marched out of his office.
---
Sookie was quite surprised that Eric didn't bother her for the rest of the evening. She was, however, surprised when Amelia strolled up, bikini-clad and fresh from a performance. So much so, Sookie could still hear the ending notes of Lady Gaga's "Paparazzi" fading from the speakers. "So am I to believe that the plan worked?"
"No. As a matter of fact, it was an epic failure."
"What happened. I figured since you went in his office and _actually came back out_, that the plan was a success."
"Yeah, well if I wouldn't have regained myself, then I probably wouldn't have."
"No shit?" Sookie shook her head. "I demand details later. This is not the place…nor the company." Amelia turned her head toward the long tables by the stage. Sookie followed her movement and saw Dahlia walking towards them at the bar. _Well, if this just isn't the icing on the cake_. She was wearing a lime-colored micro-mini, the fabric of which rode up when she placed a hand on her hip. Dahlia then thrust that hip to the side with attitude; Sookie thought she looked like a teenage girl who had just lost the homecoming crown.
"What were you doing in Eric's office, Sookie?"
"Well, despite the fact that it's none of your business, we were having a discussion." That _was_ what it started out as. Dahlia didn't need the particulars; it wasn't like they were screwing.
"Yeah. Right."
"Dahlia, that's what happened. You know, a discussion, what an office is _actually used for_."
"Bitch, I'm tired of you talking to me like that just because you think I'm some kind of a slut."
"_Bitch?_ Like that's any better. Besides, I don't just _think _you're a slut; you _are _a slut. _Slut._"
That was when Dahlia swung. In all honesty, Sookie most likely expected it. Hell, if someone had called her a slut, she would have come out slapping as well. But still, the hand connected with her cheek, apparently with enough force to make a sound loud enough to get the entire club's attention. That part was mostly likely a figment of Sookie's imagination, but there was no denying the fact that even the focus of the patrons with the most base levels of hearing was now directed on Sookie and Dahlia. Not to mention that there was the unmistakable sound of fangs popping left and right.
Sookie was vaguely conscious of a particular set of fangs as she leapt on Dahlia. As justified as the slut comment-based slap may have been, Sookie was tired of Dahlia's shit. Sookie's attack caused Dahlia to fall backward, narrowly missing the side of a table. The guys sitting at said table were more than happy to oblige with some hooting and hollering. Sookie managed to land about three well-places blows to Dahlia's face before she felt arms wrap around her waist. As she was pulled up and off of Dahlia, Sookie got a chance to survey the damage. Dahlia was now sporting a split lip, her nose was bleeding, and her left eye was starting to show signs of bruising. Not long after that, Sookie was changed into a fireman's carry position. This was when she realized who had picked her up, from the sight of a _very_ definitive backside.
As she was carried toward the back a quick thought of 'to the victor go the spoils' flitted across her mind.
* * *
**Woo. I knew I wouldn't be able to make it out of this chapter without another girl fight. A better girl fight, in my opinion. Oh and a couple of notes: I'm sorry for the almost two week delay in this story's updates. I ended up coming home after deciding I had no clue what I wanted to major in and that I couldn't justify paying a large sum on money a year to figure it out, so that was a lot of the reason why this chapter took so long to write. I wasn't happy, and that affected my writing big time. Second, the fact that Alexander Skarsgard graces the video aside, "Paparazzi" is a really catchy song. I also do not own the writes to the line I sort of jacked from ABC Family's "Secret Life", and kudos to anyone who knows which line I'm talking about. Actually, send me the line and a theme night suggestion or other suggestion and I'll try and work it in. Which brings me to the fact that I would really like to hear some more theme night suggestions, because I feel another one coming on. I'd also take a costume suggestion for Sookie (or anyone) for a potential Halloween party. Oh, and the link to Sookie's dress is on the profile…check it!**
**-Sydney**
8. Murphy's Law
**Stiletto.**
* * *
**A/N: So I'm pushing this out way ahead of schedule. Mostly because it kind of just flowed out as I was typing. It's way short, but with good intention. So without further ado…**
* * *
**Chapter Eight- Murphy's Law**
Sookie resolved to enjoying the view as she was carried to the back. Eric had a pretty firm grip on her, so wiggling was basically out of the question. After a few more minutes of partially immobilized silence, Eric had deposited Sookie on the pavement outside of the back door to the club. As soon as her heels hit the ground she took off, charging for the door. Eric intercepted her with two hands on her hips.
"Let me go! If I'm gonna get fired, it might as well be worth it," Sookie screamed as she tried to wiggle out of his grasp. Once again, his grip was like a vise.
"Sookie, calm down! You're not going to get fired. Besides, you've already done enough damage. It was all Sam could do to get Dahlia out of the club without being attacked with that bloody nose you gave her." Eric couldn't resist the laugh he had been holding in. Just the thought of the little blonde doing that kind of damage with, what looked like, three punches intrigued him. It both intrigued him and turned him on immensely.
Libido aside, he still had administrative protocol to uphold. He had instructed Merlotte to send Dahlia home for the rest of the evening, so he figured he should do the same for Sookie.
Eric reflected on that for a moment. By sending Sookie home he would be down to only one waitress and well, without Sookie. He knew that the second thought was selfish-- he could honestly care less about how many people were closing that night-- but he could afford to be selfish. He could also afford not to play fair.
Looking down at the petite frame he was still holding, Eric determined that Sookie wasn't going to try and escape again. He had also formulated a solution to his problem.
"I can't let you go back in there seeing as I already had Dahlia sent home. But you will wait in my office until after closing, and then I will escort you home," he commanded, staring into her eyes in an attempt to form the connection he needed. _Fuck, her eyes are gorgeous_.
After a moment, Sookie just stood there blinking at him. She knew that Eric had just attempted to glamour her. She also knew that it didn't work. Matching the intensity of his gaze, she couldn't help but crack a smile. "You know that won't work on me, right?" Her smile only got wider when Eric was visibly taken aback by her statement. Even though she couldn't read his mind, she knew that he was curious as to why the glamour wasn't working and how she knew what he was trying to accomplish. Sookie really didn't feel the need to explain about one Bill Compton's failed attempt to both glamour and seduce her back in Bon Temps.
Eric didn't really know why he was so surprised at this development. He already knew that he couldn't glamour Dahlia either-- maybe it was a telepath thing. _Whatever_. "Even if it doesn't, you're still going to wait and I'm still going to take you home."
Sookie was wondering who the hell Eric thought he was ordering her around like that. She was also wondering why everything he said sounded suggestive. And more importantly, why she liked it?
"Like hell I am. If you're saying that I can go home, then that's exactly where I'm going." She pulled her cell phone out of the top of her dress, a motion that didn't slip by Eric's attentive gaze, and sent a 'being sent home' text to Amelia. She flipped her phone shut and turned her attention back to Eric. "So if that's the end of your boss lecture, good night."
Her feisty attitude wasn't helping his arousal levels at the moment. Neither did the fact that she just reached into her top. He didn't think, however, that he'd score any points-- or score anything for that matter-- by forcing her to do something she didn't want. Especially since the art of glamour was not on his side with Sookie.
That didn't mean he was averse to trying to convince her it was something she wanted.
He forced out a deliberate sigh. "It's just that…it's very late, Sookie. It's not safe for a young, beautiful woman to be alone."
Sookie arched an eyebrow at him. "Really, it's quite alright. You know how close I live. I'll be fine."
"Fine," Eric spoke with resolve. "At least call me or something once you get home. Ease my nerves?"
Before Sookie could compose a response, Eric plucked the tiny cellular device from her hands. He pushed past the fact that it was warm from being against her breasts all night, and punched his number in.
"Seriously. At least send a text." Sookie nodded. Eric looked at her, paused a second, and then placed a kiss on her cheek before disappearing inside.
---
Sookie flipped her phone back open once her apartment building came into view. Much like carrying her pocket-sized canister of mace, she had gotten into the habit of keeping her phone out while walking alone. She ran her thumb lightly over the buttons, debating whether to call or text Eric.
She knew she was going to communicate with him somehow, because it was just be downright rude considering how he genuinely seemed to be concerned with her safety as she was getting ready to leave the club. She had made it up to her stoop before she pressed the button to start a new text. After typing the word 'I'm' and being almost through 'home safe', she exited out of the text window. Sookie found herself wanting to hear Eric's voice, even it was only in confirmation of her safe arrival home.
So what's that expression? Want in one hand, and shit in the other?
Sookie had just found Eric's number and pressed the little green phone when she felt someone come up behind her. She was promptly knocked to the ground, where her phone skidded, thankfully, into the grass. Apparently her assailant hadn't even registered the fact that she was using a cell phone. He was…preoccupied.
Still conscious, Sookie looked up in an attempt to at least see who was attacking her. From her position on the ground, she could hear the phone ringing. _Please let him answer_. If she had wanted to hear Eric's voice before, she _needed_ to hear it now.
Also from her position on the ground, she could see the shadowy outline of her assailant. It wasn't until he stepped into the glow of the streetlight that Sookie was able to make a positive ID. Bill Compton.
_Figures. He would attack me considering his normal attempt at courting was a dismal failure._ Sookie knew the motive well enough. The only thing that plagued her mind (other than her hope of a rescue) was the fact that he was in Shreveport. Why was he here, and not back home in Bon Temps? Sookie also knew that this line of questioning was futile. The fact of the matter was that he was there, and he was most likely going to hurt her in some way. People generally don't just corner a girl while she's alone, knock her to the ground, and then walk away. Especially if said person was Bill Compton, a vampire, and a clearly unstable one at that.
_Well, here's to not going down with out a fight_. If it were any other moment than impending rape, Sookie might have laughed at the choice of words of her thought-sentence. All things considered, she wouldn't have even had time to laugh. As soon as Bill stepped into the light, he descended upon Sookie.
"You thought you could come to Shreveport and forget all about me, didn't you?" he asked as slender fingers wrapped around her jaw, pulling her face up to meet his.
Sookie didn't feel like dignifying his statement with a response. He knew damn good and well why she had left Bon Temps, but now here he was twisting things all around. _Sick bastard_.
Bill let out a laugh, "So now we're not feeling all too talkative, are we Sookie?" He punctuated his sentence by running his free hand down her side, down to the hem of her dress. "No matter. I always thought you talked too much anyway."
---
Eric was sitting at his desk, staring at his cell phone. It was almost as if he thought he could make it ring by staring it down for all it was worth. He glanced at the clock; it had been well over the amount of time required to travel to Sookie's apartment. Looking at the plastic device, Eric decided that Sookie was simply not contacting him. And quite frankly, that pissed him off. Surely she had made it home alright-- would it have been so fucking difficult to drop him a simple text? _Two words…'I'm home'…simple as fucking pie._
Eric stood up from his desk. He wondered what the hell had gotten in to him. Here he was, sitting, waiting for a phone call. A phone call from a girl that he hadn't even gotten into yet. Eric Northman did not wait for phone calls. He was in the process of exiting his office when he heard the phone start to ring. At vampire speed, he was back at his desk, grabbing at the communication device. _What the hell?_
The caller ID flashed an unknown number, but it was a local one, and something told him it was Sookie. He pressed 'accept', expecting to hear her soothing voice. But nothing came. Fuck, he'd even take her pissed-off voice, because that meant she was ok. He yelled her name into the phone…still nothing. Pulling the phone away from his ear, he studied it, unsure if it was functioning properly. Surely it had to be broken. Why else would the line be dead? Calling her name into the phone again, he was rewarded (for lack of a better term) with the sound of someone. Two people, really. At least the phone wasn't broken. Always looking for an upside. There was a grunt, followed by a scream. Both were distinctly female, both were also distinctly Sookie. He could also hear the muffled sound of someone else speaking. Someone male. Yup, and there was the downside.
That was all it took to cause Eric to take off into the night.
---
Sookie's eyes darted around. She refused to look at Bill while he was doing…well, whatever it was he planned on doing. She had already given up on trying to fend him off. Quite frankly, her legs hurt after all that kicking. Besides, resistance was futile, as Bill had so _graciously_ pointed out. He was vampire after all. That was one chapter they left out in Ladies' Self-Defense Class.
So there she was, silent, immobile, and looking around. She outright refused to give him any kind of satisfaction from this. Stealing a quick glance at her discarded cell phone, she determined it was no longer making any noise. That was disheartening. She had focused on the grass around it, sighing to herself, when she heard the unmistakable sound of a zipper. For someone who had obviously gone through the premeditation of waiting to attack her, Sookie thought that Bill was sure taking his sweet time to actually do the deed. She also wondered where the hell all the people were. It had to have been only around midnight or so. She figured they were probably up in the surrounding apartments, watching the whole exchange.
Sookie was contemplating her Kitty Genovese-like fate when suddenly the pressure on her body was suddenly a whole lot lighter.
* * *
***Hides under her desk* Nobody hit me! To tell the truth, I had that planned from the get-go. I just didn't know how I wanted to work it in. I hope it wasn't too OOC. Let me know what you think though. Oh, and even though I had the attack planned from the beginning, what I don't know is: To kill, or not to kill? So, let me hear it.**
**I'm still looking for someone to identify the Secret Life quote from the last chappie. Whoever gets it-- instant win. Whatever theme or suggestion you want, I'll make it work somehow.**
**-Sydney**
9. Development
**Stiletto.**
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**Nope, no long, drawn out top A/N. Enjoy.**
* * *
**Chapter Nine- Development**
_Sookie was contemplating her Kitty Genovese-like fate when suddenly the pressure on her body was suddenly a whole lot lighter._
---
Sookie laid on the concrete, staring up at the darkness, utterly confused. In what felt like a nanosecond, she had gone from being almost raped to being alone on the sidewalk. That left only one question-- where was Bill? Surely he hadn't just decided, mid-undress, to call it quits. No matter where he currently was, the fact of the matter was that he was no longer pinning her down. Taking advantage of her newfound mobility, Sookie scrambled to roll over and grab her phone, quickly pressing redial. Her present confusion kicked up a couple of notches when she heard the sound of a phone ringing, from behind her.
She rolled back over to find out where the ringing was coming from. Sookie sat up in enough time to see Eric slam Bill into the brick wall that was the side of her apartment building. She then watched him carry Bill's slightly unconscious body further into the alleyway between the two buildings. There was only a sliver of light from the lamp post shining into that alleyway. Sookie could see Eric's feet and up to his knees, which subsequently meant that she could see Bill's feet, dangling.
That's honestly all she wanted to see. Hearing the rest of it was quite enough, in her opinion.
Sookie had closed her phone by this point, so the ringing from Eric's pocket had ceased. But the ringing was only where the noises started. She heard Eric hiss out a string of expletives, punctuated by the sound of a body being slammed against a wall repeatedly. The alley wasn't very far from where Sookie was sitting, and she also heard someone spit.
Sookie gathered that it was Bill that had spit, because shortly after, she heard Eric's distinctive voice growl something in Swedish. This made no sense to Sookie, because as far as she knew, Bill didn't speak or understand a lick of Swedish. Maybe he did. _Who knew?_ Sookie never expected that Bill would track her down in Shreveport and try to rape her. Why would it surprise her that he possibly spoke Swedish?
She didn't really have time to ponder Bill's bilingual potential, as she was distracted by a loud crunch and a sickening thud. She wasn't exactly sure what was about to come out of the alleyway, but she was supremely relieved when it was Eric that emerged.
Sookie then looked past his tall form back to the dark alleyway. "Is he…?" She honestly couldn't form the sordid word.
"No. He is simply…immobilized."
"But…but what about the sun?"
"He'll be conscious by sunrise."
"Why?"
"I only broke some bones. Well, a lot of bones, actually. And a pretty important appendage." Eric spoke as if he was reading a menu. Sookie cringed a little.
Eric extended a hand and Sookie took it as an opportunity to stand up. "I mean, why is he alive?"
"You wouldn't believe the amount of paperwork involved in vampire manslaughter." He studied Sookie's face and his sarcastic smile fell. "Gods, Sookie, was I here too late? What did he do?" Eric was instantly by her side, inspecting her for damages.
"No, Eric. You got here in time. I just thought…I don't know what I thought."
"Do you want me to kill him, Sookie?"
She looked up at him, obviously thinking about it, before saying, "No. I guess not. I mean, you stopped him from doing whatever it was he planned on doing." She shuddered at the thought.
"Well, then that is settled. I'll watch to make sure you get in your building, and then I will escort you and Amelia to work tomorrow evening. To make sure he doesn't hang around." He quickly added, "Only if you want me to."
Sookie started up her stoop, fumbled with her keys, and unlocked her door before turning back around. She stole another glance at the alleyway, then turned to Eric.
"Stay. Please."
Eric stared at her for a moment. Part of him knew that it was only her vulnerability speaking. The other part of him really didn't give a flying fuck. While taking advantage of emotional girls wasn't exactly his style, he could tell that Sookie was really shaken by what had transpired. If his presence eased her anxiety, then he would stay. He walked up to where she was standing, only a step below her. Sookie turned the door handle, revealing the small pseudo-lobby of her building.
Eric followed a significant distance behind Sookie as they traveled the single flight of stairs to her apartment. After a quick glance around the hallway, Eric noticed that this particular building hosted a lot more apartments then one would guess by looking at the outside.
Sookie opened the door to her apartment much quicker than the building's door, so he gathered that she must be a little more calm. After he heard the lock click open, she turned to face him. "Please come in."
Once inside the apartment, Eric kind of lingered in the doorway, unsure of what to do with himself. Sure, he knew what _he_ wanted to do with himself, but that was irrelevant. The relevance lay with the pretty blonde standing a few paces ahead of him. The pretty blonde who was now starring at him and his lack of mobility.
"Please, make yourself comfortable." She gestured to the couch. Eric walked over and sat down, offering her a smile. While Sookie seemed to have her small motor skills under control, her voice was still shaky, and Eric didn't like that at all. He looked at her, still standing in the same spot, and patted the sofa cushion next to the one that he was perched on.
"Let me change first." She tried her best to smile back at him before disappearing into her bedroom. Eric's eyes remained on the closed door. _Oh, to be a fly on that wall_, he thought. He quickly shook his head clear of those thoughts, choosing instead to focus his attention on the wall that was opposite the couch. There was nothing adorning that wall, and Eric was very thankful when Sookie emerged from her room.
After one glance at her, he was slightly less thankful and wanted nothing more than to resume his staring match with the blank wall. Sookie was wearing a pair of not entirely street-legal sleep shorts and a tiny little t-shirt. Apparently her anxiety had clouded her judgment in lounge attire. Not that Eric was complaining or anything, it was just that her outfit wasn't making his attempt to avoid physically consoling her, repeatedly, any easier.
Sookie sat down on the couch where Eric had patted previously, her shorts riding up a little. He was working really hard to look elsewhere, so needless to say he was surprised when he felt her weight shift and lean against him.
Eric looked down at Sookie, who was currently in the business of making herself more comfortable on the couch and, by extension, his lap. In the next instant, her eyes had found his. "Now I know that you probably can't stay all night…with the sun and all…but could you please just stay with me until I fall asleep?"
He smiled at her and nodded. In that moment, it wasn't important to tell her that he could stay as long as she wanted him to because no sunlight reached the modest apartment. As Eric looked down at the girl in his lap, trying to get some rest, he realized that she sought some small comfort in him being there. He also realized that his most primal needs for her could be put off for the time being.
After only about ten minutes, Eric heard her breathing become more heavy. He hoisted her up gently and carried her to her bed. After tucking her in, he placed a light kiss on her forehead. And even though he could have stayed longer, and some part of him wanted to watch her sleep, he didn't. After that night, Eric had a feeling that there would be many more opportunities to spend the night with Miss Stackhouse.
---
While he did not stay at Sookie's apartment, Eric kept true to his word to escort her and Amelia to the club. He lingered outside the building after he checked the alleyway to confirm that Compton was gone. There were no ashy remnants, so he figured that he had the good sense to get the hell out of dodge before sunrise. At least he had good sense in one area.
In truth, Eric was seething mad that Compton was still alive. But the reality was that he didn't harm Sookie, and that meant there was no justifiable reason to off him. As snarky as the comment was intended to be, there really was a tremendous amount of hoopla involved in killing another vampire, especially for a human. Plus, he had no claim on Sookie-- as much as he like to change that fact-- so there really was no scot-free way to dance around that matter.
Eric was distracted from his thoughts by the sound of a door opening. His head snapped around to look at the door; he didn't want to chance Sookie seeing him looking at the alleyway. _No sense in drudging that up again._
The first person out of the door was Amelia. Eric never had a problem with the pixie-like girl, in fact, she was probably his favorite employee as of late. He knew that was entirely due to the fact that she had brought him the little blonde who was following closely behind her, and he knew that he was being selfish again, but he still didn't care. He wanted Sookie, she knew it, and he was starting to think that she reciprocated. Last night's incident was just what he needed to get his foot into that proverbial door.
But back to Miss Stackhouse. She emerged from the building, shortly after the dancer, wearing a strapless, brick colored little number. The skirt was completely ruched, the bodice was intricately folded and overlapped, and the whole experience was doing wonders for both Eric's imagination and libido. Some small part of him hoped that this dress was for him. Red was his favorite color, after all.
---
The walk to the club was peaceful enough. Peaceful meaning no Bill Compton-type interruptions. There was, however, quite the protest from Sookie's end about being escorted to work.
"Eric, I didn't think you were serious last night."
"Your safety is important, Sookie"
"I'm well aware of that, thank you. I can take care of myself."
Eric had to bite his tongue and resist pointing out how bad she failed to take care of herself by rehashing the previous night. He already knew that Feisty Sookie had resurfaced; there was no point in adding Bitchy Sookie to the party.
In addition to trying to avoid pissing her off further, Eric also tried to avoid letting on to his feelings too much. It was clear that Sookie either didn't remember, or wasn't acknowledging their tender exchange from last night, and Eric didn't want to be the one to go back down that road either.
It was Amelia who broke the silence. "Sookie, he's here now, and we're already walking, so we might as well take advantage of his offer." Eric knew he liked the little dancer. There was about half a block of amicable silence before they arrived at the club.
* * *
**A/N: I cut this off short again because I have a lot to pack into the next chapter. Plus, I thought the beating of Bill was enough of a dramatic incident to stand on it own. And I wanted to get this out to you guys.**
**But first, some notes! Yes, Eric did break the appendage you're thinking he broke. And yes, that would be the ultimate definition of cockblock. So when I started this chapter, I had every intention of writing two versions and then waiting to see what the popular opinion on what Bill's fate would be. Then I got into writing what I dubbed the 'Kill Bill' version, and it was just to damn much fun to kill him off, as sadistic as that sounds. It makes me feel a little bit better that there was a huge response to just whack Bill and get it over with. Then I was thinking some more, and so now we have the chapter 9 that you just read. I dunno why, but I just couldn't kill him off this chapter. Damn moral compass. That and I didn't want to go too far OOC with the whole it's bad juju to kill another vamp thing. Well, hopefully there won't be too too many e-tomatoes hurled in my direction. Much love to you guys, you're the awesome-est. Oh, and if anyone is wondering, Sookie's apartment has a second door, in compliance with that whole 'needs two exits in case of a fire' thing. I'm convinced that there has to be a windowless apartment somewhere out there. And if there isn't, oh well. Maybe if I get bored again, I'll Microsoft Paint you guys a layout of Sookie's apartment. And her dress is linked on my profile.**
**-Sydney**
10. Revelations
**Stiletto.**
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**A/N: Let me first start out by saying that I've been in a continuous string of happy dances all day long. First, I've had a little string of awesome hit/review/alert days, and of course that makes me happy like none other. Second, I've hit 10,000, well hits for this month overall, and almost reached 10k for this story alone. I love you guys for checking out my little story here.**
**The third reason for my happy dancing gets it's own little paragraph. A couple of chapters back, I offered up a challenge. I tucked a quote from ABC Family's "Secret Life…" (which I don't own btw) into the chapter. Adding the quote had nothing to do with offering the challenge, it was an afterthought when I was writing the bottom AN. Anywho, two people stepped up and correctly identified the quote:**
"**I just don't **_**think**_ **you're a slut; you **_**are **_**a slut. **_**Slut.**_**"**
**Those two uber-observant people are Secrets4theunderground and howyoudsdoin. Secrets4theunderground, as the first to respond, wins herself a cameo character which will debut either this chapter, or the next. Howyoudsdoin wins herself a theme night, which will mostly likely happen next chapter. You guys are fucking fantastic (in the words of Lily Allen), and I hope you like what I do with your additions. I did some talking to each of them and got a lot of input, so what everyone will read is a lot of what they supplied me. Hopefully I can come up with some more fun stuff like this in the future.**
**Enjoy! There's gonna be some good stuff in this one, folks.**
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**Chapter Ten- Revelations**
Even though Sookie wasn't entirely thrilled about being escorted to work, she couldn't deny the fact that she was relieved to have Eric looking out for her. She could still feel Bill's hands on her, the way he seemed to be taking his sweet fucking time, the sound of him undoing his fly, and then…nothing. Sookie could also recall the wave of sweet relief when she no longer felt Bill's weight on her, when Eric had saved her like the proverbial knight in shining armor. _Her_ knight.
She vaguely remembered inviting him in, the 'why' she did not know. She knew that she was in a vulnerable place-- hell, she still was-- but something about him was oddly calming. Per her request, he had stayed with her until who-knows-when…sunrise, she'd imagine…until she fell asleep. She was, however, a little unnerved by the fact that when she woke up, she realized that she was clad in a pair of pjs that certainly weren't visitor-friendly.
While she may have been unsteady the previous night, Sookie was back on her game that evening. She looked over at the enormous Viking walking beside her as they entered the club. The only question that lingered in her mind was how to breach the subject of what seemed to be a tender moment between them.
After a somewhat hurried kiss on the cheek from Eric, Sookie headed over to the waitress' station. Almost as if on cue, Dahlia came toddling up to it at the exact same moment. Sookie chose to ignore her, instead focusing on slicing lemons.
"I saw you come in with him. So you're fucking him now?"
Sookie put the knife down. _Might as well avoid the temptation…_
"I guess I wasn't clear the last time. I'm not fucking him, you still have the corner market on that one." _Not that I wouldn't like to gain some stock in that, he was awfully nice to snuggle with…what the hell?_ Sookie's head instantly darted up, unsure if Dahlia had heard her thoughts. She didn't. _Thank God._
"Your lucky I like working here, or I'd have to kick your skinny blonde ass."
Sookie's eyes tracked to the hefty shiner Dahlia was currently sporting, which had been unsuccessfully covered with makeup. She snorted, cleaned up the lemons, and went to go take some orders. Dahlia must have found something shiny to play with, because she left the bar area as well.
---
The bar was in full swing around midnight, and Sookie was returning to the bar when she heard her phone give a little jingle from inside her purse. She shrugged off the coincidence of her being present when it rang, and picked up the little device. It was a text.
_Breakfast at Denny's?_
_-E_
Sookie smiled and sent an affirmative text back. She slid the phone back into her purse and went to working on her drink order. She had just completed her last drink, a martini, when she heard heels clacking up to the bar.
"Sookie, there's--" Sookie threw her free hand up, dismissing whatever Dahlia had to say, and continuing her drink delivery. She was glad she had already dropped off her order, because she was sure she would have dropped it when she saw where Dahlia had wandered back to. There, perched under Dahlia, was Bill. Sookie wobbled a bit, grasping at a chair for stability. A chair that happened to be the current resident of one drunk patron.
She successfully swatted his unwanted hand away, as well as managing to right herself. Ignoring whatever lewd comment-- involving girls 'falling for him'-- that was his flavor of the week, Sookie looked back to the table in question. Bill wasn't there. In fact, no one was there. No Dahlia, and no random-other-fangbanger. _Well that was odd_. Sookie scanned the club; no Dahlia _anywhere_. A wave of calm was running over her; when Eric emerged from the back a couple of minutes later, said wave became a flood. A _very concentrated_ flood…Sookie decided that all her emotions were just running on high in that moment, due to whatever she just saw at that table. Her reaction to Eric was just an aftershock. She hoped.
She manage to pull it together by the time Eric slid up along side her.
"Hungry?" _Well damn it if the man didn't have a way with words_. Sookie forced herself to nod. Nodding was safer than her first reaction, and this wasn't _that_ kind of club.
"What do you say we get out of here?"
Sookie stared at him blankly. "It's only 12:30, what about the closing, and the cleaning, and the--" Eric put a finger up to her lips.
"Sookie, look at the bar." She knew in all honesty that the bar wasn't messy or in any sort of disarray, it never really was. The waitresses were nothing, if not cleanly. Sookie just felt like she was shirking her responsibilities to run off with Eric.
_Run off? Now that's an interesting choice of words. _Sookie couldn't help but roll her eyes at her internal alter-ego. Thankfully, her head was turned toward the bar at that moment. "Fine, let's go." She went to grab her purse.
"Don't sound so excited," Eric called after her. When she turned back to him, he had that shit-eating grin plastered on his face. _Cocky bastard._
Once the exited the club, Eric turned to Sookie. "Want to take my car?"
"Why? The restaurant isn't too far of a walk."
"I don't know. I just thought you might want to be off of your feet for a bit. Those heels look like they might be painful." He smiled at her. "Incredibly sexy, but painful."
Sookie looked down at her feet. First of all, she was blushing a shade of crimson that almost matched her dress. Second, Eric was right. While incredibly gorgeous, her heels were also very pinchy. After reigning her emotions in, she looked back up at Eric. "Sounds great."
After a short while in Eric's corvette, Sookie realized that this ride was taking much longer than necessary to travel to Denny's. "Um…Eric?"
"Yes?"
"We should be at Denny's already…where are we going?"
"Quite observant you are, Miss Stackhouse. I am, in fact, taking you to a little bar by your apartment building."
Sookie knew the place, but she was a little bit miffed that Eric had staged an impromptu change in locale. Or, at least she hoped it was impromptu. "A bar, Eric?"
"Yes a bar. I understand humans find them enjoyable?"
"You would know, you're the one who owns one," Sookie shot back.
"Fair enough, little one. If you'd rather go to Denny's, I can turn around," he offered.
"No, the bar is fine. I've been there a couple of times…with Amelia." Truth be told, she could use a drink after everything that happened that evening. More of Dahlia's shit, whatever she saw (or didn't see) regarding Bill, and whatever was going to happen with Eric. She was pretty positive that he was just itching to ask her about their exchange last night-- she wasn't so sure about it herself. While there was no denying that Eric was unbelievably attractive, Sookie wondered if the seemingly sensitive side she had witnessed was just a fluke thing. Well, she was more than willing to investigate that angle.
Within the next few minutes, they were parked at the bar. Sookie's investigation was well underway and she was happily surprised when Eric not only opened the car door, but he both held the bar door open and pulled out her chair at the small table for two they currently occupied.
Shortly after their drinks were delivered, a small jazz band started setting up on the makeshift stage that was in the far corner of the bar. Sookie knew that this place was known for its frequent local entertainment, which was part of the reason she agreed to let Eric take her there.
Sookie couldn't help but smile as the little band struck up an up-tempo number. She looked up from the gin and tonic that she was currently nursing and across the table at Eric, who was staring intently at her while absentmindedly messing with the label on his bottle of TruBlood. Sookie resisted the urge to point out something someone told her once, something along the lines of that if you pick at bottle labels, then it's a sign of sexual frustration. She mostly avoided that little snippet of information because if she had a labeled bottle in front of her, she'd probably be peeling it too. As the thoughts in her head became heavier, she decided to reach across the table and grab Eric's hand, in search of something lighter.
"Let's dance!" she exclaimed as she tried her damnedest to pull him up. Eric smiled at her before standing up and following her to the floor. As they settled into a dancing position, Sookie couldn't help but notice that their bodies seemed to fit together, despite the obvious height difference. This observation was doubly noted when Eric took one twirl as an opportunity to pull Sookie closer to him.
He continued to twirl Sookie around to the upbeat little ditty, pulling her tight to him at the song change. When the band switched numbers, a lovely little brunette joined them on stage. One brief second of silence, and the singer broke into the signature opening of Etta James' "At Last".
As the song built up, Sookie was sure she could have melted right there on the spot if Eric wasn't holding her up…and so close to his body. In fact, their close proximity was largely the culprit of her current near-liquid status. Every time they moved, Sookie could feel every one of Eric's tight muscles, especially a particular one that was currently pressed into her stomach. But however gelatinous Sookie was feeling at that moment, Eric was just as turned on by the feeling of Sookie's curvy little frame under his hands and against his body. He managed to dip her as the song ended; when he pulled her back up, her pretty blonde locks cascaded and bounced around her face. She was beautiful.
Sookie was still a little shaky as Eric lead her back to their table. In light of another gin and tonic, Sookie ordered herself a glass of ice water with a lemon wedge. She needed to cool down, and that water glass was about as close as she could get to a cold shower at that moment. Eric ordered another TruBlood, and the two of them drank quickly and in silence. They both knew that the subject of last night would have to be discussed, but that a jazz bar wasn't exactly the place to do it.
The ride back to Sookie's apartment was equally as silent, alarmingly so. It was when Eric's corvette glided up to her building when Sookie decided to bite the bullet, so to speak. She turned to Eric and asked, "Do you want to come inside?" She quickly added, "and talk."
He responded with, "I thought you'd never ask." Such an answer should have sounded forward and cocky, but Eric said it in a way that was almost…well, relieved. Sookie directed Eric down a little side street and into the carport allotted for the buildings tenants. After parking the 'vette next to Sookie's rather old hunk of junk, the two walked to the back entrance to the building, with Eric's arm around Sookie's shoulders.
"I love that color on you, by the way," he whispered as she was unlocking the back door, causing her to nearly drop her keys. There went that dress-colored blush again.
Sookie managed to stammer out a "thank you" before finally unlocking the damned door. As they wandered towards Sookie's apartment, Eric's hands wandered down to her waist, and she swore that at any minute he was just going to pick her up and whisk her upstairs to her place. And, strangely enough, she wouldn't have actually minded if he did.
Once they made it into the apartment, Sookie noticed that there was no sign of Amelia. There was, however, a note. It was on the kitchen counter and in it Amelia explained that she was staying the weekend with Tray, but she had popped by the apartment to pick up some clothes and things._ Great_, Sookie thought, _now I don't even have her as a buffer_.
_And you even want a buffer? _her less-rational side inquired. _I mean, shit, look at him!_ Sookie turned her attention to the blonde god in question. Eric was currently lounged on the couch, staring at her intently. Just as he had done the night before, he was currently patting the couch cushion he wasn't sitting on.
Sookie walked over and sat down, a little less reluctantly than she would have liked. "So about last night," she started.
After a brief pause from Sookie, Eric looked at her. "I'm all ears, darling."
"It's just that last night…last night you…you…I don't know," she sighed, feeling defeated.
Eric casually draped his arm over the back of the couch. "What do you mean you don't know. What could you possibly not know?"
"You, Eric. I don't know you."
He looked at her as if she had just grown a second head.
She continued, "One minute you're screwing Dahlia in your office and being all sarcastic-like about it. The next you're saving me from God-knows-what with Bill." Yeah, God knew all about what was going to happen last night, but then again, Sookie had a pretty good idea herself. "And after that you stay with me until I fall asleep, and you became comforting. And then tonight, tonight you take me out dancing." She fell back against the arm of the couch quite dramatically.
"You suggested the dancing, Sookie."
"That's not important!" Sookie responded, exasperated. "You just need to stop acting so…so bipolar." She crossed her arms in front of her.
"Seriously, Sookie? Out of the two of us here, you think I'm the one who's being wishy-washy?"
"What's that supposed to mean?"
"You know exactly what I mean. Acting all innocent, but secretly relishing the way that I kiss you." She shot him a look. "Don't give me that, I know you do. Then you go out with that damned Were _and_ you beat the shit out of Dahlia."
"My going on a date with Alcide had nothing to do with you. And 'beating the shit out of Dahlia', as you so eloquently put it, had even less to do with you. I went out with Alcide because I wanted to. I hit Dahlia because she pissed me off."
"And why did she piss you off?"
"She kept accusing me of messing around with you in your office."
"We were making out in my office, Sookie. That's basically the same thing."
"Yeah, right. I wasn't riding you in your desk chair."
Eric took a brief moment to let that image float across his mind. "Whatever. Fact of the matter is, you're the one who keeps dancing around your true feelings. I've been nothing but honest about my desire for you from the beginning."
Sookie just sat there. Words escaped her, but more importantly, Eric was…right? Yes, he was right. Her hormones were in a constant game of ping pong due to this vampire. This man. Yes, more importantly, Eric was still a man. An absolutely stunning, blonde, 6-foot-whatever, mountain of a man. She sat there in silence contemplating a response to Eric's monologue.
Eric took that lull in the conversation to as an opportunity to decide a response for her.
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**Ack! Another cliffhanger! Before you guys beat me into oblivion, I couldn't just spill all my beans in one chapter could I? We've covered some deep shiznaz in this chapter, and it's also considerably longer than the last two chapters. So it's a win-win, right? Right? I know you guys are going to be all kinds of mad at me for cutting it off there, but look at it this way: now you guys can use the space between chapters to imagine up all sort of delicious responses for Eric to decide on. Sound good? Before I run and hide, I'd like to leave you with some notes. "At Last" is basically one of my favorite songs, I'm pretty sure I want to dance to it at my wedding (whenever that'll be). Ooo ooo and next chapter, the revelation of my ultra-cruel cliffhanger (I promise it'll be good), another theme night, and a new character. See, lotsa stuff to look forward too. Remember, I love you guys and you're the best group of readers on the entire planet. So press the green button and feed my addiction.**
**Until next time (which will be soon, I promise)**
**-Sydney**
11. Shimmy
**Stiletto.**
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**A/N: To clear up the last chapter/note drama, I've gotten a lot of mixed response as to whether to keep it the same or change to AH. I tallied up the responses, and I'm going keep it the same. I started writing from a more AH perspective, and it just didn't feel right. However, be on the look out for some AH stories from me in the future. Thanks for all your comments and opinions on this matter. I'm going to keep the supernatural aspect, but keep the politics out (they have the nasty tendency to mess things up). And thanks to everyone who pledged their loyalty to the story regardless. Also, I was originally going somewhere else with the whole window-less apartment thing, and I just never changed it. Reflectively, the whole idea sounds kind of retarded now, lol. So, let's just throw in some windows, and I'll go back and change it. **
**I'm throwing this chapter in as my gift to you guys, for putting up with my story identity crisis shit. It's completely relevant to the story, but we won't be back at Fangtasia until next chapter.**
**Thanks, and here is chapter eleven.**
**Enjoy!**
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**Chapter Eleven- Shimmy**
_Eric took that lull in the conversation to as an opportunity to decide a response for her. _
He grabbed Sookie by the shoulders, leaning over her, capturing her lips in a kiss. Sookie's heart did a flip-flop, which was followed by her body doing some moving of its own while it tried to sync with her brain. Her whole being was desperately trying to figure out if this was what she wanted with Eric.
If she were to put down that front she had been hiding behind since she first fell into Eric's arms at Fangtasia, then the answer would be yes, this was exactly what she wanted. But that didn't mean that there still weren't any apprehensions. First, she was still a virgin. She was pretty sure that Eric wouldn't mind, seeing as she was drawing some blood-sex conclusions of her own from things she had been told. What disconcerted _her_ was the sheer size of him, if what she had felt while they were dancing was any indication.
Something else got to her as well-- the fact that Eric could be fucking Dahlia. When she thought about it, it seemed highly unlikely; they hadn't interacted in some time, to Sookie's knowledge anyway. Whether or not he was doing Dahlia, Sookie still didn't like the fact that he seemed so nonchalant about their relationship…or whatever it was. It only seemed like she was someone to feed from and get his rocks off. Sookie wasn't that type of girl. She never would be, and she didn't want that from someone who she'd be romantically involved with. Especially since Eric would be her first. _But he had been so sweet…_she told herself.
Sweet or not, Sookie needed some answers from him, and she needed them before this went any further. She placed her dainty hands on his chest and pulled away from him.
"Eric, wait."
"What's wrong, Sookie?"
"This is." Eric genuinely looked taken aback. She continued, "At least it will be if we don't clear some things up first." He looked at her a second before nodding.
"Are you still…intimate…with Dahlia?" she asked in a voice that she didn't realize sounded almost like a whisper.
"No. I haven't touched that fangbanger since--" Sookie put a finger up to his lips. Gauging by her reaction, Eric figured it probably wouldn't bode well for him if he started sucking on them, as much as he wanted to. He waited for her to speak instead.
"That brings me to my next question. How can you be so uncaring about whatever relationship with Dahlia you have?"
"_Had,_" he corrected. "And to be perfectly honest with you Sookie, it wasn't that much of a relationship. I was lonely, she was available. And I also might add that she has slept with a few other vampires that have been in and out of the club. She needs to realize that the bouncers see everything," he said the last part almost to himself.
Now it was Sookie's turn to be surprised. Out of all the responses she thought Eric would give her, his loneliness certainly wasn't one of them. The part about Dahlia and the other vamps, on the other hand, not shocking in the least. Then something occurred to her.
"And you're not lonely now? Am I another availability?" She didn't mean for it to come out so harshly, she just felt it had to be asked.
Eric let out an unnecessary breath. "Well I'd be lying if I said I wasn't lonely. I've been feeling lonely even with Dahlia for awhile. I don't know what it is, but I've felt something for you since I caught you on your first night at Fangtasia. Whatever it may be, it's different, I like it, and it's worth exploring. And, Sookie, while you maybe be available, you are certainly not an availability."
Eric pulled Sookie back to him, kissing her lips softly. One hand rested on the small of Sookie's back, while the other slid down the hem of her little red dress. Whatever she had been thinking previously, all bets were off now after Eric's latest confession. She pressed her lips more forcefully against Eric's, deepening their kiss.
Eric took Sookie's response to his kiss as a green light. He moved over her, causing her body to lean back onto the arm of the couch, her head resting on the pillow that sat there. The hand that rested by the hem of her dress began to slide back up, taking the dress with it. Eric pushed the dress up until it pooled around her waist. It must have been uncomfortable, because Sookie started to squirm.
"Sookie?"
"This dress, the material is stiff. Help me out of it?" Eric didn't have to be told twice. Within seconds, the zipper was down and the dress was on the floor. Once the dress was discarded, Eric's mouth was back on Sookie. He ran his lips, with a hint of fang, down from Sookie's mouth, to her collarbone.
A small moan escaped her lips once she was freed from the restricting fabric on that dress. Her hands found their way up and tangled themselves in Eric's blonde mane as he ran his tongue across her collar and down toward her breasts. Pausing a moment, Eric shucked the little strapless bra that Sookie was wearing. Sookie took this pause to start helping Eric shed _his_ clothes. As she went for his button-down shirt, Eric went back for her mouth.
"Just rip it open," he murmured into her mouth after a few seconds of undoing buttons. Sookie complied, jerking the black fabric open, causing buttons to fly around the living room. She snatched his undershirt off as well, adding it to the growing pile of disregarded clothing.
Sookie arched up into Eric's body, assuming a seat straddled on his lap. She placed a few feather-light kisses along his jaw line, which elicited a growl from Eric. Accompanying that growl, Eric lifted Sookie up and tackled her back down on the couch, on her back. He made a motion for his belt buckle, but Sookie put her hand over his.
"Eric, wait." Eric ceased messing with his pants and looked at her.
"I'm not trying to put a damper on this, really, I'm not. It's just that…I…I meant to tell you this before…"
"Sookie, you can tell me anything." He wasn't lying. In fact, she had already told him a lot of things he wasn't sure he wanted to hear. He was ready for anything else she felt like telling him.
"Eric, I'm still a virgin." Well, anything except that. He found it incredibly hard to believe that this vivacious blonde was untouched. Apparently his disbelief translated into a look on his face, because when he snapped back to reality, he was met with said blonde's gaze. "What?"
"You can't be…really?"
Her confused gaze turned to one of shock. "What do you mean I can't be? What kind of a girl do you think I am?"
He placed his hands on her shoulders in a conciliatory manner. "Sookie, I didn't mean it like that. I'm just surprised. It's not something one encounters nowadays."
Sookie had to admit that Eric had a point. Patience was indeed no longer a virtue, no pun intended, anymore. "Ok, Eric. I understand. I just thought I should mention it since we were probably going to…you know."
Eric couldn't help but laugh a little at her shyness, which completely made sense to him now. "_Were_? I still would like to," he cleared his throat, "I mean if you do."
Sookie pulled him back to her. "Of course I still do, silly. Why the hell would I be sitting here in my panties if I didn't?" Eric smiled a fangy smile in her direction.
"Panties? Oh yes, that reminds me." With a tug, Sookie's lacy panties were on the floor. He placed a kiss on her temple while his large hands slid down her abdomen. His hands moved down over her hips in a 'v' motion, coming together at the little pile of blonde curls. They then separated; one hand massaged circles into the skin on Sookie's lower stomach, the other traveled further south.
Eric gingerly ran a single finger down her center. Sookie squirmed against his hand, bringing her hands back up into his hair. After testing her wetness, Eric brought his hand back up to his mouth and licked his finger, an absolutely predatory look spread across his face.
"Delicious." His hands went back to his belt, but, interestingly enough, Sookie beat him to it. She managed to get it unbuckled, but her hands betrayed her when it came to his fly and started to shake. She managed to pull it together and started to push his slacks down over his hips.
"No underwear, Eric? Really?" she commented at the lack of fabric she came upon.
"I find them to be uncomfortable. That, and they get in the way." He quirked an eyebrow at her; Sookie blushed, she couldn't help it.
"That color looks lovely on you, too," he remarked with a light laugh. He pushed his pants the rest of the way off, much to Sookie's anticipation…and slight shock. He was _huge_. Whatever she had felt earlier had surely not prepared her for the sight before her.
"Oh my." Those were the only two words that she could grasp, and she was thrilled that it didn't come out 'My oh'.
Eric flashed her another toothy grin. Then something occurred to him and he leaped up as if he had just been shocked, or burned.
"Holy shit, Eric. What the hell?" Sookie found her words, not the most ladylike ones, but words nonetheless. Without a response, he scooped Sookie up and rushed her into the room that had been pre-established as her bedroom. After being deposited on the bed, she just stared at him. "I ask you again, what the hell?"
After joining her on the bed, he regarded her questioning. "I don't want your first time to be on a fucking couch. I figured you'd agree."
She couldn't do anything but nod furiously at the naked Viking kneeling in front of her, seeing as the alternative would be starting the waterworks at his act of compassion. After the head bobbing ceased, Sookie did the next logical thing that fleeted across her mind: she launched herself at Eric, connecting their mouths again.
After a few more heated moments of kissing, touching, and grabbing, Eric flipped Sookie with ease so that both her head was on the pillow and she was under him. His hand trailed down between their bodies, positioning himself at Sookie's entrance.
He decided to forego the tradition 'Now I know this is going to hurt, but…' speech and decided to verify Sookie's decision with a simple. "Are you ready?"
"As much as I'm going to be. But yes, I am."
"Good, because I don't think I would have let you get away after seeing you like this." He made a sweeping gesture to her naked body before him. He had pushed in a couple of inches when he was met with resistance. He stole a look up at Sookie, who responded by gently wrapping a leg around his waist.
"Please, just do it."
Eric pushed the rest of the way in, which was a considerable length. "Fuck, Sookie," he growled as he pulled out a little before thrusting back in. "Amazing." After a few more thrusts, he lifted Sookie's other leg and wrapped it around his waist. He then took his hands and scooped them under her bottom, tilting her pelvis for a deeper angle.
This earned him a loud moan from Sookie, who had recently made the transition from considerable pain to considerable pleasure. After said transition, she started to become more of an active participant, bucking her hips to meet Eric's thrusts. After about six more of those deeper thrust, Sookie began to see stars as she closed her eyes.
"Sookie? Open your eyes, lover." She looked up at him, but he punctuated his sentence with a thrust that had Sookie set back to thrashing around on the bed, screaming his name as she toppled over the peak. Eric must have been right there with her, because Sookie could only manage a breathy moan when he bit the junction of her neck and left shoulder.
Eric managed to collapse with a certain grace that could only be afforded to a vampire, almost gliding to a position that was half on top of Sookie, half on the mattress. He ran a hand over her stomach, trailing it up between her breasts, ending at the bite mark that now adorned her skin. He lowered his mouth to it, running his tongue across it, licking at the little spots of blood that were starting to dry on her shoulder. "Exquisite," he commented as he raised his lips back to Sookie's.
Sookie felt sleep start to tug at her body. She gave Eric one last kiss and laid back on the pillow.
"Thank you," she whispered as she let sleep overtake her.
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**So was it good for you? Sorry that this took a lot longer to write than I thought it would. Once again sorry about my little freak out about the direction of the story. Thanks to everyone who contributed opinions once again, and I'll be back with more very soon.**
12. Skirting Around
**Stiletto.**
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**A/N: As promised, I worked diligently to produce this chapter as fast as I possibly could. I'm still in the moving back in and doing major overhaul on my room process, so I'm not as focused as I probably could be, but it's all good. I hope you enjoyed that pure citrus last chapter, there should be some more located somewhere in this chapter as well ;). I'm just gonna throw this out there before I get cracking on chapter twelve: I originally intended to tack chapter eleven and part of this chapter as part of chapter ten, but then I wrote my cliffhanger line and was all like "nope, that's perfect, I'm just going to leave it there." And I'm so glad that I did, you guys seemed to enjoy it.**
**Last thing, I promise, some announcements (I know I posted this exact same thing in the latest chapter of Drawn, but I know that most people don't read both): Drawn will most likely conclude at chapter 18, possibly 19. I've decided to make Stiletto a running story until it jumps the shark, so to speak. I've also been concocting some E/S one-shots and potentially an E/OC story, so if you're a fan of my writing style, those are in the works. Other than that, I'm all ears to story suggestions from you guys, for the fans of my style again. **
**Enjoy!**
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**Chapter Twelve- Skirting Around**
Sookie awoke a couple of hours later due to the necessity to relieve some needs involving the bathroom. That taken care of, she wandered her way back across the hall into her room. She was met with Eric sitting up in bed, watching Sookie and trying his damnedest to suppress a laugh. A laugh that was due to the fact that Sookie wandered back in the room like a petite, feminine version of John Wayne. "What?" she asked him.
"You just look…well, saddle sore."
"And you're a pretty big stallion, Eric," she replied without missing a beat. Eric probably didn't need an ego boost, but Sookie couldn't resist that little comeback.
Eric couldn't resist laughing out loud at that one. "So I am." When Sookie sat back down on the bed, Eric wrapped his large arms around her now robe-clad body. "I can help you with that, you know," he offered, slipping the silk fabric off Sookie's shoulders.
"You can? You don't have some kind of magical Advil, do you?"
Eric smiled another of those sly smiles. "No, nothing like that. I can help you with my blood." Now, Sookie had heard a thing or two about vampire blood, but anything she had heard had been drug-related. She now sported a semi-wigged out expression on her face.
"You're not suggesting that I…that you want me to…" and here her voice turned into a whisper, "…drink your blood?"
Eric laughed again. "Nothing so extreme, darling. Just lay back." She was still a little bit skeptical, but some large part of her trusted the blonde vampire, so she did as she was told. From her position on the bed, she couldn't really see what was going on, nor did she really want to. She could hear Eric moving around a little bit, and she could certainly feel him when he placed a single blood-coated finger inside her. She wasn't sure how that would help, but she went with it, and as strange as it might seem, with all of that going on, Sookie felt back asleep.
---
When she woke up the second time, she was disappointingly sans vampire. She was, however, a whole lot less sore in the downstairs area. After rolling out of bed, she caught a glance at the little digital clock on her nightstand; 2pm it glowed in neon green. She headed out into the living room first, in order to check the cell phone that she so thoughtfully discarded before getting naked with Eric. _Oh and what a fabulous nakedness it was_, she thought devilishly as she picked up her phone.
There was a text message from Amelia. Two words, '_THEME NIGHT!_', were printed on the tiny screen. Sookie was actually kind of excited, seeing as the last theme night turned out to be more fun than she thought it would be. She typed in as excited a response as she could in a text, hit send, and then hit the shower.
One steamy bout of cleansing later, Sookie was back in the living room due to her phone making noise, the signal of a text message. Well, it was actually two text messages. The first one was a response from Amelia: '_Excellent. Oh, and bring a white button-down shirt._' That message left Sookie none the wiser to the theme, so she shrugged and headed back in her bedroom, phone in hand. After pulling the shirt out of her closet, she opened up the second message. It was from Eric: '_Heard tonight was another theme night. Excited to see you in whatever it is they've got planned ;k_.' She studied the last two characters for a bit before she realized that it was Eric's version of a smiley face emoticon. Her focus then shifted back to the actual message. _Well hell_, she thought. _No pressure there_.
Sookie threw on a casual blue tank top and a pair of jeans, stowing the button-down in her purse. The walk to work went by faster than usual for some unknown reason. After entering Fangtasia, she made a beeline for the dressing room, which was where Amelia had said to meet her. The first person she encountered, however, was Pam, who was wearing a very cute-looking Fangtasia robe.
"Blondie," was the greeting that Sookie received, which she thought was amusing, considering Pam was blonde as well. "Tonight's theme night should be good," she commented before walking back into the costume room. She made a motion over her shoulder for Sookie to follow. Sookie supposed Pam had found a middle ground between being curt and being chatty in her conversations. Not to be saying that Pam was overly chatty in the one and only significant talk that she had with Sookie. She watched Pam retrieve something out of one of the two large cardboard boxes that Amelia was perched behind. It was something…_plaid_. Pam started to walk out into the dressing area, but she turned around and looked at Sookie when she reached the doorway.
"I heard that you took my advice. From the looks of it, I'd say you have a pretty nice right hook." Pam was laughing the whole way out of the room. Said laugh seemed to capture Amelia's attention away from whatever she was doing in the boxes.
"Sookie! You're here!" she exclaimed, standing up and bouncing over to the blonde, giving her a short hug. Then she was back on the boxes, rummaging. "Your outfit is around here somewhere…I just saw it." The way that Amelia identified a particular outfit as her own made her a little skeptical, but a little excited at the same time. She _had_ gotten the best Moulin Rouge costume, after all.
Amelia bounced back up, two pieces of fabric in tow. The first piece Sookie was handed was a tiny, white pleated skirt, which had a red stripe around the bottom. The second piece of clothing she was given was a tiny red cardigan that was trimmed in white. It also had a large white 'F' (for Fangtasia, she guessed) printed on one side. Sookie went to her purse and pulled her button-down out.
"Oh, I guess you didn't need that after all," Amelia commented, almost to herself.
"What do you mean?"
"The cardi, that's the top." Sookie raised an eyebrow at Amelia before studying the sweater in her hands. She supposed that if she was in for a penny, she may as well be in for a pound. Plus, Eric _had_ said he was excited to see her in her little outfit, so figured that she might as well give him something good.
She changed quickly, grabbed a pair of thigh-high red socks from Amelia's cardboard treasure chests, and tied her hair into loose pigtails using the two ribbons that her roommate had given her with a sly smile. Socks, hair, and Mary Jane heels in place, Sookie set out for the main floor. She had made a quick glance from behind the curtain; Eric wasn't out there yet. Sookie was actually kind of happy because she felt she needed a minute to adjust to her new ensemble before seeing him, of all people.
From that curtain-shielded vantage point, she did however see an unfamiliar someone. It was a girl, which was uncommon in it's own right in such an establishment, but it was the way that she was looking around that piqued Sookie's interest. She knew that look. That was the look of someone who was unsure of her surroundings, the look of someone who was looking for a particular person. Sookie had a feeling she knew who this girl was looking for.
"Hi there. Can I help you find someone?" She had wasted no time in approaching the brunette. In fact, Sookie was a little jealous of the girl's pretty long, curly black hair.
"Oh, yeah. I'm looking for a Sam Merlotte?" she asked, seemingly unsure of her pronunciation of Sam's last name.
"Sam? Sure, I'll take you right back to his office if you'd like," Sookie replied, without thinking.
"Thanks, that'd be great." She smiled at Sookie before extending her hand. "I'm Cicita, by the way. Cicita Montoya."
Sookie accepted the hand easily. "Sookie Stackhouse, pleased to meet ya." Sookie started walking towards the back of the club, Cicita at her side.
"If you don't mind me asking, Sookie, what is it exactly that you're wearing?"
Sookie had momentarily forgotten that she was in costume. She looked down and couldn't help but giggle a bit. "Oh, this? It's one of our theme nights. Tonight is slutty co-eds, I suppose," she said with a smile.
"That sounds like fun. Now I'm really hoping I get this job."
"Which job are you applying for?"
"Waitress. One of the dancers here, Cassidy, lives in my building. She said that there might be an opening, so here I am. What do you do here, Sookie?"
"Waitress, as well. My roommate, Amelia, is one of the dancers." Just then, they were at Sam's door. "Well, here we are. Oh, and if you get the job, come see me at the bar. I have a shirt that would work for the top half of your costume for tonight." She smiled at Cicita before scooting back down the hall pretty quickly, considering Eric's door was closed.
---
About twenty minutes later, Sookie was at the bar making sure there was a significant supply of sanitized glasses in every variety. She was pulling out a tray full of shot glasses when Cicita appeared in front of her. "Looks like everyone is gonna get to see my ass in one of those skirts tonight, girl."
Sookie smiled. It was kind of nice to have another waitress that _wasn't_ out to kick her ass. "Let's get you dressed then." Sookie grabbed her button-down out of her purse that was stashed in the cabinet in the waitress' area, and the two girls headed off to the dressing room.
When they got back into the changing area, the rest of the girls were back there getting ready. Sookie noticed that some of the girls were wearing plaid skirts with white button-downs, and some were wearing the same type of sweater that she was, but they were white with red lettering and their skirts were red with a white stripe. Amelia walked by her and she pulled her over by the arm. "Why am I the only one dressed almost completely in red?" Sookie had also noted that all the other girls were wearing white socks in various lengths.
"Red is Eric's favorite color," Amelia stated simply. "At least that's what Pam told me."
Sookie blushed a little, involuntarily. "So now you're in cahoots with Pam?"
Amelia waved her hand around, brushing her off and changing the subject. "So who is this you've brought back here?"
"This is Cicita, she's our newest waitress. Cicita, this is Amelia, my roommate." Cicita gave a smile and a little wave.
Amelia grabbed the hands of the brunette, stepping back and giving her a once over. "You're going to be as fun to dress as Sook is," she squealed, "you have such a great figure." Amelia was right; Sookie and Cicita were similar in body type, Cicita being the curvier of the two.
"I was thinking that there might be an extra plaid skirt back here or something? Because she can use the shirt that I brought since I've got this," Sookie said, pulling at the fabric of her cardigan-top.
"Oh yeah, we've got extras." Amelia smiled.
"Well, then, I'll leave you two to that." Sookie handed the shirt to Cicita. "I'm sure I'm needed out front. I'll see you out there, Ci." Cicita nodded before turning to Amelia's treasure chest.
Sookie headed back out onto the floor; still no Eric in sight. She shrugged, snagging her notepad off the bar. She had never been dependent on a man before, so why start now? _Because he fucks like a sex god, that's why_, her libido reasoned. Apparently her libido wasn't the most ladylike speaker. Sookie herself reasoned that it might be a side effect of losing her virginity to him. Either way, she found herself wanting to see him, so she took three tables orders, filled them, and headed towards the back.
Eric must have been thinking the same thing, because he met her halfway, by the back bathroom, site of many an encounter for some unknown reason. He met her halfway, meaning he stopped dead in his tracks at first glimpse. Sookie continued to walk up to him and after looking around, Eric picked her up and carried her back to his office.
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**Sorry guys, it's another cliffhanger. I'm starting to enjoy them. *laughs evilly* At least this one wasn't too dramatic. I just didn't want to put out one mondo chapter and then make you guys wait awhile for the next one. Plus, I wanted to get this out tonight (well, technically it's a little past midnight here, but whatev.) So lemme know whatcha think!**
**-Sydney**
13. Radar
**Stiletto.**
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**A/N: Um, I really don't have too much to say here. Thanks for the comments and such, you guys are awesome, as always. Words on the new character, Cicita: Fear not, she is no eminent threat to the Eric-Sookie love fest that is sure to ensue. Haha. But she is going to be a lot of fun to have in here. Hope you guys enjoy the rest of theme night, cause I haven't even gotten into the good stuff yet. Oh, and I added a link to Sookie's costume for this theme night in my profile.**
**Enjoy!**
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**Chapter Thirteen- Radar**
_Sookie continued to walk up to him and after looking around, Eric picked her up and carried her back to his office._
After setting Sookie on her feet, Eric made a pointed display of shutting the door to his office. "So when's the big game, Sookie?" he asked, smirking and leaning against the door.
"I was hoping after work?" She gave him what she was hoping was a suggestive look.
"Of course, lover." Sookie shivered a bit at her new nickname. "But I was thinking we could squeeze in a practice session now." His voice had dropped an octave and he started walking Sookie back towards his desk.
When her butt bumped against Eric's desk, she wrapped her arms around his neck, pulling him down to kiss her. He smoothed his lips against hers, flicking his tongue against her bottom lip before seeking entrance. Entrance that was quickly granted as Sookie was hoisted onto his desk in a sitting position. Their tongues mingled for what seemed like a torturous eternity, before Eric brought his lips across her cheek and down her neck, lavishing both of those parts of her with light kisses.
Sookie placed a hand on Eric's chin, cupping it and bringing him back up to face her. Their lips melded together again, but this time Sookie felt Eric's wandering hand skirt up her thigh to her…well, her skirt. He had flipped it up a little bit before Sookie got a grip on the situation. She pushed the little scrap of fabric down and his hand away.
"I'm still not having sex with you in your office, Eric." He growled a bit in response, but pulled away.
"We only got one round in last night, I'm just making up for lost ground." He smirked a bit with this sentence.
"I'm not doing this," she said with a sweeping gesture, "at work. I'm not Dahlia." She spit the redhead's name with distaste. She knew it was catty, but she knew that Dahlia had already said and thought some less-than-savory things about her, so what the hell?
Eric rubbed small circles into Sookie's thighs with his thumbs. "Don't belittle yourself with that comparison."
"But belittling myself is exactly what I'd be doing if I had sex with you on the clock," Sookie reasoned as she hopped down off the desk.
"Fair enough. But you're wearing that little get-up when I walk you home." He smiled, with fangs. "Which reminds me, you should have called me instead of walking here alone tonight."
She gave him a confused look. "Like I said before, the bouncers see everything." Sookie huffed and started to protest, but Eric cut her off. "Don't even try it, you know walking alone at night is stupid, especially considering…" he searched for a euphemism "…the circumstances."
Sookie didn't have a response to that. Eric was actually right again. _Damn him_. She was, however, a little touched that he cared about her well-being. She stepped to him and ran a hand up and down his arm. "Thanks for looking out for me, and I would be very happy if you walked me home." She then added, "Even if it means I have to wear this skimpy-ass skirt home."
"It was simply a suggestion, Sookie. A strong one, but a suggestion nonetheless."
Sookie shot him a flirty smile. "But it's the least I can do, with you escorting me and all." She gave him a kiss on the cheek. "Are you coming out front tonight?"
"I haven't missed a theme night yet, lover. Plus, I'll get to see you prance around in your little skirt."
Sookie smiled again, she really couldn't help it. "Great." She turned on her heel and walked out of the office, perhaps with a little sashay in her step for Eric's benefit.
---
Eric made it out of his office in time for the evening's Dollhouse Dance. The song of choice was, not surprisingly, Britney Spears' _Baby One More Time_. When the song started playing, Eric immediately realized why Sam stopped by his office to gripe about the play list. While the song selection wasn't his cup of tea, figuratively speaking of course, he couldn't help but appreciate the fact that song was causing a certain little blonde to shake her assets while working around the bar.
Eric also noticed an unfamiliar long-haired brunette bopping around the bar as well. Running on the assumption that she was the new waitress Sam had mentioned during his Britney Spears-induced rant, he turned his attention to the blonde that was approaching him.
"Pam."
"From your open mouth staring, I'd gather that you're enjoying my costume selection for your new waitress?"
Eric glared at Pam for a moment before responding. "I'd appreciate it if you'd call her by her given name, Pam. And don't even think about nicknaming her after a drink." Eric could only imagine what Pam would come up with.
"Relax, darling," she drawled. "I happen to like her. Definitely an improvement over the re-- I mean, the last one. And as far as nicknames go, you're no fun," she stated as she got up and wiggled her plaid-clad ass backstage.
Eric found his gaze slipping back towards the bar, where Sookie and the new Latina waitress were still dancing, only now they were dancing together. He smiled and stood up, walking over to the bar in the menial amount of strides that only someone of Eric's stature could successfully pull off. "I might have to put you ladies up on stage if you keep that dancing up." Eric spoke to both girls, but his gaze remained mostly on Sookie.
Sookie let out a giggle before lightly swatting Eric on the arm. "Not a chance, mister." Before Eric could say anything, she slipped on a mask of professionalism. "Mr. Northman, this is Cicita Montoya, new waitress extraordinaire; Cicita, this is Eric Northman, owner of this here fine establishment." Sookie smiled as the two exchanged pleasantries, moving back toward the bar to finish the round of martinis they had been working on for one of the larger tables. She then handed one of the trays to Cicita, grabbing the second one herself.
Sookie stole a glance at Eric as she left the waitress' area. He craned down to whisper, "I wonder if I could arrange a private dance later", in her ear as she walked by. Sookie let out a visible shudder which caused a smile to play at Eric's lips. He watched her go off to deliver her drinks, but spun around shortly after, snatching a little hand that hand that had just touched his shoulder.
---
"So that's the boss man, huh?" Cicita commented as she distributed her martinis around the large table. Sookie murmured affirmatively as she divvied out her share of the drinks; the two girls met at the end of the table. "You two seemed awfully chummy back there," Cicita remarked, raising her eyebrow at her new friend.
Sookie paused for a minute during their trek back to the bar. "We kind of are. But don't say anything, I've already earned an enemy because of what she thinks was supposedly going on. She can't know that something actually is."
"Don't worry, chica, your secret is safe with me. Said enemy wouldn't be that pin-up looking redhead, would it? She's been giving me dirty looks all night, and I didn't know why. I guess it's 'cause I was talking with you."
"Yeah, Dahlia, that's her. And your probably right in your reasoning, too." Sookie shrugged, pushing the swinging fence-door to the waitress' area open.
---
"Why aren't you working?" Eric asked the redhead, whose hand he had just dropped to the wayside after turning around to face her.
"I am. I just thought you might need some help in the back." A smile played at her ruby-painted lips.
Eric's voice dropped to barely being above a whisper. "Why can't you just get a clue, Dahlia. Move on with the guys you've been leaving with over the past month or so. And if you value your job here, you'll steer clear of me." He almost sighed to himself, thinking about how much easier it would be if he was able to glamour Dahlia. He also figured that adding Sookie to the list of people that Dahlia should avoid would just add fuel to the fire; it was best for now that she just think that it was her whoring around that was causing his disinterest.
Dahlia pulled her notepad out of her apron and stalked off to the farthest table away from both the bar and Eric. Eric headed back to his office.
---
Sookie was starting to consider tonight's theme night a screaming success. She had found a new friend in Cicita, she had plans with Eric for after work, and she hadn't seen much of Dahlia the entire night. So needless to say, as things were winding down for the night, Sookie was sporting a huge smile. The only problem she could think of at the moment was having Britney's _Radar _stuck in her head after Amelia's solo. Having it on constant replay in her head wasn't all too bad, except that the words of the song were really resonating with her and her...whatever it was she had with Eric. Deciding to table those thoughts for now, Sookie busied herself with closing and humming her song. She was wiping down the bar, while Cicita was trying to lift the garbage when Quinn approached them. "You ladies need any help?"
Sookie looked up at him, then over at Cicita. A wicked thought crossed her mind. "I'm all set here, but I think Cicita might need some help with that heavy garbage there." Cicita hadn't been paying attention to the conversation, but at the mention of her name, her head shot up. She gave Sookie an incredulous look, to which Sookie responded with one of complete innocence. _Well he is kind of good-looking_, Cicita thought as she let Quinn pick up the huge garbage bag they had been using that night. It was full, and Cicita knew she probably wouldn't have been able to carry it herself anyway, so she was pretty happy on that front as well.
"That's what I thought," Sookie said to herself as she watched the two of them walk off to take out the trash. She finished up her closing duties and a couple minutes later Cicita walked back into the bar.
"That was really sneaky, Sook, but thanks."
"I have no idea what you mean by sneaky, you just looked like you could use some help with that huge garbage bag, that's all." Sookie couldn't hide her huge grin, though.
"Yeah, yeah. Quinn seems like a nice guy. Cute, too."
"From the couple of interactions I've had with him, he seems like a good guy."
"Well, we'll see how it goes…since we exchanged numbers." Cicita was beaming, and Sookie gave her new friend a hug. "Well, Cassidy is heading out, so I guess I'm leaving too. See you tomorrow, Sook."
"Have a safe trip home, Ci." After Cicita and Cassidy had left, Sookie noticed that everyone else had cleared out of the club. Everything was cleaned and stacked, and the front doors were locked up, so Sookie headed back to Eric's office. The door was slightly ajar when she got to the back, so she gave it a slight knock out of sheer politeness.
"Come in," was what Sookie heard from the other side of that door, so she strolled in to find Eric on the phone, the back of his tall chair facing her. He concluded his conversation shortly after and turned his attention to Sookie.
"Ready to go?" she asked. Eric had switched to shuffling through some papers on his desk, so his simply crooked his fingers in an effort to get Sookie to go closer to him. When he noticed that she hadn't moved, he looked up to see her lounged on the couch across from his desk.
"Come here please, Sookie."
"No thanks, I'm quite content here. I'll just wait until you're done." She appeared to be messing with her fingernails.
"I'm quite done."
"Then let's get going, it's been a long night."
"Not until you come over here, Sookie."
"I know what you're up to, mister. And I'm not having any of it. I made my feelings about your office and sex quite clear earlier, so you will either escort me home like the lady I am or I'm leaving alone." Sookie stood up and started for the door.
Eric couldn't help but be impressed by the little blonde's resolve. He could smell the start of her arousal and he had a feeling that she longed to be dominated, if only just a little bit, by him. In a flash, Eric had Sookie pinned up against the door, with her back against his chest. He ran a hand up the back of her leg, flipping the back of her little skirt up.
He placed an open mouth kiss on her throat. "I would just like to point out that you're no longer on the clock," he breathed against her skin. "If you want me to stop, all you have to do is say so. But something tells me you might be into it." Eric ran his fangs across the skin of her shoulder. "Just tell me if you want to stop," he whispered.
"Ung…don't stop," Sookie managed to breathe out. Eric extracted himself from his pants at the speed of light.
"That's what I thought," he mused as he entered Sookie in one stroke. She cried out loudly, but after assuring herself that no damage had been done, that cry slowly became a moan of pleasure as Eric pulled out and thrust into her again.
She really didn't have any comments or suggestions to make, so she let herself be overcome by this man, this vampire; the only sounds from the two of them were Sookie's loud moaning and screaming and Eric's throaty growls.
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**Ok, so I'm fully aware that I didn't wrap up this scene of lemony goodness. It'll come next chapter, I promise. I really just wanted to get this out to appease the huddled masses, lol. Since you guys are such a great audience, I've decided to post a snippet from my latest brain child. It's untitled, so I was hoping that maybe some of you creative people could give me some idears, since you guys have been awesome coming up with stuff for theme nights. Before I put the snippet in here, I'm gonna say a few words about it. This story is a lemony one about an art class, actually inspired by a story that a friend told me at art school, I just embellished a lot and added some ESN with our sexy Viking. Anywho, I need a title for it. I'm also probably going to start it out as a one-shot and if anyone likes it, I'll go from there. Without further ado, here's the snippet:**
_I honestly don't even know why I'm here_. That's what I was thinking as I strolled up to the double doors of Anderson Hall. Truth was, I did know what I was there, and it had everything to do with my roommate, Amelia. Her, and her quest to get me to be "well-rounded", or something along those lines. So that was how I, Sookie Stackhouse-- journalism major, ended up registered for a Drawing I class.
**So that's that. I'm sorry that this chapter of Stiletto took me longer than usual to write, I have no clue why. The next chapter should be out pretty soon, as well as the one-shot I mentioned above, provided I figure out a title.**
**XOXO**
**-Sydney**
14. Satine
**Stiletto.**
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******A/N: Hey guys! I just wanted to say thanks for the reviews and adds and the like. I was kind of hesitant about the way I developed the last chapter, but it seems you guys were really into what I did…esp. the door sex part, lol. So, once again you guys are awesome. Oh, and your suggestions for the title of my new story were really awesome, so thanks to all who suggested something, and keep 'em coming. I am just having a blast and a half writing that little number.**
**Enjoy, and I'll meet ya at the bottom!**
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**Chapter Fourteen- Satine**
After Eric had given Sookie her first orgasm of the evening up against the wall, he gracefully moved their tangled mass of limbs to his desk. After placing her, chest down, on the desk, he began to move again inside of her. Despite the fact that she was currently bent over a very uncomfortable wooden desk, in her boss's office no less, Sookie couldn't deny the fact that she was thoroughly enjoying herself.
Eric thrust roughly into her a couple more times before he turned her around to face him. Sookie leaned forward in an effort to connect their mouths again, to which Eric responded. Their tongues came together quickly, moving together in a fluid rhythm as Eric continued his pace below. Not too long after, Sookie felt herself build up again, and when Eric reached between them to flick her nub, she was done for. She screamed his name again, gripping his shoulders like a vice, as she rode out her orgasm. She imagined that Eric finished shortly afterwards, because the next thing that she knew, he had pulled out and had his pants back on. She found herself confused and a little empty at the loss.
"I've still got to get you home, lover," said Eric, as if he knew what she was thinking. "And as much as I wouldn't mind carrying you, I know you'd much rather walk yourself." He flashed her a cocky smile.
Sookie wanted nothing more than to rush across the room and smack that stupid smirk right off of Eric's face, but when she hopped off of the desk, she proved Eric's statement correct by wobbling for a minute. "Damn heels," she muttered, refusing to give him any satisfaction. Sookie also refused to look at him, choosing instead to look down at the heels in question and start for the door.
"Are you sure you're going to be ok to walk? We could drive."
"Walking is fine," Sookie responded, never one to refuse a challenge. In all honesty, she really wasn't that sore. What she was feeling was skirting that fine line between pleasure and pain, and her whole body was buzzing because of it. On her trip to Eric's office door, she managed to readjust her outfit. "I don't still have to wear this home, do I?"
"Oh, yes," answered Eric as he glided up next to Sookie, opening the office door. He gave her a playful smack on the butt as she passed him going into the hallway.
"You suck, you know," Sookie blurted out. Once she realized what she said, she was overcome with a fit of giggles. She braced herself against the wall for a second, trying to calm herself. But it was one of _those_ laughing fits. Laughing hysterically, Sookie tried to use her breaks in giggles to speak. "But you do know that you suck…ha ha…," she gasped for breath, "cause you're…you're a vampire. So of course…ha ha…of course you know!" Towards the end of her sentence, her tone got really high pitched.
Sookie stole a glance at Eric, who was staring at her intently. As he was leaning against the wall opposite of her, he was wearing a clearly amused expression. He thought Sookie's little outburst was incredibly cute; her reaction to it was just icing on the proverbial cake. He started to laugh with her, amazed that they could go from having incredible rough sex to laughing about something silly.
"Then perhaps we should head home. I can show you how much I really…_suck_," Eric suggested, the leer in his voice unmistakable. Sookie made eye contact with him, shuddered a bit, and then swallowed.
By this time, Eric had already moved to the back door and had opened it. After they made it outside, Sookie turned to look back at him. "Maybe we could drive home?"
Eric smiled, knowing his early statement was starting to have its effect on her. "No, lover. You decided to walk, and so we will walk. Besides, it's a beautiful night tonight." He took a couple steps and then waited for Sookie to join him.
Sookie sighed; she knew defeat when she heard it. Eric had a thousand years of will power to her twenty-something. Besides, it really was a beautiful night. The sky was clear and the stars were really bright. It took a couple of seconds before Sookie realized that she hadn't moved, was staring at the sky, and Eric was still a couple paces ahead, waiting.
As she approached him, she made a motion to touch his shoulder. Eric grabbed her hand and for a moment, Sookie thought he was going to drop it away from him. Instead, he laced it around his arm, pulling her closer as they started to walk. Sookie swallowed hard and turned to look at him. "You're not mad about my little giggle attack back there, are you? I mean, what I said?" Eric didn't respond for a second, so Sookie continued, "Because I didn't mean anything by it. Just a slip of the tongue, you know?"
She was rambling now, and Eric pulled them to a halt. "Sookie, it's fine. In fact, I found it quite…endearing. But, that doesn't make my rebuttal any less true when we get back to your apartment." He saw her shiver again and was satisfied.
After her quivering subsided, Sookie was back to her challenging self. "And who's to say I even want you to come inside with me?"
"Oh, Sookie," Eric laughed. "You'll want me there, don't you worry about that." They had started walking again at this point. It was a couple of minutes before Sookie spoke again, as they were rounding the corner onto her street.
"If you say so." She paired this statement with a smile. Not too long after that, Sookie and Eric were making their way back to Sookie's apartment via the front entrance. Once they were at her door, she fished her keys out of her purse before turning to Eric.
"So, I'll see you tomorrow night," she said, in her best attempt at seriousness. Eric placed a hand above her head and leaned against the doorframe.
"But Sookie, I've yet to make good on my promise about you, me, and that outfit."
"But Eric," she echoed, "I do believe that the office sex fulfils your promise regarding this outfit. Besides, I walked home in it, didn't I?"
"Yes, you did. Which is exactly why I want to have you again. But if you're sure my promise has been thoroughly fulfilled, then I will see you tomorrow when I pick you up." Eric turned and started heading down the hall.
Sookie let out a loud puff of air before speaking. "Damn it, Eric, get your gorgeous ass back here. I was kidding." Eric was already around the corner, so she had to raise her voice a little. It was loud enough to be perceived by vampire ears, but not loud enough to alert her neighbors. Eric was in front of her in a millisecond.
"So my ass is gorgeous now, is it?" he asked as Sookie opened her apartment door. She just nodded as they made their way back to her bedroom. Eric fulfilled his promise three more times that night.
---
Sookie woke up around 5:30 the following afternoon, surprised that she managed to sleep that late. She was, of course, alone, but she found herself upset at her solo state. The first time, she was happy because she at least had a little bit of time with Eric, even if it was to use the bathroom and have him heal her. But now, now she just felt like she'd been one night standed. Sookie knew that the whole thing was due to a situation beyond either of their control, but she couldn't help how she felt about it at the moment. As she rolled out of bed, she decided that it was something she was just going to have to deal if she wanted to keep being with Eric.
Being with, seeing, dating, sleeping with…whatever you wanted to call it. Sookie wasn't even sure herself. As she made her way to the bathroom, something occurred to her. Today was a Sunday, which meant that the club was closed. She could understand why she had told Eric last night that she would see him today-- she was trying her damnedest just to keep her composure while teasing him. Eric, on the other hand, didn't have the same kind of composure-keeping problems that Sookie had. Yet, he still said that he'd 'see her tonight to pick her up', if she remembered correctly. _Well, that was awfully vague_, she thought as she turned on the shower. She shrugged to herself and hopped into the warm spray.
About fifteen minutes later, Sookie was standing in front of the bathroom mirror, combing out her hair. After she put her comb away, she looked down at where her towel was resting around her body. Right above the fluffy, pink terrycloth, almost falling beneath it, was the faint remainder of fang marks. Sookie rubbed a finger across them before exiting the bathroom.
Once back in her room, she slipped into a pair of comfy jeans and a casual t-shirt. Shortly after dressing, she plopped down on her bed to send Eric a text inquiring about what he meant by saying he'd pick her up tonight. She also reminded him that the club was closed, not that she thought he'd need reminding.
Across from where she was sitting on her bed was the mirror on her closet door. She stared at her now-clothed reflection wondering how she, little Sookie from Bon Temps, ended up working in a strip club. If someone had told her three months ago that she'd be where she was now, and in some semblance of a relationship with her boss, a vampire, she'd have laughed and said that they were crazy.
Now, she was starting to accept that crazy was just the adjective of her life. Just then, she was effectively distracted by the vibration of her cell phone against her nightstand. It was the center of all the crazy himself.
_I know _my_ club is closed tonight, lover. Something should be at your building for pickup, so go check. And like I said last night, I'll pick you up later tonight. Let's go with 7:30. -E_
Sookie wondered what the hell Eric was talking about in his text. Well, on two counts at least. The line about him knowing all about _his_ club, yadda yadda, was crystal clear. She couldn't help but roll her eyes at the commanding tone of the text. After sitting on her bed for a couple more minutes, curiosity got the better of her, and she started making her way to the building's mailroom.
Once she got there, she was greeted by Kelly, the landlord's wife and part-time mailroom clerk. When Sookie entered the little mailroom area, a smile lit up Kelly's face and the woman made her way over to pull Sookie into a hug. That was what Sookie loved about her building, everyone was so damn personable. Kelly didn't have to do anything other than help her husband with the books, but she made use of a lot of her free time to receive packages for the tenets and such. She also baked cookies from time to time. Today was one of those times.
"Sookie, so glad you dropped by, hun. There's an awfully nice looking package that arrived about an hour ago…fancy wrapping and the like. I was just about to phone you. I would have done it when the package got here, but I was up getting dinner started." Kelly was a housewife in her late thirties, a tall, thin woman with dirty blonde hair. She was as sweet as pie, and very chatty, but Sookie didn't mind.
"It's no problem at all. I wasn't in any hurry for it. In fact, I have no clue what it is," Sookie replied as she picked up a fall-themed sugar cookie off of the plate on one of the tables.
A concerned look crossed Kelly's features. "You know who it's from though, don't you hun?" Sookie nodded, still chewing on a piece of cookie. Kelly gestured to a largish box that was wrapped in matte gold paper. "Pretty isn't it?" she inquired.
"Beautiful." Sookie didn't know what else to say. This wasn't what she was expecting. Honestly, she couldn't think of anything that Eric would be sending her. A gift of some sort…that sounded remotely Eric-like.
"Admirer?" Kelly asked, moving to lean against one of the mailbox units.
"Something like that. That's how I knew something was down here for me. It's some sort of surprise, I guess."
"Ooo, that sounds exciting," responded Kelly, followed by a delightful little giggle. Sookie giggled to herself, blushing a bit.
Sookie smiled. "Shall we see what it is?"
"If it's not something you'd rather open in private, then sure."
"No, no, it's nothing like that." _I hope._ Sookie peeled the gold paper away from the box, Sookie recognized it as one from one of the local boutiques. She had window-shopped there, but it was far too expensive for her budget. Kelly squealed when she saw the logo printed on the box; she knew the store as well.
Sookie lifted the box lid, pulled back the tissue paper, and extracted a dress. Specifically, one of the prettiest dresses Sookie had every seen. It was colored a baby pink tone and made of satin. The bodice was pleated, the empire waist was covered in beading and rhinestones, and it finished in a bubble hem at the bottom. In short, it was the complete opposite of anything Sookie would expect Eric to purchase.
If she were to think of a dress she'd imagine getting from Eric, it would be similar to some of the dresses she saw the other waitresses in at Fangtasia: tight, short, and probably black. Save for being on the shorter side, this dress was different. And because of that fact, she loved it. She liked the dresses that she usually wore to work, but this dress was definitely more her.
"Looks like someone has a date to go get ready for," Kelly interjected, smiling.
"I guess I do."
"Have fun tonight, hun. That dress is going to look fabulous on you." Sookie was able to pull some thoughts from Kelly on some of the nice dresses and gifts she'd gotten from her husband over the years. The two girls hugged again, and Sookie headed back upstairs to her apartment to get ready for whatever Eric had in store for her.
She had a feeling he wouldn't disappoint.
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**Hey guys. I'm am so sorry this took so long. I stupidly assumed since I was already in the middle of the scene, that it would be easy for me to just pick up where I left off and write another chapter. But, alas, it appears my muse decided to take a hiatus for a while. The link to the dress Eric sent Sookie is in my profile, and before anyone says anything, I'm fully aware that it's not couture or anything. But it is damn cute. Seriously, I was browsing the rest of the website, and they have a style line called 'heirloom'…let's just say you guys almost lost me for the rest of the chapter, lol. Anywho, I've been diligently working on the still-untitled drawing class fic, which is going pretty well. I've learned two things: I'm not cut out to write wham bam thank you ma'am ESN, so it's probably going to be multi-chapter. And I enjoy writing 1****st**** person, which I probably should have picked up on from writing Drawn…anyway, this will finish (yeah, I decided to finish it…not anytime soon, but it will conclude eventually) in 3****rd**** person just so no one freaks out. So there's where I am right now. Thanks for sticking with. I'm pretty skeptical about this chapter, hence why it took so long to write, so please don't hesitate to let me know what you think.**
**-Sydney**
15. Seasoning
**Stiletto.**
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**A/N: Hey guys. Of course I want to start out by saying thanks for everyone's reviews and to all the people who added this story or myself in some way, shape, or form. I know I say this a lot, but you guys rock and light up my day when I open my inbox and see these things. In honor of my 19th**** birthday (which is Thurs. the 5****th****), I'm working super hard to get a lot of stuff out to you guys in a shorter amount of time than I planned. So I'm working on this, the conclusion of Drawn (I think some people are still reading it…), and my new art-themed story (which is still untitled, sadly), all while trying to get my unemployed ass a job. Haha. I wish I had the discipline that some of the other writers have, because I'd love to put some teasers up on Teaser Mondays. But then I have this little inkling of fear that I'm not gonna get it done on time, and I just couldn't do that to you guys. Anyway, on with the show. Oh, and read the bottom A/N, there's some important info down there.**
**Enjoy the date!**
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**Chapter Fifteen- Seasoning**
After scouring her drawers for a set of undergarments to wear with her new dress, Sookie slipped it on and applied some light makeup. She messed with her hair for the next ten minutes, finally resolving to pin some strands away from her face and putting some loose curls in with her iron. Glancing at her clock (7:15), Sookie put the pink dress on, along with a pair of rhinestone strappy sandals that she found in her closet. She did one final spin in front of her mirror and headed into the living room, but not before grabbing the book that she had been reading; she knew she would get antsy waiting if she didn't have something to do.
In what felt like a lot less than fifteen minutes, there was a knock on the door, causing Sookie's head to pop up from her book. After she closed it and set it on the coffee table, Sookie stood up, straightened her dress, and moved to answer her door.
Standing in the doorway, with one up against the frame and leaning slightly to his right, was Eric. He was encased in an impeccably fitted gray suit, the jacket of which was sitting on top of a white button-down that was lacking some buttoning on the top. Sookie was thanking the Armani gods as she grabbed her keys and stuck them into her clutch.
Eric straightened his posture and held his hand out to Sookie, twirling her around once she took it. "Beautiful," he stated.
"You have good taste."
"I think so." Sookie noticed that Eric was smiling at her, and that he wasn't referring to his choice in dresses. She pushed on his shoulder a bit and slid past him; he moved out of the way so she could lock up.
"So did you pick it out yourself, or did you get Pam or someone to help you?" she asked teasingly.
"You underestimate me, lover." His voice was husky for a moment, but quickly shifted as he continued speaking. "I picked it out all by myself." Now, he sounded like a little kid who got himself all dressed. It was kind of cute. "The color reminded me of that delicious blush of yours." And there went the huskiness again. _Damn him and his bipolar tones_, Sookie thought as she wondered if her La Perla panties were going to make it through the evening in tact.
Always one to keep things moving, Eric threaded Sookie's arm around his. "Shall we?"
"Of course."
The two of them walked arm in arm downstairs, where Sookie noticed that Kelly was still in the mailroom. She waived at her, and Kelly responded with a wink and a thumbs up. Sookie was about to giggle at that when she saw what was waiting for her in front of her apartment building.
"What on Earth?" Aside from that sentence, she couldn't think of any other syllables to use in a reaction. Waiting right in front of her was a Civil War-era carriage (_thanks Gran and your Descendants meetings…_) hitched up to two black horses.
"You'd be amazed what you can find to travel by in October," he replied, paired with a trademark smirk.
"It's beautiful, Eric," she stated when she found the rest of her syllables. Eric kissed Sookie on the cheek before helping her into the carriage.
Once Eric had settled himself on the plush seat, the man in the driver's seat turned to face them. He first introduced himself as Joel before giving a short speech welcoming them aboard his buggy. Sookie offered him a sweet smile, while Eric offered a 'lets-get-on-with-it look. Joel turned back to the horses and prompted them to move.
About ten minutes into the ride, Sookie was wishing she grabbed a wrap or a cardigan, or something before she left her apartment. It wasn't an unusually chilly night or anything, but the breeze generated from the carriage ride was starting to get to her. She turned to her right and found something much better than a sweater, or even a blanket.
Sookie scooted over the remaining distance between herself and Eric. The two of them had been holding hands, but Sookie unthreaded their fingers, snaking one arm behind Eric's back and the other across his stomach, stopping about midway. She snuggled against him, wiggling a bit, and rested her head against him.
"Cold?" Eric asked, making the small adjustment necessary in order to wrap his arm around Sookie's shoulders.
"Nope, now I'm perfectly comfy," she responded, moving her head to look up at him. Sookie offered him a smile, which he traded for a soft kiss on her lips. They remained snuggled for a bit longer, up until the carriage pulled up to a fancy-looking restaurant.
"Dinner, Eric?"
"Of course, Sookie. You didn't think I'd let you starve, do you?"
Sookie couldn't help but laugh at herself. "No, I guess not. It's just that the carriage ride was so wonderful and unexpected. And now this? It's just too much."
Eric pulled her hand into his once more. He leaned down to whisper in her ear, "Nothing is too much for you, Sookie." Straightening back up, he lead her into the restaurant.
Apparently, Eric had made reservations, so they were seated in no time. After perusing the menu for a bit, Sookie decided on a Blackened Shrimp Pasta with Alfredo Sauce. The waiter offered Eric a little menu that looked like a dessert menu, but was actually a specialty blood menu. Eric told the waiter a brand that Sookie had never heard of. Quite frankly, Sookie didn't want to know what was in it, but she had an idea. She was just happy that Eric had a selection.
The waiter left the table to fill our drink orders. In that instant, Sookie was glad that he was male. As her attention was shifted off of giving her order, she noticed that there were a couple of waitresses gathered by a dessert cart. She couldn't hear what they were whispering about, but their thoughts gave them away.
_I wonder if I could get Nick to switch sections with me._
_Oh my God, he's huge! I bet he's proportional too…lucky bitch._
_I wish I could find a good-looking guy like that to take me for fancy dinners, even if he is a vampire. I hear their stamina is incredible though..._
Sookie threw her shields up, feeling a little bit giddy that she was envied. Eric looked at her, then to the group she was focused on. He turned back to her, tilting his head a little and smiled. "Hearing things again, lover?"
She nodded. "Uh huh. Just some things that are making me even more happy to be out with you tonight."
Eric took a hold of Sookie's hand across the table, running his thumb over her knuckles. "It makes me happy that you are happy."
Nick the waiter chose that moment to make an appearance with Sookie's wine and a TruBlood for Eric. He informed them that their food wouldn't be much longer and then disappeared again.
The rest of dinner went smoothly, food arriving shortly after their drinks did. After Sookie blocked out the thoughts of the jealous waitresses, she was able to enjoy conversation with Eric. She told him a little about her family, including her Gran's death and how she wound up in Shreveport; he told her a little about how he ended up owning a strip club.
"It was basically Pam's idea," Eric had informed Sookie. "Something about the feminine mystique and how it would be profitable."
Sookie laughed. "And I'm sure you're so put out having half-naked women all around you," she teased.
"Oh, Sookie, you have no idea how taxing it is," he replied with mock upset, dramatic sighing and all. Sookie laughed again and swat playfully at his shoulder. Nick popped up with the check, Eric paid, and then the couple was back at the carriage.
Once they were settled back in the seat, Sookie turned to Eric. "Wow, Eric. It's all I can seem to say. This evening was just…just wow."
"Was? It's not over yet, lover," he responded, slipping his jacket around Sookie's shoulders. That was the first time that she noticed that their outfits complemented each other. She smiled and snuggled back into Eric, despite having the jacket on.
Joel pulled away from the restaurant's curb, and shortly after they were riding through a small park. Being in the park at night reminded Sookie of something. She sat straight up, which effectively got Eric's attention.
"Halloween is coming up soon, isn't it?" she asked.
Eric was surprised by her random question. "Um, yeah. It's next week, actually. That's rather random though, Sookie."
Sookie gave a little giggle. "Yeah, I know. It's just that the carriage ride kinda gets me in the mood."
Eric quirked an eyebrow at that. "Oh does it now?" With his arm still around her, he slid his hand up her side, ghosting over her breast.
"The _Halloween_ mood," Sookie clarified, stifling a gasp. She dared to look over at Joel the driver, who appeared blissfully unaware of their conversation.
"I see. Are you sure that's the only thing this carriage ride is doing for you?" The carriage in question was currently emerging on the other side of the park, turning toward Sookie's street.
"Eric, we're in public," Sookie reprimanded, sliding her hand down to rest on his inner thigh, giving the true answer to his question. Eric flashed her a fang-filled smile as the carriage pulled back up to her apartment.
"What a coincidence, we're about to be _in private_," he whispered. Sookie was starting to feel that familiar tingling sensation as Eric helped her out of the carriage. She waited in the relative warmth of the building's awning while Eric paid Joel. When he rejoined her, he planted a toe-curling kiss on Sookie's lips. The anticipation alone was killing her, and Sookie grabbed Eric by the hands and dragged him inside.
---
Back at the park, nearby at a little ice cream shop, sat a woman and a man. The woman took a lick of her ice cream cone as she stared at the empty street that a carriage had gone down, not twenty minutes prior. She turned back to the man, flipping her long red hair behind her shoulder. _I knew it was that little whore that made him break it off with me_, she thought before she spoke to her date. "So what exactly are you offering me?"
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**Oh snap…I wonder what's going down??**
**Disclaimer: I know that this is like the first time I've ever written this (and most likely the last), but I don't own Charlaine Harris' characters, of course. I just put 'em in stripper heels and make them dance to old jazz songs. Anywho, I was writing this disclaimer and figured I should put that in there too. But I do own Dahlia, Cicita, Kelly, and Joel…and Cassidy the shifter-stripper, I own her too. The main focus of this disclaimer was to say that all events and sights portrayed on our lovers' carriage rides are figments of my imagination (to my knowledge), and some are based on stuff that goes down in Savannah, GA, including the carriage ride itself.**
**OH! And I wanted to put something else out for you guys. So, there's this new contest, **"**Poppin' Eric's Cherry". Meads and VampLover1 are looking for publishing virgins to dazzle us with stories of how Eric lost his…yep, you guessed it, cherry.**
**Here's a link: www(dot)fanfiction(dot)net/u/2130969/Poppin_Cherries **
'**Cause we all know that information is the key. I want to pimp this contest because well, it's fucking brilliant, and because I'm insanely jealous that I don't qualify to write. And I'd also like to mention that it's gonna be my debut as a beta. I'm all about helping, so don't hesitate to ask. Even if you're just thinking about entering, DO IT, because the feeling you get sharing your work is just amazing. And, there are prizes, and who doesn't love prizes?**
**Ok, I'm quite down talking now…for this chapter *evil laugh***
**-Sydney**
16. Halloween pt I
**Stiletto.**
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**A/N: Hey all! Thanks for all the birthday wishes, ya'll are so great. Due to some requests, I'm gonna jump around a little bit with this chapter. Just for a little synopsis: we're gonna start back at Sookie's apartment right where were left off after their date. Then we're gonna shift to some Eric-centric musings when he leaves her apartment before sunrise. Then we're going to shift forward a week, to Saturday, Halloween. Hope it doesn't confuse anyone.**
**Oh, and in case you haven't seen, I've started a new fic. *commence shameless pimpage* It's called Allegro and it's my first Eric/Sookie AH story. He's an actor, she's a ballroom dancer. And the best part? Their partners on Dancing With The Stars, my SVM edition. So check it out: www(dot)fanfiction(dot)net/s/5493993/1/Allegro **
**It's also my first alternating POV story. *end pimpage***
**Enjoy!**
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**Chapter Sixteen- Halloween pt. I**
By the time Eric and Sookie made it up to her apartment, Sookie's straps were down and Eric's shirt was unbuttoned, his jacket hanging limp off of one arm. She unlocked her door in record time (Eric threatened to kick the damn thing down) and was rewarded by being promptly shoved up against the wall. Their lips made contact, harsh and frenzied. Sookie ran her tongue over both of Eric's lips before he gave her access.
Eric slid a large hand down Sookie's leg, stopping at her knee, hoisting her leg up to wrap around his waist. He moved closer to her, if that was even possible, and rubbed himself against her center.
"Jesus Christ, Eric. I need you. Please," Sookie whimpered, thrusting her body against his to receive her much-needed friction.
Eric pushed her flat against the wall, moving his face to her neck, and held her firmly. He blazed a trail of wet kisses and licks up to Sookie's earlobe. "Please _what_? Tell me what you need from me, Sookie," he breathed.
"Touch me, taste me, fuck me," she listed. "I don't care. Just do _something_."
A smirk spread across Eric's face. He pulled Sookie's dress off in one fluid motion, leaving her in her matching pink lace La Perla set. "I like it," he commented. "But I'd like it better off."
And then it was.
Eric undressed himself at vampire speed and resumed rubbing up against Sookie. "Is Amelia coming home tonight?" he asked as nibbled on her earlobe.
"If she's not home already, then probably not. Why?"
"Because _now_ I have no qualms about bending you over the arm of the couch."
Sookie's eyes got wide. She thought about the inconsideration of having sex on a piece of furniture that wasn't only hers. Then she decided 'the hell with it' and that she'd steam clean it when she woke up. Sookie hopped up, wrapping her legs tightly around Eric's waist. He carried her over to the couch, set her down on her feet, and spun her around. Placing a large hand on her back, he gently pushed Sookie down, bending her at the waist. Eric ran two fingers up her slit before reaching under her to palm her breasts. Sookie moaned from the contact, then called out his name as he entered her from behind.
He thrust into her a couple of times before she abruptly stood up, causing him to stop and pull out. "Is something wrong, darling?" Eric asked as he pulled Sookie's body against his. She moved out of his embrace and turned to face him.
"No, nothing's wrong," Sookie stated, sitting down on the arm of the couch. She placed her hands on Eric's chest, coaxing him to bend down so she could wrap her arms around his neck. "I just wanted to _touch you_," Sookie continued, sex-laden emphasis falling on the last two words. She moved her hands down to Eric's hips, allowing him to stand back up, and pulled him to her. Eric smirked as Sookie spread her legs wide for him, re-entering her swiftly.
"Fuck," he growled, slamming into her. Eric reveled in her tightness, trying to recall the last time he was someone's first lover. He came up empty-handed, but was quickly lost in the sensation of feeling Sookie clench around him. It was as if she was made for him, she fit him so perfectly. Not wanting to dwell on that subject for much longer, Eric growled again, picking up his pace.
Sookie's moans turned into screams as Eric clamped down her breast, heightening her orgasm and signaling his own. As her orgasm subsided, Eric moved them so that he was lying back on the couch with Sookie resting on top. They had slid down onto the couch over the course of their coupling. Sookie snuggled into him when she regained control of her motor skills. "That…that was amazing," she whispered as she traced lazy circles on Eric's chest. A deep laugh reverberated through him and he kissed her quickly before getting off the couch, setting Sookie down comfortably.
She tried not to whimper at the loss of his touch, but it came through as a pout. Eric left the living room and returned quickly, a wet washcloth in hand. A questioning look crossed Sookie's features as he lifted her up, putting the washcloth over his shoulder and cradling her body in his arms. "I didn't think you'd have the energy for a shower, so I brought part of the shower to you," Eric explained, smiling, as he nudged her bedroom door open.
He crossed the room, placing Sookie gently on her bed before crawling in with her. Eric moved the washcloth over her body, cleaning her up, as Sookie drifted off to sleep. After replacing the washcloth in the bathroom, Eric returned to the bedroom, taking in Sookie's sleeping form. She looked beautifully peaceful and he didn't want to risk disturbing her, so he gave her a quick kiss on the forehead and left her room.
Eric put his clothes back on, then set about picking up Sookie's and setting them in her room quietly. As he was leaving, the apartment door opened. It was Amelia, coming home with one of his bouncers. Eric was pretty sure that his name was Tray. The couple barely paid him any attention as they stumbled, giggling, into the apartment. The door closed behind him and he heard the lock click into place. At least he wouldn't have to worry about how he was going to lock up, because nothing short of catastrophe could have made him wake Sookie up.
She was so beautiful, a Goddess, really. She looked so peaceful, so innocent, curled up sleeping like that. Eric had no clue what their relationship was, but it was definitely more than a casual fuck, like he'd had in the past. This was one of the first times he had even considered using the word relationship in conjunction with a woman he was sleeping with. But Sookie was so much more than just the sex, which was great, but she was special. He didn't know why or how, or even what to call her, but he found himself wanting to see her, to talk to her, spoil her even. It even pained him that he had to leave her after making love to her. But it was a situation beyond their control, and something he'd have to devise a solution to.
Once Eric was around the corner from Sookie's building, he took off into the night.
---
Sookie awoke at noon the following Saturday, Halloween. The holiday was a big deal at Fangtasia. No, scratch that, Halloween was a _huge_ deal. So huge of a deal that Eric had closed the club down for the entire week prior. Sookie was enjoying the time off, catching up on laundry, other errands, and, most importantly, she had the time and the energy to steam clean the couch. Amelia was none the wiser. She obviously knew that he had been there that night, having run into him on his way out, but she had no clue about their couch romp. In fact, she was passed out until 2pm that Monday, so Sookie had plenty of time to clean.
What Sookie wasn't enjoying was the fact that she hadn't seen Eric all week. They had talked on the phone a couple of times and sent innumerable text messages, but she missed _seeing_ him. He was hard at work supervising the decorating for Halloween, but that was all he'd tell her. Apparently, the Halloween theme was on a need-to-know basis. This was similar to the regular theme nights, except Eric was in the loop this time. He probably made the damn loop.
The anticipation, much like the Eric-withdrawal, was killing her. Sookie tried every coercion trick in her arsenal, including an attempt to initiate phone sex, but Eric would have none of it. All she got was a reiteration of the same message that was doled out to all of the employees: everyone must be in costume.
So that was how Sookie ended up in front of a costume shop a little bit outside of Shreveport. She was sitting in her car, in the strip mall, reading the temporary sign-banner that boasted "great costumes at affordable prices." A couple minutes later, a little silver Sentra pulled into the spot next to her.
Sookie knew that it was her own fault for waiting so long to shop, but she couldn't help but be a little bummed when Amelia told her that she both already had her costume and had plans with Tray before work, so she couldn't have gone with her. She was also bummed that said costume was top secret.
Sookie was considerably less bummed to learn that she wasn't the only costume procrastinator. Getting out of her car, she walked around to the Sentra to meet Cicita.
"Hey chica," the little brunette greeted. "I was so surprised that you called. I expected you to be pair costuming with your big, bad, vampire man."
"I actually hadn't thought of that, but nope. He's been cheating on me all week with his club decorating," Sookie replied with a giggle.
"Well then, we just need to get you all hot so he won't even give that tramp a second thought." Cicita offered a laugh of her own, linking arms with Sookie.
The two girls scoured the store for half an hour, having skipped over the traditional costumes and heading straight for the sexy ones. Sookie was looking at petticoats when Cicita walked up, arms full of little plastic costume packages. There had to be at least fifteen of them.
"Jeez, Ci. Did you leave any costumes for the rest of us?"
Cicita looked down at her bundle. "What, these? Oh no, mine are in one of the dressing rooms. These are for you." She walked over to the other dressing room and put her load inside.
"Cicita, while I appreciate the gesture, I can pick my own costume," Sookie replied, running a hand through her hair.
"So that's what you were doing by standing there looking at petticoats and gloves for thirty minutes? I mean I know we work at a strip club, but I think their might be a little bit more of a dress code than that," Cicita teased.
Sookie couldn't help but smile. "Fine, let's see what you got." Both girls went into their respective changing rooms. Cicita could hear Sookie's series of snorts, laughs, and grunts at her costume selection, and she chuckled to herself while trying on her own pile. She had just decided on being Cleopatra-- a short white dress trimmed in gold and beading, with the middle cut out and a jeweled collar and piece in the center of the skirt, accompanied by a headband and arm bands (two had blue fabric hanging on them)-- when she heard Sookie scream.
"Cicita! Oh my God! How did you know?" Sookie just about knocked Cicita over in an attempt to get to the shorter girl.
"I just took a guess," Cicita replied, watching the blonde twirl around in her dress. "What do you say to purchasing these costumes, getting out of here, and me doing your hair and makeup after some dinner?"
"Sounds great."
After they paid for their costumes, they ended up back at Sookie's apartment with a pepperoni pizza in hand. Three slices a piece later, they were drinking a little wine while Cicita worked on her own makeup first. About twenty minutes later, Cicita was the Nile queen's spitting image, with dramatic eyeliner and a little bit of blue shadow to match her outfit. She had also slid her headband on and curled the ends of her long black hair.
Then she set to work on Sookie. Both hair and makeup were pretty straightforward. Cicita added a few curls to Sookie's wavy blonde hair, pinning it up in the front on both sides. Sookie would be wearing a hat with her costume, so Cicita wanted to give her a hairdo that would look great with or without it on. She tied in the ribbons that came with the dress and then got started on her makeup. Cicita did a minimal job since the costume didn't call for much. She did go a little heavy on the mascara, but that was the only eye makeup she used. Paired with just a smidge of blush, Sookie was all set.
They were munching on potato chips and listening to music to pass the time when Amelia came home. She gave them a hasty hello before running to her room to get changed. When she emerged thirty minutes later, Cicita nearly fell off the couch laughing. Sookie actually did. Amelia was dressed as Little Red Riding Hood, except it was a two-piece red and black outfit, and on her little white apron was an appliqué of a little wolf. She had the cape on, hood up, and it was red with cherry-printed lining.
"So are we to expect Tray dressed as the 'Big, Bad Wolf'?" Sookie asked once she composed herself a bit. "Or maybe as an actual wolf?" And then she was back to giggling uncontrollably.
"The bouncers are in on the theme, if you must know," Amelia replied, half-smiling, half-scowling. "This," she gestured to her outfit, "was all my own little joke. Cute, no?"
"It's really cute," Cicita agreed, helping Sookie off the floor.
"I half expected Giggles here to dress as Mina, or something equally as cheeky," Amelia commented.
"Nope, but what she got is awesome. Which reminds me, we should be getting ready." She handed Sookie her costume and grabbed her own before heading to the bathroom.
An hour later they were on their way to the club. While crossing the parking lot "Yellow Brick Road"-style, they saw Dahlia getting out of a black sedan with tinted windows. Rather than focus on who was dropping her off, they chose to focus on her costume.
She was dressed as a pin-up sailor. On top she wore a blue and white striped halter top (that looked a bit like a bikini top) with a red tie in front; on bottom she wore blue shorts that were cuffed, belted, and had big brass buttons on them. Her auburn hair was done up in an elaborate 40s-style 'do and her makeup was flawlessly done. In short, she looked amazing. But Sookie had a sinking feeling her costume came paired with some ulterior motives, seeing as her shields were also out in full force.
The group let the redhead enter in front of them, since she was closer to the back door (where they had been instructed to enter). Sookie stole a look at the front entrance on the way to the back. She couldn't really tell anything about the theme, but she did notice that the two bouncers at the door were dressed in tuxes and kind of resembled the butlers at the Haunted Mansion ride at Disney, except they wore top hats.
As they made it down the back hallway, their eardrums were assaulted by a song about 'disco sticks'. All three girls started dancing down the hallway in a sort of conga line formation. Sookie was at the back of the line and didn't even notice that Eric's office door was open. She also didn't notice him slip out of said office until he came up behind her, wrapping his arms around her waist. Sookie motioned for the other girls to go on ahead, then she turned to face her vampire.
Eric had been working on some bills that he had neglected in favor of Halloween setup when he saw the girls dancing past his door. He had seen Dahlia pass by not even five minutes prior and could tell that her costume was intended for him. Not caring in the least, he went back to his paperwork, only looking up a second time when he heard feminine laughing in the hall. Sookie was the caboose in their little train, dressed as a Southern Belle of all things. Upon further inspection, he noticed that she was a blonde, sexier version of Vivien Leigh's Scarlet from Gone With The Wind. She was wearing a short, off-the-shoulder, white dress with green accents, a green choker, and white stockings with green bows. She also had green bows in her hair and a wide-brimmed white hat on her head.
"Excuse me, Miss O'Hara?" Eric slipped his arms around Sookie's waist. She turned around, squealed, and threw her arms around his neck.
"Eric! I was just going to see if you were out on the floor already. I missed you," Sookie answered, leaning up to kiss him.
"I would have been, but there were some bills I need to attend to." He kissed her again before moving his lips to her ear. "I love your costume, darling," he whispered.
Sookie did a half-shiver, half-wiggle. This was when she realized that she was rubbing up against velvet. She pulled back a bit and saw that Eric was wearing a green velvet vest, a black dress shirt and pants, and a black and green cravat. His hair was pulled back at the nape of his neck and secure by a black band. Sookie thought he looked kind of like Lestat. She also noticed that they sort of matched.
"We match," she whispered back. "Minus the whole different centuries thing, you know?" Eric smiled at her and kissed her a third time before releasing her.
"How about that," he mused. "Come and see what the club looks like, lover." Eric walked off ahead of Sookie, unsure if she wanted to make a public display of their relationship. He was pleasantly surprised when she caught up to him and laced their fingers together.
"I hope you're as proud of being with me as I am of being with you." Sookie squeezed his hand.
"Of course I am, lover. I'm glad to hear you say it though," he replied, bringing their hands up to kiss Sookie's. She leaned her head against his arm and they walked out into the main area of the club.
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**Yeah, I know you guys are probably going to beat me for stopping there, but I really wanted to get something to you guys today. So the rest of Halloween is going to be in the next chapter. I went a bit overboard with the costuming this chapter, so on my profile you'll not only find a link to Sookie's costume, but ones to Cicita's, Amelia's, and Dahlia's as well. I also have a link for Pam's, but I'm gonna hold off on that one until she makes her debut next chapter, since hers is kind of theme-related. So, any guesses on what the theme and/or Pam's costume will be?**
**Hope you guys liked this chapter and I hope I didn't confuse you too bad with the time jump. I just needed to get things moving and I really wanted to do a Halloween night.**
**-Sydney**
17. Halloween pt II
**Stiletto.**
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**A/N: Hey guys, I know that this took me awhile to get out, but it would have taken me even longer without my epiphany. I'll explain at the bottom.**
**For now, Enjoy!**
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**Chapter Seventeen- Halloween pt. II**
Sookie and Eric walked hand in hand as they entered Fangtasia's main floor. Sookie was surprised to find the place decorated like some sort of old fashioned circus. More Edgar Allan Poe than Barnum and Bailey. A macabre circus, the type where you'd actually need to be afraid of the carnies. And the ringmaster for that matter, apparently. A half-naked Pam pranced out on stage to address a packed house.
She wore a black underwire bra under a cutout red shrug with brass buttons that fastened around her neck. Her separated sleeves were attached to the shrug with little red garter straps. The important parts on bottom were minimally covered by a red and black fringe skirt with bows on the sides. She had a cute little red top hat, a la Mad Hatter, on head and her hair was curled and teased to the point that it almost looked like an afro. But it looked amazing. Sookie thought that she deserved an award for being about to parade around like she was in the heels she was wearing, which were black stiletto boots with heels so high, Pam was basically standing on Pointe. She opened with a solo dance to an interesting mix of Britney Spears' "Circus".
Across the room, Dahlia watched the couple enter the club, slamming an empty shot glass down on the bar and shattering it. She punched something into her cell phone and went off to find a dustpan.
"Eric, it looks amazing in here," noted Sookie, taking in the tattered velvet tablecloths and candelabra displays. The walls of the club had been covered to make them look like they were made out of stone and the ceiling had been covered to give the appearance of the inside of a tent. "Now I understand why you didn't want to see me," she teased.
Eric pulled Sookie tight to his body. "Not _didn't_, _couldn't_. Definitely not _didn't_. Halloween is an important occasion here."
"I understand. I was only teasing," she tiptoed up to kiss him. "Now like you said, Halloween is important here and business is booming. They need me out there."
"But I need you too, Sookie," Eric whispered, sending chills down her spine.
"And you will have me later," Sookie replied, pulling away a little, "Lestat," she finished with a wink. Eric gave a laugh before walking over to his table.
"What the hell happened over here?" Sookie overheard Arlene nearly scream as she approached the waitress station.
"I told you, Arlene. A shot glass fell off of my tray," Dahlia responded.
"On the bar? Right. Whatever, just clean it up." Arlene picked up her tray full of beers and headed to one of her tables.
Sookie moved around Dahlia as fast as humanly possible. It was one of those moments she wished she had Eric's vampire speed. She rounded up the various TrueBloods and beers she needed and left the station. Dahlia still had her shields up, but maybe it was just due to the high volume of customers this evening.
Dahlia kicked the trash can after dumping the broken shot glass into it. _This is just fucking frustrating_, she thought. She knew she couldn't do anything herself because she couldn't risk getting fired. She just hoped her special guest would make an appearance. After adjusting her costume, Dahlia left to take some orders.
---
The party was still going when Sookie headed to the back for a bathroom break. On her way back out, she noticed that Eric's door was closed. Surprisingly unable to resist temptation, she walked over and knocked.
"Trick or treat?" she queried when Eric opened the door.
"I'm sorry, but I don't have any candy for you, little one," he replied, leaning against the door frame. Sookie slipped in under his extended arm.
"Are you sure? I thought for sure you'd have something you want to give to me," she said, smiling, as she sprawled out of the leather couch. Eric stood there, effectively rendered speechless. "No, nothing? I guess I could always try the next door." Sookie put her hand out in front of her, examining her nails.
Eric stepped toward the couch and Sookie raised an eyebrow. "I was really hoping you'd have a treat for me. I've seen enough tricks for one evening," she reflected, referring to the quality of men that frequented the club tonight.
"I think I might have something for you. But I thought there was a policy, Miss O'Hara. Something along the lines of 'no fucking while working'?
"Yeah, it's something like that," Sookie conceded, "but I was considering making an exception since Halloween is like your Christmas. Am I right?"
"It's something like that," Eric repeated, smirking at Sookie as he got closer to the couch. "I do enjoy Christmas though."
"Are you saying you'd rather wait?"
"Absolutely not." Eric walked closer to her, covering the remaining distance. Sookie moved to pull off her dress, but Eric grabbed her hand. "Leave it on," he growled.
"You know, I'm starting to worry about this costume fetish you seem to have," she teased, giggling a little.
"You wouldn't want to be naked should anyone waltz in."
"Lock the door, Eric."
"The thrill of getting caught is half the fun, lover."
"Is that so?"
"Indeed."
"I don't care, lock the fucking door." There was no way in hell Sookie was going to risk having _anyone_ interrupt them. She'd die of embarrassment, plain and simple. _Or maybe Dahlia might actually kill me. That, and I'd be the biggest hypocrite on the planet._
"Language, lover," Eric scolded as he got up to lock the door, vampire speed. As he walked back over to the couch, he started removing his clothes. Sookie sat there drooling over his gorgeous body.
"Come here, vampire." She pulled his naked form against her body, pressing their lips together. Eric moved his hands to the hem of Sookie's dress and pushed up the billowing fabric of the skirt, along with her petticoat.
"Fuck, Sookie. Was wearing a garter belt really imperative to the costume?" Sookie couldn't help but giggle at his obvious interest in the undergarment.
"Yes. Why? You like?"
"Absolutely. In fact, it is one less piece of clothing you'll have to put on before we go back out."
"And why's th--" Sookie started to asked before she was distracted by Eric quickly removing her panties and inserting his head between her thighs. He took a long lick up her center before testing her wetness with his fingers.
"Oh God, Eric," she moaned. "Th…this is won…wonderful," she tried to get out while Eric continued his ministrations, "but can I…I…I p-please take this dress off? It's st-stifling."
Eric moved away from her folds. "Of course, lover. But leave the garters and stockings on." He smiled.
Sookie quickly took off her dress and moved so that she was on top of Eric, straddling him. He reached up and unclasped her bra, noticing that it matched her panties. "I don't know if I want to let you back out on the floor with all of those men ogling you," Eric commented, pulling Sookie down toward him from the waist. He ran his thumb over one of her nipples.
"I'll be fine, Eric," she assured him. "I'm pretty feisty, you know."
"Oh, lover, I do know." He kissed her tenderly before raising her hips and lowering her onto his manhood. Sookie cried out upon contact, thankful for the loud music pulsating through the club's sound system. She pulled away from Eric, leaning back, and slowly began moving herself up and down his cock.
Eric was starting to like this new, sexually-liberated Sookie. He thoroughly enjoyed the view as she rode him to climax. Afterwards, they laid on the couch, cuddled up, basking in the afterglow for awhile before they'd have to return to the outside world.
---
Dahlia was preparing some shots of tequila when she saw someone familiar enter the club. She smiled and waived him over to the bar area.
"Darling, I wasn't planning on making an appearance tonight, but I had to see you in that little costume again," he addressed her with a wink and a kiss on the cheek.
"TrueBlood, on me," she offered, handing him the bottle. The man nodded at her before moving off into the throng of people crowding the stage.
Ten minutes later, Sookie and Eric came out of the back. Outwardly, they didn't appear any different, but Dahlia knew what happened because she recognized that look. She used to be the one with that look. Rather than damage any more glassware, Dahlia smiled to herself before taking her shots for delivery.
Sookie squeezed Eric's hand before retrieving her tray and apron from the bar area. She noticed that there was a slight increase in the club's population. It was probably due to the practically-naked rendition of "Thriller" currently being performed, but Sookie couldn't help but feel bad that she left the other waitresses shorthanded while she had a quickie with the boss. Well, two of the other waitresses, anyway.
Leaving the tray behind, Sookie pushed her way through the crowd of people by the stage. She was starting to regret the fact that those tables were part of her section. The tables in questioned had even seemed to have capsized under the sea of people. After what seemed like hours of shoving horny men out of her way, she finally arrived at the centermost table.
There sat a handsome Hispanic man, a vampire. He was dressed rather extravagantly and appeared to be scrutinizing the looks and movements of the dancers, rather than enjoying the show. He looked Sookie up and down when she got closer to the table.
"Can I get you something to drink?" she asked. It was in the volume of a yell, but it almost sounded like a whisper mixed with all of the noise. Sookie learned quickly that evening that she had to clarify that she was taking drink orders-- it seemed that Halloween brought in the more unsavory variety of gentleman's club patrons. The look that this vampire was giving her, however, made her wish that she had just asked him outright if he wanted a TrueBlood.
"Yes, another TrueBlood would be lovely," he shouted back, handing her an empty bottle. "I would also like your help with something." _If this is another perverse attempt at a proposition or a pickup, I think I might stake the bastard_.
She nodded for him to continue. "I was hoping that you could help me locate Mr. Eric Northman. It seems that I have some business to discuss with him."
"Oh, um yeah. His table's in the back." She pointed back and to the left. The vampire nodded before making his way back through the crowd.
---
Eric was sitting in his booth, scanning the outskirts of the mob, waiting for Sookie to reemerge. He didn't see Sookie, but he did see an elegantly-dressed man maneuver his way out. A couple more seconds passed and the man was sliding into the vinyl seat across from him.
"Mr. de Castro, I can't say that it's a pleasure."
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**I bet ya'll didn't expect Mr. Felipe to be Dahlia's mystery date. Well, neither did I. It's all a part of my epiphany. You see, I was having some serious problems with the direction this story was taking. I felt that Fangtasia, the strip club was falling into the background as a setting, when I originally wanted it to be an integral part of the plot. So now it is, and I'm getting back to the original plot that I had outlined before I even started writing this story and had to pretty much scrap once I recast Eric as the club owner (long story, I'll explain at the very end perhaps).**
**Over the last couple of weeks, I tried to write this chapter with Bill as Dahlia's mystery date (as most of you, and I, thought), and it wasn't what I wanted at all. So then I considered just finishing out the chapter that way and saying that it was the end of Stiletto. But that wasn't what I wanted either. Then, after I conversed (read: vented) a little with my official writing guru, Lubadub, I had an epiphany. So then I talked with her some more to hash out how to make part A of Stiletto (the existing chapters) merge seamlessly with part B (the future chapters and revisited plotline), and now here we are. I am eternally grateful to her for all of her help.**
**So, now before I go any further, I wanted to point a couple of things out. I made it clear in the summary for this story that this is an AU story. While this wasn't the original meaning of that delineation, I think it is prominent now more than before. As far as positions go, other than the fact that those who were original supes of some sort are still those supes, I'm breaking canon. In fact, I'm just gonna throw the whole vampire political system out the window, because it isn't relevant to my story. We come on here to read something a little different, and that's what I'm planning on giving you. Interactions in this story are going to much like they would in real-life, except some people will be supernatural. This will make sense in like the next chapter or so, I swear. Also, this has the potential to get a little dark and sketchy before it can be all sunshine and rainbows again. So bear with me, I promise it'll be interesting. Third point, I'm probably going to start having it mostly in Sookie's perspective from here on out. It will help maintain suspense, for one, and I think I function a lot better in first person perspective, for two. I've read stories that function in both 3****rd**** and 1****st**** person, and they work just fine. **
**Thanks for the reviews and support from everyone, and I hope I don't lose anyone because of this direction change. I hope to make it as painless as possible. I'm sorry that this took so long to work out, so that's why I extended the slight lemon in the middle.**
**-Sydney**
18. Offers
**A/N: *peeks out from behind corner* Hello? Anyone still out there? Well, story alerts/favorites are still trickling in, so I think that there's still some of you guys out there. Anyways, I'm still here, and now I'm a (wo)man with a plan. Big, huge, ginormous (and all other synonyms) thanks to the ladies at Twitter for inspiring me to get off my ass and finish this thing. Most importantly, thanks to Lubadub, without her, you wouldn't be reading much of anything. If you want to thank her, you should read her stories. They're amazing. Since you guys are probably already mad enough with me, I'm gonna leave it at that and start this beast.**
**As far as POV goes, I'm pretty sure I'm gonna stick with omniscient. Continuity and all that.**
**Enjoy!**
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**Chapter Eighteen- Offers**
By the time Sookie stumbled out of the sea of horny stripper aficionados, she was almost to the backstage curtain on the left side of the stage. She figured that Fangtasia's patrons were content enough for the moment on naked breasts alone, so she made the snap decision to see how the fort was being held down backstage. There was some kind of group number going on on-stage; the only people backstage were Amelia and Pam. Not that Sookie minded.
"I just love Halloween," Pam commented as Sookie approached. Her hair was still very much teased and had no intention of ever becoming normal again, but there she was, adding more hairspray. Amelia was applying more cherry red lipstick.
"All quiet on the western front?" Amelia asked. Sookie giggled, realizing that the bar and lounge was, in fact, due west.
"The masses seem to be sated on boobs," Sookie affirmed.
"Can you blame them?" Pam smirked. "If I were paying twenty bucks cover, I'd be doing my damnedest to be enthralled by the tits."
Sookie's eyes bugged out. "Twenty bucks? I thought it was only ten."
"It usually is. But it's our biggest night, so people tend to not care what they're being charged for more boobs and debauchery."
"Hmm, never thought of it that way."
"Business, sweetie. The Halloween party might be Eric's brain child, but the near-quadruple in revenue was all me."
"You? I thought you were just the star of the show." Amelia stifled a laugh. Barely.
Pam, however, did laugh. "Of course I am, little Sookie." She propped her feet up on the vanity table. "But I'm also so much more than that. Pull up a chair, I'm going to tell you a little story." Sookie complied, grabbing a chair from one of the other vanity tables.
"This building used to be a warehouse," Pam started. Sookie nodded, understanding why the club had a slightly industrial feel to it. "Eric bought it from another vampire named Felipe DeCastro. He actually still owns another building that's the exact duplicate of this one." She gestured to the building.
"Anyway, in the time that were apart during the 30s…40s maybe, I had part in opening a burlesque club. After the reveal, Eric told me he wanted to open some type of club that catered to both humans and supes, so I suggested a strip club. They're quite lucrative, you know."
Sookie smiled. "I can imagine." She just slung the drinks, she could only imagine just how lucrative the whole shebang was.
"Eric agreed, so I moved to lovely Louisiana," Pam smirked. Amelia shot her a look and motioned for her to continue. "Eric made me part-owner and here we all are now. That's long and short of it, doll." Pam knew that there was more, but all of that was irrelevant to the present conversation.
"Okay, but now how did you start stripping? Doesn't exactly seem like the natural progression for a part-owner," Sookie asked.
"It always looked like so much fun," Pam replied plainly. "I always loved watching the shows in the burlesque club up north. Mostly for the girls, I'll admit, but there was something intriguing about the routines too. I had to mostly stay on the QT back then, but when Eric and I opened this club, I knew that I wanted to, and could, try it. It's really rather empowering, Sookie." Pam looked to Amelia, who nodded.
"How about you, Ames? I know we live together, but you never talk about work."
"I don't know why I don't talk about it. I love it here." The brunette gave an easy smile. "Well you know about my dad, and all the dance training. This seemed like the perfect combination of my love for dance and a way to stick it to my dad. He tells his associates that I'm a florist, if they ever ask about me." She laughed a little. "But I totally agree with Pam, it is pretty empowering."
"Empowering, huh?"
---
Eric looked up to see Sookie practically skipping through the club. Even with the club's overcrowding, she somehow managed to avoid all of the people and never break her stride. He made an attempt at patting the seat next to him, but Sookie was already sliding on to the vinyl and snuggling up to him.
"Hey there, little belle," he growled, running a hand across the layers of material that made up the bottom of her costume. "Might I ask where you've been hiding?" He had noticed that she'd been absent from the bar area, but he really didn't mind. In fact, it had spared her from his meeting with DeCastro.
"_Mr. de Castro, I can't say that it's a pleasure."_
"_Oh, Northman, don't be like that. It's always a pleasure to see you," de Castro replied, snickering._
_Eric refrained from rolling his eyes or making any similar gestures of annoyance. "Let me rephrase then; to what do I owe this pleasure, de Castro?"_
"_I heard you had a new waitress," de Castro began._
"_She's mi- I mean, she's off limits." Eric knew de Castro's game, and he didn't want Sookie to have any more of a part in it than she already did by just working at Fangtasia._
"_Don't get your panties in a bunch, Northman. I was simply going to suggest a…promotion."_
"_Just spit it out. What the fuck are you getting at?" Eric had an inkling, but he figured it would be better to have de Castro speak his piece rather than say something himself and risk putting his foot in his mouth._
"_Dance, Northman! I want her to dance!" de Castro exclaimed excitedly. Eric half expected him to start clapping his hands like a small child._
"_No. She's the best fucking waitress I've got. I've got plenty of perfectly fine strippers." He punctuated his statement with a sweep of his arm toward the stage, where a group number was being performed._
"_I'm perfectly aware of your assembly of entertainers, Northman. I just think that Sookie would be a fabulous addition to that assemblage. Anyone can sling drinks."_
"_She's not dancing, de Castro, that's final." Eric leaned back against the seat, tenting his hands in front of him._
_De Castro stood. "All I'm saying is think about it, Eric. It would be worth your while." He smirked and left._
Eric looked down at the blonde telepath tucked under his arm and smiled. He was happy with his decision regarding de Castro's offer; he would protect Sookie first and foremost.
"I was backstage with Pam and Amelia. You aren't mad, are you? 'Cause I thought that since everyone seemed to be happy for the moment, I could just…" Eric cut her off with a kiss on the top of her head before speaking.
"Of course I'm not mad, lover. I was just curious, that is all."
"Ok, great." Eric noticed that Sookie's voice had trailed off, like she wanted to sat something else.
"Anything else you'd like add, Sookie?" She removed herself from his side, turning to face him and propping her head up on her arm.
"Well, there was something…"
"What, lover?"
"Like I said, I was talking to Pam and Amelia, and I got to thinking that maybe it'd be fun to pole dance. They even offered to teach me." Sookie smiled sweetly at him, but all Eric saw was red. He gripped the side of the table, ready to end Pam's life a second time.
"You want to…to strip?" Eric asked as calmly as he possibly could.
Sookie's eyes got huge. "No. God, no. Like how they do in those trendy gyms. Pole dancing as exercise." She let out a small laugh.
"Oh. Sure, go ahead. Why would you feel like you needed to ask my permission?"
"No reason, really. I just thought you might object to sharing me with Pam a couple nights a week." She gave a sly smile and winked.
"I won't like it, but I think I can handle it," Eric laughed, adding a wink of his own. Sookie gave him a quick kiss and scooted back to the bar.
When she was a couple feet away, she looked back at him and mouthed 'I love you.'
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**So, I'm still here. No, this story isn't done yet. Yes, I'm going to finish it. Like I said above, I finally have a definitive plan, so there shouldn't be another huge break in updates. Thanks again to everyone for sticking with me. You guys are the best.**
**Notes on the chapter: That was the longest GD Halloween every. Three chapters folks! But it's finally over. The next chapter will probably jump ahead a week or two, just because we haven't had a time progression yet.**
**Thanks again. Let me know what you think!**
**-Sydney**
19. Debutante
**A/N: Hey everybody. This is like two weeks-ish later than I anticipated, but better late than never, right? Plus, I do believe that I never gave a timeframe for my update schedule. Yay for loopholes. Anyway, I'm really happy with this chapter, and this chapter officially makes Stiletto my longest story so far (I know that Drawn has 17 published, but 18 is almost done). So yay for that also. Thanks to everyone for sticking with me.**
**Enjoy!**
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**Chapter Nineteen- Debutante**
"Pam, I'm gonna have a bruise the size of a watermelon if you make me attempt that spin again. I've fallen on my ass enough times for one day, thank you very much." Sookie plopped down on the floor, Indian-style, leaning against the fitness pole they'd put up in Pam's living room a few weeks prior. Amelia was straddling a chair, laughing her ass off while watching the two blondes go at it again.
"Damn it, Sookie, you start this shit every time I teach you a new trick. Yes, you fall at first, but then you get the hang of it and everything is peachy again. The is the last trick for this routine, so get up." As pissed off as Pam appeared to be, she was pretty impressed with Sookie's progress on the pole. "Besides, Eric can always rub your ass for you later." She smiled, with fangs, at the Viking vampire who had just let himself into the apartment. Sookie rolled her eyes at her teacher before hopping up to greet Eric.
"Pam's right, you know," he smirked down at his girlfriend, squeezing her butt for emphasis.
"Tempting offer," Sookie mused as she stretched up to kiss him. "Okay, Pam, let's do this."
---
**~One week later~**
"Hah! I love the hat!" Sookie exclaimed, picking up the little hat. It was red, black, and white, with a red feather sticking up. She placed it on her head and adjusted her blonde curls around it.
"Out of all of that, you pick the hat to like?" Amelia asked, pretending to be appalled. She was working on tying her bandana behind her head.
"The hat is cute, Amelia. I used to wear ones like that quite often," offered Pam, adjusting her boobs after re-rimming her eyes with black eyeliner.
"The hat's fine. It's just that rest of that outfit is hot, but Sookie only has eyes for the damn hat." Amelia shimmied the scrap of fabric masquerading as a skirt further down onto her hips.
"I love the outfit, Ames," Sookie responded. "The hat's just my favorite part." She smiled at Amelia before looking down to lace up the ribbon on her brown suede corset. After that was done, she adjusted the white ruffled tank top underneath.
"I'm going to wander around a bit," Pam announced. She stood up to pull on her red velvet pirate coat bolero, before setting her pirate hat on top of her own mess of blonde curls. The other two girls nodded their comprehension as she strolled out of the dressing area.
Pam found Eric talking to an alcohol delivery man at the bar, whose eyes nearly bugged out of his sockets as the blonde approached. Eric noticed that the man's attention had waned, and he turned to find the source.
"Pam, to what do we owe this pleasure?" The alcohol man licked his lips at the mention of pleasure. Pam winked at him; he was cute, but he was still a man.
"I need to ask you about something, but it can wait." She perched herself at one of the nearby round tables, crossing her legs and leaning back. Eric managed to finish his meeting, but only after threatening the alcohol supplier with physical violence if he didn't stop drooling over Pam and start paying attention to what Eric was talking about. The supplier unloaded the boxes of bottles off of his dolly, handed his card to Pam, and wheeled his way out. "Well that was fun," Pam commented as Eric sat down, flipping the business card between her fingers.
"Apart from your…distraction, you actually garnered us a pretty big discount on that vodka. So what is it that you wish you ask me about?"
"I was just curious as to your thoughts on Sookie's pole routine." Pam arched an eyebrow.
Eric saw her eyebrow and raised her a smirk. "It's lovely, Pam. Not that you need any encouragement about your teaching skills, but I've noticed an increase in her flexibility…" he continued talking almost to himself before Pam cleared her throat. "But what the hell does that have to do with anything?"
Pam looked at him for a moment, waiting for it to click. A couple more seconds passed by before Eric slammed his fist down on the table, causing the metal table to shake viciously. It clicked.
"Absolutely not, Pam."
"She's…"
"Don't even start." Eric leaned back in the chair after hitting the table a second time, for emphasis.
"I guess you asked him, huh?" Eric inclined his head to watch Sookie approach. His fangs ran out with a plop as he took in the shredded black and red skirt she was wearing, along with the cleavage that was spilling out of the top of her little white tank top. She looked sexy, but it was a classic sexy in comparison to Pam's brand of risqué sex appeal.
"What is Pam putting you up to, Sookie?" asked Eric.
"Nothing. Pam here just decided to jump the gun on asking you. That's what I was coming out here to do." She slid into her vampire's lap. Pam just kind of shrugged and looked back to Eric.
"So?" both women inquired.
Eric looked from Sookie, to Pam, and then back to Sookie. "If Sookie wants to dance, then she can. But no stripping." He was putting his foot down on that aspect. There was no way his Sookie was going to be showing any of her assets to his customers.
Sookie cracked a smile. "I don't want to strip anyway. There's no way I could parade around naked in front of strangers. I dance in public all the time, this is no different," she assured Eric. She stood up and walked around to Pam's chair, draping her arms around the female vampire. "I don't know how Pam does it. I'll be in the dressing room with Ames if you need me." She sauntered off.
"Who was that, and what the hell have you done to my Sookie?" Eric asked, unsuccessfully trying to glare at Pam.
She shrugged again, it really was an odd-looking gesture for a vampire. "I taught her some spins, but what you saw there was all Sookie. I have to get backstage to get things ready." She stood up, pushing her chair in. "Oh, and Eric?" He narrowed his eyes at her. "You won't be disappointed." She exited towards the same set of curtains that Sookie had just slipped behind.
Eric sat at the little table for a few more seconds, dumbfounded, before he walked over to his booth. A few patrons were trickling in at this point, and he watched a couple of them sitting by the stage as they ogled Pam's gold lace-clad ass wiggle by. He shook his head and sat down.
There wasn't a long wait before the lights on the stage came up, in shades of red and yellow. This was followed quickly by Sam's voice over the P.A. system. He had an eye patch on. How festive. "Welcome to pirate night at Fangtasia. Before we get started with the Dollhouse Dance, we have a special guest for a little pole dance." There were murmurs and some cheers from the crowd. It was still a pretty small crowd, and Eric couldn't help but be pleased for that small fact. Same continued, "Please give a warm welcome to our very own waitress-dancer, Sweet Sookie!" Louder cheers. Obviously his little vixen had more of an effect on their patrons than he thought. Interesting.
The red and yellow lights on the stage faded to black, and a single spotlight highlighted the pole that was downstage center. The speakers gave off a little bit of static noise before a slightly harder version of "He's A Pirate" _Pirates of the Caribbean_ began. Sookie stepped out on stage to many a catcall. She sauntered over to the pole and began her routine.
Eric was demonstrating a copious amount of restraint in a number of areas. One, he was restraining himself from going ballistic on the men sitting and standing near the stage, who were calling out vulgarities to Sookie and whistling. He was also restraining himself from flying up onto the stage and fucking Sookie's brains out in front of the whole damn audience, giving them something to really whistle about. In light of all his restraining and not focusing on the pigs in the audience, Eric failed to notice that they were also throwing large quantities of wadded up bills on the stage.
After two more of the longest minutes of his life, Sookie dismounted the pole and exited the stage; Eric was right backstage when she got into the dressing room.
"Oh, Eric! You surprised me! I just saw you in the audience," Sookie giggled, one hand placed over her chest. She smiled brilliantly at him as she caught her breath. "What did you think?"
"Of your dance? It was…seductive," Eric replied, taking a moment to find the right word. Sookie beamed again. "But of you doing it in front of those…animals? That I didn't like." And here goes possessive Eric.
"What do you mean? They really seemed to like it." Sookie looked a little dejected.
"I'm sure that they liked it," Eric frowned. "Couldn't you hear what they were say--Never mind that, what they were thinking?" He caressed her temple before kissing her forehead.
Sookie shook her head. "Nope. I put my shields up and Pam gave me these." She held out her hand to reveal two little, red earplugs. "I could barely even hear the music. Apparently, a lot of the girls use them."
"So you enjoyed yourself then?" Eric asked incredulously.
"I sure did. It was exhilarating."
"And not to mention all the tips and business she earned," Pam commented as she walked up, handing Sookie a huge roll of cash. "Five hundred large, sweetheart."
Sookie's eyes got huge. "For one dance?"
"For one dance," Pam repeated before turning to Eric. He could practically see the dollar signs flashing in her eyes. "And that's not even including all the extra drinks and private dances we've been selling. Apparently the fact that Sookie is unattainable is inspiring the customers to request dances from the other girls. So everybody is winning tonight, it seems." She smiled, asking the silent question.
Eric still didn't look impressed. "It would…entirely be up to Sookie." He looked down at the little blonde, who was snuggled into his side and torn between looking interested in the conversation and staring at the money in her hand. She got the impression that someone was looking at her, so she looked up.
"Huh?"
"We…Pam was wondering if you'd be interested in continuing to do your intro dancing. Only when you want to though."
"Sure."
"And you'd get to pick your own costumes…And your music…And no nudity, of course…"
"I said sure, Eric." She smiled up at him before pulling him down for a quick kiss. Pam nodded and left to tend to more business. A couple more minutes passed before Sookie spoke again, "Are you sure _you're_ okay with me doing this?"
"I find it…interesting. I guess I'll have to get really good at pretending you're only dancing for me."
"Shouldn't be too hard, I only have eyes for you. All for you," she smiled at him again. He kissed her more intimately, passionately, before releasing her to freshen up.
"Promise me one thing?" he asked.
"Anything."
"Just keep the earplugs in when you do it." He offered her a small smile before exiting the dressing room.
Eric crossed the club quickly, making it to his office in about five minutes. Once there, he pulled out his cell phone to make a call.
"Good evening, Felipe."
* * *
**So, I know there's a lot that just happened there, so lay it on me, lol. Thanks again to everyone for being patient, I really appreciate it. I just want to reiterate that I have a plan, and that this story will be finished. Next up in the rotation is Allegro, so I'll see everyone who reads that there. Oh, and links to costume pictures on the profile.**
**-Sydney**
20. Contact High
**A/N: Hey guys! I know it's been a little while since the last update, but I'm actually sticking to the schedule, order-wise. So that's good I guess.**
**I just have a couple of announcements before I let you get to the action:**
**The timeline of this story was brought to my attention, and I ended up mapping the chronology out. So far, the passage of time in this story has been a little over month (like by a couple days) since Sookie started working at Fangtasia. It has been almost a month since Eric and Sookie had sex for the first time. If you want dates, Sookie was hired on Monday Oct. 19, 2009...and we're now on Saturday Nov. 21. This chapter starts on the same night that Sookie danced. I know it can get confusing to keep up with everything (hell, it was confusing for me to figure out), so I just wanted to clarify everything. I predict this story will wrap up sometime in December, maybe January, chronologically speaking.**
**Also, I wanted to thank everyone for reviewing and getting Stiletto up and over 400 reviews. I'm truly, truly flattered that everyone likes this story so much.**
**Thanks and enjoy!**
* * *
**Chapter Twenty- Contact High**
Sookie was stretched out on Eric's bed, the crimson sheet casually draped over her hip. When she felt the bed shift, she rolled onto her side to face Eric.
"I thought you'd be asleep by now," he said, smirking at her as he ran a hand down her bare shoulder.
"Nope. Still too excited." She smiled, looking over at her discarded pirate costume. "Pam was right; it is an adrenaline rush." Sookie flopped back against the bed, pulling Eric on top of her.
"I'm glad you're happy." He kissed her on the tip of her nose before moving to her lips. Sookie gripped his shoulders as his tongue traced its way down her neck to her breasts, wrapping itself around one of her nipples. She arched into his mouth and wove her fingers into his long, blonde mane.
Eric emitted a feral growl before sliding his body down the large bed, dragging the sheets with him. He dropped the sheet off the end of the bed and moved his large hands back up Sookie's partially spread legs. Spreading them wider, Eric slithered up between them, resting his head on her thigh. Sookie tensed, both in anticipation and fear of the unknown.
"Lover, look at me," he prompted gently as he rubbed soothing circles into the skin on her stomach. Sookie allowed her eyes to travel down to when Eric was laying. He actually looked pretty adorable, considering the circumstances.
"You look cute like that, you know."
"Cute?"
"Uh huh." Sookie smiled down at him.
"What about this? Do I still look cute doing this?" he teased, spreading her wide and running his rough tongue up her slit.
"Ungh," Sookie moaned, hips lifting off the bed. "Bastard," she hissed as Eric moved his mouth away from her center.
"What was that?" Eric asked before he moved back in to place a wet kiss on her clit.
She bucked again. "Fuck!" Eric chuckled a little as he slid two fingers into her. He pumped them in and out a few times before moving back up, covering Sookie's body with his own.
"That was different," Sookie commented, pulling Eric toward her for a kiss.
"Good different?" His fingers continued their methodical thrusting.
"Definitely." Sookie's statement was punctuated by a moan as Eric momentarily picked up speed. "But I want more."
"More?" Eric questioned. "More like…this?" He replaced his fingers with his dick.
"Oh yes."
* * *
Eric remained sitting up in bed, studying Sookie, for quite awhile after she had fallen asleep. The sheet was drawn up over her breasts and she was lying on her back. His eyes kept darting between the sleeping blonde and the pile of fabric on the floor that she had worn to make her pole dancing debut.
"_Good evening, Felipe."_
"_Northman, how…unexpected." Eric fought back the snort that threatened to escape at Felipe's attempted nonchalance. "What's the occasion?"_
"_The Stackhouse girl," Eric began. He was much better at faking apathy than de Castro. "She's dancing."_
"_Oh, really now?"_
"_Yes, really. Now what are you planning on offering me." Cutting to the chase. Eric didn't want to play games. Not when Sookie was involved._
"_I'll reduce your debt by a third. How's that sound?"_
"_You getting out of my business completely would be ideal, but we both know that'd never happen."_
"_Testy, testy, Mr. Northman. I thought you were happy with our arrangement," de Castro mused. Eric could almost see him smiling through the phone. "Of course, if your not, I'm sure Victor's…associates…would be interested to know who was the cause of all their lost…investments."_
"_No," Eric replied as smoothly as possible. "A one-third reduction is more than generous, Felipe."_
"_Fantastic. I just knew I'd find something good when I heard about the Halloween party and your pretty, pretty new waitress." Eric knew that his Halloween party was common knowledge, but his acquisition of Sookie most definitely wasn't. Damn it, Felipe._
_Fucking Victor. This was all his fault._
"Who is Victor?" Sookie asked, now laying on her side and looking up at Eric.
"What, lover?" Eric wondered how she knew what he was thinking about. Almost as if she read _his _mind…
"Victor. You just said it. You were staring off into space, and then you randomly said, 'Victor.' Who is he?"
"Just a businessman I used to know," he replied, placing a kiss on her lips. The way Eric said 'businessman' nearly made Sookie shiver. She wondered if Eric meant for it to come out that way. Like a warning, or something. She nodded and kissed him back. "You should be sleeping, lover. I can't have you exhausted at work tomorrow night, can I?"
"Can't help it," Sookie giggled. "Still wired. And besides, I did sleep a little bit." She looked at the clock on Eric's nightstand. "I slept a whole hour. Besides, I'll have plenty of time to sleep while you have to sleep." She reached into his lap and wrapped her hand around his cock.
"You little vixen," he moaned. "While I may not completely agree with how you got this buzz, I can't say I'm not enjoying the contact high," Eric mused before he rolled over and slipped inside her.
* * *
Eric rose the following night feeling pretty good. He heard his shower running, as well as Sookie's soft humming as she bathed. A couple minutes later, she emerged from a billow of steam, wrapped in a fluffy black towel. There was one wrapped around her head as well.
"Hey, sleepyhead." Sookie smiled at him before snatching up the t-shirt and panties she'd laid out on the bed prior to her shower.
"Hey yourself," he responded, standing up in all his naked glory. He stretched out, fully aware of his effect on Sookie. She stopped mid-dress, t-shirt half over her head, its neckline hanging on her nose.
"That's very distracting, you know," she mumbled from behind the cotton barrier. Eric looked over at Sookie and laughed.
"I'm aware," he commented, pulling on a pair of dark green lounge pants sans underwear. Walking over to where she was standing, he helped Sookie pull down the t-shirt before he gathered her in his arms. She snuggled into him, and he placed a kiss on the top of her head. "We have the whole night off. What does your heart desire, my love?"
Sookie looked up at Eric. "Where's the r?" she asked.
"The r, dearest?"
"Yeah." She looked down. "The r in lover. You said love."
"I did."
"But you call me lover."
"I do. But I also love you." Eric was smiling at this point.
"You love me?"
"I do."
"Huh." Sookie looked back up at him.
"Huh?"
"Does something amuse you, lover?" he purred the r.
"Only that I love you too."
"Is that so?"
"It is."
"Well then, I have to say I'm sorry, my love."
"What could you possibly be sorry for?" Sookie replied, a puzzled look on her face.
"I'm sorry that I said you could pick our agenda for the evening." He scooped her up into his arms. "I'm afraid I'm going to have to overrule you," he laughed, tossing Sookie back onto the bed and pulling her t-shirt back off in the process.
* * *
_Two weeks later… Monday, December 7th_
Sookie bounced off of the stage, and into the arms of her vampire. She locked her legs around his waist as he slid his hands under her to cup her ass with a squeeze. Eric was always extra horny after Sookie completed a routine, and this time was no exception. He pushed her up against the nearest wall, connecting their mouths. Sookie responded by slipping her tongue into Eric's mouth and moving her hips against him.
They were interrupted by someone clearing their throat. "I take it you enjoyed the routine I taught her," Amelia laughed, coming in through one of the side curtains. She moved over to one of the vanity tables and picked up a curly blonde wig. Pam came backstage shortly after.
"Yeah, he liked it. Now would you guys just get a fucking room already?"
"I own this club, Pam. This is my room," Eric replied. Sookie giggled into his shoulder before motioning for him to set her down. She whispered something to Eric before grabbing her change of clothes and skipping out of the backstage area.
"Well, she seems to be taking to this like a fish to water. That's the expression, right, Amelia?" The brunette in the Shirley Temple wig nodded to Pam. "That's what I thought. Anyway, how are you fairing, Eric?"
Eric put his attention on Pam. "I am…well. The benefits are…outstanding."
Pam raised an eyebrow. "I'm fully aware you guys are fucking like rabbits…hell, we have to watch it half the time." Sookie had been dancing almost nightly since her first dance, and there had almost been a show. Twice. "You know that's not what I meant though. Has Felipe bothered you since you called him?"
Eric looked around; Amelia had gone on stage, and now the backstage area was abandoned. The other girls were doing floor rounds and private dances. "No. Not since Sookie started dancing…but I figure it is only a matter of time before he gets another wild hair."
"How the fuck did he even hear about Sookie anyway?" Pam perched herself on one of the red velvet chaise lounges in the room.
"That's the only thing that I do not understand. I can understand why he would want Sookie to dance. It is very uncharacteristic of him to just 'stop by.'"
"You think he has a source or something?"
"It's possible."
"A patron maybe? Someone who does…business with him?"
"Probably. Who really knows though? I just keep looking at it this way: with Sookie dancing, she's happy. De Castro is also happy, and he's reducing my debt. My woman is happy, I'm saving money, and no one is getting hurt, so I am also happy. As long as it stays this way, I will remain happy."
"If you say so. Do you honestly think he's going to let you off?"
Eric growled a little before cursing. "We'll know at the end, won't we?"
Pam nodded, realizing the end of the conversation, as Eric left the backstage area himself. He looked over to the waitress' area, where Sookie was back in her dark purple minidress making a margarita. She beamed at him when she saw him, nodding when she saw him make a motion for her to meet him at his table.
After making another round of her tables, Sookie slid into Eric's booth with a TrueBlood. He pulled her close and gave her a kiss. "How is your shift going, my love?" Ever since they exchanged the L-bomb, two weeks prior, Eric had been squeezing the endearment in at every opportunity.
"Good. I've been making more tip even while drink running, since I started dancing." Eric nodded; he knew how important it was to Sookie to maintain her independence. Besides, when she was using her extra spending cash to buy sexy lingerie and dresses for dates, he really couldn't complain.
"Have you given anymore thought to where you'd like to go on our date this Sunday?" Sunday, since the club was closed, was date night. This week it was Sookie's turn to pick.
She was about to reply when Arlene approached the table. "Have you guys seen Cicita?"
* * *
**I spy a mystery on the horizon, and I do love me a good mystery. I know I jumped around a couple more times in this chapter, but I hope it was understandable. This chapter covered two weeks in story time. We're moving right along, slowly approaching the end *tear*. I feel like there's about two chapters left.**
**Question though: I know I've revealed a couple of things to the audience, but not to the characters, but I was wondering- what are some unanswered questions you guys have? I have a set end in sight, but I still want to know if some things are still mysterious, or if I've given too much away already. I also want to make sure that all my loose ends are completely and sufficiently tied up. So, I'd love to hear what questions are still lingering.**
**Next up in the rotation is Allegro. See y'all there!**
**-Sydney**
21. Leads
**A/N: Um…anyone still out there? I could come up with a billion reasons why I haven't posted since the beginning of June, but they're not going to make up for me not posting. Real life, writer's block, all of that was a factor. I'm really sorry, and I have a feeling it's going to be better for at least the duration of this story, which I'm seeing as 1-3 more chapters. I finally found my voice again with this story, and anyone who's talked to me on twitter knows that it wasn't an easy task and led to a slight degree of resentment before things got better. I'm also going to apologize because this chapter is quite short in the scheme of things, but it does cover a lot, and it is something. So I'm proud of that. It's also the natural progression before we get to the big finale.**
**A big thanks to everyone for sticking with me for this, my twitter gals for their constant love and support, and especially Lubadub, who constantly puts up with my whining via gmail. She's the bomb.**
**Enjoy!**
* * *
_Recap: Sookie's been dancing nightly at Fangtasia, while Eric has placed a few strange calls to de Castro to get some kind of payment reduced in exchange for Sookie dancing. Everybody seems to be favoring nicely. We're now in the beginning of December chronologically, Monday the 7th__ when we start, and Tuesday the 8__th__ when the chapter concludes. Sookie is sitting with Eric at his table when Arlene approaches and asks if Sookie or Eric has seen Cicita this evening._
**Chapter Twentyone- Leads**
"No, I haven't," Sookie replied, looking up at Arlene. "Did she come in tonight?"
Arlene tapped her chin thoughtfully. "Ya know, now that I think about it, I don't think she did. Oh, and Sook? Can you come give us a hand?" Her tone wasn't snide, but Sookie hopped right up out of the booth.
"Of course. You shouldn't even have to ask."
…
Back at the waitress' area, Sookie cracked open some beer bottles while simultaneously balancing a phone on her shoulder, listening to a dial tone as she waited for Cicita to answer.
"Damn it," she cursed, hanging the phone back up.
"Voice mail again?" Arlene asked as she picked up two of the beer bottles that Sookie had uncapped.
Sookie nodded and picked up the remaining bottles. "She's probably sick or something. I know I wouldn't feel like picking up the phone if I felt like death warmed over."
"Yeah, you're probably right," Arlene replied, sauntering off to deliver her drinks. Sookie went in the other direction to deliver hers. Eric slid up beside her as she dropped off the final beer.
"Did you get in touch with Cicita?"
"No. Just got her voice mail." Eric nodded in comprehension.
"Did you notice anything up with her on Saturday?"
"She said her stomach hurt, but that was probably because she was on her period," her voice trailed off and she looked up at Eric and blushed. Eric pulled her towards him and kissed her temple before gesturing for her to continue. "Might've developed into a stomach thing or something." She shrugged.
"Most likely," Eric agreed. "Maybe try her again if you get a chance?"
"Of course. I wanna make sure she's feeling okay."
He sighed happily. "Your compassion is very endearing, love." Eric kissed her again before dropping her off at the waitress' area. Sookie slid behind the counter, collecting some empties that had accumulated there and loading the dishwasher to be turned on later.
Arlene joined her a few minutes later. "Hey, Sook, I grabbed five of my tables orders at once, would you mind helping me mix and run?"
"Nope, not at all." Sookie grabbed a ticket and started assembling a tray. She grabbed and heated four TrueBloods in varying types for the first table, and two beers, a screwdriver, and a Jack and Coke for the second table. After plucking a couple more beers for Arlene's tray, the two of them made the deliveries. Pam was waiting at a table near the bar when they returned.
"What brings you out amongst the vermin this evening, Pam?" Sookie lilted, putting her empty tray up on the bar as Arlene walked back through the swinging door. Pam barked out a laugh and patted the other chair at the table, which she had brought around next to the one she was currently sitting in. Sookie complied and joined her.
"I was just helping you guys make last call," she smiled, the expression looking a little scary on her face. "And I wanted to tell you that your tips from dancing are backstage."
Sookie glanced down at her white plastic digital watch. "Damn, it is almost closing, isn't it."
"That it is," Pam replied. She glanced around and offered a cursory wave to a table of thirty-something human men who were on their way out.
Forty five minutes later and the club was cleared out of patrons. "Ready to go, Sookie?" Eric asked as he strode out of the back hallway. Sookie nodded, said goodbye to all present, and walked with Eric back down the hallway.
Eric could sense Sookie's anxiety as they made their way out to his car. After he got her settled into the passenger seat, he wordlessly handed her his cell phone. She smiled up at him before he closed the door. "Thanks, how'd you know?" she asked when Eric slid into the driver's seat.
"I saw your phone plugged in when I picked you up tonight, and I can feel the anxiety rolling off of you in waves."
"You're pretty amazing, you know that?" Sookie leaned over and kissed Eric on the cheek before settling in her seat and dialing the number that she had committed to memory.
After three more tries, and no responses, she gave up for the night and handed Eric his phone. "I'm sure she's just sleeping off whatever sickness she's gotten," he tried reassuring Sookie. She nodded as they pulled up to Sookie's apartment. Eric had a feeling that there might be more to Cicita's sudden disappearance, but he didn't want to alarm Sookie. After helping her out of the car, the two of them went up to Sookie's place for the night.
…
No one had heard from Cicita the following night at Fangtasia either. Sookie had just finished her routine and was back serving drinks, and Eric was making his way back to his office. Sensing something was off, he opened his door cautiously, revealing de Castro sitting at his desk.
"Wonderful show, Northman. That waitress of yours is…something." He stood up, making a show of dusting off his pants.
"What are you doing here?" Eric asked as calmly as he could.
"Merely passing through, on my way back from visiting some of those…_associates_ you're so invested in avoiding," Felipe replied, not-so-subtly reminding Eric who was in charge.
"You're checking up on me," Eric growled, following Felipe out into the back hallway and towards the door.
"Relax, Northman. It's nothing of the sort. Just…scouting _talent_."
"Stay away from my girls, de Castro. You're getting your money, and I know you have other ways of confirming what is going on in _my club_."
"Alright, alright. I can take a hint. I'm leaving." He smiled, fangs out, before leaving through the club's back entrance.
…
"I just don't believe that Cicita would miss work two nights in a row without so much as a phone call," Sookie commented as she filled a beer pitcher.
"That does seem quite unlike her," Arlene added, sticking olive toothpicks in the martinis she was making.
"You actually think she's missing?" Dahlia snapped as she approached the outside of the waitress' area. "This isn't CSI, you know."
"I can't get a hold of her and she hasn't called in. Excuse me for being a little concerned for my _friend_," Sookie shot back.
"Whatever. Keep your eye peeled for the big, bad kidnapper." Dahlia rolled her eyes and walked off with her orders. Sookie looked over at Arlene, who just shrugged.
"You might be right, you know," Arlene offered, coming over to stand next to Sookie. "There's been a guy who's been at my tables a time or two, Dahlia's and Cicita's too. I've never seen him in all my time working here, started coming in here on Halloween." She shrugged again and took her own tray to her tables. All of Sookie's tables had been fully taken care of, so once she cashed out her checks, she headed back to Eric's office.
As she rounded the corner, she saw a man slipping out the back door. She waited until the door was completely closed before she continued down the hall and into Eric's office. Eric was standing with his back to the door, and his desk chair lay in splinters on the floor.
"Eric?" Sookie asked, rushing to his side. "Eric, what's wrong? Who was that man?"
Eric turned to face Sookie, quickly pulling her tight to him. "Nothing's wrong, love. And that was Felipe de Castro." There was no sense in lying to her, Eric figured. She'd already seen him. Better for her to know who to be wary of.
"_Nothing_ doesn't cause you to break things, Eric. And de Castro? The guy you bought this building from?" Sookie felt Eric stiffen.
"Who told you that?"
"Pam did, she uh-"
"What did she tell you, Sookie?"
"Just that you bought the building from him. Why? What shouldn't she have told me? And why shouldn't she have told me it?"
Eric brushed her questions off. "Sookie." He kissed her on the top of the head. "Nothing's wrong. Just make you come to me straight away if you see him in here again." That was the truth. Nothing _was _wrong. Not yet anyway. At least Sookie now knew to stay aware of de Castro.
"That still doesn't sound like nothing, but I know you're not going to tell me anyway." She turned towards the door. "I'm all ready to leave when you are. I'll be backstage with Amelia."
"I love you, Sookie," Eric said. And he did. With all his heart. Everything he did was to protect her, to protect their future.
"I love you too, Eric." Sookie turned back to give him a half smile before leaving the office.
* * *
**So, like I said, we're almost at the end. I'm actually pretty stoked about writing the rest of this little ditty, which is something I haven't felt…pretty much towards writing in general in awhile.**
**A couple of notes:**
**I know that a lot has been going on about writers moving off the site because of more problems, and I really wanted to address this during it's peak, but you're hearing from me now. I'm not leaving here until I'm kicked off, but I am on wordpress and all of my stories (except Drawn) are fully updated there now too. And it got a spanky new makeover. So you can subscribe to that for email updates, because I'll occasionally post news items, like if I get supernova writer's block again, and other things like that. You can also always find me on twitter (chiisai_kitty).**
**Wordpress blog: http:/ chiisaikitty . wordpress . com**
**Another note: I recently went into business for myself, it's a jewelry and accessories store on Etsy. Great prices, fast shipping :) **
**http:/ cupcakecameo . etsy . com (clickable link and more information on my profile as well)**
**-Sydney**
End file.
| fanfiction |
recently the pax collaboration was formed @xcite with the aim to measure the proton transversity in the interaction of polarized antiprotons with protons at the future fair facility in darmstadt . in order to produce an intense beam of polarized antiprotons
, the collaboration is going to use antiproton elastic scattering off a polarized hydrogen target ( @xmath8h ) in a storage ring @xcite .
the basic idea is connected to the result of the filtex experiment @xcite , where a sizeable effect of polarization buildup was achieved in a storage ring by scattering of unpolarized protons off a polarized hydrogen atoms at low beam energies of 23 mev . according to recent theoretical analyses @xcite the polarization effect observed in ref .
@xcite has to be interpreted in such a way that solely the spin dependence of the hadronic ( proton - proton ) interaction provides the spin - filtering mechanism , i.e. is responsible for different rates of removal of protons from the ring for different initial polarization states . in other words @xcite , proton scattering on the polarized electrons of hydrogen atoms
can not provide a sizeable effect of polarization buildup , as it was assumed before @xcite .
indeed , the maximal scattering angle in this process , @xmath9 mrad , is less than the beam acceptance angle @xmath10 , which is defined so that for scattering at smaller angle @xmath11 the projectile remains in the beam . for this case , the beam - into - beam scattering kinematics of this process in a storage ring allows the proton polarization buildup only due to spin - flip transitions between the initial and final spin states of the beam proton @xcite .
furthermore , since the coulomb interaction between the protons and electrons is spin - independent it can not provide spin - flip transitions and , consequently , does not contribute to the polarization buildup . the same argument ,
obviously , is valid in case of antiproton scattering off a hydrogen target .
therefore , the authors of ref .
@xcite concluded that only the hadronic interaction can be used to produce polarized antiprotons on the basis of the spin - filtering mechanism .
in contrast to the @xmath12 case , the spin - dependent part of the @xmath13 interaction is poorly known experimentally at present .
therefore , to investigate the polarization buildup mechanism in @xmath14h scattering a new experiment is planned at cern @xcite .
the stored antiprotons will be scattered off a polarized @xmath8h target in that experiment @xcite and the polarization of the antiproton beam will be measured at intermediate energies .
some theoretical estimations @xcite of the expected polarization effects were already performed employing a specific model of the @xmath15 interaction . in this context , it is interesting and useful to explore other hadronic reactions as possible source for the antiproton polarization buildup too . therefore , in the present work we study polarization effects in antiproton - deuteron ( @xmath16 ) scattering for beam energies up to 300 mev .
besides the issue of polarization buildup for antiprotons , @xmath17 scattering on a polarized deuteron , if it will be studied experimentally , can be also used as a test for our present knowledge of the @xmath18 and @xmath7 interactions .
our investigation is based on the glauber - sitenko theory for @xmath0 scattering and it utilizes the @xmath5 interaction models developed by the jlich group @xcite as input for the elementary amplitudes . since there are data on ( unpolarized ) total and differential @xmath3 cross sections in the considered energy range we can examine the reliability of the glauber approach via a direct comparison of our results to experimental information .
in addition we also present results for polarization effects for the @xmath19 system itself . with the @xmath19 potentials developed by the jlich group we have conceptually rather different models at our disposal than the one used in ref .
@xcite and it will be instructive to see and compare the corresponding predictions . moreover , we consider here the @xmath7 as well as the @xmath18 case .
let us mention here for completeness that very recently new qed calculations for polarization transfer in proton - electron ( and antiproton - positron ) elastic scattering were performed @xcite .
these calculations predict very large polarization transfer from polarized electrons ( positrons ) to unpolarized protons ( antiprotons ) in elastic proton - electron ( antiproton - positron ) scattering at low beam energies , less than 20 kev @xcite . on this basis
new sources for polarized antiprotons are under discussion @xcite . on the other hand , according to a calculation presented in ref .
@xcite , the effect of polarization buildup is negligible in this reaction , even at small relative velocites .
a recent measurement performed at cosy @xcite intends to explore this method .
finally , another method for buildup of polarized antiprotons at high energies , based on production of @xmath20 and its subsequentional decay @xmath21 , has been proposed in ref .
@xcite .
the paper is structured in the following way . in the next section
we consider the spin structure of the total @xmath0 cross section using the optical theorem . in sect .
iii expressions for the forward @xmath0 elastic scattering amplitude are derived in the impulse approximation and the formalism for the polarized total @xmath3 cross sections is developed . the formalism for calculating the coulomb - nuclear interference cross sections
is presented in sect .
the technical details for evaluating the coulomb - hadronic interference cross sections for @xmath3 elastic scattering are summarized in appendix a. the @xmath22 interaction model of the jlich group is briefly reviewed in sect . v. the amplitudes of this model are used as input for our @xmath0 calculations .
we also provide and discuss results for spin - dependent cross sections in the @xmath1 as well as @xmath2 channels .
numerical results for the @xmath0 reaction are presented and discussed in section vi .
a short summary is provided in the last section .
let us first consider only the purely hadronic part of the reaction amplitude . the modifications due to the presence of the coulomb interaction will be discussed in sect .
we use the optical theorem to derive the formalism for the total spin dependent @xmath3 cross sections . according to @xcite one
has @xmath23 where @xmath24 is the transition operator for @xmath3 elastic scattering at the angle @xmath25 , @xmath26 is the initial spin - density matrix , @xmath27 is the total cross section depending on the density matrix @xmath26 , and @xmath28 is the momentum in the center - of - mass system ( cms ) .
the spin dependence of the amplitude of the @xmath3 elastic scattering is the same as for the @xmath29 elastic scattering . for collinear kinematics
it contains four independent terms @xcite and can be written as @xcite @xmath30 where @xmath31 ( @xmath32 ) are the pauli spin matrices , @xmath33 is the fully antisymmetric tensor , @xmath34 are the cartesian components of a unit vector @xmath35 pointing along the beam momentum , and @xmath36 @xmath37 are complex numbers determined by the dynamics of the reaction .
let us put the @xmath38 axis along the vector @xmath35 , so that @xmath39 .
the @xmath3 elastic scattering amplitude is obtained by sandwiching the operator @xmath40 between antiproton and deuteron spin states , @xmath41 where @xmath42 ( @xmath43 ) is the pauli spinor for the initial ( final ) antiproton with the spin projection @xmath44 ( @xmath45 ) and @xmath46 ( @xmath47 ) is the polarization vector of the initial ( final ) deuteron with the spin projection @xmath48 ( @xmath49 . when choosing different initial polarization states in eq .
( [ optth ] ) , described by the product of the spin density matrices of the antiproton @xmath50 and the deuteron @xmath51 , @xmath52 , one can derive from eqs .
( [ optth ] ) and ( [ fab ] ) different total spin - dependent cross sections in terms of the forward amplitudes @xmath36 .
for example , for unpolarized antiprotons and unpolarized deuterons one has @xmath53 , and one finds from eq .
( [ optth ] ) the unpolarized total cross section to be @xmath54 in general the spin density matrices are @xmath55 for the antiproton and @xmath56 for the deuteron . here
@xmath57 is the spin-1 operator , @xmath58 and @xmath59 @xmath60 are the vector and tensor polarizations of the deuteron , and @xmath61 is the spin - tensor operator . using eqs .
( [ fab ] ) , ( [ rhop ] ) and ( [ rhod ] ) one can find from eq .
( [ optth ] ) , @xmath62 as seen from this formula , if the initial antiproton is polarized with the polarization vector @xmath63 and the deuteron has the polarization vector @xmath64 , then non - zero terms @xmath27 arise in the right - hand side of eq .
( [ optth ] ) for parallel ( or antiparallel ) orientation of the vectors @xmath65 and @xmath64 .
for the tensor polarization of the deuteron only the diagonal components of the polarization tensor @xmath66 , @xmath67 and @xmath68 are connected with non - zero total cross section .
the cross sections associated with @xmath66 and @xmath67 are the same and determined by @xmath69 , whereas the cross section connected with the @xmath68 component is given by @xmath70 .
taking into account the relation @xmath71 , one can find from eq .
( [ trace ] ) that the total tensor cross section can be connected only with the @xmath68 component .
all other combinations of polarizations of the antiproton and/or deuteron , namely , polarized antiproton , vector - polarized deuteron , and polarized antiproton
tensor - polarized deuteron , give zero contribution to the total cross section due to parity conservation . summarizing the above results , the total polarized @xmath16 section can be written as @xmath72 where @xmath73 is given by eq .
( [ sigma0 ] ) , and the other coefficients are : @xmath74 one can find from eq .
( [ totalspin ] ) that only the cross sections @xmath75 and @xmath76 are connected with the spin - filtering mechanism and , therefore , determine the rate of the polarization buildup in the scattering of unpolarized antiprotons off polarized deuterons .
( more precisely , the rate of polarization buildup is determined by the ratio @xmath77 for transversal polarization and by @xmath78 for longitudinal polarization of target and beam in the storage ring . )
the tensor cross section @xmath79 is not connected with the polarization of the beam and , therefore , is not relevant for the spin - filtering .
however , this cross section , as well as the unpolarized cross section @xmath73 , determines the lifetime of the beam . when changing the sign of the tensor polarization @xmath68 , one may change the beam lifetime
within the glauber theory the amplitudes for the elastic ( @xmath80 ) and breakup ( @xmath81 ) reactions are given by the following matrix element @xmath82 calculated between definite initial @xmath83 and final @xmath84 states of the two - nucleon system . here
the transition operator is @xmath85 in eqs .
( [ glafi ] ) and ( [ ffi ] ) @xmath86 is the transferred momentum , @xmath87 is the impact parameter , and @xmath88 ( @xmath89 ) is the @xmath22 scattering amplitude .
the amplitude of elastic @xmath3 scattering can be expressed via the elastic form factor of the deuteron , @xmath90 , and the elementary amplitudes of @xmath13 scattering .
the differential scattering cross section for elastic ( @xmath91 ) plus inelastic ( @xmath92 ) scattering is calculated within the closure approximation @xcite .
that allows one to express the scattering cross section via @xmath88 , @xmath90 and the deuteron wave function .
since the d - wave component of the deuteron wave function becomes important only in the region of the first diffraction minimum of the differential @xmath3 cross section @xcite , we neglect its contribution in the present calculations and take into account only the s - wave component . as seen from eq .
( [ ffi ] ) , in the glauber theory of multiple scattering of hadrons off the deuteron only single - scattering ( first two terms on the right - hand side ) and double - scattering ( third term on the right - hand side ) mechanisms contribute to the transition amplitude .
in forward direction the single - scattering mechanism dominates .
the corrections related to double - scattering effects produce the so - called shadowing effect . as a result ,
the total unpolarized antiproton - deuteron cross section @xmath93 is not equal to the sum of the total @xmath1 and @xmath2 cross sections , @xmath94 and @xmath95 , but is given by @xmath96 where @xmath97 stands for the corrections due to double - scattering effects . in the impulse approximation ( ia ) ( or single - scattering approximation ) one can present the forward @xmath3 elastic scattering amplitude in the following form @xmath98 where @xmath99 is the @xmath22 scattering amplitude at zero degree , defined as in ref .
@xcite , @xmath100 is the elastic form factor of the deuteron at zero transferred momentum @xmath101 , @xmath102 ( @xmath103 ) is the invariant mass of the @xmath22 ( @xmath3 ) system , and @xmath104 ( @xmath105 ) is the mass of the deuteron ( nucleon ) .
the sum in eq .
( [ pdamp0 ] ) runs over the @xmath38 projections of the spin of the nucleon spectator @xmath106 , and of the initial ( @xmath107 ) and recoil ( @xmath108 ) nucleons inside the deuteron .
the transition operator for the @xmath22 forward scattering amplitude has the form @xcite @xmath109 where the matrix @xmath110 ( @xmath111 ) acts on the spin state of the antiproton ( nucleon ) and @xmath112 , @xmath113 and @xmath114 ( @xmath115 ) are complex amplitudes @xcite .
the deuteron elastic form factor at @xmath116 can be written as @xmath117 where @xmath118 is the relative weight of the s - wave ( @xmath119 ) and d - wave @xmath120 components of the deuteron wave function with the normalization @xmath121 .
using eq .
( [ fab ] ) one can find the invariant amplitudes @xmath122 from the following transition matrix elements of @xmath3 forward scattering @xcite : @xmath123 on the other hand , using eqs .
( [ pdamp0 ] ) , ( [ pnamp ] ) and ( [ dff ] ) , one can express the transition matrix elements in terms of the @xmath13 scattering amplitudes as @xmath124 where @xmath125 , @xmath126 , @xmath127 and @xmath128 from a comparison of eqs .
( [ amprelations1 ] ) with eqs .
( [ amprelations2 ] ) one can find that in the single - scattering approximation the invariant amplitudes can be written as @xmath129w,\nonumber \\
g_3=-bw&=&-\frac{1}{2 } m_2(0)w , \nonumber\\
g_4=-(b+d)w&=&\phantom{-}\frac{1}{2}\left [ m_1(0)-m_3(0)\right ] w . \end{aligned}\ ] ] here we used the standard relations between the amplitudes @xmath112 , @xmath113 , and @xmath114 and the helicity amplitudes @xmath130 of @xmath22 scattering @xcite together with the notation @xmath131 . utilizing eqs .
( [ sigma0 ] ) , ( [ sigma3 ] ) and ( [ g4toab ] ) the total cross sections are thus @xmath132 w = ( \sigma_0^{\bar p p}+\sigma_0^{\bar p n}){\widetilde w},\\ \nonumber \sigma_1^{ia}&=&-\frac{2\pi}{k_{\bar p d}}im \left [ m_2^p(0)+m_2^n(0)\right ] w = -(\sigma_1^{\bar p p}+\sigma_1^{\bar p n}){\widetilde w},\\ \nonumber \sigma_2^{ia}&=&\frac{2\pi}{k_{\bar p d}}im\left [ m_1^p(0)+m_2^p(0)-m_3^p(0 ) + m_1^n(0)+m_2^n(0)-m_3^n(0 ) \right ] w = -(\sigma_2^{\bar p p}+\sigma_2^{\bar p n}){\widetilde w},\\ \label{sigma3ia } \sigma_3^{ia}&=&0,\end{aligned}\ ] ] where we used the relations @xcite @xmath133 ,
\\ \nonumber \sigma_1^{\bar p n}&=&\frac{2\pi}{k_{\bar p n}}im\left [ m_2^n(0)\right ] , \\
\label{s2ia } \sigma_2^{\bar p n}&=&-\frac{2\pi}{k_{\bar p n}}im\left [ m_1^n(0)+m_2^n(0)-m_3^n(0)\right ] , \end{aligned}\ ] ] and the fact that the cms momentum in the @xmath13 system , @xmath134 , is related to the @xmath135 cms momentum , @xmath28 , by @xmath136 for equal ( @xmath137 ) beam energies @xmath138 in the reactions @xmath22 and @xmath3 . the quantity @xmath139 in eqs .
( [ sigma3ia ] ) is defined by @xmath140 .
one can see from eqs .
( [ sigma3ia ] ) that in the impulse approximation all total cross sections are additive , i.e. given by the sum of the corresponding cross sections on the proton and neutron .
while this result is obvious for the total unpolarized @xmath135 cross section @xmath73 , it was not expected for the spin - dependent cross sections , especially , in view of the opposite sign of the @xmath3 cross sections @xmath75 and @xmath76 with regard to @xmath141 and @xmath142 , respectively . as already mentioned above
, the double - scattering mechanism dominates at large scattering angles , while its relative contribution decreases when approaching the scattering angle @xmath143 .
the numerical calculations of the forward amplitude of @xmath3 elastic scattering , which will be presented below , demonstrate that the inclusion of the double - scattering mechanism reduces the total unpolarized cross section by around 15 % at energies 50 - 300 mev as compared to the result obtained within the single - scattering approximation if one adopts the approximaton given in ref .
@xcite then the effects of double - scattering for polarized @xmath3 cross sections should be likewise around 15 - 20 % in the energy region in question .
thus , we expect them to be significantly smaller than the variations in the predictions due to the uncertainties in the spin - dependence of the elementary @xmath22 interaction
. therefore , we do not consider the double - scattering effects on the spin - dependent cross sections in the present investigation , which anyway has an exploratory character .
note that an accurate evaluation of the contribution of double - scattering effects to polarized cross sections requires to consider the d - wave component of the deuteron as well as the angular dependence of all ( ten ) @xmath13 helicity amplitudes @xcite and is therefore rather tedious .
the total polarized cross sections including the coulomb interaction can be written as the sum of the purely hadronic contributions @xmath144 , the coulomb - nuclear interference terms @xmath145 and the pure coulomb contribution @xmath146 : @xmath147 where @xmath79 is only present in case of the @xmath3 reaction .
the hadronic contributions are those discussed in detail in the two preceeding sections .
note , however , that from now onwards we label the corresponding quantities with the superscript `` h '' for the sake of clarity . as was found in refs .
@xcite , the interference between the coulomb amplitude and the hadronic amplitudes in the total spin - dependent cross section of @xmath148 scattering plays an important role in the spin - filtering mechanism . when taken into account together with the purely hadronic total cross section this interference improves significantly the agreement between the theory of spin - filtering and the data of the filtex experiment @xcite . due to the singularity at @xmath149 ,
coulomb effects in the total cross section can not be taken into account by means of the optical theorem .
therefore , in order to obtain the coulomb - nuclear interference cross section for elastic scattering one has to perform an integration over the scattering angle for terms like @xmath150 or @xmath151 , where @xmath152 is the coulomb scattering amplitude , and @xmath153 is the amplitude of the purely hadronic interaction modified by the coulomb interaction @xcite .
as was shown in @xcite and @xcite , in such an integration the lower limit for the scattering angle @xmath154 has to be taken as @xmath10 ( with @xmath155 ) , because scattering events at lower angles , where the projectiles stay in the beam , do not lead to a beam polarization . in the glauber theory coulomb effects
can be taken into account by the method of ref .
@xcite in which the elementary eikonal @xmath148 phase is taken as sum of the purely strong and purely coulomb phases .
it is rather obvious that coulomb effects appear in the total @xmath3 cross section only due to the presence of the pure coulomb term in the @xmath1 elastic scattering amplitude ( see eq .
( [ purekul ] ) ) .
however , there is also an interference effect between the coulomb amplitude and the @xmath156 scattering amplitude , as can be seen immediately from the expressions for the single - scattering approximation given below . when calculating the coulomb total cross section and the coulomb - nuclear interference cross sections for the @xmath1 system we follow ref .
@xcite , where these effects were considered for @xmath148 scattering . here
we take into account the difference in the electric charge between antiproton and proton , and we drop the exchange term @xmath157 , specific for @xmath148 scattering .
the coulomb scattering amplitude for @xmath1 is @xmath158 where @xmath159 is the fine structure constant and @xmath160 ( @xmath161 ) the velocity ( momentum ) of the antiproton in the @xmath1 cms .
the coulomb phase @xmath162 is @xmath163 the cross sections were considered in ref .
@xcite under the assumption that the beam acceptance satisfies the following condition : @xmath164 , where @xmath165 is the typical magnitude of the hadronic amplitude . within this assumption
the total coulomb cross section was estimated in @xcite to be @xmath166 in contrast to @xmath148 scattering , for the @xmath1 interaction the spin - dependent coulomb cross sections @xmath167 and @xmath168 are zero , because there is no antisymmetrization term in the elastic @xmath169 scattering amplitude .
the interference terms @xmath170 and @xmath171 obtained in @xcite in the logarithmic approximation ( see eq . ( 18 ) therein ) , have a fairly smooth dependence on @xmath10 , namely of the form @xmath172 . adapting the formalism of @xcite for the @xmath1 case we obtain the following expressions for the contribution of the coulomb - nuclear interference terms to the spin - dependent cross sections : @xmath173 + ( 1-\cos{\psi})im [ m_3^p(0)+m_1^p(0)]\bigr ] - \\ \nonumber -\sin{2\chi_0}\bigl [ \sin{\psi } i m [ m_3^p(0)+m_1^p(0 ) ] + ( 1-\cos{\psi})re [ m_3^p(0)+m_1^p(0)]\bigr ] \bigr \},\\ \nonumber \sigma_1^{int } = -\frac{2\pi}{k_{\bar pp } } \bigl \ { \cos{2\chi_0 } \bigl [ -\sin{\psi } re m_2^p(0 ) + ( 1-\cos{\psi})im m_2^p(0 ) \bigr ] - \\
\nonumber -\sin{2\chi_0}\bigl [ \sin{\psi } i m m_2^p(0 ) + ( 1-\cos{\psi})rem_2^p(0)\bigr ] \bigr \ } , \\
\label{cnpp2 } \sigma_2^{int}=-\frac{2\pi}{k_{\bar pp } } \bigl \ { \cos{2\chi_0}\bigl [ -\sin{\psi } re [ m_3^p(0)-m_1^p(0)-m_2^p(0)]+ \nonumber \\ + ( 1-\cos{\psi})im [ m_3^p(0)-m_1^p(0)-m_2^p(0 ) ] \bigr ] + \nonumber \\ + \sin{2\chi_0}\bigl [ \sin{\psi }
i m [ m_3^p(0)-m_1^p(0)-m_2^p(0 ) ] -(1-\cos{\psi})re [ m_3^p(0)-m_1^p(0)-m_2^p(0)]\bigr ] \bigr \ } , \end{aligned}\ ] ] where @xmath174 and @xmath175 are the hadronic @xmath1 helicity amplitudes , modified by the coulomb interaction .
one can see that in the limit @xmath176 eqs .
( [ cnpp2 ] ) coincide with eq .
( 18 ) of ref .
we should note that our definition for the cross section @xmath76 differs from that in ref .
@xcite : our @xmath76 is equal to @xmath177 as definined in eq .
( 2 ) of ref . @xcite .
it is worth to note that at sufficiently high beam energies ( above @xmath178 50 mev ) one has @xmath179 and @xmath180 .
as one can see from eqs .
( [ cnpp2 ] ) , in this case the total @xmath169 interference cross sections @xmath181 are determined by @xmath182 $ ] , @xmath183 and @xmath184 $ ] for @xmath185 , 1 and 2 , respectively , whereas the purely hadronic total @xmath1 cross sections @xmath144 are given by the corresponding imaginary parts of those amplitude combinations , see eqs .
( [ s2ia ] ) . also for @xmath3 the total coulomb cross section contributes only for @xmath185 . in order to calculate the coulomb - hadronic interference cross sections for @xmath3
one needs the elastic scattering amplitudes beyond the collinear kinematics , because it is necessary to perform an integration over the scattering angle .
therefore , the full spin structure of the @xmath3 scattering amplitude which consists of twelve independent terms , has to be considered .
details of the formalism for the general case are summarized in appendix a. the final formulae for the polarized interference cross sections are eqs .
( [ intsecpd ] ) . in order to obtain @xmath181 within the impulse approximation one has to insert eqs .
( [ g4toab ] ) into eqs .
( [ collinearf ] ) and after that use it in eqs .
( [ intsecpd ] ) .
the coulomb amplitude for @xmath3 scattering in the impulse approximation at @xmath186 is @xmath187 , where @xmath188 is defined in eq .
( [ purekul ] ) .
thus , the coulomb - nuclear interference contribution to the total @xmath3 cross sections , @xmath181 , ( @xmath189 ) follows from eqs .
( [ cnpp2 ] ) with the replacement @xmath190 .
furthermore , eqs .
( [ cnpp2 ] ) should be multiplied by the factor @xmath191 and @xmath170 and @xmath171 will change their signs . note that the cross sections @xmath192 and @xmath193 are equal to zero in the single - scattering approximation , because the hadronic amplitude @xmath194 vanishes in this approximation .
in the present investigation we use two @xmath4 models developed by the jlich group .
specifically , we use the models a(box ) introduced in ref .
@xcite and d described in ref .
starting point for both models is the full bonn @xmath12 potential @xcite ; it includes not only traditional one - boson - exchange diagrams but also explicit @xmath195- and @xmath196-exchange processes as well as virtual @xmath197-excitations .
the g - parity transform of this meson - exchange @xmath12 model provides the elastic part of the considered @xmath198 interaction models . in case of model a(box ) @xcite ( in the following referred to as model a ) a phenomenological , isospin- and energy - independent complex potential of gaussian form is added to account for the @xmath4 annihilation .
it contains only three free parameters ( the range and the strengths of the real and imaginary parts of the annihilation potential ) , fixed in a fit to the available total and integrated @xmath4 cross sections . in case of model d @xcite , the most complete @xmath198 model of the jlich group ,
the @xmath198 annihilation into 2-meson decay channels is described microscopically , including all possible combinations of @xmath199 , @xmath200 , @xmath201 , @xmath202 , @xmath203 , @xmath204 , @xmath205 , @xmath206 , @xmath207 , @xmath208 , @xmath209 see ref .
@xcite for details and only the decay into multi - meson channels is simulated by a phenomenological optical potential . 5.5 cm results for the total and integrated elastic ( @xmath1 ) and charge - exchange ( @xmath210 ) cross sections and also for angular dependent observables for both models can be found in refs .
@xcite . evidently , with model a as well as with d a very good overall reproduction of the low- and intermediate energy @xmath4 data was achieved .
moreover , exclusive data on several @xmath211 2-meson and even 3-meson decay channels are described with fair quality @xcite .
recently , it has been shown that the @xmath198 models of the jlich group can also explain successfully the near - threshold enhancement seen in the @xmath169 mass spectrum of the reactions @xmath212 @xcite , @xmath213 @xcite and @xmath214 @xcite and in the @xmath215 cross section @xcite . as already mentioned in the introduction ,
the spin dependence of the @xmath19 interaction is not well known .
there is a fair amount of data on analyzing powers , for @xmath169 elastic as well as for @xmath216 charge - exchange scattering , cf .
@xcite for a recent review .
however , with regard to other spin - dependent observables there is only scant information on the depolarization @xmath217 and also on @xmath218 .
moreover , those data are of rather limited accuracy so that they do not really provide serious constraints on the @xmath19 interaction .
the predictions of the jlich models a and d are in reasonable agreement with the experimental polarizations up to beam momenta of @xmath219 mev / c as can be seen in ref .
in fact , model a gives a somewhat better account of the data and reproduces the measured @xmath169 polarizations even quantitatively up to @xmath220 mev / c ( @xmath221 mev ) .
we consider both models here because it allows us to illustrate the influence of uncertainties in the spin - dependence of the @xmath19 interaction on the spin - dependent cross sections for the @xmath19 as well as the @xmath3 systems . in this context
let us mention that a partial - wave analysis of @xmath169 scattering has been performed by the nijmegen group @xcite which , in principle , would allow to pin down the spin - dependence of the @xmath19 interaction .
however , the uniqueness of the achieved solution was disputed in ref .
moreover , the actual amplitudes of the nijmegen analysis are not readily available and , therefore , can not be utilized for the present investigation . for the computation of @xmath3 scattering
we also need the @xmath2 amplitude . for this system , a purely isospin @xmath222 state , there is no experimental information .
but there are data for the @xmath223 channel @xcite , which is identical to the former under the assumption of isospin symmetry .
a comparison of our model results with those data is presented in fig .
[ totpn ] .
obviously the predictions of the jlich models are in nice agreement with the experimental information on the @xmath223 interaction too , despite the fact that those total and annihilation cross sections have not been included in the fitting procedure .
10.5 cm let us now come to the spin - dependent @xmath169 and @xmath2 cross sections predicted by the jlich @xmath19 interactions .
corresponding results are presented in figs .
[ totppda ] and [ fpnja ] .
we display the cross sections based on the purely hadronic amplitude ( @xmath224 ) and the coulomb - nuclear interference term ( @xmath181 ) separately so that one can see the magnitude of the latter .
the total cross sections are then the sum of those two contributions . in the concrete calculations
the acceptance angle was chosen to be @xmath225 mrad @xcite . at low energies ,
i.e. around @xmath226 mev , the interference terms are comparable to the corresponding purely hadronic cross sections and their magnitude increases further with decreasing energy due to the @xmath227 factor , cf .
( [ cnpp2 ] ) .
with increasing energy the relevance of the coulomb - nuclear interference terms diminishes more and more in case of the cross sections @xmath73 and @xmath76 .
but for @xmath75 the term is still significant , as one can see from fig .
[ totppda]b .
the large magnitude of @xmath170 as compared to @xmath228 is due to the fact that @xmath229 for 100 - 300 mev , for both @xmath19 models . as already pointed out in the context of eqs .
( [ cnpp2 ] ) , @xmath170 is determined by the former quantity but @xmath228 by the latter .
note , that the three cross sections @xmath181
( @xmath230 ) themselves are all roughly of comparable magnitude for energies from around 50 mev onwards . while the predictions of the two models for @xmath73 are rather similar ( cf . figs .
[ totppda]a and [ fpnja]a ) , even for the coulomb - nuclear interference cross section , this is not the case for the spin - dependent cross sections @xmath75 and @xmath76 . for energies below @xmath231 mev
there are drastic differences between the results based on the two models .
indeed , for @xmath76 at low energies even the sign differs in case of the @xmath169 channel .
obviously , here the variations in the hadronic amplitude are also reflected in large differences in the coulomb - nuclear interference term . for the total @xmath75 ( including the hadronic and the coulomb - nuclear interference terms ) model a predicts a maximum of 12 mb at the beam energy @xmath232 mev whereas model d yields a maximum of practically the same magnitude at @xmath233 mev .
in both cases @xmath75 becomes large and negative at very low energies due to the dominance of the coulomb - nuclear interference term in this region . for comparison , in ref .
@xcite , where a version of the paris @xmath19 model was employed , the largest value for @xmath75 was found to be -15 mb at @xmath234 mev . in case of @xmath156 scattering
both models exhibit a minimum in @xmath75 at @xmath235 mev and reach values of around 20 mb ( a ) and 50 mb ( d ) close to threshold . with regard to @xmath76 model a and d
predict values around 10 mb for @xmath169 scattering at higher energies . close to threshold large negative values are predicted for @xmath236 due to the coulomb - nuclear interference term .
one should note , however , that for beam energies below 5 mev , say , the total coulomb cross section becomes very large . in this case
the beam lifetime turns out to be too short and the spin - filtering method can not be used for polarization buildup in storage ring .
the results for @xmath76 for @xmath156 scattering are comparable for both models , reaching a maximum of roughly 30 mb around @xmath237 mev .
finally , one should note that for both models a and d the polarized cross sections @xmath75 and @xmath76 exhibit a very different energy dependence in the @xmath169 and @xmath156 channels .
thus , the expected polarization buildup for @xmath3 scattering is likewise different from that of the @xmath1 reaction , as will be shown in the next section . 10.5 cm
in this section we present numerical results for @xmath3 scattering employing the jlich models a and d @xcite for the elementary @xmath22 interactions . in order to estimate the role of the double - scattering mechanism , which will be not taken into account in our calculation of the polarized total cross sections
, we first calculate the ( unpolarized ) total @xmath3 cross section and also differential cross sections for elastic as well as for elastic plus inelastic scattering events within the glauber theory .
this allows us also to compare our results directly with available @xmath3 experiments so that we can check the reliability of the approach . as was shown in detail in refs .
@xcite , in forward elastic scattering of antiprotons off nuclei the glauber theory , though in principle a high - energy approach , works rather well even at fairly low antiproton beam energies like 50 mev .
this has to be compared with proton - nucleus scattering where the glauber theory is known to give reliable results only for energies in the order of 1 gev or above .
the glauber theory is applicable at such low energies , because of the presence of annihilation channels in the @xmath238 interaction .
due to strong annihilation effects , specifically in the @xmath239-waves , higher partial waves start to play an important role already fairly close to threshold . as a consequence , the @xmath22 elastic differential cross section is peaked in forward direction already at rather low energies @xcite and , therefore , suitable for application of the eikonal approximation , which is the basis of the glauber theory .
in other words it can be seen from the optical theorem that the higher the annihilation cross section is , the larger is the modulus of the forward elastic scattering amplitude .
indeed , the elastic spin - averaged @xmath22 scattering amplitude can be very well parameterized by @xmath240 where @xmath241 is the total unpolarized @xmath22 cross section , @xmath242 is the ratio of the real to imaginary part of the forward scattering amplitude @xmath243 , @xmath244 is the slope of the diffraction cone , @xmath245 is the transferred 3-momentum , and @xmath134 is the @xmath22 cms momentum .
0.3 cm [ tab1 ] . parameters of the @xmath1 and @xmath2 amplitudes according to eq .
( [ fpn ] ) representing the results of the @xmath19 models a and d of the jlich group @xcite at different beam energies .
note that the values for @xmath246 and @xmath242 follow directly from the corresponding models , while @xmath244 is determined in a fit to the corresponding amplitudes . [ cols="^,^,^,^,^,^,^,^ " , ] 0.1 cm results for the total unpolarized @xmath3 cross section are displayed in fig .
[ totpd ] together with experimental information @xcite .
a comparision of theory with data at selected energies is presented in table [ tab2 ] for model d. one can see that the single - scattering approximation ( shown here only for model d ) overestimates the total unpolarized cross section by roughly 15% , cf . the dotted line in fig .
[ totpd ] .
but the shadowing effect generated by the @xmath22 double - scattering mechanism reduces the cross section by about that amount so that the final result ( solid line ) is in good agreement with the experiment . the results for model a are very similar .
thus , as expected the double - scattering corrections to the total unpolarized cross section turn out to be not very large .
actually , even at energies as low as 10 - 20 mev they are at most 20 - 25%
. therefore , the glauber theory seems to work rather well for the @xmath3 reaction , even at these fairly low energies .
predictions for differential cross sections are presented in fig .
[ pbard179 ] . in the corresponding calculations of the forward @xmath3 elastic amplitude
the single - scattering mechanism as well as the double - scattering terms were included .
the abb form factor @xcite is used for the deuteron . at @xmath138
= 179.3 mev data for the elastic differential cross section are available @xcite .
these data ( squares in fig .
[ pbard179 ] ) are nicely reproduced by our model calculation for forward angles .
also the differential cross sections for elastic ( @xmath247 ) plus inelastic ( @xmath248 ) scattering events , measured at the neighboring energy @xmath138 = 170 mev @xcite ( circles ) , are well described . at lower energies
no data on the elastic differential cross section are available .
but there are further angular distributions published in ref . @xcite . in fig .
[ pbard179 ] we show results for selected energies , namely 57.4 mev , 78 mev , and 138 mev
. obviously , our model results are in line with those data down to the lowest energy .
10.5 cm results for spin - dependent cross sections are presented in fig .
[ totpdx ] . note that here the corresponding calculations are all done in the single - scattering approximation only . in principle , the double - scattering corrections to the spin - dependent cross sections could be worked out by adopting the formalism described in refs .
but we expect that the double - scattering effects on those quantities are roughly of the same magnitude ( i.e. less than 20 % for energies above 20 mev ) as for the spin - independent cross sections .
at least this is what we find numerically within the approximation outlined in ref .
therefore , we believe that the single - scattering approximation provides a reasonable estimation for the magnitude of the polarization buildup effect in @xmath3 scattering and we refrain from a thorough evaluation of the involved double - scattering effects in the present analysis . after all one has to keep in mind that the differences between the @xmath19 models a and d introduce significantly larger variations in the cross sections @xmath75 and @xmath76 , cf .
[ totpdx]b and c. the @xmath19 model d predicts large spin - dependent cross section @xmath75 with a maximum around 40 mev .
the cross section @xmath76 is large as well and practically constant from around 75 mev onwards . in case of model
a the maximum for @xmath75 occurs at considerably higher energies .
large negative values of @xmath75 are predicted for energies below 50 mev with a maximum at 150 mev .
the predictions for @xmath76 are comparable to those of model d for energies above 25 mev , say . as one can see from fig .
[ totpdx ] , the largest values for the polarized @xmath3 cross sections are expected at very low energies , i.e. for @xmath138 less than 10 mev , since the @xmath22 cross sections increase with decreasing beam energy . however , as was already noted above , at these energies the pure coulomb cross section becomes too large , so that the method of spin - filtering for the polarization buildup can not be applied due to the decrease of the beam lifetime . in any case , while our results at higher energies are expected to be correct within 10% to 20 % , there are larger uncertainties below 20 mev and here our results should be considered only as a qualitative estimate . finally , one can see from fig .
[ totpdx ] , that the coulomb - nuclear interference effects become only important for energies below 50 mev .
in contrast to the @xmath169 case , for @xmath3 @xmath170 is much smaller than @xmath249 at @xmath250 mev .
this different behavior for @xmath1 and @xmath3 is due to the additional terms @xmath251 entering the expression for @xmath181 of the latter reaction , as explained in sect . [ pditerf ] .
the polarization buildup is determined mainly by the ratio of the polarized total cross section @xmath27 ( i=1,2 ) to the unpolarized one ( @xmath73 ) .
those ratios @xmath252 are shown in fig .
[ ratio2 ] for beam energies 10 - 300 mev for the @xmath1 and @xmath3 reactions .
the coulomb - nuclear interference effects are taken into account .
once again those results exhibit a significant model dependence .
however , for all considered cases large values for the ratio @xmath253 of around 10% are predicted at the higher energies , which would be sufficient for the requirements of the pax experiment @xcite . also , when comparing the @xmath1 and @xmath3 results we see that ( the moduli of ) the predicted values for the ratio @xmath253 are larger for @xmath3 than for @xmath1 , for energies of @xmath254 100 mev or higher , in case of model a as well as for model d. thus , our results suggest that there could be indeed a slightly higher efficiency for the polarization buildup when using @xmath3 instead of @xmath1 .
in the present paper we employed two @xmath19 potential models developed by the jlich group for a calculation of unpolarized @xmath3 scattering within the glauber - sitenko theory and found that this approach allows one to describe the experimental information on differential and total @xmath3 cross sections , available at @xmath255 mev , quantitatively . for those spin - independent observables the difference in the predictions based on those two models turned out to be rather small .
the double - scattering corrections to the unpolarized cross section were found to be in the order of 15% in the energy range where the data are available .
but we found that even at such low energies as 10 - 25 mev they are not larger than 20 - 25% .
this means that , most likely , the glauber approximation does work reasonably well for @xmath3 scattering down to fairly small energies .
we also presented results for polarized @xmath3 cross sections obtained within the single - scattering approximation . in comparison to @xmath1 scattering , for @xmath3 scattering there are four total polarized cross sections instead of the three in the @xmath1 case .
the additional cross section , connected with the tensor polarization @xmath68 of the deuteron , has no direct influence on the polarization buildup , but , in principle , can be used to increase the beam lifetime by a proper choice of the sign of @xmath68 . in the single - scattering approximation
the spin dependent @xmath3 cross sections are given by the sum of the corresponding @xmath1 and @xmath2 cross sections . as a consequence , at some energies
there is an increase of the polarized cross sections as compared to the @xmath1 and/or @xmath2 case .
the coulomb - nuclear interference effects in the polarized cross sections , which play an important role for the @xmath148 and @xmath1 systems , are modified in @xmath3 scattering due to the additional interference with the purely hadronic @xmath2 amplitude .
the predictions for the spin - dependent cross sections for @xmath3 scattering , presented in this work , exhibit a fairly strong model dependence , which is due to uncertainties in the spin dependence of the elementary @xmath1 and @xmath2 interactions . still , our results suggest that @xmath3 elastic scattering can be used for the polarization buildup of antiprotons at beam energies of 10 - 300 mev with similar and possibly even higher efficiency than @xmath1 scattering .
we acknowledge stimulating discussions with n.n .
nikolaev and f. rathmann .
furthermore , we are thankful to a.i .
milstein , v.m .
strakhovenko and h. strher for reading the manuscript and useful remarks .
this work was supported in part by the heisenberg - landau program .
in the coordinate system with the axes @xmath256 , @xmath257 , @xmath258 , where @xmath259/|[{\bf k}\times { \bf k}']|,\end{aligned}\ ] ] one can find for the operators @xmath260 defined by eq .
( [ tfi ] ) the following structure @xcite @xmath261 where the @xmath262 s are complex numbers and @xmath263 @xmath264 are the pauli matrices . using eqs .
( [ f12 ] ) the spin correlation parameters can be written in the following form : @xmath265 where @xmath266 is given by @xmath267 the tensor analyzing powers @xmath268 can be expressed in the following form ( see , for example , @xcite ) : @xmath269.\end{aligned}\ ] ] the polarized elastic differential @xmath3 cross section is @xmath270.\end{aligned}\ ] ] here @xmath271 is the unpolarized differential cross section , which is given as @xmath272 = \frac{1}{3}b.\end{aligned}\ ] ] in eq .
( [ diffsec ] ) we spell out explicitly only those terms which give a non - zero contribution to the total elastic polarized cross section , while other occuring terms are denoted by dots .
the total elastic polarized cross section can be found by integration of eq .
( [ diffsec ] ) over the scattering angle : @xmath273 the coulomb amplitudes are contained only in the following terms : @xmath274 , @xmath275 , and @xmath276 , where @xmath277 is the purely hadronic part of the amplitudes in question . due to the singularity @xmath278 of the coulomb
amplitudes @xmath279 the main contribution to the coulomb - nuclear interference terms in the cross section eq .
( [ diffsec ] ) comes from forward angles and , therefore , is non - vanishing only for those hadronic amplitudes @xmath262 which are non - zero in forward direction . in the limit of collinear kinematics
when @xmath280 ( @xmath281 ) , one can find from eqs .
( [ fab ] ) and ( [ f12 ] ) @xcite @xmath282 based on these relations one obtains via eqs .
( [ cij ] ) , ( [ aij ] ) : @xmath283 taking into account axial symmetry , which follows from eqs .
( [ obscollin ] ) , the polarized coulomb - nuclear interference cross section can be written as @xmath284 using eqs .
( [ collinearf])-([obscollin ] ) and performing the integration over the scattering angle in eq .
( [ totpolcoll ] ) , one can find finally @xmath285f_1^c \bigr \}\sin{\theta } d\theta,\nonumber \\ \sigma_1^{int}&=&2\pi\int_{\theta_{acc}}^\pi i m \bigl \ { { f_{10}^h}^*(0)(f_3^c+f_5^c ) \bigr \}\sin{\theta } d\theta , \nonumber \\
i m \bigl \ { [ { f_{7}^h}^*(0 ) + { f_{10}^h}^*(0)](f_1^c+f_3^c ) \bigr \}\sin{\theta }
d\theta , \nonumber \\ \sigma_3^{int}&=&\frac{4\pi}{3 } \int_{\theta_{acc}}^\pi re \bigl \ { [ { f_{3}^h}^*(0 ) -{f_{5}^h}^*(0 ) ] f_1^c \bigr \}\sin{\theta } d\theta.\end{aligned}\ ] ] 99 v. barone _ et al . _
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recent diagnostic imaging tests such as computed tomography ( ct ) and magnetic resonance imaging ( mri ) contribute to improving the diagnosis of pancreatobiliary cancers [ 14 ] .
however , from the point of cost benefit , it is not practical to perform these tests for all patients as screening .
thus , less - invasive and simple screening tests are still required . as screening tests ,
ca19 - 9 and cea have been reported as comparatively useful tumor markers for pancreatobiliary cancers [ 57 ] . on the other hand , various forms of gene mutation are now present in the cancer chemotherapy process in pancreatobiliary cancers . among these genes ,
mutation of the p53 gene has been reported in various tumors , and even in pancreatobiliary cancers it has been found at the rate of 30~50% [ 913 ] , and in pancreatic cancer at the rate of 60% .
infiltrative cancers in particular have been reported to have a high rate of at least 70% of gene mutation .
apart from the detection of such gene mutation , a method to detect the igg antibody ( serum anti - p53 antibody ) induced in serum against the p53 protein accumulating due to p53 gene mutation , as a biomarker , was developed around 1990 .
reported the usefulness of the measurement of serum anti - p53 antibody in various malignant tumors [ 1620 ] and suggested that it is clinically useful particularly in cancers that are in the early stage comparatively , where the positive rate is high .
as a novel tumor marker for esophageal cancer , colon cancer , and breast cancer , it became eligible for health insurance coverage from 2007 in japan .
moreover , it has been shown to be useful even in the prediction of prognosis during the treatment process of cancers and relapse in postsurgery cases .
on other hand , it is expected to be useful in the measurement of serum anti - p53 antibody as in gastrointestinal cancer even in malignant pancreatobiliary tumors . in the present study ,
serum anti - p53 antibody measurement was performed for cases of pancreatobiliary cancer experienced at our institution .
in addition , the rate of p53 protein overexpression was examined in those cases that could be examined pathologically .
35 patients with pancreatic cancer , 12 patients with biliary tract cancer ( table 1 ) , and a control group consisting of 31 patients with benign pancreatobiliary diseases ( 13 with common bile duct stones , 6 with chronic pancreatitis , 4 with benign bile duct stricture , 2 with pancreatic pseudocyst , 2 with autoimmune pancreatitis , 2 with adenomyomatosis of the gallbladder , 1 with pancreatobiliary maljunction , and 1 with benign pancreatic duct stricture ) ( table 2 ) that had been hospitalized for treatment at this institution between december 2010 and april 2011 were entered into this study .
mean age was 69.3 years ( range , 5183 years ) for pancreatic cancer , 72.3 years ( range , 5588 years ) for biliary tract cancer , and 65.0 years ( range , 3586 years ) for benign pancreatobiliary tract disease .
the male - to - female ratio was 19 : 16 for pancreatic cancer , 8 : 4 for biliary tract cancer , and 25 : 6 for benign pancreatobiliary tract disease .
serum ca19 - 9 , cea , and anti - p53 antibody were determined for all patients prior to treatment .
the required serum sample of 0.3 ml was used to measure anti - p53 antibody by elisa and the measurement kit was mesacup anti - p53 test ( medical biological research institute inc . ,
in addition , immunostaining was performed with p53 protein ( d0 - 7 , dako , glostrup , denmark ) by the sab method on formalin - fixed paraffin - embedded fragments obtained from those patients from whom adequate tissue samples could be obtained by biopsy or surgical resection . cells with nuclei stained brown were judged as positive cells . a comparison was made with he staining ( figure 1 ) and the percentage of cancer cells that were positive was calculated .
a comparison was made with the staining results of noncancerous epithelium of the same fragment to determine the diagnostic performance of cancer by p53 protein overexpression .
diagnostic accuracy , sensitivity , and specificity of each marker were calculated and compared with the final diagnosis .
statistical analyses were performed with statmate iii ( atms co. ltd . , tokyo , japan ) .
mean cea ( standard value : < 5.0 ng / ml ) in the pancreatic cancer group was 38.33 ng / ml , the positive rate was 42.8% , mean ca19 - 9 ( standard value : < 37
in addition , mean cea in the biliary tract cancer group was 21.42 ng / ml , the positive rate was 41.6% , mean ca19 - 9 was 5859.88
u / l , and the positive rate was 91.6% . in the pancreatobiliary cancer group , mean cea was 34.01 ng / ml , the positive rate was 74.0% , mean ca19 - 9 was 3836.6
u / l , and the positive rate was 87.2% ( tables 3 , 4 , 5 , and 6 ) . among all patients in the pancreatic cancer and biliary tract cancer groups , there was no patient with serum anti - p53 antibody positive value that exceeded the standard value . in the pancreatic cancer group ,
the level in 27 patients was below the measurement sensitivity , and for the patients with a level that was highly sensitive , the mean value was 0.716 u / ml ( 0.411.23 u / ml ) . in the biliary tract cancer groups ,
the level was below the measurement sensitivity in 9 patients , while the mean value for patients with a level that was highly sensitive was 0.716 u / ml ( 0.411.20 u / ml ) . in the pancreatobiliary cancer group ,
the mean value for patients with a level that was highly sensitive was 0.716 u / ml ( 0.411.23 u / ml ) ( tables 3 , 4 , 5 , and 6 )
. rate of p53 protein overexpression in the 16 patients ( surgical resection specimens from 5 patients and biopsy specimens from 11 patients ) of the pancreatic cancer group that could be tested was 43.7% ( 7 patients ) and in the 9 patients ( surgical resection specimens from 2 patients and biopsy specimens from 7 patients ) of the biliary tract cancer group was 55.5% ( 5 patients ) . in the pancreatobiliary cancer group ,
the rate was 48.0% ( tables 7 and 8) . among the patients with benign pancreatobiliary diseases ( biopsy specimens from 9 patients ) , the rate of p53 protein overexpression was 0% .
the p53 gene encodes a 53-kd dna binding nuclear phosphoprotein with a short half - life that negatively regulates cell growth and proliferation , and its alteration or loss is thought to deprive cells of these inhibitory signals [ 2224 ] .
several investigators have reported that pancreatic ductal cancers frequently show mutations of the p53 gene [ 2527 ] as in biliary tract cancer [ 2831 ] .
thus , there may be an obvious potential for the measurement of p53 gene products , namely , p53 protein , to diagnose pancreatobiliary malignancy .
so far , the main procedures for detecting p53 gene mutation are the analysis of gene sequences from rna eluted from tissues such as resected materials and the detection of the mutant p53 protein by immunostaining .
induction of serum anti - p53 antibody against mutant p53 protein in cancer cells has been reported previously [ 32 , 33 ] .
development of the elisa kit that detects anti - p53 antibody is expected to be clinically useful as a screening test because it will enable the easy prediction of gene mutation . according to the review by soussi in 2000
, there is no report on biliary tract cancer . in terms of pancreatic cancer ,
previous reports showed various levels of positive rate of serum p53 antibodies , ranging from 4% to 27% .
in addition , shimada et al . investigated 1085 solid tumor patients with a total of 15 types of solid tumors in 2003 and reported a positive rate of 16% for biliary tract cancer and 10% for pancreatic cancer . with regard to the ratio of p53 mutations in pancreatobiliary cancers ,
several investigators have reported that they emerged in approximately 40% [ 2531 ] . on the other hand , to date , there are many articles on the usefulness of p53 immunostaining for the diagnosis of pancreatic cancers [ 3539 ] and biliary tract cancers [ 3337 ] .
the ratio of protein overexpression of pancreatobiliary cancers is approximately 60% though the range is from 40% to 80% [ 3544 ] . there is discrepancy of positive rate between p53 mutation and protein expression .
current commercially available antibodies for p53 stains are both the wild - type and mutant p53 proteins .
in fact , two reports have revealed that p53 protein overexpression correlates well with gene mutation in gallbladder cancer and cholangiocarcinoma . in the present study
, we strictly defined that more than 70% of positive cells indicates overexpression , suggesting p53 mutation . as a result , the p53 overexpression positive rate was 43.7% in pancreatic cancer and 55.5% in biliary tract cancer .
surprisingly , in the present study , no anti - p53 antibody was detected in both pancreatic cancer and biliary tract cancer though the levels of ca19 - 9 or cea were elevated in the same cases .
we guessed that the reasons why p53 overexpression could not induce serum antibody were that p53 overexpression does not necessarily induce serum antibody and possibly some immunological malformation might be present in the patients with pancreatobiliary cancers .
considering the clinical application of the current serum p53-antibody measurement and p53 immunostaining to diagnose pancreatobiliary malignancy , p53 immunostaining appears to be useful compared to serum anti - p53 antibody because of higher positive rate . in the present study , although p53 immunostaining was also used only for surgically resected specimens , the application of p53 immunostaining using biopsy specimens may be useful to distinguish benign from malignant as we previously described .
therefore , we should compare serum anti - p53 antibody with p53 immunostaining using biopsy specimens as a next step in the near future .
there are some limitations in this study because of the small sample size , lack of a control group , and no analysis of p53 gene mutation . in conclusion
, our study clarified that serum anti - p53 antibody measurement does not contribute to the diagnosis of pancreatobiliary cancers .
instead , traditional p53 immunostaining still appears to be valuable in combination with standard procedures . | pubmed |
Cyclopropanol is an organic compound with the chemical formula C3H6O. It contains a cyclopropyl group with a hydroxyl group attached to it. The compound is highly unstable due to the three-membered ring, and is susceptible to reactions that open the ring. It is highly prone to rearrangement, undergoing structural isomerization to form propanal. This property is useful synthetically: cyclopropanol can be used as a synthon for the homoenolate of propanal. The chemical is also useful as a reagent to introduce a cyclopropyl group into ester, sulfate, and amine linkages. The resulting cyclopropyl-containing compounds have been used in investigations of potential antiviral drugs and of modulators of protein trafficking.
References
Category:Cycloalkanols
Category:Cyclopropanes | wikipedia |
hh 1 and 2 were the first herbig - haro ( hh ) objects to be discovered ( herbig 1951 ; haro 1952 ) , and have played an important role in the field of hh objects ( see the historical review of raga et al .
for example , hst images ( schwartz et al . 1993 ; hester et al . 1998 ) , proper motions ( ground based : herbig & jones 1981 ; hst : bally et al .
2002 ; ir : noriega - crespo et al .
1997 ; radio : rodrguez et al .
2000 ) , and detections in radio continuum ( pravdo et al .
1985 ) , uv ( ortolani & dodorico 1980 ) and x - rays ( pravdo et al . 2001 ) were first obtained for hh 1 and 2 .
the hh 1/2 system has a central source detected in radio continuum ( see , e.g. , rodrguez et al .
2000 ) and a bipolar jet system , with a nw jet ( directed towards hh 1 ) which is visible optically , and a se jet ( directed towards hh 2 ) visible only in the ir ( see noriega - crespo & raga 2012 ) .
hh 1 has a `` single bow shock '' morphology , and hh 2 is a collection of condensations , some of them also with bow - shaped morphologies ( see , e.g. , bally et al .
the emission - line structure of these objects has been studied spectroscopically , with 1d ( solf , bhm & raga 1988 ) and 2d ( solf et al .
1991 ; bhm & solf 1992 ) coverage of the objects .
it should be pointed out that the hh 1/2 outflow lies very close to the plane of the sky , so that projection effects do not have to be considered when interpreting the observations of these objects .
the spatial structure of the optical line emission has been studied at higher angular resolution with hst images .
schwartz et al .
( 1993 ) obtained h@xmath0 , [ s ii ] 6716 + 6730 and [ o i ] 6300 images .
later images of hh 1 and 2 were all taken with filters isolating the h@xmath0 and the red [ s ii ] lines ( bally et al .
2002 ; hartigan et al .
2011 ) . in the present paper
we describe a pair of new hst images of hh 1 and 2 obtained with filters isolating the h@xmath0 and h@xmath1 lines .
these images were obtained in consecutive exposures , so that they are not affected by proper motions ( which become evident in hst observations of the hh 1/2 complex separated by more than a few weeks ) nor by differences in the pointing , and they therefore yield an accurate depiction of the spatial distribution of the h@xmath0/h@xmath1 ratio in these objects .
these images show effects that have not been detected before in ground based studies of the emission line structure of hh 1 and 2 ( see , e.g. , solf et al .
1991 and bhm & solf 1992 ) nor in hst images of other hh objects ( since hst h@xmath1 images of hh objects have not been previously obtained ) . the paper is organized as follows .
the new hst images are described in section 2 .
the spatial distribution of the h@xmath0/h@xmath1 ratio , the line ratios as a function of h@xmath1 intensity and the distribution functions of the line ratios are presented in section 3 .
finally , an interpretation of the results is presented in section 4 .
the region around hh 1 and 2 was observed with the h@xmath0 ( f656n ) and h@xmath1 ( f487n ) filters on august 16 , 2014 with the wfc3 camera on the hst .
the h@xmath0 image was obtained with a 2686 s exposure and the h@xmath1 image with a slightly longer , 2798 s exposure .
the images were reduced with the standard pipeline , and a simple recognition / replacement algorithm was used to remove the cosmic rays .
the final images have @xmath6 pixels , with a pixel size of @xmath7 .
the images contain only two stars : the cohen - schwartz star ( cohen & schwartz 1979 ) and `` star no .
4 '' of strom et al . ( 1985 ) .
these two stars have been used to determine astrometric positions in ccd images of the hh 1/2 region since the work of raga et al .
( 1990 ) , yielding better positions for hh 1 ( which is closer to the two stars ) than for hh 2 .
we have carried out paraboloidal fits to the psfs of these two stars , and find no evidence for offsets and/or rotation , which shows the excellent tracking of the hst during the single pointing in which the two images were obtained .
also , we have analyzed the h@xmath8h@xmath1 difference images of the two stars , and find no offsets between the two frames .
the full h@xmath0 frame is shown in figure 1 , as well as blow - ups of regions around hh 1 and hh 2 in both h@xmath0 and h@xmath1 . as seen in the top frame
, the h@xmath0 map shows the extended collection of hh 2 knots ( to the se ) and the more compact distribution of the hh 1 knots ( towards the nw ) .
the central frames of figure 1 show the h@xmath0 emission of hh 2 ( left ) and hh 1 ( right ) at a larger scale . in the fainter h@xmath1 emission ( bottom frames of figure 1 )
only the brighter regions of hh 1 and 2 are detected .
we have defined two boxes ( labeled a and b in the bottom frame of figure 1 ) enclosing the regions of the two objects which are detected in h@xmath1 . in the following section ,
the regions within these two boxes are used in order to study the spatial dependence of the h@xmath0/h@xmath1 ratio .
frame of hh 1 and 2 obtained with the wfc3 camera of the hst ( the scale and orientation of the images is shown ) .
the central and the bottom frames show the h@xmath0 and h@xmath1 images ( respectively ) of regions containing hh 2 ( left ) and hh 1 ( right ) . also , on the h@xmath1 frames we show boxes which include the brighter regions of hh 1 and hh 2 ( boxes b and a , respectively ) , which have been used for calculating the h@xmath0/h@xmath1 ratios shown in figures 2 to 5 .
the images are displayed with a logarithmic greyscale.,width=302 ] as discussed in detail by odell et al .
( 2013 ) , the f656n filter is contaminated by emission from the [ n ii ] 6548 line , and both the f656n and f487n filters have contributions from the nebular continuum . using the fact that at all measured positions within hh 1 and 2 , the [ n ii ] 6548/h@xmath0 ratio does not exceed a value of @xmath9 ( see , e.g. , brugel , bhm & mannery 1981a and solf et al .
1988 ) and the transmission curve of the f656n filter ( see odell et al . 2013 and the wfc3 instrument handbook ) one then finds a peak contribution of @xmath10% to the measured flux . for estimating the effects of the continuum in the f656n and f487n images one can use the continuum and line fluxes obtained by brugel , bhm & mannery ( 1981a , b ) and the bandpasses of the filters to obtain estimates of @xmath11 and 5% ( for the f656n and f487n filters , respectively ) .
therefore , when interpreting the h@xmath0/h@xmath1 ratios obtained from our hst images , it is necessary to keep in mind that there is an uncertainty of @xmath12% due to a possible spatial dependence in the h@xmath1 line to continuum ratio within the f487n filter .
as this uncertainty is @xmath13 order of magnitude smaller than the h@xmath0/h@xmath1 ratio variations described below , we do not discuss it further .
figure 2 shows the h@xmath0 map ( right ) and h@xmath0/h@xmath1 ratio map ( left ) for hh 2 . to avoid having extended regions dominated by noise , in order to calculate the line ratio map it is necessary to place a lower bound on the line fluxes .
we have chosen to calculate the ratios only in regions in which the observed h@xmath1 flux is larger than @xmath14 erg s@xmath15pix@xmath15 . for calculating the intrinsic h@xmath0/h@xmath1 ratios we have applied the following reddening correction .
we first calculate the observed ratios for all of the pixels with h@xmath1 intensities larger than @xmath16 ( see above ) for the a and b boxes ( shown in the bottom frames of figure 1 ) . for hh 2
we obtain a mean line ratio @xmath17 , and for hh 1 an almost identical @xmath18 value . considering an observed line ratio of 3.8 for both objects , comparing with the case b recombination cascade intrinsic h@xmath0/h@xmath1 ratio of 2.8 and using the average galactic extinction curve
, we obtain an @xmath19 colour excess .
this value is somewhat lower than the @xmath20 value deduced for hh 2 by brugel et al .
( 1981a ) , using the method of miller ( 1968 ) , based on the fixed ratios between the auroral and transauroral lines of [ s ii ] ( i.e. , not assuming a recombination cascade h@xmath0/h@xmath1 ratio ) .
in order to calculate the dereddened h@xmath0/h@xmath1 ratios , we therefore multiply the observed ratios by a factor of 2.8/3.8 , basically assuming that the extinction towards hh 1 and 2 is position - independent .
the dereddened h@xmath0/h@xmath1 ratios of hh 2 ( see figure 2 ) have values in the @xmath21 range , with the regions of higher values corresponding to filamentary structures in the leading edge of the emitting knots ( i.e. , in the edges directed away from the outflow source ) .
in order to illustrate the positions of these `` high h@xmath0/h@xmath1 '' regions , we have superimposed an h@xmath0/h@xmath22 contour on the h@xmath0 emission map ( purple contour in the right frame of figure 2 ) .
figure 3 shows the h@xmath0 map ( bottom ) and dereddened h@xmath0/h@xmath1 ratio map ( top ) for hh 1 .
we have calculated the ratios only for pixels with an observed h@xmath1 flux larger than @xmath14 erg s@xmath15pix@xmath15 ( i.e. , the same cutoff used for hh 2 , see above ) .
the region with h@xmath0/h@xmath23 is a thin filament on the e side of the leading edge of hh 1 ( see the purple contour on the h@xmath0 emission map in the bottom frame of figure 3 ) .
it is clear that hh 1 shows a strong side - to - side asymmetry with respect to the outflow axis , as the sw region of the leading edge does not show high h@xmath0/h@xmath1 ratios ( see the top frame of figure 3 ) .
the h@xmath0 emission also shows a strong side - to - side asymmetry .
emission ( bottom , shown with a logarithmic colour scale ) and dereddened h@xmath0/h@xmath1 ratio ( top , shown with the linear colour scale given by the top bar ) for hh 1 .
the outflow source lies towards the sse . on the h@xmath0 image ( bottom frame )
we have included a ( dereddened ) h@xmath0/h@xmath1=4 contour ( in purple ) .
this contour shows that the higher values of the line ratio are distributed in a ridge along the e side of the leading edge of hh 1.,width=340 ] figure 4 shows the dereddened h@xmath0/h@xmath1 line ratio as a function of the ( observed ) h@xmath1 flux for all of the pixels with @xmath24 ( see above ) for hh 1 ( top frame ) and hh 2 ( bottom frame ) .
it is clear that for low values of the h@xmath1 intensity in both hh 1 and 2 we have a relatively broad distribution of line ratios ( the width of this distribution representing the relatively large errors of the line ratio at low intensities ) centered on the h@xmath0/h@xmath25 recombination cascade value . for pixels with brighter
intensities , we see a distribution of h@xmath0/h@xmath1 ratios extending from @xmath26 to larger values of @xmath12 ( for hh 1 ) or @xmath27 ( for hh 2 ) . /h@xmath1 ratio as a function of the observed h@xmath1 flux for the pixels of hh 1 ( top ) and hh 2 ( bottom ) . for the lower
h@xmath1 intensities we see that the line ratios straddle a value of @xmath28 ( shown with a horizontal line in both frames ) , corresponding to the recombination cascade h@xmath0/h@xmath1 ratio . for larger h@xmath1 intensities
we find line ratios extending from @xmath26 to @xmath29 ( for hh 1 ) or 6 ( for hh 2).,width=302 ] this result is seen more clearly in figure 5 , where we show the normalized distributions of the line ratios of pixels with @xmath30 erg s@xmath15 pix@xmath15 ( distribution @xmath31 , top frame ) , of pixels with @xmath32 erg s@xmath15 pix@xmath15 ( distribution @xmath33 , center ) , and of all pixels with @xmath34 ( distribution @xmath35 , bottom frame of figure 5 , with appropriate pixels found only in hh 2 ) . for both hh 2 ( left column ) and hh 1 ( right column of figure 5 ) , we see that the distribution @xmath31 of the lower intensity pixels is approximately symmetrical , centered at an h@xmath0/h@xmath36 line ratio .
the distributions for higher intensity pixels ( @xmath33 and @xmath35 , see above and the central and bottom frames of figure 5 ) start at values of h@xmath0/h@xmath37 - 2.5 , have a peak at a line ratio of @xmath38 and have a wing extending to h@xmath0/h@xmath39 for hh 1 and @xmath27 for hh 2 . in the following section ,
we show that these high h@xmath0/h@xmath1 ratios coincide with the values expected for collisional excitation of the @xmath4 and 4 levels of h. /h@xmath1 ratio bins for hh 2 ( left ) and hh 1 ( right ) .
we show three different distributions : @xmath31 ( top ) corresponding to pixels with @xmath14 erg s@xmath15 pix@xmath40 erg s@xmath15 pix@xmath15 , @xmath33 ( center ) of pixels with @xmath32 erg s@xmath15 pix@xmath15 and @xmath35 ( bottom ) of pixels with @xmath34 .
the distribution function of the lower intensity pixels ( @xmath31 , top frames ) is approximately symmetrical , centered at a line ratio of @xmath28 , corresponding to the recombination cascade value ( the dashed , vertical line in all plots corresponds to h@xmath0/h@xmath25 ) .
the distribution functions for higher intensity pixels ( @xmath33 and @xmath35 , central and bottom frames ) all show extended wings to higher values of h@xmath0/h@xmath1.,width=302 ]
from our new h@xmath0 and h@xmath1 hst images we can compute dereddened h@xmath0/h@xmath1 maps for the brighter regions of hh 1 and 2 .
for the reddening correction , we assume that the mean value of the h@xmath0/h@xmath1 ratio coincides with the recombination cascade value of 2.8 , as found previously by brugel et al .
( 1981a ) , who calculated the reddening correction with miller s method , based on the ratios of auroral to transauroral [ s ii ] lines .
we find that in limited spatial regions the ( dereddened ) h@xmath0/h@xmath1 ratio has values of @xmath41 , which are inconsistent with the recombination cascade value .
these high h@xmath0/h@xmath1 regions are filaments along the leading edges ( i.e. , the edges away from the outflow source ) of the brighter emitting regions of hh 1 and 2 ( see figures 2 and 3 ) . raga et al . ( 2014 ) show that the @xmath42h@xmath0/h@xmath1 ratio for a `` case b '' cascade fed by collisional excitations from the ground state of hydrogen has the approximate form : @xmath43 where @xmath44 is boltzmann s constant and @xmath45 is the energy difference between the @xmath46 and @xmath4 energy levels ( so that @xmath47 k ) .
the first term of this functional form has a temperature dependence derived from the ratio of the @xmath48 and @xmath49 collisional excitation coefficients ( assuming temperature - independent collision strengths ) , and the second term is a correction necessary to match the results of a 5-level , collisionally fed cascade matrix description of the hydrogen atom in the @xmath50k temperature range ( see raga et al . 2014 ) .
it is clear that the functional form of @xmath51 ( see equation [ r ] ) has high values for low temperatures , and has an asymptotic value of 4.35 for @xmath52 . from equation ( [ r ] )
, one obtains @xmath53 and @xmath54 .
therefore , the wing of the line ratio distributions extending to h@xmath0/h@xmath55 ( see figure 5 ) can straightforwardly be explained as produced in regions with temperatures in the @xmath56 k range emitting collisionally excited balmer lines .
this clear evidence that we are observing collisionally excited balmer lines together with the fact that the high h@xmath0/h@xmath1 regions are restricted to the leading edges of the outward moving condensations of hh 1 and 2 is quite conclusive evidence that we are observing the region of collisional excitation of h lines right after the shock waves driven into the surrounding medium by the condensations .
most of the h@xmath0 emission , however , comes from a region further away from the shock , in which the balmer lines are produced through the standard recombination cascade ( as evidenced by the h@xmath0/h@xmath57 ratios , see figures 2 and 3 ) . the theoretical prediction of these two regions of balmer line emission ( a collisionally excited balmer line region immediately after the shock , and the recombination region with balmer lines dominated by the recombination cascade ) in hh shock wave models
is already mentioned by raymond ( 1979 ) , and the h@xmath0 emission from the two regions was studied in more detail by raga & binette ( 1991 ) .
these two regions are of course present in all shock models ( for example , in the plane - parallel , time - dependent shock models of teileanu et al .
2009 ) . in non - radiative shocks observed in some supernovae remnants or in pulsar cometary nebulae , the observed
emission comes exclusively from the region of collisional excitation right behind the shocks ( see , e.g. , the review of heng 2010 ) . in hh objects , the only previous observational evidence of the emission from the immediate post - shock region ( as opposed to the emission from the recombination region )
were the h@xmath0 filaments seen in hst images of some bow shocks , notably in the hst images of hh 47 ( heathcote et al .
1996 ) , hh 111 ( reipurth et al . 1997 ) and hh 34 ( reipurth et al . 2002 ) .
however , as only h@xmath0 was observed it was not possible to guarantee that these filaments did correspond to the region of collisionally excited balmer lines .
our new h@xmath0 and h@xmath1 images for the first time show in a quite conclusive way that we have a detection of the immediate post - shock region of hh objects ( in which h is being collisionally ionized and the levels of h are being collisionally excited ) .
the detection of this region provides a clear way forward for developing models of hh bow shocks , in which the position of the shock wave relative to the recombination region is directly constrained by the observations .
we should note that throughout this paper we have assumed that the exctinction is uniform over the emission regions of hh 1 and 2 . in principle
it could be possible that foreground structures in the vicinity of the objects might produce changes in the extinction on angular scales comparable to the size of the objects .
however , estimates of the density of the pre - bow shock material of hh 1 and 2 ( based on observations of the post - shock density and on plane - parallel shock models , see , e.g. , hartigan et al . 1987 ) give values @xmath58 - 300 @xmath59 .
clearly , such a low density environment will not produce appreciable extinction on spatial scales comparable to the size of the hh objects .
because of this , if one wants to attribute the observed changes in the h@xmath0/h@xmath1 ratio to an angular dependence of the extinction , it is necessary to assume that still undetected , sharp - edged , high density regions are present in the immediate vicinity of hh 1 and 2 .
support for this work was provided by nasa through grant hst - go-13484 from the space telescope science institute .
ar and acr acknowledge support from the conacyt grants 101356 , 101975 and 167611 and the dgapa - unam grants in105312 and ig100214 . | arxiv |
Iraj Soleimani 15 December 1946 23 February 2009 was an Iranian professional footballer. Soleimani was born in Masjed Soleiman, Khuzestan, Iran. He played for Shahbaz F.C. and capped for Persepolis F.C. 115 times. He scored 2 goals in the Tehran derby that Persepolis won with 6 goals. He managed Iran U23 from 1980 to 1982.
Category:Persepolis F.C. players
Category:Iranian footballers
Category:1946 births
Category:2009 deaths
Category:People from Masjed Soleyman
Category:Association football forwards | wikipedia |
I have a long, thoughtful post that's still mostly in my head about online presence and privacy, and someday I'll get it all down in print (or pixels, or what have you)–probably about the same time I catch up on reading Cites & Insights (Walt, it's not even 2006 yet! Slow down! :-)). In the meantime, though, I offer these prefatory remarks.
I just added some old pictures to Flickr. The quality is not that great–many of them were originally Polaroids, and then I scanned them–but they have a certain sentimental value, and it's kind of neat to be able to see them out on the web. When I was uploading them, though, it occurred to me that being around and available online is not for everyone. Not everyone wants to put themselves out there, and I feel some responsibility for not forcing them on to a stage they didn't want to be on.
It's true that almost no one can avoid being online somewhere–if not through Google, then through ZabaSearch or one of the other online white pages. But there's a difference between that and having snapshots of yourself with bad hair out in the world. Maybe that will change–but for some of my friends and family, it hasn't changed yet.
So while I have no problem letting you see one of my poor '80s fashion choices or letting you know who I voted for in 2000, or explaining how I got arrested, or even telling you about the time they couldn't find my cervix, I know that's not for everyone.
All this, really, is by way of explaining why, if you're one of my Flickr contacts, you've been upgraded from "contact" to "friend." Everyone can see pictures of me; I've made the ones with other people in them friend only, which lets my online community see them but keeps them at least a little bit private. If you're not listed as a friend or contact, it's not because I don't like you; it's just because I haven't gotten around to it (or I don't know who you are). But feel free to add me, and I'll reciprocate–and then you too can see poor-quality photos of my friends and family in front of my tree. Oh, the excitement!
I look forward to the fully-developed post. As one who's not (yet?) much involved with "social software," I wonder about those issues.
As to the pace of C&I–I've always used "magazine dating" for C&I, that is, post-dating each issue. The first issue for 2005 came out in December 2004. The first issue for 2004 came out in December 2003…and so on. | slim_pajama |
in 2003 , society for computer applications in radiology launched a new initiative at the annual meeting . the transforming the radiological interpretation process ( trip ) was forward thinking and correctly identified that the rise of multi - detector computed tomography ( ct ) was just the first assault in the rising radiologic data tide ( some would say tsunami)1 .
in the first trip conference ( bethesda md , 2003 ) , posters and presentations covered the following : human perception , image processing and computer - aided diagnosis ( cad ) , data visualization , graphical user interface and navigation , databases and systems integration ( ris , pacs , speech recognition ) , and finally systems evaluation and validation2 . in the database and integration section , session leader steve horii pondered if databases would be able to scale to the size and speed that would be required of them .
a follow - up review article provides an excellent summary of the literature as of 2004 as it pertains to the points of interest in the initiative3 .
a second trip conference was held with another round of inventive presentations spanning cad , perception , decision support integration , etc .
progress was being made in several areas , yet still a fundamental point was overlooked .
to understand the motivation for this work , it is instructive to look at the size trends for ct at our institution .
our clinical fleet has approximately 23 cts . until mid-2005 , the fleet consisted of a mix of single- , four- , and eight - slice units . from that point forward
, the fleet has been migrating toward all 64-slice units ; currently , that migration is now over 50% complete . as a consequence of the new capabilities ,
exam protocols have changed , and exam slice counts have exploded in response as shown in table 1 .
table 1ct growth rate in total ct slices stored per yearyearct image count19972,760,75919983,485,11319994,520,83620005,544,98620017,307,60820029,746,599200313,011,629200417,565,699200526,368,808200646,516,823200763,911,019 ct growth rate in total ct slices stored per year the majority of the slice count surge is not from exam volume growth , but rather from slice count increases per exam from the new protocols .
now , the standard trauma chest abdomen pelvis protocol results in exams of 5,000 slices .
pelvis to have 3,000 slices , and given two or three historical comparisons , the slice count expected to be pulled and viewed into a workstation is 12,000 512 512 2-byte slices .
when one considers that a single ct slice is 0.5 mb , the situation above translates to 6 gb of memory that is required simply to hold the images for display on a workstation . as mentioned earlier , multi - detector ct was just the first wave . functional magnetic resonance ( mr )
exams in our practice can now exceed 15,000 slices of various matrix sizes . often , these are long - term follow - up patients with multiple comparisons , including positron emission tomography ct .
the result is that workstations are expected to digest data sets whose size grow without limit .
the following table shows the typical image size ( in bytes ) of common modalities ( note the changes of some modalities over time ; table 2 ) .
table 2modality image sizesmodalitymatrix size / slicemb / slicect512 512 20.5new mrs512
512 20.5old mrs256 256 20.125digital fluoro1024 1024 22cr / drvariable8 finally , one can combine the evolving image size changes with the impact changing slice counts have on exam size and see the memory load that is expected to be born by the pacs workstation .
then , consider there may be two , three , or more comparison exams ( table 3 ) .
table 3changes in overall exam size from 2002 to 2008modality02 slices / exam02 mb / exam08 slices / exam08 mb / examcommentct3001503,0001,500mr30037.51,200600new mrsdigital fluro1503009001,800cr / dr32480640tomo dr changes in overall exam size from 2002 to 2008
at core , computers consist of a central processing unit ( cpu ) connected to volatile memory ( ram , random access memory ) , static memory ( disks ) , networks , video , keyboard , and mouse .
one of the key features used to describe a cpu is the bit width of its internal memory registers .
these are the memory cells that add , subtract , and perform all other chip operations . often , the register width is the same as the width the chip presents to the memory bus .
the old intel 386 , 486 , and pentiums were 32-bit chips with a 32 conductor path to interface with ram ( intel , santa clara ca ) .
this 32-bit address space sets an upper limit to the amount of ram the chip can access .
two bits can encode 2 2 values : 0 , 1 , 2 , and 3 .
the pattern is obvious : 32 bits is 2 2 32 times or 2 raised to the 32nd power .
this turns out to be 4,294,967,296 or roughly 4.3 billion values that can be stored and uniquely addressed .
this sounds like a large number . except from the above example , we need six billion bytes to store 12,000 ct slices .
more is used for the pacs , speech recognition , ris work list and decision support applications . at our institution , we built our pacs workstations with 8 gb of ram ( yes , more then a 32-bit chip can use , we will see why later ) and we observe an interesting pattern in memory usage . with pacs ,
speech recognition and the work list loaded , the total free ram available is 1.7 gb on windows xp-32 ( windows , microsoft corporation , redmond wa , usa ) .
have seen this need coming , and since about 2004 , 64-bit chips have been available for common desktop computers4 . for reference
, a chip with a 64-bit path to ram can access 18,446,744,073,709,551,616 or 18 million tb of memory .
in fact , many 64-bit chips do not fully exploit this wide a path to ram , such as the amd opteron ( amd , sunnyvale , ca , usa ) .
an opteron only uses 48-bit addressing , which is still 64,000 times more memory then the 32-bit chip can access .
however , for this memory to be available , the pacs vendors have to recompile their applications to fully exploit the 64-bit operating system .
in fact , this is a move we anticipated from our pacs vendor ( recall the excess ram used in the workstation build from above ) .
however , the pacs vendor has declined to recompile their application , so the anticipated 64-bit benefit is unrealized .
we have seen there is a hard stop to the capability of a 32-bit pacs workstation to be able to consume and display large data sets .
we have also seen there is a potential to avoid this stop by migrating to 64-bit hardware , however , this can be expensive for a site if they did not plan for it and future proof their workstation hardware purchase by investing in 64-bit chips and memory at purchase time .
further , the vendor has to be willing to recompile their pacs application to exploit the new memory model .
is there any way to extend the useful life of 32-bit workstations while still enjoying the ability to view increasingly larger data sets ?
one often hears the terms fat - client or thin - client at siim or other industry conventions .
the term fat - client is fairly straight forward and refers to a software application that lives on the desktop computer , relies on the desktop operating system for networking and other services , has total access to the local file system , and has to pull all the data it intends to view to the local workstation before it can be shown .
it is often misapplied to fat clients that a user acquires from a web site , pulls down , and installs locally . to a large extent ,
a defining characteristic of a true thin client is that it is isolated from direct contact with the local operating system and instead has its service requirements met via communication with a remote networked server over web protocols5,6 . put another way , if installing the client invokes the microsoft windows installer , it is a thick client .
most true thin clients today are built on either .net or j2ee ( java 2 enterprise edition ) web programming frameworks ( .net , microsoft corporation ; j2ee , sun microsystems , santa clara ca , usa ) .
these frameworks standardize the service interfaces on the server to any web client . a critical point to understand
is this : does the application need to acquire and hold all study images locally before they can be viewed ?
if it does , it may be a thin client , but it can still exhaust the workstation s ram .
what is needed is a thin - client with a thin - ram - footprint .
many individuals are familiar with viewing video in a web browser ; in fact , entire tv shows can be viewed this way7 .
depending upon the compression ratio , a digital recording of an hour of tv video ( non - high definition ) is typically about 2.5 gb . at typical download speeds of 1 mbps , it would take about as much as 333 min to bring the video into one s workstation to view . in other words , if the compression is slight and one has a 1-mbps link , one would wait about 5.5 h to view an hour show .
the fact that the real life experience is unlike this is because the video viewer does additional compression and also shows the images as they arrive over the network .
such a method is called streaming , as opposed to the store and hold model of most pacs views8,9 .
because the images are shown as they arrive and then typically discarded , both memory and waiting requirements are vastly reduced . in fact , we realized the value of this approach at our institution several years ago when developing our own next generation clinical viewer .
the clinician viewer is available on over 20,000 clinical workstations ; the hardware ranges from machines with only 0.5 gb of ram to over 2 gb . however , since the viewer is programmed in a thin - client streaming manner , cts of over 5,000 slices are viewable across the fleet .
as we have seen , there are two benefits to streaming : it reduces the memory footprint on the local workstation and as an adjunct reduces the time , the user has to wait to view the first image .
what is perhaps a bit less obvious is that streaming makes viewing any particular image faster .
if the pacs user interface permits the user to randomly move among an image stack ( via a slider control for instance ) , the server can interrupt whatever it is currently sending and jump to the slices near that relative offset in the series .
what it does not improve is any operation performed on the workstation that requires the entire series to be present ( i.e. , 3d reconstruction ) or multiple series to be fully present ( i.e. , cad , fusion , or change detection ) .
of course , if such operations are server - based and only the results are sent to the workstation , the foregoing limits are mitigated .
we have seen the limits of 32-bit architectures and the potential to mitigate those limits with 64-bit computing .
however , we have also seen the tepid embrace of 64-bit computing among the pacs vendors .
there is another path , but it obsoletes the design of the vast majority of currently installed pacs software .
this path will require many customers to perform upgrades to permit their pacs to scale to the next level .
the era of 32-bit pacs fat - clients or thin - clients with fat ram foot - prints has come to an end . if they are not already , pacs vendors will have to fundamentally re - architect their applications to survive in the trip era . | pubmed |
Lab Rats, 2012 1. Chapter 1: I Know
**And the results were 24 to 5, in favor of a sequel. I also personally decided that there was a lot more to Chase's story, and I wanted to be the one guiding you through it. Some of you said no, and I appreciate your honesty! I even got one or two very good reviews about why they thought I **_**shouldn't **_**write a sequel. Thank you!**
**I will say this: Don't expect this story to be any happier than the one-shot that went before it. I'm not really planning on resolving anything; just expanding the world and showing you the reactions. This is still in the tragedy genre. If you're looking for a good cry-your-eyes-out kind of story, you found one.**
**This is a sequel. If you haven't read "By Reason of Insanity" . . . well . . . you won't be totally lost, I suppose, but I would suggest reading that first. This story is slightly AU and pretty OOC (some characters more than others). It's meant to take place **_**after **_**You Posted What?!**
**Remember, no Brase/Bradam/Chadam in this story. Certainly not in a romantic way. Just fluffy sibling moments. Capisce?**
**This story deals with some very serious issues. I don't want to make light of what happened/what is going on here. If I'm doing anything wrong, let me know so I can fix it. I want to make sure I'm not disrespecting anyone with this story. On that note, special thanks to amichele and j. liz. 8 for being creative consultants on this story. They helped me with a lot.**
**So grab a box of tissues and drag your boyfriends in here so you'll have a shoulder to cry on. Chapter 1 of "Now More Than Ever" begins now.**
**I don't own Lab Rats.**
* * *
*** * * Chapter 1: I Know * * ***
* * *
"Adam. Adam. Adam!" Every word was punctuated by harsh knocks on the glass wall of my brother's capsule. "Wake up!" No response.
With a sigh I walked over to the computer along the edge of the wall. "What was that button again?" I murmured to myself. "Ah, here it is."
About ten gallons of water were suddenly dumped unceremoniously onto my older brother's head. He woke up abruptly, gasping and spluttering. He looked around, noticed me, and shouted, "What was that for?"
"You wouldn't wake up," I said curtly.
"Wait, I thought today was Saturday." Adam gasped loudly. "Did I sleep through the whole weekend?"
"No, today is Saturday."
"Then why did you wake me up?"
"Remember what we were going to do today?"
"Oh." Adam leaned back against the wall and wiped the wet hair out of his face. Slowly he exited his capsule. He shook himself off like a dog and I attempted to dodge the little bullets of water flying everywhere.
"We need to go soon," I said. "Come on, get dressed."
"I don't want to." Each word was said very forcefully. I sighed.
"Adam . . ." I tried to say.
"I . . . don't . . . want . . . to."
"You said you would!"
"Well, I slept on it, and I changed my mind."
"He needs us."
"I don't care."
"You really don't care? Really? Truly? Spit it out, Adam. Why don't you to see him?"
"Because it won't be _him_!" Adam shouted. "And I'm surprised that you of all people are defending him, Bree! Didn't he point a _gun _at you?"
Involuntarily my heart rate sped up and the breath hitched in my throat. I blinked back the tears and, while trying to keep my voice from wavering, replied, "I know he's changed. But he's still our brother. We still need to be there for him."
"But Bree . . ."
"I don't understand this. Don't you love him at all?"
Adam looked down at his feet. For the first time in my life, I think my brother truly looked heartbroken. Here was Adam, our always optimistic, cheerfully naïve, and someone dimwitted older brother, and he looked like he was about to cry. For that matter, so did I. But Adam was supposed to be the strong one. Why did he look like he was about to break?
"That's why I don't want to see him," Adam said quietly. "It hurts too much. He's supposed to be my little brother, and he's locked up in that crazy house."
"You've gone before."
"So have you. You know why I don't want to go back."
I took a few cautious steps towards my brother and put a hand on his arm. "Dr. Nelson told me that we might be able to give him hope," I whispered. "He can get better. And he'll get better faster if we're there with him every step of the way."
Adam jerked his arm away from me. "I can't. Every time I look at him . . ." Adam sighed. "I was there, remember?"
"I know," I said gently.
"I saw him break down."
"I know."
"I saw him holding the gun."
"I know."
"I saw him point it at you."
"I . . . I-I know."
"It hurt. It really, really hurt. I can't get that image out of my head. That image of _you_. You were so scared. You were too scared to do anything."
"I know."
"You were completely frozen on the spot. And if the police hadn't shown up right at that moment, you . . . you wouldn't be here today."
"I know that, Adam!" I yelled. "I know! _I _was there too! _I _was the one he pointed the gun at! _I _was the one who was scared and so stunned with disbelief that I didn't realize what my own baby brother was about to do to me!" The tears were flowing freely down my cheeks now. Frankly, I felt like I _had _been shot in the heart. Only this was worse, because I was still alive in the midst of all the pain.
Everything started spinning out of control. Tears flowed faster and harder until they were racking sobs. I buried my face in my hands and my brain felt fuzzy. My knees were weak and I thought I would drop to the floor at any moment.
All of a sudden, a pair of strong arms wrapped around me. I melted into Adam's warm embrace, not caring what a mess I must have looked like. I buried my face into Adam's chest and he stroked my hair.
Eventually my sobs quieted a bit. Slowly Adam released me. I wiped my cheeks and gave a half-hearted smile. I was glad to know that my big brother would always be there for me. The only thing that hurt was the fact that there should've been someone else to wrap our arms around.
* * *
I pushed open the door and walked into the small room. Adam followed me reluctantly. The room looked the same as the last time I came. I realized there was only one chair. That was fine; I didn't feel like sitting, anyway.
Adam and I glanced at each other nervously, wondering who would make the first move. Simultaneously we looked at our younger brother. He was at the foot of the bed, his back against the wall. His knees were drawn up to his chest and he was staring up at the ceiling.
"Chase?" I said quietly. "Chase?"
"Chasey?" Adam tried. I looked at him. Adam only used Chase's childhood nickname when he was genuinely frightened.
Finally Chase looked over at us. He blinked a few times. "You both came," he said curtly.
"We want to be here for you," I said simply.
Chase glanced over at Adam. "He doesn't want to be here," he said.
"I came for my little brother," Adam said.
"You came . . . for your bother . . ." Chase repeated slowly.
"How have you been?" I asked, trying to get a good conversation going. Though with Chase that seemed difficult these days.
"You asked that before," Chase said. "You always ask that . . . like a loop. Everything is one big loop. Over and over and over . . ." Chase trailed off and stared at the wall.
I pursed my lips. Why did conversations have to be so awkward? I wanted so bad to know what was going through my brother's head; to understand what he was thinking. The haunted look in his eyes broke my heart.
"Is this the last time you're coming?" Chase asked suddenly. "Did you come to say goodbye?"
"No!" I said, perhaps a little too quickly. "I mean, I can't speak for both of us, but no." I looked back at Adam. His chest moved up and down with a silent sigh.
"We'll both be back," he said.
"Liars!" Chase spat, so suddenly that I took a step backwards. Adam reached a protective arm around my shoulders. "You don't want to come back. And why would you?"
"We'd come back for _you_!" In spite of myself, I couldn't help but be a bit angry. Surely his illness hadn't caused him to forget our love for him!
"Why?" Chase shouted. "Why would you even care?"
"You're our brother!" Adam yelled back. "And I've always loved you no matter how annoying you were! No matter how many useless facts you told me! No matter how often you made me feel stupid!"
I put a hand on Adam's shoulder and pulled him back a bit. There was the beginning of a dangerous spark in Chase's eyes; a spark I had seen once in my life and didn't have any desire to see again. For a split second I wondered if I should notify the nurses outside.
Instead Chase just leaned back. He closed his eyes and began to play with his fingers. He actually looked quite serene.
Ten seconds ticked by. Then twenty. And thirty. No one moved. Adam stood beside me, still tense. Chase looked relaxed, surprisingly, though I could sense the frustration brewing right beneath the surface. And me . . . well, I didn't know how I felt. I suppose it was the same confusion and pain as the last time I had seen my younger brother. I didn't know _how _to feel. I didn't know how to react.
"But you don't love me," Chase said so quietly it was almost inaudible. Still, in this silence you could've heard a pin drop. "That's what they say."
"They're wrong," I mumbled.
"I don't question them. I can't."
Neither Adam nor I had any clue who 'they' were. I made a mental note to ask Dr. Nelson about it sometime.
"I can," Adam said softly. "Bree's right. They're wrong. We love you."
"Don't lie to me."
"We're not," I promised.
Chase looked up at me with a mournful gaze. He honestly thought that we didn't love him. After everything we've been through in our crazy, messed-up lives, Chase didn't remember our love.
We risked our lives in an avalanche to find him. We saved him from being cooked alive by Marcus and Douglas. We stuck our necks out for him in school. We would die for him. But he didn't know that.
I liked to hope that maybe, somewhere deep down, he _did _know that. Chase knew that we loved him, but whatever was going through his mind was suffocating that belief. Adam and I had to keep it alive.
I remembered a movie I saw once where a character was being taken away from the girl he loved. They kissed for one last time, and as the enemy pulled them apart, she told him, "I love you."
All I wanted now was to hear Chase say, "I know."
* * *
**Those last few lines were a Star Wars reference. In case you don't know, in The Empire Strikes Back, Han was being taken away to get carbon frozen. Leia said, "I love you." Han responded by saying, "I know." Harrison Ford actually improvised that line, but I won't go into all my Star Wars geekiness right now. I just thought it would be a nice touch to end the chapter.**
**I'm open to suggestions. Which characters should go visit Chase? The story will be from Bree's POV, but I'll have other characters' reactions as well. Who would you like? Leo? Tasha? Donald? Douglas? All of the above? None of the above? Are there any situations you would like to see or any questions you want answered? (Warning: I might not answer all your questions. But you can still ask them and we'll see.)**
**Also: Yes, Chase has a specific mental illness. A few of you know it already (I told a few people in PMs) but most of you don't. Who can guess it? The first one to figure it out gets a shout-out! Only one guess per person, though, or it doesn't count. I wanna keep this fair. :)**
**I waited until today to post the story for a few reasons. First of all: I didn't have it finished until now (kinda important!). Also, today is Billy Unger's nineteenth birthday. Happy birthday to him! Although that's not all I'm celebrating today. Turns out Billy Unger has the same birthday as someone very close to me. I've been celebrating October 15****th**** for years! XD Happy birthday to anyone and everyone who has a birthday today. Or soon. Whatever. :3**
**Before I go, I want to say a special thanks to RandomGirl for giving me some wonderful points on why I shouldn't write a sequel. Thank you so much for your honesty! But she also encouraged me to, "****Follow your dreams, do whatever you please," which will hopefully become her review jingle. And I'm not too busy to respond to a total stranger (or a reader. Thanks!). ;)**
**Wow, long author's note. Sorry. XD Are you still reading this? If you are, put the word 'kumquat' in your review. I wanna see how many people _actually _read these notes.**
**Alright. I'll see you all soon. When, I'm not sure. I've got to figure out what happens next in the story. XD Don't worry, I have plenty of ideas. I just need to order them. Let me know if you want to see anything. Review/follow/favorite if you liked it. Thanks for reading! See you all soon!**
2. Chapter 2: Brothers and Sisters
**Hey guys! I'm baaaaaack! Sorry it took so long. Life . . . stuff . . . excuses . . . yeah. But thanks for the . . . the . . . the . . . **_**twenty-six reviews?! **_**Holy cow! Thank you all so much! You made my day over and over again. I really appreciate it. I'm glad you guys like the story!**
**And thanks for all the kumquats. :3 It's nice to know that people actually read the ramblings of some random teenage girl hiding behind a computer screen and writing about her favorite TV show. XD I feel so loved!**
**This chapter probably isn't my best, but oh well. It was the one I had the most trouble deciding on. By the way, I'm pretty sure this is the first time I've EVER written Bree/Leo sibling fluff. As far as I can remember, anyway. Certainly with just the two of them. So let me know how I did!**
**Anyway, let's get on with the story. I don't own Lab Rats or Rubik's Cubes (guess what symbolism is returning this chapter?), but I do own Mrs. Lebowski. Enjoy!**
* * *
*** * * Chapter 2: Brothers and Sisters * * ***
* * *
Awkward silence. It wasn't unusual, not by a long shot. Still, it was uncomfortable. I took a deep breath and fidgeted just a bit. At least he had talked some. Not a lot, but some. Most of it was incomprehensible. Nevertheless, he had talked to us and I was happy.
"What's it like?"
The comment from my step-brother made me start. I turned and glared at him, but he just shrugged. I had a silent argument with him with my eyes. How could he say something so callous?
"Bree, it's fine." Chase's sharp voice made me turn. "Leo can say whatever he wants. He has a right to."
"But you don't have an obligation to answer," I reminded him, shooting one final 'I'm-going-to-kill-you' glare at Leo.
"You know those cuckoo clocks?" Chase said. "They just spring out all crazy-like at random times."
"Actually, aren't most cuckoo clocks set to go off at a certain time? Like every hour?" Leo asked.
Chase stared at him for a few seconds before continuing, "They come out and sing. Sing, sing, sing. But sometimes things fall. Fall, fall, fall."
"And?" Leo prompted.
"Things are fragile." Chase stared at the wall across from him. His eyes held a glazed over look and I could tell that he wasn't on our planet anymore. "But when things break, they can't be fixed. Not really. They'll never be whole again. We try, but it doesn't work. This whole world will just fall apart, and there's nothing anyone can do about it."
"That's not true," I said quietly. He wasn't meant to hear that sentence, but somehow – even with his super-hearing blocked – he was able to.
"It is!" Chase insisted. "Didn't you see it, too? All our missions? Everything? The world is a complete mess. I saw people die. I was _responsible _for people dying. When I wasn't good enough." Chase's face hardened and he whispered, "Because I'm never good enough."
"Chase, you're great," Leo said suddenly. "I don't know what you think about yourself – from what you've been saying, it's not anything good – but you're a fantastic person. You're an amazing brother and . . . and we've been through so much together. We had so many good times!"
"What's the point?" Chase said harshly. He drew his knees up to his chest and glared at us. "What's the point of anything?"
"Maybe to love other people," I said. "Like we love you."
"How can you love someone who doesn't even love himself?" Chase muttered with his face practically buried in his knees.
"It's hard," Leo said.
"That's why we need you to love yourself," I added.
"I can't," Chase said. "I tried. They won't let me. They say I'm horrible."
"And they're right?" I asked.
Chase looked at me with sad eyes. His brown hair had grown even longer and fell into his face. He looked like a scared little child and my heart went out to him.
I felt a hand on my shoulder. I looked to my left to find Leo looking at me. "Can you give me a minute alone with him?" he asked quietly.
I nodded numbly and started to walk out the door. "Bye, Chase." All I got in response was a stare – still, it was more than I had ever gotten before.
Out in the hallway, I looked at the art that lined the walls. Somehow the people who worked here managed to make the place a bit more bearable with all the artwork. The pictures had been drawn by patients, which made them extremely intriguing to look at.
Colors and lines ran together in several beautiful displays. I cocked my head as I studied them. It was neat to see the ways that the mental patients interpreted life. Sometimes it seemed like they had a deeper understanding of the world that no 'sane' person could ever grasp.
The picture my brother had drawn of the multi-colored Rubik's Cube still hung directly opposite the door to his room. I had looked at it every time I had been here, but I still looked at it again. For the first I realized something I hadn't noticed before.
On Chase's painting, there were no colors that could be considered 'drab' or 'dull.' There was no white, no black, no brown, and no grey. No shades of those colors, either. It was all 'happy' and vibrant colors like yellow and pink and orange. I wondered if that had any significance at all.
"Bree?"
I turned at the sound of my name being called to see one of the nurses right behind me. I grinned at her. "Hi, Mrs. Lebowski," I said.
"Come to see your brother again?" she asked.
"Yes, I did. My step-brother came too, and he's in there with Chase right now."
"It's good that you're so devoted to seeing him."
"I want to be there for him."
I had met Mrs. Lebowski a few times before. She was very sweet. She wasn't extremely old; around her late twenties to early thirties. From conversations I knew that she had two young children. Mrs. Lebowski certainly had that motherly touch. In a way she reminded me of Tasha.
"I'm not here all the time, and I'm no medical expert," I said after a pause. "How has . . . how has he been doing?"
"He's been doing okay." There was something in the nurse's voice that made me think she was keeping something.
"Just 'okay'?"
"He's . . . he's not responding to his medication as well as we had hoped. It will just take a bit more time. Schizophrenia can be managed."
I bit my lip at the mention of Chase's condition. Somehow it hurt to hear it mentioned out loud. It was like ripping off a bandage; you knew it was going to hurt, so you didn't want to do it. You'd rather just deny it altogether.
Just then, Leo walked out of the room. He gave a half-hearted grin and then waved at the nurse. Mrs. Lebowski smiled and asked if he was done. When Leo told her he was, she said goodbye to us and went into Chase's room. Leo and I turned to walk out of the building.
Once we were in the parking lot, I opened Mr. Davenport's self-driving car with my thumbprint and got into the driver's seat. Leo got in on the other side. I programmed the car to go home and it started up.
"Hey, at least it doesn't consider you a child anymore," I joked with Leo.
His lips twisted up in the faintest hint of a smile, but beyond that I got no response out of him. I frowned.
Leo looked down at the dashboard and said quietly, "He's so messed up."
"I know." I looked out the window as the car got onto the freeway. There was no traffic, so it wouldn't take long to get home.
"It's just that . . . I don't even know how to talk to him anymore! He's so quiet and when he does say something it's so . . . so . . ."
"Strange," I mumbled.
"Exactly." Leo glanced over at me. "Honestly, he scares me, Bree."
"He scares me too. He pointed a gun at me, remember?"
"For once I'm glad that Trent decided make me come to school early for 'extra gym work' all the way up until classes start. I don't know what I would've done if I had seen that."
"Me neither. If I had been one of the people watching . . . I'm not sure what I would've done."
"It's not something you've ever supposed to think about."
"Not at all. 'What if my younger brother picks up a gun and tries to shoot me?' was never on any emergency preparedness plan I've seen. Still, I can think of a few ways it could've been worse."
"Really? How?"
"If he had pulled the trigger, for one. But . . . I think it would've been worse if he had tried to shoot Adam . . . or you."
"But he tried to kill you! How could that possibly be worse?"
"Because then I would've had to live without you. I couldn't bear that. The other awful that could've happened that day would have been Chase shooting himself. If that had happened . . ." I trailed off and started to play with my fingers.
"I feel like we've lost him anyway."
"Which is why I want to do anything I can to get him back."
"Yeah. We've gotten through lots of stuff before. We'll get through this too."
Leo reached over and patted my shoulder. I took a deep breath. Without warning I reached out, grabbed my brother, and pulled him into a hug. For a second Leo seemed shocked, but he quickly returned the embrace.
"We'll get through it together," he whispered in my ear.
"Thank you so much, Leo," I replied.
"Anytime."
"No, not just for this. For everything. For everything you've ever done for us. You showed us the world and I will always be grateful to you for that. Even if you can be kind of annoying sometimes, and you mess things up a lot . . ."
"Hey!"
"You're seriously an awesome brother. I'm so glad you're in my life."
I squeezed Leo and slowly let go of him. We leaned back as the car got off the freeway and started taking the smaller roads to get home.
"Well, I'm impressed," Leo said. He grinned – and I mean genuinely grinned. We didn't see many of those anymore. It looked good. "You're being pretty sappy today."
"You tell anyone I said those things and I will make your life a living nightmare," I hissed, giving him a quick punch in the arm.
"Ow!" he whined, rubbing his bicep. I gave him a small grin to let him know I was joking – well, half joking, anyway.
The car reached the house and announced that we had arrived at our destination. The doors unlocked and we stepped out. As we exited the car and began to walk back to the house, Leo and I shared a smile over the top of the sleek frame of the car. We would get through this . . . together.
* * *
**So again, probably not my best. Oh well. And hey, we finally figured out what Chase has! So, I **_**think **_**Dirtkid123 was the first one to get it. If you meant **_**schizophrenia **_**(took me a long time to learn how to spell it, too), then yes, you got it right! AllAmericanSlurp and Lady Cougar-Trombone got it as well. Congrats!**
**I believe I've figured it out: there will be six chapters to this story. And this is chapter 2. So, four more. I already know the title of chapter 3: "They." :) Sound exciting? Once this story is over, I'll be posting a new **_**massive **_**project called 'We Deserve Freedom.' I hope you guys will read it once it comes out! And for those of you who have been waiting patiently for a month and a half . . . Daddy's Little Lab Rats will be updated later today. Hooray! I'm back in the writing mood. Thank goodness!**
**So, was it okay? What did you think? Did you like the Leo/Bree moments? And remember, it's not romance, it's just sibling bonding! Siblings do that! It's rare, but they do! I swear!**
**Hopefully the wait until chapter 3 won't be as long. I have a pretty clear idea for what I want to do. See you all soon!**
3. Chapter 3: They
**This chapter is short and late. Meh. Do I have to keep apologizing? On the bright side, when I **_**do **_**post We Deserve Freedom, I've got eight chapters ready to go (after some revision, of course)!**
**Has anyone else not been getting emails from Fanfiction? Because today I went into the Lab Rats archives and saw that **_**five **_**stories that I'm **_**following **_**were updated, but I didn't get alerts. I got an alert that someone followed a story of mine, but after research I discovered that they favorited it and me as well, but I didn't get emails about that! Urg. Sorry for my little rant. Is it just my email, or has anyone else been having this problem too?**
**Please, **_**please **_**let me know if I have gotten **_**any **_**information wrong about schizophrenia. I have researched it thoroughly and am doing my best to present it in a realistic and serious manner, so if I'm doing **_**anything **_**wrong, please let me know. Thanks. :) This chapter also deals with some serious and possibly triggering things, so read at your discretion.**
**You guys have been wondering for a long time who 'they' are, so I will let you find out now. I don't own Lab Rats, just Dr. Nelson. Enjoy!**
* * *
*** * * Chapter 3: They * * ***
* * *
As the weeks went by and my visits became more and more frequent, I found it getting a lot easier to talk to Chase. I started to understand what would make him happy and what would make him cringe; what made him smile and what made him frown. Of course, I couldn't predict everything, but conversations weren't so awkward anymore.
"We went out to dinner the other night," I said as I sat across from him. He stared back at me, appearing to be curious in what I was saying. "Leo was trying to get the ketchup bottle open, but he wasn't paying attention and he squirted it all over his pants."
"Was it red?" Chase asked.
"Yup," I said. "Really red. All over his yellow shirt, too. But Adam tried ordering a burger without 'onions, pickles, lettuce, tomatoes, meat, and bun' as a prank. The funny part was that the waitress didn't even bat an eyelash, and when she brought out our food Adam got an empty plate!" I started giggling. "He wound up just getting a bowl of French fries."
"I haven't had French fries in a long time."
"They're still good. I just had a salad."
"With croutons?"
"Yeah. It was nice. We went to a movie after that." I started rambling about my thoughts on the action flick that Adam and Leo had insisted on seeing. It was cheesy, cliché, and yet my brothers loved it. Of course.
Chase didn't seem to mind that I was running my mouth. He stayed focused on me and nodded every now and then. It wasn't the same reaction he would've given six months ago, but it was a good reaction for him in the present.
Eventually, though, his attention started to drift. I could see it in his eyes. Chase was looking at me, but he wasn't _seeing _me. What he was seeing, I couldn't say. I would probably never know. I shifted in my chair and tried to bring him back to reality.
"Chase?" I said. "Do you want me to tell you about Davenport's new invention? He's been working on it all month."
Chase drew his knees up to his chest and pressed himself into the wall. "Quiet," he rasped.
I assumed he was talking to me, so obediently I became silent. It was easiest not to push him. For a few seconds we sat like that, everything completely silent.
"Quiet!" Chase said again. He squeezed his eyes shut.
"I didn't say anything," I mumbled. Suddenly a cold feeling gripped my heart as I realized that he wasn't talking to me. But if not me, then who?
Chase looked up at me, fear filling his eyes. He mouthed a word. 'Help.'
I stood up immediately. "Are you okay?" I questioned him. "Do you need me to get Dr. Nelson?"
"N-No," Chase said shakily. Slowly he uncurled himself from his ball. He took a deep breath and met my gaze. "I'm okay."
"Are you sure?"
"I'm . . . I'm fine now. They came back . . . back again, but I'm okay. It's okay. I'm fine now." Chase did his best to smile, but there was no heart behind it. It looked more like a grimace.
I swallowed. "Who came back?"
Chase squinted. "They came back," he said stiffly. "I just said that."
"And who are they, Chase?" I tried to say it as gently as I could.
My brother just gazed up me soundlessly. Then he began to shake his head. He whipped it back and forth wildly. Then he stopped and stared at me again. "They hate me," he said simply. "They're the ones who told me to kill you. And after I killed you, I was supposed to kill myself."
"They told you to do that?"
"Yes. They're the reason I'm in here." Chase stared out his window at the trees outside. But just like he didn't 'see' me before, he wasn't 'seeing' the trees now. "They hate me. They make everyone hate me. Sometimes they come, and sometimes they go. I can never tell when. But they're angry a lot. They don't like to be happy. Not like you." Chase blinked slowly. "You like to be happy, right?"
"I _like _to be happy," I told him. "But that doesn't mean I'm _always _happy."
"Well of course not," Chase scoffed. "But you try. You try a lot. They don't like you for that. They think you're bad."
"That's what you said before," I whispered. "They wanted me dead."
"But I like that you're happy. It makes life . . . almost worth living."
I opened my mouth to answer when there was a knock at the door. I looked up to see Dr. Nelson come in. "Hate to break this up," he said, "but visiting time is over, Bree."
"All right," I said glumly. "Bye, Chase. I'll be back next week, okay?"
"Bye," he mumbled. I smiled a bit. He actually said goodbye to me.
Dr. Nelson and I headed out into the hall. I glanced over at him and figured that if I wanted any answers, I'd better start asking for them.
"Dr. Nelson," I said, catching his attention, "can I ask you a question?"
"Sure, Bree. What is it?"
"Well, I was just wondering . . . Chase has been mentioning someone called 'they,' and I was curious if you knew who 'they' were."
Dr. Nelson frowned a bit and narrowed his eyes. "As a matter of fact, I do. Here, why don't we go into my office and I'll explain."
We walked down the hall to another part of the mental hospital. Sometimes I had to tell myself that that was all it was: a hospital. Nothing more. They treated people here like anywhere. The people here just had a different kind of sickness.
The doctor led me into his office, which had meager furnishings. He sat behind his desk and I sat across from him, facing the window. It looked out over the trees outside. Funny how it was a similar view to the one in Chase's room, but this one seemed more . . . beautiful, somehow. Maybe because there wasn't a lock on the window.
"So who are they?" I asked. "He says that 'they' don't like me, and that 'they' told him to kill me."
Dr. Nelson sighed. "A common symptom of schizophrenia is auditory hallucinations," he said slowly. "Chase has this symptom."
"So that means?" I prodded.
"'They' are the voices in Chase's head."
I leaned back in the chair. "So he hears things?"
"Exactly."
"So they're not real. Or dangerous?"
Dr. Nelson frowned. "I wouldn't say that," he said. "They're very real to Chase, even if you and I will never be able to hear them. They certainly are dangerous. Like you said, the voices are what told Chase to kill you in the first place."
"That's who he was asking to be quiet," I mumbled.
"Auditory hallucinations are not uncommon at all in people with his condition. It can sometimes be like a constant chattering inside someone's head. There can be several voices or only one. They can be voices that the person knows or someone they don't know at all."
"Do you know what Chase's sound like?"
"He hasn't told us."
"But he's mentioned 'them' to you."
"Yes he has. And we've been working to help him feel better. Usually the medication works . . ." Dr. Nelson trailed off.
I raised an eyebrow. "Should I be worried?" I asked hesitantly.
"Not at all," Dr. Nelson assured me, but I still felt a little bit uneasy. "Just make sure you're careful around Chase when you're talking about 'them.' They _are _real to Chase. He can hear them, and they will tell him to do things. A lot of these voices are constantly saying that he should kill himself."
I felt a chill go through me as if I was standing out in the wind. Instinctively I wrapped my arms around myself and shivered. "But you make sure he doesn't, right?" I asked.
"Of course. That's why he's here; so he won't hurt himself or others."
_Others. Others like me._
"I don't like 'them,'" I mumbled.
Dr. Nelson sighed again. "Neither does Chase."
* * *
**If you're into that kind of thing, why don't you try comparing the way Chase explained 'them' and the way Dr. Nelson did? Isn't it interesting how different the explanations were? Thank you, I try. *bows* And now you know who 'they' are! Yay!**
**So, I hit a pretty huge milestone this week. I'm not saying this to brag, I'm saying this to say, "THANK YOU!" I have been favorited by over 100 people. :') I could not calm down all day. I was so excited! THANK YOU SO, SO MUCH to everyone who has favorited me or read any of my stories! You guys really mean the world to me!**
**There's one review I have to reply to right now (and mostly 'cause I can't PM her), but RandomGirl . . . OH MY WORD YOU REFERENCED VEGGIE TALES! My **_**childhood**_**! *dies of nostalgia* After I read your review, I spent a half an hour on YouTube listening to various Silly Songs, I kid you not. **_**And **_**I've had "I Can Be Your Friend" stuck in my head all week! By the way, if you ever need to borrow my minions to torture Kenny, feel free. Just remember that if not fed every two hours, they'll eat the nearest human flesh. So . . . just keep Kenny between them and you and you'll be good! :D**
**So hopefully you all liked the chapter! By the way, I'm **_**pretty **_**sure this will be the last time Chase is actually **_**in **_**the story until chapter seven, which is the final chapter. Just thought I'd warn you. The next chapter will be very serious, but it will also have a lot of nostalgia and sibling bonding stuff. You'll get to see how the rest of the world reacted to Chase going crazy. So hopefully see you soon for that! Bye everyone! :D**
4. Chapter 4: Raising Awareness
**Okay . . . I really, really, **_**really **_**hope I did this right. A **_**lot **_**and I mean **_**a lot **_**of research went into this chapter, so I genuinely hope I got it right! Thanks to the reviewers for explanations and suggestions. I sincerely appreciate it!**
**Internet trolls can be jerks. Keep that in mind while reading this.**
**And by the way . . . I don't have a Twitter account (or any other kind of social media) so if I got anything wrong, I apologize. I tried to keep it as vague as I could. I've also never made a video before. So if I got that wrong . . . sorry!**
**Soundtrack for this chapter: "I'm Not Who I Was" by Brandon Heath. Excellent song. You'll know when to start playing it. It matches really well.**
**So anyway, on with the chapter! I don't own Lab Rats, Twitter, or the aforementioned song, "I'm Not Who I Was" by Brandon Heath. Enjoy!**
* * *
*** * * Chapter 4: Raising Awareness * * ***
* * *
The house looked warm and inviting after driving through the Californian rain. The brown walls looked beautiful compared to those at the mental hospital. Sitting on the couch after yet another visit to my younger brother, I snuggled deep into the blanket and turned on the TV to a show that I was barely paying attention to.
Donald and Tasha had gone out on a date night. Douglas was probably in the lab working on something. Adam and Leo had gone to the arcade. So I was left alone with the rain slamming sideways against the window and the noisy wind whistling outside.
Of course I jumped right on my phone, checking my messages. I opened up my Twitter app and scrolled through it. Since the world had found out about us, we were practically celebrities. I had a bunch of followers.
For some reason, I felt an urge to search for Chase's name. He had a Twitter account, but obviously he hadn't used it in a while. My brother had been a pretty big news story, and I wondered if anyone still talked about him.
As I scrolled through the tweets with Chase's name attached, my heart got heavier and heavier. Within a few minutes, I found myself very near tears. Some of the messages were so terrible I wouldn't even dare to say them out loud.
Adam and Leo burst through the door, chatting and laughing about something. I glanced up at them and they froze when they saw my face. "What's wrong, Bree?" Leo asked, rushing over to the couch. Adam followed suit.
"Look at some of the mean things people are saying about Chase," I said, showing them the phone. "It's terrible!"
"It's the internet, Bree," Leo said matter-of-factly. "People say what they want. That's why I've never searched Chase's name before."
"I'm sure there are some nice ones," Adam said optimistically.
"Not that I've seen," I sighed. "I mean, look at these! 'I am schizophrenic and so am I'? That's not even how it works!"
Adam looked at my phone. "'Those bionic freaks are a danger to society, and they're going to kill all of us . . .'" My brother trailed off.
"'See, government? This is what happens when you let dangerous cyborgs roam free,'" Leo read. "What?"
"They have no idea," I murmured.
"What does that word mean?" Adam asked, pointing at the screen.
"And we're done," I said, moving the phone away from him. Leo grabbed my wrist and pulled my precious device closer to his face.
"Wait, what about this one?" Leo said. "'I'm so sorry that happened to you, Davenports! I hope Chase gets better soon. God bless!'"
"That's great, but it's only one," I reminded him. "No one else seems to understand what we're going through. If only there was a way to let them know how hard it is."
* * *
"Hello, world," I said slowly as I stared into the camera. "I'm Bree Davenport, one of the bionic superhumans you've probably heard about."
I took a deep breath. After thinking about it for a few days, I had decided that I wanted to let people know exactly what my family was going through. Making a video was the best way I knew how.
"Most of you also probably know that my younger brother, Chase Davenport, went a little . . . well, crazy a few months ago. He brought a gun to school and tried to shoot me." I bit my lip. "It was . . . very scary. He had been acting strange, and I guess he finally snapped. I wouldn't know why until later, though.
"My brother suffers from schizophrenia. It's a mental disorder that makes it hard for a person to distinguish between what is real and what isn't. Chase has auditory hallucinations – voices in his head that tell him what to do – as well as paranoia and difficultly focusing on one idea.
"Lately I've noticed how many people don't seem to know about this. People think that schizophrenics are, like, psychotic or something. They're really not. Instances like my brother taking a gun to school are very, _very _rare. If schizophrenics are a danger to anyone, it's to themselves. An estimated 20% to 40% of schizophrenics attempt suicide, with 5% to 13% succeeding.
"Schizophrenia is a disease, just like anything else. It just affects a different organ: the brain. And the brain is so crazy complex that we haven't even _begun _to understand it yet."
I paused for a moment and looked down at my feet. "This hasn't been easy on my family, either," I continued. "Seeing my little brother change so much so fast really hurts.
"Chase has always been a really nice guy. He's just sick now, that's all. But he's really amazing and special and I probably wouldn't have said that a year ago. But now . . . now I'm admitting it to the whole world." I chuckled weakly. "I don't think you could ever understand what it's like until you experience it personally. I don't even understand it.
"It just hurts me that people are calling Chase a monster or a freak . . . things like that. I know he's changed, but he's still my brother."
I played with my fingers and bit my lip. Mr. Davenport was going to kill me for this. Whatever. People already knew about our bionics anyway. What was the harm?
"I'm going to show you some pictures that no one has ever seen before. They're of me and brothers when we were young. Some of them were taken before we had even entered the real world. I thought it might help you to see what Chase was like. This is me and my family. Enjoy."
I stopped the camera and sat down at Leo's mission specialist desk to use the computer. I pulled up the soundtrack that I wanted to use for the slideshow. It was a song called "I'm Not Who I Was" by Brandon Heath. It seemed perfect.
Scrolling through the photos, I picked the ones I wanted to show the world. They were all of us in the lab before Leo discovered us. Mr. Davenport had given Adam a camera for Christmas the year I turned seven, and we still had the photos buried somewhere deep in the files.
The first several pictures were blurry because Adam hadn't figured out how to work the camera. It took a lot of scrolling before I found some presentable photographs to use.
The first picture was of Chase and me sitting together and smiling into the camera. After that there was one I had taken of Adam and Chase together. Then Mr. Davenport had graciously taken one of all three of us. It was of the few moments in our very early childhood where he seemed like a real father.
Skipping through more useless photographs and years of none, I found a photo of a nine-year-old Chase using his force field. His face was determined and his brow shiny with sweat. He wasn't even looking at the camera. Mr. Davenport was in the background, apparently coaching him.
There was another one of him sitting on the bench and guzzling from his water bottle . . . while Adam was lifting the bench into the air. Yet another had me and Chase in a race up and down the rock wall. My instructions had been not to use my super speed, since that would be cheating. For the record, I beat Chase anyway.
As I went through the photos that Adam had taken just after he turned thirteen – he had gotten a new camera that year – I found one that looked pretty silly. I was sitting on the ground with my legs crossed. Right above me, perched on the cyberdesk, was Chase. He was lying on his stomach and supporting himself with his elbows. His face was twisted and he had his tongue stuck out. While I was a picture of elegance, my little brother looked absolutely absurd. In spite of myself, I laughed. It echoed through the emptiness of the lab and made me feel a bit warmer on the inside.
Skipping ahead several years, I found a picture that I obviously had taken. Adam – who at the time was sixteen – was sitting on top of fourteen-year-old Chase. My younger brother had an angry look on his face as he tried to push Adam off. Another picture taken mere minutes after that was Chase glaring at me with his arms folded across his chest. Adam was in the background, doubled over with laughter. Even though Chase was clearly mad, there was a hint of a smile on the corner of his lips.
The next picture had a different setting than all the rest. It had Adam, Chase, Leo, Mr. Davenport, Tasha, and I on the couch in the family room. Tasha had insisted on taking our first family photograph. It took approximately fifteen times before we got one that looked acceptable. There was always someone squirming or blinking or looking away from the camera.
After that, the photos got even more interesting. Now there were ones that Tasha had taken to commemorate 'family memories.' There were pictures of so many of the events from the past few years since we had come out of the lab.
Leo's fourteenth do-over birthday party. Us at the beach during summer. Adam, Chase, and Marcus in the little band they had formed (it was a good memory, even if Marcus had turned out to be evil). Chase and Leo with their robot that had won the robot throwdown. All of us with Joey Logano at the race track. Our first Christmas together. Chase and I together at Tech Town. All of us gathered around Douglas, who was working on a laptop (he didn't realize we were taking a picture, and his expression was priceless!). Chase and Sabrina on their first real date.
The very final picture I chose for the slideshow was of Chase and me. We were sitting on the couch in the living room. His arm was around my shoulder. What I wouldn't give to relive that moment. At the time I had just wanted to edge away from him, but now I would've moved in as close as I could. I just wanted my brother back.
With a bit of editing magic, I put the photos into the order I wanted and got the song to play along in the background. Hey, I might not be a super-genius, but I'm still smart! I looked over the video one more time.
"That's good," I muttered to myself. "I hope this does it justice, Chase."
* * *
"So there are still the trolls and the joke comments," I reported, "but most of them are actually pretty nice. A few people even said they'd donate to do research for it. There are some who have schizophrenia themselves, and they said thanks for making it."
"I'm proud of you, Bree," Mr. Davenport said with a smile.
I looked up at him with a wide grin. I didn't know exactly why, but those words made me feel good. Really good. And it wasn't like Mr. Davenport had never said that before, but there was a special meaning behind it this time.
"I remember all that," Adam said with a slightly nostalgic look on his face. I couldn't blame him.
"Check it out! You even made the news!" Leo said, handing a tablet to me.
"'Bionic Teenager Speaks out on Brother's Behalf,'" I read. "That's awesome. I want to let as many people know about this as I can."
Mr. Davenport put his hand on my shoulder. "I'm really, _really _proud."
"Thanks . . . Dad." I faltered on that word, but I felt like it was an appropriate thing to say. Mr. Davenport smiled gently at me.
After a few minutes, the boys left the lab. I sat down on one of the chairs and clicked on the video to watch it again. When it reached the slideshow, I felt the tears begin to well up in my eyes. Gently I touched the screen that was displaying the face of my brother when he was only a preteen. "Come back to me, Chasey," I murmured. "I miss you."
* * *
**So . . . NOT BRASE. XD Please no 'Make more Brase!' comments, because they annoy to me to no end (no offense). Hey, you'd probably act the same way if you found out your sibling was sick.**
**I had this done a few days ago, but I've been a bit nervous about posting it. As I've said multiple times in this story, this is a serious issue, and I want to make sure I'm doing it right. I got my information from various sources (most of which I don't remember XD) including Wikipedia and WebMD. Oh, and one very helpful article from Vice that j. liz. 8 sent me.**
**What did you think? Did the song fit? I really like it. I loved creating all the photographs and childhood memories for the Davenports. It was fun!**
**So anyway, reviews are appreciated, as usual. And in case you haven't seen it, I posted my new story, "We Deserve Freedom"! I'm super-excite about that, so if you haven't seen it yet I would appreciate it if you could check it out. The next little part of this story will be a two-part. Next chapter will be part one! (Hint: it involves a mission.) Hope to see you then! Thanks for reading!**
5. Chapter 5: Leaderless
**Ai, it's been a while, huh? I'm sorry. But I'm back now! Part two of my mass update is here! Next comes A Different Kind of Hurt (a one-shot), the second part of Walls, and a new chapter of We Deserve Freedom. Yay!**
**Get ready to laugh and cry. This chapter is a roller coaster of emotions. First mission without Chase, here we go! This isn't going to turn out well, is it?**
**I don't own Lab Rats, just the idea. Enjoy!**
* * *
*** * * Chapter 5: Leaderless * * ***
* * *
"What'd you get for number nine?" I asked Adam.
"Zucchini," he replied.
I shook my head. "Adam, we're doing calculus."
"Oh, so now vegetables aren't a part of math? What kind of world are we living in?"
I rolled my eyes. No wonder Adam and I were doing senior year _together_. No one was surprised when he didn't graduate the year before. Mr. Davenport was slightly disappointed, and Adam promised to work even harder this year. He was really trying, which was impressive. It was harder not having Chase around as our handy "calculator" or "dictionary."
"You know I'm only kidding, right?" Adam said gently. "Here, have a look at my paper. I just wanted to make you laugh. It doesn't seem like we do that very often anymore."
Adam was right. I was glad that he could bring humor into any situation. It was one of the best things about him.
I quickly skimmed Adam's paper and was shocked to see that he had gotten the answer correct. I grinned and handed it back to him.
"Hey guys," Leo said as he walked into the lab. "What are you up to?"
"Homework," I said without looking up.
"Quick, is zucchini an odd or an even number?" Adam yelled.
Poor Leo looked absolutely shocked. I put a hand to my mouth and attempted to stifle my laughs. "Wh-What?" he finally stammered.
"Is zucchini an odd or an even number?" Adam said again, his demeanor completely serious.
Leo turned to me with wide eyes. I bit my lip and tried to keep a straight face. "Adam, zucchini isn't a number," Leo said slowly.
"Oh, yeah, you're right," Adam said, his face twisting up. "It's one of those weird math symbols that you place _next _to a number."
"I don't think so," Leo said as I completely lost it. I doubled over with laughter and it wasn't long before my stomach started to hurt. When I looked up, Leo was chuckling and Adam was grinning.
"Zucchini is a kind of squash and don't ask me how I know that!" Adam said quickly, holding his hands up in the air. "But if it _was _a number, I feel like it would be odd."
"Oh, and why's that?" I asked as my laughter finally died down enough for me to talk.
"Because the _word _is odd. I mean, listen to it. _Zucchini_. Zu-cchi-ni. Zucchini. Z-Z-Z-Zuccchini! If that's not odd, I don't know what is!"
"Okay, and would corn be odd or even?" Leo asked.
"Odd."
"Why's that?" I asked.
"Because of all the little kernels it has." Adam seemed satisfied with that answer.
"Are there any even vegetables?" Leo asked.
"Cucumbers. Just because they're perfectly straight."
"What about pickles?" a new voice asked.
Adam, Leo, and I all looked up to see Douglas and Mr. Davenport enter the lab. Neither of them looked too happy, although Douglas had a faint smile. My heart sank a bit. They had just visited Chase.
"Pickles are odd," Adam said. "They're just cucumber's sour cousin."
"Actually, there are sweet pickles—"
"No one cares, Douglas!" Mr. Davenport said gruffly as he moved to the other side of the lab.
"What's up with him?" I asked, pointing to Mr. Davenport's back with my pencil.
"He's a little worked up because . . ." Douglas trailed off and turned to face his brother. "Do you want to tell them or shall I?"
Mr. Davenport sighed and turned around. "You three, here, now," he said in a commanding voice. Adam and I dropped our pencils and walked over to him.
"What's up, Big D?" Leo asked worriedly. We could all tell that the information they had for us wasn't going to be good.
"We talked to Dr. Nelson today," Mr. Davenport said slowly.
"And?" Adam prodded.
"He thinks he knows why Chase isn't responding well to the medicine."
"I helped him figure it out," Douglas said with a smug grin.
Mr. Davenport pursed his lips. "Yeah, because this whole thing is your fault."
"Oh really?" Douglas said. "No, actually, it's because I happen to know a thing or two about medicine!"
"Yes, only _a thing or two_, and no more! You went to medical school for a week and a half before you were thrown out!"
"Hey, I was not thrown out!"
"Guys!" Leo shouted, silencing their arguing. "Would you please just tell us what you were going to say?"
"Yes, okay," Mr. Davenport said slowly. "So here's the deal: We have a big decision to make. Dr. Nelson thinks he knows how to help Chase get better, but we need to talk to you three about it first. It's not going to be an easy thing to deal with."
"This whole thing hasn't been easy to deal with," I pointed out. "I'm up for anything that will make Chase better." My brothers voiced their agreements.
"Well, this will change a lot of things," Mr. Davenport said slowly.
"Just tell us what it is!" Adam said loudly.
Why do things always happen at the worst time for us? As Mr. Davenport opened his mouth to tell us what was going on, the alarms in the lab went off. I silently groaned and hurried over to my capsule. The routine was burned into my mind by now. Adam ran to his capsule too as Mr. Davenport and Leo hurried over to the computers. Douglas stepped back and out of the way.
"This one's pretty serious, guys," Mr. Davenport said gravely as we stepped out in our mission suits. "There was a gas explosion at a factory in Wyoming."
"Wyoming would be an odd number too," Adam said.
Mr. Davenport ignored him. "There are three people that they know for sure are alive and are still inside the factory. The building is still on fire. There's a lot of natural gas in the air, so you guys will need to wear gas masks."
I nodded, my brain becoming fuzzy. It had been a long time since we had been on a serious mission. Most of them were small, seemingly insignificant jobs that weren't hard to complete. This would be difficult. Gas explosions were dangerous.
Mr. Davenport handed us the gas masks and I shuddered. Why did they have to look so creepy? I felt like I was holding death itself in my hands. Reluctantly I slipped it over my face.
"Can I go on the mission this time, Big D?" Leo pleaded.
"Look, Leo, I've already told you! You're not fully trained! This is a dangerous job. Besides, we can't risk anyone finding out about your arm. Okay?"
Leo sighed heavily. "Yeah, fine."
"Trust me, Leo, you don't want to go," I said, my voice muffled through my mask.
Mr. Davenport prepped us on a few more things before I grabbed Adam's hand and sped out the door. We reached Wyoming in a matter of minutes. I stopped and we gazed in horror at the blazing building in front of us.
"I don't think my super speed will be able to put that out," I said into my earpiece.
"People are actually alive in there?" Adam asked.
"Yes!" Mr. Davenport's voice came through the device. "Bree, take Adam in and find them. And be careful!"
I nodded, even if he couldn't see me, and grabbed Adam's hand and ran inside. The blazing building was so hard to navigate through that I finally had to stop. Adam helped break down walls so we could get through. I was incredibly thankful that our mission suits were fireproof.
We found the first woman unconscious on some steps. I scooped her up in my arms and instructed Adam to find the others. When I got back outside, there were several fire trucks and ambulances. I handed the woman to the paramedics and hurried back into the building. I found Adam inside, kneeling beside a man who, like the other lady, was unconscious.
"Hurry, Bree!" he urged me.
"I'm going!" I said, fighting back the panic rising in my chest. The man was harder to carry. I had to sling his arm over my shoulder and run as fast as I possibly could. After dropping him off, I ran back in to find Adam glancing around in confusion.
"Where is the last person?" I yelled.
"She should be on the first floor, in the northeast corner!" Leo replied through the earpiece.
"That's where we are!" I answered.
"Bree, there's a door over there! Maybe she's in that room!" Adam suggested.
I nodded and we both ran to the door. Adam punched it open and we hurried inside. Sure enough, there was the third person. She was slumped in a chair in the center of the room. The flames were getting dangerously close to her.
As I picked her up and got ready to run out, the doorway collapsed. I looked on in shock as flames covered every inch of the walls. My heart sank further as I realized that we were trapped.
Adam approached the flaming wall and suddenly leapt backward. "No way on earth I'm punching through that!" he said.
"Adam, she's barely breathing," I said, motioning to the woman in my arms. "We need to get her out of here!"
"I'm working on it!" Adam shouted. I knew that he was trying to stay calm, but I could hear the terror hiding behind his voice.
"Chase would know what to do," I whispered.
"No, don't do this now!" Adam said. "Not now, Bree!"
Adam was right. I needed to focus. What had to be done here? What would Chase do? How were we going to get out? Adam and I would probably be fine in here for a little while (so long as the room didn't cave in on us) but the woman sure wouldn't be. As I breathed in clean air, I realized what I had to do.
"What are you doing?" Adam asked when he saw me fiddling with the straps on my gas mask.
"We live to save!" I said stubbornly as I yanked it off. I coughed at the rancid smell and thin air. As my eyes began to water, I looked up to meet Adam's gaze. "And we die to save, too." I slipped my gas mask over the woman's face.
Adam stared at me in disbelief and was about to say something when another part of the wall collapsed. This time it left a hole big enough to crawl through. Adam motioned me towards it.
"Quick, get her out of here!" he said. "You can fit through that hole!"
"What about you?"
"I'll be fine, Bree! Hurry up, this is your chance! That hole could close any minute!"
"I'm not leaving you behind!"
"What did you just say a few seconds ago? We die to save, too. Get out!"
I couldn't argue with my own logic. I crawled through the hole and Adam helped me get the woman through. Then I put her on my back and headed out. I got outside and started coughing furiously. The paramedics grabbed the woman and then approached me.
"Miss, you need medical attention," one of them said gently but firmly.
"No," I coughed. "My . . . my brother's still in there!" I reached for the woman and tried to pull the gas mask off, but I couldn't get undo the straps. I turned to look at the building behind me and saw it collapsing in several places. There was no time.
Despite the protests of the firemen and police officers and paramedics behind me, I rushed back into the building. Adam was in there, and he needed my help. I wouldn't lose another brother.
"Adam!" I called, coughing furiously every few seconds. "A-Adam!"
"Bree!" he shouted as he ran up. "Bree, you need to get out!"
"Not without you!" I said as he caught me in his arms.
"Fine, you have me. Take us out."
I tried to speed away, but found that I couldn't. I could barely stand. My lungs were burning. My brain was fuzzy and the world around me started to spin. "A-Adam," I muttered weakly before I lost control of my limbs. The last time I felt like this was when I had been exposed to the neurotoxin, but at least then I had been in control of my mind!
Adam cradled me gently. "Bree, come on, you're going to be fine!"
Tears stung the back of my eyes. I had only put us both in danger by coming back. The gas was getting to me. I couldn't breathe. I couldn't move. I couldn't super-speed us out. The ceiling was going to cave in on us at any moment. I tried to get up, tried to move, tried to speed. I couldn't.
"Adam," I whispered. "Adam . . . I . . . I'm tired."
"No, Bree, no!"
Adam's voice faded into the background as I let my head drop backward and my eyes close.
* * *
**Woo! It's been a long time since I had to do research on asphyxiation. I believe the last time was when I wrote "Arcane Art." Oh, did I just write a cliffhanger? Haha, silly me. Now you'll have to scream along with Adam for Bree to stay awake, huh? And you'll have to scream at me to update. *waits patiently for angry protests***
**Turns out that research for gas explosions is hard to come by. I tried, but I'm not sure if I got everything right. So I apologize if anything seemed off. I did my best.**
**Well, that was a crazy chapter, wasn't it? Don't ask me where the odd/even vegetables thing came from. Sometimes I'm a little too much like Adam. O.o Maybe it comes with being an oldest sibling. XD**
**Hmm, what do you suppose Donald and Douglas had to say? Any guesses? I love wild theories. Or correct theories. I want to see if anyone gets it right. :3 You may just get a shout-out!**
**The next update for this story will ****_hopefully _****be soon. I'm not very busy anymore, at least I won't be for a while. I'll do my best to write and update for you guys. I know you want to know what happens. Stick around now for updates on my other stories, and I'll see you guys in a bit! Bye!**
6. Chapter 6: More to Lose
**"Gosh, daphrose, I was starting to think you'd abandoned this story!" Nope. Just been ****_really _****lazy. But I finally gave myself a well-needed kick in the pants. Daddy's Little Lab Rats is next. Two months is a long time, and I want to thank you all for your patience. You're better than me. :P**
**Honestly, I think I do have good reasons why I struggled with sitting down and writing this chapter. Mainly because ****_I didn't know what to do_****. Which was still a bad thing on my part for not figuring it out beforehand. I've spent two months trying to figure out what I was going to do to Adam. I considered ****_every _****possibility and I mean ****_every _****one. From blindness to losing a limb to even death at one point . . . you'll see my ultimate decision once you read.**
**This chapter is not my best, and I acknowledge that. Still, it turned out better than I thought it would. I don't own Lab Rats; enjoy!**
* * *
*** * * Chapter 6: More to Lose * * ***
* * *
The road back to consciousness was shaky. I faded in and out, fighting against the weariness that was trying to drag me back down again. Finally I shoved it aside completely. As I became more aware of my surroundings, I realized that I could breathe. Granted, it was hot and labored, but I was breathing. My vision was foggy and . . . wait.
I reached up to touch my face and realized that I had a gas mask on. _That's weird_, I thought. Above me the ceiling was burning, and it looked like it was going to collapse at any moment. Adrenaline swelled through my veins and gave me the boost I needed to sit up.
In trying to figure out how I had a working mask on my face, I realized that there was a figure in a black outfit lying on the ground beside me. He wasn't moving. I gulped. "Adam."
I rolled my older brother over to see him with his mouth wide open and eyes closed. If it wasn't for the fact that he was hardly breathing, he would have looked like he was only sleeping.
"Oh, Adam." Part of me wanted to take off my mask and put it on him, but what good would that do? We could keep going back and forth on this until it was too late for one of us. I wasn't going to do that, I decided.
We had to get out of here. I wouldn't lose another brother. This could not be happening. _What would Chase do?_
I didn't have nearly enough energy to speed out. Any exits had been blocked by fallen debris, and I couldn't move it. It seemed utterly hopeless. I tried to push myself up, desperate to do something, _anything_. But it was no use. My limbs wouldn't respond correctly. Every time I managed to make it to my feet, I stumbled forward and almost cracked my head open on the pavement.
Finally I sat down, exhausted and dejected. I wasn't getting out of here anytime soon. I glanced over at Adam again.
"I won't cry," I whispered softly. "You used to tease me every time I cried. I know you weren't being mean. But you still taught me to be brave." I placed my head in my hands. My fingers rubbed against the soot resting on the outside of the gas mask. Once again I was filled with horror. This mask had to be death itself. It could only save one of us, and the one who wore it would have to live with that empty feeling for the rest of their life.
My lungs still burned. The mask was helping, but it wasn't enough. Part of me was starting to think that I should have listened to the paramedics outside. Would they ever find us? They probably thought we were dead by now.
I lay down on the concrete floor, the crackling sound of fire consuming everything in its path filling my ears. Adam's labored breathing made my heart ache. Once or twice it stopped and I froze with fear. A few seconds later he would breathe again, though it was weak and raspy.
"I'm sorry I'm not strong enough," I said.
In that moment when I had given up hope—the moment I resigned myself to the fact that I was on my last mission—a nearby wall collapsed. I gave a slight shriek and covered my head instinctively. When I looked up I was shocked to see a figure standing there, wearing the same type of gas mask I had on, the one with a Davenport Industries logo smack in the middle of the forehead.
"Bree!" he called as he ran up to me. "Thank goodness! I was afraid you were . . ." He didn't finish the thought.
"Leo," I said, my voice so choked with relief that I couldn't say more than his name.
"Is Adam okay?" Leo asked, crouching down beside our brother.
"I . . . don't know."
"Are you okay?"
"I don't know."
"Well . . . you're going to be okay." There was some hesitation at first, but by the time he had finished the sentence I knew he believed it fully.
"Thank you," I managed to gasp.
With his bionic arm, Leo lifted Adam and supported him rather awkwardly. He extended his left hand to me. "I can do this myself," I said stubbornly.
"Sure," Leo said sarcastically. "This isn't the time for this, Bree. Take my hand."
I did, somewhat reluctantly, and together we headed through the hole in the wall he had created. Turns out he had cleared a path out of the building. We made our way along, Leo somehow managing to support both me and Adam. I was actually really impressed.
It only took us a couple of minutes to make it outside. We came out of the building suddenly, and the sunlight nearly blinded me. Leo helped us a little bit further before finally collapsing onto the ground. He made sure to set Adam down gently before ripping off his gas mask and lying on his back, staring up at the sky.
I dropped to my hands and knees and tore off my own mask, breathing in the sweet, fresh air of the outdoors. Well, not entirely fresh, since there was a burning building producing black plumes of smoke right behind me. But it was better than inside.
The paramedics and firemen had seen us by now and came rushing up. As they came closer, I noticed my arms beginning to tremble under my weight. The soft browns and greens of the earth I was staring at began to mix together in front of my eyes. The voices nearby blended to create a shrill ringing. A sudden wave of heat passed over me, and then I was face-down in the dirt.
* * *
The next time I woke up, I felt cool. Wonderfully, beautifully, deliciously cool. Almost cold, even. A soft breeze fluttered around me, brushing my hair against my face. I took a deep breath and coughed, and then I dared to open my eyes.
In front of me were both my fathers. They stood with the same expression on their face, but I would never say that to them. At that moment, they looked just like brothers. They shared the obvious concern mingled with relief with a hint of "I'm-going-to-kill-those-kids-when-they-wake-up." Leo sat at his mission specialist desk behind them. He was pressing a wet washcloth against his arm.
"We completed our mission," I said almost drowsily. It was what I had been taught to report whenever I returned to the lab. There was no way I was moving on to another subject until I informed them that we had been successful—sort of.
"You almost died," Douglas pointed out. Well, he didn't waste any time.
"But no one else did," I replied. Then I leaned forward, trying to see around the empty capsule on my right. "Is Adam okay?"
"He's still asleep," Mr. Davenport sighed. Then came the incoherent thoughts that told me everything I needed to know about my father's current state of mind: "What were you thinking? You could've gotten yourselves killed! I'm proud of you for getting all those people out, but giving up your gas mask? I thought I raised you better! That was very stupid of you! I'm glad you're home safe."
I smiled, knowing what all those jumbled up thoughts really meant. "I love you too," I said.
"Yeah, yeah," Mr. Davenport said, waving his hand and typing something in on the computer. "You're unbelievable."
"That's the way I like it."
I stepped out of my capsule, relieved when my legs were able to support me. I walked across the room, eyes locked on my target. Leo looked up as I approached. "Speaking of stupid plans . . ." I said, leaning slightly on his desk.
"I know, I know," Leo sighed. "It was risky and dumb. But they let me do it!" Leo gestured to Douglas and Mr. Davenport.
"Thank you, Leo," I said. "Really, thank you. I don't know what we would've done without you. You're a hero."
"R-Really?" Leo stammered. "You think I'm . . ." He gulped. "I mean, of course I am. You're welcome, Bree."
I just smiled at him and turned back to the two men in the lab. I caught sight of Adam sleeping in his capsule and my smile faltered. "Is he going to be okay?"
"He should be," Douglas said. "You two are very lucky. You really should've died in there."
Mr. Davenport elbowed his brother sharply in the side. Douglas scowled in response.
There was a loud yawn and we turned to see Adam stretching. He pushed his capsule open, rubbed his eyes, and cried, "Where's dinner?"
"He's fine," I proclaimed.
"Glad to see you're feeling better already, Adam," Leo said.
"Hmm? Oh, yeah, just great." Adam took one step forward and nearly fell. Mr. Davenport and I rushed quickly to his side.
"Easy, big guy," I teased. "We've both had a rough day."
"But I want dinner!" Adam roared.
"Tasha's making it," Mr. Davenport assured him. "Turkey and mashed potatoes. Just sit down and be patient."
"Fine," Adam huffed, collapsing into a chair by the cyberdesk. I shook my head. My older brother's immaturity levels never ceased to amaze me.
"Man, some day," Douglas said. "You guys get trapped in a fire, _Leo_, of all people, has to save you, and we find out that Chase's bionics need to be removed."
We all stiffened and Mr. Davenport shot a death-glare at his younger brother. "Douglas!" he protested.
"Oh, yeah, we didn't tell them that yet." Douglas chuckled nervously. "Whoops."
"Chase's bionics?" I repeated.
Mr. Davenport sighed again. "Okay, don't freak out . . ."
"Too late," Leo muttered.
"Dr. Nelson thinks Chase's bionics are stopping him from getting better. He thinks blocking them isn't enough. We might have to remove Chase's chip . . . permanently."
There was a stone-cold silence in the room for several seconds.
"You're his siblings," Mr. Davenport continued. "We're not going to do this unless you think it's a good idea. It will change a lot of things."
Adam, Leo, and I looked at each other. We knew what that meant. If Chase's chip came out for good, then there would be no hope of things returning to normal. He would never lead us on another mission. There would only be more cases like the fire where Adam and I couldn't handle it on our own. Chase would never be able to help us again.
"Things aren't normal now," I said out loud. "They're not ever going to be normal again. I'd rather have Chase back with his mind intact than his bionics. I just want my brother back."
"Me too," Leo added. "If it's the only way for him to get better, than I vote yes."
"Eh, his bionics are useless anyway," Adam said. His words were harsh, but I knew he was only trying to cover up the hurt he felt deep down.
"Okay then," Mr. Davenport said, turning to face Douglas. "I'll call Dr. Nelson."
Adam grasped the cyberdesk suddenly and bent over, coughing so hard his face turned red.
* * *
Recovering from near-asphyxiation was not a fun process. Not because of the coughing or burning sensation in your throat—both of which were annoying inconveniences—but because of the smothering. Tasha was keeping us confined to the house, and Mr. Davenport was keeping us confined to the lab, usually in our capsules. After one week, I was getting sick of it.
That day we finally got a break. Tasha had a news assignment and both Mr. Davenport and Douglas were gone as well—it was the day that Chase would become a normal human being. I tried not to think about it. I sat in the living room on the couch, wedged between my older brother and my step-brother. The television was displaying one of Adam's home reality shows, to which I only gave half of my attention.
"Do you think he'll be okay?" Leo said, breaking the silence that had been separating the three of us.
Adam hit pause on the remote and looked over me at Leo. "Chase is always okay," he said confidently.
"He hasn't been," I pointed out.
"Yes, but he will be. I know he will be."
"It's going to be weird," Leo said. "Even if he gets better and comes home, it'll be so different."
"Things are already different," I said. "Ugh, why can't I have a normal life?"
"Not going to happen, Bree," Adam said.
I glared at him, then threw my hands up in defeat. "I know, I know. I'm a bionic superhuman. My life will never be normal."
"But it's pretty fun," Leo said with a shrug.
"Almost dying in a fire is not fun," I deadpanned.
There was silence for a few more seconds. Oddly enough, I found myself leaning my head against Adam's shoulder. He didn't brush me off. Leo leaned on my other side, and cautiously he slipped his hand behind my back.
"Our family is going to be okay," he promised. "One way or another, we're going to be okay."
* * *
**So I kept Adam alive, and both he and Bree are okay. I thought it was the best way to go in the end. The Davenport family has suffered enough. XD Be glad I didn't kill him. I was ****_this close_****.**
**Yeah, you all guessed it. Chase is losing his bionics. The next chapter will be a sort of epilogue thing (but it's still chapter seven). The denouement. ;) Probably lighter than some of the rest of this story. You'll see. I'll try to get it out soon, aka, before two months.**
**Two big updates:**
**Song of the Day has a forum now! If you've been listening to the songs, I highly suggest going to check it out. There's a link on my profile. You can go through all the past songs and have discussions about music and faith. Yay! Following the Song of the Day topic (the topic, not the forum) will also give you updates in your inbox when I post a new one every day. Please check it out if you have the time!**
**I'm leaving for vacation on Sunday. I might away from the internet for Sunday-Tuesday, but by Wednesday I should be back on again. I have my new laptop, whose batteries don't die every hour, so hopefully I'll be able to get a lot of writing done. I'll have wi-fi as well. And I get ****_really _****inspired on vacation, typically. With any luck, I'll be writing quite a lot for you guys in the next week and a half!**
**OH! And I've got a poll on my profile I'd love for you to check out, if you can. I'm trying to decide which new stories should be posted first (though I'm trying to work on all of them). It's just a matter of figuring out what you guys want to see from me. NMTE is almost done, so I've got to decide which smaller multi-chap story I want to give you guys next. Thanks!**
**Okay, I believe that's all. I hope you guys enjoyed it, even if it was crappy. See you soon!**
7. Chapter 7: Come Home, Chase
**Hello everyone, and welcome to the final chapter of Now More Than Ever. It's very short, but I didn't think it would be a good idea to drag it out. So even if it's just over a thousand words, I hope you'll enjoy this final chapter/somewhat epilogue. **
**By the way, I listened to "Home" by Daughtry while I wrote this. I don't know if it fits completely, but it's a nice song. Random fact. :) **
**I don't own Lab Rats. Enjoy.**
* * *
*** * * Chapter 7: Come Home, Chase * * ***
* * *
I put my hand on the brass doorknob and started to turn it. In a moment of hesitation, I turned back to Mrs. Lebowski. She smiled at me and gestured for me to continue. I took a deep breath and entered the room.
"Chase?" I called as I walked in. "Are you awake?"
My brother sat up on his bed and looked at me. He leaned against the wall and smiled—yes, smiled. It was his usual smirk, a happy look that spread across his whole face. I hadn't seen it in months. Looking at it now, tears were welling up in my eyes. No, I wouldn't cry.
"How are you feeling?" I asked as I sat down in the chair and put my purse on the table.
Chase shrugged. "Okay, I guess. Still feel a little woozy. Got a bajillion medications in my system, but I don't think that's going to change anytime soon."
From my spot, I could see the faint red line that ran up the side of my brother's neck. It only served as a reminder that Chase would never be bionic again. At that point, though, I didn't care about his abilities. All I wanted was my brother back. Besides, his smart-aleck comments did get a little old at times. Maybe it would be even better.
"How's everyone been?" he asked suddenly. He was staring right at me, and for the first time in a while, it looked like he actually cared about what I had to say.
"Pretty good. Um . . . we're all excited about you coming home next week."
"Me too," Chase said with a grin. "It'll be nice to be out of this place. It gets really depressing at times. How's Leo?"
"Good . . . good. He, uh, he's been training with his bionic arm a lot."
Chase's smirk got bigger. "He's replacing me, isn't he?"
That was exactly what I had been trying to avoid. _Thanks a lot, Chase. _"I wouldn't say _replacing_. But, yes, he's joining our team. We . . . kinda need his help on missions. Adam and I can't really do it by ourselves. But he's not replacing yo—"
"Bree," Chase said, holding up his hand. "I'm not mad. I know you need as much help as you can get. That's great for Leo. I know it's what he's always wanted. Maybe someday I'll even be able to help a little again—probably from the lab. It's like Leo and I have switched." He gave a soft laugh.
I couldn't help but smile. "You really do seem a lot better."
His smile faded. "Not completely. Yes, the medicine is helping. A lot. But . . . it's not going to fix me. Not all the way. Sometimes I can still hear them. Sometimes I still can't think straight. I know that things will never be the way they used to be."
"I don't care about that," I said, trying to show him how earnest I was. "All I care about is having you back."
"I'm still going to hate myself," he said. "I can't help it. I try _so hard_. But I really can't do any better."
"I know. I don't care."
"You're still going to have to deal with me hearing and seeing things you don't. I'll . . . I'll drift off and you can't get me back." He bit his lip and looked into my eyes. "What if I try to hurt you again?"
"You won't," I said with complete confidence. "We're going to help you get better, Chase. And even if you're still not completely healed, we won't give up on you or stop loving you."
"Thank you. I know . . . I know I haven't . . . been the best when you come." He took a deep, shuddering breath. "But I really appreciate you being here. Thank you f— . . . for not giving up. On me. Thanks."
"Of course. You're my brother; I have to love you." I winked.
Chase took another deep breath and pushed back into the wall. "It's going to be hard, though. I'll be around all the time. You'll have to deal with me every day instead of when you _feel _like visiting." He looked at me. "Can you do that?"
"I'll have to. And I can. I know I can. Besides, everyone else will help. We're so excited to have you come back."
"I'm not bionic." He paused. "Do you know how weird that is?"
"I'm sure it is strange. I'm sorry."
"I . . . almost feel like I lost a part of myself. But . . . I've lost so much already, I guess. I couldn't use my bionics in here anyway."
"I know it's going to be different."
"It's a nice different in some ways. They don't talk to me much anymore. I like it when they're quiet. When they don't tell me things that you say are lies. I . . . I never liked them, anyway."
"I'm glad that you don't hear them anymore."
"Much," he corrected. "They're still there."
"But they'll be a lot quieter, like you said."
"Yeah."
For several seconds everything was silent. Then Chase reached under his pillow and pulled something out. My heart sped up a bit when I saw the object in his hand: a Rubik's Cube. He looked down at it and began to turn the sides. He did it slowly and deliberately, almost as if I was no longer in the room. His full concentration was on the cube. I watched in silent fascination.
Chase clicked one more side. The Rubik's Cube was complete. Each of the six sides was one solid color. Chase stared down at it, his face expressionless. "Things won't be perfect again," he whispered, "but I . . . I think they'll be better."
That moment almost broke me. I reached up to rub my eyes, telling myself it was allergies. My brother was truly getting better. Maybe he would relapse—Dr. Nelson said it was a possibility—and he would never be the same as he was before this illness set in, but this was better than anything we had had to deal with for a long time. There was hope. There was joy. Chase was coming back to us. Broken and changed as he was, he was coming back. It was beautiful.
"I love you, Chase," I said.
He looked up at me with those amazing hazel eyes of his. The smile came back—that same joyful smile I had been missing. "I know," he said. "And . . . I love you too."
* * *
**I thought that would be a good way to end the story. And maybe it was short, but I still think it turned out good. So, did you guys like it? Thanks again for all this support on this story. I really appreciate everyone who reviewed and helped me research different topics. And of course, all the readers too. Thanks so much.**
**There's a brand new poll on my profile, if you guys would like to check it out. I'm trying to decide which new story to post. Or maybe if I should just post all of them at once, and put up new chapters as I work on them. That might make updates a little slower, but you'd get a lot of material. Or I can wait and not post anything new right now. Then, once the stories are closer to being finished, I'll update them often. But it could be months before I publish them at all. A few I might need help on, so I've thought about posting them just so you guys can help me out. But anyway, vote on the poll or tell me in a review what you think I should do.**
**(And I know a lot of you want to see "You'll Go Down With Me," but I might have to drop that story, guys, I'm sorry. I really don't know what to do with it. I've got no plot and I can't come up with one. So I'm sorry. I'm not saying it ****_is _****scrapped, but it might be soon. Sorry.)**
**Anyway, thanks again to all the readers/reviewers/favoriters/followers of this story. The support is much appreciated. Whatever I do next, I hope to see you guys there. Bye!**
End file.
| fanfiction |
An **atom** is the smallest constituent unit of ordinary matter that has the properties of a chemical element [closed]
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An **atom** is the smallest constituent unit of ordinary matter that has the properties of a chemical element.
**my Question**:ordinary matter = chemical element???
A **chemical compound** is an entity consisting of two or more atoms, at least two from different elements, which associate via chemical bonds .
**my Question**: Is a single molecule can be a compound? ??
A **chemical element** is a species of atoms having the same number of protons in their atomic nuclei .
**my Question**: Is a single atom can be a compound ???
1. Yes, in simplest terms, ordinary matter is the elements. It's what we see and interact with everyday, although it only makes up 4% of the universe.
2. In many cases, a molecule can be a compound, as long as it includes two *different* atoms. Something like H2 is a molecule but not a compound because it only has one unique element.
3. No, a compound must have *two* different atoms.
Hope that helps!
| stackexchange/chemistry |
allergen immunotherapy ( ait ) is based on administration of increasing doses of the causal allergen to reduce clinical reactivity in allergic patients , and therefore is the only treatment targeting the cause and not merely the symptoms of respiratory allergy.1 the outcome is achieved via the immunologic mechanism of action of ait , that mostly consists of restoring a th1-dominant t - cell response and generating specific t - suppressor cells.2 these effects are clinically expressed by tolerance to the administered allergen , resulting , as far as respiratory allergy is concerned , in a decreased burden of rhinitis and asthma.3 ait may be administered via the injected route ( subcutaneous immunotherapy , scit ) or the sublingual route ( sublingual immunotherapy , slit ) .
the efficacy of slit in allergic rhinitis and asthma is demonstrated by a number of meta - analyses,410 including subpopulations such as children,5,7 patients specifically evaluated for asthma,6 and patients treated with particular allergens such as the house dust mite9 or grass pollen.10 another important subpopulation is represented by patients inadequately controlled on drug treatment , who have severe symptoms during the pollen season and consequently a high burden of disease and high economic costs.11 frew et al were the first to show that one season of scit was significantly more effective than placebo with regard to symptoms and medication scores in patients with grass pollen - induced rhinoconjunctivitis who had had an unsatisfactory response to standard drug treatment.12 in their study , two maintenance doses of 10,000 and 100,000 standardized quality ( sq ) units were used , with higher efficacy but also lower tolerability using the higher dose .
it is well known that slit is significantly better tolerated than scit , but no trials are available showing that slit is effective in patients not adequately controlled by drugs .
a recent post hoc analysis of published studies using 5-grass pollen tablets showed that better clinical efficacy was achieved by immunotherapy in patients with more severe allergic rhinitis , although it was not reported if these patients were unresponsive to drugs.13 in a real - life study , we evaluated the efficacy of slit using 5-grass pollen tablets in patients poorly responsive to drug treatment .
seven allergy centers in italy , namely niguarda hospital ( milan ) , san marco general hospital ( bergamo ) , treviglio hospital ( bergamo ) , italian institute for auxology ( milan ) , maggiore general hospital ( milan ) , riuniti hospital ( bergamo ) , and legnano hospital ( milan ) participated in this study .
male and female subjects aged 1245 years with seasonal allergic rhinitis were included . for inclusion , patients had to have had symptoms of rhinitis during the grass pollen season ( from mid april to end of june ) for at least 2 consecutive years , an unsatisfactory response to drug treatment in the previous season , as assessed by the patients themselves using a specific questionnaire , and a positive skin prick test with grass pollen extracts .
allergic rhinitis was classified according to allergic rhinitis and its impact on asthma ( aria ) guidelines.3 the main exclusion criteria were allergic rhinoconjunctivitis caused by cosensitization and likely to influence symptoms during the study , previous ait , and the usual contraindications to ait.14 this multicenter observational study , known as ors ( oralair rhinitis solution , stallergenes , antony , france ) was conducted in two phases : at the end of the 2010 pollen season , the investigators identified patients with allergic rhinitis unresponsive to drug therapy ( retrospective phase ) ; and during the 2011 pollen season collected clinical data from these patients , who were treated preseasonally and coseasonally with 5-grass pollen tablets ( prospective phase ) .
medication scores in the two seasons were calculated by attributing a score of 3 to topical steroids , a score of 2 to oral antihistamines or antileukotrienes , and a score of 1 to topical antihistamines or nasal decongestants .
the primary objective of the study was to investigate the effectiveness of first - year slit treatment in patients with allergic rhinitis unresponsive to drug treatment .
the secondary objectives were to assess use of rescue medication , the presence of comorbidities , and patient satisfaction , measured using a visual analog scale that has been proven to be a valid tool in evaluating allergic rhinitis,15 in particular for patient satisfaction.16 using the visual analog scale , patients assessed their level of satisfaction by indicating a position along a continuous line between two points from 0 ( very dissatisfied ) to 10 ( very satisfied ) . for data collection , we used a paper case report form recording the aria classification of allergic rhinitis,3 onset of symptoms , clinically relevant allergen(s ) , comorbidities , response to therapy , and patient satisfaction .
written informed consent was obtained before entering the study , and in the case of minors was obtained from next of kin , caregivers , or guardians .
the ethics committees at each of the participating sites approved the study , ie , the ethics committees of niguarda hospital ( milan ) , san marco general hospital ( bergamo ) , treviglio hospital ( bergamo ) , italian institute for auxology ( milan ) , maggiore general hospital ( milan ) , riuniti hospital ( bergamo ) , and legnano hospital ( milan ) .
slit was performed using a preparation of 5-grass pollen in tablets ( oralair ; stallergenes s.a . ,
antony , france ) , the characteristics of which have already been reported.17 briefly , the preparation contains a mixture of phleum pratense , dactylis glomerata , anthoxanthum odoratum , lolium perenne , and poa pratensis , covering the immunoglobulin e sensitization profiles of grass - allergic patients in the mediterranean area.18 each tablet was taken sublingually once daily in the morning before breakfast and was kept under the tongue until complete dissolution before swallowing .
it was administered according to a pre - coseasonal schedule of slit , ie , started 4 months before the expected start of the grass pollen season and stopped at the end of the pollen season , for an overall duration of 6 months .
any local or systemic adverse effects of slit were to be recorded by the patients . a central organization ( ibis informatica , milan , italy ) undertook the data entry and statistical analysis .
mcnemar s test was used to compare the two pollen seasons ( 2010 versus 2011 ) .
continuous parameters were reported as the frequency , mean , standard deviation , median , first and third quartile , and minimum and maximum .
comparison of the two pollen seasons was performed using the student s t - test for paired data , and the difference between seasons was reported with the related 95% confidence interval .
statistical analysis was carried out using bmdp dynamic 2009 version 8.2 software ( bmdp statistical software , inc .
seven allergy centers in italy , namely niguarda hospital ( milan ) , san marco general hospital ( bergamo ) , treviglio hospital ( bergamo ) , italian institute for auxology ( milan ) , maggiore general hospital ( milan ) , riuniti hospital ( bergamo ) , and legnano hospital ( milan ) participated in this study .
male and female subjects aged 1245 years with seasonal allergic rhinitis were included . for inclusion , patients had to have had symptoms of rhinitis during the grass pollen season ( from mid april to end of june ) for at least 2 consecutive years , an unsatisfactory response to drug treatment in the previous season , as assessed by the patients themselves using a specific questionnaire , and a positive skin prick test with grass pollen extracts .
allergic rhinitis was classified according to allergic rhinitis and its impact on asthma ( aria ) guidelines.3 the main exclusion criteria were allergic rhinoconjunctivitis caused by cosensitization and likely to influence symptoms during the study , previous ait , and the usual contraindications to ait.14
this multicenter observational study , known as ors ( oralair rhinitis solution , stallergenes , antony , france ) was conducted in two phases : at the end of the 2010 pollen season , the investigators identified patients with allergic rhinitis unresponsive to drug therapy ( retrospective phase ) ; and during the 2011 pollen season collected clinical data from these patients , who were treated preseasonally and coseasonally with 5-grass pollen tablets ( prospective phase ) .
medication scores in the two seasons were calculated by attributing a score of 3 to topical steroids , a score of 2 to oral antihistamines or antileukotrienes , and a score of 1 to topical antihistamines or nasal decongestants .
the primary objective of the study was to investigate the effectiveness of first - year slit treatment in patients with allergic rhinitis unresponsive to drug treatment .
the secondary objectives were to assess use of rescue medication , the presence of comorbidities , and patient satisfaction , measured using a visual analog scale that has been proven to be a valid tool in evaluating allergic rhinitis,15 in particular for patient satisfaction.16 using the visual analog scale , patients assessed their level of satisfaction by indicating a position along a continuous line between two points from 0 ( very dissatisfied ) to 10 ( very satisfied ) . for data collection
, we used a paper case report form recording the aria classification of allergic rhinitis,3 onset of symptoms , clinically relevant allergen(s ) , comorbidities , response to therapy , and patient satisfaction .
written informed consent was obtained before entering the study , and in the case of minors was obtained from next of kin , caregivers , or guardians .
the ethics committees at each of the participating sites approved the study , ie , the ethics committees of niguarda hospital ( milan ) , san marco general hospital ( bergamo ) , treviglio hospital ( bergamo ) , italian institute for auxology ( milan ) , maggiore general hospital ( milan ) , riuniti hospital ( bergamo ) , and legnano hospital ( milan ) .
slit was performed using a preparation of 5-grass pollen in tablets ( oralair ; stallergenes s.a . ,
antony , france ) , the characteristics of which have already been reported.17 briefly , the preparation contains a mixture of phleum pratense , dactylis glomerata , anthoxanthum odoratum , lolium perenne , and poa pratensis , covering the immunoglobulin e sensitization profiles of grass - allergic patients in the mediterranean area.18 each tablet was taken sublingually once daily in the morning before breakfast and was kept under the tongue until complete dissolution before swallowing .
it was administered according to a pre - coseasonal schedule of slit , ie , started 4 months before the expected start of the grass pollen season and stopped at the end of the pollen season , for an overall duration of 6 months .
any local or systemic adverse effects of slit were to be recorded by the patients .
a central organization ( ibis informatica , milan , italy ) undertook the data entry and statistical analysis .
mcnemar s test was used to compare the two pollen seasons ( 2010 versus 2011 ) .
continuous parameters were reported as the frequency , mean , standard deviation , median , first and third quartile , and minimum and maximum .
comparison of the two pollen seasons was performed using the student s t - test for paired data , and the difference between seasons was reported with the related 95% confidence interval .
statistical analysis was carried out using bmdp dynamic 2009 version 8.2 software ( bmdp statistical software , inc . ,
forty - seven patients of mean age 25.7 years were included in the study , comprising 23 males and 24 females , with 38 adults and nine adolescents .
allergic rhinitis had been present for 128.5 years in the adults and for 5.54.2 years in the adolescents .
of the 47 patients , at inclusion in 2010 , none ( 0% ) reported mild intermittent allergic rhinitis , three ( 6.4% ) had moderate to severe intermittent allergic rhinitis , ten ( 21.3% ) had mild persistent allergic rhinitis , and 34 ( 72.3% ) had moderate to severe persistent allergic rhinitis .
the response to symptomatic treatment was judged as poor by 33 patients ( 70.2% ) and very poor by 14 patients ( 29.8% ) . during the 2011 grass pollen season , after treatment with 5-grass pollen tablets , 33 patients ( 79.2% ) reported mild intermittent allergic rhinitis , none ( 0% ) had moderate to severe intermittent allergic rhinitis , seven ( 14.9% ) had mild persistent allergic rhinitis , and seven ( 14.9% ) had moderate to severe persistent allergic rhinitis . comparing the two seasons , 31 patients classified as having mild or moderate to severe persistent disease when treated with symptomatic drugs changed to mild intermittent allergic rhinitis when treated with 5-grass pollen tablets ( p<0.01 ) .
all patients were sensitized to grass pollen . among the adolescents , six were monosensitized and three were also sensitized to the house dust mite .
adults showed a number of other sensitizations , ie , house dust mite in 11 patients , olive pollen in seven , birch pollen in six , cypress pollen in four , parietaria pollen in four , and ragweed pollen in three patients .
table 1 shows the comorbidities reported by patients , the most common being conjunctivitis and asthma .
the mean medication score changed from 4.21.3 before to 2.42.0 after slit ( p<0.01 ) , representing a decrease of 42% ( figure 2 ) .
in particular , a significant decrease was found in the use of oral antihistamines ( 46.8% ) and nasal decongestants ( 21.3% ) .
also , concerning the consumption of drugs for asthma , a decrease , albeit not significant , was found , corresponding to 6.4% for both 2-agonists and inhaled corticosteroids .
the mean visual analog score for patient satisfaction increased from 31.3 before to 8.71.3 after slit , indicating a significant improvement ( p<0.01 , figure 3 ) .
a definition of severe chronic upper airway disease has been introduced to identify those patients whose symptoms are inadequately controlled despite adequate pharmacologic treatment based on guidelines , and thus have impaired quality of life , social functioning , sleep , and school / work performance.19 a recent reappraisal of the current status of knowledge on severe chronic upper airway disease listed a need for defining success of medical treatment including immunotherapy in terms of control in allergic rhinitis.20 however , thus far , only one study has addressed this issue . in a large study of patients with grass pollen - induced allergic rhinitis not controlled by standard drug treatment ,
203 were randomized to maintenance with 100,000 sq units , 104 to 10,000 sq units , and 103 to placebo , with both active treatments being significantly more efficacious than placebo .
the 100,000 sq unit regimen was more effective , but the 10,000 sq unit regimen caused fewer side effects.12 it is surprising that no other study has been done in this area , either with scit or slit , that has the advantage of being much better tolerated.21 in addition , slit meets the requirements for use as treatment for pollen - allergic patients because it has the highest evidence of efficacy as demonstrated by meta - analyses48,10 and offers benefit over scit in terms of compliance and pharmacoeconomic aspects.22 in a real - life study , we sought to assess the effectiveness of slit in the form of the 5-grass pollen preparation in drug - resistant patients , given that this therapy has already been demonstrated to be effective and safe in both adults17 and children.23 the 5-grass pollen tablets were prescribed after a pollen season in which standard drug treatment , ie , antihistamines , nasal corticosteroids , and nasal decongestants , had been ineffective . following 5-grass pollen therapy , the clinical stage of allergic rhinitis , as defined by aria classification , was overturned .
the number of patients with mild intermittent allergic rhinitis increased from 0 to 33 , while the number of patients with moderate to severe persistent allergic rhinitis decreased from 34 to 7 , ie , the severity of symptoms was reversed .
this finding indicates that 5-grass pollen tablets are able to achieve clinical control of allergic rhinitis in patients unresponsive to drugs , as previously demonstrated for scit.12 asthma was not a major issue for our patients , but a decrease in use of bronchodilators and inhaled corticosteroids was found with slit .
this is not unexpected , given the strong relationship between allergic rhinitis and asthma.3 as far as factors related to failure of antiallergic drugs are concerned , a recent paper on severe chronic upper airway disease suggested a number of disease - related , patient - related , and treatment - related factors.20 among them , comorbidities , such as chronic sinusitis , and adherence to medical treatment seem particularly important .
we can exclude a role for comorbidity in our population , because no patient reported sinusitis . on the other hand
, it is well known that adherence is a major problem in treating allergic rhinitis.24,25 the patients in our study reported having been adherent with their prescribed drug treatment , but no stringent method of control , such as counting the assumed drug doses or frequent phone calls , was used . in any case , it is unlikely that patients with symptoms unresponsive to drugs , ie , the type of population we targeted , use less than the optimal dose recommended by their physicians .
in fact , in a recent italian survey of 1,379 patients with allergic rhinitis undertaken by 107 general practitioners , adherence with aria guidelines was evaluated according to severity classification , and adherence was observed to increase according to the severity of the condition . in particular , adherence was satisfactory in patients with moderate to severe persistent allergic rhinitis , with a rate of 89% for those with allergic rhinitis alone and 95% for those with allergic rhinitis and asthma .
the authors concluded that adherence to aria guidelines is satisfactory only in patients with more severe disease.26 it is of particular interest to focus on the relevance of drug resistance in patients with allergic rhinitis . to the best of our knowledge ,
only one study that included an epidemiologic assessment is available , and showed that 111 ( 13.9% ) of 796 patients had uncontrolled allergic rhinitis after treatment .
the evaluation included a number of parameters , including total symptom scores for rhinitis , a visual analog scale , the rhinoconjunctivitis quality of life questionnaire , and the allergy - specific work productivity and impairment questionnaire .
a cluster - randomized trial model was used to mimic real life , with no exclusion of patients at randomization , so as to include the broad range of patients regularly seen by physicians.27 concerning patient satisfaction with treatment , it is reasonable to assume that this is related to clinical outcome .
recent studies have investigated patient satisfaction with treatment for allergic rhinitis and allergic asthma . in a survey conducted in 21 allergy centers in italy ,
only 33.5% of patients with allergic rhinitis and 40.7% of patients with asthma were satisfied with their symptomatic treatment .
the main factors associated with treatment dissatisfaction were female gender , comorbidity , and the severity of symptoms of allergic rhinitis and asthma.28 similar results were reported in a survey of more than 5,000 patients in europe , with one third being dissatisfied with the treatment prescribed.29 in our study , all patients were dissatisfied with their medical treatment because nonresponsiveness to drugs was an inclusion criterion .
however , the level of satisfaction , as measured by the visual analog scale , was very low with drugs but increased significantly with slit .
in the present real - life study , we found that most patients with grass pollen - induced allergic rhinitis who did not respond to drug treatment achieved control of their allergic rhinitis using pre - coseasonal treatment with 5-grass pollen tablets during a one - year period .
this finding now needs to be confirmed by randomized controlled trials targeting this important subpopulation of patients with allergic rhinitis . | pubmed |
breast cancer is an uncontrolled growth of breast cells originating from breast tissue , most commonly from the inner lining of milk ducts or the lobules as a result of mutations in the genes responsible for regulating the growth of cells and keeping them healthy .
worldwide 23% ( 1.38 million ) of the total new cancer cases and 14% ( 458,400 ) of the total cancer deaths occurred in 2008.the estimated number of new breast cancer cases has been raised from about 641,000 cases in 1980 to 1.6 million cases in 2010 and 625,000 deaths in 2010 . in india ,
the number of new breast cancer cases is about 100,000 per year and this is expected to rise to 250,000 new cases per year by 2015 . in mammography , magnetic resonance imaging ( mri ) , ultrasonography and fine needle aspiration cytology ( fnac ) , diagnosis is based on the anatomical changes of the breast , which may take up to ten years for the tumor to grow to a sufficient size to be detectable .
regular screening mammograms and computed tomography ( ct ) itself are cancer carcinogens . early stage diagnosis of breast cancer is very difficult using mammographic screening .
sometimes mri fails to distinguish between cancer tissue and edema fluid and not diagnosing ductal carcinoma in situ ( dcis ) .
scintimammography ( smm ) , single photon emission computed tomography ( spect ) , and positron emission tomography ( pet ) can be used only as adjunct breast cancer imaging tools .
these modalities can not replace invasive procedures , as they have poor sensitivity to detect tumor deposits less than 1 cm . rather than anatomical changes , in digital infrared imaging ,
diagnosis based on the principle of analyzing temperature variation associated with metabolic activity and vascular circulation changes in the affected area .
ir imaging is being widely used for diagnosis , to study the progress of treatment of many disorders mainly in the wide area of rheumatology , dermatology , orthopedics , and circulatory abnormalities .
thermography was widely used in diagnosis , prognosis of several diseases , and to study progress of treatment with animal model .
capsaicin can be used as a potential therapeutic adjuvant which significantly enhances the heating effects of biological tissues during tumor hyperthermia .
increase in temperature induced by intraperitoneal injection of capsaicin was more obvious than the other two methods of locally smeared with and subcutaneous injection of capsaicin .
dynamic thermal imaging has been used intraoperatively during neurosurgical interventions , including real - time assessment of cerebral vessel patency and cerebral perfusion , monitoring of flap perfusion , and determination of tumor margins during resectional surgery [ 810 ] .
the interpretation of cancer in human was proven on scoring 5 ir signs by the analysis of roc ( receiver operating characteristic ) curve and auc ( area under the roc curve ) by the univariate logistic regression model for each ir sign and an age - adjusted multivariate logistic regression model .
leonardo s. motta and et al . designed an automatic approach to eliminate human factors and guarantee repeatability and robustness of the results and by preventing errors caused by fatigue .
thermographic imaging could detect temperature changes as small as 0.1c decrease on the skin surface at an early stage of tumor and it was proven in xenografts ( mdamb-231 , mcf7 ) induced nude mice model .
in contrast , the temperature and thermal conductivity in the cancerous breast were higher than the normal breast in human due to angiogenesis and higher metabolic rate of cancerous cells [ 1416 ] .
13762 mat mammary adenocarcinoma animal models were used for examining the effects of subcutaneous tumor growth on skin temperature and whether angiogenesis - induced changes in vascular density plays a role in any surface temperature changes .
dmba induced animal model closely mimics human breast cancer as it actively metabolites with a capacity for damaging the dna molecule , the main event in carcinogenesis initiation [ 1820 ] .
selenium in serum and neoplastic tissue in breast cancer was correlated with serum cea level to analyze tumor growth .
serum cea ( carcinoembryonic antigen ) levels were measured to check the clinical improvement and to study the antitumour activity of histone h1 . in this work ,
asymmetrical temperature distribution of thermal images of dmba induced wister rats was analyzed and the results were compared with histopathology report as standard and also with serum cea levels to study the progress of tumor growth .
female wister rats ( n = 8) weighing 300350 g and aged between 12 to 13 weeks were obtained from kings institute of preventive medicine , guindy , chennai , india .
all animal experimental protocols used in our study were approved by the srm university animal experimentation ethics committee .
the animals were caged individually and kept at constant environmental and nutritional conditions throughout the experimental period with room temperature 23 2c and humidity ( 5055% ) with 12 h light/12 h dark cycle and were fed a standard pellet diet and with water ad libitum . in group
i ( n = 6 ) , chemical carcinogen dmba was induced and the other group was control group ii ( n = 2 ) .
20 mg of 7,12-dimethylbenz(a)anthracene ( dmba ) purchased from sigma chemicals was mixed with 0.5 ml sunflower oil and 0.5 ml saline to induce breast cancer in each rat . a single dose injection of dmba
was given subcutaneously into the right flanks only in test group i. 0.5 ml of sunflower oil and 0.5 ml of saline alone injected in the left flanks control side in all six rats and group ii animals ( control ) were injected with 0.5 ml of sunflower oil and 0.5 ml of saline in both right and left flank region . infrared camera ( flir t400 , flir systems , boston , ma , usa ) with wide temperature range of 4 to 2192f ( 20 to 1700c ) ,
fov 25 19 , and thermal sensitivity of 0.1c was used in this study . as a baseline anterior to posterior view of whole body ,
thermal images of all the rats were taken under standard conditions at constant distance of ( 12 cm ) .
then immediately after chemical carcinogen injection starting from the first day thermal images was taken every day over a period of nine weeks .
based on this physiology , tumor region can be identified by the analysis of asymmetrical temperature distribution .
for asymmetrical temperature distribution analysis , the whole animal thermal image was divided into six region of interests ( roi ) , with size approximately 2 cm 2 cm , as lower flanks region : right flank and left flank ; abdomen region : right abdomen and left abdomen : shoulder region;right shoulder and left shoulder . in all these six regions
rgb color histogram of all the rois of one chemical carcinogen tumor induced rat was plotted using matlab 7.0.1 software .
carcinoembryonic antigen levels ( ngm / ml ) in the serum of experimental animals were estimated by the elisa kit after the mc has developed to a palpable size in the ninth week .
tumors were removed from sacrificed rats and immediately fixed in 10% formalin fixative for 24 h. the tissues were then dehydrated in ascending series of alcohol , kept in 1 : 1 mixture of absolute alcohol and benzene , and then in benzene for 1 h each . finally , tissue pieces were embedded in paraffin wax and 7 micron thick sections were cut and spread on glass slides , stained with hematoxylin and eosin , slides mounted in dpx , and viewed under light microscope and photographed .
mean and standard deviation of skin temperature of rois for all the rats in group i were calculated for every week .
student 's t test was performed using spss 10.0 software to analyze the difference in symmetrical temperature distribution between right and left regions .
serum cea levels are also reported as mean sd for ( n = 6 ) group i and group ii ( n = 2 ) .
mean and standard deviation of temperatures for different regions were calculated every week and tabulated .
table 1 shows the skin temperature distribution comparisons between tumor induced lower right flank region and control lower left flank region . in the base line image , that is , before the chemical carcinogen induction , calculated mean and sd values of skin temperature at right flank and left flank were 38.98 0.28 and 39 0.13 , respectively .
percentage of asymmetrical temperature difference between right and left flanks was 0.05% and there was no significant difference between ( i.e. , p = 0.854 ) right and left flank regions .
it showed symmetrical temperature distribution in the flank region before chemical carcinogen induction . immediately after chemical carcinogen induction , mean and sd values of skin temperature at right flank and left flank were 36.62 0.2 and 36.8 0.24 , respectively , and asymmetrical temperature difference 0.49% was observed .
but there was no significant difference between ( i.e. , p = 0.105 ) right and left flank region .
after the first week of induction , significant temperature difference ( < 0.001 ) was observed clearly till ninth week which indicates the asymmetrical temperature distribution in the tumor induced lower flank region
. temperature difference about ( 0.2 to 0.6c ) was found in the tumor induced region between lower right flank and left flank region .
similarly temperature distributions in the right and left abdomen region were also compared . from table 1 , it was observed that there was no significant difference in temperature distribution between the right abdomen and left abdomen region , before chemical carcinogen induction ( p = 0.43 ) , immediately after carcinogen induction ( p = 0.76 ) and also after the tumor induction in all the weeks throughout the study period .
temperature distributions in the right and left shoulder region were also compared and tabulated in table 1.there was no significant difference in temperature distribution between the right shoulder and left shoulder region , before chemical carcinogen induction , that is , in the baseline thermal image ( p = 0.56 ) , immediately after carcinogen induction ( p = 0.461 ) and also after the tumor induction in all the weeks throughout the study period .
average skin temperature of all the tumor induced groups calculated weekly was plotted separately in all the three regions ( flank , abdomen , and shoulder region ) to visualize right and left side temperature variations . from figures 1(b ) and 1(c ) , it was clear that in abdomen and shoulder region , right and left side mean temperature curves were overlapping , whereas in tumor induced flank region difference in temperature distribution was found ( figure 1(a ) ) between right and left sides in all the weeks .
percentage of asymmetrical temperatures distribution over the period of study still ninth week of the entire region were plotted . from figure 2 ,
temperature variation between tumor induced lower right and left flank region was about 0.5 to 2% , whereas the temperature variation was very less in the other region ( abdomen and shoulder region ) about less than 0.5% throughout the period of study . which clearly indicates that asymmetrical temperature distribution got in tumor induced lower flank region where as in other abdomen and shoulder region it is symmetrical . to see the progress of tumor development
, the thermogram ion images were converted into medical images which assign different colors to different span of temperatures using flir software .
figure 3 represents infrared images generated from a single animal taken on different weeks after subcutaneous injection of dmba carcinogen .
the box in each image ( approximately 2 cm 2 cm ) corresponds to the different region of split . progress reduction in skin temperature was observed which can be identified by the changing of color from orange into red ( figures 3(a ) , 3(b ) , 3(c ) , and 3(d ) ) in the tumor induced lower right flank region where as in other regions symmetrically there was no color change .
the color image was separated into different components as red , green , and blue with different bins and the respective histogram was plotted using matlab program for all the six rois and compared symmetrically .
asymmetrical green component , that is , the green pixel distribution was between 100 and 150 ( figure 4(a ) ) in the lower right flank , region , while in the lower left flank region it was 175 to 230 ( figure 4(b ) ) in group i mammary cancer induced rat . whereas histogram of other abdomen and shoulder region ( figures 4(c ) , 4(d ) , 4(e ) , and 4(f ) ) is symmetrical , that is , pixel density distribution was the same in right and left regions and also in group ii control rat in all the regions ( figure 5 ) . in the rgb histogram analysis ,
asymmetry was observed only in the green components , whereas in red and blue components there was no predictable change .
serum cea level measured using elisa kit also showed significant difference between mammary cancers induced group i and control group ii .
the mean tumor size was about 1.35 cm in group i and the value of cea level was 0.426 0.05 ( ngm / ml ) . in control group
histopathological results showed ductal carcinoma ( grade iii ) in ( n = 3 ) rats in chemical carcinogen induced group and grade iv metastases spread carcinoma in n = 3 rats and mean tumor size was about 1.35 cm .
figure 6(a ) shows histopathology slides with different magnification of a rat with the infiltrating ductal carcinoma with size 1.5 cm ( comedo carcinoma ) showing several layers of neoplastic cells and central necrosis of single rat mammary tissue .
figure 6(b ) shows microscopical section of another rat 's mammary tissue which showed lobules of breast parenchyma with attached skeletal muscle .
in this study , whole - body thermal images of the rats with induced tumor were obtained dynamically without anesthesia in order to rule out heat loss associated with anesthetic drugs .
d. colman et al . reported a significant amount of heat loss in an anesthetized wister rat .
the decrease in skin temperature , compared to the base line measurement after 30 minutes of induction , were found to be 1.75c , 2.17c , and 1.9c for the anesthetic drugs halothane , isofluorane , and sevoloflurane , respectively , . in another study of 13762 mat mammary adenocarcinoma induced rat model , it was observed that when the rat was anesthetized using ether , the measured skin temperature at the induced tumor site was lesser by 1c than other non - tumor parts of rat . in a xenograft induced breast tumor nude mice model using mda - mb-231 and mcf7
, the induced breast tumor had a lesser skin temperature on 6th day of tumor induction , when comparing to nontumor parts of the mice .
it was reported that the measured skin temperatures at the tumor site were lesser by 1.5c and 3c in mda - mb-231 and mcf7 induced tumor mice models , respectively , . in the present study
, it was observed that right side of flank region , at which tumor was induced , had lesser skin temperature on 7th day of tumor induction , when comparing to base line measurements as well as other non - tumor parts of the rat .
further , during the third week after tumor induction , the measured mean skin temperature at the tumor site ( right flank region ) was lesser by 3.8c , when compared to non - tumor left flank region , which is agreed well with the xenograft induced mice models . in a study of breast tumor in women
using thermography , it was reported that the measured skin temperature at the tumor site was higher than the non - tumor part of the breast .
this finding was contradict with the findings of breast tumor rat models , in which the measured skin temperatures were lesser at the induced tumor site than its normal counterparts of the body [ 13 , 17 ] and also in our study .
in the present study , the baseline measurements ( before tumor induction ) showed that the mean and sd value of skin temperature of whole - body rat was 38.98 0.28 .
after tumor induction by chemical carcinogen , the measured mean and sd skin temperatures of the whole - body rat was found to be decreased progressively and it was 35.18 0.59 during third week after tumor induction .
the reason for reduction in mean whole - body skin temperature of the tumor bearing rat comparing to the baseline measurements may be due to the following : ( i ) poor functioning of newly developed blood vessels , and ( ii ) decreased blood flow at the tumor site by an autonomic nervous system [ 13 , 17 ] . in the present study ,
the tumor induced right flank side of the rats showed a decrease in mean skin temperature values throughout the study period of nine weeks , when compared to the corresponding nontumor left flank side .
the measured asymmetrical temperature difference at tumor bearing right flank side of the rats was ranged from 0.5 to 2.0% , and it was statistically significant ( p < 0.001 ) . on the other hand , the non - tumor regions ( abdomen and shoulder ) of the rats showed a decrease in mean skin temperature values when compared to baseline measurements , but it was symmetrical in nature between right and left side of the rats and the measured skin temperature difference was less than 0.5% .
this may be due to metastasis condition , that is , because of the spreading of cancer to other regions .
this increase was because of angiogenesis and higher metabolic rate of well - developed cancerous cells .
from the first week to fourth week of the study , asymmetrical variation of skin temperature was visually observed ( by noting changes in colors of the thermogram ) in all the rats ( figures 3(a ) , 3(b ) , 3(c ) , and 3(d ) ) . in the induced tumor site of the rat ( right lower flank region )
, the skin temperature was found to be decreased progressively from first to fourth weeks of the study .
it was observed visibly by noting the color changed from orange in the first week ( figure 3(a ) ) to light orange in the second week ( figure 3(b ) ) , to red color in the third week ( figure 3(c ) ) and to red with center pink color in the fourth week ( figure 3(d ) ) . on the other hand , in the non - tumor sites of the rat ( abdomen and shoulder region ) , symmetrical nature of color variations were observed at right and left side of the rats . in human study ,
thermal images were analyzed for asymmetry between the patient 's breasts based on different methods like hurst coefficient , lacunarity coefficients , and by statistically texture analysis to characterize the breast 's texture .
thermal texture mapping ( ttm ) was found to be superior method for detection of malignant among the benign diseases of breast than mammography and ultrasound images . in human breast tumor model ,
an increase in skin temperature in the tumor region was demonstrated by a shift in the number of pixels from blue color to red color that can be calculated by either the number of pixels or by the percentage of pixel distribution in the image .
a healthy woman seems to be fairly balanced between the three primary colors , while the woman with breast tumor appears to have higher percentage of red color than blue color .
this higher percentage of red color may be an indication of rise in skin temperature ; on the other hand , the lower percentage of green color may be an indication of decrease in skin temperature .
kapoor et al . proposed an automatic pattern classification , which clearly diagnoses the pathological changes of the breasts based on pixel distribution asymmetries .
the red - green - blue ( rgb ) color histogram analysis of the thermal image is useful to study the asymmetric distribution of the skin temperature . in
the tumor induced lower right flank region as well as in the non - tumor lower left flank region of the rat , red , and blue color pixel distributions were the same in the range of 230 to 255 and 0 to 10 , respectively , whereas the green color pixel distribution was shifted to a lower level of 100 to 150 at the tumor induced right flank than its corresponding value 175 to 230 measured at non - tumor left flank region of the rat .
the shifting of green pixel distribution clearly indicates a decrease in skin temperature in the induced tumor site .
the non - tumor sites of abdomen and shoulder region of the rat showed symmetrical red , green , and blue pixel distributions between right and left sides of the rats .
the measured red , green , and blue pixel distributions at abdomen region of the rat were found to be 240 to 255 , 175 to 220 , and 0 to 10 , respectively , and these values were the same in both right and left sides .
similarly , in the shoulder region of the rat , the measured red , green , and blue pixel distributions were found to be 240 to 255 , 200 to 240 , and 0 to 50 , respectively , which were the same in both right and left sides .
additional clinical and animal studies are required to prove whether thermography is useful in predicting the breast tumor well before .
the finding of this study should be taken with the caution that it was related with small animal breast tumor model .
the findings of the study indicate that asymmetrical analysis of thermal images might have considerable potential in monitoring progress of tumor and also diagnosis of cancer in early stage itself .
significant ( < 0.01 ) difference in asymmetrical skin temperature distribution was observed in tumor induced lower region , whereas in other regions temperature distribution was symmetrical .
green component of the infrared image plays an important role in the asymmetrical histogram analysis for diagnosing tumor in animal model with decrease in skin temperature . | pubmed |
as we approach the centennial of the discovery of cosmic radiation by victor hess in 1912 , the astrophysical origin of these high energy particles remains still unknown . even so the study of cosmic rays has been extremely rewarding for particle physics . as hess noted in his nobel lecture in 1936 : _ `` the investigation of cosmic rays has led to the discovery of the positron it is likely that further research into `` showers '' and `` bursts '' of the cosmic rays may possibly lead to the discovery of still more elementary particles of which the existence has been postulated by some theoretical physicists in recent years''_. indeed several such discoveries were made in rapid succession the muon in 1937 , the pion in 1947 and strange particles ( kaons , hyperons ) also in 1947 .
however with the development of particle accelerators in the 1950 s , the attention of particle physicists turned naturally to controlled laboratory experiments .
no other new particles have subsequently been discovered in cosmic rays although there have been several false alarms ( e.g. free quarks , monopoles , ) and many claims of unexplained phenomena ( e.g. ` centauro ' events ) .
today we have another such mystery the observation of ultra high energy cosmic rays ( uhecrs ) which can not propagate very far through the cosmic microwave background , are unlikely to be significantly affected by cosmic magnetic fields , and yet which do not point back to any plausible astrophysical sources in our vicinity @xcite .
the intriguing question is whether an explanation is possible in terms of known physics or will require physics beyond the standard model .
as we have just heard from prof teshima , the agasa collaboration has reevaluated the energy determination method used for analysing their data on air showers collected over 12 years , with particular attention to the lateral distribution , attenuation with zenith angle , shower front structure , delayed particles observed far from the shower core , etc @xcite .
they confirm that the energies assigned to agasa events have an event - reconstruction accuracy of @xmath1 at @xmath2 , while the systematic uncertainty is @xmath3 ( independent of primary energy above @xmath4 ) . as seen in fig .
[ spec ] , the agasa data at the highest energies connects smoothly with the ( better sampled ) akeno data at lower energies .
there are 59 events with @xmath5 ( and 8 events beyond @xmath2 ) which have a spectrum distinctly flatter than at lower energies , suggestive of a different origin , but with no indication of the gzk cutoff expected if the sources are cosmologically distant . )
.,title="fig:",scaledwidth=40.0% ] ) .,title="fig:",scaledwidth=45.0% ] by contrast the hires air fluorescence experiment , with a similar exposure in the mono mode , has reported only 1 event above @xmath2 , consistent with a gzk cutoff @xcite . but as is clear from fig .
[ spec ] , the absolute fluxes are lower than those measured by agasa and the begining of the ` ankle ' in the spectrum is distinctly lower , suggestive of an energy calibration mismatch bewtween the fluorescence and air shower detector data .
( since the spectrum falls as @xmath6 below the ankle , the fractional error in the flux is twice that in the energy , keeping in mind the change in the differential energy interval with the energy . )
if the agasa energies are lowered by @xmath7 , the spectral shapes can be matched below @xmath2 @xcite , however 5 agasa events still remain above this energy .
given the low event statistics , the significance of the discrepancy between the two experiments is not overwhelming , nevertheless it is clearly of paramount importance to resolve the issue and establish a consistent energy scale .
the engineering array of the pierre auger observatory @xcite has already collected several ` hybrid ' events observed using both type of detectors so progress is expected soon .
the other important new result concerns the agasa data on the angular distribution of events on the sky @xcite . as shown in fig .
[ agasaaniso ] , although the large - scale distribution of the 59 observed showers with @xmath8 is consistent with isotropy , there are a number of ` clusters ' defined as a grouping of 2 or more events within ( approximately the experimental angular resolution of ) 2.5@xmath9 .
the chance probability that the 5 observed doublets and 1 triplet result from an isotropic distribution is estimated by monte carlo to be less than @xmath10 @xcite . however fig .
[ agasaaniso ] shows that when the events are partitioned by energy , small - scale clustering is seen only for events with @xmath11 ; at higher energies there is _ no _ clustering @xcite .
( circles ) and @xmath12 ( squares ) , with the ` doublets ' and ` triplet ' highlighted ( the shaded area is unobservable by agasa ) @xcite .
the bottom panel shows the angular autocorrelation function for events above various energy thresholds @xcite.,title="fig:",scaledwidth=50.0% ] + ( circles ) and @xmath12 ( squares ) , with the ` doublets ' and ` triplet ' highlighted ( the shaded area is unobservable by agasa ) @xcite .
the bottom panel shows the angular autocorrelation function for events above various energy thresholds @xcite.,title="fig:",scaledwidth=45.0% ] to estimate the significance of the clustering reliably , one should calculate the ` penalty factor ' for making _ a posteriori _ cuts ( in energy thresholds and angular separations ) on the data set in order to maximize the clustering signal .
secondly , as was emphasized earlier @xcite , the data set used to make the initial claim for clustering ought not to be used in the actual analysis . recently both
these issues have been investigated in detail @xcite . as shown in fig .
[ agasascan ] , the strongest autocorrelation signal ( @xmath13 ) is seen at separation angle @xmath14 , with energy threshold @xmath15 .
however monte carlo tests show that 3475 out of @xmath16 simulated agasa data sets have @xmath17 so the chance probability for this is 0.35% .
this is 10 times higher than the value claimd earlier @xcite these authors did not allow for their ( arbitrary ) choice of @xmath18 to maximise the clustering signal and interpreted their result as implying that the _
`` correlation function of ultra - high energy cosmic rays favors point sources''_. secondly , when the agasa data is divided into 2 roughly equal sets ( 30 events detected before october 1995 and 27 events detected afterwards ) , the chance probabilities jump to 4.4% ( @xmath19 ) and 27% ( @xmath20 ) respectively for the observed clustering @xcite ! the reason appears to be that the two sub - sets of data are strongly correlated the ` triplet ' being made of 2 events from the first set and 1 from the second .
moreover agasa has announced more events bringing to 42 the number detected since october 1995 .
there are 2 ` doublets ' separated by less than @xmath21 in this data set but the chance probability for having observed these is 19% @xcite . thus the clustering observed by agasa is _ not _ statistically significant , so does not require the observed uhecrs to originate from point sources
. shown in 4 views @xcite .
the bottom panel shows the chance probabilities for the observed clustering separately for the 30 and 27 events , observed before and after oct 1995.,title="fig:",scaledwidth=68.0% ] + shown in 4 views @xcite .
the bottom panel shows the chance probabilities for the observed clustering separately for the 30 and 27 events , observed before and after oct 1995.,title="fig:",scaledwidth=70.0% ] nevertheless , some authors have sought for and found statistially significant correlations between uhecr arrival directions and possible sources such as ( specific subsets of ) active galactic nuclei .
in particular a selected sample of 39 agasa events ( with @xmath22 ) and 26 yakutsk events ( with @xmath23 ) are claimed to have significant alignments within @xmath21 with 22 selected bl lacartae objects ( having redshift @xmath24 or unknown , magnitude @xmath25 and 6 cm radio flux @xmath26 jy ) .
the value of @xmath27 is @xmath28 and the penalty factor for making cuts on the bl lac catalogue is estimated to be only 15 , yielding a chance probability of @xmath29 @xcite . however the yakutsk experiment has an angular resolution worse than @xmath30 at the low ( sub - gzk ) energy cut made to maximise the coincidences , so these can not be physically meaningful ; dropping these events increases the chance probability for the remaining coincidences ( with agasa events ) to 0.15% @xcite .
also the assumption that the _ `` energies of the events are not important for correlations at small angles '' _
@xcite is clearly wrong since a mild drop in the energy threshold for agasa events to @xmath31 decreases the significance further by a factor of 5 @xcite .
relaxing the cuts on the bl lac catalogue yields only 2 coincidences between bl lacs and agasa ` doublets ' , with a chance probability of 6.3% @xcite .
moreover an independent sample of 27 haverah park and 6 volcano ranch events with @xmath31 do not coincide at all with the chosen 22 bl lacs @xcite .
thus , as shown in fig .
[ bllacs ] , there is no justification for the claim that _ `` bl lacertae are sources of the observed ultra - high energy cosmic rays '' _ @xcite . observed by agasa , with the 5 ` doublets ' and 1 ` triplet ' highlighted .
the left panel shows the 22 bl lacs ( dots ) satisfying specific cuts on redshift , magnitude and 6 cm radio flux @xcite , while the right panel shows all 306 bl lacs in the catalogue @xcite.,title="fig:",scaledwidth=40.0% ] observed by agasa , with the 5 ` doublets ' and 1 ` triplet ' highlighted .
the left panel shows the 22 bl lacs ( dots ) satisfying specific cuts on redshift , magnitude and 6 cm radio flux @xcite , while the right panel shows all 306 bl lacs in the catalogue @xcite.,title="fig:",scaledwidth=40.0% ] finally , the inferred composition of uhecrs ( as well as their energies ) is sensitive to the uhe interaction model used @xcite and this realization has muddled the picture suggested earlier by fly s eye and hires of a change from heavy nucleus domination at @xmath32 to nucleon domination at @xmath4 .
present data is consistent with a mixed composition at all energies .
reanalysis of ` horizontal showers ' at haverah park requires that no more than 50% of uhecrs above @xmath33 can be photons @xcite and a similar ( but weaker ) limit has been set by agasa on the basis that photon - initiated showers tend to be muon - poor @xcite .
however the showering of uhe photons is rather complex ( because of pair conversion in the geomagnetic field and the lpm effect ) , e.g. it can not be excluded that the highest energy fly s eye event ( @xmath34 ) was in fact initiated by a photon @xcite .
_ no _ astrophysical object has ever been definitively identified ( e.g. through @xmath35-ray or @xmath36 emission ) as an accelerator of high energy nucleons .
however there do exist energetic objects such as @xmath35-ray bursts , active galactic nuclei , or extended lobes of radio galaxies which satisfy the ` hillas criterion ' of being big enough and/or having sufficiently large ( estimated ) magnetic fields to be able to confine uhecrs upto @xmath37 @xcite .
the issue of whether particles can actually be accelerated to the observed energies in such objects is an open one , in particular considerations of radiative energy losses during the acceleration process set very strong constraints @xcite .
ultrarelativistic bulk flows in @xmath35-ray bursts ( grbs ) remain a possibility , and this coupled with the hires claim of a gzk cutoff in the energy spectrum , have revitalized the suggestion that such cosmologically distant objects are the sources of uhecrs @xcite .
however the energetic requirements are formidable such sources must inject @xmath38 erg / mpc@xmath39/yr in uhecrs of energy @xmath40 in order to match the observed flux , while grbs are observed to emit roughly this much power at far smaller energies of @xmath41 mev .
it is hard to conceive of a particle acceleration mechanism that can generate comparable amounts of power in such widely separated energy regions .
nevertheless if there is indeed a gzk cutoff , this is probably the most attractive possibility for the sources of uhecrs .
however if the uhecr spectrum does extend without a gzk cutoff as indicated by agasa , then new physics would appear to be required .
we discuss below only those possibilities which have not been ruled out already .
( in particular we do not consider whether the primaries might be neutrinos having enhanced interaction cross - sections through new physics such as tev - scale extra dimensions this _ can not _ explain the observed uhecrs , although studies of airshowers can in principle probe such new physics @xcite .
we also disregard the hypothesis that the primaries are new light stable hadrons ( for which the gzk cutoff energy can be higher ) , since such particles are _ excluded _ by laboratory experiments @xcite . )
it was noted long ago that a small modification of the relation between momentum and energy in special relativity may undo the gzk cutoff @xcite .
if the clustering of events claimed by agasa is substantiated by the forthcoming high statistics data from auger , then point sources of uhecrs would be implicated . in that case
it may be appropriate to invoke such violation of lorentz invariance to explain the absence of the gzk cutoff in the spectrum .
however it is hard to see how this possibility can be falsified since the required violation is so small that it need not manifest itself in any other astrophysical or laboratory phenomenon @xcite .
since at least one species of relic neutrinos must have a mass @xmath42 , it is attractive to suppose that these provide a target for uhe neutrinos from distant sources to annihilate on .
this would create ` z - bursts ' with an energy of @xmath43 , i.e. in the right energy range to be a source for uhecrs @xcite .
the energy spectrum of the nucleons and @xmath35-rays resulting from @xmath44 decays is well known so a detailed comparison can be made with the agasa data .
agreement is obtained for a relic neutrino mass of @xmath45 ev @xcite , however the required uhe @xmath36 flux is very large , taking into account that such light relic neutrinos can not cluster significantly @xcite .
although there are no direct bounds yet at these energies , it seems implausible that the required extragalactic sources of @xmath46 neutrinos can exist , given the restrictive bounds on deeply penetrating air showers from experiments such as fly s eye , as well as agasa and rice @xcite .
moreover it is not clear how such high energy neutrinos can be created in the hypothetical cosmic sources usually this would require the acceleration of even higher energy nucleons ! the possible existence of relic metastable massive particles whose decays can create high energy cosmic rays and neutrinos had been discussed @xcite before the detection of the famous fly s eye event with @xmath47 which focussed attention on the possible absence of the gzk cutoff .
subsequently this idea was revived and it was noted that such particles , being cold dark matter , would naturally have a overdensity by a factor of @xmath48 in the halo of our galaxy @xcite . hence if their slow decays generate uhecrs , all propagation effects will be unimportant ( except possibly for photons ) in determining the observed spectrum and cosmposition , and , moreover , there should be a detectable anisotropy in the arrival directions , given our asymmetric position in the galaxy . in order to account for the highest energy events with the observed rates ,
the particle mass should exceed @xmath49 while to match the uhecr flux its lifetime must be @xmath50 yr , where @xmath51 is the fraction of the halo dark matter in the form of such particles .
it is conceivable that such particles exist in the ` hidden sector ' of string / m - theory @xcite and can be produced with a cosmologically interesting abundance at the end of inflation @xcite .
the spectra of the decay products is essentially determined by the physics of qcd fragmentation so can be calculated e.g. by evolving the fragmentation functions measured in @xmath52 decay upto the energies of interest using the dglap equations @xcite .
recent work @xcite has included electroweak corrections and a more careful treatment of the possible effects of supersymmetry . as seen in fig .
[ fit ] , the evolved spectrum of nucleons is in good agreement with the ` flat ' component of uhecr extending beyond @xmath53 .
however the decay photons , which have a similar spectral shape are more abundant by a factor of @xmath54 , so this model ( as well as a similar subsequent proposal involving annihilations rather than decays @xcite ) would seem to be ruled out by the experimental bounds @xcite on the photon component of uhecrs .
it is possible that the attenuation of such uhe photons in the halo of the galaxy ( through pair production on @xmath55mhz frequency radio photons ) has been underestimated the radio background intensity assumed for such calculations is very uncertain @xcite .
however , such attenuation would in turn generate a background of low energy @xmath35-rays and it is necessary to check that this does not exceed observational limits , particularly from egret at @xmath56 mev . as shown in fig .
[ gamma ] , such constraints can indeed be satisfied although the required increase in the intensity of the radio background is rather large @xcite .
perhaps one should wait for auger to establish whether photons are indeed ruled out as the uhecrs .
( excluding the hires data ) with a decaying dark matter particle mass of @xmath57 ( dashed line ) ; the dotted line is the extension of the spectrum observed at lower energies @xcite.,scaledwidth=70.0% ] /p ratio for various assumed values of the radio background is compared with experimental limits ( right panel ) @xcite.,title="fig:",scaledwidth=48.0% ]
/p ratio for various assumed values of the radio background is compared with experimental limits ( right panel ) @xcite.,title="fig:",scaledwidth=48.0% ] detailed calculations have also been made of the expected anisotropy , adopting different possible models of the dark matter halo ( cusped , isothermal , triaxial and tilted ) @xcite .
the amplitude of the anisotropy is controlled by the extent of the halo , while the phase is controlled by its shape . as seen in fig .
[ halo ] , the amplitude of the first harmonic is @xmath58 for a cusped ` nfw ' halo but falls to @xmath59 for an isothermal halo which is more favoured by observations @xcite , while the maximum is in the direction of the galactic centre with deviations of up to @xmath60 for triaxial and tilted haloes . to detect the predicted anisotropy ( for the likely case of an isothermal halo with large core radius )
will require detection of @xmath61 uhecrs by auger ; this should also suffice to determine the angular phase to within @xmath62 @xcite .
another signature of this hypothesis is the expected uhe neutrino flux , which was indeed the first to be studied @xcite .
recent detailed calculations @xcite indicate that the expected flux should yield @xmath63 events / yr with @xmath64 in icecube @xcite and a similar number of events in rice @xcite . of course other proposed models for uhecrs
also predict associated fluxes of uhe neutrinos .
however an unique test is the expected flux of neutralinos if these are the lightest stable supersymmetric particles @xcite . in principle
euso @xcite can discriminate such events from neutrino - induced ones @xcite .
after a long hiatus , high energy cosmic rays have again become very interesting for particle physicists looking for evidence of physics beyond the standard model .
the source of the highest energy particles in nature is an equally interesting enigma for astrophysicists .
as lematre first suggested , the origin of such particles may even be linked to the early universe , although not quite as he imagined ! presently the data are tantalising but not sufficient in either quantity or quality to distinguish definitively between proposed models . the good news that this will soon be remedied by the pierre auger observatory @xcite .
about 100 water cerenkov detectors and 2 fluoresence detectors are now operational , covering an area twice that of agasa , and the full array should be operational by the end of 2005 .
moreover the ambitious space - based experiment euso @xcite , scheduled for a 3-year engineering flight on the international space station ` columbus ' in 2007 , will provide another substantial increase in collecting power .
this is an exciting time for cosmic ray physics and we look forward to the surprises that nature has in store for us .
it is a particular pleasure to present this talk at krakw which has had such a distinguished history of cosmic ray research i understand that the first international iupap conference on cosmic rays was in fact held here in 1947 , during which powell announced the discovery of the pion ! i wish to thank paolo lipari and henryk wilczynski for their kind invitation , and all the organisers of this meeting for their efficiency and hospitality .
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icecube homepage : http://icecube.wisc.edu/ | arxiv |
Naruto 1. Part 1: BBQ
"Oh shit-shit-shit, I'm so late for work! Izumo-senpai will strangle me slowly if he finds out I've been sitting here, enjoying life, while he's waiting for me to check in for duties.", Kiba yelled out, taking everyone around him by total surprise.
>He bent over the table and gave Hinata a quick little kiss on the forehead, then ran out the door so fast not even Lee would've been able to catch up with him.<p>
"Wow, he's been even more absent minded than usual lately, or what do you think, Hinata?", Ino asked the head of the Hyuuga clan, taking her by total surprise yet again.
"I-i-i... Eh, well maybe he's just a little stressed, I think. A lot has been going on in the village, so he's got a lot of work to do.", she replied gently, with a more than concerned face.
>She looked at all the familiar faces around the table she was seated at, and everyone seemed to have the same facial expression as her. Even Choji had to lay down his chop-sticks for a minute, looking genuinely as though he didn't feel like eating at the moment.<p>
"... So, what do you think will happen now? I mean, Kakashi-sama has no choice, does he?", Sakura asked quietly, looking up at Shikamaru from across the table.
>There was a moment of silence that seemed to emotionally affect the entire group. Shikamaru took a deep breath and a quick look around the table, preparing himself for what he was about to say.<p>
"Well, it seems so. You all know he tried to talk some sense into the other kages, but with little effect..." Another deep breath was the final preparation for the Konoha ninja, as he was about to break the news to everybody.
>He looked at Sakura, knowing she'd not like what she was about to hear, then gently, with a great deal of sadness in his voice, he spoke once more.<p>
"Naruto will, without a doubt, be formally listed as a missing-nin".
>Sakura closed her eyes for a moment, trying her best to pull herself together, but with little effect. She instantly excused herself from the table, walking aimlessly out of the restaurant.<br>Ino quickly joined her friend to support and comfort her, knowing how devastated Sakura was after having finally confessed about her feelings towards Naruto, only to have him run away in search for Sasuke.
>Ino had made it her number one priority to be there for Sakura, and she felt like they'd never been this close before. She couldn't even remember the last time they called each other nasty things such as Billboard brow and Ino-pig.<p>
They all looked understandingly at each other as Sakura and Ino left. Seemingly uncomfortable with the situation, Hinata also left the scene, blaming it on "important matters".
>Now only Shikamaru and Choji remained in the building. Choji had since long resumed his eating, while Shikamaru just sat there, looking over at his friend. Choji didn't seem to mind it at first, but then after a while, he once again laid down his chop-sticks, and looked over at his friend with a perplexed expression on his face.<p>
"What's on your mind? You look like somebody's died or something. I know this whole thing is hard on everyone, but I never expected you to get that upset about Naruto leaving." Choji had always been very straight forward to Shikamaru, and this was no exception.
"No, it's not that." Shikamaru replied."Or actually, it's related to it in a way." He started picking around at his remaining piece of stake, with no intention what-so-ever to eat it.
>Obviously he did have something on his mind. Choji quickly snatched the stake right from Shikamaru's plate, and gave him a look that said "Go on".<p>
"Well, I was thinking about Sakura. First losing Sasuke, then Naruto. I can't imagine what it'd feel like." He looked up from his plate, right into Choji's big, round eyes.
"Hey, I'm not going anywhere, so don't worry." Choji said with great confidence in his words, assuring Shikamaru there was absolutely nothing to worry about.
"Yeah, I guess so." Shikamaru's eyes once again fell on his now clean plate, and he wandered off in his mind. He then looked up at Choji with a little smile on his face.
"Only thing that'd make you leave Konoha would be if the BBQ-place decided to relocate".
>Choji let out a big laugh, almost spitting out his food all over Shikamaru, and then yet again resumed his eating, not at all minding Shikamaru sitting there quietly, observing him as he ate.<p>
2. Part 2: Anbu
"Would you get the Anbu for me? Consider this your first true order at your new job."
"Of course, Hokage-sama. Right away!", the chunin replied to her leader, and immediately walked with shaky steps right out of the hokage-building.
>Considering this was her first day working directly under the 6:th Hokage, she felt like she was doing a pretty damn good job. Sure, she was so nervous that she hadn't slept in days, but she still felt strangely excited about how things had turned out today.<p>
Expecting absolutely nothing exciting to happen when she got the task earlier this morning to check out with the guys up in the hawk tower, she was pretty surprised and overwhelmed with what she was met by.
She got a message shoved right up in her face, with the order of "direct delivery to the Hokage", and she left the tower as soon as she had reached the top. She had run so fast back to the hokage-building that she actually felt a little sick when she arrived.
That had long since passed now that she was standing right in front of the door that led to god-knew-what. All she knew was that the Anbu was on the other side of that door, and all she was instructed to do was knock, so she did.
The door was opened in such an overconfident and ecstatic way that she had to take a few steps back.
>Two Anbu stood in front of her. One clearly female and the other male, both appearing to be in their late teens.<p>
The male Anbu was the one responsible for slamming the door open, and the female Anbu seemed both aware and ashamed of that fact. These two ninja looked strangely filled with emotions, considering their jobs, and there was something very warm about them that made you feel comfortable and safe.
With nothing left to do, the chunin turned right on the spot, and started to walk back towards the building she came from. She hadn't gotten very far when she felt a hand on her shoulder.
>It was the female Anbu, giving her a pat on the shoulder, making her confident that she had done a great job, not even having to utter a single word.<p>
The Anbu quickly disappeared, and their shear determination was always such a thing to see, even for one who had seen it a billion times.
>Surely they had reached the hokage's office in a matter of seconds, the chunin thought to herself, and she couldn't have been more right.<p>
That knock on the door was so hard not to recognize for the hokage that he almost had to cover his mouth not to laugh. The ecstatic way the door was opened nearly pushed him over the edge, and this time he even had to bite his lip not to laugh, still a girlish little giggle managed to get through, but the two Anbu entering the door either didn't hear it, or pretended they didn't.
"Reporting for duties, sir!", the Anbu that'd just opened the door semi-yelled. This time he just couldn't hold it back, and he let out long, heartwarming laugh, taking the two Anbu somewhat by surprise.
"You really haven't gotten used to your job, I see. Haven't you been told numerous times that Anbu are supposed to be subtle and all that?", the hokage said in between his laughs.
"I am truly and utterly sorry, Hokage-sama!", the Anbu said with a loud voice and a bow so deep you'd swear his nose touched the floor.
"Well, to get on with things. I guess you ran in to Hanabi earlier?". The 6:th Hokage had always been very different to the former five.
>He didn't really care about formalities, and he was very easy-going and chit-chatty.<p>
"Off the topic, it's actually her first day here today. Doesn't it feel like only days ago Hinata worked here?". The Hokage's little trip down memory lane was met by absolute silence, so he carried on with things.
"Anyways, I have a mission for the two of you. This is actually a rather standard thing, but I felt like there could be great use for two trained Anbu to carry it out. With that said, you can change into regular uniforms right away."
>After all this time, he still wasn't used to speaking in such a formal manner to people he knew that well, but he'd been told that's what comes with the title of Hokage.<p>
He watched as the ninjas in front of him took off their Anbu masks and revealed their faces.
>It was so hard not to smile at what he saw. Wasn't it only yesterday he'd been quietly cheering them on in the chunin exams? If not so, it certainly felt like it to him.<p>
A great big sigh, a hint of a smile and a finger pointing at the door was the first thing that met the two Anbu as they had removed their masks.
"Well, of you go.", the Hokage said, and watched the two ninjas walking out of the door.
>Hurrying to speak before the door was closed, he yelled:<p>
"And next time Lee, just call me Kakashi-sensei, right?".
Lee replied with a very casual "Certainly not, hokage-sama." as he and Ten-Ten left the room, and Ten-Ten sighed as Lee slammed the door shut behind him with the biggest smile ever on his face.
End file.
| fanfiction |
Sookie Stackhouse/Southern Vampire Mysteries Portmanteau
**Eric and His Great Pumpkin One-Shot Contest**
**Title:** Portmanteau
**Pen Name:** serendipitous imp
**Characters:** Eric & Sookie (with appearances from some of the rest of the gang as well)
**Disclaimers:** All of the characters belong to Charlaine Harris and hopefully she won't mind me borrowing them for a bit of a Halloween romp. This story is rated M, of course.
**A/N:** A special thanks to my awesome betas, pixiegiggles and evenflo78, for their very speedy work! All of the mistakes left are my own.
* * *
THE SUN kept setting, setting still;
No hue of afternoon
Upon the village I perceived,—
From house to house't was noon.
The dusk kept dropping, dropping still;
No dew upon the grass,
But only on my forehead stopped,
And wandered in my face.
My feet kept drowsing, drowsing still,
My fingers were awake;
Yet why so little sound myself
Unto my seeming make?
How well I knew the light before!
I could not see it now.
'T is dying, I am doing; but
I 'm not afraid to know.
-Emily Dickinson
* * *
"RRRRRRRRRRRRRaarphff"
My hunger spills from the inside, out. My need has become this palpable unquenched fiend within.
Of course, the glass shatters in my hand.
Tiny slivers needle into my aged skin and push their way back out almost simultaneously. I watch as that repugnant excuse for the source of all life cascades quickly from my goblet's remnants. The vile liquid mocks me with its hasty descent to my office floor; it promises much, but delivers nothing. A snarl takes over my face. If I were not vampire, I'd expect bile to have ratcheted up the back of my throat. Even as I am, a heinous taste lingers there all the same.
"I cannot stand it any longer!" I shout at the empty room. No one dares breach my space at all lately unless out of direst necessity; my patience has so clearly waned.
Time has meant nothing to me, until now. Until, _her_. Now each agonizing grain of sand sears at me as it passes through the hourglass. Each second without her is a wooden implement carving a hollow cavern out of my insides and rendering me into oblivion.
"This…this cannot continue," I mumble. I will surely go mad if something detains her arrival tonight. I promised her time apart to heal from the fucking fairies, but enough is enough. I meant days, not months! It is no concern of mine that she feels some pathetic human tug to be near her family. I hardly accept that her deplorable brother shares the same genes and whatever poor misbegotten relative she's been so keen on visiting in Red Ditch cannot be any better either.
"We are pledged and she is mine; she should be here with me now and always!" The words have a twinge of desperation even to my own ears. I pace about the room, further pulverizing the splintered glass shards into nonexistence under my heavy boot soles.
"It is no matter, "I muse aloud. "She will return to me tonight or I will…" What? What would I do? There will be no pleasure in simply taking what I require, not from _her_. I do truly treasure her ability to choose. So I ignore the urges wailing away at me and deny a part of myself. I will do what I must to have her again. What sort of sorry excuse for a vampire am I? The kind tormented with human feelings it seems. I slam my fist to my desk with an air of finality and close my eyes to delve into the heady elixir that is Sookie, from my memories.
"Master," Pam speaks somewhat hesitantly from my office door. I wonder how long she has been there.
"Your guests have begun arriving." Pam continues on, gaining momentum before I can acknowledge her interruption with a sarcastic word. "You know we have outdone ourselves again this Halloween. The vermin are all so pleased with our indulgence of their version of this day. I still don't understand how they don't tire of fur or fang after seeing it on a daily basis now that the Weres are out. I prefer my pastels to this, nonsense." Pam waves her hand over the red leather corset that clings to her petite frame before turning back toward the hall.
My child. She is stunning in her devilish accoutrement. She also likes playing the part much more than she suggests.
"Well, the gratitude lies with Sookie. If she had not assured me of her presence tonight there would have been no need for this bizarre death-mocking ritual. Quite a few of them would have found the real thing all too quickly." Pam gives me an excited grin and lets her fangs extend in accord with my words. She too longs for days past when acquiring sustenance took more than choosing from the pool of lemming donors.
"Pam, be sure to send her directly back here upon her arrival."
"Of course, Master." Pam is almost out the door before she turns back to face me with a gleam in her eyes.
"Do try not to devour her in one gulp. I've grown rather fond of the telepath's irritating presence." She winks at me and then is gone.
* * *
_**Plink. Plink. Plink. Plink.**_
I have always been calmed by the sounds of water. One of Gran's favorite sounds had been the patter of rain against our tin roof. A ghost of a smile stretches across my face. Hey, I'll take it; so many of my memories are tainted with bloodshed and pain that I have begun to cherish the ones that aren't even more.
_**Plink. Plink. Plink. Plink.**_
I stretch a wrinkled toe out of the lukewarm bath water and use it to stopper the drip from the spout. Everything seems so clear now that the decision has been made. I turn over my hands to look at my water shriveled palms and then at the rest of my renewed flesh. It no longer bears the scars of my ordeal. Even with the blood Eric had given me after Doom and Gloom had their fun, it has taken months for the traces of lines to disappear from my sight – from my head, even longer.
"Oh, Eric. My vampire, my love." I wonder how he will receive me tonight. I harbored so much pain right after it happened that I pushed them all away. I didn't work, I didn't wonder and I didn't ask questions. I didn't want to know or understand why, I just wanted to forget. Somewhere amidst attempting to cope it occurred to me I was seeking to rend a real part of myself away from what is the classical me. I could no more do that, of course, than deny the fairy blood coursing through my veins or stop hearing the innermost thoughts of those I encounter.
"It doesn't matter," I tell myself and step out of the tub. None of it does, really. I grab a big fluffy towel to stave off the shivers. Our experiences make us who we are and it is what we make of them that determine the path forward. I have decided to go with what I know. I love my family and friends. I will do as much right by all of them as I possibly can. I must help those that need it and offer whatever I can of myself to protect them.
Standing in front of my closet, I let my bath towel fall to the floor and reach in for the perfect outfit for this Halloween evening. I find some simple white silk and lacy undergarments in my dresser drawer and relish their caress as I slip them over my, now paler, skin. I've lost the sun kissed glow I usually carry year round. A real tragedy, but there's no time for tears over something that's beyond my control.
"Humph," I sigh. I don't even have to turn around to know that Amelia is staring at me from my bedroom door. The mental broadcast my roommate is sending might as well be a scream of worry.
"Sookie," she pleads. "You know you don't have to do this tonight." Amelia stares at me amidst her delicately furry face. The theme for this year's Halloween party at Fangtasia is "_A Supernatural Soiree – Be the Subjects of Legends_." Amelia has decided to honor her now deceased boyfriend, Trey, by coming as a Werewolf.
"I am though, Amelia." I don the rest of my outfit and begin brushing out my hair. My roommate stands there crossing her arms and continues to stare. The silvery blue coat of hair that covers her is quite shiny and looks soft like velvet, even in the low light of my room. "You look lovely, you know."
"Thanks, Sookie. I had to do some spell work, though. Nothing at the costume shops comes close to the real deal."
"Well, I'm sure Trey would agree with me when I say you make an extraordinary wolf."
I look up from buckling the thin ankle straps on my heels in time to see Amelia brushing a tear with the back of her fleecy paw. A knock at the front door distracts us from our too serious talk.
"Oh, he's a bit early. Well, it's not like Bill's is very far. I guess I should have expected. Amelia, would you be a dear and invite him in? I'll just be a few more minutes."
Amelia grimaces, looking like that is the last thing she wants to do, but she leaves to get the door all the same. I have to chuckle a little at her pout. Only Amelia has a complete understanding of my intentions, but she is bound by her own spells not to reveal anything. Bill has the vaguest of ideas as he helped with the research and correspondence on the computer, but he doesn't have a clue as to why. I am glad Bill is not completely recovered just yet.
I glance in the mirror one last time and apply some lip gloss. I look at the two frames on my dresser and, picking them each up in turn, give them both a quick kiss. The first one is a picture of me and Tara when we were little girls being cuddled in Gran's loving arms. The second picture I took just last month; it's of my brother Jason hugging our Cousin Hadley's little boy, Hunter. After making peace with Jason, he actually came to visit me out in Red Ditch where I've been staying while I help Hunter with his telepathy. Tara, Amelia, Jason and Hunter. I tune in closer to the blood bond I share with Eric. I don't have any pictures of my supernatural friends, so my bond with Eric is the only barometer of their affairs. All I pick up is irritation and anxiety with the usual strong undercurrent of lust. Sam, Alcide, Bill, Pam, and Eric. They are everything.
Okay. Ready, set, go. I walk out to the living room to join my roommate and our rather affecting guest. Amelia is quite nervous and visibly fidgeting, unsure of what to do, but she relaxes when she sees my bright and genuine smile. Grabbing our jackets, we flank the vampire as we leave my old farmhouse to join in the revelries of the night. There's an unseasonably chilly nip in the air considering this is Louisiana, but at least the sky is clear. The stars shimmer brightly above us and the first constellation I spy is Orion, the mighty hunter. I can't decide if this is comforting or an omen so just to be on the safe side I close my eyes and make a fervent wish.
* * *
"Insolence!" I shriek at the now whimpering creature whose neck is pinned by my red stiletto. "You contemptibly miserable breather! Just because you ornament yourself in our likeness for an evening does not give you leave to forget your station!" The man is petrified and I love it!
Out of the corner of my eye I see the telepath and her roommate walk in through the front doors. Playtime's over for the moment, I suppose. I pull the groveling man up by his cheap vinyl cape and send him on his way. After all he did only barely graze my butt as he passed and he probably only did that tripping over one of the makeshift tombstones. In transforming our little bar into a very realistic cemetery, we might have neglected to consider the fragility of the breathers. They seem to be having no small amount of trouble navigating through the mud, earth, moss and cobwebs covering the floor amidst the graves. I think one of the vermin staff got a bit carried away with the dry ice as well; the shrouding mist is more like a fog in certain spots.
I turn to watch the delectable pair take in the grand scene from the entryway and I am surprised to see a third following in tow. I do not recognize the man but he is outfitted in the dress of a very well to do vampire. Perhaps it is some fangbanger friend of Amelia's; I find it unlikely for Sookie to have dared show up with company. Amelia spots me through the crowd and I gesture for them to come my way. The three of them are quite captivating even amongst this crowd, and I find it impossible to turn my eyes from them until they are directly in front of me. Apparently several of the other guests are experiencing the same problem. There are lots of murmurs and double takes amidst the throng, both human and supe alike.
"Happy Halloween, Pam!" Amelia shrieks and wraps her tufted appendages around me giving my bottom a quick pat.
"You little minx," I raise one brow and smirk at her. "Were or no, you are scrumptious Amelia!" Even while talking to her I feel compelled to glance at the "vampire" in the group; there is something about him tickling my brain into recognition.
"Sookie, my friend," I say as I lean forward to peck her on her cheek and inhale her delicious scent. "It has been too long. My Master is eagerly awaiting your arrival in his office."
"I missed you too, Pam, and I just can't believe this place! It's incredible!" The telepath seems almost giddy; my Master will be most pleased. "I'll be back in a bit," she squeals tossing her jacket to Amelia. As featherheaded as a day old chick, the girl bounds off over an empty coffin without time for me to say another word.
"Well, I imagine they'll be preoccupied for awhile," I comment. Turning to Amelia and her guest I say, "So, my fur-riddled familiar, aren't you going to introduce me to your impressive cohort here?"
"Oh, he is all Sookie's doing and I'm afraid you'll have to wait for her to do the honors of introduction. My lips are sealed, literally!"
"How curious," I reply and shift so that I am staring directly into the man's eyes. I begin my glamour only to have it thrown off, and it is then that I know.
* * *
My awareness of her presence grows through the bond right alongside the urgency to possess her, until it eclipses the need entirely and I know she has finally arrived. I do hope she is pleased with the décor. I instructed Pam to have it made as much like the cemetery by her house as possible. I am told they even swathed the ceiling in black fabric and placed one of those star projection globes somewhere in the room. Now if she looks up it will be like seeing the night sky. I understand there is even a faux full moon indoors tonight for the benefit of the Weres since the real one won't happen for another two days.
I can hear the beating of her heart like my own personal metronome as she knocks on my office door. It calls to me and I let that alluring thump reverberate throughout my body; I take it in and make it mine. I recline slightly against the front of my desk, crossing my arms and calling out, "Enter."
My lover opens the door and I am confronted with the perfect vision from my memories. The hall light halos her voluptuous frame and she looks every bit the goddess that she did on the first evening we met. She is the light amidst the blackened coal mine that is my life.
"Sookie," is all my mouth is able to articulate. My eyes widen and fangs extend fully. I grip the edge of my desk, threatening to crumble the wood into timber.
"Oh, Eric," she says and runs to meet me, sliding her tiny hand up my chest. I take a moment to hold it right over the spot where my own heart used to beat. The sweetest smile graces her face and my earlier irritation at her absence is instantly obliterated.
Moving like only I can I am behind her in an instant, having first shut and locked the forgotten open door. I nuzzle the sensitive part of her neck and inhale her glorious scent while my arms are pulling her as close as physically possible.
"My, lover," I begin and crumple her pretty dress in my fisted hands, longing to tear it apart so I can reach the rest of her precious skin. "I know I should be gentle, dear one, but seeing you in this beguiling dress takes me right back to the first night you walked in this damnable place; it is all I can do to restrain myself."
"Eric," she exhales and I feel her hot breath as she turns to face me again. "Eric, there's so much I want to say to you but all I can think of now is how unbelievable it is to be close to you." Like a drowning person she is gulping down air and her chest is demanding my attention. I begin to chastely kiss the tops of her breasts as she continues muttering, "You, feel…I mean you look great…your costume, I mean."
"I am Raven," I say as I bend to place my arm beneath her knees. I pick her up and twirl her swiftly, causing her to grapple her arms about my neck. "I will tell you all about my costume later if you like, Sookie," I explain and place her gently on the leather couch. I weave my hands into the luxuriant hair that is the twin of my own and pull her lips to mine for a deep kiss. "For now, let us dispense with trivial words."
"Absolutely," she groans and I can smell her growing arousal.
My left hand still in her hair holding her head back against the arm of the sofa, I slowly trace her curves with my right. When I reach the bottom of the white and red flowered dress I reach underneath and begin tracing her supple legs back up to her treasure. My finger teases the outside of her lace panties and she squirms with pent up need. My own grows hard against my black leather pants and I wish they were not so constrictive. As if she has read my mind, she reaches toward their button and fumbles in the attempt to get it open.
I kiss her again, my tongue lingering over the edge of her lower lip. At the same time, I push aside her panties and quickly dart in one long finger. She whimpers as I retract and place the finger in my mouth to suck the sweet taste. Her eyes never leave mine as I exclaim, "You are exquisite, my lover!"
Resolving my button she reaches in to wrap her tiny hands around my hardness and I growl with the simple pleasure. Our baser desires take over and in a flurry of hands and legs we are both freed from our clothing. Atop her now, I labor over her breasts. I cup and squeeze and lick, sometimes grazing the nipples with my fangs. She is enchanting, her little moans and back arching goading me into the sublime. I press my excitement further onto her leg crushing her with the weight of my love.
"Eric, now," she pleads. "I want you!"
Hearing her beg for my attentions reaches the most primal parts of me and I am undone. Like a mad man I am everywhere at once nipping and licking her succulent, salty skin and I reach three fingers inside her wetness. She is a quivering mess, clearly ready, so I bring myself up into position with just the tip touching her entrance. I pull her arms above her head, holding them there, and look down at what is mine.
"You are perfection, my lover," I proclaim as I push completely inside her welcoming folds. The feel of her is raw to my nerves and the sensation brings me to fever pitch. I cannot get enough of her. It is only a matter of minutes before she is trembling with the lofty peak of her bliss. She cries out unintelligibly and I, still seeking release, plunge my fangs into the soft flesh of her breast. I drink in the euphoria until we are both sated and spent.
I revel in this moment blurting out, "I swear you have bewitched me, Eric." I see the smile fade slightly from his lips so I continue, "In your arms there is nothing else that matters. Truly, though I never thought I'd say this, I am yours in every way." He is beaming at me and I know I have spoken the right words.
"You speak poetry to these ancient ears," he said pulling me into a sitting position and handing me my dress off the floor. "Of course I always knew it was a matter of _when_ not _if_, my lover," he purrs. "Come, let us leave dear one. I shall steal you away from this Halloween ballyhoo and we can continue to celebrate one another at my home."
"Eric, we can't," I say retrieving my panties from the crevice of the couch. He is crestfallen to say the least.
Rebounding quickly he adds, "Well, then your place is fine. I will make sure Pam occupies your roommate elsewhere."
"No," I explain, "I have a surprise for you, Eric."
"Really?" he is definitely intrigued.
"Yes, so get dressed before I change my mind!" I toss him his black shirt and leather pants. He turns to flash me that enticing derriere and I close my eyes to distract myself from the temptation.
"What are you supposed to be again?" I ask my divine vampire. Standing before me I can't help but notice how much Eric resembles a blond Brandon Lee from that movie _The Crow_. Undeniably, oh-my-undead gorgeous!
"You mean besides the champion of your heart?" he asks with a droll smirk. "I am Raven, Sookie. Throughout the centuries the raven has held different meanings for different peoples. He has often been an honored symbol of power direct from the gods."
"Well it certainly suits you," I assure him appreciatively. "Did the raven mean anything to you, before you were a vampire?" I ask.
"I honor the Norse god, Odinn," he replies running his fingers through his silken locks to smooth out his hair. "His loyal ravens Huginn and Muninn could speak and traveled the world from dawn until dusk gathering information to relay to their resting Master."
"They were his messengers?" I ask, genuinely interested.
"Yes, he gleaned so much wisdom from those heralds that they called him the 'raven-god'," he explained. "Odinn favored my father, the chieftain, amongst all of the Viking who worshiped him and anointed him with a banner imbued with magical qualities. The raven on the banner would show my father if victory would be had in battle and he carried it with him always as his most prized possession. I lost track of it after my change of course, but tales of its powers filtered through the ages."
"Eric, that's extraordinary," I babble. He so rarely opens up I try to absorb every detail. "I guess you really lost everything when you were changed, huh?" I speculate suddenly more interested in my shoe buckles than in meeting his eyes.
"Sookie, sometimes when you think you've lost something you've really just passed it on to benefit someone else," he broods. "In my death many others came to raise that banner and ride victorious who maybe never would have had the chance."
"Eric, I never knew you concerned yourself with the circumstance of others?" I grab his hands pulling him close and rest my head against his broad chest. Yes, this is where I belong.
"Well even a tortured vampire longs to find purpose in his existence, my lover," he whispers into my hair.
"My philosopher," I say burrowing into the embrace. "Ok, are you ready for your Halloween treat?"
"I assure you I have had all the treats I need," he teases, "but I'll admit I'd like to discover what you have in store."
I lead the way, anxious to find the others. I step out into the "graveyard" and, because of the angle, my eyes are drawn upward to the ceiling. A blanket of stars is spread over every inch and I turn to Eric to exclaim, "Oh, how beautiful! It's just like when I stepped out of my house earlier. Look over there Eric, it's Orion."
"Ah, but we see with different eyes, my lover," he murmurs into my ear sending shivers down to my toes. "You see the hunter, but I see only Frigg's distaff which she used to spin the clouds."
"I've never heard of Frigg, Eric." Sometimes I really regret my lack of formal education. Not everything falls under Word-of-the-Day calendars and paperback fiction novels. Although I am very impressed with what Bill can find just by scouring the internet.
"I'm not surprised dear one," he says smiling down at me. "She was the beloved wife of Odinn, the god I mentioned earlier. He held her in the highest regard among goddesses and she was the only one he ever let sit in his throne to survey the universe."
"Eric, you tell such wonderful tales," I coo up at him, "I could listen to them forever!"
"Well," a baritone voice addresses us, "forever is a concept we are all too familiar with, indeed." My guest has made his way over to us with Pam and Amelia following in his wake. Pam looks almost entranced and Amelia has suddenly found a patch of fur on her arm that needs fluffing.
Upon my life, I will never forget the look on Eric's face when he looked into the eyes of the stranger!
"Happy Halloween, Eric," I say with a smile. I grip his arm with my right and extend my left toward my guest. "This is my surprise…my treat!"
* * *
"Sookie, if this is some trick, let me assure you I am not amused," I tell my lover.
"She is not deceiving you," the unknown vampire speaks in a tone that demands attention. "I am precisely who I appear to be, Eric the Northman." He bellows my name drawing the attention of nearly all the guests.
My mouth is twitching, trying to form words, but I cannot seem to make it work. I have been waiting for this moment for centuries and now that it is upon me I am blowing it utterly. Focus, pull yourself together…now!
"My Prince," I proclaim and fall to my knees, "I am prostrate before your presence." My mind buzzes and I dare a peek back up at my hero. I cannot believe this is actually happening. It's him; the Lord of Darkness is really here!
"How very wise of you not to turn your eyes away from the 'Impaler' for very long," the Prince laughs at me with an evil glare. "Rise, Viking, you are a creature after my own heart. I count you Brother, Sheriff."
"Prince Dracula," I say nearly choking on the phrase as I stand. "It is truly an honor that you deign to grace us with your appearance at this humble affair. However I may be of service, you have only to ask."
I snap my fingers and Pam, shaking off the fog clouding her brain, is at my side. "This, my Lord, is my child, Pamela."
"Yes," Dracula explains, "I have already had the pleasure of meeting your precious creation. She was quite attentive while we waited, you may be assured."
"This, my Lord," I say grabbing Sookie by the elbow to pull her even closer to my side, "is my pledged, Sookie Stackhouse."
"Yes, Miss Stackhouse," Dracula says stretching out each word. "Intoxicating woman, she is the one you should thank for my presence. It is her arrangement which I could not refuse."
"Indeed, I am continually impressed with her magnificence, my Lord." I stare at Sookie, shaking my head in awe. I cannot imagine how she has pulled this off when far nobler and wealthier vampires have failed.
"Prince Dracula," Pam says with her head bent but eyes cast to meet him, "Shall we arrange a Donor?"
Well at least my child still has her wits about her since I apparently have my head up my ass! I just cannot imagine what 'arrangement' Sookie made. I'm starting to worry a little bit, actually. Sookie means well but has an incredible knack for getting in over her head.
"I will have my blood soon enough, child," Dracula replies to Pam and then turns to Sookie, "but first there is another matter to which I must attend."
"Eric," Sookie looks up at me with a grin. "Do you still have the ceremonial knife here from when we became pledged?"
"It can be arranged, my lover." I lean to whisper the location of the knife to my child and Pam is gone with vampire speed. I try to ascertain through the bond what she is planning but all I am flooded with is her love.
"Well, perhaps while that is being procured you would like to take the seat of honor, my Lord," I motion towards my usual perch. "I know it is not up to your usual grandeur, but it is the best I have to offer on no notice." There, I said it. I know she has done an incredibly amazing thing, but I would have appreciated a heads up at least, that my hero might decide to show.
"Nonsense, Viking," Dracula scoffs, "I admire the attention to detail you have given to the décor. Although I must say I will never comprehend the breather's fascination with assuming supernatural creatures come from graveyards. I have always detested their filth myself."
I am horrified! I have my hero in the one place he hates more than anything else. I turn to grimace at Sookie, when I thankfully see Pam returning with the knife. She hands the velvet wrapped weapon to me and I just hold it out, unsure whether Sookie wanted it or if she meant it for me to use. I hate not being in control!
* * *
"Eric," I begin, "I have had a lot of time to gather my thoughts recently and the first thing that needs attention is our bond." I take the knife from its velvet wrapping and lay it gently back in his hands.
I can feel the eyes of everyone at the party boring into my back. Not only am I picking up Eric's concerns through the bond, but I've got Mr. Big Shot Vamp salivating on one side and I'm being bombarded with the hysterical thoughts of every confused human in the room on the other. Pam is hovering next to Amelia, practically cutting off the circulation to her arm in her excitement.
"Throughout our bonding I have made very little easy for you, Eric," I concede, "and my doubts have caused us both pains. That ends tonight. Will you renew the bond with me, here, for all to see?"
"Sookie," he gasps with a blood tear threatening to escape, "are you certain?"
"Eric, yes," I assuage him. "I choose to be bonded in blood."
He looks me in the eyes, looking through to my soul. I wonder what he sees. The significance of my words is not lost to him. By this point someone has even stopped the music and silence permeates the bar. Without a word he hands me the knife so I can control the wielding. Well I guess I'll just repeat what we did in Rhodes. Goodbye, sexy shirt! I slice precisely through the fine black fabric just below his nipple and nick the back left side of my own neck for him to use. I desperately hope I have managed to avoid my main veins. We are on each other's wounds instantly, both drawing hungrily. I thought at first I might have made a mistake in choosing my neck but Eric contorts skillfully to allow me the best angle to his chest and doesn't miss a drop of my blood. There is no patience between us for turn taking.
I have forgotten, until now, how sweet his blood tastes. The thick liquid that was previously so hard to imbibe now seems like honey. It coats my throat as I gulp eagerly, and each swallow sparks new life inside every inch of me. The arousal is inevitable for us both. Lost in the moment, I forget our surroundings and moan audibly as his tugs on my neck create a deeper sensation. The slice on his chest is closing so I lick the wound greedily, circling his erect nipple. When my hot breath escapes across it, he has had all he can stand of the public display.
"Excuse me, my Lord," Eric tells Dracula, "we shall return." His pants are bulging at the seams again. The Prince responds only with a peal of rumbling laughter and the entire room palpably relaxes. A few guests even clap hesitantly in their uncertain enthusiasm over the disruption.
I have never enjoyed feeling like a rag doll more than I do in that instant. Eric sweeps me up onto his shoulder, and in mere seconds we are in his dark office. Using his free hand, he deftly flips the light switch on, though obviously he can see perfectly well without. He pauses slightly to kick the door closed for a semblance of privacy, as if almost everyone out there hasn't very acute hearing. I am too enthralled in my vampire to care.
Eric pulls me down the front of his chest and I earnestly wrap my legs around his middle. I cover his neck with my kisses as his hands grip my butt underneath the skirt of my dress. I slide my tongue down the outside curve of his ear and when I nip the lobe with my front teeth he becomes a fiend of desire.
Eric shreds my panties and unbuttons his pants in one swift movement, still supporting my bottom. Knowing the frenzy of passion can't be contained much longer, he coaxes me into position and I cry out as his tip teases at my entrance. Fevered with primal need he thrusts and slams me vigorously down onto his shaft. I scream with pleasure and throw my head back, keening to the heavens. Every fiber of my being pulses with delight and I propel my head forward, biting his neck savagely. Eric hisses with animal gratification, latching onto my swelling breast and quenching his own thirst as we both crescendo together.
"Wow," is all I can say at first.
"Oh, my lover," Eric chirrs. "You slay me, truly."
He seats us both on the couch lest we fall from exhaustion. In his lap I burrow further into his chest while I catch my breath. We sit there holding one another and slowly time begins to move again around us. The sounds of the party begin to filter back into our awareness and I recognize the sultry tones of Norah Jones' _Nearness of You_ being played.
"So, my lover," Eric inquires, "tell me how you managed to entice the Lord of Darkness to attend. Not that it matters to me, but you haven't much money or pedigree to ply him with, as all vampires have attempted to do."
"Well, Bill helped me make initial contact through his computer directory," I explain. Eric arches his brow but doesn't interrupt.
"Getting him here was mostly accidental, though," I continue. "You see, not being good with email I decided to send a personal and handwritten plea detailing my plans. I must have inadvertently nicked my finger on the envelope when I sealed it, though. The reply he sent was most emphatic that he hadn't received a more intriguing sample of blood in centuries! He assured me of his attendance and it wasn't long before one of his handlers made contact to work out the details. He actually spent the day resting at Bill's after his arrival. I thought that would be thanks enough for Bill helping me make contact in the first place, since he is still too weak to leave his house."
Eric is all over worry as he pushes me aside, quickly standing to pull up his pants. He faces me with crossed arms and a stern expression.
"Sookie, I appreciate the lengths you went to appease me, but honestly, how could you be so foolish?!" he shouts.
"Eric, please," I protest, but he cuts me off.
"No, Sookie, this is not Andre we're dealing with here," he hisses venomously down at me. "Regardless of whatever negotiation you may think you have made, Prince Dracula is here for more of your blood and I am virtually powerless to stop him! My life will be forfeit to the sun if I so much as strike him, let alone kill him, as I most likely will have to do. Oh, my lover, what have you been pulled into now?"
He is pacing now. The line of rapport we are sharing through the bond is now full of rage, worry and indecision.
"Eric, it's okay," I explain, imploring him to listen. If he hears me, he makes no indication and, if anything, his pacing grows more agitated.
"Eric, stop for a second and listen," I beg. "You're making me dizzy!" He ceases his pacing and stops before me, staring a hole into my forehead.
"Eric, I know he came here for my blood and I am prepared to offer it to him," I state simply. "Now, before you go crazy, please just hear me out and sit down next to me on the couch." Eric sits after a long moment, looking anything but calmed by my words.
I take his hands in mine and say, "The bond renewal was just the first decision I made while healing these last few months." I grasp his hands in mine and search his eyes for the understanding I require.
* * *
My lover sits there, exploring my face for a hint of comprehension, but I feel at a loss to put her at ease. Surely she is not suggesting that she will give herself willingly to him after what we have just shared.
"I cannot imagine a future where I am not with you, Eric," my lover says and her eyes lock on mine. "As full of grief as our history together has been, it just can't compare to how wonderfully right we are together. I want to spend several lifetimes just getting to know your sordid past and several more creating our future."
Who is this tempting Siren? I have half a mind to throw her down and drain her right here! Can it be that she is really ready so soon?
"Sookie, am I really understanding you correctly?" I question. "There must be more to your reasoning. You need not sacrifice so much." Some other part of me is speaking while the vampire lies in wait of his prey. I swallow needlessly, salivating at the thought of all her delicious blood.
"Eric, after the fairies," she chokes out, "I just realized that what I was trying to stay alive for is exactly what I keep missing out on by being so very damn fragile!"
She rises and her face is flushed with determination. I know there are words streaming out of her lips but I have succumbed to my other senses and they are not registering. She is captivating and I catalog every tiny detail into memory. I soak in every line on her face, the smell of citrus from her shampoo mixed with the sweaty remnants of our sex, and even the bouquet of her blood at the back of my tongue. I tuck the precious jewels away to cherish at my leisure. I am pulled back into reality when she stops speaking, obviously waiting for a response.
"I grant you have put a bit of thought into this then," I reply, "but I still do not grasp why you feel the need to involve Prince Dracula? Would you really relinquish your mortality, and give so much control, to anyone other than me, lover?"
"Eric," Sookie explains, "I happen to know you would not relish breaking the vow you made to me, and who better to perform the task than the Legendary Lord of the Night, or whatever you guys call him."
"Sookie, with him as your maker he would control you completely," I explain. "Somehow no matter how delicious you are, dear one, I do not think the 'Impaler' will be as kind and gentle to you as I have been."
"Just follow me on this, Eric," she says with a mischievous air. "Vampire strength is determined by age, is it not?"
"Yes of course," I mutter and begin to see the point.
"Well, just because Mr. Scary Celebrity out there drains me," she blurts out and can't help but to gulp in apprehension, "doesn't mean he would control me, Eric. He wasn't made vampire until his own human death came out on a battlefield in 1476. Most of the horrific stuff he's so famous for happened when he was still human. So by my vague calculations, that would make you about…"
"Four hundred and fifty years older," I finish her sentence in astonishment, "give or take." Truth being told, I am impressed that my lover has arranged such a plan.
"Our bond would be stronger," I mutter. "In theory, it would supersede the bond between maker and child."
"Plus, and this is the kicker," she says with smile, "I never told him I was a telepath. So he has no idea that I may be useful to him for anything other than my blood. He has already agreed to relinquish me into your very capable hands. As he put it, 'he has no use for the demands and tedium that a newborn vampire requires', and I believe him."
"Hmmm, my lover," I ponder her words, scouring them for flaws, "I am inclined to agree with your reasoning, though it is my nature to doubt his word. I would have suggested Pam, who is in my control and whom I could force to release you, should it become necessary. However, I do not see another alternative, as he is now here and waiting. Well, not one that doesn't end very badly for us all, anyway. I am afraid I must acquiesce."
"Well," she says, "let's get to it before I change my mind."
I take my lover's hand and lead her uncertainly to meet her destiny.
* * *
A little embarrassed from our hasty departure earlier, I allow Eric to lead me all the way back to Prince Dracula. I do not meet the eyes of the guests around me as the fear starts to set in, my palms beginning to sweat. I know Eric can sense my nervousness but it seems as if his resolve has taken over now that the decision had been made.
He smiles down reassuringly at me and says to the Prince, "We are ready, my Lord."
"Excellent," Dracula says stretching out the syllables. "Viking, do you have a more private venue at your disposal? It is not my wish to make our arrangement well known to the masses."
Now that is something I can understand. Gossip spreads like wildfire and if this takes place with so many onlookers, it will only be a matter of time before the press gets a hold of it.
"Of course, let us retire to my home where we can all be more comfortable," Eric offers. "Pam make arrangements so you may join us, and Amelia, I'm sure Sookie would appreciate your company as well."
"No," Amelia cries, "this is too much!" She points accusatorially at the vampires and shouts, "She is just too wrapped up in your vamp world to know the gravity of what she's giving up! I can't go along with this as if it's no big deal for a human to die!"
"You," the Prince seethes and grabs Amelia's neck. "Let me assure you, the taking of a life is always a 'big deal' and this woman gives the greatest gift this evening. Two worlds come together tonight, and though it may not make sense to you, suffice that it does to others. Are you in the habit of questioning the motives of those far more powerful than yourself?"
"Amelia," I hurryingly interject before my roommate gets strangled, "don't you see I am doing this for you? I want to do this for you and all of my family and friends. The time I spend laughing with you, reading to Hunter, and even trading sarcastic banter with Pam, that is the time that matters. Those are the things to live for, and I'm tired of missing them because I'm banged up on my deathbed. I want to have forever to enjoy these things! Tallying up all the crap I've been through, don't you think I've earned it, Amelia?"
"Yes, of course, Sookie," she strains to mumble through Dracula's grip, "but you'll lose everything human about you. I worry that you're already thinking like the vampires you hold dear, instead of focusing on the human things you'll be giving up."
"I will come with you, though," she concedes, "if you won't change your mind. I'll keep your secret from Sam and Jason as long as possible, too."
"You are mistaken woman," Prince Dracula says, shaking Amelia loose from his hand. "A sacrifice of this magnitude is the noblest thing a creature can do, and it is what distinguishes your precious humanity."
I look up at Eric remembering our conversation from earlier.
"It's just like your raven banner, Eric," I tell him as my fear falls away. "Sometimes losing something dear just means it goes to benefit someone else."
My vampire winks at me and brings my hand to his lips for a chaste kiss.
"Let's go everyone," I say, emboldened. "I'm not afraid or embarrassed, I'm proud to do whatever I can for the ones I love."
Eric and I climb into his corvette and pull out into the chilly fall air so the others can follow.
"My lover, are you cold?" Eric asks pulling me close to his side.
"I'm okay," I reply, and I actually mean it. There is so much love and lust being sent through our bond right now, it actually warms me physically from the inside.
"I'm sorry for disrupting your party tonight, Eric," I say looking up into his beautiful eyes when he turns from the road.
He laughs so hard it's contagious and I begin to giggle.
"My lover, tonight is the first time I have ever enjoyed an American Halloween," he cajoles. "I am finally beginning to see the merit in these Tricks and Treats you crave!"
We laugh and hold each other close, embracing the night ahead.
* * *
A/N: This was my first attempt at writing something for this site, so please review and tell me what you think! Don't worry about hurting my feelings, I LOVE feedback of any kind. The title of this fic came from Dracula's line in the last section about two worlds coming together...also I had Lewis Carroll's _Jabberwocky_ poem on the brain. I did take a little bit of historical license in attributing the Raven Banner as belonging to Eric's father, but I thought it was too interesting not to include. A big thank you to Zigs and Yoga for hosting this awesome contest!
Happy Halloween to you all!
End file.
| fanfiction |
fanfiction |
|
Northrop Grumman Details AQS-24's Evolving Configuration & Increasing Popularity
Northrop Grumman is stepping up its efforts to mature the AQS-24 mine hunting sensor's baseline technology and provide variants of the system to the US Navy and other naval services around the globe. Twenty-seven AQS-24Bs have been delivered to the US Navy and are in operation in Commander Fifth Fleet (Middle East) and other areas of responsibility. The AQS-24B system includes the world's first combined operational High-Speed Synthetic Aperture Sonar and an optical laser line scan sensor, which provides complete coverage out to maximum range on a single pass, and has other capabilities including being self-stabilising (pitch and roll) while under tow.
"We can launch and fully operate in sea state 3 [0.5-1.25m (1ft 8in to 4ft 1in))] and recover in state 4, and if you placed the -24 on larger vessels you could operate it in higher sea states," David Allan, the company's Manager of International Business Development for Undersea Systems, added.
While L3 ASV's (Hampshire UK) "ASV HELM" system controls a hosted-USV platform remotely, AQS-24B is controlled (including launch and recovery) by NG electronics. Also significant, "We can get near real-time data back to the vessel itself, allowing us to look at mines and other contacts as we are doing mission analysis," the community expert emphasised.
As the current laser is turbidity dependent, the US Navy has issued an engineering change proposal to bolster the systemme's performance for the "B" variant in variant turbid water conditions. However, it is the AQS-24B's 18kt full-speed for line detection, that is reportedly the discriminator, distancing it from other mine-hunting competitors.
A partial list of Northrop Grumman's other industry partners for its AN/AQS-24B includes Fairlead (Norfolk, Virginia) for the launch and recovery systemme and OKEANUS (Redmond, Washington) for the winch. On the international side of the business portfolio, the Japan Maritime Self-Defense Force is in the planning stages for the upgrade of its "4As" to the "B" model. Further, the AQS-24B was demonstrated at the request of the Royal Australian Navy in last December's, service-sponsored Autonomous Warrior 2018 exercise in Jervis Bay, Australia. "Two Middle East North Africa countries have expressed strong interest in this systemme. We're also in several competitions in Europe – one in Denmark and one in Belgium/ Netherlands," Mr Allan concluded.
Marty Kauchak
It is the AQS-24B's (one in deployment from host vessel above) 18 kt. full-speed for line detection, that is reportedly the discriminator, distancing it from other mine-hunting competitors. (Image: Northrop Grumman) | slim_pajama |
A case of normal force working in the “wrong direction” [closed]
[Homework-like questions](https://physics.meta.stackexchange.com/q/714) and [check-my-work questions](https://physics.meta.stackexchange.com/q/6093) are considered off-topic here, particularly when asking about specific computations instead of underlying physics concepts. Homework questions can be on-topic when they are useful to a broader audience. Note that answers to homework questions with complete solutions may be deleted!
---
Please help the asker edit the question so that it asks about the underlying physics concepts instead of specific computations. If there are any complete answers, please flag them for moderator attention.
Closed 6 months ago.
[Improve this question](/posts/755366/edit)
Consider a painter on a scaffold pulling themself up by two ropes connected to the ends of the scaffold via a set of pulleys. The painter has mass $M$, the scaffold has mass $m$, and the painter pulls themself up with a force $F$ on each rope. Say the painter rises with uniform acceleration $a$.
Modeling this situation, one arrives at the system of linear equations
$$
2F - N - mg = ma
$$
$$2F + N - Mg = Ma$$
(for example in [this video](https://youtu.be/4-eDnJMcaMc)), where $N$ is the normal force of the scaffold on the painter. Solving this system of equations, we find:
$$
N = \frac{2F(M-m)}{M+m}
$$
But this seems very strange to me: this means that $N$ is negative if the scaffold has more mass than the painter. If I’m interpreting this correctly, that would mean the normal force of the scaffold on the painter is working *downward*, i.e., the scaffold is somehow pulling the painter down. Intuitively, that doesn’t seem possible. Am I interpreting this correctly? Or is the appropriate response to treat the term $M-m$ as $\max\{0, M-m\}$ instead (i.e., no normal force if the scaffold is too massive)?
By assuming that the acceleration of the painter and the scaffold are both equal to $a$, you are implicitly assuming that the painter and the scaffold are connected together e.g. the painter has tied or glued or nailed themselves to the scaffold. In this case $N$ *can* be negative, and indeed $N$ will be negative if
$M - m < 0
\\ \Rightarrow M < m$
i.e. if the scaffold has a greater mass than the painter.
However, if the painter and the scaffold are *not* connected together then you are right, $N$ cannot be negative. In this case, if $M < m$ then we have to drop the assumption that the accelerations of the painter and the scaffold are the same. So if $M < m$ we set $N$ to $0$, and the accelerations of the painter and the scaffold to $A$ and $a$, and we have
$2F -mg = ma \\ 2F - Mg = MA$
which we can rearrange to find
$\displaystyle a = \frac {2F} m - g
\\ \displaystyle A = \frac {2F} M - g$
and since $M < m$ (and we assume $F >0$) then we find that $A > a$. In other words, if the scaffold has a greater mass than the painter, then by pulling on the rope the painter pulls themselves up *off* the scaffold.
| stackexchange/physics |
ichthyophonus hoferi , a highly pathogenic parasite of marine and anadromous fishes , is currently ubiquitous in pacific herring ( clupea pallasii ) populations throughout the ne pacific [ 13 ] .
phenotypic and genotypic [ 5 , 6 ] differences among isolates of i. hoferi suggest that there are multiple sympatric species in the region . due to this taxonomic uncertainty , here we refer to the parasite by its generic name . among wild pacific herring ,
the prevalence of infection typically increases with age ; consequently , the resulting disease ( ichthyophoniasis ) is thought to affect primarily older age cohorts [ 2 , 7 ] .
however , the impact of ichthyophonus infections on juvenile pacific herring has received little attention . in atlantic herring ( clupea harengus ) , it has been suggested that time to mortality is shorter for juveniles than for adults resulting in relatively low , but highly variable , prevalence .
prevalence of infection among young - of - the - year ( yoy ) herring is typically 313% in the ne pacific ( usgs unpublished data ) with infections detected as early as 4 months after hatch .
in addition to causing direct mortality from disease , ichthyophonus infection may predispose juvenile herring to indirect mortality through predation , presumably as a result of decreased swimming performance [ 11 , 12 ] .
this type of indirect mortality is difficult to demonstrate but should be expected considering the extensive tissue damage that can result from ichthyophoniasis .
ichthyophonus invades multiple visceral organs and can appear in the heart within 26 h after exposure .
kocan et al . reported a 40% increase in cardiac weight in infected rainbow trout ( oncorhynchus mykiss ) resulting from parasite biomass and host inflammatory response .
the physiological cost of ichthyophoniasis and resulting reduction in fitness could compound the effects of other environmental and biological stressors experienced by juvenile pacific herring . in the ne pacific
, specifically prince william sound , the overwinter fast has been identified as a primary factor limiting yoy herring survival .
this issue ) were designed to improve our understanding of the bioenergetic costs of overwinter fasting for juvenile pacific herring .
we were specifically interested in the compounding effects of disease , temperature , and starvation on survival , and the effect of temperature on disease processes .
three experiments were conducted to determine ( 1 ) effects of temperature on mortality in fasting pacific herring with established disease , ( 2 ) effects of temperature on disease progression and mortality in fasting pacific herring immediately after parasite exposure , and ( 3 ) effects of temperature on disease progression and mortality in pacific herring recovering from pre - exposure fast .
to ensure that animals were parasite - free and immunologically nave at initiation of experiments , a cohort of specific - pathogen - free ( spf ) pacific herring was reared for this study at the usgs marrowstone marine field station ( mmfs ) ( nordland , wa , usa ) . naturally spawned eggs from wild pacific herring
were collected from the southern strait of georgia ( 4855.85n , 12248.15w ) on 5 may 2008 and transported to mmfs where they were held in 270 l tanks supplied with filtered , uv - irradiated seawater .
eggs hatched on 18 may 2008 and larvae were subsequently moved to 1700 l tanks where they were fed enriched live feeds ( i.e. , brachionus plicatilis and artemia franciscana ) and frozen copepods ( cyclop - eeze , argent chemical laboratories , redmond , wa , usa ) until metamorphosis to juveniles .
juvenile herring were weaned to a krill - meal pellet produced at the usfws abernathy fish technology center ( longview , wa , usa ) and eventually to commercially available salmon pellet ( bio - olympic fry , bio - oregon , longview , wa , usa ) .
three experiments were performed over an eleven - month period to investigate the effects of fasting and temperature on disease dynamics in ichthyophonus - infected pacific herring ( table 1 ) .
two treatments , infected and uninfected , were applied to fasting herring held at each of three temperatures ( low , ambient , and high ) . to control for the effect of fasting , this 2 3
design was modified with the addition of two fed treatments , infected and uninfected , maintained at ambient temperature .
flow through seawater ( low , ambient , and high temperature ) was delivered to each tank at the rate of 4 l min .
the temperature regulating system allowed temperatures to vary with seasonal seawater temperature , but maintained a relatively consistent separation between low , ambient , and high temperature treatments .
seawater temperatures in low and high treatments were adjusted gradually over the first 24 h after fish were distributed to replicate tanks .
water temperature was recorded every 30 min ( hobo water temp pro v2 , onset computer corp . , bourne , ma , usa ) .
temperature treatments will be identified here as the mean temperature that occurred throughout the experimental period .
ichthyophonus exposure for herring in infected treatments occurred via intraperitoneal ( ip ) injection . to obtain stock material for ichthyophonus inoculum , heart tissues from ichthyophonus - infected herring ( wild and laboratory infected )
were cultured in eagle 's minimum essential medium supplemented with fetal bovine serum ( 5% v / v ) , penicillin ( 100 iu ml ) , streptomycin ( 100 g ml ) and gentamycin ( 100 g ml ) and buffered to ph 7.8 with 1 m tris ( mem ) .
after 24 weeks in culture , thousands of ichthyophonus schizonts ( i.e. , spherical multinucleate bodies ) had grown out of the tissues and were free in the media .
host tissues and medium were removed from these cultures with sterile pipettes , several cultures were combined , and this mixture was diluted in sterile phosphate - buffered saline ( pbs ) to produce an inoculating solution that contained approximately 2000 schizonts ml .
fifty l of inoculum was then injected into each fish with the goal of introducing 100 schizonts / fish regardless of size . for each experiment ,
three 50 microliter aliquots were collected during the injection process and schizonts were counted at 40x magnification on an inverted microscope .
final inoculum concentration ( i.e. dose ) for each experiment was determined by dividing the mean number of schizonts by mean fish weight .
( age = 145 d ) were inoculated with ichthyophonus schizonts ( mean = 174 schizonts fish ) and placed in a 760 l holding tank .
nineteen days post - exposure ( dpe ) , when external signs of ichthyophoniasis ( i.e. black skin ulcerations ) were evident in many individuals , herring from this tank and a corresponding tank containing uninfected controls were distributed to triplicate 260 l tanks ( n = 47 to 52 fish / tank ) at each of three temperatures , 6.7c ( low ) , 9.3c ( ambient ) , and 12.3c ( high ) , and fasting was initiated .
additional 9.3c ( ambient ) treatment groups with infected and uninfected herring were fed to satiation daily .
juvenile spf herring ( age = 241 d ) were injected with ichthyophonus schizonts ( mean = 167 schizonts fish ) or pbs and immediately distributed to triplicate tanks ( n = 49 to 51 fish / tank ) at each of three temperatures : 5.6c ( low ) , 7.9c ( ambient ) , and 12.4c ( high ) , and fasting was initiated .
additional 7.9c ( ambient ) treatment groups with infected and uninfected herring were fed to satiation daily .
feed was withheld from 607 spf herring held in two 760 l tanks and a second group of 300 spf herring in a single 760 l tank were fed to excess 3x week ( i.e. , > 10% biomass per feeding ) .
the experiment was initiated after 56 d when herring from the fasted colony were injected with either ichthyophonus or pbs and transferred to triplicate tanks ( n = 27 to 30 fish per tank ) at each of three temperatures : 9.3c ( low ) , 12.0c ( ambient ) , and 15.3c ( high ) .
herring from the fed colony were injected with either ichthyophonus or pbs and transferred to triplicate tanks at 12.0c ( ambient ) .
fish in all treatments ( previously fasted and fed ) were fed to satiation daily after exposure .
this issue ) 31 dpe , and the experiment was terminated 54 dpe . a subsample ( n = 20 fish ) was taken from pre - experiment pools for fork length ( fl ) and weight ( wt ) measurements at the initiation of each experiment .
mortalities in all challenges were removed from tanks daily , and survivors were euthanized with an overdose of tricaine methane sulfonate in buffered seawater at the termination of each experiment .
prevalence of infection was determined by in vitro explant culture of heart tissue in mem .
heart cultures were incubated at 15c and examined microscopically ( 40x magnification ) for the presence of ichthyophonus schizonts and/or hyphae after 14 d. culture - positive samples were considered diseased when visible lesions indicative of ichthyophoniasis were observed on the skin and/or heart .
cumulative mortality was compared between treatments at the midpoint and end of each experiment using a single factor ( treatment ) anova followed by a tukey test for multiple comparisons .
herring were 44 mm fl ( sd = 4.7 ) and 1.0 g wt ( sd = 0.38 ) at the initiation of this challenge . a dose of 174 schizonts g successfully established ichthyophonus infections , and a majority of the infections progressed to overt disease . in ichthyophonus - exposed groups ,
infection prevalence ranged from 95.9 to 98.6% with no significant differences between treatments ( f0.05(2),3,8 = 1.749 , p < .23 ) .
similarly , prevalence of disease ( i.e. , clinical signs ) among infected fish ranged from 97.0 to 99.3% with no significant differences between treatments ( f0.05(2),3,8 = 1.089 , p < .41 ) .
cumulative mortality in infected treatments generally followed a sigmoid pattern reaching 44% to 55% by the midpoint of the experiment and 65% to 98% by the end ( figure 1 ) .
cumulative mortality varied significantly with treatment at the midpoint of the experiment ( day 40 ; f0.05(2),7,16 = 102.2 , p < 4.4 10 ) .
the tukey test for multiple comparisons grouped all infected treatments separate from uninfected controls on 40 dpe , with no separation due to temperature .
starvation mortality in fasting , uninfected treatments followed a predictable pattern in relation to temperature . at 52 , 61 , and 72 dpe , cumulative mortality reached 10% in 12.3c ( high ) , 9.3c ( ambient ) , and 6.7c ( low ) treatments , respectively , and increased exponentially until termination of the experiment ( figures 1(a ) , 1(b ) , and 1(c ) ) .
starvation mortality continued in infected treatments late into the challenge preventing a plateau that appeared to be developing in infected treatments around 60% to 70% .
this plateau did develop in the single infected treatment ( 9.3c ) that was fed throughout the challenge ( figure 1(d ) ) . at termination of the experiment
, significant differences in cumulative mortality did exist between treatments ( day 80 ; f0.05(2),7,16 = 55.3 , p < 5.0 10 ) , but the tukey test did not group the treatments by infection status as on day 40 . at termination cumulative mortality in fasting uninfected treatments approached or surpassed that resulting from disease alone .
cumulative mortality in the uninfected , fed treatment ( 9.3c ) remained below 5% ( figure 1(d ) ) .
herring were 70 mm fl ( sd = 6.3 ) and 3.6 g wt ( sd = 0.97 ) at the initiation of this challenge .
a dose of 46 schizonts g successfully established ichthyophonus infections , and a majority of the infections progressed to overt disease . in ichthyophonus - exposed groups ,
infection prevalence ranged from 95.4% to 98.0% with no significant differences between treatments ( f0.05(2),3,8 = 1.005 , p < .44 ) .
similarly , prevalence of disease ( i.e. , clinical signs ) among infected fish ranged from 95.1% to 99.3% with no significant differences between treatments ( f0.05(2),3,8 = 1.977 , p < .20 ) .
disease - related mortality was negated in fasting pacific herring moved to 5.6c and 12.4c shortly after ichthyophonus exposure ( figures 2(a ) and 2(c ) ) , while the newly exposed pacific herring remaining at 7.9c displayed mortality kinetics ( figures 2(b ) and 2(d ) ) similar to fish with established disease ( figures 1(b ) and 1(d ) ) .
significant difference did occur between treatments at midpoint ( f0.05(2),7,16 = 11.83 , p < 2.8 10 ) and end ( f0.05(2),7,16 = 30.45 , p < 4.3 10 ) of the challenge , but these differences were not simply the result of differences between infected and uninfected treatments .
cumulative mortality at 5.6c reached 48.7% and 45.3% in infected and uninfected treatments , respectively .
similarly , there were no significant differences between uninfected and infected treatments at 12.4c , where mortality reached 92.0% and 96.5% , respectively , by the end of the experiment .
mortality curves in infected groups held at 5.6c and 12.4c were similar to those which resulted from starvation alone ( figures 2(a ) and 2(c ) ) , a simple exponential increase .
mortality in herring held at 7.9c after exposure varied significantly with infection status ( figures 2(b ) and 2(d ) ) .
cumulative mortality in fed infected herring reached 25.3% 55 dpe and plateaued just below 50% around 90 dpe .
mortality of fasted infected herring reached 34.6% 55 dpe but did not plateau as starvation mortality ( evident in uninfected groups ) ensued , pushing cumulative mortality to 83.1% by the end of the experiment .
prevalence of ichthyophonus infection after ip exposure to schizonts was inversely related to water temperature .
pre - exposure fasting resulted in herring that were 92 mm fl ( sd = 11.7 ) and 6.5 g wt ( sd = 2.4 ) . a dose of 17 schizonts g established infection in 76.3% , 53.9% , and 23.9% of these fish in 9.3c , 12.0c , and 15.3c ( low , ambient , and high ) treatments , respectively .
the pre - exposure fed group was larger ( 100 mm , sd = 12.3 ; 9.2 g , sd = 3.2 ) resulting in a lower dose of 12 schizonts g. this dose established infections in 30.9% of the fish at 12.0c .
prevalence of infection varied significantly with treatment ( figure 3 ; f0.05(2),3,8 = 5.956 , p < .02 ) . among infected herring , prevalence of disease ( i.e. , clinical signs ) ranged from 95.0% to 100% with no significant differences between treatments ( f0.05(2),3,8 = 0.668 , p < .59 ) .
mortality resulting from handling and injection of fish at the initiation of this experiment was very high , most likely due to the weakened condition of the fish at the end of the prechallenge fast , some treatments lost as many as 28% of fish in first few days after exposure .
for this reason , we calculated cumulative mortality based on the fish that remained in the tanks on day 10 and only compared cumulative mortality ( anova ) at the end of the challenge .
overall , adjusted cumulative mortality was lower and more variable than in the previous two challenges ; 6.1% to 15.9% in uninfected treatments and 11.8% to 24.9% in infected treatments ; anova detected no significant differences between treatments ( f0.05(2),7,16 = 2.23 , p < .09 ) .
however , the degree to which changes in temperature alter the outcome ( i.e , infection prevalence or cumulative mortality ) for ichthyophonus - infected groups depends on the stage / intensity of the infection .
temperature manipulation had no detectable effect on ichthyophonus infections that had progressed to overt disease .
mortality in these cases outpaced that which resulted from starvation alone ( figure 1 ) .
however , disease outcome was affected when temperature manipulation occurred within 24 h of ichthyophonus exposure .
cumulative mortality in high ( 12.4c ) and low ( 5.6c ) temperature infected treatments was not significantly different from that of corresponding uninfected groups , while mortality kinetics in ambient treatments ( 7.9c ) did differ with infection status ( figure 2 ) .
suppression of ichthyophonus mortality was so complete in high and low temperatures that net ichthyophonus mortality ( i.e. , disease mortality control mortality ) remained low throughout the study and at some time points was negative .
slower parasite growth could explain the lower mortality in low temperature treatments , as our experiments were conducted in a range where temperature and ichthyophonus growth ( in vitro ) are directly related [ 15 , 16 ] . however , if the relationship was simply based on parasite growth , the trend would hold and mortality would increase with increasing temperature , as has been demonstrated in some bacteria - salmonid systems [ 17 , 18 ] . suppressed mortality from ichthyophoniasis in both low and high temperature treatments suggests interplay of temperature optima for parasite growth and host immune function . innate and adaptive immune functions of fish are significantly affected by environmental temperature [ 1922 ] .
immunocompetence is generally considered to vary directly with temperature within the homeostatic range of the host ; however , there is suggestion that at low temperatures some nonspecific immune functions may increase to compensate for suppression of adaptive immune responses .
complement - mediated lytic activity , production of macrophage activating factor , natural antibody activity , and protection resulting from vaccination have all been shown to increase with increased temperature .
the immune response to histozoic parasites includes an innate response at the mucous layer , an innate response in tissues , and eventually an adaptive response in tissues [ 26 , 27 ] .
ichthyophonus has been shown to elicit a cell mediate innate immune response in plaice ( pleuronectes platessa ) , haddock ( melanogrammus aeglefinus ) , and rainbow trout ( o. mykiss ) with persistent infections resulting in focal granulomata that encapsulate the parasite .
an antibody response has been demonstrated in plaice , but there is no evidence that it is protective .
the suppression of ichthyophonus by a temperature - enhanced innate response is a plausible explanation for the reduced ichthyophonus mortality that we observed in the newly exposed high - temperature treatment .
this hypothesis is further supported by prevalence data from the pre - exposure fast challenge , where 76% , 54% , and 24% of fish were infected in the low , ambient , and high temperature fasted / fed , treatments , respectively ( figure 3 ) .
the relative dose of ichthyophonus decreased over the course of this study as fish mass increased ( table 1 ) . in the third challenge , fasted fish received 17 schizonts g. at this dose , a fraction of the fish were able to clear the schizonts and prevent establishment of infection , and the number that was able to do so was markedly ( 3x ) higher in the high - temperature treatment .
this phenomenon was not evident in the second challenge where inoculation dose was 46 schizonts g , suggesting that high - parasite load can mask temperature effects .
the importance of parasite load / dose in determining disease outcome is also evident in comparison of ambient treatments in the third challenge .
previously fasted fish received 17 schizonts g , while continuously fed received 12 schizonts g , resulting in mean infection prevalence of 54% and 31% , respectively ( figure 3 ) .
the temperature - driven variation demonstrated in this study has implications for our understanding of disease processes in wild herring populations .
the temperatures used ( 5.6c to 15.3c ) are within those that the host species can experience across its geographic distribution [ 2932 ] , and the magnitude of temperature variation used in each challenge ( 5 - 6c ) could plausibly be experienced by a single individual as the result of season temperature fluctuation and migration [ 14 , 33 ] .
we did not see temperature effects in diseased fish but did see differences at early stages of infection , especially when exposure dose was low , suggesting that seawater temperature at time of exposure could be an important factor that determines disease prevalence over ensuing months and years . unfortunately , the complete life cycle of ichthyophonus is not known , and whether or not the disease is monoxenous in pacific herring is still unclear .
other species such as rainbow trout , haddock , and plaice can become infected by eating infected fish tissues [ 11 , 13 ] , but the route of infection in pacific herring is still in question .
future field surveys and empirical studies should focus on closing the life history gaps that exist for ichthyophonus , specifically the modality and timing of infection in pacific herring .
once these variables are understood , more focused work could incorporate the findings of this study to mimic possible environmental processes at the time of infection . | pubmed |
although hemorrhage into the thyroid gland is well recognized , massive bleeding into the thyroid gland after trauma is rare . given the anatomical location of the thyroid gland and the potential for airway compromise secondary to external compression , this is an issue that emergency physicians ( eps ) must not overlook .
we report the case of a patient presenting to the emergency department ( ed ) with a spontaneously expanding neck hematoma , approximately 24 h after a seemingly benign fall .
c , a 75-year - old female , had been experiencing 4 days of dizziness before sustaining an unwitnessed syncopal episode at home after getting up from bed .
she called the emergency medical services ( ems ) , which transported her to a local ed . except for a mild bradyarrhythmia , the patient was stable and was transferred to our hospital ed for further evaluation .
she was known for benign paroxysmal positional vertigo ( bppv ) , atrial fibrillation and hypertension .
on further questioning , the patient remembered experiencing vertigo prior to the fall . in the ed , she continued to complain of vertigo , nausea , mild headache and tinnitus .
she had one episode of vomiting while in the ed , which was managed with 50 mg of dimenhydrinate intravenously .
her vital signs included a blood pressure of 175/85 , an irregular pulse of approximately 75 and an oxygen saturation of 96% with a respiratory rate of 14 .
her physical exam , including a complete musculoskeletal exam , was unremarkable except for bilateral chronic pedal edema .
an electrocardiogram revealed atrial fibrillation with a ventricular rate of 66 to 75 beats per minute .
laboratory tests revealed a hemoglobin of 142 g / l , a white blood cell count 10.3 10/l , a platelet count of 185 10/l and a blood glucose of 8.6 mmol / l ( all within normal limits ) .
the patient was given a diagnosis of fall secondary to bppv , and was discharged home asymptomatic and in stable condition after a 6-h observation period .
she was instructed to return to the ed if her symptoms persisted . within 3 h of discharge , the patient called ems complaining of vomiting and of an enlarging neck mass .
she was immediately transported back to our hospital ed where a new team of eps assessed her .
the patient stated that the mass had been enlarging for the past hour and that it was accompanied by a sensation of fullness in her neck , dysphagia and some mild respiratory difficulties .
after obtaining a history of a trauma 24 h earlier , cervical spine immobilization was immediately initiated .
the patient had a blood pressure of 150/75 , an irregular pulse of approximately 68 and an oxygen saturation of 99% on 4 l of oxygen by nasal prong .
she was noted to be in minimal respiratory distress , with a respiratory rate of 22 . on examination ,
the patient was found to have a large swelling in the right anterior triangle of the neck , at the level of the thyroid gland .
a bedside ultrasound performed by the ep confirmed a large fluid - filled structure adjacent to the thyroid gland . a provisional diagnosis of neck hematoma causing potential airway compromise was given .
computed tomography scan ( ct ) of the patient s head , neck and cervical spine was immediately ordered .
four units of fresh frozen plasma were ordered to correct the patient s anticoagulation . the ear , nose and throat specialists ( ent ) , already in the ed , were consulted and immediately assessed the patient .
the ct of the patient s head and cervical spine showed no fracture or abnormality .
the ct of her neck revealed a large hematoma , centered in the right thyroid lobe measuring 7.2 5.0 6.9 cm .
the trachea was moderately deviated towards the left but without significant reduction in the cross - sectional area . while ent was establishing a course of action , the patient complained of a subjective increase in respiratory distress in the ed .
c was immediately transferred to the operating room , successfully intubated and had her neck mass explored .
the patient did very well postoperatively and was discharged from the hospital 2 days later .
pathologic examination of the resected specimen revealed an intrathyroidal hematoma involving a hrthle cell adenoma .
spontaneous hemorrhage in the thyroid gland , although not frequent , is not an uncommon phenomenon [ 1 , 2 ] . blunt traumatic etiologies , however , are much more rare . reported cases include direct blunt trauma to the neck from a motor vehicle steering wheel , bicycle handlebars , secondary to airbag deployment as well as a fall on the neck .
rare cases of thyroid hemorrhage following indirect trauma ( trauma near the neck but not directly to the thyroid gland ) [ 1 , 7 ] , and excessive valsalva maneuvers [ 2 , 8 ] have also been described .
the symptoms displayed by the patients ranged from a painless neck lump to sudden respiratory collapse .
the time to presentation to a physician ranged from immediate [ 2 , 3 , 8 ] to more than 24 h [ 6 , 7 ] .
a concomitant thyroid pathology was either known or subsequently discovered on pathologic examination [ 13 , 58 ] .
thyroid pathology seems to be an important risk factor in causing neck hematoma following blunt trauma .
this was illustrated as early as in 1922 by terry s experimental work , in which he showed that in pathological states , coughing or straining raises the patient s central venous pressure sufficiently to cause thyroid vessel bleeding .
it is believed that many thyroid pathologies , including adenomas , induce angiogenesis of immature , fragile blood vessels that are prone to rupture [ 10 , 11 ] .
this vulnerability is compounded by the fact that blood flow increases in diseased states , potentially causing vessel rupture with major bleeding after seemingly benign trauma .
one important contributing factor unique to the present case was the fact that the patient was taking warfarin for atrial fibrillation . while no single cause seems sufficient to account for mrs .
c s intrathyroidal hemorrhage , the combination of different factors might have been enough to account for her significant hematoma .
these may include a possible trauma to the neck during her fall , the action of warfarin and the presence of a hrthle cell adenoma . in light of the diverse nature of presentations in patients with trauma - related intrathyroidal hemorrhages illustrated here ,
all patients with obvious direct trauma to the neck and thyroid gland require close observation with respect to possible airway compromise .
however , in patients with known or suspected thyroid pathology , even minor trauma can pose a risk for delayed intrathyroidal hemorrhage .
these patients may require a prolonged period of observation before being safely discharged from the ed .
given that the currently discussed case is only the ninth reported in the literature , it is difficult to suggest any specific duration for monitoring . since very delayed complications may still occur ,
patients and/or their caregivers should receive , upon discharge , appropriate and detailed information regarding indications to return to the ed .
luckily , most hemorrhages into thyroid adenomas are usually gradual and generally respond to conservative treatment .
we believe that given the different compressive nature of soft tissue masses , this measure would be ineffective at detecting and preventing airway compromise before it is subjectively or objectively apparent .
we illustrated the case of a patient presenting with an intrathyroidal hemorrhage causing respiratory distress approximately 24 h after a seemingly benign fall .
it is important to recognize the potential for such complications , especially in the presence of thyroid pathology .
the greatest challenge for the emergency physician is to recognize this risk factor and to consider the possibility of delayed airway compromise when deciding on the final disposition of the patient . | pubmed |
THE BATTLE OF SHAKER HEIGHTS
Written by
Erica Beeney
FADE IN:
EXT. FOREST - DAY
DISTANT GUN AND MORTAR FIRE
Muffled by the wet green forest.
The very earth seems to tremble.
A RABBIT
Darts out of a log, lifts itself on its hind legs and sniffs
the air.
LOBBED GRENADE EXPLODES
VOICES and SHOUTS, closer now, mix with the rumbling WAR
SOUNDS in a veritable symphony of violence and confusion.
A DEAD AMERICAN GI lays splayed out, careless in death.
A pair of SOLDIERS flash among the trees, running hunched
over and low, and disappear into the gray blooms of SMOKE.
For a moment the forest takes a breath.
Nothing but trembling leaves. Then - The RATTLE of a Jeep
Coming closer in fits and starts, GRINDING through low gears.
A Willys MB appears, CRASHING through the undergrowth.
It's driven by Private First Class KELLY ERNSWILER.
Eighteen, if that. Not much meat on him. His insignias
indicate he's in the 29th Infantry.
His face might be attractive, under other conditions.
He pauses and pulls a map from the pocket of his M41 standard-
issue field jacket.
KELLY
Where the hell are those Krauts?
To give himself courage, he SINGS Tommy Dorsey's "I'll Be
Seeing You [in all the old familiar places]" while maneuvering
the Jeep through the bushes and rocks.
He drives straight for a fallen LOG, GUNS the engine and
tries to go over it.
The Jeep's FRONT WHEELS catch on the log.
The BACK TIRES spin.
Kelly gets out. Takes off his M1 combat helmet and wipes his
face. Assesses the situation.
He grabs a BRANCH. Jams it under the wheel, trying to lever
the Jeep free. When --
The STUTTER of a nearby MACHINE GUN startles him.
The branch SNAPS against Kelly's weight. He slips and falls
in the mud.
KELLY
Shit.
Determined, he grabs his pack and carbine and sets off on
foot through the forest.
EXT. CLEARING
Kelly strides purposefully out of the woods. Pauses against
a split-rail fence beneath the innocent sun.
Across the clearing stands a seemingly abandoned BARN.
But not for long, as TWO GERMAN INFANTRYMEN appear around
the corner of it.
Kelly moves behind a tree to assess the situation.
Unaware, the Germans smoke and talk. Kelly's too far away to
hear them but he watches their every move.
They're relaxed, not as on guard as they should be. Their
Karabiners rest slung across their backs.
KELLY
Bingo.
AGAINST THE TREE
Kelly focuses himself.
Then he shoulders his carbine.
Pulls out his dog tags and kisses them grimly.
KELLY
"And so they buried Hector, breaker
of horses."
He takes his Smith & Wesson 1917 PISTOL from his pistol belt
and steps out into the SUNLIGHT FIELD in plain sight of the
guards.
Surely he knows they can see him. He must want them to see
him.
But they don't. Too busy passing nudie wallet photos.
Halfway across the open grass, Kelly raises the pistol but
does not aim it.
Just strides steadily closer, arms spread out, making himself
an easy target.
Crazy as it seems, Private Kelly Ernswiler is trying to get
himself killed.
EXT. BARN
Kelly pauses not twenty feet from the Germans, FIRES into
the air and waves --
-- when from behind him comes a voice.
GERMAN OFFICER
(O.S.)
Eine maus findet den kase.
Kelly whips around to face a third German, the OFFICER.
His pistol points right into the Officer's shocked pink young
face. Point blank range.
Only - Kelly doesn't fire.
He just lowers the pistol.
The German smiles.
KELLY
Kill me Adolf.
GERMAN OFFICER
Mien Prisoner!
The Infantrymen have recovered from their idle and come
running.
One of them yanks Kelly's hands behind his back and pushes
him into the barn roughly.
Kelly doesn't struggle.
KELLY
Hey, Siegfreid and Roy. What are you
waiting for? Kill me.
INT. BARN
Kelly sits slumped in a chair, legs tied up. One of the
Germans shines a flashlight in his face. Kelly squints.
KELLY
Come on you pussies. Let's get this
over with.
The German Officer produces a piece of paper and a fountain
pen.
GERMAN OFFICER
(German accent)
You will write your mother. Tell her
how you will die now.
Kelly takes the pen and examines it.
KELLY
Genuine Third Reich issue, no less.
Nice work.
The Officer pokes the paper.
GERMAN OFFICER
You will write. How you die alone.
KELLY
My mother and I don't have that kind
of relationship.
GERMAN OFFICER
(hisses)
Write.
Kelly thinks about it for a minute - should he or shouldn't
he - but sighs and begins writing. After a few lines, the
Officer snatches the paper away and passes it to an
Infantryman.
GERMAN OFFICER
Enough. Now you will beg for your
life.
KELLY
What don't you understand?
INFANTRYMAN
(interrupts sheepishly
in German accent)
The protocol says we should -
The Officer wheels around and scowls at the speaker. He seems
to be getting a bit hysterical.
GERMAN OFFICER
I am the fucking protocol.
(to Kelly)
Beg!
He and Kelly glare at each other.
The Officer FIRES his Luger into the rafters.
GERMAN OFFICER
Beg - for - your - life!
KELLY
You got to be kidding me.
The Officer grabs his throat.
GERMAN OFFICER
Silence. Now I have a little fun.
Kelly laughs. The officer slaps him. Kelly jerks away.
KELLY
Now that's against the rules.
GERMAN OFFICER
(sneers)
There are no rules in war.
Suddenly another AMERICAN GI appears behind the German in
the shadows.
Only Kelly can see him. The GI motions to Kelly "keep talking"
while he gets into a better position with his M-1 rifle.
KELLY
(to Officer)
You've never killed anyone before,
have you?
GERMAN OFFICER
I shower in the blood of my victims --
The GI shoots the two infantrymen who fall in exaggerated
pain and commence death throes.
Quick as a flash, the GI's Colt 1911 PISTOL is at the German
Officer's neck, his M-1 in his other hand.
GI
No wonder you smell so bad.
GERMAN OFFICER
Don't shoot, please.
The GI's eyes widen. He looks at Kelly.
GI
Will you look at the manners on this
guy?
(to German)
Remember to thank me when I kill
you.
GERMAN OFFICER
No, really, not in the neck -
But the GI does anyway.
The Officer SHRIEKS, grabs at his neck, and falls.
GI
(to Kelly)
You all right?
KELLY
Yeah. My elaborate death scene wasn't
going anywhere anyway.
GI
You want me to give you a minute?
KELLY
That's okay. They'll get me
eventually. If you can't get killed
in a war, when can you?
GI
That's right. Look on the bright
side.
The GI holds out his hand.
GI
Bart. Bart Bowland.
Kelly takes the hand of the grinning all-American type guy.
About his own age, but BART takes up more space.
KELLY
Kelly. Kelly Ernswiler.
BART
Kelly?
KELLY
(mimics)
Bart?
BART
I mean - that's Irish, right?
GERMAN OFFICER
(from the floor, now
with a decidedly
American accent)
Wow man, this is a really beautiful
scene and all, but I have to
interrupt.
(to Bart)
Why the fuck did you have to shoot
that cap so close to my neck? You
gave me a powder burn.
KELLY
Listen you wienerschnitzel. You should
talk. You slapped me. I'm not your
bitch.
The Officer gets up and dusts off his uniform.
GERMAN OFFICER
Well, what was that whole creepy
death wish thing about?
KELLY
Well it didn't work, now did it?
GERMAN OFFICER
(shrugs)
Sometimes I get so caught up in the
moment.
KELLY
And what was that ridiculous shit
about making me write to my mother?
The Officer grins.
GERMAN OFFICER
Inspired, wasn't it?
BART
Dude, you made him write to his
mother? Who are you, Dr. Phil?
INFANTRYMAN
(also with American
accent)
Can we get up now?
Bart helps him up and checks his regulation-issue Timex.
BART
Might as well. There's only an hour
left anyway.
The German Officer crosses his arms.
GERMAN OFFICER
(to Kelly)
Admit it. You were scared.
KELLY
(snorts)
Right.
Kelly gets up from the chair and falls over. His legs are
still tied.
EXT. FOREST
The DEAD GI gets up and walks off with the GERMANS and some
other SOLDIERS, done for the day.
Bart and Kelly walk back to the stranded Jeep.
BART
That Willys yours?
KELLY
Yup. Just got her. Three summers
packing out at Shop Rite.
Bart unfolds an entrenching tool from his belt and digs under
the back wheels, building up dirt.
Then he goes around to the front and puts his shoulder against
the hood. Bart rocks the Jeep while Kelly pumps the gas.
The Jeep finally pulls free and SPRAYS Bart with mud.
KELLY
My bad. Thanks though.
Kelly looks over his shoulder and starts backing away.
KELLY
See you.
Bart stands there, dripping with mud, shocked.
About a hundred feet away Kelly stops.
KELLY
Well, come on.
Bart walks towards the Jeep. Kelly backs it up again.
KELLY
I couldn't resist.
Bart climbs in.
BART
Real funny, Ernswiler. You might
still get your chance to die today.
INT. DINER - DAY
The customers are all REENACTORS. Some Yanks, some Germans,
a few Scottish and North African irregulars. "Boogie-Woogie
Bugle Boy" plays on the jukebox.
Bart and Kelly sit in a booth together. Bart has an easy,
confident manner and expansive gestures. Kelly eats hunched
over, like someone might try and steal his food.
BART
Character building? Those crazy guys
from Ann Arbor tied them to a dock.
KELLY
(shrugs)
That's what you get for invading
Wisconsin.
BART
D-Day at Kenosha was nothing. At
Guadalcanal Chillicothe there was a
guy who actually injected himself
with malaria.
KELLY
That's crazy.
They both eat for a minute.
BART
Where do you live, anyway?
KELLY
Shaker Heights.
BART
That explains the death wish. Me
too. What street?
KELLY
Penn Place.
BART
(chewing)
Hmm, don't know it.
KELLY
It's not technically in Shaker Heights
- but I go to Shaker Heights High.
Pause. Kelly looks at Bart.
BART
Langely Prep.
KELLY
Sorry to hear that.
BART
Well, I got kicked out of Shaker
Heights High because my birdhouse
came unglued in honors woodshop.
KELLY
Of course. I would have gone to
Langely myself only my polo pony had
the fits.
Bart throws his napkin on his plate.
BART
No matter.
(raises his voice to
address the room)
We're all soldiers here.
CROWD
That's right./Here, here./ Whooping,
cheers, etc.
EXT. BOWLAND HOUSE - DAY
Kelly pulls up into the circular gravel drive. Bart's house
is fancy. A nice yard and a pool. Bart hops out.
BART
You should come over some time.
Service our lawnmower.
KELLY
I would, but then I might soil my
croquet whites. You understand.
BART
How bourgeois. Cheerio then.
Kelly watches Bart go into his house and smiles in spite of
himself.
EXT. ERNSWILER HOUSE - DUSK
Kelly's house is a also pretty nice, nothing to be ashamed
of. It is smaller and weirder. The flowers and bushes are
overgrown and strange sculptures dot the yard, some leaning
at precarious angles.
Kelly washes his Jeep in the driveway.
EXT. ERNSWILER HOUSE - NIGHT
Kelly buffs the headlamps with a chamois. The Jeep looks
good as new. He pulls a canvas cover over it.
KELLY
Sleep tight Hot Lips.
INT. ERNSWILER HOUSE, KITCHEN - NIGHT
Kelly walks in on his dad ABE making sandwiches. A great big
pile of cheese and PB&J.
ABE
Sergeant Keller! How was the war?
Did we win?
Kelly doesn't smile at this. He looks at the sandwiches and
puts his finger to his chin in a gesture so facetious it's
downright angry.
KELLY
Let me guess. Happy Meals for the
wavy gravy wellness center?
Abe grabs two pieces of bread from a loaf. He looks kind. A
bit ill-used by life. The phrase "rode hard and put away
wet" comes to mind.
ABE
As usual, your cynicism is refreshing.
He finishes that sandwich and adds it to the pile.
Kelly pauses while opening the refrigerator. His back
tightens. He slams the door with his foot.
KELLY
As usual, your cheerful optimism
makes me ill.
Abe pauses over a slice of bread only briefly. The hostility
is nothing new.
ABE
(lightly)
You should get that checked.
Kelly walks through the kitchen and out the back door.
KELLY
(O.S.)
Sure thing, doc. Say hello to Leif
Garrett for me.
INT. ERNSWILER GARAGE - NIGHT
Kelly opens the screen door and pokes his head in.
A family of Chinese immigrants, the Lings, paints canvases
at long worktables. There's a MOTHER, father MAO, grandmother
XIOU-XIOU, SON and DAUGHTER.
Finished canvases hang from the walls and lean in piles
against it. All of them are portraits of animals. Some have
on hats or clothes.
Kelly's mom EVE shows grandmother XIOU-XIOU a few strokes
with a paintbrush.
Eve wears jeans. She's one of those young-looking mothers
Kelly's friends would have crushes on. If he had any friends.
MAO
(to Kelly)
Son of Eve. You are very dirty.
KELLY
(awkward)
A rough charge. You know.
EVE
(to Kelly)
Don't touch anything. We have to get
ready for the Starving Artist show.
(to Xiou-Xiou)
Now Nana, the gold has to be feathery,
not gloppy - see?
Eve demonstrates on the painting - a pair of monkeys in French
court dress. Kelly looks over his mom's shoulder.
EVE
Now you try.
Grandmother Xiou-Xiou dabs at the painting.
EVE
(to Kelly)
She loves the gold. Always overuses
it. And usually her touch is so light.
XIOU-XIOU
Gold is the color of the sun.
Eve moves along the row, stopping to look at the paintings
in progress.
KELLY
You know why we never have anything
to eat in this house?
But Eve has stopped behind Mao's painting. She's not paying
attention to Kelly.
EVE
Mao, what did we say about the eyes?
She gestures at the image of a horse done Santa Fe style,
lots of pastels, very abstract.
Mao looks at her quizzically.
MAO
More - empathy?
EVE
That's right. And didn't I tell you
to put in more cacti?
MAO
(shakes head)
No, no more cacti. Too busy.
Simplicity is best.
His family nods in support of this rash aesthetic statement.
Eve rolls her eyes.
EVE
Oh boy. I'm not having this battle
with you again.
Kelly breaks in.
KELLY
Because your husband takes food from
his own family to feed every loser
druggie in Cleveland.
Eve moves down the line.
EVE
Well, you can always chip in here.
We're ordering pizza later.
At this the family nods and smiles to each other, pleased
with the news.
KELLY
No. Some people have to work later.
(casual)
Will you drop something off at the
dry cleaners for me tomorrow?
Eve looks up at him for the first time. Takes in his filthy
uniform.
EVE
Sweetie, you know what we said about
paying for the war things. Nothing's
changed.
KELLY
It's the only thing I ever ask you
for --
EVE
Don't be dramatic.
KELLY
But it's important to me.
Eve stops at Mother Ling's painting.
EVE
You're just going to have to find a
way to pay for it yourself then, I
guess.
(to Mother Ling)
No - not that way - the sky should
be stormier. Angry clouds.
Mother Ling looks up at Kelly, who's scowling. She smiles
and nods, understanding.
KELLY
Why do I bother?
Kelly leaves. Eve's busy talking.
EVE
More brown, less blue.
INT. KITCHEN - NIGHT
Kelly comes back in a grabs a sandwich off the pile.
ABE
Now Keller, who needs that sandwich
more - you or the daughter of a crack
addict trying to make a new life?
Kelly looks at him and bites into the sandwich.
KELLY
How about the son of a heroin addict
trying to get ready for work?
Kelly leaves with the sandwich. Abe sighs and picks up more
bread.
ABE
That went well.
INT. KELLY'S ROOM - NIGHT
On the walls a poster for the Civil War miniseries next to
one of Led Zeppelin. Some maps. A globe. Models of fighter
planes and a set of old tin soldiers.
Oh yeah, and his mom's ORIGINAL PAINTING, the one that started
it all, this one signed by her - a very intense looking pink
rabbit glaring out of the canvas with huge eyes.
He sits on the edge of the bed for a minute staring into
space before he peels off his muddy uniform piece by piece.
INT. GROCERY STORE - NIGHT
Ah, the graveyard shift. Musak Steely Dan.
Kelly unpacks cat food.
Thousands and thousands of little cans of it. It's hard to
keep the rows straight on the shelves.
SARAH, the night cashier, stands at her register. She's plain-
looking now but she'll be beautiful later when she figures
out who she is.
Not another soul in the store. Sarah wanders over to Kelly's
aisle as if pulled by a magnet.
SARAH
So how'd your battle go today? I
still don't understand how you could
reenact the Battle of the Bulge in
seventy-two degree weather.
(plays with hair)
Didn't all those guys freeze to death?
Kelly doesn't stop working. He's got a system.
KELLY
Well, a Port-a-John fell over on a
couple of guys.
SARAH
That's gross.
KELLY
War is hell.
Kelly grabs another handful of cans.
SARAH
Then why do you do it?
Kelly pauses. He puts two cans on the shelf very deliberately.
KELLY
You're never more alive then when
facing simulated death.
SARAH
Really? Maybe I should try it.
Kelly looks at her, thinks about this, and stands up.
KELLY
You are William J. Stone of the 1st
Airborne, pinned down in Noville.
The Germans have the high ground and
they're shelling your position
heavily.
(starts throwing cans)
You're holed up in a stone barn.
Sustaining heavy casualties. Running
low on ammo. The cries of wounded
men fill the air like the cries of
hungry babies.
Sarah covers her head, huddled behind the boxes of cat food,
dodging cans.
KELLY
Your commanding officer gets hit in
the face, dies. At 1 p.m. you lose
radio contact with headquarters. If
you withdraw, the Germans will flank
the entire Allied forces arrayed
along Bastogne and break the front.
What do you do? What do you do?
SARAH
Stop it!
Kelly goes back to stocking, satisfied.
KELLY
Battle of Bulge, the Southern
Shoulder, December '44.
SARAH
Sorry I asked.
Sarah stands up and starts to wander away but Kelly makes a
peace offering.
KELLY
Hey. Want a snack? We got a whole
shipment in of busted Oreo's.
Sarah looks at her feet, considering whether or not to accept
it.
SARAH
I'll accidentally drop a couple pints
of milk and meet you over there.
INT. DAIRY BACKROOM
Sarah and Kelly sit on milk crates, pass the cookies back
and forth and get philosophical.
SARAH
The frozen food woman came in with
her kids. They must eat out of those
little cardboard trays every night.
One of the kids looked like cardboard.
KELLY
Do you know we stock more flavors of
cat food than we do baby food?
SARAH
No.
KELLY
Sixteen flavors of baby food including
the toddler meals-in-ajar, thirty-
one flavors of cat food.
He fishes for a cookie.
KELLY
Next time you should tell that woman
to buy her kid some cat food.
An ANGRY WOMAN pushes open the swinging door of the backroom
with her loaded shopping cart.
WOMAN
Is this store open? I've been waiting
up front. If the store's closed, it
shouldn't have a sign that says twenty-
four hours.
Sarah gets up. Kelly stays right where he is, finishing a
cookie.
SARAH
Sorry about that.
WOMAN
I have a lot of coupons and I don't
want to be here when they expire.
KELLY
(to Sarah)
Charge her double for everything.
Sarah smiles and hurries away.
INT. SHAKER HEIGHTS HIGH - DAY
Kelly walks down the hall with his army-issue BACKPACK slung
over one shoulder. Besides a serious case of bedhead, he
looks normal.
No one says hi to him as he makes his way to his locker.
As he twirls the combination and opens it, he notices LANCE --
short and wide, built like a tank, prematurely balding, and
his girlfriend BRIDGET embracing a few lockers down.
They kiss raunchily, their tongues darting in and out of
each other's mouths.
Lance sees Kelly looking and stops kissing.
LANCE
What the fuck are you looking at, GI
Jane?
Kelly shakes his head and gets a book out of his locker.
LANCE
No really, what makes you think you
can look at me?
KELLY
I honestly didn't know it was you. I
thought it was a free preview of the
Spice Channel.
LANCE
That's pretty funny. You got dental
insurance?
Kelly closes his locker and walks away.
Bridget wipes her mouth guiltily.
Lance shakes his head and pulls Bridget to him, grinding his
pelvis against hers.
BRIDGET
Stop it.
She walks away.
LANCE
What? What?
INT. CLASSROOM -- DAY
The lights are off in history class.
The teacher MR. NORMAN shows slides on the Civil War. The
more we see the clearer it becomes that they are his own
photos from a vacation spent visiting the memorials.
Mr. Norman smiles out at his class in shot after shot.
He clicks the remote and a photo of his WIFE, crouched over
and wearing shorts, drinking from a garden hose appears on
screen.
MR. NORMAN
Whoops!
He hurries through to the next slide.
It doesn't matter anyway. Everyone is almost asleep.
Except Kelly, who becomes increasingly irritated the more
Mr. Norman talks.
MR. NORMAN
And here, at Gettysburg, the ranks
of Union soldiers fought bravely on.
They were willing to give their lives
so that others might be free.
Kelly shifts in his seat.
MR. NORMAN
Is there a problem Mr. Ernswiler?
KELLY
No.
But Mr. Norman doesn't start talking again.
He waits, looking at Kelly, smiling blandly. Until the silence
becomes uncomfortable. And Kelly gets mad.
KELLY
Come on. Isn't this analysis a tad
simplistic? I mean, maybe for a second
grade history class, sure - but to
insist on still characterizing the
Civil War as some moral struggle?
The soldiers were drafted - the only
ones who had to fight were the ones
who couldn't afford to pay their way
out.
(losing it)
Why don't you talk about the Draft
Riots? Where are your slides for
that?
INT. PRINCIPAL'S OFFICE - MOMENTS LATER
Fresh flowers and a crocheted tissue box hoodie make the
place cozy.
Kelly sits across the desk from PRINCIPAL HOLMSTEAD, a well-
groomed woman with a gentle talk show host demeanor.
HOLMSTEAD
What gives you the idea that you can
or ought to question the curriculum?
Kelly doesn't move. He's not into this.
HOLMSTEAD
Or question your teacher?
KELLY
I know. I mean, who ever heard of a
classroom dialog? Not Socrates.
Ms. Holmstead is exasperated, but she likes him in spite of
herself. He's a smart cookie. She's got to change her
strategy.
She leans back in her chair.
HOLMSTEAD
Kelly, you're a very bright boy. But
you're making some serious mistakes.
KELLY
I don't need to. Everyone else makes
them for me.
Her chair SQUEAKS as she leans forward and looks at Kelly
intently.
HOLMSTEAD
This anger must be masking a lot of
hurt.
KELLY
I was wondering what the tissues
were for.
Holmstead tries again. She looks down at his file.
HOLMSTEAD
I see you're not going to college
next year. What are your plans?
Kelly shrugs. Holmstead searches his face for any clues.
HOLMSTEAD
How do I get through to you?
KELLY
Advertisers use status and sex to
appeal to my demographic.
She shakes her head and swings her chair towards the window
and gazes out at the front walkway of the school. Her face
clears. Something's clicked.
HOLMSTEAD
I think we can come up with a
punishment which might actually be
more of an opportunity for you to
realize your true potential.
EXT. SHAKER HEIGHTS HIGH - DAY
School's been out for a while. The first rush had already
left.
Kelly comes down the front steps and starts across the parking
lot to his Jeep.
Lance steps out from behind an SUV and intercepts him.
LANCE
You upset Bridget.
Kelly hardly stops walking.
KELLY
Give me a break.
LANCE
You need to apologize.
KELLY
What are you going to do, make out
with me?
Lance runs and grabs Kelly's backpack.
LANCE
Why are you fucking with me? You
little fucker. Want to play, fuckface?
KELLY
You just used fuck as a verb, noun,
and adjective. Impressive.
Kelly tries to start walking again but Lance has hold of
him.
LANCE
Let's see what Beetle Bailey's got
in his knapsack.
Lance grabs Kelly's arm and yanks it back. Kelly still seems
unconcerned.
Suddenly he pulls away, but Lance keeps hold of his backpack.
Lance holds the backpack up next to his head and points at
it, gleeful.
Lance walks away towards his car. Kelly runs after him.
Lance holds Kelly off easily with one hand and throws the
backpack into his SUV. They STRUGGLE for a minute, until
Lance pushes Kelly away, gets in the car.
Kelly runs next to the car and pounds on the window as Lance
drives off.
Finally, Kelly gives up. Lance turns out of the parking lot
and HONKS the horn.
Kelly shakes his head.
KELLY
Rim job.
INT. ARMY NAVY STORE - DAY
Kelly sifts through a pile of backpacks looking for a
replacement. From his post behind the counter, Bart sees him
and comes over.
BART
Kelly. Hey.
KELLY
You work here?
BART
Just a couple days a month, to get a
heads-up on the latest stuff. What
are you doing?
KELLY
Looking for a backpack.
BART
Is that all? Don't bother. I have a
couple extras at home. I could give
you one if you want.
KELLY
(beat)
Sure, I guess.
INT. BOWLAND HOUSE, DAD'S LIBRARY - DAY
Kelly stands a bit awkwardly waiting for Bart to get the key
from the desk to open the door in the corner. The door finally
swings open.
INT. STOREROOM
Bart and Kelly stand between shelves piled high with war
memorabilia. Uniforms in vacu-pac sealed bags, weapons in
shoeboxes, cannonballs and tattered and gunsmoke-darkened
flags.
KELLY
Very impressive.
BART
My dad's real into hoarding.
Kelly holds up a flask in a leather case.
KELLY
What's this?
BART
Grant's field flask.
KELLY
Wow. Your dad should meet my history
teacher. He sent me to the principal's
office today for questioning his G-
rated interpretation of the Civil
War.
BART
Forget him.
KELLY
I would, but now the principal's
making me give a speech on the Civil
War at an assembly.
BART
(laughing in sympathy
and amusement)
What is he, some kind of sadist?
KELLY
She thinks she's doing me a favor.
BART
Jesus, she must think you're really
screwed up. Are you?
KELLY
Depends on who you ask. Everyone's
got an opinion.
BART
(grabs box)
Take this. That'll shut them up.
Bart opens the long box. Nestled inside is a leg bone with a
foot attached to it.
BART
Stonewall Jackson's.
KELLY
Yeah right.
BART
Can you imagine that? Losing your
leg and getting back up on your horse?
Unbelievable. What balls.
Kelly nods. That is balls.
BART
He's got so much crap crammed in
here he doesn't even notice when
it's missing. I saw a backpack in
here somewhere.
Bart puts down the box carelessly and paws through the piles.
INT. BOWLAND KITCHEN
Bart and Kelly sit at the kitchen table drinking sodas,
waiting for MINNIE, the housekeeper, to finish making them
dinner.
BART
I thought he had a couple.
KELLY
I'd feel weird taking one out of the
tomb of Tutenkamen anyway.
BART
Trust me, you shouldn't.
(burps)
Where'd your old one go?
KELLY
I lost it.
BART
How?
A pause. Kelly decides to tell him.
KELLY
Someone took it.
BART
You let someone take it?
KELLY
I didn't let him. I told off some
idiot --
BART
Sounds like your mouth gets you into
trouble a lot.
KELLY
I'm telling you, it's not me, it's
the world.
TABBY, Bart's older sister comes in.
She's older. Definitely in college, if not out. And totally
shockingly beautiful. Otherworldly.
BART
Tabby, this is Kelly.
TABBY
(to Kelly)
Don't give him any money, whatever
you do.
BART
Shut up.
TABBY
All these little old ladies are
looking for him in Arizona. He took
their retirement money and bought
defective bazookas with it.
Kelly laughs. And looks at Tabby more closely.
BART
Very funny. We're paying attention
to you, are you happy now?
TABBY
Finally, my life is complete. Fait
accompli.
BART
(to Tabby)
Minnie's making sloppy joes. Want
one?
TABBY
Sloppy joe? Sloppy no.
She opens the fridge and gets a yogurt.
TABBY
I have to go take a shower. Will you
call me when Miner gets here?
Tabby leaves. Kelly's distracted.
KELLY
Who's Miner?
BART
The fianc�.
Bart rolls his eyes, indicating what he thinks of good old
Miner.
Kelly nods, doesn't say anything.
BART
Listen, I'm going to the flea market
on Saturday. I have a line on a couple
dealers. You could get a backpack
there.
Kelly glances at the door Tabby left from.
KELLY
Oh yeah? Flea market, land of
bargains.
BART
Especially if you know who to talk
to.
Kelly looks at Bart with suspicion -- and respect.
EXT. SHAKER HEIGHTS HIGH - MORNING
Kelly hops out of his Jeep and walks towards the front of
the school.
Lance is there, hanging out with Bridget and some of his Cro-
Magnon FRIENDS.
He wears a WW II CAP, overseas airborne style, obviously
Kelly's.
LANCE
Hey fuckface. Like my new hat? I
just joined the Boy Scouts.
The Cro-Magnons grunt approvingly at this witty repartee.
KELLY
If you stay in it long enough, maybe
you'll get your fudgepacker badge.
Ooh. The Cro-Magnons laugh at Lance and EGG him on - "You
gonna take that?"/"He just called you a fag", etc.
Lance frowns and grabs Kelly.
LANCE
You're a regular Howie Mandel.
Still holding on to him with one arm, he SLAPS Kelly hard
across the face with the other.
Kelly's knees give a bit. Lance holds him up.
BRIDGET
Lance!
Lance looks over at her and releases Kelly.
LANCE
Okay babe.
(to Kelly)
One day you and me will be alone.
And won't that be nice?
Kelly is hurt but covering.
KELLY
Too bad my mom won't let me date
yet.
Kelly frowns and adjusts his clothes. Tries to re-wet the
dry inside of his mouth with his tongue.
He turns slowly and trudges up the stairs.
Sarah has been watching the whole thing from the door.
SARAH
Why do you mess with him?
KELLY
You're right. I should give him a
break.
INT. ERNSWILER HOUSE - DAY
Kelly watches TV in the living room. His cheek has a nice
bruise on it. Eve enters.
EVE
Oh, Kelly, you're home. Good. I need
you to go to the art supply store
for me.
Kelly looks at the TV.
KELLY
Get Abe to do it.
Eve goes to her purse and rifles through it to find her
wallet.
EVE
He was going to but he had to go
lead a meeting at Care House.
KELLY
What a surprise.
EVE
I'll make it up to you.
KELLY
Where have I heard that before?
Eve sighs.
EVE
When are you going to give me a break?
Kelly jabs at the remote.
KELLY
Let me think - maybe when I finally
forget every single word of The Little
Mermaid soundtrack I'd listen to in
the car waiting for him to score.
No, probably when I don't prepare
myself before I go into the bathroom,
expecting to find him passed out on
the floor.
Eve waits through this.
KELLY
Actually, you know what? I know I'll
be able to put it all behind me when
I go away to college.
(slaps his forehead,
pretend remembering)
Only, I can't go because someone
spent my college fund on Mexican
Black Tar. So looks like I'll have
to try to forget at Shop Rite, where
I'll be working for the rest of my
life.
EVE
You're right. You have every reason
to crawl into the corner and give
up. But please just get me some paints
first.
Eve comes over to Kelly. He sighs and puts his hand out.
KELLY
What do you need?
She gives him the money.
EVE
We need burnt sienna, cadmium red,
and midnight blue. Two tubes of blue.
(looks at him)
What happened to your face?
She puts her hand up but he moves away from it.
KELLY
Forget it.
INT. ART SUPPLY STORE - DAY
Kelly looks through the paints, picking out tubes. He looks
up and sees Tabby browsing the paintbrushes.
He's suddenly nervous. He knocks over a few cans of thinner.
Almost leaves.
Instead, he gathers his courage, goes to the display opposite
hers and waits to catch her eye.
KELLY
They're having a sale on glitter.
It takes Tabby a second to recognize him.
TABBY
Oh, hello. What happened to you?
KELLY
(shrugs)
Tennis injury.
Tabby looks at him suspiciously like she's not sure whether
to believe him.
Tabby finishes with the mediums and moves onto the paints.
Kelly follows her, staying in the opposite aisle.
TABBY
You paint?
KELLY
Well, you see... That's a difficult
question.
TABBY
How so?
KELLY
I don't really feel comfortable
calling anything done since the
Renaissance "painting." We might
have a more experimental interaction
with the picture plane, but our skills
have suffered from it.
In spite of herself, Tabby laughs at this. This gives Kelly
more confidence. He leans over the aisle to see what she's
looking at.
KELLY
You're working with acrylic. Why?
Oil's much - richer.
TABBY
Oh you're not one of those oil snobs
are you?
KELLY
Of course not.
Kelly comes around and leans nonchalantly against the shelves,
knocks more things over and fumbles to replace them.
KELLY
It's just - isn't acrylic a bit -
jejune?
TABBY
Jejune? You're jejune. How old are
you anyway?
KELLY
Older than my years.
Tabby walks to the counter with her brushes.
TABBY
And you paint?
Kelly looks down and partially confesses.
KELLY
Well, you know, my mother's kind of
an artist, so -
TABBY
That explains it.
Tabby signs the slip and takes the bag. She walks out, Kelly
with her, matches her pace, talking.
KELLY
That explains nothing. Doesn't anyone
believe in innate knowledge anymore?
Michelangelo was fifteen when he
painted the Infanta.
TABBY
Infantas are Spanish. Michelangelo
was Italian.
Tabby gets into her car. Kelly leans into her window.
KELLY
Exactly. One world, one people. Just
like Jesse Jackson envisioned.
Tabby tries to conceal her smile and starts her car.
TABBY
Well - Kelly. Nice talking to you.
She drives away. Kelly stands there watching. Then he winces.
KELLY
What the hell did you just say?
EXT. ERNSWILER HOUSE - DAY
Kelly pulls up in his Jeep. He turns off the engine but
doesn't get out. Just sits there. He doesn't want to go in.
EXT. FLEA MARKET - DAY
Colored plastic flags droop in the sun.
MILITARY STALL
Bart sweeps his eye over everything. A SKINNY GUY wearing a
wife beater has some not half-bad stuff.
Kelly, bruise faded to yellow and green, examines a glass
mason jar of what seems to be dirt.
SKINNY GUY
(to Kelly)
That there's actual sand from Iwo
Jima.
BART
Or your sister's sandbox.
The guy shrugs.
SKINNY GUY
Well, it don't come with no
certificate of authenticity.
(considers)
I could write one up for you, I
suppose. Get it notarized.
BART
No, that's quite all right. Actually,
I'm in the market for medals.
SKINNY GUY
Sure. I got a couple purple hearts.
A Silver Star. DSC. Can't sell them
to you though. They were gramp's.
(wink)
Bart acts casual, hands clasped behind his back.
BART
Are you sure?
SKINNY
They have a lot of sentimental value
-
BART
Yeah. How much?
SKINNY GUY
A lot.
Bart pulls out a paper bag and offers it to the skinny guy,
who looks inside.
SKINNY GUY
What's this?
BART
General Ulysses S. Grant's field
flask, my friend.
Kelly is shocked. The skinny guy looks at his suspiciously.
BART
Throw in one of those backpacks and
we'll call it even.
The skinny guy looks at Bart, and in the bag again. He goes
to get the backpack. Kelly's impressed by this smooth
exchange.
FLEA MARKET - BETWEEN ROWS
Kelly and Bart weave through the maze of stands. Kelly now
holds the backpack.
KELLY
Buying and selling US service medals
is illegal.
BART
Exactly. That's why the resale value
is so high.
KELLY
Is that what they teach you at
Langely?
BART
Don't be so na�ve. We all have our
skeletons. Some of them just pay
more than others.
KELLY
And I'm not even going to ask about
the flask.
BART
Don't ask, don't tell. The army gets
everything right, don't they?
CAMPAIGN PIN STALL
A frowsy WOMAN in a muumuu sits fanning herself in front of
an extensive display of pins and buttons.
WOMAN
You boys look like Goldwater fans.
KELLY
I've never been accused of that
before.
WOMAN
Well jeez, you don't have to be
insulted.
BART
Anything military?
The woman considers this, her fan working back and forth
lazily.
WOMAN
Fish around in that cigar box.
Bart paws through the box. Acts casual.
BART
What do you want for the box?
WOMAN
Twenty dollars.
BART
Fifteen.
WOMAN
Don't be so hasty.
(fanning)
I got a few Geraldine Ferraro pins
I'm looking to unload.
FLEA MARKET FOOD COURT
Kelly and Bart, now wearing the smiling black & white face
of Geraldine Ferraro, eat disgusting yet delicious flea market
food and watch a slow-motion bingo game.
KELLY
Goldwater fan. I think that's some
kind of insult.
BART
Not at Dartmouth. Where are you going
to go to school?
KELLY
I'm not.
BART
Ah, you have that luxury.
KELLY
You don't?
BART
(shrugs)
I didn't have much say in the matter.
Everything has been decided for me
since birth. I'm not whining about
it. Play the hand you're dealt, right?
KELLY
Easy for you to say. You got a royal
flush.
BART
Are you crazy? My life sucks.
Everyone's always telling me what to
do. You can't fight it. Go with the
flow.
They eat for a minute to the soothing sounds of the BINGO
CALLER: TWENTY-ONE, THIRTEEN, FOUR, SEVENTY-EIGHT.
KELLY
What about Tabby?
BART
She got to go where she wanted. Sarah
Lawrence. Six years. She's almost
done with grad school. Yale.
KELLY
I didn't think people actually went
to Yale.
BART
(thinking)
I don't know. I mean, she drives off
in her car in September. For all we
know, she could just pull her car
over in Albany and sleep there until
May.
KELLY
What do you mean?
BART
It was a joke. Joke?
Bart does some fake sign language to help Kelly out.
KELLY
Oh. Is that what one of those sounds
like? Somehow, I always imagined
they would be funnier.
Bart pushes Kelly, who grabs his arm like it got hurt.
KELLY
Sarah Lawrence? Isn't that for
lesbians?
Bart shrugs.
BART
What happened to your face?
KELLY
Remember the backpack incident?
BART
Same guy?
KELLY
The one with mad cow-diseased
hamburger meat for brains? That would
be the one.
Interested, Bart leans forward.
BART
What are you going to do about it?
KELLY
I'm not going to lower myself to his
level.
BART
Of course not. But there are
alternatives�
KELLY
Alternatives?
BART
Haven't you ever heard of the 193rd
Special Operations Wing?
Kelly shakes his head.
BART
Well do you want to get this guy or
what?
KELLY
Yes.
BART
All right. Let's get the fuck out of
here, then.
Bart tosses his wrapper at the trashcan. Kelly watches it
hit the rim and go in.
BART
(on the move)
I have some things to show you.
INT. BOWLAND HOUSE, KITCHEN - NIGHT
Bart and Kelly sit amidst a spread of books, papers, and
electronic equipment.
BART
Once we've gathered the intelligence,
the plan will reveal itself.
KELLY
We don't plan first?
Bart opens a pad.
BART
No, it limits our scope - what's the
objective?
KELLY
Humiliation. Rage. Despair.
BART
Easy enough. 'Nam's probably our go-
to war for that sort of thing. I
have the declassified briefs from
the Phoenix Project around here
somewhere.
Bart grabs a book and starts flipping through pages.
Tabby enters with an armful of art supplies.
TABBY
Hey. I have some stretcher bars out
in the car. Can somebody help me
bring them in?
BART
Of course we'll drop what we're doing
because what you're doing must be
more important.
Bart doesn't look up. He grabs another book.
KELLY
Sure. I mean, I'll help.
Bart raises his eyebrow. Kelly shrugs off the look.
BART
I'll find those reports.
INT. TABBY'S STUDIO - NIGHT
Tabby drops the canvas and points at the table. Kelly dumps
the bars and stands there looking around.
At the wood floors and skylights. Couch covered with a sheet.
Painting, serious ones, with layers of paint and mysterious
objects stuck to them lay against the walls. They all seem
faded, like a vacation photo that's been through the wash.
Kelly moves to the PAINTING on the easel.
Very yellow and pink. Kind of looks like castles.
KELLY
Gold. The color of the sun.
Tabby wrestles with the bolt of canvas.
TABBY
That's the Cleveland waterfront.
KELLY
As the viewer, I get to decide what
it is, I'm afraid. And it doesn't
look a thing like it.
TABBY
It's the light. I was playing with
diffusion.
KELLY
Well make sure you put it away when
you're done with it.
TABBY
Very funny, wiseass.
Kelly resumes his tour of the room.
KELLY
It must be nice to have a place like
this to get away to.
TABBY
It is.
KELLY
What about Farmer?
TABBY
Farmer?
Tabby unrolls the canvas and measures lengths.
KELLY
The boyfriend.
TABBY
(laughs)
Miner? What about him?
KELLY
Is he an artist, too?
TABBY
No. Definitely not. Thank god.
Kelly is silent for a while, fiddling with a clamp light.
TABBY
You said your mom was a painter?
KELLY
She was, well - is I guess.
Tabby cuts the canvas.
TABBY
What do you mean?
KELLY
She used to be. But then my dad -
wasn't working anymore so she turned
it into a business. She has a family
of Chinese immigrants in the garage
making them for her.
TABBY
Like Andy Warhol's Factory.
KELLY
More like Andy Warhol's tool shed.
It was nice before, though. My playpen
used to be in her studio.
TABBY
Wow. So you really grew up with it.
What does, did, your dad do?
KELLY
He's a VH-1 documentary without the
music.
TABBY
"Tragedy struck?"
Kelly nods.
KELLY
"And then, things took a turn for
the worse."
TABBY
Well, just wait. Those burnout types
always have a triumphant comeback
tour.
KELLY
I already changed the channel.
Tabby sits back on her heels and looks at him.
Bart's head appears in the open door.
BART
Christ Kelly, I let you go out on a
little supply line assist and you're
gone for days. Come on.
TABBY
Have fun, boys.
KELLY
If only it were fun. War's deadly
serious, ma'am.
TABBY
(to Bart)
And I used to think you were the
only crazy one.
BART
Enough with the mind pollution, Hanoi
Hannah.
Bart leaves. Kelly stands by the door. This is his only
chance.
KELLY
I'm worried about you playing with
diffusion unsupervised.
TABBY
Are you?
KELLY
Yes. I might have to come by and
show you the proper safety procedures.
Some time in the presence of an art
prodigy would do you good.
TABBY
I don't think I have room for a
playpen in here.
KELLY
Ouch.
Tabby smiles. Kelly leaves.
EXT. BOWLAND YARD - NIGHT
Bart and Kelly walk across the yard.
BART
So, you have a thing for my sister?
KELLY
What? No, no.
BART
Everybody does.
They skirt around the pool.
KELLY
We just have a few things in common.
BART
Oh really, like what?
KELLY
I can't tell you. It's my feminine
side.
BART
You don't wear women's clothes when
you're alone, do you?
INT. ERNSWILER HOUSE, LIVING ROOM - NIGHT
Kelly comes out of the kitchen with a glass of water in pajama
bottoms and a T-shirt. The TV's on static. He sees a FIGURE
sleeping on the couch and starts to walk through the room.
Then he stops, sighs, and backtracks. He turns off the TV.
Then he sees the empty bottle of wine next to the couch.
KELLY
Dad.
The figure doesn't move. Kelly doesn't know what to do.
KELLY
(louder)
Dad?
Kelly looks around, worried. In this house an unresponsive
dad isn't necessarily sleeping. Should he wake up his mom?
He shakes the figure slightly. It rolls over, only it's not
his dad. It's some scabby ADDICT. Kelly yanks his hand away.
ADDICT
Wha?
A moment.
KELLY
Sorry.
EXT. ERNSWILER HOUSE, BACK YARD - NIGHT
Abe sits on a lawn chair.
Kelly comes out, unfolds another chair and sits next to his
dad - a good distance away.
They both look up at the sky.
ABE
Keller. There's a meteor shower.
Kelly frowns.
KELLY
A funny thing just happened. A little
trip down memory lane. I thought you
were on our couch, dead.
Abe laughs.
ABE
Oh, you mean Emmett? They didn't
have an empty bed for him at Care
House.
Kelly nods, considering this.
KELLY
Well that's one of your more brilliant
ideas.
(anger rising)
Have you thought about the fact that
it might be dangerous? That he might
steal something, or go into cardiac
arrest? Drink all our cooking wine?
Which he seems to have done.
ABE
He just needs a place to sleep for
the night.
KELLY
You're right. Besides, having him
here makes it feel like home.
Abe slams his hands down on the arms of his chair.
ABE
I've been straight for four years,
almost five. A third of your life.
Kelly claps slowly.
KELLY
Big whoop. I've been straight the
whole time.
Abe closes his eyes.
ABE
I hate to tell you this, but I'm not
your problem anymore.
Kelly gets up.
KELLY
No. That's the one thing I get to
decide.
Abe looks at Kelly.
ABE
Let me know. I can wait.
They look at each other. Kelly shakes his head and goes
inside. Abe looks up at the sky.
ABE
(to himself)
Keller, there's a meteor shower.
EXT. LANCE'S HOUSE - DAY
In a backyard tree house next door sit Kelly and Bart, Kelly
looking through a pair of M3 field glasses.
KELLY
I have the target in sight.
BINOCULAR MATTE
Through the twin circles Lance gets into his car in front of
his house.
KELLY
I think he's leaving.
BART
Let me see. Don't be a farb, give
them up.
Kelly hands the glasses over. Bart looks through them. Then
he puts them down.
BART
The coast is clear.
The boys looks at each other.
BART
Let me prepare to deploy.
Bart opens up a duffel bag and pulls out a yellow jumpsuit
which he puts on. Kelly looks through the binoculars.
KELLY
Is this going to work?
BART
We've planned for every contingency
using the tried and true techniques
of the last great world power.
KELLY
Save it for the press conference.
THE LAWN
The boys climb down out of the tree house.
Bart is dressed in an official-looking yellow jumpsuit with
telephone repairmen's tool hanging from his belt and a hard
hat on. Kelly carries a toolbox.
BART
Stay low. On my signal.
He looks at Kelly. Then he holds up one finger and gestures
"go." They sneak hunched over towards the fence. A LITTLE
GIRL comes out of the house and stops when she sees them.
Bart and Kelly look at each other. Bart takes the toolbox
and gestures to Kelly by pointing at the girl and covering
his mouth.
Kelly peels off towards the girl while Bart continues across
the lawn.
The girl starts to SCREAM. Kelly swoops up and covers her
mouth with his hand. He tucks her under his arm and runs
towards the opposite side of the house.
He puts the girl down, still covering her mouth.
KELLY
We're the good guys. If you scream,
the bad guys are going to come and
burn down your house. Okay? So stay
here and be quiet.
The girl nods. Kelly takes his hand off her mouth and starts
to sneak away.
GIRL
My dad has a gun.
Kelly runs across the street to get a view of the front door.
IN FRONT OF LANCE'S HOUSE
Bart turns up the driveway and RINGS the doorbell.
LANCE'S MOTHER opens the door. Bart confers with her briefly
and steps inside. The door closes behind him.
Kelly stares so hard at the door he doesn't see the NEIGHBOR
come up behind him.
NEIGHBOR
Can I help you, young man?
Kelly starts and turns.
KELLY
I was just inspecting your lawn.
Kelly grabs a few blades of grass.
KELLY
Have you thought about Astroturf? It
takes a lot less water to keep green.
I mean, no water, technically.
NEIGHBOR
I'm not interested.
KELLY
Oh. I see. Okay then.
Kelly gets up and starts to walk down the street, only -
Lance PULLS UP in his SUV.
Kelly darts behind a parked car and watches Lance go into
the house.
KELLY
Oh, shit.
Lance comes right back out. He forgot something in his car.
KELLY
Oh, shit.
Kelly moves around the car, trying to keep it between him
and Lance.
Bart comes down the front walk whistling and eating a cookie.
He smiles at Lance, now coming back up the walk.
LANCE
Smile worker bee. I'll be your boss
some day.
Bart nods and tips his HARD HAT.
Kelly follows him on the other side of the row of cars until
Lance's house is out of sight.
Then he gets in step beside Bart.
BART
What an asshole. His mom gave me
cookies, though.
KELLY
Did you get it done?
BART
Don't ask stupid questions. Let's go
home and listen.
INT. BOWLAND HOUSE, BART'S ROOM - DAY
The boys sit around an FM receiver/recorder.
BART
It was a five-watt FM bug, so we
should be in range -
Bart FLIPS the ON switch and Lance's Mom's voice fills the
room.
The boys smile with delight.
LANCE'S MOM
(O.S.)
So then I told her, "Harriet, with
potato salad like that it's no wonder
Ray-Ray's cheating on you."
WOMAN
(O.S.)
You didn't.
LANCE'S MOM
You're right. But I was thinking it.
Instead I just told her to add more
vinegar next time, and -
Kelly shakes his head as the women natter away.
KELLY
I don't think we can use any of this.
BART
Be patient. It's voice activated, so
we'll get everything. Trust me. It's
going to be great.
KELLY
All right, then.
Kelly gets up to leave while Bart fiddles with the knobs.
BART
We reconnoiter tomorrow at nineteen
hundred hours.
INT. ERNSWILER HOUSE, KITCHEN - NIGHT
Abe and Eve have dinner together.
EVE
-- And if we don't sell them there,
we'll set up on the corner of Stevens
and Lane, by the gas station. That's
a good location.
Eve looks at her husband and sees he's not paying attention.
He seems a little out of it. He's pushing his food around on
his plate.
EVE
Are you listening to me?
ABE
Did you make this with more chili
pepper than usual?
EVE
The same as always.
Kelly comes in, walks through the kitchen and up the stairs.
EVE
Kelly. Want dinner?
KELLY
(O.S.)
I ate.
His parents eat for a minute in silence. Abe winces and puts
down his fork. Eve smiles tenderly at him.
EVE
One day, we're all going to be happy.
Abe puts his hand over hers.
ABE
That sounds nice.
INT. BOWLAND HOUSE, BART'S ROOM - NIGHT
Bart moves around the room excitedly.
BART
It's really too perfect, actually.
KELLY
What? What?
BART
I can't describe. Just hit play.
It's all cued up.
Kelly hits a button. The tape clicks ON. From the speakers
comes:
BRIDGET
(recorded)
I told you, that makes me nervous.
Me no likey.
LANCE
But baby, my birthday's coming up.
BRIDGET
Still. That's not a good enough
reason.
LANCE
Come on. A little action. A little
prime time action.
BRIDGET
But people might see us.
LANCE
That's the point. That's what makes
it sexxxy. Dangerous.
Kelly stops the tape.
KELLY
Dangerous.
BART
Exactly.
Bart and Kelly share a look. Kelly grins.
KELLY
Let's draw up the plans.
BART
I have a few notes jotted down.
All we have to do is fill in the details and let Operation
Deadmeat begin.
INT. SHAKER HEIGHTS HIGH - DAY
Bridget primps at her locker while Kelly watches nervously
from his.
When she starts to close the locker door, Kelly rushes towards
her and BUMPS into her. Her books and papers spill to the
floor.
KELLY
Oh Jesus, I'm so sorry -
He starts picking them up.
BRIDGET
Oh, it's okay -
She looks around. If Lance showed up it wouldn't be good for
either of them.
Kelly hands her the rest of her stuff. They part ways.
Kelly shoves a piece of paper into his pocket.
Principal Holmstead CLICKS down the hall in her heels and
Kelly DUCKS into a doorway just in time. He turns and pretends
to look at a posted announcement as she passes.
INT. BOWLAND HOUSE, BART'S BEDROOM - NIGHT
Bart inspects Bridget's book report with a jeweler's loop.
He swings over to a piece of stationary Kelly's working on.
BART
She dots her I's with hearts. And
her L's are loopier. The L is very
important.
KELLY
I'm working on it.
They both crouch over the paper.
KELLY
I feel kind of bad for her. She's a
nice girl.
BART
Sometimes collateral damage can't be
avoided.
KELLY
Stop it.
He pushes back from the table.
KELLY
How does that look?
BART
(inspecting)
Pretty good. I think we're ready to
manufacture a document.
Kelly takes out a fresh sheet of paper.
BART
(clears his throat)
Begin. "Hey Daddy. It's your birthday
and you've been a very bad boy. But
so has the baby. Both baby and Daddy
have to get punished, only this time
-
INT. LANCE'S ROOM - NIGHT
Lance, shirtless, reads aloud from the letter.
LANCE
(Cont.)
- baby makes the rules. Await further
instructions at school tomorrow --
EXT. STREET - DAY
Bart wears his school uniform and sits in the passenger seat
next to Kelly.
LANCE
(V.O. cont'd)
-- Baby will be waiting where Daddy
least expects her. Love, Bridgie."
Yes!
BART
Do you have everything?
Kelly just looks at him. Bart's already asked this question.
BART
We can't afford any errors.
KELLY
You don't need to tell me. It's my
ass on the line.
Kelly pulls up in front of Bart's school.
Bart turns to him and puts a hand on his shoulder.
BART
I wish I could be there to see it.
KELLY
You'll get the de-brief.
BART
It's a day that will live in infamy.
KELLY
You couldn't do any better than that?
BART
I don't hear you coming up with
anything.
Bart hops out and salutes Kelly, who give him the thumbs up
in response and pulls away.
INT. SHAKER HEIGHTS HIGH - DAY
Lance can't keep his hands off Bridget.
BRIDGET
What's gotten into you?
LANCE
Nothing, you bad girl.
Lance cackles.
BRIDGET
Did you drink a bottle of Robitussin
before school again?
The bell RINGS.
LANCE
See you soon, my naughty baby.
Bridget looks a little scared.
INT. HISTORY CLASS
Lance slouches into a seat next to Kelly, who drops another
STATIONARY NOTE into Lance's open backpack.
Kelly watches as Lance grabs his book, sees the note, opens
it, and leers.
LANCE
It's my birthday! I'm going to get a
present.
Kelly looks down at his desk and smiles.
LANCE
Damn it, fuckface. What're you smiling
about? You wish you were me.
Lance raises his hand.
LANCE
Mr. Palmer? May I be excused?
Lance leaves like a house afire.
KELLY
(to himself)
Eine maus findet den kase.
INT. HALL
Lance sneaks down the hall towards the STORAGE CLOSET and
whispers into the door.
LANCE
Daddy's here for the Easter egg hunt.
He pulls open the door. Nothing.
INT. STORAGE CLOSET
Lance turns on the light. No one there.
But propped up on the shelf next to a vase with a rose in it
is another note.
LANCE
Ooh, push my buttons.
He snatches the note. His eyes widen as he reads.
LANCE
Oh yeah. Oh yeah. You little minx.
INT. LANGELY PREP, BATHROOM - DAY
Bart crouches in the stall, looking at his watch.
When the second hand sweeps past the twelve, he opens his
cell phone and punches in a number.
BART
(serious grownup voice)
Yes, I need to get a message to
Bridget Shumann. This is MENSA.
INT. SHAKER HEIGHTS HIGH, CAFETERIA/GYM - DAY
Lunchtime. Typical bedlam. KIDS mill around.
At one end of the cafeteria/gym is a small stage, the kind
pep rallies are held on.
Lance edges his way through the crowd, making a beeline for
the STAGE DOOR.
INT. SHAKER HEIGHTS HIGH, MAIN OFFICE
A confused Bridget stands at the SECRETARY'S desk.
BRIDGET
But I just got this note last period.
SECRETARY
Well I don't have anything here for
you - let me look again. Oh yes, the
MENSA called.
The secretary hands Bridget the message. She looks at it.
BRIDGET
Cool. They want me to be an honorary
member.
(pause)
Is that like a sorority or something?
INT. BACKSTAGE
Lance looks around eagerly.
He peeks through the curtains at all the kids and can barely
contain his excitement.
LANCE
Bridgie? Come on, daddy's sick. He
needs his medicine.
He spots a WOMAN in the shadows.
It must be Bridget.
He unbuckles his pants and lets them drop to him knees.
LANCE
I brought our friend along. He's
happy to see you.
He rips off his shirt and shuffles across the dark stage
toward her.
INT. LIGHTING BOOTH
Kelly looks at his watch.
INT. LANGELY PREP CLASSROOM
Bart looks at his watch in anticipation.
INT. LIGHTING BOOTH
Kelly flicks a switch and presses a button.
INT. CAFETERIA
The crowd falls silent and turns towards the mechanical sound
of the STAGE CURTAIN OPENING.
They squint from the BRIGHT STAGE LIGHTS.
SHOCK ripples through the crowd as they take in the tableau
revealed to them:
A frozen half-naked Lance on his knees before a BLOW-UP DOLL
tied to a chair.
LANCE
What the fuck are you all looking
at?
Bridget, standing in the doorway, covers her mouth in horror.
STUDENT 1
Look, he's got a hard on.
STUDENT 2
Eeeeew.
Lance stumbles off stage to HOOTS and CATCALLS, but mostly
hysterical LAUGHTER.
INT. LIGHTING BOOTH
Kelly smiles, laughs and claps his hands with delight. Then
he returns to military precision. He turns all the switches
back to how they were and uses his shirtsleeve to cover the
doorknob so as not to leave fingerprints.
INT. BOWLAND HOUSE, DAD'S LIBRARY - NIGHT
Bart pours them two glasses of his dad's scotch. He's
overjoyed.
BART
You're kidding me.
KELLY
Yup. There it was. The whole school
saw it. Wasn't too impressive either.
They raise their glasses to each other.
BART
To Operation Mincemeat.
KELLY
To the 193rd.
They both take swallows of scotch. Kelly retches.
BART
How does it feel to give better than
you get?
Kelly finishes his scotch.
KELLY
Good. Real good.
BART
You want some more?
KELLY
(croaking)
Don't mind if I do.
BART
That's my boy.
The drink again. Kelly's feet are up. For the first time, he
looks comfortable.
INT. SUPERMARKET - NIGHT
Sarah stands at her register, flipping through a magazine.
Kelly pulls up on the ELECTRO-SHOPPER with field goggles on.
KELLY
You know what this is?
He puts his foot down like a kickstand.
KELLY
Eighteen volts of pure freedom.
SARAH
Sounds dangerous.
KELLY
Oh, it is. Unless you know how to
handle it.
Kelly runs his hand lovingly along the frame. Then he looks
up at Sarah.
KELLY
You ever seen the freshly waxed floor
in the produce section glistening
under full florescence? It's
breathtaking.
Sarah gets on behind him.
KELLY
Hold on tight.
He puts his foot up and kicks it into gear.
The Electro-shopper takes off - barely. Kelly takes the corner
too sharp and clips the edge of an END CAP DISPLAY of cereal
boxes -- they fall to the floor.
The Electro-shopper inches forward.
KELLY
Close call.
SARAH
Have you been drinking?
INT. PARENT'S BEDROOM - MORNING
Kelly looks in at his parents, checking to make sure they're
still asleep.
When he leaves ABE opens his eyes and listens to the door
CLOSE downstairs.
INT. EVE'S STUDIO
Kelly throws some paints and brushes into his backpack.
EXT. BOWLAND HOUSE - DAY
Kelly stands awkwardly on the front stoop with his backpack.
Minnie opens the door.
MINNIE
Kelly? Bart's not here, he -
KELLY
Oh, that's all right. Actually, I'm
here to see Tabby. Just to do a little
painting with her.
MINNIE
She's out back in her studio.
KELLY
Thanks.
INT. TABBY'S STUDIO
Tabby stands barefoot in the sunlight, a palette knife in
her hand.
Music's playing. Jeff Buckley. She looks over as the door
opens, surprised.
TABBY
Kelly?
KELLY
Hey. I warned you I'd come.
TABBY
You did.
She goes back to painting. Kelly stands there for a minute,
waiting for her to say something else, give him an invitation.
She doesn't. Until she looks up and sees him standing in the
same place.
KELLY
Maybe I should go --
TABBY
Well you're here now. Go ahead. Set
your canvas up. Use one of the ones
in the corner.
Kelly looks through them and picks one.
TABBY
Brushes are in the jar. Paint's in
the drawer.
KELLY
I brought my own.
He takes off his backpack and opens it.
TABBY
Well then.
Kelly busies himself pulling out paints and other supplies.
He can't help but look at her. The light hits her hair and
she glows. She catches him looking.
KELLY
Does it mess up your concentration?
Me being here?
TABBY
No.
She turns back to her painting.
KELLY
Oh. That's good.
Kelly sets up his canvas.
TABBY
Just don't talk.
KELLY
Why would I?
TABBY
(pause)
I'm kidding.
KELLY
Right. Irony. I like that.
Kelly feels the tubes of paint. Nervous. Squirts some color
out. Looks over his shoulder at her.
He's trying to get his act together, to be cool about being
there, in the studio, alone with her. Trying to figure out
how to play it.
MINER
(O.S.)
Hey! Hey babe.
Miner opens the door. See Kelly. Smiles like the stockbroker
he is and crosses to him.
MINER
Miner Webber.
Miner holds out his hand for a good old-fashioned shake.
Kelly takes it.
KELLY
Webber Miner.
Miner looks confused.
TABBY
Kelly. This is Kelly -
KELLY
Kelly Ernswiler. Sorry. I -
MINER
Quite all right.
(smiles as an
afterthought)
So, what do we have here, a little
painting class?
TABBY
Kelly's a friend of Bart's. He paints.
MINER
Oh? What's your real job?
Kelly smiles eagerly at Miner over the edge of his canvas.
KELLY
That would be stock boy at the Shop
Rite. But, as President Don Kaminsky
says, every employee is part owner.
So you could say I'm a captain-of-
industry in training. Kind of
capitalist larva.
MINER
That's quite an image.
KELLY
Only if you see the most magical
part. Do you see?
MINER
What?
Kelly spreads his arms out and flaps them a little.
KELLY
One day I'll be a beautiful butterfly.
First I'll have to be a pupa though.
I figure I won't be going out much
then. Pupa: the awkward adolescence
of the insect world.
Miner stares at Kelly. He can't tell what he might be making
fun of, or if it might be him.
MINER
Whatever it takes to get you through
the day.
Kelly rolls his eyes at this uninspired response, though
Miner doesn't see it. He grabs Tabby's paintbrush and pulls
her to him.
MINER
I have the afternoon off. Come away
with me.
TABBY
I'm not at a good stopping point.
MINER
Oh, come on. They'll still be here.
(to Kelly)
I know you'll still be here.
Kelly smiles his most idiotic energetic smile and slaps paint
on his canvas in exaggerated strokes.
TABBY
I really shouldn't.
MINER
But everyone will be coming soon.
And it will get all crazy, and we
won't have any time to ourselves.
TABBY
We will. I promise.
Tabby kisses Miner. He realizes there's no convincing her
and sighs.
MINER
Like tonight? We can practice
honeymoon suite.
TABBY
Maybe. Probably.
Miner looks at Kelly, who looks away.
Then he puts his hands in his pockets and leaves.
Tabby and Kelly paint in silence for a while. Kelly moves
around to look at his canvas from different angles, like
he's copying what he thinks a painter would do.
KELLY
Is he always like that?
TABBY
Like what?
KELLY
Overbearing.
Tabby stops and puts down her brush.
TABBY
Just because he didn't want to picture
you as a pupa?
KELLY
Oh, he will - later. When he's alone.
Whether he wants to or not.
Kelly paints.
KELLY
Not that though. How he wanted you
to stop.
TABBY
He wants to be with me. What's so
bad about that?
KELLY
Just because some one wants to be
with you doesn't mean they're good
for you.
Kelly is suddenly very involved with his painting. He has a
hard time making eye contact with Tabby.
KELLY
No one should ever ask you to stop.
If you stop, you might not be able
to start again. Or you might start
again, only things will be different.
TABBY
Well, that's sweet -
KELLY
It's not sweet, actually. It's just
the truth.
TABBY
Hey, I can take care of myself.
She picks up her brush.
KELLY
When's the wedding?
TABBY
At the end of the month. But don't
ask me about it. It makes me nervous.
Kelly looks at her seriously.
KELLY
Why? Is something wrong?
TABBY
No.
Awkward silence.
TABBY
What are you painting?
Kelly stops and sighs, now back in serious artist mode.
KELLY
Really, there are so many layers of
- imagistic symbolism - that I really
don't feel comfortable summing it
up, but, well - it's a recurring
dream image. A mermaid riding a rocket
ship.
Tabby stops painting.
TABBY
How?
KELLY
What do you mean, "how?" Sidesaddle.
She's riding it sidesaddle. She's
got a fish tail, for chrissake. I
haven't decided yet if she's got
scuba gear on or not.
TABBY
Do you have any idea what you're
talking about?
Kelly puts up his thumb in an approximation of an artist's
gesture.
KELLY
Does that matter?
TABBY
Well, some people actually say what
they really think.
KELLY
What if they don't know what they
really think?
TABBY
It doesn't matter. It's called being
yourself.
KELLY
Sounds boring.
TABBY
Not boring. Scary and wonderful and
exciting.
Kelly stops squeezing paint onto his palette. His gestures
slow down. He's taking this in. Then he shakes it off.
KELLY
Hey. I'm trying to create here. Stop
distracting me.
INT. EVE'S STUDIO - NIGHT
Kelly comes in to return the art supplies.
Xiou-Xiou's alone working. She looks up and smiles at Kelly.
KELLY
Mom's got you working late?
XIOU-XIOU
No.
Kelly walks over and sees what she's working on. A beautiful
spare Chinese landscape.
KELLY
Wow. You're really good. Why do you
make those stupid animals for mom?
XIOU-XIOU
Each painting is a lesson. Here -
She gets out a piece of paper for him.
KELLY
I'm making a lot of art these days.
I guess that means a lot of lessons.
XIOU-XIOU
Each line has a whole drawing
contained in it. Each drawing has a
whole life contained in it.
KELLY
Oh, that's all?
Kelly watches her for a minute, the delicate whoop and swirl
of her strokes.
He dips a brush into the ink and watches Xiou-Xiou's
restrained and confident movements.
Eve leans against the doorframe.
EVE
Hey you two. I'll try not to act
surprised. It might spoil the moment.
Kelly puts down the paintbrush.
KELLY
I can't do this. I have to go.
EVE
Keller, I think I'm missing some art
supplies. Have you seen them around
the house?
Kelly avoids her eyes as he leaves.
KELLY
No, I haven't.
EVE
I don't know what to do with him.
XIOU-XIOU
You son is not yet cooked. Give him
time.
Eve looks over Xiou-Xiou's shoulder.
EVE
When are you going to let me give
you your own show? We could do it
for real.
XIOU-XIOU
No problem. When you offer me an
eighty-twenty split.
INT. BOWLAND HOUSE, DINING ROOM - NIGHT
Kelly eats with the Bowlands - Bart's mom, MATHILDA, his dad
HARRISON, and Tabby and Bart.
The Bowlands dress up a bit for dinner, like any good Wasp
family.
BART
(to Harrison)
-- But I told you I want to take
German --
HARRISON
German's a Cold War language. You
can't get any kind of State Department
position without more diverse
linguistic training than that. You'll
take Chinese.
Bart frowns.
HARRISON
Are we on the same page?
BART
(mutters)
Same page.
Everyone eats in silence.
MATHILDA
(to Tabby)
So darling, when are you going to
bite the bullet and do the seating
arrangement?
Tabby puts down her fork.
TABBY
I can't deal with that stuff, ma. I
don't care who sits next to whom. I
should have eloped.
KELLY
After all, Mrs. Bowland, sometimes
when you bite the bullet, it explodes
in your mouth.
Mathilda looks surprised. This could go either way.
MATHILDA
(tentatively)
Why, I've never thought about it
before but that is a rather strange
expression, isn't it? You wouldn't
say, "Sooner or later you've got to
put the grenade in your pants," would
you?
HARRISON
But have you ever noticed how in
movies they always bite the grenade
before they throw it?
KELLY
Yeah, but they never take a bite out
of their pants.
Everyone but Bart LAUGHS.
Tabby throws Kelly a grateful glance, for getting her out of
a conversation she didn't want to have.
MATHILDA
What an unusual conversation! Do you
have similar discussions at the dinner
table with your family, Kelly?
KELLY
Basically. I ask why all the furniture
is missing and my Dad reminisces
about dropping acid and watching
Neil Armstrong walk on the moon.
All but Bart LAUGHS again.
TABBY
He talks about art.
BART/MATHILDA
You do?
Kelly looks down at his plate.
KELLY
My mother's kind of an artist, so -
HARRISON
You come from a creative family, do
you?
Mathilda salts her food.
MATHILDA
I wish my boys would talk to me about
my passions. I can't get them anywhere
near the subject of my garden.
KELLY
I noticed your magnolias. Very fine
specimens.
MATHILDA
They are fine, aren't they?
Mathilda beams.
BART
(ironic)
Is there nothing you can't discuss?
If anyone notices the slight edge to Bart's voice, they ignore
it.
HARRISON
Here, Kelly, try a bit of these leeks.
Minnie has a way with the white sauce.
INT. BART'S ROOM
Kelly and Bart play PlayStation II "Medal of Honor" in Bart's
bedroom. Bart is sulking, almost imperceptibly.
BART
My dad has this friend who's a
director. He's shooting a documentary
for the History Channel.
KELLY
Cool.
BART
He needs some guys to do a reenactment
of some European theater battles for
him.
Kelly stops playing and looks at Bart.
KELLY
We're going to be on the History
Channel?
Bart's eyes stay on the screen.
BART
I haven't asked you yet.
KELLY
Oh, come on.
Kelly jabs at his controller.
BART
Well, if you want to. Next weekend.
But you have to take it seriously.
Kelly gives Bart a derisive glance.
KELLY
What do you mean? Of course I will.
The flickering TV light illuminates Bart's pinched look.
BART
From what I've seen, you play fast
and loose with your characterizations.
This has got to be straight up.
This annoys Kelly.
KELLY
I'm not "fast and loose." I play the
emotional truth. I make it real.
Bart glances at him.
BART
Like back in the dining room?
KELLY
What does that have to do with it?
Bart shakes his head.
BART
(mimics)
"I noticed your magnolias. Very fine
specimens." That was real?
Kelly's video game character dies. He drops the controller.
KELLY
What is this about?
BART
(shrugs)
You just seem to have your own agenda,
that's all.
Bart plays on. He's keeping a lid on everything while Kelly
gets more and more agitated.
KELLY
My own agenda? What other reason is
there to do anything?
BART
I'm just saying. I know the difference
between fantasy and reality.
Kelly looks at Bart in disbelief.
KELLY
Are you saying I don't?
Bart won't meet his eyes.
BART
I don't know.
Bart pauses the game.
BART
Why didn't you tell me your dad was
a burn-out?
Kelly gets up and grabs his jacket.
KELLY
Why do you steal from yours?
He leaves. Bart un-pauses the game and continues playing.
INT. SHAKER HEIGHTS HIGH - DAY
Kelly drinks from the fountain and wipes his mouth on his
sleeve.
Principal Holmstead's smiling face greets him when he
straightens up.
PRINCIPAL
Kelly! I told some of your teachers
about your presentation. We're all
really looking forward to it.
Kelly frowns at the Principal's back as she CLICKS away.
Sarah appears. They walk down the hall together.
SARAH
What presentation?
KELLY
I don't want to talk about it. As a
matter of fact, do me a favor and
pretend you never heard anything
about it.
SARAH
Okay. Um.
KELLY
What, Sarah?
SARAH
It's nothing. I -
Kelly starts to pull ahead.
SARAH
I have an extra ticket to Aerosmith
this weekend.
KELLY
Aw Sarah, that's really great, I
mean. It's just that - I'm busy.
SARAH
Oh. Yeah, I figured. Okay. I'll see
you in the dairy section, though.
KELLY
Right.
She stands there looking lost.
EXT. BOWLAND HOUSE - DAY
Kelly smoothes the cover over his Jeep. Bart pulls up to the
curb in his BMW.
KELLY
What are you doing here?
BART
I tracked you down. There's someone
I'd like you to meet.
INT. OLD SOLDIERS' HOME - DAY
A few OLD SOLDIERS sit sunning in chairs in the industrial
feeling living-room.
Bart and Kelly sit across from CHARLIE HAYES, an old black
guy, playing dominos.
CHARLIE
(to Kelly)
Are you one too?
KELLY
Yup.
CHARLIE
And what do you see in that?
KELLY
Living, dying, camaraderie, bravery
- the big stuff. Things we don't
have anymore.
CHARLIE
I see.
Charlie sorts his tiles and scowls. He leans in to Kelly's
face, giving him the eye.
CHARLIE
And do you think it's brave getting
trench foot and syphilis, eating
another ration of spoiled frank and
beans out of a dented can?
Kelly is taken aback by this.
KELLY
Well, no -
Charlie leans back and nods, thinking about Kelly's response.
He no longer seems angry.
CHARLIE
Yeah, that wouldn't be much fun,
would it?
KELLY
No, sir.
Charlie sets down a tile and pulls at his chin.
CHARLIE
Parts of it were kind of fun though.
I got separated from my platoon and
lived for two weeks in the forest of
the Ardennes living off what I could
kill.
(pause)
I felt very close to the land.
Bart gives Kelly a significant look. Kelly doesn't notice.
He's looking closely at Charlie.
EXT. GAS STATION - DAY
Kelly sits in the car. Bart pumps gas. They talk through the
window.
BART
I met him when my mom made me go
around caroling with the Youth Group.
KELLY
You don't really believe that stuff
about Berlin? And Hitler's compound?
BART
Does it matter?
KELLY
Of course it matters. Doesn't the
truth matter?
Bart grins.
BART
I don't know. You tell me.
Kelly avoids this by getting out of the car.
KELLY
I want a drink. Let me borrow a couple
bucks.
BART
I told you not to play him for money.
KELLY
I was trying to be nice. He's your
friend.
Bart returns the pump and screws in the gas cap.
BART
Exactly. You should know better.
What do you want.
KELLY
Mountain Dew -
Just then he glances towards the gas station and sees EVE,
set up in the adjacent abandoned lot. She's got the van parked
there with the sliding door open and paintings propped around
on display.
KELLY
-- Oh shit.
But Eve has seen him. She shields her eyes with her hand and
calls to him.
EVE
Kelly!
Kelly backtracks towards the car.
BART
That woman's calling you.
Eve walks over to them. Kelly can't get out of it.
KELLY
(low)
Bart. Meet my mom.
Eve smiles brightly.
EVE
What a nice surprise. It's so nice
to finally meet you.
Bart is surprised but recovers his manners quickly, just
like he's been taught to.
BART
Likewise. So, doing a little business?
EVE
A little is right. But I work it as
much as I can.
Eve laughs.
Kelly shifts his weight from foot to foot. Eve looks at both
of them.
EVE
So, what have you boys been up to?
KELLY
Bart took me to meet his friend
Charlie at the Old Soldiers' Home.
EVE
Charlie at the Old Soldiers' Home?
KELLY
You don't know him.
EVE
You boys should swing by Care House.
There are some Vets there.
KELLY
We can't.
EVE
Oh. Well - okay.
Eve watches a car pull into the lot next to the van.
EVE
I should go. But you boys should
come over to our house some time.
(to Bart)
I know your family must get tired of
him.
Kelly visibly bristles at the thought of his parents
entertaining Bart.
BART
Not at all. But I'd love to, anyway.
Eve looks at Kelly. Then she runs back over to the van.
KELLY
There you go. Now you know everything.
BART
What's your problem? She's pretty
cute.
Kelly rolls his eyes and gets back in the car.
BART
Don't you want your soda?
KELLY
Forget it.
INT. BOWLAND HOUSE, BART'S BEDROOM - NIGHT
Kelly watches Bart pick through parts of his uniform.
After the encounter with mom, he's retreated into himself.
BART
So filming's on Saturday. Can you
make it?
KELLY
Are you kidding?
BART
Good. It's gonna be really cool.
He's got an explosives expert coming.
Kelly doesn't say anything.
BART
What's up?
Kelly runs his hand through his hair. He can't bring himself
to say what's really on his mind.
KELLY
Remember that stupid speech?
Kelly picks up Bart's Colt and sights with it. Bart frowns.
He knows Kelly's avoiding the real stuff.
KELLY
I'm supposed to give it next week.
Bart polishes his combat boots.
BART
Maybe you should talk to my dad about
it.
KELLY
You think he'd go for that?
Bart keeps his head down, polishes intently.
BART
Of course. He loves you. He was
talking the other day about helping
you out.
(ironic)
Want to go to Dartmouth?
KELLY
Are you serious?
BART
He was. If you applied for Spring
Semester, he could "pull some
strings."
KELLY
(shakes his head slowly)
I don't think that would work for
me. Considering -- my background.
BART
Yeah, probably not.
KELLY
I'm not properly socialized. I
wouldn't fit in.
Bart checks his bandoleer and cartridges.
BART
That's bullshit.
KELLY
No, it's not.
BART
Tell that to my family. They're like
your fucking fan club.
Bart pauses, darts his eyes at Kelly.
BART
Even Tabby likes you.
KELLY
So much she ratted me out to you.
BART
Well, she's inviting you to the
wedding.
KELLY
Oh.
Bart watches Kelly's face.
BART
But you probably won't enjoy that
much, will you?
KELLY
I don't know what you're talking
about. Weddings? I love weddings. I
always get drunk and make out with
someone's cousin.
Bart throws his olive drab socks at Kelly's head.
BART
Good, I'll call mom's nephew Fletcher
and tell him to expect a little
action.
KELLY
Fletcher, eh?
BART
He's twelve. Let me give some advice.
He's very into sharks at the moment.
EXT. BOWLAND HOUSE - NIGHT
Kelly waves to Minnie and goes out the front door.
There he pauses, trying to decide what to do. Then he scowls.
He goes around the corner. Towards Tabby's studio.
INT. TABBY'S STUDIO
Tabby sits on the couch facing away from the door. Kelly
enters.
KELLY
Why did you tell --
Tabby turns toward him. She's crying.
KELLY
What? Oh, I'm sorry.
He knows he should leave, but Kelly just stands there.
Kelly runs his hand along his pants in a nervous gesture.
Tabby dabs at her face.
TABBY
Miner and I broke up.
Beat.
KELLY
I'm sorry.
TABBY
Yeah.
KELLY
Honestly? I didn't think you two
were right for each other.
TABBY
You did, huh?
Kelly walks over to her painting.
KELLY
Like this painting. Stare at it too
long and you can't see it anymore.
But if someone else sees it for the
first time, they can tell exactly
what it is.
TABBY
I don't need any more bullshit right
now.
Kelly stops, taken aback. He walks away from the painting.
KELLY
He could never understand you.
TABBY
I'm not as complicated as you think.
Kelly walks to the window and looks out.
KELLY
I never said you were complicated.
Tabby laughs/cries at this.
TABBY
Oh.
KELLY
He just wasn't the right one.
Tabby nods. She's starting to calm down a little.
TABBY
There's more to it than that.
Tabby looks at her shredded tissue. Kelly sits down on the
couch next to her.
KELLY
I'm really sorry. I really am.
TABBY
Thanks.
Kelly pats her knee awkwardly.
KELLY
Don't cry.
Tabby turns her face to Kelly's.
TABBY
You like me, don't you?
KELLY
Of course.
Tabby closes her eyes.
TABBY
No, I mean -- you like me.
Kelly looks scared. He wants to retreat. But he calms himself
down.
KELLY
Yeah. I think you're amazing.
TABBY
Well, do something.
Long pause. Then -- Kelly kisses her. She kisses back and
they fall against the couch together.
EXT. BOWLAND HOUSE - NIGHT
BART
(O.S.)
All right, all right. I'm going.
Bart comes out in his pajamas to turn off the sprinkler. He
looks up and freezes.
Kelly comes out of Tabby's studio. He shuts the door carefully
and walks around the pool.
Kelly doesn't see Bart.
Bart doesn't say anything. He just watches Kelly go.
INT. ERNSWILER HOUSE - DAY
Kelly throws parts of his soldier's kit onto his bed from
corners of the room. The canteen underhand. The Jeep cap as
a free throw. This is the best day of his life.
Until he finds his uniform crumpled up behind the door, still
crusted with mud.
KELLY
Damn it. Damn it.
He flops on his bed. But he can't help it. Soon he's smiling
again. He gets up, gathers up the uniform, and tears out of
the room.
INT. KITCHEN
Kelly comes down the stairs two at a time, singing.
Eve and Abe watch surprised from the table. Abe looks pale.
KELLY
What?
INT. BOWLAND HOUSE, BART'S ROOM - NIGHT
Bart sits in his desk chair, frowning.
Mathilda knocks and opens the door.
MATHILDA
Minnie's starting dinner. Is Kelly
coming over?
BART
Not tonight, ma.
Mathilda pauses and looks at her son.
MATHILDA
Okay, then.
EXT. BATTLEFIELD - DAY
An ASSISTANT DIRECTOR and CAMERAMAN unload equipment from a
van.
The DIRECTOR looks off into the distance, trying to visualize.
Kelly pulls up next to the van. He wears a spotlessly clean
uniform.
DIRECTOR
Are you with the 101st or the 82nd?
KELLY
Well, 82nd today. It's not my usual
division. Technically, my patches
indicate -
DIRECTOR
Whatever. Make yourself comfortable.
We'll be a while setting up. Some of
the other boys are over by craft
service.
KELLY
Oh?
Kelly doesn't go anywhere.
DIRECTOR
The snack table. It's over there.
Someone will come get you when we're
ready.
KELLY
Right. Is Bart Bowland here yet?
DIRECTOR
Bart? Oh, Harrison's son. I don't
know.
KELLY
Ok. Thanks.
CRAFT SERVICE
Kelly and a half dozen other SOLDIERS stand or sit in the
grass around the table. They talk and rest on their backpacks.
A MAKEUP ARTIST makes the rounds.
MAKEUP ARTIST
(to Kelly)
And you are?
KELLY
Kelly Ernswiler, private first class.
MAKEUP ARTIST
All right, Kelly. Let's take a look
at you.
She gets out some pomade and runs a comb through his hair,
slicking it back.
MAKEUP ARTIST
That's it, handsome.
Kelly grins. When she walks away he messes up his hair again.
He scans the crowd. No Bart.
The A.D. walks over.
A.D.
Okay, everyone. We're going to start
positioning. Then we'll go through a
few rehearsals.
(points at soldiers)
You, you and you - go over there by
that tree. You and you guys, behind
the hill.
(looks at clipboard)
Okay, who's got the Jeep?
KELLY
That MG? She's mine.
A.D.
Great. We'd like to use it. Can you
drive it beyond the hill over there?
Kelly tries to act casual.
KELLY
Sure. I don't think that would be a
problem.
He walks towards his Jeep and pauses.
KELLY
Have you seen Bart Bowland? Has he
checked in?
A.D.
Don't know. We've got enough people.
It doesn't matter.
Kelly nods, wondering a bit. But it's soon forgotten.
KELLY
(to Jeep)
Hot Lips, old girl, you're going to
be famous.
A.D.
(yells)
Okay people. Listen to my voice.
From now on, you do whatever this
voice says. Take your place.
BEHIND THE HILL
Kelly waits with his rifle next to his Jeep, bored.
He sees a FIGURE in the shadows of the trees.
He raises his rifle and points it at the figure.
KELLY
Password.
Bart steps out of the barn.
KELLY
Hey! Where the hell have you been?
BART
No where.
KELLY
They put you over here with me? That's
great. I think we'll get some close-
ups. They want me to drive old Lippy.
Isn't that awesome?
Bart doesn't say anything.
KELLY
What the hell's your problem?
BART
I ought to fucking kill you.
KELLY
What?
BART
You had to do it.
Kelly shakes his head, avoiding Bart's eyes, trying to keep
it normal.
KELLY
What are you talking about?
BART
You just do whatever the fuck you
want. And consequences don't matter,
do they?
KELLY
Are you out of your mind?
Bart looks at Kelly. Sees nothing but a kid in an old Army
uniform.
BART
What the fuck do you think she's
going to do, run off with you?
The blood rises to Kelly's face.
But he still won't look at Bart.
BART
You're a seventeen-year-old bag boy.
She's a Yale grad student. Talk about
living in a fucking fantasy world.
Kelly's hands turn white around the rifle.
KELLY
No. You'd rather have me be miserable
like you are.
Bart comes closer. Uncomfortably close.
BART
(biting sarcasm)
Once again, you've displayed your
uncanny ability to nail the truth of
a character.
Kelly finally raises his head.
And looks Bart right in the eyes.
KELLY
Stop talking out your dad's mouth
and use your own for once.
Bart lunges at Kelly.
EXT. FILM SHOOT
The camera's set up.
The groups are in position.
The A.D. stands by the cameraman.
A.D.
Standby for rehearsal. Cue the
explosion.
GRAY CLOUD EXPLODES
In the field. Soldiers leap out of trenches.
A.D.
Cue the Jeep.
Nothing happens.
A.D.
Cue the Jeep. Cue the fucking Jeep!
The A.D. shakes his head.
BEHIND THE BARN
The A.D. comes around the corner followed by the cameraman.
Bart and Kelly roll around on the ground.
A.D.
What the H. Christ is going on over
here?
Bart and Kelly continue to fight.
A.D.
(to cameraman)
Hey, roll this. Get this. Are you
getting this?
The cameraman puts his camera up to his eye and films.
Kelly finally pushes Bart off him, gets in his Jeep and drives
away.
A.D.
(to cameraman)
Follow him. Are you getting it?
Bart sits on the ground, out of breath.
A.D.
We can use this. We'll cut it
together.
The A.D. directs the camera at Bart.
A.D.
Get close on him.
Bart pushes the camera away.
INT. ERNSWILER HOUSE, KELLY'S ROOM - DAY
Kelly lays in bed staring at the ceiling. There's a cut across
his eyebrow.
Eve comes in carrying her car keys and sits on the bed.
KELLY
I don't want to talk about it.
EVE
Well, you're going to have to. Your
father's at the hospital.
KELLY
Which one of his loser friends ended
up there?
Eve plays with her keys. Then she stops.
EVE
They think he has stomach cancer.
Kelly feels the sensation of falling, like a dream.
Then he snorts and rolls over, away from his mom.
KELLY
Oh this is just perfect.
Eve looks at the back of Kelly's head. She's tired but still
trying to deal.
EVE
Why would you say something like
that?
KELLY
Because it seems to fit.
EVE
"Seems to fit." Do you understand
what I just said?
Kelly gets up. Puts his feet on the floor. His shoulders are
slumped.
KELLY
Why, do you want to say it again?
EVE
Kelly -
KELLY
I have to go to work.
He gets up and holds the door open for her. Eve looks at
him, heart heavy. She leaves.
Kelly sits on the bed. Then he looks at the rabbit painting.
He grabs it off the wall and SLAMS it backwards against the
floor so he doesn't have to look at it.
The painting falls back against the bayonet fixed to Kelly's
rifle and TEARS.
He KICKS it.
INT. GROCERY STORE - NIGHT
Kelly angrily wrestles with giant boxes of paper towels.
He RIPS open the box and they roll everywhere.
Sarah watches from checkout. She comes over to help him pick
them up.
SARAH
I forgot to tell you this box was
booby-trapped.
Kelly doesn't say anything.
SARAH
The concert was lame. The opening
act singer ripped his leather pants
during a stupid dance routine and
stormed off stage.
(pause, looks at his
cut)
Are you okay?
KELLY
No.
SARAH
Lance?
KELLY
No.
Kelly gathers an armful of paper towels.
KELLY
Listen, I'm busy.
SARAH
Sure. I understand.
KELLY
I doubt it.
Sarah puts a couple of rolls on the shelf.
SARAH
Um, I don't have a perfect life, if
that's what you're asking.
Kelly stops what he's doing.
KELLY
No, Sarah, actually, I'm not asking.
I never ask you anything but you
just talk anyway. Have you ever
noticed that?
Sarah drops the rolls she had in her hands.
SARAH
Fuck you.
She leaves. Kelly shakes his head.
INT. TABBY'S STUDIO - MORNING
Kelly, still in his work clothes, comes in without knocking.
KELLY
Hey, I hoped you were up -
He stops when he sees Tabby and Miner sleeping together on
the couch.
Tabby opens her eyes.
TABBY
Kelly?
Kelly goes and takes his painting off the easel.
KELLY
I just came to get this.
Kelly leaves.
EXT. BOWLAND YARD
Tabby follows Kelly across the yard.
TABBY
Hey.
Kelly stops and turns around.
KELLY
I guess the wedding's back on.
TABBY
We talked.
Tabby smiles sadly.
TABBY
I'm really sorry.
KELLY
Don't be.
They stand there in the yard. Tabby wraps her arms around
herself.
KELLY
My dad's got cancer.
Tabby looks at Kelly, pained.
TABBY
Oh, Kelly.
She takes a step towards him. He backs up.
KELLY
I guess we all get what we deserve.
Kelly looks at Tabby for a second, then turns and walks away.
EXT. RURAL ROAD - DAY
Kelly drives along an open stretch of road. He throws the
painting out of the Jeep.
He comes to a turn and takes it much too fast.
The Jeep SKIDS, teeters on two wheels, and goes over the
embankment.
BOTTOM OF DITCH
Steam trails up from the Jeep's radiator. The front end is
completely smashed.
Kelly bangs his fist against the steering wheel.
KELLY
Stupid bitch.
Then he calm himself, gets out, and starts walking.
EXT. SHAKER HEIGHTS HIGH - DAY
Kelly rides an old bike up to the bike rack and locks it.
INT. HISTORY CLASS
Kelly comes in late.
MR. NORMAN
Kelly! There you are. I was just
telling the class about our special
treat today. Mr. Ernswiler is going
to be giving the three first-period
history classes a little talk about
the Civil War.
Kelly closes his eyes. He had forgotten - or tried to forget.
MR. NORMAN
Let's all make our way in an orderly
fashion down to the auditorium, shall
we?
The class bolts for the door.
MR. NORMAN
Orderly, I said orderly.
Mr. Norman looks at Kelly pleasantly.
MR. NORMAN
Well, what are we waiting for? I'm
so looking forward to hearing your
views.
INT. AUDITORIUM
Kelly sits in a chair on the stage next to Mr. Norman.
A scattering of KIDS sit out in the auditorium.
Principal Holmstead stands at the podium.
HOLMSTEAD
For those of you who haven't had the
chance to get to know Kelly, you
should know he has a very interesting
hobby. He takes part in reenactments
of World War II battles right here
in Ohio.
AUDIENCE KID
I did that too. When I was seven.
Scattered LAUGHTER. Kelly frowns.
HOLMSTEAD
He has an unusual first-hand knowledge
of history. We recently discovered
that this extends beyond World War
II to the Civil War, which he is
going to discuss with you today.
Kelly?
Kelly rises to scant applause. He stands at the podium,
looking out at the crowd.
He looks down and thinks. He looks back up. The silence
stretches. Kids start giggling.
Finally he leans into the microphone.
KELLY
I'm sorry.
He walks off stage.
HOLMSTEAD
(to Mr. Norman)
Well, go after him.
EXT. SHAKER HEIGHTS HIGH - DAY
On his knees Kelly fumbles with his bike lock, getting madder
and madder. Just as he's about to get it undone --
Lance appears.
LANCE
What, they re-assign you to the
bicycle brigade?
Kelly frowns at the lock.
KELLY
I'm busy.
LANCE
Too bad, cause I'm not. Remember
that little show I put on for the
school?
KELLY
I don't know what you're talking
about.
LANCE
Oh, come on. Pants down? Doll? Hard
on?
Kelly looks up at Lance.
KELLY
Oh that. I heard about it.
LANCE
And did you hear me and Bridget aren't
going out anymore because of it?
KELLY
I haven't been following the story.
LANCE
Yeah well, let's get this over with.
KELLY
It is over.
Lance pushes Kelly away from his bike. Kelly falls back on
his hands.
He squints up at Lance and moves back towards his bike.
Lance KICKS him back with his foot and looks at him.
KELLY
Just let me go home.
LANCE
Did you call me a homo?
Lance KICKS him again. Kelly breathes hard.
KELLY
This isn't a good time for me. Let's
re-schedule.
LANCE
No time like the present.
Lance picks Kelly up and SLAPS him hard on the face.
KELLY
First you should probably get me to
write home to my mother.
Lance PUNCHES Kelly and he reels. Then Kelly lunges for him
and they fall to the ground. Kelly swings wildly but Lance
pins him down and gives him a few good ones.
Then Mr. Norman comes out.
MR. NORMAN
Stop it!
Mr. Norman rushes over to them.
Kelly scrambles up and rips at his bike lock, gets on his
bike and rides away.
Mr. Norman tries to take a panting Lance by the arm but Lance
shakes him off.
LANCE
Get off me.
EXT. ERNSWILER HOUSE - DAY
Kelly rides by his house and keeps going.
EXT. HOSPITAL - DAY
Kelly stops and looks up at the hospital but can't bring
himself to go in. He pedals on.
EXT. CLEVELAND WATERFRONT - DAY
Kelly sits on the loading dock of an abandoned factory.
He watches the rusty barges glitter on the water. The wind
ruffles his sweaty hair.
EXT. BOWLAND HOUSE - DAY
Kelly's at the front door.
MINNIE
Bart's not here. Sorry.
She closes the door. Kelly wheels his bike down the driveway.
He sees Bart sitting out by the pool with a couple of LANGELY
BOYS.
Bart sees Kelly and ignores him, laughs at something one of
the guys says.
INT. ERNSWILER HOUSE, BATHROOM - DAY
Kelly sits on the toilet, putting a bandage on a red scrape
down his arm.
Eve appears in the doorway.
EVE
Oh Kelly. What happened?
Kelly looks up at her. He's still got the cut eyebrow, which
has split back open, and some dried blood under his nose.
KELLY
Nothing.
EVE
Jesus. Let me see that.
Eve comes over and tilts Kelly's head back to look at the
cut. This is the first time she's touched him.
She gets some antiseptic and ointment from under the sink
along with Band-Aids and goes to work.
KELLY
Ow.
Kelly lets her dab at his face. He closes his eyes.
EVE
I'm going over to see dad.
Kelly opens his eyes and pulls away.
KELLY
Oh.
Eve puts a butterfly bandage across Kelly's eyebrow.
EVE
And you need to come.
Kelly pulls his head away.
KELLY
I don't want to.
EVE
At this point that's not an option.
KELLY
Now's not a good time, ma.
Eve looks at Kelly sadly.
EVE
It's never a good time.
KELLY
You can't make me.
Eve shakes her head.
EVE
(voice rising)
It's not about you anymore --
KELLY
Don't you get it? It was never about
me.
Eve rises to her feet. He's just sent her over the edge.
EVE
(yelling)
What is wrong with you? When are you
going to stop blaming us, blaming
him? I'm sick of you being angry. I
want to be angry! They just took out
half of your father's stomach -
KELLY
Enough.
EVE
(screaming and crying)
You will not tell me what's enough.
You don't know about anything. All
you do is fight fake battles, in the
woods, on the playground. But this,
right here, us - this is the real
one, the only one worth anything.
She stops and breaks down.
EVE
The man I love is dying.
KELLY
That's between you and him.
Eve looks at her son. Her face looks older.
EVE
If I made a mistake, if you felt
left out, I'm sorry. But I can only
deal with one thing at a time.
Eve leaves. Kelly sits on the toilet, lost.
INT. KELLY'S ROOM - MORNING
The sun shines in through Kelly's window.
He's laying in bed awake - has been for a while.
He gets up and starts dressing slowly and deliberately. He
puts on his best shirt and tie, sensing trouble when the
tie's too short.
He pulls the suit out of his closet.
The jacket doesn't fit. The sleeves don't even go down to
his wrists.
And he can hardly button the pants. He rips off the jacket.
He pulls everything out of his closet. Nothing there.
He sits on the edge of his bed with his head in his hands.
He looks at his DRESS UNIFORM, hanging on the back of the
closet in its dry-cleaning bag, right where his mom left it.
He shakes his head. No, he couldn't do that.
Then he sighs.
EXT. EPISCOPAL CHURCH - DAY
It's decorated for a wedding. Flower garlands trail up the
banisters.
GUESTS trickle in.
Harrison, dressed in a suit with a boutonniere on his lapel,
talks to an USHER.
HARRISON
Don't sit any of Mathilda's sisters
next to me if you can help it.
(to guest)
Oh, hello. So nice to see you. Thank
you for coming.
Bart comes outside, also dressed as an usher.
HARRISON
(to Bart)
Where's the priest?
BART
He should be here any minute. Calm
down.
Bart walks down the steps and looks down the street.
Kelly's walking towards him. IN HIS DRESS UNIFORM.
Bart walks down the street to meet him.
BART
What the fuck are you doing?
Kelly looks down. He can't meet Bart's eyes.
KELLY
I was invited.
BART
I uninvited you.
KELLY
It's not your wedding.
Bart looks at Kelly and shakes his head.
BART
Why are you wearing that?
Kelly doesn't answer.
BART
(softening)
I can't let you come in.
KELLY
Why?
BART
Because you know why. Just go home.
Kelly finally looks up at Bart and nods.
A Town Car pulls up.
Tabby gets out in her wedding dress. Has there even been a
more glorious woman? Will there ever be again?
Her MAID OF HONOR leads her around to the side of the church.
Kelly watches every step.
KELLY
She looks beautiful. Tell her - give
her my congratulations.
Kelly walks off.
Bart watches him go.
INT. BOWLAND HOUSE, KELLY'S ROOM - DAY
Kelly sits on the edge of the bed, head in hands.
He sees the torn rabbit painting. After a minute, he picks
it up and looks at it.
INT. EVE'S STUDIO
Xiou-Xiou sits painting. Kelly enters with the rabbit.
XIOU-XIOU
Oh! Son of Eve. You startled me.
KELLY
Grandma Ling. Can you fix this?
She examines it and takes out a wet sponge. She wipes it
across the back of the canvas.
XIOU-XIOU
Your mom made it for you. I can fix
it.
She works silently for a minute. Kelly watches her. She cuts
a small piece of canvas to repair the hole.
KELLY
Did you come here to work on your
own stuff? Don't waste your time on
this.
XIOU-XIOU
I never waste time.
She turns the painting over and gets out some paints to touch
it up.
XIOU-XIOU
See. Everything can be mended.
KELLY
You're trying to tell me something,
aren't you?
XIOU-XIOU
Oh no. I could not tell you anything.
INT. HOSPITAL, ABE'S ROOM - DAY
Eve sleeps in a chair next to Abe, in bed sleeping. He looks
pale but otherwise fine.
Kelly stands in the doorway, still in his uniform.
Abe comes to and sees him standing there.
ABE
Hey. Kelly.
KELLY
Hey dad. How you feeling?
ABE
Not bad.
KELLY
They gave me some stitches downstairs.
(points to eyebrow)
Three.
ABE
Did you get punched?
KELLY
A couple times, actually.
ABE
I know the feeling. Come on in and
watch some television. Don't worry,
this one's bolted to the wall. As
you can see, my reputation precedes
me.
Kelly comes into the room and sits in a chair.
ABE
Any battles this weekend?
KELLY
A few.
ABE
Busy, busy.
Abe and Kelly look up at the television in the corner.
ABE
Answer me this: how come no one ever
reenacts the Vietnam War?
KELLY
It'd be pretty depressing, wouldn't
it?
ABE
I guess it would.
Both continue to look up at the television.
KELLY
Plus that, you'd have to have
protesters and stuff.
ABE
Folks dressed up like your mom and
me. People reenacting fleeing to
Canada, burning draft cards. I guess
that would ruin the spirit of the
thing, now wouldn't it?
KELLY
I could make it work.
Abe looks at Kelly.
ABE
I bet you could.
Kelly nods. Eve wakes up.
EVE
Kelly, is that you?
KELLY
You were expecting some one else?
HOSPITAL CORRIDOR
Kelly and Eve get snacks from the vending machine.
KELLY
He looks good.
Eve looks at Kelly, her face full of love and sadness.
EVE
He looks just like you.
Kelly nods slowly, taking this in. And it is finally too
much.
He breaks down and cries. For the fear and the misplaced
rage, the fights and the stubbornness.
But finally, relief.
They walk back down the hall together. Eve reaches out and
puts her hand on Kelly's neck.
EXT. BOWLAND HOUSE - DAY
Kelly rides his bike past the house and stops when he sees
the car packed up in front.
Bart comes out with a box of stuff.
BART
Hey.
KELLY
Hey. You going away already?
BART
Yeah. The have this intensive summer
orientation thing.
KELLY
Is that good?
Bart puts the box in the car.
BART
Well, it's optional, but dad thinks
it would be "a good way to meet
people."
KELLY
He's probably right.
BART
He usually is.
They stand there.
KELLY
Well, go Big Green.
Kelly gives him a little ra-ra with one hand. Bart smiles.
Kelly's been doing his research.
BART
Thanks.
Kelly lifts his foot up to the pedal of his bike.
KELLY
Have fun. And get laid, will ya?
Bart laughs a little and shakes his head. Kelly is gone.
Harrison comes out.
HARRISON
Is that everything?
BART
Everything you'd let me bring.
Harrison checks the ties on the roof.
HARRISON
Give me a break.
INT. GROCERY STORE - NIGHT
Kelly stocks shelves.
There's a NEW GIRL working the register.
Kelly sees SARAH come in. He follows her to the bakery.
KELLY
Hey.
SARAH
Hey.
Sarah picks some bagels.
KELLY
How come you don't work here anymore?
The Electro-shopper's getting rusty.
SARAH
I've got a summer internship at an
ad agency.
KELLY
Fancy.
SARAH
It's all right, I guess.
KELLY
No, it's great.
Kelly moves around to her other side, closer.
KELLY
Hey -
Sarah moves away. Once bitten twice shy and all that.
SARAH
When are you going to get a real
job?
KELLY
I don't know. Probably when I figure
out something better to do.
SARAH
You can't be a stock boy your whole
life.
Sarah walks to the front of the store. Kelly walks with her.
KELLY
Yeah I can. I mean, I probably won't,
but I could.
Sarah turns to him at the checkout aisle.
SARAH
Well, it was good seeing you.
KELLY
Um.
SARAH
What?
KELLY
Remember that presentation I told
you never to ask me about again?
INT. OLD SOLDIERS' HOME - DAY
Kelly stands in the front of the room, pointing to a battle
plan with large arrows drawn on it.
Charlie, Mr. Norman, Principal Holmstead, Eve and Sarah sit
among other OLD SOLDIERS.
KELLY
Lee arrayed his defenses over here.
Only this time, Grant was ready for
him.
Kelly keeps talking. Many of the OLD SOLDIERS sleep.
OLD SOLDIER 1
(to old soldier 2)
This is boring.
OLD SOLDIER 2
Yeah. Let's see that slide of the
wife again.
DOMINO TABLE
Sarah, Kelly, and Eve play dominos with Charlie and Mr.
Norman.
MR. NORMAN
(to Charlie)
Remarkable, remarkable. And they
never knew?
CHARLIE
The real kicker was moving those
cutouts of tanks around. The thought
we had a whole regiment over there,
but it was just a couple of us and
those Hollywood props.
EVE
That's amazing. Art playing a part
in war.
CHARLIE
You're damned right. We practically
won the thing right there.
(eyeing Sarah and Eve
with approval)
Now this is more like it. Anyone
care to place a wager on the table?
Kelly tries to gesture to Sarah "no."
SARAH
If you think it would be more fun.
MR. NORMAN
I can't imagine having more fun that
I am now.
Mr. Norman smiles at the group.
CHARLIE
You're never been to a French
whorehouse, I take it.
EVE
I have.
MR. NORMAN
Oh, my.
EXT. OLD SOLDIERS' HOME - DAY
Eve waits while Kelly and Sarah walk out to Sarah's car.
Kelly helps Sarah into it and closes the door for her.
KELLY
I still don't understand how you did
that.
SARAH
I spent my summers with my grandma
in the Catskills. She didn't give me
any spending money.
(shrugs)
So I played the bones for ice cream.
She pulls away. He watches her go.
KELLY
Hot damn.
FADE OUT:
THE END
Battle of Shaker Heights, The
Writers : Erica Beeney
Genres : Drama Romance Comedy
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| screenplays |
1. Chapter 1
_**Chapter I**_
Piper was finishing up the last of the dishes from dinner. Piper finally dried the last dish and put it away. She went into the family room and sat down, amazed that everything was still quiet after defeating the Triad and saving Leo. She fully expected some other big evil to come after them. It had been almost 3 years since everything had gone down. Sure there were some demons causing trouble but nothing that they had to use The Power of 3 for.
Piper remembered she left the light on in the kitchen, so she went up to turn the light out. Piper froze when she walked in. She had the feeling something was there and was watching her. "Hello, who is there?" Piper asked, sighing. She was trying to calm herself down. "Maybe Paige is right and I have been working too many hours at P3. I think I will take a few days off. I will call Dad and have him take the boys for a few days-that way Leo and I can have some alone time. Piper was about to pick up the phone to call her Dad when she heard a noise. Piper dropped the phone and rushed to find out what the noise was. "Damn it! Sounded like a window opening," she stated.
When Piper got to the top of the stairs she saw that one of the windows was fluttering open. She went to close the window and suddenly a gust of wind blew into the manor. "Hello Piper," a voice said. Piper jumped back with a startled look on her face. "Hello, who is there? Show yourself! Just show yourself, damn it!" Piper shouted as she stood there, just waiting for anything to appear before her. Piper suddenly felt a pair of hands on her shoulders. She jumped and swung around only to see her balled up fists barely miss Leo as he ducked out of the way. "Ugh, Leo, you know I hate it when you do that!"
Leo had a concerned look on his face. He stood back a bit more just to make sure he wouldn't get swung at again. "Piper, I heard you yelling, so I came to see if everything was ok. I didn't mean to scare you." Leo moved closer and embraced Piper. He could feel her body pulsate with fear and rage. "Now, Piper, let's close the window and get some sleep. We have a long day ahead of us tomorrow. Remember, we have to get P3 ready for the battle of the bands." Leo went over and shut the window, then took Piper by the waist and guided her upstairs to bed.
Piper got into bed thinking about the voice she had heard. It seemed familiar in a way, but she couldn't place where she had heard it before. She felt Leo place his arm around her waist and suddenly she felt safe for the first time in a long time. When he held her, she always felt like she was safe and nothing in the world could hurt her. It was not because at one time he was her White Lighter, but because he is her husband and the father of her two wonderful children. She kept thinking that and she finally fell asleep.
"Piper I need your help!" a voice called out of nowhere. Piper suddenly found herself in the attic and it was daylight out. "How did I get here? I am going to ask this once again; what the hell is going on?" Piper looked towards the attic door and saw the door suddenly fly open. What Piper saw next shocked her. "Prue," she murmured in surprise. Prue walked very slowly towards Piper. "Hello Piper." Prue was looking around the attic like they weren't alone in the attic.
Piper was still feeling overcome by waves of shock at what she was seeing. She wanted to run towards Prue to embrace her and never let go. She couldn't do that though. She was stuck in place by fear, happiness, and sadness. "Prue, what is going on? The last I knew it was night and I was asleep in bed with Leo."
Prue was still looking around her. She looked behind her to see if something was following her. "I don't have much time, but I need your help," she stated. "There is something dark and sinister coming after me. Damn it, I have to go! I will explain later."
Piper suddenly saw a black mass form behind Prue. She tried freezing it but it wasn't working. She also tried blowing it up but it just bounced off the mass. It knocked Piper down to the floor. Piper got up and moved her hair out of her eyes and saw it was right behind Prue. Piper screamed, "Prue look out behind you!"
Piper suddenly woke up in bed in a cold sweat. Looking around, she knew that she was in her and Leo's bedroom, not the attic. She looked to her left and saw that Leo was now awake with another concerned look on his face. Piper just fell into his arms weeping. Leo started stroking her hair, feeling her body shake.
"Piper, honey, what's wrong?" Leo could suddenly feel his wife's body almost go into convulsions.
Piper slowly picked her head up off of Leo's chest. "She came to me in a dream and said that she was in trouble," Piper said in between sobs.
Leo had a confused look on his face and started to hold Piper a little more tightly. "Who came to you Piper?" he asked.
Piper picked her head up again and dried her eyes. She suddenly looked straight into Leo's eyes and as best as she could said, "Prue; we were up in the attic and she said some dark force was after her. I saw it forming behind her. I tried freezing it but that didn't work. I tried to blow it up but it bounced off the black mass and hit me. As I was getting up, I looked over and saw it right behind her and then I woke up. It just seemed so real; I really don't know what to make of it. Could it really be Prue trying to contact me or just my mind wishing she was still here? I know it has been 8 years since she was killed, but I miss her every day. She never got a chance to meet Chris or Wyatt."
Leo put Piper's head back down on his chest, stroking her long, dark hair. "Piper, honey, we all miss Prue. Just remember all of the love that was shared and the many good memories that the 3 of you had." Leo kept Piper in his arms until he knew she was asleep.
Leo knew that there was something that had to be done but he didn't know what. He headed toward the bathroom to splash some cold water on his face. Right as he was about to enter the bathroom, he found himself orbing out of Halliwell Manor. Leo suddenly found himself facing the Elders. The looks they all shared on their faces weren't good ones.
On the other side of San Francisco, 3 hooded figures climbed out of a sewer and went into an abandoned building. Following behind them was an army of creatures. In one of the creature's arms was a young girl tied up and gagged. They all filed into the building quietly without anyone seeing them, or so they thought. In the shadows, a man stepped out and looked at them. He whispered to himself, "Damn it, I hope she gets here soon. I am going to need some help!"
Phoebe realized she was too tired to work at her computer on her advice column anymore. Therefore, she turned off the computer. However, she was too tired to get up and go to bed, so she fell asleep in front of her computer.
She was woken up by the sound of her computer saying, "Welcome. You've got mail." Dazed and confused, she looked at her watch and it said 3 a.m. Phoebe looked at the computer screen and saw she was signed onto AOL and had an instant message. When she saw who the instant message was from, her face became as white as a ghost because it was from the screen name Prue2625. That was the screen name Prue had used when she was alive. "Pheebs are you there?" scrolled across the instant message box.
Phoebe was trying to figure out if she was awake or dreaming. She pinched her arm to test if she was dreaming. "Ouch, that hurts! Ok, I am definitely awake. Now who in the hell is playing this sick joke?" Once again the message scrolled across the screen, "Pheebs, are you there?" Phoebe felt her cheeks flush with anger. "Who the hell is this? What kind of sick and demented person would use my dead sister's screen name to contact me?" Phoebe was getting angrier by the moment. She then responded, "What you need is help! This is a demented way to get a few laughs! Just let me tell you that this isn't even close to being funny, you ass!"
Another message came across the screen. "Phoebe I don't have time for this right now. I am in trouble and I need your help. I tried to talk to Piper but it found me. I don't have much longer until it finds me again. I will try and contact you later."
Phoebe was definitely feeling the heat from her cheeks now. She just wanted to reach through the monitor and strangle whoever was playing this sick joke. She finally responded. "What! Who do you think you are, doing this?" Phoebe was waiting for a reply; in frustration, she threw a book of letters across the room. She suddenly remembered that Coop was asleep and was hoping she didn't wake him. She got up and went to pick up the mess she had just made. "Geez Louise, just look at this mess I just made." As she bent down to start to pick everything up, something caught her eye. The modem to her computer was off. Phoebe had forgotten that she was on waiting on a new one to come the one she was broken and she had wait a couple days for a new one.. Phoebe sat down on the floor with a blank expression on her face. "What the hell is going on?"
Paige and Henry stumbled into their apartment from a romantic dinner and a trip to P3 that night. Since the Triad had been defeated, Paige could actually lead somewhat of a normal life. Paige had a romantic and wild evening planned for Henry. She was walking backwards through the living room and then into the hallway, tearing Henry's clothes off of him, kissing him, and touching him all over. When they got to their bedroom, all Henry was wearing was his boxer shorts. Paige turned him around and suddenly pushed Henry onto the bed. "You stay there; I have a present for you," Paige whispered slyly.
Henry suddenly got a disappointed look on his face. "Come on honey, I have been waiting all evening." He got up off the bed and moved close to Paige to take her into his arms. Paige once again shoved him onto the bed. "Now young man, you know what they say: "good things come to those who wait." Before Henry got a chance to say another word, she went into the bathroom to change into a teddy she had bought for tonight. She held it up in the mirror and frowned. "Too bad I won't be wearing this very long." She put the teddy down and went to take her hair down when she heard a whisper.
"Paige."
"Who the hell is there?" Paige was frantically looking around trying to find the source of the voice.
"Paige." The voice grew louder this time.
"Ok, this isn't funny. Show yourself, damn it!" Paige said as she stomped her foot.
Henry heard Paige yelling from the bathroom. He asked, "Honey is everything ok?"
Not wanting to alarm Henry, Paige lied through her teeth. She poked her head out of the bathroom to reassure him. "Yes, babe, everything is fine."
Henry got up from the bed and tried the door handle but it was locked. "I thought I heard yelling."
"You must be hearing the neighbors. They like to be quite noisy at times." Paige was hoping Henry would believe her. "Ok I don't know who the hell you are, but you need to show yourself now!" Paige turned and faced the mirror. What she saw next blew her away.
"Hello, Paige."
"What?" Paige stammered.
"Paige, it is me, Prue. I have tried talking to Piper and Phoebe, but it found me. You are my last hope. I need the 3 of you to help me and soon, before it is too late. What I need you to do is to go with Phoebe to Halliwell Manor. I will explain everything there. You need to hurry!" Paige was about to say something when the mirror went black as night. Paige heard Prue one more time. "Hurry Paige, I don't have much time left."
Paige stood there speechless until she heard the crashing of glass coming from the bedroom. "Oh God; Henry!" She opened the door then and saw hooded men in her bedroom surround Henry. Paige tried running towards Henry but one of the hooded men knocked her down.
"Damn it that hurt, Friar Tuck!" Paige kicked the Bringer's legs out from underneath him and then knocked him out with a blow to the head. "Haven't you ever heard 'don't hit women!'?" Paige said. As she kicked him in the ribs for good measure, Paige looked over and saw the Bringers carrying Henry out of the apartment. "I don't think so!" Paige screamed. She ran at them and kicked them down. She went over to Henry and noticed he was hurt. She told him, "I am going to have to heal you somewhere besides here." She knelt down and orbed out of their apartment empty handed, leaving the Bringers.
`Leo looked around at the Elders, noticing the expressions on their faces hadn't changed. "What am I doing here?" Leo said, not knowing what to expect.
One of the Elders walked towards Leo and placed his hand on Leo's shoulder. "Leo, I know these past couple of years we haven't seen eye to eye. You tried to get the Avatars and the Elders to work together. You chose to have your wings clipped so you could be with the woman you love, a Charmed One. You let yourself get frozen, so the Charmed Ones could stop the Triad. You went back in time to change the past so Phoebe and Paige wouldn't die. You saved the future and you started teaching again at Magic School. You have done a great deal lately." The Elder looked down at his feet while he was trying to find the right words to go on.
Leo picked up there was something more needing to be said. "What are you trying to say to me?"
"Leo, there is something dark and sinister on the horizon. We are going to make you a White Lighter again. A powerful witch will be coming here soon."
Leo interrupted before another word could be said. "So you are going to make me a White Lighter again so I can guide this witch?"
"No Leo, you aren't going to be this witch's White Lighter; you are going to guide the new White Lighter that is going to guide her. What is ahead of us will be a battle unlike any other that we have faced. The Charmed Ones are going to making a powerful ally here soon. I need this new White Lighter to learn everything that you know and for her to be ready when she is needed."
Leo had a perplexed look on his face. "Exactly who is this new White Lighter? Who is this new ally that the Charmed Ones are going to be meeting?"
"Leo, we can't say much more than that. The truth has to be found out by the Charmed Ones themselves. We can introduce you to the new White Lighter and, Leo; you are still going to be the Charmed Ones White Lighter."
Leo suddenly felt a surge of raw power run through him. It was something he hadn't felt for a long time. Voices came to him in his head. He heard Phoebe and Paige and he could hear there was something wrong.
"Leo, this way please." The Elders led Leo until they came upon a young woman with a confused look on her face.
"What, where am I?" the young woman stuttered. "What is going on?" She was looking around with a confused look on her face, trying to figure out where she was.
Leo walked towards her slowly, trying not to frighten her any more than she was. "Hi! My name is Leo; I am here to help you. What is your name?"
"Where is Willow? What is this place? My name is Tara. Will someone please tell me what is going on?" Tara started breaking down in confusion, not knowing what was going on.
"Tara, you have been chosen for something. You have been chosen to become a White Lighter. Only someone who has done nothing but good in their lives gets chosen for this. The Elders have chosen you for this. You are going to be guiding future White Lighters and Witches. They will be your charges. You will have the opportunity to help them when needed. I need to ask you what the last thing that you remember is."
"It is still a bit fuzzy, but what I can remember is that I was at home with Willow and it felt like something hot entered me. Then I fell to the floor. That is all I remember. Does this mean I am dead?"
"Yes, Tara, it does. You have now been chosen for something that is a great honor. Who is Willow?"
Tara had a stunned look on her face. "How long I have been dead?" Tara said with emptiness in her voice.
One of the Elders came up to Leo to answer the question. "My dear, you have been dead for 7 years. You have been chosen to guide a particularly powerful witch. She will be coming here soon. Leo is going to be here to help you. We are going to leave you with just this one charge for now. As soon as this great evil is defeated, you will get more charges to help and guide. Now I will let you and Leo get going. He has a lot to explain to you, my dear. Once this witch is here, you will then know who it is. We won't have to tell you. You will just know."
Leo went over and took Tara's hand. "Come on. I will take you somewhere to talk." Tara looked at Leo as they orbed out.
Paige appeared in the hallway of Phoebe's apartment. She started to bang on the door. "Phoebe, it is Paige! Open up, please!"
Phoebe opened the door and saw Paige in the hallway with Henry at her feet. "Paige, what the hell happened?"
Paige replied, "Let's just say I got a chance to get physical tonight, but not the way I wanted to. Help me get him in here. He is hurt and I need to heal him." Phoebe helped Paige lift Henry off of the floor and onto her couch. Paige knelt down and put her hand over Henry's injuries and healed him. "So how was your evening?"
"Quite strange I fell asleep at my computer. I woke up to someone sending me an instant message." Phoebe exhaled as she was trying to come up with some more words to sum up her evening.
Paige shot Phoebe a strange look. "What is so odd that someone sent you an instant message?"
"Well, the one odd thing was the message itself," Phoebe said as she got up to get some ice out of the kitchen. "It was an instant message from someone using Prue's old screen name. They claimed to be Prue and that she needed my help. I got upset and threw all of my letters across the room. I am surprised I didn't wake Coop up. When I started to pick up the mess I made, that is when I noticed the other thing. I looked over at my modem and noticed it was off. I had forgotten that the modem I have is broken I will be getting a new one in a couple days. There is no way I could have been connected to the internet and there was no way anyone could send me an instant message." Phoebe sat down with an ice pack in her hand and gave it to Paige. "Here, I hope this helps him out. You never really did explain exactly what happened, Paige."
Paige ran her hand through Henry's hair and looked at Phoebe with a puppy dog look. "Well this is going to make things a little weirder. Henry and I had just gotten home from dinner and dancing. Things were getting hot and heavy. I went into the bathroom to change into something a little more comfortable that I had bought for tonight. I thought I heard someone whisper my name. I called out and no one answered me. I heard it again. I looked around and did not see anyone, and then I looked back into the mirror and saw her." Paige looked down at Henry again, just hoping everything was going to be ok. She didn't know how to tell Phoebe that she saw Prue in her bathroom mirror.
Phoebe took her hand and lifted up Paige's head to look her straight in the eye. "Paige, honey, who is it that you saw?"
Paige was still trying to find the right words. "Pheebs, I saw Prue."
Phoebe's face went white as a sheet. "What? What do you mean you saw Prue?"
Paige carefully slid Henry's head off of her lap and went over to the window. "I saw Prue. Did I stutter? I saw Prue in the mirror. She said that she tried to talk to you and Piper, that something was after her, and she needed our help. I suddenly saw the mirror go black. All I felt was coldness and evil. That is when I heard the noise come from our bedroom. I walked out of the bathroom to find these guys in robes going after Henry. I fought them off and that is when I came here with Henry. I really think we should go and see Piper. If that was truly Prue, she looked really scared. From what you and Piper have told me of her, she really didn't get frightened very easily." Paige came back over to the couch and bent down to look Phoebe straight in the face. Paige noticed that she looked lost. Apparently, Phoebe was still trying to process the information.
Phoebe finally got up. "Ok, I am going to wake up Coop and let him know what is going on. I will make sure he will keep an eye on Henry for you. We need to get over to Piper and talk to her to see if there is anything she can tell us." Phoebe got up and went to her and Coop's bedroom. She opened the door slightly and woke Coop up. "Coop, please wake up I need to talk to you, please babe."
Coop slowly woke up and noticed what time it was. "Pheebs, it is almost 5 a.m.! What is wrong?" Coop sat up in bed, wiping the sleep out of his eyes.
"I am not sure. Paige and Henry were attacked at their apartment. Paige brought him here and healed him. He is still out like a light though. We need to go and talk to Piper. Something big and nasty might be coming. I need you to keep an eye on Henry, please. We will be back as soon as we can." Phoebe didn't even let Coop respond; she got up quickly and went into the living room. "Ok, Coop is going to watch Henry for us. Let's go and talk to Piper." Phoebe went over to Paige and they orbed to Halliwell Manor.
Piper woke up. When she went to feel for Leo and he wasn't there, she shot up quickly and looked around for him. "Leo, where are you?" She frantically got up and started looking around the house for him. Piper went to check on the boys and they were still asleep in their beds. "Ok, they're still there, but no sign of Leo." Piper suddenly heard the sound of someone orbing in downstairs. She ran down the stairs and saw Paige and Phoebe standing at the foot of the stairs. "What are you two doing here this early?" Piper inquired.
Phoebe started up the stairs towards Piper. "We both have had a rather strange night. We came over to check if you had anything strange happen."
Piper let out a frustrated sigh. "What exactly would you classify as strange?"
Paige started up the stairs too. "Seeing Prue would you classify that as strange?"
"You saw Prue too? I saw her in a dream; we both were in the attic. She said-". Piper didn't get to finish the sentence; Paige and Phoebe finished it for her in unison.
"Something was after her and she needed our help."
"Ok, I think we should all talk. I want a cup of coffee- anyone else in?" Piper said as she went down the stairs.
Paige and Phoebe followed Piper into the kitchen. They noticed she was doing more than starting a pot of coffee; they saw Piper starting breakfast. "Piper, what are you doing? I thought you said you were going to make coffee?" Paige said as she shot Phoebe a concerned look.
"Why just have a pot of coffee? Why not have a nice breakfast to go along with it? It has been awhile since we all ate a meal here." Piper said, as she started getting things out.
Phoebe walked over to Piper and took her hands. "Piper, coffee will do just fine. I am not even hungry right now." Phoebe led Piper over to the table and sat her down as Paige was starting the coffee. "Now something strange is happening and I know all 3 of us have experienced something tonight. Now let's all sit down and talk about it. Piper what exactly happened with you tonight?"
"As I was cleaning the dishes, I had a feeling someone was here. I shook it off. When I finished, I went into the living room and sat down for a moment. I remembered that I left the light on in the kitchen. I went to turn it off and I heard one of the windows upstairs fly open. I went up to check it out. When I got up there a breeze came in and I could have sworn I heard something whisper my name. Well I lost it. Leo came down to see what going on and I almost knocked him out. He shut the window and calmed me down, and then we went to bed. As soon as I fell asleep, I found myself upstairs in the attic. The door to the attic flew open and I saw Prue standing there. I tried to go towards her but I was stuck. She came towards me and she was looking around like something else was up there with us. She told me that she needed help because something was after her. All of a sudden, a huge black mass formed behind her. I tried to freeze it but it didn't work; then I tried to blow it up, but it bounced off it and hit me. When I was getting up, I looked up and saw it was right behind her and that is when I woke up in a cold sweat. Leo told me not to worry about anything and helped me get back to sleep. I woke up and now Leo is gone. Have the two of you seen Leo?" Piper finally took a breath, amazed that she had said all of that in one breath.
Paige and Phoebe told Piper what they had experienced. They told Piper they had not seen Leo at all. They tried to reassure her that everything was ok. "Ok, well, we saw Prue tonight and she said the same thing to all of us-that she was in trouble and needed our help. If only we knew what she meant and why did she wait so long to contact us?" Phoebe said as she was getting up to refill her cup of coffee. She was about to fill her cup when they all heard a noise up in the attic. "Ok, what the hell was that?" Phoebe remarked. They all ran up the stairs and found Prue standing at the doorway.
"Good, all 3 of you are here. I need your help," Prue stated emphatically.
Piper, Phoebe and Paige all filed into the attic just looking at the transparent form of Prue. Piper was the first one to speak up. "Ok Prue, you have all 3 of us here-what is going on? What do you mean you need our help?" Piper asked as her eyes were starting to well up with tears. Just seeing Prue again was bringing up the painful memories of losing her.
Prue was trying to hold back her emotions. "Something evil and dark is coming after me. They want to resurrect me and they want to use me against you. I don't know how exactly they are going to do it. I need you to find a way to stop it. You aren't going to be able to do it alone though. This power is going to be stronger than the Power of 3. You are going to need help." Prue looked around the attic, noticing that not much had really changed. She walked over and saw pictures of Piper, Leo, Chris and Wyatt. "My God, Piper, they are beautiful."
Piper, still stunned at what she was seeing, found her voice and spoke again. "Thank you Prue. Now we need to get back to what we were talking about. What do you mean the Power of 3 wouldn't be able to beat this alone? Who are we supposed to get to help us?" The frustration in her voice was growing by the second.
Prue walked closer to her sisters. "A powerful new ally is coming to San Francisco soon and you are going to need the help of this new ally to stop this force. You need to trust me on this please."
Phoebe finally found her voice. "Ok, who is this ally?"
"I don't know who this ally is, Pheebs." Prue looked down at the family picture as if all hope in the world was lost.
"Then how are we supposed to know who they are?" Paige said, trying to grasp at straws.
Prue sighed loudly. "You will just know, Paige, deep down in your hearts you will know when you come in contact with them. I really don't have too much time left; you will have to act fast."
Phoebe stepped forward. "Prue, I am still trying to figure out what the hell is going on. If there is any way you can be more specific on what you are telling us that would help us."
Prue once again started looking around like something was there again. I have to go now because I have to hide. Please hurry and stop this from happening. If they get to me they will be unstoppable." Before any of the sisters could speak, a black mass started to fill the attic and Prue disappeared from site.
The black mass started to swirl around the top of the attic. It stopped in front of the Sisters. Suddenly, what seemed to be a face appeared and stared at the Charmed Ones. "No one can stop me! I will have what I need. I will see you all in hell!" The mass suddenly disappeared as fast as it appeared.
"Well now, that was short and sweet. I just want to know more about what we are facing before we go in with all guns blaring." Paige said, with a lot of worry in her voice.
Piper walked over to the Book of Shadows and started leafing through the pages. "There has to be something in here which will help us." Suddenly, out of the corner of her eye she saw a brilliant flash of light. She looked over and saw it was Grams. "Grams, what are you doing here?" she asked.
Grams stepped forward and took Piper by the hand. "I'm just here to tell you, dear, that you won't be able to find anything to help in the Book of Shadows. My best advice is to listen to Prue and find the ones that can help you. I would ask your father to take Chris and Wyatt for a bit."
"I guess I will have to do that." Piper headed downstairs to make that call while Paige and Phoebe stood there staring at each other.
"My girls, what is coming up; is going to be a test for all of you," Grams informed them.
"What is coming up, Grams? Paige asked, growing more worried by the second.
"I don't know, but it will be something that the Power of 3 can't defeat by itself. I never thought I would ever hear myself stay that. Just remember that you're Mother and I will always love the 3 of you. I have to go now; we will talk later. Be blessed, my girls." With that Grams disappeared in a bright light.
They all headed downstairs to try to absorb what Grams had just told them. Piper headed towards the phone to call her Dad. For some reason, the phone seemed like it rang forever. "Come on Dad, please pick up."
"Hello?"
"Hi Dad, it is Piper."
"Honey, you sound exhausted. Is there something wrong?"
"I really didn't get much sleep last night. I just need you to do me a favor please, Dad."
"Sure Piper, anything you ask."
"I need you to take Chris and Wyatt for a bit."
"Why?"
"I really don't know why; I wish I could tell you more, Dad. Grams said it would be a good idea for you to take them for a bit." Piper sounded dejected on that last statement. Leo was missing now and she wasn't going to be able to see her boys.
"Oh I see. Why is it that whenever Grams appears there is something dire going on? I will be over in 20 minutes to get them."
"Thanks Dad, I owe you."
"You're welcome Piper, anytime. You know I wouldn't pass up a chance to spend time with my grandsons."
The sisters went into the kitchen to try and make everything compute in their heads. They suddenly heard a knock at the door. "That must be Dad. I will go get the boys. Paige, will you let him in please?" Piper raced upstairs to get Chris and Wyatt.
Paige opened the door and saw Victor outside. "Come on in. How are you?" she asked.
"Good and you, Paige? I am pretty excited about spending some time with Chris and Wyatt. I just wish it was under better circumstances than this." Victor looked up and saw Piper coming downstairs with the boys. "How are my favorite 2 grandsons doing?" Victor almost got bowled over when they came running to him.
"Boys, please be careful of Grandpa; he is getting old," Piper said with a sly smile on her face.
Victor had a pained look on his face. "Very funny Piper just remember you will be in my shoes one day."
"Yes I will but I am not there yet." Piper said with a sly smile.
"Do you know how long I am going to need to keep them this time?"
"No, I don't Dad; I really don't know that much. Once I learn more, I will let you know." Piper bent down to hug the boys. "Now you 2 behave yourselves. No orbing each other everywhere." Piper got up to watch them go out the door to Victor's car. She was just hoping this would not be the last time she would see them.
Phoebe was behind Piper, trying to find a way to comfort her. "You know, Sis, breakfast does sound good right about now. Maybe it will enable us to figure out what exactly is going on." After she said this, Phoebe put her arm around Piper and they headed into the kitchen to try and sort things out.
2. Chapter 2
_**Chapter II**_
Buffy was in her room getting ready for a night out on the town with the Scooby Gang. It had been a while since they had gone out. Buffy stopped what she was doing and thought about it, the last time they had really done anything that wasn't demon or vampire related was back in Sunnydale before they closed the Hellmouth. Over the past few years having to train new Slayers, dealing with The Immortal, Dawn, Warren and Amy there hadn't been a lot of time for anything. Buffy was about to pick up her brush when she heard a knock on the door. Buffy put down her brush and faced the knock at the door. "Come in."
The door opened and Willow bounced in with a smile on her face. "Hey Buff are you almost ready?" Willow went over and sat down on Buffy's bed.
"Yeah, just about ready Will." She tried to make herself sound excited. Buffy then turned towards the mirror to brush her hair.
Willow noticed the expression her friend's face. Willow got up and walked over to Buffy. "Buffy what's wrong?"
Buffy looked at her own face in the mirror. She saw the look Willow saw. "I don't know Will. I just don't feel like going anywhere or doing anything. Why don't you and Xander go without me? I wouldn't want to ruin a good time Willow." Buffy continued to brush her slowly. Buffy put down the brush and looked down at her feet.
Willow's eyes suddenly flashed with anger. "Buffy Anne Summers, you turn around and face me now!"
Buffy was in shock at Willow. The last person to call her by all 3 of her names was her Mom. When Joyce did that she knew she was in trouble. Buffy turned around to face Willow and she noticed the angry expression on her friends face. "What Will?" Buffy said coyly.
Willow walked even closer to her best friend and took her hands. "Buffy over the past 6 years you really haven't had any down time. None of us have, this is our first opportunity to do so."
Buffy was trying to find any excuse not to go out tonight. "Well what about finding new Slayers?"
Willow suddenly gave Buffy a motherly look. "Buffy that is what the Watcher's Council is for. Even though at one time Andrew was plotting to kill us, he has done an awesome job as a Watcher. He is a little annoying sometimes, but he does his job well. Buffy it is just to going to be me, you and Xander. It will be like old times, except now you are a leader of a powerful army, I am a powerful witch and Xander only has one eye but knows how to put an M-16 together in 20 seconds." Willow looked deep into Buffy's eyes hoping this all was helping.
Buffy was about to say something when her door flung open. Buffy looked over to see who the intruder was. "Xander haven't you ever heard of knocking?" Buffy asked sternly.
Xander realized what he just did. He shrugged it off and walked over to Willow and Buffy. He came between them put each of his arms around their shoulders. "So how are my two favorite chickadees? You two ready to P-A-R-T-Y?" Xander shouted at the top of his lungs not even noticing the expression Buffy had glued onto her face.
"Xander." Buffy said innocently giving Xander a false smile.
"Yes Buffster?" Xander still had excitement in his voice not even picking up the mood that was in the room.
"If you don't take your arm off of me, I am going to show you what a Slayer's strength is really like! I am sure if you don't take your arm off of Willow she will turn you into a rat. I saw this awesome habi-trail this morning in a pet shop that I am sure you would enjoy!" Buffy said with a smile on her face.
Xander look at Buffy and slowly removed his arm. Xander then looked over at Willow and saw her nod in agreement to Buffy's blunt statement. "Oh sorry didn't mean to ruffle anyone's feathers. So what happened that caused the sour faces? Was there a sale at the mall that you didn't hear about?" Xander said in a sarcastic tone as he removed his arm off of Willow so he wouldn't be turned into a rodent.
Willow looked over at Buffy and saw by her body language that she didn't want to involve Xander in the conversation they were having. "Xander we were just trying to decide what to do with her hair and which top she should wear tonight." Willow was just hoping that Xander wouldn't see through her bold faced lie.
Xander scoffed. "Buff your hair looks fine and I could help you with the top selection. You just need a guy's perspective." Xander went over and started going through her closet. He pulled out a top and held his selection up to show Willow and Buffy. "Here we go Buff; how bout I help you try it on." Xander said with a devilish smile.
Xander received another nasty look from Buffy. "Xander lets not and say you did! Miss. Rosenberg please get ready to turn Mr. Harris into Mickey's long lost cousin!" Buffy with a very serious tone in her voice as she crossed her arms.
Xander finally got the hint. "Well I guess I will head downstairs then. Please don't take too long, I have to get my groove on tonight." Xander turned around and walked out shutting the door behind him.
Buffy and Willow sat down on the bed. Buffy looked over at Willow and saw the same supportive eyes that made Buffy love her like a sister. "Will, it is just we all have been through has just left me drained. I know the new and improved Watcher's Council is up and running. Yes that does free up my time a little; they can find new Slayers and train them. I know Andrew is doing a great job as a Watcher; it does gives me less to worry about. I have to say that even Faith has turned herself around since she met Robin and is doing a great job. Will it just seems like whenever I let my hair down and relax something happens. I am just afraid to do that now. Just the feeling if I do something terrible will happen. How can I do it? It just seems like I am not allowed to have a life or even some free time." Buffy sighed and picked up the top that Xander had picked out for her and started playing with it.
Willow put her hands on top of Buffy's so she would stop playing with the top. "Buffy I am going to reassure you everything will be fine. You along with everyone in this crazy thing we call a world is allowed to be a tad bit selfish at times and have a good time. Buff you need to let you guard down and relax. All 3 of us do, we just need to sit back and relax for a moment. We can't do that at the Slayer's HQ or even here. It has to be somewhere not here. Sure Buffy, you are a Slayer, you have the strength and agility beyond any normal human, and you can heal faster than anyone else. You being so tightly wound all the time is not good for you. I am asking as your best friend and as someone that does love you please come with us tonight. Yeah sure it isn't the Bronze, but it will feel like the old days I am sure of it." Willow leaned over and gave Buffy a hug. Willow felt the tension in Buffy's shoulders melt away like ice cubes on a hot summer day. Willow then felt Buffy's arms embrace her back, she then felt Buffy's grip grow tighter around her. "Hmmm Buffy I really hate to spoil this moment, but you are kind of shutting off my oxygen supply." Willow felt the grip loosen up and Willow sat there trying to catch her breath.
Buffy looked at Willow as she was gasping for air. "Oops Sorry Will, sometimes I don't know my own strength at times. Thanks Will I really needed this, and your right I just need to relax a little." Buffy again picked up the top that Xander had picked out.
"You know Xander didn't make a bad choice. Maybe if we ever do end of the world of evil, he should consider the career of being a fashion designer. I think I will wear this tonight." Buffy and Willow had a laugh about the comment Buffy had made about Xander.
Willow stood up and headed for the door. "Well I going to head downstairs and keep Xander at bay. Maybe tonight he can show us his little turn on the catwalk." Willow and Buffy had another laugh as she walked out the door and shut it. Willow went downstairs and saw Xander sulking on the couch. "What is the long face for Mr. Harris?"
Xander looked over at Willow and just sighed. "So what was all that about up there Will?"
"All I am going to say it was best friend stuff."
Xander acted kind of hurt at the statement. "Well I am her best friend too."
"Xander it was girl best friend stuff."
"Oh I see. I heard laughing. What was all the laughing about?"
"Tell ya later. I am hungry, are you hungry?" Willow went into the kitchen to find something to snack on before they left.
Xander followed after her. "You have to be kidding, when am I not hungry."
Buffy got up and changed. She was going through her jewelry box to find to accessorize with her outfit. She suddenly found a neatly folded silk handkerchief, she had never seen it before. Buffy picked it up and gently opened it up and she was shocked at what she saw. It was the Claddagh ring that Angel had given to her for her 17th birthday. She hadn't seen it since she left it in Angel's mansion and it was what brought him back from the hell dimension he was trapped in. Buffy put the ring on with the heart facing towards her, she was trying to figure out how it got in her jewelry box, she thought it was lost forever. Buffy held the ring up and kissed it. "Angel I miss you so much." Buffy whispered to herself, and then she heard another knock at the door. "Come in." Buffy said in a slight trance.
The door opened and it was Dawn. "Hey are the 3 of you still going out tonight?"
Buffy suddenly snapped out of the trance she was in. "Yeah I was just finishing getting ready. I should hurry before Xander sends a search party looking for me. For some reason he is being a tad impatient tonight. A lot more than he usually is." Buffy said as she still looking down at her left hand.
Dawn looked down at her sister's left hand to see what she was looking at. "You finally found it I see."
Buffy looked at Dawn in amazement. "You put that in there? When did you put it in there? I have never noticed it in there before."
"When Angel came back to Sunnydale before you closed the Hellmouth, he came and saw me before he gave you the Amulet of The Champion. When he came back from whatever hell dimension he was in he had found it on the floor where we was laying. He kept a hold of it, and he kept it with him all of that time. It was one of things that helped him to become himself again. Before he came to Sunnydale he had found it and wanted you to have it again. So he brought it with him and asked me to give it to you. I never had the chance before, so when things got settled after the closing of the Hellmouth and everything settled down here I put in there. I am surprised you just found it. Dawn noticed the blank expression on Buffy's face. "Buffy did I do something wrong?"
Buffy's eyes started watering up. She looked up at Dawn and started drying her eyes. "No Dawnie, you didn't do anything wrong. I just want to thank you. I never thought I would see this again. This really means a lot to me." Buffy walked over to Dawn and hugged her. "Hey Sis please come with us tonight?"
"I would love to Buffy, but I am going to help Giles with a few things. You know I am actually starting to enjoy this Watcher stuff. I am thinking about asking Giles on what I would have to do to become a Watcher. So I will definitely take a rain check on that offer Sis. The 3 of you go out and have a great time, you really deserve it."
"Wow Dawn, I never thought I would hear you say that. Well I am going to hold you on that rain check." Buffy gave Dawn one more hug and headed downstairs.
Xander was sitting on the couch and heard footsteps coming down the stairs. He turned around to see who it was. "Buffy about time, I was about to send a search party to look for ya. Well lets go party my fine ladies." Xander opened the door for Buffy and Willow. They filed out and he shut the door behind him.
Dawn looked out the window to make sure Buffy, Xander and Willow where gone. Dawn went into the kitchen and found Giles making a pot of tea. "Their gone now Giles, is everything set up for Buffy."
Giles poured his tea into his cup. "Yes Dawn, everything is setup for her. Do you think she will be happy when she hears the news?" Giles blew on his tea and took a drink.
A smile came across Dawn's face. "I think she will be happy. I know I can't wait until we get back to the states. Especially California, too bad it wouldn't be Sunnydale. Where are they sending us again?"
Giles put his tea down and started rustling through some papers. "Oh here, we are going to be living in San Francisco. 4242 Prescott Street, it is a big enough house for all of us to live in comfortably. I do have to say Buffy certainly deserves all of this. It is quiet there, so she can actually get to live a normal live." Giles looked down at his watch and noticed the time. "Come on Dawn, we should get going, we don't want to be late."
Buffy was watching the scenery go by the window. She suddenly realized she didn't know where they were going. "I know this is a little late to ask but, where are we going?"
Xander looked over at Willow in the passenger seat. It is a new place that just opened up. I have heard nothing but good things about it. Ah here we are. Now let's get down and boogie." Xander said as he pulled into a parking spot.
Buffy got out of the car and noticed there was something familiar about it, but she couldn't place it. Then Buffy noticed the long line that was stretching along the side of the club. "Well I guess this place must be really slamming if they have a line this long!" Buffy, Xander and Willow went to the back of the line. Buffy noticed the bouncer at the door motioning for them to come forward. "Ok that is really weird. That is a funny thing for me to say after all that I have seen since becoming a Slayer."
"Well Buff, let's go see what Mr. Beefcake wants." Willow said trying to get Buffy to move forward.
Buffy started walking towards the front of the line. She was starting to get suspicious of Xander and Willow; she was also noticing the glares she was getting from everyone as they passed them they finally got up to the bouncer. Buffy thought to herself he did look rather studly. "Yes Mr. Beefcake? Oops I mean Sir." Buffy could feel the heat from her cheeks. She was sure they could of light up a dark alley way. She was just hoping the bouncer didn't notice the nice red tint of her cheeks.
The bouncer looked Buffy up and down, and then he just smiled. "The 3 of you go on in."
Buffy had a stunned look on her face. "The sign says there is a cover charge tonight?"
The bouncer slid his sunglasses down and looked at the still stunned Buffy." Hey Gorgeous, don't look a gift horse in the mouth, just go on in Blondie." He gave Buffy an innocent smile waiting for a reaction to come out of her.
"Thank you sir, you have a great night. You are doing a great job guarding this door, so we will be going in now." Xander said as he started pushing Buffy through the open door.
Buffy then found herself inside and snapped back to reality. Wow this place like the inside of the Bronze. This is amazing, how did you find out about this place?"
Xander suddenly spotted an open table; he grabbed Willow's and Buffy's hands and dragged them to the table. "Well not too long ago Will and I actually ran into the former owner of The Bronze. He told us he was going to open this place up. He was wanted to open up somewhere normal. You know I didn't think he got out of Sunnydale before it got sucked down into the Hellmouth."
Buffy now had a puzzled look on her face. "So because we knew him in Sunnydale, we don't have to pay him cover?" Buffy was still trying to piece together what was going on? Nothing was fitting together yet. Buffy was then about to say something when she got jerked off of her chair by Xander and Willow.
"Come on Buff, it has been a while, let's go get our groove on." Xander said as both he and Willow pulled Buffy to the dance floor.
In the back of the club Giles and Dawn walked in. They saw Faith and Andrew watching the crowd. "I take it everything is in place." Giles asked as he took his glasses off and cleaned them.
Faith turned to face Giles and Dawn. "Sure is G-Man and Little Sis. Everything is five-by-five."
Giles shook his head. "That is good to hear. The scary thing is I understood every word that came out of your mouth. Now Faith are you sure you're ready for this? It will be a lot of responsibility."
Faith walked over to Giles and took his glasses out of his hand and put his glasses back on his face. "Come on G-Man, I am so ready for this. I have learned a lot from B. Besides I owe a lot to her, B always believed in me now it is my chance to prove myself.
Andrew stepped forward. "Well we will be able to go forward with everything here in a few minutes."
Out on the dance floor the Scoobies where having a great time. The next song Buffy heard made her stop in place. It was "Wild Horses", the song her and Angel danced to at prom. Buffy saw couples start pairing up. "Hmmm guys I think I am going to sit this one out." Buffy quickly walked over to their table before Xander or Willow had a chance to say anything.
Xander started to go after Buffy when he felt Willow grab his arm. "Where is she going? Remember we came here to dance our booties off." Xander gave Willow a confused look.
"Xander just shut up and dance with me." Willow commanded as she took his hands.
Back at the table Buffy was thinking about prom night and the dance she shared with Angel to this song. She was thinking about how handsome he looked in his tuxedo. Buffy glanced down at her left hand and stared at the Claddagh ring Angel had given her. Suddenly the whole club seemed to melt away into nothing and she found herself on a cliff overlooking a bay. The sunlight was almost blinding. "What is going on here? Where am I?" Buffy asked and then a familiar voice startled her.
"Buffy."
Buffy turned around and saw Angel. Buffy ran over to Angel and embraced him. "Angel what are you doing here? You are out in the sunlight, how? You destroyed the Gem of Amara."
"Buffy I don't have time to explain. I need your help; I need you to come to." Angel didn't get to finish his statement, he burst into flames and then into a fine dust which coated the grass.
"Angel!" Buffy yelled at the top of her lungs. Buffy sank down on the grass and started running her hands through the fine dust that had gathered on the grass. "Angel!" Buffy shouted again. Buffy suddenly found herself back in the club with a group of people staring at her. Willow and Xander were among the group looking at her.
Willow sank down to Buffy's eye level. "Buffy, what is it? What's wrong?"
"Will I saw Angel? We were outside and it was daylight. He said he needed my help. He was about to tell me where he was, but he caught fire and turned to dust." Buffy was still looking around trying to figure what just happened.
"Buffy you just had a daydream. You have been here the entire time."
"But Willow, it seemed so real. I could feel the sunlight on my skin and I could feel the grass that was underneath me."
"Buffy I swear to you, that you haven't left here." Willow took a hold of her friend and could feel her normally strong body start to shake uncontrollably. Willow tried running her hand through her hand to try and calm her down.
Buffy pulled away from Willow. "Will, what if is this dream meant something was going to happen? You know how my dreams in the past have prophesied something big and bad." Buffy was trying to look into Willow's eyes to see if she had any answers.
"Buffy I swear to you, it was just a daydream. Let's just enjoy ourselves tonight."
"Your right Will, we are here to enjoy ourselves." Buffy got up off of the floor and dusted herself off. She looked around and noticed they still had spectators surrounding them. "Ok folks, this show is now over. What is everyone staring at? Everyone leave! So scram!" Buffy sat down and started playing with her ring again.
Xander saw the ring on Buffy's hand. Hey, where did you get that? I thought that was history?"
"Well when Angel brought us the Amulet of a Champion that helped make Sunnydale a second cousin of the Grand Canyon, he went and saw Dawn first. When he came back from that hell dimension he found this on the floor. It was what brought him back from it. Along with me helping him, he also used this ring as something to get himself back to normal. He wanted me to have it again. He gave it to Dawn; he had asked her to give it to me for him. Well with the closing of the Hellmouth, The Immortal, the fun we had with her also dealing with Amy and Warren. She never got the chance to give it to me. So Dawn slipped in my jewelry box. I have never noticed it was in there, until tonight.
Suddenly a long silence went around the table. Xander finally broke the silence. "Well how about a round of drinks on me." Xander went over to the bar and got the drinks. He came back with weird looking glasses that contained a weird colored liquid inside.
Buffy picked up her glass and stared at it. "Ok Xander what exactly did you get us?" Buffy said she put her glass back down on the table.
Xander did the same thing; he picked up the glass and just looked at it. "I don't know what the bartender actually called it, but it came with these cool looking umbrellas." Xander said as he put his glass back down on the table, sporting his always infectious smile.
Buffy sat there looking at her drink wondering what was in it exactly. "Well Xander is right; these do have pretty cool umbrellas." Suddenly all the lights went out and it was pitch black in the club. "Ok for a club this popular you would think they would be able to pay an electric bill." Buffy said with a rather annoyed tone. Suddenly Bonnie Tyler's "I Need a Hero" started blasting out of the speakers in the club. "Oh they still have the juice; they just need to change all of the light bulbs." Buffy scooted off of her chair and got in a fighting stance just in case something was going to attack. Suddenly she was blinded by a spot light that came out of nowhere. "Oh bright light, I think I am officially blind now." The spots in front of Buffy's eyes disappeared and her eyes finally adjusted to the darkness outside of the spotlight. She noticed Willow and Xander weren't standing next to her anymore. She then heard a voice call for her.
"Buffy Summers will you please come up on the stage." A soft and gentle British voice said.
"Ok what exactly is going on here? This isn't going to be one of those roasts is it? The way I have been feeling lately I don't think I could take people poking fun at me." Buffy was still in her fighting stance, she wanted to be ready for anything.
Another voice called out from the darkened stage. "Buffy, please come up."
"Ok." Buffy said reluctantly. As Buffy moved forward she noticed the crowd of people moved apart to make an aisle way for her. As she made her way up to the stage she started recognizing people's faces. They were faces of Slayers she had trained. Buffy made her way onto the stage and saw the group of people waiting for her. It was Xander, Willow, Giles, Faith and Andrew; they all had smiles on their faces. "Guys you are really starting to creep me out. Please tell me what the hell is going on?"
Giles took the microphone from Dawn's hand and walked towards Buffy. "Buffy when I first met you, I thought you were brash and impulsive. Buffy at times I couldn't figure out how you had survived the situations that you got yourself in. Then Buffy, I figured out over time that being impulsive is one of your strengths. It always kept you quick on your feet. You always put everyone else's safety and wellbeing ahead of yours. Over these years I have come to love you like a daughter. I am very proud of what you have accomplished and I am sure your mother would be to. You closed the Hellmouth in Sunnydale, you have put together one of the most powerful armies in the world." Giles started to get choked up. Giles decided if it was time for someone else to speak, he handed the microphone to Willow.
Willow walked towards Buffy, Willow could see the tears started to well up in Buffy's eyes. Willow took her hand and wiped away the tears from Buffy's eyes. "Buffy when I first met you, I thought you were going to be like a lot of the airheads that frequented Sunnydale High. You weren't like them though; you actually wanted to be my friend. You didn't care what people said to you about being my friend. You saw me for me. I still remember the advice you gave the first time we went to the Bronze, Carpe Diem. Seize the day, sure I almost became some vamps dinner that night, you didn't let that happen though you put your life on the line and saved me. I have never forgotten that Buffy. You have always been there to support me, when I first started studying Wicca, Oz and I and especially when I lost Tara. Buffy you have been more than my best friend; you have been what I would call my sister. I can't thank you enough for all of the love and support you have given me over the years." Willow handed the microphone to Xander and then went over to give Buffy a hug. As they embraced Willow whispered in Buffy's ear. "Thanks for everything Sis."
Xander looked straight into Buffy's eyes. He noticed how red they were from crying. "Buff, what can I say? From the first time I saw you, I knew that you were going to be someone special. Also from that first moment I fell in love with you. I did eventually admitted to you how I felt. I was rather disappointed and crushed when you told me that you didn't feel the same way and you didn't want to ruin a good friendship. The moment you found out my true feelings about you, you never treated me any different. You didn't try avoiding me like I had the plague. You didn't treat me like I was just a piece of bubble gum on the bottom of your shoe. Buffy I have never admitted this to you, when Willow gave Angel his soul back after he had opened the portal to hell, you killed him to close the portal and save the world. You put your wants and desires aside. If that was me I don't think I could have done that. You were thinking of the greater good of the whole world. Sure you could have just let a portal of hell take over this world, but you chose not to be selfish, you closed that portal and saved the world. If you ask me Buffy that is an act of a true hero and a true champion. I don't think just saying thank you for all of the good you have done can repay ya." Xander walked back and handed the microphone to Faith.
Faith walked towards Buffy ready to give her speech that she wasn't really ready to give. "Hey B, I can never find the right words for these types of things, so here it goes." Faith cleared her throat still trying to find the right words. "B, when I first met you I was jealous beyond the max of you, because of all that you had. You had a wonderful mother that loved and cared for you. You had a great group of friends that where always there to support you. You were five-by-five B. Sure the past we share is pretty checkered, you were going to feed me to Angel to reverse the effect of the poison. You sacrificed yourself though to heal the man you loved. Through all of that though, you had a part of you that didn't give up on me. You always saw a part of good in me, even when I was Miss Diva with a tude. I have seen the leadership that you have shown through all of these years and it inspires to make me want to achieve all of that B. Thanks for all that you have done B, you are the true image of a hero." Faith then handed the microphone to Andrew.
Buffy just stood there, trying to figure out why it seemed like they were all saying to goodbye to her. "Why does it feel like they are saying there final goodbyes to me tonight?" Buffy said under her breath.
Andrew stepped forward. "Buffy I really don't have a lot of things to say. "Yes you stopped my brother Tucker from ruining prom. Most important you protected Jonathan and I from Willow we she went all the wicked witch of the east on us." Andrew looked over at Willow and noticed the icy glare he was receiving from Willow. "The point is Buffy; you could have easily turned your back and let Willow turn us into Filet Mignon. You didn't though, you protected us from Willow. Yes we probably deserved what Willow would have done to us, but you didn't let that happen. You were there to protect us. Ok I am starting to babble now, so I will shut up now before I dig any holes that I can't get myself out of. Thank you for all that you have done Buffy." Andrew handed the microphone to the last person that had something to say Dawn.
Dawn took a hold of the microphone and slowly walked towards her sister. Dawn stopped right in front of Buffy; with her free hand she took a hold of one of Buffy's hands. "Buffy I am proud to have you as my sister. Even though when we found out I was created by some monks and I was to be your sister for you to protect because I was a mystical key. You never treated me any different; sure you are a little overprotective at times. That is how big sisters are supposed to be though. Sure I am going to be sounding like a broken record now. Buffy you always have put everyone else before you. When Glory captured me and opened the portal so she could return home, you sacrificed you own life to close it. When you did that you saved me and most importantly the world. You should be proud of what you have done. Everyone on this stage and everyone in this building are extremely proud of what you have done!" Dawn was getting herself worked up. "One more thing I have to say Buffy. I love you." Buffy then gave her sister a hug. Dawn walked back over to Giles and gave him back the microphone.
Buffy finally found something to say after hearing all of the emotional speeches everyone said. "Ok all of what everyone has told me is very moving, but what is going on? Is this some kind of intervention?"
"Buffy we are all here tonight to say thank you for all that you have done and to honor you in your role as a Slayer. One of the wishes that you have always had Buffy, was to actually live a normal feet. You have expressed that quite frequently. Buffy I am proud to say that your wish is going to be granted!" Giles was feeling the smile on his face grow even wider now.
"What? Giles what are you talking about? Has Xander put something extra in your tea?" Buffy was looking for some kind of answer that might settle the confusion that was rattling around in her head.
"Buffy what I am trying to say is that your wish is granted. From this day forward you will be able to do what you want and live a normal life. The Watchers Council has voted and they all came to the same conclusion, they are going to retire you."
Buffy was in utter shock. "Ok is there some hidden cameras around here, right? This just has to be some kind of joke!" Buffy was having a hard time believing what she was hearing.
Giles pushed his glasses back up on the bridge of his nose. "Buffy I assure you this is not a joke."
Everything was finally starting to sink in for Buffy. "What about all of the Slayers and the new Slayers?"
Faith stepped forward. "Hey B, I can answer that. I will take over your role. Remember I said I wanted to be a leader like you are, well this is my opportunity. Don't worry B; everything will be five-by-five. Girl, don't worry I have had one hell of a teacher showing me everything thing she could." Faith walked over to Buffy and gave her a hug. "Thanks for everything B."
Buffy looked out to the crowd and saw everyone looking at her. Without warning a thunderous applause erupted from the crowd. "If I am retired now, where am I going to go? Sunnydale isn't exactly on the map anymore."
"Well Buffy, the Watchers Council has taken care of that. They have found you a new home in San Francisco. You are going back to California, and you won't be living in a city built on top of a Hellmouth. It is going to be a rather quiet city for you to live in"
"My next question Giles, I am going alone?" Buffy asked with a discouraged look on her face.
Giles said with a bounce in his voice. "No Buffy you aren't going alone. The Council knows what you have all be through. They aren't going to split us up. Dawn, Willow, Xander and I will be joining you. They have already purchased a house for us. Buffy I am happy to say we are going home." As soon as Giles said that he was suddenly taken over by a warm feelin
Buffy ran across the stage to Giles and gave him a hug. She hugged him carefully because she didn't want to break any ribs. She then felt his arms go around her. Buffy couldn't hold back the tears any longer. In between the sobs she was thanking everyone. Buffy calmed herself down. "When are we leaving Giles?"
"Well Buffy, we are going to be leaving tomorrow afternoon."
"Tomorrow afternoon! We all still have to pack! There is no way we can be packed and ready to go by tomorrow afternoon!"
"Don't worry Buffy that is all being taken care of right as we speak. All you will have to worry about is your carry on. Now Buffy let's just have a good time, you have definitely earned this my dear." Another round of applause erupted as Giles embraced Buffy once again.
Buffy suddenly felt herself start to glow. The last time she felt anything like this was when she received the Class Protector Award at her prom it really made her feel good that all that she had done has made some kind of impact. Buffy ran over to Willow with excitement and energy. "Come on Will, let's go party!" Buffy took Willow by the hand and went to the dance floor. They had Xander trailing behind them. For once in a long time Buffy actually felt excited about life. She would actually get to enjoy things without worry if she would actually get to survive to see the next day. This was going to be a brand new chapter in her life. The one thought that did cross her mind, how long would it last though?
Leo and Tara orbed into The Charmed One's attic. Tara looked around the attic, she saw the Book of Shadows in the middle of the room. "Where are we Leo?"
"Tara we are in the home of The Charmed Ones. It is also where I live. I am married to one of The Charmed Ones. They are also my charges. I help them when it is needed and guide them. That is going to be your job Tara, when we find out who your charge is. If someone is injured you have the ability to heal them. You can also hear your charges voice in your head when they are in the need of help. There is one thing Tara you will have to be careful of."
"What would that be Leo?"
"Darklighters, they are out to kill Whitelighters. They want to guide future witches to the dark side of magic and turn them into warlocks. They have a crossbow with them. The arrows are dipped in poison that lethal to Whitelighters. It is always a very painful experience.
Tara looked up from the picture she was looking at. "I take it you have had firsthand experience with it then."
Leo sighed at the memory. "Yes I have."
"I thought you said it was lethal to Whitelighters? How did you survive?"
"Long story I will tell you later Tara. When you do heal someone it is based on your emotions, just like when you were a witch how your powers are based on your emotions. It is the same thing about being a Whitelighter." Leo sat down in a chair that was in the attic, he then dragged another chair closer to him. "Tara please sit down, we a lot to talk about."
Piper was downstairs in the kitchen with Paige and Phoebe finishing up the dishes from breakfast. "Well I don't think any of us will be eating for a while. I just wish I knew where Leo went off to. The only times he had left like this in the past are when he was a Whitelighter. I just hope those guys in robes that you told me about Paige didn't get him."
Paige was rubbing at her stomach. "Maybe something apocalyptic should come more often. I haven't had a breakfast like that in a while Piper."
Piper was putting the dishes away and she shot Paige a look. Piper was about to say something when she stopped dead in her tracks.
"What's wrong Piper?" Phoebe asked.
"Quiet! Did either one of you hear that?" Piper put the last dish down on the counter and headed towards the stairs.
"Hear what?" Paige asked as both she and Phoebe followed Piper to the stairs.
Piper stopped at the bottom of the stairs and looked up. "I thought I heard voices."
"Of course you heard voices we were just having a conversation in the kitchen." Paige said sarcastically as she looked at Piper like she was crazy.
"No I thought I heard voices and it sounded like they were coming up from upstairs! Now be quiet and listen!" Piper commanded.
All 3 of them listened carefully when Phoebe and Paige heard the same voices Piper had been hearing. "Ok Piper, you aren't crazy after all. Who do think that is?" Paige asked.
"I don't know, I can't make out the voices. I am sure as hell going to go up and find out though!" Piper went up the stairs with Paige and Phoebe following right behind her.
They followed the voices up to the attic. They stopped outside the attic door and they were still having trouble making out the voices. "Who is in there? The best I can make out it is a male and a female." Paige whispered to Piper and Phoebe.
Pipers face suddenly flashed a deep color of red. "On the count of 3 we are going to find out who exactly is in our attic. One, two." Piper didn't even wait for three, she flung the door open. She was going to freeze to whoever was up there.
Leo looked up and saw Piper standing in the doorway. "Piper!" Leo shouted. He knew both he and Tara weren't going to be frozen. Leo grabbed Tara's hand and orbed them out as both chairs exploded.
Piper saw blue and white light, and then she noticed all of the stuffing from the chairs floating around in the air. "What the hell?"
Leo and Tara appeared right behind the Charmed Ones. "Piper, what are you doing?"
Piper turned around and faced Leo. "I am going to ask you the exact same thing! How did you orb? Where have you been? Who is that with you?"
Leo let out a big sigh. "Let's all go downstairs and I will explain everything. All 5 went down the stairs to have a talk about what was going on.
3. Chapter 3
_**Chapter III**_
Buffy and the gang returned from a night out. Buffy unlocked the door to find a basically bare apartment. "Wow Giles you were right when you said we didn't have to worry about packing anything. At least they left us some sleeping bags to sleep in tonight." Buffy walked into what remained of her room. She turned on the light and was shocked to see her room was also bare. Buffy looked down and saw that even her carry on had been packed. "They really did go all out they even packed my carry on for me. I think I will go and admire the view of Rome one more time." Buffy went out on her balcony and just looked at all of the glittering lights of Rome.
In the living room everyone was getting ready to go to sleep. There was excitement in the room. Willow noticed Buffy hadn't returned from what use to be her room. "Xander I will be right back I am going to check on Buffy." Willow was expecting a response from Xander. She didn't get one, Willow looked down and Xander was out cold. Willow walked down the hallway to Buffy's room. She noticed Buffy's door was open. Willow walked in and saw Buffy standing out on her balcony. "Buffy?"
Buffy turned around and saw Willow standing in the doorway of her room. "Hey Will, what's up?"
Willow walked out on the balcony and stood beside Buffy. "Was just wondering what you were doing. You haven't been back out to the living room yet."
"I just wanted to take in the view one more time. Rome I think is one of the most beautiful cities in the world at night. This has really been something to make me think."
"Think about what Buffy?"
"Will I am just thinking about things. I am still in shock; I have been given this wonderful opportunity to live a normal life. Maybe meet a nice guy and raise a family. I am truly amazed that I am never going to have to worry about some ugly vamp attacking me. Also not to worry about what demon wants to have Dawn and use her for some kind of evil."
"Buffy you sound happy about it, but you also sound like you are not sure about it at the same time."
"Will, you really know how to read me like an open book."
"Well Buffy, that is a best friends job!"
"Willow, I want to believe this all true. I really do, my instincts are telling there is something that is not being told to me. While my heart is telling me to believe everything is going to go as planned? I am just very conflicted right now. I don't know what to believe, my instincts or my heart." Buffy once again started playing with her ring.
"Buffy I think you should follow your heart. This is going to be new for all of us. It is the unknown I have the feeling everything will be fine. You are going to meet Mr. Right and have 2.5 beautiful children." Willow said with a smile.
Buffy smiled back at Willow. "Will, that is one of the things that I always love the most about you. You are always so optimistic about things."
"I don't do this much Buffy. I have a demand, actually it is 2 demands."
Buffy had a surprised look on her face. "What are those demands Miss. Rosenberg?"
"My first demand is when you get married; I want to be your Maid of Honor. My second demand is when you have those 2.5 beautiful children; I want to be their Godmother."
"My Will you are being pretty demanding right now. I promise you if both of those happen you can consider both of them a done deal. Well I am starting to get tired now, so how bout we head to bed. We are going to have a serious case of jet lag tomorrow. I am going to take one more look around my room and I will be right out Willow." Buffy took one last look at the skyline and looked back at Willow as she started walking out of Buffy's room. "Will, there is one more thing I have to say."
Willow stopped at the doorway and turned around to face Buffy. "Yes, what is it Buffy?"
"I just want to thank you for everything you said to me tonight. I feel the same way; you are more than my best friend. You are more like a sister to me. I also want to let you know that I love you like a sister."
"You are more than welcome Buffy; I meant everything that I said. Well off to bed I go."
Buffy shut the doors to her balcony. She was going to follow suite and picked up her back to try and get some sleep for the long day ahead of them.
Andrew walked into his apartment. He knew what he had to do next. He went over to his computer and brought up a link for the Watcher Council in London. Andrew put his password and turned on his webcam. On the screen came the image of an older gentleman. The older gentleman was saying something, but Andrew could hear what he was saying. "Sir I can't hear you." The older gentlemen shook his head He made a motion with his hands. "Yes that might help if I had the headset on." Andrew put his headset on. "There we go is that better?"
The older gentlemen shook his head again. "Yes Andrew, is everything in place?"
"Yes sir, everything is in place."
"Is anyone suspicious about our intentions of sending Buffy to San Francisco?"
"Everyone bought the cover story. Even Mr. Giles has no clue what is going on." Andrew stated proudly.
"You better make sure Rupert doesn't find anything out. If he does there will be dire consequences for us all."
"Just curious sir, why does Buffy have to be the one to go? Why can't we send one of the other Slayers?" Andrew questioned. There was still a lot he was left in the dark about.
"Andrew I can't tell you that. It is important that she is the only Slayer there. That is all I can say, have a good night Andrew!"
The screen went black before Andrew could say anything else. "There is something I don't like about this. I need to talk to Buffy." Andrew grabbed his car keys and he walked out into the hallway of his apartment building. When Andrew finished locking his door his whole world went black.
A neighbor heard some noise in the hallway. She opened the door to check out the noise. She looked to her left and didn't see anything. She then looked to her right and saw two robed figures carrying Andrew around the corner. She shook her head and said aloud. "Kids and their wild parties. When will they learn?" She shut her door not knowing actually what had happened.
The older gentlemen turned around from the darkened screen and his eyes glowed red hot ember floating through the air from a fire. "No Andrew, you will not talk to The Slayer. I am going to make sure The Slayer line ends with Buffy. Then we will move onto The Charmed Ones. After they are dead nothing in the world will be able to stop us!" The older gentlemen vanished into thin air, leaving the Watcher Council Headquarters cold, dreary and dark.
There was a dead silence in the livening room of Halliwell Manor. No one knew how to start. Piper finally got fed up with the silence. "What the hell is this? Isn't anyone going to say anything? I guess like normal the eldest has to go first. Leo where have you been for the past 10 hours?"
Leo leaned forward and grabbed Piper's hands. "Piper, honey when you fell back to sleep I was going to the bathroom to splash some water on my face. I was hoping that would help me think about what was going on. Right before I was about to go into the bathroom I got orbed out and the next thing I know, I am facing the Elders."
Before Leo could say another word Piper spoke. "What the hell did Elders want this time?" Piper crossed her arms waiting patiently as she could for a good answer.
"Well Piper, they made me a Whitelighter again." Leo paused this time waiting for a reaction.
"They made you a Whitelighter again? Why did they make you a Whitelighter again?"
"They gave me my Whitelighter powers back to help guide Tara." Leo turned and faced towards Tara.
Piper looked over at Tara and noticed that Tara had her head down. "Is she a new witch?"
"She was a witch." Leo said
"She was? That means she is dead and the Elders made her a Whitelighter." Phoebe said.
"Yes that is correct Phoebe. The Elders made her a Whitelighter. They gave me my powers back so I can help her with the transition. The Elders told that a powerful witch is coming here to San Francisco soon. They want Tara to be this witch's Whitelighter." Leo explained.
"Exactly who is this witch that is going to be Tara's charge?" Paige asked.
Tara lifted her head up and spoke. "They didn't tell us, they said I would know who it is. Leo was trying to help me figure it out when the chair exploded.
A sheepish look went across Piper's face. "Oops sorry, I meant to try and freeze ya, but I was so angry the opposite happened. I am sorry about that Leo and Tara. Everything that happened over the past few hours has left me really frustrated.
Leo folded his hands and took a deep breath in. "What has happened since I have been gone? I am sorry I didn't come when I heard you were in trouble."
"Well Leo you know everything that has happened to me. Pheebs was at home and she got an instant message from Prue. Phoebe was trying to figure out what was going on, she forgot one thing."
"What did you forget Phoebe?"
I forgot that I didn't have an internet connection. The modem I have doesn't work properly, they have to come out and replace it in the next few days. I didn't realize it until I was cleaning up a box of letters I threw across the room. I looked over at the modem and saw none of the lights were on."
"Ok so what else has happened tonight?"
Paige cleared her throat. "Well Henry and I had awesome date night. A nice romantic dinner and had a great time at P3. We came home for some adult situations. That is all I am going to say about that. Anyways I went into the bathroom to change into something more revealing, while I was in there I heard someone call my name and it wasn't Henry. Trying to figure out who was calling my name, I looked in the mirror and saw Prue. She said she didn't have much time and she was in trouble. That she needed our help. All of a sudden the mirror went black, and she was gone. I was in slight shock at what I saw I came out of it when I heard crashing from my bedroom. I came out to find some Friar Tuck wannabes attacking Henry. They were trying to take him away. I saved Henry, I noticed he was hurt. So I orbed us to Phoebe's and healed him there. Phoebe asked Coop to watch him and that is when we came over here."
"Leo we did see Prue in the attic; she explained some powerful evil force was after her. Really before Prue could explain anymore that black mass filled the attic and she disappeared. Whatever this force was it said that Prue was theirs and they were going to see us in hell." Piper put her head in her hands and started running her hands through her hair.
Leo reached over and hugged his wife to comfort her. "Piper I wish I had all of the answers for you, but I don't. Where are the boys?"
Piper lifted her head up and looked into Leo's warm and soft eyes. "Dad has them. We also saw Grams. She told us that what is coming is something The Charmed Ones can't beat alone. Both Prue and Grams told us that we will be gaining a powerful new ally. Grams said because of what is ahead of us that it would be better if the boys weren't here.
Leo got up and looked out the window. "The Elders said the same thing. They didn't tell me who or when though." Leo looked back and saw the long faces Phoebe, Paige and Piper was sharing.
"I just wish we had more insight at what we are going to be facing. I getting really tired of all of the cryptic messages we have been receiving." Paige said.
A flash of blue and white light filled the living room. It was a small group of Elders. "Ah Leo and The Charmed Ones are finally together."
"Yes we are together and still don't know what is going on or what to do! No one has given us anymore information!" Phoebe responded.
"We have given you all of the information we can. You need to figure it out on your own."
"If we figure this out on our own, it might be too late!" Phoebe shouted at the Elders. She was trying to control her temper but it wasn't working.
"The Charmed Ones are one of the most powerful forces in the world."
"If we are so powerful, why do we need help?" Paige snapped back.
"What is ahead is far more powerful than the Charmed Ones. The entire world is in jeopardy. The one thing I do suggest don't hide out at the Manor, follow you daily routine. That is the only way to find the answers that you desperately seek." Before another word could be said to the Elders they orbed out of Halliwell Manor.
The living room was once again left in silence. Phoebe broke the silence this time. "You know they are correct in what they said. We aren't going to find any answers if stay cooped up here. We just need to go on with our everyday lives and hope we find the answers we are seeking. I have to make an appearance at the paper and show I am still among the living. I just hope I can make my deadline." Phoebe looked down at her watch and cringed. "Paige could you please orb me back to my apartment so I can get ready for work?"
"Sure can, I just want to check on Henry and make sure he is ok." Paige walked over to Phoebe and grabbed her hand they suddenly disappeared in blue and white light.
Piper, Leo and Tara remained in the living room. The phone rang and startled everyone back to reality. "I'll get it." Piper got up and went into the kitchen to answer the phone.
Leo looked over and saw Tara with her head down. Leo got up and sat down by Tara. "Tara what's wrong?"
"Leo you told me that a Whitelighter is someone that has done nothing but good in their life. They are chosen right after death normally. Why did they wait 7 years after I died to choose me? You said every witch is basically given a Whitelighter, why didn't Willow or I have one?"
"I don't have any answers to those questions at the moment. Tara may I ask you a question?"
Tara let out a deep sigh. "Sure I guess?"
"Who is this Willow you keep bringing up?"
"Willow was my girlfriend when I was living. She was also a witch; she was more powerful than I ever was. I don't know what happened right after I died. Everything stills seems so hazy. I don't even know if she is still alive. I just want to let her know I forgive her casting that spell on me." Tara dropped her head down again like she was about to cry.
"What kind of spell did she cast on you Tara?" Leo asked, he was trying to see if there was any way he could possibly make her feel better.
Tara was about to give Leo an answer when they heard Piper yell from the kitchen. "Damn!"
Leo got up and ran into the kitchen. "Piper, honey what's wrong?"
Piper's face looked even more stressed out than before. "That was Tim at P3. He asked why we aren't there yet. Leo today is the tryouts for The Battle of The Bands. Apparently there is a line stretching around P3 as we speak!"
"It's ok Piper, just go and get changed. After you change we will head down to P3 to take care of that." Leo was trying everything he could to calm Piper down.
"Leo by the time I get changed and we leave traffic is going to be nothing but gridlock!"
"Just calm down Piper, go get changed and I can orb us over there." Leo noticed some of the stress started to melt away from Piper.
"Ok that is fine. What about Tara? I really don't want to leave her alone. I mean she did just get brought back from the dead."
Leo looked over at Tara. "Tara would you like to come with us? I am sure Piper has a few things you can help out with at the club. That way you don't have to be here alone. Also if you have any additional questions I will be there to answer them."
A slight smile came across Tara's face. "Sure, sounds great. I will try my best to help out Piper."
"Well that solves that. I am going to change now. Tara why don't you come up with me, I think Phoebe still has some clothes here. Let's get you in something a little more upbeat." Both Piper and Tara went up the stairs to go and change for the day ahead of them.
Phoebe and Paige appeared in Phoebe's living room. Paige noticed Henry was up and moving. Paige went over to check on her husband. "Henry are you ok Honey?"
Henry was massaging his left shoulder. "Sure Paige, if you mean ok is feeling like a herd of elephants walked all over you. What the hell happened?"
Paige sighed, she was dreading giving Henry this answer. "Honey, it will take too long to explain. So this is the cliff notes version, something powerful is coming. It wants Prue, and it would be better if I stayed at the Manor until this all blows over. I also think it would also be good if you stayed here with Coop."
"Paige we have been through this before. I am not letting you face this alone! Remember our vows, for better or worse! Paige I am supposed to be there no matter what!"
"Henry I know we have had this argument in the past. I am not going to be facing this alone! I have Piper and Pheebs facing it with me! I just don't want you to get yourself killed. Plus we were told this is something we can't beat by ourselves!" Paige was starting to get angrier by Henry being a block head.
"Paige, I am not going to let you put your life on the line if this is something the 3 of you can't defeat. I wouldn't be a good husband if I stood by and just did nothing."
"Henry there is nothing you can do! I don't need to be distracted worrying if you're dead or alive! I need to know you're safe. All I ask Henry please do as I ask. I love you with all of my heart and couldn't fathom the thought of losing you."
"But Paige!"
Henry got interrupted by Phoebe, who was growing tired of the bickering. "Ding, ding, ding round 1 is over fighters return to your corners! Henry, Paige is right. She needs you to stay where it is safe. She has to do what she is destined to do. She can't do that if you're trying to get in the action. Henry you could get yourself killed or even get her killed. Henry do you really want to be responsible for getting Paige killed?" Phoebe asked hoping that would make him see her and Paige's point.
"Your right Phoebe, it is just that as I am her husband. A husband is supposed to protect their wives."
"Henry, you have to understand you can't protect me from the supernatural, I have to handle it. Now one thing you can save me from is maxing out my credit cards." Paige hugged Henry just hoping this wouldn't be the last time she wouldn't see him.
"Well I gotta get going, I have to try and see if I can make my deadline. Paige I will see you later tonight at the Manor." Phoebe rushed out the door to make it to work.
Leo, Tara and Piper appeared in the back of P3. They rounded the corner and saw the line of people waiting outside. "Oh boy Leo this is going to be a long day."
"Piper if there is anything I can to help out just let me know." Tara reminded Piper.
"Thanks Tara, I really think I am going to need it. I am sure there are a few things that need to be done. I will do a double check with Tim when we get inside." The trio marched their way to the front of P3. Piper started fumbling for her keys. "Geez can this day get any worse?"
"What's wrong Piper?"
"I left the keys to P3 at home. We can't orb in front of all these people and get them. I also don't want to start any later." Piper started pounding on the front door hoping Tim would hear her.
The door finally opened. "Piper, exactly how did you get here so quickly? I just talked to you." Tim had a confused look on his face.
"I have my ways Tim. Sorry in the rush getting out of the house I forgot my keys to P3. Tim this is a friend of Leo's, her name is Tara. She is staying with us for a few days. She came with us to help out."
"It is very nice to meet you Tara. I'm Tim; I have a few odd jobs that need to be done around here."
Piper watched as Tara followed Tim in. Piper turned around to see the group of impatient faces looking back at her. "Ok folks please give me about 10 minutes and we will get started." Piper walked inside of P3 before anything else could be said.
Back at Halliwell Manor, The Book of Shadows opened. Pages started turning rapidly. The pages finally stopped turning. The top of the page said The Slayer.
Phoebe walked into her office and found a letter on her desk. She opened the letter and started reading. Phoebe flopped into her chair we she finally got done reading it. "Just great, now what I am going to do?" Phoebe then heard a knock at her door. "Come in."
Phoebe's boss Elise walked in. "Hey Phoebe why the long face?"
"Nikky quit. I found her letter of resignation on my desk when I came in. Now what am I going to do? Nikky was a great assistant; it will be very hard to replace her."
"I just might have a solution for you. I just got a stack of resumes this morning. I can let you have first stab at them."
"Thanks, I appreciate that." Phoebe was trying to sound hopeful; she would actually find someone good enough to replace Nikky.
"Well Phoebe, I know you have to make your deadline, so stop by my office before you leave and you can take them home with you to look over."
"Once again Elise I appreciate this. Thank you very much." Phoebe put her head in her hands as Elise walked out of her office trying to figure out what was going to happen next.
Buffy finally drifted off to sleep. She had to force herself to sleep knowing they had a long day ahead of them. Buffy found her herself on the same clearing she was on before. Buffy bent down ran her fingers through the spot Angel turned to dust. "What is going to happen to Angel? What were you trying to tell me?" The ground suddenly started shaking and Buffy got knocked flat onto the ground.
"Ah The Slayer, you didn't hurt yourself did you? I wouldn't want that. Especially for what's coming up."
Buffy recognized the voice. She looked up and saw she was correct. The Master was standing in front of her. "No this can't be I smashed your bones. You're dead!"
"Yes dead physically, but in your mind I am very much alive. For that I thank you. As soon as I get my physical body back I will return the favor." The Master started walking towards Buffy like he was about to make her a snack.
This time the ground wasn't shaking she was she opened her eyes and saw Xander was shaking her. "Huh, what are you doing Xander?"
"Hmmm, Buff you were dreaming. I do have to say you are still quite spry when you are sleeping." Xander added as he was rubbing his head.
Buffy cringed as she watched him rub his head. "Oh so sorry Xander. I didn't mean to almost knock you into next century. Can you find it in your heart to forgive me?" Buffy was still cringing watching Xander continue to rub his head.
Xander let out a soft sigh. "You know me Buff, how could I not forgive you. Well I do have one condition though."
"What would that be Xand?
"You tell me what kind of dream causes The Buffster knock The Xand Man into next week? The Xand Man definitely would like to know that."
Buffy quickly looked away. "I don't remember!"
Xander gave Buffy a trying look. "C'mon, Buffy I tried that with my mother and it didn't work. That definitely isn't going to work with me now Buffy. Besides Will got the best friend moment earlier, so it is my turn. Don't make me do the puppy dog look with one eye." Xander started making his face go look and start to quiver.
Buffy couldn't stand it; she didn't want to see Xander look any more pathetic than he already did. "Fine Xander you win. If you get any cuter we might to get you your shots and get you neutered. Anyways I was in the same spot as that I dream I had earlier but there were 2 differences." Buffy paused she wasn't sure how to go on.
"What were the differences Buffy?"
"The time of day was night."
"Ok it was night what was the other difference Buffy?"
"The other difference who was in this dream, it wasn't Angel this time. It was." Buffy stopped; she wasn't sure how she could finish the statement.
"Buffy who was in this dream?" Xander leaned closer into Buffy hoping that would help Buffy.
Buffy inhaled deeply and slowly exhaled. "The Master was in this one."
"Buff, you made sure he could never rise again. You ground his bones into silly putty."
"Xander I know, he told me physically he is dead."
"Ok what Buffy? There was more to that statement. C'mon Buffy I want to try and help ya."
"Xander The Master told me that soon he will rise again. When he rises again he is going to repay the favor."
"Buffy there isn't away for him to rise again. Remember they would need whoever was closest to The Master he died. They would need Cordelia and Miss. Calendar. Remember unfortunately both are no longer with us. They can't bring him back. Buffy I think tonight you have a lot on your mind to sink in. Right now your mind is running a million miles per hour. Now we have a long day ahead of us tomorrow so let's get some sleep."
4. Chapter 4
_**Chapter IV**_
"Xander there is a part of me that wants to believe that your right. Then there is the other part of me that says different. The Slayer side of me is telling me not to brush this off. I don't know how to turn it off Xander, my Slayer instincts are overpowering."
"Buffy, you will just have to take it one day at a time. You will also have to remember you won't have to go through it alone Buff. You will have me, Willow, Giles and Dawnie to support you. You will go through absolutely nothing alone."
Buffy sighed deeply. "Xander your right I just need to relax, it is just my mind playing tricks on me. Everything is going to be fine. Thanks Xander I really needed this. I apologize again for using your head as a punching bag." Buffy leaned forward and hugged Xander. She was hoping Xander wouldn't see through her lie. She was going to let the dreams with Angel and The Master bother her. Buffy would try her best not to let it show. Just maybe if she can get Giles alone later he can help her sort it out. Buffy looked up at the ceiling listening to the sounds of everyone breathing. Slowly Buffy was being put back to sleep, she was just hoping this time it she wouldn't be woken up until it was time to get up.
Phoebe actually finished her column and it was way before her deadline. "Wow I actually finished with plenty of time before my deadline. I am very shocked; I think I will check if I can take the rest of the day off." Phoebe got up and brought her column to the printer. After Phoebe dropped her column off she headed over to Elise's office. Phoebe knocked on Elise's door.
"Come on in." Elise saw the door open and it revealed Phoebe. "What can I do for you Phoebe?"
"Well Elise, I finished my column before deadline. You said you would let me have first crack at those resumes."
"I am impressed Phoebe you are done so quickly. Here they are waiting for you. Phoebe is there is something else you want to ask me? Elise leaned forward with a smirk on her face.
"Elise you must be physic, yes there is. I was wondering if I could possibly take the rest of the day off? That way I could take them home with me and get started on them early."
"Sure Phoebe, I don't see why not." Elise reached over and handed the stack of resumes to Phoebe.
"Thanks Elise." Phoebe started out Elise's door, when she got a flash. In her flash she saw a blonde woman in middle of a crowd and she was attacking people in the crowd. Phoebe had a really hard time making everything out it because it was really fuzzy. Phoebe suddenly came to when she felt a hand on her shoulder. "What?"
"Phoebe I asked if you were ok. You spaced out there. Maybe you just look at these in the morning." Elise tried taking the resumes out of Phoebe's hands.
Phoebe jerked her hands back quickly. "Oh no Elise, I am fine. I just remembered something I needed to get at the store. There is nothing to worry about." Before Elise could say anything else Phoebe walked out the door.
At P3 Leo and Piper were winding up their day with auditions. "Leo I never thought spending the day listening to bands could be so tiring. What is the name of this last band?"
Leo started going through the paperwork in front of him. "Here it is Dingoes Ate My Baby."
"Well isn't that an interesting name. I don't see Tim, but there is Tara. Tara could you please come here for a moment?"
Tara put down the glasses she had away and walked over to Piper. "Yes ma'am?"
"Tara you can call me Piper. Makes me feel old when I get called that. Anyways the last band is waiting outside could you go out and let them we are ready for them."
"Sure Piper." Tara walked outside to tell the last band that they were next. "They are ready for you." Tara stopped in mid-sentence when she recognized one of the band members. It was Oz; he started back the band again with Devon when he learned how to control the werewolf in him. Before he got a chance to see Tara she walked back into P3 quickly.
"It is about time. What do you think that was all about Oz?" Devon said as he picked up some of their equipment.
"I don't know. That was rather odd." Oz bent down and picked up his guitar case. "Something about her scent seemed familiar." Oz said to himself as he they walked inside P3.
Tara went into the back office. "That was Oz, the last time I saw him he turned into a werewolf because he found out Willow and I was together. I am just scared he will turn into a werewolf again if he recognizes me."
Out on the stage Dingoes finished setting up. Devon looked over at Oz and noticed that he seemed distracted. "Oz, man what's wrong? Come on snap to it, this could be our big break. Rumor has it that some big record companies are coming to this. We just need to make sure we are on top of things." Devon snapped his fingers and got Oz's attention.
"Oh sorry Devon, that girl that came out and told us that they were ready for us seemed familiar." Oz got into his place on stage to get ready for their performance.
Piper cleared her throat to get Oz and Devon's attention. "You guys call yourselves Dingoes Ate My Baby. I like it, really original. I see you all are from Sunnydale. What ever happened to Sunnydale? I heard all that is left is a huge crater."
"Fortunately none of us where in Sunnydale when that happened. We were all doing our own thing at the time. So none of us can tell ya what happened. One thing we can you Sunnydale was a weird place to live though." Devon said as he was trying to put on the charm.
"Well what are you guys going to play for us tonight?" Leo asked trying to hurry things along.
"We are going to play a song my man Oz here wrote. It is called Wish You Were Here, alright here we go." Dingoes started into the song without hesitation.
Tara came out of the office, when she heard that Oz had written the song. She was also taken back by the song title. "He must have written that about Willow. I know he still loves her and that will never change. I wonder if he recognized me. Because of what happened last time, I am afraid to ask him if he knows anything about Will." Tara stood there in the shadows listening to Dingoes playing their beautiful song. It was bringing tears to Tara's eyes. Every lyric in the song reminded her of Willow.
Piper couldn't hold back the tears when they finished playing. She was deeply moved by the song. Piper dried her eyes and prepared to speak. "Wow guys, that was beautiful. I am definitely going to say you guys are in. We will see you guys Saturday at 4 pm. Leo and I will have everything planned out by then."
"Congratulations guys, see you Saturday." Leo said.
Devon jumped up and down in excitement. "Hey Oz man, looks like you can write after all." Devon noticed the long look on Oz's face. "Hey Oz, what is wrong? I thought you would be psyched, this could be our big break."
"Oh I am fine Devon. I am just thinking." Oz knew he never really expressed his emotions. When he wrote that he was laying all of his feelings for Willow out on a silver platter.
Tara saw Oz and his band walking towards her, she ducked into Piper's office quickly. Tara wanted to avoid any more contact with Oz. She ducked her head to see if they were gone. "I hope he didn't see." She once again was stopped in the middle of her sentence when she looked over and saw Oz looking at her.
"Tara are you ok?" Leo asked
Tara jumped at the sound of Leo's voice. "Y-Y-Yeah I am fine." Tara stammered.
Well we are done here for now. So we are going to head back to the Manor. When we get back you and I can talk some more.
"That S-S-Sounds great." Tara was putting a fake smile on for Leo.
Phoebe got in her car quickly and decided to call Paige. "Come on, Paige just answer your phone!"
"Hello?"
"Hey Paige, how is Henry doing?"
"Doing better than he was doing before. I am going to make sure he is ok before I head over to the Manor. How was your day Pheebs? Are you still working on your column?"
"Actually I am heading over to the Manor now. I was able to finish my column early. So Elise agreed to let me have the rest of the day off. I am just bringing a stack of resumes home with me to go over."
"Why do you have a stack of resumes to go over?"
"Nikky up and quit on me. So Elise gave first stab at the resumes. So along with dealing with whatever this big bad is, I have to find a new assistant. I guess when it rains, it pours huh Paige? Well I am almost to the Manor, so I will see ya there." Phoebe pulled into the driveway and saw Leo, Piper and Tara appear on the porch. "Well Piper, I see you are taking advantage of Leo being a Whitelighter again."
Piper sighed. "I totally forgot that the tryouts for the Battle of The Bands were today. If we would have driven, we wouldn't have made it on time. So we did the next best thing and orbed to P3. You're back awfully early aren't you? Didn't you have a deadline to make?"
Phoebe walked up to the porch. "Actually got it done before the deadline. Elise said I could have the rest of the day off. I have some resumes to go over though." Phoebe held up the stack of resumes for Piper to see.
Piper gave Phoebe a confused look. "Why do you need to go through resumes?"
"I will explain everything inside."
Leo opened the door and everyone filed in. As soon as they walked in Paige orbed in. "I couldn't of timed that any better."
"So Phoebe you said you got a stack of resumes, why?"
"Well when I walked into my office I saw a note on my desk. It was from Nikky, she up and quit on me.
"Remember you already told me that." Paige reminded her.
"There is more Paige."
"You didn't tell me everything?"
"No I thought it would be better if I told you the rest in person." Phoebe said as she taking a coffee cup out of the cupboard.
"When I was talking to Elise, she handed me the resumes. When she did that I had a vision."
Paige was getting tired of all of the short answers she was receiving throughout the day. "Well what was your vision Pheebs?"
"It wasn't really clear. From what I could see it was a blonde girl. She was being surrounded by a group."
"So was she in trouble?" Leo asked.
"Actually no, she is handling herself pretty good. I think it was this group that was in trouble. That is all that I saw. I saw all of this when I picked up the resumes."
"Then I wonder if we are supposed to help them then." Paige said as she started to make the pot of coffee.
"I guess so, that is why I had that vision. My question is who is it? Also when is it going to happen?
"The major question is when everything is supposed to happen. We are still in the dark about everything. I guess it would be too easy for all of the answers to our questions to fall right in our laps. We all know that isn't going to happen." Paige said as she blew on her coffee.
Night was setting on San Francisco, everything was starting to quiet down. Except in one spot, an abandoned warehouse. It showed some movement, not of the living but of the undead. A slender female vampire with long dark hair slinked out of the shadows. She walked over to the table where a young woman laid. The mysterious dark woman walked up the young woman on the table and looked at her neck. She saw the 2 punctures in her neck. "Come on now and wake up for Mummy."
The young woman woke up when she felt someone brushing their hand through her hair. "What! Where am I?" She brought her hands up and felt her face. She started going hysterical.
The dark and mysterious woman came closer into the light of the warehouse. "Come on deary, please calm down for Mummy." She had a sick and evil smile plastered on her face.
"Who are you?" The younger woman questioned.
"I told you deary, I am your Mummy. If you want though you can call me Drusilla. My dear you now have a new existence, you will remain beautiful forever. Just stay close to me my pet and I will mold you into something great." Drusilla put her cold hand on the young woman's shoulder to calm her down.
The woman calmed down. "Ok I am getting hungry. What do you have to eat?"
An even eviler smile crept across Drusilla's face. "Mummy is going to take very good care of you." Drusilla clapped her hands and 2 of her minions brought in an unconscious man. "Here deary, just for you. He hasn't been touched yet. I was saving him for you."
"What do I do?"
"Just let your new found instincts guide you. Just unleash what is hiding within."
"Ok." She closed her eyes and found it. She jumped forward and sank her fangs into the man's neck just as he was waking up. His screams filled the empty warehouse.
Drusilla looked at her new protégé with evil intentions. "With no Slayers here to stop me it will be no problem getting my sanity back. In no time I will be drinking the blood of The Charmed Ones. Then I will be strong and nothing can stop me." Drusilla watched as the young woman looked back her sire wanting more.
Buffy got shaken awake. "Huh, what? Just 20 more minutes." Buffy said as she went to sleep.
"Come on Buffy, you have to wake up." Giles said as he continued shaking Buffy.
"Come on Giles, just a couple more hours." Buffy put the pillow over her head hoping Giles would go away.
"Buffy you have to get up. Plans have changed a bit."
Buffy shot up like a rocket. "What? What has changed Giles?"
"Well we aren't leaving this afternoon." Giles said as he was backing up from Buffy.
Buffy was a bit irritated. "When are we leaving Giles?"
"Right now."
"Now! I haven't even gotten dressed! I have to find my passport!" Buffy jumped up quickly and picked up her clothes then ran to the bathroom.
Giles was following right behind Buffy and got the bathroom door slammed in his face. "Buffy I don't' know why there was a change in plans. I have reassured by the driver that has been taken care of. Now everyone is downstairs waiting."
The door opened and Buffy stuck her head out. "Why am I the last one to be woken up?"
"Well Buffy, everyone has tried waking you up. They didn't have any success. Xander thought about throwing water on your face. Then he decided not to, he probably would have ended up going through the ceiling. So it was my turn. So Buffy you need to hurry, we have to get going."
"Ok Giles, I will be right down." Buffy listened as the front door shut. She finished getting dressed and looked at herself in the mirror. Her life was going to change for the better. Buffy walked out of the bathroom and headed towards the front door. She stopped at the front door and sighed, Buffy opened the door and walked out to get ready and start that new life. Buffy locked the door; she then headed downstairs towards the limo that was waiting on her.
"Bout time you decided to show up Buffy." Dawn said.
"I was just taking one last look around."
"Well Buffy we must hurry, we to get to the airport." Giles said trying to hurry Buffy along.
"Ok Giles I am coming." Buffy got in the car and they headed off to the airport.
On the trip to the airport Buffy was watching the scenery go by. All she could think about was the dreams she had. Were they going to come true? "Huh?" That seemed to be her catch phrase lately.
"Earth to Buffy."
"What is it Xander?"
"We are here."
"Oh, I guess we are. That would explain why the car isn't moving." Buffy was the last one to climb out of the limo. As soon as she stepped out the limo sped off. "My he didn't want to stick around for too long did he? My question is where do we exactly go?
Willow saw something that caught her eye. "Hey Buffy, I want to say we need to follow that guy over there."
"Why do you say that Will?"
"He is holding a sign with your last name on it."
Buffy looking kind of sheepish looked over and saw him. "I guess it does, doesn't it. Let's go over and ask him." They walked over to the guy with the sign. "Hey are you looking for me?" Buffy asked.
"Yes Miss. Summers, hurry we must go your jet is waiting for you."
"Ok don't we have to go through security first?" Xander asked.
"No need, right this way please." They all walked past the huge lines and went through a hidden door.
"Why couldn't we always get this kind of service at airports?" Dawn commented.
On the other side of the door was some stairs. At the bottom of the stairs was another door. Their escort opened the door. "Right this way please."
They all went through the second door and it led them out on to the Tarmac. In front of them they saw a small group of people standing in front on a jet. "Wow that is one of those new jets that just came out. It can make it to the western coast of the United States in 6 hours. The last I heard they were still being tested. Willow said.
As they drew closer they started to recognize the people that were standing in front of the jet. "Well looks like we are going to be getting a sendoff today. That is going to make this much harder." Buffy stated sadly.
Faith ran up to Buffy and gave her a hug. "Hey B, me and some of the girls wanted to see you guys off."
"That was very sweet of you Faith. Where is Andrew? This would be something he wouldn't miss."
"Don't know we stopped by his apartment and he wasn't there. He is probably off doing whatever he does in his free time and lost track of time. I swear B; he would probably be late to his own funeral." Faith just shrugged off the fact that Andrew wasn't there.
Buffy was worried about Andrew. It wasn't like Andrew to miss something like this. "Well Faith I guess this is goodbye." Buffy hugged Faith and she felt her eyes well up with tears.
Faith could feel the tears start welling up in her eyes. Faith quickly wiped the tears away from her eyes before anyone would notice. "B all I am going to say this isn't goodbye. All it this is going to be is see you later. Besides I am going to come and kick it with you at your slamming new crib girl. Don't worry B; everything will be five-by-five here."
"If you need anything Faith let me know. I can have Will transport me here."
"You don't have anything to worry about. Now get on that plane and enjoy your life girl." Faith said the rest of her goodbyes. Faith watched as they boarded the jet. She was promising herself she wouldn't cry but it wasn't working. She started crying harder as she watched the jet take off. Faith couldn't remember a time she cried this hard.
The unfasten your seatbelt sign went off. Xander finally relaxed. "You know for an advanced jet that was still rather bumpy." Xander got up and started looking around and he spotted a DVD on one of the tables. "Ah, did they give us a movie watch on the flight?" Xander picked it up and saw a label on it. "Buffy it is for you."
"What?"
"This disc is addressed to you Buffy." Xander walked over and started playing with some buttons. Suddenly a DVD player came out of the floor. After that a television screen came out of the ceiling. "That is pretty nifty; now let's see what is on this disk." Xander opened the case and inserted the disc into the player and pressed play. Xander quickly ran to his seat before anything could start.
On the screen an older gentleman appeared. "Greetings Miss. Summers, My name is Bradley Jackson. I want to congratulate you on all you have done. You are the longest living Slayer. Now you have the opportunity to live a normal life. You my dear have earned every bit of it. Now we have taken the liberty of buying a house for you. All of your belongings have already arrived and set up. You won't have to worry about unpacking. We even set up the attic so you practice and stay in shape. In case you wondering about jobs, we have submitted resumes for each of you at highly respectful jobs. Mr. Giles you should be hearing from the local high school they are looking for a new Librarian. Dawn you will be hearing from the local college, so you can further your education. This is a chance for you all to live normal lives. Almost forgot, in case you are wondering how they would contact you. In the arms of each of your seats are cell phones for each of you. Don't worry the bill is on us. Once again thanks again Miss. Summers for all you have done." The screen suddenly went black
Everyone was in plain and utter silence. No one knew what to say. The silence was broken by a phone ringing. Everyone fumbled at the arms of their chairs and looked at their phones. "It's mine." Buffy said excitedly.
"Well answer it Buffy!" Everyone said in unison.
"Hello?"
"May I speak with Buffy Summers please?"
"Speaking."
"Hi Miss. Summers my name is Phoebe Halliwell. I just recently got your resume. I would like you to come in for an interview."
Buffy covered the microphone of the phone. "Someone is calling me about an interview."
"With who Buffy? You didn't even think ask that or what you would be doing." Xander pointed out.
While waiting for a response from Buffy, Phoebe looked over Buffy's resume again and noticed Buffy's full name. "Buffy Anne Summers. Sounds like a cheesy name from some horrible teen flick." Phoebe said to herself. Phoebe suddenly heard silence. "Hello Miss. Summers?"
"Oh sorry Miss. Halliwell I am here. I really wasn't expecting a quick response. Who do you work for? Also what is the position you are looking for?"
"I am sorry Miss. Summers. I work for a newspaper here in San Francisco called The Bay Mirror. The position I am looking for is a personal assistant. My last assistant just quit on me and I am in desperate need of help. I write an advice column asked Ask Phoebe. So when can I schedule an interview for you?"
Well right now Miss Halliwell I am on my way to the United States. I should be state side in about 4 hours."
"Where are you flying from Miss Summers?"
"I am flying in from Rome."
Phoebe looked at her watch. "By the time you get here it will be early. You will also an uber amount of jet lag. So let's schedule the interview for Saturday around 11:30 AM. There is a great place my sister used to at called Quake. So I take it this is your cell phone then. I will text you the address. So would that be ok for you?
"That sounds great Miss Halliwell. I will see you then." Buffy hung up the phone and she felt like she was glowing.
"So what did they say Buffy?" Xander was starting to poke her for information.
"Well Saturday I have a job interview to be a personal assistant for someone at a newspaper. She wanted it to be on Saturday so I didn't suffer from too much jet lag."
That's great Buffy. Hopefully we will all be getting calls for jobs soon." Willow said as she was looking at her laptop. "Hey Buffy, check this out."
"What Will?"
"I was doing a search of what is in the area. There is a club we should check out after your interview. It will be a great way to celebrate for you getting that job. It is called P3 and they are having a Battle of The Bands on Saturday."
"Cool, click on the clubs link Will."
"Ok."
The site came up and Buffy saw something interesting. "Hmm." Buffy said out loud.
"What Buffy?"
"The club's owner has the same last name as the women I spoke with on the phone. It is Halliwell, I wonder if you they are related? Do you think you could find out for me Will?"
"Sure Buffy, give me about 20 minutes." Willow went to work on her keyboard. It had been awhile since she had done anything like this, but this was second nature to Willow. "Ah ha got it Buffy!" Willow was gleaming; she looked over and saw Buffy looking out the window. Willow walked over to Buffy and handed her the computer. "Found some info on her."
Buffy took the computer and started scrolling through the information Willow had found. "I was right they are related, Piper and Phoebe are sisters. At one time they had a 3rd sister but she died eight years ago. Her name was Prue. Their mother wanted all p names I guess. They do have a half-sister though. Her name is Paige. Wow another p name, who would have guessed.
"Please tell that all 3 of these sisters are single and ready for the taking. Mr. Alexander Harris will be ready for them." Xander said with a hopeful smile.
"Sorry Xander, all 3 are married. They just decided to keep their maiden name. There are also a lot of strange reports linked to them. These police reports name all of 3 of them or even just one of the sisters." Buffy suddenly got a concerned face.
"What do you think that means Buffy? You think we should keep an eye on them?" Willow asked.
"I don't know Willow. We really shouldn't have a problem doing that though."
"Why is that Buffy?" Giles asked he was cleaning his glasses."
"We live on the same street as them."
5. Chapter 5
_**Chapter V**_
Tara was lying down to go to sleep. She was tired, but she wasn't. A lot was going through her mind. The main thing that was on her mind was Willow. Where was she and what was she doing? Tara found herself drifting off finally, Tara suddenly found herself in Buffy's old house in Sunnydale. Tara saw her and Willow getting ready for the day. Tara heard a loud bang and heard glass breaking. She then saw herself fall to the floor. "What is going on?"
"You are being shown how you died and what happened afterwards." A voice suddenly said out of nowhere. It was an Elder. "Just keep watching dear, there is more for you to see."
Tara started to watch again and everything flashed before her. One of the last images she let herself see was Willow skinning Warren alive and then making him erupt into flames. "No!" Tara shouted. "Why are you showing me this?"
"This is something you need to see Tara. After this the rest of you memories should come back slowly."
That image was burned into her mind. She couldn't get it out of her mind what Willow had done to Warren. Tara woke up screaming and crying. She opened her eyes to find Leo and Piper in front of her. Tara immediately hugged Piper.
"Tara, sweetheart what is wrong?" Piper asked as she could feel Tara's grip around her grow tighter.
"The Elders showed me how I died and then I saw." Tar couldn't finish her statement.
"What did you see Tara?" Leo asked he put his hand on her shoulder hoping that would help calm her down.
Tara picked her head up from Piper's shoulder. Her eyes were red and swollen. "I saw what Willow had done to the person that killed me. I wasn't the only one shot though, the other girl Willow and I lived with was shot also. Willow went to the hospital and saved her. She then went after the man that killed me. When I saw Willow I didn't recognize her. Willow's hair went black; her skin was white and covered in black veins. Her eyes were also black as night. Willow eventually found him and skinned him alive using dark magic, then burned him alive. I didn't want to see anymore that is when I woke up. I just don't want to imagine my Willow doing something like that. Leo does this mean she is still like that?"
"I can't give you an answer Tara. Why don't we all go downstairs and have some tea. We can sort everything out." Leo gave a reassuring glance to Tara and the 3 of them headed downstairs to talk things out.
The jet finally set down in San Francisco. The jet went to a secluded spot on the tarmac and stopped. Buffy got up from her seat and stretched. "Boy I am glad that is over. For a jet that cuts down the flight time that seemed like it took forever."
Xander looked out the window. "Hey Buff, it looks like we have a welcoming committee."
Buffy rushed over to the window and saw the limo parked outside. "Wow they are really going all out for us aren't they?" All 5 filed out of the jet and into the limo.
Back at Halliwell Manor Leo, Piper and Tara were trying to sort out the visions that Tara had seen. "Now Tara you had to see those visions for a reason. We just don't know why yet. I know what you saw was disturbing. Tara you will have to face them."
"Leo I don't know if I can. I don't want to remember Willow like that. The Willow I knew wouldn't do anything like that to anyone." Tara slightly trailed off.
Piper knew there was something that Tara wasn't telling them. "Tara what is it that you're not telling us?"
"Well before I died Willow and I had just gotten back together. I originally broke up with her because she was using too much magic. You see Willow cast a spell on me, she erased my memory and I found out about it. I left her and I decided to come back to give her a second chance. Things were going good until I got shot and I saw what she did." Tara put her head down and was just looking at her cup of tea.
"Tara, I know what you saw was shocking and disturbing. As Leo said there was a reason you were shown that, and maybe you should see if there is more for you to see."
"I just don't want to see that!" Tara said as she continued looking at her tea.
Leo reached forward and lifted up Tara's head with his right hand. "You need to see it Tara. The most important reason for you to see it is to move on. If you don't this will haunt you and can't do that with what you have been chosen to do."
"Leo." Tara just stopped and looked at Leo and Piper glassy eyed.
"Tara what is it?" Piper asked.
"Leo you said I would know when my charge was close. Well my charge is here. I can now tell my charge is female. That is all I can tell right now."
"I think there is too much on your mind to see who it is clearly. Come let's all try and get some more sleep. It would do us good." Leo said.
"How about this Tara, I don't have to be at P3 until later in the day. So we will have a girl's day out. We will get your hair done and the whole works. We will make you a new woman. How does that sound?"
"I don't know?"
"Come on Tara, this would be a perfect way to clear your mind."
A smile did find its way to Tara's face. "Ok sounds great."
At a house across the street of Halliwell Manor a limo pulled up. Buffy and the Scoobies looked at the house in disbelief. "Giles there has to be some mistake. Mr. Limo Driver I think you made a mistake." Buffy said.
"No Miss Summers, this is the right address." The driver said, he then got back in the limo and drove off.
"You know if it ever snowed in San Francisco they would have some awesome sledding hills." Xander said trying to break the silence. "Or they would make a really wicked roller coaster."
Giles just sighed. "Well I can say we are all rather tired. So let's all go in and find our bedrooms, that way we can get some rest." Everyone thought was a good idea as well.
They walked in the living room and were taken back of the size of the inside of the house. A smile was creeping across Buffy's face. It was something she really hadn't done in a long time. "You know Will, you were right. Everything is going to be different."
"What should we do about the Halliwell Sisters Buff?" Willow asked.
"I am not going to worry about it Will. I am officially retired now. Let the Watchers Council send someone. I have one more thing to say."
"What is that Buffy?"
"Last one upstairs is a rotten egg." Buffy bolted up the stairs to find her room.
Everyone except for Giles followed her. "Sounds like a bloody herd of elephants." What Giles really wanted at the moment was a cup of tea. He found the kitchen was happy to find everything had been put away. Giles was also happy to see Buffy finally happy. Giles poured his tea into his cup and stepped out on the back patio. Giles looked down on the table outside and found a note addressed to him. "I wonder what this is." Giles read it and his face went long. "I knew this was too easy." Giles finished his tea and tried to get some sleep.
The morning light shone in on Tara's face. It woke her up and she went to find something to wear. She found an old outfit of Phoebe's that wasn't too revealing. Tara headed downstairs and heard the sounds of life coming from the kitchen. It remained her of when she was living with Willow. The kitchen always seemed like it was alive. Tara walked through the door and saw everyone. "Good morning everyone."
Paige looked up and saw Tara. "Good morning did you sleep well?"
"Kind of." Tara looked at Piper and Leo hoping they didn't say anything to Paige or Phoebe about her dream.
"Well I heard you and Piper are going to have a girl's day out. Would you mind if I joined you Tara?" Paige asked.
"Sure I guess. Would you like to come with us Phoebe?"
"Tara I would love to, but I have to get to the paper. Did anyone see what I did with the rest of those resumes? I wanted to call some more to set up more interviews, but I can't find them. I just have the one I called last night. Maybe I put the rest in my briefcase. I have to run; I will see everyone else tonight." Before anyone got a chance to say anything Phoebe was out the door.
Piper just watched the curtains swinging on the back door. "Boy I have missed that." Piper just laughed to herself.
"Hey Piper didn't the Porter's move out?" Paige asked as she looked the living room window.
"Yes they did, that house has been vacant for a very long time now. Why?"
"Well someone is living there now?"
"Really?" Piper said as she head into the living room.
"They must be loaded; they have a semi delivering 5 Mini-Coopers to them."
"I guess I will play Welcome Wagon then. I am sure it is helter skelter over there right now. SO I will do that before I head over there before I go to P3 tomorrow. Well you girls ready for a day of fun?" Piper headed out the door with Paige and Tara.
"Buffy!" Xander shouted when he noticed the semi parked out front.
"What is it Xander?" Are we supposed to have cars delivered to us?"
"I don't know Xander? Why?"
"Well there is a semi parked out front with 5 Mini Coopers in front of the house."
Suddenly out of nowhere there was a knock at the front door. B ran down the stairs and opened the door. A surly looking truck driver stood before them. "Yes Sir?"
"I have a delivery for Buffy Summers, Dawn Summers, Xander Harris, Willow Rosenberg and Rupert Giles. I need everyone's signatures before I can unload them. Is everyone home?"
"Dawn, Will and Giles you need to come down here please."
Willow was the first one downstairs. "What's up Buff?" She didn't need to have Buffy answer her question, when she looked out the front door. "Where did those come from?"
"The Watchers Council I guess." Answered Buffy.
"They are really going all out for you Buffy. You are turning from a pauper to a prince." Xander saw the look Buffy gave him. "Oh I mean princess."
After everyone signed the form. The driver unloaded the cars. When he finished he walked up to Buffy and handed her the keys. She noticed that all the keys had keys chains on them. The key chains they had was in the shape of their names. "Here ya go. I wish someone would give me a car. I do this job and all I can afford is a beat up Ford Tempo car. Maybe my luck will change one of these days." The truck driver lumbered off to his rig and drove away.
"Wow isn't this something. They are really going all out for me aren't they? Next we are going to get some kind of Welcome Wagon."
"Well you ready Buffy?"
"Ready for some sightseeing? I mean we have wheels now. Let's take advantage; I have always wanted to Alcatraz."
"Sure will, let me." Buffy was yanked out the door before she could say anything else. "Will you are going to need something though."
"What's that Buffy?"
"Car keys, I placed them on the stand by the door."
"Yeah that might help." Willow ran up to the house. All of the keys have our names on it. I wonder which car is mine. Willow pressed the alarm button and listened for the chirp. "Cool I have the purple one. Come on Buffy."
"Buffy, before you leave, there is an envelope for you to check out." Dawn said.
"What other surprises do they have for me?" Buffy opened the envelope and her eyes almost bugged out.
"What is it Buffy?"
"They gave me a credit card with no limit. I guess we are going to clothes shopping for my job interview tomorrow."
"Buffy can I suggest something while you are out?"
"Sure Giles."
"Stop by the grocery stores. We have a little bit of food here, but not much."
"Sure will Giles, come on Will I can hear the mall calling my name.
Giles went into the kitchen to find Xander making a sandwich. "Ah, I knew I would find you in here."
Xander looked up like was a deer in a headlights. "What's up G-Man?"
"I have to run a few errands in town. Will you and Dawn be ok here? Please don't call me that, you have been spending too much time with Faith."
"We will be fine. We will have the mess from our wild house party cleaned up by the time everyone gets home."
"One of these days I will appreciate your sarcasm. I guess if you need anything I will have this thing with me." Giles help up his cell phone. On his way out the door he picked up the keys with his name on it. He did the same thing Willow did and activated the car alarm to figure out which car was his. Giles went to his car and off he went.
Phoebe's mind kept wandering about everything. She was having trouble focusing on the letters that were before her. "Damn it Phoebe! You have been able to finish your column when all hell was going to break loose before. Now why can't get a single thought through my head now?" Phoebe put the letter she was reading down on her desk. She suddenly heard a knock at her door. "Come in."
Elise walked in. "So were you able to find any good candidates?"
Phoebe started panicking a bit. She still didn't know where the rest of the resumes were at. "Yes I did, I actually have an interview set up for tomorrow." Then something caught her eye. The rest of the resumes where placed neatly in her briefcase. "Here are the rest of them if you need them." Phoebe reached forward and gave Elise the rest of the resumes.
"Oh thanks Phoebe, just let me know if you need them again." Elise took a look at the resumes and walked out of Phoebe's office.
"Ok that is weird; I don't remember putting those in there. I guess nothing should surprise me anymore." Phoebe sighed and closed her eyes. Phoebe spun around in her chair.
"Pheebs the one to help you this this evil force is here now."
Phoebe almost jumped out of her chair when she heard Prue's voice. "Prue! Are you trying to give me a heart attack?"
Prue chuckled slightly. "Sorry Phoebe."
"That's ok. I have been a little on the edge these past couple days. Ok this ally is here, who is it Prue?"
"I don't know I can feel it though. If you just focus you can feel it as well. You can feel the balance of power starting to shift. You just have to work fast. They are getting close to resurrecting me."
"Can't they find you now Prue?"
"I have been able to cloak myself here. It isn't very strong and it won't last very long. Pheebs there is more I have to say."
"What is it Prue?"
"I do know someone isn't going to survive this."
"Who is it Prue?"
"I don't know Phoebe. I have to go now. I didn't say it much when I was alive. I just wanted you to know that I love you." Prue disappeared before Phoebe could say anything else.
"I love you too." Phoebe sat back in her chair and started crying.
Elise was walking by and heard Phoebe crying. Shoe knocked on Phoebe's door. "Phoebe are you ok?" Elise didn't get an answer. Elise just decided to walk in. She saw Phoebe crying. "Phoebe are you ok?"
Phoebe suddenly tried to hide the fact she was crying. Her red eyes gave her away though. "Yes Elise, I just have something in my eye.
"Phoebe who do you think your trying to fool? What is wrong?"
Phoebe was trying to think of something else quickly. "One of these letters got to me. It kind of reminded me of Prue."
"I think you have been overworking yourself. Why don't you just take the rest of the day off?"
"Elise what about my column?"
"Phoebe I am your friend and I am very concerned about you. Now as your boss I am telling you to go home. That way you can get some rest. Those letters will be here on Monday. Now I don't want to hear anything else. If you continue to fight me, I will have security escort you out!"
Phoebe was in shock that Elise would actually do that. "Well when you put it that way, I will go home on my own accord." Phoebe quickly got up and exited her office.
Buffy walked out of a store with a handful of bags. "I hope something I bought today impresses in my interview tomorrow."
Willow was following right behind Buffy; she was also carrying a load of bags. "Geez Buffy, I think the Watchers Council is going to have second thoughts about this no limit deal when they get the bill."
Buffy cringed slightly. "You think I went overboard Will?"
Willow just cocked her head to the side and held up the bags in her hands. "I think you bought more than just a tad. I am almost sure you bought the entire store."
"Sorry this just reminded me of my days in L.A. When my Dad would let me have free reign of his credit card at times. I would just get it later when he would get the bill." Buffy turned around and accidentally ran into someone the corner. Buffy was surprised and got knocked down.
"I-I-I am s-s-sorry. Are you ok?"
"I'm fine; pride is injured more than anything."
"D-D-Do you need any help?"
"No my friend can help me, thanks anyways."
"You ok?" Willow bent down to help Buffy help.
"I have to go now." Tara rushed off to catch up with Piper and Leo.
Willow looked up and just caught a glimpse of Tara as she walked away. "What?"
Buffy noticed the blank expression on Willow's face. "Will what's wrong?"
"I thought I just saw."
"Saw who Will?"
"Tara, I thought I just saw Tara. That girl that bumped into you was Tara."
"Will that wasn't Tara, Tara has been dead for 7 years. I don't mean to be harsh. I did get a glimpse and that wasn't her. That girl's hair was short and the clothes she was wearing Tara's wasn't style. Tara always kept her long and she wouldn't have been caught dead in that outfit. Besides they say we all have a twin out there in the world."
"Your right Buffy. I know there isn't a way for her to be brought back. I guess that was just wishful thinking that is she came back from the dead. We should really get to the grocery store and then home, before Giles has our heads on a silver platter." Willow and Buffy walked to the car.
When they reached the car and opened the trunk to put the bags in Buffy noticed the amount of trunk space they had. "Hopefully we will have enough trunk space for everything." Buffy said.
"I can solve that." Willow said, she waved her hands over all of the bags and they shrank. "See I told ya I can solve that."
"That is good thinking Will. Sorry we spent the entire day shopping. I promise tomorrow after my interview we will go to Alcatraz and then later P3."
Giles was watching the sun sink down. "Ok it is sundown, where in blazes are you?"
A voice suddenly came from behind Giles. "Did you come alone?"
"Bloody hell, do you enjoy doing that to me?"
"Sorry about that. Did you come alone Giles?"
"Yes I did come alone. Now can you tell me what this about? What exactly are you doing here?"
"The First is finally starting to regroup. It took The First awhile after Buffy closed the Hellmouth in Sunnydale. Word is The First has come here to revive one of his most powerful minions The Source. I don't know how The First plans to do it. A few days ago I spotted some Bringers and Turok Han going into an abandoned warehouse. I am going to need Buffy's help, I just hope Buffy can help defeat what The First plans to do."
"Well, I guess I will have to contact The Watchers Council."
"I wouldn't do that Giles. I think there is something wrong with The Watchers Council. Something just doesn't seem right."
"How so?"
"Lately they have been calling all Slayers back to England. They are slowly closing branches all over the world. I am going to look more into it. I have some friends in England that owe me a few favors."
"Shall I tell Buffy you are here?"
"Not just yet!" Giles informant quickly disappeared in the darkness of the park.
"I guess Buffy's retirement is going to be delayed. I think I will contact Faith and see if she has heard anything yet." Giles headed back to his car.
End file.
| fanfiction |
Temperature Dependent Specific Heat of Nitrogen
Calculate the change in enthalpy as 1kg of nitrogen is heated from 1000K to 1500K, assuming the nitrogen is an ideal gas at a constant pressure. The tempreature dependent specific heat of nitrogen is Cp = 39.06 - 512.79T^1.5 + 1072.7T^2 - 820.4T^3 where Cp is in kJ/kg-mol and T is in K
Answer is 697.27 kJ
This is the first time i've ever encountered something like "Temperature Dependent Specific Heat"
So I know
```
H = m*C_p*(T2-T1);
Cp = 39.06 - 512.79T^1.5 + 1072.7T^2 - 820.4T^3
```
So I try to make something like C\_p1:
```
C_p1 = 39.06 - 512.79T^1.5 + 1072.7T^2 - 820.4T^3; where T = 1000
C_p1 = -8.1934*10^11
C_p2 = 39.06 - 512.79T^1.5 + 1072.7T^2 - 820.4T^3; where T = 1500
C_p2 = -2.766466215*10^12
Cp2 - Cp1 = -3.8585 * 10^12
```
So yeah... Its not looking too good. Am i missing a formula?
The function looks like its easy to differentiate or integrate. Should I be doing something involving calculus?
>
> The function looks like its easy to differentiate or integrate. Should I be doing something involving calculus?
>
>
>
Yes, exactly! The equation you should be using is the differential form of the enthalpy equation you are already using.
$$dH = m~C\_p(T)~dT$$
$$\int\_{H\_1}^{H\_2} dH = m \int\_{T\_1}^{T\_2} C\_p(T)~dT $$
As you can verify, **if** heat capacity is *independent* of temperature, i.e. a constant, the equation reduces to
$$H\_2 - H\_1 = m~C\_p~\left (T\_2 - T\_1 \right ) \implies \Delta H = m~C\_p\Delta T$$
This is the equation you tried to use originally. However, since we derived this equation assuming a heat capacity that is *in*dependent of temperature, and your question explicitly involves dependence on the temperature, we should not use the already integrated equation. Instead you'll have to do the integration yourself by substitution of temperature-dependent equation.
I see 3 problems:
1. All of the exponents should be negative.
2. Temperature (in Kelvin) should be divided by 100.
3. Resultant $C\_p$ will be in $\pu{kJ kmol-1 K-1}$. Have to divide by molecular weight to get $\pu{kJ kg-1 K-1}$.
| stackexchange/chemistry |
Calculating momentum change?
>
> A 100 g ball with a speed of 5 m/s hits a wall at an angle of 45 degrees. The ball then bounces off the wall at a speed of 5m/s at an angle of 45 degrees. What is the change in the momentum of the ball?
>
>
>
When I look at this problem it seems intuitive to me that the answer should be 0, as the ball's mass remains constant and the speed remains unchanged. However, this is wrong as the velocity changes in this problem. After some calculations, you get around 0.7 kg m/s.
I'm having trouble understanding what this value really represents. How might this answer be useful?
[](https://i.stack.imgur.com/KzWYHm.png)
Consider the diagram above. A ball travelling at 5m/s hits the wall and then travels at 5m/s again. What's the change in velocity? Assuming the angle to the wall is 45 degrees.
The ball has the same magnitude of velocity before and after hitting the wall so it doesn't make sense to me to give a numerical value to the change in velocity. The only change is in the direction. However, when you solve for the change in velocity there is a magnitude. What is the representing? Why is there even a magnitude when the speed is the same?
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> Edit: The magnitude of the velocity and momentum remains the same after collision with the wall. Assuming this is true, then why is the change in momentum 0.7 kg m/s? To me, this is saying there is a change in the magnitude of the momentum which is not true. So what is the value representing? I understand the magnitude remained constant while the direction changed. So why is there a numerical value in the change of momentum?
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Links and resources to learn more would be appreciated.
Sounds to me, you are not familiar with vectors. So I highly suggest to learn about vectors quickly, which is a simple field of mathematics.
Let's have a look in some more detail. x-axis points to the **right**, y-axis **downwards**, as I was being lazy ... and it doesn't matter.
In **point** **A** we have $\vec v = (v\_x, v\_y) = (v\_x, 0) + (0, v\_y)$, which means:
* there's a vector $\vec v$, i.e. having direction and magnitude $|\vec v|$ (length)
* you can describe it by its two components $(v\_x, v\_y)$
* which you can also understand as the sum of two vectors $(v\_x, 0) + (0, v\_y)$
* and you can always decompose $\vec v$ into its components or reconstruct it from $(v\_x, v\_y)$ (*red parallelogram*)
[](https://i.stack.imgur.com/eKnIl.png)
Now, what happens at **point B**, the wall?
* component $v\_y$ is conserved, i.e. vector $(0, v\_y)$ doesn't change, as there is no physical reason to do so
* component $v\_x$ is reflected, i.e. it turns into $\vec v\_x\* = - \vec v\_x = (-v\_x,0)$ (the blue vector)
**Point C** shows the result, which holds since it bounced back from the wall:
* $\vec v\* = (-v\_x, v\_y)$
The **change in direction** you can easily tell by looking at its components. But what's about its magintude?
* incoming: $|\vec v|^2 = (v\_x)^2 + (v\_y)^2$ (according to Pythagoras)
* reflected: $|\vec v\*|^2 = (-v\_x)^2 + (v\_y)^2 = (v\_x)^2 + (v\_y)^2 =|\vec v|^2 $
* so magnitude $|v|$ didn't change, while direction did
One way to look at this is the following: for any system, you can relate the force the object experiences to its change in momentum by
$$
\Delta \vec{p} = \int \vec{F} \, dt
$$
In particular, if the force is constant throughout the period during which it acts, you have
$$
\Delta \vec{p} = \vec{F} \Delta t.
$$
This integral (or product, for constant force) is called the [*impulse*](https://en.wikipedia.org/wiki/Impulse_(physics)) delivered to that object. This vector equation works equally well if $\vec{p}$ changes direction, magnitude, or both.
This means that calculating the change in momentum $\Delta \vec{p}$ for an object tells us something valuable about the direction that a force acted on that object to effect that change. In your case, this means that the wall must have exerted a force directly to the left — any vertical components to the force between the wall and the ball must have been negligible, because $\Delta \vec{p}$ doesn't have a significant vertical component.
I'd recommend that you think first about a simpler case: you throw a ball straight at a wall (in the *x*-direction, let's say) and it bounces back with equal and opposite velocity. The wall has to exert an impulse in the –*x* direction on the ball to stop it and then an equal impulse to get it moving at equal speed in the –*x* direction. Twice as much impulse is needed as to stop it, because the momentum change is twice as much!
The other answer explains nicely what is meant by 'impulse'.
Momentum is a vector, so actually its change, being a vector sum, is itself a vector. Asking "what's the change in momentum" is a little misleading. If they asked you "what changes in the *components* of the momentum vector", it would have been helpful. However, being exposed to this type of questions, I tend to think that they want to "trick" more than to "point" you.
At any rate.
You already have the pieces of the puzzle, and I am answering just because I see you want "a more detailed answer".
MS-SPO has already beautifully depicted the components of the momentum vector during the three salient instants of your problem. Before, during and after collision.
From there, you see that the *vertical* component of the ball's momentum,
$$p\_y = m v\_y$$
is not affected by the collision as its direction is parallel to that of the wall.
On the other hand, the *horizontal* component does get affected, as it is perpendicular to the wall.
$$p\_{x,after} = m v\_{x,after} = - m v\_{x,before}$$
So, what's the change? The change in $p\_y$ is zero, the change in $p\_x$ is
$$p\_{x,after} - p\_{x,before} = - 2 m v\_{x,before}$$
And to calculate this, you just have to find out what $v\_{x,before}$ was, which is simply your 5 m/s multiplied by $\cos (\pi/4)$, or $\dfrac{1}{\sqrt{2}}$, which gives me $v\_{x,before} \approx 3.53 m/s$.
If you now plug the 100g mass into the equation above for the change in momentum, you get that rough 0.7 kg m/s you were looking for.
What does it mean? It means that the collision actually *did* change the momentum of the ball. You can see it in two ways:
* it altered its direction, rotating it by 90 degrees, while leaving its modulo unaltered
* it left the y component unchanged, while it flipped the x component 180 degrees ('reflected' one could say), without changing its modulo.
Think of a taking a slow drive **forwards** with $v=10\,\mathrm{m/s}$. Suddenly you are hit by a truck. You are now moving **backwards** with the truck with $v=-10\,\mathrm{m/s}$.
Did a numerical change happen? After all, the numerical values are the same, only the directions are different (the sign is a descriptor of direction for scalar values).
Yes, obviously a numerical change happened. In fact, that numerical change is $\Delta v=20 \,\mathrm {m/s}$ (there is a difference of 20 between the two speed values on the number line).
In general when not dealing in 1-dimensional scenarioes and using vectors, the difference between two is called a *difference vector*, because both a numerical change as above *and* a directional change happens. The numerical change you mention in the question would be the magnitude of this difference vector. And you can be certain that you can feel this numerical difference just as well as you would feel it when hitting a truck.
let us look at what happens at the wall:
the ball has incoming momentum in the positive x-direction, and departing momentum in the negative x-direction ; the momentum for the y-direction is the same in both cases.
given that the velocity of the ball is 5m/s , it follows that we have v[y]=5 sin(45) in all cases concerning the y-direction. For the incoming case concerning the x-direction we have v{incoming}= 5 cos(45)=3.54, and for the departing case we have v{departing}=-5 cos(-45)=-3.54.
Since we are interested in the change in momentum, we have mass to consider. The change in momentum is
p{change}=p{departing}-p{incoming}
=0.1kg (-3.54m/s)-0.1kg(3.54m/s)
=-0.354-0.354=>-0.708kg m/s
For the y-axis the change in momentum is equal to zero.
The total change in momentum is given by the vector contributions from both directions . It follows that
p{change}^2=p{change in x}^2 + p{change in y}^2
= (-0.708)^2 +(0)^2 => p{change}=0.708kg m/s.
\*The negative sign indicates a change in direction.
| stackexchange/physics |
How can rocks absorb CO2?
In the beginning of the earth, there was at a certain point so much $\ce{CO2}$ in the air that most of it was absorbed by rock. The consequence of that was the snowball earth, because the atmosphere was empty; all the heat of the earth couldn't be more absorbed by $\ce{CO2}$, so it was getting cold. But how can rock ($\ce{SiO2}$?) absorb $\ce{CO2}$?
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> rock ($\ce{SiO2}$)?
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Rock is not strictly $\ce{SiO2}$. Rocks are composed mostly of silicates: minerals such as feldspars $\ce{CaAl2Si2O8}$ or $\ce{(Na,K)AlSi3O8}$, olivine $\ce{(Mg,Fe)2SiO4}$, pyroxene $\ce{CaMgSi2O6}$, etc.
There are two ways in which rocks can absorb carbonates, one being a more direct form of the other.
1. Weathering of rocks by carbonic acid. $\ce{CO2}$ reacts with $\ce{H2O}$ to form acid and bicarbonate: $\ce{CO2 + H2O -> H+ + HCO3^-}$. This acid would then trigger: $\ce{4KAlSi3O8 + 4H+ + 2H2O -> 4K+ Al4Si4O10(OH)8 + 8SiO2}$. This is the reaction of orthoclase (a type of feldspar, common in granites) to form kaolinite (a clay, aka dust or mud). All of the resulting cations ($\ce{Ca2+, Mg2+, K+, Na+}$, etc. and the bicarbonate end up washing to the oceans, where they precipitate carbonates: solid rocks composed of mostly calcite ($\ce{CaCO3}$) and dolomite ($\ce{CaMgCO3}$), thus overall removing $\ce{CO2}$ from the atmosphere.
2. Directly reacting of $\ce{CO2}$ with solid rock. All of the above basically happens *in-situ*, directly transforming solid silicate rocks to solid carbonate rock. When this happens, minerals such as magnesite ($\ce{MgCO3}$) or siderite ($\ce{FeCO3}$) also occur. This is actually one of the way to do industrial carbon sequestration: instead of putting $\ce{CO2}$ in the atmosphere, for example in power stations, you inject it down to the rock to lock it up in solid minerals.
| stackexchange/chemistry |
MLS Western Conference contenders Los Angeles FC come into New York to face the Red Bulls today. They have struggled with allowing goals away from their home grounds. They have allowed 27 goals in only 11 games on the road. Their struggles have really shown in recent games. In their last 3 road games they have allowed 10 goals and we should expect to see more of the same today. Led by Bradley Wright Phillips the New York Red Bulls have a dominating attack especially at home. They have scored 27 goals in their 11 home games this year. While their offense should be able to take advantage of LA's weak defense the Red Bulls defense should be able to shut down the LA attack. They have only allowed 9 goals at home this year. While you could take another bet to get better odds I believe the best value in this game is the safer bet backing the Red Bulls to win at home. | slim_pajama |
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The Newletter is contributed by a group of volunteers from our members. We always welcome contributions to our newsletter from all our members, and look forward to your contribution to the newsletter.
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A not-for-profit organization, IEEE is the world's largest professional association for the advancement of technology. | slim_pajama |
alzheimer 's disease ( ad ) is a devastating neurologi - as the number of people worldwide over the age of cal disorder that has become increasingly common 65 increases .
understanding the complex etiological and pathological underpinnings of the disease represent our best hope for developing therapies capable of treating and/or reversing this devastating disease .
although the several pathological hallmarks associated with ad , such as amyloid plaques and neurofibrillary tangles are well known , no single theory appears to completely explain and/or account for all of the complex pathological changes that ultimately lead to neurodegeneration and cognitive dysfunction . for the past decade
, the prevailing theory underlying ad has been the amyloid cascade hypothesis , in which the major causative molecule responsible for the disease is amyloid ( a).therefore , much of the research community has focused on elucidating the mechanisms underlying the processing and production of this peptide .
it is well established that the abnormal generation and deposition of amyloid peptides ( a ) is a pathologic hallmark of ad .
a is generated by two sequential proteolytic cleavage steps from the -amyloid precursor protein ( app ) [ reviewed in 13 ] .
app is initially cleaved by -secretase , which has been identified as a -site app - cleaving transmembrane aspartic protease ( bace ) , which has been suggested to occur in the endocytic pathway .
this cleavage is followed by the subsequent intramembrane proteolysis of the membrane - bound c - terminal fragment ( ctf , c99 ) catalyzed by the -secretase complex , which has been suggested to occur at the plasma membrane , although the exact cellular location of either of the cleavage events is not clearly understood .
importantly , the a peptides produced by -secretase cleavage are heterogeneous in size , ranging from 38 to 43 amino acids , with the highly amyloid - genic 42 amino acid peptide suggested to be the most pathogenic .
recent evidence suggests that the oligomeric form of these a peptides may be the key form responsible for the cognitive problems of people with ad [ 5 , 6 ] .
interestingly , the exact function of app processed a peptides remains unknown . in an alternative pathway app
is cleaved by -secretase , a member of the adams ( a disintegrin and metallo - protease ) family of enzymes , within the a domain and the remaining ctf ( c83 ) is also cleaved by -secretase to release the non - amyloidgenic p3 peptide .
not all a is released extracellularly , as recent evidence suggests that intraneuronal a is also toxic and appears to play a significant role in the perturbation of cognitive function [ 79 ] .
the activation of the -secretase complex activity requires the formation of a stable high - molecular - weight multiprotein complex , which includes presenilin , nicastrin ( nct ) , anterior pharynx - defective-1 ( aph-1 ) and ps - enhancer-2 ( pen-2 ) [ reviewed in 10 ] .
these four transmembrane proteins are presumed to be indispensable for -secretase activity , because their co - expression enables reconstitution of the -secretase activity [ 1014 ] , while the absence of even one results in the absence of -secretase activity and defects in the expression and/or maturation of the remaining partners [ 10 , 11 ] .
nct , an integral membrane protein , has been reported to bind tightly to app - c99 and recruit it into the -secretase complex .
conformation changes in and/or n - linked glycosylation of nct appears to play a prominent role in modulating -secretase activity [ 1619 ] .
various aph-1 variants are believed to stabilize presenilin within the -secretase complex , while pen-2 appears necessary for the endoproteolysis of presenilin , a step essential for the activity of the -secretase complex [ 21 , 22 ] .
in addition to the processing of app , the -secretase complex facilitates the regulated intramembrane proteolysis of other select type i membrane proteins , such as notch , cd44 and e - cadherin , which play diverse physiological roles in multiple cell types and tissue .
there is growing evidence that cholesterol is linked to the development of ad [ reviewed in 23 , 24 ] .
clearly there exists a relationship between ad and hypercho - lesterolaemia , in addition to coronary artery disease and hypertension [ 2527 ] .
various experimental and clinical findings also strongly suggest that brain vascular and hemodynamic alternations may play an important role in the progression of ad [ 2830 ] .
in addition , the regulation of cholesterol homeostasis appears to also be perturbed , as the 4 allele of apoe , a major apolipoprotein in the brain , has been identified as important risk factors for ad [ 3134 ] .
the central nervous system ( cns ) contains about 25% of the total body cholesterol , the highest content of any organ , the majority of which is found in neuronal plasma membranes and the myelin sheaths of axons .
cholesterol is a major regulator of membrane lipid organization and fluidity , and as such , mammals have developed complex and sophisticated homeostatic mechanisms that function to maintain cellular cholesterol levels in membranes within a narrow range .
alterations and/or disturbances in these homeostatic mechanisms , either by genetic , environmental , diet - induced or natural aging can lead to altered cell function and disease in ad , the -secretase complex catalyzes the cleavage of app within the hydrophobic lipid bilayer suggesting that perturbations in cellular cholesterol levels , trafficking and/or organization that disorganize the structure of the protein lipid bilayer may accelerate or contribute to the generation of a. animals fed cholesterol rich diets exhibit increased brain a levels that can be reduced upon return of the animals to normal chow diets [ 37 , 38 ] . in vivo studies
have demonstrated that high cholesterol diets can increase a levels in rabbits and in an ad mouse model .
while in vitro studies indicate that increased cellular cholesterol levels result in the increased production of a peptides [ 40 , 41 ] .
in addition , cholesterol depletion also inhibits a generation in hippocampal neurons and increases -secretase activity in cultured cells [ 42 , 43 ] .
although these studies reveal that cellular cholesterol levels can modulate app processing , the exact mechanism by which this occurs remains unclear . to understand the relationship between cellular cholesterol levels and cellular app processing and a production
membrane rafts ( previously referred to as lipid rafts ) are dynamic highly ordered membrane microdomains enriched in cholesterol , sphingolipids and saturated phospholipids distinct from the surrounding bilayer of mostly unsaturated phospholipids .
proteins can be selectively included or excluded from these microdomains [ reviewed in 4447 ] .
although there remains considerable uncertainty about the abundance , size , duration and exact composition of membrane rafts ( some of which we believe is attributable to cell type variation ) , membrane rafts are believed to be around 50 nm in diameter ( 10100 nm range ) , with each individual raft potentially carrying around 20 protein molecules [ described in 48 , 49 ] .
theoretically , a cell may have around 1,000,000 membrane rafts covering more than half of its membrane surface .
in this fashion , it is unlikely that a protein in one raft would encounter its interaction partner or substrate in the same individual raft .
this function underlies the theory that the small size of individual membrane rafts may serve to segregate and hold membrane signaling proteins in the off state .
once the cell is activated , membrane rafts are believed to function as a concentrating platform for a variety of signal transduction molecules [ 4447 ] . during activation ,
many rafts would cluster , forming a larger platform , thus allowing functional proteins to concentrate and interact , likely with cytoplasmic signaling factors , such as small g proteins , that are recruited to the cytoplasmic face of rafts in response to clustering , thereby facilitating the initiation of signaling events . due to the highly ordered nature of lipid rafts ,
glycosyl - phosphatidylinositol ( gpi ) anchored and doubly acylated proteins tend to cluster in these microdomains .
additionally , other proteins have shown the ability to move in and out of membrane rafts in response to ligand binding or oligomerization .
importantly , this clustering is believed to be cholesterol dependent [ 48 , 49 ] . in this
regard , membrane rafts are believed to play a central role in regulating several cellular processes , such as membrane sorting , trafficking and signal transduction [ 45 , 47 ] .
several lines of evidence suggest the involvement of membrane rafts in - and -cleavage of app [ reviewed in 48 , refer to fig . 1 ] .
it has been reported that the proteins relevant to a generation , including presenilin , nct , aph-1 , pen-2 and a small portion of app , localize in membrane rafts [ 4959 ] .
in addition to the -secretase components , it has also been reported that -secretase localizes in membrane rafts and that cholesterol depletion abrogates this localization [ 49 , 50 ] .
ehehalt et al . have reported that app exists in two pools , one associated with membrane rafts , in which -cleavage occurs , and another outside of membrane rafts , where -cleavage occurs , suggesting that raft localization favors the generation of a. recent reports have suggested that -secretase activity is predominantly localized in membrane rafts and cholesterol can directly regulate the -secretase activity .
collectively , these findings suggest that the raft or non - raft membrane distribution of app may in part determine its processing fate .
it has been suggested that during embryonic development , the -secretase complex may be primarily located in non - raft membranes facilitating the proteolysis of diverse substrates important for development , while the translocation of -secretase to membrane rafts in adults facilitates the processing of adult - specific substrates , including app ctfs , while limiting the processing of other potential substrates .
although the experimental evidence remains unclear , under such a scenario , high cellular cholesterol levels and/or lipid bilayer alterations that increase the number or potentially the size of membrane rafts would disrupt the segregation ability of the raft / non - raft membrane and unintentionally allow the interaction between app and the -secretase complex in an individual raft , thus favoring a production .
low cellular cholesterol levels or disruption of lipid rafts could be envisaged to decrease a production and favor the non - pathogenic cleavage by -secretase . in further support of the importance of membrane rafts in ad progression , it has been recently reported that following dimeric a accumulation in membrane rafts , both apoe and phopshorylated tau , were observed to increase in membrane rafts in the aged tg2576 mouse model of ad .
assembly of presenilin ( ps ) with nicastrin ( nct ) and aph-1 stabilizes ps , and the association of pen2 activates ps to fragmented form .
active -secretase complex is targeted to membrane rafts by lipid modifications , such as myristoylation , palmitoylation or double isoprenylation .
amyloid precursor protein ( app ) is mostly cleaved by -secretase in non - raft domain to generate apps and ctf , but some part of app in the membrane raft is cleaved at the beta site by -secretase , which resides in cholesterol rich membrane raft , to generate apps and ctf . after the - or -cleavage
accordingly , the ctf ( c99 ) is cleaved at gamma site by -secretase in the raft domain to generate pathogenic form of a peptides .
c - terminal peptide is further cleaved at or site by -secretase to generate amyloid intracellular domain ( aicd ) peptide . in the non - raft domain ,
ctf ( c83 ) is further cleaved by -secretase to generate p3 and aicd peptides .
other -secretase substrates , such as the ctfs derived from notch1 , jagged2 , deleted in colorectal cancer ( dcc ) , and n - cadherin , are cleaved in non - raft domain .
diet , genetic factors and environmental factors may well contribute to , in association with membrane lipid changes associated with aging [ reviewed in 62 ] , the perturbation of membrane raft structure and function and thus ultimately imbalance this important segregation of proteolytic complex , -secretase and/or -secretase and app titling the balance toward pathogenic a production .
this scenario could be envisaged to play out over years and be intimately intertwined with the aging process , in a fashion similar to cardiovascular disease . due to similarities between ad and cardiovascular disease , and the well - established benefit of reducing cholesterol levels in patients with cardiovascular disease ,
several epidemiological studies have suggested that the use of 3-hydroxy-3-methylglutaryl - coa - reduc - tase inhibitors ( statins ) to treat hypercholestero - laemia may reduce the risk of dementia [ 6366 ] .
statins efficiently inhibit the rate - limiting enzyme , hmg coa reductase , in the cholesterol biosynthetic pathway responsible for the production of non - sterol isoprenoids , notably farnesyl pyrophosphate ( fpp ) and geranylgeranyl pyrophosphate ( ggpp ) , ubiquinone and dolichol , in addition to cholesterol .
although there have been initial reports that treatment with cholesterol synthesis inhibitors can lower the a levels in guinea pig and in the ad mouse [ 40 , 68 ] , recent findings suggest that the lowering of a levels by statins may not be so clear [ 69 , 70 ] .
statins are believed to exert their effects by manipulating cholesterol and isoprenoid levels intracellularly leading to altered app processing and membrane signaling .
statin treatment has been shown to decrease the association of the active form of the -secretase complex with membrane rafts . whether this effect is due to statin 's reduction in cholesterol biosynthesis or a reduction in isoprenylation , or the more likely scenario ,
in which it is a complex combination of both , remains to be clearly elucidated [ reviewed in 71 , 72 ] .
it has also been suggested that statin - treatment - induced inhibition of isoprenylation results in a reduction in membrane raft clustering involved in app processing and a generation .
the clinical relevance of these findings is questionable , as it has been shown that at clinical dosages , only low statin concentrations are detected in the cerebrospinal fluid , and at such concentrations , although cholesterol biosynthesis may be reduced , it appears highly unlikely that isoprenoid synthesis is inhibited in the cns [ 7476 ] .
it remains highly plausible that many of the positive benefits of statin treatment may in fact be associated with modifications and modulations of both the structure and functioning of membrane rafts , not only in the cns , but possibly predominantly in the periphery , leading to statin 's anti - oxidant and anti - inflammatory properties .
isoprenylation , the after translational attachment of fpp or ggpp to a protein , is an important cellular regulated process of protein localization and function [ reviewed in 78 , 79 ] .
it is well established that one of the pleiotrophic benefits of statin therapy is the reduction in protein isoprenylation .
isoprenylation appears to play a crucial role in regulating the subcellular localization of proteins , including targeting these proteins to plasma membranes , possibly specifically to membrane lipid microdomains and intracellular membranes as well as modulating protein interactions .
whether a direct relationship , if any , exists between isoprenylation and cellular or membrane cholesterol levels remains unknown .
isoprenylation affects a large variety of cellular processes and cellular functions , including vesicular transport , cytoskeletal alterations and cell signaling [ reviewed in 79 ] .
a large number of proteins are isoprenylated , including the subunits of trimeric g proteins , protein kinases and the more than 150 members of the ras gtpase superfamily , including rac , ral , rap and rho .
members of the ras superfamily of gtpases are integral components of complex signaling net - works and control diverse cellular activities including intracellular vesicle transport , cell adhesion , endocytosis , cytoskeletal organization , receptor signaling , cell cycle progression and gene expression [ 73 , 8082 ] .
experimental evidence suggests that gtpases may play a significant role in ad pathogenesis [ 82 , 83 ] .
rab1b and rab6 appear to function in the intra - cellular trafficking and processing of app .
other gtpases have also been implicated in ad progression [ 86 , 87 ] . due to the fact that isoprenylation , in part , regulates both the functionality and the sub - cellular localization of these gtpases ,
it is likely that statin - induced inhibition of isoprenylation , as some experimental evidence suggests , would have complex ramifications on app trafficking and processing , a formation and neuronal and synaptic plasticity .
we have shown that statin treatment decreases the association of the active form of the -secretase complex with lipid rafts , and that this effect can be partially rescued through the addition of ggpp , suggesting that ggpp may in part regulate active -secretase complex association with membrane rafts .
consistent with this finding , and highlighting the importance of isoprenylation in ad progression , it has been suggested that two pools of a exist and appear to function independently of each other , with the intracellular pool regulated by isoprenoids and the secreted pool regulated by cellular cholesterol levels .
in addition to interest in statin therapies for the treatment of ad , recent reports suggest that inhibitors of acylcoenzyme a : cholesterol acyltransferase ( acat ) may hold therapeutic promise . in vitro and in vivo findings demonstrated that treatment with an acat inhibitor reduced the production of a and reduced the accumulation of amyloid plaques and insoluble amyloid in the cns of mice .
cholesterol distribution in membranes , in particular membrane rafts , appears to be more important for a processing than cellular cholesterol levels .
the mechanism underlying this observed effect have not been clearly defined , yet inhibition of cholesterol esterification may result in a greater or enhanced mobilization of the cellular cholesterol efflux machinery thereby decreasing membrane cholesterol levels .
although there has recently been a number of exciting findings in the ad field , the relationship between cholesterol , iso - prenylation and the processing of app is far from understood .
it remains controversial what is the primary causative agent or factor versus what are secondary effects / responses .
consistent with the view of many researchers , it remains important for the ad research community to approach the ever - increasing number of new research findings with an open mind , and continue to search for a unifying theory that can account for all of the biochemical and pathological complexities associated with ad . | pubmed |
dark solitons represent a ubiquitous feature of nonlinear systems@xcite , and their experimental realization in atomic bose - einstein condensates ( becs)@xcite has opened up new possibilities for their study .
the stability of the soliton , and its dependence upon the geometry of the condensate , is a problem of considerable interest . in three dimensions
a soliton is dynamically unstable to undulations in its transverse profile .
this so - called `` snake '' instability leads to the soliton decaying to vortex lines or rings , and has been observed experimentally@xcite .
this instability , however , can be suppressed by confining the condensate much more strongly in the transverse direction than longitudinally , so that the condensate is highly elongated along the axial direction .
a second decay mechanism arises from the fact that at non - zero temperatures the condensate coexists with a noncondensed cloud composed of thermally excited quasiparticles .
interactions of the soliton with the thermal cloud leads to dissipation , so that the soliton loses energy and accelerates .
experiments@xcite suggest that the timescale for this decay can be relatively short , on the order of 10ms , so has important consequences for the dynamics .
this decay process has previously been studied theoretically by fedichev _
et al._@xcite and muryshev _
et al._@xcite by considering the reflection of thermal excitations from the soliton .
the role of quantum fluctuations was addressed in dziarmaga _
et al._@xcite . in this paper
we describe the use of numerical simulations@xcite to model a soliton at finite temperatures in a highly elongated condensate , where the trap frequency in the radial direction , @xmath1 , greatly exceeds that along the axial direction , @xmath2 . at @xmath3
the soliton is predicted@xcite , on the basis of the gross - pitaevskii ( gp ) equation , to oscillate longitudinally at a frequency of @xmath4 , which involves continuous undamped soliton - sound interactions@xcite .
we follow the motion of the soliton as a function of time , finding the expected oscillation along the axial direction . at finite temperature the energy loss of the soliton due to
the presence of the thermal cloud leads to an increase in the amplitude of the oscillation .
we investigate this soliton decay process as a function of temperature , and find that it is appreciable even at very low @xmath5 .
our treatment of finite temperatures is based on the zng formalism@xcite , where we solve the following coupled equations @xmath6 @xmath7 the former is a generalized gp equation for the condensate wavefunction @xmath8 , and the latter is a boltzmann equation for the thermal cloud phase space density @xmath9 . here
the condensate and thermal cloud densities are defined as @xmath10 and @xmath11 respectively , while @xmath12 parametrizes the mean field interactions between atoms of mass @xmath13 with scattering length @xmath14 .
the effective potential is @xmath15 , with @xmath16 representing the harmonic trap confining the atoms .
note that for the purposes of this paper we neglect collisions between the atoms , and the coupling between the condensate and thermal cloud is purely mean field in nature .
for the parameters considered here , inclusion of collisions is expected to slightly increase the damping rate , but this will be considered explicitly in future work .
the initial condition for our simulations is found by self - consistently solving ( [ eq : gp ] ) in imaginary time to find the ground state wavefunction , which is coupled to a thermal cloud described by a bose distribution @xmath17 - 1 \}^{-1}$ ] , where @xmath18 is the condensate chemical potential .
the methods for solving eqs .
( [ eq : gp ] ) and ( [ eq : boltz ] ) for the subsequent finite temperature dynamics are described by jackson and zaremba@xcite .
a difference with respect to this earlier work is that here the gp equation ( [ eq : gp ] ) is solved using cylindrical coordinates with a crank - nicholson time - stepping scheme . since the system is cylindrically symmetric the problem effectively reduces to two dimensions , improving the efficiency of the simulations
finite temperature simulations have been performed for @xmath19 @xmath20 atoms in a trap with frequencies @xmath21 and @xmath22 , resulting in a cloud that is highly elongated along the axial direction .
the critical temperature for bose condensation is close to that for an ideal gas in the thermodynamic limit@xcite , @xmath23 , which for these parameters corresponds to @xmath24 . at time
@xmath25 the equilibrium configuration for a given temperature is imprinted with a dark soliton , by multiplying the condensate wavefunction @xmath26
with@xcite @xmath27 , where @xmath28 , @xmath29 is the condensate healing length , and @xmath30 is the speed of sound for density @xmath31 . for the benefit of the following discussion , it is useful to note that for a condensate of uniform density @xmath32 the soliton energy is given by@xcite @xmath33 , while the density at the soliton minimum ( equal to the difference between the background density and the depth of the soliton ) is@xcite @xmath34 .
so an increase in @xmath35 corresponds to a decrease in the soliton energy and depth , which both tend to zero as @xmath36 .
for @xmath3 the dynamics are simply given by the gp equation ( [ eq : gp ] ) with @xmath37 .
the black lines in fig .
[ fig : sol - xs ] plot the subsequent evolution of the density at early times , where the soliton oscillates along the axial direction .
the position of the soliton minimum , @xmath38 , is plotted in fig .
[ fig : solmin ] ( a ) , illustrating that the soliton oscillates at constant amplitude with a frequency of @xmath39 , as expected@xcite .
the parameter @xmath40 , representing the density at the soliton minimum as labelled in fig .
[ fig : sol - xs ] ( a ) , acquires its maximum value at the center of the trap and is zero at the turning points of the soliton motion .
[ fig : solmin ] ( b ) plots @xmath40 , divided by the central density of the condensate without a soliton , @xmath32 .
the peak value of this parameter ( attained at the trap centre ) remains constant , as expected for undamped motion .
the corresponding density cross - sections for @xmath41 are plotted with gray lines in fig .
[ fig : sol - xs ] , where one sees that , even during the first oscillation , the presence of the thermal cloud leads to an increase in the amplitude of the oscillation ( fig .
[ fig : sol - xs ] ( b ) and ( d ) ) , in addition to a significant decrease in the depth of the soliton when it is at the trap center ( fig . [ fig : sol - xs ] ( c ) ) .
the steady rise in oscillation amplitude is also shown in fig .
[ fig : solmin ] ( a ) , while the decrease in soliton depth at @xmath42 ( corresponding to an increase in @xmath40 ) is illustrated in fig .
[ fig : solmin ] ( b ) .
this accompanies an increase in velocity at @xmath42 , and reflects an energy decay as the soliton interacts with the thermal cloud .
simulations have also been performed at other temperatures , and one finds less damping at lower @xmath5 ( as illustrated for @xmath43 in fig . [
fig : solmin ] ) and more damping at higher @xmath5 , as expected .
however , it is remarkable that appreciable damping occurs even for these relatively low temperatures ( @xmath44 ) , which contrasts with the situation for collective modes where the effects of finite temperature tend to be significant only at higher temperatures@xcite .
another noteworthy feature relates to the time dependence of the amplitude , the increase of which appears to saturate as it approaches the radius of the condensate .
this effect has also been observed for @xmath45 , where the initial oscillation amplitude is smaller , and hence the saturation does not occur until later times .
we have performed numerical simulations to study the dynamics of dark solitons in a bose - einstein condensate at different temperatures .
our numerics for zero temperature reproduce soliton oscillations along the axial direction at constant amplitude and at a frequency of @xmath39 .
however , at finite temperature , mean field coupling between the condensate and thermal cloud is shown to lead to a lower frequency oscillation with a steadily increasing amplitude .
this corresponds to the soliton losing energy to the thermal cloud , with a rate that increases with rising initial temperature .
note that this energy transfer can not be considered as a heating of the thermal cloud , since temperature is not defined during the simulation due to a lack of rethermalizing collisions .
future calculations will study the influence of these collisional processes , as well as modelling the soliton decay for the experimental parameters of burger _
et al._@xcite . a further motivation for future work is to ascertain the feasibility of proukakis _
et al._@xcite , where a parametric driving scheme was proposed for stabilization of a soliton against a phenomenologically modelled thermal cloud .
we plan to revisit this problem with our more detailed finite temperature simulations .
this research is supported by the uk engineering and physical sciences research council .
we thank n. g. parker for useful discussions . | arxiv |
Identifying chiral centers
The compound below is fexofenadine and the only chirality center, as identified by the textbook is, the one circled in red.
I don't understand why the carbonyl carbon is not a chiral center too. Isn't it attached to a *tert*-butyl group? So isn't it attached to four different substituent groups? Or is it that the hydroxide group is attached to the carbon by the oxygen, thereby making a 'duplicate' substituent group of the carbon already double bonded to the oxygen?
Take a look at your carbon circled in red, it has a hydrogen on it giving it four different groups.
Now look at the C circled in blue. There is no hydrogen attached to that carbon because it already has four bonds (two to the O, one to the OH, and one to the rest of the molecule.) Therefore it only has three substituent groups attached and not four.
If in doubt, simplify, examine both centres separately and draw.
Can you do the same for the carboxylic acid?
**No.**
If you look at the carbon circled in blue, it only has *three* not four substituents. If you examine the three-dimensional structure around the carbon, you will find that there is a plane of reflectional symmetry through the plane of the C=O bond which means it *cannot* be a chiral centre.
4 different things attached to a carbon in 3D space means it will be chiral. 3 does not.
| stackexchange/chemistry |
Could we launch a missile from a planet with the mass of Jupiter?
If the Earth had the mass of Jupiter, would we be able to launch a space missile ?
Is there a formula to calculate how the launch of 1-Kg payload increases with gravity?
Let's assume you mean that Earth now has the mass of Jupiter (as opposed to actually launching from the literal planet Jupiter - whole different question...). Then:
* radius of Earth = $6.4 \times 10^6~\text{m}$
* mass of Jupiter = $1.9 \times 10^{27}~\text{kg}$
* Escape velocity, $v\_\text{escape} = \sqrt{\frac{2GM}{r}}$
This gives a value for $v\_\text{escape}$ of **$200~\text{ km}/\text{s}$**. For comparison, the actual value (for the real Earth) is $11~\text{ km}/\text{s}$. Incidentally, the surface gravity on this new Earth is about $300~\text{g}$.
To work out how this could be done, we need the rocket equation, which is $\Delta v = v\_\text{exhaust} \ln \frac {m\_0} {m\_1}$.
We need a *delta-V* of $200 ~\text{km}/\text{s}\; ,$ with a chemical rocket (exhaust velocity about $4400 ~\text{m}/\text{s}$). Solving for $m\_1 = 1~\text{kg}\;,$ we get mass of fuel ($m\_0$) required of about $5 \times 10^{16}$ tonnes.
That's about $5\%$ of the mass of all the oceans on Earth. If you used hydrogen and oxygen as the fuel, you'd need to convert a volume equivalent to the Mediterranean Sea.
Hey!
====
The question keeps getting edited! Make up your mind!
You asked about Mars originally, then edited the question. Actual, real Jupiter is flat out **impossible.** Does it have a surface to launch from? Who knows? What's the pressure at that depth? Can our probes even survive at that depth? Probably not?
What if Earth had the mass of Jupiter? **More impossible.** It would have a surface gravity of $g \frac{M\_J}{M\_E}$ or something like 3100 m/s2. I don't think you could even build [two-story buildings on that kind of planet](https://en.wikipedia.org/wiki/Mission_of_Gravity)
However, here is the math for Mars.
Answer for Mars
===============
Gravity differs, yes, but Mars also has a 0.6 kPa surface pressure, compared to Earth's 100 kPa. This makes comparisons between Earth and Mars practically impossible. Fortunately, the math is easier on Mars.
Tsiolkovsky's rocket equation tells us the answer for general rocket maneuvers.
>
> $\Delta v = v\_e \ln \frac{m\_0}{m\_1}$
>
>
>
For Mars to LMO (low Mars orbit), the $\Delta v$ is about 4.1 km/s. This is just a function of the gravitational potential that you are escaping. For comparison, Earth to LEO is about 9.3-10 km/s, and [Kerbin to LKO is about 4.6 km/s](http://wiki.kerbalspaceprogram.com/wiki/Orbit#LKO).
The value $v\_e$ is the effective exhaust velocity, which could be about 4.4 km/s for a bipropellant rocket.
The values $m\_0$ and $m\_1$ are the masses of the rocket before and after the maneuver.
We will pretend that Mars has no atmosphere.
Suppose that 75% of your rocket is fuel, then $\frac{m\_0}{m\_1} = \frac{1}{1 - 0.75} = 4$, and your $\Delta v$ is 6.1 km/s, which is more than enough to get into orbit. But it's not enough to escape Mars! For that, you need to double the $\Delta v$.
Actually you can go to the orbit of [Jupiter](https://en.wikipedia.org/wiki/Jupiter) with a $\approx 2500$ tonnes rocket and a $3$ tonnes payload. From there you can use an ionic engine. A rocket launched from the equator of Jupiter that turns at $12.6~\text{km}/\text{s}$ needs just an increase in speed $v = 29.5~\text{km}/{\text{s}}$.
$$v\_{rj}:= 12.6~{\text{km}}/{\text{s}} \;\;\; R\_j := 71492~\text{km}\;\;\; g\_j:= 24.79~\text{m}/{\text s^2}$$ Given $$\frac{(v + v\_{rj})^2}{R\_j}= g\_j \\ \text{Find}(v)\rightarrow \left[\frac{1}{5}\cdot \frac{\left[-63~\text{km} + \sqrt{44307167}\cdot (\text{km}\cdot\text{m})^\frac{1}{2}\right]}{s} \; \frac{1}{5}\cdot \frac{\left[-63~\text{km} - \sqrt{44307167}\cdot (\text{km}\cdot\text{m})^\frac{1}{2}\right]}{s}\right] \\= \left(2.95 \times 10^4 \;\; -5.47\times 10^4\right)~\text{m}/\text{s} \\ m\_L:= 3000~\text{kg}\;\;\; v\_e := 4400~\text{m}/\text{s} \;\;\; v:= 2.95 \times 10^4 ~\text{m}/\text{s}$$ Given $$v=v\_e\cdot \ln \left(\frac{m\_r}{m\_l}\right)\\ \text{Find}(m\_r)\rightarrow 2448320.9528130687939~\text{kg}= \; 2.448 \times 10^6~\text{kg}$$
>
> could you say up to what gravity we can launch 1-Kg net payload, and the total weight of the missile
>
>
>
The escape velocity of Jupiter is just 59.5 km/s.
Doing the math using the formula posted by others above you will get:
$m\_{rocket} = 746.2$ tonnes
which is well below the mass of the rocket that transported people on the moon between 1969 and 1972.
So, it is possible to launch a 1 kg payload from Jupiter.
| stackexchange/physics |
Why do physicists say that elementary particles are point particles?
For example, an electron, it has mass and charge, but is considered to have point mass and point charge, but why? Why are they assumed to have charge and mass in a single infinitely small point in space? Doesn't QFT show us that point like particles aren't really points rather extended excitations of fields?
Scattering experiments can be used to determine the size of a particle. The results for an extended object are different than that of a point particle. But all of these scattering experiments depend on getting the probe particle "close" to the scattering object. In the case of electrons, that means launching the probe with enough energy to overcome the Coulomb repulsion ... and get "close". How close depends on the energy of the probe particle. But there's a limit on the energy that can be given to the probe, so there's a limit to how "close" the probe can get. Consequently, we can't know what happens at distance shorter than some value.
The best scattering experiments done on electrons to date show a scattering pattern identical to that of a point particle.
That doesn't mean that it actually is a point particle, it just means that to the best of our knowledge it is. No experiment to date, scattering or otherwise, has shown any sign of a size for the electron. Our theory and our experiments are both happy ... for now ... with the notion that the electron is (more accurately: behaves exactly like) a point particle.
| stackexchange/physics |
The Boston Whaler-class lifeboat was part of the A class of lifeboats formerly operated by the Royal National Lifeboat Institution of the United Kingdom and Ireland. It was replaced by the Atlantic 21.
Fleet
References
External links
RNLI Fleet
Category:Royal National Lifeboat Institution lifeboats | wikipedia |
Once Upon a Time 1. From the Beginning
**From the Beginning**
**A/AN: This is my newest cover bunny story "A Date with My Beast". The title won't make much sense until we get to Storybrooke. The first couple of chapters will be in the Dark Castle, prior to the curse. This is going to be very angst driven at first but it will get better. If you would like to join the Cover Bunnies contest then please contact Emilie Brown on Fanfiction or come join the fan fiction and creations group on FB. The deadline for story submissions is September 30****th****.**
Belle was once the princess of a small merchant kingdom known as Avonlea. She was engaged to Gaston, the bravest knight in the entire kingdom. She thought she would one day marry him and give birth to an heir to take on the family name but it didn't quite happen like that. The ogres came and ransacked the kingdom until they were down to their last well able fighting men and little dab of gold. Her father Maurice called on the one known as the "Dark One" to come and relieve their suffering.
She knew they were in dire circumstances if their only hope was the fearsome beast. He marched jubilantly into the castle, sniggering at their misfortune. She knew he never did anything out of the _goodness _of his heart. Everything demanded a price.
She remembered the first time she saw him sitting in her father's chair, fingers formed in a steeple, his amber eyes glowering at all of them. He was a curious looking creature with gold grayish skin. It sparkled peculiarly in the candlelight. It almost felt like it was just yesterday when she first met him…
~X~
"_You sent me a message. Something about, um, 'Help, help! We're dying! Can you save us?' Now, the answer is – yes, I can. Yes, I can protect your little town. For a price." he mocked them in his high pitched tone._
"_We sent you a promise of gold." Maurice supplied causing the imp to roll his eyes._
"_Ah… No. You see, um… I, uh, make gold. What I want is something a bit more special. My price…is her." he spoke pointing a finger in Belle's direction. She felt her heart somersault when his eyes met hers. Was she frightened or excited? Maybe she was a little of both. It was hard to tell at the time._
"_No!" Maurice said firmly, declining his offer._
"_The young lady is engaged to me!" Gaston replied snobbishly causing Belle to groan inwardly. She had a name after all! Gaston just wasn't accustomed to using it or maybe he was to dimwitted to know how._
"_I wasn't asking if she was engaged. I'm not looking for 'love' – I'm looking for a caretaker for my rather large estate. It's her, or no deal." Rumplestiltskin imparted causing the entire room to fill with dread. _
"_Get out! Leave!" Maurice commanded pointing his finger towards the door._
"_As you wish." he bowed making his way towards the exit._
"_No, wait!" She felt the words leave her mouth before she had time to contain them. What was she doing anyway? She felt herself stagger towards him, like her feet had a mind of their own. He turned around, amber eyes locking with blue._
"_I will go with him." she stated, standing just a few feet in front of him._
"_I forbid it!" Gaston declared, brandishing his sword. Belle cringed at the sound of his voice, like she was some possession he owned. No one owned her._
" _No…" she heard her father silently mouth like all the fight had gone out of him._
"_No one decides my fate but me. I shall go." she said boldly turning to face them._
"_It's forever, dearie." Rumplestiltskin cautioned causing an even bigger lump to form in her throat, but she pushed it away._
"_My family, my friends – they will all live?" she bargained going nowhere unless she knew they would be a hundred percent safe._
"_You have my word." he promised in a lower octave with an impish hint to it._
"_Then, you have mine. I will go with you forever." she promised, staking her very life on it. She would do this for her people by being the hero she always wanted to be._
"_Deal." he cackled rubbing his hands together proudly._
"_Belle. Belle, you cannot do this. Belle, please. You can't go with this…beast." her father cut in, glaring harshly at Rumplestiltskin. She watched him place his hand over his chest feigning offense at the insult. _
"_Father. Gaston. It's been decided." she said turning towards her new master._
"_You know – she's right. The deal is struck. Oh! Congratulations on your little war." he mocked, taking her by the hand, forcing her through the door._
~X~
She spent the first few weeks locked in his dungeon until he found a use for her. One day he came to with a proposition. She was afraid he would take advantage of her for his personal lusts, but that was just another misconceived notion about him. He turned her into his personal maid. She worked tirelessly to please him but things began to change between them. His tone grew softer and her workload became lighter. He began giving her the weekends off. She was allowed to participate in any leisurely activity she wished as long as she didn't leave the castle.
Belle's favorite room was an expansive library of his. She spent the majority of her downtime and days off there, reading until dawn faded into dusk. Sometimes he would join her for tea, and she would read to him. She was so mesmerized by her story that she hadn't noticed he'd fallen asleep on the settee beside her. She brushed a few ringlets from his brow, deciding she liked the feel of his cool skin. It was smooth, unlike the serpanty texture, she first imagined. She didn't want her curiosity to best her and get her in a heap of trouble, so she opted finding a blanket for him instead. She lit another candle making her way out of the library unaware he was just feigning sleep. His entire body felt warm from her innocent touch, and he wanted to feel more of it.
A few weeks later he was spinning at the wheel while she dusted his belongings. She climbed the ladder trying to pull back the curtains to let sunlight in. He'd nailed them down because the sunlight nauseated him. He had accustomed himself to the darkness, allowing it to infiltrate his entire being but something had happened when he caught her after a failed attempt to undo them. He looked breathlessly into her blue depths, drowning himself. A few seconds passed before he realized what had taken place. He reluctantly let her go, realizing he'd overstepped his boundaries.
An entire week passed before he requested her presence again. She was startled when he told her to leave the castle to go buy straw for him in the neighboring village. He had plenty of straw. It was simply a test to see if she would come back to him. He knew what he felt for her was more than just simple friendship, but he wouldn't allow himself to pursue it. He would let her go and try to forget because she surely wouldn't return his sentiment.
He allowed himself to spin her away, utterly shocked when he felt a warm hand on his shoulder, filling his stomach with butterflies. He watched her sit beside him, studying her physique intricately.
"Oh, you're back already. Good… Good thing. I'm, uh… I'm nearly out of straw." he lied trying to dispel the awkwardness that had formed between them.
"Hm. Come on – you're happy that I'm back." she teased lightly. The butterflies were swarming now.
"I'm not unhappy." he said shyly entranced by her beauty.
"And, uh, you promised me a story." she gently reminded him, his mind filling with images of his long lost son.
"Did I?" he said nervously, hoping she would let it drop.
"Mmhmm. Tell me about your son." she coaxed hoping he would open up to her.
"I lost him. There's nothing more to tell, really." he said, refusing to delve into further detail about his disappearance.
"And, since then, you've loved no one. And no one has loved you." she said softly in almost a whisper. The butterflies were roaring tenaciously inside of him.
"Why did you come back?" he inquired changing the subject, wondering what had compelled her to return to him, the beast of this castle.
"I wasn't going to. Then… Something changed my mind." she returned, their lips just inches apart now. She closed the gap between them, kissing him chastely. He allowed his hand to roam through her tresses gently, deepening the kiss. In that moment all was right with the world. He wasn't a raging beast, roaming the empty halls of his castle, roaring in displeasure. He was human again, and he was in love. He was in love with Belle, and he was certain she was in love with him too.
Several more months passed, and he couldn't have been happier. Today he was going to ask Belle to be his wife. In just eight short months, she'd changed everything for him. He could hardly believe that she _loved _him. His heart fluttered at the very prospect of spending the rest of his life with her.
He proposed to her with a beautiful blue sapphire ring that contrasted perfectly with her eyes in the castle garden. She'd kissed him senseless, spouting yes over and over again. They married that afternoon in the very same spot he proposed. He'd gifted the village parishioner with a very handsome reward of jewels for his services.
To many Rumplestiltskin was outwardly a beast but in Belle's mind that interpretation was flawed. He was the kindest and gentlest husband she could've asked for. He was very attentive to her needs making sure their consummation was memorable and romantic. No man in her entire kingdom would've treated her like this, especially not Gaston. After it was over he held her close, warming her with his body, carding his fingers gently through her hair until she fell asleep.
A couple of months after their nuptials, Belle started to feel nauseous. Her husband concocted several enchanted remedies for her but nothing seemed to work. He grew afraid after she laid herself up in bed a few days. He consorted a physician who was more knowledgeable about these kinds of things. He was surprised yet relieved when he told them they were expecting a child. Their lives would never be the same, and he couldn't have been happier.
**A/AN: Well that's the first chapter. The next chapter is the last one dealing with the Enchanted Forest. We will be going to Storybrooke in the third installment. I hope everyone enjoyed that. Please review and give me some feedback. I would like to thank the ever so lovely Emilie Brown for making this cover for me! Review please!**
2. Right Where it Ends
**Right Where it Ends**
**A/AN: Yes I'm back! Thank you for all your awesome reviews! I was hoping to get this out sooner but you know that thing called "life" can sometimes slow you down…Anyway this will be the last chapter spent in the Enchanted Forest. I don't want to too much time there because the majority of this story is meant to be spent in Storybrooke. Review please!**
The morning sickness was waning when Belle entered her second trimester. Things within the dark castle had been relatively quiet, especially since Rumple never ventured outside the castle anymore to make a deal. He was her constant, always there to protect her. She was his most valuable treasure. She assured him that it was okay to leave her company now and again, but he refused. The only person he begrudgingly dealt with was his former student, Regina or the "evil queen" as many revered her. Rumple never spoke of his dealings with her. She almost wondered if he was hiding something from her. The queen wasn't allowed to know of her existence so when she paid a visit, Belle would stay in the library until they were finished.
It had been exactly one year since she'd left Avonlea. She thought of writing to her father, to relay the latest happenings to him. Belle picked up a piece of parchment, dipping her quill in some ink before penning him a short letter.
_Dear Papa,_
_How are you fairing? I know it's been over a year since we've spoken, but I wanted to brief you on what has happened this past year. I started out as a servant in Rumplestiltskin's castle but things changed. Papa, he isn't the beast people make him out to be. He's the most caring and loving man I've ever met. We fell in love and six months ago we wed. I know this is probably a lot to swallow, but we're expecting a child. The doctor says it will come in winter. Aren't you proud of me papa? We'll finally have an heir! Please write back soon. _
_Love,_
_Belle_
Belle wrapped the parchment up, tying it with the thin blue ribbon that held her hair back. She opened the window giving a whistle. A dove came landed on the sill. She tied the letter to its claw and commanded it to deliver her letter to King Maurice of Avonlea. She shut the window back as soon as the dove flew away.
"What are you doing by the window dearie?" inquired a curious voice from behind. Belle turned around to meet the inquisitive eyes of her husband.
"I was just getting some fresh air. It's rather stuffy in here." Belle supplied, fanning herself.
"Why don't we take a stroll in the garden then?" he suggested offering her his arm. She smiled brightly at him, looping her arm through his. "That sounds lovely Rum." she smiled forgetting about the letter she'd sent her father. Many weeks passed, and she heard nothing from her father. She wondered if he'd ever received the letter or if it had gotten lost but those thoughts were soon lost. The leaves began to change and her belly grew bigger, indicating that their child would soon arrive.
Winter came with fury making it impossible to cross the king's road. Luckily for Belle, her husband could magic himself to any location. He brought back with him the doctor who would deliver their child when the contractions began. The winter wind howled loudly outside the dark castle with each scream from her mouth. He longed to soothe her pain with some magical remedy, but he didn't want to bring harm to their child. After nine agonizingly long hours of labor, Belle gave birth to a beautiful baby girl with chestnut tresses and warm chocolate eyes. The first cries of life reverberated throughout the castle, filling Rumplestiltskin with a joy he never thought he'd ever feel again.
He held the small infant in his arms, marveling at how such a tiny creature could be so squirmy. Her innocent irises gazed at him, and she gave him her very first smile, one that would be burned in his memory forever. He handed the infant back to Belle who adjusted her breast to nurse. The child sucked contently, making the most precious sounds she'd ever heard. Rumplestiltskin marveled at his little family, wondering what he'd come to deserve this flicker of light amongst a sea of darkness.
"What are you thinking about Rumple?" Belle inquired to her husband, pulling him out of deep thought.
"How I can possibly deserve any of this." he replied, flourishing his hand towards her and their sleeping child.
"Because I love you, and you're worth it." she smiled, the color in her cheeks slowly returning.
"I love you too sweetheart, and I love-" he stopped looking at the tiny bundle between them. He met her gaze wondering what they should name their child.
"Adeline. Let's call her Adeline…" she suggested, staring down at their child contently.
"Our little Addy." he whispered, traces of the imp vanishing from his voice. He sounded more human to her than ever before in that moment, a serious expression brushed across his features.
"Yes, a product of the truest love." she sighed, holding the snoozing infant close to her chest. Neither of them had felt more serene than in that moment, and all was right with the world.
~X~
Maurice felt his blood pressure rise every time he read that detestable letter, the one he'd received from his daughter a little over six months ago. He couldn't believe he was going through with this but that imp must pay for defiling his daughter. He'd brainwashed her nonetheless. He waited in the middle of the woods like she'd told him a fornight ago in her letter.
"Well I see you made it after all." she replied in her thick accent. He turned to see a woman wearing black with an emerald pendent hanging around her neck that contrasted vibrantly with her skin.
"Yes I came!" Maurice replied in a startled manner once he glimpsed her skin. No wonder she opted not to show her face during the day.
"Did you bring payment?" she inquired looking distastefully upon his pudgy exterior.
"Yes I brought it!" he supplied, handing her the thin napkin which held the sacred relic.
"Excellent…You know I'll take any advantage when it comes to getting revenge on Rumplestiltskin." she smiled sinisterly clutching the relic in her hand.
"They said you would be the perfect one for the job. They said you were conniving enough to take on Rumplestiltskin, even evi-" but she stopped him mid sentence.
"I'm not evil darling…I'm wicked! Get it right!' she snapped threateningly which caused Maurice to hold up his hands in defense.
"I'm apologize for my error…Just please don't hurt Belle when you kidnap her." he pleaded hoping she would keep her word.
"You have nothing to worry about your majesty. I won't hurt a hair on that pretty head of hers, but Rumplestilskin won't know that. His defenses have fallen since he married your daughter. He won't be expecting our little _surprise. _He taught me everything he knows, and I'm going to use it against him. Foolish imp!" she gloated, green pendant sparkling in the moonlight.
"Just do whatever it takes to bring her home _Zelena._" Maurice said before turning to leave her in the shadows. He didn't turn back to gaze upon her sickly green skin. The color of it made his stomach turn.
~X~
Belle had just placed Adeline down for a nap. She decided to curl up with a good book for old times sake. She'd convinced Rumplestiltskin who was becoming a bit stir crazy to venture out on a few deals. She assured him that they would be okay without him for a few hours or so she thought. Belle heard a loud crash come from the downstairs hallway. She gazed at the bassinet beside her which held the sleeping infant, hoping to step out for a few minutes. Anything could've fallen off the wall and made that loud crash. She shrugged it off deciding to investigate. The castle was protected by magic and an intruder seemed unlikely. She kissed her daughter's brow before walking out of the expansive library. She made it down one set of stairs before the poppy dust assaulted her senses causing her to fall into a deep slumber.
~X~
Rumplestiltskin returned a couple of hours later to be greeted by the sound of loud wailing. He magiked himself to the library, scooping the crying infant into his arms.
"It's all right dear heart…Don't cry." he crooned. Adeline nodded off to sleep moments later. He placed her back in the bassinet surprised to see Belle's book carelessly tossed on the settee. This filled him with unease as he touched the book sensing it'd been in that position for a little over two hours.
He made his way out of the library trying to sense her but then her trail dissipated like she'd vanished in thin air. Rumplestiltskin tore the entire castle apart searching for her but to no avail. He sent Adeline away to be cared for by a man named Jefferson and his daughter Grace he dealt with on a regular basis. He gave the former hatter a bag of gold to care for his daughter while he properly searched the kingdom. After the snow began to melt, he trekked furiously through the woods, another day of searching fruitlessly wasted. He pulled at tufts of curl almost tempted to blow the entire mountain to smithereens when he saw it.
He rushed forward picking up the yellow and green floral cloth. It was Belle's cloak, covered in dry blood. He fingered the stitches lightly, remembering how she'd fussed over it when he gifted it to her. Why hadn't he seen this before? A surge of pain tore through his heart as a feral roar escaped his lips, causing the birds nestling in the trees to scatter. He searched the rest of the woods but to no avail. Belle was gone, probably eaten by a ravenous creature, her bones licked clean. His stomach turned at the prospect of finding any of her disassembled body parts. He retched in some bushes at the thought of finding her in a heap of rotting flesh. Something he hadn't felt in ages cascaded down his cheeks. He didn't magic them away, allowing himself to feel every wretched thing he felt for his deceased wife to empty from his body.
The desire to reek havoc on this land burned deeply inside of him. He would push Regina to cast the curse, to take them away from this wretched land. He had his daughter but it wasn't enough. He needed to find his son and set things straight. Perhaps he could give them both a happy life even if it meant she was gone. He looked up at the sky promising her that he would succeed even if it meant pouring out his wrath on all the other inhabitants. He would make sure their children had a good life. He would start by being the father their daughter deserved. Rumplestiltskin made sure the child was never out of his sight again. One day he would find out what happened to Belle. He would have his vengeance and maybe he would find the answers he sought once they reached the land without magic.
~X~
Belle looked out over the land from her tower room, the one her father had her imprisoned in after being kidnapped. The tower was protected by a special magic that made it impossible for her to call on Rumplestiltskin. The only person she ever seen was a green witch named Zelena who turned out to be Regina's sister. The green skinned woman loathed Regina and was angry about some curse she was chosen to cast. Belle learned that she was once a student of Rumplestiltskin's and that this was some type of revenge against him by taking her.
Belle refused to speak to her father after she learned of the trespasses he committed against her and her beloved. She regretted writing him that letter every day. Zelena entered her chamber one day with a scowl on her face.
"What's wrong?" Belle inquired to her, immediately picking up on her foul mood.
"My sister has succeeded. She has cast the curse Rumplestilskin made!" she seethed angrily.
Belle jumped up, running to her window, a cloud of ominous purple smoke coming hastily towards them, "What will the curse do?" Belle inquired to her captor utterly intrigued by it.
"It will take us to a land without magic and where happy endings cease to exist. We won't remember who we are when he get there." Zelena snarled, but Belle didn't look back. She kept her eyes on the purple clouds awaiting her fate.
"I'm going to find you in this new land Rumple. I promise." Belle vowed silently as the fog overtook them, whisking them to a land without magic.
**A/AN: Off to Storybrooke next chapter! Rumple's curse isn't broken either. I wanted to include Zelena because her back story sucks. There will be some Wicked VS. Evil in this story too. Please review and tell me what you think! I'll try and update this at least once a week. **
3. Escaping the Curse
**Escaping the Curse**
**A/AN: Yay a new chapter! This one is about Belle's reflections on her new life in Storybrooke. It will probably be rather short to move the plot along so bear with me. Review and tell me what you think!**
She was known as Isabel French in this land. She awoke the following morning in the apartment that conjoined the library. Her memory was a bit foggy, but she could recall the title of every book in the library along with their proper section. Her memories told her she opened the library at eight every morning and closed it at six every night. She had always been the librarian of Storybrooke, Maine, but Belle knew that wasn't entirely accurate.
The following morning when she first arrived in Storybrooke was a harsh reality. The curse fought vigorously against her mind trying to convince her that the memories from her previous life were merely delusions. She knew that wasn't true though. The only reason why she didn't fall into the falsified state like all the other occupants of Storybrooke was because she was a bit of an error in the plan.
Isabel French wasn't even supposed to exist. She was dead in her husband's mind. Belle soon learned he went by the name of Mr. Gold here. He owned a pawnshop in the middle of town and was the wealthiest man in Storybrooke. His cursed memories told him his wife had died in childbirth. That was one of the reasons why the light never met his eyes. He put on a cold front so people who stay out of his life. The only time she saw him smile was when he carried his one year old daughter out with him on rare occasions.
The toddler had a mass of chestnut curls piled atop her head and warm chocolate eyes that would melt your heart. They were the hardest part of remembering. It should've brought solace to her heart to have them nearby but it was just another painful reminder that she could never be with them. Belle was dead to Rumplestiltskin. She was just a faint memory in the back of his mind.
It would've been helpful if he'd told her about the curse. She knew all curses could be broken, so what was the key to breaking this one? She knew he probably would've eventually told her about his plans to bring them here, but he never got that chance. Now she was stuck trying to figure everything out on her own.
There were days the curse toyed with her mind, trying to get her to forget her old life. Sometimes she would wake up believing they were but a dream, but she fought hard to keep them. She would not become another mindless zombie like the rest of the populace. She had to remember and find a way to break the curse so they could one day be reunited. Belle knew she had to be discreet with her plans because if there were others who also remembered their past lives found out she did then things could get ugly. She would play the part of Isabel French with all of her heart making them all think she was one of them because you never knew who was watching. The consequences would be dire if the wrong person ever found out about her secret.
It took twenty-seven painstaking years for Belle to figure out how to go about her plan. It was a miracle she hadn't gone mad during that time of doing the same mundane tasks over and over again on a daily basis. The same people came in every day to check out books and return them and it was always the same thing. They never noticed the endless cycle of depravity because they all woke up believing they were living a new day of their lives when in reality it had been the same day for the past twenty-seven years with minor differentiations.
The only alteration to the seamless timeline was when Regina Mills, the mayor of Storybrooke adopted a little boy named Henry. Henry grew up like an ordinary child even though no one else ever seemed to age. Belle tried her best to stay out of Regina's way. She didn't want to chance her finding out that very small detail that she was unaffected by the curse. In fact Belle was just pretending to be Isabel French now without any interferences from her false memories. Their effects were weakening on her, but she hadn't noticed until Regina brought Henry home. There was something very special about him. She often wondered if he was the key to breaking the curse.
She could sense the curse's power waning gradually with each year that passed since Henry's arrival. While she was eating the same stack of blueberry pancakes she got every morning at the diner, something caught her eye as she scanned the contents of "The Daily Mirror". She saw a help wanted ad placed in the paper by the notorious Mr. Gold. He was looking for someone to watch his daughter from seven thirty in the morning until four thirty in the afternoon. The pay was decent and way more than what she was making at the library.
A smile tugged at her lips as she reread the ad over and over again. This was the opportunity she'd been waiting for. This was her way back into their lives. It was how she was going to get him to remember who she was. She pushed back the tears that threatened to fall at this joyous news. She took a deep breath putting on her best front. She had to remind herself that in this life she wasn't his wife but a total stranger but it didn't matter. She was closer than she ever had been before.
"I'm coming for you Rumple…" she vowed grabbing her purse and making her way out the door. Her breathing labored when she read the large sign that read _Mr. Gold's Pawnshop _in the distance. The closer she got to the shop, the more her nerves assaulted her, but she pushed back her fears. She wouldn't allow this moment to be stolen from her as she pushed the door open to his shop, the dinging bell signaling her entry.
The man she'd been secretly fawning over the past twenty seven years turned around to meet her gaze, wispy brown hair falling in his face. The color of his eyes rendered her breathless.
"Mr. Gold my names Isabel French, and I'm here inquiring about the ad you placed in the paper. I'm interested in the job." she said trying to hide the quavering in her voice as she awaited his answer.
**A/AN: Yes evil cliffy! Hehe! Sorry about that but you'll just have to ponder on this until the next installment dearies! I set this at the twenty-seven year mark making that one year prior until Emma comes to Storybrooke. Please review and tell me your thoughts!**
4. Opportunities
**Opportunities **
**A/AN: I apologize for not updating in so long but the demands of my job are very high, and I never have any time to write. I'm not sure how long this chapter will be. It depends on where my muse decides to take me. Here's hoping I can start updating once a week.**
Mr. Gold examined the chestnut haired beauty. Her cerulean depths bore into him rendering him breathless. He had never really acquainted himself with Isabel French. They had only met in passing because the library was public place, so he never collected rent from her. She lived rent free in the upstairs apartment for her public service and received a small salary he was sure she mostly saved since her utilities were furnished.
He studied her wondering what had possessed her to come into his shop inquiring about the ad he'd placed. He never really expected anyone to be brave enough to approach him about it, but he was sure Isabel French was as qualified as anybody. She dealt with children on a daily basis, and her record was spotless.
"Why would you be interested in taking care of a middle aged man's daughter Miss. French? Doesn't maintaining the library keep you busy enough?" he inquired gazing up at her through his bifocals.
"I want to save up for graduate school." she made up quickly hoping that her answer kept him from asking her any more personal questions.
"So I take it that Storybrooke Community College didn't fuel your aspirations eh dearie?" he retorted causing her to flush. Her cursed memories had fabricated the tale that she'd lost a huge scholarship to Harvard University because of her father's failing health. She had enlisted in Storybrooke Community College in hopes of becoming a writer but was reduced to working as the town librarian because of the town's limited opportunity.
"No it didn't but that's not why I'm here. I'm here because I'm interested in taking care of your daughter Mr. Gold. You and I both know that no one else is going to reply to that ad, so do we have a deal or not?" she stammered. The tension in the room was thickening. This wasn't how she'd envisioned their first conversation after twenty seven years, but he didn't remember her. She had to remind herself that part would take time.
"I suppose you're right about that Miss. French, so I'll tell you what. I'll put you on a trial run for one week." he supplied putting a digit in her face reminding her of the infamous imp.
"You'll arrive at my estate at seven thirty sharp every morning and will leave at six o'clock each night. You'll be responsible for feeding, bathing, and carrying Abby to any doctor's appointments I cannot attend. She's on a strict organic diet and must stay on schedule with her feedings. The milk I purchase is a very expensive one of a kind formula that won't upset her stomach. She's highly lactose intolerant and the smallest amount of dairy could put her in the hospital for days. You'll have to be very careful with my angel Miss. French…If anything were to happen to her, then I wouldn't survive. She's the only thing I'm living for these days." Mr. Gold confided causing her to gasp inwardly at the small amount of intimacy he had shown her. He had known her less than fifteen minutes, and she could feel him already opening up to her.
"I promise I'll take good care of her." she assured him, longing to reach out and touch him, vulnerability flashing in his eyes, but she refrained as he sent her a sharp glance.
"Very well then…Make arrangements for someone to oversee the library during your absence and be at my house at six thirty in the morning, so that I can go over Abby's routine with you. You two will have to become acquainted and meeting her is the only way to see if this little arrangement will even work out." he remarked causing her heart to race at the thought of getting to see _their _daughter again.
"Thank you for giving me this opportunity Mr. Gold !" she exclaimed restraining herself from kissing him senselessly.
"You're welcome Miss. French…I'll see you in the morning." he nodded, his eyes filled with intrigue as he watched the entrancing beauty practically skip down the sidewalk. He adjusted his bifocals continuing to dust the glass case while trying to steady his heart rate simultaneously. He had a feeling hiring Miss. French was going to be more than he bargained for. He just had no idea what lied ahead for _them._
**A/AN: Yes I know it's super short but it's all I've goy. The next chapter will focus on Belle's reunion with her daughter. Rumple will begin to have some suspicions about his daughter's new caretaker…Please review and tell me what you thought of this chapter! :D**
5. Radiant
**Radiant **
**A/AN: **It's been a really long time since I've updated this story, but I'm going to update it according to request. I also got inspired to pick it back up again. I have several WIPS so it's hard to say when I'll get back around to it. I'm trying to rotate which fics I update each week so expect another update every other week. It may be even more frequent once I get some of my other stories wrapped up.
Isabelle French arrived at Mr. Gold's estate at exactly a quarter after six. She assumed that her punctuality might win her some brownie points with her 'cursed' husband. She knew that she would have to go above and beyond his expectations if she expected to win his favor.
She took a deep breath before lifting the brass door knocker, allowing it to fall against the wooden door frame. She felt her hands begin to sweat when she heard the heavy thudding of a cane against the hardwood.
She clasped her hands together when she heard the door open. Mr. Gold stood before her, wearing a pristine gray colored suit. There wasn't a hint of a wrinkle, and Belle wondered how he kept himself so immaculate with a one year old running around.
"Ah good morning Miss. French...I'm glad to see that you're here early. I have an errand I need to run this morning before opening up the shop so this is rather convenient." he greeted, and she thought she seen a ghost of a smile crease across the thin lines of his mouth.
"I always like to arrive a little early in case such circumstances are to arise." she chortled faintly, and he nodded, holding open the door, bidding her inside.
Isabelle gasped the moment she walked inside. She stood in the foyer, admiring all of the antique paintings aligning the walls. She scanned the shelves full of dusty nicknacks and obsolete collectibles, like the twin circus bear figurines touching paws on a cluttered shelf.
There was an old recorder sitting on a maroon table in the corner and an antique looking glass perched against the wall. She heard Mr. Gold awkwardly clear his throat as she gaped openly at his collection.
"Do you like my little collection dearie?" Mr. Gold inquired, his eyes beaming with curiosity.
"Yes you have a very lovely collection." she complimented, and he smiled faintly.
"Every item in this room has a story behind it. I don't just keep random objects to take up space. They each are significant to me in some way. For instance, these bears were a gift from my mother when I was just a wee lad. We didn't have a lot of money growing up, but I remember going to the circus with her when I was just a child. She purchased the bears to help me remember my first time at the circus. I'll never forget it because it was the last real memory I have of her." he sighed, brushing his fingers across the dusty ceramics.
The story was touching, but she knew it was fabricated by the curse. She was amazed that he had opened up to her so quickly. In a sense, she could tell he was lonely and had grown unfamiliar with human interaction.
She found herself touching his shoulder softly as he looked at the bears fondly, "They're lovely Mr. Gold. I'm sure your mother was glad she could purchase them for you." He turned around, stiffening at her touch. He pulled away awkwardly, their moment of vulnerability vanishing.
"I'm sorry to take up your time Miss. French. I know you aren't here to hear an old man pine away about his past." he scoffed, and she could feel her heart drop as the walls between them were erected once more.
"Very well then...I'll quit wasting your time and show you to Abby's room." he remarked, leading her towards the stairs. They walked up the first flight. She silently followed , staring at the fading floral wallpaper.
"Here we are..." he whispered softly before opening up the door. Belle took a deep breath, hoping to preserve this moment within her mind forever. The wallpaper was sunshine yellow with the silhouettes of various animals dancing in the background. She watched him walk over to a mahogany crib and pick up the small infant with a mound of auburn curls. They were matted to her head as she gazed around sleepily with big brown eyes—his eyes to be exact.
"Good morning sweetheart." he cooed sweetly to the child, making her heart flutter. The tender affection he showed _their _daughter made her want to burst into tears. In that moment, he wasn't the infamous dark one but a gentle man who adored his child. He kissed her mound of curls softly before turning around to meet her gaze.
"This is my dearest Abby." he smiled softly, averting his gaze as he walked towards her. The auburn haired babe stared up at the unfamiliar woman curiously. A babyish smile erupted across her face as she held out her little hand.
Belle longed to grab both of them and pull them into her embrace, unwilling to let go of them ever again, but she opted for a wiser approach. "Hello Abby...It's so good to meet you." she whispered adoringly to the toddler who was now babbling, squirming out of her papa's arms.
"It seems she's really taken with you Miss. French." he remarked as he unrelentingly handed his daughter over to her. Abby grabbed one of her curls, pulling on it playfully. Isabelle laughed musically, feeling her heart explode with warmth as she relished the feeling of holding her daughter after twenty-seven long years.
Mr. Gold watched the scene unfold in front of him. It felt natural seeing Isabelle French holding his daughter. It almost felt like she was meant to be there all along. He shook those thoughts from his mind. He knew it was silly to think of her that way. He convinced himself that it was because he was lonely.
"Well that takes care of the most important thing then. She already adores you so everything else should fall in line." he remarked, gaining her attention. Isabelle smiled, cradling Abby against her shoulder, who was mumbling incoherently.
"Let me brief you on everything else." he supplied leading her out of the room and back down the stairs. They walked into the kitchen where he proceeded to open the refrigerator.
"Here are Abby's bottles. She gets one every four hours. Warm them in the microwave for about a minute but make sure you test the temperature before giving them to her. She has her first nap at ten and will usually sleep until twelve. When she wakes up give her another bottle. There are some games she likes to play in her room. Don't let her watch TV. I'm trying to keep her away from that mindless nonsense. There are some cloth diapers in her chest of drawers upstairs. I don't use store bought diapers because her skin is sensitive to the fragrances they put in them. I will call to check in with you every few hours. Please don't hesitate to call me if anything were to go wrong." he explained with a worried expression.
"I promise you that she's in capable hands Mr. Gold." she assured him as he watched his daughter continue to play with Isabelle's hair like it was a knotted maze. He watched her enviously run her chubby fingers through Miss French's beautiful locks. He began to wonder what they felt like but shook that thought from his mind as he bent over to kiss her forehead gently.
"I'll see you this afternoon my brilliant rose." and Isabelle shuddered as he caressed his daughter's cheek affectionately. A hazy memory assaulted her subconscious of him sneaking up behind her in the library at the dark castle, whispering those very same words in her ear.
"Have a nice day at work Mr. Gold." Isabelle smiled sweetly, causing his heart to beat just a little bit faster.
"Same to you Miss. French." he nodded before seeing himself out. He was sure if he stood there any longer that he wouldn't be able to leave.
He found his mind drifting towards his beautiful caretaker on and off throughout the day. He couldn't shake the image of his daughter's eyes lighting up as she latched onto Miss. French like it was some happy reunion. He was certain that he would worry himself senseless throughout the day about his daughter, but he didn't. He had called Isabelle twice that day to check in with her. The first time he'd called, Abby was sleeping soundly, and the second time Isabelle had put her down for a nap.
He almost couldn't wait to make it back home to her. He found himself jamming his door key in the lock anxiously. He wasn't sure if it was because he missed Abby or he wanted to bask in Miss. French's presence. She was like warm sunshine to his withered soul.
His cane tapped softly against the hardwood as he made his way up the steps. He stopped when he heard soft music coming from his daughter's room. He crept softly to the doorway to watch the chestnut haired beauty serenading his daughter to sleep.
"Hush-a-by, don't you cry. Go to sleep my little baby. When you wake, you shall have all the pretty little horses." She sang, and Mr. Gold felt something brilliant assault his memory as a woman with long auburn locks that hid her face sang her child to sleep.
"Blacks and bays, dapples and grays, all the pretty little horses..." she sang softly to the little girl who now snoozed softly in her crib. He watched Isabelle gently tuck the blanket over her and turn off the bedside lamp. He stepped away from the door, hurrying towards the stairs to make her believe he hadn't been watching her.
"Mr. Gold you're home." Isabelle stated a bit startled to see him.
"Aye well it is six-thirty Miss. French. That is what time I arrive home on a daily basis." he stated pointedly, resting both hands on his cane.
"Well I guess I should probably go then...I know that it wasn't expected of me, but I made some spaghetti earlier for myself. I was feeling a bit hungry, and I'm sure you've had a long day so I thought you might like some." She said briskly, hoping she hadn't over stepped her bounds.
"Thank you Miss. French that was very kind of you. I presume I'll see you at seven-thirty then?" he inquired as she stood beside him.
"Yes I'll see you at seven thirty..." she said before making her way down the stairs.
"Have a good night Miss. French." he respired before heading to his daughter's room until he heard her alluring voice from behind.
"Call me Belle." she commanded, and he turned around to meet her gaze but all he saw was her bouncing auburn curls as she made her way down the stairs.
"Belle..." he whispered softly once he heard the front door click, signifying she'd left. Her name tasted sweet on his tongue, like a rare fruit or a vintage wine. He felt something stir inside of him that he hadn't felt for someone in a very long time: desire. He would never admit it but seven-thirty couldn't come fast enough.
**A/AN: Well that's all for this chapter...Is Mr. Gold falling for his darling beauty all over again? In the next chapter we'll get to meet some 'old' friends. Stay tuned!**
End file.
| fanfiction |
Why is a spin change favourable in intersystem crossing?
All phosphorescent molecules go through the following transitions:
$$\text{excited singlet state}$$
$$\Bigg\downarrow$$
$$\text{[intersystem crossing]}$$
$$\Bigg\downarrow$$
$$\text{ excited triplet state}$$
Why does that spin change always occur, given it’s a “*forbidden*” transition and, thus, unfavourable and much less likely to take place?
There are two things going on here. You have conflated with "forbidden" with unfavorable. In many systems, the first excited triplet is lower in energy than the first excited singlet. Hence, the order of energies excited singlet > triplet > ground state singlet is correct and sensible. If your question is "why is this the order?" that should be a separate question.
The forbidden part of the transition has to do with the fact that, because of conservation of (electron spin) angular momentum, you can't excite directly from a singlet ground state to a triplet excited state with a photon. The forbiddenness is a statement about not being able to get there, not unfavorability. The triplet is still lower in energy and the molecule has to do some other shenanigans (often involving spin orbit coupling) to do the intersystem crossing into the lower energy triplet state. If your question is "what is the mechanism of intersystem crossing?", that should be a separate question.
| stackexchange/chemistry |
Why can't Al3+ be reduced to solid, pure aluminum?
There are efforts underway to develop ionic liquids for the purpose of reducing bauxite using exotic intermediates such as aluminum fluoride. However, the aqueous $\ce{Al^3+}$ ion is tantalizingly close to pure aluminum. What prevents it from being reduced?
It is aluminium’s standard electrode potential that prevents it from easily being reduced. For the half-cell $\ce{Al^3+ + 3e- <=> Al(s)}$, the standard potential is $E^0 = -1.66~\mathrm{V}$. For comparison a few other values:
* $\ce{Fe2O3 + 3 H2O + 2e- <=> 2 Fe(OH)2(s) + 2 OH-}$ and $\ce{Fe(OH)2 + 2 e- <=> Fe(s) + 2 OH-}$ have potentials of $E^0 = -0.86~\mathrm{V}$ and $-0,89~\mathrm{V}$, respectively;
* $\ce{Zn^2+ + 2 e- <=> Zn(s)}$ has a potential of $E^0 = -0.76~\mathrm{V}$;
* $\ce{Cr^3+ + 3 e- <=> Cr(s)}$ has a potential of $E^0 = -0.74~\mathrm{V}$;
* $\ce{Co^2+ + 2 e- <=> Co(s)}$ has a potential of $E^0 = -0.28~\mathrm{V}$;
* $\ce{Cu^2+ + 2 e- <=> Cu(s)}$ has a potential of $E^0 = +0.34~\mathrm{V}$.
(All values taken from [Wikipedia](https://en.wikipedia.org/wiki/Standard_electrode_potential_%28data_page%29))
The higher the standard potentials are, the easier the ion can be reduced. Hydrogen, of course, has a potential of $E^0 = 0~\mathrm{V}$ at pH 0 by definition. So in acidic media, hydrogen is reduced first. So let’s lower the pH to impede the formation of hydrogen. According to the Nernst equation:
$$E = E^0 + \frac{0.059~\mathrm{V}}{z} \lg \frac{a\_\mathrm{Ox}}{a\_\mathrm{red}}$$
Where $z$ is the number of electrons transferred in the half-cell, and $a$ is the activity of the reduced/oxidised species. $a\_\mathrm{red}$ is $1$ by definition and $z = 2$ for the hydrogen half-cell. So we need to solve the following simplified equation to determine the acid concentration that will allow reduction of aluminium:
$$-1.66~\mathrm{V} = 0~\mathrm{V} + \frac{0.059~\mathrm{V}}{2} \lg \frac{[\ce{H+}]}{1}\\
\frac{0.059}{2} \mathrm{pH} = 1.66 \\
0.059 \times \mathrm{pH} = 3.32 \\
\mathrm{pH} = 3.32 / 0.059 = 56$$
Whoops, so we would need a pH of $56$ to allow the reduction of aluminium in the presence of water. This calculation was *highly* theoretical, because:
1. A pH of 56 is impossible in anything that once could have been water. Wikipedia gives the $\mathrm{p}K\_\mathrm{b}(\ce{O^2-}) \approx -38$; because $\mathrm{p}K\_\mathrm{a}(\ce{HA}) + \mathrm{p}K\_\mathrm{b}(\ce{A-}) = 14$ in water that must mean that $\mathrm{p}K\_\mathrm{a}(\ce{OH-}) \approx 52$ — thus we would be dealing with an ‘oxide solution’ rather than water.
2. Although it is nice that both equations (pH and Nernst) use acitivities, we cannot really say anything about the activities at this large a concentration range.
3. The redox system of both species would be totally different in these environments.
Note that you can reduce most air-stable metals in thermite reactions from their oxides thereby creating aluminium oxide. An example reaction would be:
$$\ce{Fe2O3 + 2Al -> 2Fe + Al2O3}$$
That alone should show the unwillingness of aluminium to be reduced in aquaeous solutions; think about the heat that the *therm*ite reactions generate.
According to Wikipedia "elemental aluminium cannot be produced by the electrolysis of an aqueous aluminium salt because hydronium ions readily oxidize elemental aluminium." So the aluminium oxide is reduced via the [Hall–Héroult](https://en.wikipedia.org/wiki/Hall%E2%80%93H%C3%A9roult_process#Theory) process.
The alumina itself is produced from mined bauxite via the [Bayer process](https://en.wikipedia.org/wiki/Bayer_process#Process).
So the gist is that industry spends many many millions of dollars converting bauxite too aluminium metal. No doubt they do it the cheapest way possible.
| stackexchange/chemistry |
Moment of inertia of solid cylinder
I want to work out the moment of inertia of a solid cylinder of radius $r$, length $l$ and mass $M$ about an axis through the centre of the cylinder.
My approach was to line the central axis of the cylinder with the $x$-axis and consider a small cylindrical element of thickness $dx$. Then my mass element would be $dm = \rho \pi r^2 dx$, where $\rho$ is the mass per unit volume (density).
Using the formula for moment of inertia and integrating from $0$ to $l$, I then find the answer to be $Mr^2$. Now that is wrong, there should be a factor of $\frac{1}{2}$ in there. But I don't understand why. Some solutions I've seen online consider concentric disks, but I don't understand why this method isn't working.
The $dm$ you have calculated is incorrect. The radius will vary. Which you have assumed constant. So ,
(<https://i.stack.imgur.com/f4VjF.png>)
[r1=x is the distance of each element from axis]
$$dm=\rho 2\pi x dx l$$.
$$\rho=\frac{M}{\pi R^2l}$$
$$dI=(dm) x^2$$
So,
$$I=\int\_0^R \frac{2M}{R^2}x^3$$
$$I=\frac{MR^2}{2}$$
The definition of moment of inertia is definied as $\iiint\_V r^2\rho dV$.
Where r is the distance between the axis of ratation and the volume dV.
In the case of a cylinder this integral will be:
$$\rho\int\_0^{2\pi}d\theta\int\_0^Rr^2.rdr\int\_0^{h}dz$$
Your answer is wrong because you threated r as if it was a constant, I guess.
I think you have a hard conceptualizing your $dm$, which is fine because it is not easy at first. Consider $dm$ as a tiny bit of matter in your cylinder. A bit comprised between radius $r$ and $r+dr$, $z$ and $z+dz$ and $\theta$ and $\theta+d\theta$, where all the $dx$ are an infinitesimal increment.
The integral means you take the contribution $r^2 dm$ of each of these tiny bit of matter to the total moment of inertia. The position (the value of $r$) of your element in a cylinder varies from the inner radius to the outer radius. If your cylinder is not hollow, this means your inner radius is zero. Therefore, if we focus only on the r dependency of the integral, we obtain $\int\_0^Rr^3dr = \frac{1}{4}R^4$.
The $2\pi$ factor from integrating the angular part, and the definition of the density as the total mass divided by the total volume (for an homogeneous cylinder) will give you the $\frac{1}{2} R^2$ final result (again, focusing only on the radial part of the result)
| stackexchange/physics |
oakland a's roster 1989
Gary Player Autographed 11x14 Photograph. Comprehensive and up-to-date Oakland Athletics news, scores, schedule, stats and roster FAST 'N FREE. $10.99. Saturday, October 14, 1989 at Oakland Coliseumin Oakland, California The first game of the Bay Bridge Series saw Athletics ace Dave Stewart take on the Giants' Scott Garrelts. ... Make Offer - Vintage Oakland Athletics A's 1974/1989 World Champions Lapel Pins (2) Scrapbook Memories celebrates the 20th anniversary of Oakland's last World Series triumph. Player: Mark McGwire. Bidding ended on 8/11/2019. Archive for the 'Players' Category. A look back at the 1989 Oakland A's. The Loma Prieta earthquake would unite Oakland and San Francisco as one. 1989-90: Tommie Reynolds: 1989-95: Rick Rodriguez: 2011-12: Ron Romanick: 2008-11: Joe Rudi: 1986-87: Jim Saul: 1979: Steve Scarsone: 2017: Bob Schaefer: 2007: Red Schoendienst: 1977-78: Ron Schueler: 1983-84: Jim Skaalen: 2009-10: Joel Skinner: 2011: Chris Speier: 2004: Lee Stange: 1977-79: Todd Steverson: 2009-10: Wes Stock: 1973-76, 84-86: Ty Van Burkleo: 2007-08: Don Wakamatsu: … Oakland A's 1989 World Series Champions SGA Graphic Tee Shirt Roster 2 Side Men. Oakland A's trivia: 1989 World Series roster – Athletics Nation. 1988 Oakland Athletics Statistics 1987 Season 1989 Season Record: 104-58, Finished 1st in AL_West ( Schedule and Results ) The 1989 Oakland Athletics season saw the A's finish in first place in the American League West division, with a record of 99 wins and 63 losses, seven games in front of the Kansas City Royals. With MLB free agency underway, the notoriously tight-fisted Oakland Athletics are clearly in the midst of a contention window. OAKLAND — Tears were forming in Jose Canseco's eyes. 1989 Oakland Athletics World Series Trophy Presented to Dave Kelley . 550 votes, 112 comments. Can you name the Oakland A's 1989 World Series roster? 1989 OAKLAND ATHLETICS A's WORLD CHAMPIONS 16" X 13" PLAQUE. The team defeated the Toronto Blue Jays in five games in the ALCS, then swept their cross-Bay rivals, the San Francisco Giants, in an earthquake-marred World Series. Editor's Note: This story was originally published in 2014 after the 25-year reunion of the 1989 World Series champion Oakland A's. An Interview With Mike Pagliarulo. Offseason. This new format was adopted for television reasons for the final game. It was their second consecutive AL West title, as well as the second straight year in which they finished with the best record in all of baseball. 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Reggie Jackson (#9) - 1973 American League and World Series MVP. $27.95. by alexhnhall Plays Quiz not verified by Sporcle . December 10, 1985: Mike Heath and Tim Conroy were traded by the Athletics to the St. Louis Cardinals for Joaquín Andújar. All > Rings, Trophies & Awards: All > Sports > Baseball > Memorabilia: All > Featured Lots: Return To Catalog. See also 1989 Oakland Athletics season Team: Oakland Athletics. January 17, 1986: Phil Stephenson and Bob Bathe (minors) were traded by the Athletics to the Chicago Cubs for Gary Jones (minors) and John Cox (minors). Oakland Athletics, American professional baseball team based in Oakland, California, that plays in the American League of Major League Baseball. "The fans on this side of the Bay cherish that moment. Championship Wins Last Since; World Series: 9: 1989 : 30 yrs : League: 15: 1990 : 29 yrs : Division The Athletics (A's) have won nine World Series championships and 15 AL pennants. Visit ESPN to view the Oakland Athletics team roster for the current season Average score for this quiz is 5 / 10.Difficulty: Tough.Played 654 times. Oakland A's trivia: 1989 World Series roster Athletics Nation …read more. The Oakland Athletics' 1988 season involved the A's winning their first American League West title since 1981, with a record of 104 wins and 58 losses. Talking About the A's 1989 season, the Bay Bridge Series, and the Loma Prieta earthquake. Ty Cobb Single Signed Ball. A's Roster Posted in Coaches , Players , World Series , tagged 1989 Oakland Athletics on August 31, 2008| Leave a Comment » A page from the World Series program that presented pictures of half the A's roster. 30 years have passed since the A's magical run through October. Oakland. Bidding. More Items From Premier Auctions. Brand New Deadstock 1987 OAKLAND A'S All Star Game 1 1/4" Round Pin Peter David. So many of these guys are still … Product: Shirt. 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A's vs. MARLINS: The A's and Marlins are tied in the all-time series, 5-5…are 3-3 in Oakland and 2-2 in Miami…this is the A's first appearance at Marlins Park…last met in 2011 in Oakland when the A's lost two of three…won two of three in Oakland in 2008 and lost two of three in Florida in 2003. Oakland A's trivia: 1989 World Series roster – Athletics Nation. This lot is closed for bidding. Learn more about the history and … Oakland Athletics Baseball Roster Pin. OAKLAND A'S JERSEY LOGO LAPEL PIN NEW ATHLETICS 1988. Sports Quiz / Oakland A's 1989 World Series roster Random Sports or World Quiz Can you name the Oakland A's 1989 World Series roster? Dave Stewart (#34) - 1989 American League Cy Young Award Winner and 1989 World Series MVP!!!!. Pennant Chase offers free online baseball simulation leagues, where users draft players from the history of baseball, manage their team, and results are simmed based on historical stats. 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THE BOURNE IDENTITY
by
Tony Gilroy
Based on the novel
by
ROBERT LUDLUM
Paris Draft
9/20/00
DARKNESS. THE SOUND OF WIND AND SPRAY.
MUSIC. TITLES.
EXT. OCEAN -- NIGHT
The darkness is actually water. A SEARCHLIGHT arcs across
heavy ocean swells. Half-a-dozen flashlights -- weaker
beams -- racing along what we can see is the deck of an
aging FISHING TRAWLER.
FISHERMEN struggling with a gaff -- something in the water --
A HUMAN CORPSE.
EXT. FISHING BOAT DECK -- NIGHT
THE BODY sprawled there. The Sailors all talking at once --
three languages going -- brave chatter to mask the presence
of death --
SAILOR #1
-- Jesus, look at him --
SAILOR #2
-- what? -- you never saw a dead
man before? --
SAILOR #3
-- look, look he was shot --
(nudging the body--)
SAILOR #1
-- don't, don't do that --
SAILOR #2
-- he's dead, you think he cares? --
SAILOR #1
-- so have some respect -- it's a --
(stopping as--)
THE BODY MOVES! -- convulsing -- coughing up sea water --
the Sailors -- freaked -- jumping back -- standing there, as --
THE MAN begins to breathe.
INT. FISHING BOAT BUNK ROOM -- NIGHT
A wreck. Too small for all the people in here right now --
SAILORS sweeping off the table -- rough hands laying THE MAN
down --
THE CAPTAIN -- brutal and impatient -- watching from the
door as --
GIANCARLO tears through the clutter -- searching for a
medical kit buried in the shambles. GIANCARLO is sixty. A
bloodshot soul.
GIANCARLO
-- it's here -- hang on -- it's
here somewhere -- give me a
minute -- get some blankets -- get
some blankets on him --
(finding the kit--)
-- here we go -- here it is --
GIANCARLO with an old trunk -- just getting it open, as --
THE CAPTAIN
Giancarlo
.
(Giancarlo turns
back--)
We pick him up? Okay, we
have
to
pick him up. But that's as far as it
goes.
GIANCARLO
He needs a doctor.
CAPTAIN
Fuck that. He lives? He dies? I
don't care. We've wasted two hours
on this shit already. You do what
you can, but we're not going back.
(pure steel now)
You understand me?
GIANCARLO
Yes, sir.
CAPTAIN
(to the rest of them)
Let's get back to work!
GIANCARLO watching them run out. Snagging a quick pull on a
pint of rum he's got stashed and --
INT. FISHING BOAT BUNK ROOM -- DAWN -- TIME CUTS
Transformed into a makeshift operating room. A light swings
overhead. THE MAN layed out across the table. Sounds --
groans -- words -- snatches of them -- all in different
languages.
GIANCARLO playing doctor in a greasy kitchen apron. Cutting
away the clothes. Turning THE MAN on his side. Two bullet
wounds in the back. Probing them, judging them.
Now -- GIANCARLO with a flashlight in his teeth -- TINK --
TINK -- TINK -- bullet fragments falling into a washed-out
olive jar.
Now -- something catching GIANCARLO'S EYE -- A SCAR ON THE
MAN'S HIP -- another fragment -- exacto knife cutting in --
tweezers extracting A SMALL PLASTIC TUBE, not a bullet at
all, and as it comes free --
THE MAN'S HAND SLAMS down onto GIANCARLO'S and we SMASH CUT
INTO A --
FIRST PERSON POV
--
we
are staring up at --
GIANCARLO
You're awake. Can you hear me?
(we're blinking--)
You've been shot. I'm trying to
help you.
(we're trying to find
our voice--)
You were in the water. You've been
shot. It's okay now.
THE MAN
Where am I?
GIANCARLO
(switching to English)
You're American. I thought so.
From your teeth -- the dental work --
THE MAN
Where am I
?
GIANCARLO
You're on a boat. A fishing boat.
Italian flag. We're out of Vietri.
(he smiles)
It's the cold that saved you. The
water. The wounds are clean. I'm
not a doctor, but the wounds, it
looks okay. It's clean.
THE MAN
How did I get here?
GIANCARLO
You we're lost at sea. They pulled
you out.
(we say nothing)
Who are you?
(still nothing)
You were shot -- two bullets -- in
the back. You understand me?
(we try to nod)
Who are you?
Long dead pause.
THE MAN
I don't know.
EXT. OCEAN -- DAY
The Trawler plows through heavy seas.
INT. FISHING BOAT BUNK ROOM -- DAY
GIANCARLO is hunched over a desk -- tweezers and
flashlight -- busy working at that strange plastic tube that
came out of THE MAN's hip.
THE MAN is bandaged. He's sitting up, and it must hurt like
hell, but physical pain is not the thing troubling him right
now. He's staring around the room -- at his body -- at the
walls -- haunted --
THE MAN
What if it doesn't come back?
GIANCARLO
(still working that tube)
I told you. You need to rest.
Silence. THE MAN can't rest. Too busy trying to make sense
of all this.
THE MAN
I can read. I can read that sign
on the door. I can count. I can
talk...
(focusing now--)
What are you doing?
GIANCARLO rummaging around -- finding a magnifying glass --
THE MAN
What is that?
INSERT --
MAGNIFIED POV
-- a slip of plastic from the
tube -- written there -- 000-7-17-12-0-14-26. GEMEINSCHAFT
BANK, ZURICH.
GIANCARLO
It came from your hip. Under the
skin.
(turning back--)
You have a bank in Zurich.
(waiting)
You remember Zurich?
THE MAN
No.
GIANCARLO staring at him now. Different suddenly. Suspicious.
GIANCARLO
Look, I'm just on this boat, okay?
I'm an engineer. Whatever this is,
it's not for me to be involved, okay?
THE MAN
I don't remember Zurich.
GIANCARLO pulls his pint. Takes a hit.
GIANCARLO
(offering the
bottle--)
You drink rum?
THE MAN
I don't know.
EXT. FISHING BOAT DECK -- NIGHT
THE MAN stands at the rail, staring out to sea. So lost.
He turns to head inside --
there
, a surfcasting rod propped
against a locker.
THE MAN picks up the rod -- flips the bail -- traps the
line -- now he's casting far out into the darkness. And for
the first time, he smiles.
INT. FISHING BOAT GALLEY -- NIGHT
A ratty old espresso machine. THE MAN standing there,
staring at the thing like it's a test. Then his hands begin
to move -- trying to pack a grind -- trying to fit it in --
turning on the steam and --
The whole thing explodes.
EXT. FISHING BOAT DECK -- DAY
THE MAN alone doing chin-ups on the deck rail. He's still
bandaged and the wounds must hurt like hell, but he's
pushing himself. Using the pain -- bathing in it -- maybe
even hoping that it will hold some answer for him.
INT. FISHING BOAT GALLEY -- NIGHT
A chess board. Wooden pieces jumbled in a box. THE MAN
hesitates -- takes a black knight from the box -- lingers
for a moment -- and then places it on the board. He's off
and running. He knows this. Placing pieces faster and
faster -- still setting it up, as we --
INT. FISHING BOAT HEAD -- NIGHT
One of the ugliest bathrooms on the planet. THE MAN
standing before a pitted, tarnished, cataract of a mirror.
Staring at himself.
And then he speaks.
THE MAN
(in
perfect
French)
(I don't know who I am. Do you
know who I am? Do have any idea
who I am?)
And then he stops. Blinks. Wipes away the perspiration
just beading on his forehead.
THE MAN
(in
perfect
Dutch)
(Tell me who I am. If you know who
I am, please stop fucking around
and tell me.)
No answer. Just that face. His face. Who am I?
And what else is inside there?
EXT. FISHING BOAT -- DAY
SAILORS hauling in the nets. THE MAN -- still bandaged, but
healing -- working beside them. Earning his keep. Getting
healthy.
EXT. ITALIAN COASTLINE -- DAWN
A small, colorful fishing village. The trawler motoring in.
INT. THE FISHING BOAT BUNK ROOM -- SAME TIME
THE MAN buttoning up borrowed clothes. GIANCARLO pulling
some cash from his pocket --
GIANCARLO
(offering the money)
It's not much, but it should get
you to Switzerland.
THE MAN
I won't forget this.
GIANCARLO gives him a look. Shakes his head, and --
INT. POKEY ITALIAN TRAIN STATION -- DAY
The ticket window. THE MAN and a TICKET AGENT.
TICKET AGENT
Una sola via?
THE MAN
Si. One way. Una sola via.
EXT. TGV -- DAY
A HELICOPTER SHOT -- a bullet train speeds through snow-
capped Alps. We move in on a window -- and staring out is...
INT. TGV TRAIN -- DAY
...THE MAN. People all around him -- families --
businessmen -- normal people going about their lives. THE
MAN turns back to the window, but he's not watching the
scenery -- he's looking at his reflection. So lost. His
face suddenly plunged into darkness as the train bombs into
a tunnel...
EXT. TRAIN -- NIGHT
...and out of the darkness into night and the HELICOPTER
SHOT, as the train races toward ZURICH.
INT. CIA HEADQUARTERS CONFERENCE ROOM -- DAY
A VIDEO MONITOR -- FULL FRAME -- meet WOMBOSI. He's an
African ex-dictator, think Idi Amin crossed with Mobutu.
He's in some sort of throne room. And he's angry.
Bodyguards and a translator hovering nervously around him.
What this is, is NEWS FOOTAGE -- an interview conducted by a
German TV station.
WOMBOSI
(he speaks english)
...no, no, no -- the time is not
right, my enemies are too strong.
I'm telling you to wait for this,
you understand? I'm telling you
this, and I'm making a warning to
all those peoples out there that
think that my powers have become so
weak that they can play with me as
they wish. You will see -- I will
tell you when the evidence is clear.
Then you will have a story. My old
friends will hear about themselves.
(stopping, freezing
on that image, and--)
MARSHALL, a CIA bigwig has the remote control. And the floor.
MARSHALL
That's Nykwana Wombosi speaking in
Paris the day before yesterday.
I'm sure most of you have a passing
knowledge of Mr. Wombosi. Some of
you on the African desks have
worked with him over the years.
Some of you very closely...
TWELVE CIA MANDARINS sitting around the table like kids in
detention. We will tour the faces as MARSHALL continues,
but the guy we're interested in is named WARD ABBOTT.
Picture a sawier, slicker John Poindexter.
MARSHALL
...He was an irritation before he
took power. He was a problem when
he was in power. And he's been a
disaster for us in exile.
(the tape--)
Wombosi likes to send us messages
through the European media. This
is an interview we pulled down from
a local German television station
in Dresden. We've been getting
these little broadsides every
couple of months. He knows this --
he knows that -- he's writing a
book about the Agency's history in
Africa -- he's going to name names.
It's basically a shakedown...
ABBOTT'S FACE says this is news to him. HIS HANDS suggest
otherwise.
MARSHALL
This interview -- and I'll make the
tape available for anyone who wants
it -- he goes on to claim that he
has just survived an assassination
attempt. He says it's us. He says
he's got proof.
(beat)
The overwhelming negative
ramifications of this should be
obvious.
(hard and dry)
The Director wants to know if there
is any possible shred of truth in
this accusation.
Long pause. No hands go up.
INT. ZURICH TRAIN STATION -- NIGHT
THE MAN wandering through the terminal. Passing A PIZZA
PLACE closing up for the night.
THE MAN checks his funds. Just enough for one cold slice.
EXT. ZURICH STREETS -- NIGHT
THE MAN walking aimlessly.
EXT. ZURICH PARK -- NIGHT
THE MAN trying to get comfortable on a bench. It's chilly
but this will have to do until morning.
Just settling in, when --
ZURICH COP #1 (OS)
(authority German)
(Can't you read the signs?)
THE MAN turns. TWO ZURICH COPS coming toward him.
ZURICH COP #2
(On your feet. Let's go. Right now.)
THE MAN makes his feet. They're on top of him now.
ZURICH COP #1
(The park is closed. There's no
sleeping in the park.)
ZURICH COP #2
(Let's see some identification.)
THE MAN not sure what to do. Eyes moving. Mouth shut.
ZURICH COP #1
(Come on. Your papers. Let's go.)
THE MAN
I've lost them. I've.
(German now)
(My papers. They are lost.)
ZURICH COP #1
(not sympathetic)
(Okay. Let's go. Put your hands up.)
ZURICH COP #2
(pulling his nightstick)
(-- come on -- hands up -- up --)
THE MAN raising his hand slowly -- ZURICH COP #1 reaching up
to pat him down --
THE MAN
-- look, I'm just trying to sleep
okay? --
(German again)
(-- I just need to sleep --)
ZURICH COP #2 has heard enough -- giving a sharp poke with
the nightstick -- into THE MAN's back -- and that's the last
thing he'll remember because --
THE MAN is in motion.
A single turn -- spinning -- catching COP #2 completely off
guard -- the heel of his hand driving up into the guy's
throat and --
COP #1 -- behind him -- trying to reach for his pistol, but
THE MAN -- still turning -- all his weight moving in a
single fluid attack -- a sweeping kick and --
COP #1 -- he's falling -- catching the bench -- trying to
fight back but -- THE MAN -- like a machine -- just
unbelievably fast -- three jackhammer punches -- down-down-
down and -- COP #1 -- head slammed into the bench -- blood
spraying from his nose -- he's out cold and --
COP #2 -- writhing on the ground -- gasping for air --
struggling with his holster -- THE MAN -- his foot --
down -- like a vise -- onto COP #2's arm -- shattering the
bone -- COP #2 starting to scream, and then silenced because --
THE MAN -- he's got the pistol -- so fucking fast -- he's
got it right up against COP #2's forehead -- right on the
edge of pulling the trigger -- he is, he's gonna shoot him --
ZURICH COP #2
(gasping, pleading)
(-- no -- please God no -- please
don't -- please no -- my Go--)
(stopping as--)
THE MAN slams the gun against his temple and --
This fight is over.
THE MAN standing there. In the silence. Two unconscious
cops at his feet. Blood on his pants. What just happened?
How did he do this? And there's THE GUN in his hand. And
God, it just feels so natural -- checking it -- stripping it
down -- holding it -- aiming it -- like this is something
he's done a million times before...
This is something he definitely knows how to do.
And then he stops cold. Throwing down the gun. Running off
into the darkness --
INT. TREADSTONE -- DAY
A deep, inner office. An ops office. Operations. Unlabeled
and anonymous. A backwater project center hidden deep
within the Langley facility. Utilitarian. Several rooms
linked like a suite.
Small staff. SEVERAL TECHNICIANS. One or two for
communications. A couple for research. People are at their
posts. And it's all quiet. But they are busy. Quietly
urgent. This is a place under siege.
ZORN is the number two here. Brilliant bloodless lapdog.
He's coming through the suite. Coming through quickly.
Heading toward the boss's little office at the back --
TED CONKLIN. Ivy League Ollie North. Buttoned down.
Square jaw. Everything tucked away. But there's tension in
the air. Work on the desk. Cot in the corner.
CONKLIN
(looking up)
What?
ZORN
Abbott wants to talk.
CONKLIN
Tell him we're busy.
ZORN
I tried.
INT. CIA COMMISSARY -- NIGHT
ABBOTT with coffee. CONKLIN not lingering.
ABBOTT
Storm clouds are gathering, Ted.
It looks like rain and I don't have
a thing to wear.
CONKLIN
I don't know what we're talking about.
ABBOTT
We're talking about Marseille.
We're talking about Nykwana Wombosi.
And I'm asking you if this abortion
in Marseille has anything to do
with Treadstone.
(silence)
Was this Treadstone?
CONKLIN
You're asking me a direct question?
ABBOTT
Yes.
CONKLIN
I thought you were never going to
do that.
Silence. Pressure drop.
ABBOTT
They're putting together an agency
oversight committee. They're going
to look through everyone's budgets.
Treadstone is a rather sizable line
item in my ledger.
(beat)
What am I going to do about that?
CONKLIN
You'd want to make that go away.
You'd want to remind them that
Treadstone is a training
organization. That it's all
theoretical. You'd want to sign
off on that.
ABBOTT
And what if I couldn't do that?
CONKLIN
Then I'd have to explain Treadstone.
And you'd have to explain how you
let me get this far.
(silence)
Doesn't sound like much of a Plan-B,
does it?
(Abbott staring)
We'll clean up the field. You
clean up your budgets.
EXT. ZURICH -- DAY
Morning in the financial district. Upscale. Uptight.
GEMEINSCHAFT BANK just one of many elegant fortresses on
this street. Everything just now opening for business. TWO
GUARDS unlocking the front door and --
THE MAN across the street. Tucked in the shadows. Checking
for cops and trouble. Looks clear. He's walking and --
INT. BANK RECEPTION AREA -- DAY
Ornate, formidable and tech at the same time.
RECEPTIONIST
(Can I help you?)
THE MAN standing before her. Looking very out of place.
THE MAN
I'm here about a numbered account.
THE RECEPTIONIST nods. Pulls a pen and bank card.
RECEPTIONIST
(instant English)
If you'll just enter your account
number here I'll direct you to the
appropriate officer.
THE MAN takes the pen, as we --
INT. BANK SECURITY CHECKPOINT -- DAY
A BIO-METRIC SCANNER. A piece of ultra-tech amidst the
Baroque. TWO SERIOUS BANK GUARDS manning the equipment.
THE MAN standing there, staring down at this machine.
Something ominously decisive about this. What if it's him?
What if it's not?
BANK GUARD #1
(they've been waiting)
(Your hand, sir...)
THE MAN focuses. Here we go -- BANK GUARD #2 guiding his
open palm onto the mirrored scanning surface.
THE MAN catching his reflection for a moment before a wave
of white light passes beneath his hand and now --
INT. BANK HALLWAY -- DAY
THE MAN being led by A THIRD GUARD to a special elevator.
INT. DEEPER INSIDE THE BANK -- DAY
Elevator doors open. THE MAN steps out. MR. APFEL -- anal
Zurich banker -- waiting there.
APFEL
Good morning, sir. I assume you're
here about your box.
THE MAN
...yes...
(what now?)
The box.
APFEL nods. Gestures down the corridor --
INT. BANK SAFETY DEPOSIT VIEWING ROOM -- DAY
Sterile and kind of odd. But total privacy. THE MAN
sitting there, as A DEPOSIT GUARD places a large SAFETY
DEPOSIT BOX before him. THE GUARD leaves the room. Closing
the door behind him.
THE MAN is alone. And there it is, right in front of him.
This is it. Here are the answers. He lifts the lid.
THE BOX. There's a shallow tray on top. In this tray: a
beat-up passport in the name of Jason Bourne. A French
driver's license with a Parisian address. Credit cards for
Jason Bourne.
THE MAN. Holding these objects close -- as if by holding
them he might absorb their essence. Forcing himself to
believe. This is him. His picture. There it is. He's
Jason Bourne.
BOURNE
My name is Jason Bourne.
(sounds good)
Hi, I'm Jason. Jason Bourne.
Jason Bourne, nice to meet you.
BACK TO -- THE BOX -- the shallow tray on top. There's
Kleenex. Several sets of contact lenses. A knife. A comb.
Three sticks of gum. A ring. A pair of sunglasses. A Rolex.
BOURNE setting these things aside. Lifting the top tray.
Staring into THE DEEP BOTTOM TRAY and --
First of all...
MONEY. Lots of it. Ten thousand dollar stacks of hundreds.
Lots of them. Close to a million dollars. There's A GUN.
A very good gun. Several clips of ammo. And...
FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All
with his photo inside. Five different names. Three
different Countries. Each one of these pristine passports
clipped to a piece of card stock that says:
NAME:
NATIONALITY:
PLACE OF ISSUE:
SIGNATURE SAMPLE:
And a bar code.
Two Dutch passports. A French. A South African. A Belgian.
And...
There's one piece of card stock still with the paper clip in
place. And no passport. This card reads:
NAME: John Michael Kane
NATIONALITY: U.S.A.
PLACE OF ISSUE: Paris, France
There's a signature sample.
And a bar code.
But no passport. This one is missing.
BOURNE sitting there. Trying to push his confusion away.
BOURNE
Bourne. My name is Jason Bourne.
I live at 121, Rue de la Jardin, Paris.
But there's something hollow about this. He came looking
for one identity and now he's faced with six. The money...
The gun...
Suddenly, it's all fucked up.
BOURNE into gear. Looking around the room --
there
--
there's a pile of red canvas burn bags in the corner.
BOURNE grabbing one -- stuffing everything into it --
everything except...
The gun. He doesn't want the gun. No guns.
INT. BANK SAFETY DEPOSIT OUTER AREA -- DAY
BOURNE is done. Handing the box back to THE DEPOSIT GUARD --
BOURNE
(I'm trying to think how long it's
been since I was here.)
DEPOSIT GUARD
(I'm not sure. Must be three weeks.)
EXT. STREETS OF ZURICH -- DAY -- VARIOUS SHOTS
BOURNE exits the bank. The red bag full to its limit. He's
walking briskly now. Looking for a taxi. Nothing in sight.
BOURNE crossing the street. Shit, there's A COP on the
corner -- turn -- change pace -- make it look natural --
BOURNE around a corner. And it's looking good for a
moment -- but only a moment -- TWO MORE COPS walking a
beat -- walking this way -- turn -- cut -- cross the street --
BOURNE heading down a boulevard. Trying to look small.
Pulse starting to race. Fighting the paranoia. Where the
hell is a cab? Turning back fast as A SIREN starts bleeding
in from behind him --
It's just an ambulance.
BOURNE turning back. Forcing himself to focus. And fuck --
there's A METER MAID, and she's stopped writing up a
ticket -- she's staring at him and --
BOURNE trying not to panic -- don't run -- smile -- stay
small -- get to the corner -- scan the options -- but --
THE METER MAID -- she's watching him go and she's pulling
her radio and --
BOURNE hitting this next corner -- banging a right --
forcing himself not to run -- glancing back and --
THERE'S ANOTHER COP -- but this one is jogging --
searching
-- he's got his radio out and --
FINALLY TO --
BOURNE bailing on the street -- disappearing into --
EXT. U.S. EMBASSY COMPOUND -- DAY
Big gates. Speed barricades. SEVERAL U.S. MARINES standing
guard near a gate house. An American flag. Lots of people
coming and going. BOURNE playing it as normal as possible
as he heads for the entrance.
INT. U.S. CONSULATE ZURICH -- VISA ROOM -- DAY
The passport and visa office. Big room. No windows.
Unpleasant on purpose. Two lines: A short one for U.S.
Citizens, a marathon for everyone else. CONSULATE CLERKS
stationed in open cubicles along the back wall. And it's a
zoo. American tourists who've lost their passports.
Foreigners looking for visas. Asylum seekers. Everyone
here has a problem.
BOURNE on the U.S. line. Standing there trying to think.
What's he gonna say? What
can
he say? With the cops
outside, and the incident in the park, then the bank...
MARIE (O.S.)
-- no, this is not my current
address. It
was
my current address
two days ago when I started
standing in line outside --
A NEARBY CUBICLE. Meet MARIE KREUTZ. German. Big energy.
Real beauty hidden beneath the armor. And armor it is,
because this is a warrior in full, crisis battlemode.
MARIE
-- and so now I lost my apartment,
I have no address, and I have no
visa, and you keep telling me how
much help you
cannot
give me!
A CONSULATE CLERK caught in her headlights.
CLERK
Miss Kreutz, please... I'm gonna
have to ask you to keep your voice
down.
MARIE
All the papers -- all the papers
they asked for -- I brought all the
papers --
CLERK
Miss Kreutz
, excuse me, but you
entered into a fraudulent marriage
in an effort to circumvent the
immigration laws of the United
States --
MARIE
You only know that because I told
you!
(she's incredulous)
Ask the case officer -- find his
name -- it's on the papers -- I
told him all this myself! --
(tearing through the
papers now--)
CLERK
-- it's not the source of the
information that's important here --
MARIE
-- I paid this fucking guy -- I
paid him four thousand dollars --
my last four thousand dollars to
marry me, okay? -- I told this to
the case officer last week...
(she's found it--)
...
here
-- Mr. Thomas. I told Mr.
Thomas I didn't know this guy was
already married -- I admitted this!
CLERK
-- Miss Kreutz, please --
MARIE
-- I'm the one that got ripped
off! -- not you -- not the United
States government -- me -- I'm the
one being ripped off!
CLERK
So now you're asking for a student
visa?
That shuts her up. Yes. Today she's a student.
INT. CIA OFFICE COMPLEX -- NIGHT (BUT SAME TIME)
Motion -- CONKLIN
racing
down a staircase -- ZORN chasing
after --
CONKLIN
-- and they're sure it's him? --
ZORN
-- he accessed the account --
CONKLIN
-- but it was
him
--
ZORN
-- yes, sir, it's confirmed --
INT. U.S. CONSULATE -- VISA ROOM -- DAY
BOURNE on line. Fear meter rising by the minute.
BOURNE'S POV
Scanning the room -- the perimeter -- the people -- A
TURKISH MAN almost in tears as he tries to explain his case
to a DESK CLERK -- TWO AMERICAN BACKPACKERS that have lost
their passports -- MARIE still in the midst of her madness --
A SECURITY CAMERA high on the wall capturing everything --
lots of data -- too much going on and --
MAN ON LINE (OS)
(from behind him)
You're up.
BOURNE comes to. Shit. It's his turn.
A WOMAN CLERK waving him forward. BOURNE trying to think --
what the fuck is he doing? -- what's he gonna say? -- now
he's at the window, and if he was looking for a friendly
face, he came to the wrong place --
WOMAN CLERK
(cold shit)
You're a U.S. Citizen?
BOURNE
Yes.
(pause)
I mean, I think so. Yes. Yes...
WOMAN CLERK
Well, either you are, or you aren't.
BOURNE
Right.
WOMAN CLERK
You have your passport?
BOURNE
I have a passport. I've got...
(the bag there, but...)
Actually, it's a little complicated.
WOMAN CLERK
Do you have your passport, sir
?
BOURNE
Look, maybe I should just...
WOMAN CLERK
Sir, you waited on line.
BOURNE
Yeah, I know...
But he's already bailing, walking away from the woman, the
window, the room -- he's out of here --
INT. U.S. CONSULATE LOBBY -- DAY
BOURNE on the move -- hustling back toward the lobby --
trying to snag a view out to the street -- there's a window
just ahead and --
BOURNE'S WINDOW POV
-- ZURICH COPS -- outside -- on the
street -- half-a-dozen of them lingering around the entry
gate and --
BOURNE stalled for a moment -- options dwindling -- he can't
go back to the passport office -- he can't go out the front
and --
The lobby looks tough -- there are two other points of entry
into the main building, but they're both guarded by MARINES
and METAL DETECTORS --
As he gets closer -- it gets worse --
A ZURICH POLICE INSPECTOR near the door, in deep conversation
with TWO MARINES and THE EMBASSY SECURITY OFFICER and --
BOURNE trying to burrow through the human traffic -- trying
to get to THE LARGER OF THE TWO ENTRY GATES -- this one the
farthest from the front door and the passport office
corridor, and it's the most crowded -- A COUPLE PEOPLE lined
up here -- waiting for one of THE THREE MARINES STAFFING
THIS POST to check their bags and pass them through a metal
detector and --
SECURITY CHIEF (OS)
-- stop! -- stop right there! --
BOURNE turns back -- as does everyone else in the lobby --
SECURITY CHIEF
(from across the lobby)
-- YOU -- red bag -- the red bag --
stop right there! -- hands up! --
BOURNE glancing back -- ONE OF THE GATE MARINES BEHIND
HIM -- the guy's raising his M-16 --
GUN MARINE
-- you heard him -- let's move
it! -- down -- let's go! --
BOURNE nodding -- total compliance -- starting to drop --
but only starting, because now --
He's swinging the backpack and --
THE GUN MARINE -- nailed -- blind-sided -- no chance and --
BOURNE -- all motion -- all forward -- all perfect --
vaulting the metal detector even as he pulls ONE OF THE
PEOPLE ON LINE around to shield his back and --
ANOTHER GATE MARINE -- right there -- trying to grab him --
making his move -- BOURNE -- almost an afterthought -- his
boot -- like a knife -- out of nowhere -- SNAP! -- the guy's
arm just shattered and --
THE SECURITY CHIEF -- freaking out -- TWO MARINES WITH
HIM -- they're raising their weapons and there's people in
the lobby and --
SECURITY CHIEF
-- no -- no -- hold your fire! --
BOURNE -- landing hard on THE GUN MARINE -- rolling away
from the gate -- into the building now -- coming up with the
backpack and --
SOMEONE SCREAMING
-- he's got a gun! -- he's got a
gun! --
And he does -- BOURNE with the M-16! -- coming up with it --
coming up on the move -- swinging it around as he searches
for an escape route and THE GUN -- it's like a magic wand of
hysteria --
PEOPLE IN THE LOBBY -- SCREAMING -- diving away -- everyone
dropping for cover and --
BOURNE -- bailing -- on the run -- sprinting down a
hallway -- tossing away the M-16 as he sprints
into
the
building --
THE SECURITY CHIEF
(frantic on his radio
now--)
-- red! -- red! -- red! -- code
red! -- South side entrance! --
male -- five-ten, brown hair -- black
jacket -- red bag --
INT. U.S. CONSULATE OFFICE HALLWAY -- DAY
Quiet for a second -- offices on either side of a carpeted
hallway -- BUREAUCRAT-TYPES doing their thing, when suddenly --
BUREAUCRAT #1
Excuse me? Can I help you?
(but backing up as he
says it, because--)
Here comes BOURNE -- coming fast -- and he definitely does
not belong back here --
INT. U.S. CONSULATE LOBBY/SECURITY GATE -- DAY
Panic -- people fleeing the lobby -- MORE MARINES hustling
in from outside and --
INT. U.S. CONSULATE FIRE STAIRWELL -- DAY
Door flies open -- BOURNE bombing in -- shit! -- it's a dead
end -- no way out but up the stairs --
INT. U.S. CONSULATE GROUND FLOOR CORRIDOR -- DAY
SECURITY CHIEF -- THREE MARINES -- sidearms drawn -- jogging
past the INNER OFFICES -- running beside them, a frantic guy
in a suit --
DEPUTY DCM
-- what're you talking about? --
SECURITY CHIEF
-- we're evacuating the building --
DEPUTY DCM
-- we're in the middle of a trade
meeting! --
SECURITY CHIEF
-- call the code! -- I want
everyone out! --
DEPUTY DCM
-- you gotta give me more to go on --
SECURITY CHIEF
-- he's running from the cops, he's
got a bag filled with God knows
what, he's in the building and I
don't know where! --
INT. U.S. CONSULATE BACK STAIRWAY -- DAY
BOURNE climbing fast -- two -- three -- stairs at a time --
racing up as a SECURITY ALARM STARTS SCREAMING -- bleet --
bleet -- bleet --
INT. U.S. CONSULATE FIFTH-FLOOR GRAND HALLWAY -- DAY
THE ALARM ringing everywhere -- TRADE CONFERENCEES -- sixty
confused and frightened people -- spilling out into the
corridor --
INT. U.S. CONSULATE FIFTH FLOOR KITCHENETTE -- DAY
A NEW DOOR flying open -- it's BOURNE -- ready for anything,
but there's nothing -- he's in a butler's prep area off the
main conference room -- momentum stalled for a moment --
nothing in here but tableclothes and silverware and coffee
cups and --
INT. U.S. CONSULATE BACK STAIRWAY -- DAY
THREE MARINES -- armed and stoked -- staring up the
stairs -- leapfrogging -- point-to-point assault procedure --
INT. U.S. CONSULATE MAIN STAIRS -- DAY
Carpeted and grand -- SECURITY CHIEF with FIVE MARINES
NOW -- charging up -- pushing past THE PEOPLE trying to come
down and --
INT. U.S. CONSULATE FIFTH FLOOR GRAND HALLWAY -- DAY
Completely clogged now -- PANICKED TRADE PEOPLE all over --
EMBASSY TYPES -- trying to herd them toward the main
stairs -- everyone talking at once -- THAT ALARM STILL
BLARING and --
VOICE (OS)
-- no! -- the other way! -- take
the backstairs! -- the backstairs! --
he's on the other side -- there's a
bomb! --
And as the crowd reacts -- as they mob back away from the
main stairway -- we see -- holy shit,
the guy yelling was
BOURNE
--
INT. U.S. CONSULATE BACK STAIRWELL -- DAY
THE ASSAULT MARINES -- still climbing -- weapons out --
clean and fast -- one more flight to go -- ready for
anything -- completely freaking out as the door above them
on the fifth floor flies open and --
LEAD MARINE
-- HALT! -- STOP WHERE YOU ARE! --
MARINE GUNS swinging up -- trigger fingers tense and --
IT'S TRADE PEOPLE! and now THEY'RE SCREAMING and this
combined with THE ALARM and THE MARINES YELLING FOR THEM TO
GET DOWN and ALL OF IT ECHOING THROUGH THE STAIRWELL and --
INT. U.S. CONSULATE MAIN CONFERENCE ROOM -- DAY
BOURNE -- he's CLOSING A DOOR behind him -- he's jamming A
CHAIR -- wedging it in tight so the door won't open and --
INT. U.S. CONSULATE FIFTH FLOOR GRAND HALLWAY -- DAY
THE SECURITY CHIEF -- HIS MARINES -- coming from the main
stairs -- weapons drawn -- fighting their way through the
pandemonium and --
INT. U.S. CONSULATE MAIN CONFERENCE ROOM -- DAY
BOURNE scanning for options -- the room is huge -- empty
now -- the massive conference table covered with the meeting
papers left behind -- windows along one wall and --
BOURNE rushes to the window staring down and --
BOURNE'S WINDOW POV
Fifty feet below there's a courtyard -- it's a sheer drop --
completely fucked and --
INT. U.S. CONSULATE FIFTH FLOOR GRAND HALLWAY -- DAY
SECURITY CHIEF -- TWO MARINES -- just outside THE CONFERENCE
ROOM DOOR -- trying it -- it won't budge and --
SECURITY CHIEF
-- blow it -- shoot it open! --
INT. U.S. CONSULATE MAIN CONFERENCE ROOM -- DAY
THE DOOR -- shattering -- eaten up by GUNFIRE! -- TAT-TAT-
TAT-TATTAT-TAT-TAT-TAT! and --
WHAM! HERE THEY COME -- through the door -- guns -- eyes --
adrenaline -- everything ready and --
THE ROOM IS EMPTY!
EXT. U.S. CONSULATE BUILDING WALL -- DAY
BOURNE -- dangling fifty-feet above the stone courtyard! --
he's gone out the window! -- hanging there -- hanging with
one hand -- one hand clutching the corner of a ledge and --
INT. U.S. CONSULATE MAIN CONFERENCE ROOM -- DAY
Utter confusion -- SECURITY CHIEF -- FIVE -- SIX -- SEVEN
ARMED MARINES all piling in -- ready to rock but there's no
one to shoot -- no target --
SECURITY CHIEF
-- check the closets! -- get those
back doors covered -- there's a
kitchen back there -- go! -- go! -- go!
TWO MARINES -- scanning the windows -- looking down and --
MARINE POV
-- all clear -- no way he went down there and --
EXT. U.S. CONSULATE BUILDING WALL -- DAY
BOURNE still hanging there -- looking down -- up -- there's
no choice -- he has to go down --
BOURNE finding a toehold below him -- reaching -- touching
down -- it gives way -- crumbling and --
BOURNE hesitates. Does he know how to do this or not?
Stalled for a moment, then...
BOURNE starts climbing down. And this is all one shot. No
cutaway. No cheating.
We are watching a master at work...
Handhold to a drain pipe. Swinging to a better ledge.
Dropping to an air-conditioner. Grabbing a window frame
just before the air-conditioner gives way. Teetering there.
Now he's on the fourth floor.
Below, there's an open window on the third floor. Struggling
to keep his balance, he reaches behind him to shift the
weight of the bag, and as he does --
THE RED BAG falls. Thump. Into the courtyard. Forget the
open window. Now he's got to go all the way.
Timing his next move and --
He's pushing off -- reaching -- there's another drainpipe
and he's snagged it -- he's got a dragline now -- starting
to fall -- straining to hold the pipe -- slowing his
descent -- the drainpipe pulling away from it's housing and --
BOURNE letting go --
just
before he falls backward -- one
last grab -- catching a gutter -- holding it just long
enough to slow his fall and --
Letting go for the last fifteen feet and --
EXT. U.S. CONSULATE FIFTH FLOOR GRAND HALLWAY -- DAY
A DOZEN MARINES -- pumped-up and listening to --
SECURITY
-- we're gonna go room by room
until we find him -- so let's get
teamed up --
EXT. AN ALLEYWAY NEAR THE U.S. CONSULATE -- DAY
MARIE storming away. Pissed-off -- broke -- illegal --
ruined and --
MARIE
(German)
(Motherfucking sonsofbitches!)
(a new problem--)
A LITTLE RED CAR. A beat-to-shit Euro car. A shitty little
red car angled in beside a dumpster with a big red Zurich
parking ticket on the windshield.
MARIE grabbing the ticket -- tearing it up -- tearing the
shit out of it -- blind with misfortune -- throwing the
pieces on the ground and stomping on them and then --
MARIE
(looking up--)
(What are you looking at?)
BOURNE standing across the car -- on the passenger side --
BOURNE
I need a ride.
MARIE
(What?)
BOURNE
I need a ride out of here.
MARIE
Oh, Jesus...
(backing away and--)
BOURNE
Please. I don't want to scare you.
MARIE
It's a little late for that.
BOURNE
I've got a situation here and --
MARIE
Get the fuck away from my car.
BOURNE
I'll give you ten thousand dollars
to drive me to Paris.
MARIE
Great. You know what? I'll give
you ten gazillion dollars to get
the fuck away from me before I
start screaming my head off.
BOURNE
You don't want the police any more
than I do.
BOURNE tosses cash -- a stack of hundreds -- across the car
into her hands -- she catches it. Looks at it.
MARIE
Jesus...
BOURNE
Get me out of here.
Please
.
MARIE looking at him. At the money. Back at him, and --
INT. TREADSTONE COMMUNICATIONS DESK -- NIGHT
VIDEO PLAYBACK -- FULL FRAME --
fast forward
-- a speeding
blur of images from a surveillance camera outside the Zurich
bank -- it's two days worth of footage -- they're scanning
for Bourne's arrival and --
CONKLIN
go -- keep going -- go...wait --
stop
-- you went past it --
COM TECH #1 working the console. Freezing the image.
Punching it up. There it is -- BOURNE leaving the bank with
the red bag.
CONKLIN
(staring at the monitor)
It's him. My God, it's really him...
ZORN the phones across the room. COM TECH #2 at his console --
COM TECH #2
-- we got a cross-ref ready to go
here, sir, we're running hotel,
airline, train, and medical
variables, anything else you'd like?
CONKLIN
No...
(still staring at Bourne)
Go ahead. Run it.
(coming to--)
Let's get a map, let's get a grid
map on Zurich.
ZORN
(holding the phone)
Sir...
CONKLIN up from the console. ZORN waiting for him --
CONKLIN
What?
ZORN
Zurich police are looking for an
American with a red bag. Apparently
he put two cops in the hospital
last night.
Silence. Like the floor just fell away. So heavy.
CONKLIN
What the fuck is he doing?
ZORN
Maybe it's a game. Maybe he's
trying to send us a message.
CONKLIN
It doesn't matter now. We've just
got to be the first ones there.
(decision time)
Get everybody up. I want them all
activated.
ZORN
All of them?
A moment between them. CONKLIN all steel here now.
CONKLIN
You heard me.
COM TECH #2
(from the console--)
Sir, the cross-ref is coming up cold...
CONKLIN breaks away -- back to the console and --
EXT. BARCELONA RESIDENTIAL BOULEVARD -- DAY
Establishing shot. A grand house. PIANO MUSIC over this --
someone butchering a piece by Haydn and --
INT. BARCELONA GRAND HOUSE MUSIC ROOM -- DAY
Meet THE PROFESSOR. He's a piano teacher. Late fifties.
Deceptively fit. He's sitting here, listening to a NINE-
YEAR-OLD STUDENT struggle through the music.
And then, HIS E-PHONE PAGER starts pulsing --
hum
--
hum
--
INT. HAMBURG CONFERENCE ROOM -- DAY
A boring, marathon business meeting. FIFTEEN MIDDLE
MANAGERS are trapped around a German sales presentation.
Meet MANHEIM. Bald. Fifty. He looks dumb and piggy.
Anything but. Sitting here --
And then, HIS E-PHONE PAGER starts pulsing --
hum
--
hum
--
EXT. A ROMAN CAF+ -- DAY
Meet CASTEL. He's thirty-five. Slender. Clean-cut. Easy
to miss. He's here alone. Reading the paper. Sipping
espresso.
And then, HIS E-PHONE PAGER starts pulsing --
hum
--
hum
--
EXT. A ROAD ON THE OUTSKIRTS OF ZURICH -- DAY
The little red car parked. MARIE pacing around. BOURNE
poring over a map spread out opver the hood.
MARIE
So what's in Paris?
BOURNE
I want to go home.
MARIE
For twenty thousand dollars.
BOURNE looks back from the map.
BOURNE
I said ten thousand.
MARIE
You have blood on your pants.
BOURNE
Okay.
(beat)
Twenty thousand. Ten now. Ten there.
MARIE
No
. No, that was too easy --
(pacing away--)
BOURNE
Wait up --
(after her now--)
-- just wait up --
MARIE
-- get the fuck out of here -- all
this money, this crazy offer, I
mean give me a fucking break with
this, this is --
(stopping because--)
BOURNE just grabbed her. Both of them shocked that he's
done this. He immediately pulls back.
BOURNE
Look, I want a ride to Paris.
(wide open now)
That's all I want. I swear.
MARIE
You swear?
(cold here)
That's great. I feel so much
better now.
BOURNE
I don't want anything but a ride.
All I want to do is go home.
Silence now. She looks back. Measuring him.
MARIE
You could buy a car for twenty
grand. You could buy this car.
BOURNE
I don't want to go alone. I want
you to drive me to Paris. Like
we're a couple. Like we're a
couple and we're travelling
together. That's all we're doing.
MARIE
And I don't get hurt. I get twenty
thousand dollars and I don't get hurt.
BOURNE
I won't hurt you.
MARIE
What if I say no?
BOURNE
Then I'll find another ride.
EXT. ROME STREET -- DAY
CASTEL through the streets on a motorcycle. Whipping to a
stop -- stepping off the bike in front of --
U-STORE-IT STORAGE WAREHOUSE.
INT. STORAGE WAREHOUSE ELEVATOR -- DAY
CASTEL and THE ELEVATOR OPERATOR -- rising slowly through
the dark warehouse and --
INT. CASTEL'S STORAGE UNIT -- DAY
Darkness -- a key turning -- door opening -- light goes on
to reveal CASTEL standing there and we're in --
CASTEL'S STORAGE UNIT. What's in here? Like nothing. Like
a stack of old newspapers in the corner. Some mildewed
books piled along one wall. Some shitty plastic chairs.
QUICK TIME CUTS
CASTEL working fast. Closing the door. Moving to the pile
of books. Taking the top book off. Opening it.
INSIDE THE BOX -- a timer. A small bomb. A booby-trap.
An LED light stops flashing as CASTEL'S HANDS code in his
password and --
CASTEL moving to the newspapers stacked in the corner.
Pulling away the top pile and --
A METAL LOCK BOX. Hidden here. CASTEL pulling it out.
Opening it. An empty tray on top and --
CASTEL taking off his watch. Taking off his rings. Taking
out his wallet. His Spanish passport. Emptying his pockets.
All of this goes into the empty tray and --
CASTEL lifting away this top tray -- setting it aside and --
THE METAL LOCK BOX -- there's more -- a much larger bottom
compartment -- and it's deja-vu all over again -- we're
looking at the identical contents we saw Bourne find in the
Zurich safe-deposit box.
First of all...
MONEY. Lots of it. Ten thousand dollar stacks of hundreds.
Lots of them. A GUN. A very good gun. A dozen clips of
ammo. And FIVE MORE PASSPORTS. All clean. Brand new. All
with his photo. Five different names. Four different
countries. Each one of these pristine clipped to a piece
of card stock that says:
NAME:
NATIONALITY:
PLACE OF ISSUE:
SIGNATURE SAMPLE:
A BAR CODE:
Two Italian. Two Spanish. A Portuguese.
CASTEL going for the Portuguese passport and --
EXT. ALPS HELICOPTER SHOT -- DAY
The little red car driving through The Alps.
INT. THE RED CAR -- DUSK
BOURNE staring out the window. MARIE driving. Long silence
until --
MARIE
Just so you know, if you're gonna
burn me on the money, you might as
well kill me.
(Bourne looks over)
I was supposed to have this car
back three days ago. It's not my car.
BOURNE
I know that.
MARIE staring at him -- glancing back to the road -- just in
time -- almost rear-ending a slow moving truck --
MARIE
Shit --
(trying to settle)
Can I tell you how much you're
freaking me out? Okay? Because
you are -- you're completely
freaking me out.
BOURNE
I'm sorry. Really. What do you
want me to do?
MARIE
I don't know. Smile. Sneeze.
Something. You've got a bag full
of money and a ride to Paris. Fuck
it, I don't know...
(the radio)
What kind of music do you like?
BOURNE
I don't know.
MARIE
What does that mean?
BOURNE
Listen to what you want.
MARIE
(out of nowhere)
Who pays twenty thousand dollars
for a ride to Paris?
There it is. And she wants an answer --
BOURNE
I don't know. I don't know who I am.
MARIE
Yeah, well, welcome to the club.
BOURNE
No. No, I mean, I really don't
know who I am. I can't remember
anything earlier than two weeks ago.
(it's not flying)
I'm serious.
MARIE
What? Like amnesia?
BOURNE
Look, go ahead...put the radio on...
MARIE
Amnesia?
(total incredulity)
You're saying you don't remember
anything that happened before two
weeks ago?
BOURNE
That's what I'm saying.
MARIE
(German)
(Give me a fucking break.)
BOURNE staring at her. She's furious. She's downshifting --
she's accelerating -- pulling out to pass the truck on a
blind turn, as we --
EXT. ZURICH BANK -- DAY/DUSK
APFEL emerges from the bank. Leaving work. Turns the
corner into a quiet side street and --
Up ahead, here comes another guy in a suit. It's MANHEIM
walking toward us, deep into a cell phone conversation.
Barely noticing Apfel as they get closer and --
As they pass -- MANHEIM -- it's completely out of the
blue -- he's jabbing the cellphone down into Apfel's
shoulder and --
APFEL -- no clue -- already clutching at the coronary
exploding in his chest -- dead before his body hits the
street and --
MANHEIM -- still walking -- he's never broken stride -- and
as he goes he's fiddling with the cellphone and --
INSERT -- THE CELLPHONE
-- MANHEIM'S HANDS working to
retract a syringe into the device and --
MANHEIM striding away. Disappearing into Zurich...
INT. PARIS MORGUE -- NIGHT
Not the best morgue in town. Cold tile. A wall of freezers.
Death lighting. Now add some color. Meet NYKWANA WOMBOSI
in the flesh.
Meet HIS ENTOURAGE -- eight or ten of his thirty children --
two of his wives -- three of his bodyguards -- the whole
crew spread out in this horrible basement room. THE WIVES
are chatting. THE KIDS are playing, fighting and eating candy.
THE BODYGUARDS -- three of them here -- are white. These
guys are French/Corsican mercs. Not quite the A-Team. The
guy in charge of this ugly little unit is named DEAUVAGE.
Into it.
Too
into it.
TWO MORGUE ATTENDANTS hanging back. THE MORGUE BOSS --
who's clearly suffering this for a bribe -- moves to one of
the freezer lockers...
MORGUE BOSS
(French)
(Okay, Monsieur Kane...number 121...)
And he pulls open FREEZER #121. And thank God we can't see
it, because whatever's inside there is clearly horrible.
THE MORGUE BOSS barely takes a glance, standing back as
quickly as possible.
DEAUVAGE -- lead bodyguard -- moves to clear a zone for his
boss --
WOMBOSI
Get the fuck out of my way --
(pushing Deauvage
aside--)
WOMBOSI moves to the freezer box. Stares down. As if it
were nothing. He's seen -- he's
made
-- much, much worse.
And now he reaches down
into
the box --
hands on
--
literally feeling around this dead, awful corpse with his
bare hands -- feeling around for something -- feeling and
feeling and not finding --
WOMBOSI
(turning to Deauvage--)
It's not him
.
DEAUVAGE looking pale as WOMBOSI slams shut the freezer.
WOMBOSI
(quiet hard fury)
So who's crazy now?
EXT. PARIS STREET -- NIGHT
A MINI-MOTORCADE driving towards Neuilly. Two security cars.
A van full of kids and mothers. And one big Mercedes stretch.
INT. THE MERCEDES STRETCH LIMO -- NIGHT
WOMBOSI alone in the back. Looking haunted.
INT. TRUCKSTOP CAF+ -- NIGHT
It's a weird spot. Open all night. But Euro-style. Quiet
tonight. A few Alpen-truckers chowing down. A local or two
at the bar and --
BOURNE AND MARIE at a back table. Drinking coffee. He's
got the red bag open. All the passports -- the personal
junk -- the money -- all the shit from the Zurich bank
box -- he's been showing it to her --
And he's got her attention now.
MARIE
And you have no idea -- not a
clue -- what came before that?
BOURNE
No.
MARIE
When you think of it, before the
ship -- before you wake up on the
ship, what do you see?
BOURNE
Nothing. It's just not there.
MARIE
Well, this is great.
(she sits back)
I'm sick of myself and you have no
idea who you are.
BOURNE
I kept trying things, I thought if
I could find all the things I could
do, I could --
MARIE
-- you could put it together --
BOURNE
-- which was okay for a while, I
was okay with it...
(hesitating now)
But then -- there's all these other
things -- all these other things I
know how to do -- and this -- this
stuff from the bank and...
(suddenly flat out--)
I think something bad happened.
MARIE
What are you talking about?
BOURNE
I don't know.
MARIE
Sounds like you were in an accident
or something.
BOURNE
I was shot twice in the back.
MARIE
Okay, so you're a victim.
BOURNE
There was a gun. Who has a safe
deposit box with a gun and all this
money and all these passports?
MARIE
Lots of people have guns. You're
American. Americans love guns.
BOURNE
I fought my way out of an embassy.
I climbed down a fifty-foot wall --
I went out the window and I was
doing it -- I just did it. I knew
how to do it.
MARIE
People do amazing things when
they're scared.
BOURNE
Why do I? -- I come in here --
instinctively -- first thing I
do -- I'm looking for the exit --
I'm catching the sightlines -- I
know I can't sit with my back to
the door --
MARIE
You're paranoid. You were shot.
It's natural.
She's not listening. He leans in. Flat out now.
BOURNE
I can tell you the license plate
numbers of all three cars out front.
I can tell you that the waitress is
left-handed and the guy at the
counter weighs two-hundred and
fifteen pounds and knows how to
handle himself. I know that the
best, first place to look for a gun
is the cab of that grey truck
outside. I know that at this
altitude I can run flat out for
half a mile before I lose my edge.
I knew that you were my first, best
option out of Zurich? How do I
know all that? How can I know all
that and not know who I am? How is
that possible?
Long dead pause.
MARIE
God, you're not kidding, are you?
INT. TREADSTONE RESEARCH DESK -- DAY
BOURNE'S FACE -- a video image frozen on A COMPUTER
SCREEN -- it's Bourne looking at the camera -- Bourne
looking up at the camera in the consulate passport office
and --
PULL BACK TO REVEAL
HALF A DOZEN COMPUTER MONITORS -- and lots of shots of
Bourne -- twenty angles -- twenty different locations --
twenty candid perspectives of Bourne and his mad scramble
through the consulate --
CONKLIN and RESEARCH TECH #1 poring over these surveillance
tapes downloaded from Zurich --
CONKLIN
And that's the best angle of the
courtyard?
RESEARCH TECH #1
That's the only angle.
CONKLIN
What do they have on the streets?
The area. They must have something.
RESEARCH TECH #1
Hang on...
(typing away--)
CONKLIN rubbing at the tension in his temples as ZORN enters --
CONKLIN
What?
ZORN
Abbott. He knows about the embassy.
He's coming down for a show and tell.
CONKLIN
That'll solve all our problems.
RESEARCH TECH #1
(he's hit paydirt)
Sir...
CONKLIN
(turning back--)
What's that?
RESEARCH TECH #1
It's an angle of the street -- some
sort of alleyway -- you can just...
CONKLIN
Enhance it.
INSERT -- THE MONITOR -- as the image enlarges to fill the
screen. And there's Bourne. And the little red car. And
Marie.
CONKLIN (OS)
Who the hell is that?
EXT. ZURICH AIRPORT HOTEL -- NIGHT
A drone barn. Practically on the runway.
INT. ZURICH AIRPORT HOTEL ROOM -- NIGHT
One of those rooms. Just a plain functional box. MANHEIM
laying on the bed. Fully dressed. Suit and tie. Just
laying there, staring at the ceiling. Who knows how long
he's been like this.
Just waiting.
ON THE NIGHTSTAND -- A gun. A knife. His e-phone pager.
His fresh credentials. And a photo of Jason Bourne.
INT. WOMBOSI'S PARIS COMPOUND -- NIGHT
Quick orientation: Picture a heavily-walled palace just
off the Bois Du Boulogne. But once inside you could be back
in Brazzaville. It's just a buffet of oddness. Home to
fifty children and nine wives. The decor blends money and
nouveau riche materialism with a hard, back-home tribal
esthetic. It's a visual treat. Not condescending or stupid,
but flat-out strange and menacing.
It's late. And the palace is dark and sleepy now, but carry
all that through this next series of quick shots --
WOMBOSI HOUSE SECURITY STATION
Just inside the door. BODYGUARD #1 slouched before a bank
of SECURITY MONITORS.
WOMBOSI MAIN HALLWAY
Littered with toys. Children's crap everywhere. BODYGUARD
#3. Snoozing on a Louis Quatorze chair draped with African
cloth.
WOMBOSI THRONE ROOM DOORS
DEAUVAGE -- head bodyguard -- posted outside this imposing
set of doors. He's trying to stay awake. Reading a spy
thriller.
FINALLY TO
WOMBOSI'S THRONE ROOM
And there he is -- the emperor himself -- WOMBOSI on his
throne. Except the room is dark and empty. And he's
sitting there by himself. A king without a country.
Sitting there. With a gun in his lap. Drinking hard from a
bottle of Jack Daniels.
Stewing
.
EXT. FRENCH ROADSIDE -- DAWN
Beautiful morning. The red car parked along the road.
BOURNE alone in the passenger seat. Deep asleep. Nestled
there.
And then, he wakes suddenly. Starts. Freaked for a moment.
Instantly feeling for the red bag. There it is in his lap.
He looks around and --
MARIE sitting away from the car. She's got a loaf of bread.
A soda. Smoking a butt. Same clothes, but her make-up's
been washed away. Clean. Simple. Gorgeous.
BOURNE steps out. Morning legs.
MARIE
I needed a break.
BOURNE
Where are we?
MARIE
We're about an hour away.
BOURNE
I can't believe I slept.
MARIE
You were tired. Here...
(bread and soda--)
For twenty-thousand I like to throw
in breakfast.
(he takes it)
So what do you dream about?
BOURNE
I dream I'm asleep. I dream that
I'm asleep and I can't wake up.
(he takes a hit from
her smoke and
coughs--)
I don't think I smoke.
Another silence. She's watching him.
MARIE
You ever think maybe you have a family?
BOURNE
I thought about it. I don't know.
She looks away. Was she hoping for another answer?
MARIE
I guess it's like Christmas every
day for you, huh?
INT. TREADSTONE CONKLIN'S OFFICE -- DAY
MARIE'S FACE -- A PASSPORT PHOTO -- she's eighteen -- she's
smiling -- really alive and fresh and --
CONKLIN behind his desk. ABBOTT staring grimly at the
picture --
ABBOTT
Who is she?
ZORN
Marie Helene Kreutz. She's twenty-
six. Born outside Munich. Father
was a welder. He died in '91. We
don't have the mother. There might
be a step-sister, we're trying to
track that down.
(apologetic)
It's tough. She's a wanderer. She
pops up on the grid here and there
but...I mean, the last time she
paid an electric bill in Europe was
'94. No taxes. No steady employer.
She's got three arrests. Two
shoplifting cases, one in Spain,
one in Germany. And she actually
did three months in an Italian
detention center for credit card fraud.
ABBOTT
No political affiliations?
CONKLIN
She's a gypsy. If it's a cover,
it's a great one.
ABBOTT
I'm assuming we're exploring that
possibility.
CONKLIN
We're exploring
every
possibility.
(tighter by the moment)
We are in pursuit. How much more
do you want me to tell you?
ABBOTT
Pursuit would indicate that you
know exactly where he is.
CONKLIN
No. Pursuit
ends
when we know
exactly where he is.
ABBOTT
Yes, well, I think we need some
fresh eyes on this problem. I'm
bringing in some people from upstairs.
CONKLIN hesitates. Inside he's screaming.
CONKLIN
We've been down here for two weeks
banging our heads against the wall.
We've been
sleeping
down here. We
just got our first lead fourteen
hours ago, and now? -- now that we
finally
have something to work
with -- you want to bring planning
personnel down here?
(real steam)
I'd rethink that.
ABBOTT
I want a second opinion.
CONKLIN
This is an operations desk
.
ABBOTT
I'm not asking.
EXT. PARIS STREET NEAR BOURNE'S APARTMENT -- DAY
THE LITTLE RED CAR cruising through town.
INT. THE LITTLE RED CAR -- DAY
MARIE driving. BOURNE checking building numbers as they
pass --
BOURNE
Slow down. No, don't stop. Just...
MARIE
(looking over)
That's it? Is that it?
AN APARTMENT BUILDING. Big building. Elegant but cold.
BOURNE
Four-fifty. That's the address...
MARIE
Looks familiar?
BOURNE
No.
(staring back as they
pass--)
No. Go around. Keep going...
MARIE pulling up -- turning a corner -- watching him as she
does. But he's pre-occupied -- eyes scanning -- taking it
all in --
MARIE
Where?
BOURNE
Yeah. Pull in here. Park it.
MARIE angles into an alleyway. Cuts the engine.
MARIE
So this is it, right?
BOURNE
I guess.
Dead pause. She's waiting. He's still scanning the street.
MARIE
I should go.
BOURNE
I don't remember any of this.
MARIE
Jason...
He turns back. She's staring at him.
BOURNE
Sorry. The money, right?
Before she can say anything, he's digging in the backpack.
He pulls out another stack of hundreds. Hands it over. She
takes it. It's not what she wanted, but she's used to being
disappointed. Fighting it.
MARIE
Okay, so...
BOURNE
Thanks for the ride.
MARIE
Anytime.
Silence. That moment. He focuses. Getting it.
BOURNE
Look, I don't know what's up there.
MARIE
You got me pretty fucking curious.
BOURNE
Look, you could come up. Or you
could wait if you want. I could go
check it out. You could wait.
MARIE
Nah...
(hide the pain)
With you, I mean, you'd probably
just forget about me, right?
BOURNE
How could I forget about you?
(he smiles)
You're the only person I know.
MARIE smiles. We've never seen it before. Worth waiting for.
INT. PARIS APARTMENT BUILDING FOYER -- NIGHT
BOURNE and MARIE standing at the directory. Five apartments.
One per floor. Five names. A buzzer. An intercom. There
it is.
J. Bourne.
BOURNE presses the buzzer. After a moment, he presses again.
Nothing.
MARIE
I guess you're not home.
BOURNE checking the door. How to pop it open? Just about
to get into it, when --
CONCIERGE (OS)
(from the shadows
inside--)
(Monsieur Bourne...I'm coming...)
THE CONCIERGE is sixty. Plump and proper.
CONCIERGE
(opening the door--)
(Mr. Bourne, there you are -- I was
wondering -- I haven't seen you --)
BOURNE
(Here I am.)
THE CONCIERGE looking at BOURNE like maybe she's never seen
him look like this before. And she's looking at MARIE like
here's the reason her tenant looks like such shit.
BOURNE
(he tries a smile)
(I seem to have lost my key.)
THE CONCIERGE nods. Instant chilly disapproval.
CONCIERGE
(I've been ringing your bell. It's
good you were away. We had some
trouble with the hot water. It's
been repaired.)
BOURNE
(Great. We could use a shower.)
(they look like
shit--)
(It was a long drive.)
THE CONCIERGE steps aside and --
INT. PARIS APARTMENT FIFTH FLOOR LANDING -- DAY
BOURNE and MARIE at the apartment threshold. He has a key now.
Turning it. And the door opens...
Nothing...
No bombs. No wife and kids. No one.
INT. PARIS APARTMENT -- DAY
A huge, rambling flat. Large entry hallway. Large rooms
beyond that. It's obviously expensive. But cold.
Completely impersonal. No photographs. No mementoes. No
human history.
WE'RE MOVING NOW
THE LIVING ROOM
BOURNE and MARIE exploring.
MARIE
It's big.
BOURNE silent. Struggling to get a feel for the place.
MARIE (CONT'D)
This is like a real apartment.
(she likes it)
This is really yours?
BOURNE
I guess so.
MARIE taking it in fast. BOURNE seems paralyzed. Trying to
soak it all in. Willing himself home. Touching things as
he passes. As if a texture, a smell -- something will
become familiar. He's deep into this as we go to --
THE BEDROOM
MARIE in the doorway. Checking it out. It's so clean and
simple. But it's not the decor she's most interested in...
MARIE opening an armoire...
Nothing but men's clothes. No competition. She's feeling
better by the moment as we go to --
THE KITCHEN
Like a stage set. Lots of props and no sign of food.
BOURNE picking up a frying pan.
BOURNE
This is my frying pan.
(and then--)
This is my spoon.
(trying harder)
I'm Jason Bourne and this is my
kitchen.
THE MASTER BATHROOM
MARIE still on the prowl. Mirror city. Big tub. One
toothbrush.
AN OFFICE STUDY
There's a desk. Chair. Phone. Basic. BOURNE with a
folder in his hand. Staring at the bookshelves. Binders,
reference materials and hardbound volumes -- all of it about
maritime law. Ship schedules. Registry catalogs. All
about boats.
MARIE
This is your office?
(from the doorway)
God, you live like a monk...
BOURNE
All this stuff -- it's all about
boats.
(looking up)
I think I'm in the shipping business.
MARIE
See. It's starting to come back,
yeah?
(he sort of nods)
You mind if I take a bath?
BOURNE
Go ahead.
MARIE backs out. BOURNE alone again. Standing there for a
moment. Dealing with it.
And then he sits down in a chair.
BOURNE sitting there. Staring. The room, the desk -- it's
all so devoid of personality. And then, something catches
his eye and --
INSERT -- THE DESK TOP
-- a faint silhouette through the
dust and grime. Outlines of where a computer used to sit.
BOURNE reaching suddenly under the desk. Bingo. Pulling
out a retractable computer keyboard tray. But it's empty.
No keyboard. Now he's really confused and --
INSERT -- A PHONE/ANSWERING MACHINE
-- BOURNE pressing the
playback button and --
PHONE MACHINE
"You have no messages."
BOURNE leaving that for a moment -- about to anyway -- and
then he turns back -- new idea -- pressing for the speaker
phone -- and then hitting redial and --
THE PHONE stars dialing...
RINGING and...
OPERATOR/PHONE
Bonjour, Hotel Marboeuf...
BOURNE quick grabbing the receiver. Taking it off
speakerphone and --
BOURNE
...yes -- oui -- uh...
OPERATOR/PHONE
(Yes, sir. Hotel Marboeuf, Paris.
How can I direct your call?)
BOURNE
Paris?
OPERATOR/PHONE
Yes, sir...
(switching to English,
thinking that's his
problem--)
How can I help you?
BOURNE
Yes, I'm...I'm looking for Mr.
Jason Bourne.
OPERATOR/PHONE
One moment, please...
(a long pause, and
then--)
I'm afraid, I have no one by that
name registered, sir.
BOURNE
D'accord... Merci.
(about to hang up--)
Un moment -- un moment --
OPERATOR/PHONE
-- sir? --
BOURNE
-- hang on -- I need you to check
another name for me -- hang on --
un moment, s'il vous plait --
BOURNE grabbing the backpack -- tearing through it -- where
is it? -- where is it? -- shit and money falling out and --
There it is -- from the safe-deposit box -- that piece of
card stock -- the one with no passport attached to it --
BOURNE (CONT'D)
(reading it)
Kane. Do you have Mr. John Michael
Kane?
OPERATOR/PHONE
One moment, sir.
BOURNE waiting. And then there's muzak -- holding music and --
THE MASTER BATHROOM
Water running in the tub. MARIE pulling off her boots.
Checking the temperature.
THE OFFICE STUDY
Bourne still on hold. And then --
MANAGER/PHONE
(a new voice suddenly)
Bonjour? Monsieur? Allo...
BOURNE
Yes, I'm here...
MANAGER/PHONE
You call about Monsieur Kane? John
Michael Kane?
BOURNE
Yes. Is he there?
MANAGER/PHONE
You are a friend of his?
BOURNE
Yes.
MANAGER/PHONE
I have some very bad news for you,
sir. I'm terrible sorry to have to
tell you this, but Monsieur Kane
has passed away almost two weeks ago...
Silence. BOURNE is rocked. But the Manager, it's natural,
he interprets the silence as grief...
MANAGER/PHONE
There was an accident. On the
motorway. Apparently, he was
killed instantly. Really, I'm
terrible sorry to be the one to
tell you this...
BOURNE
...I understand...
MANAGER/PHONE
...we actually, we were unaware for
several days that this had happened.
When they came for his things, it
was made known for us, you see?
BOURNE
Who? Who came?
MANAGER/PHONE
His brother. You know his brother?
BOURNE
Right. Yes. Of course.
MANAGER/PHONE
It's very bad this. Terrible sad.
Such a young man.
BOURNE
Do you -- his brother -- do you
have a phone number?
MANAGER/PHONE
I think not...
(quick French to
someone in the office
there--)
No, I'm sorry. It was very sudden.
He was here very briefly.
BOURNE just hands up the phone. Just like that. Not even
goodbye. Standing there frozen. Stunned. John Michael
Kane is dead. And he had the passport.
Suddenly, everything's changed. They shouldn't be here.
This is bad. Danger.
THE MASTER BATHROOM
MARIE playing with her hair in the mirror. Checking the
water --
MARIE
(calling out to him--)
She wasn't kidding about the water.
It's freezing.
THE OFFICE
BOURNE frozen there. On alert. He forces a smile. Decoy mood.
BOURNE
Hang on. I'll check the kitchen...
(moving out of the
office--)
Maybe it takes a while to get all
the way upstairs.
THE KITCHEN
BOURNE moving to the sink. He's smiling. Upbeat. But it's
an act. His eyes are everywhere. Turning on the water.
But ignoring it. What he's really doing is searching out a
weapon. Pulling A KNIFE very quietly from behind the stove.
Holding it. Feels pretty comfortable. Hiding it down by
his side. On the move again, now --
BOURNE
Yeah, it's cold in here, too...
(calling to her as he
goes--)
Let's give it another minute.
BOURNE like we've ever seen him. Like an animal. Every
sound -- every breeze -- everything carries information.
Standing still. Taking it all in.
Real quick layout -- there's big windows along one wall that
face out to the street below. The hallway to the bedroom
and bath feeds into the living room from one side. There is
a large frosted airshaft window along that hallway wall.
Simple furniture.
MARIE
(suddenly--)
-- omigod! --
(she's behind him--)
-- what're you? -- no -- no --
MARIE backing away -- completely freaked -- BOURNE standing
there with the knife in his hand and --
BOURNE
-- no -- Marie --
no
! -- it's not
like that --
MARIE
-- please -- Jason -- omigod --
BOURNE
-- quiet --
quiet
--
MARIE -- frightened -- confused -- paralyzed for a moment --
BOURNE glancing back -- a curtain fluttering behind him --
motioning for MARIE to get down --
do it
-- now --
down
!
MARIE hesitating and --
BOURNE -- what's he doing? -- he's unscrewing a lightbulb
from a lamp beside him and --
MARIE about to say something -- he shakes her off --
BOURNE -- knife in one hand -- lightbulb in the other --
putting his foot on a chair in front of him and --
MARIE
...what are you doing?...
BOURNE waving her to shut up -- crawl -- now -- back up --
get under the window -- go! --
MARIE -- he seems so sure -- it's weird, but she's doing
it -- she's under that frosted window -- down below the
sill -- looking back -- what the fuck is he doing now? --
BOURNE -- the lightbulb -- he's tossing it across the
room -- over her head -- into that frosted window and --
As she ducks down --
As it SHATTERS --
EVERYTHING STARTS HAPPENING AT ONCE
PHFT!-PHFT!-PHFT!-PHFT!-PHFT!-PHFT! -- silenced automatic
weapons fire -- raking into the apartment and --
THE FROSTED WINDOW peppered with holes and --
MARIE on the floor as THE WINDOW SHATTERS above her and --
CASTEL -- he's in the airshaft! -- hanging from an abseil
rope -- but off guard -- FIRING BLIND -- strafing the
apartment and --
BOURNE kicking that chair across the room and --
CASTEL reacting -- instinct -- moving target --
THE CHAIR just strafed to shit and --
BOURNE rolling away and --
CASTEL -- he's coming in -- last pieces of window frame
CRASHING AWAY as he swings into the apartment and --
MARIE -- right below him -- shit raining down as he flies in
and --
BOURNE throwing the knife and --
CASTEL -- turning -- too late -- the knife catching him in
the neck and --
BOURNE -- in motion -- attacking and --
CASTEL -- knife impaled in his neck -- clawing for it with
one hand -- trying to get off a shot and --
APARTMENT WALL -- PHFT!-PHFT!-PHFT!-PHFT!-PHFT! -- gunfire
tearing wildly around the room and --
BOURNE -- full-stop -- kicking the gun -- kicking it up --
ROUNDS TEARING ACROSS THE CEILING and --
MARIE -- SCREAMING NOW -- trying to crawl away and --
CASTEL -- no chance -- off balance -- BOURNE -- his open
palm driving up into CASTEL'S JAW -- the body wants to fall
backward, but BOURNE has the guy's arm in his free hand --
jerking it like rope -- tearing it from it's socket and --
THE GUN CLATTERING FREE across the floor and --
BOURNE -- his knee -- like a piston -- hard into CASTEL'S
GUT -- and then down -- his foot -- down into CASTEL'S KNEE,
shattering it and --
CASTEL is on the floor -- stunned -- wiped -- knife pouring
blood from his neck -- arm hanging like a rag doll -- bone
torn through his pant leg above the knee and --
MARIE
omigod -- omigod -- what're you
doing? -- what're you doing? --
(incoherent fear and
confusion, German and
English and--)
-- what is he? -- what've you? --
omigod -- what is this? --
BOURNE ignoring her -- grabbing the guy's backpack --
MARIE (CONT'D)
-- what're you doing? -- Jason,
please, tell me what's happening!
BOURNE
Open it --
(tossing Castel's
backpack behind him--)
-- do it -- what's he got in there?
CASTEL -- eyes wild -- tries to make his feet --
BOURNE (CONT'D)
Who are you?
(kicking him down--)
-- who are you?
CASTEL -- crablike against a wall -- bloody hands leaving a
mess as he struggles to get to his feet --
BOURNE
-- who are you? -- tell me who you
are -- who sent you? --
(bearing down)
-- what is this about? -- YOU'VE
GOT TO TELL ME WHAT THIS IS ABOUT! --
CASTEL -- staring back -- eyes wild -- mouth shut -- his
expression -- is it terror or pure steel? --
BOURNE (CONT'D)
WHY ARE YOU TRYING TO KILL ME?
MARIE
(suddenly from behind)
...omigod, no...
MARIE -- the guy's backpack -- something in her hand -- and
as freaked out as she was a moment ago -- this is worse --
BOURNE
What? -- what? --
(attention split--)
-- what is it?
MARIE
...this is my picture... he's got
my picture --
(holding it up, in
horror--)
-- this is me -- this is Zurich --
this...this...this is yesterday --
BOURNE
-- just --
MARIE
-- where does this come from? --
(to Castel)
How do you have my picture?
BOURNE
Marie, just --
(waving her back--)
-- just stay there! -- just --
MARIE
-- he's got my picture! -- this is
yesterday! -- this is me! --
(out of control now--)
-- where did you get my picture? --
BOURNE
-- let me do this, okay? --
MARIE
-- do what? -- what are you
doing? -- he's got my picture --
(just apoplectic--)
-- he's -- my God -- look at him --
he's bleeding to death -- my
picture -- look! -- he was trying
to kill us! -- omigod --
Now there's KNOCKING AT THE DOOR and --
THE CONCIERGE
(muffled but urgent)
(Mister Bourne! Mister Bourne!
What's going on? Is everything all
right in there? --)
(and she keeps
banging and--)
MARIE is past the point of rationality and CASTEL is
bleeding and shaking and BOURNE is trying to think and it's
just impossible and --
Suddenly -- CASTEL is moving! -- and fast -- it's
superhuman -- unbelievable -- just enough spring in his good
leg and --
BOURNE bracing himself but --
CASTEL isn't attacking! -- he's running away -- he's
crossing the living room -- but there's nowhere to go --
absolutely nowhere -- except --
THE WINDOW
CASTEL hurling himself into the glass and --
EXT. THE PARIS APARTMENT BUILDING -- DAY
WINDOW SHATTERING! -- CASTEL -- in a cloud of broken
glass -- sixty feet above the street --
Falling and falling and...
IMPACT! -- landing on the roof of a parked car and --
INT. THE PARIS APARTMENT -- DAY
THE APARTMENT -- BOURNE in motion -- five things at once --
checking the window -- kicking the gun away -- grabbing the
red bag -- grabbing what he can -- no time to spare and --
THE CONCIERGE
(still outside the
door--)
(--I'm calling the police, Mr.
Bourne -- you give me no choice --
I'm calling them right away! --)
BOURNE
-- your shoes -- Marie! -- where? --
where are your shoes? -- Marie --
MARIE standing there in utter shock -- paralyzed -- the
picture in her hand -- the broken glass -- all of what just
happened --
MARIE
He's dead isn't he?
BOURNE
Marie -- look at me -- there's no
time for this --
MARIE
He went out the window -- why? --
why would someone do that?
BOURNE
-- we can't stay here -- I can't
stay here -- it's not safe here --
MARIE
He came to kill us.
BOURNE
-- we can go -- I can get us out of
here -- but we have to go now --
MARIE
You knew he was coming.
BOURNE
No.
MARIE
I trusted you.
BOURNE
You're wrong. I didn't know.
MARIE
I don't trust anybody and I trusted
you!
BOURNE
I didn't know this would happen.
MARIE
He had my picture! He knew I was
here! He came here to kill us!
BOURNE
And where is he now?
(that gets her quiet)
You believe what you want, but I'm
telling you the truth -- I never
would have brought you here if I
thought it was dangerous.
MARIE
(totally overwhelmed)
Oh, Jesus...
BOURNE
You stay -- if you want, you
stay -- it's okay -- it's better --
maybe it's better -- I don't
know --
(starting to back
away--)
But I can't stay here.
I can't
.
MARIE
But the police --
BOURNE
-- there's no time --
MARIE
-- we'll explain it --
BOURNE
-- how? --
MARIE
-- there's two of us -- we'll tell
them -- we'll just --
BOURNE
-- forget it --
MARIE
-- we'll tell them what happened --
BOURNE
I don't know what happened!
(huge here)
I don't know who he is! I don't
know what he wants! I don't even
know who I am! The only thing I
know is that if I stay here, I'm
never gonna find out!
BOURNE -- that's it -- grabbing the backpack -- pulling it
on -- just about to make his move --
She's standing there. Just utterly swamped. Lost.
BOURNE (CONT'D)
Come with me.
(she turns back, he's
waiting--)
I can get us out of here. I know
it. Then we can think. Then we
can work it out. We'll explain it
then. Once we're safe.
(rock solid)
I can protect you.
EXT. THE PARIS APARTMENT BUILDING -- DAY
A CROWD is gathered around CASTEL'S BODY. Rubberneckers and
people pointing up to the broken window -- THE CONCIERGE
running out to the street and getting the news and THE SOUND
OF SIRENS bleeding in from the distance and --
THE CAMERA PULLS BACK TO FIND
THE LITTLE RED CAR pulling out of the alley. Turning away
from the scene. Disappearing into the streets of Paris --
INT. WOMBOSI COMPOUND MAIN HALLWAY -- DAY
THRONE ROOM DOORS flying open -- WOMBOSI exploding out into
the hallway --
WOMBOSI
-- No! -- I say, no! -- they go
this far -- out a body in the
grave -- another body! -- no! --
this isn't over -- these people are
not finished -- nothing will make
them finish until they have
Wombosi! -- the real Wombosi --
until I'm the one in the box! --
SIX KIDS -- TWO WIVES -- THREE BODYGUARDS -- all startled by
this steamrolling mass of energy and paranoia --
WOMBOSI
-- what are you doing? --
(bearing down on
Bodyguard #2--)
--
sleeping
? --
(to Deauvage--)
-- he's sleeping! -- this man is
sleeping at his post! --
(kicking the chair
out from under him--)
-- I've had men killed for this! --
(but he's still
moving--)
-- you think these people? -- these
people who come for me -- you think
they sleep? -- they never sleep! --
they spend all the day -- all the
night -- all time thinking about
how to put Wombosi in that box! --
(he's just gonna keep
going, and we're
into--)
A MASSIVE ONE-TAKE TRACKING SHOT
DEAUVAGE on his feet -- racing to follow -- KIDS scattering
out of the way -- THE WIVES completely unfazed and --
WOMBOSI
-- there is no box for Wombosi! --
they don't have a box that can hold
me! -- I know these people -- I
know they never sleep! -- I know
they never stop! -- they never stop
until the knife is at their
throat! --
(suddenly distracted--)
-- what is the window? -- this
window is open! -- who leaves this
open! --
(before Deauvage can
possibly respond--)
-- this is a war, you fool! -- you
think these people are like you? --
you think this is stupid people? --
careless people? -- these people
see an open window, they reach in
with a big hand and grab your heart
until you die! --
(still rolling as--)
WE'RE HEADING DOWN TO THE POOL
WOMBOSI
-- and it won't just be me! -- they
don't just want Wombosi now! --
they want my babies -- they want my
children! -- and I say no! --
(grabbing Deauvage--)
-- you leave that window open again,
you better pray they kill me --
(something's caught
his ear in the
distance and now he's
trying to get there--)
-- everything changes here now! --
everyone is a soldier here now! --
this is a fortress now! Are we
clear with this?
DEAUVAGE
Yes, sir. All clear.
WOMBOSI stops to look at DEAUVAGE. In the background, we
can hear A CHILD CRYING by the pool --
WOMBOSI
This man is out there.
Kane
is out
there. And they pretend he's dead.
That means he's coming back.
WOMBOSI moving quickly now and WE'RE STILL TRACKING --
taking him into --
THE POOL AREA
FORTY KIDS going nuts in the water. ONE KID crying.
WOMBOSI like a shot -- picking the kid up -- drying his
tears -- making a funny face -- getting a smile as --
INT. GARE DU NORD -- DAY
BOURNE and MARIE stash the red bag in a locker.
INT. CIA PSYCHOACOUSTICS LAB -- DAY
AN ELECTRONICS CONSOLE. Super-tech. Meters -- LEDs --
wave-form analyzers -- audio spectrum filters -- all of this
gear dancing and responding to every nuance of --
BOURNE'S VOICE -- OVER SPEAKERS -- we're listening to a
recording of the call he made from the apartment to the
Hotel Marbeouf Paris --
BOURNE/TAPE
"Okay. Merci."
(pause)
"Un moment -- un moment --"
OPERATOR/TAPE
"-- sir? --"
BOURNE/TAPE
"-- hang on -- I need you to check
another name for me -- hang on --
un moment, s'il vous plait --"
PULL BACK TO REVEAL
A secret studio buried deep in the Langley facility.
Equipment up the ass. Five people in this darkened room: AN
ENGINEER working the board. CONKLIN looking sour. ZORN in
the shadows. ABBOTT sitting there waiting for analysis from --
MRS. DOYLE. She's late sixties. A long-time spy shrink.
An eminence. A diamond-hard, seen-it-all intelligence.
BOURNE/TAPE
"Kane. John Michael Kane."
OPERATOR/TAPE
"One moment, sir."
MRS. DOYLE nods to THE ENGINEER. She's heard enough.
MRS. DOYLE
He's not lying. He's very highly
stressed, but he's not lying. He's
confused. He's aggressively
searching for a way out of the
chaos. This conversation, the
video from the consulate -- the
body language, vocal pattern --
it's my sense he's really lost here.
(beat)
I think he snapped.
CONKLIN
Is that a medical term?
She turns. Battle lines drawn.
MRS. DOYLE
You want clinical terminology?
It's called, "conversation
hysteria."
(to Abbott now--)
I don't know exactly how you train
these people. I'm not sure I want
to know. I'll take a guess there's
some extremely rigorous behavior
modification going on here.
Silence. The idea dangling for a moment.
ABBOTT
Let's assume that's true.
MRS. DOYLE
You can only wind people so tight.
Even machines break down.
CONKLIN
This unit has an unblemished record
of success.
MRS. DOYLE
Then I guess I'm in the wrong meeting.
EXT. BELLVILLE CAR PARK -- DUSK
BOURNE and MARIE stashing the red car.
INT. CIA HALLWAY UPSTAIRS HALLWAY -- DAY
ABBOTT and CONKLIN walk and talk. They want to get loud,
but they can't. Too many people passing by --
CONKLIN
That was two hours -- two hours to
get a second opinion -- and nothing
changes. He's loose. He's out of
control. It's very clear what
needs to happen.
(point blank)
I have work to do.
ABBOTT
What if he
is
working for someone
else? What if he turned?
CONKLIN
Turn? To who? Where does he turn?
What does he have to offer? He's
got nothing. He's a killer. He's
a piece of equipment for crissake.
Where's he gonna turn?
EXT. HOTEL DE LA PRIX -- NIGHT
Funky. Out of the way. Cash and carry. No-questions-asked
kind of flop. Our establishing shot somehow includes THE
PROPRIETOR and HIS DOG.
INT. THE HOTEL ROOM BATHROOM -- NIGHT
HAIR DYE washing down a rusted drain. It's MARIE alone in
this crappy little bathroom. Jeans and bra. All of it
soaking wet.
A new hair color.
A MIRROR. There she is. Her turn to stare at herself and
wonder.
And then she smells something. Smoke...
INT. THE HOTEL ROOM -- NIGHT
It's a shitty little room. BOURNE sitting on the bed. And
the smoke is coming from...
HIS PASSPORT -- the Jason Bourne passport -- on fire.
BOURNE holding it as it burns away. Bourne's face --
melting -- bubbling -- finally disappearing, -- BOURNE
letting go just before it burns his fingers and --
BOURNE sits back. And there's MARIE standing there. And
she's holding out her passport --
He looks at her. Big moment.
BOURNE
No.
(he won't do it)
You know who you are. You know
what that's worth? That's
everything.
(pause)
I can't live like this. I can't do
anything until I know who I am.
Believe me, you don't want what I have.
He looks away. Silence. And then, she touches him. His
shoulder.
BOURNE almost recoils.
Almost
. He doesn't know what to do.
Doesn't know how to react.
MARIE in front of him now -- she's taking his hand -- and he
hesitates -- looking at her -- is this happening? -- she's
taking his hand -- moving it down her body -- staring at
him -- both of them silent -- his hand -- her skin -- his
mind racing -- he wants this -- wants it in every way -- but
it's overwhelming -- when was the last time something like
this happened? -- he can't remember -- he doesn't care --
he's pulling her toward him -- and they're kissing -- and
you know the rest...
INT. CDG AIRPORT -- NIGHT
THE PROFESSOR arriving in Paris. Coming through the
terminal as his pager goes off -- never even stopping as he
reads and --
...................................................
HOTEL SEQUENCE -- SKETCHED ONLY
HOTEL MARBOEUF PARIS. This is the place that answered the
phone when Bourne hit redial in his apartment. This is the
place that John Michael Kane was staying when he "died."
And so begins, the investigation...
Now, since the presence of danger -- ie Wombosi's guys
and/or Treadstone -- is still up in the air, and since this
scene could either play very quickly or very long, and since
we're not exactly sure where we stand with page count --
this scene is not finished
.
The rules of the scene, however, seem to be thus: Bourne
would have to be very nervous about being recognized. If he
was Kane and Kane stayed here, he's not the guy to do
whatever "social engineering" needs doing.
Long version? Bourne sets the table and Marie gets the
goods. Somehow there's a threat from Treadstone or Wombosi.
Fast version? It's all results -- we see them execute a
plan rather than work it up. MARIE is already in the hotel.
In a hotel uniform? Posing as a guest? In any case, she
looks very much different than we've ever seen her before.
She gets close to the office. Hides. Waits. BOURNE calls
the desk from a pay phone. Asks for something. We see that
some sort of improvised booby-trap has been set inside the
hotel to start a fire. In the confusion -- MARIE -- very
bravely -- gets into the office. We do a quick cut outside
to Bourne waiting and --
...................................................
EXT. STREET OUTSIDE THE HOTEL MARBOEUF -- DAY
Walk and talk. BOURNE and MARIE leaving the hotel
fast
.
He's on alert -- always on alert now -- making sure they're
not being watched. And she's excited and pumped -- she did
it! -- she's got the hotel record in hand --
MARIE
You stayed there five times in the
past six months. But I didn't have
time -- I could only get the bill
from the last stay -- you were
there for two days. Some room
service -- there's half a dozen
phone calls here so that's someth--
BOURNE
(cutting her off)
Who paid the bill?
MARIE
It's a company... MPG Capital.
INT. AN EMPTY OFFICE SUITE -- DAY
Vacancy wasteland. Dead phone lines hanging. Carpet pulled
up. Completely stripped out. BOURNE and MARIE standing
there staring.
MARIE
This can't be it.
She turns around -- and what's he doing? -- BOURNE with a
piece of paper and pencil -- or something/anything
resourceful and handy -- maybe it's carpet lint -- maybe
it's breaking the glass on the door and holding it up to the
light -- or a rubbing -- anyway, he's doing something
ingenious with the glass door --
And as he's doing this, we're hearing --
TELEPHONE VOICE (OVER)
(British, female)
Destin Navigational, can I help you?
BOURNE'S VOICE (OVER)
Hey, how are you. I'm trying to
reach Richard? Is he there.
We're watching the MPG LOGO emerge and seeing BOURNE and
MARIE react, as we hear --
TELEPHONE VOICE (OVER)
I'm afraid there's no Richard here.
(continuing into--)
INT./EXT. SHITBAG PARISIAN PHONE BOOTH -- NIGHT
BOURNE on the pay phone. MARIE behind him at the bar. He's
got a pad and paper. This is all business.
BOURNE
Well, where are you? Where am I
calling?
TELEPHONE VOICE (OVER)
This is an answering service, sir.
The company's located in Southampton,
but--
BOURNE
-- this is a tire dealership, right?
TELEPHONE VOICE (OVER)
No sir, this is a navigational
chart registry. I'm afraid you
have the wrong number.
Dial tone. BOURNE making a note. And as he does --
TIME CUT
-- one minute later -- call number two --
NEW VOICE (OVER)
(French, male, hassled)
(Marseille-Tropez Marina, how can I
help you?)
BOURNE
(Hey, so this is the Marina, right?)
NEW VOICE (OVER)
(Yes, sir. Can I help you?)
BOURNE
(he's got the number)
(This is the one in Marseille, right?)
NEW VOICE (OVER)
(Last time I looked.)
TIME CUT -- one minute later -- call number three --
OPERATOR RECORDING (OVER)
(The number you have dialed has
been disconnected. If you think
you've reached this message in
error--)
TIME CUT -- one minute later -- last call --
RECORDED VOICE (OVER)
"You've reached the office of Simon
Rawlins at Alliance Security
Maritime Division. Paris office
hours are from nine a.m. to six p.m.
If this is an emergency, please
call our twenty-four hour help line
at..."
BOURNE hangs up. Scribbles down the number. Backing away
and --
INT. TREADSTONE RESEARCH DESK -- NIGHT
CONKLIN and the RESEARCH TECHS jamming on the console --
CONKLIN
-- let's check that Interpol window
again --
RESEARCH TECH #1
-- I'm on it --
CONKLIN
-- I want that red car -- the
girl -- we gotta get lucky here --
RESEARCH TECH #2
Sir.
(Conklin turns--)
I've got a code here from NSA --
they're not gonna give us Keyhole
satellite clearance unless we have
sign-off from upstairs.
CONKLIN turns and --
ABBOTT
No.
(sitting there tensely)
We can't risk it.
CONKLIN
Our last sighting was forty-eight
hours ago. Even if they stayed in
the car, the grid is huge.
(please)
This is it. He's trained --
conditioned -- they're built to
disappear. You give him another
day to run and we may never find him.
ABBOTT
This doesn't go upstairs.
CONKLIN left hanging. ABBOTT clear on this one.
EXT. EST. SHOT -- LA DEFENSE -- DAY
Monolithic tech. Reflection city.
INT. ELEVATOR -- LA DEFENSE -- DAY
BOURNE dressed for success. Suit. Cleaned up good.
Catching his reflection in the elevator's mirrored ceiling.
Nerves on edge.
INT. OFFICE LOBBY -- DAY
ALLIANCE SECURITY MARITIME DIVISION. Glossy posters of
yachts, tankers and luxury sailboats. BOURNE standing there.
Sucking it up. God knows what he's walking into here and --
INT. ALLIANCE SECURITY -- DAY
A SECRETARY leading BOURNE through a suite of offices and
into --
INT. PETER RAWLINS' OFFICE -- DAY
Meet RAWLINS. He's a young, jolly Brit -- pink and
overfed -- and quite shocked to see...
RAWLINS
Mr. Kane...
(hastily tidying up)
Come right in...please...have a seat.
BOURNE
Thanks.
BOURNE just trying to feel his way through this...
RAWLINS
Well...
(really thrown)
I must admit, when my assistant
told me you were here I was,
really -- I was quite -- I was
surprised.
BOURNE
Really.
RAWLINS
We thought you were gone for good.
BOURNE
Did you?
RAWLINS
Well, I mean it's a tough business,
isn't it? Cutthroat.
A long awkward beat. Neither of them sure where to go.
RAWLINS (CONT'D)
(finally)
Look, our bid -- it was
competitive -- but definitely at
the high end of competitive -- when
we didn't hear back from you, we
did some re-analysis of the numbers,
and honestly, we'd really like a
chance to do a bit better.
(pitching now)
I'm assuming you're still in the
market. It's the same vessel?
BOURNE
Yes.
RAWLINS
We just picked up a job quite like
the one we were bidding for you.
Gorgeous boat, hundred-and-seventy-
five-foot pleasure cruiser. I
think we learned a few things that
might allow us to make our proposal
for your job, as I said, a bit more
competitive.
BOURNE
Okay.
Another beat. Rawlins holding back until now...
RAWLINS
Was it the break-in?
BOURNE
Excuse me?
RAWLINS
We also thought we hadn't heard
from you -- we've had a bit of a
publicity nightmare, people have
been talking.
(the meat)
Our offices were broken into --
vandalism mostly -- shortly after
we last spoke.
BOURNE
I hadn't heard.
RAWLINS smiles. Reset. Sales mode.
RAWLINS
Let me get you a new copy of the
proposal.
BOURNE
That'd be great.
INT. A CAF� NEAR LA DEFENSE -- DAY
BOURNE entering. And there's MARIE in the back working a
payphone -- waving for him to sit -- she's onto something.
BOURNE sits. Pulls out the Alliance Security Brochures and
literature. Flipping through it. Boats.
Water
. He's
getting closer. Pictures of yachts and various security
blurbs and a list of references for huge yachts -- jobs
they've done in the past...
MARIE
I found it.
(standing there)
It took six calls.
(she's creeped out)
I found Kane. I found the body.
BOURNE
Let's go --
(already standing--)
We got to get away from this phone.
INT. PARIS MORGUE FRONT DESK -- NIGHT
THE TWO MORGUE ATTENDANTS watching BOURNE put down a hundred
dollar bill. MARIE standing a little off -- she will not be
comfortable in the morgue.
ATTENDANT #1
(picking up the cash)
(What was the name again?)
BOURNE
Kane. John Michael Kane.
ATTENDANT #2
(It's number 121.)
BOURNE
(I want to see the body.)
ATTENDANT #1
(Our boss could come back. We're
not supposed to.)
BOURNE pulling out another hundred and --
MORGUE FREEZER ROOM
It's showtime. MARIE back by the door. BOURNE right on it.
ATTENDANT #1 pulling open the freezer and...
BOURNE sags. ATTENDANT #1 looking baffled.
MARIE
What?
INSERT -- FREEZER #121
-- it's empty.
MORGUE BOSS (OS)
(from behind them--)
(What the hell's going on here?)
Here comes the boss back from his break -- a little drunk?
ATTENDANT #1
(This guy, he came to see the
American, but the body, it's missing.)
MORGUE BOSS
(They came last night. His brother.)
ATTENDANT #2
(It's not in the book.)
MORGUE BOSS
(Who are these people?)
(now English to Bourne)
Who are you? What's going on here?
BOURNE
Where did this body go?
MORGUE BOSS
I said, someone came last night --
(big attitude now)
Look, this isn't a carnival --
people call and they make an
appointment and they follow the
rules -- everyone signs in and
out -- this is a serious place --
serious work -- it's not just to
come in whenever you like --
BOURNE
(like a shot)
Shit, we didn't sign in.
MORGUE BOSS
So get the hell out of here.
BOURNE
Fine. But I'd like to sign in. In
fact, I insist on it. Where's the
book? I gotta sign in --
(off and running
now--)
Everybody following -- all of them confused -- and into --
FRONT DESK AREA
BOURNE there first -- all forward motion here -- balls out --
BOURNE
Is this it? --
(the book)
-- this is it, right? --
MORGUE BOSS
-- slow down -- you can't just take
the book like that --
BOURNE
-- don't sweat it, I have a pen --
no problem -- just let me find the
page --
(then quick to Marie)
-- honey, why don't you wait for me
outside, okay? --
MARIE trying to take the hint, but she's curious what he's
doing --
MORGUE BOSS
-- we have rules here, this is a
very serious place -- I'm the one
who decides who gets in here, okay? --
BOURNE
-- what do I? -- I put the name of
the person I came to see? --
MORGUE BOSS
-- this is serious business down
here and we cannot have people
coming and going --
BOURNE
-- here we go -- I found it --
But he's not writing -- he's ripping --
tearing
the page out
of the book --
MORGUE BOSS
(-- what are you? -- what are you
doing? -- you crazy fuck -- you
ripped the book! -- you stupid
fucki--)
(no chance to finish
this, because--)
BOURNE just slammed him against the wall.
Hard
. Like a
tractor hit him. And fast.
And that shuts up the room.
THE TWO ATTENDANTS rushing to help their boss --
BOURNE grabbing MARIE and pulling her out the door --
EXT. PARIS STREET -- NIGHT
Moments after the morgue. BOURNE striding away. MARIE
struggling to keep up. And BOURNE is different now --
zoning in -- he's close -- he's
hardening
--
MARIE
What are you doing? --
(he's scaring her)
-- Jason -- stop -- talk to me...
BOURNE ignoring her -- ripping through the Alliance Security
brochures -- scanning them as he walks --
MARIE
-- I don't know what you're doing
and you're scaring me -- what are
you looking for? -- what just
happened in there? --
BOURNE
Nykwana Wombosi.
(he stops, holding up
the brochure--)
MARIE
What is that?
BOURNE
It's a name. Mr. Wombosi owns a
thirty million dollar yacht. He's
the proud owner of an Alliance
Security package.
(handing her the
brochure--)
He also paid a visit to the morgue
to see John Michael Kane.
(the ripped-out
page--)
MARIE
What does that mean?
(but he's walking
again--)
Jason, what does that mean?
(she's trying to
catch up, but he's
walking really fast--)
Jason, please...who is he?
BOURNE
I don't know.
(he's not turning
back again--)
MARIE
So what are we doing
?
BOURNE
Go back to the hotel.
MARIE just stops. Reeling.
BOURNE walking away. Into Paris night and --
INT. CONKLIN'S TREADSTONE OFFICE -- DAY/NIGHT
?
ABBOTT alone here. On the phone. Looking up to see --
ZORN
They found him. They found Bourne.
ABBOTT jumps off the call. Eyes never leaving ZORN.
ABBOTT
Where?
ZORN
You better come in.
EXT. L'ETOILE -- NIGHT
THE PROFESSOR -- A MOTORCYCLE -- screaming through traffic
and --
INT. WOMBOSI'S SECURITY ROOM -- NIGHT
VIDEO MONITOR -- there's BOURNE -- staring up and --
DEAUVAGE
(Jesus fuck, what is this?)
INT. TREADSTONE RESEARCH DESK -- NIGHT
VIDEO MONITOR -- different angle -- more clandestine -- but
same deal -- there's BOURNE just standing there and --
ABBOTT
Omigod.
EXT. WOMBOSI COMPOUND -- NIGHT
BOURNE live. On the street. Bathed in a streetlight.
Staring up at a security camera.
Total hero moment.
I'm here. I'm waiting. I know you're watching.
EXT. WOMBOSI COMPOUND -- NIGHT
Confusion to say the least -- WOMBOSI -- pistol in hand --
moving as fast as he can through the clutter -- KIDS
scattering as he follows DEAUVAGE -- racing for THE SECURITY
ROOM --
INT. TREADSTONE COMMUNICATIONS ROOM -- NIGHT
CONKLIN -- ZORN -- ABBOTT -- THE TECHS -- everyone plugged
into the tension here --
CONKLIN
-- how long? --
COMM TECH #1
-- minutes -- he's close --
EXT. NEUILLY STREETS -- NIGHT
THE PROFESSOR on the speeding cycle -- closing in fast and --
EXT. WOMBOSI'S COMPOUND -- NIGHT
BOURNE standing there as the FRONT GATE opens. The moment.
The big deep breath. He's walking in --
INT. TREADSTONE COMMUNICATIONS DESK -- NIGHT
Uglier by the second -- desperation madness --
ABBOTT
-- he went inside! --
CONKLIN
(to Abbott)
-- if we can get a clean shot --
ABBOTT
--
inside
the house? --
CONKLIN
-- that's what they're trained
for -- just a surgical strike.
ABBOTT
Forget it.
CONKLIN
What do you want to do?
ABBOTT
We don't know what we're into!
CONKLIN
We're in the shitter, man! Pick
your poison. Maybe he's in there
to finish the job. Maybe he's
working for Wombosi. Maybe they
want to go on TV together. Every
possibility sucks -- we've got to move!
INT. WOMBOSI COMPOUND MAIN HALLWAY -- NIGHT
DEAUVAGE and BODYGUARD #1 giving BOURNE a serious pat down.
BOURNE
Is he here?
DEAUVAGE doesn't answer -- spinning BOURNE around -- they're
really going over him --
INT. TREADSTONE COMMUNICATIONS ROOM -- NIGHT
CONKLIN on his feet -- ABBOTT beet red -- this is getting
loud --
CONKLIN
You don't have the stones for this.
You people come down here and wink
and whisper and we send these guys
out and get it done. And you're
clear. And the guys upstairs get
what they want. And the whole
bunch of you are so stuffed on
deniability it's coming out of your
ears.
(gauntlet)
Well, you know what? You're here
now. What do you want to do?
ABBOTT just shaking his head no.
And CONKLIN snaps -- suddenly he's over the console --
there's the button -- and he's pressing it and --
EXT. NEUILLY ROOFTOPS -- NIGHT
THE PROFESSOR in position -- roof of the house next door --
hum
--
hum
--
hum
--
It's the E-PHONE PAGER -- he's just been activated and --
INT. WOMBOSI'S COMPOUND HALLWAY -- NIGHT
BOURNE being marched toward the throne room doors --
DEAUVAGE and BODYGUARD #1 flanking him -- KIDS and WIVES
staring as he passes -- the way you'd look at a prisoner on
the way to the gallows --
THE BIG DOORS thrown open wide and --
WOMBOSI on the throne.
WOMBOSI
Come in.
(an imperial gesture)
Please...
BOURNE steps up to the plate.
WOMBOSI
Did you bring investment advice for
me tonight? It was tax shelters,
wasn't it? Swiss debenture-swaps.
BOURNE
MPG Capital.
WOMBOSI
I think investment advice from a
dead man, it's a bad idea.
(beat)
How does it feel to be dead?
BOURNE
It's a lot more stressful than I
thought.
KIDS have started sneaking into the room -- DEAUVAGE is
trying to scoot them out but --
WOMBOSI
-- no -- no, let them in! -- let
them in.
(to the kids)
Come in -- on y va -- come in...
(to Bourne)
I think everyone wants to see the
dead man.
BOURNE watching the kids -- they are all staring --
WOMBOSI
What do you do
?
(on his feet now--)
You get an appointment with me?
You make sure it's on the boat?
You come visit me -- you pitch me
this bullshit investment package.
You drink my water -- eat my
bread -- play with my children --
and what? -- two nights later you
come back and you put this
death
--
(slamming something
down onto the
throne--)
-- you put this in my engine room!
There is A BOMB on the throne now.
WOMBOSI
So this is a different kind of
meeting.
(steam building)
Maybe now we talk some truth, okay?
One dead man to another.
BOURNE -- caught off guard as -- WOMBOSI suddenly rips away
his jacket -- so hard that he tears straight through to the
shirt --
BOURNE'S BACK -- bare -- two bullet scars -- still raw --
WOMBOSI
You see this?
(calling to Deauvage--)
I told you my shot was better!
DEAUVAGE
(He went in the water -- how did he
live?)
WOMBOSI
No, no no...
(and he means this--)
This is a strong killer. This is a
crazy strong killer. Oh, yeah...
(circling)
To make a killer that looks like
you? This young? This face?
(he means this)
It's bloody fucking amazing.
BOURNE imploding -- this news -- the kids staring at him --
the bomb -- it's all getting loud around him --
BOURNE
Who do you think sent me?
WOMBOSI
I know who sent you. I don't know
why.
(this could get
physical at any
moment now--)
I learned many, many things from
the CIA.
Many
things. I learned
the way they think.
(beat)
Was the bomb on my boat supposed to
go off or not?
BOURNE distracted by the kids -- these faces -- it's...
WOMBOSI
You didn't set the bomb.
Why
?
BOURNE not sure -- about any of it --
WOMBOSI
Was this a game or a fuck up
?
BOURNE
I don't know.
WOMBOSI
Get the kids out!
He doesn't have to say it twice -- they know the drill --
they're gone.
WOMBOSI
And the door.
DEAUVAGE closing the doors and as he does --
THE PROFESSOR ATTACKS...
...................................................
THIS SCENE HAS NOT BEEN WRITTEN
It's a shootout.
The Professor is infinitely more talented at this than the
bodyguards.
Bourne needs to get out of there -- without looking wimpy --
No children are harmed.
As the Professor rallies -- he will shoot Wombosi -- he will
find Bourne's jacket left on the floor (in which later he
will find a clue leading him to Belleville) and last but
hardly least, he will take a parting shot at the bomb still
sitting there on the throne.
There will be a huge, trailer-worthy explosion.
This might not want to be very long. There is an extensive
action sequence just around the corner.
So Bourne escapes. Physically he's just weary. Emotionally
he's fucked.
All of that happens and we cut to --
...................................................
INT. TREADSTONE COMMUNICATIONS DESK -- NIGHT
CONKLIN flipping out -- THE PROFESSOR is not responding --
CONKLIN
-- code him again -- punch it in --
COM TECH #1
-- he's not responding --
CONKLIN
-- the paging unit must be damaged --
COM TECH #2
-- we just ran a remote diagnostic,
sir, it's not the unit --
ABBOTT looks like he might puke. ZORN watching his career
burn to the ground around him.
ABBOTT
What are you doing?
CONKLIN grabbing shit -- like a madman --
CONKLIN
I'm going to Paris.
ABBOTT
No you're not
. You're not going
anywhere. I'm shutting this down.
CONKLIN
You're not doing shit. You're so
scared you can't even think.
ABBOTT
You just blew up a house in Paris!
This program is over. Call it off.
CONKLIN
I can't call it off. He's not
responding. Get out of my way.
CONKLIN splits and --
INT. THE HOTEL ROOM -- NIGHT
It's really late. BOURNE enters the room. MARIE in the
corner. Smoked out. Cried out. Lifed out.
Silence. Not a word.
His shirt is torn to shit. He scraped-up -- blood here and
there. He moves past her into --
THE BATHROOM
His hands shaking as he tries to wash them. He bags it.
THE ROOM
BOURNE comes out. And there's a long silence until --
MARIE
It doesn't matter who you were
before. It's who you want to be.
That's all that matters.
(is he listening?)
We have this money. We have what
we have. I had nothing before and
now, I don't know, maybe I have
more, maybe it's nothing, but...
(he looks over)
I say we leave here. We leave this
place. We go until we can't go
anymore.
BOURNE
You could do that?
MARIE
Yes. That's who I want to be.
BOURNE nods. Turns off the light. Takes her hand. And
they lay in bed. Just laying there.
INT. PARIS SOMEWHERE -- NIGHT
THE PROFESSOR cooping somewhere. Tending to his wounds.
Ignoring his pager. He's slipped off the grid.
INT. HOTEL ROOM -- DAWN
BOURNE and MARIE packing up to hit the road. Together.
...................................................
DOUG'S ROUGH DRAFT OF THE BIG ACTION SEQUENCE
INT. HOTEL DE LA PAIX -- LOBBY -- DAY
MARIE dropping off the key. Hope hangs in the air --
CLERK
xxxxxx...
MARIE
xxxxxx
BOURNE enters. He's got the black duffel. Car keys.
BOURNE
xxxxxx.
MARIE
xxxxxx
And now they're headed for the door. Something doesn't feel
right for BOURNE -- and then he notices --
BOURNE
Stop where you are.
MARIE
What?
Bourne turns back to the CLERK.
BOURNE
Where's the dog?
CLERK
My husband's out looking for him.
BOURNE
He run away often?
CLERK
That old beast? Miss his breakfast?
Not a chance.
(returning to cleaning)
It's always something, right?
Suddenly -- just like that -- everything's different --
BOURNE
Get in the basement.
CLERK
What?
BOURNE
(to Marie)
Get everyone down in the basement.
Now MARIE doesn't need a second warning --
CLERK
What the hell're you talking about?
BOURNE
You're in danger. All of you. I
have no time to explain.
CLERK
Wait a minute --
BOURNE
I'm sorry.
-- those words -- the way he said it -- she's grabbing her
purse, clearing out of the room. Slamming the door behind
her -- click -- it's locked.
MARIE
Jason...
No answer -- too busy -- reaching under the check-in
desk, coming up with -- A SHOT GUN, an old one, but
nonetheless a gun --
MARIE (CONT'D)
Who is it? Who's out there?
And now BOURNE is moving, pulling open a drawer. A box of
shells. Filling his pockets.
BOURNE
xxxxxx
MARIE
xxxxxx
BOURNE
I won't let that happen.
And he is moving down the small hallway. Away from the
front door -- towards the back door under the stairs.
EXT. HOTEL DE LA PAIX -- COURTYARD -- DAY
THE HOTEL BACK DOOR -- kicked open -- BOURNE coming out of
the house -- coming hard -- and --
The small courtyard is empty -- but now the ALARM is going
off -- and BOURNE turns back to MARIE -- races to grab her
as --
RATATATAT -- The FRONT DOOR -- WINDOWS -- ARE SHREDDED
and -- here comes the PROFESSOR.
BOURNE
xxxxxx
MARIE
xxxxxx
And now they are running, across this little courtyard. To
a wall -- BOURNE is up, on it -- reaching down for MARIE --
grabbing her -- swinging her over the wall as --
BAM!!! The PROFESSOR SHOOTS.
BOURNE
Go!
MARIE takes off running. BOURNE leans over the wall, FIRES
BACK TWICE -- RATATAT -- The WALL IS SHREDDED. BOURNE takes
off running -- reloading on the fly.
Rounds a bend, is chambering two rounds when he sees -- a
WOMAN is in her kitchen -- staring at him -- no time to
explain -- he turns back --
The PROFESSOR is just vaulting over the wall. BOURNE FIRES
TWICE -- BAM! BAM! But the spray is too wide from this
distance. Windows are shattered to both sides of him but --
the PROFESSOR stumbles but keeps going -- blood on his face
now -- RATATAT --
BOURNE has to move. Reloading his almost useless gun.
Reaching MARIE -- facing a choice and they climb a wall --
FLOWER POTS EXPLODE around them but they make it -- now --
RUNNING IN A LABYRINTH -- right -- then left -- through a
small staircase. LEAPING a wall -- landing on a STEEP
ROOF -- sliding, falling, crashing to the ground in --
A SMALL COURTYARD -- steep walls on all sides. But there's
a large window -- and it's open. And they step through and
find themselves --
INT. CHINESE RESTAURANT -- BATHROOM -- DAY
They close the window behind them -- catch their breath --
MARIE
Did we lose them?
BOURNE shakes his head. Tucks the gun under his coat.
MARIE (CONT'D)
Who is it?
BOURNE
We have to keep moving.
And now he is opening the door -- they step into --
INT. CHINESE RESTAURANT -- DAY
STARTLED KITCHEN WORKERS stare as BOURNE and MARIE calmly
walk out of the bathroom and head towards the front door of
the empty restaurant. Quiet.
And then they open the door to the street and --
EXT. BELLEVILLE -- COMMERCIAL STREET -- DAY
The first thing we notice is noise. The street is burgeoning
with life. The second thing we notice are SIRENS. POLICE
CARS approaching. BOURNE and MARIE head down the street,
blending in.
Up ahead -- TWO POLICE CARS snaking through traffic. BOURNE
steers them off this crowded street.
BOURNE
xxxxxx
MARIE
xxxxxx
EXT. BELLEVILLE -- QUIET STREET -- DAY
And BOURNE and MARIE are hurrying down this street when --
BAM -- The PROFESSOR comes out of a building -- across and
down the street. No time to hide -- he's seen them --
he's FIRING.
BOURNE tackles MARIE to the ground behind a car. RATATAT --
The PROFESSOR is literally shredding it. And now BOURNE is
moving --
MARIE
What are you doing?
And BOURNE is on the offensive. BAM! BAM! Moving towards
the PROFESSOR who is ducking behind cars on the other side.
They are shredding the street -- FIRING ruthlessly at each
other and -- NOW THE POLICE ARE HERE -- BLOCKING both ends
of the street. GUNS are drawn -- BOURNE's vulnerable on two
flanks. The COPS are YELLING. And now --
THE PROFESSOR BLASTS the COPS -- And now things have changed.
THREE WAY FIREFIGHT and BOURNE grabs MARIE and they dive
into --
INT. SMALL EPICERIE -- DAY
And the PROFESSOR shreds the store as BOURNE attemps to
fire back. SHIT flying everywhere in here -- hard to see
and -- The PROFESSOR is advancing on them -- cops are no
match for his fire power. They move to the back -- kick
open a door --
INT. HIGHWALLED COURTYARD -- DAY
BOURNE and MARIE cross this small courtyard, the PROFESSOR
is right on their heels. CRASH through a door -- and now
they are in --
INT. SMALL SWEATSHOP -- DAY
COUPLE of ASIAN WOMEN sewing in here. One MAN in charge --
and BOURNE and MARIE charging through -- the MAN about to
say something -- but now the PROFESSOR is on their tail and --
INT. SMALL AFRICAN SHOP -- DAY
Making god knows what in here -- vats of something. Small
grouping of workers -- BOURNE shutting the door behind
him -- it's shredded with BULLET HOLES. BOURNE and MARIE
racing to the next door as -- BAM -- the PROFESSOR kicks the
door open -- BOURNE about to fire -- but there is a WOMAN
right behind the PROFESSOR! Can't do it -- turns to run
as -- RATATATAT --
The PROFESSOR FIRES as BOURNE and MARIE dive into --
INT. LIVE POULTRY SHOP -- DAY
And now CHICKEN feathers are flying everywhere -- the glass
at the front of the door is shattering. BOURNE and MARIE
make it through the gauntlet.
EXT. BELLEVILLE -- STREET -- DAY
And BOURNE and MARIE are running. And he is reaching into
his pocket -- fishing around -- and just as he pulls out the
car keys -- we recognize this as the street they parked
their car on and --
BY MARIE's CAR
BOURNE unlocks the door -- pops MARIE's open. And --
THERE'S A COP -- yelling at them and -- BOURNE hits the
gas -- they fly out of their parking space -- BAM!! The COP
fires, shattering their windshield and there -- up ahead --
THE PROFESSOR coming out -- about to FIRE -- BOURNE aims for
him -- forces him to dive out of the way and --
ONE QUICK MOVE around a TRUCK and they are free.
INT. THE LITTLE RED CAR
BOURNE and MARIE looking back nervously -- so far all over --
ON THE STREET
The PROFESSOR looking around. PEOPLE staring at him --
covered in blood -- the COP racing up -- yelling -- not
yelling for long because the PROFESSOR is firing at him and --
Now the PROFESSOR is moving -- not running -- just a swift
walk and now he's past the truck -- and --
A MOTORCYCLIST comes flying down the street -- oblivious --
going way too fast for these streets and -- the PROFESSOR
swings his gun stock like a bat -- takes him out -- clean
and smooth -- bike crashing to the ground and --
The PROFESSOR grabs the bike and takes off -- SHOOTING at
TWO POLICE CARS just racing to the scene and we are into --
EXT. BELLEVILLE BLVD -- DAY
HIGH SPEED CAR CHASE. And BOURNE better do some fancy
driving because here comes the PROFESSOR -- and he's a lot
faster -- much better armed.
INT. MARIE'S CAR
BOURNE driving. MARIE looking back -- seeing the PROFESSOR
gain on them --
MARIE
xxxxxx
BOURNE
xxxxxx
And -- THE PROFESSOR FIRES -- SHREDS the back off their car --
MARIE
Give me the gun --
And now she's got his shotgun, leaning out the window.
BOURNE
Wait 'till he's close.
BOURNE swerves, up on the sidewalk back onto the street --
slaloms through the traffic -- racing towards an intersection
and --
IN THE INTERSECTION
CARS coming the other way, BOURNE just makes it through --
the PROFESSOR tries to squeeze through -- skidding and --
CRACK! The PROFESSOR hits the front of a car sideways on
his bike -- he is THROWN clear through the intersection,
right into the windshield of an oncoming car and --
He gets up, grabs his gun and works his way towards his bike
and now we see --
EXT. VARIOUS SHOTS AROUND PARIS -- DAY
COPS are mobilizing -- swarming into this area and --
BACK TO THE CAR CHASE --
BOURNE and MARIE pick up a few cops on their tail -- shed
all of them -- the last car goes into an EXPLOSIVE FLIP --
the PROFESSOR is now right behind them. And now we are into --
CRAZY CAR CHASE WITH COPS RIGHT ON THEIR TAIL
BOURNE, MARIE and the PROFESSOR leave a trail of totaled
cars that the cops have to try and navigate through --
finally saying fuck it and hitting a few cars themselves and
now we are into --
CAR CHASE THROUGH NARROW STREETS
MARIE'S CAR and the MOTORCYCLE can pass where the police
cars cannot. BOURNE may be able to shed the cops, but not
the PROFESSOR. And now one quick move and they are --
EXT. QUAI -- DAY
Racing against traffic up the Seine. Past the Louvre. COPS
pursuing on the other side of the river. BOURNE and the
PROFESSOR leaving behind a trail of carnage. And now --
The PROFESSOR is pulling up along side them -- one lane over.
Both swerving to avoid oncoming cars and --
MARIE FIRES -- TWICE -- TAKES out a few windshields. The
PROFESSOR fires at the same time -- MARIE'S CAR DOOR --
GONE -- she's totally exposed but --
THE PROFESSOR -- his BIKE is SPOUTING GAS -- one of the
pellets nailed his tank.
BOURNE AND MARIE --
MARIE
xxxxxx
THE PROFESSOR -- No problem -- he's unwrapping a piece of
duct tape from the barrel of his gun -- two seconds and the
hole is patched and -- BOURNE AND MARIE -- the side of the
car is completely gone -- the PROFESSOR is gaining -- across
the river dozens of police cars are racing alongside. Many
more can be seen on their side -- a road block ahead --
running out of options and --
BOURNE turns hard -- crashes over the sidewalk and flies
down a side street. A POLICE CAR pulls out behind them --
the PROFESSOR can't stop -- skidding hard, turning the bike
sideways, skidding out -- sliding across the ground and
BAMMM!!! SMASHING into a GLASS PHONE BOOTH which shatters.
And he's up -- lifting up his bike and --
BOURNE AND MARIE
SIX POLICE CARS on their tail -- more joining. Every street
they look down has POLICE CARS racing in parallel. Running
out of options and in the background --
THE PROFESSOR is back in the game -- passing the police cars
and up ahead --
THE ROAD IS BLOCKED. POLICE ROAD BLOCK -- cops with guns.
Gotta act quick and -- BOURNE turns hard left -- there's a
metro staircase -- only way out and --
THEY BOUNCE down the stairs. CRASH through the doors down
below.
THE FIRST POLICE CAR -- no way he's following. SLAMMING on
his brakes. SKIDDING to a halt -- SKIDDING sideways --
gonna stop in time -- just at the edge of the steps and then --
THE SECOND POLICE CAR isn't braking -- T-BONES the first
car -- BAM!!! -- sends it rolling sideways down the steps
until it crashes to a halt at the bottom -- upside down.
THE PROFESSOR -- he's turning -- heading for a different set
of stairs. BOURNE AND MARIE -- crashing through the
turnstiles -- people diving out of their way and --
AT THE STAIRCASE -- THE WINDOW of the POLICE CAR is kicked
out and -- TWO VERY ANGRY COPS emerge -- pull their guns
out -- head into the station. BOURNE and MARIE's world just
got a lot more dangerous and --
THE PROFESSOR is racing down the other staircase -- an up
escalator -- people diving out of the way as --
BOURNE and MARIE slalom through the station -- suddenly --
there's the PROFESSOR -- parallel corridor -- metal
barricades keep them separated. PROFESSOR FIRING.
UP AHEAD -- a horizon line -- BOURNE guns it -- a steep
staircase and -- THEY FLY down the steps -- landing on --
THE METRO PLATFORM
The PROFESSOR lands on the other side -- both racing down
the platform -- PROFESSOR tearing up the wall behind them
and -- HERE COMES A TRAIN -- on BOURNE and MARIE's side --
travelling the opposite way -- temporary refuge. Not for
long -- there's no way out on this end of the platform.
They skid to a halt -- just as --
THE TRAIN DOORS OPEN -- STARTLED STRAPHANGERS stare at
BOURNE and MARIE as they stop onto the platform -- take off
running.
THE PROFESSOR has to turn his bike around. He's quick --
but it gives BOURNE and MARIE a two second head start.
BOURNE AND MARIE almost at the other end of the platform --
gunfire ripping up the windows behind them. Gonna go for
the steps -- but here come --
THE ANGRY COPS -- remember them? -- the ones who took the
ride down the steps -- they're firing now and --
BOURNE AND MARIE turn back -- the PROFESSOR is firing and
there is only one option --
INT. METRO CAR -- DAY
BOURNE and MARIE into the conductor booth. People diving
off the train as BOURNE hits the YELLOW BUTTON and -- the
TRAIN STARTS ROLLING -- doors still open -- they disappear
into the protection of the tunnel walls -- then BOURNE hits
the button to close the doors and -- THE PROFESSOR --
watching the trains accelerate out of the station -- and now
he's racing his bike down the platform -- opposite the
motion of the train and -- here comes the end of the train
and --
THE PROFESSOR throws his bike into a skidding 180 and skids
off the platform all in one move -- landing hard on the
tracks but facing the right direction and now he's
accelerating towards the train -- just as an oncoming train
is racing into the station and --
HE LEAPS onto the back of the train in the nick of time.
His GUN CLATTERS to the tracks.
IN THE LAST METRO CAR
The window is shattered and the PROFESSOR lets himself in --
wind whipping through his hair from the shattered windows.
And --
IN THE FIRST METRO CAR
BOURNE and MARIE finally getting a breather. BOURNE keeps
looking back -- nothing -- the train is deserted. Finally --
MARIE
xxxxxx
BOURNE
xxxxxx
MARIE
xxxxxx
BOURNE
xxxxxx
And ahead -- daylight -- the train tracks go above ground
and as the train hits daylight -- we see the PROFESSOR
directly behind BOURNE on the other side of the glass and --
CRASH! The PROFESSOR grabs BOURNE through the glass,
ramming his head into the metal as --
BOURNE grabs the knob, swings the door open and CRUSHES the
PROFESSOR -- CRUSHES him again and now he is free and --
BOURNE turns, pulls up the shotgun and -- the PROFESSOR
kicks it out of his hands -- it clatters to the ground and
now we have a beat -- THE TRAIN CAR races across the Bir
Hakeim bridge -- all of Paris laid out behind them. BOURNE
and the PROFESSOR squaring off -- both looking at the gun --
realizing there's no chance for either one of them to get it
and --
A BRUTAL RUTHLESS FIGHT breaks out. BOURNE's motivated --
the PROFESSOR's crazy -- makes it a pretty even match.
Looks like it could go on for a little while when suddenly --
BAM!!! The PROFESSOR drops to the ground -- behind him --
MARIE wields the shot gun.
MARIE
xxxxxx
BOURNE
xxxxxx
And BOURNE takes the gun from her -- standing there --
reloading -- both barrels -- raising the gun -- aiming it --
...................................................
INT. MOVING METRO CAR -- DAY
THE PROFESSOR sitting there. Like a dummy. Like a puppet
that's been propped up. He's fucked -- his whole side
ravaged with shot -- his arm shredded -- hand barely
there -- blood flowing fast --
BOURNE
Who else is coming?
THE PROFESSOR staring up at the gun. Stunned. Doomed.
Mouth dry. Eyes struggling to make sense of the chaos.
BOURNE
I won't ask again.
PROFESSOR
I work alone. Like you...
(confused beat)
...we always work alone.
BOURNE
What do you mean?
PROFESSOR
Who are you? Rome? Paris?
(Bourne is just
staring--)
Treadstone...both of us...I was
warned but...
BOURNE
Treadstone?
PROFESSOR
...which one are you?...
BOURNE lowering the weapon -- head swimming --
BOURNE
Paris. I live in Paris...
PROFESSOR
...headaches...you have that...I
get such bad headaches...
BOURNE
Yes.
PROFESSOR
...it's a problem...
He's losing blood fast -- things inside him seizing up --
BOURNE
Treadstone.
PROFESSOR
...or in a car...when it's
dark...something with the
headlights...
(circuits exploding)
...pills, right? Treadstone had
those pills...
BOURNE
What is Treadstone?
PROFESSOR
...what did you do?...you must've
really fucked up...
BOURNE
I think so.
PROFESSOR
...someone said caffeine -- for a
headache...doesn't seem...
BOURNE
What do they want me to do?
PROFESSOR
...they won't let you go...
BOURNE
Why?
THE PROFESSOR -- coughing -- a spasm -- helpless --
PROFESSOR
Look at this...
(all the blood--)
...least you have a woman....
And he's gone. Like that. Sitting there. And BOURNE looks
paralyzed too. Kneeling there. Stalled out.
MARIE
Jason...
BOURNE doesn't answer -- can't, because there's this
sound -- this pulsing hum -- BOURNE reaching into THE
PROFESSOR'S POCKET and --
INSERT -- THE E-PHONE PAGER
-- covered in blood --
hum
--
hum
--
hum
-- BOURNE'S HAND wiping at the blood that covers
the display --
BOURNE staring at it. Very familiar to him.
MARIE
We've got to go.
INT. METRO CAR -- DAY
BOURNE and MARIE racing back through the cars -- away from
the scene of the crime and --
EXT. ABOVE-GROUND METRO PLATFORM -- DAY
THE SHATTERED TRAIN pulling into the station -- doors
opening -- SCREAMS ECHOING through the station from up the
platform and --
BOURNE and MARIE getting off the last car and --
EXT. STREET/ALLEY NEAR THE PLATFORM -- DAY
Two minutes later. BOURNE and MARIE -- exhausted -- beat --
Everything all at once --
BOURNE
Take this.
She turns. He's holding the locker key.
BOURNE
Take it.
But she doesn't move.
MARIE
And that's it?
BOURNE
If you're lucky.
(it's hanging there)
Take it.
(beat)
There's enough in there to make a
life. Any life. Just get out now.
Get low. Stay low.
(beat)
Take it
.
She takes it. Staring at him. Simply refusing to cry.
MARIE
What was I thinking, right?
BOURNE
I can't protect you anymore.
MARIE
What about you?
BOURNE
I'm gonna find the end of this.
(beat)
I can't protect you.
MARIE takes one last look. And she's running --
BOURNE hangs there a moment -- listening to her go -- and
then he pulls out THE E-PHONE PAGER. And it's pulsing like
crazy.
BOURNE flips open the shell. There's a keypad in there.
Holding it. Like a missing organ.
INT. THE ZURICH AIRPORT MOTEL ROOM -- DAY
Remember MANHEIM? He's still there waiting. And his pager
goes off, and --
INT. TREADSTONE PARIS -- NIGHT
A safehouse -- CONKLIN filling a burn bag -- racing --
everything's going --
EXT. TREADSTONE PARIS -- NIGHT
CONKLIN done with the dirty work -- out into the street --
As he's about to leave -- he hears a sound -- a familiar
sound --
hum
--
hum
--
hum
--
He cross the street -- looks down to the Quai below --
Holy shit -- there's one of his E-PHONE PAGERS --
He goes down -- picks it up --
And now --
BOURNE
What did you do to me?
CONKLIN wheels around. There he is. Right behind him.
CONKLIN
What did I do? What've you done?
Do you have any idea? Any
conception? What you've destroyed?
Do you have any idea how much time
and work -- how many people have
their lives wrapped up in this?
So now you know.
BOURNE
Are you Treadstone?
CONKLIN
Am I Treadstone? Me?
(peering at him
closely now--)
What the hell're you talking about?
BOURNE showing nothing -- or is he trying too hard not to?
BOURNE
What did you do to me
?
CONKLIN
What did I do? I spent thirty
million dollars on you. I spent
three years finding you -- four
years training you --
(incredulous)
What did I do?
(staring now)
What in the name of God have you
been doing, Jason?
BOURNE
I don't know.
CONKLIN
They're right about you, aren't
they? You're fried.
(on it now)
You really don't know what's going
on, do you?
BOURNE
I know you've been trying to kill me.
CONKLIN
Of course. We had to try. We
didn't know what was wrong.
(warming to this--)
We didn't know you were in trouble.
BOURNE
So now you know.
CONKLIN
So it's time to go home.
BOURNE
That's all I get?
CONKLIN
We'll make you better. We can put
the pieces back. We can do that.
BOURNE
I don't think so.
CONKLIN
We have to go home, Jason.
BOURNE
Jason Bourne is dead.
CONKLIN
There never was a Jason Bourne
.
(that gets him)
You have to come with me. It's the
only way. We can give it back to
you...
BOURNE
Keep it.
(and he's walking--)
CONKLIN
Jason...
(trying to follow--)
They can't let you go...
BOURNE
That'll be their second worst mistake.
And with that, BOURNE scrambles up a wall -- like it's
nothing -- CONKLIN just left there -- on the Quai -- in the
dark --
EXT. BANKS OF THE SEINE -- NIGHT
BOURNE walking away -- faster and faster --
EXT. BANKS OF THE SEINE NEARBY -- NIGHT
MANHEIM -- A CAR PARKED IN THE DARKNESS -- sitting alone
with his briefcase. Opening it. There's his gun.
BOURNE -- walking -- deeper into the darkness and --
MANHEIM -- in the dark car -- loading the weapon -- calm --
steady -- methodical and --
BOURNE -- walking and --
MANHEIM -- stepping out of the car -- closing the door
quietly -- deep in the shadows and --
BOURNE -- still coming -- the darkest part of the path just
ahead and --
MANHEIM -- raising the gun and --
THE CAMERA SPINS TO HIS TARGET AND --
IT'S CONKLIN! -- just climbing back up from the Quai --
MANHEIM -- the gun -- phftt -- phftt -- phftt --
CONKLIN -- three holes -- head -- heart -- gut -- his body
dropping like a stone beside his car.
MANHEIM walks over. Looks down. Point blank -- phftt --
that makes it four and --
INT. TREADSTONE COMMUNICATIONS DESK -- NIGHT
ABBOTT and ZORN alone in the dark. As a red light begins
pulsing on the console.
That red light means Conklin's dead.
After a moment, ZORN moves to the console and shuts the
light off.
EXT. BANKS OF THE SEINE -- NIGHT
BOURNE still walking. And he's just gonna keep on going, as
we --
DISSOLVE TO
INT. CIA OPERATIONS CONFERENCE ROOM -- DAY
MARSHALL at the head of the table. A cadre of INTEL HONCHOS.
ABBOTT (O.S.)
The Treadstone project has actually
already been terminated. It was
designed primarily as a sort of
advanced game program...
ABBOTT in the hot seat. ZORN right there beside him.
ABBOTT
...We'd hoped it might build into a
good training platform, but quite
honestly, for a strictly theoretical
exercise, we thought it was far too
expensive. The cost-benefit ratio
was just too high. It's been all
but decommissioned at this point.
MARSHALL
All right, what's next?
ZORN handing ABBOTT the next hundred pages.
ABBOTT
Okay, this is Blackbriar.
Blackbriar is a joint, DOD,
communications program that we
really feel has good traction to it.
ABBOTT is just gonna go on and on and on.
EXT. MARTHA'S VINEYARD -- DAY
Gorgeous Summer day. A SCOOTER RENTAL SHACK near the beach.
SIX MONTHS LATER
MARIE coming out of the shack with two helmets. Handing
them to A HAPPY COUPLE waiting there on their scooters.
THE HAPPY COUPLE rides off.
MARIE turns back and --
There's BOURNE. A new look. A smile.
MARIE
Can I help you?
BOURNE
This your store?
MARIE
Yes.
BOURNE
Think I could rent a scooter?
MARIE
You have ID?
BOURNE
Not really.
Beat. He smiles.
MARIE
It's not a problem.
Her turn to smile. And we...
FADE OUT
THE END
| screenplays |
proton NMR deshielding
The protons alpha to the oxygen in methyl propionate are more shielded than their corresponding protons in ethyl propionate.
.
We can see from the NMR data that this is the case as well.
My TA says this is due to the inductively withdrawing effect of the extra carbon in *ethyl* propionate.
However, this strikes me as blatantly wrong. The carbon should be inductively donating ... I don't see how it pulls electron density away from the specified hydrogens.
In your example we are comparing the electron releasing/withdrawing properties of a hydrogen substituent and a methyl substituent, and the effect this has on proton ($\ce{H\_{a}}$) chemical shifts.
Carbon (2.55) is more electronegative than hydrogen (2.2). Therefore, the methyl substituent will be more electron withdrawing compared to the hydrogen substituent. This means that the methyl group will remove electron density from the carbon to which it is attached, compared to the hydrogen substituent. The fact that this carbon has lower electron density in the methyl case, is further transmitted to the protons ($\ce{H\_{a}}$) attached to this carbon. Consequently the $\ce{H\_{a}}$ protons will also experience lower electron density in the R=methyl case.
Lower electron density at an nmr-active nucleus results in deshielding (downfield shift). Consequently, the $\ce{H\_{a}}$ protons are deshielded in the ethyl ester (R=methyl) relative to the methyl ester (R=hydrogen), in agreement with the spectral data you've provided.
| stackexchange/chemistry |
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Stay up to date on the latest marketing news gushing from the business-to-consumer world. Click on the links below to read what all the buzz is about.
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How is the mixing of neutrinos related to eigenstates?
Can someone please explain to me why the following statement is true:
*"Neutrino mixing phenomena arise from the noncoincidence of energy-propagation eigenstate and the weak (interaction) eigenstate bases"*
This is a statement from an [article](https://arxiv.org/abs/astro-ph/0101524) about sterile neutrinos, but this particular statement is regarding neutrinos in general (active and sterile).
**How was it deduced that because these eigenstates do not coincide, neutrinos must mix?**
Let's take the case where there are only 2 kinds of neutrino's, since this is the easiest. When neutrino's propagate, they do so as the propagating eigenstates of the Hamiltonian. However, when detecting a neutrino we detect their mass eigenstate, not the propagating one.
Let the propagating eigenstates be $|\nu\_1>$ and $|\nu\_2>$ with mass eigenstates
$|\nu\_e>$ and $|\nu\_\mu>$. One can write one set of states as a linear combination of the other one (mixing):
\begin{align}
|\nu\_e> &= \cos(\theta) |\nu\_1> + \sin(\theta) |\nu\_2> \\
|\nu\_\mu> &= -\sin(\theta) |\nu\_1> + \cos(\theta) |\nu\_2>
\end{align}
This is a simple two-state system.
Let's say we prepare a state as $|\psi(0)> = |\nu\_e>$, then this state will propagate according to
\begin{equation}
|\psi(\vec{x}, t)> = \cos(\theta) |\nu\_1> e^{-ip\_1 \cdot x} + \sin(\theta) e^{-ip\_2 \cdot x} |\nu\_2>
\end{equation}
where the evolution in the propagation eigenbasis is given by plane waves.
When writing $p\_i \cdot x = E\_i t - p\_i L$ where $L$ is the traversed distance. It's actually already clear that the pobability of having a $|\nu\_e>$ again, which is given by $|<\nu\_e|\psi(\vec{x},t>|^2$ will depend on both $t$ and $L$. This is where the oscillations come in. Since the total probability stays 1, there will be values of $L, t$ for which one of the probabilities becomes 0 and the other 1.
I think the best analogy is birefringence (for 2 flavors). You have 2 orthogonal states of polarization (subbing for flavor), $H$ and $V$, and say electrons only interact with $H$ and muons with $V$, and never the twain shall meet.
Until they start propagating, in a birefringent medium. It has two eigenstates (the fast axis and the orthogonal slow axis, with two different indices of refraction). The index of refraction is sort of a like and effective mass, as it affects the speed of propagation. Moreover, $\Delta n$ plays the role of $\Delta m^2$, the difference in the masses (squared) of the mass eigenstates.
A "non-coincidence of eigenstates" means the crystal is not aligned:
$$ |H\rangle = \cos\theta|F\rangle+\sin\theta|S\rangle$$
$$ |V\rangle = -\sin\theta|F\rangle+\cos\theta|S\rangle$$
It would be a good exercise to fully develop the analogy, but in once $|H\rangle$ starts propagating, there is a phase shift between the $|F\rangle$ and $|S\rangle$ that cause the plane of polarization to oscillate between $H$ and $V$.
Throw in an third flavor, and of course, it gets a bit more complicated, but the idea is the same.
| stackexchange/physics |
Dragon Ball Z 1. Chapter 1: Putting Up A Good Front
**Title: It's Not Where You Start…**
**Chapter 1: Putting Up A Good Front**
**Rating:** T
**Fandom:** Dragon Ball Z
**Genre:** Alternate Universe/Romance/Angst/Drama
**Pairing:** Vegeta/Bulma
**Warnings:** Language (not so much in the chapter this time as much as it is the summary). Also, abuse of commas and semi-colon as necessary, they made me do it...honest!
**Summary:** AU. Bulma's finishing up her Doctoral Degree at age 21, Vegeta's in classes at age 24. When the two meet, things become hectic for the both of them.
**Extended Summary:** Alternate Universe. Bulma Briefs is the daughter of the world renown Dr. Briefs of Capsule Corporation. Smart, beautiful and charismatic, Bulma is the middle of getting her Master's Degree at only twenty-one years of age. When she meets college student Vegeta Ouji though, things begin to change. (I swear the summary should get better as the story progresses. Honest.)
**Disclaimer:** All Dragonball, Dragonball Z and Dragonball GT characters belong to Akira Toriyama. Cause let's face it, if I owned these characters I would totally be making this into the animated cannon or manga cannon somehow.
**Author's Notes:** Please bear in mind that this is AU, and given more of a modern/realist setting, maybe not by much, but make sure that registers because this is not the same West City that Mr. Toriyama created.
I apologize for any gaps in my knowledge on certain subjects, but I'm not unwilling to listen to corrections if the lack of knowledge breaks the suspension of disbelief. I'm not adverse to suggestions for resources on said subjects either, in fact I'd probably be more than happy to be presented with a new resource for knowledge! Unfortunately I have a weakness when it comes to researching (generally I get fed up and just want to write the bloody thing) so if I'm horribly off on something, please feel free to either leave it in a review or message me.
A few notes about Bulma's hair, in this story it's a mix of the manga pictures and anime so it's essentially periwinkle. Be prepared to see blue and purple used interchangeably, but that doesn't mean her hair changes color. If you've ever seen periwinkle, you know what I'm talking about, if not…look it up. ;)
Also, please leave a review as they are like candy to me and I like candy. :)
[EDIT 4/22/11: I'm having to go re-format things. I don't like the page breaks but it seems to be the only way the document manager lets me have any sense of space so please forgive it. :) ]
**Recommended Listening:** "Control" by Poe, "Bleed Like Me" by Garbage, "Magic's In The Makeup" by No Doubt.
* * *
**It's Not Where You Start…**
**Chapter 1: Putting Up A Good Front**
* * *
"_Dignity comes not from control, but from understanding who you are and taking your rightful place in the world." –Anonymous_
* * *
Control.
If anything could be said of Bulma Briefs, it was that she craved for the control of her environment. Being the daughter of world renown Dr. Briefs of Capsule Corporation had provided her childhood, what little there was of it for an adolescent genius, to be full of turmoil and change, mainly due to moving around often, suddenly, and without warning.
Gliding the straightening iron through her periwinkle hair to shape it in toward her face, she imagined quite frequently that she was shaping her life with the simple action; her mantra, 'smart, gorgeous, and in-control,' running through her head with each stroke.
She was now age twenty-one and halfway through her computer science doctoral degree, finishing up her second bachelor's degree in biology and contemplating starting yet another bachelor's degree in some other science. Her intelligence was something to be awed at, her looks to be envied and her temper to be feared. However, no matter how many times she reassured herself with these assets, it was always when she was alone and staring at her reflection that she realized just how not-in-control of her life she was.
Applying the foundation for her controlled mask of makeup, she reflected upon the even swipes of the creamy skin toned liquid. She didn't need the makeup, but she always felt more in control when she had it in place compared to simply brushing on some lip gloss and mascara. Bulma was never one to admit to hiding, but she would at least acquiesce to the idea of concealing her flaws until the layer of beauty product was firmly in place. After that, she was who she always convinced herself she should be; confident, in-control and intelligent Bulma Briefs, daughter of Dr. Briefs, and future hope of the world's technology.
Okay, maybe 'hope of the world' was counted as exaggerating until she got her doctorate and a few more academic certificates. Hell if she was going to admit it though. She was smart and she knew it.
After spending a few more carefully calculated minutes with the makeup, Bulma sat back and appreciated the flawless mask for a few precious seconds before grabbing her backpack and keys; leaving the items in her room slightly messy and in disarray. Today she was giving a guest presentation in a pathetically below freshman level class, Computer Science 1020, for one of her favorite teachers and fellow scientists, Dr. Gero. Had she not been so conceited in the matter, she would have admitted to being the equivalent to a substitute teacher but as it was, her pride wouldn't allow it. Guest lecturer had a much nicer ring to it in her opinion and sounded much more prestigious. Besides, she could use it in her growing resume and curriculum vitae if she ever needed to.
Normally she wouldn't have done such a favor for anyone, but the good scientist had to oversee one of his precious projects this week and had asked Bulma to lecture in his class for a day or two. Depending upon how well his proposal went over with his client he could be back as soon as this evening or as late as next Monday. Bulma groaned at the idea of lecturing for more than a day. She couldn't figure out why such an adept mind was stuck teaching a beginning Computer Science class, but had settled for an excuse that the responsibility to teach the class rotated quarterly between all the teachers in the department—and rather begrudgingly at that.
It took only a few minutes to walk to campus from her residence, but the idea of walking the distance and working up a glow of sweat was rather unappealing to Bulma as she had just spent so much time preparing herself for the grueling ordeal that was going to be lecturing to the students who were more or less going to be blithering idiots anyway. Not that she had a problem with people being less intelligent than she—after all her best friend was probably one of the least book-smart people she knew!—but she did not like the idea of freshmen students and other lazy upper classman taking such a class because it was so simple they felt they should get an A for simply attending. Growing up a child prodigy had her quite accustomed to being smarter than everyone else around her, but she would not tolerate laziness.
Without a trace of irony she slid into her car and drove the less than one minute drive to campus and searched an additional ten minutes for a proper parking space close enough to the academic hall she would end the day at. The five minute walk seemed remotely better for a few minutes before she finally cruised her dark red coupe into a space that was far too skinny due to the inept drivers on both sides of said space.
Striding along the hallways of her school with long, determined steps she reached the stadium seated lecture hall in a matter of minutes, her short business heels clicking smartly on the tiled floor. After settling herself behind the large lecture counter, complete with media panel and input sockets, at the front of the class Bulma made sure to lay out all her notes in an organized fashion and start the projector on it's warm up sequence.
As the class time drew nearer, with more students filling up the empty seats, she swiped her hair behind her ears and began to mentally run through the public speaking exercises she had learned at the early age of fourteen when she gave her first lecture in assistance to one of her father's many presentations.
She was in control, she could do this. Piece of cake.
* * *
Vegeta Ouji the Fifth was not a man to be taken lightly. Thankfully the school board had learned this rather quickly without him having to resort to less than legal methods, other than bribing, in order to get himself into classes at West City University, during mid-semester no less. It wasn't his idea of paradise or the perfect school environment, but then again he had unusually high standards for a young man of his age. As a result his demeanor was perceived as unpleasant, on a good day, toward the average human being.
If the Ouji family were to have a photo album, any onlookers might be surprised to find that almost all first sons of the bloodline looked strikingly like their fathers—regardless of generation. Vegeta the Fifth resembled his father in very many ways, genetically being the first and most obvious. With dark black hair, rich olive-yellow complexion, deep dark brown-black eyes, and regal facial features, he was the identical image of his father and proud display of Japanese heritage minus the thick beard and mustache of his paternal figure. Slightly smaller than his father, and a mite more wire-like in his strongly muscled frame, he was no doubt handsome. His gruff disposition was another way in which he was like his father, albeit he would not know it with his father having been delcared deceased several years ago. Conceited, aloof, good looking, and talented; this made up the best, according to his own opinion, of the Ouji family.
He was unhappy enough to be ordered to spend time away from his homeland as it was, much less wake up for a 10 a.m. class so it was with a grudging attitude that he strolled into Dr. Gero's Computer Science 1020 at 10:45 in the morning only to find someone other than the doctor himself teaching the class. It was bad enough that everyone stared at him rather indignantly as he shuffled his way to a spot halfway down the many rows of seats, making sure he didn't move his backpack or skateboard out of courtesy for anyone who was unfortunate to get hit with it for sitting in his walkway. He figured it was their fault for getting in his way and if anyone wanted to fight him for it, they could try and limp away with only a bloody nose if they were lucky.
With his navy sweatshirt hoodie pulled up around his messy bed-head of hair, he pulled out his notebook and began scratching away the notes uninterestingly in the ratty and obviously abused thing. After he finished scribbling down what he could of the slide that remained upon the projecting screen he made sure to give the Teacher's Assistant a long and hard glare to let them know to mark him as being present. When the thin framed blond man started to correct the attendance books the substitute teacher had the nerve to stop him and take the books into her possession. Vegeta considered verbally lashing out at her but considered against it while the class was still going, more out of apathy rather than politeness.
He would deal with it after class and make sure that she knew who he was and how she should act accordingly. She was rather attractive, dressed more like a student than a teacher in a skirt shorter than comfortable for most female educators and with a lavender cast to her hair from the fluorescent lights, but she didn't know her place and Vegeta would not take well to being insulted even if he was a foreign country. All of the faculty knew who he was already, especially anyone in contact with Dr. Gero, so she had no excuse other than stupidity.
An hour and a half later and after two rather short impromptu naps on Vegeta's half, class was over and all the students started packing up their books. As a few students rushed to the front of the classroom to ask the new teacher some questions, no doubt over the extremely boring lesson that had just taken place, the grumpy young man decided to walk up the stairs and wait by the exit; covering himself partly in the shadow of one of the overhangs. When everyone had packed up and left after the brief round of questioning he noticed an immediate change of body language from the young teacher in the front of the class. Her shoulders slumped as she let out a deep exasperated breath and started to fiercely organize her folders, paperwork and books into the book bag she had pulled from behind the counter. He could also hear vague and, from the tone of it, angry murmurs that she was repeating to herself but she was doing a rather good job to keep the words unintelligible from his acute hearing.
Striding up the large amount of steps, nearly losing her balance once or twice due to the weight of papers she had collected from the student's as their homework assignments, she came up over the edge of the final steps with wild determination to get out of the classroom.
"Exactly who are you Woman and where is Gero?" Interjected his voice out of the partially shaded, dim but not completely black shadowed corner near the door.
Apparently he had either been so furtive in his waiting or she had been so absorbed in her thoughts that she practically fell over to one side as her ankle twisted under her in surprise. He assumed a bit of both was to blame but felt the previous was mostly accountable for her reaction. Propping herself on the back of the closest chair to keep herself from falling, he could see it in her features as she slid a mask of calmness onto her face.
"Dr. Gero had to meet with a client this week and I have been asked in as the guest lecturer. Who may I ask are you?" She replied with barely masked agitation to such a pompous attitude.
"Hmph," he exhaled indignantly as he crossed his arms across his chest and stood up straight from his semi-reclined position on the wall. "If you're part of Dr. Gero's department you should already know who I am Woman. I'm Vegeta Ouji the Fifth and I will not tolerate any more disrespect in this class such as what happened earlier, is that clear?"
The blue haired woman's eyes widened in disbelief as her perfectly placed mask dared to balk at such a haughty command. "Excuse me, but seeing as I am the guest lecturer for this class, for possibly a few more days, you have no right to command me about anything Mr. Ouji. Had you been on time, or at least quieter in your entrance I might have been willing to let you slide on the attendance. As it is, I would appreciate it if you'd enter class on time and more quietly." She shifted the weight of her book bag more firmly onto her shoulder. "If you have any other complaints you can take them up with Dr. Gero once he returns. Good day Mr. Ouji." She added a small, strained, and completely insincere smile onto her face before brusquely walking out the door, leaving the stern young man to eat her proverbial dust.
Vegeta merely glanced at her retreating figure as she escaped out the door in a rush. He didn't know who she was but he wasn't happy at the idea that some of the staff didn't know how to show proper respect. Lacing his arms through the straps of his backpack he grabbed up his skateboard and was about to venture to the fourth floor of the Sciences building to further investigate the strange woman's lack of proper behavior, in his eyes, to him when he noticed something glinting on the floor next to the last row of seats in the lecture hall.
On the floor was a small silver phone, complete with letter keyboard on it's chrome facing, right where the woman had faltered in her stride up the steps. He would bet it was the foolish substitute's phone and smirked at the idea of making sure she knew exactly his idea of what respect should be.
Oh yes, this was going to be fun.
2. Chapter 2: Get Angry? Get Even
**Title: It's Not Where You Start…**
**Chapter 2: Get Angry? Get Even.**
**Rating:** T (for now…)
**Fandom:** Dragon Ball Z
**Genre:** Alternate Universe/Romance/Angst/Drama
**Pairing:** Vegeta/Bulma
**Warnings:** Language. Abuse of commas and semi-colon as necessary; they made me do it.
**Short Summary:** AU. Bulma's finishing up her Doctoral Degree at age 21, Vegeta's in classes at age 24. When the two meet, things become hectic for the both of them.
**Summary:** Alternate Universe. Bulma Briefs is the daughter of the world renown Dr. Briefs of Capsule Corporation. Smart, beautiful and charismatic, Bulma is the middle of getting her Master's Degree at only twenty-one years of age. When she meets college student Vegeta Ouji though, things begin to change and she's unsure as to whether or not she likes this change, much less can control it.
**Disclaimer:** All Dragonball, Dragonball Z and Dragonball GT characters belong to Akira Toriyama. Cause let's face it, if I owned these characters I would totally be making this into the animated canon or manga cannon somehow.
**Author's Notes:** So here's the second chapter, wewt! In this it's mentioned that West City is in the U.S.A. (aka, The States) simply because it works out better plot wise if it exists outside of Japan (which is where I'm sure Akira Toriyama would base his characters if he put them in the 'real world'). Plus I'm more familiar with U.S. customs and as such I feel more comfortable writing about it, seeing as how I live in 'The States' myself.
Please leave a review as they are like candy to me and I like candy. :)
**Recommended Listening:** "Trigger Happy Jack" by Poe, "Low" by T-Pain.
* * *
**It's Not Where You Start…**
**Chapter 2: Get Angry? Get Even.**
* * *
"_Tragedy is when I cut my finger. Comedy is when you walk into an open sewer and die." –Mel Brooks_
* * *
Bulma cursed loudly as she sifted frantically through her jacket pockets and designer purse. She just _had_ to have the damned designer bag, even though it had no real place to store her phone. Admittedly she knew better but the purse was just _too_ gorgeous to not have, so she didn't really care at the time of purchase where her phone would go; until now. As she rummaged, with no small panic, through all of her items at the lunch table, a tall Japanese man place his lunch from the student cafeteria in a seat beside her own, unnoticed.
"Whatcha doin' Bulma?" The young man with spiky hair asked jovially.
"I'm looking for my phone." She said to the young man while not diverting any attention from her mad search for it at the end of the table.
The young man arched an eyebrow and dove into his overly full tray while asking, "Don't you usually put it in your jacket pocket since you bought that new purse?"
Bulma groaned as she gave up her hunt and started to put her school items back in order. "Normally you'd be right Goku, but apparently it's fallen out somewhere." Sitting properly in her seat once more she crossed her arms and hunched back in her seat, positively choleric at the notion of losing her phone, again.
"Well it's a good thing you're rich! Otherwise you might have some problems replacing the phone." Came the friendly observation between alternating bites and gulps of food and drink.
The unhappy student absently poked the burger on her lunch tray unhappily with a finger, "Yeah but I had some pictures on there I really wanted to put on my computer." Neglecting to mention said pictures were of Yamcha, her ex-boyfriend, she added, "Besides, if I replace any more lost phones I just know the phone company is going to bite me in the ass with some sort of liability charge."
Goku nodded, if nodding was indeed the motion he was making between the devouring of different items on his tray, as a petite but strong looking woman strode up to the table and plopped into the seat next to Goku.
"Hi Chi-Chi," Bulma said with an unenthusiastic wave to her friend.
The new comer addressed the moping woman first, "Hey Bulma. Hey Sweetie," after giving the ever-eating guy next to her a kiss on the cheek she turned back to Bulma. "What happened? It sounds like you're kind of upset about something."
As Bulma picked at her food she gave a little grunt of displeasure. "I lost my phone again and I can't think of where it might be."
"I told you not to get that horribly small purse Bulma," she admonished as she quickly fixed the bun that held her black tresses away from her face. "Have you retraced your steps? Are you even sure you took it with you this morning?"
Bulma bit viciously into a potato fry and answered after swallowing the bite-sized morsel, "Yes and yes, thank you very much. I checked Dr. Gero's classroom and even went all the way out to my car to check and see if I left it in the door pocket."
Chi-Chi looked skeptically at her friend as Goku rose seemingly unnoticeably to get another tray of food, "Are you _SURE_ you took it with you from your apartment? You've done this before you know…"
"Yes, I'm sure!" She ground out as if she were a child being scolded. "I had to go back up the stairs this morning to get it, believe me I remember taking it with me."
Chi-Chi sighed in defeat at her friend's scatter-brained tendencies. World's smartest woman and _THIS_ was how she represented the her gender? Life was cruel. While she admired her friend for her intelligence, she'd not-so-secretly give an arm and a leg for Bulma's brains just so the world's smartest female could have common sense. Reaching into her own purse she pulled out her cell phone and proffered it to the grumpy girl a few seats down.
"Here, call your phone with this one and see if anyone's found it. Maybe they'll return it to you if you're lucky." Momentarily holding onto the phone as Bulma's hand closed around it she deadpanned, "I want it back okay?"
"Yeah, yeah smarty pants." She stuck out her tongue a little and held down the number tree key, knowing that one was voicemail and two was Goku's number.
_Riiiiiiinnnggg!_
Goku meandered back to the table with another tray full of food and a bit of a brighter smile, if that was possible. "Hey guess what guys—er, girls!" he corrected at his girlfriend's unimpressed glare.
Giving a small smile for the correction, Chi-Chi grabbed the soda off his tray to keep it from tipping over as he sat down rather haphazardly with excitement. "What?"
_Riiiiiiinnnggg!_
Bulma tapped her finger on the phone as it rang in her ear, but kept the other one open for Goku's news.
"Do you remember when I went to Japan that semester as part of that exchange program in the Athletics department?" He said excitedly as he dove into another round of food.
"Yeah, and they were the loneliest four months of my life." Chi-Chi whined while pouting her bottom lip for extra effect.
_Riiiiiiinnnggg!_
Goku continued eating and talking at the same time, not really caring about any crumbs flying out of his mouth, "You remember I told you about my sparing partner in karate class, right?" When Chi-Chi nodded he continued, "Well he's actually here!"
Bulma was mildly interested in Goku's discovery as she had seen the photos he had taken for souvenirs while he was there. While the person in question had never smiled in ANY of the photos taken, he was good looking and that interested Bulma very much. The way Goku talked about him he seemed friendly enough, but she supposed that wasn't saying much as her dim-witted friend would talk about a rabid animal fondly. It was one of his more admirable, albeit sometimes annoying, traits; an endearing feature and part of why she was friends with the hunky Athletics major.
_Riiiiiiinnnggg!_
"Dammit!" Bulma cried out, pressing the end call button before the number went to voicemail. "No answer."
Chi-Chi frowned in sympathy at her plight, "Maybe it's in campus' lost and found? We could go by there after lunch if you like, my next class isn't until three."
"I'd definitely be grateful for the company. I hate having to go there by myself, they're getting to know when I'll show up." She dipped her head so low over her tray that her purple-blue bangs nearly landed in her side salad.
The responsible girl chuckled and shook her head, not surprised in the least. "So, how'd it go in class today? About as expected? Did you bore half the class into slumber like Dr. Gero?"
Bulma grimaced at the memory of the unpleasant 'Mr. Ouji the Fifth'. "Ugh, it went rather well I guess until the end of everything. Let me tell you, this one kid waltzes into class forty-five minutes _after_ class starts, makes a TON of noise and commotion getting to his seat and then, after trying to intimidate the T.A. into marking him present by _GLARING_ at him, decides to sleep through half the class. All while yawning obnoxiously whenever he _was_ awake." She bit into her burger as if to demonstrate her displeasure.
"Wow, talk about inconsiderate." Chi-Chi's eyes widened a little at the idea of someone so obnoxious while she mixed her Cesar salad.
"Oh, that's not the worst part, Chi." Bulma took a large sip of her diet soda to wash down the large bite of burger. "Get this, after class he has the _audacity_ to correct me about my attitude, as if I were some sort of servant! The nerve!" She set her burger down and turned her attention to her small side salad, judiciously pouring dressing from a tin packet over it.
Chi-Chi gawked, "You're _kidding_? Right?" Then smirked, knowing her friend's ill temper and big mouth, "Did you let him live?"
Goku was munching happily away at his food, occasionally glancing at the cashier line across the room casually as if looking for someone, but he chuckled at the idea of Bulma the substitute student teacher making another student cry with her cutting and sly remarks. He would never be able to deliver an insult like Bulma, but then again, he would never want to insult anyone. There were a few exceptions, but they were rare.
"Yeah, I let him live." Stabbing at the thinly coated iceberg lettuce she grumped, "What was I gonna do? I don't think Dr. Gero would be too happy if I insulted his students and got him in trouble, much less hurt one of his students physically."
Chewing delicately -conceded, "True. Hey, do you remember his name or what he looked like? Maybe I could trip him for you if I see him in the halls or something!" She perked up at her own sneaky idea; no one would see it coming!
"Ooo! You might have something there Chi-Chi! That way I wouldn't get in trouble!" Bulma practically bounced in her seat as she chewed her own bite of salad. Chi-Chi had some fighting chops when she wanted to use them so she dare not insult her friend with the insinuation of her getting caught as she gave out his description. "He's some kind of skater guy judging by the skateboard he had and his clothes. He's about yea tall," she indicated with her hand not that far from top of her own, "and he looks to be of Japanese dissent, like Goku."
At this Chi-Chi nodded and listened intently. She knew it'd be a childish prank if she actually followed through, but there was nothing wrong with entertaining the fantasy of retribution though as long as it remained just that—a fantasy.
Not stopping her tirade, Bulma ignored Goku standing up from the his chair, presumably to get yet another tray of food, "And as for his name, it's—"
"Vegeta!" Goku called, to an imposing figure that had just exited the cashier line.
One corner of Bulma's mouth involuntarily jerked downward as her mouth opened to say the offending name that for some strange reason had come out of Goku's mouth.
Looking up at her buff friend, who was sporting his signature orange t-shirt that had it's sleeves cut off, she asked cautiously, "…Ouji…Yeah. Uh, how did _you_ know?" Her friend was perceptive about strange things but he was not clairvoyant, and he certainly did not have Computer Science 1020 at 10a.m. with Dr. Gero. Besides that, the classroom had been empty when the encounter had happened.
Goku waved a little more frantically at the strange figure, who seemed to be grudgingly walking over to their claimed table near the corner of the well-sized eating auditorium.
"Stop making a spectacle of yourself Kakarrot!" The raspy baritone voice commanded, and none too kindly. Since Goku was a popular guy it wasn't exactly strange to hear him referred to as his nickname; which had somehow originated during his trip to Japan from the use of his 'orange shirt collection' as their friend Krillin had put it.
"Bulma?" Chi-Chi attempted to wave her hand at her friend worriedly at the sudden stop in ranting which was so un-Bulma like.
Across from Goku suddenly appeared a tray piled just as high with food from the lunch line as Goku's had been, if not more than actually, and then a dreadfully familiar navy blue hoodie accompanied by a backpack and skateboard that were set carefully into the seat across from Chi-Chi. Bulma could practically feel her heart jump into her throat from surprise followed quickly by anger as she looked back at her friend next to Goku and then to the new addition to the table.
The brunette raised an eyebrow at the strangely quiet and seemingly irrelevant response.
"Sorry Vegeta," Goku rubbed the back of his head innocently and took his seat once more, "I just wanted to introduce you to my group of friends here. How long have you been in the States?"
Vegeta, more interested in his food than conversation, gave a grunt in response. If Goku noticed he didn't seem to care.
Bulma quieted a groan trying to claw it's way out of her mouth, making a rather odd strangling noise emit from her voice box Again she repeated the eye motion to Chi-Chi and even added a small head movement in a frantic hope that her friend would put two and two together. God, how she wished she had her phone, she could at least _text _her thoughts to Chi-Chi then!
"This here is Bulma," Goku motioned to his left, "and this is my girlfriend Chi-Chi! You remember me mentioning her don't you?" He grinned a rather sweet and dopey smile as he placed an arm around said girlfriend in a quick show of affection, while she gave a polite greeting to the newcomer at the table.
Bulma's fists shook slightly at her sides as she realized Chi-Chi still wasn't going to get her point without her verbalizing it in front of the offending person. Wild-eyed she noticed her friend's small red phone next to her tray where she had set it down and, in a futile fit of need for her phone, pressed down the speed dial for her own number. Maybe this time someone would pick up.
As the familiar melody of her ring tone trickled through the air Bulma had no need to place the red phone up to her ear. It took a few seconds for her to decipher that the words from the song were emanating from the backpack across from Chi-Chi.
"_Shawty got low low low low low low low low…"_
As she slowly turned her head toward the new student at their table, it was then that Bulma realized exactly what must have happened to her phone.
* * *
"_Shawty got low low low low low low low low…"_
Fuck.
He wasn't upset about the phone ringing as much as it was he didn't appreciate the timing of the blasted thing; first while he was in the lunch line with his arms full and now in front of the person who owned the damned object. Could his day get any better?
Calmly and deliberately he looked towards the girl with the lavender cast to her hair—Kakarrot had said her name was Bulma, right?—and slid a smirk onto his face. "You dropped your phone."
His hood was down now and he felt a little more awake and able to handle social interaction. After class, he had stopped by the restroom and decided to make himself look a little more presentable, or maybe it was to not feel so grimy, and ran some water over his face and hair; the subsequent finger combing of his hair causing the day-old gel to reactivate and prop the strands and clumps up in random and stylish spikes.
It was rather amusing to watch the formerly collected girl's mouth drop open and twitch angrily while she was struck silent. Probably with anger. Pity he didn't care.
"You—y—why do you have my phone!" She demanded loudly, finally finding her words, ending the call and placing her friend's phone down on the table. She knew how to make people look at her, that was for certain because half of the lunchroom was now casting thinly veiled glances toward the commotion.
The smirk faded as he repeated, "I said you dropped your phone. What, are you hard of hearing as well as stupid?"
The woman called Chi-Chi looked a bit confused at her friend as Kakarrot had already gone back to eating. Even with all his stupidity he had to admit he had the right idea. Vegeta turned his full attention to the food presently in front of him. Lunch time, or any meal time for that matter, was for eating, not for talking and so he began to consume the food he had purchased.
The girl from class gaped openly before her eye began twitching and she forced her mouth shut with a few jerky attempts. As she attempted to calm herself she took a few deep breaths and bit out calm and evenly, "I called it just a few minutes ago. Why didn't you pick up the phone to let me know it was found?"
"Because my hands were full." He answered simply, not looking away from his meal, and then dove into eating his own tray of food with an orderly gusto.
The irritated woman seemed to seethe at the end of the table, next to his own seat as if waiting for more of a response. Finally, after a few moments of food chewing silence, the dark haired woman of Kakarrot's spoke up.
"…Well aren't you going to give it back?" She asked with a hint of anger laced in the bottom of her voice; a warning of what would happen if he answered anything but yes.
He made sure to swallow the bite of food in his mouth before answering, even taking time to wipe his mouth afterward swiftly with a napkin, "When I'm done eating, I'll think about it." Giving the brunette a pointed look, he lifted up the next item for disposal by his digestive system, stopping in mid motion when he was interrupted by Bulma.
"But you're already here. Why not just give it back now?" Oh joy, the woman at the end of the table seemed to have found her voice again; her palm extended expectantly.
Expelling an annoyed sigh, Vegeta looked directly at the woman making sure to hold her blue eyes with his. "Because I am eating and I am not sure I'm going to return it. I do know, however, that if I am not allowed to finish my meal it will not have the slightest consideration of going back to you." With that he plucked a few napkins from the dispenser in the center of the table and placed them promptly in her expectant hand and returned to eating as if nothing had happened.
At this action Kakarrot's woman elbowed Kakarrot in the ribs rather harshly, "Goku…" she gave him an admonishing look in return for his questioning glance at her deed.
"What? He's right, he _is_ eating you know!" He stated innocently, as if it were the most obvious thing in the world. By the woman's irritated sigh, this was apparently the wrong response or at least not the one she had been expecting from the thoughtless buffoon.
"That's not what I meant. Goku, he's your 'friend', do something!" The woman was glaring sharply at the large athletic man next to her. Vegeta might have laughed at the absurdity of such a small female intimidating a male of Kakarrot's stature and build if he allowed himself to act upon whims—which he didn't. Instead he calmly continued to eat his food as his former sparring partner defended himself from his perceived mate.
Smoothly and quietly, Bulma rose from her seat and stalked over to the backpack and skateboard sitting in the chair across from Chi-Chi, intent clear on her face. Vegeta could feel her surprise when his hand darted out to capture her own in a firm and uncomfortable grip as she attempted to open the zippered compartment supposedly hiding her phone.
After another swallow of food he addressed the young woman in his clamp-like grasp. "Don't you know that it's rude to go through other people's belongings without permission?"
"Don't you know it's rude to take other people's things?" Futilely Bulma attempted to redirect her, and as a result his, hand at the zipper again to continue opening the bag. He simply took another bite of food and swallowed elegantly, all the while keeping a firm grip on the prying hand.
An annoyed tone made it's way into his voice as he defended his territory, "I told you I would think about it when I was finished eating—if that ever happens at this point." Giving her hand a menacing squeeze of warning he flicked her hand away from his bag and began to eat with two hands once more, ignoring the irate woman as if she had never been a threat at all. She had lost it, he had found it. Wasn't there a rule about that somewhere? Why was she so presumptuous as to think she deserved to get it back? She was foolish enough to lose it and he was smart enough to find it; open and shut case.
The Bulma woman rubbed the offending hand with the other comfortingly in an attempt to soothe the red marks left there from his grip. Then, after a moment of what looked to be thought, she walked to her seat and started packing up her items methodically and full of purpose.
Chi-Chi stared at her friend in confusion as she offered her phone back to her and gave Goku the remainder of her uneaten food; things were never good when Bulma became quiet. Throwing her backpack over one shoulder, the blue haired girl said her farewells to her two friends and then looked at Vegeta as she walked back to the opposite side of the table, with feigned felicity.
"When you decide to give me my phone back, Goku knows how to get in touch with me." Then, with one deft movement, she urbanely removed the unpleasant acquaintance's skateboard from the chair and left with a swift pace to her car to deposit the collateral item.
He might deny it if anyone asked, but Vegeta felt a smirk of appreciation tugging at the side of his mouth; A woman after his own heart.
End file.
| fanfiction |
a 64-year - old swiss pensioner presented to our hospital with a pustular rash and signs of systemic inflammation .
the c - reactive protein was 62 mg / l and the differential blood count revealed leukocytosis ( 15.39
five days before , she had first noticed abrupt onset of sheets composed of small pustules on her stomach , subsequently spreading to affect the neck and the palms . the day before admission , lakes of pustules and papules formed on the whole body surface except the face and scalp .
furthermore , the patient suffered from severe pruritus in the affected areas . in the 4 weeks preceding the admission ,
she had been treated with amoxicillin / clavulanic acid for a knee prosthesis infection caused by beta - hemolytic streptococci ( groups b and g ) , as well as with the anticoagulant rivaroxaban . a biopsy confirmed neutrophil infiltrates in the upper layers of the epidermis , as well as perivascular and interstitial neutrophil- and eosinophil - rich infiltrates mixed with lymphocytes and plasma cells [ 1 , 2 ] .
microbiology swabs revealed neither bacteria nor fungi . according to the euroscar criteria [ 3 , 4 ] ( table 1 )
thus , the suspected offending drugs amoxicillin / clavulanic acid and rivaroxaban were replaced with clindamycin and fractionated heparin .
topical clobetasol propionate 0.05% ointment was generously applied to all affected areas once daily and cold cream with 5% polidocanol , a local anesthetic , was given for the pruritus .
development of new pustules ceased within 24 h ( fig . 1 ) and pustules shed within 72 h. the patient was discharged in good general condition after 7 days of hospitalization with only a faint , diffuse erythema with focal desquamation remaining ( fig .
in over 90% of cases , agep is caused by medications . the patient has received both amoxicillin / clavulanic acid and rivaroxaban during the last 4 weeks before development of the disease .
it is also atypical that the drugs had started to be administered 4 weeks before the onset of disease .
it is widely accepted that in a minority of cases also infections can cause agep .
our patient was suffering from an infected knee prosthesis , which was the target of the antibiotic treatment .
strikingly , agep rarely manifests several weeks after the culprit drugs have been initially administered .
the foremost intervention leading to clearing of agep - related pustules is the interruption of the offending drug . during the pustular phase ,
a local antiseptic treatment and moist dressings are useful , as well as topical corticosteroids .
application of steroids more than once per day does not increase efficacy , but the onset of the therapeutic effect may be faster . in patients with systemic inflammation such as our case , systemic steroids themselves can induce pustulosis , which may be considered a reason to avoid them if possible . all reports on agep favor the application of parental steroids .
our patient recovered in a very short time by stopping the medication intake and by the use of highly potent topical corticosteroids once daily .
f.a . is funded by the hsm2 ( hochspezialisierte medizin ) and the kti grant .
he has received payments from abbott , celgene , and is on the advisory board of leo pharma . | pubmed |
D.Gray-Man 1. The First Meeting (Tyki's POV)
**I know I'm suppose to be finishing up the next chapter of "Alone on the Battlefield" but I decided I'm going to start revising and re-posting this story. Sorry for procrastinating so much :(
**
**Warning!- intense violence, gore, and shounen ai (still debating about doing yaoi or not) and more-than-likely-OCC'ness on Tyki's part.**
**I do not own DGM, I simply own the plot.**
* * *
Wind tousled his hair a she strolled down the paved road. His hat was tucked underneath his arm and his clothes simply screamed that he was of the wealthy. His head slowly turned to look at all the shops on the strip of road he walked on with a bored expression
_'I don't understand why Rhode wanted me to walk down Erm street to begin with. There's nothing here that would catch her interest.'_ Turning down a side street, he stopped and looked at the only shop on that was open. It had a simple wood frame and red door. Reading the sign, he tried his hardest not to sign out loud.
Marian Cross's Slave Shop
_'So that's what she wanted me to get her. I knew she wanted a slave but I didn't think she wanted one this badly. Oh well, might as well get her one.'_ Opening the door, a warm blast of air hit his face. The first thing he registered was the sound of chains hitting the walls, the smell of sweat and something suspiciously similar to sex. Wrinkling his nose at the smells, he dinged the silver colored bell at the counter. A man walked from behind a wall and he just raised an eyebrow at the man's attire. The man had a patch over one of his eyes and had the most unruly shade of red hair. He wore a gold and black suit that covered just about every inch of his body and seemed to go well with his long red hair.
"How can I help you?" The man asked in a deep voice.
"I'm looking for a slave."
"Figured that since you walked into a slave shop." Sighing, he ran his hand through his hair in irritation.
"What's your price range." The owner asked.
"100,000." The owner gave him a smug-looking grin before opening the door that led to the back of the shop, where all the slaves where being held.
"Follow me." Following the owner (who's name he was guessing was Marian) into the back, he let his eyes roam over all the slaves in the pins. Some were littered with scars on their bodies and some were innocent; some were buff beyond extreme while others where so fragile looking that he wondered how they were even still alive.
"Do you see any you like?"
"No." Right after he said that, he spotted a pin set apart from the others in the far corner of the shop. Walking up to it, he peered inside, seeing only an old, pale looking man sitting curled up against a wall. He had chains wrapped his arms and legs as well as his neck and torso.
"What's his name?" he asked, gesturing to the old man.
"That's Allen."
"Can I get a closer look?"
"Sure, just don't touch him." Opening the gate, he walked towards the old man. He held back a gasp as he realized that the slave's body was that of an 18 year old.
"How old is he?"
"17"
"Why is his hair white?"
"Beats me." Turning back to the boy, he crouched down and observed him some more. On closer inspection, he noticed a strange red mark on his forehead that continued down his cheek; it almost looked like a pentagram.
_'Must be a tattoo.'_
"Allen." The boy didn't even respond as he said his name. Ignoring the owners warning about touching Allen, he lifted his face up to get a better look...and was stunned by the emptiness that laid within his eyes; there was no emotion in them. They stared at him but they weren't actually looking at him. It was almost like he was in his own little world.
"Hey! I told you not to touch him!"
"I'll take him."
"What?"
"I said I will take him." Dropping the boy's chin, he turned towards Marian, who looked genuinely shocked.
"You sure?"
"Yes. How much are you asking for him?"
"80,000"
"Deal."
"Okay then. Meet me at the desk while I get him ready for you." Nodding that he understood, he walked back out into the lobby area. He stood there, studying the walls until he heard the familiar clinking of chains hitting one another. He watched as Marian walked out dragging Allen behind him and grabbed the chains from him. Whipping his checkbook out from his coat, he signed it for 80,000 without a second thought. Nodding his head to the owner as he left, he wished him a good day. The wind blew gently on them, a few stray leaves swirling around them. Looking down as his new slave, he frowned as Allen refused to look up from his brown, worn-down shoes.
"Well, I guess it's time to head home. You'll be staying in a guest bedroom next to my younger sister's room. I'm warning you that she is highly over energetic." He waited for Allen to say something back, but he just kept looking at the ground. His frown deepening, he tugged on Allen's chain.
"Let's go." They walked in an awkward silence until he heard something come from Allen.
"Did you say something?"
"...what's...your name?" Came a barely audible whisper. He smiled, glad that his new slave wasn't mute. Looking up at the baby blue sky, he let a rare smile show on his face.
"Tyki Mikk."
* * *
**I am so happy that I am re-editing my stories. This one chapter was a freaking nightmare! *screams in frustration* Since all I have to do is edit and retype, I'll try to get the chapters out a bit quicker than my other stories.**
**This isn't actually my favorite pairing in DGM (I actually love Tyki/Lavi & Kanda/Allen) but this idea wouldn't leave me when I first wrote it and I can't stand not re-posting it.**
**Thank you for reading and please review! Your reviews make my day and encourage me to get the next chapter out faster :)**
2. The First Meeting (Allen's POV)
**My fellow readers, I greet you with the second chapter! I decided to write this in Allen's POV because that is how the rest of the story is going to be written out. It may flip to others peoples view but for the most part, it will be Allen's.**
**Warning! Implied yaoi (but not between Tyki/Allen), mention(s) of rape, depressing thoughts, and language.**
**I do not own DGM, I simply own this plot and the characters in it.**
* * *
"Get up." Allen groaned as he was shaken awake. Wearily opening his eyes he stared at his current Master, Marian Cross. Allen swing his feet off his cot and slowly made his way towards the wash-bin that was in the corner. It was a grimy greyish black color and leaked whenever it was used too much. Allen mechanically washed off the grim that had accumulated on his body while he had been sleeping, staring at the dirty water that was running down the drain in the floor. He was about to slip on his clothes before he heard Marian's voice call for him.
"Come here boy, I need to talk to you." Disgust and self hatred coursed through Allen's body as he slowly made his way towards Marian's room. He tried to control his breathing by counting backwards, whispering the numbers to himself as if they could protect him.
_'999, 998, 997, 996-'_ Allen's father, Mana had taught him to count, read, and write which Allen knew were luxuries in the day in age. Before Mana died, he would show off his skills to anyone who would listen because he loved to see their amazed faces. But now, he told no one. Not even his master knew. It was all out of self preservation: who would want to own a slave who was just as smart, if not smarter than you? No one.
Standing in the doorway, Allen's eyes slowly looked up into Marian's cold, hungry stare; they reminded of lion eyes he had once stared into when he and Mana went to a circus. They were just as deadly. Marian smirked, moving his hand towards Allen, his fingers motioning for Allen to come closer. Once Allen got close enough, Marian grabbed his skinny pale wrists and yanked him onto his red silk sheeted bed, forcing his mouth onto Allen's. Marian shoved his tongue in, growling at the sweet taste. Pulling back, Marian moved his lips down Allen's body, biting at random moments and making Allen cry out in pain. Marian slammed his hand over Allen's mouth, chuckling evilly as his little slave struggled to move his hand, his chest heaving with labored breathes.
"What have I told you? Don't make a sound." Allen frantically nodded his head in understanding and closed his eyes. He felt Marian's mouth move back to his chest, moving lower down his trembling body.
_'Don't cry out. Don't cry out. Don't cry out.'_ He chanted to himself as he felt Marian slip into him.
* * *
After Marian had his fill, Allen got back up and made his way yet again to the wash-bin, washing off all of his masters cum off his body and out of his mouth. Grabbing a long sleeved shirt Marian had left out for him, he slipped in over his head and quickly got into the rest of his outfit, which consisted of off white gloves, brown pants, and a red ribbon around his neck. Closing his eyes, he willed his facial features to go emotionless. He knew that his emotionless face scared off people and it kept him from being sold. He didn't like Marian or the situation he was in but at least it was predictable. He knew he would sleep in a decent bed (whenever Marian called him to his chambers) and have plenty of food since he was favored among the other slaves. Stepping out of the back room, he walked to his pin, letting Marian put his chains on.
"Let's hope you can make me some money today kid." Inside, Allen sighed. He knew that Marian didn't actually want to sell him. If he did, he would have done so by now. Marian just said things like that for appearances; he wouldn't want the other slaves to get the idea that they were special like Allen. That, and Marian wouldn't want to lose his fuck toy.
Hours seemed to pass by endlessly as Marian greeted customers and showed them his merchandise. Allen got sick of watching women and men look at and treat them like cattle and tuned them out for the most part. Some people came up to his pin but after a quick once-over and a look into his eyes later, they left, some more in a hurry than others. There was one gentleman though who was actually decent. He walked in, dressed like the average customer but instead of looking at each person and assessing them, he went to each pin and asked kindly if they wanted to go home with him. He ended up asking Marcus, who was the biggest, most muscular slave of them all. Like usual, he cursed the customer out. Instead of being insulted, the guy busted into a ball of tears and apologized for angering him. After the customer had calmed down, Marcus ended up going with him.
_'I hope he found a good Master.'_ Allen thought. The sound of the front door opening and closing signaled yet another buyer. Allen mentally groaned, slumping into the wall next to him.
_'Won't these people stop coming already!'_ He heard Marian's voice as he spoke to the customer. He couldn't hear what they were talking about but from how deep the voice was, he could clearly tell that said customer was a man. The back door opened and the first thing he noticed was the semi loud click of expensive business shoes. Allen refused to look up as the clicking of shoes slowly made their way to the edge of his holding pin.
"Do you see any you are interested in buying?"
"No." Replied the customer, his voice deep and seemed to cut through the thick tension that always hovered in the air in the little slave shop. The clicking of his shoes stopped just outside Allen's pin.
"What's his name?" Asked the man.
"Oh, that's Allen."
"Can I get a closer look?" Allen shook slightly, the idea of someone getting closer to him terrifying beyond belief.
"Sure. Just don't touch him."
"How old is he?"
"Seventeen."
"Why is hair white?" Allen could hear the curiosity in his voice.
"I don't know." And truth be told, Allen didn't know ether. He just knew that he always had white hair since as long as he could remember.
"Allen." The clicky shoes man called out. Allen didn't reply back, trying (and successfully) holding back his tremors; it was becoming increasing hard to do so since the man insisted on getting closer to him. A hand came into his vision and before Allen could react, a hand snatched his chin and lifted his whole face upwards. Allen cleared his face of all emotion and pictured himself in a happy place, wherever that was. Moments later, his chin was released and Allen quickly jerked away. His movements went unnoticed by clicky shoes man as he left the pin. Minutes later, Marian was coming into the pin and unhooking his chain from the wall.
"Looks like your worth more than just a good fuck." Allen tilted his head in confusion as he was dragged into the backroom.
_'What is he talking about?'_ Allen thought to himself. Walking back to the front, Allen realized what Marian was implying: the guy with the clicky shoes actually bought him! Allen kept his head down, trying to wrap his head around the fact that he was actually bought. Didn't his emotionless face scare clicky shoes man? And if it did, why didn't it bother him like it did with all the other customers that showed even the faintest of interest in him. All these questions and more swarmed through his head as his chain was handle off to his new master. Glancing up, Allen's eyes bugled as he read the five digit number on the check his new master was giving Marina.
_'80,000! Why would Marian sell me for so much? He told me I wasn't worth even 10,000.'_ The man who bought him jerked lightly on his chain, leading him out the door and into the outside world. Allen looked around, taking in all the sights on the little street. Marian hadn't let him out in fear that he would get the bright idea of making a run for it so he was always stuck inside; the only sunshine he ever got was from a tall window on the side of the shop. His chain was jerked on again and he looked up before quickly glancing back down at the road under his feet.
"Well, I guess it's time to head home. You'll be staying in a guest bedroom that's next to my office and my little sister's room. I'm warning you ahead of time that she is highly energetic." Said his new Master a soft tone. His Master's voice washed over Allen, calming his jittery nerves.
_'He doesn't seem bad. He's even giving a slave like me a proper bedroom.'_
"Let's go." Allen was pulled out of his mind as his new Master pulled him along. They walked for a little bit before Allen gathered up the courage to open his mouth.
"Whatsyourname?"
"Did you say something?" New Master asked. Allen sighed internally before he spoke again, making sure his voice was louder and his words weren't running together.
"What is...your name...?" Allen cringed at the silence that followed his question, waiting for his new Master to beat him for speaking out. Allen couldn't hold back the slight jump of shock as his new Master's deep, rich voice washed over him as he spoke.
"Tyki Mikk."
* * *
**Man, this chapter was a real pain in the ass to revise and retype. *screams in frustration* Oh well, at least I have it done. I'm attempting to get the next chapter of "Alone on the Battlefield" finished by next week so keep your fingers crossed that my computer doesn't die out on me again.**
**Responding to guest reviews:**
**BunnyHunter- Thanks for the review and encouragement :)**
**wolfyhound- I've thought about writing Rhode/Allen but I'm just not too into the pairing.**
**Thank you for reading and please review! They give me motivation to get the next chapter out faster :3 (no flames though)**
3. Day One of a New Life
**So, another chapter...and this wasn't as bad to edit as the previous chapters. It was rather easy :) Ever since I started re-writting this story, I have had the strongest urge to start back up watching DGM. It's just an urge. Besides, I have way too many other series to watch.**
**Anyways, moving along, there are hardly any warnings for this chapter other than angst.**
**I do not own DGM, I simply own this plot and its characters.**
* * *
Allen looked up at the house he would be staying in astonishment. It was a towering mansion that seemed to reach towards the heavens and have endless amounts of windows. The front yard looked like a tamed jungle with its drooping willow trees and bushes that looked similar to animals, but it was hard to tell with the trees castings shadows on them. But the front yard could not compare to the stunning beauty of the house. It was a simple white with dark wood frames around all the windows. The two towers on either side of the mansion had dark red roofs and vines growing up them. Looking around, he could barely make out what looked like a storage building garage like thing off in the distance and the slight shimmer of water to the other side of him. A gust of wind blew into his face and he barely smelled a hint if fresh water, confirming his previous guess on what the slight shimmer was. (1)
_'So he even has a lake! Just how rich IS this guy?'_
"Come along Allen. I'm betting you're worn out and from the looks of it, haven't had a decent night's sleep in a while." Allen's new master, Tyki, said. Pulling lightly on his chain, they both walked to the front door. The door was detailed in its design all the way down to the door handle, which was an intricate swirling pattern that resembled the vines growing on the towers. His new Master pushed open the door and all Allen could do was gape; his mouth hanging open and his eyes roaming the room as he took in its every detail. A crystal chandelier hung from the ceiling, illuminating the whole room. A deep red colored rug was laid out against the marble floor and skimmed the bases of several marble pillars, which supported the ceiling and gave the room an even more majestic look. There were chairs scattered in small clusters in-between the pillars as well as a couple paintings. Overall, the place was stunning and left Allen speechless (not that he was talking to begin with, but still, the idea stilled applied).
Tyki glanced over to Allen, chuckling at his priceless expression. The poor guy was obviously having a scenic overload and seemed to be attempting to process it all.
"My Lord, Miss Rhode is already asleep and she was very angry at you earlier for leaving her alone for such a long time." Said a woman who seemed to appear out of nowhere.
"I understand. I'll deal with her in the morning. For now, I want your main concern to be this man right here." Tyki gestured to Allen, who wasn't paying attention to them. "I want him with a couple sets of clean clothes and a haircut, but I prefer if you didn't butcher it all off. After that, send him to my office and then you can take the rest of the night off."
"Yes My Lord. Come this way Allen." Elise tugged on Allen's chain that Tyki had handed over, catching his attention. He looked up at her before quickly looking back at the ground in slight fear; she didn't seem too happy. She led him away and Allen realized that Tyki was walking in the other direction. Looking back at him, Allen took the chance to admire his backside, noticing for probably the first time that his new Master was quite the looker. Elise coughed and tugged harder on his chain, breaking his revere of his new Master and he meekly followed her as she led him through a couple of corridors before stopping at a plain door, the word "Bathroom" printed above the doorframe.
"Since you will be living in the Manor from now on, you will need to know and remember a couple of important things. One: you will address Tyki as 'Master'. Two: you will need to wear the standard uniform that he provides all the staff and three: you need to keep up your manners and your best appearance since The Master has guests over to the house every now-and-then. I'll leave you to get cleaned up and will be back shortly with your new clothes." Allen watched Elise walk away, her footsteps retreating with her and leaving Allen alone in the hallway. Pushing the door open, he quickly got in the room and shut the door, walking over to the simple washtub and shower head.
Slowly stripping of his clothes, Allen looked down at his scarred body, revolted by the sight. Just because he had seen his body so many times didn't mean that it didn't disgust him any less.
Red ridges ran from his shoulder all the way down to the tips of his fingers. His nails on that arm were black; dead looking. Where his shoulder meet with the rest of his body, his veins stuck out and pulsed with his heartbeat. Allen ran a finger up to his forehead, where another one of his deformities was (he was surprised that Tyki hadn't commented on it). It was a pentagram with a red line that trailed down his left cheek, severing the edge of his eyebrow and running along down his face until it hooked just under his chin. A tear suddenly fell from his eye but he quickly wiped it away and jumped into the tub, turning the water on and waiting for it to get warm. Getting underneath the gentle stream of water, Allen grabbed the shampoo and conditioner, lathering it up into a sweet smelling foam. Stepping under the shower head, he washed off the bubbles, almost screaming in fear at the knock at the door.
"I have some clothes for you. I'll leave them hanging on the doorknob. The master wants to see you soon so hurry up." Getting out of the tub, Allen opens the door a crack and grabbed the clothes. Holding them up to look at them his face fell at the design of the shirt; it was short sleeved and wouldn't hide his arm at all.
Knocking the door again, Allen waited for Elise to reply back.
"Yes? Do you need something?" Handing the shirt back to her, he shook the sleeves, hoping she would get the message.
"What about the sleeves?"
"...longer..."
"Longer? Oh, you want longer sleeves?" Giving her a thumbs up that she had guessed correctly, he slipped back into the bathroom and listened to her retreating steps. Whole waiting, he decided he might as well dry off and put the rest of his new uniform. After he got done, he sat down on the floor, waiting for what seemed like forever (in reality, it was only 20 minutes).
A knock on the door started him out of his daze. Opening if, he got a face full of cloth.
"Be thankful I could even find a long sleeved short! I had to go through last year's winter clothes and..." Elise continued to rant on as he slipped it on over his head and tied his red string around his neck. Opening the door all the way this time, he effectively stopped her rant but now all of her attention was on him, her brown eyes taking in his new appearance.
"You look good cleaned up. Come closer so I can fix your hair." Stepping closer, he warily eyed the pair of scissors she seemed to pull from out of nowhere.
"Bend down." Doing as he was told, Allen watched as pieces of his hair fell to the ground. Everything was silent except for the _snip snip_ of the scissors and Elise's "hmmm" of thought.
"There. You're done." Standing back up to his full height, Allen parted his hair like he normally would and looked at Elise to get her opinion.
Instead of her normally calculating look, she had the same lustful look as Marian got whenever he wanted to fuck Allen; whenever he was 'in the mood' for some fun.
Elise seemed to snap out of her daze and motioned for Allen to follow her as she walked down a long corridor. They stopped at a simple wood door and she turned to him, her expression more serious than it was before.
"Whenever you see the Master, you must bow down at the waist and wait for him to acknowledge you. While you are bowing, address him as 'Master'. Do you understand?" Nodding that he did, Elise immediately in approval and opened the door to the room. They both walked in and bowed together.
"Good evening Master. May I present the new, improved, proper Allen." Tyki raised his head as Allen stayed bowed (Elise un-bowing when she presented Allen).
"...good evening Master."
* * *
*****45 Minutes Before*****
* * *
_'Where are they? It shouldn't take so long to get ready.' _Tyki thought to himself. He drummed his fingers on his desk in annoyance at how long he was having to wait to see his new servant.
_'Maybe I should find them.'_ Just as he thought that, he heard the click of Elise's shoes as well as the click of another pair of shoes. Smiling, Tyki grabbed a pin and pretended to be working on the piece of paper on front of him. He heard the door open and close.
"Good evening Master. May I present the new, improved, proper Allen." Tyki looked up, only seeing the top of Allen's head.
"...good evening Master."
"Good evening too you to. Look up so I can how well Elise cleaned you up." Allen raised his head and Tyki's eyes widened, his mouth threatening to fall open. In front of him was a completely different person!
His snow colored hair framed his delicate face, his grayish silver almond shaped eyes staring at him. A red ribbon hung from his neck and surprising matched his uniform. The uniform seemed like it was fitted for his body perfectly; not to tight around his waist and not to loose around his shoulders. Although his shirt was supposed to be short sleeved, his long sleeve shirt suited him. The only somewhat depressing part was that his who body was practically covered up. He was hoping he would at least be able to see some of his seemingly smooth skin.
Tyki ignored the dirty path his thoughts were going down and instead motioned for Elise to leave the room. With a quick bow, she walked out, leaving Tyki and Allen in an uncomfortable silence.
"So, mind telling me why you are wearing a long sleeved shirt instead of the short sleeve I gave you?" Allen fidgeted where he stood, his eyes not meeting Tyki's.
"…" The more Tyki waited for an answer, the more intimidated Allen got; it got to the point where he was practically sweating where he stood.
"You don't have to answer if you don't want to, you know." Allen jerked in surprise but nether-the-less, it calmed him down. He nodded his head in understanding.
"Thank you." His voice was soft, even in the silent room, but it did funny stuff of Tyki's heart, making it speed up.
"You're welcome. I've noticed you don't like talking. I hate to tell you but whenever you are around my sister Rhode, you're going to have to talk. She is a very social butterfly and will nag at you if you keep to yourself." Allen nodded his head in understanding.
"Glad you understand. Now, Allen." Tyki looked straight into Allen's eyes, his tone serious. "You are a part of what I call my family. That means that I will always take care of you no matter what. Do you understand?"
Allen's lower lip quivered and his eyes watered with emotion but he still nodded his head.
"Good. You're bedroom is through that door. Get some sleep tonight and I will send someone to get you up in the morning."
"Yes Master." Walking to the door he was pointed towards, Allen opened it and paused, looking back at Tyki.
"Thank you and goodnight…Master." The door shut behind him and Tyki leaned back in his chair, a smile on his lips.
_'I think he will fit into this family just fine.'_
* * *
Allen leaned against the door and gasped to catch his breath as sobs left his mouth. He slowly slid to the ground, trying to stifle his cries.
_'Why is he so nice to me?! I am worth nothing! He will only use me in the end! I know it!'_ But a part of him didn't want to believe those fears; a part of him wanted Tyki to truly mean what he said; a part of him wanted to believe that he could have a family and be happy.
Wiping away the tears falling down his cheeks, Allen slowly got up off the floor and trudged to his new bed. Flopping down on it, he sighed as he sunk into the soft mattress. He closed his eyes and fell asleep thinking,
_'999, 998, 997, 996, 995-'_
* * *
**(1) This description is of my friends house. His is not as big but everything else is pretty much the same.**
**Guest Review Responces:**
**wolfyhound: Thank you for the compliment and I hope you like this chapter as much as the last chapter.**
**So, I still have my story idea adoptions up. Please check them out (the fandoms they are for are No.6, Hellsing, Naruto, Black Butler, and Hetalia). The urge to write them is very strong and I have to focus on other stories, not my plot bunnies.**
**Well, that is all for my announcements. Please review for the make me extremely happy :3**
4. A Secret is Revealed
**Back with another chapter. I tried going off of the original story but the characters where so OOC that I scraped most of it and started from anew. It was hard but I somehow managed to make it work. I am publishing this right after I just typed it so it may have some small spelling errors in it. Sorry :/**
**To clarifiy: 'thought', italicized means dreams, underlined mean flashbacks**
**Warnings! implied rape and angst**
**I do not own DGM, I simply own this plot and its characters.**
* * *
_Allen ran. Ran as hard and as fast as he could. His little legs couldn't keep going on forever and they gave out on him, sending him tumbling into darkness. Cold eyes appeared in the dark and seemed to stare into his soul._
_"Hello little one." The eyes whispered to him. Their voice coiled around Allen like a noose, choking him._
_"Hold still, it will only hurt for a second."_
_"NO!" Pain. Pain filled him; filled his whole being; filled the very corners of his mind._
_"Shh now, you're just being a whiny bitch."_
_"Help! Mana help!" Hands splayed across his chest, holding him down._
_"Oh dear boy. Didn't I tell you? He quit yesterday." Allen's eyes stung with un-shed tears, fully knowing what the man meant by quitting._
_"I'll run away! Run far away so you can never find me!"_
_"Tsk tsk. Haven't I already told you, I will find you, wherever you are. Remember this Number 201; you are mine."_
* * *
Allen shot up out of the bed, his chest heaving as he took in gasping breaths. Clutching his scarred arm, Allen looked around the room, relaxing as he recognized where he was.
_'I was only dreaming. Nothing to be afraid of.'_ Yet it seemed so real, just like all his other dreams.
Shaking his head, he cleared any thoughts of the dream. Allen got up out of bed and made a beeline to the restroom. After relieving himself, he walked to the wash bin. Just as Allen was about to was his body down, someone knocked on his door.
"W-Wait a second!" Allen called out as loud as he could (which was probably just a lad louder than a normal talking voice). Hurrying to push his clothes on, he rushed to the door, his shirt getting stuck on his head.
"Do you need help?" A voice asked. Meeping, Allen backed away from the voice, somehow managing to correct his shirt. Looking up at the voice, a butler, Allen fidgeted in his place, the butler's eyes cutting straight into him.
"I'm alright." Allen responded back. The butler's cold, cutting stare seemed to die down at his answer, taking on what looked like happiness.
"That's good. The Master wants to see you. I will guild you to him whenever you are ready."
"I'm ready now."
"Then right this way." Allen followed the butler, learning that the man's name was Erikk. They winded through a couple of hallways before they entered a dining room. A long table stood at the center of the room, food covering the far end of it. Two people sat at the table, one of them talking animatedly about something and the other nodding his head. As they got closer to the people, Allen was able to see what they looked like.
The girl looked to be young, at least 13. Her lithe frame was covered by a gothic looking Lolita dress. It covered her shoulders and most of her arms, stopping just above her elbows. Her hair was the same color as The Master's and so where her eyes. She had a strange looking tattoo around her forehead and a stuffed bunny perched on her shoulder. As Allen's eyes moved from her to Tyki, he felt his heart rate pick up and he knew he was starting to blush. How could he have not noticed how indescribably sexy the man looked like! Unlike the girl next to him, his body was anything but lithe; he was made of smooth muscles that blended together perfectly. His cream colored dress shirt was unbuttoned so Allen could clearly make out his abs. His eyes crinkled at the corners when he laughed at whatever the girl next to him was saying, his face looking gentler. Then those golden eyes turned to look at him and Allen knew his heart had just quit beating on him.
"Master, here is Allen like you requested." Said Erikk.
"Thank you, you're dismissed." Erikk walked away, leaving Allen alone with Tyki and the girl.
"Hello Master." Allen said and bowed, catching the girl's attention.
"Tyki, who is he?" She tilted her head to the side, looking Allen up and down curiously.
"Why don't you ask him? He can talk, you know."
"Okay! So, what's your name?" Allen looked at the girl, opening his mouth before closing it again, a conditioned reaction. Trying and failing to say anything, he looked at Tyki desperately, begging with his eyes for him to say something. He got the hint and sighed loudly.
"His name is Allen and he will be your new personal servant. Allen, this is Rhode, my sister I was telling about yesterday." The girls eyes lit up and she whooped, both her fists in the air with joy.
"Thanks a lot!" Allen watched as she showered Tyki with love and thanks, a small smile on his face at the scene. Miss Rhode suddenly latched onto his good arm and tugged on it, spewing about how they were going to have so much fun together.
"Rhode, let the poor guy go. You will get to play with him later but first, he needs to get something to eat." At that exact moment, Allen's stomach gurgled like a beast. A blush flared up Allen's cheeks at the noise, only deepening with Rhode's laugh and Tyki's chuckling.
"Sit down and help yourself. Servants normally eat in a separate room but since you will be with Rhode often, it's best if you eat with us." Allen nodded and sat down at the table, looking at all the food with wide eyes. His stomach gurgled again and Allen slowly filled up his plate, taking just a bit of everything, not wanting to seem as if he was eating a lot.
"Allen, get more if you want. You won't be punished for eating till you're full." Tyki said, dumping more food onto his plate till it was practically overflowing. Taking one last look at Tyki, who nudged him in encouragement, Allen picked up his fork and began eating. He always had a larger-than-usual appetite so it was no surprise when he was still hungry after his large plate. More food was dumped on it and Allen looked at Tyki in shock while said man just smiled at him.
"You were looking the food like you wanted more." Was all that Tyki said, before going back to his plate, chatting away with Rhode. Once breakfast was done (Allen having two more platefuls), Tyki gave him a rundown of his new duties, including him taking Rhode to her classes, cleaning up her room, preparing her bath, etcetera etcetera.
"I'm warning you right now Allen, Rhode is an over-energetic mess."
"She can't be that bad." Said Allen, trying to follow Master's orders of not being afraid to talk; it was hard but he was trying.
"You have no idea." Tyki said, patting Allen's head gently before he whispered a 'May God Have Mercy On Your Soul'. Miss Rhode couldn't be that bad.
Could she?
* * *
*****One Week Later*****
* * *
Apparently she could be.
Allen wearily leaned against his bedroom door, sluggishly un-tying his ribbon from around his neck. For the past week, Allen had taken care of Miss Rhode (even though she kept insisting he drop the Miss, Allen just couldn't get himself to stop) like he was suppose to. Too bad he didn't heed Tyki's warning and was now regretting it. For some ungodly reason that Allen couldn't possibly think of, Rhode's day consisted of being on the move 24/7. It was insane! From sun up to sun down, she was always doping something, whether that something be Muay Thai, school, or band rehearsal. She never took the time to relax and it was a wonder she even had time to eat. Allen couldn't suggest she slow down her life since it wasn't his place to do so so he simply went along with it, using his scarred arm more than he probably should be.
His arm was a major concern. Since he had been using more, it was now constantly throbbing, little pangs of pain shooting up it every once in a while. Some days, the pain got so bad, Allen would have to excuse himself to the restroom and once in said restroom, scream into his sleeve just to find some release from the hurt. Another pain that he had wasn't so much as a physical one as an emotional one. He was waiting for Tyki to get fed up with him and throw him out; or to do something to him. Instead, all he did was treat Allen like his own child. It was weird and just didn't feel right. He wasn't going to waste the good will that Tyki was giving him but he didn't want to come to like that good will, only to have it ripped away from him.
Somehow zoning back into reality, Allen found himself on his floor, leaning heavily on his good arm.
"Allen!" He heard Rhode call out. Groaning, he picked himself off the floor and fixed his outfit as best as he could, re-typing his ribbon. Eventually finding Rhode, he saw her and Tyki standing next to each other, a soccer ball in one of Tyki's hands.
"Hey Allen, let's play soccer."
"Miss Rhode, maybe we should-"
"Please? I want all of us to spend time together." At her puppy dog eyes, Allen's resolve crumbled and he nodded his head in okay. She yay'ed and ran off a ways away, placing the ball on the ground.
"Here it comes!"
10 minutes later and Allen felt like passing out. He couldn't breathe and his vision was blurring around the edges. His scarred arm was now alight with pain, tensing up at random moments which made that half of his body seize up. He continued to play for Miss Rhodes sake though, not noticing that the soccer ball was coming right at him.
"Allen watch out!" Raising up his scarred arm, he deflected the ball, realizing too late that it was a bad decision. The ball had slammed smack dab in the middle of his arm, sending a shock through his whole arm, followed by a burning sensation, like liquid fire was coursing through his veins. Time seemed to slow down as Allen opened his mouth and let out a blood curdling scream of pain, his cry echoing in the meadow they were playing in. His lugs heaved with the force of the scream, making him spew blood from his mouth. He could feel the blood vessels in his arm snapping, soaking out of his pores and into his clothes. He fell to the ground and continued to scream, Tyki and Rhode running up to him. Allen's eye's focused on the two blobs that resembled people standing over him and panic coursed through his body.
"Prick. Prob. Snap. Crackle. Crunch. Pop. Burn. Kill. One by one, they all fall down, what's left now, a puny little boy. That could do no more to save his soul. Poor, poor, little boy. Isn't that right Number 201?"
"GET AWAY!" Allen shoved at the two figures with all his might, sending them stumbling backwards. Rolling onto his stomach and using his good arm, he tried to crawl away.
_'No!'_ One of the figures (Tyki) called out his name and grabbed his leg.
Then Allen lost it.
"LET GO OF ME! I WILL NEVER GO BACK! GO TO HELL! YOU CAN'T HAVE ME! YOU CAN'T!" Allen kicked and screamed with all his remaining strength. One of his kicks landed and he heard a grunt of pain. The person he kicked landed on him and pressed just under his nose, his body seizing up before completely relaxing. Something pressed onto his neck and he blacked out, unaware of someone sobbing his name.
* * *
"Somebody call a doctor immediately!" Tyki commanded as he carried Allen's unconscious body into his house, Rhode following him. Within minutes, the living room turned into a makeshift ward, maids, gathering first AID kits and anything else they thought would be useful for when the doctor arrived. Tyki sat Allen onto of the makeshift operating table just as soon as his personal doctor busted into the room. The old man ran to his side, ripping open Allen's shirt to asses the damages. A collective gasp filled the room as everyone caught a glimps of Allen's arm.
"Tyki, I need you to get back while I work on him." The doctor shooed Tyki away before calling a maid over to help him stop the bleeding. Tyki simply sat in a nearby chair, the image of Allen's arm imprinted in his brain.
"Brother, did I kill him." Asked Rhode, her eyes and cheeks shiny with her tears. Tyki didn't answer her question and simply opened his arms for her to crawl into, her face pressed firmly into his chest.
"Sleep. I'll wake you up when Allen wakes up."
"Okay." They fell into silence, Rhode asleep and Tyki merely watching as the doctor somehow managed to stop Allen's bleeding (with the maid's help of course). The doctor then completely stripped Allen and assessed his body, the frown on his face deepening until it seemed like his whole face was pulled downwards.
"Tyki, can you come here for a second?" Gently setting Rhode down in the chair, he made his way over to the doctor, his eyes never leaving Allen's form as it roamed over every scar that littered his body.
"How is he?" Asked Tyki, not liking the way Allen's chest barely raised up and down with each breath.
"He's stable at the moment, but I'll need to stay by his side to make sure he continues to remain stable. Aside from right now, I have a question to ask."
"Ask away."
"Do you know the reason he has his whole left arm scarred?"
"No. Until now, I didn't even know there was anything wrong with him."
"I see." The doctor looked back at Allen, checking his pulse before saying something a maid and turning back to him.
"I also have another question, but it's rather personal and I need you to be honest with me." Tyki looked at the doctor in confusion before nodding that he could ask his question.
"Have you had any sexual experience with him?"
"What?" Screeched Tyki, looking at the doctor in shock.
"I will take that as a no. You see, he has scars riddled all over his body, the majority of them being around his rectum."
"Are you saying that-"
"Yes, I believe Allen was beaten and raped in the past and quite recently. I also have reason to believe he was tortured. You see these marks right here," the doctor pointed to nasty looking gashes that went across his chest. "If I didn't know any better, I would say those were caused from being restrained by barb wire."
"Do they affect his recovery?" The doctor was quite for a long time before he spoke, his voice downcast.
"Yes. There is so much for his body to repair; it may not be able to repair it all." They both fell into silence, watching as Allen slept.
"I'll leave you with him while I gather more medical supplies. Call for me if anything happens." The doctor left, leaving Tyki to stare down at Allen. His hand came up to gently caress the pale boy's cheek, his fingertips dancing over his cheekbones. How could he have not seen the signs earlier? It was obvious Allen was hiding something and said something was about to be the cause of his death.
At the mere thought of not seeing Allen's face everyday made Tyki's heart grip with sadness. Even though he had spent only a week with him, he couldn't imagine life without the white-haired boy who spoke in a soft voice and treated Rhode like a precious jewel. Tyki sighed before leaning in and kissing Allen's cheek.
"Get better; for Rhode's sake and for mine."
* * *
**Yes, there is a reason as to why the dream in underlined also. If you read my beginning author's note, you will understand that I just gave a major clue about Allen.**
**Guest: Thank you so much for the review :)**
**On a side note, please check out my story "Built From Sin" It's for Bleach and has a very unusual paring...Nnoitra/Renji...strange I know, but please just give it a go and just tell me what you think of it.**
**Thank you for reading and please review! They make me feel proud of my work and happy that someone is enjoying my stories.**
5. A Chance to be Happy
**Oh hai guise! (stole this from a youtuber names laci green). I'm sorry for being slow to update but I've been busy with vacation and having a lack of motivation to do anything.**
**Warnings! there are none for this chapter**
**I do not own DGM. I simply own this plot and its characters.**
* * *
Pain.
Pain was everywhere.
It surrounded his whole being.
No matter how much Allen tried to get away from, he simply couldn't. It was just constantly there. Time seemed to stand still for him as he tried to force his way out of the all consuming agony he felt. He screamed for help but no one came to save him. What he didn't know was that his cried for help were being heard; that someone was trying to help him; that someone was trying to save him.
* * *
As the last of Allen's cries faded, Tyki sagged into a seat that was next to the bed. He wiped his now bloody hands off on a towel that a maid handed him, sighing in despair loudly. It had been over three weeks since Allen fell in a "Screaming Coma" (that was what the doctor called it). He said that Allen wasn't aware of reality but could still stay alive on his own without the help of life support. Or something like that; He wasn't paying much attention to the doctor explanation at the time since Allen chose that moment to scream.
_'What Happened to him to make him like this?'_ Tyki thought to himself, drinking a glass of water. He had thought up of all kinds of possibilities. He had even gone as far as to investigate into his history. It was futile to begin with since most slaves records weren't well kept but all of Allen's records seemed to have never existed. Even Marian claimed to have no records of him, saying that he found Allen on his doorstep one day.
Tyki jerked out of his reverie as the doctor spoke to him.
"I'm sorry doctor, I didn't hear you. What did you say?"
"I said that his body isn't healing." Like ice water being poured onto him, Tyki shot up out of his chair, looking at the doctor with an unreadable expression.
"How do you know that?" The doctor avoid Tyki's gaze, looking right past him.
"His arm isn't healing and it should have started healing a week ago. If he doesn't start healing soon, he'll bleed to death." Tyki ran a hand through his hair, messing it up from its gelled back position.
"How can we get him to heal?"
"I don't think there is anything we CAN do." The doctor looked stricken, "I believe he isn't healing because he thinks he is in danger. If we can manage to wake him up and make him see that he is safe, I think he will begin to heal. It's just a theory though." Tyki nodded, looking back at Allen, whose face was contorted in pain.
"Since he feels pain, let's wake him up with pain." The doctor look horrified as Tyki marched up to Allen's makeshift bed and grabbed his scarred arm, squeezing it. Allen whimpered in pain and tried to squirm away from Tyki's grip but he wouldn't let up.
"Master Tyki!" The doctor tried prying Tyki's hands off of Allen's arm but he wouldn't' budge. Soon, the pain in Allen's arm seemed to drag him out of his coma. His eyes flustered open and quickly glanced towards the tight grip on his arm.
"Allen, look at me." Allen seemed to not listen as he continued to simply stare at Tyki's hand.
"LOOK AT ME!" Yelled Tyki. Allen's eyes finally moved from his arm and focused on Tyki's face.
"You are safe. Do you understand? You. Are. Safe." The words seem to register in Allen's mind for his heart rate slowed down and his body seemed to sag in relief. His eyes slipped shut and his breathing evened out. Tyki let out the breath he had been holding and turned to look at the doctor, who had watched the whole scene in wonder.
"He knows he's safe now." Was Tyki's only comment to the shocked doctor as he let go of Allen's arm and sat back in his chair, relief washing over him.
_'Now hopefully he will begin to heal.'_
* * *
Allen's thoughts drifted through his mind, changing topics constantly, yet they somehow always managed to go back to his short talk (if you could even call it a that) with Tyki just before he passed out again.
_'Why does he seem to care so much about me? I am not anyone important and I'm just one of many servants he owns._' Allen continued to mull over the scene over and over again till his head started to feel like it would explode. Now that he knew he was safe, it seemed like the pain in his body backed off and the throbbing of his arm seemed to subside. Re-thinking the talk he had with Tyki, Allen stumbled upon a thought he never knew existed in his mind. He was suddenly transported into his room with Tyki tugging on the red ribbon that he wore around his neck. Allen knew he should probably push Tyki away but he couldn't control his limbs and his lower regions seemed to like the attention he was receiving from Tyki.
"Allen." Purred Tyki as he nibbled down Allen's sensitive neck. Allen's neck craned closer to Tyki's mouth, asking without words for more. A mew left Allen's lips as Tyki nibbled on a particularly sensitive spot.
_'WHY AM I THINKING OF TYKI LIKE THIS?'_ Allen mentally ranted to himself. A surprised moan slipped from his lips as Tyki somehow removed his shirt and started to suck on his pert nipples.
"Nhh…" Running a hand through Tyki's hair, he continued to moan as Tyki played with his chest.
_'He's just like Marian. Taking advantage of a filthy slave like you. Do you really think he could love someone like you?'_ Allen's hand stilled and soon, he was pushing at Tyki's head, trying and failing to get him off. Tyki looked up at Allen's scared grey eyes for a second before he shook off Allen's hands and went to work on his pants. His lips mouthed Allen through his boxers before his fingertips edge to the top of his boxers. Allen tried to pushed his head away, without success.
"Number 201, why are you so tense. You know this will only hurt more if you struggle." Allen stilled before slowly looking down at Tyki, who stared back at him. But his eyes were all wrong. And the grin was eerily familiar. The grin scarred him. Opening his mouth, Allen sucked in a breath and screamed as loud as he could. He could feel his body heave from the force of the scream. His mind blanked and all Allen could think of was that he needed to get away from the man. Just as he was about to scream again, something tugged at his very core of his being. He slowly floated away from the scene and into a bright light.
"Allen. Allen, can you hear me?" Allen groaned a little and tried to move his head, anything to get away from the bright light that was shining in his eyes.
"Hold still. I need to contact Tyki and tell him that you've woken up." Allen stilled as he vaguely heard a pair a shoes walk away. He still couldn't fully open his eyes but he could feel. He felt the fabric underneath him move with his every intake of breath. He could feel cold air being blown onto him and he could feel something cold and wet lying against his forehead, which seemed to cool him down.
The footsteps came back and he felt a hand gently lift up his arm. He winced as pressure started to increase on his arm and slowly, the pressure became unbearable. Just as Allen was about to say something about it, the person holding his arm beat him to the punch.
"Can you feel me squeezing your arm?" Allen tried to tell the voice yes but only succeeded in jerking his head a little bit.
"I'll take that as a yes. Tyki should be getting here soon since I just phoned him a few minutes ago. Just stay still and try to get as much rest as you can." Allen forced his head in a jerky nod. The voice patted his hand and placed his arm back beside him before walking away again. Allen took a couple of breaths before relaxing, waiting for his Master to get back home.
* * *
Tyki looked out the car window as the buildings blurred by. He felt Rhode fidget in the seat next to him and he couldn't blame her. He was just as antsy to get home as she was. After he got the call from the doctor, Tyki rushed to get Rhode from school and now they were going back to the house, where Allen was waiting for them, awake and alive. Tyki didn't ignore the pure relief and happiness that came with knowing that Allen was awake; he never felt this for his other slaves yet he was feeling these emotions for Allen. Tyki shook off the thought as they stopped by the front door.
Thanking the driver, he got out, Rhode already running towards the front door. He slightly sprinted after Rhode, frowning when he found her being held back by a couple of maids and nurses.
"Let her go and see Allen." The maids looked hesitant for a second before they let her go. She slowly walked up to Allen, placing her hands on his.
"Allen?" A few seconds later, Allen's eyes fluttered open. He gazed at the ceiling before turning his grey eyes to Rhodes wet ones.
"I'm sorry." She whispered to him, her grip on his hand tightening just a little, "I shouldn't have forced you to play soccer with me. But you never told me about your arm so-so I didn't know." By now, she was gently sobbing, her shoulders shaking and her tears falling onto Allen's bed.
"Rhode." Allen's heart broke as she continued to sob, thinking it was her fault.
"It's not your fault; you didn't give me this scarred arm."
"Then who did?" Asked Tyki, who had walked up behind Rhode, looking at Allen in his eyes. Something in Allen's face changed at Tyki's question and he quickly averted his eyes, not looking at him but rather at the covers covering him.
"Okay. If you're not going to answer that question, answer this: when you got hit with the ball, you started screaming about how you didn't want to go back. Didn't want to go back to where? To Marian's?"
"…I don't know…"
"Allen, you have to tell me."
"...I don't know…"
"Allen-"
"I don't know!" Screamed Allen his hands going up to tangle in his hair. "I can't remember anything! Nothing before Marian! I just don't want to go back! Don't let them take me!" Allen tried to get out of the bed, shoving Rhode and anyone else out of his way. Tyki grabbed for him, pulling him close to his chest as he started to scream.
"NO! DON'T TAKE ME BACK! PLEASE! NO NO NO NO NO! SOMEBODY HELP!" Allen continued to scream his hands gripping Tyki's arms in a death grip.
"Nobody is taking you anywhere." Tyki whispered in Allen's ear, rocking him back and forth in a soothing motion like he did to Rhode when she was little and was having bad dreams. Allen's screams soon died down, leaving him a heaving mess in Tyki's arms.
"In my dreams."
"What?" Asked Tyki, having to lean closer to hear Allen.
"In my dreams, I'm in a bad place. And it hurts. It always hurts. And his grin; I can't ever forget it. He is always smiling at me, calling me Number 201. Always smiling…" Allen whimpered before burrowing his head into Tyki's arms, his tears of fear slipping down his cheeks.
Not knowing what to do. Tyki just stood there, holding Allen and rubbing circles in his back. Everyone gave each other a look at the gesture their Master made. He rarely cared about other people except for Rhode yet it seemed like Allen, a measly slave, somehow got his way into Tyki's heart.
"Do you feel better?" Tyki asked after Allen stopped crying.
"…yes."
"Good. Now let's get you back into your bed. I need you to watch Rhode while I go back to work." Helping Allen get back to bed, he watched as Allen covered his scarred arm back up.
"I don't want you covering up your arm anymore." Allen looked horrified at the idea, but none-the-less got the hint and took the covers off his arm.
"Better. I want you to behave Rhode and I'll see you both in a little bit." Tyki didn't wait for a reply before he walked out, leaving everything to his maids to handle.
* * *
"Rhode I'm sorry."
"Why are you sorry?" Allen fidgeted for a few moments before looking back up at her.
"I don't know."
"Then don't be saying sorry silly." She smiled at him before grabbing his scarred arm. She held on as Allen gently tried to remove it from her grip.
"You realize that I don't care about your arm. And neither does Tyki. It's just a part of you. I even have a scar too, see." She pulled up her sleeves and showed Allen a nasty looking scar that ran the length of the top half of her arm. "You see? It's OKAY if you're scarred cause I am too and so is Tyki, his is just on his back." Allen felt like his heart would explode with happiness at the fact that Rhode was trying to comfort him.
He nodded at her and smiled, squeezing her hand in his. Maybe it wasn't so bad if he showed his arm. Maybe he had a chance at a new life with his new master and his sister.
_'Maybe I have a chance to be happy.'_
* * *
**I ended up revising this chapter much shorter than the original. There was a lot of cutting out and deleting of scenes that made no sense in the plot.**
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| fanfiction |
the ( unforced ) incompressible navier
stokes equations @xmath1 describe the evolution of the velocity field @xmath2 of an incompressible fluid with kinematic viscosity @xmath3 in the absence of external forcing . here
@xmath4 with @xmath5 , @xmath6 , @xmath7 .
equation ( [ eqnincompressibility ] ) is the incompressibility constraint . unlike compressible fluids , the pressure @xmath8 in ( [ eqnnavierstokes ] )
does not have a physical meaning and is only a lagrange multiplier that ensures incompressibility is preserved .
while equations ( [ eqnnavierstokes ] ) and ( [ eqnincompressibility ] ) can be formulated in any dimension @xmath7 , they are usually only studied in the physically relevant dimensions @xmath9 or @xmath0 .
the presentation of the navier
stokes equations above is in the absence of spatial boundaries ; an issue that will be discussed in detail later . when @xmath10 , ( [ eqnnavierstokes ] ) and ( [ eqnincompressibility ] ) are known as the euler equations .
these describe the evolution of the velocity field of an ( ideal ) inviscid and incompressible fluid .
formally the difference between the euler and navier stokes equations is only the dissipative laplacian term .
since the laplacian is exactly the generator a brownian motion , one would expect to have an exact stochastic representation of ( [ eqnnavierstokes ] ) and ( [ eqnincompressibility ] ) which is physically meaningful , that is , can be thought of as an appropriate average of the inviscid dynamics and brownian motion .
the difficulty , however , in obtaining such a representation is because of both the nonlinearity and the nonlocality of equations ( [ eqnnavierstokes ] ) and ( [ eqnincompressibility ] ) . in 2d , an exact stochastic representation of ( [ eqnnavierstokes ] ) and ( [ eqnincompressibility ] ) dates back to chorin @xcite in 1973 and was obtained using vorticity transport and the kolmogorov equations . in three dimensions , however , this method fails to provide an exact representation because of the vortex stretching term . in 3d
, a variety of techniques has been used to provide exact stochastic representations of ( [ eqnnavierstokes ] ) and ( [ eqnincompressibility ] ) .
one such technique ( le jan and sznitman @xcite ) uses a backward branching process in fourier space .
this approach has been extensively studied and generalized @xcite by many authors ( see also @xcite ) .
a different and more recent technique due to busnello , flandoli and romito @xcite ( see also @xcite ) uses noisy flow paths and a girsanov transformation .
a related approach in @xcite is the stochastic - lagrangian formulation , exact stochastic representation of solutions to ( [ eqnnavierstokes ] ) and ( [ eqnincompressibility ] ) which is essentially the averaging of noisy particle trajectories and the inviscid dynamics .
stochastic variational approaches ( generalizing arnold s @xcite deterministic variational formulation for the euler equations ) have been used by @xcite and a related approach using stochastic differential geometry can be found in @xcite .
one common setback in all the above methods is the inability to deal with boundary conditions .
the main contribution of this paper adapts the stochastic - lagrangian formulation in @xcite ( where the authors only considered periodic boundary conditions or decay at infinity ) to the situation with boundaries .
the usual probabilistic techniques used to transition to domains with boundary involve stopping the processes at the boundary .
this introduces two major problems with the techniques in @xcite .
first , stopping introduces spatial discontinuities making the proof used in @xcite fail and a different approach is required .
second and more interesting is the fact that merely stopping does _ not _ give the no - slip ( @xmath11-dirichlet ) boundary condition as one would expect .
one needs to also create trajectories at the boundary which essentially propagate the influence of the vorticity at the boundary to the interior fluid velocity .
this paper is organized as follows . in section [ sxnslintro ] a brief introduction to the stochastic - lagrangian formulation without boundaries is given . in section [ sxnslwithboundaries ]
we motivate and state the stochastic - lagrangian formulation in the presence of boundaries ( theorem [ thmslnsnoslip ] ) . in section [ sxnbackwardito ]
we recall certain standard facts about backward it integrals which will be used in the proof of theorem [ thmslnsnoslip ] . in section [ sxnnoslipproof ]
we prove theorem [ thmslnsnoslip ] .
finally , in section [ sxnvorticitytransport ] we discuss stochastic analogues of vorticity transport and inviscid conservation laws .
the technique used by the pi for this section is the stochastic - lagrangian formulation , developed by peter constantin and the pi in @xcite .
the advantage of the stochastic - lagrangian formulation over the techniques cited above is that it is the only exact stochastic representation of the the stochastic - lagrangian formulation ( [ eqnxdef])([eqnaveragedwebber ] ) is exactly this ; it gives an exact , physically meaningful probabilistic representation of the 3d incompressible navier - stokes equations using noisy particle trajectories and averaging .
physically , this provides the intuition that viscosity arises from the averaging of brownian motion of fluid particles .
mathematically , it provides us with a natural , explicit stochastic representation which we hope will enhance our analytical understanding of the navier - stokes equations .
this was developed by peter constantin and the pi in @xcite .
in this section , we provide a brief description of the stochastic - lagrangian formulation in the absence of boundaries . for motivation ,
let us first study a lagrangian description of the euler equations [ equations ( [ eqnnavierstokes ] ) and ( [ eqnincompressibility ] ) with @xmath10 ; we will usually use a superscript of @xmath11 to denote quantities relating to the euler equations ] .
let @xmath12 denote the spatial dimension and @xmath13 be the flow defined by @xmath14 with initial data @xmath15 , for all @xmath16 . to clarify our notation , @xmath17 is a function of the initial data @xmath16 and time @xmath18 .
we usually omit the spatial variable and use @xmath13 to denote @xmath19 , the slice of @xmath17 at time @xmath20 .
time derivatives will always be denoted by a dot or @xmath21 instead of a @xmath20 subscript .
one can immediately check ( see , e.g. , @xcite ) that @xmath2 satisfies the incompressible euler equations if and only if @xmath22 is a gradient composed with @xmath23 . by newton s second law ,
this admits the physical interpretation that the euler equations are equivalent to assuming that the force on individual particles is a gradient .
one would naturally expect that solutions to the navier
stokes equations can be obtained similarly by adding noise to particle trajectories and averaging .
however , for noisy trajectories , an assumption on @xmath24 will be problematic . in the incompressible case
, we can circumvent this difficultly using the weber formula @xcite [ equation ( [ eqneulerwebber ] ) below ] .
indeed , a direct computation ( see , e.g. , @xcite ) shows that for divergence free @xmath2 , the assumption that @xmath24 is a gradient is equivalent to @xmath25,\ ] ] where @xmath26 denotes the leray
hodge projection @xcite onto divergence free vector fields , the notation @xmath27 denotes the transpose of the jacobian and for any @xmath5 , @xmath28 is the spatial inverse of the map @xmath13 [ i.e. , @xmath29 for all @xmath30 and @xmath31 for all @xmath32 . from this
we see that the euler equations are formally equivalent to equations ( [ eqneulerxdef ] ) and ( [ eqneulerwebber ] ) .
since these equations no longer involve second ( time ) derivatives of the flow @xmath17 , one can consider noisy particle trajectories without any analytical difficulties .
in fact , adding noise to ( [ eqneulerxdef ] ) and averaging out the noise in ( [ eqneulerwebber ] ) gives the equivalent formulation of the navier
stokes equations stated below . [ thmslns]let @xmath33 be the spatial dimension , @xmath3 represent the kinematic viscosity and @xmath34 be a divergence free , periodic , hlder @xmath35 function and @xmath36 be a @xmath37-dimensional wiener process .
consider the system @xmath38,\end{aligned}\ ] ] where , as before , for any @xmath5 , @xmath39 denotes the spatial inverse ) and ( [ eqnx0 ] ) gives a stochastic flow of diffeomorphisms and , in particular , guarantees the existence of the spatial inverse of @xmath23 .
] of @xmath40 . then @xmath2 is a classical solution of the navier stokes equations ( [ eqnnavierstokes ] ) and ( [ eqnincompressibility ] ) with initial data @xmath34 and periodic boundary conditions if and only if @xmath2 is a fixed point of the system ( [ eqnxdef])([eqnaveragedwebber ] ) .
the flows @xmath41 above are now a function of the initial data @xmath16 , time @xmath18 and the probability variable @xmath42 .
we always suppress the probability variable , use @xmath40 to denote @xmath43 and omit the spatial variable when unnecessary .
the function @xmath2 is a deterministic function of space and time and , as above , we use @xmath44 to denote the function @xmath45 .
we now briefly explain the idea behind the proof of theorem [ thmslns ] given in @xcite and explain why this method can not be used in the presence of spatial boundaries .
consider first the solution of the sde ( [ eqnxdef ] ) with initial data ( [ eqnx0 ] ) .
using the it
wentzel formula @xcite , theorem 4.4.5 , one can show that any ( spatially regular ) process @xmath46 which is constant along trajectories of @xmath23 satisfies the spde @xmath47 since the process @xmath48 ( which , as before , is defined to be the spatial inverse of @xmath23 ) is constant along trajectories of @xmath23 , the process @xmath46 defined by @xmath49 is constant along trajectories of @xmath23 .
thus , if @xmath50 is regular enough ( @xmath51 ) , then @xmath46 satisfies spde ( [ eqntheta ] ) .
now , if @xmath2 is deterministic , taking expected values of ( [ eqntheta ] ) we see that @xmath52 satisfies @xmath53 with initial condition @xmath54 .
note that when @xmath10 , @xmath48 is deterministic so @xmath55 .
further , equation ( [ eqntheta ] ) reduces to the transport equation for which writing the solution as @xmath56 is exactly the method of characteristics . when @xmath3 , the above procedure is an elegant generalization , termed as the `` method of random characteristics '' ( see @xcite for further information ) .
once explicit equations for @xmath48 and @xmath57 have been established , a direct computation using it s formula shows that @xmath2 given by ( [ eqnaveragedwebber ] ) satisfies the navier
stokes equations ( [ eqnnavierstokes ] ) and ( [ eqnincompressibility ] ) .
this was the proof used in @xcite .
this point of view also yields a natural understanding of generalized relative entropies @xcite .
eyink s recent work @xcite adapted this framework to magnetohydrodynamics and related equations by using the analogous weber formula @xcite .
we also mention that zhang @xcite considered a backward analogue and provided short elegant proofs to classical existence results to ( [ eqnnavierstokes ] ) and ( [ eqnincompressibility ] ) .
in this section we describe how ( [ eqnxdef])([eqnaveragedwebber ] ) can be reformulated in the presence of boundaries .
we begin by describing the difficulty in using the techniques from @xcite described in section [ sxnslintro ] .
let @xmath58 be a domain with lipschitz boundary .
even if we insist @xmath59 on the boundary of @xmath60 , we note that the noise in ( [ eqnxdef ] ) is independent of space and thus , insensitive to the presence of the boundary .
consequently , some trajectories of the stochastic flow @xmath23 will leave the domain @xmath60 and for any @xmath61 , the map @xmath40 will ( surely ) not be spatially invertible .
this renders ( [ eqnthetadef ] ) meaningless . in the absence of spatial boundaries ,
equation ( [ eqnthetadef ] ) dictates that @xmath62 is determined by averaging the initial data over all trajectories of @xmath23 which reach @xmath63 at time @xmath20 . in the presence of boundaries
, one must additionally average the boundary value of all trajectories reaching @xmath64 , starting on @xmath65 at any intermediate time ( figure [ fgrboundaries ] ) . as we will see later
, this means the analogue of ( [ eqnthetadef ] ) in the presence of spatial boundaries is a spatially discontinuous process .
this renders ( [ eqntheta ] ) meaningless , giving a second obstruction to using the methods of @xcite in the presence of boundaries . without boundaries and with boundaries . ] while the method of random characteristics has the above inherent difficulties in the presence of spatial boundaries , equation ( [ eqnbartheta ] ) is exactly the kolmogorov backward equation ( @xcite , section 8.1 ) . in this case , an expected value representation in the presence of boundaries is well known . more generally , the feynman
kac ( @xcite , section 8.2 ) formula , at least for linear equations with a potential term , has been successfully used in this situation .
a certain version of this method ( section [ sxnfeynmankacbdd ] ) , without making the usual time reversal substitution , is essentially the same as the method of random characteristics .
it is this version that will yield the natural generalization of ( [ eqnxdef])([eqnaveragedwebber ] ) in domains with boundary ( theorem [ thmslnsnoslip ] ) . before turning to the navier
stokes equations , we provide a brief discussion on the relation between the feynman kac formula and the method of random characteristics.=-1 both the feynman kac formula and the method of random characteristics have their own advantages and disadvantages : the method of random characteristics only involves forward sde s and obtains the solution of ( [ eqnbartheta ] ) at time @xmath20 with only the knowledge of the initial data and `` @xmath23 at time @xmath20 '' ( or more precisely , the solution at time @xmath20 of the equation ( [ eqnxdef ] ) with initial data specified at time @xmath11 ) .
however , this method involves computing the spatial inverse of @xmath23 , which analytically and numerically involves an additional step . on the other hand , to compute the solution of ( [ eqnbartheta ] ) at time @xmath20 via the probabilistic representation using the kolmogorov backward equation ( or equivalently , the feynman
kac formula with a @xmath11 potential term ) when @xmath2 is time dependent involves _ backward _
sde s and further requires the knowledge of the solution to ( [ eqnxdef ] ) with initial conditions specified at all times @xmath66 .
however , this does not require computation of spatial inverses and , more importantly , yields the correct formulation in the presence of spatial boundaries .
now , to see the relation between the method of random characteristics and the feynman
kac formula , we rewrite ( [ eqnxdef ] ) in integral form and keep track of solutions starting at all times @xmath67 . for any @xmath67 , we define the process @xmath68 to be the flow defined by @xmath69 now , as always , we let @xmath70 .
then formally composing ( [ eqnxst ] ) with @xmath71 and using the semigroup property @xmath72 gives the self - contained backward equation for @xmath71 @xmath73 now ( [ eqnthetadef ] ) can be written as @xmath74 and using the semigroup property @xmath75 we see that @xmath76 we remark that while ( [ eqnthetadef ] ) can be computed with the knowledge of the _ one parameter _
family of flows @xmath40 given by ( [ eqnxdef ] ) , equation ( [ eqnthetadefa ] ) requires the knowledge of the entire _ two parameter _ family of flows @xmath71 given by ( [ eqnast ] ) ; even though ( [ eqnthetadefa ] ) involves only the one parameter family of flows @xmath77 , the definition of @xmath77 involves @xmath71 for all intermediate @xmath78 .
this formal calculation leads to a natural generalization of ( [ eqnthetadef ] ) in the presence of boundaries .
as before , let @xmath79 be a domain with lipschitz boundary and assume , for now , that @xmath2 is a lipschitz function defined on _ all _ of @xmath80 .
let @xmath71 be the flow defined by ( [ eqnast ] ) and for @xmath81 , we define the _ backward exit time _ @xmath82 by @xmath83 \mbox { and } \forall r \in ( s , t ] , a_{r , t}(x ) \in d \}.\ ] ] let @xmath84 and @xmath85 be two given ( regular enough ) functions and define the process @xmath86 by @xmath87 note that when @xmath88 , equation ( [ eqnthetabdddef ] ) is consistent with ( [ eqnthetadefast ] ) . thus , ( [ eqnthetabdddef ] ) is the natural generalization of ( [ eqnthetadef ] ) in the presence of spatial boundaries and we expect @xmath89 satisfies the pde ( [ eqnbartheta ] ) with initial data @xmath90 and boundary conditions @xmath91 on @xmath92 . indeed , this is essentially the expected value representation obtained via the kolmogorov backward equations .
if an extra term @xmath93 is desired on the left - hand side of ( [ eqnbartheta ] ) , then we only need to replace ( [ eqnthetabdddef ] ) by @xmath94 provided @xmath95 is bounded below .
this is essentially the feynman
kac formula and its application to the navier
stokes equations is developed in the next section .
note that the backward exit time @xmath96 is usually discontinuous in the spatial variable .
thus , even with smooth @xmath97 , the process @xmath46 need not be spatially continuous . as mentioned earlier , equation ( [ eqntheta ] ) will now become meaningless and we will not be able to obtain a spde for @xmath46 . however , equation ( [ eqnbartheta ] ) , which describes the evolution of the expected value @xmath98 , can be directly derived using the backward markov property and it s formula ( see , e.g. , @xcite ) .
we will not provide this proof here but will instead provide a proof for the more complicated analogue for the navier
stokes equations described subsequently .
first note that if @xmath99 in ( [ eqnthetabdddef ] ) , then the solution to ( [ eqnbartheta ] ) with initial data @xmath50 and @xmath11-dirichlet boundary conditions will be given by @xmath100.\ ] ] recall the no - slip boundary condition for the navier
stokes equations is exactly a @xmath11-dirichlet boundary condition on the velocity field .
let @xmath2 be a solution to the navier
stokes equations in @xmath60 with initial data @xmath34 and no - slip boundary conditions .
now , following ( [ eqnbarthetabdddef ] ) , we would expect that analogous to ( [ eqnaveragedwebber ] ) , the velocity field @xmath2 can be recovered from the flow @xmath71 [ equation ( [ eqnast ] ) ] , the backward exit time @xmath101 [ equation ( [ eqnentrancetimedef ] ) ] and the initial data @xmath34 by @xmath102 this , however , is _
false_. in fact , there are two elementary reasons one should expect ( [ eqnunoboundarysgen ] ) to be false .
first , absorbing brownian motion at the boundaries will certainly violate incompressibility .
the second and more fundamental reason is that experiments and physical considerations lead us to expect production of vorticity at the boundary .
this is exactly what is missing from ( [ eqnunoboundarysgen ] ) .
the correct representation is provided in the following result .
[ thmslnsnoslip]let @xmath103 ; c^1(\bar d))$ ] be a solution of the navier
stokes equations ( [ eqnnavierstokes ] ) and ( [ eqnincompressibility ] ) with initial data @xmath34 and no - slip boundary conditions .
let @xmath48 be the solution to the backward sde ( [ eqnast ] ) and @xmath96 be the backward exit time defined by ( [ eqnentrancetimedef ] ) .
there exists a function @xmath104 \to{\mathbb{r}}^3 $ ] such that for @xmath105 we have @xmath106 conversely , given a function @xmath107 \to{\mathbb{r}}^d$ ] , suppose there exists a solution to the stochastic system ( [ eqnast ] ) , ( [ eqnwdef ] ) , ( [ eqnunoboundaryscorrect ] ) .
if further @xmath108 ; c^1(\bar d))$ ] , then @xmath2 satisfies the navier stokes equa - tions with initial data @xmath34 and _ vorticity _ boundary conditions @xmath109.\ ] ] the proof of theorem [ thmslnsnoslip ] is presented in section [ sxnnoslipproof ] .
we conclude this section with a few remarks .
[ rmkdiffnotation]@xmath110by @xmath111 in equation ( [ eqnwdef ] ) we mean @xmath112_{s = \sigma_t(x)}$ ] .
that is , @xmath113 refers to the transpose of the jacobian of @xmath48 , evaluated at initial time @xmath82 , final time @xmath20 and position @xmath63 ( see @xcite for existence ) .
this is different from the transpose of the jacobian of the function @xmath114 which does not exist as the function is certainly not differentiable in space .
[ rmkregularityassumptions ] in order to simplify the presentation , our regularity assumptions on @xmath2 are somewhat generous .
our assumptions on @xmath2 will immediately guarantee that @xmath2 has a lipschitz extension to @xmath80 . now
the process @xmath48 , defined to be a solution to ( [ eqnast ] ) with this lipschitz extension of @xmath2 , can be chosen to be a ( backward ) stochastic flow of diffeomorphisms @xcite .
thus , @xmath115 is well defined and further defining @xmath96 by ( [ eqnentrancetimedef ] ) is valid . finally , since the statement of theorem [ thmslnsnoslip ] only uses values of @xmath71 for @xmath116 , the choice of the lipschitz extension of @xmath2 will not matter .
see also remark [ rmkweakerregularity ] .
[ rmkvorticitybc]note that our statement of the converse above _ does not _
explicitly give any information on the dirichlet boundary values of @xmath2 .
of course , the normal component of @xmath2 must vanish at the boundary of @xmath60 since @xmath2 is the leray
hodge projection of a function .
but an explicit local relation between @xmath117 and the boundary values of the tangential component of @xmath2 can not be established .
we remark , however , that while the vorticity boundary condition ( [ eqnuvorticitybc ] ) is somewhat artificial , it is enough to guarantee uniqueness of solutions to the initial value problem for the navier
stokes equations .
[ rmktildewchoice]we explain how @xmath117 can be chosen to obtain the no - slip boundary conditions
. we will show ( lemma [ lmawequation ] ) that for @xmath118 defined by ( [ eqnwdef ] ) , the expected value @xmath119 solves the pde @xmath120 with initial data @xmath121 as shown before , @xmath122 in ( [ eqnbarwpde ] ) denotes the transpose of the jacobian of @xmath44 .
now , if @xmath123 , then we will have @xmath124 in @xmath60 and by continuity , on the boundary of @xmath60 .
thus , to prove existence of the function @xmath117 , we solve the pde ( [ eqnbarwpde ] ) with initial conditions ( [ eqnbarwinitialdata ] ) and _ vorticity _ boundary conditions @xmath125 we chose @xmath117 to be the dirichlet boundary values of this solution . to elaborate on remark [ rmktildewchoice ] , we trace through the influence of the vorticity on the boundary on the velocity in the interior .
first , the vorticity at the boundary influences @xmath126 by entering as a boundary condition on the first derivatives for the pde ( [ eqnbarwpde ] ) . now , to obtain @xmath2 we need to find @xmath117 , the ( dirichlet ) boundary values of ( [ eqnbarwpde ] ) and use this to weight trajectories that start on the boundary of @xmath60 .
the process of finding @xmath117 is essentially passing from neumann boundary values of a pde to the dirichlet boundary values which is usually a nonlocal pseudo - differential operator .
thus , while the procedure above is explicit enough , the boundary vorticity influences the interior velocity in a highly implicit , nonlocal manner .
our choice of @xmath117 is not unique . indeed ,
if @xmath127 and @xmath128 are two solutions of ( [ eqnbarwpde])([eqnbarwboundaryconditions ] ) , then we must have @xmath129 , where @xmath130 satisfies the equation @xmath131 with initial data @xmath132 .
since we do not have boundary conditions on @xmath130 , we can certainly have nontrivial solutions to this equation . thus
, our choice of @xmath117 is only unique up to addition by the gradient of a solution to ( [ eqnqeq ] ) .
this now raises numerous interesting questions .
a fundamental open question in fluid dynamics is about boundary layer separation in the inviscid limit .
it is known that in some situations the boundary layer can ` detach ' and produce vorticity in the interior @xcite .
the above probabilistic representation allows a new direction of approach to this problem .
one can now quantify boundary separation in terms of the chance that the backward exit time @xmath133 is strictly positive .
our hope is that this framework will allow the use of probabilistic techniques , especially those with no deterministic analogues ( e.g. large deviations ) , to provide new insight into the study of the inviscid limit .
while the formulation of theorem [ thmslnsnoslip ] involves only regular ( forward ) it integrals , the proof requires backward it integrals and processes adapted to a two parameter filtration .
the need for backward it integrals stems from equation ( [ eqnast ] ) which , as mentioned earlier , is the evolution of @xmath48 , _ backward _ in time .
this is , however , obscured because our diffusion coefficient is constant making the martingale term exactly the increment of the wiener process and can be explicitly computed without any backward ( or even forward ) it integrals . to elucidate matters , consider the flow @xmath134 given by @xmath135 if , as usual , @xmath136 , then substituting formally is not spatially constant
this is explained subsequently and the correct equation is ( [ eqnastsigmacorrect ] ) below . ]
@xmath137 and assuming the semigroup property gives the equation @xmath138 for the process @xmath139 .
the need for backward it integrals is now evident ; the last term above does not make sense as a forward it integral since @xmath140 is not @xmath141 measurable .
this term , however , is well defined as a backward it integral ; an integral with respect to a decreasing filtration where processes are sampled at the right endpoint . since forward
it integrals are more predominant in the literature , we recollect a few standard facts about backward it integrals in this section . a more detailed account , with proofs , can be found in @xcite , for instance .
let @xmath142 be a probability space , @xmath143 be a @xmath37-dimensional wiener process on @xmath144 and let @xmath145 be the @xmath96-algebra generated by the increments @xmath146 for all @xmath147 , augmented so that the filtration @xmath148 satisfies the usual conditions , @xmath149 contains all @xmath150-null sets .
further , @xmath151 is right - continuous in @xmath20 and left - continuous in @xmath152 .
see @xcite , definition 2.25 , for instance . ]
note that for @xmath153 , we have @xmath154 . also @xmath155 is @xmath151-measurable and is independent of both the past @xmath156 , and the future @xmath157 .
we define a ( two parameter ) family of random variables @xmath158 to be a ( two parameter ) process adapted to the ( two parameter ) filtration @xmath159 , if for all @xmath160 , the random variable @xmath161 is @xmath151-measurable . for example
, @xmath162 is an adapted process .
more generally , if @xmath2 and @xmath96 are regular enough _ deterministic _ functions , then the solution @xmath163 of the ( forward ) sde ( [ eqnxstsigma ] ) is an adapted process .
given an adapted ( two parameter ) process @xmath164 and any @xmath5 , we define the backward it integral @xmath165 by @xmath166 where @xmath167 is a partition of @xmath168 $ ] and @xmath169 is the length of the largest subinterval of @xmath170 . the limit is taken in the @xmath171 sense , exactly as with forward it integrals ( see , e.g. , @xcite , page 148 , @xcite , page 35 , @xcite , page 111 ) .
the standard properties ( existence , it isometry , martingale properties ) of the backward it integral are , of course , identical to those of the forward integral .
the only difference is in the sign of the it correction .
explicitly , consider the process @xmath172 satisfying the backward it differential equation ( [ eqnastsigma ] ) .
if @xmath173 is adapted , @xmath51 in space and continuously differentiable with respect to @xmath152 , then the process @xmath174 satisfies the backward it differential equation @xmath175\circ{a_{r , t } } \,dr \\ & & { } + \int_s^t [ { \nabla}f_{r , t } \sigma_r ] \circ{a_{r , t } } \,dw_r,\end{aligned}\ ] ] where @xmath176 with the einstein sum convention .
though we only consider solutions to ( [ eqnxstsigma ] ) for constant diffusion coefficient , we briefly address one issue when @xmath96 is not constant .
our motivation for the equation ( [ eqnastsigma ] ) was to make the substitution @xmath177 and formally use the semigroup property .
this , however , does not yield the correct equation when @xmath96 is not constant and the equation for @xmath178 involves an additional correction term . to see this
, we discretize the forward integral in ( [ eqnxstsigma ] ) ( in time ) and substitute @xmath137 .
this yields a sum sampled at the _ left _ endpoint of each time step .
while this causes no difficulty for the bounded variation terms , the martingale term is a discrete approximation to a _
backward _ integral and hence , must be sampled at the _
right _ endpoint of each time step . converting this to sum sampled at the right endpoint via
a taylor expansion of @xmath96 is what gives this extra correction .
carrying through this computation ( see , e.g. , @xcite , section 4.2 ) yields the equation @xmath179\\[-8pt ] & & { } + \int_s^t \bigl ( { \partial}_j \sigma_r^{i , k } \circ a'_{r , t}(x ) \bigr ) \bigl ( \sigma ^{j , k}_r \circ a'_{r , t}(x ) \bigr ) e_i \,dr,\nonumber\end{aligned}\ ] ] where @xmath180 are the elementary basis vectors and @xmath181 denotes the @xmath182th entry in the @xmath183 matrix @xmath96 .
we recall that the proof of the ( forward ) it formula involves approximating @xmath184 by its taylor polynomial about the left endpoint of the partition intervals .
analogously , the backward it formula involves approximating @xmath184 by taylor polynomial about the _
right _ endpoint of partition intervals , which accounts for the reversed sign in the it correction .
finally , we remark that for any fixed @xmath5 , the solution @xmath185 of the backward sde ( [ eqnast ] ) is a backward strong markov process [ the same is true for solutions to ( [ eqnastsigmacorrect ] ) ] . the backward markov property states that @xmath186 then @xmath187_{y = a_{s , t}(x)},\ ] ] where @xmath188 denotes the conditional expectation with respect to the @xmath96-algebra @xmath151 and @xmath189 the conditional expectation with respect to the @xmath96-algebra generated by the process @xmath190 . for the strong markov property ( we define @xmath96 to be a _ _ backward @xmath20-stopping time__-stopping time is analogous to @xmath152-stopping time in @xcite , page 24 . ] if almost surely @xmath191 and for all @xmath66 , the event @xmath192 is @xmath151-measurable
. now if @xmath96 is any backward @xmath20-stopping time with @xmath193 almost surely , the backward strong markov property states @xmath194\mathop{{}_{\hspace*{-21pt } s = \sigma , } } _ { y = a_{\sigma ,
the proofs of the backward markov properties is analogous to the proof of the forward markov properties and we refer the reader to @xcite , for instance .
we conclude this section by outlining how theorem [ thmslnsnoslip ] can be reformulated without using lipschitz extensions of @xmath2 .
this is mainly of interest when @xmath195 blows up near @xmath65 .
let @xmath58 be a domain , not necessarily lipschitz , @xmath196 , and assume @xmath197 \to{\mathbb{r}}^d$ ] is bounded and _ locally _ lipschitz .
now we can always write @xmath198 , where the @xmath199 s are an increasing sequence of locally compact open sets with lipschitz boundary . now
the function @xmath2 restricted to @xmath199 must have a lipschitz extension to @xmath80 , which we denote by @xmath200 .
let @xmath201 be the solution to ( [ eqnast ] ) with @xmath2 replaced by @xmath200 .
now we can define @xmath202 to be the backward exit time of @xmath201 from the domain @xmath199 .
that is , we define @xmath203 by ( [ eqnentrancetimedef ] ) , with @xmath48 replaced with @xmath201 , and @xmath60 replaced with @xmath199 .
note that by pathwise uniqueness , we must have @xmath204 for all @xmath205 , @xmath206 , almost surely .
thus we define @xmath207 for @xmath208 and any realization where @xmath209 , the sequence @xmath210 is eventually constant .
so on the event @xmath211\}$ ] , we define @xmath212$}.\ ] ] now , @xmath48 must satisfy ( [ eqnast ] ) almost surely on the event @xmath213 \}$ ] .
since @xmath2 is bounded , equation ( [ eqnast ] ) and lvy s almost sure , modulus of continuity @xcite*section 2.9f for brownian motion will guarantee that for almost every realization the function @xmath214 is uniformly continuous on @xmath215 $ ] .
thus the limit @xmath216 exists almost surely , and we denote it by @xmath217 exists is in fact independent of @xmath63 . ] note that by definition of @xmath96 , we must have @xmath218 .
finally , we remark that the above definition of @xmath48 is independent of the sequence of domains @xmath199 .
this , again , is an immediate consequence of pathwise uniqueness .
now we can reformulate theorem [ thmslnsnoslip ] using @xmath96 and @xmath48 defined by ( [ eqnsigmadef ] ) and ( [ eqnastnolipschitz ] ) , respectively .
provided we have enough control on @xmath219 to guarantee that the limit @xmath220 exists , theorem [ thmslnsnoslip ] and it s proof will remain unchanged in this context .
note that both the above limits as @xmath221 exist because the sequences become eventually constant . the minimal existence time @xmath222 .
suppose we had an increasing sequence of lipschitz domains @xmath199 such that @xmath223 and @xmath224 is compactly contained in @xmath225 .
now the usual picard iteration will show that ( [ eqnast ] ) has a solution up to a backward stopping time .
explicitly , this means for every @xmath208 , @xmath226 $ ] , there exists a backward @xmath20-stopping time @xmath82 and a process @xmath227}$ ] such that : 1 . for all @xmath228 $ ] , @xmath190 is @xmath145-measurable , and @xmath229 .
2 . if @xmath61 , then @xmath230 almost surely .
3 . equation ( [ eqnast ] ) holds almost surely up to @xmath231 .
explicitly , @xmath232 further , if @xmath209 , then @xmath233 .
now , the lipschitz assumption on @xmath2 immediately guarantees pathwise uniqueness .
thus if we have a second solution @xmath234 , up to the backward @xmath20-stopping time @xmath235 , then , almost surely , @xmath236 .
this uniqueness , combined with local existence above will show that @xmath231 can be ( uniquely ) chosen so that @xmath237 almost surely .
we call this choice of @xmath82 the _ minimal existence time _ of ( [ eqnaststopped ] ) . thus , when stating theorem [ thmslnsnoslip ] when @xmath2 does not admit a lipschitz extension , we define @xmath82 to be the minimal existence time of ( [ eqnaststopped ] ) , instead of using ( [ eqnentrancetimedef ] ) . ' '' '' to avoid technicalities , we will also assume @xmath238 \to{\mathbb{r}}^d$ ] has a lipschitz extension to @xmath239 $ ] .
since all our definitions and theorems below will be independent of which extension of @xmath2 is used , we will , when necessary , use the same letter @xmath2 to denote a lipschitz extension of @xmath2 .
we conclude this section by defining the notion of solutions of ( [ eqnast ] ) .
we will always assume @xmath58 is a lipschitz domain . to avoid technicalities
, we will also assume @xmath238 \to{\mathbb{r}}^d$ ] has a lipschitz extension to @xmath239 $ ] .
since all our definitions and theorems below will be independent of which extension of @xmath2 is used , we will , when necessary , use the same letter @xmath2 to denote a lipschitz extension of @xmath2 .
[ dfnsolution]let @xmath60 , @xmath2 and @xmath240 be as in the statement of theorem [ thmslnsnoslip ] .
we say @xmath48 is a solution to ( [ eqnast ] ) with respect to the family of backward stopping times @xmath96 if the following conditions hold . 1 . for every @xmath208 , @xmath226 $
] , the function @xmath82 is a backward @xmath20-stopping time , and for @xmath241 , @xmath242 .
the function @xmath243 \times\omega\to[0 , t]$ ] is progressively measurable , @xmath244 \times \omega\to[0,t]$ ] is measurable with respect to the product sigma algebra @xmath245 ) \times\mathcal f_{s , t}$ ] . ] and for every @xmath226 $ ] , @xmath208 , the random variable @xmath231 is a backward @xmath20-stopping time .
@xmath246 is such that for all @xmath208 , @xmath247 , and for all @xmath248 , @xmath71 is @xmath151-measurable .
further , if @xmath208 , @xmath249 , then @xmath233 .
let @xmath250 \times[0 , t ] \times\omega$ ] be the ( random ) domain defined by@xmath251 the function @xmath252 progressively measurable .
equation ( [ eqnast ] ) holds almost surely on @xmath253 .
existence of solutions to ( [ eqnast ] ) can be proved by a standard iteration argument and the it isometry .
since @xmath2 is always assumed to be at least lipschitz , we know pathwise uniqueness holds for ( [ eqnast ] ) .
[ dfnminimalexistencetime]we say @xmath96 is a minimal existence time of ( [ eqnast ] ) if the following conditions hold . 1
. there exists a process @xmath48 which is a solution to ( [ eqnast ] ) with respect to the backward stopping time @xmath96 .
2 . for any solution @xmath254 to ( [ eqnast ] ) with respect to the backward stopping time @xmath255 , we have @xmath256 almost surely .
[ rmkminimalexistencetimeexistence1]the existence of the minimal existence time can be seen as follows .
first , let @xmath257 and @xmath258 be two solutions to ( [ eqnast ] ) .
as long as the drift @xmath2 is regular enough ( lipschitz , e.g. ) , strong uniqueness will guarantee that almost surely , for every @xmath259 , @xmath260 .
zorn s lemma will now show the existence of the minimal existence time .
in this section we prove theorem [ thmslnsnoslip ] . first , we know from @xcite that spatial derivatives of @xmath48 can be interpreted as the limit ( in probability ) of the usual difference quotient .
in fact , for regular enough velocity fields @xmath2 ( extended to all of @xmath80 ) , the process @xmath48 can , in fact , be chosen to be a flow of diffeomorphisms of @xmath80 ( see , e.g. , @xcite ) in which case @xmath48 is surely differentiable in space . interpreting the jacobian of @xmath48 as either the limit ( in probability ) of the usual difference quotient or as the jacobian of the stochastic flow of diffeomorphism , we know @xcite that @xmath115 satisfies the equation @xmath261 obtained by formally differentiating ( [ eqnast ] ) in space .
here @xmath262 denotes the @xmath183 identity matrix .
we reiterate that equation ( [ eqngradast ] ) is an ode as the wiener process is independent of the spatial parameter .
[ lmawequation]let @xmath263 be as in theorem [ thmslnsnoslip ] , @xmath96 be the backward exit time from @xmath60 [ equation ( [ eqnentrancetimedef ] ) ] and @xmath48 be the solution to ( [ eqnast ] ) with respect to the backward stopping time @xmath96 . 1 . let @xmath264 ; c^1(\bar d))$ ] be the solution of ( [ eqnbarwpde ] ) with initial data ( [ eqnbarwinitialdata ] ) and boundary conditions @xmath265 then , for @xmath118 defined by ( [ eqnwdef ] ) , we have @xmath266 .
2 . let @xmath118 be defined by ( [ eqnwdef ] ) and @xmath266 as above .
if for all @xmath267 $ ] , @xmath268 and @xmath126 is @xmath269 in time , then @xmath126 satisfies @xmath270 where @xmath271 is defined by @xmath272 and @xmath273 is the set of all @xmath274 for which the limit on the right - hand side exists .
further , @xmath126 has initial data @xmath34 and boundary conditions ( [ eqnbarwdirichletbc ] ) . before proceeding any further ,
we first address the relationship between the two assertions of the lemma .
we claim that if @xmath275 , then equation ( [ eqnbarwpdewithl ] ) reduces to equation ( [ eqnbarwpde ] ) .
this follows immediately from the next proposition .
[ ppngeneratorat]if @xmath276 , then for any @xmath267 $ ] , @xmath277 and further , @xmath278 . omitting the spatial variable for notational convenience , the backward it formula gives @xmath279 \,dr + \sqrt{2\nu } \int _ { s { \vee}\sigma_t}^t { \nabla}\phi{|}_{a_{r , t } } \,dw_r.\end{aligned}\ ] ]
since @xmath280 is a backward @xmath20-stopping time , the second term above is a martingale .
thus @xmath281 \,dr\\ & = & ( u_t \cdot{\nabla})\phi- \nu{\triangle}\phi\end{aligned}\ ] ] since the process @xmath48 has continuous paths and @xmath282 on the interior of @xmath60 .
[ rmkweakerregularity ] one can weaken the regularity assumptions on @xmath2 in the statement of theorem [ thmslnsnoslip ] by instead assuming for all @xmath283 $ ] , @xmath284 and is @xmath269 in time , as with the second assertion of lemma [ lmawequation ] . however , while the formal calculus remains essentially unchanged , there are a couple of technical points that require attention .
first , when assumptions on smoothness of @xmath2 up to the boundary is relaxed ( or when @xmath65 is irregular ) , a lipschitz extension of @xmath2 need not exist . in this case , we can no longer use ( [ eqnentrancetimedef ] ) to define @xmath96 .
further , we can not regard the process @xmath48 as a stochastic flow of diffeomorphisms and some care has to be taken when differentiating it .
these issues can be addressed using relatively standard techniques and once they are sorted out , the proof of theorem [ thmslnsnoslip ] remains unchanged .
now we prove the first assertion of lemma [ lmawequation ] .
@xmath285recall that @xmath286 is differentiable in @xmath152 . differentiating ( [ eqngradast ] ) in @xmath152 and transposing the matrices
gives @xmath287 let @xmath267 $ ] , @xmath208 and @xmath255 be any backward @xmath20-stopping time with @xmath288 almost surely .
omitting the spatial variable for convenience , the backward it formula and equations ( [ eqnbarwpde ] ) and ( [ eqngradtast ] ) give @xmath289 thus , taking expected values gives @xmath290 recall that when @xmath88 , @xmath291 .
thus , choosing @xmath292 and using the boundary conditions ( [ eqnbarwdirichletbc ] ) and initial data ( [ eqnbarwinitialdata ] ) , we have @xmath293 substituting this in ( [ eqnbarwsigma ] ) completes the proof . in order to prove the second assertion in lemma [ lmawequation ] , we will directly prove ( [ eqnbarwsigma ] ) using the backward strong markov property . before beginning the proof
, we establish a few preliminaries .
let @xmath60 , @xmath2 , @xmath240 , @xmath96 , @xmath48 , @xmath118 , @xmath126 be as in the second assertion of lemma [ lmawequation ] .
given @xmath208 and a @xmath294 matrix @xmath295 , define the process @xmath296 to be the solution of the ode @xmath297
if @xmath262 denotes the @xmath183 identity matrix , then by ( [ eqngradast ] ) we have @xmath298 for any @xmath299 .
further , since the evolution equation for @xmath300 is linear , we see @xmath301 note that for any fixed @xmath267 $ ] , the process @xmath302 is _ not _ a backward markov process .
indeed , the evolution of @xmath303 at any time @xmath66 depends on the time @xmath152 through the process @xmath71 appearing on the right - hand side in ( [ eqngradast ] ) . however , process @xmath304 [ or equivalently the process @xmath305 is a backward markov process since the evolution of this system now only depends on the state .
this leads us to the following identity which is the essence of proof of the second assertion in lemma [ lmawequation ] .
[ lmamarkov ] choose any backward @xmath20-stopping time @xmath255 with @xmath306 almost surely
. then @xmath307\\[-8pt ] & & \qquad = \mathop{\bigl [ e b_{\sigma_r(y ) , r}^*(y , m ) \bar w_{\sigma_r(y ) } \circ a_{\sigma _
r(y ) , r}(y ) \bigr ] _ { r = \sigma ' , y = a_{\sigma ' , t}(x),}}_{\hspace*{150pt } m = b_{\sigma ' , t}(x , i)}\nonumber\end{aligned}\ ] ] holds almost surely .
this follows from an appropriate application of the backward strong markov property . while this is easily believed , checking that the strong markov property applies in this situation requires a little work and will distract from the heart of the matter .
thus , we momentarily postpone the proof of lemma [ lmamarkov ] and proceed with the proof of the second assertion of lemma [ lmawequation ] .
proof of lemma [ lmawequation ] we recall @xmath308 where @xmath118 is defined by ( [ eqnwdef ] ) . by our assumption on @xmath2 and @xmath65 , the boundary conditions ( [ eqnbarwdirichletbc ] ) and initial data ( [ eqnbarwinitialdata ] ) are satisfied . for convenience , when @xmath309 , @xmath61 , we define @xmath310 and when @xmath311 , @xmath312 , we define @xmath313 .
let @xmath208 , @xmath314 $ ] as used before .
let @xmath255 be any backward @xmath20-stopping time with @xmath288 .
first , if @xmath292 almost surely , then , since the point @xmath315 belongs to the parabolic boundary @xmath316 ) { \stackrel{\mathrm{def}}{=}}({\partial}d \times[0 , t ] ) \cup(d \times\{0\})$ ] , our boundary conditions and initial data will guarantee ( [ eqnbarwsigma ] ) .
now , for arbitrary @xmath288 , we will use lemma [ lmamarkov ] to deduce ( [ eqnbarwsigma ] ) directly .
indeed , @xmath317 _ { r = \sigma ' , y = a_{\sigma ' , t}(x),}}_{\hspace*{150pt } m = b_{\sigma ' , t}(x , i ) } \bigr)\\ & = & e \bigl ( \mathop{\bigl [ m^ * e b_{\sigma_r(y ) , r}^*(y , i ) \bar w_{\sigma_r(y ) } \circ a_{\sigma_r(y ) , r}(y ) \bigr ] _ { r = \sigma ' , y = a_{\sigma ' ,
t}(x),}}_{\hspace*{160pt } m = b_{\sigma ' , t}(x , i ) } \bigr)\\ & = & e { { \nabla}{^*}}a_{\sigma',t}(x ) \bar w_{\sigma ' } \circ a_{\sigma ' , t}(x),\end{aligned}\ ] ] showing that ( [ eqnbarwsigma ] ) holds for any backward @xmath20 stopping time @xmath288 .
now , choose @xmath318 for @xmath319 . note that for any @xmath208 , we must have @xmath230 almost surely . thus , omitting the spatial coordinate for convenience , we have @xmath320 \\ & & \hphantom{\lim_{s \to t^- } \biggl ( } { } + \frac{1}{t - s } e ( \bar w_t - \bar w_{s { \vee}\sigma_t } ) \circ a_{s { \vee}\sigma_t , t } \\ & & \hphantom{\lim_{s \to t^- } \biggl ( } { } + \frac{1}{t - s } e ( i - { { \nabla}{^*}}a_{s { \vee}\sigma_t , t } ) \bar w_{s { \vee}\sigma_t } \circ a_{s { \vee}\sigma_t , t } \biggr ) \\ & = & l_t \bar w_t + { \partial}_t \bar w_t + ( { { \nabla}{^*}}u_t ) \bar w_t,\end{aligned}\ ] ] on the interior of @xmath60 .
the proof is complete .
it remains to prove lemma [ lmamarkov ] .
@xmath321 proof of lemma [ lmamarkov ] @xmath321define the stopped processes @xmath322 and @xmath323 . define the process @xmath324 by @xmath325 note that for any given @xmath66 , we know that @xmath82 need not be @xmath151 measurable .
however , @xmath326 _ is _ an @xmath151 measurable backward @xmath20-stopping time .
thus , @xmath139 , @xmath327 and , consequently , @xmath328 are all @xmath151 measurable .
now we claim that almost surely , for @xmath329 , we have the backward semigroup identity @xmath330 to prove this , consider first the third component of the left - hand side of ( [ eqncsemigroup ] ) : @xmath331 consider the event @xmath332 . by the semigroup property for @xmath48 and strong existence and uniqueness of solutions to ( [ eqnast ] ) , we have @xmath333 almost surely .
thus , almost surely on @xmath332 , we have @xmath334 now consider the event @xmath335 . we know @xmath336 and so .
this gives @xmath337 almost surely on @xmath338 .
therefore , we have proved almost sure equality of the third components in equation ( [ eqncsemigroup ] ) .
for the first component @xmath339 , consider as before the case @xmath209 . in this case @xmath340 and the semigroup property of @xmath48 gives equality of the first components in ( [ eqncsemigroup ] ) almost surely on @xmath332 .
when @xmath341 , as before , @xmath342 and @xmath343 .
thus , @xmath344 almost surely on @xmath345 .
this shows almost sure equality of the first components in equation ( [ eqncsemigroup ] ) .
almost sure equality of the second components follows similarly , completing the proof of ( [ eqncsemigroup ] ) .
now , for @xmath329 , the random variable @xmath328 is @xmath151 measurable and so must be independent of @xmath346 .
this , along with ( [ eqncsemigroup ] ) , will immediately guarantee the markov property for @xmath324 .
since the filtration @xmath347 satisfies the usual conditions and for any fixed @xmath20 the function @xmath348 is continuous , @xmath324 satisfies the strong markov property ( see , e.g. , @xcite , theorem 2.4 ) .
thus , for any fixed @xmath226 $ ] and any borel function @xmath349 , the strong markov property gives @xmath350\mathop{{}_{\hspace*{-58pt } r = \sigma',}}_{\hspace*{-1pt } ( y , m , \tau ) = c_{0 , \sigma'}(x , i , 0 ) } \\ & = & [ e \varphi ( c_{r , t}(y , m , \tau ) ) ] \mathop{{}_{\hspace*{-22pt } r = \sigma ' , y = a_{\sigma ' , t}(x),}}_{\hspace*{-1pt}m = b_{\sigma',t}(x , i ) , \tau = \sigma_r(x ) , } \end{aligned}\ ] ] = 0.2em plus 0.05em minus 0.02em almost surely for any @xmath351 , @xmath352 , @xmath353 . choosing @xmath354 proves ( [ eqnmarkov ] ) .
now a direct computation shows that if @xmath126 satisfies ( [ eqnbarwpde ] ) , then @xmath123 satisfies ( [ eqnnavierstokes ] ) regardless of our choice of @xmath117 .
of course , we will only get the no - slip boundary conditions with the correct choice of @xmath117 .
we first obtain the pde for @xmath2 .
[ lmaupde]if @xmath126 satisfies ( [ eqnbarwpde ] ) and @xmath123 , then @xmath2 satisfies ( [ eqnnavierstokes ] ) and ( [ eqnincompressibility ] ) . by definition of the leray
hodge projection , @xmath355 for some function @xmath130 and equation ( [ eqnincompressibility ] ) is automatically satisfied .
thus , using equation ( [ eqnbarwpde ] ) we have @xmath356\\[-8pt ] & & \qquad { } + { \partial}_t { \nabla}q_t + ( u_t \cdot{\nabla } ) { \nabla}q_t + ( { { \nabla}{^*}}u_t ) { \nabla}q_t - \nu{\triangle}{\nabla}q_t = 0.\nonumber\end{aligned}\ ] ] defining @xmath8 by @xmath357 equation ( [ eqnuns1 ] ) becomes ( [ eqnnavierstokes ] ) .
now to address the no - slip boundary condition .
the curl of @xmath126 satisfies the vorticity equation which is how the vorticity enters our boundary condition .
[ lmacurlw]let @xmath126 be a solution of ( [ eqnbarwpde ] ) .
then @xmath358 satisfies the vorticity equation @xmath359 we only provide the proof for @xmath360 . for this proof
we will use subscripts to indicate the component instead of time as we usually do .
if @xmath361 are all distinct , let @xmath362 denote the signature of the permutation @xmath363 . for convenience ,
we let @xmath364 if @xmath365 are not all distinct . using the einstein summation convention
, @xmath358 translates to @xmath366 on components .
thus , taking the curl of ( [ eqnbarwpde ] ) gives @xmath367 because @xmath368 .
making the substitutions @xmath369 and @xmath370 in the last sum above we have @xmath371 where @xmath372 denotes the kronecker delta function and the last equality follows because @xmath373 .
thus , ( [ eqnxi ] ) reduces to ( [ eqncurlw ] ) .
theorem [ thmslnsnoslip ] now follows from the above lemmas .
proof of theorem [ thmslnsnoslip]first , suppose @xmath2 is a solution of the navier
stokes equations , as in the statement of the theorem .
we choose @xmath117 as explained in remark [ rmktildewchoice ] .
notice that our assumptions on @xmath2 and @xmath60 will guarantee a classical solution to ( [ eqnbarwpde])([eqnbarwboundaryconditions ] ) exists on the interval @xmath374 $ ] and thus , such a choice is possible . by lemma [ lmawequation ]
we see that for @xmath118 defined by ( [ eqnwdef ] ) , the expected value @xmath266 satisfies ( [ eqnbarwpde ] ) with initial data ( [ eqnbarwinitialdata ] ) and boundary conditions ( [ eqnbarwdirichletbc ] ) . by our choice of @xmath117 and uniqueness to the dirichlet problem ( [ eqnbarwpde ] ) , ( [ eqnbarwinitialdata ] ) and ( [ eqnbarwdirichletbc ] ) , we must have the vorticity boundary condition ( [ eqnbarwboundaryconditions ] ) .
now , let @xmath358 and @xmath375 .
by lemma [ lmacurlw ] , we see that @xmath164 satisfies the vorticity equation ( [ eqncurlw ] ) .
since @xmath2 satisfies ( [ eqnnavierstokes ] ) and ( [ eqnincompressibility ] ) , it is well known ( see , e.g. , @xcite or the proof of lemma [ lmacurlw ] ) that @xmath376 also satisfies @xmath377 from ( [ eqnbarwboundaryconditions ] ) we know @xmath378 on @xmath379 $ ] . by ( [ eqnbarwinitialdata ] )
, we see that @xmath380 and hence , @xmath378 on the parabolic boundary @xmath381)$ ] .
the above shows that @xmath376 and @xmath164 both satisfy the same pde [ equations ( [ eqncurlw ] ) or ( [ eqnvorticity ] ) ] with the same initial data and boundary conditions and so we must have @xmath382 on @xmath383 $ ] .
thus , @xmath384 in @xmath385 $ ] showing @xmath2 and @xmath126 differ by a gradient .
since @xmath386 and @xmath59 on @xmath379 $ ] , we must have @xmath387 proving ( [ eqnunoboundaryscorrect ] ) . to see uniqueness of @xmath117 , note that regardless of our choice of @xmath117 , lemma [ lmawequation ] shows that @xmath126 satisfies ( [ eqnbarwpde ] ) with initial data ( [ eqnbarwinitialdata ] ) . now ,
if ( [ eqnunoboundaryscorrect ] ) holds , then @xmath2 and @xmath126 must only differ by a gradient , and so @xmath124 in @xmath60 . by continuity , this must also hold on @xmath65 , and thus ( [ eqnuvorticitybc ] ) must hold .
but , by definition of @xmath118 , we must have @xmath117 to be the boundary values of @xmath118 .
since the solution to ( [ eqnbarwpde ] ) with initial data ( [ eqnbarwinitialdata ] ) and boundary conditions ( [ eqnbarwboundaryconditions ] ) is unique , @xmath117 is uniquely determined .
conversely , assume we have a solution to the system ( [ eqnast ] ) , ( [ eqnwdef ] ) and ( [ eqnunoboundaryscorrect ] ) .
as stated above , lemma [ lmawequation ] shows @xmath308 satisfies ( [ eqnbarwpde ] ) with initial data ( [ eqnbarwinitialdata ] ) . by lemma [ lmaupde ]
we know @xmath2 satisfies the equation ( [ eqnnavierstokes ] ) and ( [ eqnincompressibility ] ) with initial data @xmath34 . finally , since equation ( [ eqnunoboundaryscorrect ] ) shows @xmath124 in @xmath383 $ ] and by continuity
, we have the boundary condition ( [ eqnuvorticitybc ] ) .
the vorticity is a quantity which is of fundamental importance , both for the physical and theoretical aspects of fluid dynamics . to single out one among the numerous applications of vorticity
, we refer the reader to two classical criterion which guarantee global and existence and regularity of the navier
stokes equations provided the vorticity is appropriately controlled : the first due to beale , kato and majda @xcite and the second due to constantin and fefferman @xcite . for the euler equations , exact identities and conservation laws governing the evolution of vorticity
are well known .
for instance , vorticity transport [ equation ( [ eqneulervorttransport ] ) ] shows that the vorticity at time @xmath20 followed along streamlines is exactly the initial vorticity stretched by the jacobian of the flow map .
similarly , the conservation of circulation [ equation ( [ eqneulercirculation ] ) ] shows that the line integral of the velocity ( which , by stokes theorem , is a surface integral of the vorticity ) computed along a closed curve that is transported by the fluid flow is constant in time .
prior to @xcite , these identities were unavailable for the navier stokes equations . in @xcite ,
the authors provide analogues of these identities for the navier
stokes equations in the absence of boundaries .
these identities , however , do not always prevail in the presence of boundaries . in this section
we illustrate the issues involved by considering three inviscid identities .
all three identities generalize perfectly to the viscous situations without boundaries . in the presence of boundaries , the first identity ( vorticity transport )
generalizes perfectly , the second identity ( ertel s theorem ) generalizes somewhat unsatisfactorily and the third identity ( conservation of circulation ) has no nontrivial generalization in the presence of boundaries .
let @xmath388 be a solution to the euler equations with initial data @xmath34 .
let @xmath17 the inviscid flow map defined by ( [ eqneulerxdef ] ) and for any @xmath5 , let @xmath28 be the spatial inverse of the diffeomorphism @xmath13 .
the vorticity transport ( or cauchy formula ) states @xmath389 \circ a^0_t , & \quad if $ d = 3 $ , } \iffalse\text{)}\fi\ ] ] where we recall that the vorticity @xmath390 is defined by @xmath391 and where @xmath392 is the initial vorticity . in @xcite ,
the authors obtained a natural generalization of ( [ eqneulervorttransport ] ) for the navier
stokes equations in the absence of spatial boundaries .
if @xmath2 solves ( [ eqnnavierstokes ] ) and ( [ eqnincompressibility ] ) with initial data @xmath34 and @xmath23 is the noisy flow map defied by ( [ eqnxdef])([eqnx0 ] ) , then @xmath375 is given by @xmath393 we now provide the generalization of this in the presence of boundaries .
note that for any @xmath5 , @xmath394 , so we can rewrite ( [ eqnnsvorttransport ] ) completely in terms of the process @xmath48 .
now , as usual , we replace @xmath395 with the solution of ( [ eqnast ] ) with respect to the minimal existence time @xmath96 .
we recall that in theorem [ thmslnsnoslip ] , in addition to `` starting trajectories at the boundary , '' we had to correct the expression for the velocity by the boundary values of a related quantity ( the vorticity ) . for the vorticity , however , we need no additional correction and the interior vorticity is completely determined given @xmath48 , @xmath96 and the vorticity on the parabolic boundary)$ ] is defined to be @xmath396 . ]
@xmath381)$ ] .
[ ppnvorticityrep]let @xmath2 be a solution to ( [ eqnnavierstokes ] ) and ( [ eqnincompressibility ] ) in @xmath60 with initial data @xmath34 and suppose @xmath397 \times\bar d)$ ] .
let @xmath398 denote the values of @xmath376 on the parabolic boundary @xmath381)$ ] .
explicitly , @xmath398 is defined by @xmath399 then , @xmath400 , & \quad if $ d = 2$,\cr e \bigl [ \bigl({\nabla}a_{\sigma_t(x ) , t}(x ) \bigr){^{-1}}\tilde\omega_{\sigma_t(x ) } \bigl ( a_{\sigma_t(x ) , t}(x ) \bigr ) \bigr ] , & \quad if $ d = 3$. } \ ] ] [ ppnvorticityeq]more generally , suppose @xmath398 is any function defined on the parabolic boundary of @xmath383 $ ] and let @xmath376 be defined by ( [ eqnomegarep ] ) .
if for all @xmath267 $ ] , @xmath401 and @xmath376 is @xmath269 in time , then @xmath402 satisfies @xmath403 with @xmath404 on the parabolic boundary . here
, @xmath271 is the generator of @xmath405 ; @xmath273 is the domain of @xmath271 .
these are defined in the statement of lemma [ lmawequation ] .
of course , proposition [ ppnvorticityeq ] , along with proposition [ ppngeneratorat ] and uniqueness of ( strong ) solutions to ( [ eqnvorticity ] ) , will prove proposition [ ppnvorticityrep ] .
however , direct proofs of both proposition [ ppnvorticityeq ] and proposition [ ppnvorticityrep ] are short and instructive and we provide independent proofs of each .
proof of proposition [ ppnvorticityrep]we only provide the proof when @xmath406 . as shown before , differentiating ( [ eqngradast ] ) in space and taking the matrix inverse of both sides gives @xmath407 almost surely . now choose any @xmath208 , @xmath61 and any backward @xmath20-stopping time @xmath288 . omitting the spatial parameter for notational convenience
, the backward it formula gives @xmath408 thus , taking expected values gives @xmath409.\ ] ] choosing @xmath292 and using the fact that @xmath410 always belongs to the parabolic boundary finishes the proof .
proof of proposition [ ppnvorticityeq ] again , we only consider the case .
we will prove equation ( [ eqnomegamarkov ] ) directly and then deduce ( [ eqnvorticity ] ) .
let the process @xmath300 be as in the proof of the second assertion of lemma [ lmawequation ] and use @xmath411 to denote the process consisting of _ matrix _ inverses of the process @xmath300 .
pick @xmath208 , @xmath412 $ ] and a backward @xmath20-stopping time @xmath288 . using ( [ eqnmarkov ] ) we have @xmath413\\ & = & e e_{\mathcal f_{\sigma',t } } \bigl [ b_{\sigma_t(x),t}{^{-1}}(x , i ) \tilde\omega_{\sigma_t(x ) } \circ a_{\sigma_t(x),t}(x ) \bigr]\\ & = & e \bigl ( \bigl [ e b_{\sigma_r(y),r}{^{-1}}(y , m ) \tilde\omega_{\sigma_r(y ) } \circ a_{\sigma_r(y),r}(y ) \bigr]\mathop { { } _ { r = \sigma ' , y = a_{\sigma',t}(x),}}_{\hspace*{-15pt}m = b_{\sigma',t}(x , i ) } \bigr)\\ & = & e \bigl ( \bigl [ m{^{-1}}e b_{\sigma_r(y),r}{^{-1}}(y , i ) \tilde\omega_{\sigma _ r(y ) } \circ a_{\sigma_r(y),r}(y ) \bigr]\mathop { { } _ { r = \sigma ' ,
y = a_{\sigma',t}(x),}}_{\hspace*{-15pt}m = b_{\sigma',t}(x , i ) } \bigr)\\ & = & e [ ( { \nabla}a_{\sigma',t}(x ) ) { ^{-1}}\omega_{\sigma ' } \circ a_{\sigma',t}(x ) ] , \end{aligned}\ ] ] proving ( [ eqnomegamarkov ] ) . as stated before , choose @xmath66 and @xmath414 . omitting the spatial parameter for notational
convenience gives @xmath415\\ & = & \lim_{s \to t^- } \biggl ( \frac{1}{t - s } [ \omega_t - e\omega_t \circ a_{\sigma_t { \vee}s , t } ] \\ & & \hphantom{\lim_{s \to t^- } \biggl ( } { } + \frac{1}{t - s } e [ \omega_t - \omega_{\sigma_t{\vee}s } ] \circ a_{\sigma_t{\vee}s , t } \\ & & \hphantom{\lim_{s \to t^- } \biggl ( } { } + \frac{1}{t - s } e [ i - ( { \nabla}a_{\sigma_t { \vee}s , t } ) { ^{-1 } } ] \omega_{\sigma_t{\vee}s } \circ a_{\sigma_t{\vee}s , t } \biggr ) \\ & = & l_t \omega_t + { \partial}_t \omega_t - ( { \nabla}u_t ) \omega_t.\end{aligned}\ ] ] we remark that the vorticity transport in propositions [ ppnvorticityrep ] or [ ppnvorticityeq ] can be used to provide a stochastic representation of the navier stokes equations . to see this
, first note that the proofs of propositions [ ppnvorticityrep ] and [ ppnvorticityeq ] are independent of theorem [ thmslnsnoslip ] .
next , since @xmath2 is divergence free , taking the curl twice gives the negative laplacian .
thus , provided boundary conditions on @xmath2 are specified , we can obtain @xmath2 from @xmath376 by @xmath416 therefore , in theorem [ thmslnsnoslip ] we can replace ( [ eqnunoboundaryscorrect ] ) by ( [ eqnomegarep ] ) and ( [ eqnbiotsavart ] ) , where @xmath398 is the vorticity on the parabolic boundary and we impose @xmath11-dirichlet boundary conditions on ( [ eqnbiotsavart ] ) . as shown above , we use a superscript of @xmath11 to denote the appropriate quantities related to the euler equations . for this section
we also assume @xmath406 .
ertel s theorem says that if @xmath417 is constant along trajectories of @xmath17 , then so is @xmath418 .
hence , @xmath419 satisfies the pde @xmath420 for the navier
stokes equations , we first consider the situation without boundaries .
let @xmath2 solve ( [ eqnnavierstokes ] ) and ( [ eqnincompressibility ] ) , @xmath23 be defined by ( [ eqnxdef ] ) , @xmath48 be the spatial inverse of @xmath23 and define @xmath164 by @xmath421 where @xmath422 is the initial vorticity . from ( [ eqnnsvorttransport ] )
we know that @xmath423 .
now we can generalize ertel s theorem as follows : [ ppnertelnoboundaries ] let @xmath46 be a @xmath424 valued process .
if @xmath46 is constant along trajectories of the ( stochastic ) flow @xmath23 , then so is @xmath425 .
hence , @xmath426 satisfies the pde @xmath427 with initial data @xmath428 . if @xmath46 is constant along trajectories of @xmath23 , we must have @xmath429 almost surely .
thus , @xmath430 which is certainly constant along trajectories of @xmath23 .
the pde for @xmath274 now follows immediately .
now , in the presence of boundaries , this needs further modification .
let @xmath48 be a solution to ( [ eqnast ] ) and @xmath96 be the backward exit time of @xmath48 from @xmath60 .
the notion of `` constant along trajectories '' now corresponds to processes @xmath46 defined by @xmath431 for some function @xmath432 defined on the parabolic boundary of @xmath60 .
irrespective of the regularity of @xmath60 and @xmath432 , the process @xmath46 will not be continuous in space , let alone differentiable .
the problem arises because while @xmath48 is regular enough in the spatial variable , the existence time @xmath101 is not .
thus , we are forced to avoid derivatives on @xmath96 in the statement of the theorem , leading to a somewhat unsatisfactory generalization .
[ ppnertelboundaries ] let @xmath432 be a @xmath269 function defined on the parabolic boundary of @xmath383 $ ] and let @xmath433 be any @xmath269 extension of @xmath432 , defined in a neighborhood of the parabolic boundary of @xmath383 $ ] .
if @xmath46 is defined by ( [ eqnthetabdddef1 ] ) , then @xmath434_{s = \sigma_t(x)}\ ] ] satisfies the pde ( [ eqnphipde ] ) with initial data @xmath435 and boundary conditions @xmath436 for @xmath241 .
a satisfactory generalization in the scenario with boundaries would be to make sense of @xmath437 ( despite the spatial discontinuity of @xmath46 ) and reformulate proposition [ ppnertelboundaries ] accordingly . note that when @xmath438 , then @xmath439 and hence , @xmath440 . in this case proposition [ ppnertelboundaries ]
reduces to proposition [ ppnertelnoboundaries ] .
the proof of proposition [ ppnertelboundaries ] is identical to that of proposition [ ppnertelnoboundaries ] and the same argument obtains @xmath441_{s = \sigma_t(x ) } = [ ( \xi_s \cdot{\nabla } ) \tilde\theta'_s ( y ) ] \mathop{{}_{\hspace*{-16pt } s = \sigma_t(x),}}_{y = a_{\sigma_t(x),t}(x)},\ ] ] which immediately implies ( [ eqnphipde ] ) .
the circulation is the line integral of the velocity field along a closed curve . for the euler equations ,
the circulation along a closed curve that is transported by the flow is constant in time .
explicitly , let @xmath388 , @xmath17 , @xmath442 , @xmath34 be as in the previous subsection . let @xmath443 be a rectifiable closed curve , then for any @xmath5 , @xmath444 for the navier stokes equations , without boundaries , a generalization of ( [ eqneulercirculation ] ) was considered in @xcite .
let @xmath2 solve ( [ eqnnavierstokes ] ) and ( [ eqnincompressibility ] ) , @xmath23 be defined by ( [ eqnxdef ] ) and ( [ eqnx0 ] ) and @xmath48 be the spatial inverse of @xmath23 .
then @xmath445 a proof of this ( in the absence of boundaries ) follows immediately from theorem [ thmslns ] .
indeed , @xmath446\\[-8pt ] & = & e \oint_\gamma{\mathbf{p } } [ ( { { \nabla}{^*}}a_t ) u_0 \circ a_t ] \cdot dl = \oint_\gamma u_t \cdot dl,\nonumber\end{aligned}\ ] ] where the first equality follows by definition of line integrals , the second because the line integral of gradients along closed curves is @xmath11 and the last by fubini and ( [ eqnaveragedwebber ] ) . equation ( [ eqnnscirculation ] ) does not make sense in the presence of boundaries , as the curves one integrates over will no longer be rectifiable ! in the presence of boundaries , there are certain obstructions to making this work .
let @xmath48 , @xmath96 , @xmath117 be as in the statement of theorem [ thmslnsnoslip ] .
we extend @xmath117 to the parabolic boundary @xmath381)$ ] by defining @xmath447 for @xmath208 .
now we would expect the natural generalization of ( [ eqnnscirculation ] ) to be @xmath448 we remark again , that though @xmath59 on @xmath65 , we must have a nonzero contribution from trajectories starting on the side of the cylinder @xmath383 $ ] .
however , the integral on the right is not well defined , as the curve @xmath449 is not necessarily rectifiable ! now , as with ertel s theorem , we can try and avoid irregularities from @xmath96 when we transport @xmath443 . indeed ,
almost tautologically we have @xmath450 \cdot dl(x).\ ] ] further , if @xmath439 , the right - hand side of equation ( [ eqncirculationwithboundaries ] ) is exactly the right - hand side of ( [ eqnnscirculation ] ) . of course ,
if we had a backward @xmath20-stopping time @xmath255 such that almost surely @xmath451 on @xmath443 , _ and _ , @xmath255 is lipschitz in space , then following ( [ eqnconscirculationproof ] ) we would certainly have @xmath452 with the random velocity @xmath118 ( not @xmath2 ) on the right .
however , it is not clear any such ( nontrivial ) @xmath255 exist . however ( [ eqncirculationwithboundaries ] ) is essentially a tautological rephrasing of ( [ eqnaveragedwebber ] ) , and does not capture the essence of ( [ eqnnscirculation ] )
. it would be interesting indeed if one can give meaning to the right - hand side of ( [ eqnnscirculationwithboundaries ] ) , and then prove ( [ eqnnscirculationwithboundaries ] ) . at present
, we are unable to carry out this construction .
analogously , for the navier - stokes equations , equation ( [ eqnaveragedwebber ] ) is algebraically equivalent to an _ averaged _ vorticity transport equation and the biot - savart law ( [ eqnbiotsavart ] ) .
thus theorem [ thmslns ] is true if we replace equation ( [ eqnaveragedwebber ] ) with ( [ eqnbiotsavart ] ) and ( [ eqnnsvorttransport ] ) .
if @xmath388 is the solution to the euler equations ( equations ( [ eqnnavierstokes ] ) and ( [ eqnincompressibility ] ) , with @xmath10 ) , then the well known vorticity transport says if @xmath2 is a solution to the navier - stokes equations , it is well known that the vorticity @xmath375 satisfies the equation with boundary conditions and initial data @xmath453 where @xmath2 is a given @xmath269 vector field .
an elementary calculation immediately shows that if @xmath2 is a classical solution to the incompressible navier - stokes equations , then @xmath375 is a solution to ( [ eqnvorticity ] ) .
if boundary conditions are specified on @xmath2 , as is usually the case with the navier - stokes equations , then incompressibility allows us to recover @xmath2 from @xmath402 by solving the poisson equation @xmath454 with the specified boundary condition on @xmath2 . ' '' '' for the euler equations , equation ( [ eqneulerwebber ] ) is _ algebraically _ equivalent to vorticity transport and the biot - savart law @xcite .
now , since @xmath388 is divergence free , taking the curl twice gives the negative laplacian .
inverting this , expresses the velocity field in terms of the vorticity .
this is the biot - savart law : where we impose periodic boundary conditions on @xmath455 .
thus when we say the ( [ eqneulerwebber ] ) is algebraically equivalent to vorticity transport and the biot - savart law , we mean that equivalent to equation ( [ eqneulerxdef ] ) and ' '' '' in this section we obtain a stochastic representation of ( [ eqnvorticity ] ) in @xmath60 with boundary condition ( [ eqnomegaboundary ] ) and initial data ( [ eqnomegainitial ] ) .
now , further postponing the proof of theorem [ ppnvorticityrep ] , we address the relationship between theorem [ ppnvorticityrep ] and the vorticity representation in @xcite .
if @xmath23 is the solution to the sde ( [ eqnxdef ] ) with initial data ( [ eqnx0 ] ) , and for any @xmath5 , @xmath456 is the spatial inverse of @xmath40 , then in the absence of spatial boundaries , @xcite*proposition 2.7 shows that @xmath376 defined by @xmath457 \circ a_t ) \ ] ] solves the vorticity equation ( [ eqnvorticity ] ) with initial data ( [ eqnomegainitial ] ) .
consider first ( [ eqnomegarep ] ) in the case @xmath458 . in this case
@xmath459 identically .
further , by uniqueness of solutions , the processes @xmath460 which solves ( [ eqnxdef ] ) with initial data ( [ eqnx0 ] ) , and the process @xmath461 which solves ( [ eqnxst ] ) ( with @xmath462 ) are indistinguishable .
consequently , the processes @xmath463 and @xmath464 are indistinguishable . finally , since for any @xmath5 , @xmath465 , equation ( [ eqnomegarep ] ) reduces to ( [ eqnomeganoboundariesdef ] ) when @xmath458 .
next consider the case @xmath466 for all @xmath5 . in this case
, we claim that if we essentially ignore all trajectories that exit @xmath60 , equation ( [ eqnomeganoboundariesdef ] ) reduces to ( [ eqnomegarep ] ) . to see this ,
let @xmath467 be the exit time of the process @xmath40 from the domain @xmath60 .
define the ( random ) domain @xmath468 , and @xmath469 be the spatial inverse of @xmath40 on the ( random ) domain @xmath470 .
now the natural reformulation of ( [ eqnomeganoboundariesdef ] ) which ignores the contribution from trajectories that exit @xmath60 would be @xmath471\ ] ] as before , @xmath472 and @xmath473 are indistinguishable , and consequently @xmath474 and @xmath475 are indistinguishable is not defined outside @xmath470 . however defining @xmath456 arbitrarily outside @xmath470 will not change indistinguishability of @xmath476 and @xmath477 since @xmath478 outside @xmath470 . ] .
further one can easily check that @xmath479 now , since @xmath480 , we have @xmath481 where the equality above means that the left - hand side and right - hand side are indistinguishable processes . thus ignoring the contribution from trajectories
that exit reduces ( [ eqnomeganostressdef ] ) to ( [ eqnomegarep ] ) if @xmath480 . before beginning the proof , we remark that by considering a ( regular ) function which extends @xmath2 to all of @xmath80 , and letting @xmath40 be the unique strong solution of the sde ( [ eqnxdef ] ) , we may assume that the flows @xmath40 , @xmath456 are defined on all of @xmath80 .
notice that the statement of the theorem only involves knowledge of @xmath467 and @xmath40 for @xmath482 , and inside @xmath60 these are of course independent of how the function @xmath2 is extended outside @xmath60 .
the proofs of both assertions of the theorem will involve rewriting ( [ eqnomeganostressdef ] ) in terms of @xmath71 and @xmath101 .
note first that if @xmath71 is defined by ( [ eqnast ] ) , and @xmath231 the backward exit time in equation ( [ eqnentrancetimedef ] ) , then by uniqueness of solutions , we see that the processes @xmath40 and @xmath483 are indistinguishable . consequently @xmath456 and @xmath77 are indistinguishable .
further we have @xmath484 . indeed for any @xmath485 , @xmath486 for all @xmath66 , and hence @xmath487 . for the second inclusion , if @xmath488 , we know @xmath489 and hence @xmath485 or @xmath490 .
since @xmath491 , this gives @xmath492 we now provide the proof of theorem [ ppnvorticityrep ] .
prove local existence of all flows in question ( track the dependence on viscosity ) .
sobolev type tricks can be used with the above formulation .
( i d recommend doing this later to see if anything interesting props up . )
note that @xmath493 decays exponentially at a rate that depends only on @xmath60 ( independent of @xmath2 ) .
perhaps this gives some added insight ?
short note showing what we get from the old version if we ignore trajectories at the boundary .
write in terms of @xmath494 , instead of feynman kac type @xmath71 .
the authors would like to thank the referee for suggesting various improvements to the first version of the paper . | arxiv |
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currently , feeding standards for ruminants are based on predictions of total digestible nutrients ( tdn ) , digestible energy ( de ) , metabolizable energy ( me ) , and/or net energy ( ne ) from the in vitro digestibility determinations of organic matter ( ivomd ) and/or chemical composition [ 13 ] . however , there are no energy prediction equations created and validated specifically for goats .
the tabulated energy values in the national research council ( nrc ) for small ruminants are based on measurements of tdn in vivo , most of which were carried out some years ago , in sheep .
therefore , the prediction of tdn is justified to increase the accuracy of the values used in ration formulation and ultimately reduce the risks of energy imbalances in dairy goats .
there are a number of prediction equations in ruminants , from simple regression equations [ 57 ] to equations called multiple or summative [ 8 , 9 ] .
however , it is recommended to evaluate the validity of any prediction equation by taking into account the evaluation of digestibility and chemical composition of local feedstuff . the summative equation developed by weiss et al . and later adopted by the nrc ( 2001 ) of dairy cattle calculated each digestible feed fraction and among these , the potentially digestible ndf ( dndf ) by a subecuacin which is based on the nonlinear relationship between ndf and lignin .
this relationship implies that lignin has a physical effect , besides the chemical effect of protection against digestion of structural carbohydrates , making the ndf indigestible [ 10 , 11 ] .
theoretically , the indigestible ndf is proportional according to the surface law to two - thirds of the surface area represented by the mass of lignin , but inversely proportional to the surface of ndf [ 10 , 12 ] .
however , the prediction of the energy value can be a problem for tropical forages and fibrous feed , due to the high variability in ndf digestibility ( ndfd ) , as well as to the low predictive power that the chemical composition has on ndfd .
this limitation could be overcome in goats if the potentially digestible neutral detergent fiber fraction is determined by methods in situ or in vitro .
adapting dairy goat diets to high levels of fiber is well documented [ 1416 ] . however , the evaluation of ruminal degradability , in situ or in vitro , in forages and byproducts is rare when it comes to goats .
although forage dm and ndf digestibility can be similar for cattle and goats under maintenance ; the equation of nrc ( 2001 ) should not be extrapolated to dairy goats , without prior evaluation , due to known differences that occur between these two species in their level of intake , passage rate , and retention time [ 1618 ] .
the present study was aimed to determine the ruminal degradability of dm and ndf , both in vitro and in situ , on forages and fibrous byproducts using ruminal liquor of goats and second to evaluate the usefulness of ruminal degradability of fiber together with chemical composition to predict the tdn content .
more specifically , different summative models that use digestible ndf fraction to predict tdn are evaluated .
eight samples of forages and 4 byproducts were received at the laboratory of animal nutrition , college of veterinary science ( university lisandro alvarado , venezuela ) , for routine chemical analysis .
samples were selected based on obtaining sufficient variabilidad both in chemical composition and ruminal degradability .
these samples were bermudagrass ( cynodon dactylon ) , stargrass ( cynodon nlemfuensis ) , guinea grass ( panicum maximum ) , king grass ( pennisetum purpureum , cv king grass ) , kikuyu grass ( pennisetum clandestinum ) , brachiaria ( brachiaria decumbens ) , forage sorghum ( sorghum bicolor ) , sugar cane and byproducts ( discarded corn , zea mays ; discarded sorghum , sorghum vulgare ; discarded sesame , sesamum indicum and citrus pulp , citrus sp . ) .
the crude protein content ranged from 5.2 to 10.3% in the byproducts and 4.3 to 17.7% in forages . while ndf content ranged from 25.9 to 77.9% with the highest values in forages and the lowest in byproducts .
meanwhile , the value of ndicp ranged from 1.2 to 5.8% in byproducts , while in forages ranged from 3.2 to 8.8% ( table 1 ) .
the samples were dried at 100c in an oven for 24 h to determine dm and then ground to 1 mm in a wiley mill .
crude protein analysis , adf , and ash were performed according to the procedures of the association of official chemical analysis ( aoac ) .
insoluble crude protein concentrations in adf ( adicp ) and ndf ( ndicp ) were analyzed according to procedures described by licitra et al . .
the nonfiber carbohydrate concentration ( cnf ) was calculated according to the following equation created by nocek and described by van soest et al .
:
( 1)nfc,% = 100[cp%+(ndf%ndicp%)+ee%+ash% ] ,
where nicp = neutral detergent insoluble crude protein , ee = ether extract .
three nonlactating and non - pregnant cross - bred adult goats ( mean body weight = 43 kg ) were fistulated in the rumen for using as donors of ruminal inoculum .
rubber cannulae ( 80 g weight , 35 mm internal diameter ) were fabricated locally . the surgical technique consisted of a straight incision of equal length to the diameter of the cannula , without fasting , standing up during the surgical procedure .
animals received a ration consisting of ad libitum bermudagrass hay ( 7.7% cp , 71.8% ndf , and 51.8% tdn , on dry basis ) and 500 g / day of commercial supplement ( 18.4% cp , 33.2% ndf , and 67.2% tdn , dry basis ) .
one in vitro incubation was performed within each period ( n = 3 ) of 21 days . on day 16 of each period , ruminal fluid was collected from the three goats after 15 days of adaptation to the diet , filtered through four layers of cheesecloth , mixed , and then carried out to the laboratory in a thermo . in vitro true dm digestibility ( ivtdmd ) and in vitro ndf digestibility ( ivndfd ) was determined by the technique described by van soest et al . .
usa ) were performed serially for 48 and 72 hours at 39c , for a total of 104 tubes ( ( twelve feed + blank ) 2 tubes / sample 2 digestibilities 2 times ) , in each period .
blank tubes ( 2 ) contained inoculum but no substrate was placed in each incubation time to estimate the amount of dm and ndf supplied by the inoculum in order to make corrections .
triplicate samples from each feed were placed and weighed ( 3 g ) in nylon bags ( ankom ) adjusted to a size of 10 10 cm .
a total of 36 bags ( twelve feed ) were placed inside six pantyhose ( 6 feed / pantyhose ) . after immersed in distilled water at 39c for 5 min .
, a pantyhose was incubated in the rumen of each animal for 48 h , at day 17 and 19 of each period . after ,
removal from the rumen , the bags were manually washed and dried for 48 hours at 60c . to estimate tdn at maintenance levels ( ndt1x ) ,
the following equations from nrc ( 2001 ) were used :
( 2)tdn1x = dcp+(dfa2.25)+dnfc+dndf7,dcp(forages)=cpexp(1.2(adicpcp)),dcp(concentrates)=cp(1(0.4(adicpcp ) ) ) , dfa=1.00(ee1),dnfc = fap0.98(100(ash+cp+ee + ( ndfndicp ) ) ) ,
where tdn1x = total digestible nutrients at intake levels of maintenance , dcp = digestible cp , dfa = digestible fatty acids , dnfc = digestible nonfiber carbohydrates , fap = adjustment factor due to processing , adicp = acid detergent insoluble crude protein , ndicp = neutral detergent insoluble crude protein ( all expressed on a dry basis ) , and 7 represents endogenous losses of tdn . for all feed ,
fap was 1.0 ( table 2.1 nrc 2001 ) in , while to calculated cp , byproducts were considered as concentrates .
the dndf was calculated either from the ivndfd ( ivdndf ) , isndfd ( isdndf ) , or as a function of the surface law ( lsdndf ) according to models that are explained below.(a)lsdndf ( dndf calculated based on the law of surface ) : based on the original equations of nrc ( 2001 ) for calculating tdn exclusively from the chemical composition and wherein the dndf is related to lignin concentration using a function based on the law of surface :
( 3)dndf=0.75((ndfndicp)l)(1(l(ndfndicp))0.667).(b)ivdndf ( 100% of dndf calculated from ivndfd ) : this was based on using the technique of in vitro degradability during 48 hours of fermentation to calculate dndf as an alternative manner proposed by nrc ( 2001 ) :
( 4)ivdndf=1.00(ivndfd100)ndf,%.(c)0.75ivdndf ( 75% of dndf calculated from ivndfd ) : it was based on the computation of the dndf using the technique of in vitro degradability for 48 hours of fermentation but multiplying by 0.75 ( 0.75ivdndf ) , equivalent to the digestibility of potentially digestible ndf fraction according to the original equation of nrc ( 2001 ) :
( 5)0.75ivdndf=0.75((ivndfd100)ndf,%).(d)isdndf ( 100% of dndf calculated from isndfd ) , calculation of dndf was based on in situ degradability of ndf during 48 hours of fermentation , thus
( 6)isdndf = 1.00(isndfd100)ndf,%.(e)rocha - junior ( dndf calculated as rocha - junior ) : tdn was calculated using the nrc model modified in brazil by rocha - junior et al . where dndf equation was adjusted by nonlinear regression between observed and calculated values from subecuacin of nrc ( 2001 ) . the adjusted coefficient for dndf is given by the following equation :
( 7)adjusted dndf=0.6232((ndfndicp)l)(1(l(ndfndicp))1.2258 ) .
lsdndf ( dndf calculated based on the law of surface ) : based on the original equations of nrc ( 2001 ) for calculating tdn exclusively from the chemical composition and wherein the dndf is related to lignin concentration using a function based on the law of surface :
( 3)dndf=0.75((ndfndicp)l)(1(l(ndfndicp))0.667 ) .
ivdndf ( 100% of dndf calculated from ivndfd ) : this was based on using the technique of in vitro degradability during 48 hours of fermentation to calculate dndf as an alternative manner proposed by nrc ( 2001 ) :
( 4)ivdndf=1.00(ivndfd100)ndf,% . 0.75ivdndf
( 75% of dndf calculated from ivndfd ) : it was based on the computation of the dndf using the technique of in vitro degradability for 48 hours of fermentation but multiplying by 0.75 ( 0.75ivdndf ) , equivalent to the digestibility of potentially digestible ndf fraction according to the original equation of nrc ( 2001 ) :
( 5)0.75ivdndf=0.75((ivndfd100)ndf,% ) .
isdndf ( 100% of dndf calculated from isndfd ) , calculation of dndf was based on in situ degradability of ndf during 48 hours of fermentation , thus
( 6)isdndf = 1.00(isndfd100)ndf,% .
rocha - junior ( dndf calculated as rocha - junior ) : tdn was calculated using the nrc model modified in brazil by rocha - junior et al . where dndf equation was adjusted by nonlinear regression between observed and calculated values from subecuacin of nrc ( 2001 ) .
the adjusted coefficient for dndf is given by the following equation :
( 7)adjusted dndf=0.6232((ndfndicp)l)(1(l(ndfndicp))1.2258 ) .
the rest of the equations to calculate tdn1x were similar to nrc ( 2001 ) .
the study was analyzed as two different experiments ( one in vitro and one in situ ) with three replications for each . in the in vitro experiment ,
degradability ( 48 or 72 h ) of dm or ndf ( yijklm ) of each feed ( a ) within each repetition ( r = 3 ) was analyzed according to the following model :
( 8)yijk = m+ai+rj+arij+eijk . in the in situ experiment ,
degradability of dm or ndf at 48 h ( yijklm ) for each feed ( a ) within each repeat ( r = 3 ) was arranged by goat ( c = 3 ) , according to following model :
( 9)yijklm = m+ai+rj+ck+arij+arcijk+eijkm .
averages for ivtdmd , ivndfd , and isndfd were compared using the method of minimum significant differences ( p < 0.05 ) .
the evaluation of the accuracy of the model ( summative equation ) to estimate tdn was performed using the coefficient of determination ( r ) of the linear regression of the predicted values of ndt for the model and observed values of ivtdmd , using proc reg in sas .
we chose this relationship ( tdn and ivtdmd ) to evaluate different summative equations for tdn , because in forages , the ivtdmd has been an acceptable predictor ( r = 0.90 ) of the in vivo digestibility of dm in sheep .
moreover , there are no distinct differences between sheep and goats , as for passage rate , retention time , and digestibility , when they are fed at maintenance conditions [ 28 , 29 ] .
in vitro true dry matter degradability and in situ dry matter degradabilityvalues of ivtdmd at 48 and 72 h of incubation are shown in table 2 , whereas isdmd at 48 h are shown in table 3 . with the exception of extensive degradation of ms in citrus pulp ,
the values of dm degradability were higher , intermediate , and lower for 72 h ivtdmd , and 48 h isdmd , 48 h ivtdmd , respectively .
dvivms values were higher at 72 h , up to 15% , to those found at 48 h. in forages , the ivtdmd at 48 h ranged from 51.4 to 80.8% , with the lowest value for brachiaria and the highest for the stargrass at 20 days of age ( p < 0.05 ) .
however , this study was not specifically designed to compare the ruminal degradability among different forage species . in byproducts ,
ivtdmd at 48 h had the range of 68.1 to 77.4% , with the highest value for discarded corn .
the chemical composition and ivtdmd of bermudagrass were consistent with those reported by other researchers .
the results suggest that those forages with higher cp and lower ndf concentration , as was the case of guinea grass and stargrass , can be digested with greater efficiency by goats compared to bermudagrass .
therefore , the replacement of commercial bermuda hay , main source of forage for dairy goats in venezuela , by other forage substitutes with greater dm degradability would maximize milk production in confined systems .
the isdmd at 48 h was highly related to ivtdmd at 48 h ( r = 0.92 ) but with values up to 20% lower .
therefore , these results suggest that values of isdmd at 48 h may underestimate in vivo dm digestibility .
the values of ivndfd at 48 and 72 h of incubation are shown in table 2 .
an in vitro incubation period of 48 h may be appropriate to approach the in vivo digestibility values of ndf for dairy goats , because ruminal retention time for 10 hays of perennial grasses , including bermuda , varied in the range of 24.9 to 53.3 h in goats under maintenance conditions . in the present study , ivndfd at 48 h ranged from 36.9 to 72.8% for forages with the highest value for stargrass and the lowest for brachiaria , which explains the observed ivtdmd results .
thus , the lower ndf digestibility values observed were those forages with lower cp and higher adicp contents ; suggesting that microbial digestion of ndf was limited by the low availability of fermentable n. in goats , in vivo ndf digestibility of grass tends to reach values close to 70% when the cp content is 15% but only 60% or less when
evaluated , the ivndfd had the range from 4.8 to 80.5% , with the lowest values for discarded sesame and discarded sorghum .
the possible causes of high ndf indigestibility for discarded sesame may be associated with high fat and cutin contents [ 4 , 11 ] . in general , the ivndfd values at 48 h ( table 3 ) were lower than the values of isndfd at 48 h , particularly for sesame discarded and citrus pulp ; however , they were highly correlated .
thus , ivndfd explained 94% of the variability in isndfd values ( figure 1 ) . in cattle , spanghero et al
. found a similar relationship , but on the contrary , the ivndfd values were on average 19% higher than the effective in situ degradability of ndf .
robinson et al . also reported higher ivndfd than isndfd values at 48 h .
some researchers have used ivtdmd or ivomd values to calculate the values of tdn in forages and supplements when it comes to cattle [ 38 , 39 ] .
the method of tilley and terry as well as that of ivtdmd of van soest et al .
that replaces the 48 hours of pepsin incubation with extraction on neutral - detergent solution has a high correlation with the in vivo dm digestibility under maintenance conditions [ 27 , 41 ] .
regression parameters between the predicted and observed values were calculated by using ivtdmd 48 h as the accepted observed values ( table 5 ) . in this study ,
tdn values predicted , both by the original equation of nrc dairy cattle , based exclusively on chemical composition ( lsdndf ) , as well as by the modified model of rocha - junior et al .
, were less successful than those predicted by the equations that incorporate dndf determined by either in vitro ( ivndfd ) or in situ ( isndfd ) digestibility .
conversely , magalhes et al . found that models based on dndf determined in vitro or in situ underestimated me values for cattle when compared to the original nrc model based on chemical composition . the nrc model to calculate tdn ( lsdndf )
is based on the calculation of dndf as a function of the surface law . while lignin raised to 0.66 ( according to the law of surface ) can explain most linear effects that l and fnd have in dndf , this does not include all possible determinants of dndf .
the 0.85 exponent instead of 0.66 can improve the prediction accuracy of the ndf indigestible fraction from lignin content [ 2 , 13 ] .
therefore in tropical feed , the restrictive effect of lignin in ndf degradation is less intense than that proposed by the law of surface .
advantageously , the in vitro fermentation can include the impact of factors other than lignin on ruminal fiber degradation , for example , effects of nonstructural carbohydrate , fat , silica , or cutin [ 11 , 44 ] .
furthermore , it is difficult to get accurate values of lignin by gravimetric analyses , since lignin values varies depending on the analytical method used .
the nrc ( 2001 ) suggests using ivdndf values to replace the use of lignin in the calculation of tdn . similarly , shaver used ivdndf in a summative equation to calculate the enl value corn ( zea mays ) silage . using bovine rumen fluid , lundberg et al .
compared the values of predicted tdn based on ivdndf versus in vitro digestible organic matter ( ivdom ) values as acceptable predictors of in vivo om digestibility in cattle . in that study , ivdndf explained 98% of the observed variability in ivdom values of corn silage .
the in situ degradability technique for determining dndf has also been used in the calculation of tdn and other energy systems values for dairy cows .
the results of the present study also suggest that the 0.75 coefficient used for dndf in the nrc equation is inappropriate as noted by several researchers [ 12 , 17 ] .
similarly , the adjusted coefficients for dndf according rocha - junior et al . were inappropriate . by definition
, tdn corresponds to ingestion levels of maintenance ( ndt1x ) but sutton and alderman indicate that high - producing lactating goats can reach intakes equivalent to 3 to 4 times maintenance needs .
therefore , both the digestibility and tdn value of the diet is reduced . in dairy cows ,
the digestibility of good quality diets is reduced by approximately 8% when the dm intake levels reach up to three times the maintenance needs .
therefore , the values of tdn in lactating goats , with intakes of up to 3 times the maintenance level ( ndt3x ) , can be estimated in mixed diets following the nrc procedure for dairy cows as follows . if tdn1x < 60% : tdn3x = tdn1x
if tdn1x > 60% : tdn3x = tdn1x ( 0.18tdn1x 10.3)2 . if tdn1x < 60% : tdn3x = tdn1x if tdn1x > 60% : tdn3x = tdn1x ( 0.18tdn1x 10.3)2 . in turn
, the concentration of me at production levels ( 3 times the maintenance level ) could be calculated using the following standard equations :
( 10)me3x , mcal / kg=0.036tdn3x .
table 6 shows the conversion of tdn1x values , calculated using ivdndf into me values at production levels .
in general , values of ivtdmd at 48 h were higher than isdmd , except for citrus pulp . in forages ,
ivtdmd had a rank ( 51.4 to 80.8% ) greater than in byproducts ( 68.1 to 94.9% ) .
values for isndfd and ivndfd at 48 h were highly correlated ( r = 0.94 ) .
the tdn values predicted by the nrc model , exclusively based on chemical composition , explained only 41% of the observed variability in ivtdmd values ; therefore , they were less successful than those predicted by models incorporating dndf determined by either in vitro or in situ digestibility . in vitro ndf digestibility
however , the more accurate model was that where the value of dndf is used with a coefficient equal to 1 . | pubmed |
mitochondria are dynamic and pleomorphic organelles , composed of a smooth outer membrane surrounding an inner membrane of significantly larger surface area that , in turn , surrounds a protein - rich core , the matrix .
they contain 2 to 10 molecules of dna , the mitochondrial dna ( mtdna ) .
their number per cell ranges from zero in erythrocytes to ten thousands in striated muscle cells .
their main function is to support aerobic respiration and to provide energy as adenosine triphosphate ( atp ) , by means of the electron transport chain ( etc ) .
the etc is needed for oxidative phosphorilation ( which provides the cell with the most efficient energetic outcome in terms of atp production ) , and consists of four multimeric protein complexes located in the inner mitochondrial membrane .
the etc also requires cytocrome c ( cyt c ) and a small electron carrier , coenzyme q10 ( coq10 , or ubiquinone ) .
electrons are transported along the complexes to molecular oxygen ( o2 ) , finally producing water . at the same time , protons are pumped across the mitochondrial inner membrane , from the matrix to the intermembrane space , by complexes i , iii , and iv .
atp is produced by the influx of these protons back through the complex v , or atp synthase ( the rotary motor ) .
this metabolic pathway is under control of both nuclear ( ndna ) and mitochondrial genomes [ 1 , 3 ] .
other functions concern mediation of cell death by apoptosis , heat production by decoupling of the oxidative phosphorylation , translation and transcription of mitochondrial genes . in mitochondria ,
parts of some metabolic processes take place , such as -oxidation , citrate acid cycle , degradation of aminoacids , haem biosynthesis , steroid metabolism , uric acid cycle , and others .
the mtdna is a 16.5-kb circular minichromosome built up of complementary h- and l - strands .
the mitochondrial genome contains 37 genes , 13 of which encode for subunits of etc complexes , 22 for transfer rnas ( trnas ) , and two for ribosomal rnas ( rrnas ) .
the 13 mtdna - encoded polypeptides are part of the respiratory system and are assembled together with nuclear - encoded subunits .
seven of them belong to complex i or nadh dehydrogenase , nadh : ubiquinone oxidoreductase ( nd1 , nd2 , nd3 , nd4 , nd4l , nd5 , nd6 ) , one to complex iii or ubiquinol : ferricytochrome c - oxidoreductase , three to complex iv or cyt c oxidase ( cox i , cox ii , and cox iii ) and two to complex v or atp synthase ( atpase6 and atpase8 ) .
the remaining mitochondrial proteins , including all the subunits of complex ii , are encoded by ndna .
mtdna is not protected by histones , its mutation rate is 10 times higher than that of ndna , and it does not undergo recombination during meiosis . the mitochondrial genome is maternally inherited .
mitochondrial diseases ( md ) are a group of disorders caused by impairment of the mitochondrial etc .
the genetic classification of md distinguishes disorders due to defects in mtdna from those due to defects in ndna .
mtdna mutations are characterized by some peculiarities compared to ndna mutations , and can occur spontaneously or be inherited from the mother .
mtdna mutations are classified as either large - scale rearrangements ( partial deletions or duplications ) , usually sporadic , or point mutations , which are usually maternally inherited , and concern genes responsible for protein synthesis ( rrnas or trnas ) , or genes encoding subunits of the etc .
the phenotypic expression of mtdna mutations depends on the affected gene , its tissue distribution , and the different dependency of different organs and tissues on the mitochondrial energy supply .
if the load of mutant mitochondrial genomes exceeds a certain amount in a given tissue , the effect of the mutation can be no longer compensated by wild - type mtdna ( threshold effect ) .
organs and tissues that predominantly rely on mitochondrial aerobic energy production , such as visual and auditory pathways , heart , central nervous system ( cns ) , and skeletal muscle , are more frequently involved .
phenotype expression often require the influence of various factors , such as nuclear modifier genes , environmental influence factors , or the presence of mtdna polymorphisms .
mitochondria play a central role in apoptotic cell death , and mitochondrial dysfunction appears to have a certain impact on the pathogenesis of several neurodegenerative diseases , such as alzheimer 's disease ( ad ) . in the past twenty years research has been directed at clarifying the involvement of mitochondria and defects in mitochondrial oxidative phosphorylation in late - onset neurodegenerative disorders .
morphological , biochemical , and genetic abnormalities of the mitochondria in several ad tissues have been reported .
impaired mitochondrial respiration , particularly cox ( complex v ) deficiency , has been observed in brain , platelets , and fibroblasts of ad patients .
could explain many of the biochemical , genetic , and pathological features of sporadic ad .
somatic mutations in mtdna could cause energy failure , increased oxidative stress , and accumulation of a , which in a vicious cycle reinforces mtdna damage and oxidative stress ( figure 1 ) . despite the evidence of mitochondrial dysfunction in ad , and despite the cognitive impairment
frequently reported in patients with mtdna mutation , no causative mutations in the mtdna have been linked to ad so far .
indeed , results of studies on the role of mtdna haplogroups in ad are controversial . here
, we discuss the role of the mitochondria , and especially of the mtdna , in the cascade of events leading to ad , after briefly reviewing the cognitive alterations present in patients harboring mtdna mutations .
one of the most frequently affected organs in mitochondrial diseases , in addition to the skeletal muscle , is cns , with a lot of different possible manifestations , such as epilepsy , stroke - like episodes , ataxia , spasticity , and dementia .
md associated with cognitive impairment include mitochondrial encephalomyopathy , lactic acidosis , and stroke - like episodes syndrome ( melas ) , kearns - sayre syndrome ( kss ) , leigh syndrome , and many others . at the onset , cognitive impairment may be partial , appearing with specific cognitive deficits , particularly in abstract reasoning , verbal memory , visual memory , language ( naming and fluency ) , executive or constructive functions , calculation , attention ( attention deficit disorder and decreased attention span ) , or visuospatial functions [ 912 ] .
cognitive functions and intellectual abilities may decline from initially focal cognitive impairment to dementia [ 917 ] .
dementia is defined as chronic and disabling memory impairment , with involvement of at least one other cognitive function , resulting in reduced competence to judge or to reflect .
cognitive functions that can be involved are memory for verbal and nonverbal materials , language , orientation , constructional abilities , abstract thinking , problem solving , or praxis .
changes in personality are often associated with dementia , and also behavioral alteration may occur during the evolution of the cognitive decline .
diagnosis of mitochondrial dementia requires neuropsychological testing , cerebrospinal fluid investigations , visually - evoked potentials , eeg , brain ct and mri scans , phosphorus or proton - magnetic resonance spectroscopy , spect , or positron emission tomography with fluorine 18-labeled deoxyglucose ( fdg - pet ) .
high - resolution regional cerebral blood flow obtained through tc-99 m ethylcysteinate dimer spect can better localize and assess the extent of brain damage in patients with suspected md and only subtle changes on mri .
recently , reduced regional glucose metabolism has been observed in the frontotemporal region of two siblings with mtdna multiple deletions and a mitochondrial neurogastrointestinal encephalomyopathy ( mngie)-like disorder , by means of fdg - pet .
the discrepancy between the absence of clinical and mri signs of cerebral involvement and the substantial impairment of glucose metabolism could reflect a chronic subclinical encephalopathy . in conclusion , pathogenic mutations in the mtdna have been found in patients with cognitive disorders .
however , little is known about whether pathogenic mtdna mutations and the resultant mitochondrial respiration deficiencies contribute to the expression of cognitive alterations , such as impairments of learning and memory .
recently tanaka et al . used two groups of transmitochondrial mice ( mito - mice ) with heteroplasmy for wild - type and pathogenically deleted mtdna .
these authors observed that deleted mtdna load did not affect learning and temporal memory , whereas the
high group showed severe impairment of retention and consolidation of memory trace . in the visual cortex and dentate gyrus of these mice
therefore , high loads of pathogenically mutated mtdna may be responsible for cox deficiency and for the preferential impairment of remote memory . despite the cognitive impairment frequently reported in md patients , and despite the high prevalence of ad , ad patients harbouring a mtdna mutations
it is clinically characterized by impairment of cognitive functions and changes in behavior and personality .
ad is associated with progressive and irreversible loss of neurons , particularly in the cortex and hippocampus , extracellular senile plaques containing aggregated a , and neurofibrillary tangles composed of the hyperphosphorylated form of the microtubular protein tau .
the a cascade hypothesis remains the main pathogenetic model of familial ad with mutation in amyloid precursor protein ( app ) and presenilin genes , but its role in the majority of sporadic ad cases without mutations in these genes ( accounting for the great majority of ad cases ) is still unclear . the a peptide is the result of a regulated intramembrane proteolysis of app by the sequential cleavage by - and -secretases [ 25 , 26 ] .
a plaques might be the cause of toxicity , loss of synapses , and ultimately neuronal death [ 27 , 28 ] .
several lines of evidence suggest that a exerts its toxicity intracellularly [ 29 , 30 ] , pointing to a role of the mitochondrion in this process .
mitochondrial dysfunction is a prominent feature of ad , but the underlying mechanism is still unclear .
mitochondrial a accumulation impairs neuronal function contributing to cellular dysfunction in a transgenic app mouse model . during the early stages of ad a reduced number of mitochondria in neurons has been reported , as well as decreased brain glucose metabolism .
moreover , reduced activities of both tricarboxylic acid cycle enzymes and cox [ 36 , 37 ] have been reported . because a is not produced locally in the mitochondrion [ 38 , 39 ] , hansson petersen et al
the most important system providing the translocation of a precursors with mitochondrial target signals involves the translocase of the outer membrane ( tom ) and the translocase of the inner membrane ( tim ) .
targeting signals are first recognized by tom receptors ( tom20 , tom22 , and tom70 ) , and then traslocated by tom40 , the general import pore of tom [ 41 , 42 ] .
subsequently , a precursors are directed to the matrix via the tim23 complex . in isolated rat mitochondria has been observed that a is imported into mitochondria via the tom complex .
preincubating mitochondria with antibodies directed toward tom20 , tom40 , or tom70 clearly decreased the import of a .
the import into mitochondria was insensitive to the mitochondrial membrane potential dissipater valinomycin , indicating that it is independent of the mitochondrial membrane potential .
immunoelectron microscopy showed a consistent localization pattern of a to the mitochondrial cristae ; the integration of a into the inner mitochondrial membrane , site of etc , is in line with results showing that a may cause inhibition of complex iv .
a similar labelling pattern was obtained with immunoelectron microscopic analysis of human brain biopsies .
confocal and electron microscopic analysis demonstrated that about 40% of neurons overexpressing wild type app and more than 80% of cells overexpressing mutant app displayed alterations in mitochondrial morphology and distribution .
specifically , mitochondria exhibited a fragmented structure and an abnormal distribution accumulating around the perinuclear area .
these mitochondrial changes were abolished by treatment with -site app - cleaving enzyme inhibitor iv . from a functional perspective ,
app overexpression affected mitochondria at multiple levels , including elevating reactive oxygen species ( ros ) levels , decreasing mitochondrial membrane potential , and reducing atp production , and also caused neuronal dysfunction .
photoconvertible fluorescence labelling technique showed that mitochondria in app - overexpressing cells were able to fuse , but slower than controls . at the molecular level , dynamin - like protein 1 ( dlp1 )
was significantly decreased , as well as opa1 , the major organizer of the mitochondrial inner membrane , required for the maintenance of cristae integrity .
overexpression of dlp1 in these cells rescued the abnormal mitochondrial distribution and differentiation deficiency , but failed to rescue mitochondrial fragmentation and functional parameters . on the other hand , overexpression of opa1
overexpression of app or a-derived diffusible ligand treatment also led to mitochondrial fragmentation and reduced mitochondrial coverage in neuronal processes .
therefore app overexpression , through a production , may perturb mitochondrial dynamics , impacting mitochondrial function and neuronal function .
these findings suggest that abnormal mitochondrial dynamics could be involved in mitochondrial and neuronal dysfunctions in ad patients , according with the decreased number but increased size of mitochondria reported in vulnerable neurons of human ad brain specimens .
to explain the origin of the bioenergetic deficits in ad , cell depleted from endogenous mtdna have been repopulated with mitochondria ( with their own mtdna ) from ad patients and normal controls ( cytoplasmic hybrid cells , or cybrids ) .
this application showed that the enzymatic defects can be transferred to mtdna - deficient cells , thus implicating mtdna mutations .
ad cybrids showed also overproduction of amyloidogenic a peptides ( 140 , 142 ) , accumulation of amyloid deposits similar to amyloid plaques seen in ad brains , as well as major vulnerability to apoptosis .
although not all studies with cybrid cells detected differences between ad patients and controls , the majority of these demonstrated similar morphological and biochemical phenotype between cybrid cells and cerebral tissue in sporadic ad , supporting the hypothesis that mtdna changes might be involved in the mitochondrial impairment of sporadic ad . for a complete discussion , see our recent review . therefore , it has been speculated that aging - related mtdna mutations may result in impaired energy production , increased amount of ros , and cell damage , and subsequently neurodegeneration and ad pathology ( see figure 1 ) . in ad brains ,
endothelial cells of vessels with atherosclerotic lesions and nearby perivascular cells have been reported to contain clusters of normal and deleted mitochondrial genomes .
chronic hypoperfusion may be an element involved in the pathogenesis of ad , triggering oxidative stress and mitochondrial dysfunction .
aging and cerebrovascular comorbidity could impair cerebral perfusion , subsequently inducing brain capillary degeneration , and suboptimal delivery of energy substrates to neuronal tissue .
mitochondrial dysfunction , oxidative stress , decreased atp production and increased calcium entry , abnormal protein synthesis , cell ionic pump deficiency , signal transduction defects , and neurotransmission failure resulting from hypoperfusion may contribute to the progressive cognitive decline characteristic of ad and neurodegeneration [ 50 , 53 ] . in endothelial and perivascular cells of human ad brain microvessels have been detected clusters of mitochondria - derived lysosomes and necrotic changes .
ultrastructural evaluations with probes for human normal and 5-kb deleted mtdna showed that in ad brain microvessels , but not in age - matched control brains , were present mtdna deletions .
immunocytochemical analysis demonstrated that the mitochondrial abnormalities in neurons were associated with increased markers of lipid peroxidation .
an hypothetical sequence of events for ad progression may go from oxidative damage ( protein nitration , lipid peroxidation , ndna and mtdna damage , rna oxidation ) to the formation of preneurofibrillary tangles inducing irreversible neuronal damage . increased levels of 8-hydroxyguanosine ( 8-ohg ) , index of mtdna damage , have been reported in the hippocampus and cerebral neocortex in ad , but not in the cerebellum .
interestingly , levels of 8-ohg were inversely related to the amount of intracellular oligomeric forms of a , suggesting a complex interplay between ros and a .
mtdna resulted to have approximately 10-fold higher levels of oxidized bases than ndna , that guanine is the most vulnerable base to dna damage , and that multiple oxidized bases are significantly higher in ad brain specimens in comparison to controls .
oxidative dna damage is repaired either in nuclei and in mitochondria by the dna base excision repair ( ber ) process .
mitochondria have an independent ber machinery , characterized by a sequence of polymerase and ligase , whose reduction in functionality has been reported in brains of patients with ad , resulting in elevated levels of unrepaired mtdna .
common deletion has been reported to be elevated about 15-fold in ad brains .
more recently , mtdna control region ( cr ) mutations have been reported as more frequent in ad brains than in controls .
in particular , two heteroplasmic changes were specific for ad brains ( t414c and t477c ) .
65% of the ad brains harboured the t414 g mutation , whereas this mutation was absent from in all control samples .
ad brains had an average 63% increase in heteroplasmic mtdna cr mutations ( and 130% increase in patients older than 80 years ) .
the ad brains showed also an average 50% reduction in mtdna content and in the nd6 complex i transcript , which may likely reduce the mitochondrial oxidative phosphorylation . on the other hand , another study involving a larger number of tissue samples did not identify the t414c mutation in ad brains .
sequenced the complete coding regions of 145 autoptic ad brain samples and 128 normal controls , and observed that for both synonymous and nonsilent changes the overall numbers of nucleotide substitutions were the same for the ad and control sequences .
the relatively rare familiar forms of ad are associated with mutation in app and presenilin genes .
the causes of sporadic form of ad , that constitutes the great majority of the cases , are still unknown .
the major risk factor in sporadic ad is recognized in the allele 4 of apolipoprotein e ( apoe4 ) .
polymorphisms in mtdna may cause differences in the encoded proteins , resulting in changes in respiratory chain activity and increasing free radicals .
this may result in a predisposition , for an individual or a population with the same polymorphism , to develop early apoptotic processes , accumulation of mitochondrial damages , and somatic dna mutations . in mice ,
the basal branching structure of mtdna variation in most parts of the world is now well understood .
african haplogroups fall into seven major families ( l0 , l1 , l2 , l3 , l4 , l5 , l6 ) .
about 85 thousand years ago , probably in the horn of africa , the root of haplogroup l3 gave rise to many descendant haplogroups ( probably because of some colonization event or local population growth ) .
non - african mtdna descend from l3 and belong either to the m or n superclades . in the indian subcontinent and in southeast asia there is the richest basal variation in the three originated by haplogroups m and n , and this suggests a rapid colonization along the southern coast of asia , about 60 thousand years ago .
the expansions northwords occurred later , about 45 thousand years ago . over 30 subclades of the haplogroup m
haplogroups a , b , c , d , and x have been found in the americas , coming mainly from asia . in europeans and near easterners ( who share a rather recent common ancestor ) nine different mitochondrial haplogroups have been identified ( h , i , j , k , t , u , v , w , x ) . the variation in the basal european mtdna haplogroups dates to about 45000 years ago .
complete mtdna sequencing and the increasing number of samples analyzed allow subdividing haplogroups in smaller groups identifying younger branches on the mtdna evolution tree .
therefore , if they can be associated with longevity , the same or other haplogroups could be involved in neurodegeneration .
haplogroup distribution has been reported to differ between normal controls and patients affected with some neurodegenerative diseases , such as parkinson 's disease . because of the sensitivity of mtdna as a marker for human migration patterns , all studies of mtdna haplogroup association with disease must pay rigorous attention to the ethnic matching of cases to controls .
the identification of a possible role for mitochondrial genomic dysfunction in ad , and at the same time the unsuccessful research for mtdna mutations in ad patients , encouraged to study polymorphisms in mtdna of ad patients .
reported that haplogroups t was underrepresented in ad patients , and that haplogroups j overrepresented . in an italian sample of subject , instead , haplogroups k and u had a lower frequency in apolipoprotein ( apo ) e4 carriers , whereas in control subjects this correlation was not present .
therefore , haplogroups k and u may play a role in neutralizing the effect of the major known ad risk factor e4 allele .
van der walt et al . reported that haplogroup u in males was related to a significant increase in risk of developing ad , while in females seemed to be associated to a significant protection .
very recently , maruszak et al . evaluated the involvement of mitochondrial haplogroups , haplogroup clusters ( hv , uk , tj , iwx ) and of two functional mtdna single nucleotide polymorphism ( mtsnps 4216 and 4917 ) in the pathogenesis of ad in the polish population .
these authors observed that hv cluster seemed to be significantly associated with the risk of ad , regardless of the apoe4 status .
the same study reported no evidence for the involvement of haplogroup u , k , j , or t in ad risk .
two studies including only neuropathologically proven cases of ad of european descent indicated that mtdna haplogroups were not associated with ad [ 64 , 76 ] . a study performed in our laboratory evaluated the frequency of the european mtdna haplogroups in a clinically well - defined group of 209 unrelated patients and 191 controls , both with clear tuscan origin , in order to minimize the risk of false associations between gene markers and disease .
the frequency of haplogroups h , i , j , k , t , u , v , w , and x was not significantly different between patient and control groups , without significant difference between genders .
apoe4 allele was significantly more frequent in patients than in controls , and was not associated with any haplogroup .
our data also excluded any association between mtdna haplogroups , age of onset and mean survival .
the etiology of ad is complex , and only a minority of cases appears to be primarily genetic .
changes of the expression of mitochondrial and nuclear genes , encoding parts of cyt c oxidase and nadh dehydrogenase enzyme complexes , may contribute to alterations of oxidative metabolism in ad .
the majority of cybrid studies demonstrated similar morphological and biochemical phenotype between cybrid cells and cerebral tissue in sporadic ad , supporting the hypothesis that mtdna changes might be involved in the mitochondrial impairment of sporadic ad . although morphological , biochemical , and genetic mitochondrial abnormalities have been clearly reported in ad , the role of the mitochondrial genome and of its haplogroups as a risk factor is still controversial . to date
no surely causative mtdna mutations have been discovered in ad patients . also studies attempting to identify mtdna mutations in brains of ad patients obtained controversial results .
the mtdna alterations that cybrid models induce to hypothesize might be due to somatic factors , that is , cronic hypoperfusion and oxidative damage .
mtdna deletions themselves may contribute to aging , dementia , and ad pathology , but the exact mechanism of that is still unclear .
most likely , the mtdna do not play a primary role , and , therefore , it should be involved subsequently ( see figure 1 ) .
indeed , the app stocked in the tom transporters and the altered mitochondrial dynamics seem pivotal , able to cause mitochondrial impairment , respiratory deficiency and oxidative stress
. it will be important to develop a better understanding of the role of oxidative stress and mitochondrial energy metabolism in ad , and its link with the amyloid hypothesis in aging and ad , since it may lead to the development of more effective treatment strategies for this devastating disorder . | pubmed |
Sailor Moon X-overs 1. Part 1
**The Silver Sailor Moon – By DS Wynne **
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**Disclaimer: "Sailor Moon", "Silver Surfer", and other genres belong to their respective owners.**
**Note: This is a semi-fusion, crossover story.**
**Special note: This "universe" combines the BSSM with that of the DC Comics and Marvel Comics worlds (as the main ones).**
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**"Sacrifice"**
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_In a different time and place, a man would be chosen to sacrifice his very identity and existence to prevent the devouring of his homeworld by Galactus, "The Cosmic Destroyer". Norrin Rand, re-made by Galactus, he would become his herald. This herald, known as "The Silver Surfer", would lead his master to other worlds. Only the kindness of a blind woman named Alicia Masters, and Earth woman, and friend to the costumed adventurers "The Fantastic Four", would allow the 'Surfer to reject his programming, and thus become a champion of all sentient beings in the universe._
_But what if Galactus had come to Earth earlier, before Norrin had became the herald of Galactus? What if the Cosmic Destroyer had arrived during the time of the Silver Millennium?_
_Let's find out, shall we?_
Queen Serenity of the Moon Kingdom sat on her throne. Her court advisors had given her the bad news about their "guest".
"Your Highness," Sailor Pluto said, as she stepped forth. "There is very little we can do to stop this 'Galactus' without risking the safety of our people."
Serenity sighed.
"Then, I have no choice but to use the 'Silver Millennium Crystal'."
Oh, no! Princess Serena said, as she overheard her mother and Pluto from behind the throne room. She knew that if her mother the Queen used her crystal, it could mean her death, even though it was one of the few objects in the universe that could defeat Galactus. She had to do something to prevent her mother's death.
"Princess, you shouldn't be here," said a voice.
Serena turned to see her mother's advisor, Luna d' Mus. At the moment, Luna was in her humanoid form.
"I…I'm just worried about the situation with the Cosmic Destroyer," Serena replied.
"Come, let us go to your chambers and wait for your mother's decision."
Serena nodded, as she turned to leave. She was determined to figure out a way out of this situation.
Late that night, Serena rose from her bed. She was dreaming about the death and destruction of her people. She dreamt about how her advisors and protectors would be forced to sacrifice their lives for her. Most importantly, she dreamt that both her mother and her beloved Prince Endymeon of Atlantis would die a horrible death.
"No, there has to be another way," Serena said to herself. "There has to be."
And with that, Princess Serena left her chambers, and took the royal space craft that was moored near the palace. Maybe she could make an appeal to Galactus to seek sustenance elsewhere.
A short time later…
Galactus sat on his throne with amusement. Here was a slip of a girl trying to plead for the lives of her people. He wondered why he didn't just consume her right then and there, since the girl was a living battery of power.
"Please, sir, spare my people!" Serena begged. "Take me for compensation if you must."
Galactus thought for a moment.
"I CONSTANTLY NEED TO FEED ON PLANETS," Galactus boomed. Being 60 feet tall made the entity an imposing figure. "STILL, YOUR ENERGY WILL BE SUFFECIENT ENOUGH TO SPARE YOUR HOMEWORLD."
"Then for sake of my people, I will sacrifice my life."
If Galactus still had a heart, he would have been touched by the girl's willingness to sacrifice her life. Maybe, just maybe she is the one who can redeem him.
"IF YOU SERVE ME, AS MY HERALD, PERHAPS OTHER WORLDS WILL BE SPARED."
Serena thought for a moment.
"I agree to your conditions…sir."
"THEN YOU SHALL BECOME MY HERALD."
Serena found herself floating in the air before Galactus. Galactus then, gently, cupped the Moon Princess in his hands. He then began to link his life force with that of the girl's.
Serena felt her very self being transmogrified. Everything about her was being transformed, as she became one with the Cosmic Destroyer. And when it was over, Serena was transformed into…
…the SILVER SAILOR MOON!
The 'Moon appeared to appear all in shiny silver, including her hair. Her hair, tied in a dumpling style, was like silk. However, instead of flesh and hair, the Moon's "skin" was made out of an alloy of Galactus' choosing. A small crescent moon glowed on her forehead, while a large crescent was etched on the girl's chest, while roses were etched on her forearms. On her back, wings were etched on her skin, giving Serena an elaborate tattoo.
(A/N: Basically, Serena looks like a silver version of a television Emmy.)
Serena's eyes glowed softly, as the 'Moon resigned herself to her fate. Still, with her life force linked with Galactus's, the Cosmic Destroyer doesn't have to feed on planets as often as he usually does.
However, there was one more thing that the Moon Princess had to do…
"Where is she?" Queen Serenity yelled, as she frantically searched for her daughter.
"It's my fault," Luna lamented. "I should have been there for her-"
POP!
Standing before the Queen was the silver form of the Silvery Sailor Scout.
"Mother," the 'Moon said, as she floated down to the queen. "I've come to say good-bye."
"What happened to you?" Serenity asked.
"Galactus will no longer be a threat. You all will be safe."
Sailor Pluto steps forth.
"Princess, you cannot do this. You will be needed in the future."
"Perhaps, but Galactus is a bigger concern. I'm sorry."
And with that, Serena disappeared in a flash of light.
"Serena? Serena!"
For the next five thousand years, the Silver Sailor Moon performed her job as the herald of Galactus well. She saved countless lives, as she scoured the universe looking for planets for her master to consume. She did meet some people from her old home over the years, like the Evolutionary, the Celestials, Hercules of Olympus, Thor of Asgard, , the Justice League, the Avengers, the Fantastic Four, Superman, the Green Lantern Alan Scott and Hal Jordan, Adam Warlock and many others. She has helped these heroes as much as she could, so long as they did not interfere in her missions. In turn, she would be invited to visit Earth. However, Serena was reluctant to go home for a visit, out of a sense of shame and guilt.
Sadly, Serena was unable to prevent the destruction of the Moon Kingdom after all. Queen Serenity, distraught over her missing daughter, was not strong enough to prevent its destruction at the hands of the Negaverse. In effect, her people had died, leaving only the so-called "Blue Side of the Moon" as the only sign that the Moon Kingdom has ever existed.
Sigh, Serena thought, as she admired the view of the pulsars. She was lonely, even though Galactus was her only constant companion.
"Princess Serena…"
Serena blinked, as she stared at the holographic image of Sailor Pluto. Pluto had been watching over Serena for years, until it was time to actively intervene.
"Pluto, it's been a while."
"That it has," Pluto responded. "Princess, you are needed on Earth."
Serena turned away.
"How could I? I'm all alone."
"No, you're not."
Serena looks at Pluto.
"What do you mean?"
"Our people have been reincarnated. And the ones who destroyed them have returned."
Serena thought for a moment.
"Then, I guess I have to return home, then."
"Yes."
And with that, Sailor Pluto's image disappeared.
Serena stood up from her asteroid. Since she has just fed Galactus, then she'll have some time for herself. Perhaps…perhaps she can make amends after all. Thus, the Silver Sailor Moon took off for home.
At the same time, in the netherworld, an old enemy looks his foe through a viewing globe.
So, Scout, Mephisto the Deceiver thought. You decided to pay a visit your old world after all.
Mephisto was an entity from a time when "the Old Gods" roamed the cosmos. In fact, both he and Gaia, the Earth guardian, were members of this illustrious group, having survived the destruction of what would one day become "New Genesis" and "Apocalypse", the homes of "the New Gods". Mephisto has been trying to collect the souls of his victims for years, using various guises to do so. That is, until he ran into the Silvery Sailor Scout. So far, Mephisto has received one defeat after another at the hands of the Moon Princess.
"I think it's time to be a bit more pro-active," Mephisto says with an evil grin. "I would think that my sister Metallia will need my help in resurrecting the supremacy of her Negaverse."
Earth: New York, New York.
Steve Rogers, also known as "Captain America", was working out, when Jervis the Butler informs him that he has a visitor. Steve was shocked as to who that visitor was.
"Moon, I didn't think you would accept the Avengers' invitation to join us," Steve says.
"I am not," Serena replied. "However, I am willing to be at your disposal while I am here on Earth."
"Fair enough. So, what can I do for you?"
Serena asks Steve if he could arrange to have a secret identity during her stay, so that she could best interact with humans.
"Well, that could be arranged, but based upon your appearance-"
FLASH!
Serena now appeared to be a normal looking girl. Her cosmic level powers allowed her to alter her appearance at will.
Steve smiles.
"I'll see what I can do."
A week later, Serena Moonchild arrives at Narita International Airport. It's been arranged that she would live with the Tsukino family as a foreign exchange student from New York.
"Hello!" Ken Tsukino says, as he greeted his guest, along with his wife and son.
"Welcome to Japan!" Ikuko, Ken's wife, exclaims.
Serena smiled. Maybe her mission will be a success after all.
**Tbc? Basically, this is Sailor Moon as "the Silver Surfer", set during the first season of Sailor Moon. Also, who should be Serena's love interest? Remember, even though she is 5000 years old, her experiences with humans are limited (think of her as a mature teenager). Later!**
2. Part 2
**The Silver Sailor Moon2 – By DS Wynne **
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**Disclaimer: None of the characters belongs to me.**
**Note: This is a semi-fusion, alternate crossover story**
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**Part 2**
Juuban District, Tokyo, Japan.
Serena, dressed like a normal middle school student, walked to school. It was a difficult transition for her. She had to act like a human being, which included eating. She had to in order to convince the Tsukino family of her "human-ness". Thank goodness that there was that other aspect of the human condition that she no longer had to deal with.
The herald of Galactus had obtained a human identity, that of "Serena Moonchild" of New York, New York, which made her an American. Of course, it was not difficult in learning the Japanese language. Of course, some aspects of the human condition eluded her, such as cultural awareness. As a cosmic being, Serena is able to learn and accumulate vast sums of knowledge. After all, if she needs to collect a planet for her Master, she rather be prepared for any nasty surprises that lay in store for her.
While pondering her thoughts, on her way to Crossroads Middle School, Serena spied upon a disturbing scene. A small group of Earth children were taunting a helpless Earth cat. The sight reminded her how far behind these lower life-form were at times. Feeling charitable, however, Serena intervened.
"Earth children," Serena began. "I recommend that you cease your…'shenanigans'."
"Oh, yeah?" replied one of the boys. "What are you going to do about it?"
Serena flashed her eyes, revealing that she was more than what she seemed to be.
"Let's get out of here!" the lead boy yelled.
And with that, the boys took off running.
Serena then turned to the helpless animal. She noticed that there was a band-aid taped on its forehead.
"I will heal your injuries, kitten."
However, upon removing the band-aid, a crescent moon mark was revealed.
"L-Luna?" Serena asked.
Suddenly, the mark flashed a bright light. When Serena could see again, the cat had disappeared.
"Hmmm," Serena mused. As soon as she could, she will search for the Lunar cat.
While in deep thought, Serena nearly bumped into a stranger.
"Woah!"
Serena looked up.
"My apologies," Serena said. "Are you well?"
"I'm fine, actually," the man said. "And you?"
Serena performed a quick scan. He appeared to be in near perfect condition of a man in his twenties.
"I am well. Sorry for taking up your time."
And with that, Serena continued on her way to school.
"Hmmm," Bruce Wayne mused, as he saw the girl walk away. For some strange reason, she seemed familiar to him. He'll have to file that thought for later. After all, he's here to make sure that his 'ward' receives enough training to assume his duties as "Robin", the side-kick of the BATMAN.
At any rate, Bruce was on his back to the Nerima District to check on Dick's training. He was a bit nervous about his former sensei's training techniques, but even he knew that Genma Saotome knew his stuff. Once done there, he'll pay a visit to his other sensei Katsuhiko Masaki, a Shinto priest from Okoyama, in southern Japan. Hopefully, he'll further his ward's training there as well.
Later, at school, during lunch…
"We should invite her for lunch," Naru Osaka said to her friend Gurio Umino.
"Why? She's kinda weird you know," Gurio says.
"Well, we should."
And with that, Naru and Gurio go over the Serena, who is sting underneath a lone tree.
"Hi!" Naru says.
Serena looks at the human.
"Would you like to eat lunch with us?"
Serena smiles.
"It would be my pleasure."
After school, Serena went home. Throughout that time, she noticed that she was being followed by Luna, but gave no noticed that she knew of Luna presences. Once she was home, Serena did her required chores, ate dinner, completed her school assignments, helped Sammy Tsukino is his homework, and went to bed. Though Serena does not need sleep to rest, it did give her a chance to ponder her thoughts. That's when she noticed that Luna was on her window sill.
"Hello, Luna," Serena said, without turning her head. "What can I do for you?"
"How did you know who I am?" Luna replied, as she got on Serena.
"That's because I remember you from the Moon Kingdom, old friend."
"We were…friends?"
"Yes. Though, you did tend to run interference between me and Mother."
"Oh."
"So, what brings you by this evening?"
"Um…oh yes! I believe that the enemies of the Moon Kingdom have returned."
Serena frowned.
"Explain."
Luna tells Serena about people who are loosing their life-forces whenever they are purchasing jewelry from a shop near there.
"You must do something about it, Serena. The power of the Moon Kingdom is within you. I sense it."
"I'm sure. After all, I AM the Moon Princess."
"YOU'RE THE MOON PRINCESS!" Luna cried.
Serena winks with a smile.
With that, Serena rose from her bed. With a flash of light, Serena becomes THE SILVER SAILOR MOON!
"Come," Moon says, as she taps one of her metallic left shoulders.
Nervously, Luna hops on Moon's left shoulder, just as Moon leaped out of the window.
The SS Moon flew in the air effortlessly.
"I didn't know you can fly, Serena," Luna said.
"There's a lot I can do, old friend."
Meanwhile, the dark knight himself BATMAN hopped after the herald. There was some irresistible force compelling him to keep an eye on her. He was concerned when he realized that "Serena" was really a herald of Galactus. Though the Silver Sailor Moon has been an ally of Earth's greatest heroes, she was still a dangerous alien entity.
Moon landed in front of the jewelry shop in question. Her spectrum analysis of the place indicated to her that her classmate Naru was being chased by zombie-like people.
"Wait here while I deal with this," Moon replies.
Inside, Naru was being chased.
"Yahhh!"
"It will not matter for you too much longer!" said the demon, also called a youma. It has disguised itself as Naru's mother in order to use the shop to drain people of life energy.
"HOLD!"
Everyone turned to Moon, as she floated in the air.
"What are you supposed to be? A hood ornament?" said the youma.
"I am the Silver Sailor Moon! I am the herald of Galactus, and the champion of Love and Justice. In the name of the Moon, I will punish you!"
"Yeah, right! Fools, go get her!"
The zombies tried to swarm Moon. However, with a mere thought, Moon neutralizes them by over-loading their synaptic patterns.
"Will you surrender peacefully?"
"No!"
And with that the youma fired off dark energy. It lanced Moon's skin, causing a cut.
"Ouch," Moon replied. She had forgotten that magical attacks can cause her some damage. Just as the youma tried to perform a leap attack-
FLICK!
A rose intercepted the youma, causing her to fall.
Moon looks up to see a man dressed as a bat. Then, the man nods, and disappears.
Moon then turned her attention back to the youma. With her right hand in a gun formation, Moon used her cosmically enhanced power to neutralize her foe, permanently.
"Dusted," Moon said simply.
Meanwhile, Batman was sitting on top of the Tokyo Tower. He was perplexed as to why a rose appeared in his hand, and that it had enough effectiveness in stopping the youma. He might have to stay in town a lot longer in order to get his answers.
**Tbc.**
3. Part 3
**The Silver Sailor Moon3 – By DS Wynne **
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**Disclaimer: "Sailor Moon", "Silver Surfer" and other genres belong to their respective owners.**
**Note: This is a semi-alternate fusion story.**
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**Part 3**
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"Serena! Breakfast!" Irene Tsukino yells.
Serena Moonchild leaves her room, calmly walks down the stairs, and walks into the kitchen. She sits down, and waits for breakfast.
"So, how is school?" Ken Tsukino asks, as he sits down his morning newspaper.
"I am enjoying it," Serena replies. "I find that the school children make an interesting case study."
"…"
"Well, I'm glad SOMEONE likes school," Sammy Tsukino interjects.
After Serena and Sammy leaves…
"Do you find our houseguest…unusual?" Irene asks, while washing the dishes.
"She seems so…mature for her age."
"I know. We have to get her to loosen up."
At school, Serena is paying attention, while taking notes in class. She could hear whispers of derision, calling her a "goody-goody". On one hand, they were beneath her; on another, her loneliness was becoming more palatable.
Though, that might change.
During lunch…
"Is…is this seat taking?"
Serena looks up. Amy Anderson was another new student at Crossroads Middle School, and, like Serena, she was seen as an odd-ball.
"Hey, you can sit here," Molly Baker says, as she and her friend Melvin turn to notices Amy.
Melvin smirked, seeing Amy as a rival of sorts in the "brainy" department.
Meanwhile, later, across town…
"HA!" Ranma Saotome said, as he threw a round house at multi-millionaire Bruce Wayne. Bruce smirked, as he caught the fist, and proceeded to Judo throw him. Ranma, used Bruce as a fulcrum to attempt to leg sweep Bruce. Bruce saw this, and leaped out of the leg sweep. Finally, Bruce let go of Ranma, and got back into a fighting stance, as did Ranma.
"Ranma! Uncle Bruce! Dinner!"
Bruce smiled, as did Ranma.
"Race you!" Ranma said, as he took off for the dining room.
"How can it be a race, if I win?" Bruce smirked.
Ever since Ranma's father had died from an accident involving a pit of cats five years ago, it fell on Bruce's shoulder to continue to teach Ranma the tenets of the "Anything Goes Martial Arts". Years ago, when Bruce was younger, he was a student of a demented martial arts master, who was also a teacher of Genma Saotome and Soun Tendo. Out of the three of them, only Bruce's self-discipline, brought on by personal tragedy, kept him on the path of Justice. And it was because of this that Genma and Soun made a pact with Bruce, that if anything happens to them, Bruce would continue their children's training. Now, Ranma was Bruce's ward, and Bruce has made sure that Ranma has as much of a normal life as he could possibly have. Well, except for that time in China…
It should be mentioned that thanks to Genma's reputation for malfeasance, Bruce used his connections to create a second identity in America for Ranma. He took the name "Richard Grayson", after the untimely death of an entire acrobatic family, who was performing in Gotham at the time, after the mob had tried to extort money from them. The youngest Grayson's death allowed Bruce to use his identity to craft a new one for Genma's son, thus allowing Ranma to have a normal life.
At any rate, Bruce's outlook on life as improved because of Ranma. Bruce is still the grim avenger known as "The Batman", but with Ranma as his "Robin", Bruce could be himself, rather than using "Bruce Wayne" as a disguise. Recently, Bruce took Ranma back to Japan, not only to visit his mother, which is done on a regular basis, but to meet his fiancée. Of course Ranma's team-mate "Starfire", from the Teen Titans, didn't like this, since she had feelings for Ranma. Still, Ranma made Bruce promise not to push for the engagement, so that he could get to know the Tendo sisters better.
"There you are," Nabiki Tendo smirked. "I was wondering if you two would get here."
"Now, Nabiki," said Kasumi, her older sister. "You shouldn't be so rude to our guests."
"Hey, it's nicer than what I want to say," said Akane, the youngest sister. "I mean, really. Must you train ALL the time?"
"Daughter, a martial artist never stops training," said Soun. "Right, Bruce?"
"You said it, Soun," Bruce said, as he ate his meal. "So, have you talked to Akane about what we discussed?"
"Actually, I haven't."
"Okay, Dad," Akane demanded. "What have you two been talking about?"
"Well," Soun began. "Bruce and I were discussing on whether or not to let you become a 'superhero'."
"Really?" Akane replied excitedly.
"Indeed," Bruce replied.
"Aw, man!" Ranma rejected. "Do I have to work with an uncute tomboy?"
"Ranma, you jerk! I ought to-"
"Anyway," Bruce began. "With Ranma busy with the Teen Titans, I'll need help dealing with things in Gotham City."
"Does it mean that I'll have to…leave Japan permanently?"
"I'm sure that Soun and I can work out some arrangement-"
Bruce suddenly felt a disturbance. He was being beckoned to help…the Moon Princess.
"I…I have to leave," Bruce said, as he suddenly bolted right up.
"Bruce, do you need-?" Ranma began.
"No. Stay here."
Everyone was wondering what was going on.
A short time later, Batman stopped his Batmobile close to an after-school learning center. He got out, and used his gun-hook to get himself on the roof of the center. Quickly, he looked for a window on the roof, so that he can peer through it.
"Hmmm," Batman said, as he looked inside. He could see a pitch battle between the Silver Sailor Moon and some sort of creature. The creature then threw a flurry of CDs at the alien…
"AH!" Moon cried, as a CD sliced into her arm.
Batman desperately wanted to protect her. From what he knew of the alien, Moon was particularly vulnerable to magical attacks. So, after removing the sun-roof, Batman got his "bat-a-rang" ready…only to realize that he had that magical rose again. Shrugging, Batman threw the rose…and made his mark!
"AH!" the youma cried.
"Moon," Batman began. "no matter what, you will always have allies."
And with that, Batman slinked back into the shadows.
The Silver Sailor Moon blinked her pupil-less eyes, just as the new "Sailor Mercury" makes her appearance.
"Use your power Sailor Mercury!" Luna the Magical Black Cat says.
"Right!" said the blue-haired, short-haired girl in the fancy Sailor fuku, whose true identity was "Amy Anderson". Earlier, on the suggestion of Luna, Silver Sailor Moon had followed Amy, only to discover the presence of a Negaverse node. And it was during this battle that prompt Luna to release Amy's hidden power.
"Mercury Bubble BLAST!"
A fog bank covered the area, blinding the youma.
"Now, Silver Sailor Moon!" Luna cried.
Moon raised her hand.
"Moon Beam ELIMINATION!"
FWOOSH!
"Ahhhhhh-!"
After the battle, Moon took to the night skies. She was searching for Batman, but seemed to be unable to locate him. Ever since they had met, years ago, he reminded Moon of her Prince Endymion, the Prince of the Earth. Now, she was more than convinced that he may be the prince…her lost beloved.
"Endymion…" Moon said with sigh, as the rays of the Moon reflected off of her metallic skin. Even if her suspicions were correct, she would be unable to give her love to Batman.
Such is the way of a herald of Galactus.
Meanwhile, in the Negaverse…
"Now, will you let me help?" Mephisto asked.
"NO!" Queen Beryl replied, who was fearful of what might happen if Mephisto actually succeed in vanquishing. "We don't need your HELP!"
Mephisto smirked. It was only a matter of time before he will succeed in freeing his sister Metallia.
**Fin.**
End file.
| fanfiction |
RESIDENT EVIL
ORIGINAL SCREENPLAY
BY
GEORGE A. ROMERO
BASED ON THE GAME BY CAPCOM
SCREEN STORY
BY
GEORGE A. ROMERO
&
PETER GRUNWALD
CONSTANTIN FILM
ROMERO-GRUNWALD PRODUCTIONS
FIRST DRAFT
OCTOBER 7, 1998
---
This text orginiated from
www.New-Blood.com
, please check them
out for Resident Evil coverage.
---
Pg-1
RESIDENT EVIL
PRESENTATION CREDITS appear... then FADE...
Out of BLACK... SHOCK CUT TO:
INT LAB "A" LEVEL TIMELESS
A MAN'S FACE, filling the screen.
MARCUS (filter)
Stay away from here!
We're watching A VIDEO MONITOR. A pre-recorded tape shows
a view of what is obviously a pristine-RESEARCH LABORATORY.
DR. JOHN MARCUS, in a lab coat, faces THE CAMERA, disheveled
and looking like a madman.
MARCUS (cont. filter)
This lab must remain sealed!
INT CONFERENCE ROOM TIMELESS
Overhead lamps cast pools of LIGHT down onto A CONFERENCE
TABLE, onto THE HANDS of PEOPLE assembled to observe the
video. We see NO FACES. But expensive WATCHES, sleeves
with high-ranking STRIPES, indicate wealth, power, and a
military presence.
THE VIDEO: On the wall behind MARCUS, we see SHADOWS darting
frantically. We hear VOICES rising in panic.
MARCUS (cont. Filter)
For God's sake, don't come in!
The CAMERA is SWATTED by A HAND that lurches suddenly into
the foreground. We only see it for a few video frames, but
we might subliminally notice LESIONS on the flesh. The IMAGE
SWIRLS wildly. The next clear picture we see... is of the
same laboratory...topsy-turvy. THE CAMERA is lying on its
side on the floor.
VOICE IN THE ROOM (o.s.)
Look. Here.
A LASER POINTER casts a RED DOT on a corner of the video
screen, indicating A HUNCHED FIGURE, leaning over A HUMAN
BODY, apparently ...feeding! With a GRUNT, the figure turns.
and LUNGES, it's face covered with BLOOD, at the CAMERA. The
image SWIRLS again, and the SCREEN GOES BLACK. With a MUSIC
STING, a single TITLE appears, full across the blackness...
RESIDENT EVIL
Pg-2
EXT FOREST LAND PRE-DAWN
A DARK SKY ...and in the foreground, profiled against a FULL
MOON, A DARK FACE ...watching the heavens with piercing black
eyes, alert, though not predatory. This is CHRIS REDFIELD,
young, handsome. More than simply an outdoor type, he seems
perfectly in place, almost part of the environment.
A band of purple tints the horizon, outlining the tops of
magnificent uncorrupted hills that extend for miles. Sitting
on a ridge, squinting into that band of light, Chris sees ...
...AN EAGLE coasting on a channel of wind that cuts through
the hilltops. As the bird moves swiftly closer, it becomes
recognizable. Chris smiles and jots a note on a pad.
The regal bird lands on a high rock where ...unexpectedly...
a freshwater trout lies flapping, three-thousand feet above
the highest water.
CHRIS
Take it, Goliath. It's yours.
"Goliath" snaps up the fish and flies away with it.
CHRIS (cont.)
See ya next year, guy.
Chris reaches into a water-filled bucket, pulls out another
trout, climbs efficiently, unerringly, across a precarious
Cliffside, and deposits the fresh fish on the-same high rock.
ANOTHER EAGLE, smaller, a female, appears in the sky.
CHRIS (cont.)
Cleopatra.
Chris scrambles back to his place and jots another note.
"Cleopatra" spots the fish, pumps her wings, and swoops down.
She's about to snap up the prize, but at the last minute, she
recoils and climbs again, hovering.
CHRIS (cont.)
Come on. Come on down.
The eagle circles, its sharp eyes scanning. It makes another
dive, but stops short again.
CHRIS (cont.)
What's the matter, beautiful?
The bird seems frightened. Of what? It makes one more dive.
Gets very close to the fish... but suddenly SHRIEKS and peels,
away from the rock. Chris sees its eyes, looking crazed, as
it soars right past him, its wings brushing his hair.
Pg-3
CLOSE ON: CHRIS, concerned, as he watches the eagle disappear
over the hills.
Over his shoulder, we can see the high rock that holds the
fish. It's out of focus in the background, but the moonlight
catches SOMETHING MOVING there. Something that lets out a
sharp INHUMAN SOUND.
Chris whirls around. There's nothing on the rock. Nothing
at all. The fish has been taken.
INT JILL'S APARTMENT DAWN
CHRIS walks into a characterless apartment. He quietly
sheds his clothes. Even in silhouette, we can see that his
body is in perfect shape, not pumped, but lean and tight.
Moving lithely, with the natural grace of a cat, he eases
himself into a bed where...
...a beautiful young girl, JILL VALENTINE, seems to be fast
asleep. As Chris nestles in beside her, we see that her
eyes, facing away, are open. Chris gently drapes an arm
around her and lets his body relax.
CHRIS
(A whisper) Glad you're still
here, lady
JILL
It's my apartment.
CHRIS
(Surprised) You're awake.
JILL
I've been awake. Since you left.
CHRIS
Sorry.
His apology goes no further. He's still troubled by what
happened in the hills.
CHRIS (cont.)
There was... something wrong.
JILL
What, with my dinner? I never had
a mother. I'll learn.
Chris smiles politely. He offers...
CHRIS
I'll do the cooking.
Pg-4
...but he can't switch focus.
CHRIS (cont.)
On the mountain...there...must
have been something... prowling
around up there.
JILL
There are probably all kinds of
things prowling around up there.
In the middle of the night.
Chris apologizes again, this time more sincerely.
CHRIS
I'm sorry. Really. You...have to
be there at dawn. They ride the
wind over the ridge.
JILL
Dawn? You left at one A.M.
CHRIS
I had to go fishing. It's the fish
that bring them down, so I can get
a close look at them. (Enthused)
I've tracked a dozen of them, Jill.
Twelve of those big bruisers. I can
actually recognize them. I've even
given them names, over the years.
JILL
You've been doing this for years?
CHRIS
Only in the early Autumn. When
they're' migrating.
JILL
I'II set the alarm for next. October.
Jill rolls over and faces him.
JILL (cont.)
I wish I could get excited. Really.
That's the truth. As excited as you,
over such... simple things.
CHRIS
Beauty... isn't simple. If it was...
I'd be beautiful.
JILL
You are.
Pg-5
CHRIS
No, no, no. I'm simple. You, on the
other hand...(nuzzling closer)...have
all that... stuff... hiding underneath
somewhere. That's what fascinates me.
JILL
Fascination. Not love?
Jill is being playful. Chris, taking her question to heart,
becomes introspective.
CHRIS
I... honestly don't know. I guess
I've been... living alone too long.
You're the first, the only woman I've
ever thought of as... a real partner.
Now Jill becomes introspective.
JILL
I've always been...afraid of living
alone. I've always had... people...
talking at me... knowing they could
wind me up and I'd do... (shrug) ...
whatever they wanted.
Chris looks into her eyes. She kisses him gently.
JILL (cont.)
We all have... something hidden...
underneath. Beauty may not be simple.
But it's not all that complicated,
Either. Most of the time, you find
It... right in the middle of all the...
confusion.
CHRIS
I'm part Mohawk. Indians are never
confused. At least, they never let
it show.
They kiss again, this time more passionately. Rolling over,
they begin to make love.
EXT FARM DAWN
The purple horizon is turning orange, but it's still quite
dark when a crusty old farm-hand, RAKE, opens the creaking
door of a stable and, with a flashlight, leads THREE HORSES
out into the morning breeze.
Two dogs, A LAB and A SPANIEL, romp at his heels as Rake
opens a log gate.
Pg-6
-
Two of the untethered horses trot obediently into a large
corral. The third, a beautiful stallion, resists, snorting,
tossing its head in high spirit.
RAKE
Get in there, Lucky. Quit horsin'
around. Get in.
"LUCKY" moves into the corral, strutting proudly.
RAKE (cont.)
Swear. If I didn't know you was
just an animal, I'd say you was all
full of yourself. GET IN THERE!
Rake waves his flashlight, not meanly, there is clearly a
great deal of affection here. Rake shuts the gate behind
the stallion, who begins to gallop around happily inside
the fence. All seems lovely, until...
...the dogs suddenly go on point. Their ears perk. They
sniff the air...and begin to WHINE.
RAKE (cont.)
What's wrong with you two?
KER-RAAKK! A startling SOUND. Rake turns to find Lucky and
the other horses, their eyes flaring, trying to KICK their
way out of the fencing. They seem terrified.
CUT TO :
A WIDE SHOT: of RAKE, and the frightened ANIMALS, from
two hundred yards away. THE CAMERA MOVES IN, slowly at
first, then gaining speed... extraordinary SPEED. We are
seeing THROUGH THE EYES OF... whatever it is that's running,
charging, SLATHERING HUNGRILY...
...reaching the corral, DARTING through the fence, past the
KICKING HORSES, and LEAPING at Rake, who whirls around...and
CRIES OUT in pain as his flashlight BLINDS us with WHITENESS.
EXT AIR BASE DAWN
The WHITENESS becomes the GLARE of HALOGEN LIGHTS. We are
overwhelmed by the SOUND of AIRCRAFT ENGINES. We see MEN,
armed SOLDIERS, scrambling into combat HELICOPTERS.
A RADIO MAN runs right toward THE CAMERA, holding out an
open receiver.
RADIO MAN
Top brass, sir!
Pg-7
ANOTHER MAN, in the foreground, takes the radio-phone. We
can't see his face. Only his forearm, which bears A TATTOO
of a grinning SKULL.
MAN WITH TATTOO
Alpha Leader.
VOICE ON PHONE (o.s. filter)
How long before you get in there?
MAN WITH TATTOO
Fifteen minutes.
INT AN OFFICE DAWN
A SUIT talks on a red telephone. Once again, we see no face.
An ostentatious diamond RING kicks light as the man snips off
the end off a Monte Cristo.
MAN WITH RING
You're good, soldier. But not that
good. It's five hundred miles away.
In the backwoods of Pennsylvania.
MAN WITH TATTOO (o.s. filter)
We have troopers on site. A first-
strike force. Under cover.
The flame from a wooden match lights the Monte Cristo.
MAN WITH RING
Very resourceful. You have my
permission activate them.
EXT AIR BASE DAWN
MAN WITH TATTOO
I've already done that. You have my
permission... to say that you gave me
permission.
THE TATTOOED MAN runs off to join the other SOLDIERS.
INT JILL'S APARTMENT MORNING
CHRIS sleeps. JILL is awake, deep in thought, when...
...BRRRRT! It's not a ring, it's a vibration. Jill reaches
down and extracts something small and black, the size of a
box of Tic-Tacs, from one of her shoes. She gets out of bed,
checking to see that Chris is still asleep, and moves into...
Pg-8
INT JILL'S APARTMENT BATHROOM MORNING
...a bathroom. Closing the door behind her, she puts the
small box to her ear, extracts a wire from it, with a tiny
microphone on its tip, and...
JILL
(Softly) Valentine.
We can't hear the voice that speaks to her.
JILL (cont.)
If this is just another a drill,
I'll strangle you. (She listens)
Shit. Give me the activation code.
JILL pulls a small ENVELOPE from a toiletry bag. She breaks
open a wax seal...and takes out a thick paper on which is
printed... 29-RC-6735.
JILL (cont.)
(Gaping, not believing) Th-that's
a match. (Beat) I'm on my way.
Jill clicks off. She dumps something else from the envelope
into her hand... A BLUE PLASTIC CARD, the size of a Visa,
blank except for a mag-stripe. There's a small hole in one
corner, through which a chain is strung. Jill slings the
chain over head, wearing the blue card like a pendant.
INT JILL'S APARTMENT MORNING
CHRIS is still asleep. JILL comes out of the bathroom and
looks down at him longingly. Should she wake him? Tell him
what's happening? She wants to, but duty prevents it. She
pulls herself away.
INT JILL'S APARTMENT CLOSET MORNING
TCHIK TCHIK TCHIK...JILL pushes aside hangers which hold her
clothes. She types numbers into a hidden KEYPAD. A SECRET
PANEL OPENS, revealing a CLOSET WITHIN THE CLOSET, packed
with COMBAT UNIFORMS and WEAPONS.
INT JILL'S APARTMENT MORNING
The sound... TCHUNG... of the front door closing snaps CHRIS
awake. His first thought is for his lover. He reaches out
and finds that... she's not in bed. He jumps up, rushes to
a window, looks down, from the second story, and sees...
Pg-9
EXT JILL'S APARTMENT MORNING
...JILL, heavily ARMED, in UNIFORM, wearing a beret that has
an insignia... S.T.A.R.S. She rushes down the front path and
jumps into A HUMMER with THREE OTHER TROOPERS on board. The
vehicle pulls instantly away...
...leaving Chris, looking through the window, puzzled, angry,
and very much wounded.
INT/EXT HUMMER MORNING
RUSSO drives. WILLIAMS and DISIMONE sit in the back, all
tough Special-Forces types. JILL, in the front passenger
seat, though the only female, ranks the highest.
DISIMONE
Another practice run, right?
RUSSO
We been practicin' six months!
For what?
JILL
For this. This is the real deal.
WILLIAMS
Honest to God?
JILL
Based on my experience, Williams,
God isn't always honest
DISIMONE
Where we goin'?
JILL
In there.
Jill points into THE ARKLEY FOREST which lies ahead. Miles
of old growth-trees shrouded in a ghostly morning mist.
DISSOLVE TO:
EXT THE FOREST MORNING
DEEP IN THE HEART OF THE MIST... THE HUMMER bounces over
non-roads and stops fifty yards from...
...A PAIR OF IRON GATES, each wrought with the letter "A".
Beyond, the shifting fog offers momentary glimpses of...
A MANSION. Huge. Like Xandau. THE TROOPERS, amazed,
climb out and approach the gates.
Pg-10
RUSSO
If you had the jing to build a place
like this, would you build it in the
middle of fuckin' nowhere?
WILLIAMS
Paris.
DISIMONE
Manhattan. Upper west.
JILL
(Wistfully) Some people prefer...
a quiet life. (Back to business)
Our orders are to secure the area.
DISIMONE
From what? This area's been 'secure'
since the French and Indian War!
A deep, animal SNARL comes from the woods. The troopers
raise their weapons as they peer into the underbrush. The
fog keeps sunlight from penetrating. The forest is a maze
of dark shadows. Leaves flutter. Limbs SNAP. Then...
DARK SHAPES can be seen moving, circling. A half-dozen
of them. Maybe more. Jill whips out a transmitter and
quickly types an access code.
JILL
(Into radio) This is Valentine,
Bravo Team. We, er... we might be
in trouble, here.
KRITCH! Something LEAPS out of the brush. Automatic
WEAPONS SPIT reflexively.
KRITCH KRITCH KRITCH...more lunging SHAES appear. The
troopers scatter, firing, as they are attacked from all
sides. Jill dives for the shrubbery, shouting into her
transmitter.
JILL (cont.)
WE ARE IN TROUBLE!
CUT TO :
INT HUEY MORNING
JILL'S VOICE stutters over a headset which is pressed against
A MAN'S EAR.
JILL (o.s. filter)
Under attack... by.. .assailants...
Unidentifi...
Pg-11
Static. Hissing air. The SHOT WIDENS as the man lowers his
headset. First we see the TATTOO on his arm... a grinning
SKULL which we recognize. Then, gradually, we see his face.
Lean and mean, wearing dark sunglasses, this is ALBERT
WESKER, a hard-assed career officer.
WESKER
Can you get a trace?
The pilot, LAGUARDIA, responds.
LAGUARDIA
Lost the beacon. It just cut out.
Like it was...swallowed by something.
Oddly, Wesker smiles.
WESKER
I do believe, gentlemen...that we're
gonna be earning some combat pay.
There are three other MEN on board. The closest to Wesker
is BARRY BURTON, a muscular black man, as big as a grizzly,
with the heart of a Teddy.
BARRY
Damn, if you don't love a fight.
WESKER
Hey, if I didn't... you'd be a dead
man. (To the pilot) Call in a nine-
nine. I want Raccoon City e-vacked.
Wesker and the men fly from the lens. THE CAMERA passes
Out through one of the helicopter's windows as the chopper soars
away. When the SHOT WIDENS, we see OTHER HUEYS...black,
unmarked, keeping formation. Three... six...ten of them.
EXT FOREST MORNING
GUNS BLAZE. THE TROOPERS are under assault by thrashing,
inhuman SHAPES...GROWLING, SNAPPING. JILL rolls into a
natural trench. DISIMONE is behind her, WILLIAMS is
crawling just ahead, his legs pumping. Jill scoots past
him and sees that...
...those legs aren't moving on their own. They've been
RIPPED AWAY FROM WILLIAMS' TORSO and are being dragged into
the underbrush by some... BEAST... concealed in the thick
brush, so we never get a clear look at it.
OTHER BEASTS attack DiSimone. Then Russo. We see only
details. Jill fires her pistol, point blank... to no avail.
RED-RIMMED EYES, SNARLING JAWS, DROOLING TEETH descend on
her as we CUT TO:
Pg-12
EXT JILL'S APARTMENT BUILDING MORNING
CHRIS steps out of Jill's building. Suddenly, incongruously,
camo-painted HUEYS swoop down out of the sky.
EXT RACCOON CITY MAIN STREET MORNING
THE CHOPPERS land where they can. COMMANDOS leap out and
begin to cordon off the town. Bullhorns blare.
BULLHORN
There's been an accident in the
hills nearby. A military aircraft,
carrying live weapons, has crashed...
EXT RACCOON CITY SIDE STREET MORNING
CHRIS runs down a side-street into AN ALLEY, where he's
trapped by COMMANDOS, both in front and behind.
SOLDIER
Let's go, hayseed. (Aiming his M-16)
You gonna be a good boy?
Chris swallows his fury. Gritting his teeth, he goes along
with the soldiers, prodded, by rifle barrels, out onto...
EXT RACCOON CITY MAIN STREET MORNING
...Main Street, where there is CHAOS... an Orwellian sight,
as CITIZENS find themselves horded into helicopters and
TRUCKS from the local National Guard Post.
A sweating man, still in his pajamas, rushes up to the
SOLDIERS that are escorting CHRIS.
MAN
Look here, I'm the Sheriff of this...
SOLDIER
Step aside.
SHERIFF
But, I'm the Sheriff! An ex-Army man, like you.
BULLHORN (o.s.)
There is no immediate danger, but
as a precaution, we are evacuating
the area. You will be provided
shelter until the weapons have been
removed from the crash site.
Pg-13
SHERRIFF
That's a worn-out scenario. If
a plane crashed nearby, don't you
think somebody would have heard
it go down? Tell us the truth,
guys. What's this really about?
SOLDIER
I said, STEP ASIDE!
The soldier lifts his rifle. He's about to CLUB the sheriff
when Chris lunges, grabbing his arm. WHOOMPH! Chris kicks
the soldier in the balls. The man buckles. Chris bolts.
One of the other commandos FIRES at him, a loud BURST which
misses Chris but SHATTERS a shop window, setting off wild
PANIC on the street. Chris ducks into a building...
EXT RACCOON CITY BACK STREET MORNING
...and out a rear door. He runs through a warren of back
alleyways, arriving at...
...A JEEP SAHARA which is parked behind Jill's apartment
building. He jumps in without opening the door, jams the key
into the ignition, and ROARS off.
INT HUEY MORNING
Still airborne, in one of the black helicopters that have yet
to reach the site, WESKER barks orders into a radio.
WESKER
Charlie, David, Edward, proceed to
Raccoon City. Assist the e-vack.
I'm going on target with Alpha Team.
All forces stand ready to support.
EXT FARM MORNING
CHRIS rumbles his jeep onto a picturesque FARM, secluded deep
in the forest. We don't recognize it immediately. It was
dark when we last saw the place.
Jumping out, Chris sees three large SHAPES lying in the grass
of a corral. Rushing over, Chris realizes...
...they're HORSES. One of them is LUCKY, his prize
stallion... DEAD, in a pool of BLOOD, with its belly torn
open and a huge chunk out of its neck.
CHRIS
Aw, no... (Devastated) ...L-Lucky.
Pg-14
Chris hears a weak, MOANING SOUND. He turns and sees...
RAKE, lying near a water pump. Chris rushes to the man's
side and finds him brutally SLASHED, barely clinging to life.
RAKE
(Coughing blood) They... they come
outta the trees, Reddy. Don't... don't
know what they was. Figure... maybe
some kinda... wolves, or somethin' ...
Examining the man's wounds, Chris realizes they're fatal.
RAKE
I... I never seen 'em comin'.
CHRIS
Don't try to talk, Rake.
RAKE (cont.)
I... ain't... never left this farm...
untended... since yer daddy first
took it over.
CHRIS
I know. You... kept the place runnin'...
better than me.
RAKE
I just...never seen 'em comin', Reddy.
Never even...had a chance to...turn
a gun on 'em.
There's a THUNDER in the sky. Chris looks up. Wesker's
Fleet of black HUEYS appears on the horizon. They split up,
Seven banking off toward Raccoon City, the remaining three
grinding ahead over the forest, slowing down, dropping in
altitude.
CHRIS
Where are they going? There's
nothing in there... except...
RAKE
Y'oughta... remember it... real good.
I do. From... when you was a kid.
CHRIS
The... the old Arkley place?
RAKE
I remember them days. I surely do...
Remember them... them old days.
Chris looks back down at the old man, who is drifting,
starting to lose it.
Pg-15
CHRIS (cont.)
I'm not gonna bullshit you, Rake.
You're...in a bad time. If there's
any way to save you, I'll find it,
I swear. You just... hang in there,
old guy. I'll be right back.
Chris jumps to his feet and runs into...
INT FARMHOUSE MORNING
...the great-room of the FARMHOUSE. Rustic. Cozy. CHRIS
snatches up a telephone. There's no dial-tone. The line
is dead. Chris rushes to a gun cabinet and pulls out an old
WINCHESTER rifle. He scoops ammo from a drawer into a
shoulder bag and runs back outside...
EXT FARM MORNING
...where his eyes catch MOVEMENT in the corral. LUCKY,
entrails spilling, is trying to stand.
CHRIS
Oh, God, Rake. Oh, Jesus, the poor thing's still alive.
Chris shoulders his ammo bag, reaches inside, and quickly
reloads the Winchester. Stepping forward, he aims carefully.
CHRIS (cont.)
Sorry, old hoss.
BLAM! A clean shot to the horse's brain drops the animal.
It takes Chris a long moment to recover... then, he looks into
the trees. The helicopters are no longer in sight, but their
THUNDER remains. They haven't landed yet.
Chris turns and rushes back to Rake's side, only to find...
...he has died. Chris' jaws tighten, but he has no time
to mourn. He closes Rake's eyes. Digs through the grass.
Pulls up a handful of dirt. Stuffs it into the old man's
hand, and closes his stiffening fingers over it.
CHRIS (cont.)
The earth keeps us.
Conquering his emotions, Chris runs to his jeep and jumps in.
He shifts into four-wheel-drive and, ignoring the road, heads
straight over the field for the trees.
As the jeep disappears, THE CAMERA CRANES DOWN, ZOOMING
IN ON...
Pg-16
...one of the farm dogs. The SPANIEL. Not the entire
animal, but one of its three SEPARATE PARTS... it's front
end... CRUSHED head, BLOODY neck, and a single BROKEN paw...
...which is trying to CRAWL.
Fifty yards away, RAKE'S HAND relaxes. The earth spills out
through his fingers as the dead man's eyes... POP OPEN.
EXT ARKLEY FOREST MORNING
THE FIRST OF THE BLACK HUEYS drops, hazardously, into a
small clearing with barely enough space. Unable to land
on the scrub-brush, it hovers ten feet off the ground. Its
rotors CLIP TREE LEAVES as WESKER, BARRY, and TWO OTHER
S.T.A.R.S. COMMANDOS jump out, heavily armed. The chopper
lifts off, placed by HUEY NUMBER TWO.
NOT FAR AWAY, CHRIS navigates through undergrowth until he
can see THE HELICOPTERS through the trees. The THUNDER from
their rotors masks the grinding of Chris' jeep. He pulls
within a hundred yards and, leaving his vehicle in the bush,
moves closer, cautiously, on foot.
THE THIRD HUEY air-drops TWO MEN and TWO WOMEN in S.T.A.R.S.
uniforms. There are TWELVE COMMANDOS in all... ALPHA TEAM.
Wesker looks up at the Huey's PILOT, using his radio to speak
to the man.
WESKER
You'll have to rotate or you'll run
out of fuel, but I want one chopper
to remain in the air at all times.
We might need help in a hurry.
A "Roger that", squaks back as the Huey banks away.
Barry looks worried. His instincts are asking... "We might
need... 'help'". Against what? We only see this in his eyes,
he says nothing as...
...Wesker leads the team through the woods, unaware of...
...CHRIS, following behind, crouching around trees and
bushes, not a trained commando, but comfortable with the
land, a natural warrior using ancestral instincts.
THE CAMERA TRACKS COMBAT BOOTS as they CRUNCH through the
low-Lying MIST.. .stopping abruptly when they encounter...
...WEAPONS, AMMO BELTS, bits of SHRDDED UNIFORMS... and
HUMAN BODY PARTS... strewn all through the surrounding brush,
remnants of what was obviously a feeding-frenzy.
Pg-17
VICKERS
Holy... Goh... gaah...
BRAD VICKERS vomits. Unarmed, he's Alpha Team's computer-
techie. Not a combat soldier, he's a bit of a coward.
Another non-combatant, REBECCA CHAMBERS, is the team's
medical officer. She digs an ammonia capsule from her
pack and holds it under Vickers' nose.
RICHARD AIKEN and KENNETH SULLIVAN are buddies, regular
G.I. Joes, right out of every war movie. Aiken stares at
the carnage, calmly chewing a wad of gum.
AIKEN
You ever eat road-kill, Sullivan?
SULLIVAN
Aiken... a guy with a brain your
size would be better off dead.
RODRIGUEZ (o.s.)
Want me to shoot ya, Aiken?
ROSIE RODRIGUEZ, a tough, body-built babe steps in.
RODRIGUEZ (cont.)
I'm ready ta shoot somebody.
ALKEN
I'll pass. Shoot Sullivan.
FOREST SPEYER, a wiry Willem Defoe type, finds a bloody BERET
and brings it to Wesker. There's an I.D. tag on the brim...
WESKER
(Reading the tag) 'Valentine'. (Beat)
Radio Washington. Bravo Team found
on site. No survivors.
In the bushes, Chris overhears, not wanting to believe. He
sees Wesker angrily pitch Jill's beret into the brush.
WESKER
We're goin' in. Watch your backs.
Wesker advances his troops. When the coast is clear, Chris
rushes in, picks up the beret, and sees the name tag for
himself. "Valentine ".
After what happened at the farm... now this... feeling sucker-
punched, defeated, Chris hangs his head.
One of the HUEYS dips in low.
Pg-18
Chris looks up. The sight of the war machine lifts him from
defeat... to rage. His eyes are soft, for the last time, as
he tucks Jill's beret into his pack. When he looks up again,
those eyes have become newly predatory. He ducks out of
sight as the helicopter swings lower.
Downdraft from the rotors makes the bushes rustle, catching
Chris' attention. He realizes that... it's not just the wind.
The shrubs are being disturbed by...
SOMETHING DARK which is moving through them. It pokes
its head out. A WOLF! Rake was right. Chris readies his
Winchester as the animal stalks forward.
It's not a wolf. It's A DOG. Mottled, its flesh gray,
covered with rotting lesions... and it has three bleeding
BULLET HOLES in its belly, chest, neck.
GROWRRR! It LEAPS at Chris... who fires... BLAM!
Up ahead, Wesker and his commandos freeze.
WESKER
Who fired? WHO FIRED?
Before anyone can answer, the team is ATTACKED by MORE DOGS
which BURST out of the surrounding woods...DOBERMANS and
SHEPHERDS... but something is seriously wrong with all of
them. Their EYES are DEAD, their FLESH decaying.
Automatics piss streams of lead. Hot rounds TEAR through the
animals, many of the slugs accidentally blowing out brains.
of his bullets hits its target... one of the dogs' heads.
The commandos are backed up against... the IRON GATES we
saw earlier. The Arkley Mansion stands beyond.
RODRIGUEZ
Let's get inside.
WESKER (cont.)
NO! (Shouting) I WANT 'EM ALL
DEAD! YOU HEAR ME? STAND FAST...
UNTIL THEY ARE ALL DEAD !
The dogs don't stand a chance. Alpha Team's firepower is
overwhelming. But there is a human casualty. JOSEPH FROST
trips and falls. One of the dogs POUNCES on him, chewing
out his HEART... through his BACK.
Wesker steps in, RIDDLING the dead man, and the dog, with
forty rounds from his M-16.
Pg-19
In the next instant, ANOTHER DOG LEAPS at Wesker from behind.
He hears its snarl... too late. He dives into the grass...
too late. The dog is about to land on him when...
...it's BLASTED out of mid air by... Barry.
BARRY
Even-Steven, boss. You saved my
ass in the desert. I saved yours I
in Pennsylvania.
Wesker stand, straightening his ever-present sunglasses.
WESKER
I don't believe in being... 'Even-
Steven' with anybody. A man saves
my ass...I pay him back. Before
this day is over, I'll pay you back,
Barry. Just... stick with me, okay?
Wesker checks his equipment belt. Something is missing.
He looks to where he rolled in the grass. Using a FLASH-
LIGHT, he finds...
...a small electronic unit the size of a cell-phone. But
it's not a cell-phone. Whatever it is... Wesker clips it
onto his belt.
FROM THE BRUSH, Chris sees all this. The guns have gone
silent. The attack seems to be over. Chris moves stealthily
to the body of the animal that he shot. It's wearing a
COLLAR which reads...
SPIKE #26
Alongside the I.D., there's a corporate-looking logo... the
symbol of an UMBRELLA.
GRRROWWWLL! ANOTHER DOG is advancing on Chris. He aims
his Winchester. CLICK! The magazine is empty. No time to
reload. The dog is on him. Chris SCRAMBLES away. The dog
BOUNDS after him.
Chris drops to the ground. Did he trip? No. He pushes a
TREE ROOT, which is FALSE. It swings open and he dives in,
pulling the root shut over him.
The dog arrives an instant later. It lets out an angry
howl... and is BLOWN AWAY... by RODRIGUEZ, who neither saw
Chris, nor where he went.
The forest goes dead quiet. Too quiet. There's not even
the chirping of morning birds Wesker is SLAPPED startlingly
on the back... by Barry.
Pg-20
BARRY
Look here, man. I'd follow you
into any kind of enemy fire. But
these things ain't firin' at us.
They want us for breakfast! When
are you gonna tell us what the
hell is goin' on here?
WESKER
When you need to know. Just do
your job, soldier. That's what
I'm doin'. My job.
Wesker pulls a chain from under his shirt. It holds a card,
the size of a Visa, like the one Jill found in her secret
envelope, only Wesker's isn't blue, it's green.
Stepping away from Barry, he slide the card through a slot
in the iron gate-frame. BUZZZZ. The GATES SWING OPEN with
a rusty SQUEAL.
INT TUNNEL MORNING
CHRIS crawls through a long, dark shaft with earthen walls,
a man-made tunnel.
EXT ARKLEY FOREST MANSION MORNING
AT THE MANSION'S FRONT DOOR, a hand-carved monolith of solid
oak, WESKER finds another hidden SLOT and swipes his card.
The giant door CREAKS OPEN.
INT MANSION CENTRAL HALL MORNING
INSIDE, the place looks like a HAUNTED HOUSE, a glorious
ruin, once spectacular, now mysterious and threatening.
The chandeliers and furniture are covered with sheets that
ripple on breezes from a thousand faults in the old walls.
Indistinct NOISES echo within the ceiling, the floor, as
ALPHA TEAM enters.
AIKEN
Old. They probably don't have cable.
SULLIVAN
They probably don't have radio.
RODRIGUEZ
Who's they? Who's place is this?
WESKER shuts the front door. The BOOMING SOUND makes us
wonder if we will ever see it opened again.
Pg-21
WESKER
Guy named Arkley. Bootlegger. Built
this old fortress during prohibition.
He figured nobody'd ever find him out
here in the back woods. Nobody did.
Till he died. Feds have had it ever
since. Place has been here for eighty
years... derelict... a safe-house.
BARRY
A safe-house... for who? For what?
WESKER
There's a... a secret installation.
Below. A network of laboratories.
REBECCA
What kind of... laboratories?
WESKER
(Shrugging) They didn't issue us
gas-masks, so I figure... it's okay
to breathe.
RODRIGUEZ
Why send in a strike-force?
SULLIVAN
Yeah. What are we supposed to do?
Polish the silver?
WESKER (cont.)
There's a man downstairs. A top-
priority man. It's our job to...
bring him out. Hopefully, there
are others alive, as well. We'll
Rescue them, too... if we can...but
Dr. John Marcus... he comes out alive
at any and all cost.
INT MANSION CORRIDOR MORNING
Though it's still morning, the windows are sealed over. No
sunshine can enter. From this point on... there will be no
indication of time... except as shown on clocks. A sense of
dread takes hold of us as...
...dark SHADOWS LURCH...FEET SCRAPE sluggishly... not in
combat boots, but in Nikes, loafers, Dr. Martens... past an
accordion GATE of corroded bronze. A motor HUMS. Behind
the gate, an old-fashioned service ELEVATOR rises... but stops
just below floor level. EYES peer out, waiting for the
shuffling feet to pass. Then the car rises the rest of
the way, revealing its occupant...
Pg-22
...JILL VALENTINE! She's alive! She deactivates the
elevator by pulling her blue ACCESS CARD out of an incon-
gruously modern receptacle. Checking to be sure that the
coast is clear, she slides the accordion gate aside and
steps out into the corridor.
With a ghostly MOAN, something LUNGES at her out of the
shadows. It's A MAN in a lab coat. His skin is ROTTING,
his teeth SNAPPING, like the dogs'. He tries to BITE Jill,
not merely to do injury. He seems HUNGRY!
Jill leaps aside, lifting her pistol and FIRING... once,
twice, three times. The man is shot in the stomach, heart,
neck...but he keeps coming! Finally, Jill shoots him in the
head...and he falls.
Jill quickly reloads, on instinct. But as she does it, she
stares at the corpse, frowning, weighing life-long belief
against the hideous facts of the moment.
INT MANSION CENTRAL HALL MORNING
WESKER and his troopers hear the GUNSHOTS. There are THREE
DOORS nearby. Wesker selects one that seems to lead to the
source of the gunshots. Using his card, he unlocks it.
WESKER
Three men stay here. Chambers...
REBECCA
I'm not a man.
WESKER
Rodriguez...
RODRIGUEZ
I'm better than a man.
Wesker grins, but hardly skips a beat.
WESKER
Alright. you come with us. Aiken,
Sullivan, stick here with Chambers.
The troop moves out. Aiken and Sullivan remain in the
central hall with Rebecca.
AIKEN
Why us?
SULLIVAN
I dunno why me. You? I guess the
C.O. figures you're as worthless
as a dame, Aiken.
Pg-23
Sullivan catches Rebecca's eye.
SULLIVAN (cont.)
Er... sorry, ma' am. I... I didn't ...
I meant Aiken... Not you.
REBECCA
Relax. I get it.
INT MANSION LIBRARY TIMELESS
WESKER leads his TROOP into an enormous, cobwebbed library
lined with book shelves, but no books. There are doorways
on all four walls. Wesker pulls out something that looks
like a Game-Boy. He types on a keypad. A MAP of the mansion
appears. Wesker scrolls with the arrow-keys. Barry looks
on very impressed with the high-tech unit.
BARRY
That thing...tells you where to go?
Wesker doesn't answer. He pockets the "Game Boy".
WESKER
One man stays here. Ridley. You're
it. Shoot to kill. Just make sure
it's not one of us. The rest of you...
this way.
Wesker, leads his squad through one of the doorways. RIDLEY,
a young rookie, remains.
INT UNDERGROUND CAVERN TIMELESS
CHRIS reaches the end of the earthen tunnel. There are
signs that children once played here... TOY SOLDIERS.
GRAFFITI. Chris finds his nickname... Christopher Reddy...
etched in hardened mud. After a moment of reflection,
he moves on, into...
INT ENTRY CHAMBER TIMELESS
...a small, sheet-rock chamber. CHRIS rushes to a DOOR
that looks like it's been there since the beginning of time.
As soon as he touches the knob... AN ALARM SOUNDS!
INT MANSION KITCHEN TIMELESS
RIDLEY, standing guard, hears THE ALARM. He hears Chris
JIGGLING the knob. But he sees NO DOOR. The walls around
him seem to be solid slabs.
Pg-24
INT ENTRY CHAMBER TIMELESS
CHRIS can't get the doorknob to turn. Behind him, a dusty
ORIENTAL CARPET BULGES upward. One corner flops aside.
INT MANSION KITCHEN TIMELESS
RIDLEY is spooked by the sound. Frightened, trembling,
he un-slings his rifle.
RIDLEY
Who... who's there?
INT ENTRY CHAMBER TIMELESS
CHRIS doesn't hear the trooper. Behind him, A Decomposed
HAND pokes out of a drainage ditch beneath the carpet. It
gropes. Finds purchase on the floor.
Chris is unaware of the danger. He HURLS himself against
the door. He can't break through.
The thing that climbs out of the ditch was once a man, once
a SCIENTIST. It's wearing a lab coat and a pair of thick
EYEGLASSES. But it's long dead. It's... A ZOMBIE.
As it pulls itself up, its eyeglasses strike the side of the
ditch. They fall, CLATTERING, the rims scraping the zombie's
cheek, which peels away like onion skin.
Chris hears the noise. Turns and sees...
...the dead man, reaching out hungrily. Chris is trapped.
He aims his Winchester. CLICK! He forgot. It's empty.
The zombie pulls itself fully up onto the floor. Chris digs
in his shoulder bag. Pulls out a handful of bullets and with
them, accidentally, Jill's BERET. Rising emotion stops him
for a moment.
The dead man crawls toward him. Chris might not have time
to load. As he tries to jam a bullet into his rifle, the
zombie SWATS at him. Catches the beret. Looks at it.
Sniffs it. The bullet pops out of Chris' nervous fingers.
He tries to load another.
INT MANSION KITCHEN TIMELESS
RIDLEY spots A BLUE ACCESS SLOT in the wall. He levels his
automatic and CHEWS the thing up with a short burst.
A PANEL SWINGS OPEN! CHRIS dives out... with the ZOMBIE
inches behind him. Ridley FIRES off another BURST OF ROUNDS.
Pg-25
Stray bullets PIERCE the zombie's head. It drops back into
the chamber...with Ridley never knowing why.
Ridley and Chris look at each other, asking rapid-fire
questions, none of them answered.
RIDLEY
Who are you?
CHRIS
Who are YOU? What the hell is
S.T.A.R.S.?
RIDLEY
How'd you get in here?
CHRIS
Who sealed the door?
RIDLEY
Who knew there a door?
WHAM! ANOTHER ZOMBIE appears suddenly behind Ridley, BITING
out the muscle between his shoulder and neck. The trooper
stands, stunned, for a moment...
RIDLEY
Who... who... ?
...then he drops..
The zombie, in a uniform, once a security guard, gazes dully
at Chris. A wet sound comes from inside its gullet as it
calmly chews on Ridley's flesh. Swallowing, it reaches out.
Chris grabs its arms, FLINGS it into the chamber. Then
FIRES his Winchester, once, putting a HOLE in the thing's
head. Chris slams the door.
INT MANSION DINING ROOM TIMELESS
In a Hearst-sized dining room with draped furniture, WESKER
and the OTHER TROOPERS have heard the new gunfire.
SPEYER
Where'd that come from?
BARRY
Back...where we just were.
SPEYER
Shit, man, we're chasin' our tails!
Pg-26
INT MANSION KITCHEN TIMELESS
CHRIS hears the CLATTERING of the troopers heading his way.
What he doesn't hear is... a slight CRACKLING... in the walls.
INT MANSION CORRIDOR TIMELESS
WESKER and his TEAM burst into the corridor with the old-
fashioned ELEVATOR. FLASHLIGHTS find... the body of the
ZOMBIE that was shot by Jill, bullet HOLES allover its body.
SPEYER
Damn. Surnbitch took a lotta lead.
BARRY
That's not what killed him. Blood's
still running. Wounds are fresh.
But look at his skin. This guy's
been dead for a couple of days.
RODRIGUEZ
He was dead... before he was shot?
INT MANSION KITCHEN TIMELESS
CHRIS checks Ridley. No pulse. His own rustling movements
prevent him from hearing... that soft CRACKLING SOUND.
The kitchen is lined with fifty-year-old IVY-PATTERNED
WALLPAPER. The printed VINES seem to be MOVING! Chris
doesn't notice until the vines begin to WIGGLE furiously...
and RIP THROUGH the paper. They're REAL. Sprouts from
some sort of exotic plant, that have climbed up the walls...
with INTELLIGENCE! They seem aware of Chris' presence.
REBECCA (O.S.)
Ridley?
REBECCA has appeared in an open doorway. Chris looks at her,
with the tips of the vines beginning to brush his shoulders.
REBECCA (cont.)
Who... who are...
CHRIS
I... I'm one of the good guys, okay
I'm just trying to...
REBECCA
(Calling) SULLIVAN! AIKEN!
CHRIS
Shit.
Pg-27
Chris, familiar with the room, opens a SMALL DOOR in the
wall, barely man-sized, and almost invisible because it's
covered in matching wallpaper. Chris dives in.
AIKEN and SULLIVAN pop up behind Rebecca, having barely
caught a glimpse of Chris.
AIKEN
Who was that?
SULLIVAN
Forget him. What are they?
Sullivan points at the vines... which are swirling, groping,
as if alive, making their way toward Ridley's body.
INT MANSION CHUTE TIMELESS
In a LAUNDRY CHUTE, propping himself against the sides,
CHRIS descends...down...down... as he did as a child...
and comes out onto...
INT CRAWL SPACE TIMELESS
...a DROP-CEILING, newly installed. Iron frames support
AIR-FILTRATION SYSTEMS and other heavy MACHINERY. Sheet-
metal walls have replaced the old soffit and fascia. LIGHT,
from somewhere below, knifes through gridded iron vents.
CHRIS
Somebody did some major remodeling.
INT MANSION KITCHEN TIMELESS
The VINES continue to advance.
REBECCA
We gotta get him out!
THE TROOPERS rush to retrieve RIDLEY'S BODY. The VINES hover
around them, occasionally DARTING, then pulling back, as if
they were timid animals, hungry, but afraid of anew food-
dish. When AIKEN brandishing his M-16, the VINES RECOIL and
RETRACT fully... THWIP THWIP THWIP... behind the wallpaper and
down... somewhere into the bowels of the house.
AIKEN
What? Smart fuckin' plants?
SULLIVAN
No big deal. Most-plants are
smarter than you, Aiken.
Pg-28
INT MANSION CORRIDOR TIMELESS
THE OTHERS are still puzzling over the DOWNED ZOMBIE.
SPEYER
Why would anyone shoot a dead man?
RODRIGUEZ
Lemme guess. Maybe 'cause he was...
walkin' around?
Barry steps closer to the corpse, notes its collapsed skull.
BARRY
Head-shot. We were sprayin' those
dogs outside... but think about it.
Were any of 'em brought down without
a head-shot.
Wesker has been exploring the corridor. Stopping in front
of the elevator, he shines his light into the car. We expect
someone... or some-thing... to be lurking inside.
An attack comes from the opposite direction. A FIGURE BURSTS-
out of the shadows behind Weasker. Another Zombie? No. It's
JILL! In a rage, she holds her pistol to Wesker's head.
JILL
I lost three me. You killed them,
Wesker. You did... and I did. Because
I didn't know what to expect... because
you... didn't tell me!
WESKER
(Calmly) Tell you what?
JILL
Anything! I wasn't told anything!
WESKER
Put down the gun.
Instead, Jill CLICKS the hammer back.
WESKER (cont.)
Put down the gun.
JILL
Not until...
WESKER
RELEASE! THAT'S AN ORDER, SOLDIER!
Jill blinks. Slowly, reluctantly, she lowers her gun.
Pg-29
Wesker turns... and recognizes her.
WESKER (cont.)
How... did you get in here?
JILL
(Sarcastic) How ya doin' , Valentine?
Good to see ya. Glad you're still
alive. Same here, colonel, I'm...
WESKER
How did you get in here?
JILL
(Exploding) The same way those fuckin'
dogs got out! Through their pens!
(Relaxing some) I... locked them off.
WESKER
Good thinking.
A VOICE interrupts, from the end of the corridor.
VOICE (o.s.)
MAN DOWN!
The voice is SULLIVAN'S. The troopers run to join him.
Last to leave the corridor are Wesker and Jill. Wesker
gestures gallantly.
WESKER
Ladies first.
JILL
Fuck you.
INT MANSION KITCHEN TIMELESS
The TROOPERS trickle into the kitchen to find... REBECCA,
kneeling over RIDLEY'S CORPSE, examining the ragged bite
on its neck.
RODRIGUEZ
Maybe... they're in the house.
More of them dogs.
REBECCA
Diameter's too small. It... almost
looks as if... it was done by a...
JILL
(Arriving) A human?
Rebecca looks up. The two women make sisterly eye-contact.
Pg-30
REBECCA
Yes, but... what kind of... human...
would do something like this?
AIKEN
Not a vegetarian, that's for sure.
SULLIVAN
Aiken, you'd be better off...
REBECCA
There was a guy. Not part of the
team. And there was... some kind
of... plant... that seemed... alive.
RODRIGUEZ
Gimme a fuckin' break.
AIKEN
No shit. It disappeared... right
into the wall.
Rodriguez cringes when she finds a ragged hole in the wall-
paper near where she's standing.
WESKER
I guess it's... time to spill it.
WESKER pulls off his dark glasses for the first time.
WESKER (cont.)
I don't know... much more than I
already told you. I'll tell you
the rest now. The labs hare are...
were...working on special apps for
bio-eng1neered materials.
RODRIGUEZ
Speak English, hombre.
WESKER
Marcus has been experimenting with
an artificial... man-made... virus.
Coded...the 'T'-virus. Financing
came from a private corporation, you
may have heard the name... Umbrella.
JILL
They're... multi-national. Huge.
WESKER
So huge that they have... connections...
in high places. That's why we're here.
Pg-31
BARRY
This virus... it jumped, right?
SPEYER
Shit! We're all dead! We got the
bug, and we're all dead!
WESKER
It's not airborne. It was spread...
in the water supply. Lab animals
and... the researchers themselves...
passed it on... by...
JILL
By... biting.
Wesker hangs his head. It's an affirmation.
BARRY
You catch this virus and... what?
WESKER
You die. But... not for long. The
chemical...revives the brain, and...
RODRIGUEZ
You stand back up... and chew on
the first guy you see.
SPEYER
Christ, this is like... Night of the
Living Dead!
BARRY
Why, in the name of Jesus, would
anybody wanna mess with shit...
that does that shit?
WESKER
Victory, friend. Civilization has
come a long way, but we still have...
war. Imagine... a soldier who can't
die. That... was the concept.
JILL
But the virus... jumped.
WESKER
Hopefully... if we got all the dogs...
we've contained it.
JILL
Hopefully? Jesus... why didn't you
tell us?
Pg-32
WESKER
By telling you NOW, I've put your
lives in jeopardy. Nobody has this
information. Except a few high-and-
mightys. Me. And now, you.
The troopers fall silent as all this sinks in.
WESKER (cont.)
We have to get Marcus out of here.
He developed this thing. He's the
only one who... understands it.
REBECCA
I don't know, this all sounds pretty
shaky to me...
With a lightning move, Wesker draws his pistol and...BLAM!
FIRES... at Rebecca. She flinches. The bullet flies past
her and SHATTERS the skull of RIDLEY, the dead trooper who,
having stood up, was about to attack Rebecca from behind.
Ridley drops... dead again.
RODRIGUEZ
Guess that proves it. A head-shot
knocks 'em down.
Rebecca turns and looks at the blood-splattered body.
REBECCA
Th-that man.. .was dead. (Freaking)
I... I'm a doctor! I should know!
That man was dead!
Vickers reaches in Rebecca's bag, pulls out an ammonia
capsule, cracks it, and holds it under her nose.
VICKERS
I hope you have a lot of these.
INT CRAWL-SPACE TIMELESS
CHRIS crawls across the drop-ceiling, into the up-rising
light from one of the vents. He looks down through the
grid work and sees...
...the same LABORATORY that was behind Marcus in the opening
video. No longer pristine, it's wrecked, torn apart. Files
are scattered everywhere along with smashed fragments of
furniture and computer hardware.
CAGES that line the walls are filled with LAB ANIMALS making
NERVOUS CHATTER. Chris watches a MONKEY sip water from a
dish. Like the other animals, its skin is rotting.
Pg-33
Chris is about to move on, when his eye catches...
...MOVEMENT... outside the cages. There's A MAN, in a
lab coat, sitting at a desk, writing on a note pad.
CHRIS
(Calling) Hey.
CLOSE ON: the man's HAND... flaking, decomposing. The pen
it holds is making only random, erratic marks.
CHRIS (cont.)
HEY!
The man turns his head, slowly, to look up toward the voice.
There's NOTHING left of his FACE. RAW TISSUE seeps odd-
colored fluids. A single eyeball is nested tenuously in
the ooze. Something like a mouth, recognizable only because
of its position, opens... and GROANS.
Chris, pumping his Winchester, hears... KRANG! A NOISE from
below. He looks down again, just as...
...the lab door BURSTS open. WESKER and ALPHA TEAM stream
into the lab. The thing with. the destroyed face turns toward
the invaders, stands, and shuffles toward them.
Without hesitation, Wesker, on point, FIRES a quick burst
into the thing's brain. It drops like a sack. The lab
animals SHRIEK.
The team files in, not noticing... ANOTHER ZOMBIE... crawling
across the floor...heading directly for SPEYER. Chris shouts
CHRIS (cont. )
HEADS UP!
He punches out the grate with the barrels of his rifle
and... BLAM!...punches a sure-fire HOLE in the zombie's head.
BRAD VICKERS, his nerves badly frayed, thinks the team is
being attacked. He SPRAYS the ceiling with his automatic.
Chris ducks and rolls, narrowly escaping the initial barrage,
but bullets keep coming, punching a dotted line up through
the ceiling panels.
Chris scrambles, as fast as he can, his feet barely escaping
the punch holes.
He finds himself on top of an enormous checkerboard of vents
and Plexiglas panels. Bullets weaken the framework. It
sags... then CRACKS, dropping away. Chris is plunged into...
Pg-34
INT LAB LEVEL "A" TIMELESS
...WATER! CHRIS kicks, paddles with his rifle, righting
himself, getting his bearings. He's in a huge AQUARIUM
that's built into one of the laboratory's walls... and he's
not alone. There are SIX SHARKS in the tank. ZOMBIE SHARKS,
their flesh rotting, leaking pus.
The largest of them SNAPS at Chris, but its jaws catch only
a clump of his swirling hair. Chris kicks with his feet,
remaining upright, and FIRES his wet Winchester.
The bullet wimps-out, restrained by the water. It penetrates
the shark, but barely. We can see the casing lodged in the
animal's flesh.
Chris gets an idea. He kicks forward. Plants the barrel
of his Winchester directly against the aquarium glass...
only to find himself aiming directly at...
...JILL, who is aiming back at him with her M-16. They're
both stunned. They stare at each other for a moment, like
gunfighters, until...
...another shark circles in for an attack. Chris swings the
Winchester away from Jill and FIRES underwater. The aquarium
glass CRACKS... but holds.
JILL (cont.)
Hang on! We're gonna get wet!
Jill FIRES. More CRACKS, but the glass is resistant.
Chris out. Water SURGES into the lab, knocking Wesker and
some of his squad down.
They stand up again, only to find themselves knee-high in a
dark pool...with SHARK FINS slicing the surface. Everybody
opens fire. The dead fish keep coming.
AIKEN
Where the fuck is a shark's brain?
SULLIVAN
In it's head! I swear, Aiken, you
would be better off dead.
In a bizarre frenzy, the sharks KICK their tails, making
startlingly quick turns, darting every which way, SNAPPING
at the scent of warm flesh. The troopers, hampered by the
water, SPLASH around wildly, many of them nearly getting
bitten. The air above thickens with a fog of graphite from
ten spitting automatics.
Pg-35
The water gets darker as it becomes clouded with BLOOD. But
thankfully, the level is dropping. The water is seeping out
through GRATES in the floor. The sharks become more visible,
moving slower as their bellies scrape the floor.
The troopers pick them off, one by one. The immediate threat
passes...but as the water drains away, the troopers become
aware of... a KLAXON-LIKE SOUND. ANOTHER ALARM. The entry
door glides shut with a BOOOMMM!
WESKER
Nice. Very NICE, Valentine! You
set off a containment breach!
JILL
It must have been the water. God,
the water! (She turns to Chris}
Did you swallow any?
SPEYER
I did.
SULLIVAN
A bunch of us did, man.
WESKER
Separate systems. Salt water.
No germs. But.. .it breached!
Wesker, looking crazed, his sunglasses gone, is typing on
his "Game-Boy"... getting no response.
WESKER (cont.)
We can go in deeper. But we can't
get out. Not with my card-key.
RODRIGUEZ
So...we live here now.
Rosie finds Sullivan looking at her curiously.
RODRIGUEZ (cont.}
Landlords. Shit hills. Kicked my
family out of six apartments. I
got use to sayin'...'So...we live
here now'.
WESKER
There are override exits... but I
can't find them without THIS!
Wesker FLINGS his "Game-Boy" angrily against a wall. It
shatters into bits.
Pg-36
CHRIS
That was a smart move.
Wesker bristles. He's about to confront Chris, but he spots
his sunglasses where they were deposited on a floor grate by
the water. He walks over and picks them up, wiping the
lenses on his shirt. Without looking at Chris, he asks...
WESKER
And... you are?
CHRIS
Nobody. Just a...a local guy...
Chris spots a dry lab-coat hanging on a wall hook. He takes
it down and uses it to dry his rifle.
CHRIS (cont.)
...who gets pissed-off when he finds...
his farm animals... and his father's
oldest friend... dead. And the only
woman he ever cared about turns out
to be a goddam METAL HEAD!
Wesker, while seeming to understand, still doesn't look up.
WESKER
Valentine...who is this asshole?
JILL
His name is Chris Redfield. He was...
part of my cover, sir.
CHRIS
Cover?
A snappy argument develops, a lover's quarrel, with higher-
than-normal stakes.
JILL
This is not the time to mouth off,
Chris! You're in deep shit here!
CHRIS
Why didn't you let me in on this?
JILL
Why did you have to come after me?
How did you get in here, anyway?
CHRIS
I used to play here, when this was
a fucking laundry room! And what
makes you think I came after YOU?
Pg-37
BARRY
(Interrupting) Whoa! Look here.
Barry is stooped over the faceless zombie that Wesker shot.
He rips an I.D. badge from the corpse's coat. He tosses it
to Wesker, who reads the I.D... "DR. J. MARCUS"
BARRY (cont.)
Is this the pile of shit we're
supposed to bring out of here?
WESKER
It...it once was.
VICKERS (o.s.)
I got something here.
BRAD has been quietly working at one of the lab's computers.
Barry rushes over and looks at the monitor screen.
BARRY
A map. Same as on your gizmo. Exits
marked...blue and green.
Wesker steps in for a look.
WESKER
The greens are the overrides. (To
Brad) Can you print this out?
VICKERS
I can try.
Chris calmly retrieves his wet shoulder bag from the floor.
He wrings out the cloth and, using the lab coat, wipes the
bullets dry.
VICKERS (cont.)
(Off the screen) We're on level 'A'.
WESKER
We have to get down to level 'D'.
BARRY
Hold on. Marcus is dead. If this
mission was about bringin' him out,
we're outta here, right?
WESKER
I wish we were, but no. We have
a potential outbreak here. We might
be the only ones who can stop it.
Pg-38
SPEYER
Stop it? How?
WESKER
There's... an antidote.
Everyone's ears perk.
WESKER (cont.)
We can't bring Marcus out, but we
can bring out the serum. Maybe
somebody...can analyze it... and
figure how to beat the virus.
Jill looks at Chris. Catches him weighing options.
JILL
(Privately) Not simple.
CHRIS
(Privately) Not complicated, either.
We only have to decide... what's right...
and what's wrong.
JILL
(Privately) I forgot. You're never
confused. So...what's right, Mohawk?
And what's wrong?
VICKERS
Shit. (At the computer) There are
no green exits on this level. Why...
why would that be?
CHRIS
They don't want anybody up here
to go snoopin' ...upstairs or down.
Wesker looks at Chris with that odd, confident smile.
WESKER
Pretty good guess. You must have
been in the military, son.
CHRIS
Native American. Exempted.
VICKERS
(Typing, starting to panic) Fuck!
There... there's no way out!
CHRIS
Yes there is.
Chris points at the broken grid above the shattered aquarium.
Pg-39
Wesker looks up. Then looks back at Chris.
WESKER
Not a bad idea. (Turning to
Vickers) See if you can call
up... service charts, schematics.
Brad's fingers fly. He scrolls through menus.
VICKERS
Got it. Ceiling grids, ladders.
The whole infrastructure.
WESKER
Print it. Print all of it.
The young man types a command. Wesker rushes over to the
H. P. and grabs the first chart that rolls out.
Rebecca steps over to Brad. She points at his leg. Seated
at the computer, his trousers hiked, BLOOD can be seen on his
sock, just above his boot.
REBECCA
What's that from?
VICKERS
(Nervous) I...snagged it. On the
desk. When we were scrambling.
REBECCA
Lemme look at it.
VICKERS
(Adamant) No. It's just a scratch!
Chris watches Wesker as he studies the printed charts.
CHRIS
There's a... part of an old laundry
chute. It might not show on there.
It runs up to the kitchen.
WESKER
I'm not going up. I'm going down.
Wesker, grim-faced, looks at his team.
WESKER (cont.)
I'd like to let you guys off the
hook. But I can't. I need back
up. You're comin' with me. Any
objections?
The troopers exchange glances. Jill is first to speak.
Pg-40
JILL
No objections. We'll back you up.
CHRIS
(Disappointed) You said... people
wind you up and you do whatever
they want you to do.
WESKER
Stay out of this, son. You're the
only one who doesn't have a choice
in this. There's no place to lock
you up. I can't let you go, you're
a security risk. I could shoot you.
Legally. But your lady-friend would
probably get all over my ass. So...
I'm afraid you're comin' with us...
whether you like it or not. (To Jill,
pointedly) He's your responsibility,
Valentine. See that he doesn't make
trouble.
Jill looks at Chris.
CHRIS
You up to the challenge?
JILL
Try me.
CHRIS
(Snappy) I already have.
INT CRAWL-SPACE TIMELESS
One by one, the members of ALPHA TEAM wiggle up into the
crawl space above the ceiling. CHRIS climbs up behind JILL.
OTHER TROOPERS are already away, following WESKER, who guides
them with the help of his chart. Jill starts after them.
Chris grabs her arm.
CHRIS
Jill, I... I'm sorry. I'm just...
angry. When I... thought you were
gone, I... Then... when I saw you.
Alive. I realized that...
JILL
That you were still... fascinated.
CHRIS
Stop. Stop!
He pulls her into an embrace. She goes willingly.
Pg-41
CHRIS (cont.)
Come with me. We can get out of here.
JILL
(Tempted) I...I want to. I want...
nothing more. But... I can't. When
I'm in this uniform, I'm more than...
just me. Try to understand...there's
no "I" in Team, Chris.
CHRIS
There's no "I" in DEAD, either.
Chris pulls away from the embrace and looks at her.
CHRIS (cont.)
I should order you to come with me.
You'd never refuse an order.
JILL
You go. You're not part of this.
CHRIS
I'm part of it as. long as you are.
BARRY (o.s.)
This is very uncomfortable.
Barry, having overheard, is halfway up through the grate.
CHRIS
For me, too, brother.
BARRY
I mean this... (indicating the
iron that's pressing his belly.)
It's very uncomfortable.
Chris and Jill help Barry up into the crawl space.
start off after the troop. THE CAMERA TRACKS them.
BARRY (cont.)
This is gettin' old, Man, I swear.
I been in this Army eighteen years.
CHRIS
Eighteen years?
BARRY
Yep. Two away from the big re-ti.
JILL
Desk job, right? Nobody lasts that
long if they've seen action.
Pg-42
BARRY
I've seen action in Granada. And
Desert Storm. Would have lost it
all there... if my buddy didn't bring
in a team, against orders, to pull
my ass out. Buddy named... Wesker.
CHRIS
You've been with this asshole since... ?
BARRY
Since before that. We were... kids
together. Macon, Georgia. He's...
only an asshole some of the time...
UP AHEAD : WESKER reaches a service ladder. He waves his
troop on. They start to climb down.
VICKERS
Who knows what we'll find down there?
AIKEN
Think positive. The farther down we
go, the worse it's gonna get. So...
until we hit bottom, we're in good
shape... relatively speaking.
GRRRAAAAWWWLr.! Distant... but distinct... it sounds like
the MGM lion.
SPEYER
What the fuck?
Again .GRRRRRAAAAAWWWWLLLL !
VICKERS
Whatever it is.. .it can't get us.
We're in the ceiling!
AIKEN
Maybe it's like... really tall.
SULLIVAN
Aiken...
INT CRAWL SPACE LAB LEVEL "B" TIMELESS
The lead TROOPERS reach another section of the ceiling.
Clustering around a vent, they look down into...
...the "B"-level lab, more streamlined, more high-tech than
the one upstairs. There are large COMPUTERS, linked by
metal-shielded conduits to jacks in the walls.
Pg-43
WESKER
Main-frame. Might have some data
we could use. (A quick decision)
Fox, Marini, Vickers. Down.
WESKER kicks out the vent. He jumps first, through the
opening, down into the lab. CHRIS watches from behind.
CHRIS
The man has balls, I'll say that.
Wesker grabs a desk and pushes it under the vent. MARINI
climbs down, followed by FOX. BRAD is last.
WESKER
Hustle it, Vickers. You're the guy
we need. To cut into the network.
INT LAB LEVEL "B" TIMELESS
WESKER looks around. There are THREE Doorways...open wide
with only darkness beyond. Wesker runs around closing them.
WESKER
Watch these entrances, guys.
FOX and MARINI take up posts. Brad lowers himself gingerly.
He drops the last two feet onto the desk, landing on his
bloody leg.
VICKERS
AAAAH ! Shit.
He topples, falling to the floor, but pops up instantly.
VICKERS (cont. )
I'm alright. I'm alright.
He limps over and attacks the computer keys.
GRRRRRAAAAAWWWWWLLLL! Another distant snarl.
WESKER
Hold tight. It doesn't sound like
it's on this level.
VICKERS
(At the computer) Shit. I'm locked
out. Any clues for a password?
WESKER
Try... Umbrella.
Brad types rapidly, nervously. Flubs. Types again.
Pg-44
VICKERS
Nothing. Wait. I'm into... No.
No data. Just some kind of video
feed. Time-coded. Yesterday.
It's a play-back. (Watching the
screen) Holy shit!
We HEAR it before we see it. The sound of absolute PANIC.
People SHOUTING! SCREAMING! THUDS and CRASHES! GLASS
BREAKING! Then A WOMAN'S VOICE .
WOMAN'S VOICE (o.s.)
Please...please.. .if anyone is
receiving this...
Brad limps around the desk and spins the monitor for the
others to see. The WOMAN is an ORIENTAL. She's standing
in the foreground, as Marcus was in the opening video.
Behind her is a lab we haven't seen yet... with white-
coated FIGURES... RUNNING... FIRING GUNS.
WOMAN (cont.)
the situation is completely.
out of control. We...
W
HAM ! The woman is pushed out of the way by A MAN who is
trying to protect her from...
...SOMETHING that BLURS past the lens, like a pendulum,
from ABOVE.
In the next instant... SPLAT... the lens is COATED WITH BLOOD!
As it oozes down, we see a partial image of the same MAN.
His HEAD is OUT OF FRAME at the top of the screen.
The thing above must have a hold on it... because the man is
DANGLING, his arms witching. His back has three GOUGES in
it, long and so deep that they might have been made by
piece of heavy machinery. We only see this for an instant...
before the man is LIFTED, straight UP, with amazing SPEED.
Wesker clicks off the monitor. The other men instinctively
look up above their heads.
FOX
Maybe the ceiling's not such a
safe place, after all.
CRASH! The door behind Fox BURSTS open. Before he has
time to react A ZOMBIE is on him, BITING his cheek, neck,
shoulder. The two figures fall to the floor, grappling.
Wesker can't get a clean shot.
WESKER
Scram! SCRAM!
Pg-45
Marini is first to reach the desk, but he helps the limping
Brad up ahead of him. TWO MORE ZOMBIES lurch in through the
open doorway. Wesker shoots them, but he sees MORE... can't
tell how many...shambling toward the open doorway from the
darkness beyond.
Wesker focuses on Fox, who is still being MAULED, BITTEN.
Fox SCREAMS. Wesker still has no safe shot.
Brad is YANKED up into ceiling by SULLIVAN and AIKEN. CHRIS
leans out of the opening, reaching for Marini.
Wesker KICKS the mauling zombie in the head. It takes three
hard BOOTS to attract the thing's attention. When it finally
looks up at him, Wesker BLOWS out its skull.
Fox is lying on his stomach, writhing, BLEEDING profusely
from a half-dozen bites. Wesker stoops down, trying to roll
him over, lift him up. Fox resists. He's gone insane.
Chris pulls Marini up to safety. BARRY leans down through
the opening.
BARRY
Haul ass, boss!
The zombies are heading for Wesker. There are three of them.
Barry shoots at the one in front. Misses. His second shot
hits the thing's brain.
Wesker again tries to hoist Fox who, this time rolls over on
his own. He has drawn his pistol. Before Wesker can stop
him, he eats the barrel and BLOWS out the back of his head.
One zombie is dangerously close. Barry fires two more
rounds. No head shot, but the zombie staggers and, though
not dead, FALLS...directly toward Wesker. The colonel rolls
on his back, kicking himself away, managing to get clear.
He uses his own pistol to BLAST the zombie.
He scrambles to his feet, darts toward the desk, and jumps
up. The third zombie grabs his legs. From above, Barry
risks a dangerous shot. BLAM! Wesker hears the bullet
WHIZZZ past his head like a mosquito.
The zombie is hit in the skull. It drops. There are MORE
of them coming out of the darkness. Barry takes hold of
Wesker and, with a single strong arm, pulls him up into...
INT CRAWL SPACE LAB LEVEL "B" TIMELESS
...the crawl space, where WESKER breathes heavily for a
moment... then looks up at his old friend.
Pg-46
WESKER
That's...two I owe ya.
BARRY
One. We were all... 'Even-Steven' .
WESKER
Two. Remember? 'Even-Steven' ...
is not in my vocabulary.
A horrible MOANING SOUND comes from below, in the lab.
THREE MORE ZOMBIES can be seen clustering around the desk,
dumbly trying to climb up, sensing the "food" above.
WESKER (cont.)
Let's move.
Wesker takes off. SPEYER, RODRIGUEZ, AIKEN and SULLIVAN are
quick to follow. The others lag behind when CHRIS says...
CHRIS
Those things could get up here.
We can't let that happen. This
is our way out...
Chris swings his legs through the grate and JUMPS down...
INT LAB LEVEL "B" TIMELESS
...ONTO THE DESK. He BOOTS one of the ZOMBIES away and
tries to LEAP over the others. One of them catches his foot
in mid air. CHRIS isn't hurt, but he TOPPLES to the floor,
sprawling, losing his Winchester.
The zombies have him cornered. He crawls toward his rifle.
Reaches it. Pumps a shell into the firing chamber. Aims
at the closest of the walking dead...
...which was once a young man, a simple laborer, wearing
overalls, with a name tag...
CHRIS
(Reading) Caruso.
Chris looks empathetically into the thing's dead eyes.
CHRIS (cont.)
Can you hear me?
The zombie lumbers forward hungrily.
CHRIS (cont.)
Caruso! Can you hear me?
Pg-47
Chris has come late to the realization that these things
were once human. Now he comes late to the realization...
that they are human no longer.
The zombie grabs the barrel of the Winchester, pushing it
aside. Chris can't bring it back to bear on the monster's
head. He BLASTS a round through the thing's belly. It has
no effect. The zombie reaches for Chris' throat. Starts to
lean in to bite him.
BLAM! The thing's skull explodes. JILL has jumped down
onto the desk. She FIRES another accurate pistol round.
The SECOND ZOMBIE falls.
Jill leaps to the floor and starts to push the desk. Chris
gets to his feet, rushing in to help her. Together, they
shove the desk out from under the open ceiling grate.
CHRIS
Thank you.
JILL
Any time. How do we get back UP?
CHRIS
Shit, if you didn't have a plan, you
shouldn't have jumped down here.
JILL
We have a real problem here, Chris.
Jill nods toward the open doorway. There are more stuttering
FIGURES approaching out of the dark.
CHRIS
How big is this place? How many
people were down here? How...
JILL
HOW DO WE GET UP?
With a startling SOUND, A DARK SHAPE swing down from above
and GRABS Jill! Is it the thing we saw on the video?
No. It's BARRY! His mighty arms lift Jill. She's caught
by Aiken and Sullivan and pulled up to safety. Barry grabs
Chris and lifts him as well.
INT CRAWL SPACE LAB LEVEL "B" TIMELESS
CHRIS grabs the edge of the grate and pulls himself up.
He reaches back down through the opening. Below, BARRY
squats... and makes a mighty leap-with his muscular legs.
Chris grabs his arms... and is nearly pulled back down.
Pg-48
CHRIS
(Straining) Big. Heavy.
Jill grabs on, then Sullivan. But one of the ZOMBIES has
reached Barry. It GRABS his kicking legs. It's TEETH SNAP!
And CATCH! The commandos lift Barry clear, but the zombie
ends up with a CHUNK of something in its mouth.
JILL
It got you!
Barry checks his leg. His trousers are torn, but...
BARRY
No skin broken. I'm alright.
CHRIS
We owe you a pair of pants.
They crawl away. The zombies below reach up, their fingers
clutching, at the ceiling, but with the desk gone, there's
no way they can get up.
DISSOLVE TO:
INT STORAGE AREA TIMELESS
THE COMMANDOS climb down a steel access ladder into a storage
room stacked with CRATES and CARTONS. There's only one door.
The place seems secure.
WESKER
Stand down. Five minutes.
WESKER sits on a crate and pulls out his printed charts.
Gradually the whole troop makes it down into the room.
They relax. A few light cigarettes. But not SPEYER.
SPEYER
I'm through, Wesker.
MARINI
Me too, man. This ain't nothin'
I signed on for.
WESKER
(Calm) You want to wait here, fine.
MARINI
Wait here? No. We're gettin' out!
WESKER
You can't. (He flashes his access
card.) Not without this.
Pg-49
SPEYER
Fuck you! And your fancy doors and
your green key! The choppers have
rockets. They can blow out a wall
if they have to. I'm callin' 'em in.
Speyer pulls out his radio and starts to punch a code.
WESKER
You wanna see a wall blow, I'll
blow all of 'em for ya.
Wesker reaches down to the electronic unit that he lost and
retrieved in the woods. He pulls a long wire out of it, with
a small sensor on the end.
WESKER (cont.)
I'll put a crater in this forest that
takes out Racoon City and everything
else for twenty miles... with this.
He jams the little sensor into his ear and pushes a button
on the belt unit. Small red LIGHTS blink.
WESKER (cont.)
It's a radio detonator...to set off
explosives that are...buried under
neath us somewhere. The ultimate
containment measure. Incinerate the
place. (Smiling again) It has a...
dead-man mechanism... .(he taps the
ear-piece) ...that reads my pulse.
My heart stops, and... boom.
CHRIS
You...lunatic! That damn thing can
slip out of your ear by accident!
WESKER
That's right. It's your job...all
of your jobs...to see that it doesn't.
And to see that my heart... doesn't
skip any beats.
Wesker looks over the tops of his sunglasses... at Speyer
WESKER (cont.)
Give me the radio, soldier.
Speyer hesitates. Wesker explodes, for the first time.
WESKER (cont.)
GIMME THE FUCKIN' RADIO, OR WE
ALL GO UP!
---
This text orginiated from www.New-Blood.com, please check
us out for Resident Evil coverage.
---
Pg-50
Shocked silence. Sullivan is the first to speak.
SULLIVAN
Sumbitch might do it, Speyer.
WESKER
I'II be obliged to do it! If I don't
get that antidote, I'll have to burn
this place out! (Beat) Valentine.
The radio.
Jill steps over to Speyer and takes the radio from him.
CHRIS
(To Jill) What are you, this guy's
flunky? He just threatened to blow
us all up, for Christ's sake!
JILL
That's what I'm trying to prevent!
EXT ARKLEY FOREST IN THE AIR DAY
WHAP WHAP WHAP... one HUEY is in the air..., THE CAMERA MOVES IN
on a window. LAGUARDIA is flying, his RADIO MAN beside him.
LAGUARDIA
How many digits did you receive?
RADIO MAN
Six. The beginning of an air-
support code, but... it just went
dead on me.
LAGUARDIA
Call S.T.A.R.S. in Washington.
I want...
RADIO MAN
Hold it...
The radio man presses his headset to his ear. LaGuardia
looks on apprehensively.
RADIO MAN (cont.)
It's Wesker. (Into mike) Yes, sir.
We got the signal sir. (He clicks
off) He says it was... a mistake.
LAGUARDIA
Call Washington anyway. I want
the authority to take action if
necessary.
Pg-51
INT OFFICE TIMELESS
BRRRING! The hand with the ostentatious RING snatches a red
telephone receiver from of a desk drawer.
MAN WITH RING (o.s.)
Holden.
He listens. Once again, we don't see his face. Just his
free hand, with another Monte Cristo burning.
HOLDEN (Man with ring, cont.)
Denied. This is Wesker's show.
If he was in real trouble, we'd
have lost half of Pennsylvania
by now.
As the hand flicks ash, we see a sheet of paper on the desk
with a letterhead that bears... an UMBRELLA LOGO.
HOLDEN (cont.)
No authorization.
EXT ARKLEY FOREST IN THE AIR DAY
In the HUEY, the RADIO MAN clicks off an incoming call.
RADIO MAN
No independent action.
LAGUARDIA
Damn. I feel so fuckin'... helpless!
The huey over flies THE MANSION which, from the air, looks as
stable as the Rock of Gibraltar.
INT STORAGE AREA TIMELESS
WESKER has come down off his rampage. He looks exhausted.
He also looks staunchly heroic as he speaks to his TROOP.
WESKER
You guys were hand-picked. A Special
Unit. Most of you have been sitting
on your asses, drawing pay checks for
more than two years. Well... it's time
to repay those... Government loans.
SPEYER
Bull shit. I'm not...
Wesker lifts his automatic. Speyer flinches. The action
wasn't meant as a threat. Wesker is just checking his ammo.
Pg-52
WESKER
Pitch your empties. Put all your
loaded clips on that crate there.
I want a count. Then I want the
rounds divvied up... evenly.
The troopers deposit their loaded clips, reloading the ones
that are half-used.
WESKER (cont.)
Alright. We're on.. .(checking the
maps) ...level "C"...
AIKEN
Lingerie. Notions.
WESKER
GOD DAMMIT, NO MORE JOKES! We have
men dead upstairs! This hell-hole
is full of people who died... because
of this stinkin' ...BUG!
Jill has been counting the ammo clips.
JILL
Forty two.
SPEYER
That's all we have?
WESKER
We weren't expecting a war, Speyer.
(To Jill) I'll take three. Three
to your boyfriend...
CHRIS
Don't need 'em. Got my own loads.
Wesker's eyes dart angrily toward Chris. But he notices
Jill watching him...and he calms himself.
WESKER
Good. Then... we all get four clips.
SPEYER
They must have... weapons down here,
somewhere. A powder magazine.
WESKER
No more side trips. It was a mistake
to go into that lab upstairs. My
mistake. And I'm not makin' another
one. From now on it's straight ahead.
In and out.
Pg-53
Wesker stands and opens the door. Outside is a SERVICE
CORRIDOR with unfinished walls. Spaces between raw metal
beams are stuffed with insulation. Wesker checks the jamb
outside. It's got a lock mechanism. Blue.
WESKER (cont.)
Not an override. My key won't work
here on the way out. Prop the door.
The troopers drag a heavy crate over to hold the door open.
Wesker moves out. The commandos trickle after him. Chris
holds Jill behind for a moment.
CHRIS
Jill...this guy is a Loony-Toon.
JILL
He's just... trying to get the job
done. Doing what he has to do.
CHRIS
Yeah, well...I hope you'll say
the same about me... when I do...
what I have to do.
Chris turns and walks off. Jill follows him out into...
INT SERVICE CORRIDOR TIMELESS
...the corridor. They catch up with the TROOP which is
clustered at a blind alley which has two doors.
WESKER
(Checking his map) It's not clear...
which way to go.
RODRIGUEZ
Want me to flip a coin?
WESKER is annoyed by the remark. Decisively, he selects one
of the doors and uses his green key card. With a BZZZZ, the
lock releases. The troop enters...
INT SYSTEMS CENTER TIMELESS
...a vast ROOM, fifty-by-fifty yards. It's filled with
HEATERS, AIR CONDITIONERS, WATER PUMPS. MAIN FRAMES for
the internal computer network line one wall, FUSE BOXES
and SWITCHER PANELS another. This is the systems center
for the entire facility.
There's an attendant's desk just inside the door. AIKEN
and SULLIVAN drag it over to prop the door open. It makes
Pg-54
a frightening SOUND as it scrapes the floor, echoing,
bouncing around in the large space. It prompts a response...
another of those animal-like SNARLS from somewhere in the
distance.
SULLIVAN
What's that sound like to you?
AlKEN
A meat-eater.
There are thick columns, floor to ceiling, every ten feet.
The spaces between them are very dark. It's hard to see.
WESKER and some of the OTHERS click on their FLASHLIGHTS .
Beams cut through dust.
There are ELECTRONIC HUMS.. CLICKS and CHATTERS emit from
the switchers, PINGS from the heaters, all combining to fray
everyone's nerves. Light beams dance nervously as the
commandos start out across the dark and frightening space.
CHRIS
(Softly to Jill) This is the heart
of the whole place. They've got to
have it... protected somehow.
Two things happen, almost at once. First.. .CHRIS notices
ELECTRIC EYES... on all of the columns.
CHRIS (cont.)
DUCK! HIT THE DECK!
Second. A ZOMBIE lurches around a corner and BITES a chunk
out of MARINI'S face. JILL whirls around to shoot at the
zombie, but Chris grabs her and FLATTENS her on the floor.
Marini, staggering, screaming in pain, triggers the first
electric eye. LASER BEAMS shoot in all directions, forming
a tight NET. Chris and Jill are barely beneath them.
Many of the other troopers are hit by the beams... which do
no immediate harm... but wherever they make contact, small
CYLINDERS above the electric eyes begin to HISS.
CHRIS (cont.)
FOR CHRISSAKE, GET DOWN!
The commandos duck under the laser beams... just in time.
Jets of STEAM spout from the cylinders. It's not just hot
steam. It's ACIDIC, deadly.
Marini is hit by it. His clothes IGNITE. His flesh BOILS.
It's a horrible sight, but for the moment, the jets stop.
Pg-55
Marini is dead on his feet. When he falls, he trips another
of the laser beams. The steam jets SPOUT again. The troop
is beneath them, though many are burned by liquid drops that
spit from the nozzles.
Amazingly, the zombie has avoided contact. But as it begins
to stumble after commandos, we realize it's going to activate
the sensors again.
SULLIVAN
There's no way outta this mousetrap!
RODRIGUEZ
So we live here now?
SPEYER
We gotta run for it.
The zombie hits one of the laser beams. The steam HISSES
out again. The zombie is MELTED.
AIKEN
Bad idea, Speyer.
CHRIS
Down. Through these.
Chris has noticed a series of hinged panels in the floor.
VICKERS
Where do they go?
SULLIVAN
Does it matter?
Sullivan whips out a Swiss Army knife and goes to work on
the screws that hold down one of the panels. Other troopers
do the same.
Another ZOMBIE lurches out of the darkness. And ANOTHER.
Human hands work furiously, loosening screws. Panels come
up, Troopers begin to duck through the openings.
A second zombie hits a red beam. STEAM again. Chris and
Jill are spattered. Burned. But Jill bravely keeps working
with her own issued knife. She gets a panel open. As she
drops through, a third zombie triggers a burst of steam.
Chris ducks and covers.
When the jets stop, Chris begins to climb into the opening,
but one of his legs is GRABBED from behind by...
...one of the dead things which has already been MELTED!
Pg-56
Its flesh is bubbling. Bone is beginning to show. But
the acid hasn't reached its brain yet. The creature is
still alive.
Chris CRIES out. Acid from the zombie's hands is burning
his leg. The thing's lips have been eaten away, making its
teeth look frighteningly skeletal as it leans forward for a
bite of flesh. Chris jams the stock of his Winchester into
the zombie's mouth. He's able to hold the thing's head back,
but he's stuck. He can't let go.
Jill pops up out of the floor. She presses the barrel of her
own weapon into the zombie's forehead.
JILL
On three...
CHRIS
One... two...
Chris pulls his rifle away. At the same instant, Jill FIRES.
The zombie is PROPELLED through the air. One of its flailing
arms triggers another laser beam. Chris throws himself in on
top of Jill as STEAM HISSES over them.
Twenty yards away, Wesker crawls under the cloud of acid.
Just as he climbs down through one of the openings, he feels
pressure...on his ear.
A groping zombie has accidentally hooked its fingers onto the
wire that runs from the detonator to Wesker's ear-piece.
For a breathless moment, it seems like the sensor will be
popped loose. Holding the pulse-reader in place, Wesker
twists his body, lifts his hand gun, and PUMPS THREE into
the dead thing's brain.
The zombie flops over, but its fingers cling, entangled, in
the wire. Wesker plants his pistol barrel on the knuckles
of the thing's dead hand. THREE MORE SHOTS cut through bone,
removing the fingers from the hand. The wire is freed.
Wesker dives into the opening in the floor.
INT AIR DUCT TIMELESS
The COMMANDOS find themselves in an AIR DUCT. No room to
stand. Hardly room to sit.
Chris looks at his rifle stock. It's corroded from the acid
in the zombie's mouth. Jill notices.
JILL
God...and it doesn't even stop them...
Pg-57
CHRIS
It's not meant to stop them. It's
meant to stop...something else.
That distant SNARLING SOUND comes again, making Jill shiver.
The troop is strung out along the metal shaft. REBECCA
crawls among them, treating the worst burns. WESKER checks
his maps. SPEYER confronts him again.
SPEYER
We damn near got turned into Rice
Krispies by that gizmo of yours.
If you don't want me to nail that
fuckin' thing into your ear, you
deactivate it. Right now.
WESKER
I can't. They.. .fixed it... so you
can't chicken out. The system can
only be turned off at the main panel.
BARRY
Where the hell is that?
WESKER
Where the explosives are. Down...
farther than we need to go. We only
have to make it down one more level.
If... when... we make it back up to
the choppers... we can fly out of
the detonator's signal range.
Chris calls out from the far end of the shaft
CHRIS
I'm not willing to rely on that.
I live here, this is my town!
WESKER
The town's been evacuated. Just...
just in case.
CHRIS
That explains the lie. About the
plane crash. An airplane down...
with weapons on board... would nicely
explain a big explosion, wouldn't it?
You figured all along you might have
to blow this place!
WESKER
I don't want to do it. I... I hope
I don't have to.
Pg-58
Chris looks down the dim air-shaft, unable to see Wesker's
eyes, hidden by distance.. .and by his dark glasses.
WESKER (cont.)
That's the best I can do for you,
kid. Good faith. Now... let's
knock on it.
Wesker moves out. The troop follows.
CHRIS
I...I can't let this happen. I've
got to find that bomb.
JILL
I'll help. Once Wesker gets what
he wants, my obligation is over.
Chris looks at her with appreciative eyes .
CHRIS
No. I want you out. With the
rest of them. Wesker won't push
the button until you're clear.
JILL
He doesn't want to push the button.
CHRIS
He has to. Don't you see? He can't
leave these labs here. And, Jesus...
walking corpses! He's gotta get rid
of the evidence.
INT AIR SHAFT TIMELESS
The light is dim at its best. Long stretches of the shaft
are pitch black, and there's a constant stream of air that
MOANS eerily. This whole mission has been like a descent
into Hell, darker and more frightening with each level down.
There are turn-offs, "T"s and "Y"s. At one point, when JILL
looks back, she finds ROSIE behind her. Chris is gone. Did
he leave to deal with the bomb?
No, but he's about to. He's at the rear of the pack, pressed
against the side-wall, waving others past.
JILL
Chris, no!
CHRIS
I've got to try and stop this.
Pg-59
Jill starts back toward Chris, but freezes.. .everyone freezes
when... the duct-work starts to PING.
RODRIGUEZ
Shit. One thing after another.
BOOM! The air shaft is ROCKED, as if punched by a giant
fist. Then...the whole structure begins to SHIMMY. What
is it, an earthquake?
WESKER
Sit tight. Ride it out.
GRONK! A sheet-metal panel BUCKLES! Others do the same.
All along the shaft, panels begin to FOLD INWARD. Something
outside is CRUSHING the duct as if it were a giant tube of
toothpaste. And the troopers are being SQUEEZED inside.
RIVETS POP! The panels begin to SEPARATE...and large,
pulsing bits of FLESH appear! Not animal flesh. But the
flesh of A PLANT! The things that press in through the
openings are larger versions of the vines we saw in the
kitchen. Those were its fingertips. These are its ARMS.
Strong arms that are RIPPING the ductwork apart.
Chris, Rebecca, Aiken and Sullivan end up in one part of the
shaft. The rest in another... including Jill, who calls out.
JILL
CHRIS!
The section that holds Chris' group FALLS AWAY... with a
monstrous, CRUNCHING sound.
INT ARBORETUM TIMELESS
CHRIS' GROUP spills out of the dangling metal, with cables
from the torn ceiling...TZZZZZT...SPARKING around them.
The troopers drop out of Hell, into...PARADISE.
An enormous HOT HOUSE, a lush, indoor JUNGLE of PLANTS,
IVIES, GRASSES. It's like a RAIN FOREST, complete with
a thick, damp MIST that makes it difficult to see. We might
be on another planet. None of the foliage seems indigenous
to Earth. There are LEAVES the size of bed sheets, FLOWERS ,
the size of armchairs. And at the center of it all, is the
mother of the deadly vines...
...PLANT 42, a monstrous schefflera, twenty times normal
size. Most of its limbs reach upward, where they have opened
CRACKS in the ceiling and walls, to stretch on into the
facility above. There are also dozens of shorter, beefier
"arms", each of which act independently, like tentacles on
an octopus... and each has a large, drooling POD at its tip.
Pg-60
INT RUNWAY TIMELESS
BURSTS OF GUNFIRE from three M-16s shatter our ears... and
a ceiling VENT. WESKER and THE OTHERS jump down into...
...a very unusual CORRIDOR. It seems to stretch forever, in
both directions. It has no doors, no visible means of exit
or entry. The walls are made-up of multi-colored polymer
TILES, whose irregular shapes fit together like a JIGSAW
PUZZLE. The floor is HEAVY STEEL, though faceted. It seem
designed to shift. The whole corridor looks like it might be
able to bend, to change position, like an airport jet way.
There are disconcerting signs of damage...claw-like GOUGES on
the tiles, clean cut HOLES punched through the metal ceiling,
larger in diameter than any that might have been caused by
bullets.
And there are smears of BLOOD everywhere, as if some terrible
battle... or battles...took place here.
WESKER
This way. (He starts off.)
JILL
No. That way. Chris and the others...
WESKER
If they're dead, they're dead. If
they're alive, they'll still be alive
in twenty minutes. When we get back.
JILL
Maybe not. And how do we know it's
only going to be twenty minutes?
How do we know we'll be able to come
back this way?
WESKER
We don't. But we'll do our damndest
to try. This is it, guys. The home
stretch. Let's go.
Wesker trots off. Vickers and Rodriguez follow. Speyer and
Barry hang back... with Jill, who remains torn.
WESKER (cont.)
(Looking back) Valentine. You're
on the clock! Fall in!
Jill wrestles with her emotions but, in the end, dutifully,
she "falls in".
As the troopers move off, we hear odd SCRATCHING SOUNDS...
with the high-pitched SQUEAL of metal-on-metal.
Pg-61
INT ARBORETUM TIMELESS
The beefy "ARMS" of PLANT 42 undulate overhead as CHRIS and
his COMPANIONS look for an exit.
REBECCA
Th-this thing was no accident.
It was cultivated!
CHRIS
And it didn't rip out the ceiling
for the fun of it. Stay alert.
The plant seems to behave intelligently, with caution. The
pods on its "arms" dart, almost as if sniffing... then pull
back...like the vines in the kitchen, like timid animals.
Chris spots A DOORWAY.
CHRIS (cont.)
Here.
As the others follow him, one of the pods swoops down in
front of REBECCA, and doesn't withdraw. It hovers there.
Its follicle's open like jaws, which display serrated daggers
of cartilage that look like teeth. Inside, a pulsing calyx
emits a pistil that twitches and swells.
AIKEN
My mother made me eat vegetables.
I know 'em all. This ain't one
of 'em.
SULLIVAN
Aiken...
ANOTHER POD swoops down on Sullivan's back. Its BEAK clamps
onto the flesh between his shoulder blades. It's PISTIL
shoots out like a hypodermic needle, stabs him and, within
the blink of an eye, SUCKS out every ounce of the man's
blood. His skin turns the color of PARCHMENT, FLAKING OFF
HIM like powder, as he dies.
AIKEN
Sullivan! JESUS, SULLIVAN!
Aiken rushes to his buddy's side.
CHRIS
Get out of the away!
Chris launches himself off a stone retaining wall around one
of the gardens. Leaping up, he grabs one of the SPARKING
CONDUITS and pulls it down.
Pg-62
CHRIS (cont.)
Get OUTA THERE, AIKEN!
Chris ends up having to shoulder Aiken out of the way.
Tendrils from the plant very nearly get both of them, but
Chris manages to JAM the semi-rigid conduit into a pool of
sprinkler-fed WATER around the plant's roots.
A BRIGHT CURRENT stutters through every vine. The plant
SHRIEKS, hideously, as electricity causes fluids to SQUIRT
from boils that develop on its flesh, down along its "arms",
and into its blood-sucking pods...which FLOP, lifeless, to
the floor, with the same sort of liquid SMACKS that human
skulls might make.
AIKEN
They.. .they killed Sullivan. The
bastards... whoever did this shit...
they KILLED SULLIVAN!
Enraged, Aiken draws a long-bladed KNIFE and wildly attacks
the remains of Plant 42, slashing at the thing's dead limbs,
not stopping until he cuts into...
...something that looks like a vine...but BLEEDS RED!
Aiken traces the thing with his eyes, up to where it's
coiled in high tree branches. It's the oversized body...
...of A COPPERHEAD, with a belly SIX FEET in diameter.
As Aiken gasps, spellbound, he's STUCK from behind.
The snake is so long, its body is draped on one side of the
greenhouse, but its head is on the other. With the power
of a dozer-shovel..JAWS like the open hood of a Cadillac...
TEETH the size of windows...CLAMP onto Aiken's mid-section,
instantly CRUSHING his ribs.
Chris finds a skein of ROPE. He throws the long end over a
ceiling beam, then instantly makes a LASSO out of the piece
in _is hand and tosses the loop at the snake's head .
Aiken's body, in the serpent's jaws, makes the rope miss.
Chris throws again. In the seconds between tosses, the snake
has SLURPED Aiken into its mouth. The rope encircles the
beast's head. Chris pulls. The noose slips down over the
snake's maxillaries and tightens around its neck. Chris uses
all his strength. With the ceiling beam as a pulley, the
snake's head is SLAMMED against the rafters.
CHRIS
(To Rebecca) Hold this.
Rebecca is, understandably, not quick to respond.
Pg-63
CHRIS (cont.)
GET IN HERE, SOLDIER!
In this crisis, Chris finds himself sounding a lot like
Wesker. It sobers him. It sobers Rebecca, as well. She
rushes in and takes hold of the rope.
Moving fast, Chris rushes to where Aiken's knife dropped
on the floor. He grabs it, turns back, and sees...
...something MOVING inside the snake's beaded torso. It's
Aiken... still alive.
Chris charges, PLUNGES the knife into the beast, hacking
through layers of fat until he reaches a bloody CAVITY.
Aiken is curled within, like Jonah in the Whale. His chest
has been crushed to half its normal size. Acids from the
monster's intestine have begun to eat through flesh on his hands,
his face, but he's still conscious, able to wheeze-out words.
AIKEN
K-kill me. S-Sullvan said...I'd
be.. .better off dead. That...ain't
never been truer than now. Kill me!
The snake uses all its strength to lower its head from the
ceiling. Rebecca hangs bravely onto the rope, but she's
LIFTED, bodily, off the floor.
The rope SNAPS, cut by the steel beam. Rebecca falls. The
trailing edge of the noose catches on twisted debris. It
delays the snake for two seconds.
Those fragile seconds give Chris just enough time to reach
into the open belly of the monster...and pull the PINS on
TWO GRENADES that dangle from Aiken's vest.
The giant copperhead SNAPS at Chris from behind, missing him
by inches. He dives, like a wide-receiver reaching for a
pass. What he catches is...
...Rebecca's arm. His momentum carries her down to the
floor. They roll behind another STONE WALL that contains
tons of earth, which protects them from...
...BOO-BOOOOOM!... the explosions of the grenades... which blow
Aiken... and yards of the snake's mid-section...into eternity.
INT CONFERENCE ROOM TIMELESS
The same nervous HANDS that we saw in the opening fidget on
the polished surface of the conference table. A distorted
VOICE scratches over a speaker-phone.
Pg-64
VOICE ON THE PHONE (o.s. filter)
We're close. I think I'll be able
to get the package. It's been...
very interesting.
VOICE IN THE ROOM
Anything you can't handle?
VOICE ON THE PHONE (o.s. filter)
(Chuckling) There's nothing I
can't handle.
A hand with an ostentatious RING flicks cigar ash.
HOLDEN
Keep us appraised.
Holden's hand clicks off the speaker-phone.
HOLDEN (cont.)
(To the others in the room) I'm
reassured, gentlemen...that every-
thing is...under control.
INT RUNWAY TIMELESS
WESKER, alone in the strange, faceted corridor, packs away
his radio. He hears... FOOTSTEPS. JILL appears.
WESKER
Where are the others?
JILL
Right behind me. Were you...
talking to someone?
WESKER
To Washington. To my... superiors.
They're your superiors too, Valentine.
Don't forget that.
Jill wonders. Should she challenge Wesker? She has no time
to think. More FOOTSTEPS come CLACKING at her back. It's
RODRIGUEZ and SPEYER. A moment later, BARRY and VICKERS
appear from the opposite direction.
BARRY
Nothin'. man. No doors. Nothin'.
We hit a dead end.
SPEYER
Us too. Cement wall.
VICKERS
We're never gonna get to that lab.
Pg-65
TCHUNG TCHUNG TCHUNG... a sound like a rivet gun resounds
in the corridor, repetitive, but random, not rhythmic.
INT ELECTRIC TUNNEL TIMELESS
CHRIS and REBECCA are crawling through a two-foot high
feeder-passage for electric cables, their bellies scraping
the floor, their backs the ceiling. They hear the sound...
...TCHUNG TCHUNG TCHUNG! Then suddenly...it stops.
REBECCA
(Crying quietly) I... can't take
this any more.
CHRIS
We take what comes. That's the
secret of our genius.
He looks back. Rebecca sniffles.
CHRIS (cont.)
How old are you?
REBECCA
Not very old at all. Not nearly
old enough to...to...
CHRIS
None of us is old enough for that.
Rebecca nods, forcing a smile meant to be appreciative.
REBECCA
Jill... told me... you were nice .
CHRIS
She did? She never told me.
That sound returns... TCHUNG TCHUNG TCHUNG...getting louder.
INT RUNWAY TIMELESS
Down in the corridor, the other TROOPERS see...
...faintly in the dusty reaches of the dark... AGILE SHAPES
advancing... not along the floor, but along the CEILING!
They look like apes, swinging from... What could they be
swinging from? The ceiling is solid metal.
CLOSE ON: A MONSTROUS HAND, both hairy, and scaly. It's
fingers have ten-inch claws.. .more like horns... which PUNCH
upward, penetrating the ceiling metal, and clamping on.
Pg-66
THE SHOT WIDENS to reveal A BEAST, unlike any we've seen,
dangling from the ceiling. It is ape-like... and lizard-
like. With ferocious eyes that glare from beneath an insect-
like carapace. This thing is an amalgam of all the nasty
creatures that have pursued us in our nightmares. It's
called... A HUNTER.
There are SIX OF THEM... as far as we can see, there might be
more coming from behind. Their three-toed feet also have
claws that can pierce the ceiling, enabling them to move
forward... hand over foot, foot over hand.
One of them lets out a GRRROWLLLL! The same sound we've
been hearing through the walls. Now it echos in the
corridor, up close and personal. The troopers open fire,
even before the creatures get in range.
INT ELECTRIC TUNNEL TIMELESS
CHRIS and REBECCA hear the gunfire.
CHRIS
Hurry.
Chris crawls on. Rebecca is stopped when... TCHUNNNNGGG !
One of the HUNTERS' CLAWS PUNCHES up through the floor ,
almost stabbing her. Rebecca SCREAMS. In the tight space,
Chris is barely able to reach back and take her hand.
TCHUNNNNGG! TGG! More CLAWS penetrate the metal.
The couple plunge ahead of them, the way Chris plunged
ahead of the bullets on Level "A".
INT RUNWAY TIMELESS
WESKER, JILL and the OTHERS spit lead at the advancing
creatures. Bullets THUNK into their bodies. Blood flows,
but the creatures seem to feel no pain. Even when they're
hit squarely in their skulls.
BARRY
Head shots. Ain't doin' nothin'!
WESKER
That was the idea.
BARRY
What idea?
WESKER
To win. The idea was... to win.
Pg-67
Jill aims at one of the hunters, pressing the trigger of
her M-16, and not letting go until her clip runs out.
The creature's head is turned RAGGED by the barrage...
revealing an iron SUPERSTRUCTURE beneath the skin.
VOICE (o.s.)
Now that... is a metal-head.
Jill looks up. CHRIS jumps out of the open grate in the
ceiling. REBECCA jumps down after him.
CHRIS (cont.)
What d'ya think? Should I wait
for orders, or just wing it?
JILL
Wing it!
CHRIS
You know...that just might be
the ticket. Wing the fuckers.
Chris takes a careful SHOT with-his Winchester. He hits one
of the Hunters squarely on its WRIST...which SNAPS. The
creature drops to the floor.
CHRIS (cont.)
Forget the head shots. They're
useless. Shoot for the joints.
The JOINTS!
Rebecca opens FIRE with Aiken's M-16, giving the others time
to reload. Barry is the first to resume firing...at the
closest of the Hunters... at its wrists, which are SNAPPED
by the bullets. The creature drops to the floor.
The troopers fire at KNEES, ANKLES, ELBOWS, which seem to
be the weakest spots. More of the hunters drop from the
ceiling...but they continue to advance, crawling, pushing
themselves forward with whatever limbs remain intact.
SPEYER
Run! We slowed 'em down. Run!
BARRY
Where? As far as we'll get, either
way, is a cement wall.
There are two hunters left on the ceiling. One of them makes
a mighty, impossible LUNGE... and hits Speyer like a battering
ram, slashing his CHEST OPEN with its claws.
Two of the hunters on the floor rush forward, not attacking,
but wanting to feed on Speyer's remains.
Pg-68
Brad, trembling, completely crazed, drops his weapon and
backs away. He sees...one of those jigsaw tiles, a RED
one, GLOW from within. He thinks he's hallucinating until...
...the floor JERKS, in a tight spasm. Its steel facets
begin to separate, sliding away from each other. The
troopers narrowly escape as.. .
...the floor behind them GRINDS, in and out, left and right,
as if it were CHEWING. Speyer's body, and those of the
hunters on the floor, are EATEN by the powerful steel blades.
But one hunter remains above it all. TCHUNG TCHUNG TCHUNG,
it continues to advance along the ceiling.
An invisible, JIGSAWED DOOR glides open twenty yards down
the hall. The troopers run for it, and are met by a
beautiful Asian scientist... the woman we saw on the video
playback... ADA WONG.
ADA
You lost a man. If I had only
been faster. I was unfamiliar
with the mechanism.
TCHUNG TCHUNG... the Hunter approaches .
ADA (cont.)
God. One of them... is still ..
Quickly. Inside. Quickly!
The troopers rush into...
INT CUBICLE TIMELESS
...a security cubicle. CHRIS is the last to enter, barely
making it before the door begins to slide shut.
KA-TCHUNK! CLAWS penetrate the opening.
ADA
Don't worry, it's mindless. It
doesn't realize that it's strong
enough to push the door open.
BARRY (cont.)
Sometimes the dumb get lucky.
RODRIGUEZ
Hasn't happened to me, yet.
The Hunter GROWLS. Its snout darkens the space between door
and wall. Mucous from its nostrils spits through.
Pg-69
After a terrifying moment, the claw recedes. The dark
snout disappears. The snorting fades away. Followed by
a distant...TCHUNG TCHUNG TCHUNG...as the hunter departs.
Everyone relaxes, visibly.
The troopers turn and, for the first time, notice two haggard
SCIENTISTS standing across the room.
ADA
My... colleagues. Benjamin. Toshiro.
As far as we know, we are the...only
ones.. .left alive. We worked on "C"
level. One of the biologists saved us.
Brought us down here. He knew that...
he didn't have long to live. He...
started the mechanism... out there,
in the corridor.. .and he let it...
take him.
Ada stares at a complicated control panel.
ADA (cont.)
I only saw it used that one time.
Or perhaps...I could have been
faster. The man...you lost...
RODRIGUEZ
You did fine, lady. We're obliged.
ADA
As are we. (Sighing) We believed...
we would die here. Believed...the
bomb would destroy us.
JILL
You knew.. .about the bomb?
ADA
The end for a place like this, when
it fails... must be a bomb, yes?
Jill looks at Chris. His point has been proven.
ADA (cont.)
But now... that you are here... the
bomb will not come.
CHRIS
It... already came. ma'am. We
brought it. The colonel, here...
he's wearing it.
Ada looks at the detonator on Wesker's belt, at the sequence
of blinking lights.
70
ADA
(To Wesker) Is it true? Are you
here to... rescue? Or destroy?
WESKER
Both. (With that odd smile of his)
If I have to pick only one... I'll
pick destroy.
ADA
You're not S.T.A.R.S. You're Umbrella.
WESKER
Once again. Both. (Still smiling)
Two salaries. Three if you count
combat pay.
Ada looks at him with disgust.
ADA
The man I loved, John Marcus...
developed the organism that caused
all this. He... he did it for
humanitarian purposes. It was
taken away from him...for in-human
purposes...by men like you!
WESKER
No, ma'am. Men like me... are just
errand boys. Sent in to do the
wet-work. All of the glory. None
of the benefits.
ADA
After what you've seen down here,
do you think any of it could be
turned into... benefit?
WESKER
Yes. I think it could be turned
into five or ten million dollars.
How do we get into "D" lab?
ADA
Death lab. (She slumps) John
was killed...never even knowing it
existed. They kept him... isolated,
upstairs, while a separate team was
down here...corrupting his research.
Using it to build B.O.W.s.
CHRIS
B.O.W.s?
Pg-71
ADA
Bio-organic weapons.
REBECCA
The sharks. The plant.
ADA
Early experiments.
CHRIS
The snake.
ADA
A failure. Its behavior remained
reptilian. All they could ever get
it to do was... grow in size.
RODRIGUEZ
Those dogs. They were weapons.
ADA
No. They... simply became infected.
As did... everyone else. Janitors.
The cook. Electricians. Guards.
People who believed they were serving
their flag. Scientists. Great minds...
turned into mindless.. .ghouls!
CHRIS
Before the outbreak, the experiments
went further, didn't they? Those...
ceiling-crawlers out there.. .
ADA
The product of human DNA spliced
with the DNA of vicious carnivores...
animals, even insects. Plated with
armor, beneath newly cultivated skin.
Then... injected with poison, so their
biological components would die.
JILL
Die.
ADA
The "T"-virus reactivates them in a
matter of minutes, but... in battle,
lost minutes are... inconvenient. So,
the B.O.W.s had to die... and be allowed
to revive before they could be used to...
full advantage. They were murdered...
by their own people... so they could
never be murdered again... by the enemy.
Pg-72
CHRIS
Were any more of these...weapons...
developed?
Ada is about to answer, but Wesker interrupts.
WESKER
HOW DO WE GET INTO "D" LAB?
ADA
You don't.
Ada glances at an innocuous wall panel. Wesker notices a
key-slot. Green.
ADA (cont.)
It can't be opened. Thank God.
None of us is cleared for that
level of security.
WESKER
How fortunate... that I am.
Wesker steps over to the wall and inserts his green card into
the slot. The panel slides open. Beyond it is a steel door
with another green slot. Wesker uses his card again. A lock
CLICKS. Wesker pushes the door open.
WESKER (cont.)
Barry. Come with me. The rest of
you.. .make sure this door doesn't
close. Remember...
Wesker taps his ear-piece. Everyone gets his meaning. He
and Barry disappear through the opening. The steel door
begins to close. Rodriguez lunges, and catches it.
ADA
Have...you been leaving doors open?
JILL
Yes.
ADA
This place is going to be overrun by...
REBECCA
Brad's in really bad shape.
Brad is leaning against a wall, sweating, shivering. Rebecca
looks at his wounded leg.
REBECCA (cont.)
That's not just a scrape. You
were bitten, weren't you?
Pg-73
VICKERS
One...of the sharks. Its teeth.
I Just...brushed up against its
teeth...after it was dead.
ADA
(Alert) Shoot him. Somebody,
shoot him!
JILL
No! We're so close. The antidote.
INT STAIRWELL TIMELESS
WESKER and BARRY trot down a flight of metal stairs.
BARRY
What's got into you man? This...
this isn't like you.
WESKER
Oh, yes, this is exactly like me.
Until now, Wesker has been steadfast. He suddenly seems
nervous, anxious. Some of it is fear. Most of it is
anticipation of the goal which is suddenly within reach.
WESKER (cont.)
This is...what I've been all my life.
A guy... suckin' up to the honchos.
Wipin' the shit off their asses...
all the while lookin' for a break.
A way to get some of my own! Well
this it, friend. I'm myself,
alright. And I know exactly what
I'm doing. I told you...before this
day was over... I'd pay you back.
INT CUBICLE TIMELESS
CHRIS and JILL step past RODRIGUEZ. They take off down the
stairs.
As they leave, ADA opens a desk drawer and pulls out a .45.
RODRIGUEZ
(Looking at the gun) You know
how to use that thing, chica?
ADA
Of course I do. I'm a scientist.
Pg-74
Ada CLICKS back the bolt, whips up the .45, and aims it at
BRAD'S head. REBECCA dives in front of the man.
REBECCA
No! You can't! Not while there's
still a chance to save him!
INT SAFETY CHAMBER "D" LAB TIMELESS
WESKER and BARRY arrive at a set of PLEXIGLASS DOORS. They
can't see through them, they're FOGGED. Wesker finds a key
slot, inserts his access card, and...
...WHOOSH... the doors open. A CLOUD OF HYPER-COLD MIST
rushes out, instantly coating the men in FROST. Wesker
doesn't feel the cold. He doesn't feel anything, except
a surge of triumph. He steps through the opening into...
INT "D" LAB TIMELESS
...a laboratory that looks like-the cockpit of a Concorde...
only a hundred times larger.. Nothing is, recognizable, except
desks that hold futuristic-Ibokin computers. A befuddling
array of BUTTONS, SWITCHES, stuttering LIGHTS, covers every
inch of wall space.
And at the center of it all stands a tall, cylindrical TANK,
a stasis tube, filled with ICE. It's mounted on a six-foot
tall platform, like an altar, with cables and flexible tubes
running out of it. Wesker squints, and through the freeze,
sees the thing that stands sedated within the cylinder...
...THE TYRANT. It's nine feet tall. Like the hunters, it
has more or less human form, though it's musculature is more
defined than Superman's. One of its arms is scaled to size,
but the other is much longer. Its hand dangles at knee-
level. Monstrous steel CLAWS depend from its fingers,
nearly touching the floor.
WESKER
(In awe) It's called... the Tyrant.
Nobody knows it exists. Except us...
and Holden.
BARRY
Holden?
WESKER
Umbrella's man in D.C. We need him.
He signs the checks. (Excited) We've
got it, Barry! Our fortune!
Pg-75
BARRY
You're not gonna try to get this
big mother outta here ?
WESKER
Don't have to. All we need is the
data. Then.. .these things can be
cranked out on an assembly line!
Laying down his automatic, WESKER hits computer keys until
a DISK pops out of a master-feed.
WESKER (cont.)
YES! This is it!
BARRY
What about the antidote?
WESKER
Antidote? (Laughing) There is no
antidote. That was just happy horse
shit, to keep the team going.
Neither man notices... that the removal of the master disk has
caused certain systems to fail... indicated by red lights, and
by the fact that... the walls of the Tyrant's cylinder are
beginning to run liquid sweat. The ice... is MELTING.
BARRY
You're gonna give this to Umbrella?
WESKER
No. I'm gonna sell it to them. Then
I'm gonna open a Swiss bank account...
right next to yours.
JILL (o.s.)
God...damn!
JILL has appeared in the doorway with CHRIS. They both
at the monster with awe...and terror.
JILL (cont.)
That thing... can't be real!
WESKER
It's real, alright. And it's worth...
more than gold. More than uranium!
RODRIGUEZ
Do we get a piece of that action?
ROSIE has arrived. So have REBECCA, ADA, and the two
surviving SCIENTISTS.
Pg-76
WESKER
All of you do. Anyone who comes out
of this alive... gets a taste.
RODRIGUEZ (o.s.)
I'm in. I been eatin' shit all my
life. I'm happy to eat some more...
as long as it's got some gravy on it.
Rosie steps into the lab, her weapon ready.
WESKER
Anybody else see it my way?
One of the scientists, TOSHIRO, rushes to join.
ADA
(To Toshiro) You disgrace yourself!
TOSHIRO
I...I want to live.
WESKER
Smart. Anyone else? Valentine?
Jill looks at Chris. Then she steps through the doorway and
takes a defensive post beside her c.o.
CHRIS
And I was gonna try to disarm the
bomb. This place should be destroyed!
It needs to be destroyed!
Chris lifts his rifle. Wesker is faster with his pistol,
aiming it at Chris' belly.
WESKER
Gotcha, son. It's only because
of Valentine, here, that I didn't
squeeze the trigger.
Chris and Jill exchange dagger eyes.
CHRIS
If she's on your side... she doesn't
mean shit to me. And I don't mean
shit to her.
JILL
Chris, please. There's only... one
way to go, here .
WESKER
That's right. My way!
Pg-77
JILL
Yes, sir. Your way!
Jill presses in close to Wesker, as if completely allied.
JILL (cont.)
I...can't yell you, Chris...how much
I wanted...things to have turned out
differently. (Beat) Goodbye.
Swiftly, unexpectedly, Jill snatches the detonator wire and
pulls the sensor out of Wesker's ear.
Everyone shuts their eyes, expecting to be blown sky-high.
Nothing happens.
Jill pulls the detonator off Wesker's belt. She stares
small LED screen which reads... 14:42:16... 15... 14...
JILL (cont.)
Shit. I got all my courage up...
and we still have fifteen minutes!
Jill tosses the detonator to Chris. Wesker turns on her,
lifting his M-16...
BARRY
You shoot. I shoot, boss.
Wesker turns to find Barry's weapon aiming at his belly.
BARRY (cont.)
Shit.. here I am still callin'
you 'boss'.
Wesker is holding the data-disk. Suddenly, he feels it
snatched away...by Ada, who has rushed into the room.
He aims his weapon at her back as she darts away. Before
he can fire, he's KICKED in the head... by Jill. Buckling,
dazed, he looks up at her.
JILL
We believed in you. I believed
in you. Boy, was I a sucker.
She kicks him again, just for the hell of it. He flops on
the floor, his eye-socket swollen. He's dropped his gun.
He gropes for it. Barry steps in and boots it away.
A KLAXON SOUNDS! Emergency!
The ice in the Tyrant's tank has melted down to a critical
level. The monster... is beginning to MOVE.
Pg-78
Reaching the doorway, Ada hears a mechanism TRIP in the jamb.
The Plexiglas doors begin to slide shut. Ada strains to
hold them back.
ADA
Get out! Now! Or you never will!
RODRIGUEZ
So... we'll live here! (Glancing at
the Tyrant) No. The landlord looks
like a sonuvabitch.
Rosie rushes in to help Ada hold the doors. So does
BENJAMIN, the second of the surviving scientists, who is...
...MAULED from behind by a ZOMBIE. It's not just any zombie.
It's BRAD VICKERS, back from death, who BITES out the artery
in Benjamin's neck.
ADA
I TOLD YOU... TO SHOOT HIM!
Ada lifts her .45 and blows Vickers way. She looks down
at Benjamin, writhing on the floor, aims at his head... and
FIRES again.
Rodriguez is the only one holding the doors. Jill rushes
to help her.
JILL
Everybody! OUT!
CHRIS
(Off the LED) Thirteen minutes.
Inside the lab, Barry turns to Toshiro, the other scientist.
BARRY
Go.
Toshiro hesitates... a second too long. KRAAASSSH! The
stasis tube BURSTS open. WATER and bits of ICE fly out...
along with an enormous, bionic HAND. Big-enough to grab
Toshiro's head as if it were a cantaloupe. Powerful enough
to CRUSH that head as if it were... well, a cantaloupe.
Wesker, still searching for his pistol, sees all this.
The Tyrant is not completely free. Much of the cylinder
wall has cracked away, but sections of it cling to a now
misshapen mass of ice that still holds the monster bound.
Though it won1t for much longer.
Wesker starts toward the door. Barry grabs the back of his
shirt and pitches him across the lab.
Pg-79
BARRY (cont.)
You and me... we ain't goin' nowhere.
Not just now, boss.
Barry turns to the others clustered at the doorway.
BARRY (cont.)
This thing gets loose, it's gonna
be pissed. Somebody's gotta hold it
back. Give you guys a fair chance.
JILL
LOOK OUT!
Wesker has found his pistol. He FIRES at Barry who, ducking,
is only GRAZED. Wesker aims at the group in the doorway.
Barry pops out from behind a desk and shoots back at him.
Ada and Rebecca duck away from the doors, pulling Rodriguez
and a reluctant Jill after them. The doors begin to slide
closed. Chris valiantly tries to prevent them from shutting.
Wesker CRAWLS lke a dog. He manages to fling an arm
out through the opening. Steel bumpers press on the meat
of his forearm. Wesker looks up. Through the Plexiglas,
his eyes meet Chris'.
WESKER
Get me outta here, Redfield. Or so
help me God, you're a dead man.
With his free hand, Wesker aims his pistol at Chris. The gun
barrel is an intimidating sight, even though it's on the other
side of the plexi. Chris glances at the others.
CHRIS
Get going.
JILL
Not without...
CHRIS
MOVE!
Ada, Rebecca and Rodriguez wrestle Jill away bodily, and
start up the metal stairway.
WESKER
COME BACK! RODRIGUEZ! VALENTINE!
THAT'S AN ORDER !
CHRIS
Orders don't mean shit any more,
Wesker. Especially when they come
from sell-out bastards like you.
Pg-80
Chris lets go. The doors squeeze tighter. Wesker SCREAMS.
Through the plexi, Chris catches a glimpse of Barry, who
stands and gives him a military salute. Chris salutes back.
BLAM BLAM BLAM... Wesker FIRES three rounds. Dusty blemishes
appear on the bulletproof glass. The slugs ricochet back
into the lab.
One of them CHIPS away at the ICE which is less and less
able to contain the Tyrant.
Chris makes a break for the stairs. Wesker twists his body
in an attempt to push his pistol through the opening, but his
fist, around the stock, is too thick. Nonetheless, Wesker
FIRES .BLAM BLAM BLAM... bullets SCREAM off the banister
rails, but none of them contact Chris' legs which disappear
up the stairs.
The ice in the stasis tube is turning to slush. The Tyrant
is about to break loose. Wesker looks pleadingly at Barry.
WESKER
B-buddy. You gotta get us out.
BARRY
Not sure I know how, boss. Do you?
Is there some other...'need-to-know'
secret for shutting down the Big
Bopper, here?
WESKER
No. It.. it can't be shut down.
BARRY
The ultimate warrior. The ultimate
soldier. We'll see. How it does
against a couple of hard-ass career
guys, like you and me.
WESKER swings his free arm and aims his pistol at BARRY.
CLICK! The gun is empty.
INT CUBICLE TIMELESS
The ESCAPEES arrive in the security cubicle.
ADA
The corridor outside... can be moved.
Ada rushes over to the instrument panel. Her hands go to
work on an array of buttons and switches.
Pg-81
INT RUNWAY TIMELESS
The multi-faceted CORRIDOR TWISTS into a new configuration
with the RUMBLE of an "eight" on the Richter.
INT CUBICLE TIMELESS
ADA
You won't come out in the same place.
But you'll find a freight loader that
can be accessed with...
JILL
...a blue key. I hope.
ADA
No. Pot blue or green. Red.
Ada pulls a RED KEY from under her lab coat, snaps the chain
on her neck, and holds it out to Chris.
ADA (cont.)
I took it from an Umbrella agent
assigned to us here. He died...
like all the rest.
CHRIS
Red... overrides green.
ADA
Yes.
CHRIS
So... you could have unlocked "D" lab.
ADA
I was hoping it would never be un-
locked again. Go. I will see that
this.. .(she holds up the data disk) ...
is destroyed.
Chris grabs Ada's arm and holds it tight while he wrenches
the disk away from her.
He folds it over onto itself, drops it to the floor, and
pumps three Winchester rounds into it.
CHRIS
It's destroyed. It's worthless
But you're not.
ADA
I helped develop it!
Pg-82
CHRIS
Unwittingly. They lied to you.
They lied to Marcus. They made
you believe you were doing a good
thing when it wasn't good at all.
It was evil!
Ada looks deeply into Chris' eyes.
CHRIS (cont.)
The kind of evil that... resides
in all of us. Makes us... greedy,
uncaring. The kind of evil that
will... wipe us out, in the end.
Unless we stand up against it.
ADA
Stand up? Against powers that have...
ruled the world since before we were
born? We will only be...eliminated.
Or locked away someplace else. I'd
rather die here. Knowing that the
virus has died with me .
Jill takes a step toward Ada.
JILL
What if it's already spread? You're
the only one...who knew anything
about it.
ADA
(The thought penetrating) But, I...
know so little.
CHRIS
More than anyone else. You have...
a responsibility.
JILL
To a higher command. The highest.
She and Chris touch eyes again, this time with understanding.
INT "D" LAB TIMELESS
THE TYRANT flexes its monumental muscles. The ice around
it CRACKS... but clings. The giant HEART dangling outside
its chest PUMPS rapidly...sending fluids through exposed
synthetic veins that run to the creature's brain.
BARRY
That's one helluva big pump.
Pg-83
WESKER
An implant.
BARRY
From what? A fuckin' elephant?
WESKER
Rhinoceros.
BARRY
Shit. I figured you knew more than
you were telling.
Barry FIRES at the encased organ. His bullets bounce off the
shielding with no effect.
BARRY (cont.)
How do we kill this thing?
WESKER
I told you, we don't. W-we can't.
It's unstoppable!
More ICE pops off the monster's pectorals.
INT RUNWAY TIMELESS
CLOSE ON: ADA'S face.
ADA
I don't know if I can face this.
She and the ESCAPEES are no longer in the Cubicle. They're
in the runway.
CHRIS
Just get us upstairs. I'll take
care of it from there.
ADA
Alright. (With a sigh) Come.
They break out, at the run, klacking along the faceted steel
floor of the movable... and still moving.. .corridor.
KRUNNNGGG! They're nearly knocked off their feet when the
system suddenly STOPS DEAD.
Ada slams her fist into one of those JIGSAW TILES on the
wall. Another RED one, which glows from within.
A PANEL grinds open, revealing...
Pg-84
INT FREIGHT CORRIDOR TIMELESS
...a more natural-looking corridor. Half-way along, there
are STEEL PRONGS that protrude from a wall. The group starts
toward them...but stops when a soul-shriveling SOUND fills
the passageway...the hungry MOANING of things that are dead.
ADA
Doors... were left open.
INT "D" LAB TIMELESS
The TYRANT BREAKS free of the last bit of restricting ice.
WESKER FREAKS. Whimpering, he gropes with his hand that's
outside the Plexiglas doors. He grabs something. A BOOT.
Brad Vickers' boot. Wesker tugs on it.
BARRY opens fire on the Tyrant, full bore, with his M-16.
The stream of bullets does nothing except make the monster
notice the big man.
INT FREIGHT CORRIDOR TIMELESS
THE ESCAPEES run down the corridor. SHAPES appear at the
far end. ZOMBIES! Twenty. Thirty. Forty. More. The
walking remains of humans who were infected in the labs,
crawling over each other, hungry for living flesh.
The humans reach the FREIGHT LOADER. Prongs, like those on
a fork lift, extend from a heavy chain-drive that runs up
and down through openings in the floor and ceiling.
ADA swipes her red key through a slot and pushes a button.
The chain-drive Grinds upward, hoisting the prongs.
ADA
Step on.
Ada pushes REBECCA onto the next set of prongs that come up
out of the floor. The footing is precarious. Rebecca has
to hold on to the chain as she is hoisted.
The lift moves slowly, eight feet separating each set of
prongs.
The ghouls continue to press in.
JILL
I don't know if it's gonna happen.
RODRIGUEZ
Come on. I been waitin' all day
for somthin. like this.
Pg-85
Rosie opens FIRE. Chris and Jill follow suit as Ada steps
onto the next set of prongs.
Blood FLIES. Skulls SHATTER. Front ranks drop. Zombies
from behind push their fallen comrades ahead of them. The
corridor is like a syringe filled with corrupted bodies,
pushing inexorably forward.
Rosie, teeth gritted, keeps firing while Chris forces Jill
onto the next set of prongs. As she rises, she hands her
M-16 to Chris. He slings it on his arm while levering his
old Winchester, making each of his shots count, until the
next set of prongs rises out of the floor.
CHRIS
(To Rosie) You're up.
RODRIGUEZ
I'm havin' too much fun. You got
a lady. I just got me. Anyway...
I ain't gonna die in this rat hole.
I'll make it. Get outta here.
Chris hands Jill's rifle to Rosie, who fires with both hands
as Chris jumps onto the lift.
Zombies are MOWED DOWN. But more come. The syringe keeps
pressing.
The next prongs rise. Rosie steps on, still blasting..
The first zombies reach her. Shooting down, she blows them
away. But more come, grabbing her legs, grabbing the chains,
ROCKING the prongs. Rosie nearly falls. She drops one of
the rifles in order to hold on. She carefully picks off the
most threatening zombies. Miraculously, she rises out of
their reach, and into...
INT FREIGHT SHAFT TIMELESS
...a very tight, very dark SPACE with sheet metal walls that
have been bruised by loads of freight. The rumble of the
chain-drive ECHOES frighteningly.
ABOVE ROSIE, THE OTHERS rise slowly... very slowly... feeling
apprehensive, vulnerable. REBECCA, at the top, looks up and
sees LIGHT spilling through an opening through which she is
about to pass.
ADA
(Calling up to her) Level "C".
Have your weapons ready.
RODRIGUEZ
(From below) Whoop-de-doo.
Pg-86
Rebecca's eyes rise above the floor of Level "C". All seems
quiet... but who knows what might be lurking.
INT "D" LAB TIMELESS
THE TYRANT, still a bit sluggish, steps down from the
platform that supported its tank. BARRY jams in a fresh
clip and keeps firing at the thing. The Tyrant, impervious,
stalks after the big trooper.
Wesker is still on the floor, his arm through the doors,
tugging on Vickers' boot.
The flesh on Wesker's forearm is PEELED by the bumpers as
he uses all his strength to drag Vickers' body closer...
until the boot winds up in the opening, preventing the doors
from closing.
Wesker manages to pull his bloody arm free. He rushes to
a computer console and types a request for the "T"-virus.
BARRY
Get under a desk, man. I'm gonna
feed this thing a pineapple.
Barry pulls a GRENADE from his belt.
WESKER
NO! It might damage the system!
I've got to get this data!
Wesker's M-16 has been lying, where he left it, on the
console. He picks it up.
BARRY
Forget it. Bullets don't work!
Barry is about to pull the pin on the grenade when Wesker
triggers off A BURST...into BARRY'S GUT!
WESKER
They seem to work just fine.
Barry is BLASTED across the lab.
The Tyrant makes its first quick move... making us appreciate
how fast and powerful it really is. It swipes at Barry's
body as it flies through the air, catching it in it's steel
claw. We hears BONES SNAP as Barry goes limp.
WESKER (cont.)
That's it. Take a little lunch
break, Mr. "T". I just need a few
more seconds.
Pg-87
The Tyrant lifts Barry's body, as if it were as light as a
feather, up to its snout. Recognizing that the man is dead,
the monster FLINGS him aside like so much garbage... and
begins to lumber toward Wesker.
WESKER (cont.)
(To the computer) Come on, come on.. .
A monitor reads: 90% COMPLETE...95%...98%. Wesker rests
a finger on the button to eject a floppy.
The Tyrant is getting closer by the second. Wesker FIRES
a burst at it which only slows it for a heartbeat.
100%.. .TRANSFER COMPLETED. Wesker ejects the floppy, jams
it into his flack-jacket, and, FIRING another burst, runs
for the door. The Tyrant has to move around desks and
computer consoles to catch him.
Wesker shoves his M-16 through the space that's being held
open by Vickers' boot. He begins to pry the opening wider.
A WARNING BUZZER goes off. The Tyrant dimly registers
the sound. Its eyes dilate, like camera shutters, with
a CLI-CLICK. It strides forward at top peed, PITCHING
DESKS easily aside, SMASHING through a CONSOLE as if it
were made of balsa.
Wesker has pried the doors wide. The Tyrant is coming at
him FAST. It's going to be very close.
Wesker MAKES IT. He gets outside. The doors begin to glide
shut. He LAUGHS!
WESKER (cont.)
EAT SHIT, YOU...
THLANNG! The Tyrant's long, bionic CLAWS SHOOT, with the
speed of switch-blades, through the opening, just before the
doors meet. FOUR of the claws SKEWER WESKER, passing clean
through him.
He doesn't die instantly. He's still alive and SCREAMING
when the Tyrant uses the same hand, with Wesker impaled on
it, to PUSH the doors open wide again. The action causes
WESKER'S HEAD to be SLICED OFF by one of the steel bumpers.
The Tyrant steps out of the lab. As the doors glide shut,
the monster holds the remainder of Wesker's body inside
their path.
The bumpers are stopped by the Tyrant's iron hand... which
it extracts, letting the doors scrape the dead meat from
its claws.
Pg-88
INT FREIGHT SHAFT TIMELESS
REBECCA is approaching another OPENING.
ADA
Level "B".
INT FREIGHT CORRIDOR LEVEL "B" TIMELESS
THE CORRIDOR on Level "B" is long and narrow, with only
occasional pools of LIGHT from bare, overhanging bulbs.
REBECCA rises, like a spirit, out of the floor. She lifts
her weapon. Her eyes dart, looking for dangers. There are
none. The corridor, while very spooky, is quiet.
REBECCA
Don't see anything.
ADA
Good.
INT FREIGHT SHAFT TIMELESS
REBECCA rises through the ceiling.
ADA
We're almost there. You'll have
to jump off. The belt won't stop.
As the ECHO of Ada's voice rings off, Rebecca looks up and...
...SCREEEE... SOMETHING dives down on her out of the darkness.
She ducks, almost losing her balance. She clings to the
chain as OTHER THINGS...black, relatively small.. .WHIP past
her head.
REBECCA
Bats! There are bats in here!
ADA
No. They're crows! Infected!
Don't let them bite you!
Rebecca dodges with new urgency as the black birds dive past
her. Looking up, she sees more coming. She aims her M-16
and fires up the shaft. TWO BIRDS are HIT. They plummet.
One hits ADA. She swats it aside. It drops all the way
down to ROSIE, who JUMPS, gasping, when it hits her.
RODRIGUEZ
Rats. FLYING RATS!
Pg-89
Beneath her, Rosie sees the crows hovering in the light from
Level "B"... They circle, then start to fly up again.
Rosie opens fire, filling the shaft with ribbons of lead.
Another BIRD dives from above and... SKIT... takes a chunk
out of Rosie's cheek.
RODRIGUEZ (cont.)
AAAH ! YOU FUCKER !
CHRIS
(From above) You alright?
RODRIGUEZ
Yeah. I'm cool. I'm... cool.
Rosie keeps FIRING. The deafening SOUND of her M-16 keeps
her from hearing a...
...KRATTCH...in the sheet-metal wall. A second later...
...RRRRRIPPP! The metal is torn open like tissue-paper.
SOMETHING dark lunges from the opening. It's the surviving
HUNTER! One of its steel claws GRABS the chain-drive. The
mechanism stops dead.
QUICK CUTS: of THE ESCAPEES slipping, nearly falling, as they
hang on to the chain.
REBECCA
I thought it wasn't supposed to stop.
ADA
Climb out. OUT!
Rebecca has nearly reached Level "A"... She's able to hoist
herself up, and roll to safety.
Ada tries to climb. The chain is GREASY. Her hands slip.
BELOW, the Hunter lets go of the mechanism. The chain JERKS.
The escapees nearly lose their balance again.
Rosie, at the bottom, is being lifted toward the Hunter's
free hand. She JUMPS down. Barely catching the next set
of prongs beneath her.
AT THE TOP, Ada reaches Level "A". Rebecca catches her and
pulls her up onto Level "A..
Jill is next, rising slowly. Rebecca and Ada reach down and
grab her arms just as... TCHUNG... the mechanism stops again.
The Hunter has grabbed the chain again. Its free hand
swings, clutching at Rosie, who crouches, avoiding capture.
Pg-90
Jill is pulled to safety. She turns and reaches down for
Chris, who starts to climb the chain, his hands slipping on
the grease.
CHRIS
ROSIE!?
RODRIGUEZ
I'M ALRIGHT!
She's not alright. She's trapped. She can't get up past
the Hunter. She FIRES at the thing. Bullets BOUNCE off its
protective steel under-hide.
Chris climbs three feet. Slides back two. The others reach
down from above. Their hands come within inches, but can't
quite catch hold of him.
RODRIGUEZ (cont.)
Here! Here, you... lizard. You
fuckin' cockroach, HERE!
Straining to reach Rosie, the hunter lets go of the chain
for a second, then latches on again. That second lifts
Chris to within reach of Jill and the others. They grab
his arms. Lift him up.
That second has also brought Rosie within reach of the
Hunter. Its claws COMB her hair as she tries to duck lower
while keeping her balance on the prongs.
THWAKK! SOMETHING crashes through the wall. A MONSTROUS
CLAW that IMPALES the Hunter. It's the claw of THE TYRANT!
The chain mechanism begins to rise again. Rosie, cringing,
is lifted past the monster just as it leans its head and
shoulders into the shaft to examine what it has caught.
Disappointed, the Tyrant SCRAPES the Hunter off its claw.
It drops away down the shaft.
The Tyrant turns its CLICKING, dilating eyes up at Rosie,
and...TCHUNNNGG...purposely STOPS the rising chain.
RODRIGUEZ (cont.)
(Calling up) BAD NEWS, GUYS. THIS
THING'S NOT SO STUPID!
CHRIS
(From above) Climb, Rosie!
ROSIE
No. I'm finished. I live here now.
CHRIS
ROSIE, NOOOOO!
Pg-91
Rosie DIVES off the prongs...directly at the Tyrant. With
another lightning move, the monster catches her in its bionic
claw, crushing her ribs. With BLOOD spurting from her mouth,
she utters her last words...
ROSIE
EAT ME, YOU PILE OF SHIT!
INT LEVEL "A" TIMELESS
ADA is the most pragmatic.
ADA
Come.
CHRIS
ROSIE ...
ADA
COME! You convinced me that there
were...larger matters. We're at the
top. You said you'd get us out.
Ada's words snap Chris back into the urgency of their
situation. He struggles to his feet.
CHRIS
Th-this way.
They are in the MANSION, which Chris knows well. He leads
his small troop into...
INT POWDER ROOM TIMELESS
...a small powder room, decorated garishly in an East Indian
motif. A ceramic TIGER'S HEAD sits atop a vanity. CHRIS
grabs it...and TWISTS it on a pivot. A PANEL spins. The
COMMODE disappears into the wall, opening a SECRET PASSAGE.
REBECCA
Hell of a shit-house.
JILL
The guy was a bootlegger... with
a sense of humor.
Chris leads the other into...
INT CLOCK ROOM TIMELESS
...a small, blank CHAMBER. The only thing it holds is a
GRANDFATHER CLOCK .
Pg-92
CHRIS
I hope they haven't disabled this.
CHRIS opens the door that covers the clock face. He quickly
spins the hands until they hit... HIGH NOON.
GRONNNK! A WALL begins to GRIND open, straining against
rust, dirt, from years of idleness. Cobwebs are pulled
apart and...DAYLIGHT APPEARS!
CHRIS (cont.)
Alright. We made it.
Chris urges the OTHERS out through the opening. At the same
time he checks the detonator. The LED is down to SIX MINUTES
and counting.
INT HUEY DAY
At the controls of his helicopter, LAGUARDIA spots something.
EXT MANSION HUEY'S POV DAY
REBECCA, then ADA, then JILL climbing onto the lawn.
INT HUEY DAY
LAGUARDIA
I'm goin' in.
RADIO MAN
You don't have authority.
LAGUARDIA
Fuck authority.
EXT MANSION YARD DAY
...CHRIS climbs out of the secret exit. THE OTHERS, having
spotted the incoming chopper, are waving at it. There's a
sense of relief, of salvation. Only Chris notices...
...a bit of PLASTER falling away from one of the mansion's
stone walls.
CHRIS
Watch it. WATCH IIIIT!
KER-AAAASSSSHHH! THE TYRANT BURSTS through the wall. With
superhuman speed, it ATTACKS the escapees, who run, dodge,
barely escaping the WHISHING SWIPE of its iron claw.
Pg-93
INT HUEY DAY
RADIO
What in God's name is that thing!
LAGUARDIA
Somethin' we weren't supposed to
see. Drop the ladder. And drop
the Stinger.
EXT MANSION YARD DAY
THE HUEY swoops down as low as safety will allow. A faceted
aluminum LADDER unfurls.
CHRIS
GET UP!
CHRIS pushes JILL toward the ladder. She pulls on Ada's arm
and sends her up first. ADA begins to climb. Then REBECCA.
The Tyrant closes in, SWIPING at Chris, who just manages to
avoid the SLICE of its mighty claw.
The RADIO MAN leans out of the door above, holding something.
RADIO MAN
Catch this!
Chris doesn't hear. Jill does.
JILL
Toss it to me!
The radio man drops the Stinger...a rocket with a shoulder-
launcher.. .down into Jill's hands.
Chris hits the dirt. The Tyrant tries to crush him by
stepping on him. Chris rolls away.
The ladder is too wobbly. Jill can't be sure of launching
an accurate shot.
JILL (cont.)
CHRIS!
Chris looks up. Sees Jill holding the rocket launcher. He
RUNS past the Tyrant, okey-doking, left, right, then dodging
left again. The monster SWIPES at him with its elongated
claw. Chris' flack-jacket is caught. Protective fibers fly.
But Chris escapes without injury.
Pg-94
Jill pitches the weapon. Chris catches it. The Tyrant is
on him, about to STOMP him with a bionic FOOT when...
...Chris aims at the monster's rhinoceros heart and FIRES!
The rocket CONNECTS, on target. The casing around the animal
heart EXPLODES... and the Tyrant drops like a giant Redwood...
...on top of Chris's legs.
As Chris tries to free himself, he checks the detonator.
THREE MINUTES. TWO-FIFTY-NINE. EIGHT. SEVEN. SIX.
LaGuardia drops his chopper a bit lower. The bottom of the
ladder hits the ground, coming within Chris' reach. He grabs
on. The helicopter rises again. Chris is pulled out from
under the Tyrant's steel body and is LIFTED into the air.
He climbs frantically.
Above him, Jill is still on the ladder as well. Ada and
Rebecca pull her up. Chris DANGLES as the Huey banks away
over the forest. The tops of TREES whip his legs, but he
hangs on, climbing up... up... until the others catch his
hands and hoist him into the chopper. Chris checks the LED.
ONE MINUTE, FORTY-FIVE SECONDS.
JILL
(Reading over Chris' shoulder) We
have to get out of range.
CHRIS
No. (To the pilot) Circle around.
LAGUARDIA
Are there more survivors?
CHRIS
No. Just...circle, okay? I want
to...take a last look.
The Huey banks into a circle. Chris looks down at...
EXT AERIAL POV DAY
...the MANSION. And just over the hills...HIS FARM.
INT HUEY DAY
JILL
It's... your home.
CHRIS looks at her, with a resigned smile.
Pg-95
CHRIS
I hoped... it would be our home.
JILL
I guess... we're gonna be moving.
Chris checks the LED. THIRTY-EIGHT SECONDS.
CHRIS
(To the pilot) Full throttle.
Out of here, man!
LaGuardia pushes his stick. The Huey LUNGES forward at
top speed. REBECCA, ADA and JILL are pressed back by
inertia. Chris holds himself erect. Through the window,
in the receding sky, he spots...
...AN EAGLE, riding the wind.
CUT TO:
EXT THE ARKLEY FOREST THE MANSION DAY
PLOOOOMMMMM! The GROUND ERUPTS from an enormous under-
ground explosion. The MANSION is reduced to particulate
as the shock-wave spreads outward.
EXT FARM DAY
Chris' farm hand, RAKE, is shambling out of the house, a
ZOMBIE... when the EXPLOSIVE FORCE HITS, tearing him APART.
EXT RACCOON CITY DAY
The TOWN is EMPTY...except for NINE LONELY FIGURES, lumbering
down Main Street. They, too...are ZOMBIES. The hot wave
HITS. Two are VAPORIZED. FIRE engulfs two more. The BRAINS
of two others are DESTROYED by flying debris.. .
...which catches the remaining three, as well. Arms are
torn off. Iron shafts from shattered plumbing, shards of
window glass, slats from picket fences... PUNCH through
necks, chests, bellies...
...but the dead things, their skulls undamaged,
through billows of dust... drooling hungrily.
THE SCREEN GOES BLACK.
---
This text orginiated from
www.New-Blood.com
, please check them
out for Resident Evil coverage.
---
| screenplays |
Strange behaviour of $\Gamma$-function [closed]
**Closed.** This question is [off-topic](/help/closed-questions). It is not currently accepting answers.
---
This question does not appear to be about physics within the scope defined in the [help center](https://physics.stackexchange.com/help/on-topic).
Closed last year.
[Improve this question](/posts/722032/edit)
on the Wikipedia article of the $\Gamma$-function it says that it fulfills the following property:
$$z \Gamma(z) = \Gamma(z+1)$$
on its entire domain. Now consider the following case
$$\Gamma(3-x) \Gamma(x+3) \overset{x \rightarrow 0}{\longrightarrow} \Gamma(3)\Gamma(3)= 2! 2! = 4$$
However, with the above property we could also do this:
$$\Gamma(3-x) \Gamma(3+x)= \Gamma(3-x)\Gamma(3+x) = \Gamma(3-x)x \Gamma(2+x)=-(-x)\Gamma(3-x)\Gamma(3+x)$$
And now for the term, factor, we can use:
$$(-x)\Gamma(3-x)=\left . z\Gamma(3+z) \right|\_{z=-x}=\left.\Gamma(4+z) \right|\_{z=-x}=\Gamma(4-x).$$
Plugging back in yields:
$$-\Gamma(4-x)\Gamma(3+x) \rightarrow -\Gamma(4)\Gamma(3) = -6 \times2= -12.$$
Am I misinterpreting somthing or so? Where am I wrong?
>
> However, with the above property we could also do this:
>
>
>
>
> $$\Gamma(3-x) \Gamma(3+x)= \Gamma(3-x)\Gamma(3+x) = \Gamma(3-x)x \Gamma(2+x)=-(-x)\Gamma(3-x)\Gamma(3+x)$$
>
>
>
You are at least going wrong here:
>
> $\Gamma(3-x)\Gamma(3+x) = \Gamma(3-x)x \Gamma(2+x)$
>
>
>
Which should read:
$$
\Gamma(3-x)\Gamma(3+x) = \Gamma(3-x)(2+x) \Gamma(2+x)
$$
| stackexchange/physics |
Sookie Stackhouse/Southern Vampire Mysteries Being Sick Bites
Being Sick Bites
Disclaimer: Please note, I am only borrowing the characters, not stealing them.
If you are wondering why Dear Sam and Better Married than Dead and this one are all so similar; I can't decide the best way for Eric and Sookie to Settle their differences. So I keep writing different scenarios until I find the one I like the best. Please let me know if you are sick of them yet. Obsidian
******
Sookie was reeling down her hallway; she had never felt so sick in her life. She had got a nasty flu bug that was going around and was utterly miserable, nauseous, dizzy and had a high fever.
She staggered into her kitchen to get a glass of water, lost her balance and was just about to hit her head on a kitchen chair when a large white hand caught her just in time.
"Sookie, what is wrong? I sensed you in pain through the bond and came to see why that is" asked Eric
Sookie answered him by clutching her hand over her mouth and saying "bathroom" in an urgent tone. Using his vampiric speed he just managed to make it before she threw up. He filled up the mug in her bathroom with cold water and said "drink" she did.
After he bundled her into his arms and carried her back to bed. He was concerned, she was shivering and sweating at the same time and her skin felt hotter then normal.
"Eric why are you here?" She said weakly as he tucked the blankets around her.
"I came to make sure that you are okay, that is why. Now what is wrong with you?"
"I'm sick" she managed to get out before sleep claimed her; because of the bond she felt comforted now that he was there.
When she woke Dr. Ludwig was peering over the edge of her bed "she's pregnant" she said watching the vampire's eyes widen. "Just kidding; she has the flu, it is a depressingly human virus which any human doctor could have diagnosed had you bothered to consult one. She needs bed rest, Ibuprofen to help with body aches and to reduce her fever and lots of liquids; not a hysterical vampire. Oh I better tell you now; the female humans get really cuddly when they are ill"
"Pardon me for being concerned, I do not know about human illnesses nor know what her body temperature is even supposed to be. I couldn't even look it up on her infernal dial up connection. Besides, if I was to take a hospital they would probably just stake me thinking that I attacked her. That is why I called you."
"Well vampire, they wouldn't have let her stay in the hospital anyway, her body just has to ride it out, she should be fine in about a week. However you should call one of her friend's to ask if they can come and sit with her. Someone should monitor her fever, she is supposed to be 98.2 Fahrenheit; she is at 102 now. If it goes to 104 there could be complications and she will need to go to the hospital right away. In the future vamp, please remember that I specialize in supe cases, not human ones. Good bye Sookie, hope you are feeling better soon" and she promptly vanished.
Eric sat on the edge of her bed and gently pushed the strands of hair out of her face that were sticking to her clammy skin "is there someone I can call to come here to be with you?' he asked gently. She liked the sensation of his cool fingers and leaned into his touch.
"No" she answered; no one is here right now. Amelia and Octavia are at a conference for witches, Jason and I still aren't speaking and Tara is away on her honeymoon. Even Sam had to go see his family. Don't worry, I'll be fine" She concluded then drifted off to sleep.
******
"Hi Pam, I won't be returning to Fangtasia this evening" he said when she answered her cell phone.
"Where did you end up going in such a hurry, Master?"
"I am in Bon Temps."
"With Sookie" she concluded. "Why does she have a date tonight and you thought that you might check to see who it was with again?"
"Pam, you forget yourself!" he hissed. "No, she is feeling unwell."
"Chicken soup"
"Chicken soup? I am afraid that don't understand you."
"Dear Abby always says that if someone is sick that you should feed them chicken soup."
"Okay, thanks Pam, that is something to keep in mind. I will call you tomorrow."
******
He turned to go, but found that he couldn't. Now he finally understood what she meant about that sucked in feeling. He went and packed up some spare nightgowns, her tooth brush and some clothes for her in a bag that he found and stowed that in the trunk of his car. He then bundled her into his arms and carried her to the passenger seat; for once he wished that he had a back seat. "You are too much trouble" he whispered as he settled her head on his lap for the drive back to his place.
The next day Sookie woke up is a huge bed in a large, dark room. "Where am I?" she said in a small voice, her throat was so dry and she still felt very hot.
"You are at Mr. Northman's house" answered a small woman bearing a tray. She was about five feet or so, fortyish with close cropped blond hair and pointed teeth when she smiled. "Hi, I am Cecilia; I am Mr. Northman's maid he asked me to remain with you during daytime hours until you wish to return home.
"I am at Eric's place? He really was there last night; I thought it was a dream. Why did he take me here?"
"He felt it unwise to leave you alone in the state that he found you in and brought you here to me as result when you told him that you had no one to come to your home. Don't worry I won't bite" she said indicating her teeth.
"Are you a demon?" asked Sookie remembering that some of her friends had similar teeth.
"I am a half demon and have worked for Mr. Northman for many years. Speaking of which, he apologizes for not leaving you a note, but by the time we got you settled he had to go to sleep. You were in pretty rough shape last night, Baby Girl. However, he did ask me to pass on the following message: he has not kidnapped you, he will drive you home when you wish to go, he does not expect you to yield and you are still your own person. I hope you know what that means; because I don't."
"I am sorry that I caused you so much trouble, I shouldn't even be here."
She smiled again "it is no trouble, the good thing about working for a vampire is you only do half the work as a human. Stay as long as you want. In the meantime, I made you some chicken soup. See if you can eat it. Here is a glass of ginger ale and some Ibuprofen, please see if you can take those too."
"Thank you" said Sookie "I will stay until he wakes up and then I need to go home, I have to work tomorrow."
Cecilia cocked her eyebrow at her "Ms. Stackhouse, I doubt you will be able to work tomorrow. I am not telling you what to do but try just standing up."
She did and started shivering when she got out of the covers and her head started to throb.
"In life you have to accept that you need help sometimes and deal with it. You are far too ill at this time to work in a bar, now get back in bed please and eat your soup."
Sookie obeyed grateful for the soft sheets that surrounded her and drifted off to sleep after she ate, hugging one of the large pillows to her.
She woke up to feel fingers running through her hair, she turned over to find Eric sitting on the bed beside her, he had just gotten out of the shower as his hair was wet, but he was fully dressed except for socks and shoes. "How are you feeling?"
"A little better, thank you for taking care me" she said hating the weak sound of her voice. "But I should get home, I have to work tomorrow."
He moved closer to her "I will take you home if that is what you want to do, but don't know if you can work, you could barely even move last night. I actually called Dr. Ludwig in to see you and got bawled out for doing so" he finished in an ironic voice.
She stood up in a shaky way and repeated "please take me home."
Eric stared at her in an assessing manner "if that is what you wish, then I shall do it."
Sookie got dressed as quickly as possible, grabbed her luggage (she thought it was very sweet of him to remember to pack for her) and got in the car. She leaned back as far as she could against the head rest.
She had gotten about a couple of blocks away when she a wave of nausea hit her "stop the car!" she said desperately.
Eric swerved over as close to the curb as he could, Sookie ripped the door open and began heaving violently. Eric leaned over and held her shoulders, then handed her a tissue to wipe her mouth with.
"Thank you" she whispered.
"Sookie, you are behaving like a child, you are not well at all. I accepted your help when I was not myself and I think that I can offer you the same in return. Now if you agree, we can turn the car around and go back to my place, then we can call your shifter boss and arrange some time off for you."
"I think that is a good idea, I don't think that I will make it home tonight, I feel really dizzy" she admitted.
Eric opened his mouth to argue further, but shut it when he realized that she actually agreed with him. "Really?" he inquired.
"Yes, really, now can we just not have this conversation and get out of here."
He drove to his house in silence. He found it a little strange to have someone else present; he didn't really tend entertain anyone at his personal residence and never had. Yet, here he was trusting his most closely guarded secret; his daytime resting place to this mortal girl. It would serve him right if she staked him.
He helped her into the house and then went to retrieve her bag. "Why don't you take a shower?" he asked and went to retrieve a towel for her.
She nodded and went into the washroom.
He handed her a terry cloth robe "here this belongs to Pam." She thanked him.
He pulled the sheets straight and went to get her more Ibuprofen and ginger ale while he waited for her to be done.
She came out huddled into the bathrobe and got out her hairbrush. Eric sat her on the bed, took it from her and brushed her hair for her. She sighed with appreciation. "Feeling sleepy?" he asked after he made sure that she took her pills.
She yawned "a little, but I have to wait for my hair to dry." He put his arms around her and arranged so that he was leaning back against the headboard with her reclined against his chest.
"I have a surprise for you, we never did get past season 1" and with that he pushed a button on his universal remote and Buffy Season 2 started. She laughed, snuggled against him and watched it with him until she fell asleep. He gently tucked her into bed and left the room.
******
The next day she woke up Cecilia was there "I see that he managed to talk you into staying, good. Sickies should never be left alone in my opinion" she said with a friendly barracuda smile.
"Do you live here" she asked sleepily, the sheet were so soft and probably cost more then her entire bedroom set she mused.
"No, I normally only come twice a week, but as a favour to Mr. Northman I agreed to stay with you on days until he wakes up in the evenings, just as a precaution of course."
"I am sorry that I am making your job harder for you. I don't know why he is making such a fuss about me; it is only the flu, not cancer or anything"
"Don't be silly, you can't hardly eat and just sleep most of the day. Besides, I am stupidly addicted to soap operas and you are giving me an opportunity to get caught up on them. Can I get you anything?"
"Do you have any more of that soup and perhaps with a slice of bread and butter on the side if it is not too much trouble?"
"Not a problem, your cell in on the side table, apparently you need to make a call this morning."
"Thank you" said Sookie and picked up her cell phone. She dialed Sam's number "Hello Sam, its Sookie.'
"Hi Sookie, you sound awful are you okay?"
"No, I have a bad case of the flu and can't make it in today."
"Sorry to hear that, I will call Arlene to see if she can cover for you. Should I ask Holly to drop something off for you?"
"No, that isn't necessary, besides I am not at home; I am at a friend's house."
"Which friend would that be, Sookie?" asked Sam suddenly suspicious.
"I am in Shreveport" she admitted
"Shreveport?….at Eric the Vampire's place I suppose" said Sam in a quiet manner.
"Yes."
"Did he kidnap you and is now holding you hostage until you agree to doing some sick, twisted thing with him."
"No! He has been a perfect gentleman; he found me at home sick as a dog and brought me here so he could get me some help."
"At a vampires place?" not even trying to conceal the incredulity in his voice anymore. "Yeah vampires are always known to be great nurses. Give me the address where you are at and I will come get you"
Cecilia returned and asked if she may speak with Sam. "Mr. Merlotte, I am Cecilia Babcock, personal assistant to Mr. Northman." She listened for a minute. "Yes, I can see your concerns but honestly she is perfectly safe here. She did ask to leave yesterday and on the way home became ill hence why she is back here. My employer has nothing but honourable intentions towards Ms. Stackhouse, should I presume otherwise I would be the first person to remove her from here. Yes, you may speak to her again."
"Sam?"
"What did Eric do you to?" he asked.
"Nothing, he arranged for Cecilia to take care of me during the day and at night he brought me ginger ale, tucked me into bed and watched Buffy the Vampire Slayer Season 2 with me. What? Yes he was dressed the entire time."
"Let me get this straight, Eric Northman the vampire, Sheriff of Area 5, is playing house with you?"
"I don't know if he is as you say 'playing house with me' but yes, he has been very sweet to me."
"A sweet vampire? I bet hallmark never thought to market that." Sam said dryly.
"Okay Sookie, I trust your judgment and want you to take the rest of the week off to get better, however, you are to call me every day, you hear."
"Of course, thanks Sam"
******
Sookie woke to the sound of someone using the en suit bathroom; she peeked in to see Eric brushing his hair.
******
Eric came in from his spare bedroom and sneaked into the washroom; he had asked Cecilia not to tell Sookie that she wasn't in a guest room, but in the actual bed where he normally slept. He had figured that she needed comfort and gave it to her for this reason. "Hey sleepyhead how is the fever?"
She rolled over like a sleepy child and smiled at him. He got onto the bed with her and she put her head in his lap and hugged his waist. She noticed that he was dressed in his Fangtasia gear, his staff t-shirt, black jeans and prominent belt buckle." A bit better, thank you. Wow, you look nice, going somewhere?"
"I have to go into Fangtasia for a few hours; there is something that I must attend to."
"Blond, brunette or red head?" inquired Sookie facetiously, this elicited a laugh for him.
"None of the above; a rogue vampire."
"Well if anyone knows anything about being a rogue it is you."
"Sorry to have to leave you alone, I should be back at about ten. I bought one of those water coolers with the mini fridges and placed it there" pointing to a corner that miraculously had sprouted an innocuous looking white cooler. "The fridge is full of orange juice and ginger ale and some light snacks if you get hungry. I left your pills on the night stand."
"Eric, this is your room isn't it?"
He tensed had Cecilia told her? "How do you know?"
"Come on, this room practically shrieks _**master bedroom**_. I mean leather furniture, a huge bed with black sheets, fur throws; this place couldn't be more you if it tried. Besides, you have your toiletries in the en suit I definitely recognized the scent of your shampoo."
He seemed rather startled, she had recognized how his hair smelt. "Okay guilty as charged, I wanted you to be comfortable and am not really set up for guests here."
"That is just so kind of you. Where have you been sleeping then?"
"In my travel coffin" he admitted.
"Ew, that can't be very comfortable. We should try to get me home so I stop disturbing your routine, perhaps I should try to call Jason."
Eric felt kind of sad at the idea of her leaving "if that is what you want I will take you home when I return" he said rather stiffly. "However, you are not putting me out, the place is big; I just never bothered to really furnish the guest rooms as I don't tend to entertain, my own fault.
"Mind if I take a shower? I must look a fright."
"Of course not", fighting the image of another shower scene with her in his head.
"I will see you later" he whispered and leaned over and kissed her goodbye so, so tenderly. She responded by wrapping her arms around him and kissing him back. 'It feels so good to touch him again' she thought as she fought the urge to stroke his back. His hair brushed her cheek and she smelled his aftershave. "Why do you wear aftershave if you don't have to shave?"
He flexed his muscles and said "doesn't it make me smell masculine and rugged to you?" pretending to beat his chest.
She responded by throwing a pillow at him, which he caught. "Don't mess the hair" he admonished "us manly men have to have pretty hair."
Sookie felt a surge of something along the bond "you're happy" she observed.
He smiled at her and said "don't worry I will go right back to brooding and smirking when I get to the bar." He leaned over her and kissed her gently again "I have to go, I am only ten minutes away, call if you need anything. If you are up for it when I return, perhaps we can watch some TV together or play cards or something."
"Thanks I would like that, try not to be to hard on the thralls." He gave a small wave and left.
As Eric was driving he pondered what was going on with him. Here he was feeling bad that he had to leave her alone and he was only going to be gone for a short while! Ever since he met her he had felt oddly protective of her, even when it was just lust and nothing more between them. Yet since he took her into his home he wanted nothing more then to take care of her and nurse her through her pain. Yet, he knew as soon as she was back to being her old self she would just annoy him again.
Sookie put on the bathrobe that Eric had leant her and decided to explore his place, she still felt headachy and hot but at least the dizziness had abated. The place was huge, but she saw what he meant about the furnishings. There were 6 bedrooms in total but only two had any sort of furniture, one was the room she was in and the other an office, in which she discovered his 'travel coffin' in the walk in closet. Out of curiosity she opened it; she felt a twinge of guilt when she viewed it. It was lined with just enough padding for the dead, not the living dead with a garish satin pillow. She resolved to get home as soon as possible so that he might have a proper day rest.
The living room reflected the same taste as his bedroom.
The kitchen was actually a decent size for a vampire and when she opened the fridge she found it stocked with True Blood, orange juice, ginger ale, yoghurt and fruit.
She returned to the bedroom and took a quick shower and crawled back into bed after dressing in a fresh nightgown. She had that sick feeling like her skin was too tight.
Eric arrived at his home at 10pm on the nose. "Hey" he said "I brought you something"
"What is that" she asked sitting up in bed. He handed her a take away cup with a straw in it.
"It is an orange, banana, mango smoothie. Cecilia said that you aren't really eating enough and thought that these might help."
"Oh thank you" she said taking a sip and setting it on the night stand. "I love these. Where did you get it?"
"Smoothie Shack in third, they are open 24 hours" he said.
"How is the rogue faring?"
"He is no longer a rogue; he is staying at a condo that I own. Is appearing for 'throne' duty every Thursday and has my permission to open a 24 hour florist shop."
"Florist shop huh? Is he gay?"
Eric stretched out on the bed beside her "let's just say that Russell would love him."
"Well that is good to hear"
He turned to face her with a wicked smile "now it is thermometer time" as he held it up.
"No not that again, I am pretty sure that my fever has reduced. I am not putting that in my mouth."
"According to the directions on the package, there are other ways to take your temperature" he teased and thrust it in her direction.
She caught his arm and said "don't even think about it" he responded by tickling her side. She shrieked with laughter and collapsed halfway onto his lap.
"Okay, get ready for this" he said holding it up about to put it into her mouth. Then there was a loud pop sound in the air.
Claudine stood there glaring at him and said in a commanding voice "vampire stop threatening Sookie with a" then she get a closer look at what he held in his hand "a thermometer" she finished lamely. Looking a closer at the scene with them entwined on the bed, it didn't look that threatening. In fact it looked downright cozy. "Sookie, are you okay"
"I have the flu but am fine otherwise"
"Why did I feel you panic then?"
"Well, Eric told me that he was going to take my temperature in…another place if I refused to let him take it orally. It is okay, I have been ill and he has been taking care of me."
"That is all? I thought he had kidnapped you or something."
"Nope, I was unconscious when he brought me here, but I have been given every opportunity to leave." She said straightening up and leaned back against him. He put an arm around her territorially. She reached up her hand to stroke his cheek.
"Well, if I am not needed here I guess that I shall go home" and she vanished; she was feeling rather uncomfortable to see how they were looking at each other.
"You tired" he asked kissing the top of her head.
"No" she whispered back "just a little hungry."
"What can I get for you?" he asked starting to sit up.
She grabbed him and pushed him down on the bed "you can get naked and make love to me until dawn. That might just satisfy my appetite for you, for now" she said with a tender smile.
His blue eyes widened and he responded "but I thought that you were sick" his own smile starting to form.
"Well, you probably don't remember from being ill when you were human, but lying in bed all day long gives you a lot of time to have sexual fantasies and you feature in all of them, my love."
"My love? Where is that coming from?"
"That is a term of endearment that you bestow upon the person that you love and want to share you life with."
"So then you…..love me"
"Yes Mr. Northman, I do and you love me too"
"How do you figure?" he didn't say it to be mean; he sounded just baffled.
"Lets see you protect me, take care of me when I am sick and just generally try and be there for me. Then there are the things that you have started to say in the past but were too chicken to. Any of that sounding familiar or shall I go on?" each sentence was punctuated with a kiss.
"Now you can stop being a big baby and admit it now or I am going to use the rest of my recuperation making love to you endlessly until you do, even if I have to wrap you in silver chains to get you to."
"A Baby? A Chicken? You really know how to seduce a man, Sookie Stackhouse" he didn't sound exactly upset.
"Still not talking huh? Oh well, all is fair in love and war" she answered undoing his belt. She undid his jeans and drew his length out. He hissed and reached for her. "Oh no, play fair" she said and batting his fingers away. She took him as deeply in her mouth as she could and started to draw him in and out of it, while flicking her tongue against the sweet spot and pumping him with her fist. He moaned deeply. Several times he almost reached his climax and she stopped just as he was about to each time.
"Why are you torturing me" he panted but complied with her game.
She paused and said "you know how to end it, all you have to do is stop this little drama and stop running away from your feelings. In other words, say that you love me' she said with a wicked smile and resumed. Just to drive the point home she reached under his t-shirt and began pinching his nipples at the same time. He was putty in her hands.
"Okay, I love you" he said. She redoubled her efforts and he was rewarded with an orgasm that he thought was going to take his head clean off.
"There was that so difficult?" she cooed. "Now do you want to fuck me?"
He answered "no, I want to make love to you" he said drawing her nightgown over her head"
Tanned skin merged with pale and he did as she requested and made love to her until dawn.
Just as he was about to drift off into his day rest he whispered to her "you are too much trouble."
The next day Sookie felt well enough to leave the bed, she carefully tucked in her slumbering Viking and slipped out of the room to meet Ms. Babcock.
"Morning" she said drinking the juice that she held out to her.
"Glad to see that you are still here, but I thought you might, my son can be very persuasive."
Sookie almost dropped the glass "your son?!"
"Yes, my youngest in fact. He gets his looks from his father"
"Huh, it kind of makes sense that Eric is part demon" she mused.
"I just want to thank you for making him happy, he has been miserable for months. Now promise me that you will take good care of him. I have to go home, much as I love him, I miss there more."
Sookie almost laughed at the idea that she could possibly have to take care of him. It was kind of like being asked to look after the well being of a mountain. But when she saw the serious expression on Cecilia's face she swore she would.
Eric woke up a few hours later; she slipped off the robe and went to join him bed.
"Met your Mom, I like her"
"She certainly is unique" he replied.
"So what is your Dad then?" she asked while absently stroking his chest.
"He is a Viking angel"
"Are you serious? Your mother is demon and your father is an angel! Here I thought I was the hybrid" she said with a laugh and hugged him.
Eric went silent, "so now that you know the reason for my angst. So now what happens?"
Sookie was starting to enjoy the new development in their relationship "well, thought that I would go home soon and go back to my life. Bills don't pay themselves after all."
"And then, you get on with your life and you get your bed back to yourself."
He felt sad "what if I don't want to sleep alone?"
She smiled at him "oh, I will be back to share it with my _boyfriend_"
His face lit up "then you are mine finally?"
"Yup and you are mine."
"Now I don't have to go home right away, after all, I have the rest of the week off. How about you, do you have to go into Fangtasia tonight"
"Fuck Fangtasia" he said in a lusty voice and reached for her.
End file.
| fanfiction |
The Day the Sun Died is a 2015 novel by Yan Lianke, published in Taiwan. Carlos Rojas translated the book into English, and the translation was published in 2018 by Grove.
The novel's events occur in a place called Gaotian, in June, within the span of twenty-four hours, starting at 5 PM, going through the nighttime, with the morning occurring at the end of the book. Li Niannian, a 14-year old boy, narrates the novel. His uncle owns a mortuary. His father Tianbao, who makes funerary wreaths, is involved with hiding oil generated from dead bodies instead of allowing it to be sent to factories.
During the novel many residents of Niannian's village suffer from somnambulism. Niannian knows Yan Lianke, who appears in the novel and also suffers from somnambulism in addition to writer's block. Over 500 deaths occur as the sufferers lack inhibition and wish to right perceived wrongs inflicted by others. Since the government promotes cremation over burial, Niannian's uncle gains a lot of money.
The narrative keeps track of each hour passing.
Characters
Niannian is often called stupid Niannian Sha Niannian, although his uncle chooses not to do so. James Kidd of the South China Morning Post stated that Niannian makes an engaging, if unlikely narrator who has unadorned words that belie complex layers from a rhythmic and heavily metaphorical style. Niannian likes to quote the fictional Yan Lianke's works, but he often gets the quotes wrong. The actual Yan Lianke stated that a teenager would have been more believable than a very switched-on adult in a role that needed a certain element of randomness and unpredictability, so he chose to make Niannian a teenager. He also stated that a very innocent, very pure voice was useful in criticizing modern Chinese society.
Reception
In 2016 it won the Dream of the Red Chamber Award.
Sean Hewitt of the Irish Times called it a brave, masterful, and unforgettable novel that is poetic, both in structure and imagery. Hewitt stated that sometimes parts of the translation seemed clunky.
Allan Mas of The Scotsman stated that it is a remarkable novel which readers can interpret however they wish.
Kidd ranked the book five of five stars.
Publishers Weekly stated that the book is a riveting, powerful reading experience.
Kirkus Reviews stated that the book belongs in the company of Juan Rulfos Pedro Páramo and even James Joyces Ulysses. It received the Kirkus Reviews The Best Books of 2018 Fiction Award.
References
External links
The Day the Sun Died - Grove Atlantic
The Day the Sun Died - Penguin Books United Kingdom
The Day the Sun Died - Text Publishing Australia
Category:21st-century Chinese novels
Category:Novels by Yan Lianke
Category:2015 novels | wikipedia |
this occurs mostly through the action of dedicated transcription factors ( tfs ) , as in the well - known case of the lac operon ( jacob et al . , 1960 ) .
on the other hand , gene expression is continuously adjusted to adapt to varying environmental conditions , leading to quantitative relationships between the molecular content of cells and their growth rates ( scott and hwa , 2011 ) . physiological factors
( berthoumieux et al . , 2013 ) , such as the concentration of rna polymerases ( rnaps ) ( klumpp and hwa , 2008 ) , the regulation of rna degradation ( chen et al . , 2015 ) , and topological properties of dna ( dorman , 1995 , hatfield and benham , 2002 , travers and muskhelishvili , 2005 ) ,
are thus known to continuously affect , at a system level , the transcriptional activity of genes .
the specificity , if any , of each of these mechanisms with respect to the set of co - regulated genes , nevertheless remains to be understood . in bacteria , the coordination of transcription
is strongly related to the linear organization of genomes ( kps et al . , 2012 ) .
at the smallest scale , many co - regulated genes are thus found within operons so that they can be co - transcribed into the same mrnas . despite their apparent simplicity , the operons have nevertheless raised important questions , not only about their determination but also about their definition ( okuda et al . , 2007 , gell et al . , 2011 , mazin et al . , 2014 ) and utility ( de lorenzo and danchin , 2008 , junier , 2014 ) .
for instance , although certain operons are easily recognizable by their functional homogeneity ( as , e.g. , for the lac operon ) , many of them are composed of genes whose function appears unrelated ( de lorenzo and danchin , 2008 ) .
soon after the seminal work of jacob and monod , studies on operons such as trp also revealed the possibility to have specific internal regulation of termination ( yanofsky , 2000 ) : mrna - based intrinsic terminators may abort transcription midway , whereas competing mrna secondary structures ( anti - terminators ) may attenuate this effect ( merino and yanofsky , 2005 , santangelo and artsimovitch , 2011 ) . together with the observation that the majority of operons actually contain alternative transcription start sites ( tsss ) ( sharma et al .
, 2010 , cho et al . , 2014 ) , high - throughput data have thus revealed the presence , inside operons , of differential initiation and termination points ( okuda et al .
, 2007 , gell et al . , 2011 , nicolas et al . , 2012 , mazin et al . , 2014 ) .
yet the impact of these internal elements on the genome - wide coordination of transcription has remained unexplored .
model systems such as the bacteriophage further revealed that operons may be part of larger functional genomic units with , in particular , the possibility of having subsequent operons transcribed in one go ( gottesman et al .
trt has actually been shown to be frequent and regulated by dedicated proteins ( stlke , 2002 , nudler and gottesman , 2002 ) , with the so - called factor playing a major role in many bacteria ( richardson , 2002 ) .
transcriptional co - expression has thus been shown to extend beyond operons ( jeong et al . , 2004 , carpentier et al . , 2005 , nicolas et al . , 2012 ) .
yet the systematic identification of supra - operonic units and of their regulatory mechanisms remains an open problem .
a system - level understanding of transcriptional coordination thus requires abandoning , at least in the first stage , our preconception of the potential units that may come at play .
a promising avenue along this line consists in analyzing in detail the genomic properties of proximal genes as a function of their degree of co - expression and to question the structural and regulatory properties that might be associated to the observed patterns ( ma et al . , 2013 ) . here ,
we perform such analysis in m. pneumoniae , a model organism with a reduced genome ( 820 kb ) that offers ideal properties to address questions about the fundamental mechanisms that govern bacterial cell physiology ( gell et al . , 2009 ,
in particular , although m. pneumoniae has two sigma factors ( torres - puig et al . , 2015 ) , a tiny tf repertoire ( table s1 ) and no factor ( himmelreich et al . , 1996 ) , it shows genome - wide complex specific regulatory patterns in response to different external perturbations ( gell et al . , 2009 ) .
this suggests the existence of fundamental mechanisms ensuring coordination of transcription , different from tfs and from the factor . to test this hypothesis and to identify associated regulatory mechanisms
, we analyzed rna sequencing ( rna - seq ) data obtained from m. pneumoniae under 115 different conditions ( figure 1a ) . to this end
, we built a co - expression measure particularly well poised to highlight basal co - expression . using a hierarchical clustering framework that is constrained to respect the 1d organization of the genome
, we then reveal the existence of three qualitatively distinct levels of co - expression associated to different organizations of adjacent genes and to different properties of intergenic regions .
we next show that the degree of co - expression between co - directional genes and operons is tightly related to the capacity of the rnap to transcribe them as if they belonged to the same operon .
we then reveal that such trt is both ubiquitous and condition dependent and that it is repressed by dna - bound rnaps , strong intrinsic terminators , and large intergenic distances .
we measured the transcriptional activity of 869 m. pneumoniae genes , of which 701 encode proteins ( lluch - senar et al . , 2015 ) , across 141 conditions ( 282 samples ) . to this end ,
m. pneumoniae m129 ( passage 34 , nc_000912 reference genome in the national center for biotechnology information [ ncbi ] ) was grown in modified hayflick medium and transformed by electroporation ( yus et al . , 2009 ) .
rna - seq data were then collected at various stages of the cell growth , after various perturbations and overexpression of different regulators ( table s2 ) .
the resulting transcription profiles were generally highly similar , even after shuffling the expression values between the conditions for each gene separately ( light gray distribution in figure 1a ) , showing that genes have mostly stable expression . to focus specifically on basal co - expression
we identified a large set of 227 highly similar samples corresponding to 115 conditions ( 112 for which two technical replicates are present ) , the 29 remaining conditions being characterized by a particularly low level of transcription ( table s2 ) . to analyze the basal coordination of transcription between all pairs ( i , j ) of genes
, we built a specific measure of transcriptional co - expression , cij , hereafter referred to as basal correlation .
cij quantifies the tendency of the expression of the two genes to systematically vary in parallel ( figure s1 ) , here among the 227 working samples .
specifically , it is equal to the difference between the number of pairs of samples for which the two genes co - vary and the number for which they vary in the opposite direction , normalized by the total number of possible pairs of samples . compared with other correlation measures to which it is related , such as the pearson correlation , cij is well suited to highlight the basal coordination of genes ( figure s1 ) . in particular
, cij0 indicates that the expression of the two genes varies as many times in the same direction as in the opposite direction .
in contrast , cij1 indicates that they always vary in the same direction , whereas cij1 indicates a systematic tendency to vary in the opposite direction .
figure 1b shows the resulting heatmap of cij , for which the genes are sorted according to their genomic position , and each pixel indicates the co - expression level between two genes .
one can distinguish the presence of specific contiguous clusters of highly co - expressed genes with , on average , a genomic extension that typically extends up to 10 kbp ( figure 1b , bottom ) .
this 10 kbp length scale is larger than the typical length scale of operons , corroborating that the co - expression of proximal genes extend beyond operons .
it is actually similar to that found in e. coli and b. subtilis when performing a similar analysis of co - expression ( jeong et al . , 2004 , carpentier et al . , 2005 , junier and rivoire , 2016 ) . to delineate in a more precise way the relationship between basal coordination of transcription and the established organization of m. pneumoniae into operons
( see experimental procedures for their definition ) , we analyzed in detail the genomic organization of co - expression . to this end
, we developed a hierarchical description of co - expression constrained to respect the linear organization of the genome .
briefly , we built a dendrogram in which pairs of adjacent genes were hierarchically fused on the basis of their co - expression ( figure 1c ) . using this dendrogram , we defined domains of the genome , which we call -domains , as the contiguous domains of genes for which all the adjacent genes have a co - expression larger than ( figure 1c ) .
an analysis of -domains for all possible values of reveals that although these domains may coincide with operons at certain values of , they are generally different .
this can be qualitatively appreciated for specific clusters of genes , such as that of the f - atpase machinery ( figure 1c ) .
more quantitatively , we evaluated the capacity of -domains to predict operons using our most recent manual annotation of operons as the ground truth ( table s1 ) . to this end
, we made vary from 1 to 1 and we assessed both the specificity and the sensitivity of predictions .
the resulting area under the receiver operating curve ( auc ) , which summarizes the balance between specificity and sensitivity by a single value , was equal to 0.76 ( figure 1d ) .
-domains are thus not perfect predictors ( in which case the auc would have been equal to 1 ) , corroborating the necessity to analyze co - expression properties independently of our knowledge of operons , at least in the first stage . to better understand the hierarchical properties of co - expression , we analyzed the relative orientations of adjacent genes as a function of their co - expression ( 846 pairs analyzed for which expression values were available for the two genes ) ( figure 2a ) .
we also analyzed the tendency of co - directional genes to overlap ( figure 2b ) , as well as the intergenic distances between the non - overlapping ones ( figure 2c ) .
notably , the three properties ( relative orientation , overlapping , and distance ) suggest a similar three - level organization of co - expression . specifically , for co - expression > 0.6 ( strong co - expression ) , 227 of 234 pairs of genes are co - directional , with a high proportion ( 52% ) of overlapping cases ( p4.1011 , hypergeometric test ) . for co - expression between 0.3 and 0.6 ( moderate co - expression , 375 pairs ) ,
genes significantly tend to be co - directional ( p7.107 ) and to overlap ( p7.105 ) , all the more that co - expression is large . at this level , although intergenic distances between non - overlapping genes are larger than those with strong co - expression , they remain relatively small . plotting the co - expression level of all pairs of non - overlapping co - directional genes
as a function of their intergenic distance actually reveals the existence of a 100 bp length scale below which typical co - expression is larger than 0.3 and above which co - expression is low and statistically insensitive to distances ( figure 2d ) . finally , below 0.3 ( low co - expression , 237 pairs ) , there is no enrichment for a specific relative orientation of genes ( p 1 , binomial test of the hypothesis that the probability of co - directionality is equal to 0.5 ) .
moreover , intergenic distances between co - directional genes are large , exceeding 100 bp and reaching typically 400 bp at very low co - expression ( figure 2c ) . performing the same analyses using pearson correlation led qualitatively to the same findings ( figure s2 ) .
the sharp delineation of the three different regimes as well as their correspondence between the different properties ( relative orientation , overlapping , and distance ) is less clear , though , than those obtained using the basal correlation .
because a significant number of operons have moderate co - expression levels and because trt pervades the transcriptomes of bacteria ( wade and grainger , 2014 ) , we wondered whether trt could explain the co - expression levels of co - directional genes belonging to distinct operons .
we thus investigated the tendency of all adjacent co - directional genes belonging to two different operons to be transcribed as a single transcript ( 268 pairs analyzed ) .
we examined the variation of expression in their intergenic region as a function of the variation of expression of the downstream gene ( figure 3a ) .
our rationale was that trt , if present , should leave a trace on the expression of the intergenic region that precedes the downstream gene .
we thus compared the co - expression between the downstream gene and the sense ( 5 3 ) intergenic region ( co - expression cs in figure 3a ) with that between the two genes ( co - expression c ) ; as a control , we considered the anti - sense ( 3 5 ) region ( figure 3a , right ) ( co - expression ca ) .
to prevent any bias arising from the transcription of the utrs inside operons , for this analysis , we defined intergenic regions as the sequences that separate the transcription termination site ( tts ) of the upstream gene and the tss of the downstream gene . for co - expression levels larger than 0.3 , we observed that the degree of co - expression between co - directional adjacent operons was higher when there was co - expression with the sense intergenic region ( figure 3a ) ; in contrast , it did not show any dependency with the anti - sense expression ( figure 3a , right ) .
the same analyses , but considering genes that are separated by more than 100 bp ( figure 3b ) , or using the pearson correlation ( figure s2e ) , led to the same conclusions .
next , to explicitly demonstrate the role of trt in basal coordination of transcription , we first studied the efficiency , , of trt extending between two co - directional adjacent operons , say , x and y with x preceding y ( figure s3a ) .
was defined as the ratio between the rna - seq expression levels measured at the tss of y and at the stop codon of the last cistron of x ( independently whether this was associated to a well - defined terminator ) .
we thus assumed that the rna - seq level just preceding y would result from the trt of x and would be representative of the basal level of y. according to this model , for which we provide below an experimental validation , the overall expression of y is thus equal to the sum of its basal level coming from trt , plus some contribution from its own tss ( figure s3a ) .
we analyzed seven pairs of genes with various degrees of correlations and distances : two pairs with strong correlation , including one overlapping case ( mpn155a - mpn155 ) ; four pairs with moderate correlation and distances larger than 100 bp , including two pairs with an intermediate gene located on the opposite strand of their intergenic region ; and one pair with low co - expression .
as shown in figure s3b , was close to 1 and varied little for pairs with strong correlation , but also for the pair mpn160-mpn161 ( highest moderate correlation , c=0.5 ) except during heat shock . for the other pairs ,
in particular , for the pair mpn161-mpn162 ( low correlation ) , we observed a 2-fold variation during cold shock that poorly correlated to the expression variation of the downstream gene .
we then tested the validity of our trt - based model of transcriptional coordination by confronting predictions of the model ( using rna - seq data ) to direct measurements of transcripts using real - time quantitative pcr ( qpcr ) .
specifically , for the aforementioned seven pairs , we measured the level of transcripts extending between the genes during cold shock , heat shock , and exponential growth ( control ) .
as shown in figure s3c , the variations of extended trt measured by real - time qpcr were qualitatively ( quantitatively in most cases ) similar to those predicted by the model .
notably , this was true for the cases with an intermediate gene on the opposite strand .
we thus conclude that trt is ubiquitous and can explain , in principle , many of the significant co - expression levels of co - directional adjacent operons .
these results also suggest that large pieces of genomes that extend beyond operons may be transcribed en bloc .
an instructive example concerns the ribosome - encoding genes : these genes are surrounded by transcription - related genes and other biological pathways , apparently forming altogether a large domain containing more than 50 genes ( corresponding to 15 manually annotated operons ) with a high level of background expression ( figure 3c ) . although some of this background is expected to result from the strong tendency of these promoters to initiate transcription , as demonstrated by our real - time qpcr analysis ( figure s3 ) it also results from trt extending between operons . in this context , it is important to recognize that large domains of coordinated expression , in which several genes and operons may be transcribed in a row , remain compatible with the very presence of operons .
this can be seen by the decrease of expression at the end of certain operons or by the presence of steep fold changes at their promoter ( vertical gray lines in figure 3c ) .
the pair mpn155a - mpn155 ( strong basal co - expression ) provides a good example of this effect as it shows extended trt between the two corresponding operons ( figures s3b and s3c ) but also a sharp tss at the downstream gene at late exponential phase ( in red in figure 3c ) and at stationary phase ( figure s3b ) .
rna - seq data and real - time qpcr show that trt may vary not only along the genome but also among conditions ( figure s3 ) .
the ten - gene ( four - operon ) domain containing the heat shock gene ( grpe ) provides an insightful example of such variations ( figure 5c ) , with the operon containing grpe differentiating into two sub - operons during heat shock and distinct operons becoming transcribed as a single operon during cold shock ( figures s3b and s3c ) .
notably , both our rna - seq analysis and our real - time qpcr measurements further suggest that trt is globally enhanced during cold shock ( table s3 ; figure s3 ) , in accord with reports in e. coli and b. subtilis of the anti - terminator role of cspa cold - shock proteins ( bae et al . , 2000 , stlke , 2002 ) .
to systematically quantify trt variations among conditions , we analyzed the behavior of the ttss internal to pairs of co - directional genes belonging to different operons ( 233 ttss analyzed ) , independently of whether a well - defined terminator was associated to the tts .
for each tts , we computed the variation of its downstream expression ( down ) as a function of the variation of its upstream expression ( up ) in response to perturbations ( 96 perturbations tested with respect to 19 controls ; figure 4a ) . using this approach
, we could identify at least six types of ttss ( figure 4b ) .
the three first types concern ttss for which a statistically significant positive correlation exists between the values of down and up that are computed over the different perturbations ( see legend of figure 4 for details of the statistical analyses ) .
they are respectively defined by downup ( stable trt , in red in figures 4b and 4c ) , downup ( stable trt plus some activation , in orange ) , and downup ( stable trt plus some repression , in yellow ) . for these tsss
, trt thus tends to be maintained at a similar level , irrespective of the conditions .
notably , these correspond to 85% of the total amount of ttss ( 50% if only considering downup ) and appear to account for all strong co - expression levels ( figure 4c ) .
the two next types correspond to activation only , with a majority of down0 ( in blue ) , and to repression only , with a majority of down0 ( in cyan ) , irrespective of the value of up . together with the ttss having independent or no apparent statistically significant variations of down ( in green ) , these three last types contribute mainly to low co - expression levels .
altogether , these results thus corroborate both the ubiquity of trt and its major role in basal co - expression .
the observation of pairs having both low co - expression and stable trts also suggest that trt does not systematically extend to the next operon . finally , to apprehend whether trt is stochastic or specifically regulated , we analyzed the behavior of the ttss upon each perturbation .
first , in accord with our real - time qpcr experiments ( figure s3 ) , we observed that the variations of trt ( activation or repression ) for a given perturbation tend to be the same for all ttss , suggesting that trt is specifically regulated at a genome - wide level .
these include cold shock , osmotic shock , and novobiocin treatments , whereas low ph and heat stresses tend to repress trt .
finally , by identifying the ttss and the corresponding perturbations for which the variation of trt was extreme ( supplemental experimental procedures ) , we found that conditions for which a large number ( 12 ) of ttss had an extreme behavior were strongly enriched in novobiocin ( gyrase inhibitor ) perturbations ( p8107 , hypergeometric test ) and strongly depleted in single - gene perturbations ( p2104 ) ( table s3 ) . because novobiocin targets topoisomerases and , hence , modify dna supercoiling , these results suggest that the mechanical properties of dna and its interaction with rnaps might play a crucial role in trt variations ( see the following discussion for further details ) .
our observations of a trt that depends strongly on conditions , with operons that can be transcribed uniformly , en bloc ( super - operons ) , or differentially ( sub - operons ) , raise at least two fundamental questions : what mechanisms are responsible ( 1 ) for promoting an operon - like transcription of adjacent genes and ( 2 ) for preventing it ?
in answer to the first issue , using co - expression levels as a proxy of transcription en bloc , the results in figures 2c and 2d suggest that compactness , with a distance between open reading frames smaller than 100 bp , may be required for efficient operon - like co - expression .
notably this length scale corresponds to the typical distance that is usually considered for operon prediction ( mcclure et al . , 2013 ) .
we note , nevertheless , that pairs of genes with intergenic regions larger than 100 bp can have a high level of trt ( figures 3 and s3 ) .
our analysis also shows that compactness alone is not sufficient , because a substantial number ( 52 ) of pairs of co - directional genes with low co - expression levels are separated by less than 100 bp ( among which 17 pairs concern overlapping genes ) . in answer to the second question ,
let us first mention that although compactness properties call for an important role of distances on the capacity of the rnap to transcribe multiple genes in a row , co - expression does not depend primarily on distances when these exceed 100 bp ( figure 2d ) .
to better understand the differences between intermediate co - expression levels and low co - expression levels , we thus investigated the possible impact of -independent intrinsic terminators found within mrna sequences ( -dependent termination is absent in m. pneumonia ) .
canonical intrinsic terminators consist of an rna hairpin followed by a u tract , a combination that is believed to favor the disruption of the mrna - dna template hybridization necessary for the rnap to process transcription ( peters et al . , 2011 ) .
we thus evaluated the presence , in the intergenic regions of all pairs of co - directional genes , of rna hairpins that were immediately followed by u tracts of various lengths ( nu2 ) ; as a control , we considered intergenic regions that were translated by an arbitrary amount of base pairs , which allowed us handling distance effects of intergenic regions , a longer sequence being more likely to contain an rna hairpin ( figures s4a and s4b ) , independently whether the latter plays a functional role .
we found that more than 15% of the gene pairs with low co - expression contained an rna hairpin with nu4 ( figure 5a ) , a proportion that was highly significant with respect to the control ( p4.103 , two - sided t test with unequal variances ) .
note here that the absence of an enrichment of terminators with shorter u tracts ( nu<4 ) corroborates previous observations that long u tracts are needed to have efficient termination ( chen et al . , 2013 ) .
similar trends were observed for intermediate co - expression levels , although involving a lower fraction ( typically half ) of gene pairs , in accord with the fact that at this level , trt is expected to occur in a larger subset of conditions . according to the above analysis , more than 80% of the co - directional gene pairs with low co - expression do not contain any strong intrinsic terminator in their intergenic region .
non - perfect u tracts or more complex termination signals that are yet to be identified might explain part of this low co - expression
. the action of nucleoid - associated proteins ( naps ) such as h - ns in e. coli ( singh et al . , 2014 ) could also be invoked .
data from our lab nevertheless show that m. pneumoniae contains only one nap , ihf ( gene mpn529 ) , with a low copy number ( < 100 ) . to better apprehend the mechanisms related to the repression of trt , we thus performed chromatin immunoprecipitation sequencing ( chip - seq ) analysis of the -subunit of the rnap .
consistent with results obtained in e. coli ( mooney et al . , 2009 ) ,
chip - seq profiles from cells in the stationary phase revealed the presence of well - defined peaks corresponding to preferentially rnap occupancy domains ( rpod ) ( figures 5b and 5c ; table s4 ) .
notably , we found that the majority of gene pairs with low co - expression contain rpods in their intergenic regions ( figure 5b ) .
for intermediate co - expression , rpods are less present but remain over - compared to strong co - expression .
note that in contrast to hairpins , the presence of rpods does not depend on the intergenic distances ( figure s4c ) , meaning that larger intergenic distances can not simply explain these results . because the average level of transcription strongly depends on rna degradation , we eventually compared the half - lives of transcripts between adjacent genes .
we found a remarkable correlation between the degree of transcriptional coordination and the similarity of half - lives ( figure 6 ) .
using a correlation measure well poised to quantify basal co - expression and applying it to rna - seq data obtained in more than 100 different conditions , we have revealed the existence in m. pneumoniae of three distinct levels of basal coordination of transcription ( strong , moderate , and low ) , corresponding to three qualitatively different properties for the relative orientations and intergenic regions of adjacent genes . in accord with the major role of operons in the coordination of gene expression ,
we have found that strong basal co - expression requires adjacent genes to be co - directional .
we have also found the existence of a 100 bp length scale , below which an operon - like behavior appears to be quasi - systematic and above which co - expression depends strongly on the sequence and structural properties of the intergenic region . in particular , although pairs of adjacent genes with low basal co - expression do not show any preferential relative orientations , 70% of the intergenic region of the co - directional pairs either contain a domain preferentially occupied by rnaps ( rpods ) or strong terminators ( 55% and 15% of the cases , respectively ) . by focusing specifically on co - directional adjacent genes , we have further revealed that the coordination of transcription is tightly related to the tendency of proximal genes to be transcribed en bloc , even though these genes may have not been categorized to belong to the same operon .
three extreme scenarios can then be considered ( figure s5a ) , which is in accord with our observation of the three qualitatively distinct co - expression levels .
the transcription en bloc may be systematic ( i.e. , it occurs with probability close to 1 in all conditions ) , in which case the genes behave as canonical operons ( green light in figure s5a ) . or it occurs from time to time , meaning that it can take place in specific conditions and be absent in others . variations may also occur in a given condition , because transcription may terminate with a certain probability due , for example , to the presence of an intrinsic terminator . in this case ,
gene expression may present staircase - like patterns ( gell et al . , 2009 ) ( orange light ) .
finally , transcription en bloc can never occur , in which case genes must be considered to belong to different transcriptional units ( red light ) . in accord with the rich zoology of operon - related structures that have been described over the past decade ( okuda et al .
, 2007 , gell et al . , 2009 , cho et al . , 2009 , nicolas et al . , 2012 ,
mazin et al . , 2014 ) and with the ubiquitous presence of pervasive transcription ( wade and grainger , 2014 )
, our findings thus indicate that operon - like behaviors are often stochastic and condition dependent , with frequencies of occurrence that depend on intergenic sequences .
in particular , transcriptional initiation may often occur on top of a background level of continuous expression . in this context
, we surmise that one of the most fundamental mechanism for the coordination of transcription relies on a high probability to have specific large domains of genes that are transcribed in a row , independently of the fact that these domains may contain several internal entry points and exit points for the rnaps ( see figure s5b for a schematic representation of this model ) .
these internal landmarks might then be used by the bacterium to adapt to a wide range of conditions ( see , e.g. , figure 5c ) .
they might also contribute to the activation of a given domain ( see the following discussion ) .
our scenario implies , on one hand , the existence of two mechanisms internal to the domains , which are a priori necessary to maintain a proper balance between transcripts .
first , there should exist a mechanism that enhances the transcription of upstream genes whenever transcription is initiated within the domain , in order to avoid a gradient of transcripts along the domain ( with downstream genes in larger quantity than upstream genes ) .
although at this stage we have no direct evidence of such phenomenon , this prediction suits the proposal , in bacteria , of a control of gene expression by dna supercoiling ( dorman , 1995 , hatfield and benham , 2002 , travers and muskhelishvili , 2005 ) .
it is also in accord with our observation of a strong impact of novobiocin ( a gyrase inhibitor ) treatment on trt properties ( table s3 ) .
the negative supercoiling that is generated upstream of the transcribing rnaps might indeed enhance the initiation of the upstream genes ( meyer and beslon , 2014 ) . considering that these effects can propagate all the way up to the borders of the domain because of the long - range nature of the transmission of supercoiling constraints ( krasilnikov et al . , 1999 )
, an internal initiation event should in principle be able to activate the expression of the whole domain ( figure s5b ) , in particular without the additional action of tfs .
second , produced transcripts should have similar degradation rates , which we confirmed by analyzing rna half - lives ( figure 6 ) .
well - defined domains of basal co - expression require , on the other hand , the ability , upstream , to prevent the activation of genes and , downstream , to terminate the transcription process .
supposing that the upstream activation is mainly the result of supercoiling transmission , stalled rnaps , as suggested by the presence of rpods ( reppas et al .
, 2006 , mooney et al . , 2009 ) , could act as topological barriers ( higgins , 2014 ) ( see figure 5c for a suggestive example ) .
downstream , in addition to the possibility of rpod roadblocks , strong intrinsic terminators are expected to play an important role in terminating transcription ( figure 5 ) .
other mechanisms can be contemplated , such as anti - sense transcription ( lybecker et al . , 2014 ) or the action of small rnas , although recent work from our lab shows that the latter have little impact on gene expression ( llorns - rico et al . , 2016 ) . here , and more particularly in the absence of the factor and of naps , which have been shown to prevent pervasive transcription ( singh et al . , 2014
) , the mechanisms at the core of the basal coordination of transcription in m. pneumoniae thus appear to rely solely on the physical entities ( rnap and mrna ) and mechanical properties of the transcription process itself .
although a strong terminator can efficiently prevent trt , it may prevent co - expression only partially
. this can be seen for instance by the adjacent genes 5s rrna ( mpnr03 ) and mpn095 , which is the unique pair showing both strong co - expression ( c=0.68 ) and the presence of a strong intergenic terminator .
although some specific processing of rrna might occur , overriding of the terminal signal , as suggested by the high level of co - expression with the sense intergenic region ( cs=0.55 ) , might explain the strong co - expression .
local concentration effects of rnaps might also contribute , more particularly because of the high expression level of the 5s rrna .
in such situations , intergenic distances might play a crucial role in the isolation of adjacent genes . specifically ,
compared to the 2030 nm size of the rnap , the 130 bp that separate the tts of the 5s rrna from the tss of mpn095 correspond to a maximal spatial distance of 45 nm ; 400 bp , the typical distance for pairs of genes with co - expression close to 0 ( figure 2c ) , correspond to 135 nm .
our scenario reckons with the intrinsic stochastic nature of transcriptional initiation , with the capacity of the rnap to transcribe multiple operons in one go ( santangelo and artsimovitch , 2011 ) , and with the possible role of supercoiling to transmit regulatory properties , especially in a bacterium that is depleted in tfs ( zhang and baseman , 2011 , dorman , 2011 ) .
it also opens new roads to understand the existence of preferential regions and promoters for the binding of rnaps ( reppas et al . , 2006 , mooney et al . , 2009 ) and suggests that a large part of the specific basal coordination of transcription might rely exclusively on the interplay among rnap , dna , and mrna .
importantly , our findings appear to hold in a wide range of bacterial species . a similar three - level organization of co - expression , with the same properties of relative orientations and of intergenic distances ( including the existence of a 100 bp length scale ) ,
is indeed observed both in e. coli and in b. subtilis , ( figure s6 ) .
domains of proximal genes that are conserved in phylogenetically distant bacteria have also been shown to correspond , both in e. coli and in b. subtilis , to domains of highly co - expressed genes and operons where trt is particularly enhanced ( junier and rivoire , 2016 ) .
finally , we note that -independent terminators , as well as attenuators of these terminators through , for example , the action of riboswitches , are often conserved among distant bacteria ( vitreschak et al . , 2004 , merino and yanofsky , 2005 ) . together with the dynamical interplay between dna and rnaps
, they may thus correspond to ancestral mechanisms upon which the basal functioning of bacteria has been tinkered . in particular , tfs and other types of gene control such as the invertible dna switches of bacteroides ( kuwahara et al . , 2004 )
may represent evolutionary solutions dedicated to specific needs related to the lifestyle of each bacterium .
rna isolation was performed using mirneasy kits from qiagen , and an in - column dnase treatment was included .
rna was measured using a nanodrop ( thermo ) , and integrity was confirmed in a 6000 nano chip bioanalyzer ( agilent ) .
we then used the truseq stranded mrna sample prep kit v2 ( illumina ) to obtain a paired - end strand - specific rna - seq library . see table s2 for further details of conditions .
chip - seq of rnap ( tap - tagged ; see khner et al . , 2009 ) was performed as previously described ( yus et al . , 2012 ) .
we identified all mrna tsss from their associated tssrnas ( yus et al . , 2012 ) .
we distinguished productive promoters from short tssrnas as explained previously ( llorns - rico et al . ,
regarding 3 sites , we used strand - specific deep sequencing and tiling array data to define approximately their positions ( gell et al . , 2009 ) .
we then used these data to refine our previously published operon map ( gell et al . , 2009 ) ( updated map in table s1 ) .
cells were collected in the indicated conditions , and rna was purified as described above .
retrotranscription and real - time qpcr of 800 base long regions were done in one step with the gotaq 1-step rt - qpcr system ( promega ) .
oligos ( table s5 ) were used at 0.15 m , and 25 ng total rna was used as a template .
potential intrinsic terminators were defined as a rna hairpin immediately followed by a u tract .
rna hairpins were identified as described previously ( mathews et al . , 1999 ) .
rpods were identified by the presence of significant peaks ( see supplemental experimental procedures ) in the chip - seq data of the rnap -subunit ( gene mpn191 ) at 6 and 96 hr .
rna half - lives were determined using a dna gyrase inhibitor ( novobiocin ) , which alters the chromosomal supercoiling releasing the rnap , thus stopping transcription ( dorman , 2011 ) .
after novobiocin treatment , rna was extracted at different time points , and rna - seq was performed to determine transcript levels . | pubmed |
as fossil - fuels , the current main energy supplies in our modern society , get scarcer and more expensive , renewable energies become increasingly important and desirable . to meet this demand ,
the solar energy , a significant green energy source , attracts a broad spectrum of attention from both industrial applications and fundamental researches @xcite .
in particular , the photovoltaic effect , firstly discovered by e. becquerel in @xmath0 , is a potential promising technology for light harvesting , which converts the inexhaustible sunlight to electricity for performing useful work .
great efforts have been made to design efficient semiconductor - based solar cells @xcite .
however , the obtained efficiency is still too low to meet human daily needs .
the main reason comes from that the excess excitation energy of the electron - hole pair above the energy gap will be wasted through thermal phonon emission . by adding multiple impurity levels , m. wolf expected the photovoltaic enhancement for the low energy spectrum collection @xcite . while shockley and queisser suggested that the included impurity would also strengthen the recombination process correspondingly @xcite , resulting in no improvement of the photovoltaic current .
moreover , various other proposals have been raised to enhance the solar conversion efficiency @xcite .
recently , quantum dot ( qd ) emerges as an alternative candidate to fabricate solar cells , due to the ability of enhancing the photon harvesting via the multi - level structure @xcite .
the novel feature of qd is that by adjusting the dot size , the energy scale of the excitation gap can be tuned across a wide regime , which extends the absorption spectrum down to the infrared range @xcite and makes qd competitive in designing multi - junction solar cells .
particularly , the influence of the quantum coherence on improving photovoltaic efficiency has been addressed by m. o. scully et .
al @xcite .
they studied the photovoltaic cells as quantum heat engine modeled by electronic level systems resonantly coupled to multi - reservoirs with biased temperatures , which convert incoherent photons to electricity .
based on the full quantum master equation , which includes the quantum coherence represented as the off - diagonal density matrix elements , the photovoltaic current shows astonishing enhancement compared to the counterpart from population dynamics in the classical limit .
this concept has also been extended to photosynthetic heat engine , which converts solar energy into chemical energy @xcite . from the theoretical view
, these generalized engines share the same underlying mechanism . considering the importance of quantum coherence in energy conversion for quantum photovoltaic systems
, we apply quantum master equation to study the quantum photovoltaic effect in a double quantum dot ( dqd ) system , which can be also regarded as a donor - acceptor system . in particular , by parallel sandwiching many dqds between electronic leads , this kind of nanoscale photovoltaic device could benefit from its flexible scalability and tunability .
we specially pay attention to the three crucial ingredients of the photovoltaic applications : short circuit current , open circuit voltage and extractable output power , and analyze the ability of the dots to converting photons into electricity .
our results show that there exists an optimal inter - dot tunneling that significantly enhances the quantum photovoltaic current and output power .
moreover , the open circuit voltage approximately behaves as the product of the eigen - level gap and the carnot efficiency . as a result
, the maximal output power will be obtained around the optimal inter - dot tunneling .
the work is organized as follows : in sec ii .
, we describe the model of double quantum dots and obtain the solution of the quantum master equation . in sec iii .
, we present results and corresponding discussions regarding the quantum photovoltaic effect and current enhancement at optimal tunneling . a concise summary is given in the final section .
in this section , the model of dqd coupled both to electron reservoirs and solar environment is first introduced in part a. then the quantum master equation is derived in part b , by assuming the system - reservoir couplings are much weaker than the energy gap of dqd . finally in part c , the analytical expressions of steady state electron and photon currents are exhibited . and @xmath1 ;
the excitation ( relaxation ) between the ground state @xmath2 and the superposition state @xmath1 or @xmath3 are accompanied by the electron hopping from ( to ) two electronic leads to ( from ) the dqd . ]
[ fig : fig1 ] the photovoltaic system is described by a dqd coupled to two separate electronic reservoirs [ see fig .
[ fig : fig1](a ) ] , with the total hamiltonian : @xmath4 .
@xmath5 denotes the central dqd by @xmath6 where @xmath7 creates one electron on the @xmath8 qd with energy @xmath9 , and @xmath10 denotes the inter - dot tunneling between @xmath11 and @xmath12 , which both can be flexibly tuned via gate voltages applied on the dots @xcite . without loss of generality
, we consider the strong coulomb repulsion limit so that the system has three states : the left dot occupied state @xmath13 , the corresponding right one @xmath14 , and the ground state @xmath2 with both dots empty . @xmath15 depicts the @xmath8 electronic lead through @xmath16 , with @xmath17 creating one electron with energy @xmath18 and momentum @xmath19 in the lead @xmath20 .
@xmath21 gives the coupling between the dot @xmath20 and the lead @xmath20 , which conserves the total electron number and @xmath22 is the system - lead tunneling strength .
when the sun sheds light on the system , the dqd interacts with the photons , described by @xmath23 where @xmath24 generates one photon with frequency @xmath25 in the solar environment modeled as @xmath26 , and @xmath27 is the coupling strength . here , we consider that the coupling between the photon environment and the polarization of electron populations on the dqd ( instead of the hopping between dots ) is the dominant mechanism . this type of electron - photon coupling has been found in dqds @xcite , and was already extensively studied for the similar electron - phonon coupling in such systems @xcite .
distinct from the other type of electron - photon coupling @xmath28 that explicitly describes the photon - assisted tunneling , it seems not obvious that eq .
( 3 ) is able to produce the photovoltaic effect in the local basis .
however , as we will show soon , by transforming the system into eigen - space [ see also fig .
1(b ) ] , it is clear that the photon - assisted tunneling emerges with the help of inter - dot tunneling @xmath10 in eq .
this inter - dot tunnling , on the one hand assists the photovoltaic current , on the other hand diminishes the photovoltaic current .
thus , an optimal inter - dot tunneling will be obtained to enhance the photovoltaic effect . to investigate the quantum evolution of the system density matrix , it is more convenient to work in the eigen - space of the dqd by diagonalizing eq .
( [ dqd1 ] ) : @xmath29 and @xmath30 the inter - dot energy gap .
the corresponding eigen - levels are @xmath31 the ground state @xmath32 keeps intact . when the interactions of the dqd with the leads and the photon environment are weak @xcite , system - reservoir coupling terms in eq .
( [ vv1 ] ) and eq .
( [ vd - ph1 ] ) can be safely treated perturbatively to the second order .
further under the born - markov approximation , the quantum master equation is given by @xmath33+\mathcal{l}_e[\hat \rho]+\mathcal{l}_p[\hat \rho].\end{aligned}\ ] ] where @xmath34 denotes the reduced density matrix for the central dqd .
the first term on the right side shows the unitary evolution of the dqd without the actions from two electronic leads and photons .
the second term exhibits decoherence from the dot - lead coupling , given by [ see appendix [ appendixa ] ] @xmath35=&\sum_{v;a=\pm}&\frac{\gamma^a_vd_v^{a}}{2\hbar}\bigg\ { \big(1-f_v(e_a)\big)\left[|g{\rangle}{\langle}a|\hat \rho,\hat d^{\dag}_v\right]\nonumber\\ & & + f_v(e_a)\left[|a{\rangle}{\langle}g|\hat \rho,\hat d_v\right]\bigg\}+h.c .
\;.\end{aligned}\ ] ] @xmath36 denotes the coupling energy between the superposition state @xmath37 ( @xmath38 or @xmath39 ) and the lead @xmath20 . in the following ,
we assume @xmath40 and set @xmath41 as constant in the wide band limit .
the hopping matrix element @xmath42 , originating from @xmath43 , describes the electron transfer from the superposition state on dqd to the lead @xmath20 .
@xmath44 + 1)$ ] is the fermi - dirac distribution in the @xmath20 lead with @xmath45 the corresponding chemical potential and @xmath46 the inverse temperature .
it should be clarified that the expression of eq .
( [ le1 ] ) is based on @xmath47 , which is equivalent to @xmath48 . on the contrary @xmath49 ( @xmath50 )
, it only needs exchange @xmath51 with @xmath52 in eq .
( [ le1 ] ) .
when including the external voltage bias , we conventionally set @xmath53 with @xmath54 .
this enables us to study the current - voltage characteristic of the double quantum dots , which is a crucial ingredient to design the photovoltaic devices @xcite .
the third term depicts the effect of the photon environment on the dqd , shown as [ see appendix [ appendixa ] ] @xmath55&=&\frac{\gamma_pq_{+-}}{2\hbar}\left\{\big(1+n(\lambda)\big)[\hat \sigma_-\hat \rho,\hat q ] + n(\lambda)[\hat \sigma_+\hat \rho,\hat q]\right\}\nonumber\\ & & + h.c . \;,\end{aligned}\ ] ] where @xmath56 , @xmath57 and @xmath58 describes the population polarization on the dqd .
@xmath59 denotes the energy gap of two eigen - levels , @xmath60 is the coupling energy strength of the photon environment , and @xmath61 $ ] is the bose - einstein distribution of the photon environment with @xmath62 the inverse temperature of the sun .
clearly , only the photons with energy resonant with the eigen - level gap @xmath63 will be absorbed .
( [ le1 ] ) and ( [ lp1 ] ) show that eigen - states @xmath64 of dqd are mainly responsible for the quantum transport , which is also similarly illustrated in ref .
to expose explicitly the physical picture of the photon - assisted transport , we re - express the electron - photon coupling eq .
( [ vd - ph1 ] ) in eigen - state basis as @xmath65 , with @xmath66 and @xmath67 .
the first term on the right side of @xmath68 is trivial , since it is commutative with the @xmath5 . while for the second term
, it appears as @xmath69 under the rotating - wave approximation .
this clearly suggests that the electron hopping between @xmath64 is assisted by the photon absorption and emission [ see fig .
[ fig : fig1](b ) ] , which makes indispensable contribution to the appearance of quantum photovoltaic effect in the dqd system .
moreover , it should be noted that the evolution equation of the dqd density matrix at eq .
( [ qme1 ] ) has no classical correspondence .
this means no electron or photon current will exhibit by studying the corresponding population dynamics under local basis . in the liouville space ,
the density matrix of the double quantum dots is expressed in the vector form @xmath70 , with @xmath71 .
then the evolution equation is re - expressed as [ see appendix [ appendixa ] ] : @xmath72 where @xmath73 is the matrix form of liouville superoperator . the steady state solution is obtained through @xmath74 , with @xmath75 the steady state density vector . define the direction from right to left as positive , the photovoltaic current is obtained [ see appendix [ appendixb ] ] , as @xmath76,\end{aligned}\ ] ] where @xmath77+\sin^2\frac{\theta}{2}[1-f_l(e_-)]\right)$ ] denotes the electron hopping rate from the left dot to the left lead ; @xmath78 is the reverse - process rate from the left lead to the left dot ; @xmath79 depicts the relaxation rate from the quantum coherent state between the left and right dots to the ground state by emitting an electron into the left lead .
this process is a pure quantum effect and gives the positive contribution to the right - to - left current .
similarly , the photon current absorbed from the solar environment can be also obtained as [ see appendix [ appendixb ] ] @xmath80\textrm{re}[\rho^{ss}_{lr}]\right).\ ] ] eq .
( [ ie1 ] ) and eq .
( [ ip1 ] ) imply that quantum coherence , manifested by @xmath81 , is crucial to correctly describe the current .
moreover , the factor of @xmath82 in @xmath83 shows that photon current vanishes at @xmath84 , i.e. at @xmath85 .
accordingly , in the absence of inter - dot electron tunneling , @xmath86 state keeps equilibrium with its own reservoir under the relation @xmath87 , which readily leads to @xmath88 since the last contribution from the quantum coherence vanishes when @xmath85 . on the opposite limit when the inter - dot coupling @xmath10 becomes large ,
the electron population polarization of the dqd will be small so that the electron - photon coupling becomes rather weak [ see eq .
( [ vd - ph1 ] ) ] .
moreover , increasing @xmath10 will enhance the back - tunneling current from left to right .
as a result , the photovoltaic current will be severely suppressed at large @xmath10 .
thus , it is naturally to expect the maximal photovoltaic behavior in the intermediate tunneling regime .
and photon flow @xmath83 ) and energy power ( photovoltaic power @xmath89 and solar power @xmath90 ) as functions of external voltage bias @xmath91 .
other parameters are @xmath92 ev , @xmath93 ev , @xmath94 ev , @xmath95 k , @xmath96 k. ] [ fig : fig2 ] the current - voltage characteristic ( i - v curve ) is crucial for analyzing the quantum photovoltaic effect , in which the short circuit current , open circuit voltage and photovoltaic power can be explicitly identified @xcite .
we first investigate the photovoltaic current and the output power in fig .
[ fig : fig2 ] .
the temperatures of both the left and right leads are set to the room temperature . for solar photons ,
the temperature is chosen by @xmath96 k as traditionally described @xcite .
as shown in fig .
[ fig : fig2](a ) , when the voltage bias is turned on but small , the electron current keeps nearly the same strength as the short circuit current @xmath97 .
however , when the voltage approaches the open circuit voltage @xmath98 , the electron current is sharply suppressed down to zero .
hence , the dqd has a high filling factor , which is crucial for high efficiency @xcite .
the similar feature has been described in other photovoltaic realizations @xcite , considered as a key element to design efficient photovoltaic devices . in the recent studies regarding the cavity quantum electrodynamics system @xcite and organic heterojunction @xcite , the photovoltaic current is exhibited as @xmath99 pa and @xmath100 pa , respectively .
it is much smaller than the present case with na current scale .
this implies that the dqd is an promising candidate serving as the basis of the photovoltaic application .
the behavior of the photon current with the variation of voltage is similar to the electron current , which also exhibits large suppression near the terminal voltage .
however , the terminal voltage is larger than that ( @xmath98 ) for the electron current [ see fig .
[ fig : fig2](a ) ] .
this is understandable as follows : with finite @xmath10 , the dot system has electron current from left to right under positive voltage in absence of the electron - photon interaction .
after the electron - photon coupling is included , the photon absorption by quantum dots generates the electron current against the voltage bias , originating from the quantum photovoltaic effect .
therefore , the electron current is composed by two competing sources : ( i ) intrinsic tunneling between qds generates downhill current under positive voltage , which gives negative contribution to the electron current , and ( ii ) photon - generated uphill current gives crucial positive contribution . before the vanishing of the photon current
, the photon - generated electron current will be completely eliminated by that from intrinsic inter - dot tunneling at @xmath98 , which gives the discrepancy between two terminal voltages . the photovoltaic ( output ) and solar ( input ) powers
are studied in fig .
[ fig : fig2](b ) . in the small voltage bias regime ,
the photovoltaic power @xmath101 is proportional to @xmath91 , until reaching a maximal power , since the electron current @xmath102 keeps almost constant .
as the voltage reaches @xmath98 , the power suddenly drops to zero , due to the drastic diminishing of the current at @xmath98 . for the solar power @xmath103 , it is steady at the beginning , and then decays fast near the terminal voltage , which is consistent with the behavior of @xmath83 .
the maximum quantum efficiency @xmath104 of the dqd engine is then obtained near @xmath98 , as plotted inset in fig .
[ fig : fig2](b ) .
this behavior is similar to photovoltaic power and the maximal value is nearly @xmath105 . , and inset is the comparison of numerically exact @xmath98 from eq .
( [ ie1 ] ) and the approximation estimated from eq .
( [ voc1 ] ) ; ( b ) optimal output power @xmath106 , corresponding input power @xmath107 , and the efficiency @xmath108 , as functions of electron tunneling strength @xmath10 .
other parameters are the same as those in fig .
[ fig : fig2 ] . ]
[ fig : fig3 ] fig .
[ fig : fig3](a ) shows the effect of the tunneling on the short circuit current @xmath97 at @xmath109 in a large scale . in the weak tunneling regime ,
the photovoltaic current arises quickly with the increasing tunneling ( @xmath110 ) , which is also observed in fig .
[ fig : fig2 ] . as the tunneling strength reaches the moderate regime , the electron current peaks at @xmath111 ev .
after the peak , the current shows monotonic decay . for the behavior of the photon current , it is similar to the electron current , except for the magnitude difference . as we discussed above , in absence of inter - dot tunneling , two dqs are decoupled and no photon will be pumped into the dots to generate uphill current , which is clearly exhibited in eq .
( [ ip1 ] ) . therefore ,
to obtain photovoltaic effect , finite @xmath10 is necessary . in the opposite direction of strong tunneling ,
the population polarization is very small , and photons can be hardly pumped into the system due to the suppressed electron - photon interaction shown in eq .
( [ vd - ph1 ] ) .
moreover , the tunneling also deteriorates the generation of the photovoltaic current .
hence , it is expected there will exist an optimal tunneling to maximize the photovoltaic current , which is explicitly shown in fig .
[ fig : fig3](a ) .
the open circuit voltage with varying tunneling strength is also investigated in the inset of fig .
[ fig : fig3](a ) ( solid line ) , where @xmath98 shows monotonic behavior with increasing @xmath10 that qualitatively coincides with the behavior of the eigen - level gap @xmath112 .
this can be understood as follows : when the inter - dot tunneling @xmath10 is weak , it is known that @xmath113 so that @xmath1 only effectively connects to the left lead and @xmath3 effectively couples with the right lead [ see eqs .
( [ coa1],[coa2],[coa3],[coa4 ] ) ] . besides , the eigen - levels @xmath38 and @xmath39 are nearly uncoupled since they become orthogonal to each other . the tunneling between them is mainly assisted by the photon - induced excitation and relaxation . hence at the open circuit voltage , considering electron pump from the right ( @xmath39 ) to the left ( @xmath38 )
is balanced by the reverse action , we have the detailed balance relation : @xmath114 where the rate from the left lead to the right one is proportional to @xmath115[1-f_r(e_-)]$ ] while the reverse rate from right to left is proportional to @xmath116n_p(\lambda)f_r(e_-)$ ] .
this detailed balance relation finally gives us @xmath117 where @xmath118 denotes the electronic reservoirs ( solar environment ) temperature and @xmath119 is the ideal carnot efficiency .
this rough estimation qualitatively agrees with the numerical exact result in the inset of fig .
[ fig : fig3](a ) , and the slight deviation comes from the weak inter - dot tunneling , which reduces @xmath98 compared to the ideal one at eq .
( [ voc1 ] ) . from these results ,
it is interesting to find that below the optimal tunneling ( @xmath111 ev in our case ) , both the photovoltaic current and voltage are enhanced by the tunneling strength .
thus , the best operation regime is around the optimal tunneling , where the maximum output power will be obtained .
this feature is explicitly shown in fig .
[ fig : fig3](b ) .
however , the photovoltaic efficiency corresponding to the maximal extractable output power is not the largest , which shows monotonic decay .
this provides useful guidance to optimize the quantum photovoltaic effect . with different @xmath10 ; ( b ) maximum of the photovoltaic current , the corresponding open circuit voltage and output power , under various @xmath10 .
other parameters are the same as those in fig .
[ fig : fig2 ] . ]
[ fig : fig4 ] next , we study the effect of the inter - dot energy gap @xmath120 on the photovoltaic current in fig . [
fig : fig4](a ) . for arbitrary tunneling strength
, there always exists an optimal gap to maximize the current .
moreover , the overall profiles are similar : the current firstly arises with increasing @xmath120 , and then it decays monotonically after reaching the maximum . however , the differences are also apparent . for weak tunneling ,
i.e. @xmath121 ev , the value of the peak is small , around @xmath122 @xmath123a . as the tunneling is strengthened , this value becomes large , i.e. @xmath124 @xmath123a .
when the tunneling is further increased , the current again becomes weak .
besides , the peak is broadened with increasing @xmath10 . based on the results of fig . [
fig : fig4](a ) , we extract the maximum values of the current ( @xmath125 ) and investigate their dependence on the tunneling strength , shown in fig .
[ fig : fig4](b ) .
the global summit appears at @xmath126 ev , which corresponds to the gap of two excited states @xmath127 ev .
hence the central frequency of the absorption photons is in the infrared regime @xcite , and the maximum value of the current can be as large as @xmath128 @xmath123a .
it shows competitive improvement by comparing with photovoltaic current in other photocell unit , i.e. @xmath129 pa in ref .
@xcite and @xmath130 pa in ref .
@xcite . for the open circuit voltage corresponding to the maximum short circuit current , it changes almost linearly with @xmath10 ( we also find the excellent linear relation of @xmath98 with @xmath63 ) @xcite , which is quite different from that in fig .
[ fig : fig3](b ) .
the difference mainly comes from the different flexibility of the energy bias @xmath120 . for the formal case in fig .
[ fig : fig3](b ) , the energy bias is fixed with @xmath131 ev and does not change with the variation of @xmath10 . while for the present case , the maximum electron current shows the global picture in the parameter space of @xmath120 and @xmath10 , where @xmath120 is adjusted with varying @xmath10 .
we also investigate the maximum power , defined as @xmath132 .
it also shows the peak effect with the optimal tunneling , but the optimal point deviates from that for the photovoltaic current .
as is well - known , over @xmath133 of the solar energy is below the visible light spectrum @xcite .
therefore , our results suggest that it is meaningful to use the dqd as one basis for the design of efficient solar energy harvesters .
in summary , we have studied the quantum photovoltaic effect in a dqd system weakly coupled to electronic leads and solar environment by applying the quantum master equation .
three main ingredients of photovoltaic effect : short circuit current , open circuit voltage and output power , have been analyzed in detail . as the voltage bias approaches open circuit voltage ( @xmath98 ) , the electron current
is strongly suppressed to zero , implying the high fill factor . in comparison ,
the photon current is eliminated at a larger terminal voltage .
this discrepancy mainly originates from that the photovoltaic current is composed by two competing sources , one from the photon - generated uphill electron current against the potential bias , and the other from the voltage bias driving the electron current along the potential gradient .
when the photovoltaic current disappears , these two sources induced currents are equal , resulting in the finite photon current
. moreover , the photovoltaic current and power are much larger than other recently studied nano - junction photovoltaic systems , which is crucial for designing photovoltaic devices .
the influence of the inter - dot tunneling strength on the photovoltaic current is investigated . the optimal tunneling to maximize
the photovoltaic current has been found in the intermediate regime , of which the character should be intrinsic in this kind system . whereas the open circuit voltage increases monotonically with the increasing tunneling , which can be qualitatively described by @xmath134 , based on the detailed balance condition . the global optimal tunneling to achieve the maximal
photovoltaic current and power has been also exhibited , with the central frequency of absorption photons in the infrared regime .
we believe that these results provide theoretical basis for promising photovoltaic applications of double quantum dots .
to derive the electron current and the photon flow , we usually include the counting field as in the method of full counting statistics @xcite . here
, we count the electron number @xmath135 on the left fermion reservoir and the photon number @xmath136 in the solar environment . the hamiltonian of the whole system is modified to @xcite @xmath137 where @xmath138 count the currents transferring into the corresponding reservoirs , and the system - bath interactions are modified to @xmath139 with @xmath140 if @xmath141 , otherwise @xmath142 .
following the standard procedure treated in quantum master equation including counting field up to the second order @xcite , the dissipator from the qd - electron reservoir is derived as @xmath143&&=\sum_{v , a}\frac{\gamma^a_vd_{v , ga}}{2\hbar}\ { f_v(e_a)e^{-i\chi_e\delta_{v , l}}(\hat{d}^{\dag}_v\hat{\rho}|g{\rangle}{\langle}a|+h.c.)\nonumber\\ & & + ( 1-f_v(e_a))e^{i\chi_e\delta_{v , l}}(\hat{d}_v\hat{\rho}|a{\rangle}{\langle}g|+h.c.)\nonumber\\ & & -([(1-f_v(e_a))\hat{d}^{\dag}_v|g{\rangle}{\langle}a|\hat{\rho}+f_v(e_a)\hat{d}_v|a{\rangle}{\langle}g|\hat{\rho}]\nonumber\\ & & + h.c.)\ } , % % & & + [ f_v(e_a)e^{-i\chi_e\delta_{v , l}}|a{\rangle}{\langle}g|\hat{\rho}\hat{d}_v+(1-f_v(e_a))e^{i\chi_e\delta_{v , l}}|g{\rangle}{\langle}a|\hat{\rho}\hat{d}^{\dag}_v]\nonumber % % & & -[(1-f_v(e_a))\hat{\rho}|a{\rangle}{\langle}g|\hat{d}_v+f_v(e_a)\hat{\rho}l|g{\rangle}{\langle}a|\hat{d}^{\dag}_v]\},\end{aligned}\ ] ] with @xmath144 and @xmath145
. it will naturally reduce to eq .
( [ le1 ] ) when @xmath146 . and the liouville operator from the dot - photon coupling is shown as @xmath147&&=\frac{\gamma_pq_{+-}}{2\hbar}\ { n(\lambda)e^{-i\chi_p}(\hat{q}\hat{\rho}|-\rangle\langle+|+h.c.)\nonumber\\ & & + ( 1+n(\lambda))e^{i\chi_p}(\hat{q}\hat{\rho}|+\rangle\langle-|+h.c.)\nonumber\\ & & -([(1+n(\lambda))\hat{q}|-\rangle\langle+|\hat{\rho}+n(\lambda)\hat{q}|+\rangle\langle-|\hat{\rho}]\nonumber\\ & & + h.c.)\}. % % & & + [ n(\lambda)|e^{-i\chi_p}+{\rangle}{\langle}-|\hat{\rho}\hat{q}+(1+n(\lambda))e^{i\chi_p}|-{\rangle}{\langle}+|\hat{\rho}\hat{q}]\nonumber\\ % % & & -[(1+n(\lambda))\hat{\rho}|+{\rangle}{\langle}-|\hat{q}+n(\lambda)\hat{\rho}|-{\rangle}{\langle}+|\hat{q}]\}.\end{aligned}\ ] ] when @xmath148 , it returns back to eq .
( [ lp1 ] ) consistently .
then the quantum master equation under counting field is described by @xmath149+\mathcal{\hat{l}}_e[\hat{\rho}_{\chi}]+\mathcal{\hat{l}}_p[\hat{\rho}_{\chi}].\end{aligned}\ ] ] furthermore , in the liouville space the reduced density matrix of the dqd system is expressed as vector form @xmath150 , with @xmath151 .
hence , the corresponding evolution equation of the dqd density matrix is given by @xmath152 with @xmath153 .
when @xmath154 , eq .
( [ eq : leq1 ] ) is just simplified back to eq .
( [ leq1 ] ) with @xmath155 reducing to @xmath156 and @xmath157 reducing to @xmath73 . here
@xmath158 describes the superoperator for the electron leads induced decoherence as @xmath159 where @xmath30 , and the other renormalized parameters are explicitly given by @xmath160 @xmath161 @xmath162+\sin^2\frac{\theta}{2}[1-f_l(e_- ) ] ) , ~\label{coa3}\ ] ] @xmath163+\cos^2\frac{\theta}{2}[1-f_r(e_- ) ] ) , ~\label{coa4}\ ] ] @xmath164 @xmath165e^{-i\chi_e}\nonumber\\ & & + \gamma_r[f_r(e_+)-f_r(e_-)]).\end{aligned}\ ] ] while @xmath166 accounts for the electron - photon interaction , shown as @xmath167 with the elements @xmath168-n(\lambda)e^{-i\chi_p } \nonumber\\ & & -[1+n(\lambda)]e^{i\chi_p}),\\ \gamma^p_{l,\chi_p}&=&\frac{\sin\theta\gamma_p}{2\hbar}[\sin^2\frac{\theta}{2}[1+n(\lambda)](1-e^{i\chi_p})\nonumber\\ & & -\cos^2\frac{\theta}{2}n(\lambda)(1-e^{-i\chi_p } ) ] , \\
\gamma^p_{r,\chi_p}&=&\frac{\sin\theta\gamma_p}{2\hbar}(\cos^2\frac{\theta}{2}[1+n(\lambda)](1-e^{i\chi_p})\nonumber\\ & & -\sin^2\frac{\theta}{2}n(\lambda)(1-e^{-i\chi_p } ) ) , \\
\theta^1_{\chi_p}&=&\frac{\sin\theta\gamma_p}{2\hbar}(\cos^2\frac{\theta}{2}[1+n(\lambda)](1+e^{i\chi_p})\nonumber\\ & & -\sin^2\frac{\theta}{2}n(\lambda)(1+e^{-i\chi_p } ) ) , \\
\theta^2_{\chi_p}&=&\frac{\sin\theta\gamma_p}{2\hbar}(\sin^2\frac{\theta}{2}[1+n(\lambda)](1+e^{i\chi_p})\nonumber\\ & & -\cos^2\frac{\theta}{2}n(\lambda)(1+e^{-i\chi_p } ) ) , \\ \theta^3_{\chi_p}&=&\frac{\sin^2\theta\gamma_p}{2\hbar}([1 + 2n(\lambda)]+n(\lambda)e^{-i\chi_p}\nonumber\\ & & + [ 1+n(\lambda)]e^{i\chi_p}).\end{aligned}\ ] ]
from the evolution equation @xmath169 , we can define the characteristic function @xmath170 where @xmath171 considering @xmath172 . in the long time
limit , the cumulant generating function can be then expressed as @xcite @xmath173 where @xmath174 is the eigenvalue of the operator @xmath157 , which has the largest real part and thus dominates the dynamics in the steady state .
the current is just the first order cumulant that is then obtained by the first order derivative @xmath175 for the specific current calculation , @xmath176 gives the electron current , and @xmath177 gives the photon flow .
therefore , the electron current is obtained as @xmath178,\nonumber\end{aligned}\ ] ] where @xmath179 is the vector of the density matrix in steady state .
similarly , the photon flow out of the environment can also be obtained as @xmath180).\nonumber\end{aligned}\ ] ] since the counting field counts the photon current into the reservoir , there is a minus sign for calculating the photon current out of the reservoir .
this work was supported by the national science foundation ( nsf ) ( grant no .
che-1112825 ) and defense advanced research projects agency ( darpa ) ( grant no . n99001 - 10 - 1 - 4063 ) . c. wang has been supported by singapore - mit alliance for research and technology ( smart ) .
j. ren acknowledges the auspices of the national nuclear security administration of the u.s .
doe at lanl under contract no .
de - ac52 - 06na25396 , through the ldrd program .
j. cao has been supported by the center for excitonics , an energy frontier research center funded by the u.s .
department of energy , office of science , office of basic energy science .
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How quickly does gravity extend from created mass? [duplicate]
**This question already has answers here**:
[How fast does gravity propagate?](/questions/5456/how-fast-does-gravity-propagate)
(11 answers)
Closed 8 years ago.
I apologize in advance if this is a stupid or off-topic question. Since Energy can be converted into matter according to $E=mc^2$, how fast does it take for the gravity of that new matter to extend from it and start mutual attraction to other pieces of matter? Is instantaneously? or at the speed of light? or is it that the energy converted in this process already has gravity and that that gravity is only rearranged in this new matter?
The source of gravity is not mass, but [stress-energy-momentum](http://upload.wikimedia.org/wikipedia/commons/f/fe/StressEnergyTensor_contravariant.svg), so you are correct that
>
> the energy converted in this process already has gravity and that that gravity is only rearranged
>
>
>
The change in the gravitational field needs time to propagate, though, and this does indeed happen at the speed of light.
| stackexchange/physics |
Tom Cruise released the first pictures of "Top Gun: Maverick"
Bondar Dorin Florin
In front of the audience, he said, "I felt it was my responsibility to deliver this."
The actor appeared at the end of the dedicated panel "Terminator: Dark Fate," another feature film by Paramount and Skydance."For me," Top Gun "is about competition," said Cruise, whose character is now a flight instructor.
Originally set to be released this year, Paramount postponed the movie for 2020.
The film is directed by Joe Kosinski after a script written by Peter Craig, Justin Marks, and Eric Warren Singer.
Jerry Bruckheimer, who was the producer of the first film, returned to this role alongside Cruise and David Ellison, Skydance CEO.
The cast includes Jennifer Connelly, Miles Teller, who plays the Goose son and is Maverick's protector, and Val Kilmer, who returns to Tom "Iceman".
"Top Gun", launched in 1986, was a real success story. With a production budget of $ 15 million, the film has generated over $ 350 million in revenue globally.
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Movie and TV Addict, I like to watch the great and the best movies, also I love tv shows. | slim_pajama |
Are vitamins in tablet are more efficient than the vitamins in their natural source? [closed]
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In medical shop I have seen that there are loads of vitamins tablets available but I was wondering like does vitamins in tablet are more efficient than the vitamins which are available in their natural source like in fruits ?
For some vitamins, such as Vitamin C, which are always found in the form of a unique chemical substance, there is no chemical difference between the vitamin in a tablet--synthetic or otherwise--and the same vitamin as found in a foodstuff. Still, how well you absorb a vitamin might be affected by what else you consume at the time - for example a given amount of Vitamin C might be absorbed more or less efficiently as an ingredient in orange juice than as a pill, even though it is the same substance in both cases. But these differences might not necessarily be significant.
Other vitamins, such as Vitamin A or Vitamin D, are found in multiple closely related chemical forms, any of which the body can use to fulfill its need for the vitamin. In that case, the body may absorb or utilize the vitamin more efficiently when it is in one form relative to another. Fats in the diet can further influence your absorption of a fatty vitamin like Vitamin D.
Minerals, such as iron, are notorious for being made easier or harder to absorb depending on their chemical form and how they are bound to other components of the food. So, for example, iron in greens is known to be slower/more inefficient for the body to extract than iron in liver.
For most vitamins, it's much better to consume them in dissolved form (as they would be in most foods). You can test how much dissolves by putting a vitamin tablet into a cup of warm-to-hot (around body temp) vinegar and seeing how much of the pill dissolves. If it doesn't dissolve, it's exiting your body without any chance to use it.
So, for most vitamins, no.
| stackexchange/chemistry |
fistula - in - ano is an abnormal hollow tract lined by unhealthy granulation tissue connecting a primary opening in the anal canal to a secondary opening in the perianal skin .
the fistula tract may be single or multiple and may extend from the same primary opening .
it is nearly always caused by a previous anorectal abscess , following either poor surgical or spontaneous drainage in the perianal skin .
men are involved in 70% of cases and the majority of cases present initially in the 3 to the 6 decade , which incidentally coincide with the mean age occurrence of fournier 's gangrene .
fournier 's gangrene , which was first described by jean alfred fournier in 1883 , is an infective necrotizing fasciitis of the perineal , genital or perianal regions as a result of subcutaneous vascular thrombosis and resulting in gangrene of the overlying scrotal skin .
fistula - in - ano and fournier 's gangrene still continue to pose management challenges to surgeons .
however , there has been no report on management of this concomitant occurrence of these diseases . this is a retrospective study of all fistulas - in - ano complicated by fournier 's gangrene managed in university of maiduguri teaching hospital and federal medical center yola and gombe within a period of 5 years ( january 2007 to december 2011 ) highlighting the causal relationship .
the case files of all patients with the diagnosis of fistula - in - ano complicated by fournier 's gangrene during the study period were retrieved from the central medical records department of these hospitals .
information retrieved includes the demographic data , mode of presentation , type of infecting organisms , co - morbidity illnesses , nature and outcome of treatment .
data analysis was carried out using the statistical package for the social sciences version 16 ( spss 16 ) to determine the level of significance and correlations with the variables .
a total of 10 male patients who developed fistula - in - ano and then complicated by fournier 's gangrene with a mean age of 50.5 ( 50 - 59 ) years were managed within the period of 5 years [ table 1 ] .
nearly , 50% of patients were peasant farmers , 30% businessmen and 20% were civil servant .
all patients presented with initial perianal pain , external opening and discharge and then followed by scrotal swelling and high grade fever [ table 2 ] .
nearly , 70% of these patients presented with fournier 's gangrene within 1 - 4 weeks of development of fistula - in - ano , which were preceded by perianal abscess and the rest within 8 weeks [ table 3 ] .
fistula - in - ano was submuscular ( intersphincteric ) , 30% subcutaneous with straight anterior external opening and 10% were complex or recurrent running curved course from internal posterior to anterior external opening [ figure 1 ] .
age distribution of 10 patients with fistula - in - ano and fournier 's gangrene major clinical features of 10 patients with fistula - in - ano and fournier 's gangrene duration of symptoms prior to presentation of 10 patients with fistula - in - ano and fournier 's gangrene types of fistula - in - ano with fournier 's gangrene at presentation of the 10 patients nearly , 40% of these patients had initial nick for drainage of their perianal abscess and 20% incision and drainage ( i and d ) , but 40% came with spontaneously ruptured perianal abscess , which developed fistula - in - ano and then fournier 's gangrene with no initial treatment [ table 4 ] .
types of treatment prior to presentation of 10 patients with fistula - in - ano and fournier 's gangrene all patients were given adequate intravenous fluid and parenteral antibiotics before definitive treatment .
20% of patients had fistulotomy and seton ( rubber band ) application for adequate drainage . in 50% of patients
mucosal advancement flap was done to close the internal opening of the fistula , but 30% had fistulotomy and sitz bath [ table 5 ] .
types of procedure and surgery for 10 patients with fistula - in - ano and fournier 's gangrene there is a significant relationship between initial treatments , type of fistula - in - ano , durations of the clinical features type of definitive surgical procedure carried out and the outcome [ table 6 ] .
the paired t samples tests of association of durations and the clinical features with other variables
if the cryptoglandular abscess is either poorly drained or spontaneously ruptures through the perianal skin , then becomes fistula in 50% of patients .
severe polymicrobial synergistic infection from the gut flora can cause an extensive subfascial tissue necrosis involving the scrotum , fournier 's gangrene [ figure 2 ] , which is an unusual complication of fistula - in - ano .
other common causes of anal fistula include chronic ulcerative colitis , crohn 's disease , tuberculosis , carcinoma of the rectum or anal canal , benign rectal strictures , foreign bodies or diverticulitis .
cryptoglandular fistula with fournier 's gangrene fournier 's gangrene , which was thought to be idiopathic by jean alfred fournier ( 1883 ) is now known to have definite etiology and is characterized by obliterative endarteritis causing cutaneous and subcutaneous vascular thrombosis and tissue necrosis , then invaded by polymicrobial enterobacteria . in our region ,
staphylococcus and proteus species are the commonest mixed growth infection and quinolones ( ciprofloxacin and ofloxacin ) are the most potent antibiotics in treating these infection .
urogenital foci such as urethral stricture , indwelling urethral catheter , prostatic message and biopsy are the most common primary adjacent focus of fournier 's gangrene and in africa immunosuppressive illnesses such as diabetes mellitus , human immunodeficiency virus infection , filarial infestations and low socio - economic status contributed to the high prevalence of the disease . in these patients ,
50% are in the low socio - economic category , however , 80% of them were otherwise healthy without immunosuppressive illnesses .
usually , fournier 's gangrene is presented in the acute form , but recently it runs an indolent course , which some studies attributed it to immunosuppressive comorbidities ; however in our series , it 's probably due to suboptimal antibiotic therapy and delay in referral .
these patients presented with high grade fever associated with rigors and sweating , some of them delirious .
nearly , 60% of the patients either had a perianal nick [ figure 3 ] or inadequate i and d [ figure 4 ] and 40% had a prior history of spontaneous rupture and discharge from a perianal abscess with worse clinical symptoms .
nick of perianal abscess and fournier 's gangrene inadequate perineal abscess drainage and fournier 's gangrene the parks classification system divided fistula - in - ano resulting from cryptoglandular infections as intersphincteric , transsphincteric , suprasphincteric and extrasphincteric , however , the current procedural terminology codes classification include subcutaneous fistula resulting from unhealed anal fissure or anorectal procedures such as hemorrhoidectomy , submuscular fistula ( intersphincteric , low transsphincteric ) and complex fistular , recurrent ( high transsphincteric , suprasphincteric and extrasphinteric , multiple tracts , recurrent ) .
majority of fistula - in - ano can be diagnosed based on clinical history and physical examination , however , in cases associated with multiple or complex problems such as a horse shoe abscesses or recurrent complex fistula - in - ano , rectal cancer or crohn 's disease , diagnostic imaging such as transrectal ultrasound , computed tomography scan or magnetic resonance imaging would be required .
the parenteral antimicrobials ciprofloxacin and metronidazole were given based on the sensitivity pattern of the microbial pathogens in our region .
some of the patients had extensive debridement from the perianal region up to the scrotum and groins leaving the testes bare [ figure 5 ] .
hypertonic saline soaking ( sitz bath ) and wound dressing were continued mornings and evenings until the wounds were cleaned and granulated in 2 - 4 months [ figures 6 and 7 ] .
if patient presented early with cryptoglandular infection and perianal abscess , the abscess is immediately drained by either radial perianal incision or adequate cruciate incision with unroofing the abscess cavity .
these procedures allow adequate abscess drainage and are performed close to anal verge in order to allow fast healing .
it is rare for fistula to heal spontaneously even with antibiotic therapy . in order to heal , the internal opening ( crypt )
should be obliterated and therefore operative procedure is necessary . if the internal opening identified , the tract should be probed to clarify and a seton suture of silk passed through to serve as a drain until definitive treatment can be done .
nearly , 40% of these patients had a nick of the abscess cavity as primary treatment , which was inadequate i and d and 40% had spontaneous rupture of the abscess cavity .
these made perineal spread of the infection rapid and thus prolonged period of patient 's management and increased risk of mortality .
although 20% of the patients had adequate i and d , but yet developed a complication of fournier 's gangrene , probably would have benefited from closure of the internal opening as part of primary treatment .
extensive perineal and scrotal debridement with bare testes cleaned granulated scrotal and perineal wound ready for grafting healing anal fistula and scrotal wound with continuing sitz bath the operative goals for subcutaneous and submuscular fistulae are to open the tract and remove tract lining either by curettage or electrocautery .
the complex or recurrent fistulae may be treated by either non - cutting setons , fibrin glue , ablation , rectal mucosal advancement flap , anal fistula plugs or combination of these in order to avoid sphincter muscle division and its attendant fecal incontinence complication .
fistulotomy is a preferred procedure for subcutaneous and submuscular fistulae whether complicated or not and has 3 - 5% risk of flatus and stool leakage and with more muscle cutting fecal incontinence may develop .
majority of the patients had their scrotal wounds healed spontaneously with continuing sitz bath [ figure 7 ] , but those with more extensive perineal wound had mesh skin grafting [ figure 8 ] .
patients were followed - up over a year with no history of fecal incontinence or fistula recurrence .
cryptoglandular infection is an important cause of perianal abscess and fistula - in - ano when poorly managed can lead to fournier 's gangrene , which is a urological emergency .
early adequate parenteral antibiotic therapy , primary surgical treatment including closure of internal opening ( crypt ) can prevent serious complications like fournier 's gangrene . | pubmed |
Alien III
Screenplay by John Fasano
Story by Vincent Ward & John Fasano
FIRST DRAFT
March 29, 1990
"But how will you die when your time
comes, Narcissus, since you have no
mother? Without a mother, one cannot
love. Without a mother, one cannot die."
- Hesse
ALIEN III
THE SCREEN IS BLACK
A pinpoint of light appears.
Red. An ember.
Unseen BELLOWS blow.
GLASS FURNACE
The embers glow. Flame.
The fire GROWS.
A RIVER OF MOLTEN GLASS
Heated by the furnace to over 1,300 degrees fahrenheit.
White Hot.
GLASS FACTORY
Flickering flame casts dancing shadows on wooden walls.
Coarsely grained wood. Moisture blasted out by years of
intense heat. Timbers split. Patched with new wood,
it too now old and dry.
SMOKE
Billows up the walls.
Hangs as an angry, black cloud amongst the rafters and beams of
the vaulted ceiling. Almost obscures --
A MAN
On a narrow LEDGE, twenty feet about the Glassworks' floor.
His clothing is Medieval. A rough textured cassock.
He is a MONK.
LOUVERS are set into the wall. He angles them open.
The smoke begins to escape.
The Monk turns, raises arms and LEAPS from his lofty perch --
Gently gliding down to the floor with the aid of a FLOWING FOX --
a primitive hand-held pulley that runs down a rope.
He lands next to the glass furnace, surrounded by --
MORE MONKS
By their dress. With Blowing Iron and Pontil.
They blow and shape the molten glass. Crack off the finished
pieces. The old way.
ONE PARTICULAR MONK
Black skinned, early fifties.
Stirs his five foot long blowing iron in the molten glass, but
he is watching something else. It moves him to song.
Lilting tenor lifts high into the air.
This is BROTHER KYLE.
BROTHER KYLE
Well would he guess the ascending of the star,
Wherein his patient's fortunes settled were.
He knew the course of every malady,
Were it of cold or heat or moist or dry.
Brother John, would-be Doctour of Physick.
We see the object of his song:
BROTHER JOHN
Not yet forty. Strong features, but fear behind the eyes.
The fear that comes from a lack of inner confidence.
A good face, nonetheless.
He stirs a thick mixture in a mortar.
Next to him another MONK sits holding his arm out in front of
him, cassock sleeve rolled up, revealing a vicious BURN.
BROTHER KYLE
Tend you quickly he will,
with bottles from a shelf.
But heals not, so easily,
The ills which plague himself.
Brother John stops stirring.
BROTHER JOHN
(to Kyle)
Enough.
He scoops the salve out with his fingers and applies it to the
Burned Monk's arm. The Burned Monk INHALES sharpley as the cool
mixture contacts the injured area.
BROTHER JOHN
(to the burned Monk)
Relax.
(to Kyle)
Put those lungs of yours to better
use.
BROTHER KYLE
Yes, Doc Tor.
Kyle laughs, removes the blowing iron from the molten glass --
a BLOB of white hot glass hanging on the end.
He rolls the blob on the Marver, a flat, polished piece of
iron, then begins to blow a bottle shaped container.
John wraps a fray-edged cloth bandage around the burn.
JOHN
Keep this from getting wet. Go home at
late afternoon mealtime and don't come
back to work today --
BURNED MONK
But John --
JOHN
I'll tell the Abbot. Just rest today.
You're lucky you only burned yourself on
the side of the furnace. If some of that
glass had gotten on your arm --
He points to the top of his forearm.
JOHN
-- it would've burned clean through to
the other side.
He mimes a drop down from the bottom of his arm.
The Burned Monk shudders at the thought.
BELLS toll.
JOHN
That's late afternoon. Now get on.
BURNED MONK
Thank you, John. I --
JOHN
You're welcome. Go!
The Burned Monk trundles off, injured arm against his chest.
John gathers his mortar, pestle, and extra bandages into a
burlap sack. Kyle comes over.
KYLE
Good work.
JOHN
All right, but I'm no Father Anselm.
KYLE
You're yourself, that's better...
Kyle pushes him through the door...
INTO THE HALLWAY
The Hallway is alive with cassocked monks.
Their LOW CHANTING reverberates throughout the building.
The wooden floorboards creak beneath their combined weights.
This is obviously a MEDIEVAL MONASTERY...
KYLE
The Abbot will be pleased.
JOHN
Don't.
KYLE
Don't what?
JOHN
Please don't tell him. At least until
I know if there's an infection.
KYLE
You want to be the Abbey's Physician,
and you haven't learned the first rule:
Don't worry about the patient.
John's face drops.
KYLE
I shouldn't have. Sorry. Look, I know
how you must --
JOHN
You don't, but thanks anyway.
AT THE END OF THE HALLWAY
A wide stairwell. A constant stream of monks all moving down
the stairs. Coming from floors above. Headed for lunch.
Kyle starts down. John starts up --
KYLE
Not coming down?
JOHN
I have someone waiting for me.
Kyle disappears into the crowd.
John moves up...
THE STAIRWAY
A river of brown cassocks running downstream.
John is the only one moving against the flow.
He exits the stairwell --
ONE FLOOR UP
A narrow corridor lined with doorways.
John moves to one in particular.
He doesn't even look as he grabs the door knob.
This is his room.
He opens the door --
IN BROTHER JOHN'S ROOM
An old, worn out DOG lays in wait on an old, worn out cassock
which is now serving as its bed.
At the sight of John it stands.
JOHN
Come on, Mattias.
The dog, MATTIAS, joins him in the hall.
Monk and pet disappear up a flight of stairs.
Past another dozen or so Monks who are on their way down.
INT. LIBRARY
A vast room filled with rows of wooden tables with low benches
between aisle after aisle of floor-to-ceiling wooden shelves
jammed to capacity with BOOKS of all shapes and sizes. Millions
of books, from the looks of it.
From each book hangs a long CHAIN, long enough to allow the
book to be carried only as far as the nearest table.
A CORPULENT MONK - BROTHER PHILIP
In his fifties, and the Librarian by his stern affect, his
position behind a broad, but also old oak desk, and the large
KEY hanging from his belt. He watches the few stragglers return
their chain bound volumes to the shelves and head for the door,
then rises and joins them...
IN THE CORRIDOR JUST OUTSIDE THE LIBRARY
John leans against the wall as Philip exits.
Mattias is nowhere to be seen.
PHILIP
Brother John.
JOHN
Brother Philip.
PHILIP
Feeding the mind instead of the body
again?
JOHN
My training has taught me to feed what's
hungry.
Philip pats his broad stomach and heads down the hallway.
PHILIP
As did mine. As long as you're alone.
Enjoy yourself -- and remember, no book
leaves the library.
JOHN
How could I forget? Have a good meal...
John watches the corpulent librarian head down the stairs.
When he's gone from sight John lifts the bottom of his cassock
to reveal Mattias.
JOHN
Perfect.
They move into the library...
THE MEDIEVAL SECTION
The oldest books.
John moves to the stacks.
Mattias trots over to a particular bench and sits.
This is his regular place.
AT THE SHELVES
John stands on toe tips to retrieve an ancient Tome.
He runs his fingers over the familiar leather binding.
A smile plays across his lips.
He carries the book, places it on the edge of the table so
there is slack in the chain.
Sits on the bench next to the dog.
Clears his throat, opens the book, begins to read...
John
(reading)
In the year of our Lord 1348 I, Brother
Gerhado of the Minorite Abbey helped bury
the Abbot and my sixty fellow monks --
VOICE O/S
Sometimes, I think you'd like that.
John turns to find --
THE ABBOT
Leader of the monastery. In his seventies but looks younger.
His Cassock is adorned with a large, ornately carved, wooden
CHAIN in place of a rope belt. He crosses to the table.
John closes the book and stands, head bowed in respect.
John
Abbot, I -- I didn't think anyone would --
ABBOT
Mind? Just Philip, if he knew. I passed
him on the way up. He said you'd come
in alone. I knew better.
He scratches the back of Mattias' neck.
ABBOT
Hello, Mattias. How are you, boy?
The dog snuffles in response.
ABBOT
You know what Philip says about Mattias'
hair and his breathing. You'll have to
take him out of here.
JOHN
He likes when I read to him and -- I
can't --
John looks down sheepishly. Though nearly forty, he feels
almost adolescent in the presence of the Abbot.
The Abbot pulls a large key from his pocket.
ABBOT
(smiles)
Someone must have left this one unlocked.
Take the book with you.
He hands the key to John, who is shocked --
this is a great honor.
JOHN
Father, I --?
ABBOT
Kyle tells me you did a good job at
the glassworks today.
JOHN
I'll reserve judgement until the patient
lives.
John crosses to the shelf and unlocks his book.
He returns the key.
ABBOT
It will get easier. Father Anselm was...
an unexpected loss. You'll do fine.
The Abbot walks towards the door...
ABBOT
Just have it back before the end of lunch.
Oh -- And I didn't see you in here.
JOHN
Thank you.
(to Mattias)
Let's go upstairs, boy.
John takes his book -- Moves to a spiral wooden staircase.
Mattias at his heels.
Goes UP --
INTO THE BELL TOWER
The mechanics of the bell tower -- all ropes and wooden cogs
cast scary shadows.
A doorway leads to --
THE ROOF OF THE ABBEY
Thick with sandy dust. The wood shows through thin patches.
We PULL BACK TO REVEAL what we think is the roof of the Abbey
is actually --
THE SURFACE OF ARCEON - NIGHT
The door has opened onto the SURFACE OF A PLANTOID!
The curving horizon broken only by the very top of the
Abbey bell tower poking through from the levels below.
SMOKE curls from vents set into the surface.
Sunken areas of the planet's sirface are SEAS.
This is ARCEON.
An manmade orbiter.
A shell of lightweight foamed steel, five miles in diameter.
Constructed by The Company on Special Order with habitable
level within finished in whatever material suits its end user.
This orbiter, for reasons to be discovered later, has been
sheathed in wood.
JOHN
Walks to the shore of an inland SEA.
Sits on a bare patch of wood. Looks up.
His eyes grow accustomed to --
THE NIGHT SKY - JOHN POV
Freckled with tiny dots of light.
Stars. Spread across the inky void.
Bathe Arceon's surface with their celestial glow.
John smiles at Mattias, breathes deep.
The atmosphere up here is thinner, but fresher.
He opens the book.
Reads aloud --
JOHN
In the year of our Lord 1348 I, Brother
Gerhado of the Minorite Abbey helped bury
the Abbot and my sixty fellow monks, day
by day, one by one, until I am the only
one left. I stayed as long as I could bear
it, then with my dog --
Mattias lifts his ears at this part. His favorite part.
JOHN
- fled. I have put this to parchment lest
this pestilence - this Black Death -
stay my hand.
(beat)
This was finished by another hand...
John closes the book. Something catches his eye --
Something among the myriad points of light in the sky.
Millions of miles away:
ONE OF THE STARS
Brighter than the rest. MOVING.
Fast enough to leave a faint trail.
Across the stars. And down...
A comet.
John stands. Watches --
THE STAR
Growing brighter.
Drawing nearer.
JOHN
Joined by three other MONKS.
They are older than he.
The Four men watch the sky...
THE STAR
Brighter still. Closer.
MORE MONKS
Two dozen. A hundred.
They come up through the planet's surface.
Out of wooden trap doors. Join the others.
Days pass.
Now three hundred.
Necks bowed back.
Mouths agape.
A SUBTITLE identifies...
RELIGIOUS COLONY ARCEON
-----------------------
POPULATION: 350 Exiles
CRIME: Political Heresy
THE STAR
Fills the sky.
Burns brighter still as it hits the planetoid's atmosphere.
ON THE SURFACE OF ARCEON
Hundreds of Monks shield their eyes as the ship -- the star --
ROARS over their heads. Trailing FIRE --
John holds up his hands - to touch a star --
Skin BLISTERS as it passes over him,
He turns and watches as it --
Arcs downward --
INTO THE SEA
WHOMP- SSSSSSSSSS --!!
PLUMES of steam rise into the air.
The water boils. Fish bob to the surface. Bloated. Dead.
JOHN
Is the first to hit the shore.
Small leather and wood fishing boats tossed by the wake.
His coracle is the first into the water.
The others running up behind him.
He cannot hear the SHOUTS of warning.
ON THE SEA - DAWN
The sun cracks over the black water.
John's hands move the rough wooden oars.
Blistered palm opens.
BLOOD flows.
He tears off a piece of his cassock --
Rips it with his teeth --
Wraps the bloody hand.
Rows.
THE STAR
Ship. Star Ship.
Sulaco escape vehicle #4 rocks on the water.
White metal skin blackened by the heat.
JOHN
Rows right into it.
His coracle pitches in the choppy surf.
He scrambles onto the ship's cracked tile surface.
Teeters -- balances -- moves to the unmistakeable HATCH.
Looks around for a knob, a handle --
NEXT TO THE HATCH
A small panel door whose black and yellow stripes denote
urgency. John hesitantly opens the door, revealing a shiny
metal LEVER. He stares at it...a beat.
Then quickly pulls it down...
WUORRRSH -!
Hull door OPENS.
The doorway is a black maw.
John crosses himself.
Begins to lower his foot into the hatch --
KYLE O/S
Watch it!
He almost falls backwards off the ship. Looks back --
THE OTHER MONKS
Are rapidly approaching.
Kyle gestulates wildly --
KYLE
John! Wait -- ! Don't go in!
John turns back to the open hatch.
Machine recirculated air flows out.
He feels it on the skin of his face. Cool.
Cool, and artificial. It calls to him.
He steps in. Swallowed by the blackness --
WHOOSH-CLANG -!
The door closes behind him.
INT. SULACO ESCAPE POD #4 - DAY
Dark. Dim red lights. John stands still as his eyes adjust to
the darkness. He sees:
NEWT'S HYPER SLEEP TUBE
A glass and metal COFFIN -- pneumatic piping twines around its
base. The glass lid is BROKEN. A Small RED LIGHT pulses at the
head of the tube -- a soft VOICE and TONE, like your seat belt
warning -- is audible...
COMPUTER VOICE
(sotto)
Seal broken...seal broken...
John finds himself moving towards the tube...
Looks through the broken lid:
IN THE TUBE
There is a splattered BLOOD STAIN on the sterile white
interior. OLD, turned rust-brown.
Whatever happened here happened a while ago.
Rust colored drips trail down to --
THE FLOOR
Drag marks. His eyes follow the stains to a pile of
Bloody clothing against a control panel. A jumpsuit. Torn.
Child size. The head of child's DOLL, but no body to be found.
JOHN
Looks back towards the door.
Part of him wants to get the hell out here -- but he fights
back his fear. He is a doctor - or trying to be - someone
in here may need his help. He presses forward --
Averts his gaze from the clothing, UP to the blinking and
glowing instrument panels and their myraid --
LIGHTS
Pressure lights. Data lights. Warning lights.
Thousands of lights. Like the stars in the sky.
It's been decades since he's seen technology like this -- and
never this close up. He steps further into the ship, his fear
now replaced by fascination, follows the lights....
ON A PALE GREEN SCREEN
LED numbers race -- 7,291.01.05...06...07
A legand identifies "Elapsed since separation."
He moves on...
A VIDEO MONITOR
Through scanning bars of snow, an image:
A WOMAN with a YOUNG GIRL standing in front of her.
The Woman's arms are wrapped around the girl.
Protective. Maternal.
The Woman speaks. Her message repeats itself.
A tape loop, although John has no idea what that is.
WOMAN
...taking pod four. The Crew of the SS
Sulaco and all Marine commandoes are dead.
Ship's sensors have interrupted the hyper
sleep cycle. An overlooked alien egg has
hatched. Bishop and Hicks have been killed.
Xenomorphs have infested the cruiser. Newt
and I are taking pod four. The Crew of...
The WARNING TONE of the Woman's message rekindles John's fear.
He moves more hesitantly around the periphery of the ship,
following the trail of blinking instruments --
Drawn to touch a button. Click...
SOMETHING TENTACLE-LIKE DROPS DOWN ON HIS SHOULDER!
Just an oxygen mask.
John feels his rapidly BEATING heart as he pushes aside the
plastic, dangling object and continues around the shuttle.
His hand brushes over a SENSOR which responds by lighting and --
HSSSSSSSSS -!
A BLAST of freon shoots out of an overhead pipe --
John SHOUTS and back up into --
ANOTHER HYPER SLEEP TUBE!!!
Next to Newt's now empty tube.
Humming gently. Still operational.
John approaches it cautiously.
He can make out the occupant through the lid...
A WOMAN
The woman from the screen. This is RIPLEY.
In hypersleep. Wearing a white cotton tank top and boxer-type
shorts. Christ, she looks beautiful.
John looks from Ripley to her image on the monitor, then back.
Sinks to his knees, reverent. Fascination has replaced fear
again. Moves his face closer to the lid.
Closer to hers...
DAYLIGHT spills in --
John's head WHIPS towards the source of the light --
THE DOOR
Open. Kyle and the other monks.
KYLE
John - what is it? Is this a Supply ship?
JOHN
No. No supplies. Kyle, there's someone
in here --
The Second Monk looks at Kyle.
SECOND MONK
This is forbidden.
KYLE
John. Just get the hell out of there --
JOHN
I don't want to stay. I have to get her
out before this sinks. You come in, give
me a hand --
KYLE
Her? Look, this is not the supply ship,
so this is technology forbidden to us.
Get out of there now!
John looks down at Ripely.
A KEYPAD is mounted at the head of the tube.
A red button: "EMERG-OPEN"
That's plain enough.
JOHN
All right --
He presses it.
The Tube opens with a loud BLAST of compressed air.
The Monks at the door recoil at the sound.
CUT TO:
EXT. SPACE SHIP - ON THE SEA - DAY
Ripley has been lowered into a large coracle. John holds her in
front of him. Unconscious.
Her head lolls as the boat rocks on the waves.
The monks start to row back to short.
FIRST MONK
(reverent)
A space ship...
SECOND MONK
(even more reverent)
A woman...
KYLE
You shouldn't have gone in --
JOHN
I'm supposed to be a doctor.
He pushes Ripley's hair away from her forehead.
JOHN
She could've been lost.
FIRST MONK
Been a long time since I saw either.
SECOND MONK
It isn't sinking. Look at it. What are we
supposed to do with it?
KYLE
What was it like in there --?
JOHN
Lights. So many lights --
THIRD MONK
Tow it in. Bring it in.
SECOND MONK
It's evil.
FIRST MONK
It's just technology.
SECOND MONK
Evil technology. Look at these fish --
THIRD MONK
The Abbot will know what we should do
with it --
KYLE
Just lights?
JOHN
Machines. Buttons. Metal.
SECOND MONK
See? Just look at the fish.
THIRD MONK
The Abbot will know.
SECOND MONK
They're boiled. These fish are boiled.
JOHN
Thousands of lights. Like the stars.
Like Heaven on Earth.
Ripley stirs in John's arms. Groans.
Fights to come out of her fugue state...
Looks around through half-lidded eyes --
She is surrounded by rowing, cassocked Monks.
MONKS? She closes her eyes.
Tries to clear the imagine. Opens:
They're still there.
She looks down at the bloodied hands around her waist --
realizes she's sitting on someone's lap.
Looks back over her shoulder --
JOHN
He smiles at her.
Friendly, not sexual.
RIPLEY
Shakes her head. Tries to speak --
Her lips form soundless words.
She looks over her other shoulder, sees --
THE SHIP - RIPLEY POV
Bobbing on the surface.
Growing small with each stroke of the oars.
RIPLEY
Brows knit. Fights the cobwebs in her brain.
Tries to focus on the ship --
Remembers.
Turns to John, tries to speak --
RIPLEY
Wait. New...
She loses consciousness.
GO TO BLACK...
INT. THE ABBEY - RIPLEY'S ROOM - DAY
Streaks of light move across the darkness.
Form patterns of light and shadow against the wooden walls.
There is a sublime stillness, but coming through the walls are
the muted, far off SOUNDS of the Abbey --
The SAWING of wood. HAMMERING.
WHISPERED prayers.
LILTING song.
We move down off the wall to a hand-made wooden bed.
Ripley in restless sleep.
EXT. ARCEON SEA - DUSK
The waters grown rough with the approach of night. Wind whips across
white wave tops -- SPRAYS the dozen Monks who LASH their
boats to Ripley's SHIP with thick hemp ropes --
Start to tow it to shore...
INT. RIPLEY'S ROOM - NIGHT
Ripley is sleeping -- but struggling against some unseen foe --
She tries to sit up -- can't. Tries to shake off the effects of
the suspended animation...looks up through half-lidded eyes:
JOHN
Sits next to her. Quite asleep.
Hands swathed in white bandages. Book resting on his lap.
She squints to make the figure standing in the shadows
behind him -- it's skin picks up and reflects tiny points of
flickering cangle light - seems to ripple as it moves --
THE ALIEN
Big, black shiny-smooth head moves into the taper light.
It moves towards her, cable-like arms held out at its side --
moving out of sync with its feet -- Ripley tries to move -
to cry out -- She can't.
She can only move her eyes. She looks over at John, sleeping
peacefully. He doesn't notice the Alien --
The Alien moves closer.
She can feel his breath -- it evaporates the sweat on her
forehead -- a CHILL runs through her but she still can't move --
The Alien stands alongside her bed.
Extends a six-fingered hand...
Gently rests it on her stomach.
Cocks its head -- like it's listening to something.
The implication is clear.
Ripley finds her voice --
RIPLEY
AAAAAAAAAAAARGH!
Her eyes open wide --
She sits bolt upright.
A hand moves to her forehead. Gently pushes her head back to
the pillow. John's.
JOHN
You're out of it. Out of it...
Ripley falls back, eyes glued to where the alien appeared.
John sees her focal point, looks back over his shoulder:
Nothing.
Ripley's eyes roll back into her head.
She tries to speak -- It was there.
Her hand, at her side, tightens into a fist --
John's hand covers hers.
Eases the fingers open again.
She feels the coarse bandages against her palm.
He starts to read quietly from Saint Augustines' Confessions.
She begins to drowse again as his soft voice flows over her
like waves lapping against the shore...
EXT. SURGACE OF ARCEON - DAY
A HOWLING DUST STORM has kicked up. The monks wear small round
goggles, have rags tied over their noses, as they work at a
huge BLOCK AND TACKLE arrangement --
Hundreds of ropes grow TAUT.
Timbers GROAN.
They LIFT Ripley's SHIP -- SWING it over to a large portal --
INT. RIPLEY'S ROOM - DAY
Ripley lays with eyes closed.
Muffled VOICES outside her door:
ABBOT
How is the woman, John?
JOHN
I don't think she's here yet.
At the sound of John's voice the SLIGHTEST smile plays
across Ripley's sleeping lips.
JOHN
She is close, though.
As they continue talking, Ripley wakes. Opens her eyes.
Rolls over onto her side --
There is a window right next to the bed.
Ripley lifts herself up on one elbow, looks out:
HER POV
Garden of Earthly delights...
Monks laboring under a beautiful, celestial blue sky --
picking apples, fishing on the water on small inland lakes.
Working with hammer and saw on small wooden cottages. Lyrical.
It makes her feel good. She scans the countryside...
Sheep graze around wooden ladders stretching hundreds of feet
up to the -- Ripley does a take --
WORKERS ON A SCAFFOLDING
With crude brushes at the end of poles -- PAINT the sky blue.
The Abbey, the cottages, the fields outside her window are all
on one level - INSIDE THE PLANET.
The vaulted CEILING, painted to look like the sky with huge
glass "windows" to allow the sunlight in, is actually the
UNDERSIDE of the planetoid's outer shell.
Ripley looks back at the Monks on the ground:
Instead of repairing, they are taking the cabins apart, stacking
the wood onto push carts --
RIPLEY
What the hell --?
SUDDENLY --
The Sulaco Escape ship APPEARS in front of her.
SWINGS past her window suspended by ropes.
Then disappears up, out of sight.
Ripley checks her pulse.
RIPLEY
This must be a dream. A bad one.
She rolls back onto the bed.
Stares up at the ceiling.
ABOVE HER - ON THE ROOF OF THE ABBEY
Monks scurry around the Ship as it is lowered into place on
a flat area of the roof above the libaray.
It seats with a deeply resounding THUD...
RIPLEY
Hears the SOUND and then another - her door OPENING.
She turns to find the Abbot and John standing in the doorway.
John waits in the doorway as the Abbot crosses to the chair by
the bed and sits.
RIPLEY
Who are you?
ABBOT
I am the Abbot. Leader of this Colony.
And you?
He smiles. Open. Friendly.
RIPLEY
Ripley. How did I get here?
ABBOT
Your vehicle crash landed.
(indicates John)
Brother John found you and brought
you here.
RIPLEY
Where is here?
ABBOT
This is the Minorite Abbey within the
manmade orbiter Arceon.
RIPLEY
Can I use a radio to --
ABBOT
We have no radio here. We are a monastic
order that has renounced all modern
technology. We live the old way. The pure
way.
She shakes her head.
RIPLEY
Uh, I - I still don't feel 100%. Whoever
took me out of the stasis tube must not
have run the full D-F program...
Where's Newt?
The Abbot looks at her blankly.
RIPLEY
There was a little girl with me --
ABBOT
You were alone.
RIPLEY
No. She was with me. I put her in her
stasis tube -- We launched when the --
ABBOT
You were the only living thing found
aboard that vessel.
The Abbot watches Ripley as the terrible truth overcomes her --
RIPLEY
(slowly)
Oh, God. Newt.
She stops -- gets that chill up her spine --
She realizes that she MUST have brought the Alien with her.
RIPLEY
It came with us.
The Abbot leans in.
ABBOT
What came with you?
RIPLEY
Listen -- there is a danger here. It
came with me. How long have I been here?
ABBOT
Almost two days --
RIPLEY
(calculates)
Loose for two days. This planet could be
overrun within the week.
Ripley grabs the Abbot by his cassock --
RIPLEY
Look, there's a xenomorph --
(sees his confusion)
An Alien creature. A killer. A monster.
And now it's here.
The Abbot looks at her the way you look at that guy on the corner
of Santa Monica and 3rd who's babbling about Judgement Day. The
guy with his pants down around his kness.
She sees this, releases her hold on him...
RIPLEY
Calm down, Ripley. Okay, I was with a
platoon of Colonial Marines on a mission
to planetoid LV426. We left Earth six
months ago - maybe a year --
ABBOT
(interrupts)
Wait a moment --
The Abbot becomes aware of John's presence in the doorway.
Turns over his shoulder at him.
ABBOT
Leave us.
John waits there a beat, then backs out and closes the door.
ABBOT
Continue.
RIPLEY
We launched in the Cruiser Sulaco from
Gateway sub-orbital space station --
ABBOT
Not possible.
RIPLEY
What do you mean?
ABBOT
When we left Earth seventy years ago, it
was on the brink of a New Dark Age.
Technology was on the verge of destroying
the planet's environment. A computer virus
was threatening to wipe away all recorded
knowledge. There didn't seem to be any
way it could be averted. In the almost
forty years since we were towed out here
in hypersleep, the news that came with
occasional supply ships only got worse.
Finally, the ships stopped coming. We
had to resign ourselves to the fact that
worst had come to pass, and the Earth
no longer existed.
Now she gives him that look.
RIPLEY
(slowly)
Uh...All right... Forget the Earth - How
many people do you have here? Let's worry
about them. Warn them --
A new look overtakes the Abbot's face. A look of fear.
Now she's getting to him - or is she?
He abruptly stands.
ABBOT
Your mind is troubled. You need to rest
some more.
RIPLEY
I don't need rest - I need to get to
your people. You've got to get to them --
tell them about the alien --
He heads for the door --
ABBOT
I have had enough for now.
RIPLEY
Enough? Didn't you hear what I said?
It could wipe out the entire population
of this planet. It may have started
already - Have there been any unusual
deaths since I got here?
The Abbot stops in the door -
ABBOT
No. And there won't be.
The Abbot SLAMS the door behind him.
THE CORRIDOR OUTSIDE RIPLEY'S ROOM - DAY
John stands nearby as the Abbot addresses two BURLY MONKS
ABBOT
Bolt it.
The guards move to bolt the door.
JOHN
What is it -- What's wrong?
ABBOT
Your patient is in a dangerous mental
state. Nobody gets in or out until I
say so.
JOHN
But I. Her meals --
ABBOT
Nobody.
JOHN
Father, I don't understand --
The Abbot turns and disappears down the hall.
John looks from the departing Abbot to the two Guard/Monks.
THE LIBRARY - NIGHT
John has his head buried in his hands. His back rises and falls
with the rhythmic breathing of sleep.
Mattias curled up on his feet. Asleep as well.
WHAM!
The Library door FLIES open --!
John sits bolt upright --
A HYSTERICAL MONK bursts in.
Rushes to John's table.
HYSTERICAL MONK
Brother John! You're here! The Abbot
said you'd -- I need -- you're the
medic --
JOHN
What?!
HYSTERICAL MONK
My Sandy -- she's ill --
John tries to rub the fitfull sleep out of his eyes.
JOHN
Huh? A woman?
HYSTERICAL MONK
Sandy. My ewe.
John returns his head to the table.
JOHN
One of your sheep? Jesus Christ.
Call a vet.
HYSTERICAL MONK
Father Anselm was the vet.
John looks under his arms at Mattias --
The dog just stares at him.
JOHN
You're no help. Okay, let me get my bag.
All creatures great and small...
INT. HYSTERICAL MONK'S BARN - NIGHT
A small structure housing a handful of sheep and a few chickens
in wire cages. The wooden walss are full of gaps where boards
have been ripped off.
The Hysterical Monk holds a torch to illuminate the scene. One of
his sheep is laying on its side...
HYSTERICAL MONK
I just gave her dinner and she
keeled over.
JOHN
So would I. It's freezing in here.
HYSTERICAL MONK
Been using the wood from the walls
for the fire in my cabin.
JOHN
Haven't we all...
John kneels at the ewe.
She's breathing heavy. Rapidly.
John puts his left hand down on the hay covered floor while he
checks the animal's neck pulse with his right hand.
She gives a weak "Baa-ah."
JOHN
May be pneumonia. Pitch some of that hay
around her. Stop this damn cold breeze.
The Hysterical Monk props the torch up in an empty bucket and
retreives a crude iron pitchfork from the wall.
Starts to pile hay around the fallen animal.
JOHN
First, I'll --
He sits up to reach for his back, then stops when he sees what's
on his left hand --
A SLIMY MUCOUS-LIKE SUBSTANCE
JOHN
Wait a minute...
The Hysterical Monk stops on mid-pitch.
John rubs the material between his fingers.
Brings it close to his nose. Sniffs.
HYSTERICAL MONK
What is it?
JOHN
I don't know. It's all over the ground.
Some sort of --
BAAA-AAAH!!!
The ewe starts to SHAKE - QUIVER --
John tries to hold it down --
The Hysterical Monk, at this juncture, goes completely apeshit.
HYSTERICAL MONK
What?! WHAT?!
JOHN
Jesus! Help m --
The ewe is shaking so violently that John is thrown back --
He knocks over the bucket -- the torch falls into the hay --
The light is cut off as the torch almost smothers.
Then the hay starts to burn --
Weak fire light revealing:
BAAaa-Aha-SCLORTCH-H-!!
THE EWE EXPLODES ---!
Stomach BURSTS --
SPRAYING the two Monks with entrails and blood --
They start SCREAMING.
The flickering FIRE LIGHT grows as...
A TERRIBLE ALIEN CHEST-BURSTER
BURSTS out of the jerking and twitching carcass.
It shows the characteristics of the animal in which it has
gestated. Tiny razor sharp teeth and black, glass-like eyes
peer from a enlongated head covered with downy, but gore-matted
WOOL. A quadroped, its shrunked hind legs struggling to free
itself from the cooling morass of intestines.
John can only SCREAM as the most horrible nightmare he can
imagine tries to slough off the animal's mortal coil.
The Hysterical Monk, fear overcome with ANGER at the loss of
his beloved Sandy, steps in front of the near catatonic Medic
and instinctively THRUSTS his pitchfork into the creature --
The sharp prongs PIERCE its still forming body --
The CREATURE
WAILS a high pitched SHRIEK - half alien, half sheep as it is
roughly TORN from it's nesting place --
The Monk lifts --
It TWISTS at the end of the fork, acid blood dripping onto the
wood floor -- each drop bursting into a little pool of FIRE.
The Hysterical Monk turns to the now raging hay fire --
The entire corner of the barn is ablaze --
SHOVES the abomination in --
The Sheep/Alien POPS and SIZZLES as tongues of flame leap up to
lap at it's struggling body -- tiny tail whipping about --
The creature dies, its fading screams are soon the only sound
heard within the barn. The Hysterical Monk holds his fork in
the flame as he looks back to check on --
JOHN
Face contorted, eyes glued to the burning creature. Heaving
lungs push air through his diaphram, but no sound comes from
his open mouth -- The Doctor in training has seen the devil.
EXT. HYSTERICAL MONK'S BARN - NIGHT
Wooden walls collapse inward as the building becomes a pyre.
Acrid black smoke curls up to the ceiling and spreads out
across the rafters...
We pull back from the sight INTO a window. Into
INT. RIPLEY'S ROOM - NIGHT
Ripley, watches the burning barn. Frustrated, she climbs out of
the bed on unsteady legs, wearing her tank top and shorts.
Pulls on a coarse wollen cassock, ties the rope belt --
RIPLEY
Idiots...I'll --
WHAM!
The door BURSTS OPEN --
RIPLEY
What the -?
Four BURLY MONKS rush in and grab her.
TEAR her out of bed --
INT. HALLWAY - NIGHT
Ripley is dragged down the darkened hallway.
ABBOT V.O.
An evil has come to Arceon...
IN THE TRIBUNAL ROOM - NIGHT
As he continues we move down a row of stern Monk faces, ending
at the Abbots...
ABBOT
You heard Brother Graham tell of the
devil inside sheep's wool --
He motions towards the Hysterical Monk, sitting in the crowd.
ABBOT
An evil brought by this woman in her
vessel of technology.
PULL BACK TO REVEAL
A large circular room with wooden walls stretching thirty feet
high. Light creeps in through stained glass windows.
Hundreds of monks sits in a gallery that looms over
the floor of the Tribunal. On the floor:
The Abbot and the five eldest Monks sit at a long table facing
the witness stand. On the stand:
RIPLEY
Considers the faces that surround her. Fear. Hate.
RIPLEY
This can't be happening.
BALD TRIBUNAL MONK
You have no voice in this tribunal.
RIPLEY
You must listen to me! You're all in
terrible danger! It came with me on
the ship --
ABBOT
We know that. At first we believed its
arrival was a good omen. But it has only
brought pestilence. Dead sheep. Dead fish.
BALD TRIBUNAL MONK
Evil.
Ripley turns to the Abbot.
RIPLEY
Yes, the ship brought it. Not evil. It
brought the Alien. I told you, it's here.
ABBOT
We know the name of the evil it brought.
It brought technology. Technology to
destroy our planet, as surely as it
destroyed the Earth.
MONK IN AUDIENCE
Destruction!
RIPLEY
I was on the Earth less than a year ago.
It's still there. People, cities, all
still there!
A murmur through the crowd. Some are listening to her.
The Abbot looks around. He must be in command.
ABBOT
(matter of fact)
All dead.
RIPLEY
(screams)
It's still there!
The Abbot smiles to himself for making her crack.
He stands and begins to pace.
ABBOT
You could not have been on the Earth a
year ago, because there is no Earth to
be on -- for at least twenty years.
RIPLEY
I haven't been floating in space for
twenty years. Let me get to my ship
and I'll prove it.
BALD TRIBUNAL MONK
No. Who knows what new evils she'll
release if allowed back into that
infernal machine.
MONK IN AUDIENCE
No! Don't let her!!
TRIBUNAL MEMBER
This woman is a danger. She denies The
New Dark Age. She denies reality.
RIPLEY
This is reality. There is a Xenomorph
loose on this planetoid - a alien -- it must
have stowed away on my ship -- must have
killed --
(swallows hard)
Newt. Killed the girl I brought with me.
You can't stop it. It goes inside you like
an egg - grows -
(mimes)
Explodes out of you - keeps growing into
some sort of monster. Kills you --
Kills all of you...
She looks at the Medieval people around her.
They stare at her in complete confusion.
To them, she does sound like a madwoman.
RIPLEY
Who are you people? Look at you -- all
of you -- the way you're dressed. This
isn't the Middle Ages. You're in space --
on a artifical planet. What are you
doing out here?
There, in the upper tier -- John. They make eye contact.
She looks to him pleadingly.
RIPLEY
Isn't there anyone here who will
listen?
John looks from Ripley to the Abbot.
The Abbot stares him down.
John turns away.
RIPLEY
(defeated)
I guess not. I can't believe this...
The gavel BANGS.
The Abbot sits in a moment of contemplation.
ABBOT
Then there is no choice.
The Four Monks grab Ripley roughly --
Bind her arms.
ABBOT
(to Ripley)
The evil is inside you. I cast you down.
To be sealed away. And God have mercy on
your soul.
SLAM CUT TO:
THE SHAFT ROOM - DAY
A Medieval elevator shaft. The "elevator" is a wooden cage
lowered on thick, rough hewn ropes.
Ripley, bound, is led to it.
She looks back at the monks who have gathered at the door --
RIPLEY
You won't be able to fight it...
You don't know what it is --!
She's put into the cage. The door is secured.
Two monks begins to pull the ropes. The cage is lifted out over
the abyss -- a vast cavernesque space.
The other Monks move closer. Crowd around the edge --
John pushes through them - right to the edge --
Watches as the cage is slowly lowered down...
Ripley looks directly at John --
RIPLEY
You've sentenced yourselves to
death!
John watches as she disappears down into the darkness...
Then turns and pushes his way through the crowd --
Down the hall --
THE TRIBUNAL ROOM
Empty now except for the Abbot and the Tribunal Members.
They speak in hushed tones.
John appears in the doorway, but pauses -
strains to hear what they are saying:
BALD TRIBUNAL MONK
...they'll have started before she gets
down to the Hermitage level.
ABBOT
No trouble?
BALD TRIBUNAL MONK
Only finding the wood for the ship. But
Anderson's hut was about that big, and
he's dead three months now.
ABBOT
I had that wood earmaked for the Cloister
next winter. Well, we might not get to
the winter if we don't take care of this.
By winter time we can start taking the
penitent cells apart. No one in them.
ANOTHER TRIBUNAL MONK
The wood isn't going to last forever.
ABBOT
Neither are we --
He becomes aware of John's presence, and motions the other
Tribunal members out of the room. John moves to the Abbot.
The Abbot knows what's coming...
ABBOT
Go ahead.
JOHN
This woman. Ripley. I tended her --
ABBOT
Yes, and you did a good job. You
shouldn't feel responsible. You
couldn't have known --
JOHN
Please, sir, let me finish. I feel that
there may be something to what she says.
ABBOT
There isn't.
The Abbot moves to his table, begins to gather up his gavel,
notebook. John follows him --
JOHN
I don't understand what you are doing.
ABBOT
This colony is my responsibility. I am
protecting the colony.
JOHN
From what? This woman? You never gave
her a chance. How can you be so sure
you're right?
ABBOT
A better question is what makes you
think I'm wrong?
JOHN
You didn't see this thing -- this demon --
Brother Graham and I -- we both saw it.
ABBOT
(realizes)
That's right. You both did.
(beat)
And what was it?
JOHN
I -- I don't know what it was. But I
don't think Ripley was a party to it.
ABBOT
She admits she brought it.
JOHN
But she tried to warn us --
ABBOT
You know that's how the devil works.
Deception.
JOHN
But I believe her. I don't know how to
describe it -- A feeling.
ABBOT
You haven't seen a woman in thirty years.
Where does this feeling originate, John?
JOHN
(points to his head)
Here.
Pause.
ABBOT
I believe you. But your feelings are
fooling you.
JOHN
It's - It's her conviction. I just think --
The Abbot snaps at him --
ABBOT
Don't think.
John takes a step back at the Abbot's tone. A tone he's never
heard before. The Abbot runs a hand through his thinning hair.
Forces a smile.
ABBOT
It's been a long night. For all of us.
You really don't understand what you're
dealing with here.
JOHN
That's what she said.
The Abbot chafes.
ABBOT
These are ideas which threaten the very
system we live under. The creature is
dead and the woman is gone. Forget them.
Both. Go read. Go fishing. Go anywhere,
but leave this alone.
JOHN
But I --
ABBOT
Alone. I'll get Philip to let Mattias
into the Library, all right? For your
own good, just stay out of this.
John looks like he's going to protest.
ABBOT
I mean it.
JOHN
(slowly)
Yes, Father.
John turns and leaves the room.
The Abbot stares after him.
INT. PRISON LEVEL - NIGHT
Dark. Dank. Dreary.
A NAIL is hammered into a board. Then another.
The board is old, twisted. The grain is pronounced, splintered.
Another board is lifted into place, a nail held -- BAM-BAM-BAM -
HAMMERED in tight.
TWO ANCIENT WORKERS
Drab, torn gray clothing.
Hammer the boards over the opening in the wall.
Methodically covering up --
RIPLEY
Watching them work.
BAM-BAM-BAM.
Defeated.
ON THE ROOF OF THE ABBEY (INTERCUT)
A dozen Monks frantically hammer planks up around the Sulacco
escape ship - A frame of wood --
begin to wall it in...
IN THE PRISON LEVEL
The two ANCIENT WORKERS continue their carpentry.
The planks cover more of the opening.
BAM-BAM-BAM.
Covers more of Ripley.
BAM-BAM-BAM.
She stares...
ON THE ROOF OF THE ABBEY
Planks are rising around the ship.
Covering it. Locking away the good omen turned evil.
IN THE LIBRARY
John and Mattias sit before an open book.
He doesn't read. He can hear the POUNDING of the hammers.
It seems to reverberate THROUGH the planet.
Through his SKULL.
He closes his eyes in pain.
RIPLEY
Only her face is visible.
Another board.
BAM-BAM-BAM.
Then just her eyes.
Just before the last plank is put in place --
WORKER
Here you go, woman. Something from your
ship. Something to keep you company --
He tosses it into the cell. Ripley catches it.
Watches as the last of the light is covered over.
BAM-BAM...BAM.
She continues to stare at the once open wall as her eyes grow
accustomed to the darkness. The little light creeping between
the planks grows in intensity until it is soon enough to see
what it is she has caught --
NEWT'S DOLL'S HEAD.
Ripley looks around her cell -- actually a narrow space behind
other cells, one wall curved out -- like a narrow slice
crossways towards the edge of the pie.
Looks at the Doll's head in her hand.
A beat.
She FREAKS OUT --!
RIPLEY
You fucking idiots! You're dead!
You're all dead!
BEATS the walls. KICKS.
SMASHES her HEAD against the wall.
Again.
Her nose starts to bleed.
Her hand goes to her nose.
She squints in the darkenss.
Sees the BLOOD.
Tastes the iron taste in her mouth.
Death is with her again.
RIPLEY
(sotto)
Dead...
The "widest" part of her cell, the middle, allows her to slide
down into a sitting position. She does.
RIPLEY
Christ. Jesus Christ. It's here. Here.
Shit. Here. I can't get rid of it...
Looks at the Doll's head --
RIPLEY
Newt. This isn't what I wanted...
She throws the doll's head away --
It bounces off the wall and rolls back to an upright position
so that it is staring at her.
RIPLEY
(snaps)
Don't stare at me!
Beat.
VOICE O/S
Sorry.
Ripley looks down at the base of the wall facing her --
Where it meets the floor, in the rotting timbers:
A HOLE. In it:
A MAN'S FACE
Bright, wrinkled eyes beneath a snowy white crew cut.
He's looking back at her.
ON THE ROOF OF THE MONASTERY - NIGHT
The Sulaco escape pod #4 is now a memory as the Monks have
finished walling it up. Now just another part of the Abbey.
As the Monks move down the thin wooden ladders we follow --
Pass them -- down to an open window and into...
INT. LIBRARY - THE MEDIEVAL SECTION - NIGHT INTO DAWN
John is here, Mattias asleep at his feet.
The tables, the benches, the floor are COVERED with hundreds of
books he's pulled off the shelves, their chains all TANGLED.
All open to --
PICTURES OF DEVILS
Different representations of Evil through the ages --
Lucifer, Shaitan, Ahriman, Asmodeus -- Satan.
"The Temptation of Christ" from the Master of Schloss
Lichtenstein. Satan roasting on an enormous grill from
"Tres riches heures du Duc de Berry."
The devil as a serpent. As a semi-humanoid.
Gruenwald's "Temptation of St. Anthony."
Pacher's "Saint Wolfgang and the Devil."
A miasma of Medieval Monsters.
JOHN
Picks his way through the mess. Like a man possessed he fumbles
through book after book.
The first golden rays of daylight filter through the huge
stained glass windows. John rapidly flips through the Medieval
tome in front of him - past an illustration of Satan depicted
as having a FACE on his ASS -- further still -- then stops.
This is it.
We can't see what the illustration is, but we see his REACTION:
His eyes open wide as saucers. SLAMS the book closed as if the
image would strike blind. He turns to Mattias as if to say
something -- Decides not to wake the sleeping dog.
John wraps the book's chain around his hand and puts one foot
up against the shelf. Pulls -- SPANKT!
The old chain gives way.
Face set, he loops the shoulder strap of his burlap medical bag
over his shoulder. Clutches the book to his chest, gently pets
his sleeping dog and goes...
INT. HALLWAY OUTSIDE ABBOT'S OFFICE - DAY
John strides down the corridor purposefully but stops and
flattens himself against the wall when the door to the Abbot's
office opens suddenly --
BROTHER GRAHAM, The Hysterical Monk, is forcibly led from the
room by two burly Monks, taken down the corridor in the other
direction. He is gagged. A third Burly Monk moves out of the
doorway with the Abbot.
JOHN
Now find John and have him brought to
me immediately.
THIRD BURLY MONK
Yes, Father.
ABBOT
Start in the library. And keep it quiet.
The Third Burly Monk nods and moves off.
The Abbot watches him leave, then goes back into the room and
closes the door. John stares at the closed door a beat and then
makes up his mind. He turns and runs back down the hallway...
INT. GLASS FACTORY - DAY
The first Monks straggle in for the morning shift.
Kyle is among them. He lifts his blowing iron from a wall
mounted rack and moves towards the glass furnace as two
other Monks begin to stoke the fire.
John enters.
Looks around the room and for a frantic moment cannot find --
KYLE
At the glass furnace. About to dip his blowing iron into the
MOLTEN GLASS. John runs over to him.
Almost knocks him over --
KYLE
Hey! Watch it!
He sees that John is agitated --
KYLE
What? What is it?
The other monks begin to notice the commotion, start moving in
for a look...
JOHN
I -- Abbot. Must --
John tries to catch his breath. He gestulates wildly.
Kyle puts down his blowing iron.
KYLE
John - relax. Take a deep breath -
Christ, now I sound like you --
He sees the book clutched in John's white knuckled hands.
KYLE
Is that it, John? Is it the book --?
JOHN
(panting)
Yes. Devil.
Kyle moves closer to him. Cautiously.
John sees the other monks gathering around --
Closing in on him - whispering --
WHISPERING MONKS
He's got it...
SECOND WHISPERING MONK
Like the Comet Woman...
THIRD WHISPERING MONK
He found her...
WHISPERING MONK
He's infected...
John sees one of the Monks run out -- undoubtedly going to tell
the Abbot. John looks into his friend Kyle's face -- Fear.
KYLE
Everything's gonna be fine. Now, let's
see the --
JOHN
Don't humor me -- I'm --
KYLE
Sure. Everything's gonna be fine...
If only he could explain - he can't.
John YANKS the book away -- spins --
Bursts through the crowd...
KYLE
Wait -- JOHN!
INT. SHAFT ROOM - DAY
The cage is still down, the ropes stretching into the abyss.
John runs in. Moves to the ropes. Places the book on the floor.
Tightens his scarred hands on the rope -- Mind racing:
The woman will know. Know what it is. How to combat it.
He PULLS --
There's no tension against the ropes.
John FALLS back on his ass.
The ropes WHIZ through the rusty pulley overhead.
Pile on the floor in front of John.
He lifts the end of the rope. Stares:
BITTEN THROUGH.
CUT TO:
THROUGH THE MONASTERY - SERIES OF SHOTS
John RUNS through the building.
Through the upper half of the planet.
DOWN through the many levels, past dozens of Monks oblivious to
the previous night's events and the danger they face:
Monks working at Looms.
Monks in the Tanning Room.
Monks in Morning Prayer.
Past them all, to --
INT. ABBEY BASEMENT WORKROOM - DAY
Mops and brooms.
John enters. His hair is wild, breathing heavy.
He shoves the book into his medical bag.
Pushes aside a box of kindling wood to reveal a
WOODEN DOOR set into the timbers of the floor.
He opens the door:
LADDERS
Extending down through huge open areas beneath the upper level.
Past vast underground viaducts that held up by wooden rafters.
Beyond that - a great underground sea that marks the center of
the planet - below that, the cells.
And Ripley.
JOHN
Can smell the dank air from the lower tunnels.
He MUST go down -- The hard way.
He climbs into the darkness...
INT. ABBEY LAVATORY - NIGHT
An enormous room, over a football field in length, consisting
of at least a hundred open toilet STALLS facing a hundred wall
mounted SINKS. Their condition, though, bespeaks the awful
truth -
The stalls furthest away from us are COBWEBBED.
Some have had the side walls stripped for fire wood.
Of the original hundred sinks, maybe twenty are still
functional - A facility created for a much larger number of
colonists than are left.
A SKINNY MONK washes his hands.
IN THE STALLS
Moving down the row of stalls (chest high, thank you) past a
few empty stalls and several grimacing faces, the second to
last being The Abbot --
ABBOT
Cold tonight --
-- continuing to the last, Bald Tribunal Member.
BALD TRIBUNAL MEMBER
Gets colder every night.
ABBOT
And every day. Never this bad. Taken
so much wood out of the structure the
surface wind blows right through the
colony. Right under the floor --
The Bald Tribunal Member SHIVERS as a cold breeze runs along the
waste trough under the floor and chills the air in his bowl.
BALD TRIBUNAL MEMBER
Right up your bloody backside. Nights
like this make me miss plumbing --
Ack --!
He feels a TUGGING at his bowels - it's not piles.
A beat.
ABBOT O/S
What?
BALD TRIBUNAL MONK
I don't -- AAH --
The Bald Tribunal Monk SCREAMS as something GRABS him from
below --
(note: the left half of the following 5 pages is cut off.
I have completed the text to the best of my ability.)
Something SNAKES up his rectum and hooks into his lower intestine!
He convulses in spasms of agony.
There is a terrible RIPPING SOUND as the Bald Tribunal Monk is
PULLED VIOLENTLY down -- out of frame --
We PAN BACK down the row of stalls tight on each sitting Monk
and see their HORRIFIED REACTION as they feel the ALIEN drag the
Bald Tribunal Monk's body away under them...
THE ABBOT in his stall
He pounds on the wall --
ABBOT
Matthew? Matthew? Jesus, what's wrong?
SKINNY MONK washing his hands, sees all this. Looses control
of his bodily functions as blood sprays from the faucet --
OTHER MONKS
In their stalls as the toilets reject a torrent of gore!
Blood and viscera spraying the walls -- converting the Abbey
into an abattoir.
CUT TO:
SPACE
Angle on the Orbitor Arceon:
An orb of wood hands peacefully against a tapestry of celestial
seas.
RIPLEY V.O.
Death...
INT. RIPLEY'S CELL - NIGHT
Darkness. Somewhere water drips into a puddle.
Ripley lays on her side on the floor with her head resting
near the hole in the floor. Her eyes are closed.
RIPLEY
Wherever I go.
A HAND pushes a crust of bread through the hole.
She opens her eyes to look at the food. The White-Haired Man's
head appears --
WHITE-HAIRED MAN
Take it.
RIPLEY
Thanks, but no thanks, Anthony.
She knows his name.
ANTHONY
You waiting for meat? They don't bring
me meat because they know I'm an android.
Really don't need it. Bread's better
for you anyway. Harder to digest, so
it makes you feel fuller than you are.
RIPLEY
Not hungry.
Anthony takes a bite.
ANTHONY
Mmmm. Just a little crunchy.
Ripley twists onto her back until she's staring up at the
ceiling.
RIPLEY
Waste of time.
ANTHONY
You don't eat, you'll starve to death,
girl.
RIPLEY
That was the plan when they put me down
here. And why should you care?
ANTHONY
Because I'm a synthetic person you don't
think I can care?
RIPLEY
Believe me, that's a discussion you don't
want to have with me.
ANTHONY
You told me you had a bad experience and
a good one with androids --
RIPLEY
That's one of each. That means you could
go either way. I'm tired of talking about
this.
He pushes the bread towards her again.
ANTHONY
You've still gotta eat. You gotta fight
the bastards --
RIPLEY
I'm tired of fighting. Maybe I'll be
dead before he finds me. Maybe he won't
get the satisfaction.
ANTHONY
He? You make it sound like this Alien
has a personal score to settle with you.
The biology you describe: Queen laying
eggs, larvae, drone -- that's very
insectoid. Insects usually don't bear
grudges.
RIPLEY
And Androids usually aren't the prisoners
of lunatics that believe they're ancient
Greeks.
ANTHONY
Medieval Monks.
RIPLEY
Whatever.
ANTHONY
And they've only chose to live the life
style, they don't believe they're --
(hears something)
What's that?
Ripley strains to listen. In the distance:
KNOCKING. Someone is knocking on the walls.
A VOICE calls out --
INT. PRISON LEVEL CORRIDOR - NIGHT
JOHN
(hoarse)
Ripley!
He moves down the hallway.
BANGS his fist against the walls every few feet --
Waits a moment for a reply, then moves on.
INT. ANTHONY'S CELL
Anthony gets off the floor - Moves so she can see into his cell:
The walls of Anthony's cell are covered with charcoal sketches -
Different versions of demons and the devil. She rolls her eyes -
This guy is an Android!
Anthony crosses to his cell door, peers through eye level.
INT. PRISON LEVEL CORRIDOR HALLWAY - ANTHONY POV
John coming towards him, knocking on the doors of boarded up cells.
ANTHONY
Hey -- you knocking -- cut it out --
You're going to wake everybody up.
John moves to Anthony's door. Looks at him through the slot.
Anthony recognizes him.
ANTHONY
Brother John?
John unbolts Anthony's door.
Picks him up by his cassock --
JOHN
Anthony? Thought you dead fifteen years.
ANTHONY
Made too good for that. What're
you doing?
JOHN
I -- I'm looking -- the Abbot --
ANTHONY
What? You look like you've seen the
devil.
RIPLEY O/S
He has.
Anthony turns to look back at Ripley -- moves aside so John can
see her face at the hole --
ANTHONY
You mean he --
Anthony turns back - John is gone.
INT. THE CORRIDOR
As John begins to PULL the outermosk planks off.
RIPLEY
I was right, wasn't I? You've seen it,
you've seen the Alien?
John pauses at that.
His eyes tighten at the memory.
RIPLEY
I can tell you have. I was right.
It came with me.
(to the wall, sharp)
Go away.
John stops. Looks at the wall.
Ripley's voice comes clearly through the wood...
RIPLEY
Listen, priest, or whatever you are, I
know what you want. I can't help you.
I couldn't help any of the others.
Just stop what you're doing. Go away.
Do you understand?
John has opened a crack that exposes Ripley's eyes.
He stares at her a beat, tries to think of what to reply --
He goes back to work as she continues her confession...
RIPLEY
You going to stay, Father? But you're
not going to talk. Okay. Then you can
listen. You should listen. Your Abbot
was right. I am guilty. But not of
heresy. Of murder.
John stops again.
Just stares at her eyes.
RIPLEY
The murder of the crew of the Nostromo.
That was when I first met the Alien.
That reminds him of why he's here.
He doubles his efforts at the boards...
RIPLEY
No, not the same one that's here now.
Or maybe it is. Maybe they're all the
same one. I couldn't save my crew then.
I should have been able to. But I couldn't.
When I went the second time --
Her eyes soften.
RIPLEY
Then I met Newt. Newt. I fought --
stayed alive to keep Newt alive.
Hoped maybe that would make up for...
She trails off. Slides down the wall.
RIPLEY
Now he got her too. What's the point?
(hard again)
Just go away. Leave me in here. If you
let me out you'll want me to help you
and it will start all over again.
Let it end.
John breaks through, flickering torch light streams in the mote
filled air around him. Ripley looks up at him.
RIPLEY
I can't help you.
John, heaving and panting from the excertion.
Swallows...
JOHN
Puh. (pant) Please.
RIPLEY
It never ends.
INT. CORRIDOR - PRISON LEVEL - NIGHT
A long, twisted-plank-floored corridor with a torch every
twenty feet. There is MOVEMENT at the far end. Something is
coming towards us - FLICKERING in and out of the light and
shadow --
RIPLEY O/S
Sheep?
RIPLEY, JOHN AND ANTHONY
Running together. Anthony carries a long wooden staff like a
spear. John has his bag. Ripley a torch.
We move with them.
ANTHONY
It must be able to take on some of the
characteristics of the animal it grows in.
Maybe they are from some sort of aggressive
soldier race -- warring parties drop the
eggs on opposing planets --
RIPLEY
And the alien takes on the form of the
creature that finds it, assuming that
animal is the dominant life form on the
planet. So when it gestates in a man --
Ripley shudders at the memory.
ANTHONY
It's a biped. In a sheep or cow, a quadroped.
RIPLEY
Shit. I just didn't think it could do that
to animals.
JOHN
Wait a minute - I thought you were the
expert on this monster.
RIPLEY
Is that the only reason you came to get
me out? Because I knew about this thing?
JOHN
Yes. I mean no. I mean, that was part of
it. Look. I never thought you were wrong.
I was wrong not to say anything. I was
afraid to speak up. It's hard to be a
monk, you know?
Ripley stops. Looks at him.
A long beat.
RIPLEY
Thank you. If anything, you're honest.
JOHN
We all are. Took vows.
RIPLEY
I don't know about the Abbot.
JOHN
I'm sure he thinks what he did was right.
RIPLEY
Is that speaking up for someone?
JOHN
No. Charity.
She smiles. They turn a corner...
INT. SLOPING CORRIDOR - NIGHT
This hallway slopes downwards a few degrees. The three find
themselves trotting, leaning backward to keep their balance.
RIPLEY
All right, let's forget about the past
and get on to our survival. No more
prisoners behind us?
ANTHONY
Not for years.
RIPLEY
Okay -- If the Alien's had a few days
to lay his eggs our only hope is to get
off this - What is this?
JOHN
Arceon.
ANTHONY
Satellite.
RIPLEY
Get to my ship and get off this Satellite.
JOHN
We can't.
RIPLEY
We can't what?
JOHN
Leave Arceon. Can't leave the library --
RIPLEY
A Tape Library?
JOHN
Books.
RIPLEY
So?
JOHN
The reason we are out here. Like the
Monks who guarded Monastery Libraries
on remote islands off England during
the First Plague --
RIPLEY
There must be books on other colonies --
JOHN
Some of these books survived the burning
of the Libraries of Alexandria. They
contain knowledge that exists in no
other record. Their value is unestimable.
He runs his hand along the spine of the book in his bag.
JOHN
We're supposed to protect them.
RIPLEY
(to Anthony)
And what does an android have to do
with all this?
JOHN
He's a spy.
ANTHONY
The Company planted me here.
RIPLEY
The Company? What does the Company have
to do with this?
ANTHONY
They built this prison.
RIPLEY
Prison?
JOHN
Colony.
ANTHONY
Prison. They are all political heretics.
Ripley looks at John.
RIPLEY
You left that part out.
JOHN
The order was more of a counter culture,
a reaction to the Technology that was
beginning to take over everyone's lives.
It was a simple enough idea - Read, don't
watch disk. Walk, don't pump more carbons
into the air. The earliest members
renounced technology. Started to collect
the remaining books. Nobody would have
noticed if it hadn't been for the Virus.
RIPLEY
Your Abbot talked about that. The
New Plague.
ANTHONY
A computer virus. A bad program. By
this time the Corporate structure was
transglobal, all the world's data storage
systems were linked. It spread through
two countries before it was stopped.
JOHN
After a scare like that, thousands flocked
to our retreat. People started clamoring
for written information. For our books.
They abandoned the modern ways --
RIPLEY
I think I can see how this comes out.
They gave up their possessions.
ANTHONY
This was a threat --
RIPLEY
To the Company.
JOHN
They sold the technology. A movement
to live simply was quickly twisted by
Federal agents into a political movement
against the Company-controlled World
Government. Too much was at stake.
RIPLEY
Too much profit.
JOHN
We were sentenced as political dissidents.
This orbiter is our gulag. All the men
were packed up with all our books, and
towed into space. Ten thousand men. The
eldest died very quickly.
RIPLEY
The Company had such a sense of irony.
Sending you out on this wooden tub.
ANTHONY
I was placed among them as a sensor.
Keeps tabs on the movement.
RIPLEY
So how'd they find out about you?
ANTHONY
I told them. After the supply ship's
stopped coming I saw no point in keeping
up the charade. Since I was a sort of
walking reminder of technology, they cast
me down.
RIPLEY
Join the club.
(to John)
I figured this wasn't planned. You don't
have to be a genius to see it wouldn't be
prudent to try to preserve man's written
works for generations -- without women.
John looks embarrassed.
RIPLEY
And I don't know about your New Plague,
but I was just on Earth and everything's
fine.
John has a doubtful look.
RIPLEY
I was right about the Alien, wasn't I?
Means I must be right about the Earth.
The logic behind her argument is uncomfortable.
JOHN
(beat)
Perhaps.
RIPLEY
That's better than nothing. Come on.
They reach the end of the corridor.
It opens into --
INT. TRANSOM SPACE - PRISON LEVEL
An enormous open space between "cell blocks."
The Wall behind them is honey-combed with corridor openings
going up four stories, connected by aged, warped wooden ladders
reminiscent of Indian cave dwellings. Only wooden.
The room stretches several football field lengths ahead of them
-- falling off into gloom.
They stand silent for a moment, dwarfed by the size of the room
and the task ahead of them. Finally --
RIPLEY
At any rate, let's forget about the
Earth completely - whether you're right
or I'm right what's important is getting
the hell out of here. From here my ship
is...?
John points up at the ceiling.
ANTHONY
In Heaven.
RIPLEY
Right. And this is...
Anthony and John nod.
ANTHONY
This orbiter was patterned after a
medieval concept of the universe --
(makes a circle in the air)
They call the top half "Heaven - "
JOHN
The Abbey, the fields --
ANTHONY
The bottom half is "Hell." Where we are.
RIPLEY
Aptly named. What's in the middle?
JOHN
The sea.
ANTHONY
Really.
RIPLEY
Work with me here. How far is it back
to the surface of the planet?
JOHN
As a stone falls --- Five miles through
the center.
RIPLEY
And the elevator -- the thing they
lowered me down in?
JOHN
Ropes cut.
ANTHONY
It's smart. First he cuts their escape
off, then works his way down through the
monastery level by level until there
isn't a thing left alive. Interesting...
RIPLEY
Well, you start appreciating him more
than me and I'll find a way to shut
you down, capisce, Andy? How do we
get up?
JOHN
There are ladders.
She stops. John and Anthony continue on a few steps and then
stop and walk back to her.
RIPLEY
Five miles with the Alien between us
and there? Good luck, boys.
She turns and heads back towards her cell --
John catches her shoulder --
JOHN
You can't --
RIPLEY
Can't what? Not help you go to your
deaths? I've had my fill of that.
JOHN
I need you. I can't do it alone.
RIPLEY
I've fought these creatures twice
before. It take a lot to kill
these things. Heavy artillery.
ANTHONY
We don't have weapons here.
RIPLEY
How about something we can make weapons
from? Do you have anything like that --
any modern things here?
John SHAKES his head vehemently --
JOHN
We renounced technology. It was those
things that caused the Plague.
RIPLEY
This is a man-made planet. Something has
to be recirculating your air, your water.
JOHN
God?
RIPLEY
Please.
JOHN
I don't know. I just took it for granted.
RIPLEY
Most people do. Without some sort of
technology we haven't got a chance.
From behind them:
ANTHONY
There is technology.
John and Ripley turn to look at him.
ANTHONY
A room. A Technology room. Fresh air
and water come out.
RIPLEY
An atmosphere processing plant --
ANTHONY
The heart and lungs of Arceon.
RIPLEY
Where is it?
ANTHONY
One level beneath the underground sea.
JOHN
That's five levels up --
ANTHONY
(points into the gloom)
On the other side of the orbiter.
John looks at Ripley --
JOHN
A chance.
Ripley looks from John's earnest face to the darkness and back.
RIPLEY
All right. You've got me - so far.
But here's the deal: I don't know
how many of your brethren are going
to be alive when we get up there,
but if we make it to my ship, you're
all coming with me. We'll take as
many of your precious books as we
can carry, but we're going. I'm not
going to fight this thing again to
end up alone again. Understand?
John nods his head.
RIPLEY
We're all dead anyway. We might as
well go fi --
She feels a TWINGE in her midsection --
Doubles over. Anthony and John each take an arm --
RIPLEY
Ugh - I'm all right.
She takes a deep breath.
RIPLEY
Still thawing out. I hate hyper sleep...
Come on.
CUT TO:
INT. ARCEON - MONASTERY LEVEL - NIGHT
The formerly idyllic landscape has been reduced to a scorched
battlefield. Wooden huts leveled. Small fires dot the land.
The air thick with ash and greasy smoke.
DOZENS OF MONKS swarm across the countryside like ants on a
mound of spilt sugar. In one hand a taper or torch held high,
in the other hand their WEAPON: scythe, pitchfork, hoe,
whatever they could get ahold of, seem pitifully out of place.
Some pound sharpened stakes into the ground, others push carts
into rough barricades.
A "Platoon" of Monks huddle around trap doors open on the
wooden "ground." More ladders.
They climb down to --
AN UNDERGROUND WHEAT FIELD - NIGHT
Just beneath the Monastery level of the satellite: an
Underground Wheatfield. Tall golden grass stretches out for
miles, swaying gently around huge wooden columns that support
the Abbey fifty feet above --
THE CEILING
A lattice-work of suspended troughs and wooden pipes --
the "plumbing," the understructure, of the Monastery.
THE MONKS
Descend the ladders single file. Fear is in all of their faces
though most have only heard the stories. They move cautiously
into the wheat. Spread out through the field in the jaggedly
drawn skirmish line.
THE ABBOT
The Bald Tribunal Monk's dried blood splattered on his cassock,
stands atop an empty wooden wagon. From this vantage point he
watches
THE MONKS IN THE FIELD
THRASH and POKE their way forward leaving trails through the
high grass. Their attempt at an orderly progression quickly
falls apart as they get strung out all over the field.
ABBOT
(sotto)
Stay together. Together...
Then another movement catches the Abbot's eye --
AHEAD of the Monks - the wheat waves against the wind.
Begins to ripple -- the wheat flattens.
a TRAIL forms.
SomeTHING is MOVING in the long grass.
Moving towards the Lead Monk -- FAST.
The Abbot opens his mouth as if to shout a warning - even
though the Monk closest to the moving trail is too far away to
hear him - before he can make a sound The Alien closes the gap -
Feeling horribly helpless he can only watch as
AARGH-Aa -!
The Lead Monk gives one strangled CRY before he disappears
beneath the surface of the long grass. His taper falls
among the long, dry stalks -- begins to SMOKE...
The Abbot can see the trail moving towards his men before they
can. He finds his voice:
ABBOT
Run! RUN!
The Monks in the field turn from the spot where the Monk
screamed towards the Abbot -- TURN THEIR BACKS to the now
moving again trail --
ABBOT
No - NO. The --
The Alien hits the skirmish line at a flanking angle --
RAKING through five Monks like a scythe through wheat.
His tail, arms WHIP out --
SNAP their spines like kindling.
Lost torches ignite the wheat...
The field BURSTS INTO FLAME.
Smoke fills the air.
In the smoky commotion the Monks break rank and start running.
Weapons in front of them -- SWINGING wildly --
Screaming. Crying. DYING.
One Frightened Monk runs through another with his pitchfork.
Another hears something crashing through the grass towards
him and buries his scythe in his best friend's chest.
And through it all the Alien seems to be everywhere.
Using the chalky smoke for cover as it SLASHES and TEARS its way
across the field --
THE ABBOT
Frozen in terror to the spot. Squints through the smoke to see
what has happened to his flock. Hears the WAILS of defeat
rising up from the wounded.
The waving grass is flattened as The Alien moves towards him --
He can finally pry himself from his perch on the wagon.
He climbs down. As his feet hit the wooden floor he feels a
shadow fall over him. The little hairs on the back of his neck
stand up. He slowly turns...
THE ALIEN
Rises out of the grass in front of the Holy Man.
Slowly rises up to its height of almost three meters.
It's long, smooth head is no longer black and slimy.
It is golden.
It's cable-like arms are sheathed in a straw-like covering.
It has adapted to the environment of the wheat field. Its now
grass-like lips draw back into a ghastly parody of a smile.
The Abbot SCREAMS and RUNS.
JOHN O/S
It isn't your fault, you know.
INT. TRANSOM SPACE - SERIES OF SHOTS
They move across the huge room...Anthony a few paces ahead.
Their candles throwing only enough light to see several yards.
Wind whistles through the huge room, timbers creaking like some
gigantic old house settling.
RIPLEY
What?
JOHN
Those things you said before --
Ripley remembers her "confession."
JOHN
I read about it in psychology books.
Sometimes when people outlive someone
they cared for, they transfer some of
the guilt for that person's death to
themselves.
RIPLEY
I got a belly full of that from the
Psychtechs when I was on Earth. Yeah.
"Survivor Guilt syndrome," or something
like that. But that's not what I was
thinking about. I was thinking about
my "friend" up there.
She looks up.
RIPLEY
He was on the pod. He killed Newt but
not me. Why not me? It's almost like
he's playing with me. Maybe they have
some sort of race memory. Maybe he
knows what I did to his "mother."
That's why he didn't just kill me.
That would be too easy. He has to
torment me.
JOHN
You make it sound human.
RIPLEY
Hell, I don't know what it is.
John unconsiously fingers his book.
JOHN
I think I do.
INT. LADDER-WELL - PRISON LEVEL - NIGHT
At the end of the space a rough hewn wooden ladder leads to
another block of cell corridors four stories up.
Years of damp air have warped the ladder.
Ripley leads the way, torch in her left hand.
They climb...
INT. END OF PRISON CORRIDOR - FOURTH LEVEL - NIGHT
Dark. Ripley is the first one up.
She raises her torch and heads down the new corridor alone.
The cells here have no doors.
She holds her torch in one --
An old skeleton sits in quiet contemplation.
AT THE LADDER
John is just climbing off, Anthony right behind him.
Anthony is winded. He reaches up for a helping hand.
John looks back and sees that Ripley has moved ahead without
them, then reaches down to help Anthony.
Their hands clasp --
ANTHONY HAS A "VISION"
He is seemingly standing in an open field, sheep grazing
peacefully at his side.
SUDDENLY he is ATTACKED by a horde of Medieval demons.
Fish faced demons. Man-headed bird demons.
They fly about him, grab hold of his limbs.
The Sheep nearest him opens it's mouth to reveal a horde of
razor sharp fangs, SINKS THEM INTO HIS ANKLE --
Anthony SCREAMS -!
RIPLEY
Down the corridor HEARS the scream, turns back -- sees Anthony
fighting with himself, struggling against John's grasp -
ANTHONY
Balanced precariously on the top of the ladder in the real
world as he fights against the demons in his android mind --
He JERKS --
Pulls his left ankle out of the grasp of the DEMON SHEEP --
OFF the ladder - forty foot drop waiting below him...
JOHN
Struggles to keep his death grip on Anthony's hand.
It's all that keeps Anthony from falling back down the shaft --
JOHN
Jesus Christ. Ripleeeee -!
He PULLS with all his might...
ANTHONY
SEES a horrible BIRD-DEMON grasping his hand in its beak --
BITING through his wrist. He waves his staff in the air --
He aims for its head:
CRACK -!
WHACKS John's hand with his staff --
John HOWLS in pain - LETS GO --
Anthony TEETERS BACK ON ONE FOOT, arms waving in the air --
Ripley's hands SHOOT OUT --
GRAB Anthony's cassock --
STOP his fall.
Anthony's eyes open wide at the sight of this new horror --
A terrible, wet, black cable-armed CREATURE that's latched
itself onto his cassock -- Long, shiny head.
Ripley has become the Alien.
WHACK!
Anthony HITS the Creature with his staff --
HITS Ripley on the head.
WHACK!
Again. In the face.
John tries to take hold of Anthony's staff arm --
WHACK!
The cane WHIPS against the side of his head, knocking him back.
Ripley sets her feet and pulls on Anthony's cassock --
Opens her mouth - GRUNTS --
ANTHONY sees the terrible Alien open it's maw to devour him.
WHACK!
His staff connects with the bridge of Ripley's nose.
She sees flashes of light -- loses her balance --
Pitches forward, starts to go over with Anthony --
JOHN GRABS THEM!
Wraps his arms around the struggling pair and like a sumo
wrestler LIFTS and FALLS backwards - carrying the three of them
into the corridor -- WHUMPH!
They land on the floor in a heap.
Anthony continues to FLAIL ABOUT --
Ripley and John pin him to the floor between them.
Finally, the vision leaves him.
He loses consciousness.
JOHN
Breathing heavy - opens his eyes --
He's staring right into Ripley's face.
Less than an inch away.
He's laying on top of her.
She's breathing heavy too.
A long, uncomfortable moment.
RIPLEY
Thanks.
JOHN
You're welcome.
They roll off each other.
Her hand goes up to her nose.
Blood.
RIPLEY
I'm all right.
John reaches into his bag, withdraws a small cotton bag.
JOHN
Hold this against your nose. It'll
stop the flow.
She looks over at him questioningly.
JOHN
I'm a doctor.
She holds the small bag against her nose. The bleeding stops.
They move over to Anthony - try to help him to his feet.
He shakes them off.
ANTHONY
No - please. Just let me sit.
Awhile.
He rubs his temples. White, milk-like sweat runs down his
cheek.
ANTHONY
Damn it.
RIPLEY
What was that?
ANTHONY
The reason I'm down here.
John points to his own eyes.
JOHN
Visions.
ANTHONY
Dreams.
RIPLEY
Androids can't dream...
ANTHONY
That's probably what they thought when
they built me. But my brain is cyber-
organic - patterned after the human
brain - it functions the same way a
human brain does. It accumulates random
images and sensations during waking
hours, but unlike the human brain that
sloughs them off during sleep --
RIPLEY
Androids don't sleep.
ANTHONY
Right. Maybe they've fixed this on later
models, but I don't. Do you know what
happens to the human brain when it is
deprived of sleep? It starts to run off
the dreams while you're awake, as
hallucinations. Same thing with me.
For twenty years I absorbed data on this
planetoid. A little after we lost contact
with Earth the visions started. They
thought I was insane. I had to explain
that it was because I was an android.
They liked that even less.
RIPLEY
What did you see?
ANTHONY
What I always see. Images of Monsters.
Demons.
JOHN
They're portents. They stand for an
evil yet to come.
ANTHONY
Just images I've absorbed from those old
books and have no way to get rid of.
RIPLEY
I saw the inside of your cell.
ANTHONY
(shrugs)
My head is full of them. I try to get
them out any way I can.
His eyelids droop.
JOHN
You need sleep.
ANTHONY
I know that. I'll settle for rest.
He closes his eyes. Ripley recovers the torch.
RIPLEY
Stay with him.
Ripley tried to stand - John takes her arm, pulls her down.
JOHN
No. We all need rest. You especially.
Ripley considers him.
JOHN
Doctor's orders.
She smiles and sits.
JOHN
Besides, you see what happens when you
get ahead of us. We should stay together.
RIPLEY
All right. He's still above us, anyway.
JOHN
What do you mean?
RIPLEY
I've faced this evil twice before - I
guess I've gotten sensitive to it --
(beat)
You're really a Doctor?
John pats his canvas bag.
JOHN
See my bag?
RIPLEY
What's that book?
JOHN
Just a book.
RIPLEY
I don't buy "just a book" from a guy who
says we can't leave the planet without
the library.
JOHN
It's just... a medical book I might need.
RIPLEY
You don't have any food in there, do you?
JOHN
Only if you can eat bandages.
Ripley rubs her midsection.
RIPLEY
In a few hours that's going to sound
good. Going in and out of suspended
animation - Christ I probably haven't
eaten in a year.
ANTHONY
(without opening eyes)
You should've eaten the bread.
RIPLEY AND JOHN
Rest!
Ripley lets her head loll back against the wall.
Closes her eyes. Time passes.
Her brow knits.
John sees this.
JOHN
You all right?
RIPLEY
Aces.
JOHN
You weren't hurt when I landed on you?
Bruised a rib?
He reaches over and puts his hands beneath her cassock.
Feels her midsection. His hands are warm.
RIPLEY
Are you sure you're a doctor?
He withdraws his hands.
JOHN
Sort of. My father passed on when we
first came here. The Abbey's Physician -
Father Anselm - took me in. He really
raised me --
(pause)
Taught me what he could before he
passed away. He was schooled on Earth.
RIPLEY
Well, I'm just hungry.
JOHN
You haven't eaten since I took you
out of your tube.
RIPLEY
You did that...
She reaches out and takes hold of his hands. Turns them over.
RIPLEY
You burned yourself on the escape pod.
Her hands on his makes him feel...uncomfortable.
RIPLEY
Thank you, I guess.
They look into each other's eyes --
ANTHONY O/S
You should've eaten the bread.
Ripley, embarrassed, releases his hands.
Looks at Anthony. He's trying to stand.
ANTHONY
Enough rest. There's beasties afoot.
They start into...
A NARROW CORRIDOR
Ceiling so low their torches must be held out in front of them.
Ripley makes an effort not to move faster than the two monks.
INT. LADDER SHAFT
A great long ladder hanging in the middle of nowhere.
Seems at least a mile long.
The group climbs...
A SERPENTINE CORRIDOR
Liquid drips through the ceiling planks over head.
Falls into RED puddles on the slanted floor.
John kneels, dips his fingertips --
JOHN
Blood.
(sniffs)
Mixed with sea water.
ANTHONY
We're getting close to the center of
the arc -- near the sea.
RIPLEY
Blood.
JOHN
Getting close...
John HEARS somthing.
Raises his hand -- "stop"
The group stops. Flatten themselves against the wall.
John takes Anthony's staff.
Moves forward with it held out in front of him...
WHIRLS around a blind corner --
SHOVES something against the wall --
Thump!
It struggles --
Ripley and Anthony run up -- raise their tapers --
Revealing:
RIPLEY
The Abbot.
Cassock torn, dirty. Hair, eyes wild.
Anthony's staff across his throat.
John pulls back.
JOHN
Father --
RIPLEY
(sarcastic)
What are you doing down here, father?
You look like you've seen something
that doesn't exist.
The Abbot runs his fingers through his hair. Smoothes it down.
ABBOT
I was their spiritual leader. I was not
prepared to lead them in battle.
Not against that thing.
JOHN
No one could be.
RIPLEY
I thought you said the evil was inside
me -- that sealing me up was the answer
to all your problems?
ABBOT
Destruction. The destruction YOU brought
to us!
RIPLEY
I only tried to warn you.
ABBOT
What are you doing with this woman --?
JOHN
We are going to the Technology Room.
Trying to find some way to fight --
ABBOT
You don't join the devil to fight the
devil.
ANTHONY
She's helping us --
ABBOT
Look who defends the deceiver -- the one
who isn't even human. John, can't you see
what is happening? On ancient Earth,
during the Black Death - many believed
that God had abandoned them, so they
appealed to the Devil. Flocked to him
hoping to save their bodies - losing their
souls in the bargain.
RIPLEY
Father, we're all on the run from the
same monster so let's not resort to the
fire and brimstone routine. I've been
enlightened about your "movement."
Pretty funny to be tried for heresy on a
planet of heretics.
JOHN
Please.
The time for pretense is past.
ABBOT
All right. I was trying to keep you quiet.
JOHN
Sir --?
ABBOT
I do what I have to do to keep the
Brotherhood together. We all gave up
believing in Earth a long time ago. How
do you think they would feel if told
their exiled was in vain? That the
holocaust they were trying to avoid
never occured? Those men up there have
grown to live with it.
RIPLEY
And with you as their leader.
The Abbot smiles. Ripley is sharp.
ABBOT
You threatened the status quo.
RIPLEY
So you, protector of knowledge and truth,
lied to them.
ABBOT
Only about you. The rest I still
believe. If Earth still orbits its sun
there is no way it could have survived
being reduced to Barbarism.
RIPLEY
You're as bad as the Company.
JOHN
Ripley --
RIPLEY
That's why you ran. After all your talk
death stared you in the face and you
were afraid.
ABBOT
Not afraid of death.
RIPLEY
The Alien.
ANTHONY
The Organism.
ABBOT
The Devil.
INT. TECHNOLOGY ROOM CORRIDOR
The now four refugees work their way into the final corridor.
Dark. Turns at sharp angles. Blind alleys.
The floor is uneven, wood aged and twisted.
Warped by years of water dripping from above.
The group strings out as it moves into the darkness, candles
held high...
ANTHONY
Bringing up the rear, puts his walking stick down --
SNAPP!!!
Everybody stops at the sound.
ABBOT
What was that?
Anthony pulls his stick from the grasp of a--
ANTHONY
Man trap.
They lower their candles. Look to:
THE FLOOR
Interspersed throughout the timbers --
Spring jawed, steel toothed, BEAR TRAPS.
Rusted. Open. And all around them.
ANTHONY
In case anyone tried to get in and
tamper with the technology.
The four of them are standing in the middle of a mine-field of
man traps. Nobody moves.
ABBOT
What do we do?
RIPLEY
Don't move. Don't breath.
ABBOT
We can't just stand here and wait.
RIPLEY
Floor's too unstable to try to walk
around them.
John pulls a loose board from the corridor wall.
Turns and kneels at the trap in front of him.
Pokes the end of the board into the jaws...
SNAP!!
The others jump at the sound --
ABBOT
John - what are you doing?
John pulls the stick out of the rusted jaws.
Moves to the next trap --
Snap!!
RIPLEY
He's thinking like a leader. Everyone:
Grab wood. Spring the traps. Clear a path.
(proud of him)
Good work, Father John.
JOHN
Brother.
RIPLEY
Brother. Let's go.
Ripley pulls a plank from the wall next to her.
Exposes a bit of the surface underneath --
It's METAL.
She touches the cool, familiar material. Smiles.
Now she knows this is not a dream.
She turns and SPRINGS the trap in front of her --
SNAP!!
THE FOUR
Slowly make their way down the corridor, one hand holding a
candle high, the other poking a piece of wood into the trap in
front of them... SNAP-SNAP...SNAP. SNAP.
walking carefully around the yet unfired traps....
THE DOOR TO THE TECHNOLOGY ROOM
A huge wooden door with no knob or handle. Looks like it could
almost be part of the wall. John and Ripley are the first to
it. They put down their planks and begin to feel around the
edges of the door for some purchase.
The Abbot joins them.
BACK IN THE CORRIDOR
Anthony lags behind. He senses a presence in the hallway.
Hears a sound behind him.
We see a GLIMPSE of something --
He turns towards the sound --
Empty hallway.
He thinks. Starts forward again -- with his ear cocked to the
rear... SNAP!
AT THE DOOR
Ripley, John and The Abbot knock on the door, walls.
Ripley leans her head against the wall in frustration and
exhaustion. To get this far, and be locked out.
She feels sick to her stomach.
How long since she had food?
She looks over at John.
He is staring at her.
He turns red at being caught. Cute.
JOHN
I just - are you allright?
RIPLEY
Tied. Without sleep, food -- I just
feel my age.
(smiles)
Figuring hyperspace time, I'm almost a
hundred.
She wipes her brow and goes back to knocking...
JOHN
Hello?
The wall beneath his fist sounds hollow.
Fingernails find the edge of the plank and pull --
The plank slides aside on tiny, rusty pneumatic pistons.
BEHIND THE PLANK
A primitive KEYBOARD. Circa late twentieth century.
JOHN
I think this is it.
Ripley and the Abbot move over to see.
ABBOT
Technology.
RIPLEY
Yeah - a hundred years ago. An antique.
ABBOT
(to Ripley)
Go ahead.
RIPLEY
Go ahead and what?
ABBOT
Open the door, woman.
RIPLEY
I'll get to it, but listen to me --
you may dress like you're living in
the middle ages but you can't treat
me like your chambermaid, or whatever
Monks had.
UP THE HALL - ANTHONY
Hears the sound again. Turns.
Nothing again.
He pauses... Turns back quickly --
The wooden wall MOVES - steps forward --
THE ALIEN
Adapted itself to look like WOOD.
It's body changes -- transmutes -- Cable-like sinew snaking
over grained limbs to approximate the more traditional bio-
mechnoid alien appearance...!
ANTHONY POV
The weary android sees the Alien as a conglommoration of his
many Medieval images of demons. He hears the Alien's hollow,
raspy breath. It glides towards him...
Anthony steps back directly INTO A TRAP as his mind goes --
SNAP!!
The STEEL JAWS spring shut on his left ankle.
Milky blood-fluid starts to flow.
He finds himself in the same predicament as his vision --
Ankle pinned, the Alien's appendages circling him --
He screams. AAAAAAAAAAAARGH --!
AT THE DOOR
Ripley is trying to work. She punches numbers into the keyboard.
She is too exhausted to see straight.
They HEAR the scream --
John RUNS back --
Traps SNAPPING around him --
Ripley turns towards the sound --
The Abbot pushes her back to the keyboard --
ABBOT
OPEN IT!!
Ripley knits her brows. Forces herself to focus.
Her fingers punch the keys.
THE ALIEN
Steps towards Anthony --
Snap-snap-SNAP-AP-!!
Traps snap closed on its tail, its legs --
HALFWAY DOWN THE HALL - JOHN
SNAP!!
His cassock is snagged in a trap.
He TEARS right out of it --
AT THE END OF THE HALL
Anthony is in the clutches of the Alien.
He WHACKS at the Beast with his staff, but his blows fall like
drops of rain on an elephant.
The Alien LIFTS him up to face him. Anthony SCREAMS as his left
leg is stretched agsinst the tension of the trap's chain --
Blood pouring as white ribbons from his almost severed ankle.
FACE TO FACE WITH THE ALIEN
Anthony drops his staff and grabs each of the alien's arms with
his own android arms. His extra-human strength keeps them from
squeezing him any tighter, but he cannot avert his gaze from
the smooth, eyeless face.
The Alien considers him. Its thin, almost translucent lips pull
back to reveal rows of splinter-like teeth. The jaws spread,
making room for the distended tongue:
The Alien HISSES --
PUTS OUT Anthony's EYES with a thin stream of ACIDIC SALIVA --
Artificial skin BUBBLES AND BLISTERS --
JOHN
Picks up Anthony's staff.
Begins to FLAIL away at the demon.
AT THE DOOR
Ripley is getting no response from the keyboard.
ABBOT
What's wrong?!
Ripley slides the keyboard out of the wall compartment.
The wires are so old they've broken.
RIPLEY
Shit.
She BITES the ends off the wires - spits out the insulation.
TWISTS the bare wire ends together...
Sweat runs into her eyes.
JOHN
WHACKS the Alien with Anthony's staff --
Again. Again. The creature will not let Anthony go.
The Android writhes in its grasp, his face now a blistered,
pulpy mass, eyes gone.
RIPLEY
Finishes hot wiring. The keyboard hums to life.
Her fingers FLY across the keys --
THE ALIEN
Tail wraps around John's waist --
Pulls him towards it --
LIFTS him - turns him upside down --
Lips PULL BACK --
John's hands GROPE at the floor --
Sharp metal teeth SPREAD --
THE DOOR KEYBOARD
Lights: CODE ACCEPTED
Ripley's head whips towards the corridor --
JOHN
His hand closes around the end of one of the traps --
He brings it up --
SNAP!!
It SLAMS closed on the Alien's extended Tongue -!
The Beast bellows!!
Whips its head from side to side --
Can't shake off the trap --
ACID BLOOD sprays out --!
Lands as pools of FIRE on the wooden floor.
THE DOOR
Opens with a strained blast of dust -- SEE-WHORCSSH!
The Abbot LEAPS inside --
RIPLEY
It's open!!
JOHN
PRIES Anthony's ankle out of his trap.
Scoops up his staff, drags the moaning Android --
Back up the corridor --
RIPLEY
Stands in open Technology Room doorway --
ABBOT
Close it -- close it -- it's coming -
RIPLEY
We wait. John!!
John and Anthony appear out of the shadows --
Run/hobble towards the door --
THE ALIEN
Acid Blood DISSOLVES the traps' steel jaws. PULLS itself free.
Head whips towards the escaping Monks -- if it had eyes they
would narrow to slits in anger --
RUNS up the hall --
RIPLEY
Follows John and Anthony into the Technology Room.
On the other side of the doorway: another keyboard.
She punches keys --
ABBOT
Hurry --
JOHN
HURRY!!
THE ALIEN
Yards away -- Limping. Hissing.
ANGRY.
THE KEYBOARD
Acceptance tone "bings."
The Door starts to slide down --
The Alien is feet away --
INCHES...
The door seats itself closed with a solid THUD.
Ripley, panting, rests eyes closed against the rough wooden
door. A beat.
She turns to the room for the first time and finds --
WINDMILLS
Real Man of LaMancha wood and cloth windmills. Two story high
arms slowly rotating. Moving enormous volumes of air through
the wind tunnel-like room. As far as the eye can see.
Turning, creaking.
WHOOSH...WHOOSH...
But no electronics. No radio. No weapons.
This is the Technology Room.
Ripley collapses to the floor and loses consciousness.
DISSOLVE TO:
INT. SULACO ESCAPE SHIP #4 (DREAM)
Yellow warning lights PULSE. Those goddamned STROBES are
flickering on and off. Steam blasts out overhead pipes.
The blue-spark pilot light muzzles of a FLAME THROWER shyly
pokes out from behind a console. It's owner cautiously
follows...
RIPLEY
She's breathing heavy.
She's wearing a sweat soaked tank top.
Her eyes flit from side to side. Then up. Then down.
She pokes the weapon out ahead of her and moves into the pod.
She silently crosses the distance to Newt's sleep tube:
IN THE TUBE
Newt sleeps peacefully.
Ripley allows herself one maternal smile, then remembers.
Her grip TIGHTENS in the Flame Thrower in her hands.
She flips a switch to HI HEAT.
Moves around the sleep tubes...
A noise to her left.
She WHIRLS --
Pulls the trigger on the flame thrower -- click. Nothing.
She tries again -- a half-hearted burp, but no flame.
She begins to panic --
Senses the Alien's presence.
Looks left, right, up - no Alien...
Looks down:
The Alien's tail is COMING UP BETWEEN HER LEGS.
She turns --
Right into it's grasp.
The useless flamethrower SKITTERS across the floor.
She PUMMELS the beast with balled up fists.
RIPLEY
No. NO! I beat you! I beat you mother
fucker!!
The Alien spins her -- pushes her over across the sleep tube --
Like it's taking her from behind!
Ripley looks down into the sleep tube:
Newt is gone.
Her doll's head lays in a pool of blood.
The Alien wraps his arms around Ripley.
Thin lips pull back for a kiss.
She SCREAMS.
INT. TECHNOLOGY ROOM - REALITY - DAY
Ripley opens her eyes.
WHOOSH...WHOOSH...
She's still in the room with the windmills.
Somehow this place seems less real than her dream.
She looks around:
John is sitting next to her, writing on a piece of parchment.
He smiles a relieved smile.
JOHN
I thought we'd lost you.
RIPLEY
What are you writing?
JOHN
Last will and testament.
(beat)
Just kidding.
She looks to her left:
Anthony is lying on his back, cotton bandage wrapped around his
eyes. His ankle is a swollen mess. Wires are hanging out.
RIPLEY
Is he --?
JOHN
Resting.
(shakes his head)
He'll be fine.
ANTHONY
No I won't. He's a terrible liar.
RIPLEY
I'm sorry.
ANTHONY
It's ironic. I guess my visions were
prescience after all. How will I ever
resolve that with my artifical con-
science?
A creaking floorboard to Ripley's right draws her attention to
The Abbot. He's pacing.
ABBOT
Do you see what you've delivered us
into?
RIPLEY
Yeah. Lead me not into temptation to
kick your -- ahh --
Ripley tries to stand - her head spins.
WHOOSH...WHOOSH...
RIPLEY
Oh shit.
The entire room THROBS with the rhythm of the wind.
RIPLEY
Where is the Big Boy -?
The Abbot points to the door.
ABBOT
On the other side of that door.
Waiting for us to starve to death.
Ripley moves to the door and feels it's cold surface.
RIPLEY
It's playing with us. It could get in
here any time it wants.
ABBOT
Why should he enter? He knows that one
of the people in this room is in league
with him.
JOHN
Sir. We're all in the same coracle, so
to speak.
ABBOT
Maybe more than one of us.
RIPLEY
Let's talk about the facts, Mr. Abbot.
She looks at the windmills.
WHOOSH...WHOOSH...
RIPLEY
This is your technology?
ABBOT
Even this is forbidden to us.
RIPLEY
Well then, the facts are that we're screwed.
She moves into the room. Walks around one of the Windmills.
RIPLEY
An Eco system. Nothing to recycle your
atmosphere except the green plants. Winds
generated down here --
(looks at the floor)
Windmills use the natural surface winds
to turn wheels underground, create tides
on the seas to recirculate your water...
ANTHONY
More than that. There are pumps beneath
the floor - I can feel their vibration.
RIPLEY
Probably pumping this air through charcoal
filters.
WHOOSH...WHOOSH...
RIPLEY
It gets colder all the time here, right?
John looks at her questioningly.
JOHN
Yes...
RIPLEY
Your wood burning fires throw soot into
the atmosphere, building the cloud layer -
cutting off the sun's rays - cooling the
planet, forcing you to burn more wood.
WHOOSH...WHOOSH...
ANTHONY
The Greenhouse Effect. It's how the Earth
almost destroyed itself in the late 20th
century.
RIPLEY
Don't you see? This is a planet set to
self destruct. Not in ten minutes or two
hours but soon. Your atmosphere here is
finite. If the plants die the fires will
eat up all the oxygen - this planetoid
will be dead - Everyone will die.
The Abbot has the look of a man who has been beaten in the last
few meters of a Marathon.
ABBOT
It's here. I was just hoping I would be
dead long before it came to this.
JOHN
What?
ABBOT
We're supposed to die here. That's the point.
RIPLEY
Wait a minute -- you were exiled --?
ABBOT
The punishment for our crime was death.
Anthony sits up.
ANTHONY
This planet is the supreme triumph of
planned obsolesence. A certain amount of
primitive materials with an atmosphere
processing system as fragile as a real
environment but not replenishable.
The Abbot has a faraway look in his eyes...
ABBOT
Poetic justice for the anti-technologists.
The Company's best work. You know, I used
to be a corporate executive. Middle range
V.P. Then my wife got hit by a speed craft.
I chucked it all and joined the order.
Be a monk -- see the world. Being here,
being chairman of the board...
RIPLEY
No, now I understand why I landed here.
To join you happy lunatics in your
deaths.
Ripley moves away...
John starts after her.
JOHN
Ripley, wait --
The Abbot stands, blocks his way.
ABBOT
Where can she go? She's trapped.
(beat)
Trapped inside her own prison. A prison
in her mind. Inside her mind. Dancing.
Sparklets of light - dance with the june
bugs in the recesses of ourmindstheyare
coming to danceintheshadowof...
John and Ripley turn to look at the Abbot.
He begins to speak faster. Faster.
He shakes. Vibrates is more accurate --
A trickle of BLOOD runs from his left ear...
ABBOT
RidingthewildwindsofchangeNoescapeNo
escapeforthewickedEvilEvilthynameis
woman.Woman.Womanheiscoming.Heiscoming
foryouuuuuuuuu --*
SPLORTCH-KT--!!
The Abbot's HEAD EXPLODES --!!!
Like a ripe melon dropped ten stories onto pavement.
Blood, bone, hair and brain matter SPRAY John.
John SCREAMS.
A HORRIBLE ALIEN HEAD BURSTER
Is all that sits atop the blood spurting neck of the Abbot.
It keeps it's hold on the Abbot's spinal cord -- The Abbot's
body continues to stagger around, arms jerking mechanically as
lack of fresh nerve impulses from the brain works its way
through the system.
Ripley SCREAMS.
The Infant Alien-headed corpse stumbles towards her --
She plucks Anthony's staff from the floor and SWINGS --
-- Like a child hitting a baseball from a TEE --
WHACK-K -!!
BLASTS the Chest/head burster across the room --
It hits the floor SCRAMBLING. Scuttles down into where the
Windmills meet the floor. Disappears.
RIPLEY
BASTARD!! It came out of his fucking
head!
ANTHONY
I didn't have to see that to know what
that means.
RIPLEY
He sent him to us. That bastard outside.
I can't get away from him. He's fucking
with my mind. He's my punishment!
ANTHONY
I'm confused. Before you said it came out
of the torso, not the head --
RIPLEY
I don't feel like a discussion of Alien biology.
John comes up next to her.
JOHN
Ripley, don't --
She pushes him away and sinks to the floor.
RIPLEY
I should just wait for the air to run out...
JOHN
I believe - I know - that we can win --
there is an answer in our books.
RIPLEY
Your books? Your books are gone, Brother.
Your world is gone. Once that thing starts
to lay its eggs, all your brothers - if
they aren't already - are dead.
JOHN
If that's true, then all of us, the books,
are consigned to ashes.
He clasps his hands and bows his head.
The Abbot's blood drips off his hands.
Plip - plop!
Into a little puddle at Ripley's feet.
She stares at the blood. Aahk.
Feels the PAIN again.
Runs her hand across her chest...
ANTHONY O/S
Ripley?
RIPLEY
What?
ANTHONY
There are several inconsistancies between
this and the other Aliens you described.
RIPLEY
Give it up.
ANTHONY
I think this is important. This may help
us fight it. The creature that I fought
in the hall - when I first saw it, it had
camoflaged itself to look like wood.
Ripley looks up.
RIPLEY
Wood? When I saw it in my room it looked
the way it did before -- black, mechanical --
unless that was a dream.
ANTHONY
I don't think it was. I think that this
creature, if it is the efficient predator
that you say it is, has the ability to
adapt to its environment.
RIPLEY
Then the reason they've always looked the
same to me is that I only ever saw them in
the same environment.
ANTHONY
Or this may be an as yet unseen stage of
development -- you saw a queen -- This
could be like a King ant -- more highly
advanced than the drone, bred for
survival -?
JOHN
How does this explain the thing that came
out of the ewe's chest? The Abbot's head?
RIPLEY
Maybe it can deposit different types of
eggs. The chest burster is probably
dormant until the host eats - The first
one I ever saw came out of Kane after he
started to eat --
And in one horrible moment she realizes:
She hasn't eaten. The pain in her chest...
RIPLEY
No.
Anthony "looks" towards her - does he realize as well?
JOHN
No what?
RIPLEY
No, we're not beat yet, Father --
JOHN
Brother --
Ripley gets up.
RIPLEY
Brother. Not yet. If he's taunting me,
then maybe we can use that. We can beat
this bastard. We can get to my ship.
We can live.
CUT TO:
INT. TECHNOLOGY ROOM
John stands by a ladder that runs up to a trap door in the
ceiling. Holds a torch.
Ripley is on the ground with Anthony, his injured leg splayed
out in front of him. Skin is palid.
ANTHONY
Don't have second thoughts. Blind and
crippled I would only slow you down.
Give him time to figure out what you're
doing. Just leave me my staff.
RIPLEY
Okay. Good luck.
She shakes his hand. He pulls her closer.
Anthony's empty eye sockets seem to see as he looks at Ripley.
ANTHONY
Ripley, I know. Good luck.
RIPLEY
Sit tight.
Ripley crosses to John. Poised at the bottom of the ladder they
look up at the trap door on the ceiling.
RIPLEY
He could be waiting on the other side
of that door. We might not get ten feet
before he kills the three of us.
He shakes his head.
JOHN
We had better go, then.
He smiles.
She smiles back.
They move up the ladder.
It leads up a damp, short shaft, walls GREEN with algae, to
AN UNDERGROUND DOCK - NIGHT
The ladder shaft opens onto a barnacled pier. Ripley and John
climb out onto the wooden structure. Before them:
AN UNDERGROUND SEA stretches the width of the entire planet,
over five miles across. The floor of the lowest level of the
top half of the orbiter makes a ceiling that looms a hundred
feet overhead.
The water sparkles with a golden glow.
JOHN
Must be day on the surface of the planet.
RIPLEY
Where is the light coming from?
JOHN
Mirrors. Reflect the outside light down
great shafts -- through lenses. That's
what they make in the glass factory.
Lenses. Look --
She turns:
A HUGE WATERFALL
Lit from within by daylight beaming down from above -- pours
into the sea a short distance from them.
JOHN
Opens to the surface. Water flows in
and out. I don't know how. There's one
at either end. I came down on the other
side.
RIPLEY
What do we do?
John points to three small leather and wood coracles bobbing at
the end of their ropes.
JOHN
We cross.
INT. TECHNOLOGY ROOM - DAY
Anthony has dragged himself to a sitting position against the
bottom of one of the windmills. He winces as he prods his
tender ankle with the end of his staff. It SPARKS.
The large canvas arms of the windmill rotate above his head.
The wind blows through his hair.
WHOOSH...WHOOSH...
Feels good.
Anthony reaches up and waves his hand of his "eyes."
ANTHONY
Now the seer can only see what God wants
him to. Forty years on a planet of Monks
and I've finally found religion.
A floor board CREAKS.
Anthony strains to hear:
ANTHONY
John? Ripley?
WHOOSH...WHOOSH...
He knows it is not.
ANTHONY
Well come then. I haven't got forever.
A shadow falls across his face. He can feel it.
He doesn't have to see what is here.
THE UNDERGROUND OCEAN - DAY INTO NIGHT
The leather boat makes its way across the sea.
John rows while Ripley holds the torch aloft.
As night falls she takes the oars.
The Ocean is dead calm. The coracle glides across the glass-
like surface. John flexes his scarred fingers.
RIPLEY
Your hands okay?
JOHN
They'll be fine. You've been on
a boat before.
Ripley squints ahead of them.
The ocean seems to go on forever.
RIPLEY
I was a warrant officer on a ship --
but I did all my sailing in space.
JOHN
Father Anselm used to take me on his
coracle when I was little.
Ripley leans forward - scans his face.
RIPLEY
How old were you when they towed
this satellite out here?
JOHN
Five. The Abbot said they put us to
sleep for the thirty years it took
to get here. We've had almost forty
more. Until now.
RIPLEY
What happened to your mother?
JOHN
Never had one. I mean, never knew her.
I mean, I did, once. She left my father
when he joined the movement. If she
hadn't I wouldn't be here. They kept
the other children with the women, on
Earth. That was too long ago now. Like
a dream.
Ripley's face grows strangely dark. She turns to the water.
RIPLEY
Did you know that I was a mother?
JOHN
The girl in the ship with -?
RIPLEY
No. On Earth. I never mentioned my
daughter. My daughter. I have - had
I guess, by now - a daughter on Earth.
Kathy. She was nine when I signed on to
the Nostromo. Mommy will be home before
you know it I said. My shares would have
set us up good. Then I lost sixty years
floating around in a rescue pod. Thanks
to the Alien. I came home to face a bitter,
70 year old woman. My daughter. A little
girl who's mother never came home.
JOHN
Jesus Christ.
RIPLEY
They said I should have been happy to be
alive. Funny, huh? That's why I went
back the second time. Not so I could
fight it -- You can't fight it -- So
I could let it kill me.
She rubs her chest --
JOHN
You didn't choose to get lost in space.
RIPLEY
Thanks for the try Father --
JOHN
Brother.
RIPLEY
Brother, but I'm not looking for absolution.
I couldn't be a good mother to my daughter.
I couldn't be a good mother to Newt. But
I can be a good mother to you. I can make
sure you survive.
Suddenly they feel rain --
Ripley holds out her hand.
Her eyes open wide at what she sees.
John takes the oars as she holds the torch over the side:
The Ocean has become red with BLOOD.
Blood DRIPS down from the ceiling around them.
RIPLEY
Blood.
John looks up.
JOHN
From the levels above.
His face goes white.
JOHN
He must have slaughtered all --
RIPLEY
Don't think about it. Don't think about
what's up there. Just row.
As Ripley takes the torch away from the water, tiny ripples move
across the surface.
She doesn't notice.
A SHAPE
Passes underneath the boat. A swimming CREATURE. The Alien.
Thanks to the reflective qualities of water, it appears HUGE.
Dwarfs their coracle.
INT. TECHNOLOGY ROOM - NIGHT
All the windmills are BURNING.
Flaming arms lazily turning.
Anthony is not in sight.
Whoosh...Whoosh...
THE OTHER SIDE OF THE OCEAN - NIGHT
Another dock with ladders going up and down.
Ripley and John climb out of the coracle.
Don't waste time tying off. They go --
UP THE LADDER
A hundred foot climb. The wood is twisted.
Rungs have been torn away in some places.
They pull themselves up sections that have only the tiniest
foothold. The temperature rises as they do.
Sweat runs into their eyes.
Soon they can see the floor above them:
BLACKENED by intense heat.
They climb.
INT. UNDERGROUND WHEAT FIELDS - NIGHT
Ripley and John come up from the level below.
RIPLEY
Holy shit.
John crosses himself.
Another testament to the terrible battle with the Alien.
Reduced to just a huge, blackened floor.
All the crops burned to ash --
Their charred stalks mingled with the corpses of roasted Monks.
Their nostrils assailed by the stench of the dead --
Ripley would puke if she had any food in her body.
JOHN
There's Andrew. And Raphael. Peter...
RIPLEY
Stop. How far?
JOHN
We're right below the Abbey now.
They cross the smoldering field.
The scorched floor threatens to give way under John's feet --
Ripley pull him to one side.
THE MONASTERY LEVEL
Heaven has become HELL.
The ground, the buildings, the Sky-timber - all blackened.
FIRES burn everywhere. Air choked with gray smoke and dust
pouring in from the Orbiter's surface through rends in the
vaulted ceiling.
RIPLEY AND JOHN
Climb through a hole where a trap door has been torn off it's
hinges. They look at the grim tableau:
Monks impaled on their own pikes.
Tangled together in their own pungy stakes.
Alien cocoon material cobwebbed over their bodies.
THE MONASTERY
Flickering fires lit the first few floor windows.
Ripley takes a step towards it --
Reaches back and pulls John...
INT. GLASS FACTORY - NIGHT
The Glass furnace boils almost to the point of overflow.
Small fires burn out of control around the room.
Finished glass pieces BURST from the heat.
Ripley and John enter.
JOHN
This is the glassworks. They have
tools here --
(spots)
Kyle --
He runs across the room --
BROTHER KYLE
Sits calmly at the Marver table.
He places playing cards on the table in front of him.
Solitaire.
He sings to himself quietly.
KYLE
(sotto)
Can't see my baby.
Don't see my baby. Bay be.
John grabs him by the lapels - pulls him to his feet.
The playing cards fall to the floor --
Kyle watches them, not John.
JOHN
Kyle. Brother Kyle.
KYLE
Cards on the floor, fifty two pickup.
Black king on red queen, put the
ace up --
John SHAKES him.
JOHN
Kyle goddammit!
Ripley moves closer.
RIPLEY
John - it's too late --
Kyle begins to sing faster. Faster.
KYLE
Ace up. Put the ace up. Redaceupup.
Blackaceup.Up.Pup-pup-pup-chaka-
boomloommawhacka -- Booomalooma
looma --
Ripley and John look at each other.
They know what this means.
John pulls a length of rope off a nearby table.
Moves in front of Kyle. Looks into his glassy eyes.
A tear runs down his cheek.
JOHN
Keep singing, my friend.
John loops the rope around Kyle's neck.
Strangles him.
Eases the lifeless body to the floor.
Stares at it.
RIPLEY
Pulls a blowing iron from the rack. Feels its weight and
balance. A reasonable weapon. She crosses to John.
JOHN
I killed him. I'm a doctor and I
killed him.
RIPLEY
You had to. You're supposed to end
suffering.
She hands him a pontil, a pointed iron spear used to form the
molten glass shapes.
RIPLEY
Let's get the hell out of here.
INT. STAIRWELL - NIGHT
Ripley and John move up the stairs.
Flickering orange lit from below.
Smoke and soot rise from the first on the lower floors.
INT. LIBRARY - NIGHT
They enter carefully. The room is exactly as John left it,
books out of shelves, hanging on their chains.
RIPLEY
He's made a mess.
John pushes ahead of her.
JOHN
No. He hasn't been up here yet. I
did this.
He moves to the nearest shelf and uses his pontil to pry open
the lock --
JOHN
Here - philosophy - we'll start here --
AAAROO --!
A HAIRY BLUR flies out from between the stacks --
WHUMPH! Knocks John to the floor --
Licks his face.
JOHN
Mattias!
The happy dog leaps all over his master.
JOHN
He waited. Ripley, this is Mattias. My
dog. Good fellow.
Ripley crosses to them.
RIPLEY
I'm glad. Really. But we've probably
only got a few minutes before this
entire place goes up in flames. Just
grab whatever books you want and --
Ripley leans in to pet Mattias.
Mattias draws his lip back. Growls.
He's looking over Ripley's shoulder.
She turns around slowly...
THE ALIEN
Standing in the open doorway.
It's in bad shape from the man traps.
Lost a foot. Tongue hanging out, useless.
Parts of it look like wood. Parts of it look like wheat.
It carries Anthony's waterlogged, limp body --
POPS off his head like a grape from the bunch.
Tosses the corpse at Ripley's feet.
I could swear it's trying to smile.
RIPLEY AND JOHN
Back against the book stacks.
John grabs Mattias' collar.
The Dog GROWLS at the Alien intruder...
JOHN
Easy, boy...
RIPLEY
Is there another way out?
JOHN
Not that will do us any good.
THE ALIEN
Limps into the room dragging one foot.
It's breathing is labored. Dripping acid blood leaves a thin
trail of fire behind it.
JOHN
We hurt it.
The Alien draws itself up to its full height --
Even wounded it is one dangerous mother fucker.
RIPLEY
You wanna give it a bandage? Look --
Where is my ship from here?
JOHN
On the roof directly above this room.
RIPLEY
Here's the plan --
JOHN
But the books --
RIPLEY
Forget the books!
RUFF!!
Mattias pulls free from John's grasp --
Runs to the Alien --
RIPLEY
Shit.
MATTIAS
Snaps and barks at the Alien --
Leaping about to dodge its claws.
Draws its attention --
RIPLEY AND JOHN
RUN at the Alien.
It is trying to spear the dog with its tail.
John swings the iron rod -- THWAP -!
HITS the Alien across the back of its bulbous head --
It turns to him --
SPLIIIITCH -!
Ripley SHOVES the blowing iron into the Alien's torso.
His acid blood SPURTS out the end of the hollow tube --
SPLATTERS Ripley's cassock - she TEARS it off --
John grabs Mattias -- pulls him back.
The Alien SPINS in a circle --
Blood SPRAYING around him -
Creating a CIRCLE OF FIRE about him --
IGNITING the books --
JOHN
No! THE BOOKS!!
RIPLEY
Don't --!
John steps forward -- Ripley grabs for him --
The ACID EATS through the wooden floor --
THE FLOOR COLLAPSES
The Alien, John and Ripley PLUMMET down -!
THROUGH the next floor --
INTO THE GLASSWORKS
The Alien FALLS into the molten glass vat --
SCREECHES - arms flailing as it sinks beneath the surface of
the thousand degree liquid.
JOHN
Finds himself HANGING over the bubbling glass vat - Caught -
DANGLING on the Flying Fox rope. Five feet away - the ledge the
Flying Fox is launched from. He looks down:
He can see the huge open vat of molten glass below him. To its
right, the Water DUMP TANK - a large wine cask-looking affair
where finished pieces are cooled. He looks up:
Ripley holding onto the edge of the broken floor above.
JOHN
Are you all right?
Ripley grunts an affirmative response.
At least is she falls, it will only be a twenty-foot drop to
the floor. John is looking at instant par-boiling.
John starts to move hand over hand UP the rope. He begins to
sweat.
A drop of sweat falls...
HSSS!
POPS AND SIZZLES as it hits the surface of the molten glass --
RIPLEY
Tries to pull herself up to the floor above --
The next level is a raging fire.
She can only hang and DROP. She DOES -!
Falls the two stories.
Bends her knees and ROLLS on impact.
JOHN
Has reached the ledge overlooking the furnace.
He stands. Sees Ripley slowly rising --
JOHN
Ripley -!
Ripley shakily gets to her feet.
Hops on one foot.
RIPLEY
Aargh. I'm fine. Let's get the fuck
out of --
SUDDENLY
THE ALIEN'S head breaks the surface of the molten glass.
SCREAMING. STEAMING. It is white-hot -
translucent -- covered with --
It looks like MOLTEN GLASS!!
Hook-like hands grasp the edge of the tank --
It tries to climb out --
Ripley turns to run. Tender ankle gives out.
She falls face down on the floor --
Rolls over --
THE ALIEN is going to climb out of the vat --
She SCREAMS --
JOHN
Grabs the Flying Fox handle.
SWINGS down the rope - across the room --
PAST the Alien --
It turns away from Ripley -
She scrambles across the floor...
John lands HARD.
Points --
JOHN
Ripley - the lever!!
Ripley looks next to her: a burning wooden lever.
The Alien has one foot out of the glass furnace --
RIPLEY grabs the lever -- Hssssst!
Putting out the fire with her hand --
Pulls --
THE HUGE DUMP TANK OF WATER
DUMPS. Empties a thousand gallons --
RAINS DOWN on the Alien.
It HOWLS in pain --
The Molten Glass instantly COOLS --
The rapid extreme temperature change causes the beast to
BE-THWOOOoooOOM -!!
EXPLODE into a million pieces...!!!!
Ripley helps John off the floor.
They are battered. Bloody.
They look into the vat.
The steam clears...
The room is littered with Alien Bits.
Each piece is encased in glass --
Trapped like a fly in amber.
JOHN
Saw that happen to a bottle once.
RIPLEY
(panting)
Beat... Beat him - ugh --
She grabs her stomach as her knees give out.
John gives her an arm for support.
JOHN
We've got to get to the Library --
RIPLEY
Don't worry. Ship. Just --
They look up:
Mattias looks down through the hole in the floor.
BARKS...
INT. LIBRARY - NIGHT
An INFERNO.
Every bookshelf ablaze. The floor dotted with pools of flame.
Ripley and John are at the door - held back by the heat --
John tries to enter the room --
Ripley grabs him --
RIPLEY
Don't be stupid --
JOHN
Some of them! I've got to save some of
them! Mattias!!
Mattias yelps in response. Threads his way through to them.
Ripley spins him to face her. Tears stream down his cheeks.
RIPLEY
They're lost. You did your best. If
you get out, it wasn't in vain.
We've got to live!!
She YANKS him into the hallway --
CUT TO:
EXT. MONASTERY - THE ROOF - NIGHT
Ripley's good foot KICKS down the burning planks that surround
the escape ship. John and Mattias stand behind as she climbs
through to the ship. John looks around:
The ABBEY LEVEL is devastated. The air is filled with smoke.
The Abbey is burning. The Library is in flames.
John looks down at his medical bag.
Torn, bloody, scorched, it still hangs from his shoulders.
Inside: The only remaining book.
RIPLEY O/S
Come on in!
John and Mattias step through --
INT. SULACCO ESCAPE POD #4 - NIGHT
Ripley CLICKS on the lights.
John lifts Mattias into the hatch.
JOHN
The Library --
RIPLEY
I told you -- the Earth is still there --
Ripley checks an instrument: Elapsed travel time.
Her brows knit. She TAPS the gauge.
RIPLEY
Not working.
JOHN
What does that mean?
RIPLEY
It means I don't know how long I was
in hyper sleep.
JOHN
It means the Abbot could've been right --
RIPLEY
It means my clock isn't working. We have
to get out of here. Even if he was right
this ship's onboard computer is filled
with man's knowledge.
JOHN
Not everything. Some things will be
lost forever.
RIPLEY
Then man starts over. He's done it
before.
She pushes a few buttons. Somewhere under the floor a
propulsion source HUMS to life. THROBBING through the soles
of John's feet. Ripley is absorbed in her work.
RIPLEY
Okay. The seals weren't broken so
we're probably clear. But those dead
monks out there are going to start
hatching soon. Let's get ready to
take off.
JOHN
What can I do?
RIPLEY
Here, I need a compressor tank from
in that compartment.
She motions towards an open door.
John enters the compartment.
Whoosh-CLANG -!
The door closes behind him.
JOHN
Hey! What?!
He looks out the window in the door.
Ripley is staring at him, punching keys on a pad next to the
door.
JOHN
Hey - I'm locked in.
Mattias scratches at the door.
RIPLEY
I know. I locked you in.
JOHN
What?
RIPLEY
I'm not going with you. I've got one
inside me.
JOHN
What?! You can't --
She runs a hand across her midsection.
RIPLEY
I figured it out. That's why it didn't
kill me. He must have impregnated me
when I was in the stasis tube.
(remembers nightmare)
It hasn't come out yet because I
haven't eaten, It's still dormant. So
either I eat and it kills me or I don't
eat and I starve to death. Either way
I die.
John pulls the Medieval Tome out of his medical bag.
JOHN
My book -- I know what to do --
RIPLEY
What, an exorcism? No good.
JOHN
You can't do this. Ripley - listen
to me - you're confusing feeling of
guilt for actual sin - I can help you --
RIPLEY
(ignoring)
I've set a time lock. When the pod escapes
the Colony's gravitational pull this
compartment will open. Then all you have
to do is get into the Stasis tube with
Mattias and press the blue button. With
any luck a freighter or something will
pick you up. Good luck.
He pounds his fists against the door.
JOHN
NO! No, Goddammit - you can't do this.
You can't let it win.
She turns away from the door.
RIPLEY
It always wins. We killed it, but it's
still inside me -- You're my last chance.
If I can keep you alive it'll make up
for all those I've lost.
JOHN
Listen to me! You have to let me try!
Ripley: You're MY only chance!
She's listening...
JOHN
I told you Father Anselm raised me.
He raised me and when he was dying I
couldn't do anything to save him. I
didn't know enough. It was my fault
he died. If you don't let me try to
save you my body will live but my soul
will be dead.
Ripley turns and stares at him.
JOHN
Please.
CUT TO:
THE PAGE
A MEDIEVAL ETCHING.
A Monk vomits up the devil.
Pull back as John lowers Ripley to the pod floor.
John closes his eyes.
Closes the book.
He pours some water into a small plastic cup.
Retrieves a small pouch of herbs. Opens it.
Wrinkles his nose - they smell --
pours these ancient medicines into the space age cup.
RIPLEY
What is this stuff?
JOHN
(forceful)
Something that will make you well.
Something that will make you sick.
RIPLEY
I don't --
JOHN
Shut up and drink.
He lifts the back of Ripley's head --
FORCES the drink down her throat.
John swings his leg over her midsection. STRADDLES her.
Presses his two hands together in prayer.
Then balls them into one fist.
Takes a deep, preparatory breath...
Ripley starts to GAG -- Cough.
Her body starts to JERK --
John BRINGS HIS FIST DOWN INTO HER STOMACH --
WHAMM -!!
Ripley CONVULSES -- has the dry heaves --
WHAM! WHAM --!
John PUMMELS Ripley's diaphragm!
She sputters -- VOMITS a thick mucous-like substance --
HEAVES --
Ripley's back arches --
She SCREAMS a gut wrenching WAIL --
Her torso BULGES as the creature is forced upwards.
John BEARS down --
Pushes UP under her ribs --
FORCING the chest-burster up her throat --
Ripley fights for air as the alien STOPS halfway up her
esophagus -- She's choking --
John crosses himself -- takes a deep breath --
Lowers his mouth to hers --
Inhales. Exhales. CPR.
THE ALIEN CHEST BURSTER
SLITHERS out of Ripley's mouth --
INTO JOHN'S!!
Reptilian tail whips about before disappearing down his gullet.
John falls back against a computer console.
Gagging. Fights to speak.
Ripley raises herself up on one elbow.
Alien mucous drooling down her chin.
Hair matted against her forehead.
RIPLEY
Why?
JOHN
Choking. It was the only way.
He drops the open book in front of her:
She sees the etching.
JOHN
Gulps back the oozing slime.
Struggles to his feet.
JOHN
They knew.
RIPLEY
But you --
Ripley tries to stand - to go after him --
She can't sit up -- feels like a rib might be cracked.
RIPLEY
You'll die --
John stumbles to the Pod door. Turns back.
JOHN
That's idea. Join...my brothers. If
we were right, Heaven. If we were wrong --
either way, where we belong. World of
books. Pages.
He draws the parchment out of his bag.
Drops it to the floor.
JOHN
You... are from the real world.
He starts to step through the door --
Mattias tries to follow.
JOHN
Stay -- both of you.
He exits the Pod.
Ripley drags herself across the floor.
RIPLEY
No - wait! John!
To the Door. Looks out:
BROTHER JOHN
Dawn's rays are peeking through the battered ceiling as he
walks slowly across the smoking roof.
Into the inferno that is the burning Abbey.
Ripley watches as John and the alien horror inside him are
INCINERATED.
The heat of the flames grows.
She must pull back --
Reaches up for the door handle.
It closes with a THUD.
She rolls onto her back.
She weeps. For the first time in years.
She's been absolved.
CREeeek -!!
The escape pod SHIFTS.
Ripley's eyes SNAP open --
The Roof beneath the Pod is beginning to GIVE WAY.
Ripley rolls onto her stomach and drags herself to the
pilot's chair. Pulls herself into the seat.
Straps herself in --
SULACCO ESCAPE POD #4
Blasts THROUGH the wooden outershell of the Orbiter Arceon.
ROARS towards us - past us.
INT. SULACCO ESCAPE POD #4 = DAY
Ripley places Mattias into the Hyper sleep tube.
Rubs under his chin. Is about to climb in with him when she
spots something on the floor --
JOHN'S PARCHMENT
Ripley picks it up and unrolls it.
She hears John's voice:
JOHN V.O.
I, Brother John Goldman of the orbiter
Arceon, Minorite abbey and gaol, know
the Abbot was wrong. There is a great
evil here. I have seen it. I put pen to
paper now lest this plague - this creature
stills my hand. I have gone down below -
both to try to warn the others and get
the woman - Ripley - get from her some
clue as to how to battle this evil, or
at least to make my peace for not
defending her. She believes there is
still and Earth and I hope she is right.
I hope she will be able to find out.
I hope she can find some rest for the
devils that torment her.
Ripley looks at the elapsed time counter on the command
console. Pulls a pen from it's holder. She adds:
RIPLEY V.O.
Whether the Earth exists or not, whether
we end up in Heaven, or Hell, or the cold
vacuum of space, she has.
She sets her course.
Gets back into her tube.
Closes the lid.
DEEP SPACE
The escape pod moves through the jet-black void...
ARCEON
Dwindles into the darkness behind her, a smouldering, slowly
dying ember...
THE SCREEN GOES BLACK
END CREDITS ROLL...
Teenager in the back of the movie theater shouts,
"It's in the dog!"
Alien 3
Writers : Rex Pickett
Genres : Action Drama Horror Sci-Fi Thriller
User Comments
Back to IMSDb
| screenplays |
Baldur's Gate The Meeting reworked
Disclaimer: Baldurs Gate belongs to it's respective owner.
A while back I wrote a stary about the first time Charname and Imoen met, I re-read it some time ago and decided I probably could do better and re-wrote it. So I present my version of how Charname and Imoen met for the very first time years before they began running around the sword coast making life miserable for all hard working villians.
**** ******** ********************* ************************* ************************************** *********************************
The difference was immediate. Where outside was a bright summer day, the light nearly blinding in its brilliance and a sea breeze being the only thing from making the heat unbearable inside it was dark, gloomy and cold. Dust drifted lazily in the few shafts of light invading the dark and Imoen could not suppress a shiver. She did not like this place already.
The girl made to move back outdoors when she walked into a soft, yet unyielding mass, a giant hand the only thing that kept her from falling to the floor.
- 'Watch where you're goin' 'Moen. Ain't do ya no good bouncing yer bony self on the floor 'ere.'
The girl caught her balance and nodded, trying to force a smile on her face, or to say something nice to the man that had shown her nothing but kindness since he found her, and failed at the task. Winthrop smiled at the girl and placed his hand on her shoulder in what he hoped was a comforting manner.
- 'Come along than! Gotta meet Master Gorion, e's a good man, you'll see. You'll like 'im the moment you see 'im.'
He said as he steered the girl through the dark library. Imoen peered around carefully as they moved, all she saw were row upon row of tall bookcases, many of them literarily bending under the weight of the tomes on them. From time to time she caught a glimpse of a green robbed figure, though she couldn't be certain but it seemed that none of them seemed interested in the two as they made their way past.
Apart from one who glided down the stairs they were walking towards and approached them.
- 'Mister Winthrop, Master Gorion is wanting a word with you.' – he paused and looked at Imoen, - 'Alone.'
Winthrop sighed and nodded.
- 'A'right. Keep an eye on de lass will ya?'
- 'I'm too busy to mind a brat.'
The man scoffed before storming off, muttering something under his breath. Winthrop glared daggers at the mans back and muttered;
- 'Lazy, no good son of a…'
He paused, looked down into the girls grey eyes and finished with a cough. Imoen knew what the man wanted to say, she heard worse. But Winthrop seemed to make a point of not using certain language in front of her. Winthrop ruffled her head.
- 'Wait 'ere a moment. Gotta see wha de man wants. I'll be right back.'
He said before going off. Imoen stood silently, looking around with nervous movements of the head at every noise and nearly jumped at a metallic ring that echoed across the library. Even as the echoes faded another sound was heard. It sounded. A constant, repeating sound of one surface being scraped on another, a pause and it would start again.
Imoen looked around for the source. Not seeing anything she glanced to the stairway, hoping to see the familiar bulk of Winthrop coming down. No such luck. Imoen stood still, chewing her lip and reached a decision.
_-__-_-_-_-_-__-----______------_-_-_-____________________________________-
'What are you doing?'
The boy looked up at the voice, surprise quickly fading to irritation as he saw what had asked the question. He turned his head away back to his task.
- 'What does it look like I'm doing?'
He replied in a voice close to a snarl. The girl took a step back at the tone but managed to reply,
- 'It looks like your scrubbing the floor with a brush smaller than your pinkie.'
The boy tilted his head and looked at the girl. A skinny, red headed girl, about his age in what appeared to be travel clothes regarded him with grey eyes, eyes that betrayed uncertainty. Yet those eyes held his gaze and only turned away after a while, not like the adults of Candlekeep that seemed to avoid his gaze, strange. She, on the other hand, saw a skinny boy in a smaller version of the robes she saw other peopl in the library wearing. What little could be seen from under his hood were a thin face with eyes that she couldn't really decide if they were blue or grey. It took her a moment to realize she was staring and look away.
- 'If you saw clearly what I was doing than why did you bother asking?'
He said before resuming his task. As far as he was concerned the conversation was over. However the girl did not leave, and from the prickly feeling on the back of his neck he was certain she was staring at him. He managed to ignore her for a minute before turning towards her suddenly,
- 'Anything else?'
He snarled, accenting the words by slamming the brush against the tiles. The girl took a step back, but nodded.
- 'Why?'
She asked quietly. The boy stared at the girl for a moment, was she simple in the head or something? He didn't know the answer to that but he did realize that she was expecting an answer to her own question. He sighed, got of his knees and sat down, rubbing his hands.
- 'I am currently learning why, when I am taken to test my martial skills against illusions, to not decide on the easy way out of attacking the illusionist.'
He said. The girl nodded, seemingly accepting his explanation. Silence fell, broken only by the sound of a stifled cough from somewhere in the library. The two children stared at each other in silence.
- 'You got a name?'
He asked, annoyed that she was still there and yet pleased that he had an excuse not to be scrubbing the floor. She replied with a nod followed by a silent,
- 'Imoen.'
- 'Zhyv Rakov.'
He replied, awaiting the comment about the unusual nature of his name. It didn't come as the girl only nodded. Zhyv frowned and decided that she probably was simple minded.
- 'So, why are you here? You came with a group…'
He began but the rest of the sentence was drowned out.
- 'ZHYV! You 'ad better be scrubbing that floor!'
Before Imoen knew what had happened the boy was on his knees, scrubbing furiously at the floor. Winthrop appeared a moment later, glared at the boy before turning with a smile to Imoen.
- 'There ya are! I though I told ya to wait fer me there. No matter, I told Gorion all about ya and 'es wantin to see ya. Come along now.'
Imoen obediently walked to the man who, while waiting turned back to the boy with a glare.
- 'Be sure to scrub them floor properly! An if yer thinking that Gorion gonna cut the punishment short, forget it! He's still fumin over how ya ruined those books. 'Onestly! What sort of idiot takes a priceless tome and drops it down a well?'
Imoen looked up at this, glanced at the blushing boy and a hint of a smile appeared on her lips, a fact that did not escape Winthrop's attention.
- 'Ya shad smile 'ore ofen 'Moen. It's not good fer ya, frownin all the time. Plus every one can see 'ow pretty ya're.'
He placed a hand on her shoulder and gently steered her towards the staircase. Imoen cast a glance in Zhyv's direction who, though scrubbing the floor, pointed at Winthrop's back before pulling an imaginary noose tight around his neck while making a face as if chocking.
Imoen laughed.
End file.
| fanfiction |
Oil prices on track for biggest weekly fall in four years (Tradelinecommodity.com) 9719098555/8057445599
SINGAPORE (Reuters) – Oil prices slumped to their lowest in more than a year on Friday and were set for their steepest weekly fall in more than four years as the spread of the coronavirus stokes fears of slowing global demand.
Investors are increasingly worried as the virus has spread beyond its epicentre in China to more than 40 other countries.
The most active Brent crude contract for May was down $1.42, or 2.8%, at $50.31 a barrel by 0745 GMT, a 14-month low. The front-month April contract expires later on Friday.
West Texas Intermediate (WTI) crude futures (CLc1) fell $1.39, or about 3%, to $45.70 per barrel. U.S. crude has fallen about 14% for the week, the biggest weekly decline since May 2011.
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In a big breakthrough, researchers at Disney have developed a new method that allows users to charge electronic devices without using any electrical cords or charging cradles, making wireless power transfer a reality.
In fact, Disney researchers were able to deliver about 1,900 watts of electricity with an efficiency of 40-95%.
Researchers came up with "quasistatic cavity resonance (QSCR)," where magnetic fields are generated to deliver power to cell phones, fans, and lights at the same time.
This wireless power transfer was created by building a 16-by-16-foot room that was lined with aluminum panels. In the center was a copper tube having capacitors that run vertically from floor to ceiling, with an electric current running through it. Basically, they created an electromagnetic field without the electricity.
Though this achievement is just like a dream coming true, in this case, wireless power transfer is created using a specialized room which is actually not the most practical design for every home right now. But it definitely is a great step, and with further advancements, hopefully it will become more convenient and more practical. | slim_pajama |
Boston Conservatory voice student Rudy Giron (M.M. '17, opera) was recently named winner of the Puerto Rico District in the Metropolitan Opera National Council Auditions, a prestigious vocal competition held annually across the United States and Canada. Giron reflects on his experience and what it was like to win his district.
How did you find out about this competition and what made you decide to participate?
I've known about the competition for a couple of years now. I first discovered it when I was looking at new arias to sing and an article about the then-current winners popped up. Ever since I learned about this competition, I wanted to participate. I decided to enter it this year because I felt that I had a reached a point in my musicianship and technique that I could finally represent myself in a professional way, and perform at a level that I could be proud of. Since this was my first time competing, I didn't expect to win at all—I was just looking forward to getting feedback and maybe, if I was lucky, an encouragement award. So, when they called my name as a winner, I was shocked, and a little thrown off. But I am very grateful, and it truly would have been an amazing experience, regardless of winning or losing.
What was the process like? Were there multiple rounds?
There are four rounds in total for this particular competition. There is a district level, a regional level, semi-finals, and finals. The district levels take place all around the country, so I decided to compete in Puerto Rico, which is where I'm originally from. It was interesting going to San Juan and being there with a bunch of singers I did not know and who didn't know me. I was surprised by how friendly and open every contestant was. Everyone was so gracious, and it made me feel very welcome and at ease in a situation that would have otherwise been stressful. I thoroughly enjoyed competing in Puerto Rico, and met some lifelong friends from this competition.
What piece(s) did you prepare for this competition? Which one did you feel most comfortable performing and why?
The Met asks you to prepare five arias, so I prepared two Handel arias ("Stille Amare" from Tolomeo and "Svegliatevi nel core" from Giulio Cesare), two English arias ("I Know a Bank" from A Midsummer Night's Dream and "Dawn, Still Darkness" from Flight) and a Russian aria ("Ratmir's Aria" from Ruslan and Lyudmila). I felt comfortable with all of them, which is why I felt like I was ready to compete this year. I like "Stille amare" best because the drama is so well reflected in the music that it makes it a very compelling and beautiful piece.
I think it helped me to journal and to mentally and physically imagine what it was going to be like to go out on that stage, under that pressure, in front of that audience, and allow myself the freedom to say what I needed to say and to perform.
Sing your arias over and over and over again, and when you are sick of them, sing them 10 more times. Be sure that you can confidently and consistently getthrough your pieces, and that you can get through them back to back. The way the competition works is you bring five selections—you start off with a piece of your choice, and then the judges ask for a second and maybe even a third. You have to be prepared to sing all of them because you never know what pieces a particular set of judges will want to hear.
My teacher, Rebecca Folsom, really helped get all the details of my performance into shape. In the weeks leading up to the competition, she had me running through my pieces back to back, pinpointing weaknesses to help me resolve them. We did a lot of detailed work to make my arias as seamless and spotless as possible, which was grueling, but absolutely necessary. I could not have advanced without her help or the guidance my wonderful coaches, Michael Strauss and Yukiko Oba.
It allowed me to get multiple perspectives on my pieces. I was able to sing my pieces for all of the different voice faculty and they provided insight that allowed me to shape my arias in a refined way that I think really set me apart. I also think that, through the faculty's encouragement, I found the confidence and strength to be my own artist, and use that confidence to express myself. The Conservatory does not train its students to be cookie-cutter performers, but individual artists that have distinct points of view. This is what really sets our students apart.
My colleagues. I remember texting my friends the day of the competition, and the constant love and support I received meant the world to me. It also allowed me to vent, and was a way to calm myself and my nerves. Again, it was my first competition ever and to have that kind of support was amazing; I can't imagine going through that experience without it. That's another thing I've valued at my time at the Conservatory—the friendships I've made. I feel like a have a family within the vocal department and that these people are going to be there to help and support me throughout my life. | slim_pajama |
The 1997 Vanderbilt Commodores football team represented Vanderbilt University in the 1997 NCAA Division I-A football season. The team played their home games at Vanderbilt Stadium in Nashville, Tennessee.
Schedule
Roster
References
Vanderbilt
Category:Vanderbilt Commodores football seasons
Vanderbilt Commodores football | wikipedia |
Massive Photon in $2+1$ Dimensions
I have been reading a little on the Maxwell-Chern-Simons [Lagrangian](http://www.jetp.ac.ru/cgi-bin/dn/e_061_01_0001.pdf), an attemp to create a massive photon in $2+1$ dimensions.
\begin{align}\mathcal{L} &= -\frac14 F\_{\mu\nu}F^{\mu\nu} + \frac{m}{4} \epsilon\_{\sigma\mu\nu}F^{\mu\nu}A^{\sigma}\\
&= -\frac14 F\_{\mu\nu}F^{\mu\nu} + \frac{m}{2} \epsilon\_{\sigma\mu\nu} \partial^{~\mu}A^{\nu}A^{\sigma}
\end{align}
The action but not the Lagrangian is gauge invariant (changes by a total derivative). I derived the equations of motion,
\begin{align}
\partial\_{\mu}F^{\nu\mu}-m\epsilon^{\nu\mu\sigma}\partial\_{\mu}A\_{\sigma}=0
\end{align}
If we combine this with the Bianchi identity and define a new vector $~f^{\mu} = \frac12\epsilon^{\mu\nu\sigma}F\_{\nu\sigma}$, it takes a bit of algebra to show,
$$ (\partial^{~\mu}\partial\_{\mu}+m^2)f^{\nu} = 0$$
I'm really interested in the number of polarizations this "photon" can have. The little group should be $SO(2)$ right? So a $J\_z$ should generate this? So one polarization? I wonder if there is a nice argument for this? Maybe something similar to how it's done in the normal case from using the Lorenz gauge? Note that the Lorenz gauge condition holds trivially from the Bianchi identity.
This system has a primary constraint: $$\Pi\_0=0$$ and a secondary constraint: $$-\partial\_i \Pi\_i+m\epsilon\_{0ij} \partial^i A^j=0$$ The Poisson bracket of these constraints is zero, so they are first class constraints. Using the formula for counting the degrees of freedom of a constrained system:$$DOF=\frac{N-2M-S}{2}$$
>
> see, for example:
>
>
> [Counting degrees of freedom in presence of constraints](https://physics.stackexchange.com/questions/34828/counting-degrees-of-freedom-in-presence-of-constraints)
>
>
> [Counting number of degrees of freedom in constrained system](https://physics.stackexchange.com/questions/234840/counting-number-of-degrees-of-freedom-in-constrained-system/234844#234844)
>
>
>
where $N$ is the dimension of the phase space, $M$ is the number of first class constraints and $S$ is the number of second class constraints, the degree of freedom is $\frac{6-2\times2-0}{2}=1$.
The little group for a massive particle is indeed $SO(2)$,but the number of independent polarizations is not equal to the number of generators of the little group; it equals to the dimension of the irreducible representation of the little group that the particle carries.
| stackexchange/physics |
resin composites have been widely used as a restorative material in dentistry because of the esthetic demands of patients . due to their ability to bond to tooth structure , conservative cavity preparations can be completed .
constantly , new formulations of resin composite are introduced with the aim of improving their physical and mechanical properties of resin composites .
means by which this is achieved includes diminishing the particle size , increasing radiopacity , changing the shape and distribution of load particles .
nevertheless , resin composites still have limitations , such as microleakage associated with polymerization shrinkage , which is one of the most cited reasons for failure of resin composite restorations .
therefore , the importance of a perfect seal for success and longevity of resin composite restorations has been well - documented .
the concept of re - bonding is one of several approaches to minimize a microleakage by encouraging higher quality and durability of the marginal adaptation .
the re - bonding technique consists of applying a surface sealant or a dentin adhesive system over the margins of the finished restorations .
these materials penetrate to the structural micro - defects and marginal gaps by capillary action , thereby improving marginal sealing by reducing microleakage .
clinical studies have demonstrated that re - bonding techniques significantly improve wear resistance and prolong marginal integrity .
surface sealants are light polymerizable materials and contain bisphenol - a glycidyl methacrylate ( bis - gma ) , urethane dimethacrylate ( udma ) , and three ethylene glycol dimethacrylate ( tegdma ) without filler particles , which because of low viscosity and high wettability penetrate into micro - gaps at the restoration interface and can minimize microleakage at dentin and cementum margins of resin composite restorations .
they can also reduce the surface roughness of the completed restoration and consequent plaque accumulation .
moreover , in vitro studies have revealed that the application of adhesive systems as re - bonding agents minimize microleakage . nowadays , in addition to dentin adhesive systems , several commercial products with low - viscosity and high flow rate such as optiguard ( kerr italia s.p.a . ,
these re - bonding agents exert their effects possibly with different efficacy on different resin composites . based on these considerations ,
the purpose of this in vitro study was to evaluate and to compare the effectiveness of a surface sealant ( optiguard , kerr italia s.p.a . ) and an adhesive system ( optibond solo plus , kerr italia s.p.a . ) in preventing microleakage at the margins of class v microhybrid ( point 4 , kerr italia s.p.a . ) ; nanohybrid ( herculite xrv ultra , kerr italia s.p.a . ) , and packable ( packable premise , kerr italia s.p.a . ) resin composite restorations .
in this in vitro study , a total of 54 sound human maxillary premolars extracted for orthodontic reasons were collected and stored in saline solution at room temperature for less than 3 months .
the teeth were scaled and cleaned with pumice ; then stored in an aqueous buffered solution of formaldehyde ( yekta chem co. , tehran , iran ) for 2 h for infection control .
standardized box shaped class v cavities ( 3.0 mm in height , 3.0 mm in mesiodistal direction , and 1.5 mm in depth ) were prepared on the buccal and lingual surfaces with a fissure diamond bur ( diatech dental ag , heerbrugg , switzerland ) mounted in a high - speed handpiece , under copious water spray .
the occlusal margins were located 2 mm above the cementoenamel junction ( cej ) level in enamel and the cervical margins were located 1 mm apically to the cej level in dentin / cementum . a 1 mm , 45 bevel was placed on the occlusal margins using a flame - shaped diamond bur ( diatech dental ag ) although the cavosurface wall at cervical margin was finished to a butt joint .
the cavities were etched with a 37.5% phosphoric acid gel ( gel etchant , kerr italia s.p.a . ,
salerno , italy ) for 15 s , then washed for 20 s and gently air dried for 5 s to remove excess moisture without desiccation of dentin .
the adhesive system ( optibond solo plus , kerr italia s.p.a . ) was applied and dried for 5 s , a second layer of optibond solo plus was also used and light cured for 20 s with light - emitting diode ( led ) curing unit ( coltolux led , coltene / whaledent inc .
the teeth were randomly assigned into three groups ( 3 group 's 18 teeth ) : group a was restored with microhybrid resin composite ( point 4 , kerr italia s.p.a . ) ; group b was restored with nanohybrid resin composite ( herculite xrv ultra , kerr italia s.p.a . ) ; group c was restored with packable resin composite ( packable premise , kerr italia s.p.a . ) .
these were placed in two increments ; each increment was cured for 20 s according to manufacturers instructions .
the restorations were finished with finishing diamond burs ( diatech dental ag ) and polished with aluminum oxide discs ( kerr hawe , bioggio , switzerland ) under constant air / water coolant .
each group was randomly divided into three subgroups ( n = 12 ) : subgroup i : the surface and margins of the restoration was etched using 37.5% phosphoric acid gel ( gel etchant , kerr italia s.p.a . ) for 10 s , rinsed for 20 s ; gently air dried for 5 s. the surface sealant ( optiguard , kerr italia s.p.a . ) was applied on the surface and margins of the restoration , and then gently thinned with a micro - brush and light cured ( coltolux led , coltene / whaleden inc ) for 10 s according to the manufacturer 's instructions .
subgroup ii : etching was performed as described above , and the adhesive system ( optibond solo plus , kerr italia s.p.a . )
was applied and light cured as in subgroup i. subgroup iii : as control subgroup , no acid etch and surface sealing agents were applied on the restoration .
the specimens were stored in distilled water at 37 1c for one month , thermocycled for 1500 cycles between 5c and 55c .
all the external surfaces of the teeth , except for a 1 mm margin around the restorations were covered with two layers of nail varnish .
the teeth were then immersed in a 2% methylene blue solution ( merck kgaa , darmstadt , germany ) for 24 h at room temperature .
afterwards , the teeth were sectioned into two halves mesiodistally in an occlusocervical direction through the middle of restoration with a water - cooled diamond disk ( d&z diamant gmbh , lemgo , germany ) .
dye penetration was assessed in the two halves under a stereomicroscope ( nikon eclips e600 , tokyo , japan ) at an 20 magnification at the occlusal and cervical margins ; if the microleakage score on the two halves was different , the half that showed more leakage was selected for assessment .
two independent pre - calibrated investigators blindly scored all interfaces and the consensus was forced when disagreements occurred .
dye penetration was scored on a scale from 0 to 3 : 0 = absence of dye penetration ; 1 = dye penetration less than half of cavity wall ; 2 = dye penetration more than half of cavity wall without reaching the axial wall ; 3 = dye penetration spreading along the axial wall .
the microleakage scores were analyzed using the kruskal wallis analysis of variance and mann - whitney u tests .
the occlusal and cervical margins were compared with each other with wilcoxon signed rank test at a significance level of 0.05 .
the means and standard deviations of the microleakage scores in the experimental groups are presented in table 1 . based on the results ,
the findings from the kruskal - wallis test showed that there were no statistically significant differences among the microhybrid , nanohybrid , and packable resin composite restorations in microleakage score .
furthermore , the same results were found from the inter - comparison of the counterpart subgroups .
frequency , meansd of microleakage scores and p value of wilcoxon signed rank test in the experimental groups on occlusal and cervical margins ( n=12 ) the mann whitney u test analysis revealed that only the microhybrid and packable composite restorations sealed with optiguard ( sealant group ) had significantly lower microleakage scores compared to the control subgroups at the occlusal margin ( p > 0.05 ) .
based on these results , nanohybrid resin composite sealed with optiguard presented the lowest microleakage at the occlusal margins and the control subgroup ( without surface sealing ) of packable resin composite had the highest score at the cervical margins .
the results of the wilcoxon signed rank test demonstrated that there were no statistically significant differences between occlusal and cervical margins regarding the microleakage scores in control subgroups that were restored with microhybrid and packable resin composites , but these scores at the cervical margins were markedly higher than the occlusal margins in the others subgroups ( p > 0.05 ) .
despite continuous improvement of adhesive systems , microleakage is still major concern in restorative dentistry and deserves considerable study .
good marginal sealing , via the use of appropriate adhesive systems and resin composites can help to minimize the microleakage and prolong the longevity of the restoration .
reported that the re - bonding technique may substantially minimize microleakage at margins of resin composite restorations , when a resin system with sufficiently low viscosity is used as a surface sealant , regardless of whether it has been specified for such a purpose .
furthermore , mousavinasab et al . concluded that applying permaseal with etched and prompt l - pop without etched margins could reduce marginal leakage and improve marginal integrity .
based on these considerations , the present in vitro study evaluated the effectiveness of re - bonding on the marginal sealing ability of class v microhybrid ( point 4 , kerr italia s.p.a . ) ; nanohybrid ( herculite xrv ultra , kerr italia s.p.a . ) and packable ( packable premise , kerr italia s.p.a . )
resin composite restorations . in the current study , all of the sealed resin composite restorations exhibited different degrees microleakage at the bonded interface ; this finding is in agreement with silva santana et al . and dalpino et al . who concluded that the evaluated surface sealants showed differing effectiveness in reducing microleakage ; although , their effects were not absolute . in keeping with these studies , we demonstrated in the present study that the application of optiguard surface sealant was significantly more effective than no treatment in enhancing the marginal sealing of the microhybrid and packable composite restorations at the occlusal margins of the assessed class v restorations ; although , there were no significant differences among the nanohybrid subgroups
however , ramos et al . and silva santana et al . showed that optiguard surface sealant presented a similar result to the control subgroup ( without sealing ) on the marginal sealing of class v resin composite restorations .
these discrepancies may be attributed to variations in resin composites and/or substrate and the different materials manufacturers . in another clinical study , sakaguchi et al . revealed that sealant , repair and refurbishing treatments improved the clinical properties of defective resin composite restorations by increasing the longevity of the restorations with minimal intervention .
according to the present findings , there were no significant differences in microleakage scores at the occlusal margins and cervical margins among the resin composite restorations tested that were re - bonded with optibond solo plus or with optiguard or without protection ( control ) .
it seems that the bond strength between modern adhesive systems and etched enamel is adequate to reduce the microleakage of resin composite restorations .
the residual water remained in the tooth / restoration interface is a predominant factor affecting resin penetration in to the gaps at the interface .
the same study showed that the resin composite restorations sealed with optibond solo plus had the lower microleakage values compared to the control group , although , use of a dentin - bonding agent as a gap sealer demonstrated significantly better ability to prevent microleakage than did commercial products specifically designed for this purpose .
regarding to the effects of nanohybrid resin composite , our results demonstrated that the sealed and control subgroups of nanohybrid composite restorations presented the lowest degree of microleakage ; although this effect was not significant .
herculite xrv ultra , used in this study , is a nanohybrid resin composite containing submicron hybrid filler ( 0.4 microns ) and nanoparticle filler ( 50 nm ) .
it also has pre - polymerized filler particles ( 25 microns ) containing the same submicron hybrid and nanoparticle fillers .
moreover , the results verified that the nanohybrid resin composite sealed with optiguard presented the lowest microleakage at the occlusal margins and the control subgroup ( without surface sealing ) of packable resin composite had the highest at the occlusal margins .
significantly greater microleakage was revealed at the cervical margins compared to the occlusal margins of the material groups except for the control subgroups of microhybrid and packable composite restorations ; also in this region , there were no statistically significant differences among the materials .
this can be related to factors such as the composition of these two tissues and contraction stresses generated during the placement of a resin composite restoration .
in addition , the lower bond strength obtained in dentin is not strong enough to counteract the stress developed during the polymerization shrinkage which impairs the sealing capacity . based on our findings , the first research hypothesis of this study , that the surface sealant would provide greater sealing ability than use of a dentin adhesive system was rejected , but the second hypothesis that surface sealant would demonstrate better marginal sealing compared to control subgroup ( without protection ) , was proved in microhybrid and packable composite restorations .
although , the surface sealant and dentin adhesive system as re - bonding agent were not able to prevent marginal microleakge completely and its efficacy on reduction in microleakage might be material - dependent ; the application of them are recommended to reseal the tested resin composite restorations .
further studies could investigate the effects of restorative materials or other techniques for reducing microleakage in resin composite restorations .
although re - bonding techniques have been used to reduce microleakage , it is suggested that its efficacy on the amount of reduction might be material - dependent .
nevertheless , the application of the re - bonding agents including optigard and optibond solo plus can be recommended to re - seal the tested resin composite restorations . within the limitations of the present study
, it may be concluded that : the optibond solo plus and optiguard as re - bonding agent have different effectiveness and were not completely able to prevent the resin composites microleakage .
the application of re - bonding technique could be considered appropriate in order to reduce microleakage in resin composite restorations and this effect might be material - dependent .
the application of optiguard on the microhybrid and packable composite restorations significantly provided better sealing than the control subgroup at the cervical margins .
the nanohybrid with and without re - bonding agent was shown the lowest degree of marginal microleakage ; nevertheless , there were no significant differences when compared with the other groups . | pubmed |
A comparative study of clinical Aeromonas dhakensis and Aeromonas hydrophila isolates in southern Taiwan: A. dhakensis is more predominant and virulent
Po-Lin Chen, C. J. Wu, Chang-Shi Chen, Pei-Jane Tsai, H. J. Tang, Wen-Chien Ko
內科學科
生物化學暨分子生物學研究所
26 引文 (Scopus)
Aeromonas dhakensis, often phenotypically identified as Aeromonas hydrophila, is an important human pathogen. The present study aimed to compare the clinical and biological features of A. dhakensis and A. hydrophila isolates from human wounds. A total of 80 Aeromonas wound isolates collected between January 2004 and April 2011 were analysed. The species was identified by the DNA sequence matching of rpoD and gyrB (or rpoB if necessary). Most of the Aeromonas isolates were identified as A. dhakensis (37, 46.3%), and 13 (16.3%) as A. hydrophila. Both species alone can cause severe skin and soft-tissue infections. More A. dhakensis isolates were found in wounds exposed to environmental water (32.4% vs 0%, p 0.042). More biofilm formation was noted among A. dhakensis isolates (mean optical density at 570 nm, 1.23 ± 0.09 vs 0.78 ± 0.21, p 0.03). The MICs of ceftriaxone, imipenem and gentamicin for A. dhakensis isolates were higher (p <0.0001, <0.04, and <0.01, respectively). The survival rates of Caenorhabditis elegans co-incubated with A. dhakensis from day 1 to day 3 were lower than those of worms infected with A. hydrophila in liquid toxicity assays (all p values <0.01). Isolates of A. dhakensis exhibited more cytotoxicity, as measured by the released leucocyte lactate dehydrogenase levels in human normal skin fibroblast cell lines (29.6 ± 1.2% vs 20.6 ± 0.6%, p <0.0001). The cytotoxin gene ast was primarily present in A. hydrophila isolates (100% vs 2.7%, p <0.0001). In summary, A. dhakensis is the predominant species among Aeromonas wound isolates, and more virulent than A. hydrophila. Clinical Microbiology and Infection
Clinical Microbiology and Infection
發行號
出版狀態
Published - 2014 一月 1
指紋
Aeromonas hydrophila
Aeromonas
gentamicin A
Soft Tissue Infections
Cytotoxins
L-Lactate Dehydrogenase
Leukocytes
引用此文
Chen, P-L., Wu, C. J., Chen, C-S., Tsai, P-J., Tang, H. J., & Ko, W-C. (2014). A comparative study of clinical Aeromonas dhakensis and Aeromonas hydrophila isolates in southern Taiwan: A. dhakensis is more predominant and virulent. Clinical Microbiology and Infection, 20(7). https://doi.org/10.1111/1469-0691.12456
Chen, Po-Lin ; Wu, C. J. ; Chen, Chang-Shi ; Tsai, Pei-Jane ; Tang, H. J. ; Ko, Wen-Chien. / A comparative study of clinical Aeromonas dhakensis and Aeromonas hydrophila isolates in southern Taiwan : A. dhakensis is more predominant and virulent. 於: Clinical Microbiology and Infection. 2014 ; 卷 20, 編號 7.
@article{f0e35bfd9f084fba84f75f73d3a202c6,
title = "A comparative study of clinical Aeromonas dhakensis and Aeromonas hydrophila isolates in southern Taiwan: A. dhakensis is more predominant and virulent",
abstract = "Aeromonas dhakensis, often phenotypically identified as Aeromonas hydrophila, is an important human pathogen. The present study aimed to compare the clinical and biological features of A. dhakensis and A. hydrophila isolates from human wounds. A total of 80 Aeromonas wound isolates collected between January 2004 and April 2011 were analysed. The species was identified by the DNA sequence matching of rpoD and gyrB (or rpoB if necessary). Most of the Aeromonas isolates were identified as A. dhakensis (37, 46.3{\%}), and 13 (16.3{\%}) as A. hydrophila. Both species alone can cause severe skin and soft-tissue infections. More A. dhakensis isolates were found in wounds exposed to environmental water (32.4{\%} vs 0{\%}, p 0.042). More biofilm formation was noted among A. dhakensis isolates (mean optical density at 570 nm, 1.23 ± 0.09 vs 0.78 ± 0.21, p 0.03). The MICs of ceftriaxone, imipenem and gentamicin for A. dhakensis isolates were higher (p <0.0001, <0.04, and <0.01, respectively). The survival rates of Caenorhabditis elegans co-incubated with A. dhakensis from day 1 to day 3 were lower than those of worms infected with A. hydrophila in liquid toxicity assays (all p values <0.01). Isolates of A. dhakensis exhibited more cytotoxicity, as measured by the released leucocyte lactate dehydrogenase levels in human normal skin fibroblast cell lines (29.6 ± 1.2{\%} vs 20.6 ± 0.6{\%}, p <0.0001). The cytotoxin gene ast was primarily present in A. hydrophila isolates (100{\%} vs 2.7{\%}, p <0.0001). In summary, A. dhakensis is the predominant species among Aeromonas wound isolates, and more virulent than A. hydrophila. Clinical Microbiology and Infection",
author = "Po-Lin Chen and Wu, {C. J.} and Chang-Shi Chen and Pei-Jane Tsai and Tang, {H. J.} and Wen-Chien Ko",
journal = "Clinical Microbiology and Infection",
Chen, P-L, Wu, CJ, Chen, C-S, Tsai, P-J, Tang, HJ & Ko, W-C 2014, 'A comparative study of clinical Aeromonas dhakensis and Aeromonas hydrophila isolates in southern Taiwan: A. dhakensis is more predominant and virulent', Clinical Microbiology and Infection, 卷 20, 編號 7. https://doi.org/10.1111/1469-0691.12456
A comparative study of clinical Aeromonas dhakensis and Aeromonas hydrophila isolates in southern Taiwan : A. dhakensis is more predominant and virulent. / Chen, Po-Lin; Wu, C. J.; Chen, Chang-Shi; Tsai, Pei-Jane; Tang, H. J.; Ko, Wen-Chien.
於: Clinical Microbiology and Infection, 卷 20, 編號 7, 01.01.2014.
T1 - A comparative study of clinical Aeromonas dhakensis and Aeromonas hydrophila isolates in southern Taiwan
T2 - A. dhakensis is more predominant and virulent
AU - Chen, Po-Lin
AU - Wu, C. J.
AU - Chen, Chang-Shi
AU - Tsai, Pei-Jane
AU - Tang, H. J.
AU - Ko, Wen-Chien
N2 - Aeromonas dhakensis, often phenotypically identified as Aeromonas hydrophila, is an important human pathogen. The present study aimed to compare the clinical and biological features of A. dhakensis and A. hydrophila isolates from human wounds. A total of 80 Aeromonas wound isolates collected between January 2004 and April 2011 were analysed. The species was identified by the DNA sequence matching of rpoD and gyrB (or rpoB if necessary). Most of the Aeromonas isolates were identified as A. dhakensis (37, 46.3%), and 13 (16.3%) as A. hydrophila. Both species alone can cause severe skin and soft-tissue infections. More A. dhakensis isolates were found in wounds exposed to environmental water (32.4% vs 0%, p 0.042). More biofilm formation was noted among A. dhakensis isolates (mean optical density at 570 nm, 1.23 ± 0.09 vs 0.78 ± 0.21, p 0.03). The MICs of ceftriaxone, imipenem and gentamicin for A. dhakensis isolates were higher (p <0.0001, <0.04, and <0.01, respectively). The survival rates of Caenorhabditis elegans co-incubated with A. dhakensis from day 1 to day 3 were lower than those of worms infected with A. hydrophila in liquid toxicity assays (all p values <0.01). Isolates of A. dhakensis exhibited more cytotoxicity, as measured by the released leucocyte lactate dehydrogenase levels in human normal skin fibroblast cell lines (29.6 ± 1.2% vs 20.6 ± 0.6%, p <0.0001). The cytotoxin gene ast was primarily present in A. hydrophila isolates (100% vs 2.7%, p <0.0001). In summary, A. dhakensis is the predominant species among Aeromonas wound isolates, and more virulent than A. hydrophila. Clinical Microbiology and Infection
AB - Aeromonas dhakensis, often phenotypically identified as Aeromonas hydrophila, is an important human pathogen. The present study aimed to compare the clinical and biological features of A. dhakensis and A. hydrophila isolates from human wounds. A total of 80 Aeromonas wound isolates collected between January 2004 and April 2011 were analysed. The species was identified by the DNA sequence matching of rpoD and gyrB (or rpoB if necessary). Most of the Aeromonas isolates were identified as A. dhakensis (37, 46.3%), and 13 (16.3%) as A. hydrophila. Both species alone can cause severe skin and soft-tissue infections. More A. dhakensis isolates were found in wounds exposed to environmental water (32.4% vs 0%, p 0.042). More biofilm formation was noted among A. dhakensis isolates (mean optical density at 570 nm, 1.23 ± 0.09 vs 0.78 ± 0.21, p 0.03). The MICs of ceftriaxone, imipenem and gentamicin for A. dhakensis isolates were higher (p <0.0001, <0.04, and <0.01, respectively). The survival rates of Caenorhabditis elegans co-incubated with A. dhakensis from day 1 to day 3 were lower than those of worms infected with A. hydrophila in liquid toxicity assays (all p values <0.01). Isolates of A. dhakensis exhibited more cytotoxicity, as measured by the released leucocyte lactate dehydrogenase levels in human normal skin fibroblast cell lines (29.6 ± 1.2% vs 20.6 ± 0.6%, p <0.0001). The cytotoxin gene ast was primarily present in A. hydrophila isolates (100% vs 2.7%, p <0.0001). In summary, A. dhakensis is the predominant species among Aeromonas wound isolates, and more virulent than A. hydrophila. Clinical Microbiology and Infection
JO - Clinical Microbiology and Infection
JF - Clinical Microbiology and Infection
Chen P-L, Wu CJ, Chen C-S, Tsai P-J, Tang HJ, Ko W-C. A comparative study of clinical Aeromonas dhakensis and Aeromonas hydrophila isolates in southern Taiwan: A. dhakensis is more predominant and virulent. Clinical Microbiology and Infection. 2014 1月 1;20(7). https://doi.org/10.1111/1469-0691.12456
存取文件 | slim_pajama |
Lost Girl 1. Chapter 1
"She's powerful.. A true warrior." Odin said to Acacia. The young blonde Valkyrie had singlehandedly taken down 10 men in a matter of minutes without even using her primary skill.
"The strongest we've seen in a while. She's perfect for the job.. She has no emotional ties to anyone and she prefers to work alone." Acacia replied, watching the younger girl engage in close combat with another young Valkyrie.
"And what did you say her name was?" Odin asked curiously.
"Tamsin." Acacia replied.
"Perfect.." He said, softly. "Perfect for my Ysabeau.."
The sun was high in the sky as Tamsin fought her way through her trial ground. Acacia had set her sights on getting her acquainted with every skill she would come to discover. Tamsin knew she was being watched as she trapped another Valkyrie in a headlock. Placing the right amount of pressure and using the right technique, the other Valkyrie began to pass out as her windpipe was crushed under Tamsin's grip.
Sweat dripped from Tamsin's forehead as she ran through the tall grass to her final opponent. What looked like a hill lay up ahead, shrouded in the waist-high grass. As far as Tamsin could tell, there was nothing for her to fear. Entering a crouching position, Tamsin took careful steps and listened to the wind, searching for anything that would alert her of another enemy.
After what seemed like an hour of tracking in the blazing sun, a sharp hiss invaded the field. Moving closer towards the sound, what looked like a hill was actually a cave. Emerging from the cave was a woman. Her hair was pitch black, flowing in waves down the front of her body. The Valkyrie was mesmerized by her fair skin and green eyes, distracting her from the fact that the woman was getting closer.
A smile graced the woman's face as she licked her lips. Tamsin finally broke out of her trance when she saw the woman's long forked tongue. Her gaze ran down to the rest of the woman's body just long enough to notice that the other half her body was half serpent.
'Echidna..' The young girl thought to herself, remembering the grueling text from books she'd had to memorize. All she had to defend herself was a short sword.
The Echidna attempted to grab at her but Tamsin quickly dodged the attack. In an attempt to gather herself, Tamsin struggled to regain her footing. She was smacked down by the serpent's tail and soon the monster was looming over her. Her weapon had been lost and the last thing Tamsin saw was that forked tongue slithering out against her cheek before everything went black.
* * *
Tamsin woke from her dream in a cold sweat. She must have fallen off of the couch because her head was now by the coffee table and not safely nuzzled into the pillow Kenzi had given her. The Valkyrie refused to sleep in Bo's bed without the beautiful succubus in it.
"Dude, are you okay? I thought someone broke in.." Kenzi asked, half asleep.
"Yeah, fine.. The floor was comfortable for a second." She replied lowly, knowing the other girl would hear her perfectly well.
Kenzi was silent for a while as she watched Tamsin stare at the ceiling. She'd thought about asking her how she'd been holding up but decided against it as she went to grab a glass of water from the kitchen.
The Valkyrie was silent as she thought about her dream. She had faced the Echidna when she was younger but the outcome of that was much different. Why that had changed tonight was beyond her.
"Y'know my bed is big enough for two, right?" Kenzi said, hesitantly. She had to admit sleeping on that couch made even her feel lonely.
Tamsin didn't respond, either completely ignoring the younger fae's offer or quietly contemplating it. The worst that could happen was involuntarily cuddles and a deep late night confession of feelings and strangely, the Valkyrie didn't oppose to the thought. Thinking that Tamsin wasn't going to ever reply, Kenzi began to walk to her bedroom.
"Wait up, kid." Tamsin sighed, picking up her pillow.
Kenzi stood by the door frame as a small smile spread across her face. Tamsin eyed her strangely before nudging her arm playfully and jumping in her bed. Kenzi settled in beside Tamsin, who sighed comfortably and closed her eyes.
"Tamsin?" Kenzi whispered in the dark.
"Hmm?" She replied.
"Tell me about your dream." Kenzi said calmly.
Tamsin opened her eyes at this. She was a little shocked but then remembered that Nekomatas fed off of fear and it must have been oozing out of her at that point. It didn't take a genius to put the pieces together and figure it out. All the Valkyrie did was sigh at that fact and begin to describe everything she had dreamt, from the very beginning.
It was enough to pull both of the exhausted fae into deep slumber and a dreamless night.
* * *
A/N: Here it is! Thank you to everyone who followed, reviewed, and favorited the first part of this story. It seriously helped push me a little harder everyday to try and get these chapters up for you. I hope you do the same for the sequel and do enjoy it. It'll be in Tamsin's POV until further notice or stated otherwise. Anyway, Enjoy it and leave a review if you like it so far. *HUGS* :)
2. Chapter 2
After spending two weeks in the hospital, Kenzi began to worry about my own mental and physical health. I had to admit seeing nothing but Bo, almost lifeless in a hospital bed, did begin to take a toll on me. I could feel my hope deteriorating more than anything else, despite constant reassurances from Kenzi.
Half way through the first week, I was able to stay overnight a couple times. It cost some of the nurses and doctors a little brain scrambling but they'd live. It was better than sneaking around or impersonating a doctor, which would definitely get me into some trouble. But what the hell, I was the authority.
Bo's doctor had told us what we already knew; she was in a coma and would be indefinitely. Luckily, the doctor was fae and so an explanation was more easily given.
Kenzi had once again insisted that I stay with her. I could see how lonely she was without Bo and surely she saw the same thing in me. I didn't argue with her on it and stayed anyway.
It was now 6 am and I was awake, my head resting against a pillow on the couch. I had to work in a couple of hours and all I could do is sit here and replay every detail of what had happened in my mind. It's like that recurring nightmare you always have but never finish.
The one thing that haunted my mind the most was how different Bo looked when she'd lost control. I knew Trick was somewhat right; She did have darkness in her and as perfect as she was to me, I had to acknowledge it. But I refused to believe that I, or any dark fae for that matter, were the cause of Bo's coma. Whatever caused it came from within her, brought out by her father. If there was anything I'd learned in all of my lifetimes, it was that even the Light could be evil and the Dark could be good... It was all about perspective.
All of a sudden, Kenzi's face was above mine, her pale eyes gazing into mine. I was either really distracted or the girl had become so agile and quiet that she could sneak up on me, which was a rarity for anyone.
"Why are you up so early?" She asked, maintaining her position above me.
"I could ask you the same question." I reply, sliding out from under her "Either way, I have to work so there's that."
Kenzi nodded but didn't look me in the eye as she sat beside me. Something was bothering her but I couldn't muster up enough courage to ask what.
"I miss Bo.." She mumbles, resting her head against my shoulder and answering my question. I thought of how the succubus smelled, how it felt to have her sleeping peacefully in my arms. It was something I'd never take for granted ever again, in any lifetime.
"Me too, Kenzi.." I reply, softly.
* * *
"Dammit, lady! Can you drive any slower? It's not like you're gettin' any younger." Kenzi said, her knuckles turning white against the steering wheel of Bo's yellow Camaro.
Another thing Kenzi insisted on was driving me to work in the morning. She said it would be "therapeutic" for me as a Valkyrie. That idea was possibly the most ridiculous I'd ever heard. If catching criminals was therapy for me, then collecting expensive designer boots was therapy to Kenzi. Need I say that it's not working very well.
I did admire Kenzi's concern for my well being. No one besides Bo had really ever taken out the time... But now Bo is in a coma and Kenzi is all I've got.
"Tell me again why I couldn't drive my own truck to go see Bo?" I ask, somewhat annoyed. The girl had all but dragged me away from my truck this morning and stuffed me into Bo's car. All while in pajamas. Lucky for me, she'd saved us both embarrassment and changed .
"Well, for one, I can't have you driving off all over the place when we're done. Two, I enjoy watching you warm up to the Kenz, and Three, you might as well move in, huh?" The girl smiles brightly. "If Bo wakes up-"
"**_When_** Bo wakes up." I reiterate, rolling my eyes at her previous comment.
"_When.._ Bo wakes up, you can work something out. If you decide to stay, easy peasy." She says, with a huge grin.
"If anyone is moving anywhere, it wont be into that rundown hell hole you both call a home." I reply, jumping out of the car as Kenzi pulled into a parking space. The mix of shock and annoyance that spread across her face was really priceless.
* * *
Entering Bo's room, a right hook nearly struck my face. Dodging the first attack to my precious bone structure, another fist nearly pummels my face. Regaining myself, I realize who had nearly assaulted me. Lauren was held back by Dyson as the human doctor fumed.
"Why wasn't I informed of this?! And what is Bo doing in a hospital? With humans, at that!" Lauren yelled, her face inches away from mine.
"Well," I sneer, crossing my arms against my chest. "For one, Bo isn't really your concern anymore. And two, try to hit me again.. and you'll be the one in a hospital bed. As for humans, you seem to be one yourself."
"Woah, Battle of the Blondes!" Kenzi says, entering the room.
Dyson stands in between Lauren and I, causing the doctor to take her seat by the door. Her glare doesn't let up as I walk to the other side of the room with Kenzi.
"Third times the charm, doctor.." I smirk, taking Bo's hand in mine.
Dyson settles in beside Lauren, acting as a barrier. He gives me a scolding look, much like one Bo has given me a thousand times before. Kenzi watches our silent interaction and glances at Lauren who was watching Bo. The beeping of Bo's monitor speeds up just barely. A low mumble fills the room and Bo's brow furrows slightly.
Another mumble comes soon after, a little more coherent than the first.
"What the hell is she saying?" I whisper to Kenzi.
Her eyes widen as a third mumble finds our ears.
"Lauren... She's saying Lauren..."
* * *
A/N: Unfortunately, I'm back at school so updates will probably only come twice a week, if not less. :( Everything that Bo wants with Tamsin **will happen**. One sooner than the other but it'll happen. Not without some bumps though. Drop a review if you liked the chapter or didn't (this chapter won't be popular, I know) but as always, enjoy. :)
3. Chapter 3
Tamsin's POV
"You better not be fucking around, Kenzi.." I reply, solemnly.
Kenzi stares at the ground then moves her gaze towards me. Her eyes show no hint of a lie, crushing any hope I had for one.
"I'm sorry, Tamsin. It could just be a reaction to the environment earlier.." She says, attempting to reassure me.
Bo's heart rate had returned to normal after a minute. Dyson and Kenzi gave each other knowing looks while Lauren just watched Bo. It was the same look I'd seen before. One of love.
I couldn't stand to be in the room anymore. Whatever just happened made me feel like my insides were on fire and I had to get away from that.
I had all but ran out of the room, with Kenzi running after me. I didn't stop running until I had reached our parking space. Then I remembered I didn't have my truck. Kenzi finally caught up with me, out of breath.
"Wow, I'm in.. bad shape.." She pants with her hands on her knees. "What are.. you.. doing?"
"I can't do anything now because I don't have my truck!" I yell.
"You can't solve everything with alcohol, dude.." Kenzi says, resting a hand on my shoulder.
"I can and I will." I reply, pulling the keys out of her pocket and walking to the driver's side.
Kenzi sighs, and takes the seat beside me as I start the ignition.
* * *
Kenzi's POV
Once we set foot in the Dal, Tamsin sat in front of Trick as he set down her usual. He gave me a look like he already knew that something bad had happened. It looked like she wasn't planning on stopping anytime soon.
"Kenzi, a word." Trick said, walking away from Tamsin.
We sat at the farthest table from The Valkyrie. She was distracted by the alcohol and hadn't even bothered to move away from it.
"Trick, how do you stop a Valkyrie from drinking?"
"What the hell happened, Kenzi?" He asks quietly. "Not that I don't enjoy seeing you both, but I know when Tamsin isn't well and today is one of those days.."
"Bo said Lauren's name.." I whisper.
"That's not possible.. She's not awake." He says with a confused expression.
"It did and Tamsin looked like she was about to bat-shit crazy." I reply.
"Kenzi, you need to find a way to fix this.." Trick whispers.
"How the hell do I do that?!" I exclaim, only earning a shrug from the older fae.
Tamsin spins on the bar stool and nearly falls on her ass from how drunk she is. The bottle of whiskey was half empty by that time. Trick stood and took it away, causing the Valkyrie to become angry.
"Give it back, old man." Tamsin sneered, leaning over the bar and peering deeply into Trick's eyes.
"Tamsin, you've had enough." He says, backing away as much as he could.
What was about to happen next was clear enough for me to see. Grabbing the handcuffs from Tamsin's back pocket, I slap them on her wrists.
"Hey! Not cool, dude!" She protests.
"Time to go home, detective." I reply, pushing her towards the doors of the Dal.
Tamsin struggles a bit in her drunken state to break free. I would never be able to overpower her as a human. Finally, I was able to get her settled into the passenger seat, where she'd calmed down a bit. Her head lay against the window as I started the car. She was silent the first couple of minutes until she saw where we were headed.
"Kenzi, take me home." She mumbled.
"I am.." I reply, slightly confused.
"No._ Take me home_. Where_ I_ live. I need to be alone.." She says quietly, seeming to have sobered up a little.
Realizing what she meant, I took the turn towards her place and we continued the drive in silence. I didn't dare anger her while she's drunk. I knew leaving her alone wasn't the best idea.. But maybe it was. If I could show Tamsin what was going on in Bo's head, then maybe it would make all the difference.
* * *
Tamsin's POV
Kenzi made sure to leave my cuffs on the whole ride to my place. Now I struggled to grab the keys from my back pocket, which surprisingly hadn't fallen out.
"That girl is lucky she isn't human.." I mutter, finally grabbing both the keys to my cuffs and the key to my door.
Before I could get the key into the key hole of my cuffs, my door opened suddenly.
"I thought I heard your voice out here, my little Valkyrie." Evony said, leaning against the door frame with her other hand on her hip. "Already in cuffs, I see."
Rolling my eyes, I unlock them and stuff them into my pocket.
"What do you want, Evony?" I ask, walking past her.
Two glasses of wine sat on top of the counter in the kitchen. Wine wasn't my drink of choice, so I settled for water since I'd almost face planted into the Dal's floor. Evony grabbed her glass and took a sip, watching as I leaned against the counter.
"I heard your succubus girlfriend is in a coma.." She says, moving towards me. "I have a little chore for you.."
"Don't you have other Dark you can use for your dirty work?"
"I do.. But I want you to do it." She replies softly. By now, she's standing in front of me, her face inches from mine.
"If you think you can pick up right now, you are so barking up the wrong tree, woman." I snarl.
"Mm, maybe not now, but in time." She sighs, leaning against the refrigerator.
"What is that supposed to mean?"
"Oh, you'll see soon, but for now I need you and your Neko friend to deliver someone to me." She says, moving to grab my wine glass.
"Why does Kenzi have to be involved with this?"
"Because. I don't want you to get hurt. Believe it or not, I find you to be.. Visually pleasing." She says, biting her lip.
"Why would I get hurt?" I question, preferring to ignore her advances towards me. In one tip of her glass, the powerful woman finishes the wine.
"You can't take a chimera on by yourself, sweetie." She smirks. "I'll have the details sent to you soon."
And with that she saunters out the door, her hips swaying seductively.
* * *
A/N: I love writing for The Morrigan. ^_^ Here's a new chapter. Enjoy and leave a review. :)
4. Chapter 4
Tamsin's POV
Shit.
That's the word I'd use to describe how I've felt these past three days. Yes, Bo talking was a good sign of her coming around but what she had said wasn't music to my ears.
I can't even begin to describe how badly I'd wanted the words coming from her lips to be my name and not Lauren's. Its feels like a piece of me was shredded off.. A piece I would never regain again. What bothered me the most was not knowing how the succubus would wake up. Would she still be the same kind, compassionate, and beautiful person I'd fallen for or would the darkness inside of her increase and steal that person away completely?
Evony was true to her word and a large white envelope lay on my desk. The words 'Best of luck - xo' were scrawled out in perfect cursive along the outside. It contained a name and possible whereabouts but no picture of the chimera, as a human at least.
A search would become easy and would give me a distraction. It was better than filling out fae paperwork and slowly going insane.
Picking up my phone, I dialed Kenzi's number. The girl answered on the third ring. The sound of blaring music rang through the phone.
"Kenzi?"
"Yeah?!" She yelled in response.
"Turn the music down, you'll bust your eardrums." I reply in annoyance. The offending sound was replaced by silence.
"What's up, Tammy?" She says excitedly.
Rolling my eyes at the nickname, I reply, "The Morrigan has a chore for me and well, I could use your help with it."
"Aww, I thought you'd never ask." She gushes. I could picture her smirk through the phone and just sighed.
"You're still unaligned so.. Don't flatter yourself, kid."
"Fine, but we have to go see Bo-Bo later.. I wanna test something out." She says with some hesitance.
"Okay.. See you in 15." I reply and end the call.
Whatever Kenzi had planned didn't sound too good.
* * *
Kenzi had pulled up in the parking lot at the cop shop right when I got into my car. She hadn't made a move and just watched me through the open window, as if she expected me to head over to the yellow Camaro.
"We're taking my truck today, short stack. No way I'm getting stuck with that car if things get crazy." The engine of the car is loud but the girl rolls her eyes, cuts off the engine, and pulls out of the car.
I must say Kenzi's choice of clothes wasn't very suitable for tracking down a chimera. She wore tight black zipper jeans, a subtle black lace corset with a scoop neck black long sleeve underneath, and knee-high black boots. She stopped in her tracks as she saw me take in her outfit.
"You like?" She says, throwing down her best fashionista pose and wiggling her eyebrows at me.
Her style sure wasn't simple compared to mine. I was down with a simple white v neck, dark jeans and oxfords, topped off with my favorite black leather jacket. Raising an eyebrow at her and cocking my head to the side, she slowly dropped her pose.
"Okay, forget I asked.. Getting in now, bosslady." She said, maneuvering into the passengers seat gracefully. How she did it, with all that skin tight clothing, was beyond me.
"First things first, don't call me 'Bosslady'." I reply, pulling out of the parking space. "And two, how the hell do you plan on running in those if we have to?"
Kenzi thought for a second, placing her hand on her chin before replying.
"I've always done well running in boots, if I do say so myself." She grins. "And besides, how bad can a chimera be? We do have to find the thing first."
"Oh, you have no idea.."
Kenzi pales a little as her face turns serious. Silence fills the truck as the gears in the girls mind turn. Our first destination was a house. It was painted a disgusting yellow and looked rundown. Much like where Kenzi and Bo lived.. Only a little more well kept.
"Will my shifter skills help?" She says finally.
"Yeah, a great deal. Just don't forget that you're human too. Animal instincts will only take you so far." I reply, cutting the engine.
"Great, now lets find this thing and kick some ass!" She grins, throwing out her best ninja moves.
I smile softly and step out of the car. The house was pretty big. It looked like a family home, and it made a dull pain pulse through my heart as I closed my eyes and stopped to take it in.
The house I had in mind was nothing compared to this one. I saw fresh green grass, abundant, colorful flowers and even a dog, taking a piss, which would surely leave a brown spot. The house was painted off-white but wasn't dirty, surprisingly. All the windows were intact, accenting the size of the house even more. As far as I could see and hear, wind chimes rang through the peaceful porch, where a small bench and table stood. A young blonde girl, around the age of 2, sat there playing with some toys quietly. Suddenly, the front door to the house opened.
"Annabelle, lunch is ready." A dark haired woman said, picking up the child and kissing her cheek.
The woman turned to face me, as if she felt my presence. In a beautiful white sun dress, I recognized the woman. It was Bo. She smiled at me and waved me over. But I couldn't move. Her expression changed to one of sadness. I felt a hand against mine as I was pulled back to reality by Kenzi.
The girls face was as pained as I imagined mine would be. She looked at me sympathetically.
"Tamsin.." Was all she could say before I pulled away and dredged up the creaky stairs of the porch, Kenzi following close behind.
After a good five minutes of knocking against the peeling white door, a small woman around the age of 40 appeared. Her eyes were sunken and her features sad. Sticking my hand out, the woman shook it.
"Good afternoon, ma'am. I'm with the police department and I was wondering if my.. partner and I could ask a few questions about your son." I ask hesitantly, not sure of how the woman would react.
"Yes, yes, come in." She said, inviting us into her home.
The inside of the house was way nicer than the outside. It had a sort of country feel to it. Not farmland and ranches, but nature and peaceful wilderness. Kenzi sat beside me on the soft couch in the living room. The woman disappeared into the kitchen and soon returned with lemonade, which she set down against the coffee table.
"Thank you," Kenzi said, taking a glass. "It's just sweltering outside."
"It is, perfect for fresh lemonade." The woman said, smiling. "I won't keep you so I'll answer any questions to the best of my ability."
"Well, we're looking for your son, ma'am." I reply.
"You can call me Madeline, detective." The woman smiles softly. "My son. John, he's not here at the moment. We've had a falling out of sorts, y'know, he's in that rebellious teenage stage."
"Well, Madeline, can you tell us anything that could help our search?" Kenzi asks.
"Uhm, John loves music and he's always going out or attending concerts or at music stores. He's my adoptive son and he's definitely different.." She sighs, wringing her hands together.
"Different how?"
"He has these fits or rage and it changes him. He turns into this beast... A total animal. I suppose it matches his love for heavy metal and rock music but I can't be sure.. He hasn't come home for two days and I figured he's at a friends house." She replies softly, pulling out a photo album from the second tier of the coffee table.
She hands Kenzi a small photo of a dark haired teenager. He looked like Kenzi only as a guy and it sort of made me smile. Kenzi handed me the photo and I realized exactly how young the kid looked. He wore all black and really looked like he could be no more than 18.
"Well, we'll do our best to track down your son and get him back to you as soon as possible." I reply, standing up and shaking Madeline's hand firmly. Kenzi does the same, follows me out of the house and back into my truck.
* * *
Kenzi's POV
"So, what now?"
Tamsin had just pulled out of the driveway and was driving slowly down the road with a pensive look on her face. She took a quick look at me then looked away.
"I think we should call it a day.." She sighs. "I'm exhausted and I want to see Bo."
As she said those last few word, her gaze had become more focused on the road. I knew why but decided not to tease her about it, just in case she decided to toss me out the window or scramble my brain into thinking I was a deranged chicken and not a Nekomata.
"Uhm, about that thing I want to test out? It's way better if I show you. I'm not an expert yet but I think it'd help give you some peace of mind after what happened a few days ago.."
Tamsin stays quiet as I watch her features.
Nothing. No emotion that I could see had popped up. It was like she hadn't heard me, even though I knew she had. She just kept driving.
Eventually, I looked away. The rest of the ride was silent and we finally pulled into an empty parking space.
Tamsin was tense as we made our way to Bo's room. The tension didn't let up until we'd gotten inside and she saw that it was empty. No lauren. Just Bo. She made her way to the right side of her bed as I occupied the left. I watched as the Valkyrie held Bo's hand and kissed her forehead softly.
"Are you ready?" I ask, grabbing Bo's hand.
Tamsin nods as I grab hers as well. My vision begins to become fuzzy behind my closed eyelids and the sounds of Bo's monitor fade away.
* * *
_Silky strands of blonde hair wisp across my face. There's laughter from a blonde, who I recognized to be Tamsin. As far as Bo's eyes could see, there was green grass with small yellow flowers sprouting here and there. Ducks and small white rabbits wobbled around the green pastures. Tamsin held a smaller rabbit in her arms and brought it over to Bo._
_"Does it bite?" Bo asked, softly._
_"No, it's friendly." Tamsin laughed, petting the rabbits head, then handing it over to Bo._
_She took it and watched as its little nose wiggled around. She scratched at its belly and giggled when it fidgeted slightly. Eventually, the white ball of fur leaped out of her arms to play with the other bunnies._
_Turning back to Tamsin, she was confused. Instead of Tamsin being there, it was Lauren squatting on the blanket beside her._
_"Where's Tamsin?" She asked. _
_"Gone." Lauren chuckled. "But I'm here now.."_
_Bo's eyes began to close as the dream-like vision ended and Lauren's smile faded from view._
Moving back to reality, Tamsin's hand wasn't in mine anymore. Just like Lauren had said, Tamsin was gone and I was alone.
* * *
A/N: Haven't updated in a bit and I thought I'd treat you lovelies to an extra long chapter. I don't know when I'll be able to update again but I will be writing every free moment I get. That being said, Thank you for the follows, favorites, and reviews. Enjoy this chapter and keep it up, it's truly inspiring :)
5. Chapter 5
If I had a dollar for all the times I'd ran to avoid my problems..
Everything was perfect. Kenzi's powers were greater than anything I'd ever experienced from the little amount of Nekomatas I'd encountered. What she could do was really a Godsend. What she showed me started out as a slight reassurance that the Bo I loved was still there. But of course, nothing could be left untainted.. Not for me, or any Valkyrie. Not when love was seemingly our only weakness.
Kenzi barely noticed me slipping away from her grip, surprisingly. Only after I'd left the hospital parking lot, did I realize I'd left the poor girl alone and stranded. But I knew Dyson would pick her up and I had forever to apologize. She is fae after all, no matter how much she clung to her humanity. Sure, I thought about backtracking. For a second. Until a flood of thoughts invaded the forefront of my mind.
Every time things would go wrong, I thought about how much easier things would be if I were human. Or if I hadn't met Bo. Of course, I knew that also came with repercussions. I would've never found love again. I would've never found a family. I wouldn't be in this situation. The only thing I knew I would always have is the ability to run.
I thought about all the places I could go to get away. The Dal was full of familiar faces and I wasn't ready to explain myself to Kenzi or Dyson, who I knew would be filled in immediately. If I went home, being alone wouldn't feel any better. It would only make Bo's absence and the earlier events more prominent in my mind.
So, I sat here on The Morrigan's couch. Drinking her wine straight from the bottle with my feet propped up against an ottoman. It was only a matter of time before the powerful woman walked in and made my night lovelier with her presence.
In the meantime, I paced through her giant loft, staring at the painting that adorned the walls. I didn't understand any of them but maybe it was because I was on the verge of being shitfaced. Or my lack of artistic intuition. In my mind, I could make better art with one hand and my eyes squinted.
"Are you lost?" A voice says, startling me. The bottle of wine in my hand crashed onto the floor and shattered.
Looking up, Evony watched me with reproachful eyes from the doorway of her bedroom. I could see a mix of amusement and anger as her eyes moved between me and the shattered wine bottle.
I only realized how late it was when I saw Evony's nightgown. The thigh-length red garment clung close to her body, hugging every curve. Her curly hair cascaded around her face, the brown of her eyes accented by the red of the nightgown. It shouldn't have been surprising to find the woman wearing black heels so then I thought that was the only thing she had ever worn. And it suited her well.
"Lost? No. Bored? Yes." I smirk, stepping over the puddle of wine and glass. "Nice.. frock.."
I could feel her gaze following me as I flopped onto the large couch in the room. The slow clicking of her heels echoed through the silence.
"How's your little chore coming along, darling?" She asks, leaning against the back of the couch.
"You could've told me I was dealing with a teenager.." I mumble.
"Oh, now what fun would that be?" She says, resting her chin in her hand. "All you have to do is bring him to me and your job is done."
"Yeah, right." I huff out. "The kid has a family."
"Oh please, detective. Don't tell me your little girlfriend got into that sexy blonde head of yours.." Evony says, moving to stand in front of me, her hands set firmly against her hips.
"Maybe, maybe not.." I reply morosely, sinking into the back of the couch.
"Don't go growing a conscience on me. You're allied with the dark for a reason.. And it's not cupcakes and rainbows." She says, glaring at me.
Too late. Yeah, I'm Dark fae but that doesn't mean I'm completely heartless. My family was ripped away from me. This kid at least deserves a chance. If not for his sake, then for his mothers.
"What's going on in my head has nothing to do with you, sweetheart." I reply, standing up and glaring at the woman.
"Aww," Evony coos sarcastically. "Did I hit a nerve, detective?"
I offer no reply as the shorter woman continues to stare into my eyes. I could feel tension but I couldn't really tell what kind and it made me uncomfortable. Evony tugs on the lapels of my jacket before I can move away and tugs me lower, her mouth centimeters away from my ear.
"Guess I did." She says, softly.
As if it was the one thing she'd wanted to do the most in the world, her lips connected to mine. I was shocked at first, completely frozen, and she didn't move either, holding my lips between hers gently. Only when she had pulled away for breath, did it completely register in my mind that Evony had kissed me. Then I thought of Bo.. How she would feel if she found out.
"Why the hell did you do that?" I ask, slightly angry at her.
She says nothing, releasing the lapels of my jacket and smoothing them down. Her face is emotionless like she didn't really have a clue either. Knowing I wouldn't get an answer, I move towards the exit.
"Tamsin," Evony says. "If you ever need anywhere to stay.. I would gladly make room for you."
The clicking of her heels was the last sound I heard from the woman as I left her. From the bottom of my heart, I felt numb.
* * *
A/N: Things are going to lighten up in some aspects of the story, but not in those you'd expect. As for the character pairings, that should be fixed by now. A heartfelt thank you to FlipChick23, who always leaves a review. I appreciate it and I'm glad you're enjoying this fic. :) And thank you to all of you who also take the time to review, favorite, follow, etc. Hope you enjoyed this chapter :)
6. Chapter 6
Kenzi's POV
It's been a week since I'd heard anything from Tamsin. It was like she'd just up and left. Fell off the face of the earth. Been abducted by brain sucking aliens.
"Straight to voicemail." I mumble, dropping my phone beside me on the couch.
I knew the Valkyrie would probably be at the hospital after work, so I went everyday hoping she'd show. But when I got there, she never was. Lauren was there in her place and I thought maybe that's why she'd been absent.
My next stop was her apartment. When I knocked on the door, I got no answer. Being a master pick lock, I did what I do best and broke in.
"Holy shit.." My voice echoes throughout the penthouse.
It was empty. There's wasn't much to begin with but now it was barren, like no one had been living here for years. Her bedroom was just the same. The only thing left was the Valkyrie's faint scent. Walking out towards the greenhouse, I realized that there was nothing left. The flowers Bo had described to me were gone. In its place, were empty, shattered flower pots.
I knew Tamsin. Maybe not on the level Bo did, but I knew her. These past few weeks gave me that. I knew she would leave but not without telling me. Or so I thought.
I sat on the floor of the empty apartment and thought maybe she'd needed space from me. I was, after all, the one who showed her what Bo was thinking of.
Besides Dyson, I was truly alone now. I didn't know when Bo would wake up and Dyson was at work for half the day. Now, Tamsin was gone too..
The only way I knew how to find her seemed like an invasion of privacy.. But I knew she was hurting and I wouldn't leave her abandoned..
* * *
"You want me to trace Tamsin's phone?" Dyson asks incredulously, leaning against the counter in his kitchen. "Maybe she doesn't want to be found, Kenzi.."
I knew he was right. Dyson told me she had taken all of her vacation days a day after the hospital mess. He was just as alone as I was and without a partner.
"Dyson, please.. You know just as well as I do that she should never be alone. Just please do me this favor. I'm worried." I reply, moving to wrap my arms around his tall, lean body.
"Okay, Kenz. But promise me that once you find her you bring her back. I admit, as much as she's a pain in the ass, I miss that old bag." He chuckles.
"Thank you, thank you! If she heard you call her an old bag, she'd probably put you in a coma too."
"That's why you won't tell her." He says, kissing the top of my head. "Now, it feels like I haven't seen you in weeks and I've missed you. What do you say to cuddling and crappy horror films?"
"I'd never say no to that, D-man." I reply, tiptoeing as best as I could to reach his lips.
Dyson's hands lower to my thighs as he pulls me up around his waist, deepening the kiss. It was soft and loving, not full of lust like it had been when I'd first become fae. I realized how much I missed him then. How much I missed everyone. We'd all been spread apart without Bo. She was our glue. Without her, I feared things wouldn't get better. But right now, my mind was on this moment I had with Dyson.
Half an hour and two bowls of popcorn into the crappy slasher flick, the shrill ring of Dyson's phone interrupted our quality time. It was late so it had to be important.
"It could be Tamsin." Dyson said lowly, walking to the counter and picking up the phone. He stood with his back turned as he answered.
"Lauren? What is it?" He answers, crushing the Tamsin theory.
He's silent as Lauren replies. I couldn't hear much, besides Bo's name said over and over again. Then nothing. Dyson hung up the phone and turned towards me.
"Bo is awake."
* * *
Tamsin's POV
When I walked into the light compound, Hale wasn't surprised. He knew I would return eventually, but not to return what he'd given as a gift. He accepted and understood why I had chosen to return the place, then rambled on about an oracle who delved into his future.
He told me that I'd be back soon. I didn't understand what it meant but those words played, over and over again, in my clouded mind. For the first time in a while, I hoped that I wouldn't ever run again. Yet here I am, settled, but not where I should be.
I'd gotten used to living somewhere that didn't involve four wheels and an uncomfortable back seat. Money went a long way and I had a lot of it. More than enough to get another place in three days. It was a small, two bedroom cottage facing a lake. Secluded, peaceful and hidden by tall trees. The only thing that could be heard at night were crickets, the wind and the occasional sound of water hitting the shore.
It wasn't a beach but it reminded me of Bo. Of all the things she said she wanted with me. I thought about how simple everything used to be. Yet, it was never simple enough. The memory of that white house haunted my mind and broke me down until I couldn't muster up the energy to even eat. Just thinking about Bo with Lauren again made me feel sick to my stomach. My mind was on her all the time, but that same numbness in my heart that I felt when Evony kissed me, had never left.
Most days, much like today, I sat on the porch of the small cottage, watching the lake with a drink in my hand and a bottle at my side. It was the last day of my "vacation" and I'd have to go back tomorrow. I wasn't far from home but I was far enough that Dyson or Kenzi wouldn't be able to come after me. But I stood corrected now.
"Just when I thought you wouldn't be able to find me.." I mumble.
Kenzi pulled up a chair and sat next to me, looking very angry. She let out a sharp breath and finally looked at me.
"Maybe you should've thought about turning off your phone.. You may be older and wiser, but don't underestimate the Kenz." She says pointedly. "Care to explain?"
"There's not much to explain." I sigh, looking towards the lake. "I needed to get away and this is the perfect place to do it.."
"Hey," She says, nudging my arm with force. "Remember Bo? The woman that you're in love with? The one you swore to protect? Yeah, that same person is awake and you're here. Sitting on your ass, wallowing. If I need to pump ice cream and vodka into your system, then I will if you don't get your blonde ass moving."
"I can't see her yet. I need a couple more days to figure things out and find myself again.. I'll go back but not to see Bo. Not yet at least." I reply.
Kenzi sighs in response and stands up, walking towards the door of the cottage. Instead of entering she turns to me, her face expressionless.
"I know you have nowhere to stay and your car isn't an option so you'll stay with me. At least until Bo is released from the hospital. And.. I'm sorry, Tamsin. I didn't know any of this would happen.." Kenzi says, sadness finally showing through her eyes. "When I saw that you'd left, I felt so alone again. But then I thought about you. I knew you shouldn't be alone and here I am, kicking you in the ass for leaving.
Kenzi moved back towards me again and pulled me into her. Her arms around my waist were tight as I stood there, frozen. She was the closest thing I had to Bo and eventually, I hugged her back, knowing Kenzi needed this as much as I did.
I didn't know if or when I'd ever tell her about Evony or how I would find myself again but I knew that all those things would be resolved in time. We would have Bo again and everything would be normal. Like all of this had never happened.
* * *
A/N: I'll hopefully have another chapter up soon. The response for the last chapter was great, I've always thought Evony and Tamsin would be an interesting pairing but Valkubus is endgame for this fic, so no worries. :) There will be many more bumps but I hope you all enjoy this chapter and keep it up with the reviews. ^_^
7. Chapter 7
Bo's POV
I'm awake.
That's probably the only thing that my mind had registered as my eyes adjusted to the bright lights of the room. The slow steady beeping of my monitor assured me that I wasn't dreaming.
I tried to sit up but a sharp pain in my head made me regret it. Soon enough, someone was at my side.
"Bo?" Lauren said worriedly. Her hand was in mine. "Bo, what do you remember?
Closing my eyes, I concentrated on the last thing I remembered. It was dark then light as I saw a man. I remembered my father, who I'd pulled into a coma with me. Both Dyson and Kenzi kneeled silently and in chains, watching as I drained the life from him. I could hear myself talking to someone but I couldn't see them. Neither Dyson's nor Kenzi's lips moved. But before I could see who I was talking to everything went blank.
"I remember everything but there's something missing.. Like a piece of my memory was wiped clean." I reply, feeling somewhat winded from the memory.
Lauren supported my head as I fell back onto the pillow.
"You're weak. You need to feed. Dyson or Kenzi should be here shortly. They can't wait to see you. Awake anyway." Lauren smiled.
"What about you? Are you happy I'm awake?"
She's silent for a while, as if contemplating her answer. Her brow furrows slightly as a sad smile etches her face.
"I always love seeing you, Bo.. But I think maybe our situation has changed that a bit. It's good to have you back." She smiles, rubbing her thumb against my cheek.
"It's about time you woke up." Dyson chuckles, walking into the room and pulling me into a bone crushing hug. "Kenzi should be here soon. She was running an errand."
"Dyson!" I huff out against his arm. "Air.." The pain in my head became more prominent as he practically knocked the wind out of me with his hug.
"Oh, shit. Sorry, Bo." He says, his hands outstretched as if I were about to combust.
"It's okay, Dyson. I'm not going to pass out again." I reply, lowering his arms.
"Everything has been so crazy since you've been gone. Kenzi's missed you like crazy, hell, everyone has, maybe even The Morrigan." Dyson says, pulling up a chair next to me.
"Ma'am, only two visitors at a time! Ms. Dennis is in a very fragile state." A nurse yells out from the corridor.
Kenzi bursts into the room, quickly shutting the door behind her and locking it.
"Speak of the devil," Dyson laughs. "Kenzi, you okay?"
"This is why I don't like hospitals. Damn nurses everywhere telling people what to do.. I ought to show 'em who's boss!" Kenzi says, annoyance apparent on her face.
"Uhm, Kenz?" I shrug, stretching my arms out.
Kenzi's eyes widen in shock as she looks at me. Similar to what Dyson had done, the girl bomb rushes me, diving into my arms and pinning me under her weight, knocking the wind out of me again.
"Ohh, Bo-Bo! You have no idea how much I've missed you! You don't know how lonely it was without my bestie. No one to sharpen knives with, no one to eat bucket loads of ice cream with until we felt like vomiting or to wake me up in the middle of the night with the wails of passionate boot knocking." She rambles, her grip tightening around me.
"Kenz, air!" I huff out again. She quickly, and very gracefully, jumps off of me and repeats Dyson's previous position.
"Oh, sorry, Bo-Bo." She says as Dyson stands to give her his chair. "Theres so much you've missed.. And so much you need to know."
The look in Kenzi's eyes told me something wasn't right.
"Like what?"
"Well, for starters, Tamsin.." She says, hesitantly. Her gaze ran towards Lauren, who was silent beside me.
"What's that look, Kenz? And who the hell is Tamsin?" I reply, feeling overwhelmed.
The name sounded familiar but when I tried to put a face to it, that sharp pain in my head came up again, like something was preventing me from remembering. Kenzi, Dyson, and Lauren sat around me, expressions of shock and confusion on their faces.
"Oh, no.. She said she'd been having trouble remembering a piece of memory but I didn't think it would be that large of a piece." Lauren mumbled lowly. "There aren't any signs of physical trauma but she seems to be suffering from retrograde amnesia.."
"Uh, English, Docpants?" Kenzi said, not understanding a word the woman had said.
"Memory loss, Kenz." Dyson answers, his arms folded across his chest. "How the hell are we going to explain this to Tamsin?
"I'm still in the room, guys. Would anyone care to explain what the hell is going on?"
All eyes went on me as I spoke. Kenzi's gaze fell on Lauren soon after, causing Lauren to stand.
"I guess that's my cue," Lauren said, moving towards me and kissing my forehead softly. "I'd like to run some tests once she's released if you don't mind.."
"Sure thing, Doc. We'll be in touch.." Kenzi replied, watching as Lauren left the room.
The room fell silent as both Dyson and Kenzi watched me. There was undeniable tension in the room and it was borderline awkward.
"Kenzi, you're killin' me here! Who is Tamsin?"
"Well, thing is.. Before you went all Mack-Daddy on daddy and fell into a coma, you were with someone." She replies hesitantly.
"Lauren, I know. But we broke up.." I reply, feeling extremely confused.
"No.. You were with Tamsin, Bo. You love her and she loves you." Dyson finishes.
"No, I still love Lauren.."
I couldn't wrap my head around ever loving any one else. Yet alone being with anyone else. If I loved this Tamsin person so much, then why couldn't I remember her? You don't just forget someone.
Kenzi exchanges a sad look with Dyson who simply nods, like he knew what was on Kenzi's mind.
"We'll just have to show you then, and hope you remember.." She says finally.
"What if I don't?" I reply.
"Let's just hope that you do and we can avoid the Valkyrie shit storm that would break loose."
* * *
A/N: Finally Bo is awake. And now you see the meaning behind the name of this fic. I don't plan on dragging the memory loss out but there will be bumps Along with changes in Bo. (Good or bad, I can't say) I do miss writing valkubus fluff so stick around :3
8. Chapter 8
Bo's POV
"Refresh my memory. Why exactly are we sneaking into the police station?" I ask, trailing closely behind Kenzi.
It felt foreign to have the roles reversed, as I always led Kenzi into compromising situations. Thanks to her, I was lucky enough to be able to even walk around right now. I was released from the hospital two nights ago and was sleeping at Lauren's, much to Kenzi's relief for some reason she had yet to explain.
"Your memory loss is temporary sooo.. I'm conducting a little experiment." She whispered, hiding behind the wall just before Dyson's office.
Kenzi poked her head out slightly and whistled, quickly and lowly. A smile, and what I could only guess was a blush, crossed her face before she ducked back against the wall, nearly head butting me.
"Why do I get the feeling you just did this to see Dyson?" I tease, poking her side softly.
"You, of all people, should know he is a damn good view, Bo-Bo."
"Can't argue there." I nodded.
"And there's a certain blonde someone you should see.." She said, placing her index finger against her lips and winking before walking into the other room.
I took that as her way of telling me to stay hidden. Poking my head out from behind the wall, I saw Dyson with Kenzi sitting against the wolf in his chair, talking softly. A blonde woman, who I assumed was Tamsin, pulled into view and began talking to them. She wore beige wingtips, dark jeans that accented her long, strong legs and an ivory blouse that fit tight against her midsection, showing off her obviously toned stomach.
The tall blonde was leaning against Dyson's desk, with her arms crossed and a smirk playing across her face. Her gaze was downcast, watching Kenzi and Dyson bicker playfully. Eventually, she looked away and down towards the floor. Her expression was sad and she clearly had something pressing on her mind.
Even through her sadness, she looked beautiful. If she was anymore beautiful, I'd think she was an angel, though she clearly didn't have wings. Her brow furrowed deeper the more she watched the ground. Suddenly, she smiled. A perfect smile that raised her even higher than angel status. Kenzi was in the middle of saying something, complete with hand gestures, that I couldn't hear but my god.. I couldn't keep my eyes off of her.
"Wow, she's so hot.." I mumbled lowly, leaning back against the wall and feeling my hunger peak slightly.
I knew her name and what she looked like, but I couldn't remember her. I couldn't see how I would ever forget a face like that. Every time I tried to remember, my mind became cloudy and all that would fade into my mind was Lauren's face.
Moving back to peek again, Kenzi was up and saying goodbye to Dyson and Tamsin. When the taller woman bent down to hug Kenzi, her sea green eyes moved to where I was, causing me to quickly move back against the wall. A pair of footsteps came closer to my position, causing my heart to beat quickly. For what reason, I couldn't say.
"Ready to go?" Kenzi said cheerfully.
"Yeah, it's stuffy in here." I replied quickly, letting out the breath I'd been holding.
Kenzi gave me a knowing eye but didn't say anything else. Grabbing her hand, she led us both out of the station.
* * *
Tamsin's POV
_"Look. I'm not ready, so save your breath, kitten." I reply, rolling my eyes for probably the thousandth time this phone call. _
_Kenzi had been rambling on and on about random topics that came across her mind. Only after what seemed like ages, did I realize that she only ever did that when she was nervous. _
_"What? Tam-Tam, did you really think-" The girl laughs lowly. "What makes you think I called for that?" _
_Bo's name hadn't come up at all throughout the conversation, though we both knew that was her motive for calling, even though Kenzi denied it. _
_"You and I both know Bo would be here, ready to jump my bones, if there was nothing wrong.."_
_"You and your damn intuition, lady.." Kenzi sighed._
_"Yeah, yeah, impeccable. Now what's the deal, before I really start flipping shit." I grumble. _
_"Well, Bo kinda, sorta may be having trouble remembering a few things.. Y'know, it's temporary. And by a few, I only mean one.." Kenzi replied slowly. _
_"The point, Kenzi, the point." I could only take so much before I became annoyed. Luckily, this dark fae spot was quiet; devoid of sad, drunken men trying to pick up and more importantly, the Happy Sunshine Gang, which I still didn't consider myself a part of despite Evony saying so. _
_"Tamsin, she doesn't remember you." Kenzi replies softly, with a sadness that emanated through her voice._
_"If this is a joke, I swear I'll take up taxidermy. You'd make a nice rug-"_
_"I'm not joking." She interrupted. "I wish I was. The last thing I want is for Bo to be with Lauren again. If you want proof, then meet me at the Dal tomorrow night by the pool table.."_
* * *
It was one of those days. Death was a part of my life but I'd never felt the common feelings that came afterward. Not a single hint of depression or remorse for all the sons and daughters I'd stripped away from earth. I did, however, remember most of their faces. That one thing was something that my existence dropped on my shoulders, along with grueling rebirth and the fact that Valkyries were never to feel love towards another.
I'd experienced love before. As a matter of fact, I AM experiencing it. It felt like the first time. Like I'd never loved Adrian. Like I'd always loved the succubus. It seemed crazy. Two who are never associated with such an emotion, are so engrossed in it. But right now, I knew it was one sided..
She was out. Alive. Walking.
I was glad to see Kenzi walk into the station. I don't know why I hoped Bo would follow. I wasn't ready to see her yet but part of me wanted to. It wasn't in my nature to miss anyone but I missed her. I missed my Bo and what Kenzi informed me of earlier only made that even more painfully clear.
Bo couldn't miss me if she couldn't remember me. It was only temporary but so beyond explanation. There was no telling how temporary Bo's temporary was.
Despite Kenzi telling me, I still lost it. Apparently, I'd gotten drunk enough to get into a fight with some random bar go-er. Lets just say.. I wasn't welcome there anymore. Another name to add to the list.
All of this had only occurred hours before and I was in desperate need of a hot shower. I smelled like sweat, beer and blood, though, last I checked, my truck didn't have a shower built into it.
I didn't want to chance running into Bo by stopping at the crack shack or having to explain my reasons to Dyson, which I knew I had to do soon anyway. That damn wolf would know something was up eventually. It seemed like my last resort was Evony and that's where I wandered, still slightly intoxicated with no plans of sobering up.
"Wow, you look like shit.." Evony greeted me in her usual tone.
"And here I thought I wouldn't have to see your face tonight."
"Oh honey, you don't want to see yours.. I know you have nowhere to stay so you're welcome here." She replied, grabbing my hand, dragging me through her loft and into the bathroom.
To say it was big was an understatement. The room was close to the size of a bedroom. The decor was modern and the smell of sandalwood filled the air as Evony turned to face me.
"Alright, what's your game?" I snarl, crossing my arms and standing tall. "I haven't forgotten about the chimera if that's what's on your mind.. I just need some time.
"No game. You look like hell and I figured maybe you needed some relaxation time." She replied a little too politely for comfort
as she turned the knob to the shower.
"When I think of relaxation, you aren't the first person to come to mind. Besides, I don't do relaxed. As much as I love a good fight, it's messy, so I'd like to take a shower and be on my way."
"Oh, Tamsin... You've always been so selfish." She replied, pulling at the zipper on the side of her dress.
Evony slid out of her short, black, form fitting dress and took a step towards me, standing bare, in her black lace underwear. She didn't offer anymore words as she wrapped her arms around my neck and set her lips against mine. the kiss didn't move uch further than that as she began to undress me, each article of clothing slowly coming off between kisses.
I had no idea what the hell I was doing but eventually, we both ended up naked and stumbled into the shower. The warm water hitting my skin only heightened my senses as soft moans erupted from Evony's throat. Our kisses were rough and our movements stiff, clearly not used to each others bodies.
"Its been so long since I've been touched this way.." Evony whispered, twisting in my arms and driving my right hand down to her center, along with hers.
What started out as slow circles against her clit soon turned into quick, satisfying ones that almost had Evony begging. Her head lolled back against my shoulder as she writhed in pleasure. Softer, more ragged moans escaped the woman's lips as she began to thrust against our hands. She began to convulse lightly as she came closer and closer to her peak.
This would probably be the only time I had to take advantage of the woman in this state and I intended to milk it for all it was worth. Evony groaned in frustration as I freed my hand and pushed her, chest-first, against the cold glass door of the shower.
"Aggressive, huh?" Evony said with a seductive smirk. She didn't try to fight against me as I slowly moved in closer towards her ear.
"You'll never find out, sunshine." I reply, pulling away from her and stepping out of the shower.
Evony watched, wide-eyed and furious, as I dried myself and began redressing myself.
"Dammit, Valkyrie! If you don't get back in this shower.." She threatened.
"What? You'll 'fire' me?" I scoff, pulling my shirt over my head and walking towards the door. "Not likely."
All she could do was let out a groan of frustration and watch as I left her wet and alone, in more ways than one.
* * *
A/N: /.\ extremely busy, sick, and exhausted lately. I was going to add more to this chapter but it seemed to fit better with the next one. I'll try to get the next one out quicker for you all and I'm so sorry for the long wait. But here's an extra long chapter. Enjoyyyyy! :)
9. Chapter 9
Bo's POV
"I have to put my head in that thing?" I said, pointing towards the portable MRI scanner from my seat.
I only knew what it was because Lauren had explained it to me. It was a bulky, grey headpiece that connected to a large screen in the empty room that Lauren had at her place. If Kenzi were here, she'd be sure to fake gagging sounds because it was so unfashionable. Why lauren had such a thing in her home was odd to me but I didn't question her on that. She was the doctor after all.
"Yes, only for about thirty seconds." She replied, walking towards me with the machine. "I need to get a scan of your brain to make sure there isn't any damage that the doctors may have overlooked or any increased activity in the dormant areas of your brain."
"Sounds... Sciencey." I teased, earning an uncharacteristic eye roll from the blonde.
"It's a little heavy but you're a tough girl." Lauren smiled, placing the machine against my shoulders.
The doctors scent filled my nose as she leaned forward and adjusted the headpiece. I could smell the soft scent of sweet pea all throughout the doctors clothes and I realized this was the closest I had been to anyone other than Kenzi, along with the occasional hug from Dyson.
I hadn't forgotten about the fact that I hadn't fed. It was something that had been in the back of my mind but now.. It was the only thing on my mind as Lauren's chest was practically thrust into my line of vision, as much as I tried to avoid looking.
"Alright, all set." She said, pulling back. Her expression changed as her eyes bore into mine. She smiled slightly, bringing her hand up against her mouth to muffle her snickering.
"What's so funny? Do I look funny with this thing on? You wouldn't be laughing if you were me, Lauren!" I frowned.
"It's not that, Bo. You're always beautiful, even in the most embarrassing of positions.. Its your eyes.. They're blue." She said teasingly, moving towards the screen on the wall.
"Oh, sorry." I apologized, looking away from her. I could feel the blood rushing to my cheeks as I realized what she was referring to. I hadn't realized my hunger wasn't as in check as I thought until she pointed it out and I knew it was something I had to take care of. Sooner rather than later.
"Don't worry about it, Bo.." Lauren said, removing the headpiece and waving me over towards the screen. "There isn't anything out of the ordinary in the scan for a succubus. Obviously, the regions of your brain, like the right insula, show more activity because of your hunger but that's to be expected. Unfortunately, there isn't any apparent damage that I could connect to your memory loss."
"So it'll remain a mystery.." I grimace.
"It'll come back eventually, Bo. Maybe not in full, but for the most part." Lauren said, grabbing my hand from her seat.
I couldn't bring myself to utter any words as her thumb brushed the back of my hand lightly. She also said nothing as she looked into my eyes. I knew things hadn't ended abruptly between us but I'm sure she harbored some heartache towards the topic. Despite Kenzi and Dyson telling me about my love for Tamsin, I still believed that Lauren was the one for me. It would take the miracle of remembrance to convince me otherwise. So, I did the one thing I thought would make all the difference.
"I'm going to kiss you and I hope you kiss me back because I can see that you want to." I reply, moving to sit on the blondes lap.
Lauren's aura burned even brighter as I sat against her. She didn't move an inch and only looked up at me when I took her face into my hands.
"Bo, I'm not sure this is a good idea.. Kenzi will be here any-"
She was right but I cut her off with a kiss. It was soft but different.. Something I wasn't used to it. For a while, it was just me kissing Lauren, hoping she'd kiss me back.
But she didn't. She didn't relax into it like I'd hoped or even move away at all. She was tense and unfeeling.
"Well, I guess I'm a little rusty at reading people then.." I reply, pulling away from the kiss.
"No," she said, finally, with her hands wrapped around my waist. "It's just me."
And then she kissed me, with lips softer than anything I'd felt in a while. It wasn't rough or invasive as Lauren's tongue slid across my bottom lip. Our tongues didn't fight each other but instead molded to each other, like two pieces of a puzzle.
This went on for a couple of minutes; breathing seemed second to the kiss. The intensity didn't change and it was comfortable enough to not get heated. Hands didn't roam and clothing wasn't lost as we sat against each other. My hunger was looming in the back of my mind but I ignored it. Eventually, Lauren pulled away, much to my disappointment. My forehead rested against hers as we breathed the same air in silence.
"I know you need to feed, Bo. You can feed off of me.." Lauren said in a serious tone.
"Lauren.."
"Bo, please.." She replied.
I knew that she didn't want to feel useless to me, though that was the last thing she was. Aside from Kenzi, she was my humanity too. That they definitely shared in common, even though Kenzi didn't exactly like her.
"Please." Lauren said again, looking into my eyes.
She moved my hands to cup her face again, as she did the same to me and connected our lips once more. The kiss was urgent and borderline desperate as I began to feed from the blonde. Like everything else about the doctor, her chi was soft and flowed easily into me.
"What the hell, Bo-Bo?!"
Hearing Kenzi's voice, so abruptly in the quiet, knocked me on my ass. Literally. The girl stood in the doorway, with her arms outstretched and her pale eyes wide.
"Kenz, knocking is polite, y'know." I grumbled, standing up and rubbing my backside. That would bruise later.
"You looked like you were about to do some knocking of your own! Here I come, ready to take you out and slip a couple drinks into your system, but you're here having whole damn meal from the doctor." She said, crossing her arms. "Who knows what I would've walked in on if I came later."
"Kenzi, calm down." I reply walking towards her and placing my hands on her shoulders. "I was hungry and I needed to feed.. That's all it was.."
I knew that last part wasn't true but I had to give the girl some sort of explanation. Her expression softened as it sunk in and she finally let out a small smile.
"Alright, you're off the hook for now, Wondersnatch.. Now, grab Docpants by the collar and lets get goin'." She said, walking out of the room in her usual chipper way.
* * *
Tamsin's POV
"You're at the Dal without a drink in hand. What's eating at you, partner?" Dyson asked, as he sat next to me by the pool table.
"Oh, I don't know, maybe a tick I got from you. You should really keep your hygiene in check, wolf." I reply, somewhat annoyed.
"Come on, I thought we were buds. Sort of.. You can trust me, Tamsin." Dyson said, as he stood and handed me a pool cue.
Never one to pass up a chance to beat Dyson at a game of pool, I took the cue and nodded. There didn't seem to be any harm in confiding in the wolf and I wouldn't admit to him, or anyone for that matter, that he sometimes gave good advice. I knew word would get around to Kenzi but in Bo's current state, I really had nothing to worry about.
"You can't freak or blab to anyone. Unless you'll want one less ball sack to lick in your spare time." I threaten, poking him with the cue stick.
"Can't be that bad. I swear on my ball not to tell." The Wolf joked, taking a long sip of his beer.
"If rolling around in the metaphorical sack with the Morrigan isn't bad then, I'd love to know your definition." I somewhat mumbled, leaning over the pool table to take the first shot.
The only thing I could feel was the spray of wetness against my back and the sound of Dyson coughing as I straightened up.
"Tell me you didn't, Tamsin. Are you out of your mind?!" Dyson yelled, wiping his chin and gaining the attention of the whole bar.
"You said you wouldn't freak, dude! It just happened. Kenzi had just told me about Bo and my initial reaction was to get ragingly drunk, get slugged around in a couple fights, and bang a hot chick."
"And that hot chick had to be Evony?" Dyson whispered intensely.
"Look, I didn't even finish what I started so calm down. She is royally upset though." I sighed, leaning against the cue. "I was in the shits, Dyson. I suppose I still am. Bo probably has no idea who I am and what's worse is that the last thing she remembers is her love for Lauren.."
"It's only temporary. It'll come back." Dyson said, patting me on the back. "Speak of the Devil, huh?"
Turning toward the doorway, Kenzi, Lauren, and Bo had just walked in. The three women sat at the bar and ordered drinks. Once Kenzi had received hers, she dismissed herself and made her way over to the pool table.
"You wouldn't believe what I saw the good doc and Bo doing. My eyes just-"
"Kenzi, I don't think now is the time.. Im sure Tamsin wouldn't like to hear about that and Bo is walking over here.." Dyson said in a hesitant tone.
And right he was. Everyone's attention immediately fell on the beautiful succubus. The one who held my heart, but also the one who had unintentionally destroyed it. She was as beautiful as ever, wearing knee high boots, dark leggings, and a red tank top with a black lace design. Her hair swayed in loose waves around her shoulders as she walked towards us with that bright Bo Dennis smile.
I knew I was leering but right now I couldn't even concentrate on anything else. I missed everything about her. Having her in my arms, having her in my bed sleeping softly against me, and even those moments that weren't so great. It all added up to heartbreak and eventually, I would let that numbness take over. Something I thought I would never experience again. But the one thing that I'd lived with for almost every one of my lifetimes.
Bo walked up to Kenzi and Dyson, still holding that smile as she talked. I'd instinctively removed myself from them. I was ready to make a run for it.
And that I did as Bo looked at me with an expression I couldn't read. She didn't even look as though she remembered me and she definitely didn't smile that Bo Dennis smile.
* * *
A/N: Finally, this should be the last chapter so ridden with angst and it's longer than I planned. Sorry for the Doccubus :x but trust me when I say the aftermath will be sweet. Enjoy :)
10. Chapter 10
Tamsin's POV
There's nothing better than going on a possible suicide mission when you have nothing to lose anymore. Wrangling a thousand bulls would probably be easier than taking on a chimera alone. Unfortunately, I can't just kill this kid and be done. So, I settled for some high-potency tranquilizer off the black market. Enough to put several horses out for lunch and dinner.
It wouldn't be long before Kenzi figured out my plan. Besides Bo, she knew me the most. Hence, the thirty plus calls and ten voice mails from last night. Each voice mail became increasingly more threatening, revolving around me being a _'lovesick basket case, thriving on death, despair, and booze, who needs to be admitted to a mental institution.'_ And I quote.
I knew she would be tracing my phone when she became desperate enough and that only made me move faster. I didn't exactly know where to start looking but it was a small neighborhood so the kid couldn't be too hard to find.
I had to admit this would be a lot easier if I had Kenzi with me but it would have to do. It was enough that Bo didn't remember me. Having her hate me too wouldn't do well. All I had to lead me was the small amount of information I received from Evony. It led me to a standstill as I sat idly in a vacant lot, trying to figure out where to go next.
A light tap on my window blew my concentration. Looking out, Dyson stood there, arms across his chest with an angry expression. He wagged his finger in an downward motion, telling me to lower the window.
"Why can I never get away from you people?" I groaned, rolling my eyes and bringing the window down.
"One, Kenzi is very persistent. And two, even turning off your phone won't keep me from finding you, partner." Dyson said, leaning against the lowered window.
"That's some serious stalker talk, dude." I sigh, motioning for him to get in the truck.
"Where are we headed?" Dyson said as he sat in the passenger seat.
"You're headed to the friends house and I'm headed to the little shit's hangout." I reply, pulling out of the parking lot. "It's a good idea to divide the work, don't you think?"
Dyson usually isn't one to split up but this was really something I wanted to do on my own. So I told a little lie to get him off my back.
"Tamsin-"
"I'm a big girl, Dyson. I can handle myself. You should know that." I smirk, interrupting his sentence as I barrel down the road.
He does nothing but sigh and pull on his seatbelt as I step on the gas. The sooner Dyson was gone the easier things would be for me.
* * *
Dyson slouched reluctantly out of my truck, The last thing he wanted was for us to split up again. He complained about just having found me, only to take a step back. The last thing he said was to call him when I found the kid, which wouldn't happen.
First off, Dyson is light fae. Even assisting on a Dark fae job _outside_ of the Light/Dark peace pact was something that wouldn't be overlooked and it's one thing I wouldn't risk. Secondly, Kenzi would never forgive me if even a patch of fur on the wolf was missing. It wasn't that much of a concern to me, considering that Dyson has had centuries of experience.
This was really something I wanted to do alone, despite Evony's suggestion. Call it pride or outright stupidity, I didn't care. As long as I had the upper hand, things would go as planned.
And it seemed to do just that as I roamed the streets of the last stretch of town. It was literally a ghost town, with more abandoned and broken down homes than inhabitable ones. The streets were empty and quiet, besides the occasional junkie, who I paid no mind.
Even with the small wind blowing into my truck, I could hear everything and nothing as I cruised down the streets searching for a clue to this kid's whereabouts. Finally, after what felt like hours, I could hear and feel the deep rumble of music from somewhere along the street. Teenagers, who didn't look a day above the legal age, flocked into an abandoned bar. From how dark their clothes were, it was a wonder that they didn't blend into the streets more easily.
I knew I wouldn't blend in at all and that reminded me of another reason why Kenzi would've been perfect for this job. Which led me to the building connected to the bar. Luckily, the bar was so rundown that I could see through the cracks, much like Bo's house.
In order to get a closer look I pulled the hunting rifle out from the bag I'd been carrying. Its scope was especially tailored to my liking and fit comfortably against my body. The gun wasn't loaded so that became my next priority and looking for the kid came after. The faster this was over the better.
I couldn't see much but from what I could see there was dancing, that looked more like dog piling, and underage drinking. There were consequences for that but that, again, was less of a concern.
What really drew my attention was John, who had his shirt off in the middle of what looked like a mosh pit. Besides his dark cuffs links and black jeans, he wore nothing but an angry expression. He began to double over in pain as he let out a loud, agonizing groan.
I didn't know if this was something that would always happen but if it was, I could see why the Morrigan wanted this kid so badly. It was something like indecent exposure towards humans in the fae world.
I had my shot lined perfectly and I was ready to take it. My finger wrapped around the trigger softly as I took a deep breath. Exhaling slowly, I increased the pressure against it, taking my time to steady my hand. Finally, I pulled hard on the trigger. But I knew I'd missed. The chimera wasn't in my line of sight anymore.
"I can't believe you would give me the promise of adventure and not pull through." Kenzi said with conviction, her hand still covering the end of then scope.
"Dammit, Kenzi what the hell are you doing here?!" I whispered back intensely, pulling on her jacket so she would enter the crouching position.
"Dyson let me know you were here so I came as quick as I could, following your scent. My sense of smell is amazing." She said, as if impressed by her own power.
"What if you got hurt? Dyson would never forgive me. Oh, and don't even get me started on the succubus.."
"I brought Bo-Bo with me. She's waiting downstairs. No worries." Kenzi said with a smile, patting my shoulder lightly.
A loud roar and the screams of the teenagers rang throughout the empty streets. Kenzi stood up and glanced outside the window. Her eyes were wide as her mouth set into a line.
"Its- th-That thing is huge.." Kenzi stuttered.
"No worries, huh?" I smirk, leaving the girl to recover from her shock.
* * *
A/N: Sorry for the extremely long delay on this chapter. I've been really busy and only been able to write about two paragraphs at a time. Anyway, here's a new chapter. I'm not completely satisfied with it but hopefully, it'll keep you guys going until the next one is up. Surprises, surprises.. Enjoy! :3
11. Chapter 11
Tamsin's POV
"Tell me you thought of a genius-balls back up plan, Tam-Tam." Kenzi whispered to me, as we crouched behind an abandoned car, hidden from view.
The streets were quiet and my mind was blank as the chimera stood, nose high in the air and ears perked up, searching for the source of the shot. Similar to what I'd told Kenzi, I knew John's conscious mind would play a major part in his next move. As feral as chimeras are, shifters still cling to their brains and emotions.
Kenzi was still watching me intently as I thought hard on what to do next.
"I wouldn't have needed a backup plan if you would've stayed home, Kenzi.. We're not equipped to fight man-to-man here.." I replied grouchily, knowing very well that I had no backup plan.
Kenzi mouthed a soft 'Sorry' and moved upwards. Following her lead, I could see where her gaze was.
Bo was sitting in her Camaro with a grave expression. I could see the fear in her eyes as she looked at kenzi then back towards the chimera who was edging closer and closer to her. Moving to my previous position, I thought of something that could work.. But something Bo would never forgive me for if it went wrong..
"What if we fight beast-to-beast?" I told Kenzi, who was still watching Bo and the chimera. She stayed silent but turned to face me, as if letting me know to continue. "Your size is similar to his and, right now, you're the only thing we've got.."
Kenzi finally sat back against the door of the car beside me. The small woman didn't say a word as her expression turned serious, almost pensive. I knew she was contemplating the risks of what I said. But strangely, she began to smile, finally looking back at me.
"Alright, one Kenzi style mano-a-mano, comin' right up." She replied, still grinning as her eyes flashed emerald green.
Before she'd had a chance to move, a loud hiss invaded our ears. The sound of charging hooves and the groan of metal unsettled my stomach. Kenzi was the first to spot the source of the sounds. Her gaze was frozen against the scene as she began to yell Bo's name.
My heart began to sink deep into my stomach as realization hit. Willing my body to move, my line of vision barely scraped the trunk of the car. I'd lost the use of all other functions as time slowed down. Bo's car was being rammed into the side of a building. Over and over, until the door barely hung by a hinge. The succubus was nowhere to be found but I didn't have time to focus as a sharp tug on my jacket pulled me out of my trance.
"Do something, dammit!" Kenzi yelled, tears brimming her pale eyes.
My mind and body had no willingness to carry out any type of action. My knees stuck to the ground before kenzi as she gave out light smacks against me, her eyes helplessly looking for a response. When none came, she gave up. Kenzi stood in front of me and looked down at me as if I were a child. Her hands cupped my face to look up at her as she gazed intensely into my eyes.
"This is Bo, Tamsin. You love her. If she dies.. Well, I know even you couldn't live with that." Kenzi said, pulling off her jacket. "No one could."
Her eyes began to glow that menacing green as she grimaced, tears streaming down her face, and took off towards the chimera.
I knew she was right. But the way that car looked, Bo had slim chances. Her life meant more than anyone else's to me.
She may not remember me, but her alive is more than enough for me. Who was I to lessen her chances by not taking action?
* * *
Bo's POV
The last thing I remember hearing was Kenzi's voice, calling my name repeatedly. I couldn't see her. The only thing I could see was the mane of a lion, ramming into the side of my Camaro. I remembered scolding the animal for damaging a classic American muscle car, only to be cut off as a sharp horn thrust into my side. Kenzi had informed me of what we were up against but, being fairly new to the Fae as a whole, I had no imagining of what a chimera could do.
Although, now, I had gotten a painful glimpse..
There was no way for me to stop the bleeding, and I knew I would pass out soon. Luckily, I had moved just enough to avoid more damage to my body. Though, I couldn't say the same for my car. The drivers side was completely gone and I was confined to the minimal space of the backseat and passenger side. It was a wonder it hadn't been ripped in half by the sheer force that was ramming into it.
I was on the fringe of losing consciousness when the ramming finally stopped. I could hear hissing and loud growls, followed by several crashes that shook the ground. I knew Kenzi was out there, trying to buy time; To save me. She seemed to be doing a lot of the leading lately. Leading that put her life at risk.
I didn't even contemplate moving or calling for help. It would only accelerate the bleeding and wear me out. I could barely keep my eyes open as the sound of a gun and the shattering of the windshield pulled me higher from the hole I was falling into.
"What the hell?" I mumbled to the blurry figure.
"Bo?" A strong female voice said.
"Who are you? And how do you know my name?" I replied, slowly willing my body to move to the back seat.
"It- That's not important.. I'm here to help and right now, you need to feed." She said, her voice closer to me than before. It was soft, somewhat frantic, as the strangers breath hit my lips.
I knew she was right so I didn't protest and not long after her lips were on mine. They were soft and hesitant, almost as if she didn't know what to do. But I knew that couldn't be true as her tongue brushed my bottom lip and slid easily against mine, like we'd kissed thousands of times before. On instinct, my hands cupped her face and an intense rush of energy flowed easily into me. I could feel the pain in my hip subside and heal every second her reinvigorating chi entered my body.
Finally regaining my strength, I stopped the feed but I couldn't will myself to pull away from the kiss. I didn't know who I was kissing, which should be a cause of concern, but it felt right. Every movement against each other was like a discovery of someone I'd known from a past life.
But it was short lived, as Kenzi and the chimera crashed onto the hood of the car, causing us both to jump away from each other. My priorities snapped into place and I looked up to see who I'd been kissed so passionately by.
Tamsin sat beside me with a blank expression across her face. She looked even more heavenly up close than I remembered from the police station or the bar.
"You?" Was all I could say as the blonde gazed back at me.
Her expression changed from one of confusion into a smug smirk as she adjusted her jacket.
"Yeah, well, the kiss wasn't that great anyway.. Sorry the doctor couldn't be here to stitch your wounds, succulette. Now, if you'll excuse me, I have a kitten to save." Tamsin said, climbing out of the windshield.
The tall blonde woman began to sprint towards a nearby building before I could formulate any response. Realizing again who she was referring to, I began to sprint after her. It was a wonder that she had any energy left after how much chi I'd taken. Then again, the intensity that radiated through me was enough to let me know just how strong Tamsin is.
Finally catching up to her, I doubled over, supporting myself with my knees. I may have been healed but two flights of stairs and being completely out of shape really did a number.
"Tired much?" The detective said from the nearby window.
"This building is full of dust. Who knows? Maybe even asbestos.." I huffed out, attempting to regain my breath.
"Please, you've got the rest of forever to worry about a little health hazard." Tamsin said, her eye never moving away from the scope. "I can't get a shot."
"That reminds me. Since when does Kenzi run off to fight giant lion Fae? That's right. She doesn't! I know you put her up to it when you could've-"
"Quit sounding like a nagging mother and let me do my job." Tamsin said, abruptly cutting off my sentence. A loud gunshot blew hrough my eardrums, followed by a roar of pain that soon subsided to a whimper.
Again, the blonde brushed past me in a sprint that would have anyone fooled. Following her lead, she stopped in the middle of the street. Kenzi stood beside her and the body of a teenage boy lay before them both.
"Way to go, Bond Girl, you killed him." I scolded, folding my arms across my chest.
Tamsin ignored my jab at her and crouched down, taking the kid in her arms with little difficulty. Her truck wasn't far from the building and so she slid him easily into the passengers seat, slapping handcuffs on his wrists for good measure.
"He's not dead. I wouldn't risk such a stupid move for a target wanted alive." Tamsin countered finally, leaning against the door of her truck. "Especially for the Morrigan.."
"The Morrigan?!"
"The one and only.." Tamsin smirked.
"Kenzi, did you know about this?" I questioned, shooting daggers towards her.
"Don't look at me, Hot Mama. I was just along for the ride." Kenzi replied, shrugging her shoulders.
"Cool your jets, succubus. Besides, she's easy on the eyes.. and you have bigger things to worry about than the jobs I take." Tamsin said, getting into the truck.
"Like?" I said in confusion.
"Getting home, for one. Nag at me later, Team Baby fae." She replied, speeding off, leaving Kenzi and I stranded to fend for ourselves.
* * *
A/N: Sorry this chapter has taken so long to be uploaded :( I usually write from my phone but it died on me for good. No worries though, A new chapter will be up within a couple days from this one. Enjoy and reviews are always appreciated :)
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| fanfiction |
in 1957 , simpson described the association of maternal smoking with foetal growth restraint ( 1 ) . since then a series of studies have demonstrated a consistent effect of maternal smoking on foetal growth with reductions in birth weight ( bw ) , length and head circumference .
moderate - to - heavy maternal smoking is responsible for an average reduction in bw of 90200 g in infants whose mothers smoked during pregnancy ( 2 ) .
foetal growth restriction is an important determinant of perinatal morbidity and mortality ; and in the longer term , epidemiological studies suggest that intrauterine growth restriction predisposes to the development of the metabolic syndrome ( the association of obesity , arterial hypertension , hyperlipidaemia , cardiovascular disease , impaired glucose tolerance and insulin resistance ) ( 3 ) .
smoking during pregnancy has also been implicated in neurological endocrine as well as maturational modifications observed in infants born to smoking mothers ( 4 ) .
the impact of maternal smoking on foetal growth arises in a number of ways either directly by reducing foetal growth as environmental toxin , by shortening gestational length ( 1 , 5 , 6 ) , thus increasing the incidence of premature births , or by altering utero - placental and foetal blood flow , with consequent decrease in oxygen consumption , nutritional and energy supply to the foetus ( 7 , 8) .
the classic measures of foetal growth , e.g. bw , are composites of a number of components each influenced to varying degrees by a series of growth factors .
longitudinal growth in utero is insulin - like growth factor - i ( igf - i ) dependent and circulating concentrations of igf - i are reduced in newborns born to mothers who have smoked during pregnancy ( 9 ) .
other factors influence the development of adipose tissue , which is an important component of weight in the last 8 weeks of pregnancy .
leptin , a 167 amino acid protein from the obese gene , is synthesized mostly in white adipose tissue but also in the placenta , and as a regulatory molecule of appetite it circulates at a concentration that is proportional to fat mass in both humans and rodents ( 10 ) . a positive correlation between its cord concentrations , body weight and
fat mass has been found in newborn infants ( 11 ) , suggesting that leptin may play a role in the regulation of foetal adiposity .
the interaction of leptin with factors influencing foetal growth has not been determined and conflicting reports have been published on the impact of maternal smoking on cord serum leptin concentrations ( 1215 ) . in this report , we describe cord serum leptin concentrations in 1215 newborn infants born at term to caucasian mothers and relate leptin values to bw , gestational age , gender and maternal smoking during pregnancy . our aim was to answer the question of whether smoking during pregnancy , in addition to known mechanisms , also restricts foetal growth via its action on leptin metabolism .
the study cohort and our inclusion and exclusion criteria have been described elsewhere ( 9 ) .
the present study was confined to term - born infants ( gestational age > 37 weeks ; gestational age was determined according to last menstrual date and/or the first obstetrical ultrasound ) .
maternal cigarette smoking was categorized as : never smoked ( group 1 , n=870 ) , stopped on becoming pregnant ( group 2 , n=117 ) , smoked less than 10 cigarettes / day ( group 3 , n=115 ) , smoked 1020 cigarettes / day ( group 4 , n=90 ) and smoked more than 20 cigarettes / day ( group 5 , n=26 ) .
socio - economic status was determined from age at which full - time education was completed , marital status , occupation and partner 's occupation , and social class assignment was made using the classification of the united kingdom office of population census and statistics ( standard occupational classification volume 3 .
pregnancy complications were noted and infants excluded from analysis from those mothers who developed complications of pregnancy .
complete perinatal outcome and anthropometric data ( bw , length , head and mid - arm circumference ) were available in 1484 babies .
bw was measured using self - calibrating electronic scales ( seca , birmingham , uk ) , length was measured using infantometer ( child growth foundation , london , uk ) and head circumference with a metal tape ( holtain , crymych , uk ) .
ponderal index was calculated as weight / length and skinfolds ( triceps , sub - scapular and quadriceps ) were measured using skinfold callipers ( holtain ) ; three separate measurements were taken and the mean recorded .
the coefficient of variation of the measurement error for length was 0.15% based on ten infants , each having been measured five times by three observers .
blood sample was collected after birth and before completion of the third stage of labour into edta from the umbilical vein .
the sample was centrifuged , after cord blood ph was measured , separated and plasma stored immediately at 20 c until leptin assays were performed within 3 months of collection .
the study received approval from the research ethics committee of university college london hospitals , and written informed consent for participation obtained from the mothers both for own participation and that of their newborn child after its birth .
st charles , mo , usa ) . the within - assay coefficients of variation ( cv ) were 8.3 , 3.9 and 3.4 at 4.9 , 10.4 and 25.6 ng / ml respectively .
the between - assay cv values were 5.6 and 6.3 at 3.5 and 15.5 ng / ml respectively .
anthropometric measures ( bw , length and head circumference ) were expressed as sds using the 1990 british growth reference ( 16 ) .
one - way anova was used to determine differences between the mean values of the groups with student newman
multiple linear regression analysis was used to explore the effects of maternal smoking , infant 's gender ( male 1 , female 2 ) , bw ( sds ) , placental weight and gestational length on cord serum leptin concentration .
the study cohort and our inclusion and exclusion criteria have been described elsewhere ( 9 ) .
the present study was confined to term - born infants ( gestational age > 37 weeks ; gestational age was determined according to last menstrual date and/or the first obstetrical ultrasound ) .
maternal cigarette smoking was categorized as : never smoked ( group 1 , n=870 ) , stopped on becoming pregnant ( group 2 , n=117 ) , smoked less than 10 cigarettes / day ( group 3 , n=115 ) , smoked 1020 cigarettes / day ( group 4 , n=90 ) and smoked more than 20 cigarettes / day ( group 5 , n=26 ) .
socio - economic status was determined from age at which full - time education was completed , marital status , occupation and partner 's occupation , and social class assignment was made using the classification of the united kingdom office of population census and statistics ( standard occupational classification volume 3 .
pregnancy complications were noted and infants excluded from analysis from those mothers who developed complications of pregnancy .
complete perinatal outcome and anthropometric data ( bw , length , head and mid - arm circumference ) were available in 1484 babies .
bw was measured using self - calibrating electronic scales ( seca , birmingham , uk ) , length was measured using infantometer ( child growth foundation , london , uk ) and head circumference with a metal tape ( holtain , crymych , uk ) .
ponderal index was calculated as weight / length and skinfolds ( triceps , sub - scapular and quadriceps ) were measured using skinfold callipers ( holtain ) ; three separate measurements were taken and the mean recorded .
the coefficient of variation of the measurement error for length was 0.15% based on ten infants , each having been measured five times by three observers .
blood sample was collected after birth and before completion of the third stage of labour into edta from the umbilical vein .
the sample was centrifuged , after cord blood ph was measured , separated and plasma stored immediately at 20 c until leptin assays were performed within 3 months of collection .
the study received approval from the research ethics committee of university college london hospitals , and written informed consent for participation obtained from the mothers both for own participation and that of their newborn child after its birth .
st charles , mo , usa ) . the within - assay coefficients of variation ( cv ) were 8.3 , 3.9 and 3.4 at 4.9 , 10.4 and 25.6 ng / ml respectively .
the between - assay cv values were 5.6 and 6.3 at 3.5 and 15.5 ng / ml respectively .
anthropometric measures ( bw , length and head circumference ) were expressed as sds using the 1990 british growth reference ( 16 ) .
one - way anova was used to determine differences between the mean values of the groups with student
multiple linear regression analysis was used to explore the effects of maternal smoking , infant 's gender ( male 1 , female 2 ) , bw ( sds ) , placental weight and gestational length on cord serum leptin concentration .
in the study , 1650 mothers were enrolled and 1484 live infants were delivered , of whom 70 were preterm infants .
of the remaining 166 who did not deliver , 127 did not complete the study either because they had moved away or because they were lost to follow - up , 28 patients pregnancies were terminated either into miscarriage or by medical termination and 11 simply withdrew from the study .
analysis is therefore confined to 1215 term infants ( gestational age > 37 weeks ) born to mothers whose pregnancies were uncomplicated by gestational diabetes , utero - placental hypoxia ischaemia
clinical and anthropometric characteristics of mothers enrolled for this study are summarized in table 1 and show that mothers who smoked heavily were younger ( one - way anova f=27.4 ; p<0.001 ) and shorter ( f=2.64 ; p=0.003 ) and from segps 4 and 5 ( segp 1 , 96% non - smokers versus 56% in segp 5 ; p<0.001 ) .
no significant differences were found between groups with regard to maternal pre - gestation weight , weight gain during pregnancy ( data not shown ) , gestation at first antenatal attendance , gestational age at delivery and blood pressure at first antenatal attendance or maternal haemoglobin .
overall , there were significant sex differences in bw , length and head circumference , with male infants being heavier , longer and leaner , and having larger heads than females .
infants born to mothers who smoked showed bw ( a reduction of 190 g ) , length and head circumference that were lower , compared with those of infants of non - smoking mothers ( p<0.05 for groups 1 and 2 versus groups 35 ) ; differences between groups ( smoking and non - smoking ) in these three parameters were not dose dependent . although no statistically significant differences could be observed between infants of smokers and those of non - smokers in skinfold thickness and mid - arm circumference , male infants had greater mid - arm circumference but smaller skinfolds than females .
fine analysis and comparison of bw between infants born to smoking mothers and those of non - smokers showed that frequency of babies with bw ( sds ) below the third centile did not differ ( 4.8% vs 2.8% ; 6.37 ; p=0.17 ) between the two groups .
there were , however , more babies with bw comprised between the third and the tenth centile born to smoking mothers when compared with non - smokers ( 19% vs 7% ; 33.2 ; p<0.001 ) . table 3 compares cord serum leptin concentration , bw , ponderal index , triceps , sub - scapular and quadriceps skinfold thicknesses between sexes .
cord serum leptin concentrations were higher in girls than boys ( p<0.001 ) ; although the latter had higher bws , girls had higher skinfold thickness measurements .
the p value for comparison of cord leptin concentrations in non - smokers with the other groups is summarized in table 4 .
multiple regression analyses were then performed with umbilical cord serum leptin concentration as dependent variable , and infant 's gender , bw ( sds ) , gestational length and maternal smoking during pregnancy as independent variables .
bw ( p<0.001 ) , gender ( p<0.001 ) , gestational length and maternal smoking were of significant importance .
multivariate analyses with maternal smoking , placental weight , gender , gestational length and bw ( sds ) showed that gender ( p<0.001 ) , bw sds ( p<0.001 ) , gestational length ( p<0.001 ) and maternal smoking ( p<0.042 ) were the important factors that were associated with umbilical cord serum leptin concentration in newborns .
in the study , 1650 mothers were enrolled and 1484 live infants were delivered , of whom 70 were preterm infants .
of the remaining 166 who did not deliver , 127 did not complete the study either because they had moved away or because they were lost to follow - up , 28 patients pregnancies were terminated either into miscarriage or by medical termination and 11 simply withdrew from the study .
analysis is therefore confined to 1215 term infants ( gestational age > 37 weeks ) born to mothers whose pregnancies were uncomplicated by gestational diabetes , utero - placental hypoxia ischaemia
clinical and anthropometric characteristics of mothers enrolled for this study are summarized in table 1 and show that mothers who smoked heavily were younger ( one - way anova f=27.4 ; p<0.001 ) and shorter ( f=2.64 ; p=0.003 ) and from segps 4 and 5 ( segp 1 , 96% non - smokers versus 56% in segp 5 ; p<0.001 ) .
no significant differences were found between groups with regard to maternal pre - gestation weight , weight gain during pregnancy ( data not shown ) , gestation at first antenatal attendance , gestational age at delivery and blood pressure at first antenatal attendance or maternal haemoglobin .
overall , there were significant sex differences in bw , length and head circumference , with male infants being heavier , longer and leaner , and having larger heads than females .
infants born to mothers who smoked showed bw ( a reduction of 190 g ) , length and head circumference that were lower , compared with those of infants of non - smoking mothers ( p<0.05 for groups 1 and 2 versus groups 35 ) ; differences between groups ( smoking and non - smoking ) in these three parameters were not dose dependent . although no statistically significant differences could be observed between infants of smokers and those of non - smokers in skinfold thickness and mid - arm circumference , male infants had greater mid - arm circumference but smaller skinfolds than females .
fine analysis and comparison of bw between infants born to smoking mothers and those of non - smokers showed that frequency of babies with bw ( sds ) below the third centile did not differ ( 4.8% vs 2.8% ; 6.37 ; p=0.17 ) between the two groups .
there were , however , more babies with bw comprised between the third and the tenth centile born to smoking mothers when compared with non - smokers ( 19% vs 7% ; 33.2 ; p<0.001 ) . table 3 compares cord serum leptin concentration , bw , ponderal index , triceps , sub - scapular and quadriceps skinfold thicknesses between sexes .
cord serum leptin concentrations were higher in girls than boys ( p<0.001 ) ; although the latter had higher bws , girls had higher skinfold thickness measurements .
the p value for comparison of cord leptin concentrations in non - smokers with the other groups is summarized in table 4 .
multiple regression analyses were then performed with umbilical cord serum leptin concentration as dependent variable , and infant 's gender , bw ( sds ) , gestational length and maternal smoking during pregnancy as independent variables .
bw ( p<0.001 ) , gender ( p<0.001 ) , gestational length and maternal smoking were of significant importance .
multivariate analyses with maternal smoking , placental weight , gender , gestational length and bw ( sds ) showed that gender ( p<0.001 ) , bw sds ( p<0.001 ) , gestational length ( p<0.001 ) and maternal smoking ( p<0.042 ) were the important factors that were associated with umbilical cord serum leptin concentration in newborns .
overall , there were significant sex differences in bw , length and head circumference , with male infants being heavier , longer and leaner , and having larger heads than females .
infants born to mothers who smoked showed bw ( a reduction of 190 g ) , length and head circumference that were lower , compared with those of infants of non - smoking mothers ( p<0.05 for groups 1 and 2 versus groups 35 ) ; differences between groups ( smoking and non - smoking ) in these three parameters were not dose dependent . although no statistically significant differences could be observed between infants of smokers and those of non - smokers in skinfold thickness and mid - arm circumference , male infants had greater mid - arm circumference but smaller skinfolds than females .
fine analysis and comparison of bw between infants born to smoking mothers and those of non - smokers showed that frequency of babies with bw ( sds ) below the third centile did not differ ( 4.8% vs 2.8% ; 6.37 ; p=0.17 ) between the two groups .
there were , however , more babies with bw comprised between the third and the tenth centile born to smoking mothers when compared with non - smokers ( 19% vs 7% ; 33.2 ; p<0.001 ) .
table 3 compares cord serum leptin concentration , bw , ponderal index , triceps , sub - scapular and quadriceps skinfold thicknesses between sexes .
cord serum leptin concentrations were higher in girls than boys ( p<0.001 ) ; although the latter had higher bws , girls had higher skinfold thickness measurements .
the p value for comparison of cord leptin concentrations in non - smokers with the other groups is summarized in table 4 .
multiple regression analyses were then performed with umbilical cord serum leptin concentration as dependent variable , and infant 's gender , bw ( sds ) , gestational length and maternal smoking during pregnancy as independent variables .
bw ( p<0.001 ) , gender ( p<0.001 ) , gestational length and maternal smoking were of significant importance .
multivariate analyses with maternal smoking , placental weight , gender , gestational length and bw ( sds ) showed that gender ( p<0.001 ) , bw sds ( p<0.001 ) , gestational length ( p<0.001 ) and maternal smoking ( p<0.042 ) were the important factors that were associated with umbilical cord serum leptin concentration in newborns .
this study was designed to assess the effects of maternal smoking during pregnancy on foetal cord serum leptin concentration at birth , in term infants , and hence answer the question of whether foetal growth restriction secondary to maternal smoking during gestation could result from the action of the latter on foetal leptin metabolism ( table 5 ) .
our results show effectively that factors associated with cord serum leptin concentrations in newborns are gender , gestational age , as well as smoking during pregnancy .
inaccuracy of self - reported smoking habits in comparison with cotinine assay by our study population is a likely criticism that may be made of this study .
biological assays , although more accurate , often provide no precise information regarding quantities or timing of exposure .
moreover , some studies have reported good correlation between self - reporting versus cotinine assay and smoking effects on foetal growth ( 17 , 18 ) .
the gender difference in serum leptin concentrations previously reported by several other studies ( 13 , 14 , 17 ) was also found in our study .
it is tempting to speculate that , boys being heavier than girls , their body weight likely reflects heavier muscle bulk and skeleton , whereas higher leptin concentrations in girls are correlated with more subcutaneous fat . as this gender difference in body fat distribution
is present as early as during antenatal life , we consider , like jaquet et al .
( 19 ) that body weight at birth does not reflect body fat mass alone .
there are several explanations to the gender difference in cord serum leptin concentrations : for tome et al . ( 20 ) , the sex - based differences are not attributable to any growth - related differences between boys and girls , but may simply reflect a sex - based difference in the regional adipose tissue regulation of leptin production . for bennet et al .
( 21 ) , however , sexual dimorphism is probably the result of regional distribution of adipose tissue .
22 ) suggested that gender difference in leptin concentration was a consequence of variation in leptin secretion present in women and not in men . like nagy et al .
( 23 ) , we think that the sexual dimorphism in cord serum leptin concentration is likely to be due to both relative body composition and fat distribution , which are different in male and female infants .
the gender differences in cord leptin concentrations reported here are , however , not a constant finding in the literature , some studies have reported similar concentrations in boys and girls ( 13 ) .
active maternal smoking during gestation induces morphological changes with consequent reduction in both volume of maternal intervillous space and surface area of foetal capillaries ( 24 ) , these changes lead to reduced oxygen diffusion across the placenta .
metabolites of cigarette smoke cross the placenta , passing from mother to foetus , and act as vasoconstrictors that reduce uterine blood flow by up to 38% ( 25 ) . of note
is the fact that smoking hypoxia is not exclusively pre - placental in origin , but is complicated by both blood flow problems and cadmium toxicity that act at trophoblastic as well as other placental sites ( 26 ) .
maternal smoking , therefore , places the foetus under chronic hypoxic stress , and hence contributes to restriction in weight gain , reduced length and small head circumference .
( 26 ) , three principal classes are recognized : pre - placental , utero - placental and post - placental hypoxia .
maternal smoking would normally lead to the pre - placental type of this classification , in which there is reduced oxygen content in maternal blood .
( 27 ) has , however , reported elevated maternal and foetal haematocrit levels in the smoking group , in addition to reduced mean bw in children . within the placentas
, these authors found increases in cadmium levels , in the relative volumes of maternal intervillous space and in the relative surface areas of foetal capillaries , and decreases in the relative and absolute volumes of foetal capillaries .
these findings suggest that foetuses of smoking mothers are under hypoxic stress that could be , in part , due to the non - adaptative morphological changes found in the placenta .
smoking - induced hypoxia could , therefore , be both pre - placental and utero - placental .
effects of maternal smoking on foetal growth have been extensively studied ( 1 , 6 , 9 , 28 ) , low bw in children of smoking mothers is well documented , and our results confirm those of previous studies , with infants born to smoking mothers being 190 g lighter than those of non - smoking ones .
our results are , in this respect , similar to those reported by habeck et al .
( 28 ) , with infants born to heavy smokers being the most growth restricted .
physio - pathological mechanisms underlying the effects of smoking during pregnancy on foetal growth are , however , only partially elucidated : impairment of foetal growth has been reported to result from altered utero - placental and foetal blood flow , and igf - i axis as demonstrated in our previous study ( 9 ) .
intrauterine growth restricted infants have recently been shown to have impaired growths of internal organ ( small kidneys , liver and lungs ) , and it has been suggested that this could contribute to the occurrence of metabolic dysfunction in these children later in life ( 29 ) .
bouhours - nouet et al . have shown that smoking in pregnancy depletes placental mitochondria and induces respiratory chain complex iii deficiency .
conjunction of these effects , likely , contributes to foetal growth restriction by limiting cellular energy availability to the foetus ( 30 ) . in another study , agostini et al .
have reported that maternal smoking could also affect foetal growth by reducing docohexaenoic acid synthesis and/or its maternal transfer to the foetus ( 31 ) . with regard to compartments that contribute to the reduction in foetal size , contradictory research has been reported : total body electrical conductivity analyses and some anthropometric measurement studies have shown that growth restriction is predominant in the lean body tissues , with no changes in s.c .
other studies have , however , suggested that generalized reduction in neonatal size affects proportionately fat and lean body masses ( 33 ) . in a study of term - born appropriate for gestational age ( aga ) infants , clapp et al . (
11 ) found fat mass to be the major morphometric determinant of cord leptin concentration .
these authors also suggested that strong relationship existing between neonatal fat mass and bw on one side and weak relationship between it and neonatal fat - free mass on the other side were due to the large contribution made by fat mass to the variability in bw . in support to clapp 's findings is the fact that cord leptin concentrations are lower in small for gestational age ( sga ) and preterm infants , known to have much less fat , in comparison with aga and term - born infants ( 12 ) .
regardless of conflicting reports on the body compartment that is most affected in growth restriction , it is likely that impairment in s.c .
leptin is produced in the human placenta and secreted into both maternal and foetal circulations ( 35 ) .
the exact proportion of cord leptin that originates from foetal adipose tissue in comparison with that from placental production remains unknown .
estimations of placental leptin that is released into foetal circulation vary from 1.5 to 13.6% ( 36 ) , the remaining proportion derives directly from foetal adipose tissue . during normal pregnancy
, leptin has been shown to rise considerably in maternal circulation , followed by a rapid fall after parturition ( 35 ) .
smoking probably influences both placental and foetal adipose tissue leptin production , although on a cord blood sample it is not possible to differentiate the two .
several studies have analysed the effects of maternal smoking on cord serum leptin concentration , with discordant results ( 1114 ) . in the study by helland et al .
( 13 ) , children of smoking mothers were lighter than those of non - smokers , plasma leptin concentrations were , however , similar between the two groups . for these authors ,
( 12 ) also studied the effect of maternal smoking on leptin concentrations in term appropriate - for - gestational - age newborns , and reported similar leptin concentrations between infants of smoking and those of non - smoking mothers .
11 ) have , however , reported that maternal smoking during pregnancy was associated with decreased cord leptin concentrations of both full - term and preterm newborns .
for these authors , smoking during pregnancy induces reduction in foetal cord serum leptin concentration through depletion of foetal energy stores directly via substances present in tobacco smoke or indirectly by compromising nutrient supply consequent to induced placental changes .
another pathway through which smoking could influence leptin concentrations in neonates may be through decreased energy stores in foetal adipose tissue , probably via an increase in foetal catecholamine level .
the later phenomenon is known to increase lipolysis . in another recent study by ozkan et al .
( 14 ) , maternal smoking has been shown to lower foetal plasma leptin concentration independently of bw . in our study , although comparison of cord serum leptin concentrations between infants born to smokers and those of non - smokers did not reach statistical significance ( univariate analysis ) , multiple regression analysis performed with cord serum leptin concentration as dependent variable tends to suggest that infant 's gender , bw , gestational length and maternal smoking during gestation were the more significant independent variables that influenced cord serum leptin concentrations .
we have shown that bw sds is significantly different between infants of smokers when compared with those of non - smokers ; we could not , however , find statistically significant difference in cord serum leptin concentrations between the two groups ( smokers versus non - smokers ) .
infants born to heavy smokers ( > 20 cigarettes / day ) had cord serum leptin concentrations that were slightly higher ; the reason for this discrepancy remains unexplained .
the likely , but speculative explanations could be that these infants who were also the smallest ( severe sga ) , could have had enhanced endogenous steroidogenesis ( secondary to chronic hypoxia ) leading to an increase in leptin synthesis ( 37 ) .
whether maternal smoking also restrains foetal growth by altering foetal leptin metabolism is not established with certainty , but this hypothesis can not totally be ruled out . smoking during pregnancy deprives the foetus of nutrients and oxygen , resulting in episodic foetal hypoxia ischemia and malnutrition .
smoking - induced foetal stress has been shown to be associated with raised amniotic fluid catecholamine concentrations , but studies have reported conflicting results in this regard , with some reporting increased amniotic levels ( 38 ) and others reporting lower cord catecholamine concentrations ( 39 ) .
that cigarette smoking during pregnancy could also impair foetal growth via leptin metabolism seems feasible , this would probably result from increased foetal lipolysis secondary to raised catecholamine concentrations .
systemic nicotine treatment in healthy men has , indeed , been shown to stimulate human adipose tissue lipolysis through local cholinergic and catecholaminergic receptors ( 40 ) .
contribution of maternal smoking during pregnancy to foetal growth restriction , therefore , implies multifactorial physio - pathological mechanisms , some of which have been elucidated ( igf - i , placental changes , blood flow effects , etc ) .
nicotine - induced hypoxia has been extensively studied , cadmium toxicity acts at trophoblastic as well as other placental sites ( 26 ) and leptin is produced in large amounts by the syncytiotrophoblast ( 36 ) ; whether nicotine and/or cadmium toxicity impairs the expression of leptin mrna here , needs to be studied further .
the gender difference in serum leptin concentrations previously reported by several other studies ( 13 , 14 , 17 ) was also found in our study .
it is tempting to speculate that , boys being heavier than girls , their body weight likely reflects heavier muscle bulk and skeleton , whereas higher leptin concentrations in girls are correlated with more subcutaneous fat . as this gender difference in body fat distribution is present as early as during antenatal life , we consider , like jaquet et al .
( 19 ) that body weight at birth does not reflect body fat mass alone .
there are several explanations to the gender difference in cord serum leptin concentrations : for tome et al .
( 20 ) , the sex - based differences are not attributable to any growth - related differences between boys and girls , but may simply reflect a sex - based difference in the regional adipose tissue regulation of leptin production . for bennet et al . (
21 ) , however , sexual dimorphism is probably the result of regional distribution of adipose tissue .
van harmelen et al . ( 22 ) suggested that gender difference in leptin concentration was a consequence of variation in leptin secretion present in women and not in men . like nagy et al .
( 23 ) , we think that the sexual dimorphism in cord serum leptin concentration is likely to be due to both relative body composition and fat distribution , which are different in male and female infants .
the gender differences in cord leptin concentrations reported here are , however , not a constant finding in the literature , some studies have reported similar concentrations in boys and girls ( 13 ) .
active maternal smoking during gestation induces morphological changes with consequent reduction in both volume of maternal intervillous space and surface area of foetal capillaries ( 24 ) , these changes lead to reduced oxygen diffusion across the placenta .
metabolites of cigarette smoke cross the placenta , passing from mother to foetus , and act as vasoconstrictors that reduce uterine blood flow by up to 38% ( 25 ) . of note
is the fact that smoking hypoxia is not exclusively pre - placental in origin , but is complicated by both blood flow problems and cadmium toxicity that act at trophoblastic as well as other placental sites ( 26 ) . maternal smoking
, therefore , places the foetus under chronic hypoxic stress , and hence contributes to restriction in weight gain , reduced length and small head circumference . based on the model classifying the origins of hypoxia by kingdom et al .
( 26 ) , three principal classes are recognized : pre - placental , utero - placental and post - placental hypoxia .
maternal smoking would normally lead to the pre - placental type of this classification , in which there is reduced oxygen content in maternal blood .
( 27 ) has , however , reported elevated maternal and foetal haematocrit levels in the smoking group , in addition to reduced mean bw in children . within the placentas , these authors found increases in cadmium levels , in the relative volumes of maternal intervillous space and in the relative surface areas of foetal capillaries , and decreases in the relative and absolute volumes of foetal capillaries .
these findings suggest that foetuses of smoking mothers are under hypoxic stress that could be , in part , due to the non - adaptative morphological changes found in the placenta .
smoking - induced hypoxia could , therefore , be both pre - placental and utero - placental
. effects of maternal smoking on foetal growth have been extensively studied ( 1 , 6 , 9 , 28 ) , low bw in children of smoking mothers is well documented , and our results confirm those of previous studies , with infants born to smoking mothers being 190 g lighter than those of non - smoking ones .
our results are , in this respect , similar to those reported by habeck et al .
( 28 ) , with infants born to heavy smokers being the most growth restricted .
physio - pathological mechanisms underlying the effects of smoking during pregnancy on foetal growth are , however , only partially elucidated : impairment of foetal growth has been reported to result from altered utero - placental and foetal blood flow , and igf - i axis as demonstrated in our previous study ( 9 ) .
intrauterine growth restricted infants have recently been shown to have impaired growths of internal organ ( small kidneys , liver and lungs ) , and it has been suggested that this could contribute to the occurrence of metabolic dysfunction in these children later in life ( 29 ) .
bouhours - nouet et al . have shown that smoking in pregnancy depletes placental mitochondria and induces respiratory chain complex iii deficiency .
conjunction of these effects , likely , contributes to foetal growth restriction by limiting cellular energy availability to the foetus ( 30 ) . in another study , agostini et al .
have reported that maternal smoking could also affect foetal growth by reducing docohexaenoic acid synthesis and/or its maternal transfer to the foetus ( 31 ) . with regard to compartments that contribute to the reduction in foetal size
, contradictory research has been reported : total body electrical conductivity analyses and some anthropometric measurement studies have shown that growth restriction is predominant in the lean body tissues , with no changes in s.c .
other studies have , however , suggested that generalized reduction in neonatal size affects proportionately fat and lean body masses ( 33 ) . in a study of term - born appropriate for gestational age ( aga ) infants , clapp et al .
( 11 ) found fat mass to be the major morphometric determinant of cord leptin concentration .
these authors also suggested that strong relationship existing between neonatal fat mass and bw on one side and weak relationship between it and neonatal fat - free mass on the other side were due to the large contribution made by fat mass to the variability in bw . in support to clapp 's findings is the fact that cord leptin concentrations are lower in small for gestational age ( sga ) and preterm infants , known to have much less fat , in comparison with aga and term - born infants ( 12 ) .
regardless of conflicting reports on the body compartment that is most affected in growth restriction , it is likely that impairment in s.c .
active maternal smoking during gestation induces morphological changes with consequent reduction in both volume of maternal intervillous space and surface area of foetal capillaries ( 24 ) , these changes lead to reduced oxygen diffusion across the placenta .
metabolites of cigarette smoke cross the placenta , passing from mother to foetus , and act as vasoconstrictors that reduce uterine blood flow by up to 38% ( 25 ) . of note
is the fact that smoking hypoxia is not exclusively pre - placental in origin , but is complicated by both blood flow problems and cadmium toxicity that act at trophoblastic as well as other placental sites ( 26 ) . maternal smoking
, therefore , places the foetus under chronic hypoxic stress , and hence contributes to restriction in weight gain , reduced length and small head circumference . based on the model classifying the origins of hypoxia by kingdom et al .
( 26 ) , three principal classes are recognized : pre - placental , utero - placental and post - placental hypoxia .
maternal smoking would normally lead to the pre - placental type of this classification , in which there is reduced oxygen content in maternal blood .
( 27 ) has , however , reported elevated maternal and foetal haematocrit levels in the smoking group , in addition to reduced mean bw in children . within the placentas , these authors found increases in cadmium levels , in the relative volumes of maternal intervillous space and in the relative surface areas of foetal capillaries , and decreases in the relative and absolute volumes of foetal capillaries .
these findings suggest that foetuses of smoking mothers are under hypoxic stress that could be , in part , due to the non - adaptative morphological changes found in the placenta .
smoking - induced hypoxia could , therefore , be both pre - placental and utero - placental .
effects of maternal smoking on foetal growth have been extensively studied ( 1 , 6 , 9 , 28 ) , low bw in children of smoking mothers is well documented , and our results confirm those of previous studies , with infants born to smoking mothers being 190 g lighter than those of non - smoking ones .
our results are , in this respect , similar to those reported by habeck et al .
( 28 ) , with infants born to heavy smokers being the most growth restricted .
physio - pathological mechanisms underlying the effects of smoking during pregnancy on foetal growth are , however , only partially elucidated : impairment of foetal growth has been reported to result from altered utero - placental and foetal blood flow , and igf - i axis as demonstrated in our previous study ( 9 ) .
intrauterine growth restricted infants have recently been shown to have impaired growths of internal organ ( small kidneys , liver and lungs ) , and it has been suggested that this could contribute to the occurrence of metabolic dysfunction in these children later in life ( 29 ) .
have shown that smoking in pregnancy depletes placental mitochondria and induces respiratory chain complex iii deficiency .
conjunction of these effects , likely , contributes to foetal growth restriction by limiting cellular energy availability to the foetus ( 30 ) . in another study , agostini et al .
have reported that maternal smoking could also affect foetal growth by reducing docohexaenoic acid synthesis and/or its maternal transfer to the foetus ( 31 ) . with regard to compartments that contribute to the reduction in foetal size ,
contradictory research has been reported : total body electrical conductivity analyses and some anthropometric measurement studies have shown that growth restriction is predominant in the lean body tissues , with no changes in s.c .
other studies have , however , suggested that generalized reduction in neonatal size affects proportionately fat and lean body masses ( 33 ) . in a study of term - born appropriate for gestational age ( aga ) infants , clapp et al .
( 11 ) found fat mass to be the major morphometric determinant of cord leptin concentration .
these authors also suggested that strong relationship existing between neonatal fat mass and bw on one side and weak relationship between it and neonatal fat - free mass on the other side were due to the large contribution made by fat mass to the variability in bw . in support to clapp 's findings is the fact that cord leptin concentrations are lower in small for gestational age ( sga ) and preterm infants , known to have much less fat , in comparison with aga and term - born infants ( 12 ) .
regardless of conflicting reports on the body compartment that is most affected in growth restriction , it is likely that impairment in s.c .
leptin is produced in the human placenta and secreted into both maternal and foetal circulations ( 35 ) .
the exact proportion of cord leptin that originates from foetal adipose tissue in comparison with that from placental production remains unknown .
estimations of placental leptin that is released into foetal circulation vary from 1.5 to 13.6% ( 36 ) , the remaining proportion derives directly from foetal adipose tissue . during normal pregnancy , leptin has been shown to rise considerably in maternal circulation , followed by a rapid fall after parturition ( 35 ) .
smoking probably influences both placental and foetal adipose tissue leptin production , although on a cord blood sample it is not possible to differentiate the two .
several studies have analysed the effects of maternal smoking on cord serum leptin concentration , with discordant results ( 1114 ) . in the study by helland
( 13 ) , children of smoking mothers were lighter than those of non - smokers , plasma leptin concentrations were , however , similar between the two groups . for these authors , reduced bw in neonates of smoking women is not consequent to altered leptin concentration .
( 12 ) also studied the effect of maternal smoking on leptin concentrations in term appropriate - for - gestational - age newborns , and reported similar leptin concentrations between infants of smoking and those of non - smoking mothers .
11 ) have , however , reported that maternal smoking during pregnancy was associated with decreased cord leptin concentrations of both full - term and preterm newborns
. for these authors , smoking during pregnancy induces reduction in foetal cord serum leptin concentration through depletion of foetal energy stores directly via substances present in tobacco smoke or indirectly by compromising nutrient supply consequent to induced placental changes .
another pathway through which smoking could influence leptin concentrations in neonates may be through decreased energy stores in foetal adipose tissue , probably via an increase in foetal catecholamine level .
the later phenomenon is known to increase lipolysis . in another recent study by ozkan et al .
( 14 ) , maternal smoking has been shown to lower foetal plasma leptin concentration independently of bw . in our study , although comparison of cord serum leptin concentrations between infants born to smokers and those of non - smokers did not reach statistical significance ( univariate analysis ) , multiple regression analysis performed with cord serum leptin concentration as dependent variable tends to suggest that infant 's gender , bw , gestational length and maternal smoking during gestation were the more significant independent variables that influenced cord serum leptin concentrations .
we have shown that bw sds is significantly different between infants of smokers when compared with those of non - smokers ; we could not , however , find statistically significant difference in cord serum leptin concentrations between the two groups ( smokers versus non - smokers ) .
infants born to heavy smokers ( > 20 cigarettes / day ) had cord serum leptin concentrations that were slightly higher ; the reason for this discrepancy remains unexplained .
the likely , but speculative explanations could be that these infants who were also the smallest ( severe sga ) , could have had enhanced endogenous steroidogenesis ( secondary to chronic hypoxia ) leading to an increase in leptin synthesis ( 37 ) .
whether maternal smoking also restrains foetal growth by altering foetal leptin metabolism is not established with certainty , but this hypothesis can not totally be ruled out . smoking during pregnancy deprives the foetus of nutrients and oxygen , resulting in episodic foetal hypoxia ischemia and malnutrition .
smoking - induced foetal stress has been shown to be associated with raised amniotic fluid catecholamine concentrations , but studies have reported conflicting results in this regard , with some reporting increased amniotic levels ( 38 ) and others reporting lower cord catecholamine concentrations ( 39 ) .
that cigarette smoking during pregnancy could also impair foetal growth via leptin metabolism seems feasible , this would probably result from increased foetal lipolysis secondary to raised catecholamine concentrations .
systemic nicotine treatment in healthy men has , indeed , been shown to stimulate human adipose tissue lipolysis through local cholinergic and catecholaminergic receptors ( 40 ) .
contribution of maternal smoking during pregnancy to foetal growth restriction , therefore , implies multifactorial physio - pathological mechanisms , some of which have been elucidated ( igf - i , placental changes , blood flow effects , etc ) .
nicotine - induced hypoxia has been extensively studied , cadmium toxicity acts at trophoblastic as well as other placental sites ( 26 ) and leptin is produced in large amounts by the syncytiotrophoblast ( 36 ) ; whether nicotine and/or cadmium toxicity impairs the expression of leptin mrna here , needs to be studied further .
we have shown that maternal smoking during pregnancy restrains foetal growth , with infants born to heavy smoking mothers being the smallest .
our study also confirms the gender difference in cord serum leptin concentrations between boys and girls .
cord serum leptin concentrations , although slightly elevated in infants of heavy smokers , could not reach the level of significance .
multivariate analysis , however , points out gender , bw , gestational length and maternal smoking as most significant independent variables that influence cord leptin concentrations . we , therefore , think that maternal smoking also likely impairs foetal growth via its effects on leptin metabolism , in addition to well - known placental vascular effects .
studies are awaited to analyse the effects of maternal smoking on both placental syncytiotrophoblast and foetal adipose tissue . | pubmed |
Macroscopic averaging validity (e.g. density)
When dealing with macroscopic scales, it is common to introduce continuous functions (such as density) which model the behaviour of the underlying microscopic matter.
However, I still can't understand how this approach can be fully justified.
It is often stated that the averaging process is performed over a volume which is big enough to contain a lot of molecules, but small enough with respect to the whole object's size.
I understand what this means, but it seems to me that this is not enough: I imagine that, inside the averaging-volume, the microscopic quantities could change and oscillate very rapidly, possibly assuming values which are very different from the final "brutal average" performed by my macroscopic function.
In this scenario, the macroscopic averaging operation would cause the loss of some important informations regarding the microscopic quantities - a sort of "aliasing" error.
Could you please tell me where am I going wrong?
you are not wrong in the sense that some information is always lost when we describe the system in that way. However, this has always have to be compared with respect to the *questions we ask about the system*, i.e. the quantities that we are trying to calculate. If these quantities have a larger length-scale than the averaging one, then we should be fine with this coarse-graining process.
Usually, in macroscopic systems we are interested in some sort of a macroscopic behavior - response to some external perturbation, of a macroscopic quantity that can be evidenced on large scales. This means that from the onset we are examining some sort of an averaged behavior on a large scale, so microscopic fluctuation below some scale shouldn't concern us: taking them into account will have a negligible effect on the final result.
In addition, these systems usually have a natural correlation length, that depends on temperature, interactions etc. This length-scale tells us how far such microscopic fluctuation can travel and effect other regions before they fizzle out. As long as we average on scales that are not larger than this length scale, we should be alright. Things become more complicated as this length-scale diverges into infinity, indicating a phase-transition, where microscopic fluctuations can affect the entire system. The study of the different scales in the system, and their behavior, is a fascinating subject by itself, with links to [the renormalization group](https://en.wikipedia.org/wiki/Renormalization_group) .
| stackexchange/physics |
CA Paris may refer to:
CA Paris-Charenton
Court of Appeal of Paris | wikipedia |
BLACK SNAKE MOAN
an original screenplay
By
Craig Brewer
Only one kind of blues... and that
consists between male and female.
- Son House
1
1
EXT. RONNIE'S TRAILER - EARLY DAWN
RAE is naked.
Wrapped around her shoulders is a loose-knit spread that
conceals her slender form. She is in her 20's: a strawberry
blond, with cinnamon freckles spotted across her pale skin.
She is beautiful without trying.
She stares at the distant trees. This is the South; the small
town of FISHERVILLE, TENNESSEE.
Soon Rae will be alone.
CUT TO:
2
2
INT. RONNIE'S TRAILER - EARLY MORNING
RONNIE is 25 years old. His hair is cropped in a military
issue buzz.
Rae's face is wet with tears as Ronnie gently makes love to
her. She touches his face and sobs like a child.
CUT TO:
3
3
INT. RONNIE'S TRAILER - LATER THAT MORNING
RONNIE is dressed in his National Guard fatigues, packing up
his gear.
Rae is now wearing a short jeans skirt and a T-shirt with a
gray wolf print ironed on the front.
There is a knock at the door. Rae flinches. Ronnie opens the
door revealing GILL MORTON, Ronnie's buddy from high school.
GILL
Still need a lift?
RONNIE
Yeah. Transmission's shot.
Gill and Rae's eyes meet. Gill sees that Rae is crying.
GILL
Gonna have a smoke.
Ronnie shuts the door and feels a wave of sudden nausea. He
rushes past Rae.
RONNIE
Shit...
2.
4
4
INT. RONNIE'S TRAILER - BATHROOM - MORNING
Ronnie is vomiting into the toilet as Rae rubs his head. Each
painful dry heave makes Rae comfort him more.
RAE
Baby...
5
5
EXT. RONNIE'S TRAILER - MORNING
Ronnie places his duffle bag in Gill's truck. Rae begins to
cough.
GILL
You sick?
Rae doesn't answer.
Gill backs away, allowing Ronnie and Rae some privacy. The
two lovers stare into each others eyes and then embrace.
Rae peeks over Ronnie's shoulder at Gill with an expression
of dread. Anger seizes her.
RAE
This ain't gonna work.
RONNIE
Rae...
RAE
I don't see why we gotta lie `bout it
when you and I know this ain't gonna
work.
RONNIE
(holds her face in his
hands)
Rae don't do this now...
RAE
It's stupid... It's so fucking stupid!
RONNIE
Rae!
Silence. Rae melts. Tears stream down her face.
RONNIE
(reaches in his pocket)
Look it. I got somethin' for us. This is
gonna help, okay.
3.
GILL
You gonna miss your bus.
Ronnie removes a small digital watch and fastens it around
her wrist.
RONNIE
This watch here is gonna beep at
midnight. Every night. That's when it
comes up on you the hardest, right?
Ronnie holds out his own wrist to show her his identical
watch.
RONNIE
And wherever I'm at, my watch'll beep,
too. We'll be thinkin' bout each other at
the same time. Wherever we are.
Rae is shaking. He grips her by the back of her neck and
pushes their faces inches away. Eye to eye.
RONNIE
I gotta believe we can do this or I ain't
gonna make it, Rae.
Rae sees the fear in his eyes. She swallows her own anxiety
and nods.
RAE
Okay... Okay.
They kiss passionately.
RONNIE
I love you.
Afraid of his swelling emotion, Ronnie quickly breaks away
from her.
Rae watches as her love leaves in Gill's pick-up. Compelled
to follow, she absently walks after the truck, down the
gravel drive.
She stops. Silence. She is alone.
An intense wave of sorrow hits, like a kick to her gut. She
gasps for breath as she struggles to hold back the flood of
her tears.
Rae drops to her knees, right there in the gravel drive. Her
hair falls in front of her face, masking her grief.
4.
Her shoulders shudder.
Her middle finger begins to scratch at her thigh repeatedly -
a nervous habit that has always accompanied this burning
sensation that consumes her.
RAE
Shit.
Tears come to her. She's not going to be able to stop it.
RAE
Goddammit, Ronnie...
(shouting in frustration)
GODDAMMIT!
Rae is gripping the watch around her wrist for comfort. Her
breathing is already out of her control. The dizziness is
already upon her. The familiar burning.
She inhales in gasps, rocking back and forth on her knees.
The late morning cicadas chirp in an undulating frenzy.
RAE
(shaking her head)
Mm-mm (meaning "no"). Mm-mm... Mm-mm...
The scratching at her leg leaves a red mark. She is dizzy
with anxiety. Her teeth are clenched, her face is flush.
RAE
MM-MM! MM-MM! MMMMMMMMMMMM!
CUT TO:
6
6
INT. MOTEL ROOM - AFTERNOON
TEHRONNE is fucking Rae from behind.
Tehronne is a muscular, dark-skinned, black male in his late
twenties.
Rae's face is crammed up against the mirror in the small
bathroom. Tehronne gets faster and pushes harder - a stark
contrast to her lovemaking with Ronnie.
Rae comes. A severe coughing fit hits her. She pushes him
away with her ass.
RAE
We're done, right?
CUT TO:
5.
7
7
EXT. FISHERVILLE SQUARE - AFTERNOON
Walking with his hands shoved deep into his pockets, wearing
his only suit and tie, is LAZARUS WOODS (LAZ). He is in his
late fifties, black, a strong face under his old fedora. He
stares across the street into Dunn's Cafe.
ROSE WOODS, black, early forties, stands in the cafe. She
looks confident and resolute in her new green skirt.
A brown Delta Olds pulls up into a parking space in front of
Laz. Stepping out is REVEREND R.L., Laz's longtime friend. He
is also black and in his late fifties.
R.L.
You ain't gonna make a fuss, are you?
(no answer)
Nothing a man can do when a woman make up
her mind.
LAZARUS
I never laid a hand on her in anger. Not
a day. Not even when I's drinkin'. But
this business got me wonderin' what a
good shake and slap would do for her.
R.L.
That kind of talk is between us. Don't
you go in there with that shit on your
tongue.
LAZARUS
I didn't start this, R.L..
Laz tries to stop his lip from quivering: the man is hurting.
R.L.
You wanna pray with me `fore you go in?
Laz?
(R.L. touches Laz's arm
and bows his head)
Heavenly Father...
CUT TO:
8
8
INT. DUNN'S CAFE - AFTERNOON
R.L.'s prayer is heard as Laz opens the front door to the
cafe. He looks ill. Each step is painful.
6.
R.L.
(v.o.)
We do not question your divine plan for
us, Oh God. But in these times, when our
spirit lies in shadow. When we are lost.
Laz crosses to Rose's booth - the distance seems to stretch
out into eternity.
R.L.
(v.o.)
We ask that you give us strength. Give us
strength that surpasses all
understanding. In your name we pray.
Amen.
Laz sits across from his wife.
ROSE
Can't remember the last time I saw you in
that suit.
LAZARUS
Your mother's funeral. I's a pallbearer,
remember?
The waitress is kind and twangy as she asks for their order.
WAITRESS
Can I start you both off with some coffee
`fore I take your order?
ROSE
We won't be stayin' long. Coffee'll be
fine.
The waitress leaves. The sounds of the cafe fill the silence.
ROSE
We leavin' this weekend. Deke got a
friend in Mobile gonna get him a job at
the water company...
LAZARUS
(interrupting)
If you come to talk about
that
muthafucka, I'm gonna get up and leave
you sittin' pretty in that new suit he
bought'cha.
7.
ROSE
Think this about money still,
ya old fool?
LAZARUS
Say what you gotta say, but I
ain't gonna hear you speak
his name to me. Not never.
You hear?
ROSE
How many times we been over this, Laz?
How many times?
The waitress places the coffee between them and leaves.
ROSE
Thought we was gonna be friendly about
this.
LAZARUS
Carryin' on behind my back. Make me out
to look like a fool to all our people.
Tell me, what's friendly about that?
ROSE
I'm not ready to grow old, Laz. Livin'
with you. I feel it. Like I'm one foot in
the dirt. Saw it happen to my momma. And
that's not gonna happen to me. I got
living to do.
LAZARUS
And you gonna live it with him?
Rose doesn't answer. Lazarus softens, touching her hand.
LAZARUS
Rose. Folks get sick. But you do what you
can to get on the mend. Our marriage...
it just got sick. That's all.
ROSE
Talk to me about sick. Ain't been right
since I moved into that drafty house.
LAZARUS
I keep the heat on.
ROSE
That damned, rusty, radiator, bout burned
the skin off my legs each time I passed.
LAZARUS
Kept us warm for twelve years.
It's over. Laz has lost her for good.
8.
ROSE
I deserve better than this.
LAZARUS
Better'n me?
ROSE
Better than what you give.
LAZARUS
Rose... please...
ROSE
Laz... You can't say nothin'...
LAZARUS
If we get with a counselor. At the
church, maybe they's...
ROSE
(the final interruption)
I don't love ya no more.
The words are daggers. Laz is wounded beyond concealment.
Rose picks up her purse, preparing to leave.
ROSE
I'm sorry you hurtin'. But, like I say,
this the only life I got.
(waits for him to respond)
I said my piece.
She stands and attempts to walk away. Laz grips her tightly
by the wrist.
LAZARUS
God forgive you, for how you done me...
ROSE
Let go...
LAZARUS
My Daddy told me that a younger woman
would bleed me dry. And that's what you
did. Ya bled me.
ROSE
Let go of my arm...
LAZARUS
Would'a chopped my arm off if you asked.
And this how you do me!
9.
ROSE
LAZ, I said let...!
LAZARUS
You better pray, gal. You better pray...
ROSE
(yanks free)
Don't you lay a CURSE ON ME!
The whole cafe is silent. All eyes are on Rose.
ROSE
(to customers)
Yeah, go'on! Look! See if I give a shit
about any of you people!
And she's gone, right out the front door.
CUT TO:
9
9
INT. MOTEL ROOM - AFTERNOON
Tehronne is taking his time hanging his ice around his neck
and wrists as he stands shirtless before the mirror. Rae is
lying on the bed.
RAE
You got any money?
TEHRONNE
Thought you had a man for that.
RAE
(a heavy cough)
I said we wasn't gonna talk about him.
TEHRONNE
What we just did, you askin' for money,
make a man stop. I ain't callin' you no
ho. But I ain't gonna be played like no
trick, neither. Remember...
you
called
me
.
RAE
Save that hustle talk to them field
ballers you sell crack to.
TEHRONNE
What'd I tell you?
(kicks the bed)
I don't do none of that shit no more. I'm
in communications now.
10.
RAE
Stolen phone cards and two-ways is what
you sayin'.
Rae starts coughing.
TEHRONNE
Mobile technology is the new fix for
these niggaz, I'm tellin' you. I'm just
lookin' ahead.
(takes out his wallet)
Anyways, ain't no money in drugs no more
with these rednecks popping cough pills
like they's Skittles. Hey, that's what
you need, girl. Get you some cough
medicine. What, you sick?
RAE
Just a cough. Sugar and a spoonful of
Jack'll do it.
TEHRONNE
(takes out money)
Alright. How much you need, ho?
RAE
The hell you call me?
TEHRONNE
Eh, if the bootie fits...
Tehronne catches Rae's wrist as she goes to slap. He quickly
yanks her arm behind her back and bends her backwards,
shoving his face close to her own. He grips the money in a
fist and cocks it to punch - all in jest.
TEHRONNE
You gonna get rough? Is that what you
doin'?
Rae's chest begins to heave with deep breaths. Tehronne looks
down at her legs as she anxiously rubs them together.
TEHRONNE
(shakes his head)
I swear, I seen some buck-wild bitches in
my time, but you the illest I ever seen.
Rae gets control of the burning. She takes the money.
11.
RAE
Just got a cough.
CUT TO:
10
10
EXT. FISHERVILLE SQUARE - DAY
Rae is prancing up the walkway on the square. Two young men
dressed for construction pass Rae.
MAN
It's already noon, Rae. You think that
skirt should still be on?
RAE
(flips them off)
If it weren't you could kiss my rebel
cootch, ya faggot.
The men keep walking as Rae coughs. She turns toward the
Fisherville Grocery.
SANDY
Cough drops or condoms?
Rae stops in her tracks, looking up at her estranged mother,
SANDY, smoking a cigarette outside the grocery store. Sandy
has bleached hair with dark roots. She is in her late-
forties: once a sexy girl, now she's lost all her tread.
RAE
(surprised to see her)
Didn't know you was workin' here now?
SANDY
I just like dressin' up in these goddamn
blue vests.
(takes a drag)
Your money ticket get shipped today?
Rae walks away - deeply affected by Sandy's presence.
SANDY
(calling after her)
You let me know if I can be of any
assistance.
CUT TO:
11
11
EXT. MELVIN'S FEED STORE - DAY
Laz drives an old green Ford pick-up. He pulls the truck up
to the front of the feed store and kills the engine.
12.
LINCOLN, a 13-year-old black boy, comes out of the open
loading door.
LINCOLN
You won't at the square this mornin'.
LAZARUS
Get me ten bags of mulch.
LINCOLN
Yes'sir.
Lincoln runs off. Laz yanks off his black tie.
12
12
EXT. MELVIN'S FEED STORE - LATER
Lincoln slaps the last bag of mulch into the bed of Laz's
truck. Laz hands Lincoln a twenty.
LAZARUS
Keep the change on that.
LINCOLN
Naw... I got it, Mr. Lazarus.
(makes change)
You wanna tip me, best do it in butter
beans. Momma say she need a bag `a
yours
,
none of that store-bought junk. That's
what she said.
Laz smiles. He takes the change. Climbs in his truck.
LAZARUS
Alright, Lincoln. You come on by, I'll
load you up.
CUT TO:
13
13
EXT. LAZARUS'S BARN - LATE DAY
Lazarus steers his tractor toward his small home in a sea of
lush green kudzu. He kills the engine and looks beyond the
nose of his tractor. He lights a cigarette. Below the nose is
the head of a rose garden with a painted sign under it:
Rose's Roses
.
Laz inhales smoke and exhales hate. The tractor lunges
forward, trampling the garden, ripping the flowers to shreds.
CUT TO:
13.
14
14
INT. BOJO'S - EARLY EVENING
MAYELLA is a heavy, forty-year-old black woman. Her blue neon
tube top matches her short pants stretched across her healthy
ass. She is flipping through the juke box selection.
MAYELLA
You gonna put some Luther Vandross in
here? Shit, he black ain't he?
BOJO is reading a paper behind the bar. He's short and stout,
looking like a sad bull dog.
BOJO
He black alright, he just ain't blue.
MAYELLA
Why you stop havin' dancin' on Saturday?
Used to have bands... all kind's live
shit. Like a wake up in here, now.
BOJO
Folks can dance when they want. Didn't
buy that mirror ball for nothin'.
MAYELLA
You seen my snake-skin shoes?
Mayella lifts up her leg and stretches it over the bar with a
provocative flourish. Her shoe is bright blue.
MAYELLA
They're from New York. My niece gets `em
on the computer.
LAZARUS
They got blue snakes up north?
Mayella turns to Laz sipping a beer at the end of the bar.
MAYELLA
Naw. They got some blue dye, though. You
think them boots you got on come from a
black cow?
BOJO
Wanna get on somebody `bout live music,
get on ol' Laz, there. He the one got
this place shakin' back in the day.
14.
(MORE)
MAYELLA
Don't gotta tell me. Me and my
girlfriends use-ta talk `bout them hard
fingertips he got pickin' that guitar.
LAZARUS
Got'em pickin' peas, not strings.
Mayella moves in close, with the tips of her tits touching
his arm.
MAYELLA
They still hard?
LAZARUS
Mayella. It ain't happened yet. Ain't
happenin' tonight.
MAYELLA
(retreating with a glare)
I know you hurtin', Laz. I got ears, you
know. But you should know more'n me...
ain't no better cure for them blues than
some good pussy.
Mayella saunters over to the pool table with the others.
BOJO
Whole lotta woman, right there.
LAZARUS
She can still spread it around.
The door opens behind Laz. Bojo sees the man entering.
BOJO
Laz. We friends and all but... promise me
you'll keep yo cool in my joint.
Laz turns to see the door shut behind his brother, DEKE
WOODS. He is younger than Laz and a bit smaller. Laz turns to
Bojo.
LAZARUS
I'm gonna finish my beer.
Deke slowly approaches Laz at the bar.
DEKE
Mind if I sit?
(no answer)
Rose said... it didn't go too well this
afternoon.
15.
DEKE(cont'd)
(MORE)
See, that's not how we wanted this to go
down. I told her, I said, Rose, we ain't
leavin' till we make peace with Laz. And
that's God's truth. I laid it down.
LAZARUS
You laid it down.
DEKE
I did.
LAZARUS
Funny. Layin' it down... for
my
wife.
DEKE
We're not gonna get through this clean.
But it don't need to get dirty. All
this... it just come together unexpected.
You think I want to hurt you? I... I'd
take a bullet for you, Laz.
The dry look on Laz's face could cool the sun.
LAZARUS
You wanna give that a try?
(to Bojo)
Bo. You still got that .22 behind the
tap? My little brother say he'd take a
bullet for me.
(into Deke's eyes)
You come here to ease your heart. Well, I
ain't gonna give it to you. You took her
into your bed, now you gotta lie in it.
Laz turns back to the bar. Deke begins to turn but stops.
DEKE
I'll always love you, Laz. Till the end
of my...
In one quick movement, Laz grips Deke by the throat and
smashes the bottom of his bottle into jagged shards.
BOJO
LAZ!
Laz pushes Deke back through the joint and slams him onto the
pool table. He grips Deke's throat and holds the broken
bottle up to his face.
LAZARUS
Cain slew Able. Slew him out of envy. And
God put his mark on Cain for his sin. You
want that mark, Deke?
16.
LAZARUS(cont'd)
Give you that peace you come here for?
I'll give it to you, just say that shit
again. Say you love me. Go'on! Say YOU
LOVE ME, NIGGA!
Lazarus slams the bottle down on the pool table, shattering
it. Laz lifts his hand. His own blood leaks from between his
fingers.
He wipes the blood across Deke's face.
LAZARUS
I'm through wit'cha both.
Laz releases Deke and exits. Deke calls after him.
DEKE
What'chu gonna do? Nothin'. YOU AIN'T
GONNA DO NOTHIN'!
Laz slams the door behind him.
CUT TO:
15
15
EXT. FISHERVILLE HIGH SCHOOL - FOOTBALL FIELD - NIGHT
The bleachers are packed with three generations of fans and
family cheering their boys on the high school football field.
Rae is sitting with her two girlfriends, JESSE and KELL - two
girls who graduated five years ago.
JESSE
(hands Rae a beer)
Ronnie ship out this mornin'?
RAE
It's so stupid. Says to me that he don't
want nothin' to do with no military
career. Says he wants to move. Open up an
auto shop with his uncle up in Knoxville.
I said, okay. How about now? Let's go.
KELL
He'd be good for that. Shit, Ronnie knows
cars.
RAE
He get stubborn. Starts
talkin' `bout obligation and
duty and all that... Shit. I
just want him to come home...
I swear, if somethin' happens
to him...
KELL
He fixed up that Buick for my
uncle Dale. He say it purrs
like a kitten every morning.
17.
JESSE
Nothing's gonna happen. Not like
everybody over there is in the line of
fire with them Arabs blowin' themselves
up.
RAE
Can't be thinkin' bout him every second
of my day. I'll go outta my gourd.
JESSE
Why should you waste your life waitin'
and wonderin'. Not like you're married.
RAE
(takes a healthy swig)
I begged him not to go. And he did.
KELL
(screaming at the field)
PUNT YOU FUCKERS!
CUT TO:
16
16
EXT. CONNER'S HOUSE - THE KEGGER - NIGHT
Dirty South rap pounds the ears from a hoopty Olds with a
backseat full of bass. Rae, Kell, and Jesse are walking up to
the rowdy party through the variety of parked cars.
A girl rushes past the trio, vomiting on herself as a friend
comes to her aid.
JESSE
These baby chicks just can't hold their
Jello shots. I'm tellin' ya.
CUT TO:
17
17
INT. CONNER'S HOUSE - THE KEGGER - NIGHT
CONNER is one of the linebackers for the Fisherville Dusters.
A wasted girl sits on his lap as Kell rolls a joint.
CONNER
Tennessee Vols gotta practice indoors
just so those Florida State sons-a-
bitches don't spy on their plays with
satellites and shit.
KELL
Satellites... You mean in space?
18.
CONNER
Uh-huh.
KELL
Good thing you can block, Conner, cuz
you're dumb as a sack of shit.
Jesse notices Rae coughing. She pulls her aside as Conner
rambles.
JESSE
You wanna go home?
RAE
It gets worse there. Leavin' me to my own
mind. That's just not good.
JESSE
(pours a shot of vodka)
Here. Pound this and I'll join you.
Rae and Jesse take a strong shot. It burns.
JESSE
One more. Fuck the chaser.
As they pound one more, Rae notices Gill, Ronnie's friend,
staring at her from across the room.
JESSE
Better?
RAE
Yeah.
BATSON and MARK approach Jesse and Rae. They are both
sophomores, both skinny and harmless.
BATSON
Hey, Jess.
JESSE
Boys.
BATSON
You robotrippin' tonight?
JESSE
I'm just gonna smoke.
Rae peeks at Gill maneuvering through the room.
19.
BATSON
(rummages in his pockets)
Got eight packs of DXM. Oxycontin. Got a
shit load of Coricidin if you want to get
out-a-body, n'all.
JESSE
You just trying to get me outta my
clothes.
RAE
Be right back.
Rae pushes through the crowd of drunken kids to get to Gill.
RAE
It's not like I can't go out and have fun
with my friends.
GILL
You think I'm Ronnie's spy or somethin'?
Come tomorrow that dumb-ass gonna be
halfway round the world tryin' to keep
his head on his shoulders. You think he's
gonna be thinkin' about you?
RAE
You go to hell.
Rae pushes through the crowd, back toward the others.
RAE
(to Batson)
How many to fuck me up?
QUICK CUTS of: Batson popping out five red cough pills. Rae
swallowing all five and chasing them with vodka. Conner's
girl falls off his lap. Kell laughs. The laughter echoes and
grows as we:
CUT TO:
18
18
EXT. CONNER'S HOUSE - THE KEGGER - HIS PARENT'S WATERBED
- NIGHT
CLOSE ANGLES: We never quite see the whole of what is
implied. Rae's eyes, Jesse's mouth, a boy's shoulder.
The room is packed with bodies. Rae laughs with pleasure as
her eyes attempt to focus. The kid on top of her finishes and
rolls off.
20.
JESSE
What's so funny?
Jesse is straddling a guy in an arm chair, Chinese-eyed and
bouncing. Rae tries to respond coherently as another football
player rolls her over on all fours and takes her from behind.
RAE
(laughing)
Oh... I'm just on a water bed... And it's
just... so... Goddamn... funny!
A few coughs. Rae focuses to see a younger guy sitting at her
eye level.
RAE
Hi.
BRYAN
Hey.
RAE
You ain't the kicker, are you?
BRYAN
No, ma'am.
RAE
Cuz let me tell you, you boys gotta run
the ball more. You get into a kicking
game, ya'll gonna lose.
BRYAN
Can I put it in your mouth?
RAE
Okay.
CUT TO:
19
19
INT. LAZARUS'S HOME - THE BEDROOM - NIGHT
Laz kills the rest of his whiskey. He squeezes his eyes
closed as the liquor burns his throat. He tosses the bottle
into a trash bag he is holding.
Laz continues throwing out all of Rose's make-up and hair
products. With one broad sweep, he cleans off her vanity.
21.
20
20
INT. LAZARUS'S HOME - NIGHT
Laz opens the front door and tosses the two bags outside.
Stumbling, he kneels next to the coiled radiator against the
wall opposite the door. He talks to it like an old friend.
LAZARUS
Seem like you and me... we drove her
away. That's what we did. Now we...
(singing softly)
Drinkin' muddy water... a'sleep in a
hollow log...
A thought.
21
21
INT. LAZARUS'S HOME - THE BEDROOM - NIGHT
Laz pulls out a guitar case from under the bed. He wipes a
layer of dust off and opens it.
22
22
INT. LAZARUS'S HOME - KITCHEN - NIGHT
He gently cradles the guitar in his big hands and sits at his
kitchen table. Tunes the strings.
He closes his eyes, swimming in drunken sorrow.
LAZARUS
You gonna do this?
Laz plays the blues, Mississippi, Bentonian style: one
guitar, one voice, a mess of pain.
LAZARUS
(singing, his eyes closed)
Just like a bird without a feather, you
know I'm lost without your love.
Just like a bird without a feather, you
know I'm lost without your love.
You know I need your love just like the
angels need heaven above.
The music continues as we:
CUT TO:
23
23
EXT. CONNER'S HOUSE - THE KEGGER - THE WOODS OUT BACK -
NIGHT
Lazarus's blues is all we hear as four guys chase Rae through
the woods. She is in her shirt and panties, wearing football
shoulder pads.
22.
She is completely wasted. Lost. The ground rocks back and
forth with each step. Trees pass in a slow-motion haze.
LAZARUS
(singing)
Well I sure did shot my baby, but I did
it because she did me wrong.
Well I sure did shot my baby, but I did
it because she did me wrong.
You know the judge called it murder now
the penitentiary is my home.
Rae grips a tree to steady herself, but a team member tackles
her. The woods spin and distort as someone mounts her with
ease.
LAZARUS
(singing)
I loved that woman, she said she didn't
love no one but me.
I loved that woman, she said she didn't
love no one but me.
Rae smiles as she lifts her hand up to the stars, passing the
writhing back of the guy on top of her. If she could just
grab a star she would feel safe again.
She tries to snatch one. She can't. Her hand drops as the boy
stands and takes off after his friends tossing the football.
Rae lies motionless on the ground.
LAZARUS
(singing)
Yeah but I caught my baby cheating.
CUT TO:
24
24
INT. LAZARUS'S HOME - KITCHEN - NIGHT
A tear rolls down Laz's cheek.
LAZARUS
(singing)
Now my home ain't where it used to be.
His guitar groans its last for the night.
CUT TO:
23.
(MORE)
25
25
EXT. CONNER'S HOUSE - THE KEGGER - FRONT YARD - LATER
THAT NIGHT
Rae is wasted. She is still wearing her shirt, panties and
shoulder pads as she steps over passed-out teenagers.
RAE
Jes? Jesse?
(trips over a sprinkler)
Oh shit... Wait... Wait... STOP!
GILL
Stop what?
Rae doesn't look up. The Coricidin is tripping her out.
RAE
(coughing)
The ground is... turnin' upside down. I'm
gonna...
(coughing)
I'm gonna fall off...
Gill reaches down and pulls off the shoulder pads. The
coughing fit passes.
RAE
Oh. That feels
so
much better.
CUT TO:
26
26
EXT. ROAD - NIGHT
Gill's truck flies down the dark road.
27
27
INT. GILL'S TRUCK - NIGHT
Rae is looking out the window, drifting in and out.
GILL
Thought you had a skirt earlier.
RAE
I got others.
Gill pulls to the side of the road and kills the engine. He
watches Rae tilt her head from side to side.
GILL
This thing you got... I've heard people
say, you'd fuck a tree if it was handy. I
can see that.
(shakes his head)
24.
GILL(cont'd)
But that nigger Tehronne. Thinks he's
some player cuz he hustles dope and
stolen hubcaps. I mean, I can see a tree.
But that piece of shit?
RAE
(lost in hazy sorrow)
I begged him. Don't see why he had to
go...
GILL
I bet you did. Just had to get that black
cock up in you. I swear to God. What
Ronnie sees... you disgust me.
Gill grabs her legs and spreads them with no resistance. Her
head rolls from side to side on the truck seat as Gill unzips
his pants.
Rae starts giggling.
GILL
The fuck you laughin' at?
RAE
(giggling)
You don't got half what Tehronne got.
Gill flinches upright. A rage builds in his eyes.
28
28
EXT. ROAD - NIGHT
From outside the steamed truck window, we see Gill beat Rae
repeatedly.
Silence.
GILL
(muffled from the inside)
Get up! I ain't playin'! OPEN YOUR
GODDAMN EYES!
Silence.
He opens the truck door, fear in his eyes. Rae isn't moving.
Blood is on her face.
GILL
Oh, Jesus...
A hasty idea. He pushes her out of the truck. She falls to
the dark pavement in a tangle of her own limbs.
25.
The door slams. Gill floors the gas. Rae lies motionless
alone under the stars.
Her watch alarm goes off:
Beep-beep. Beep-beep. Beep-beep
.
CUT TO:
29
29
INT. A BUS - NIGHT
Ronnie is asleep on the bus, unaware that his watch alarm in
beeping at him.
A Guardsman sitting next to him shakes Ronnie awake.
GUARDSMAN
Hey.
Ronnie silences the alarm. He regards the watch with sadness
and affection.
30
30
EXT. FREEWAY - NIGHT
The bus roars past. The red brake lights fade into night.
FADE TO BLACK:
31
31
INT. LAZARUS'S HOME - KITCHEN - EARLY MORNING
Lazarus has fallen asleep sitting at his kitchen table. His
eyes open. Standing is difficult. The guitar falls to the
floor.
The phone rings. Dizziness hits, but he manages to pick up
the receiver.
LAZARUS
Huh?
32
32
INT. CHURCH OF GOD/ LAZARUS'S HOME - EARLY MORNING
R.L. is on his cell phone. He is placing hymnals in the back
racks of the church pews.
R.L.
Bojo called. Said you got to see your
brother at the long end of a broken
bottle.
LAZARUS
You gonna preach `bout turnin' the other
cheek?
26.
R.L.
I think you did alright by God under the
circumstances.
(R.L. pauses)
Your people are here for you, Laz. This
is your home. No shame in showing your
face.
LAZARUS
Don't know if God wanna see me.
R.L.
He knows where ya at. Just answer the
door if he come knockin'.
Laz hangs up the phone.
CUT TO:
33
33
EXT. LAZARUS'S HOME - LATE MORNING
Lazarus steps out onto his porch. He picks up the trash bags
full of Rose's things and walks down the gravel drive to the
road.
34
34
EXT. LAZARUS'S HOME - WHERE THE DRIVE MEETS THE ROAD -
LATE MORNING
Laz tosses the bags inside his trash cans.
He's really hung over this morning. His eyes squeeze shut, he
grips his neck in pain.
LAZARUS
Mmmmmmmmmm... Mm!
His eyes open. They remain fixed beyond us. The pain in his
face is replaced with grave confusion.
Rae lies on the side of the road.
Her T-shirt and panties are damp from the early morning mist,
her face caked with dried blood. Her skin is deathly white,
her mouth open, her eyes shut and swollen.
Lazarus carefully steps toward her. He leans down over her
face.
LAZARUS
Sweet... Jesus...
27.
(MORE)
Rae coughs. Laz flinches.
CUT TO:
35
35
INT. LAZARUS' HOME - LATE MORNING
The door slams against the wall as it swings open. Laz is
carrying Rae, unconscious and limp, in his arms.
He lays her down on the couch by the radiator. He pulls a
quilt over her cold skin. With a twist of the valve the
radiator moans to life.
Laz takes out his bandana and cleans her face. He tries to
wake her.
LAZARUS
Little lady? Miss? You need to open your
eyes for me. Could ya do that?
Her eyes open slightly - just slits of white.
LAZARUS
There we go. There we go. Just like you
doin'. Go'on.
She whispers as she touches her fingers to his cheek.
RAE
(a raspy inhale)
Teh... Tehronne?
LAZARUS
Tehronne? Tehronne done this?
A labored breath followed by the most pitiful cough fit. Laz
tries to calm her as her lungs fight for oxygen. Laz looks
scared as the coughing stops in a desperate wheeze followed
by silence.
36
36
INT. LAZARUS'S HOME - KITCHEN - MORNING
Laz pulls the phone off its cradle on the wall and flips
through the phone book.
His fingers scan down the listings and stops on POLICE
DEPARTMENT. He dials and listens.
OPERATOR
(a recorded voice)
You've reached the Fisherville Police
Department. Your call will be answered in
the order it was received.
28.
OPERATOR(cont'd)
If this is an emergency, please, hang up
and dial 9-1-...
Slam! Fingers hit the phone cradle. Lazarus dials 911.
As soon as he places the phone to his ear, he looks over at
Rae sprawled out on his couch. Her bare legs can be seen
peeking out from under the quilt.
Fear hits him. He slams the phone down again.
Laz crosses to the couch and gently touches her head.
LAZARUS
(softly)
I'm'a go into town. Get you some medicine
to fix you up. You just rest, okay, gal?
You just sleep. Get that chill out'cha.
Laz touches the radiator. It burns him.
LAZARUS
God... damn...
37
37
EXT. ROAD - AFTERNOON
Laz's Ford roars down the shaded street towards town.
CUT TO:
38
38
EXT. FISHERVILLE SQUARE - MACON DRUGS - AFTERNOON
Laz parks his truck in front of MACON DRUGS and heads inside.
An old black man named RED sits on a bench next to an older
white man in his early eighties holding a cane. RED is the
paid caretaker of MELVIN.
MELVIN
How's the squash this year?
LAZARUS
It's good, Mister Melvin. I'll bring ya
some.
Laz rushes inside.
39
39
INT. MACON DRUGS - AFTERNOON
The variety of cough medicine confuses Laz as he examines
them.
29.
ANGELA approaches Laz. She is dressed in a floral print dress
with a white lab coat. Angela has a few extra pounds on her
but she wears it well with her caring face and sweet manner.
ANGELA
Lazarus?
LAZARUS
(startled)
Oh! Gave me a start.
ANGELA
I'm sorry. It's these soft shoes I wear
for my back.
LAZARUS
You hurt it?
ANGELA
I'm standing most of my day. They're for
support.
(a smile)
Didn't see you in church this mornin'.
LAZARUS
(tries to lie)
Been on the crop. May need to get some
extra hands if I don't want to work on
Sundays.
ANGELA
Well. It's good to see you.
Angela wants the conversation to continue but Laz remains
silent. She smiles awkwardly.
LAZARUS
Angela?
ANGELA
Yes?
LAZARUS
I need to uh...
ANGELA
Go on, Laz. You can talk to me.
LAZARUS
My little niece... she got this deep
cough.
30.
ANGELA
You take her to a doctor?
LAZARUS
(struggles to lie)
No. No, she can't go. Mean to say...
they's just no money fo'a doctor. Her
daddy left for a job, and uh... give her
to me to look on. I just...
(a pitiful pause)
I don't know what to do.
Angela thinks for a moment.
ANGELA
You wait right here.
CUT TO:
40
40
INT. LAZARUS' HOME - DAY
Snot and spittle has run down the side of Rae's face - her
eyelids stick together as she tries to open them.
There is a creak, followed by another. Rae has become aware
that someone is slowly walking up the front porch.
The door opens. Silhouetted in the day's blinding light is a
white man in his 40's. His face is indistinguishable to Rae's
affected gaze.
Is this a dream?
He stands above her and lights a cigarette. The Zippo lighter
clasps shut. The man lowers it to his side where Rae can see
it clearly. A bald eagle is printed on the side, a sight that
makes Rae's eyes open wide in horror.
Her breath grows deeper - a girlish plea. This is no dream -
it's a nightmare.
RAE
Mm-mm... Mm-mm...
A massive hand slaps down over her mouth. Her crusted eyes
peer above the hairy knuckles. He sucks on the cigarette. A
red cherry blazes at the end. The man pushes the blanket off
of her and grips her panties.
Rae's eyes close. She knows what is next. In his clenched
fist, the panties are ripped off.
31.
RAE
NOOOOO!
Rae flinches awake from the fever-induced nightmare and falls
to the wooden floor, drenched in sweat.
Weakened and shaking, she scampers away, finally collapsing
in the kitchen. Her hand reaches out and lands on the strings
of Laz's guitar on the floor. She grips the steel strings
with her trembling fingers.
A single bass note twangs as she passes out.
CUT TO:
41
41
INT. MACON DRUGS - AFTERNOON
Angela stands between the aisles, motioning Laz to approach,
away from the girl at the counter.
ANGELA
Is your niece older than 12?
LAZARUS
Oh, she older than that.
She hands him a white box with cough syrup inside.
ANGELA
My sister got a bad cough with her
pneumonia. I just copied her
prescription. You don't need to pay
anything... just take it. But if she gets
worse, you give me a call. I wrote my
number on the box.
LAZARUS
This gonna get you in trouble?
ANGELA
Not if no one finds out.
Laz doesn't know what to say. He puts the box in his pocket.
LAZARUS
Thank you.
(suddenly awkward)
Oh. My wife. She had a card here for her
migraine pills. She ain't gonna be around
no more... So if you...
32.
ANGELA
I already tossed that out.
(takes a step closer)
Somethin' you should'a done to that woman
long ago... how she treated you. Of
course, that's none of my business.
LAZARUS
(smiles)
Don't make it less true.
Angela returns the smile.
42
42
EXT. MACON DRUGS - AFTERNOON
Laz opens his truck door and stops. At the pool-hall across
the square, Laz sees a green Cutlass with chrome rims.
CUT TO:
43
43
INT. POOL HALL - AFTERNOON
Laz enters the empty pool hall. Tehronne is playing a game
with a skinny playa-wanna-be dressed in flea-market Fubu.
CHARLIE, the owner, approaches Laz from the bar.
CHARLIE
Hey, Lazarus. We closed up on Sunday.
LAZARUS
Need a word with Tehronne.
CHARLIE
(calling to the back)
Yo, T! Laz wanna holla at cha.
TEHRONNE
Come on back, Cuz.
Charlie nods Laz on. He crosses to the back pool table as
Tehronne sinks the 8. Tehronne looks at his friend.
TEHRONNE
Do you call it a game when only one man
win each time? I think you call it a damn
shame.
LAZARUS
Word wit'cha. In private.
Tehronne hands his friend the pool cue. The two take a few
steps away to talk.
33.
TEHRONNE
You need some weed?
LAZARUS
Been years since I fooled with that.
(tries to find the words)
You know a white girl? Dirty blond hair,
split down the middle like?
TEHRONNE
(smiles)
That ain't up to me to hook you up. Naw
what I mean? She her own, you know?
LAZARUS
Huh?
TEHRONNE
I don't pimp that.
(silence)
You talkin' about who I think you talkin'
about, you mean Rae. Rae Doole. Sexy
little split tail, like you say. I can't
hook you up with that. I got two girls.
One ain't in town, the other one
pregnant. So... you on your own.
LAZARUS
This Rae... you get with her?
TEHRONNE
Shit. Who hasn't?
LAZARUS
Why you say that?
TEHRONNE
She got a spare minute she'll snatch up
anyone... but me, I'm different.
Sometimes she need the real deal, so she
call me up. Girl got an itch. You know...
what's a nigga to do?
LAZARUS
She like it rough? You like beatin' on
her?
TEHRONNE
That ain't my scene. If that's somethin'
you
into...
LAZARUS
Now, hold up.
34.
TEHRONNE
See, that girl is in my favor. You heard
me, nigga? You fuck with her rough, and
you got me to fuck wit.
LAZARUS
You collar that dog, boy. I ain't gonna
hurt nobody. Just wanted to know who she
was.
TEHRONNE
Like I say, you wanna hook that up... I
ain't in ya way. That switch of hers been
all over this town. Got that sickness,
you know.
LAZARUS
What'chu sayin'?
TEHRONNE
She a freak. Got what you call a sexual
addiction.
Lazarus looks at him with a furrowed brow. Confused.
LAZARUS
What'chu sayin'?
TEHRONNE
What I'm tellin' you. Girl gotta get dick
or she go crazy.
CUT TO:
44
44
INT. LAZARUS' HOME - DAY
Laz opens his own door with caution. He turns to see Rae
sprawled in his kitchen in her panties and T-shirt. He rushes
to her side.
LAZARUS
Gal? Miss Rae? Rae, you hear me?
Lazarus lifts her sweaty body off the floor and moves her
back to the couch.
Consciousness briefly returns to Rae in her feverish haze.
FLASH TO:
35.
45
45
CLOSE UP - FLASHBACK
The white-knuckled hand clutched around her mouth.
FLASH BACK TO:
46
46
INT. LAZARUS' HOME - DAY
Rae flinches and flails. She falls to the floor.
LAZARUS
Hold on, now. Hold on!
Rae's eyes are open and filled with fear. She struggles to
flee as Laz holds her in place, trying to reassure her.
LAZARUS
Now, I ain't gonna hurt'cha. Calm down,
Miss.
(she fights, coughs)
Listen... Listen... LISTEN NOW, GAL!
(Rae settles in his grip)
I ain't gonna hurt ya, hear? Gotta get
you well. Now, look me... HEY! Look me in
the eye.
Rae is too weak to talk or move. Laz clutches her small face
in his dark hands.
LAZARUS
Open your eyes. Go'on, now. You need to
see, ain't no harm here. Ain't no harm.
(Rae calms)
My name is Lazarus Woods. And I ain't
gonna let you die.
Rae's eyes roll back.
Lazarus looks terrified as she cranes her head back and
forward. Her mouth opens.
In her sickened state, with the force of something evil and
deep inside, Rae clasps her open mouth over Laz's. A shriek
sounds in his brain as he holds her tighter, allowing the
kiss to grow in intensity.
Rae falls to her stomach as Laz abruptly stands and stumbles
across the room. What he sees chills him to the bone.
Rae is writhing on the floor as if she is possessed - a rant
of raspy words pour from her mouth.
36.
RAE
... you don't... touch me... s'no... NO!
Mm-mm... Mm-MMMMMMMMMMMMM! N-N'you FUCK!
Lazarus gets spooked by what he is seeing. He looks to the
mantle. His weathered Bible lies in a coat of dust. He picks
it up as a wave of the burning hits Rae.
She clutches her breast and crotch, rolling from side to
side.
RAE
Mm-mm... mm-mm... Ma-muh... Ma-MUH!
(sudden anger, shouting)
See... S... See if'I GIVE... GIVE'A...
SHIT...
FLASH TO:
47
47
INT. DUNN'S CAFE - MORNING - FLASHBACK
Rose is shouting at the customers in the cafe. Her eyes are
white like Rae's. Her voice is not her own but that of Rae.
ROSE/RAE
(screaming)
`BOUT ANY OF YOU PEOPLE!
FLASH BACK TO:
48
48
EXT. LAZARUS' HOME - DAY
Laz runs out of his own home, not even shutting the door
behind him. He gets half way down his drive, the Bible still
clutched in his hand. He stops.
In a panic, Laz opens his Bible, places it down on the drive,
face up, creating a barrier to evil.
He hears a choking cough inside the house. Rae is fighting
for breath beyond the dark door.
Silence. Laz reaches down and picks up his Bible.
A passage catches his eye. As he reads, the fear vanishes
from his face. His back straightens. His jaw tightens. He
looks back at his house, his faith is renewed.
CUT TO:
37.
(MORE)
49
49
INT. LAZARUS'S HOME - THE BATHROOM - DAY
The Bible is slammed down on top of the toilet tank. The
bathtub faucet coughs as Laz twists the cold water knob.
50
50
INT. LAZARUS' HOME - KITCHEN - DAY
The freezer door opens. He snatches four trays of ice.
51
51
INT. LAZARUS' HOME - THE BATHROOM - DAY
The trays crack. The ice cubes bounce into the tub.
52
52
INT. LAZARUS' HOME - DAY
Rae's lips are dried and split as she pants, lost in dizzying
fever. Laz lifts her.
53
53
INT. LAZARUS' HOME - THE BATHROOM - DAY
Laz kneels on one knee to put her into the tub.
A horrible cry from Rae as Laz wrestles with her, keeping her
submerged in the ice cold water.
LAZARUS
I know, child, I know. Gotta break that
fever now.
(Rae sobs, struggles)
Don't mean to hurt'chu. But I ain't
lettin' you die.
(holding her down)
I AIN'T LETTIN' YOU DIE!
Rae is motionless. Exhausted. Her eyes are open but blind.
Her lip trembles. Her body shakes from the freezing water.
Laz rubs the hair from her face gently. He reaches over to
the Bible on the toilet and opens it to read.
LAZARUS
Put fear of the Devil in me, gal. Got me
spooked like I's a kid, I tell you.
(flips through the pages)
But the good Lord, He showed me what to
do. He come knockin' like my man R.L.
say... listen here...
(Rae sobs like a child)
This here Matthew. He talkin' on how
Jesus was healin' the sick. And a man
come up to the disciples and he say...
(reads deliberately)
38.
LAZARUS(cont'd)
Have mercy on my son, for he is a
lunatic, and sore vexed...
(to Rae)
He got the devil in his mind and sores on
his skin.
(reads)
And he brought the boy to the disciples,
but they could NOT cure him.
Rae's shivering is abating. Her eyes fight to stay open. Laz
touches her forehead to test her temperature.
LAZARUS
(reading)
Then Jesus answered and said, O faithless
and perverse generation... how long shall
I suffer you? Bring the boy hither to me.
And Jesus rebuked the devil.
(to Rae)
You hear that?
(reads)
Then the disciples say... Why could not
we cast the devil out? And Jesus said
unto them...
Rae's eyes begin to close. Laz gently touches her head to
rile her awake.
LAZARUS
Listen now... This what he sayin' to us.
He say...
(reads)
If ye have
faith...
if ye have faith as a
grain of mustard seed, ye shall say unto
a mountain, remove hence... and
it
...
shall
...
move
. And nothin'...
nothin'
shall be impossible to you.
(to Rae)
You hear that? You just need a bit of
faith. You just gotta believe you gonna
get well, like I do.
He touches her forehead again. Her eyes close.
LAZARUS
That's better. You coolin' down. Okay.
You rest. Okay. You rest.
Laz leans against the wall, spent.
39.
54
54
EXT. LAZARUS' HOME - SUNSET
The cicadas sing in a rising chorus as the clouds above fade
from copper to crimson.
FADE TO BLACK.
55
55
INT. LAZARUS' HOME - NIGHT
The faint echo of Rae's fevered panting.
She lies on the couch wrapped in a quilt, shivering. Her eyes
remain closed, her face drenched with sweat. Laz has cleaned
her facial wounds, using a few Band-Aids.
BOOM!
An explosion ignites the windows surrounding the cabin. Rae
jolts awake, terror pervades her as she gasps at the fire
ball outside the window.
She struggles to her feet and listens. A faint sound can be
heard through the roar of the flames.
beep beep... beep beep... beep beep... beep beep...
RAE
(a whisper)
Ronnie...
Rae stumbles to the door, weak and dizzy. She grips the door
knob and pulls the door open.
56
56
EXT. LAZARUS' HOME - NIGHT
Rae races outside, tripping down the front porch steps. She
looks off at the blaze in the squash field.
She frantically races toward the fire, the beeping increases.
RAE
Ronnie... RONNIE!
BEEP BEEP... BEEP BEEP... BEEP BEEP... BEEP BEEP...
At the center of the blaze is an upside down Humvee. To the
left of the vehicle, a few soldier's bodies lay scattered.
Rae's legs lose all strength, she collapses and crawls across
the squash plants.
A far away voice is heard over the roaring flames.
40.
LAZARUS
Gal? Gal?
Rae crawls across a fallen soldier, following the sound of
Ronnie's alarm. She struggles to breathe, she almost faints.
She finds a soldier face down. With all her strength she
turns him over. It is Ronnie, wide-eyed and lifeless.
An awful groan comes out of Rae - crippling sorrow. She pulls
on his vest trying to wake him.
RAE
(sobbing)
Nn-nn... Nn-nn... no... N'RONNIE!
LAZARUS
GAL! YOU HEARIN' MY VOICE?
Rae looks up. The flaming humvee is gone. She is not pulling
on Ronnie's vest, but the tangled vines of a squash plant.
Laz stands at a safe distance, silhouetted in moonlight.
LAZARUS
You travelin' right now, gal. You asleep
and you don't even know it.
(extends his hand)
Now... come on inside with me.
Rae looks like a terrified child. Her eyes well with tears as
she shakes her head. Laz takes a step toward her.
RAE
Mm-mm... Mm-mm...
LAZARUS
Come on, gal...
She turns and runs away as best she can. Laz chases after
her. He's much older than her and a bit slower, but her
balance betrays her.
Laz wraps his arms around her. Rae screams to the sky.
RAE
NO! NOOO! NOOOOOOOOOO!
And then, stillness. Rae lies limp in Laz's arms,
unconscious.
He reaches down and lifts her wrist to his face. The green
screen of the digital watch pulsates with the alarm.
41.
He pushes the side button. The beeping stops. Silence.
CUT TO:
57
57
INT. LAZARUS' HOME - KITCHEN - NIGHT
Laz lays Rae back onto his couch. Her eyes open into slits.
She can see Laz's form over her like the man in her
nightmare.
Rae grabs Laz's wrist. He flinches with her force.
RAE
(the whisper of a child)
Is'okay... Is'okay...
Struggling with exhaustion, Rae moves Laz's hand to her bare
stomach. She rubs it slowly up and down her form,
suggestively.
Laz slips his hand away and claps it tight over her eyes. Rae
holds her breath, waiting to be molested, her lip quivering.
LAZARUS
(singing deep and soft)
Goin' over that hill.
Goin' over that hill.
Well, i ain't gonna stop until I reach my
God's top.
I'm goin' over the hill.
Well I went to the valley, I didn't go to
stay.
Soul got happy, I stayed all day.
I'm goin' over that hill.
Rae relaxes and falls into a deep sleep.
Laz backs away from her, a touch of fear in his heart. The
voice of Tehronne is heard from earlier in the day.
TEHRONNE
(v.o.)
She a freak. Got what you call a sexual
addiction.
LAZARUS
(v.o.)
What'chu sayin'?
42.
TEHRONNE
(v.o.)
What I'm tellin' you. Girl gotta get dick
or she go crazy.
FLASH TO:
58
58
INT. POOL HALL - EARLIER THAT DAY - FLASHBACK
Lazarus looks at Tehronne with a furrowed brow, confused.
TEHRONNE
First hooked up with that bitch when she
was 16. Girl was fuckin' the principal
and two of her teachers. You know coach
Reynolds?
LAZARUS
Uh-huh.
TEHRONNE
He tapped that.
LAZARUS
Naw!
TEHRONNE
Go ask him.
FLASH BACK TO:
59
59
INT. LAZARUS'S BARN - NIGHT
Lazarus opens his barn, slicing through the darkness with his
flashlight.
TEHRONNE
(v.o.)
She been bumpin' around all her life,
hookin' up with whoever keep her fed and
fucked.
He crosses to the other side, pulls on a beaded chain turning
on the single bulb above his work table.
TEHRONNE
(v.o.)
I seen her give it up on park benches,
back of trucks, hoopty hoods, you name
it.
43.
Laz opens an old wooden box on his work table. He looks
inside.
FLASH TO:
60
60
INT. POOL HALL - MORNING - FLASHBACK
Laz looks ill. Tehronne checks his pager briefly.
TEHRONNE
You ever seen a train run on a woman?
LAZARUS
Nuh-uh.
TEHRONNE
Meanin' like a team of fellas go to work
on her and she don't even break a sweat.
(puts his pager away)
She into football, you know. You got a
letter on your jacket you get that pussy
in ya lap. I ain't playin'.
Tehronne's friend breaks on the pool table with a sharp
crack. Lazarus is genuinely disturbed.
LAZARUS
How a girl get like that?
TEHRONNE
Like I told you.
FLASH BACK TO:
61
61
INT. LAZARUS'S BARN - NIGHT
Lazarus reaches inside the box and pulls out the end of an
old chain.
TEHRONNE
(v.o.)
Girl got a sickness.
The chain rattles as Laz walks backwards, pulling the long
chain from the box. The shouting of his brother can be heard.
DEKE
(v.o.)
What'chu gonna do? Huh? Nothin'. YOU
AIN'T GONNA DO NOTHIN'! NOTHIN'!
The end of the chain snags, yanking the box over.
44.
CRASH!
CUT TO:
62
62
EXT. LAZARUS' HOME - THE VEGETABLE GARDEN - LATE MORNING
Lazarus is bent over, harvesting his tomatoes.
LAZARUS
(singing to himself)
Tell me who's that writin'? John the
Revelator.
Wrote the book of the seven seals.
CUT TO:
63
63
INT. LAZARUS' HOME - AFTERNOON
Laz enters his home. He crosses to the kitchen and pours
himself a glass of water.
Dripping with sweat, he steps back into the room, downing the
last of his water. He lowers the glass, noticing Rae looking
at him.
LAZARUS
Hey.
Rae lifts her head off the pillow. Laz comes to her side and
helps her sit up.
LAZARUS
Take it easy now. Don't rush it.
RAE
(a scratchy whisper)
How long... how long I been out?
LAZARUS
You been in and out goin' on two... maybe
two days.
RAE
(can't believe it)
Two days?
LAZARUS
After your fever broke, you'd wake up in
spells... long enough to get that
medicine in ya.
Rae sits up on the couch, the quilt wrapped around her waist.
She looks at the cough syrup bottle on the side table.
45.
LAZARUS
Found you on the side of the road.
Someone took to beatin' on you pretty
bad. You know who done that to you?
Rae touches the cut over her eye. That evening is still a
blur.
RAE
Where's Ronnie?
LAZARUS
Well I don't...
RAE
(remembering)
Wait. He left.
Rae lifts her head, revealing tears in her eyes. She gets mad
at herself and wipes them away.
RAE
I don't got any money... for fixin' me up
and all.
LAZARUS
Don't need none.
RAE
Then I better be on my way. Don't wanna
put you out no more.
LAZARUS
Think it'd be best if you stayed put
while we talk.
RAE
Naw'sir... I gotta be on my way.
LAZARUS
Best try gettin' ya wits about you `fore
you try to...
Rae struggles for balance as she attempts to stand. The quilt
falls away as a heavy chain slides off the couch and thuds on
the floor by her feet.
Rae feels a tug.
She looks down to see a dark chain locked around her thin
waist and coiled on the floor. The opposite end is locked
around the side coil of the radiator.
46.
She is chained to the house, a prisoner.
LAZARUS
Let me say somethin' first...
RAE
Why you got me chained?
LAZARUS
Way I see it, it's gonna take a while for
you to get right.
RAE
The fuck you been doin' to me?
LAZARUS
I ain't laid a hand on ya but
to ease yo fever... Remember
like I say, I found you in
the road...
RAE
(yanks at the chain around
her waist)
Get this Goddamn thing off
me!
Rae stumbles as she moves away from Laz. Laz tries to
reassure her.
LAZARUS
Now, no harm's come to you... and I aim
to keep it that way. Ain't gonna... gonna
run a train over ya... or however you
call it... see... you was runnin' wild on
me... these fever dreams you was
havin'... these fits. I'd be chasin' you
all night.
RAE
Well I'm woke now... you can take this
off.
Rae waits.
LAZARUS
Gal, you ain't right yet.
RAE
I'm right enough to stand on my own two
feet. Now take this Goddamn chain off...
LAZARUS
How you let men treat ya like they do?
RAE
What?
47.
LAZARUS
These men you up under. How you let them
do ya like that?
RAE
(grips the chain)
Do me? Do me like this, you mean? Like
chainin' me up?
LAZARUS
You know what I'm talkin' about.
(beat)
All that mess with ya teachers and...
boys in the backs of trucks.
RAE
(shocked)
The hell you know about me?! You got no
right to talk to me about that shit! The
hell you think you are?
LAZARUS
(interrupting)
I've saved ya life, gal. I can do and say
whatever the fuck I want.
Rae begins to feel a pang of panic. She goes to the chain
locked around the radiator. She yanks on it a few times.
LAZARUS
I give ya enough chain so's you can get
about the house. Get you to the kitchen.
You need the bathroom, it'll reach.
RAE
What do you want?
LAZARUS
We got everything we need. Plenty of
food. Ya medicine still got a few good
swallows in it...
RAE
WHAT DO YOU WANT FROM ME?!
(Laz can't answer)
WHATEVER YOU GONNA DO TO ME, JUST DO IT!
AND LET ME GO!
LAZARUS
God saw to it to put you in my path. And
I aim to cure ya of your wickedness.
48.
This statement terrifies Rae. The fear can be seen in her
eyes. She backs away - the chain scrapes across the floor.
RAE
You some kind'a pervert?
LAZARUS
No ma'am.
RAE
Some crazy Jesus freak, gonna
fuck the spirit into me...
LAZARUS
In my house, you watch that lip...
RAE
(furious, near tears)
Look it, mister... you wanna
have your way, you take it.
I'll do whatever you want.
But you gotta let me go. You
can't do this! You can't KEEP
ME HERE!
LAZARUS
You sick. You got a
sickness... we broke that
fever... we gonna break that
hold the devil got on ya.
Rae pushes Laz back and bolts for the door. Laz falls back
against the side table by the couch, toppling the lamp.
64
64
EXT. LAZARUS' HOME/ INT. LAZARUS' HOME - AFTERNOON
The door slams against the house as Rae rushes out in her
wolf shirt and panties - the chain trailing behind her.
RAE
(screaming)
HELP!
Laz watches as the coil unravels and snaps taut, yanking on
the old radiator.
Clank!
The chain whips Rae down to the ground. Laz watches as
dust flies of the radiator with each tug.
RAE
SOMEBODY!
CLANK!
The fear in Laz's face is replaced with a grin as he watches
his radiator hold firm.
RAE
SOMEBODY HELP ME!
49.
Outside, Rae bucks and screams, yanking on the chain like a
wild mustang. Her bare feet and legs are soiled with fresh
mud and grass as she claws at the ground.
Laz crosses to the radiator and pats it like a proud parent -
his wedding ring clicks against the iron.
LAZARUS
(to the radiator)
Ain't gonna be moved.
He steps outside with resolve and strength. He picks up the
chain and wraps it around his fist.
LAZARUS
GAL! I ain't gonna be moved on this!
Laz yanks her back, dragging her towards him. He grips the
taut chain with his other hand and yanks her closer.
RAE
LET ME GO!
LAZARUS
You can holla y'self hoarse. Ain't gonna
bend my will.
(pulls her closer)
Right or wrong, you gonna mind me.
(Pulls her again)
Gonna suffer you like Jesus say, to the
FAITHLESS and the PERVERSE GENERATION.
Rae is spent. She turns to look at her captor as he wrangles
her back to the porch.
LAZARUS
Now you get up! And you get in my house!
RAE
Or what?
Rae spits at Laz. Bad idea.
CUT TO:
65
65
INT. LAZARUS'S HOME - LATER THAT AFTERNOON
Rae is screaming and grunting as Laz, standing in his
kitchen, tugs on the chain around the door-jam like he's
drawing water from a well.
Outside Rae struggles to hold onto the porch post. Laz pulls
hard, lifting her lower torso off the ground.
50.
RAE
Stop it! Stop it! IT HURTS!
LAZARUS
Whose doin' is that?
Laz yanks. Rae loses her grip and slams onto the porch.
RAE
Okay... OKAY! I'M COMIN' IN! NOW QUIT IT!
The pulling stops. Rae picks herself up. Her knees and hands
are scraped and bleeding. The two stare at each other.
LAZARUS
Say we talk. Just take a seat on the
sofa. I'll get us somethin' cool to
drink.
Laz crosses to the kitchen. Rae sits down on the couch,
noticing the fallen lamp on the floor.
LAZARUS
You may not remember. But you spent a
whole half day in my tub, tryin' to cool
down. Melted four ice trays.
He finishes preparing the two waters. He crosses into the
front room. Rae is not there.
CRASH! Rae smashes the lamp on Laz's head. The water glasses
shatter as Laz falls to the floor.
Rae picks up a wooden chair and breaks it over his back.
Before she can do any more damage, Laz grabs her by the
wrists and throws her to the couch.
Rae falls to the floor. Laz stumbles on his feet as he
clutches his bleeding head. He loses his cool.
LAZARUS
Wicked little bitch... gonna cut me...
RAE
You gonna get a lot more a'that, you keep
me locked up like this!
Rae freezes as she sees Laz undo his belt buckle. Her breath
starts to quiver as she deeply inhales and exhales.
LAZARUS
Think I'm gonna let you do me like
that...
51.
Laz whips his belt off and wraps the buckle around his fist.
He stops in his tracks. Rae is panting and shaking. Her
middle finger is scratching at her own thigh.
LAZARUS
(regaining his cool)
Okay, now... I ain't gonna hit'cha.
(the burning is starting)
Just lost my cool there.
(he throws the belt away)
Now take that look out'cha eye.
Her anguished hum can be heard through her clenched teeth as
she rocks back and forth. Her hands wander down to her inner
thighs.
LAZARUS
No, ma'am. You stop that foolishness.
RAE
(shaking her head)
Hm-mm... Hm-mm...
LAZARUS
I said... STOP!
RAE
(on the verge of crying)
I CAN'T!
Rae gets dizzy. She rests the top of her head on the floor
and sways back and forth.
Laz rushes out the front door.
As the wave hits, Rae twists and turns, wrapping the chain
around her. She grips the radiator with both hands and rests
her face against the side.
RAE
Hmmmmmm... Stop-it!... STOP-IT!
The wave is about to build in to a powerful climax. Rae gasps
for breath.
The door slams open. Laz drenches her with a gallon of cold
well water from a tin bucket. Rae inhales and freezes. Laz
waits and watches.
The burning is gone.
52.
Laz kneels next to her and gently frees her bare ankle from
the tangled chain.
LAZARUS
You hungry?
CUT TO:
66
66
EXT. LAZARUS' HOME - ON THE PORCH - LATER THAT DAY
They are both seated on the front porch with paper plates in
their laps. Laz watches with amusement as Rae tears into her
chicken and gobbles up the vegetables.
LAZARUS
I put some back ache into growin' them
greens. You should slow down and see how
they taste.
Rae remains under Lazarus' intense gaze as the cicadas sing.
CUT TO:
67
67
EXT. LAZARUS' HOME - THE VEGETABLE GARDEN - SUNSET
Rae stares off at orange clouds and purple sky. She takes a
step to her left, walking through the parallel rows of
squash.
The chain gently rattles behind her. Laz has given her about
20 feet of slack. He holds the chain tight around his fist.
Rae grins, standing proud in her wolf shirt and panties.
RAE
You like this? Walkin' me through this
field like I's your mule?
LAZARUS
Can't sit all day on that sofa. Need to
get your legs strong.
RAE
(sassy)
If I break one you gonna shoot me?
Rae teases Laz by adjusting her panties. She turns back to
the sunset and stretches.
CUT TO:
53.
(MORE)
68
68
INT. LAZARUS' HOME - NIGHT
Rae's smoldering eyes don't leave Laz as he chains her to the
radiator. Laz nervously preaches, trying to avoid the sight
of her bare legs curled up on his couch.
LAZARUS
My Daddy was one of the first mens to
organize soil conservation in these
parts. That's a group of farmers, you
know, each season they'd rotate the crop.
Know why it's best to rotate em like
that?
RAE
Uh-uh.
Laz moves in close and starts applying antibacterial cream to
the cut above Rae's eye.
LAZARUS
Cuz once in a while soil need a change.
Corn take up a lot of nitrate in the
fertilizer. So next crop what ya do is
plant ya some soy beans. That give off a
lot of nitrate. Change keeps it all
growin' and growin' strong.
(regarding the eye)
Sting a bit?
RAE
Itches.
LAZARUS
Means ya healin'.
(a nod)
So all this farmin' make me think on
Matthew. Matthew 13. The parable of the
sower? Man toss seed on rock, on the
wayside, some fell in thorns... you know
the story?
RAE
Uh-uh.
Laz starts putting the cream on her scabbed knees. He rubs
them gently.
LAZARUS
The seed that land on good soil is for
them who
hear
the word of God... and
understand
the word of God.
54.
LAZARUS(cont'd)
Not enough for you to hear what I'm
sayin', you gotta understand.
RAE
I know. I get it. What's Matthew doin'?
LAZARUS
Gal... Matthew ain't doin' shit... this
just a story...
(quelling his frustration)
Look it. I've seen it in nature, I've
seen it in men. Ya got to change up your
crop. Cuz that seed ain't gettin' in.
(Rae remains silent)
Ya gotta cut this shit out. Got no cause
to be up under these fools, ruttin' on ya
like you a bitch. Like you somebody's
dog. No woman... who joins in union with
Almighty God... or man... in the sanctity
of marriage... should
degrade
herself...
and bend to ANOTHER MAN'S WILL!
Rae is aware that Laz is somewhere else, talking to someone
else other than her. There is anger in his tone as he rubs
ointment on her bare, scabbed knees.
LAZARUS
(shouting)
My God, gal, don't you got no SENSE? I
ain't sayin' I ain't weak? Shit. Playin'
guitar in the blood-bucket jukes all ya
life... a nigga learn how to sin, let me
tell you!
(grips her by the legs)
I GOT SIN IN ME! I AIN'T GO'N LIE! BUT I
GOT RESPECT! AND ALL YOU GOT IS BILE,
GAL!
RAE
Let go of me...
LAZARUS
GIVIN' UP THAT SWITCH LIKE A TRAMP!
BEHIND MY BACK AND KILL MY BABY...!
Rae yanks free of Laz's grip, recoiling on the couch.
RAE
GET OFF ME!
Laz awakens from his rant. He blinks and stands. A sudden
shame overtakes him. He crosses into the kitchen to hide by
the sink.
55.
He pours Rae a glass of water and returns to her side.
LAZARUS
(offering her the glass)
Didn't mean to go off on a tear like I
did. I just got to thinkin' about
things...
Rae leans up into his face. The glass of water is touching
her chest. Laz remains hypnotized by her eyes.
RAE
Why is it you old men gotta talk so much?
Like little boys, gotta talk yourself
into fuckin' me.
(his knuckles touch her
skin)
We can take our time. I'm grown. I get
it.
(she leans even closer)
You wanna give me `nother bath?
Laz stands and backs away. He quickly leaves the room.
69
69
INT. LAZARUS'S HOME - THE BEDROOM - NIGHT
Laz looks at himself in the reflection of Rose's vanity
mirror, listening to Rae stir in the next room.
70
70
INT. LAZARUS' HOME - NIGHT
The cicadas are screaming outside. Rae is beginning to
breathe deep, the burning is coming on.
RAE
(under her breath)
Goddammit.
She folds her arms over her chest, her middle finger
scratching her elbow. The anxiety is too much. She rolls over
until the chain pulls taut against the radiator.
Rae has wrapped herself in a tangle of chain. Her breathing
relaxes. Her eyes close. She sleeps.
FADE TO BLACK.
71
71
EXT. FISHERVILLE SQUARE - EARLY DAWN
A train rumbles past in the blue hue of dawn.
Laz pulls his truck next to two other fruit and vegetable
vendors: ARCHIE and GENE.
56.
Archie is an old black man in his early seventies. Gene is a
short white man closer to Laz's age.
GENE
There goes our fortune. We been doin'
good for ourselves since you been away.
Laz sets up his folding table and uncovers his produce.
LAZARUS
Y'all know when Ella Mae's open up?
ARCHIE
You needin' to buy some pantyhose?
LAZARUS
Just some dresses.
Gene looks at Archie and shrugs.
CUT TO:
72
72
INT. LAZARUS' HOME - MORNING
Rae snaps awake. She is wet with sweat from the morning heat.
RAE
Hello? Hey!
Rae drags the chain behind her as she crosses to the front
door and looks outside. No truck.
RAE
I don't believe this shit.
She folds her arms and looks into the kitchen. There on the
table is a covered plate and a small bottle of milk. Rae
reads a note on top of the plate:
BE BACK FOR SUPPER.
She pulls off the top plate and finds sausage links, eggs,
biscuits, sliced tomatoes, and sliced peaches.
RAE
Enough to choke a Goddamn horse.
She yanks her chain. It rattles across the floor as she sits.
CUT TO:
73
73
INT. ELLA MAE'S WOMEN'S CLOTHING - EARLY AFTERNOON
Laz looks out of place in his faded overalls surrounded by
bright colors of Ella Mae's dress shop.
57.
ELLA MAE is a wide woman with white hair in her late fifties.
LAZARUS
I'm needin' some women's clothes. A few
dresses. Maybe some shoes. But they gotta
be nice. They gotta be proper. Clothes a
woman would want, where she could feel
and look like a woman without... you
know, lookin' like a tramp or a hussy or
somethin'.
Ella Mae turns to her assistant, Rhonda. Rhonda is a 19-year-
old black girl. She turns back to Laz, unsure how to proceed.
ELLA MAE
And, sir... do you have a size in mind
for what you're lookin' for?
LAZARUS
(points to Rhonda)
That young lady's size, right'cher.
ELLA MAE
Well, that makes it easier.
CUT TO:
74
74
INT. LAZARUS' HOME - THE BATHROOM - AFTERNOON
Rae sits down in the tub, still wearing her T-shirt and
panties. Looking up at the shower head above she turns on the
cold water and yanks up on the shower knob.
Cold water sprays down over her. She gasps and then relaxes,
laying back in the tub.
CUT TO:
75
75
INT. ELLA MAE'S WOMEN'S CLOTHING - AFTERNOON
Laz is at the counter. Rhonda is putting the shoes and
clothes in two shopping bags while Ella Mae rings him up.
ELLA MAE
Well... I hope these will work for your
niece. She can always come back in and
swap sizes.
Lazarus points to a small display of fine lotions.
LAZARUS
Mind I ask, what's all this business
here?
58.
ELLA MAE
These are whipped body creams. It's like
a lotion.
LAZARUS
For your hands?
ELLA MAE
Some women prefer not to scent their
bodies with perfume. So now they have
scented creams. They help moisturize a
woman's skin.
(unscrewing a jar)
This one's my favorite. It's called
Ginger Souffle. I recommend... applying
the cream while the skin is still damp.
So... perhaps just after a shower.
LAZARUS
(likes what he smells)
I'll take a jar of that, too.
CUT TO:
76
76
INT. LAZARUS' HOME - KITCHEN - AFTERNOON
Rae rattles into the kitchen, her damp clothes clinging to
her form. She picks up Laz's guitar off the table and places
it in her lap.
She plucks a few random strings out of boredom and smiles.
CUT TO:
77
77
INT. MACON DRUGS - AFTERNOON
The same apathetic girl is working the front counter as Laz
enters the drug store with a basket of arranged vegetables.
LAZARUS
Lookin' for Miss Angela.
GIRL
She in the back.
Laz makes his way to the back of the store. He spies Angela
in the back pharmacy, sorting pills for a pick-up. He watches
her work for a moment until, finally, she sees him.
ANGELA
Wait right there.
Laz waits as Angela rounds the corner.
59.
LAZARUS
I brung you a little basket of goodies.
Fresh squash, tomatoes, some okra, butter
beans.
ANGELA
(taking the basket)
You didn't have to do this.
LAZARUS
Just wanted to say how much I appreciate
you helping me the other day. My niece,
she's cured up, and I got you to thank.
ANGELA
Well that's good. I'm happy to hear it.
Angela smiles. There is tension and attraction between the
two.
LAZARUS
Look here. I got somethin' special for
you.
Angela is flush as Laz moves closer than he has ever been
before. He reaches in the basket for the jar of cream.
LAZARUS
This here is a
whipped
... body cream. And
it's got a smell to it. Tell me what you
think.
Laz holds the jar up to her nose. Angela closes her eyes and
smells. Her expression says enough - she loves it.
LAZARUS
They call this Ginger Souffle. Best if
it... if it go on your skin just after
you been in a hot tub... or shower.
Angela takes the lotion from his hand. She is subtle and
demure, but the woman is deeply affected. She smiles.
ANGELA
This was very sweet of you.
LAZARUS
Well. Hope you emjoy it.
Angela watches Laz as he walks out the door. The apathetic
girl moves up behind Angela.
60.
GIRL
Oooooo.
ANGELA
Hush up.
78
78
EXT. FISHERVILLE SQUARE - MACON DRUGS - AFTERNOON
Laz opens his truck and waves goodbye to Old Red. Melvin is
holding a healthy squash.
RED
You gonna be on the square later on?
LAZARUS
Got all my honey-do's done with. I'm
headin' home.
RED
Stay cool. It's a hot one.
Laz pulls away in his truck and rounds the corner just as
R.L. crosses the street. He steps over to talk to Red.
R.L.
Hey, Red. Was that Laz just left?
RED
Yes'sir, Rev'rend.
CUT TO:
79
79
INT. LAZARUS'S HOME - KITCHEN - AFTERNOON
Rae occasionally strums an awful chord as she sings
playfully.
RAE
(trying to sing)
You are my sunshine. My only sunshine.
You make me happy when skies are gray.
You'll never know dear how much I love
you. Please don't take my sunshine away.
A voice from outside spins her around. The guitar barks as
Rae slams it down on the table.
LINCOLN
(o.c.)
Mister Lazarus?
61.
Rae stays hidden as she peeks out the front window. Lincoln
is standing before the house holding an old picnic basket.
Rae's middle finger begins scraping against the wall.
LINCOLN
Mister Laz... I come for the butter
beans.
Rae fights her dizziness. She crawls to the radiator as she
hears each creak of Lincoln crossing to the front door.
FLASH TO
80
80
QUICK CUTS
The Zippo with the bald eagle closes. A smoldering cigarette.
FLASH BACK TO:
Rae flinches and grits her teeth as Lincoln knocks on the
door:
Knock, knock.
LINCOLN
Ain't seen you on the square. Mister Laz,
can you hear me?
The burning has started: deep gasps, itching, anxiety.
LINCOLN
(worried now)
Mister Lazarus?
Rae watches the shadows of Lincoln's shoes under the door.
They wait patiently and walk away.
81
81
EXT. LAZARUS' HOME - AFTERNOON
Lincoln walks down the porch steps and stops. Thinks.
82
82
INT. LAZARUS' HOME - AFTERNOON
Rae inches upward, pulling herself up the radiator so she can
stand. Her panting has waned.
Suddenly the front door swings open.
LINCOLN
Mister Laz, I'm comin' inside...
Lincoln can't believe what he sees. Rae is chained around the
waist, damp and barely clothed. Her eyes bore into Lincoln
like an owl zeroing in on a helpless jackrabbit.
62.
She rips her shirt off in one tug over her head.
Lincoln can't move. The picnic basket hits the floor. His
mouth hangs open in shock as Rae steps towards him and lays
her open mouth on the boy.
83
83
EXT. LAZARUS' HOME - AFTERNOON
SLAM! Rae shuts the door.
Laz steers his Ford truck up the drive and parks. He takes
his time getting out and removing the shopping bags. He opens
the door and goes inside.
His curses can be heard from outside.
LAZARUS
SHIT BOY! WHAT THE HELL YOU...!
Lincoln is tossed off the porch, clinging to his overalls.
LAZARUS
CAN'T LEAVE YOU ALONE FOR ONE...
Tears and fear come to Lincoln as Laz steps out onto the
porch, fuming with rage.
Lincoln backs away expecting a good beating. He starts
running up the drive but stops as R.L.'s Olds rolls up the
drive.
LAZARUS
Lincoln, come on back.
Lincoln darts past Laz and runs into the barn, clutching his
overalls. R.L. stops the car halfway down the drive and steps
out.
R.L.
Was that Lincoln James I seen run off?
LAZARUS
He's fine. Just had a bad fall.
R.L.
Why's his britches round his knees?
LAZARUS
R.L., you gonna have to get on. I can't
have nobody round my place.
R.L. starts walking up the drive.
63.
R.L.
You get a call from Rose?
LAZARUS
This ain't got nothin' to do with that
woman. Just don't want nobody around me
now.
R.L.
Somethin' wrong with ya phone? Been
callin' the last few days.
R.L. stops in his tracks as Lazarus pulls out his hunting
rifle from the rack behind his seat in his truck.
R.L.
Goin' dove huntin'?
LAZARUS
You gotta go, R.L.. I ain't foolin' this
time.
R.L.
You sayin' that gun's for me if I don't?
(Laz can't answer)
Spell it out, Laz. Man big enough to pull
a gun best have a tongue in his mouth if
he ain't got a brain in his head.
Laz is struggling. The rifle feels suddenly strange to him.
LAZARUS
You ain't gonna talk me outta shit no
more. I got my mind made up and I ain't
gonna be moved on this.
R.L.
(amused)
Ain't gonna be
moved
?
LAZARUS
Got no place for preachin' here. Not now.
So you do as I say...
R.L.
(still stepping closer)
Or what?
LAZARUS
I told you to TURN BACK!
R.L. pushes his chest up against the rifle and shouts back.
64.
R.L.
YOU GO'ON AND SHOOT ME, KILLA!
Laz's heart is breaking. He is pointing a gun at his only
friend.
R.L. snatches the rifle out of Laz's hands.
R.L.
Ought'a stomp yo ass pointing this at me.
(unloads the rifle)
Always gotta bring up the preachin'. Like
you just a sheep in my flock and all I'm
good for is poundin' on a pulpit.
(gets in Laz's face)
Dammit, Laz... we may not be blood. But
we sucked off the same old nurse since
the day we was slapped on the ass. And
you gonna point a gun at me?
A tear rolls down Laz's cheek. The shame is unbearable.
R.L.
If you in some trouble, than WE gonna
figure somethin' out. You and me.
(hands him a bandana)
Wipe your face!
Laz takes the bandana and wipes the tears away.
R.L.
Now... this got anything to do with Rose?
(Laz shakes his head)
Then what?
CUT TO:
84
84
INT. LAZARUS' HOME - AFTERNOON
The door creaks open. R.L. carefully steps inside. Rae is
sitting on the couch, looking out the window.
RAE
(on the verge of tears)
I didn't want to.
Rae doesn't respond. R.L. quickly steps outside shutting the
door behind him.
85
85
EXT. LAZARUS' HOME - AFTERNOON
R.L. shakes his head as Laz follows him off the porch.
65.
R.L.
Are you outta ya GODDAMN MIND?
LAZARUS
Man like you ought not take the Lord's
name like you just done.
R.L.
A naked woman, chained in ya house?
LAZARUS
I'm tellin' you the truth, dammit. I
found her beat. Left for dead. So I brung
her home.
R.L.
Laz, I know about that girl.
(beat)
Good number of this town's sinners got my
ear, you know.
(shakes his head)
Oh, Laz. She's had a mess of crabs and
them STD's. What'chu thinking?
LAZARUS
I haven't laid a hand. On my life, R.L.,
my wick is dry on this.
R.L.
You say she was beat on. You call the
sheriff on that?
LAZARUS
Put yo'self in my shoes. Say you out
here, alone, with a beaten, half naked,
white woman loves to fuck. I been toe to
toe with the law in this town for no more
than being black and
nearby
.
R.L.
What's that chain around her for?
Laz briefly looks off at the barn, knowing Lincoln is there.
LAZARUS
Why don't you go'on and ask her. She need
to talk wit somebody with sense. Folks
been ruttin' and beatin' on this gal all
her days. And this is how I'm handling
it.
66.
R.L.
THIS IS HOW YOU HANDLING IT? THIS IS HOW
YOU HANDLING IT?
Silence.
LAZARUS
Go in and talk to her. Please.
R.L. nods. Lazarus smiles.
LAZARUS
Good. Makin' steaks for supper. I expect
you to come.
R.L.
You mean with you and that woman chained
to ya radiator?
LAZARUS
You treat folks special when they
company. It's just supper, R.L., shit.
R.L.
One thing at a time, Laz.
Laz walks toward the barn and turns back to R.L..
LAZARUS
Watch y'self in there. That girl'll jump
on ya junk like a grasshopper.
86
86
EXT. LAZARUS' BARN - AFTERNOON
Laz opens the door to his barn wide, allowing the afternoon
light to find Lincoln sitting on an old tire, weeping.
LAZARUS
Did I hurt'chu?
Lincoln shakes his head. Laz carefully sits next to him.
LAZARUS
What happened in there... that won't your
fault. Ain't a young man alive could keep
they britches on with that girl being in
heat like she is.
LINCOLN
Why she got a chain on her?
67.
(MORE)
LAZARUS
That's between her and me. It's private.
And I don't want you goin' off and
tellin' ya daddy.
LINCOLN
(in a panic)
Please don't tell my daddy.
LAZARUS
My mouth is shut, boy. And that's how we
gonna keep it. Don't go braggin' to ya
buddies, ya heard me?
Lincoln nods. Laz hands him the bandana R.L. gave him.
LAZARUS
So...
(a bonding smile)
That your first time?
LINCOLN
Yes'sir.
LAZARUS
You struck some gold, didn't ya?
Lincoln grins as he wipes the snot from his nose.
LAZARUS
Shit. My first time was with my second
cousin behind my uncle's barn. She
weighed two tons, if a pound. Could'a
done a lot better for myself. You sho'nuf
did.
87
87
INT. LAZARUS' HOME - AFTERNOON
R.L. hands Rae a glass of water. She is seated on the sofa,
wrapped in a quilt.
RAE
Thank you.
R.L.
(sits next to her)
I gotta ask you. Why do you think Laz is
keepin' you chained like this?
RAE
(shrugs at first, then:)
You know how, like they say, you save
someone's life, you responsible for them.
68.
RAE(cont'd)
(MORE)
Guess he just don't think it's safe for
me.
R.L.
So he got it into his head that the only
thing gonna keep you from endin' up
bleedin' on the side of the road again,
without a stitch of clothing on is...
(R.L. yanks on the chain)
You think he's crazy for thinkin' that?
Rae struggles to answer. Something is on her mind.
RAE
You a preacher?
R.L.
That's right.
RAE
Can I ask you a question?
(R.L. nods)
People always say, you gotta get good
with Jesus, if you want not to go to
hell. That you say sorry for all you done
and... and Jesus would let you go on to
heaven.
R.L.
You could put it that way.
RAE
But that's so fuckin' stupid.
(she catches herself)
I'm sorry. Didn't mean to curse.
R.L.
What's on your mind?
RAE
You can't hurt people... and then just
say, I'm sorry, and then everything just
gets washed away. Why would heaven want
people like that. People who... do what
they want and then... switch.
R.L.
I'm gonna tell you somethin', and it's
just gonna be between you and me.
(Rae anxiously nods)
I think folks carry on about heaven too
much. Like it's some all-you-can-eat
buffet up in the clouds.
69.
R.L.(cont'd)
(MORE)
And folks just gonna do as they're told
so they can eat what they want behind
some pearly gates. I can go to Shoney's
for that.
Rae grins. R.L. leans closer.
R.L.
There's sin in my heart. There's evil in
this world. But when I got no one... I
talk to God. I ask for strength. I ask
for forgiveness. Not for peace at the end
of my days when there's no more life to
live and no more good to do, but
today
.
Right now
.
Rae has never had anyone talk to her like this. She is
listening. She is understanding.
R.L.
What's your heaven? What gives you peace?
Rae looks at her bare feet. She tries to respond but the pain
in her chokes back the words. Tears come to her.
RAE
(struggling to speak)
Ronnie.
CUT TO:
88
88
EXT. GREYHOUND BUS STATION - LATE AFTERNOON
A bus stops at the station. The doors swing open. A few
passengers exit the bus followed by Ronnie.
He is not wearing his uniform.
89
89
EXT. GREYHOUND BUS STATION - PHONE BOOTH - LATE
AFTERNOON
He drops his duffle bag and pops a few quarters in the phone.
He waits, allows the phone to ring.
RONNIE
(into the phone)
This is Ronnie again. Don't know if you
been gettin' my messages but... I'm down
at the bus station and...
(struggles)
I just need you come get me. You get this
message, I'm on the interstate headin'
downtown toward the square.
(sadness hits)
70.
RONNIE(cont'd)
Rae. I really need you to... come find
me. Please.
Ronnie hangs up the phone. He remains motionless, fearful and
alone.
He picks up his duffle and walks down the interstate.
CUT TO:
90
90
EXT. LAZARUS' HOME - SUNSET
Lincoln stands over the barbecue spraying lighter fluid over
the coals while R.L. peels back the corn husks.
LINCOLN
We gonna eat with her?
R.L.
That's what I was told.
LINCOLN
She still gonna have that chain on?
R.L.
Well... I'm working on that.
(trying to change the
subject)
So... what's goin' on in your life,
Lincoln?
LINCOLN
I ain't no virgin no more?
Lincoln tosses a match on the coals. They ignite with flame.
91
91
INT. LAZARUS' HOME - KITCHEN - SUNSET
Laz is humming to himself as he finishes chopping up the
potatoes. He wipes his hands and catches Rae standing behind
him.
She looks classic in the floral sundress. She folds her arms,
feeling awkward under Laz's approving gaze.
LAZARUS
Now that's sharp. That is
sharp
. Chain
give you any trouble?
RAE
Uh-uh.
71.
(MORE)
LAZARUS
Good. Now I got the steaks on, potatoes
at a boil, and biscuits ready to pop in
the oven. R.L. and Lincoln out yonder
grillin' up the corn. What do you know
how to make?
RAE
I don't fuckin' cook.
LAZARUS
(a look of disappointment)
Gal, I been around hard-cursin' folk all
my life. And let me tell you...
RAE
Look it... I put the Goddamn
dress on, didn't I? I think
I'm handlin' myself with
some... fuckin' restraint
here... how you got me locked
up like a dog on a...
LAZARUS
If all you got is filth
comin' out'cha mouth...
people just gonna tune ya
out.
LAZARUS
(interrupting her)
Rae. RAE! I'm not fightin' with ya. I
just know you got more in you than junk.
(a breath)
Now, you sayin' you don't know how to
cook anything at all?
(Rae shrugs)
You know how to boil water?
RAE
I can handle that.
LAZARUS
(hands Rae a pot)
Well, get to it.
CUT TO:
92
92
INT. LAZARUS' HOME - KITCHEN - AT THE TABLE - NIGHT
The four of them (Rae, Laz, Lincoln, and R.L.) are all seated
at the kitchen table, holding hands as R.L. says grace.
Rae peeks at the others with their eyes closed tight. She
follows their example.
R.L.
We ask that you bless this meal put
before us.
72.
R.L.(cont'd)
May the food nourish our bodies and this
fellowship nourish our spirit. In Jesus
name we pray. Amen.
LAZARUS & LINCOLN
Amen.
There is a sudden flurry of activity at the table as the four
begin piling up their plates.
R.L.
Pass them potatoes, Lincoln.
LAZARUS
Y'all let me know if these steaks are too
dry.
R.L.
This all looks wonderful.
LINCOLN
I skipped lunch.
LAZARUS
Well, dig in, son. Got plenty to eat.
Rae's eyes are fixed on R.L. as he picks up a devilled egg.
She looks over at Laz who is aware of her anxiety. He gives
her a wink.
R.L. bites into the egg and moans with delight.
R.L.
(to Laz)
Mm. MM. Now these eggs got some kick to
it. What'chu got in this?
LAZARUS
(motions to Rae)
Ask the chef.
Everyone looks at Rae, surprised. She feels a sudden rush of
fear as she struggles to answer R.L.'s question.
RAE
Cayenne pepper.
CUT TO:
93
93
EXT. LAMPLIGHTER BAR - NIGHT
Ronnie is walking by the bar along the interstate. He stops
when he sees Gill's truck.
73.
94
94
INT. LAMPLIGHTER BAR - NIGHT
Ronnie adjusts his duffle bag over his shoulder as he enters
the mid-sized bar.
Gill is seated at the bar. He turns to Ronnie along with a
few other locals, one being HERMAN, age 40.
GILL
(surprised)
Holy shit.
RONNIE
(understanding)
Yeah.
GILL
Sit down, man. Need a beer?
RONNIE
Sure.
GILL
(to the bartender)
Marv, let's get Ronnie set up here.
Ronnie sits next to Gill. Herman leans in wanting to be a
part of the conversation.
RONNIE
Hey, Herman.
HERMAN
They buy you that big chicken dinner?
Ronnie stiffens. Gill is confused.
GILL
What?
HERMAN
They got little names for everything in
the corps when they trying to get rid of
ya. Don't know what it's like in the
guard. There's what you call a bad
conduct discharge, a BCD... we all called
it the big chicken dinner. It ain't the
brig but it'll fuck ya for life if you
wantin' to work for the government.
RONNIE
That's not what this is about.
74.
(MORE)
HERMAN
They got another little name called ad-
sep. That sound about right?
Ronnie looks away. He takes a sip of his beer.
HERMAN
Ad-sep. Administrative separation.
GILL
(to Ronnie)
How do you get one of those?
HERMAN
Blowin' boys in the head, for one.
Ronnie loses his cool. He lunges at Herman. Gill holds him
back.
HERMAN
Whoa, son! I ain't sayin' shit about you.
I'm just talkin'.
RONNIE
Well, you don't know what you're talking
about so why don't you shut the fuck up?
GILL
Hey, it's alright, man. It's alright.
(to Herman)
Herman. Come on. He just got back.
Herman gets up to leave with his beer.
HERMAN
To get back ya had to've
gone
somewhere.
Ronnie glares at Herman as he moves to the other side of the
bar. Gill moves closer to Ronnie to get the whole story.
GILL
What happened?
RONNIE
They been keepin' a folder on me cuz of
my stomach. Like how it was just before
we'd play ball back in school. Thought it
was just some tic I got, or ulcers like
my daddy had.
(takes a drink)
I can't... shoot. Target practice I'm a
pro. I tag between the numbers each time
but...
75.
RONNIE(cont'd)
(feels a stomach cramp)
But when there's really loud noises
around me... somethin' happens. I get
shaky and... I lose my breath. They
called it anxiety. Severe anxiety. It can
be fixed and all... just not in time
for....
(another drink)
It's a long process but... they sent me
home.
GILL
I guess it could be worse. You could be
comin' back in a body bag.
Gill doesn't know what to say next.
RONNIE
I can't get Rae on the phone. She's not
at home... none of her friends seen her
anywhere.
GILL
She's around. Always is.
RONNIE
I don't know. She's gettin' crazy, like
she gets. Begged me not to go. Got real
down. I just think somethin's happened.
Like she run off with someone. You'd tell
me if you knew somethin', right?
GILL
You been home yet?
RONNIE
Uh-uh. I's hitchin' up the interstate
when I seen your truck outside.
GILL
You need a ride?
CUT TO:
95
95
EXT. RONNIE'S TRAILER - NIGHT
Gill's truck rounds the bend and up the gravel drive leading
up to Ronnie's trailer.
The headlights scan across the porch as Gill parks.
76.
96
96
INT. RONNIE'S TRAILER - NIGHT
Ronnie is the first through the door, calling out for Rae
before he can turn on the lights.
RONNIE
Rae?
Gill enters. He sees that the trailer is the same as it was
the day he picked up Ronnie, nothing is different.
RONNIE
This don't feel right. Kitchen looks just
like I left it. I know, cuz I cleaned it.
GILL
She ever tell you she was thinkin' of
taking off?
RONNIE
I just been so mixed up lately, Gill.
And, you know, with her history, I can
see how she could get scared...
(tears)
... and run.
Gill is disturbed by Ronnie's sudden flood of emotion and
tears. He crosses to the pantry, already knowing which
cupboard to pull the liquor out of.
He pours two drinks. He hands one to Ronnie.
GILL
Drink. Come on, drink some.
Ronnie manages a few swallows.
RONNIE
Her momma works down at the grocery, down
on the square. Maybe she seen her.
Gill stands over Ronnie, looking down on his pitiful face.
GILL
Ronnie. You can't see cuz you're too
close to it.
(Ronnie waits)
These nervous spells you get. You never
had that shit back in school...
RONNIE
That's not right, really, cuz I...
77.
(MORE)
GILL
(continuing)
You joined up in that monkey troop cuz
you had a plan for yourself. Army'd pay
for school. You were gonna get a degree,
maybe somethin' in business or
agriculture and you were gonna make
somethin' of yourself.
His words are painful to Ronnie. Gill doesn't hold back.
GILL
And then you had to fall in love with the
school slut.
RONNIE
Now wait...
GILL
(continuing)
With all she was doin'. With all the shit
she
kept
doing! You stayed stuck to that
bitch's ass and you wouldn't let go.
RONNIE
I know about how she was like. But we was
different. I's the only person she talked
to about it. How she's abused. Terrible
things, Gill, just terrible...
Rage suddenly fills Gill. He grabs Ronnie and throws him
against the wall.
GILL
YOU HAD A PLAN! YOU HAD A GODDAMN LIFE!
AND SHE JUST FUCKED THE GUTS OUT OF YOU!
RONNIE
It's not her fault, Gill. She's had to
take care of me all this time, cuz I'd
just start throwin' up... choking. Just
losin' my grip. And she listened. She
listened to me.
(Gill releases Ronnie and
walks away)
And... I got better. I don't get nervous
like I used to. And since we been
together... she been faithful to me. Put
all that junk behind her...
GILL
The only thing that cunt's had behind her
is me and half the town fuckin' her.
78.
GILL(cont'd)
(Ronnie can't believe it)
Your first night away, I come over and
drop off the spare keys like you wanted
me to. You weren't gone two hours and she
was aching to get me inside her. Like she
was havin' some kind'a fit.
Ronnie can't respond. Tears roll down his face. Gill holds up
the whiskey bottle.
GILL
(pours a drink)
Don't you think it's funny how I know
where everything in your house is?
(moves in close)
I don't care if that hurts you or not.
Truth is I don't know who you are
anymore. So fuck it.
Gill turns away. Ronnie grips Gill around the neck from
behind. He bends him back painfully and throws his head up
against the wall.
97
97
EXT. RONNIE'S TRAILER - NIGHT
The front door burst open as Gill goes flying down the front
porch. Ronnie cocks a .45 and shoves it into his belt.
Ronnie pins Gill's elbow behind his back and retrieves the
keys from his front pocket.
GILL
You gonna steal my truck?
RONNIE
Make yourself at home. You done it
already.
Gill watches Ronnie tear down the drive in his own truck.
CUT TO:
98
98
EXT. LAZARUS' HOME - NEAR THE BARN - NIGHT
Laz and R.L. are smoking. Laz smiles as he watches Lincoln
and Rae through the kitchen window as they wash dishes and
talk about football.
R.L.
Gotta get that chain off her, Laz.
Somethin' like this gets out, you could
land in a heap of trouble.
79.
LAZARUS
I'm dealin' with what God put before me.
R.L.
You believe He wants this? A woman
chained to ya radiator?
LAZARUS
Not like that.
R.L.
Then what?
LAZARUS
She's tied to me, R.L.. We tied to each
other.
Laz is silent.
R.L.
I can't leave unless I get your word.
Laz looks down at his shoes. He surrenders. He nods.
R.L.
Laz. I got some news you need to hear.
It's about Rose and your brother.
(this is not easy for
R.L.)
She's pregnant. She gonna have a baby.
(silence)
Her sister told my wife. You know how
them sewing circles go. Just a matter of
time till you got word. Thought that's
why you been keepin' to yourself out
here.
(Laz conceals his pain)
I don't know how much of this is to make
her happy or to hurt you. But it is what
it is.
Laz struggles with his emotions. He turns to R.L. stone faced
and cold.
LAZARUS
I'm through with them both.
CUT TO:
99
99
EXT. LAZARUS' HOME - THE FRONT DOOR - NIGHT
Laz and Rae wave to Lincoln as he climbs into R.L.'s car.
They pull away, up the drive, and disappear into the night.
80.
The cicadas sing as the two stand in silence: Rae, at peace,
feeling genuine contentment; while Laz looks lost in silent
pain.
RAE
They sure liked them devilled eggs.
LAZARUS
You drink whiskey?
CUT TO:
100
100
INT. LAZARUS' HOME - NIGHT
A bottle of whiskey is removed from a top cabinet above the
refrigerator. Two small glasses each get a healthy swallow.
LAZARUS
You take it straight?
RAE
Sure.
He hands her a glass. Laz then looks at his as if he
struggles with a decision.
LAZARUS
(holding up the glass)
To my baby brother. Gonna be a daddy.
Rae nods and downs the whiskey with Lazarus.
RAE
Well, that's good news. So you're gonna
be someone's uncle.
Laz pours another swig for himself and downs it.
LAZARUS
Want another?
RAE
We drinkin' buddies now?
LAZARUS
(pours two more glass)
To freedom.
Laz pounds back his third shot.
RAE
Still makin' jokes?
81.
LAZARUS
(pulls out his keys)
No joke.
Laz pulls Rae closer to him by the chain wrapped around her
waist. He opens the old lock with a key.
LAZARUS
Not my place to change your mind, or
anybody else's. People gonna do how they
please. You only get one life... should
be lived the way you wanna live it.
The chain falls to the floor with a hollow thud. Rae looks
confused.
LAZARUS
If you want... I can take you back to
town now.
RAE
I ain't in a hurry.
The two stare at each other in silence.
RAE
Could you do somethin' for me?
LAZARUS
Anything.
CUT TO:
101
101
INT. LAZARUS' HOME - KITCHEN - NIGHT
Rae watches with intense curiosity as Laz tunes his guitar,
sitting at the table.
LAZARUS
(takes another drink)
Ain't played `fore nobody in years.
Laz slides his calloused fingers across the strings, spurring
the old guitar into an impressive wail. Rae grips the chair.
LAZARUS
(plays as he remembers)
Funny how a sound just speak to ya heart.
A haunting slide guitar riff barks. Rae has a physical
reaction to the music. She is fascinated and fearful.
82.
LAZARUS
(thinks)
Wanted me some kids. A whole mess of `em.
But Rose, my wife... chil'ren was for
another time.
(takes a drink)
They's this one spring... I saw a change
in her. Her breasts start swellin' up.
Come a few mornings I hear her heavin' in
the bathroom. I seen it with women
before. I knew.
Laz thinks for a moment. Continues playing.
LAZARUS
Come a day, Rose say she had to go visit
her folks in Jackson. Didn't want me to
come... so I stayed put.
(remembers)
When she come back...
(hesitates)
They talk about a woman havin' that glow.
Couldn't see it no more. She... took it
away. Cut it out.
The guitar's song turns dark. Laz slides his fingers up the
guitar strings, lingering on low growns.
LAZARUS
One night... While she sleepin'. Held a
pillow in my hands. I could see myself
killin' her. What evil in my heart make
me wanna kill her, I don't know? It's
that voice in me. Each time I think it's
gone, he come howlin' back. Devil or no,
I don't know. But I am a haunted man.
Fear spreads across Rae's face. Laz is talking about
something all too familiar.
LAZARUS
Calls me when I'm ailing. When I can't
find my home, lost in the pines. I calls
it the Black Snake Moan.
(he closes his eyes and
sings)
Mm-mm... Got no momma now.
Mm-mm... Got no momma now.
It's over late last night, don't need no
momma now.
83.
Laz stops. He sways back and forth with his eyes closed. Rae
hears the swell of the cicadas. Her eyes dart to the front
door as the familiar creek of footsteps are heard.
RAE
Sing, Lazarus.
(kneels next to him in
fear)
Please keep singin'.
The door swings open. A white calloused hand appears around
Rae's mouth.
She gasps in terror, clutching Laz's leg. The white hand is
gone. Tears come to her. She trembles as Laz sings.
LAZARUS
(singing)
Mm-mm... Black snake crawlin' in my room.
Mm-mm... Black snake crawlin' in my room.
Some pretty momma better come and get
this black snake soon.
Rae rests her head against his knee.
LAZARUS
(singing)
Black snake is evil, black snake is all I
see.
Black snake is evil, black snake is all I
see.
Woke up this mornin', black snake moved
in on me.
Laz concludes the song. Rae raises up to her knees, facing
Laz. Tears have run down his dried face. He opens his eyes.
LAZARUS
My life is gone. Only life I was livin'.
And I lost it.
RAE
I'm here with you.
LAZARUS
I had love in my heart. And I gave it to
one woman. And she gone now.
(his lip quivers)
Where am I gonna put all this love?
Rae gently touches his cheek. The wind picks up outside.
84.
RAE
You can give it to me.
Rae kisses Laz. He is motionless at first, allowing it to
happen. His hand moves from the neck of his guitar to the
bend in her neck.
The passion intensifies as they squeeze the guitar between
them.
Laz pulls his lips away and holds her head in his hands. They
are so close, they are breathing into each other's mouths.
RAE
You can't start this and not finish. Not
with me.
(kisses him)
Please...
The guitar clangs to the floor as Laz lifts Rae in his arms.
They kiss, ravenous for each other.
He knocks up against the side table, causing his Bible to
fall to the floor, face up and open. The wind pushes the
front door open, slamming it hard against the wall.
They turn together, kissing, Laz slowly spinning with Rae in
his arms. But Laz is soon distracted by the pages of his
Bible fluttering on the floor. The wind is blowing the pages,
turning them with an unseen hand.
LAZARUS
Wait... I gotta stop...
(Rae's kisses get more
aggressive)
Rae stop...
(she can't hear, the
burning has her)
Dammit, Rae... GET OFF!
It takes a considerable effort to pull Rae away. She falls to
the floor, dizzy and sucking in air.
LAZARUS
This ain't the way for me. I'm sorry.
Rae is struggling for breath. She desperately grabs at Laz.
RAE
Not gonna lie to you, Laz...
(labored breath)
This one's a doozy. I don't think... I
don't think I can stop this.
85.
Her eyes roll back briefly, almost losing consciousness. Laz
catches her and holds her tightly.
LAZARUS
Tell me what to do.
RAE
(Barely able to speak)
The... chain helps.
Laz grips the chain and wraps it around Rae.
As the burning increases. Laz holds Rae tight across his lap,
his back up against the radiator.
RAE
I seen a man die. He couldn't breathe...
his heart was... was givin' out.
LAZARUS
You just havin' a fit. You ain't goin'
nowhere.
RAE
He told me... get help. I just stood
there and watched him... I watched him
die, Laz. Oh God! GODDAMMIT!
Her legs itch like they are covered in ants. The wave is
hitting her hard. Laz holds her face up to him.
RAE
(like a little girl)
Oh, Laz... he hurt me. He... hurt me so
many times.
LAZARUS
No one's gonna hurt you no more.
RAE
You think God forgives people like that?
(crying like a child)
You think God forgives people like me?
Suddenly aware of the rising burn, Rae grits her teeth.
RAE
Hold me. Oh God...
Rae turns away as Laz holds her head in his lap. She bites
down on his middle finger as his hand moves over her mouth.
She is gasping, screaming into his hand.
86.
It hits. Laz holds her.
Rae's open mouth quivers as the sensation peaks. Her
shoulders slump, her chest vibrates. She is crying softly.
LAZARUS
We'll just stay here. Wait till it
passes.
The pages of the Bible flip to the final pages in the wind.
FADE TO BLACK.
102
102
EXT. FISHERVILLE SQUARE - MORNING
Laz's truck pulls into his usual spot on the square. Rae is
riding shotgun.
RAE
Where you gonna be?
LAZARUS
Right here. Be here all afternoon.
(waits)
You ready for this?
RAE
I'm gonna just get some girl stuff, like
make-up and... stuff.
Rae looks out the window, a touch of fear.
LAZARUS
This town ain't goin' nowhere. You take
the time you need.
They both step out of the truck. Gene and Archie watch Rae's
ass as she walks by. They then look back at Laz, incredulous.
LAZARUS
Friend of mine.
CUT TO:
103
103
INT. FISHERVILLE GROCERY - MORNING
Rae enters the modest grocery store holding herself tight. A
few harmless shoppers look at her making her feel even more
uncomfortable.
CUT TO:
87.
104
104
EXT. FISHERVILLE SQUARE - AFTERNOON
Laz is selling vegetables to a young woman. He is unaware
that Angela has moved up behind him, grinning, carrying a
small basket.
ANGELA
I bet you have loyal customers.
LAZARUS
(turns and grins)
You liked what I brung ya?
ANGELA
Been eatin' like a princess all week.
Even got enough for us to take a picnic
under the gazebo.
LAZARUS
That'd be nice.
ANGELA
I put on the lotion you got me. Can you
smell it?
Angela steps forward and pulls away her hair from her neck.
She cranes, offering her neck for Laz to smell.
LAZARUS
(smells)
That's nice, too.
CUT TO:
105
105
INT. FISHERVILLE GROCERY - AFTERNOON
Rae is looking at herself in the provided makeup counter
mirror. She looks at the compact in her hand and decides
against the purchase.
She rounds the corner and stops. She sees Sandy on her knees
in the center of the aisle, building a display of tuna cans.
Rae thinks to leave, but stops. She makes a decision to talk
to her. She walks up the aisle and stands above her mother.
RAE
Hey.
Rae kneels down next to her. She's trying to make a
connection.
88.
SANDY
What happened to your face?
RAE
Got in a little accident.
SANDY
(not believing her)
Yeah.
Sandy stands and wipes her brow.
RAE
Since you workin' on the square now,
maybe we could get some coffee in the
morning, if you want.
SANDY
You need money again?
RAE
No. That's not why...
(a frustrated breath)
Why we always gotta do this? I mean, you
and me been at each other as far back as
I can remember. Wasn't no love between
us. And I'm your daughter. I'm the only
family you got.
SANDY
You never needed nobody. Always made that
clear to me.
RAE
Yeah. I know I did. But...
(struggles with tears)
I'm tryin' to be dif'rent. I'm tryin'
to... get some peace, you know?
SANDY
I'm workin' here, Rae. Can you see that?
RAE
I just wanted some make-up.
SANDY
All that shit's on aisle 5.
Rae starts walking away. She quickly turns.
RAE
I just think you should'a kept him off
me, that's all.
89.
SANDY
The hell are you talkin' about?
RAE
Now see? Don't do that. I'll go along
with all you say about me. But that...
you can't pretend no more on
that
. Cuz I
was just a kid, Momma.
(a terrible silence)
I didn't know about any of that stuff he
was doin' to me.
(tears well up)
And you let him do it. Some big nobody in
your life... and you let him do as he
wanted... with the only SOMEBODY you had.
It is clear from Sandy's reserved anguish that Rae is telling
the truth.
Sandy firmly grips her by the arm and walks her out. Rae
winces in pain like a toddler being led off to a car for a
good whipping.
RAE
I'm sorry... I didn't mean to shout...
SANDY
All my life I been puttin'
out your fires, with you
givin' out your snatch to
every waggin' dick in this
town. And you gonna lay the
blame at my feet? Well, I
ain't gonna take that.
RAE
But... Momma... just tell
me... not gonna be mad... we
can just talk about it... Be
eye to eye on this...
RAE
You don't even got to say you're sorry...
Just say how you knew...
SANDY
Only thing I'm sorry for is listenin' to
my parents and having you instead of
doin' what I should'a done.
Sandy walks back up the aisle returning to her canned tuna.
And then the rage hits Rae.
With each breath Rae grits her teeth tighter. She grabs a mop
off the side aisle and turns around. Sandy is pricing cans,
down on her knees. She doesn't see Rae coming.
90.
RAE
...tell me you don't know... goddamn
LIAR!
Rae clocks her over the head, sending Sandy into the display
of cans. Rae hits her again with the mop. She is screaming in
short anguished breaths.
Rae grabs everything she can and dumps them onto Sandy: Bags
of flour, cans, entire shelves of ketchup.
RAE
SAY IT! JUST FUCKING SAY IT!
Mark comes running to the aisle followed by two other
employees. Stunned customers watch in amazement.
MARK
Rae! Rae! What are you doin'?
RAE
(hysterically screaming
and thrashing the mop)
GET OFF ME! GET OFF ME! GET... HIM...OFF!
CUT TO:
106
106
EXT. FISHERVILLE SQUARE - AFTERNOON
Laz and Angela are seated next to each other under the
gazebo.
ANGELA
I's thinkin' about singing in the choir.
LAZARUS
At church?
ANGELA
Mm-hm. I don't know if I got a good voice
or not but... practice is only on Mondays
and Wednesdays, so...
LAZARUS
(grinning)
You gonna sing me somethin'?
ANGELA
When? Now? Oh. No.
LAZARUS
Come on, just a little somethin'. Right
here. Go'on now, don't be shy.
91.
Angela blushes. She looks around and then leans in close to
Laz. She sings softly, sweetly, with all her soul.
ANGELA
(singing)
There is a balm in Gilead to make the
wounded whole.
Laz is falling in love. She is so beautiful to him, he
doesn't see the people running to the front of the grocery
store.
ANGELA
(singing)
There is a balm in Gilead to save my
sick, sick soul.
(opens her eyes, speaks)
So. You think I should be in the choir?
Laz is grinning from ear to ear. He is about to speak but the
commotion outside the grocery catches his attention. His
smile fades.
ANGELA
What? What is it?
Laz bolts toward the grocery as fast as he can.
107
107
INT. FISHERVILLE GROCERY - AFTERNOON
Laz rushes past the gawking customers at the end of the
aisle. A few male workers, including Mark, stand at a
distance watching Rae weep on the floor.
Sandy is being helped up by a co-worker - her head is
bleeding.
Rae rocks back and forth, her face spotted with flour dust,
the mop held tightly in her grip.
Mark tries to step closer but Rae cries out, thrashing with
the mop handle. They retreat.
LAZARUS
RAE? GAL? YOU HEARIN' MY VOICE?
Rae lifts her eyes.
FLASH TO:
92.
108
108
QUICK CUTS
The chain pulling around Rae's waist. The radiator clanking
as it is pulled. Laz's hand holding her head to him as she
cries.
FLASH BACK TO:
109
109
INT. FISHERVILLE GROCERY - AFTERNOON
Laz slowly crosses to Rae. She lifts her tear-soaked eyes to
him. He kneels next to her.
LAZARUS
I'll take you home now.
He lifts her up in his arms. She sobs into his chest as he
carries her through the onlookers.
Angela is there. She looks confused and shocked.
ANGELA
This your cousin?
Laz can't lie anymore. His gaze falls to the floor. He leaves
the store without saying anything to Angela.
110
110
EXT. FISHERVILLE SQUARE - AFTERNOON
Ronnie has parked Gill's truck on the square. He starts
walking up to the grocery store.
He sees Laz carrying Rae in his arms. She is sobbing into his
chest, blind to all around her. Ronnie freezes in shock as
Laz approaches.
LAZARUS
Move, son.
(Ronnie is unable to move)
Goddammit, kid, get outta my way!
Laz pushes Ronnie causing him to fall backwards on to the
pavement.
Ronnie watches Laz put Rae in his truck and drive away. A
wave of nausea hits. He turns over and heaves.
CUT TO:
111
111
EXT. LAZARUS' HOME - SUNSET
The wooden chimes are deathly still above the porch. The
evening cicadas have begun their chorus.
93.
112
112
INT. LAZARUS' HOME - THE BATHROOM - SUNSET
Rae is holding her knees to her chest in the tub. Laz sits
next to her, dipping the sponge in the water, gently washing
her back and shoulders.
Laz moves her head back into the palm of his hand to wash her
hair. She stares into his eyes as he squeezes the sponge on
her forehead.
RAE
You took care of your wife, like you do
me?
LAZARUS
I tried.
CUT TO:
113
113
EXT. LAZARUS' HOME - NIGHT
Rae is wrapped in the quilt, laying on the couch. She is
awake and motionless, helpless to her depression.
114
114
INT. LAZARUS' HOME - THE BEDROOM - NIGHT
Laz sits on the side of his bed. Something is on his mind.
We CUT TO him on his stomach searching for something under
his bed.
Another old guitar case comes out, followed by another, then
another. Finally, Laz stands, an old maroon case in his grip.
He opens the latches on the side and lifts the thin lid,
revealing a gorgeous cream colored electric guitar.
115
115
INT. LAZARUS' HOME - NIGHT
Rae has not fallen asleep yet. She turns to see Laz entering
the dark room with the maroon guitar case.
LAZARUS
You and me, we night owls. No use
fightin' this shit.
(tosses her a dress)
Get up.
CUT TO:
94.
116
116
EXT. BOJO'S - NIGHT
Laz's truck groans as it bounces into the crowded parking lot
of Bojo's.
Rae steps out, looking beautiful in her sun dress. Laz slams
the door to his truck, guitar case in hand.
They begin walking inside. Rae's watch goes off. She quickly
turns it off. But a faint echo of the alarm can be heard
behind her. She stops and turns toward the truck. The sound
is gone.
LAZARUS
What is it?
RAE
Nothin'.
They go inside.
Ronnie's hand appears from under the blue tarp in the back of
Laz's truck. He pulls himself out and looks around.
117
117
INT. BOJO'S - NIGHT
Laz and Rae stand like strangers by the door. The place is
wall to wall - people at the bar, people playing pool.
Laz sees the culprit of this show. R.L. is gabbing with Bojo,
a beer in his hand.
LAZARUS
Get'chu at that table up yonder.
RAE
By myself?
LAZARUS
You can handle it.
As Rae makes her way through the crowd of people, Laz marches
over to R.L..
LAZARUS
The hell is this shit?
R.L.
What? I called Bojo, like you say. Called
up the fellas in the band...
95.
LAZARUS
The fuck are all these people doin' here?
Been drinkin' in this shit hole for years
ain't seen this many people since I don't
know...
BOJO
Shit hole... Hey kiss my ass, Laz.
LAZARUS
Nigga, you go'on kiss my ass. Ya both
called everybody, didn't ya?
Bojo turns away to another customer. R.L. grins as he removes
a flask. He offers it to Laz. Laz snaps it away.
LAZARUS
There you go, preacher man. Get me drunk
so I don't stick my foot up yo ass.
R.L.
I just know how you get. Good to know,
them butterflies still in ya gut.
Laz and R.L. look over at Rae seated alone at a small table
near the stage.
R.L.
Heard about this morning.
LAZARUS
We ain't here to talk about that shit.
Laz surprises R.L. by walking away and up onto the stage.
Rae watches as Laz, shakes hands with some of the band
members. A few whistles from the crowd.
Laz sits down at a chair off to the right of a short mic
stand.
He plugs in.
Rae watches curiously as Laz tunes his guitar - moans of
electric distortion.
R.L. sits next to her.
R.L.
You in for it, now. He gonna nail it to
the wall tonight. I done pissed him off.
96.
The drummer kicks in. Laz tears into the strings. The entire
place begins to undulate and bounce as Laz returns to the
blues.
LAZARUS
(singing)
I don't know, but I been around, tell me
them women shake `em on down.
Cheers. Rae watches in awe. She's never seen anything like
it. She is surrounded by couples dancing so close they might
as well be naked. But there is also a great sense of safety
as Laz controls the room with his music.
LAZARUS
(singing)
Yes, I'm goin' Georgia line.
See if them women sweet like mine.
HERSHEL, a black man in his 30's, asks Rae to dance.
HERSHEL
You wanna cut it up, baby?
RAE
(shrugging)
Well...
Rae looks up at Laz. Laz smiles and nods. Rae takes the man's
hand and moves out onto the dance floor. R.L. can't be seated
anymore. He stands and stomps his foot.
R.L.
(shouting at Laz)
Yeah, you know you home, old man. You
just walked through the door.
LAZARUS
(singing)
I don't know, but I been told, them
Georgia women sweet jelly roll.
Rae allows Laz's voice and guitar to take hold of her. Her
face gets wet with sweat as she moves, making love to the
current in the air.
Men are dancing all around her, but now she is in control.
She turns to a young man and shakes, then an old man.
She is free, herself, and above all, safe.
97.
Laz smiles, unaware of Ronnie watching from the window behind
him. There is rage and confusion in his face as he watches
Rae surrounded by dancing limbs.
CUT TO:
118
118
EXT. LAZARUS' HOME - KITCHEN - NIGHT
Both Laz and Rae are drinking water from the sink in tall
glasses like they've been stranded in a desert.
RAE
Are you drunk?
(Laz shrugs)
Keep drinkin' water and you won't get a
headache in the mornin'.
LAZARUS
Yeah, gal I been here before.
RAE
(smiling)
I guess you have.
119
119
INT. LAZARUS' HOME - THE BEDROOM - NIGHT
Laz is taking off his shoes, getting ready to crash for the
night. He sits down on the side of his bed and takes off his
shirt, leaving his T-shirt on.
Rae is standing in his doorway.
RAE
Laz? Can I sleep with you tonight?
LAZARUS
Don't think that'd be wise.
RAE
I didn't mean it nothin' dirty.
LAZARUS
I know you didn't. But you a grown girl.
You can handle it. I got to.
Rae understands. She crosses to Laz and kisses him on the
cheek.
Rae then walks down the hall to her couch in the front room.
Laz turns off the light.
CUT TO BLACK:
98.
120
120
INT. BATHROOM - NIGHT - FLASHBACK
Rae enters the dark bathroom and shuts the door behind her.
Her hair is shorter, a shaggy bob, bleached platinum blond.
ARTY, always behind the door, attempts to enter, but Rae
pushes the door closed and locks it.
ARTY
Baby, where you goin'?
RAE
I'm gonna pee. I gotta take a break and
go pee.
ARTY
Now, this isn't fair. You said I could do
it, too.
RAE
Eat shit and die, Arty. A girl can change
her fuckin' mind.
Rae finds the light switch. She yelps upon seeing Ronnie
crouched by the tub.
Suddenly feeling violated Rae yanks down on her shirt to hide
the fact that she's not wearing anything else.
RAE
Hey.
RONNIE
Hey.
RAE
You don't gotta get up but... I gotta
go...
Ronnie attempts to get up but it's too late, Rae has already
squatted on the commode, pinning Ronnie between her and the
bathtub.
Rae is breathing heavy, her focus is scattered. She's coming
up or coming down from a big burn.
RAE
(waiting for pee)
I think if I just piss... I'll be okay.
RONNIE
You feelin' sick?
99.
RAE
I'm just in one of my moods. You know how
I get.
RONNIE
Yeah, I know.
Ronnie tries to look away, trying to make an awkward moment
less awkward. Rae's anxiety is hitting her.
RAE
I think it'd be better if you talk to me.
RONNIE
Yeah?
RAE
Just about anything, you know. It can be
funny or... not. Just tell me somethin'.
Ronnie nervously considers this before agreeing to open his
mouth. He points into the tub.
RONNIE
Well. That's my vomit. I came in here to
get sick. I thought I'd make the toilet
but... anyway, I got sick.
RAE
Are you wasted?
RONNIE
No. I just got a messed up stomach.
RAE
(remembering)
Holy shit!
RONNIE
What?
RAE
Holy shit, Ronnie!
(smacks him on the arm)
You're a fuckin' rock star.
RONNIE
I'm a what?
RAE
All them people shoutin' your name like
they were doing tonight! Shit! That arm
you got'll get'chu on a box of cereal...
100.
Ronnie leans over and dry heaves into the tub. It is painful.
Rae leans forward and touches his back, comforting him.
RAE
Hey? You okay, Ronnie?
Ronnie falls back, gripping his stomach, there are tears in
his eyes from the dry heaving. Suddenly emotion hits him.
RONNIE
(through tears and
clenched teeth)
Box of cereal... well, Goddamn...
(looks at his trembling
fists)
Everybody keeps sayin' things to me take
make me feel great. But I don't feel
great at all. I feel like I'm comin'
outta my skin. Like I'm losin' control of
my mind.
(looks into Rae's eyes)
I'm not like this. I'm not usually so...
afraid.
(really starts crying)
I don't know what's... wrong...
Rae pulls Ronnie to her. He cries into her shoulder. She
gently rubs his wet face and sings her words of comfort.
RAE
Is'okay... Is'okay...
Ronnie begins to calm down. The sobbing abates.
The metal music from the party outside is muffled through the
door. The two hold onto each other in silence.
Rae pees. They both giggle, a welcome release of tension.
RAE
I feel better. Do you?
RONNIE
Yeah, I do.
121
121
EXT. LAZARUS' BARN - NIGHT
Ronnie lifts his head from sleep - his memory of Rae has
vanished.
He is leaning against the corner of the barn, his .45 in his
grip. His gaze slowly turns toward Laz's darkened house.
101.
His hand begins to shake.
FADE TO BLACK.
122
122
EXT. LAZARUS' HOME - EARLY MORNING
A crow squawks in the rows of corn. A bright morning is
coming.
123
123
INT. LAZARUS' HOME - THE BEDROOM - EARLY MORNING
Laz is still asleep. The sound of clumsy guitar playing,
accompanied by a tiny voice, can be heard.
RAE
(plucking, trying to find
the right note)
You... are my... sunshine.
Laz opens his eyes.
124
124
INT. LAZARUS' HOME - EARLY MORNING
Laz quietly creeps into the doorway to watch Rae struggle
with the guitar playing. He could stay there for hours
watching this little girl play his guitar.
Rae looks up and sees Laz. She stops playing.
RAE
Sorry.
LAZARUS
Looks like you know a song.
RAE
Don't know where I learn't it, but...
it's there in my head.
Laz sits next to her and takes the guitar from her.
LAZARUS
(playing a tune)
How you feelin' today?
RAE
You know how you feel when you come out
of a bad hangover? Like your eyes can
open a little bit more.
LAZARUS
I know that.
102.
RAE
Woke up real early. Sun was shining. Just
thought I'd mess around, try to learn a
song.
LAZARUS
Go'on and sing it, I'll play.
RAE
No, you do it. I can't sing.
LAZARUS
Stop that foolishness. Just do as I say
and close your eyes.
(Rae closes her eyes)
Close your eyes. And think about... well,
for a song like this, I'd say you think
about what you love.
RAE
What I love.
LAZARUS
Get a good picture in your mind.
Rae's playful smile turns serious. Laz continues playing.
LAZARUS
Think on that. And sing wit me.
(Laz comes in singing)
You are my sunshine. My only sunshine.
RAE & LAZARUS
You make me happy when skies are gray.
You'll never know dear, how much I love
you.
Please don't take my sunshine away.
Rae opens her eyes with a delightful giggle. Laz continues
playing.
LAZARUS
Good. I know another. It go like this.
(sings)
Last night dear, as I lay sleeping.
I dreamed I held you in my arms.
When I awoke dear, I was mistaken.
So I hung my head and I cried.
(to Rae)
Close your eyes Rae... sing it.
103.
Rae doesn't hesitate to obey. With her eyes closed and Laz
playing, neither can see Ronnie creeping up from the kitchen
with his gun.
RAE
(singing)
You are my sunshine. My only sunshine.
You make me happy when skies are gray.
Ronnie looks sick with pain as he points the barrel at the
back of Laz's head.
RAE
(singing)
You'll never know dear, how much I love
you.
Please don't take your sunshine away.
(opens her eyes)
RONNIE!
Laz spins around knocking away Ronnie's arm. BAM! The gun
fires into the wall. The guitar cracks on the floor.
Rae screams.
RAE
RONNIE STOP! RONNIE!
Laz lunges at Ronnie but Ronnie is faster. He spins Laz
around and slams him to the floor, pushing his gun into Laz's
face.
RAE
NO!
Ronnie looks up at Rae, his eyes red with sorrow and rage. He
pushes the gun to the side of Laz's head. Rae cries.
RONNIE
Ain't been a week and you already some
nigger's whore? Gill told me. Told me how
you and he... you and everybody...
RAE
Ronnie. Please, baby...
RONNIE
(to Laz)
Did `ya have fun with her? Sweet as a
peach, I bet. Huh? Huh?
Laz glares back, not saying a word.
104.
RONNIE
Goddamn it, I ask you a question, you
better answer it, or I'm gonna blast a
hole in ya!
RAE
Ronnie...
Rae moves closer. Ronnie points his gun at her and screams.
RONNIE
YOU SHUT UP!
LAZARUS
Careful how you point that gun, boy.
RONNIE
(points gun back at Laz)
Or what? OR WHAT?
LAZARUS
Boy? You here to make a point, or you
here to kill somebody?
RONNIE
Ain't gonna be callin' me boy when I blow
your face off.
LAZARUS
You sayin' you'll do
what
?
RONNIE
You heard me, mother-fucker. I'll fuckin'
kill..
LAZARUS
(cutting him off)
BOY! You so green you couldn't stomp a
baby duck.
Ronnie can't believe what was just said - mostly, because
it's true. The gun begins to shake in his hand.
RONNIE
You testing me? Huh? You testin' me, old
man?
LAZARUS
Test. Shit. What kind'a test you
thinkin'? You mean like, if you a man or
not? If you a killer? Only one way to
prove that. You just look me in the eye,
boy, and you squeeze that trigger back.
105.
Ronnie grips the shaking gun. A severe attack is on the rise
as he listens to Laz.
LAZARUS
Ain't that easy, is it? I been in some
scraps, son, I know. First there's that
loud crack. Always louder than you think.
Like it just come-up-a-cloud and clapped
a mess thunder right in ya hand. BAM!
Ronnie flinches. He tries to control his breathing.
LAZARUS
White light. Smell of smoke. Taste of my
blood and brains in your mouth, stingin'
ya eyes.
Ronnie almost vomits, but he holds it back.
RAE
Oh, baby... just let me...
Rae moves closer to him, wanting to comfort him but she stops
as Ronnie points the gun at her. His eyes pleading for her to
stay back.
RONNIE
GODDAMMIT, RAE!
LAZARUS
BOY! YOU KEEP THAT GUN POINTED AT ME!
(Ronnie obeys)
You need to kill a man, all you gotta
have is a good reason.
(watches Ronnie fight his
attack)
You know she been here with me, don't
cha? Been all over town, givin' up that
switch you thought was your own.
RONNIE
SHUT UP! SHUT UP!
LAZARUS
Put all your love and dreams into one
woman... she turn around and give it all
to another man. That's a good reason to
paint the wall with me, kid. She'd
fear
ya then. Cuz there won't be no more
question in her mind. She with a real man
now. A real KILLER!
106.
(MORE)
A flood of tears are streaming down Ronnie's face. The gun is
shaking furiously in his hand.
RONNIE
Don't... don't say that to me...
LAZARUS
(getting fed up)
Son, I'm grown. Don't got patience to
suffer you children and this monkey junk.
I'm too old to play house...
(looks at Rae and then
back at Ronnie)
... and cowboys. So let's have it. End me
or get out of my face!
Ronnie looks like a scared five year old having an asthma
attack. Laz barks at him one last time.
LAZARUS
Go'on. Do it.
(silence)
DO IT!
The last shout from Laz completely destroys Ronnie. His
shoulders slump. The gun lowers in his grasp. A low sob is
heard as he falls to his knees.
Laz snatches the gun from his hand and stands.
RAE
Ronnie?
Rae inches closer to Ronnie as he kneels over and weeps. She
gently touches his shoulder. He turns his anguished face to
her and tries to speak.
RONNIE
I can't stop... I can't stop... being
scared. What am I gonna do...
Ronnie hides his face in his hands. Rae throws her arms
around him and holds him tight.
RAE
I got you, baby... I got you...
Laz removes the clip and crosses to the kitchen. He slams the
gun on the sink, opens a drawer and removes the wall phone.
RAE
(seeing Laz plug the phone
in)
107.
RAE(cont'd)
What are you doing?
(Laz dials a number)
You gonna call the cops? You think they
gonna help this? They ever help you, Laz?
Huh?
(Laz listens on the phone)
DAMMIT LAZ PUT THE PHONE DOWN?
Laz looks at Rae. There is hurt in his eyes.
LAZARUS
Thought you knew me better, gal.
(into the phone)
I need you at my house... right now.
CUT TO:
125
125
INT. LAZARUS' HOME - NIGHT
R.L. crosses from the kitchen. He hands a glass of water to
Rae seated on the couch. He hands another to Ronnie seated
next to her. R.L. sits before them as Laz lingers in the
doorway.
R.L.
(to Ronnie)
I imagine there's a lot of good between
you two. But I want you to tell me what's
bad. Go'on. And don't hold back.
Ronnie is very uncomfortable. He looks at Rae seated next to
him and then back at R.L..
RONNIE
I hate this town. You can't round the
corner without bumping into someone who's
got your number.
(a brief look at Rae)
We did a lot of dreamin', me and Rae.
Makin' plans to get out. I'd do my tour
and... we'd move outta here. Go to
Chattanooga. And I'd work for my uncle.
(looks down, tears come to
Ronnie)
But... when Rae gets like she does. And
she does the things that she always done.
Makes me feel like she loves this place
more'n me.
Rae starts shaking her head, tears come to her eyes. R.L.
raises a hand to silence her.
R.L.
Go on, Ronnie.
108.
RONNIE
All my life people called me shit like,
sissy and... nervous and... I got few
things in my life that make me feel
like... like...
LAZARUS
Like a man.
RONNIE
(surprised)
Yes. I mean that's it. I wanna feel like
a man with her. I wanna feel like the
only man with her.
Ronnie wipes the tears from his eyes with his shirt sleeve.
R.L. turns to Rae.
R.L.
(looks at Rae)
Now, Rae, we're not here to fix you or
judge you. Only you and the Almighty can
do that. But I want you to tell me about
these spells you get.
Rae takes a deep breath. She looks up at Laz. He encourages
her with a nod.
RAE
It starts like this... fire... that
spreads. Starts in my head. Then moves to
my stomach. Then it goes lower. I can
stop it sometimes but mostly I just jump
on and ride it out... then everything'll
go back to normal, you know. Only thing
ever took that feeling away was... was...
when I met Ronnie.
(the emotion really hits
hard)
Cuz I love him so much. He's all I got in
my life that's special. And I like taking
care of him and helping him when he gets
nervous. When I can do that for him...
it's like I'm givin' somethin' of myself
that I haven't givin' nobody else.
R.L.
Rae, look at Ronnie. And tell him how you
feel.
Rae turns to Ronnie. Her nose is running as she wipes away
her tears.
109.
RAE
I think... I think we're fucked up. Both
of us. I know I am. But... that don't
mean what I feel ain't true. It don't
mean I can't love. And I know, how I been
is... is... REALLY BAD! So if you want to
quit on me... I understand. But please...
please... don't.
Ronnie is very moved by Rae's plea. He touches her face and
wipes away a tear.
R.L.
So. What'chu two gonna do about this?
CUT TO:
126
126
EXT. ANGELA'S HOME - DAY
The door opens. Angela looks surprised to see Laz. She is
dressed in jeans, a T-shirt, wearing rubber gloves from
cleaning.
ANGELA
Hey.
LAZARUS
Hey. You wasn't at'cha work but that
nosey gal up at the counter give me your
home address. Hope you don't mind me
comin' over.
ANGELA
What do you need?
LAZARUS
I need ya help again.
Angela notices Rae and Ronnie seated in Laz's truck.
ANGELA
More cough syrup?
LAZARUS
Can I come in?
Angela takes a breath and opens the door wider.
127
127
INT. ANGELA'S HOME - DAY
It is a small house, but tidy. Angela motions for Laz to sit.
110.
LAZARUS
I lied to you. It was wrong. But at the
time... I didn't know what to do. Imagine
you got an earful from folks about that
gal I's carryin'...
ANGELA
Laz... you don't need to explain yourself
to me...
LAZARUS
Yes, I do. Cuz I feel for you. Mean to
say...
(long pause)
I got feelings
for
you. And I didn't want
you to think... I didn't...
(how to say?)
I don't want you to go away. There's
better ways to say what I'm trying to
say, but... they it is. Don't go away.
Angela thinks on this. She rises out of her seat and crosses
to Laz, sitting next to him on the love seat.
ANGELA
Laz. I'm gonna put my trust in you. I'm
gonna do it knowin' all too well I can
get hurt like this. And I
have
been hurt.
Just like you.
(beat)
Woman like me, I got a lot of livin' to
do. But my days are precious to me. They
all I got left. Don't want no more fuss.
I want
love
in my life. You understanding
me, Laz?
LAZARUS
I do. God's truth. I do.
They stay locked in each others' sight.
Then, the slowest, most gentle kiss happens between them.
When they separate, Laz is lost in her eyes.
ANGELA
Now what'chu need me to do? Cuz I'm gonna
go do it.
CUT TO:
111.
128
128
INT. POOL HALL - MORNING
Laz enters the pool hall and spots Tehronne. Tehronne motions
him back. Next to Tehronne is an old black man named PINETOP.
TEHRONNE
Yo, this here Pinetop. I think he got
what you lookin' for.
Pinetop grins and produces a black velvet cloth. He opens it
gently and spreads it out, revealing a long, thin, gold
chain.
Laz nods, approvingly.
LAZARUS
That'll do.
129
129
EXT. POOL HALL - BACK DOOR - MORNING
Tehronne leads Laz down the back steps.
They both round the corner, revealing an old Chevy Caprice.
It is light brown except for one door that is gray, however
the chrome rims on the car are impressive - worth more that
the entire car by a long shot.
TEHRONNE
It got some miles on it, but my boys say
she run good. Got fresh 22's on her.
Ain't my doin'. That's just how it came
to me. Don't worry. Nobody gonna come
lookin' for it. I got the pinks... got no
problem.
(hands Laz the keys)
Ain't gonna have my girl ridin' no bus.
LAZARUS
(moved, impressed)
Don't see generosity much these days.
Everything always got a catch. Guess I'm
tryin' to say... thank you.
TEHRONNE
Nobody ever asks me to do shit like this
for people. And you know what? I'm good
at it. Naw what I mean?
Tehronne walks back into the pool hall, leaving Laz alone.
CUT TO:
112.
130
130
INT. ELLA MAE'S WOMEN'S CLOTHING - DAY
Rhonda has three white dresses over her arm as she hurries
past Ronnie, seated next to the back dressing rooms.
The door doesn't close all the way. He stands and moves in
for a peek. Angela pokes her head out and grins.
ANGELA
What are you doing?
RONNIE
(shrugs)
Just wanted to see.
ANGELA
You know the rules.
(vacant look from Ronnie)
You do know the rules, don't you?
RONNIE
Yeah, I know.
ANGELA
Then start taking them seriously.
RONNIE
Yes, ma'am.
131
131
INT. ELLA MAE'S WOMEN'S CLOTHING - DRESSING ROOM - DAY
Rae is standing in bra and panties up on a small platform in
front of a tri-divided mirror. Ella Mae takes the dresses
from Rhonda.
Angela sees that Rae is nervous.
ANGELA
It's okay to breathe, honey.
RAE
Yes, ma'am.
CUT TO:
132
132
EXT. RONNIE'S TRAILER - LATE DAY
Ronnie is wearing a brown corduroy jacket. He is attempting
to tie his neck tie in the side mirror of Laz's truck.
Lincoln, also wearing his Sunday best, steps up behind him.
113.
LINCOLN
You Ronnie?
RONNIE
Yeah.
LINCOLN
I'm Lincoln. Guess I'm gonna be your best
man.
RONNIE
(ultimately accepting)
Okay.
LINCOLN
You havin' trouble with that tie? Cuz I'm
pretty good at it.
Ronnie nods. Lincoln steps behind him to tie the tie.
LINCOLN
Gotta do it like this or I get all turned
around.
133
133
INT. RONNIE'S TRAILER - LATE DAY
Laz is wearing the same suit he wore at the cafe with Rose.
He is seated in Ronnie's trailer, outside the back bedroom
door.
Angela steps out from the bedroom with a grin.
ANGELA
She's ready for you.
134
134
INT. RONNIE'S TRAILER - BACK BEDROOM - LATE DAY
Laz opens the door, carefully looking around the doorjam. He
sees her standing before the dresser mirror. She looks
beautiful, simple, and elegant.
Rae desperately searches Laz's eyes for approval.
LAZARUS
Now that's sharp. That's real sharp. Miss
Ella Mae set you up, didn't she? You like
it?
RAE
I've had nice things before but I always
ruined `em somehow.
114.
LAZARUS
Well, this one's yours now. You ready to
take care of it?
Rae bows her head. She fights back tears.
RAE
I want to. More'n anything. But I...
Laz holds her face in his hands. He speaks softly.
LAZARUS
Now... let's stop that.
(smiles)
You and me... we can handle this. You
hear me, gal? We gonna be just fine. Now
live ya life. Pull your shit together and
live your life.
His words are piercing and true. Rae nods, decides.
RAE
Okay.
R.L.'s words are heard as Rae wraps her arms around Laz and
rests her head on his chest.
RAE
I don't want you to let go.
LAZARUS
Maybe I won't.
R.L.
(v.o.)
When I was a child, I talked like a
child. I thought like a child, I reasoned
like a child.
CUT TO:
135
135
EXT. RONNIE'S TRAILER - LATE DAY
Ronnie turns toward the trailer. He is in his suit, standing
in his front yard - Lincoln at his side. R.L. stands to the
side with a Bible in his hands.
R.L.
(v.o.)
When I became a man, I put childish ways
behind me.
115.
Ronnie is amazed with what he sees. Laz leads beautiful Rae
down the steps as Angela tends to her side.
R.L.
(v.o.)
Now we see but a poor reflection as in
the mirror; then we shall see face to
face. I know in part; then I shall know
fully, even as I am fully known.
Rae holds firm to Laz's arm as they come together on the
green grass to witness and perform this union.
R.L.
(v.o.)
And now these three remain: faith, hope
and love. But the greatest of these is
love.
(Looks to Laz)
Who gives this girl in marriage?
LAZARUS
I do.
Lazarus takes a few steps with Rae, offering her arm to
Ronnie. Ronnie and Laz stay locked in each other's gaze.
LAZARUS
You got her now?
Laz stands next to Angela as Ronnie and Rae face R.L.
together.
R.L.
Ronnie. Rae. I want you to look at each
other and listen to me carefully. Do you
understand?
RAE & RONNIE
Yes. Yes, sir.
They both obey - each with a serious expression.
R.L.
I require and charge you both as you
stand in the presence of God to remember
that love and loyalty alone will avail as
a foundation of a happy and enduring
home.
(to Lincoln)
Go on, hand it to him.
116.
Lincoln steps toward Ronnie and holds up the black velvet.
Ronnie takes the gold chain and carefully wraps it around
Rae's waist.
R.L.
No human ties are more tender. No vows
more sacred than those you now assume.
Laz looks on - a conflicted emotion of joy and loss.
R.L.
If these solemn vows be kept inviolate,
the home which you are establishing will
abide in peace and your life will be
filled with joy.
Angela reaches over and takes Laz's hand in hers.
CUT TO:
136
136
EXT. FREEWAY/ INT. RONNIE & RAE'S NEW CAR - DAY
Ronnie is at the wheel of the Chevy Caprice. Rae sits
silently next to him.
Rae looks out the window as a huge 18 wheeler rolls up on her
side. She tries to ignore it and the tension it brings.
She turns to see that Ronnie is sweating. Another truck is on
his side sandwiching them in.
An attack is coming over Ronnie.
His breath is short. His chest tightens. Rae reaches over and
gently strokes the back of his neck.
RONNIE
I gotta pull over.
He breaks. The two trucks zoom ahead as Ronnie breaks to the
side. Dust flies as the Chevy skids to a stop on the side of
the road.
Trucks zip by shaking the car, as Ronnie tries to get control
of his breathing.
Rae tries to stay calm, stroking the back of his neck as he
struggles for breath. He puts his forehead against the wheel
to stave off the building nausea.
RONNIE
(through clenched teeth)
FUCK!
117.
Fear comes to Rae's face as she notices her middle finger
scratching at the back of Ronnie's neck. She pulls it away
and shoves her hand between her thighs.
Her eyes close as the burning builds. She grips the gold
chain around her waist.
FLASH TO
137
137
QUICK CUTS
The chain, tight around Rae as she struggles. Rae panting and
sweating on Laz's floor. She reaches out. Her hand lands on
the strings of his guitar. A single string is plucked.
FLASH BACK TO:
138
138
EXT. FREEWAY/ INT. RONNIE & RAE'S NEW CAR - DAY
Rae opens her eyes - the low note still sounding in her head.
She places her hand back on his neck.
And then, soft as a prayer:
RAE
(singing)
You are my sunshine. My only sunshine.
You make me happy, when times are gray.
Ronnie slowly turns and looks at Rae, his head still resting
on the steering wheel. The panting has slowed. Color starts
returning to his cheeks.
RAE
(singing)
You'll never know dear, how much I love
you.
Please don't take, my sunshine away.
The anxiety is gone. Ronnie takes a breath and looks at Rae,
humbled and thankful of her power to soothe him.
RAE
See. We're okay.
Rae is smiling.
CUT TO BLACK:
THE END.
00b
| screenplays |
in this paper , we initiate an investigation of hitting time theorems for random matrix processes . hitting time theorems have their origins in the study of random graphs
; we briefly review this history , then proceed to an overview of recent work on discrete and continuous random matrix models and a statement of our results . to begin , consider the classical _ erds - rnyi graph process _
@xmath2 , defined as follows . independently for each pair @xmath3=\{1,\ldots , n\}$ ] , let @xmath4 be a uniform@xmath5 $ ] random variable . then , for @xmath6 $ ] let @xmath7 have vertex set @xmath8 $ ] and edge set @xmath9 . in @xmath7 ,
each edge is independently present with probability @xmath10 , and for @xmath11 we have that @xmath7 is a subgraph of @xmath12 .
bollobs and frieze @xcite proved the following _ hitting time theorem _ for @xmath7 , which is closely related to the main result of the present work .
let @xmath13 be the first time @xmath10 that @xmath7 has minimum degree one , and let @xmath14 be the first time @xmath10 that @xmath7 contains a perfect matching ( or let @xmath15 if @xmath0 is odd ) .
then as @xmath1 along even numbers , we have @xmath16 in other words , the first moment that the trivial obstacle to perfect matchings ( isolated vertices ) disappears , with high probability a perfect matching appears .
ajtai , komls and szemerdi @xcite had slightly earlier shown a hitting time theorem for hamiltonicity ; the first time @xmath7 has minimum degree two , with high probability @xmath7 is hamiltonian .
in fact , @xcite generalizes this , showing that if @xmath17 is the first time @xmath7 has minimum degree @xmath18 and @xmath19 is the first time @xmath7 contains @xmath20 disjoint hamilton cycles , then with high probability @xmath21 . hitting time theorems have since been proved for a wide variety of other models and properties , including : connectivity @xcite , @xmath20-edge - connectivity @xcite and @xmath20-vertex - connectivity @xcite in random graphs and in maker - breaker games ; connectivity in geometric graphs @xcite ; and hamiltonicity in geometric graphs and in the @xmath22-dimensional gilbert model @xcite . in this work
we introduce the study of hitting time theorems for random discrete matrices .
the study of random matrices is burgeoning , with major advances in our understanding over the last three to five years .
thanks to work by a host of researchers , the behaviour of the determinant @xcite , a wide range of spectral properties @xcite , invertibility @xcite , condition numbers @xcite , and singular values @xcite are now well ( though not perfectly ) understood .
( this list of references is representative , rather than exhaustive . )
the recent paper @xcite provides a nice collection of open problems , with a focus on random discrete matrices . in order to have a concept of hitting time theorems for matrices , we need to consider matrix _ processes _ , and we focus on two such processes .
the first is the _ bernoulli _ process @xmath23 , defined as follows . independently for each ordered pair @xmath24 , let @xmath4 be a uniform@xmath5 $ ] random variable .
then let @xmath25 be an @xmath0-by-@xmath0 matrix with @xmath26 entry @xmath27 equal to one if @xmath28 and zero otherwise .
for @xmath29 and @xmath30 we let @xmath31 be the directed graph with adjacency matrix @xmath25 , so @xmath32 is a _ directed erds
rnyi graph process_. ( we take @xmath25 to have zero diagonal entries as it is technically convenient for @xmath31 to have no loop edges ; however , all our results for this model would still hold if the diagonal entries were generated by independent uniform random variables @xmath33 , and with essentially identical proofs . )
the second model we consider is the _ symmetric _ bernoulli process @xmath34 : with @xmath4 as above , for @xmath35 let @xmath36}}$ ] , and set all diagonal entries equal to zero . throughout the paper , we work in a space
in which @xmath37 is the adjacency matrix of @xmath7 for each @xmath38 .
the principal result of this paper is to prove hitting time theorems for invertibility ( or full rank ) for both the bernoulli matrix process and the symmetric bernoulli process ; we now proceed to state our new contributions in detail .
given a real - valued matrix @xmath39 , write @xmath40 define @xmath41 similarly , and let @xmath42 .
given a collection of matrices @xmath43 , let @xmath44 , with the convention that @xmath45 .
we write @xmath46 when the matrix process under consideration is clear .
we say that a square matrix @xmath39 is singular if @xmath47 , and otherwise say that @xmath39 is non - singular .
our main result is the following .
[ thm : main]as @xmath1 we have @xmath48 in proving theorem [ thm : main ] , we also obtain the following new result , which states that for a wide range of probabilities @xmath10 , with high probability there are no non - trivial linear dependencies in the random matrix @xmath25 .
[ thm : digraph ] for any fixed @xmath49 , uniformly over @xmath50 , we have @xmath51 the analogue of theorem [ thm : digraph ] for the symmetric process @xmath52 was established by costello and vu @xcite , and our analysis builds on theirs as well as that of @xcite . the requirement that @xmath49 in theorem [ thm : digraph ]
is necessary , since for @xmath53 with @xmath54 , with probability @xmath55 the matrix @xmath25 will contain two identical rows each with a single non - zero entry , as well as two identical columns each with a single non - zero entry ; in this case @xmath56 .
our analyses of the processes @xmath57 and @xmath52 are similar , but each presents its own difficulties . in the former ,
lack of symmetry yields a larger number of potential `` problematic configurations '' to control ; in the latter , symmetry reduces independence between the matrix entries .
where possible , we treat the two processes in a unified manner , but on occasion different proofs are required for the two models .
there are two main challenges in proving theorem [ thm : main ] .
first , there are existing bounds of the form of theorem [ thm : digraph ] for the symmetric bernoulli process @xcite . however , in both models , @xmath58 is of order @xmath59 .
this is rather diffuse ; it means that the moment when the last zero row / column disappears is spread over a region in which @xmath60 ones appear in the matrix ( @xmath60 new edges appear in the associated graph ) . as such ,
a straightforward argument from theorem [ thm : digraph ] or its symmetric analogue , using a union bound , is impossible .
this is not purely a weakness of our methods . indeed ,
if the matrix contains two identical _ non - zero _ rows then it is singular , and the probability there are two such rows ( each containing a single non - zero entry , say ) when @xmath61 is @xmath62 .
this is already too large for a naive union bound to succeed .
moreover , with current techniques there seems no hope of replacing our bound by one that is even , say , @xmath63 for any positive @xmath64 , so another type of argument is needed .
the second challenge is that invertibility is not an increasing property ( adding ones to a zero - one matrix can destroy invertibility ) .
all existing proofs of hitting time theorems for graphs ( of which we are aware ) use monotonicity , usually in the following way .
an _ increasing graph property _ is a collection @xmath65 of graphs , closed under graph isomorphism , and such that if @xmath66 and @xmath67 is a subgraph of @xmath68 , then @xmath69 .
suppose that @xmath70 and @xmath71 are increasing graph properties with @xmath72 .
if there is a function @xmath73 such that uniformly in @xmath74 , @xmath75 then with probability @xmath55 , the first hitting times of @xmath70 and of @xmath71 coincide .
this follows easily from the fact that @xmath70 and @xmath71 are increasing .
however , it breaks down for non - increasing properties and there is no obvious replacement . to get around these two issues ,
we introduce a method for _ decoupling _ the event of having full rank from the precise time the last zero row or column disappears .
this method is most easily explained in graph terminology .
we take a subset of the vertices of the graph under consideration , and replace their ( random ) out- and/or in - neighbourhoods with deterministic sets of neighbours .
we prove results about the modified model , and then show that by a suitable averaging out , we can recover results about the original , fully random model .
we believe the results about the partially deterministic models are independently interesting , and we now state them . [ dfn : template ] given @xmath76 , a _ template _ ( or _ @xmath0-template _ ) is an ordered pair @xmath77 , where 1 .
@xmath78 are subsets of @xmath8 $ ] , 2 .
@xmath79 and @xmath80 are sequences of non - empty , pairwise disjoint subsets of @xmath8 $ ] , 3 .
@xmath81\setminus i^-$ ] and @xmath82\setminus i^+$ ] .
the _ size _ of @xmath83 is @xmath84 .
we write @xmath85 . also , we say @xmath83 is _ symmetric _ if @xmath86 . finally , for @xmath87 , we let @xmath88 be the collection of @xmath0-templates of size at most @xmath89 .
we remark there is a unique template @xmath83 of size zero , which satisfies @xmath90 ; we call this template _ degenerate_. given @xmath76 , an undirected or directed graph @xmath67 on @xmath0 vertices and a template @xmath83 as defined above , let @xmath91 be the graph obtained from @xmath67 by letting each @xmath92 have out - neighbours @xmath93 ( and no others ) and each @xmath94 in - neighbours @xmath95 ( and no others ) .
note that if @xmath67 is undirected and @xmath83 is symmetric , then @xmath96 is again undirected , provided we view a pair @xmath97 of directed edges as a single undirected edge .
we write @xmath98 and @xmath99 for the adjacency matrix of @xmath100 and @xmath101 . in @xmath98 and @xmath99 , for @xmath92 ( resp .
@xmath102 ) , the non - zero entries of row @xmath103 are precisely those with indices in @xmath104 ( resp . in @xmath105 ) .
[ thm : gnpl ] fix @xmath106 and @xmath49 . for any @xmath50 and any template @xmath107 , @xmath108 if , additionally , @xmath83 is symmetric then @xmath109 we briefly remark on the assertions of the latter theorem .
first , the first probability bound immediately implies theorem [ thm : digraph ] , by taking @xmath110 and @xmath111 to be empty .
next , the condition of pairwise disjointness is necessary . to see this , note that if vertices @xmath112 have degree one and have a common neighbour @xmath113 then the rows of the adjacency matrix corresponding to @xmath114 and @xmath113 are identical , creating a non - degenerate linear relation .
finally , in proving the theorem we in fact only require that if @xmath115 , then @xmath116 ( and similiarly for the maximum size of @xmath117 ) .
as we do not believe this condition is optimal we have opted for a more easily stated theorem .
however , it would be interesting to know how far the boundedness condition could be weakened .
the proof of theorem [ thm : gnpl ] is based on an analysis of an iterative exposure of minors ; the first use of such a procedure to study the rank of random matrices was due to komls @xcite . in brief
, we first show that for suitably chosen @xmath118 , a fixed @xmath119-by-@xmath119 minor of @xmath25 is likely to have nearly full rank .
adding the missing rows and columns one - at - a - time , we then show that any remaining dependencies are likely to be `` resolved '' , i.e. eliminated , by the added rows .
our argument is similar to that appearing in @xcite for the study of @xmath37 , but there are added complications due to the fact that our matrices are partially deterministic on the one hand , and asymmetric on the other .
the proof of theorem [ thm : gnpl ] occupies a substantial part of the paper ; a somewhat more detailed sketch appears in section [ sec : iterative ] .
vershynin @xcite has very recently strengthened the bounds of costello , tao and vu @xcite , showing that for a broad range of dense symmetric random matrices , the singularity probability decays at least as quickly as @xmath120 , for some ( model - dependent ) @xmath121 .
it seems plausible ( though not certain ) that vershynin s techniques could be transferred to the current , sparse setting , to yield bounds of the form @xmath122 in theorems [ thm : digraph ] and [ thm : gnpl ] .
however , we believe , and the results of @xcite suggest , that aside from zero - rows , the most likely cause of singularity is two identical rows , each containing a single one . if the latter is correct then it should in fact be possible to obtain bounds of the form @xmath123 ( for @xmath49 as above ) ; as alluded to earlier , for the moment such bounds seem out of reach .
before proceeding with details , we briefly pause to introduce some terminology . given an @xmath124 matrix @xmath125 ,
the _ deficiency _ of @xmath39 is the quantity @xmath126 also , for any @xmath127 $ ] we denote by @xmath128 the matrix obtained by removing the @xmath103-th row of @xmath39 and the @xmath129-th column ; we refer to @xmath128 as the _ @xmath130 minor _ of @xmath39 .
more generally , given @xmath131 $ ] we write @xmath132 for the matrix obtained from @xmath39 by removing the rows indexed by @xmath133 and the columns indexed by @xmath134 .
also , for @xmath135 we write @xmath136=(m_{ij})_{1\le i , j\le k}$ ] . for a graph @xmath137 and @xmath138 , we write @xmath139 for the set of out - neighbours of @xmath140 in @xmath67 and @xmath141 for the set of in - neighbours of @xmath140 in @xmath67 .
( if @xmath67 is undirected then we write @xmath142 for the set of neighbours of @xmath67 . ) if @xmath39 is the adjacency matrix of @xmath67 then for @xmath143 we write @xmath144 , and similarly for @xmath145 ( and @xmath146 if @xmath39 is symmetric ) .
note that in this case , @xmath147 and @xmath41 correspond to the sets @xmath148 and @xmath149 , respectively . given real random variables @xmath150 and @xmath151 we write @xmath152 if for all @xmath153 , @xmath154 , and in this case say that @xmath151 _ stochastically dominates _
finally , we omit floors and ceilings for readability whenever possible .
the structure of the remainder of the paper is as follows . in section [ sec : decouple ] we explain how to `` decouple '' the linear dependencies of the matrix process from the time at which the last zero row or zero column disappears .
this decoupling allows us to prove theorem 2.1 assuming that theorem 2.4 holds . in section [ sec : iterative ]
we introduce the _ iterative exposure of minors _ , analogous to the vertex exposure martingale for random graphs , which we use to study how @xmath155)$ ] changes as @xmath156 increases .
we then state a key `` coupling '' lemma ( lemma [ lem : coupling ] ) , which asserts that for some @xmath118 with @xmath157 sufficiently small , the process @xmath158),n '
\le m \le n)$ ] is stochastically dominated by a reflected simple random walk with strongly negative drift . postponing the proof of this lemma ,
we then show how theorem 2.4 follows by standard simple hitting probability estimates for simple random walk . in section [ sec :
rank ] , we describe `` good '' structural properties , somewhat analogous to graph expansion , that we wish for the matrices @xmath159 $ ] to possess .
the properties we require are tailored to allow us to apply _ linear and quadratic littlewood - offord bounds _ on the concentration of random sums .
proposition [ prop : key ] , whose proof is postponed , states that these properties hold with high probability throughout the iterative exposure of minors . assuming the properties hold , it is then a straightforward matter to complete the proof of lemma [ lem : coupling ] . in section [ sec : structure ]
we complete the proof of proposition [ prop : key ] .
this , the most technical part of the proof , is most easily described in the language of random graphs rather than of random matrices .
it is largely based on establishing suitable expansion and intersection properties of the neighbourhoods that hold for all `` small '' sets of vertices and in each of the graphs @xmath159 $ ] considered in the iterative exposure of minors .
finally , appendix a states standard binomial tail bounds that we use in our proofs , and appendix b contains proofs of results that are either basic but technical , or that essentially follow from previous work but do not directly apply in our setting .
in this section we explain how the first assertion of theorem [ thm : main ] follows from the first assertion of theorem [ thm : gnpl ] .
a similar argument applies to the second assertion of theorem [ thm : main ] ; we comment on the necessary adjustments to the argument in section [ subsec : decoupling_sym ] .
recall that the process @xmath57 is generated by a family @xmath160 of independent uniform@xmath5 $ ] random variables . given @xmath161 $ ] , let @xmath162 and write @xmath163\setminus i^+ \text { and } j\in [ n]\setminus i^-\ } ) .
\end{split}\ ] ] informally , @xmath164 contains all information that can be determined from the process @xmath57 by observing only rows with indices in @xmath110 and columns with indices in @xmath111 .
all information about all remaining entries is contained in @xmath165 . next , given @xmath166 , let @xmath167 and let @xmath168 in words , @xmath169 is the event that the matrix obtained from @xmath25 by deleting the rows indexed by @xmath110 and the columns indexed by @xmath111 has neither zero rows nor zero columns .
we remark that @xmath169 and @xmath170 are measurable with respect to @xmath165 and @xmath164 , respectively , and that @xmath171 is precisely the event that @xmath172 and @xmath173 .
we write @xmath174 instead of @xmath175 when the dependence on @xmath10 is clear from context .
finally , let @xmath176 then , for any template @xmath177 , let @xmath178 observe that @xmath179 and @xmath180 are measurable with respect to @xmath164 .
furthermore , the entries that are random in @xmath99 are precisely those corresponding to the random variables generated by @xmath165 .
lemma [ split ] , below , uses this fact in order to express the conditional distribution of @xmath181 given @xmath174 , and @xmath179 , as an integral against a conditional density function .
[ split ] fix @xmath182 and @xmath166 .
then for any non - degenerate @xmath0-template @xmath183 , letting @xmath162 and writing @xmath184 , we have @xmath185 where @xmath186 is the conditional density of @xmath180 given @xmath170 and @xmath179 . in proving lemma [ split ] we use the following basic observation .
given independent @xmath187-algebras @xmath188 and @xmath189 , for every @xmath190 and @xmath191 , we have @xmath192 if @xmath174 and @xmath179 all occur , we necessarily have @xmath193 and @xmath194 . for any @xmath195 ,
we may thus rewrite @xmath196 as @xmath197 for any @xmath198 , if @xmath199 and no edges arrive in the interval @xmath200 $ ] , then @xmath201 and @xmath202 are identical . writing @xmath203 for the event that a pair of distinct edges arrive within one of the intervals @xmath204,\ , 0\le i < k\}$ ] , it follows that @xmath205 for fixed edges @xmath206 and @xmath207 , we have @xmath208 . by a union bound it follows that @xmath209 , and so the final term in ( [ eq : finesplit ] ) tends to @xmath210 as @xmath211 . finally , by the observation about conditional independence
just before the start of the proof , for all @xmath212 we have @xmath213 and taking @xmath211 completes the proof .
the next definition captures the event that , for a given @xmath214 , the rows ( resp .
columns ) of @xmath215 indexed by @xmath216 ( resp .
@xmath217 ) are such that theorem [ thm : gnpl ] can be applied .
[ dfn : d_k ] given @xmath218 and @xmath195 , let @xmath219 be the event that @xmath220 is a non - degenerate @xmath0-template of size at most @xmath212 .
[ lem : rest ] for any @xmath221 there exists @xmath222 and integer @xmath223 such that , setting @xmath224 and @xmath225 , for all @xmath0 sufficiently large , @xmath226 the proof of lemma [ lem : rest ] is straightforward but technical , and is presented in appendix [ sec : easy_proofs ] .
now recall the definition of @xmath227 from the notation section on page .
observe that the first claim of theorem [ thm : main ] is equivalent to the statement that with high probability @xmath228 .
therefore , to establish the first assertion of theorem [ thm : main ] , it suffices to prove the following theorem .
[ thm : ygnp ] @xmath229 fix @xmath230 , let @xmath222 and @xmath223 be as in lemma [ lem : rest ] . throughout the proof write @xmath231 , @xmath232 , and @xmath184 . note that @xmath233 occurs precisely if there exists a non - degenerate @xmath107 such that @xmath234 , and @xmath179 all occur
furthermore , if @xmath235 then @xmath236 and @xmath237 are disjoint events .
writing @xmath238 , it follows that @xmath239 we will show that for any @xmath240 , @xmath241 assuming this , it follows that @xmath242 for @xmath0 large , the last inequality by lemma [ lem : rest ] . since @xmath230 was arbitrary , it thus remains to prove ( [ eq : toprove_frac ] ) , for which we use lemma [ split ] .
fix @xmath240 and let @xmath243 . then @xmath244 .
for any fixed integer @xmath245 and distinct @xmath246\setminus ( i^+\cup \bigcup_{i \in i^- } s_i^-)$ ] , @xmath247 furthermore , for @xmath248 necessarily @xmath249 since @xmath83 is non - degenerate .
it follows by the method of moments ( see @xcite , chapter 6 ) that @xmath250 is asymptotically poisson(@xmath251 ) .
the same argument establishes that @xmath252 has the same asymptotic distribution .
it follows that @xmath253 , so by the first assertion of theorem [ thm : gnpl ] , for @xmath254 we have @xmath255 since @xmath256 , by lemma [ split ] we thus have @xmath257~|~b_{{\mathcal i } } , c_{{\mathcal l}}\right)}}. \end{aligned}\ ] ] multiply both sides of the preceding inequality by @xmath258 .
since @xmath259 is independent from @xmath260 and @xmath179 , we obtain @xmath261\right)}}\end{aligned}\ ] ] finally , if @xmath174 , and @xmath179 all occur then necessarily @xmath194 and @xmath262 , so we may replace @xmath263\}$ ] by @xmath264 in the final probability , and ( [ eq : toprove_frac ] ) follows .
the proof is complete .
the decoupling of connectivity from the rank estimates of @xmath25 is not extremely sensitive to the structure of @xmath25 except through theorem [ thm : gnpl ] , and the broad strokes of the argument of this section are therefore unchanged . in particular ,
define @xmath265 and @xmath266 as before ( but recall that only the variables @xmath267 are independent ) .
then lemma [ split ] holds under the additional restriction that the template @xmath83 is _ symmetric _ , as in this case @xmath268 and the @xmath187-algebras @xmath265 and @xmath266 are indeed symmetric .
we replace the event @xmath269 with the event that @xmath270 is a non - degenerate @xmath0-template of size at most @xmath212 ( in which case it is necessarily symmetric ) .
lemma [ lem : rest ] then holds with @xmath271 replaced by @xmath272 , with an essentially identical proof . assuming the second bound in theorem [ thm : gnpl ]
, the rest of the proof then follows without substantial changes .
to prove theorem [ thm : gnpl ] , we analyze an iterative exposure of minors of the matrix .
( in other words , we will expose the edges incident to the vertices of @xmath101 in a vertex - by - vertex fashion . )
this strategy was first used in the context of random symmetric matrices in @xcite , to show that random symmetric bernoulli@xmath273 matrices are almost surely non - singular . for the remainder of the paper
, @xmath274 is a fixed constant , and @xmath275 .
also , for the rest of the paper , let @xmath276 be such that @xmath277 , write @xmath278 , and let @xmath279 .
given any integer @xmath280 , for @xmath0 sufficiently large and any @xmath0-template @xmath281 by permuting the rows and columns of @xmath282 we may assume that @xmath283\ , ; \ ] ] we call such @xmath107 _ permissible_. we work only with permissible templates to ensure that in the iterative exposure of minors in @xmath282 starting from @xmath284 $ ] , all new off - diagonal matrix entries whose row ( resp . column ) is not in @xmath285 ( resp .
@xmath286 ) are bernoulli@xmath287 distributed .
we begin by showing that @xmath288 $ ] is extremely likely to have quite large rank .
[ almost fullrank ] for any @xmath230 and @xmath275 , there exists a constant @xmath289 such that @xmath290 the proof of an analogous bound for random symmetric sparse bernoulli matrices appears in @xcite .
denote the rows of @xmath25 by @xmath291 .
let @xmath292 and @xmath293 .
let @xmath294 be the event that @xmath295 for every @xmath296 . by symmetry
we have @xmath297 so we now focus on bounding @xmath298 . by relabelling ( i.e. , replacing @xmath25 by @xmath299 for some permutation matrix @xmath300 ) , we may assume @xmath25 is a block matrix @xmath301 where @xmath133 is an @xmath302 matrix with @xmath303 .
thus , the columns in @xmath134 are in the span of the columns in @xmath133 , so @xmath304 for some ( unique ) matrix @xmath67 . on the other hand
, @xmath203 is an @xmath305 matrix and @xmath306 .
it follows that there exists @xmath307 such that for any fixed matrix @xmath39 , @xmath308 the first inequality holds since @xmath203 has at least @xmath309 independent bernoulli(@xmath10 ) entries .
now , if @xmath294 holds , then there exists a matrix @xmath310 such that both @xmath311 and @xmath312 hold .
furthermore , note that if @xmath313 also satisfies @xmath314 then @xmath315 so if @xmath294 occurs then @xmath316 is uniquely determined by @xmath317 and @xmath318 .
consequently , for any such @xmath310 we have @xmath319 since @xmath320}$ ] , by it follows that @xmath321 in fact , lemma [ almost fullrank ] also holds for @xmath284 $ ] as well . to see this ,
observe that since @xmath83 has size at most @xmath212 , @xmath322)-{\ensuremath{\mathrm{rank}}}(r_{n , p}[n'])|\le k^2=o(1)$ ] , and @xmath323 $ ] has the same distribution as @xmath324 .
we thus obtain the following corollary .
[ rank_firstminor ] for any @xmath106 and @xmath230 , there exists a constant @xmath289 such that uniformly over @xmath107 and @xmath275 , @xmath325)\geq ( 1-{\varepsilon } ) n\right)}}\geq 1-o(n^{-c_1n}).\end{aligned}\ ] ] we next consider how the deficiency @xmath326)$ ] drops as @xmath156 increases from @xmath119 to @xmath0 .
we have @xmath327 ) & = y(r_{n , p}^{{\mathcal l}}[m])+1\nonumber \\ &
+ ( z(r_{n , p}^{{\mathcal l}}[m])-z(r_{n , p}^{{\mathcal l}}[m+1 ] ) ) \nonumber \\ & - ( { \ensuremath{\mathrm{rank}}}(r_{n , p}^{{\mathcal l}}[m+1])-{\ensuremath{\mathrm{rank}}}(r_{n , p}^{{\mathcal l}}[m])),\label{eq : ychange}\end{aligned}\ ] ] so @xmath151 decreases as the rank increases and , on the other hand , increases when zero rows or zero columns disappear causing that @xmath328)>z(r_{n , p}^{{\mathcal l}}[m+1])$ ] .
to show that @xmath329 is likely zero , we will couple @xmath330),n ' \le m \le n)$ ] to a simple random walk with strongly negative drift , in such a way that with high probability the random walk provides an upper bound for @xmath330),n ' \le m \le n)$ ] . of course
, showing that such a coupling exists involves control on the rank increase and on the decrease in @xmath328)$ ] as @xmath156 increases from @xmath119 to @xmath0 .
observe that we always have @xmath331 ) \le { \ensuremath{\mathrm{rank}}}(r_{n , p}^{{\mathcal l}}[m+1])\leq { \ensuremath{\mathrm{rank}}}(r_{n , p}^{{\mathcal l}}[m])+2 $ ] since @xmath332 $ ] may be obtained from @xmath333 $ ] by deleting a single row and column .
it follows from that if @xmath328)=z(r_{n , p}^{{\mathcal l}}[m+1])$ ] then @xmath334)-y(r_{n , p}^{{\mathcal l}}[m ] ) \in \{-1,0,1\}$ ] .
also , if @xmath328)=z(r_{n , p}^{{\mathcal l}}[m+1])-1 $ ] then necessarily @xmath335)\ge { \ensuremath{\mathrm{rank}}}(r_{n , p}^{{\mathcal l}}[m])+1 $ ] and so @xmath334)-y(r_{n , p}^{{\mathcal l}}[m ] ) \in \{0,1\}$ ] .
together , this shows that @xmath336)-y(r_{n , p}^{{\mathcal l}}[m])|\le 1 $ ] whenever @xmath328)-z(r_{n , p}^{{\mathcal l}}[m+1 ] ) \le 1 $ ] , establishing further control on the rank increase is rather involved , and is the primary work of sections [ sec : rank ] and [ sec : structure ] .
it will turn out that typically , @xmath334)-y(r_{n , p}^{{\mathcal l}}[m ] ) = -1 $ ] when @xmath326 ) > 0 $ ] , and @xmath334)=0 $ ] when @xmath326)=0 $ ] .
more precisely , we have the following lemma . [
lem : coupling ] for fixed @xmath106 , there exists @xmath337 such that the following holds .
given integer @xmath338 , let @xmath339 . then uniformly over @xmath107 and @xmath275 , there exists a coupling of @xmath330),n ' \le m \le n)$ ] and a collection @xmath340 of iid random variables with @xmath341 and @xmath342 , such that with probability @xmath343 , for all @xmath344 , @xmath345)- y(r_{n , p}^{{\mathcal l}}[m ] ) \le \begin{cases } x_{m } & \mbox { if } y(r_{n , p}^{{\mathcal l}}[m])>0 \\
\max(x_{m},0 ) & \mbox { if } y(r_{n , p}^{{\mathcal l}}[m])=0\ , . \end{cases}\ ] ] the proof of lemma [ lem : coupling ] occupies much of the remainder of the paper .
we say the coupling in the preceding lemma _ succeeds _ if for all @xmath346 , the final inequality holds .
now fix @xmath347 iid random variables with @xmath341 and @xmath342 .
set @xmath348 , and for @xmath349 let @xmath350 .
we call @xmath351 a _ @xmath352-biased simple random walk _ ( srw ) .
also , for @xmath349 let @xmath353 , and let @xmath354 .
observe that when @xmath355 is not at a new global minimum , @xmath356 is either @xmath357 ( with probability @xmath352 ) or @xmath358 . on the other hand , when @xmath355 is at a new minimum then @xmath359 , and either @xmath360 ( again with probability @xmath352 ) or @xmath361 .
now imagine for a moment that @xmath362)=0 $ ] . in this case , in view of the preceding paragraph , if the coupling succeeds then we have @xmath363)$ ] for all @xmath364 .
it follows that if @xmath362)$ ] happens to equal zero then we can bound @xmath365 ) > 0\right)}}$ ] by bounding @xmath366 .
this is accomplished by the following proposition and its corollary .
let @xmath367 . then @xmath368 .
this is an elementary fact about hitting times for simple random walk , and in particular follows from examples 1.3.3 and 1.4.3 of @xcite . for @xmath369 , @xmath370 . for any @xmath371 we have @xmath372 and summing over @xmath103 , plus a union bound
, yields @xmath373 in reality , @xmath362)$ ] may not equal zero , and so we should start the random walk @xmath374 not from zero but from a positive height .
the following corollary addresses this .
[ cor : maxbound ] for any integers @xmath375 , @xmath376 let @xmath377 . by the markov property , for any @xmath371 , @xmath378 by the preceding corollary . on the other hand , @xmath379 , and the result follows
. on the other hand ,
if @xmath380)$ ] then when the coupling succeeds we have @xmath381)$ ] for all @xmath364 .
it then follows from lemma [ lem : coupling ] and corollary [ cor : maxbound ] that for any @xmath230 , @xmath382 ) > { \varepsilon}n\right ) } } + { \ensuremath{\mathbf{p}\left(s_{n - n ' } > -{\varepsilon}n\right ) } } + \frac{\beta}{(1-\beta)^2}+
o\left(n^{-\gamma/2}\right ) \nonumber \\ \le & n^{-\omega(n ) } + e^{-\omega(n ) } + \frac{\beta}{(1-\beta)^2}+ o\left(n^{-\gamma/2}\right ) \nonumber \\ = & o((\ln\ln n)^{-1/2})\ , \end{aligned}\ ] ] where the second inequality follows from a chernoff bound for @xmath383 ( assuming @xmath384 is chosen small enough ) , plus the bound from corollary [ rank_firstminor ] , and the last inequality follows from the definition of @xmath352 in lemma [ lem : coupling ] .
this proves the first assertion of theorem [ thm : gnpl ] . when treating the symmetric model @xmath98 , the following modifications are required .
first , corollary [ rank_firstminor ] holds for all symmetric @xmath0-templates @xmath107 and with @xmath385 $ ] in place of @xmath284 $ ] .
this was proved in @xcite for @xmath386 $ ] , but as @xmath83 has size @xmath212 , @xmath387)-{\ensuremath{\mathrm{rank}}}(q_{n , p}^{{{\mathcal l}}}[n'])|\le k^2=o(1)$ ] , so the same bound holds for @xmath385 $ ] .
second , we will likewise establish a coupling lemma for @xmath388)$ ] .
[ lem : coupling2 ] for fixed @xmath106 , there exists @xmath337 such that the following holds .
given integer @xmath338 , let @xmath389 . then uniformly over symmetric @xmath107 and @xmath275 , there exists a coupling of @xmath390),n ' \le m \le n)$ ] and a collection @xmath340 of iid random variables with @xmath341 and @xmath342 , such that with probability @xmath343 , for all @xmath391 , @xmath392)- y(q_{n , p}^{{\mathcal l}}[m ] ) \le \begin{cases } x_{m } & \mbox { if } y(q_{n , p}^{{\mathcal l}}[m])>0 \\
\max(x_{m},0 ) & \mbox { if } y(q_{n , p}^{{\mathcal l}}[m])=0\ , . \end{cases}\ ] ] together , these two ingredients yield the second claim of theorem [ thm : gnpl ] by a reprise of the arguments following lemma [ lem : coupling ] the remainder of the paper is therefore devoted to proving lemmas [ lem : coupling ] and [ lem : coupling2 ] .
in this section we focus on understanding when and why the rank increases . in what follows ,
fix an @xmath124 matrix @xmath393 . given vectors @xmath394 , @xmath395 , we write @xmath396 now fix a matrix @xmath397 , and vectors @xmath394 , @xmath398 .
we remark that @xmath399 if and only if @xmath400 is linearly independent of the non - zero rows of @xmath397 ( i.e. it does not lie in the row - span of @xmath397 ) and @xmath401 is linearly independent of the non - zero columns of @xmath397 .
( in particular , if @xmath397 is symmetric and @xmath402 then @xmath399 if and only if @xmath400 lies outside the row - span of @xmath397 . )
note that for this to occur @xmath397 can not have full rank .
we prove lemmas [ lem : coupling ] and [ lem : coupling2 ] as follows .
first , we describe structural properties of @xmath403 matrices such that for any matrix @xmath404 satisfying such properties , for suitable random vectors @xmath400 and @xmath405 , with high probability @xmath406 .
we then establish that with high probability , the matrices @xmath407,n ' \le m \le n)$ ] and @xmath408,n ' \le m \le n)$ ] all have the requisite properties .
more precisely , for _ fixed _ @xmath397 and vectors @xmath409 , we will see that @xmath406 if and only if a suitable linear , bilinear or quadratic form in @xmath400 and @xmath405 , with coefficients determined by the matrix @xmath397 , vanishes ; we elaborate on this very shortly .
when @xmath400 and @xmath405 are bernoulli random vectors , this leads us to evaluate the probability that a particular random sum is equal to zero .
to bound such probabilities , we use _ littlewood offord bounds _ proved in @xcite,@xcite , which we now state .
[ prop : lo_equations ] let @xmath410 be independent bernoulli@xmath287 random variables . * fix @xmath411 . then uniformly over @xmath412 , @xmath413 * fix @xmath414 and @xmath415 such that there are at least @xmath89 indices @xmath129 for which @xmath416 . then uniformly over @xmath412 , @xmath417 * with @xmath414 and @xmath415 as in ( b ) , if also @xmath418 for all @xmath419 , then uniformly over @xmath412 , @xmath420 the matrix structural properties we require are precisely those that allow us to apply the bounds of proposition [ prop : lo_equations ] . for this ,
the following definitions are germane .
[ dfn : blocked ] fix a matrix @xmath404 . * given @xmath421 $ ] , we say that @xmath422 $ ] is an _
( for @xmath397 ) if @xmath423 .
* given @xmath424 , we say @xmath397 is _ @xmath425-blocked _ if any set @xmath421 $ ] with @xmath426 and @xmath427 has at least two @xmath374-selectors @xmath428 $ ] .
the final condition in the definition says that in the sub - matrix formed by only looking at the rows in @xmath374 , there are at least two columns containing exactly one non - zero entry .
we call @xmath129 an @xmath374-selector as we think of @xmath129 as `` selecting '' the unique row @xmath103 with @xmath429 .
we remark that if a matrix @xmath397 is @xmath425-blocked then any set @xmath374 of non - zero rows of @xmath397 containing a linear dependency must have size at least @xmath430 .
more strongly , this is true even after deleting any single column of @xmath397 .
[ dfn : dense ] we say that @xmath397 is _ @xmath425-dense _
if @xmath431:~\mbox{row $ i$ of $ q$ has $ > 1 $ non - zero entry}\}| \ge b.\ ] ] we then have the following bounds , which are key to the proofs of lemmas [ lem : coupling ] and [ lem : coupling2 ] .
[ prop : singular - block ] fix integers @xmath432 and a @xmath425-blocked @xmath124 matrix @xmath397 with @xmath433 .
then uniformly over @xmath412 , if @xmath434 has iid bernoulli(@xmath10 ) entries then @xmath401 is independent of the non - zero columns of @xmath397 with probability at least @xmath435
. let @xmath436 , and note that if @xmath433 then @xmath437 .
write @xmath438 for the rows of @xmath397 . by relabelling
, we may assume that @xmath439 are linearly independent and that @xmath440 is non - zero .
it follows that there exist unique coefficients @xmath441 for which @xmath442 .
then @xmath443 forms a set of linearly dependent non - zero rows , and so has size at least @xmath430 by the observation just after definition [ dfn : blocked ] .
let @xmath444 be the matrix obtained from @xmath397 by adding @xmath401 as column @xmath445 .
if @xmath401 lies in the column - span of @xmath397 then @xmath446 , so necessarily @xmath447 since @xmath448 , by proposition [ prop : lo_equations ] ( a ) we have @xmath449 therefore , the vector @xmath401 is independent of the non - zero columns of @xmath397 with probability at least @xmath435 .
[ prop : nonsing - block ] fix integers @xmath432 and a @xmath425-blocked , @xmath425-dense , @xmath124 matrix @xmath397 with @xmath450 .
then uniformly over @xmath412 , if @xmath451 and @xmath434 have iid bernoulli(@xmath10 ) entries then @xmath452 .
let @xmath453 be the cofactor matrix of @xmath397 ; that is , @xmath454 where @xmath455 is the @xmath130 minor of @xmath397 . a double - cofactor expansion of the determinant of @xmath456 yields @xmath457 note that @xmath458 when @xmath455 is singular , so we want to lower - bound the number of non - singular minors @xmath455 . to do so , fix @xmath459 $ ] and write @xmath460 for the @xmath461 matrix obtained by deleting the @xmath129-th column of @xmath397 .
since @xmath397 has full rank it has no zero rows .
we claim that if @xmath460 also has no zero rows then @xmath462 : a_{ij}\ne 0\}| > b$ ] . to see this , note that @xmath460 has rank @xmath463 and so since there are no zero rows , there exists ( up to scaling factors ) a unique vanishing linear combination @xmath464 where @xmath465 is the @xmath103th row of @xmath460 .
now , @xmath455 is invertible ( and thus @xmath466 ) if and only if @xmath467 .
but the rows @xmath468 are linearly dependent , and by the remark just after definition [ dfn : blocked ] , since @xmath397 is @xmath425-blocked we therefore have @xmath462 : c_i\ne 0\}| > b$ ]
. finally , since @xmath397 is @xmath425-dense , there are at most @xmath469 rows of @xmath397 with exactly one non - zero entry .
thus , @xmath470 : q^{(\emptyset , j)}\mbox { has no zero rows}\}| \ge b$ ] , and for any such @xmath129 we have @xmath471\ , : \ , a_{ij}\neq 0\}|>b$ ] by the preceding paragraph .
by proposition [ prop : lo_equations ] ( b ) it follows that , uniformly in @xmath412 , we have @xmath472 as claimed .
the following proposition is an analogue of proposition [ prop : nonsing - block ] which we use in analyzing the symmetric bernoulli process .
[ prop : nonsing - block_sym ] fix integers @xmath432 and a @xmath425-blocked , @xmath425-dense , @xmath124 symmetric matrix @xmath397 with @xmath450 .
then uniformly over @xmath412 , if @xmath451 has iid bernoulli(@xmath10 ) entries then @xmath473 .
the proof is nearly identical to that of proposition [ prop : nonsing - block ] .
however , in this case the double cofactor expansion of @xmath474 has the form @xmath475 .
consequently , we conclude by applying part ( c ) , rather than part ( b ) , of proposition [ prop : lo_equations ] . we omit the details
. we will apply propositions [ prop : singular - block ] and [ prop : nonsing - block ] via the following lemma .
[ lem : optimal_increase ] fix integers @xmath432 and an @xmath124 matrix @xmath397 for which both @xmath397 and @xmath476 are @xmath425-blocked and @xmath425-dense .
then uniformly over @xmath412 , if @xmath451 and @xmath434 have iid bernoulli(@xmath10 ) entries then @xmath477}}\right ) } } } \\ = & \quad o((bp)^{-1/2}).\end{aligned}\ ] ] in what follows we write @xmath456 . recall that if @xmath400 and @xmath405 lie outside the row - span and column - span of @xmath397 , respectively , then @xmath478 .
note also that @xmath479 always holds .
if @xmath480 then by the definition of @xmath481 we have @xmath433 and @xmath482 in this case the lemma follows by applying proposition [ prop : singular - block ] twice , once to @xmath397 and @xmath405 and once to @xmath476 and @xmath400 .
we now treat the case @xmath483 . by replacing @xmath397 by @xmath476 if necessary
, we may assume that @xmath397 has @xmath484 non - zero rows and @xmath485 non - zero columns , for some @xmath486 ; in particular note that @xmath487 . by relabelling the rows and columns , we may assume that @xmath488 has the form @xmath489 where @xmath133 is an @xmath490 matrix with no zero rows or columns , @xmath491 represents a block of zeros , and where @xmath492 and @xmath493 .
if @xmath494 then @xmath133 is @xmath425-blocked and @xmath425-dense and @xmath495 . since @xmath496 and @xmath497 have iid bernoulli@xmath287 entries , in this case the lemma follows by applying proposition [ prop : nonsing - block ] to @xmath133 , @xmath498 and @xmath499 . finally , if @xmath500 then @xmath501 .
proposition [ prop : singular - block ] applied to @xmath397 and @xmath405 then yields that @xmath405 lies outside the column - span of @xmath397 with probability @xmath435 . if the latter occurs then @xmath502 ; this completes the proof .
the analogous result for symmetric matrices is as follows .
[ lem : optimal_increase_sym ] fix integers @xmath432 and a @xmath425-blocked , @xmath425-dense symmetric @xmath124 matrix @xmath397 .
then uniformly over @xmath412 , if @xmath451 has iid bernoulli(@xmath10 ) entries then @xmath503}}\right ) } } } \\ = & \quad o((bp)^{-1/4}).\end{aligned}\ ] ] the proof is practically identical to that of lemma [ lem : optimal_increase ] , but is slightly easier as for symmetric matrices we always have @xmath504 .
the resulting bound is weaker as we must use proposition [ prop : nonsing - block_sym ] rather than proposition [ prop : nonsing - block ] .
we omit the details . to shorten coming formulas , we introduce the following shorthand . [ dfn : robust ] for @xmath29 , let @xmath505 .
we say that a square matrix @xmath397 is _
@xmath0-robust _ if both @xmath397 and @xmath476 are @xmath20-blocked and @xmath20-dense .
the following proposition , whose proof is the most technical part of the paper , says that robustness is very likely to hold throughout the final @xmath157 steps of the iterative exposure of minors in @xmath282 . in the following proposition ,
recall from the start of section [ sec : iterative ] the definition of permissible templates , and also the fact that @xmath506 is a fixed constant depending only on @xmath507 .
[ prop : key ] fix @xmath106 . for any @xmath50 and
any permissible template @xmath107 , we have @xmath508\ , : r_{n , p}^{{\mathcal l}}[m]~\mbox{is}~n\mbox{-robust}\right ) } } & = 1-o\left(n^{-\gamma}\right)\ , , \mbox { and } \\
{ \ensuremath{\mathbf{p}\left(\forall~m \in [ n',n]\ , : q_{n , p}^{{\mathcal l}}[m]~\mbox{is}~n\mbox{-robust}\right ) } } & = 1-o\left(n^{-\gamma}\right ) .
\end{aligned}\ ] ] we provide the proof of proposition [ prop : key ] in section [ sec : sketchproof ] , for now using it to complete the proofs of lemma [ lem : coupling ] and lemma [ lem : coupling2 ] ( and so of theorem [ thm : gnpl ] ) .
we begin by controlling the probability that @xmath509)$ ] ever decreases by more than one in a single step of the minor exposure process .
[ lem : one isolate ] for fixed @xmath106 , uniformly over permissible @xmath107 and @xmath275 we have @xmath510)<z(r_{n , p}^{{\mathcal l}}[m])-1\right)}}&= o(n^{-\gamma/2}).\end{aligned}\ ] ] first , by symmetry this probability is at most twice @xmath511)|-|z^{\textsc{row}}(r_{n , p}^{{\mathcal l}}[m+1])|>1\,\right)}}.\ ] ] for @xmath512 , with high probability @xmath513)|=0 $ ] for each @xmath514 , so we assume that @xmath515 .
the matrix @xmath323 $ ] is distributed as @xmath324 , and we have @xmath516 .
since @xmath99 contains at most @xmath517 rows with deterministic or partially deterministic coordinates , it follows that for @xmath0 large , @xmath518)| \ge n^{1/2-\gamma/2}\right ) } } \nonumber \\
\le & { n ' \choose n^{1/2-\gamma/2 } } \left((1-p)^{n'-k^2}\right)^{n^{1/2-\gamma/2 } } \nonumber \\ \le & e^{-n^{\gamma/2}}. \label{eq : jbound}\end{aligned}\ ] ]
we next bound the probability that @xmath519)|<n^{1/2-\gamma/2}$ ] and at least two zero rows disappear in a single step . for fixed @xmath156 with @xmath520
we have @xmath521)| < |z^{\textsc{row}}(r_{n , p}^{{\mathcal l}}[m])|-1 , z <
n^{1/2-\gamma/2}\right ) } } \nonumber \\
\le & { \lfloor n^{1/2-\gamma/2}\rfloor \choose 2 } p^2 \ , , \label{eq : twodownbound}\end{aligned}\ ] ] which is at most @xmath522 for @xmath0 large and @xmath523 . by , , and a union bound
, the result follows .
we state the symmetric analogue of lemma [ lem : one isolate ] for later use .
[ lem : one isolate_sym ] under the conditions of lemma [ lem : one isolate ] , if @xmath83 is symmetric then @xmath524)-z(q_{n , p}^{{\mathcal l}}[m+1])>1\right)}}\leq o(n^{-\gamma/2}).\ ] ] in this case , the desired probability is equal to the probability that @xmath525)|-|z(q_{n , p}^{{\mathcal l}}[m+1])|>1\ ] ] for some @xmath514 .
the proof then follows as that of lemma [ lem : one isolate ] . for @xmath526 let @xmath527\,:n ' \le i \le m\})$ ] and let @xmath528~\mbox{is}~n\mbox{-robust}\}$ ] .
note that @xmath529 for all @xmath526 . also , @xmath530 for all @xmath531 .
now for @xmath532 let @xmath533 ) = { \ensuremath{\mathrm{rank}}}(r_{n , p}^{{\mathcal l}}[m])+1+{{\mathbf 1}_{[y(r_{n , p}^{{\mathcal l}}[m])>0]}}\}.$ ] then since @xmath332 $ ] is @xmath534-measurable and @xmath529 , we have @xmath535}}\\ \ge & \inf\{{\ensuremath{\mathbf{p}\left(c_m | r_{n , p}^{{{\mathcal l}}}[m]=q\right ) } } : q~\mathrm{is}~n\textrm{-robust}\}\cdot{{\mathbf 1}_{[e_{n , m}]}}. \\ \ge & ( 1-o((kp)^{-1/2})){{\mathbf 1}_{[e_{n , n}]}}\ , .\end{aligned}\ ] ] the last inequality by lemma [ lem : optimal_increase ] and since @xmath536 } } \ge { { \mathbf 1}_{[e_{n , n}]}}$ ]
. therefore , there exists @xmath537 such that for all @xmath520 , writing @xmath538 , we have @xmath539 ) < { \ensuremath{\mathrm{rank}}}(r_{n , p}^{{{\mathcal l}}}[m])+1+{{\mathbf 1}_{[y_m>0]}}~|~{\mathcal f}_{n , m}\right ) } } \\
\le & c(2kp)^{-1/2 } { { \mathbf 1}_{[e_{n , n } ] } } + { { \mathbf 1}_{[e_{n , n}^c ] } } \\ \le & \beta + { { \mathbf 1}_{[e_{n , n}^c]}}. \end{aligned}\ ] ] for @xmath520 let @xmath540 ) < { \ensuremath{\mathrm{rank}}}(r_{n , p}^{{{\mathcal l}}}[m])+1+{{\mathbf 1}_{[y_m>0]}}]}}$ ] .
it follows from the preceding bound that for @xmath541 $ ] , @xmath542 we may therefore couple @xmath543 with a family @xmath544 of independent bernoulli@xmath545 random variables such that for all @xmath546 , @xmath547}}.\ ] ] finally , for @xmath520 let @xmath548 , so that @xmath549 . by the identity ( [ eq : ychange ] ) for @xmath550)$ ] , if @xmath550)-y(r_{n , p}[m ] ) \le \max(x_{m+1},-y(r_{n , p}[m]))$ ] then either @xmath551 ( in which case @xmath552 occurs ) or @xmath553 ) \le z(r_{n , p}^{{{\mathcal l}}}[m])-2\}$ ] .
it follows that @xmath554)-y(r_{n , p}^{{\mathcal l}}[m ] ) \le \max(x_{m+1},-y(r_{n , p}[m]))\right)}}\\ \ge & 1-{\ensuremath{\mathbf{p}\left(e_{n , n}^c\right)}}-{\ensuremath{\mathbf{p}\left(\exists n ' \le m
< n : z(r_{n , p}^{{{\mathcal l}}}[m+1 ] ) \le z(r_{n , p}^{{{\mathcal l}}}[m])-2\right ) } } \\ = & 1-o(n^{-\gamma/2})\ , , \end{aligned}\ ] ] the final bound by lemma [ lem : one isolate ] and proposition [ prop : key ] .
this completes the proof .
the proof of lemma [ lem : coupling2 ] is practically identical , using the second rather than the first bound of proposition [ prop : key ] and using lemmas [ lem : one isolate_sym ] and [ lem : optimal_increase_sym ] rather than lemmas [ lem : one isolate ] and [ lem : optimal_increase ] , respectively .
we omit the details .
in this section we prove proposition [ prop : key ] . for the remainder of the paper , fix @xmath106 , @xmath555 large , let @xmath556 , and fix a permissible template @xmath557 . for
@xmath558 $ ] write @xmath559 $ ] , @xmath560 $ ] . also for the remainder of the paper , @xmath561 \setminus ( i^- \cup \bigcup_{i \in i^+ } s_i^+)$ ] and let @xmath562 .
these definitions are illustrated in figure [ fig:1 ] . finally , recall that @xmath274 and @xmath563 are fixed so that @xmath277 , that @xmath278 and that @xmath564 .
( 310,210 ) ( 0,0).,title="fig : " ] before proceeding to details , we pause to describe the broad strokes of our proof .
our arguments are more straightforwardly described in the language of graphs rather than matrices , so we shall begin to switch to the language of graphs .
we separately bound the probability that for some @xmath514 , @xmath565 either is not @xmath566-blocked or is not @xmath566-dense . bounding the latter probability is straightforward : this is essentially the event there are too many vertices with low out - degree in @xmath567 , and
@xmath568 is large enough that such vertices are rare .
bounding the probability that @xmath565 is not @xmath566-blocked for some @xmath156 is more involved , and we pause to develop some intuition . recall that for @xmath565 to be @xmath566-blocked , we need that for any @xmath421 $ ] with @xmath569 , there are at least two @xmath374-selectors in @xmath565 . in the language of graphs ,
an @xmath374-selector is a vertex @xmath140 such that @xmath140 has exactly one in - neighbour in @xmath374 . for @xmath526 and @xmath570 ,
conditional on @xmath571 , the larger the degree of @xmath103 the more likely it is that @xmath572 contains a vertex @xmath140 lying outside @xmath573 , and such a vertex @xmath140 is an @xmath374-selector . for this reason ,
low - degree vertices pose a potential threat to the existence of @xmath374-selectors .
( indeed , low - degree vertices in a sense pose the greatest difficulty for the proof ; it is precisely out - degree one vertices that cause theorems [ thm : digraph ] and theorem [ thm : gnpl ] to be fail for @xmath574 . ) we neutralize this threat by showing that with high probability all ( sufficiently ) low degree vertices have pairwise disjoint out - neighbourhoods , and so sets @xmath374 of _ exclusively _ low - degree vertices have many @xmath374-selectors .
we now turn to details .
we begin by bounding the probability that some @xmath565 is not @xmath566 dense .
[ lem : dense ] uniformly over @xmath575 we have @xmath576 and if @xmath83 is symmetric then @xmath577~\mbox{is}~k(n , p)\mbox{-dense}\right ) } } = 1-o(n^{-1})\,\ ] ] for @xmath514 , let @xmath578\setminus i^+\ , : |([m]\cap n_{r_m}^+(i ) ) \setminus i^- |
> 1 \}.\ ] ] observe that @xmath579 for all @xmath514 . on the other hand , if @xmath565 is @xmath566-dense , then @xmath580 , the latter for @xmath0 large .
it follows that @xmath581~\mbox{is not}~k(n , p)\mbox{-dense}\right ) } } \le { \ensuremath{\mathbf{p}\left(|a_{n'}| < k(n , p)/2\right)}}.\end{aligned}\ ] ] for @xmath582\setminus ( i^+\cup \bigcup_{i \in i^-}s_i^-)$ ] let @xmath583 be the event that @xmath584 .
the event @xmath583 is monotone decreasing , so in bounding its probability from above we may assume that @xmath10 is equal to @xmath585 .
write @xmath586 .
for @xmath587\setminus ( i^+\cup \bigcup_{i \in i^-}s_i^-)$ ] we then have @xmath588 so @xmath589\setminus a_{n'}|\right ] } \le n'\cdot 2(1+\alpha c\ln n)n^{-\alpha c } \le 2n^{1-\alpha c}(1+\alpha c \ln n ) .
$ ] a similar calculation shows that @xmath590\setminus a_{n'}|^4\right]}\le ( 2n^{1-\alpha c}(1+\alpha \ln n))^4 16(1+\alpha c\ln n)$ ] and so by markov s inequality @xmath591\setminus a_{n'}|^4\right]}}{(n'-k(n , p)/2)^4 } \le \frac{(4n^{1-\alpha c})^4(1+\alpha \ln n)^5}{(n'-k(n , p)/2)^4 } < \frac{1}{n^2}\ , , \ ] ] the last inequality holding for @xmath0 large since @xmath592 and @xmath593 .
the lemma follows by a union bound .
an identical proof establishes the stated bound for @xmath98 in the case that @xmath83 is symmetric .
next , we address the probability that the minors @xmath565 , @xmath514 , are not @xmath566-blocked .
the next definition allows us to avoid the ( partially ) deterministic neighbourhoods of @xmath594 .
[ dfn : blocked2 ] fix @xmath595 .
a matrix @xmath596 is _ @xmath597-blocked _ if any set @xmath421 $ ] with @xmath427 satisfies the following conditions . * if @xmath598 then there exist distinct @xmath428\setminus ( i^- \bigcup_{i \in i^+ } s_i^+)$ ] that are @xmath374-selectors for @xmath397 . * if @xmath599 then there exist distinct @xmath428\setminus ( i^+ \bigcup_{i \in i^- } s_i^-)$ ] that are @xmath374-selectors for @xmath476 .
( in the last bullet of the preceding definition , it may be useful to note that if @xmath39 is the adjacency matrix of a directed graph then @xmath600 is the adjacency matrix of the graph with all edge orientations reversed . )
we then have the following lemma .
[ lem : key ] uniformly in @xmath601 , @xmath602 and if @xmath83 is symmetric then also @xmath603 \text { is $ ( k,{{\mathcal l}})$-blocked}\right ) } } = 1- o\left(n^{-\gamma}\right)\ , .\ ] ] the proof of proposition [ prop : key ] assuming proposition [ lem : key ] is straightforward and largely consists of showing that _ if _ @xmath565 is @xmath604-blocked then most sets @xmath605\setminus z^{\textsc{row}}(r_m)$ ] _ deterministically _ have at least two @xmath374-selectors ( even if @xmath606 ) .
an easy probability bound then polishes off the proof .
let @xmath607\setminus z^{\textsc{row}}(r_m ) : 2 \le |e| \le k(n , p ) , e \subset i^+\}\ , , \\
c_2^m & = \{e \subset [ m]\setminus z^{\textsc{row}}(r_m ) : 2 \le |e| \le k(n , p ) , |e \setminus i^+| \ge 2\}\ , , \\
c_3^m & = \{e \subset [ m]\setminus z^{\textsc{row}}(r_m ) : 2 \le |e| \le k(n , p ) , |e \setminus i^+|=1\}\ , , \end{aligned}\ ] ] and for @xmath608 let @xmath609\}$ ] .
note that if @xmath565 is @xmath604-blocked for all @xmath526 but is not @xmath20-blocked for some @xmath526 , then one of the events @xmath610 , @xmath611 , @xmath526 must fail to occur .
we consider the events @xmath610 , @xmath608 in turn .
first , note that since the sets @xmath612 are disjoint and non - empty , for every @xmath613 , for all @xmath614 , every @xmath615 is an @xmath616-selector .
thus , @xmath617 holds deterministically .
second , if @xmath565 is @xmath604-blocked then for any @xmath618 there are @xmath619-selectors @xmath620 $ ] .
since @xmath285 is disjoint from @xmath621 , it follows that @xmath622 are not in the out - neighbourhoods of any vertex in @xmath110 .
therefore @xmath623 and @xmath624 are also @xmath616-selectors , so if @xmath565 is @xmath604-blocked then @xmath625 holds .
it follows by proposition [ lem : key ] that @xmath626 .
third , fix @xmath627 and write @xmath628 .
note that @xmath140 must have at least one neighbour in @xmath594 as @xmath629 . if @xmath630 then any two @xmath631 are @xmath616-selectors since @xmath632 .
also , if @xmath633 and @xmath634 then choose @xmath635 for some @xmath636 , and @xmath637 ; both @xmath623 and @xmath624 are again @xmath616-selectors .
it follows that @xmath638 \setminus i^+ : |n_{h_n}^+(v)\cap u| \ge 1 , | n_{h_{n}}^+(v)\cap t\cap [ n']|\le 1\right)}}\ , .\label{eq : toprove}\ ] ] for fixed @xmath639\setminus i^+$ ] , since @xmath640\cap t|\ge n'-k(k+1)$ ] , we have @xmath641|\le 1\right ) } } \le & { \ensuremath{\mathbf{p}\left(\mathrm{binomial}(n'-k(k+1)-1,p)\le 1\right ) } } \\ \le & ( 1+n'p)(1-p)^{n'-(k+1)^2 } \end{aligned}\ ] ] furthermore , @xmath642 the events in the two preceding probabilities are independent since @xmath300 and @xmath621 are disjoint . by a union bound over @xmath639\setminus i^+$ ] , it follows that the probability in ( [ eq : toprove ] ) is bounded by @xmath643 if @xmath644 then @xmath645 for @xmath0 large , proving the result in this case .
if @xmath646 then @xmath647 , and since @xmath648 and @xmath649 , this expression is bounded by @xmath650 since @xmath651 we conclude that @xmath652 \setminus i^+ : |n_{h_n}^+(v)\cap u| \ge 1 , | n_{h_{n}}^+(v)\cap t\cap [ n']|\le 1\right ) } } = o(n^{-\gamma})\ , .\label{eq : use later}\ ] ] combining this bound with our bound on @xmath653 and our deterministic observation about the events @xmath617 , it follows that @xmath654 a symmetric argument for @xmath655 ( using the second bullet from definition [ dfn : blocked2 ] instead of the first ) shows that @xmath656 which completes the proof of the first assertion of the proposition [ prop : key ] .
the second assertion of the proposition follows by a practically identical argument using the second bound of proposition [ lem : key ] ( the only difference is that in this case there is no need to conclude by `` a symmetric argument '' as @xmath657 = ( q_{n , p}^{{{\mathcal l}}}[m])^t $ ] ) .
the remainder of the paper is devoted to the proof of proposition [ lem : key ] .
first , suppose @xmath83 is symmetric and write @xmath658 .
then for @xmath526 , @xmath659 $ ] is @xmath604-blocked if and only if @xmath660\setminus d]$ ] is @xmath20-blocked .
it follows that @xmath661 \text { is $ ( k,{{\mathcal l}})$-blocked}\right)}}\\ = & \quad { \ensuremath{\mathbf{p}\left(\forall n'\le m\le n : q_{n , p}[[m]\setminus d ] \text { is $ k$-blocked}\right ) } } \\ = & \quad 1-o(n^{-\gamma})\ , , \end{aligned}\ ] ] the last bound by lemma 2.10 of @xcite ( note that in that paper , the first property in the definition of `` good '' is equivalent to our property `` @xmath20-blocked '' ) .
this establishes the second assertion of the lemma , so we may now focus exclusively on the first .
we say a set @xmath662\setminus i^+$ ] is _ blocked _ if @xmath663 $ ] contains two distinct @xmath616-selectors . given @xmath526 and @xmath664 ,
let @xmath665\setminus ( z^{\textsc{row}}(r_m ) \cup i^+ ) : |e|=s , e\mbox { is not blocked}\}\ , .\ ] ] to prove proposition [ lem : key ] it suffices to show that @xmath666 since @xmath667 , our arguments are mostly insensitive to the value of @xmath668 $ ] .
the value of @xmath484 plays a more significant role , and we tailor our arguments for different values .
the region where @xmath669 is rather straightforward ; fix such @xmath484 and @xmath526 , and fix @xmath662\setminus ( z^{\textsc{row}}(r_m ) \cup i^+)$ ] with @xmath670 . then for fixed @xmath422\setminus ( i^- \cup \bigcup_{i \in i^+ } s_i^+)$ ] , @xmath671 these events are independent for distinct @xmath422\setminus ( i^- \cup \bigcup_{i \in i^+ } s_i^+)$ ] , and it follows that @xmath672 the last inequality since @xmath673 for @xmath0 large . since @xmath674 , it follows by a union bound over @xmath662\setminus i^+$ ] that @xmath675 the last bound following since @xmath676 . using that @xmath677 when @xmath678 , since @xmath679 it follows that @xmath680 for @xmath0 sufficiently large , and so ( [ eq : intermediate ] ) yields @xmath681 where in the final inequality we use that @xmath682 . a union bound and the fact that @xmath683 then yields
@xmath684 this takes care of the range @xmath685 , which for small @xmath10 is the lion s share of the values of @xmath484 under consideration ( though the smaller values of @xmath484 require slightly more work ) . for @xmath686
, our approach to bounding @xmath687 is based on the pigeonhole principle and a simple stochastic relation , and we now explain both . for convenience set @xmath688 , and
note that @xmath689| \ge \hat{n}$ ] .
note that for a set @xmath662\setminus ( z^{\text{row}}(h_m)\cup i^+)$ ] if @xmath616 is not blocked then at most one vertex in @xmath690 has less than two in - neighbours in @xmath616 , so @xmath691 .
it follows that @xmath692 second , the number of distinct objects obtained by sampling with replacement is always smaller than when taking the same number of samples without replacement .
we use this to couple each set @xmath693 with a set ( of smaller or equal size ) obtained by sampling with replacement @xmath694 times from @xmath621 .
it follows that conditional on @xmath695 , the size @xmath696 stochastically dominates @xmath697 , where @xmath374 is a set of @xmath695 independent , uniformly random elements of @xmath621 . on the other hand , for such @xmath374 and for fixed @xmath698|$ ] , if @xmath699 then @xmath697 stochastically dominates a binomial@xmath700|)$ ] random variable .
it thus follows from standard binomial tail estimates ( see proposition a.1 ) and the fact that @xmath689| \ge \hat{n}$ ] , that if @xmath701 then @xmath702 we note that this upper bound is decreasing in @xmath425 for @xmath703 , as can be straightforwardly checked . with ( [ pigeonhole ] ) , this yields @xmath704 from which proposition [ lem : key ] will follow essentially by union bounds and binomial tail estimates . some such estimates are encoded in the following straightforward bound , whose proof we defer to appendix [ sec : easy_proofs ] . [
lem : range of b ] let @xmath67 be the event that for all @xmath668 $ ] and all @xmath662\setminus ( z^{\textsc{row}}(h_m)\cup i^+)$ ] with @xmath705 , it is the case that @xmath706 . then @xmath707 now fix @xmath662 \setminus i^+$ ] , and write @xmath708 .
then @xmath695 stochastically dominates a binomial@xmath709 random variable ( writing @xmath710 .
it follows from the binomial tail bounds stated in proposition a.1 that @xmath711 the last inequality holding for @xmath0 large since @xmath712 and so @xmath713 .
next , observe that @xmath714 taking a union bound over sets @xmath662\setminus i^+$ ] with @xmath670 and using the bounds and in ( [ eq : prob small ] ) , it follows that @xmath715 using that @xmath716 for @xmath0 large and that @xmath717 , we have @xmath718 for @xmath719 , we then have @xmath720 , so for such @xmath484 and for @xmath0 large , @xmath721 again using that @xmath716 for @xmath0 large and that @xmath717 , we have @xmath722 the preceding bounds on ( a ) and on ( b ) are decreasing in @xmath484 for @xmath723 , as can be verified by differentiation ; it follows that @xmath724 \nonumber\\ \le & ( n - n'+1)(p\ln^{1/2 } n)^{-1 } \left[\left ( \frac { 4 ( e\alpha c \log n)^{20}}{n^{7\gamma/8 } } \right)^{4/\gamma } + \left(\frac{80 ^ 4 e^5 ( 4/\gamma)^3}{n^3}\right)^{4/\gamma}\right ] \nonumber\\ \le & n^2 \left [ \frac { 4^{4/\gamma } ( e\alpha c \log n)^{80/\gamma}}{n^{7/2 } } + \frac{o(1)}{n^{12/\gamma } } \right ] \nonumber\\ = & o(n^{-1})\ , , \label{eq : smed}\end{aligned}\ ] ] since @xmath725 .
we now treat the range @xmath726 ; for this we require a final lemma .
we say @xmath727 is _ well - separated _ if for all @xmath526 , for any distinct @xmath728\setminus i^+$ ] , if @xmath729 and @xmath730 then there is no @xmath731-edge path ( with edges of any orientation ) joining @xmath114 and @xmath140 in @xmath732 .
[ lem : well - separated ] @xmath733 .
we defer the proof of lemma [ lem : well - separated ] to appendix [ sec : easy_proofs ] , as it is essentially a reprise of an argument found in @xcite ( though the results of @xcite do not themselves directly apply ) .
fix @xmath526 , @xmath726 and @xmath662\setminus i^+$ ] with @xmath670 .
write @xmath734 . arguing as at ( [ eq : prob small ] ) , we have @xmath735 now note that if @xmath736 then all vertices in @xmath616 have degree at most @xmath737\setminus t| \le 80/\gamma + k(k+1)$ ] . for @xmath0 large enough that @xmath738 , if @xmath594 is well - separated then the sets @xmath739 are disjoint . since @xmath740
, it follows that in this case @xmath616 _ is _ blocked so the first probability on the right hand side of the preceding bound is zero . by a union bound and the same argument used to bound @xmath741 , above , it follows that @xmath742 combining this bound with ( [ eq : slarge ] ) , ( [ eq : smed ] ) and lemmas [ lem : range of b ] and [ lem : well - separated ] then yields @xmath743 which , recalling ( [ eq : key_toprove ] ) , completes the proof of proposition [ lem : key ] .
lab received support from nserc and fqrnt , and le was supported by conacyt scholarship 309052 , for the duration of this research .
we thank all three agencies for their support .
we also thank two anonymous referees for their careful reading of the paper .
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in this section we recall standard binomial tail bounds .
the bounds in the following proposition are contained in @xcite , lemma 1.1 and @xcite , theorem 1.1 .
[ chernoff ] for @xmath746 and @xmath747 , if @xmath748 then writing @xmath749 , for @xmath750 we have @xmath751 for @xmath752 we have @xmath753 and for @xmath230 we have @xmath754
fix @xmath230 and let @xmath755 large enough that @xmath756 and that @xmath757 . recall that @xmath224 and @xmath758 . observe that @xmath759 if either @xmath760 or @xmath761 is non - empty . as both @xmath762 and @xmath763 are asymptotically poisson(@xmath764 ) , our choice of @xmath765 yields that @xmath766 this gives the first bound of the lemma .
for the second bound , we claim that it suffices to prove @xmath767 . indeed , assuming this bound , since @xmath768 , we have @xmath769 given @xmath770 $ ] , if @xmath771 , then @xmath772 .
we have @xmath773 we use this estimate to study @xmath774 . for @xmath775 $ ] , by the preceding bound and a union bound , @xmath776 by another union bound , for any fixed set @xmath777 $ ] it follows that @xmath778 similarly , for any fixed @xmath779 $ ] @xmath780 finally , given that @xmath781 we have @xmath782 .
it follows by a chernoff bound that @xmath783 by a union bound , for any @xmath784 $ ] , @xmath785 observe that , a similar argument conditioning on @xmath786 gives the same bounds in and for the sequence @xmath787 .
additionally , @xmath788 implies @xmath789 .
so far the bounds obtained depend on the size of fixed sets @xmath790 $ ] .
now let @xmath71 be the event that both @xmath791 and @xmath792 have size at most @xmath793 .
we claim that @xmath794 for this , we use that if @xmath795 , then @xmath796 ; see , e.g. , lemma 1.2 of @xcite .
since @xmath797 are asymptotically poisson(@xmath798 ) , follows by a union bound .
we now bound @xmath799 using the above inequalities .
if @xmath71 occurs , then there exist ( possibly empty ) sets @xmath779 $ ] of size at most @xmath212 . by , , we then obtain @xmath800 note that if @xmath801 then @xmath802 .
thus , @xmath803 in the second inequality we use , and the fact that @xmath804 and @xmath804 are asymptotically poisson(@xmath251 ) ; the final inequality then follows from the fact that @xmath755 and @xmath805 by straightforward calculation . by our choice of @xmath765 , the final
bound is at least @xmath806 , completing the proof .
we first bound the maximum degree of vertices in @xmath8\setminus i^+$ ] .
a union bound together with a chernoff bound yields @xmath807\setminus i^+:\ , |n^+_{h_n}(v)| > 2np\right)}}\le ne^{-(np)^2}\le n^{1-c^2\ln n},\ ] ] where the last inequality uses that @xmath808 .
it follows that with high probability , for any @xmath514 , @xmath809 to obtain the lower bound note that @xmath810|.\ ] ] thus , it suffices to show that @xmath811\setminus i^+:\ , |n^+_{h_{n}}(v)\cap t\cap [ n']|\neq \emptyset\right)}}\ge 1-o(n^{-\gamma}).\ ] ] for fixed @xmath639\setminus i^+$ ] , since @xmath640\cap t|\ge n'-k(k+1)$ ] , we have @xmath812|=0\right ) } } \le ( 1-p)^{n'-(k+1)^2 } \le ce^{-\alpha pn}=o(n^{-\gamma-1/2}).\end{aligned}\ ] ] the bound above applies in particular for vertices in @xmath813 , and there are at most @xmath814 such vertices . on the other hand , if @xmath815\setminus(\cup_{i\in i^- } s_i^- \cup i^+)$ ] and @xmath816\neq \emptyset$ ] , then either @xmath817|\neq \emptyset$ ] or @xmath818|\neq \emptyset$ ] .
it thus remains to bound @xmath652
i^+ : |n_{h_{n}}^+(v)\cap u| \ge 1 , | n_{h_{n}}^+(v)\cap t\cap [ n']|=0\right)}},\ ] ] which is @xmath819 by .
first consider the graph @xmath567 .
the event that fixed vertices @xmath821 and @xmath822 are connected by a 2-path is monotone increasing , while the event that both vertices have low out - degree is monotone decreasing . by the fkg inequality , these events are negatively correlated and so the probability that both events hold is bounded from above by the product of their probabilities .
the random variable @xmath823 is binomial@xmath824 distributed ; we will bound @xmath825 .
we have @xmath826 where in the first inequality we use that @xmath827 . also , the random variables @xmath823 and @xmath828 are iid and hence @xmath829 .
since @xmath825 is decreasing in @xmath10 , the preceding bound implies that if @xmath830 then @xmath831 .
also , the same bound holds for @xmath832 for any @xmath668 $ ] , since @xmath833 and @xmath834 are increasing in @xmath156 . in this case
the bound claimed in the statement of the lemma holds by a union bound over @xmath668 $ ] and over pairs of vertices @xmath835 of @xmath594 . on the other hand ,
the probability that @xmath821 and @xmath822 are adjacent or have a common neighbour is at most @xmath839 . by a union bound and the upper bound on @xmath10 ,
the probability that @xmath567 contains two low degree vertices with a common neighbour is therefore at most @xmath840 we next consider @xmath594 with @xmath841 .
let @xmath842 be the unique vertex of @xmath594 not in @xmath843 . if @xmath594 is the first graph which is not well separated , then it either ( a ) @xmath844 is adjacent to two low degree vertices @xmath821 , @xmath822 which are neither connected by a two - edge path nor adjacent in @xmath843 or ( b ) @xmath844 is itself a low degree vertex at ( undirected ) distance 1 or 2 of a second vertex @xmath845 of low out - degree . by a union bound over the pairs of vertices in @xmath843
we obtain that ( a ) occurs with probability at most @xmath846 similarly , since @xmath844 and any fixed vertex @xmath847 $ ] are at distance 1 or 2 with probability less than @xmath839 , a union bound over the vertices of @xmath843 implies that ( b ) occurs with probability at most @xmath848 combining these bounds and summing over @xmath668 $ ] , we obtain that @xmath849 and the latter term is @xmath819 , as required . | arxiv |
Card Captor Sakura, Harry Potter 1. La rencontre
**Salut à tous! **
**Mon nom est littelflower et je serait votre auteur tout au long de votre lecture... J'espère sincèrement que vous apprécierez ce que vous lirez, je sais que par moment vous n'aurez d'autre envie que de me faire cuire à la broche au dessus dans grand feu digne de la St-Jean, mais ne vous inquiétez pas tout s'arrangera de chapitre en chapitre. Je vous souhaite bonne lecture à tous et, si vous en avez envie, aller lire le one-shot que j'ai fait, ça vous prendra maximum 5 minutes. **
**Son nom: **_**Ma vie sans ton amour.**_
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_CHAPITRE 1 : La rencontre_
Elle court dans cette forêt noire. Pour échapper à ses poursuivantes. Ces créatures des ténèbres, ces envoyées du mal…Elle se retourne pour leurs faire face et leur crier dans un souffle :
-Lumière !
De la lumière englobe les créatures qui crient, se couvrent les yeux et deviennent aveugles pour un moment. Ne voyant rien, elles heurtent violemment les arbres et leurs semblables. Après quelques secondes la lumière s'éteignit. Les créatures se secouèrent pour reprendre leurs esprit et la chasse se poursuivit. Elles arrivèrent soudains dans une petite clairière éclairées seulement par les rayons des étoiles. La lune était inexistante dans se vaste ciel. Soudain la jeune fille et ses poursuivantes s'arrêtèrent essoufflées.
-Lumière. Cria t'elle une autre fois. Cependant, cette fois ci les créatures des ténèbres ne se firent pas avoir, elles fermèrent toutes les yeux et attaquèrent la jeune fille. Celle-ci cria de toute ses forces espérant seulement avoir un peu d'aide.
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Harry revenait du terrain de quidditch, seul passe temps de ses longues journées d'été, quand il entendit soudain un cri provenant de la forêt interdite. Cette voix féminine remplie de terreur et de douleur le fit frissonner et c'est, sans réfléchir, qu'il s'enfonça dans les ténèbres de la forêt. Il entendit à nouveaux la même voix venant du nord. Elle avait l'air de venir de la clairière aux licorne où il avait l'habitude de réfléchir par des journée de déprime. Il courut aussi vite qu'il le pu et sortit sa baguette, prêt à défendre chèrement la vie de la femme en détresse ou à défendre sa vie si c'était un piège.
Quand il y arriva finalement, il vit une chose incroyable, une jeune fille ce tenait au centre de la clairière et était entourée de lumière. Autour d'elle, des créatures à la peau noire comme de la cendre et aux cheveux rouge sang essayaient de l'attaquer avec des fouets épiner tout en protégeant leurs yeux gris. Harry sut la couleur de leurs yeux car l'une d'elles le regarda et se qu'il vit le bouleversa quelque peu. On aurait dit du métal en fusion vide de toute intelligence ou de contrôle, comme si se n'était que des pantins. La créature se désintéressa de lui et fouetta violemment la fille en se cachant les yeux. Harry vit alors leur peau brûler légèrement en contact avec la lumière et il comprit qu'elles devaient être sensible à celle-ci. C'est pour cette raison qu'il s'avança et cria :
-Lumo maxima !
Le sort les engloba la demi-douzaine de créatures à la peau noire qui restaient et devant cette lumière trois moururent brûlé et tombèrent en cendre. Les deux autres s'enfuirent en faisant apparaître des ailes dans leurs dos. Harry se tourna alors, s'agenouilla devant la fille et la pris dans ses bras pour voir l'état dans lequel elle était. Elle avait le visage très pâle, des cerne en dessous des yeux et elle avait l'air de ne pas avoir mangé depuis quelques jours. Ces cheveux châtain étaient sals, ses vêtement déchirés et elle saignait d'un peu partout, dû au coup de fouet. Harry arrêta de respirer lorsqu'il vit la blessure infecté sur sa jambe droite. Il sortit soudain de sa contemplation lorsqu'il entendit la jeune fille dire :
-Regardez moi…s'il vous plaît…je veux voir vos yeux…
Et il la regarda comme elle le voulait dans les yeux. A cet instant, un lien se créa entre eux et un sentiment intense les envahirent. Un lien magnifique et indestructible, remplis d'amour infini. En se regardant ainsi ils savaient qu'ils pourraient se faire confiance l'un l'autre à jamais.
-Vous avez de magnifiques yeux vert.
-Les votre aussi son magnifiques, dit Harry
-J'aurai bien aimé vous connaître un peu plus. Vous êtes un homme bien, vous m'avez sauvez alors que vous ne me connaissez même pas.
-Vous étiez en danger alors je vous ai aidez. C'est tout à fait normal.
-Oui mais tu ne sais rien de moi. Je suis peut-être une fille qui c'est échappé de prison.
-Je m'en fou. Tout se que je sais c'est que vous êtes une femme bien et que je peux vous faire confiance. Ce que je ne sais d'ailleurs pas pourquoi.
-Moi non plus…elle souffla un peu. Parler lui demandait maintenant beaucoup de force… Mais je suis contente d'avoir pu… voir un dernier visage d'espoir et de confiance avant de mourir…
-Ne dites pas ça ! Elle avait les larmes au yeux et lui aussi d'ailleurs.
-Je n'ai aucun regret, mes amis et tout mes proches savent que je les aimes et en plus je vais retrouver ma famille et celui que j'aime au ciel. Je sais que je vivrais heureuse à jamais avec lui. Vie une vie heureuse et je te remercie de m'avoir sauvée…et elle tomba dans l'inconscience.
Harry ne pouvait pas la laisser mourir, il devait faire vivre. Il la prit dans ses bras, elle se révélait être très légère d'ailleurs, et courut jusqu'à l'école. Il alla directement à l'infirmerie.
-Madame Pomphresh, cria t'il
-Oui, qu'est-ce…oh mon dieux! Où l'avez vous trouvez?
-Dans la forêt. J'ai entendu un cri et je l'ai sauvé de créatures étranges qui l'attaquait.
-Déposez la sur le lit.
Après quelque minutes l'infirmière lui dit de sortir car elle avait besoin d'espace et ne voulais pas l'avoir dans ses jambes.
Harry ne savait pas pourquoi il stressait autant pour une fille dont il ne connaissait même pas le nom. Il y réfléchis toute la journée et l'infirmière ne donna aucune nouvelle de la jeune fille. Elle avait fini par fermer la porte et la verrouiller à triple tour tellement elle était énerver de tout le temps le voir entrer à tout vent dans l'infirmerie pour savoir si elle allait s'en sortir. Harry détestait attendre, mais il y fut malheureusement contraint par un infirmière pire qu'un gardien de prison. A chaque minute il priait le ciel pour qu'elle sorte vivante de cette infirmerie de malheur. Cette fille pleine de mystère en qui il avait pleinement confiance et qui, avec un seul regard avait su trouver une place dans son cœur. Comme si, cette place avait toujours exister pour elle et qu'elle la prenait à partir de maintenant.
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**Vous avez aimez? Vous voulez une suite? Review please**
**Vous pouvez également allez visiter mon blog, consacrez ****UNIQUEMENT**** à ma fic : **_**Les étoiles de Sakura. **_
2. Entre la vie et la mort
**C'est encore moi! Je vous met le deuxième chapitre et le résumer complet de ma fic:**
_**Rendu en septième année, Harry doit passer l'été seul à , il est impossible pour lui de passé l'été où que ce soit d'autre. Mais alors qu'il se dirigeait ver le terrain de quidditch, il fit une rencontre des plus surprenante... Lorsqu'une jeune fille aux yeux d'émeraude entre dans votre vie, c'est soit en bien ou en mal, à vous de juger par vous même...Mystère, drame, aventure et action son au rendez-vous, est-ce que l'amour et l'amitié seront capable de triompher du mal?...**_
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_CHAPITRE 2 : Entre la vie et la mort_
Harry se mit dos contre le mur, cela faisait 5 heures qu'il attendait depuis qu'il c'était lever de matin. l'infirmière l'ayant obliger à aller dormir lorsque minuit avait sonner. Mais il était revenu tôt ce matin et c'était assit pour regarder le temps passer. Finalement, l'infirmière sortis de son l'infirmerie ou de sa prison, selon Harry.
-Et puis? Est-ce qu'elle va s'en sortir, dit-il précipitamment.
-Je n'en sais rien... Cette jeune fille à plusieurs cicatrice sur le corps, des bleus aussi qui vont, certes, guérir vite. Mais elle est maintenant dans un coma profond où seule sa volonté de vivre pourra la sauver.
-Est-ce que je peux aller la voir?
-Bien sûr Mr. Potter…De toute façon je ne pourrais pas vous empêcher d'aller la voir, sinon vous entrez sûrement par un moyen ou un autre dans mon infirmerie.
-Merci
Il entra dans l'infirmerie et trouva la jeune fille coucher dans un lit. Harry détestait l'infirmerie mais seulement pour cette fois il aurait voulu que se soit lui dans se lit. Il ne savait pas pourquoi mais il avait comme un sentiment de protection envers elle. Mais pourtant il ne la connaissait même pas ! Mais son cœur lui criait le contraire à chaque fois. Il avait tant de question à lui posé et il savait par lesquelles il voulait commencer…Il voulait d'abord savoir son nom et savoir qui elle était.
Dans la forêt il n'avait pas vraiment pris le temps de la regarder, elle était plutôt jolie. Elle avait un visage doux et ses cheveux, maintenant propre, avait une odeur de pêche. En la regardant, il se souvint de ce sentiment qui l'avait submergé quand il avait regardé ses yeux. C'était comme s'il la connaissait depuis toujours.
Harry veillait sur elle jour et nuit. Cela faisait maintenant deux jours qu'il la veillait. Il lui prenait la main et lui parlait toute la journée, il savait qu'elle pouvait l'entendre et que sa l'aiderait sûrement à faire son choix entre la vie et la mort.
-Je sais que tu peux y arriver, il y des amis et de la famille qui doivent sûrement s'inquiété pour toi qui doivent se faire un sang d'encre en ne sachant pas où tu es. Chacun à son propre destin et chacun doit faire quelque chose dans sa vie, que se soit important ou non. Et je suis certain que notre rencontre n'était pas un hasard. Tu doit encore faire plein de chose importante même si je sais pas sais quoi…Tu dois vivre ta vie et avoir des enfants les voir grandir et les voir avoir des enfants eux aussi, être grand-mère et c'est seulement là que je te permettrai de mourir mais pas maintenant tu es bien trop jeune…
Il continua comme ça toute la journée, mais ses discours revenaient toujours au même. Il se faisait de plus en plus tard et il s'endormi encore a côté d'elle.
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Après qu'elle ait sombré dans les ténèbres, la jeune fille se sentit soulevé, emmenée, déposée sur un lit et soignée. Elle avait également été lavé et elle se sentait mieux. Elle avait bien sentit aussi la présence de quelqu'un a côté d'elle, mais elle ne savait pas qui pouvait bien la veiller jour et nuit. De toute façon elle voulait mourir pour aller rejoindre Shaolan au ciel. Pourquoi était-il au ciel ? Comment Méline avait-elle bien réussit à le tuer ? Elle se souvenait que Méline lui avait enlever Shaolan et l'avait tué en lui tranchant la gorge.
FLASH BACK
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-SHAOLAN!!!! cria Sakura, les larmes aux yeux. Shaolan était dans les bras de Méline et celle-ci tenait un couteau sur sa gorge.
-Dit au revoir Shao-chan ,dit Méline avec un air d'enfant et elle lui trancha la gorge sans aucune pitié. Sakura tomba à genoux et pleura toute les larme de son corps le cœur déchiré en mille miettes. Méline rie sadiquement et disparue par sa fenêtre temporel. Sakura n'avait rien pu faire pour celui qu'elle aimait et elle s'en voulait pour ça. De plus Méline, cette sale garce avait emporté le corps de son amour.
Derrière elle, il y avait ses étoiles, ces personnes qui comptait le plus pour elle. Shaolan en faisait partis, il était l'étoile du courage. Il y en avait 7 étoiles comme lui.
Étoile 1 : l'étoile de la RUSE, cette étoile montait toute les stratégies possibles et pouvait résoudre n'importe quel problème. Pour les histoires de cœur aller voir celle-ci!
Étoile 2 : l'étoile de l'AMOUR, cette étoile savais toujours quand il y avait de l'amour et savait faire la différence entre de la simple amitié. Elle développait cet amour et poussait les deux personnes à se parler. Elle vous a peut-être déjà parler à vous?
Étoile 3 : l'étoile de l'ESPOIR, l'espoir est très utile lorsque quelqu'un veux abandonner une certaine chose et elle sait vous redonner tout l'espoir perdu. Elle sait vous remettre sur le droit chemin vous aider à continuer
Étoile 4 :La plus joyeuse de toute, l'étoile du BONHEUR, quelque fois sa arrive d'avoir le moral dans les talons et bien cette étoile fait souvent de bonne blague et vous remet à bloc. Mais quelque fois elle fait des blague au mauvais moment et vos mieux pas que Sakura soit là…
Étoile 5 : l'étoile de la CONFIANCE,est sûrement l'une des plus importante, car pour avoir ses plein pouvoir et pouvoir réussir il faut de la confiance. Elle est très allier avec l'étoile du BONHEUR car quand on est heureux on a confiance en soit!
Étoile 6 : l'étoile du COURAGE, cette étoile a le don de redonner courage à tout ceux qui ne l'on plus, grâce à son courage ces forces son doublé et peux faire des chose qui, à première vue, paraisse impossible.
Étoile 7 :l'étoile de l'AMITIÉ, cette étoile fait en sorte que toute les étoiles sont soudé ensemble par le lien de l'amitié. C'est le centre celle qui à tout les pouvoir et qui est bien capable de faire la différence entre de l'amitié et de l'amour, elle est très proche de l'étoile de l'AMOUR.
Sakura était celle-ci, l'amitié c'est une chose précieuse qu'il faut conservé. Mais ils avaient également d'autre pouvoir caché. Sakura était capable de jouer avec le temps.
Le bonheur, lui, peux faire partir n'importe qui dans un fou rire incontrôlable…
Sakura se souvenait de cette journée et elle hantait toutes ses nuits.
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FIN DU FLASH BACK
Elle voulait tellement aller rejoindre celui qu'elle aimait. Après quelques minutes, une lumière blanche apparu devant elle. Une femme était dans cette lumière.
-Maman ?dit Sakura
-Oui, si on peux dire…
-Tu restera toujours celle que j'aime. Tu es ma mère quoi qui ce passe…
-Merci. Mais je ne suis pas descendu pour ça, je suis venu te dire que ton destin n'est pas encore terminer, tu dois retourner sur terre.
-NON!! Je veux rester avec toi, papa et Toya…Avec LUI!
-Mais? Elle semblait ne pas comprendre. Tu dois rester sur terre et éviter d'autre mort…Et ce garçon, tu sais de qui je parle?
-Oui, celui qui m'a sauver, dit-elle avec un faible sourire.
-Oui, tu dois te douter de qui il est…elle laissa un petit suspense.
-Peut-être un peu, se qui m'a frappé c'est la couleur de ses yeux.
-Regarde.
Une bulle apparu et elle vit le jeune garçon à côté…d'elle?
-Il te veille depuis 4 jours complet. Écoute ces messages qu'il te dit, il a confiance en toi tu sais…Et plus tu dois chercher ton…
-Oui je sais, la coupa Sakura.
Elle réfléchie et dit :
-D'accord, je vais empêcher d'autre innocent de mourir et accomplir mon destin. Mais après je ne te promet rien si je suis pas heureuse sur terre je viendrai ici.
Sa «mère» lui sourit et lui dit au revoir et partit comme elle était arrivé. Sakura essaya de se bouger mais c'était si difficile. Alors elle essaya d'ouvrir les yeux. Ses paupière était lourde comme du béton et elle ne sut pas combien de temps cela lui prit mais elle réussi à ouvrir doucement ses yeux. Elle remarqua qu'il faisait nuit et sentit un poids sur sa main. Elle tourna la tête et vit le garçon qui dormait à côté d'elle. Elle le regarda dormir, il était mignon, elle ne l'avait pas remarqué dans la forêt. Ses cheveux d'un noir de jais et son corps plutôt muscler et son visage espiègle lui donnait un charme fou. De plus, elle savait que derrière ses paupières se cachait de magnifique yeux vert, un peu comme les siens. Une vague de fatigue frappa Sakura. Même si elle avait dormie 4 jours en ligne son corps avait besoin de récupérer. Alors, comme elle se sentait en sécurité grâce à la présence du garçon, elle se laissa aller dans un sommeil profond et sans rêve. Avec un petit sourire aux lèvres.
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Merci à vous tous ! Si vous lisez ma fic n'hésitez pas à aller sur mon blog !!!
littelflower
3. La première étoile
Bonjour à tous! Voici maintenant le troisième chapitre de ma fic, j'espère sincèrement que vous aimez la fic ! Mais maintenant je ne vous fait plus patienter, voici la suite!
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_CHAPITRE 3 : La première étoile_
Le lendemain Sakura se réveilla à cause des rayons du soleil qui avait réussit à pénétrer la barrière de ses paupières. Lorsqu'elle ouvrit les yeux, elle fut éblouit par la blancheur des lieux. Elle essaya de bouger légèrement sa main mais celle-ci était coincé par quelque chose de lourd. Par ce mouvement elle réveilla le garçon au cheveux d'ébène qui dormait à côté d'elle. Elle lui dit :
-Bonjour et merci de m'avoir veillée.
-Bonjour et de rien. Ça m'a fait plaisir.
-Comment t'appelles-tu? Dit-elle
-Harry Potter.
Harry fut surprit que la jeune fille n'ai aucune réaction à son nom. Habituellement les gens cherchait sa cicatrice du regard ou changeait tout simplement de comportement en réalisant qu'ils se trouvaient en présence d'un personne célèbre.
-Moi c'est Sakura Kinomoto. C'et un nom japonais.
-Alors tu es japonaise pourtant ça ne paraît pas vraiment?
-Oh, ça c'est à cause de mes pouvoirs, ils font en sortent que je «m'adaptent» aux autres culture que ce soit par la langue ou l'apparence. Mais bon, c'est plutôt compliqué alors…
Voyant qu'elle ne voulait pas trop s'étendre sur le sujet, Harry ne fit aucun autre commentaire et dit :
-Alors ça va mieux? S'inquiéta Harry
-Physiquement oui. Mais la seule personne qui puisse me guérir complètement n'est pas ici en se moment.
-Et où cette personne?
-Loin, très loin.
-Explique moi.
-C'est trop long à expliquer.
-Essaye on et verra bien.
Sakura poussa un long soupir et sembla réfléchir puis elle plongea ses yeux dans ceux d'Harry et dit :
-D'accord. Je vais te faire un bref résumer de ma vie, tu ne comprendra certainement pas tout mais je vais te dire l'essentiel.
Alors elle lui conta que sa mère était morte quand elle était toute petite et qu'elle vivait avec son père et son frère. Quand un jours, elle avait trouvé un livre qui contenait les cartes de Clow. Elle les avait toute libéré par erreur et elle avait dû les partir à la chasse aux cartes pour les capturer. Par la suite elle avait dû les transformer en Sakura Card et capturer la carte du vide pour finir.
-Mais tu t'arête là? Ton histoire finis lorsque tu as 13 ans et là, d'après moi tu dois bien en avoir 17.
-Je peux rien te dire de plus pour l'instant, la suite sera pour plus tard. Lorsque je te ferai totalement confiance. Mais ce que tu peux savoir, c'est qu'il y a de cela trois mois j'ai laisser tombée mes étoiles et…
-Comment ça tes étoiles?
Elle lui raconta alors le principe des 7 étoiles.(Le Flash Back)
-Désoler…
-Pourquoi ? demanda Sakura
-Je t'ai fait revive un moment pénible. Je sais ce que c'est que de perdre un être chère.
Elle lui fit un petit sourire qui lui réchauffa le cœur, puis elle reprit en disant :
-Bien, je peux continuer ?
-Oui, oui vas y.
-Donc, peu après la mort de Shaolan, j'ai laisser tomber mes étoiles et je suis partie. Les 5 autres étoiles se sont séparé et j'ai perdue le contact. Ça fait 3 mois que je ne les ai pas vu…
-Mais bon sang t'étais où pendant tout se temps là?
-Dans un endroit où tu ne voudrait jamais aller…C'est de là que je revenais lorsque tu m'a trouvé.
Son regard devint lointain et douloureux, elle avait l'air si fragile et délicate. Harry la prit soudainement dans ses bras pour la réconforter, puis en se plaçant devant elle il dit :
-Bon si c'est pour te guérir il faut joindre cette étoile.
-C'est pas compliqué, apporte moi des fleurs de cerisier et un bol qui ne brûle pas.
-Je reviens dans pas trop longtemps.
Après un quart d'heure de recherche il trouva finalement un cerisier et il alla voir les elfes de maison pour avoir un bol. Lorsqu'il revint, il entendit une mélodie provenant de l'infirmerie. Sakura fredonnait une petite berceuse et elle se balançait les yeux fermer au rythme de la chanson. En entrant, elle ouvrit les yeux et lui fit un sourire, cependant il vit bien que celui-ci n'atteignait pas ses yeux d'émeraude, car ceux-ci restait triste et vide.
-J'ai trouvé, dit-il en souriant.
-Merci
Elle mit les fleurs dans le bol et fit apparaître une carte dans ses mains. Harry pu voir le mot «hope» d'écrit sur celle-ci ainsi qu'une petite fille tenant un cœur dans ses bras. Sakura secoua alors doucement la carte au dessus du bol et Harry fut surpris de voir de la petite poudre brillante sortir de celle-ci et tombé dans le bol. Ensuite, elle fit apparaître une flamme dans son autre main et fit brûler la poudre et les fleurs dans le bol.
-Va porter ça à la fenêtre et met le pour que le vent emporte bien l'odeur de la poudre.
Harry fit se qu'elle avait dit et quand tout le contenu du bol eu disparu, les cendres emporté par le vent, il revient s'asseoir à côté d'elle.
-Maintenant il ne nous reste plus qu'a attendre.
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Loin, très loin de Poudlard, une fille dormait dans un sommeil profond, quand une odeur familière la réveilla. Bien qu'il fasse jour cette fille dormait. Elle se leva en vitesse et mit un collier avec une pierre rouge au bout. Ramassa quelque effet personnel et sorti à l'extérieur.
-Ça faisait longtemps que je t'avais pas vu toi, dit-elle en s'adressa au soleil.
Elle sourie et des ailes apparurent dans son dos. Elle vola en suivant l'odeur qui l'avait réveiller, ça faisait plus de 3 mois qu'elle attendait ça, qu'elle dormait. Elle avait cédé sa place à son autre pendant trois mois pour attendre Sakura et le moment était enfin arrivé. Ça signifiait qu'elle pourrait enfin la revoir et la serré dans ses bras. Après quelque heures de vol elle arriva à un château. Elle couru en suivant l'odeur et arriva à une infirmerie. Elle passa la porte avec vitesse et se figea devant le garçon qui lui faisait face. Puis elle se tourna pour voir Sakura qui lui dit :
-Bonjour Meiling, sa fait longtemps, n'est-ce pas?
-3 mois pour être précise…
-Je suis désolé de m'être comporté comme je l'ai fait…Je ne voulais pas vous faire de mal, bien au contraire.
-Tu ais pardonné de toute façon on peut pas t'en vouloir très longtemps. Mais en me faisant venir tu sais bien que les autres vont sûrement faire comme moi débarquer ici.
-Tu es celle en qui j'avais le plus besoin et je savais que t'a un nez d'enfer!
-J'espère que c'est un compliment.
-Oui, dit elle en rigolant. Oh! et j'ai oublié, voici Harry Potter. C'est lui qui m'a sauvé dans la forêt, sans lui je serait morte. Harry je te présente Meiling Li. C'est la cousine de Shaolan.
-Ravit de te connaître Meiling
-Moi de même.
Stéphanie avait des cheveux aussi noir que les ténèbres, les yeux d'une magnifique couleur noisette et devait avoir 17 ans. Quand les deux adolescents se regardèrent dans les yeux leurs cœurs se mirent à battre très vite et ils rougirent en même temps. Sakura rit intérieurement en se disant que ses deux là allait finir ensemble.
-« _J'espère juste que ça va pas se compliquer. Avec la deuxième personnalité de Mei tout peux arrivé._ » Bon tu n'est pas venu pour rien, guérie moi!
-D'accord mais tu sais que sa fait mal des vidages d'émotions…
-Oui je le sais alors commence tout de suite.
Meiling plaça une main sur le front de Sakura et une lumière blanche apparue. Sakura se mit alors à pleurer silencieusement. Quand elle enleva sa main Sakura se recoucha et des larmes tombèrent encore pendant quelque secondes.
-Merci, Mei.
-De rien, mais là il faut que tu te reposes. Viens Harry.
Ils laissèrent Sakura dans l'infirmerie et allèrent à l'extérieur. Ils firent cependant un détour vers les cuisine pour prendre un dîner bien emballé dans un panier.
-Tu peux m'expliquer on est où ici?
-Oui, on est dans une école de sorcellerie et je suis ici pour les vacances.
-Pourquoi tu n'es pas avec ta famille pendant les vacances?
-J'ai plus de famille…et de toute façon se serait trop dangereux pour moi et pour tout le monde que je sorte d'ici.
-Je ne comprend pas, mais t'as pas besoin de m'expliquer. Je peux te faire un petit balayage, car je sens que ton niveau d'espoir est plutôt plat…
-Est-ce que ça fait mal?
-Au cœur oui, un peu, tu vas sûrement te mettre à pleurer, mais après tu culpabilisera pu et tu aura plus confiance en toi.
-Ok. Vas y.
Stéphanie plaça ses mains sur le front d'Harry et celui-ci vit des Flash dans sa tête.
FLASH 1
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Il revit la mort de ses parent et une voix résonna dans sa tête.
-Ce n'est pas ta faute si tes parents sont mort. C'est sa faute à LUI. Si ça n'avait pas été eux, IL serait encore en vie et aurait régné sur le monde sorcier sans que personne ne puisse l'en empêcher. Se n'est pas ta faute c'est SA faute.
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FLASH 2
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Il revit quand il avait empêcher Remus et Sirius de tuer Pedigrew.
La voix recommença à parler.
-Tu les as empêcher de le tué et ça qui fait la différence entre un homme bien et mauvais. Tes parents n'aurait pas aimé que leurs amis deviennent des assassins. Tu as fait le bons choix.
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FLASH 3
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Il revit la mort de Cédric et de Sirius.
-Ce n'est pas ta faute la seule faute que tu peux te reprocher est de dire que c'est ta faute. Les seules responsable sont LUI et ELLE. Le garçon t'a pardonné et t'a demandé une faveur que tu as accomplis.
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FLASH 4
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Il revit alors le dernier souvenir dont il se reprochait encore. Lors de sa sixième année il avait encore revu Voldemort et avait tué Pedigrew avant de s'enfuir avec Ron et Hermione.
-Tu l'as tué parce qu'il menaçait tes amis. La dernière chose que je vais te dire est ceci et écoute bien car je ne le répéterai pas : Tu sais la différence qu'il y a entre TOI et LUI, c'est que LUI tue pour le plaisir de tué et toi tu as tué pour te défendre. En plus tu as des remords, alors que LUI n'en a pas. C'est ça la différence.
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Harry revient alors à lui et il vit qu'il avait pleurer ses joue était toute mouillé, mais il se sentait beaucoup mieux. Il avait eu bien de la misère à se remettre de tout ses événements mais là il se sentait…Nouveau. Il avait les idée en place, se que ses amis essayait de faire depuis longtemps!
-Tu vois que tu n'as rien a te reprocher, Lui dit Meiling avec une voix douce.
Il plongea ses yeux dans ceux de la jeune fille et il fit un sourire reconnaissant en disant :
-Merci ça m'a vraiment fait du bien.
-Ça fait plaisir de te voir sourire et de voir cette étincelle qui n'était pas là dans tes yeux. Ça embellis ton visage.
Harry lui sourit et rougit en même temps. Il restèrent sous l'arbre à parler et en regardant les nuages. L'arbre aux feuilles tombantes sous lequel ils étaient les protégeaient du soleil trop chaud et la brise fraîche les atteignaient facilement. Harry était heureux, car il venait de se faire deux merveilleuses amies et était enfin remis sur le droit chemin de son destin.
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On se revoit pour le prochain chapitre !
REVIEWS PLEASE!!!
Tanks….
4. Kéro et Spinel
Donc voilà pour aujourd'hui ! Ceci est ma fic rééditer parce que je trouvais que je disais beaucoup de chose plutôt inutile à savoir et que quelques fois je n'en disais pas assez donc ce sera certainement plus claire…En plus j'ai changer les noms pour ceux japonais (je les préfères japonais…).&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&_CHAPITRE 4 :____Kéro et Spinel_
Deux jours plus tard, Dumbledore revient à l'école pour voir si Harry allait bien et fut surpris de le trouver avec deux autres personnes. Après avoir expliqué comment il avait trouvé Sakura et comment Meiling était arrivé, le directeur demanda à rester seul avec les deux invités. Harry sortit donc du bureau et alla se promener dans le parc. Après une heure Sakura et Meiling le rejoignit.
-Alors?
-On lui a expliqué la situation.
-Et c'est quoi la situations?
-Bien…Que Méline me recherche pour me tuer moi et mes étoiles pour prendre le pouvoir absolus de la terre.
-Oui, c'est vrai, mais pourquoi est-ce qu'elle veut te tuer?
-Parce que si tu tues le centre des étoiles, tout les pouvoir de celui-ci ira en elle et elle utilisera se pouvoir pour faire de mauvaise chose alors que nous on fait le contraire. Mais vu que j'ai appeler une étoile les autres ne vont pas tarder à arriver et on sera en danger si on part d'ici. Le directeur nous à donc proposé de rester.
-Mais c'est super! Tu pourras m'expliquer les bouts de ta vie que tu ne m'a pas encore raconter.
Elle fit un maigre sourire, mais ne répondit rien. Elle n'avait pas vraiment l'air de vouloir s'étendre sur le sujet alors :
-Il nous a aussi parler de toi et de tes amis, dit Meiling, pour changer de sujet. Je pense que vous découvrirez bien assez tôt le mystère de la vie de Sakura. En plus ça va nous permettre de t'aider à LE retrouver, dit-elle à Sakura
-Vous cherchez quelqu'un?
-Nous cherchons une personne. Un garçon plus précisément. D'après tout les indice que l'on a recueillit, IL devrait être quelque part dans ce château, de plus son aura est présente partout ici, alors…dit Sakura. Ça veux dire qu'il vient à cette école chaque année.
-Tu ne l'a pas encore trouvée ?!?dit Meiling.
-Hé bien, je vais attendre la rentré pour commencer mes recherche. Attendre que la personne vienne à l'école!
-Ah…oui, c'est logique.
-En plus la rentré est dans deux jours. J'ai bien hâte de revoir mes petites étoiles.
Elle se tourna vers Meiling en rajoutant :
-Vous m'avez affreusement manqué pendant tout ce temps.
-T'avais juste à venir nous voir!
-Je ne pouvais pas…Je l'aurai fait, mais comme tu l'a vue dans mon balayage émotif…C'étais assez dur pour moi de me déplacer. Sinon je l'aurai fait…
Elle soupira et regarda le soleil se coucher. Un long silence plana sur la petite troupe, jusqu'à ce que Sakura rajoute :
-En tout cas je sais que les premiers arriveront demain et que je pourrai commencer mes recherche sur LUI dans deux jours…
-Le soleil se couche, je devrais y aller…dit Meiling
-Oui à demain Mei.
Elle se leva et partit en direction du château. Harry s'aperçu qu'il ne pouvait plus détacher ses yeux de la jeune femme. C'est comme si ses yeux étaient hypnotisé par le balancement régulier de ses longs cheveux noir sur son dos. Lorsqu'il sortit enfin de sa torpeur il demanda à Sakura :
-Où va t'elle?
-Tu le découvrira bien assez tôt.
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C'était maintenant la nuit et Harry dormait profondément dans le dortoir des garçons. Alors que Sakura, dans le dortoir des filles, avait les yeux grand ouvert et fixait de dessus de son lit. Un souvenir de son après midi surgit alors dans sa tête.
Souvenir
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Elles étaient dans le bureau du directeur et leurs entretient était presque terminer. Il leur dit encore :
-Vous savez, que seule Sakura est une vrai sorcière?
-Oui, répondit celle-ci. Mes parents biologiques étaient des sorciers. Par contre, toutes mes étoiles ont des pouvoirs magiques mais ne sont pas des sorcier.
-Alors, donnez moi une seule raison qui pourrait me convaincre de vous garder ici.
-Parce que je cherche mon frère biologique. Le pouvoir d'étoile qu'avait Shaolan à été transféré en mon frère à sa mort. Il faut donc que nous le retrouvions pour qu'il nous aide à détruire Méline une bonne fois pour toute.
-Et puis-je savoir qui est votre frère?
-Je n'en sais rien...Il paraît qu'à ma naissance, deux prophéties ont été écrite. Chacune d'elle nous prédisait un grand destin, mais seulement si l'on nous séparait.
-Et pourquoi donc?
-Parce que…C'est plutôt compliquer, voyez-vous…Lorsqu'une étoile naît, elle n'a aucun pouvoir et c'est en grandissant qu'elle les développent. En étant jumeaux, moi et mon frère, j'aurai au bout de quelques années «dévoré» inconsciemment tout les pouvoirs de mon frère. De plus, toute les étoiles allaient naîtrent au Japon, alors je devait y aller moi aussi.
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Fin du Souvenir
«_C'est après ça qu'il m'a sourit et qu'il a accepté _» se dit Sakura. «_Pourquoi?_» C'est sur cette question qui tournait et retournait inlassablement dans sa tête que Sakura s'endormie bien trop tard à son goût.
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Le lendemain, ils se réveillèrent tôt et allèrent manger un bon petit déjeuner dans la grande salle. Harry proposa alors :
-Ça vous dirait d'aller voler?
-Je te signale, pour ton information, que voler c'est mal et que…
-Non, non je veux dire…sur un balai.
-J'ai jamais essayer, j'ai toujours utiliser mes ailes, dit Meiling de façon plutôt désinvolte.
-Moi, j'ai déjà voler sur mon sceptre mais après j'ai toujours eu des ailes.
-D'accord, alors après le petit déjeuner vous venez dehors et on va essayer ça.
Une demi heure plus tard, ils étaient à l'extérieur et Harry son éclair de feu et deux balais de la réserve aux mains expliqua aux deux fille comment faire pour voler. Puis il leur donna les deux balais plutôt amoché.
-C'est pas les plus rapide mais ça fait quand même.
-C'est pas les plus rapide? Dit Sakura. Je peux arranger ça alors.
Elle fit apparaître une carte dans ses main et la secoua au dessus des deux balais. C'étais la carte de la vitesse.
-Maintenant ils sont rapide comme le tien.
Elle enfourcha son balai et partis en flèche.
-Allez, vous venez ou vous êtes trop peureux?
Cela les fit réagir instantanément et ils partirent eux aussi en flèche derrière Sakura. Il firent des courses, des jeux et des petites acrobaties. Quand, soudain Sakura s'arrêta net.
-Ils arrivent!
Et elle sauta de son balai avec une agilité du tonnerre. Harry crut que son cœur avait arrêter de battre et crut qu'elle allait s'écraser, mais un garçon arriva juste en dessous de Sakura et l'attrapa en plein vol. Il avait des cheveux blond et des yeux brun. Ses cheveux et ses yeux avait tout les deux de nuance d'or et ses ailes étaient d'une magnifique couleur ocre. Harry descendit à côté de Sakura et du garçon qui se serrait dans leurs bras.
-Harry, je te présente Kéro Béros et Kéro je te présente Harry Potter. Il m'a sauvé la vie quand j'essayait d'échapper aux créatures de Méline dans…
-Je suis content de te rencontrer et merci d'avoir pris soin de ma petite Sakura.
-Eh, ça va pas de couper les gens comme ça.
Elle lui donna un coup sur la tête en continuant :
-Et en plus je suis pas petite ! J'ai 17 ans quand même.
-Ça c'est vrai Kéro c'est n'est plus la petite chasseuse de carte d'autrefois. C'est la grande maîtresse maintenant.
Harry n'avait pas vu le jeune homme descendre en même temps que Kéro et s'il n'avait pas parler, Harry ne l'aurait certainement pas remarquer avant un certain temps, tellement il avait été silencieux.
-Merci de prendre ma défense Spinel.
-C'est ça mettez vous tous contre moi! Fit Kéro en faisant semblant de bouder.
-Mais boude pas mon Kéro d'amour.
Sakura lui fit un sourire complice et Harry sentit que ces deux là avait quelque chose de très spéciale entre eux. Leur lien devait être très fort pour que Kéro regarde Sakura avec des yeux aussi doux et compréhensif. Il sortit finalement de ses pensées lorsque Sakura lui dit :
-Harry voici Spinel Sun, le meilleur ami de Kéro, même s'il sont toujours en train de se disputer…
-Eh, c'est pas vrai ça! Dirent les deux garçon en même temps.
-Ça, ça reste encore à prouver les peluches, dit Stéphanie
-Toi la chipie on ta rien demander! dirent-ils en même temps
-Comment ça la chipie, je vais vous en faire moi une chipie !
Une dispute interminable s'en suivit et des mots que Harry n'avait même jamais entendu sortit de la bouche de ses nouvelles connaissances, tel que «baka». Pour lui c'était du japonais tout ça…
-STOP! cria Sakura.
Tout le monde se tus en même temps et tous regardèrent Sakura.
-Vous n'avez plus 13 ans! Je croyait que tout était réglé maintenant.
-C'est elle qui a commencer…murmura Spinel
Le meilleur ami de Kéro, Spinel, avait des cheveux noir et les yeux noir, lui aussi avait des reflets dans les cheveux et les yeux et ils étaient d'une magnifique couleur bleuté.
-Ériol et Tomoyo ne sont pas avec vous? Dit Sakura
-Non nous nous sommes tous séparés après ton départ et on ne les a pas revu depuis 3 mois, dit Kéro
-Ils sont sûrement rester ensemble et vont arriver se soir ou demain, dit Spinel
-Bien, ils arriveront juste à temps pour le banquet de la rentrée. Car je vous annonce que l'on va passer le reste de l'année ici. Pour la raison que vous savez et pour une autre de sécurité car Méline ne viendra pas ici personnellement. C'est trop dangereux pour elle de venir nous affronter avec tous les sorcier qu'il va y avoir ici, de plus l'on va enfin être tous réunis.
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Voilà, c'est tout pour cette fois ! Si vous avez aimez vous n'avez qu'à laisser des coms!! Les prochain chapitres… Je sais vraiment pas quand ils sortiront mais si vous voulez l'édition non réédité aller sur vous trouverez certainement ma fic là bas…
Littelflower
5. Répartiton plutôt surprenante
Je sais que ça fais longtemps…Je n'ai aucune excuse…Mais je continue qu'en même a poster des chapitres révisés et corrigés. &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&_CHAPITRE 5 : Répartition…surprenante_
Ce n'est seulement que lorsque le soleil commença à ce coucher le lendemain, que les deux autres personnes arrivèrent. Une fille et un garçon se posèrent sur les escalier du château et ils se rejoignirent tous dans le hall face à la Grande Salle. La fille avait les cheveux noir avec des reflets mauve et des yeux de la même couleur, alors que le garçon, lui, avait des cheveux bleu noir et les yeux bleus. Ils devaient avoir 17 ans et ils se tenait par la main, signe qu'ils devaient être en couple. Sakura s'avança pour les rejoindre, elle les serra dans ses bras et les emmena devant Harry pour les présenter.
-Harry voici, Tomoyo et Ériol. Les deux dernières étoiles qui te manquait à connaître.
-Salut, Dirent Harry, Tomoyo et Ériol en même temps.
-Les élèves commencent à arriver, continua Harry, vous devriez aller voir le professeur McGonagall, pour qu'elle vous répartissent avec les premières années, mais vous entrerez en 7ième année bien entendu.
-D'accord, à tout à l'heure.
-Salut!
Harry regarda les 6 étoiles se diriger vers la salle des première années en riant et souriant. Il était bien heureux de les avoir rencontré, mais il avait hâte de voir ses deux meilleurs amis et de leurs présenter les nouveaux venu. En regardant les derniers rayons du soleil encore visible, il se promit qu'il devrait en savoir plus sur eux, sur leur vie si mystérieuse. Bien entendu, Hermione et Ron allait pouvoir l'aidez dans ses recherches et fois de Harry il allait en savoir plus dans cette histoire…
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Harry attendait patiemment ses deux meilleurs amis, quand soudain il vit une tête rousse émerger de la foule d'élève.
-RON!
Harry se précipitât sur son ami qui était justement en compagnie d'Hermione.
-Harry! Dit Ron. Ça va ? L'été n'a pas été trop long?
-Non, même qu'il c'est passé des choses incroyables, venez on va à la table et je vous raconte tout ça.
Pendant la répartition des élèves de première année, Harry compta à ses amis les événements qui venait de lui arriver.
-Oui, j'ai entendu parler de cette histoire d'étoile et j'ai lu l'histoire de Clow aussi. Mais je n'en sais pas plus, désoler. Je vais faire des recherche à la bibliothèque pour mieux comprendre, dit Hermione.
-On va t'aidez, dirent les deux garçons en même temps.
Ils continuèrent à discuter de choses et d'autres jusqu'à ce que la répartition soit fini et qu'ils furent interrompu par Dumbledore.
-Bonjours cher élèves, je voudrais vous annoncez une nouvelle importante. Cette année nous aurons des élèves qui nous viennes d'une écoles japonaise, ils sont ici car ils participent à un échange international organisé par leur école et ils entrerons donc directement en 7ième année. Je vous demandes de les traitez comme n'importe quels autres élèves et de les aidée à s'intégrer le plus possible.
Les portes s'ouvrirent et les six étoiles entrèrent. Tous les élèves retinrent leur souffle, car tout le monde était soufflé par la beauté et la prestance qu'ils dégageaient. Le professeur McGonagall se leva et dit :
-Je vais vous appelez par vos nom et vous vous assoirez sur le tabouret, je vais vous posez le choixpeau sur votre tête et il criera votre maison, dit la directrice de griffondor.
-Béro Kéro.
Plusieurs fille commencèrent à parler a son passage et elle souhaitait toute qu'il soit célibataire. Le choixpeau ne mit pas longtemps à se décider, car il cria :
-GRIFFONDOR!
Les griffondor applaudirent vigoureusement, surtout les filles, et il vint s'asseoir en face de Harry.
-Daidouji Tomoyo.
À peine poser sur sa tête le choixpeau cria sa maison :
-SERDAIGLE!
Elle se dirigea vers sa table et un gars de 7e année se dépêcha de faire de la place à côté de lui pour qu'elle s'assoit à côté de lui. Elle avait l'air d'être populaire auprès des garçons, tout comme Sakura. Spinel, Kéro et Ériol l'étais aussi auprès des filles. Meiling, par contre montrait un visage de glace et les garçons renoncèrent aussitôt à l'approcher.
-Hiiragizawa Ériol.
Le choixpeau eu la même réaction qu'avec Tomoyo, car il cria immédiatement :
-SERDAIGLE!
Il alla s'asseoir à côté de sa petite amie et l'embrassa rapidement sur les lèvres, comme pour dissuader tous les garçons et les filles de leurs tourner autour. Plusieurs semblèrent déçu de voir qu'ils étaient en couple et ils arrêtèrent d'espérer une quelconque histoire d'amour car elle était désormais impossible.
-Kinomoto Sakura.
Ça ne prit pas beaucoup de temps à elle aussi. Le choixpeau cria immédiatement la maison choisi :
-GRIFFONDOR!
Elle se leva et alla s'asseoir à côté d'Hermione face à Harry, à qui elle fit un sourire.
-Li Meiling.
C'est à ce moment que le choixpeau commença à hésiter et l'attente se fit longue.
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Choixpeau :
Tu est très difficile à placer, car tu as deux personnalité, deux très différentes personnalité. Une est bien développer, mais l'autre est plutôt en arrière. Il te faut une maison capable de développer ton autre côté. C'est ton choix, es-tu d'accord?
-Bien sur.
-Alors je t'envoie à…SERPENTARD!
Harry était sidérer. La fille avec qui il avait sympathise et était devenu ami était à serpentard. Cette fille qui avait un visage habituellement si souriant avait maintenant un visage de glace. Pourquoi? Qu'est-ce qu'il c'était passé ? Il entendit alors Sakura murmurer à elle-même :
-Son autre personnalité à pris le dessus. Il ne va pas falloir que ça complique les choses, elles le sont déjà bien assez comme ça…
Il pensa être le seul à l'avoir entendu, mais avec un regard en biais à Hermione il sut qu'elle aussi l'avait entendue.
-Sun Spinel.
La dernière étoile alla directement sur le tabouret, sous le soupire de quelques filles présente dans la salle et le choixpeau cria :
-GRIFFONDOR!
Il courut jusqu'à Kéro qui s'était lever et ils se donnèrent une tape dans la main en criant un grand «oui !» victorieux, puis ils s'assirent l'un à côté de l'autre.
-Bon. Je vous rappelle que la forêt interdite est, comme son nom l'indict, in-ter-dite. Les règlements de l'école sont affichés sur la porte du bureau de notre concierge et tout étant dit, mangeons.
Les plats apparurent dans les assiettes et il commencèrent à mangez en parlant avec Kéro, Spinel et Sakura. Les garçons parlait de quidditch et les filles parlaient de garçons.
-Alors, tu vas lui dire? dit Sakura
-Dire quoi à qui? répondit Hermione
-Bien…que tu l'aime, Ron.
-Non! Je ne l'aime pas, on n'est que de simple ami.
-Ça je suis la seule à le savoir si c'est simplement de l'amitié ou de l'amour. Comme tu n'éprouve pas de l'amitié envers lui je ressent très bien ton amour.
-Bon, c'est vrai mais je ne sais pas s'il éprouve les mêmes sentiments que moi la dessus.
-Le seule moyen de le savoir c'est de le lui dire. Si tu ne lui dit rien, il ne le saura jamais.
-Tu as raisons je lui dirai…cette année.
Après avoir manger, les préfets-en-chef allèrent chercher le mot de passe pour le donné au préfets de leur maison qui amenèrent les premières années à leur salle commune respective.
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Next chapitre ! Et oui, il y en a un autre !
Littel_Flower
6. Discution tard le soir
Un autre chapitre, dites moi ce que vous en pensez! &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& _CHAPITRE 6 : Discutions tard le soir_
Rendu dans les dortoirs les garçons remarquèrent qu'il y avait deux lit de plus pour les invités. Kéro et Spinel se chamaillait déjà pour savoir qui prendrait celui près de la fenêtre. Kéro finit par gagné et Spinel prit l'autre lit en boudant. Ils parlèrent encore une heure pour en savoir plus sur le quidditch :
-On cherche deux batteur et un poursuiveur ça vous dit de faire les sélections ? dit Harry
-Ouais. Ça à l'air intéressant, dit Kéro
-Mais demain on a cours, il faudrait dormir, répondit Spinel
-Ah! Oui, j'avais oublié, dit Harry
-Faut toujours que tu gâche tous en ?dit Kéro
-Eh, tu vas pas…
-Bonne nuit les gars ! Coupa Harry.
Il ne voulait pas d'une nouvelle dispute ce soir, il en avait déjà assez avec Ron et Hermione à longueur d'année.
-Bonne nuit, répondit tout le dortoir.
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Du côté des filles dans leurs dortoirs, celle-ci étaient toutes en train de concocter un plan pour que Hermione puisse dire enfin à Ron ce qu'elle ressentait pour lui.
-Il faut toujours que tu attendes le bon moment, lui répondit Sakura, mais il ne faut surtout pas le brusquer et il faut qu'il pense que ça vient de lui Ok?
-D'accord, dit Hermione
-Bon, maintenant il faut trouver le plan parfait pour vous deux...
Elle réfléchie un instant et demanda alors :
-Est-ce qu'il va y avoir une activité dans quelque temps?
-Heu… Il y a la sortie à pré-au-lard en octobre.
-Parfait, maintenant écoute bien ce que l'on va faire.
Les filles du dortoirs se rapprochèrent puis Sakura fit un petit sourire mystérieux qui en disait long sur ses intentions…
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Quelques heures plus tard du côté des garçon, Spinel se leva doucement de son lit et marcha jusqu'au lit de son ami et réveilla Kéro qui dormait profondément.
-Humm, gâteau…
-Kéro!
-Quoi?
Un peu perdu celui-ci regarda son cadran magique et s'écria :
-Il est minuit! Mais ça va pas la tête?
-Non! Justement ma tête va pas bien. Je voulais te parler. Mais je peux te laisser avec tes gâteaux si tu les préfères à moi, dit-il ironiquement
-Qu'est-ce que t'as? Di-il d'un ton beaucoup plus sérieux, en voyant le visage de son ami.
-T'as remarqué que ça clochait avec Sakura ?
-Ouais, j'avais cru que quand on serait enfin réunit elle serait redevenue comme avant, dit Kéro.
Ses yeux se firent triste et il dit se dit pour lui-même «_ Mais je peux la comprendre avec tout ce qu'elle a vécu, je ne peux pas la blâmer…_»
-Moi aussi, répondit Spinel
Il y eu un moment de silence où les garçons réfléchissait à propos de Sakura puis :
-Elle me manque, répondit Kéro.
Face au regard interrogatif de Spinel, Kéro expliqua sa pensée plus en profondeur :
-La Sakura d'avant. Son sourire, sa joie de vivre et son visage innocent, avec se petit côté naïf qui est si irrésistible et cette étincelle qui était toujours là dans ses yeux. Maintenant, il faut faire attention à ce qu'on dit et elle est ne sourie presque plus ou sinon ce sont des faux.
-C'est vrai. Depuis que Méline à tué Shaolan, elle n'est plus comme avant. Je pensais qu'après la carte du vide on les laisserait tranquille mais les événement se sont enfilé sans qu'on les voient arriver.
-C'est vrai, mais j'ai toujours pas comprit pourquoi elle existait cette carte.
-Cette carte avait été crée par Clow pour faire balancer le pouvoir des cartes comme le ying et le yang, la carte du vide avait le pouvoir de toute les autre carte réunit et comme cette carte était trop dangereuse, il l'a cacher.
-Elle était pas dangereuse pourtant. Elle a voler toute les carte de Sakura, d'accord mais elle voulait seulement revoir ses amies et ne plus être seule.
-Je voulais pas dire dangereuse dans se sens. C'est quand on la capture que cela devient dangereux. Cette carte quand on la capture et la transforme, il faut donner la chose la plus précieuse au monde.
-Et la chose la plus précieuse au monde pour Sakura c'était l'amour de Shaolan. Une chance qu'elle avait crée une carte avant le départ de Shaolan.
-Hein? Dit Spinel.
-C'est vrai tu n'es pas au courant. Avant le départ de Shaolan, Sakura à crée une carte en pensant à lui et c'est ça qui lui a fait réalisé qu'elle l'aimait. Mais elle a pas eu le courage de lui avouer ses sentiments à l'aéroport. Alors quand la carte du vide à prit l'amour de Shaolan, celle-ci c'est mélanger à la carte crée par Sakura et ça a donné la carte de l'espoir.
-Et là pensant qu'il l'avait oublié. Elle a avouer ses sentiment et Shaolan lui à dit qu'il l'aimait lui aussi. L'espoir avait fait revenir l'amour de Shaolan.
-Et ça, ma petite fleur de cerisier ne l'a fait qu'a 14 ans seulement, dit fièrement Kéro.
Il y eu un deuxième moment de silence où ce fut Kéro qui rompit encore celui-ci en disant :
-Dit…
-Quoi? Répondit Spinel
-Elle te manque Rubis ?
-Oui…Sans elle je me sent seul, le soleil ne peut pas être sans la Lune et vis versa.
-C'est pareils pour moi et Yué. Méline à déjà trop fait de mort. C'est pour ça qu'il faut l'arrêter.
-J'arrive pas à croire tous ce qu'elle a fait, dire que Yué et Rubis sont mort pour nous protéger…soupira Spinel
-Et maintenant, il va falloir lui remonter le moral à notre maîtresse des cartes.
-Je sais qu'est-ce qu'on va faire.
-Quoi?
-On va teindre les cheveux de toute les personnes qui mange des petit chou à la crème. Ils auront alors une coiffure et une teinture drôle et tout le monde va rire.
-Oui, on va faire des blague comme ça toute l'année, pour remonter le moral de ma petite fleur de cerisier.
-Oui, mais là il faut dormir, demain on a cour.
-Ok, mais il faut que personne ne sache notre plan.
Ce qu'ils ne savaient pas c'était qu'une personne ne dormait pas dans le dortoir. Harry venait de savoir un autre maigre bout de la vie de Sakura. Ses quatorze ans. Elle devait en avoir beaucoup vécu des aventures. Mais que c'était-il passé pendant c'est trois dernières années? Cette année allait être bien chargé, car il fallait qu'il découvre quel mystère cachait encore la vie de Sakura, il le fallait. Il se promit également de ne plus toucher aux choux à la crème pendant le déjeuner…
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Et oui…Encore un chapitre!
7. Rêverie sur le toit
&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& _CHAPITRE 7 : Rêverie sur le toit_
Harry se réveilla avant tout les autres au lever du soleil et il décida de réveiller Ron par la même occasion pour lui apprendre les nouvelles informations qu'il avait entendu hier soir.
-Ron, murmura Harry, réveille-toi j'ai appris quelque chose de nouveau sur Sakura.
-Il est bien trop tôt pour parler Harry…laisse tomber on parlera plus tard.
Harry continua d'essayer mais après quelques minutes il vit bien que la cause était désespéré. Il eut soudain un idée et décida de l'essayer :
-Oh, mon dieu Ron! Regarde! Hermione court en robe de nuit dehors!
-Quoi?
Ron se leva en vitesse parfaitement réveiller, il s'enfargea dans sa couverture et alla à la fenêtre pour vérifier si Harry disait bien vrai.
-Mais, mais…Il n'y a rien dehors…
-Bon, maintenant que t'es levé je vais t'attendre en bas.
Il fit un sourire sadique à Ron et descendit dans la salle commune avant que Ron ne reprenne complètement ses esprit. Il s'assit sur un fauteuil pour l'attendre et après quelque minute Ron descendit quelque peu boudeur de s'être fait avoir, mais il se dérida lorsque Harry commença à lui raconter tout se qu'il avait entendu la veille.
-Woua! Elle en a vécue des aventures !
-Oui et le pire c'est qu'on ne sait même pas tout encore. Il reste encore 3 ans de sa vie dans l'ombre et il faut que l'on sache qu'est-ce qu'elle a vécu. Mais là, il faut qu'on savoir si Hermione a appris quelque chose cette nuit, vu qu'elle a dormit dans la même chambre qu'elle.
-D'accord, mais on l'attend dans la grande salle, je commence à avoir faim moi.
Il s'en allèrent vers la grande salle pour manger leur petit déjeuner et en chemin il rencontrèrent Meiling qui leur dit :
-Salut les gars. Vous avez pas vus Sakura il faut vraiment que je lui parle.
-Pourquoi ?dit Harry
-Je sais pas pourquoi j'ai atterris dans cette maison! Les gens là bas sont…spécial, dit-elle indigné
-C'est normal, disons que tu avais justement l'air «spécial» hier, dit Ron
-Pourquoi ? dit-elle perdue.
-Eh, bien, tu étais froide, on pourrait même dire glacial, sans sourire. Je…nous ne te reconnaissions plus, dit doucement Harry
-Oh… «_C'est ça l'inconvénient d'avoir à partager son corps…_»pensa t'elle. Mais dite moi, on est toujours ami. J'ai rien fait de mal ou de déplacer…?
-Bien sur ! Que tu soit à Serpentard ne change rien, dit Harry
Harry lui fit un magnifique sourire auquel Meiling répondit en se jetant dans les bras de celui-ci. Harry rougit d'un seul coup et son cœur fit un bond prestigieux dans sa poitrine, mais il répondit finalement à son étreinte un peu maladroitement. Elle lui dit alors :
-Merci ! Tes vraiment un ami.
Tout en parlant elle desserra son étreinte et se mit devant lui en lui faisant un magnifique sourire. Ils rougirent tout les deux en voyant la situation dans laquelle ils étaient, car leur visage était si proches qu'ils se touchaient presque. Finalement leur visage se rapprochèrent instinctivement l'un l'autre mais ils furent interrompus lorsque Ron dit :
-Bon on va manger? Dit Ron.
Celui-ci n'avait cependant rien remarqué et les deux amis se séparèrent vite pour répondre, un «oui» un peu trop énergique. Ils prirent donc la route pour la grande salle en continuant de parler de tout et de rien. Arrivé devant celle-ci Meiling se rappela de quelque chose et demanda :
-Il est quel heure ?
-7h30, pourquoi ?dit Ron
-Ah… alors je crois que je ne trouverai pas Sakura avant le début des cours et ça c'est juste si on a un cours en commun.
-Pourquoi? Insista Ron
-Oh. Sakura doit être en train de faire son recueillement personnel sur la place la plus haute qu'elle a trouver. Elle se sent plus proche du ciel ainsi. Je me souvient qu'elle le faisait chaque matin dans la semaine qui a suivi la mort de Shaolan…juste avant notre séparation…
Elle eu un petit sourire nostalgique et elle laissa les deux garçon pour aller s'installer à sa table avec les Serpentards de 7e année.
-Bon on va manger, j'ai faim! dit Ron
-Oui, on y va…
Quelques minutes plus tard, Kéro et Spinel entrèrent dans la Grande Salle en riant et ils allèrent s'assirent en face de Harry et de Ron.
-Qu'est-ce qui vous fait rire comme ça?
-Oh, rien de spécial, on se rappelait juste une blague qu'on a fait il y a quelque temps, dit Spinel.
-Mmm, ça l'air bon toute cette belle nourriture…dit Kéro
Il y eu un soupir de la part de Spinel et il celui-ci répondit :
-Tu ne changera jamais Kéro tu n'est qu'un estomac sur patte.
-Et toi, espèce de bébite à sucre. Tu te rappelles le jours ou tu as tout bouffé les gâteaux que tu voyais au festival du printemps ? En plus c'est moi qui ai écopé de la punition ce jour là.
-Et toi tu te souviens quand t'as plongé dans le gâteau que Tomoyo avait fait pour MA fête.
-C'étais pour me venger de la fois où tu avais…
Il s'en suivie alors une dispute qui avait pour sujet : lequel avait manger quoi, quand, comment et où. Tout ça sous les yeux découragé des griffondors qui les entouraient.
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C'est loin de la grande salle et des dispute sur la tour la plus haute du château pour être plus précise que Sakura ce trouvait à ce moment de la journée. Elle avait les yeux rivé sur les nuages et elle parlait au ciel.
-Je m'ennuie tu sais…Quand tout ça sera fini, je viendrai te rejoindre Shao, car je doit d'abord retrouver mon frère et ensuite vaincre Méline. Après je viendrai, car c'est très difficile sans toi…
Elle avait maintenant les larmes au yeux et elle parlait plutôt difficilement.
-C'est seulement grâce à eux que je ne suis pas encore venus te rejoindre. Grâce à leur soutient. Il y a aussi Harry que je ne veux pas laisser ici. C'est étrange, je ne le connais seulement depuis quelques jours, mais je ressens quelque chose de bizarre pour lui…c'est comme un mélange d'amour et de…Je ne sais pas…Mais, surtout tu t'inquiète pas, hein ? Tu sera toujours le seul et l'unique dans mon cœur et ça rien ne le changera…Tu me manque tellement Shao !
Elle pleura en silence et laissa son esprit flotter dans les airs, laissant le vent frapper doucement son visage et sécher ses larmes. Puis la cloche sonna, brisant se moment magique de recueillement avec son amoureux. Elle dit au revoir au ciel en envoyant un baiser avec sa main et partis pour ses cours de la journée.
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Je n'ai pas voulu changer mon texte d'origine…Je change quelques petites choses, mais je ne veux pas trop en changer non plus parce que sinon je réécrirai tout au complet. Mais j'ai quand même rajouter certains détails pour que vous comprenez mieux certaines choses… Donc…
8. Trois anges
Il en reste encore un de corriger…sinon j'ai en tout 20 chapitre à ma fic…mais les autres ne sont pas encore corriger…alors…
Bonne Lecture.
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_CHAPITRE 8 : Trois anges_
Elle arriva juste à temps pour son cour DCFM(défense contre les force du mal).Elle fut surprise de voir que son professeur avait les cheveux teint en rose! Elle alla rapidement s'asseoir à côté de Harry. Devant elle, il y avait Ron et Hermione qui se disputaient encore et toujours et en arrière d'elle il y avait Kéro et Spinel, qui eux au contraire ne se disputaient pas, ce qui était un exploit.
-C'est qui la prof, tu la connaît?
-Oui, c'est Tonks, dit Harry
-Ah Tonks?
-Oui, elle fait partie de l'ordre. Je crois que c'est pour ça que Dumbledore la engagé.
-Spinel à l'air de bien l'aimer.
-Quoi,dit celui-ci, répète pour voir.
-J'ai dit que…La cloche la coupa alors dans sa phrase.
Elle jeta un regard plein de sous entendu et se retourna pour écouter leur professeur, tout en prenant des notes.
La semaine passa s'en d'autre aventure que la routine des cours. Sauf un cours que tout le monde se rappellerai longtemps. C'étais justement un cours de DCFM. Tonks avait montrer l'affiche d'une créature à la peau noir comme de la cendre,les cheveux aussi rouge que le sang, les yeux d'un gris comme l'acier et,comme arme, elle avait à la main des fouets qui avec des milliers d'épines. Harry l'avait déjà vue et Sakura aussi, car elle leva la main.
-Oui miss Kinomoto, dit le professeur.
Tous les élèves écoutèrent très attentivement car il était rare d'entendre parler Sakura et elle ne parlait pas pour rien.
-C'est une Harpie des ténèbres, ces Harpies n'obéisse seulement qu'au mal. Quand une personne maléfique réussie à les trouvées,elle leur demande alors de la servir et celles-ci trouve que cette personne est assez mauvaise, elles la suivent et obéissent bien mieux que n'importe quel serviteur. Avec leur fouet, elles sont très redoutable, seul la lumière arrive à les repousser, mais seul une flèche de lumière en plein cœur arrive à les tuer. Tout se quelles savent faire c'est provoquer la douleur et le malheur autour d'elles. Personnes ne peut leur échapper et c'est très rare qu'elles ont peur. Voilà.
Tout le monde étais sidéré par les parole de la maîtresse des cartes, sauf Kéro et Spinel qui connaissaient déjà cette définition. À part cette intervention, le cour ce passa bien. Le Samedi même de cette semaine, Harry était à la bibliothèque, il entendit alors des voies familières, celle de Sakura et de Tiffanie, il se cacha derrière un rayon de livre et écouta.
-Alors tu l'a trouvé? demanda Tiffanie
-Non, pourtant on aurait du le trouver depuis longtemps…
-Il garde sûrement ses pouvoir caché.
-Je sais, j'y ai pensé. Mais c'est pas facile de cacher des pouvoir comme ça!
-Tu es sur que l'on ne sait pas tromper dans l'ordre?
-Non, la troisième prophétie disait que si une étoile se faisait tuer,son pouvoir transférait d'abord au deux gardiens et ensuite à ma plus proche famille et vue que j'ai été adopter, il faut que je trouve mon frère. Mon vrai frère je veux dire.
-Je suis désoler, de te rappeler ça.
-C'est pas grave, je me suis habituer.
-Bon on y va sinon on va être en retard.
-Oui.
Comme ça Sakura s'était faite adopter. Il fallait qu'il demande des explications à quelqu'un au plus vite. Après les cours il trouva, Kéro seul entrain de se diriger vers la grande salle.
-Kéro! Cria Harry
-Quoi? Dit-il en se retournant
-Tu pourrai m'expliquer l'histoire de l'adoption de Sakura, du pouvoir transférer et de son frère?
Il le regarda bouche bée
-Comment t'as fait pour savoir tout ça?
-Je ne dévoile jamais mes sources.
-Ok, bon comment dire? Sakura, il y a 3 ans, à appris que ses parents l'avait adopter. Sa mère, adoptive, ayant eu un problème à l'accouchement de son fils(Thomas) à voulu avoir une fille. Ils ont chercher une fille spécial et il ne l'on trouver quand Angleterre, ils l'ont alors trouvé seule dans un orphelinat. Ils ont appris un peu plus tard qu'elle avait des parents sorciers. Ils l'ont aimé comme leur propre fille en sachant très bien, qu'elle aurait des pouvoirs quelconque. La chose du pouvoir transféré, et bien je peux rien dire. C'est un sujet délicat et c'est à Sakura de te le dire. Tout ce que je peux dire, c'est que l'on cherche le vrai frère de Sakura qui aurait le pouvoir que Lionel.
- Tu pourrait m'expliquer comment il est…?dit-il avec hésitation
-Quand Sakura te le dira, tu sauras alors tout ce qu'il y a à savoir.
Il fit un sourire mystérieux et se dirigea ver la grande salle pour aller retrouver son ami Spinel. Harry, lui, avait plutôt l'intention de retourner à sa salle commune. Il se retourna mais il fonça dans quelqu'un.
-Désoler, je ne… Stéphanie?
-Harry?
-Je ne m'attendais pas à tomber sur toi.
-Moi non plus. Elle rougit en disant cette phrase.
Harry pris alors tout son courage et plongea.
- Il va y avoir une sortit à pré-au-lard bientôt, tu voudrais venir avec moi? Je pourrais te faire visiter.
-D'accord, ça me ferait plaisir.
Il y eu un moment de silence, où Stéphanie dit un vague :«à bientôt» avant de repartir.
Ils reprirent leur chemin respectif, en attendant avec impatience la prochaine sortie à pré-au-lard.
&&&&&&&
Après avoir mangé, Spinel et Kéro se promenèrent dans l'école, pour tomber sur Ginny.
-Oh, salut les gars, je vous cherchais justement.
-Pourquoi? Répondit Spinel
-Harry m'a dit de vous dirent de ne pas oublier les sélection de quidditch qui ont lieu demain.
-Tu joue toi?
-Oui,dit elle fièrement, je suis poursuiveuse. Vous, vous voulez occupé qu'elle position?
-Nous voulons être batteur. Dit Spinel
-Oublier pas en? Les sélections demain à 8 heure! Cria celle-ci en s'éloignant.
Elle partit sous le regard de Kéro
-Mais qu'est-ce que t'as vieux? Dit Spinel à Kéro. T'as pas parler de toute la conversation.
-J'ai cru voir un ange…
Spinel partit à rire et lui tapa dans le dos.
-Elle est trop jeune et en plus, elle sort avec Dean.
-Il en a de la chance lui.
-Pas vraiment. Car Ron est pas du tout d'accord.
Kéro blanchis en entendant cette phrase.
-C'est vrai, j'avais oublié que c'est la sœur de Ron.
-Oui, donc si tu la veux, tu devra passer par Ron. Bonne chance vieux.
Spinel partit devant pour aller à la salle des Griffondor.
-Hé, attend moi. Il courut pour rattraper son ami qui avait pris un peu d'avance.
&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&
On se revoir au prochain !
9. Rêve
Le dernier chapitre corrigé, j'espère que vous avez aimé…Envoyez moi des commentaires si vous en avez sinon…ben c'est pas vraiment grave si vous me parlez pas, je suis habitué de parler seule… &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& _CHAPITRE 9 : Rêve_
Dans la salle commune des Serpentard, Meiling était assise sur un sofa face au feu qui n'arrivait pourtant pas à faire fondre son regard de glace. De plus, aucune expression n'apparaissait sur son visage de marbre et elle lançait un regard de froid à toute les personnes qui passait trop près d'elle, les décourageant de venir lui parler. Draco regarda donc Meiling de loin avant de s'avancer vers elle et de lui dire :
-C'est pas avec cette attitude que tu seras appréciée des autres.
-Je t'ai rien demander, alors dégage! Répondit la jeune fille avec hargne
-Dis donc, tu as manger un scrout à pétard ou quoi?.
-Pour ton information, j'ai manger du riz ce soir.
Ils s'affrontèrent des yeux et Draco lui dit :
-Je voulais seulement te dire que demain il y a les sélections de quidditch si ça t'intéresse.
-J'irais peut-être…
-Bien, demain soir, à 18 heure sur le terrain.
-D'accord
En voyant qu'il partait, Meiling se décida enfin à dire:
-En passant, mon nom c'est Meiling Li.
Draco arrêta et se retourna. Il lui sourit et dit :
-Et moi Draco Malefoy
Il revint s'asssire à côté d'elle et ils commencèrent à parler ensemble. Draco ne savait pas pourquoi mais il ne pouvait s'empêcher d'être intriguer et intéressé par cette fille si mystérieuse. C'est pour ces raisons qu'il finit par lui dire :
-Mon père veux m'obliger à faire une chose que je veux pas faire.
-Si tu n'as pas envie de le faire, ne le fait pas c'est tout. Et puis dis toi qu'au moins tu as un père.
-Comment ça? Ton père est…
-Non, il est pas mort. J'ai juste…Renier ma famille en fait, sauf du côté de ma mère bien sur, j'ai toujours aimé mon cousin en fait. J'ai jamais pu détester ma tante non plus. C'est du côté de mon père que tout est fichu.
-Pourquoi?
-Eh bien, tu va le dire a personne?
-Jurer.
-Bon mes parents m'ont eu par «accident» si on peut dire. Ils ne s'entendaient pas et se criaient dessus tout le temps et moi j'était entre les deux. Mon père me battait souvent et ma mère faisait tout pour l'en empêcher, mais il la battait elle aussi. Un jour mon père à tué ma mère et il est allé en prison. Depuis ce temps, je vie chez Shaolan, mon cousin. Et toi qu'est ce que ton père veux que tu fasse de si terrible?
-Il veux que j'ai la marque.
Meiling resta un instant en suspense, mais elle se souvint finalement de l'histoire sur un certain Voldemort qu Harry lui avait conté et dit :
-Oh! Mais tu ne veux pas l'avoir?
-J'en sais rien, je ne veux pas décevoir mon père et renier ma famille. Mais je ne veux pas non plus être un esclave à la botte d'un mégalomane.
-Moi, j'i fait le choix de me protéger envers et contre tous. Mais tu sais qu'il ne faut pas que tu suives le chemin que les autres te trace. N'oublie jamais que tu es le seul maître de ton destin. Tu vas la où ton cœur te dit d'aller, fais ton choix et peux importe où tu vas, il y aura toujours quelqu'un pour te soutenir et t'aider.
-Merci, tu sais, je crois que tu es la première personne à qui je me confis.
-J'ai déjà vécus ça moi aussi et c'est difficile au début mais après tu t'en sort.
Elle lui fit alors un magnifique sourire, le premier vrai et sincère de la soirée. Leur yeux s'accrochèrent encore, amis pour des raisons différente cette fois si. Elle brisa finalement le silence en disant :
-Si jamais tu as un problème, n'importe quoi, je serai toujours là pour t'écouter. D'accord?
-D'accord.
Elle se leva et se dirigea vers les escalier avant de se retourner pour dire :
-Il y a une chose qu'il faut que je te dise, demain je ne me souviendrai plus de cette conversation, c'est seulement demain soir que je vais redevenir moi même.
-Pourquoi?
-Oh, tu l'apprendra bien assez tôt.
Elle lui fit un sourire et partis ver son dortoir. Rendue en haut, elle mis le veston et le foulard qui était sur son lit. Elle fit apparaître ses ailes noires dans son dos et ouvris la fenêtre pour s'envoler vers le ciel et les étoiles.
&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&
Du côté de Serdaigle, Tomoyo et Ériol discutais à voix basse sur un sofa à l'écart des autres. Tomoyo finit par demander :
-Alors, ta journée c'est bien passé ?
-Oui, j'ai un peu chercher le frère de Saki mais je n'ai pas réussi à localiser ses pouvoirs.
-Moi non plus je n'y arrive pas, soit il les cache soit il n'est pas ici.
-Non, il doit être ici, la prophétie dit que l'on trouvera la réponse à notre question ici.
-Et c'est quoi notre question ?
-Comment on peut vaincre Méline.
- Et la réponse ?
-C'est le frère de Sakura qui l'aura et arrête de faire comme si tu savais rien tu sais tout.
-Mais j'aime te taquiner.
Elle se pencha pour l'embrasser et par ce fait se calla plus profondément sur son épaule. À la fin de leur baiser elle posa encore une autre question :
-Mais le pouvoir de Shaolan, tu es sur qu'il est dans un gars ici?
-Oui, après que Yué et Rubby soient mort, leur pouvoir ont été transféré dans Kéro et Spinel. Comme la prophétie l'indiquait. Donc si une autre personne devait mourir, en l'occurrence Shaolan, le pouvoir irait directement à la personne la plus proche biologiquement de Saki. Donc son frère. Il faut donc le trouver pour qu'il nous aide à tuer Méline
-Tu as raison, mais tu as pensé au fait que Shaolan pourrait ne pas être mort? C'est un peu trop facile comme mort, tu ne trouve pas ? Avec son pouvoir il aurait pu facilement ce libérer et ne pas…
-J'y avais déjà penser mais je n'ai aucune explication au fait que nous ne resentont plus sa présence sur toute la surface de la terre. De plus nous l'avons chercher partout. Donc ne donne pas de faux espoir à Sakura, elle est déjà assez briser, il ne faudrait pas la blesser encore plus avec de fausses histoires. Il faut donc trouver le frère de Saki le plus vite possible et après on verra.
-Tu as raison. Moi qui n'arrête pas de dire qu'il faut que nous fassions notre deuil…
Elle l'embrassa une autre fois et ferma les yeux pour profiter du moment présent en compagnie de son amoureux.
&&&&&&&
Du côté des griffondor, tout étais calme. Tous étais couché, sauf une personnes. On voyait son ombre se profiler sur le sol à la lueur du feu. Cette jeune fille, car c'étais bien une fille, étais assise devant le feu, perdue dans ses pensées. Quelques flash lui revenais souvent en mémoire. Elle se voyait pleurée, rire, courir et surtout vivre. Oui, depuis sa mort elle n'avait plus le goût de vivre. La seule chose qui l'empêchais de sauter du haut d'une tour, étais la vengeance. Venger une mort si injuste et douloureuse. Chaque nuit c'étais la même chose. Elle ne pouvait dormir et s'accrochais doucement à un espoir qui n'existait plus. Son rêve lui revient alors en mémoire plus douloureux que jamais.
**Rêve**
&&&&&&&
_Elle se voyait dans une petite pièce très lumineuse à cause du soleil. Les rayons de celui-ci tombait doucement sur elle et lui donnait l'air d'un ange dans sa robe blanche. Mais ça c'était l'avis de son père. Aujourd'hui était le plus beau jour de sa vie…Enfin, c'est ce qu'elle pensait…_
&&&&&&&
Elle sentit les larme lui venir doucement, au fils de ses penser.
Suite du Rêve
&&&&&&&
_Les porte s'ouvrirent, laissant la jeune fille entrée dans la salle au bras de son père. Elle regarda au bout de l'allée décorée par des milliers de fleur de cerisier. Elle vit alors l'homme de sa vie, l'attendre à quelques pas d'elle. Il ne doutait pourtant pas un seul instant, que se serrait la dernière fois qu'il verrait son ange, son amour. Que se serrait probablement le dernier beau souvenir qu'il garderai en mémoire. Que le sourire de son ange serait son dernier et son seul espoir de survie…_
&&&&&&&
Ce ne fut pas des larmes, mais un sourire qui filtra sur le visage de Sakura à cet instant précis. Elle et lui avaient vécus pas mal d'aventure ensemble. La chasse au carte et leur transformation, son départ, son retour, la capture de la carte du vide et sa transformation en carte de l'espoir et finalement son déménagement à Tomoéda. Tout en lui manquait à Sakura : sa bonne humeur, ses yeux noisettes, ses cheveux doux comme la soie, son sourire... Après son déménagement, il lui avait appris les arts martiaux pour qu'elle puisse mieux se défendre, elle avait aussi appris à utiliser ses cartes sans son sceptre. Il lui avait appris tellement de choses et ils avaient nagé dans un bonheur totale ensemble. Les larmes commencèrent alors à tomber une à une le long de ses joues. Elle était tout simplement morte le jour de sa mort, car un cœur ne peux vivre sans amour. Elle murmura douloureusement :
-Revient moi mon amour, je ne veux pas vivre seule !
Elle s'endormie sur le tapis face au feu, le cœur déchiré par l'amour.
&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&
À la prochaine fois!!!
End file.
| fanfiction |
Glee 1. District 1, Reaping
**A/N: So I came to a conclusion that there should be a Brittana/Hunger Games fic, and since I couldn't find one, I decided to write it myself. The chapters are going to alternate from first person Brittany to first person Santana because I wanted to tell both of their stories, but also stick to Suzanne Collins's style of writing. That's also why I wrote it in present tense. Enjoy the chapter!**
* * *
><p><span>Chapter 1: District 1, Reaping<span>
_Brittany_
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><p>I'm lying in my bed with my eyes tightly shut. The warm sun reddens my eyelids and I know that the time has come for me to get out of bed. But I don't want to. I don't want to face today.<p>
Today is the day that I've been dreading my entire life. The day that I've been vigorously trained for from my first step as a toddler to today, fifteen years later as a seventeen-year-old. I was to grow up to be like my parents—a glorious victor of District 1. I am to bring honor to our district, to continue the long line of triumphs over the other districts. But doing so would mean to kill innocent human beings. Innocent teenagers who haven't yet had the chance to begin their lives. Although, from what I hear about the other districts, I'm not sure that they would even want to.
District 1 is one of the wealthier districts, though not nearly as wealthy as the Capitol, of course. We produce all of the luxury items for the Capitol. Diamonds, other precious gems, jewelry. And since we're the district that brings the Capitol the things that they love most, we receive the best treatment out of all of the districts.
In that sense, we're by far the most fortunate. Rumors tell that the other districts live in terrible poverty and have to provide things like lumber and coal for the Capitol, which must be much harder work than making jewelry. We do have our miners in this district, of course, who retrieve the precious gems, but they are the lowest in the social pyramid and nowhere near the victors. My father and mother make a habit of spitting on the miners when they pass them by. They even gave them a cruel "nickname" which has caught on and has been used by other upper class citizens—Garbageers. Because they're nothing but worthless garbage to them.
In that sense, we, the victors and their children, are the luckiest of all. But in another sense, we're also the most miserable. There are some of us who don't mind it so much. They try to wire us to despise, to yearn to destroy the other tributes, and it works for some. But it didn't for me. I always end up thinking about the lives of the other tributes, or the lives that they had before those were mercilessly snatched away from them. I think about their families and their facial expressions when they see me pull my knife out of their daughter's chest. I think about how they will forever remember my face and seek revenge. How they will never forgive me, how I will never forgive myself, for something that was entirely out of my control.
And then there's the possibility that I won't win. The likelihood that today will be the last day that I spend in District 1. There was the very probable possibility that I would die in that arena.
I've wished many times that I were born into a different family. I would have preferred to grow up poor with a family that loved me rather than grow up wealthy with a family that literally only wants me alive if I bring glory to the district. A family that would make their only daughter volunteer to die.
The door of my room creaks open and my mother's boots click into the room. "Brittany! Wake up! Today's the _big day_!"
I reluctantly open my eyes to find her powdered face looming over me. She has the typical face of a victor—skin pulled tightly and lips overly plump due to collagen. Everything about her screams, "Rich! Wealthy! Money! Fortune! Look at me, I'm the victor from District 1! Behold and bow down to Shimmer Pierce!"
I cough a little at the sharp and powerful smell of her perfume as she straightens her back to give me space to stand up. As I do, my face entirely unenthusiastic, she brings my chin up with a long nail so that I'll look her straight in the eyes. "Now where's that smile we've been working on? You need to look absolutely _perfect_ for the reaping!"
The tips of my lips pull into a halfhearted and somewhat sarcastic smile. I have this terribly sour feeling in my stomach. I keep asking myself the same question over and over again—when the time comes, will I kill or let myself be killed? Neither option seems very appealing.
The one thing that comforts me is the knowledge of how powerful I am. I may be a girl, but I'm stronger and faster than any boy who's been trained for the Hunger Games. I can sprint for miles with a hundred pound weight on my back. Maybe I can run and hide in the arena until they all kill each other.
My mother shoves me out of the room and into the shower. "Make sure you scrub in _all_ the little places! You want to leave an _impression_!"
I turn to look at her and she slams the door in my face. Ugh. So typical of her.
I strip out of my pajamas and step into the shower. Whenever I turn on the water in the shower, I take a moment to thank whoever is up there for letting me have warm water. So many people don't. And those who do take it for granted. But I appreciate every little thing in my life. Maybe because I've always known that my life will most likely be over before I turn eighteen.
My thoughts turn to my mother again. There's just no way that she's always been this bubbly and feminine. I mean, she won the Hunger Games. She had to be tough at some point in her life. She's ruthless, yes. That I've always seen. I don't have a hard time imagining her carelessly chopping off heads. But how is it that she didn't get killed first?
After scrubbing in _all the little places_, I step out of the shower and begin to dry myself off with a soft towel. I unfold the dress that my mother had picked for me and lift it before me. I cringe and gasp at the same time, which probably makes me look like a moronically incompetent squirrel. What _is_ that?
It looks like a cross between a poodle and a whale. It's a disgusting shade of gold that will look awful with my skin, and its shoulders are so sharp that it looks like it could poke someone's eye out. From the pointy shoulders dangle long links of gold rings, which connect to each other in the back. Its hem won't even reach my knees, and the dress poofs out beneath the waist so that it looks like the wearer of the dress is a floating gold ball of doom.
I sigh deeply and shake my head. Not only am I volunteering for my death today, but I also have to look like a ridiculous ostrich when I do it.
I carefully slip it on, trying not to get impaled by the shoulders. It fits tightly around my chest; too tightly for my liking. After struggling with the zipper in the back, I turn around to face the mirror and evaluate the catastrophe.
It's even more appalling than I imagined. The dress is too short for my lengthy body, which means that if I even bend down just slightly, all of District 1 along with anyone who's watching on television will get a _lovely_ view of my glorious sitting pillows.
Before I can peel the disgusting dress off of me and tell my mother that there's no way that I'm wearing it, she bursts into the bathroom and squeals delightedly as she sees me. "Oh, _Brittany_, you're _perfect_!"
"Mother—"
"Shush, shush, no speaking! Remember, _tough_ and _beautiful_, that's what you are! There's no need for simple and petty words when you're about to win the _68__th__ Hunger Games_!"
I glare at her. Her blonde curls bounce around happily as she pulls me out of the bathroom and back to my room. She forcefully sits me down on a decorated chair in front of a mirror and begins to alter my hair to her liking. I gaze at her in the mirror as she mercilessly pulls on my hair. She's exactly what they want at the Capitol. An insignificant tribute who becomes one of them. Well, I won't. Even if I win, I'll never become one of them.
"All ready!" she skips around joyously and I stare at myself in the mirror. If I thought that I looked horrible before, it was nothing compared to now.
My hair is curled to the point that it just looks utterly ridiculous. Precious gems of different colors make up a hairband that is firmly latched onto my head. I look like some creature from some horror movie, like the ones that my parents told me that they show in the Capitol.
My mother pulls me out of the chair and drags me down the stairs to the kitchen. My father, the infamous Glint Pierce, is sitting at the dining table, reading a newspaper. When we enter, he looks up and his mouth stretches into a grin. "There's my perfect little baby girl."
I roll my eyes and sit down across from him at the table. He's only "loving" when he wants something from me. And at this moment, he wants me to bring glory and honor to our family. To serve a reason for him to continue to say our family's motto: "We're Pierce and we're fierce!" What an idiotic motto, really.
My mother hurriedly serves us breakfast, all the while muttering, "Happy day! _Happy_ day!"
I pick up my fork and push my food around the plate. I'm really not hungry. In fact, I feel like I'm about to puke my guts out. I guess that's what happens when you know that you're facing a death sentence.
"Let's go, Brittany, eat, eat, _eat_! You want to be nice and full for the reaping! You can't _faint_ on the stage in front of everyone!"
"I'm not hungry, Mother."
"Oh, it's alright, Shimmer, soon she'll have some quality Capitol food to munch on," my father's unnaturally aligned teeth are revealed once again as he smiles proudly. "You'll enjoy every bit of it, Brittany, I promise."
Yeah, that's very likely. I drop my fork on the table and look everywhere except at my parents. I have a feeling that if I see their delighted facial expressions, then I might really throw up.
After breakfast, my parents and I begin to make our way out of the house and to District 1's Justice Building. We walk through the Victor's Village, which is composed of a horseshoe of blindingly white houses that wrap around a small park and pond. As we walk past the houses, we come to the training arena, where the children get trained to become Careers.
District 1's Justice Building is a tall marble structure with great pillars and glossy walls. Before it stands a large platform, on which a podium has been placed. On the podium is the symbol of the Capitol, a sort of eagle whose feet clutch onto a batch of arrows. Two glass balls sit on either side of the podium. Before the platform is a sea of District 1's eager and not-so-eager citizens.
"Alright, Brittany," my father grips my shoulder firmly. "We have to go up to the platform as the mentors of the tributes. But you know the drill. When the female tribute is chosen, you will volunteer. Are we clear?"
I nod reluctantly as he loosens his grip on my shoulder and begins to make his way to the platform. I gaze around me. I would've tried to find my friends, except I don't have any friends. No one wants to be the friend of the daughter whose parents spit on miners and walk around with their noses high up in the air.
I stand in the crowd and hug my arms around my chest, hoping that the shoulders of my dress won't skewer some innocent little kid. I can see the judgmental faces of some of my schoolmates as they point and giggle at my ludicrous outfit.
The mayor of our district, a plump man with a fat white moustache, steps up to the podium and clears his throat. He begins, as he does every year, to tell the long and difficult history of Panem. His monotone voice drones on about the natural disasters and the hardships that the people had to face before creating this _amazing_ country. He tells how the glorious Capitol took charge over thirteen districts, which, in their opinion, needed to be shown the "right ways." In other words, become their slaves. But then came the Dark Days. The districts began an uprising against the Capitol. The Capitol, in turn, defeated all of them, and even wiped District 13 off of the map. The Treaty of Treason was written to impose new laws on us, and to remind us just how powerful and scary the Capitol is, they also created the Hunger Games.
The mayor goes on to read the long list of District 1's victors. My parents, who are sitting in black chairs on the platform, expand their chests and raise their chins as their names are called. My father is asked to give a small speech, and he stands tall on his feet and walks to the podium. He places both of his hands on either side of it and gazes around proudly before beginning his speech.
"Today is a glorious day for me. Today, my daughter will volunteer to bring _honor_ to our district. We've trained her, trained her well, since she was just a tiny little toddler. I've never been more sure of anything, than that my daughter, Brittany, will be coming home from this year's Hunger Games."
The crowd claps politely, but quite unenthusiastically. No one likes a pompous ass.
The mayor returns to introduce District 1's escort, a bubbly young woman named Neenee Max who is sent from the Capitol every year for the Hunger Games. Today she has magenta hair and is wearing a neon blue dress suit. She smiles widely at us as if this is the moment that she's been waiting for her entire life. "Happy Hunger Games! And may the odds be _ever_ in your favor!" She claps cheerfully as her cobalt lips stretch into an even wider smile. "Now let's begin with the drawing! Boys first!"
She crosses the stage to the glass ball on the left, her unbelievably high heels clicking on the metal. She reaches an enthusiastic hand and extracts a little white piece of paper. But no one is worried. Everyone knows that even if their names are the ones that are chosen, someone else will volunteer for them. That's how it always is in our district.
She makes her way back to the podium, clears her throat, and says, "Wonder Jiller!"
Wonder Jiller, a fourteen-year-old boy and a son of a miner, doesn't even bother to walk to the platform. A deep voice rings loudly and clearly through the square before he even has the chance to. "I volunteer."
Everyone makes way as Flicker Longis walks proudly to the platform. I sigh in disgust. Why him?
Flicker Longis is also a child of two victors. His parents and mine have been head to head their entire lives. In my parents' eyes, it is my destiny to destroy the Longis family's pride. If I did that, then I would truly bring ultimate happiness to them.
Flicker steps up onto the platform and stands beside Neenee, who is eyeing him up and down in satisfied wonderment. "Well, then!" she grins into the microphone. "We have a volunteer! Your name?"
"Flicker Longis," he says, his face hard and expressionless.
"Flicker Longis, everyone! Your male tribute!"
The crowd claps and some cheers rise from his friends and family. I begin to bounce my knee up and down, anxious at what's about to happen.
"And now, for our female tribute!" Neenee clicks over to the glass ball on the right, sticks a quick hand in it, and picks out a random note. Once she's back before the microphone, she says, "Glitter Nilly!"
Both of my knees are bouncing now and my breathing is staggered and unstable. I notice my parents' threatening glares from the platform. "I volunteer," I say weakly.
"What was that?" Neenee looks around at the crowd. "Did I hear someone volunteer?"
The people around me back off so that there's a clear path to the platform for me to walk through. I try to catch my breath as I begin to make my way toward the platform. After what seems like ages of walking through endless bodies and faces, I finally reach the stage. My throat is parched and my tongue feels like paper.
When I finally find my way to Neenee, she beams joyously at me. Her magenta hair is quite blinding from this close distance. "And your name?"
"Brittany Pierce," I say, my voice almost hushed.
"Ladies and gentlemen, citizens of District 1, I present to you your volunteer female tribute! This wonderful girl here, _Brittany Pierce_!"
2. District 11, Reaping
Chapter 2: District 11, Reaping
_Santana_
* * *
><p>I'm lying in my bed with my eyes widely open. Bud and Apple, my nine-year-old siblings, hug me tightly from each side. I run my left hand through Apple's long, thick hair as my right hand caresses Bud's forehead. They're still asleep, in their dreamland where everything is different and they have happy lives. Where their names won't be put into the drawing in a mere three years. They know what's to come, and they're petrified of it. They've watched the Games, they've seen the Career tributes. They know that if they are chosen to participate, their chances of surviving will be nearly nonexistent. And I know this, too.<p>
But when they bring the matter up, I simply hug them tightly until it hurts and tell them that they still have time, and that maybe things will change by the time that their names are put in. But they don't believe me, and, to be honest, I don't even believe myself.
At the moment, they're afraid that I will be chosen to participate. I've had my name put into the drawing several times in exchange for tesserae, which was the only way that my family could have a substantial supply of oil and grain. No one but me could do this for my family; my parents are too old to receive tesserae and my brother and sister too young. So this year, my name will be put into the drawing thirty-six times. Six times for each year that has passed between ages twelve to seventeen, and thirty times for every year's supply of oil and grain for my family. Let's just say that the odds aren't exactly in my favor.
What kind of sick people think of a thing such as the Hunger Games? What kind of people think that watching twenty-four teenagers fight to the death is merry entertainment? It's all just a game to them. They place their bets, ooh and ahh as one teenager dies by the terrified hands of another. The citizens of the Capitol don't view us as humans with feelings and lives and families. It's all just a show. The tragedies that take place in the arena are nothing more than television soap opera dramas to them. The mere thought of such people causes my stomach to twist with hatred.
I'm frightened to be chosen, but not for the obvious reasons. If I am chosen, Bud and Apple will have no one to care for them. My father, a stern and distant man, is hardly ever home. He has the most difficult job of us all—the cotton fields. All of the strongest boys and men are sent to the cotton fields. They leave before dawn and return after dusk. My father rarely ever has any time for us, and even when he does, he chooses to spend it alone. My mother, a frail woman who just doesn't have the time to care for her children, works in the barley fields. She loves us with all of her heart and treats us as best as she can during the little time that she spends at home. Which leaves me to care for Bud and Apple. I don't mind it; I take them to school every day, cook for them, wash them, make sure that they're healthy, or, as healthy as one can be in this poverty. And in the harvest season, when school closes and we're all sent to work, I take them with me to the orchards, where we pick fruit off of trees. When they were younger and didn't quite understand our situation, they called me "Mommy" because they thought that I was their mother.
If I am sent to the Hunger Games, which will almost certainly mean that I will die, how will they get by? Who will obtain grain and oil through tesserae? Who will risk their lives just so that Bud and Apple could eat?
I had risked my life for them. Once. My father had gotten hurt in the cotton fields, and he had to stay at home, which also meant that he would not receive any rations until he was back in the fields. It was a very difficult time, and we had so very little to eat. We would each eat barely an ounce of stale meat a day, and even that was extremely hard to come by. And one day, my siblings just couldn't get out of bed. They tried to, but, every time, their horridly thin bodies would give out under them. So I went to the orchards that day by myself. I was assigned to work in the apple orchard that day, which meant that I would be climbing up on trees all day. After I was finally let out, I quickly hid a couple of apples in my bag and hurried out of the orchard. I brought the apples home to my siblings and they devoured them in seconds.
But I had been seen. The next morning, there was pounding on our front door, and three burly Peacekeepers barged into our house to drag me out to the town square, which was buzzing with people on their ways to work. They threw me to the ground and flung their merciless whips at me, again and again and again. By the time that they finally stopped, I was blind with pain and tears, and my throat burned from screaming. My father carried me home, and it took days for the deep cuts to finally heal so that I could go back to work.
But I was lucky. I had seen many of District 11's citizens get killed on the spot for breaking the rigid laws of the Capitol. Innocent people who had failed to come to work or obtained things through the black market or maybe just stole some food so that their siblings wouldn't die. I was thankful that I had gotten a whipping instead of a death sentence.
Apple stirs beside me and I look down to see her large, worried eyes. I can see the fear boiling up inside of her. Her arm tightens around me and she whispers, "Please let them choose someone else."
I kiss her forehead and turn my head to the filthy window. The sun's already out, and it must be around eight in the morning. I groan softly and nudge Bud a little so that he would wake up. He looks sleepy and hazed at first, but then realization dawns on him and his face turns grim.
"Come on," I sit up and throw the thin blanket off of us. "Let's get ready."
Something smells delicious in the kitchen. My mother is cooking at the makeshift stove, and she turns her head to us when she hears us enter. She smiles lamentably.
Apple runs to her and stands on her tiptoes so that she could see what my mother is cooking. "Is—is that—_chicken_?"
I hurry to the stove. My mother is indeed cooking half of a chicken under very minimal seasoning. "Where did you get _chicken_, Mom?"
"In the black market," she flips it over in the aged pan.
"Must've cost you a fortune…" I lick my lips as the incredibly appetizing smell percolates into my nose.
"A whole month's supply of grain."
I shake my head and take a seat at the table. "You shouldn't have."
"I wanted to have a treat," she shrugs. "It is reaping day, after all."
When my mom finishes to cook, she cuts the chicken and leaves the biggest piece, the chicken breast, on a plate for my dad. Then she serves Bud and Apple the thigh and gives me a whole leg, all for myself.
"What about you?" I ask hesitantly, my mouth watering at the smell.
"I'll eat something else later," she smiles reassuringly at me.
I bring the small drumstick to my mouth, close my eyes, and take a bite. It tastes so wonderful that I quickly take another bite before swallowing the first one. I've only had chicken once before because it's so expensive. Chicken is an extremely rare delight.
I'm about halfway through finishing my share when I look up to see Bud and Apple staring hungrily at the meat in my hands. They've already finished their portion, and it's almost like I can hear their stomachs grumbling for more. I glance regretfully at the half-finished chicken leg and then hold it toward them. They grin gratefully as Bud leans across the table to grab it and they begin to devour what little meat is left on the bone.
"Santana, darling," my mom puts a caring hand on my shoulder. "Why don't you go wash and get ready for the reaping?"
I nod grimly and make my way out of the kitchen and to the shower room. Or, better phrased, the room with the large wooden bucket that contains freezing water. I sigh deeply and begin to strip myself of my grimy clothes. I plant a chair right by the bucket, sit in it, and, with an old sponge, begin to scrub the layers of dirt off of my body.
I gaze at my protruding ribs as I wash myself. What's it like to live in the Capitol? To have unlimited amounts of food? To wear clean clothes every morning? To not have to constantly be in a fight for your life? It seems unreal, impossible. An entirely foreign idea that has no place in District 11.
Are the other districts struggling in the way that we are? There are rumors about some of the other districts, like District 12, whose citizens supposedly live in poverty just like us. But what about the others? What about the districts that produce Career tributes like Districts 1 and 2? Do they receive special treatment for proving as the Capitol's most delightful source of entertainment? The Careers always look so fit and muscular and healthy. So different from us. Do they receive extra food while the rest of us are left to starve?
Once again, I am overcome by hatred for the Capitol and its corruption. The lack of fairness is utterly repulsive. I grit my teeth and scrub myself more violently at the thought.
When I am finished, I wrap the towel that my mother has laid out for me around my body and walk to my room. On the chair by my bed lies a simple dress in a soft shade of red. It's one of my mother's. I put the towel aside, slip on some undergarments, and then carefully put on the dress. It has a modest ribbon the ties in the back, making the dress better fitted. I turn to the small mirror on the wall to gaze at myself.
My damp hair is spread across my shoulders, wetting the thin fabric. I think about how this dress would look much better on me if I weren't so skinny. My eyes are despondent and my face grim. I sigh deeply, rip my gaze off of the mirror, and make my way back to the kitchen.
Bud and Apple are already dressed in their best clothes, and Apple's hair is tied back in a high ponytail. They're sitting on two flimsy chairs as their legs swing back and forth in anxiety. My lips stretch into a small but reassuring smile. "It'll be okay," I say.
The reaping is to be held in the town square, as usual. My mother, my siblings, and I leave the house and walk quietly across the streets, which are buzzing with families on their ways to the reaping. Our shoes chafe against the gravel at our feet.
A stage was set up before the Justice Building, and a pink banner that is stretched above it reads, "Welcome to the Reaping!" I chuckle sourly at the irony of the optimistic sign in such a horrible event.
The kids whose names are put into the drawing are told to file into a small space before the stage. Bud and Apple hug me tightly from either side, their small hands clenching onto my dress. I caress their heads and whisper, "It'll be okay, I promise."
I lean down to them and lightly kiss their foreheads. Then I turn to my mother, who's standing to our right. A sad smile spreads across her face as she says, "Good luck."
I pull her into a firm hug, and then proceed to the area in front of the stage. I easily find my best friend, Spring Yeld. She grins sarcastically at me and says, in fake overenthusiasm, "Are you ready?"
I roll my eyes at the dark-skinned girl. Spring and I are a sort of inseparable duo. We grew up together, and she, like me, has little siblings to care for. She knows firsthand the hardships that I have to go through.
Someone clears their throat into the microphone and the crowd hushes and turns its attention to the stage. What we see is nearly blinding. Our district's escort, sent straight from the Capitol, Boopie Bee, could not possibly look more out of place in all of the dirt and quiet but evident fear. Looking at her hurts my eyes nearly as much looking straight at the sun. Her hair is the brightest shade of yellow that you can imagine, and her lips and dress suit match her hair in a disgustingly perfect way. It's almost like she's emitting heat from her bright rays. I squint my eyes slightly at the sight.
She smiles widely at us, her perfectly aligned teeth shining brightly under her golden lips. "Welcome, welcome, and happy Hunger Games! Regrettably enough, your mayor has come down with some sort of strange _sickness_, and he will not be able to host this event for us this afternoon. So _I_ will replace him! _Isn't that exciting?_"
Her everlasting confidence doesn't falter at the sea of unenthusiastic faces that's looking up at her. Spring and I sigh hopelessly in unison. Boopie's obnoxious grin remains on her face as she continues on, "Let's start at the top, then, shall we? Almost a century ago, a _tragedy_ fell upon this world. Horrible disasters, bloody wars. It seemed as though the human race would become extinct, simply disappear into thin air. But at the last moment, _the Capitol_, a beautiful city with the most brilliant government, emerged from the ashes of disaster. The Capitol took it upon itself to better the lives of the people around it by separating them into districts and providing hard but rewarding work for them, along with great amounts of food for each family so that each child grows up to be strong and beautiful. But then—_the Dark Days_. District 13 led an entirely unreasonable rebellion against the virtuous Capitol, attempting to create havoc in the country of Panem. But, very thankfully, they were unsuccessful. The Capitol struck it down, along with the other districts. After such an event, it was decided that the Capitol must rule the districts with an iron fist. Our wonderful government created a yearly event called the Hunger Games, in which a boy and a girl are chosen from each district to fight to the death. And since then, Panem has been a _pleasant _and _peaceful_ place to live in."
It's obvious that Boopie is expecting enthusiastic clapping for her speech, but we all just stand there and glare up at her. I'm sure that everything looks very flowery from her side.
Her relentless smile continues to shine down at us, and she says, "You've only got one victor that's still alive, so why don't you all please welcome _Daisy Loon_!" She turns back and looks expectantly at the woman sitting in the chair behind her.
Daisy Loon, or, as some of the kids call her, Daisy Loony, rocks back and forth in her chair. I had always felt badly for her. After her victory in the Hunger Games, Daisy was driven to madness by her guilt for killing the other tributes. It's impossible to get anything rational out of her, which is probably why we hadn't had any victors since. She's a thin woman with stringy hair, and it's evident that she doesn't take very good care of herself. Any tribute is helpless in her feeble hands.
Boopie waits for a little while longer, watching Daisy hum quietly to herself, before turning back to the microphone. "Well, it seems like Daisy wouldn't like to speak at the moment. So," she jumps up happily, "it's time! Let's begin with the drawing! Ladies first! And may the odds be _ever_ in your favor!"
Her heels click on the stage as she makes her way toward the glass ball that contains the names of the female teenagers of District 11. She reaches a confident hand in and quickly extracts a white note and begins to make her way back to the microphone. I crack my back uneasily and look around. Bud and Apple's worried faces are gazing at me from the other side of the square, and I smile reassuringly at them and mouth, "It's okay."
Boopie clears her throat into the microphone as her mouth stretches into that unyielding smile of hers. I find myself holding my breath as she gazes at the fearful crowd and finally calls out, "Santana Lopez!"
3. From District 1 to the Capitol
Chapter 3: From District 1 to the Capitol
_Brittany_
* * *
><p>The anthem of Panem booms throughout the square, threatening to tear my eardrums, as I stand nervously on the stage and gaze down at hundreds of cynical faces. They're all thinking the same thing—this girl will be out of the game in seconds. I glance to my left and see Flicker waving majestically to the crowd, in complete control of this whole situation. Neenee is standing beside me, joyously beaming down at the crowd and batting her magenta eyelashes flirtingly. Suddenly, I feel two bodies on either side of me, and I look up to see my parents smiling cheerfully and waving their hands. My father nudges me, a little harder than he needed to, and, through his fake smile and gritted teeth, mutters, "<em>Smile<em>, Brittany. This is what you've been _waiting _for."
I roll my shoulders uneasily but don't smile. I'm about to die anyway, so why do I need to please my parents?
After the anthem finishes, a group of Peacekeepers appears around me, and they lead me to the front doors of the old Justice Building. They march me through the doors and down a hallway until we come to an empty room. They command me to go in and close the door behind me. I turn to face the deserted room.
The furniture, the walls, the carpet, everything screams of wealth, even compared to the Victor's Village. I wonder if this is what rooms look like in the Capitol. The gold carpet gleams in the sunlight that shines through the tall windows, which are partly covered by matching golden curtains. Leather couches, blindingly white, sit in a square horseshoe with their backs to the walls, and a small table stands in the center of the room. It's all too artificial for my taste. It's like the mayor and his family are trying to fool themselves into thinking that they are indeed living in the Capitol. Trying to ignore the fact that even though we are the wealthiest and most prized district, we're still a district, and under the complete control of the Capitol and its totalitarian tentacles.
I sit on one of the couches and wonder if anyone will come to say a last goodbye to me. Maybe there's someone who's always wanted to be my friend, but never acted on those feelings. Maybe there's someone who actually cares.
But there isn't. I sit alone in the room for about ten minutes before a herd of Peacekeepers marches in and leads me outside to a car, where my parents are waiting for me. They don't look too happy, and a strange feeling of joy for their misery settles in me. I hate them for what they are putting me through.
I slide into the back seat of the car to sit by my parents. They're shaking their heads, and at the moment that the Peacekeepers slam the door behind me, they explode.
"How _dare _they—"
"To excuse _us_ from mentorship simply because our _daughter_ is a tribute—"
"Well, at least they excused that _idiotic_ Longis couple as well…"
I tune out their protests and turn my head to the window with a little smile on my face. At least I won't have to deal with them during my time at the Capitol. And at least the Games would be _somewhat_ fair.
The ride to the train station only takes about five minutes. When the door on my side of the car opens, I am ambushed by countless reporters and the blinding flashes of their cameras. They shout incoherent questions at me, elbowing each other to get closer. I ignore them and follow the Peacekeepers to the slick train.
Flicker Longis must have been brought here by another car, because he's already standing in the doorway of the train, waving to the sea of reporters. The Peacekeepers lightly shove me up the stairs of the train so that I'm standing by Flicker's side. I turn around and gaze at the crowd. I see my parents pull the tips of their lips up with their fingers, as a sort of last command for me to smile. I glare at them and decide that even if it gets me killed, I will no longer do as they tell me.
After a few minutes of awkward standing before the eager reporters, Flicker and I are instructed to stand back. The door slides closed before us, cutting off the last image of my district and my irritating parents.
The train instantly begins to move, so swiftly that it feels like we're flying above ground. I almost fall on Flicker but catch myself at the last minute. He shoots me a disgusted glance and walks away, down the hallway of the train. I follow him reluctantly until we reach a glass door that leads to a little dining area. If I thought that the Justice Building looked fancy, it was nothing compared to this train. The plates that sit on the glossy wooden table seem to be made of silver, as well as the dainty silverware. Velvety chairs surround the table, and the strange food on it looks so expensive that it doesn't even seem real. If this is what their trains look like, what does the Capitol look like?
Neenee Max is already sitting at the table, eyes bright and mouth wide with enthusiasm. "Aren't you all _so very_ excited?"
I roll my eyes and take a seat across from her. My knee anxiously bounces up and down as Neenee and Flicker begin to serve themselves food. I decide to pass on this meal for fear that if I eat, my horrible nausea will grow stronger.
Suddenly, I feel as if something's missing. How can it be just two tributes and an escort? "Where's our mentor?"
Neenee and Flicker raise their gazes from their plates, Flicker more judgmental than ever and Neenee somewhat confused. Suddenly, it's like a light bulb is turned on in her head, and she says, "Oh! Your mentor! She should be here at any minute!"
I lean back in my chair and wonder who they chose our mentor to be. District 1 has plenty of victors. Whoever it is, though, I'm sure that she won't favor me over Flicker, the obvious victor. But I don't really mind. I've already accepted the fact that I'm going to die. I doubt that I will even try to stay alive for long in the arena. Better to go out in a quick, painless way than to try to survive the terrible arena and the ruthless tributes.
After a few minutes of delicate silverware clinging against silver plates, the glass door of the compartment slides open to reveal—oh, _no_.
The one and only Twinkle Mobelly stands at the door with a bitter smirk on her face that says one thing—this is Twinkle Mobelly, and _no one_ crosses Twinkle Mobelly.
Twinkle Mobelly won the 47th Hunger Games twenty-one years ago. It was almost impossible, really—she had such a thin structure, so dainty and seemingly harmless. She was a miner's daughter who volunteered, and in the place of a Career, which caused uproar among the victors and Careers. According to what I've heard, the whole district turned against her. No one dreamed that she would actually win. But she did.
She was merciless, cruel, and utterly heartless in the arena. She was very fast, and very quiet, a deadly combination. She sneaked up on the other tributes, and they never had a chance. But it wasn't the fact that she killed tributes that caused all of Panem to lean forward in their chairs and cover their eyes, unable to take any more of the scene. It was _how_ she killed them.
She liked to play with her prey. She would torture each tribute psychologically for hours before finally revealing herself. She would make noises, throw rocks, leave them always on the watch. Sometimes she would do this for days, until the tribute passed out from fatigue. In the replays that I've seen of the Games, I remember seeing those tributes' faces when she tormented them so. Sweat glistening on their foreheads, their heads snapping from side to side, their feet turning in circles until they were dizzy. Completely petrified. Some of them broke down and cried, and that's when she would finally show herself. She would step out from behind a tree, a callous chuckle escaping her lips. She would ask them if they wanted their mommies, or if she should spare their lives. The tributes were so mentally harmed by that point that they didn't even get up to fight her. They curled up in balls or just lay down on the ground, knowing what was to come, but welcoming it. Wanting it to end, just _end_, already. They were waiting for that final blow, a knife to the throat, an arrow to the heart, but it never came.
She would make only enough damage so that they would slowly bleed to death or die of starvation or dehydration. And after doing this damage, she would sit by them until the last drop of blood trickled from their bodies, and only then would she finally move on to her next target. She was the worst kind of sadist.
When she came back to the district after the Games, she wasn't welcomed. When people saw her in the street, they deliberately turned back and walked in another direction, just so they wouldn't have to speak with her, or just be near her for that matter. But she enjoyed every bit of that fear. She used it to her advantage, and, consequently, she always received what she wanted.
And now she's standing in the doorway of our train compartment. She's my mentor, the person who's supposed to support me and make me look appealing. But the problem with Twinkle Mobelly is that she favors the tribute who is most like her, most twisted and brutal, and Flicker would undoubtedly win her support in this case. I won't have even the slightest chance.
"Well, well, well," Twinkle calmly meanders into the room, her eyes jumping between Flicker and I, assessing her new litter. Her gaze falls on my empty plate, and then she raises her eyes back to me, a smile spreading across her face. She tilts her head slightly to the right and chuckles quietly to herself. It's like I can read her thoughts—this girl isn't eating, and she isn't worth my precious efforts. She might as well jump off of the train now because she's as good as dead.
She sits at the head of the table, now turning to examine Flicker. He flexes his chest muscles and picks up his fork again, scooping up large portions of whatever-that-green-thing-is and taking in huge mouthfuls. Twinkle smiles sweetly at him and I roll my eyes and look in the other direction for fear that I will vomit if I continue to see Flicker force that green thing down his throat.
"So, Brittany…" Twinkle hisses dangerously. "You didn't seem too—what's the word I'm looking for—_enthusiastic_ about volunteering for the Hunger Games. Actually, you looked rather frightened. Mommy and Daddy making you do this, _honey_?" she utters the last word with overpowering superiority, making sure that I know who's boss.
I continue to look in the other direction and don't answer. I'm going to die anyway, so I don't really care who I please and who I don't.
Twinkle giggles delightedly. I'm doing exactly what she wants, being the rebel child, but I don't care. It may just be more entertainment for her, but at least I don't have to pretend to be joyful and excited about something that I'm not.
I sit at the table until I can't stand it anymore and I ask Neenee to be excused from the table. She doesn't look happy about it, but she allows me to leave.
I exit through the sliding glass door and walk down the hallway until I find the room that Neenee described to be mine. I push the door open and find myself standing in the corner of an adorned bedroom that has an ornate dressing area in the back corner and a little door that probably leads to the shower room. I wander into the chambers and lock the door behind me.
I decide to take a shower first, so I open the drawers to look for something to wear. I'm still in that repulsive dress from earlier today, and I long for something comfortable and a whole lot of shampoo to wash this hairspray out of my hair. I find baby blue pajamas made of satin and make my way to the shower. Once inside, I find myself utterly puzzled by the hundreds of buttons on the wall, and by the time that I find the one that turns on the water, I've had soaps of all different smells and colors squirted on my body, and some into my eyes. Leave it to the Capitol to make showers on trains so complicated.
After I dry myself off, I put on the satin pajamas, sort of relieved. Everything seems much better now that I'm out of all of that make-up and hairdo, and I climb into bed, realizing just now how tired I am. I fall asleep just as I lay my head on the pillow.
* * *
><p>When I wake up, it seems to already be midday and someone is pounding on my door. I slowly begin to hear Neenee's voice as my eyes come into focus. "Brittany! <em>Brittany<em>! Get up! We're almost there!"
I groan and throw the blanket off of me. I regret missing dinner and breakfast now as my stomach grumbles in protest. I also just now remember Neenee mentioning last night that, after dinner, we would be watching the reaping in the other districts, and I regret not staying up to see that, too. All in all, I decide, I was rather careless last night.
I hurriedly put on a navy blue shirt and some black pants, and dash out of the chambers. I can already feel the train slowly coming to a halt, and I see Flicker standing in the doorway of the train, ready to meet the hungry eyes of the Capitol. I rush to his side right when the hallway is washed with bright light, and we can see the eager citizens of the Capitol jumping up and down, craning their necks to get a better view of the train. Once the train finally stops, the door slides open, and I almost fall back from the sudden sound of screams and cheers that come from the excited crowd. Flicker walks down the stairs until he is on the platform, waving regally to the citizens. I swallow my fear and follow his lead, although not quite as confidently.
We're taken to the fanciest car that I have ever seen, pink with gold-lined doors, and once we're inside, all sounds from the crowd are shut out. As the car leaves the station, I look through the window at the citizens of the Capitol, so enthusiastic, so ignorant. Their colored wigs and ridiculous make-up reflect the bright sunlight that's shining on their faces, and their clothes, of various colors and styles, are tightly stretched over their material bodies.
Once we're out of the station, the Capitol and all of its glory is revealed before us. We pass tall marble structures, wide screens held up by thick metal poles that reflect our car as we fly through the city, flashy signs advertising stores where you can buy things like "Live Bird Hair Pins! Chirp on cue!" and "Big Yogo's Anti-Wrinkle Elixir! Too many wrinkles on your face? Worry not! Big Yogo has the solution!" Everything seems so unreal. So…_fake_. Like they've built a whole world of dreams just for themselves.
We come to a structure so wide and high that I can barely see the ends of it. The car halts and the back door is opened to let Flicker and I slide out of the back seat. We're led into the building by a group of guards in white uniforms, sort of like Peacekeepers' uniforms, but a little different.
Once inside, Flicker and I are each taken to a different room. When I'm led to my room, I find two flamboyant men and a thin woman, all very excited and dressed in the same bright colors that all other Capitol citizens are. They jump up when they see me, their lipstick-smothered lips stretching into wide, eager smiles. They pull me into the room and begin to chatter so quickly and loudly that I can't even understand what they're saying. I shut off my mind and let them do as they please, which, to my great dismay, includes plucking and waxing and washing under burning hot water.
When they're done, they leave me lying down on the stiff bed, completely naked. By this time, I've sort of backed into a numb state. Everything seems far-off and surreal, as if this isn't really happening to me. The same thought keeps passing through my mind over and over again—I'm going to die. But somehow, instead of panicking at the thought, I'm entirely calm. Maybe, even though that thought is evident in my mind, maybe I'm in denial. Or maybe I just don't care.
Suddenly, the door of the room opens, and I snap my head to the left to see a very tall woman dressed in a long turquoise dress with pink polka dots. She doesn't even look like a real person, more like some kind of deformed doll. She must've gone through so many surgeries that most of her isn't really her anymore. Her lips, far too plump for the rest of her face, look like they're about to burst, and her skin is stretched so tightly over her bones that when she smiles, I almost warn her to be careful so that she won't crack.
Her heels click into the room and she shuts the door behind her. "Hello, Brittany," she says, just above a hush. Her voice somehow doesn't seem real, either. "My name is Boola, and I am your stylist."
I blink once and continue to stare at her, feeling somewhat self-conscious about the fact that I'm lying naked and vulnerable before her. She opens the doors of a closet that's situated in the corner of the room and extracts an outfit that makes me groan quietly and close my eyes. Why do District 1's outfits always have to look so very ridiculous?
The dress is entirely made up of precious gems. There's not even a fabric under the gems, so my body will be partly visible through the small spaces between them. The gems create a swirl pattern in glowing reds, blues, and greens. Boola asks me to stand up, allows me to wear a bra and underwear the match my skin color a little too well, and then helps to slip the gem dress on my body.
I completely stop caring about how bizarre I will look when the dress is fully on me. Forget ridiculous, this dress is _heavy_. How exactly am I supposed to look graceful when I can barely hold myself up?
But that's my specialty. I remind myself that I can run for miles with a hundred pounds on my back, and muster up that strength as Boola leads me out of the room and through some hallways, until we reach a giant space that has a large metal garage door on one end. In the room are twelve chariots, each matching the main resource that the districts are good for. The chariots are situated in a horseshoe, and I'm led to the right end of it, where District 1's chariot, also covered by gems, was placed. To my great relief, Flicker was made to wear a suit made of gems as well. At least we'll look ludicrous together.
I'm still in the hazed and distant state when I stand by the chariot and look around. District 2's tributes are dressed as very fancy Peacekeepers, which I would much rather be than a sea of heavy gems. District 4's tributes are dressed as fish, which makes me giggle a little, and District 7's tributes, as always, are dressed as trees, because they produce lumber. My eyes pass over every district until they land on District 11's tributes, who immediately catch my attention. Their outfits are composed of feathers in the shades of light blue and green. My eyes settle on the girl tribute. Her abdominal area is visible, as well as her thin but fit legs, and I find myself staring at her body with my mouth hanging slightly open. I haven't seen anything this beautiful in a long time. My eyes ride up her body until they meet her face, and my cheeks flush deeply as I find that she caught me staring at her. Her eyes, dark and frightened, scan me as I look at her face, which has been painted to make her look like a breathtaking bird. I find myself wanting to, more than anything, end whatever is making her so frightened, and as our gazes lock, I smile reassuringly to let her know that maybe, just maybe, it'll all be okay.
End file.
| fanfiction |
Meet Kirsty Nathoo, Y Combinator's Secret Financial And Operational Weapon
Leena Rao @LeenaRao / 6 years
The back office is an unglamorous but crucial part of any venture firm. At Y Combinator, which has grown its seed-stage fund and incubator quickly in recent years, it also has to move at the pace of a young startup.
The person who has made that happen is Kirsty Nathoo, a UK transplant with an accounting background. She joined a few years ago and has shepherded hundreds of companies from entry through incorporation, fundraising, and now even product development.
"Y Combinator would cease to operate if Kirsty wasn't around," said Y Combinator partner Harj Taggar.
"She's the story behind Y Combinator," said one YC founder, who us maintaining anonymity because his company is in stealth mode. "If you scratch the surface and see how YC works, Kirsty is critical to startups, and most YC companies are more likely to spend time with her than anyone else."
As CFO of the incubator, she holds the keys to the kingdom – literally. Not only does she control and manage Y Combinator's internal finances, from paying bills to helping organize demo days to actually making sure Y Combinator's money is wired to startups from the proper accounts; but she helps YC startups coordinate outside financings, tax issues, incorporation and other fiscal matters. She's the financial brains behind the entire operation, which has funded and incubated 368 startups under Nathoo's watch. In short, Nathoo's job could probably be handled by a staff of five.
As Nathoo tells the story of joining Y Combinator, timing was everything.
She first heard of Y Combinator back in 2008 when her husband, Amir Nathoo, was accepted into the Winter '08 program. Amir ended up graduating and launching mobile development platform Trigger. At the time her husband entered Y Combinator, Nathoo, who studied at Cambridge, was working as an audit manager at accounting giant PricewaterhouseCoopers in England. At PwC, she helped look after company bookkeeping.
As soon as she visited San Francisco when Amir started Y Combinator, she fell in love with the city. Y Combinator also became a family of sorts, as her husband was immersed in the program. For the year following Amir's program, Nathoo split time between the UK and the U.S. working for PwC until Y Combinator founders Paul Graham and Jessica Livingston approached Nathoo to help them with operations and accounting. In early 2010, Nathoo officially joined the incubator as its in-house accountant.
The Winter 2010 class was Nathoo's first batch of startups, with the total number of companies incubated at 26 startups. That number has almost quadrupled in two years, Nathoo notes, with the Summer 2012 class graduating a whopping 85 startups (all under Nathoo's watch).
"I was shocked at the amount of trust that was being placed on me at first"
She began looking after Y Combinator's own bookkeeping efforts, organizing the money that Sequoia had invested in the organization, as well as keeping this separate from the original money that Graham, Livingston, Trevor Blackwell and Robert Morris put in the company back at its founding. It's actually a complicated task. In March 2009, Sequoia invested $2 million in funding, which was kept in one account. In 2010, Sequoia, along with other angel investors, put $8.25 million into Y Combinator. This also had to be kept separate, and Nathoo has to report into Sequoia on the amounts invested, as well as the returns (if any).
"I was shocked at the amount of trust that was being placed on me at first," Nathoo says.
She also started helping organize demo days, which are the presentations the startups make to investors and the press at the end of the program. She also began working with startups and founders, the part of her job which she truly enjoys the most, she says.
Taggar says that Y Combinator wants companies to do nothing during their program but write code and develop their ideas. "Kirsty is the person who let's that happen. Founders don't have to spend the mental energy on logistics and can focus on the things they want to focus on," he adds.
There's not a lot that Nathoo doesn't do when it comes to helping Y Combinator entrepreneurs enter the program and navigate finances, both for the company and personally. Nathoo will coordinate with admitted entrepreneurs to ensure that they get their money when they start the program, and help them understand the terms of the agreements. Y Combinator puts in $11,000 plus $3,000 per founder (up to a maximum of 3 founders) in exchange for around 7 percent of equity. Nathoo ensures this money is wired to the proper bank accounts, which is a complicated task when you are dealing with 30, 40 or even 80 startups (and more founders).
Nathoo recalls a recent situation with an overseas founder who had flown to the country to attend Y Combinator with no U.S. bank account and no way to make payments. He didn't even have access to money with which he could pay rent. So Nathoo met him at the San Francisco International Airport on his arrival with a wad of cash to take to a new landlord so the founder would have a place to sleep that night.
Another role Nathoo takes on with founders and startups is an accounting advisor. She'll ensure that every company incorporates in the state of Delaware, and if they haven't done this, she'll help with that process. Y Combinator and most investors will only invest in companies that have been in incorporated in Delaware, and many founders don't know this. Nathoo says that of the current class of 47 startups at Y Combinator, only one company's incorporation documents were problem-free when joining the program. She also helps them open bank accounts and keep track of receipts and finances to be mindful of tax consequences. Most of the founders have never raised funding so don't understand what a convertible note is or how a cap table works.
Jospeh Walla, CEO and founder of YC 2011 graduate and electronic signature startup HelloSign, recalls Nathoo's help on 83(b) election forms. Whenever you issue stock, it's important to report this via a 83(b) form to the IRS. Many startup founders don't know this, however; and Nathoo helped Walla and a number of his classmates with this process.
"It's interesting that she keeps a low profile, because she's a significant part of Y Combinator. She has a lot of pattern recognition when it comes to financing and accounting. I can't think of anyone in the Valley that has that level of experience," he says. "She makes sure we become a real company rather than a group of people with different ideas."
"She makes sure we become a real company rather than a group of people with different ideas"
As Nathoo became more entrenched in the day-to-day operations of Y Combinator, it made more sense for her to take on responsibilities like handling and helping with financings. Last year, she was promoted to CFO. Nathoo says that she has developed a systematic way to organize incorporation documents and financing term sheets from Y Combinator.
Because she's helped form hundreds of these funding documents from both Y Combinator and outside investors, Nathoo also has a pattern recognition into what terms specific investors will back down on, or negotiate. While she didn't name names, she said that she's started to see patterns of what certain investors want or don't want and will advise startups accordingly.
Additionally, Nathoo was also helping with the financial logistics of the Start Fund, which gave each Y Combinator company $150,000 in investment from Yuri Milner, Andreessen Horowitz and General Catalyst. Y Combinator recently replaced this with YC VC, which includes Milner, Andreessen Horowitz, General Catalyst and Maverick Capital. Instead of $150,000, YC VC puts $80,000 into each startup.
Needless to say, with all these different sources of money coming into Y Combinator startups, Nathoo is a master at Excel spreadsheets.
Beyond managing financials, Nathoo has taken on the role of operations manager as well as mediator/den mother to Y Combinator startups. She invites VCs and angel investors to demo day, and ensures each investor is vetted. With the rate of successful startups coming out of Y Combinator, investors are clamoring to attend demo days, and Nathoo ensures that each investor attending is vetted, and are the right fit for startups. That means some potential investors could be left out. There have been situations, says Nathoo, where some investors try to bring their friends to demo day that have not been vetted, and she has had to ask people to leave. There have been a few investor tantrums, she adds.
Some of Nathoo's financial advice also gets personal. Many founders will come to her with personal tax and finance questions. And startups who have graduated Y Combinator continue to email Nathoo with tax inquiries and issues. Unfortunately, Nathoo also serves as mediator when things don't go well between founders at Y Combinator, which does happen in each class. "I try not to take sides, but I am there to pick up the pieces," she says. "I also advise them to establish rules and contracts at the beginning of their time at Y Combinator that establishes equity breakdowns and splits if one founder leaves."
Another characteristic that makes Kirsty so unique is her efficiency in what are normally very complicated matters. For example, she helped architect a way for funds to be automatically transferred into bank accounts of founders as soon as the original Y Combinator funding documents are filed. Previously, this was a manual process, and Nathoo would be making 60 or more wire transfers herself for each class. Now this task has been automated.
Nathoo tells us that the last of the Sequoia money was used in the Summer 2012 class. Now Y Combinator is completely self funded through the money the incubator has made through its investments in startups (i.e. exits). Will Y Combinator continue to operate without any funding? Nathoo says she's not sure how far it will go, but the organization is in a good place, financially.
Y Combinator has also recently bought a new building in Mountain View where the incubator will move into, as it has outgrown its current Mountain View headquarters. Nathoo will be managing the financials and operations around this as well.
Looking forward, she's also working with founders on product strategy, which she says is her next big challenge. She's also been part of the interview process for startups applying to be in the program.
"Y Combinator's biggest challenge right now is scaling and figuring out how to do that," she explains. We're trying to figure out how to help more and more companies be successful, and there are many threads to that answer. Part of this is systematizing things that can be systemized, like finance."
For Nathoo, Y Combinator is more than just a job, it is a family. "This is my dream job. I tell so many people I have the best job in the world." | slim_pajama |
the nucleus of m87 ( ngc 4486 ) contains a black hole of mass @xmath8 directly determined from _ hst _ observations ( ford et al .
1995 ; harms et al . 1995 ; macchetto et al .
it is a nearby active nucleus with a one sided jet and large - scale radio structure .
however , the activity displayed by its nucleus is far less than what is predicted if the central black hole were accreting mass from its hot interstellar medium ( with a standard radiative efficiency of @xmath9 per cent ; see e.g. fabian & rees 1995 ; reynolds et al .
1996 ; di matteo et al . 2000 ) .
m87 is probably the most illustrative case of a low - luminosity system otherwise common in nearby galaxies known to contain supermassive black holes ( e.g , magorrian et al .
1998 ; ferrarese & merritt 2000 ) .
there are two possible explanations for the low luminosities of nearby black holes : ( a ) the accretion occurs at extremely low rates or ( b ) the accretion occurs at low radiative efficiencies as predicted , for example , by advection dominated accretion flow models ( adafs ; e.g. rees et al .
1982 ; narayan & yi 1994,1995 ; abramowicz et al . 1995 but see also inflow - outflow models ; e.g. blandford & begelmann 1999 ; stone et al .
1999 ; or cdafs ; e.g. quataert & gruzinov 2002 ) . in order to discriminate between these two possibilities
, it is necessary to determine both the accretion rates and the nuclear luminosities precisely .
direct measurement of the latter and evaluation of the former has not been possible with previous x - ray satellites . here , we show that , for the nucleus of m87 , both can now be achieved with _
the massive black holes at the center of elliptical galaxies are likely to accrete primarily from the surrounding hot , quasi - spherical ism .
accretion rates can therefore be simply estimated using bondi accretion theory .
this requires accurate measurements of both the density and temperature of the hot , x - ray emitting ism at the bondi accretion radius , the radius at which the gravitational potential of the central black hole begins to dominate the dynamics of the hot gas and the gas starts to fall into the black hole . thanks to its high spatial resolution and sensitivity , the _ chandra x - ray observatory _ is able to provide some of the most stringent constraints on the properties of low - luminosity black holes . in particular , at the distance of m87 ( 18 mpc ) , the spatial resolution of _ chandra _ corresponds to a radius of less than a hundred parsec or , equivalently , a few @xmath10 schwarzschild radii . for m87 , this allows us to measure , for the first time , fundamental properties of the ism _ at the accretion radius _ of the black hole , and thereby estimate the mass supply into the accretion flow .
details of the chandra observations and observing strategy are presented by wilson & yang ( 2002 ) . in brief , m87 was observed twice with _
chandra _ , on 2000 july 29 and 2000 july 30 .
both observations were carried out using the advanced ccd imaging spectrometer ( acis ) and back - illuminated s3 detector .
the first observation was made in a full - frame mode with a 3.2 frame time .
the net exposure time , after removing periods associated with small background flares , was 33.7ks .
these data have been used to study the properties of the diffuse x - ray gas in m87 .
the second , shorter observation was made in a reduced 1/8 sub - array mode with a frame time of 0.4s .
the use of this mode avoids problems associated with pile - up in the data for the brightest knots of the jet and the central agn ( wilson & yang 2002 ) .
the exposure time for the second observation was 12.8ks . high resolution _
chandra _ images and detailed analyses of the jet and cluster properties are presented by wilson & yang ( 2002 ) and young , wilson & mundell ( 2002 ) , respectively .
spectra were extracted from five circular annuli centered on the nucleus ( figure 1 ) .
the data for the innermost region , which has a radius of 4 detector pixels ( approximately 2 arcsec or 0.2 kpc at the distance of the source ) , were extracted from the shorter 12.8 ks data set . the emission from this region is dominated by the central agn .
the data for the four outer annuli ( covering radii of 0.2 - 1 , 1 - 4 , 4 - 8 and 8 - 12 kpc , respectively ) were extracted from the longer , full - frame observation .
the spectra were grouped to contain a minimum of 20 counts per pulse invariant channel , allowing @xmath11 statistics to be used .
background spectra were extracted from the blank - field data sets provided by the chandra x - ray center .
separate photon - weighted response matrices and effective area files were constructed for each region using the appropriate acis - s calibration and response files .
we have used the acisabs model in xspec to account for the time varying molecular contamination of the acis optical blocking filters .
the spectra have been analyzed using the xspec code ( version 11.2.01 ; arnaud 1996 ) and following the deprojection method described by allen et al .
we assume that the diffuse x - ray gas in each of the spherical shells , defined by the annuli mentioned above , is isothermal and can be described by a vmekal model ( kaastra & mewe 1993 ; incorporating the fe l calculations of liedhal , osterheld & goldstein 1995 ) with the abundances of o , mg , si , s and fe included as independent free fit parameters .
the fit to the outermost annulus is used to determine the temperature , emission measure and abundances of the ism in the outermost spherical shell . the contribution from that shell to each inner annulus
is then determined by purely geometric factors .
the fit to the second annulus is used to determine the parameters for the second spherical shell , and so forth , working inwards . for the central 2 arcsec region
, we have included an additional power - law component to model the emission from the agn ( see section 3 ) .
we assume that the intrinsic spectrum of the ism in this region is the same as in the next annulus out . the emission from all annuli
is assumed to be absorbed by a column density , @xmath12 , of cold gas , which is a single , additional free parameter in the fits .
the emission from the brightest knots of the jet and all other point sources were masked out and excluded from the analysis .
the deprojected temperature profile of the x - ray gas , determined from a simultaneous fit to the five annular regions , is shown by the solid points in figure 2 .
the deprojected temperature decreases from @xmath13 kev at @xmath14 kpc to @xmath15 kev within the central kpc ( @xmath16 errors ) .
the total @xmath11 for the deprojected fit of 3171 for 1271 degrees of freedom indicates that the simple , spherically - symmetric model provides an incomplete description of the chandra data , which is unsurprising given the structural complexities evident in fig . 1
( see also wilson & yang 2002 and young et al .
nevertheless , the temperature measurements should provide a reasonable description of the mean , emission - weighted properties in each spherical shell ( although the uncertainties may be underestimated by a factor @xmath17 ) .
we note that the temperature measurement for the @xmath18 kpc annulus is not affected significantly by flux from the central agn , scattered outwards in the wings of the point spread function . in order to test this
we carried out simulations in xspec , using our deprojected model , in which we added a power - law component to the model for the first annulus out ( 0.2 - 1kpc ) , with a strength calculated according to the observed nuclear flux and psf models in the chandra handbook .
we find that the flux in the wings of the psf has no significant effect on the best - fit parameters for the 0.2 - 1kpc annulus .
to be conservative , we then doubled the strength in the wings and still found no significant change in the best - fit parameters , indicating that our results are robust against this effect .
figure 2 also shows the importance of deprojecting the x - ray data when determining the central gas temperature ( and hence the density profile ) . without deprojection
, we would infer a spuriously high temperature of @xmath19 kev for the @xmath20 kpc region , which would impinge on the calculations of the accretion rate in section 2.2 .
note that deprojecting also improves the total @xmath11 for the fit by 410 compared with a direct analysis of the projected spectra , without including additional free parameters in the fit . the electron density profile for the x - ray gas , shown in figure 2 , was derived by deprojecting the surface brightness profile , given the deprojected temperature profile . at radii larger than a few kpc
the density profile follows @xmath21 . within the central @xmath17 kpc ,
the density profile flattens : fitting a constant value to the central two annuli we obtain @xmath22 @xmath23 ( or @xmath24 @xmath23 for the innermost annulus ) .
we can estimate the accretion rate from the ism onto the central black hole using bondi accretion theory ; the nuclear accretion rate will thus be determined by the density and temperature of the hot gas at the point where the influence of the black hole becomes dominant . in the standard adiabatic problem ( see appendix a with @xmath26 for the exact bondi results ) , the bondi ( accretion ) solution implies the sphere of influence of the black hole extends out to the gravitational capture radius ( see also e.g. ; di matteo et al . 1999 ; quataert & narayan 2000 ; nulsen & fabian 2000 ) : @xmath27 here @xmath28 is the mass of the black hole ( @xmath29 ) , @xmath30 is the temperature in ( cf .
figure 2 ) , @xmath31 is the speed of light , @xmath32 cm s@xmath2 is the sound speed ( where @xmath33 is the ism gas temperature ) and @xmath34 is the schwarzschild radius of the black hole .
the parameter @xmath35 depends on the detailed physics close to the accretion radius ( including @xmath36 ) .
we initially take @xmath37 , for which our definition of @xmath38 corresponds to @xmath39 , the sonic radius of the black hole , and discuss this further in 5.1 and in the appendix .
note that , depending on the definition one chooses , @xmath38 lies approximately at @xmath40 .
@xmath41 is resolved by _
equation 1 shows that the accretion radius of m87 ( for an assumed distance of 18 mpc ) corresponds to an angular scale of 2 arcsec .
thus , using _
chandra _ , we are able to measure the properties of the gas at approximately the black hole accretion radius for m87 .
we note that the ionized disk of gas seen by hst ( harms et al .
1994 ) has been measured from 0.25 arcsec to about 2 arcsec from the nucleus , close to the bondi radius of m87 .
hst , thus may have imaged the accretion flow in the optical i - band .
the accretion rate is related to the density and temperature at the accretion radius by the continuity equation : @xmath42 where @xmath43 and @xmath44 are the density and sound speed at the sonic radius . with the density and temperature measured directly at the accretion radius ( section 2.1 )
, the bondi accretion rate to m87 is given by @xmath45 where @xmath46 @xmath23 .
( 3 ) provides the accretion rate at the outer edge of the accretion flow . as discussed in section 5
, the mass accretion rate onto the black hole may be smaller if e.g. it decreases with radius because of an outflow ( cf .
blandford & begelman 1999 ) . the bondi accretion rate ( eq .
3 ) implies a luminosity @xmath47 if @xmath48 , as in a standard , radiatively efficient thin disk .
the properties of the central agn have been determined using the data for the central 2 arcsec ( 4 pixels ) radius region after accounting for the emission from diffuse x - ray gas viewed in projection against the nucleus ( see 2.1 ) .
we find that the central point source can be described by a power law model with a photon index @xmath49 and a flux density at 1 kev of @xmath50 erg @xmath51 s@xmath2 kev@xmath2 ( 1@xmath52 errors ) .
we find no evidence for excess absorption associated with the central agn ( @xmath53 at 3@xmath52 confidence ) , over and above the mean value measured across the central 12 kpc radius region .
we note that the mean absorbing column density measured across the central 12 kpc of @xmath54 is slightly lower than the nominal galactic value of @xmath55 determined from the hi studies of dickey & lockman ( 1990 )
. this deficit may reflect residual systematic uncertainties in the effective area of the instrument at low energies .
our results on the central agn are in averall agreement with those of wilson & yang ( 2002 ; although these authors find a higher absorbing column density for the nucleus than the jet knots ) .
our measured photon index is slightly lower than the value of marshall et al .
( note that our analysis differs from that of wilson & yang in that we account for the emission from diffuse x - ray gas viewed in projection against the nucleus . )
the observed nuclear luminosity is more than four orders of magnitude smaller than the predicted bondi luminosity , implying ( unless the bondi estimate is inappropriate ) that the radiative efficiency @xmath56 . in the next section
, we examine the predictions of hot accretion flow models with low radiative efficiencies .
a hot accretion flow around a supermassive black hole will radiate in the radio to x ray bands . in the radio band , the emission results from synchrotron radiation . at higher energies , and up to the x - ray band
, the emission is produced by bremsstrahlung processes and inverse compton scattering of the soft synchrotron photons ( e.g. narayan , barret & mcclintock 1998 ) . in this section ,
radii in the flow are written in schwarzschild units : @xmath57 .
we write black hole masses in solar units and accretion rates in eddington units : @xmath58 and @xmath59 .
we take @xmath60 yr@xmath2 , i.e. , with a canonical 10% efficiency .
we take @xmath61 to be the outer radius of the flow .
the bondi accretion rate for m87 in these units is @xmath62 .
the predicted spectrum from an adaf depends ( weakly ) on the ratio of the gas to magnetic pressure @xmath63 , the viscosity parameter @xmath64 , and the fraction of the turbulent energy in the plasma which heats the electrons , @xmath65 . here , we fix @xmath66 , @xmath67 , and take @xmath68 or @xmath69 . the two major parameters , though , are the accretion rate @xmath25 and the black hole mass @xmath70 , both of which are constrained . with @xmath70
given for m87 , we normalize the models to the observed _ chandra _ flux .
this gives us the @xmath71 required by the models to explain the x - ray emission .
a model is ruled out if it requires @xmath72 to account for the observed luminosity or , equivalently , if we take @xmath73 and the models predict a higher luminosity than is observed .
the solid dots in figure 3 are the high resolution vlbi , hst , gemini , keck ( at 10@xmath74 ) and chandra high resolution measurements of the nuclear flux in the radio , optical , mid - infrared and x - ray bands , respectively .
the open dots show the lower resolution vla radio measurements which are likely to include a more significant contribution from the jet .
the solid line shows the predicted spectrum for a pure inflow adaf model adjusted to roughly match the 1 kev _
chandra _ flux . in this model @xmath75 ,
( with @xmath76 ) which is consistent with the bondi estimate ( i.e. within the model uncertainties , which should be taken to be @xmath77% ) . a model with @xmath78 and a corresponding @xmath79 is shown by the dotted line .
the required accretion rates are always large enough for comptonization of the synchrotron emission to dominate the x - ray emission in these models ( where the scattering optical depth in an adaf is @xmath80 ; see e.g. , narayan et al .
the exact positions of the comptonization bumps in the optical and x - ray bands are a function of temperature and , therefore , @xmath65 .
models with higher values of electron heating , which are also preferred from a theoretical point of view , agree better with the measured 210 kev spectral slope of @xmath81 .
note that , as shown in figure 3 , the agreement with the observed spectrum is obtained only if the compton bumps are pronounced , i.e. the agreement depends upon the details of the model . marshall et al .
( 2002 ) and wilson & yang ( 2002 ) have shown that the spectrum of the innermost jet knots observed by _
are consistent with that of the nucleus , possibly implying a similar origin .
it is indeed plausible that a large fraction of the observed nuclear x - ray flux might be due to emission from the base of the jet .
the point of figure 3 is to show that adaf models are consistent with the requirement of a low - radiative efficiency .
in fact , figure 3 shows that it is possible for the accretion flow to account for a large fraction of the observed nuclear emission , thereby offering an alternative explanation .
_ chandra _ observations of the nucleus of m87 have resolved the properties of the ism all the way into the bondi radius of the central black hole .
this makes m87 the only extragalactic black hole system in which both the gas temperature and density are measured into approximately the accretion region , and for which a bondi accretion rate can be directly calculated ( see narayan 2002 or quataert 2002 for similar study of sgr a@xmath82 ) .
m87 also possesses a relatively bright nuclear source , the flux of which can be accurately measured in the x - ray band with _
chandra _ , and throughout the whole of the spectral energy distribution with other observations .
at present , m87 is the best constrained low - luminosity extragalactic black hole system .
with both @xmath83 and @xmath25 measured , we were able to show unambiguously that the black hole in m87 is highly underluminous with respect to its bondi mass supply : the expected power output exceeds , by about 4 orders of magnitude , the observed value . if the black hole in m87 is indeed accreting close to its bondi rate ( cf . ,
5.1 ) , the accretion efficiency , @xmath84 , must be low .
we have shown that the required values of @xmath84 are consistent with predictions from adaf models .
we note that our general result is independent of whether the observed nuclear luminosity is attributed to an adaf or entirely dominated by jet emission ( see e.g. wilson & yang 2002 ; marshall et al .
the constraints derived here show that it is possible for a significant fraction of the observed nuclear emission to be contributed by the accretion flow .
more importantly , perhaps , the requirement for low - radiative efficiency of the accreting gas can only be invalidated if the actual mass accreted by the black hole were to be a very small fraction of the mass supplied in the outer region of the flow ( i.e. of @xmath85 ) .
this could be the case if strong outflows or perhaps convection are important in the accretion flow , as has been discussed by e.g. blandford & begelman ( 1999 ) , stone et al .
( 1999 ) and quataert & gruzinov ( 2000 ) , narayan et al .
( 2000 ) , respectively ( but see balbus & hawley s [ 2002 ] discussion on convection ) . in such models ,
the accretion flow would produce a much lower luminosity than a pure inflow adaf and make a negligible contribution to the observed luminosity ( which , in the case of m87 , can be easily explained by the jet emission . in the cdaf case
, the energy would probably need to be tapped from the black hole s spin in order to explain the high jet power ) .
the bondi rate could also be decreased if the jet heats the ism .
we discuss this further in 5.1 . in a previous study using radio observations , di matteo et al .
( 1999 ; 2000 ) favored outflow models for the nuclei of ellipticals . with _
chandra _ , the properties of the central regions of the ism gas have been determined more accurately for a number of elliptical galaxies ( e.g. , loewenstein et al .
in particular , the new observations have shown that the ism density profiles tend to flatten off significantly in the central regions of ellipticals ( as is the case in m87 - figure 2 ) , implying bondi accretion rates smaller than was previously estimated . in most cases , _ chandra _ does not detect nuclear point sources ( loewenstein et al .
given that their black hole masses are more uncertain , the constraints for these other low luminosity systems remain inconclusive .
the only two _ chandra _ detections of x - ray nuclear sources in low luminosity elliptical nuclei are in m87 and ngc 6166 ( di matteo et al .
2001 ) . for both of these nuclei ,
pure inflow adaf models are consistent with the observational constraints and can explain large fractions of the observed nuclear fluxes .
_ chandra _ observations of sgr a@xmath86 have also measured the x - ray flux of the nuclear point source ( baganoff et al .
2001 ) and allowed us to estimate accretion rates onto the central black hole ( e.g. narayan 2002 ; quataert 2002 ) .
sgr a@xmath86 , like the elliptical nuclei , also requires low radiative efficiency for the accreting gas and is consistent with adaf models .
further constraints on adaf and inflow / outflow models in the case of ellipticals will require knowledge of the contributions , over all wavelengths , of emission from the bases of the jets .
our fundamental conclusions rely on the assumption that the black hole in m87 is accreting mass at the bondi rate .
the predicted nuclear power of m87 , for accretion at the bondi rate , and @xmath88 is @xmath89 5 @xmath90 @xmath91 ( see eq . 4 ) .
this estimate roughly matches some estimates of the kinetic power in the jet which is calculated to be @xmath92 ( e.g. ; bicknell & begelman 1999 ; owen et al .
2000 ; whereas reynolds et al .
1996 obtain @xmath93 ) .
a rough estimate of the jet power required to evacuate , at the sound speed , the inner cavities in the icm associated with the inner radio lobes ( @xmath94 ) in m87 implies @xmath95 ( young et al . 2002 ) .
this value is smaller than the estimates of bicknell & begelman ( 1999 ) and owen et al .
( 2000 ) but only considers the cavities observed in the inner region of m87 .
further , @xmath96 would be higher if the cavities are evacuated supersonically .
we find , therefore , that the bondi luminosity estimate roughly matches the overall energetics of the black hole in m87 ( if this is indeed @xmath97 )
. this may provide support for the relevance of bondi theory as a means of estimating the mass supply and the nuclear power of black holes in ellipticals .
we note that the jet in m87 is also a low - efficiency radiator with a total bolometric luminosity of the order of @xmath98 ( owen et al . 2000 ) .
thus , based on these estimates of the power of the nucleus , the energy input if all the @xmath99 reaches the black hole , at present dominates radiative losses from both the jet and accretion flow .
we discuss two alternative possibilities to the low - radiative efficiency scenario : ( a ) as mentioned above , blandford & begelman ( see also e.g. stone et al .
1999 ) have suggested that low luminosity accretion flows may develop strong outflows such that most of the mass and energy is removed from the accretion flows . in this case
one may speculate that the accretion energy is emerging in the jet ( it has been shown that the inner kiloparsec of m87 is highly magnetized and turbulent , e.g. owen , eilek & keel 1990 ; zhou 1998 .
outflows may become collimated and radiate more efficiently when interacting with this medium ) . on the same note , livio , ogilvie & pringle ( 1999 )
have argued that the energy extraction from black holes via mhd processes such as the blandford - znajek mechanism ( blandford & znajek 1977 ) may in - fact be most efficient for advection dominated flows ( see also meier 2001 ) .
\(b ) the central engine of m87 undergoes on - off activity cycles ( e.g. , binney 1999 ; owen et al .
the black hole in m87 may have been active for 100 - 200 myr ( as derived from estimates of the current age of its radio halos ; owen et al .
as long as the black hole is fed ( e.g. at the estimated bondi rate ) it will have a strong effect on the ism gas in the core ( the bolometric x - ray luminosity of which is @xmath100 in the inner 20 kpc or so ; e.g. nulsen & bhringer 1995 ) .
the jet will disturb ( or heat ) the core regions , support bulk flows and turbulence .
these extra pressure forces may , in turn , offset radiative cooling , support the gas against gravitational infall and suppress accretion onto the black hole ( hence the jet activity itself ) .
once the central engine turns off , no energy is deposited in the core so that accretion at the standard bondi rate and then jet activity resume . the significant flattening of the x - ray gas density profile within the central @xmath101 ( fig .
2 ) may be a strong indication that indeed energy is being deposited in the central region of m87 ( see also loewestein et al .
2001 for other virgo ellipticals ) .
a flat density profile can only arise if there is lots of mass dropout ( see e.g. ; quatert & narayan 2000 ) or maybe if gas is not flowing inward at all . given that mass dropout is not seen in x - ray data at larger radii ( behringer et al .
2002 ; molendi & pizzolati 2001 ) it is possible that something has affected the accretion radius and stifled accretion .
it is interesting to note that the mild peak in the figure 2 density profile coincides with the ring at about 10 arcsec from the nucleus ( figure 1 ) which is also where the h-@xmath64 emission peaks .
this possibly indicates that there could be stifled inflow within this radius and a cooling flow outside it .
it is also notable that the few @xmath102 radius corresponds approximately to the size of the inner radio lobes of m87 ( owen et al .
there is also strong evidence of ` cavities ' in the x - ray emitting gas of m87 , the inner ones of which coincide with the inner radio lobes ( young et al .
2002 ; see also fig . 1 ) and a number of other clusters containing radio galaxies ( mcnamara et al . 2000 ;
fabian et al . 2000 ; heinz et al . 2002 ) ; some of these cavities are associated with observed radio lobes and others are hypothesized to be relics of old radio activity .
it has been shown that bondi accretion can be significantly suppressed in a non - adiabatic gas ( e.g. ostriker et al . 1976 ) . following along these lines ,
we show that , at present , the energy dumped into the ism by the jet in m87 may be sufficient to decrease the accretion rate with respect to the bondi value by a factor @xmath103 .
we do not attempt to build a detailed model but just qualitatively discuss the implications of non - adiabatic bondi accretion for m87 .
we consider a jet of power @xmath104 and velocity @xmath105 advancing into the ism with density @xmath106
. the jet forces its way outwards at a speed @xmath107 which is obtained by balancing the outward momentum flux of the jet with the pressure of the ism .
as long as @xmath107 is larger than the sound speed @xmath108 in the ism , the thermal pressure will be dominated by the contribution @xmath109 from ram pressure .
hence @xmath110 .
when @xmath107 no longer exceeds @xmath108 , the jet will slow down and dump energy in the surrounding medium .
the inner radio lobes ( in the inner few kpc ) in m87 may be associated with such a region .
recent _ chandra _ observations of m87 ( young et al .
2002 ) and other radio galaxies in clusters show no evidence that such interactions lead to sharp bow - shock regions . more often , it seems that jets are responsible for inflating bubbles in the surrounding ism which then expand buoyantly ( i.e. roughly at the sound speed ; e.g. churazov et al . 2001 ; reynolds , heinz & begelman 2002 ) and give rise to radio lobes and corresponding x - ray structures .
we take @xmath111 to be the cross sectional area of the bubble inflated by the jet around the centre ( which , for simplicity , we take to be spherical see e.g. churazov et al . 2001 ; reynolds et al .
2002 ) taking the mass , momentum and adding the energy conservation equation to the standard bondi problem one can solve for the accretion radius ( see details in appendix a ) with the addition of an energy ( heat ) source . in this case
the accretion radius is reduced to : @xmath112 where the heating is in units of @xmath113 and the first term in equation 5 is the standard bondi radius as in equation 1 . according to the considerations above we write the energy deposited by the jet as : @xmath114 ( where m is the total gas mass ) with @xmath115 so that @xmath116 . in this problem
we take heating ( i.e. , the energy deposition ) to be occurring around the accretion radius of the black hole ( see appendix for details ) .
the inner radio lobes and x - ray cavities both on kpc scale may be indications that this is not too bad an approximation ( although these are at radii which are more than an order of magnitude larger than the accretion radius ) .
the resulting accretion radius will rescale from the classical bondi value roughly as , @xmath117 where we have assumed that @xmath118 , the velocity of the bubble inflated by the jet in the ism .
equation 6 clearly shows that the if bulk motions ( as well as heat ) at speeds @xmath119 are created by the jet , then the accretion rate is affected .
the flow velocity of the m87 jet on scales of a few hundred parsec is highly relativistic ( biretta , zhou & owen 1995 ) .
thus , according to the above scaling the accretion radius of m87 is likely to be reduced by a factor @xmath120 .
this would imply a decrease in mass accretion rate by @xmath121 .
this is more than enough to relax the requirement for low - radiative efficiency of the accreting gas .
this may also provide support for the idea that the engine of m87 may undergo cycles of activity and at present the black hole is accreting at rates much lower than the bondi rate .
however , the transit time from the nucleus to the knot a in the jet ( at a distance of @xmath122 kpc ) is only about @xmath123 yrs .
this implies that for the accretion rate to be low now , the last active phase must have been a `` burst - like '' event of strong accretion on a relatively short timescale .
we thank eliot quataert for comments on the manuscript .
t.d.m . acknowledges support for this work , while at cfa , provided by nasa through chandra postdoctoral fellowship grant number pf8 - 10005 awarded by the chandra science center , which is operated by the smithsonian astrophysical observatory for nasa under contract nas8 - 39073 and for grant nag-10105 .
acf and swa aknowledge the royal society .
this work was also supported by nasa through grants nag 81755 and nag 81027 to the university of maryland .
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in order to to show the effects of a jet of power @xmath96 dumping its energy in the ism gas , we write the mass , momentum and energy conservation equations for the accretion radius under the conditions of spherically symmetric , steady ( @xmath124 ) accretion .
we consider the most of the heating to be occurring within or just outside the accretion radius . and @xmath127 = -\frac{gm}{r^2}v + h\ ] ] where the quantities @xmath128 , @xmath106 , @xmath129 , @xmath130 and @xmath36 represent the mass accretion , the mass density , the radial velocity , the pressure , the gas adiabatic index , respectively .
@xmath131 is the heating rate . using ( a1 ) and taking @xmath132 we rewrite eqs .
( a2 ) and ( a3 ) as @xmath133 for the flow to satisfy the appropriate boundary conditions , @xmath134 as @xmath135 and @xmath136 as @xmath137 , the two equations above must have a sonic point at @xmath138 where @xmath139 .
the only solutions that are continuous imply that the rhs of both equations is 0 .
both equation have the same sonic radius , and solving for that gives , @xmath140 where the heating and cooling rates are in units of @xmath113 . the factor @xmath141 applies to the @xmath142 case but
can be substituted ( and thus generalized ) by the term @xmath143 . | arxiv |
Is there an electric field in a poled piezoelectric crystal at rest?
From my understanding, after a piezoelectric crystal is poled, all the dipoles are roughly aligned inside it, so that the piezoelectric effect is not negligible. However, wouldn't that result in a higher density of charges at the surface of the crystal without any strain applied, so there would be a permanent voltage between the surfaces of the crystal? I believe if I touch a piezoelectric crystal at rest I don't get an electric shock, so it feels like there isn't any electric field inside. How can that be possible if all the dipoles are aligned?
>
> From my understanding, after a piezoelectric crystal is poled, all the dipoles are roughly aligned inside it, so that the piezoelectric effect is not negligible. However, wouldn't that result in a higher density of charges at the surface of the crystal without any strain applied, so there would be a permanent voltage between the surfaces of the crystal?
>
>
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As I recall reading somewhere, what you say would be true except that in typical real world environments the charged surfaces of a relaxed piezoelectric crystal will become neutralized over time because they will attract oppositely charged dust and other particles.
| stackexchange/physics |
Do rainbows show spectral lines from the sun?
I'm aware of a similar question being asked in [Do rainbow shows spectral lines?](https://physics.stackexchange.com/questions/182728/do-rainbow-shows-spectral-lines):
The response to this question is that the body producing the light is not the water droplet that merely diffracts it but rather the Sun, which acts as a black body and thus produces a complete spectrum.
However, it is not entirely true that the sun is a black body: like all stars, it has an spectral class with absorption lines.
I am wondering why these lines are not observable in the rainbow or when decompossing sunlight with a prism in otherwise uncontrolled conditions. Are they simply too narrow to be seen without optical instruments? Is it a product of the light source not being coherent? How is this consistent with the possibility of obtaining spectra from distant stars in which the spectral lines are visible?
First you must understand [how a (primary) rainbow is formed](http://www.ams.org/publicoutreach/feature-column/fcarc-rainbows). Here is a summary with some details that are not in the linked article:
Whenever a beam of light encounters an air-water boundary, it is either reflected or refracted. To form a primary rainbow, we must first have enough small water droplets in the air, as these are close to spherical. Parallel light beams that reach such a water droplet must be refracted once as they enter, reflected off the inner surface of the droplet once, and refracted once more as they exit:
(image from the linked article)
There are 3 important points to note here:
1. Water droplets in the air are never perfectly spherical. That is one source of fuzziness.
2. Parallel beams entering the same water droplet can exit at different angles! This is the major reason why rainbows can never give sharp spectra even if you have perfectly spherical water droplets (say in outer space). Why then do we still see the rainbow? There are three reasons, which together result in the rainbow being seen roughly at 42°:
* Different incident light beams will have different amount reflected/refracted. In particular, the bottommost incident beam (in the diagram) will mostly pass through without being reflected at the back of the droplet, and the topmost incident beam will mostly be reflected rather than enter the droplet.
* The light beams emerging from the droplet after the above process are 'denser' along the so-called caustic ray, because the emergent angle does not vary monotonically with the distance of the incident beam from the central axis, and it reaches a maximum for the caustic ray, around which the emergent angle varies less.
* The incident light beams further from the central axis undergo greater refraction, hence resulting in greater separation of different wavelengths. In contrast, the rainbow rays from incident beams close to the central axis largely overlap one another and wash out. (See [this webpage](http://www.evsc.net/research/refraction-reflection-refraction) for an image illustrating this.)
3. Light beams may encounter more than one droplet! This is another major reason why we cannot expect a sharp spectrum from a (natural) rainbow.
4. Even if we assume that the water droplet is a point, the light beams from the sun will not be perfectly parallel. In fact, the sun subtends an angle of about 0.5° to an observer on Earth, so this leads to roughly that same amount of spreading of the rainbow as compared to one generated by a point light source. Still, this is a much less significant effect than point 2.
(*jkien*'s answer is incorrect but inexplicably has lots of upvotes.)
Unfortunately, rainbows produced by the Sun are blurred because the Sun is not a point source. The apparent diameter of the Sun is 0.5°, while the width of the rainbow spectrum is about 2°.
However, be patient and wait until the next bright supernova appears at the night sky. It should produce brighter rainbows than the Sun, with purer, saturated colors, and perhaps with the Fraunhofer lines of the supernova visible to the naked eye.
As you point out, a sufficiently sophisticated spectrum device will allow measurement of spectral lines in the spectrum of the Sun.
For instance (history of chemistry), the existence of the element Helium was first noticed by the fact that a spectrum of the Sun includes lines not accounted for by the spectra of the elements known at the time.
Rainbows:
While there is sufficient separation of colors to created noticable color effect, in actual fact there is a lot of overlap. The amount of overlap is such that any details get averaged out.
Prism:
A well manufactured prism will not have the kind of overlapping that you have with a rainbow, so I do expect good separation of the individual colors of the light.
I don't know what level of spectroscopy is possible with prisms.
I'm not sure, but it may well be that with a prism there is not enough [dispersion](https://en.wikipedia.org/wiki/Dispersion_(optics)) of the light to obtain sufficient detail.
To my knowledge: as soon as the technology became available spectrosopy moved to [diffraction gratings](http://hyperphysics.phy-astr.gsu.edu/hbase/phyopt/grating.html). The closer the spacing of the lines of the diffraction grating the bigger the separation of the spectral lines.
| stackexchange/physics |
dwarf galaxies , being some of the earliest collapsed structures in @xmath13cdm and hence representing potential building blocks of larger galaxies , have come to the forefront of studies of galactic evolution in recent years .
the more than doubling of known local group dwarfs since the release of sdss @xcite has provided many more dwarfs in varying environmental situations to study . despite most dwarfs being gas deficient within @xmath0 kpc of the galaxy
@xcite they all show signs of ancient star formation potentially explaining this depletion of gas @xcite . however , in addition to these ancient stellar populations many of these dwarfs around the galaxy and within the local group show signs of distinct populations of younger stars arising from multiple starbursts separated by gigayears @xcite .
for example , fornax dwarf galaxy contains stars younger than @xmath14 gyr @xcite .
paradoxically , there is little , if any , trace of molecular or atomic hydrogen to provide a sufficient reservoir of cool gas to enable the onset of star burst activities ( fornax shows only an off center cloud which may be galactic gas , carina with similar bursts shows no gas ; * ? ? ?
these bursts of star formation are together responsible for , on average , @xmath15 of the star formation within a dwarf @xcite and may last for a period of time of order the dynamical time of the system @xcite .
the length and timing of these bursts have a large variation between dwarfs with some only experiencing one early burst of star formation , to carina - like dwarfs with several distinct periods of star formation @xcite , to those that have continuous star formation with several to no small bursts @xcite .
stars formed over several generations also appear to have diverse heavy element abundance .
the stellar metallicity distribution in many dwarfs is consistent with that expected from self contamination by early generations of massive stars , albeit with a substantial loss of supernova ejecta @xcite . in isolated dwarfs far from a massive spiral or elliptical galaxy
, these bursts may be a consequence of gas being blown out and subsequently infalling with a time period of several gigayears @xcite .
episodic star formation in these isolated dwarfs require the gas that is blown out to remain bound .
otherwise if the dwarf is orbiting a host system , the gas could easily be blown outside of the roche sphere to fall onto the host galaxy .
although radiatively driven outflow and tidal disruption may account for the lack of gas in these dwarf galaxies today , they also highlight the difficulties in gas retention and self contamination . here
we present a simple self - consistent model that may explain not only star bursts in non - isolated environments but also the lack of neutral gas in the dwarf galaxies around the galaxy .
we suggest gas is expelled after a star burst and subsequently reaccreted by its original host dwarf galaxies .
this reaccretion process only occurs at the apogalacticon and any expelled gas that is not shielded from stripping by the dwarf is lost to the host .
for a dwarf galaxy to successfully accrete gas at apogalacticon , the gas must stay within the dwarfs gravitational influence for a sufficiently long time to be allowed to cool and collapse before the tidal forces and ionizing radiation field are felt as the dwarf approaches perigalacticon .
the roche sphere is the volume of space around the dwarf within which the dwarfs gravitational pull exceeds that of the galaxy . at any point along the orbit the radius of the instantaneous roche sphere is given by @xcite @xmath16^{1/3},\ ] ] where @xmath17 is the radius of the roche sphere , @xmath18 the gravitational constant , @xmath19 the mass of the dwarf , @xmath20 the angular velocity , @xmath21 the potential of the galaxy and @xmath22 the galactocentric radius . at perigalacticon and apogalacticon in a keplerian orbit
, the size of the roche sphere simplifies to @xmath23^{1/3},\label{eq : rperi}\\ r_{\rm rs}(r_{\rm apo } ) & = & \frac{1+\epsilon}{1-\epsilon}r_{\rm peri}\left[\frac{m}{m(3-\epsilon)}\right]^{1/3}\label{eq : rapo},\end{aligned}\ ] ] where @xmath24 and @xmath25 is the radius of perigalacticon and apogalacticon respectively , @xmath26 is the mass of the galaxy and @xmath27 the eccentricity of the orbit .
this increase in the roche sphere , shown schematically in figure [ fig : roche ] , allows gas that is unbound at perigalacticon to be nominally bound at apogalacticon ( assuming the momentum of the gas carries it through to apogalacticon ) .
this gas is both compressed by the orbital path ( by a factor of @xmath28/[1-\epsilon]$ ] ) and experiences a weaker radiation field far out from the galactic center .
these factors allow the gas to cool and fall into the potential well of the dwarf triggering a starburst .
kpc and eccentricity of @xmath29 .
the dwarf is represented by a solid circle in between two ( smaller ) solid circles representing gas clouds .
the roche sphere for a @xmath30 @xmath31 dwarf around a @xmath32 @xmath31 galaxy is shown as a circle surrounding the dwarf at apogalacticon and at the mid - way point . at the perigalacticon
the roche sphere is shown as a white circle inside the point representing the dwarf galaxy .
the roche sphere changes from being able to encapsulate points at @xmath33 myr along the orbit to being an order of magnitude too small at perigalacticon .
the orbital compression is visible by the changing spacing along the orbit , a consequence of kepler s second law .
[ fig : roche],scaledwidth=50.0% ] in order to participate in reaccretion , gas that is blown out must first survive an orbit of the galaxy .
this gas , which is likely to form small clouds once removed from the dwarf @xcite , must survive the combination of high velocities and a strong radiation field at perigalacticon . for a cloud of gas with uniform density in hydrostatic equilibrium that is located directly behind the dwarf to survive an orbit with the same velocity as it began it must have an average distance , @xmath34 , behind the dwarf of @xmath35 where @xmath36 is the radius of the cloud , @xmath19 and @xmath26 are the masses of the dwarf and galaxy respectively , @xmath37 and @xmath38 are the temperatures of the halo and cloud respectively and @xmath39 is the coefficient of drag of the cloud ( @xmath2@xmath14 ) . assuming that the mass ratio of the dwarf to the galaxy is not too large , this value is comparable to the roche sphere at perigalacticon .
however , material off center may have to be much closer to the dwarf to experience the same level of protection from drag .
the radius of survival will be increased by the dwarf s supersonic movement through the hot halo , and by a turbulent wake created by warm and hot gas that is removed from the dwarf .
these factors result in a much lower free - stream velocity @xcite , and subsequently lower drag , behind the dwarf for gas clouds that have been expelled by the dwarf .
as trailing gas clouds rely on both the shock generated by the dwarf and the turbulent wake created by dwarfs passage , a column of protection is formed behind the dwarf approximately the size of the roche sphere dissipating at large distances .
gas clouds located in front of the dwarf will be slowed by drag until they are recaptured by the dwarf or they sink into the galactic potential well . as gas clouds must be within the roche sphere of the dwarf in order to be captured , a similar column of ` protection ' ( although in this case , a column of recapture ) is located ahead of the dwarf .
we therefore approximate the amount of material that is captured by the dwarf or survives an orbit as the amount of gas inside a column of radius equal to the roche sphere at perigalacticon and extending along the orbital path of the dwarf .
due to the vigorous star formation taking place throughout a burst we assume that all gas within the dwarf becomes ionized and is expelled from the centre .
this gas , having been heated by the burst of star formation , will expand spherically and is assumed to be constant density . as this sphere
would be confined by the pressure of the hot halo , we further assume that the density of the sphere at burst @xmath40 is the same as the density at the previous burst , @xmath41 , i.e. @xmath42 . the growing hot galactic halo and the infusion of metals into the expelled gas after each burst may alter this assumption slightly .
if the mass present in the last burst was @xmath43 then the sphere of gas post burst has a radius of @xmath44^{1/3}$ ] , where @xmath45 is the mass of a hydrogen atom and @xmath46 the density of hydrogen . as the post - burst density of gas in this sphere is constant the only time this sphere can exceed the roche sphere at apogalacticon is after the initial period of star formation , i.e. @xmath47 , @xmath48 .
not all gas that fills this sphere will end up being redistributed after the next starburst .
in addition to gas lost to stripping , some gas will also be consumed in the starburst ending up as the constituent stars .
we assume the gas that ends up as stars to be approximately the mass in the roche sphere at perigalacticon .
the gas that occupies the roche sphere at perigalacticon may also be providing low level star formation throughout the orbit .
this mass , chosen for analytic convenience , is for most orbits similar to the mass that would be consumed in a typical starburst given the gas consumption timescales and burst lengths @xcite .
the radius in the warm sphere post burst is then @xmath49^{1/3 } , \label{eq : eq5}\end{aligned}\ ] ] with the volume of the roche sphere at perigalacticon is altered by a factor of @xmath50 to account for the difference in volume between a sphere and cylinder as @xmath51 .
as this gas is expelled from the dwarf by the starburst , it will quickly be heated to a warm phase of around @xmath52 k. this gas will be moving through an isothermal exponential hot halo of gas with a hydrogen density ( @xmath46 ) of @xmath53 @xmath54 at @xmath55 kpc consistent with @xcite .
the gas is assumed to consist of small clouds in hydrostatic equilibrium with a hot halo .
the mean density of hydrogen around the dwarf galaxy is assumed to be @xmath56 @xmath54 .
this density corresponds a filling factor of @xmath2@xmath57% for the gas clouds at galactocentric distances of @xmath58 kpc .
such gas would be easy to see in absorption through qso sight lines but unable to be seen in emission . in order for these small gas clouds to participate in the next starburst
it must first fall back into the central gravitational potential and cool into a neutral cold phase . for a low metallicity gas , @xmath59fe@xmath60h@xmath61=0.1 $ ] , at these densities
the cooling timescale is @xmath62 myr @xcite .
the cooling time will be slightly larger than the values given here due to the need to radiate energy gained from the collapse and the heating effect of the radiation fields .
the timescale of infall can be over an order of magnitude larger , @xmath63 myr .
this infall timescale is comparable to the timescale of a typical burst of a few hundred megayears @xcite and may influence how long the burst occurs for .
both these timescales however , are much shorter than the orbital timescale of a few gigayear which determines how rapidly the roche sphere changes .
this short timescale for cooling can only occur at apogalacticon . at perigalacticon
the gas will be extended along the orbital path according to kepler s second law , lowering its density by a factor of @xmath64 and hence increasing its cooling time by a factor of @xmath65 ^ 2 $ ] .
in addition , the gas experiences a much stronger radiation field which will counteract any cooling and reassociation taking place , leaving most gas ionized until apogalacticon . gas that has cooled and fell into the potential well of the dwarf may still be prevented from triggering another burst if it is kept ionized by the radiation field of the galaxy .
as star formation requires optically thick gas to occur , all ionizing photons from the galactic field are assumed to be absorbed , with the galactic field dropping off as an inverse square law , with the ( opacity corrected ) photon flux given by @xcite @xmath66 in addition to this galactic radiation field , the dwarf will also experience the extragalactic uv background .
we use the time varying extragalactic uv field derived by @xcite , with the absorption of this radiation is done according to the prescription in @xcite with a constant density neutral core surrounded by an ionized medium of equal density .
the timing of apogalacticons and consequently bursts in this model is determined by the orbital properties of the dwarf .
two models are investigated , that of a simple keplerian system described by equations ( [ eq : rperi ] ) and ( [ eq : rapo ] ) and one of a point mass dwarf orbiting inside a growing einasto halo .
both systems consist a dwarf with a point mass @xmath67 @xmath31 , a value consistent with the virial mass of a dwarf that formed at @xmath68 and possesses a dynamical mass similar to that observed in dwarf galaxies today within @xmath69 pc of the dwarf s center @xcite .
each dwarf has an initial gas mass of @xmath70 @xmath31 , giving the dwarf an approximately cosmological baryon to dark matter ratio . inside the keplerian system the dwarfs orbit a host galaxy of mass @xmath71 @xmath31 .
this mass is roughly half that of the virial mass of the milky way , but is consistent with the mass of the halo within @xmath72 kpc that reaches the same virial mass at the milky way derived from the rave survey @xcite .
these dwarf galaxies begin at apogalacticon @xmath73 gyr ago , and experience a burst at every future apogalacticon
. for dwarfs inside a growing einasto halo , a @xmath74 virial mass of @xmath75 @xmath31 is assumed , consistent with the circular velocity from the rave survey .
the mass of this halo is calculated backward in time by assuming the median rate of growth for milky way size dark matter halos within the millennium - ii simulation @xcite .
dwarf galaxies inside the growing einasto halo are assumed to be just past perigalacticon today and traced back in time @xmath57 gyr .
the choice to calculate the orbit backwards from a beginning point as opposed to the more realistic case of beginning at apogalacticon as in the keplerian case was taken to ensure a broad range of present day perigalacticons and eccentricities can be easily calculated as both of these quantities are not conserved in a growing halo .
as orbits changed substantially due to the galaxy growth in mass between @xmath76@xmath57 gyr ago , orbits which have a perigalacticon during this time period , which was likely to be much larger than the perigalacticon today , were unlikely to have experienced any burst in this model with effected dwarfs behaving much more like isolated dwarfs .
the choice of tracing orbits back from perigalacticon was done to minimise the occurrence of this timing of perigalacticons with minimal differences otherwise .
orbits which still had a perigalacticon here were calculated from a point up to @xmath12 further along its orbit in order to see if most dwarfs of that perigalacticon and eccentricity combination would have experienced bursts . the amount of neutral gas available to fuel star formation as a function of perigalacticon and eccentricity is calculated from applying the time - varying galactic and extragalactic radiation fields to the total mass of gas at any given apogalacticon given by equation ( [ eq : eq5 ] ) .
many dwarfs are able to experience at least one burst subsequent to initial star formation , the mass available in the keplerian system is shown in figure [ fig : b1 ] , with dwarfs on approximately circular orbits far away experiencing the biggest bursts , a consequence of their large perigalacticon roche sphere protecting much more gas from stripping . assuming that the halo mass of the galaxy , the star formation rate in the galaxy and the extragalactic uv background are constant into the future , the amount of gas available at a future burst is also able to be easily calculated .
@xmath31 and galaxy point mass of @xmath32 @xmath31 .
the solid contours ( left to right and blue to red in online version ) correspond to gas masses of @xmath14 , @xmath77 , @xmath57 and @xmath78 @xmath31 at the time of the first burst .
the dashed contours ( light colors in online version ) correspond to dwarfs that have yet to experience a burst of star formation but are expected to have sufficient gas to cause one in the future . the dashed black line shows the upper limit of perigalacticons which experience bursts of any gas mass . beyond this , we consider dwarfs to be isolated , with a large roche sphere that only slowly evolves . above the dotted line
the orbit times exceed the age of the universe .
[ fig : b1],scaledwidth=50.0% ] similar contours are seen within the growing einasto halo with the amount of gas available shown in figure [ fig : be1 ] . as the galaxy was less massive in the past
a larger number of dwarfs of a given perigalacticon and eccentricity today were able to complete a full orbit and experience a burst of star formation . .
to the right of the black contour dwarfs have slowly evolving large roche spheres and may be considered isolated . above the dotted line
the orbit time of dwarfs which are at perigalacticon today is longer than @xmath57 gyr .
[ fig : be1],scaledwidth=50.0% ] the allowed parameter space of dwarfs possessing large amounts of neutral gas ( @xmath79 @xmath31 ) is greatly decreased for the second burst the the third period of star formation . in both keplerian system dwarfs , shown in figure [ fig : b2 ] , and einasto system dwarfs , shown in figure [ fig : be2 ] ,
orbits at low perigalacticon are not able to hold onto sufficient amounts of gas for a second burst
. similarly dwarfs with high perigalacticon in both systems have not had sufficient time to undergo multiple bursts .
these dwarfs may be able to undergo future bursts if given enough time , and assuming the ionization field is similar to that which exists today .
very few regions exist which allow dwarfs to undergo a third burst in either system , with extremely few dwarfs ( @xmath80 ) having sufficient time to have completed three orbits while located at high enough perigalacticon to both shield sufficient amounts of gas and be located far enough from the galaxy to protect dwarfs from the galactic radiation field .
the star formation rate of a burst can be calculated by the amount of neutral hydrogen present within a dwarf , with the star formation rate in dwarfs being able to be approximated as a power law of the neutral gas mass @xmath81 @xcite . as the second burst has less gas , a consequence of equation ( [ eq : eq5 ] ) , this rate of star formation nearly always decreases .
assuming that each burst is undertaken for an equal period of time , the ratio of the star formation in the first and second bursts can be calculated .
this ratio , also shown in figures [ fig : b2 ] and [ fig : be2 ] , is typically about three to one increasing as orbits become more radial @xmath82 .
this ratio always exceeds unity for dwarfs with over @xmath83 @xmath31 of hi available for star formation but can be less for close in , nearly circular orbits which have smaller amounts of gas available .
dwarfs that have large amounts of gas ionized , that is dwarfs with a low apogalacticon occurring close at a time of heightened galactic star formation , will not undergo a burst and may be able to hold onto enough gas for a future burst which is not accounted for in this model . .
above the dotted line orbit times exceed half the age of the universe .
the zoomed graph underneath shows the ratio of star formation that occurred in the first to the second burst in dwarfs that will have experienced two bursts today with at least @xmath83 @xmath31 of gas . [
fig : b2],scaledwidth=50.0% ] . above the dotted line orbit times
are long enough that dwarfs at perigalacticon today could not have completed two orbits in @xmath57 gyr .
the zoomed graph underneath shows the ratio of star formation that occurred in the first to the second burst in dwarfs that will have experienced two bursts today with at least @xmath83 @xmath31 of gas .
[ fig : be2],scaledwidth=50.0% ] assuming a common infall time of @xmath57@xmath73 gyr ( consistent with early infalling dwarfs * ? ? ? * ) and using orbit distribution results from _
n_-body distributions @xcite we calculate the proportion of dwarfs that have experienced a first , second or third burst . around a milky way
sized halo , up to @xmath15 of early infalling dwarfs in a keplerian system should have experienced at least one burst with over @xmath83 @xmath31 of gas available .
a third of these dwarfs , @xmath84 of all early infalling dwarfs will have experienced two such bursts , while no dwarfs today are expected to have undergone three bursts of such magnitudes with any individual dwarf having only a @xmath85 chance of having completed three orbits each with a burst in the age of the universe . within a more realistic growing einasto halo , up to @xmath11 of early infall dwarfs will have experienced at least one burst ( this figure may be higher still due to the tendency for orbits to have higher perigalacticon inside extended halos * ? ? ?
* ) , half of these @xmath86 will have experienced two such bursts subsequent to initial star formation and @xmath87 three such bursts .
late infalling dwarfs may have bursts of star formation that occurred when isolated from the hot halo environment ( e.g. leo i is likely to have had a burst of star formation at or before its recent infall * ? ? ? * ) .
such dwarfs , if possessing gas when entering the hot halo , may only have undertaken this mechanism of bursts once if at all and would need to be considered separately from dwarfs that fell in while the galaxy was young .
the carina dwarf spheroidal has three distinct periods of rapid star formation , separated by @xmath2@xmath88 gyr .
orbital restrictions from the proper motion of carina ( a perigalacticon of @xmath89 kpc and apogalacticon of @xmath90 kpc * ? ? ?
* ; * ? ? ?
* ) indicate that carina will have undergone numerous apogalacticons since its infall @xmath91@xmath92 gyr ago @xcite .
a number of orbits satisfy these orbital constraints while having apogalacticons , and therefore bursts in this model , occurring near the periods of star formation in carina .
all these orbits have an apogalacticon in between the bursts of carina , however , the length of carina s first burst ( second period of star formation ) is comparable to the orbital period of carina which will have prevented gas from cooling and fueling another burst immediately .
carina s radial velocity is consistent with the dwarf both approaching and having just passed apogalacticon @xcite .
this ambiguity leads to two distinct regions of allowed orbits in parameter space dependent upon where along its orbit carina currently is .
these regions are bound by solid and dashed lines in figure [ fig : carina ] .
if carina is approaching apogalacticon today it is likely to be at a lower perigalacticon than its proper motion suggests and be almost at apogalacticon today .
contrastingly , the orbits where carina has just passed apogalacticon , the less likely scenario according to its radial velocity , are likely to be at either a larger perigalacticon , @xmath93 kpc or a higher apogalacticon , @xmath94 kpc compared to the case where it is approaching apogalacticon . only the case where carina has recently passed apogalacticon is consistent with the proper motions , although low perigalacticon , high apogalacticon orbits are also allowed .
@xmath31 and have the first and third apogalacticon within @xmath95 myr of the start of the bursts derived in @xcite .
the second apogalacticon is unlikely to have a burst due to the long period of star formation occurring at the first burst , which occurs over an entire orbit . extending the allowed variation of bursts to @xmath96 myr greatly increases the allowed parameter space of the orbits .
[ fig : carina],scaledwidth=50.0% ] a greater constraint can be applied assuming that carina s star formation rate would have consumed the gas within a hubble time had it not been interrupted ( consistent with the star formation rates of gas rich dwarfs in the local group * ? ? ?
* ) . to achieve the @xmath2@xmath97 @xmath31 yr@xmath98 rate calculated by @xcite at this rate of consumption
, carina must have had @xmath2@xmath99
@xmath31 of neutral hydrogen available .
assuming that carina has a dark matter mass of @xmath100 @xmath31 and began with @xmath101 of this mass in hydrogen ( consistent with the universal baryon to dark matter fraction ) only the high pericentre orbits that have recently passed apogalacticon will have had sufficient gas to fuel carinas star formation .
it must be noted however , that the gas consumption timescales differ by an order of magnitude amongst the local group dwarfs and hence carina could conceivably be on any of the allowed orbits .
this method can be extended to other dwarf spheroidals such as fornax shown in figure [ fig : fornax ] . in order for fornax
s bursts to have occurred at the correct time its infall must have been towards the upper limit of @xmath102 gyr found by @xcite .
however , this method clearly fails when applied to ursa minor dwarf which has one ancient period of star formation and no bursts post - infall @xcite .
this is despite some allowed orbits of ursa minor predicted to have three bursts of star formation , this indicates that the protection of gas clouds by the dwarf may be overstated by this simple model .
@xmath31 of gas available between @xmath103 and @xmath104 gyr ago . combined with the lower perigalacticon limit from @xcite the allowed range
is significantly reduced .
[ fig : fornax],scaledwidth=50.0% ]
we have presented a model for star formation bursts inside dwarf galaxies orbiting a host galaxy . under this model fall back of gas into the potential well of dwarf galaxies will occur at apogalacticon and allow episodic star formation for non - isolated dwarfs .
this model predicts that dwarfs with more than one burst today will be at a moderate perigalacticon from the host galaxy and of moderate eccentricity .
the second burst ( the third period of star formation ) is expected to be two to four times weaker than the first burst that follows initial star formation for most dwarfs .
this second burst may not have yet occurred in some dwarfs which , with a higher perigalacticon , may be expected to undergo another burst at a future point . for dwarfs near apogalacticon and on the verge of experiencing their first or second burst of star formation
we predict that low columns of diffuse ionized gas will be present in the vicinity of the dwarfs .
such gas although much too faint to be seen in emission should have sufficient column to be detectable in absorption along qso sight lines .
in particular this infalling gas should appear in recently infalling ( @xmath105 gyr ) dwarfs that are now near apogalacticon .
leo ii is possibly the best candidate for this search .
@xcite in calculating the proper motion suggest it is near either perigalacticon or apogalacticon , we would take the stronger view that due to its deficiency in gas @xcite and the difficulty of stripping at such large radii @xcite as well as the longer time spent at larger radii that it is near apogalacticon . when combined with a recent infall @xcite and the abundance of extragalactic sources nearby @xcite
leo ii becomes a good candidate for qso sight lines picking up any warm gas infalling onto the dwarf . although fornax is not near its expected apogalacticon @xcite the offset hydrogen feature although possibly galactic gas @xcite and numerous qso sight lines @xcite would be worth investigating .
dwarfs that have experienced no burst yet in this model , may be isolated enough to allow gas expelled from initial star formation to fall back into the dwarf triggering another burst @xcite and may have multiple bursts already , this process is unlikely to have happened in dwarfs that have already experienced one orbit of the galaxy .
this model is able to place limits on the orbits of carina and fornax based upon the timing of their bursts after infall . in particular , carina is likely to have just passed apogalacticon , with a high perigalacticon and low apogalacticon . for carina to be explained by this model , the second apogalacticon will not have had a burst of star formation , with the dwarf still undergoing star formation from its first burst .
this extended period of star formation would have prevented a burst until the third apogalacticon .
as dwarfs that lose gas are likely to do so as gas clouds of not insignificant mass @xcite there will be a large amount of variation as to how many clouds have managed to fall in by the beginning of star formation , and could result in a second burst being larger than the first unlike the results implied by this model .
is grateful to the university of sydney for hosting him during the preparation of this paper .
h . is supported by a federation fellowship from the australian research council .
the expulsion of gas from a dwarf is not automatic , and is helped greatly by internal heating assisted ram pressure stripping @xcite . under instantaneous ram pressure stripping
this gas , once lost , eventually ends up in the host . however , gas once removed from the main body will experience less drag ( arising from ram pressure ) as the free stream velocity is reduced both by the dwarf galaxies shock and by the turbulent wake behind .
even gas which is unbound at perigalacticon but sufficiently close may maintain enough momentum to later be reaccreted when far from the galaxies center .
this gas can be modelled in the @xcite case by the addition of cold gas after an apogalacticon ( over a suitable period of time , dependent upon the freefall time ) with the magnitude dictated by the above model .
a simple case of this is a carina like orbit modelled from @xmath106 is shown in figure [ fig : app ] . in this case , gas was added at the appropriate apogalacticons to simulate a carina like burst .
the additional amount of gas added at the second period of star formation ( the first burst ) was quickly lost , this is due to the short period of time over which gas is added ( @xmath69 myr ) and the stronger external radiation field present . although the first and second burst initially begin losing gas at the same rate , once mass is lost , the external radiation field enhanced by the increased star formation of the galaxy has a larger effect on the first burst , resulting in a much more rapid gas loss than the second burst . | arxiv |
Unit Vector Displacement [closed]
**Closed.** This question is [off-topic](/help/closed-questions). It is not currently accepting answers.
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A particle starts from the origin at $t =
0$ with a velocity of $+4.0\mathbf{j} \text{ m/s}$ and moves in the $xy$ plane
with a constant acceleration of $(6.0\mathbf{i} + 4.0\mathbf{j}) \text{ m/s}$. At the instant the $x$ coordinate of the particle is
$27 \text{ m}$, what is the value of its $y$ coordinate?
I'm trying to teach myself physics, and came across this question. If the initial velocity is $4\mathbf{j}$, does that mean it is $0\mathbf{i}$ in the $x$ direction? All I can think of doing is setting up an equation like $27 = (1/2)(6.0\mathbf{i})t^2$ but that doesn't get me anywhere.
To answer your one specific question: Yes, if the initial velocity is $4\hat{j}\ \mathrm{m/s}$, then the x-component is zero ($0\hat{i}$).
Additionally, it seems to me that you have fallen into the trap that physics is simply "finding the right equation." Be careful to avoid that!
Also, your units for acceleration are wrong.
You should go back and spend more time thinking about the concepts of position, velocity, and acceleration and how they relate to each other. Spend some time following through example problems (in a good book), making sure you understand how each step is related to the conceptual relationship. Don't go "equation hunting." Go "concept hunting."
EDIT: The concept you are dealing with is *constant acceleration motion.* Keep in mind that
* a classical particle will be at one point $\vec{r}=(x,y,z)$ in 3-space at one instant of time (t).
* velocity is the time rate of change (derivative) of position
* acceleration is the time rate of change of velocity
If acceleration is constant, it's an easy integral to do to find velocity, but remember to apply initial conditions:
$$\int\mathrm{d}\vec{v} = \int \vec{a} \mathrm{d}t$$
$$\vec{v}(t) + \vec{C} = \vec{a}t$$
$$\vec{v}(0) + \vec{C} = 0$$
$$\vec{v}(t) - \vec{v}(0)=\vec{a}t$$
The integral to find position \vec{r} simply involves this linear function:
$$\vec{r}(t)-\vec{r}(0)=\int \vec{v}(t) \mathrm{d}t. $$
This will give you a general approach to solving *constant acceleration* problems. The basic equations are the same every time. You have 3 components of space position, three components of velocity, three components of acceleration, all determined at the *same* value of time. You have information for t=0 for all the others, and you have one position at some other time. Once you have these concepts established, set up a *system* of equations and solve. In your example, you know $\vec{r}(0)$, $\vec{v}(0)$, and $\vec{a}$. You also know $x(t\_1)$. You want to find $y(t\_1)$. Let all the $z$ components be zero, because you have no information about $z$.
| stackexchange/physics |
Can you fix rubber on a handle after it has all but turned into a liquid?
I picked up a splitting maul at a yard sale last year. I used it for the rest of the season with no problems. It has been in the wood shed and exposed to some sun, but mostly shade.
I picked it up the other day and it stuck to my hand. When I tried to let go, it slid from my hand, leaving behind black goo and rubber from the handle. Now it's so bad the whole rubber part is gooey and if I try to rub anything on it the rubber comes off. It's permanently soft and sticky and is coming off the handle.
Can I save it or is it done?
I've had the same problem with other types of rubber-coated tool handles. The best solution is to completely remove the rubber coating, which takes a *lot* of scraping and then scrubbing (outdoors) with paint thinner on paper towels. Invariably, as you have already noticed, everything touched gets coated with hard-to-remove black goop.
Another choice would be to wipe off the loose stuff and then over-wrap the handle with a strong cloth tape, *checking carefully that it will not slip* when you use the maul.
You might cover the tape with [heat-shrink tubing](http://rads.stackoverflow.com/amzn/click/B00MJVQR7I), if you have the right diameter stuff, or with tubing cut from an old bicycle inner-tube (cheap or free, and makes a good grip).
| stackexchange/chemistry |
dirofilaria immitis , the causal agents of cardiopulmonary , affect canine , feline and human populations with an increasing incidence in temperate and tropical areas of the world .
adult worm lives in the pulmonary artery of dogs and cats , resulting in the production of blood - circulating microfilariae in dogs , while amicrofilaremic infections are common in felines . in humans
, worm can not reach maturity , and preadult worm is responsible for pulmonary dirofilariosis ( 1 ) .
cardiopulmonary dirofilariosis caused by adult worms and microfilariae in dog usually displays a progressive damage of the pulmonary blood vessels , parenchyma , and the right side of the heart .
alterations initially occur in pulmonary arteries , with pathological relaxation of the artery wall , endarteritis and perivascular inflammation , all key features leading towards the chronic pathology .
these alterations have been attributed to both immunopathological and mechanical events elicited by the parasite . in human dirofilariosis
, the development of pulmonary is mainly attributed to the inflammatory reaction against dying worms that can not reach maturity in this host ( 2 ) .
the presence of infected dogs in which adult dirofilaria survive for years producing microfilariae , and the adequate environmental conditions for the development of vector populations are key factors for the distribution of dirofilariosis in specific geographical areas ( 3 ) .
since some mosquito species transmitting dirofilariosis feed indiscriminately on different animal species , humans , the occurrence of d. immitis in canine populations imply a risk of infection for the feline , and human populations in areas were canine dirofilariosis is found ( 4 ) . until 1999
, most epidemiological studies in dogs and cats and reports of human cases were concentrated in the united states , japan , mediterranean countries of europe , russia and australia in which this disease was considered a health problem , from both the veterinary and medical point of view . in the past ten years , d. immitis from dog have been detected with increasing frequency in countries considered non - endemic until now ( 5 ) .
the prevalence and spread of heartworm infection in iran has been studied by several researchers ( 6 - 17 ) .
the disease is diagnosed mainly in the northern and northwestern provinces ( gilan , mazandaran , golestan , east azerbaijan , west azerbaijan , ardebil ) with scattered reports from tehran and garmsar city in the central , shiraz and kerman city in the south and ahvaz city in the southwestern of country but not in khorasan razavi province where until now only acanthocheilonema ( previously dipetalonema ) reconditum has been found in dogs ( 18 ) ( fig.1 ) .
an increasing number of cases are now being diagnosed in northern province such as gilan .
the area of highest prevalence values for dogs is along the caspian sea in northern of iran , from where the first observation of the worm was made at necropsy of stray dogs in 1969 ( 6 , 15 ) .
however , the spread of vectors of d. immitis in iran could enhance the risk of transmission from dogs to humans .
human infection with d. immitis has been reported in many countries of the world and is possible wherever the parasite is endemic in dogs .
retrospectively reviews of human dirofilariosis in the world , indicate that around 300 cases of pulmonary dirofilariosis have been reported to date .
most cases of human pulmonary dirofilariosis have been detected in the united states and japan ( 19 , 20 ) . due to the difficulty of diagnosing pulmonary dirofilariasis , published case reports likely
recently , fok ( 21 ) reviewed human dirofilariosis in hungary and concluded that all the autochthonous infections were caused by d. repens .
the vast majority of cases of d. repens infection in humans report the detection of nodule in the tissues . indeed ,
aberrant localization of d. repens has also been reported in humans . in spite of high prevalence of canine heartworm in iran , human pulmonary dirofilariosis
was not reported in the country yet , however , human subcutaneous and orbital and periocular dirofilariasis due to d. repens has been reported ( 22 - 25).absence of human pulmonary dirofilariosis in iran may be due to lack of available human serological test and patients must be undergoing invasive procedures to differentiate heartworm from other more serious diseases .
it should be noted that human heartworm infection is incidental and is typically not associated with severe clinical disease .
the authors concluded that a subpleural , non - calcified pulmonary nodule in the appropriate clinical and epidemiological setting should alert the clinician to the possibility of dirofilaria infection and that human pulmonary dirofilariois should be considered in the differential diagnosis of pulmonary nodules .
noticeably , human cases have been reported mainly in areas of high canine prevalence , highlighting the importance of heartworm testing and chemoprophylaxis in all dogs to reduce transmission .
considering aspects related to public health , study of the prevalence of canine dirofilariosis should therefore , be a continuous task , with the most relevant aim being the establishment of control measures .
more interesting and informative than the prevalence of canine heartworm is the evolution of the frequency with which new area is detected .
taking all of this into account , the objective of the present study was to determine the incidence of canine heartworm in the southeastern of iran , based on modified knott test and serology and to assess the risk factors associated with the presence of heartworm disease .
this study was conducted in two different regions in the southeastern of iran . from october 2012 to september 2013 , blood samples from 120 dogs from zabol area ( 87 dogs ) in sistan and baluchestan and bam area ( 33 dogs ) in kerman province were used for detection of d. immitis .
approximately 3 - 5 ml of blood was withdrawn from the cephalic vein of each dog , collected in sodium citrate vacuum tubes and stored under refrigeration ( + 4c ) in local laboratories .
all blood samples were analyzed for the presence of peripheral blood microfilariae using the modified knott test and for circulating d. immitis antigens using a commercial kit according to manufacturers instructions ( snaptm canine heartworm pf , idexx laboratories inc .
two dogs that had died spontaneously from heartworm disease in zabol area were used for tissue localization of parasite .
subsequent identification to the species level was based on morphological and morphometric characteristics ( 26 ) . in order to evaluate the role of different risk factors for infection , sex , age and season of inspection of these
association of prevalence a of antibody against d. immitis with sex , season and age categories was evaluated using chi square test with spss software version 16 and p < 0.05 was considered as significant .
out of 120 dogs , 29 ( 24.2% ; 95%ci : 16.6 - 31.8% ) were positive , serologically .
the overall seroprevalence of d.immitis in dog in zabol and bam were 27.5% ( 95% ci : 24.7 - 32.5% ) and 15.15% ( 95% ci : 12.3 - 20.7% ) , respectively .
seroprevalence of d. immitis in dog in zabol and bam for stray and housed dogs is reported in table 1 .
28.8% of stray dogs and 20.6% of housed dogs in the study areas were seropositive .
seroprevalence of d. immitis was not significantly different between stray and housed dogs ( p=0.295 ) .
based on modified knott test 6 ( 11.5% ) and 4 ( 5.9% ) dogs were positive in stray and housed dogs , respectively .
there was a moderate agreement between serology and modified knott test ( kappa = 0.42 ) .
additionally , necropsy finding in two infected dogs in zabol area revealed presence of adult worm of d. immitis in left ventricle .
investigation of seasonal dynamic of infection with d. immitis in stray and housed dog showed that the proportion of infected dog in spring and summer was greater than colder season ( autumn and winter ) which was not significant .
the prevalence of infection with d. immitis in > 5 years old stray dogs ( 53.8% ) was greater than other age categories while in housed dogs infection rate was greater in 3 - 5 years old ( 27.3% ) ( table 2 ) .
in addition , the infection rate between male ( 33.3% ) and female ( 24% ) stray dogs did not show significant difference ( table 2 ) .
in housed dogs , there were no significant differences in prevalence of infection with d. immitis between male ( 22.5% ) and female ( 17.9% ) ( table 2 ) .
the epidemiological situation of dirofilariosis is currently undergoing accelerated changes . in spite of efforts made to prevent and control the infection in dogs , canine dirofilariosis is rising in endemic areas as well as spreading into new areas reported as dirofilariosis - free until now ( 5 , 6 ) .
consequently , an increasing number of human and feline dirofilariosis cases are currently being reported in both endemic and neighboring areas where this disease was not previously detected ( 5 ) . moreover , a renewed interest in this zoonosis is also demonstrated by the worldwide reports of d. immitis in their different hosts in the past ten years , with new reports of human cases concentrated in eastern europe and the middle east ( 1 - 3 ) .
our results in bam area are in agreement with previous study from kerman province ( 13 ) , while in zabol area this is for the first time that d. immitis is identified .
canine heartworm has become widespread in many parts of the world , and its range varies between 0.24% and more than 50% in different areas of the world ( 27 ) .
comparatively , infection rate of canine heartworm in iran was ranged from 1.4%-51.42% ( 7 - 16 ) .
several factors might be responsible for such an increase and for the change in the distribution of canine dirofilariasis .
one of these factors is the spread of animal dirofilariasis into areas previously considered non - endemic .
this fact is attributed mainly to climatic changes that facilitate the introduction of competent vectors in areas in which they were not previously present and to the lack of control measures in animal reservoirs .
another important point to consider is the role of wildlife reservoirs in perpetuating heartworm transmission .
considerably , d. immitis have been reported from wildlife carnivores such as jackals , foxes , wolves in iran ( 17 ) .
these wildlife reservoirs could constitute a significant source of infection for dogs and humans , especially in areas where reservoir density is high . based on our data , the age of the dog
the result of current study revealed that infection rate in > 5 years old stray dogs is more prevalent than younger animals .
similar findings were reported previously by several researchers ( 10 , 12 , 15 , 28 ) .
this might be associated with the higher possibility of the biting of host by intermediate host so that adult animals have larger infection rates and the highest prevalence .
the present study indicated that male dogs are more susceptible to d. immitis infection than female , which was not significant .
finding non - significant difference in prevalence by sex among dogs is in agreement with other investigators ( 10 , 12 , 15 , 28 , 29 ) .
this difference could be confounded by keeping place so that most of male dogs are kept outdoors for their use to defend safety and property .
the seasonal dynamics of canine heatrworm showed that prevalence was highest in spring with a remarkable decline during the colder seasons that this difference was not significant . due to the necessity of the intermediate host in dirofilariosis ,
moisture and moderate temperature is considered an important factor in determining the survival and availability of mosquitoes .
thus , the relatively higher record of canine heatrworm during spring could also be because the survival and development of intermediate host is favored by moderate temperature and high humidity .
moreover , development of d. immitis to the infective stage ( l3 ) in mosquitoes occurs at a rate that is dependent on ambient temperature , and development may not occur at a threshold temperature below 14 c ( 30 ) .
importantly , the model of heartworm seasonality can be used for timing of heartworm chemoprophylaxis and scheduling of diagnostic testing . as observed by our study in canine dirofilariasis
it should be noted that the modified knott test is invaluable for identification of parasites when there is no microfiler .
serology is an alternative to this method . in spite of the small number of worms that cause canine infections
different antigenic complexes and molecules derived from dirofilaria spp have been used in elisa or western blot ( 31 ) .
human and animal reservoir population dynamics and climate change could facilitate the introduction of new competent dirofilaria vectors in specific regions and this could be one cause for the epidemiological modifications . besides , in regards to vector competence , studies on the variation of dirofilaria transmission capacity from different haplotypes of a given mosquito species should be undertaken , since recent data have pointed out this possibility in culex pipiens ( 32 ) .
the changing geographical distribution of dirofilariosis could be influenced by several factors , including new human and pet population dynamics and global warming , among others . in this respect
, both the use of gis and rs - based techniques , and potentially the new serologically based epidemiological tools , could contribute to building more efficient epidemiological prediction models .
from the applied point of view , an adequate knowledge of the epidemiology of canine heartworm will open the pathway to designing new strategies for the control of this zoonosis .
the geographic range of d. immitis will almost assuredly continue to expand with the effects of global warming , as more habitats suitable for the introduction and establishment of vector mosquitoes are created . in order to stop the spread of canine heartworm
furthermore , given the high frequency of travel within and between nations for business and leisure , exposure and infection at locations other than the primary residence are feasible .
this further supports the recommendation of routine heartworm testing and prophylaxis in dogs , with the aim of protecting people as well as the dogs themselves . | pubmed |
Q: Post a picture to the wall from android I want to post a picture to the wall, just like what I can do from the facebook web page.
I've tried these two ways, but both not what I want.
*
*[ http://facebook.stackoverflow.com/questions/5168145/android-post-picture-to-facebook-wall ]
This one just upload pictures to the photo gallery, there will be a message on the wall, but it's not actually a post. Multiple pictures will be put in the same message.
*[ Android how to post picture to friend's wall with facebook android sdk ]
This one post to the wall, with link to the picture. But it looks like sharing a link, the picture is so small.
Is it possible to make a wall post with a picture (a file from the phone, not URL)?
Which looks like I posted from the "Upload Photo" on facebook website.
http://i.stack.imgur.com/o16Hn.png
(sorry I can't post image)
Thanks!
A: The accepted answer in the 1st thread is correct, with just one change, you see when you upload a picture in facebook, like in the screen capture you added, you post it to a specific album titled "Wall Photos".
In that answer they used me/photos, and that will create an album for the app (if one isn't already existing) and post the image there.
I think that this should work:
Bundle params = new Bundle();
params.putByteArray("source", imageBytes);
params.putString("message", "A wall picture");
facebook.request("me/feed", params, "POST");
(you can obviously use the async runner)
If that does not work, then you'll have to get the "wall photos" album id of the logged in user first and then do something like:
Bundle params = new Bundle();
params.putByteArray("source", imageBytes);
params.putString("message", "A wall picture");
facebook.request("ALBUM_ID/photos", params, "POST");
| slim_pajama |
because of their transient nature and lack of counterparts , the distance to gamma - ray bursts ( grbs ) is not known .
statistical distributions have therefore been used as indirect means of estimating their distances . the original discovery by the burst and transient source experiment ( batse ) team ( meegan et al .
1992 ) , and the subsequent confirmations ( meegan 1996 ) that grbs are isotropically distributed in the sky has gradually strengthened cosmological interpretations of grb sources . if bursts are indeed of a cosmological origin , then the so - called @xmath0-@xmath1 distribution can be used to constrain the model parameters . under the assumption that bursts are distributed homogeneously and isotropically in a static euclidean space ( hise ) ,
the logarithmic slope of the @xmath0-@xmath1 distribution is expected to be -3/2 . in cosmological scenarios ,
the observed deviations from this slope are due to the breakdown of the last two conditions in hise .
the degree of deviation depends on not only the geometry and expansion rate of space but also the shape and evolution of the luminosity function .
this latter effect is less significant for narrow and slowly evolving luminosity functions , but if the range of luminosities is larger than the observed range of @xmath2 , it will obscure the cosmological effects . therefore the choice of the parameter @xmath2 is important in the interpretation of the @xmath0-@xmath1 results . for steady sources ,
this choice is obvious ; @xmath2 would be represented by the steady and well - defined photon or energy flux . however , for highly transient sources such as grbs , the measured flux depends on the time scale over which the burst is observed . ideally , one would like the flux measure to be instantaneous , defined such that the observational time scale for the accumulation of photons is smaller than the intrinsic variation time scale of the source . in practice ,
observational measures such as the `` peak flux '' have been averaged over a time interval @xmath3 which might not be small compared to the intrinsic time scale .
use of this version of the `` peak flux '' for the parameter @xmath2 in the @xmath0-@xmath1 distributions can lead to ambiguous interpretations , and a number of complicated steps have to be taken in order to extract the instantaneous peak flux distribution from the data ( see lee & petrosian 1996a , hereafter lp ) .
these complications can be avoided by using a different observational measure for @xmath2 .
one such measure is the fluence @xmath4 , which we define to be the total ( time - integrated ) radiant energy per unit area within the batse trigger range of 50300 kev .
the fluence distribution may prove to be a more useful tool in cosmological studies than the peak flux distribution if the time - integrated luminosity has a narrower intrinsic dispersion and undergoes less evolution than the peak luminosity .
in fact , given the wide dispersion in the durations of grbs , it is difficult to justify why the intensity of the highest spike in a bursting source should have a narrow distribution .
perhaps the total energy released has a narrower distribution than that of the peak luminosity .
for example , it is more likely that the total energy released in a compact object merger might be a more appropriate `` standard candle '' than the rate of energy release in such a merger . furthermore , in cosmic fireball models which presumably describe the physics of these mergers , the relationship between the luminosity observed in the detector s rest frame to that emitted by the source depends strongly on the bulk lorentz factor of the expanding shell ( meszaros & rees 1993 , 1994 ; madras & fenimore 1996 ) , which is not likely to be universal for all bursts . in this paper
we investigate the @xmath0-@xmath5 relation for batse grbs . in the next section
we describe how a bias - free fluence distribution can be obtained from instruments such as batse which trigger on some average flux value . in [ sec - fludiscuss ] we discuss our results .
we use the publicly available batse 3b catalog data , which provides the maximum and minimum photon counts @xmath6 and @xmath7 for the three trigger time intervals @xmath8 ms .
the most fundamental selection effect is that @xmath6 must exceed the threshold @xmath7 .
we are interested in the more physically meaningful fluences and fluxes .
the batse catalog also gives values of the total energy fluence @xmath4 within the 50300 kev range , along with three measures of the average peak flux .
the average peak flux is given by @xmath9 , where @xmath10 is the effective detector area ( including the spectral response ) of the instrument in the direction @xmath11 .
given @xmath12 or @xmath4 , we ask what would have been the threshold for detection of a burst for any of these quantities .
it is easy to see that a burst with average peak flux @xmath12 coming from a direction @xmath13 and @xmath14 would trigger batse if @xmath15 .
otherwise @xmath6 would be less than @xmath7 .
therefore , the threshold on the average peak flux is @xmath16 .
the same relation also exists for the fluence and its limit , as can be seen schematically by examining figure [ fig : schematic ] . a burst with observed fluence @xmath4 ( or @xmath12 ) and a particular pulse profile , spectrum , etc . would have been undetected if its fluence ( or flux ) was lowered by a factor of @xmath17 , because then its peak counts @xmath6 would have been less than the limiting counts @xmath7 .
clearly then @xmath18 , as long as the background count rate does not vary significantly throughout the duration of the burst . in summary , @xmath19 the last equality is approximate because of the implicit conversion between photon counts and energy .
this will be a good approximation if the source spectra do not change drastically throughout the duration of the burst .
note that all of the details of the pulse profile , spectrum , and instrumental response are hidden in the ratio .
the problem of obtaining the distribution of any of the quantities in equation ( [ eq : fluflulim ] ) can be described generally as the problem of obtaining the distribution of some variable @xmath20 subject to the condition that @xmath21 for each data point @xmath22 . a general solution to this problem
was described by petrosian ( 1993 ) and has been extensively discussed in lp .
it can be seen that extracting the fluence distribution is in principle no different from extracting the peak flux distribution .
it should also be noted that the conclusions drawn from the distribution of @xmath23 or its average are unchanged no matter which of these properties is used as a measure of distance .
although the extraction of the fluence distribution is computationally straightforward , the interpretation of @xmath24 differs from that of @xmath7 and hence deserves some explanation .
@xmath7 is simply a threshold that depends only on the background count rate and is a variable independent of the physical burst properties . for bursts which have durations
@xmath25 it is clear that @xmath26 and @xmath27 are independent , where @xmath28 is the average photon energy in the 50300 kev range . for long duration bursts with @xmath29 , we have approximately @xmath30 , so that from equation ( [ eq : fluflulim ] ) we obtain @xmath31 indicating that if as expected @xmath28 , @xmath32 , and @xmath7 are essentially independent of @xmath4 , the fluence limit is approximately proportional to the duration .
we now examine all bursts for which a fluence measurement and a value of @xmath17 exists .
the values of @xmath17 are known for three time scales : 64 ms ; 256 ms ; and 1024 ms .
we use the 1024 ms values of @xmath17 because this time scale is the most sensitive and allows us to use the largest number of bursts , but we also note that the other time scales give essentially identical results . note that unlike in the determination of the distribution of instantaneous peak flux ( see lp ) , where a correction for the short duration bias based on some observational duration measure was necessary , there is no need to have a separate measure of duration to determine the fluence limit .
this increases the number of bursts available from 514 to 555 for the 1024 ms trigger .
it may be argued that bursts with no well - defined durations may have data gaps or some other problems which would make the fluence measurements unreliable . as it turns out ,
the resulting fluence distributions are insensitive to whether or not we include the extra 41 bursts . the bivariate distribution of @xmath4 and @xmath24 is shown in the top panel of figure [ fig : fluvsflulim ] .
obviously because of the data truncation due to the variation in @xmath24 , simply binning the fluences to get a distribution will result in a biased distribution . as explained by petrosian ( 1993 ) ,
a nonparametric method exists to obtain a single variable distribution from a truncated bivariate distribution .
this method amounts to using information from untruncated regions to estimate the data that was missed due to the truncation .
clearly , this is only possible provided the variables are uncorrelated .
the first thing we must do is test the data for a correlation between @xmath4 and @xmath24 .
using the correlation test designed for use on truncated data ( efron & petrosian 1992 ) , we find that the probability that the data are uncorrelated is @xmath33 . as discussed in [ sec - interp ] , since @xmath24 is approximately proportional to the duration , a correlation test involving @xmath4 and @xmath24 effectively tests the correlation between fluence and duration .
the results indicate that the fluence and the duration are positively correlated with each other .
if the fluence is a good measure of distance , this result seems to be in the opposite sense of that expected from cosmological time dilation ( c.f .
norris 1995 ) .
however , there are a number of factors which could complicate this interpretation ( see lee & petrosian 1996b ) . in order to go further
, one must resort to parameterizing the correlation . as we have done before
( lee , petrosian , & mctiernan 1993 ; 1995 ; lp ) , we use a simple power law parameterization .
briefly , we transform @xmath24 into @xmath34 and vary @xmath35 until the correlation between @xmath4 and @xmath36 disappears .
this requirement gives a well - defined value for @xmath35 .
we find @xmath37 , with the error interval indicating the @xmath38% confidence limits on @xmath35 .
the data truncation boundaries are transformed accordingly .
the resulting bivariate distribution , which now contains uncorrelated variables , is shown in the bottom panel of figure [ fig : fluvsflulim ] , which can then be readily integrated over @xmath36 with the methods described in lp . using this technique
, we obtain the cumulative and differential distributions of @xmath4 , along with the logarithmic slope of the cumulative distribution as a function of @xmath4 ( fig .
[ fig : fludist ] ) .
the qualitative shapes of these distributions persist even if we use different samples of bursts corresponding to higher fluence limits .
we justify the particular parameterization chosen here ( power law ) by noting that similar values of @xmath35 are found for data subsets chosen from various ranges in @xmath4 , and in any case the dispersion in the data is such that there would be little justification for a more complicated parameterization . dividing our best estimate of the differential distribution @xmath39 by what
would have been obtained without consideration of the truncation and correlation gives the trigger efficiency as a function of fluence , which is plotted in figure [ fig : trigeff ] along with the ratio of the observed number of bursts @xmath40 to the total number of bursts @xmath41 greater than a given fluence @xmath4 .
our derived efficiency can be compared to the results of int zand & fenimore ( 1996 ) and bloom , fenimore , & int zand ( 1996 ) , who utilize a quite different approach . rather than starting with the data and working backwards through the selection effects to derive the distributions , int zand & fenimore use monte carlo simulations of a sample of bursts with a distribution of temporal and spectral shapes as observed by batse .
then assuming a cosmological origin for the sources , they predict the trigger efficiency of batse as a function of fluence .
in contrast , our `` efficiency '' is purely empirical and involves no model assumptions .
using these trigger efficiencies , bloom et al .
( 1996 ) correct the observed fluence distributions to obtain the true distributions .
their results are qualitatively similar to ours , although their @xmath0-@xmath5 curve has a very steep upturn at low fluences which is not evidenced in our curves . this difference may arise as a result of their assumption that any correlations between burst characteristics are solely a result of cosmological effects such as time dilation and redshifting .
however , it would be very difficult to reconcile the strong positive correlation that we found between fluence and duration with any non - evolving cosmological population of bursts .
we have described a robust method of accounting for the selection biases on the detection of batse grbs based on their fluences , independent of duration or spectral measures . using methods described in our previous publications
we have obtained the variation of the cumulative distribution , differential distribution , and logarithmic slope of the distribution as a function of fluence .
the results shown in figure [ fig : fludist ] reveal that the fluence distribution appears to show a sharp break from slope -3/2 to about -1/2 at @xmath42 erg @xmath43
. the analogous peak flux distributions ( see fig
. 7 of lp for an example ) show a slightly more gradual transition in slope .
our interpretation of this result would be that the time - integrated luminosity has a narrower distribution than the peak luminosity .
therefore the fluence may be a better indicator of the burst distance than the peak flux .
the lack of consistency with the time dilation effect would imply that either the burst sources are not cosmological or models more complicated than the simple no - evolution model are necessary . ignoring the inconsistency for the moment , fits of the fluence distribution to very simple cosmological models ( constant comoving density , no luminosity evolution , energy spectra either power laws or as in band et al .
( 1993 ) , density parameter @xmath44 or 1 , @xmath45 km s@xmath46 mpc@xmath46 ) give sources of total radiant energy @xmath47 ergs or @xmath48 ergs for @xmath44 and @xmath49 models , respectively .
note that uncertainties in the spectral form can be absorbed into uncertainties in the luminosity evolution , and in any case the data are not sensitive enough to definitively distinguish among the models .
a difference between these models and those involving peak fluxes is that the inferred maximum redshifts are greater ( @xmath50 for the models involving power law spectra and @xmath51 for the models utilizing the band spectral form ) , a result also noted by bloom et al .
however , adding in the evolution necessary for agreement with the time dilation results would reduce these inferred maximum redshifts .
we acknowledge w. azzam and g. pendleton for useful discussions , and we thank the anonymous referee for comments and suggestions which led to an improved paper .
this work was funded by nasa grants nagw 2290 and nag-5 2733 . | arxiv |
Total angular momentum in a full shell
I do not understand why it's supposed to be vanishing. Rather than discussing the question in its full generality I prefer to consider the following scenario, which I think sums up anything that's actually important for my level and my purpose, but keep in mind the real point of the question.
Consider a system of six identical particles with spin one-half, each one of them in a eigenstate with azimuthal quantum number $ l = 1 $ and identical quantum number $ n $ given by the following single-particle hamiltonian (no interaction then):
$H\_a := \frac{\vec{p\_a}^2}{2m} + V(r\_a) $
Due to the indistinguishability of the particles, the total wavefunction, orbital part plus spin part, must be antisymmetric with respect to the exchange between any two particles. Given six states, one for each particle, the Slater determinant identifies such a function. The six states must be different from one another, otherwise the Slater determinant vanishes and there's no wavefunction at all. More correctly, not only do they have to be different, they have to be linearly independent as well.
If all particles are in an eigenstate of a projection of $ \vec{L\_a} $ and $ \vec{S\_a} $ then I can see clearly that the sum of these values add up to zero. Since $ l = 1 $, then $ m = -1, 0, 1. $ Each state with a definite $ m $ splits in two independent states, with spin up and down. I finally have six different state and the value of the projections clearly add up to zero.
Yet by hypothesis I have only defined the azimuthal quantum number, meaning the above is only a particular case. The particles can actually be in any state, as long as they are independent. For example I could have some particles in an eigenstate of $ L\_x $ and some particles in an eigenstate of $ L\_z $ and in this situation I really can't see how the projections would add up to zero.
Even by considering only the special case above I don't see how this implies that the total angular momentum, not only the the projection of the total angular momentum, is vanishing. A typical argument I have encountered says there's nothing special about a particular component, but I don't seem to understand it: if I say each particle is in an eigenstate of $ L\_z $, the $ L\_{ztot} = 0 $ and clearly this applies to $ L\_x $ and $ L\_y $ for instance but nothing says $ L\_{ztot} $ , $ L\_{xtot} $ and $ L\_{ytot} $ are simultaneously zero. In fact it seems to me that I prepare the system in two different ways from the beginning because I would prepare eigenstates of $ L\_z $ in the first case and eigenstates of $ L\_x $ later. These are again particular cases and potentially different, I can't help but thinking a proper argument shouldn't rely on statements like 'Each particle is in an eigenstate of a projection' because all I know is that particles are in the eigenspace where $ l = 1 $, nothing else.
I apologize if the post sounds too confusing.
The answer is that the antisymmetry of the state implies that the total angular momentum vanishes. Let's start with the simplest example, two spin-1/2 states. We can form a two-particle state with $S\_z=0$ as $|1/2\rangle|-1/2\rangle$, or as $|-1/2\rangle|1/2\rangle$, but neither of these has vanishing total angular momentum. Only the antisymmetric linear combination does, $(|1/2\rangle|-1/2\rangle-|-1/2\rangle|1/2\rangle)/\sqrt{2}$. To see why this works in generally, consider the totally antisymmetric combination of products of the $2j+1$ states of a spin-$j$ representation (i.e. the Slater determinant of these states). Now act with any rotation on this state. Each of the states in the product will be acted on by the same rotation operator, and the resulting state will still be totally antisymmetric. But there is only one totally antisymmetric tensor product of $n$ vectors in an $n$-dimensional vector space, so after the rotation the state is the same, up to a possible scalar multiple. In fact the scalar multiple is nothing but the determinant of the 1-particle rotation matrix, which is 1. This means the antisymmetric state is invariant under all rotations. The angular momentum components are the infinitesimal generators of rotations, so the fact that the state is rotationally invariant implies that $\vec J$ annihilates it.
I'm not totally understanding the question, but I think the critical aspect here is that in atoms, the energy gap between successive levels is much greater than the "thermal" energy of the electrons. So the energy levels really do have to fill up pairwise, with each pair of electrons forming a singlet state with spin zero. I think it might be otherwise in a situation where you had energy levels very close together, like a small chunk of metal with several hundred electrons in the conduction band. In this case, the thermal energy of the electrons is much greater than the separation between energy levels, so there is no need for the electrons to fill up each mode pairwise. You can then have electrons with random spins this way and that way, and you can end up with a total spin of 11 or 12 with a z-projection of whatever.
| stackexchange/physics |
The National Union of Plantation Workers NUPW is the largest union in Malaysia and one of the largest in Asia.
History
The union was formed in the Federation of Malaya in 1954 by an amalgamation of smaller plantation unions. It continues to represent manual laborers and semi-skilled workers in all of Peninsular Malaysia. Ethnically, its membership has historically been of predominantly Indian origin, reflecting the workforce in the industry.
An assessment of the NUPW's record as of 1996 concluded that it had made contributions to the welfare of its members, such as subsidising adult education and school education for members' children, and through campaigning against alcohol abuse; and also had some positive impact on pay, albeit largely tied to productivity bonuses. However, it struggled to respond to the restructuring of estates, often used by employers to undermine workers' rights, invested in numerous unsuccessful businesses, and spent an excessive proportion of funds on union employees.
P. P. Narayanan was the general secretary of the NUPW from 1954 until 1993. The present executive secretary is A. Navamukundan.
General Secretaries
1954: P. P. Narayanan
1992: Datuk G. Sankaran
References
Category:Trade unions in Malaysia
Category:Trade unions established in 1954 | wikipedia |
What are the product(s) of red phosphorous when burned?
A match box lighter strip typically consists of powdered glass and red phosphorous. When this part is burned, it's residue is like a sticky dust that, when applying friction, will release smoke or vapor. You can do it with you fingers and it looks really cool.
So what's the chemistry behind this?
>
> The major product formed is - Tetraphosphorus decaoxide ($\ce{P4O10}$)
>
>
>
Infact you could have googled it. There are many interesting videos on youtube.
Check this out - [Burning of Red Phosphorus](https://www.youtube.com/watch?v=CsvSUAwq0uM)
| stackexchange/chemistry |
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