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Reaction of phosphorus pentoxide with perchloric acid
I've come across the reaction of $\ce{P4O10}$ with $\ce{HClO4}$ (perchloric acid) which gives the products as metaphosphoric acid and $\ce{Cl2O7}$ but I'm unable to understand how does perchloric acid form and what causes the trimer of $\ce{HPO3}$ to be formed, also $\ce{P4O10}$ being an acidic oxide how does it react with a strong acid like perchloric acid?
$$\ce{12HClO4 + 3P4O10->6Cl2O7 + 4(HPO3)3}$$
Most importantly how exactly does this
[](https://i.stack.imgur.com/j7l91.png)
Get converted to a structure like this
[](https://i.stack.imgur.com/taPc4.png)
Is there some sort of mechanism behind this like we see in [T3P](https://en.wikipedia.org/wiki/Propanephosphonic_acid_anhydride) coupling reaction (to be clear I'm not saying this reaction is exactly that, I'm just asking if this involves similar mechanism) where oxyphosphorous linkage follows an elimination? (Like the oxygen of $\ce{HClO4}$ form a linkage with phosphorus of $\ce{P4O10}$)
Even though phosphorus pentoxide acts as dehydrating agent how does HPO3 form as a product how does the cage structure there get broken down to $\ce{(HPO3)3}$?
Take any phosphorus atom. It is linked to three oxygen atoms $\ce{O}$ by three simple $\ce{P-O}$ bonds. These three bonds will be modified in a similar way, according to the following steps.
Step $1$. Approach one $\ce{HClO4}$ molecule. It provides one $\ce{H+}$ ion which will be attached to one of these bonding $\ce{O}$ atoms. The remaining $\ce{ClO4-}$ ion does not play a role presently.
Step $2$. After this attachment, the $\ce{P-O}$ bond coming from the same initial $\ce{P}$ atom is broken. The oxygen atom remains attached to the $\ce{H}$ atom and to the rest of the molecule. A positive charge appears on this initially chosen $\ce{P}$ atom.
Step $3$. Later on a water molecule will be attracted by this positive $\ce{P}$ atom, and will attach one $\ce{OH}$ group on this $\ce{P}$ atom, (plus release a free $\ce{H+}$ atom, that repeats the same game on the next bonding $\ce{O}$ atom). The whole is equivalent to providing one $ \ce{OH-}$ ion on the positive $\ce{P}$ atom.
Step $4$. Repeat the operations $1$ to $3$ on each $\ce{P-O}$ bonds leaving the initially chosen $\ce{P}$ atom. At the end, the $3$ $\ce{P-O}$ bonds (coming from the same $\ce{P}$ atom) are broken, and replaced by one $\ce{H}$ atom attached on each former bonding $\ce{O}$ atom, and $3$ $\ce{OH}$ bonds on the so modified $\ce{P}$ atom. This produces a lonely $\ce{H3PO4}$ molecule, plus the wanted cycle $\ce{(HPO3)3}$. The result is well described by $$\ce{P4O\_{10} + 3 H2O -> H3PO4 + (HPO3)3}$$
Now the wanted substance $\ce{(HPO3)3}$ is obtained. It is easy to check that it has the same structure as drawn by Kafka yash in his original post.
Later on, both $\ce{H3PO4}$ and $\ce{HClO4}$ can be dehydrated to produce $\ce{HPO3}$ then $\ce{(HPO3)3}$ and $\ce{Cl2O7}$. The mechanism of these transformations may be studied by the same reasoning, but it is not required by the author.
| stackexchange/chemistry |
Confusion regarding order of reaction
The following points are given in my textbook about order and molecularity:-
(i) Order of a reaction is an experimental quantity. It can be zero and even a fraction but molecularity cannot be zero or a non-integer. Its values are limited to 1,2 or 3.
(ii) Order is applicable to elementary as well as complex reactions whereas molecularity is applicable only for elementary reactions.For a complex reaction, molecularity has no meaning.
(iii) Order is given by the slowest step(also known as RDS) and molecularity of the slowest step is same as the order of the overall reaction.
(iv) Molecularity is equal to the sum of stoichiometric coefficients of reactants in the elementary reaction.
However, I have observed an inconsistency in the above points and would like a clarification.
Let us consider 2 cases:-
****Case 1:** Complex Reaction**
By (iii)-order of overall reaction=molecularity of RDS. Since molecularity is 1,2 or 3, order must also be 1, 2 or 3.
**Case 2:Elementary Reaction**
By (iii)-order of overall reaction=molecularity of the reaction(since there is only 1 step so that must be the RDS). Since molecularity is 1,2 or 3, order must also be 1,2 or 3.
Now, combining these two cases, order =1,2 or 3. However, (i) mentions that the order can be fractional or zero. How is this possible?
Here is some clarification.
1. You are correct that order of reaction is an experimental quantity.
2. Just like order of reaction is is an experimental quantity, [molecularity](https://en.wikipedia.org/wiki/Molecularity) is purely theoretical quantity and as of today, I have not found anyone who can observe it. And, it only work for [elementary (1-step) reaction](https://en.wikipedia.org/wiki/Elementary_reaction).
3. Order of reactions do only measurable for RDS. But just by stating that there exist an RDS, you are also stating that the reaction is not elementary, thus the idea of molecularity simply does not apply for a reaction with more than one step.
4. Molecularity have to be positive whole number the same reason you cannot have less than one atom, it is simply not make sense.
I hope this clear things up.
| stackexchange/chemistry |
The Latest: Kaisch talks to Georgia lawmakers before primary
WASHINGTON - The Latest on campaign 2016 on the day of the Nevada Republican caucuses (all times as Eastern Standard Time):
As Republicans in Nevada prepare to caucus for their picks for a GOP presidential nominee, Ohio Gov. John Kasich is telling lawmakers in Georgia the strength of the United States rests in its people, not in its government.
He's speaking before both the Georgia House of Representatives and Senate Tuesday ahead of the state's primary on Super Tuesday.
Kasich tells lawmakers that "you're Americans before you're Republicans and Democrats," adding that "We can fight, we can argue, but it should never be personal because the people of our state, our community and our country depend on us."
Kasich's appearance at the Georgia State Capitol is the first of three scheduled in the Atlanta area. He also plans to hold town halls at Kennesaw State University and Sandy Springs City Hall.
Republican presidential hopeful Marco Rubio is criticizing President Barack Obama's effort to close the detention facility in Guantanamo Bay.
Rubio says voters have the right to be frustrated and points to Obama's move as one reason why. "This makes no sense to me," he told a morning rally in Las Vegas Tuesday, with hours to go before the Nevada caucuses get under way.
Rubio says Obama may return the land to Cuba. "We're not giving back an important naval base to an anti-American communist dictatorship," Rubio says.
He adds that the Guantanamo prisoners don't belong on U.S. soil. "These are literally enemy combatants." Rubio promises that he will ship terrorists to Guantanamo when he's president.
Texas Sen. Ted Cruz is toughening his position on whether the more than 11 million immigrants living in the country illegally should be found and deported.
Cruz said in a Fox News interview late Monday that anyone living in the U.S. illegally should be sought out and deported. That marks a shift for Cruz who said last month while campaigning in Iowa that he opposed dispatching a special force to deport undocumented immigrants. Instead, Cruz said then they would be caught through existing law enforcement agencies.
Cruz told CNN in January, "I don't intend to send jackboots to knock on you door and every door in America. That's now how we enforce the law for any crime."
But in Monday's interview on Fox, Cruz was asked whether he would send federal law enforcement officers to the home of an immigrant known to be living in the country illegally.
Cruz says, "You'd better believe it." But he says there is no ability to do that now because the U.S. doesn't have a biometric exit-entry system to know when someone has overstayed their work visa.
Filmmaker Spike Lee is endorsing Bernie Sanders for president in a South Carolina radio ad.
Arguing, in Sanders' words, that the "system is rigged," Lee praises Sanders for not taking money from corporations in the ad. And in a reference to one of his early films, Lee says that once in the White House, Sanders will "do the right thing."
Lee also notes that the Vermont senator participated in the march on Washington and protested segregation in Chicago public schools.
A writer, director and actor, Lee's films include "Do the Right Thing," and "Malcom X." His most recent movie "Chi-Raq" is about gun violence in Chicago.
Lee endorsed President Barack Obama in 2008 and 2012.
The lone outside group making a concentrated effort to stop Donald Trump from becoming the Republican presidential nominee is circulating a memo in hopes of netting new big donations - or encouraging the four remaining GOP candidates to take on Trump more directly.
Our Principles, a super political action committee that spent $3.5 million on commercials and other voter outreach in Iowa, New Hampshire and South Carolina, on Monday put out the memo titled "Defeating Donald Trump and his Conservatism of Convenience."
Katie Packer, the Republican strategist leading the group wrote which, in the memo, said Tuesday that Our Principles is deciding over whether to attack Trump through a costly national media plan or to target him in key March 1 states. | slim_pajama |
the transformation , upon charge doping , of an antiferromagnetic ( af ) mott insulator into a superconducting ( sc ) metal and the role of af correlations in the appearance of superconductivity have challenged researchers since the discovery of high-@xmath12 superconductivity in cuprates .
is the af order an indispensable component or a competitor for the high-@xmath12 phenomenon ? in a prototype high-@xmath12 cuprate la@xmath6sr@xmath7cuo@xmath8 ,
the long - range af order is destroyed by doped holes way before the superconductivity sets in @xcite , which has led to a general belief that the spin frustration is a prerequisite for metallic conduction and superconductivity .
the destructive impact of static spin order on superconductivity was further supported by the observation of sc suppression at a peculiar 1/8 doping in la@xmath6ba@xmath7cuo@xmath8 @xcite . on the other hand , spin excitations
are often suggested to provide glue for sc pairing , implying the ultimate importance of af correlations , be they static or dynamic . besides , the incompatibility of static af order and sc may be not necessarily a general feature of cuprates . in @xmath1ba@xmath2cu@xmath3o@xmath4
( @xmath1 is a rare - earth element ) , for instance , the long - range af order survives up to much higher doping levels than in la@xmath6sr@xmath7cuo@xmath8 @xcite , though the possibility of its coexistence with superconductivity still remains to be clarified . in strongly anisotropic high-@xmath12 cuprates
, the @xmath0-axis charge transport appears to be remarkably sensitive to the spin ordering in cuo@xmath2 planes . in @xmath1ba@xmath2cu@xmath3o@xmath4 crystals , for example , the @xmath0-axis resistivity @xmath13 exhibits a steep increase at the nel temperature @xmath14 @xcite .
even relatively weak modifications of the spin structure such as spin - flop or metamagnetic transitions result in surprisingly large changes by up to an order of magnitude in the @xmath0-axis resistivity of both hole - doped la@xmath6sr@xmath7cuo@xmath8 @xcite and electron - doped pr@xmath15la@xmath16ce@xmath17cuo@xmath8 @xcite and nd@xmath6ce@xmath17cuo@xmath8 crystals @xcite .
this sensitivity of the interplane charge transport in cuprates to the spin order can be , and actually is , employed for tracing the evolution of the spin state with doping , temperature , or magnetic fields @xcite .
while electrical resistivity measurements have proved to be a very convenient tool for mapping the magnetic phase diagrams in cuprates , their usage has an obvious limitation ; namely , they fail as the superconductivity sets in .
because of this limitation , previous resistivity studies of @xmath1ba@xmath2cu@xmath3o@xmath4 crystals @xcite could not clarify whether the long - range af order vanishes by the onset of superconductivity , or extends further , intervening the sc region .
it sounds tempting to employ strong magnetic fields to suppress the superconductivity and to use the @xmath0-axis resistivity technique of detecting the spin order in otherwise inaccessible regions of the phase diagram . in the present paper ,
we use this approach to study the very region of the af - sc transformation in luba@xmath2cu@xmath3o@xmath4 and yba@xmath2cu@xmath3o@xmath4 single crystals .
@xmath1ba@xmath2cu@xmath3o@xmath4 single crystals with nonmagnetic rare - earth elements @xmath1@xmath5lu and y were grown by the flux method and their oxygen stoichiometry was tuned to the required level by high - temperature annealing with subsequent quenching @xcite . in order to ensure that no oxygen - enriched layer was formed at the crystal surface during the quenching process ,
one of the crystals was dissolved in acid in several steps ; resistivity measurements detected no considerable change in the sc transition upon the crystal s surface destruction .
the @xmath0-axis resistivity @xmath13 was measured using the ac four - probe technique . to provide a homogeneous current flow along the @xmath0-axis
, two current contacts were painted to almost completely cover the opposing @xmath18-faces of the crystal , while two voltage contacts were placed in small windows reserved in the current ones @xcite .
the magnetoresistance ( mr ) was measured by sweeping temperature at fixed magnetic fields up to 16.5 t applied along the @xmath0 axis of the crystals .
a representative @xmath13 curve obtained for a luba@xmath2cu@xmath3o@xmath4 single crystal with a doping level slightly lower than required for the onset of superconductivity is shown in fig . 1 .
in general , the @xmath0-axis resistivity in @xmath1ba@xmath2cu@xmath3o@xmath4 crystals of non - sc composition exhibits two peculiar features upon cooling below room temperature , both of which can be seen in fig . 1 .
the first one is a pronounced crossover at @xmath19 ( @xmath20@xmath21@xmath22k for the particular composition in fig . 1 ) , indicating a change with decreasing temperature of the dominating conductivity mechanism from some kind of thermally activated hopping to a coherent transport @xcite .
it is worth noting that a similar coherent - incoherent crossover was observed in other layered oxides as well @xcite .
the second feature is a sharp growth of the resistivity associated with the long - range af ordering @xcite .
if the crystals were less homogeneous , the low - temperature resistivity upturn would be easy to confuse with a usual disorder - induced charge localization . however , this sharp resistivity anomaly with a characteristic negative peak in the derivative ( inset in fig .
1 ) is definitely related to the spin ordering at the nel temperature @xmath14 : it has been traced from the parent compositions @xmath1ba@xmath2cu@xmath3o@xmath23 with well - known @xmath14 to avoid any doubt in its origin . , of a luba@xmath2cu@xmath3o@xmath24 single crystal .
the sharp growth of the resistivity upon cooling below @xmath25@xmath26k is caused by the af ordering .
inset : anomaly in the normalized derivative @xmath27 associated with the nel transition.,width=287 ] in carefully prepared crystals , the af transitions remain sharp for all compositions , including crystals with very low @xmath28@xmath29@xmath30k , that is @xmath3120 times lower than original @xmath32@xmath25@xmath33k in parent @xmath1ba@xmath2cu@xmath3o@xmath23 .
it is important to emphasize that the transitions at @xmath28@xmath29@xmath30k remain virtually as sharp as in undoped parent crystals even though spin freezing into a spin - glass state is usually expected for such low temperatures and high hole concentrations @xcite .
moreover , the impact of the af ordering on @xmath13 does not weaken with decreasing nel temperature ; as can be seen in fig . 1 , the resistivity of the crystal with @xmath28@xmath29@xmath34k increases by more than 50% upon cooling below @xmath14 , while in crystals with @xmath28@xmath35@xmath36k the corresponding @xmath37 growth does not exceed 15 - 20% @xcite .
what do these observations tell about the impact of doped holes on copper spins ? apparently , the sharp af transitions are hard to reconcile with strongly frustrated spin states and disordered spin textures in cuo@xmath2 planes that are usually expected to emerge in cuprates with doping @xcite .
besides , a strong frustration - induced reduction of the staggered magnetization @xmath38 required to account for the decrease in @xmath14 would necessarily diminish the impact of the interplane spin ordering on @xmath37 , which again disagrees with observations . on the other hand , if the role of mobile doped holes is not to introduce a uniform spin frustration , but simply to break the long - range af order into two - dimensional domains in cuo@xmath2 planes , the observed behavior is easier to understand . in this case , it is the af domains in cuo@xmath2 planes that become the elementary magnetic units and the long - range af state should develop through ordering of their phases , which can occur rather abruptly . correspondingly , the @xmath14 evolution with doping should be governed by the decreasing af domain size , rather than @xmath38 . in turn , the ordering of af domains whose local staggered magnetization does nor change appreciably with hole doping leaves room for large changes in the @xmath0-axis resistivity even at low @xmath14 . the @xmath14 and @xmath12 values determined from the @xmath0-axis resistivity of @xmath1ba@xmath2cu@xmath3o@xmath4 crystals have been used to establish the doping - temperature phase diagram in fig . 2 .
a peculiarity of @xmath1ba@xmath2cu@xmath3o@xmath4 crystals is that their doping level is determined both by the oxygen content and by the degree of its ordering @xcite . for characterizing the doping level ,
we use therefore the in - plane conductivity @xmath39 instead of the oxygen content ; the former is a good measure of the hole density given that the hole mobility stays almost constant in the doping region under discussion @xcite .
ba@xmath2cu@xmath3o@xmath4 ( @xmath1 = lu , tm , y ) crystals near the af - sc transformation . the af and sc transition temperatures , @xmath14 and @xmath12 , are presented as a function of the in - plane conductivity @xmath39 which is a good measure of the hole density in the shown doping region @xcite .
the nel temperature was determined either at the position of the jump ( middle point ) in the derivative @xmath40 ( open circles ) , or at the position of the negative peak in @xmath40 ( solid circles).,width=326 ] as can be seen in fig . 2
, the long - range af order in @xmath1ba@xmath2cu@xmath3o@xmath4 appears to be much more stable than in la@xmath6sr@xmath7cuo@xmath8 where it vanishes well in advance before the onset of superconductivity . in @xmath1ba@xmath2cu@xmath3o@xmath4 ,
the af phase boundary flattens upon approaching the sc compositions and hits the sc region , crossing the @xmath12 line at @xmath25@xmath41k .
the observed overlap of the sc and af regions is very close to the area where @xmath42sr studies of yba@xmath2cu@xmath3o@xmath4 ceramics revealed the coexistence of superconductivity with spontaneous static magnetism @xcite . given that the @xmath0-axis resistivity studied here is sensitive to the _ interlayer _ spin ordering , the static magnetism detected by @xmath42sr @xcite should in fact be related to the three - dimensional af order .
the superconductivity in @xmath1ba@xmath2cu@xmath3o@xmath4 thus develops directly from the af - ordered state without any intervening paramagnetic or spin - glass region .
cu@xmath3o@xmath4 single crystal for two oxygen concentrations near the af - sc transformation . for the superconducting composition @xmath43 ,
the data were taken at several magnetic fields from zero up to 16.5 t applied along the @xmath0 axis .
the sharp upturn in the resistivity associated with the nel transition shows up as the superconductivity is suppressed with the magnetic field.,width=326 ] according to the established phase diagram ( fig .
2 ) , an increase of the hole density in cuo@xmath2 planes by @xmath441% per cu ( from @xmath215% to @xmath256% , assuming the onset of superconductivity at @xmath255% doping ) turns an af @xmath1ba@xmath2cu@xmath3o@xmath4 crystal without any sign of superconductivity into a bulk superconductor with @xmath9@xmath44@xmath45k . what happens with the af order upon entering the sc region , does it vanish abruptly ?
zero - field @xmath13 curves measured on the same luba@xmath2cu@xmath3o@xmath4 crystal for two hole doping levels ( that differ by @xmath250.5 - 0.6% per cu ) indeed demonstrate a switch from an af state with @xmath13 sharply growing below @xmath14 to a sc state ( fig .
however , when the superconductivity is suppressed with the magnetic field @xmath46@xmath47@xmath48 , the steep increase in @xmath37 associated with the af ordering is recovered back ( fig . 3 ) . moreover , the recovered nel temperature is merely several kelvin lower than for the non - sc composition ( upper curve in fig . 3 ) and
the resistivity increase is not reduced appreciably either . as long as the sc in luba@xmath2cu@xmath3o@xmath4 and yba@xmath2cu@xmath3o@xmath4 crystals is weak enough to be killed by the 16.5-t field ,
the unveiled @xmath13 curves keep demonstrating the anomalous growth below 15 - 20@xmath49k associated with the nel transition .
this behavior indicates that , at least when superconductivity is suppressed with magnetic fields , the af order extends to considerably higher doping levels than the sc onset .
consequently , at zero magnetic field the af and sc orders either coexist with each other in a certain range of doping , or the af order is frustrated in the sc state but revives as the superconductivity is destroyed with the magnetic field .
a switching between the af and sc orders was indeed suggested based on early @xmath42sr studies @xcite , yet no further proofs were collected .
the close location and even overlapping of the af and sc orders on the phase diagram raise another question of whether the af and sc orders reside in nanoscopically separated phases in cuo@xmath2 planes or coexist on the unit - cell scale , which calls for local microscopic tools to be clarified .
j. m. tranquada , a. h. moudden , a. i. goldman , p. zolliker , d. e. cox , g. shirane , s. k. sinha , d. vaknin , d. c. johnston , m. s. alvarez , a. j. jacobson , j. t. lewandowski , and j. m. newsam , phys . rev .
b * 38 * , 2477 ( 1988 ) . | arxiv |
one of the key issues in the physical realization of quantum computing@xcite is the scalability , namely the ability of fabricating and coherently manipulating one or few qubits must be extended to an array of them .
spin qubits in semiconductor quantum dots serve as one of the most promising candidates for quantum computing , not only because of their long coherence time and high control fidelities,@xcite but also due to their prospect for scaling - up,@xcite thanks to the mature infrastructure of present - day semiconductor industry .
various types of spin qubits are currently being pursued in laboratories worldwide , including the single - spin qubit being encoded in the spin up and down states of one electron,@xcite the singlet - triplet ( s - t ) qubit@xcite which employs two - electron singlet and triplet states as computational bases,@xcite the exchange - only qubit@xcite together with its variant , the resonant - exchange qubit,@xcite utilizing certain three - spin states in a triple - quantum - dot system , as well as the hybrid qubit@xcite which similarly uses three electrons but has them hosted by double quantum dots . over the past decade , the s - t qubit has received intense attention because it is the simplest type of spin qubit which can be manipulated efficiently by pure electrical means .
the vast success achieved at its single - qubit level@xcite has encouraged researchers to go on to two s - t qubits , which require four quantum dots occupied by four electrons.@xcite devices with four or even more quantum dots can now be fabricated in the laboratory,@xcite and progresses have been made toward precise manipulation of two s - t qubits.@xcite nevertheless , coherent control of the collective multi - electron states has remained challenging .
the microscopic theoretical studies of double quantum dots , in particular those from the molecular orbital theory,@xcite have played an important role in elucidating the physics of an s - t qubit . not only the energy spectra and exchange interaction of the s - t qubit have been investigated in detail for their dependences on the dimensions of the device and the external fields,@xcite the responses of the qubit to various types of noises are also extensively studied.@xcite however , the extensions of these studies to two s - t qubits involving four quantum dots are less well explored .
protocols to perform entangling gates have been put forward for capacitively coupled s - t qubits,@xcite and the `` sweet spots '' on the energy spectra where the control is maximally immune to noises have been suggested.@xcite while the molecular - orbital - theoretic calculations similar to that of one s - t qubit have been carried out in many of these works , the two s - t qubits are always assumed to be quantum - mechanically `` well - separated '' , that is , the wave function of one s - t qubit is assumed to have no admixture of that from the other.@xcite this has lead to a substantial reduction of the dimensionality of the hilbert space and has greatly facilitated the calculations since the two s - t qubits are treated essentially separately and are only connected by a coulomb integral . in this work we conduct a comprehensive theoretical study of the four - quantum - dot system via the molecular orbital theory . in particular , we allow for the cases in which the admixture between wave functions of the two s - t qubits can not be neglected .
we find that the energy spectra , while being very similar to that of the simplified case in which the two s - t qubits are treated separately , show important features of mixing as the two s - t qubits become close .
we show that the qubit states may be less well defined for certain parameters , and consequently the exchange interaction that is usually defined as the energy difference between the singlet and triplet states must be understood as an effective exchange interaction that can be derived from the hubbard parameters calculated microscopically .
we further study the gate crosstalk , the situation in which the manipulation of one qubit inevitably affects the other idle one due to the admixture of electron wave functions between the two qubits .
we find that while the gate crosstalk via this quantum channel is typically weak , it can be much pronounced when distance between the two qubits are small enough .
the remainder of the paper is organized as follows . in sec . [
sec : model ] we present the model and methods used in this work .
we then present results in sec .
[ sec : res ] , including the energy spectrum ( sec .
[ sec : spectrum ] ) , the exchange interaction ( sec .
[ sec : exch ] ) and the gate crosstalk ( sec .
[ sec : crosstalk ] ) .
we conclude in sec .
[ sec : conclusion ] .
( the distance between the center of two adjacent dots within one double dot system ) , @xmath0 ( the distance between the center of two double - dot systems ) , and @xmath1 ( the detuning on the left double dots ) are indicated . ]
we consider a lateral four - quantum - dot system under a homogeneous magnetic field @xmath2 along the @xmath3-axis .
the hamiltonian can be generally written , in the @xmath4 plane , as @xmath5 , \label{eq : h}\ ] ] where @xmath6 is the effective mass of the electron .
@xmath7 is the confinement potential of four quantum dots , consisted of a pair of double quantum dots ( dqds ) separated by a distance @xmath0 , while the interdot distance within each dqd is @xmath8 . in our work
we model @xmath7 with the form @xmath9 , \end{aligned } \label{eq : v}\ ] ] where @xmath10 indicates the confinement potential of the @xmath11 quantum dot centering at @xmath12 , the coordinates of which are @xmath13 in eq . , @xmath14 is the confinement energy@xcite which characterizes the size of the dot ; differences in @xmath15 s are used to represent the detuning of the corresponding dqd . a schematic diagram of the potential is shown in fig .
[ fig:1 ] . in most cases
we have considered in this work , there is only one electron in each dot . in this case , each dqd can be treated as one singlet - triplet ( s - t ) qubit , the detuning of which is represented by @xmath1 and @xmath16 for the left s - t qubit ( dots 1 and 2 ) and the right one ( dots 3 and 4 ) respectively,@xcite i.e. @xmath17 and @xmath18 .
we adopt the hund - mulliken method to solve this multi - electron problem.@xcite the starting point is the fock - darwin states , which are the electron wave functions in an isolated dot modeled by a harmonic potential . among these fock - darwin states ,
only the ground states @xmath19,\quad i=1,2,3,4 , \end{aligned } \label{eq : ground}\ ] ] are retained in the hund - mulliken approximation .
here , @xmath20 is fock - darwin radius . using the fock - darwin states
, we build a set of orthogonal single - electron states by the transformation @xmath21 where @xmath22 is the overlap matrix defined as @xmath23 .
there are different ways to obtain @xmath24 in the literature , e.g. in ref .
a gram - schmidt method has been performed for the orthogonalization . however , in our situation we would like to keep the symmetry that the states remain the same after indices 1,4 and 2,3 are interchanged ( @xmath25 and @xmath26 ) .
we therefore used the method by lwdin s orthogonalization where the @xmath24 can be obtained by the singular value decomposition.@xcite we note that eq .
marks the main difference of this work from previous ones.@xcite in previous works dealing with four quantum dots , the two dqds are treated essentially separately and @xmath27 are merely dependent on @xmath28 and @xmath29 while @xmath30 on @xmath31 and @xmath32 . here , as an example , our @xmath33 is explicitly an admixture of all @xmath28 through @xmath32 .
the consequences of this difference shall be discussed later . in this work
we consider four electrons ( with two spin up and two spin down ) occupying the lateral four - quantum - dot system .
since only the lowest energy levels for each dot are retained in the hund - mulliken approximation , the maximum occupancy for each dot is two .
the four - electron wave function can be generically written as @xmath34 where @xmath35 creates an electron with spin @xmath36 at the @xmath37 dot , @xmath38 , @xmath39 labels different energy levels for the four - electron states , and @xmath40 describes a vacuum state .
the four - electron hamiltonian of the problem can then be expressed in a hubbard - like form as is shown in the appendix as eq . .
there are 36 possibilities for the four electrons to occupy the lowest levels of four dots ( two spin up electrons see four possibilities and so are the two spin down electrons ) , therefore the hamiltonian under the bases eq . is a @xmath41 matrix . in the hubbard form of the hamiltonian , the kinetic energy ( @xmath42 ) and coulomb repulsion ( @xmath43 )
terms constitute the diagonal terms of the matrix and the hopping ( @xmath44 ) , spin super - exchange ( @xmath45 ) , pair - hopping ( @xmath46 ) and occupation - modulated hopping ( @xmath47 ) terms primarily contribute to the off - diagonal ones . in practice ,
the matrix elements of the hamiltonian are evaluated by computing the overlaps of the corresponding wave functions , that is effectively replacing the creation operators in eq . by the orthogonalized single - particle wave functions
@xmath33 though @xmath48 defined in eqs . .
in other words , the parameters of the hamiltonian are calculated microscopically using the hund - mulliken wave functions .
one can then use either the matrix form or the second quantized form of the hamiltonian to further study its physical properties , including the energy spectrum and the ( effective ) exchange interaction as we will discuss in the remainder of this paper . in a previous work,@xcite
this problem was treated in the case where the two pairs of double - quantum - dot systems are sufficiently far away from each other such that the hund - mulliken wave function for each s - t qubit does not involve components from the other one . in other words , in ref .
only the coulomb repulsion between the second and third electron is considered , and hopping and exchange involving them are ignored .
this has led to a dramatic simplification of the problem as the hilbert space can be block - diagonalized and the two s - t qubits can be treated essentially separately .
in contrast , our work explicitly retains all interactions involving the second and third electrons and our hund - mulliken wave functions include contributions from all four electrons .
in this section , we study the energy spectrum of the four - quantum - dot system described in the previous section . to begin with
, we qualitatively describe the situation where the two s - t qubits are sufficiently far away such that the exchange interaction between them can be ignored , as that provides the first insight to the problem at hand . in this case
, the hamiltonian can be factorized into two parts describing the left ( `` l '' ) and right ( `` r '' ) s - t qubits respectively : @xmath49 , while the states relevant to quantum computation can be written as @xmath50 , @xmath51 , @xmath52 , and @xmath53 , where the first entry in the ket indicates the state in the left s - t qubit and the second the right one . to facilitate the discussion
we introduce the following notations describing a state of an s - t qubit : ( we took the left s - t qubit involving dots 1 and 2 as the example , but one can easily replace them by dots 3 and 4 as well . )
( d)-(f ) ( right column ) : @xmath55 .
common parameters : @xmath56 , @xmath57 .
( a ) and ( b ) show the three energy levels relevent to the manipulation of the left s - t qubit .
( c ) and ( d ) show the composition of the @xmath50 state , while ( e ) and ( f ) show the composition of the @xmath52 state , with the @xmath58-axis label @xmath59 as the probability of each state indicated on the figure . ]
[ fig:2](a ) shows the energy spectrum of three levels relevant to the manipulation of the s - t qubits out of the full spectrum , with @xmath60 .
[ fig:2](b ) shows the components of the @xmath50 state and fig .
[ fig:2](c ) those of the @xmath52 state as indicated in fig .
[ fig:2](a ) . in this case , the two pairs of double quantum dots are sufficiently far away that the result closely resembles the case in which they behave independently .
we have also verified that for all @xmath61 the results are very similar to the case with two independent s - t qubits , but those results are not shown .
we see that if both s - t qubits have zero detuning , i.e. all dots are leveled , the lowest energy state is the @xmath50 state , but it is very close to the other states , @xmath51 and @xmath52 as shown in the figure .
( the @xmath53 state is not important for the manipulation of the left qubit thus is not shown here . )
the @xmath50 state has mostly the @xmath62 character while the @xmath52 state almost 100% the @xmath63 character .
detuning of the left qubit ( changing @xmath1 ) leads to a reduction in energy of the @xmath50 state and a increase of the portion of @xmath64 ( @xmath65 ) or @xmath66 ( @xmath67 ) in its composition , while the @xmath52 state remain unchanged .
the energy difference between the @xmath50 and @xmath52 states therefore gives the exchange interaction required to steer the left qubit , performing a rotation of the bloch vector around the @xmath3 axis of the bloch sphere .
these are known results from previous literature.@xcite the inset of fig .
[ fig:2](a ) presents a zoomed - in view of the three levels near the zero detuning .
it is interesting to note that the two levels @xmath51 and @xmath52 cross at @xmath68 and @xmath69 mev .
the two crossings are actually very sharp avoided crossings , which are direct consequences of the interactions between the second and third electrons belonging to the left and right s - t qubit respectively . in particular
, the spin super - exchange term results in a nonzero off - diagonal elements between the @xmath51 and @xmath52 state , and such avoided crossing is just a manifestation that the two s - t qubits are not infinitely far away . such avoided crossings are very sharp and only affect a small range of @xmath52 as a function of @xmath1 .
these are noted as yellow lines in fig .
[ fig:2](c ) .
as the two s - t qubits become closer , the mixture of @xmath51 and @xmath52 states at certain detuning values becomes more pronounced .
[ fig:2](d)-(f ) show a situation with @xmath70 .
the first difference we notice between fig .
[ fig:2](a ) and ( d ) is that the curves are moved in entirety to the right in ( d ) compared to ( a ) .
this is because as the two s - t qubits become closer , the coulomb repulsion imposed by the right qubit to the left qubit becomes stronger , which increases the tendency to have double occupancy in the leftmost dot ( the first dot ) . in other words ,
some of the coulumb repulsion takes up the role of the detuning and now a weaker detuning is needed to achieve the same level of exchange interaction compared to the case in which the two s - t qubits are far away .
however , the most important feature we notice from the inset of fig . [ fig:2](d ) is that the avoided crossings between the @xmath51 and @xmath52 states are now much more visible and are smoother , and the percentage of the expected qubit states in the actual admixture of @xmath50 or @xmath52 states are reduced .
[ fig:2](e ) shows the composition of the @xmath50 state as a function of the detuning and the percentage of @xmath71 state for the small detuning regime are not decreased by much . on the contrary
, the composition of the @xmath52 state has been appreciably changed . from fig .
[ fig:2](f ) we notice that a new state , the @xmath72 state now enters the admixture as a result of the spin super - exchange between the second and third spins , and most importantly in the neighborhood of the avoided crossing @xmath63 and @xmath73 states are substantially mixed . since @xmath63 no longer dominates the state , one is unable to define an exchange interaction in the usual way of taking the energy difference between the state and the @xmath50 , leading to difficulties in understanding the manipulation of multi - quantum - dot systems . in fig .
[ fig:2](f ) we have masked the range where the portion of @xmath63 drops below 80% with two yellow rectangles , and one must exercise caution in defining the exchange interaction as the energy level splitting between the two states concerned . overall the results of the energy spectra of the four dot systems show interesting features : when the two pairs are sufficiently far away , the results closely resemble that of two individual s - t qubits . on the other hand
as they get closer the spin super - exchange between the second and third electrons introduces the @xmath72 state into the composition of the @xmath52 state , and mixes the @xmath63 and @xmath73 states near two points of the avoided crossing of energy spectra .
these results motivate us to study how an effective exchange interaction may be defined in the next section . and @xmath52 states , @xmath74 , and the effective exchange interaction @xmath75 derived from eq . .
( a ) @xmath76 as functions of detuning @xmath1 .
@xmath56 , @xmath57 , and @xmath77 .
( b ) @xmath76 as functions of the confinement energy @xmath78 .
@xmath57 , @xmath77 , and @xmath79 .
( c ) @xmath76 as functions of @xmath80 .
@xmath56 , @xmath81 , and @xmath79 .
( d ) @xmath76 as functions of @xmath82 .
@xmath56 , @xmath57 , and @xmath79 . ] in this section we present results of the effective exchange interaction of the s - t qubit with another s - t qubit nearby , and compare the results to those calculated by taking the energy difference between the two computational states , where applicable .
the lateral four - quantum - dot system can be alternatively described by a heisenberg spin chain model , @xcite @xmath83 where @xmath84 is the spin operator for the electron occupying the @xmath85th dot , and @xmath86 the effective exchange interaction between electrons in the @xmath85th and @xmath39th dot .
the spin hamiltonian is related to the hubbard - like hamiltonian by a schrieffer - wolff transformation.@xcite detailed derivations are given in the appendix , where we also show that the transformation gives the effective exchange interactions as functions of the hubbard parameters as @xmath87 @xmath88 and @xmath89 since the hubbard parameters can always be calculated from the overlap integrals of the wave functions , we can calculate the effective exchange interactions for the cases even if the two s - t qubits are close to each other and the desired computational states are substantially admixed with others . to benchmark whether this is a judicious definition of the exchange interaction
, we compare the effective exchange interaction @xmath90 to that calculated from the energy level differences , @xmath91 .
the results are shown in fig .
[ fig:3 ] .
figure [ fig:3](a ) shows @xmath90 and @xmath91 as functions of the detuning @xmath1 with fixed confinement energy and the location of the dots .
the results for @xmath90 and @xmath91 agree reasonably well for small detuning ( @xmath92 ) , and they both show the correct trend : the exchange interaction is minimal when @xmath93 , and it increases when the left s - t qubit is detuned in both direction , either @xmath65 or @xmath67 . for larger absolute value of @xmath1 , @xmath90 tends to overestimate the exchange interaction , which is about 20% larger than @xmath91 at @xmath94 .
nevertheless , taking into account of the fact that the manipulation of a s - t qubit is done at small detunings , i.e. the singlet state should not be dominated by @xmath95 or @xmath96 states , we conclude that both methods of calculating the exchange interaction agree within this range .
figure [ fig:3](b ) shows @xmath90 and @xmath91 as functions of the confinement energy @xmath78 with the detuning @xmath97 and the location of the dots fixed .
both lines show clear trend that for larger @xmath78 ( corresponding to narrower dots and higher potential barriers in between ) the exchange interactions are smaller , while for smaller @xmath78 ( corresponding to wider dots and lower potential barriers ) the exchange interactions are larger .
@xmath90 and @xmath91 basically agree for dots that are sufficiently narrow , i.e. @xmath98 , but for wider dots @xmath90 becomes systematically larger than @xmath91 .
we note that when the dots are wide and the potential barriers in between are low , the wave functions between the two dots are substantially mixed and the hund - mulliken approximation becomes less reliable .
nevertheless , both curves show the same trend and the deviation between the two are not large , provided the fact that in realistic experiment the potential barriers between the dots are typically well defined .
figure [ fig:3](c ) shows @xmath90 and @xmath91 as functions of the half distance between the two dots within each s - t qubit , with the confinement energy @xmath99 fixed . for @xmath80 small , the two dots within each s - t qubit are close to each other and the exchange interaction , which is essentially the overlap of the electron wave functions in the two dots , are large .
as @xmath80 is increased , the exchange interaction rapidly decrease .
this trend has been clearly shown in the fig .
[ fig:3](c ) .
we again encounter a similar situation with the other panels that @xmath90 tends to overestimate than @xmath91 . however , an important message from this figure is that @xmath90 can be defined in a wider domain than @xmath91 . in particular ,
when @xmath100 , the second and the third dots , which belongs to two s - t qubits respectively , becomes close enough to each other that the computational states no longer dominate the four electron wave functions , and the exchange interaction therefore can not be extracted as the energy difference between the two relevant states .
this fact is signified in fig .
[ fig:3](c ) by a dashed vertical line at @xmath101 , beyond which @xmath91 is shown as the dashed line .
nevertheless , we may still define the effective exchange interaction according to eq . , and it turns out that it agrees well with the results of @xmath91 that would be obtained if one simply takes the energy difference .
this fact means that the @xmath91 obtained from taking the energy difference between the two states relevant to quantum computation , even when they are admixtures of a set of states without being dominated by the desired computational states , can be regarded as the effective exchange interaction .
figure [ fig:3](d ) compares the variation of @xmath90 and @xmath91 as the distance between the s - t qubits @xmath0 is changed , with the confinement energy @xmath99 , the detuning @xmath97 and @xmath102 fixed . for @xmath82 sufficiently large , the two s - t qubits behave essentially independently , and both curves of the exchange interaction show little changes for @xmath103 as expected . as @xmath82 is reduced , the two s - t qubits become closer and that leads to an increase in the exchange interaction .
the reason is as explained in fig .
[ fig:2 ] : the right s - t qubit imposes an additional coulomb repulsion to the left s - t qubit , and that has increased the portion of @xmath95 in the singlet state , which has effectively enhanced the exchange interaction . both curves show this trend as expected . for @xmath104 ,
the two s - t qubits are so close to each other that again the computational states no longer dominate the actual four electron state .
a vertical dashed line is drawn at this point and @xmath91 is marked as dashed line to the left of it .
nevertheless , @xmath90 , albeit still overestimate a little , shows that one may still define effective exchange interactions in this situation . in this section
we discuss the gate crosstalk in the four - quantum - dot system , a situation in which when an individual qubit is being addressed , its adjacent qubits are affected even if they have been left alone .
since the ability to manipulate a qubit without affecting others is fundamental to any quantum algorithm , the gate crosstalk is therefore a key obstacle to achieve scalable , fault - tolerant quantum computation .
we classify the sources of the gate crosstalk arising in controlling the semiconductor quantum dot qubits into three channels . in the first channel ,
the changes in gate voltages are distributed into different dots .
of course , if one is addressing one particular dot with certain gate voltage , that voltage will have a major effect on the chemical potential of the electrons therein .
nevertheless , the energy of electrons in adjacent dots may also be shifted and the linear combination of these energy changes together accounts for the gate voltage applied .
since this is entirely electrostatic , we term this channel as the `` classical '' one .
the phenomenon has been studied since the early development of quantum dot spin qubits and is well explained by the capacitance circuit model,@xcite which essentially keeps all the kinetic energy , zeeman and coulomb repulsion terms in the hamiltonian , namely terms in eqs . and are retained.@xcite this effect can be straightforwardly compensated , for example , by using appropriate linear combinations of relevant gate voltages and we therefore will not cover this further in this work .
another related channel is the capacitive interaction between the two s - t qubits .
when one qubit is detuned in such a way that one of its quantum dots has been doubly occupied , the change in electrostatic interaction consequently shifts the exchange interaction on the other qubit .
this effect has been the basis for most experimental realization of two - qubit gates,@xcite and can be very well quantified and controlled . in our work , we do not detune the qubits far enough to allow double occupancy so this effect can be ignored .
moreover , we rule out the contribution to our results from this mechanism because while the detuning of one qubit is changed from negative to positive values , one accordingly expects a monotonic change of the exchange interaction of the other qubit , and that is not what we have seen in the results
. we will therefore focus on the `` quantum '' channel of the gate crosstalk , which stems completely from the overlap between the wave functions of the adjacent electrons belonging to different s - t qubits .
this effect is expectedly much weaker than the classical channel but is more difficult to compensate .
therefore one of the main purposes of this paper is to give a quantitative evaluation of the deteriorating effect of the quantum aspect of the gate crosstalk , which we refer to as simply the `` gate - crosstalk '' .
we note that in previous works treating the four dot system as two separate pairs , the gate crosstalk is absent because there will be no change on the quantum state of a given s - t qubit when the other one is being manipulated . in our work , we take into account of all four electron states and we can capture the gate crosstalk accordingly .
the gate crosstalk manifests itself as the change in the exchange interaction of a given s - t qubit which has been left alone while the other is being addressed .
we expect that this effect will be minimal when the two s - t qubits are far away from each other , but will become more pronounced when they are close . as mentioned in sec .
[ sec : exch ] , the usual way of defining the exchange interaction as the energy difference between the qubit levels becomes problematic when @xmath105 . nevertheless , the effective exchange interaction @xmath106 defined in eqs . and has always been well - defined , and while @xmath106 tends to overestimate , they agree well in the parameter range where quantum computation is to be performed
. we will therefore use @xmath106 to study the gate crosstalk .
figure [ fig:4 ] is a pseudo - color plot showing @xmath107 @xmath108 , the effective exchange interaction of the left(right ) qubit , as functions of both detunings @xmath1 and @xmath16 .
figure [ fig:4](a ) and ( b ) show the case in which @xmath109 is large .
we see from fig .
[ fig:4](a ) that @xmath107 in only dependent on @xmath1 but not on @xmath16 , and from fig . [ fig:4](b ) that @xmath110 only depends on @xmath16 but not on @xmath1 .
these results are expected because in this case the two s - t qubits behave independently . on the other hand ,
the case shown in fig .
[ fig:4](c ) and ( d ) , in which @xmath111 , reveals very different results . in fig .
[ fig:4](c ) , @xmath107 not only depends on @xmath1 , but also depends weakly on @xmath16 , leading to a `` bending '' of the stripe showing the increase of the exchange interaction .
in particular , as @xmath16 is changed from positively to negatively detuned , in order to maintain the same level of @xmath107 , @xmath1 must be detuned further toward the left ( negative side ) . similarly , as has been shown in fig .
[ fig:4](d ) , while @xmath110 depends mainly on @xmath16 , it also weakly depends on @xmath1 : as @xmath1 is detuned from negative to the positive direction , one must increase @xmath16 a little to maintain the same strength of @xmath110 .
this gate crosstalk effect , albeit not strong , is clearly the consequence of the overlap between the electron wave functions in different s - t qubits .
our calculations also show that for @xmath112 , this effect can be safely neglected , but as @xmath109 is reduced below 2 , the effect quickly becomes pronounced , as has been shown in fig . [ fig:4](c ) and ( d ) .
note that @xmath111 means that the second dot is even closer to the third dot than the first one , a situation that does not usually happen in experiments .
our results therefore indicates that as long as the s - t qubits are fabricated at a distance which is greater than the distance between the two dots within one qubit , the `` quantum '' channel of the gate crosstalk is very small and can be safely ignored .
[ ( a ) and ( c ) ] and @xmath113 [ ( b ) and ( d ) ] derived from eqs . and
as a function of detunings @xmath1 and @xmath16 ( a ) and ( b ) : @xmath114 .
( c ) and ( d ) @xmath115 .
common parameters : @xmath56 , @xmath57 . ]
in this paper , we have theoretically studied a lateral four - electron four - quantum - dot system constituting two s - t qubits , using molecular - orbital - theoretic methods .
we have applied the hund - mulliken approximation to keep only the lowest levels in the four dots , but we have explicitly taken into account the admixture of electron wave functions in all dots .
we have found that this mixing of wave functions causes interesting consequences on the energy spectrum , exchange interaction and the gate crosstalk of the system . to be specific , we have found that certain states in the energy spectrum are no longer dominated by the computational basis states as expected , when the two s - t qubits are sufficiently close . in this case , the exchange interaction can no longer be straightforwardly found by taking the energy differences between the two relevant levels . on the other hand , we have found that the effective exchange interaction , which is a combinational result of various hubbard parameters that can be calculated microscopically , agrees well with the exchange interaction calculated by taking energy differences where applicable .
this suggests that the exchange interaction in the four - quantum - dot system should be understood in an effective sense .
last but not least , we have studied the gate crosstalk in the system arising from the overlap between electron wave functions belonging to different qubits .
we have found that while this effect is typically very weak , it can become more pronounced when the spacing between the qubits are similar to or even less than the distance between the double dots that constitute the qubit .
our work provides theoretical insights on the manipulation of two s - t qubits on four - quantum - dot devices , which consequently contributes to the effort toward scalable , fault - tolerant quantum computation using spin qubits .
in this appendix , we give a detailed derivation of the effective spin hamiltonian from its second - quantized hubbard - like form.@xcite this has previously been done for a four - quantum - dot system,@xcite but our results have subtle differences especially in regard to the occupation - modulated hopping , which we shall explain below .
when the coulomb repulsion is sufficiently large , double occupancy is precluded , and the hamiltonian can have an effective form as@xcite @xmath119 where @xmath120 projects the hilbert space into that of the case in which all dots are singly occupied , @xmath121 is the projection operator for higher energy state , and @xmath122 is the ground state energy of hamiltonian . here , the @xmath126 term ( and its hermitian conjugate ) refers to the process in which an electron hops from the @xmath127th site to the @xmath128th site and then back , while the @xmath129 term indicates the reverse . in ref .
, the two processes have not been distinguished . in our work , we have to distinguish the two because as we will see immediately below , the energy change will be very different . the numerator and the denominator of eq .
are evaluated for the two cases as follows : 53ifxundefined [ 1 ] ifx#1 ifnum [ 1 ] # 1firstoftwo secondoftwo ifx [ 1 ] # 1firstoftwo secondoftwo `` `` # 1''''@noop [ 0]secondoftwosanitize@url [ 0 ]
+ 12$12 & 12#1212_12%12@startlink[1]@endlink[0]@bib@innerbibempty @noop _
( , ) @noop * * , ( ) link:\doibase 10.1038/nphys1856 [ * * , ( ) ] link:\doibase 10.1103/physrevlett.105.266808 [ * * , ( ) ] @noop * * , ( ) link:\doibase 10.1038/nature11449 [ * * , ( ) ] @noop * * , ( ) @noop * * , ( ) @noop * * , ( ) @noop * * , ( ) @noop * * , ( ) @noop * * , ( ) @noop * * , ( ) @noop * * , ( ) link:\doibase 10.1103/physrevb.82.075403 [ * * , ( ) ] @noop * * , ( ) @noop * * , ( ) @noop * * , ( ) link:\doibase 10.1103/physrevlett.105.216803 [ * * , ( ) ] link:\doibase 10.1103/physrevlett.107.146801 [ * * , ( ) ] link:\doibase 10.1103/physrevlett.110.177602 [ * * , ( ) ] @noop * * , ( ) link:\doibase 10.1103/physrevlett.98.050502 [ * * , ( ) ] @noop * * , ( ) link:\doibase 10.1103/physrevb.90.045418 [ * * , ( ) ] link:\doibase 10.1103/physrevb.92.235301 [ * * , ( ) ] @noop ( ) @noop * * , ( ) @noop * * , ( ) @noop ( ) @noop * * , ( ) link:\doibase 10.1103/physreva.61.062301 [ * * , ( ) ] link:\doibase 10.1103/physrevb.72.195307 [ * * , ( ) ] @noop * * , ( ) link:\doibase 10.1103/physrevb.90.195424 [ * * , ( ) ] link:\doibase 10.1103/physrevb.82.075319 [ * * , ( ) ] link:\doibase 10.1103/physrevb.83.195318 [ * * , ( ) ] link:\doibase 10.1103/physrevb.84.235309 [ * * , ( ) ] link:\doibase 10.1103/physrevb.91.155425 [ * * , ( ) ] link:\doibase 10.1103/physrevb.75.085324 [ * * , ( ) ] link:\doibase 10.1103/physrevb.76.233302 [ * * , ( ) ] link:\doibase 10.1103/physrevb.84.155329 [ * * , ( ) ] link:\doibase 10.1103/physrevb.85.035319 [ * * , ( ) ] @noop * * , ( ) @noop * * , ( ) link:\doibase 10.1103/physrevb.84.121306 [ * * , ( ) ] @noop * * , ( ) @noop _ _ ( , ) link:\doibase 10.1103/physrev.149.491 [ * * , ( ) ] link:\doibase 10.1016/j.aop.2011.06.004 [ * * , ( ) ] @noop * * , ( ) link:\doibase 10.1103/revmodphys.79.1217 [ * * , ( ) ] @noop * * , ( ) | arxiv |
Black-Ash Inheritance is the second EP by Swedish metal band In Flames, released in 1997. The title is a lyric from the song Dead God in Me from The Jester Race. It was released as a preview of the upcoming album Whoracle. Its tracks were later included in the Japanese release of Whoracle as well as the later reissue of The Jester Race.
The Acoustic Medley is a medley of three In Flames songs; Artifacts of the Black Rain The Jester Race, Dead Eternity The Jester Race and Jotun Whoracle.
In 2007, Black-Ash Inheritance was re-released as a shaped mini-LP by Night of the Vinyl Dead Records, limited to 555 copies.
Track listing
Personnel
In Flames
Anders Fridén vocals, percussion
Glenn Ljungström guitar
Jesper Strömblad guitar, keyboards, percussion
Johan Larsson bass
Bjorn Gelotte drums, percussion
Amorphis
Pasi Koskinen vocals
Esa Holopainen lead guitar; electric sitar 1
Tomi Koivusaari rhythm guitar
Olli-Pekka Laine bass guitar
Kim Rantala keyboards; accordion 1
Pekka Kasari drums
Category:In Flames albums
Category:1997 EPs
Category:Nuclear Blast EPs
Category:Albums produced by Fredrik Nordström | wikipedia |
One Piece 1. Chapter 1
"Hey Law, what you do think?"
Trafalgar jerks at the sudden and unfamiliar call of his name in Luffy's chirpy voice, fork perfectly poised near his gaping mouth. The unfortunate piece of fish drops from his fork, making a soft slap on the table that Sanji begins screeching at Trafalgar for.
"Wha-What did y-you-," Law splutters, face growing so white Chopper shoots a concerned look his way.
"I said, what do you think Law." Luffy repeats, tilting his head to one side, blinking cluelessly.
Trafalgar flinches, causing a few curious glances to be thrown his way. His gaze flicks up from the table to Luffy, eyes hard, figure shaking. The silverware trembles in his tight hold, knuckles gleaming white.
"Hey Law? You okay? Chopper, I think something's wrong with La-"
"Don't." Trafalgar suddenly cuts in, his voice louder than any he's used with Luffy before; bar the times he's exasperatedly shouted at Luffy for his sudden hugs or absurd propositions during their strategic meetings. It shocks the rest of the crew into dead silence, and the atmosphere quickly grows tense and stormy.
Varying degrees of threats are sent to Law subtlety for the sudden show of hostility, from Chopper's fearful whimper to Zoro's move of a hand on Wadou, eyeing Law suspiciously.
"Don't call me by -!" Trafalgar chokes, voice straining with effort. His face is pinched and ghastly white, dark eyes boring holes into Luffy's own that stare determinedly back. The fork he's holding taps the wooden table to the rhythm created by his violently shaking form, hand still tightly fisted around it.
"Name." Trafalgar finally spits out, like the word is poison in his mouth, venom forced to swallow. Grimacing, like the word was a dirty rag been stuffed in his mouth for hours he'd finally managed to remove. Like he hates to admit that filthy word could even be related to him in any fashion. His head moves down slowly, breaking eye contact with Luffy as a trembling hand runs down his sweating face, resting over his mouth.
Despite the galley being filled with tension thick enough for even oblivious Luffy to sense, all eyes are trained on Trafalgar glinting with a hint of curiousity. If seeing the doctor react so violently to a name-one some even called him so often or during the occasional slip of tongue-is new, then seeing him stuttering and pale is a moment to be sealed and recorded for history.
"Don't call me by that name Strawhat-ya. Please." Trafalgar eventually continues, voice barely audible, muffled as it is behind his tattooed hand. "Call me anything, anything, but that. Trafal-guy, Torao, Trafalgar, even that stupid ass name, Surgeon of Death, the Marines gave me, but-" His breath catches, voice hitches, and for one crazy, wild moment, everyone thinks Law is going to burst into tears as he finishes his sentence hoarsely.
"That."
Luffy stares at Trafalgar, whose face is still twisted in pain and disgust, for a moment longer, brows scrunched a little and an uncharacteristic, deep-in-thought look on his face. He frowns, looking as though he's mentally debating whether or not he should say something, but even that's debatable, considering how it's a well-known fact that Luffy spews anything he thinks of faster than the thought can complete itself in his mind.
However, Luffy ends up not speaking at all. Instead he sighs and rests his hands in his chin, propping his elbows on the dining table. He seems to have gotten an inkling of understanding, based on the way he now looks at Law, pouting.
"Man, that's too bad. I wanted to be closer to Trafal-guy too, by calling him by his given name." Luffy whines, effectively dousing the flames of tension in the galley.
Trafalgar looks startled at that innocent revelation, head shooting up to look at the sullen Strawhat captain, blinking confusedly. He feels his face heating up; never before had he heard someone tell him something as precious as that.
Zoro simply snorts at that, shaking his head at how easily Luffy has put off the entire matter as something to be prodded at another time-probably when he was alone with Law and his curiousity on the issue had flared up once more-and it's a notion shared by all, considering how everyone begins relaxing once more.
Any lingering tension flees the galley when a loud roar from Franky is heard, who glares Luffy something fierce as he shouts accusations of his vanished steak in Luffy's direction. Turns out that Luffy had been sneakily and steadily picking food off everyone's plates when their attention was being redirected to Trafalgar and not their meals. And as though at Franky's cue, the crew falls into their usual routine of screaming at Luffy for stealing the food, then shielding their plates and throwing random projectiles at their captain as he attempts another round of picking food off their plates.
"It's okay."
The crew stops screaming for a moment to look in the direction of their temporary guest, slightly surprised at the affection they detect leaking into his voice.
"Calling me by a nickname instead of by my given name I mean. That already makes you closer, kind of. I didn't have many when I was young, so it counts as being special. I guess." Trafalger mutters, pulling his hat down, casting a shadow across his burning face.
The Strawhats' faces all split into wide grins as Luffy lets loose his trademark laughter, their chorus of promises to do so music to Trafalgar's red ears.
* * *
A/N: im. so sorry for this piece of trash. this is based off my headcanon here( post/98534288051)(because i can't do hyperlinks for some reason?) about Law and his hatred for his name ahah;; i don't really liked how this turned out but w/e
2. Omake
A/N: added a short little omake for the previous one to explain Law's hatred for his name in a more story-like form. also i wanted to write fluffy nakama lawlu :')
* * *
"I won't call you that anymore." Luffy says softly, from where he sits atop Sunny.
Trafalgar stays silent, but he bends over the railing just a little further, staring just a little more intently than needed at the dark ocean floor.
The night is silent, and they've docked for the night in the middle of nowhere. The Sunny sends small waves across the quiet ocean as it rocks, rippling and breaking the reflection of the full moon into a million little pieces of light.
"…Im sorry." Trafalgar mumbles, feeling inherently guilty that he isn't able to grant someone as close to him as Luffy the privilege of calling him by his, ugh, name.
"S'alright. I wanna know why though." Luffy turns his head, nose scrunched up. "But, if, you reaaaaaally don't want to because it concerns Mingo then okay. But only if you reaaaally reaaally really don't want to. Then it's totally okay and cool." Luffy cheerfully states, but his curiousity is written all over his face, if not already obviously shown by his tone.
Not even Trafalgar can suppress a smile at this familiar behaviour, and he laughs softly, still looking away into the distance.
"I just don't feel like hearing it anymore. Not after hearing them, _him_, saying it so many times in so many ways and I just-" Trafalgar stops, unable to suppress the shudder that shakes his lithe form head to toe.
His name was already commonly associated before _him_ with bad luck and promises of an awful future-no one wants an extra mouth to feed, especially not a fatally-ill one-, only heard in jeers and shouts, never in a compliment or praise.
And everything only got worse when he decided to join the Donquixote Pirates.
Images of a tall leering figure, too big, too pink and fluffy for his comfort comes to mind at the thought of that single word. The falsely saccharine way the older pirate crooned his name after Cora-san's death was so sickening, so unbearable-like a mockery of the voice Cora-san never had-that Trafalgar still feels his skin crawl whenever someone utters the same single syllable, still hears the echo of Doflamingo's voice resounding in his head, repeating the cursed name over and over in his head until it throbbed.
"But-" Luffy starts, remembering all the people and times his very own crew called Trafalgar as _that,_ without so much as a flinch from the surgeon.
"Just at least not from the people I care for." Trafalgar interjects gently, before Luffy can interrupt. He knows the rubberman and all his ridiculous ways like the back of his hand now, already anticipating his questions before Luffy even thinks of them.
"Oh."
Then without warning, Luffy swings down from the figurine head and launches himself towards Trafalgar, who only reacts just in time to spin around to face Luffy and get the full impact of the hug from the front.
Trafalgar catches Luffy with a grunt, staggering back a step at the sheer weight and force that is Luffy. Luffy's arms wind itself around his torso, almost instinctively, burying his face deep into Trafalgar's soft woollen pullover.
"Strawhat-ya?" Trafalgar asks tentatively, arms hanging by his side uselessly.
"S'sad, that's all. To hate a name you were given. You looked like you were gonna cry too. And I know you like hugs when you're sad and weepy." Luffy snuggles his face against Trafalgar's middle, before sending a bright beam upwards.
"…Oh." Trafalgar feels his eyes burning and a hard lump forming in his throat. The tears fall freely down his face and drips on top of Luffy's grinning face, that he hurriedly tries to rub away.
But his vision is getting too blurry, making his already poor aim worse, so he settles with bending down and burying his face into Luffy's shoulder instead, letting his own ocean form on Luffy's crimson jacket. His own arms begin curling around Luffy's form, and Luffy breathes out a happy giggle. Luffy begins stroking Trafalger's hair to each hiccup or sob, patting his back comfortingly like a mother would to a child after a particularly bad nightmare. Some time along, Luffy also begins humming a seemingly senseless tune, one that Trafalger registers as a lullaby from the North, and it just makes him cry harder, because how the hell did Luffy know it, and how does he know how to mend the broken heart that Trafalger's tried so hard to heal by himself but couldn't so effortlessly, dammit.
How and when did he manage to tuck himself so neatly, so dangerously close to Trafalger's heart? And why was Trafalgar letting him do it like an idiot, he doesn't know, but for now, he's content with Luffy's warmth, glad for Luffy's endless abyss of empathy, understanding and acceptance. He csn't seem to stop mumbling incoherent thanks for every single thing Luffy has done for him, unconsciously or not; because he doesn't deserve any of it, yet it's all Luffy will give and god knows Monkey D. Luffy won't have it any other way but for one to accept his kindness as unconditionally as he gives it.
"Any time Trafal-guy."
End file.
| fanfiction |
What's the relation of entropy with synchronisation?
2 pendulums tied to a same rod and oscillating with different frequencies and phases synchronize over time. This could be done at home just to see how interesting it is that things try to sync their work with others by any possible medium(in this case, the rod). But i just wonder that what happens to their entropy, both pendulums had different entropy but by the time they started oscillating similarly.
Plz answer this question too: when can i use my own tags for question? I couldn't find tags, like pendulum, synchronize, for this question.
[Pendulum synchronization](https://physicsworld.com/a/the-secret-of-the-synchronized-pendulums/) happens because of energy exchange between two oscillators. In a perfectly frictionless, isolated system this would not increase entropy at all, and the pendulums would keep on going into and out of phase forever.
Technically, when one formulates a mathematical model of the system (like the Lagrangian in equation 4.1. in [(Bennett et al. 2002)](https://www.jstor.org/stable/3067433)) this doesn't shrink volumes in phase space if the model is conservative, and hence the energy exchange just produces endlessly cycling behavior. But if one introduces friction (as in equations 4.2 and 4.3) then phase space volume will shrink and there will be one attractor state - pendulums that just hang still.
In this case it is fairly clear that the physical entropy has increased: the original information about the pendulum phases (and their energy) gradually gets lost due to friction. The entropy increase happens in heating of the joints of the pendulums, a microscopic effect that the above mathematical model doesn't model. One could say that besides the macroscopic pendulums there are zillions of atomic pendulums that gradually gets disorganized by heating, and the information in the original state now is irreversibly lost into their states.
Bennett et al. also include a kick mechanism feeding more energy into the pendulums (equation 4.6). This serves to keep them moving, and prevents the static state from being an attractor state. Now we have a dissipative system (phase space volumes shrink due to friction) but fed energy; the result in this case is that there are different limit cycles (synchronized, anti-synchronized, beating death) that are approached (which one depends on the parameters). During a limit cycle the energy gained is also dissipated, producing more entropy.
| stackexchange/physics |
Xethanol Corp. Contracts
Operating Agreement - Xethanol Corp. and Coastal Energy Development Inc.
OPERATING AGREEMENT
COASTALXETHANOL, LLC
Dated as of May 30, 2006
THIS OPERATING AGREEMENT is entered into and shall be effective as of May 30, 2006, by and between Xethanol Corporation, a Delaware Corporation and Coastal Energy Development, Inc., a Georgia Corporation.
CoastalXethanol, LLC ("CX"), was formed on April 17, 2006 by the filing of a certificate of formation in the Office of the Secretary of State of the State of Delaware. The parties to this agreement wish to set forth the terms and conditions under which they will be members in CX and upon which CX will operate, which are the terms and conditions set forth below.
Section 1.1 Definitions. When used in this Agreement, the following capitalized terms shall have the meanings set forth in this Section, unless the context otherwise requires:
"Accountants" means a regionally or nationally recognized firm of independent certified public accountants as may be engaged by the Manager on behalf of CX.
"Act" means the Delaware Limited Liability Company Act set forth in Sections 18-101 to 18-1109 of Title 6 of the Delaware Code, as amended from time to time (or any corresponding provision or provisions of succeeding law).
"Adjusted Capital Account Deficit" means, with respect to the Capital Account maintained for a Member at the close of any Fiscal Year, the deficit balance in such Capital Account at such time (determined by (i) crediting to such Capital Account the amount of such Member's Deficit Restoration Obligation at that time; and (ii) charging to such Capital Account (x) any adjustments described in Section 1.7041(b)(2)(ii)(d)(4) of the Treasury Regulations that, at such time, are reasonably expected to be made to such Account, (y) any allocations described in Section 1.704-1(b)(2)(ii)(d)(5) of the Treasury Regulations that, at such time, are reasonably expected to be made to such Member, and (z) any distributions described in Section 1.704-1(b)(2)(ii)(d)(6) of the Treasury Regulations that, at such time, are reasonably expected to be made to such Member.
"Affiliate" means, with respect to any specified person, (i) any other person that directly or indirectly through one or more intermediaries controls, or is controlled by, or is under common control with, such specified person; (ii) any other person that is an officer of, director of, partner in, member in, or trustee of, or serves in a similar capacity with respect to, such specified person or of which such specified person is an officer, director, member, partner or trustee, or with respect to which such specified person serves in a similar capacity; (iii) any other person that, directly or indirectly, is the beneficial owner of ten (10%) percent or more of any class of the equity securities of such specified person or of which such specified person is directly or indirectly the beneficial owner of ten (10%) percent or more of any class of equity securities; or (iv) any relative or spouse of such specified person who makes his home with such specified person; except that a person who is a member in a limited liability company, a partner in a partnership, or a participant in a joint venture, with CX or any Affiliate of CX is not an Affiliate of CX or any Member if such person is not otherwise an Affiliate thereof.
"Agreement" means this operating agreement, as originally executed and as amended from time to time.
"Bankruptcy" means, with respect to any person, the (i) commencement by such person of a voluntary case for relief as a debtor under the United States Bankruptcy Code or the filing by such person of a petition to take advantage of any other present or future insolvency act or other applicable law relating to bankruptcy, insolvency, reorganization, or relief of debtors; (ii) making by such Person of an assignment for the benefit of creditors; (iii) consent by such Person to, or acquiescence in by such Person of, the appointment of a receiver, liquidator, trustee, custodian, or other similar official of such Person or of the whole or any substantial part of such person's properties or assets; (iv) entering by a court of competent jurisdiction of an order, judgment, or decree, appointing a receiver, liquidator, trustee, custodian, or other similar official of such person or of the whole or any substantial part of such person's properties or assets, which order, judgment, or decree has remained un-vacated, or not set aside, or unstayed, for a period of not less than one hundred twenty (120) days; (v) commencement of an involuntary case against such person under the United States Bankruptcy Code, or filing against such person of a petition seeking similar relief under any other present or future insolvency act or other applicable law relating to bankruptcy, insolvency, reorganization, or relief of debtors, which case or petition has remained undismissed for not less than one hundred twenty (120) days; (vi) assumption, under the provisions of any other law for the re-lief or aid of debtors, by any court of competent jurisdiction of custody or control of such person or the whole or any substantial part of such person's properties or assets, which custody or control remains unvacated or unstayed for not less than one hundred twenty (120) days; or (vii) in the case of a Member that is a corporation, partnership or limited liability company, the liquidation or dissolution of such Member.
"Business Day" means any day, other than a Saturday a Sunday or a day on which commercial banks in New York City are either required or authorized to close.
"Capital Account" means the capital account established on the books of the CX for any Member in accordance with the provisions of Section 4.1.
"Capital Contribution" means, with respect to any Member, (i) the amount of money contributed to, or expended on behalf of, CX by such Member with respect to his interest in CX, and (ii) the Initial Gross Asset Value of any property (other than money or a promissory note that is made by such Member and that is not readily traded on an established securities market) contributed to CX by such Member with respect to his interest in CX.
"Certificate of Cancellation" means the certificate of cancellation filed with the Secretary pursuant to the Act to reflect the dissolution of CX.
"CED" means Coastal Energy Development, Inc., a corporation organized under the laws of the State of Georgia, and its successors or assigns.
"Code" means the Internal Revenue Code of 1986, as amended from time to time (or any corresponding provision or provisions of any subsequent federal revenue law).
"CX" means CoastalXethanol, LLC, a Delaware limited liability company.
"Daily Percentage Interest" means, with respect to any Member for any period, the quotient obtained by dividing (x) the sum obtained by adding such Member's Percentage Interest at the opening of each Business Day within such period, by (y) the number of Business Days within such period.
"Default Rules" means a rule provided by the Act that (i) structures, defines or regulates the finances, governance, operations or other aspect of a limited liability company formed under the Act, and (ii) applies except to the extent it is negated or modified through the provisions of a limited liability company's certificate of formation or operating agreement.
"Deficit Restoration Obligation" means, with respect to any Member at the end of any Fiscal Year, the amount such Member is obligated to restore under applicable law or pursuant to any provision of this Agreement on account of a deficit balance in such Member's Capital Account or is deemed obligated to restore under Sections 1.704-2(g)(1) and 1.704-2(i)(5) of the Treasury Regulations (determined after taking into account any changes in the Minimum Gain and the Member Minimum Gain during such Fiscal Year).
"Dissolution Event" means an event described in Section 12.1.
"Excess Nonrecourse Liabilities" means, at any time, means the nonrecourse liabilities of CX not allocated under paragraphs (a)(1) and (a)(2) of Section 1.752-3 of the Treasury Regulations.
"Fiscal Year" means (i) the period commencing on the Activation Date and ending on the earlier of the following December 31 or the date on which CX completely liquidates; and (ii) any subsequent period beginning on January 1 and ending on the earlier of the following December 31 or the date on which CX completely liquidates.
"GAAP" means, at any time, generally accepted accounting principles, as set forth in opinions of the accounting principles board of the American Institute of Certified Public Accountants and in the Financial Accounting Standards Board Statements that are then applicable.
"Gross Asset Value" means, at any time (i) with respect to any asset whose Gross Asset Value has not been adjusted pursuant to Section 4.3 or Section 4.5, the Initial Gross Asset Value of such asset, adjusted by the depreciation (or cost recovery) or amortization taken into account with respect to such asset for purposes of determining Profit and Loss; and (ii) with respect to any asset whose Initial Gross Asset Value has been adjusted pursuant to Section 4.3 or Section 4.5, the Gross Asset Value of such asset immediately following the last such adjustment, adjusted by the depreciation (or cost recovery) or amortization taken into account subsequent to such adjustment with respect to such asset for purposes of determining Profit and Loss.
"Initial Gross Asset Value" means (i) in the case of an asset that is contributed to CX, the gross fair market value of such asset on the contribution date, as determined by the Managers; and (ii) in the case of any other asset, the basis of such asset at the time it as acquired by CX (as detemined for federal income tax purposes).
"Interest" means a Member's entire interest in CX, including such Member's interest in the capital and profits of and dis-tributions by CX.
"Involuntary Transfer" means the death or Legal Incompetency of a Member or any transaction, proceeding or action by or in which a Member shall be involuntarily deprived or divested of any right, title or interest in or to any of such Member's Interest, including, without limitation, any seizure under levy of attachment or execution, Transfer in connection with Bankruptcy or other court proceedings to a trustee in Bankruptcy or receiver or other officer or agency, any Transfer to a state or to a public officer or agency pursuant to any statute pertaining to escheat or abandoned property, or any Transfer arising out of or resulting from a judgment or decree in divorce including any separation agreement incorporated therein.
"Issuance Item" means any income, gain, loss or deduction realized as a direct or indirect result of the issuance of Interests by CX.
"Liquidator" means the person appointed pursuant to Section 12.8.1 to oversee the liquidation of CX.
"Loss" means, for any Fiscal Year, an amount equal to the loss incurred by CX (determined in accordance with Section 5.1).
"Majority-in-Interest" means, at any time, Members whose aggregate Percentage Interest then exceeds fifty (50%) percent.
"Manager" means, at any time, any person who is then a manager of CX (within the meaning of Section 18-101(10) of the Act).
"Member" means, at any time, any person who is then a member of CX (within the meaning of Section 18-101(11) of the Act).
"Member Minimum Gain" means an amount, with respect to each Member Nonrecourse Debt, equal to the Minimum Gain that would result if such Debt were treated as a Nonrecourse Liability (determined in accordance with Section 1.704-2(i)(3) of the Treasury Regulations).
"Member Nonrecourse Debt" means any liability of CX that is a partner nonrecourse debt (as that term is defined by Section 1.704-2(b)(4) of the Treasury Regulations).
"Member Nonrecourse Deductions" means, for any Fiscal Year, the partner nonrecourse deductions of CX for such Fiscal Year (de-termined in accordance with Section 1.704-2(i)(2) of the Treasury Regulations).
"Minimum Gain" means, at the close of any Fiscal Year, the minimum gain of CX (determined in accordance with Section 1.704-2(i)(2) of the Treasury Regulations).
"Net Cash Flow" means, for any Fiscal Year, the sum of (x) the excess of (A) the gross cash proceeds received by CX in such Fiscal Year (including the net cash proceeds from all sales and other dispositions and refinancings of assets), over (B) the portion of such proceeds used in such Fiscal Year to pay or establish reserves for the expenses, debt payments, capital improvements, replacements and contingencies, and (y) any reductions in such Fiscal Year of previously established reserves.
"Nonrecourse Deductions" means, for any Fiscal Year, the nonrecourse deductions of CX for such Fiscal Year (determined in accordance with Section 1.704-2(b)(1) of the Treasury Regulations).
"Nonrecourse Liability" means a liability of CX that is a nonrecourse liability (as that term is defined in Section 1.704-2(b)(3) of the Treasury Regulations).
"Percentage Interest" means with respect to any Member on any day, the percentage set forth opposite such Mem-ber's name for such day on the schedule annexed hereto as Exhibit C.
"Permitted Transferee" means, with respect to any Interest, any person who acquired such Interest (or any portion thereof) in one or a series of transfers permitted pursuant to Section 11.2.
"Person" (whether or not capitalized) means any individual, partnership, corporation, limited liability company, association, trust, estate, joint venture, unincorporated organization or other entity and any government, governmental agency or political subdivision.
"Prime Rate" means the Prime Rate as published in the Wall Street Journal, and shall change concurrently with each change in such published Prime Rate.
"Profit" means, for any Fiscal Year, the amount equal to the profit of CX for such Fiscal Year (de-termined in accordance with Section 5.1).
"Percentage Interest" means with respect to any Member on any day, the percentage set forth opposite such Member's name for such day on the schedule annexed hereto as Exhibit C.
"Regulatory Allocations" means, collectively, the allocations set forth in Sections 5.3.2 and Section 5.4 (other than the allocation set forth in Section 5.4.8).
"Secretary" means the Secretary of State of the State of Delaware.
"Xethanol" means Xethanol Corporation, a corporation organized under the laws of the State of Delaware, and its successors or assigns.
"Transfer" means, as a verb, to sell, assign, convey, donate, contribute, exchange, lease, mortgage, pledge, encumber or otherwise dispose of all or part of any interest in CX, or to contract to do any of the foregoing, and as a noun, any sale, assignment, conveyance, donation, contribution, exchange, lease, mortgage, pledge, encumbrance or other disposition of all or any part of any such interest or any contract to effect any of the foregoing.
"Treasury Regulations" means the official Treasury Department in-terpretation of the Code found in Title 26 of the Code of Federal Regulations.
Section 1.2 Rules of Construction . Unless the context otherwise requires, (i) a term shall have the meaning assigned to it in Section 1.1; (ii) an accounting term not otherwise defined shall have the meaning assigned to it in accordance with GAAP; (iii) "or" shall not be exclusive; (iv) words in the singular shall include the plural, and vice versa; (v) words in the masculine gender shall include the feminine and neuter, and vice versa; and (vi) any reference to an "Article" or "Section," if not otherwise modified, shall be a reference to an Article or Section of this Agreement.
Section 2.1 Company Name. The name of the company is "CoastalXethanol, LLC." All Company business shall be conducted in such name.
Section 2.2 Principal Place of Business. The principal place of business of CX is located at 2 East Bryan Street, Suite 610, Savannah, Georgia 31401. CX may change the principal place of business and establish other places of business as determined by the Managers from time to time.
Section 2.3 Filings; Registered Agents .
Section 2.3.1 Filings. The Certificate of Formation was filed with the Secretary on April 17, 2006 in accordance with Section 18-206 of the Act. The Managers shall take any and all other actions reasonably necessary to perfect and maintain the status of CX as a limited liability company under the laws of the State of Delaware, including the preparation and filing of such amendments to the Certificate of Formation and such other certificates, documents, instruments and publications as may be required by law, including action to reflect (i) a change in the name of CX approved by the Members; or (ii) a correction of a false or erroneous statement in the Certificate of Formation or the desire of the Members to make a change in any statement therein in order that it shall accurately represent the agreement among themselves. The Managers shall take any and all other actions reasonably necessary to perfect and maintain the status of CX as a limited liability company or similar type of entity under the laws of any other jurisdiction in which CX engages, or intends to engage, in business.
Section 2.3.2 Registered Agents. The registered agent upon whom process against CX may be served within the State of Delaware shall be CT Corporation or any successor as appointed by the Managers. The Managers may desig-nate, from time to time, a registered agent for receipt of process upon CX within or without the State of New York.
Section 2.4 Company Purposes. CX has been formed for the purpose of (i) initiating, developing, investing in and managing projects for the production of ethanol in the Sate of Georgia and in the counties of South Carolina in which the cities of Charleston and Georgetown are located; (ii) engaging in any or all general business activities that may be related or incidental to, or may appear conducive or expedient for the accomplishment of, the foregoing ; and (iii) engaging in any business or activity that might be engaged in or carried on by a limited liability company formed under the Act.
Section 2.5 Term. CX shall have no specific date of dissolution.
Section 2.6 Title to Property. All property owned by CX shall be owned by CX as an entity and no Member shall have any ownership interest in such property in his individual name, and each Member's interest in CX shall be personal property for all purposes. At all times after the date of this Agreement, CX shall hold title to all of its property in its own name and not in the name of any Member.
Section 3.1 Capital Contributions; Current Capital Account Balances. The names, addresses of the Members and the aggregate amounts contributed by each of them are set forth on the schedule annexed hereto as Exhibit A.
Section 3.2 Additional Capital Contributions. The Members may, in their sole discretion, from time to time make additional Capital Contributions to CX.
Section 3.3 Admission of Members. CX, with the unanimous consent of its Members, may, at any time, accept a Capital Contribution from any person that is not a Member, grant such person such preferences, priorities, voting power and Percentage Interest as they deem to be necessary or appropriate and admit such person to CX as a Member upon the execution and delivery by such person of such instruments as the Members may reasonably deem to be necessary or appropriate.
Section 3.4 Loans.
3.4.1 Any Member may, with the approval of the Managers, lend or advance money to CX. If any Member shall make any loan or loans to CX or advance money on its behalf, the amount of any such loan or advance shall not be treated as a Capital Contribution but shall be a debt due from CX. The amount of any such loan or advance shall be repayable out of CX's cash and shall bear interest at the rate agreed between CX and the lending Member. No Member shall be obligated to make any loan or advance to CX.
3.4.2 Without limiting the foregoing, CX may (but shall have no obligation to) make loans to CED from time to time in order to provide CED with working capital necessary for its operations. Such loans shall be repayable on demand, and shall bear interest at the Prime Rate, as in effect from time to time. Such loans shall be evidenced by a grid note made payable by CED to the order of CX. All of such loans (including the principal thereof, interest accrued thereon and other fees, charges and expenses payable with respect thereto) shall be repaid before CX may make any distributions to CED in respect of its membership interest.
Section 3.5 Company Capital.
Section 3.5.1 Interest. CX shall not pay interest on any Capital Contribution.
Section 3.5.2 Returns and Withdrawals. No Member shall have the right to withdraw or receive any return of his Capital Contribution, except as expressly provided by Article VI or Article XII, and no Capital Contribution may be returned in the form of property (other than money), except as specifically provided by Section 12.9.
CAPITAL ACCOUNTS
Section 4.1 Establishment . A single Capital Account shall be established on the books of CX for each Member.
Section 4.2 Maintenance of Capital Accounts . The Capital Account established for any Person shall be maintained in accordance with the following rules.
Section 4.2.1 Basic Rules. The Capital Account estab-lished for any Member shall be (i) credited with (A) such Member's Capital Contributions, (B) such Member's allocable share of Profits and any items in the nature of income or gain that are specially allocated to such Member pursuant to Section 5.6 or Section 5.7, and (C) the amount of any Company liabilities assumed by such Member or which are secured by any property distributed to such Member by CX; and (ii) charged with (A) the amount of money and the Gross Asset Value of any property distributed to such Member pursuant to any provision of this Agreement, (B) such Member's allocable share of Losses and any items in the nature of expense or loss that are specially allocated to such Member pursuant to Section 5.6 or Section 5.7, and (C) the amount of such Member's liabilities assumed by CX or that are secured by any property contributed to CX by such Member.
Section 4.2.2 Treatment of Liabilities. The amount of any liability shall be determined for purposes of this Section 4.2 taking into account Section 752(c) of the Code and any other applicable provisions of the Code and the Treasury Regulations.
Section 4.2.3 Treatment of Certain Promissory Notes. If a promissory note (other than a note that is readily tradeable on an established securities market) is contributed to CX by the Person who is the maker of such note, such Person's Capital Account shall be credited on account of the contribution of such note only when there is a taxable disposition of such note by CX or when the maker makes principal payments on such note.
Section 4.3 Revaluations of Property . The Gross Asset Values of all Company assets shall be adjusted to their respective gross fair market values (taking Section 7701(g) of the Code into account) as of the following times: (i) the acquisition of an additional interest in CX by any new or existing Member in exchange for more than a de minimis amount of money or other property; (ii) the distribution by CX to a Member of more than a de minimis amount of money or other property as consideration for an interest in CX; and (iii) the liquidation of CX within the meaning of Section 1.704-1(b)(2)(ii)(g) of the Treasury Regulations, provided, however, that adjustments made at the times described in clauses (i) and (ii) of this Section 4.3 shall be made only if the Managers reasonably determine that such adjustments are necessary or appropriate to reflect the relative economic interests of the Members. The determination of the Gross Asset Values of all Company assets for purposes of this Section 4.3 shall be made by the Managers, in their reasonable discretion.
Section 4.4 Adjustments to Book Values of Distributed Property . The Gross Asset Values of any asset distributed to a Member by CX shall be adjusted to the gross fair market value (taking Section 7701(g) of the Code into account) of such asset on the distribution date, as determined by the Managers.
Section 4.5 Certain Other Adjustments to Book Values of Property . The Gross Asset Values of all Company assets shall be adjusted to reflect any adjustments to the tax bases of such assets pursuant to Section 743(b) or Section 734(b) of the Code, but only to the extent that such adjustments are taken into account in determining Capital Accounts pursuant to Section 1.704-1(b)(2)(iv)(m) of the Treasury Regulations and Section 5.1(vii) or Section 5.4.5 of this Agreement; provided, however, that such Gross Asset Values shall not be adjusted pursuant to this Section 4.5 to the extent an adjustment pursuant to Section 4.3 is required in connection with a transaction that would otherwise result in an adjustment pursuant to this Section 4.5.
Section 4.6 Compliance with Applicable Treasury Regulations . The provisions of Sections 4.2, 4.3, 4.4 and 4.5 are intended to comply with Section 1.704-1(b) of the Treasury Regulations and shall be interpreted and applied in a manner consistent with such provision. In the event that the Manager determine that it is prudent to modify the manner in which Capital Accounts, or any credits or charges thereto are computed in order to comply with such Section, they may make such modification, provided it is not likely to have a material effect on the amounts distributable to any Member pursuant to Section 12.2 upon dissolution of CX. The Manager shall (i) make any adjustments that are necessary or appropriate to maintain equality between their Capital Accounts and the amount of capital reflected on CX's balance sheet, as computed for book purposes, in accordance with Section 1.704-1(b)(2)(iv)(q) of the Treasury Regulations; and (ii) make any other appropriate modifications in the event unanticipated events (e.g., the acquisition by CX of oil and gas properties) might otherwise cause this Agreement not to comply with Sec-tion 1.-704-1(b) of the Treasury Regulations.
Section 4.7 Transfers of Interests . If in any Fiscal Year a Member transfers any or all of his Interest, then such Member's Capital Account (or the portion thereof attributable to the transferred Interest) shall carry over to the transferee.
COMPUTATION AND ALLOCATION OF FINANCIAL AND TAX ITEMS
Section 5.1 Computation of Profit and Loss . The Profit (or Loss) for any Fiscal Year shall be an amount equal to the taxable income (or loss) of CX for such Fiscal Year (computed in accordance with Section 703(a) of the Code), with the following adjust-ments:
(i) any income that is exempt from federal income tax and not otherwise taken into account in computing Profit (or Loss) under this Section 5.1 shall be added to such taxable income (or loss);
(ii) any expenditures described in Section 705(a)(2)(B) of the Code or treated pursuant to Section 1.704-1(b)(2)(iv)(i) of the Treasury Regulations as expenditures described in such Section of the Code and not otherwise taken into account in computing Profit (or Loss) under this Section 5.1 shall be subtracted from such taxable income (or loss);
(iii) in the event the Gross Asset Value of any asset is adjusted pursuant to Section 4.3 or Section 4.5, the amount of such adjustment shall be taken into account as gain or loss from the disposition of such asset for purposes of computing Profit (or Loss);
(iv) any gain or loss resulting from the disposition during such Fiscal Year of any asset (in a taxable transaction) shall be computed by reference to the Gross Asset Value of such asset;
(v) in lieu of the depreciation (or cost recovery) or amortization with respect to any asset taken into account in computing such taxable income (or loss), there shall be taken into account depreciation (or cost recovery) or amortization in respect of such asset determined by applying the method used by CX for federal income tax purposes with respect to such asset to the Gross Asset Value of such asset (or if the tax basis of such asset is zero at the beginning of such Fiscal Year, by applying any reasonable method selected by the Managers);
(vi) any items in the nature of income, gain, expense or loss that are specially allocated pursuant to Section 5.4 or Section 5.5 shall not be taken into account; and
(vii) to the extent an adjustment to the tax basis of any asset pursuant to Section 734(b) or Section 743(b) of the Code is required pursuant to Section 1.704-1(b)(2(iv)(m) of the Treasury Regulations to be taken into account in determining Capital Accounts a result of a distribution other than in complete liquidation of a Member's Interest, the amount of such adjustment shall be treated as an item of gain (if the adjustment increases the basis of the asset) or loss (if the adjustment decreases the basis of the asset) from the disposition of the asset and shall be taken into account in computing Profit (or Loss).
The amount of the items in the nature of income, gain, expense or loss available to be specially allocated pursuant to Section 5.4 and Section 5.5 shall be determined by applying rules analogous to those set forth in this Section 5.1.
Section 5.2 Allocation of Profit . Profit for any Fiscal Year shall be allocated as follows:
(i) first, to the Members in proportion to and to the extent of the excess, if any, of (x) the aggregate amount of Loss to each such Member (or such Member's predecessors in interest) for all prior Fiscal Years pursuant to Section 5.3.2, over (y) the aggregate amount of Profit allocated to such Member (or such Member's predecessors in interest) pursuant to this Section 5.2(i) for all prior Fiscal Years;
(ii) second, to the Members in proportion to and to the extent of the excess, if any, of (x) the aggregate amount of Loss to each such Member (or such Member's predecessors in interest) for all prior Fiscal Years pursuant to Section 5.3.1(iii), over (y) the aggregate amount of Profit allocated to such Member (or such Member's predecessors in interest) pursuant to this Section 5.2(ii) for all prior Fiscal Years;
(iii) third, to the Members in proportion to and to the extent of the excess, if any, of (x) the aggregate amount of Loss to each such Member (or such Member's predecessors in interest) for all prior Fiscal Years pursuant to Section 5.3.1(ii), over (y) the aggregate amount of Profit allocated to such Member (or such Member's predecessors in interest) pursuant to this Section 5.2(iii) for all prior Fiscal Years;
(iv) fourth, to the Members in proportion to their respective Daily Percentage Interests for such Fiscal Year.
Section 5.3 Allocation of Loss .
Section 5.3.1 General Rule. Loss for any Fiscal Year shall be allocated as follows:
(i) first, to the Members in proportion to and to the extent of the excess, if any, of (x) the aggregate amount of Profit allocated to each such Member (or such Member's predecessors in interest) for all prior Fiscal Years pursuant to Section 5.2(iv), over (y) the aggregate amount of Loss to such Member (or such Member's predecessors in interest) pursuant to this Section 5.3.1(i) for all prior Fiscal Years;
(ii) second, to the Members in proportion to and to the extent of the excess, if any, of (x) the aggregate amount of Profit allocated to each such Member (or such Member's predecessors in interest) for all prior Fiscal Years pursuant to Section 5.2(iii), over (y) the aggregate amount of Loss to such Member (or such Member's predecessors in interest) pursuant to this Section 5.3.1(ii) for all prior Fiscal Years;
(iii) third, the balance to the Members in proportion to their respective Daily Percentage Interests for such Fiscal Year.
Section 5.3.2 Special Limitation. Loss allocated to the Members for any Fiscal year pursuant to Section 5.3.1 shall not exceed the maximum amount of such Loss that can be so allocated without causing any Member to have an Adjusted Capital Account Deficit at the end of such Fiscal Year. In the event some but not all of the Members would have such Adjusted Capital Account Deficits as a consequence of an allocation of Loss for a Fiscal Year pursuant to Section 5.3.1, the limitation set forth in the first sentence of this Section 5.3.2 shall be applied so as to allocate the maximum permissible amount of such Loss to each Member under Section 1.704-1(b)(2)(ii)(d) of the Treasury Regulations.
Section 5.4 Special Allocations . The following special allocations shall be made in the following order:
Section 5.4.1 Minimum Gain Chargeback. Except as otherwise provided by Section 1.704-2(f) of the Treasury Regulations, if there is a net decrease in the Minimum Gain during any Fiscal Year, there shall be allocated to each Member (before any other allocation is made under this Section 5.4) items of income and gain for such Fiscal Year (and, if necessary, subsequent Fiscal Years) in proportion to, and to the extent of, an amount equal to such Member's share of the net decrease in the Minimum Gain during such Fiscal Year (determined in accordance with Section 1.704-2(g) of the Treasury Regulations). The items to be allocated for any Fiscal Year under this Section 5.4.1 shall be determined in accordance with Section 1.704-2(j)(2) of the Treasury Regulations. This Section 5.4.1 is intended to comply with the minimum gain charge-back requirement in Section 1.704-2(f) of the Treasury Regulations and shall be interpreted consistently therewith.
Section 5.4.2 Member Minimum Gain Chargeback. Except as otherwise provided by Section 1.704-2(i)(4) of the Treasury Regulations, if during any Fiscal Year there is a net decrease in the Member Minimum Gain attributable to a Member Nonrecourse Debt, there shall be allocated (before any allocation for such Fiscal Year is made under this Section 5.4 [other than Section 5.4.1]) to each Member with a share of the Member Minimum Gain attributable to such Member Nonrecourse Debt (as determined under Section 1.704-2(i)(5) of the Treasury Regulations) items of income and gain for such Fiscal Year (and, if necessary, for subsequent Fiscal Years) in proportion to, and to the extent of such Member's share of the net decrease during such Fiscal Year in the Member Minimum Gain attributable to such Member Nonrecourse Debt (determined under Section 1.704-2(i)(4) of the Treasury Regulations). The items to be allocated for any Fiscal Year under this Section 5.4.2 shall be determined in accordance with Section 1.704-2(j)(2) of the Treasury Regulations. This Section 5.4.2 is intended to comply with the partner minimum gain chargeback requirement in Section 1.704-2(i)(4) of the Treasury Regulations and shall be interpreted consistently therewith.
Section 5.4.3 Qualified Income Offset. If during any Fiscal Year any Member unexpectedly receives any adjustment described in Section 1.704-1(b)(2)(ii)(d)(4) to the Capital Account maintained for him on the books of CX, any allocation described in Section 1.704-1(b)(2)(ii)(d)(4), or any distribution described in Section 1.704-1(b)(2)(ii)(d)(6) of the Treasury Regulations to such Member; there shall be allocated (before any allocation is made under this Section 5.4 [other than Sections 5.4.1 or 5.4.2]) to such Member items of income and gain for such Fiscal Year (and, if necessary, subsequent Fiscal Years) in an amount and manner sufficient to eliminate, to the extent required by the Treasury Regulations, the Adjusted Capital Account Deficit of such Member as quickly as possible, provided that an allocation pursuant to this Section 5.4.3 shall be made only if and to the extent that such Member would have an Adjusted Capital Account Deficit after all other allocations provided in this Section 5.4 have been tentatively made as if this Section 5.4.3 were not in the Agreement. Any allocation of income or gain for any Fiscal Year made under this Section 5.4.3 shall consist of a pro rata portion of each item of income of CX (including gross income) and gain for such period (other than income or gain for such period allocated under Section 5.4.1 or Section 5.4.-2).
Section 5.4.4 Gross Income Allocation. If there is a deficit balance in the Capital Account of any Member at the end of any Fiscal Year which is in excess of the amount of such Member's Deficit Restoration Obligation at that time, each such Member shall be specially allocated items of income and gain in the amount of such excess as quickly as possible, provided that an allocation to a Member pursuant to this Section 5.4.4 shall be made only if and to the extent that such Member would have an Adjusted Capital Account Deficit in excess of such Deficit Restoration Obligation after all other allocations provided for in this Section 5.4 have been made as if Section 5.4.3 and this Section 5.4.4 were not in the Agreement.
Section 5.4.5 Section 754 Adjustments. To the extent an adjustment pursuant to Section 734(b) or Section 743(b) of the Code to the tax basis of any asset is required pursuant to Section 1.704-1(b)(2)(iv)(m)(2) or Section 1.704-1(b)(2)(iv)(m)(4) of the Treasury Regulations to be taken into account in determining Capital Accounts as the result of a distribution to a Member in complete liquidation of such Member's Interest or as the result of the sale of a Member's Interest, the amount of such adjustment shall be treated as an item of gain (if the adjustment increases the basis of the asset) or loss (if the adjustment decreases such basis) and such gain or loss shall be specially allocated to the Members in accordance with their interests in CX in the event Section 1.704-1(b)(2)(iv)(m)(2) of the Treasury Regulations applies, or to the distributee in the event Section 1.704-1(b) (2)(iv)(m)(4) of the Treasury Regulations applies.
Section 5.4.6 Nonrecourse Deductions. Nonrecourse Deductions for any Fiscal Year shall be allocated as determined by the Managers in a manner that is consistent with the prin-ciples of Sections 1.704-1 and 1.704-2 of the Treasury Regulations.
Section 5.4.7 Member Nonrecourse Deductions. Any Member Nonrecourse Deductions for any Fiscal Year shall be allocated to the Member who bears the economic risk of loss with respect to the Member Nonrecourse Debt to which such Member Nonrecourse Deductions are attributable in accordance with Section 1.704-2(i)(1) of the Treasury Regulations.
Section 5.4.8 Allocations of Issuance Items. Any Issuance Items shall be allocated among the Members so that, to the extent possible, the net amount of such Items, together with all other allocations under this Agreement to each Member shall be equal to the net amount that would have been allocated to each Member if such Items had not been realized.
Section 5.5 Curative Allocations . All Regulatory Allocations shall be offset either with other Regulatory Allocations or with special allocations of items in the nature of income, gain, expense, or loss pursuant to this Section 5.5. The Managers shall make such offsetting special allocations in his discretion so that, after such offsetting allocations are made, the balance of the Capital Account maintained for each Member is, to the extent possible, equal to the balance such Member would have had with respect to such Capital Account if the Regulatory Allocations were not part of the Agreement and all items of CX were allocated pursuant to Section 5.2 and Section 5.3. In exercising their discretion under this Section 5.5, the Managers shall take into account future Regulatory Allocations that, although not yet made, are likely to offset other Regulatory Allocations previously made.
Section 5.6 Other Allocation Rules .
Section 5.6.1 Allocations Where Members' Interests Vary. If during any taxable year of CX there is a change in any Member's interest in CX, then each Member's distributive share of each item of Company income, gain, loss and deduction shall be determined for federal income tax purposes as if the taxable year of CX closed on the date of such change. For purposes of this Section 5.6.1, a transfer of an interest in CX made during the first fifteen (15) days of any calendar month will be deemed to have been effected at the opening of month, and a transfer made after the fifteenth day of any calendar month will be deemed to have been effected at the opening of the following month.
Section 5.6.2 Excess Nonrecourse Liabilities. Solely for purposes of determining a Member's proportionate share of the "excess nonrecourse liabilities" (within the meaning of Section 1.752-3(a) of the Treasury Regulations), To the extent that any Nonrecourse Liability is an Excess Nonrecourse Liability, the portion of such Excess Nonrecourse Liability equal to the excess, if any, of (x) the amount of any taxable gain that would be taxable to a Member under Section 704(c) of the Code (or in the same manner as Section 704(c) of the Code in connection with a revaluation of Company property) over (y) the portion of the gain with respect to such property described in Section 1.752-3(a)(2) of the Treasury Regulations shall be allocated to such Member, and the remaining amount of such Excess Nonrecourse Liability shall be allocated among the Members in proportion to their respective Percentage Interests.
Section 5.7 Allocation of Tax Items . For federal and state income tax purposes, Company income gain, loss, deduction and credit (or items thereof) for any Fiscal Year shall be allocated as follows:
Section 5.7.1 General Rule. Except as provided in Sections 5.7.2 and 5.7.3, all items of income, gain, loss, deduction and credit shall be allocated in the same manner as the correlative items are allocated under Sections 5.2, 5.3, 5.4.5, 5.5 and 5.6.
Section 5.7.2 Section 704(c) Considerations. Items of income, gain, loss and deduction with respect to any asset contributed to the capital of CX shall, solely for income tax purposes, be allocated among the Members so as to take account of any variation between the adjusted basis of such asset to CX for federal income tax purposes and the gross fair market value of such asset at the time of contribution. In the event the Gross Asset Value of any asset contributed to the capital of CX is adjusted pursuant to Section 4.3, subsequent allocations of income, gain, loss and deduction with respect to such asset shall take account of any variation between the adjusted basis of such asset to CX for federal income tax purposes and the book value of such asset immediately following such revaluation in the same manner as under Section 704(c) of the Code and the Treasury Regulations thereunder. Any elections or other decisions relating to allocations made pursuant to this Section 5.7.2 shall be made by the Manager in any manner that reasonably reflects the purposes and intentions of this Agreement.
Section 5.7.3 Recapture Income. For purposes of determining the character (as ordinary income or capital gain) of any taxable income of CX, such portion of the taxable income of CX which is treated as ordinary income attributable to the recapture of depreciation (or cost recovery) shall, to the extent possible, be allocated among the Members (or their successors in interest) in the same proportions that the depreciation (or cost recovery) deductions directly or indirectly giving rise to such income were previously allocated. This Section 5.7.3 shall not alter the amount of allocations to any Member but merely the character of income so allocated.
Section 6.1 Distributions .
Section 6.1.1 Annual Distributions. Subject to the provisions of section 3.4.2, at such times as the Managers deem advisable, Net Cash Flow for any Fiscal Year shall be distributed to the Members in proportion to the positive balances of their respective Capital Accounts after taking into account all allocations under Article V.
Section 6.2 Amounts Withheld . All amounts withheld pursuant to the Code and the Treasury Regulations or any provision of any state or local tax law or the law of any foreign country or subdivision thereof with respect to any payment, distribution, or allocation to CX or the Members shall be treated as amounts distributed to the Members pursuant to Section 6.1 for all purposes under this Agreement. CX is authorized to withhold from distributions, or with respect to allocations, to the Members and to pay over to any federal, state, or local government or foreign government or any subdivision thereof any amounts required to be so withheld pursuant to the Code or any provisions of any other federal, state, or local law or the law of any foreign country or subdivision thereof and shall allocate such amounts to the Members with respect to which such amount was withheld.
Section 6.3 Liability for Distributions . A Member who receives a distribution for CX shall have no liability under the Act or any other applicable law for the amount of the distribution after the expiration of six (6) years from the date of the distribution unless an action to recover the distribution from such member is commenced prior to the expiration of such six- (6-) year period and an adjudication of liability against such Member is made in such action.
Section 6.4 Non-cash Distributions. If any non-cash assets of CX shall be distributed in kind, such assets shall be distributed on the basis of the then fair market value thereof as determined by CX. In the case of a non-cash distribution, CX will be deemed to have recognized income or loss as if the distributed property were sold for fair market value on the date of distribution as determined in good faith by the Managers and the Capital Accounts of the Members will be adjusted accordingly.
MANAGEMENT OF CX
Section 7.1 Management. Management and control of the affairs of CX shall be vested in the Manager. The Manager of CX will require approval of a Majority-in-Interest, except that a Manager that is not an affiliate of the Majority-in-Interest will require unanimous approval of the Members. The rights and powers of the Manager shall be exercised by it in the manner set forth herein. Any action by the Managers shall require the affirmative vote of each Manager.
Section 7.2 Number, Tenure and Qualifications . The number of Managers of CX shall be fixed from time to time by a Majority-in-Interest. The initial number of Managers shall be one (1). The initial Manager shall be Xethanol. A Manager shall hold office until he it has resigned or been removed from office or becomes unable to serve as a Manager of CX. A Manager may be, but need not be a Member.
Section 7.3 Specific Powers of the Managers . In addition to the powers now or hereafter granted by law and as otherwise provided for in this Agreement, the Managers for, and in the name and on behalf of CX, shall have the power, either directly or through one or more intermediaries, to:
(i) acquire by purchase, lease or otherwise any real or personal property which may be necessary to the accomplishment of the purposes of CX;
(ii) operate, maintain, finance, improve construct, own, grant options with respect to, sell, convey, assign or lease any real or personal property which may be necessary to the accomplishment of the purposes of CX;
(iii) incur indebtedness or issue evidences of indebtedness which may be necessary to the purposes of CX and secure the same by mortgage, pledge, or other lien on any assets of CX;
(iv) execute any and all agreements, contracts, documents, certifications, and instruments which may be necessary in connection with the acquisition, financing, operation, and sale of any assets of CX;
(v) prepay in whole or in part, refinance, recast, increase, modify, or extend any borrowings or indebtedness of CX and, in connection therewith, to execute any extensions, consolidations, modifications, or renewals of any mortgages on any assets of CX;
(vi) perform, or cause to be performed, all of CX's obligations under any agreement to which CX is a party or is otherwise bound;
(vii) prosecute, defend, or compromise upon such terms as they may determine and upon such evidence as they may deem sufficient, any obligation, suit, liability, cause of action, claim, either in favor of or against CX;
(viii) employ employees, agents, attorneys, auditors, accountants, and depositories and to pay fees, expenses, and other compensation to such persons;
(ix) cause title to assets owned by CX to be held or registered in CX name or in the name of a nominee or in street name;
(x) establish and maintain reserves for such purposes and in such amounts as the Managers deem appropriate from time to time;
(xi) make appropriate elections permitted under applicable tax law, provided, however, that such elections shall not in the opinion of counsel to CX or of the Accountants be disadvantageous to any Member;
(xii) withhold income taxes, as required by, and otherwise comply with and take actions necessary as a result of, provi-sions of the Code, requiring withholding;
(xiii) take any action necessary to avoid the assets of CX being treated as assets of any employee benefit plan subject to the Employee Retirement Income Security Agreement of 1974; and
(xiv) engage in any kind of activity and perform and carry out contracts of any kind necessary to, in connection with, or incidental to, the accomplishment of the purposes of CX, as may be lawfully carried on or performed by a limited liability company under the laws of the State of Delaware and in each state where CX is then formed or has qualified or does business.
Section 7.4. Liability for Certain Acts . Each Manager shall exercise its business judgment in managing the business, operations, and affairs of CX. Unless fraud, deceit, gross negligence, willful misconduct, or a wrongful taking shall be proved by a nonappealable court order, judgment, decree, or decision, a Manager shall not be liable or obligated to the Members for any mistake of fact or judgment or for the doing of any act or the failure to do any act by the Manager in conducting the business, operations, and affairs of CX, which may cause or result in any loss or damage to CX, its Managers, or its Members. No Manager, in any way, guarantees the return of the Members' Capital Contributions or a profit for the Members from the operations of CX. No Manager shall be responsible to any Members because of a loss of their investments or a loss in operations, unless the loss shall have been the result of fraud, deceit, gross negligence, willful misconduct, or a wrongful taking by such Manager proved as set forth in this Section 7.4.
Section 7.5. Manager Has No Exclusive Duty to CX .
Section 7.5.1 No Obligation to Devote Full Time. Each Manager shall be required to devote such time to the affairs of CX as may be necessary to manage and operate CX, and shall be free to serve any other Person or enterprise in any capacity that such Manager may deem appropriate.
Section 7.5.2 Transactions with Affiliates. To the extent permitted by applicable law, each Manager is hereby authorized to cause CX to (a) purchase property from, (b ) sell property to, (c) enter into strategic alliance, management or other agreements with or (d) otherwise deal with, any Member or any Affiliate thereof; provided that such purchase, sale or other transaction shall be made on terms which are no less favorable to CX or than if such purchase, sale or other transaction had been made with an independent third party.
Section 7.5.3 Other Businesses. Insofar as permitted under applicable law, neither this Agreement nor any activity undertaken pursuant hereto shall prevent any Manager from engaging in whatever activities, or investing in whatever businesses, it chooses in addition to those relating to CX. Neither CX nor any Mem-ber shall have any right, by virtue of this Agreement, to share or participate in such other activities or investments of any Manager or to the income or proceeds derived therefrom.
Section 7.6 Indemnification of the Managers . Each Manager shall be indemnified by CX under the following circumstances and in the manner and to the extent indicated:
(i) In any threatened, pending, or completed action or proceeding to which such Manager was or is a party or is threatened to be made a party by reason of the fact that he is or was a Manager of CX (other than an action by or in the right of CX) involving an alleged cause of action for damages arising from the performance of its activities on behalf of CX (an "Action"), CX shall indemnify such Manager against expenses, including attorney's fees and disbursements, judgments, and amounts paid in settlement, actually and reasonably incurred by him in connection with such action, suit or proceeding if such Manager acted in good faith and in a manner it reasonably believed to be in or not opposed to the best interests of CX, and provided that its conduct has not been found by a nonappealable court judgment, order, decree or decision to constitute fraud, deceit, gross negligence, willful misconduct, or a wrongful taking. The termination of any action, suit or proceeding by judgment, order, or settlement shall not, of itself, create a presumption that such Manager did not act in good faith and in a manner which it reasonably believed to be in or not opposed to the best interests of CX.
(ii) CX shall pay for or reimburse the reasonable expenses incurred by the Manager in connection with any such Action in advance of the final disposition thereof if the Manager sets forth in writing: (i) an affirmation of the Manager's good faith belief that he is entitled to indemnification under this Section; and (ii) the Manager's agreement to repay all advances if it is ultimately determined that he is not entitled to indemnification under this Section.
(iii) The indemnification set forth in this Section 7.6 shall in no event cause the Members to incur any liability beyond their total Capital Contributions plus their share of any undistributed profits of CX, nor shall it result in any liability of the Members to any third party.
(iv) Nothing in this Section 7.6 shall be deemed to diminish or otherwise restrict such Manager's right pursuant to any vote of the Members, applicable law or otherwise.
Section 7.7 Resignation . A Manager of CX may resign at any time by giving notice to the Members of CX. The resignation of such Manager shall take effect upon receipt of notice thereof or at such later time as shall be specified in such notice; and, unless otherwise specified therein, the acceptance of such resignation shall not be necessary to make it effective.
Section 7.8 Removal . A Manager may be removed at any time, with or without cause, by the affirmative action of a Majority-in-Interest.
Section 7.9 Vacancies . Any vacancy occurring as a result of the resignation or removal of a Manager shall be filled by a Majority-in-Interest. A Manager designated to fill a vacancy shall hold office until its resignation or removal.
Section 7.10 Compensation and Reimbursement .
Section 7.10.1 Compensation. Xethanol shall not receive compensation for its services as a Member without the unanimous consent of the other Members.
Section 7.10.2 Reimbursement. Xethanol shall be entitled to reimbursement of all amounts disbursed it him or his Affiliates to unaffiliated persons in connection with the organization of CX, and each Manager shall be entitled to reimbursement of all reasonable expenses actually incurred or paid by it in connection with the performance of its duties as a Manager.
ACTS OF MEMBERS AND MEMBER MEETINGS
Section 8.1 Voting Rights . On matters subject to a vote of the Members, each Member shall have the number of votes equal to the number of units of interest votes set forth opposite such Member's name on the schedule attached hereto as Exhibit A. If a Member transfers all or part of his Units of Interest, then such Member's votes (or the portions thereof attributable to the transferred Interest) shall carry over to the transferee.
Section 8.2 Meetings of the Members .
Section 8.2.1 Procedures. Meetings of the Members may be called by any Member possessing at least twenty (20%) percent of the of the absolute number of votes entitled to be cast by the Members on matters subject to a vote of the Members. The notice shall state the place, date and time of the meeting, and may, but shall not be required to, state the purpose of the meeting and the business to be transacted. Notice of any such meeting shall be given to all Members not less than one (1) day nor more than thirty (30) days prior to the date of such meeting. No notice of any meeting of Members need be given to any Member who attends in person or is represented by duly executed proxy, or to any Mem-ber entitled to such notice who, in a writing executed and filed with the records of the meeting, either before or after the time thereof, waives such notification. Members may vote in person, by proxy or by telephone at such meeting and may waive advance notice of such meeting. The presence in person or by proxy of a Majority-in-Interest shall constitute a quorum for all meetings of the Members. Each meeting of Members shall be held at CX's principal place of business or at any other location set forth in the notice thereof. At such mee-tings, the Members shall transact such business as may properly be brought before the meeting, whether or not notice of such meeting referenced the action taken at such meeting.
Section 8.2.2 Manner of Acting. If a quorum is present at a meeting of Members, any action required or permitted to be taken at a meeting of the Members shall be authorized by the affirmative vote of the Members possessing a majority of the votes entitled to be cast by those present at the meeting, unless the vote of a greater or lesser proportion is otherwise required by the Act.
Section 8.2.3 Record Date. For the purpose of determining the Members entitled to notice of, or to vote at, any meeting of the Members or any adjournment thereof, the Member calling the meeting may fix, in advance of sending of the notice, a date as the record date for any such determination. Such date shall not be more than thirty (30) days nor less than one (1) day be-fore any such meeting.
Section 8.2.4 Proxies. Each Member may authorize any person or persons to act for him by proxy on all matters in which a Member is entitled to participate, including waiving notice of any meeting, or voting or participating at a meeting. Every proxy must be signed by the Member or his attorney-in-fact. No proxy shall be valid after the expiration of eleven (11) months from the date thereof unless otherwise provided in the proxy. Every proxy shall be revocable at the pleasure of the Member executing it.
Section 8.2.5 Management of Meetings. The Member present in person or by proxy possessing the largest number of votes possessed by any of the Members so present at a meeting of the Members shall preside at and conduct such meeting.
Section 8.2.6 Meetings by Conference Telephone. Any action required to be taken at a meeting of the Members may be taken at a meeting held by means of conference telephone or other communications equipment by means of which all persons participating in the meeting can hear each other. Participation in such a meeting shall constitute presence in person at such meeting.
Section 8.2.7 Actions Without a Meeting. Any action required or permitted to be taken at a meeting of the Members may be taken without a meeting by written action signed by a Member or Members who possess the number of votes equal to the number of votes that would be required to take the same action at a meeting of the Members at which all Members were present. The written action is effective when signed by Members possessing the required number of votes, unless a different effective time is provided in the written action. When written action is taken by less than all Members, CX will promptly notify all Members of the action's text and effective date. Failure to provide the notice, however, shall not invalidate the written action.
BOOKS OF ACCOUNT;FINANCIAL STATEMENTS; FISCAL MATTERS
Section 9.1 Accounting, Books and Records .
Section 9.1.1 Required Records. The Managers shall keep on site at CX's principal place of business each of the following:
(i) separate books of account for CX which shall show a true and accurate record of all costs and expenses incurred, all charges made, all credits made and received, and all income derived in connection therewith and the operation thereof in accordance with this Agreement;
(ii) a current list, setting forth in alphabetical order, of the full name and last known mailing address of each Member, both past and present;
(iii) a current list, setting forth in alphabetical order, of the full name and last known mailing address of each Manager, both past and present;
(iv) a copy of the Articles of Organization and all amendments thereto, together with executed copies of any powers of attorney pursuant to which any amendment has been executed;
(v) copies of CX's federal, state, and local income tax returns and reports, if any, for the three most recent years;
(vi) copies of this Agreement; and
(vii) any minutes of meetings of the Members and any written consents obtained from Members pursuant to Section 8.2.7 hereof regarding action taken by Members without a meeting.
Section 9.1.2 Accounting Matters. The books of account of CX shall be kept on a calendar year basis in accordance with generally accepted accounting principles. CX shall, to the extent permitted by the Code, compute its income (and items thereof) for federal income tax purposes on the basis of the calendar year using the cash method of accounting.
Section 9.1.3 Access to Records. After giving reasonable advance written notice to CX stating under oath the purpose thereof, any Member may inspect and review the items described in Section 9.1.1 for any proper purpose and may, at the Member's expense, have CX make copies of any portion or all of such items. A proper purpose shall mean a purpose reasonably related to such person's interest as a Member. Unless CX agrees otherwise, all Member access to such items must take place during CX's regular business hours. CX may impose additional reasonable conditions and restrictions on members' access to such items, including specifying the amount of advance notice a Member must give and the charges imposed for copying.
Section 9.2 Reports .
Section 9.2.1 Generally. The Managers shall be responsible for causing the preparation of financial reports of CX and the coordination of financial matters of CX with the Accountants.
Section 9.2.2 Annual Reports. Within sixty (60) days after the close of each Fiscal Year, CX shall send to each person who was a Member at any time during the Fiscal Year then ended (i) the consolidated balance sheet of CX as of the close of such Fiscal Year and the related consolidated statements of income, changes in Members' equity and changes in financial position for such Fiscal Year, and to the extent requested by a Majority-in-Interest, accompanied by an independent auditors' report, the opinion of the Accountants and, to the extent CX was in existence, corresponding figures as of and for the immediately preceding Fiscal Year set forth in comparative form, which financial statements (including the notes thereto) shall be prepared in accordance GAAP, consistently applied with prior periods, except as indicated in the notes thereto and in the accompanying opinion of the Accountants; and (ii) a statement of the balances as of the close of the Fiscal Year of the Capital Account maintained for such person (which need not be audited).
Section 9.3 Tax Matters .
Section 9.3.1 Tax Elections. The Managers shall, without any further consent of the Members being required, make any and all elections for federal, state, local, and foreign tax purposes, including any election, if permitted by applicable law (i) to adjust the basis of CX's assets pursuant to Sections 754, 734(b) and 743(b) of the Code (or comparable provisions of state, local or foreign law); (ii) to extend the statute of limitations for assessment of tax deficiencies against the Members with respect to adjustments to CX's federal, state, local or foreign tax returns; and (iii) to the extent provided in Sections 6221 through 6231 of the Code and similar provisions of federal, state, local, or foreign law, to represent CX and the Members before taxing authorities or courts of competent jurisdiction in tax matters affecting CX or the Members in their capacities as Members, and to file any tax returns and execute any agreements or other documents relating to or affecting such tax matters, including agreements or other documents that bind the Members with re-spect to such tax matters or otherwise affect the rights of CX and the Members.
Section 9.3.2 Tax Information. CX shall use its best efforts to send, within ninety (90) days after the close of each Fiscal Year, to each Person who was a Member at any time during the Fiscal Year then ended, such tax information (including a Schedule K-1) as shall be necessary for the preparation by such Person of his or her federal and state income tax returns, and any other tax return required by any jurisdiction in which CX is formed or qualified to conduct business.
Section 9.4 Tax Matters Partner . Xethanol shall serve as the tax matters partner of CX within the meaning of Section 6231(a)(7) of the Code and the Treasury Regulations promulgated thereunder for purposes of representing CX in administrative proceedings relating to the federal income tax treatment of items of Company income, gain, loss, deduction, or credit. In his capacity as the tax matters partner of CX, Xethanol shall have all authority granted to a tax matters partner by the Code and shall have the right, at Company expense, to retain professional assistance in connection with any audit of CX by the Internal Revenue Service.
No Member shall either directly or indirectly take any action to require partition, file a bill for a Company accounting or appraisement of CX or any of its assets or properties or cause the sale of any Company property and, notwithstanding any provision of applicable law to the contrary, each Member (and his legal representatives, successors and assigns) hereby irrevocably waives any and all rights he may have to maintain any action for partition or to compel any sale with respect to his Interest, or with respect to any assets or properties of CX, except as expressly provided in this Agreement.
TRANSFERS; RESTRICTIONS ON TRANSFERS;ADDITIONAL MEMBERS; RESIGNATIONS
Section 11.1 General Restriction on Transfers. No Member shall Transfer any or all of his Interest without the consent of a Majority-in-Interest.
Section 11.2 Permitted Transfers. Subject to the provisions of Section 11.3, (i) any Member may transfer all or part of its Interest to any entity all of the ownership interests and voting power of which is owned (or is considered to be owned pursuant to the provisions of Section 318(a) of the Code) by such Member, or in connection with the corporate reorganization of such Member
Section 11.3 Additional Members. Additional members may be admitted to CX upon (i) the unanimous consent of the Members, and (ii) the agreement of the new Member in writing to be bound by the terms of this Agreement.
DISSOLUTION AND WINDING UP
Section 12.1 Dissolution Events .
Section 12.1.1 Dissolution. CX shall dissolve and shall commence winding up and liquidating upon the first to occur of any of the following events:
(i) the vote of a Majority-in-Interest to dissolve, wind up, and liquidate CX; or
(ii) the entry of a decree of judicial dissolution under Section 702 of the Act.
The death, retirement, resignation, expulsion or Bankruptcy of a Member or the occurrence of any other event which terminates the continued membership of a Member in CX shall not result in the dissolution or liquidation of CX and the business of CX shall continue notwithstanding the occurrence of such event. The foregoing sentence shall be deemed to be a stated right to continue by CX in conformity with clause (3) of Section 701(d) of the Act. Notwithstanding any provision of the Act, CX shall not dissolve prior to the occurrence of a Dissolution Event.
Section 12.2 Winding Up . Upon the occurrence of a Dissolution Event, CX shall continue solely for the purposes of winding up its affairs in an orderly manner, liquidating its assets, and satisfying the claims of its creditors and Members, and no Member shall take any action that is inconsistent with, or not necessary to or appropriate for, the winding up of CX's business and affairs, provided that all covenants contained in this Agreement and obligations provided for in this Agreement shall continue to be fully binding upon the Members until such time as all of CX's assets have been distributed pursuant to this Section 12.2 and the Articles of Dissolution have been filed in accordance with the Act. The Liquidator shall be responsible for supervising the winding up and dissolution of CX, which winding up and dissolution shall be completed as expeditiously as possible. Such person shall take full account of CX's liabilities and assets and shall cause its assets or the proceeds from the sale thereof (as determined pursuant to Section 12.9), to the extent sufficient therefor, to be applied and distributed, to the maximum extent permitted by law, in the following order:
(i) first, to creditors (including Members who are creditors, to the extent otherwise permitted by law) in satisfaction of all of CX's debts and other liabilities (whether by payment or the making of reasonable provision for payment thereof), other than liabilities for which reasonable provision for payment has been made and liabilities for distributions to Members and former Members under Sections 18-601 or 18-604 of the Act;
(ii) second, except as provided in this Agreement, to Members and former Members in satisfaction of liabilities for distributions under Sections 18-601 or 18-604 of the Act; and
(iii) the balance, if any, to the Members in proportion to the positive balances in their respective Capital Accounts (determined after giving effect to all contributions, distributions and allocations for all periods).
No Member shall receive additional compensation for any services performed pursuant to this Section 12.2.
Section 12.3 Compliance with Certain Requirements of Regulations; Deficit Capital Accounts . In the event CX is "liquidated" within the meaning of Regulations Section 1.704-1(b)(2)(ii)(g), (i) distributions shall be made pursuant to this Section 12.3 to the Members who have positive Capital Accounts in compliance with Section 1.704-1(b)(2)(ii)(B)(2) of the Treasury Regulations. If any Member has a deficit balance in his Capital Account (after giving effect to all contributions, distributions and allocations for all Fiscal Years, including the Fiscal Year during which such liquidation occurs), such Member shall have no obligation to make any contribution to the capital of CX with respect to such deficit, and such deficit shall not be considered a debt owed to CX or to any other person for any purpose whatsoever. In the discretion of the Liquidator, a pro rata portion of the distributions that would otherwise be made to the Mem-bers pursuant to this Article XII may be:
(i) distributed to a trust established for the benefit of the Members for the purposes of liquidating Company assets, collecting amounts owed to CX, and paying any contingent or unforeseen liabilities or obligations of CX and distributed from such trust to the Members from time to time, in the reasonable discretion of the Liquidator, in the same proportions as the amount distributed to such trust by CX would otherwise have been distributed to the Members pursuant to Section 12.2; or
(ii) withheld to provide a reasonable reserve for Company liabilities (contingent or otherwise) and to reflect the unrealized portion of any installment obligations owed to CX, provided that such withheld amounts shall be distributed to the Members as soon as practicable.
Section 12.4 Deemed Distribution and Recontribution. Notwithstanding any other provision of this Article XII, in the event CX is liquidated within the meaning of Section 1.706-1 (b)(2)(ii)(g) of the Treasury Regulations but no Dissolution Event has occurred, CX shall not be liquidated, CX's debts and other liabilities shall not be paid or discharged, and CX's affairs shall not be wound up. Instead, solely for federal income tax purposes, CX shall, to the extent required by applicable Treasury Regulations, be deemed to have contributed its assets in-kind to a new limited liability company, which shall be deemed to have taken such assets subject to all debts of CX and other liabilities, in exchange for all of the ownership interests in that new company. Immediately thereafter, CX shall, to the extent required by applicable Treasury Regulations, be deemed to have distributed such interests in-kind to the Members.
Section 12.5 Rights of Members . Except as otherwise provided in this Agreement, each Member shall look solely to the assets of CX for the return of his Capital Contribution and has no right or power to demand or receive assets other than cash from CX. If the assets of CX remaining after payment or discharge of the debts or liabilities of CX are insufficient to return such Capital Contribution, the Members shall have no recourse against CX or any other Member.
Section 12.6 Notice of Dissolution/Termination .
Section 12.6.1 In the event a Dissolution Event occurs, the Liquidator shall, within thirty (30) days thereafter, provide written notice thereof to each of the Members and to all other parties with whom CX regularly conducts business and shall publish notice thereof in a newspaper of general circulation in each place in which CX regularly conducts business.
Section 12.6.2 Upon completion of the distribution of its assets as provided in this Article XII, CX shall be terminated, and the Liquidator shall cause the filing of the Articles of Dissolution pursuant to Section 705 of the Act and shall take all such other actions as may be necessary to terminate CX.
Section 12.7 Allocations During Period of Liquidation . During the period commencing on the first day of the Fiscal Year during which a Dissolution Event occurs and ending on the date on which all of the assets of CX have been distributed to the Members pursuant to Section 12.2), the Members shall continue to share Profits, Losses, gain, loss and other items of Company income, gain, loss or deduction in the manner provided in Article V.
Section 12.8 Certain Arrangements Relating to Liquidation .
Section 12.8.1 Appointment. The Managers (or such other person or entity designated by a Majority-in-Interest) at the time that a Dissolution Event first occurs shall oversee the liquidation of CX.
Section 12.8.2 Fees. CX is authorized to pay a reasonable fee to the Liquidator for his services performed pursuant to this Article XII and to reimburse the Liquidator for his reasonable costs and expenses incurred in performing those services.
Section 12.9 Form of Liquidating Distributions . For purposes of making distributions required by Section 12.2, the Liquidator may determine whether to distribute all or any portion of CX's assets in-kind or to sell all or any portion of such assets and distribute the proceeds therefrom.
ARTICLE XIII
REMEDIES FOR BREACH
Section 13.1 Specific Enforcement . All breaches of this Agreement are subject to specific enforcement, without prejudice to the right to seek damages or other remedies; it being acknowledged by CX and each of the Members that irreparable damage would result in the event any of the provisions hereof are not performed in accordance with their specific terms or are otherwise breached.
Section 13.2 Attorneys Fees and Expenses . If CX or a Member resorts to litigation to remedy a breach of this Agreement by a Member (or former Member) or CX, as the case may be, and either party prevails in the litigation, in addition to any other remedies available to the such prevailing party under this Agreement or by law, such prevailing party may collect its reasonable attorneys fees and expenses of litigation from the other party.
ARTICLE XIV
A Majority-in-Interest may, without prior notice to or consent of any other Member, amend any provision of this Agreement; provided, however, that no amendment (other than an amendment that a Majority-in-Interest deems necessary of appropriate to reflect an action taken pursuant to Section 3.3) that has the effect of increasing the liability of any Member or adversely affecting any Member's interest in the income, gain or loss of CX or in cash distributions by CX may become effective unless affirmatively consented to by all Members who would be adversely affected thereby. Written notice of any amendment to this Agreement effected pursuant to this Article XIV shall be sent to all Members within a reasonable period of time after its adoption.
ARTICLE XV
Section 15.1 Notices . All notices permitted or required to be given by this Agreement shall be in writing and shall be deemed to be duly given if given personally with receipt acknowledged or sent, by registered or certified mail, return receipt requested, or by fax, or by overnight courier for next day delivery, addressed to CX at its principal office, and addressed to the respective Members at their addresses set forth on the schedule annexed hereto as Exhibit A, unless notice in writing is given of a change of address in the manner set forth herein, in which case notices shall be sent to the new address so designated. Notice of change of address shall be deemed given when actually received or upon refusal to accept delivery thereof; all other notices shall be deemed given and received on the earlier of (i) the date when actually received or upon refusal to accept delivery thereof, or (ii) on the date when personally delivered, one (1) day after being sent by telex, fax or overnight courier and three days after mailing, as aforesaid.
Section 15.2 Consents . Any consent required under the Agreement must be in writing.
Section 15.3 Binding Effect . Subject to the restrictions on transfer set forth herein, this Agreement shall be binding upon, and inure to the benefit of, the parties hereto and their successors and assignors.
Section 15.4 Further Actions . Each of the Members shall hereafter execute and deliver such further instruments, including written powers of attorney, and perform such further acts as may be required to carry out the intent and purposes of the Agreement.
Section 15.5 Headings and Captions . All headings and captions contained in the Agreement and the table of contents hereto are inserted only as a matter of convenience and in no way define, limit, extend, or describe the scope of this Agreement or the intent of any provision hereof.
Section 15.6 Relationship of this Agreement to the Default Rules . Regardless of whether this Agreement specifically refers to particular Default Rules, (i) if any provision of this Agreement conflicts with a Default Rule, such provision shall control and the Default rule shall be modified or negated accordingly; and (ii) if it is necessary to construe a Default Rule as modified or negated in order to effectuate any provision of this Agreement, such Rule shall be modified or negated accordingly.
Section 15.7 Relationship of this Agreement to the Certificate of Formation . If a provision of this Agreement differs from a provision of the Certificate of Formation, then to the extent allowed by law this Agreement will govern.
Section 15.8 Counterparts . This Agreement may be executed in one or more counterparts and all such counterparts shall constitute one Agreement binding on all the parties notwithstanding that all the parties are not signatories to the original or the same counterpart.
Section 15.9 Creditors and Other Third Parties . None of the provisions of this Agreement are made for the benefit of, or shall be enforceable by, any creditor of CX or any other Person who is not a Member.
Section 15.10 Governing Law. This Agreement shall, except as otherwise expressly provided herein, be governed by, and construed in accordance with, the laws of the State of Delaware without regard to the conflict of laws provisions thereof.
Section 15.11 No Waiver. The failure of any party to insist upon strict performance of any provision hereof, irrespective of the length of time for which such failure continues, shall not be a waiver of such party's right to demand strict compliance in the future, and no consent or waiver, express or implied, to any breach or default in the performance of any obligation hereunder shall constitute a consent or waiver to any other breach or default in the performance of the same or any other obligation hereunder.
Section 15.12 Integration. This Agreement constitutes the entire agreement among the parties with respect to CX, superseding all oral and written, prior or contemporaneous agreements, discussions, negotiations, or understandings.
Section 15.13 Severability. If any provision of this Agreement, or the application to any party or circumstance, shall be determined by a court of competent jurisdiction to be invalid or unenforceable to any extent, the remainder of this Agreement, or the application of such provision to such Person or circumstance, other than those as to which it is so determined to be invalid or unenforceable, shall not be affected thereby, and each provision hereof shall be valid and shall be enforced to the fullest extent permitted by law.
IN WITNESS WHEREOF, the parties hereto have executed this Agreement as of the day and year first above written.
Xethanol Corporation
Coastal Energy Development, Inc.
By: /s/ Lawrence S. Bellone By: /s/ Chandler Hadlock
MEMBERSHIP ROSTER; CAPITAL CONTRIBUTIONS
Name and Address of Member
Initial Capital
Total Capital
Number of Membership
2 East Bryan Street, | slim_pajama |
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Mount Dora, Florida Real Estate
Mount Dora's real estate market features a diverse collection of charming cottages and bungalows, traditional single-family homes, lakeshore homes with fabulous views, homes in gated communities, as well as townhomes and condominiums. Prices range between $115,000 and $7.3 million with average listing prices typically hovering in the $295,000 range which can buy a 3-bedroom/2-bathroom single-family home in the Lakes of Mount Dora. Mount Dora's townhomes and condos are priced between $140,000 and $180,000 with many homes located near downtown Mount Dora.
Homes in gated resort style communities like Oak Ridge include vaulted ceilings, gourmet kitchens, split floor plans, and granite counters with residents having access to exclusive amenities such as use of the clubhouse, fitness center, swimming pools, and basketball courts. Million dollar homes and estates are mostly located near or along Mount Dora's lakes. Lakefront homes usually include mature landscaping to ensure maximum privacy, custom made details, formal living and dining rooms, spacious walk-in pantries and closets, private balconies, and of course, stunning lake views.
Mount Dora Real Estate & Homes for Sale in Lake County, Florida
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Mount Dora Real Estate & Homes for Sale in Florida
The city of Mount Dora is located in Lake County, Florida and is home to close to 13,000 residents who appreciate the city's small-town charm and excellent quality of life. Part of the Orlando-Kissimmee Metropolitan Area, residents are less than an hour's drive from the heart of Orlando and all of its city amenities, theme parks, and entertainment venues. The city is approximately 184 feet above sea level and is within proximity to many nearby lakes and bodies of water, such as Loch Leven, Lake Gertrude, Lake Dora, Lake Saunders, and many others.
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Thanks to its location in Lake County and proximity to Orlando, Mount Dora remains a popular destination for tourists, many who in turn take the leap and become longtime residents.
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Gossip Girl 1. Prologue
**Prologue**
"_We know what we are, but not what we may be." _
-'Hamlet': Act 4 Scene 5, by William Shakespeare
* * *
**Its senior year guys and dolls. A time of reflection, as we finish one passage of our life and head into a whole new other. **
**College scouting, a last ditch attempt to improve our GPA's, all peppered with a nice helping of pressure from our dear parents, all await us at this last stretch of our academic road.**
**But while you're thinking about all that don't forget to have some fun and show appreciation to those people you've been stuck in a classroom with for the last five years of your life, if not longer… After all, without all the juicy scandal they generated, how boring would high school have been? **
**And definitely don't forget during this last year of adolescent recklessness what a wise girl once said: Laugh drunkenly, Live wildly and Love many! **
**You know you love me **
**xoxo Gossip Girl**
* * *
In five teenagers homes, buried somewhere under piles of clothes or other forgotten books, in deep dark recesses of a closet or shuttled under heavy tombs in a coffee table, lay an old school album. Battered, bruised and dusty, there was the same page in each one of them, its title an all-encompassing question, page eighty six to be precise.
It had been a query posed to each of the five twelve year olds upon their last day of school, scrawled upon pieces of paper in a rush to get it over with. They were asked in typical teaching fashion, to provide a response to such a complicated question within a one word parameter.
Perhaps if they glanced at it now, as they faced their last year of high school and the ever looming graduation, the potential parting of ways from all they had known for five years, they would laugh, or shrug or lament, or frown, or smirk. Or perhaps they would think nothing of it as they shoved it aside to retrieve a more important object…
But still that album would stay in their room, those words they had written so long ago encased in that tomb, suspended in time forever as the future that seemed so distant loomed ever closer…
_When I graduate from high school I want to be…_
_Sure?-_Nate Archibald.
_Successful -_Blair Waldorf.
_Known.-_Dan Humphrey.
_Exciting!-_Serena Van der Woodsen
_Chuck Bass-_Chuck Bass.
2. Fill Me With Your Poison
**Act I**
_To flaming youth let virtue be as wax
And melt in her own fire._
'Hamlet'; Act 3, scene 4, by William Shakespeare
* * *
_**Chapter I**_
**Fill Me With your Poison**
**Spotted: B strutting into class fifteen minutes late, looking decidedly frosty. Does it have anything to do with a moment shared with C in the rain just minutes earlier? Thought no one was watching B, but you should know I always am. xoxo GG. **
The courtyard was full of screaming girls and laughing boys as they ran to shelter from the rain. Chuck sauntered along per usual, having removed his signature scarf and depositing it in his inner pocket. He wore a water proof red coat, fashionable yet effective, buttoned up it kept his inner uniform from becoming soaked and resulting in that unappealing wet dog smell. With his odour protected, he continued to stroll along, taking his time and enjoying the view. Nothing rushed Chuck Bass, not even rain. Besides, even getting soaked was worth it to observe shapely girls in short skirts attempt to keep them from flying up while running, especially when certain girls did not succeed.
Chuck smirked as Sarah Bates shortened skirt slipped up showing a sneak of pink. He languidly brushed his hair back from his eyes to get a better view, frowning in annoyance as he felt the wet brown mess. Admittedly he had a small container of emergency gel in his locker, but it was sad to think the half hour he'd taken to shape it into perfect disarray was wasted. All thoughts of his hair dissipated as he spotted a certain brunette, standing under the covering of one of the school buildings, as cool as ice. She watched the squealing boys and girls with wide brown eyes, one perfectly plucked eyebrow raised, revealing her contempt. Chuck's feet immediately changed direction, as he made a bee line for her, all thoughts of other school girls in flimsy skirts forgotten.
Blair spotted him before he reached her, her lip curled in disdain and she stepped back slightly. She could tell by his smirk that he was in the mood to torment rather than talk. She glanced towards the door across the courtyard, which led into the shared entrance of St Judes and Constance Billiard. He could tell she was contemplating whether to make a run for it, but then her eyes flicked back to him and her chin jutted out in that familiar stubborn set. Chuck smirked as she bore a hole into him with her eyes, daring him to keep on his course.
"Aren't we going to be a bit late Waldorf?" he commented, checking his designer watch as he stepped under the shelter. His coat dripped heavily onto the dry bricks. Blair scrunched up her nose in disgust, quickly stepping back from the water.
"Not that it's any of your business, but I'm waiting for the rain to stop," she snapped, eyes flashing. She was always defensive when in a position of vulnerability, like a wild animal. It's what he loved about her "Shouldn't you be smoking a joint somewhere?"
Chuck raised his eyebrows. "You raise an interesting point," he drawled, reaching into his inner pocket he felt for a familiar smooth roach, and a lighter. It was meant to be for Nate, but this opportunity was too good to waste. He took them out, Blair's eyes widened in horror as he placed it between his lips and flicked the lighter. She quickly glanced around, ascertaining the presence of any teachers and probably imagining all sorts of dreadful outcomes if any one, student or teacher, spotted her standing next to Chuck Bass as he smoked a joint.
"I didn't mean here you idiot," she snapped, grabbing it from between his teeth as he just got it lighted. She quickly threw it onto the bricks exposed to the beating rain. It was soaked through, immediately extinguished and rendered useless.
"That was good stuff, you owe me," he drawled, unfazed. The loss of a hit was worth the look of panic on her face. He smirked slipped the lighter back into his pocket. His eyes raked over Blair, from the red hair band perched on top of her perfect curls, right down to the small black heels on her dainty feet. "Shall we negotiate on price now...or would you just like to pay me out right?" He smirked as he moved his eyes back up to her face, lingering on certain parts before he got there. He lent forward, suggestively reaching out a hand to brush a small strand of hair which was stuck to her cheek by the humidity.
"You're a pig," she huffed, quickly stepping back. The slight reddening of her cheeks told him she was feeling otherwise. The disgust in her eyes unfortunately, revealed that though her body may be relenting, her brain was far from agreeing.
"And you're too easy," he retorted, pretending that it was out of boredom he moved his gaze to glance lazily at the now almost empty courtyard. The problem with playing with Blair was on occasion, or nine times out of ten, he lost as well.
They stood in silence, the beating of heavy rain the only sound between them. Chuck heard the wind chimes of her phone as it she flicked it open behind him. He glanced down his watch, then up at her.
"Five minutes late now, decided to push the boundaries have we?" he asked.
She glared at him, then out of at the steady rain filled courtyard again. She was biting her lip, her eyebrows drawn, a sure sign that she was beginning to worry.
"Why don't you just make a run for it, if you're so concerned?" he queried, truly curious now. Blair was rarely, if ever, late. It was not like her to shirk a single minute of class, not with her sights set on Yale.
She looked at him, and he could tell she was contemplating not answering. Finally she sighed, shoulders slumped, defeated. He was surprised, but tried to hide it.
"I wasn't predicting such a downpour, I came in early to fix posters for the social committee," there was that slight whine creeping into her voice, her lower lip jutting out in a pout. As an only child Blair still hadn't lost the traces of childhood.
"So?" he failed to see the relevance, raising his eyebrows.
"So I don't have an umbrella, and if I go out there I'll get soaked," she snapped, eyes flashing. "I'd expect, even considering your IQ, at least you'd understand that basic concept."
"Insulting my intelligence is not the way to my heart."
He could tell she was bordering on saying something extremely unladylike, instead she inhaled deeply. Despite his flippant reply, Chuck did understand Blair's emergency. Though laughable it would seem to an outsider, as Queen B. Blair had to maintain an illusion of perfection, otherwise the vultures would descend. Jenny Humphrey had illustrated that all too clearly. He, out of the four, was probably the most able to understand this. He too had a certain reputation to maintain, albeit it was opposite to perfection.
"Where is Serena anyway? She said she wasn't coming in today, because she wasn't feeling well." Slight concern tinged Blair's tone, but there was more annoyance at the inconvenience of her best friend being absent in an emergency. Of course she could have called on a minion, but none had been at hand when the downpour started, and now all were in class. She was not going to demean herself by being at their mercy and ridicule.
"She went out with that socialite last night...Pippy, Poppy, whatever," he remarked disinterestedly. Girls like that were insignificant in his opinion, he preferred them with some sort of mystery. There was nothing mysterious about possessing zero brain cells. "Lilly's visiting her mother, Father is away on business as per usual." His lip curled in disdain as he mentioned Bart. "So sleeping through her hangover was probably the better option to attending school."
"If that's the case then why are you even here?" Blair queried.
"Because..." _of you_, Chuck hesitated, it was on the tip of his tongue.
"Because?" she prompted.
He glanced at her, she was watching him with one eyebrow quirked up, an amused lift to her lips. An object of amusement, that was his role wasn't it? He quickly changed tact midway. "How could I resist watching girls run in short skirts, which tend to ride up?"
"You're disgusting you know that," she sighed. But she said it matter of factly, rather than with her usual disdain.
"Just the way you like it," he retorted automatically. He slipped his hand into his pocket, fingers running over his lighter. He was starting to regret the loss of that joint.
"The rain is letting up," he noted, it had progressed from pounding to a steady drizzle. He ran his hand through his hair, forgetting it was wet. He quickly withdrew it, rubbing it onto his jacket.
"I'll still get wet," Blair noted, coming to stand beside Chuck. He turned to glance at her, her curls cascaded onto her perfectly pressed blazer. Her long eyelashes framing her brown doe eyes as she watched the rain fall. He was seized with a sudden urge to touch her, to run his hands through her soft curls, feel her eyelashes brush against his cheek. He turned to face her now, without consciously deciding to.
"What?" she asked sharply, noticing his intense gaze. "Do you have a problem Bass?"
He wanted to answer _yes, you're my problem. _
"Perhaps I could be of service," he commented instead, an idea occurring to him.
She raised her eyebrows. "Do you have an umbrella hidden in that garish coat?"
"No," he smirked, "But I do have a coat, unlike you. One that cost $700 and is water proof."
She looked at him, he could tell she was contemplating his words, trying to find his angle.
"And what are you going to wear?" she asked suspiciously, frowning. Chuck was almost as obsessed about his appearance as she was.
"I can wait," he shrugged. "I make it a rule to never be less than ten minutes late to first period anyway. Besides it will match your headband." He added, smirking.
"Fine," she relented.
"I knew you couldn't resist taking off a piece of my clothing," He grinned angelically as she rolled her eyes, and proceeded unbuttoning the jacket with dexterous fingers, slipping it off. Blair reached for it with fingernails painted a dark red, contrasting with the bright jacket.
"Uh-uh not so fast," he said, smirking.
"What is it you want Bass?" she asked, not taken by surprise as he held the jacket up carefully out of her reach. She crossed her arms over her chest, glaring at him.
"Well seeing as you still owe me a joint, and now for this..." he pretended to contemplate it for a moment.
"You know by the time you finish deciding, the rain would have stopped," Blair snapped, her voice rising in annoyance.
"A kiss," he enunciated carefully, watching her dark eyes. He was amused to note she was startled, taken off guard. Her eyes widened slightly as she looked at him, and then they flicked to his full mouth involuntarily.
"You have to be joking Bass," she finally hissed, trying to regain her composure. She quickly glanced around, ensuring there was no other hidden presence listening and recounting their exchange to gossip girl.
"A kiss for a coat, seems fair," he said, unrelenting. "And may I remind you that as you continue to insult me, which I'm sure you're planning to do, other students are in class receiving an education which will propel them to an Ivy school."
Blair bit back her retort, realising the sense in his words. She checked her phone again, recognising time was ticking away, and the longer she spent arguing semantics with Chuck the later she would be to class. She knew he would not relinquish the coat until he got what he wanted. She glanced out at the rain, actually contemplating running through it.
"Tick, tock Waldorf," he stated, amused at her dilemma.
"Did you know this counts as sexual harassment," she snapped, glaring at him.
"Like you won't enjoy it?" he asked.
"Fine you win," she huffed, ignoring his comment and relenting as the digital numbers on her phone changed yet again. She quickly stuffed her phone back in her pocket, scrunching up her nose in showy disgust. "Let's get this over with."
Chuck prevented himself from intoning excellent, for fear he'd sound like a perverted Mr. Burns. Instead he settled on smirking superiorly, carefully draping his jacket over his arm. He stepped forward, reaching out to take Blair in his arms.
"No hands," she shrieked as he moved to put his hands at the crook of her back, in the familiar way. "You said a kiss, that's it."
Chuck frowned, his face darkening, thinking about being vindictive and arguing the point. Then again he was reminded that the rain could not last forever, and just as Blair's time was running out, so was his.
"Fine," he relented, repeating her sentiment. "Just a kiss then."
"Fine," she said, exhaling slightly, her shoulders relaxing. Maybe he could have pushed the point after all. But Blair was already leaning forward, and Chuck did the same in anticipation. Blair had her hands clasped behind her back, as if trying to decrease body contact. It made her awkward as she lent forward and up. Still the anticipation built as they drew closer slowly.
Finally their lips met, slow and soft, then something else took over, something familiar. It felt like fireworks bursting under his eyelids. Blair lent forward even more, something desperate in the way she kissed him, desire welling up. All thoughts of minimising body contact was lost as her hands came unclasped and she clutched at his wet hair, dragging him closer. Chuck's own hands were already on her, one resting on the crook of her back, the other entangled in her brown curls. Her eyelashes brushed his cheek, so soft, like butterflies wings. Just like he remembered.
Suddenly there was a loud bang, interrupting the small bubble which had emerged to envelope Blair and Chuck. Blair disengaged startled, she quickly pushed him away and stepped back. Chuck looked for the source of the noise, it was the door to the entrance hall, which had come free of the restraint holding it open and had shut violently. He blinked slowly, looking at his surroundings with a surreal feeling. He found he was breathing rapidly, his heart beating in his chest. His fingers tingled where they had been touching Blair, he was certain his face was as flushed as hers.
Blair stood a step away from him, also looking stunned. Her brown eyes met his dark ones, he saw a flicker of something cross her face, but then it disappeared. The icy glaze fell over her once more, she quickly straightened her blazer, turning her back to Chuck. She went to step out of the covering and into the courtyard.
"Wait, Blair..." Chuck called desperately, quickly reaching out he grabbed her arm.
"What Chuck?" she asked, looking at him, raising an eyebrow challengingly. He could tell she was trying to keep her voice neutral.
"You forgot this," he drawled, holding out his coat as he tried to regain his own composure as fast as he could. He planted a smirk on his face, he wasn't certain it was very convincing though. "After all you earned it." It was a stupid thing to say, he regretted it almost as soon as it slipped from between his tingling lips.
She didn't even bat an eyelid, just jerked her arm out of his hand with disdain, and turning with a flick of brown curls she walked away on heels and dignity. He stood there dumbly, red coat still held out, and watched her make her way to the now closed door and open it. She let it slam behind her without a glance back. He hadn't even noticed it had stopped raining.
Chuck thought about throwing the coat on the ground and kicking it, but he reconsidered. After all it was a beautiful red. Instead he grabbed his phone from the pocket and pressed the number four speed dial.
"Sir?" a male voice answered.
"Bring the car around to school Arthur, I think I've come down with something," he drawled, with his usual cool composure. He didn't wait for an answer, merely snapped the phone shut and slipped it back into his pocket, draping the coat over his arm.
He knew his resigned driver would be out front within ten minutes, he'd been with Chuck long enough to know not to query his requests.
He forced a smirk as he glanced at his watch, the day was still young and his 'parents' were out of town. It was time to find somewhere more lively then the empty courtyard of his school. After all Chuck Bass had a reputation to consider.
With red jacket draped over his arm, he sauntered out from under the covering and headed to the open school gates.
* * *
**A/N: I think there is a potential story here. Maybe focusing on the Van der Bass family as well as Chuck and Blair's relationship, with some Humphrey/Serena thrown in, and Nate of course lol. Set in season 2, because it was my favourite. Chuck-centric. **
**Anyway please review = ). **
**If you google "normal_115-001" the first picutre is what inspired this chapter. I know he's wearing an orange coat, but I reckon he looks more dashing in red lol. I may use a picture to inspire each chapter... (Does anyone know how to put page links on this thing? lol)**
**Thank you, thank you, thank you to everyone who reviewed, I'll mention your names in the next one. I've written two chapters almost which I will post soon = ). Maybe on a weekly basis, so that I don't get too behind as I'm apt at doing lol. **
3. The D Word
_**Chapter II**_
**The D Word**
**Spotted: Chuck Bass playing truant in order to delve into the delights of decadence. Haven't you heard Chuck, excess isn't always best, especially when Daddy's home early.**
The soft lights travelled over the dark skin of the girl on the stage. Chuck lay on the champagne coloured sofa up front. His eyes caressing the dancing girl as two women sat beside him, one brushing his cheek with a feather while the other ran fingers through his hair. Admittedly he no longer owned Victrola, but that didn't prevent him from coming here often to enjoy the many delights which had drawn him to buy it in the first place. The bouncer never turned him away, and Chuck didn't expect any less.
Right then it was sparse of customers. It was the busiest during night, but a few business men frequented it during lunch time, which was in about half an hour. Chuck was hoping to be gone by then. Though he believed in equal opportunity, when it came to running into some of his classmates fathers at an establishment such as this, it was awkward even for him. Besides it wasn't good for business to have a young faced boy sitting up front, it made them feel old and foolish. And Chuck may not have owned the place, but he was all for furthering business ventures. Who knew, maybe when Bart deposited the usual amount in his bank account when he arrived home, Chuck might even consider putting in an offer.
Right then he was concentrating on enjoying the show however, attempting to bleach out the memory of this morning in the rain. Despite his best efforts he wasn't having much success.
"Ladies, maybe you could procure me another drink, get something for yourselves too," he drawled, not even bothering to glance at the girls on either side of them. He held out a wad of cash to them, and it was his fingers were quickly relieved of it. The girls got up and strutted towards the bar, he watched them as they went, out of habit. Unfortunately all he noticed about them was their brunette hair. Sighing he ran his hand through his own hair, now dry and styled once more in the limo. He lent forward, his eyes travelled over the polished black table. His reflection was distorted, broken by the ten or so glasses scattered on it. Five of those were Chuck's.
His mind kept on wandering back to that moment in the courtyard, when Blair's lips had touched his. Playing games with her, he'd almost forgotten how amazing she could be. Unintentionally his fingers came up to brush his lip, when he realised what he was doing he quickly drew them away as if he had been burnt. He felt like an absolute fool, acting like a love sick puppy. Blair had made it perfectly clear what her condition was for them being together, and Chuck was perfectly sure it could never happen. Even if he wanted to...but he was being stupid. He didn't want to, he couldn't. Because those three little words could destroy a man, he'd already been witness to that and sworn he'd never be so foolish.
"Here's your drink," a sultry voice interrupted his thoughts. Chuck took it without even bothering a glance at the girl, placing it on the table. She slid down beside him, a cosmopolitan in hand. "A penny for your thoughts Mr Bass," she looked at him from under dark lashes, an inviting smile on her lips.
Chuck smirked as her hand reached out to trail along his school tie, which was already markedly loosened. This was the whole reason he'd come to Victrola, for the distractions.
He didn't bother replying to her, merely lent closer to her. She placed her cocktail glass down quickly as he reached out to lace his fingers through her hair, noting it was straight rather than curled, touching her lips with his own.
It was anti climatic really, after this morning. Chuck felt annoyance rise in him, as his mind compared the kisses without his leave. Growling in frustration he disengaged from the girl, picking up the glass of scotch he'd left lying on the table he took a gulp, drowning half the glass in one go. He was already feeling that dull numbness, a fuzzy edge to his thoughts, but it still wasn't enough to drown out thoughts of a Blair.
"Would you like anything else?" she voiced, he could feel her eyes watching him with confusion.
"No, that's all," he said shortly, his voice barely concealing his annoyance. Wisely she rose, he didn't bother watching her go this time. He wondered where the other one had gotten to, he'd almost finished his glass and was still thirsty. He supposed she had been caught up in something else, that was the risk of this place. His eyes were trained on the stage once more, though he was barely seeing the dance. His phone lay on the table, the metallic purple contrasting with the black surface.
His fingers absently brushed over it. She would be in third period by now, Chemistry if he remembered correctly. He wondered if she would answer his text. His thoughts were interrupted as the phone began to vibrate under his fingers, travelling across the table. He watched it make its progress, and then as it almost hit his glass he picked it up. Flicking it open he glanced at the ID.
It read Bart Bass in large black print. Staring at the display stunned he had a momentary thought to snap the phone shut. He brushed that aside after he got over his initial shock, it's not like Bart couldn't just call him back. Quickly Chuck grabbed his almost empty glass and drowned down the remaining drink. He then pressed the phone against his ear, luckily during the day the music in here was low. Unconsciously his fingers travelled over his tie, attempting to straighten it one handed. He quickly dropped it though, feeling foolish and annoyed at himself. It wasn't like his Father could see him, or even knew where he was.
"Chuck I know you're there," Bart's clipped tone came through the receiver, warningly.
"Hello Father," he drawled, more insolent than usual. Amber liquid always gave him courage."And to what do I owe this pleasure?"
"I came home early today," Bart said, his voice steely. Chuck could anticipate there was going to be a rant on his father's part, with little intake of breath "And when I walked through that door the first thing I did was to answer a ringing phone, to find out that my son was absent from school without my leave and that the school now wishes to hold a parent teacher conference to discuss his 'colourful record' as your headmistress put it."
Chuck shut his eyes, almost groaning aloud at his own stupidity. He hadn't bothered to fake a call to the school because he hadn't expected his father to be back so soon. One absence really shouldn't have mattered in the scheme of things. Of course being Chuck Bass the amount of times he'd been absent from school, especially this first term of senior year, far outweighed the times he'd attended it.
"Father I..." Chuck began, quickly trying to form some sort of excuse.
"Don't," Bart cut him off sharply, his tone implying he didn't have the patience to listen to one of Chuck's many excuses. "I know you're at Victrola, I've instructed Arthur to pick you up. If you're not waiting outside for him by the time he gets there Charles you're going to be walking home. Do you understand me?"
"Yes," Chuck murmured, feeling that sinking feeling in the pit of his stomach which always accompanied his father's scolding. The dial tone followed his acquiesce. He sat there for a second, looking at it, his knuckles white as they gripped the phone.
He contemplated staying there, but then figured it was not worth making his father angrier then he was, especially with the impending parent teacher conference which was now joyfully in his future. Instead he shoved the phone in his pocket and quickly rose from the antique couch. Despite himself he found he was rushing, unconsciously tucking in his shirt roughly, and attempting to fix his knotted tie. He brushed his hand through his hair as he exited the door, giving the bouncer a nod. He felt relief wash through him as he noted there was no black limo parked outside in the usual reserved spot. He allowed himself a small bitter smirk as he thought of what his classmates would say if they saw their resident bad boy jumping at his Daddy's word. Then again none of them were unlucky enough to have Bart Bass as their father, so what did they know. Sighing he meandered over to the bouncer, he wasn't really into smoking, drinking was more his thing. But it seemed like the situation called for a cigarette, or two.
* * *
Serena sighed, running her fingers through her mussed blonde locks. She had spent most of the morning in bed, her champagne curtains drawn over the windows, keeping the light out. It had been a while since she had drunk to such an extent. She didn't know why, but something about Poppy Lifton made her feel fifteen again, competing for the wildest girl in school. She wasn't sure if she entirely enjoyed the feeling however, especially now with a hangover.
She rolled over onto her belly, reaching for her bedside table she grabbed her pink phone and pressed the centre button, checking the time. It was already past lunchtime, and despite her initial nausea she was beginning to get an appetite back. Maybe she could even try making the hangover cure Chuck was always so good at. She thought she might know some of the ingredients from the many times Blair had gotten him to make it for her. Something about bagels...or maybe that was just her stomach speaking.
Getting up she glanced at herself in the full length mirror. Her hair was all over the place, she wore old comfy pink shorts and a large t-shirt which had a hole on the arm. There were large black circles under her eyes. Groaning she quickly grabbed some sunglasses which lay on the dressing table. At least if she covered her bloodshot eyes, if she ran into any of the help they wouldn't scream and run. Well hopefully anyway.
Yawning she made her way down the stairs, realising she had the whole suite, and the whole day to herself. Eric and surprisingly Chuck were both at school, which she remembered to ring with her best Lilly voice and only minimal guilt. Feeling slightly more chipper at the fact she was completely and entirely free, she jumped down the last few stairs.
She stopped short as she spotted Bart standing at the kitchen counter, staring at her with those unnerving blue eyes.
"Serena?" he voiced, looking at her with surprise and raised eyebrows.
"Oh..uhh...Bart," Serena turned pink, feeling tongue tied. She felt painfully aware of her pink short shorts and holey shirt, as compared to the always immaculate business man who stood before her in a pressed designer suit. There was also the little issue of her playing hooky. She bit her lip, feeling uncertain and flustered, like a five year old.
"I wasn't expecting you home today," she settled on saying as Bart continued to look at her with raised eyebrows.
"The deal went smoother then I thought it would," he said in his same severe voice, "I must say I wasn't expecting you home either, seeing as it's a Monday."
"I...I wasn't feeling well," she said, quickly averting her eyes. Her fingers reached up to grip a lock of hair, twirling it.
"Really?" he said, she could tell he wasn't buying her story. Bart may be a man of few words, and frequently absent, but out of all of Lilly's husbands he seemed to be the one that was most perceptive when it came to Serena or Eric. There was also the newspaper he held in his hand, Serena's heart sank as she wondered whether her picture had made it onto the society page yet again.
"Is wearing sunglasses indoors some new trend I've missed?" Bart asked abruptly, interrupting her thoughts.
"Oh," she said, forgetting she had them on. Her hands reached up to take the designer Gucci shades off, but she quickly stilled the, remembering why she was wearing them in the first place. "Actually I'm still feeling pretty under the weather, I might just go upstairs and..." she trailed off, turning to head up the landing.
"Serena, a moment please," Bart called after her, in the voice of a man used to being obeyed. Serena found herself turning, dread building in her stomach, but also the usual defiance which always raised its head when anyone in authority took a tone with her. She raised her chin, meeting Bart's cool eyes defiantly. Before Bart could open his mouth however the elevator let off a loud sound, indicating the arrival of someone in their suite.
"Chuck," Serena said brightly as her step brother appeared from the elevator. His hair was ruffled, his tie knotted. Serena could smell the strong scent of scotch and the unusual one of nicotine, even from where she was standing. She was sure his unruly state would take precedence with Bart.
"Sis," he leered, making her painfully aware of her apparel once more. Serena quickly crossed her arms over her chest, and narrowed her eyes as he leered.
"Charles, you smell of a brewery," Bart commented, glaring at his son. Serena could see a small vein in his forehead pop out as he took in Chuck's appearance. Like she had predicted all thoughts of her transgressions were forgotten.
"Glasses fly when you're having fun," Chuck smirked. Serena could tell he was slightly inebriated, that was the only time he managed to be openly snarky towards Bart.
"Are you even going to try and explain your actions this time Charles?" Bart asked, voice steely. Serena backed up a step, wondering if maybe she could sneak away quietly. Since Lilly had married Bart, Chuck and him hadn't fought, not outright anyway. But Serena knew that Chuck could push Bart like no one else, and even the controlled business man had his limits. She, like Nate and Blair, knew that on occasion Bart would snap and he and Chuck would have outright rows, which ended in Chuck's absence to some foreign country and Bart's annoyance when they called.
"Did Serena?" Chuck asked, glancing insolently at Bart. He walked over to the fridge and swung it open, as if his father's displeasure was of no consequence.
"We are not discussing Serena right now," Bart growled through his teeth, glaring at his son.
"Oh really?" Chuck commented without removing his head from the fridge. He was rummaging around inside, by the sound of the clinking bottles Serena knew what he was looking for. True to her guess he appeared with a bottle in hand, shutting the fridge door he then proceeded to the cupboard where the champagne glasses were kept. "Because I hear she was out all last night drinking with Poppy Lifton. I can't imagine that's good for business Father, especially with those new conservatives you've been courting."
Serena felt like strangling Chuck's smug face as he glanced over at her. Bart also glanced at her, but his attention turned back to his son as Chuck made a louse noise searching in the draw for a corkscrew.
"Don't you think you've had enough son," Bart snapped, voice growing dangerous as Chuck ignored him and continued to rummage. Bart walked over to where Chuck stood, grabbing the bottle he'd left lying on the table.
Chuck did look up at this. "I thought we could celebrate," he said mildly. "You know, the first parent teacher conference you'll actually attend."
"If I came back for every conference your school called me to, to talk about you, I would never get any work done," Bart stated, voice cutting. "Do not try and do what you've become so good at, and lay the blame at my door for your ridiculous screw ups. I don't have the time nor the patience to pick up after you every time, you're lucky the deal brokered early or you would have been facing this on your own."
Serena watched this exchange, shocked as she saw Chuck almost cringe at his father's word. His face had gone very still, his eyes guarded. The look she was familiar seeing on his face, and yet there was still some vulnerability on it, as if he actually cared.
"So what will it be this time father. Now that I've inconvenienced you ?" he drawled after a moment's pause where Bart's words hung between them. "Are you going to ground me? Ban my TV privileges?" a mocking smile tugged at his mouth.
Bart sighed suddenly, the fight seeming to go out of him as he looked at his son. He shook his head instead, in disgust or defeat Serena wasn't sure.
"Maybe some time using public transport will teach you how privileged you are," he stated.
"You're taking the limo," Chuck didn't seem surprised at this at all, it was expected. The limo was always the first to go when his father was annoyed with him. He didn't expect it to last even a week, which was about as long as Bart remembered that he was a Father as well as the CEO of Bass industries.
"I've organized an appointment with your headmistress tomorrow before school." Bart said, dismissive now he turned back to the papers he left on the counter, placing the bottle of wine down firmly next to it. He only ever spared enough time on Chuck to admonish him and highlight his short failings. "I expect you to be ready and waiting downstairs. I have to check on some things at the office, but if you so much as a put a foot outdoor Charles..." he didn't follow through with the threat, but merely glared at his son.
"Of course," Chuck said bitterly, sneering slightly. Taking it as his dismissal he headed for the stairs, brushing past Serena. Bart's eyes followed his son as he made his way to his room, a frown creasing his forehead. He turned back to the papers he'd left on the counter when Chuck arrived, collecting them together. Serena hesitated, not sure whether to leave or not, then turned.
"Oh and Serena," Bart called after her, she turned with wide blue eyes, but he wasn't looking at her still shuffling through his papers. "If you don't mind I'd like to have a chat with you later."
"Of course," she said, then quickly turned and made her way up the rest of the stairs, wondering what she was in for.
* * *
**A/N: Here's the new chapter, please review and don't just add to story alert or Big Bad Bart may be arriving at your house. = )**
**Special thank you to Chair fan, Ami, LY, ellibells, QueenBee10, colourmehappy, Criswell and ChairLoveK. Your reviews inspired me to write, and I'm glad you liked the first chapter, thank you so much for your reviews!. = ). **
**(ellibells: I guess it kind of is Chuck-Blair centric, as I love Chair. But I think it's necessary to have the other characters have some sort of storyline to balance it out, as they can also be interesting in their own rights. They're is also the fact that Chuck and Blair need to grow as people a bit. So though I will have Chair scenes, they're not going to be in every chapter. I hope this does not diminish your love for me = P lol jks.)**
**In future chapters there will be some Jack Bass action too = P. Because he and Georgina were two of the best villains! I also want to note I was very inspired by amomentintime3 gossip girl trilogy, which is under my favourites!**
**Inspiring picture: google "gossip-girl 44" it's the pic where Chuck is slouching on the Victrola couch. Would really appreciate it if anyone knows how to put a successful link on ff = ). **
**I've just finished the next chapter and will post it on Saturday, maybe Friday. = )**
4. Well If They Don't Dance
_**Chapter III**_
**Well if they Don't Dance, Then They're No Friends of Mine**
**Spotted: Queen B. Sharing drinks with S on a school night. First late to class, now this? Watch out B, your love for bad boys may already be corrupting you. **
Eric came home to the strong smell of pot, a mixture of vomit and garbage, wafting from the upstairs bedroom. It didn't take a genius to figure out who it was. He sighed heavily, throwing his bag down on the floor. He was usually the tidy one of the family, but he'd had a rough day. Not only had he been called a derogatory term by a homophobic jock with more muscles then brain cells, but Jenny had been sticking with him and Jonathan like a leech.
Eric grabbed an apple from the fruit bowl laying on the counter. He glanced back at the stairs as he leant against the counter and bit into it. He contemplated whether he should approach his obviously broody brother or not. He'd gotten a text from Serena telling him that Bart was back and Chuck was in one of his moods, so she'd gone shopping. He guessed she'd tried to talk to him, but he hadn't been all that responsive. Eric could just see him swearing Serena out of his room. Then again Serena probably hadn't even tried.
Sighing as he reached the apple core Eric threw it at in the nearby trash can and picked up his bag again. He made his decision and headed up the stairs.
Chuck's room, for some inconceivable reason, was next to Serena's. Lilly obviously trusted that Serena's vocal disdain for him would keep any problems from arising. For once their Mum was right. Serena and Chuck had never had any sort of attraction, she wasn't his type, and she knew too much about his sordid history to ever look at him in a romantic light. Eric had been relieved about that. Chuck, unlike most of the other men or boys in his life, would not be there and then gone on his sister's or mother's whim. He thought that even if Lilly and Bart's marriage disintegrated, Chuck seemed to genuinely like him and they may actually remain friends. At least Eric guessed it was like and not amusement, sometimes it was hard to tell with Chuck.
Eric reached his brother's door, and paused. He raised his fist to knock, and then thought better of it. Instead he tried the silver handle first. To his surprise the door popped open and Eric entered. Chuck was lying on his silk sheets, on his stomach. A joint was held lazily in his hand, lolling off the bed. His blazer was thrown on the floor, and his shirt was untucked. His purple Nike sneakers lay on top of his bedside table for some inconceivable reason.
"Hey," Eric choked out, covering his nose as the smoke rolled over him.
Chuck glanced lazily up at him. Noticing Eric's discomfort he actually flipped over onto his back and reached his hand out towards an ornamental vase sitting on his side table, extinguishing the rolled up paper. Eric imagined the vase was left over from when the interior decorator went through the house. Of course Chuck's whole room looked like it had been from that time. The colours were silver and varying shades of grey, along with a little dark blue. Lilly hadn't been sure what kind of taste Chuck had, so she had attempted at a neutral air. It was still a neutral room, bar a few ties lying on the floor and a red coat thrown over a chair, it could have been something out of a display home. Eric guessed Chuck spent more time in 1812 then he did here. He had noticed that the suite certainly had Chuck's flare for colour, on the few occasions he and Chuck had spent up there playing games.
"Are you here for a particular reason little brother?" Chuck drawled, looking at him from his position on the bed. "Or just enjoying the fumes?"
"Martin Grant called me a fag today," Eric said matter of factly. He blinked, stunned at his sudden honesty. He hadn't been planning to come into the room and broach this subject, but there was something about Chuck that inspired confidence, though heaven knew why. Well the words couldn't be taken back now, so Eric left the matter for lost and went to sit on the chair which the red coat was occupying.
Chuck called Martin Grant a very rude word, that would have made Eric's ears burn, if one of Lilly's boyfriends hadn't sworn like a trooper at basketball matches.
"It's no big deal," he said mildly, surprised at Chuck's vehemence. The older boy had actually deigned to sit up at the news, and there was a dangerous flash in his dark eyes.
"No, big, deal," Chuck enunciated each word carefully, looking at Eric without comprehension.
"I don't want you to put a hit out on him or anything," Eric said quickly. "I just guess I needed to tell somebody."
"He's a jerk," Chuck began, censoring his language somewhat. "He needs..."
"Yeah he's a jerk," Eric interrupted him before he could continue on his rant. "An uneducated loser, who will end up selling pot in a park and get caught, possibly go to jail for five to ten years. Maybe he'll even get a boyfriend while there, making his comments to me kind of ironic. I know he's a jerk, but if I react to what he said, I'm implying I care what he thinks. And I'm better than that."
Chuck looked at the younger boy, opening his mouth as if to say something more, but then he closed it again. Grinning bemusedly instead he shook his head.
"What?" Eric asked as he chuckled.
"Nothing, I'm just wondering how you and Serena can share any DNA," he drawled.
"Hey, Serena has her moments," Eric retorted, part jokingly, part serious.
"So now we've established you're a wiser man than your elders, is there anything else you'd like to discuss?" Chuck enquired, lying back down on his bed and staring up at the dove grey ceiling.
"Why, are you planning to go somewhere?" Eric asked, smiling slightly at Chuck's flippant dismissal.
"No, I'm grounded," Chuck gave a short humourless laugh, fingering quotation marks in the air around the word.
"Wow the great Chuck Bass grounded," Eric said dryly.
"For the evening at least. Never fear, I'm sure my father will forget all about it in a day or so. He always does."
"Do you wish he didn't?" Eric asked, he realised how incredibly lame it sounded as it left his mouth, but he was sure he didn't imagine that slight bitterness to Chuck's voice.
"Am I paying you by the hour or something?" Chuck enquired dryly, raising his eyebrows he craned his neck to look at Eric.
"Huh?"
"For the shrink service." Chuck commented. "Its times like these I realise how lucky you are to have me in your life."
"Really?" Eric queried sarcastically. "And do you say that to all the girls you meet."
"Only the ones I plan to grace with my presence a second time," Chuck smirked, suddenly he sat up, grabbing one of his sneakers from his bedside table he attempted to undo the laces.
"Are you planning to go somewhere?" Eric queried watching his brother's progress. He wasn't sure if that was such a good idea, Bart seemed to have a very short fuse when it came to Chuck.
"_We_ are going somewhere," Chuck said as he grabbed the second sneaker.
"We are?" Eric felt startled, his thoughts going to Victrola. Chuck had taken him there once on a Saturday, he wasn't entirely sure if his eyes had fully recovered yet. "But I thought you were grounded?"
"My Father said I couldn't go outside, he didn't say anything about leaving the suite," Chuck smirked wickedly, and Eric was definitely sure this was not a good idea.
* * *
"And then Bart was all like," and with this Serena lowered her voice, deepening it and scowling to reflect her step father's manner, she crossed her arms and puffed out her chest. "Oh and Serena, if you don't mind I'd like to chat later." At the end of her impression she deflated, uncrossing her arms and flicking her blonde hair back. "I mean, as if I have a choice? He marries my Mum and then thinks he can lecture me, after raising _Chuck_. Can you believe that B?"
"Right," Blair murmured, not entirely paying attention to her friend. Instead her concentration was on her pink strawberry dacqhurie. She was stirring it absently, her other hand clutching her red blackberry.
"So, a moment in the rain huh?" Serena asked sneakily, trying to hide her growing smile.
"I told you, nothing happened," Blair snapped, catching these words. Her voice rising an octave, as was habitual when she was desperately trying to lie to herself.
"Gossip girl doesn't seem to think so. Apparently someone spotted you two while heading to class. She's offering a reward if anyone can give her further information." Serena teased.
"What reward, a fake Prada?" Blair queried, vindictively stabbing the strawberry on her stick and popping it into her mouth. "I'm sure Little Jenny Humphrey will jump at the chance. Although she'd probably do better with some make up remover."
"Don't be cruel B. Jenny has been really quiet lately," Serena protested, feeling slightly sorry for the blonde girl. She knew all too well what it was like to get a frosty reception from Blair and her minions.
"I'm not the one who invented raccoon watch on gossip girl," Blair said, innocently. "I was just stating something we're all thinking."
"So is there anything going on between you?" Serena prompted, eagerly watching her friends for any sign of relenting. Since her and Dan had gone their separate ways her love life had been rather sparse lately. She wasn't yet ready to move on with anyone, she still found herself missing Dan on occasions.
"Nothing," Blair said, once more flashing innocent doe eyes.
"Sure," Serena teased, casting a sideways look at her friend. "If you call a kiss nothing."
"Who said anything about a kiss?" Blair's voice rose in pitch and her cheeks coloured. "I did _not _kiss that Bass hole."
"What?" Serena stared at her friend, stunned at the reaction her teasing had caused. Then she burst into laughter. "Oh my gosh you _did_ kiss him," she crowed in triumph at Blair's tell tale signs.
"Quiet," Blair hissed, casting her eyes around the bar to ensure no teenagers were sitting close by. She flapped her arms in desperation to hush her friend.
"I don't know whether to be disgusted or concerned," Serena teased, quieting her giggles.
"I know," Blair groaned, burying her face in her hands. "I don't know what I was thinking," her voice muffled, her curling hair forming a protective curtain around her.
"Do you...do you still like him?" Serena asked tentatively, watching her friend carefully. She teased her hair with her fingers nervously, not sure what to say to Blair's imminent confession or denial.
They were both saved from having to say anything with the sharp trill and vibration of both their phones. Blair looked up and her eyes met Serena. It was one of those occasions where they were thinking the same thing.
"You don't think anyone saw you?" Serena finally queried.
"I don't want to know," Blair groaned, quickly burying her face again."I can't even look."
"It might not even be about that..." Serena said doubtfully, biting her lip. She could tell Blair was on her way to a complete meltdown.
"Just get it over with," Blair said dryly, commanding. Serena obeyed, taking her pink phone from her bag she flicked it open in one fatal swoop and glanced at the new message from gossip girl.
**I see London, I see France, I see Chuck Bass drunk off his ass. Not only that, but with a new drinking partner to boot. Wonder what a certain S would think of this. Xoxo GG. **
Serena's relief that the post did not mention Blair was dispelled at the last sentence. Quickly she scrolled down to the accompanying pictures. They were like stills of a video, Chuck drowning down a bottle, not even bothering with a glass, at the Palace bar no less. Girls of questionable character surrounded him. And next to him, sitting on the couch, was Eric, looking red in the face. Chuck was pouring more alcohol into his glass. There was some white powder on the table.
Serena went very still, staring at her little brother. Her sensible, good little brother, being egged on by Chuck Bass to jump into the deep end. Somewhere Serena knew all too well was near impossible to climb out of. Serena was usually of a bubbly disposition, but right then she felt rage spread like cold ice around her body.
"Is it bad?" Blair asked, looking up at Serena's silence.
"I have to go," Serena said abruptly, not hearing her friend. She quickly grabbed her bag, fumbling with her purse she pulled out a twenty and threw it on the bar, sliding off the bar stool. "Sorry," she called behind her as Blair opened her mouth to query her abrupt actions. "But it's an emergency." Quickly turning, she rushed out of the bar like a whirlwind.
Blair frowned slightly, looking after Serena. Curiosity getting the better of her she reached for her own phone, flicking it open to view the post. A sinking feeling settled in her stomach as she imagined all sorts of dreadful scenarios, the worst being a coloured photo of her moment of weakness. She looked stunned at the post instead. Scrolling down to the pictures she saw Chuck, drunk and raucous, a skinny blonde sitting next to him in a low cut black dress.
Snapping her phone shut, she quickly slammed it down on the table and grabbed her strawberry dacqhurie. Drowning the remaining drink in one go, she gestured to the bartender. She required another drink, a stronger one this time.
* * *
"Chuck what the hell are you doing?" Serena snapped, stalking up to the couch Chuck was lounging on, in the corner of the Palace bar.
He looked up at the avenging blonde, her blue eyes hard, her face unimpressed. Her eyes flickered to Eric, who was sitting next to him with a buxom blonde on his knee. Both of them were giggling, he was most definitely not her usual sober brother.
"Serena?" Eric looked up, at his older sister, a goofy smile breaking over his face. "Heyyyy, whaddyou doing here?...Chuck got me some coke, it tastes funny, you want some?..."
"Looking a bit tense there sis, _would_ you like some?" Chuck queried, breaking the silence as Serena stared at Eric in utter horror. He held up the scotch and indicated with his other hand the goods laid out on the table.
"I can't believe this, you're doing coke? You gave my little brother coke?" Serena screeched. The bartender looked up at this, obviously nervous but unsure what to do about the boss' drunk underage son. The other patrons had already cleared out, some with disdainful looks and intent to complain, others with amused glances. And those rare tweenagers who had been enjoying a boring dinner courtesy of their parents, with incriminating photos just as they were pulled away. Chuck had successfully managed to call some friendly young women of his, who were now filling up the couches on either side of him and Eric, and displaying very anti-social behaviour.
"Of course I didn't give Eric 'coke," Chuck drawled, shrugging. "This is strictly for the girls, they have a certain taste for it." He smiled like a wolf, a predator showing all his teeth. "I did however, provide Eric with the beverage coke, with a bit of scotch mixed in. He wouldn't have liked the taste otherwise, and you know how I like to accommodate my siblings."
"You spiked his drink!" Serena moved onto the next point of call. Perhaps it wasn't as bad as being high, but still it was her little brother.
"I merely offered him some refreshments," Chuck shrugged, seeing no moment to it. After all, Serena, Nate, Blair and him had done far worse at fourteen, then get a bit tipsy and giggle while a blonde sat on their lap.
"You're a pig," Serena snapped, expressing as much disdain and disgust as she could. "Come on Eric, we're going," she turned to her brother with this. Obviously she wasn't going to be the one to discover Chuck's elusive conscience.
"But I...just got here..." Eric began, looking up at his older sister from behind the blonde's full hair, with bemusement.
"And now you're _leaving_, come on," Serena said determinedly. She grabbed her brother's hand, pulling him up and displacing the blonde who tumbled half onto Chuck's lap. Eric stumbled, falling into Serena, she quickly supported his weight. The smell of alcohol was heavy on him.
"Woah..." he moaned, "Did the room always spin like this?" Of course it didn't come out as a coherent sentence, more like a jumble of words.
"Where are you going, the party is just getting started?" Chuck queried, pushing the ratty blonde off him and looking at Serena with a frown. "I think Eric has a right to decide if he wants to stay."
"No, he doesn't," Serena snapped, before Eric could open his mouth. "He is fourteen years old and you are a selfish jerk. You might want to spite Bart by screwing up your life Chuck, but don't you dare bring him into this. If you ever, ever come near my little brother again, I will personally make sure Mom finds out about this, and then you won't have another opportunity."
With that she grabbed Eric and practically dragged him towards the exit, and towards the elevators which would take them up to their penthouse suite. He stumbled, leaning on her.
"Serena I don't feel so good," he muttered, she prayed he wouldn't spew until they got up to their suite, or at least into the elevators.
"Fine bitch, way to ruin a party," Chuck called after her spitefully, glaring. Serena bit her tongue, and kept on walking, making an effort not to turn around and get into a very public fight with Chuck.
Chuck watched her stagger out supporting the disorientated Eric. The anger started to drain out of him as soon as they were out of sight, even though he desperately tried to cling to it. He clutched at his scotch glass, watching the amber liquid swill around as he rotated his wrist absently. Her words were still ringing in his ears. "_Selfish jerk, screw up..."_ mirroring his fathers.
"So...do you have any more of that stuff?" the blonde queried softly, smiling, her head lolling as she brought up a manicured hand to stroke the lapel of his jacket.
"I'm not in the mood," Chuck snapped, pushing her off him unceremoniously and heading for the exit himself. It looked like he was going to be sleeping solo in 1812 tonight.
* * *
**A/N: Thanks for the reviews, ChairLoveK, Ami, tvrox12, colourmehappy and QueenBee10. I really appreciate it! = D I'm so glad you guys like it so far! = )**
**I hope I'm staying in character. Please review if you're reading = ). **
**Next chapter: An awkward parent teacher meeting involving the Big Bad Bart. Plus Chuck and Blair share an embarrassing confrontation in class. And a new bad boy moves into the Upper East side. Sibling rivalry will be in future chapters too! **
**Oh yeah and when you read this imagine Chuck with his season 1 hair and unique fashion style, sigh I miss those days = (. Also in my early understanding, I thought the Bass suite was in the Palace at the top, so it's the same in this story. **
**Picture: google "a-bs-moment" (don't know if anyone cares about this lol, but it helps me visualise the scenes)**
5. It's Pronounced Absinthe, Not Absent
_**Chapter IV**_
**It's Pronounced Absinthe not Absent**
**Naughty, naughty look who's caughty. Chuck Bass attending a parent teacher conference, with the Big Bad Bart present for once. We guess even a bad boy has his off days. Upper East Side parents may expect trouble from their offspring, but even they have their limits. By the look on Bart's face I'd say he was very close to boiling point. And I have a feeling C is going to have trouble talking his way out of this one. xoxo GG. **
* * *
Chuck exited the limo as fast as he could, wishing to be anywhere else. His head was slightly sore, despite taking a hangover cure. Nothing he couldn't handle though. The problem was Bart, who had ridden with him all the way to school, and was now going to follow him through the halls to the principal's office.
Chuck had honestly thought his father would bail. He'd never bothered to attend a meeting before. Sometimes he'd send the secretary, most times he'd just make a call and sort it out within five minutes. It seemed today, however, Bart was in one of his parenting moods, where he felt he had to teach Chuck a lesson the hard way. And it was hard.
Chuck had been woken in the morning by a maid, who had been sent by his father to ensure he got up, dressed and was downstairs in time. Unfortunately it was one of the old, plumpy women who Chuck couldn't bring himself to seduce. He'd manage to arrive twenty minutes later (a personal record) downstairs. Bart, of course, was already standing by the limo. To Chuck's surprise Eric was standing beside him, Bart smiling at something Eric said.
When he spotted Chuck his smile immediately turned into a look of disapproval. Chuck settled his monogrammed scarf, which he knew Bart hated with a passion.
"Hello Father," he drawled, like he wasn't nervous about the impending meeting which was likely to spell his doom. "Eric."
"You're late," Bart responded, annoyed. He opened the limo door and settled into a seat.
"Where's Serena?" Chuck asked, pretending to tie his shoe lace he glanced up at Eric. He was feeling slightly nervous, he could almost mistake it for guilt as he looked at the younger boy. He'd never felt responsible for anyone before, but Eric, with his quiet unassuming ways, and cynical yet still innocent air, inspired what Chuck imagined to be brotherly concern.
"Uh...I think she decided to walk," Eric said evasively. "Anyway, how are you feeling? I woke up this morning and it was like a train had hit me,"
"About that..." Chuck began, straightening up. Eric held up his hands, and Chuck noticed he was grinning.
"It's cool," he said. "I'm not angry, Serena just over reacted like older siblings do. I needed cheering up, and you were just trying to help. No harm, no foul."
Chuck wanted to point out that he was Eric's older sibling too, but he let it slide and merely gave the younger boy one of his rare smiles. Eric returned the favour.
"Are you coming boys?" Bart barked from the car, he had been occupied with a phone call, but now he was ready to depart.
Chuck sighed, and Eric grinned as they slipped beside each other into the limo.
The ride over had been awkward to say the least. Eric had tried at some polite conversation, which Bart had responded to stiffly. Whenever Chuck spoke he was quick to admonish him for some imagined slight. Eventually Chuck shut his mouth and stared out the window, Eric ran out of topics and began fiddling with his phone, and Bart checked his watch every five minutes.
Chuck had never been more relieved to see the old building which housed Constance Billiard and St Judes. As soon as the limo paused he scooted out, and was tempted to slam the door behind him and order Arthur to drive. Unfortunately Eric also had to exit, and Bart was close behind. Chuck quickly turned so as not to look like he was associated with Bart. He caught site of a familiar strawberry blonde walking towards the steps and smirked, forgetting his troubles for a blissful minute.
"Who's she?" Eric asked, adjusting his satchel and watching the girl with curious eyes.
"Last weekend, it was a good one," Chuck drawled.
"But isn't she the French sub?" Eric squeaked, looking shocked at Chuck.
Before Chuck could reply, with a self satisfied smirk, Bart came to stand beside them. Eric moved slightly to give him way.
"What are you talking about?" he asked curiously, glancing at Eric's still shocked face.
"Just how amazing French is," Chuck replied, he was still watching the pencil skirts contents as it made its way up the stairs.
Bart followed his line of sight. Chuck couldn't help glancing up as he felt his father's blue eyes boring a hole into him. He resisted the urge to swallow as Bart's look. He wondered if perhaps he had gone too far this time, been too obvious with his quip.
"Take that off, you look ridiculous," was all Bart said gruffly, tugging the scarf off Chuck and shoving it into Chuck's hands. He then proceeded to walk towards the stairs himself.
Chuck looked after him, then down at his trademark. He considered returning it to its rightful place around his neck, but then he sighed and shoved it into his satchel, scowling.
"Do you want me to put that in your locker?" Eric enquired, looking at the satchel.
"Sure," Chuck muttered, handing it over. He trusted few people, but he knew the younger boy had too much integrity to mess with his things. "I should get going."
"Well...uh good luck," Eric said lamely.
Chuck let out a breath in a large gust, giving him time to compose himself. He then plastered a confident smirk on his face.
"I don't need luck, I'm Chuck Bass." He drawled, clapping the younger boy on the back he then strolled after his father. Eric watched him go bemused. Chuck was still a mystery to him.
* * *
Chuck sauntered into the school, trying to appear confident. Of course that was tempered by the fact that his father was walking behind him, looking as severe as ever. He'd managed to catch up to Bart, and surpass him. He could not stand for walking behind his father like a trained dog, not in school at least where he had a reputation to consider.
Bart, clueless as usual, had organized the meeting to begin just before the bell rang. This meant that Chuck had a considerable audience to witness his walk of shame. Knowing his father though, perhaps it hadn't been entirely by accident he was now walking the gauntlet in the halls of St Judes and Constance Billiard.
People watched and whispered, some confident enough to laugh, other passing comments behind their hands. Bart was looking at the kids disdainfully, like they were some abnormal species he'd never encountered before. Chuck wanted to slink away, feeling like a naughty child being marched along to time out. Instead he grinned and strutted ahead, hoping to win over the crowd by bravado.
He spotted Serena and Blair standing in the hall near the office doors. Serena cast one glance at him, then flicked her blonde hair and turned her back disdainfully. Chuck hadn't seen her since last night, his head gave an unpleasant throb as he memories tried to rear their head. Blair merely looked right through him, like he was transparent glass.
Chuck contemplated pausing beside her, demanding her attention. Perhaps the confrontation would lead to another interesting make up session. A small smile tugged at Chuck's lips as he thought of yesterday morning. He didn't have a chance to realise his theory, as Chuck's steps unconsciously slowed Bart quickened his to match.
"The headmistress office is through there," Bart commented, herding Chuck towards the office door and past Blair and Serena. Chuck was tempted to surrender to a disappointed pout, instead he managed to hesitate behind Bart, just long enough to blow a mock kiss to Blair. He smirked as her eyes widened in horror, he guessed he wasn't so transparent to her after all. "Come on," Bart growled, annoyed he tugged Chuck by the arm into the reception area.
"Mr Bass," the receptionist exclaimed, with widened eyes at the sight of the ever elusive infamous parent. She then spotted Chuck as he straightened his blazer, and her lips pursed into a prudish line. Chuck had never bothered to work his charm her. She was around her forties, and trying way too hard in his opinion, with her tight pin skirt showing thighs that should be put away by now, and overly bright lipstick. Certainly not his type, nor was there any incentive to make her his type.
Everyone knew if you wanted anything done in St Judes or Constance Billiard you befriended (or in his case wore down) the headmistress. Chuck believed he'd had the former headmistress, Mrs Wright, effectively trained to be resigned to his ways. Unfortunately, besides the pool incident, he had not yet had a chance to teach Ms Queller the same lesson. With his drama with Blair, Nate and the merging of the Van der Woodsens and Bass household, Chuck had barely bothered trying to get into trouble with a spectacular prank lately. He made a mental note to rectify that as soon as possible, you could never be too old to cherry bomb the toilets after all.
"We have an appointment with Ms Queller," Bart intoned crisply, talking to her as he would his own receptionist.
"Of course," the woman blustered, searching her papers. "Um...she'll be out in a few minutes if you'd just like to take a seat."
Chuck went to sit in one of the maroon chairs by the wall. No question where all the money was going in this place, he thought as he settled down into the plush, designer seat. Bart had not moved however. Chuck watched his father, expressionless, as he checked his watch then looked up at the receptionist.
"I was made to believe the meeting was at 8:25 exactly," Bart said, his tone implying that punctuality certainly was next to godliness in his philosophy. "I was hoping to get this over as soon as possible, I have a meeting at 8:50."
Chuck snorted loudly, causing Bart to turn his head and give him a disapproving look. Twenty five mutes, that was all the time Bart was willing to put aside to try and address Chuck's 'issues'. Typical really, he couldn't even spare a whole half hour for his only son. Chuck had always understood that Bart was an important man, and business always came first. But on occasions when he was in one of his moods (where his philosophy started sounding hollow to his ears, and his lifestyle began to bore him) the fact Bart ran a company which made billions did not seem the most important factor anymore.
"I'm sure she'll be out in..." the receptionist began, nervously brushing her manicured fingernails over the keyboards of her computer at Bart's hawk like look. Before she could finish the Headmistress' door swung open. Ms Queller stood there, her hair in a tight bun, her face giving away only polite interest.
"Um...thanks Ms Queller," Chuck heard an unfamiliar male voice. He watched curiously as a boy walked out of the office. His uniform was as pressed and pristine as any new student. His black hair was slicked back and he had a small swagger, one Chuck was familiar with. It was one of a boy who had just wrapped the headmistress around his little finger (or in Chuck's case driven her to distraction).
"I hope you'll enjoy your stay at St Judes Damien," Ms Queller said, smiling at the young man and shaking his hand.
"Oh, I'm sure I will," Damien gave her a small half smile, like he was laughing at a private joke. Chuck watched him with mild interest now, as Damien turned and walked towards the door.
"Mr Bass, Charles," Ms Queller said, drawing Chuck's attention towards her. Chuck rose languidly as his father quickly stepped forward and enveloped her hand in a very firm handshake. Despite himself his fingers fidgeted with his maroon blazer jacket, and his striped tie.
"Charles," Ms Queller called, Chuck looked up to realise his father had already entered the principal's office.
"Chuck," he corrected her, resisting the urge to clear his throat.
"Pardon?" Ms Queller raised her eyebrows slightly.
"I prefer to be called Chuck. I find it has a certain ring to it, Miss," he drawled, smirking suggestively as he walked towards the door she was holding open. He smirked as she looked at him, unsure what to make of this historically troublesome student which had now been thrust into her lap.
Bart had already taken the plum seat in the office. The dark decor of black, brown and red was supposed to promote a sense of calm and also display the high standards of the school, with a shiny awards cabinet in the corner. Chuck took the wooden seat next to the leather couch, slumping. Bart's blue eyes scanned his languid stance critically, and Chuck straightened up slightly, the points of confidence he had won with Mistress Queller slipping away.
He cast his eyes quickly away from Bart's sharp blue, watching as Queller sat behind the heavy oak desk. She opened her drawer, bringing out a familiar fat manilla file. Bart shifted in his seat, obviously surprised by the size of the file, which had his son's name in large black print in the top right hand corner. Chuck glanced at his father from the corner of his eye, resisting a smirk. He could guess Bart was probably wondering how the file had reached such proportions, when he had made sure to pay off most of Chuck's large misdemeanours. Of course it was the small things that added up.
"Before we begin is there anything you'd like to say Mr Bass?" Ms Queller enquired, training her gaze on Bart, who was sitting with perfect posture, immaculate as always.
"Actually, I have a business meeting at 8:50," Bart said, "I was hoping we could deal with this...issue within that time." His tone implied there was no room for negotiation.
"Well, with all respect, I'm not sure if that will be possible Mr Bass," Ms Queller said, glancing down at the large folder. "I've been looking over Charles folder this morning and in the years he's been at St Judes he certainly has been busy. His attendance has been erratic at best. Long unexplained absences, forged notes. Sneaking off school grounds without permission. Not to mention the various other serious misdemeanours he has committed." Ms Queller stated this all matter of factly, speaking in measured tones as she linked her fingers and rested them on the desk. Her body language clearly showed she was a woman here to wage a war, not just tackle a small battle.
"I was under the impression we were here to speak of Charles absences only," Bart said, glaring at Chuck. Obviously he knew who to blame for having to be late to his meeting. Chuck felt like his collar had shrunk significantly, he quickly tugged at it, surreptitiously undoing the top button hidden underneath his tie.
"Oh yes, though his absences are of upmost concern, I think it must be put into the context of his overall behaviour."
"Of course, and I would like to discuss Chuck's behaviour when I have the luxury of more time, but perhaps we could limit our discussion to the terms of Chuck's discipline for now." Bart said more firmly this time. Chuck concentrated on picking at a small piece of thread on the inside of his blazer, pretending to be unconcerned with their discussion. He knew all too well how this went, the school would let him off with a slap on the wrist, and Bart would donate a nice sum of money. Whenever Chuck was in his sight for the next week, he'd bring it up and completely savage his whole character, and every action. But there was nothing new about that.
"All right then..." '_if that's how you'd like to play it'_, Ms Queller's raised eyebrow suggested. "Suspension would be the usual punishment, in this case perhaps expulsion."
Chuck's head jerked up at the word, glancing at his father with some trepidation. Of course he could always buy Chuck's way into another school, but it would take a lot more money. There was also Chuck's reputation to consider, which had taken him many years to cultivate. Of course Chuck's reputation could be transferred to any school in the Upper East Side. But he had a feeling Bart wasn't going to be considering elite private schools in the region of New York, or perhaps even in America.
"Excuse me?" Bart had gone perfectly still, his lips barely moving. He stared at Ms Queller in shock. He was used to the routine of this (even though it was usually done over the phone, or through his secretaries.) He had been expecting to merely have to donate some money to keep the punitive measures for Chuck's indiscretions at the bare minimum, and be out of the school in five minutes. He had certainly not been expecting to hear the words expulsion, or even suspension.
"Under the school policy, with Chuck's very colourful record and countless chances, expulsion is the recommended option here." Ms Queller repeated, completely unruffled despite Bart's cold star and incredulity.
Bart composed himself, quickly losing his rigidity he entered business mode. "Perhaps we can negotia-" he began.
"Mr Bass I personally do not believe suspension or expulsion is the appropriate solution here," Ms Queller cut him off before he could start to haggle. "So I'm not going to implement either, at least not without giving Charles a chance to redeem himself."
Chuck's shoulders relaxed, he hadn't realised how tense or anxious he had felt at the prospect of being expelled, not until he felt the relief. It was like gaining a last minute reprieve at his execution. His thoughts drifted to Nate, Eric, hell even Serena. He carefully kept himself from thinking about a certain brunette, and how she was his main motivation for wanting to stay at St Judes. He didn't need to deal with those emotions now, if he had his way he would never deal with them.
"And how do you propose he do so?" Bart asked carefully, Chuck was pretty sure that his father thought there was no way he could ever redeem himself from being an epic disappointment.
"Well, a good start would be to attend school," Ms Queller said primly. Chuck refrained from rolling his eyes. "Secondly, perhaps Charles could get involved in school activities."
"Like community service?" Bart queried, and he sounded actually approving of the idea.
"Yes, getting involved in the community may give Charles the chance to realise what he can positively achieve if he puts his mind to it." In other words, it will keep me out of trouble, Chuck thought wryly. He didn't voice his thoughts however, biting his tongue to keep from blurting out a sarcastic reply. Bart's shoulders had released some of their tension and Chuck didn't want to push his luck.
"What do you suggest?" Bart asked, perhaps he was hoping Chuck would be press ganged into repairing the subway, or some other manual labor which would keep him out of Bart's, for lack of a better expression, hair.
"Well at the assembly yesterday, which Charles missed," with this she gave Chuck one of her practiced stern looks. Chuck merely grinned, he had been raised by Bart Bass,no one had a more frightful look. "We remembered one of our students who had recently passed. A young man who was just graduated a year before. He died of alcohol poisoning. "
Chuck frowned, he remembered reading a post to that effect on gossip girl last week, but he hardly saw what that had to with him.
"I'm sorry to hear that," Bart applied the relevant lip service. Chuck noticed his fingers were in his pocket, probably fiddling with his phone. He was obviously eager to get back to the office.
"Yes it was a tragedy," Queller intoned gravely, "We've decided, in his honour, to have a group of volunteer senior students organize an alcohol and drug awareness week. I think this would be a perf-"
He couldn't help himself; he actually chuckled aloud at the irony of the situation. Chuck, the poster boy for scotch and all sorts of narcotics, representing alcohol and drug awareness. Chuck representing righteousness when he was all about depravity. He was sure his peers would get a kick out of it, even if the headmistress couldn't appreciate the joke.
"I'm sorry Charles, do you find something funny in the situation?" Queller raised her eyebrows, looking at him. She was like a hound dog that had caught an unpleasant scent.
Chuck may have made some smoothly polite excuse for his outburst, it was on the tip of his tongue. But then he noticed Bart glaring at him, looking pointedly at his $200 watch to indicate that he did not have time for his acting out.
"Actually I d-," Chuck began, grinning wickedly at his father.
"Chuck," Bart snapped, his voice cutting, a vein popping on his forehead. "I would think very carefully if I were you, before I answered that question."
Chuck did think about it for a second, mouth still open, lips ready to form a reply. He contemplated whether he dared, at Bart's threatening look he decided he did not. He shut his mouth with a snap, and merely sat back, keeping a smirk on his face like he found the whole situation amusing.
"You were saying Ms Queller?" Bart prompted, turning his full attention back to the headmistress. She had watched their change curiously, but she did not comment.
"I think this committee would be perfect for Charles to join." She continued smoothly, pushing back a strand of hair which had dared to escape from her bun. "It's made up of his peers, allowing him to network, and provides him with an opportunity to do something positive in school, and make a difference. There's also his college application to consider, which I'm sorry to say seems quite bare."
Chuck's smirk grew wider with each sentence, but he kept his tongue firmly planted in his mouth. Who needed extracurricular activities for college, when your father could buy your way in? Not that he was planning to go to college, no Chuck's goals were set much higher.
"And do you require anything else from Charles?" Bart enquired, making moves to rise and leave.
"Well there is the issue of his grades Mr. Bass," she stated, Bart fell back into his seat, resigned.
"I thought he is passing all the required classes?" Bart enquired, tehnsing again.
"He's doing slightly more than passing," Ms Queller gave Chuck a stern look, he wondered if she knew his little secret. "But there is an inconsistency I have noticed between his in class assignments and his exam results. A significant marginal difference. It's not of large consequence, yet. But, if it continues, it has the potential to affect Chuck's future...prospects."
Chuck's heart sunk slightly. Who knew Queller was such an efficient bitch?
There was a moment of silence as Bart possessed this veiled threat, trying to understand the significance. Chuck could almost see his father's quick mind putting two and two together, and inevitably coming to four.
"What are you suggesting?" Bart asked carefully, probing how serious or imminent Queller's threat was. He glanced at Chuck, his eyes like a hawks, probing. Chuck felt like sinking into his seat. Bart certainly had no clue about Chuck's tendency to pay others to sit his major exams. Chuck had been careful to hide it from him. He got enough flac for his behaviour, clothing style and every breath; he did not need more about his reports.
"Oh I'm suggesting nothing Mr. Bass," Ms Queller said, all innocent eyes. Chuck knew then she had no concrete proof to pin him to plagiarism, that's why she was merely bringing it up as a topic of interest. Of course it didn't help that she had now made Bart aware. "Just that perhaps Charles could do with some assistance with his studies, in order to ensure his grades are consistent. We wouldn't want his future academic career to be jeopardized due to sloppy grades."
Bart clenched his jaw, the muscles popping out. Chuck wondered if his father could turn any redder. He blew out air through his nostrils slowly, and then attempted a polite smile, it came out more like a grimace.
"I'll see to it," he said firmly.
"Well I think that is all then," Queller smiled back. "If Charles endeavours to be punctual and attend all his classes, as well as the committee meetings, then hopefully no further disciplinary action will need to be taken."
"Good," Bart said shortly, rising now he checked his watch.
"It was nice meeting you Mr. Bass," Queller said, also rising and putting out her hand.
"Likewise," Bart said, with little emotion. Chuck rose after his father, feeling slightly nervous. He knew Bart prided himself on hard work, and only respected those who strived to do their best in every possible way. Hence why he and Chuck never could see eye to eye. The one thing that Bart seemed to begrudgingly regard about Chuck was that, if nothing else, at least he managed to keep his grades at a decent level. Now that illusion had been shattered Chuck was sure it was going to be a bloodbath.
"Charles?" Bart looked expectantly at his son.
"Thank you," he murmured to Queller, resisting the urge to grit his teeth.
"Think nothing of it," she stated, smiling blandly. Chuck made a personal note to deal with her somewhere down the track.
"Goodbye," Bart said as Queller moved to open the door for him, she repeated the sentiment, but Bart was already out the door and into the office. Chuck hurried to catch up to his father, but not before Queller could get the final word.
"Oh and Charles," she called out as he stepped into the office and quickly headed for the exit out in the hall, "The first ADA committee meeting is today after school."
Chuck gritted his teeth as he glanced around and saw there was a sophomore girl in the reception area, as well as a junior boy, both staring at him. He contemplated whether he should flip the old bag off, but decided against it. Instead he merely ignored her and kept on walking.
As he expected Bart was in the corridor. He was just closing his phone, obviously sending a text to his associates. He looked up as Chuck's polished black shoes made a noise on the floorboards.
Chuck glanced at his own watch, his father was certainly going to be late to his meeting, It didn't help Chuck's case. He looked up at Bart.
"Father I…" he began, his throat feeling very dry suddenly, his voice hoarse.
"Don't.," Bart snapped. "I have never, in your entire life, been more disappointed in you as I was in there. Although heaven knows why I keep on expecting better. I should know what you're like by now."
With these bitter words Chuck flinched slightly as if he had been hit. He opened his mouth to say something at his father's enraged words. The difficult thing was that Bart wasn't yelling he was merely cold and matter of fact, disgust seeping off him. Chuck couldn't muster any rage in response to his clinical observations. He just felt like slinking away to 1812 and drinking himself into oblivion. But there was no chance of that as Bart continued to glare a hole into him with those icy blue eyes.
"I just hope you take full advantage of this opportunity you've been given Chuck," he finally growled at Chuck's helpless silence. "Because either you start showing improvements in your schooling, in your general attitude, or your next and only option is going to be military school. Do I make myself clear?"
Chuck felt himself wilt with each word, he didn't even bother to look and see if anyone could hear. He felt like he always did around Bart, a worthless screw up who never could do anything right.
"Do you?" Bart repeated, annoyed. He always expected an answer.
"Crystal," Chuck replied quietly. All quips, all smart ass comments, seemed to have left him.
"Good," Bart said dismissively, Chuck's obedience was no less than he expected. With that he turned to leave, not even bothering to say goodbye. Chuck watched him walk down the hall, suit pristine, not one crease. He wondered if once he left the building he'd shake off the miniscule dust from his pant legs, like he shook off his nuisance son.
Suddenly he heard a door slam shut and quickly turned. Jenny Humphrey stood there, school books in hand, quickly pushing the blonde fronds of her razor cut fringe, from her eyes. She was gripping an art portfolio, and had obviously just exited the empty studio room, which was open for art students to study in when they had a free period. She was standing stock still, like a deer caught in head lights, her wide blue eyes trained on Chuck. He wondered how long she had been there.
"Chuck I'm sorry," she said, her voice quiet and hoarse. Obviously she had been there long enough to hear the verbal lashing his father had given him.
On any other occasion, if he had a bit of time to compose himself, he probably would have asked her innocently 'For what? I'm not the one living in Brooklyn'. Or maybe 'I'm Chuck Bass, what's there to be sorry about?' But he wasn't in the mood for witty quips, and she was a Humphrey, the last person he wanted to see at his weakest.
"Eff. Off," he snarled viciously instead, and kicking the locker near him he stormed away. He was quite sure the last time he'd deigned to attend a full day of school; he'd stashed a bottle in his locker. Now was as good a time as any to start and finish it.
* * *
**A/N: Okay I lied. The embarrassing confrontation between Chuck and Blair in a classroom will happen in the next chapter. (The Damien mentioned is the same character from the show, just making an earlier appearance and causing some trouble with Chuck, Serena and Blair). **
**Thank you to all those who reviewed, you motivate me to keep on writing, and updating regularly. Please if you read this review and don't just add to story alerts! Thank you. = )**
**ellibells: I agree, Blair really needs to sort out Chuck lol. So Blair-Chuck squabble coming up next chapter = D. I love Chuck and Eric as brothers, really miss that bond = (. And yeah, light hearted Serena is my favourite = ). I'm glad you liked it, thank you for the review = ). **
**ChairLoveK: I'm glad you love it. Blair=Chuck scene coming soon = P. Thank you for the review = ). **
**Ami: I love Chuck as a bad boy. And I think they didn't give us enough before he became reformed (though he's still kind of bad, but in a way too old for his age way now). Thank you for the review = ). **
**Jwoo2525: I so agree, Ken doll lol! I miss it so much it aches = (. Season 1 hair and awesome unique fashion sense, they make him look like an old man now = (. Thank you for the review = ). **
**Tvrox12: Eric is feeling a little daring, so he might be taking a few more risks = ). Even good boys are bad sometimes. Some Chair scenes soon. Thank you for the review = ). **
**Mlharper: I'm glad you like it, and at least one person is looking at them lol = ). Thank you for the review = ). **
**Picture of the week: Google: "gossip girl season 1 photo 15" (It's on the first page, bottom row. A picture of Eric, Bart and Chuck in front of the school. This chapter was actually shorter, but after seeing that picture I added Eric into it = ) ). Sorry as I added the beginning part I did not have time to edit properly, so excuse any grave grammatical errors. **
6. With Friends like These
_**Chapter V**_
**With Friends like These Who Needs Anemeny's?**
Chuck sauntered into the cloudy courtyard, patting his inner blazer pocket where his all too handy flask was located. He'd taken covert sips throughout the morning, and was feeling that relevant hazy buzz which accompanied superior scotch. He smirked as he recalled Mr Henderson's face in literature, when he'd requested to go to the bathroom for the tenth time in one class. He'd forgotten how amusing annoying teachers could be, maybe there was something to attending classes after all. Or maybe he was just teetering on the edge of having a little too much to drink.
He paused near the bottom of the stairs, throwing his satchel carelessly onto the worn stone railing. He smoothed down his retrieved scarf and watching as the other students who had just escaped class fiddled with their lockers, or ran across the courtyard shouting obscenities to each other and laughing. He spotted Serena, talking with Izz, her face scrunched up in perplexment. He guessed it was probably about verb conjugations, or perhaps she was just lamenting the fact that she was having a bad hair day. He contemplated approaching her, teasing her did bring him some delight, and he was in want of anything better to do.
Then he spotted another blonde striding across the courtyard, deep in thought. His plans quickly changed.
"Nathaniel," he called out lazily to his best friend. Nate glanced up, and a grin broke across his face. He broke into a jog and came to a stop at the bottom of the railing, looking up at Chuck.
"Hey, I haven't seen you in a few days man," he said. "I heard you got busted by Queller this morning for playing hooky."
Chuck grimaced; word certainly had gone around, especially with the gossip girl post. Despite his attempt to forget this morning's transgressions people had been hooting and catcalling about it all day. It wasn't the fact that Chuck had done something wrong, that was always a given. The scandal was that Chuck Bass, the great, the devilish Chuck Bass, had been _caught_.
"Was Bart pretty pissed?" Nate asked after an awkward pause. He watched Chuck carefully, trying to keep a neutral face though he glanced uncomfortably down at his scuffed sneakers. He was well aware of Chuck's complicated dynamic with Bart.
"Nothing I can't handle," Chuck drawled, hiding his uneasiness behind a smirk. He quickly searched his head for another subject, and alighted upon an idea. "Speaking of recent events, what are you doing after school?" he enquired, smirking at Nate.
"I was going to meet up with Vanessa" Nate stated carefully, looking up at Chuck with apprehension. He was all too familiar with Chuck's tendency to ensnare him in plan's which began and ended with trouble. "Why?" he enquired, as Chuck made a face at the Brooklynites distasteful name. Nate and Vanessa had started hanging out again recently, and Chuck had been very vocal about his disapproval of the impending match.
"Well, it's a good thing I can rescue you from substandard company then," Chuck drawled, leaning casually on the railing he surveyed the landscape, carefully not looking at Nate.
"I like hanging out with Vanessa," Nate protested, frowning disapprovingly at Chuck's snobbish attitude. "You've never even given her a chance man."
Chuck shrugged lazily, "Fish have to swim in the murky waters of Brooklyn, eating two dollar tacos from unhygienic stands. And birds have to fly above them in private jets, devouring imported caviar. It's the natural order of things Nathanial."
Nate couldn't help a small smile tugging at his lips at this ridiculous analogy, tearing asunder the disapproving frown. He surrendered and laughed, shaking his head at Chuck.
"Where do you get this stuff?" he queried, he was always amazed at Chuck's ability to put snobbishness into articulate nonsensical sentences, which made perfect sense to him apparently. It was one of the many talents he shared with Blair. "Never mind," he quickly rectified his statement as Chuck trained his hazel eyes upon him, and raised an eyebrow, opening his lips to no doubt drawl his familiar three word explanation. "So, if I weren't to hang out with Vanessa, what were you planning? A boy's night?"
Chuck shut his mouth with a snap and smirked in a way which made Nate slightly uneasy. It was the look his friend had upon his face before he'd convinced Serena in fifth grade that a fish oil tablet was a jellybean. It did not bode well for anyone involved.
"What say you to broadening your social horizons Nathaniel, bringing them to new heights?"
"What do you mean?" Nate asked carefully.
"I mean," Chuck leaned forward over the railing, looking excited as an idea sprouted the fertile soil that was his devious mind. "Going down in history, immortalized forever in the memory of St Judes and Constance Billiard. Imagine our names upon the lips of every girl and boy who ever walks these halls."
"I think Gossip Girl already took care of that," Nate pointed out dryly. He had been the butt of many malicious rumours throughout the year, especially with his Father going AWOL recently. Not only that but he was certain the whole Serena, Blair, Chuck, Nate love square was going to be the subject of discussion in the school long after they graduated.
"Yes, but what if this time we were to call the shots." Chuck dismissed his cynicism carelessly. "Be the glamorous legends we are once more. Taking up the mantle of eternal Kings of this school."
"How are we going to do that exactly?" he queried, amused. He had to admit, that Chuck with his eloquent language, had begun to lure him in.
"We're going to perform the ultimate mockery of this hypocritical institution called a school. We are going to sit on the committee for alcohol and drug awareness, plan the event with great care. Then we're going to have an after party of absolute and total decadence, the best booze and drug stirred party this school has ever seen, or will ever see."
Nate took a minute to absorb this, then rolled his eyes as he realised what Chuck's sudden grand vision was really about. "I'm not going to do time with you man," he stated. He'd already heard what the penalty for Chuck's absences had been, and he certainly was not willing to share it with his friend. He already had enough to deal with, lacrosse practice, homework, and trying to understand the odd pull he had for Vanessa, while simultaneously trying not to look at Serena. Being on a lame committee was not his idea of productive leisure time, even if it was with his best friend.
Chuck bit his tongue at Nate's outright rejection. His first response was to offer him money, an allusion to his summer indiscretions with an older woman, but he quickly stilled his spiteful nature. Nate was his friend, and if Chuck was anything it was loyal.
"It's not about doing time," he changed tact. He omitted the fact that it certainly was about him not wanting to be stuck, alone and vulnerable, in a room with Blair and her minions (who were on every respectable committee available). "It's about our legacy Nathanial. When you look back on senior year, do you want it to be the year that was pathetic. The year we lost our status in this school to the stone jocks like Josh Gardener. Or do you want it to be the year that _was_?"
"Actually I wouldn't mind a boring uneventful year for once," Nate murmured, he was only lending one ear to Chuck now, losing interest in the discussion now he realised the true motive was not to his taste. His eyes scanned the courtyard and couldn't help resting upon a tall blonde, who was consequently sitting on one of the stone tables next to a black haired newcomer. Nate frowned as Serena laughed aloud at something the boy said, throwing back her mane of blonde, and opening her mouth wide to send out that unique childish sound.
"Who's that guy?" he queried, frowning and cutting off Chuck as he began expounding more dreams of senior royalty, which was basically all bullshit to co erce Nate into going with him. Chuck paused in his words, recognising he had lost Nate to a stronger allure he followed his friends line of sight.
"I think his names Darren or something, he's a new kid," Chuck commented, glancing with narrowed eyes at Serena and the boy, then down at to bristling Nate. "Is there a problem Nathanial?"
"No, no problem," Nate quickly shook himself from his staring (or glaring would be more accurate). He glanced up at Chuck and gave one of those easy smiles, showing pearly white teeth and a dimple. "Just wondering, that's all."
Before Chuck could probe further he spotted Mistress Queller with some interesting company. His smirk reappeared, and his feelings of superiority heightened. He checked his phone and realised it was just on time. Without taking his eyes off the spectacle he typed a quick message to Eric and sent it. Nate was also glancing at the sight, as were all the students, as Mistress Queller, looking decidedly unimpressed, entered the courtyard with two police officers in tow. The police officers were smirking superiorly as they looked at the school kids, swaggering along with one hand resting on that all important gun holster. Some sophomore girls were watching them with interest, giggling behind their hands.
Nate's eyes, typically, went straight to Serena. He noted with a frown that the new boy was whispering something into her ear, and she was leaning close to hear it, looking concerned.
"What do you reckons happening?" Nate asked, glancing up at Chuck, his brows drawn.
"Something exciting no doubt," Chuck drawled, giving a devilish grin. Nate followed Chuck's line of sight and realised he was talking about the cops. Chuck grabbed his satchel and hooked it over his shoulder.
"You going somewhere?" Nate queried, it was unlike his friend to miss out on the drama. Already students were following behind the cops, ready with phones out, despite Queller's stern approbations. He could tell Chuck was revelling in the scene, the utter uncontrolled chaos of mob mentality, especially when they could smell blood of a fallen peer. "Chuck," he prompted his smirking friend who was examining the scene with some satisfaction.
"Unfortunately I have a prior engagement," he said mysteriously. "I'll see you at lunch Nathaniel, the usual place."
Before Nate could reply Chuck was already striding purposefully up the staircase, pushing against the crowd attempting to catch a glimpse of the imposing law enforcement, and checking his phone. Nate shook his head, then found his eyes turning involuntarily back to Serena and the new guy. He watched them from a distance for a few minutes more. Serena made as if to go after the cops, then hesitated as the guy said something to her. She turned back to him and smiled, that bright sunny smile which Nate was used to being reserved for him whenever he said something endearing. Finally, having enough, he steeled himself, slinging his gym bag more firmly over his shoulder, and made his way towards the table where they were sitting.
"Serena hey," he called, trying at nonchalance, though he couldn't help examining the guy under his light lashes. He stopped at the edge of the table squarely in front of the two of them, demanding their attention. "How are you?"
"Nate," Serena looked up and smiled brightly at him, that same sunny smile, and he couldn't help a genuine grin creeping over his face. "Hey, where have you been? I haven't seen you all weekend?"
"I visited Mom," he said, avoiding her eyes. He still felt awkward with his family situation, things between his Mom and him were strained, to say the least.
"Oh," she looked at him with those wide blue eyes, understanding immediately, and Nate felt gratitude well up in him. He knew Chuck would listen if he tried to tell him his problems, and suggest a remedy. But it was weird talking to another guy. Besides Serena's look of sympathy was somehow a better balm then lighting up and forgetting the world for an hour or so. Her hand rose up unconsciously, as if to take his and Nate felt an old familiar lurch in the pit of his stomach.
At that moment the dark haired guy, who had been sitting by awkwardly watching this exchange, chose to cough as a reminder that he was still present. Serena's hand dropped instantly, and she immediately began fiddling with the rings on her fingers nervously.
"I'm sorry," she said, turning her attention back to the companion beside her. "Damien this is Nate, Nate, Damien. Damien used to go to my boarding school, he helped me out a lot with assignments and...stuff..." at the mention of this she suddenly blushed and looked slightly guilty, dropping her confident gaze from Nate's.
"Pleased to meet you," Damien said, cultured and polite like all good prep school boys were. He held out his hand and Nate took it, perhaps squeezing harder then necessary and shaking more firmly then he was usually inclined to.
"You too," he said, trying at an easy smile, he felt like it came out more as a grimace. He couldn't drag his eyes from Serena, who had her guilty look on, biting her lip and teasing her hair with her fingers. He wondered what had happened at boarding school between Damien and her. "So how are you liking it so far?" he finally asked after an awkward pause.
"It's certainly started off interesting," Damien commented, watching the now dissipated crowd, the cops had disappeared into the school while their exchange had taken place.
"Damien's signed up for the A&D committee with me," Serena supplied after another awkward pause.
"I didn't know you'd be into that sort of thing?" Nate queried, rubbing the back of his neck and looking at Serena curiously. He thought she would scoff at the idea like he had, but he was starting to wonder if maybe he didn't know her as well as he thought he did.
"Why not? It's a good cause." she suddenly bristled, "What do you mean?"
"Well...I...uh..." Nate stumbled over his words, unsure at her sudden change in temperament. The thing he liked about Serena was that she was usually bubbly, was slow to anger and quick to forgive. Today however she seemed all over the place.
"It's a good cause as well as looking good on your college application," Damien supplied, grinning.
Serena smiled at this, realising her mistake and quickly trying to rectify her sudden burst into annoyance. In normal circumstances Nate would have been grateful to any guy who bailed him out, with Damien however he just felt irritated, especially considering the self satisfied look on the other boys face.
"Yeah it does, which is why I'm signing up too," Nate proclaimed suddenly, the words leaving his mouth before he had adequate time to contemplate their significance.
"That's great," Serena squeeled, making an effort to compensate for snapping at him she graced him with a wide toothy smile. "It means we'll get to see more of each other this year. Maybe you can even show Damien the ropes and introduce him to some people.
Nate felt his face fall at her second sentence, though he tried to maintain a manly front. That wasn't what he had in mind when he proposed joining the ridiculous committee. He opened his mouth, but before he could put his thoughts into words (somewhere between an excuse of lacrosse and an attempt to lure Serena away from Damien) the bell rang indicating the drudgery of classes was to resume.
"Come on Damien, I'll show you to the library. Damien and I have a free period together but he has no navigational skills, even though our boarding school was like ten times the size of this," Serena supplied by way of explanation to Nate, hopping down from the table and brushing her skirt carelessly.
"What can I say, it's a genetic thing," Damien shrugged, smiling wanly at Serena he followed down from the table. By the look on his face Nate was pretty sure it was more of an excuse to spend time with the model blonde.
"See you after school Natie," Serena said, affectionately enveloping him in her long arms, she disengaged before he could blink and started to head towards the halls before Nate could respond.
"What's after school?" he called after Serena, bewildered and feeling like a bucket of ice water had been emptied upon his head.
"The A&DC meeting silly," she called behind her, smiling. She turned and carelessly laughed as Damien muttered something in her ear. Nate felt incredibly stupid, just standing there staring dumbly as they disappeared together into the school. He wondered, bemusedly, what the hell he had gotten himself into.
* * *
As soon as he left Nate, Chuck made his way into the boys corridors of St Judes. He didn't need to follow the police to get to the action, he knew precisely where it was going to be. As he had hoped Eric was standing in a corner, near an empty classroom door. The right wall of the corridor was filled with maroon lockers. The younger boy was looking around him in confusion and checking his phone. As soon as he spotted Chuck he looked relieved, as if he thought it had been some sort of prank.
"Why did you want to meet me? And why this corridor specifically?" he immediately interrogated the older boy as soon as he walked up to him.
"Patience is a virtue," Chuck said, gesturing with his hands to indicate the younger boy should calm down. He tried the doorknob of the classroom and sure enough it was open. Indicating that Eric should enter, he followed the younger boy inside and closed the door lightly behind him. He made sure it was slightly ajar to allow sound to filter through. The glass on the top half of the door allowed them a perfect view of the lockers and corridor in front of them. Chuck lent against the brown teachers desk and checked his phone casually.
"Patience is never a virtue when you live on the Upper East side," Eric pointed out, facing Chuck. In the world of backstabbing and twisted politics it was always best to know now rather than later.
"Don't worry," Chuck drawled, smirking he returned his phone to his pocket and planted his eyes on the glass pane, looking out into the corridor. "All will be revealed in ten, nine, eight..."
"Are you seriously counting down?" Eric asked, partly amused partly derisive. Chuck simply ignored him, keeping time with a tap of his polished shoe. With the passing of each number from his lips they could hear a crowd getting closer. Eric looked at the older boy, obviously wanting to query further, but gave it up for lost as Chuck's dark eyes didn't waver from the door. As he came down to single digits he moved closer to the door, craning to get a vantage point of further down the corridor. Eric followed suit, curious he stood on his tip toes to try to get a better view of what Chuck was watching so intently.
"...three, two, one,"
As the last syllable left Chuck's mouth some people filed into their view. The two cops strutted in, walking between them looking slightly pale, but as arrogant as ever, was Martin Grant. Mistress Queller was following the cops, looking harassed, along with a few supporting teachers and a group of students from the courtyard who would not be dissuaded, no matter the threat of detention. All the teenagers had their phones out, and no doubt they were all streaming live to gossip girl. Chuck's smirk grew wider as he anticipated what was to come next.
The cops steered Martin to a locker which was situated a few feet from the classroom door, and clearly visible from their vantage point. Eric's mouth was open, as he looked at Chuck then back at the scene. Chuck spared a glance at him, but he couldn't really see any other emotion beyond shock on Eric's face. He turned his mind away from the younger boy as the cop spoke.
"This is his locker?" one of the police officers asked Queller brusquely.
"Yes," she said, "But gentlemen really..."
The cop ignored her further protestation; turning to Martin he barked "Open it."
"I have rights," Martin heated up, typical jock. He brushed his surfer fringe from his eyes and glared at the cop arrogantly. "What happened to having a warrant?"
"You don't own the locker, the school does," the other cop, a shorter stocky young man pointed out. "So that means we don't need a warrant to do a routine search. Your principal has already agreed..."
"Yes, based on the evidence you presented. But really can't we clear out..." Queller began again, glancing concerned at the crowded students who were listening to every word with wide eyes and open phones. She obviously did not like being relieved of control. Both cops still ignored her.
"Now you can either open it, or we can get the bolt cutters," the brusque cop said, giving Matthew an unpleasant smile.
Chuck could tell the jock's little mind was working, wondering if it was worth protesting his rights to save face in front of the school. But finally he relented, his shoulders sagging.
"It's not like there's anything in there anyway, unless Playboy is illegal," he muttered grumpily. Chuck felt slight disappointment that the bolt cutters weren't required, it would have added that extra legitimacy to the scene, but one couldn't have everything.
Everyone watched with wide eyes and bated breath as Martin flicked the combination, twirling the locks small number wheel. Eventually there was the familiar click, and he flipped the locker open, giving an exaggerated bored sigh. Plastic bags filled with green leaves fell out of the bursting locker and at his feet, there would have been thirty of them. Martin stared down at them, his mouth open like a gaping fish, his eyes wide and horrified.
"What the f-" he yelled, jumping back from the packets.
"Martin Grant you're under arrest for possession of illegal substances with intent to sell." The cop began, cutting off the boy's emphatic exclamation. The silver cuffs were already in his hands, a self satisfied look on his face.
"This isn't mine," the jock blurted out as the cop turned him around. "I swear." The cop cuffing Martin rolled his eyes, as if he had heard this tired excuse countless times before.
Chuck opened the classroom door at this, grabbing Eric's arm he pulled the younger boy with him and slipped out quietly while everyone's attention was focused on Martin. He shut the door and leant against it, watching the arrest at his leisure, feeling satisfied.
"It's not mine," Martin was still protesting.
"We can talk about it at the station, Bill you can take care of this," the burly cop indicated the plastic bags, looking at his stocky partner.
"Sure," he nodded.
"I demand someone ring my lawyer," Martin cried out, obviously he'd been privy to one too many law and order episodes.
"Like I said we'll discuss it at the station, I'm sure you'll contact the parents Mistress Queller," the officer said dismissively turning before Queller could reply he started leading Martin towards the doors at the end of the corridor, away from the crowd.
"Hey Grant," Chuck drawled as the boy passed him and Eric, both leaning against the classroom door, "Make sure you don't drop the soap." He grinned at the jock, showing all his teeth. Martin hesitated as the cop tried to push him, staring at Chuck then at the younger boy with gaping mouth.
"You two did this?" he said, his face turning red as he came to the obvious conclusion. "I'll punch that smirk right off your face you ass h-"
"Hey, hey come on," the cop snapped, forcefully pushing the jock now as he made a threatening step towards Chuck. "You don't want to add resisting arrest to the charges, now do you."
Martin visibly forced himself to calm down, but his face was still red and he glared back at Chuck as he was pushed towards the exit. Chuck continued grinning, giving him a lazy salute just before he was pushed through the double doors and out of sight. Martin's threat didn't worry him, he could easily take care of an over muscled jock with an IQ of 7.
Chuck turned to Eric as Queller began dispersing the crowd at the end of the corridor. His grin had become more natural now, less predatory. He felt satisfied with his days work. Of course it was an awful waste of pot, which was being collected up, but it was worth it if he bought some peace of mind to the younger boy. Eric was looking at Chuck now, his face unreadable, Chuck felt his grin falter slightly, but he brushed away his doubts quickly.
"So what did you think?" he queried, draping his arm around the younger boys shoulders confidently.
Eric shook him off, looking grim. "I think I told you to leave it alone," he said, his voice cool. He didn't bother to elaborate, but turned and headed for the doors Martin had just exited.
"I thought you'd want revenge," Chuck said confused, quickly striding after the younger boy he grabbed his shoulder. Eric turned around obligingly, but his face was no friendlier.
"Did you listen to me at all last night?" Eric asked, shaking his head he looked at Chuck as if he was seeing him for the first time, and he didn't like what he saw.
"You think that jerk is going to learn anything from you staying quiet? People like him only understand actions, not words Eric." He was slightly derisive, surprised Eric couldn't see that this was the only way to resolve this. "You said yourself that he would end up in jail eventually, I just hurried along the process. It's justice, what is your problem with that?"
"The problem is that I didn't ask you to do this," Eric said, looking at Chuck with furrowed brows, as if he couldn't believe Chuck couldn't understand. "The problem is that when Martin gets back to school who do you think he's going to go after?"
"I've already planned for that," Chuck said dismissively.
"You just don't get it do you? I don't need you to protect me Chuck, most of all I don't want you to," Eric snapped. He spun around and headed towards the doors again.
"Eric," Chuck called after him, baffled.
"Just leave me alone Chuck," Eric snapped after him as he slammed the double doors open and stormed through, leaving a stung Chuck behind.
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**Spotted: Martin Grant with shiny silver accessories. Too bad handcuffs don't go well with a varsity football jumper M.**
**A little lesson for the clueless, never mess with a Bass.**
**xoxo GG **
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**A/N: I know, a bit late, but I've been so swamped. = (. This would not flow. But at least it's something, and yes I know still no Chuck and Blair sorry. Next chapter I really promise this time. For some reason that scene is giving me a lot of trouble. Anyway thank you so much to all those who reviewed, I really appreciate it. Review and give Chuck a bear hug = ). (Anemones is spelt that way on purpose, just in case you're wondering lol). **
**Inspiring picture of the chapter: Google "new 233+gossip girl". It's the first pic with Chuck and Nate. **
7. And All I Can Breathe is Your Life
**_Chapter VI_**
**And All I Can Breathe Is Your Life**
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**Well, well, well. We haven't had a catfight like this since Serena and Blair were last on the outs. Better watch out C I hear B has some mean claws. xoxo GG. **
* * *
By the last bell Chuck had drunk half of his flask. Nathanial had messaged him, pulling out on lunch for some lame lacrosse meeting. Chuck had wasted away his time sitting on the wall near the steps, alternating between sipping good liquor and taking a hit from a joint, his blurry eyes ever vigilant to any sign of teacher activity. He was still feeling disgruntled from this morning events, nothing had gone as planned and that was not something Chuck Bass dealt well with. When he orchestrated a scheme he expected results, including wonder and awe. Instead he was left with a bitter taste in his mouth and a slight nipping of doubt on the edge of his conscience. Perhaps he should have listened to Eric and left Martin alone. He pushed those doubts aside however, he knew that in their world you always matched blow for blow. Besides revenge was sweet, Eric just needed some time to realise that. Chuck reassured himself that the younger boy would come around soon; after all he was Chuck Bass and he always knew best.
At the end of sixth period Chuck was ready to drag himself to his comfortable limo, cruise to 1812, empty a few bottles and call up a few familiar girls. Instead, as he slammed his locker door shut and carelessly slung his satchel over his shoulder, he turned around to be met with Nate standing behind him watching him expectantly.
"What do you want?" he growled, he was not in the mood to be admonished yet again that day. He didn't think he'd done anything to Nate, but who knew what people would choose to blame on him.
"Woah, what's up with you?" Nate asked, raising up his hands in mock surrender and giving an easygoing smile.
Chuck sighed, trying to recompose himself. "I was chained to a chair and forced to listen to an old bag drone on about irrelevant facts. What do you thinks up?"
"So just school then?" Nate quipped.
"Don't you have another lacrosse meeting to attend?" Chuck asked sarcastically. He was slightly annoyed that Nate had blown him off to listen about stupid game plays. "Perhaps you have to go wash each other's hair in the showers?"
"Didn't know it was that time of month again," Nate said deadpan. It was rare for him to ever make a jibe at Chuck's expense, Chuck felt slightly foolish.
"Wow Nathanial you made a funny," he managed to drawl a beat too late, raising his eyebrows in mock appreciation. "So how can I be of service exactly? Carter Baizen co-erced you into yet another poker game?" He knew it was a low blow, and he regretted saying it as soon as it left his lips. Once he did a favour for a true friend, he rarely ever brought it up, but right then he wasn't feeling at his best.
"I just thought we could go to the A&DC together," Nate said, his brows furrowing slightly, his mouth turning down. "But if you're going to act like a jerk all afternoon..." he turned as if to go.
"Wait," Chuck called out after a minute of struggling with himself, following after Nate down the corridor. Chuck shrugged off his initial instinct to let Nate walk away and stand on his Bass pride. He had enough people annoyed with him today; even though he wouldn't admit it he needed at least one guy on his side, especially his best friend. "I've had a rough day Nathanial, I regret being so harsh. Can we just forget about it and move on?"
Nate paused for a second, trying to maintain his frown, but it slipped away from him as it was all too apt in doing. "Its okay man, we're cool," he sighed, giving in.
"So where exactly is this depraved meeting being held?" Chuck queried as they continued down the emptying boys corridor.
"Art room," Nate grunted, "And I don't mean to dash your hopes but I don't think it's going to be very depraved."
"When I get there it will be," Chuck leered. "Which is why I'm glad you changed your mind about joining the committee. But despite myself, I don't think it was my stirring speech this morning which convinced you. So who was it exactly Nathanial, that appealed to your better senses?" He was looking at Nate carefully now, watching his friend. Just as he suspected Nate's ears reddened slightly, it was the telltale sign of girl involvement, one girl in particular.
"I just thought it would look good on my college ap," Nate said evasively, looking down at his sneakers. "Besides I had to have my bro's back. We've got to protect our legacy and all that right?"
"Right," Chuck drawled, a cynical smirk on his lips, but he didn't push Nate further.
"So, what exactly is this party going to involve, besides booze?" Chuck's blonde counterpart queried, transparently making an effort to change the subject quickly. He shifted his sports laden bag onto his other shoulder.
"I haven't fleshed out the details yet, but it will be wondrous," Chuck noted, a spark of mischief flickering in his eyes. "I was thinking we could start throwing ideas around this weekend? I'm thinking lots of girls, lots of booze, and Victrola."
"Sounds cool," Nate replied rather lamely. He had never really enjoyed organising things, that was more Blair and Chuck's thing. In simpler times, when they were the Non Judging Breakfast Club (Blair's title for them typically) Serena and Nate used to sit around and make paper aireplanes while the two brunettes sat at the end of the table, heads bent together over a spiral notebook, snarky comments back and forth in between formulating ideas.
Nate did however enjoy going to parties, and after last years disastrous end, and this years unpromising beginning, perhaps a celebration would do them all good. It might even be nice to do something completely rebellious, maybe Nate would start feeling like a teenager again and less like a burdened adult, with all his family problems on his shoulders.
"Nathaniel, this is the art room isn't it?" Chuck interrupted Nate's thoughts with raised eyebrows. He was standing in front of a closed door a few steps behind Nate, looking at him curiously. Nate realised he had kept on walking blindly, lost in musings, and blushed.
"Yeah, sorry I was just thinking about...you know lacrosse."
"Sure," Chuck shook his head, he would never understand Nate's love for sport. Chuck only loved one kind of sport, hunting, and that usually (though not always) ended up in a bed with expensive sheets.
"Well are you going in?" Nate prompted as Chuck still stood in front of the door. It was rare if ever Chuck hesitated and waited for his friend to make the first move.
"Ladies first," he drawled, putting out his hand to indicate Nate should go ahead. Nate shook his head at the jibe, but went ahead and opened the door, stepping into the room.
Nate had never voluntarily joined a committee in his life, and he was still wondering what he was doing even as he stepped through the door. Everyone knew committees were usually filled with a category of three people. There were the over achievers, with sights set squarely on Ivy League schools. That included Blair and her minions. There was then those who joined in a last desperate attempt to get something on their college applications, Serena a prime example. Then there were what the social hierarchy termed losers, people who actually cared about lame topics like this, or who joined committees solo with no backup. That group would include Dan Humphrey, who was sitting in a corner by himself stabbing viscously at his notepad with his pen.
Nate immediately noticed Blair and her minions Penolope, Izz and Nelly Yuki. They were sitting at desks in the plum middle of the room, it was hard not to notice them. Blair was poised on a desk, positioned higher as always. Penelope immediately looked up when Nate entered the room and gave him a coy smile, which he didn't even notice. His eyes immediately pinpointed Serena. She was sitting in a chair at the back of the room, and sure enough Damien was sitting next to her, his head close to hers whispering something. Nate started gritting his teeth involuntarily at the sight. Dan's violent behaviour towards his notepad seemed understandable now.
"Well it looks like everyone I despise has been gathered into one room," Chuck drawled, coming in behind Nate and looking less then pleased with the turn out. "I do believe hell on earth has finally been actualized."
"Yeah looks like it," Nate muttered, his eyes planted on Serena. He was so absorbed he didn't notice the brief look that passed between Blair and Chuck as she looked up and realised he was there. She quickly flicked her hair disdainfully and said something to Penelope, who laughed on cue. Chuck's clenched his fist, his jaw tightening dangerously.
Before either of them could approach the object of their dissatisfaction the supervisory teacher, who up to now had been sitting at the desk reading a paper, made himself known.
"Mr. Bass how nice of you to join us finally," Mr Pieser intoned dryly. He was a stern man in his late forties. He had a trim white beard and resembled something of a goat. He had small spectacles perched on a nose, and a tendency to look over them in an intimidating way and expouse sarcasm which no one appreciated. "I suppose our meeting can begin now that you have graced us with your presence."
"Always happy to oblige sir," Chuck shot him a sour smile. "And must I say what a terrific turnout. I think this is going to be a a real credit to your name."
"Sit down," Mr Pieser said, like most teachers who abused their positions he did not like the tables being turned on him. He rose from his seat and settled his old suit jacket, watching as Nate, tugging a smirking Chuck along, slid into some seats a row in front of Dan. Blair also slid down from the table and into a chair at his look.
"Now ladies and gentlemen," he said formally addressing the class of nine as if it was a hall of thirty. "I know some of you may think this very amusing," with this he shot a look at Chuck. "But Mistress Queller has been very adamant that this is done right and properly. So I hope that you all take this committee seriously. She wishes for the assembly to occur within two week without a hitch, and I am here to ensure it does occur without one single hitch." With this he looked at Chuck again, then for some odd reason at Dan, who had been scribbling something in his notebook absentmindedly. Realising there was a pause in the speech Dan glanced up, and turned red as he noticed Mr Pieser eyeing him distastefully, along with the rest of the students. He quickly shut his notebook, his pen clattering awkwardly to the floor. Blair rolled her eyes at the pathetic Brooklynite as Nelly Yuki giggled.
Mr Pieser cleared his throat, frowning at Dan but didn't comment further. "Now I've decided that to maintain the solemnity of this topic matter, you should each split into partners and come up with sensible ideas for the assembly," he continued as if he hadn't been interrupted. Nothing could stop him once he started going. "And to prevent any time wastage, I'll put you into partners."
There was a grumble from the class at this. Who did Mr Pieser think they were, grade school children? Blair opened her mouth to protest.
"Quiet," Mr Pieser roared angrily. He glanced down at the list of students who had signed up on his desk. "Katherine you're with Isabel, Penelope, Nelly Yuki." The four girls smiled in relief, then quickly tried to turn their triumph into concern as Blair glared at them, and then scanned her eyes, disgruntled, around the room. "Donell Humphrey you can go with Damien _."
Blair was biting her lip now, Chuck watched her with interest, highly amused as she determinedly avoided his gaze. He found himself wishing for, yet dreading the words that may come out of Mr Pieser's lips in the next second, with equal measure.
"Nathaniel and..." Mr Pieser looked up now, glancing at Chuck who was trying not to look hopeful sitting next to Nate, and at Blair, who was desperately glancing at Serena and mouthing something. "Ms Van der Woodsen," he intoned. The words fell out of his mouth like a gavel, sealing Chuck and Blair's fate. Chuck kept a smirk planted on his face as Blair gave a little inaudible moan, he could tell she was resisting the urge to bury her head in her hands. "That leaves Mr Bass and Ms Waldorf." Mr Pieser seemed very satisfied with this arrangement. He often delighted in separating friends, many students wondered if it was because he was in a friendless state the creep.
"Now I want you to start working on your projects for the rest of this hour. The aim is to present something that deals with the adverse affects of-," and with this he actually got out one of the whiteboard markers and started scrawling on the board. "Alcohol and drugs." He scrawled the words with messy cursor, the red marker looked washed out on the smudged board.
"That can either be a skit, a play, a powerpoint presentation, or any other media outlet... according to Ms Queller." His lips pursed as he lent over and read the instructions slowly from a sheet lying on his desk. He was a traditionalist teacher, Chuck guessed if it was up to him he'd probably make them all write agonizingly long essays then read them out to the whole school in an attempt to embarrass them and break their souls. Not that anyone could break Chuck's soul, but he was sure that would come close. "The best pitch will be presented in the assembly. Yes Mr Bass?"
Chuck lowered a hand he had been raising near the end of the speech. He was just about to voice a smartass quip when he noticed a certain strawberry blonde standing at the door. The quip died on his lips, and instead he sat back and let his eyes soak in the sight.
"Vi-Ms Reeve," Mr Pieser stuttered as he followed Chuck's gaze and noticed her standing in a particularly tight pencil skirt at the door. "How can I...?"
Chuck didn't fail to notice his blush and he made a derisive noise with his tongue. He could not believe old Pieser had a crush on someone, especially someone he had recently become very acquainted with. Pieser's glared at Chuck furiously, his whole face turning red, but he quickly turned his attention back to Ms Reeve as she began to talk.
"I think someone haz been playing with ze sulphur stores again," she said, her French accent very apparent. "Please you could help me Louis?"
"O...of course," he said, taking off his glasses unconsciously and rubbing them against his old suit, as if they had steamed up. There was a slight titter from the back of the room, Chuck glanced over lazily and he saw Serena trying to turn her laugh into a cough. He caught her eye smirking and recognised the slight twinkle of mischief in them. When she smiled back he felt something stir, almost resembling the camaraderie of troublemakers they once used to share before she left for boarding school and things became very complicated. But then she seemed to remember that she was angry at him, her blue eyes turned to ice, the smile died on her lips and she quickly flicked her hair, turning her head and whispering something to Damien in the obvious act of ignoring him. Chuck felt his own smirk die, and he quickly turned his attention to Mr Pieser, who was looking even more red faced and was struggling to get place his glasses back on his nose.
"I'll be waiting Louis," Mr Reeves said, pouting slightly as he fumbled with his glasses. She turned and walked away, the boys in the room (even Dan Humphrey) had their eyes trained on her shapely assets.
"Well people," Mr Pieser barked, clearing his throat and glaring at them all. "Get to work then. I want to see an outline of something on a piece of paper by the time I get back." The or else was implied by his frosty gaze. He then turned and walked out of the room, more in a hurry then the situation required Chuck would say.
"You heard him people," Chuck drawled boredly from his seat, glancing over at the other occupants of the room. "Mr Pieser wants to see an outline of Ms Reeves ass, tut suit."
Nate gave a half hearted snicker, then again he laughed at any words that were remotely dirty, he was still so juvenile. The other girls in the room gave small titters behind hands, trying to looks shocked. Dan shot Chuck a dirty look, but all he noticed was that Blair was refusing to look at him, instead glaring at her paper resolutely, her mouth forming a thin line.
Chuck noticed disinterestedly that a minute later Serena heading out the door, probably heading for the bathroom, and for once this day not with her dogged companion Damien. She too refused to look Chuck's way. He decided to treat her with the same disdain, what did he care if she wasn't talking to him anyway? He could probably do without her dumb blonde comments and whining voice. What Chuck was more concerned with was Blair. While Chuck continued to watch Blair, and she continued to ignore his heated gaze, Nate rose.
"Going somewhere Nathanial?" Chuck queried absently, his eye still trained on Blair's bent head.
"Bathroom," Nate grunted, and headed out the door too. If Chuck had been more observant he might have noted the slight blush creep over Nate's face, as if he was feeling guilty about something, but Chuck only had eyes for Blair right then so he let his friend go without any further interrogation. After another minute passed Blair still hadn't glanced up from her writing, even though he was certain she could feel his eyes on her. He could play it her way, it wasn't like he was interested in even putting half hearted effort into this pathetic farce that was a committee, but since when did he ever make things easy for either of them?
Making the decision he got up languidly, dragging his satchel with him he walked right up to her before he could even think, a superior smirk on his lips. Penelope and Izz, sitting close by and checking something on gossip girl both looked up curiously. Chuck ignored them, his eyes only for one girl.
"Hello darling," he drawled, dragging out each syllable until it came out like a deep seductive growl. She stiffened slightly, he always knew how to play his cards right. She didn't look up though, it just made the game all that more fun. "Is that a love letter you're writing?" he enquired sardonically, placing his hands on either side of her desk and leaning forward. She quickly lent back in her chair at this physical imposition.
"Get off my desk Basshole," she said distinctly, trying to keep her cool though she looked like she wanted to tears his eyes out with her perfectly shaped nails.
"But didn't you hear Mr Pieser, we're partners, we have to _do_ things together," his tone and leer suggested they were very inappropriate things.
Blair was visibly gritting her teeth now, trying to maintain a semblance of control in front of her minions. One sign of weakness and Blair would be fodder for the vultures that were her followers. Chuck revelled in his power, leaning even closer, her perfume, typically Chanel No 5, permeating his nose.
"Get off my desk Bass," she hissed to him, meeting his gaze with a murderous look.
"Or what Waldorf?" he queried, smirking.
Suddenly Blair gave him a perfectly sweet smile.
"Or this," she enunciated, and he felt a very hard shoe swing from under the desk and kick his shin, hard.
He swore loudly, jumping back from Blair's desk at the pain. Blair cocked her head to the side, and raised an eyebrow just so, as if to say _what else did you expect?_
Chuck could have let it go, conceded her victory, and gone right back to teasing her in some other way, perhaps leaning over her desk from behind. It wasn't like Blair hadn't done similar forms of physical abuse over the years they had been friends. But then Chuck heard a male snicker from the corner of the classroom, he glanced up and saw Dan Humphrey laughing at him. It was one thing he could not abide. Glancing back at Blair's smug look, he impulsively leant over and did the one thing he knew he would infuriate her above all others. He plucked the perfect red headband from her hair.
Everyone was silent in the class, all eyes on Blair. She sat stock still, her eyes widened, frozen staring at her headband dangling between Chuck's fingers. _What did you expect?_ Chuck's smirk said.
"Give it back Chuck," Blair said, enunciating each word carefully. She reached out her hand, placing it palm forward, as if she just expected him to comply to her command.
"Come and get it," he said just as infuriatingly stubborn.
Blair's mouth twitched down slightly, the only sign that she was losing control.
"Don't be so juvenile," she snapped, her eyes flashing.
"Don't be such a b-"
"Chuck," she snarled warningly, standing now, her eyes darkening. She took a deep breath, suddenly recollecting where she was. She tried to smile again; it came out as a grimace. "That's a designer, so you either buy me a new one, or you give it back."
Chuck knew for a fact Blair would never, ever let a headband go, not without a fight.
"Earn it," he drawled.
He knew as soon as they left his lips they were exactly the right words to make her snap. He could almost hear the audible break as the gates holding Blair's frustration in broke. She stormed around the desk and he quickly put his hand behind his back as she began pushing him hard, forcing him step back with each violent shove.
"Give. It. Back. You. Basshole," she snarled, reiterating each word with a push that sent Chuck reeling. Eventually his back hit the desk and he had to lean onto it as she tried to make a grab for her headband.
Blair lent forward too, trying to reach for the headband as he stretched out across the desk and stretched his arm out as far as it would go.
"Chuck," she was almost pleading now, her voice softer. "Stop it."
He noticed how close they were, her hair fell down, tendrils tickling his nose. He looked up at her wide eyes, almost pleading now, relenting slightly from anger to something else. He noticed she was flushed, and perhaps it wasn't entirely with anger. He felt that familiar electricity between them, feeling control slip from both their fingers, so close to a free fall.
'Kiss me' he mouthed wickedly. 'You know you want to.'
At these words something instantly changed in her. The slight flush turned to an angry red. The slight spark in her eyes flashed dangerously. And suddenly her hand reached out and grabbed his hair, but not in the caressing way Chuck had been hoping for.
"Ow," he howled as she grabbed a fistful of his brown locks and pulled hard. "Waldorf you're going to pull my hair out."
"Good," she exclaimed with viscous satisfaction. She backed up, keeping her firm grip on his hair, and he was forced to rise with her. "Now give me back my headband." She gave his hair another viscous tug, just to support her point.
Chuck had a sneaking suspicion after that he would have relented, luckily for him Mr Pieser walked into the room before their small audience could be witness to his shame.
"Ms Waldorf," Mr Pieser bellowed. He had entered the classroom without anyone noticing; all the students too busy watching Chuck and Blair. "Mr Bass, what the hell is going on here?"
It was testament to his shock and outrage that he used the word hell.
At the sound of the teacher's voice Blair immediately paled, letting go of Chuck's hair instantly she lowered her hands and tried to plaster an innocent doe eyed look on her face. Chuck rubbed the offended spot on his head, straightening up. He was too sore to give Mr Pieser his usual attitude, choosing to pout instead of smirk. Absently he shoved the headband, which was still clutched resolutely in his hand, into the pocket of his blazer, where it hung out conspicuously.
"I can explain..." Blair began, trailing off as she desperately tried to think of a plausible excuse for her behaviour. She was blushing furiously now at Pieser's raised eyebrows and derisive look.
"I'm waiting Ms Waldorf," he said, crossing his arms, his eyebrows so drawn they almost formed one straight line, glaring at her over his spectacles at her.
"We were practicing a skit, for the assembly," Chuck supplied at Blair's unusual helpless silence, straightening the collar of his blazer and assessing subtly the rest of the damage that had resulted from their little tussle.
"A skit for the assembly?" Pieser repeated, his eyebrows almost disappearing into his hairline.
"Yes," Blair assented, her voice hoarse.
"And how exactly does it relate to alcohol and drug awareness?" Pieser queried.
"You know, alcohol breeds violence and unreasonable reactions to simple misdemeanours. Much like lust in actual fact," Chuck supplied brazenly, picking imaginary fluff off his cuffs.
Blair shot him a dirty look at the last bit, but didn't disagree with the story he was weaving.
"Nice try Mr Bass," Pieser intoned unimpressed.
"It's the truth, and who's to say any different?" Chuck shrugged unconcerned.
At that Pieser did glance at the rest of the students all of them met his gaze with clueless expressions, even Humphrey. Chuck supposed the Brooklynite had learnt his lesson about keeping his mouth shut from the pool incident.
"Regardless," Pieser snapped, annoyed now. "I doubt Ms Waldorf and your idea coincides with what Ms Queller views as appropriate. I think it's best to separate the both of you. Ms Waldorf you can go with Humphrey, Bass with Damien."
"What?" Blair squeaked slightly, shocked at the sudden turn of events.
Chuck tried to look unconcerned, though he was disappointed that he wouldn't have more one on one time to work on Blair.
"No arguments," Pieser snapped as Blair opened her mouth to deliver one of her persuasive wheedling speeches she was so apt at making to teachers. He turned to the class, blatantly ignoring Blair's glare. "You all know your projects, now I want an outline of your ideas by next Monday. You're free to go."
There's was the ruffle of books and the scrape of chairs as they few students remaining exited the classroom, glancing at Chuck and Blair as they left. Her minions had particularly confused looks on their faces. Chuck noted Dan refused to look at them, though he looked highly amused and disgusted in equal parts at the whole thing.
"Mr Pieser," Blair began again, approaching the teacher as he picked up his briefcase.
"I said you can leave Ms Waldorf," he said, with that he turned and walked out the door, leaving a stunned Blair behind.
Blair turned at the sound of a low chuckle emanating from the only other person left in the classroom, Chuck.
"Finding this funny Basshole?" she snapped.
"Yes," he replied simply, grinning. "Especially since now you get lumped with Humdrum Humphrey, have fun with that by the way."
Instead of a snappy retort like he expected Blair's eyes examined him with a sad air of someone who knew that this was all she was going to get, yet had still somehow hoped for something more.
"Why do you always have to spoil everything Chuck?" she finally said quietly, he looks at her surprised at her tone.
"I'm not the one who walked away remember," he says it harshly, glaring at her.
"I'm not the one who ruined us," she snapped this time, eyes flashing, she glared at him. "I'm not the one who couldn't even say three simple little words..."
"One mistake and you're going to hold it over my head for the rest of our lives?" Chuck asked incredulously.
"It wasn't just a mistake Chuck, it was everything," she said coldly. She grabbed her red bag from the desk and turned to head for the door, her heels clicking furiously against the floorboards.
"Blair wait," he called out, striding forward quickly he grabbed her arm, determined not to watch her walk away yet again. "I'm not done," he snapped.
"Well I am," she snarled as he forced her to turn around and face him. "Let me go Chuck."
"No," he said, determined this time. "Not until you admit that we're meant to be together."
"Let go you coward," Blair snarled, saying the one thing he knew would infuriate him. She pushed him hard with her free hand. Chuck grabbed it automatically, pinning both her arms to her sides his dark eyes met hers, both enraged. And then suddenly his mouth was on hers, and her previously resistant body melted into his arms.
It was exactly like the courtyard. Nothing else mattered in the world but her. Nothing else was in the world but her. She was everything, everywhere. Her perfume invading his nose, her very presence enveloping him in warmth and heat. All he could smell, feel, see, taste and breathe was her. Every sense he had was overpowered by Blair Cornelia Waldorf, and it was intoxicating.
Still kissing, but wanting so much more, Chuck backed towards the desk, and she complied. When he felt the wood hit his back he lay against the empty surface, pulling her down on top of him. She didn't seem to mind at all, he was pleased to note the desk was hardly enough to take their combined weight. That could lead to some very interesting future make out sessions at school, with Blair of course.
"Chuck, no," she murmured pulling away from him slightly as his fingers familiarly reached for the buttons of her blouse.
"Why not?" he growled, feeling the heat radiate through his body and hers, burning them both from within. He persisted in fumbling with the button, a feeling of desperation causing his moves to be uncharacteristically clumsy, all the while continuing to layer kiss upon kiss from Blair's lips to her neck.
"No," she reiterated, firmer this time as he actually got the first button undone and moved to the second. She quickly grabbed his hand with some effort of will and pushed it away. "I can't."
He realised then, she didn't want to be caught in class with her blouse unbuttoned. It wasn't seemly or respectable, she had never liked undressing in public places, not her upper clothing at least. He on the other hand didn't have any such reservations.
"No," she said as he moved to remove his own button obstacles. She absently grabbed his other hand and pinned it lightly to the table, all the while making her own way to his ear with her lips. "I can't," she whispered now, into his ear.
"Why not?" he queried hoarsely, slightly confused, but enjoying the sensation of her light rapid breathe tickling his eardrum. "Tell me what I can do?"
"Show me," she whispered into his ear, pausing. He can feel her lips curl into a little satisfied smile, pressed against his burning skin. "Show me you want to be with me, show me I mean everything to you."
"You know you do," he murmured helpless.
"Prove it. Prove it to the world. Prove it to _me_."
A sinking feeling was suddenly filling Chuck, and he felt like he was plummeting from a very great height as Blair disengaged from him and sat up, meeting his powerless gaze with her dark eyes.
"You know how. Just say it. Say it and we can _be_."
It was a distorted echo of the dreaded demand she'd made of him at the White party just a few weeks ago. The demand that had his heart beating, had raised his desire to flee.
_Those three words, eight letters, say it and I'm yours. _
He looked up at her, realizing she'd ensnared him, desperate to take her in his arms again and kiss the question away. But he should have known Blair Waldorf was never helpless, she'd played him into this situation, maybe overcome for a second, but now she was completely in control as she watched him helplessly choke on words that would never come.
"I see," she said cooly after a minute where she gazed at him as he lay there with a dry tongue that suddenly felt too heavy to lift.
She slipped off the desk easily, correcting her button she scooped down and grabbed her bag which had fallen to the floor in their momentary heady rush of euphoria. Chuck also sat up, his hair was ruffled, his tie halfway undone and his blazer jacket half off his shoulders. He noted some of her perfect curls were out of place, her skirt slightly awry. She corrected these problems clinically, settling herself without glancing once at him.
"Blair," he said helplessly, his voice hoarse. He felt feverish and slightly disorientated. "Why can't you just accept we're meant to be together?"
"Because before I plunge off that cliff, I want to know you really mean it too Bass," she answered, meeting his gaze. "And until then we can never be together."
"Blair you're being unreasonable," he snarled, jumping down from the desk as she made to walk out the door. He followed behind her, maybe he would have grabbed her hand again, tried this whole thing once more, but just as he reached the door she slammed it shut behind her, right in his face.
* * *
**Spotted B exiting an empty classroom, only to be followed by C a minute later. Both looking decidedly dishelved and disgruntled. Can it be they're already fighting again in a matter of minutes? My instincts say there's something more to this than meets the eye. Keep me posted folks; you know I love all the deliciously dirty details. xoxo GG. **
* * *
**A/N: Yay finally I wrote this. Really wishing I didn't delay because now you're probably all like, well that sucked even worse than I thought haha. I won't be offended, I'm terrible at writing this sort of making out stuff lol. **
**I think what they did in Season 2 was really amazing. And I don't want to repeat it unnecessarily, but I think it does need to be done in this story because it's Chuck and Blair. I don't even know if I make sense lol. Just want to say this story is not a rewrite of season 2 I hope, it will have its own story line, where Chuck will face some different problems. As I said previously it will be focused on the Van der Woodsen Bass family dynamic with Chuck and Blair relationship development along with other character exploration. C/B will not be every chapter, but when it is it will mostly be volatile because when they get into a room together sparks always fly lol. **
**Up next: At the VDWB suite an interesting messaging conversation results in a crazy sibling clash. Meanwhile at the Waldorf's Blair does some small scheming to make Chuck's life more unpleasant and we drop into the Humphrey loft for an unexpected job offer. **
**(I was just wondering, in Australia we have msn which is an instant messaging service via the internet. I was wondering if they have the same thing in America or different? It's not integral to the story, but just wondering if someone could tell me what teenagers in America use to instant message each other online? Thanks = ) **
**Inspiring Picture: Google "Chuck Blair gg 204" it's the first pic with them in their school uniform, just picture them being in a classroom instead of outside lol. **
**Please REVIEW! PLllleeeeassseee. Lol please just don't add it to story alert, let me know what you think or what you want! = ). **
**Thanks to mlharper and thegoodgossipgirl for reviewing the last chapter = ). **
8. Did I Just Say that Aloud?
_**Chapter VII**_
**Did I Just Say That Aloud?**
**[PartyGal91 signed into msn status online]**
**[QueenB signed into msn status busy.]**
**PartyGal91:** B wot the hell happened btwn u and Chuck today?
**QueenB:** Can't you see I'm busy S. How hard is it to use proper grammar? Plus that name is so junior high.
**PartyGal91:** If you have time to criticise me you have time to spill.
**QueenB:** Change the name first.
**[PartyGal91 changed her name to SisforSerena]**
**SisforSerena:** Better? Now spill!
**QueenB:** Marginally. And there's nothing to spill.
**SisforSerena:** That's not what Gossip Girl says. Apparently after what I heard was a catfight at the meeting (which I can't believe I missed btw D =) you and Chuck were caught leaving the empty classroom together?
**QueenB:** IT WASN'T A CATFIGHT! Gossip Girl should get a life and start reporting on important things that are actually happening. Like the tragedy that is more and more girls wearing tights as pants!
**SisforSerena:** Maybe you can explain away the fight. But what about what happened after the meeting. I'm waiting B?
**QueenB:** Chuck was just being an ass as per usual. It was nothing.
**SisforSerena:** C'mon B. First you kiss earlier this week, then you fight in class. Then apparently you disappear into a classroom together...
**QueenB:** It wasn't like that.
**[LacrosseRULEZ signed into msn, status online]**
**SisforSerena:** Brb
**QueenB:** Serena? Don't you dare tell Nate anything!
**SisforSerena:** What's there to tell B? = P.
**QueenB:** SERENA!
**[Queen B sent a nudge]**
* * *
**LacrosseRULEZ:** Hey Serena how are you?
**SisforSerena:** I'm fine, look about today... Could you perhaps not say anything to anyone?... I think it would be best, for both of us...
**LacrosseRULEZ:** I guess...
**SisforSerena:** Thanks Natie = )
**LacrosseRULEZ:** That's kk. I mean what are friends for right?
**SisforSerena:** You're the best = ). Did you hear we missed all the action though?
**LacrosseRULEZ:** Do you know what's going on between them? Chuck's didn't even want to play Xbox tonight. And then I saw Gossip Girl...
**SisforSerena:** He's grounded or something, maybe he's in a bad mood. But do you think he refused in a: I've got better things to do way? In a: I'm pissed at Bart so I'm sulking way. Or in a: I'm distracted by something life changing happening way?
**LacrosseRULEZ:** =|? Do I look like a girl to you?
**SisforSerena:** Brb Blair keeps on nudging me = S.
* * *
**[QueenB sent a nudge]**
**[QueenB sent a nudge]**
**[QueenB sent a nudge]**
**[QueenB sent a nudge]**
**[QueenB sent a nudge]**
**SisforSerena:** BLAIIIIRRRRR! PLEASE STOP! D =
**QueenB:** WHAT DID YOU SAY TO NATE?
**SisforSerena:** Nothing, he just said Chuck was acting weird.
**QueenB:** As if that's new.
**[ChuckBass signed into msn, status busy]**
**SisforSerena:** Maybe I can ask Chuck what happened ; P.
**QueenB:** I've gtg. Lots of homework to do.
**SisforSerena:** You can't run from the truth B, even in cyberspace! Lol.
**QueenB:** I am not running!
**[QueenB is offline]**
**SisforSerena:** Sure you're not!
* * *
**ChuckBass:** Hey man. I thought you were playing Halo?
**LacrosseRULEZ:** I thought you were too busy to play Halo?
**ChuckBass:** I didn't say I was too busy, I just said I wasn't in the mood.
**LacrosseRULEZ:** Because you wanted to ambush Blair online?
**ChuckBass:** Where did this come from?
* * *
**[LacrosseRULEZ added ChuckBass to the conversation.]**
**SisforSerena:** I'm still angry with you Chuck, but I'm willing to put that aside temporarily. Now you have a five minute reprieve to tell me what did you do to Blair?
**ChuckBass:** And hello to you too sis.
**SisforSerena:** Brb. When I look at this screen again you better have written everything down Chuck!
**[SisforSerena status changed to away]**
**ChuckBass:** Nathanial WTH?
**LacrosseRULEZ:** I thought it would be easier if Serena asked the questions.
**ChuckBass:** Since when did you become a woman?
**LacrosseRULEZ:** Hardy har
**ChuckBass:** What happened to bros before hoes?
**LacrosseRULEZ:** C'mon man. You know I always have your back when it counts.
**[SisforSerena status changed to online]**
**SisforSerena:** SO WHAT HAPPENED? TELL US!
**ChuckBass:** I don't see why I should.
**SisforSerena:** Last time you two had a trist it affected all of us. Plus as a BFF I cannot let Blair get hurt again. Now spill or your scarf gets it!
**ChuckBass:** You don't have my scarf.
**SisforSerena:** Wanna bet? You're all the way up in 1812, and I may have just snuck in your room and taken it off the dresser.
**ChuckBass:** You're bluffing.
**[SisforSerena sent a photo link]**
**LacrosseRULEZ:** That does look like she's holding your scarf man.
**ChuckBass:** B&^$!
**SisforSerena:** I learnt from the best.
**ChuckBass:** Touch the scarf and you'll die!
**LacrosseRULEZ:** Maybe you shouldn't mess with the scarf Serena... You know what happened last time = S
**SisforSerena:** Who's side are you on Nate? Now tell us Chuck or the scarf pays the price.
**SisforSerena:** Chuck?
**LacrosseRULEZ:** Maybe he's angry about the scarf threat.
**SisforSerena:** He better tell us what happened, or I will burn this scarf! DID YOU READ THAT CHUCK!
**LacrosseRULEZ:** You should have listened to me.
**SisforSerena:** Sometimes you have to djhfkueywkaejdkh
**LacrosseRULEZ:** Serena?
**LacrosseRULEZ:** Serena?
**[Serena's is offline]**
**LacrosseRULEZ:** I told you not to mess with the scarf. = |
**[LacrosseRULEZ is offline]**
* * *
Serena was in the middle of typing to Nate when suddenly her room door swung open. She knocked the keyboard with a start, as Chuck barged into the room, still in his yellow school shirt and beige slacks. He was absent sneaker s however, his feet covered by pink socks with purple poker dots. Serena grabbed his scarf from where it lay on the table, accidentally unhooking her pink laptop cord in the process. The laptop turned black, it's battery dead.
She turned, Chuck noticed the scarf in her hands, glaring at her as if through the power of his mind he could set her fingers on fire. Then he seemed to have an idea. He quickly darted for her cupboard.
"Chuck," she cried out in outrage, quickly rising from her chair. "Boundaries remember!"
He was out before she could follow him in, a pair of her new Jimmy Choos held up in his hand triumphantly.
"How would you like if I scuffed these?" he said triumphantly, smirking.
"Put those down," Serena shouted, quickly darting forward and making a grab for the shoes.
"Uh, uh, uh," Chuck crowed, jumping up onto her bed, and holding the shoes up to the ceiling.
"Get your smelly sock clad feet off my bed you creep," she wailed, disgusted.
She realised her mistake too late as Chuck's grin began resembling a Cheshire cat, a glint of mischief in his eye. She'd just handed him more ammunition.
"Give me the scarf or these sock's are going on your pillow," he took a threatening step back towards her cream pillows, his smirk growing wider. The bed springs made a noise under his weight, the bed dipping where he stood. He would have been an amusing sight in any other circumstance, the high heeled shoes held high above the bed, almost touching the ceiling, his foot raised, inching closer to rest above her pillow.
"Chuck, don't you dare," she screamed. "You do that and I will rip this scarf right now, so help me," she held the scarf up threateningly between both of her hands.
"Maybe I think it's worth it," he threatened, eyeing her menacing grip on his prized possession, trying to call her bluff.
"You're bluffing," she said, eyeing his sock with equal calculation.
"What's going on in here it sounded like someone was being murdered." Serena turned startled to be met with her mother wide eyed standing at the doorway, looking at the scene with shock. The worst thing was that Bart walked in right behind her, the same severe expression on his face, eyeing Serena like she was standing on her head. Serena realised she was still holding up Chuck's scarf, she quickly lowered her arms, blushing.
At least she wasn't the most ridiculous one in the room. Chuck, startled, was frozen with Serena's shoes still in his hands.
"Mom, I didn't know you were back," Serena said, perhaps slightly louder than necessary.
Lilly opened her mouth, but no words came out, her eyes fixed on Chuck stationary on the bed, arm still raised high above his head..
"What's going on here exactly?" she finally voiced, baffled.
"Chuck was being disgusting as per usual, he was trying to put his feet on my bed," Serena immediately launched the first accusation, her voice rising in pitch.
"Charles-" Bart started, his voice threatening.
Chuck finally snapped out of his frozen state, dropping his hands to his side he glared at Serena. "Please Serena, playing the innocent victim is unbelievable coming from you. Especially since you still have_ my_ scarf in your grubby hands," he snarled.
" Charles," Bart snapped now angry, but before he could lay into his son for his rudeness and disruption, yet again, of the family peace, Lilly interrupted with laughter.
Chuck and Bart both blinked slowly, looking stunned at Lilly who was unrestrainedly laughing at the scene that was in front of her eyes.
"Mom?" Serena interposed, brow furrowed.
"I'm sorry but, if you two saw yourselves right now..." she gasped. "I mean, you took his scarf so he took your shoes."
At this Bart looked again at Serena, who was looking slightly disgruntled at her mother's reaction, her hands folded over her chest, pouting. He then looked at his own son Chuck, who's mouth was slightly agape at Lilly's reaction, the pink shoes hanging in his hands, his hair ruffled.
And a small smile actually broke over Bart Bass' face.
"Mom this isn't funny," Serena protested. "Chuck was standing on my bed, his dirty socks were all over my sheets, I have to change everything now!"
"Please Serena," Lilly said, calming her mirth slightly. "I'm sure it's not that bad."
"So you're not going to do anything?" Serena cried, outraged.
"I think it's best if we leave you two to sort this out on your own," Lilly said breezily. She turned and headed towards the door, glancing back at Bart, who hesitated, then followed her. With a small amused smile on her face she closed the door on the scene, both Serena and Charles watching her with gaping mouths.
"Do you think that was really wise?" Bart queried, a crease of worry between his eyes. "I know Charles can..."
"Charles and Serena are acting exactly like siblings should," Lilly said reassuringly, as one who'd had experience. "They'll work this out on their own. It may be good for Serena to have a brother in her life who is a little more challenging then Eric. Look at it as character building for the both of them. So shall we go over the guest list for the benefit?"
She turned and walked down the corridor without a second glance. Bart watched her, feeling as stunned by her control over the situation (a control he for once was lacking) as the children probably were.
* * *
Chuck quickly stepped down from the bed, carelessly letting Serena's shoes slip through his fingers and thump to the floor. He had been expecting yet another one of Bart's speeches about how he ruined everything. He had not been expecting Lilly's reaction. He glanced up at Serena, who was looking at him just as stunned.
"Is Lilly usually like that?" he queried curiously.
"She must have had a few too many glasses on the flight back," Serena said by way of explanation of what she viewed as her mother's bizarre behaviour.
There was a pause as they both stood there, as if from the aftershock of a bomb, both feeling slightly foolish.
"I guess we did look kind of funny," Serena relented suddenly, and a giggle slipped through her lips. "You're face was priceless."
Chuck felt a small amused smirk tug at his lips, the tension that had between them since she had found him with a drunk Eric seeming to have been released for a second.
"So our 'parents' seemed okay with me being on your bed, how about we see how far we can push the envelope sis?" he wasn't entirely sure why the words spilled out of his mouth in a leering drawl, habit maybe? He only meant them as a joke, but Serena's face immediately hardened, as if she remembered why she was angry with him in the first place.
"Get out of here Chuck," she snapped, shoving his scarf into his surprised hands. "Your five minute reprieve is up."
"Come on Serena it was only a..." he began, but he found Serena was already pushing him towards the door and over the threshold. He didn't resist her force.
"And don't come in here again, or your scarf won't be the only thing I physically hurt," she snapped by way of farewell, and slammed the door in his face.
"I don't deal with damaged goods anyway," he snarled loudly, hoping his vindictiveness carried through the door.
Wrapping his scarf around his hand he headed for the stairs, resisting the urge to punch something. He knew for a fact that Lilly wouldn't find that so amusing, even if he was having a royal shitty day.
He had to hold the banister while heading down the stairs, his socks slipping against the polished wood. He'd forgotten everything in his rage that Serena had his scarf, coming up the elevator from 1812 in just his sock. Surprisingly going down the stairs was a lot harder then climbing up them.
He paused at the last stair, hearing an unexpected sound. He glanced over at the lounge room and saw Bart and Eric were sitting on the couch, Bart was actually laughing at something Eric was saying. He couldn't recall ever making his father laugh, except in scorn or disbelief.
"Oh Charles, are you leaving?" Lilly asked, interrupting Chuck's musings, coming out of the nearby coats closet where she had been searching for something.
"I think it's for the best," Chuck murmured, turning his gaze from Bart and Eric he headed for the elevator.
"But won't you stay, for dinner at least?" Lilly said, persisting in following him up to the double doors, watching with a small unhappy frown as he pressed the shiny button which would allow him to escape. "I feel like we hardly ever see you."
"With all due respect Lilly I don't think anyone's complaining," Chuck said, for once he couldn't bother keeping up his charming facade. He just wanted to go up to 1812 and try and forget this day ever happened. Luckily the elevator doors opened before a stunned Lilly could reply, and he entered.
"Charles, you know that's not true," she protested.
Chuck just gave her a small bitter smirk and shrugged, as if to say it wasn't worth arguing over. The elevator doors slid shut before Lilly could protest further, and as soon as they did Chuck slumped against the glass, running his hand through his hair and letting out a large gush of pent up air.
* * *
Blair lay on her queen size bed, her notebook open before her, her laptop firmly shut and her phone laying on the quilt beside her. She didn't appear to be making much headway on her homework tonight. She was playing with a tendril of her perfectly curled hair, tapping her pencil on a blank piece of paper, a sure sign she was preoccupied with something.
The problem was she couldn't stop thinking about this afternoon at school, the fight between her and Chuck and then...
She had absolutely promised herself that she would not talk to Chuck ever again after his comment in the rain. Hadn't that been proof enough that he would never change, he would always be the selfish jerk that said the wrong thing and tried to use her for his own perverse pleasure. Chuck Bass was not what she wanted. And yet, when she'd shoved him in that classroom, she thought that maybe a part of her did know what was going to happen, just like he did. She tried to deny it, but the truth had a way of creeping up on us.
At least she got the upper hand, she smirked, satisfied at his look when she'd closed the door on his face. It had been priceless, her tone, her poise, his helplessness.
And yet somehow she still felt defeated, still felt betrayed by her beating heart, by the fire that raced through her body, by her mind which was screaming at her to ignore everything that had gone before and just give him another chance, no strings attached.
That's why she hadn't completely pushed him away, that's why she'd given him a chance. Because every part of her being wouldn't let her give up on him entirely. Blair had given Chuck a choice, now it was up to him to live up to it. It had nothing to do with her now, it was out of her hands and in his. And she knew he would fail, it was why she asked it of him of course, the thing that she knew he would never give. It would set her free from him, make her realise that she deserved better, kill her stupid infatuation with him once and for all.
It was the perfect plan.
Then why was it so hard for her to let the topic go and concentrate on her work? Why is it that she was secretly hoping, in her heart of hearts, that he didn't fail.
The wireless landline on Blair's bedside table began ringing, she rolled her eyes, sighing. On the third ring it was silenced, obviously Dorota had picked it up downstairs. Blair expected it was something to do with her Mother's business. Nobody ever rang for Blair on the main phone, just like most girls her mobile was her best friend (figuratively speaking of course). Dorota walked into the room, she guessed the call had been shorter than usual.
"Yes Dorota?" Blair asked from the vantage point on her bed, annoyed as her maid looked at her as if suspicious she was up to something.
"The call was for you Mees Blair."
"Who is it?" Blair asked, trying to keep her voice neutral, trying to still the nervous butterflies in her stomach. Perhaps Chuck had decided on something after all.
"It's Meester Bass," Dorota said. Blair felt her heart swoop slightly. "Meester Bart Bass," Dorota clarified just as Blair reached out to grab the receiver on her table. The smile which she hadn't even realised was on her face dropped.
"Oh," she said, remembering that Dorota always called Chuck Meester Chuck, and that Mr Bass was his father. "Well why didn't you say that in the first place," she snapped, annoyed now.
"I thought you and Meester Chuck were broken up," Dorota said suspiciously looking at Blair, almost disapproving.
"We are," Blair said, trying to act blasé. "Now I have to take this call, so that will be all Dorota."
She shot her maid a look until she left the room, muttering something unintelligible in Polish.
Sighing Blair picked up the receiver, feeling slightly nervous but for an entirely other reason. Bart had never called her before.
"Hello Mr Bass? This is Blair," she said, pressing the receiver against her ear and trying to sound like a sweet respectable girl.
"Hello Blair," Bart's voice sounded through the receiver, as severe as ever. "You must be wondering why I called."
Blair didn't say anything to this obvious statement. Bart usually didn't waste words, but she supposed he may have felt as awkward about this call as she was.
"Yes, is there something wrong with Chuck?" Blair queried, reminding herself sternly that if there was something wrong she wouldn't care.
"No, no Chuck's...fine. As fine as he can be." Bart's voice lowered unconsciously at the sound of Chuck's name, taking on a disapproving tone. He was probably still annoyed about the morning parent teacher conference, Blair reasoned. "But he is why I called," Bart continued.
"Oh, really?" Blair asked, her stomach falling. She knew Bart had PIs follow Chuck and she wondered if maybe they'd been spotted by someone other than Gossip Girl leaving that classroom. She wondered how fine the line was between taking pictures for private investigation and taking pictures for perversion. She really hoped Bart hadn't seen what they were doing, and worse wanted to discuss it with her for some unknown embarrassing reason.
"I was informed this morning that Chuck requires...some extra tutelage."
"Oh," Blair said, her stomach returning to its normal place and her interest piquing. Chuck hadn't mentioned that to her this afternoon, not that they had done much talking.
"I hope you don't mind, but I've been looking over the class list from both St Judes and Constance and I noticed that you are one of the top students. I think someone with your tenacity would be perfect in getting Chuck focused, considering that you know him so well...Of course that is if you have no objections?"
Trust Bart, Blair thought wryly, adding the allusion to Chuck and her previous relationship as an afterthought. He'd probably forgotten all about it, for all the attention he paid to Chuck he may not even know they broke up. Of course if Serena was anything to go by it was hard to miss all the hookers Chuck invited to his rooms. Then again Blair remembered that Bart was never around to notice.
"So are you interested on starting tomorrow Blair?" Bart queried at her silence. "I'm sure tutoring would look good on your college application."
Blair had to admit, the offer was enticing. Mainly so she could hold it over Chuck's head for the rest of his life. Then again, she had sworn to herself she wasn't going near him, not unless he met her condition, and she knew for a fact he was never going to do that. Tutoring him would contravene her word, not to mention sitting in a room by herself with Chuck Bass put her in a very dangerous situation. And she couldn't stand it if he won, not now, not ever.
The idea of losing actually gave her a brilliant idea.
"Actually Mr Bass I've got so many extracurricular activities, it would be really hard for me to fit tutoring in as well" she said, working on making her voice regretful but firm. "But I do think I know of someone else who probably could help you, a guy in Chuck's class actually."
"Really, that would be preferable," Bart said, sounding slightly relieved. Obviously he was concerned about having a girl trying to tutor Chuck, one that wasn't Blair of course. Also there was less chance of a law suit if someone took the job who already knew Chuck's nature.
"Yes," Blair said, smiling widely now. "He could probably use the money too, you see he's on a scholarship in St Judes. And he's in the top percentile of the school." She begrudgingly added that bit in.
"If you could give me his name and number that would be helpful," Bart said, sounding sold already, Chuck always said he admired hard working people above all others, and what spelt working class more than a scholarship.
"His name is Daniel Humphrey," she said, trying not to choke on the words. She flicked through her notebook, though she would never admit it to anyone, and was planning to burn the page afterwards, she'd gotten Humphreys phone number from Serena. They had to work on this stupid project after all, and Blair didn't let anything get in the way of her prestige at school, even Humdrum Humphrey and his lowly connections.
She read the number off the paper, repeating it to ensure Bart got it right.
Bart had thanked her for the advice and they'd exchanged goodbyes, probably equal relief on both parts.
The tips of Blair's red tinged lips turned up as she placed the phone back on the cradle. She glanced at her antique clock, noting the time. She would give Bart ten minutes to 'convince' Dan of the deal, and then check in on the situation to ensure it was done. She knew it would only take five, but she was feeling generous towards the Brooklynite today. Maybe it was the sunny day, or maybe it was that she had found the perfect way to torture Chuck, but she was feeling unusually benevolent towards the low born Lonely Boy.
* * *
"Who were you talking to on the phone?" Jenny asked curiously as she looked up from her various maths books scattered over the table in the living room. She'd been puzzling over the problems, a part of her brooding over how much she missed her job at Eleanor's, the other part of her trying to eavesdrop on the low conversation Dan was having in his room. All in all she didn't have much time to actually do one question, let alone the set.
Her heart lifted slightly when Dan appeared from his room, looking stunned down at the phone resting in his hand. She'd hoped it may have been Serena who had called. She knew things had ended badly between them, to go by Gossip Girl catastrophic. But she was still hoping for a reunion. She liked the tall blonde, Dan was a much cooler person when he was around her, not to mention that Serena could probably keep Blair's minions at bay. They'd tripped her over in the corridors today, making her spill her book and papers all over the floor, eliciting a laugh from the whole corridor. In summary, school was beginning to resemble Jenny's idea of hell, and she could use some good news, even if it was just that her brother would stop brooding around the loft, bringing Jenny's mood even lower.
"I think Bart Bass just talked me into becoming Chuck's tutor," Dan said, looking up at Jenny with a baffled face.
"Wait, that was Bart Bass?" Jenny said, her eyes widening. "What did he say?"
"That Chuck needed a tutor, he was willing to pay money, it would look great on my application...Oh yeah and I start tomorrow..."
Dan stumbled over to the bar stools, looking like a bus had hit him, he slumped into the seat, still clutching the phone in one hand.
"I guess they don't call him a business shark for nothing," she commented. Then what Dan just said sunk in. "Wait, _Chuck Bass_ needs a tutor?"
"Well it was bound to happen sometime, I'm surprised his brain's still functioning with all the alcohol I've seen him consume, and I've only known him for a year." Dan babbled, as he usually did when he was shocked or nervous. "Anyway Bart said something about trouble with school work, like that's anything new. He used to try and copy off my homework when I was dating..."
Dan trailed off at this. He hadn't mentioned Serena much since the incident where she'd gone Armageddon on him and had the whole school visibly ignore him for a whole week. Jenny was pretty sure he was still taking their break up hard.
"Was Bart as scary as everyone makes out?" she quickly asked, hoping to take his mind off broody thoughts. "Eric once told me he only had one tone of voice."
"Yeah...I think the tone is 'all I have to do is make a call and you'll be dead'," Dan laughed nervously. "He was scary enough to make me agree to tutor Chuck Bass."
As if he just realised what he just said he turned around and buried his head on the counter, groaning loudly. "I just agreed to tutor Chuck Bass. To voluntarily give up an hour of my time to spend with a guy I hate probably the most in the whole of the Upper East Side."
"Well it can't be that bad, can it? I mean how much are you getting paid?"
"True," Dan conceded, his voice muffled as it was buried in his hands. "He offered me fifty dollars an hour, I thought that was pretty good. But then I just remembered, it's _Chuck Bass_ he's asking me to try and tutor. I mean, I don't think he even has the ability to learn anything, period."
"Well if he really annoys you, you could always spill to Gossip Girl," Jenny pointed out reasonably as she scratched out her hopeless workings and started a new page.
"You can't say anything to anyone about this," Dan said, snapping out of his shock and raising his head to catch Jenny's eye. "Bart said he'd prefer if it didn't get out to half the school...Chuck's a jerk and definitely deserves it. But I gave my word to Bart I wouldn't say anything. Although come to think of it, I'm not entirely sure how that happened either..."
"Okay," Jenny said shrugging indifferently.
"I mean it Jenny," Dan reiterated firmly. "Nothing to anyone."
"I said _okay_ Dan, gee take a chill pill," Jenny snapped, annoyed at his overbearing attitude. It wasn't like she was that heartless. Besides after what she had seen between Chuck and his Father she was beginning to feel that perhaps he didn't act like a jerk just for the sake of it. That didn't mean she'd ever forget the Kiss on the Lips party, but she wasn't interested in antagonizing him either.
Just as Dan was about to retort to her tone the phone trilled in his hand.
"It's probably Dad working late again," Jenny noted, slightly annoyed.
"Hi," Dan answered the phone, whoever replied on the other end almost made him drop it.
"Who is it?" Jenny asked, watching him curiously.
"Nobody," he mouthed, then quickly jumped off the bar stool and went into his room, shutting the door firmly behind him. Jenny rose, curious and went to stand by his door. She pressed her ear to it, but all she could hear was the low hum of music. Obviously Dan had got wise to his sister's trick at listening at key holes. His voice was just a low rumble, incomprehensible. Sighing with frustration she returned to the table and her math's problems. She'd probably find out about it on Gossip Girl anyway.
* * *
"So uh...why exactly did you call me Blair? And by the way how did you get this number again?" Dan queried from his position on the bed. Music was playing low in the background, in order to ensure Jenny did not hear a word of this conversation. He'd been surprised enough to hear Bart Bass' voice on the other end of a call, now Blair Waldorf was ringing the Humphrey residence. Dan was starting to wonder if hell had frozen over but no one had bothered to tell him yet.
"So polite, true Brooklyn charm," Blair replied on the other end with false sweetness.
"Sorry but I really wasn't expecting your call like, ever... " Dan retorted, using the same tone.
"Well it's not voluntary by any means," Blair stipulated. "This is strictly business. As you are well aware we have to come up with an idea for the committee. Under normal circumstances I would have come up with the idea myself and you would have agreed with it. But seeing as I'm already swamped with work right now you're going to have to pick up your own slack."
"Well thanks for letting me know," Dan said sarcastically, rolling his eyes.
"You're welcome Humphrey. I was thinking we could meet tomorrow afternoon, it shouldn't take us more than an hour to write out a plan, maybe two with your contributions."
"Actually I'm busy tomorrow," Dan said quickly.
"Really, doing what exactly?" Blair asked overtly sceptical.
"Cater waiting," it left Dan's lips before he could think. He had been considering getting a job for a while, and had seen the advertisement in the paper. He had no idea why he was using it as his alibi though, too bad Vanessa had a date with Nate that night and now he was stuck with this.
"What?" Blair laughed, and not in a nice way.
"Look not that it's any of your business, but some of us actually work for our money," Dan snapped, annoyed at himself and at her. "We can meet Friday after school at the library to discuss the project then, that is if you can spare precious time from shopping, doing your hair and oh yeah, wrestling publicly with Chuck."
"We were not wrestling," Blair snapped, obviously he had hit a nerve.
"Look I don't care what you call it Blair, I've really got to go now I have an important call. See you on Friday." With that he switched the phone off before Blair could reply with a viscous remark which would cut him to the core. He grinned slightly at his small victory, but then he remembered what he was really going to be doing tomorrow.
Groaning he grabbed his pillow and pulled it over his face. Dan Humphrey tutoring Chuck Bass, what the hell had he been thinking?
* * *
**A/N: Blair rang just to make sure Dan had taken the job so she could delight in the pleasure of seeing Chuck squirm on a certain afternoon = P. What happened with Nate and Serena when they disappeared from the meeting? Well I'm not entirely sure yet but I'll try and fill in the blanks lol. **
**Up next a little tiff between friends, Lilly and Bart try to set down some house rules, and Chuck finds out what Damien is really like, and isn't unpleasantly surprised. For now that is... Plus Nate and Dan spend some quality time together, could this be the beginning of a beautiful bromance? Oh yeah and don't forget an interesting tutoring session. **
**Thanks so much to svenjen, QueenBee10, Bellemme, mlharper and AquarianAir for reviewing the last chapter! I really, really appreciate it guys thank you so much = D!**
**Please review if you read = ). **
**Inspiring picture of the chapter: Google: "dan humphrey ohsosmitho" This one goes to Dan, the first pic where he looks like a stunned mullet. What he would have looked like after Bart's call lol.**
* * *
**SPOILER 4x20 READ AT OWN PERIL**
**I just saw the episode and that's why I posted this so quickly. **
**= O!**
**I have to rant, so I will here, sorry but I just have to get it out.**
I **think Chuck will redeem himself, this is probably his turning point (I'm hoping the writers actually get to the redeeming part now, cause I don't think he could get any lower). **
**If you look at everything that is going on you can kind of understand along with alcohol why he lost it for a second. Plus if you look at it I think he truly believedd at the party like so many times before, Blair was just playing with him, and she'd come back to him (Lord Marcus and others I can't remember right now. Anyway their usual pattern is to date someone else to make the other jealous, and Chuck probably believed that was what she was doing like so many times before. I guess this just highlights how much Blair has grown and how little Chuck hasn't but we can't blame the poor guy cause he's been a bit preoccupied with his life falling apart)****.**
**The way he looked so hopeful and helpless (like a little lost boy = ( ) when he was telling her they were the only real thing, I think he truly realised all his actions with his company and his hotel were shallow and all he needed really was her, to make him happy. And when he kissed her, at the beginning he thought she had come back to him so it was natural. When he lost control think it was just that he couldn't believe what he was hearing. Maybe he thought that she'd relent and didn't really mean what she was saying and desire would take over, like they'd done before (piano scene anyone, one minute saying they hated each other the next minute making out). Maybe he was still deluding himself that she was playing with him, that she cuoldn't deny what he thought she felt and when she realised she'd melt in his arms or something.**
**Anyway that's my interpretation of the scene. And to be fair to him he did stop as soon as she told him to. Hitting the glass wasn't the nicest move, but he didn't go to hit her he just lost his mind (he is the only character on the show that seems to have really devestating stuff happen to him all the dan time! That would make anyone go crazy, especially when the only person who you think loves you tells you she's in love with someone else. The guys whole life is falling apart and he has absolutely no one to turn to right now!). **
**Anyway though his behaviour in real life would never be acceptable or reedeemable, I think as it is a show Chuck can and will redeem himself. I did feel sorry for him anyway, although I may be a little biased.**
**I don't think what Louis and Blair has is real. I think she has feelings for him, but I think she is more in love with the fairytale then the man. Suprisingly I actually like Louis, and feel a bit bad for him. But I don't think that what they have is entirely real. I think they're both rushing into something that niehter of them is ready for. **
**Raina is a cow, and I cannot believe Nate. So your friend just found out his Dad killed someone (on top of a whole lot of other issues) then loses the love of his life and you dump him for some chick you've been dating for like a week who is also your best friends ex! C'mon Nate WTH? And Raina, how can you blame CHuck for what his Dad did? He's as upset about the whole thing as she is, he found out his Dad killed someone, not to mention his own Mummy issues! Give the poor guy a break. **
**Anyway maybe I'm just stubborn, but I still felt bad for Chuck. Serena ticked me off but at least once she realised how happy Blair was she backed off. And I think it was sweet of her to put up a little defence for Chuck, and say what I was thinking the whole episode, "I thought your prince had already been here." At least when Chuck is at his most down Serena seems to be the only one to feel sorry for the poor guy (like last time too I think, I can't remember the details)I guess she can relate to his self distruction with her own bad girl behaviour. I like to think they also have some sort of sibling bond as well as that comraderie of two people who've done things that niether Blair or Nate have. **
**I think Blair is trying to convince herself that she has changed so much, but I don't think she truly has. You can't change who you are completely because then you wouldn't be you. I hope at least they finish the season well, and Chuck can start redeeming himself and things can sort themselves out. (How about a Dan, Chuck, Louis chase that shows them all showing Blair why she shoudl be with them and hten her choosing Chuck lol jks only if he proves himself well!)**
**In short as this is a TV show, I'm still loyal to Chair and believe their destiny. I still love Chuck, and though he could grow up a bit I feel so sad for him right now and can kind of undestand him, his whole world is crumbling and he has no one to turn to, he's only 20 years old after all = (. **
**The episode left me sad, but it didn't kill my hopes for Chuck and Chair, annd though it's definetly not going to happen this season I'm sure it will in the next! After all tomorrow is another day. **
**I love how they compared Chuck to the Beast, because in a way he is tortured and as despairing as the beast, but remember Belle with her love transforms him into a beautiful Prince, and Blair will do the same for Chuck. I believe in Chair, I do, I do lol!**
**End of rant lol. Glad I got that off my chest sigh = (. **
9. Homework is so 1999
_**Chaper VIII**_
**Homework is so 1999**
* * *
**Spotted: Lonely Boy entering the Palace, which we all know is the residence of his former girlfriend Serena. Can anyone spell stalker? xoxo GG. **
* * *
Dan sat awkwardly in the Van der Woodsen Bass living room. His bus had come early, and he had contemplated waiting in the Palace lobby for a while. He had quickly dispelled that idea for fear of an awkward run in with Serena without parental witnesses. Instead he'd come upstairs to be welcomed by a stiff and awkward Bart, who was now sitting opposite him reading some sort of business papers. while Dan stared at his hands.
He'd always wondered why rich people's couches were low and uncomfortably hard, much like their demeanour. He had to lean forward in order to ensure he could get up with some sense of decency. Bart hadn't said two words to him in twenty minutes, and Dan was agonizing over whether he should say anything, or just continue to stare at his scuffed shoes. Dan couldn't imagine a more embarrassing situation, that was until the elevator sounded, indicating the entrance of Chuck.
Bart put his folder down immediately, glancing at his watch as Chuck strolled in. He didn't even look up, heading straight for the stairs.
"You're late," Bart called, standing. Chuck stopped in his tracks, glancing over with a lazy air at his father. His eyes flickered to take in Dan, who also stood awkwardly.
"You do realise Serena and Humdrum Humphrey broke up months ago Father? I told her to put out a restraining order but I suppose she went against my better judgment..."
"Very funny ," Dan said sarcastically, glaring at Chuck's smirk.
"You're late," Bart repeated, not to be dissuaded. "I thought I told you to be here straight after school?"
"I had some business to attend to..." Chuck said evasively, dropping his gaze slightly. "Now if you don't mind I'll go change and prepare myself for this new tutor you so kindly informed me about via text message this afternoon." There was biting sarcasm in his voice.
"That's unnecessary as Daniel is already here," Bart barked, "And since I'm sure he has his own work to get to, how about you sit down and try not to waste any more of his time and my money."
There was a moment of silence as Chuck registered his father's words, his smirk fading to give way to stunned disbelief.
"_Daniel?"_ Chuck finally repeated at Bart's unamused gaze. His impassive face showing shock as he eyed the Brooklynite. "You asked _him_ to be my tutor?" Dan didn't even know it was possible to put that much disgust into one sentence. Chuck's hostile sneer made his feelings even more clear, in case there was a shadow of a doubt.
"Unlike you, Daniel has put in some effort to be in the top 10% of his class." Bart said, his jaw tightening at Chuck's conceited tone. "Hopefully he can teach you something about hard work and perseverance, that despite my best efforts, I seemed to have failed to do."
Dan avoided Chuck's eyes at this, quickly dropping his gaze to his scuffed loafers. At this point he was really sure this was a bad idea. Nothing spelt disaster like getting in the middle of a father son war which seemed to have been waging for some time between the two.
Chuck narrowed his eyes at his father's word, he opened his mouth to comment, but Bart wasn't even paying any attention to him now. Like Chuck's thoughts on the matter were of no importance, he picked up his ever ready briefcase and buttoned his jacket, heading for the elevator.
"I have to get back to work now, but I expect to see your homework finished for the night Chuck," he said stiffly, sparing his son a negligent glance. "And if I hear from Daniel you've been less then co-operative with this arrangement consider your gold card as good as cancelled."
Chuck didn't say anything to this, biting back his retort he watched his father with resentful eyes enter the elevator without a second glance, expecting his words to be obeyed as law, like it always was at his business.
Chuck was still glaring at the closed elevator doors and Dan found himself awkwardly staring at Chuck. This had not been how he had imagined this arrangement starting. He'd at least hoped Bart would stick around for the first few times. Now he was facing Chuck Bass, and possibly the full brunt of his wrath, with no witnesses.
"So uh...I guess we should get to work..." he finally said nervously, breaking the silence, his throat feeling dry. Chuck turned his dark gaze on Dan at this, then without saying a word he promptly turned and headed up the stairs.
"Right..." Dan muttered as he heard Chuck's door slam. "Great."
* * *
Chuck threw his satchel onto the ground in his room, falling onto his bed he kicked off his sneakers, and stared up at the grey ceiling. He was exhausted from having to spend a whole second day at school, he'd been avoiding Blair for the whole day, and now, instead of a pleasant looking woman who would be a welcome distraction, Dan Humphrey was his tutor.
Chuck lent over and grabbed a decanter of scotch he'd left last night on his bedside table and a glass. Pouring himself a nice helping he drowned it down, welcoming the burn. Trust Bart to choose the one person who he despised most on the Upper East Side, when he spared Humphrey a thought that is. Judgmental Humphrey, the boy from the working class family trying to achieve more. Like Bart had reminded him, he represented everything Bart had been, and everything Chuck was not.
Hopefully the Brooklynite got the message and had left. The loss of Chuck's credit card would be worth not having to spend an hour every Thursday with that annoying Shakespeare wannabe. At least Chuck tried to convince himself of that, though he couldn't help being reminded of Bart's comments about military school yesterday.
Trying to distract himself Chuck poured himself another drink and was just about to drown that down too when he heard two familiar female voices drifting up from downstairs. Pausing with the glass partway to his lips he listened closer. There was no mistaking those voices, Serena was home and she'd brought Blair with her. Looking down at the dark amber liquid in his hand, Chuck tipped the glass back and allowed the liquid courage to flow through him. He was not going to hide like a child in his room and wait for Blair to leave. He wasn't going to concede to her demand either. He was Chuck Bass, and he always got what he wanted, when he wanted, no matter what. Blair couldn't deny him anymore, and he was going to make sure she knew that.
Rising from his bed he placed his glass on the floor, grabbed his sneakers and slipped them back on. Straightening his tie and hair in the mirror he opened the door and strolled out confidently, making his way down the stairs. He paused at the last step, frowning in annoyance. Dan had sat himself on the couch, obviously he could not take a hint. He had taken out some books, and was probably in the process of trying to start his own homework. Blair was standing in front of him, here head cocked slightly, an amused smile on her face, while Serena stood slightly back, standoffish. The last thing Chuck needed was for anyone else to find out his father thought it necessary to employ Dan Humphrey to tutor him. Serena, and most importantly Blair, would never let him live it down.
"So let me get this straight Humphrey, you came all the way to Serena's suite to do your homework?" Blair asked, raising an eyebrow sceptically. Obviously the two girls had walked in to be met with the surprising sight of Humphrey. Blair, as per usual, was using it as an opportunity to mock Serena's ex.
"No, I didn't say that..." Dan said quickly, trying desperately to come up with some excuse as to why he was sitting dumbly in Serena's suite when they hadn't spoken to each other in weeks.
"Blair just leave it," Serena murmured awkwardly, avoiding the Brooklynites gaze, just as he was trying to avoid hers. "I'm sure Dan was just about to leave..."
Blair turned to say something to the tall blonde when she noticed Chuck on the stairs.
"Were you aware of this little infestation of yours Bass?" she queried, her amusement heightened at Chuck's apparent discomfort.
"No," he drawled quickly composing himself and avoiding Dan's open mouthed look. "But if it doesn't disappear in five minutes I might just call security."
"Oh come on," Dan snapped, annoyed now he stood, his books spilling onto the floor. "You cannot be serious?"
"Do I look like I'm joking?" Chuck queried, maintaining an air of boredom. He made the rest of the way down the staircase and grabbed Dan's bag, heading towards the elevator with an air of absolute confidence.
"Hey, hey," Dan said, quickly rushing behind him and grabbing the strap his bag, pulling Chuck up short. "You may not be interested but I plan to finish what I came here to do..."
"And what is that exactly?" Blair queried in an overly innocent voice.
"Nothing of importance clearly," Chuck growled, just as Dan opened his mouth. He glared at the Brooklynite, promising him murder if he even thought about saying it aloud.
"I thought you were supposed to be cater watering this afternoon, which is why you said you couldn't work on our committee project?" Blair pronounced accusatory, though Chuck could tell her tone was far too studied. Before he could explore that suspicious thought further, Humphrey replied.
"I was supposed to be but... something else came up," he supplied lamely. "Now how about you let go of my bag Chuck and we discuss this like semi adults." He said this through gritted teeth, pulling his bag towards him. Chuck was not relinquishing it however.
"Actually I think it would be best if you continue that discussion by yourself on your way back to Brooklyn," Chuck sneered, pulling the bag back towards him.
"I'm not leaving," Dan growled, tugging at the bag furiously.
"Actually Dan maybe it would be best if you leave," Serena supplied suddenly, walking forward and pulling the bag away from the two tensed boys.
"Oh so now your gracing me with your speech?" Dan asked bitingly, losing his temper he glared at Serena who was looking at him with critical blue eyes. "Well that's good I guess. But honestly Serena I don't think this is any of you business."
"Well how could it not be?" Blair asked sweetly smiling as Serena stood stunned. "I mean we all know you came here to see Serena..."
"I didn't come here to see Serena," Dan snapped, annoyed.
"Well there's no other reason you'd be here Humphrey. Really it's kind of sad how vehemently you're denying it when we all already know..."
"Blair," Serena sent a reproachful look at her best friend. "Look Dan..."
"I came here to tutor Chuck," Dan snapped loudly, pushed beyond his limits by Blair's speculative look and Serena's superior air.
There was a stunned silence, Chuck watched Blair's reaction carefully. He could tell she wasn't shocked, though she played at widening her eyes. She'd known, all along, and she'd just been torturing, delighting in his dread of his secret that wasn't a secret at all apparently, being revealed.
"You're tutoring Chuck?" Serena repeated blankly looking at Dan at the same time Chuck turned to Blair glaring.
"How did you know?" he queried sharply, ignoring Dan's response.
Blair's facade broke, a small superior smile creeping over her face.
"Who do you think recommended Humphrey?" she queried simply.
"My father rang _you _first?" Chuck asked, stunned. Trust Bart to be so clueless as to ask his son's 'ex whatever-they-were' for a favour.
"The Bass men aren't known for their perceptiveness," Blair said cruelly, "Or their brains apparently if your anything to go by. Now if you don't mind I think I'll leave Humphrey to continue to do your homework, while you drink away more brain cells, as per usual. I'll see you at school S. Humphrey..." with this she looked at him with disdain. "Hopefully I won't have to see you at all, ever."
"Same to you Blair," Dan retorted as she walked out on high heels, perfectly poised.
"Wait," Chuck growled, following after he held the elevator door open, just as it was about to close, putting his hands on either side of the elevator he leaned close to Blair. "What was the point of that?" he queried in a low voice, so the blonde girl and middle class boy in the other room couldn't hear him.
"Does there have to be a point?" Blair asked innocently.
"Yesterday you said we could never be together...and now you tell my father to hire Humphrey Dumptey as my tutor, and then come personally to let me know about it? If I didn't know you better I would think you care." His mouth pulled up slightly at this, into a self assured smirk.
"Maybe I just like to torture you."
"Between us that _is _caring."
"Why would I care about someone who doesn't care about me?" she snapped sharply.
"Maybe you just can't help yourself." He lent closer now, she didn't step back.
"Maybe this just shows why we can never be together Chuck," she pointed out disdainfully, her eyes hard. "Have you ever heard of a Queen with a King who can't even pass one essay on his own?"How could I ever be with someone who can't be bothered to at least try to be something better.
He rocked back on his heels at this, stung slightly be her words.
"We both know I'm not lacking in brains," he snapped, annoyed at her criticism.
"Well I've never seen any evidence to suggest otherwise," she said scornfully.
"Don't pretend this is about that."
"I'm not," she said quietly, looking him straight in the eye. "I'm just stating the facts, which are that even if you tried you would never get an A. Now if you don't mind some of us have an English paper that they have to ace."
"Are you challenging me?" Chuck queried, he kept his hand on the door as Blair moved to push it away.
"Please that would be too easy," she scoffed. "We both know I'd win, you've never actually done anything remotely concerning work."
"Coward," he enunciated lowly.
There was a pause as she glared at his self assured smirk, trying to fight with her competitive instinct.
"When I win I want your limo" she finally snapped, her eyes flashing, rising to his insult and claiming one of his most prized possessions. He smirked, amused.
"Fine," he conceded readily.
"But Serena told me Bart took it away," she said suspiciously, narrowing her eyes as the thought occurred to her, calling him out on his duplicity.
"Please we both know Bart's farce of parenthood will last a week at most," he scoffed. "And you know what I want in return."
"You can have Dorota," she stipulated, ignoring his obvious leer.
"Not good enough Waldorf," he admonished.
"That's all you're getting," she snapped.
"I won't settle for anything less than a kiss," he whispered, sending shivers up her spine, his smirk telling her he was confident that once they started he would be getting much more than just a simple kiss.
"I'm not that cheap or that stupid," at least not twice, she amended in her head.
"A limo is worth far more than a coat," he pointed out.
"That was then, blame it on temporary insanity," she hissed through gritted teeth. "Now I've realised just how pathetic you really are you couldn't even tempt me Basshole."
He hesitated for a second, "My scarf," it left his lips before he could think over it further.
"What?" she asked, slightly stunned she looked at him with wide dark eyes.
"My limo and my scarf," he relented begrudgingly, his eyes darkening almost sullenly. "For a whole week."
Blair contemplated it for a minute. She knew that if she lost then she'd be forced to kiss Chuck, and she wasn't entirely sure of her self control, especially as his crisp cologne invaded her senses right then, tempting her to lean closer and taste the scotch on his lips. But then again, if she won, and she was sure she would, she would be able to dispose of Chuck's prized possessions any way she pleased.
"Fine," she relinquished, ignoring his small smile as it left her mouth she held out her hand with manicured fingernails buffed and polished. "When you don't honestly get an A on the upcoming English paper, I get your limo and scarf for a week."
"And when I _do _honestly get an A, which I will, you owe me a kiss," he smirked confidently, enveloping his hand with his warm one they shook familiarly, like they had so many times before, usually when allying in order to take down a common foe, or enter into a deal which was mutually beneficial. This was neither of these things, this was something different, one of their games taken to a new level which Blair felt slightly uneasy about.
"Never going to happen Bass," she said confidently as she quickly disengaged from the handshake which unconsciously had turned into their hands being suspended, clasped together. She quickly pressed the button to close the elevator doors.
"How about you just give up to the inevitable Waldorf and come up to my bedroom," he said hoarsely.
"Been there, been treated for that, so over it," she hissed.
Chuck stepped back at this as the elevator doors began to slide shut, allowing her the final word. He watched the elevator doors close on Blair, silently smirking. They both knew this was far from over.
* * *
Her triumph was not how she imagined it would be. The well placed words, the satisfying blows. She was supposed to humiliate and ridicule him. Instead she'd said exactly the things she knew would spur him on.
Instead of severing all ties from him she'd made a bet. She knew it was a disaster, but somehow she couldn't help an anticipatory smile creeping over her face. If anyone knew how to play on her level, it was Chuck. This should be very interesting.
* * *
"We should probably go into the dining room..." Serena murmured, embarrassed as she and Dan stood awkwardly trying not to look in the direction of the elevator, where Chuck and Blair were murmuring lowly.
"Dan?" she prompted as he didn't say anything. "Dan?"
"Oh I'm sorry, were you talking to me?" he finally queried, looking up.
"Well, there's no one else here," she pointed out, annoyed.
"That's never stopped you before," he said bitingly.
Serena resisted flinching slightly, he'd never turned his witty sarcasm against her before. But then she remembered what she did to him, and felt guilty instead. She turned and headed towards the dining room, feeling ashamed, and knowing Dan probably didn't want to speak to her anyway.
"Hey, hey I'm sorry," Dan said instantly penitent, coming behind her he grabbed her hand on the threshold.
"No, you're right," she said turning around, admitting her guilt and gathering the courage to look him in the eye. "I deserved that."
"Maybe, but I still feel bad saying it," he said, giving a small rueful half smile.
"I'm sorry Dan," looking down at her suede boots now. She felt incredibly awkward, but she knew it had to be said. "I know I wasn't exactly gracious when we broke up, I've felt bad for so long...and then you coming here...I shouldn't have assumed, but how could I guess you were tutoring Chuck?" it gushed out of her in one burst of jumbled words, she paused for breath, looking up at him from under blonde lashes with some trepidation.
"I know, I'm tutoring Chuck Bass, no one was more surprised by that then you," he commented wryly.
"I was still a bit of a jerk wasn't I?" she said quietly, penitent.
"I think we were both kind of jerks," Dan relented, "I mean now I look back on it I guess...I _know_ I could have dealt with things better..."
There was a pause as they both thought over what had seemed so insurmountable just a few short weeks ago, but now seemed rather silly.
"Start over?" Serena finally queried softly, looking up at him and smiling wistfully. "Friends?"
"Sure," he said, looking down at her hand, which was still in his, trying to hide the feeling of warmth which crept slowly from her fingertips up his arm. "I mean I'm going to need all the friends I can get, what with trying to get Chuck to actually do some homework. Besides, how could I say no to you?"
He glanced up at her now, his breath caught in his throat as a bright sunny smile spread over her face. His throat felt dry, his palms sweaty as her smile softened into something else, her lips parting slightly, as if to say something more...
"What a touching reunion. Despite my hopes, obviously your standards haven't improved sis," Chuck drawled, from behind them. Serena and Dan quickly jumped apart, shocked they turned to look at Chuck who was leaning against the door, smirking.
"Shut up Chuck," she snapped automatically, eyes flashing and body stiffening.
'Make me,' he mouthed, leering.
Serena ignored him angrily, she turned to Dan, who was feeling out of his depth.
"I've got to go, but I'll see you tomorrow in school," she said tightly, aware of Chuck watching their every move.
"Uh...yeah sure," Dan murmured, stunned.
"Right..." Serena trailed off, dropping her gaze awkwardly, obviously feeling the oddness between them that neither of them could, or wanted to, identify.
There was a second where she hesitated, biting her lip, as if she wanted to say something more. Instead she turned and strutted out of the room, brushing past Chuck aggressively without glancing at him. Dan blinked, watching her leave. This morning he couldn't even think of Serena without a tumult of emotion, including bitterness, anger and some regret. Now he felt exactly like he had at the white party, part longing, part hesitant and very, very confused.
"I'm paying you to tutor me Humphrey, not watch my sis walking," Chuck sneered, putting his hands into his school slacks and surveying Dan with critical eyes.
"Oh, so _now_ you want to get to work?" Dan queried, annoyed.
"Unlike you my time is precious, so how about we get started on that English paper," Chuck drawled, disinterested in Dan's reply he turned and strolled towards the couch.
"This afternoon just keeps getting better and better," Dan muttered under his breath.
* * *
"Times up, so what do you have?" Dan asked, looking up from his watch at Chuck who was sitting on the opposite couch with a notepad and pen on his knee.
Dan's own books were spread across the living room table. He'd asked Chuck to choose an essay topic and then write down some ideas for it, in the hopes of determining what he was actually working with, and also to keep Chuck from tossing sarcastic and degrading comments about the glitter pen he'd been forced to borrow from Jenny this morning.
"Chuck," Dan prompted.
Chuck held up his pad in defeat. The essay topic was scrawled on the top in messy cursor. Underneath that was one line in capital letters.
'THIS IS STUPID.'
"Very funny," Dan said sarcastically. "Come on Chuck, you didn't even have one idea in all that time?"
"What can I say, the subject matter doesn't stimulate me," Chuck drawled lazily, throwing the pad carelessly on the table and leaning against the couch.
"Well at least you picked a question...that's something I guess," Dan muttered, picking up the pad and glancing at it he read the question aloud. "Discuss revenge in _Wuthering Heights_. In what ways is it connected to love? What is the nature of love in the novel, that it can be so closely connected to vengeance?" As he finished the last word he looked up at Chuck and raised his eyebrows. "Really?"
"It was better than the social class question, which no doubt you chose," he snapped, annoyed at Dan's look.
"It's a relevant question," Dan said defensively.
"You couldn't be any more predictable if you tried, could you Humptey Dumpty?" Chuck drawled, gazing up at him with a superior smirk.
"You know the names are getting really old Bass," Dan snapped, annoyed. "Besides if you want to talk about predictable...love, revenge?"
"What's that supposed to mean?" Chuck bristled, looking darkly at the Brooklynite now, he lent forward almost aggressively.
"I'm just saying, you couldn't think of a single thing to write down on this topic? I mean, it's not like you haven't had real life experience..." Dan shifted in his seat, trying to hold Chuck's dark gaze.
There was a moment of silence, and Dan wondered if Chuck was going to hit him.
"I need a drink," Chuck said abruptly instead, rising and strolling towards the kitchen area.
"Okay then..." Dan sighed, dropping the pad on the table and rubbing his head.
Chuck got out the familiar scotch tumbler, grabbing a glass he poured himself a generous helping and gulped down half of it in one go. He glanced over the counter at Humphrey, who was leaning forward with his head now in his hands. Chuck smirked, at least he wasn't the only one getting tortured here. He finished the rest of the glass and poured himself another, just as the glass met his lips he heard the sound of the elevator.
"Eric," he drawled, presuming it was his younger brother who hadn't come home yet. He had been hoping to talk to him again, reconsidering his initial stance to wait for Eric to come to him. The younger boy had maintained a stony silence around Chuck, avoiding him this morning, and it was beginning to grate on Chuck's nerves. Instead of the younger boy coming around the corner, there was Bart.
"Mr. Bass," Dan exclaimed, looking up shocked he quickly stood. Chuck choked on the liquor he was just about to swallow, coughing hard.
"Father," he managed to gasp out through watering eyes. "You're home earlier than usual."
"I had to pick up something," Bart intoned, taking in the scotch glass in Chuck's hand and the books scattered around Dan in the living room. "So this is your idea of study Charles?"
Chuck didn't say anything, looking at his father with dark eyes. It wasn't like Bart would listen to him anyway.
"We were just taking a break," Dan said quickly, obviously he didn't want to appear like he wasn't doing his job. "We were brainstorming about ideas for the upcoming English essay..." he trailed off lamely as Bart turned his cool eyes on him.
"There's no need to pretend Daniel, I don't blame you," he said stiffly. "You can go now, hopefully next week Chuck will actually realise the severity of his situation and you won't find him so tedious to work with."
"Actually sir we we're..." Dan began, feeling slightly bad for Chuck despite himself. He couldn't imagine Rufus ever belittling him, especially not in front of one of his peers from school.
"Please Daniel," Bart said with finality, raising his hand.
Dan glanced helplessly at Chuck, whose dark face was unreadable. He then relented, and grabbed up his pen and books, shoving them into his bag. He slung the bag over his shoulder, looking up awkwardly.
"I guess I'll see you," he murmured awkwardly. "Mr Bass, Chuck..." avoiding looking at the other boy he quickly rushed towards the elevator, luckily it opened immediately and he slammed his hand on the ground floor button.
As soon as the doors slid shut he lent against the glass wall and blew out a gust of pent up air. That hadn't been as bad as he thought, it had been worse. Not only was he unable to get the thought of Serena's warm hand in his from his head, but he was beginning to actually feel a little sorry for Chuck Bass, minimally sorry of course. This went against everything he had been sure of a week ago, that he could never even look at Serena again, and that Chuck was a soulless creep. Rubbing his head Dan thought he was pretty sure a tutoring session was not supposed to result in the tutor feeling more confused than he was when it started.
* * *
As soon as Dan left the suite Bart turned his icy gaze on Chuck. Before his father could open his mouth Chuck put his glass down on the counter and reached into his pocket, taking out his expensive leather wallet. He opened it and exaggeratingly slowly he took out his gold credit card, placing it on the counter and sliding it towards Bart.
"Have fun getting your secretary to cut it up," he drawled picking up his scotch glass and raising it in a mock toast. He then picked up the tumbler with his other hand and headed for the elevator himself.
* * *
**A/N: I haven't had a chance to read over it because it's pretty rough but I might not have a chance to update next week so I thought I'd put it up anyway. I hope you like and I'll edit it properly when I get the chance. I hope this is not OOC, tell me if it is!**
**THANK YOU, THANK YOU, THANK YOU TO EVERYONE WHO REVIEWED THE LAST CHAPTER =D. **
**Please REVIEW if you READ this! It motivates me to write, and I might update next weekend if I get enough motivation, wink, wink, nudge, nudge = P! **
**I know Bart comes off as unrealistically mean, but this is the guy that let his son wear a suit to kindergarten and never bought him a birthday present. He's cold and emotionally distant.**
**I know this doesn't follow what I promised at the end of last chapter, but whenever I write it doesn't go as planned, so I'm just going to follow my muse and go with the flow lol. I can promise a funny scene between Chuck and Serena in the next chapter though (at least I think it is lol) !**
**I'm as torn between Nate and Dan as Serena is (though with Chuck there whose looking lol jks?), though I do tend to lean towards Derena, so no real idea where that is going. Also I got the essay question from Spark notes I think it was, anyway not mine, but I do love Wuthering Heights. **
**Can't wait for the finale! I still love Chair, but I think Chuck will 'let Blair go' at the end of this season. Then she can come back to him next season, after they've both worked through their issues over the summer = D. YAY! Lol. As long as Chuck is the one to save Blair from Thorpe in an amazingly romantic way I can wait hee hee = P! **
**Inspirational photo of the week: Google "Dan-and-Chuck-2x20" it's the first pic lol. **
10. Would You Answer the Call of Duty?
_**Chapter IX**_
**Would You Answer the Call of Duty? **
* * *
Lilly breezed into the dining room. As she expected Bart was already sitting there, having a meagre breakfast and reading the paper. The children weren't up yet, as Lilly had hoped, so it gave her some time to talk to Bart privately. Ever since he'd gotten back from his business trip he'd been working late, coming home when Lilly had already dropped to sleep. But Lilly was determined that he would make time to talk about their 'family', especially Charles, who she noted hadn't come home again last night, his bed unslept in.
"Hello darling," Lilly proclaimed, preparing herself for battle. She bent over Bart's chair and pecked him on the cheek.
"Good morning," he said, sparing her a small smile as she sat down and picked up a strawberry which was a part of the fruit spread on the table.
"I'm glad I caught you before you left," Lilly stated sweetly, she might as well plunge in, Bart was already checking his watch. "There's been something I've been meaning to talk to you about..."
"Is there something wrong?" he asked, immediately turning his sharp blue eyes to her, part concern, part interrogatory.
"Nothing serious, no," Lilly amended, alleviating his tense shoulders slightly. "I just...I wonder if perhaps we could do something more to make the children feel a part of this family..."
"Are Serena and Eric having trouble?" Bart asked, his drop in tone indicating concern. He put down his paper now, his full attention on Lilly.
"Not just them...actually, I was thinking of Charles in particular..." she resisted the urge to fiddle with her wedding ring nervously, Bart's jaw tensed, an unconscious reaction whenever his son was mentioned. "I think perhaps we got so caught up in the wedding, and then merging our households financially and aesthetically, that we haven't ensured the children actually feel and realise that this is a family... For example, I hardly ever see Charles sleep in his room. I'm afraid perhaps he doesn't feel included, what with both Serena and Eric being my children. Heaven knows I love her but I know Serena can be a bit overbearing sometimes..."
She trailed off, Bart was frowning slightly now, considering her words. Then he suddenly rose, buttoning his dark suit jacket.
"I've been meaning to tell you, I have to go to Japan again this week, but as soon as I get back I'll talk to Charles about actually using his room," he noted, settling his collar and smiling stiffly at Lilly. "And perhaps we can talk over other ways of making this family work. You know I'm serious about this Lilly, don't you?" he almost looked anxious, but then the moment was gone and he was composed once more with a blink of an eye, bending down and placing his lips on her forehead as a farewell.
"Of course," Lilly said quietly, "It would just be nice if on occasion you could be serious about it _here_."
Bart straightened, looking at her with an unreadable expression.
"I'll try my best," he finally said. "I'll see you tonight, before I leave."
"Have a good day," Lilly supplied, but he had already turned and headed for the elevator. Sighing Lilly picked up the full champagne flute and sipped at it. Unconsciously she took her phone from her pocket, scrolling through her contacts, her thumb pausing over one name. When she heard the elevator doors slide shut she made her decision, and pressed her thumb on the phone icon, pressing the phone to her ear.
"Rufus, hello, I know what you said about me living my life and letting you live yours, and I am trying to do that. But I was hoping you were free to talk, as friends...?"
* * *
"Hey man," Nate said, catching up with Chuck in the quad after the lunch bell had rung. "What happened to you?" he queried as he took in Chuck's dishelved appearance. Chuck's eyes were bleary and red, his hair was sticking up at all angles, and his scarf was unevenly placed on his neck.
"Didn't get much sleep," Chuck muttered, pulling his satchel up on his shoulder. He'd gotten about half an hours sleep to be specific. After giving over his credit card to Bart he'd fumed in 1812, drinking scotch. Eventually when he found sleep was not forthcoming he'd tried to start on his essay. He hadn't even got one word down, and he was beginning to wonder if maybe Blair had been right, maybe he was going to lose this. It didn't put him in the best of moods.
"Why wasn't I invited to the party?" Nate asked, grinning slightly and assuming Chuck had just been up to his usual occupation.
"It was a private affair, just me and a few maids," Chuck managed to drawl out, though his heart wasn't really in it. He was glancing around the quad preoccupied, his eyes scanning the crowd lazily.
"You looking for someone?" Nate queried.
Just as Chuck opened his mouth, he seemed to spot something of interest. He lengthened his stride and Nate quickly jogged to keep up. Surprisingly it was to Serena Chuck walked up to, she was standing near the school staircase, Damien was beside her a coffee in hand.
"Hello sis," Chuck drawled, ignoring Damien completely he came to stand in front of Serena between them, leaning closer to her. "You haven't perchance seen a delightful brunette have you?"
"Even if I had I wouldn't tell you," Serena snapped, icy cold. "Now will you get out of my face Chuck."
"Why, I thought that's exactly where you like me," Chuck drawled, reaching up a hand to brush her hair with his finger tips.
"Pig," Serena enraged shoved Chuck away. "When people say they want you to leave them alone, they mean it!"
"The family that play's together..." Chuck smirked, unconcerned with her physical violence. "But if you just tell me where I can find your BFF I might be persuaded to leave you alone."
"When are you going to get it, she's not interested in you?" Serena snapped, aiming her barb where she knew it would hurt him the most. "She's too good for you anyway."
Chuck's jaw tightened, his eyes darkening dangerously. He turned to glance at Damien, who had been watching the exchange with wide eyes.
"Really, that's funny, because last time I recalled prep boys weren't interested in girls who kill..."
"Chuck," Nate quickly intervened, snapping out of his suspended state he quickly grabbed his best friends jacket, pulling him away from Serena. "That's enough man."
Serena had gone pale, she quickly turned on her heels and almost fled, Nate watched helplessly as Damien followed her, as he was left holding onto his friends arm.
"Let me go Nathaniel," Chuck snapped, annoyed. Nate quickly relinquished his hold.
"Don't you think you were going a bit far there Chuck?" Nate faced him angrily.
"Please Nathaniel, just because you hold Serena on a virginal pedestal doesn't mean the rest of us can't see her for exactly what she is," Chuck sneered.
"What are you talking about?" Nate snapped, annoyed he immediately bristled.
"You were never known for you subtlety," Chuck scoffed. "Half the school can see it, but I'm telling you as your friend that you have got to stop."
"Stop what?" Nate growled now, his shoulders tensing, barely repressing his urge to shove Chuck a lot harder then Serena had.
"Stop mooning over her man. Yesterday I caught her yearning for Humphrey, today that new boy. It's never you, it's never going to be you. It's time to let her go..."
"Just because Serena was right about Blair doesn't mean you should start projecting your shit on me man," Nate pointed out, voice rising slightly.
"At least I know what I want, and I'm willing to fight for it," Chuck snapped now, his voice going dangerously cold.
"What's that supposed to mean?" Nate demanded in a low snarl, leaning closer to Chuck aggressively. Students were watching them, but he didn't even notice.
"You have a supposed girlfriend in Brooklyn, and you seemed pretty happy with her until Serena got a new boy toy." Chuck pointed out, holding Nate's eyes with his own dark ones. "It's like Blair and Serena all over again, you can never decide what you want Nathaniel, and it's driving me crazy to have my best friend always whinging about some girl or other. Make up your mind already, for all our sakes."
"Yeah... well you won't have to worry about me _whinging_ to you anymore," Nate said, grinding his teeth he settled his backpack on his shoulder and turned storming away.
"Nathaniel," Chuck called after him penitently after a second's hesitation.
"You know what, its fine man," Nate snapped, turning around and raising his hands in surrender. "I'm sorry for inconveniencing you all these years. I'm _done_."
"Look I didn't..." Chuck began, but Nate just shook his head angrily and turned, proceeded to march off.
Chuck looked after his friend, immediately regretful of his harsh words. Noticing the students watching him he gave them a dirty look and stalked towards the main school doors, swinging them open furiously and parting a group of sophomores just about to exit with a viscous glare. Obviously this whole week was going to hell, just like his life apparently.
* * *
**Trouble in paradise C and N? It looks like there are two vacancies to be filled for a full time bromance. Any takers? xoxo GG**
* * *
"Serena wait," Damien caught up to her just as she reached the end of the school steps, catching her hand in his own. She turned automatically at his touch, glancing at him with wide blue eyes.
"Look...I really...I..." she trailed off, unsure of what she was doing, biting her lip.
"So that's Chuck Bass huh? He's a real jerk," Damien noted. "Do you want me to go back there and punch him in the face?"
"No, no," Serena said quickly, reminded of Dan, "It's not him...I mean it is him but..." she trailed off again. "It's just since boarding school...I've changed Damien..."
"I know," he said, smiling slightly, confused.
"It's just, recently with you here, talking about the old days, I've been so confused about whether that was a good thing or not, and then with all the other stuff..." she was looking at her hands while saying all this, tearing at her lip with her teeth.
"Hey, it's okay," Damien said, taking her hand. "I understand...you know when I met you here I could see immediately you'd changed. And though you were pretty amazing before Serena, I think I kind of like the new you..."
Serena laughed slightly, nervously, looking up at him.
"I know I must seem like I have split personality recently... But I've just been remembering how...how I treated you back then..." feelings of guilt assuaged her, remembering flirting with Damien just so he would do her homework while she did tequila shots with more attractive boys.
"It's okay," Damien said, holding up his hand, looking into her eyes. "Actually, there was something I've been meaning to tell you, I never had the courage back then, but I think now..." with each soft word he'd been leaning forward, and Serena stood stock still, confused and conflicted as his lips eventually touched hers.
Finally he pulled away from her, smiling, his eyes wide.
"Wow I just kissed Serena van der Woodsen," he said quietly.
Serena's still stood there, even more confused. Suddenly her phone sounded and with relief she frantically grabbed it out of her bag and checked it.
"I have to go," she said quickly, over bright. "I'll see you later."
Before Damien could blink she rushed up the stairs along with a group of students, completely blind to everything but the tumult of guilt and emotions she was feeling. She couldn't shake the feeling that when Damien had kissed her his lips hadn't been the one's she was thinking about.
* * *
Nate watched Serena rush away, then glanced back at Damien who was standing on the steps, also watching Serena's retreat. He'd come in search of Serena only to catch her and Damien locked in a kiss. He felt like such an idiot. Without even thinking he pulled his blue phone from his pocket and snapped it open, pressing the fourth number on his speed dial. She picked up on the third ring.
"Hey Vaness, I was wondering if you wanted to catch lunch together? "
"Yeah sure," Vanessa laughed on the other end, surprised.
"Great, I'll see you at the art gallery," Nate stipulated. "I can't wait."
He ended the call quickly and headed down the stairs, ensuring he was far away from Damien. Though he didn't want to admit it Chuck had been partly right, he did need to make a decision, and he just had.
* * *
"You rang," Serena said, giving Eric a forced sunny smile.
"I just asked you if you wanted to have lunch together?" Eric said, slightly stunned Serena had actually shown up. He was sitting at one of the tables and chairs in the corner in the inner courtyard. Other students were milling around the tables, in cliques, Eric was sitting alone however.
"Of course I do," Serena said, sliding into the bench seat opposite Eric and plopping a full yoghurt down in front of her. "Would I ever stand up my little brother? I was expecting a larger group however, where's Jenny and Jonathon?"
"Jenny's absent...I think she's sick or something," Eric said evasively. He did not think it was a good idea to spill about the fact Jenny had decided to work at Eleanor's rather than go to school, without her father's knowledge. "And Jonathon...well..." he trailed off now, unable to come up with a lie for that one.
"Is there something wrong?" Serena asked, concerned she picked up on Eric's despondent look as he stabbed at his chicken salad.
"We just had a fight yesterday..." Eric supplied. "I think he..." before he could finish his sentence some jocks passed by the table on their way to the other side of the courtyard.
"Hey E," the lead one said, slapping Eric lightly on the back of the head roughly.
The other jocks guffawed and followed to do the same.
"Hey," Serena snapped, standing up, her eyes flashing. "What the hell do you think you're doing?"
"Leave it alone Serena," Eric quickly muttered.
"We're just greeting Chuck's little buddy here," the lead jock said, blonde and blue eyed. He ruffled Eric's hair this time, smiling at Serena confidently.
"Yeah well..." Serena began, angry.
"Serena, please," Eric begged with his eyes, his voice holding a tone of desperation. Serena glanced at him, torn between saying something more or giving into the obviously distressed Eric's plea. Eventually she relented, sitting down. The jock's smiles grew wider and they snickered as they strutted away.
"What was that about, and I'm not taking nothing as an answer," Serena interrogated Eric, looking at him with sharp blue eyes.
Eric stayed silent, examining his salad closely.
"Did Chuck do something?" Serena asked, reaching the obvious conclusion and getting fired up. "Is that what happened, this is exactly like him to have the repercussions of his stupid schemes fall on innocent people."
"Serena..." Eric began, quickly looking up worried, but before he could say anything further the bell rang.
"Look I have to get to class Eric, I have a test, but I will handle this," Serena said, fury in her eyes as she rose and grabbed her uneaten yoghurt. When it came to Chuck lately, she was deaf to reason, especially after this morning events. " Chuck cannot get away with this, I won't let him."
"Serena," Eric said helplessly, but she'd already turned around and stalked off on her heels, waving negligently behind her. Eric sighed, and grabbing the rest of his salad threw it in the nearby bin. So much for a quiet lunch with his sister.
* * *
"Serena?" Blair answered her phone at 4:30. She had three missed calls. She'd decided not to go into school today, she had a headache and had used her time to start on her English paper. She refused to even think that she was using it as an excuse to avoid a certain Basshole. The fact all she'd managed to write under the essay topic was variations on Chuck's name, such as Mother Chucker, and her favourite Basstard, was not a good sign however.
"B, there you are. Are you feeling any better, I really need your help," Serena gushed out all in one breath as soon as she heard Blair's voice.
"Slow down, as Mom would say you're going to get wrinkles," Blair said, amused slightly. "What's wrong?"
"It's Chuck," Serena pronounced, Blair's heart sunk slightly. How was she meant to get him out of her mind when even her best friend wouldn't let the topic go? "I just found out he did something that has now made Eric collateral damage. He has got to pay..."
"Are you sure S," she began hesitantly, "As much as I'm loathe to say this, that doesn't really sound like Chuck. He seems to actually like Eric...well as much as a soulless jerk can like someone..." she amended at the end.
"Exactly, he's a soulless jerk. And because of him now Eric is copping flack, I need your help to give him some payback, that is unless..."
"Unless what?" Blair snapped.
"Unless you don't want to hurt him because..."
"There is absolutely no reason why I wouldn't want to hurt Chuck," Blair said, her eyes flashing, gripping the phone tighter. Serena's words were too close to the doubts creeping in her mind."On the contrary, I absolutely adore hurting Chuck. What were you thinking?"
"Great," Serena said, and Blair could almost hear her wide smile. "Well first I have to find him..."
Blair picked up her laptop, minimizing her essay screen, which was dishearteningly blank of anything useful, she immediately clicked onto Gossip Girl, going to the spotted section of the site.
"He's downstairs," she said, interrupting whatever silly scheme Serena was beginning to try and explain to Blair.
"No, he's not anywhere in the suite, I checked," Serena huffed, obviously her first instinct was to go for the direct slap in the face or hard shove.
"S you live in a hotel remember, he's on the ground floor at the Palace bar," Blair explained, over patiently. "It says it right here on Gossip Girl, apparently he's trying to make a play on some twins." She tried to keep her voice tightly controlled as she said that, glancing at the photo's of Chuck at the bar, sitting between blonde and blonder. She couldn't help the small ball of rage from growing in her stomach however, betraying her. There was only one thing for it, she had to prove, not only to herself, but to the world that she did _not_ care about Chuck Bass. "I know the perfect payback S," she said, a small duplicitous smile curving her lips. It served Serena's purpose as well as Blair's. Blair's purpose of showing she was completely dissociated with any feelings for Chuck of course, it had absolutely nothing to do with the twins he was flirting with. "Do you remember Penelope's two timing boyfriend in freshman year?"
* * *
Chuck sat at the Palace bar, a scotch glass in hand and two very fine looking twins on either side of him. He'd found out Bart was planning to leave for Japan, and tried his luck by ringing Arthur. As per usual Bart had left no instructions with his limo driver to maintain the ban, so his driver dutifully picked him up from the school gates. He'd spotted Nate outside, and called out to him, offering him a ride in return for the ones Nate had given him in his town car for the past few days, but the blonde had just ignored him and kept on walking.
Chuck had contemplated staying in 1812 as soon as he got to the hotel, but he decided against it. He was tired of skulking, Bart was out of town, and though his gold card was in his Father's possession, which meant he was barred from some high class delights, that didn't mean he couldn't play the field. It had been too long since he'd tested his skills after all. So he changed into a pastel green suit, put his favourite cologne on, and headed for the Palace bar. He'd immediately zeroed in on the two blondes at the bar, taking the seat between them he'd bought them each a drink and was having a stimulated conversation full of innuendos. He was actually beginning to not feel miserable for the first time in the week, what with the hazy tone a few drinks had provided for him, and the flirtatious smiles the girls were giving him. That was until a black haired girl stalked into the bar in a very short red dress and with a look of vengeance on her face.
"There you are," she shrieked loudly, walking right up to Chuck. He glanced up at her with lazy confusion, raising his eyebrows as she glared at him with flashing green eyes. He'd never seen her in his life, but he was sure she was a cheap call girl, he usually had an eye for these things. The twins looked at her with small frowns on their faces, then at Chuck. Just as Chuck was about to open his mouth and deliver a disparaging comment to get rid of her, the woman beat him to it.
"You gave me Chlamydia you jerk," she shouted loudly, eliciting shocked looks from the other patrons. Grabbing one of the girl's cocktail glasses she threw its pink contents right in Chuck's face. Chuck spluttered shocked as it trickled down his face and onto his suit.
"What the hell," he shouted, infuriated as he wiped his eyes with the pastel blue handkerchief in his pocket, "This is vintage you bit..." but the girl had already stalked out again promptly, a satisfied look on her face. The twins shared a simultaneous look, then quickly picked up their shiny black clutches in unison.
"We have to go," they said and quickly slipping off the stool they headed for the exit.
"I don't even know her," Chuck called after them, annoyed, but they didn't look back. Aggravated Chuck got up, leaving the drinks for his sizeable tab. He ignored the looks and whispers of the other patrons, stalking out of the bar. Once in the lobby he glanced around, intent on vengeance, that's when he spotted the fake black hair, and right next to her was a familiar natural blonde, handing over a wad of cash near the door. Chuck saw sparks, heading straight for Serena, who was smiling widely as she watched the woman exit the hotel.
"What the hell was that?" he snarled, stopping short of her.
"As if you didn't know," Serena said coolly. "You can't just mess with people Chuck and expect them to lie down and take it, especially not with Eric..."
"What are you talking about?" Chuck asked, contemptuous. "I don't know..."
"Spare it Chuck," she snapped before he could say anything further, brushing past him roughly. "I'm not interested in your excuses. That stunt was less then you deserve, so be grateful and deal with it, because we are by no means even."
Chuck ground his teeth, watching as she walked away, struck dumb by anger. Serena had just messed with the wrong person this week.
* * *
**We hear Chuck is packing, Chlamydia that is. Although why does the little scene in the Palace bar feel a little staged to me? Word is out that Serena was behind it, and Chuck is looking for vengeance. My suggestion, run for cover boys and girls, this means war, and we all know no one does it better then siblings. xoxo GG. **
* * *
**A/N: Just thought I'd put this on a timeline. It's consistent up to and including the Ex Files. The rest is my story with inspiration and inclusion of some scenes from the show, but hopefully with my own storyline too. **
**Thanks to svenjen, ellibells, tvrox12, Jay and Temp02, Curious Blonde for reviewing so fast and most of you regularly = ). I'm glad you guys didn't think it was OOC and are enjoying reading. = ). I have some time so I'll reply to my wonderful reviewers = ). **
**Svenjen: Thanks a bunch, I'm glad you didn't think it was OOC I was a bit worried because I wrote it in a hurry, thanks for reviewing = )**
**Ellibells: Lol, C and B can't get together without making some kind of competition. Glad you liked, thanks for reviewing = ). **
**Tvrox12: Thank you, thanks for reviewing = ). **
**Jay: I too like stories that don't just concentrate on B and C, though they are my favourites. I like them interacting with other characters too, especially the sibling like quality between Serena, Eric and Chuck which was present in the first and second season but then appeared to almost die = ( (besides Serena kind of standing up for Chuck recently to Blair). I'm glad you like it and think it's refreshing, thanks for reviewing = ). **
**Temp02: I'm glad you don't think it was OOC. I miss season 2 too, which is why I wrote this lol. Though I know the characters have to grow up I wish they could've kept some more of their sparkle, like Chuck's scarf and Blair and Chuck's squabbles (which they could've done more of as a couple) or the NJBC scheming more. More Dan/Chuck scenes to come up hopefully, and who knows about the A, with the way Blair is going maybe they'll both lose, I'm not sure yet = P. Thanks for reviewing = ). **
**Curios Blonde: Thanks for the advice = ). I was planning to amp up the drama a bit in the next few chapters and I'll try and keep that in mind as I write. What type of drama were you thinking, angsty stuff? Or just more scandals? Thanks for reviewing = ).**
**Inspiration picture of the chapter: Google "Serena and Chuck 1x12. School Lies" It's the first pic which has the back of Chuck's head in it. **
**Inspirational song: For some reason Michael Buble's Hollywood was playing through my head lol, so I thought I would mention it. **
**More dramatic chapter coming up, sibling war muhahahaha!**
**Please anyone who is READING REVIEW! Pretty please sugar on top don't just add to story alert reviews motivate me to update faster/more regularly, wink, wink, nudge, nudge = P! (I've written 3 chapters after this one already, so proud of myself. POTC4 comes out today in Australia = D!) **
**SPOILER Season 4 Finale Babble: I knew Chuck would let her go, it still broke my heart though, even though I know they will get together = (. It seemed like a real goodbye, but it was titled the WRONG goodbye, so I know they will find their way together again. I still felt pretty sad = (. Though did anyone else laugh aloud at the Bar mitzvah scene? The moments before they started making out just seemed really awkward and funny to me, Chuck and Blair have never been like that and I can't imagine them being so undignified, it was kind of OOC. But maybe it was to highlight that they could be happy together when they put everything else away and are just with each other. I think it's Blair's pregnancy test, but I really don't want her to have a baby! I think it will force Chuck and Blair together, and they'll both feel trapped, rather then it happening because they realise they love each other and can be happy. I can't believe about the Dan book, that was pretty interesting, I'd love to hear some excerpts from it about each NJBC character lol, and their reactions, especially Chuck, Blair and Serena lol. Anyway I just had to express myself about that haha, gah GG has driven me crazy these last two years hopefully season 5 will put everything to rights. Chair FTW hahaha. **
11. I'm an Only Child, At Least I Will Be
_**Chapter X**_
**I'm an Only Child, At Least I Will be When I'm through with You**
Nate woke up bleary eyed to the lone sound of his alarm, blaring out through his mobile. His house was empty, save for him. His mother was staying at their Hampton estate, too ashamed to come back to the city. He checked his phone, groaning as he saw it was five. He used to wake up this early to go for his morning run with his father, he'd been skipping it lately, too bitter to continue the tradition. But he knew he had to stay in shape for lacrosse, and after his fight with Chuck he could use a morning run to clear his head.
Dragging himself out of the mattress he had been sleeping on Nate went to turn on the light. His room was bare, all the rooms were ever since they'd come to repossess the house goods in order to flush out his father. When he'd visited his mother she had persisted that she come live with him, but he'd brushed it aside. He was angry at her for not standing up to his father, he was angry at himself for giving him up, and he was angry at the feds for punishing him and his Mom. He couldn't stand the thought of living in awkward silence with her, not talking about their problems, isolated from the people who actually cared about him, which right then ironically had been narrowed down to Vanessa.
Nate frowned as he flicked the switch and the light didn't come on. Shrugging, and trying to reason it away as a bad connection, he went to the shower. He tried turning on the taps but they made a weird grating noise and nothing came out. Feeling annoyed now Nate grabbed his mobile from his bag, dialling the number for the power company. An operator picked up about twenty minutes later.
"Uh hey," he said, his voice hoarse. "There appears to have been a blackout in my area, I was just wondering what time the power will be back up?"
"Your address?" the woman on the other end asked boredly.
Nate recited it, brushing his hand through his hair.
"No, there's no blackout in that area sir. You're power has been cut."
"What?" Nate asked, disbelieving.
"Your power has been cut, the bill hasn't been paid in months."
"There has to be some kind of mistake..." Nate stuttered, disbelieving.
"It says it right here on the computer. Perhaps you should contact the person who the bills are being sent to, a Mrs Anne Archibald."
"Yeah, I will, she's my Mom," Nate replied, hardly knowing what he was saying.
"All right then, have a good day," before he could reflect on the stupidity of that sentiment she hung up the phone.
Quickly he scrolled through his contacts, hitting the button to call his Mom.
"Nate, sweetheart how are you?" Anne asked in her quiet voice, sounding anxious.
"I'm now without furniture and power," Nate snapped, annoyed. "When were you going to tell me that you couldn't pay the bills Mom?"
"Oh Nate, I was hoping something would come up...I was hoping...but you can come stay with me here, for now. You have to..."
"No, I think I'd rather stay at Chuck's, he already offered," Nate said sharply, the lie rolling off his tongue.
"But Nate..." Anne sounded rather hurt.
"I have school Mom, okay," Nate said, trying to make his voice softer. "I'll visit again during the break, but I have to go now, Chuck's picking me up."
"I love you," Anne said, rather pitifully. Nate almost felt annoyed that despite everything she still made him feel guilty.
"Love you too Mom," he murmured and ended the call. Closing his eyes he buried his head in his hands. He really wish Chuck was picking him up in his plush limo, taking him to familiar 1812, like a second childhood home. But he remembered Chuck's words the other day and he quickly dispelled the thought, stiffening his chin.
Quickly moving away from the wall he was leaning against he went to grab a change of clothes and his bag. He could use the showers at school in the gym, some guys went early for a run on the oval, he would just pretend to join them. He would manage somehow, by himself.
* * *
Serena groaned, rolling over to turn off her trilling phone. She got up, rubbing her eyes and headed for her bathroom. She was surprised to find it empty, she was sure, with the look on Chuck's face last night, that she would find some sort of retaliation by way of him sitting on her bathroom sink table. Instead she thankfully had her bathroom to herself. Getting dressed in her interpretation of the Constance uniform, that was with an added black vest and more fashionably positioned tie, along with some Jimmy Choo shoes, she headed downstairs, feeling particularly bright and triumphant.
"Hey Eric, Mom," Serena greeted at the table, hesitating only momentarily at the door to see Chuck also unusually seated at the table. Chuck spared her a glance, giving her a mischievous smirk, Eric avoided her eyes, looking tense.
Serena frowned at this, but her attention was soon occupied by Lilly who was looking up at her with thin lips, a magazine in her hand.
"When were you planning on telling me about this Serena?" Lilly queried, her voice carefully cool.
"About what?" Serena asked, furrowing her brow in confusion. She picked up a croissant laying at the table, leaning against the wall and starting to pull it apart.
"This," Lilly held up the magazine, and Serena saw with shock a picture of her and Poppy Lipton in a nightclub dancing wildly, drinks in hand. The picture was dated last Sunday night. She thought she'd dodged a bullet when Bart hadn't spoken further about her playing hooky on Monday, but she should have known these things couldn't stay buried, especially with Chuck unjustly on a revenge campaign.
"I rang your school and found out that apparently I had rung them on Monday to say you were sick, the same Monday I was visiting your grandmother," Lilly said, he tone not boding well for Serena.
"I can explain..." Serena said, shrinking slightly at Lilly's disbelief.
"I should hope so, Serena," Lilly exclaimed. "This is exactly the sort of behaviour I came to expect of you before, but I thought we were past this."
"I may have had a rough night with Poppy, but I did all my work...and I felt really bad about it after," Serena quickly ammended.
"Oh, you felt bad about it?Well then that makes it okay," Lilly said sarcastically.
"This is Chuck's fault," Serena glared at Chuck who's smirk said he was enjoying this far too much.
"Really, did Charles pour alcohol down your throat then thrust you amidst a dancing crowd of twenty one year olds at a popular club?" Lilly asked sarcastically with raised eyebrows.
"No, but...look he's trying to make me look bad Mom, it's his idea of a weird twisted game of what he believes to be vengeance," Serena tried to explain, knowing it sounded stupid as it came out, twisting her hands unconsciously.
"I think you're doing a wonderful job of making yourself look bad Serena, without bringing poor Charles into this," Lilly glanced at Chuck who was now trying to keep up an air of innocence.
"Poor _Charles_?" Serena almost choked on the words.
"Well it's you in these picture is it not?" Lilly queried.
"I made one mistake okay, you don't need to crucify me," she became defensive now, glaring at Lilly.
"Honestly Serena, your in senior year, what are you going to do when you get a job? Having a rough night out is not an excuse to take a day off work."
"Well this isn't work, this is school," Serena snapped. "And I think after all the work I've done I deserved one day to slack off."
"As opposed to the years you've been slacking off?" Lilly queried, not relinquishing an inch.
"That is so unfair," Serena cried out, Chuck coughed slightly into his napkin, disguising a snicker as Eric sunk further into his seat. Serena looked up from the noise, glaring at him, as did Lilly, though less hostile.
"Are you okay Charles?" Lilly queried, suddenly coming to herself and realising that Chuck and Eric were still in the room.
"Fine," he drawled, smirking he looked at Serena. "Please don't let me interrupt."
"Actually I think we need to get to class," Eric said quickly, trying to intervene while he had the chance, picking up his bag and rising.
"You're right," Serena said quickly, jumping at the opportunity to escape she shoved the uneaten croissant back on the table, she'd get something to eat on her way to school.
"I suppose you should," Lilly checked her own watch. Chuck also picked up his satchel, looking slightly disappointed the show would not be going on further. "Serena, we'll talk further about this after school," Lilly called after her blonde daughter, who was already walking out of the door fast. Eric quickly followed her, after giving Lilly a quick peck on the cheek, Chuck gave her a lazy nod of his head, and strolled behind the younger boy.
Serena's getaway had been stalled at the elevator, as she waited for it to open. Chuck caught up, going to put his arm around her, which she quickly dodged.
"Trouble with the rents, please share your pain," Chuck drawled, not rebuffed by her avoidance.
"You are such a jerk," Serena snapped, infuriated she could barely express herself. "I cannot believe you did that."
"What, sent a picture into a magazine, then left the magazine open on the table?" Chuck asked mockingly. "I was a concerned citizen, wouldn't want my sis relapsing."
"We are not related," Serena yelled, annoyed. "And you had no right to involve Mom in this."
"Now we're even," Chuck leered in her ear.
Eric stood silently, watching them both.
"Uh...the elevator is here," he pointed out before Serena could retort. Serena quickly stepped in, pulling Eric in with her. As Chuck moved to follow, Serena pushed him away and pressed the close button.
"Get your own elevator," she snapped, Chuck let the doors close on him, chuckling. He knew he had won the match point anyway, Serena wasn't going to get out of this one easily.
* * *
"Oh my gosh B, I'm so glad you're here I have to vent," Serena cried out, walking up the steps of Constance where Blair and her minions were sitting, she set herself down on the step just below Blair. "You will not believe what Chuck just did..."
"Just a second S," Blair said, holding up her hand she looked at Penelope, Is and Nelly Yuki with raised eyebrows. "Can't you see, this is obviously a best friend emergency. Shoo," she said, as they took a second too long to understand her meaning. Penelope gave her a dirty look, obviously interested in what Serena was about to say, but obediently she got up with the others and they left Serena and Blair to it.
"Now feel free to vent," Blair said, turning to her best friend.
"He somehow got my picture in a magazine, one from Sunday night..." Serena began, Blair's eyebrows rose, making her pause.
"Oh, you mean the Sunday night you went out with Poppy Lipton and got wasted?" she queried stiffly.
"C'mon B, I know you don't like Poppy," Serena said defensively.
"She's fake," Blair accused.
"That's not the point," Serena said, quickly brushing aside her friends peculiarities. "The point is not only did Chuck somehow manage to get an unflattering picture of us in a magazine, he then practically handed that magazine to my Mom."
"So what are you planning to get him back with?" Blair asked, as Serena waited for a reply with raised eyebrows. Blair resisted the urge to smile, she still had written nothing for her essay, not even a plan. Obviously she had some sort of writers block, and she would not feel very triumphant if Chuck somehow miraculously even managed to scrape a B, and all she got was a B +, or shudder to think of it, a C. This was the perfect opportunity to ensure Chuck lost their little wager and she won, in every possible way. Once she had Chuck safely out of the way, she wouldn't keep on worrying about what he was writing, and could concentrate on her own work.
"Well...I was thinking perhaps digging up some things on the Lost Weekend, perhaps sending something to Gossip Girl, or better yet to Bart..." Serena said hopefully.
"Please Serena," Blair scoffed at her naive scheming friend. "The Lost Weekend is called such because everyone wants it to stay lost, including me! Besides Gossip Girl already predicted you two were going to have a sibling war, she's going to take everything you say with a grain of salt. After her reputation went down with Jenny and my slinging match, she's careful with vendetta's, bordering on the prudent. And we all know Bart already fights with Chuck, with or without your help, so that's not really fitting revenge is it?"
"What were you thinking then?" Serena asked, giving up and relinquishing the reigns to her more duplicitous best friend.
Blair smiled primly, straightening her white headband, which sat like a halo on her dark brown hair. She gave a dark red smile, her brown eyes twinkling as she looked down at Serena.
"I may have a little plan..." she said sweetly. "But we some helpers, ones that aren't going to squeal."
Serena frowned, and then she remembered a group of three very annoying little girls at the beginning of this summer. Sometimes she saw them hanging around Starbucks, she'd spotted them there this morning actually, like a mini version of Blair's clique.
"I think I can manage that," she said.
* * *
Dan was sitting at one of the tables in the quad, trying to eat his tuna sandwich. The problem was that every time he was about to take a bite a group of girls would pass his table and give him a disdainful look.
"Hey, what is you problem?" Dan asked, annoyed as the third group of girls walked past giggling and staring at his sandwich.
"It's Gossip Girl," Nate said. He had been standing nearby, and had noticed Dan's predicament. He came to stand beside the table. "She has this whole new section she started up today, about who could guess what you'd bring to lunch. "
"You know I really miss the days when Gossip Girl had never heard the name of Dan Humphrey," Dan sighed, looking at his sandwich despondently. "I guess my Dad is going to have to start getting inventive. And it is sad that I just admitted my Dad still packs my lunch." He shook his head in defeat.
"That's okay man," Nate said, laughing. "Most people on the Upper East Side have maids who make them everything."
"True," Dan conceded, "In all the time I've been dating Serena I don't think I've ever seen Chuck even make toast, let alone his own sandwich."
At the mention of his friends name Nate's smile faded slightly, realising his mistake too late Dan looked awkward, rubbing the back of his neck.
"I uh, heard about your little argument in the quad yesterday..." he said.
"Yeah," Nate said stiffly, not really wanting to talk about it.
"So, you are without a guy friend, and I...well I've never had one. So in fear of sounding like I'm hitting on you and scaring you off, which I'm not by the way, not that you're not attractiv..." he trailee off as Nate looked at him, perplexed. "Do you want to eat lunch together?" Dan finally decided to come out and ask, before he could dig himself a bigger hole, though he was pretty sure he had already scared off the blonde.
Nate blinked, suprised by the proposition by Dan who was looking apprehensive.
"Sure," he finally said, shrugging and giving a lazy grin he slid down into the bench opposite Dan. "Why not?"
* * *
**Awww how touching, N and D sharing lunch together. Is this the start of a new bromance? Spare a poor thought for C however, spotted drinking on the school wall alone, left out in the cold. I repeat, awwww. xoxo GG. **
* * *
Chuck made his way quickly down the stairs, glad to be in the dim light of the afternoon. He had spent his lunch sitting on the outside wall of St Judes and Constance, he'd tried messaging Nate, but he'd got no reply. He decided to let it go, after all he and Nate had argued before and made up, albeit it had taken the Captain fleeing the country illegally to bring them together again.
Occupied with these thoughts Chuck almost missed the pink pamphlets which were being handed around students converging outside the school. Chuck grabbed one absentmindedly which someone shoved into his hand without looking. He glanced down at it, assuming it was some lame school production, and then paused as he was met with his a large picture of himself. He frowned, he remembered when it had been taken, at the Hamptons this summer by Eric who had been playing around with a new camera he'd just bought. He was on the beach in his striped bathers, laying on his deck chair, glancing at the camera with a small smile. Above it in large capital black letters were the words :
HAVE AN STD? DON'T WORRY,
Underneath the picture in similar font it expanded.
I HAVE PLENTY, AND I DON'T!
"Oh, my, gosh," he heard Penelope's delighted voice crow as she read the pink pamphlet, other students were also laughing. Some noticed Chuck and pointed, some guys making stupid jokes and guffawing. "How embarrassing."
Chuck felt the paper crumble in his hand as his fingers balled up into a fist.
"Who was handing these around?" he snarled, glaring at a sophomore nearby. The guy's grin immediately faded at Chuck's murderous look.
"Uh...some girls, a blonde and two brunettes, they looked about eleven," he stammered as Chuck grabbed his jacket aggressively.
Chuck let him go roughly, having his answer. He stalked to where the boy had been pointing, to the centre of the converged crowd. People quickly moved out of his way, boys and girls alike whispering and laughing.
In the middle were a group of three girls with a pile of pamphlets, two of them were handing them out while the blonde girl held them. They immediately stopped as they saw Chuck towering above them, he could almost hear them gulp.
Before he could open his mouth however he heard a smug voice.
"You're going to bully little girls now, really Chuck?" Serena asked, strutting up from wherever she had been standing, with one of the pink pamphlets in her hand and a triumphant smile.
"_You_ did this?" Chuck sneered, derisive. This was not the type of complicated scheme he expected from the simpler blonde.
"Now we're even," she said low enough only for him to hear, and flicking her long blonde hair she turned on her heels and strutted away without another glance back.
Chuck watched her go, stunned.
"Oh my gosh, that was epic," one of the girls said suddenly, squealing and forgetting herself in the excitement.
Chuck turned his dark viscous gaze on her and she immediately shut up.
"Give me those," he growled, grabbing at the pink pamphlets in the blondes hands. "And get out of here...Actually wait," he said, a thought occurring to him as the girls turned to leave immediately. "Meet me out front here tomorrow morning, I'll make it worth your while..."
He made sure to say this low enough only for the girls to hear. The blonde one smiled, and nodded, understanding. The other students watched him with wide eyes, ears straining, laughing, but he ignored them. Taking out his phone to call Arthur he headed down the street, formulating his own retaliation plans as he walked.
* * *
**Another STD claim against Chuck, this time not one, but the whole lot of them. This seems a little too good, even for Serena, but we'll give her the credit it for it now. I'd tread lightly if I were you though S, remember C knows where you live. xoxo GG**
* * *
"Humphrey, you took long enough," Blair snapped, she was sitting in one of the closed study rooms in the library, which was shared between Constance and St Judes, and had been waiting for fifteen minutes. "I don't want to have to stay here longer then I have to."
"Sorry...I got a bit distracted on my way..." he held up a pink pamphlet, like he wasn't entirely sure how it had come to be in his hands. "Did you know these are all over the school?"
Blair tried to hide a self satisfied smile, and failed, it wasn't like it was important to keep it from Humphrey anyway.
"I knew it," Dan said, "I mean, I heard a rumour that Serena was behind it, but I knew this was a bit too duplicitous for her..."
"Thank you," Blair said simply, smiling sweetly.
Dan looked at her, but didn't comment, choosing to shake his head instead. He looked down at the picture of Chuck.
"Well...I gotta say it is kind of funny...if the image of Chuck in his bathers wasn't so creepy," he said, giving a half smile. "What did he do exactly?"
"You'd have to ask Serena," Blair said coolly, not meeting his smile. "I knew you were desperate for friends, but are you seriously going to try and drag this out for some social interaction that is not your sister or Dad?"
"You know...Actually don't worry about it," Dan said, giving Blair up for lost. He dropped his bag on the ground and sat in the chair opposite her. "So you come up with any ideas?" he queried.
"I was thinking that as we were working on this as partners perhaps you could try and actually do some work too?" Blair said, raising her eyebrows derisively.
"Sure you did..." Dan muttered. "Well I was thinking..."
"We could film a documentary?" Blair finished for him.
"Uh, yeah..." Dan said, slightly annoyed at her superior tone, like he was so predictable.
"The only problem with that is if we shoot us looking glamorous while drinking underage, I think it will defeat the whole purpose of alcohol and drug awareness week," she explained over patiently. "Plus, I'm sure Mistress Queller would not approve."
"I wasn't suggesting a real documentary," Dan snapped. "I was thinking we could do a mockumentary. You know, make up a small screen play, do a few scenes showing the adverse affects of alcohol. Vomiting, poisoning...stupid decisions..."
"I get it," Blair sighed, rolling her eyes. "I suppose that could work, if I get to be the director."
"Co-director," Dan stipulated.
"You can have full creative writing rights," Blair said, countering his demand.
"I already did," Dan said. "I wrote a mock script."
"So did I," Blair said.
"Wait...so you wanted to do a mockumentary in the first place?"
"It's the most entertaining way to do this stupid project," Blair shrugged, as if it was of no importance.
"Then what was that little speech where you wilfully misinterpreted me?" Dan queried, confused.
"You're from Brooklyn, I can't agree with you, keep up Humphrey," Blair dictated matter of factly, snapping her fingers by way of illustration. "Now let's see your script."
"I'll show you mine if you show me yours," it slipped from Dan's mouth automatically, then he blushed as he realised what he just said. "I didn't mean it that way," he quickly amended.
"Please, you don't even have the ability to be sleazy properly," Blair huffed. "Besides if I took it any other way I might be sick all over those twenty dollar shoes of yours. Although on the positive side, at least you'll have to throw them away, that would be a service to the country."
"Very funny," Dan said unamused, he reached in his bag, pulling out his familiar notebook. Opening it to the appropriate page he shoved it at Blair. She opened her more expensive satchel, pulling out perfectly typed sheets of paper she handed them over.
A book slipped out of her satchel onto the floor as she did so. Dan automatically lent down, picking it up.
"Wait, you're reading The Age of Innocence?" he queried, picking up the book and glancing at the cover.
"It's our next school play," she sniffed, grabbing the book from his grubby paws with manicured fingernails.
"Oh, that explains it," he said.
"What's that supposed to mean?" she snapped, her eyes flashing at his tone. "You know we're not all Serena's, some of us do enjoy reading."
"Name one book you've read that has not been on our reading list," he challenged.
"Not that I need to prove anything to you, but the last one was A Tale of Two Cities," she said primly.
"I didn't think Dickens would be your cup of tea, with all his social commentary..." Dan said sarcastically, his mouth quirking into an amused smile.
"I like social commentary," she said defensively, "After all, how can a Queen rule properly if she doesn't understand the plight of the common masses. Let me guess, the last book you read was the Great Gatsby?"
"No, actually I hated that novel," he said, making a face, feeling animated on the subject matter despite the fact he was talking with Blair Waldorf. "I personally don't think it was one of Fitzgerald's best, and it's been done to death, analysis after analysis." He didn't mention that Gatsby for some reason reminded him of Chuck, and Blair of Daisy. Of course that was before he knew who they were and despised them on principle, instead of due to concrete proof that they were pure evil, or on the road to pure evil anyway.
"Really..." she said, her mouth turning down into a small frown. "I didn't like it either."
"Wow, we actually agree on something," Dan said, putting into words what both their stunned faces conveyed.
"Don't get used to it," Blair said, quickly dropping his gaze, and hiding a smile which persisted despite herself. She hadn't had a stimulating conversation with someone about books in a while. Serena rarely read, and certainly not at the extent to which Blair devoured books. The only thing Nate read was sports plays, or books he was forced to read for school. Chuck read occasionally and sporadically, sometimes he'd stay up all night to read something, but that was only when it caught his fancy. That reminded her that the last time she'd had a discussion about a book it had been about A Tale of Two Cities, and it had been with Chuck. She almost wanted to ask about Dan's further opinions on Gatsby, and some other novels like War and Peace, and True Crime, but she refrained, reminding herself that he was a Humphrey, and she was a Waldorf, and there was no way, in any circumstance, she'd ever wilfully talk to him.
"I have to go now," she said quickly. "I'll read the script and email you my ideas."
"Uh...okay..." Dan said, taken off gaurd by her sudden turn of topic. "I guess I'll do the same then..."
"Good," Blair said, closing her satchel and rising. "Hopefully I will not see you around."
"Same here," he replied automatically as she left the room. He glanced down at the short script, marvelling at the fact they actually had agreed about something, and then he began to read.
* * *
Chuck hadn't come home to the suite the other night, and Serena had felt a moment of triumph tempered with an uneasy feeling that perhaps he had retreated too soon. Her fears were realised as she walked to school in the morning. At first her phone buzzed, it was an unregistered number but she picked it up anyway.
"Hello?"
"Is this Ivannah?" a guys voice could be heard through it, there were giggles in the background.
Serena started slightly at the sound of the familiar name, but she tried to keep her composure, reasoning it may just be a wrong number.
"No, sorry there's no Ivannah here," she said quickly and hung up, feeling slightly disconcerted.
As soon as she did hang up however, her phone buzzed again. Frowning Serena saw it was an unknown number and ignored it. A few seconds later, it buzzed again. Feeling apprehensive, she looked up and saw the gates of Saint Judes and Constance ahead, there was a crowd of students in the front of the school, all holding purple papers.
"Oh no," she said, "No, no, no," she practically ran, glad she wore her flat boots today.
She grabbed a paper from a laughing freshman boy, ignoring his protests she gripped it between white fingers, looking down.
"IVANNAH VANTS SOME FUN"
Was the caption in bold black letters. Underneath was a blown up picture of her from junior year, when she'd been wild and out of control. She was standing on a bar in six inch heels, her hands up above her head with a bottle in hand, her hair dishelved. Underneath the photo in smaller, but no less noticeable writing, were the words:
IF YOU VANT SOME FUN TOO CALL:
"I am going to kill him," she screamed, staring at her mobile number printed for everyone to see. She waded through the crowd, who were all staring at her laughing. It wasn't hard to find Chuck, he was standing on the top of the steps, watching the scene with a smirk on his face. She made her way towards him, and he made no move to retreat, his smirk growing wider.
"Seriously, you gave out my number you creep," she yelled, storming up to him.
"_Now_ we're even," he drawled, a mischevious smirk playing on his lips.
She pulled back her hand, prepared to slap him as hard as she could.
"Serena van der Woodsen, tell me you were not about to do what I think you were," Mistress Quellers voice sounded, outrage at the obvious violence which was about to take place by a young lady on the steps of her school. She stalked up to Chuck and Serena, and Serena's heart sank as she saw she did not only have a purple flyer in her hand, but also a pink one. "I want to see the both of you in my office immediately," she snapped, with thin lips. "The rest of you can get to class," she shouted, giving the other laughing students a death glare which sent them scuttling away.
Serena's palm itched as Chuck grinned now, looking at her, but she refrained herself from slapping that smug look off his face. She thought she was already in enough trouble as it was.
* * *
**Handing out S's number to the whole student body, cruel but effective C. So far no casualties of war but these two reputations, but they were almost non existent anyway, am I right? xoxo GG.**
* * *
"I know your responsible for these slanders. Spreading malicious and false rumours are against Constance and St Judes code of conduct," Mistress Queller said severely. She sat behind her hard oaken desk, looking over at Chuck and Serena, who were seated on the other side. Serena was leaning as far away from Chuck as she could. She glanced at him, to see if he would relent, but he didn't. Even in the midst of war, the old code of silence remained.
"I believe they were distributed outside of school grounds," he pointed out, "And from what I heard, not by students of this school."
"Don't think that means I can't punish the perpetrators Mr Bass," she said, her nostrils flaring at his challenging look.
"Oh, I'm sure you can," he said, fiddling with the button on his blazer like it was no concern to him. "I'm all for punishing the perpetrator's, whoever they may be."
"You're already walking on a thin line," Queller stated, looking at him with sharp eyes. "Do you think your father would be pleased to hear of your suspension?"
"Suspension?" Serena exploded, feeling panicked.
"Suspension on what grounds exactly?" Chuck tempered, giving Serena an annoyed look. "As far as I see it, you can't prove I or Serena are responsible for these. After all, they are libel against our names, at least the one about me is..." he shot Serena a mischievous smirk as she glared at him.
"I have it from a student source..." Queller began.
"Gossip Girl?" Chuck interrupted, raising his eyebrows. "I didn't know this school took slanderous school rumours as evidence? Last time I checked hearsay was not permitted in any court of law."
"This isn't a court of law," Queller snapped.
"But it is a school that supposedly believes in justice, and has a code of conduct against 'malicous and false rumours'. I doubt it would look very good for this school if the very source you used to try and prove our questionable guilt, is the same source you've been standing against," Chuck pointed out, trying to look innocent as he picked off imaginary dust from the cuffs of his blazer.
Queller looked incensed at him, annoyed he had managed to pick apart her whole case against Serena and Chuck in a matter of minutes. There was a pause as Serena looked at her with worried blue eyes, and Chuck pretended to examine his watch.
"Until more light can be shed on this issue, I will reserve judgment," she finally conceded, her voice cold. Serena let out a sigh of relief, Chuck just maintained his air of supreme confidence. "But if you so much as step a toe out of line, either of you...," with this she turned her piercing eyes on Serena, letting the threat hang. "I will still be informing your parents of course."
"Of course," Chuck drawled, highly amused by the whole thing. Serena nodded silently, though she didn't know if she'd rather just have some sort of punishment which didn't involve telling Lilly, who would no doubt know this was the handywork of her daughter and step son.
"You may go now," Mistress Queller said flatly, still glaring at Chuck who flashed his canines at her, and stood up, strolling out the door. Serena quickly followed behind, feeling despondent and angry at his swagger.
"I think that went well," he drawled, once they were outside the office, he glanced at Serena, smirking. "Now that we've matched blow for blow, I'm willing to call a truce if you are sis?"
"For the last time, I am not your sis!" Serena snapped, putting as much anger into the words as she could. She ignored outstretched hand and stormed away, determined she would never speak to him again if she could help it.
* * *
**A/N: I thought I'd give you two chapters, because I'm feeling good lol, and to celebrate POTC = ). All I ask is for 2 reviews in return = P (come on you know you want to = P)**
**Inspiration picture: Google "chuck bass beach+season 2" it's the one of him in his bathers sitting on the chair by himself. Lol gotta love the Bass bathers haha. **
**Inpirational song: What the Hell Avril Lavigne haha. **
**In future I will try not to make my A/N so long, sorry about the last chapter = S. **
**Again thanks to all those who reviewed, now hit the REVIEW button again, pretty please. = )**
**mlharper: I just read your review = ). Haha poor Chuck, he gets embarassed again here, though he got his own back = ). I loved Chuck/Dan interaction too, which is why in the chapter after this one there's a lot of it P. There isn't much in these chapters, but Chuck and Blair shall be playing some more games in a few chaps. And I love Wuthering Heights too! I know the more I think about it the more I see how alike Chuck/Blair love is to the novel, except hopefully they can find their happy end. Thank you for reviewing = ). **
12. Help Me, Help You
_**Chapter XI**_
**Help Me, Help You, to Burn Those Bridges Away**
* * *
**Spotted: Serena Van der Woodsen and Lonely Boy sharing an almost kiss. Will they, won't they? All I know is they better be certain this time, because I hear three strikes and your out. xoxo GG**
* * *
Serena avoided going home after school. She had to turn off her phone, and no doubt would have to get a new number. She imagined, along with the perverts from school, her Mom had probably left a dozen messages. Blair said something about having to do a lot of homework, so Serena was left wandering bereft, not feeling much like shopping, not feeling much like doing anything really. Eventually she found her feet taking her to a familiar street, she stopped in front of a nice brick house, pausing to look up at it. It was Nate's place, she always remembered how when her Mom had run off with her new squeeze Nate used to hold her wasted frame, allowing her to take in his crisp aftershave, and murmur stuff about how it really sucked and wasn't fair. Maybe she could use some of that simple childhood comfort right now, rather than Blair's insistence she seek further revenge. Walking up the steps she went to ring the bell, clutching her arms around her, she'd forgotten her blazer at school and it was starting to get chilly.
"Serena," Dan exclaimed, startled. He was just coming out of a side gate, quickly masking a look of guilt. To Serena's surprise he held a soccer ball under his arm.
"Dan, what are you doing here?" she asked, bemused.
"Uh...Nate asked if I wanted to meet up and play some soccer, to practice for the team. Apparently all their reserves got taken out by a nasty case of...anyway I thought we were supposed to meet up here but I guess I was wrong..." he rubbed the back of his neck in that familiar nervous way. Serena stood awkwardly, watching him. Since when had Nate and Dan become friends? Since when had Dan become remotely athletic?
"So he's not home then?" she queried, despondent despite herself. Sighing she gave up and sat down on the steps, holding her head in her hands.
"Hey, what's wrong?" Dan asked, concerned. He came to sit beside her, placing his soccer ball on the step below.
"How could you have missed one of the many flyers advertising Ivannah's number?" she groaned, looking up at him.
"Oh yeah...those," he said, giving a wry smile. "Well I have to say, I liked the STD one better, besides the disturbing fact it may be true, and that Chuck owns a pair of bathers that look like that..."
"It wasn't even my idea," Serena dismissed. "It was Blair's. You know, I thought if I got back at Chuck somehow justice would be served, but now my Mom is probably furious at me, and Chuck somehow comes out smelling like roses."
"If they had STD's," Dan tried to quip, Serena gave a half hearted laugh, looking at him and shaking her head, to her surprise she felt tears start to form at the edge of her eyes, despite herself.
"You look cold, you uh want my jacket?" he queried awkwardly taking it off before she could protest and placing it over her shoulders.
"I just don't know when my already screwed up family turned into some kind of Adams family," she wailed, looking up at the grey New York sky.
"Well I'm sure things will pick up soon," Dan amended, "I mean, me and Jenny neve exactly had fights on your scale, but I do remember one time when she crayoned all over one of my stories, so I grabbed her barbie and ripped it's head off."
"Psycho much," Serena laughed, looking at him in surprise.
"Yeah...it was post T ball...don't ask," he said at her confused look. "As weird as this is to say, siblings fight...and uh, from what I've seen of Bart on Thursday...and I really cannot believe I'm saying this...but maybe Chuck hasn't had a lot of positive experiences of family."
"Please, he asks for it," Serena exclaimed, rolling her eyes and dismissing the idea with preconceived prejudice. "But thank you for the idea, if the worst comes to the worst I might just rip off the head of one of his barbie dolls."
"No problem," Dan laughed, instinctively draping his arm over her as Serena giggled. Their laughter faded, but they continued to look at each other, suspended, their eyes locked.
Suddenly Dan's phone rang, startling both of them. He quickly took it out of his pocket, letting his arm fall from Serena's side.
"It's uh...Nate," he said, his heart sinking as he saw Serena take off his jacket and rise. "He's probably waiting for me at the park."
"And my Mom is probably waiting for me," Serena said, wincing at the thought while she brushed her skirt down. "Say hi to Nate for me,"
"Will do," Dan said, also standing awkwardly and taking his jacket from her.
"See you later Dan," her voice softened as she looked up at him, then she turned and made her way down the steps. Dan stood there, his buzzing phone in hand, watching her until she got lost in the crowd of pedestrians.
Finally snapping back to reality he glanced at the deserted house which he'd accidentally stumbled upon. Frowning, he looked down at the phone and wondered how he was going to confront Nate's issues when he couldn't even confront his own.
* * *
Chuck's phone buzzed again, he saw it was Lilly but he ignored it. Unlike Serena it wasn't like he didn't have anywhere else to go tonight. He was certainly going to be sleeping in 1812 this weekend, and he was confident Lilly would forget all about him once Serena argued with her. It was the perfect plan, so he celebrated it at the Palace bar.
He drowned down his third drink, fiddling absentmindedly with the toothpick, watching the olive boredly. There was no fair game here tonight, but he wasn't looking for company anyway. He felt restless, infuriated and full of ennui. His life recently seemed like a row of empty glasses. Throwing the toothpick down, annoyed at the turn his thoughts were taking, he signalled the bartender for another drink.
"Uh hey, Chuck right? I'm Damien, from the other day..." a voice sounded behind him. Chuck glanced up lazily, the new boy Serena had been hanging out with recently stood beside him. He was wearing a nice shirt and pants, his hair slicked back and cologne evident around him. Chuck rolled his eyes, he could have messed with this guy, and Serena as well, but he couldn't stir enough energy to bother.
"She's not here," he drawled, anticipating the question for the young blonde. "And if I were you, I wouldn't bother."
"Huh," the guy said, not looking particularly disheartened or annoyed by his comment. Instead of walking away however, he glanced down at the many glasses in front of Chuck. "A martini man?" he queried.
"Scotch," Chuck corrected. "These are just the starters."
A small spark seemed to alight in Damien's eyes. "So what are you planning on finishing with?" he asked, a small amused smile on his face.
"Not anything you'd be able to handle," Chuck sneered.
"I wouldn't be so sure," Damien said, sitting down in the stool next to Chuck he fiddled in his pocket, holding something in his hand. Despite himself Chuck looked curiously. Under the bar, where it was hidden to just Chuck and Damien, he opened his hand. Inside he had a packet of pure white powder. "I've come across some interesting things at boarding school."
"How good?" Chuck asked, slightly interested now, he sipped at his glass, hardly tasting the liquid.
"Let's just say, the guy I know has stuff that'll blow your mind," Damien said in a lowered voice, pocketing the packet carefully again.
"They all say that," Chuck sneered.
"Care to test the theory with me then?" Damien queried.
Chuck looked up at him, and a smirk tugged at his lips despite himself. Who would have guessed Serena's innocent preppy looking old school friend would be this interesting. Shrugging, as if he didn't have anything better to do, he rose.
"I guess I could spare a bit, we can talk price up at my suite."
"First test is free, consider it a friend of a friend deal," Damien said, grinning like a shark now as he too rose.
"Even better," Chuck smirked, strolling out of the bar knowing the other boy would follow. At least he'd found something stimulating to do tonight.
* * *
"I cannot believe Mom is waiting for Bart before she 'deals' with this issue," Serena whined, it was her turn to stab furiously at her salad, Eric sat across from her at the nicely decorated table. The two siblings had decided to have breakfast downstairs at the Palace bar, as a break in their usual Saturday morning tradition which occasionally happened at Starbucks and had started after the Ostroff centre incident. Of course with the recent merging of their families, Jonathon and Dan, they hadn't had breakfast together in a while, so Eric had been hoping for a quiet affair. Instead Serena was in a foul temper yet again against Lilly.
"Well on the bright side you won't be grounded for a whole week." Eric pointed out, trying to be positive.
"She should have dealt with it now, and grounded _Chuck_," Serena proclaimed, stabbing at a stubborn piece of chicken. "I just know by the time Bart comes back Chuck would already have played on Mom and made it seem like it's all my fault and..."
"Maybe that's why Mom is waiting for Bart to come back, so together they can formulate an unbiased view," Eric pointed out. "We both know Bart isn't Chuck's biggest fan..."
"I still think it stinks that while he's been holed up in his suite doing heaven knows what, I have Mom giving me the frosty treatment," Serena did not relent, pouting. Eric sighed, picking at his own food and knowing he was not going to make Serena see reason this morning. "Anyway, enough about me," she said fitfully realising Eric was rather quiet. "What's going on with you?"
Eric opened his mouth but before he could answer he was interrupted.
"Serena, hey," a boy with dark hair came up to the table, smiling. Eric noticed his hair was mussed and he had dark shadows under his eyes, as if he had a late night.
"Oh Damien," Serena said, looking up flustered. "I wasn't expecting to see you here..."
"Yeah, my Mom decided to try the food this morning. Of course then she had some sort of emergency, leaving me with a salad and a bunch of strawberries," he gave a wry smile, glancing at Eric who was looking at him in confusion.
"Oh uh...Damien this is Eric my little brother, Eric this is Damien, he's an old friend from boarding school. He goes to St Judes now..." she trailed off, having nothing left to say.
"Pleased to meet you," Damien said politely, holding out a hand which Eric took to shake.
"Same..." Eric replied with the automatic response.
Serena's phone trilled and she glanced down, then up with masked relief.
"Sorry guys but I have to go, Blair emergency. Something about a missing pair of Loubitanes, anyway I'll see you tomorrow Eric. See you at school Damien..." quickly gathering her things Serena sprung up and rushed out the restaurant like a hurricane, leaving a stunned Damien and Eric behind.
"So, your Serena's little brother, I heard you were pretty knowledgable," Damien finally said after a short awkward pause.
"Uh...I guess..." Eric said, feeling like a deer caught in headlights at the older boys dark gaze.
"So you'd probably know where I could get a good New York burger then? Mind showing me?" Damien queiried, smiling with all his teeth and a dimple.
"Yeah...I guess I could..." Eric answered, returning his smile with a shy one of his own.
* * *
The phone rang, cutting through Chuck's sleepy haze like a slap in the face. Growling he fumbled for it on his bedside table, managing to finally grab it he tore it off the cradle and pressed it against his ear.
"I don't need a wake up call, it's Sunday," he snarled into the phone, annoyed they'd make a mistake like that in the front desk.
"Hello to you too Charles," Lilly's arch voice sounded from the other end of the phone. Chuck's eyes snapped open and he quickly sat up, clearing his throat. He had not been expecting Lilly to bother to call him. "Just to inform you it's actually Monday," she said, a slight note of amusement, a slight note of concern in her voice. Chuck brushed his hair with his fingertips, he supposed he'd partied harder then he thought. There was some lingerie scattered around the suite, and the empty packet Damien had left him on the table. The whole weekend was like a blur, he supposed that stuff really was good.
"Oh," was all he said as she expected a response. "Right...I was just going to get ready for school..."
"You still have some time," Lilly noted, "Which is why I called. I was hoping you could come up to breakfast with the family, I would like to talk to you and Serena both."
Chuck tried to dispel his feeling of nausea, not sure whether it was due to his bender or Lilly's words.
"Okay," he finally murmured, not his usual suave self, his tongue feeling heavy and unused.
"Excellent," Lilly said brightly, "See you in ten minutes Charles."
She hung up and Chuck stared down dumbly at the phone, wondering how Lilly had just co-erced him into going up for breakfast with the 'family'.
* * *
Chuck strolled into the dining room, unconsciously buttoning and unbuttoning his blazer as he stopped at the table.
"Charles, I'm glad you could make it," said Lilly, smiling. He brushed his fingers through his hair fitfully, he knew he didn't look at his best. His eyes were red and bleary, his hair was barely styled, and for the life of him he couldn't do his tie up properly today. But he still shot Lilly a carefully crafted smile and tried to turn on his charm, despite everything working against him.
"Always happy to oblige you Lilly," he drawled, taking his seat at the table between Eric and Serena, one of which was ignoring him, the other glaring.
He glanced over at the younger boy who was looking unusually bleary eyed, yawning into his breakfast. He didn't comment however, he wasn't feeling much like extending olive branches right then, just to be rebuffed. Instead he poured himself some orange juice, drinking it unsatisfactorily he thought about the selection of refreshments he could choose from in his limo.
"Charles?" Lilly prompted, Chuck started, almost spilling some of the juice on the table.
"I'm sorry?" he said quickly, looking up, he hadn't realised Lilly had been talking.
"I was just saying, I specifically called you up here to talk about the incident on Friday. As I've already told Serena I've decided to reserve judgment on what to do about...your little school incident until Bart returns," Lilly proclaimed.
Chuck prevented himself from snorting derisively at this, instead putting on an air of polite interest.
"But I would ask both you and Serena to please try not to get into any further trouble for the rest of the year. This is your last year in school, how about the both of you try and make it a pleasant experience, for all of us?" she said, now turning her gaze on Serena too. Chuck felt uncomfortable at her pleading look, squirming slightly in his seat. Serena pouted slightly, but didn't say anything further, avoiding her mother's gaze. "Besides, I'm not sure how much more Mistress Queller can take, the poor woman," she pronounced, slightly amused. "She did suggest however Charles, that perhaps you should think about law school."
"Really..." Chuck said, raising his eyebrow. He didn't think he'd made that kind of impression on the woman. It was an amusing idea, if nothing more.
It was Serena's turn to snort derisively at this, Lilly chose to ignore her daughter's undignified sound, while Chuck frowned, annoyed at her.
"I wonder what career path Mistress Qrueller thought would be suited to you Serena," he sneered at her scornful look. "Perhaps after seeing the flyers she didn't even have to say."
"Charles," Lilly reprimanded quietly as Serena glared at him.
"At least I'll have a career, unlike the stunning path in front of you Chuck." She said snippily, widening her blue eyes, " Which college offered you early acceptance with the great Bass name behind you...oh that's right, none."
"We all know..." Chuck began heatedly.
"Children, please," Lilly said, quickly cutting off a further slinging match, she held her head in frustration.
"I should probably get going," Eric said blandly, standing up, "I've got to set up for a presentation. See you Mom." With that he quickly left the room, still yawning.
"See you darling," Lilly called.
"I'm going too," Serena said abruptly, also rising."Bye Mom."
"Be good," Lilly called after her, Serena just waved a careless hand in acknowledgment.
Chuck waited for the sound of the elevator door sliding shut before he too rose, settling his blaze jacket and picking up his satchel.
"Lilly, always a pleasure," he said, nodding to her.
"Have a good day Charles," she said tiredly. He hesitated, looking at her holding her head, feeling slightly guilty at the trouble he was causing her. But he quickly brushed the thought aside and turning left.
* * *
As soon as she heard the elevator door slide behind Chuck Lilly picked up her phone and dialled Bart's number. His voicemail picked up as per usual. Sighing she terminated the call and hesitating for a second she then clicked number one on her speed dial.
"Lilly...I wasn't expecting to hear from you so soon," Rufus voice sounded through the receiver, awkward.
"I know, I'm sorry Rufus. But the children are at it again," she sighed.
"Serena and uh...Chuck?" Rufus queried.
"Yes, I was horrified enough by these flyers all over the school, but it seems its added fuel to the fire."
"Have you...talked to Bart about this?" Rufus queried, hesitating at the other man's name.
"I tried...he said he'd deal with it when he got back. But I don't want them jeopardizing their future due to silly childhood vendettas. First it was these flyers, who knows what will be next, especially with their apparent imaginations," she said.
"Like I said Lil's it'll blow over, you just have to give them time to fight it out," Rufus said comfortingly.
"Oh, I know I'm being silly," Lilly sighed, rubbing her head. "I'm sorry, but I just feel so out of my depth. I never had problems like this with Eric and Serena...well not with Eric at least."
"It's okay," Rufus supplied, "How about we have a coffee together and you can talk to me about it?"
"That would be...wonderful," Lilly exclaimed, actually smiling.
"As friends of course," Rufus amended, trying to reassert the clear lines they had recently drawn for themselves, a compromise which allowed them to still see each other.
"Of course," Lilly agreed, her smile fading somewhat as she quickly averted her eyes from the picture hanging on the immediate wall, of Bart, her and the children, all smiling happily on their wedding day.
* * *
"So," Mr Pieser said, clapping his hands and looking around at the unlikely group of students with a wide smile. "Who has a presentation prepared for me?"
A sullen look met him from Chuck, who was sitting at the very back of the class and who was still contemplating skipping this after school meeting. Clueless looks from Nate and Serena, both of whom were sitting at the front to be as far away from Chuck as possible, albeit in opposite corners. Blair's minions brought out crumpled pieces of paper, not very promising. It was only Blair and Dan who met the teacher's gaze with clear confidence of those who had done the work before. Damien wasn't even present, he'd been absent from school, Chuck wondered vaguely if he was still recovering from the weekend that he was still having difficulty remembering.
"Come on people, I asked for proposals," Mr Pieser grumbled, looking annoyed at the motley bunch of students." This assembly is in a short few weeks and I expect results. How about you Mr Bass?"
"Sorry, I was sick," Chuck drawled, not bothering to look up from his notepad, where he was aimlessly scribbling on his paper. "I can get a doctor's certificate if you deem it necessary sir." He let the last syllable draw out mockingly.
"Right..." Mr Pieser said frowning, it wasn't like he expected anything more from Chuck. "Anyone else have a half hearrted excuse?"
"Actually Mr Pieser, we would like to put forward our idea," Blair said clearly, shooting Chuck a superior look that said, 'if you can't do this, there's no hope for you with a whole essay.'
"Fine Ms Waldorf, pitch away, you and uh..Donald," he said indicating Dan as well, he lent against his desk, looking at them expectantly.
"We were thinking of a mockumentary," Blair supplied, holding up some pristine sheets of typed paper. "To run about five minutes in length. It's to show the adverse affects of alcoholism in the average teenager, and the pressures they face today which lead them to drink."
"Interesting," Pieser said, in an unusually good mood. He lent over and took the paper from Blair's hand, flicking through it.
"I'll be directing it," Blair added.
"Co-direcrting, since we both worked on the script," Dan corrected, intervening here. Blair glared at him, but didn't have a chance to comment as Pieser looked up.
"Well I must say this is well thought out," he said, nodding his approval. "But there's not enough characters here for the whole committee involvement?"
"Well we were thinking in addition to this there could be those who could make promotional posters, to hang around the school," Blair quickly amended, showing she had thought of everything, as usual. "And also organize questionnaires and pamphlets for students, to be handed out before the assembly."
"We'd be happy to do that," Penelope supplied sweetly, volunteering the four minions who nodded adamantly. It was a way out of having to be under Blair's direction, who already directed the groups every move inside school hours.
"So that leaves Mr Archibald, Ms Van der Woodsen, Mr Bass and the currently absent Damien to fill the roles in your little directional debut," Pieser said, satisfied he actually spared a rare smile for Blair, his eyes twinkling over his glasses. "I think that would work out very well, does everyone agree?"
Chuck contemplated being a voice of dissent, just to be contrary as everyone else nodded in obedience. But he decided against it, simply not declaring his interest one way or the other. His little acting role may actually be advantageous, giving him more time to work on Blair. He smirked at the idea, who needed an A when he could seduce her?
"Excellent," Pieser said. "I think you can all go early, and prepare for this throughout the week. I'm trusting you Ms Waldorf, in ensuring this assembly runs smoothly."
"Of course Mr Pieser," Blair beamed, taking the mantle of leader with delight. Serena tried not to groan at the dread that was Blair Waldorf when she was given command over something.
"Excellent," Pieser repeated as the other students, taking this as their cue to go, began gathering their bags gratefully. Chuck frowned as he picked up his own satchel, waiting for the others to file out before him so he didn't have to stand another death glare from Serena, an evident effort to ignore him by Nate, or Blair's little superior smirks.
As he went to exit the classroom once Penelope's skirt disappeared through the door, he glanced at Pieser, who was checking his watch almost with anticipation, wondering what had gotten him into a sudden good mood. He didn't have long to wait however, strolling down the empty corridor, he glanced behind him at the sound of heels and saw some strawberry blonde hair and a familiar pencil skirt disappear into the classroom, the door shutting behind her. Chuck didn't know whether it was amusing or sad that his teacher was getting more action then him. Shaking his head, feeling slightly frustrated as his thoughts turned to Blair, he took out his phone and called Arthur to pick him up.
* * *
When Dan filed out of class he was surprised by Blair, who shot him an unusual smile over her shoulder. As if she suddenly realised who she was smiling at she quickly turned away disdainfully, flicking her brown curls. He shook his head, confused.
Over the weekend they had exchanged insulting, yet surprisingly amusing messages to each other, commenting on each other scripts. Dan had found Blair both insightful and infuriating, though she had taken his criticism better then he thought, albeit with a few sharpened barbs. Still he supposed he couldn't expect the same dialogue to occur on school property, heaven forbid Blair Waldorf ever voluntarily talked to Dan Humphrey, and he was all right with that. He surmised Blair was okay in small doses, but he wasn't fussed on getting more of the snobbish brat.
He strolled out to the cool air, Blair's minions had already been picked up in town cars, Chuck was nowhere in sight thank goodness, and Dan was feeling relieved that he could hail a taxi and finally get home to some of Rufus spaghetti. He was preoccupied scanning for a free taxi on the street, so as he walked down the stairs he didn't notice where he was going, and almost stumbled into Blair, who was sitting waiting.
"What's your damage Humphrey, you almost stepped on my Gucci," she snapped, eyes flashing as she quickly picked up the bag and stood up.
"Sorry, that would have been a real tragedy," Dan noted shortly, astonished that her main thought was to her bag and not the hand he'd almost stepped on.
"Just because we worked together on a project does not mean you can place those big feet near my presence," she sniffed.
"Well that's going to be a little hard as we have to direct together?" Dan queried, purposefully baiting her, annoyed at her superior tone.
"Please I should be the director, Pieser obviously recognised my superior handiwork," she commented to him. He laughed at this, partly out of amusement, partly out of disbelief for her abject self centeredness.
"Of course, _your_ superior handiwork, though most of the script was mine," he pointed out.
"I tweaked it to perfection," she retorted, narrowing her eyes challenging.
Dan had just shrugged, "Whatever helps you sleep at night Blair, he'd said, purposefully condescending. Before she could reply Serena came rushing down the stairs, stopping next to Blair and linking her arm in hers.
"Okay I'm sufficiently refreshed to do some retail therapy...Dan hey," she said as she noticed with suprise he was standing there with his hand in his pockets and a smile on his lips.
"Hey Serena," he commented, trying to pretend like he hadn't been thinking about the moment between them on the steps in front of Nate's house repeatedly over the weekend.
"Wait were you two actually talking?" Serena queried, laughing as she looked from Dan to Blair.
"No," Dan replied quickly just as Blair said, "Please, as if."
"Okay then," Serena looked slightly confused, but shrugged it off.
"Lets go S, in this proximity any longer with a Brooklynite and I may catch something," Blair said in her sickly sweet voice.
"I'm more worried for my own health, I hear outdated snobbery is catchy," Dan noted, almost smiling despite himself.
As Serena laughed in surprise, Blair quickly pulled her away without acknowledging Dan, though he swore he saw a smile curve her lips despite herself. Serena missed it as she turned to give him an apologetic look over her shoulder as Blair pulled her along.
Standing on the familiar school steps Dan was starting to wonder when Blair Waldorf's insults had started to seem more amusing then abusive. And had exchanging witty quips with Blair always seemed this entertaining? He was sure of one thing, the fact he even contemplated that probably meant he needed to get his head examined.
* * *
Chuck exited the elevator with a suffering sigh. He really hadn't been planning to come back to the suite after school, he could do without another guilt trip from Lilly. He was itching to go down to the bar, find a ditzy girl and disappear into his suite for a night of blissful ignorance. Unfortunately he'd left his favourite purple bow tie in his room. He never struck out with that purple bow tie, and he could use all the help he could get right now, with the way he was feeling.
He turned the corner, and was met with a vey surprising, yet not unpleasant sight. Familiar brunette curls were visible above the couch, attached to a body clad in a flowing champagne dressing gown.
"Serena finally," Blair called, obviously expecting it to be her tall blonde friend. "How long does it take to beg truffles off the chef? You should have just called down for them. Obviously you've been hanging out with the poorer class far too long." She hadn't bothered to turn around while pronouncing all this, a pout clearly evident in her voice. She was flicking absently through the many DVD''s Serena had flung haphazardly on the couch, occupied in trying to find a good movie.
Chuck supposed, with a smirk, that Lilly had gone somewhere for the night, and Eric was out. Leaving the suite free for Serena and Blair, except for one little problem... He walked forward purposefully and as softly as he could, planning to take full advantage of this very advantageous opportunity. Coming behind Blair on the couch, who was still occupied with the DVD's, he paused.
"What do you think, Chocolat or Ever After?" Blair asked, still oblivious.
Deciding his move quickly, knowing he wouldn't get a second chance, he smoothly lent over the couch and with one hand brushed her hair aside, leaving his lips free to brush her ear.
"Chocolat," he whispered softly, he could feel her stiffen at his touch, her back ram rod straight. "I know how you love Lady Gudivars."
"What the hell are you doing?" Blair shrieked, a second too late, they both knew it, but she recovered admirably. She instinctively snaked her arm around and grabbed his hair, yet again tugging it viciously. She whipped around, using her other hand to push him away from her. He held up his hands in surrender, as she relinquished her hold on his hair and stood, instinctively pulling her robe closer around her and crossing her arms.
"Just answering your question, no need to get your panties in a knot," he gave her a lecherous look at this, noting her cheeks were flushed and her eyes unusually bright, her shell pink nails peeking out at the bottom of the gown. He made his way around the couch and to her consternation slid down into the spot she had recently occupied. He glanced at the movies, and began picking his own way through them.
"The Notebook? Titanic?" he scoffed, holding it up with raised eyebrows. "Never took you to like that kind of chick flick movies Waldorf. Personally I think we should watch The Tudors, especially certain scenes." he held up the second season DVD, raising his eyebrows mischievously.
"_We_ are not watching anything. Serena assured me you would not be here, and if I were you I'd get out of here before she comes back, and we both decide to recreate Saw," she looked at him with arched eyebrows.
"A bit hard to do seeing as you've never seen it," he countered, sinking further into the couch and flipping over the cover of the Tudors, reading the synopsis. "You know the more I watch this the more I can relate to Henry," he said smirking.
"Well obviously, you have so much in common, you're both hedonistic, narcissistic, womanizing pigs who will die alone of your many contracted diseases," Blair's smile was wide, with that acid sweetness that suited her so well.
"I love it when you talk dirty," he purred, looking up. "Say pigs again."
"You _would _love that. Now will you just go," she huffed, growing tired as he continued to examine the DVD.
"I'm going to hold a party soon, you know?" he commented, having a sudden inspired idea as he glanced down at the picture of Henry and Anne Boleyn, looking back regally at him.
"It's not a party if there's only one person attending," she pointed out bitingly.
"Ouch," he retorted mockingly, pouting, his hand going to his heart in mock pain. "Though my one man parties are entertaining, I was thinking more along the lines of a senior event, to celebrate this inspiring drug awareness week."
Blair rolled her eyes. "In other words, another excuse to go on a drug induced binge."
"We both know if there's one thing I know how to do, its party hard," Chuck drawled unconcerned by her aimed barb, buttoning his suit jacket and standing now, to meet Blair's dark gaze with his own. "Believe me Waldorf, when this party is over, it will be the ultimate unattainable standard for all school's in New York. The event of not only of our senior year, but every class that follows after us."
"Planning to rent a smoke machine then?" Blair queried, acting at being bored.
"Don't pretend you're not remotely interested?" Chuck drawled, smirking. "I was actually contemplating a theme, and I think I just landed on the perfect one." He held up the cover of the Tudors, smirking. "A party with a court, suiting to crown off our glorious reign, don't you think?"
"The only thing _you've_ ever reigned over is stupidity," Blair sniffed, but he could tell she was intrigued now as her eyes were fixed on the face of Anne Boleyn, a crown settled elegantly upon her black hair. It appealed to Blair, the idea of a party having a personal court, of her being Queen. Especially one of the last parties of senior year, before exams, before college picks. The party to cement her image as the ultimate Queen of Constance for all eternity. The only problem was Chuck's smirking face.
"And who would be part of this court," Blair asked scornfully. "Geoffrey Hall?" he was a known pot head, the type of guy in class who made obnoxious comments about every girl that passed his way.
"As if," Chuck scoffed, brushing away the question quickly. In other circumstances he would have promptly answered with Nathaniel, perhaps followed by her name and Serena's, but he didn't really want to think of that current unpleasantness now. "But I think your more concerned about who I'm going to choose to be my Queen."
"I don't care, we all know there's only one Queen in Constance, and that's me," Blair said, her eyes flashing and her voice hard. "Besides, we all know Queen Katherine was the respected one." It was her old adage; she was the snow queen after all and must have the right idols to follow. Queen Katherine represented the perfect Queen with undisputed virtue, just like Blair. So now her virtue was a bit diminished, but she wasn't letting go of her dreams or of her standards, not ever again.
"But we all know Anne was more fit to be Queen, those dark eyes, that dark hair," he was enticing her now, his voice low. "She was born to rule with him. The perfect couple. On the arm of a powerful, ruthless King, matching him wit for wit, passion for passion. ..."
"That sort of thing never lasts..." she dismissed.
"They were perfectly matched, meant for each other you could even say, if she'd just conceded." he countered.
"If she was just a little bit more subservient, is that what you're trying to say? If she just gave in to his stupid demands?" she snapped, her eyes flashing now with annoyance.
"Well it wouldn't hurt to admit defeat, sometimes it can even be a good thing," he countered, feeling his own frustration rising.
"It wouldn't have worked because he couldn't stand anyone having any sort of power over him. He couldn't stand the thought that someone could be smarter and more devious and better than him," she barely knew what she was saying, her voice raised now in annoyance at his accusatory look.
"But don't you see, that's why she was the only one he could really lo-" it slipped from his lips, caught in the moment, he only managed to check the dreaded word too late. Blair's brown eyes widened. He stood there, at a loss for what to say, his heart pounding, his face flushed from the fumble.
The elevator doors sliding open startled them from their suspense, both of them glancing automatically towards the entrance.
"Do you know how hard it is to get truffles from the chef Alfonso? I had to practically beg on my knees," Serena's bubbly voice was heard before she walked into the room, holding up a white plate with small sandwiches on it. She paused as she saw Chuck, and the ruffled looking Blair.
"What are you doing here?" she finally asked, looking at Chuck with her sharp blue eyes, remembering just in time to add a bit of frost into her voice.
"I was..." he trailed off, without finishing the sentence he rushed to the elevator, avoiding Blair's dark gaze. He quickly jumped in before the doors slid shut. He realised too late he still had The Tudor's DVD in his hand. The coy gaze of Anne Boleyn looked up at him.
He quickly dropped the DVD onto the elevator floor, and kicked it towards the corner.
"Stupid," he muttered, intensely annoyed, though who he was most annoyed at, he wasn't sure.
* * *
"What was that all about?" Serena asked Blair curiously, turning her light blue eyes on her friend.
"Nothing..." Blair said breezily, quickly evading she turned her eyes to the DVD's. "So are we going to start watching something, it's already ten?"
"I guess..." Serena replied dubiously, certain something had occurred, but knowing she would get nothing further from Blair for now. "How about we start off with some hot Charles Brandon, I am so behind my Tudors," she said brightly.
"No," Blair said quickly, her voice far too loud. She blushed slightly at Serena's quizzical look. "I just mean...I'd rather watch Ever After..."
"Okay then," Serena said, smiling slightly in bemusement. "I'll just toast these and we can watch that...I guess... unless you want to talk about anything?"
"Nothing," Blair said decisively, quickly grabbing the cover and turning to the DVD player, mainly as an excuse to avoid Serena's gaze. "I have absolutely nothing to talk about."
"Fine," Serena sighed airily. "Whatever you say B."
"Yes, whatever _I_ say," Blair retorted, some annoyance in her voice now, resolutely oblivious to Serena's curious gaze.
Serena sighed, giving up on her friend now, she headed to the kitchen counter, certain she would never understand Blair's weird pull to Chuck Bass.
* * *
**A/N: It's been a while, so sorry. I did write this chapter and the next one ages ago, but I didn't put it up because you all requested more Blair and Chuck scenes, so I had to add this last bit. (I was also going to write a conversation between Dan and Nate, but I'll have to add that later). Anyway I had exams, so I didn't have a chance to write the scene until now. I'm sorry it's not vey good, but I am trying to listen to what you guys want and incorporate it where I can, where it fits in the story = ).**
**Inspiring chapter picture: Google: "the wedding party+gossip girl"**
**Next up: Dan and Chuck have an eventful night. And someone does some late night drunk dialling. **
**Thank you so much to everyone who has reviewed, I really appreciate it, you guys are champions = ). Please if you READ REVIEW! Pretty please. = ). **
**Thanks to jaimieerin, Temp02, tvrox12, thegoodgossipgirl, AquarianAir, svenjen, sakura288, Curious Blonde, Ingridmarie, 88Mary88, Momo, syatapandlisten and mlharper for reviewing the last chapter. = ).**
**Oh yeah btw anyone want a FREE BETA CODE FOR UNCHARTED 3 multiplayer PS3? I just got two, one for me, one for my friend, but I found out I don't need them. If you want it just let me know and I'll email it to you, first come first serve, if anyone is interested. = ). **
**PS. Don't do drugs kids lol.**
**I've completed the next chapter, and I'll post it in a few days, if anyone is still reading lol. Maybe I'll post it sooner, if I get at least five reviews ; P. Haha I know I'm a review junkie, I need help. **
13. In the Garden of Eden Honey
_**Chapter XII**_
**In the Garden of Eden Honey, That's Where I'll be Tonight**
Dan checked his watch as he stood in the elevator, settling his book laden bag on his shoulder as he headed up to the penthouse suite. He wondered dismally when Thursday had come so fast. Attempting to tutor Chuck for a second time was unlikely to be any more fun than trying to tutor Chuck for the first time.
"Daniel," Lilly said, greeting him with an actual smile she looked up from the couch, where she had been sitting, at his entrance. "Are you looking for Serena?"
"Chuck actually," Dan amended, feeling that dread build in him once more. The last tutoring session had been awkward enough, he was not looking for a repeat to be played out in front of Serena's Mom. Unfortunately Bart had already paid him for three weeks in advance, and Dan was loathe to take the money without the work. He had considered shoving an envelope filled with the three cheques into the mail box reserved for the Van der Bass' downstairs, but he thought he at least deserved it to the man to explain why he was quitting before he actually did so. Besides he could also use the money. That meant taking Chuck for this weeks 'tutoring' session and once Bart was back handing in his resignation immediately. He was pretty sure it would make Chuck and him prodigiously happy if someone else could take over his role of tutor, knowing Chuck it would preferably be a long legged model type.
"Oh Charles isn't here, I didn't know you two were friends?" Lilly commented with surprise, interrupting Dan's reverie.
"We're not," Dan clarified, "I'm actually supposed to be tutoring him, right now..." he frowned slightly. He thought Bart had seemed pretty disapproving of Chuck slacking off, even if that one time his disapproval had been unfairly applied. He surmised, by Chuck reaction to Bart's words, that he would at least show up for the session, even if he wasn't actually prepared to do any work. He guessed Bart wasn't here to see though, so Chuck, as usual, was doing what he wanted.
"Oh," a crease formed between Lilly's eyebrows and she frowned slightly. "Well maybe he just forgot, you could try to look for him in 1812? Or the Palace bar?"
"Uh...actually that's okay," Dan said, fingering his wallet. He contemplated giving Lilly the cheques now, but decided against it. "I was meaning to talk with Mr Bass about it anyway...I don't think it's working out so I'll just...I'll just go and discuss it with him when he gets back..." When Bart came back he'd just explain he wasn't able to do the job anymore and give him the two weeks wages, rather than one. Though he thought bitterly he could have used the money. But that was Chuck for you, what was a bit of money to a billionaires self entitled son?
"All right then," Lilly said softly, she hesitated as if she wanted to say more to him, but she didn't and Dan turned to leave, glancing at the staircase in the vain hope he might catch Serena coming downstairs. He had no such luck, and exited the suite with no event, though with a hostile feeling towards Chuck, who he had dumbly wasted taxi fair for.
* * *
When Dan got to the lobby he automatically glanced sideways where the bar area was housed, in the last vain hope of catching a glimpse of a tall blonde. Instead he spotted Chuck, sitting with his back to him at a table alone, presumably with a scotch glass in hand. Although only the back of his head was visible, you couldn't mistake the St Judes uniform, which like Dan he hadn't changed out of yet. Feeling annoyed, and fingering the cheques in his pocket once more, he decided to confront the other boy, who had just pressed his phone to his ear.
Walking up to the table he went as if to to tap Chuck on the shoulder, Dan paused as he caught a bit of Chuck's conversation.
"Father, I was just thinking perhaps when you flew in we could catch a game together...?" he started off with his usual confident drawl, but Dan almost detected a note of real hope in there. His voice immediately dropped however with his shoulders as he heard Bart's reply on the other end. "Lilly told you...No...Look it was not my fault Serena...Oh please, with that again?...I did...It's not like that if you'll just list-" his voice had dropped lower with each passing comment, he sunk into his seat. "Well perhaps Lilly had a point about that," he muttered suddenly sullen and rebellious. Bart didn't seem to like to hear that and his voice rose to an angry buzz. "I'm just saying maybe if you were _here_..." This comment led to an even more furious rumble, Dan could almost make out Barts words if it wasn't for the low music playing in the bar. "No I see..." Chuck murmured bitterly. "I understand, but if you would jus..." he trailed off, taking the phone from his ear, obviously Bart had hung up on him.
Dan hesitated, unsure whether to still approach him or not. He felt like an intruder on something unpleasant, and perhaps something he didn't entirely want to hear. Perhaps Chuck wasn't the big jerk he made him out to be, Dan wasn't sure if he was ready to face that truth and all the implications that came with it. Chuck threw his phone onto the table with a clatter, and Dan made his decision. He walked around the table, looking at Chuck who had just accepted a bottle from a waiter. Chuck turned his dark eyes on him, disbelieving as Dan took the seat opposite him, dropping his bag down under the table. He noted the three empty glasses which were already scattered on the table and a full bottle of wine which he was just about to open.
"What are you doing Humphrey?" he drawled with disgust, sneering as he took in Dan. "They don't serve trash here."
Dan tried to remind himself of the conversation he had just over heard, ignoring Chuck's comment with some effort.
"Believe me it's not through my own violation. I believe we had a tutoring session," he pointed out. "Which was supposed to be happening ten minutes ago."
"Do I look like I need your tutelage?" Chuck queried, raising his eyebrows and holding up the bottle of wine. "In case you've forgotten I'm Chuck Bass. And though my father hired you as some misguided attempt to look honourable, we all know what really counts when it comes to college. It's all in a name Humphrey Dumptey and it's going to get someone like me into Yale, and someone like you into a glorified State school...if you're lucky..."
Dan gritted his teeth at the reminder. "Well that may be so, but at least I would have gotten there on my own merit," he snapped, losing his temper at Chuck's smirk. "At least when I bring that diploma home to my Dad I know it was all me, and not because of some money he threw at the board to save face."
There was a moment of silence as Chuck looked at Dan, his eyes darkening, his jaw tightening. Dan stared him down.
"I'm sure your father will be proud with your mediocre diploma," Chuck finally drawled darkly, his voice unreadable. "Now if you don't mind, not that I'd care if you did, I have a lady to seduce."
With that he got up, taking the bottle of wine with him and not sparing another glance at Dan. Dan watched him go, feeling a bite of conscience at the fact he had purposefully used the information he had gleaned from Chuck's conversation with Bart, against him. He thought vaguely that only Chuck Bass would try and pick up someone still dressed in his school uniform. Getting up to also leave, Dan remembered the cheques in his pocket. He thought he might as well give them to Chuck now and never have to see his annoying face again. Glancing at the bar as he settled his tie he saw the woman who Chuck was talking to look at him with disgust. Dan smiled, maybe there was justice in this world. He walked up to Chuck, leaving his bag under the table to collect after he quit his unsatisfying job. He fumbled for the cheques in his pocket as he came closer.
"My mistake," Chuck murmured to the woman, stepping back from her. The bottle of wine lay beside him on the bar, Chuck fingers immediately went to it, feeling in his pocket for a joint to enjoy along with it upstairs. Dan tapped him on the shoulders and he turned around.
"You again?" he snapped, obviously he did not take rejection well.
"Again not voluntary, I just wanted to..." Dan began, about to take out the cheques. That's when some guy, who had just walked up to the woman, grabbed Chuck on the shoulder and turned him around to face him.
"What the hell?" Chuck growled, shaking off the guys beefy arm. Dan looked at him with some trepidation, he was about thirty, and had his arm protectively on the woman's waist.
"My girlfriend just said you called her a prostitute," the guy growled, glaring at Chuck.
"I believe the term is call girl, and I'm sorry. I already apologized to her, it was an honest mistake," Chuck stated, fixing the collar of his blazer and looking up at the taller man.
"Honest mistake?" the guy asked, disbelieving. "You're going to have to do a lot better than sorry..." Some other men at a nearby table also got up, with frowns on their faces, going to stand behind their friend as they heard the first sign of confrontation.
"Is there something wrong Tommy?" one man asked.
"Yeah this little twat just called Sharon a prostitute," he answered, not taking his eyes from Chuck, the two other guys also zeroed in on Chuck with death stares.
"I told you it was an honest mistake. She can have a complimentary drink on the house if that will satiate her virtue, though with a dress that short..." Chuck drawled lazily, annoyed now at the guys persistence and the others involvement.
"You little prick," the guy swore, glaring at Chuck and going to grab his shirt.
"Hey, hey," Dan said, quickly stepping in and trying to diffuse the situation. "He said sorry, you know maybe we should all try and be adults here and..."
"This is none of your business you..." one of Henry's friends stepped forward, pushing Dan hard so he fell into Chuck and calling him something extremely rude. Dan glared at him, feeling his own anger rise.
"Yeah well how about I make it my business you ass," he snapped, and he swung his fist as hard as he could, hitting the guy hard in the face. "Ow," he exclaimed as he felt something crunch in his hand, he shook it cradling it to his chest.
Chuck was looking at him stunned, having backed up a few steps. Dan glanced at him, then at the the other two men, who were looking at him with wide eyes, then at their friend who was clutching his face.
"You're going to pay for that you little shits," he growled furiously.
"I think now would be a good time to run," Dan said, quickly turning. Chuck seemed to have the same idea, typically grabbing the bottle of wine he headed around the bar he dodged a server and made for double black doors, Dan was hard on his heels, following him. The burst through the doors into the clamour and smell of the hotel's kitchen. Chuck quickly made his way down the rows of workers, his sights set on the exit sign, Dan followed a beat behind.
The doors burst open, Dan glanced behind him to see the three guys in hot pursuit, ignoring the surprised exclamations of the kitchen staff. Chuck also noticed them, weaving in between counter tops, narrowly missing having a pot of soup spilt over his shirt front.
"Mister Chuck," a chef exclaimed with a heavy French accent, watching with wide eyes as Chuck tripped over a waiter and sent their dish toppling. "What are you doing?"
"Sorry Alfonso, I'll pay for it later," Chuck called negligently behind his shoulder as he kept on running and Dan was forced to jump over the spilled spaghetti, slipping on some of it and almost falling himself.
"This way," Chuck snapped, grabbing Dan's blazer he pulled him away from the path of the exit sign and towards a side door. Dan followed, almost tripping over his own slippery shoes, as they burst through the door and landed in a narrow alley near putrid garbage bins and a pile of bags. They could hear the shouts from the kitchen, and Chuck quickly headed for the mouth of the alley, Dan went to follow, just as he tripped over a garbage bag he heard the door burst open and the three guys tumble out. Quickly scrabbling up he swore, heading after Chuck who had noticed and put on an extra burst of speed. They burst out of the alley with the guys shouting angrily after them in pursuit. Chuck and Dan paused for a second, trying to decide their options. The men were on their heels.
With one mind both Dan and Chuck took a risk and made a dart across the busy New York street. They managed to dodge cars which honked at them furiously, narrowly missing getting hit as breaks screeched. The older men were not so lucky, as a bus passed in front of them just before they could cross.
"Taxi," Dan gasped as they paused on the other side, amazed they were still alive. As he struggled for breath he was really wishing he'd had more sporting experience. Chuck was gasping for breath as well, wheezing. Dan supposed what they said about smoking was right, though he wondered if it included joints.
Dan tugged at the bent over Chuck and they made towards a cab which a woman had just hailed nearby.
"Sorry lady, but we really need this," Dan said apologetically, feeling guilty as he gently pushed the startled woman out of the way and slipped into the cab, Chuck didn't say anything as he slid in beside him and shut the door in her shocked face.
"Where to boys?" the taxi driver queried, not even blinking an eye.
"Brooklyn," Dan quickly recited his address, peering anxiously out the window for signs of the men.
"Money first," the grizzled driver dicated, taking in their dishelved appearance with suspicion.
"Here," Dan scrabbled in his pocket he took out whatever notes were crumpled up and shoved them at the driver,
"This isn't enough to get you there," he snapped, looking at the meagre bundle.
"Here," Chuck said, scrabbling in his own pockets he threw two notes at the guy from a large clip of them, not even bothering to check the numbers. "Now drive."
"Okay, okay," the guy grumbled but complied, pulling out of there with the screech of tires and the smell of burning rubber. Thankfully the traffic wasn't too bad down the street. As they turned into another Dan actually allowed himself a sigh of relief, sinking back into the cheap linoleum seats. He glanced over at Chuck, who was still clutching the wine bottle in hand, his hair ruffled and his usually perfect tie almost undone. Chuck didn't notice however, he scrabbled for something in his blazer pocket without looking at Dan, finally coming out with a corkscrew.
"What are you doing?" Dan queried, amazed as Chuck began opening the bottle.
"Hey, hey," the taxi driver complained, "No drinking in the taxi."
"I'll give you a $200 for being accommodating," Chuck drawled, pulling out two notes from his inner pocket he threw it negligently on the passenger seat, the taxi driver shut up at this, only muttering. "Don't spill any."
Dan marvelled that at a time like this, Chuck had the presence of mind to open the bottle without spilling a drop. He took a large swig from the bottle, heedless of conventions. Turning his dark gaze on Dan he hesitated for a second, then offered it.
"Want a drink?" he drawled. "It's the good stuff, so I'm sure you've never had it."
"What the hell," Dan said, hesitating for only a second he took the bottle "After all I'm probably going to be in jail for assault so may as well live it up while I can..." and closing his eyes tight took a healthy gulp, spluttering at the taste.
"For once Humphrey I like the way you think," Chuck smirked, taking the bottle back.
* * *
**Spotted: Our resident Bad Boy Chuck Bass and our resident Lonely Boy Dan Humphrey getting into a bar fight, or at least splitting after throwing a punch. What an unlikely pair in crime. Anyone know what the dispute was about?. The real question is, what were C and D doing in a bar together? Questions, questions and I know I want all the answers. Including if the police will give me a reward if I turn these two naughty boys in? Jokes, still it was nice to contemplate for a second there... xoxo GG. **
* * *
"I think I may be drunk," Dan slurred, clutching the almost empty wine bottle as he stumbled out of the cab. "Actually, I think I know I am drunk."
"Lightweight," Chuck muttered part amused, part derisive as he exited the cab behind Dan. He was feeling hazy around the edges, but at least he was able to strand on his own, even if it did take him a little longer to translate words from thought to verbal language. He watched the taxi pull away with a sneer. "I cannot understand why anyone would use those to get around," he said, settling his blazer with an air of superiority.
"Mainly because us mortals don't have limo's," Dan pointed out, stumbling over his own feet and almost falling on the pavement as he made his way towards his building.
"Here," Chuck said, grabbing Dan before he fell face first onto the sidewalk.
"Did you just help me?" Dan asked, blinking rapidly as Chuck steadied him and he looked at the other boy stunned.
"Don't get used to it," Chuck drawled, quickly releasing him and brushing his hand onto his pants. "I just do-"
"Hey you boys," there came a booming voice from behind Chuck, cutting off whatever insult he was about to translate. He glanced behind him and swore under his breath as a chubby cop strode up to them, his leaner partner close behind. "What do you think you're doing with that?" he asked sternly, looking at the wine bottle in Dan's hand.
"Oh...I uh..." Dan stuttered, looking down at the incriminating piece of evidence, then up at the police officer. He knew right then he smelled heavily of alcohol, and Chuck was no better, with the smell of scotch also clinging to him from his drinks at the bar.
"We were just having some harmless fun," Chuck said quickly, grabbing the bottle from Dan.
"Public drinking is illegal, not to mention you two are under age," the other cop pointed out, looking pointedly at Chuck and Dan's school uniforms and reaching for his handcuffs. He could smell the alcohol on their breaths, not the mention Dan's unfocused eyes and Chuck's bleary ones.
"If you could just let it go this once I'm sure my father could compensate you," Chuck began smoothly in his confident drawl, concentrating on keeping the words separate. Dan knew it was a mistake as soon as it left his mouth. Perhaps that line worked on the Upper East side with security guards or bouncers, but these were cops in Brooklyn and both of their eyes hardened at Chuck's superior tone.
"Yeah, well how about he compensates us while he's picking you up from the station," the first cop announced, taking out his handcuffs now. Dan groaned, he could not believe just paces from his home he was being arrested. He really hoped neither Jenny or Rufus were looking out the window right now, he was staking his life on it.
"You cannot be serious," Chuck said incredulously, smirking in amusement as if he thought the guy was joking. The cop gave him an unamused look.
"Resist arrest son and I'll have to use force," he said, advancing now.
"Just do what they say," Dan muttered, pleading as Chuck made as if to argue further. The other cop turned him around and slapped the cuffs on him, biting into his wrist. Chuck shut his mouth with a snap as the heavy cop took the bottle from his hand and gave him the same treatment, a look of incredulity on his face.
"Hey, hey careful with the uniform, its tailor made," Chuck sniped, annoyed as the cop grabbed the back of his blazer roughly and pushed him towards their car which was parked down the street.
"Tailored, really?" the other cop chuckled under his breath derisively.
Dan followed behind, thinking that of all his years living in Brooklyn, the one time he passes a cop on the street is the time he had to be drunk with Chuck Bass.
* * *
"My Dad is going to kill me," Dan groaned for the tenth time. He was shaking his leg uncontrollably in a nervous state, a thousand dreadful outcomes running through his head. The terrible thing was he was feeling completely and utterly sober right then, which was something he could have used half an hour ago.
Chuck sat on the other steel bench in the small holding cell, leaning against the wall. He looked over at Dan impassively, not blinking an eyelash. He smelled of a brewery, he obviously had not sobered up, what with consuming most of the bottle himself, on top of the glasses of scotch he'd had at the Palace.
"Either that or he is going to leave me rotting in this cell. Or he is going to bail me out, only to kill me and then bury me in a hole where I will literally rot," Dan continued to babble, his eyes trained with dread on the grey wall opposite him. "Either that or I'm really going to jail, real jail, I mean I'm almost eighteen and ass-"
"Relax Humphrey," Chuck drawled, finally interrupting Dan's rant with some annoyance. Though his drawl was slightly more pronounced, that was the only indication he may have had a little too much to drink. "We were caught underage drinking, nothing more remember? We'll be out before the night is through. Trust me."
"Yeah its okay for you to say relax," Dan muttered, dismissing Chuck's reasoning, "You may have done this before, but you don't have Yale to worry about, or worse your father arriving here just so he can borrow a gun from a cop and commit homicide against his only son."
"At least your father will care enough to show up," Chuck commented bitterly once Dan ran out of breath in his tirade.
"Yeah, show up so he can _kill_ me," Dan repeated in case the other boy didn't get it, looking at Chuck in disbelief.
Chuck his gaze from Dan and looking sightlessly at the steel bars of the cell.
"At least that's something..." he replied cryptically.
"Yeah, really something murdering me. Then again I guess it could be worse, he could go for the whole disappointed route. I can see it now 'After everything your mother and I did for you? What were you thinking ruining your whole future over a bottle of wine?' Which might I add though expensive tasted like flowers, really off flowers..." Dan mused, dread growing. "You know I think I'd rather the murder."
"He expects something more from you, that_ is_ something," Chuck pointed out in his lazy drawl, a hint of something Dan couldn't pinpoint in his voice. "When my lawyer informs my father of this, the most he'll do is get annoyed by the inconvenience of having to take the call."
Dan looked at Chuck, stunned. "I'm sure he...uh expects stuff from you," he finally said, trying to fill the silence awkwardly. "Maybe he gets annoyed because he does expect something more. Some parents murder, some, you know, lecture or glare, or whatever Bart does..." he trailed off into silence, watching Chuck carefully in the hopes he hadn't offended him.
Chuck chuckled, but it was a hollow sound.
"He expects me to screw up, every time. You saw him on Thursday," Chuck pointed out, he glanced at Dan now, his lids heavy, shading his eyes, his words heavy almost slurred. "And I don't disappoint."
"Perhaps...if you um...tried..." Dan began awkwardly, feeling far out of his depth.
"It doesn't matter if I try, or if I don't try," Chuck said bitterly, gazing back at the bars without seeing them. "I'll always be a disappointment to him because he never wanted me."
"Oh come on," Dan said, trying to dispel the ridiculous notion, giving a wry smile. "Even Bart Bass doesn't hate babies. I'm sure there's at least one time in your life where he cared."
"Not me," Chuck said, glancing at Dan almost disinterestedly now. "His beloved wife died giving birth to me..."
There was a moment of silence as the implications of this sunk in.
"Oh," was all Dan could manage, stunned, his eyes locked on Chuck's pale face. "That wasn't your..." he began automatically. Chuck actually laughed.
"Wasn't my fault? Do you think he cares? He hates me, and maybe he's right. Maybe I did kill my own mother..." his hoarse voice trailed off with that thought, his eyes like dark tunnels.
There was a silence as Dan contemplated Chuck's words and the guilt this apparent soulless jerk had been carrying around for years.
"That's uh...that's really shitty man," Dan finally said the first thing that popped into his head, uncharacteristically.
Chuck actually laughed at this.
"You know Humphrey, sometimes you remind me of Nathaniel," he murmured, smirking. Before Dan could reply to this, undecided on whether it was meant as a compliment or an insult, a police officer came up the bars, key in hand.
"Charles Bass, your lawyers here, he paid your bail" the man murmured in a bored tone. Chuck looked up, quickly rising and settling his tie. Just as he was about to walk out of the cell he glanced back at Dan, who was looking on with a wry smile.
"I'll see if my lawyer can get you out too, without the need of a homicide," he impulsively offered.
"That uh...that's really good of you," Dan offered, stunned slightly. Chuck didn't say anything to that, just gave him a small ironic smile and turned and followed the police officer back up the corridor.
It was unclear which of the two boys were more surprised when Chuck actually returned twenty minutes later, his lawyer with a suffering look on his face, and the police officer.
* * *
"Thanks," Dan said. He stood outside the precinct, the chilly air making him wish he'd brought a coat. Somehow Chuck's lawyer had actually managed to wrangle it so Rufus wasn't called, and Dan was still stunned that he had just dodged a bullet, and even more incomprehensible was that his saviour had come in the form of Chuck Bass. He held out his hand and Chuck after a moment's hesitation shook it.
"You do realise you now owe me your soul?" Chuck drawled smirking.
"Well, I wasn't doing much with it anyway I guess," Dan quipped, giving him a small smile as he shoved his hand into his pant pocket.
"Charles I think its best if you get home now," the lawyer droned authoritavily from where he was standing near the limo. Chuck sighed but followed behind the man, Dan watched him go. Once he reached the limo Chuck glanced behind him.
"Coming Humphrey?" he asked.
"What...oh..." Dan said, realising at the raised eyebrows that Chuck was actually offering him a lift. He stepped forward before he could think.
"It's just that my driver will need directions to find our way out of Brooklyn," Chuck clarified, pronouncing the name with his usual disdainful manner, his lip curling like it was distasteful to say.
"Right," Dan gave a short back of laughter. "Well perhaps while I'm helping you navigate your way out of the lesser boroughs you could drop me home?"
"It'll cost you two hundred," Chuck drawled sliding into the limo. Dan shook his head and followed, thinking that this night was the weirdest and yet strangely the most fun he'd had in a while.
* * *
"Where were you?" Rufus was sitting up, sipping on coffee on the couch and watching an old horror movie. He looked up as soon as Dan walked through the door, worry in his eyes. "You do realise its 12:00 and a school night?"
"I know I'm sorry, I just uh...got caught up," Dan supplied lamely, avoiding his Dad's gaze.
"And you couldn't call?" Rufus queried.
"Yeah, my phone died," Dan piled on the lie, he may as well. "Look I'm really beat Dad so is it all right if I just crash?" Dan didn't wait for a reply, quickly heading for his room before Rufus could interrogate him further.
"I know you're in senior year son, but just remember a call didn't hurt anyone," Rufus called after him as he closed his door.
Sighing Dan went to collapse on his bed, remembering too late that he'd left his bag under the table at the Palace bar. He just hoped wryly no one wanted to steal heavy books and notepads filled with aimless writing. He tried closing his eyes, too tired to change out of his uniform, but sleep was to no avail. He couldn't stop thinking about the conversation he'd had with Chuck in the holding cell, the way Chuck had seemed so different from the jerk he knew at school. Thinking of the misadventure of the night Dan wondered if perhaps Chuck Bass wasn't as bad as he first appeared, considering everything he'd revealed. If Dan accepted that though, he'd have to accept the fact that the UES wasn't as black and white as he'd always thought it was, and he didn't know if he was ready to re evaluate every core belief in his life before he was even in college.
Eventually, as he heard Rufus close his own bedroom door, Dan gave up sleep for lost, as these thoughts kept circling in his head, the events of the night playing over. Reaching for the laptop sitting on his bedside table he powered it up and started typing.
* * *
Blair stood on top of the Eiffel tower, wearing the perfect elegant white ball dress. She looked out over the city, the beautiful lights twinkled while fireworks played across the sky. She then glanced down at the Prince, kneeling at her feet, holding up a beautiful diamond tiara. He was handsome of course, with clear blue eyes and perfectly manicured blonde hair. He was murmuring such sweet things to her, though for some reason he was speaking in German, not French. That didn't matter though, it was inconsequential, all Blair noticed was that sparkling tiara.
"Yes, a thousand times yes," she replied once he finished his question, his intent clear though she didn't understand the language. And she reached out for the tiara, her fingertips just brushing the edges.
"Blair," she was stopped by the sound of her name from a recognizable husky voice. Instinctively she looked behind her. There was a forest behind her, a familiar figure was standing in the dark formed from the trees, his face hidden by shadow.
"What are you doing here?" she asked sharply, annoyed.
"Blair," he repeated, and this time she noticed there was something different in his voice, something odd.
"What do you want?" she repeated, demanding, frowning slightly. She was torn between turning her back on him and ignoring him in favour of the tiara and prince, or finding out what he was doing there.
"Come away from there," he said, and she finally could tell what was wrong with him, he sounded scared, an emotion she had never seen him wear, not obviously at least.
"Why?" she asked, and her voice had lost its sharp edge now.
"Come away from there, please," he was sounding desperate now, stepping forward slightly, but ensuring he remained obscured in the shadows.
"Are...are you okay Chuck?" she asked, concerned now. She was half turned from her Prince, indecisive, knowing he was serious as he actually begged.
"Please don't leave," he said it quietly, so soft her ears barely caught it. "Please..."
"Chuck, you're scaring me," she said, stepping towards him, her prince and the tower forgotten now. As soon as she took that first step her feet, now bare, met something wet. She glanced down and saw the hem of her gown was soaked red. She was standing in some sort of lake, filled with red wine instead of water, the strong smell of the wine filling her nostrils. She looked up again, Chuck was standing just at the edge of the shadows now, if he took one step forward into the moonlight she would be able to see him. Suddenly she was overcome with a desperate urge to see his face.
"Chuck?" she repeated his name, stepping forward now. He didn't move from where he stood, still. "Why don't you come away from there? You'll get wet standing in this lake."
"I can't," he said, his voice dark, bitterness in it.
"What do you mean?" she asked, annoyed now. "Don't be stupid, all you have to do is take a few steps."
"I can't," he snarled now.
"Yes you can," she snapped, barging forward, suddenly overcome with rage. She lifted up her dress, the wine getting surprisingly deeper with each step she took, seeping up her dress, transforming the white to red. By the time she reached the edge of the shadows in front of Chuck the dark red liquid was a little above her ankles. It didn't deter her however, she reached forward into the cold dark and grabbed him by the arm, trying to pull him forward into the light. He resisted pulling back, she almost toppled face first into the red liquid, but managed to just keep her footing.
She paused in her pulling when music pierced the oddly silent struggle. She shook her head, trying to remove it from her ears, when it continued to trill louder, and louder, coming from behind her. Chuck's arm also slackened, taking advantage of his momentary distraction she pulled hard, stumbling back as he fell.
He fell forward onto his hands, she looked down at him, feeling slightly triumphant.
"I need you Blair," he spluttered, his voice hoarse and strained.
"What?" she asked, uncomprehending, the feelings of triumph dissipating to be replaced with foreboding.
He straightened up, still on his knees, soaked with the red wine, so much so that the colour of his clothes were unrecognisable. He was looking up at her with his dark eyes, his face ashen. And then she saw it, the dark red stain, almost black, in the middle of his shirt right where his heart was. From the wound his red blood was flowing down, mixing with the dark wine.
"Blair, I need you," he whispered, his voice hoarse and desperate.
All she could do was stare down at him in horror, as the music grew louder, and louder, and louder...
* * *
Blair's eyes snapped open, she gasped, her breath caught in her throat. She quickly sat up, blinking rapidly. The music was still playing, and she realised it was her phone ringtone, sitting on the bedside table next to her antique clock and dim lamp. She quickly grabbed it, flipping it open without glancing at the number, a sense of foreboding filling her as she glanced at the clock and saw it was four in the morning. Normally she would, like a sane person, turn her phone off when she went to bed. But being best friends with Serena van der Woodsen had taught her the need to keep it on, just in case. Though Serena was now reformed, Blair had gotten into the habit of leaving her phone on during the night.
She could hear breathing on the other end, but the person didn't say anything.
"Serena?" Blair asked, knowing somehow that it wasn't her.
"Wrrrooonnngggg," an accented drawl sounded from the mobile speaker. Blair scrunched up her nose as she recognised it. She knew she had been dreaming something disagreeable about Chuck just now, something about wine, a lot of wine typically...but she couldn't exactly remember the details. The dream had slipped through her fingers before she could grasp at its substance, only leaving behind an unpleasant feeling of dread.
"Are you drunk dialling Bass?" she queried, her lip quirking up in slight amusement, trying to shake off the silly residual foreboding from the dream.
"P'rhaps," he slurred. He rarely got drunk, he had the amazing ability to sustain a lot of alcohol ever since they were young. She supposed he'd been doing some serious drinking tonight, well more serious than usual.
"I've been thinking Waldorf," he abruptly said, interrupting her musings.
"I hope this is PG," she noted wryly. She didn't hang up on him however, she'd done her own share of drunk dialling in her time, and she hadn't had to listen to his drunk ramblings in a while, she supposed she owed him that.
"He couldn't stand being with her, because she drove him insane," he murmured, his words slightly slurred at the edges, but still comprehensible.
"Wait, you're talking about _that_ again?" she queried. She'd decided to pretend their recent conversation had never happened, avoiding Chuck in school. He had appeared to be doing the same, and she thought the matter was settled between them. Apparently no one had made drunk Chuck aware of this.
"He couldn't stand being with her because she drove him insane, but he couldn't let her go, because he couldn't stand seeing her with anyone else," Chuck continued on his rambling, not acknowledging her, if he had even heard her.
Blair allowed him to speak, waiting patiently now for him to continue, but he didn't, the sound of his breath the only break in silence.
"What's your point Chuck?" she finally asked tiredly.
"He's selfish Blair, and he didn't know any better, because he'd always gotten what he wanted. He just didn't know any better..." he said, his voice quiet, trailing off.
"So you thinks that excuses him killing her?" she said bluntly, incrediously.
"No...I don't know," he suddenly snapped in annoyance. "I don't have all the answers, do I?"
There was a pause, she didn't reply, just let the silence stretch hoping he'd pass out and she could get some sleep.
"Why do we always have to argue about everything?" his voice was tinged with slight regret now, his sudden mood swings as chaotic and abrupt as his thoughts.
"I don't know Chuck," she said softly.
"I miss us," he said, his voice quiet now and oddly vulnerable.
"Chuck there is no _us_," she began heatedly now.
"No, not that...lets not argue about that now. I mean I miss...I miss... Do you remember when Lilly took off that one time too many, and Serena was a sobbing heap, and so you, Nate, Serena and I all got drunk off Lilly's best bottle of champagne and danced around the suite to The Rolling Stones?"
Blair was shocked and surprised _he_ remembered that. Her white teeth unconsciously nipped at her red lip, it was times like these she was reminded of Chuck's more vulnerable side. Even she forgot sometimes there was something more underneath his blasé facade. Before she could form a reply to this however he had moved on erratically.
"We wouldn't be together now you know, if I'd gone to Tuscany, It would have been over forever. I couldn't stand the thought of that," he slurred. She felt her shoulders tense as he mentioned it. "It wasn't the right time, you know it wasn't, and I knew it wasn't. We were both...we both still wanted something different...at least you did. You wanted me to be your Prince Blair, to replace Nathaniel. I'm not Nathaniel...I'm not a prince...you didn't want me then...just like everyone..."
"Having a pity party now Bass?" Blair queried, shaking off his grave tone, trying to lighten the mood.
"Maybe I'll change the theme of the senior bash," he mused wryly.
"It's around four o'clock in the morning Chuck, you should get some sleep, school tomorrow remember, and you actually have to go?" Blair noted after a drawn out pause, stifling a yawn of her own.
"How could I forget," he noted darkly.
"Good, then I'll...see you," she said, ending rather lamely, about to take the phone from her ear as he didn't reply.
"I meant it, you know," he abruptly said, stilling her hand.
"Meant what?" she asked, feeling slightly weary and sure it was going to be something nonsensical, but succumbing to her curiosity nonetheless.
"You're the only one I could ever really...Even if I don't always show it to you, and I can't say it, I _mean_ it Blair. Just know that."
She sat there stunned, unable to form a reply, about to open her mouth and utter something. But before she could he engaged the call, the dead tone ringing through her ear.
Lowering the phone Blair stared down at its dully lighted screen. She finally had the presence of mind to snap it shut. She glanced over at her clock and saw it was now four thirty, yet she wasn't tired anymore, she was wide awake. She put her head in her hands, feeling overwhelmed and uncertain. She had been so sure just a few days ago, that it could never work...but maybe it wasn't about the words. She couldn't deny that he made her feel a way no one else ever had. Whether that was a good or bad thing...maybe that was up to her to decide...
Maybe she just had to learn to let go, to stop trying to hurt him with past wrongs and move on...Like they said, there was a fine line between love and hate.
Suddenly sitting up Blair grabbed her laptop from her bedside table, an idea overtaking her. At least if she was up at this hour she could do something productive with her time. She brushed away the thought that she was just trying to distract herself from her real issues. She booted up the computer and opened the word document, the one with her essay topic printed neatly at the top of the paper, and nothing else. She began typing, filling the white space with precise black letters.
* * *
**A/N: I hope this was sufficiently different from the scene in the Serena also Rises to be a little bit entertaining. If it wasn't I apologize. I just always thought that jail scene was really powerful, and I always wondered what would have happened if Chuck had never found those notes on Dan's story. Dan wouldn't have sent it, and maybe they would have become some sort of friends. Anyway I hope it's not OOC, although I know some of the scenario and dialogue with Dan and Chuck is a bit of a stretch. **
**Also the things Chuck says when he is drunk...well I always imagined he'd be a bit of a depressed drunk, a bit of cynical, tortured romantic. He's drunks so he's supposed to be out of character, that's how I explain that part lol = P. **
**THANKYOU TO EVERYONE WHO REVIEWED THE LAST CHAPTER XOXO= D.**
**PLEASE REVIEW, EVERY REVIEW GIVES CHUCK A HUG FOR ALL HIS DAMAGE = ).**
**Up next: Someone gets roofied, someone gets punched, and someone gets kissed. = ). **
**Inspiring picture of the chapter: Google: "chuck lilly victor+ gossip girl tumblr" Click on the the first pic. I know it's made up of different screen shots, but the relevant pic is the first pic on the top left hand corner, of Chuck adorably drunk lol. That's how I imagine him sitting, up in his suite in his bathroom while talking to Blair lol. (I loved that scene between him and Lilly though, so sweet )**
**I added the extra Chuck/Blair scene, because I know you all want it haha. I know it's not much, but just be patient for one more chapter = ).**
* * *
**Well five reviews so as promised, new chapter = ). Sorry this A/N is so long, but when I get the chance I like to personally reply to reviews. = ). **
**Thank you for the review guys, I'm glad you liked it. = ).**
**Fiction by cereza: Wow thanks, I'm glad you discovered it and reviewed = ). Thanks for the compliments, you're very generous = ). I'm so glad I made someone laugh = ), I think it's always easy to make people cry, but it's harder to make people laugh. Thank you for the review = ).**
**Mlharper: I did change my name recently lol. I used to be called Sairra, but I made it up and I was fourteen, so I thought it was time for a change. Haha I love the Tudors, hence the little reference lol = P. Thanks for the review = ).**
**Amz: That's exactly how I feel too, season two teenage esque drama was my favourite = ). Thank you for the review = ).**
**Thegoodgossipgirl: Glad you liked it. Hopefully there will be a small SB scene coming up next. Thank you for the review = ).**
**Anonymous: Thank you, I'm glad I'm portraying that tension = ). Thank you for the review = ).**
14. Stairway to Heaven, Elevator to Hell
_**Chapter XIII**_
**Stairway to Heaven, Elevator to Hell**
Bart checked his Italian watch, noting the time. Business had tied up faster than he expected, and he thought to come home early without telling Lilly as a surprise. He patted his pocket, the one that contained a small box from Tiffany's. Small it may be, but far from cheap. He was slightly nervous, wondering if Lilly would like it. It had been a while since he'd actually courted a woman, had to actually think about what she may like and dislike. When he'd been going through half the models in Manhatten he hadn't spared a thought about anything he bought, most of the time he hadn't actually chosen it himself, but had his secretary pick it up. Now things were different…he wanted this to work, and yet he felt completely and utterly inadequate. The last time he'd wanted something so badly yet felt unequal to it, was nineteen years ago. He tried not to think of another woman, one with Chuck's soft brown eyes and smile.
The elevator opened, pulling him out of his reverie. He exited it, expecting the suite to be empty. No doubt Lilly would be out organizing a school fund raiser. He thought absently if perhaps he should ask Alfonos to make them something special for lunch, perhaps get a few candles and flowers, but he brushed that thought aside as silly. His thoughts occupied so much, he didn't notice at first as he turned the corner into the lounge, that the TV was on. He paused however, as he noticed the two people sitting on the couch, laughing at the movie which was on a high volume. There was Lilly, her hair out, her feet bare. And next to her, sitting on the couch, was Rufus Humphrey. Bart immediately stiffened, a thousand thoughts going through his head.
"Oh, this reminds me so much of New Orleans," Lilly said, laughing. "Do you remember Ralph?"
"How could I forget," Rufus replied, and there was something in his voice Bart definetly did not like. It unfroze him and he cleared his throat loudly, making them both jump and turn around.
"Bart?" Lilly was the first to recover, her eyes wide, her face slightly pale. Bart noticed Rufus had instinctively gone to take her hand, but she slid hers away from his, almost guiltily.
"Lilly," he said, keeping his voice cool. There was no use shouting or yelling, there was no real evidence of infidelity, just bowls of ice cream and a DVD. He kept himself calm, though he couldn't control bristling a bit.
"What a pleasant surprise," Lilly supplied, quickly rising and placing her social smile on. "Rufus was keeping me some company, we were trying to decide what movie to play for the parent student movie night to welcome the freshman."
There was a slight challenge in her voice, as if daring him to voice suspicions that were unfounded. Bart didn't bite, he wasn't an unnecessarily harsh or suspicious man, not usually anyway.
"Yes, things wrapped up faster then I expected," he said, unable to keep the stiffness out of his voice.
"I'll just go then shall I Lils," Rufus said quietly, Bart didn't fail to notice he was watching for Lilly's reply hopefully.
"Yes…I'll…see you around," Lilly said, glancing at him, then at Bart. Rufus looked slightly disappointed.
"Bart," he said collecting himself stoically, and nodding his head, Bart inclined his own but didn't say anything, watching as Rufus exited the suite.
As soon as the elevator doors closed behind him, his eyes turned to Lily.
"Don't look at me like that," she said quietly, looking defensive.
"Like what?" he asked.
"You know like what," she replied, brushing past him she made to go up the stairs.
"How do you expect me to look then?" Bart queried, keeping his voice low and looking up at her as she made her way up a few steps. "I come home early and find…"
"Two friends watching a movie together," Lilly said, turning. She too kept her voice low, though it was more concern that the help may hear. "It was nothing Bart…and you don't have a right to look like that."
"Well maybe I wouldn't look like this, if perhaps you weren't watching a movie with an old boyfriend," Bart noted.
"Well maybe I wouldn't be watching a movie with an old boyfriend if you were here more often," Lilly countered.
There was silence at this, Bart blinked slowly, her words sinking in. Lilly sighed, leaning against the banister in defeat and looking down at him sadly.
"Why does it feel like we've been here so many times before?" Lilly sighed sadly.
"I'm sorry," he finally managed to say. "I know I…I promised you things Lilly, and I've yet to deliver. But I can change," he added as she avoided looking at his eyes, glancing at her wedding ring. "But you have to give us a chance too. I want this to work Lilly."
She was silent, still looking down at the glittering diamonds.
"I brought you something." He thought now was a good time as any, he took out the tiffany's box, pulling the ribbon and opening it to reveal a large ruby heart pendant resting on the green velvet.
He watched her reaction carefully, she looked down at it, and he noticed with a sinking heart there was no delight in her eyes.
"You don't like it," he voiced, feeling rebuffed.
"No, no it's beautiful," she said quietly, making an effort to smile as she made her way back down the stairs and stood in front of him. It was so like Bart, wasn't it? When he couldn't or didn't want to find the words to deal with something, he whipped out an expensive present. "Thank you."
He looked down at her as she took the box, bending her head to examine the pendant. She tried not to show him that she hated this kind of corny jewellery, that she would have much preferred turquoise to a ruby, that she loved silver, not gold. All these little things, all these little things he had no idea about her, the things that made her more than just Lilly Rhodes. He knew there was something wrong, something he hadn't gotten right, but he couldn't quite place what it was.
"I meant it you know," he finally settled on saying. "I want this to work." He tentatively put a soft finger to her chin, guiding her face up so he could look into her blue eyes.
"I know, and I appreciate it Bart, I do," she said, leaning forward to place a soft kiss on his lips. He didn't fail to notice that she was silent about wanting it to work too.
* * *
Chuck stumbled into the boy's bathroom. He felt terrible. Last night was a blur, he hadn't gotten that drunk in a while, and he had a splitting headache to prove it. Not only that, but he couldn't really remember much after he dropped Humphrey off at his try hard loft. He had however found his phone pressed to his cheek when he'd woken this morning. He'd checked his calls, and found out the last one he had made had been to Blair. He really hoped she had not answered it, but he had a sinking feeling she had. That was why he was avoiding her, and why when he spotted Serena and Blair at the head of the boys corridor, he'd quickly made his escape into the bathroom.
However the bathroom turned out to be less of an escape then he had hoped. He walked into a scene which made him freeze . Three large jocks were standing in front of them and in the middle of their triangle was Eric, with a bloody nose.
"What the hell is going on here?" Chuck asked, slowly and precisely. His muscles tensed, his fists clenched as fury pounded through him, hard and fast clearing his head.
"None of your business," one of the more brave ones said, glaring at him. He was muscly, most likely steroids in Chuck's opinion. And he had an arrogant smirk on his face. Chuck looked at him darkly, causing him to back up a step involuntarily. His memory came back to him, this was Toby Ashton, Martin's cousin.
"I wasn't asking you," he said venom in his voice. He walked up to Eric and took his arm.
"What's going on here?" he asked the younger boy, catching his eyes as Eric tried to avoid looking at him. Eric didn't reply, Chuck felt like shaking him, but resisted, instead grabbing some of the expensive paper towels in the dispenser he handed them to the younger boy.
"He…fell," another burly jock said, avoiding Chuck's gaze himself and rubbing the back of his neck.
"Yeah, clumsy fa-" Toby spoke up again, feeling the need to reclaim his manliness.
"Finish that and I will see to it personally that your Daddy dearest finds out what you do behind the bleachers after a game." Chuck snapped, his voice icy, his gaze dark and dangerous. His fists were clenched, but he was just managing to prevent himself from launching on this idiot. If his father had taught him anything it was that threats were always more effective then fists. "He's running for mayor right, a very family friendly conservative campaign? I wonder how he'd like to find out that his little boy like-"
"Shut up you don't know anything," Toby snapped, paling and looking scared despite his aggressive stance. "
"Oh contraire," Chuck said, steel in his voice. "I have pictures," he whipped out his phone, and pulled up the pictures with a few flicks of his thumb. He then threw the phone to Toby, who looked down at it in horror. "And don't bother deleting it, I have more copies where that came from." Chuck commented.
"W..what do you want?" Toby asked, Chuck didn't fail to notice his hands were shaking, his fellow goons were looking at him with wide eyes, looking slightly afraid themselves. Typical, you tore down the leader and the rest followed like sheep.
"My phone back," Chuck noted, smirking confidently. Toby handed it to him, almost respectfully, avoiding looking at Eric standing beside him. "Now, I think you should ask Eric what he wants to do, seeing as it's up to him." Chuck queried, looking down at the younger boy and trying to avoid his anger rising as he noticed that, though Eric had managed to clean the blood off his face and stem the flow, some of it had spilled onto Eric's scarf as well.
Eric looked up at him with wide eyes, Chuck gave him an encouraging smirk he handed Eric the phone with the photos, then folding his arms he leant casually against the sink, giving Eric the floor.
Eric glanced down at the photos, his mouth slightly agape.
"What would you like us to do…Eric?" Toby finally choked out, looking even more scared as Eric's mouth thinned at the sound of his voice, and he looked at the older boy with hard eyes.
"I want you to never come near me or Jonathon, or anyone else again. If I hear you even bumped against someone_ I_ am personally going to make sure these get out to the newspapers. You all understand that, or do you want me to draw a picture?"
"No, no," Toby said quickly. "We got it don't we guys?"
"Yes," the other two piped up, obviously scared about what Chuck might have on them.
"Good," Eric said, snapping the phone shut. "Now get out of here. I can't stand bigots."
Toby hesitated for a second, then quickly turned and fled, the other jocks following obediently behind him. Eric watched the door slam behind them then looked up at Chuck, who was watching him with an unreadable expression.
"Uh…thanks…" Eric finally said.
"That's what big brothers are for right?" Chuck drawled, giving a sardonic smile.
"Yeah, I guess it is," he replied, returning it with a wistful smile of his own. "Look about before…perhaps I over reacted…"
"No," Chuck cut him off, shifting uncomfortably from the sink. "I can see why now, and I'm…I apologize for causing you so many problems Eric. Next time I'll let you deal with it your way." Mentally he was amending that to 'maybe,' as in no chance in hell. Next time he would just make sure he tied up all the loose ends before they erupted, without Eric's knowledge. He had been careless and Eric had gotten hurt, he would make sure that didn't happen again.
"Yeah…maybe my way wasn't so great…" Eric muttered, turning his back on Chuck he grabbed a few more paper towels fitfully, pretending to be occupied with scrubbing his shirt. He felt ashamed, ashamed that Chuck had been man enough to start the battle, and then had to swoop to Eric's rescue yet again.
Chuck didn't reply to this, he was sure that he'd probably say the wrong thing anyway. He tentatively reached out, to perhaps put his hand on Eric's shoulder, but at the last minute decided against it, letting it fall to his side uselessly.
The bell interrupted any further awkwardness, making both the boys jump slightly.
"Shame I dumped art, otherwise I could have said this is a form of expressionism," Eric said, feebly smiling as he looked down at the blood on his shirt.
"I'll call Arthur," Chuck said authoratively, glad there was something he could do. He took his phone back from Eric, pressing the speed dial.
"Thanks," Eric replied softly.
* * *
"B, how long are we going to wait out here?" Serena groaned. After Blair had caught site of Chuck slipping into the boys bathroom, she'd determinedly taken up residence in front of the door. Somehow, she'd convinced Serena to follow. The two of them were now spending their spare period waiting for Chuck to come out, like two hunters ready to pounce, at least Blair was, Serena was just bored.
"Until he comes out," Blair said, glancing at the door. While Serena had made herself comfortable sitting on the empty corridor floor with her back against the locker, Blair was resolutely standing ready.
"Don't you think you're taking this tormenting thing too far?" Serena queried, looking up at her friend with raised eyebrows.
"I'm not tormenting him, I just want to talk," Blair said, her voice controlled and a note too high.
"Sure," Serena huffed, but she didn't press her further, just got out her iphone and powered up kids doodle, proceeding to draw fluro pink love hearts. She could tell this was going to be a long wait.
* * *
Chuck suggested they wait until Arthur was out front before they exited the bathroom. He'd confidently locked the door to prevent anyone interrupting them, sat on the counter top, and gotten out his flask. Eric had refused any offers of refreshment, but had commented dubiously that perhaps Chuck should go to class. Chuck had smirked away his concern, and noted he had a free period. The younger boy still wasn't sure if he was telling the truth as ten minutes later he checked his phone and ushered Eric out of the bathroom.
"Arthur said he'd-" Chuck trailed off as the door closed behind them and they were met with both Serena and Blair in front of the toilet door. They had apparently been talking, but stopped as the two boys emerged.
"Serena, what are you doing?" Eric asked, his eyes wide, frozen.
"B wanted- is that blood? Oh my gosh are you okay Eric?" she quickly rose from where she had been sitting on the floor, rushing forward, noticing the blood on Eric's shirt. She frantically grabbed his hand and instinctively checked his wrist.
"It's not like that," he quickly said, reclaiming his hand with embarassment. "I just…I fell."
"You didn't fall. What happened?" she turned to Chuck now, her eyes flashing.
"Nothing to worry about," Chuck said, unfazed by her protective glare.
"What happened," Serena demanded, realising she wasn't going to get anything from the older boy she turned to her brother now. "Eric, please…"
He wasn't able to withstand that soft plea, avoiding her gaze he muttered an explanation. Telling her how some jocks had cornered him in the toilet and decided to rough him up a bit.
"But we took care of it," he quickly amended as Serena's blue eyes hardened and she blushed with fury. "Chuck…"
"Chuck," she snapped, turning on the older boy now, he was standing there silently. "This is all your fault."
"I fail to-" he began to drawl.
"Why do you think they were picking on him?" Serena demanded. "All because you decided to have some vendetta, and Eric got hit in the crossfire. Do you even have any sort of human feeling?"
"I didn-" he began to say slightly perturbed. But Serena wasn't in the mood to listen. She felt helpless and angry that she hadn't been there for her brother, yet again. She needed to vent against someone, needed an enemy to attack.
"Like I said before, Eric will be better off if you just leave him alone. And that goes for me too. Come on Eric, we need to get you cleaned up," and without glancing at him began to stalk towards the exit.
Eric looked behind him with an apologetic glance, but followed behind her dutifully.
* * *
Once the doors slammed behind them, Eric quickly caught up to her, catching her hand.
"Don't you think you were a bit tough on him, it's not really his fau-" Eric began.
"Don't," Pausing she ran her hand through her long blonde locks, and turned to Eric. "You can't say that ultimately he isn't the reason you have a bloody nose. You don't know Chuck, not like I do. He…he can't help himself, he always has to get into trouble, regardless of the consequences. He doesn't care about anyone but himself. He has no control, and I won't let him drag you down with him."
"I'm a big boy Serena, I think I can take care of myself," Eric pointed out, giving her a wry smile. "Besides he did-"
"Where was he when you got punched?" she cut across his defence. "Too concerned with his own selfish problems to even notice that his little brother-" her voice had risen now with something other than anger, and it suddenly clicked into place for Eric.
"It's not your fault Serena," he quickly said, looking up at her with wide brown eyes. "You can't always be there for me, and really I don't need you to be."
"I promised," she said softly, the fight going out of her as she looked down at him with pleading blue eyes. "I promised that I would stop being so selfish, that I'd start making you a priority. And then I did it all over again, I had no idea what was…"
"This isn't the same thing," Eric amended. "Sometimes you have to try and deal with things yourself. Besides, you can't watch me twenty four hours a day, and I don't think either of us really want you to."
He smiled crookedly and she returned a shaky one herself.
"With that in consideration, maybe you could let up on Chuck?" he queried hopefully.
Serena's chin stuck out at this, her mouth firming, burying Eric's hopes. She wasn't yet ready to let up on her grudge against Chuck, or maybe she wasn't ready to let up on her own wild past.
"He still-" she began, Eric quickly lifted up his hands in defeat.
"Okay, but could you at least think about it? The tense breakfasts are kind of getting old."
"Fine, I'll _think_ about it," she relented slightly. "Now let's go get you cleaned up huh?"
"Sure, Mom," He muttered under his breath.
"Well someone's got to do it?" she laughed reaching out and ruffling his hair.
* * *
As soon as Serena and Eric disappeared through the doors Blair turned to look at Chuck. His gaze was still trained on the door, his brow slightly furrowed. She wondered fleetingly if perhaps what Serena had said had gotten to him. More likely he was planning some sort of revenge, she would be in his situation.
"You should let it go," she said authoratively, deciding to speak first and break the silence. He turned to her, looking slightly confused. "She's worried about Eric," Blair said impatiently, trying not to fold her arms and tap her foot impatiently. "Right now is not the time to mess with her, and I'm saying that on a best friend capacity."
Surprisingly he didn't sneer, or make some lewd comment, he just shrugged and turned as if to go.
"Chuck," she said, gathering herself after he had taken a few steps. He stopped, turning and raising his eyebrows.
"I have a class to get to," he pointed out as she didn't continue. He was not in the mood for a confrontation, he was still wondering if perhaps Serena was right, perhaps this was all his fault. "Other people's lives to ruin." He added it as a bitter after thought, she noticed the tone and frowned slightly, wondering if maybe…maybe he was actually feeling bad about Eric.
"I was just going to ask, what was the name of the idiot who dared to hit Eric?" she queried, changing tact, her voice all business now.
Chuck couldn't help a smirk creeping over his face in appreciation. The offer was tempting, when they did unite their scheming abilities were imaginative and unparalleled…He struggled with himself for a second, but then he remembered that the reason he hadn't even noticed Eric was in trouble was because he had been preoccupied with chasing Blair. He couldn't afford that now, he needed to ensure this revenge was followed through to the end.
"I've got it," he finally drawled.
Blair felt slightly rebuffed, but his small appreciative smile showed her that he wasn't rejecting her, this was simply, for a less cliché term, personal.
"Fine," she said pertly. "But when you do call me for help, make sure it's before ten." With that she turned on her superior dignity, and started down the corridor.
"Blair," he called after her, she turned instinctively at the sound of his velvet voice. "Thanks," he said. She simply raised a brown eyebrow.
"I wasn't offering for you, I was offering for Eric," she said smoothly, then flicking her chocolate curls she turned and walked away, unable to repress a small smile.
* * *
**Spotted: C and B caught having a quiet moment in the school corridor…**_**again**_**. This is starting to become a habit guys, or perhaps it's not coincidence? Either way I hope they do something soon, or I may be in danger of getting bored with this little lust/hate story, which is starting to have less lust/hate in it then a Disney movie. **
**xoxo GG**
* * *
"Okay, I've got the popcorn, the chocolate cookies, and milkshakes," Serena pronounced, entering the lounge room with a full tray she'd taken from the room service cart. Eric was sitting on the couch in front of a pile of DVD's Serena had dumped on the table and the wide screen TV. He'd convinced her to let him go home with Arthur by himself, and she'd relented grudgingly. By the time she'd gotten home from school herself Lilly was absent. Eric had explained that Bart had taken her out to dinner and Serena rolled her eyes. Obviously Eric had typically fed Lilly some story about a head ache and their mother hadn't bothered to probe further. Well Serena was determined not to leave her younger brother alone, even if it meant staying in on a Friday night, even though Blair was planning to go to Butters with all the girls. It was a small sacrifice to make.
"Uh…really Serena I don't think I can eat all of that," Eric said, his eyes wide as he saw that there were three kinds of different cookies and two milkshakes each.
"Of course you can," Serena said, smiling brightly. "Come on, this is going to be fun. We haven't had a sibling evening in forever."
"Right, fun," Eric muttered, rubbing the back of his neck. Honestly he had been hoping for a quite evening where he could listen to some music and wallow in self pity for a while. Serena obviously had other ideas however, and no matter how much he tried to hint tactfully, she wouldn't leave him out of her sight.
Serena didn't notice his less then enthusiastic response, too busy trying to find a place to put the tray on the table without dropping the mountain of DVD's.
"So," she said as she successfully placed it down with skill and jumped onto the couch beside Eric, trying to keep up the bright upbeat mood. "What do you want to watch first? Avatar, or Harry Potter and the Deathly Hallows, Part uno?"
Eric looked at the two DVD's with trepidation. Right then he was more in the mood to watch Sweeney Todd, but he knew that would probably worry Serena, like the suggestion that he would rather be alone. Thankfully he was saved from having to make a choice as Serena's cell rung.
"Eurghhh, it's probably Blair again, complaining about some sleazy guy who tried to dance with her," Serena said, rolling her eyes in mock exaggeration.
"Answer it," Eric said, quickly grabbing for the mobile, pressing the green button and shoving it into Serena's hand before she could protest. Maybe while she was busy talking he could figure out how to tell her he wanted an early night without hurting her feelings, or making her worried. After all a boy needed some pride, and having his older sister coddling him like a ten year old just because he got a bloody nose, was not helping his manly status.
"Hello," Serena said, quickly shoving it to her ear as she heard someone on the other end.
"Serena, hey," a smooth voice answered, a smile in his voice.
"Damien?" Serena replied, shocked, her blue eyes widening. Eric looked up curiously at her surprised tone.
"Yeah, I was just…uh just wondering. I'm in the Palace bar and perhaps if you…"
"Damien now's not really…" Serena began, biting her lip nervously with her white teeth.
Before she could finish the sentence Eric impulsively grabbed the phone.
"Hey Damien, it's Eric here, Serena would love to meet up with you, just give her about ten minutes okay?" Before the shocked Damien or Serena could reply he hung up, grinning.
"What was that?" Serena cried out, recovering.
"Hey, I'm your little brother remember, it's my job," Eric said, smiling. "Besides I think you should go. Damien's a nice guy, and it's Friday night, you don't have to be stuck here with me."
"Eric, I wasn't stuck we were doing a movie night," Serena protested.
"Really?" Eric raised his eyebrows, trying to go for Chuck's speculative look which always managed to make people cave. To his surprise it worked and Serena dropped her eyes, blushing slightly.
"I don't want to leave you alone," she protested softly.
"It's okay, I'll call Jenny and Jonathon, I'll be fine," Eric said, lying easily. He knew Jenny was working late, and he and Jonathon had been acting weird around him lately.
"I guess that would probably be a better Friday night then hanging out with your big sis huh?" she said, smiling slightly.
"Probably," he replied, grinning. "Now you better get dressed, you've got about seven minutes left, and you need a lot of work."
Serena quickly got up, and playfully threw a pillow at Eric's face.
"Hey," he protested as he pushed it off, and saw she was already making her way towards the stairs.
"I'm your big sister, it's what I do," she called behind her laughing.
* * *
Damien allowed the smirk to take over his face as he spotted Serena entering the bar. There she was, his dream girl, the one he had been thinking about since she'd showed up at boarding school with that infetous laugh and endearing smile. The girl that could convince him that anything was all right. The girl that had introduced him to the wonders of blow, a wonder he'd partaken with tonight. Perhaps a bit too much, but he wasn't so high that he wasn't coherent, at least he thought so. Wiping his nose surreptitiously to make sure he had no powder left, he quickly raised his hand up, waving to catch her attention. It took her a minute or so, but then her blue eyes alighted on him and she smiled sweetly, walking towards him with her high heels and gold dress.
"Hi," she said, all white teeth, and sweetness.
"Hey," Damien said. "I'm so glad you came." His hand reached up, to brush her cheek. Serena's smile faded quickly and she jerked away, looking at him with wide blue eyes now in shock.
"Damien," she said, her voice a soft admonishment as he looked at her with confusion.
"What?" he queried, "I thought…when you agreed to come, dressed like that…"
"What's that supposed to mean?" she asked, her usually soft blue eyes turning hard. "I came to have a friendly drink Damien…I'm sorry if you got the wrong idea but that's obviously your problem…" as she said this she grabbed up her sequined clutch again, going to rise.
"Hey, hey Serena, no wait," he said desperately, feeling frustrated and annoyed, but trying to reign in his anger. "I'm sorry…I guess I just assumed after the kiss, but you're right that is my problem."
She fell for his quietly sad look as he knew she would. Sighing she settled in her seat again, looking at him guilty now, wringing her hands unconsciously.
"About that…I'm sorry about running out on you and then avoiding you…but I just…I needed to sort through some things Damien. And I know that I should have told you this sooner, but I…I really don't think now is the right time, what with Chuck and Eric and my Mom and…I'd love to be your friend but.."
"But just a friend," Damien finished for her heavily, preventing himself from sneering at the word. Of course the perfect Ms Serena van der Woodsen would never want to go out with a boy like him, even if he'd had a dozen other girls running after him since he'd started at St Judes. All she probably still saw was the nerdy boy in the glasses who would do her homework just for a pathetic smile. Damien's jaw tensed at the thought.
"I'm…I'm sorry," she said, going as if to touch his hand gently, but then deciding against it. "I should probably go," she murmured, going to rise again. As Damien watched her blonde hair, fists clench he though hazily that perhaps she didn't have to. Right now she didn't think he was good enough, but he'd seen her kiss anything when she was high. Perhaps this night didn't have to be a complete humiliating failure after all.
"Wait, you don't have to go," he said, reaching out and grabbing her hand once more. As she turned he tried a pleading smile. "You want to be friends right, and friends drink together?"
"I don't know…" she hesitated, biting her lip.
"Only one drink?" he said persuasively, trying to keep the impatience out of his voice. "At least that way this night won't be a complete embarrassing bust."
"It is Friday night," she relented, her guilt swaying her to settle back in her seat once more. "And I guess one drink won't hurt."
"Right," Damien said, showing all his teeth as he grinned widely.
* * *
Chuck drowned a second glass of scotch. After last night, he had been slightly put off trying to pick up women at the Palace bar, for now at least. Tonight he'd opted to sit in a corner booth quietly, trying to think, or not think, he wasn't entirely sure.
He looked up for a waiter from the bottom of the second glass, that's when he spotted Serena and Damien at the bar. He rolled his eyes, no doubt Serena was pulling on another heart string typically. After her righteous tirade here she was, drinking a cosmopolitan and…looking far more drunk then she had been in a while. Chuck frowned slightly, Serena was slipping off her seat, giggling profusely, her hair mussed. She looked like she'd taken something, then again she was with Damien and no doubt she probably had, something good.
He smirked sardonically, typical really. She pretended like she was reformed, yet here she was completely out of it. Indicating for the waiter to bring over another glass, Chuck watched minimally amused as Serena waved her empty glass in the air, trying to get the waiters attention. He was contemplating taking out his phone and sending a video to gossip girl, when he noticed Damien forcefully grab the glass from her hand and place it on the table.
"Sorry," Damien quickly said as the bar tender looked at them with a frown. "I think she's had too much to drink."
"Really Sherlock?" The bar tender replied, unimpressed.
"I'll just take her up to her suite," Damien quickly amended, grabbing Serena around the waste who was now looking pale and slightly sick. "Come on Serena."
Chuck frowned now, watching them make their unsteady way towards the elevator. He was tempted to ignore the prickling on the back of his neck, to go back to drinking his scotch. After all Serena had made it very clear she didn't want him anywhere near her, and she'd been in plenty of situations before, she could look after herself. But when the waiter came over with his full scotch glass he couldn't help asking.
"How many drinks did Ms van der Woodsen have?" he said smoothly expecting an answer.
"One Mr Bass," the waiter replied promptly as Chuck held up a twenty.
Chuck frowned at this, looking after Damien and Serena, but they'd already left. Rising he buttoned his suit.
"Sir?" the waiter called as he made his way towards the door, he still held the full scotch glass on the tray.
"Put it on my tab," Chuck muttered behind him, distracted. "Hey, hey," he said quickening his step as the bar tender went to pick up Serena's almost empty glass. "Can I have a look at that."
The bar tender looked at him confused, but shrugged as Chuck held out his hand, he was the boss' son after all. Chuck took the glass, waiting for the bar tender to go serve a customer before he discreetly dipped his finger into the remnants of the drink and tasted it. He put it down, his doubt justified, eyes darkening. It tasted unusually salty. Quickly he made his way towards the bars exit.
* * *
**Spotted: Reformed S acting like wild S at the Palace bar, with new boy Damien in tow. I wonder what brought on this relapse? Does it perhaps have anything to do with a certain N having a romantic candle light dinner at Brooklyn with his bohemian girlfriend? Give me as much deets as you can people, this promises to be juicy. **
**xoxo GG.**
* * *
_A/N: Sorry it's been so long. I'm buy moving house =(. Thank you so much for the reviews, I'm really appreciative of them, and they have all been so positive. I don't think I've ever reached the 90s in reviews for any of my stories, especially not this quickly. You guys are great = ). _
_I'm sorry if this chapter has grammatical errors and is not flowing right. I was really trying to get something up among this chaos. Next chapter: someone will get punched and someone will get kissed lol. Sorry this didn't' follow what I said last time but sometimes my muse has different ideas for what I write in any given chapter. But I do have a basic stencil, so never fear. = P._
_Oh yeah and sometimes Gossip girls speculations can be wrong like in this case = ). But it will effect how everyone else will view a situation. _
_Thanks again, and don't forget if you read review ; ). _
15. Some Room Only We Know
_**Chapter XIV**_
**Some Room Only We Know**
Chuck had gone up to the suite, though his instinct told him he was unlikely to find Damien and Serena up there. True to form the place was empty, save for Eric lying on the couch with his ipod plugs in his ears. The younger boy looked up at Chuck's entrance, his brow creasing at the sight of the nefarious boy who had been MIA the rest of the school day.
"Hey," he said softly, his face quizzical as he pulled one plug out of his ear and sat up. "Is something wrong?"
Chuck thought with amusement that of course Eric would immediately think something was wrong with the voluntary sight of Chuck in their family suite. He considered alerting the younger boy of the situation, leaving the whereabouts of Serena to his capable hands, but he dismissed that thought. He still felt like he owed him one, and Chuck always paid his debts.
"No," he managed to reply smoothly. "I was just looking for Lilly."
"Mom?" Eric looked speculative, raising one eyebrow.
"Yes, I feel apologies are in order. You don't happen to know where she is do you?"
"Uh…her and Bart went out for dinner or something…" Eric was still reeling at the idea of Chuck wanted to apologize to an authority figure.
"Huh," Chuck grunted absent minded, surprised his father was home. Typically Chuck was the last to know of course. "I've got things to do…I'll see you."
He didn't wait for the other boys reply, turning on his heels and pressing the elevator button whose doors immediately opened. He took out his mobile as soon as they slid shut, pressing a familiar button and placing it on his ear. The sound of Sharon, the front desk receptionist filtered through.
"This is Chuck Bass. I was just wondering if you could tell me if Damien Daalgard has rented a room tonight?"
"Mr Chuck I'm not sure if…" she hesitated, Chuck repressed the urge to roll his eyes. Whenever his father was in town the staff hesitated in fulfilling his less than ethical requests, which on other occasions they didn't seem to have a problem with.
"Would it help if I told you I found his phone at the bar and merely want to return it to him," Chuck explained smoothly, adding a hint of impatience in his tone to show her he wasn't going to be polite for much longer.
"Well…if that's the case..I'll just look it up," he smirked at her hesitant acquiesce. "He's rented out room 173," she produced a few key taps later.
"Thank you," Chuck supplied with, it always paid to be polite with useful help. He hit the engaged button, looking darkly at the phone. Obviously Damien had been hoping to get lucky tonight, and had no scruples about how sober or willing Serena was.
He pressed the button for the fifth floor, maybe harder than necessary as small shooting pain stabbed at his finger. Cursing he withdrew it, ignoring the numbness he turned to his phone, scrawling through his contacts to find a long unused number.
"Hello," a female voice sounded through the phone.
"Theresa," he intoned, trying to ignore accusing brown eyes that kept swimming to the forefront of his mind.
"Chuck…I wasn't expecting to hear from you again," she didn't sound entirely unhappy, Chuck was thankful that at least this trist had ended amicably.
"Are you working tonight?" his mind was functioning a mile a minute, trying to come up with a plan B if this one failed to produce any results.
"Yes…do you w-" she began, he didn't hear the rest, relieved this was going to be easier for him.
"Good, I need a favour," he said, getting straight to the point and showing her this was mere business. Chuck Bass never did do overs, he was strictly a one time, been there done that kind of guy. At least he used to be until a certain limo ride…But that was an isolated incident. "Do you still have that useful key card of yours?"
"I could get into a lot of trouble for that kind of favour…" she said, her voice lowering to a whisper.
"Please I'm the boss's son," he scoffed. "Besides I'll make it worth your while, I heard you wanted to get in on the club scene?"
He could tell she was contemplating it, weighing the pros and cons. He waited impatiently, tapping his foot and checking his gold watch.
"Okay, when do you need it."
"Come up to the fifth floor, room 173 right now," he said brusquely, not aware how much like his father he sounded right then.
"You're lucky I like you," she replied dryly. He didn't bother to reply, merely engaged the call and proceeded to watch the yellow light moved down each number as the elevator descended. He sure as hell hoped this wasn't all in vain and he got there in time, otherwise he'd be seriously pissed.
* * *
Theresa was waiting for him outside room 173, dressed in the Palace uniform. His eyes grazed over her automatically, but he wasn't really paying attention. He immediately zeroed in on the key card she was holding up in her smooth hand. He reached out confidently and plucked it from her fingers, she didn't resist, looking at him with curious eyes.
"Do I want to be around when you're using this?" she queried, her eyes flicking to the security camera hidden by a smooth black dome of glass in the corner of the hallway.
"Probably not," he said, smirking confidently though he was itching to enter the room. "I'll get it back to you as soon as I'm done. And I'll make sure your application to Club 30 is moved to the top of the list."
"Happy to help," she said, her lips curling up in a satisfied smile. "Maybe we can meet up sometime."
"Maybe," he muttered, completely disinterested but deciding not to give his usual cutting dismissal, not while she could call Bart about his sons suspicious behaviour. She turned and headed for the elevator, putting an extra sway in her walk that Chuck didn't even notice. When he heard the elevator slide shut he let out pent up air, quickly going to the door and sliding the key card along the lock. Without a second thought he swung the door open, entering the hotel room.
It was a generic one, smaller than his suite obviously with a little kitchenette and living area decked in neutral colours. They were both empty, some noises coming from the half closed bedroom. Chuck immediately made his way there, trying to keep quiet, it wouldn't do to warn Damien or any drugged up friends he may have, especially if it turned out Serena wasn't even here. He paused at the doorway, glancing through the crack exposed as it lay partly open. A Rolling Stones song was playing softly, Chuck tried to repress rolling his eyes, all thoughts of the clichéd soundtrack leaving his head as he saw Serena lying on the bed with her hair tangled and one of the straps of her dress fallen off her shoulder. Her eyelids were flickering, her hands moving weakly trying to feebly push away Damien who was lying next to her attacking her neck with his lips.
"No…" she groaned, hardly coherent but obviously distressed as she turned her head away as he tried to envelope her lips.
"Come on baby, don't be like that," Damien said, grabbing her hand and pressing his face to hers.
Chuck had seen enough, bile rising to his throat. He threw the door open, roughly he grabbed Damien by his shirt pulling him off Serena and toppling him onto the floor.
"What the hell," Damien yelled, looking up at Chuck with wide eyes, Chuck noticed his pupils were dilated, obviously he was high. He scrambled to his feet, his shirt buttons were undone, hanging half off his shoulder. Chuck sneered at him.
"You've got five minutes to get out of here before I call security," he said, his voice dangerously quiet as he held up his phone. He had contemplated doing it before he came, but he knew Bart would be made aware of the situation and by proxy Lilly. One rule that held between the four Upper East Siders, in war time or peace, was to never call the parents in an emergency. It's one they all strictly adhered to over the years, some having to exercise it more than others.
"What…Are you against a guy and a girl having some fun now Chuck?" a small amiable smile plastered on Damien's face as he recognised his fellow drug buddy. "You seemed all for it last weekend."
"There's a basic requirement for the girl to be conscious," Chuck drawled, trying to keep his cool. Even among Lotharions like him there were certain standards. Never pretend more then you were willing to give, never forget protection, and never partake in something with an unwilling or unconscious partner, strictly for legal reasons of course. He tried to ignore the vague memories he had of that night with Jenny Humphrey, or that time in the kitchens with the blonde girl now lying helpless on the bed. The memories along with the guilt were blurry with unusually high amounts of scotch and coke, it hadn't been a good time of year for him.
"Chuck Bass the knight in shining armour huh?" Damien scoffed, unwittingly reflecting Chuck's own thoughts. He began buttoning up his shirt, the mood was already killed. Chuck watched him, his jaw tight. "I guess I should thank you. She was a bit too out of it for my liking anyway. I'll be seeing you again Serena," he called softly to the bed, smirking in an unpleasant way as he looked at the leggy blonde curled there who had no idea what was going on.
"Come near her again, and I'll make sure you get put away," Chuck stated, his eyes darkening.
Damien didn't like this threat, his amicable smirk leaving his lips as he glared at Chuck, his mood turning. He stepped forward, his dead blue eyes trained on Chuck.
"What, do you think I'm not good enough?" he hissed, cocky. "All I need is her alone somewhere, a bit of the good stuff, and she'll be all over me. I can have that stupid whore anytime I want."
Chuck didn't know what overcame him. Maybe it was the fact he called Serena a whore, and the only person who could do that in anger was Chuck. Maybe it was the fact he made Chuck wonder uneasily if this was what he had been like that night, high with Serena, that other night drunk with Jenny, and he hated the thought. Or maybe it was just because Damien's cocky attitude pissed him off. Regardless of the reason Chuck found his fist rise in an arch hard and fast and slam into Damien's face. He heard something crack and repressed a curse, feeling the satisfaction of knowing he had done more damage to Damien then the other boy had done to him, as blood spurted from Damien's nose and he cried out, reeling back with the force and pain.
Resisting the urge to cradle his hand Chuck glared at Damien, giving him his best poker face as the other boy made to come after him.
"Try it and a sexual assault charge won't be the only thing you'll have to worry about when security gets here," he snarled.
Damien hesitated, then like a typical coward he decided better of it, settling for holding his nose and trying grabbing up his jacket which he'd left on the floor near the door.
"You're not worth it anyway," he spat, Chuck ignored the jibe, smirking as Damien kept a wary eye on Chuck as he backed through the door and then high tailed it out of the room.
As soon as the door slammed shut behind him Chuck grabbed his hand, allowing himself to feel the shooting pain go through his wrist. He hoped he hadn't broken it, tested moving it and with relief found he could with only a small amount of pain. Sprained then, which meant no unsightly cast and awkward questions would have to be addressed. With that concern out of the way he cast his eyes to Serena, who had been oddly silent through the whole volatile scene, though it was unsurprising considering how out of it she had been.
Chuck felt his stomach drop slightly as he saw Serena was lying on the bed, eyes closed, her chest barely rising and falling.
"Serena," he snapped, remembering what Blair used to do in these situations he went to her side, tapping her face sharply. "Serena wake up."
"Mhmmmm," she groaned indistinctly, weakly turning her face.
"Shit," Chuck swore, slapping her again this time slightly harder and trying to get her to open her eyes. He wondered how much Damien had put into Serena's glass, a lot by the looks of it.
Chuck kept on tapping Serena, who was responding weakly, trying to keep one eye on her while he pressed number one on his speed dial.
He resisted the urge to snap it shut impatiently at the fourth ring, waiting a while longer. His patience was rewarded as the ringing abruptly stopped.
"Drunk dialing again Bass?" Blair answered flippantly. He could hear the pounding beat of some club music through the phone, some curious girls voices in the background. Of all the nights for Blair to go out, this was not the best.
"It's an emergency," he answered her question with an urgent tone, trying to keep his cool as Serena flopped helplessly as he shook her lightly with one arm. "Serena. You need to get here right now, room 173 the Palace."
"I'll be there as soon as I can," Blair said gravely. She didn't bother to question him further for the details, or even suspected it was a ploy. They all took the word emergency seriously. Chuck continued to shake Serena with one arm, trying to keep her semi conscious as he furiously typed an sms with his other. He knew Nate wasn't going to pick up a call from him right now, but hopefully he'd read the sms. He kept it simple**: Emergency, Serena. Room 173 the Palace**. As soon as it sent he threw the phone carelessly onto the empty side of the bed.
He turned his full attention on Serena now.
"Serena, talk to me," he snapped, for some reason feeling annoyed at the naïve blonde who long ago should have realised not to trust people, especially men. His frustration heightened as she didn't even groan this time, her eyes rolling in the back of her head so only the whites could be seen.
He cursed again, grabbing her long limp body up now, and ignoring the pain in his wrist, he dragged her towards the bathroom. He really hoped this worked, otherwise he may have to break the golden rule of silence after all.
* * *
"What's wrong Blair," Penelope immediately interrogated her with a malicious smile and overtly curious eyes. "Is Chuck harassing you?"
Blair knew immediately that as soon as she left the news that Chuck had called her would be going straight to Gossip Girl. She couldn't do much about it right then however, writing a mental memo to herself to make sure to humiliate Penelope next chance she got.
"It's nothing," she replied negligently for now, not bothering to look at Kat, Iz or Penelope as she began to mentally chart the best possible routes through the gaps in the crowd towards the exit. "I have to go."
She saw Penelope open her mouth to barrage her with some more questions, but luckily someone bumped them both, dancing enthusiastically. Seizing her opportunity Blair waved at her minions sweetly, then quickly turned and rushed out. Immediately all thoughts of them out of her mind as she contemplated with dread what Serena had gotten into now.
* * *
"This is the third night you've invited Nate to eat with us," Rufus commented from his place on the couch. The blonde boy had made his excuse an hour earlier, Vanessa pulling him away for dessert. She would take no for an answer, despite Dan's pressing to stay longer, in the hopes he could eventually weave in an invite for Nate to sleep over.
Though Rufus was open hearted and sympathetic to Nate's situation, even he was beginning to become suspicious of Dan's great enthusiasm to play a fifth game of scrabble. "Is there anything you'd like to tell me son?"
"So? He's uh…a nice guy. I wasn't aware we were having a food shortage or something? Although chilli for a second night in a row Dad?" Dan began to babble, as he fitfully collected the dirty plates, barely taking a breath in his usual awkward demeanour.
Rufus watched him slightly bemused, as did Jenny from the kitchen counter.
"You know what I think," the younger blonde girl pronounced mischievously "I think Dan has a man crush."
"Hardy har," Dan glowered at her as he moved around the counter and allowed the dishes to clang loudly into the sink. "I'm sorry if some of us are just trying to do a good turn for a friend. I mean, the poor guy is living off microwave meals, but fine I won't invite him over it upsets you both so much."
"Hey, hey no need to get defensive," Rufus said standing up and stretching. He supposed Dan would tell him the problem soon enough, probably something about a certain blonde, he was having similar problems of his own in that general area and could empathise. "I think I'll head to bed, that third game of scrabble really took it out of your old man. Don't forget to do your homework and brush your teeth."
"Dad please," Jenny said rolling her eyes at Rufus' lame joke.
Dan just nodded his head absent -minded as he buried his hands in soapy water and scrubbed the dishes, trying to figure out how he was going to help Nate, without letting him know he was helping him. If there was one thing the socially awkward Dan was aware of, it was that guys had their pride, and on no uncertain terms were you allowed to openly off them help, as stupid as that idea was.
"I think Nate left his phone here," Jenny commented just as Dan finished putting the last plate in the draining board and turned off the taps. He turned, glancing at the sleek blue compact phone she held up in her hand. "I wonder what's on here." she looked at the screen with burning curiosity.
"Hey, hey, didn't anyone tell you snooping is rude?" Dan said, quickly wiping his wet hands on his jeans and plucking the phone from Jenny's navy blue nails. I'll give it to him tom-"
He was cut off by the buzz of the phone in his hand. Automatically he glanced down at the screen, a message had popped up. A small picture of Chuck smirking with Nate was next to a speech bubble containing small black print. Dan was going to look away and shove the phone in his jeans pocket away from temptation, but he caught the familiar letters of Serena's name. His eyes widened as he read it in full, his stomach plummeting. What did Chuck mean by emergency? Was Serena okay?
"Who's snooping now?" Jenny demanded, pouting at the injustice.
"I…I've got to go," Dan said, making the split second decision, not even hearing Jenny. He absently shoved Nate's phone into his back pocket, heading for the door.
"What? Why?" Jenny demanded, her curiosity sparked.
"If Dad asks I've gone to Vanessa's, be back soon," he said, not glancing back, grabbing his jacket from the hook along the way.
"But Dan," Jenny called after him, he was already out the door however, his heart racing with unspoken fear as he ran down the stairs.
* * *
When Blair got to the door of the room with the shiny 173 on it she sent Chuck a quick message, just two words, I'm here. The door was open a few seconds later. She paused , his usually coiffed hair was ruffled, the front of his shirt was damp. His face looked like the definition for disgruntled.
"Where is she?" Blair asked after taking in his appearance, pushing past him authoritatively.
"She was almost unconscious, I got her in the shower-"
"You didn't leave her there did you?" Blair asked, quickly heading for the bathroom. She knew Chuck would be smarter than, but it didn't hurt to check.
"No," Chuck said, his voice slightly annoyed. "After proceeding to flail around getting us both soaking wet, and ruining my silk shirt by the way, she began to vomit." His voice was slightly disgusted, Blair couldn't repress a small smile at the tone. Chuck had heaved out the contents of his stomach on a number of occasions, but someone else's was another thing entirely.
"Good," she commented as she headed for the sound of the heaving girl. "At least she's getting it out of her system."
She by passed the bedroom, noting the ruffled sheets, and paused at the bathroom door. She glanced down at Serena, who Chuck had left sprawled by the porcelain bowl with her long legs tangled under her, retching into the toilet.
"You could have tied her hair back," Blair scolded slightly, quickly bending down near Serena and holding the long locks back.
"With what?" Chuck queried, exasperated. He had been holding her hair back himself, but he was loathe to admit that to Blair.
The retching subsided and Serena's face emerged at that moment. She looked wrecked, her eyeliner was smudged, making it look like she had dark shadows. Her hair was tangled, still dripping, and her dress clung to her.
"B?" she exclaimed weakly, her voice raw as she looked at Blair in confusion.
"Hey sweety, everythings going to be okay," Blair intoned softly and soothingly, rubbing Serena's arm, immediately in best friend mode. Chuck watched her, this was one facet of Blair's character that few were ever privy to.
"Gosh, I'm so cold," Serena sighed absently, wrapping her arms around herself, a small shiver wracking her body.
"It's okay, we'll get you something dry to wear," Blair soothed, looking up at Chuck questioningly." Do you know what she took?" she didn't bother asking why yet. Serena didn't always have to have a reason to go off the rails, sometimes it just happened.
"She was roofied," he replied, waiting for the explosion.
Blair looked up at him stunned, her face frozen for a second. Before she could react however an insistent knock came from the door.
"I texted Nate" Chuck said by way of explanation, heading for the door and leaving the shivering Serena to Blair. He was appreciative that the blonde boy had put aside their argument. Of course, he thought spitefully, he didn't expect anything less of the Labrador loyal Nate, who probably would have dived off a bridge for Serena. Then again if he was honest with himself Nate probably would have done the same for Blair and him too, though he had never felt the urge to test the theory.
It was a bit of a shock when he opened the door and Dan Humphrey walked right through into the suite, his eyes raking through across the room in desperate search of Serena.
"Dan, what are you doing here?" Chuck asked, unable to keep the surprise out of his voice. It was a testament to the experience they had shared the other night that Humptey Dumpty had turned to Dan.
"I uh…Nate left his phone at my place and…Is Serena here? Is she okay?"
"She…" Chuck in a rare moment was lost for words, unsure of what path to take. He wasn't sure whether to lie to Dan or tell him the truth.
"She's in the bathroom. You don't happen to have any spare clothes with you do you Humphrey?" Blair queried pertly, standing at the door of the bathroom with her arms crossed and her eyebrows raised.
"Spare clothes?" Dan demanded, his eyes widening, resembling saucers.
"She had to have an unexpected shower. I trust you know your way up to her suite. Go get something, make it something warm," Blair commanded like one expecting to be obeyed.
"Hey, hey wait a second, what happened? What's going on here?" Dan demanded himself, not wavering at her dark eyes.
"Clothes first, questions later. Unless you want Serena to get hypothermia," Blair snapped, eyes flashing at the question to her authority. Chuck guessed she was buying them some time, wanting to get Serena cleaned up a bit before Dan saw her. Even if they told Dan what had happened, it would be more likely that the Brooklynite would pass the calculation stage and go straight to wanting to use the responsible party as a punching bag. They didn't need a heated head right now, first they needed to take care of Serena. If Dan saw her after a quick face wash and damage control, perhaps they could have some time to evaluate the best course of action while he fussed over her.
Catching Blair's eye Chuck nodded imperceptibly, letting her know he understood she wanted Humphrey out of her hair, for Serena's sake as well as her own. He supposed that it would be advantageous to accompany Dan as well, to ensure Eric didn't get a hint of the turmoil below. The younger boy didn't need to worry unduly.
"I'll go with you. But I guess you and Serena would prefer it if you went through her closet, though if you'd rather I did…" he leered at this, making Dan's decision for him.
"Fine, but after that you'll tell me what happened," Dan stipulated, giving both Chuck and Blair searching looks.
"Fine, now go," Blair said, shooing them with her hand then quickly disappearing into the bathroom as Serena began to retch again. Dan hesitated at the noise but Chuck took him by the arm firmly, pulling him towards the door.
"Don't worry, Blair will take care of it," he assured Dan with supreme confidence as the other boy glanced back with a furrowed brow. "Now, I don't suppose you could show me where my sis keeps her delightful underwear."
Dan shook his arm out of Chuck's, mouth open slightly at the other boys smirk. In the end he decided not to deign the inappropriate comment with an answer, instead shaking his head and heading for the elevator.
* * *
By the time Dan had managed to find Serena a nightgown and dressing gown for warmth, while Chuck made inappropriate quips, it took them fifteen minutes to get back to the 173. Blair had locked the door to the bathroom, rather ominously Dan thought, and merely snaked an arm out to grab the clothes before she slammed it shut again. The sound of running water muffled any other sound within. So while Dan stood at the door anxiously, Chuck explored the room more fully, confident that if Blair needed help she would call out.
He didn't have to go far to find what he was looking for. Smirking as he spotted the rectangular piece of plastic lying on the wooden dressing table. Taking the card he picked up the plastic phone, dialling the familiar number without even having to glance at the menu. Why not have some fun while they waited?
"Hello, I'd like to order a bottle of Dom, a truffle sandwich and some mint scotch…and a plate of waffles." He added that last bit in grudgingly as Dan glanced at him. "Just charge it on the account for the room." With those clear directions he put the phone down, smirking satisfied.
"You're seriously ordering room service at a time like this?" Dan asked disbelieving. He though he had discovered an inner layer of Chuck Bass last night, but maybe he was just a shallow jerk.
"Damien left his room card here," Chuck explained over patiently, holding up the shiny piece of plastic. "Which means he didn't sign out, which means whatever we order from this room is going to be charged to his account." He thought the other night that perhaps Dan Humphrey wasn't such a loser as he'd first imagined, but maybe he should just stick with his first impressions.
"Wait, Damien from school? What does he have to do with anything?" Dan asked.
Before Chuck could formulate a vague answer the bathroom door opened. Blair was dragging a wildly swaying tall Serena out, now clothed in a dry nightgown.
"A little help here wouldn't go astray," she hissed, missing Nate who was always good with the physical labour part of things. Dan rushed forward a beat later, Chuck stayed where he was beside the dressing table, figuring that he'd give the other boy something to do. Besides now he didn't have anything to occupy him his wrist was beginning to ache again.
Between Blair and Dan they managed to get the exhausted Serena into bed, as soon as her head hit the pillow she sighed and her eyes closed, easing into a natural sleep now her body had expelled most of the toxins. Dan pulled the covers over her without Blair even having to ask, tenderly brushing some of the hair off her face. Blair watched him with an almost approving look, while Chuck looked away, trying to keep a scornful look on his face at the open display of affection, cradling his aching wrist absently.
"Are you okay?" Blair queried, her voice hushed as she looked over at Chuck and frowned slightly at the sight of his wrist.
"Fine," Chuck muttered, he hated any sign of weakness, physical or otherwise.
"No you're not," Blair hissed, coming to stand in front of him she grabbed his wrist non too gently, examining it. It was slightly swollen, one of his knuckles split from the impact with Damien's nose. "What happened?" Blair queried as Chuck winced at her probing fingers.
"I punched Damien," he said lowly.
"Again, what does Damien have to do with this?" Dan demanded, looking up.
"Shhh," Blair hissed as Serena stirred uneasily. Dan glanced down at her with worry, then looked up at the two frowning. "His wrist needs some ice, watch her." Blair commanded, grabbing Chuck's arm and dragging him out of the room, clicking the door shut behind them before Dan could protest.
"If you wanted to be alone with me that badly all you had to do was ask," Chuck smirked. Blair didn't retrieve her hand or snap at him, merely ignored the jest, turning to him with earnest eyes once they reached the kitchen.
"What happened?" she demanded.
"I thought we were here to put ice on my wrist?"
"What did he do to Serena?"It had to be something pretty bad for you to punch him."
"What makes you think I punched him for her?" Chuck sneered, knowing the right inflection wasn't in his voice. He hated how Blair assumed he was some sort of white knight like Nathaniel, didn't she know he was one of the villains? "The guy just pissed me off."
"Fine, whatever," Blair dismissed his lame excuse. "But what did he do?"
Chuck sighed, rubbing his head and feeling suddenly very tired. He was in sore need of a drink right then, he wondered how long it took for room service to get to the common man's rooms.
"No ice until you talk," Blair said, her chin set stubbornly as she glared at him.
"You're a hard bargainer Waldorf," he drawled.
"I only play with the best," she conceded.
* * *
Dan sat by the bed, alternating his glances between Serena, and to the hotel door where the soft muttering of Blair and Chuck's voices were filtering through. He contemplated bursting through the door and demanding an answer from the deviant two, half out of his chair. Just as he resolved to do so Serena moved slightly in her sleep, giving a small whimper. The pathetic sound decided Dan and he slumped back into the chair with a woosh of air, his eyes trained on the soft face of the sleeping blonde.
Serena's brow was furrowed, her eyebrows drawn in a distressed line. Without really thinking about it Dan reached out, gently brushing his fingers over her forehead as if to wipe away her distress. She moved her face towards him again, a small smile curving her lips. One hand reached up restlessly in her sleep, touching his fingers and freezing him.
"Dan," she murmured sleepily, her voice hoarse, her eyes still closed.
"Yes Serena?" he finally decided to reply.
Serena didn't respond, a smile just curved her pink lips, lighting up her face, her brow smoothing. She murmured something, now gripping his fingers with her hand lightly and pulled him towards her, her eyelids fluttering. Dan hesitated for a second, but she seemed quite insistent, and he suddenly felt exhausted. Gently and with a few pauses he lay down beside Serena on the bed, not even bothering to take off his shoes, even though the sheets were probably more expensive then his whole wardrobe.
Serena's smile grew wider, she rested her head on his chest, instinctively snuggling closer to him, curving her bodies with his. Dan unconsciously snaked his arm under her, falling into the familiar position. He glanced down at her face, smiling slightly. She looked so beautiful right then, a small satisfied smile curving her lips, her chest rising and falling in a feather light pattern of sleep.
A yawn suddenly forced Dan's jaw open, his eyes drooping slightly as the warmness of their bodies and the steady sound of breathing. His eyelids grew heavy, and he thought he'd just rest his eyes, just for a second…
* * *
By the time Chuck had explained everything, and Blair had reigned in her own temper, about half an hour had passed. Blair had gotten the ice from the fridge and surprisingly gently placed it on Chuck's wrist, and they had begun formulating plans of attack, all of which were very elaborate and somehow ended with Damien's gruesome death. Chuck was appreciative that Blair did not bring up his own misdemeanours in this area, and he tried not to think of them himself. After all they had been isolated incidences, just those two when he had been unusually high and drunk, even for him. Just two occasions, where he had stopped….eventually…The thought didn't make him feel any better. He occupied himself with immediate action, ordering as many pornos as he could to the room, then turning the volume down and the TV around so it faced the wall (out of respect for Blair). It was even better than the room service, seeing as Damien's father or better yet mother would probably get the bill.
Blair and him laughed over it as they opened a bottle of Dom and shared a drink together. He wondered if perhaps they were stalling as they shared another glass. Perhaps they didn't want to have to face Serena when she woke up, and explain to her the events of the night before, make them all think about what could have happened. He didn't really care though, he hadn't spent this much time with Blair, like this, in what seemed like forever. It was nice, and he almost wished it didn't have to end. Of course she was Serena's best friend, and after they finished the last drops of their second glass she rose, grabbing the plate of waffles.
"What are those for?" Chuck queried, watching her lazily as she headed for the still closed bedroom door.
"I just thought Humphrey might be hungry…What? It's like doing charity, he probably eats those packet waffles you get from a store," Blair protested at Chuck's raised eyebrows.
"Don't tell me he's growing on you," Chuck mock sneered.
"Please," Blair shuddered, as if the very thought was horrific. She opened the door and entered quietly, after a second Chuck got up and followed. The room was dim, the only light filtering through the open door where they stood. The rectangular crack illuminated the curled up Serena on the bed, and lying next to her, with her head resting on his chest, was Dan. Chuck moved away awkwardly after a second, feeling like he had been intruding on some sort of intimate scene. Blair followed him, closing the door quietly behind her and placing the plate of waffles carefully on a coffee table nearby.
"What's that smile for?" Chuck immediately attacked as Blair had a soft look in her eyes and a small smile curling her lips.
"I'm not smiling," she protested, quickly turning it into a scowl. "Really he could at least have taken off his shoes, he's getting Brooklyn dirt all over the sheets."
"Since when have you been so concerned about the helps work?" Chuck queried, slightly amused.
"I've always been concerned about the less fortunate," Blair sniffed. "Especially if they have to clean sheets which have Brooklyn all over them. Anyway since when have you punched people, should I be concerned you've caught Cabbitch Patch-itis?"
"Inventive," Chuck smirked, heading towards the mini bar and avoiding Blair's interrogative gaze. He tried not to examine why he had bothered in the first place, how his motivations had something to do with a year ago when he was the threat to an inebriated Serena... It wasn't worth thinking about.
He grabbed the door with his bad wrist, forgetting too late and wincing, pulling back as the small shoots of pain went through it.
"You should put the ice pack back on it," Blair scolded, coming forward and taking his wrist again. Chuck looked down at her bent head, noticing how her brown curls were loose, not as perfectly formed after struggling with Serena. She still looked beautiful however, perfect in her imperfection. His throat felt suddenly dry, he felt a familiar electric pulse running from her soft fingers up his wrist.
"What?" Blair asked, an odd awkward soft smile on her lips as her brown eyes glanced up and caught his hazel ones fixated on her.
"I…I uh…" Chuck stumbled, for once unable to think of any kind of witty remark, his throat feeling tight and his stomach lurching. Before words could escape from his lips without his leave the door to the bedroom suddenly opened, making Blair drop Chuck's hand quickly as if she had been burnt.
Dan stood in the doorway, looking bleary eyed at the two of them uncomfortably, his black hair sticking up.
"What Humphrey?" Blair snapped.
"Uh…Serena's awake," Dan said awkwardly rubbing the back of his neck and feeling like he had interrupted something intimate.
Both Chuck and Blair shared a look, anxiety in both their eyes, though to Dan they looked completely composed.
"All right then," Blair finally said, her fingers reaching up to straighten a headband that wasn't there. She walked past both Chuck and Dan and headed into bedroom, Chuck followed reluctantly after a second, Dan close behind.
* * *
**A/N: Sorry it took so long. I've been without internet for weeks, plus moving and uni D =. Thank you for the reviews. Review this chapter and give Chuckles a hug = ). **
**I've written the next two chapters so R&R please = D.**
16. Not a Single Word Was Said
_**Chapter XV**_
**Not a Single Word was Said**
Serena was on the bed, her blonde hair fanning out around her face. Her pillows had been built up, obviously by the ever caring Dan, so she was raised in bed, like someone in a hospital. At the sight of Blair and Chuck she tried to sit up, but quickly gave up on it as her head began to swim, her hand immediately going to hold it and a sharp hiss escaping her lips.
"Hey, hey are you okay?" Dan asked anxiously, quickly rushing to her side and taking her hand.
"Fine," she replied weakly, looking up at him and offering a weak smile. "But I uh…I still can't…"
"Remember?" Chuck interposed here, he was about to say being drugged would do that to you but Blair stepped heavily on his foot with her heel, causing him to shut his mouth abruptly. She glared at him, obviously warning him to be patient with the blonde girl.
"What happened, why are Chuck and Dan here…B?" Serena's voice cracked slightly, confusion and frustration causing tears to pool in her large blue eyes as she looked pleadingly up at her friend. Dan squeezed her hand slightly in support, and she squeezed back. He too however was looking at Serena's best friend with demanding eyes.
You would think the leggy blonde would be used to these types of situations by now. She had woken up without a memory plenty of times without anyone else's help. But Blair knew every time it frightened Serena like it was the first, like she could never understand this was the consequence for her actions. And this time it wasn't even her fault. Perhaps she had been too trusting, but one of them needed to be and it sure as hell wasn't Chuck, Blair or even Nate now.
"Do you…do you remember anything?" Blair asked, unsticking her mouth and trying to keep her face calming as she went to sit beside Serena on the bed. Chuck stayed where he was, she could tell the other boy wanted to slink out and pour himself another glass. He hated any sort of display of emotion. But to her surprise he stayed standing there, a solid support for her or Serena she wasn't sure, she appreciated it nonetheless.
Serena furrowed her brow in concentration, trying to pick out a memory from the frightening blank space in her mind at the prompting of her friend.
"I remember…Eric…we were watching DVD's," she said in small voice. "And then…something about Damien…"
"You went to have a drink with him?" Blair prompted her friend.
"Yes…I think…" Serena drew the words out slowly and unsurely, looking at Blair with confusion, still not understanding.
"He drugged your drink," Chuck supplied boredly as Blair was about to reply to Serena's fear. His posture spoke of indifference. He didn't even look at Serena, though all eyes had snapped to him.
"No..he can't have," Serena protested weakly, her eyes wide. "He wouldn't…I would have known,"
"He did, and you didn't know," Chuck interposed here, his hazel eyes unwavering as he now looked at the distressed girl.
"That's enough," Dan protested to Chuck's blunt delivery, his fingers curling into a fist though his anger was pounding for someone else.
Chuck looked at the other boy but didn't say anything further. He'd already said what was needed. Serena was clutching her hair now, some more memories raising their head, Damien with that wide toothy grin that once seemed so endearing but in retrospect was predatory. His strange turn of mood after she had rejected him. His odd insistence that she drink…And then another thought invaded her mind.
"He didn't…oh God he didn't touch me," she said, looking up now her voice breaking as she looked down at the gown she was wearing and the robe. Why did they have to change her clothes? And where were they, she hadn't even noticed the room was unfamiliar, the bed… Oh God it was disgusting, she needed to get away from it now. What had happened? She couldn't remember anything and fear choked her.
"No he didn't," Blair quickly said, grabbing Serena's arm and steadying her as she made to scrabble out of bed. "S, he _didn't_," she repeated as Serena's panicked blue eyes met her steady brown ones. "Chuck made sure of it." She added this last bit to redeem Cuck of his previous crass behaviour. She knew he had just been trying to help in his own way, trying to say the words quickly and directly, like ripping off a band aid. Her words did have some effect, making Dan and Chuck stop their Mexican stand off with different expressions.
"Chuck…he…?" Dan queried.
"Punched Damien, hard," Blair said, setting her stubborn chin as she glanced up at Chuck.
Serena looked up at the other boy with wide blue eyes, her face showing her shock, and then slowly appreciation swelled.
"Chuck…I…" she began, Chuck avoided both her and Dan's gaze. He should have revelled in it, being the hero, but instead he felt nothing but unreasonable annoyance. It wasn't rational, and probably at any other time, for any other reason, he would have been revelling like a narcissist, arrogantly smug at the debt he was now owed. But even he couldn't help remembering this was a debt being paid.
"I've just remembered security," he drawled, turning for the bedroom door, "I'll be back."
Before anyone could say anything to this he had shut the bedroom door behind him. Blair went as if to rise and follow him, but Serena gently touched her fingers, stopping her.
"We have to call the police," Dan finally said, his jaw clenched. His hand enveloped Serena's long slim fingers, gripping them hard.
"No," Serena protested loudly before Blair could decide whether to give her assent or not.
"Serena, what do you mean no?" Dan demanded, disbelievingly looking down at the blonde.
"No, we can't Dan…Mom, and Eric they won't…I just don't want it to become some big thing."
"Not a big thing that he roofied you and then brought you up to a hotel room?" Dan repeated dumbly.
"She means she doesn't want to be in the papers, in the front of magazines. A diplomats son, a society girl, can you imagine the kind of media hell that will be?" Blair explained, understanding her best friends reasoning immediately. She didn't add 'not to mention Serena's past, which would no doubt be dregged up and used by the defence to suggest she'd just had a wild night on the town and was now using it to destroy a poor innocent boy.' The most unpleasant thought was would Lilly even believe her daughter?
Dan didn't seem to need these things explained however, she could tell he was thinking about her words, reading the hidden meaning. He was smarter than Blair had thought.
"Does that really matter though?" Dan finally said, appealing to Serena now. "Serena, if Chuck hadn't…" his throat grew tight at this, the anger and fear pounding through him. "He needs to pay."
"And he will," Blair said smoothly, her and Chuck had already begun formulating a few plans.
"No," Serena interposed here once more, her voice firmer as she grabbed Blair's hand, looking at her best friend desperately. "You can't B. I just…I was so stupid to even trust someone like that…But I won't give him the satisfaction of…of even _thinking_ about him."
"That's very mature of you S," Blair began sweetly in her placating tone that suggested she knew best. "But-"
"You'll just make things worse. If you and Chuck start something, it will be all over Gossip Girl, and then everyone will find out," Serena pointed out firmly, showing Blair she knew what she was up to and she didn't want it that way. "You have to promise me B. You're not going to go after him, you or Chuck. _Promise _Blair."
Blair looked at the blonde, her friends voice was firm, her eyes set. When Serena set her mind to something it was very hard to dissuade her of it. And this time, perhaps the blonde did have a point. Perhaps scheming against Damien would result in speculation and the dragging of all their names through the mud. Rumours were always more twisted then the truth. If there was some way she could guarantee that Serena's name wouldn't be brought into it, she would have gone ahead without the bat of an eyelid. But somehow Gossip Girl always managed to guess, and she didn't think she could do that to Serena, not on top of tonight.
"Fine," she sighed heavily, "I give my word we won't go after him."
"But-" Dan began heatedly, he had almost been banking on Blair's need for revenge and the sick pleasure she took in watching others fall.
"Dan, please?" Serena beseeched, looking up at the other boy with wide beseeching blue eyes. Dan looked down at her, unable to continue his protestations as the dam seemed to burst and tears began tracing a track down her sun kissed cheeks.
"Hey, hey it's okay," Dan said, his voice slightly gruff as he took Serena in his strong arms and cradled her. "I promise, we'll do it your way. It's going to be okay."
Blair hesitated for a second, but as she saw Serena bury her face in Dan's shoulder and wrap her arms around him like he was some sort of life belt keeping her afloat, she decided her friend was taken care of. Rising softly and quietly she shared a look with Dan. He nodded imperceptibly, and she turned and walked out of the room, closing the door softly behind her. Turning she headed for the exit. Now it was time to take care of a certain dark eyed friend. She supposed there really was no rest for the wicked.
* * *
Nate smiled as he watched Vanessa talk enthusiastically about the film they had just seen. It was in French, so Nate had only caught ever fifth word, but somehow he had still enjoyed it. They were now walking home, their hands intertwined naturally.
"What?" Vanessa asked, a smile spreading across her cheeks as she noticed his blue eyes were trained on her. "You're bored right? I'm sorry sometimes I just get so passionate about these things…"
"No, no," Nate quickly protested, smiling and showing his perfect white teeth and dimple. "Actually what you said makes a lot of sense. Besides I love how passionate you are." His grin turned kind of sheepish but endearing, he pulled her towards him and placed a chaste kiss on her lips. "Besides, even if you were speaking about the stone age I'd still owe you for saving me from the famous Humphrey chilli. I wasn't sure how much more I could shove into my napkin without Rufus noticing. Ice cream desserts were like heave in comparison."
Vanessa laughed, her eyes conceding the point.
"It's not that bad," she tried to defend her best friends father's culinary skills.
"No, the first plateful Is great. But after three nights in a row?…The Humphreys are super nice, and I don't want to hurt Dan's feelings, but if he invites me to dinner one more night and it's chilli again, I'm going to get desperate." He laughed, showing her he was joking, that he was appreciative of his friend.
"Well I think Dan's just trying to get you away from all those microwave meals," Vanessa said, something not true ringing in her voice as she forced a smile, looking at him with probing eyes.
"I've got a cook," Nate defended, forcing himself to sound easy. They had a cook after all, _had_ being the operative word. "Anyway I was wondering about that dream in the movie, was it just me or did it make no sense whatsoever?"
Vanessa laughed at his cluelessness, easily distracted as Nate wanted, as she began a speal about the symbolism of the scene.
"Well this is my stop," she said a few blocks later as they pulled up in front of the battered door up to her apartment. She looked up at Nate, her eyes piercing, hesitating. "You sure you'll be okay to get home? Maybe you should just crash at Dan's."
"Nah, I'll just grab a taxi," Nate said carefully, brushing his blonde fringe from his eyes.
"But the loft is so much closer," Vanessa pressed. "I mean I would offer here, but between me and my sister there isn't room to swing a cat. But there's plenty of room in the loft, I'm sure the offer is still on the table and Rufus loves you…"
"I'll be fine," Nate said, slightly annoyed at her pushing.
There was a slight awkward pause between them.
"I'll see you tomorrow?" Nate said quietly, breaking it and trying to bring back the warmth. He lent down to press a soft kiss on Vanessa's cheek, but she hesitated, evidently warring with something.
"Nate is there something you need to tell me?" she finally asked, her eyes piercing as she analysed his reaction.
"Like what?" Nate asked easily, a slight edge to his voice.
"Look…Dan talks in his sleep sometimes when he's stressed, and Jenny overheard him…and I wasn't so sure if I believed it so I came down to your house this morning and…" Vanessa said in a rush, trying to explain to him.
"You what?" Nate demanded, retrieving his hand from her and stepping back, a frown over taking his face.
"Look Nate, I don't get why you kept this from us. Dan is your friend, I'm your girlfriend…"
"It's because it's none of your business Vanessa," he snapped angrily. "I'm handling it."
"Handling it how?" Vanessa asked in frustration. "By practically being homeless."
"Look, we may have gone on a few dates, but that doesn't give you the right to interfere in my life. You're not Se-" he trailed off here heatedly.
"Who Nate? Serena?" Vanessa demanded, bitterness choking her. "I guess if she offered you a place to stay in her penthouse suite you would jump at the chance."
"That's not what I meant," Nate snapped himself. "Just keep this to yourself, okay." With that he abruptly turned without even saying goodbye, striding down the street.
"Nate wait," Vanessa relented after a minute, calling after him. She knew he heard, his step faltered somewhat, but he continued walking and her pride wouldn't let her call out again.
* * *
Chuck slid his phone open with one flick of his thumb, glancing at the Gossip Girl post once more.
**Spotted: N & V, holding hands at the front of a theatre. C drinking alone at the Palace bar. Rather sad all around really.****xoxo GG **
His mouth twisted into a sneer at Gossip Girl's words. Other than the earlier post about Serena drinking with Damien, the gossip monger had posted nothing further about the socialite. Chuck was hoping it would stay that way. The picture of Nate and Vanessa did nothing for his stomach however. At times like these he would have called his best friend to get smashed with him, like all good friends do. Unfortunately, even if Nate did have his phone, Chuck was certain the other boy would not be answering his calls. The circumstances in which Chuck had reconciled with Serena did not make his mood any better.
Chuck indicated the bar tender for another one. He had opted to take a familiar bar stool near the kitchen exit, ignoring the woman sitting further down who was giving him looks. The dim light of the bar, supposed to create a mood, merely reflected his own shadowy thoughts. He wondered how many more glasses it would take for him to get drunk. It was times like these he cursed rather then was proud of the fact he had a high threshold for alcohol. He quickly took the full glass of scotch from the bar tender without even glancing at him. He drowned half the glass in one go, feeling it burn down his throat. He put it down on the black chrome surface, his eyes trained on the amber liquid as he tried to feel the relevant buzz and the fuzzy edge which usually followed it.
He noticed the brown curls and heels in his peripheral vision, but he didn't look up, concentrating on the bottom of his glass. She slid onto the tall stool next to him, placing her clutch on the surface, and shaking her head in the negative at the bar tenders look. They sat like that in silence for a little while. Of course she would know where to find him, there was no need to go far when there was a bar inside the building he lived.
"Here, I had them erase the hard copy," Chuck suddenly drawled. Without glancing up he took the small square plastic sleeve from his inside pocket, handing it to Blair lazily. She glanced at the disc, knowing it would contain the visual footage of Serena stumbling with Damien up to the hotel room 173. If he hadn't retrieved it immediately, Bart no doubt would have been made aware of his step daughters behaviour, and that would probably have led to all sorts of awkward questioning and interference. Chuck was efficient and always one step ahead, just like her.
"How?" she asked, placing the disc into her clutch, just in case Serena changed her mind. Though Chuck could buy many things from many people, he usually found the security force at the Palace impenetrable and loyal to his father, something which had irked him over the years.
"Sergei owes me a favour," he smirked, glancing at her now with heavy lids. "Especially after I caught him doing-"
"Please," Blair said, raising a hand and an amused eyebrow. "Some things even I don't want to imagine."
Chuck conceded the point, after all Sergei the security guard who oversaw the video surveillance wasn't exactly in his prime, unlike the black clad men on the floor. He was a portly Russian, who had the smell of vodka about him and a receding hairline.
"It wasn't pleasant," he smirked in acquiesce as she scrunched up her nose in disgust.
"Serena doesn't want to do anything," she said quietly after a pause where he took another sip of his scotch.
He glanced over at her, raising his eyebrows in scorn. "And you're going to do as she asks?" he queried knowingly smirking in disbelief.
"Yes," Blair replied simply, surprising Chuck. "She doesn't want anyone to find out, and if we retaliate everyone will know. We'll bide our time, get him later."
Chuck paused at this, wondering whether to argue the point or not. He gave up however, he would use almost anything to scheme with Blair and get closer to her, but maybe not this.
"It makes me really glad that you punched him though," she added, smiling slightly as he turned back to his scotch to show his consent and co-operation.
"Right," Chuck murmured bitterly, drowning the rest of it down in one go. When he put down the glass to his surprise Blair moved hesitantly, fitfully touching the hand that clasped the glass tightly with her soft fingers.
"You're different Chuck," she said confidently. He looked up with surprise, meeting her open brown eyes; her red lips were set in a thoughtful line. He should have guessed she would know what he was thinking about, even if he didn't fully realise.
"What was different?" he drawled, keeping his tone uncaring. "I wanted something and I was going to take it. I'm Chuck Bass remember?"
She didn't withdraw her fingers in disgust as he half expected, she could always read through him.
"Exactly, you're Chuck Bass. You might make lewd suggestions, you might even steal a kiss and a touch if you're really drunk, but you would never, ever go through with it," she said confidently, displaying more trust in him then he knew she should.
He smirked, shaking his head in disbelief. "I believe there are two ladies who would beg to differ," he drawled blasé, as if he didn't care. He shouldn't care, he wouldn't normally. But for some reason he found tonight had made him think about it, and he didn't like the feeling.
"You're different Chuck…_That_ was different," Blair stipulated, a second meaning in her voice. He glanced up at her now, she knew then, had known. She would, wouldn't she? He can't remember if he told her, it didn't matter. She saw it every year at the same time, saw how he always got extremely high and drunk and disappeared for days on end behind a haze. It was the time he was most fun, the time he was most dangerous. It was the time Chuck disappeared completely behind Chuck Bass. It was the only way he could cope with his father's odd absence from work, the flowers he took every year to a site he would never disclose to Chuck.
It didn't absolve him of anything, her eyes didn't. She just showed him she understood.
He looked at her, wondering how easy it would be to just lean closer, cup her face with his hand and put his lips to hers. But is this what he wanted, what she deserved? Here and now, in these circumstances. Maybe she deserved better, but he knew he wasn't prepared to give her up. He was never the self-sacrificing type. Just maybe for tonight…
"I have to go," he murmured, retrieving his hand not unkindly from hers. He took out his wallet, throwing a few notes on the bar. Blair didn't say anything, just watched him as he rose and left. His fingers brushing her back slightly, his hazel eyes letting her know he was grateful for her presence, even if he would never admit it aloud. After he had disappeared through the exit she let out a small gust of pent up air she hadn't even realised she had been holding, her shoulders slumping slightly. She glanced at the glass of scotch he had been nursing, it was empty.
She had seen a facet of Chuck tonight she had almost forgotten about. The vulnerable boy, the loyal friend, (she ignored the self-loathing mess that was hidden under the hooded eyes and the drawling voice, who didn't have their inner demons on the Upper East Side?) She thought it would be harder to decide then this, but she realised she had made been making it far too complicated, and looking at it now it really wasn't a decision at all. Now all she had to do was let Chuck realise that too.
Gathering her clutch she walked out, heading for the shiny glass doors of the hotel and out onto the cool New York street.
* * *
_One Week Later_
"No," Serena giggled, quickly backing up as Dan tried to dab her nose with the cold mess. In one hand he held a bowl full of bubble gum ice cream, the other hand was occupied with placing the finger he had dipped in the cold cream onto her lightly freckled nose. Serena's retreat was stopped by her back hitting the cold hard fridge, Dan grinned triumphantly, swooping in for the kill. However before his finger could touch Serena's nose she bit it gently, grinning. Dan paused, slightly stunned at the turn of events, but not unpleasantly so as Serena released his finger and her lips met his.
"Ah-hum," Eric cleared his throat loudly. He'd been sitting at the kitchen counter while this scene was unfolding, a bowl of chocolate ice cream in front of him, still decked in his school uniform. "Little brother sitting here remember."
Dan quickly broke away from Serena, colouring in embarrassment. Serena used the opportunity to dip her own finger in his bowl, smudging the ice cream across his cheek.
"Hey," Dan protested at the unfair play, wiping the ice cream off.
"I thought you could do with some more colour," Serena laughed. She quickly turned her eyes to Eric and away from Dan's tempting helpless look. "Shouldn't a certain little brother be out with his boyfriend."
"Jonathon has swimming practice," Eric shrugged. He had been used to giving such evasive answers lately. He wasn't sure why he didn't just talk to Serena about his problems with the other boy. Maybe it had something to do with the fact he knew Serena, Chuck and Dan were all hiding something about last Friday night from him, and he felt like being spiteful in return.
Before Serena could interrogate him further the elevator made that familiar annoying sound, indicating someone was entering the suite. Sure enough Bart walked in, suitcase in hand and suit on. He'd been trying to get in earlier from the office, so far he'd made it home before seven in two nights out of five. You had to give him props for trying, Lilly had commented dryly to Eric on one such night. Eric, feeling uncomfortable and wanting to defend Bart, who really had been more involved, had ended up biting his tongue and saying nothing, like he usually did to his mother.
"Eric, Serena, Dan," Bart acknowledged them, no surprise on his face at the sight of the Brooklynite in their kitchen. Ever since Friday night, where Serena had gone MIA, sneaking into the suite in the early hours of the morning, Dan and Serena seemed to be spending every waking minute together. Whatever had brought them together, and Gossip Girl had many theories, they seemed stronger than ever, and even more enamoured if that was possible. Bart frowned slightly as he did a head count of the children in the room.
"Where's Charles?" he queried, his lips thinning. Lilly and him had elicited a promise from Eric, Serena and Chuck that they would make it home for dinner this Thursday night, to spend time as a 'family.' It was already five thirty, and Chuck didn't look like he was returning home soon.
"Uh…he got an A in his literature paper," Dan supplied suddenly, trying to fill the awkward silence as Serena was evidently trying to think of an excuse. Bart had directed the question to her, knowing she was the weakest link.
Bart turned his blue eyes to Dan, his brows furrowing slightly in confusion.
"We uh…got them back early. Boy does that Ms Fraser mark fast. And he got an A, well an A minus, which I have to admit is kind of annoying seeing as I spent about three weeks writing mine while-" he cut off in his ramblings here, realising he was doing Chuck no favours, even though he was actually trying to help. "Anyway it was uh, pretty good."
"You read it?" Serena queried, her attention turned as she looked at Dan with surprise. She was still trying to get her head around the fact Chuck and Dan were no longer sharing hostile looks and vindictive snide remarks, though admittedly they weren't exactly best friends either.
"I am his tutor," Dan said, as if it was a normal fact.
"An A minus, huh?" Bart queried, to all three's surprise he had actually been distracted, looking thoughtful at the news.
"Uh, yeah, I'm just that good. That was a joke by the way," Dan said quickly at Bart's look.
"If you'd be so kind could one of you let me know when Chuck gets in," he said cooly instead of replying to Dan's bumblings. With that he turned and made his way up the stairs.
They waited for the click of the door to let them know he was safely in his room before they breathed easy again.
"So, where is Chuck then?" Eric queried. He felt proud of the older boy, and slightly hurt now they were reconciled that he hadn't come to celebrate and gloat about the news with his brother. It seemed like as much as he'd been seeing of Dan he'd been seeing less of Chuck, who was holed up in 1812, supposedly studying if his short texts were to be believed, and maybe they were in light of this news.
"Probably at Blair's," Serena shrugged.
"Yeah, and I've got to say he probably has a chance. I mean after Fr-" he cut off here at Serena's wide eyed look and Eric's inquisitive one.
"What happened Friday?" Eric interrogated.
"Nothing," Serena said, her voice strained. "Dan, seeing as this family dinner looks like it isn't going to happen, you want to catch dinner at Butters?"
"Butters? You know I live to have dinner among pretentious people from our class taking pictures of us for Gossip Girl while commenting on my lack of tuna sandwiches," Dan replied wryly.
"Great," Serena chirped, smiling sunnily she grabbed Dan's hand and her purse from the counter, barely giving him time to shove the ice cream bowl on the table, heading for the elevator quickly and ignoring Eric's persistent 'What happened on Friday?"
At the sound of the elevator doors sliding shut decisively behind them Eric sighed. He looked down at his full bowl of melted ice cream, and let his spoon clang into the bowl. Also rising and not bothering to change, he headed for the elevator himself.
* * *
Once Eric exited the revolving glass doors of the Palace and the soles of his shoes hit the pavement outside the entrance courtyard, he realised he had no idea where he was going to go. He was now certain Jonathon and him were over, seeing as they hadn't spoken in over a week. Jenny was probably working late at Eleanor's again while lying to Rufus about a study group. And as Eric walked among the pedestrians milling on the sidewalk, he acutely felt how lonely he really was. It was almost like when Serena had left…He tried not to let his mind go down that road again though. It wasn't that bad, everyone was just occupied. Once life quieted down again he was sure…well he hoped things would get better.
He was so occupied in his thoughts he didn't see the figure until he'd already bumped into him. He muttered an automatic sorry, looking up, when he realised the other pedestrian was a familiar face.
"Damien, hey," he said, smiling at the older boy. He had asked Serena how the drinks had gone, and she had been evasive, muttering something about Damien wanting more than friendship…and Serena loving Dan, then she quickly changed the subject with over forced enthusiasm to any other topic she could grasp at. Eric privately thought his sister had been unfair to the other boy, just because she was dating Dan now didn't mean she had to stop talking to other boys completely. Her and Nate had slept together for goodness sake and they were still friends, and Dan didn't seem to have a problem with it.
"Eric, hey," Damien said, smiling that familiar toothy grin. "How are you? Long time no see."
"Yeah," Eric grinned, remembering how they'd hit all the burger joints the day they first met. He hadn't laughed that much since he'd first started hanging out with Chuck. Of course Chuck seemed a bit too preoccupied now to have Wii death matches and just talk with the younger boy.
"Look I uh…I was just about to grab some dinner, you want to join me?" Damien asked, looking at the other boy with a small awkward inviting smile. "I understand of course…if you have other plans…" he quickly said as Eric looked at him with wide eyes.
"No, no I don't," Eric quickly said. "Actually dinner would be great."
"Great," Damien echoed, showing all his teeth as he smiled and slinging his arm familiarly over the younger boys shoulder. "So, how's everything been with you?"
* * *
Chuck nervously fixed his bowtie in the narrow glass in the Waldorf elevator. He frowned slightly at his hair, brushing his hand through it once more and trying to fix it just right. He smelt heavily of Tiffany's male cologne, a present Blair had given him last year. It was sentimental trite, but he had put it on knowing that she would appreciate the effort. In one hand he carried a bouquet of perfect pink peonies, in the other four stapled pieces of paper with neatly typed black print. On the front page a prominent red A- was visible. He had thought it was worth a plus, but it didn't matter really, all that mattered was the letter, and it was the right one.
If he really examined his feelings, why he had bothered to primp, ensure everything was perfect in his appearance. Why his chest felt tight and his stomach squeamish, it was because this was far more than a bet now. Far more than an attempt to seduce Blair. That A was the proof, proof along with the situation with Eric, along with Friday night and his fist connecting with Damien's face. Perhaps it was proof that Chuck could be that man, the one Blair wanted. It wasn't just talk anymore, 'I could if I wanted to',' would if I tried'. It was quantifiable, a letter right there in red on his paper, a paper he'd written himself, symbolising perhaps there was something more to Chuck Bass, something worthy of Blair Waldorf. That's why he felt it so acutely, that this night meant something more. He was on the edge of a precipe between his known life, and the unknown. But he tried not to examine these feelings too closely, if he did he probably would have pressed the emergency button and stopped the elevator from ascending right then and there.
As if to prove to him that he was too late to reconsider, the elevator stopped and the doors slid open, the foyer of the Waldorf suite open to him. Chuck stepped out, looking at the hydrangia arrangement on the table and the piano as if with fresh nervous eyes. Dorota quickly appeared on the stairs, looking down at him with wide eyes.
"Dorota, would you please be able to tell Blair I'm here," he said, as always polite to the maid, his throat hoarse as it suddenly felt very dry.
"Misses Blair is busy," Dorota replied, her face closed.
"Well, can you at least make her aware I'm here," Chuck replied, trying to keep the annoyance out of his voice as he forced a charming smile. "I'm willing to wait."
He watched the maid with resolute eyes. She took in his appearance, the pink poenies in his hand, the purple suit. The way his legs were slightly apart, his stance showing her he was in it for the long haul. Relenting she nodded and turned, he didn't resent her judgment, she was merely trying to protect Blair and he could understand that.
As soon as she disappeared up the stair well Chuck felt restless. His legs took him towards the piano, needing some sort of movement in his body to keep himself from running hard and fast as his instincts were screaming for him to do. That's when he noticed it, frowning slightly he lay down the paper on the shining black surface, picking up the jacket already laying there instead. It was a soccer jumper, a familiar site for Chuck, especially considering it had Archibald monogrammed on the corner breast pocket.
Without even noticing it Chuck let the poenies drop to the floor, bile rising in his throat. He threw the jacket down with disgust back onto the piano top, sparing one dark glance to the room hidden upstairs he turned and stalked out.
* * *
"I know it was well meant, but how could Dan let Jenny find out. And then how could she think it was a good idea to tell my girl friend?" Nate pointed out to Blair in frustration, looking at the brunette with those endearing green blue eyes. Blair barely restrained herself from throttling the boy, what was with it with men and their inability to ever accept help from anyone, even when they were practically homeless? Of course they had no problem coming to Blair with all their problems, that had always been the way with the four.
She glanced at the small Parisian clock, shaped like the Eiffel tower on her bedside table. There essay marks had been released today, Blair had gotten an A of course, the minus was not so welcome but luckily it was only worth 10%. Not so lucky was the fact she hadn't seen Chuck all day, and her hopes he would find her were looking less likely as the minutes ticked by.
"Nate, you know I'm the last person ever, ever, ever to defend a Brooklynite. But did you ever think perhaps they were just trying to honestly be nice? No ulterior motives, no wishes for charity. Just good old, honest to goodness, niceness?" she tried to keep the disgust out of her voice. "I mean, you know I would offer here if it weren't for Mom," she rolled her eyes at Eleanor's strict rule of no boys over, even though they both knew Blair didn't exactly follow it when her mother was away. "Serena would if you'd tell her, and Chuck-" she let the word hang as Nate's jaw tightened. She knew the other boy was still harbouring a grudge towards Chuck, although she was beginning to suspect it was more out of pride then any real anger. "You wouldn't think we were doing charity. So why do you find it so hard to say yes to a Humphrey? Unless you've finally admitted that we are so much more superior to them and you're going to break up with that bohemian mess as fast as a text can be sent."
"Blair," Nate admonished, and she shrugged, it was worth a try. "I guess…I guess you're right…"he said hesitantly, finally admitting what he probably already knew, though his pride wouldn't allow him to admit it.
"I always am," Blair said superiorly, "Now all you need to do is apologize to Vanessa…loathe as I am to say that, and your-"
"Miss Blair," Dorota interrupted Blair's words with a quick rap on her door, her face appearing a moment later.
"Dorota, can't you see I'm busy," Blair said.
"I'm sorry, but Meester Chuck is waiting downstairs, he said…" Blair didn't hear the rest, jumping off the bed as if she had been electrocuted. She quickly rushed to the door, when she reached it she glanced back at Nate, remembering him.
"Go, it's okay," Nate chuckled. He'd heard about the bet from Serena and was grinning slightly, momentarily forgetting his grudge against Chuck. "I'll leave through the service entrance. Thanks for the adv-" before he could finish Blair was already gone.
* * *
Before Blair's heels met the bottom step her eyes were already raking across the foyer, however no smirking Chuck met her eye. The room was oddly empty. Pausing with her fingers on the banister Blair frowned slightly in confusion. Her eyes caught the pink peonies on the floor, Nate's sports jacket beside it and her heart sank. She rushed forward, looking down at the flowers, guessing what Chuck must have thought. Before she could turn and rush to the elevator her eye caught the white paper resting on the piano. Urgency told her to leave now, however curiosity held her fast, making her hands reach out and take up the essay. The A- was clearly on the front, the red making her heart rise and then dip slightly. Her eyes brushed across the words softly. It had some mistakes, but all in all was well written. Flicking through the paper she was caught most by the last paragraph. The eloquence of the words, but mainly the sentiment behind them held her.
"_To Heathcliff it seemed as if love was his destruction, and revenge was his deliverance. Two opposing ideas that were forever intertwined. As long as love survived he had the chance to be saved. Love kept Heathcliff from revenge. However once the object of his life was destroyed at his own hand he consciously took the path of revenge, the path of self-destruction. By taking revenge against Cathy's child, he was taking revenge against himself. In this way revenge was his deliverance. By punishing himself, destroying any chance of redemption, he was destroying any vestige of the man left in him, carving away the part of himself that had ever loved. Delivering himself from the pain. For once Cathy was gone 'the world was a strange place' to him. Love became his enemy, torturing him unbearably for the harm he had done her, revenge his friend, helping him escape. In the end however it was love that was his true deliverance, the one redeeming quality that led him back to her. His inability to forget her was his continuing ability to let love in. Torture it may have been, but it is 'better to have loved and lost, then never to have loved at all.' In the end revenge may have driven Heathcliff, but it was love that consumed him."_
With paper still in hand she turned and ran for the elevator, not even bothering to put on a coat. She had to find Chuck _now_.
* * *
Chuck placed his hand on the blondes tanned thigh, she smiled up at him invitingly and he forced a smirk, taking another large gulp of his scotch. He wanted to get drunk, he wanted to get high, and most of all he wanted to get lost. What better way to do that than with a leggy blonde at the Palace bar? And she wasn't disappointing, tracing a pattern on his lapel with her finger.
"Maybe we should go somewhere a little more private," she whispered into his ear, her voice forced into a husky tone, attempting to be sexy.
"Maybe," Chuck smirked, turning his face as if to kiss her on the neck. That's when he was hit with the smell, the light wafting of Chanel No 5 she had obviously dabbed on her neck. Not saturated, just that perfect amount, enough to smell if you were lucky enough to get close. The perfume invaded his senses, making him think of a brunette with doe eyes and red lips.
Without a word Chuck pushed the blonde away and rose, not even bothering to take care of the drink, they could charge it to his tab. He stalked out, not hearing her disgruntled insults.
* * *
He found himself up in 1812 minutes later, a scotch tumbler in hand, slumped on a stool beside the breakfast bar. He could still smell Chanel No 5, and it made him sick. How could he even think she would wait for him, someone as damaged and twisted as he was. Nathaniel was so much better for her, he always had been and Chuck supposed he always would be.
The door clicked open but Chuck didn't bother to look up, instead rising and getting up to head towards his bedroom. Increasingly this week, whenever Dan was unavailable Serena had taken to coming up to 1812. She insisted on keeping the events of Friday night secret from Eric, claiming the younger boy had other things to worry about. But the problem with that plan was that she had always been a terrible liar. So she used Chuck's suite as a sanctuary. He hadn't minded so much, mainly sticking to his room writing his essay while she watched Jersey Shore. But tonight was not a good one.
"Serena I'm not in the mood for your whining, you know your way out," he drawled, carrying the scotch tumbler with him and strolling towards his room without bothering to turn at the sound of heels on floorboard.
"Chuck," her voice made him freeze. Maybe he would have realised sooner if he hadn't consumed quite so many glasses tonight, but her voice was unmistakable, he would know it anywhere.
"What are you doing here?" he finally spat, turning around and looking at her with accusing eyes. She stood before him, still in her school uniform (she hadn't had a chance to change, Nate ambushed her shortly after she had gotten home.) Anything else he was planning to say died on his lips as he saw the familiar paper still clutched in her hand.
"I read it," she said quietly, breaking the silence. "It was good."
"Let me guess, yours was better," he commented, trying to sneer but failing miserably as he desperately grabbed the paper from her hand and balled it up. "How about you go celebrate with Nathaniel." He never thought he could ever hate his best friend, but damn he was feeling close to that emotion right now as he ineffectively threw the scrunched mess towards the trash can and it fell short. He went to turn again but Blair suddenly grabbed his hand, forcefully turning him around and placing her lips firmly and demandingly on his.
He let her do it, tasting the familiar strawberries, smelling Chanel No 5, glorying in her soft lashes fluttering against his cheek. She was the one to break away, breathing heavily, looking up at him with doe brown eyes.
"Nate came over to talk about Vanessa," she said, breaking the silence again. He could tell she was telling the truth, though a part of him wanted to stay angry, he told it to shut the hell up. Impulsively he grabbed her with his free hand, shoved the scotch tumbler on the nearby counter as he kissed her hungrily. He was now free to take her up in both arms, turning her so her back pressed against the counter. She didn't stop him, though before things could continue, and against his better judgment, he pulled away.
"You only owed me a kiss," he pointed out huskily, looking at her. He was thwarting his own plan, but he didn't care, he just wanted to make sure she knew what she was getting into.
"I know," she smiled, "But I want this, whatever _this_ is. I want you."
He paused at this, at the intensity of her voice, the sincerity in her eyes. She was tired of playing games, tired of denying herself. She just wanted to be together. And he knew then, felt it well up.
"I…I…" he struggled with the words, they were there on the tip of his tongue, struggling to break free from his heart, and yet they were choking him too. The silence stretched as he didn't continue, disappointment showed in her eyes but instead of drawing away in anger and rejection she lent forward and kissed him softly and slowly on his lips.
"Are you sure?" he asked hoarsely when she broke away, searching her brown eyes. Was she sure she wanted this, whatever it was. This twisted broken thing. Him the way he was, no 'I love you's', no knights in shining armour, just Chuck Bass.
She answered him with another kiss, hungrier this time, and he didn't ask again.
* * *
**A/N: There you go, Chuck and Blair together again lol. For how long, who knows? = P. **
**Hope this wasn't too corny, but oh well. Sorry it took so long, just got internet back finally!**
**Thanks so much for the reviews last chapter: mlharper, TerraBeth, socialitegirl, ellibells, svenjen, Curious Blonde and Temp02 . **
**Please, if you read, review. = )**
**Up Next: The mirrors in the St Judes toilets can get pretty steamed up lol. A mockumentary needs to be filmed, but it seems to turn into a documentary. And a little game of truth or dare. **
**Inspirational picture for chapter: google: "0318-chuck2" it's the first pic. **
**Inspirational song for end of chapter: Fix You by Coldplay. Lol no idea why...just cause...**
17. Rumour Has It
_**Chapter XVI**_
**Rumour Has It**
Blair smiled softly, the warm sun bathing her skin. She snuggled closer to the warm familiar body of Chuck next to her, taking in his cologne. Her muscles felt pleasantly weak, the warmth seeping into her very bones. After spending a good amount of time in Chuck's suite Blair had insisted he take her home, it was a school night after all. Once they got there however she had found a message left by Eleanor on the answering machine telling her she wouldn't be home tonight, and no sign of Dorota. How could a girl resist, especially when Chuck was so insistent? She sighed contentedly again, so glad it wasn't an important school da-
Her eyes snapped open suddenly. It was Friday, and if she remembered correctly she had a calculus mid semester exam first period, which meant it _was_ an important school day. Blair quickly sat up, panic rising in her throat as she scrabbled for the clock on her bedside table, trying to focus her eyes on the time. Chuck groaned softly beside her, annoyed at the disturbance to his pleasant slumber.
"Thank you," she cried to the ceiling as she saw it was seven thirty, and getting to school on time was still a possibility.
"Where are you going?" Chuck groaned, looking blearily from the bed and trying to grab Blair's hand as she quickly threw the covers off her and ran to the bathroom.
"It's Friday," Blair exclaimed from the doorway, looking back at him.
"So?" Chuck glanced up at her from the bed, his hair was sticking up at odd angles, his eyes bleary.
"I have a calculus test today," Blair almost shrieked. "In about thirty minutes, and I'm not even dressed yet."
"I repeat, so?" Chuck drawled, raising his eyebrows. Old habits were hard to beat.
"You're hopeless," Blair cried out, turning around and closing the door behind her, clicking the lock shut just in case he got any ideas about wasting her time. "Just to remind you if you skip another day of school this year you're going to have to face another disciplinary meeting, _with_ Bart."
Chuck's smug smirk disappeared at this reminder.
"Fine, I'm up, I'm up," he groaned, scowling slightly as he rose from the bed and grabbed his trousers, doing a slight unsteady dance to get into them, and almost falling over.
"You're still going to be late," Blair commented from behind the door, the muffled sound of her voice suggesting she was brushing her teeth. Chuck rolled his eyes at her nit picking as he slipped on his shirt and his shoes, not bothering with the jacket or socks.
"That's why school's have locker rooms. I'm texting Serena now, I'm sure she won't mind providing a uniform service."
"Good luck," Blair scoffed loudly.
"See you at school," Chuck returned with quietly, pausing at the bathroom door, his socks and jacket rolled up in his arm. Blair didn't reply however, the sound of high powered water from the shower muffling any noise. Chuck hesitated for a second, but the buzz of his phone interrupted the moment, prompting him to exit the room and close the door softly behind him. He glanced down at the message from Serena.
**I'll do it, but only because Bart is pretty pissed you didn't come home last night. Eric and me have tried damage control but nothings worked so far = S. Where were you?- S**
His phone buzzed again with a second message.
**Btw where the heck do you keep your uniform?-S**
Chuck smirked at the second SMS, trying to push away his slight uneasiness at the thought of Bart's temper. He typed a quick reply, starting with at Blair's. He paused however, his thumb hovering over the send button. He felt uncertain about revealing that information right now. He wasn't sure exactly what this was between him and Blair, or if he should tell anyone yet. In the end he erased the beginning of the message, leaving the end bit. He hit send as he reached the elevator with strangely no sight of Dorota.
**Check the rumpled bundle under the bed.-C**
He got a reply soon after.
**Ewwwwwwwwwwwwww, don't you ever get anyone to clean under here?-S**
He smirked at the many but didn't reply, instead scrolling through his contacts until he found Arthur's number. For reasons he didn't bother examining he told the driver to pick him up down the street, closer to Nate's place. He didn't want his limo spotted in front of the Waldorf apartment, just until he and Blair had a chance to define whatever_ this_ was…
* * *
By 8:15 Blair stepped out of her town car and onto the pavement in front of the St Judes and Constance Billiard steps. She was perfectly manicured, her red headband set neatly on top of her brown curls. She set her fashionable designer Gucci satchel on her slim shoulder, her eyes scanning the steps for Serena. Instead they found Penelope and her three other minions perched pretentiously on the top stairs. She would have abandoned them for her search for her best friend, but Penelope chose that moment to look up, catching Blair's eyes with a superior little smile and wave. Forcing herself to not grind her teeth Blair returned the smile, walking up to her small court.
"Blair," Penelope greeted her sweetly. The other three girls looked on with wide eyes.
"Penelope, Kat, Iz…Nelly," Blair added the last greeting with a drop in her tone, the other girl was still her biggest competition for Yale.
"We weren't expecting to see you today," Penelope noted as Blair stood there, looking down at the girls with superior analysis.
"Why wouldn't you?" Blair demanded archly, narrowing her eyes at the other girl.
"Well we thought with the thing on Friday…" Penelope trailed off.
"What thing on Friday?" Blair commanded, her thoughts racing to Serena and wondering if perhaps the slime Damien had dared to spread a story.
"Well with that call from Chuck, and then you leaving…" Penelope trailed off in calculation, raising her eyebrows superiorly. The other girls watched curiously, Blair could tell they were judging her with their eyes, waiting for her to concede to an encounter with Chuck so they could begin their lofty consolation and sage advice.
The blast about the call had yet to hit Gossip Girl, but Blair thought that it was not for want of Penelope supplying the information.
"What has that got to do with anything?" Blair snapped, annoyed at their predatory looks. "Chuck called me, so what? I didn't leave because of him."
"Really because it seemed like…" Penelope began, watching the other girl for a sign of weakness, a crack in her perfect veneer.
"Really Penelope, you should know I don't run when anyone calls, especially not a guy, unlike _some_ people. How is Enrique by the way?" the stab hit home, Penelope coloured slightly at this, remembering a certain Enrique last year, who had treated her like a chauffeur. Her eyes dropped, Blair's smile turned triumphant, sometimes people needed to be put in their place and Blair was just the person to do it.
"Why did you-?" Iz began asking tentatively, Blair's viscous glare silenced her.
"I wasn't aware I had to answer to any of you," she snapped.
They all stayed quiet at this, the other two lowering their eyes for fear of being admonished. Satisfied Blair settled her skirt and perched on the step above the others, placing her satchel down beside her. Her discussion with Serena would have to wait.
"So, any updates I need to be made aware of?" Blair asked, commencing the ritual morning debrief.
"We've uh…completed the pamphlets and posters for the assembly," Nelly Yuki stuttered, looking up hesitantly and cringing as Blair turned her brown eyes to her.
"Efficient," Blair said, gracing her with a rare smile, it was always good to bestow subjects with praise as well as fear. "And ahead of schedule."
"Well I just thought, with the assembly coming up this Monday it wa…" Penelope began, butting in here and glaring at Nelly.
"Excuse me?" Blair asked stiffly, her insides freezing slightly at Penelope's words.
Penelope went silent immediately, thinking Blair was admonishing her.
"What did you say?" Blair asked impatiently, trying not to snap as she looked at Penelope urgently.
"I said the with the assembly coming up this Monday-" Penelope repeated the sentence, Blair only heard so far as Monday. The assembly was on Monday, _this_ Monday, and they hadn't even done anything for it yet. And she was the one who Mr Pieser had put in charge.
Blair felt panic rise in her, an odd falling feeling. And that's when she noticed Chuck walking across the quad, still dressed in the suit he wore last night, a smirk plastered on his face as his eyes were trained on her. Blair couldn't deal with this, not right now. She glanced at the others, they hadn't yet noticed Chuck and his unusual intense gaze, to her relief.
"Excuse me," Blair said abruptly, cutting off whatever Penelope was saying, she rose abruptly rushing towards the school doors without a second thought, phone in hand. She didn't know what had happened, she was usually so on top of things, but with the drama with Chuck, and the stress of her essay, not to mention Serena's troubles, the time seemed to have slipped by like sand through her fingers. And now she was facing an emergency of her own. Blair scrolled down the contacts until she found him, pressing the Cabbage Patch doll icon.
"Blair?" he answered, his voice only half awake, clearly the tortured writer was not a morning person.
"Humphrey we have a crisis, meet me in the library in the morning break, don't be late," she snapped. She hung up without waiting for his answer.
* * *
Chuck spotted Blair as soon as he strolled through the gates. She was perched on the top step as per usual, above the small court that were her minions, like the Queen she was. Ignoring the stares of nearby people at his rumpled suit and untreated hair, he headed straight towards her purposefully. He couldn't help a small smirk curling his lips up as he recalled the events of last night.
She was talking to Penelope but she chose that moment to look up, glancing distractedly across the quad until her eyes met his. He knew she saw him, their eyes locked, and the smirk turned into an almost smile, but before he could take another step she abruptly said something to the other girls and got up, almost fleeing through the school doors.
Chuck faltered in his step, his smile immediately disappearing, his eyes hardening. He'd thought she said she wanted to be with him, that she didn't care anymore. Last night was as near to perfection as they could hope to be. And yet with the morning sun it seemed she was back to avoidance. What kind of game was Blair trying to play now? Chuck didn't know, but he wasn't amused. Anger began to rise in him, replacing the morning's peaceful feeling, burning away the slight hurt at her public rejection that he would never admit to.
He started towards the school steps, this time with a more sinister motive. Before he could reach the first one however someone grabbed his hand.
"Chuck, where were you? I've been waiting by the gym entrance forever." Serena complained. She held his school satchel out to him, it was bulging, presumably with his uniform. Chuck grabbed it from her roughly, frowning in annoyance. "Is there something wrong?" Serena queried, noticing his dark mood and looking at him curiously.
"No," Chuck snapped, perhaps more aggressively than usual, glancing instinctively towards where Blair had been sitting. This just helped to fire Serena's curiosity further, as she followed his gaze.
"Is it um…about you and Blair?" she asked tentatively after a pause. She had been trying to be more considerate towards Chuck, to show her appreciation for his actions on Friday night. Of course she should have known better.
Chuck turned his dark gaze on her, the cool smirk he plastered on his face not matching his fuming eyes.
"There's nothing between me and Blair, as unobservant and blonde as you are I thought even you would know that," he drawled, as if the matter didn't concern him at all. Serna hardly registered the insults, merely targeting on his affected tone. As unconcerned as he outwardly seemed to be, she still couldn't brush away her suspicion. After all even she knew the more Chuck was hiding, the colder he became.
"Of course…I just thought with the bet and…" Serena trailed off into obscurity, nipping he lip with her white teeth. "She didn't answer her phone last night, that's all…" she finished with, watching Chuck curiously.
Of course she hadn't told Serena yet, Chuck thought wryly. She didn't want anyone to know, just in case, and he was perfectly fine with that. After all who wanted to be tied down, when he could have anyone? His eyes turned back to the minions, grazing over each one of them, his mind calculating which one would do the most harm. Serena followed his gaze, sure Blair wouldn't like the way Chuck was examining her current minion nemesis Nelly Yuki, even if what Chuck said was true and nothing was going on between them.
"Chuck, you've got to change into your uniform remember," Serena said, clicking her fingers in front of his face, and grabbing his arm. She began dragging him towards the gym. "The bell is going to go in five minutes and you haven't even had a shower."
"Since when have you been so concerned about my personal hygiene sis?" Chuck asked, raising an eyebrow and leering at her. Unusually though Serena did have a point. If there was one virtue Chuck actually did value it was cleanliness, which all contributed to his appearance (Chuck Bass persona). He was a self proclaimed narcissist after all.
"Since you started to smell," Serena proclaimed, scrunching up her nose. Chuck scowled but despite himself looked concerned. Serena couldn't hold back her sly grin at Chuck's alarm, it broke across her face giving up the hoax. It was the reason she was so bad at practical jokes, she never could hold her mirth.
"Not funny," he snapped unamused at her smile, "You better have remembered my scarf," he threatened. But he still allowed Serena to drag him along. He could always follow through with his plan after he had freshened up. It would probably be all the more effective for it.
* * *
**Spotted: Lonely Boy in a library study room. Maybe not so shocking. But Queen B following him a minute later is! What I would give to have cameras in that room, sigh. At least a girl can dream, and speculate, and publish... **
**xoxo GG.**
* * *
"Humphrey," Blair greeted stiffly as she entered the musty wooden room. She immediately shoved a bundle of papers in his face. Dan took them automatically, glancing at them and instantly noticing the angry strokes of red. Blair had been trying to remain composed throughout the day. Her mind was working furiously, trying to come up with a way to film and edit a whole mockumentary for the assembly in just one weekend. Her solution had been to make cuts, a lot of them. Red marks were all over the script, Dan frowned as he noticed they were mainly the things he had written.
"You've pretty much cut everything I wrote," he finally accused Blair, glaring up at her.
"Sacrifices had to be made," she shrugged smiling superiorly. "Do you realise we only have two days to film and edit this to perfection?"
"Oh so my one second scene couldn't last, but you're idea to film at Tiffany's? I thought I told you to cut that, it has nothing to do with the project and you know it," Dan said huffily, brandishing the particular paper in front of Blair.
"We have to set the theme," Blair said, her smile turning into a sour glare. She was even more incensed because he was right, she knew it would end up on the cutting room floor, but she'd kept it in just to be contrary anyway. "People have to be able to relate. Your Dad's wannabe rockstar loft would just make them laugh."
"Oh and you-" Dan began snippily but before he could continue the door suddenly opened. Blair's heart jumped in her throat as she quickly turned. The last thing she needed now was to be spotted with Humphrey, alone in the library, bickering almost like familiar friends.
"Blair there you-Dan?" Serena's bubbly voice sounded, her eyes brightening as she saw her friend and turning into puzzlement as she spotted her boyfriend sitting behind the desk, eyes wide like he was a deer caught in headlights.
"Shhhhh," Blair hissed, quickly pushing Serena out of the way and slamming the door shut behind her, locking it. "Keep your voice down."
"What are you guys doing?" Serena asked, watching her friend as if she was crazy, then turning back to Dan. There was no suspicion in her voice, she knew Blair and Dan too well, but there was utter and complete bemusement.
"We have an assembly to plan," Blair exclaimed, turning on Serena. "Do you realise it's on Monday, and with all the confusion I haven't even organized anything? And I'm the one in charge!"
"Wow, that really is surprising," Serena shared a look with Dan, repressing a laugh.
"Yeah, you not immediately jumping at the chance to organize everyone? A shocker," Dan intoned dryly.
"This isn't funny," Blair hissed, giving them both a dark look.
"Okay, okay B. Don't worry we'll both help," Serena placated, keeping her voice in soothing tones as she touched Blair's arm gently. Serena may have not understood Blair's need to perfect everything, but she knew it was important to her. "You, Dan and Nate can start filming Saturday. And on Sunday we can all stay up all night if we need to."
Blair looked slightly more relaxed at her words, settling her curls and inhaling subtly. That was until she realised what Serena had said.
"Wait, where are you going to be on Saturday?" she demanded, pulling her hand away from the blonde's slender fingers as she looked at her suspiciously.
"Well uh…Mom kind of said…we…Chuck, Eric and I… have to do family stuff…" Serena murmured evasively, dropping her eyes from her friend's interrogative gaze. It hadn't been the ideal proposition to her either this morning over breakfast, but her desperation to keep Lily from finding out about Friday night kept her from protesting over much. Besides Bart had been the one to propose it, with his cool blue eyes and stern look, and it was hard to argue with the man directly.
"Family stuff?" Blair repeated, her voice raising an octave.
"Anyway Saturday wouldn't be uh…good for me either," Dan said, quickly intervening to turn Blair's wrath from Serena to him. It worked, however despite Serena's thankful look, he was wondering if it was worth it. Blair looked like she was about to spit venom at him.
"Not good for you? Well you'll have to make it good for you, won't you Humphrey!" she commanded, her voice becoming dangerously low and poised.
"I can't," Dan said, rubbing the back of his neck awkwardly. "My uh…Mom wants to visit…she's coming to New York…" he avoided both their gazes, knowing Serena would show concern and query as to why he hadn't said anything before to her. Blair actually paused for a second, some sympathy flickering through her, but that was quickly brushed aside for the crisis this put her in.
"And what exactly am I supposed to do with just Nate?" she demanded of both of them. Both their gazes turned back to her, blue and brown eyes revealing they were stumped. Before Serena could try and form a semblance of an answer the bell rang, calling them back to the class mill. Blair hissed as she checked the time, she had a French exposition to do, not assessable but still…
"I have to go," she said, looking up at the both of them with an accusatory glare.
"Don't worry B, we'll figure something out on Sunday," Serena promised, "It will all turn out fine," she finished with optimistically.
Blair rolled her eyes at the other girls positivity. As she grabbed the script abruptly from the stunned Dan and turned on her heels, she called "It better."
The words hung like threat in the air as she unlocked and flung the door open, flouncing out.
"I'm really hoping once I do Psych 101 I'll understand her…and yet why is it I already know it won't help?" Dan said, blankly looking after the haughty girl.
"She's just a perfectionist," Serena excused. "She just wants to-" Serena trailed off here, her eyes widening as she recalled why she was here in the first place. "Blair wait," she fitfully called, surprising Dan as she rushed to the study room door with some vain hope. "I need to-" Blair was already gone however "-ask you about you and Chuck." She finished the sentence despondently.
"What about Blair and Chuck?" Dan asked curiously.
"I don't know," Serena sighed, turning around and slumping into the chair opposite Dan with frustration. "That's the problem."
They both had a free period now, something she had been looking forward to before, but now…
There was a silent pause between them, Dan was trying to focus on the script though he couldn't read anything while Serena glanced up at him, evidently hesitant to voice the obvious question. Eventually she dove, that was what girlfriends were for right?
"So, do you want to talk about your Mom?" she asked quietly, sympathy pooling in her blue eyes as she looked at Dan. She lightly touched his rough fingers with her own, her pale pink nail polish standing out against his sunbathed skin.
"Actually I uh…I have to collect a paper from the office. I'll see you after school," he said, gently moving his hand away and quickly rising and grabbing his bag, slinging it heavily over his shoulder. He gave Serena a quick peck on the cheek and disappeared before she could react, all movements without even meeting her eye. Serena touched her cheek, where he'd barely grazed his lips against her skin, as she watched him hurry towards the library exit, as if desperate to get away.
* * *
Chuck lent against the railing near the top of the steps, his eyes trained meditatively on the small group of Blair's minions standing in the courtyard criticising other girls as they walked past. He was washed and dressed in his uniform, his loathing for being unkempt over riding his disgust at using the common school gym showers. It was worth it in retrospect, he felt fresher now, his hair perfectly set, his scarf hanging in the place of honour around his neck. Sometime dozing in the back during Math's and Literature had done wonders for his mood. The spring had returned to his step, a fresher outset on life, and perhaps on this situation with Blair.
The idea of seducing Nelly Yuki, the girl that irked Blair the most right now, was becoming even less of an appealing one. The girl sitting timidly among the other minions while Penelope clearly tried to act like the top dog while the master was away. A flock of sheep without their ruler, it was pathetic. Chuck could do so much better, and perhaps Blair deserved better to. Perhaps Chuck should just confront her directly, rather than react in his usual way with games. Chuck couldn't help thinking, unusual for his cynical outlook on life, that perhaps there was something more to Blair then just a vindictive pleasure in manipulating him. Before he could explore that thought further his phone buzzed in his blazer pocket. Reaching up Chuck picked it out of the expensive lining, flipping it open and turning his eyes from his vigilant watch for Blair for a second to glance down.
It was a Gossip Girl post, something about a sophomore. Chuck sneered slightly, must be a slow day. Absently he scrolled down the blog, surprised there was nothing about last night and thinking snidely the monger had lost his edge. That's when his eyes caught the update posted earlier that day, most likely when he was in the shower. It was accompanied of a picture of Blair looking suspicious as she glanced behind her, her hand resting on the door to one of the library study rooms. Chuck barely registered the words for a second, disbelieving, but finally they sunk through. His fingers turned white as he gripped the phone, a sneer twisting his features. So Blair had time for Humphrey Dumpty? Well then Chuck would show her how much he time _he_ didn't have for _her_. He'd always wanted to bag a minion before he got the Queen anyway. Chuck buried the phone back in his pocket, glancing up now with predatory eyes towards the timid Nelly Yuki.
* * *
As soon as the last word left Mrs Blake's lips Blair was out of her American History class as fast as her Valitino heels would carry her. She clutched her books in her hand, barely paying attention to the people she authoritively pushed past. Blake was a well known talker, the teacher every student dreaded having before lunch as she knew she had her audience trapped with their desire for good grades, or at least a pass in some pathetic people's cases. It was just Blair's luck she was the only teacher of history this year, and the single senior class being taught had to be before the lunch break.
"Move, some of us have important things to do," Blair snapped at some junior girls standing in the corridor gossiping. They looked up at her with wide eyes, quickly scrabbling out of her way. Blair didn't spare them a second glance or thought, desperately wanting to get to her locker, dump her books then rush to her debating meeting. It wouldn't do for the Senior Captain to be late. Usually she revelled in the rush of her life, the need to be in different places highlighting her importance, tested her efficiency and organization. She was not revelling so much today, her life seemed to be more hectic then busy recently.
When Blair reached the corridor with her locker in it. Nelly Yuki was waiting obediently there, however there was another intruder not so welcome. Chuck was arrogantly leaning against her locker, his eyes locked on Nelly Yuki, an avarice smirk gracing his face as he raised his hand and brushed his finger against her cheek. The timid girl stepped back nervously, a blush spreading across her cheeks and neck. Blair knew Chuck could be very persuasive when he was at his most charming.
"What is going on here?" Blair heard the shriek in her voice, but she didn't even care. All she could do was stare with wide brown eyes, irrational anger rising in her. Nelly turned to look at her with wide eyes behind her oversized glasses, panic written all over her face. Chuck turned his gaze more leisurely, a haughty look on his face.
"Nelly and I were just getting acquainted," Chuck drawled, watching the Queens reaction carefully with some amusement. Blair looked at him for a moment, like he had grown a second head. It took her a second to actually understand what he was saying.
"You," she turned her rage to the girl. She knew she would just play into Chuck's twisted hands if she tore that smug look off his face by ripping out his hair, like her fingers were itching to do. "You know to be a part of the elite Chuck is out of bounds!"
It had always been the rule, as soon as Blair became Queen, Chuck Bass was just not seemly. Of course the Queen could scheme with him, become friends and share quips, and later on share other things…but she was the Queen! She was an exception to all the rules, it was one of the perks that came with the title.
"He was just-" Nelly began, her voice breaking with fear.
"I don't care what he was _just _doing," Blair snapped, cutting her off, a crack in her perfectly controlled voice.
"Easy Blair," Chuck sneered, putting a dominant hand on Nelly's waist, to both Blair and the girls shock. Nelly jumped slightly at the unexpected contact, and Chuck smirked. "Don't you have Brooklyn trash to rendezvous with?"
"That's it," Blair hissed, she shoved her books into Nelly's hands and grabbed Chuck by his arm, digging her nails in.
"What are yo-Ow," Chuck protested as Blair dug harder, dragging him forcefully towards the girls bathrooms which were situated conveniently down the hall. She swung the door open violently, shoving Chuck in first.
"Out," she snapped at two freshman girls who had looked up shocked at the entrance of Chuck Bass and Blair Waldorf. "This is a seniors bathroom, be thankful I don't do worse," she snarled as they stood frozen, the bolder of the two looking like she was about to protest. "And if I hear this getting out to Gossip Girl, you know your life won't be worth living. I take it you understand?" she raised her eyebrow cooly.
They almost gulped in synchronization, nodding frantically with wide eyes they haphazardly threw their make up into their bag and ran out the door past Chuck and Blair. As soon as they were out Blair grabbed the door, slamming it shut. She quickly went to the cupboard which was under the sink. It held toilet paper and other bathroom paraphernalia but behind them was a familiar small door stopper. Blair took it out, efficiently shoving it into the door crack, to ensure they weren't followed.
Chuck used the opportunity to glance around the feminine bathroom, curiosity over taking him. Surprisingly even he had never been in here. He noticed with some disappointment it mirrored the boys one, except with larger mirrors and a shell pink scheme instead of ocean blue. As soon as Blair straightened his eyes turned back to her.
"You stole that idea from me" he commented with wry amusement from where he had taken position leaning against the sink top.
"Don't look so smug, every slimy perverted idiot who hits on anything that moves has his moments," she retorted at his superior air.
His smirk disappeared at the insult, his eyes darkening.
"Well at least I have the sense to not lock myself in a library room with Brooklyn," he retorted, his face twisting with forceful disgust.
"What are you talking about?" Blair demanded, coming forward now, her voice rising an octave with frustration.
"This," Chuck snapped, taking out his phone and flicking a few buttons before throwing it at Blair. She caught it, glancing down at the post on Gossip Girl.
"Cabbage Patch and me? As if," Blair scoffed, looking up at Chuck now with a raised eyebrow and sceptical look. "Wait a second…" she began slowly as she noticed Chuck's shoulders relax slightly, a flicker of relief on his face. "Were you jealous?" she demanded, partly amused partly disbelieving.
"Jealous of what?" Chuck snarled, rising now from the sink top and glaring at Blair, "If you want to risk catching things in Brooklyn that's hardly my problem. Why should I care?"
Blair mentally stepped back, shocked at the vehemence with which he said the words. She realised perhaps there was more going on here then she had originally thought.
"I thought…after last night…" she began hesitantly, some vulnerability cracking through, her brown eyes searching Chuck's hard face. He softened slightly, looking down at her, relenting as her eyes seemed to pool with hurt.
"Last night was-" he trailed off, his voice turning husky. Gently he reached up, brushing her cheek with his fingers softly.
"Chuck," she sighed, and something else welled up. He couldn't resist her soft inviting lips, leaning in he kissed her hungrily.
They broke apart after a few seconds, the mood having changed, all thoughts of anger and jealousy forgotten. Blair took charge now, pulling the lapel of Chuck's blazer, directing him towards the counter now as her lips attacked his again. Once his back hit the marble surface he took her in his arms, turning them around and lifting her up so she could sit on the smooth surface, a much more convenient position. Blair scrabbled with his tie, pulling at it as Chuck ran a burning trail down her neck, his fingers entangled in her hair. They were lost in each other, nothing seemed to matter but this moment.
The rattling of the door knob interrupted them, causing them to both look up with feral anger at whoever had dared to interrupt them.
"It's closed for cleaning idiot," Chuck yelled out as the persons persistent attack of the door knob. It stopped immediately at the sound of the male voice, obviously whoever it was fled, intimidated. He turned back to Blair. "We should have rented a library study room," he smirked gruffly against Blair's neck.
"This is better," Blair sighed as she worked silkily on the buttons of his shirt. "More private." Her voice only held the slightest bit of calculation, but Chuck, used to reading her, caught it. He paused mid kiss, his mind warring with his desire. His desire may have won out if Blair hadn't decided to say something.
"Chuck?" she prompted softly, eagerly. "Someone else could come at any second." Her choice of words decided him. He pulled away from her, his eyes dark, as he looked at her.
"Would it be a bad thing if they did?" he asked her, the words coming out slowly as he tried to gage her reaction.
Blair looked at him with perfect confusion, too perfect. "I don't know wha-" she began.
"I know you were avoiding me," Chuck pointed out, keeping his voice low. "Why? I thought you said you wanted me?"
"I do want you," Blair insisted, grabbing his hand before he could move away from her. She knew she couldn't lie further to him, he knew her too well. So she tried the half truth. "I just think…maybe it's better this way." She absently rubbed her thumb against his palm, looking down at it and the signature silver ring on his finger.
"Better to keep me a secret?" there was a slight bitterness to his voice despite himself, she didn't miss it.
"No, not you just…Everything got so complicated last summer, moved so fast," she played on his own weaknesses, looking up at him under shaded eyelashes. Disappointment nipped at her as he didn't protest, some acceptance in his eyes. "I don't want what happened then to happen again." She added that last barb in, and found it was the truth. She didn't want it to happen again, couldn't handle the public humiliation, the hurt that came along with it. At least this way, if he left standing alone again, no one need know.
"You want to take it slow then, holding hands and movies?" Chuck mocked, smirking slightly in amusement. He had been having his own doubts about this, his own fears. What happened if she woke up and realised he was just a stop gap, a filler until she finds the true Prince she deserved, and left him broken and alone…? But he still couldn't help from feeling hurt at the thought she wanted to keep him a secret, though he would never admit it, even if it did serve both their purposes.
"No," Blair gave a small half smile herself, protesting as he went as if to move away and she grabbed his arm, pulling him closer. "Just secret, for now…" she looked up at him with dark brown eyes, tilting her lips towards him. "You have to admit secrets can be exciting sometimes…" she whispered sultrily into his ear as she wrapped both her arms around his neck, a small smile curving her blood red lips.
"Very sexy," he murmured huskily, smirking as his lips met her upturned ones.
Neither of them voiced what they were both thinking, how long would this last? They just enjoyed each other, for now…
* * *
**Spotted: Well, heard would be more accurate. Chuck Bass' familiar drawl warning away a girl from the senior female toilets. I wonder who was locked in there with him?**
**xoxo GG**
* * *
**A/N: Thanks for all the reviews I really appreciate them = ). **
**Please if you read review! = )**
**Inspiring Picture: Google: "Chuck scarf" . It should be the 3****rd**** picture with the trees in the background and he's leaning against the stone railing. **
**Also: Google: "2460229819_small_1" for the end scene**
**Inspiring song: Rumour Has It by Adele. Love her music. **
**Next chapter: An interesting Saturday with the Van der Woodsen Bass'. **
18. You, Use Your Heart As a Weapon
_**Chapter XVII**_
**You, Use Your Heart As a Weapon**
Serena lay on the soft outdoor lounge, her blonde hair fanned out behind her head. She arched her neck, enjoying the warm sun soaking into her skin, that was when it wasn't behind a cloud. Sighing slightly she wiggled, trying to get into a more comfortable position. She frowned as she felt a shadow cast over her, opening her eyes Chuck was revealed standing over her with an unamused look.
"What?" she asked, not prepared to move yet she wriggled her toes and stretched, enjoying the feeling. Things had been so hectic recently, it was nice to just lay here and be normal for a little while. What would have been better was if she had Blair or Dan there. But Blair was back in New York, panicking about the mockumentary that was due on Monday. And Dan…well he seemed to be brushing her off lately, each conversation they had was becoming more awkward and brief. A small wrinkle furrowed her brow as she frowned slightly at the thought, her worries returning.
"Father said we must all gather for lunch," Chuck proclaimed, in a bored tone. He had on a pair of Gucci sunglasses, even though they were unnecessary on the dim day.
"Euuurghhh," Serena groaned, forcing herself to get up. "I don't even know why they dragged us here?"
"For family bonding remember," Chuck drawled. "Though I'd prefer to try real bondage if you're up for it," he smirked.
"You're sick," Serena retorted automatically. "This is so ridiculous." She pouted, returning to her complaining as she stretched again and moved to the sliding doors into the house. She paused for a second to enjoy the plush carpet underneath her toes, then moved on."It's not even the season for the Hamptons anyway. It's borderline freezing."
"And yet you're wearing a bikini," Chuck noted wryly, strolling in after her. "Just hurry up, I want to get this over with…"
"What's the hurry? Don't tell me you've asked over 'company'?" Serena teased. After the words left her lips she regretted them immediately, knowing Chuck he'd probably launch into vivid detail, something she could do without.
"With father here?" Chuck asked, raising his eyebrows. "Hardly, you should know by now how he loves to be the hypocrite."
"So then what?" Serena asked as she headed for her room, her curiosity slightly peaked. Chuck had been awful quiet lately, breezing under the radar, hardly making a peek from his room. So if he didn't have company, what was he doing?
"There's a nice bar not far from here," he drawled. following behind her down the corridor, and pausing to lean against his own room door. "I enjoyed some fine company from my dear friend Scotch last night, I'd like to continue the acquaintance."
"Figures," Serena shook her head at Chuck, she should have known by the sunglasses, he was probably nursing a hangover. "So where's Eric?"
"Holed up in his room on his laptop. Didn't feel like joining me," Chuck said, as if unconcerned. The truth was he hadn't asked Eric, he had been trying to avoid the younger boy, and although he felt guilty about that, it was for the best right now. Eric was too perceptive for his own good, and it may have just been paranoia as a result of all the pot he had smoked over the years, but he felt sure that the younger boy would discover his secret with Blair if given the chance. Their 'relationship' was really something Chuck didn't want to analyse right now, he just wanted to enjoy it. Having Eric find out about it however was most likely going to cause over thinking, and Chuck was never one to enjoy self reflection.
"Still?" Serena asked, raising her eyebrows. She went over to the door to Eric's room, across from hers, banging on the door. "Hey, little brother, it's bonding time. You've got five minutes to get ready, or Bart's coming in after you."
"Leave him be," Chuck drawled, not bothering to keep his voice down as he smirked at Serena. "I'm sure he and Jonathon are enjoying some educated conversation over the net. What do kids call it now, sexting?"
"Ewwww," Serena scrunched up her nose, but couldn't help grinning slightly at the thought of Eric's face right then. "Do you think we should get Mom? I don't think this is healthy?"
"Well all the books do say we should let them 'experiment'," Chuck retorted, face deadpan. "Of course, five hours is kind of pushing it…"
"Do you think he has a girl in there?" Serena asked, wide eyed.
"Now that would certainly be experimental…" Chuck mused.
The door opened abruptly and Eric's face peaked out, not looking amused. "Fine, fine, I'm coming okay," he protested. "Will you two just stop speculating, I'm losing my appetite."
"What have you been doing in there anyway?" Serena asked, ruffling his hair before he could dodge her hand.
"Some of us actually have homework to do you know," Eric pointed out. "And speaking of, aren't you two seniors? Shouldn't you be doing some homework right now instead of harassing me?"
"There's some sun out, I desperately need to tan," Serena said defensively, pouting exaggeratedly.
"I've already done my homework," Chuck smirked at Eric's look. "And I've learnt from it that scotch is superior to all other alternatives."
"And this is the future of America," Eric shook his head in mock despair.
"Be that as it may, I find it hard to believe the future President of America was doing homework this whole time," Chuck said, raising his eyebrow inquisitively. "What else were you up to?"
"It's a mystery," Serena playfully gasped.
"Speaking of mysteries, what were you guys doing on Friday?" Eric returned with, knowing for certain it would get the two bored older teens off his back.
"It's already 12:15, didn't Mom say we have to be there by 12:20?" Serena quickly said, turning to Chuck. It may have not been subtle, but whatever worked right? Eric could see Chuck forcefully refraining from rolling his eyes, but he did nod at Serena's look. Though Eric had been using the question as a way to get rid of them, he still felt a twinge of resentment that both of them were mum on the subject, as if he was a child who needed to be kept away from the adult secrets. "Well then you better hurry up and get ready smarty pants, because we have a family lunch to get to," Serena proclaimed brightly, quickly turning and heading to her room.
"Where?" Eric asked dumbly, but she had already closed her door.
"I suggest you don something fleuro purple," Chuck smirked, opening his own room door. "I'm sure Lilly and Father will love that."
"I'm gay not colour blind," Eric called after him as his door snapped shut. Turning to his own blue clad room he walked over to the laptop on his bed, quickly going to type on msn.
**Eric: Hey I gtg, apparently we're having a 'family' lunch. **
**Dam: KK then. Have fun. **
**Eric: Yeah, sure, 'fun'.**
**Dam: I'm sure it can't be too bad. Ttyl.**
**Eric: Cya.**
He logged off quickly, feeling a slight plummet in his stomach. He'd been talking to Damien a lot recently over the internet. The older boy had a good sense of humour, and understood stuff that sometimes went over Serena's head, or which Chuck simply raised a droll eyebrow at. It was nice to talk with someone who was actually interested in what Eric had to say, and wasn't avoiding him because of some secret they were keeping, which Chuck and Serena were both obviously doing.
As he stared at the generic desktop he contemplated just locking the room door and refusing to go to lunch. After all it did not bode pleasant for any of them. Though Serena and Chuck were talking now, Chuck was always significantly quiet when Bart was around. Not to mention the hidden tension between Bart and Lilly, which caused Serena to forcefully act happy, Lilly to laugh a lot, and Bart to have a permanently tense awkward almost smile on his face. And there would be Eric, who would have to sit like that for hours, trying to smoothly interject Lilly when she started picking on Serena, or distract Chuck when it looked like he was going to say something particularly obnoxious to Bart, more likely the more he drank.
Of course if Eric didn't go then he would most likely end up truly alone, seeing as they'd all kill each other.
Sighing heavily like a boy with the world on his shoulders, and thinking miserably of the awkward lunch that was sure to ensue, Eric went to his closet to grab the armour of the upper class, a pricey button down shirt and pants.
* * *
**Spotted: Queen B exiting a taxi in Brooklyn? What an earth could she be looking for there? Perhaps a certain Lonely Boy? While Serena's away, her friends shall play, that is the ones with b's in front of them. xoxo GG.**
* * *
"No elevator," Blair huffed to herself as she reached the door to Dan's loft. "Who has no elevator in their building in this day and age?" She pushed an errant piece of hair out of her face roughly, feeling eminently annoyed at the world. Not only had Chuck and Serena abandoned her to start this project alone, but now that Nate was staying at the Humphreys, and wasn't answering his phone, she had to take an unprecedented and unwanted trip to Brooklyn, on a Saturday of all things. It was safe to say that Blair was not in her most benevolent of moods right then.
Gingerly, Blair knocked on the door, trying to limit any contact with the clearly unsanitary surface and her soft hands. She waited a minute, hearing voices through the door, but nobody came to open it. Glaring murderously at the wood, Blair threw caution to the wind and hammered on it, her disgruntled mood overtaking her fussy nature, temporarily.
"Humphrey I know you're in there, I can hear you're cheap floorboards creaking," she snapped, her voice rising with annoyance. She went to bang harder on the door, but just as her fist went to meet wood it swung open. Dan stood there looking harassed in a grey shirt with a coffee stain near the collar. Blair hardly noticed however, annoyance over taking her. "Really, if you're not going to hire a doorman the least you can do is answer promptly, so you don't leave people waiting in this musty hallway. It probably has asbestos…" she sniffed superiorly.
"Look Blair…now isn't the best time," Dan said, shorter than usual. "I told you I can't do the film today…"
"I'm not here for you, I'm here for Nate," Blair snapped, annoyed at the way he was brushing her off, as if she would stoop to harass a Humphrey. "And i…"
"Dan, honey, who is that?" came a female voice from within, decidedly not Jenny.
"Uh…no one…" Dan mumbled, looking behind him into the loft. Blair glared at him, no one? A Brooklynite had just described her as no one? Before she could open her mouth with a biting protest, someone wrestled the door from Dan and opened it wider. A woman stood there…Blair remembered her from last Thanksgiving, Dan's mother wasn't it?
"Oh hello," she said, Blair used to noticing these things, saw her smile was rather strained. "We met last Thanksgiving didn't we? I'm Dan's mother and you are…?"
"She was uh…just leaving," Dan cut across, going to close the door.
"Dan, that is so rude," his mother protested, grabbing the door before he could slam it shut and frowning at him.
"Yes Dan, how could you be so ill bred?" Blair pronounced overly sweet, piercing Dan with a death glare. She then turned to his mother with a perfect smile and an out raised hand. "Hello again Mrs Humphrey I'm Blair Waldorf." She introduced herself, as well mannered as she could be to spite Dan.
"You can call me Alison," she corrected, taking Blair's hand and shaking it, her smile growing wider and more strained.
"Of course," Blair corrected, remembering Dan's parents were separated, or divorced…not that it really mattered seeing as the only property to have been split was probably some old record and a poster of Rufus pre mullet… "I was just looking for Nate Archibald, he's staying here? We're supposed to be doing a school project together…"
"Oh, Nate," Alison's smile grew more natural, obviously Nate's charming smile and twinkling eyes had won her over in a heartbeat. Blair prevented herself from rolling her eyes, she wasn't exactly feeling endearing to Nate seeing as he'd caused her a trip to Brooklyn when he knew they were supposed to be working on the project. "Unfortunately he just popped out with Vanessa ten minutes ago…"
"Oh," Blair's polite smile abruptly disappeared. She had come all this way, to Brooklyn, for_ nothing_?
"But I'm sure you can wait here," Alison offered.
"Oh n…" Blair began, taken off guard for once. Before she could continue however Dan interrupted.
"I don't think now is a good time," he asserted here, frowning at his Mom.
"Don't be silly Dan, come on Blair, I'm sure Rufus…well I'm sure nobody will mind. Come in," with that she assertively, almost desperately, took Blair by the arm and practically dragged her into the loft.
"Actually I think…" Blair began, feeling increasingly awkward.
"I'll whip something up for you, I'm sure your thirsty from your trip, you live on the Upper East side right?"
"Yes…" Blair replied, trying to resist the urge to cringe at what the Humphrey's called home. Was that lamp from The Reject shop? She shuddered at the thought.
"Blair," a squeak came from the breakfast bar. Blair looked over to be met with wide eyed Jenny Humphrey. She was sitting on one of the bar stools, nursing a bowl of ice cream with sprinkles on it. She looked as shocked as Blair felt.
"Jenny," Blair barely acknowledged the younger girl, assessing her with a critical eye. She hadn't heard much from Little J for the school year, hadn't spotted her in the corridors. Like a bug, once Blair squashed a rival she was oblivious of their existence, though she never did really forget. Jenny didn't look too bad, if Blair was honest. She was wearing a black dress with pink trim showing underneath. Her hair was cut in a fashionable punk look, and though she could do with less eye make up, if Blair was honest, the younger girl could get away with the look, she was only fifteen after all. Not that Blair would ever admit that to the little wannabe.
"What are you doing _here_…?" Jenny burst out with, then coloured slightly at Blair's raised eyebrow. No matter how much Jenny had matured secretly working at Eleanor's, she still felt like a nobody around the composed and perfect Blair.
"Blair's waiting for Nate," Alison supplied, that tense smile on her face once more. "I was just going to make her a smoothy, do you want one too honey?"
"Actually…I uh…" Jenny began awkwardly, avoiding her mother's eyes.
Before she had to give a definitive answer the doorknob rattled, and a second later opened. Rufus Humphrey entered the loft, and even Blair didn't fail to see that the usually laid back father looked like storm clouds were raging above his head.
"Rufus…I wasn't expecting you back so soon…"Alison supplied, awkwardly. Rufus barely looked at his ex-wife, his eyes trained on his blonde daughter.
"Well I didn't expect to come back until you'd left. But then I ran into Mistress Queller…" Rufus said, barely resisting the urge to grit his teeth. He hadn't even noticed Blair, his whole energy drawn towards his daughter.
"What?" Jenny asked, her eyes wide. Blair frowned slightly, she knew the headmistress quite well, and doubted she would be anywhere near Brooklyn. The only way Rufus could bump into her would be if he was hanging around the Upper East Side in his jeans and plaid shirt…But what on Earth would he be doing there?
"Jenny, why is she under the impression that for this whole semester you've been out of school with a bad case of mono?" Rufus demanded, piercing his daughter with interrogating eyes.
Well, well, well…maybe Brooklyn was more amusing then Blair had first thought. Who would have thought Little J had the guts to pull a stunt like that, for the whole semester. At least it explained why Blair hadn't spotted her in the halls. Blair looked at Jenny with raised eyebrows, along with Dan and her mother.
"I…I…" Jenny stuttered, like a deer in headlights. "Look Dad…it's not what it seems…"
"Not what it seems? I spend thousands of dollars to that school for you to get an education, and you haven't even been going? What were you thinking?" Rufus exploded, barely containing his anger and disappointment. Blair was slightly startled at his reaction, the little she had seen and heard about the Humphrey's father, the more she had envisioned him a hippy rockstar, laid back, sharing proverbs with his children. Not that she thought of it often, but the one time she had…
"Rufus," Alison interjected here, going to stand near Jenny. "Do you really need to yell at her like that? Can't we discuss this?"
"No offence Alison, but when Jenny's in Hudson you can parent her the way you want, right now she's under my roof, and I'm not going to just let this slide."
"Suggesting I would let it slide?" Alison asked, her cheeks growing red.
"I think it would be a good idea if you leave now…" Dan muttered, he had sidled towards Blair while his parents were busy arguing. His neck and ears were red, whether with embarrassment, anger, or a mixture of both, Blair couldn't tell.
"Maybe your right," Blair replied, feeling a twinge of sympathy for the Brooklynite, although her fingers were itching to notify Gossip Girl of Jenny's promising future career as trailer trash. After all everyone knew that's where you were headed if you didn't get into college, and it would be fitting revenge for all those things Jenny had said last year. Although Blair had won, she wasn't above rubbing Jenny's face in it.
She followed Dan discreetly towards the door while his parents continued to yell at each other, and Jenny sat at the bar stool, frozen and red.
"Don't forget tomorrow," Blair supplied to Dan as she exited through the wooden door, but he'd already closed it behind her as she turned around for his reply. She paused at the corridor entryway, moving from foot to foot. She could hear the elder Humphrey's voices through the wood, and though Blair had always maintained she was above eavesdropping, it wasn't like there was anyone around to catch her. Maybe she could get more details about Little J's fall from grace, it would be quite satisfying to know someone else's school career was more pathetic then hers was looking like right now. Impulsively, and carefully, she placed her ear close to the door, deciphering the noise.
"Alison you can't just come in here, and tell me what is good for my daughter," Rufus snapped.
"Don't you mean _our _daughter," Alison snapped right back.
"I don-" Rufus began, but before he could finish Dan's voice emanated, surprisingly loud, making Blair flinch slightly.
"CAN YOU TWO JUST STOP ALREADY!" he shouted.
Silence accompanied this, obviously the Humphrey's were as stunned by Dan's uncharacteristic outburst as Blair was. A door slammed a second later, a resonating exclamation mark.
Blair moved her ear away from the door, turning to look at it with wide eyes. That certainly hadn't been the kind of thing she expected to hear from the Brooklyn loft. Serena had always made the Humphrey's out to be like the Brady Bunch, but she guessed, as loathe as she was to admit it, Dan may have had more in common with the Upper East Siders then she could ever imagine. Blair stood there for a minute, her two sides warring with each other, but finally her sympathetic side won out, and much to her chagrin she found herself knocking on the loft door once more.
"Yes?" Alison said, slightly more aggressively than before. She blinked when she realised it was Blair.
"Hi, Mrs H…Alison…I just ummm…well this is kind of embarrassing, but I need to 'powder my nose'," she stage whispered the last part, playing up her awkwardness. "I know this isn't a good time…but the subway is such a long trip…" she counted on the fact the female Humphrey would be clueless that Blair had a gold card, and wouldn't be caught dead anywhere near the subway.
"Oh…of course, I'll just…" Alison trailed off, stepping aside in silent acquiesce. Blair entered the loft once more.
"Thank you so much," she gushed, but Alison was no longer looking at Blair, her attention instead planted on Rufus, who was talking to Jenny in clearly controlled calm tones, now on the couch.
"It's just right through there, right?" Blair said, pointing vaguely and playing up the sweet private school girl angle. "I won't be a moment."
"Sure…" Alison said, distracted now and frowning she went over to the couch, not even bothering to check where Blair was headed.
Just as Blair had hoped, she authoritively walked through the loft, while the other Humphrey's were busy having a heated, albeit quiet 'discussion'. Instead of the small door she presumed to be an old, unhygienic bathroom, she headed for Dan's room door, sliding in quickly and closing it behind her.
She turned and looked at the room. She had only been in there once, on Thanksgiving, and it was a lapse in judgment she tried to forget. She snorted unladylike as she noticed there were football sheets on his bed, and Cedric was wedged into the bookshelf, staring at her with eerily wide blue eyes. Resisting a shudder, Blair glanced around the small untidy room, but there was no Dan.
She shrugged, and was turning to go, quieting her conscience with the fact she had tried after all…that was when she noticed the open window.
Humphrey wouldn't would he? He didn't seem like the dramatic, suicidal type. Then again, he wrote broody stalking stories about Serena and then published them in the New Yorker, so who knew what he would do? Blair supposed she should go check, she would have to console Serena after all. Pursing her red lips, Blair teetered on her heels as she made her way around the discarded clothes on the floor, making sure not to touch a one with her Louis Voutons. Finally she reached the window, tentatively, scrunching her nose, she put her hand on the window sill and lent out, glancing out at the fire escape.
There he was, Humphrey sitting in his grey shirt and blue jeans on the fire escape, his head bowed and buried in his hands.
"You're not crying are you?" Blair asked, raising an eyebrow speculatively. Even that would be a bit much for a tortured writer, although she supposed it would prove he was committed. "I could get Cedric if you want."
"What do you want Blair?" Dan sighed wearily, looking up at the sound of her voice. He obviously wasn't in the mood for insulting banter. "I thought you had left, back to your perfect Upper East apartment."
"Well logically I should have," Blair pronounced, "But…seeing as Serena isn't here, and your badly dressed best friend had capitalized the time of the one person who can help me with this project today…I really didn't have much else to do then make sure you hadn't jumped out your window or something else Brooklyn like."
"What makes you think people from Brooklyn jump out their windows?" Dan asked, side tracked by the comment, his brows furrowed. "That doesn't even make sense."
"Well they have more cause then the people in the Upper East Side," Blair pointed out, snippily.
"Maybe you do have a point…" Dan muttered, turning his gaze back to staring forlornly at the red bricks of the atrocious building that sat beside his one.
"Don't be so dramatic," Blair huffed, "So your parents fight? Whose doesn't? Albeit our parents know how to do it in a more classy passive aggressive way, involving secretaries and door men…"
Dan snorted at this. "How about next door neighbours? Or is that just reserved for us over the bridge?"
Blair paused at this, unsure of how to reply.
"She's engaged," Dan suddenly pronounced, turning to look at Blair. His voice held bitterness, and fear, and was slightly choked. Blair felt nervous, what was she supposed to say to that? And worse, what if Humphrey cried? "To this prissy pretentious ass who lives next door to her. And you know when she decides to tells us…a month after he proposed…"
"Oh…" she managed quietly, allowing her sympathy to show through the impassive mask she usually wore. "That…that…"
"Sucks…" Dan supplied. "Yeah, it does…"
There was a long drawn out pause, where Dan glared at the red brick work, and Blair looked at him, feeling a tumult of emotions, one of them being empathy.
"I remember when Daddy told me…" she supplied, concentrating her own gaze on the bricks now as Dan looked up. "I was…I was so angry. I wanted to just scream, and tell him I hated him…I put the phone down and I wouldn't take his calls for weeks. And then I realised something, I missed him, and I didn't hate him, and even if what I wanted most in the world was for him and my Mom to get back together, when they were neither of them were happy…And then I thought maybe it was for the best. Because all he ever wanted for me, is to be happy, and I wanted him to be happy too..."
"So let me guess, you just fell head over heels for his new partner when you met, and you all lived happily ever after?" Dan asked sarcastically, frowning slightly.
"God no, I hated Roman…couldn't stand him…But then I actually got to know him, and he's actually sweet, and he makes Daddy happy," she shrugged. "He'll never replace my Mom, but he's important to my Dad, so I guess that makes him one part of my life too, by default."
There was a pause as Dan took these words in.
"So is Blair Waldorf actually advising me to give someone a _chance?"_ Dan asked, raising his eyebrows.
"Well…either that or you could trip the new guy up when he's ice skating and break his leg first," Blair said, shrugging unconcerned.
Dan actually laughed at this, despite himself.
* * *
"Chuck, remove those sunglasses you look ridiculous," Bart said irritably. They were in one of the pricier restaurants in the Hamptons which stayed open out of season. Having just received their drinks they were contemplating their meals in silence. In reality Chuck was mulling over a glass of wine, which Bart had frowned at. Eric was harbouring a fruit juice and staying oddly silent, while Serena was occupied with her phone, frowning at something on the screen.
Chuck checked his watch sardonically, it had taken exactly three minutes since they sat down for Bart to start, he was beginning to lose his game.
"I don't know, I think they make me look distinguished," he drawled, smirking slightly.
"I think they make you look like a do… dag…" Eric supplied critically, changing tact as Lilly looked up.
"Shouldn't you have better fashion sense?" Chuck queried, but at Eric's mocking eyes he relented and removed the sunglasses, placing the expensive Gucci shades on the table. He knew, from Bart's clenched jaw, that he didn't fail to notice the heavy shadows under his eyes testament to his hangover, but he didn't comment.
"So Charles, I heard you got an A on your English paper," Lilly supplied the first real topic of conversation for the afternoon as she picked up the menu and surveyed it. Chuck glanced up from his glass lazily, to be met with a wide earnest smile from Lilly. His stomach jumped slightly at her almost proud look, and he straightened up somewhat, nearly returning her smile, the side of his mouth quirking up.
Before he could open his mouth to reply Bart interceded, glancing over from where he had been looking towards the door.
"He got an A minus," the stickler business man corrected Lilly. Chuck's half smile immediately disappeared, and he looked sullenly over at Bart with dark eyes.
"Still, a good achievement," Lilly tempered the situation, glancing over at Bart. "I remember in senior year, it was so hard to keep up with everything, not to mention the amount of things you kids have to do now… All these extracurricular activities you need on your transcripts to get even looked at…"
"It's not the extracurricular activities I have problems with, Lilly," Chuck drawled suggestively, not moving his eyes from Bart. "I think even my father can attest to that."
Bart opened his mouth, his cheeks turning slightly puce. Before he could say anything however he was interrupted.
"Bart Bass, fancy meeting you here?" an Australian voice sounded. All the Van der Woodsen Bass' looked up at this, to be met with a jovial man in a short sleeved shirt and shorts, followed by a woman in a slinky outfit and a tanned blonde boy.
"Henry, hello," Bart said, Chuck recognised his father's game face, that smile and firm hand shake as he rose and took Henry's out stretched hand.
"You here with your family too?" Henry asked, glancing at the table and smiling. Chuck raised his eyebrows derisively as he noticed the older man's gaze lingered on Serena. His trophy wife didn't fail to notice either, putting a protective hand on his arm.
"Yes, we're having a family half weekend," Bart explained, glancing over at the table then back at Henry.
"Quite the coincidence isn't it," Lilly smiled tightly, taking up her champagne glass and drinking. So she too saw through Bart's barely guised attempt to mix business and pleasure. Of course she was too well bred to say anything, Chuck on the other hand…
"This is uh…Lily my wife," Bart introduced, stilting slightly at Lily's look but regaining his smooth composure in a blink of an eye. "Next to her is Serena, Eric and…"
"Chuck Bass, nice to meet you sir." Chuck proclaimed to the slightly overweight business man, rising and settling his shirt. "Unfortunately I really need to get going,"
"What-" Bart said, caught off guard temporarily. He glared at Chuck, his cold blue eyes clearly telling him to sit down and shut up. Chuck merely smiled, playing the prissy boy, something he had learnt from Blair.
"I have another assignment I have to do, you know how I much I want to chase that A plus father," Chuck gave his father a sour grin, challenging him to cause a scene by contesting his son's 'diligent commitment' to study.
"Oh, come on son, I'm sure you can stay and have a drink…a soft drink of course," Henry amended, clearly he hadn't noticed the almost empty wine glass on Chuck's table.
"Unfortunately it's really important, nice to meet you of course," Chuck drawled, "Serena, Eric, Lilly, always the pleasure." He noted, turning and strolling out before anyone else could protest, or Bart could find his voice.
As soon as he was out the door he had his purple phone out, texting Arthur to come pick him up. Clearly this whole 'family bonding' trip had merely been a ruse for Bart to intercept a fellow business mogul. There was really no need for Chuck to be there at all, especially since he could think of a better place where he would be far more welcome…
* * *
Blair sighed, checking the time in her apartment's elevator. It was already three in the afternoon, there was no way she could get anything done on her project, even if she called Nate. She had been justifying this to herself from the trip all the way from Brooklyn, but it went against her perfectionist grain. She knew one day would never be enough to get everything they needed on camera for the assembly, and definitely would not be enough time to edit with any sort of professionalism. And yet, for once Blair just couldn't care about being perfect. Just this once she wanted to sit down and watch _Breakfast at Tiffany's_ and not worry about failing, or Yale, or anything really.
She sighed heavily as the elevator door slid open, this time in relief. Slumped, she left the elevator, taking off her shoe's carelessly and leaving them on the floor for Dorota to pick up. She walked towards the kitchen, and that's when she heard the voice which stopped her in her tracks.
"So, Chuck, what college is it exactly you're planning to go to after school?" Eleanor's interrogative voice sounded clearly through the house. Blair paused for a second, her face paling and her pink lips standing out in contrast. Then she immediately rushed to the dining room doors, swinging them open without a thought.
"Chuck," she exclaimed in shock, as she saw the familiar boy sitting at the dining table stiffly next to Eleanor, with a plate of untouched cucumber sandwiches in front of him, courtesy of Dorota no doubt.
"Blair, there you are," Eleanor commented. "Chuck has just been waiting for you." With that she raised her eyebrows in obvious query. "I didn't know you two were on again?"
"We're not," Blair burst out quickly, going over to the chair she grabbed Chuck and pulled him up. "I mean…he's just here about some school work." She pressed her fingernails into his arm, and he grimaced.
"Well then," Eleanor said, looking at the two of them, trying to understand her daughter's odd behaviour. "You can still stay for dinner Chuck. I would love to hear more about your plans for the future."
"Please mother, Chuck has his own hotel full of people who want to serve him dinner. He doesn't want to stay," Blair pronounced, as she began dragging Chuck towards the door.
"Nonsense," Eleanor proclaimed, "I'm sure Charles wouldn't mind staying for dinner, would you?"
"No, you wouldn't, would you Chuck," Blair glared at him.
"I…" Chuck began, but Blair didn't let him finish, thinking on her feet.
"Is that the phone I hear, it's probably Bart Chuck, we should go answer it. Mother you should stay and enjoy the sandwiches, I'm sure your tired." with that she dragged Chuck the rest of the way out of the dining room door, slamming it shut behind them just as Eleanor proclaimed, "I don't hear the phone?"
"What the hell were you_ thinking_?" she hissed as she dragged Chuck the rest of the way to the elevator and slammed the button for it. She turned her dark eyes towards him, her cheeks flushed.
"What's are _you_ thinking?" Chuck asked, retrieving his arm from her. "I was merely coming to visit you…"
"Aren't you supposed to be in the Hamptons?" Blair demanded, glancing furtively towards the dining room doors, which thankfully were still closed.
"I left early," Chuck brushed the query aside. "I didn't expect your mother to be home. Where were you?" he narrowed his eyes at her.
"Out," Blair retorted, it was hardly worth it getting into her lapse in judgment about going to Brooklyn. "You have to leave, now!"
"What's the rush? I just got here," he drawled, leaning forward to place his lips on hers.
"Not now," Blair hissed, grabbing his shirt and pushing him into the elevator which had just opened. "My mother could see."
"Wouldn't want that, would we," Chuck commented, his eyes hardening and his jaw clenching despite himself.
"We already talked about this," Blair snapped, exasperated, barely paying attention to him as she looked towards the doors that was the precarious barrier between them and her mother. "Don't you have a party to organize anyway?" she glanced over at Chuck and noticed his intense gaze, his dark face.
"Look, we'll see each other tomorrow okay," she relented. "But right now you need to leave." With that she pressed the button, not allowing him to voice whatever he was thinking. The doors slid shut on his dark gaze just as the dining room door opened. Blair quickly turned, composing her face.
"Where is Charles going?" Eleanor asked from the doorway.
"Oh, you know…home…" Blair said vaguely, as if it was nothing to her.
"And what was it he came for again?" Eleanor asked, watching her daughter carefully as Blair bent down distractedly to pick up the shoes she had discarded on the floor, for want of anything better to do.
"I told you mother, he just wanted to discuss a project we have to do tomorrow…I mean a project we're all doing, including Serena, Nate and I," she clarified quickly, looking up at her mother.
"I was quite surprised to come home and find him waiting in the entrance room," Eleanor commented. "I thought you two weren't talking?"
"That was _ages_ ago mother," Blair huffed, making a show of rolling her eyes at Eleanor's ignorance. "We're friends now."
"Well, I hope friend's is all you are," Eleanor commented dryly.
"What's that supposed to mean?" Blair asked heatedly, looking at her mother now, who was watching her carefully. Eleanor could be quite selfish, but sometimes she saw more than Blair gave her credit for.
"It's just I thought you had sworn off talking to him forever?" Eleanor stated airily. "You were screeching about it all over the house just a month ago."
"Things change…" Blair replied defensively.
"Perhaps…"Eleanor said, smiling almost sadly at her daughter. "But boys like him never do…"
"Well you don't have to worry mother, nothing serious is going on between us, nor will it ever!" Blair stated calmly and cooly. "Now if you don't mind, I have homework to do." Walking away on her dignity, though she was shoeless, Blair made her way up the stairs. Eleanor didn't say anything further, just sighed and returned to her cucumber sandwiches. She didn't really need to anyway, Blair's heart had already plummeted, defeating her resolution to ignore the truth in her mother's words.
* * *
**Spotted: C's limo picking him up in front of the Waldorf's, shortly after he arrived? My guess is it isn't Eleanor he was there to see. Unfortunately no one told this Lothario that the lady he seeks is down in Brooklyn, slumming it. Oh what an intricate web we weave… xoxo GG**
"What," Serena exclaimed aloud, staring at her mobile screen in shock at the post.
"Huh?" Brent asked, looking over at Serena lazily with filmy blue eyes. Serena almost choked on his pot smelling breath. After she had read the post about Blair visiting Dan in Brooklyn she had barely believed it. After all, what were the chances of that? But then throughout the lunch, where she'd hardly noticed anything, she kept on thinking about how distant Dan had been recently. How he'd rejected her offer to stay in New York for his mother's visit. How him and Blair seemed to have been talking more often recently.
So when Brent, the son of some business associates of Bart's, had asked her if she wanted to hang out on the beach with him after lunch, she had jumped at the chance. After all he was easy on the eyes and had an adorable accent, and she was only sitting on the beach talking right? Except it turned out Brent was more interested in smoking a joint and talking about surfing then anything interesting, and all Serena could think about was the last time she had been on a beach with a boy… Serena had been contemplating making up an excuse when she checked Gossip Girl and read the blast.
"Nothing," Serena quickly excused, snapping her phone shut as Brent continued to look at her with vague curiosity.
"Okay then," he grinned dopily. "Are you sure you don't want a hit?"
"Umm…" Serena hesitated, looking at the white joint in his tan fingers and biting her lip. Why shouldn't she? After all it seemed all her other friends were busy keeping secrets and meetings? She might as well have some fun, what business was it of anyone's?
"If you're not sure if you'll like taste…" Brent stated, trailing off. Then abruptly he lent over, his lips looming close to Serena's.
"What are you doing," Serena shrieked in shock, quickly pushing him away and getting up unsteadily on the shifting sand.
"What?" Brent asked dumbly, looking up at her clueless.
"I have a boyfriend," Serena exclaimed.
"So?" Brent blinked slowly, shrugging.
"I just…I have to go," Serena said, shaking her head she quickly grabbed her Havana's from the sand and made her way towards the steps back up to the pavement, and far away from Brent.
"See you," Brent called after her dopily, waving a lazy hand. Serena didn't bother to look back, glad no one had been there to witness her stupidity.
* * *
"I am the sporting King," Nate proclaimed as he made his way to the landing of the Humphrey's loft.
"I'm sorry, and who beat who in air hockey?" Vanessa demanded, pushing him playfully.
"Air hockey isn't a real sport," Nate protested, grabbing Vanessa gently and pulling her closer. "Besides, I totally let you win."
"No you didn't," Vanessa protested, smiling despite herself at Nate's blue eyed gaze.
Before he could lean in to kiss her the loft door swung inwards.
"Hi guys," a small voice sounded, Jenny stood there, looking at them with solemn blue eyes.
"Jenny, hey?" Vaness said, immediately disengaging from Nate's embrace awkwardly. "How…were things with your Mom?"
"She's gone," Jenny provided, "But uh…Dan went for a walk an hour ago and he hasn't come back. Dad went out to look for him, he was wondering if when you got back you could…"
"Help look?" Vanessa finished. "Sure, I mean he's probably gone to Bello's," she said. "I'll ring your Dad and go, if you don't mind staying here…?" she turned to Nate now, as if just remembering he was there.
"Don't you thi…" Nate began, about to offer to look too, but Vanessa had widened her eyes slightly, looking at Jenny then back at Nate. "Oh…uh yeah sure, I'll stay here in case he gets back…" he said a beat too late.
"I'll see you later," Vanessa said, quickly pecking him on the cheek then rushing to the stairs, her phone in her hand.
Nate watched her go almost forlornly.
"You can go, you know, I'll be fine," Jenny commented quietly, turning to head into the loft.
"Vanessa knows Dan better, I'll just get in the way," Nate pointed out, following her and closing the door behind them. He brushed aside the nagging thought that was probably true. "Besides, I'm starving," he quickly commented. "Do you want me to make you anything?"
"No thanks, I'm not hungry," Jenny said, going to the kitchen and picking up an empty glass.
"I'll get that for you," Nate said, going to take the glass from her .
"It's fine, I've got it," Jenny snapped uncharacteristically, jerking away from his hand. The glass slipped from her grip and fell on the floor, shattering.
"No, no, no," Jenny exclaimed, quickly bending down to pick up the pieces.
"It's okay, it was my fault," Nate said, bending down too, and frowning slightly at the frantic way Jenny was trying to pick the shards up.
"No, you don't understand, it's my Mom's favourite coffee mug," Jenny said.
"Jenny it's okay, you can buy her another one," he said quickly taking her hands in his. "Calm down."
And suddenly, to his shock, Jenny started sobbing.
"Hey, hey, come on, I'll pick it up, its okay." Nate said, trying to use a soothing voice he guided Jenny up. "Let's go sit down, huh?" he led her towards the couch, feeling way out of his depth as they he sat her down and she continued to sob, tears smudging the black liner around her eyes, making dark trails down her cheeks. He quickly grabbed the tissue box from the table and handed it to her.
"Do you want to talk about it?" Nate asked awkwardly after a minute, once Jenny's sobs had subsided.
"Not really…" Jenny hiccupped, tears still falling. "My Mom is remarrying some douche, my Dad found out I've been skipping school to work at Eleanor's and I'm crying in front of Nate Archibald…"
"You wouldn't be the first," Nate said, smiling encouragingly. It was the first thing that popped into his head, and oddly something he thought Chuck would say. It seemed to do the trick, Jenny laughed slightly, though it was more of a sob.
"I thought this year would be different," Jenny said, wiping her nose with the crumpled white tissue. "I mean, I knew my parents wouldn't get together, but I still kind of hoped, you know…"
"Yeah, I know…" Nate replied, thinking of his own parents. His mother who was playing pretend, and his father who had disappeared off the face of the earth. There was no chance of his parent's ever being on the same continent together, let alone returning to the way things were, but he still couldn't help that slight bit of hope that one day, maybe, things would go back to normal…
"And maybe I _could_ handle it better, Mom remarrying, if only Dad would let me stay at Eleanor's…School is hell…but at Eleanor's I found somewhere I belong. It's the best thing that ever happened to me, and I'm _good _at it Nate. But Dad won't even listen."
"Maybe you just have to give him time…" Nate supplied. "Sometimes, parents can't get over what they want for you. You've just got to show him that this is what _you_ want, this is what's best for you. My whole family was set on me going to Dartmouth, but when I made a stand, and showed them that Columbia was what I wanted, they learnt to accept it over time…"
"I don't think my Dad will ever change his mind, no matter how much time he gets," Jenny said sadly. "But thanks anyway Nate."
Impulsively she leant over and hugged him, Nate sat there stunned.
"I'm sorry," Jenny said, quickly disengaging. "I act so stupid sometimes…"
"Hey, it's okay," Nate said, quickly putting his hand on her thin shoulder. "It's fine Jenny.."
Jenny looked up at him. She never knew how mature Nate could be. Sure she admired his looks like any other girl in Constance, but the time she'd been spending with him in the loft had shown her he was more than looks. He was sweet, and kind, and bothered to care about her, Jenny Humphrey...
Without realising it Jenny found herself inching closer to Nate, her eyes transfixed with his clear blue ones.
"Found him drinking black coffee at Bello, as I predicted," Vanessa's voice suddenly sounded, making Jenny jump and jerk away from Nate.
"Vanessa, Dan, hey," Nate said, rising quickly as the two appeared through the doorway.
"Do anything interesting while we were away?" Vanessa asked, smiling broadly at the two of them.
Jenny tried to force away her blush, if Vanessa only knew what she was thinking about Nate right then her smile wouldn't have been half as friendly.
* * *
**A/N: Took forever, I've had stupid exams, but I made it a nice long one so hopefully it makes up for it a bit. If not, here have a peony lol. **
**Please R&R. BIG THANKS to all those who have reviewed! You keep this story alive! = ). I hope I I didn't disappoint, I'm trying to get into the groove of writing again, so it might be a bit OOC. Also sorry for any repetitive words or grave grammatical errors = S. **
**Next chapter: some filming happens, and not all of its entirely scripted. **
**Inspiring picture: Well apparently never, ever, in the history of Gossip Girl, has Chuck Bass ever worn sunglasses...so we'll just have to settle for this eye candy. Google:** '**talking gossip girl leighton ed ad korea'. (I know strictly it isn't Chuck and Blair, and has nothing to do with this chapter, but the actors are occasionally good to look at too lol.)**
19. Your Inbox is the Window to your Soul!
_**Chapter XVIII**_
**Your Inbox is the Window to your Soul!**
* * *
**To:** _Nate (xbplaya); Serena (__vanillaicecream__); Chuck (im__chuckbass__); Dan (__cellardoor__) _
**From:** _Blair (__blaircorneliawaldorf__)_
**Subject:** _Meeting tomorrow!_
No time for niceties.
We are all meeting tomorrow, and we're going to film this mockumentary, and it's going to be perfect!
Meet sharp at Tiffany's 6:00 am.
Yours cordially
Blair
* * *
**To:** _blaircorneliawaldorf_
**From:** _Chuck (imchuckbass)_
**Subject:** _Seriously?_
What happened to your queenblairaudreytiffany account? It used to be so endearing.
Yours leeringly
Chuck Bass.
* * *
**To:** _imchuckbass_
**From:** _Blair (blaircorneliawaldorf)_
**RE:** _Seriously?_
Shut up and grow up, in that order. And while you're at it look up the word 'secret' in the dictionary! It does not include having a bouquet of peonies delivered to my dinner table, when my mother is home!
Yours scathingly
Blair.
* * *
**To:** _blaircorneliawaldorf_
**From:** _Chuck (imchuckbass)_
**RE:** _Seriously?_
Touchy aren't we? Btw I prefer the words clandestine affair. Sounds more mysterious and alluring.
And I know you loved them. I wish I was there to see the look on your face when you read the card at the table…
Yours smugly
Chuck
* * *
**To:** i_mchuckbass_
**From:** _Blair (blaircorneliawaldorf)_
**RE:** _Seriously?_
THAT WAS NOT FUNNY!
My mother took the card and read it before I could stop her. It took me an hour to convince her that I was NOT pregnant!
As punishment you will not be kissing, touching or even looking at me until this whole assignment is over. And then only if you behave!
And btw, me impregnated by a blonde Rusian model named Sergei? Please, we all know I have far better standards and taste! You being the exception!
Blair
* * *
**To:** _Nate (xbplaya); Serena (vanillaicecream); Chuck (imchuckbass); Blair (blaircorneliawaldorf)_
**From:** _Dan (cellardoor)_
**Subject:** _REAL place to meet!_
Hey guys
Blair and I discussed this earlier and we will NOT be filming at Tiffany's. It's completely impractical. So anyone got a place we can shoot in?
Dan.
* * *
**To:** _Nate (xbplaya); Serena (vanillaicecream); Dan (cellardoor); Blair (blaircorneliawaldorf)_
**From:** _Chuck (imchuckbass)_
**RE:** _REAL place to meet!_
My suite is always open for business… as some of you would know…
CB
* * *
**To:** _Nate (xbplaya); Serena (vanillaicecream); Chuck (imchuckbass); Dan (cellardoor)_
**From:** _Blair (blaircorneliawaldorf)_
**Subject:**_ I don't think so!_
Basshole we want a place to shoot in, not shoot up in!
And if you think Tiffany's isn't 'appropriate' then we'll have it at your place, Humphrey, seeing as the production probably can't get any worse. We might as well add a tacky loft!
Blair W.
* * *
**To:** _Nate (xbplaya); Serena (vanillaicecream); Chuck (imchuckbass); Blair (blaircorneliawaldorf)_
**From:** _Dan (cellardoor)_
**RE:** _I don't think so!_
We're definitely NOT doing it at mine. I'm not having the whole student body dissect the décor of my loft. It's bad enough they analyse my sandwiches every day!
Dan.
* * *
**To:** _Nate (xbplaya); Serena (vanillaicecream); Chuck (imchuckbass); Dan (cellardoor)_
**From:** _Blair (blaircorneliawaldorf)_
**Subject:** _How about…_
Serena, you're silent, I take that as assent. We shall film it at your place then!
BW.
* * *
**To:** _Nate (xbplaya); Blair (blaircorneliawaldorf); Chuck (imchuckbass); Dan (cellardoor)_
**From:** _Serena (vanillaicecream)_
**RE:** _Sorry but…_
I would, but the second Cold War is going on here. Mom is driving me crazy! D = Sorry B, but no can do. = (
xxxx
S
* * *
**To:** _vanillaicecream_
**From:** _Dan (cellardoor)_
**Subject:** _Hey_
I hope everything is okay?
* * *
**To:** _cellardoor_
**From:** _Serena (vanillaicecream)_
**RE :** _Hey_
Why wouldn't it be?
* * *
**To:** _vanillaicecream_
**From:** _Dan (cellardoor)_
**RE:** _Hey_
Are you mad at me?
* * *
**To:** _cellardoor_
**From:** _Serena (vanillaicecream)_
**RE :** _Hey_
Why would I be?
* * *
**To:** _vanillaicecream_
**From:** _Dan (cellardoor)_
**RE:** _Hey_
I have no idea? That's why I asked...
* * *
**To:** c_ellardoor_
**From:** _Serena (vanillaicecream)_
**RE :**_ Hey_
Can we talk about it later...
* * *
**To:**_ vanillaicecream_
**From:** _Dan (cellardoor)_
**RE:** _Hey_
I guess...?
* * *
**To:** _Nate (xbplaya); Serena (vanillaicecream); Dan (cellardoor); Blair (blaircorneliawaldorf)_
**From:** _Chuck (imchuckbass)_
**Subject:** _Speculative…_
I'm shocked and slightly impressed Serena knows what the Cold War is. Unless she meant cold sore? Now that I could believe she is very knowledgeable about…
CB
* * *
**To:** _Nate (xbplaya); Blair (blaircorneliawaldorf); Chuck (imchuckbass); Dan (cellardoor)_
**From:** _Serena (vanillaicecream)_
**RE:** _Speculative_
OMG SHUT UP YOU JERK!
* * *
**To:** _Nate (xbplaya); Serena (vanillaicecream); Dan (cellardoor); Blair (blaircorneliawaldorf)_
**From:** _Chuck (imchuckbass)_
**RE:** _Speculative._
What? If I recall correctly you slept through more history lessons then I did! Thus the only conclusion I can draw is that you misspelt cold sore.
CB
* * *
**To:** _Nate (xbplaya); Blair (blaircorneliawaldorf); Chuck (imchuckbass); Dan (cellardoor)_
**From:** _Serena (vanillaicecream)_
**RE:** _Speculative_
GTH!
* * *
**To:** _Nate (xbplaya); Serena (vanillaicecream); Chuck (imchuckbass); Dan (cellardoor)_
**From:** _Blair (blaircorneliawaldorf)_
**Subject:** _STOP!_
SHUT IT THE BOTH OF YOU!
You are being incredibly unhelpful, and we have to film this in a day! NOW EITHER HELP ME FIND A PLACE OR I AM GOING TO MAKE BOTH OF YOU REGRET IT!
* * *
**To:** _Nate (xbplaya); Serena (vanillaicecream); Chuck (imchuckbass); Blair (blaircorneliawaldorf)_
**From:** _Dan (cellardoor)_
**Subject:** _A thought…_
Just an idea, but why don't we have it at your place Blair?
* * *
**To:** _Nate (xbplaya); Serena (vanillaicecream); Chuck (imchuckbass); Dan (cellardoor)_
**From:** _Blair (blaircorneliawaldorf)_
**RE:** _A thought…_
Absolutely not. My house is a hallowed sanctuary. Nobody sees the inside of it unless I personally invite them! I'm Queen B, Humphrey, some of us have to keep up the standards!
* * *
**To:** _Nate (xbplaya); Serena (vanillaicecream); Chuck (imchuckbass); Blair (blaircorneliawaldorf)_
**From:** _Dan (cellardoor)_
**RE:** _A thought…_
Oh, so it's okay to show the entire student body my place? But yours is out of bounds?
I thought we lived in a democratic society, filled with equals?
* * *
**To:** _Nate (xbplaya); Serena (vanillaicecream); Chuck (imchuckbass); Dan (cellardoor)_
**From:** _Blair (blaircorneliawaldorf)_
**RE:** _A thought…_
Precisely.
And we are certainly not equals. Ever heard of the royal prerogative Humphrey?
Go Wikipedia it, and educate yourself!
B.
* * *
**To:** _Nate (xbplaya); Serena (vanillaicecream); Chuck (imchuckbass); Blair (blaircorneliawaldorf)_
**From:** _Dan (cellardoor)_
**RE:**_ A thought…_
You're using Wikipedia as a source of education?
* * *
**To:** _Nate (xbplaya); Serena (vanillaicecream); Chuck (imchuckbass); Dan (cellardoor)_
**From:**_ Blair (blaircorneliawaldorf)_
**RE:**_ A thought…_
I thought I'd give a simple definition that you could understand. Peasants have always found it hard to understand the complex society of their betters!
* * *
**To:** _Nate (xbplaya); Serena (vanillaicecream); Dan (cellardoor); Blair (blaircorneliawaldorf)_
**From:** _Chuck (imchuckbass)_
**Subject:** _And so the mature become the immature…_
Now who's being unproductive?
CB
P.S. I'd quit right there Humphrey, before you say something you'll really regret.
* * *
**To:** _Nate (xbplaya); Blair (blaircorneliawaldorf); Chuck (imchuckbass); Dan (cellardoor)_
**From:** _Serena (vanillaicecream)_
**Subject:** _SOLUTION! = )_
Let's just do at Chuck's suite B, the whole student body has already seen the inside of his place, remember NYE freshman year? And there's no parents there! Problems solved!
Unless you have another reason to object…?
S
* * *
**To:** _Nate (xbplaya); Serena (vanillaicecream); Chuck (imchuckbass); Dan (cellardoor)_
**From:** _Blair (blaircorneliawaldorf)_
**RE:** _SOLUTION! = )_
I have no other objections, beside common decency! But fine, if that's how you all want it, Chuck's suite it is then. 6am sharp!
* * *
**To:** _Nate (xbplaya); Serena (vanillaicecream); Dan (cellardoor); Blair (blaircorneliawaldorf)_
**From:** _Chuck (imchuckbass)_
**Subject:** _Beauty sleep._
6am? I think not. A man needs his rest. We'll meet at 12.
* * *
**To:** _Nate (xbplaya); Serena (vanillaicecream); Chuck (imchuckbass); Dan (cellardoor)_
**From:** _Blair (blaircorneliawaldorf)_
**RE:** _Beauty sleep._
6am!
* * *
**To:** _Nate (xbplaya); Blair (blaircorneliawaldorf); Chuck (imchuckbass); Dan (cellardoor)_
**From:** _Serena (vanillaicecream)_
**RE:** _Beauty sleep._
12 does sound kind of nice…
* * *
**To:** _Nate (xbplaya); Serena (vanillaicecream); Chuck (imchuckbass); Blair (blaircorneliawaldorf)_
**From:** _Dan (cellardoor)_
**RE:** _Beauty sleep._
12 would be good. That way I can bring Vanessa along after her shift. She can work the camera, she has all the equipment and the software to edit it together.
* * *
**To:** _Nate (xbplaya); Serena (vanillaicecream); Chuck (imchuckbass); Dan (cellardoor)_
**From:** _Blair (blaircorneliawaldorf)_
**Subject:** _As if!_
This is a school project. No home schooled bohemians allowed! Besides if we're going to do this, we don't want to use a cheap camera you can buy from Wall Mart!
* * *
**To:** _Nate (xbplaya); Blair (blaircorneliawaldorf); Chuck (imchuckbass); Dan (cellardoor)_
**From:** _Serena (vanillaicecream)_
**RE:** _As if!_
B, none of us own actual video camera's, or at least we don't know where they are/how to work the ones our parents own… Besides Vanessa is nice, and like Dan said, she has all the software and knows how to use it.
* * *
**To:** _Nate (xbplaya); Serena (vanillaicecream); Chuck (imchuckbass); Dan (cellardoor)_
**From:** _Blair (blaircorneliawaldorf)_
**RE:** _As if!_
NO!
* * *
**To:** _Nate (xbplaya); Serena (vanillaicecream); Chuck (imchuckbass); Blair (blaircorneliawaldorf)_
**From:** _Dan (cellardoor)_
**RE:**_ As if!_
YES!
* * *
**To:** _Nate (xbplaya); Blair (blaircorneliawaldorf); Chuck (imchuckbass); Dan (cellardoor)_
**From:** _Serena (vanillaicecream)_
**RE:** _As if!_
YES!
* * *
**To:** _Nate (xbplaya); Serena (vanillaicecream); Dan (cellardoor); Blair (blaircorneliawaldorf)_
**From:** _Chuck (imchuckbass)_
**RE:** _As if!_
Even I must admit, though it does pain me to say, this whole ordeal will go faster if we outsource the camera work and editing to the working class, much more suited to that kind of thing. Your best work is in front of the camera anyway Blair…
* * *
**To:** _Nate (xbplaya); Serena (vanillaicecream); Chuck (imchuckbass); Dan (cellardoor)_
**From:** _Blair (blaircorneliawaldorf)_
**Subject:** _It's on your heads!_
FINE! But if it turns into a French porno and called 'modern expressionism' don't look to me. I'm washing my hands of it as of now!
* * *
**To:** _Nate (xbplaya); Blair (blaircorneliawaldorf); Chuck (imchuckbass); Dan (cellardoor)_
**From:** _Serena (vanillaicecream)_
**RE:** _It's on your heads!_
B you know Vanessa won't do that, you're so dramatic sometimes lol. = P But we love you for it!
xoxo
S
* * *
**To:** _Nate (xbplaya); Serena (vanillaicecream); Chuck (imchuckbass); Dan (cellardoor)_
**From:** _Blair (blaircorneliawaldorf)_
**RE:** _It's on your heads!_
I'm not being dramatic, just realistic!
Fine! I suppose it's settled then…
You better all be there on time!
B.
* * *
**To:** _Blair (blaircorneliawaldorf) ,Serena (vanillaicecream), Chuck (imchuckbass); Dan (cellardoor)_
**From:** _Nate (xbplaya)_
**Subject:** _?_
So, where are we supposed to be meeting?
= S
* * *
**A/N: Thanks for all the wonderful reviews = ). **
**Please R&R. Hope you liked = )**
**Origins of their e-mail addresses: **
**I imagine Nate just made his e-mail address for Xbox on line, or Chuck/Serena/Blair may even have made it for him Most likely Chuck added the playa part, while Nate was in the toilet. Originally Nate had typed in xboxboy. **
**Serena, fickle as always and unsure, made hers an old pet name. Of course her account was set up at about the age of 11 to receive all the latest online catalogues, and she hasn't bothered to change it since. **
**Blair used to have the one Chuck mentioned, but recently changed it because she thought it sounded too childish. The other account is still active, however she uses this one for 'business' matters and to communicate with people not in her close circle of friends. In this case it was 'business'.**
**Dan, being the writer he is, and with an artistic flare, watched Donny Darko and was inspired to change his from simply DHumphrey to cellardoor. (You'll understand if you've seen the movie = ) ).**
**Chuck: It speaks for itself = P. The only explanation he will ever need. **
**PS. This was a formatting nightmare lol. Had to get rid of the at sign and gmail dot com so FF would show the email addresses D =. So though it breaks the realism slightly = (, just imagine the end part of the email address. **
20. Your Worst Inhibitions
_**Chapter XIX**_
**Your Worst Inhibitions**
"What are we doing here again?" Nate groaned as he, Vanessa and Dan stood in the Palace courtyard, looking up at the multi storey hotel.
"Punishing ourselves for all the bad deeds we've done in our lives," Vanessa nudged him playfully with her elbow. She had a camera satchel hooked over her shoulder, all the equipment she needed packed into it. She wouldn't have even come if it weren't for Dan's enticing her with money, and Nate's pleading puppy blue eyes.
"It's not so bad," Dan chipped in, settling the collar of his shirt.
Both Nate and Vanessa turned to him with raised eyebrows, speculative.
"What," Dan queried, noticing their looks. "Anyway, what are you complaining about Nate, I'm sure you've been in Chuck's suite plenty of times? If anyone should be uneasy it should be Vanessa."
"Oh, so you and Chuck Bass are best friends now?" Vanessa asked, arching her eyebrows and putting her hands on her hips. "Do you hang out at the local country club together?"
"No," Dan blustered, "I just meant... you're the only one who doesn't go to our school so…"
"So that makes me the outsider?" Vanessa jumped on the wording, unable to resist a small curl of her lips upwards as she watched Dan struggle to convey his meaning. "Humphrey, I think all the private school snobbery has rubbed off on you."
"Yes, I just can't wait to eat cucumber finger sandwiches, and sip ridiculously expensive wine with my breakfast," Dan replied to this in an exaggerated posh English accent, straightening his back and holding an imaginary tea cup, with his pinkie out.
"It's lunch Humphrey, champagne is the order of the day," a drawl came from behind them, making Dan start and quickly abandon his imaginary cup. He turned; Chuck was a few steps behind them, strolling along in a pastel green suit with a bottle of champagne in his hand.
"Well that's the epitome of irony," Dan muttered, Vanessa snorted. Nate was oddly silent, examining his shoes, as Chuck stepped in front of them.
"You three are late," Chuck noted with a raised eyebrow, glancing at Nate than looking away lazily. "Blair's already having a fit, just a word of warning."
"So what's with the _champagne_?" Vanessa queried, never afraid to speak up. Dan was curious about that himself, everyone knew that there was one thing you could always rely on Chuck Bass to have, a fully stocked liquor cabinet.
Chuck glanced at her, his dark eyes boring into Vanessa for an awkward minute. She stared right back, her pointed chin jutting out, refusing to concede to his lofty air. "Low on supplies," he finally drawled and shrugged, quickly boring of the game.
"Oh really," Vanessa stated, glancing boldly at the expensive looking unsealed bottle. "I didn't realise you actually knew how to shop, I thought you had _people_ to do that?"
"This is just any bottle of champagne," Chuck smirked, holding it up, "Not that you know much about champagne, how do you drink your liquor in Brooklyn? Out of bags or something?"
"Lay off man," Nate muttered, looking up now.
"I was just having some fun Nathaniel," Chuck shrugged, losing his smirk as he looked at Nate, a frown replacing it. "I'm sorry if I offended you." It was hard to tell if that was sarcasm or a statement.
"I'm going to head inside," Nate muttered to Vanessa and Dan, ignoring Chuck he turned around and walked briskly towards the revolving doors of the decadent Palace. Chuck looked after him for a minute, frowning, as Vanessa glared at him and Dan stood there awkwardly.
"Hold this Humphrey," Chuck abruptly pronounced, not bothering to glance at Dan he shoved his champagne bottle into Dan's unprepared hands and strode off purposefully to follow Nate.
Vanessa went to follow him, frowning, opening her mouth to say something, but Dan grabbed her arm.
"Maybe we should leave it for them to sort out?" Dan suggested as she looked at him.
"Well it doesn't look like Nate really wants to," she pointed out. "Maybe Chuck should learn to respect people's wishes; didn't his parents at least teach him that, between botox sessions?"
"Just leave it Vanessa," Dan said, slightly exasperated. "Come on, some things men just need to fight out between them, we have our pride you know."
"And since when have you been an expert on men?" Vanessa couldn't help the jibe, smiling slightly despite herself as she saw Dan's earnest look.
"I have my sources," Dan ran with it, seeing her more relaxed now he let go of her arm. "Now let's head inside before I get arrested again."
"_Again?_ What do you mean _again_?" Vanessa queried, picking up on the word and quickly following behind Dan as he headed for the gold doors.
"Did I say again? Slip of the tongue," Dan quickly tried to brush off the query. He started walking faster, as Vanessa narrowed her eyes and opened her mouth to query further.
Before she charged in on the attack Dan walked right into somebody, almost toppling over and dropping the champagne bottle. He bit back a swear word, his heart jumping in his throat as he narrowly missed letting the slender bottle neck slip through his fingers. He didn't want to even contemplate how much he would owe Chuck if it had smashed on the brick. He was so preoccupied with the champagne; he didn't even notice the person he had run into until they spoke up.
"Dan, Vanessa!" Lilly exclaimed, surprise etched on her face a she settled her bag, her eyes immediately zoning in on the champagne bottle clutched in Dan's hand. "Preparing on having a big night I see?" she raised her eyebrows, conveying disapproval through that one small gesture, as only Upper East Side parents could.
"Oh Lilly…I uh…" Dan fumbled, stuttering. It would help if Vanessa piped in here, but she said nothing, standing slightly back from him and watching him struggle to come up with some excuse. "This, it's just…you know.."
"It's Chuck's," Vanessa supplied, taking pity on Dan, she slung her arm over him.
"Oh," Lilly sighed, a look of understanding over her face. "Charles, I should have guessed."
Did Dan just imagine it, or did the corner of her mouth involuntarily turn up?
"Well, I'll be taking that then I think," Lilly said, composed again, holding out her hand for the bottle. Dan relinquished it, almost gratefully; at least he wouldn't be responsible if it smashed. "You two enjoy your project…a documentary or something I think Serena said?"
"Uh, yeah thanks," Dan said, slightly surprised she knew. Before he could think to say something in return Lilly had already turned on her cream heels, heading back into the hotel with the champagne bottle in hand.
"Do you think she's going to drink that whole bottle herself?" Vanessa finally queried as Dan blinked, watching the doors swing behind her. He wondered if he would still be liable to pay for handing over Chuck's bottle to his step-mom? It's not like anyone could really refuse that kind of well-bred manipulation, even Chuck Bass.
* * *
"Nathaniel wait up," Chuck's typical drawl sounded through the hotel as he rushed for the elevator. Nate didn't make a move to stop the doors, but he didn't bother to try and press the button for the floor of 1812 either. Chuck managed to get there with a bit of a jog, before the doors closed, quickly putting his hand out he squeezed in, they slid shut smoothly behind him.
Nate watched him but didn't say anything; Chuck straightened up, fixing his green bow tie and settling his hair. Finally, when he couldn't stall any longer he glanced over at Nate.
"Care for a roach?" he asked after an awkward pause.
"What do you want Chuck?" Nate asked, not bothering for small talk. They were friends enough to speak straight with each other. There was a tense silence; Chuck stuck his hand in his pocket, his face unreadable. Nate wondered what snarky jackass comment he was going to make now.
"I wanted to apologize," the unfamiliar words came out, making Nate stare. Was Chuck being genuine? "I was being an ass to you that day. I shouldn't have started on you." His eyes were trained on his shoes, not daring to look at Nate.
"Are you seriously trying to apologize to me right now?" Nate asked, trying to keep his face straight. To be honest, Nate had wanted to talk to Chuck for a few days now. He knew the other boy had been somewhat right, and he wasn't above admitting that. But now he thought that sometimes it was good to humble his best friend, who usually never apologized. It was also fun.
"Do you want it in writing Nathaniel?" Chuck asked, slightly annoyed he looked up. .
"It wouldn't hurt. I could frame it and put it up on my wall." With those words and Nate's easy grin, Chuck knew he was in the clear, the tension seemed to leave the elevator, and it was just two friends again, like it had always been.
"Don't make me take it back," Chuck threatened, smirking despite himself.
"I have the video footage to prove it," Nate indicated the small black dome which hid the elevator's camera.
"I have the power to erase it," Chuck countered with. "I'm glad you came to your senses though Nathaniel, you wouldn't want to miss out on being part of the exclusive senior court."
"Right," Nate grinned despite himself and shook his head, typical Chuck. "Since when have you had the time to plan all this?"
"Please, I pay people to do that," he drawled, leaning against the elevator, his usual arrogant self. "Your costumes will be ready for you tomorrow night."
"And where exactly is this party man?" Nate enquired sceptically.
"Victrola of course," Chuck shrugged. "Monday nights are usually slow so it will be good business, both ways."
"And when were you thinking of sending out invitations?" Nate queried, slightly amused.
"They're going viral today, senior class only."
"You do realise it's a school night right man? And you're only giving upper east girls a day's notice. What makes you think people are going to come?"
"If they're a senior, they won't miss it," Chuck shrugged matter of factly. "It's going to be a party for the decade Nathaniel," Chuck proclaimed at his friend's less then convinced look, grinning at him wolfishly.
And Nate didn't doubt it was going to be a night to remember.
* * *
"What is taking that Basshole so long," Blair snapped, glancing at the fashionable clock on the wall yet again. She was pacing up and down on the carpet, Serena wondered how her Loubiton heels hadn't made a dent yet. "It's already twelve thirty."
Blair had arrived at Chuck's early, in the hopes of some alone time. Unfortunately Serena was already there, a Cleo in hand, lazing on the couch. Chuck had given Blair suggestive looks over Serena's head, but she had glared daggers at him, hopefully conveying her need for him to not blow their cover. Finally, with each innuendo worst then the last, Blair had messaged him a threat, demanding he shut or she would shut him up. A few minutes of messages back and forth and Chuck had finally frowned in defeat, and then muttered something before leaving.
"You heard him, he's gone to get some refreshments, probably had Arthur pick it up," Serena rolled her eyes, looking up at Blair from where she lounged on the couch with a magazine in her lap. She had been tempted to ask Blair about her trip to Brooklyn since she got back from the Hampton's, but she didn't have the courage to. Every time she thought to open her mouth, her tongue somehow seemed to be stuck, as she remembered a sleepy eyed surfer looming towards her. It was ridiculous really; Blair and Dan were probably talking about the project. And then there was that picture of Chuck getting into his limo in front of Blair's door…
"What, what are you staring at?" Blair demanded, stopping her pacing. Serena hadn't realised that she had been staring at Blair while she was thinking; her brow furrowed forming a crease between her eyes.
"Nothing B, just a crazy girl," she quickly rectified, smiling brightly. "So what's this about Chuck going to your place?" she queried, trying to be subtle.
"What are you talking about!" Blair snapped immediately. "Chuck never came to my place."
"That's not what Gossip Girl said," Serena pointed out, watching her friend carefully again. "You weren't thinking of…"
"That's ridiculous," Blair interrupted fired up, her eyes flashing.
Before she could say more Serena's phone rang, she glanced down at the caller ID.
"It's Dan," she said, watching Blair carefully for any signs of secrecy as she went to open the phone. Before she could however, Blair snatched it from her hand.
"Humphrey, your bohemian friend better not have forgotten the camera," Blair snapped into the phone, "And you two wannabes better be up here in twenty seconds or else!" Without waiting for a reply she ended the call. "Here," she said carelessly handing a puzzled Serena back the phone, she resumed pacing.
Serena held the phone, slightly shocked, but also very relieved. Blair had talked to Dan with her usual disdain; there was none of the familiar signs which indicated that she was hiding something. Serena shook herself mentally for her silliness, her mind going to the next case in point, and the red flags that had popped up there. She frowned again, she had seen what being with Chuck had done to Blair last time. There was no denying that they had something between them, but that something wasn't always the best thing for Blair. Serena may be friends with Chuck again, but Blair was her best friend, and sometimes that took priority.
"So you and Chuck…" she began again, quickly sending a text of apology to Dan, and then carefully looking up to watch Blair with unusually discerning blue eyes.
"I told you, that's ridiculous!" Blair snapped, glaring evenly at Serena,. "Chuck is a Basshole, always has been and always will be, end of story."
"Okay, okay," Serena laughed, grabbing a pillow and pulling it up as a shield against Blair's glare. "I trust you B. Besides you swore you wouldn't go anywhere near him until he said I love you right?"
"Right," Blair stated, "Exactly!"
Serena felt easier, she should have known Blair, like she should have trusted Dan. Blair was the type of person who would cut off her own arm before she'd ever concede and relinquish her pride, especially for a boy like Chuck Bass.
They heard the sound of familiar male voices in the hotel corridor.
"I guess it's time to get to work," Serena sighed, throwing the magazine onto the couch beside her and getting up to stretch.
"I guess," Blair repeated, Serena, settling her skinny jeans, didn't notice the way Blair had resumed her pacing, wringing her hands and biting her lip.
* * *
Lilly went up to the pent house suite in the elevator, the champagne bottle in hand. She was going to be late for dinner with Bart at Daniel's, she would have to think of some excuse. An excuse that did not involve Chuck and champagne… She had thought it was a bit of an extreme measure when Bart got home from the Hamptons and had Chuck's liquor cabinet emptied, she hardly knew what Bart would do if he found his son blatantly ignoring his intended punishment. Although rightfully, no seventeen year old should have a liquor cabinet in the first place. Of course Chuck wasn't a regular seventeen year old; for one thing he had impeccable taste in champagne. Perhaps she should stay in tonight and tastes test some of it. It may even be more fun than an awkward dinner with Bart, where he apologized for the Hamptons and tried to explain, and she tried to pretend she hadn't heard it all before.
Smiling slightly at the ridiculousness of the thought despite, Lilly exited the elevator, going to put the champagne bottle with the rest of the alcohol. She paused at the kitchen counter when she heard a sound coming from upstairs. Frowning she put the bottle down on the marble top, glancing towards the staircase. Bart said he would meet her after work at Daniel's, and the help should have left by now. Eric was at a friend's house again, and Serena and Chuck were supposed to be down in Chuck's suite… Abandoning the champagne bottle where it lay, Lilly cautiously made her way up the stairs and to the door of the master bedroom, where the sound seemed to be emanating. The door was ajar, she glanced through the crack and saw her clothes scattered on the bed. Her heart jumped in her throat, she wondered how fast security could get up here.
"I'll go get it," somebody suddenly said, much closer to the door then she had anticipated. The door swung open before she could move and she let out an instinctive scream of surprise, along with the person who'd opened it.
"Annette," she exclaimed, looking shocked as one of their personal staff stood before her, still in uniform. "What an earth are you doing here? You should be home by now."
"Oh Mrs Bass, I'm so sorry…" Annette said, flustered.
"Is there any reason my suitcases are being packed?" Lilly asked, unsure whether to frown or be amused as she looked into the room to see another hotel maid staring shocked, with one of her tops held up suspended in her hands.
"It was meant to be a surprise, I hope Mr Bass won't be annoyed…"Annette said, wringing her hands
"A surp…Oh…" Lilly said, understanding now and smiling slightly. "Is Bart planning for us to go on a trip tonight... You don't need to answer that, I understand." Lilly said quickly at Annette's worried look. She felt lighter, smiling genuinely for the first time in a while. "Don't worry it will be our little secret. And I believe I have a dinner to get to," she said, quickly checking her watch as Annette looked relieved and smiled. "Would you be able to let the children know when they get home. I'll ring them, but they may wonder where we've got to for the night?" she asked, she was almost certain that was something Bart would have forgotten, but she could forgive him that for tonight.
Lilly took her leave then turned walking out on her cream heels. Perhaps this time was actually going to be different. It certainly was a very romantic gesture at least, and involved Bart taking a few days off work. Maybe they could actually work their problems out, one small step at a time….
* * *
"Hey," Serena said awkwardly, walking up to Nate. Nate stood in the middle of Chuck's living area, they'd moved the couch to the side to give them more room to move. In front of him stood Vanessa, camera focused on him, while Dan and Blair stood behind her with the script.
"Hey," Nate replied, he glanced at the camera, feeling self-conscious as he thought of the whole school watching this, or worse his grandfather getting a copy. As he glanced at the silver camera Blair waved at him madly, glaring, mouthing for him to look at Serena. Nate quickly glanced back at the blonde, painfully aware that Vanessa was just a few steps away.
"So ummm…do you want to have a drink…?" Serena asked, in between suppressed giggles. She held up two champagne glasses they'd raided from Chuck's cupboard. They didn't have any vodka bottles because ironically Bart had Chuck's liquor cabinet emptied for skipping out early on the Hamptons.
"Uh…yeah sure…" Nate said, looking at the camera again as he spoke and took one of the glasses.
"That's really…I'm sorry…" Serena said, bursting into giggles as she watched Nate blinking like a lost deer in headlights at the camera.
"Cut," Dan called out in exasperation for what felt like the hundredth time that day.
"Cut, really Humphrey? You're filming with a video camera from Wall Mart, in my living room," Chuck commented, smirking. He was lounging on a stool in front of his bar. His snarky comments didn't have the bite they used to, now he and Dan were…acquaintances? But he wasn't trying to make the project any easier, refusing to act on camera, and offering unhelpful lewd suggestions. Dan thought perhaps he was pissed about the loss of his champagne, so he tried to let it slide, but it was starting to grate on his nerves. He didn't need to reply however, Vanessa did for him.
"The camera was from B&H, not that I would expect you to know much about…well anything really."
Before Chuck could reply, he was interrupted by a display from Blair.
"Serena, how hard is it to keep a straight face?" Blair wailed, "This is the tenth time we've had to shoot this scene. Why were you born a blonde if not to act?"
"Well if you're so good B why don't you try it?" Serena demanded, feeling spurned.
"Fine, I will," Blair proclaimed, walking over to stand in front of the camera, she grabbed the champagne glasses from Serena. Serena pouted and stepped out of frame.
"Okay, start from hey, and this time try not to stare at the camera Nate," she snapped bossily. "Okay, go. Hello, Nathaniel, would you care to share a drink with me?"
"Um…" Nate said, looking baffled at Blair's over pronunciation of each word, and the way she was poised like she was wearing a plank of wood on her back. "Sure?"
"What do you mean sure?" Blair asked, returning to her normal form of speech and narrowing her eyes. "Did you even bother to learn your lines?"
"You can turn the camera off Vanessa," Dan sighed, "I don't think we're going to get anything more today."
"What are you talking about Humphrey, this is gold," Vanessa smiled wickedly. "It could be an expose."
"It's going to be a disaster," Dan groaned.
"Hey, it's not that bad," Serena said, coming over and putting her hand consolingly on his shoulder.
"We're going to look like idiots in front of the whole student body, how is that not bad?" Dan asked, looking up at her.
"Well, your scenes were really good," Serena added, trying to sound positive. She had been trying to be supportive of Dan today, to make up for her almost indiscretion at the Hamptons. Deciding that she trusted him, and she knew he would tell her what was bothering him in his own time. He showed his appreciation by squeezing her hand, though he was still looking like a person prepared to go to their execution.
"Humphrey's right for once," Blair said, giving up on scolding Nate, she looked over at Dan and Serena. "This is going to be a disaster."
"Well, not necessarily…" Vanessa said thoughtfully, lowering her camera and checking the footage. "The real problem you have is with the delivery of the dialogue, the pictures can be cut anyway you want…why don't you just make it a silent movie?"
"You think our peers are going to sit through five minutes of silent film?" Chuck asked derisively. "The only good thing about these assemblies is the ability to talk under the radar."
"Yeah…I don't really think silent will work out…" Dan commented miserably.
"Well, why don't we do a voice over then, like those commercials…" Nate supplied. The rest of the room stared at him. "What, it was just an idea?" he muttered, slightly annoyed.
"Nothing," Vanessa quickly said, glaring daggers at Chuck to make some snide comment along the lines of 'Everyone's just shocked you had a decent idea' but Chuck was silent. "That's actually a good idea."
"What are we supposed to read over?" Blair snapped, annoyed at the whole situation.
"What about Johnson's exploration of the four phases that lead to alcohol addiction?" Serena asked, looking up from her phone which she had been fiddling with.
"Is this opposite day or something?" Blair asked, looking at her friend uncomprehending.
"Wikipedia," Serena held up her phone. "We'll just cite Johnson at the end of the tape, it's not like they're going to grade us on it anyway. And at least it'll save us from having to shoot everything again to get the dialogue right."
"It's supposed to be drugs and alcohol week?" Blair pointed out. "It has to be related to the whole theme!"
"Well it could be applied to drugs as well, theoretically. Anyway alcohol is just a type of drug," Dan shrugged, glad of an answer to at least make something half decent to present.
"Just add denial at the end of it and I'm sure you'll be relating to your whole senior class," Vanessa noted wryly, as she looked up from reading Serena's screen over her shoulder.
"Fine," Blair huffed. "But we're each taking turns. Besides Humphrey and Vanessa, you two can start editing the footage."
"You owe me fifty bucks _and_ a meal," Vanessa muttered to Dan.
"Fair," Dan sighed.
"Chuck, where do you think you're going?" Blair queried as Chuck abruptly rose from the stool, frowning down at his phone.
"I have to make a call," Chuck muttered.
"And when do you plan on contributing?" Blair demanded, stepping in front of him as he headed for the door.
"I contributed my suite," he indicated the room. "And I offered some…suggestions. It's not my fault you were too late to take me up on my offer…" he lent slightly closer to her, and Blair turned red.
"Just come back you Bass hole, if I have to do this into the evening so do you!"
"Wouldn't miss it for the world," Chuck said dryly, heading for the door and leaving.
"Who do you reckon he's calling?" Serena asked Blair.
"Who cares," Blair snapped. "Now come on, it's already five thirty, we were supposed to be done by now! Nate, hurry up and get a microphone from the study! Serena boot up the laptop!"
Serena and Nate shared a partly amused, partly exasperated look before they quickly rushed to do as Blair said. There was no reasoning with the Queen B when she was in one of her moods.
* * *
The six teenagers sat around the laptop, watching as the last scene played out and the video finished. There was a second of silence, the ramifications of it still sinking in. Finally Blair had the courage to speak.
"That was the worst thing I have ever helped to make," she stated, her shoulders slumping in defeat.
"It's not that bad," Nate supplied half-heartedly, feeling uneasy at the way he looked on camera beside Serena. He stole a glance at Vanessa, who was busy fixing something on the video and didn't seem to have noticed… at least he didn't think she did. Of course she didn't seem to notice much when she was working on her camera…it was a quality of hers which could sometime be annoying, this was one of those times. She'd barely said a word to him all day. Instead whispering things to Dan about editing, referencing films Nate had never heard of before.
"Well it's already eight, and I don't know about you guys but I am sick of looking at it. I think we should just call it a night…" Dan supplied wearily. He could just dive into a pillow right now, and hopefully suffocate himself before tomorrow. "It's not like we can do much anyway…"
"Whatever will be, will be, right…?" Serena supplied weakly.
Blair just groaned and put her head in her hands.
"I guess I should burn it on a disc then? Or do you mind just using the tape?" Vanessa queried, the only one who didn't seem too concerned. After all, she didn't have to show this to a whole school of her peers tomorrow. "If we use the camera tape, you'll have to play the audio over it seperately, I've saved it on the USB."
"We'll just use the tape," Dan said resignedly, "I really don't want to sit here another minute longer."
"All right then," Vanessa said, she opened the camera and took the tape out, placing it in one of the plastic cases she had. She was just about to label it as the other's sat in depressed silence, watching like it was a writ for their death sentence, when the door opened.
"Get dressed, were going out," Chuck proclaimed, sauntering in. He had changed from his eye sore of a suit into a white button down shirt with a rich purple waistcoat, and a purple bow tie to complement the ensemble of course. His hair was carefully coiffed and he had the smell of scotch about him. In one hand, typically, he held a unopened champagne bottle.
"Where the hell were you Bass?" Blair snapped, her dejection gone as her anger rose. "You've been gone for two and a half hours!"
"I had to sort out something," Chuck shrugged.
"At the bar?" Blair called him on it, raising her eyebrows as she looked pointedly at the champagne bottle.
"The bar came after," Chuck shrugged. "I was thirsty. Now do you all want to sit there dejected, wasting away your youth thinking about the stupid assembly, or would you like to have some actual fun with me?"
"I'm in," Nate said, shrugging. "I could use some fun."
"Why not," Dan added surprisingly. "I could use something to forget about what we've just done."
"You cannot be serious," Blair snapped, looking at them incredulously.
"Well…it could cheer us up a bit," Serena said, tentatively, looking at Dan. "Maybe some fun would do us some good…"
"Just like old times," Chuck grinned wickedly. "You in Waldorf? Or are you going to bed like a good pupil?"
"Shut up Basshole," Blair snapped.
"Come on B," Serena said, wheedlingly. She didn't want to be at odds with Blair for betrayal, but she really did want to spend time with Dan, preferably in a fun environment. "We haven't been out in ages."
"I'm not going out in this," Blair pointed out, indicating her clothes. They were appropriate for day wear, but not for a night on the town."
"You can borrow something of mine," Serena said brightly, smiling. "Just like old times! You and Vanessa both, of course," she added as she realised she'd left the other girl out.
"What about your Mom?" Blair demanded. "Won't she be annoyed, it's a school night, in case you've all forgotten!"
"Lilly and Bart aren't home," Chuck drawled. "I just went up there to change. Bart left a note, they've gone on a 'romantic' trip or something for a few days…" he shared a look with Serena.
"It's decided then, we're going," Serena declared, turning back to the girls and grabbing both Vanessa and Blair's hand and dragging them up. Blair allowed her to. She had nothing to argue with, and wasn't in the mood anyway, she was too depressed about the assembly.
"Actually I…" Vanessa began.
"I'm not taking no for an answer," Serena proclaimed, trying to look sternly at both of them. Vanessa didn't know how to respond to that determined sunniness.
"Just think on the bright side. You can bring your camera and tape the experience, make an expose out of it," Chuck drawled, amused, as Serena dragged the two girls towards the door.
Vanessa made an unpleasant face at him but didn't reply as Serena practically hauled them out the door, calling "We'll be ready in five minutes," behind her.
"They're so not going to be ready in five minutes," Nate stated, flopping down on the couch which had been put back in its familiar place.
"Definitely not," Dan agreed, turning off the laptop.
"We'll give them half an hour," Chuck said. "Anyone want to start early on the drinks while were waiting?" he held up the champagne bottle invitingly.
"Fill me up," Dan shrugged, grabbing the discarded wine glass on the table. "Why not?"
"Exactly the sentiment of tonight Humphrey," Chuck said, smirking as he went to find a cork screw. "Why the hell not?"
* * *
**A/N: Thanks for all the reviews. I've never reached 150! = ). Sorry it took so long, I didn't have time to edit but I posted anyway because I'm bad.= P I'll edit later I promise ; )**
**Please R&R = )**
**Inspirational picture for the chapter: Google "0201Chuck05"**
**Next chapter: Shenanigans! ; P**
21. I'm not Inclined to Resign to Maturity
_**Chapter XX**_
**I'm not Inclined to Resign to Maturity**
Chuck grabbed the remote and pressed the plus button on the volume, turning up the music so it pounded through the limo speakers. He shoved the controls back in their holder and lent back, a full glass of champagne in his hand, gazing at his domain. Nate was sitting next to him, a champagne glass in his own hand, relaxed. He'd borrowed a tie from Chuck and merely untucked his shirt, and he still looked fresh. Sometimes Chuck envied his friends casual style.
Serena and Dan were sitting on one of the side seats, whispering sweet nothings in each other's ears no doubt. Serena had brought down a rare plain black jacket of Chuck's for Dan, practically forcing it upon him. Dan had conceded grumpily, and Chuck hadn't bothered to protest over much, it was a jacket his father had bought him. Serena wore a pert black dress, the hem just at the right length for teasing, not that Chuck noticed.
Vanessa and Blair were sitting opposite the flirting couple. Vanessa had actually taken Chuck's advice and brought her video camera, a fresh tape inside. She had borrowed one of Serena's more conservative dark blue dresses, not that you would notice as she was holding up the camera concentrating on fixing the brightness so she could film in the dim limo. Chuck wondered wryly if she noticed that her camera was pointed steadily at Dan. Blair on the other hand had borrowed a stylish designer, of course. It accented her curves perfectly; her hair in its usual immaculate curls. Chuck's eyes rested on her, smirking slightly in amusement as he noticed she sat at the edge of her seat, looking annoyed that she had ended up next to Brooklyn.
"So where are we going?" Nate asked Chuck, glancing at him.
"I thought we could hit some of New York's finest, you know the usual clubs," Chuck turned his head lazily to him, sipping on his wine.
"I think those places have a no video camera policy," Blair said, pointedly looking at Vanessa. Maybe she hoped Vanessa would be so outraged she'd take her camera and get out of the limo. Instead Vanessa turned the camera around, focusing on Blair and smiling too widely.
"You better not be zooming in," Blair said, glaring at Vanessa icily. "Otherwise I _will _break that cheap camera of yours."
"Blair Waldorf, at her finest," Vanessa said, putting on a deep voice in a documentary style.
Before Blair could launch herself at Vanessa Chuck shoved the bottle in her hand, she immediately threw it on the seat like it was something disgusting, suitably distracted. "Drink up Blair and relax," he said, "And I'll get the camera in Brooklyn, if you promise to keep all the footage of us private, and no more zoom shots."
"What's the point then?" Vanessa asked.
"You can keep the footage of anyone else you shoot…" Chuck shrugged. He hoped that would be incentive enough for her not to plaster the bad acting she had already filmed over a low grade film festival.
Vanessa hesitated, warring with herself. But she finally decided that having the exclusive ability to film Upper East Sider's in their natural habitats, at their most depraved and hopefully drunk, was too good to pass up. Conceding she moved the camera off Blair, turning it to Nate instead. "So Nate Archibald, what rules are you planning on breaking tonight?"
Nate grinned at her, he was fine with camera's when there weren't any stupid lines to recite.
"I know one thing Nate wants to do right now," Chuck muttered, Blair, catching what he said, actually giggled, maybe she'd had too many glasses of champagne on an empty stomach.
"I thought the great Chuck Bass didn't allow rules?" Dan noted, tearing himself from Serena's navy blue eyes to glance at the others.
"Tonight there is only one rule," Chuck proclaimed, sitting up and settling his waistcoat. He was aware of Vanessa focusing her camera on him, he loved putting on a good show. He grabbed the wine bottle from the holder it was in, filling up his glass. "What happens between the six…seven," he amended at Vanessa and Dan's unimpressed look, "What happens between the seven of us, _stays _between the seven of us. Agreed?" He held up his champagne glass, looking at the others.
"Agreed," Nate said immediately, grinning. He chinked his glass with Chuck. The others then followed, even Dan. Vanessa hesitated, but at Blair's superior smile which suggested Vanessa couldn't take the heat, she raised her own full glass.
Serena took a sip of the champagne, enjoying the bubbling sensation as she sat back on the plush leather seat.
"It's just like old times," she commented.
"Except none of us are drunk yet," Chuck pointed out. "Something we desperately need to rectify."
"Please," Blair said, grabbing a fresh glass he was holding up as an offering to anyone and taking a sip. "What?" she asked as the others looked at her. "I need something to get me through tomorrow morning."
"Perhaps we should take the reminiscing further, skinny dipping anyone?" Chuck leered.
"So you four like to skinny dip together?" Vanessa teased.
"We have never skinny dipped," Blair said shrilly as she saw Vanessa had trained her camera on Chuck as he opened his mouth to reply. "We don't even have pool parties…"
"Well not since last year," Nate amended.
"Ah yes, the famous school pool debacle," Dan noted, "A story I was actually involved in."
"Oh my gosh, that reminds me, do you guys remember hair debacle of fifth grade," Serena exclaimed, laughing at the sudden memory.
"A hair debacle?" Dan asked, blinking, confused.
"I had almost forgotten about that," Blair said, actually smiling now.
"The spit ball incident?" Nate asked.
"Ah yes, little Spitty Vicky," Chuck drawled as he remembered, smirking.
"But I don't know anything about balls," Serena and Blair both exclaimed with British accents, in unison, then burst out laughing
"Right," Dan muttered, smiling slightly despite himself as he watched Serena giggle like a five year old, he took another sip of the champagne. Vanessa panned the camera to take in the two girls in stitches, quizzical but not wanting to ask further.
"Didn't you tap that in ninth grade man?" Nate muttered to Chuck, glancing over. Chuck ran his finger across his throat but it was too late, Blair's smile immediately disappeared.
"You what?" she exclaimed in shock, glaring at Chuck.
"Nothing," Chuck said quickly, "More champagne everyone!"
"You slept with Spitty Vicky? That's low even for you Chuck," Serena declared, scrunching up her nose, partly amused partly disgusted.
"It was before I discovered how easy the L'Ecole girls were," Chuck said defensively.
"It's disgusting," Blair snapped.
"It was ninth grade," Chuck defended. "I slept with everything that moved in ninth grade."
"Is there a difference now?" Dan couldn't help commenting wryly.
"Har, har Humphrey," Chuck said, looking at Blair anxiously, though he tried to hide it.
"Sir, we've arrived," Arthur's voice came over the limo's intercom. Chuck felt relieved, quickly pressing the button to respond.
"We'll get out ourselves Arthur, bring the car around in…"
He glanced at the others, Blair was refusing to look at him, Nate shrugged while yawning, and Vanessa was busy fiddling with her camera, as in front of her Serena and Dan were doing some very close talking. Chuck rolled his eyes at the sorry lot.
"Bring the car around in an hour," he decided for them, better to leave early then be stuck with this bunch for too long. Obviously this night wasn't going to be as fun as he had hoped.
"Very good sir," Arthur responded.
Chuck quickly swung the limo door open, escaping onto the cool New York side walk gratefully, and away from Blair's angry look. He didn't know what she was getting so upset over, she knew he'd slept with a lot of girls in the past, and Spitty Vicky wasn't the worst by a long shot. Besides, whatever they had now was supposed to be a secret, that included Blair not reacting when she found out who he'd slept with, especially someone he had slept with _four _years ago.
"So ready for a night out man?" Nate asked, exiting behind Chuck and clapping him on his back.
"Aren't I always Nathaniel," Chuck smirked, pushing aside his confusing thoughts of Blair and plastering on his usual mask. Tonight was a night for fun, and he was going to make sure of that.
* * *
**Spotted: C, B, S, N, D and surprisingly enough V, skipping the line and getting into one of our favourite clubs. Having a wild night out boys and gals? I hope you don't party too hard, we have school tomorrow. Who am I kidding, I love when you party hard, especially when I get sent the pics the morning after. xoxo Gossip Girl.**
* * *
"Okay, so how did you do that?" Vanessa asked Chuck as they filed into the club. They somehow managed to find their way to the front of the long line, and after Chuck had murmured something to the bouncer and slipped green into his hand, they were let in without a second glance, even Vanessa's camera.
"I'm…"
"Chuck Bass," Dan, Serena and Nate finished for him in a chorus.
Chuck narrowed his eyes at them, but didn't comment, instead turning he headed towards the doors that entered into the actual club.
"Follow me," he commanded, without a second glance back. Nate shrugged and did so, the others trailed behind after a second hesitation.
The club was full, lights flashing and the music pulsating, seeming to pound in their very bones. Dan held tight to Serena's hand as she took the lead, pushing through bodies to follow Nate and Chuck. Blair followed close behind, making faces as she had to push through sweaty men. Vanessa tried desperately to catch everything on camera, analysing everything with a film critics eye.
Chuck reached the bar before the others. He grabbed the attention of the busy bar tender with a twenty, and shouted his order over the music. The others reached the bar shortly after, he smirked at Humphrey's wide eyes, glancing around the club, and Blair's slightly rumpled hair.
"What did you order?" Nate asked, having to shout over the music.
Chuck didn't need to answer as the bar tender came with a tray burdened with salt, lemon slices and seven shot glasses full of…
"Tequila?" Serena cried out.
"Don't you have to be carded to buy that stuff?" Dan asked, Chuck rolled his eyes at the Brooklynites naivety.
"You also have to be carded to get into this place, welcome to the Upper East Side" he smirked, waving his hand to include the number of privileged underage people all over the floor, clearly drunk. "Now everyone drink up." He grabbed two of the shot glasses, shoving one into Dan's hand, and one into a surprised Blair's.
"No way Bass," Blair snapped.
"What Waldorf, too chicken?" Chuck challenged, looking at Blair. Blair was about to retort, when she noticed Vanessa's camera was trained on her.
"Of course not," she snapped. "Tequila is just disgusting!"
"I think I'm with Blair on this one," Dan spoke up, "I don't really think we should…"
"Who would have thought, Blair and Dan our moral compass," Chuck noted dryly. "But one can't help wondering if perhaps you two are just a little bit scared?"
"I didn't say we shouldn't" Blair quickly said, distancing herself from Dan. "And I'm not scared of anything. Give me the lemon Bass hole!" she grabbed the yellow slice and Chuck resisted the urge to smirk triumphantly.
"I mean not that…but isn't this stuff expensive?" Dan asked, still not sold.
"Humphrey, relax, they're on me," Chuck drawled, slightly amused. "Besides tequila is a pre requisite for a good time, all you have to do is swallow and let it work its magic." He picked up the tray, shoving it at the rest. Serena and Nate shrugged, sharing amused looks and picked up a shot glass and a slice of lemon each.
Chuck looked at Vanessa, hidden behind her camera. "Having some?" he asked, raising an eyebrow.
"No thanks, I think I prefer my view to be less blurry," Vanessa commented dryly.
"More for me then," Chuck shrugged, putting the tray down he grabbed the salt shaker, distributing it liberally to each of his friends on the back of their hands, between their thumb and forefinger. Putting some for himself in the same place, he then grabbed one of the shot glasses and the lemon, making sure the other shot glass was available on the edge of the tray.
"To the best night of our lives, so far," he pronounced, holding up his shot glass to Vanessa's camera and grinning.
He licked the salt off the back of his hand and quickly tipped back his head and swallowed, the others followed suit. Slamming down the first shot glass he blindly grabbed the other one and tipped it down in quick succession, the liquid burning as it travelled down his throat. He brought the lemon up to his lips, sucking out the juice and allowing it to relieve the familiar yet still disgusting taste of the tequila. He felt the giddy buzz that followed the shots, just what the doctor ordered.
He looked up and saw Dan spluttering while Serena and Nate tried to pat him on the back and Blair laughed at his ineptitude. And all the while Vanessa caught it all on camera. He couldn't help laughing at the sight. Maybe this night_ was _going to be fun.
* * *
"Dan, we_ have_ to dance," Serena cried out impulsively, grabbing her boyfriend's hand. They had taken a few seats scattered on the edge of the dance floor, watching the gyrating mess that was the club. There were several glasses and bottles littering the table, Chuck had only been able to convince Nate and Serena to do another shot, but he had been able to co-erce the others to enjoy more drinks. Even Vanessa was nursing a beer with one hand, though she was more preoccupied with getting as much as she could on film. Right then her camera was focused on Dan's stunned face, even paler then it had gone after the tequila.
"Uh…dance?" he repeated dumbly at Serena's wide smile.
"Yes, dance, which we are going to do right now," Serena insisted, standing now and dragging Dan up with her.
"Serena I don't really think…" Dan began, but Serena was focused on her goal, the middle of the dance floor, and paid no heed to his protests. Instead she managed to drag the helpless Dan with her through the bodies, his desperate face lost quickly in the crowd.
"I cannot miss this," Vanessa exclaimed, quickly getting up, a wide smile in anticipation of her best friends humiliation, plastered on her face. "Come on Nate," she called, glancing back as she started through the crowd with her camera held high. Nate grinned and followed after her, not wanting to miss the opportunity to see Serena force Dan to dance, like she had forced him to so many times before.
Blair watched them go, a cosmopolitan in her hand and a bemused look on her face. Who would want to see Humphrey _dancing_?
"So what say you to us finding a corner of our own to do some dancing Waldorf?" Chuck drawled into her ear. He had smoothly slid along the lounge to occupy the empty space where Serena had been sitting next to her, moving in close so his lips were practically touching her ear, invading Blair's personal space.
"I'm sorry, but I think you're looking for Spitty Vicky," Blair said venomously sweet, quickly putting her glass down on the table she rose, planning to follow the others.
"Blair, are you seriously angry about me sleeping with Spitty Vicky _four_ years ago?" Chuck demanded, rising and grabbing her arm before she could escape. Blair turned to face him, raising her eyebrows.
"Angry, of course not. Sickened, completely," she said.
"I was fourteen years old," Chuck said, exasperated. "Besides it was your fault."
"My fault?" Blair demanded.
"Yes, if I recall correctly it was about the time you were monopolizing Nate with your movie dates and couple lunches. I was bored and drunk, and I didn't have you or Nate to advise me otherwise," he shrugged, as if that explained it all.
"Still sickening," Blair pointed out, taking back her arm from his grip.
"She had a boob job," Chuck countered.
"You're heinous," Blair retorted.
"I was _fourteen_," Chuck countered.
"It still doesn't excuse your lack of judgment," she noted. "Will you really just sleep with _anything_?" And right then, when her voice rose in pitch at the word anything, Chuck thought he understood what the real problem was. Blair was afraid, afraid she was just one of Chuck's many conquests, just one in a list that included Georgina Sparks and now Spitty Vicky. Of course she didn't realise that Chuck would never even think of her in the same sentence as those two. No, Blair Waldorf was in a league of her own, sometimes she just temporarily forgot that.
"I admit, I wasn't at my smartest," Chuck said carefully, trying to think of the right words. "But to be fair, I didn't have many options, the one girl I respect was already taken," with that smooth line he smirked, taking her hand and raising it to his lips, he took it as a good sign she didn't pull back. "And without you there how was I to know any better?"
"Laying it on a bit thick, don't you think Bass? But I suppose you're right," she finally conceded.
He looked up at her, she was watching him now with a different type of feeling.
"I know a dark corner we can discuss lack of judgment further," he said hopefully.
Blair hesitated for a second, Chuck smirked mischievously, raising his eyebrows suggestively and Blair scowled.
"Fine," she conceded, "But this corner better be extremely dark."
Chuck didn't need to beg permission twice; he quickly grabbed her hand and pulled her through the crowd.
* * *
"Come on Dan," Serena laughed, dragging Dan deeper into the middle of the dancing crowd. Dan turned red as he saw Nate and Vanessa standing nearby, the camera firmly planted on him while they laughed.
"Serena I don't really…" Dan began.
"Come on, let go a bit," Serena chided, the tequila shot had clearly gotten rid of any of her inhibitions. She was smiling widely, her eyes twinkling. She grabbed Dan's hands impulsively. "Just move to the beat."
Dan was quite certain that if he did he would most likely step on Serena's feet, and he certainly wouldn't look as good as the tall blonde, who was garnering attention from everyone nearby.
* * *
"This is classic," Vanessa shouted to Nate over the music, the camera focused on Dan as he attempted to sway with Serena to the wild beat.
"If it's one thing I've learnt over the years, it's that when Serena wants you to dance, it's best to just do it," Nate commented.
"So you danced with Serena a lot?" Vanessa asked, turning the camera to him, trying to feign a film makers interest, though she couldn't help a slight twinge of jealousy at the thought of the history between the two blondes.
"Uh…you know just when she was drunk," Nate said dismissively, looking slightly awkward. "So what do you think of this place?"
"In one word? Pretentious," Vanessa declared, perhaps more critical then she would otherwise have been.
"How do you mean?" Nate asked, confused.
"Well, you need a list to get in, the entrance price costs an arm and a leg, not to mention the drinks are ridiculously over priced." She ticked the things off with her free hand. "And all for what? An experience that you could get just in Brooklyn for half the cost, and with people with better taste in music and better judgment on the amount of money they should spend on clothes."
"Right," Nate muttered. She knew she was being over critical, but sometimes she couldn't help herself. Especially when she couldn't help wondering how many times Nate and Serena used to frequent places like this and dance together.
"I'm a bit thirsty, do you want anything?" Nate suddenly asked, jerking his thumb towards the bar.
"Lemon lime and bitters?" Vanessa proposed. "I'll wait here though, I wouldn't want to miss Dan stepping on Serena's feet." She turned the camera back to Serena and Dan.
"I'll be back," Nate muttered, than soon disappeared among the bodies in the crowd.
Serena whispered something in Dan's ear, and then she too disappeared in the crowd, heading in the opposite direction of Nate. Vanessa moved to stand beside Dan, focusing the camera on Dan's uncomfortable face.
"So Danny, ready to bust out some Grease moves when your Sandy gets back? Where did she go by the way, to get some shin pads?"
"Hardy har," Dan said, looking unamused. "She went to the bathroom. And will you get that camera out of my face."
"And miss this? I don't think so," Vanessa laughed.
"Seriously, not funny Vanessa," Dan said, frowning and looking harassed.
"All right, all right," Vanessa relented, "I'll go find someone else to torment."
"Actually, could you find Serena and tell her…" Dan began.
"I tried ordering lemon lime and bitters, but the guy gave me vodka sodas instead," Nate unintentionally interrupted loudly, slicing through the crowd to stand beside Vanessa, two drinks in hand.
"I don't really like vodka," Vanessa said, scrunching her nose as she turned the camera to take in Nate and the two unappealing drinks.
"I'll have it then," Dan said, quickly grabbing the drink he practically drowned half of it in one gulp.
"Humphrey I am impressed," Vanessa said, having caught it all on camera. "So what did you want me to tell Serena?"
"Tell her I'll be at the bar," Dan decided, heading towards the direction, the drink still in his hand.
Vanessa turned the camera on Nate, admiring his carelessly perfect hair and crooked grin.
"What?" he asked, eyes shining.
"Just wondering if _you_ wanted to dance?" Vanessa teased, unable to help herself. Obviously her tone was too subtle for Nate, his eyes immediately shifted, his grin disappearing.
"Uh…actually I should probably make sure Dan is okay," Nate said, quickly going after the other boy. Vanessa followed them with the camera until they were out of shot.
"Two boys on a mission," she commented wryly. "Now if I was a girl's bathroom, where would I be?" she glanced around the dance floor, trying to see over heads for the familiar bathroom sign.
"Excuse me," Vanessa said loudly, pushing through the crowd, not too afraid to elbow a few people out of the way. She snapped her camera lens shut for fear of dropping it, not bothering to record but holding it close to her body as she made her way through the crowd.
"Finally," she muttered as she reached the outskirts of the dance floor, "Now where's that bathroom." She started skirting around the crowd, heading towards a promising niche in the wall with an exit sign over it. In her experience the toilets were usually located near the exit. She shook her head as she noticed two dark figures were leaning against the door, in a very heated exchange. She rolled her eyes, about to turn, when a strobe light suddenly illuminated the niche, and she realised the people were two very familiar brunettes.
* * *
**A/N: Just to let people know I don't support underage drinking, it is merely a plot device, and if you see it on the show then you can read it here lol. Their wild night out was meant to be one chapter, but the NJBC and Dan didn't think that was good enough. So now I've had to split it up over two chapters, maybe three. The Gossip Girl characters just want to have fun lol. **
**I have never been to New York though I'd love to, I don't know much about the place besides what I see on Gossip Girl. So, please forgive me if I send them to places that aren't even remotely realistic. I have no idea lol. **
**Inspiring songs for this chapter and the next: **_**'Glad You Came'**_**-The Wanted, '**_**Moves like Jagger'**_**-Maroon 5, **_**'Jumpstart'**_**-These Kids Wear Crowns.**
**INSPIRING CHAPTER PIC (this one and the next): Google "gossip girl cast black and white" (It's the first two pics of the gang in the elevator, and leaving the elevator. Those pictures inspired this whole fic. I saw the first one in a magazine and I thought about how much I missed the days when they had group fun, and did stupid things, and so I decided to write this = ).)**
**Please R&R. Thank you to all those people who have reviewed, you are awesome = D! Sorry it took so long, I have been swamped. **
22. Tonight We're Young, So Raise a Bottle
_**Chapter XXI**_
**Tonight We Are Young, So Let's Raise a Bottle**
Vanessa stared for a second, stunned at what she saw. Chuck and Blair had their lips mashed together, their fingers entwined in each other's hair. One part of Vanessa's mind contemplated throwing up, while another part of her mind was wondering if she was seeing things right. After all hadn't she heard from Dan that the great Blair Waldorf had vehemently declared to Serena she would not be going near Chuck Bass unless he said three little words. And Vanessa doubted very much Chuck had said them in the short span since the group had dispersed in the club. Well, well, well it looked like Blair's high standards weren't as unshakable as she tried to make them appear. Vanessa reached for her camera, and Blair thought coming from Brooklyn was embarrassing.
Before she could turn her camera back on record however, Chuck disengaged from Blair, whispering something in her ear she smiled and he turned to the crowd and dove disappeared. Vanessa frowned, slightly disappointed. She would love to have caught it on footage, but there was no real point teasing Blair without evidence. Blair was sure to just deny the whole thing, and Vanessa doubted her ability to play her. Sighing Vanessa shrugged at the opportunity lost and turned, she could still get some great shots of some other drunk privileged idiots she supposed.
* * *
Blair lent against the exit door, her fingers touching her tingling lips. She wished Chuck would hurry back with the drinks. She was surprised he had been the one to suggest it, but she was unusually hot, and her mouth felt dry, though those feelings might have been for another reason. Blair bit back a smile as she thought of the kiss, and no one here even noticed them. They were getting pretty good at this secret thing, no one would ever guess Blair Waldorf had conceded anything to Chuck Bass…
"B, what are you doing here?" Serena exclaimed loudly, startling Blair as she burst suddenly from the crowd and came to stand in front of her best friend, a big grin on her face and a pink cosmopolitan in her hand.
"S. I was just…taking a breather you know," Blair said, trying to remain composed and completely innocent looking. Her hand went to her curls, making sure they weren't too rumpled.
"A breather? You haven't even gone on the dance floor B." Serena pouted.
"Well I've been…" Blair said, making evasive hand gestures and trying to seem confident.
"Avoiding Chuck?" Serena filled in, laughing.
"Well…yes," Blair replied lamely, unsure of how she could reply negatively to the statement without arousing Serena's suspicion about what she had really been doing.
"I still can't believe he did Spitty Vicky," Serena scrunched up her nose in disgust, shuddering. She was always a bit more dramatic and loose with her tongue when under the influence. "I mean I know Chuck has low standards, but still! It's gross right?"
"Right," Blair echoed, feeling her cheeks redden.
"I bet you're even happier you're not with him now!" Serena exclaimed, trying to compensate as she saw Blair was downcast at yet another reminder of Chuck's true nature. "Come and dance with me B! Just like old times," Serena said impulsively in an attempt to cheer up her friend, grabbing Blair's hand.
"S. I don't really…" Blair began protesting weakly.
"I'm not taking no for an answer," Serena said determinedly. "We're young and tonight we have no worries! We _are_ going have fun, okay!"
"Okay, okay Serena," Blair couldn't help laughing at the blonde's fierce look as she dragged Blair to the floor for some good old fashioned recklesness.
* * *
Chuck checked his watch, scowling as he saw the time. He tapped the bar fitfully with an impatient hand, feeling annoyed at the bodies pressing behind him as people waited to collect drinks, or order new ones. The thirst came upon him suddenly while with Blair, feeling the heat press against him in their small dark niche. But now he was at the bar he found the heat of the night club suffocating, he just wanted to go back to that small piece of darkness. But first he needed a drink, or two.
"I've been waiting for these for half an hour," Chuck couldn't help snapping at the bar tender when he finally came towards him with a tray full of three drinks.
"Sorry about that, it's really busy tonight," the older man said, putting down the tray in front of Chuck and keeping up a good customer service face though it was obvious he wouldn't mind punching the self-privileged jerk.
"Whatever," Chuck muttered, still annoyed he grabbed one of the glasses and drained down whatever was in it. He'd forgotten what he ordered but it didn't really matter, he needed a kick again. Feeling the burning rush he shook his head to clear it. Picking up the other two glasses he turned around and started to head through the crowd again, pushing people out of his way without bothering to look at their faces. He hoped Blair had enough patience to wait for him, he would enjoy starting back from where they had left off.
"Chuck hey," a familiar voice shouted out a bit too loudly. Dan stumbled towards him, grabbing his arm for balance as he almost toppled forward. Nate came behind him, quickly grabbing onto the other boys borrowed jacket and pulling him up.
"Chuck hey, I was just telling Nate I have lots of friends…see didn't I tell you Nate? And Chuck is my friend, kind of, sort of, were acquaintances with a dark past…" Dan rambled
"What's wrong with him?" Chuck asked Nate ignoring Dan's speech.
"I think he had a few too many," Nate shrugged, his own eyes were rather bright, but his experience with Chuck meant he could handle more liquor than Humphrey at least.
"Clearly…" Chuck raised an eyebrow, smirking slightly as Dan continued to ramble. "This would be the perfect time to head to Victrola, do you think we have a chance of convincing the girls?"
"Not unless you want a broken cheek bone," Nate snorted.
"True," Chuck sighed.
"Have you seen Serena," Dan cut in here loudly. "I really, really, really want to dance with her."
"Still you find your entertainment where you can get it, don't you," Chuck smirked wickedly. "Come on Humphrey, I'll help you find Serena. Here take this," he shoved one of the drinks in Dan's hand, drowning the other one himself he shoved the empty glass into a passing girls hands. Ignoring her protests and dirty look he swung an arm over Dan and began leading him through the crowd, Nate followed behind.
"I'm not sure if he'll forgive you for this man," Nate muttered to Chuck.
"Relax Nathaniel, it will be fun," Chuck grinned wickedly.
"Hey Vanessa," Dan shouted out suddenly, waving madly. Chuck glanced to where Dan had his eyes set, repressing an eye roll. He saw the bohemian girl was standing against one of the tall round bar tables scattered around the edge of the dance floor. There were two older men standing next to her. She glanced up at the sound of Dan's voice, her eyes wide.
"What is Vanessa doing with those guys?" Chuck could practically hear the frown in Nate's voice. Before he could say anything the blonde boy had already started towards Vanessa, his brows heavily drawn in concern.
Sighing heavily Chuck grabbed Dan's arm and followed after Nate.
"How about you mind your own business," Chuck and Dan reached the group just in time to hear one of the men sneer at Nate, his diluted pupils showed he was very drunk, or very high, most likely both.
"How about you leave my girlfriend alone," Nate defended, he held Vanessa's hand in his own.
"Hey, hey man," the skinnier guy said, raising his hands up, placating. "We don't want any trouble here, we'll just take the camera and be on our way."
"You have no right to touch my camera," Vanessa protested as he held out his hand.
"You were filming _us_," the first guy growled. "We have every right. Now just give us the tape and go back to waitressing, or whatever it is you _people_ do."
"I'm sorry but last I checked this was a public place, and filming privileged, self-absorbed, egotistical people acting like dumb asses in a public place wasn't against the law, although it will make for a great reality show," Vanessa snapped, losing her temper at the man's arrogance. "I'm thinking of calling it 'Rich people are dumbasses too,' a real eye opener for _my_ fellow_ 'people'_."
"Just give us the tape," the man grabbed for the camera. Vanessa quickly stepped back, holding the camera as far away as she could.
"Hey, hey, that's not nice," Dan stepped in here, almost tripping over his own feet to try and step between Vanessa and the guy. Chuck quickly grabbed him, pulling him back.
"Don't touch her," Nate snarled, stepping forward himself.
"All right, all right, I think we all need to calm down here," Chuck drawled, quickly letting go of Dan who was now steady on his feet and stepping in between Nate and the larger man. "We can talk about this like gentleman, can't we? Well…at least_ we_ can," he couldn't help adding the last jibe with a raised eyebrow as he examined the two older men's clothes.
"How about I shut you up," the older guy snapped, swinging wildly at Chuck. Luckily Chuck was able to dodge the wild swing, stumbling back into Dan.
"Nate," Vanessa cried out, going to grab Nate's arm as he lunged forward, but missing.
Chuck quickly recovered, diving forward he grabbed the back of Nate's shirt just in time. The people around them were pressing back now, trying to get out of the way of the impending fight.
"Nate come on," Chuck murmured, trying to drag his friend away as he stayed tensed and ready to spring at the other guy. The skinnier man had grabbed at his own friend, trying to pull him back as he flailed wildly.
"Okay, time to break it up," a loud voice shouted. A burly bald bouncer pushed his way through the blood hungry crowd, two other bouncers following behind him. One of the bouncers kindly assisted the skinny jerk with his friend, grabbing the guy around the chest with two muscle filled arms he pushed through the crowd, dragging him out. Another tanned bouncer put a hand on the skinny man's arm, leading him out. Chuck let go of the back of Nate's shirt, knowing the other boy would cool down now the catalyst was disposed of.
"You three too," the bald bouncer turned to Chuck, Nate and Dan, jerking his thumb in a no nonsense fashion towards the exit.
"But…" Vanessa began to protest for Nate.
"No buts missy. And if you want to keep that camera of yours I suggest you think of collecting your girlfriends and leaving soon, _without_ this lot."
Vanessa gaped at him, for once at a loss for words.
"Now get out," the bouncer repeated, turning back to the three equally stunned boys.
"What?" Chuck finally found his voice to ask incredulously, unable to contain a sneer. "Do you know…"
"I don't care if you're the King's Uncle, there is no fighting in this club. Now I can lead you out or I can drag you out, _kid," _the bouncer faced Chuck's glare with steely eyes.
"Fine," Chuck drawled after a few minutes, settling the sleeves of his shirt, "We were bored anyway. Come on," without looking back to see if Nate and Dan were following he led the way out before the bouncer could put his hands on him, pushing past people in the crowd. Nate barely had a chance to glance at Vanessa before the bouncer began to herd him and Dan out.
Chuck didn't stop until the soles of his black shoes hit the edge of the sidewalk, glancing back he watched the bouncer herd Nate and Dan the rest of the way out of the club. He sneered as the bouncer as he stopped at the club's entrance, arms crossed, his eyes trained on Chuck, obviously he wasn't convinced they weren't going to try to get in again. As if Chuck would want to re-enter the dump.
A disgruntled Nate came to stand beside Chuck, Dan followed, just looking plain stunned, and slightly more sober.
"So…uh what do we do now?" Dan finally put into words the million dollar question as the other two boys silently stood there, glaring at the bouncer. At his words both he and Nate automatically looked at Chuck.
"I text Arthur I suppose," Chuck finally conceded, fishing his phone from his pocket. "We'll find somewhere better to spend our time and money. Somewhere a little more exclusive. What say you to Victrola boys?"
"What about Serena?" Dan demanded.
"And Vanessa?" Nate reminded.
"I'm sure they can take care of themselves," Chuck snapped in annoyance. His pride was hurt right then, he didn't really want to have to hear…
"Is Bohemian Brooklyn right Bass? Did you just get kicked out of one of New York's finest clubs, for brawling like the lower middle class?"
Chuck ground his teeth together, apparently it was too late. He glanced over to see the three girls standing there, having just exited the club. Blair was poised with a hand on her hip, a raised eyebrow and a superior smile on her face. Even in times of truce she couldn't let something as embarrassing as this slide, if he was honest with himself he probably would have done the same.
"Are you all right Dan?" Serena's concerned voice cut off whatever reply Chuck was about to formulate. She rushed towards Dan, all heels and blonde hair, wrapping her arms around her stunned boyfriend.
"Yeah, I'm fine, I didn't really do anything, I don't think. It was mainly Nate…" Dan fumbled.
"My knight in shining armour," Vanessa supplied, walking more sedately to stand beside Nate with a wry smile on her face.
"Is your camera all right?" Nate blurted out the first thing that came to his head.
"Yes, thanks for asking," Vanessa replied dryly, holding up the silver device. Chuck noticed its red record light was still on, typically. Before Nate could recover Vanessa flipped open the camera screen, turning it on Chuck.
"So Mr. Bass, where to next?" she pronounced.
Chuck glanced down the road, relieved to see a familiar black limo waiting at a nearby traffic light.
"First, my limo," he said, gesturing in the direction of the black beauty. "Then we'll see where the night takes us…" he left the sentence hanging, hoping to sound mysterious though he had no clue where to go to next.
"Hopefully not dragged out of another club," Blair commented, smiling sweetly. "Perhaps if you guys wait until it's late enough, they can take you out with the trash."
She received three very sour looks for her suggestion.
"What?" she asked with faux innocence.
* * *
**Spotted: Could it be, the great King's of St Judes, Chuck Bass and Nathaniel Archibald 'escorted' out of a hotspot nightclub, with Lonely Boy? Better watch out boys, or you're not going to have any influential cred left. And we know influence is everything on the mean streets of the UES. xoxo GG. **
* * *
"I'm starving," Serena pronounced. They were all seated in the limo again, slightly more rumpled then when they had exited it earlier that night, and apparently hungrier.
"There's a great all night diner in Brooklyn," Vanessa supplied, turning the camera to focus on Serena. "Best burgers in New York."
"What's it called?" Serena asked, interested. She was always up to try different things.
"It doesn't matter, we are not going there," Blair pronounced, decidedly.
"But I'm hungry," Serena reiterated, looking at Blair. "Come on B, it could be an adventure."
"No way," Chuck proclaimed. "If you want a burger get one from room service when we get home."
"But I'm sick of room service burgers," Serena whined.
"There is no way I am going to some seedy Brooklyn diner. So the only other option is McDonalds drive through!" Blair snapped, certain Serena would never stoop so low as to insist they drive Chuck's limo through the golden arches.
Apparently Blair was wrong…
"Four big Macs please," Serena yelled, practically hanging out the limo window to reach the intercom. "Are you sure you guys don't want anything?" she asked, turning back to Chuck and Blair sitting in the limo, both with matching crossed arms and disgusted faces.
"Serena just get back in the limo before anyone see's you!" Blair hissed, grabbing her friends arm and pulling her down.
"This is demeaning," Chuck muttered, shaking his head with contempt.
"And I've got it all on camera," Vanessa said, grinning wickedly as both Chuck and Blair gave her identical glares.
"Pass me the wine," Chuck ordered Dan, holding out his hand for the bottle.
"That's all right, no need to say please," Dan commented wryly, passing the bottle over.
Chuck tipped the bottle, hoping to fill up his empty glass. Only a few drops, the dregs of the bottle, came out.
"Seriously," Chuck growled, glaring at Dan in annoyance. "You drank the whole bottle?"
"Hey, there are seven of us in this limo man," Dan said, holding up his hands defensively. "I had like two glasses of that stuff."
"So we're at a McDonalds drive through, and we're out of alcohol?" Blair summarised, Chuck and her shared a knowing look. It was one of those times where they were on the exact same wave length.
"Arthur," Chuck called to his driver, leaning over Dan and Serena to tap on the glass. "As soon as Serena is done picking up her low grade meat, I need you to drive to the nearest bottle shop."
"So, wait, the local bottle shop is more upgrade than McDonalds?" Vanessa asked incredulously.
"It's a necessary evil," Chuck drawled, settling back down in his set.
"You wouldn't understand," Blair sniffed, settling the hem of her dress.
"Are these two serious?" Vanessa asked, turning the camera to Nate.
"'I've learnt to just enjoy the ride," Nate shrugged, grinning helplessly.
"And that, I think you should know Vanessa, that is Nathaniel's life philosophy," Chuck noted, smirking.
* * *
"Sir, we're here," Arthur's weary voice sounded through the limo's small intercom.
Chuck glanced out of the window. They were parked in front of a liquor store, the neon sign casting a sick glow over the front of the sliding doors. A grubby man was standing near the doors, smoking.
"Anyone care to come?" Chuck queried, glancing at the others in the limo.
"Scared Bass?" Blair queried.
"Scared, maybe. Protective of his face, definitely," Dan commented as he looked out of the limo's tinted window and took in the sight of the suspicious bottle shop. One hand still held his empty McDonald's wrapper, a pickle the only testament of his burgers existence.
"I'll come," Serena declared impulsively as she pinched the pickle from Dan's wrapper, popping it into her mouth and looking at him with innocent blue eyes as he glanced at her.
"Nathaniel?" Chuck asked, turning to his best friend, who had his head buried in his hands.
"I don't think I should have eaten that burger man," Nate groaned, looking up with a slightly pale face.
"Does Nate get car sick?" Vanessa queried, she had left the camera to rest on her lap, her hands hovered over Nate's back hesitantly.
"I told you not to eat that stuff," Blair said superiorly.
"Come on," Chuck commanded Serena, resisting the urge to roll his eyes. He swung the door open. Serena climbed over Dan before he could protest, following after Chuck into the fresh air.
"So what's your plan?" Serena asked Chuck, quickly catching up to him as he walked purposefully towards the entrance, his eyes trained on the sliding doors.
"Plan?" he asked, looking at her with a raised eyebrow.
"Yeah, you know, are we going for seduction, or bribery?"
"It really has been too long since you've done this, hasn't it," Chuck commented dryly, pausing in his stride he reached into his pant pocket, pulling out a hologramed card he held it up to Serena.
"I think I still have mine from ninth grade too," Serena laughed, grabbing it out of his hand and examining it.
"Please, I had this made last month," Chuck snorted at her ineptitude.
"Charles Bass?" Serena queried, raising her own eyebrows. "Don't you think it would have been smarter to use a pseudonym?"
"It hasn't failed me yet, sis," Chuck drawled, plucking the card from her fingers and shoving it back into his pocket. "Now hurry up before that guy asks us for money."
"You always carry a clip in your pocket," she muttered under her breathe, eyeing the scruffy guy subtly.
"Yeah, but he doesn't need to know that," Chuck retorted, striding confidently towards the shop entrance again.
They passed the smoking man without incident, though Serena could feel his eyes following them into the store. She felt slight relief as the doors slid open and they passed over the entrance. Chuck had his sights only on one thing, he went straight for the counter, Serena had to double her steps to keep up.
The sales assistant was a thin haired man with thick glasses, wearing the unflattering bright orange shirt of the store. He was absorbed in the pages of a magazine, not even bothering to look up as Chuck and Serena reached the counter and stood in front of him, he didn't even show a sign he recognised their presence.
Chuck, losing his patience, slapped his hand down on the cheap silver bell, eliciting a demanding ring from it.
"What?" the guy asked in a monotone, looking up reluctantly from the magazine.
"Give me your most expensive wine," Chuck demanded shortly, not bothering with niceties.
"No card, no bottle," the guy said, unimpressed, pointing at the large sign hanging on the counter expressing those exact words in large red print.
Chuck's jaw tensed, but he complied, grabbing the card out of his pocket he smacked it onto the counter.
"There, now the wine…" Chuck drawled, raising his eyebrows.
The guy glanced down at the card, picking it up he held it up to the light, raising his eyebrows. Then he gave a small snort, and threw it back on the counter derisively. Without a word he turned back to his magazine, leaving both Chuck and Serena momentarily stunned.
"Hey, I showed you my card," Chuck growled, snapping his fingers in front of the guys face.
"I'm sorry I should have been clearer," the guy said looking up, bored. "No _real _card, no bottle."
"That is real," Chuck protested angrily.
"Yeah, really expensive I'm sure," the guy snorted again. "But next time maybe you should make sure they put the hologram on the right way up."
"Look here…" Chuck growled, his voice going dangerously low. Serena could tell he was losing his temper, never a good thing.
"Chuck, Chuck," Serena said, quickly putting a hand on his arm. "Calm down okay, he…" she quickly glanced at the shop assistant's badge, "_Phil _is just trying to do his job. No need to be a jerk about it." She made sure to widen her blue eyes as Chuck glared at her, willing him to understand.
"Whatever," Chuck sneered, jerking his arm out of Serena's grip. "You can ask_ Phil_ to drive you home." Serena watched him grab the ID off the counter and storm out, thinking his acting skills were incredibly good, or she was going to find Dan waiting on the street outside, sans a limo.
"Your boyfriends really something, huh," Phil commented dryly.
"He is _not_ my boyfriend," Serena quickly corrected, turning back to the counter. "He's my…brother. And yeah, he can be a jerk, on occasion. I guess it's just been hard, with my mum's recent re-marriage and everything…" she put a slight hitch in her voice, biting her lower lip and looking at Phil under her lashes.
"I see…" Phil said, watching Serena with something akin to sympathy. "Your parents are divorced huh? That sucks."
"Yeah, it does," Serena ran with it, taking up a strand of hair with her finger and leaning slightly closer to Phil. "I've never really met anyone who understands..."
"Yeah, well…" Phil looked slightly flustered.
"It just seems like the only thing that seems to make the pain go away is having fun, you know, losing myself…" Serena continued. "But I think I've gotten a bit too deep this time. I mean, some of my friends…well I thought they were my friends…anyway they want me and my brother to do stuff for them, or they're going to post these really embarrassing photos of me all over the internet. That's why he was such a jerk, he's just really stressed out because he thinks he has to be, like my Dad now or something…he's so stupid right?"
"I guess he just wants to look out for you…" Phil replied, looking sympathetic.
"I just know he's going to get into so much trouble, he's going to think he has to fight to protect my honour or something idiotic like that," Serena gave a slightly broken laugh, making sure her eyes were wide so they looked almost on the point of tears. Those acting classes her Mom had forced her to take in eighth grade were really paying off.
"Maybe you should talk to somebody about this…Maybe tell the police about those people…" Phil said, slightly awkward now, obviously unsure about how to deal with a teenage girl on the verge of tears.
"There's no one really to talk to, and the stuff their asking us to do is really juvenile…Actually they said they'd leave us alone if we did this final thing…" here it was, Serena's moment of truth. She looked at Phil with all she had, knowing her blue eyes and quivering lip were almost irresistible as she saw his captivated face. Then she quickly looked down at the counter, as if she was too embarrassed to meet his eye.
"Maybe you could help me out Phil…see they just want me to bring out a bottle of something, anything, and then they'll give me those stupid photos. I know it's a lot to ask, but if you could just do this one favour for me…I'd be eternally grateful…" she allowed her voice to go slightly breathy at the end, reminded of countless nights pretending to be Ivannah with Georgina and scamming drinks off helpless males. She pushed aside her slight guilt that Phil had no clue what he was getting into that night, glad she couldn't see his face.
There was a moment of silence, as Serena waited with bated breath for him to inevitably fold.
"No card, no bottle," Phil stated, monotone.
"What?" Serena exploded, looking up now in complete shock and disbelief.
"How stupid do you think I am, really?" Phil asked, looking at her with raised eyebrows and an unimpressed look. "Now I suggest you and your 'brother,' who is no doubt waiting outside, get out of here before I the call the cops."
Serena felt sufficiently chastised, obediently turning without another word, she made her way towards the sliding doors, her cheeks burning. Maybe Chuck was right, she really had been out of the game longer than she had thought.
* * *
"So what did you get?" Chuck asked. He and Blair stepped forward from where they had been standing against the wall near the door.
"Nothing," Serena couldn't help pouting slightly.
"Did you play the 'helpless girl being extortioned by evil peers' card?" Blair interrogated.
"Yes, _and_ the divorce card," Serena said.
"How could he not fall for that?" Blair demanded, as if it was a personal affront to her, which Serena supposed it almost was seeing as Blair had invented both those angles for Serena when they were in ninth grade.
"What is Dan doing?" Serena asked, frowning slightly as she noticed her boyfriend was standing a little away from the open door of the limo, which Nate was hanging out of, talking to the man who had been smoking outside the store.
"Making friends," Chuck noted.
"Like will attract like I suppose," Blair sniffed.
Serena frowned at both of them, and then walked towards her boyfriend without another word.
"Dan hey," she said, quickly entwining his finger with his, and looking at him with quizzical eyes.
"Hey Serena," Dan said, grinning, though the effects of the alcohol had worn off somewhat, he still looked slightly dopey. "You will never guess who I just met. This is Christopher Grant, he was published in the New Yorker a few years ago and is friends with…"
"That's great," Serena said, unintentionally cutting Dan off as she took in the guy's unshaven face and holey clothes. Serena was all for meeting new people, but in the middle of the night in front of a local bottle shop was a bit much, even for her. "But I think we've got to get going really soon, before Chuck and Blair melt."
"Oh… well did you manage to get what you wanted?" Dan queried.
"No, actually. Chuck's ID didn't pass muster," she decided to leave out the part about her failed flirtation, it was only a bit of fun after all.
"I can buy you something if you want," the man..Christopher, spoke up, looking at them both.
"Really, you don't have to…" Dan said awkwardly.
"I don't mind," Christopher shrugged. "As long as you guys can spare a twenty."
"Well then…uh…Serena?" Dan glanced at her, unsure of how to proceed. Serena glanced at Chuck and Blair, they were both hissing about something, obviously arguing yet again. Nate was sitting half out of the limo, trying to get as much fresh air as she could to counter act the burger. She wasn't sure where Vanessa was, probably inside the limo tinkering with her camera. The decision appeared to be left to her.
"I guess…it wouldn't hurt…" she said, biting her lip slightly and turning back to Christopher. "Do you have any money on you Dan…my clutch is in the limo?" She turned to her boyfriend.
"Uh…yeah I think I have…something…But what do you want?"
"Just go in there and pick whatever tastes good," Serena smiled encouragingly.
"Don't forget my twenty kid," Christopher commented, "Now come on, I've got to meet up with James Addleman in half an hour."
He started towards the door, Dan blinked for a second, then followed behind. Serena watched them enter the bottle shop, feeling inexplicably apprehensive.
"Where's Humphrey going with hobo of the year?" Blair asked, her and Chuck had made their way over to where Serena was standing, both curious by Dan's entrance into the store.
"To get us something to drink," Serena supplied, biting her lip harder, and keeping her eyes trained on the door.
"Well it better be something good," Chuck commented.
* * *
Twenty minutes later, Serena was just about to suggest to Chuck and Blair they stage a rescue, when she was relieved to see Dan come out of the shop. Christopher was next to him with a brown paper bag in hand. They paused at the door, exchanging words, then Dan passed a green note to Chrisopher and he passed him the bag, turning and walking away without a second glance.
Dan came towards Serena, Chuck and Blair, paper bag held in hand victoriously and a grin on his face.
"That guy is mental," he laughed, coming towards them. "He gave me Addleman's card…"
"Spare us the anecdote," Chuck drawled, grabbing the paper bag. "What wine did you buy?"
"Well actually I couldn't afford wine…" Dan began, he didn't need to continue however. From the bag Chuck pulled out the alcohol bottle, staring at it for a second.
"Karkov?" disgust dripped from the very word, he looked at Dan as if he had personally offended him. Without another word he pushed the bag back into Dan's hand and turning headed for his limo.
"What? It was all I could afford?" Dan defended.
* * *
**A/N: I guess this big night out is going to span three chapters. Sorry for any grammar or spelling errors, I'm too tired to edit. I hope you liked, please review if you read. ; )**
**Thank you so much: TerraBeth, ellibells, ggreviewer, teddy bear, sallysally and jojo.4ever for reviewing the last chapter, you guys are champs ; ). **
23. Never Have I Ever
_**Chapter XXII**_
**Never Have I Ever**
"I never ran across a politician's lawn in my underwear," Serena pronounced, her eyes wickedly trained on Nate as she held the bottle of Karkov.
"That's not fair," Nate protested. He had one arm casually draped over Vanessa, looking at Serena with indignation. "Everyone knows that story!" Vanessa turned the camera to him, with surprise, but she was interrupted before she could comment that he had failed to tell her that particular tale.
"Who said this game was fair?" Chuck queried.
It wasn't really clear how they started playing I never. It was something they hadn't done since junior year, if Chuck remembered correctly it was after a particular wild New Year's party. It had been quite revealing back then, now it was just an excuse to drink, for him at least, even if the alcohol could barely be called that. They hadn't bothered with glasses any more, rather taking the smallest sips from the bottle with disgusted faces, trying to see who would break first. Luckily Humphrey hadn't done anything so far, or Chuck was sure his leather seats would be covered in the other boys innards by now.
"Just drink it Nate," Blair said dismissively, slapping the other boy gently with her hand. She was much more relaxed now, she'd gone past the point of ensuring she had perfect posture. She had somehow ended up sitting next to Chuck, but she managed to be even further from him. She discretely rebuffed his subtle attempts to maintain contact with her, giving him warning looks until he'd finally given up and contented himself with just admiring how stunning she looked, even in disarray.
"Fine," Nate grumbled, good naturedly taking the bottle he took the smallest sip of the vodka, making a face at the taste and shaking his head. "Right, so I never…I never…" Nate paused, his brows furrowed as he tried to think of something.
"Anytime tonight would be nice Nathaniel," Chuck drawled, lazily turning his head to his best friend.
"I never kissed a dude," Nate said, struck by inspiration he grinned angelically at Chuck, raising his eyebrows wickedly and shoving the bottle in Chuck's direction.
Blair, thinking it was for her took it, rolling her eyes at Nate's apparent unoriginality she took a dainty sip, resisting the urge to splutter. She went to hand the bottle to Serena, when Chuck suddenly plucked it from her fingers and took a swig, to most of the limo's occupant's stunned surprise. He then shoved the bottle in Serena's unresisting fingers, who was staring at him with wide eyes.
"Wait…wait…did that just happen?" Dan asked for all of them, blinking slowly.
"You're joking, right?" Serena finally snapped out of her shock, demanding.
"I should be surprised, and yet your depravity does know no bounds Bass," Blair commented, composing herself and rolling her eyes. Out of all of them she was the least surprised.
"So let's clarify this," Vanessa said, training the camera on Chuck. "You, Chuck Bass, the apparently infamous womaniser, kiss boys?"
"It was one boy," Chuck clarified, unconcerned. "I kissed _one_ boy."
"And did you like it?" Nate couldn't help asking, chuckling as Chuck scowled at him.
"It's not a big deal," Chuck commented to the others, deciding to exact revenge against Nate later. "Eric does it, on a regular basis, I'm sure."
"Yes, but Eric is attracted to boys, it's _natural_!" Serena pointed out.
"Unless there's something you're not telling us Bass?" Blair requested, a small wicked smile actually quirking her lips. "Was he a good kisser?"
"Definitely not the best I've ever had," Chuck drawled, giving her a meaningful dark look, she returned it with practiced indifference although he saw her hand curl into a small nervous fist unintentionally and smirked. "And I'll have you all know, I only kissed him to get into bed with a group of English models," he pronounced, turning his attention back to the others before he became suspiciously distracted.
"Does anyone else fail to see the logic there?" Dan queried.
"Humphrey, let me depart some words of wisdom," Chuck commented, leaning forward, "Women adore the challenge of a gay man."
"There are so many things wrong with that statement," Vanessa commented dryly.
"The models didn't seem to think so," Chuck smirked. "They seemed very eager, especially this one who could bend like a pr-"
"Stop right there! I will need therapy after this," Serena declared loudly, cutting off Chuck and quickly taking her obligatory sip from the bottle.
"You asked…" Chuck pointed out, shrugging, and glancing subtly defensively at Blair who was rolling her eyes in resigned disgust at him. Despite Serena's wild child reputation, Chuck was certainly the one most comfortable with sexuality, much to her perturbance.
"Yeah, but you didn't have to answer," Dan noted. "Sometimes sharing is not caring."
"It's not my fault you don't have anything to share," Chuck pointed out sardonically.
Dan had nothing to reply to this, it was true he hadn't had one opportunity to drink, devoid of most of the experiences the others seemed to have shared.
"You go next Dan," Serena said, shoving the bottle into her surprised boyfriend's hands sympathetically. "I'm running out of ideas."
"Thanks, what I've always wanted, a pity move from my girlfriend," Dan quipped.
"Just say something already Humphrey," Blair snapped irritably, shifting in her seat.
"Fine, I never fed the ducks in Central Park," Dan said, shoving the bottle in Blair's direction.
"Seriously?" Blair asked, for once Dan wasn't sure whether her look was one of derision or astonishment.
"Even when you were a kid?" Serena asked, a clear look of astonishment on _her_ face.
"Well…it was a bit far to go to just feed some ducks…" Dan said awkwardly, rubbing the back of his neck with his free hand. "It's not really…"
"What are you doing?" Chuck asked, startled as Blair impulsively lent over him, putting her finger on the intercom button.
"Arthur, can you please take us to Central Park," Blair said, all business, without waiting for a reply she let go of the button and slid back into her seat. "What?" she demanded as the others in the limo all stared at her now, stunned. "Everyone needs to feed the ducks at Central Park one time in their life, even Humphrey."
* * *
"Is anyone else freezing?" Dan requested, trying to still his chattering teeth as he crossed his arms, attempting to keep as much body warmth as he could against the chill night air.
"Don't be such a baby," Blair scoffed, perhaps it was sheer will, or the vodka, but the cold didn't seem to faze her whatsoever, despite her thin dress.
"Will you just feed the ducks already," Chuck shoved the box of dried biscuits into Dan's numb fingers. Serena had somehow managed to find them the limo and commission Chuck to carry them. His face was completely unamused, his eyes darting around the dark park surrounding the lake to ensure no one was around to see them and report to Gossip Girl. He took a sip from the Karkov he'd brought along with him to withstand the ordeal.
"Don't they usually eat bread?" Dan asked blankly, looking down at the box, which was inexplicably open. "Also how long were they sitting under that seat for? I don't want to poison them!"
"How should I know?" Chuck looked derisively. "Do I look like I eat Jatz biscuits? I don't even know how they got there."
"I think they're mine," Nate piped in here with a lopsided grin as he raised his hand guiltily. He was feeling refreshed in the cool air, trailing behind the others as Vanessa took her time to fix the camera's light. "I get hungry after school, sixth period sport," he shrugged at Chuck's look. Chuck didn't even deignt to reply to that pathetic excuse for defiling his limo. Instead he turned his back on Nate, shaking his head. Nate took the oppurtunity to locate Vanessa, glancing behind him he saw she was still meandering along the path, deep in concentration as she adjusted the settings on her camera.
Sighing slightly he glanced over the dark pond, remembering when Blair had first forced the three of them to come out here and assist her with feeding the ducks. They had spent the day at her house, baking their own bread. Of course Chuck had many jokes to make about the art of baking. Serena and Nate had attempted to make their own loaf, without help from Dorota, and had ended up with a hard rock, dismal compared to Blair's immaculately soft loaf. They'd brought it to the park anyway, using it as a football as Blair scattered perfect crumbs for the ducks and shot them disapproving looks. Eventually, when Serena had grabbed Chuck's scarf as he lay lazily on the bench smoking, he had seized the rocky loaf and flung it into the middle of the pond. It had almost hit an unlucky duck, and Blair and Chuck had bickered all the way home about whether it would have been intended homicide or manslaughter, while Serena and Nate had laughed about a joke only they understood.
Remembering this Nate couldn't help his gaze turning wistfully to Serena. The vodka had produced a pleasant haze around everything, and the blonde seemed to shimmer slightly as she pushed Dan towards the edge of the lake playfully, her laughter floating across the water exactly as it had those years ago.
"Why so serious?" Vanessa queried in a fake sinister voice, coming to stand beside him.
"Nothing," Nate quickly turned his gaze from Serena to look at his girlfriend. Instead of being met with her striking eyes he was met with the lense of her silver camera, a barrier between them. Nate tried to not let his grin drop.
"Didn't look like nothing to me?" Vanessa queried curiously, obviously noticing something was slightly offhand about Nate's reply.
"Just remembering, you know…" Nate finally relented the information, trying hard to sound casual as he shrugged.
Once again that night Vanessa teetered on asking Nate to elaborate, but she didn't, feeling acutely aware of the distance between them, memories he had with Chuck, Blair and Serena that she could never share. So she shrugged slightly and turned the camera to focus on the ever familiar Dan as he attempted to crumble the Jatz biscuits, at Blair's insistence. She laughed slightly, trying to pretend she was completely absorbed by it and not aware of Nate standing slightly behind her, focused on something else entirely.
* * *
"Just throw it to the damn ducks already," Chuck sniped, his hand buried deeply in his pockets as he watched Dan try to separate the biscuits into bite size pieces, and just making a mess.
"We don't want them to choke," Blair declared, scowling at Chuck at his disconcern for the noble creatures of Central Park.
"Yeah Chuck, not everyone likes to commit duckicide," Serena proclaimed, sticking her tongue playfully out at Chuck.
"I don't see any ducks anyway," Chuck muttered, glaring over the dark water.
"They'll come," Blair stated with absolute certainty. "Now come on Humphrey," she pushed Dan roughly towards the water.
"Fine, fine," Dan shot them all a look, "I want this to go on record that this is not my idea!"
"Bohemian I hope you're getting this all on camera," Blair regally called behind her as she settled one of her perfect curls.
"Every second," Vanessa stated. Chuck glanced over, her and Nate were standing slightly away from the others as Vanessa got a wide frame. They weren't touching however, he wasn't sure as it seemed slightly hard to focus, but Nate's gaze seemed preoccupied with Serena…either that or he had developed some feeling for Dan while being his room mate…
"Here goes," Chuck pulled his gaze away from his friend to see Humphrey carefully scatter the pieces of biscuit in the water. All of them watched in silence as it floated, some pieces weighed down by water and sinking to the bottom. Beside that the water was perfectly still…
"Well that was anti-climatic," Dan commented wryly after a prolonged minute, brushing his hands off on his jeans.
"Told you there weren't any ducks around," Chuck raised his eyebrows as he looked at Blair.
"They just don't eat sub-standard stale biscuits that smell like Nate's sweaty gym bag," Blair sniffed superiorly.
"Wou-" before Chuck could finish the comment a commanding voice called across the lake.
"Hey you kids," a man's voice called out. Six gaze immediately turned to the source of the voice, two park officers were walking briskly towards them along the path, their gazes directed on them. Chuck, acutely aware of the bottle in his hand, instinctively shoved it at the nearest person, ironically Humphrey.
"Hey-" Dan began to protest, trying to shove it back. Chuck ignored him, his gaze locking on Blair's.
"Bribe?"
"Won't work, they're practically saintly with their integrity…"
"What do we do?" Dan hissed, his voice panicked, he couldn't afford to be arrested again.
"Run," Serena proclaimed impulsively, three eyes turned to her, then Chuck and Blair shared a look and shrugged.
"Run," Chuck confirmed. And that's exactly what they did. Serena and reluctantly Blair took a second to slip her heels off and pick them up, as if long practiced at this. Dan watched them with a stunned look on his face as Serena grabbed his free hand and tugged him along, starting after Chuck and Blair who were heading to the path that led to the nearest street. They passed a stunned Nate and Vanessa who were heading towards them.
"Run," Serena couldn't help giggling slightly at Nate's wide bright blue eyes, reminded of another time when four of them had to flee from an annoyed concierge. That time she had grabbed Nate to pull him along, but now her fingers were occupied with Dan…
They kept going and finally they heard Nate and Vanessa pounding behind them, luckily Vanessa had the sense to wear flat shoes.
"Hey," they heard the man shout again but they kept on going, following Chuck and Blair. They reached the city street probably long after the officers had stopped chasing them, but Serena didn't even notice. She didn't notice either her fingers had slipped from Dan's, his legs not as long as hers. She just felt the rush of adrenaline, the pure joy and thrill of doing something bad and getting away with it. She almost knocked into a gasping dishelved Blair on the street, unable to break fast enough, and they almost toppled onto the pavement.
"Serena," Blair exclaimed angrily, only managing to stay upright by grabbing onto Chuck's arm, and almost causing him to go down with them.
"Sorry B," Serena gasped, between a laugh and a breath of air.
"Did Nathaniel make it?" Chuck asked, glancing for his friend as he settled his hair and attempted to get his breathing under control. Sure enough Nate came jogging out of the park, Vanessa and Dan a little behind him, bringing up the rear.
"Man, I haven't seen you guys run like that since…"
"Don't," Blair snapped, her eyes going to the camera inexplicably still in Vanessa's possession. "We agreed not to talk about that! Clause fifteen Nate!"
"Clause fifteen?" Vanessa felt even more confused.
"The NJBC contract, Blair had it drawn up when were eleven or something…" Serena dismissed her question carelessly. "Oh my gosh I almost forgot about that! Do you even still have that B?"
"You had a friendship contract drawn up?" Vanessa repeated, her derision plain.
"We were kids! I'm sorry that while you were doing noble things at eleven like going vegan and wearing hessian sacks, we were practicing our contractual drafting," Blair snapped, bristling at her tone. "Besides it's none of your business Boheman. Now Chuck are you going to call Arthur before those idiots still puffing along somewhere in there decide to call the police on us?"
"Actually I don't think they'll be doing that…" Dan noted, glancing up from his watch as Chuck fished his phone from his pocket and sent out the text,
"Can you predict the future now Humphrey," Blair snapped shortly, leaning against Chuck naturally as she put her heels back on. Chuck started at her touch, but didn't comment. She was clearly preoccupied with being annoyed at having to do such an undignified thing as run in front of not only her friends, but two Brooklynites, especially Vanessa.
"No, but it's one," Dan said, tapping his watch. The others looked blankly at him and Dan sighed. "Don't you think maybe they were just trying to tell us the park was closing?"
"Oh," Blair sounded for all of them.
Then Serena began to giggle at the thought, and Nate followed. Dan gave an appreciative chuck and eventually even Blair couldn't help laughing along with her friend while Chuck didn't quash a small appreciative smirk at their own stupidity.
"Limos here," Vanessa noted quietly as the black stretch pulled up near the curb. She had pasted a smile on her face behind the camera, but she felt slightly left out at the intimate carefree mirth the others were sharing.
"After you," Chuck drawled, indicating to Blair as he opened the door and waving Arthur to stay in the driver's seat.
"Why thank you Bass," Blair said, sharing a look and a small smile with Chuck before she slid into one of the black seats.
"So where to next man?" Nate asked, going to follow after Blair without a glance at Vanessa.
"Home," Serena announced, she still held her heels loosely with the tips of her fingers. Her other hand had found its way into Dan's again. "My feet are killing me."
"I could use some scotch," Chuck smirked, sliding in behind Serena and Dan and leaving the door open for Vanessa to follow. She did so with a frown, irrationally annoyed she slammed it shut behind her, not that any of them noticed.
* * *
Chuck flicked on the light in 1812, wandering into the suite. It was in much the same state of disrepair as they had left it, the couch dragged to the end of the room, the tapes scattered on the table and the TV screen blank. The difference was their state of inebriation.
They had continued playing I never in the limo, until one suggestion by Humphrey had sparked a flame.
"I cannot believe you have never read Anna Karinina," Dan proclaimed once again loudly as he followed behind Chuck into the suite, absolutely scandalised at the fact, all his attention absorbed.
"I have _read_ it Humphrey," Blair snapped, "I just never _finished_ it! Don't be such a literary snob!"
"How can you have not finished it?" Dan reiterated, still astounded.
Chuck sighed slightly, shaking his head. Blair and Humphrey had been at it for fifteen minutes now.
"Even I finished it B.," Serena piped in, not minding being a bit self-defacing to tease her friends ego.
"I don't think I've ever heard of it," Nate muttered under his breath as he followed the other two into the familiar suite.
"You're joking right?" Vanessa asked, turning the camera on him with raised eyebrows. Nate felt himself blush slightly as he saw Vanessa realised he wasn't. "You at least rented the movie, right?" she supplied, not realising how condescending she sounded.
"It's not my type," he said defensively, frowning slightly at her tone.
"Stop making such a big deal out of it Cabbage Patch!" Blair's voice rose, cutting across Vanessa's reply.
"But why?" Dan demanded.
"Well the character just didn't appeal to me…" Blair said. "She was annoying!"
"Annoying?" Dan repeated dumbly.
"Yes, look at her. She gives up everything, her standing in society, her legacy, her money, for some stupid man who once he has her, doesn't want her anyway! I call that the height of stupidity!"
"Maybe the problem is, though Vronsky did initially want her, _she_ never could be satisfied with just him, _she_ wanted everything," surprisingly Chuck's bored drawl broke through the small bubble that had formed between Dan and Blair. They all glanced at him as he lent casually against the counter, fingers rested upon the bottle. "That's enough to drive any prideful mans want away, don't you think?"
Blair was speechless at his dark gaze on her, while the others were speechless for an entirely different reason.
"You've read Anna Karinina?" Vanessa asked in clear disbelief.
"I was on a twelve hour flight, it was the only form of entertainment I had," Chuck shrugged, as if that explained everything. "Now if you'll excuse me, I've got to go change because somewhere in the night _somebody_ spilled their drink on my shirt sleeve." He looked pointedly at Dan before turning to his bedroom door, clicking it shut behind him.
"I never thought I'd say this, but Chuck Bass very occasionally amazes me," Vanessa noted.
Blair, instead of coming back with a cutting retort, just looked his closed bedroom door with thoughtful eyes before relieving her phone from her clutch and typing something.
"Serena," she proclaimed after she slid it back into her clutch, "Give me your key card."
"What for?" Serena asked, somehow while Blair was preoccupied her and Humphrey had ended up on the couch sitting painfully close to each other in the way only young people in love could unashamedly do in public.
"I need to powder my nose," Blair said, not bothering for permission she grabbed Serena's gold clutch which the blonde had carelessly discarded on the coffee table, rifling through it until she produced the Palace key card to her families penthouse suite.
"Why don't you just use Chuck's bathroom?" Serena queried distractedly.
"Because it's_ Chuck's_," thinking she had put sufficient disdain in her voice she turned on her heels and exited the suite, not noticing Vanessa had her camera trained on her the whole time, a thoughtful look on her own face.
"Who's up for shots?" Nate asked, going to grab the bottle and some shot glasses, deciding to just abandon this evening in alcohol, as Chuck was always suggesting.
Vanessa, suitably distracted from her thoughts of Blair and Chuck, turned her attention on her boyfriend. "Are you sure you can handle anymore big boy?" she queried, hoping Nate would take the comment as it was meant to be, teasing.
"Please," Vanessa felt relieved at Nate's grin, once again appreciative of Nate's tendency to just let go of petty disagreements. Nate gave Vanessa and the camera an attempt at a leering look while he held the bottle in his hands. "I'm friends with _Chuck Bass_."
"Very convincing," Vanessa bit back a laugh, deciding wisely not tell him that his attempts at Chuck like seductive delivery made him look like his eyebrows were having a spasm.
* * *
Blair watched the door of 1812 impatiently from her place in front of the elevator doors. The corridor was quiet, not one peek from any of the occupants. Some laughter filtered through the door of 1812, Blair prevented herself from rolling at her eyes at Serena's loud giggle. No doubt the other four were employing some childish means to enjoy themselves. She resisted the urge to walk back down the corridor and re-enter the suite, deciding to give Chuck five more minutes. He didn't need it, however, the door opened and he stepped out, drawling something behind him he clicked it shut. He had exchanged his waistcoat and shirt for a crisp new white shirt, with a pink suit jacket on top. His purple bow tie was still in its place of honour upon his neck.
He glanced towards the elevator and confusion flickered across his face as he saw Blair standing, waiting there. She had told him to meet her up at the Van der Woodsen Bass suite, but had hesitated at the thought of Eric being up there. She decided the corridor was as good a rendezvous point as any. Chuck's smoothed his face out quickly, only showing the slightest bit of confusion in his eyes as he walked towards Blair.
"Want to discuss the themes in Anna Karinina further? Because really Waldorf, if I wanted to analyse Tolstoy I would ringing Ms Whitaker…" Chuck drawled as he came to stand in front of her, trying to play at being unamused. Blair ignored the fact that he had reverted to calling her Waldorf, pushing it aside as inconsequential.
"No, I wanted to do _this_," she said instead, grabbing Chuck by his lapels and pulling his lips to hers. As Chuck was sufficiently distracted, his lips responding automatically, she just had enough presence of mind to untangle one of her hands and slam her palm flat against the elevator button. The doors slid open obligingly and Blair dragged Chuck into the elevator.
"Hotel elevator, I admire your risk taking," Chuck smirked, as he took a second to remove his lips from hers and look at her admiringly.
"Emergency button Bass," Blair smirked playfully herself, pressing the red button on the panel, causing the elevator to abruptly stop.
"Have you done this before?" Chuck raised his eyebrows in surprise.
"No, have _you_?" Blair asked, failing to keep the slight note of sharpness from her voice.
"Surprisingly no," Chuck said, noticing her eyes beginning to turn from soft to interrogatory, and deciding not to clarify he hadn't done this in the _Palace_ elevator. "But I can't wait to with you," smirking he pressed his lips against hers again and felt her relax as she melted into his embrace.
He pushed her against the elevator wall that acted as a mirror, his lips going to send a trailing blaze down her neck.
"Chuck," Blair breathed.
"Mmmm…" he murmured hoarsely, only lending her half an ear.
"Chuck," Blair said, tearing herself away from the moment for a second she gripped his hair, pulling his head up so his eyes met hers, their lips just a hairs breadth apart. "Do you want me?"
"I've never wanted anything more in my life," Chuck replied huskily, not really understanding the significance of the question as he felt the heat between them, answering blindly. Blair smiled in satisfaction and grabbed him by the lapels again, pulling him closer and kissing him hungrily.
* * *
"I'll go first," Blair proclaimed as she fixed her last curl in the mirror, then turned and pressed the emergency button to allow the elevator to start moving again.
"Go first where?" Chuck murmured huskily, brushing his own fingers through his hair and glancing lazily over at Blair under heavy lids as he fumbled with his bow tie.
"Into the suite. Then you give it five minutes and follow," she clarified, as if it was obvious. Chuck frowned slightly, turning to her.
"Don't you think this is becoming a bit trivial?" Chuck queried, trying to keep his voice to an unaffected drawl. "The two of us 'sneaking around'. It's all a bit 2007."
"There's nothing wrong with revisiting old history," Blair said, pasting an alluring smile upon her face, though Chuck didn't fail to notice the tenseness of her shoulders. "Now don't forget, at least five minutes, ten would be even better." With that last command she turned as the elevator doors opened and strutted out on her heels.
"Old history," Chuck repeated under his breath, turning back to the mirror he scowled at his ruffled reflection. His good mood dissipated, as quickly as it had come, something which seemed a recurring theme when it came to Blair lately…
* * *
Chuck strolled through his suite door ten minutes later. The others were sitting in various positions around the room. Blair was perched upon one side of the couch, looking perfectly angelic, while Dan and Serena were sitting on bar stools. Nate and Vanessa were on the love seat, Nate had a shot glass in hand, the bottle on the coffee table.
They all looked up at his entrance. Chuck knew his hair was still ruffled but he didn't care. He felt like going up to Blair and kissing her in front of everyone, declaring her is. He felt like making her admit that she cared about him, that she wanted him too. He felt like a drink…
Which is why he went directly for the coffee table, grabbing the bottle up and taking a sip.
"Hey man, where's the scotch?" Nate asked, grinning as Chuck entered the room. Chuck could tell his friend had one too many, his eyes were glazed and his grin had taken on a goofy quality.
It took Chuck a second to understand what the blonde was talking about, his excuse for leaving the suite. "They wouldn't serve me, something about my father and orders…" he answered evasively.
Nate didn't seem to notice anything amiss, shrugging it away. "Maybe you can help me out man, I can't think of anymore I nevers…?"
"You're still playing that game?" Chuck asked, going to sit on the other end of the couch. Blair stiffened but didn't move.
"Well what's your suggestion then?" Serena asked, she was tiring of the game herself.
"How about we raise the stakes a little?" Chuck queried, his eyes darkening slightly as he smirked.
"What are you suggesting?" Blair queried carefully.
"Remember post New Years Eve?" Chuck his head lazily on the couch to glance at Blair with a suggestive smirk and dissolute eyes. Blair quickly turned her gaze away from his and planted it on the blank TV, turning Chuck's smirk into another scowl.
"Truth or Dare," Serena proclaimed for all of them, laughing aloud. It seemed like it was a night to do a lot of reminiscing.
"I'm not sure…" Nate murmured, looking cautious. He still remembered the bottle of wist shire sauce he'd foolishly agreed to chug at Serena's challenge. He hadn't got past a mouthful before he'd emptied the contents of his stomach. He noticed the absence of Chuck's five hundred dollar rug the next day, not that his friend ever mentioned it.
"Come on Nathaniel, live a little," Dan drawled mockingly, a scarily good impersonation of Chuck.
"Humphrey, you're sitting on_ my_ bar stool, in _my_ suite," Chuck reminded him.
"Bass your drinking _my_ alcohol," Dan countered with.
"Touche," Chuck smirked as he glanced behind him to Dan, amused, actually conceding the point.
"So who should go first?" Nate asked, feeling slightly nervous. Somehow he always ended up doing the most embarrassing things.
"I thought of it so I shall Nathaniel," Chuck declared, before anyone could become vocal. "Now who shall be my first victim." He smirked slightly as his gaze brushed over Blair, who looked at him with a different type of passion. It was tempting to put her on the spot, then and there, but he knew if he did she would never forgive him. Sighing internally, he turned his eyes to the others in the room. Serena was prepared to do almost anything, Humphrey, though fun to play with, would be more enjoyable drunker. Nate was too easy. That left…
"Truth or dare?" he pronounced, turning his gaze to the Brooklynite. She had left her camera to rest on the coffee table, the red light indicating it was still recording them.
Vanessa met his gaze, considering. Her first instinct was to declare this all rather childish. But she knew from Blair's superior little smirk that this would just get her snide comments about being unable to take the heat. She considered truth, but looking at Chuck's smirk, who knew what secrets he knew about even her. Dare seemed her safest option, not very comforting though…
"Dare," she finally answered with.
"Interesting choice," Chuck commented, taking another sip from the bottle. "Let's see, what would be a befitting dare…I know what I _want_ to ask…" Chuck leered.
"Nothing disgusting," Serena piped in here, deciding to remind him of the ancient rules.
"Hence why I didn't voice it sis," Chuck pouted slightly, glaring at the blonde. "Fine…I dare you to prank call someone for me…"
"Prank call, seriously?" Vanessa asked. "I thought you guys would be more hard core than that."
"We like to start off small," Chuck smirked, taking out his phone and flicking through the contacts.
"And what is it you want me to say to this person?" Vanessa asked.
"It's not what I want you to say, it's what I want you to _sing_," Chuck smirked wickedly, sharing a similar look with Blair as he held out the phone to the Brooklynite. Vanessa's confident grin immediately dropped. "That Titanic song, you know the one. I'm sure Baizen will love it."
"You're not serious?" Vanessa demanded.
"Deadly," Chuck drawled, his poker face on.
"Surprise, surprise, Brooklyn is backing out of a dare," Blair commented snidely, raising an eyebrow superiorly.
"I wasn't…but this is ridiculous!" Vanessa protested. "Dan!" she turned to look at her best friend for support.
"Well…you did say dare Vanessa, to Chuck Bass of all people…" Dan said, rubbing the back of his neck awkwardly and avoiding her gaze.
"I'm pressing the call button, and I expect to hear singing," Chuck smirked as his thumb hovered over his phone screen.
"Or there will be consequences," Blair supported, giving her a dark look.
"Consequences, what is this, the mafia?" Vanessa queried.
"Uh…they're not kidding Vanessa," Nate muttered, "Last time I didn't do a dare, and somehow I ended up on my doorstep in a dress…"
"Just get it over with, like ripping off a band-aid," Serena provided sympathetically.
"Fine," Vanessa huffed, realising she was caged in from all sides she grabbed the phone from Chuck and pressed the button herself.
It took only three rings for someone to pick up, much to Vanessa's disappointment.
"What?" a hoarse voice sounded from the other end, obviously woken up by the ringing.
Vanessa sat there frozen for a minute, as the others watched her. It took Blair's superior little quirk of her lips to drive Vanessa into action.
"Every night I see you…" she began, her voice quiet.
"Sorry, what?" Carter queried on the other end. Vanessa felt her face redden slightly as Serena giggled. Vanessa berated herself, she didn't even know this guy, probably wouldn't ever see him, so what was she so embarrassed about?
"I see you, I feel you…" Vanessa continued, louder this time, though it cracked slightly as her mouth felt maddeningly dry. "That is how I know you go on-" By the third line the others were finding it hard to contain their laughter, and Vanessa felt her face growing redder. Unfortunately to add insult to injury her sister had gotten all the vocal talent in their family.
"Right, look it's flattering and all, but I'm not really into drunk grade school girls who like to giggle," Carter said, his voice unamused now. "And tell Chuck Bass next time I see him I owe him an ass kicking." Without waiting for an answer the phone dial tone sounded.
The laughter burst forth now, like a breaking tide. It was probably the alcohol, no definitely the alcohol, but they all found it disproportionately amusing. Nate tried to suppress his chuckles as Vanessa glared at him. She threw the phone back to Chuck who caught it expertly, chuckling.
"How many girls have you given his number too?" Vanessa asked. "You think he would have changed it by now…"
"He has," Chuck smirked. "But torturing him brings me enough amusement that I eventually find out his new one and post it in some very risqué advertisements."
"You're always so horrible to Carter," Serena felt the need to protest Chuck's mean spirit, though only half-heartedly, still laughing at Vanessa's red face.
"Did you get it?" Chuck asked, ignoring Serena's admonishment to turn to Blair who Vanessa only now realised was holding up her phone camera.
"Every minute," Blair smiled, flicking the phone shut and cocking her head at Vanessa's look.
"Got what?" Vanessa demanded.
"Just some insurance," Blair explained sweetly, "In case you ever get the need to copy that footage of us from tonight and spread it around."
"That's not cool guys," Dan protested, frowning slightly.
"It's only fair," Blair said, "We promise we won't show ours if Vanessa doesn't show hers. And Vanessa won't."
Vanessa gritted her teeth at Blair's superior smile, annoyance rising up in her.
"Not all of us need blackmail to keep us honourable!" Vanessa pointed out snappily.
"Perhaps, but it never hurts," Blair said.
"Come one guys, we were playing a game," Nate said quickly as he saw Vanessa was on the verge of saying some very nasty things. "Let's just relax okay."
"Yeah," Serena quickly cut in too, jumping up from the bar stool brightly. "It's your turn right, Vanessa. How about you ask me?"
"Thanks, but I think I'd rather ask Blair," Vanessa said through a painful smile. "So what's it going to be Blair, truth or dare?"
Blair resisted rolling her eyes at the other girl's venomous look. As if this Brooklynite could do anything to her.
"Truth," she decided, playing boredom as she was sure there was nothing Vanessa could ask her in front of this group of people that was particularly shocking.
"Were you, or were you not all over Chuck in the club tonight?" Vanessa asked, her eyes sparkling with vindictive satisfaction as Blair's eyes widened and her face paled.
"As if," Serena proclaimed, laughing. The mixture of vodka and high spirits made her tongue more loose, less inclined to think before she spoke. "Blair swore she wou-" she trailed off as she saw Blair's stunned face, and the way Chuck was looking at her. Blair contemplated denying it for a second, but then the red light blinking from the camera reminded her that all Vanessa had to do was press play...and then everyone would know anyway.
"It's nothing," Blair said quickly, attempting damage control at all their looks. "So me and Chuck were making out, big deal…"
"But I thought you said-" Serena began, frowning slightly in confusion.
"It's nothing Serena!" Blair snapped, perhaps her annoyance was disproportionate to the situation. Serena wasn't the only one to notice. "Just temporary insanity, it meant nothing!"
"Nothing, really?" Chuck repeated, his voice quiet, his eyes darkly trained on Blair's face. He rose, his jaw tense. Even here and now she wouldn't allow herself to admit anything between them, it was always just nothing between them with Blair…
"Of course," Blair answered after a moment's pause, avoiding his gaze. "We both knew that…" And that's when Chuck realised, Blair Waldorf would always be too ashamed to ever publicly admit she felt something for Chuck Bass. Blair was afraid of repeating her mistake of last summer, so instead they were repeating Chuck's mistake. The one where he allowed her to use him, at the cost of his pride, at the cost of his feelings… Maybe in the past, that was good enough, but now Chuck knew it wasn't…not for him…
Without looking at Blair he headed for the door, swinging it open he allowed it to slam behind him, his feet taking him to the elevator.
"Chuck wait…" Blair called out, he heard the door open behind him but he didn't pause, not until her fingers clutched his arm and forced him to stop and turn.
"Why should I?" Chuck growled, his eyes boring holes into her. "You can't even admit to Nate and Serena that we have anything!"
"Brooklyn-" Blair began.
"_They_ don't matter," Chuck dismissed with a sneer.
"What do you care?" Blair queried.
"I don't, but _you_ do!" Chuck pointed out.
"Chuck," she began, trying to cool his temper she attempted to smile, as if it was all one big joke, as if they could just kiss it away, like they had been doing all week. "It's not-"
"Say it," he snapped abruptly. He could tell she was slightly frightened by the intensity in his eyes, but he didn't care.
"I don't under-" she began. She never could give him a straight answer. Even when they were heading to Tuscany, there was some other reason to take the jet with him. With her there was always some other reason than _him_.
"Three words, eight letters, say it!" he demanded.
"I…I…" she stumbled over the words, her eyes wide as she looked at him. "I asked you first!" she changed tact, her eyes hardening slightly, her voice petulant.
"_You_ can't even say it!" Chuck snapped in disgust.
"What does it matter? I'm prepared to settle!" Blair snapped back with frustration, her voice reprimanding, as if he should be glad, as if she was doing him a favour. What more could he want after all? He should be happy with rushed kisses in elevators, stolen touches when no one was looking. He was supposed to lap up any scraps of affection she deemed to throw to him from her table... He could tell she didn't understand. She was the one making the sacrifice here, settling. But did he really want to be with someone who was ashamed of who he was, who felt he was something to _settle_ on? He was supposed to be _Chuck Bass_...
"I'm not…" he said coldly, cooly shaking her numb fingers off.
She watched him as the elevator doors slid open for him and he entered, pressing the button without looking at her. The metal slid shut between them and she let him go without saying a single word.
* * *
**A/N: Soapy Drama filling haha. I require suspension of disbelief in this chapter for many things lol. I know unlikely Blair would ever run, especially bare foot. But put it down to the cheap alcohol ; P. I've been under using Nate a lot, I can kind of sympathise with the writers, though Nate had a way better storyline in season 2. I was pretty mean to Vanessa in this chapter. But I think she is the ultimate outsider, because she doesn't want to even try to understand like Dan. Maybe she can change…or maybe not ; P. **
**Thanks to ellibells and sallysally for reviewing last chapter : ). **
**I notice a lot of alerts and favourites, but only 2 reviews from these wonderful people . Come on guys please R&R. Reviews give me motivation to write more ; ). **
24. This Side Up
**Act II**
_"And wit was his vain frivolous pretence of pleasing others, at his own expense."_
-'A Satire Against Mankind' by John Wilmot 2nd Earl of Rochester
* * *
_**Chapter XXIII**_
**This Side Up**
Nate fumbled with the loft key, as he tried to fit it in the lock and turn. It was three in the morning, and he'd attempted covert operations, silence the word as he made his way up the many, many stairs in the building. He thought he'd conducted himself like a stealthy ninja, in reality he'd knocked his foot several times, swore and probably woken up a few inhabitants in the apartments below as he figured out the broom closet was not, in actual fact, an elevator. His answer to the drama that had occurred at the suite had been to drink.
He'd drowned down at least three cocktails of god knows what, before he'd felt sufficiently unaffected by the spiting argument between Blair and Vanessa that had erupted after the relationship, or non-relationship bombshell hit. Chuck had disappeared and Blair was the only one out of the two to return with flaming eyes and vindictive venom, ready to rip apart the Brookly-nite who was coincidentally Nate's girlfriend. Nate knew he should have gone after Chuck, or tried to intercede between Blair and Vanessa, but he couldn't seem to find the energy. So instead he tried to make drinks and unsuccessfully shove them in everyone's hands, hoping it would fix all ills as Chuck seemed to imagine. All it did was garner him dirty looks and guilt which made him drown the drinks down in his friends place, as if in sacrifice. Nate was certainly no big drinker and his weapon of choice was usually a joint supplied by the ever connected Chuck, but right then he'd take any sort of drug to release the stressed tight ball in his stomach.
The results had not been endearing to Vanessa. In the end it had been Dan who somehow managed to calm Blair down enough to let Vanessa retreat back to her apartment in Brooklyn. Nate had offered to wait with her for the taxi, finally stirred into action from where he had been sitting watching wide eyed from the couch. Whatever her answer had been he'd stumbled down with her, all too aware his body had taken on that distinct alcoholic scent. They didn't say much as they had exited out of the looming Palace and stood on the side walk, Vanessa's hands wrapped tightly around her body. Nate knew he should have offered her his coat, but he was having difficulty extracting it from his own body, finally realising he wasn't wearing one.
Vanessa watched him with piercing eyes, until finally he turned to her.
"Are you all right?" it seemed like the right thing to say, the gentlemanly thing to say. His grandfather had always stressed that if you were anything in this world, above all you must be a gentleman.
"Fine," was her only reply. She didn't mince words, Vanessa. She was a visionary, allowing images and expression to speak for her. Dan was the words, sometimes Nate wished though that she would smile a bit more, perhaps giggle like a certain blonde upstairs…
"I'm sorry," it rolled heavily off his tongue, it seemed another appropriate phrase to utter.
"For what?"
"For not…you know…standing up for you with Blair…and stuff…" it sounded lame to his ears, like a mumbled reply he'd give to the teacher if she caught him eating glue…
"I don't need you to take care of me Nate," she shrugged, as if it was immaterial to her really. Nate knew it was true, Vanessa didn't need anyone… "Besides I wouldn't expect you to. I know what I have to do."
"What's that supposed to mean?" he felt something uneasy with the statement, as if it was an insult disguised so cleverly so he could not discern it from the wall behind.
"Just…I know how this world works now…how these people work… I know the type of language they understand," with that she gripped her camera bag tighter to her, she'd collected it hurriedly from the floor before she left, sweeping the tapes into it. The message was clear, she had the ammunition and she was prepared to pull the trigger if necessary.
"_These _people? You mean people like me…?"
She was silent at this, not responding, moving her gaze away from his face. All revenge came at a price…
"So you have it all figured out then huh?" he was bitter, he knew he was bitter and disproportionately angry.
"Look, we're both…tired and irritable…" she was clearly trying to placate him, taking in a deep breath, attempting to be the voice of reason. She reached out her hand to touch his arm, an unusually motherly gesture from her chipped painted nails.
"I'm not a child Vanessa!" he snapped, dodging her hand with drawn brows and a boyish scowl.
"Well, you could have fooled me," she said, smiling slightly at the absurdity of it. His features didn't soften however, Nate was not an irritable person, when he was stirred to annoyance it often cooled with placating words and a sense of guilt. But he was drunk, and he didn't want to be reasonable and charming and gentlemanly tonight.
"My taxi's here," she finally stated into the awkward silence as the yellow beacon pulled up to the curb in front of them. "I'll see you tomorrow?"
"Yeah, see you tomorrow," he gave her that. As she slipped into the taxi he found himself quickly regretting his childish reaction, but there was no help for it now. He decided to hail another cab and head back to the Humphrey loft to sleep off the nausea. It was preferable then going back up to his absent friends suite where Blair was no doubt crying her eyes out, Serena trying to comfort her while Dan acted like the ever supportive boyfriend.
So here he was, fumbling with the loft key and trying to remember how locks worked at three in the morning. Far from the place he grew up and the people he knew. He would feel quite forsaken, if he wasn't feeling so sick. He wondered how Chuck did it, drowned glass after glass with barely a reaction, his friend seemed to become more charming as the night wore on, not less. Nate swore as the metal bit into his skin, he realised he was holding the key the wrong way, trying to jam the blunt side into the hole. He turned it around with some effort, attempting to slip it in once more. Before he could however the door swung open, Jenny standing there in cupcake pyjama pants and a pink tank top, her long blonde hair framing her wide eyed face. Nate stood there dumbly for a second, key held up in hand.
"Hey Nate…" Jenny finally said, her voice hoarse. Obviously he'd woken her from sleep.
"Sorry for…" he mumbled, not quite managing to finish the sentence.
"That's okay," she smiled, friendly.
"I hope I didn't…Rufus…" Nate couldn't seem to find quite the right words to insert in the right places, he just hoped Jenny understood fragmented sentences.
"He's out," the younger girl supplied, her demeanour changing slightly.
"Everything 'kay?"
"He's just out.." her tone implies that everything is not okay, and Nate feels slight concern, but before he could voice any half formed thoughts Jenny took his arm.
"You should sit down on the couch, you don't look too hot," she led him obediently to the old battered and lumpy thing in the living area. Nate realised he wasn't feeling that great, he wondered whether Rufus would be as compliant as Chuck if he vomited all over the rug. He slumped into the couch thankfully, resting his head against the uneven back.
"Did you have fun?" Jenny finally asked, suddenly all too aware of her bare shoulders as Nate glanced up at her with dopey blue eyes and that adorably smile.
"Yeah…sure…Dan's staying at Chuck's suite I think…"
"Chuck's?!" she can't help the exclamation, Dan Humphrey her dorky older brother staying over at Chuck Bass' suite. Sure, Dan stayed over at Serena's on occasion, but Chuck's place was practically famous among teenagers of the Upper East Side. Everyone knew the best parties were always at Chuck's. Jenny had seen the Gossip Girl blasts about the raucous night on the town, but she'd always viewed Dan as the outcast, connected only by his association with Serena, never truly welcomed by the other elite, beside Nate of course…Nate was different…
"Vanessa staying there too?" the question pops into her mind, unbidden and unwanted, but now it's voiced she notices a change in Nate's floppy demeanour. His grin turns into a worried frown.
"Nah…I think…she went home…You know Vanessa…" he is reserved, slightly worried and then he looks up at Jenny and he seems to grow more bold. "You know…uh you know Vanessa, right?"
"Sure… She's been Dan's best friend almost forever," Jenny answered, trying to understand his train of thought. She'd never really seen anyone drunk, though she knew Dan had been a couple of times by now at least. She doubted her brother looked like Nate though, so goofy and helpless like this, so adorable and kissable… She quickly drew her mind from those thoughts, trying to concentrate on what the older boy was mumbling.
"Has she always been this preachy, you know? I mean…like critical of everything that doesn't meet her moral code, like a preacher or something…?" it comes out a jumbled mess of sound and Jenny can't help giggling slightly, though she knows its mean. She just couldn't help imagining Vanessa in a preacher's outfit, standing on a pulpit expounding the Gospel according to Abrams. "You won't tell 'er I said that will you?" Nate looks up now, suddenly anxious, as if he realised who he was talking to.
"No, of course not," Jenny quickly put his mind to ease. "In actual fact, I do kind of know what you mean. Like, with this thing with my Dad and Eleanor's…she came into my room and talked to me about it, and all she ever said was how I should go back to school and not throw my future away on some career full of sexism that was all about objectifying people…It was like a sermon…"
"Sounds like her," Nate mumbled and gave a small chuckle. "Sometimes she can just be so…so judgmental you know. Like you can't live up to her standards or something, no one ever can unless they're poor…" he trailed off here, frowning, his eyes fixated on the blank TV.
Jenny wasn't sure how to reply to this. Technically, she was poor, compared to Nate. If there was a scale on the Upper East Side, it would go from Bart Bass to Rufus Humphrey, the latter being absolutely destitute. Of course, with Nate's current position he wasn't rolling in money, but he still had his mother and his grandfather and a humungous trust fund to look forward to.
Nate seemed to notice her silence, for he glanced up once more, slightly more conscious now of what he'd just said and to whom he said it. "Course she's amazing girl, right, you know. I'm just…we just had a fight and I'm cranky and…You won't say anything about this to her will you Jenny?"
Jenny hesitated for only a second, but she couldn't withstand those earnest blue eyes, so worried. "Of course I won't Nate," she pronounced.
"You're a good little girl Jenny, y'know that…"Nate smiled dopily. Jenny's heart sank at this sentiment, it certainly wasn't something she'd dreamed Nate would say to her. "I should probably crash, I'm feeling pretty beat," he said obliviously after a yawn overtook him. He stretched, his muscles bunching under his shirt. "You should probably get some rest too, we got school in the morning…"
"Yeah," she agreed quietly, but he wasn't waiting for her reply, bending down to slip his shoes off. "Good night Nate," she finally said.
"G'night," he murmured. With a lack of any other reason to stay Jenny headed for her room, glancing behind her as she got to the door to take one final glance at the blonde UES god on her couch. She sighed wistfully as she shut her door behind her, falling onto her pink, childish bed. She looked up at the dark ceiling, feeling like a complete fool and yet unable to help it. At least she had one consolation however, what she had been thinking for weeks, from conversations with Vanessa and over hearing Nate, was true. Vanessa and Nate were clearly not meant for each other and eventually they would fall apart. Jenny would be there to console Vanessa of course, she did care about the older girl who had almost been like a distant living sister…but then after a while… Dan was dating Serena and Nate seemed fine with it after all. People got over these things and started fresh…and once Vanessa moved on hopefully Nate would realise Jenny was so much more than just a good little girl….
* * *
Vanessa was almost back in Brooklyn before she realised that her camera bag was empty, save for the tapes she'd shoved carelessly in there. She bit her tongue so as not to swear loudly as she remembered she'd left the shiny silver contraption on the table in her hurry to leave that suite and Blair's venomous barbs. She contemplated for a few minutes about continuing on, leaving the camera for lost. But she couldn't afford another one, and she didn't trust it to be left over night in Chuck's suite, especially a Chuck who had reason to feel quite vengeful towards her. Sighing Vanessa directed the driver to turn around and head back to the Palace, as she counted the notes in her purse. She just had enough to take her back and home again, but it would be a tight squeeze. As she looked out the window at the city lights approaching once more, she wondered yet again why an earth she had agreed to help Dan.
She gave the money to the surly driver, parting from it with regret as she slipped out of the cab and onto the cool street, shutting the door perhaps harder than necessary. She looked back up at the hotel, which just last evening her, Nate and Dan had contemplated with mock trepidation. There was no fun in her heart right now, but she was resolved not to be a weakling, she was as good as any of these people. She would just go up to the suite, grab the camera and get out before any further shots could be fired. It shouldn't be contemplated at all… All the same she found herself taking out her phone and messaging Dan, just to ascertain there was still a neutral, if not friendly soldier up there with Serena and Blair.
**I left my camera upstairs; I'm heading up to the suite now. Can you hand it to me at the door?**
It took only a few seconds for a reply to reach her, just as she entered the hotel elevator.
**I picked it up for you. Me and Serena are heading up to her family suite, meet us up there?**
Vanessa was sorely tempted to reply with a resounding no. But then she caught sight of herself in the elevator mirror and realised she was still wearing the dress she had borrowed from Serena, her own clothes buried on the floor in the blonde girls bedroom. To be fair it couldn't hurt to just go upstairs, grab her camera, change into something more comfortable, shove the tapes in Dan's hands and leave this opulent hotel forever…right? So she found herself typing two different letters.
**KK **
Sighing and dropping her phone back into her bag she pressed the button for the penthouse suite. She rested her head against the elevator wall, wishing for once that she had a rich father who could just buy her a new camera, so this night could just be over already. Her argument with Nate…was it an argument? Regardless, it made her feel anxious. Although she thought he was being completely ridiculous, she couldn't help a gnawing feeling that perhaps she had been rather insulting towards him these past couple of days, rather more critical than usual after seeing how close he and Serena really had been all these years. Vanessa had never thought she would be the jealous type, but she supposed there was a first for everything and the Upper East Side clearly did not bring out the best in people.
* * *
"Hey, how about a smile?" Dan asked as the elevator took him and Serena up to her family suite. He was holding Vanessa's camera in hand, taping Serena. He was sure his friend wouldn't mind him playing around with it for just a little while, after all she would soon have it back in her clutches when she came up to the suite.
Serena returned his own grin with a pout. There was a small crease of worry between her eyebrows and he knew she was thinking about Blair. The other girl had spent quite a while buried in Serena's arms, having practically collapsed into them after Vanessa and Nate had left. Dan had spent his time awkwardly 'looking for some tea' in Chuck's kitchenette as a way to give the two friends some privacy. Surprise, surprise, all Chuck had in there was empty bottles of scotch and a suspicious white packet kept in a can labelled sugar, which Dan highly doubted was the confectionary substance. Eventually Blair had collected herself enough to call a taxi, directing one final barb at Dan before Serena had helped her downstairs. Having safely deposited her friend in the yellow carriage, Serena had returned to Dan waiting awkwardly in Chuck's suite. It had been her tired suggestion that he stay the night upstairs, after all her parents were out. Picking up his coat from the chair Dan had noticed the camera, sitting on the coffee table. Knowing Vanessa would most likely execute him if he left it there, he had picked it up, turning it on in the elevator in the hopes of entertaining Serena with it. She seemed determined to have none of it, however.
"Dan, come on," she said, as he lent closer to her with the camera held aloft, gently pushing him away.
"But I need to chronicle this moment," Dan protested.
"What moment?" Serena asked quizzically, despite herself being pulled out of her anxiety with his earnestness.
"The moment I, Dan Humphrey am alone in an elevator with Serena van der Woodsen, who is voluntarily my girlfriend," Dan proclaimed. This elicited a smile from Serena, who laughed despite herself at Dan's look.
"Why on earth-" her sentence was interrupted by the sound of Dan's phone ringtone, piercing the golden moment with its generic notes.
"Hold that thought," he said, shoving the camera into the involuntary hands of Serena he fished the phone from his jean pocket, assuming it was Vanessa he pressed the answer icon, pressing the phone to his ear without glancing at it.
"Hey, Serena and I are almost up to the penthouse suite now," he answered, smiling self-consciously, as Serena in a lighter mood now, moved around him with the camera trained upon his face.
"Are you spending the night with Serena in her family suite?" Jenny's voice came through the phone.
"Jenny! What?! No…I…what are you doing up so late?!" Dan blustered, his grin disappearing as he realised who was on the other line.
"What are you doing out so late?" Jenny countered with. "Nate just got home a little while ago and I rang to see if you had been mugged or not. Apparently not so much… What do you think Dad's going to think, after that whole pregnancy scare thing last year and everything!?"
"I'm almost eighteen!" Dan decided to ride upon his mature high horse, "And what I do…or don't do… is none of your business. Now you should go to bed already, you've got school tomorrow."
"I promise not to tell Dad you were out so late without his permission, if you promise to help me o-"
"Jenny I am not helping you to convince Dad that you should leave school and join Blair's mother's minion factory!" Dan hissed, turning to face the corner now in an attempt at some privacy as he argued with his little sister, as only siblings could.
"That is so not what I'm doing! If you would jus-"
"Just drop it Jenny," Dan sighed, "Your sixteen, in two years you can do whatever you want, but right now you should just concentrate on graduating, okay? Can't you see this is really upsetting Dad?"
"As if my life decisions are what's really upsetting Dad," Jenny said, her tone bitter. Dan felt a heavy clinch in his chest, he knew his parent's divorce hadn't been easy on his younger sister and now with their mother's impending nuptials… He wondered if perhaps he had been too harsh on her…
"But you know, Dan, you're right. I'll just be a good girl and go to school, while you sneak into your girlfriends bedroom and knit, or whatever saintly thing it is you're doing with Serena, right?" Jenny finished with, erasing the sympathetic thoughts in Dan's mind. The sarcasm in her tone couldn't be more pronounced if she had dipped it in sauce.
"I'm a mature adult, Jenny. I'm old enough to make responsible decisions about my life!" Dan snapped with annoyance. "Perhaps once you grow up, you can too!"
"Oh that's real ma-" Jenny began, but he didn't let her finish, taking the phone from his ear he hung up, pressing the screen harder than entirely necessary.
"Hey, is everything okay?" Serena asked tentatively as Dan shoved the phone back into his pocket. She held the camera limply at her side now.
"Uh…yeah…yeah sure, just Jenny doing her thing and playing the frustrating little sister… Now where were you…" in one smooth move he extracted the camera from her, holding it up as he lent closer to her. "Oh that's right, you were about to expound all my virtues that have led you to choose to be in an elevator with me."
"Was I now?" Serena smiled slightly as she lent in to give him a kiss.
* * *
The elevator eventually reached its destination after what seemed like an age of Vanessa left alone in the metal box with her own thoughts. It slid open and Vanessa walked out, trying on a smile she stepped out into the luxury of the Van der Bass suite.
"Hey," she called as she turned the corner and stepped into the open living area, near the couch. "The-" whatever she was about to say died on her lips as she saw Serena was leaning over someone who was laying on the couch, Dan standing there slightly stunned, with her camera limply in his hand lying helplessly at his side.
Serena didn't even glance up at the sound of Vanessa's entrance; she was attempting to shake the limp form on the couch. Dan seemed to snap into some kind of action however, turning his eyes to her.
"I'm not sure now's the best time…" he murmured, stepping forward and without seeming to know what he was doing really he shoved the camera into Vanessa's hand. She noted that the red record button was still on, but didn't pay much attention to it as she turned back to the couch.
"What's going on?" Vanessa asked Serena now, walking closer to the couch to see who was occupying it, her camera held up automatically as a barrier. She paused as she saw Chuck lay there, oddly pale, there was something white on the table and a half empty tumbler of scotch and what looked like a packet of pink pills which had spilled all over the floor, like smarties or something…
"Chuck, Chuck come on you have to wake up," Serena's seemed to find her voice now as she realised shaking him was futile, she turned to slapping him on the face, hoping the shock would stir him into consciousness. "Chuck, Chuck…"
"Should we call an ambulance?" Vanessa asked through her suddenly dry mouth, the hand with her camera had fallen to her side limply. She'd never really witnessed anything like this before, the most she'd seen was her sister after a party, passed out on the couch and snoring like an avalanche, not limp and pale like this, lying almost lifeless... She fumbled with her bag with her free hand, trying to find her phone.
"No," Serena said firmly, "No, he's fine, see he's stirring…we just have to get him upstairs and splash some water on him…he'll be fine…" True to her word Chuck's eyelids were flickering, opening to show diluted pupils that were trying to concentrate. His head lolled as his body attempted to move.
"Serena maybe…" Dan began, stepping forward now.
"No ambulance!" Serena replied firmly. "Please Dan," a meaningful look passed between the two of them and Dan seemed to relent with understanding.
"Okay," Dan held up his hands with a placating gesture. "I was just going to suggest that we use the bathroom downstairs?"
"No," Serena repeated, glancing now towards a door, biting her lip anxiously now, "I don't want to disturb Eric." She shared another meaningful look with Dan, who relented at her blue eyes.
"I guess I'll get him upstairs then…" Dan noted resignedly. He went to Chuck's side, grabbing onto his arm and attempting to lift him up. Chuck was a dead weight however, making an indistinguishable noise. "Come on Chuck, a little help wouldn't go astray," Dan grunted.
"Here, I'll help," Serena said, attempting to assist Dan in his struggles to lift Chuck. Vanessa watched all this blankly, unsure of what to do, should she try and push Chuck up or would her assistance just hinder the two?
"Chuck, Bart's going to be home any second…" Serena finally snapped at him as they attempted to pull at his dead weight. This penetrated Chuck's haze somewhat, he seemed to attempt to help now and Serena and Dan managed to lift him off the couch and into a very shaky standing position, with one of his arms slung over Serena's neck and the other over Dan's.
"Okay, he is heavy!" Dan grunted, attempting not to buckle under the weight.
"Can I do anything?" Vanessa found her voice again enough to query as Serena and Dan made progress towards the stairs while Chuck's head sporadically lolled on his neck, like a rag dolls. You could tell he was attempting to help, but he was barely able to keep on his feet.
"Just stay behind us," Serena instructed authoritatively as they reached the bottom of the staircase and Vanessa trailed behind. It was a serious side of her Vanessa had never been privy to.
It took a few times for them to get Chuck up the stairs. Vanessa had to shove Chuck's vest clad back a few times to keep him from toppling backwards down the stairs and taking Serena and Dan with him, all on top of Vanessa. She didn't fancy the thought of ending up on a newspaper cover, death from falling down the stairs and being squashed by Chuck Bass, not an appealing way to go. Finally they managed to get to the landing, and Vanessa took the lead now, opening a door Serena instructed to her as the other two dragged Chuck through it. And then she stepped into Chuck Bass' room. It wasn't somewhere she'd ever imagine being, or somewhere she desired to be.
As Serena and Dan managed to drag Chuck the last few steps to the bathroom and deposit him into the shower Vanessa stood awkwardly at the door, watching and wondering what exactly she was doing here. She had just come to get her clothes, her camera and not look back. But here she was, helping someone she didn't even like who had clearly been doing very illegal substances. Instead of doing the responsible thing and calling an ambulance they were attempting to revive him with a shower hose. It seemed all rather surreal to Vanessa, but Serena didn't even blink, and Dan followed her dutifully, trying to keep Chuck upright as Serena struggled with the taps. Something made a noise and Vanessa glanced down, her camera light was flashing, the battery obviously drained almost to extinction. Automatically Vanessa brought it up to examine it, about to click it off, when there was a sudden shout from the shower cubicle. Serena had clearly managed to wrangle the taps open, the cold water burst forth in a violent gush, right onto the lethargic Chuck's head. He spluttered, flailing his arms and almost knocking Dan over.
"Woah, woah man, calm down," Dan exclaimed trying to dodge out of the way of the now alert Chuck. Chuck ignored him, with great force he managed to push Dan aside, who stumbled into Vanessa, and scramble out of the cubicle, just in time to practically collapse onto his knees in front of the toilet and expel his stomach contents. Vanessa's camera had clattered to the floor just as he reached the toilet bowl and she felt her own stomach churn at the sound of his retching.
"Chuck…?" Serena finally enquired timidly as there was a lull, turning off the shower and stepping out of the cubicle to look down at the doubled over boy.
Chuck muttered something that sounded a lot like an expletive telling her to do rather unpleasant things, before the retching began again. Vanessa thought that was sign of life enough, she quickly retrieved her camera from the floor and backed out the door. Dan glanced over and hearing some more violent retching seemed to decide that was the best option. Grabbing Serena's hand he led her out of the bathroom, closing the door behind them.
"Do you think it's safe to leave him alone?" Serena asked anxiously, biting her lip once more and turning her eyes to Dan. It was like Vanessa was an invisible entity. She contemplated saying something wry, but Dan beat her to it.
"Well at least we know he's not going to slip into a coma…" this as they heard another expletive in between retching. "Perhaps we should just leave him to it? I think he's going to be in there for a while…"
"Okay…" Serena said somewhat doubtfully. "Can I borrow your phone Dan?"
"Uhhh…I'm not sure if that's such a great idea…" Dan said. Vanessa resisted sighing at the indecipherable exchange between Dan and Serena, there was obviously something they wanted to talk about and she was clearly just getting in the way. There would once have been a time when she could understand every little quirk in Dan's face, but now…
"I'll be heading home then…" Vanessa said decidedly. "If I could just grab my clothes from your room Serena?"
"Yeah, sure…" Serena murmured distractedly.
"Uh…see you…" Dan muttered.
"Sure," Vanessa replied without much enthusiasm. She immediately headed for Serena's room, the one inexplicably next to Chuck's. Locating her clothes in the corner she used Serena's bathroom to change, hanging the dress back up on the discarded hanger on the floor where Serena had thrown it, she placed it on the plush chair which cost more than Vanessa's wardrobe and desk combined. Grabbing her camera and camera bag she headed out the door, Dan and Serena were markedly absent from the landing. Vanessa shrugged, attempting to be nonchalant as she headed down the staircase and to the elevator for hopefully the last time that night. She hoped Dan and Serena enjoyed the symphony of Chuck's retching; because she was out of there and well on her way to forgetting this night ever happened…
* * *
Jenny awoke to the sound of banging on the loft door. She had fallen on her bed, fully clothed, fuming about Dan and evidently had drifted into a doze. Thoughts of sleep were erased however at the sound of the door. She glanced over at her clock, it was two in the morning, shouldn't everyone be asleep by now? She was sorely tempted to grab her pink pillow, shove it over her face and ignore the door. But then she remembered that Dan still hadn't come home by the time she had locked herself in her room, and Nate was no doubt still passed out on the couch. She'd heard Rufus come in a few hours ago. Typically he'd checked in on Jenny, opening her room door to ensure she was in her bed and not gallivanting around the streets at night, of course he probably hadn't bothered with saintly Dan. Rising and rubbing her blurry eyes she stumbled towards her room door, swinging it open. Nate was still on the couch, snoring softly, he turned slightly as the knocking grew in intensity, but didn't stir otherwise.
Sighing Jenny managed to unlock the door after fumbling with the locks slightly, swinging it open. Vanessa stood there, her hand up to bang once more. Her clothes were dishelved and she had heavy shadows under her eyes, a very different image from the girl in the expensive dress posted on Gossip Girl just a few hours ago. She looked as surprised to see Jenny open the door as Jenny was to see her.
"Jenny, hey," she said, her voice was hoarse and tired.
"Vanessa…Is something wrong, Dan…?"
"No, no everything's fine, I just…is Nate here?" she glanced distractedly behind Jenny into the loft.
"Uh…yeah…he's just, he's sleeping, he seemed really tired…" Jenny positioned her thin frame to hinder Vanessa's view, trying to make it look unintentional as she did so.
"Right…" Vanessa looked slightly regretful. "Well I have to get home anyway, I have the early shift. I just came to drop these off for Dan, for his assembly in the morning. You'd be able to give it to him right?"
She fumbled in her bag without waiting for a reply, fishing out some camera tapes. "Despite repeatedly reminding myself to give it to him I kind of got distracted …But I know they're in safe hands with you." She smiled at Jenny, shoving the tape labelled MOCKUMENTARY in black bold print into her hands. "They'll work on most standard cameras, and remind him he has to play them on silent with this," she dug out a CD and shoved it into Jenny's fingers as well, "Playing over it."
"Going retro?" Jenny commented.
"We didn't have time to edit the audio in," Vanessa supplied, forcing a smile.
"Well it's pretty late…" Jenny noted as Vanessa seemed to be stuck to the floor for a few minutes longer in silence, glancing over Jenny's shoulder again.
"Right…," Vanessa responded, she seemed to be struggling with something, coming to a decision, she dug her hand back into her bag, pulling out another tape. "Would you be able to give this to Nate and tell him…you know what just give it to him, I think he'll understand…" She held out the tape and Jenny took it, glancing down at it curiously. "But don't get them mixed up okay?" Vanessa stipulated.
"Don't worry," Jenny assured her, looking up now and giving Vanessa a sweet smile, "They're safe with me."
"Thanks Jenny, I know I can trust you. You're a good girl, you know that?"
It was an odd earnest statement from Vanessa, Jenny felt only annoyance at it however, it echoed Nate's statement too closely. "Well I better get going, goodnight..."
"Same," Jenny kept on smiling as Vanessa turned and walked away, closing the door behind her and glancing down at the tapes she had been given. Ascertaining that Nate was still asleep on the couch she made her way back to her room, the tapes weighing in her hands. She closed the door behind her and went to her laptop, brushing her hand over the mouse pad to wake It up. It droned dully as she searched her draw, finally coming up with an old video camera.
She didn't think twice about it as she slipped the labelled tape into it, her curiosity overcoming any qualms of conscience. She grabbed her earphones, putting the small green buds into her ear and playing the tape. Cringe worthy acting came up on the screen, clearly assembly fodder it was edited like a typical school project. If she wasn't so annoyed at him right then she probably would have laughed at Dan's attempts to act with the campy dialogue. Then Nate flicked across the screen, his attempts even more feeble though they didn't detract from his boyish grin. After a few more minutes of the terrible acting Jenny turned the tape off, placing it on the desk and trying the next tape. What she saw on the screen this time made her eyes widen. There was the immaculate Blair Waldorf who had banished her to social oblivion, doing shots from a common bar glass, there was Chuck, who'd belittled her, looking un-composed and out of control and there was her oh so responsible preaching big brother, drinking copious amounts with the kind of people he'd warned her from his whole life… Serena, Nate and Vanessa were there as well…Jenny fast forwarded through the footage, watching embarrassing scene after embarrassing scene…And then she got to Dan and Serena in the elevator, the conversation between them playing over again, Dan hanging up on her and dismissing Jenny as his 'annoying little sister,' as if it was typical…Of course he dismissed Jenny, just like Vanessa, just like Nate saw her…
Something stirred in Jenny as a plan began to formulate in her mind, a small excited smile creeping over her face. This was one of those times where clearly being perceived as a good Little Jenny Humphrey from Brooklyn was advantageous.
* * *
**A/N: I sense trouble brewing on the horizon. Sorry it took so long. Thanks for all the reviews, almost at 200! Please R&R : ). I've also added a prologue, tell me what you think. Heads up even though I've put the prologue in the begining of the story (ie. as chapter 1) and it's showing up in the begining on my preview, it still hasn't formatted on the public one, but it's meant to go at the start of the story and hopefully it will sort itself out : ).**
**Chapter picture: google 'Serena Dan elevator' should be the second picture. **
25. Ignorance is Bliss
_**Chapter XXIV**_
**Ignorance is Bliss**
Blair awoke as her curtains were flung open, the sun falling across her face. She kept her eyes closed, there was a blissful moment of unawareness but then a feeling of dread inside reared its ugly head inside her stomach. The memories of last night came back to her, along with a pounding headache. Her mouth was dry and there was a strange taste in the back of her throat, Chuck's face swam into her view, the look on his face as he sneered at her more prominent than ever… Blair snapped her eyes open, quickly sitting up and casting off her silken sheets.
"Finally Mees Blair," Dorota said, raising her arms in mock celebration. "I have been calling you for twenty mineetes!"
"Well I'm up now!" Blair said cooly, trying to keep herself composed.
"Yes, but you are going to be late," Dorota noted. "You have assembly today, remember?"
"How could I forget," Blair groaned, recalling the tragic farce that was the committee she was supposed to be the head of. "Maybe I'm coming down with something Dorota," she whined, feeling her forehead.
"Perhaps hangover-itis Mees Blair?" Dorota suggested, looking slyly at Blair from the corner of her eye where she was picking up her dress from last night, unusually carelessly thrown aside.
"I have no idea what you're talking about," Blaire retorted quickly, faking innocence with wide doe eyes. "I was finishing that stupid project all night. I probably caught leprosy from Humphrey!" She held her hand back up to her forehead in a tragic pose.
"Really Mees Blair…that is strange," Dorota said, regarding Blair now. "Perhaps we should tell Mees Eleanor…"
"Who pays you?!" Blair demanded, tearing away all false pretences she scowled at her long suffering maid.
"Mees Eleanor," Dorota answered with, not even blinking at Blair's fierce glare. "And remember you are not the only one who can read Gossip Girl."
"Gossip Girl!" Blair exclaimed, her eyes widening as she remembered the gossip mongering fiend. She quickly scrabbled for her phone on her bedside table, almost dropping the clock in her rush. She flicked it open, pressing on the Gossip Girl icon.
**Morning Upper East Siders. Well, last night was a doozy, for some of us at least… But last night was so…well last night. Tonight however…that's a whole new ball game. Chuck Bass has just sent out automated e-mail invites for the party of the century, at his family suite no less. Supposedly to celebrate alcohol and drug awareness week, in typical Bass fashion. The theme, you ask? The Tudor court! No guesses about who is going to be the King, but I wonder if we'll see a certain Queen at his side or not? Despite the excitement this does stir, Bass has left sending the invitations pretty late, so better hurry on ordering your maids to the costume shop tout suite ladies! I hear there's a strict door policy, only royally dressed seniors allowed!**
**xoxo GG**
* * *
"Euuuurrghhh, what is going on?" Serena groaned as a banging noise emitted from downstairs and into her room. Dan groaned beside her, his arm shifting where it was slung over her waist. He still had Chuck's jacket on, his mouth slightly agape as he slept. Serena was tempted to roll over, bury her face in his chest and ignore the noise, but just as she had the thought the sound seemed to intensify, making a return to slumber impossible.
"Dan," she said, shaking the other boy as she checked her phone, it was probably time to get up anyway, though her spinning head told her otherwise.
"Mmmmmpphhh," Dan feebly tried to push her hand away. "Five more minutes…"
"Dan, come on, we have school," Serena said, leaning over to peck him gently on the cheek. His eyes fluttered open at the contact of her lips, he blinked rapidly. "Wossat noise?" he murmured, scowling at the sound.
"No idea, want to go down and yell at whoever's making it?"
"Sure," he grunted as he rose, yawning and stretching lazily. Serena watched him with a small smile which he returned self-consciously, suddenly extremely aware of being in her bedroom. Serena sighed as the banging interrupted whatever Dan was about to say, rising she took him by the hand.
"Come on, maybe Mom forgot to tell us she was getting an ice rink installed while she was away."
"Is that meant to be a joke, because with your Mom I'm still not entirely sure…" Dan managed to expel in between a veracious yawn. Serena just laughed as they padded their way down the stairs with bare feet and mussed hair. What met them certainly wasn't what she had been expecting. There was staff running around the main living area, hanging what looked like tapestries from the walls and placing other assorted decorations. Serena wandered into the room, looking around her with wide eyes, barely finding her voice to ask what exactly all these people were doing in her family suite.
"So I'm pretty sure it's not an ice rink…but is that a throne their building?" Dan queried, his eyes planted upon a handful of men who were trying to erect a wooden structure that did resemble a large throne. That was the source of the banging noise and now drills apparently, as one of them began to work on the nails, the noise seeming to perforate Serena's eardrums.
"Come on," she yelled at Dan over the noise, grabbing his hand and heading for the kitchen in the hopes of escaping the sound and finding someone who could inform her about what exactly was going on. Swinging the kitchen door open she strut in rather moodily, Dan behind her. The noise was considerably better in here, once Dan closed the door firmly behind him. A woman with a clipboard who was standing by the table, looked up at their arrival, but clearly from the expression on her face she was not impressed with their appearance. She returned her gaze upon the person sitting at the table, who was wearing dark shades and nursing a glass of a weird coloured liquid which Serena recognised as the infamous hangover cure. A blender full of the odd beverage sat next to him on the table.
"Chuck!" Serena exclaimed, interrupting whatever the clipboard woman was going to say to him. Serena was taken aback at his appearance this early in the morning, especially considering last night…
"Do you have to always be so loud sis?" Chuck drawled with his usual snideness, his hand going to massage his temple. He was slightly pale, but other than that and the shades which were obviously there to hide his hangover he didn't appear too badly off. He, typically, was acting like nothing untoward had happened last night. He'd always had an uncanny ability to bounce back Serena supposed, which allowed her to turn to her next urgent call of business immediately.
"What the hell is going on in the living room?" she demanded.
"It's being prepared," Chuck answered, sighing heavily. This early in the morning it was far easier to just give Serena what she wanted, he was not in the mood to play.
"Prepared for what exactly?" Dan queried, a small disbelieving smile on his face as he glanced back at the sound of further bangs while Chuck poured himself another glass. "A nuclear bomb?"
"For this," the woman with the clipboard answered for Chuck with some annoyance, taking out of her copious notes a decorated piece of paper she shoved under Serena's nose. Serena took it, examining it along with Dan.
It was decorated with a red and deep purple. Gold lettering spelt out the title. Senior Court. Serena barely bothered to read the rest of it, it was a classical Chuck Bass invitation.
"You're having a party tonight, I knew that already. But why is it here in Mom's suite?!" Serena demanded, shoving the invitation right back into the woman's face and turning her attention on Chuck.
"Well last time I checked it was the 'family' suite," Chuck pronounced, smirking slightly.
"Which Mom has spent, like weeks decorating and would be more than upset if in a few short hours tonight you got it trashed," Serena pointed out.
"Relax," Chuck drawled. "That's why it's a senior's only invite."
"That's meant to inspire confidence?" Dan noted wryly, leaning against the counter.
"Whose side are you on Humphrey?"
"Well…uh…was that rhetorical or a real question?" Dan blundered, slightly taken aback.
"Depends, would you like me to keep your reserved place in the senior court?" Chuck raised his eyebrow over his dark shades. Dan blinked slowly, trying to process what Chuck Bass was actually saying.
"Why can't you have it at Victrola?!" Serena demanded, cutting across Dan's flabbergasted silence.
Chuck sighed heavily, drawn back to the discussion with the blonde. "Because Victrola has another engagement far more profitable for business, that's the call I got last night. Which is why I thought, with Bart and Lilly away, here would be a perfect substitute."
"What about your suite?" Serena narrowed her eyes at him suspiciously now, as both the clipboard woman and Dan watched the exchange as if observing a tennis match.
"Well, it was supposed to be held in Mr Bass' suite originally, but this area is so much more impressive," the woman interceded here again, thinking herself very efficient and unaware of Chuck's shaded eyes turning to her and his scowl.
"Which is exactly why you'll just have to move it right back down to Chuck's suite," Serena snapped, in a distemper.
"Serena, it's not suitable right now!" Chuck's jaw tightened imperceptibly as he lost his patience with her and snapped.
"What do you mean. We didn't mess it up that badly, wh-"
"Look, I've got to go, otherwise I'm going to be late for school, I suggest the two of you concentrate on getting dressed and forget about the rest of this, otherwise you might miss the presentation," Chuck rose authoritatively, taking one final sip from his glass and settling his blazer as if the last word was said on the matter.
"But Mr Bass we have-"the woman stepped forward now anxiously with her list. Chuck shoved his now empty glass into her hand without a second look.
"I'll see you two in the front row," he drawled confidently, smirking as he strolled past them and out of the kitchen before Serena could launch a further protest.
* * *
Nate woke up in the Humprhrey loft to the sound of his phone trilling along with his pounding head. It wasn't the first time he founding himself missing his staff. He managed to lean over and turn his phone off, wishing ardently he could escape back to unconsciousness. But he knew missing the assembly would get him in far too much trouble with Blair than a few more minutes of sleep were worth. Groaning he managed to drag himself blindly towards the shower, feeling like his head was full of cotton wool. After standing in the shower until the tank ran cold on him (another feature of the loft he did not appreciate). He stumbled out of the bathroom, dressed in his school uniform and feeling slightly more refreshed, to the smell of waffles and honey.
Jenny was sitting at the counter, still clad in her pyjamas, spreading jam liberally over a piece of toast. Her eyebrows were drawn and there was a small frown on her face, undoubtedly elicited by Rufus' presence. The older man's stubble was threatening a full beard, his hair was mussed carelessly and he was still wearing the clothes he had on last night. But he was tinkering with the waffle machine however, a comforting familiar sight. He looked up at the sound of Nate, smiling with evident effort, obviously his head was also filed with cotton balls this morning.
"Glad to see someone's up for school from their own volition," he noted, glancing at Jenny, now Nate understood the tenseness of the scene. "Do you know if Dan is going to appear from his fortress anytime soon?"
"Uh…" Nate blinked slowly from where he was now leaning against the counter.
"Dan stayed out last night," Jenny supplied here innocently.
There was a moment's pause as Rufus processed this information, his back turned to Jenny and Nate.
"Dan stayed out last night," Jenny repeated.
"Really…huh?" Rufus finally grunted in response, as if he was very distracted by the waffle maker. Jenny scowled at his back, opening her mouth to say something further but Nate quickly tried to intercede and keep the peace, in the absence of Dan.
"Hey Jenny, do you want to catch the bus together?" he queried. Jenny's eyes immediately turned to him and she smiled brightly.
"Yeah sure," she said.
"Don't you have that presentation you and Dan were working on?" Rufus queried neutrally as he turned around now with a fresh plate of waffles. This elicited another scowl from Jenny, though Nate didn't notice it this time as he reached over and plucked a honey soaked waffle from the plate.
"Oh yeah…" Nate's enjoyment of the waffle lessened somewhat as he remembered the disaster that they were going to be forced to present to the whole student body today.
"That's right, the presentation is today!" Jenny exclaimed louder, both Nate and Rufus' eyes turned to her as she slapped her hand on her forehead, as if just remembering.
"I didn't know you were so enthusiastic about it Jenny?" Rufus queried, bemused.
"I'm not…just uh Vanessa dropped off the tapes for Dan last night…or this morning…" Jenny came to herself, lowering her hand and turning pink with embarrassment.
"For Dan?" Nate repeated, feeling a slight twist of his insides as he thought of the words they had exchanged last night. He'd been too long with Blair to dismiss these types of things. Even though Vanessa wasn't Blair he was in that common grey area he used to often share with Blair, that land where he didn't know whether they were in a fight or not… He was tempted to ask Jenny whether Vanessa had mentioned him at all, but that seemed so childish, though it was extremely alluring…
"Yeah…" Nate felt Jenny's eyes watch him curiously, he quickly smiled at her. "I'll go get them for you."
"Thanks," Nate murmured, but Jenny was already rushing to her room.
"I caught her messaging Eleanor's this morning," Rufus murmured, Nate glanced at him unsure if the older man was talking to him, he had his back to Nate, fiddling with the waffle machine once more. "She didn't even tell them that she wasn't coming back."
Nate sat there feeling extremely awkward and trying to think of something to say, his mouth suddenly very dry. He hated these types of situations, he felt ill equipped to deal with them, Dan always seemed much smarter at this than him. Luckily Nate didn't have to think of a fumbling answer, Jenny appeared once more, small black encased tapes in her hand and a CD.
"Here," she said, handing over the tape marked Mockumentary in Vanessa's large black print and a CD. Nate took them reluctantly, slipping them into his bag and finding himself half hoping they would smash on the way to school. "What about that one?" he queried, as Jenny hesitated.
"Oh yeah, she really stressed that it was important they didn't get mixed up," Jenny said, hesitating for a split second before handing over the tape to Nate. Nate took it, very aware about what was on the tape and blushing as some memories of last night swam to the forefront of his mind. He wondered for a second if Jenny had taken a peek at the contents last night…"Nate, are you listening to me?" Jenny asked, teasing. Nate looked up at her small shy smile and brushed the silly thought aside.
"Sorry I uh…what were you saying?"
"Just that Vanessa said Dan has to play the CD audio over the tapes," Jenny repeated.
"Right," Nate nodded, quickly burying the unmarked tape deeper into his bag.
"Perhaps you should start heading off Nate," Rufus noted, glancing at the clock. "If you want to get there early?"
"Right Mr Humphrey, thanks for the waffles," he placed the half eaten waffle on his plate feeling slightly awkward he smiled at Rufus and slung his bag over his shoulder, heading for the door. "I'll see you at school Jenny."
"Don't forget Vanessa said It's really important you play the labelled tape," Jenny reminded him.
"Don't worry, I won't forget," Nate replied wryly, grinning and waving lazily to her as he headed out the door.
* * *
Eric glanced down at the invitation which had been shoved in his hand as he'd reached the school gates. Someone had decided that the internet simply wasn't good enough to spread the word of Chuck's big party, flyers had been printed and were being circulated around the school populace. Eric sighed as he read the details, yet another thing he'd been failed to be informed of. At least now he knew why there had been so many strangers running around the family suite early this morning.
"Eric, hey," Eric glanced up quickly at the sound of the now familiar voice. He glanced around the teeming students, finally catching sight of Damien leaning against the school wall and beckoning towards him. Eric grinned and jogged over.
"Hey," he greeted Damien as he reached his side. "I thought your Dad withdrew you from St Judes?"
"He did, I actually got up at this early to see you."
"Really?" Eric couldn't help feeling a slight lurch in his stomach as Damien smiled at him.
"Yeah, sure, we're buddies aren't we?" Damien said smoothly.
"Yeah…I guess…" Eric felt his tongue getting tied, blushing slightly. Suddenly he had a spark of inspiration as he realised he still held the flyer in his hand. "Hey, Chuck's holding a party tonight for the seniors…maybe you could…if you want…"
"I don't think that's such a great idea," Damien said, his smile slipping somewhat as he glanced at the flyer.
"Oh," Eric felt his own smile slip though he tried to hold onto it.
"It's just I don't think Bass would really appreciates me being there," Damien clarified, obviously noticing Eric's change in demeanour.
"Chuck's cool…" Eric brightened slightly that this was the only reason. "I'm sure if I talked to him…"
"That's real sweet Eric, but me and Chuck…we don't really gel…" Damien said, dropping his gaze, his whole demeanour showing he didn't want to discuss it further. "Actually the party is another reason I kind of came here…"
"Really?"
"Yeah…do you know Tyler Wood?"
"Not really," Eric said, feeling slightly uncertain now. "He hangs around the jocks a lot…"
"Yeah…he's a bit of a jerky hey? Well our father's know each other and my Mom wants me to give him this film from when we were five or something…don't ask me," he said at Eric's quizzical look.
"I think I understand," Eric said, smiling slightly. "My Mom sometimes asks me about some of her friends children as if just because she's friends with their parents that automatically makes me best friends with them or something…"
"Exactly," Damien grinned again. "Anyway he's not here today, he tends to skip. But I know for sure he'll be at the party tonight. I would do it next week, but my Mom won't get off my back about it, would you be able to…?" he looked at Eric uncertainly now, as if afraid of being rebuffed.
"Yeah sure," Eric quickly assuaged Damien's doubt, pushing aside his own feelings about approaching a jock like Tyler. Damien had been a really good friend these past few days, a small inconvenience wouldn't be so hard to put up with for that, after all it was difficult to find an earnest friend on the UES.
"Great, thanks," Damien replied as if he had no doubt in his mind, clapping Eric on the back. He glanced at something behind Eric's back distractedly. "Uh…I think it's time I go, but here's the film, just hand it over to him, he'll know what it's about." Damien quickly fumbled in his inner coat pocket, pulling out a few small old film canisters he shoved them into Eric's hand.
"Woah, I haven't seen film like this since I was like six…"
"I know old school right. But be careful with them okay, they're a few years old and there aren't any copies. My Mom would kill me if they get exposed or something…"
"Don't worry," Eric said, putting them into his bag as Damien watched him anxiously.
"Thanks again, I'll see you around Eric," flashing one more unique toothy grin Damien quickly turned and rushed down the street.
"See you…" Eric murmured, watching him go.
* * *
Chuck exited his limo, the sunglasses he was wearing this morning still on. The crisp air made him feel slightly more refreshed, but not by much. Last night had not been pleasant, after spending hours by the toilet, he'd finally managed to drag himself shakily down to his suite, and then… Quickly taking out the flask he'd stashed in his coat he took a swig. The best detox was a retox, it was the one good thing Baizen had taught him.
"Hey Chuck can't wait for the party tonight," a senior stoner shouted out, brandishing a printed version of his invitation. Chuck barely acknowledged him with a nod as his eyes caught something which made his temporary complacency disappear. Damien Dalgaard was leaning against the school outer wall, standing on the crowded side walk, talking to Eric. Chuck made his way purposefully over, Damien must have felt his piercing gaze for he glanced up at this moment, muttered something to Eric with a smile and quickly turned headed off down the street, fast.
"Hey little brother," Chuck greeted Eric with his usual drawl as he approached, but his eyes were narrowed under his glasses and concentrated on Damien's back.
"Hey," Eric said, turning to glance at Chuck. "You look like hell."
"Oh how I do love having a younger sibling, so flattering for my ego," Chuck glanced down at him. "Anyway how would you know what I look like under these?" he tapped his expensive designer shades.
"I don't need to see under them to tell you have a hangover, I gathered it from Gossip Girl."
"You have been hanging out with my father far too much," Chuck noted.
"Yeah, speaking of Bart," Eric flourished the flyer at Chuck. "When were you planning on telling him about this wild party?"
"Never," Chuck smirked.
"More importantly then, when were you planning on telling me?" Eric queried with a quirked brow.
"Didn't I already?" Chuck frowned in obvious bemusement.
"Not exactly…" Eric shook his head, "So what am I supposed to do while this wild senior only party rages in my home?"
"You're the one exception to the rule," Chuck murmured, slightly distracted as he watched a town car pull up to the front of the school.
"You know there is no way Mistress Queller is going to wear those sunglasses for the assembly, right?" Eric queried, smiling despite himself as Chuck lifted his shades up distractedly, watching the occupant of the car exit it, typically Blair looking as immaculate as ever, if a bit tired.
"I'll be able to withstand light by then, don't worry." He let the shades drop once more, quickly glancing back at Eric. "Speaking of old hags, what was Damien Daalgard doing talking to you?" Chuck asked, scrutinising.
"He doesn't seem so bad," Eric shrugged noncommittally.
"Sure he isn't," Chuck said, "And what exactly makes you say that?"
"Nothing," Eric shrugged again, playing nonchalant. He didn't know why he didn't tell Chuck that he had grown so close with Damien, but he figured if Serena and he could have a secret from him, he could have his own secrets, as little as they were. "I don't know, he just seems like an all right guy."
"And you two have had many occasions to talk then?"
"No, this was the first time….he just uh…he was just asking after Serena or something…" Eric shrugged, trying to brush Chuck off he began walking towards the school steps. It seemed a reasonable excuse in his mind. Serena and Damien didn't speak about each other, and from what he gathered whatever was starting between them had ended abruptly, but that was no reason they couldn't be amicable.
"He what?!" Chuck demanded and his demeanour changed as he rushed to walk beside Eric.
"He asked about Serena…I think he misses her, I'm not sure I don't really know the guy…Is everything all right Chuck?" he frowned slightly as he noticed Chuck's jaw had tightened, a now familiar indication that he was severely aggravated about something.
"Fine," he said quickly, obviously dodging the question to Eric's annoyance, like he and Serena had been doing for a while now. "I better get upstairs, I've got that stupid assembly thing…I'll see you around Eric."
Eric found himself echoing see you to a back once again that morning.
* * *
Blair exited the town car, determined not to look right or left as she headed up the school stairs, her heels clicking rapidly against the pavement. The last thing she needed right now was to catch sight of Chuck Bass. When she entered the collective entrance of St Jude and Constance, the first thing she noticed was the posters all over the walls. Penelope and the rest of her minions had clearly been busy. Like a professional advertisement campaign there were posters all over the wall promoting anti-drugs and alcohol in splashes of red and black, the danger colours. She spotted Penelope at the door to the collective hall, handing out flyers to the early birds heading into the hall.
"Blair," Penelope greeted her with her usual self-serving smile and sweetness as the Queen approached. "Had a good night last night?" her words were all innocence but the slight smirk on her face was derisive.
"Better than yours no doubt," Blair answered coolly.
"Here, take one," Penelope said, handing Blair one of the white flyers, along with a red sheet of paper underneath, she raised her eyebrows expressively. "I'm pretty sure it will interest you."
"What ar-" Blair began, glancing down at the paper. Before she could extract the silken smooth red flyer underneath the alcohol anonymous questionnaire, an authoritative voice interrupted her.
"Miss Waldorf, there you are. All prepared for the assembly I trust?" Mistress Queller approached Blair with an appreciative smile. She had a soft spot for the driven young woman, who had thus far managed to keep a pure reputation at school, above the radar at least.
"Of course Mistress Queller," Blair smiled sweetly, quickly folding the flyer and discreetly placing it into her blazer pocket.
"I love all these flyers and posters, its excellent work," Queller said. Blair ignored Penelope's sour look as she smiled sweetly and kept silent as to who the praise should really go to. They were Blair's minions after all, they'd learnt all their artistic and organisational skills from her. "So shall we go in then, I believe Mr Archibald is already having the projector set up by the media students."
"Of course," Blair didn't even glance at Penelope as she walked beside Queller into the assembly hall. If the headmistress loved the campy posters and flyers, no doubt she would lap up the over moralising documentary. This was clearly another stepping stone for success to Blair, and she would concentrate on that and not on what happened last night.
Of course that was a bit difficult with reminders all around her. As she took her seat in the front row she noticed Nate talking with one of the media students sitting at a laptop. He glanced up at Blair, then quickly away, obviously feeling awkward. It had always been difficult for Nate, the constant bickering between his best friend and his girlfriend, and even though they weren't dating anymore he still had that feeling of torn loyalty no doubt, he often attempted to avoid both parties until things simmered down. Serena on the other hand would…
"Blair!" speaking of the devil…Serena's voice sounded loudly across the hall. She was dressed with her usual disregard for the school uniform, her skirt barely long enough to pass muster and heels that just met the rules by a millimetre. She had Dan's hand in hers and she pulled her reluctant boyfriend to the front with her. "Hey, Vanessa said Nate had the ta-" Serena immediately launched into discussion with Blair as she slipped into the seat beside her.
"How an earth do you manage to be so loud in the morning?" Blair rolled her eyes at her friend, who had typically assured her via message that she and Dan would be bringing the tapes personally only this morning. "And before you panic Nate's right there," Blair quickly interposed, stilling Serena's obvious anxiety, Nate was not usually known for his punctuality. Serena glanced over and smiled at Nate, waving at the blonde boy who looked up in time to return the wave with a slightly sleepier hand gesture.
"More important question, where's Pieser?" Dan queried, glancing at the rows 'reserved for the committee.
"Why, planning to declare your love for him?" as Blair said this snippily she glanced around the hall, curious herself, but there was no sign of Pieser anywhere.
"Dan, I thought you only had eyes for me!" Serena mock gasped.
"I do, except when Pieser is in the room. What? I just don't like having my back to that man, he creeps me out…?" this illicited from him as he dodged Serena's gentle punch. "Well at least now all we have to do is sit back, relax and enjoy our public humiliation," he noted wryly, giving up on his search for the teacher he turned to face the front again, leaning back in the seat next to Serena and yawning once more, late nights were clearly not his foray.
"It's not going to be that bad," Serena insisted, managing to keep her note of doubt to a minimal.
Before Blair could respond she noticed Chuck sauntering into the hall, slipping off sunglasses he shoved them into his blazer pocket as he strutted down the aisle of chatting students of all grades and headed towards the front row.
"Well hello one and all," he drawled lazily as he stopped by their row. Blair determinedly avoided his gaze, turning hers to stare unseeingly at the front. It was probably unclear to most people who knew the whole story, why Blair was avoiding Chuck, after what had occurred last night. It was almost unfathomable to Serena, who was Blair's best friend. Perhaps it had something to do with the strike before your struck mentality Blair had cultivated to perfection all these years, or perhaps it was just because it was Chuck she was dealing with, and ignoring him was far easier than having to actually confront anything to do with him. Whatever the reason Blair was doing a perfect imitation of a pristine statue, barely flickering an eyelash as Chuck glanced at her. If he could have seen her hands she had hidden in her skirt her façade would have been ruined however, her fingers were curled into a tight fist, her nails biting sharply into her palms. As it was he shrugged almost imperceptibly to himself and slid into the seat next to Dan.
"Looking a little worse for wear there Humphrey," he noted, as Dan attempted to stifle another yawn.
"Speak for yourself," Dan noted, glancing at Chuck who looked like he hadn't slept at all.
"Oh contraire, I'm as fresh as a daisy, thanks to a little remedy…"
"If that's fresh as a daisy I'm not really sure you can call it a remedy," Dan shifted in his chair with a speculative look on his face.
"Care to try a sip?" Chuck smirked wickedly as he produced a silver flask from his pocket, holding it up as an offering to Dan. Dan could clearly smell the contents wafting from the flask. Serena, who had been whispering something to Blair, also caught a whiff, her head whipping to glare at Chuck.
"I can't believe you brought that to school Chuck!" she whispered heatedly, trying to keep her voice down as she lent over Dan to bat the flask away. Blair's back stiffened but she was determined to keep her resolve, whatever Chuck did was none of her concern. "You better put it away before Mistress Quelller comes around!"
"Relax sis, it's only a small bottle," Chuck laughed dryly, but he assuaged Serena's fears by quickly capping the flask and returning to the inner sanctums of his blazer pocket, for fear she would tip it's contents.
"Do you really think it's a good idea for you to be drinking?" Dan queried quietly, his concern something else entirely. After all it wasn't every day you saw someone in the state Chuck was in last night, at least not for Dan.
"You didn't seem to have a problem with drinking last night?" Chuck noted, recalling Dan's perusal of his wine. "Don't tell me the morning has brought back kill-joy Humphrey."
"After last night we should all be poster boys for abstinence," Dan pointed out wryly. "But you know that's not what I meant, I meant after-"
"I'm fine Humphrey!" Chuck growled and all the good humour had quickly fled his demeanour as he glared at Dan, daring him to say anything further, his eyes flicking to the brunette sitting stiffly at the end of the row.
"All right then…" Dan raised his hands lightly in a placating gesture, shrugging his shoulders as if it was no big deal. Nate thankfully chose that moment to approach them, sliding into the seat next to Chuck.
"I've given Rob the tape and CD, he's set it all up so we should be good to go," Nate said, not noticing the tension between the two boys.
"That's great!" Serena quickly interposed here with an enthusiastic exclamation, scrunching up her nose as she realised the exact implications of this. "Or is it…?"
"Well it's done now," Nate sighed, brushing his hand through his short blonde hair. "We should just sit back and enjoy the ride, that's what your always saying right Chuck." He grinned at his best friend, punching him lightly on the arm. Chuck returned the smile with a forced one of his own, tearing his eyes from Humphrey.
"Something like that," he drawled.
"Are you ready Blair?" Serena asked, turning to the brunette at the end of the row.
"Of course," Blair replied primly, settling her headband. "I'm always ready."
Nate glanced at her stiff posture, then at Chuck who was also concentrating on not looking her way and an understanding look passed between him and Dan, that of two people who could never possibly comprehend the kind of games these two played.
They didn't have much time to contemplate this further however, as Mistress Queller approached the podium now, tapping the microphone for silence. The hall had filled while the group was talking, Nate glanced behind him to see Penelope sitting directly behind him, along with Blair's other minions. He avoided her gaze, glancing behind her to ascertain that the whole school was in attendance, sitting on primly lined seats, some jostling each other, others whispering or slouching in their seats. Nate quickly turned his attention back to Queller as Penelope directed a sultry smile at him. Luckily he did for Queller began to speak.
"Good morning students," she began, Nate drifted a little after this, his eyes glazing as she continued on about the wonderful work the committee had done…If he and Chuck were among their peers in the back row, the seats they normally preferred for whole school assemblies such as this, Chuck would no doubt be rating all the girls from one to ten, based on their assets and causing Nate to snort most un-gentlemanly like at his friends impolite quips. As it was however Nate attempted to sit upright in his seat, staring over Mistress Queller's head with glazed eyes in a feeble effort to look like he was paying attention as Chuck played distractedly with something in his pocket beside him.
* * *
Blair sat upright and proper and perfect in her seat. But for once she wasn't listening to the person at the podium, she was trying so hard not to turn her head and glance past Serena and Humphrey tot that brunette sitting near the end of the row. She couldn't, because she knew is his dark gaze caught hers she would have to think about the end of last night and she really didn't want to think of that, on how she choked on those words, about how she had actually tried to say them, like some common desperate girl. Blair was not common and she was not desperate and she was determined she was not the one who was going to satisfy Chuck's vanity and stroke his ego with three words he gave no import to really. They were Blair's three words, Blair's right and Chuck owed them to her, not the other way around.
Even Queller's adulation at all the work the committee had done, helmed by Blair, only elicited a small smile from her. She just wished she could escape the close proximity with the Basshole, she would even trade the headmistresses smiles for that one blessing. Luckily Blair didn't have to wait long, as Queller finally sat down and the hall lights were dimmed to facilitate the projector screens use. There was a slight rumbling in the dimness, but then the tape played and Blair readied herself to witness their bad acting on the screen. What she saw was an entirely different show however…
"The four emotional phases of an alcoholic" Blair's voice sounded primly through the speakers as the title card showed and then it all went downhill from there.
"No, no, no, no," Blair was mouthing silently as she watched with stricken horror the scenes playing over the projector screen. There was no sound, the words were the ones they had planned and recorded, but the images…
"Phase one," Serena's girlish voice pronounced, "Learning the mood swing. A person is introduced to alcohol (in some cultures this can happen at a relatively young age), and the person enjoys the happy feeling it produces. At this stage there is no emotional cost. "
There they all were, in a circle, Blair included, drowning down tequila in unison and laughing. There was Chuck, in the limo, chugging down a glass of champagne while Nate and Serena laughed. There was Nate, toasting to the camera with a big cheesy grin on his face. Dan trying to fill his glass in the moving vehicle and almost spilling it all over Serena who giggled uproariously. And then Blair, smiling, a look in her eyes as Chuck poured her more champagne.
As these first few images flashed across the screen they all seemed frozen in the front row, watching it distantly. Then Blair was distantly aware of a slight disturbance coming from Dan's direction, no doubt Humphrey made to get up but Serena and Chuck quickly pulled him down into his seat, Chuck hissing something into his ear. Blair didn't hear what it was though, she was still in a state of frozen shock, her eyes glued to the projector screen.
"Phase two," Dan's voice sounded now, quiet and deep, "Seeking the mood swing. A person will drink to regain that feeling of euphoria experienced in phase one; the drinking will increase as more intoxication is required to achieve the same effect. Again at this stage, there are no significant consequences."
There was Dan and Serena attempting to dance wildly in the middle of the club. There was Chuck, walking along with the Karkov bottle in hand, taking a swig in the park. There was Blair, when they were playing I never, taking a sip from the same bottle in the limo and making an unattractive face at the taste. There was Serena, hanging half out of the window, trying to order burgers and smiling at the camera with a glass of champagne in her hand.
"The Third stage," Nate's voice now sounded. "At the third stage there are physical and social consequences, i.e., hangovers, family problems, work problems, etc. A person will continue to drink excessively, disregarding the problems."
There was a shot of people gyrating in the club, a big sweaty mess. There was the back of Serena and Dan, running flat out. There Humphrey was, choking on the tequila, while Blair helpfully slammed him on the back, taking obvious pleasure from putting in more force than required. There was Blair and Serena sticking out of the sun roof of the limo, Serena had practically yanked Blair out. There was Humphrey at the edge of the lake, looking like he was about to fall in. There was Chuck, Nate and Dan being led out of the club by the security guard's.
"The fourth stage can be detrimental," Blair's voice sounded again. "As Johnson cites it as a risk for premature death. As a person now drinks to feel normal, they block out the feelings of overwhelming guilt, remorse, anxiety, and shame they experience when sober."
There was the front of the bottle shop, looking even more foreboding and shady, Chuck and Serena's backs were visible as they walked towards it. There was Serena dancing with abandon while Dan tried not to step on her feet in the club. There was the inside of Chuck's suite, with glasses all over the table, Nate sitting on the couch with a glass in hand looking dopey. There was Blair, running into Serena and almost toppling them both over onto the pavement near Central Park. There was the club again, an unknown man walking towards the frame and saying something silently, angrily covering the camera lense with his hand. There was Chuck, lying on the couch of the Van der Bass suite, looking waisted, empty glasses and white powder on the table in front of him. There was Blair grabbing the wine bottle from Dan to fill her glass. There was Chuck again, stumbling in the bathroom towards the toilet bowl, looking pale, and the camera dropped just as he tilted forward, capturing his knees hitting the floor as he worshipped that porcelain god…
"If you know anyone who has an alcohol problem, or you yourself suspect you do, seek help before it's too late," Blair's voice sounded and the screen went black.
And then, in a hall filled with the teenagers of the Gossip Girl era, there was resounding and absolute silence…
* * *
**A/N: A nice long chapter there, I had to split it in two. Chuck and Blair drama coming up. Thanks to eckomoon and Where's Waldorf for reviewing last chapter. And to the rest of you (looks over her half moon glasses disapprovingly ; P jks). Come on, how about dropping me a line and reviewing if you're reading, just to let me know you're there : )? Perhaps tell me what you think is working and what isn't for the story? : ) Who knows, you, yes you could be the lucky 200****th**** reviewer and receive good luck through virtual space ; ). **
**Chapter Picture: There's two, google: 'School-Lies-blair-waldorf-648115' and '1-12-School-Lies-blair-and-chuck-7762934'.**
**A/N 2: The dialogue written as the voice over for the presentation is completely pilfered from Wikipedia article: 'Alcoholism'. I cited it in the very story through the characters but just thought I'd make it very clear it is not my words! **
**I'm pretty busy now, I have some family from overseas visiting plus helping my eldest brother pack for a holiday (I'm such a good sister ) ) so I'l update for two weeks.**
**I'm creating a pdf file with chapter pics and the story and an end list of chapter songs. When I eventually do finish this and post it all up on ffnet(which I have to because I have a whole plan written out and have practically written the ending) I shall edit the whole story properly pdf it with pictures and send it to any faithful reviewers who are interested in having a pdf copy : ). (Although I won't be offended if anyone isn't haha ; P). **
**Thanks a whole bunch to: eckomoon, Amy, , Melly, xoxo S, Lost-in-you and Susan for reviewing : D. You guys are the bomb : ). 3**
26. Golden Arches
_**Chapter XXV**_
**Golden Arches**
There was silence, in Blair's world at least, as she stared at the screen. It wasn't just abject horror about what had just played in front of the entire school that caused her to be so stunned. That was a numb feeling in the back of her mind. No, surprisingly her head was filled with the sight of Chuck, lying like that… She was used to Chuck's self-destructive ways, they all were. When he had a fight with Bart he often locked himself in his suite. Not to mention the hedonistic depths he went to when his birthday approached… He always emerged composed and the better for it. But Blair had never had to actually witness the depths he sunk to. Unlike Serena he kept his most destructive behaviour to himself and there had never been need for Nate, Serena or herself to gather around him and try and revive his spirit. But now it wasn't some abstract concept, she had seen the things he joked about on a large screen and there was the sinking feeling inside of her stomach that she couldn't quite distinguish.
Loud clapping coming from her right startled her out of these thoughts. She glanced to see that Chuck was bringing his hands together to create rousing applause. He clearly elbowed Nate beside him, who sporadically started clapping, his mouth still agape. Dan followed more slowly. Blair, coming to herself and pushing her worries aside, decided to focus on the problem at hand. She too brought her hands together in a more constrained way, concentrating on looking composed and proper, as if this was all part of the plan. Serena followed her friend after a few minutes, clapping in a stilted manner as she looked at Blair urgently, obviously desperate to say something but unable to as they all felt Mistress Queller's gaze on them. Blair turned _her_ gaze to the seats behind her, raising her eyebrows at her minions superiorly. They were all sitting there, mouths slightly agape, but at her frigid look they too enthusiastically joined the applause, and soon it spread like a tidal wave as people nudged each other and began clapping. Some recovered enough to cat call, murmuring to each other and grinning about what was obviously some kind of joke or prank. Chuck, smirking actually rose and turned to them, raising his hands as if he was a conductor calling for more applause, the cat calls increased, especially from the rows of seniors at the back.
"Yes, yes thank you Mr Bass I think that is quite enough," Mistress Queller said, springing into action now with a severe look at Chuck who took his seat with a nod and a smug smirk. "I said that's quite enough!" she called over the applause, taking her place at the podium and fixing them all with a steely glare. The applause died down at this look, she was the most intimidating principal they had. "I'd like to thank the committee again, for that _interesting_ presentation," with that she surveyed them all with an ice cold sweep of her eyes, Serena, Dan and Nate squirmed uncomfortably in their seats, Blair tried to meet her gaze with complete and utter innocence, ignoring the titters of people behind her. "That concludes our assembly for our alcohol and drug awareness week. You may all file quietly and orderly back to your normal classes. I said in an orderly and quiet fashion!" She called as the seniors immediately rose, barely waiting for their teachers signal and began filing out of the hall in an uproar of noise. Giving up on trying to keep the seniors in order Mistress Queller moved from the podium, her eyes set upon one goal, she stopped in front of the row of the wide eyed committee.
"I would like you all to stay back so we can discuss your presentation," she said through thin lips, sweeping her gaze over them once more. The reactions varied, from Blair's innocent wide doe eyes, to Serena's slightly panicked blue ones, to Dan trying so hard not to show expression his eye twitched slightly, to Chuck's arrogant smirk and Nate's still stunned face.
"Uh, Mistress Queller," Penelope's simpering voice drifted from the row behind Blair. Blair barely contained an annoyed sound at the back of her throat at Penelope's honey sweet tone. "We, that is to say Kat, Iz, Nelly and I had nothing to do with the presentation. We just did the posters and flyers."
Mistress Queller turned her gaze to the three girls. "Well then Petunia, you may leave," she finally said, obviously satisfied that the girl was telling the truth, she already had her main culprits before her anyway.
"Thanks," Penelope said, her voice less honey sweet. Blair heard the three girls rise to leave but she was determined not to look behind her to see Penelope's smug look. Penelope was unintentionally doing Blair a favour anyway, the less witness' to this the better.
"I just have to have a word with Mr. Fray and I'll be with you in a moment," Mistress Queller noted the five of them, frowning slightly as something caught her attention across the hall. She hurried off to reprimand a tenth grader, as soon as she was sufficiently out of earshot Serena exploded.
"We're so dead!" she exclaimed what she had obviously been thinking through the whole ordeal. "What was that?!" Blair turned to Nate now with demanding brown eyes, as did the rest of them.
"I don't know," Nate said agitatedly, "I put in the tape we made last night, the one labelled Mockumentary…"
"Maybe you got them mixed up?" Dan suggested.
"No, I didn't, it said it right there on the tape, Vanessa said…" here Nate trailed off, his eyes unfocused slightly as he thought about it.
"Ah," it escaped from both Chuck and Blair's lips as the mystery was solved in their minds, both reaching the conclusion simultaneously.
"Wait, you can't think…" Dan began urgently, looking at them all. Before he could develop a defence for his friend Queller returned to them.
"So, would you all like to accompany me to my office," she enquired, it was clear it was not a request. Chuck opened his mouth but Dan dug him with his elbow, reminding him with a deadly look that it was not only his school career on the line but all of theirs. Chuck rolled his eyes but kept his mouth shut as they rose and followed Queller's clicking heels to her office.
The students who were now filing the halls watched them as they passed.
"Nice going Bass," some people whispered, obviously attributing the display of last night on the big screen to Chuck.
"Hey Serena, want to try my Big Mac," a sleazy undefined person hissed as a disgusted Serena passed. Mistress Queller didn't hear, or she chose not to, her back ramrod straight in front of them as she continued to walk.
Queller held the door open for them to enter the reception area, "If you'd be so kind as to go into my office, I'll be with you shortly," she said primly. They filed in obediently, as she turned to say something to her secretary.
"What are we going to do?" Dan was the one to groan it now as they took seats in front of her desk, feeling like snakes were writhing in his stomach. He put his head in his hands and Serena gently patted him on the back. "Do you think Karkov can give you illusions? Because I am literally seeing Yale waving goodbye to me right now…"
"Yale isn't going anywhere, don't be stupid Humphrey," Blair hissed.
"Yeah, well then how exactly can we explain the M rated presentation we showed to the whole student body?" Dan demanded, turning to her.
"We…" Blair felt her words fail her here, for once she was mentally blank.
"Isn't it obvious Humphrey, I thought you would have learnt it by now. We uphold the three hallowed words, deny, deny, deny," Chuck drawled, interjecting here. He was slouched in his favourite seat, he had his flask out and was brazenly taking a sip of it, even the sanctity of the headmistresses office was nothing to him. "Just follow my lead and we will all be out of here in five minutes."
Blair opened her mouth, unsure of what she was about to say, when Queller's office door opened and the headmistress herself entered. Chuck quickly slipped his flask into his pocket before she could spot it, not bothering to turn around, as the four others followed her path to the chair behind her desk with their eyes. He settled himself in his seat, straightening his blazer as if preparing for a show.
Queller did some of her own preparation for battle, ensuring her hair was settled in its strict bun she turned her gaze upon the five of them. Silence hang for a few minutes as they looked back in tense anxiety.
"I haven't had many occasions to call some of you to my office," she began, her tones controlled and neutral, she glanced at both Dan and Blair. Dan began nervously tapping his hand against his chair, perturbing Chuck, but he could do little about it as Dan sat three seats from him. "And some of you I have seen a bit too often for more serious misdemeanours," her gaze then swept over Serena and Chuck, bypassing the ever neutral Nate. "Now I don't know if this is a collective, or certain people's idea of a joke, but…"
"I think I speak for all of us when I say I'm not exactly sure I understand what you mean miss?" Chuck determined that this was the perfect time to intervene, before she began her lecture in earnest.
"Do you consider yourself the spokesperson for this little prank then, Mr Bass?" Queller turned her cool gaze on Chuck, who barely batted an eyelash at her interrogation.
"Prank? I don't know what you mean Mistress Queller?" Blair spoke up now, with wide eyes and just the right inflection of innocence and concern. Chuck held back a grin as he glanced at her, reminding himself sternly of last night.
"Miss Waldorf, I can hardly believe that you thought that display of underage drinking and highjinx-," Chuck had to bite back a snort at the use of this word. What age was Queller living in? She paused and glanced at him, as if she could tell he was amused, but didn't comment further as he kept his face as straight as he was capable of doing. She continued with thinner lips, turning her eyes back to Blair."-was appropriate to show to the whole student body. I do however, think you are an innocent party in this matter, and Mr Humphrey and maybe Mr Archibald too. Perhaps you feel the need to cover for whomever is responsible, but-"
"Miss Queller, haven't you heard of art imitating life?" Chuck interposed here again, interrupting with an easy drawl. He felt Nate shift in his seat uncomfortably, obviously feeling nervous every time his friend opened his mouth, for fear of what would come out of it. But Chuck was well aware of the situation, though he pretended to be blasé. He certainly did not want to have Bart rung at whatever resort he was staying with in the Bahamas to be told of Chuck's indiscretions. His threat about military school might actually become all too real. So he spoke with respect, trying to keep his mocking tone to the upmost minimum. "The whole _point_ of a mockumentary is to make it _look _like a documentary."
"Mr Bass, are you suggesting that all of that footage was composed of mere acting, from all of you?" she looked at him straight in the eye and Chuck met her gaze.
"Are _you_ suggesting we taped ourselves during a night of excessive illegal underage drinking and…'highjinx'," he couldn't resist repeating the word and as soon as it left his mouth Dan started coughing, either choking on a laugh or a squeak of terror he was unsure. He paused for it to subside, Serena patting her boyfriend on the back, and then continued. "And on top of that thought it would be a good idea to present it to the whole student body, not only garnering your displeasure but risking our whole futures in the process?"
"I am suggesting that _some_ of your group may have found it amusing, Mr Bass," Queller countered with, and Chuck could tell this wasn't going to be as easy as a few riddled words and a bit of charm. Blair could obviously discern this too, for he felt her eyes upon him. The weight of all of her dreams were determined by her keeping up a perfect record. She'd spoken about it with Chuck on occasion, during the small period of newness, when even though she was determined to keep him at arms length and insisted it was nothing, she still couldn't help baring some of her soul. Unlike Chuck, Blair had plans, she cared…. His throat suddenly felt very dry, and he shifted in his seat, as he felt the stares of everyone in the room, his mouth opening of his own accord…
The door burst open and all their heads turned to stare as Mr Pieser rushed in, looking flushed, his glasses crooked and his hair ruffled and out of place.
"Mistress Queller sorry I'm late I-" he trailed off, his cheeks burning as he noticed there were students present. He quickly straightened his glasses and ran his hand through his grey hair, trying to look more composed he closed the door. "My apologies," he tried again, looking at Queller and ignoring the rest of them.
"That's all right Albert," Queller replied, sniffing with slight disapproval.. "I've called you here to discuss the presentation you were in charge of for drug and alcohol week. I wonder if you had a chance to approve the presentation before it was made?"
"Of course Mistress Queller, I read the script provided to me by Miss Waldorf and I thought it was quite good," Pieser replied, his eyes narrowed slightly as he tried to discern what was happening.
"And this script, did it involve the presentation of lewd behaviour and the breaking of the law Mr Pieser?" Queller interrogated.
Chuck slight amusement at Pieser's dishelved appearance deflated. As soon as it was revealed the finished product they provided resembled nothing of the script approved by the faculty they would be in trouble, regardless if Queller could prove the things shown on film were real or merely acting. Chuck glanced up at the man with loathing, waiting for him to destroy them all, and then he noticed that despite Pieser's best efforts he still had a slight stain of pink lipstick on the edge of his collar, a very familiar shade of pink and at the sight of it Chuck's smirk reappeared on his face. He felt the others eyes on him as he spoke up before Pieser could get a single syllable out, but he ignored them.
"Mr Pieser actually saw the presentation yesterday, I personally sent him a copy."
"Is this true?" Queller demanded.
"I have no idea what Mr Bass is referring to," Pieser began indignantly, straightening his glasses with agitation.
"I did send it to you, via Vivi-I mean _Ms Reeves,_" Chuck drawled, glancing up at Pieser now with lazy indifference. "She assured me she would pass it on to you. I can't imagine why she wouldn't, unless when she said you two were conducting extra classes here together on Sunday she actual-"
"Mr Bass," Queller snapped. "Continue further on that disrespectful and defamatory vein and _you'll _be spending Sunday here for _detention_!"
"I certainly didn't mean anything by it, my apologies Mistress Queller," Chuck replied cordially as he glanced at her, satisfied by Pieser's wide eyes upon him and rather pale face that he'd achieved what he wanted to. Pieser now knew Chuck was very aware of what was happening between him and Ms Reeves, now all Chuck had to do was to continue to play with him.
"Yes, well, Albert if you could continue…"
"Oh, before you do Mr Pieser, I think you have a little something on your collar?" Chuck indicated the spot on Pieser's collar with a knowing smirk, turned paler as he glanced down and realised he had a lipstick stain. He quickly tried to scrub it off with his fingers, muttering something about strawberries for lunch, while Chuck watched on amused. "And here I thought teachers had to uphold a certain standard while on campus, a code of conduct as it were. Tell me Mistress Queller what does it take for you to expel a faculty member? I shudder to think what a reputation Constance and St Judes could get from teacher's walking around with stains, all over campus, for everyone to just snap pictures of and send straight to Gossip Girl."
That last part he borrowed from Blair's less direct approach, while Chuck's threats were usually more obvious and less guarded, Blair had always had a way to deal with faculty, and it appeared to be working. He knew he had Pieser now, the man was looking at him as if he wanted to throttle him, fully understanding Chuck's implications. Chuck had no proof of his little trist with Ms Reeves, but Pieser was not to know that. Faculty members weren't banned from having relationships, but Chuck was certain they were banned from engaging in inappropriate conduct on the school grounds, and he was quite certain Pieser had just come from such inappropriate conduct, which had possibly occurred in his very classroom, no doubt on multiple occasions.
"I appreciate your concern for the reputation of this school Mr Bass, but may I remind you I am the Headmistress, and the conduct of faculty is my business, and mine alone." Queller said primly, narrowing her eyes at him.
"Understood," Chuck held up his hands in surrender. "Well at least Mr Pieser I could give you the number of a superb dry cleaner to get that stain out for you, that is if I'm not being suspended?"
"That still remains to be seen Mr Bass," Queller retorted, trying to regain control of the situation. "Now Albert I would appreciate if you could tell me if you approved the students finished product or not?"
Chuck turned his head to regard Pieser, maintaining a confident arrogant air. He could tell the others beside him were holding their breath, Blair was silent, no doubt she knew he was playing an angle and she let him play out his course, for want of anything better. Nate, Serena and Dan were probably struck dumb from fear. They all watched Pieser, waiting to hear their verdict. Chuck casually took his phone out of his pocket, glancing down at the time on it then looking up at Pieser with raised eyebrows, hoping his message was clear.
"I did," Pieser answered as he looked at Chuck, his voice strained and thin.
"And you thought it was completely appropriate?" Queller raised her eyebrow speculatively.
"I thought it conveyed the message you were looking for…" Pieser blusted, tearing his eyes from Chuck to regard the headmistress. "It was within the parameters of your instructions.
"And you can verify that everything on that tape was mere acting?" Queller demanded.
"Of course," Pieser said, blindly, Chuck could tell he was probably wondering what on earth he was agreeing to, he was sweating slightly and he fiddled with his glasses, but he couldn't' retreat now.
"Mistress Queller, with all due respect, we would never have presented it if we thought it was in any way inappropriate," Blair spoke up now as Mistress Queller's lips thinned considerably in anger. "When our own teacher thought it was fine, how could we possibly have thought otherwise? I hope that you can forgive our lack of foresight, and appreciate that we were just trying to present a message in the way our peers could really appreciate. "
Her tone was honey sweet and placating, her eyes wide and innocent and touched with concern. Queller glanced at her star pupil and deflated somewhat, Chuck could tell the battle was over, and they had won.
"Perhaps you are right Miss Waldorf, mistakes are want to happen without the proper guidance," she shot a frosty look Pieser's way. "But I hope I don't have cause to call any of you back to my office for the rest of the school year for any further _mistakes_," she turned her piercing gaze on each one of them in turn, resting slightly longer on Chuck, he merely responded with an unaffected smirk. Sighing softly she eventually turned her gaze form him. "You may return to your classes now."
Five of them quickly rose, almost in synchronisation, eager to leave. Mr Pieser turned to open the door in front of them.
"Albert, if I could have a word with you before you go." Queller's voice sounded. Mr Pieser, who had just opened the door and stepped out, was forced to hold it open for the rest of them to file out before he could re-enter the office. They all tried to hide their grins as they walked past him, beside Chuck who did nothing to hide his triumphant smirk.
* * *
They paused in the hallway outside the main office door as it swung shut behind them. They all looked at each other, in different stages of shock.
"So, I'm not sure if I'm dreaming here, but can someone please explain how we are not getting expelled, suspended or even a detention?" Dan finally said with a hoarse voice.
"How did you do that man?" Nate asked, looking at Chuck.
"Leverage," Chuck shrugged.
"But what kind of leverage?" Serena asked, her brows furrowed as she tried to mentally review what had happened in the office. "Why was he so upset by the fact he had a stain on his collar?"
"Sis, really? I thought even you would have noticed what it was." Chuck drawled superiorly.
"Well, I have no idea so care to enlighten us…?" Dan queried.
"It was lipstick," Blair noted. "Chanel, a number 52 I think."
"True Waldorf, one I've become quite familiar with…" Chuck noted, turning his dark gaze on Blair. Now the trouble had passed he was reminded once more of what she had said to him last night, and his resentment arose afresh.
"I never wore that," Blair quickly responded.
"No, but Ms Reeve does and she just loved to leave it smudged all along my neck," Chuck couldn't help the barb, knowing it hurt though Blair was careful not to show any signs of it.
"How delightful," Serena responded dryly, trying to dispel the tension.
"Oh, she was a superb kisser," he replied to Serena without ever taking his eyes off Blair. "Of course in my experience nobody can really compare to a French woman when it comes to kissing, then again maybe I've just been kissing the wrong type of school girls." It was a low barb, he knew it was, but she had shoved a knife into a heart he hadn't even known he had and twisted ,and it had left him in no mood to be kind.
Blair looked at him, face unreadable, maintaining a cool mask, a mask she placed on when she was desperately trying to sustain control over her volatile emotions.
"I'm sure she'll love to hold your hair back while you puke in the toilet," she returned his barb with one of her own. "Maybe she can even hose you down before Bart gets home, get that smell of scotch and sleaze off you, then again I suppose even French women can't work miracles."
Chuck stepped forward, sneering, about to open his mouth to respond with a verbal lashing, but he was interrupted by the office door opening. They all jumped, looking with wide eyed fear, it was not Mistress Queller whose head appeared from behind the door but the receptionist. She regarded them from behind thick glasses with raised eyebrows.
"I thought Mistress Queller told you all to get to class," she noted in a nasal voice, "Not stand out here and chat. Unless you have a problem you'd like to discuss further with Mistress Queller?"
"No, no, we were just on our way to class," Dan was the one to interpose here. "Just heading there right now in actual fact." He smiled widely and very falsely. "Weren't we guys?"
"Yeah, sure," Serena and Nate both responded with exuberant agreement, nodding their heads, while Chuck and Blair just continued to glare at each other, completely ignoring everything else.
"Well then, get going!"
"C'mon man," Nate murmured, gently putting his hand on Chuck's arm. Chuck shook him off with annoyance.
"I can find my own way to class Nathaniel!"
"We better get going," Serena proclaimed loudly as she saw Blair open her mouth to say something biting, "C'mon B, we have Media," she invented wildly.
"No we don't, I have Literature," Blair said, distracted sufficiently in correcting Serena she tore her eyes from Chuck.
"Oh yeah, well we've got that too," Serena said, gripping Blair's hand with raised eyebrows and tugging her in the direction of the girl's corridors, all too aware of the receptionists disapproving gaze upon them.
"One moment young lady," the receptionist said as she regarded Serena with a raised eyebrow. "How high is that skirt of yours?"
"My skirt?" Serena responded with blankly.
"Yes… Miss Van der Woodsen if you can follow me, perhaps we can review the schools code of dress… I don't recall saying this was a group conversation, off you go, the rest of you,," she glared at the rest of them, who were standing stunned, not moving.
Dan hesitated, but at Serena's pointed look at her best friend who was clearly prepared to continue her verbal exchange, he hesitantly touched Blair's arm.
"Come on, we've got to get to class," he murmured.
"Hands off Humphrey," Blair snapped, pulling away from him, turning on her heel with indignation after shooting one last venomous look at Chuck she headed for double doors at the other end of the corridor. Dan blinked, then turned back to look at Serena, who had glanced behind her at Blair's outburst as she was following the receptionist into the office. 'Follow her, please,' she mouthed to him with a begging look. She of all people knew how serious it could be if you left Blair alone while she was down. After a second's hesitation, Dan sighed and nodded resignedly turning to follow after Blair.
* * *
"Blair wait up," he huffed as he got through the doors and saw she was half way down the corridor, he jogged to reach her, hoping no teachers were looking out the classroom door windows. "Chuck was-"
"Don't talk to me about Chuck!" Blair snarled turning on her heel. She was in a rage, barely noticing it was Dan she was talking to, her whole thoughts consumed by Chuck. "He is a disgusting, annoying, stupid, filthy, piggish Basshole!"
"Maybe you should ease up a bit on him…" Dan managed to pluck up the courage to say quietly a few seconds after her the brunette's vehement outburst. He was expecting for her to tear his head off, but instead she paused with surprise at his words. In what world did Dan Humphrey stand up for Chuck Bass?
"Ease up on _him_?!" she managed to recover from the rare phenomenon enough to hiss disdainfully.
"I know, but…he was pretty wasted last night…"
"When is he not?!" Blair snorted disparagingly.
"I mean…it was pretty serious…" Dan trailed off here, hesitating. He felt trepidation at mentioning this to Blair, knowing Chuck would hate him for it if he ever found out. But what he'd seen last night had worried him. Serena had tried to brush it off carelessly as Chuck just being Chuck, but Dan wasn't so sure. After seeing that tape in the light of the day, hearing those words and then remembering Chuck's behaviour last night, and then this morning… He probably never would have mentioned it, but for the fact he felt like he owed Chuck something…maybe he even found the other boy almost amusing, though he would never admit it. He felt Blair watching him now, her anger dissipating to be replaced with something else.
"What happened to him last night?" she demanded.
"I'm just…it was nothing really…" Dan began, feeling apprehensive and immediately regretting mentioning anything.
"Tell me what happened last night Humphrey!" Blair hissed, grabbing Dan's arm, allowing him no opportunity to escape. "Now, cabbage patch!"
"Fine, fine," Dan relented, rescuing his arms from her with an effort. "He just…well we, Serena and I went up to the suite and he was…he was on the couch…and there were lots of bottles and pills and stuff…and well you saw the tape right?" Dan rubbed the back of his neck anxiously, avoiding Blair's gaze. "It looked a lot like that…exactly like that in actual fact…"
"That's just Chuck being Chuck," Blair dismissed, pushing aside her own misgivings and trying to force herself to feel relief.
"Yeah, that's what Serena said too…but I don't know, it seemed kind of more serious than that…" Dan mumbled, examining his shoes and feeling extremely awkward.
"What do you mean?"
"I mean…well were you watching the tape…I mean really watching it…all that stuff about…He was just drinking his flask this morning and I thought it was a bit weird, you know…"
"You thought him drinking out of his flask was weird?" Blair repeated, raising her eyebrow derisively.
"Yes…I mean no…I mean, he drank way more than the rest of us and he doesn't even seem to take a break…He looked like he was about to go into a coma last night, and he didn't seem to even care…I don't know, I don't know him as well as you guys do…but doesn't that seem kind of strange to you…?"
He glanced up at this, expecting a snort and a cutting remark, but Blair was no longer looking at him with that frightening intensity, she appeared lost in her own thought. "Blair?" he asked tentatively.
"What?!" she snapped, coming to herself again and glaring at him. "Congratulations you made observations a five year old could. And you're right, you don't know Chuck as well as we do!"
"Is that it?" Dan asked blankly, he knew Blair could be selfish, but she thought at least she would take his concerns into consideration.
"What else do you want Humphrey?! I know you own a doll, but that doesn't mean it's any less creepy you trying to extend a dead conversation in order to hang around the girls corridor. Now scat!"
Dan, stunned by her sudden change in mood, stood there watching helplessly as she turned without a second thought for him and walked away. It was only until he heard a door slam that he recalled where he was and quickly headed for the double doors and back to hopefully sanity, or at least neutral country.
* * *
As soon as the bell rang Nate turned to Chuck, who had been sitting beside him for two periods with nary a word. Chuck quickly rose at the first note of the bell, grabbing his books. Nate opened his mouth, watching him with worried eyes, but he was distracted from following as one of his team mates grabbed his arm, asking him about when practice was scheduled. When Nate finally managed to brush off the jock and escape the classroom, Chuck was nowhere in the corridor. Sighing Nate headed for the courtyard in the hopes he might find his friend there.
The sunlight was piercing, some of his fellow lacrosse players called over to him from one of the corners of the corridor, inviting him to sit with them. Nate gave them a friendly wave but he continued walking, heading for the steps. He knew Chuck's favourite place, perched on the wall outside the gate, away from teacher's prying eyes. Surprisingly Blair's clique were not sitting on their usual spot on the steps, occasionally they liked to hold court elsewhere, to ensure the masses remembered who was running the school, and Nate supposed this was one of those days. Once he reached the bottom of the stairs he made a quick scan of the area before he discreetly stepped out of the school gates. Seniors were allowed off campus during breaks, but usually not during recess without permission, because of the likelihood that most students would just end up being tardy for the period after. That permission certainly was not given to smoke and drink in front of the school gates.
Unfortunately Chuck was not willing to be easy today, he was not in his familiar place of choice, resting against the school wall with a flask or a roach if a beverage was unavailable. Nate sighed, his shoulders dropping somewhat as he stepped back into the school. He was barely over the threshold when a girl stumbled into him, the large folio she was carrying dropping and her papers flying in all directions.
"Oh my gosh, I am so sorry," Jenny exclaimed, quickly bending down to pick up the pages without looking at him.
"It's okay," Nate said, bending down alongside her to assist. "I wasn't looking where I was going."
"Nate!" Jenny exclaimed, looking up with surprise at the older boy, as if she hadn't even noticed it was he she had run into.
Nate straightened once the last paper was retrieved with their combined efforts. He glanced at the page on top of the pile, there was a painting on it of a limp hand holding a rose with falling petals. "Did you draw these?" Nate asked, interrupting whatever she was about to say.
"Uh…yeah…" Jenny replied, blushing and playing at being extremely humble. "I wa-"
"Nate, Jenny hey," a voice interrupted them. Nate glanced behind him, completely forgetting about Jenny as he spotted Vanessa heading towards them from the street, smiling tentatively. Her smile dropped somewhat as she noticed the stiffening of his jaw and the hardening of his eyes but she squared her shoulders, attempting to face the worst, presumably from the almost argument they had last night. Nate stayed silent as Vanessa reached him, handing Jenny back her pages without even looking at her.
"I was just on my break and I thought I'd come down and see how the presentation went," Vanessa said, trying to maintain an upbeat air.
"Is that supposed to be some kind of joke?" Nate demanded, raising his eyebrows at her gall.
"Was it that bad?" Vanessa tried to be sympathetic and brushing aside his tone as remaining annoyance from last night. "I'm sure it can't have been as terrible as you think, no one seems to be laughing at _you_, at least, so there's that…" she reached out to take his hand lightly in her own but he stepped back from her as if she was diseased. Vanessa was all too aware of Jenny's wide eyes as she watched them, and a few other eyes from students who had noticed Nate's somewhat hostile attitude.
"I don't know how you could even talk to me right now Vanessa!" Nate snapped, not bothering to keep his voice low in his anger, so that everyone in the nearby vicinity had a clear idea about what was going on. "After what you did!"
"What I did?" Vanessa said, her mouth thin now as her pride took over. She crossed her arms, narrowing her eyes at Nate. Clearly, even though he was sober now, he had developed some complex against her giving Chuck and Blair a taste of their own medicine. "Please explain to me how what I did was so bad?"
"Maybe you don't care about the others, but you could have gotten me and Dan into serious trouble!"
"Trouble? How could it have possibly gotten you two into trouble?!" Vanessa snapped, extremely irate now. She knew Nate was under Chuck and Blair's thumb, but at least he always seemed to hold his own, in some shape or form, as an equal of sorts. This was just becoming ridiculous, he was speaking as if they were the mafia. "I'm sorry if you can't handle a bit of conflict, but I fail to see how that is my fault!"
"How it is…?" Nate blustered, almost lost for words. "Because of your little stunt I could have been expelled! Maybe you don't care about the institution of school, but my parents actually expect me to get into a decent college!"
"What are you talking about?!" Vanessa demanded, her anger rising at Nate's words but she definitely thought there was something she was missing. She was quite certain that neither Chuck nor Blair had the power to have Nate expelled in a single morning, nor the motivation to do so because of something Vanessa had done.
"You know what I'm talking about!" Nate scoffed, annoyed at her sudden turn around to denial. "That little presentation this morning… I thought we could trust you and instead you plaster us at our most vulnerable all over the school!"
Vanessa's eyes widened and her body language softened slightly as she realised what must have happened. "But that, that can't be possible. I gave Jenny the right tape, I told her which one to give you, I wrote on it myself!" Vanessa glanced at Jenny with wide eyes.
"Nate…maybe they got mixed up or something…by accident…" Jenny said, her voice awfully quiet as she studiously avoided Vanessa's gaze. "Maybe…"
"No, there's no way they could have been," Nate said, shaking his head. "It had the label on it and everything, the one I saw Vanessa write."
"Maybe the labels got switched around somehow…" Vanessa said, knowing it was foolish even as she said it but unable to think of any other explanation. "Mixed up…?"
"Yeah, sure, mixed up! That's why it was so perfectly edited!?" Nate replied with, a note of bitterness in his voice as he regarded Vanessa.
"Edited?" Vanessa repeated and she looked at Jenny now, seeing her with newer eyes as the other girl still avoided her gaze, her blue eyes firmly planted upon Nate.
"Yeah, I guess you've learnt our language now, huh Vanessa?"
"And you're just so ready to believe I would do something like that?!" Vanessa demanded, her anger growing at Nate's immediate attack. Had he even contemplated another explanation, he hadn't even bothered to ask her any questions before he went on the offensive.
"To 'these people', my friends and me, why not? You've made it abundantly clear you're too good for us. But you won't have to worry about slumming it anymore, at least not with me…" With those bitter words Nate turned, walking away from Vanessa without a backward glance, with each step the anger seemed to seep out of him and regret took its place. But it was pride that kept him from walking and not turning back and it was Vanessa's pride which kept her rooted to the spot, arms crossed as she watched Nate Archibald walk away and little Jenny Humphrey from Brooklyn follow.
* * *
"Nate, Nate, wait," Jenny called, struggling to run after him and keep her portfolio together. She finally managed to catch up to his long stride and grab onto Nate's jacket sleeve as the older boy didn't seem to hear her. He paused at her touch however, turning and clearly agitated but he was too polite to avoid such directness.
"I'm really sorry," Jenny blurted out as he looked at her with those blue eyes, one hand brushing through his hair, unconsciously ruffling it. She hadn't meant to be there when Nate and Vanessa had words, she'd only meant to run into Nate after the fiasco and sympathise with him, but then Vanessa had turned up and Jenny had felt rooted to the spot. It had been embarrassing and terrible and Jenny had felt regret for doing it as soon as the first few words were exchanged between the bitter Nate and the clueless Vanessa. Although she had repeatedly convinced herself last night that this was for the best, as she watched Vanessa wilt she couldn't help thinking about all of the times Vanessa had taken her to see a movie, or allowed her to test make up on her when she was a kid. And Nate had seemed more upset then she had thought, though he was angry he was clearly hurting as well. She had tried to intercede, she really had, but it was hard to, to intervene in front of all those people and steer the conversation to more amicable territory. Her words had been used against her, as ammunition in the war, just like with her parents.
But now Jenny was alone with Nate in the hallway, she could admit to everything, assuage her guilt. He would be angry at her, yes, he probably wouldn't speak to her for a while…. But there was Vanessa to consider, she was like a sister to Jenny, she deserved better... Jenny opened her mouth, trying to steel herself to say it.
"You don't have anything to be sorry about Jenny," Nate said firmly before she could speak. "This wasn't your fault…I guess most people are just not who you think they are… "
Jenny looked up at his face, there was a bitter curve to his lips, his blue eyes regarded her sadly. If she confessed they would never look at her the same way again, with such openness and trust. He would never speak to her again, like this, as if she was his equal. If she admitted things she knew she would always be pathetic desperate Little J to the great unreachable Nathaniel Archibald.
"I guess they aren't…" she finally echoed hoarsely.
* * *
**Well, well, well, what an interesting day. We were treated to the sight of tears, tantrums and cat fights, as every girl was madly on their phones urging their maids to fight to the death for the best dresses, Gladiator style. Not only that, but the entire student body was also privy to a very risqué video at assembly from the Fabulous Four and Lonely Boy. And to top that all off Nathaniel Archibald, UES golden boy, was spotted having a very public breakup with Vanessa Abrams from Brooklyn…like that came as a surprise to anyone! Don't be too sad V, Chuck might let you still come to his party as Cinderella…before she got a fairy godmother of course.**
**Now to the major topic at hand, who is going to be Queen for the night? Word is that the current Queen B was not seen once on the phone with her maid and has shown no indication she is preparing in any shape or form for the Royal extravaganza. Perhaps the evident tension between her and C has given her the mean reds. Better watch out B, or while you're busy singing Moon River up in your tower, someone might snatch that pretty crown right from your head. It might even be me…**
**xoxo GG**
* * *
"In your deluded dreams you little bi-" Blair began to snap, glaring angrily at her phone.
"What are you saying Mees Blair?" Dorota's stern voice floated from downstairs and Blair quickly bit her tongue before the rest of her sentence could be finished.
"Nothing Dorota," she called innocently down at the maid who was dusting a vase in the foyer with her back to Blair. Quickly turning she made her way up the rest of the stairs and to the sanctity of her bedroom, where she could perhaps do some therapeutic swearing into her pillow.
Today had certainly not been a good day for Blair. After talking to Dan, she'd looked for Chuck all day, all thoughts that she didn't care chased from her mind. Chuck, despite popular belief, didn't use to that extent often unless he was severely upset by something. His birthday and his mother's birthday were usually reserved for that kind of extreme self-medication, as he had called it once when he drunk dialled her in a stupor. For him to do that last night, in a weird perverse way Blair didn't want to really examine, showed he really did care about her. But it also meant that she couldn't help thinking about what Humphrey had said…couldn't help noticing the posters up all over the school urging people to seek help, the flyers shoved into her hand listing the signs of someone with a problem. Which was why she had to find Chuck, to ascertain he was the same boy she had known all these years, that nothing had changed, that there was absolutely nothing wrong with him, nothing they had all missed by brushing it aside as merely a 'Chuck Bass thing'... She at least had to know he wasn't about to collapse on them all.
Chuck had done a vanishing act however, she couldn't find him anywhere, searching practically the whole of the school besides the senior male toilets. She had considered risking it by searching them, but she knew her reputation would never out last such a scandal, and besides they were locked. Blair had raced for the door as soon as the last bell had rung, determined to at least corner Chuck before he left the school grounds, but by the time she reached the gates she saw him strolling towards his limo.
"Chuck," she called out, she saw his shoulders stiffen ever so slightly, but he ignored her, not even bothering to glance back as he slipped into his limo and it smoothly pulled away from the curb.
On top of her worries about Chuck, she'd had to withstand every girl on campus talking about the party tonight, about the dresses they had managed to score, and speculating about who was going to be the Queen in hushed tones as they stole curious glances her way. Blair had ignored them all, thinking she could worry about that after she had spoken with Chuck. But when she had seen him completely ignore her, entering his limo without even a glance her way, and not only that but her minions had seen, she resolved that she wouldn't bother with Chuck Bass, his problems or his pathetic party. Holding her head up high she'd stalked away cooly to her own town car as if nothing had happened. Chuck no doubt had hired a much older woman to stand as his Queen, or seduced some bimbo French model, and he was welcome to have her. Blair was above silly high school parties anyway, besides she had Lilly's number and a flyer to send her. She wondered how epic Chuck's party would be considered when it was broken up by his parents before it had even begun, like a pathetic virgin eighth graders. Chuck Bass would be the laughing stock of the school, and Blair Waldorf would remain untouched, undisputed Queen with no need for any stupid, selfish boy beside her.
Blair reached her room, she would require her computer to send the invitation to Lily, the file was in the wrong format for her phone, she couldn't wait for the days when technology no longer had frustrating time consuming limits. She carefully closed the door behind her and locked it, to ensure Dorota didn't meddle, turning to her bed where she'd left her laptop this morning. It was different however, the bed was made of course courtesy of Dorota, but lying on top of her quilt where her laptop had been was a garment bag, evidently holding a full length dress.
It was her mother, no doubt, Blair was sure of it. Eleanor often gave her some of her dresses to wear, using her daughter as her own personal advertisement billboard to garner fellow teenagers interest. But despite telling herself this Blair's satchel seemed to fall from her hands, spilling her books and papers on the floor. She didn't even notice, quickly rushing towards the garment bag as if she was excited, as if it was not her mother's typical design, though that would be ridiculous of course…
Blair touched the silver zip and it opened smoothly, revealing the contents within. She stared down at the dress in shock. She'd worn many beautiful dresses in her time, but this…this was red satin and black lace and encrusted jewels and elegance… And beside the garment bag Blair noticed now a large jewellery box sat on her satin cover. She quickly picked it up, opening it without hesitation already confident of what would be inside. There it sat, a beautiful tiara…completing the outfit fit for a Queen.
So Chuck had chosen her, she thought as she fiddled with the jewel encrusted piece of art. Not that there had been any doubt in her mind, of course. The only question now was, would she accept… Wouldn't it be like conceding to him? Of course, she reasoned, being Queen at the party had nothing to do with Chuck, she was the Queen of the UES and this was her kingdom, not his, he'd never cared enough to really rule. Being the Queen at the party was just that, being Queen, and if Chuck was dressed as a King…well they could be two monarchs, nothing more… She needn't even speak to him…
Without realising it Blair found herself placing the tiara upon her head, where it sat snugly, as if made to fit her. She moved towards the mirror, wondering what she looked like. She barely took a few steps towards it when she slipped on a piece of paper that had fallen from her satchel. She just managed to maintain her balance by windmilling her arms ridiculously, somewhat destroying the illusion she had in her mind of her elegance. Annoyed she quickly snatched the piece of paper from the ground, it was one of her stupid minions pamphlets which she was prepared to immediately ball up and throw in the garbage. Her eyes paused however when she caught sight of the title.
'How to tell if you, or someone you love is an alcoholic.'
Blair should have thrown it out then and there, but her thoughts drifted to Dan's words in that empty hall, and to the footage of Chuck lying on the couch surrounded by bottles...And so she continued to read. Perhaps being Queen wasn't the only important thing she had to establish tonight…
* * *
_A/N: I know Ms Reeves calls Mr Pieser Louis, just goes to show how much she really knows him ; P. Next chapter, time to party like a royal!_
_**Thank you to everyone who read and reviewed, I appreciate it. It takes me a few hours to write these chapters, but it only takes you a few seconds to review, so please do if you're reading the story ; ). **_
_Was Blair a bit AU in this chapter with her concern for Chuck? Please share._
_I haven't been able to edit this, I'll have to do it tomorrow so please ignore any glaring mistakes. _
_A/N: So I watched the season finale, I saved five episodes up so I could watch them all in one go. Gossip Girl is over, it's really over :'(. It's a bitter sweet ending. I loved the show, but I couldn't stand what the writers were doing to it, they apparently didn't care one jot for characterisation, or progression or the semblance of realism in the world they created… But enough witching. _
_It's over now and I'm going to miss it : (. The characters are the same age as me (I think) and though I did not marry, divorce or kill anyone over these six years, I have grown with them in a way. It made me fall in love with New York, with opulence and scheming and clothes and limos and headbands. I'm glad Blair and Chuck ended up together (freaky I always said if I have a boy I'm calling it Henry…) (Although their clothes were beautiful I wish the show hadn't wasted the extravagant wedding on Louis and Blair, it was such a waste it should have been Chuck and Blair's wedding, sigh...) I'm glad about SeDan, it felt natural and made me fall in love with that song now, and I'm glad Nate ended up being independent. I wish Lily hadn't ended up with William, he too was a jerk to her. _
_In hindsight I mostly wish they hadn't revealed Gossip Girl, I wish she always remained a mystery, they should have all come to the realisation that the blog didn't matter anymore, realise they were grown up. Or she should have shut down. There were too many plot holes with it being Dan, if they did want to reveal it and didn't know who it was from the beginning they should have had it as a fringe character who was always there but not directly affected by GG, like Nelly Yuki or something, I would even believe Jenny…But that's just my opinion. (Although now I'm afraid that when I watch old episodes I'm going to start thinking of GG in Dan's voice lol…: S)_
_Anyway, in my GG world Dan is not GG. Bart is not the sociopath he was made to be in the show, I'm working with the season one/two Bart, a cold distant father, but not an ice hearted Machiavellian villain, just a man. _
_I hope to still finish this, even though GG is over now, because I already have the whole plot planned out. I hope you guys continue to read, even after that huge A/N ; ). _
27. City Lights
A/N
Hi guys. Hope you had a Happy New Year!
Thanks a lot for those who have reviewed the last chapter. I'm working on the party chapter but still have to finish it.
Anyway in the mean time I was playing around with coding in notepad and I created a short sample of a choose your own story, Gossip Girl style.
Is anyone interested in trying it out?
If you are, PM your e-mail address to me and I can send you the file, it will only run on windows.
I will only use the email you give me to send the file with brief instructions on how to use it and I will delete your e-mail immediately after.
Anyway, hopefully I'll be posting soon : ).
IdleWit
End file.
| fanfiction |
Mass Effect 1. Downfall - Prologue: Knowledge
**And so it begins: the sequel to _Mass Effect: Salvation_! This has been in the works since February, and will be substantially longer and more complex than its predecessor. The start roughly follows the Bioware version of events between ME1 and ME2, but will diverge wildly in an original direction from Act 2 onwards.
**
**Inspiration was drawn at various points from The Naked Pen, Highjack, Tarantino, Adam Horowitz, Martin Campbell, and Sam Mendes, as well as my own wanderings in the cities of Prague, Cordoba, and Dresden.**
**Read on, dear viewer, and enjoy.**
_**Mass Effect: Resurrection**_
_**Act 1: Downfall**_
_**Prologue: Knowledge**_
**Torus Towers - Financial District, Citadel, Widow Nebula**
**27 Citadel Standard Days since Battle of the Citadel**
Barla Von glanced with annoyance at the client in front of him, focussing intently on the few pieces of debris that lay in the background out of the corner of his eye. It had been nearly a month since Saren's attack on the Citadel, yet cleanup crews were still working overtime to remove the wreckage that had accumulated in the Presidium. His own office and tower had escaped relatively unscathed – the odd piece of flaming metal, plus a few short-circuited offices on the lower levels, but Barla Von's perfect view of the majesty of the Presidium had been relatively uninterrupted.
Business had been excellent since the attack on the Citadel – on both fronts. In his daily public life, Barla Von was a genius financial manipulator, the ascendant paragon of a long line of Volus accountants and investors. It was said that he could move money from practically anywhere to anywhere, and leave no trace of its teleportation for Citadel tax authorities to handle. This was accurate, though he would have been insulted if anyone had suggested that what he did was illegal. Illegal money laundering was for those who lacked creativity and intelligence, for those who preferred blunt force over subtlety and genius; when you knew the loopholes in Citadel financial law as well as he did, there was no need for breaking the law. The past month had seen a flurry of activity, as high-level investors struggled to move their money away from the risky colonization projects they had once funded in the Terminus Systems and towards safer assets – be they the inevitable construction projects that the Citadel's reconstruction would fuel a boom in, or private security that tended towards the grey areas of the law; in the past week alone, he had moved close to forty million credits towards the Blue Suns, Eclipse, Talons, and a host of other mercenary organizations in the Terminus. Indeed, the human client sitting in front of him babbling away was here with just such a purpose.
Yet Barla Von's true passion lay in a commodity of a much more slippery and elusive kind: information. When he had started in the financial industry on the Citadel well over a decade ago, he had quickly risen to prominence with his ability to synthesize massive amounts of financial information, and had attracted the gaze of a much more powerful and potentially nefarious ruler than the gods of commodity trading that dominated the Citadel: the Shadow Broker. A master of information, the Shadow Broker accumulated and traded it, wielding it as a shield and a weapon, a tool and a commodity. To the Shadow Broker, information for its own sake was an inherent good. Aggressively neutral, the Shadow Broker would buy from anyone, sell to anyone, and work with anyone to assist in either side of those transactions. All that mattered was your ability to pay.
Not that Barla Von had ever actually met the Shadow Broker; even when he was recruited as an information broker for his vast network, he'd only ever been directly contacted by middlemen. He filed information reports on a weekly basis – his dealing with shifts in financial markets and major financial transactions – but even these probably didn't go directly to the Shadow Broker himself. He also communicated with a number of other information brokers, yet even these had limited contact with the Shadow Broker and were largely in the dark about who exactly their employer was. Barla Von had long theorized that the Shadow Broker was actually a cabal of people – how else could one explain his near-total mastery of information and memory?
Barla was jarred away from his thoughts by the voice of the client in front of him. The human had come to him several days ago, seeking advice about the possibility of offloading certain sums of money – quite substantial ones, in fact – to investments in the Terminus Systems that he was certain would pay off in the long run. He was dressed in one of the grey suits that was so fashionable in the financial district, though Barla Von didn't recognize him; he must have only recently arrived from Bekenstein or Earth, "…my investment. It's not as if it's immoral to withdraw my money from the Verdix IV colonization project and reinvest it in the Blue Suns. People want security in the aftermath of Saren's attack on the Citadel; the value of investment in private security is certain to rise."
"Certainly," Barla Von said blandly. He silently praised the exo-suit he was forced to wear on the Citadel, as it allowed him to privately seethe with rage at the client's stupidity. As if private security firms that operated exclusively within Terminus Space would go up! It wouldn't until something notable happened in the Terminus Systems – that was where the importance of such mercenary groups mattered, not in Citadel Space – but he would be more than willing to humour him. If a client insisted that they knew better, Barla Von was more than willing to let them take the fall for it – so long as those whose money really mattered knew it. "Of course, the option remains open for me to funnel your money to a combined set of mercenary groups, both broadening your risk pool and the potential for rewards in the quite likely event that your investment does pay off." He paused for a moment, allowing the breathing apparatus of his suit to reinforce the authority of his words. "Given that you wish to move well over three million credits out of Citadel-approved investments, this would have the added effect of making it substantially easier to avoid the transaction tax provisions on all investment moving out of the Citadel. While any individual transaction exceeding two million credits would be taxed at a rate of eleven percent, a split pot between the Blue Suns, Eclipse, Talons, and a half-dozen smaller private security firms based on Invictus, Deinech, Illium, and Omega would allow you to avoid those additional fees. Would you like me to pursue that?" The human in front of him nodded, "this shall be satisfactory then. I will subtract the usual fee for my services, and forward you all necessary information once the transaction has been complete. As usual, I will leave no paper trail. Should your employers or planetary government come questioning the transaction, it will be as if those three million credits never existed." The human nodded politely, and made to leave.
He paused for a moment as he reached the door. "One more thing," he turned back towards Barla Von, who would have been visibly annoyed had humans been any good at reading emotion through the Volus exosuit, "make sure that these transactions are never made public. Surely you understand that my government would look down upon someone of my status investing my money in Terminus Systems mercenary groups."
"Of course. That's why you came to me. There will be no trace that the money ever existed. I will use my standard techniques – ghost accounts, shell corporations, the usual. Now good day."
His human client was slow to leave, but he eventually did so with an air of satisfaction about him. His business concluded, Barla Von reached underneath his desk and flicked a switch that double-locked the door to his office. The windows behind him shifted their pattern to block out all prying eyes from the outside, and a pair of holo-terminals rose from the sides of his desk. These were where he kept his other life, as an information broker in the employ of the ultimate collector and dealer of knowledge in the galaxy. On the right screen, he was able to freely enter any notable information that he would send off to the Shadow Broker or other information brokers. On the left, he was able to monitor general traffic of other known contacts and the wider galactic feeds, which he could transfer to the private screen at a moment's notice.
His first task was to complete the weekly update that was demanded of each and every information broker in the Shadow Broker's employ. For him, these updates were often extraordinarily simple; his basic task was to simply monitor financial occurrences on the Citadel and report back on them. Functionally, it was no different from the reports he had once filed week-in and week-out at the Volus investment firm he used to work for, with the sole exception that these reports often contained a great deal of insider trading and information – things that the Broker could then turn around and sell to prospective bidders. In his world, information was power, and Barla Von was paid a substantial premium for its procurement.
_Logged: InOp Cit-BV, Report #27483-4X, 24 June 2183 by Human reckoning_; the Shadow Broker had become quite fond of the quaint human calendar system, and its effective alignment with the Galactic Standard Year (365 versus 400). _Since Report #27482-4Q, financial traffic has proceeded as predicted. Of particular note:_
_Deputy Alliance Ambassador K. Richards has transferred CR4,470,000 from the Verdix IV Colonization Program to the Terminus Security Investment Portfolio. As is customary, no paper trail will remain. Would be unpleasant consequences if revealed._
_Two senior board members of Cipritine Defense Systems have resigned their positions in the past week, with rumours of another three contemplating the possibility of doing so. Ostensibly due to family obligations, suspicion (confirmed in one case, uncertain in the other) is that Cipritine will lose contracts with the Hierarchy in the aftermath of the Battle of the Citadel, and they will seek to avoid losses._
_Initial testing of Project V207 weapon (currently unnamed) suggests serious design flaws. Nevertheless, Kassa Fabrication has pushed ahead with its production. Initial test results will be made public in 107 days. Stocks can be expected to rise accordingly, and then fall rapidly as those flaws become present. Could have potential for serious insider trading; will keep notified of developments. Shared accounts will be shorted accordingly._
_Initial cost estimates by the Hierarchy and the Asari Republics as to the damage caused by Saren's fleet were off by nearly 40%. Securities exchanges likely to suffer._
Barla Von's typing was interrupted by an alert on the screen to his left. The general chatter was almost always incomprehensible – the domain of low-level hackers and information sleuths, it was filled to the brim with hacker jargon and tech talk that was far too dense for his head to wrap itself around. Yet this was different; it bore none of the jargon or code that he was so used to seeing by this point. It was but a handful of words, sent out only over a semi-secure channel.
_ALL InOp. General Distress ALERT CODE 643_
Barla Von had to squint through his exosuit to make certain that he'd read that correctly. Code 643…that meant that an individual contact or information broker had been compromised. Whoever this was, they were being pursued by someone. Or something.
Ordinarily, he wouldn't have bothered with a distress call, but something about the mood he was in prompted him to click on the channel and bring it over to his private screen. _InOp Alert 643 received. To whom am I communicating?_
There was a pause on the other end of the line, then a brief flash that indicated that the agent was typing into the channel. _InCon Ili-QD_.
The Volus's eyes widened slightly. He knew the name, though not the face. Ili-QD was one of the newer recruits into the Shadow Broker's vast network of contacts; he was so fresh that he was still only an InCon (Information Contact) and hadn't even been assigned a formal broker yet through which to communicate. From what Barla Von had heard, Ili-QD was a Turian, a long-serving information specialist for either the Council or the Hierarchy – it was unclear which – working out of Illium to allow the Council to keep tabs on activity on the fringes of the Terminus Systems. He was certainly very good at what he did – he would be entrusted with high-level classified information, which was part of why the Shadow Broker had sought him out for his network. But he was also relatively new in a vast information organization that spanned the entirety of the known galaxy. _InCon Ili-QD, this is InOp Cit-BV. What is the nature of your situation?_
_InCon Ili-QD to InOp Cit-BV: I acquired at behest of SB high-level intel from Citadel Command. Council Agent has tracked me, and is in pursuit. Have eluded capture for twelve days, but am likely running out of time_.
Council Agent. That could mean any number of things, from a hired gun to one of the ultra-elite Spectres who operated within the Terminus Systems on the Council's behalf. If he was going to help this contact, he was going to need more information. _Please advise. Who or what is tracking you?_
There was a long pause before Ili-QD entered his response. It was only a single name, but it sent a shiver of fear for this agent through Barla Von's spine.
"Well," he muttered to himself, "**that** certainly complicates things."
**Sky of Fire Nightclub and Casino, Nos Astra – Illium – Crescent Nebula**
The Salarian sat in silence in front of the holo-chess board, his eyes darting back and forth across the room as he surveyed the scene in front of him. The air around him was pleasantly still, punctuated only by the sound of cards being dealt, the cheers of winners or the sighs of losers at the tables around him, the occasional chipping of ice against glass and drink, and by the low hum of the ambient music that flowed through the room. It was a light and constant pulsing beat – present enough that you noticed it, but not so much that it would intrude on your concentration if you were at one of the many gambling tables.
His eyes darted back to the lone Turian sitting at a Skylian Five table some fifteen metres from him, his back to him and slouched over the table as he concentrated on the game in front of him. He again glanced at the board he had sat at for the past three hours, biding his time as he waited for his target to arrive. He had beaten five players in that time as he slowly sipped through glass after glass of water. The game of chess was relatively new to the galaxy, having been introduced by Humanity shortly after the First Contact War, but it had become popular since then. The Salarians in particular, with their eidetic memories and penchant for rapid analysis of incredibly complex spatial scenarios, had taken to the game with great enthusiasm. Even now, he could remember near-endless rounds of the game during his time in the Special Tasks Groups – the complexity of the patterns attempted, the deception, the gamesmanship, and the thrill of being challenged on such an innate mental level.
Those days – ones he once thought of as the most glorious of his life – had ended abruptly three years ago. After a half-decade of work deep in Salarian counterintelligence, he had attracted the notice of the Citadel Council, and within months he had been inducted into the Special Tactics and Reconnaissance branch of the Citadel Council. He now formed part of the most elite subgroup of the Spectres, and had access to weapons, Intel, logistical support and equipment that ordinary soldiers could only dream of. His list of accomplishments was storied and heavily classified, from stirring up fratricidal wars between cartels that had been planning to jointly invade Citadel space, to manhunts that had eluded and stymied the top members of the STG or Hierarchy Blackwatch. He served at the pleasure of the Citadel Council, and was a force to be feared by any in the Terminus Systems who dared oppose the interests or security of Citadel Space:
Jondum Bau.
While the total number of Council Spectres approached seventy, there were nine within their ranks who were elevated to a position of pre-eminence – termed Arbiters by official Council designation. While most Spectres were expected to operate primarily within Council space – venturing beyond the Traverse sparingly – Arbiters were explicitly tasked with operating in the volatile and dangerous environment of the Terminus Systems, carrying out the will of the Council in systems over which they exerted no control. Spectres were expected to be self-sufficient, supplying their own weapons, equipment, and often transport. Arbiters were given near-limitless logistical support by the Council and the Spectre Requisitions (SR) Branch of C-SEC – SR Branch provided Jondum with weapons, equipment, reams of intelligence, and the occasional support of Union or Hierarchy deep-cover operatives within the Terminus Systems. The ranks of the Arbiters included some of the most storied Spectres in the history of the organization. Until three months ago, Saren Arterius had been on his way to becoming the most vaunted of them all – an Arbiter of unparalleled skill, fame, and ruthless ability. Yet strangely, and for reasons Jondum still didn't entirely understand, Saren's career, loyalty and life had collapsed in spectacular fashion – the murder of a fellow Spectre, attacks on Human colonies, even an audacious attack on the Citadel itself. The revelation of Saren's crimes had struck a psychological blow to Jondum and his fellow Arbiters; Saren had seemed the last person likely to betray the Council. Though there was no evidence to prove it, he suspected something more sinister at work – why else would a fiercely loyal Spectre turn traitor in such a fashion?
His gaze was again drawn to the Turian across the room. Once a contact in the Council's vast information network in the Terminus Systems, twelve days ago he had been linked with a security breach that had obtained Top Secret data from the inner workings of the Citadel. Beyond that, the encryption used on the hack was so good that they had no way of knowing what data he had taken, though the possibilities were as endless as they were potentially catastrophic. Jondum's task was simple: capture, interrogate, and find out what data was stolen – and why. He was almost certain that the stolen information had been sold – why else go to such a risk? Even if the Turian had turned traitor to one of the major mercenary organizations, it would help to know which one.
His thoughts were interrupted by the sound of heeled footsteps approaching him from behind, and the tingling of the nerves on the back of his neck that suggested the presence of a biotic in the vicinity. His whole body tensed and his hand reached reassuringly for the M-77X Paladin IV handgun holstered at his waist. His acute sense of hearing told him that the approach was hesitant, cautious, almost expecting him to fight back. From the pattern of the footsteps, he was almost certain that he was being approached by a Human female.
"Don't bother," he noted softly over the ambience of the music. "If you're trying to ambush me, you should know that the last eleven mercenaries that have tried have received a rather nice welcome gift: a shot to the head."
She froze less than a foot from him, her breathing accelerated momentarily at the shock of having her approach detected. "If I wanted to shoot you, I would have done so from across the bar." Her accent was thick, yet Jondum could understand her words perfectly without the aid of a secondary translator.
Jondum swivelled in his chair as she slowly walked around to face him; the woman in front of him was a curious specimen. She was dressed in a form-fitting white jumpsuit without insignia, and her shoulders were draped by a black jacket that only went about halfway down her back. It framed her face well, as did the flowing dark-brown hair that came to rest at her shoulders with small streaks of white and gold in it. Her facial features appeared perfectly-shaped, and combined with her alluring figure, full breasts, and the general aura of austere confidence that surrounded her, Jondum figured that other species – and humans in particular – would likely find her quite attractive. His eyes, however, were immediately drawn to the two weapons holstered at her side: an M-4 Shuriken Machine Pistol, and a gun he had never seen before that looked to be built around a modified M-3 Predator handgun frame. From the way the fingers in her left hand twitched back and forth constantly, and from the tingling sensation the back of his neck was getting, he was almost certain she was a biotic.
He glanced up and down the full height of her frame, eyeing her suspiciously. "That would be unwise in this place. Look to your left, my four o'clock," he glanced in the direction with his eyes, and hers followed, "two Eclipse mercs – both carrying pistols on them. Look behind me ten metres, and you'll see a pair of Terminus Fists carrying heavier submachine guns than the one you have. I can see at least another dozen who are also carrying weapons. If anyone fired an audible shot in here, every single one of those weapons would be drawn and firing in all directions. Each of them would blame the other, and practically everyone on Illium is armed to the teeth anyway. I don't know if you ever took an Officer's course on firefight dynamics, but I doubt either of us would ever get out alive."
"You seem like you know this place well."
Jondum sipped another drink from his glass and nodded. "I've been on Illium for nearly two days waiting in here for someone that I knew would show up. I've had ample time to observe and gather." His eyes again darted across the room with a flash of excitement, and he spoke crisply and quickly to her, "I can tell you exactly where every one of the exits is located, and how many guards are stationed at each. I can tell you which of the bartenders are stealing from the till and which one is sleeping with the Asari dancer twenty metres to your right. I know that the two Asari at the table over there," he motioned to his left, "are twins, and have been actively counting cards for nearly six hours. It's so obvious that the table dealer has to be in on it as well. Though he's better at hiding it than the one who worked the same table for the previous two days. He hasn't turned up for work today, which means he's probably at the bottom of the sewers with a hole in his head." The woman appeared noticeably impressed by the level of detail. "Always mind your surroundings, always know your target, and always read your Intel." He regarded her thoughtfully for a moment, "but how much do _you _know? You're clearly here for a reason and it clearly involves me. What did your…" he picked his words carefully, "…_illusive_…employer deem fit for you to know?"
She seemed stunned for a moment, but quickly regained her composure. "How did you-,"
He cut her off, "I know exactly who you are and who you work for – it's apparent in the way you're armed, the way you dress, even the way you look at the non-humans in the room. The question is," his eyes burned into her, "do you know who _I_ am?"
She nodded, "Jondum Bau – Special Tactics and Reconnaissance." He motioned for her to continue, "you're one of the Arbiters – the Spectres assigned to the Terminus Systems," he nodded again, "and you're currently carrying an fourth-run Kassa M-12d Locust submachine gun and a custom-tooled M-77 Paladin Heavy Pistol."
"Not bad," Jondum noted, "certainly more than the average person gets, and correct on all counts. But certainly not comprehensive; do you _really_ know what I do, beyond simply 'protecting the Citadel'?" She appeared befuddled, so he motioned for her to sit down opposite him, to which she obliged. "Chess?" She nodded, and he quickly keyed in the beginning of a game, with her drawn as black and he as white. "Let me pose to you a hypothetical scenario," he offered his first set of pawns forward in a King's Gambit, which she accepted, "you need someone found in the Terminus Systems – someone dangerous who doesn't want be found. Money is no object, and you don't mind considerable amounts of gunfire and killing in the process, so long as the target is taken alive. Who do you go to?"
She responded to his aggressive opening with a series of gambits and counter-gambits, the end result of which was fairly inconclusive. She paused for a moment to consider her answer. "Urdnot Wrex," she said finally.
Jondum nodded, "smart choice. A Krogan bounty-hunter who's been a mercenary for nearly five centuries. He's relentless, as skilled with biotics as with weapons, effective, and has a vast enough network of contacts and allies that your target would be captured inside of a month, albeit with a considerable path of destruction left in their wake." He exchanged a series of moves on the board, each of them trading a pawn for positional advantage. "However, Wrex would no longer be a viable option. From what I hear, he's been in the exclusive company of one John Shepard for the past few months, and recently returned to Tuchanka for the first time in three hundred years. Apparently he intends to unite the Krogan clans for the first time since the Genophage. An audacious goal, and one that will require his full attention," he moved in haste, offering up the sacrifice of his Knight, "so no, I doubt that Urdnot Wrex would be your best bet."
"Alright then," she responded by taking his Knight, and then paused again, deep in thought. "Tazzik."
"Also a smart choice. I worked with him in the STG several years ago; he's extremely intelligent, good with virtually any weapon you give him. He was well-liked in STG, which gives him access to a whole range of contacts and logistical support your standard hit-men don't have. Just as relentless as Urdnot Wrex, with the advantage that practically everyone underrates Salarians in their capacity for violence. Fourteen months ago, even I would have recommended Tazzik as your top choice," he drained the last of his water, "but I'm afraid he's found a more permanent line of work. He's an elite operative for the Shadow Broker now – and the way I hear it, that's not a part-time job. Pays extremely well, but also demands unconditional and total loyalty – not unlike your line of work. I approached him once about collaborating on a job and was firmly rebuffed, so Tazzik is no longer an option either."
"Fine," she was visibly annoyed at this game they were playing, in both senses of the phrase, "then who do I go to?"
He regarded her coldly, staring intently into her eyes and causing her to be visibly uncomfortable. "If money is no object, you go to Zaeed Massani. If it is – and given the sheer magnitude of his 'capture alive' rates, it probably is – you go to me," he answered quickly, with a sureness and supreme confidence in his tone, "because I'm the best at what I do. Because I have access to unbelievable resources, near-bottomless Intel, and because the Council itself trusts me enough that I'm their first call when they need someone found in this chaotic part of the galaxy."
"Then who are you hunting?"
His gaze went to the Turian again; his target was still there, though judging by his posture he appeared to be tiring of the atmosphere in the club quickly. "Someone who had access to top-secret Citadel Intel – someone who stole that information. Someone who was good at covering what they stole, but quite poor at covering their tracks as to who they were – both in the digital and flesh sense. I need to find out what they took, and who they sold it to."
"And when you capture him?"
Jondum ground his teeth together as he lost another of his Rooks. "I'll deliver a report to the Council and await their orders. Otherwise I'll serve their interests as I see necessary in the Terminus Systems."
She regarded him curiously. "But why do it? It could take months in this environment. You could have the wrong man – figuratively speaking – and not know it for weeks. Some of us are assigned these places – very few seem to openly flock to the Terminus Systems in our line of work. But you do, Jondum Bau. Why?"
He looked down at the board in front of him. By all indications, he had not played well. He had lost a Knight, two Rooks, and was about to lose his Queen. Nevertheless, the game excited and intrigued him. "I enjoy chess – it's one of humanity's better contributions to the galaxy. I especially like it in the Terminus Systems, where they introduced betting after every set of turns into the equation." He moved his queen into the only position it could possibly go, knowing that it would end with his opponent taking it, "it changed how the game was played. As I understand it, the late period of Humanity's isolation saw it focus on memorizing openings and forcing your opponent to surrender. But that's so…boring – I prefer subterfuge and intrigue, and betting brought those back. The incentives changed – you want your opponent to think they're winning, so that they'll keep betting. It became less about knowing the openings and more about drawing them in, keeping up the ruse of their supremacy long enough to deliver the killing blow. Until the moment before they lose, you want them to believe that they can win."
"To me, that sums up the promise and peril of the Terminus Systems. Everyone comes here thinking they're going to win – that they're going to have it made, or find promise, or wealth, or escape. It draws them in, promising them glory and fame and fortune and a thousand other things in between. But it possesses a consciousness and cannibalistic zeal of its own – it draws you in, but then chews you out, grinds you up, and spits you back out the other side. Yet rather like this particular game, they keep going for it. They keep thinking they can win, and millions upon millions of the galaxy's most ambitious and hardened fugitives and criminals meet the exact same fate. They treat chaos as a ladder and realize – too late – that it's a pit of fire. It's a strange psychology – especially compared to the predictability of the Citadel, and I don't know about you," he regarded his companion coolly, "but I find that _much_ more interesting."
"Easy enough to say, given where you stand," she quipped back as she took his Queen, "you've lost nearly every piece of value, and I'm three moves from victory."
"That you are," he replied, "but…" he moved his last remaining Knight to the spot where his Queen had been, boxing in her King with his remaining Bishops, "checkmate."
She stared ahead blankly, dumbfounded by what had just transpired in front of her. Jondum simply smiled to himself – it was a feint he had pulled off three times in a row now. As he took a moment to enjoy her shock at the sudden loss, he noticed the Turian make for the far exit out of the corner of his eye. He swept into action almost immediately. "Now if you'll excuse me, I have a target to apprehend." He deactivated the holo-board and tucked his chair back in against the table. As he turned to go, he gave a final backwards glance at the woman who had joined him. "Give my regards to Cerberus, Miss Lawson."
Jondum moved quickly through the crowd between him and the far door, passing almost unnoticed by the bartender and freeing himself from the grip of the masses around him. The Turian glanced backward at where he was standing, and he ducked down into the crowd to avoid being noticed. _So he knows that he's being followed_, Jondum thought to himself. _That could complicate things, but it's nothing that I haven't dealt with before. If it's gotten to the point where they're sending me after them, they typically know they're being followed by __someone__. _When he raised his head into the thick of the crowd again, he quickly spotted the Turian slipping through the door.
He followed his target, quietly exiting through the door and into a narrow hallway that led to the open air of Illium. Free from the confines of the crowded nightclub, Jondum drew his M-77 Paladin pistol from his holster. A Spectre-issued variant of the popular Carnifex Hand Cannon, the Paladin combined the versatility and compactness of a standard sidearm with the kick and firepower of a top-of-the-line assault rifle, resulting in a pistol that inflicted far more damage than its small size would suggest. SR Branch had modified Jondum's Paladin with a special grip-reader, which made it so that the gun would only fire in his hands; in those of anyone else, it would jam and eventually overheat. His weapon was also equipped with a larger ammunition capacity than the standard Paladin and a specialized loading chamber that added extra penetrating power to its projectiles.
He reached the exit and calmly activated a hack program on his omnitool that had the door open within seconds. He was greeted by a majestic and awe-inspiring view of Nos Astra, its soaring spires lighting up the night now that the last rays of Tasale had disappeared beyond the horizon. Illium was active during the day – a hub of commerce and trade that linked the Asari Republics with the massive markets of the Terminus Systems, but it truly came alive at night. Line upon line of traffic hummed between the towers of Nos Astra, and the noise from the hundreds of bars, nightclubs, and seedier establishments below wafted upwards into the warm night air. If you looked hard enough, you could buy practically anything in Illium – provided you were willing to pay.
This far below the sparkling lights of Nos Astra's wealthiest districts, the streets were practically empty – this late in the evening, the residents of Illium were liable to either be asleep in their high towers or enjoying the nightlife. Even in the dark, it wasn't difficult to spot his target some thirty metres in front of him, the Turian walking at a brisk pace out into the night. Jondum followed close behind, careful to keep to the shadows such that the Turian didn't know that he was being followed. His target cut to the left into another alley, and he quickly tagged the Turian with his omnitool so he could track his movement when he disappeared from visibility. He followed him into the darker alleyway and kept his gun drawn. The target was already gone from view when he turned the corner, but his tracker stalked him around another pair of corners. _Either he knows he's being followed, or he's been instructed to assume he is. Smart on his part – in the Terminus systems, even the paranoid are right eventually_.
The second narrow corridor parted into a vast twenty-foot wide avenue that cut through the underbelly of Nos Astra. Had it not been for the software his omnitool was running, Jondum would have lost track of his target in the massive crowd of people milling about through the road. Individuals of countless species – Human, Turian, Batarian, Salarian, Asari, even Krogan and Volus – moved in a myriad of directions around him. Jondum quietly holstered his sidearm as he milled through the crowd, careful not to lose sight of his target as he continued moving forward. Ten metres into the street, he realized that moving against such a crowd would prove futile, and shifted himself to the less densely-populated sides of the street, where he would have a clear view of the entire crowd. The Turian continued to move through the crowd at a slow yet constant pace. Without warning, the Turian shifted his movement in the opposite direction from Jondum, moving for one of the alleyways farthest from him. Jondum cursed his luck as he furiously pushed and shoved his way back through the crowd, straining against the height of the Batarians and Turians around him to maintain a line of sight with his target. He passed directly between a pair of Asari in Eclipse armour, and then ducked beneath a lumbering Elcor that was attempting to move by him as he continued to move inexorably towards the alley where the Turian was headed. He eventually succeeded in reaching the edge of the crowd and stole quickly for the alley. He found he had closed the distance on the Turian – now only twenty metres in front of him – and he shuffled stealthily through the alley to avoid detection.
At the end of the alley was a single door with a pair of armed men – one Batarian and a Human – standing watch on either side of the airlock. Judging by their weapons – one carrying a Lancer assault rifle, the other a Scorpion shotgun – he guessed they were either from the Talons, Blue Suns, or Terminus Fists. Regardless, the Turian passed through unmolested, and the door sealed behind him – its characteristic datapad shifting to a locked orange. _Two mercenaries on the outside, probably a half-dozen on the inside – certainly no more than ten, based on the size of the building. Shouldn't be too difficult; just check your damn corners._
Jondum walked in open view towards the two guards, bringing his omnitool into full view to feign absent-mindedness. He tried his best to appear lost, as if he was furiously reading a nav-point or map. The Batarian took notice of him when he got within twenty feet of the door, his Scorpion raised close to his chest in a protective gesture. "You there," he called out, "who the hell do you think you are?"
Jondum looked up, a mask of bewilderment on his face. "I-, I'm so sorry but-…I was told by a close associate of mine – a Turian, perhaps you know him? – to meet him at this location – it was loaded into my nav-point."
"And what might the name of this friend be?" The Human mercenary joined him, pointing his assault rifle from the hip squarely at Jondum.
He decided to gamble on the correct name. "Dias".
The Batarian regarded him coolly for a moment, and then shook his head. "Even if I knew who that was, there's no way I'd let you in here – this is a private facility. Now get the fuck outta here, unless you want this to get ugly."
_This is the place_, Jondum thought to himself_, the tone of the 'even if' gave it away. Now to deal with the reception party_. "Please, gentlemen, I guarantee you that this is the place. Look, I can even show you on my omnitool."
The human raised the Lancer to his shoulder, its sights aimed firmly at Jondum's chest. "That wasn't a request. Get the fuck out of here or you die."
Jondum shook his head, "This could have been a lot easier. Very well." and activated a micro-EMP on his omnitool, plunging their immediate vicinity into near-total darkness. Jondum took advantage of the confusion to draw his Paladin, and both mercenaries were dead in seconds. He keyed his omnitool to begin the hack on the door as he searched the bodies. Besides the weapons, he found very little on them, though he was able to get a closer look at the insignia on the armour. _Blue Suns. They don't tend to operate on Illium – Eclipse and their subordinates have their claws around this planet like a vice. Speaks to the importance of whatever it is Dias stole._
The door clicked open and Jondum walked through. In front of him was a long, dimly-lit corridor. Only a handful of lights punctuated the darkness, and it was barely wide enough to walk with arms outstretched. The corridor ran twenty feet, and then cut left in a single path that left Jondum with no option but to continue forward. His armoured footsteps rang out as he moved slowly down the hall, his Paladin tense and ready in his right hand. He turned the corner to find it empty – odd for a facility that he imagined would be bristling with guards and mercenaries – and saw only a single unlocked door at the other end. Almost certain of who was beyond the door, he strode forward confidently, and was satisfied as the door clicked open in front of him.
The Turian was waiting for him on the other side, his back to the entrance and focused on a starmap displayed on the far wall. The room extended fifteen metres outwards, with low ceilings providing little vertical cover. Two other entrances to the room were spaced across either side of the room. Two Blue Suns mercenaries stood at attention on either side of Jondum's target, with an additional pair of mercenaries standing to his right near one of the doors to other parts of the facility. As he entered the room, his target turned to face him, revealing himself fully to Jondum for the first time. His face bore the tattoos of Digeris – a colony in the Castellus System that was one of the first major Turian colonies following the acquisition of FTL Spaceflight. He wore only light Predator armour, and Jondum couldn't tell if he was carrying any weapons on him. The two mercenaries flanking him did not immediately raise their weapons, though they certainly tensed up at the presence of a Council Spectre ten feet away.
The Turian regarded him coolly, tilting his head slightly as he approached. "Jondum Bau. I figured it was only a matter of time before the Council sent someone after me, though I must confess I wasn't expecting an Arbiter."
"Quintus Dias." The Turian nodded to him as Jondum holstered his pistol, "They don't mind if you earn a little money on the side – you are a freelance contact, after all. They'd just prefer if it wasn't selling our secrets."
Quintus Dias shook his head slowly, "if you knew the kind of sums I'd been offered, you'd have taken that Intel as well. Besides," his mandibles flicked back and forth quickly, "my hack was so good that you still don't have any idea what I stole."
Jondum took another step forward, noting as the door to his left opened and a pair of rifle-carrying mercenaries filed through. "I know that it was important enough to warrant them calling me. I know that you deliberately avoided Illium for several days, even though Council records state that as your base of operations. I also found out your exact location from someone who you never thought would be found."
Dias's eyes snapped upwards, a look of half-surprise filtering through his otherwise stoic expression. "The contact on Deinech?" Jondum nodded. "You killed him?" He nodded again. "How did he die?"
Memories flooded back through Jondum's mind. He had cornered Dias's contact in Valac, in one of the multitude of destitute lower-level slums that spanned the Lines where the various networks from the Families and cartels interacted. It had taken nearly four days to get him isolated, but he'd eventually done so in the bathroom of one of Valac's seediest nightclubs, having waited until the early hours of the morning to catch the Batarian alone. The fight had been quick, efficient, and unbelievably brutal; the Batarian died with his throat cut by a shard of steel torn from the sink. "Not well."
Dias swivelled his head to his left as another mercenary moved through the door, making for five altogether in the room. "What a shame," he sniffed the air, "he was an excellent contact. He knew what he was doing." He paced across the room like a caged animal as Jondum advanced towards him, his two guards continuing to flank him. "You are certainly persistent."
"It doesn't matter where you run in space – Terminus, Traverse, or Citadel," Jondum paused for added effect, "I'll always find you eventually."
"Indeed," Dias noted. Jondum heard the door behind him hiss open and the sound of booted feet, of weapons being raised and armed, "but I'm afraid that this is as far as you get. You're outnumbered seven to one, outgunned by more than that, and my backer has strict orders that any pursuer is to be killed." The Turian raised his pistol, "I hope you'll understand."
Jondum closed his eyes for a moment and exhaled. Based on the sounds and smells of the mercenaries around him, he was surrounded by two humans, three Turians, and a pair of Batarians. The weapons ranged from pistols to assault rifles, and their range from him anywhere from two to six metres. He bowed his head momentarily, bringing himself to inner peace and stability.
"So be it."
He moved like lightning, drawing his Paladin and pivoting on his heel to face the two mercenaries behind him. He caught both of them in the chest, and then spun again to catch the Human from behind as both mercenaries crumpled to the floor. Positioning his left hand in the crook of the dying mercenary's arm and holding his body in front of him like a shield, he swivelled to face the Batarian and Turian to his left – both of whom had their weapons drawn and aimed at him. Their aim was erratic, and several shots struck the Human in the chest and torso or whizzed over Jondum's shoulder. He thrust his Paladin in front of the body that shielded his frame and fired at both the mercenaries, downing them with clean shots to the head. He dropped the Human body as he felt it go limp, and dove forward to dodge the incoming fire of the remaining Turian mercenaries. He turned the dive into an instinctive role forward, which brought him within striking distance of the two mercenaries. His first thrown punch connected with the Turian's jaw from the right, knocking his concentration and allowing Jondum to get his ankle in behind the mercenary's knee. He kicked upwards violently and brought the Turian to the ground, sending his assault rifle sprawling across the room. He spun again to avoid the spray of fire from the other Turian's Lancer assault rifle, and then fired his last two remaining shots directly at the Turian's chest.
He reached into the side-pouch of his left boot and drew his omni-knife from its sheath. Still in the testing phase of production, the omni-knife relied on the instant fabrication of a silicon-carbide blade from a simple hilt. HMOT and Armali Council both hoped to eventually apply the design to the omni-tool, and Jondum had been equipped with one of the early models by SR Branch to test the viability of the blade. As he sank the blade directly through the prone Turian's armour and into flesh and bone, he had no doubt that the design would be successful.
He turned to face his last opponent, the human looking slightly hesitant and nervous as Jondum approached. He clearly hadn't anticipated who he was up against, thinking that six fellow mercenaries would be sufficient to take on a lone Salarian. Jondum closed the distance between them rapidly, and ducked as the human threw the first wild swing of his fist in at him. He bent backwards as the human again tried to land a single knockout blow, and Jondum responded with a quick set of punches against the mercenary's chest and neck. The mercenary lunged forward in desperation, and Jondum quickly caught him in the shoulder with his elbow, throwing him backwards and exposing his chest. The omni-knife flashed across the light armour and cut through it instantly; the merc fell backwards, dead from shock before his body even hit the ground.
Jondum turned back to Dias, who was staring at the floor dumbfounded. Blood pooled at his feet from the half-dozen mercenaries who lay dead around him, and his eyes began to dart from exit to exit, looking for a way to get past Jondum. Jondum bluffed forward, raising his empty pistol directly at the Turian. If he paused to reload, it would buy Dias enough time to make a break for one of the doors, but he couldn't just keep pointing an empty pistol at the Turian and hoping he wouldn't call his bluff.
For the longest time neither of them moved, each playing their game of chicken with the other. At last, Jondum faked a lunge for the one exit, and then moved in the opposite direction. He guessed right, as Dias sprinted for the exit. The Turian beat him to it, and Jondum swore as the door momentarily shut behind him. When it opened, Quintus Dias was easily ten feet ahead of him, with a burst of speed carrying him down the hallway and away from Bau. He rounded the corner barely five feet behind his target, but unable to pause to discharge the spent thermal clip in his pistol lest he risk letting Dias get out into the open street. He closed the distance enough that the door to the streets of Illium was still open when he sprinted out into the open air. The heat hit his lungs hard, and he pushed through the strain to keep close to Dias. The Turian rounded a corner into the closest alleyway, then twisted again into another narrow corridor. By the time Jondum had him back in view, Dias was a full thirty feet in front of him, making good on his escape.
Jondum cursed his luck at having lost his target. Even with his substantial network of intelligence gathering, it would take months to locate the Turian again – the Terminus Systems contained dozens of worlds on which one could virtually disappear, and he shuddered to think of how many credits it would take to-,
WHACK!
The sound of the kick caught him off guard, and when he looked up he saw Dias tumbling backward across the ground, his momentum forward cut off by the heeled boot that had spun upward to catch him square in the jaw. Before Dias could react again, he was quickly caught in a powerful biotic stasis field that held him in place as Jondum approached.
From a small alcove in the middle of the alleyway emerged the woman responsible for the impressive neutralizing of his target. He was surprised to see staring back at him the same eyes that had regarded him so curiously at the nightclub, the same eyes that had recoiled in shock at his masterstroke of creative board-play. Now it was his turn to be surprised, as Miranda Lawson effectively handed him his target on a silver plate.
She walked towards the body and stood over it as Jondum approached. "I tried to tail you after you left the club," she explained as Jondum knelt beside Quintus Dias, "but I lost track in the crowd. I know of three open-area safehouses in the area, and I guessed which one it was – turns out I was right."
Jondum nodded in appreciation as he turned over Dias's motionless body. The Turian was still breathing, but he didn't respond to the usual pressure points or signals. "He's definitely out cold," he glanced at Miranda quickly, "good hit."
"I was in the area, and my employer figured you could use the help."
Jondum looked at her incredulously as his omnitool began to hack into Dias's omnitool. "Any particular reason why your boss wants to make sure I'm successful? I seem to recall him not being particularly fond of _my_ species."
Miranda chuckled softly to herself. "My employer has a guess about what's inside that omnitool – his decryption software isn't perfect, but it's certainly better than the standard C-SEC stuff." Jondum rolled his eyes as he again concentrated on the work in front of him, "if we're correct, then we certainly don't want to be the only ones with that knowledge."
"It's funny how your prejudices get spaced the moment Intel is involved," Jondum muttered as he continued to work away at the software encryptions around Dias's omnitool. "Now if only you could apply that standard to your everyday line of work – you might actually be considered legitimate by the Citadel and not terrorists with a price on your heads."
"You never know," Miranda crouched beside Jondum, examining the prone body at their feet, "the Alliance has enough red tape to sink a cruiser, or so one of my associates put it. You can spend a lifetime trying to advance the interests of your species, as any reasonable individual in any species might do, and get nowhere. We're so desperate for the approval of other species that we've lost what made us human: our drive, our ambition, our willingness to do things that are irrational and dangerous for the sake of adrenaline. Our work encapsulates that: nothing is off-limits, nothing is beyond the bounds of morality. If it'll get the job done, we'll do it." She leaned in extremely close, so that her teeth were almost at his ear, and the sound of her whisper sent a light breeze past his head, "and I don't know about you, but I find that _much _more interesting." In a flurry she was on her feet, slinking backwards into the darkness until the sound of her clicking heels had nearly faded away. "Good day, Mr. Bau."
_Say what you want about humans_, Jondum thought to himself, _they certainly have a flair for the dramatic_. A grin crept across his face as his omnitool indicated that the hack was complete, and in seconds code began to streak across the holo-screen on his own omnitool. The code began to parse itself into sub-categories and sub-files, his processor quickly eliminating any data that didn't have the top-level Citadel Security Clearance attached to it. It had been impossible to tell what Dias had taken from the Citadel, but the origins of stolen code were remarkably easy to find. _Thank the Goddess they haven't figured out how to get rid of that particular tag yet. My job would be damn near impossible if they did._
The data fragment in question revealed itself soon enough, and Jondum pulled it up in more detail on his screen. _What would be important enough to throw away your entire career, run as a fugitive through the Terminus systems for a month, and risk getting tracked down by one of the Arbiters for?_ The answer was apparent soon enough, as the code was quickly translated into language that he understood. It was a transponder code, used by the Citadel Overwatch to maintain a constant overview of the locations of Citadel vessels involved in Council operations. This particular code had been assigned less than a Galactic Standard Month earlier, and was assigned to a Frigate in the Alliance Fifth Fleet.
SSV _Normandy_, the vessel of Commander John C. Shepard, Special Tactics and Reconnaissance.
Jondum triggered a shock to Dias's system with his omnitool, and the Turian quickly regained consciousness, albeit in a dazed state. He took advantage of the Turian's lack of coordination to drag him bodily against the wall. He pinned him with his stronger hand to the wall, using his omnitool to send periodic shocks through the Turian's system to keep him off-balance as he shouted vocally at him. "Why did you take this? Who wants this data fragment?" He sent another, stronger shock through the system, "was it the Shadow Broker?" Dias tried to resist, but Jondum responded by punching him – hard – squarely in the jaw.
The Turian spat a couple of dislodged teeth in Jondum's direction, and he noticed that they were tinged heavily with blood. "Yes and no," he spat out more blood, "the Broker's information is very rarely for their own use – it's always to sell to someone at a cost. This seemed different, more urgent."
"But who wanted the information? With the code recaptured, may I remind you that you are of no further use to me," Jondum drew his omni-knife and activated it, "I want answers." He brought the blade close to Dias's face, "_now_."
The Turian's mask changed suddenly; he showed no fear, only defiance. "I'll die before you know." He raised his hands to the sky, "I have nothing more for you. Do to me what you will, you bastard."
With a single thrust of the silicon-carbide blade, Jondum obliged.
The life left Dias's eyes almost immediately. The Turian's body slumped to the ground, his ragged breaths ceasing rapidly. Blood began to pool at Jondum's feet, and he yanked the hilt back from his grizzly work. _That wasn't ideal_. _They tend to prefer if I take them alive, though I imagine they'll make an exception, given the location_.
He suddenly sensed movement on the rooftops above him, and he looked about frantically to see who had disturbed him. Was it Miranda, or another of her organization's agents? Was it more mercenaries, come to try and finish the job that Dias has so abjectly failed at?
When he finally got a good look at the rooftops above him, he saw a lone figure staring down at him. His first guess was Batarian, but as his eyes focused in he realized that couldn't be the case – the head was too elongated to the sides, too rigid and pointed at the crest. The figure didn't appear to be wearing any armour, and was practically unidentifiable save for the eyes. Four of them glittered down at him, two pairs lined up horizontally across the face. They were not passive either, but glowed with a fierce yellow light that burned with the force of a thousand souls.
_Is that…_Jondum frantically searched his memory for any recollection of who – or what – this could be. Understanding hit him like a tonne of durasteel.
His thoughts turned to the crew of the lone human vessel, and of the horrors that they might soon encounter. _Gods help them all._
_**Next: Thanatos
**_
2. Downfall - 1: Thanatos
**Thanks to everyone who's review, read, favourited, or followed thus far!
**
**Some people were intrigued by Jondum's inclusion. Suffice it to say I needed a foil, and the Salarian Arbiter will provide that in spades. In the meantime, Act I continues.**
_**Downfall**_
_**Chapter 1: Thanatos**_
**Amada System, Omega Nebula – Undisclosed Vessel**
Softly, the young Asari maiden slipped from her lover's bed, moving on bare feet across the cold steel floor of the starship's cabin. The sudden feeling of frigid metal on her warmed feet sent shocks through her body. For a brief moment, as she passed the lone window out of the cabin, Doctor Liara T'Soni was clad only in starlight, as she searched on the floor for the remnants of her clothes from the previous day. Finding them, she quickly donned her lab coat and shipboard uniform, and then paused for a moment to admire the view of the stars around them. Even after months spent on board, she was still struck by the silence with which the SSV _Normandy_ slid through the fabric of space – its Tantalus Drive Core was so efficient that they could go for days without registering a heat or sonic signal on the scanners.
In the bed behind her, Shepard stirred slowly from sleep, his tall and muscular frame taking up fully half of the barely-sufficient mattress that the Systems Alliance had outfitted the vessel with. In the past week, Liara had transplanted herself from the confines of the auxiliary laboratory where she had roomed when first aboard the _Normandy_ into Shepard's cabin. Though much larger than the sleeper pods that most of the crew got, it still wasn't designed for two people – especially when one added their weapons, armour, gear, and clothing.
"Good morning," she smiled as she saw Shepard's reflection begin to emerge from beneath the bed's covers. He was clad only in a thin set of pants, yet his powerfully-built chest was bare and exposed to the cool air around them. When she turned to face him, she found that he was still slightly dazed and confused – the product of a particularly intense melding between them the previous night. Planting both feet on the floor, Shepard attempted to sit fully upright, but was caught off-balance and quickly fell back into the mattress. "Easy there," she laughed as she watched him struggle, "last night you were _more_ than capable of moving yourself with skill and ease."
Shepard chuckled to himself as he slowly lifted himself from the bed. "Yeah, well…" he eyed her knowingly, "your enthusiasm makes the amount of effort required…considerable, even when my mind is largely in a state of euphoria."
She smiled back at him as he drew his tall frame to its full height, her head barely reaching his collarbone as he drew her close and kissed her. She sank into his chest and wrapped her arms around him, allowing the memories of the previous night to linger a little longer before the inevitable call of duty arrived at their door.
"When you're in a state that won't send the crew into fits of laughter," she kissed him again, "I'll be in the mess hall." He blushed furiously as she glided out of the door of his cabin. The last look she caught was his eyes burning into her soul.
Liara smiled and shivered as the door to Shepard's cabin sealed behind her and she strode into the open space of the _Normandy_'s Crew Deck. She had never known life to be as exciting or fulfilling as it was now. It had been less than a month since Saren Arterius's assault on the Citadel had been repelled – since Shepard had stopped Sovereign's plot to bring the Reapers back from Dark Space. The Citadel had been badly damaged –Shepard himself had spent four days recovering from his wounds – and the Council's fleets had been battered. Even now, cleanup operations against the remnants of the Geth persisted, with the _Normandy_ among the leading ships in the Human contingent.
So much had changed since the Battle of the Citadel, both on and off the _Normandy_. Grateful for their role in saving both the _Destiny Ascension_ and the destruction of Sovereign, the Council had granted Humanity a permanent seat alongside the Asari, Salarians, and Turians. Even now, the upper political echelons of the Systems Alliance continued to fight one another for the position of Human Councillor. Though offered the opportunity to recommend someone, Shepard had declined; had David Anderson been a willing candidate, he almost certainly would have received Shepard's backing. As it stood, it was increasingly looking like a tossup between Ambassador Donnell Udina and Grand Admiral William Coryn. Coryn was regarded as the safe pick – he had the backing of the Alliance brass and the mainstream political parties, while Udina had quietly rallied the support of the Terra Firma movement and many of the colonies that straddled the Traverse. For the sake of Humanity's relationship with the rest of the Council, Liara hoped that Coryn won – Udina still made her skin crawl every time she was in proximity to him.
Things had changed on the _Normandy_ as well, most notably the departure of several prominent members of Shepard's team. Tali had been the first to depart, returning to the Migrant Fleet with stacks upon stacks of data concerning the Geth and their evolution since the departure of the Quarians from the Perseus Veil. She had been optimistic that it would be sufficient to complete her Pilgrimage – the rite of passage that all Quarians went through to prove their worth to the Migrant Fleet. She had high hopes that she would live up to the legacy her Admiral father had lay before her.
Garrus Vakarian had been the next to go, leaving a week ago for the rigours of the Citadel's Shock Assault Training Program. He had accepted an offer of additional training from the Council, with the aim of eventually being inducted into the Citadel's Spectres. He kept in regular contact with Shepard, who had been visibly sorry to see the alternately stoic and sarcastic Turian leave the _Normandy_. The former C-SEC investigator still sought to help them, using his few surviving contacts on the Citadel to provide Shepard with Intel as they continued their hunt for the remainder of the Geth fleet.
Three days ago, Urdnot Wrex had taken his leave of the crew of the _Normandy_, accompanied by a surprising number of heartfelt farewells from the Human crew of the Frigate. His vengeance against Saren complete, he intended to spend a few last days on the Citadel before returning to Tuchanka. He planned to work to unite the fractured and warring Krogan Clans, using either diplomacy or violence to bring them in line. In the long term, he hoped to amass sufficient political and financial resources to begin exploring serious options for ending the Genophage.
The ship felt quieter with those three gone – somehow emptied of the life and intensity and adrenaline that had filled it for the last three months. Only Liara, Kaidan Alenko, and Shepard himself remained of the original ground team. The _Normandy_'s crew remained unchanged, but Pressley and Adams had been joined by a number of newer recruits. Rumour was the Alliance had plans to construct several more frigates on the _Normandy_ model, and they were training engineers and navigators aboard their vessel to eventually crew these frigates. They seemed eager, yet also intimidated and awe-struck by the presence of Shepard, Kaidan, and Liara – between Akuze, the multiple tours in the Terminus Systems, his Spectre Status, and his heroics on the Citadel against Saren and Sovereign, Shepard had begun to develop into something of a cult figure among the younger Alliance soldiers and ensigns. They could barely contain their excitement at serving aboard the _Normandy_ – or the mix of awe and fear they held Shepard in.
The Crew Deck was a buzzing hub of activity as Liara exited Shepard's cabin. All around her, soldiers, engineers, and other crew members scurried about the cabin. The _Normandy _had never been a spacious ship – theoretically roomy, the sheer volume of supplies, munitions, weapons, and salvage that had littered the vessel by the time they tracked down Saren had turned every corridor and room into a cramped confine. That situation had only worsened since they had begun to hunt the remaining Geth: more crew had meant more bodies packed into tight spaces, with additional surveying, surveillance, and fighting equipment packed into every available space on the deck. The crew of the _Normandy_ had just finished their first meal of the day, and the mad rush of bodies on the deck was quickly dissipating as they moved to their stations on the CIC or Cargo decks.
She waited for the crew to clear out before making her way to the Mess Hall, grabbing a plate of Human breakfast as she did so. She had grown fascinated with human foods in her months aboard the _Normandy_, developing a particular taste for eggs and a strange grain that humans pronounced _kinoa_. She ate gladly, shaking off sleep as the hot food and fruit juice quenched her thirst and sated her growling stomach. She ate slowly, waiting as the last of the crew shifted out of the Mess Hall.
"Morning Kaidan," she noted crisply as First Lieutenant Alenko came into view from the right side of the Mess Hall. The young Human biotic had remained after Wrex, Tali, and Garrus's departures, the last member of the original ground team to still serve alongside Shepard. Because he was assigned to the _Normandy_, he would remain on the ship until the Alliance – or Shepard – moved him elsewhere. Given the enormous political clout Shepard now held in the Alliance military, a move seemed unlikely.
"Doctor," Kaidan noted as he sat down across from her at the Mess Hall table. He still addressed her formally, even though they had known each other for close to three months. "You're looking well rested this morning." A thin smile played across his face as he looked at her knowingly, "I take it Shepard is…"
Liara glared at him for a moment, then lightened her tone as she responded. "Still getting ready; he was a bit dazed this morning." Kaidan raised one eyebrow suggestively. She blushed, "I may have been slightly at fault." Kaidan chuckled to himself again, and Liara eyed him with concern. "How much does the rest of the crew know?"
"They know you two are together – that's patently obvious to anyone who spends more than an hour on the _Normandy_. Honestly, I think some of the younger ones are attracted to you," he laughed at the wide eyes she gave him, "but they know their place. They don't pry more than they should – and if they do they certainly keep it to themselves."
Liara was glad for that. There had been several of the newer ensigns on the _Normandy_ who had questioned Liara's presence when they first arrived. A death-stare from Shepard and a viewing of her proficiency with biotics and combat had shut them up quickly. "Do you have any word on what we're doing here, Kaidan?"
Kaidan shrugged, "same thing we've been doing for the past week. Alliance Intel says there's Geth stragglers in this cluster, and we've been tasked with flushing them out." It had been a slow, largely fruitless search. Every time they caught wind of the possibility of a Geth presence, their targets vanished into the darkness of space around them. Their engineers were hard pressed to find even the suggestion of a Geth presence in the region.
"Are you even sure there are Geth here? We've spent nearly four days patrolling the sector and we haven't found a damn thing."
"Five ships went missing here in the last two weeks," Shepard's voice cut through the calm as he left his cabin and joined them at the table. He sat beside Liara, planting a single kiss on the tip of her forehead as he did. "Something happened to them, and the complete absence of survivors or distress calls suggests it wasn't slavers."
"Good morning Commander," Kaidan noted as he passed Shepard breakfast, "up well after Liara, I see."
Shepard took a moment to collect his thoughts as he stabbed at his breakfast with his fork. Something seemed off in his manner. Only a few hours ago he had seemed in a far better mood than he was now. "I had a quick conversation with Admiral Hackett this morning." His eyes darted to either side before he leaned in close. "One of the Council's deep cover operatives in the Terminus Systems sent in a Priority One alert six hours ago. Apparently it concerns us – and our mission in this cluster. Hackett wasn't specific on the details – I don't even think _they_ know, but he seemed to think that the _Normandy_ was the target of something."
"Even if we are," Kaidan noted, "we've got enough heat reserves to run on full stealth for at least twelve hours. That's more than enough time to get to the Omega Two Relay and get back into Council Space. What could possibly be targeting us?"
"Who knows? We're an Alliance vessel deep in the heart of the Terminus Systems – don't forget that Omega is within a day's flight of here. Anything could happen."
"Commander, if you ask me, we're wasting our time out here. You, Liara, and I all know that the Geth aren't the real threat. We _should_ be looking for evidence of the Reapers and their plans, so that we're ready for them if their full fleet ever comes for us."
"Don't you think I know that Kaidan?" Shepard clenched his fist into a ball, and Liara could feel the biotic energy pulsate outwards from him. "Our hands are tied until Humanity has our seat filled on the Council – if Admiral Coryn gets it, then we can probably change course and hunt for the real threat. Until then, we have to play politics. The Council doesn't want to admit that the Reapers exist – Sparatus in particular – and we can't change that until this political shitstorm dies down."
"Commander," the conversation was interrupted by Joker's voice on the Shepard's comm link, "this is the cockpit. Pressly and I are picking something up on the long-range scanners. It's not matching any known energy signatures, but it's huge – possibly Geth, possibly Terminus or Batarian. Recommending that the crew stand to and prepare to engage."
Shepard glanced at Kaidan, who nodded discretely. Shepard caught Liara's gaze for a moment, and then reached for his omnitool. "Stand to threat level delta. Keep stealth systems engaged and continue monitoring. As long as they don't know we're here, there's no need to engage until we have a better idea of what we're up against. Key me into the bridge chatter and keep me engaged."
"Roger that," Joker replied. The next they heard his voice, it was over the ship's general intercom. "This is a stand-to and general quarters order for SSV _Normandy_. Threat Level Delta – unidentified vessel has entered into _Normandy_'s scan range. All crew prepare for battle-stations. Adams, keep the stealth drive fully engaged. We are preparing to observe and recon."
"In that case," Kaidan got up from his seat, "duty calls. I'll get the Marine detachment ready for a search-and-destroy operation."
Liara looked at Shepard with concern. "Does that mean-,"
Shepard cut her off. "I'm not sure. But I won't engage until we have a clearer picture. I don't want to be the ship commander that accidentally provokes full-scale war with the Terminus Systems."
"Could it be-," Liara leaned in close to Shepard, "could it be the Reapers? What if Sovereign wasn't the only Reaper ship that their fleet left behind as a vanguard?"
_"Alright Pressly, bring her around. All stealth systems are engaged – prepare to activate the stealth monitoring equipment as soon as the vessel is close enough for the short-range scanners." _The chatter from the cockpit trickled through the intercom on the _Normandy_, keeping Shepard and Liara fully alert as to what was happening.
_"Roger that Joker. Ten seconds until we are in range."_
There was a brief pause as the _Normandy_ crossed the threshold into observation range, and then the chatter resumed again. _"Data collection has begun. We should have an accurate profile on the vessel inside of ninety seconds."_
"What could a lone vessel be doing in this remote part of the Terminus Systems?"
Shepard shrugged his shoulders, "if it is the Geth, they'll hide where they're least likely to be detected."
_"Evans, are you getting a profile of the ship?"_
_ "Yes Pressly, results are coming up now. It doesn't match any known signatures, but it looks to be about the size of a Cruiser."_
_ "But it doesn't match known signatures?"_
_ "No."_
Liara felt as if her stomach had just dropped, and she looked at Shepard with her blood cooling as her heartbeat began to accelerate. "No known signatures, size of a large cruiser. This doesn't look good."
Shepard nodded, "I agree."
_"Hold on. Cruiser has changed course. It now appears to be on an intercept trajectory"_
Intercept. The word hung in the air, filling Liara's throat with the taste of bile and causing her heart-rate to soar. There was only one thing that word could mean.
_"Intercept? That's impossible. The stealth systems are more than equipped to mask us from G-,"_
_ "It's not the Geth_," Joker's voice cut through the chatter edged with fear, and then moments later with panic. _"Oh shit. Brace for evasive maneuvers!"_
Liara felt the _Normandy_ jerk violently to the left, throwing her off-balance as Joker pulled the Frigate into a nosedive. She had only just begun to regain her feet when she heard it – the deafening roar of something terrible and powerful heading towards them. She locked eyes with Shepard for a moment; she knew what she had to do, and sprinted for her cabin at the back of the Medical Bay.
The first beam struck the _Normandy_ violently, throwing the Frigate off-course and knocking its shields out in a single blow. The chatter on Liara's omnitool turned incomprehensible, replaced quickly by screams of terror and agony as the second and third blasts hit the Frigate. The _Normandy_ was nearly three hundred metres long, weighing hundreds of thousands of tonnes, but the force of the impact tossed the ship around like a ragdoll.
_"Oh my God! Pressly-, AH!" _another voice was drowned out by static as Liara bolted through the Medical Bay, taking every ounce of concentration to stay on her feet as the ship jolted in all directions around her. She reached her cabin as another set of beams hit the _Normandy_, and she watched in horror as the bulkheads around the Med-Bay began to buckle under the force of the impact. As she struggled to get her hard-suit on, fires began to break out all around the ship. She could hear muffled explosions and shouts of panic as the crew trapped on the Cargo Deck searched frantically for a way to the escape pods.
_"Kinetic Barriers are down! We have suffered from multiple hull-breaches! All weapons are offline-, somebody get that fire out!" _
Liara finished outfitting her hard-suit in a nick of time, and began to sprint back through the Med Bay for the main crew deck. Only moments after she burst through the door, the bulkheads above her cabin collapsed, and the Med Bay was soon engulfed in flames.
The Mess Hall had been devoured by smoke and fire, with wreckage falling from the upper decks and forcing Liara and the other crew to navigate carefully through the debris. Crew members were dying all around her, caught in explosions or crushed by the beams that continued to collapse. She narrowly avoided an explosion that took out two young ensigns as she entered the long corridor that housed the wreckage of the _Normandy_'s sleeper-pods. She saw a lone figure at the end of the hallway, crouched at the VI's Master Control Unit and calmly working away at the necessary procedures.
"Shepard!" He had his N7 armour and helmet on, its crimson-etched black plating glinting magnificently in the orange glow of the inferno unfolding behind them. He turned towards Liara as she sprinted towards him, and caught her falling body as she tripped over a stray cord that littered the ground.
He lifted her slowly back to her feet, planting his gloved hands firmly on her shoulders. "The distress beacon has been launched."
That didn't convince Liara – they'd have been dead for an hour by the time anyone in the Citadel could possibly respond. "Will the Alliance get here in time?"
He seemed to regard her thoughtfully as he applied the last of the buckles that held her own helmet in place. "The _Normandy_ won't survive that long, but if we can get the crew to the escape pods, most of the survivors should be picked up. Get the crew to the shuttles!"
Liara tossed Shepard a fire extinguisher as he continued to battle the blaze next to the master electronics panel, and she quickly used her biotics to lift a fallen beam out of the path of feeing crew. "Joker's still in the cockpit! He won't abandon ship," she turned to look at Shepard directly, "and I'm not leaving without you either."
His work at the panel complete, Shepard moved close to Liara, bringing a hand to her shoulder. "I need you to get the crew to the shuttles. I'll take care of Joker – there's a pod in the cockpit that we can use." He moved back for the master control unit, quickly hitting the button that activated the distress beacon.
Panic struck her. If she left without Shepard, there was no telling what could happen, or whether he'd survive the attack. "Shepard I-,"
"Liara, go," Shepard turned from his work to face her for one last moment, "now."
Her heart ached, and she gave him a last look that tried to communicate the thousands of things she wanted to say to him, the thousands of things she might never get a chance to say – of what he meant to her, of who she was because of him. Instead, all she could managed was a muffled and mangled salute. "Aye aye, Shepard." She turned her back to him, her tears concealed by her helmet as she ran for the escape pods.
The escape pods were located on the starboard side of the _Normandy_, off of a narrow hallway that bisected the sleeping pod quarters. The surviving crew were already flooding for the loading bays, creating a knot of bodies that was sure to degenerate into chaos. Amid the panic, Liara spotted Doctor Chakwas and Chief Engineer Adams scrambling into one of the pods. She stopped at the narrow opening of Chakwas's pod, gesturing frantically for the ensigns near them to get to safety.
"Everybody in, go! Go!"
Liara waited for the last of the crew to reach the pods, noting with a grim sort of satisfaction as each of the blast doors sealed in turn, filled to capacity. Shifting herself into the pod, she glanced back out into the ruins of the _Normandy_ in time to see Corporal Lowe thrown bodily against the wall by the force of another explosion. Liara could hear her neck snap as she hit the steel bulkhead, and the Asari reluctantly climbed into the escape pod rather than continue to watch the destruction unfolding around them. Liara seated herself in one of the ten steel-backed chairs that lined the sides of the pod, frowning as she saw that only six of the other seats were filled. Adams reached for the launch lever as the _Normandy_ was rocked by yet another blast from their mysterious attacker.
"Come **on**," Adams seethed as the lights in the escape pod began to flash, "just get us out of here."
Liara heard the sound of the explosive bolts that held the bod in place releasing, and she was suddenly lurched sideways as the thrusters ignited and tore the escape pod from the doomed hull of the _Normandy_. The pod continued to accelerate, the VI having calculated long ago the minimum safe distance from the _Normandy_ in the event that the ship's drive core exploded. Two of the younger privates that were also in the pod were visibly shaken and nauseated by the intensity of their release from the Frigate, and Chakwas offered a reassuring hand to a young female marine who looked ready to throw up.
"Easy, easy. We're almost out of this."
Liara wasn't so sure. Whoever their attacker was, they were thorough and advanced. The _Normandy_ was supposed to be invisible to detection with its stealth systems engaged, yet this enemy had found them without difficulty, caught them completely off-guard, and outgunned them within seconds. Even if they'd had warning, the _Normandy_ would have fared poorly against this. When the escape pod finally shifted in the vacuum of space, Liara chanced a glimpse out of the observation window, daring herself to look at what had become of the _Normandy_. What she saw terrified her, and sent ripples of horror and fear through her for Shepard.
The _Normandy_ hardly resembled the frigate it had once been. One of its thrusters had been blasted off, and it now drifted helplessly through space as its drive core began to fail. The rear of the CIC had been exposed to space where the durasteel armour plating had been sheared clean off. In some places, Liara could see through the beam's holes through to the other side of the ship. Their attacker loomed large above them as well, and amid the burning hulk of the _Normandy_ Liara caught her first glimpse of it. The ship was enormous, easily dwarfing the Alliance frigate; even a fully-repaired _Destiny Ascension_ would be challenged by this leviathan. The cruiser looked to be composed of a mix of organic and synthetic materials, appearing to have been grown as much as created. It resembled an enormous revolving cylinder, with four rocky spires concealing the particle beam that had knocked out the _Normandy_'s shields, weapons, and FTL drive in a single hit. The cruiser was preparing for another pass at the _Normandy_, one which would surely finish the doomed frigate. Liara hurriedly prayed to every deity she could think of that Shepard would make it off the _Normandy_.
The cruiser fired again, catching the _Normandy_ near the bridge, and Liara felt her heart sink in dismay. The entire front-end of the frigate was engulfed in flames; nothing in the CIC could have possibly survived that. She was faintly aware of the exclamation of shock and horror by Adams and the others in the escape pod, but her world quickly turned inward as the pain began to sink in. The _Normandy_ had been her home these past three months. After so many years without a sense of belonging or surety, she had found it in the often-cramped confines of the Alliance vessel. She had met people of every species that she counted as friends, as colleagues, as comrades. She had met someone she loved, someone who was likely still trapped in the ruined hulk as it waited inevitably for its destruction.
"Look, there! They made it!" Liara followed Chakwas's gaze to see a single escape pod jetting away from the twisted and burning frame of the _Normandy_. Her heart leapt in elation; Shepard had made it! The single escape pod fled rapidly, as if it knew what was coming. Seconds later, a final blast from the cruiser's particle beam tore through what little remained of the frame, and Liara tried in vain to stifle the tears as the _Normandy_ was torn apart. The hull was engulfed in a massive explosion that threw debris in all directions. The thin kinetic barriers of the escape pods were battered by incoming shards of metal, and Liara was bounced around in her seat as the pod was thrown by the force of the impact. She felt her head hit the steel frame of the shoulder restraints, and her vision was suddenly clouded with stars as she began to lose consciousness.
Chakwas was out of her seat and at Liara's side in an instant, holding the Asari's neck as she quickly applied a sedative from her omnitool. "You'll be fine, Liara. We just need to wait until the Alliance arrives to pick us up. Hang in there."
Liara could feel herself slipping under, yet the last thought in her head was not one of terror or of panic. It was of a serene calm: their ship was destroyed, they were drifting through the edges of the Terminus Systems, but they were alive.
And through it all, Shepard was too.
She was sure of it.
End file.
| fanfiction |
Write a Net Ionic Equation to Represent the Reaction of Aqueous Ammonia with Propionic acid
I would like to know how do I begin to solve a problem like this?
That is finding the formula equation?
I would assume that it would be
$$ \ce{NH3 + CH3CH2COOH -> NH3 + CH3CH2COOH + H2O} $$
I am really confused as to how I can balance this equation. Do I give the ammonia a hydrogen? Do I break up the acid into smaller units?
From there I would like to know the best way for me to switch the equation into an ionic equation and then finally a net ionic equation.
By the way the net ionic equation is
$$ \ce{CaCO3 (s) + 2HC2H3O2+ (aq) -> CO2 (g) + H2O (l) + Ca^2+ (aq) + 2C2H3O2^- (aq) } $$
I am just clueless as to how they got there.
We know that ammonia is $\ce{NH3}$ and propanoic acid is $\ce{CH3CH2COOH}$.
Ammonia is a basic substance, and propanoic acid is... an acidic substance. More specifically, ammonia fits the definition of a Bronsted-Lowry base, so it will act as an $\ce{H+}$ accepter in solution.
Arrhenius acids are expected to increase the concentration of $\ce{H+}$ in solution, and propanoic acid is no exception. In water as propanoic acid dissociates...
$\ce{CH3CH2COOH ->[H2O] CH3CH2COO- + H+}$
This is where the $\ce{H+}$ comes (and is later bonded to the ammonia via)...
$\ce{NH3 + H+ -> NH4+}$
After those two steps occur, the products $\ce{NH4+ + CH3CH2COO-}$ are formed. Your ionic equation is as follows...
$\ce{NH3 + CH3CH2COOH -> NH4+ + CH3CH2COO-}$
There appear to be no spectator ions (ions that appear on both sides of the equation), so there is nothing to cancel out. As such, this is ALSO the net ionic equation. They both appear to be balanced.
So, yes, you had to do both. You were supposed to add an $\ce{H+}$ to the ammonia, but that happens if you dissociate the acid.
As for the equation with the calcium, carbonate ions sometimes create carbon dioxide and water (via carbonic acid readily decomposing, like in sodas).
>
> I am just clueless as to how they got there.
>
>
>
Well, you're not the only one. I really don't see how you get to equation 2 from equation 1.
To find out how to get the acid-base reaction equation, you first need to know which compounds react as bases (i.e. take up a proton) and acids (i.e. deliver a proton).
In your case, ammonia is the base (because the nitrogen has a lone pair that can be accessed by a proton) and propionic acid is the acid (*nomen est omen*). Then you know that the final equation has to be
$$ \ce{NH3 + CH3CH2COOH <=>[][\ce{H2O}] NH4+ + CH3CH2COO-} $$
>
> Also, how often does one need to balance these types of reactions or do they usually end up balanced or working themselves out as balanced?
>
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Acids (and bases) can be multiprotic, which means that they can give off (or accept) more than just one proton. An example for a diprotic acid would be carbonic acid $\ce{H2CO3}$.
As a result of this, it is possible to write several (equilibrium) reactions. For example:
$$ \ce{2NH3 + H2CO3 <=> NH3 + NH4+ + HCO3- <=> 2NH4+ + CO3^{2-}} $$
Where this equilibrium then lies depends on the equilibrium constants for each of these reactions.
---
The second equation can be expanded some more to show "intermediate" steps:
$$ \ce{CaCO3 + 2 CH3COOH -> Ca^{2+} + H2CO3 + 2CH3COO- \\ <=> Ca^{2+} + 2CH3COO- + H2O + CO2 ^} $$
Here carbonic acid decomposes to give carbon dioxide which bubbles out of the solution, thereby making the reaction stay out of the equilibrium zone.
I hope this clarified it somewhat for you.
| stackexchange/chemistry |
Ranma, Sailor Moon 1. Part I (four chapters)
A Ranma 1/2 / Sailor Moon cross over mini-series. A PG rating for language and situations.
This story and a few others can be found on my web page at
http://www.geocities.com/jlfenton65/
[email protected]
Ranma 1/2 is a trademark of Viz Communications, Inc. and was created by Rumiko Takahashi.
Sailor Moon is the property of Takeuchi Naoko and some other folks such as D.I.C. and Cloverway.
This story is of my own derivation and is not intended for commercial purposes, so please don't sue me.
My thanks to Ben Oliver for proof reading and suggestions.
Author's Notes: For better consistency, I'm mostly working from the Japanese version of Sailor Moon. The inner senshi are the same age as Ranma from the different FAQ pages on SM I have visited, and that will be the assumption here. That could be off a year or so according to some folks, but I'm making it a given for this story. It takes place at the end of October while Ranma and the inner senshi are all (but Jupiter) age 16 and in the 10th grade; this is after Mugen Gakuen is destroyed, so all the Sailor Senshi except Mars are attending Juuban High. The senshi have not yet met the Sailor Stars, so are unfamiliar with anyone who changes gender. Mamoru has taken off for America and Chibi-Usa is back in the future. All this makes it before the Christmas Party in the Ranma series, and after Neherenia in Sailor Stars. No, Ranma isn't a Sailor Senshi or even from the Silver Millennium; there are too many stories like that. This is just a simple comedy mixing Ranma into Sailor Moon.
Wild Horses and Rabbits Don't Mix - Part 1
by Joe Fenton
Chapter 1: Deconstructing Relationships
Ranma and Genma walked away from the Nerima district; it had been made _quite_ clear that they were no longer welcome anywhere within its confines. Everything they owned was in the packs they carried.
"Dammit, boy! _All_ you had to do was marry one of the Tendo girls and we'd have been set! How in blazes could you screw up something so simple?!"
The pig-tailed martial artist gritted his teeth. "It wasn't my fault! How many times do I gotta tell ya?"
"Oh? And I suppose it wasn't your fault you destroyed the dojo?"
"_I_ didn't destroy it! Ryoga got carried away with his Shi Shi Hokodan. So how would that make it _my_ fault?"
"You should have put the boy down before it got that far! I really expected better of you; all my training - was it for nothing?"
Ranma rounded on his father. "All _your_ training? You ain't taught me nothin' since we got here! Besides, I'd have taken care of Ryoga if that uncute, sexless, stupid tomboy of fiancée that _you_ engaged me to hadn't gotten in the way!"
Genma grabbed the boy by the collar. "Well what did you expect her to do when you're tearing up their dojo?"
He pushed his father off abruptly. "I didn't ask for a fight! It ain't my fault if she's too stupid to figure out that P-chan is Ryoga. If she hadn't blabbed to that pig about our fight at dinner, Ryoga woulda never blown up like that!"
Genma fumed, then resumed walking. "Come on, boy. We've got to get out here before they change their minds and throw us in jail instead of simply running us off." He gave his son a withering stare. "Did you have to make such a _mess_?"
"Hey! Akane and Ryoga did most of the damage - the only damage _I_ did was the craters I made when Akane hit me with her mallet. Ryoga did most of the damage to the streets with his Bakusai Tenketsu, and _Akane_ was the one that collapsed that bridge!"
"She only did that when you were making out with that Chinese bimbo!"
Ranma glowed a bright blue. "I wasn't doin' nothin' of the sort!! _She_ glomped _me_, just like she _always_ does! Akane has _never_ bothered to hear my side a things!" He calmed down a bit. "Boy, I hope Uc-chan isn't too mad about what Mousse did to her place."
Genma gave him an incredulous look. "What place? After Mousse busted out the walls trying to get you away from Shampoo, it collapsed in on itself! Did you really think she'd just let that go?!"
Ranma rubbed the back of his head. "Well, it wasn't like that was _my_ fault. Why'd she haveta blame me?"
"Because Mousse was aiming at you, and you just dodged while he tore out the supports!"
The boy sighed. "Yeah, I guess I probably shoulda moved off or somethin'."
Genma rolled his eyes. "Not that it would have made a difference..."
"Hey! You aren't blamin' the school on me, are ya? Kuno did most a that when Ukyo, Mousse and Shampoo interrupted his Kendo tournament. And it ain't my fault Nabiki lost a lotta money 'cause a the default."
"What about the shopping district?"
Ranma tried to think about that one. "That was Happosai's fault - if Kuno, Ryoga and Akane hadn't trashed that lingerie shop, he'd a never tossed those Happo Daikarin."
"And whose idea was it to trap Happosai using the high-power lines at the sub-station?"
Ranma looked embarrassed. "Okay... maybe that wasn't such a good idea."
The two continued their walk in silence. Behind them, the night was broken by flames as fire-fighters raced to try to save what little remained of Nerima.
****
Ranma stretched and yawned. He still wasn't much of a morning person; if his pop didn't wake him at dawn, he'd sleep until noon. At least there wasn't any water near where they'd set up camp; he hated being wakened with a bucket of water, _especially_ after getting cursed.
He walked over to where his pop was digging through his pack. "Whatcha lookin' for, Pop?"
Genma didn't bother looking up. "I thought I had them in here somewhere... _ah_! Here we go." He glanced over at his son. "Boy, you'll thank me for making all those extra," he paused and raised his eyebrows suggestively, "arrangements, one day."
Uh-oh, Ranma thought, he didn't like the sound of that. "What arrangements would that be exactly?" He didn't really want to know.
Genma waved a sheaf of papers at him. "Why, the ticket to retirement, boy!" He started thumbing through the papers. "Let's see... Akita, Sapporo, Kushiro..." He considered the pros and cons of those locations a moment before finally shaking his head. "Nah, too cold this time of year."
Ranma started to sweat.
Genma continued, oblivious. "Shizuoka, Kofu, Kanazawa, Okayama... nah, too far away."
Ranma facefaulted. "Uhh, Pop, just _how_ many 'arrangements' have you made?!"
"Quiet, boy! I'm thinking. Tokyo - Nerima District." Genma crumpled that one up and tossed it over his shoulder. "Tokyo - Minato District... _yes_! That's the one." He held up the paper triumphantly. "Let's find a phone, boy! I'll - _we'll_ be back in comfortable living in no time."
Ranma watched his father move off toward a bank of public phones. "I don't wanna know - I don't _even_ wanna know."
****
Tsukino Kenji glanced over at the TV; a report was running about some sort of disaster in another part of Tokyo, the caption reading 'Crisis in Nerima.' He snorted. Yeah, right. Like they had demons and droids and the other assorted weirdos that Juban had to put up with. Things had started to finally quiet down; maybe now a fire or two and a few destroyed buildings would seem like a crisis again. He rubbed his temples as he turned back toward the crisis right in his own home.
Usagi paced around the room, waving her arms around in a full-blown tantrum. "Why?! You can't control my life! I'll love anyone I want! You can't _do_ this to me - you've never even _met_ Mamoru! You'd see he's sweet, and kind, and, and..."
"And too old!" He faced off with his daughter. Why couldn't she see? He just wanted what was best for her. "You don't know what men his age are like, what they want..." He shuddered, remembering the guys in his college. "There is _no way_ I'm allowing my little girl to date some college student." He placed his hands on her shoulders. "You need to be with someone your own age - someone you can relate to and who can relate to you." And who doesn't have his own apartment, he thought to himself. He was lucky he'd found out about this Mamoru character while he was out of the country. It would be much easier to handle with his daughter unable to run off to this boy.
Usagi burst into tears and fled up the stairs to her room. Kenji sighed. It was so hard dealing with a sixteen year-old girl. Maybe he should try talking with one of her friends.
The phone rang; he walked over and picked up the receiver. "Moshi, moshi. Who? Yes, this is Tsukino Kenji. What? Saotome Genma? I'm sorry, but I don't... um, are you sure? Hm, yes - I vaguely remember that, but it's been almost ten years. What? Your son? I'm sorry but... hmmm... come to think of it, maybe that isn't such a bad idea. Let's get together and discuss this. Let me give you directions." After a few more moments on the phone, Kenji hung up and looked up the stairs thoughtfully. "This might just work out for the best."
Chapter 2: Mutually Assured Destruction
Ranma and Genma walked through the streets of Azabu Juban; Ranma had his pack slung over one shoulder.
"You _know_ they'll just throw us out the moment they find out about our curses."
Genma gave him a long look. "The Tendos didn't, and you will do your best to ensure they don't find out for as long as possible!" He turned on his son. "I'm serious! I'll have your word that you will do nothing to give away our curses."
Ranma just smirked. He knew how long it would be before something beyond their control happened. "Sure, Pop. You got it. I won't do nothin'." As usual, he added to himself. Kami-sama knows he didn't do one tenth the stuff he got blamed for. He glanced at the sky; the weather was clear. Now if they could just avoid any other sources of water, they might actually show up in uncursed form. He snorted. Yeah, right. When were they ever that lucky?
****
Kenji stuck his head in the kitchen. "Honey?"
"Yes?"
He climbed the stairs to the kids rooms. "Shingo?"
"Yeah, Dad?"
He knocked on Usagi's door. "Usagi? Please come down to the living room. We have something to discuss." He waited for some acknowledgement.
Kenji and Ikuko sat on one side of the table; across from them sat their children, Shingo and Usagi.
"_Fiancé_?!" Usagi went ballistic. "You can't possibly think I'm going to marry some - some - _boy_ I've never even met before! I love Mamoru! If you can't deal with that, it's not my problem!"
Ikuko was torn. She didn't like the idea of her little girl being so involved with an older man, but this was hardly the solution. "Dear, you don't really expect Usagi to marry this boy, do you?"
"Of course not! She's too young. That is why this is the best thing to do. The boy and his father are coming over; they will stay with us while the two get to know each other. If they don't get along, I'm sure we can break the arrangement." He looked over at the evil grin growing on Usagi's face. "And _you_ will be on your _best_ behavior! If I think you are deliberately sabotaging this arrangement, I may just change my mind about allowing the two of you to decide whether or not to continue it." He smiled as her look changed to chagrin. "Now, Ranma is in your grade, so you can start by helping him at school tomorrow. He'll be attending Juuban High while staying with us."
Shingo had sported a wide smile since the announcement of Usagi's engagement. He saw a lot of potential ammo in this; sure, he loved his sister, but this was too good an opportunity to waste. "So what's Ranma like, Dad?"
Kenji thought quickly back over his short conversation with Genma. "Um... he's a martial artist; he and his father recently came back from a training trip to China." He struggled to think of more, but that was enough for Shingo.
"Martial artist? China?" He jumped up with a wide smile. He jumped into an imitation of a basic stance. "Wow! He must have been studying Kung Fu." He glanced over at his dad. "Do you think he'll give me lessons?"
Kenji smiled as his youngest continued to prattle on. This nicely covered the fact that he knew almost nothing about the boy. Hopefully, the questions wouldn't get too probing before they arrived.
****
Ranma was getting jumpy; they'd almost reached their destination and nothing had happened yet. He was waiting for the other shoe to drop - he hadn't been splashed, no rain falling from a clear sky, no ninja attacks, no _nothing_! It was almost like... like they were going to make a _good_ first impression! His hair stood on end; this was worse by far. A good first impression would likely keep them around longer than Ranma wanted. Why couldn't Pop just let it go and head home? He was _sure_ Mom wouldn't make them honor that pledge - well, _almost_ sure.
Genma stopped before a fairly large home and rang the bell. Ranma sighed as he considered the place; trust his pop to pick the ones with money. He wondered what a two story house in Juban like this one ran. He hung back as his dad talked with the man who answered the door. He set his pack down just inside the door and followed the pair into the living room, then leapt away from a flying boot, doing a complete flip in the air; he landed in a defensive stance, squared off against - he blinked - a thirteen year-old boy.
"I knew it!" The boy was ecstatic. "That was _so_ cool! Can you teach me that?"
Ranma relaxed and rubbed the back of his head. "Sure kid; nice throw." He laughed lightly. "And who are you?"
Shingo bowed. "Tsukino Shingo. Glad to meet you."
Ranma bowed back. "Saotome Ranma. Same back atcha."
Shingo gestured to his sister seated at the table. "This is my sister, Usagi."
Ranma nearly jumped at the look he received. He knew that look by heart, having been on the receiving end all too often in the last few months.
Shingo continued on with a big smile. "But we all call her 'Dumpling Head.' I'm sure you two will get along juuuuuuust fine. Heh." He winked.
Usagi turned red, clenched her hands into fists, and the sound of grinding teeth was heard. Ranma flinched at the look she gave her brother. It was _the look_; he was glad it wasn't directed at him for once.
He left the squabbling pair as his pop waved him over.
"Ranma, these are Usagi's parents, Kenji and Ikuko." Ranma bowed to the adults. Genma continued. "This my son and heir to the Saotome School of Indiscriminate Grappling, Ranma."
Kenji gave Ranma a good-natured slap on the back. "Glad to finally meet you, my boy. But tell me, what do you think of this engagement?"
Ranma glanced at his pop's frantic face, then carefully replied. "I think it's a mistake, tryin' to decide two people's lives; especially on somethin' this important. But while I'm here, I'll try not to cause any trouble and see what happens." Another glance at Genma showed a little relief in his appearance.
Kenji gave Ranma a wide smile. "I like your honesty; that was very well put. We don't intend to force the two of you to marry -" Genma pointedly looked away. "- but I'd really appreciate it if you'd keep an open mind. You two still have years before you need to make a decision of such importance."
Ikuko finally broke into the conversation. "In the meantime, we hope you and Usagi can at least become friends. I don't think she has any male friends her _own_ age, and we think she's missing something important by not making any."
Ranma caught the emphasis in her words and thought it over. It seemed the Tsukinos had an ulterior motive of their own. He'd have to find a bit more from Shingo about this male friend who _wasn't_ Usagi's age. Maybe it wouldn't be necessary for him to do anything to get out of the engagement.
****
Ranma and Usagi walked along the street, darting angry looks back and forth. Their parents decided Ranma needed a small tour of the area and chose Usagi to lead it. Usagi fervently prayed they didn't run across anyone that knew her; Ranma fervently prayed they didn't run into any cold water. So far, both prayers seemed to have been answered.
Usagi gave another glare as she caught him looking at her. "I'm not marrying you. I already _have_ a boyfriend."
"So I gathered from your folks. Sounds like they don't approve." He gave a sideways glance, hands laced behind his head. "So when do I meet 'Mister Right?'"
"He's away at college right now." She added in a lower voice, "Like I'd introduce you anyway."
He gave her another glance. "It's all right; I wouldn't beat him up or nothin'. I'm not marrying you, either, so it's not like I'd be jealous."
She swung to face him. "You couldn't beat my Mamoru if you tried! He'd kick your sorry butt all the way back to China!" She noticed his smile and saw he was only teasing, then realized what he had tricked her into revealing. "Ohhhhhh, you!"
He laughed at her embarrassment. It was almost nice being with someone who didn't automatically attack him for pulling such a stunt. "I'm glad you've found someone who means that much to you. In the meantime, I'd like to be friends; come on, let's get some ice cream." He saw the indecision war with temptation on her face and smiled wider. "My treat." That did the trick.
Ranma toyed with his own ice cream as he watched Usagi destroy another parfait. He saw her embarrassed look, then laughed. "Don't worry, I eat ice cream the same way when I'm in... uh... when I'm really hungry." He hoped he covered that slip well enough. Usagi seemed not to notice as she started on a sundae; Ranma watched, wondering if that was how his female side appeared to others.
****
Ranma and Usagi walked through the park, headed back to her home. It was near evening and they needed to get back before dinner. They had stopped for cold drinks at a yatai, and sipped at them while talking about their lives; well, the parts they could tell each other actually.
"So I wound up waitin' for three days for my friend to show up for our fight in the vacant lot right behind his house."
Usagi laughed. "It took him three days to find the lot behind his house?"
"No, it actually took him _four_ days. By that time, Pop and I had left for China." Ranma smiled at that memory. Funny how things seemed better over time. "He got so mad that I 'chickened out' of our match that he followed me to China."
Usagi whirled around, facing him while she continued to walk backwards. "You're kidding, right? Who'd do that over a stupid fight?"
"You don't know Ryoga - the fight was over bread, remember? Skipping out on that fight was _much_ worse than what the fight was over to begin with, as far as he was concerned." He noticed a large rock behind Usagi. "Um, Usagi? Maybe you should -"
Usagi failed to notice the rock while walking backwards and started to go down hard. Ranma was there before she got halfway to the ground, holding her gently. She was completely shocked, not just by the near fall, but by how fast he reacted. "Wow! That was really -" She broke off as she realized she was being held by someone other than Mamoru.
"You _jerk_!! What in blazes do you think you're doing?!"
Ranma was baffled: he had managed to catch her before she hit the ground; neither of them had spilled their drink on the other; he hadn't grabbed her by any - inappropriate - part to catch her. He had no idea why she was angry. "Whatta you mean?"
Usagi let out a bellow. "Let - GO!!"
"If you insist." He released her suddenly and she fell on her rear. Personally, he felt she should have asked him to help her up, but...
Usagi stood up, brushed her skirt with her free hand, then got right in his face. "How _dare_ you treat me like that!" She threw what remained of her drink in his face.
"Dammit! What'd you do that for?!" Ranma wiped her face with the sleeve of her shirt. Then she realized what had happened. "Um... Usagi?"
Usagi was staring with saucer size eyes. The taller, black-haired boy she had thrown her drink on had been replaced with a much shorter, red-haired girl. The girl was very pretty, and the final insult as far as Usagi was concerned was her much larger bust size. Usagi had always been self-conscious about her smaller chest, and the fact that this - being - was larger than her only infuriated her more. There was only one thing this being could be. "A shape-shifter!" she whispered urgently. She gasped and her eyes went wide. "You're gonna try to take my heart crystal or drain my energy or something!" Her expression suddenly grew unusually focused. She knew how to deal with things like this.
Ranma heard the whisper, then Usagi laid a hand on the broach she wore and cried, "Moon Eternal, Make Up!"
Ranma watched, transfixed as Usagi was enveloped in light. Her normal clothes were replaced with a stylized fuku with an extremely short skirt and what seemed to be silk wings. Some jewelry now adorned the odangos in her hair. She struck a pose as the light faded.
"How dare you try to deceive my family! An engagement is a bond of trust that you have tried to take advantage of. For love and justice, I am the Pretty Sailor-Suited Soldier Sailor Moon! In the name of the Moon, I will punish you!"
Ranma dropped her drink, and fell over laughing.
Sailor Moon dropped her pose, looking indignant. "Hey! You're not supposed to laugh! You bad guys always spout some kind of nonsense like 'So, Sailor Moon. You'll not stand in our way this time; I'm going to take you out like the trash.'"
Ranma rolled onto her stomach, started kicking her legs, and laughed even louder, pounding a fist into the ground.
"Hey! Quit laughing! I'm serious!" She started turning a bright red. "Ooohhhhh!"
Sailor Moon lashed out with a low kick, trying to catch the girl on the ground. Ranma rolled away from the kick and leapt up and away from the next kick Sailor Moon attempted. Several punches and kicks similarly failed to catch her. Ranma would have to be careful; while completely unskilled, Sailor Moon had a speed and strength she couldn't hope to match due to the girl's magical enhancement. Ranma had always wondered how she'd fare against a magical opponent, now was her chance. She almost missed an approaching punch which passed just millimeters in front of her face.
The red-head smiled. "Close! But not good enough." She smirked. Maybe she could get Sailor Moon mad enough to totally lose it like Ryoga. "You know, maybe you shouldn't use high kicks... not with a short little skirt like that."
Sailor Moon was livid. Burning anger and her inability to connect with the dodging girl got to her. She gestured with a gloved hand; the Eternal Tier appeared in her hand and she held it high.
Ranma stifled her laughter as beams of light shot forth; that probably hadn't been a good idea. "Hey! Watch it! You could hurt someone!"
Sailor Moon fired several blasts at the rapidly dodging girl. "Hold still! How am I supposed to blast you if you _won't_ - _stand_ - _still_?!"
Ranma kept dodging; she had no idea what those beams of light would do to her, but she wasn't going to let one hit her to find out. She also couldn't spare the attention to see what effect it had on what it _did_ hit. "Would you stop?! USSSAAAGGGIIII!!!"
She stopped blasting and looked around frantically. "Shhhhh! You want someone to hear you? You'll blow my secret identity!"
Ranma finally stood still and looked her right in the eye. "You're kiddin', right? How could anyone _not_ recognize ya? 'Specially with that hair." She almost started laughing again.
Sailor Moon gestured to herself with the wand. "It comes with a disguise field to prevent recognition, but it doesn't work if someone sees the transformation, or someone goes around _screaming_ out my name! So stop it!"
"Yeah, right. Whatever. Just stop with the death rays, huh? Gimme a chance to explain this."
She crossed her arms and struck an impatient pose. "Okay, let's hear it."
Ranma gestured at the Senshi. "Um, maybe you should, you know, change back? You kinda stick out like a sore thumb. Someone might come by and wonder what's up."
Sailor Moon stood her ground. "Oh, you'd like that, wouldn't you? Wait for me to change, then BLAM! Well it isn't going to happen, Mister! Er, Ma'am?" She looked flustered a moment. "Well, whatever you are."
That got the standard reaction from Ranma. "I'm a _guy_, dammit!"
Sailor Moon looked puzzled. "Are you sure? I know I'm not the smartest student in school, but I seem to remember -"
Ranma cut her off. "My _body_ is currently female, but I'm still a guy. It's a curse I got in China."
Sailor Moon hmphed. "Yeah, right."
Ranma gave her the evil eye. "_You_ don't believe in magic or curses? I suppose that's just a costume and a fancy tazer?"
Sailor Moon had the decency to look embarrassed. "Ooookay. Suppose we go find someplace more public where we can keep an eye on each other and talk?"
"Fine!" Ranma spun on her heal and headed back towards a more populated part of the park. Sailor Moon watched her for a second, detransformed, then followed her.
Ranma walked up to a vendor selling ramen out of a yatai and put on her cute act. "Could I possibly get some hot water? Pleeeease?" The guy running the stand turned to butter when she started batting her eyelids.
"S-s-sure. Here." He poured some hot water from a kettle into a cup and handed it to the red-head. She smiled sweetly and walked off. He watched dazed for a moment, then waited on a customer.
Usagi saw the girl stop at a water fountain. "All right, out with it!"
Ranma poured about half the hot water over her head. Usagi stared as the girl changed back into the boy she had spent the afternoon showing around Juban. He explained what happened to him and his father at Jusenkyo.
" - so, if I get splashed with cold water, I change into a girl." He used some water from the water fountain to change once more. "And to change back, I need hot water." She poured the rest of the hot water over her head. Usagi wasn't quite as shocked at the transformation by this time.
Usagi glared at him a moment. "Okay, so maybe you're not a monster or youma or what-not. But there is no way I'm going to be engaged to someone who changes sex when splashed with water!" She poked a finger in his chest. "We are going right to my parents and straighten this out right now!"
Ranma looked thoughtful. "I guess you're right. We'll tell 'em how I changed into a girl when you threw your drink on me..."
Usagi nodded. "Yes."
"And then how you changed into Sailor Moon and attacked me..."
Usagi nodded again. "Yes -" She turned white and started shaking her head. "I mean, _no_! You can't tell them that!"
Ranma smiled slyly. "What, Usagi? Is there something you wanna keep secret from your parents?"
She glared at him. "I thought you didn't want this engagement."
He sighed. "I don't! But I promised Pop I wouldn't use the curse to deliberately end it. If your folks find out about it like _you_ did, by _accident_, and wish to end it, that's different." He noticed Usagi's grin. "And if you're thinkin' about splashing me in front of your folks, that might end the engagement, but think what your folks will do after they figure out you did it on purpose to end the engagement." He saw her hesitate and pounded the nail home. "I got the impression your folks did this to try to break up you and your Mamoru. If you break our engagement, whatta you think they'll do next?"
Usagi stood shaking a minute. "I can't believe I'm engaged to some sex-changing, macho _jerk_ who knows my secret identity, and can't do _anything_ about it."
Ranma nodded in sympathy. "Yeah, I know, but you get used to it after awhile."
She looked at him strangely. "What do you mean?"
He looked away, laced his hands behind his head, and started walking again. "Now that we're past the 'keeping a big secret' stage, I can tell you a little more about my life."
****
As both families sat around the table that evening, a strange kind of battle took place. Ranma and Genma started sparring over food on each others plates with their chopsticks while eating at a pace to rival Usagi. Shingo watched in awe.
"Whoa! I've never seen _anyone_ who could match Usagi at dinner, much less fight for the food at the same time." He looked suitably impressed.
Usagi took offense at this and decided to try the same thing with Shingo. The boy lost almost half his dinner before Ikuko put an end to the first, and last, food battle at the Tsukino table.
The battle settled into silent looks. Genma would glare at Ranma; Ranma would glare back, then glance at Usagi in sympathy. Usagi would look back sadly, then give Genma a furious stare. Shingo would glare at Usagi, look in awe at Ranma, then in confusion at Genma. Ikuko _almost_ asked what on earth was wrong with everyone, but let it pass. It was probably just the strangeness of the situation; it would settle eventually.
After dinner, Ranma and Genma moved their things into the attic room Usagi's 'cousin' used when she visited. Ranma wanted to get settled in; tomorrow was his first day in a new school. He just hoped things went better than in Furinkan.
****
Usagi turned back the covers of her bed. After the day she had just been put through, she was looking forward to some solid sleep. A small black cat jumped onto the bed. She brushed the cat off idly as she climbed into bed.
"Not now, Luna. I _gotta_ get some sleep." She yawned widely.
"But Usagi, who are those two men? And why are they staying here?"
"That's just my fiancé, Ranma, and his father."
"_Fiancé_?!!" Luna jumped back onto the bed and got right in Usagi's face. "But Usagi! What about Mamoru?! What about destiny?!"
Usagi dragged the covers over her head. "Our dads arranged it. Don't worry, Ranma doesn't want to marry me any more than I want to marry him." She rolled over, tossing the cat from the bed. "Tomorrow after school, we can all get together and figure some way out of this mess."
Luna looked at the sleeping girl a moment, snorted, then jumped up onto the foot of the bed to get some sleep as well. She'd keep a close eye on this 'Ranma' tomorrow. There was no way she was letting some boy jeopardize Crystal Tokyo.
Chapter 3: The New Kids On The Block
Usagi yawned as she stumbled downstairs for breakfast.
Ikuko noticed her sleepy daughter and shook her head. "You're running late again. You need to get up earlier if you want to get to school on time."
Usagi looked around. "Where's Ranma?"
"He and his father went down to the park to spar. They should be back any time now." She set three bentos on the table. "When he comes in, be sure he gets his lunch. You'll both have to hurry if you don't want to be late." She went back into the kitchen.
Just at that moment, the front door opened and Shingo, Ranma, and Genma entered. Genma berating his son.
"You're getting sloppy, boy. We'll have to work out an extra hour later today."
Ranma muttered under his breath. "Still better than you, old man. At least there was no koi pond to fall into."
Shingo was jumping excitedly. "You should have seen them, Sis! They were jumping around, and kicking, and punching,..." He continued on with a description of the sparring practice, giving little demonstrations of how each part went.
She glared at her brother. "Why haven't you left for school yet?"
"I had to watch Ranma! It was great! He showed me a few things, too. I'm going to be a martial artist, just like him." He jumped around a bit more, then grabbed his book bag and a bento. "Come on, I'll make sure Dumpling Head doesn't get you lost."
"Don't call me Dumpling Head!!!" She tossed a bento to Ranma, who caught it one handed. She grabbed the other bento and her book bag, then dashed for the door. Ranma grabbed his own book bag, figuring all schools used similar materials, then dashed off behind the siblings.
The siblings glanced up at the boy racing on the top of the fence, Shingo in awe, and Usagi in irritation.
She finally had to ask. "Why are you running on top of the fence?"
"Balance practice. Pop always taught me to make _everything_ into practice."
Shingo spoke up. "How long would it take for me to be able to do that?"
"Not too long. A few more basic lessons and you'll be ready to work on it."
The three raced along in silence for awhile, Ranma because he saw no need for conversation, and Shingo and Usagi because they needed the air for running. They were almost to the high school when Usagi barreled around a corner, running into another girl with long, flowing, blond hair.
Ranma jumped from the fence and caught the other girl before she landed on the concrete sidewalk. He helped her to her feet.
She stood in shock for a moment, just holding the boy. She gave him a warm smile. "Thank you. That would have been a nasty tumble."
Ranma blushed and looked down. "No problem. Happy to help." He was glad she hadn't gotten mad like Usagi did the previous day. Speaking of Usagi - he looked over where the girl was getting up off the sidewalk, rubbing her rear.
"That hurt! Why didn't you catch me, you idiot?" She glared at Ranma.
He gave her a big smile. "But Usagi, yesterday you got all upset when I did."
"That was yesterday!"
The girl looked back and forth between the two. "Usagi? Would you like to introduce your handsome friend?"
Usagi glared at the girl. "No, I wouldn't!" The other blinked at the response.
Time for a little fun, Shingo thought. He'd been waiting for just this moment. "Ranma, this is a friend of Usagi's, Aino Minako. She'll be in your class too." He turned to Minako. "This is Saotome Ranma, Usagi's fiancé." He smirked as Usagi turned red and Minako rounded on her.
"_Fiancé_?! But Usagi, what about Mamoru?!"
Usagi turned to give Shingo a piece of her mind, but he had already fled laughing for the junior high. She sighed and turned to Minako. "My parents set it up because they don't approve of Mamoru. I didn't have anything to do with it, and I am certainly _not_ going to marry this jerk!"
Minako listened intently, then gave Ranma a look that made him nervous. "Oh? Then he's available, is he?"
Ranma sweated as Usagi nodded her head. "H-h-hey! I think we need to hurry. We're gonna be late if we don't run." He'd be running right now, but he had no idea where the school was.
That got Usagi going. "On no! I can't be late again!" She took off running.
Minako laughed. "Just follow Dumpling Head." She took off after Usagi with Ranma bringing up the rear, groaning about fiancées.
****
Ranma stood at the front of the class as the teacher got their attention.
"Class, I'd like you to welcome a new student." She turned to Ranma. "Please introduce yourself."
He looked across the class. The girls were giving him longing stares, and the boys angry glares, for the effect he was having on their girlfriends - pretty much par for the course. He sighed. "I'm Saotome Ranma; I'm a martial artist and heir to the Saotome School of Indiscriminate Grappling. I have recently returned from a training trip to China." Simple enough, even if not _entirely_ accurate.
"Thank you, Ranma. I suppose you may not know this, having just come back from China, but here at Juuban High, we have a strict dress code. You will get a proper boy's uniform." She looked at Usagi and Minako. "You three were also late; please stand in the hall."
So, Ranma found himself standing in the hall. That wasn't so unusual for him. He looked at the signs the three were wearing. 'Late to class.' It was certainly not as bad as holding buckets of water; not that holding buckets of water was any big deal to him. Pop's exercises made holding buckets of water easy by comparison. He sighed as he thought of all the times he and Akane stood in the hall by their class in Furinkan. He wondered how long the fiancées would stay mad before finally deciding to track him down again. He shuddered as he thought of the Kunos; hopefully they'd forget about him. Suddenly, he brightened. Hey! No fiancées! At least for awhile. He decided to try to enjoy what little time he had before the insanity caught up with him.
Usagi glared at the happy boy beside her. "Hey! What are you so happy about? _You_ got us into this trouble!"
Oh yeah, one fiancée. "And exactly how is this _my_ fault?" Just _once_ he'd like to have it be someone else's fault.
Minako looked at Usagi questioningly. "Yes, exactly how _is_ it his fault, Dumpling Head?" Ranma blinked; did someone just stand up for him?
"Don't call me Dumpling Head!!!" Usagi covered her mouth quickly and glanced around, hoping a teacher hadn't heard her yelling. She hissed angrily. "It's his fault because if he hadn't been with us, we would have just gotten up and ran to class." She nodded triumphantly.
Minako rolled her eyes. She gave Ranma a smile with wide, shining eyes. "So, if you and Usagi aren't really engaged, how about dinner tonight?"
Ranma blushed. It wasn't that he didn't like such attention, it was just that after ten years on the road with just his pop, he had absolutely no idea how to deal with it. "Uhhh...." That was certainly an intelligent way to answer. He shook his head to clear it. "We still need to keep up appearances around our folks 'til we can figure a way to break the engagement that doesn't get Pop and I run outta town." A quick glance at Usagi prompted him to continue. "And doesn't cause Usagi and her family too much trouble." Whew - that was better than he normally did.
Minako frowned briefly, then brightened and took his arm. "Oh, I'm sure we'll think of something."
Usagi glared at her friend, then shook herself. Why was she getting jealous? She turned her glare to the real villain in this drama. "What do you think you're doing? This is a school, not a social club, Ranma."
Ranma was trying to remove Minako from his arm. She's almost as bad as Shampoo, he thought, then turned to Usagi. "Whatta you mean? I ain't doing nothing'."
"_Nothing_?! You're hanging all over _her_ and you're supposed to be _my_ fiancé!!!"
Now, her previous yell _had_ been heard by the class; it was just so common that everyone, including teachers, naturally tuned it out - it was much the same principle as living next to an airport. Usagi's last yell was the same volume, but carried much further due to the content; every class window on the floor opened as students crowded to look at the group.
Most of the girls comments fell along these lines.
"Fiancé?"
"They're engaged?"
"Awww, how'd Usagi get such a hunk?"
"I thought she was seeing someone?"
Most of the guy's comments fell along these lines.
"Geez, with his build, he coulda done _much_ better."
"1000 yen says Usagi loses him to Minako before the weekend."
"He ain't _that_ good lookin'."
"I thought she was hooked up with some college guy?"
The three stood in mortification at their classmate's comments. The teacher finally walked into the hall.
"You three - the principal's office - _now_! The rest of you - _back to class_!"
****
Usagi glared at Ranma. "I can't believe you got me a detention!"
He glared right back. "_I_ got you a detention?! _You_ were the one yellin' in the hall! Besides, I also got an extra day for not havin' a proper uniform." He swore at the injustice of it all.
They caught the attention of a custodian mopping the floor. "You kids, watch your step - I just mopped here." Ah! Young love! He remembered when he and his wife were their age. He paused to watch them as they passed by on their way back to class.
Minako took Ranma's arm again. "Don't worry Ranma honey, I'll wait for you after school. We can go out and forget all about mean-old Dumpling Head." She stuck her tongue out at Usagi.
Usagi rounded on her friend. "Don't call me Dumpling Head!!!" She kicked at the mop bucket in anger.
Minako dodged as the bucket flew toward the pair. Unfortunately for Ranma, she didn't let go of his arm; he wound up being dragged into the path of the bucket - and the dirty water it contained.
Usagi pouted at Ranma. "_Now_ look what you made me do!" She looked around. "You'd better get some hot water before we get in more trouble."
Minako was staring, horrified. "Urk..."
Ranma sighed and starting ringing out her pig-tail. "Why do these things always happen to me?"
Minako was still in shock. "Urk..."
Ranma turned to head to one of the bathrooms when a teacher stepped out of a nearby class to determine what was happening outside her class. She took one look at Ranma and stepped in front of the girl.
"Why aren't you in a proper uniform?" Before Ranma could rely, she continued. "That is inappropriate dress, even for outside class." She commented on Ranma's lack of a - supportive - undergarment. "The boys are bad enough around here without girls like _you_." She narrowed her eyes. "Principal's office - now!" She turned to Usagi and Minako. "You two - get to your class!"
Usagi dragged the unresponsive Minako off. Ranma opened her mouth to complain, then sighed and headed back the other way.
The custodian shook his head and started mopping the floor again. Ah! Young love! Of course, guys didn't turn into girls when he and his wife were their age.
****
Ranma sighed in relief as the lunch bell rang. It had to have been the longest morning ever... well, other than his first morning at Furinkan High... or the day after he was cursed... or the day after the neko-ken training... well, it was the longest morning that week. He grabbed his bento and headed outside; as he settled down under a tree, Usagi and Minako settled down next to him. He barely noticed as he dug into his lunch. The two girls watched him for awhile; Minako finally broke the silence.
"Wow! I haven't seen _anyone_ who could match Usagi at eating!"
Ranma didn't even pause - he'd heard it all before.
Two more girls wandered over and sat with them. One had long brown hair pulled into a pony-tail, and the other had shorter black hair; he noticed that she had a passing resemblance to Akane.
The black-haired girl spoke. "Usagi, are you two really engaged?"
Usagi paused, right on the edge of starting on her own lunch. "My folks arranged it with his because they don't approve of Mamoru." She looked despondent, but dug into her lunch with a gusto.
Ranma paused and looked at the girls. "Neither of us like it. We're not gonna get married; as soon as we can figure a way out that don't hurt no one, I'm outta here." He looked over at Usagi. "I can't believe you got me _another_ detention for not havin' a uniform."
Brown pony-tail spoke up. "Another? How can you get two detentions for the same offense?"
Minako joined the conversation. "He turned into a _girl_!" She was still a little rattled from this morning.
The black haired girl looked skeptical. "Come on, people just don't change sex." She looked at Minako closely. "You look pretty shook up; are you _sure_ about it?"
Minako glared at her in anger. "I know what I saw! She was so big -" She held her hands in front of her chest. "- she made Usagi look like a boy!"
Usagi had been nodded at Minako's story - until now. "HEY!! I'm not _that_ small!"
Ranma sighed. "Um, girls? Should we be talkin' about this?" He looked pointedly at the other girls.
Usagi noticed the glance and realized her lapse in manners. "Oh! Sorry." She pointed to brown pony-tail and the black haired girl. "These are two of my best friends, Makoto and Ami." The girls nodded at the introduction. Usagi continued. "If you really want the best plan for breaking off our engagement, Ami here is probably our best bet."
Ami blushed at the praise. "You two really don't want to be engaged?"
Ranma nodded and Usagi bristled.
"Of course I don't want to be engaged to this jerk! I got my Mamoru and nothing is going to stand in the way of our love!" Usagi was standing with an upraised fist while the other girls sighed. Ranma rolled his eyes. Girls, he thought.
Ami looked back at Ranma. "Did you really change into a girl?"
He looked around, then asked Usagi sarcastically. "Is there anyone else you wanna tell? I _really_ hate telling this story."
Usagi went quiet and thought for a moment. "Well..." Ranma sweat-dropped. "We should probably tell Rei too, but she doesn't go here. Oh! And we should probably tell Haruka and Michiru, but they're upper-classmen and it would look suspicious for them to be seen talking with us at lunch."
Ranma looked at his unwilling fiancée. "Maybe I should just write it down and have it printed in the paper."
Usagi frowned. "No. That'd probably be telling too many people we don't want knowing about this."
After everyone picked themselves up off the ground and finished glaring at Usagi, Ranma started his story.
"I'm a martial artist; my pop is trying to make me the best in the world, so we've been on the road trainin' for the last ten years or so. The idiot took us to one particular training ground in China. This place has more than a hundred springs, and when you fall in one, you take the shape of whatever drowned there when splashed with cold water. Hot water changes you back." He sighed; he really hated this part of the story. "Well, we started sparrin' before we knew what would happen; I knocked the old man in the 'Spring of Drowned Panda.' I was so shocked when this big panda came at me that I froze; he knocked me in the 'Spring of Drowned Girl.'"
The girls all looked shocked. Ami spoke for the group. "That must have been horrible!"
Ranma accepted the sympathy. "Yeah, pretty bad. But it coulda been worse. I know folks cursed to turn into pigs and ducks and c-c-c-c-cats." He almost didn't get that last one out. Ami looked a little puzzled at his stutter, but let it slide.
Makoto thought a moment. "So what do you when you want to go swimming?"
He turned red and looked at the ground. "I gotta one-piece that I'm told looks quite stunnin' on me." He waved his arms in a panic. "Not that I'm some kinda pervert or anythin'. Just gotta dress accordingly." He looked around; all the girls looked rather stunned. "Why do you think I hate tellin' this to people. It's bad enough havin' to swim inna girl's suit without havin' folks who know I ain't a girl." He was staring at the ground again, looking rather put out.
Ami reviewed the conversation and turned to Usagi. "You knew about this? When did you find out?"
"Last evening. I was showing Ranma around when I spilled a drink on him -" She noticed Ranma's glare. "- or something. He told me about it then."
Ranma muttered under his breath. "After you stopped tryin' to kill me."
Makoto leaned over. "What was that?"
Ranma tried to look innocent as Usagi glared at him. She thought quickly. "These are my best friends... they, uh, know my little secret." The girls looked at each other questioningly.
Ranma looked around, then back at Usagi. "Great secret identity, Dumplin' Head. Just how many folks have you told? I have enough trouble with folks wantin' a piece of me without havin' to worry about your enemies too." Usagi was really giving him the evil eye.
The other girls all looked nervous. Minako asked, "Really? You, uh, know _Usagi's_ little secret? How'd you find out?"
"Well, last night when she thr-" he noticed Usagi's face and changed his story a little. "- spilled her drink on me, she kinda freaked and transformed and tried to kill me."
The girls all looked shocked now.
Makoto turned to Usagi. "You tried to _kill_ him?"
Usagi sputtered then threw up her hands. "Well, when you spend the last two years fighting youma and demons and droids and aliens and evil revolutionaries from the future, you kind of get stuck in the 'shoot first, ask questions later' frame of mind. How was I to know it was just a simple curse? Besides, he _laughed_ at me!"
The others had the grace to look embarrassed.
Ranma looked around the little group. "So, now you know about me and have an idea why we'd just like to find some way to _quietly_ break off the engagement. Ain't no sense in drawing any attention to things that ain't no one else's business."
The girls all looked around at each other and nodded. Ami spoke up.
"Okay, Ranma. We understand; we'll see if we can think of something. Usagi is our friend, and we want her to be happy. Please try to keep her secret; I think you can imagine what would happen if that got around."
Ranma nodded. "You have my word of honor." He noticed the hesitance in some of their eyes. "Hey, if I can keep quiet about a pig sleeping with my fiancée, I can keep quiet about this." He looked at the startled look in their eyes and laughed. "No, not Usagi; and no, you _don't_ wanna know about it, even if I could tell you."
The rest of lunch passed in a strained silence.
Chapter 4: The Running Man
Ranma was walking on the fence-top again as he followed Usagi home. Usagi gave him another glare.
"Just remember, it's your fault we got detention. I'm not going to take any of the blame for getting home late."
Ranma sighed and continued walking. At least one thing was constant in his life; no matter what, it was always his fault.
He jumped to the ground a short distance from the house and followed Usagi in.
Ikuko looked into the living room from the kitchen. "You're late. I hope you didn't get into any trouble." She was looking specifically at Usagi.
The girl shook her head and pointed at Ranma. "It was his fault; he made us late and we got detention. Oh, and he also got another for not being in uniform." She smiled smugly and headed for her room.
Ikuko sighed and shook her head at her disappearing daughter. "Sorry about that, Ranma. I keep hoping she'll grow out of it." She smiled at him encouragingly. "Tell you what - after dinner, we'll go shopping for a school uniform. Maybe a couple casual items as well."
Ranma managed a smile. "Thanks, Mrs. Tsukino." He dragged himself up the stairs towards the attic room he and his pop shared. He wasn't looking forward to the shopping trip. If there was anything he hated more, it was school uniforms. It was bad enough that he had had to wear one his first year of high school at the all boys school he attended with Ryoga; his curse made it that much more difficult. Maybe he should get a thermos while they were shopping.
Ikuko watched the boy slowly move upstairs and smiled. He seemed nice enough; maybe this arrangement would work out after all. She was about to return to the kitchen as a blur flew down the stairs and out the door. The sound eventually caught up with the blur.
"CCCCCCCAAAAAAAAAAAAAAAATTTTTTTTTTTTTTTTT!!!!!!!!!!!!!!!!"
Usagi came down the stairs at a more sedate pace, carrying Luna. She looked at her mom. "What was that?"
Ikuko looked at her daughter and shook her head. "I think it was Ranma. I guess he wanted to get some exercise before dinner." She went back into the kitchen.
Usagi walked over to the front door, looked both ways, then shut it with a shrug. She didn't have much time before she had to meet with the other senshi at the temple.
****
Ranma slowed eventually as his mind finally digested the fact that he was not actually being chased by the cat. He slowed to a stop and lowered his head. He hated this fear - almost as bad as he hated his curse. _Damn_ the old man! He'd have to give him an extra pounding this evening to take the edge off his anxiety. He slowed his breathing and took a look around. He recognized the area from his little tour the other evening; good, he wouldn't need to ask for directions back. He started back a bit more cheerfully - until he rounded the first corner.
Minako was on her way to her study group with the other senshi at Rei's grandfather's temple. Unfortunately for Ranma, she was also carrying Artemis. She barely had time to recognize Ranma and call out a greeting before he disappeared. She couldn't believe how fast he moved. He was out of sight almost before she figured out he was moving, the sound dying as he moved away.
"CCCCCCCAAAAAAAAAAAAAAAATTTTTTTTTTTTTTTTT!!!!!!!!!!!!!!!!"
She stared after him for a minute, then continued on her way.
****
Ranma was seriously considering simply leaving; leaving his pop, leaving the Tsukinos, leaving Juban. There were entirely too many c-c-c-c-c... _those_ things for his well-being. It seemed that every time he finally got control back and stopped, there was another one. He was totally lost at this point. He hated having to ask for directions; it made him feel too much like Ryoga. He sighed and climbed the last few steps to the temple. He could probably get directions from one of the priests, and they wouldn't make him feel so stupid. He knocked on the door and waited.
The door opened and Ranma opened his mouth. There stood both Minako and Usagi, both holding -
"CCCCCCCAAAAAAAAAAAAAAAATTTTTTTTTTTTTTTTTS!!!!!!!!!!!!!!!!"
They watched Ranma as he quickly disappeared from view.
Minako looked awed. "Wow! He sure can _run_!"
Usagi glanced, puzzled, between Ranma's departing smoke cloud and the two cats. "What was that about?"
Minako shrugged and closed the door. The two girls walked back to Rei's room.
Rei looked up from her book as her friends came back in. "Who was that?"
Usagi spoke up. "Ranma. I was going to ask him to come in so you could meet him, but I guess he had to go."
Ami rolled her eyes. She had seen Ranma streak off from her place near the window; she had heard the cry as he ran; she had heard his stutter at lunch. She had all the clues she needed; she would need to talk with him privately later. She was certain this was something he would not discuss openly, but they would need to know about for Usagi's sake. In the meantime, she'd speak with Usagi about Luna until she could verify her hypothesis.
****
Ranma sat next to the table, twitching at every little noise as he ate dinner. Ikuko looked at him in concern.
"Are you okay, Ranma? You seem a little nervous."
He replied with almost too much animation. "I'm fine! Really... no problems here! Yep!" He jumped as he thought he saw something out of the corner of his eye.
Usagi was watching curiously; she had left Luna in her room, as Ami suggested. If what her friend had said was true, she had a weapon in her conflict with her ersatz fiancé. She smiled.
Shingo watched Ranma anxiously. Something was wrong; whatever it was, it must be really bad. After what he'd seen in Ranma's workouts, if it could spook Ranma this badly, it would have to be truly horrendous.
Genma looked at Ranma in worry. Damn the boy! He better not spoil this. He obviously needed more time sparring.
Kenji tried not to look at anyone. Nope! There was absolutely nothing going on here. Just a quiet dinner.
****
Ikuko and Ranma stood in front of a rack of dress shirts like the kind he needed for his school uniform. He sighed as Ikuko pulled out a few different sizes for him to try. He was already holding a couple pair of dress slacks that had taken them almost half an hour to find.
Off to the side, Usagi held up a frilly dress. "Hey Ranma! What do you think of this?" She smiled evilly.
Ranma winced and looked away. Ikuko looked over at her daughter.
"That's nice dear, but you already have enough dresses."
Usagi smiled wider and put the dress back. She moved towards another rack of women's clothing. She had been teasing Ranma all evening and was in a very good mood. Her mom was right! This was a lot of fun! She looked at a rack of brassieres. She would definitely have to get Ranma's opinion on a couple of them.
Ranma moved off toward the dressing rooms, only to be intercepted by Usagi.
Ikuko looked to where her daughter was asking Ranma about a brassiere. She shook her head. She had no idea Usagi would take such a liking to the boy - now she was even discussing lingerie with him. She smiled at how embarrassed the boy was; he looked ready to bolt. She sighed and decided she would give Usagi _that_ talk again later this evening. Better safe than sorry.
****
Usagi sat on her bed; she didn't think anyone could actually die of embarrassment, but she felt she was close. Shivers ran down her spine as she remembered the conversation she just had with her mother. It was enough to make her gag.
"I can't believe Mom gave me _that_ talk." All the fun she had had at Ranma's expense had backfired on her.
Luna walked across the bed. "Well, you should have thought about how your mom would have perceived the way you were interacting with Ranma. After all, she is not aware of his curse. You were asking him about girls clothing, and you were the only girl there that she was aware of."
Usagi fell on her back and covered her face. "AAAAHHHHH! I just want to die... I've never been so embarrassed. She actually thought I would want to do - _that_ - with _him_!"
Luna just smiled. Maybe this would teach Usagi the importance of examining her actions from every point of view before committing herself.
In the attic, Ranma was putting away the clothes they had purchased. He shuddered again in horror at the memories; how could girls find something like that - _enjoyable_? Add Usagi's blatant teasing to the whole experience and it was the perfect end to the worst day in his life. He frowned; well, the worst day that week.
And so ends Part 1 of Wild Horses and Rabbits Don't Mix. Will the Tsukinos learn of Ranma and Genma's curses? It's only been a day and a half, after all. Will the fiancées show up? They were pissed, but this is Ranma we're talking about. Will Ranma learn about the other Sailor Senshi? Will the Sailor Senshi learn Ranma's weak spot? Will Ranma dress up in a stupid disguise that fools almost no one? All this and more in Part 2.
More Author's Notes: I know that the NA sub of SM uses 'Meatball Head', but the proper translation is 'Dumpling Head'. I guess the idiots at D.I.C./Cloverway thought Americans didn't know what dumplings are; I think most of us do, so I'll stick with the proper translation. In case you are wondering, Eternal Sailor Moon has an attack that has no name which she uses a few times while battling Neherenia's shard-demons and mirror parodies. She just holds up the moon rod and beams of light shoot out; that is what she uses against Ranma in their fight in the park. Azabu-Juban is one of the three major towns in the Minato District of Tokyo, for folks who wondered about the reference to it in chapter one. I write the schools as Juuban because they are _not_ named after the town; like many American cities, the schools are numbered, and Juuban simply means 'number ten'. Yes, Dumpling Head only cried once during the story; the fact of the matter is, I've seen quite a few SM episodes (making the Japanese warding signs) and Usagi can go quite some time without bursting into tears. I think many ff writers overdo it with Usagi's tantrums, much like they overdo Ryoga's (lack of) sense of direction. Ranma and Genma did get kicked out of both the Tendos and Nerima, but is it permanent? Many folks are very very _very_ pissed right now, but they may or may not forgive them; that will be part of the story. Mamoru is off to America right now (part of the Anime, not the Manga), and may or may not be involved in the story. I haven't decided yet. Chibi-Usa is back home (Crystal Tokyo) and may or may not visit; I haven't decided that yet either. Comments and criticisms are always welcome. Even flames; if you can't stand the heat, you shouldn't be in the kitchen. Even professional writers get flamed, and to expect people not to flame part-timers like us ff writers is silly. Any ideas from suggestions that I incorporate into the story will earn a credit line. Some modification to the fight scene between Ranma and Eternal Sailor Moon after Ben Oliver complained it wasn't long enough. Thanks Ben!
2. Part II (four chapters)
A Ranma 1/2 / Sailor Moon cross over mini-series. A PG rating for language and situations.
This story and a few others can be found on my web page at
http://www.geocities.com/jlfenton65/
[email protected]
My thanks to Ben Oliver for proof reading and suggestions. While not every suggestion made it into the story, they kept me laughing long enough to finish the chapter.
Ranma 1/2 is a trademark of Viz Communications, Inc. and was created by Rumiko Takahashi.
Sailor Moon is the property of Takeuchi Naoko and some other folks such as D.I.C. and Cloverway.
This story is of my own derivation and is not intended for commercial purposes, so please don't sue me.
What has gone before...
In part one, Ranma has a disagreement with Akane that ends in the termination of their engagement. Fortunately, Genma has another arrangement with a family that lives in nearby Azabu-Juban, the Tsukinos. Normally, Tsukino Kenji would never consider an arranged marriage, but he discovered his sixteen year-old daughter has a serious relationship with a college student more than five years older - _and_ who has his own apartment. Kenji is using the engagement to break up Usagi's relationship with Mamoru. Genma has other ideas, and made Ranma promise to hide his curse as long as possible. Of course, Usagi learns of his curse before the day is over, but assumes Ranma must be another bad guy and attacks as Sailor Moon. Ranma straightens out the misunderstanding, but now knows Usagi's secret. The two call a truce until they can formulate new plans to get their lives back to normal (such as it is). The next day, Ranma accompanies Usagi to Juuban High School where they (literally) run into Minako. Discovering that although they are engaged, it is not by their own choice and consider each other 'free,' Minako decides Ranma is perfect boyfriend material and stakes her claim. After an altercation in the hall, she learns of Ranma's curse. At lunch, the rest of Usagi's friends learn of the engagement and Ranma's curse, and agree to help the pair. After school, Ranma is taken shopping for a school uniform by Usagi and her mother. Usagi uses the opportunity to tease Ranma about his curse by dragging him through the women's clothing section. This backfires as Ikuko, knowing nothing of Ranma's curse, misinterprets Usagi's actions as romantic interest.
And so, without further ado, we continue...
Wild Horses and Rabbits Don't Mix - Part 2
by Joe Fenton
Chapter 1: Identity Crisis
Ranma walked down the street, accompanied by Usagi, Ami, Minako, and Makoto. The girls had decided to take Ranma over to the shrine where they would meet Rei to discuss plans. Both moon cats were left home for this meeting; Ami had to promise the cats a recording of the meeting before they reluctantly agreed.
After a short discussion with Ami, Haruka and Michiru decided to sit this meeting out as well; it seemed to them that Usagi's problem would be best worked out among the inner senshi, plus, the two older girl's presence might give Ranma too much information. He already knew about Sailor Moon; no need to give away the rest of the senshi's identities.
Ranma shivered slightly from the cold; fall was finally making its presence known. For once, he was glad to have the gray jacket the boy's uniform required. He'd really hate to have to wear a skirt like the girls. How did they put up with that in winter? Despite the stockings they wore, the girls were hurrying. He guessed, correctly for a change, that part of their hurry was the desire to get out of the cold.
Makoto noticed his attention to their haste and decided to divert his concern; after all, there wasn't anything he could do about the weather. "Ranma?"
Ranma immediately assumed the worst. Several months in Nerima had him trained to expect such misunderstandings. "I wasn't staring! Really!" He waved his arms about, warding off a blow that didn't fall.
Makoto wondered briefly about Ranma's past. She put that off for another time; she was more interested in the concept of a gender-changing curse. "Ami, Rei, and I haven't seen your curse yet; maybe you could show us? Not that we don't believe you, but it _is_ kind of hard to imagine."
Ranma sighed in relief. "Okay. Once we get to the shrine, I'll demonstrate it. But just that one time!" He grimaced. "It's bad enough changin' by accident without havin' to do it on purpose." He brightened a little. "But, on the good side, I've only accidentally changed twice in the last two days. That's a personal record; maybe leavin' Nerima wasn't such a bad thing."
The girls looked puzzled; the mystery piqued their curiosity. Ami spoke for the group. "What do you mean?"
Ranma was about to speak when the squeal of tires interrupted. As a group, they all turned to look up the street where a car had pulled out right in front of a delivery truck. The truck slammed on it's brakes, sliding into the next lane. The driver of a car in that lane panicked and swerved into the curb, blowing out a tire with explosive force. A professional dog-walker passing by was shocked by both the sound and the fact that he had nearly been hit by a car; the group of dogs straining against their leashes suddenly found themselves free, and ran from the source of the commotion. Ranma and the girls watched the dogs stream past them on the sidewalk. A man ran out of the store they were in front of, hoping to see the accident, and found himself fouled in the leases. He was sent sprawling into the road. A driver coming the other way was distracted by the accident up ahead and failed to notice the man until the last second and swerved to miss him. This took his car over the sidewalk and into a fire hydrant. The force of the water under the car caused water to spray for meters all around, one such spray catching Ranma right in the face. The girls looked in shock at the petite, red-headed girl in a wet, baggy, boy's uniform.
Ranma sighed even louder. "That's what I mean." She wiped her face in resignation and tightened the belt on her pants. "I have to admit, that was a little more involved than normal. Usually, someone just splashes me."
As if Ranma had spoken magic words, a bucketful of water descended from above, soaking more of her uniform. Ranma looked up toward to building just in time to catch another bucketful in the face.
One by one, the girls nervously started to giggle as Ami asked, "You mean like that?"
Ranma moved to the side away from the window as yet another bucketful splashed the sidewalk where she had been standing. She muttered under her breath, "One of these days..."
~~~~
Mai paused in bailing out the bath. She was muttering under _her_ breath, "You just _had_ to have a full furoba in an _upstairs_ apartment." She switched her position to make it easier to dump the water from the rinse bucket out the open window.
~~~~
Ranma glared at the giggling girls. "This ain't funny!"
Rei smirked at the soaked red-head. "Lighten up, Ranma! It's not like you could get any more wet."
Another bucket of water poured over Ranma. She glared harder. "You just _had_ to say that -" She was cut off as yet another cascade came down upon her. "ARRRRRRRRRRRRR!!" She stomped further from the building.
~~~~
"What the hell!" Hideki stepped into the ankle-deep water. "What happened here?!"
Mai stopped bailing and gave him an irritated glare. "What do you think? The drain clogged up and the shower broke! I was lucky to get the water shut off before the floor gave out!" She bounced the other rinse bucket off his head. "Don't just stand there! Bail!"
Hideki grumbled as he picked up the shallow, wooden bucket. "Okay, but move over so we can both reach the window."
~~~~
Ranma had her jacket off, trying to wring it out. Water started to cascade down from two different angles. Ranma dropped her arms and stood dejected as the girls lost it and fell over laughing in disbelief.
Ami finally found her voice as the others settled from loud chuckles back into their previous soft giggles. "Maybe we should just go before something else happens. Rei can get you some hot water when we reach the shrine." Laughter threatened to overtake her again as Ranma moved away from the building, her now too large shoes squelching with each step.
Ranma was in agreement. "Good idea." She rolled her eyes and prayed this more than balanced her previous good luck with water.
The group, now all girls, continued towards the shrine, water trailing behind the one trudging along at the rear.
****
Rei watched in morbid fascination as Ranma poured the hot water over her head. The short red-haired girl grew and changed, becoming a taller, more muscular, black-haired boy.
"Wow! I wouldn't have believed it if I hadn't seen it." She shook her head. Even fighting demons from another dimension didn't prepare you for having someone you knew change sex with the temperature of water. The only thing close in her experience was finding out she was a Sailor Senshi; even then, the magic only made her faster and stronger; she didn't change physically the way Ranma did. She shivered as she imagined what it must be like to become a boy; she wondered how he could stand such a thing. Then she opened a can of worms by voicing this. "I can't imagine what it's like to be a girl who turn's into a boy with hot water."
A red aura snapped into being around Ranma as he turned to face her. "I'm a _guy_, dammit!! A _guy_ who turns into a _girl_ with _cold_ water!"
Rei swallowed and took a step back. Whoa! Scary! She had never seen a battle-aura so powerful on a normal human. But then, normal didn't exactly describe this particular human. His ki control must be phenomenal! She held up her hands in a placating manner. "Sorry, sorry! I just meant I couldn't imagine how I'd feel if it were me."
The aura blinked out of existence. Ranma scratched the back of his head and grinned sheepishly. "Sorry 'bout that. It's justa sore point with me."
She nodded. "Now _that_ I can imagine."
Ranma gave her a pained look. "You have _no_ idea... try imagining all the trouble it causes in school. I have to change for P.E. inna storage closet."
The miko blinked. "Why?"
He stared at her with a long, hard "you've got to be kidding me" look on his face. "You know how most high schools guys are, right?"
She nodded. "Yeah, a bunch of perverts, the whole lot of them." She started at his glare and continued quickly. "Um, present company excluded, of course." She tried to smile like she meant it.
He growled a little. "Well, that's pretty much the case, ain't it? So now try picturing changin' clothes or," he shuddered, "takin' a shower inna room fulla guys that know that one splash a cold water means instant girl."
"Ewwwwww!"
Ranma watched a collective shudder run through those present and nodded. "'Splash-Ranma' was a pretty popular pastime at my last school once the word got around. That's why I'm tryin' to keep it a secret."
Minako asked the obvious question. "Then, how _do_ you clean up after P.E.?"
"Hose at the equipment shed." He shrugged. "After ten years of bathin' in mountain streams, the water's not that cold, and I can usually find hot water pretty quick afterwards."
Rei looked thoughtful. "That might also explain how you can generate so much ki."
He looked at her blankly.
Ami tried to alleviate his ignorance. "Well, living outside for so long, bathing in cold water, the average person would probably have succumbed to hypothermia."
Still blank. "Scum-hypo-what?"
Rei sighed. "Your body had to adjust to the harsh living to keep you alive. You're quite lucky." She looked a little jealous. "Being a martial artist has allowed you to make some use of all that ki you've developed. I can control my ki as part of my training as a shrine maiden to do fire readings, but it's nowhere near as strong."
Ranma regained some of his smug attitude. "Well, I _am_ the best there is."
A couple of the girls rolled their eyes. He may be strong, but wouldn't match up to any of them in their senshi form. Rei snorted in contempt.
Minako gave Rei a glare, then wrapped herself around one of his arms. "He's _really_ fast! Usagi was saying he dodged all her attacks." Usagi nodded in support of her friend.
Rei gave the boy an appraising look. He might not have any magic abilities, but he was handsome and pretty strong for someone without magical enhancement. One could definitely do worse for a boyfriend. "The curse doesn't bother you then?"
Minako shook her head. "Of course not!" Under the onslaught of several glares, she relented. "Well, maybe a little. But it's just a curse. Sailor Moon might even be able to break it."
Rei grinned at Usagi. "He'll probably be so grateful, he'll pledge his undying love to you."
Usagi grinned a moment, lost in the romantic day-dream, until she remembered she had no interest in the boy. "What?!" She rounded on Ranma, shaking a fist in his face. "You better not! My Mamoru will break you in half if you even think about it!"
Minako decided to remind everyone who had the first shot at this particular hunk. She turned heart-filled eyes on the pig-tailed boy. "So, when are we going to have that dinner together?"
Makoto started. "Ranma invited you out to dinner?" She looked distraught for a moment. Ranma was prime material compared to most of the guys available. His experience with his curse would also leave him with a better understanding of girls than any other guy could possibly claim. Minako had called dibs before the others even had a chance. She frowned at her friend, then noticed Rei doing the same. They nodded in agreement. If Minako struck out, they'd have to make sure Ranma had a good impression of them so they could make their own play for him.
Ranma had that confused look again. "I did?"
"Yes, he did," Minako replied quickly. "Actually, we were going to have dinner at my place."
Makoto frowned, then brightened up as she quipped, "As long as you don't cook... no need to poison him on the first date."
Minako pouted. "My cooking isn't that bad!"
Rei clenched her fists. "What about the time I was sick? Your soup had me breathing fire!"
Ranma started to sweat - another girl after him who couldn't cook. Why was he so cursed? He leaned toward Ami and whispered, "Is her cooking really that bad?"
Ami nodded absently, still thinking of the scans being made by her hidden Mercury computer rather than the conversation. "Hmm? Oh, yes, even worse than Usagi's."
"Uh oh." Ranma glanced at his current fiancée out of the corner of his eye. "Just how bad _is_ Usagi's cooking then?"
"Ami-chan!" Usagi protested. "My cooking isn't that bad!" She slammed a hand down on the table in front of them. "I'll show you all! Tomorrow night, I'll cook everyone dinner!"
Large beads of sweat stood out on the other's foreheads.
Ranma just groaned. He _really_ needed to get out of this engagement. He tried to get the girl's attention. "Um, guys? Shouldn't we be thinking about how to deal with the engagement?"
Usagi shook her fist in his face again. "_Guys_?! _You're_ the one with the freaky curse!"
"I think he meant that in the general sense, Usagi," Makoto noted.
Ranma nodded frantically.
"Oh..." Usagi calmed down. "I knew that!" She laughed nervously and quickly withdrew her fist, lacing her hands together behind her. "So... we should get back to figuring out what to do."
Ranma's shoulders slumped. "I thought I just said that."
Minako nodded enthusiastically. The sooner they broke up the pair, the quicker she could make her claim official. She was muttering too low for anyone but Ranma to hear. "I'll show Ace whose love will be hopeless for all eternity." She started to laugh maniacally as Ranma trembled.
Rei gave her a dirty look. She _still_ hadn't repaid Minako for the "care" she had received when she was sick. She'd have to think of a way to thank her appropriately, just as soon as an opportunity arose.
****
A sturdy young man with black hair, well-worn clothes, and a huge pack stood beside the road. The street signs told him he was in Japan, but gave him few other clues as to his whereabouts. Of course, Tokyo Tower in the background and the Shinjuku skyline would have been clues to anyone else. His sense of direction would be of no help in this situation - he'd have to take more direct action.
He grabbed a passing man by the collar, hoisting him easily from the sidewalk. "Is this Nerima?!"
The man strained against the teen's grip, but is was futile. "No! This is Juban!"
Ryoga ignored the man's struggles as he thought. He was in Tokyo! Now to find Nerima and make Ranma pay.
The man pried at the boy's hand with a crowbar.
"Tell me how to get to the Tendo Dojo!" He shook his captive slightly.
The man shook his head sharply as he dropped the crowbar. "I have no idea what you're talking about!"
Ryoga snorted and tossed him carelessly over one shoulder. Fortunately for the man, this was Juban; the last person Ryoga had tossed over his shoulder in Nerima had landed in the street as it was being re-paved and had been covered in asphalt before being steam-rolled.
Ryoga looked around for someone else to ask, noticing the shrine behind him for the first time. Maybe he could ask a miko. He blushed slightly at the thought of a beautiful young shrine maiden smiling as she pointed out the true path toward the site of his inevitable victory.
****
Ranma shook his head as he watched Usagi fight with Rei over a manga. Trust his finacée to contribute nothing to this planning session. On the other side of the room, Minako was arguing with Makoto about something; he had the sneaking suspicion it was related to him. Only Ami seemed to be concerned about the problem at hand. He got the impression that these planning sessions the girls held usually just degenerated into waiting for Ami to come up with something they could all agree on. The sound of someone pounding on the front door broke up the fight between Usagi and Rei as the miko went to answer the door. Ranma followed the girl, staying just outside the entryway as the girl answered the door.
Ryoga was still daydreaming as the door opened. He thought he was still daydreaming as the door opened to reveal a beautiful girl with long black hair. Her shrine maiden's outfit did nothing to detract from her appearance.
"Can I help you?"
Ryoga came out of his daydream as the girl spoke. The realization that the girl wasn't a dream stunned him into immobility.
Rei looked at the young man in concern. He seemed to be in some form of distress. She lead the nervous boy in and shut the door. Maybe he just needed some water.
Ranma's eyes widened. He darted back to Rei's room. "Aw, man! It's Ryoga!"
Minako and Makoto stopped arguing. They quickly joined Usagi in spying on the newest arrival, their heads forming an impromptu totem pole.
"Wow! He looks just like my old senpai!" Makoto rounded on Ranma. "You know that hunk?!"
Ranma gritted his teeth. "That pig is the main reason I had to leave the only home I've had in eleven years."
Usagi frowned at her fiancé. "You shouldn't be so mean! Someone that good looking _can't_ be evil!"
Ranma looked nonplussed. "No. I mean he's _really_ a pig! He's gotta curse like mine. Besides, you shouldn't judge people by how they look."
Minako waved Rei over as Ryoga waited for her to return. "Ranma knows this guy. He thinks he's trouble."
Rei looked torn: on one hand, they had another hunk to look at; on the other hand, he might be trouble. "Well, maybe Ranma should just hide here until he goes."
Ranma shook his head. "We can try that, but things like this never work out for me."
Rei smiled. "You'll just have to hide here in my room. I'll come get you later." She winked at the boy as his face reddened.
Usagi noticed Minako growing angry at Rei's obvious flirting. She had to act quickly to prevent a fight. She grabbed a handy bucket of water.
Ranma sputtered as cold water cascaded down the back of her neck. She rounded on Usagi. "Hey! What'd you do that for?!"
Usagi dropped the bucket she was holding and gave him an innocent look. "We can fool him with a disguise, and what better disguise than being a girl?"
Ranma gave her a disgusted look. "Except that bacon-breath already knows of my curse!"
Usagi looked embarrassed. "Oops." The other girls rolled their eyes and groaned.
Rei glared at the blonde, then turned to Ranma. "Just stay here until he leaves."
Ranma crossed arms. "Sure thing."
Rei walked out to greet the new boy. The shrine maiden frowned at the other girls trailing behind her. "You don't all need to come with me."
Makoto smiled sweetly. "We're, uh, just keeping you cover. Yeah! In case he really is trouble like Ranma said."
The others hurriedly nodded their agreement.
Rei sighed. "Let's see to our guest."
Ranma peeked out into the main hall and had a glimpse of Ryoga going catatonic as a group of pretty girls surrounded him.
Rei quizzically prodded the boy in the shoulder. He seemed to be in shock. "Are you all right?"
Ryoga slowly got control of himself. "Y-yeah. Heh-heh." He scratched the back of his head. "So, uh, do any of you know how to get to the Tendo..." He trailed off, glancing around. He muttered, almost too low to be heard, "There's a large ki-source nearby!" Something was wrong here. A ki-signature that large meant trouble, and he could tell it wasn't any of the girls.
Makoto waved a hand in front of his face. "Hello! Anybody home? Sorry, you kind of spaced out there for a moment."
Ryoga gave the girls a grim look. "There's trouble nearby! I feel something powerful in the shrine. From the stories I've heard about Juban, it's probably one of those monsters! As a Martial Artist, it's my _duty_ to protect the weak!" He moved further into the shrine.
Rei tried to restrain the boy. "You mustn't go back there! That part of the shrine is off limits to visitors."
Ryoga just bulled on ahead. "I can't just ignore trouble! What if it's one of those monsters that seem to appear around here?"
Seeing the miko being dragged along without trouble, the others grabbed his arms in an effort to help. Ryoga seemed to have as little trouble dragging five girls as dragging one.
Rei dashed ahead of the others while Ryoga had his attention diverted by Usagi. She ran back to her room. "Quick, Ranma! He's coming this way!" She led the pig-tailed girl back to one of the storerooms. "I have a couple of old costumes back here!"
Ranma frowned at the idea of hiding from Ryoga in a costume, but she would hate to have him destroy the shrine looking for her. "So whatta you got?"
Rei dug through a few boxes. "Either a Wedding Peach dress, or a Sailor-V getup." A small smile lifted the corners of her mouth. If Ranma didn't chose the Sailor-V outfit on his own, she'd have to subtly persuade him.
Ranma thought quickly. She didn't think she could wear a peach colored wedding dress. Besides, hadn't Ryoga said he sensed someone strong? "Better make it the Sailor-V costume."
Rei pulled out a long, flat box. "Here, put this on while I check on how the others are doing."
Ranma looked in the box. The contents were: a blue skirt with a blue bow in the back; a white and red blouse with a red bow in the center of the chest, a blue collar, and white shoulder pads; a pair of elbow length white gloves with yellow trim; a pair of blue dress shoes; a white choker with a gold moon emblem; a red mask; and a long, day-glow yellow wig with a red hairbow already in place. It was definitely a Sailor-V costume... a really _bad_ Sailor-V costume. While the ensemble had everything needed, it was so cheap that only a fool would think it anything but a child's costume. So - Ryoga would probably never notice. Ranma sighed. It wasn't like she had a choice at this point, but the girls would never let her live this down. She removed the articles from the box. Thank kami-sama she wouldn't run into the real Sailor-V here; she would probably kill her for making a mockery of her.
Rei grabbed some sodas from her room and hurried over to Ryoga as he routed through a closet. She passed the sodas around and whispered to Usagi, "I thought for sure he'd have reached my room by now."
Usagi drained her soda in one gulp before answering. "It's _weird_! He's searched that closet _four times_ already!"
Makoto held out a drink to Ryoga as he left the closet again. She smiled. "Have a drink?"
Ryoga lost his train of thought as he stared at the tall girl. "Huh?"
The other girls clustered around Ryoga, sipping their drinks. Minako looked over as Ranma entered the room and sprayed a mouthful of soda toward Ryoga. The boy dodged frantically, then turned to see what the choking girl was gaping at; his eyes bugged out as he recognized the figure before him.
"Sailor-V?!" The lost boy zipped up to her with wide, shining eyes. "I'm your biggest fan! I can't believe I ran into you here!"
This time it was Makoto who sprayed soda as she started laughing.
Minako started turning a bright red as embarrassment and anger warred within her. She dragged Rei off to one side. "What the heck is Ranma pulling? Why did you give her - _that_ to wear?!"
Rei just grinned evilly. "I don't know _what_ you're talking about. Ranma chose the costume." She laughed as Minako clenched her fists and glared daggers at her.
Ranma blinked at Ryoga. The boy was _truly_ dense. "Uh - I just stopped here so my _good friend_ Rei," she glared daggers at the laughing girl, "could give me a fire reading."
Ryoga was babbling in joy at meeting his idol. "Did the idol Pandora really try to brainwash everyone using TV?"
Ranma hadn't the vaguest idea what he was talking about. Of course, he and his pop _had_ spent nearly every moment of the last ten years on the road. "Uh..."
Ryoga continued without waiting for an answer. "Did you really fight evil Hawaiians in Greece? I know an evil Hawaiian right here in Tokyo!"
Ranma couldn't form a response to that.
Ryoga never noticed. "I heard you defeated one enemy in a karaoke battle! My sworn enemy Ranma once had a Martial Arts Karaoke challenge."
Ranma muttered to herself, "Oh yeah. I remember that."
Ryoga looked impressed. "Really? You were there? Wow! You really get around!" Ranma started to sweat, but Ryoga just moved on. "Hey, I heard you went to China once. I picked up this little problem there." He rubbed the back of his head in embarrassment. "Um, maybe you could help me out?"
Ranma had to get him off this line of questions. "I understand you came from Nerima? Just what happened up there?"
Ryoga gave her a smug look. "Well, I don't normally brag, but there was this _jerk_ Ranma who was mistreating this girl I like, and tearing up the place. So, I ran the coward out of town." Ranma worked hard to keep a smile on her face. "I was going to comfort the poor girl afterwards, but - uh - I kinda lost my way in the dark." He scratched the back of his head. "Yeah. And so I wound up here. Maybe you can tell me how to get back to Nerima?"
Ranma sighed in disgust. The big idiot got lost immediately following the fight and would have no useful information.
Ryoga gave her a nervous laugh. "Um, Miss V?" Ranma rolled her eyes. "I'm a martial artist... the strongest one in Japan. Maybe you can show me a special move?"
Ranma allowed her anger full reign. She grinned madly. "Sure - _anything_ for a fan." She struck a heroic pose. At least, it was supposed to be heroic. To the others, standing with one leg stretched behind her, the other leg bent forward at the knee, and arms akimbo, just looked - well, stupid.
Usagi whispered in a worried voice. "_We_ don't look that bad, do we?"
Ranma cried in a loud voice as she waved one hand high, forefinger and pinkie extended. "Code name: Sailor V!! The soldier of justice! I am the sailor-suited beautiful soldier, Sailor Venus! I just want to be left in peace! That peace has been disrupted for the last time! The one to pay will be you!"
Minako was making choking sounds as she tried to restrained herself from pulling her henshin pin and showing them just what the _real_ Sailor Venus did to impostors.
Ranma lead enough ki to a fist that the appendage started glowing. "SAILOR V - VENUS, uh, LOVE TAP!!" With the shout, she leapt forward. The blow flattened Ryoga, forming a small crater around him.
Ryoga smiled as lay insensate, "She touched me!"
As the boy struggled back to his feet, Ranma redirected her ki to her legs and kicked out at shoulder level. "SAILOR V - VENUS HEART-BREAKING KICK!"
Ryoga took the shorter girl's kick right in the chest. It sent him rocketing across the room and through the wall. His flight was arrested by the wall surrounding the shrine. The boy remained embedded in the wall a moment, dazed, while the girls all looked through the hole in the shrine wall. Minako looked about ready to do the same to Ranma.
Ryoga pulled himself from the wall with a dazed look. "Wow! I never knew Sailor-V wore boxers!" He wandered off in a haze. It was many long minutes before he came back down enough to realize he was no longer at the shrine. His expression immediately dropped as he yelled to no one in particular. "WHERE ON EARTH AM I NOW?!"
Ranma struggled to get control back, then noticed the large hole in the wall. "Oops! Sorry 'bout that." She growled a little. "That jerk just really gets me riled!"
Minako rounded on her. "Never mind that! Just what the heck are you doing in that costume?!"
Ranma looked at the angry expression on her face. "Sorry... didn't realize you were a fan, too." She pointed to Rei. "It's her fault - she's the one that gave me the costume!" The girl in question was still laughing as Ranma muttered, "Boy, I'm just glad the real Sailor-V wasn't here."
Makoto smiled as she moved up beside Minako. "Yeah, that costume was _horrible_! Don't you think so, Mina-chan?" She elbowed her friend. "I can't believe that guy fell for something so stupid!" She glanced over at the blond girl, then back at Ranma. "Of course, that punch was really something. I almost thought you were the _real_ Sailor-V myself for a second. Don't you think, Mina-chan?" She elbowed the girl again.
Minako didn't answer. She was in a mindless fury, so she probably wouldn't have been able to make a comprehensible reply anyway.
Rei couldn't leave well enough alone. "And that Sailor-V impression was to die for!"
Ranma didn't notice Minako slowly turning red as she preened. "Really? You didn't think it was a little, well, dorky?"
Rei shook her head. "Not at all! You were great!"
Minako slowly turned purple as a dark, torturous aura built up around her.
Ranma looked around. "Rei? Think I can get some hot water?"
Rei got a mischievous glint in her eyes. "Sure thing, Ranma-kun." She hurried off, then reappeared with a kettle. Before Ranma could stop her, she poured the water over the girl. She smirked at the boy now straining the seams of a way-too-small Sailor-V costume. "Wow! Now you look _just like_ Sailor-V!"
Ranma never got the chance to make his displeasure known as Minako howled and chased the laughing shrine maiden out of the room. The small group listened as Minako chased the girl outside and around the shrine a few times. Ranma shook his head and left to get his clothes from the storeroom. He sure was glad it wasn't _him_ Minako was mad at. No telling what an angry fan was capable of.
Chapter 2: Rain Check
The trio of Minako, Usagi, and Ranma headed back toward the Tsukino residence. Minako was still fuming over the ribbing the girls had given her.
Usagi gave the boy an apologetic look. "Sorry about Rei. I think she went a little too far-"
Minako cut her off. "A _little_?!"
Ranma just waved it off. "Don't worry about it. I've had worse done to me before. 'Sides, it _was_ kinda funny when you think about it. Even _I_ have trouble believing Ryoga fell for that disguise."
Usagi giggled briefly, then paused, a puzzled look on her face. "But why did he show up here? And where did he go?"
Ranma gave a brief explanation. "Ryoga has a really bad sense a direction. It usually leads him away from where he wants to be and leads him to where he shouldn't be. I think he's found way back to his own home only once in the last year and half."
Minako looked thoughtful. "You know, that's really sad. He must be a really lonely person."
Ranma nodded. "Yeah. He's always depressed. I'd feel sorry for the guy, 'cept that he's always screwin' up my life. Don't know why, but he's decided I'm to blame for everything wrong in his life."
The three stopped in front of the Tsukino residence.
Ranma looked at Minako. "Uh, about dinner - maybe we can do it some other time? This is about as much as I can take in one day, okay?"
Minako nodded. "Sure Ranma. I understand. I feel the same way." She sighed in disappointment. "I'll just see the two of you tomorrow at school."
Usagi gave Minako a hug. "Good night, Mina-chan."
It was about this time that the skies opened up and rain gushed down in sheets. Usagi and Minako looked over to see a drenched red-headed glower at this turn of events.
Ranma looked morose. "Aw, man! What else can go wrong today? Now I gotta sneak in and get some hot water."
Minako looked puzzled. "What's the problem?"
Usagi wiped her face with a sleeve. "The problem is that my folks don't know about Ranma's curse, and he promised his dad to try and hide it as long as possible."
Minako thought about it a moment. "You could either try to sneak in, or - you could come over to my place and get some hot water and wait out the storm."
Ranma looked from Usagi to Minako. "Really? You'd do that for me?"
"Sure." Minako shrugged. "It's no big deal. We'll tell my folks that you're a friend from school, then once the rain stops, I can give you some hot water as you leave. If it looks like the rain isn't stopping anytime soon, maybe you can get by with an umbrella. I'm sure my folks have one you can borrow."
Ranma gave her a big smile. "Thanks, Mina-chan!" She realized what she called the girl and looked away, embarrassed.
Minako smiled at her reaction.
Usagi glared from one to the other. She was irritated at Ranma for being the source of this trouble, at Minako for being so nice to someone who was still nominally her fiancé, and mad at herself for giving a damn about the two in the first place. Why was she jealous? She had Mamoru. She really needed to sort out her feelings. She sighed and turned towards Minako's home. "I'd better come along. If I show up without Ranma, the folks will have a fit."
Minako frowned at the girl, then shrugged. "Sure. I don't want you to get in any trouble. I'll have plenty of time with Ranma after we take care of your engagement."
Usagi wasn't sure how to react to that.
The three struggled towards Minako's home as the winds howled and whipped the torrential rains into a frenzy. At least it seemed that way to the each of the youngsters as they struggled with the feelings invoked by the happenings of the day.
****
The three girls stood dripping in the entryway of the Aino residence. Minako's mom hurried over.
"Minako! You should know better than to go out during the rain this time of year." She looked at Usagi. "Nice to see you again, Usagi. You can call your parents and tell them that you're staying until the rain eases up. I'm sure they're worried sick about you." She turned her attention to Ranma. "And who might you be, young lady?"
The woman was blond, like her daughter, but with an air of dignity the younger girl lacked. She was dressed in a simple blouse and skirt. Ranma opened her mouth in preparation of inserting her foot.
Usagi placed a hand over Ranma's mouth before she could get herself in trouble and answered for her. "This is an old friend of mine from out of town, Ran," she pause a brief instant, "ko. Yeah, Ranko." She laughed nervously. "She's... staying at my place. Ranko, this is Mina's mother, Amai."
Ranma just glared at Usagi.
Amai nodded at the introduction. "Well then, I suppose your folks are worried about her too. Bad enough their daughter is running around in the rain, but to have a houseguest out heaven-only-knows where..." She hustled the girls into the bathroom. "You girls get out of those wet clothes and get dried off before you catch a cold. I'll bring Usagi and Ranko some robes to wear while their clothes are in the drier." She hurried off.
Minako and Usagi looked at Ranma and blushed a bright red.
Ranma looked ready to faint. "Um, is it too late to just sneak into Usagi's place?"
Minako groaned. "Now what are we going to do? If Mom comes back and we're not dried off, she'll probably try to do it herself."
Usagi scowled at her. "She wouldn't _really_ do that."
Minako looked dubious. "_I_ wouldn't want to chance it. You haven't seen her when she gets into one of her mothering moods."
Usagi shuffled nervously. "Maybe if Ranma kept his back turned..."
Ranma pointed to the mirror over the sink. "What about the mirror?"
Minako gave it a look. "It has to be on our side; that way we can make sure you aren't peeking. Besides, you might be a guy, but you're a girl at the moment, so it wouldn't be like we were peeking."
Ranma gave in with a sigh. "Okay, okay, but let's hurry up. Your mom will be back soon."
They divided up the towels. Minako and Usagi waited for Ranma to turn around and quickly stripped off their wet clothes. They hurriedly toweled off, checking the mirror frequently to make sure Ranma wasn't trying anything. They wrapped a towel about themselves after drying off, then started on their hair. By the time Minako's mom returned, all three were wrapped up and drying their hair.
She noticed the girls' relative positions. "My you're all quite shy tonight." She handed Ranma and Usagi robes, and a change of clothes to her daughter. She picked up the girls' clothes. "Ranko dear? Why were you wearing boy's clothes?"
Ranma turned red. "I, uh, I guess I'm just a tomboy." She laughed self-consciously.
Ranma and Usagi slipped on the robes and left Minako to change; they followed Amai to the living room, still blushing slightly. Mrs. Aino continued into the utility room to start the girls' clothes drying.
Usagi went to the phone to call home while Ranma found a seat. She studied Mrs. Aino as she reentered the room. The woman caught her staring.
"Is something the matter, Ranko."
Ranma blushed again. "No; it's just that I ain't seen my own mom in over ten years."
Minako sat next to her, dressed in a fresh change of clothes. "Why haven't you seen your mom in so long?"
Usagi finished her phone call and wandered over, curious about what Ranma would say.
"Well, my pop took me onna trainin' journey when I was six, and we've been on the road pretty much the whole time since. He wanted me to be the best martial artist of my generation. I guess I am, but now that our trainin' trip is done, we ain't headed home. I've asked, but the fat panda won't tell me nothin'."
Amai gave her a sympathetic look. "It must have been hard growing up on the road, but that's no excuse for bad manners. You need to mind your language or people won't think of you as a lady."
Usagi smirked, seeing another opportunity to tease Ranma. "Yeah, Ranko! You _do_ want to be a lady, right?"
Minako gave Usagi a glare as the girl continued her teasing.
"How are you ever going to land a man if you act like such a tomboy?"
Both Minako and Ranma glared at the girl.
Amai chided Usagi. "Now Usagi, is that anyway to talk to an old friend? Especially considering _that_. How would you feel in her position?" She turned back to Ranma. "Have you tried looking her up yourself? If you remember where you used to live, you could simply call directory service."
Ranma scratched her head. "Well, I do know we used to live in the Nerima district. I don't remember too much else."
"It's a start. Now, what's your mother's name?"
The three waited a moment, then turned to look at the blank girl.
Minako asked gently, "You don't remember your mother's name? What did you used to call her?"
Ranma's brow furrowed as she thought at length. Her face lit up. "I remember!"
They leaned forward expectantly. "What was it?"
"It was a long time ago, but I remember. I called her... Mom!"
The others face-faulted.
Mrs. Aino was the first to her feet. "Do remember your father ever mentioning her name? Did he ever say anything about her?"
Ranma thought a moment. "No, I can't remember him ever mentioning her. Whenever I'd ask about her, he'd just hit me an' tell me to stop actin' like a girl." She shrugged. "After awhile, I just quit askin'."
The three women were shocked, especially Amai as she was unaware of Ranma's curse. They struggled to hold back tears. Ranma started to worry at all the drawn faces and eyes shining with unshed tears.
Minako spoke hesitantly. "Maybe - maybe she's dead and he just couldn't break it to you."
Amai swept the girl up in a big hug. "Oh! You poor girl!"
Ranma struggled to pry herself free. She shook her head. "No, he'd a said somethin' if that'd happened. It's more like he's hidin' somethin'; for some reason, he just don't want me seein' her."
Usagi and Minako independently decided to ask Ami to help hunt down Ranma's mother. Perhaps they could trace her through her husband or son. Ami would have a better idea of where to start.
Amai smiled at Ranma as she finally released her. She laid a hand on Ranma's shoulder; she decided it was her duty to provide a mother's guidance until the girl's mother was found. "Well, while you're here, you can consider yourself family."
Minako smiled. "I already consider her family."
Usagi fumed in jealousy; she was _still_ Ranma's fiancée. Minako was going to get a piece of her mind later.
Ranma completely missed the innuendo.
Amai continued, "Maybe we could all go to the hot springs after you get out of school tomorrow." She and Minako occasionally took advantage of the half-day of school on Saturday by going to the Koshino-yu onsen, unless Minako was out with her friends.
Minako and Usagi would have fallen had they not already been seated. Minako looked at her mom. "I think Usagi and Ranko already have plans." She waved at Usagi behind her back desperately.
Usagi looked blank for a moment, then got the hint. "Oh! Yeah - Ranko and I had planned - um - to go shopping! Yeah. See, Ranko still doesn't have much in the way of clothes after her trip, and they're mostly boy's clothes."
Ranma turned pale as she saw where this was headed.
Amai stood up and headed back to the utility room. "That reminds me. Your clothes should be dry." She came back a few moments later; she handed Usagi her clothes, but frowned at Ranma. "Ranko dear? I'm afraid your clothes shrunk." She held out what appeared to be an outfit for a five year-old. "I'm terribly sorry. This has never happened before."
Ranma groaned. "Now what am I gonna wear?"
Minako thought about it a moment. "I have a few things. Come on back to my room." She grabbed Ranma's arm and started dragging her away.
A few minutes later, everyone was gathered to render judgment over their choice of clothes. Ranma was dressed in a baggy mauve blouse that could _almost_ pass for a shirt, and soft peach pants which were rolled up at the cuffs.
Minako's mom gave her opinion as Ranma turned slowly around. "Oh! That is so _cute_! It's probably a blessing in disguise, your clothes shrinking like that; it gave me a _wonderful_ idea! I know Minako has no plans this weekend, so we can all go help Ranko pick out something that'll make her look pretty."
Usagi squealed in excitement. "Isn't that wonderful Ranko?! I have some _great_ ideas!"
Ranma paled as Usagi hopped around the room.
Amai turned the pallid girl to face her. "You'll feel more feminine in something that isn't so drab." And in the proper undergarments, she added silently. If she ever caught Minako running around without a brassiere and wearing boxers... the poor girl's mother would have fit it she met her daughter the way she was right now. Maybe that was why her father refused to speak on the matter. She pulled the girl into a hug; Ranma settled for glaring daggers at Minako and Usagi over the woman's shoulder.
****
Ranma followed Usagi stiffly through the front door of her house.
Genma eyed his son. "What in the _hell_ are you wearing boy?!" While baggy on his female form, the mauve blouse was skin tight on his male form. The pants weren't much better. "You look like a fruit!"
Usagi grabbed Ranma before he could give his father a well deserved beating. "It's the latest fashion. I think he looks great!" She dragged him up the stairs.
"Well," Kenji commented, "they certainly must be warming up to each other if he's following Usagi's recommendations on clothes." Heaven knows, he wouldn't. Just look at that outfit!
"Hmm," Genma began, mulling that over. "I knew I could count on the boy! Takes after his father!"
"I hope not," Kenji mumbled too low for Genma to catch.
Genma turned to the other man. "So, when do you think we can set a date for them?"
Kenji frowned. "I'd rather they got to know each other better before we decide on that."
Ranma was still fuming as they climbed the stairs, but returned to the more important topic before he forgot about it. "Just how do you plan to deal with the clothes we get tomorrow? I just can't walk into your place with an armful of girl's clothes."
Usagi didn't bat an eye. "Sure you can. Tomorrow, you'll just be another friend from school bringing over some of your new clothes for us to check out. We'll spend some time in my room, then leave and come back after you get some hot water."
Ranma looked at Usagi in a new light. That was about the smartest thing Usagi had done since they met. It _almost_ made up for making him go on a shopping spree for girl's clothes in the first place. He sighed. "Usagi? Did you _have_ to say shopping when you made up plans for us? Why couldn't you have picked _anything_ else besides shopping?"
Usagi looked puzzled. "I _like_ to shop. I had to pick something Minako's mom would believe."
Naturally, he thought to himself. Tomorrow was going to be a _long_ day.
Chapter 3: Shop 'Til You Drop
Ranma grumbled as she followed Usagi to Minako's house. They had changed clothes after school, then stopped at the park so Ranma could use the fountain to change. They would meet at Minako's, then the four women would head off for as much shopping as they could pack into an afternoon.
Minako and her mom met them at their door. Minako and Usagi immediately starting discussing where to go first while Mrs. Aino looked over Ranko. Where the other three were wearing dresses with long skirts and a light jacket, Ranma wore her favorite black ankle-tie pants and a red Chinese shirt.
Amai shook her head. "Ranko, you're not wearing a brassiere again. With your figure, you really need one or you could wind up with back problems." And boy problems, she added silently.
Ranma waved off that idea. "I've spent too much time trainin' for that to happen."
She frowned at the girl. She knew what would be their first stop.
****
"Here we are girls! Our first stop." Amai halted outside a lingerie shop. A sign in one window proclaimed the fact that they carried Triumph International, a rather popular brand. She hurried the girls into the shop.
Ranma sighed as she confronted the racks of intimate apparel. Usagi smiled; this time, she could tease - uh - help Ranma pick out a few things without said help being taken the wrong way.
A clerk scurried over. "Can I help you?" She looked over the small group; her gaze lingered on Ranma before moving to Mrs. Aino.
"Yes, the young lady," Amai gestured to Ranma, "needs a few basic items. After that, we'll see what else she might fancy."
The clerk turned back to the short red-head. The look she received left her no doubt that she'd be earning her pay today. The girl had that look; the one that said 'just _see_ if you find something I'll tolerate.' She sighed and hustled the group back to the changing rooms. She pulled a measuring tape from a pocket and looked expectantly at Ranma.
Usagi noticed Ranma's lack of understanding. "Ranko, you need to get undressed so she can take your measurements."
Ranma turned red. "What?! I can't stand here naked in front of you guys! I'm a -" She bit off the end of that reply. "I'm a - a - just a bit shy."
The clerk looked at the others.
Minako took a deep breath and said, "She's been on the road most all her life with just her father."
"Ahhhh!" The clerk acted like that explained everything. She turned back to Ranma. "No need to be shy, Miss. The changing rooms are private and it's just us girls here. It's not even as bad as the girl's locker room at school." She blinked as the girl turned even more red. She shook her head; she always got the hard cases.
Mrs. Aino gave Ranma a hard stare. "Ranko, we're here to help. No one is going to judge you; we aren't going to say anything to embarrass you."
"Much," Usagi mumbled.
Amai gave the girl a penetrating look; Usagi tried for her best look of innocence. "Now we can't get you any other clothes until you have the proper undergarments. You can make this easy or hard, but we aren't leaving until you are properly attired."
Ranma gave up and started to remove her clothes, grumbling under her breath. She was beet red from head to toe as she removed her boxers.
Usagi just stared. She felt like crying; Ranma wasn't even a real girl and still had a figure Usagi would have killed for.
The clerk looked in disgust at the boxers. The girl's father must be an idiot, she decided. He should be locked up for the way he raised the girl. She tried to hurry and not upset the girl too badly as she got her measurements. That accomplished, her three companions moved back into the store to pick out a few items. After some debate, they settled for a few plain white panties and bras. They could always pick out a couple more items discretely.
Ranma had no trouble with the panties... after the other women pointed out that the tag went to the rear, but Usagi nearly laughed at her attempts to fasten the brassiere. Ranma glared at Usagi as she choked back a few giggles. Minako's mom sighed and moved in to help the girl.
Ranma stood mortified in the plain undergarments. "Are we done yet?"
Usagi gave her an innocent look. "But Ranko, don't you want a few pretty items? A nice lacy black bra and panty?"
Amai didn't notice the glare Ranma gave Usagi. "Yes, that's a good idea Usagi. She'll need something in case she wears a formal gown."
"What?!" Ranma looked distraught.
Amai explained to the girl. "I know you're new to all this, Ranko. You can't wear white underwear under a black silk gown, for example. It would show through the material. We'll need to get you a few sets of undergarments in different colors or we won't be able to get you a gown in those colors later."
Ranma muttered under her breath. "Good."
Amai looked over at the girl. "What dear?"
Ranma spoke a little louder, her voice so sweet, the clerk could feel cavities forming. "Isn't this a little too much? You really don't need to go to all this trouble."
While The Voice worked on teenage male food vendors, the older woman was immune to such attacks. "Nonsense! It's the least I can do after the other day."
Ranma groaned as she looked over the offensive undergarments. "Where's Happosai when you need him..."
That was when the screams of outrage drifted back through the store. The other women ran out of the changing room as Ranma looked up and clapped twice, then threw on her shirt and pants.
Usagi and Minako dashed out of the changing rooms with a feeling of dread. It had been too peaceful lately. What horrible menace would they be facing this time? They looked for the trouble with an eye toward dashing back to the changing rooms if they needed to transform. The trouble wasn't hard to spot, just hard to believe - a midget in a black ninja outfit leapt about the store with a bag that dwarfed his body.
"What a haul! What a haul!" The diminutive martial artist spotted the girls. "Sweet-ums!"
Usagi looked in horror at the figure nestled to her chest.
The figure bounced away. "Bah! I'll get back to you when you graduate from a training bra." He turned towards Minako, who started to back pedal.
Usagi was seeing red. "AHHHHHHHHHHHHHH!!!!!! HOW DARE YOU!!! YOU LITTLE PERVERTED FREAK!!!" It was bad enough the pervert groped her, but to say _that_? She might have been small in junior high, but she was _proud_ of her figure now. If she wasn't in a room full of people, she'd transform on the spot.
Ranma heard Usagi as she entered the room. She intercepted the old man as he leapt towards Minako. "Happosai." She looked at the old pervert as she held him at arms length.
Happosai looked at Ranma with an angry expression that melted away as he realized what she was wearing. "Ranma! You wore that for me? I accept your apology." He was out of the girl's grasp and into her cleavage in an instant.
Ranma froze in shock. Oh yeah, she thought. That's why I don't like him bein' around.
Happosai leapt away waving the plain white brassiere before she could get her composure back.
Usagi and Ranma joined the crowd of women chasing the old pervert as he left the shop. Amai stopped her daughter before she could join them.
"We have Ranko's measurements and know how that last pair fit. Let's pick out a few things while we have the chance before catching up with your friends."
Minako stared after the rapidly dwindling figures, torn between joining the angry mob and obeying her mother Finally, she nodded. She was certain that Ranma would make a fuss if she were there. Best to get this part over with now. She smiled as she thought of how Ranma might thank her for sparing the boy any further humiliation.
****
A pair of bedraggled girls walked back toward the lingerie shop. Ranma gave Usagi a brief look.
"Well, that was a waste a time."
Usagi breathed an exasperated sigh. "It seems we can't go shopping without being subjected to extreme embarrassment."
Ranma eyed her appraisingly. "Ready to call it quits?"
Usagi thought about it a moment, then shook her head. "Look at it this way, it can't get any worse."
Ranma shook her head. Usagi needed to learn not to say such things; it was just begging some passing kami to make an example of the offender. "Don't say that! The old lech could still be around. You know, you probably coulda caught him if you'd changed into Sailor Moon."
Usagi flinched violently. She turned and swatted Ranma on the back of the head. "Idiot! Why didn't you say something earlier?!"
Ranma groaned. It was the story of her life - blamed for something for which she couldn't possibly be responsible. She gave Usagi a disgusted look. "_I'm_ not a magical girl." She thought about it a second. "Well, actually, I _do_ turn into a girl through magic, so that _sorta_ makes me a magical girl. But _I_ don't fight demons! Well, actually, I _have_ fought an oni and a minor demon or two."
Usagi thought about it a moment. "You don't have magic powers?"
Ranma thought about that, than shook her head. "I can leap a over a small building and crush rocks... to most folks, that'd be like magic."
Usagi nodded. "Yeah, probably. How about, you don't fight for Love and Justice?"
"Well, I don't know about love, but I'd like to think I fight for justice. I know some folks that only fight for revenge; I don't wanna end up like that."
Usagi brightened. "I got it! You don't get a cool outfit when you change! You're stuck in _these_ things." She wrinkled her nose as she poked at Ranma's Chinese shirt. After all the running and fighting they had done, it was somewhat the worse for wear.
Ranma shuddered as she remembered the outfit Usagi had been wearing when she changed in the park. "Ooookay. I'll give you that one."
Usagi frowned. "Hey! What's wrong with my Sailor Moon outfit?!"
Ranma thought a moment before answering. "Well, it just don't seem right for the occasion. I've had to wear somethin' similar when I fought inna Martial Arts Ice Skating challenge, although I'd like to think my outfit had more style." She shook her head. "You wear those awful colors, and you don't even have anythin' like an embroidered dragon or somethin' on it." She flicked her pig-tail back negligently. "Besides, that's _ice skating_." She wriggled her fingers menacingly. "I wouldn't face down a demon with tentacles and what-not wearin' anythin' even _close_ to that!"
Ranma cut off Usagi before she could reply as she noticed the rest of their party. "Look. There's Minako and her mom."
The pair approached carrying their purchases. Minako waved to the girls.
"Hey! What happened with the old pervert?"
Usagi looked disgusted. "He got away. I swear, if I run into him again, he's dead!"
Mrs. Aino shook her head. "Don't let people like that get to you, Usagi." She turned to Ranma. "We got you another bra to replace the one that old man took, Ranko. We'll stop at a public restroom so you can put it on." And quickly, she thought. It was bad enough the girl wasn't wearing a bra, but in the shape her shirt was now, she bordered on scandalous.
Ranma groaned. Losing the bra had been the only good thing that happened the whole afternoon.
Minako gave Ranma a sympathetic look. "So who was that anyway?"
Ranma gave a look of disgust. "That was Master Happosai, my pop's sensei." She snorted. "Hard to believe, but the old lecher is the grandmaster of the school a martial arts I study. I think he developed the school just to molest women."
Minako looked outraged. "Then why hasn't anyone stopped him?"
"'Cause the old pervert's too good! He may be old, but he's fast and takes a lotta punishment. Pop and his friend tried sealing him inna cave with dynamite for a decade." She shook her head. "You ain't gonna stop him without a whole lotta firepower behind you."
Minako shared a look with Usagi. They nodded in agreement. One more thing for the Sailor Senshi to take care of; they'd try Sailor Moon's healing spell... after a good magical beating of course. They _were_ the protectors of Love and Justice, after all.
****
Sayuri nudged Yuka as the girl went through a rack of half-price dresses. "Is that who I think it is over there?"
Yuka looked the way her friend indicated. A red-head had stepped from the changing room. She wore a green evening gown that contrasted nicely with her hair. Then Yuka finally made the connection. "Is that Ranma? What's he doing in a dress? In _that_ dress?"
Sayuri nodded. "And you can tell that he's not wearing boxers under that dress." She gave the other girl a worried look. "You don't think that fight with Akane drove him to..." She couldn't finish that thought.
Yuka looked back and forth between her friend and where Ranma was - reluctantly - showing off the dress to a woman and two other girls. "Oh, what are we going to tell Akane when we meet for ice cream tomorrow?"
****
Ranma shivered as she and Usagi carried the packages up to the house. At least she was out of those frilly, lacy undergarments they made her wear beneath those dresses; thank goodness she was back in normal underwear. Then she groaned to think that she was feeling happy about wearing female undergarments at all. She turned to thank Minako and her mother.
"Good-bye Minako, Mrs. Aino. Thanks for everything." She tried to smile pleasantly.
Amai smiled back. "You're welcome Ranko, and call me Auntie Amai. Try to watch your language. We'll have to have you over for dinner some time."
Minako gave Ranma a hug, then backed off when her mother started to look at her strangely. "Yeah. See you both later."
Usagi waved to her friend and her mother. "It was fun! We'll have to do this again." She turned to Ranma. "Ranko? Aren't you going to thank me for helping you pick out your clothes?"
Ranma gritted her teeth and looked between Usagi and where Minako and her mother waited to hear her reply. "Usagi, I don't know when, and I don't know how, but I _will_ find a way to _thank_ you properly."
Minako and Amai waved again and walked off back toward their home. Usagi looked at Ranma and laughed nervously.
The pair entered the house. Usagi called out a greeting. "We're home!"
Ikuko and Genma entered the living room. Genma fell over as he saw his son. It was easy to tell through the shredded shirt that Ranma was wearing a bra.
Ikuko gasped in concern. "Who is your friend, Usagi? Is she all right? It looks like she's been in a fight!"
Usagi pulled Ranma up beside her. "This is Ranko, a new friend from school. She's fine; we're just going up to my room for a bit." She started dragging the inert girl up the stairs.
Her mother frowned a little. "Where's Ranma?"
Usagi looked to where Genma was waving behind her mother and making frantic gestures. "Oh, I think he's at the arcade still. He said he'd be in before dinner."
Genma moved off looking relieved as Ikuko nodded and headed back for the kitchen. He cast his son a look that promised trouble when they sparred later.
Chapter 4: Sunday Sundaes
In an ice cream shop in Juban, Usagi and Ranma sat across from Ami and Shingo. Ranma smiled slightly. It hadn't been any trouble at all getting Shingo to accompany them or to sit next to the older girl; the boy was clearly smitten. Usagi had a huge sundae in front of her.
****
In an ice cream shop in Nerima, Akane sat across from her friends Yuka and Sayuri. Akane had a sundae in front of her that was nearly melted; she hadn't the heart to eat such things lately.
****
In an ice cream shop in the more expensive part of Nerima, Nabiki sat opposite Kuno. Nabiki had a large sundae in front of her and slowly ate it as she let him simmer. She smiled wickedly.
****
Ranma gave Ami a hopeful look. "Do you really think you can locate my mom?"
Ami tried not to raise his hopes prematurely. "Maybe. I don't exactly have a lot to work from, and many records that old have not yet been computerized."
****
Akane gave her friends a hopeful look. "Did you really see Ranma yesterday? Is - is he okay?"
Sayuri and Yuka glanced at each other; best not to get her hopes up too much. "Well, yes, but he was in his girl-form. As to okay... he was wearing a dress."
****
Kuno gave Nabiki a piercing glare. "You have consumed the specified quantity of confections. Now, tell me what I wish to know."
Nabiki rolled her eyes. He better not get his hopes up if he wasn't willing to pay. "I _may_ have found where the pig-tailed girl has gone... for a price."
****
Shingo looked angry. "I can't believe your dad won't tell you about your mom. What a butt-head."
Ami frowned at the boy. "Shingo! You shouldn't talk about others that way." She noticed Ranma and Usagi's looks. "Even if it happens to be true."
****
Sayuri looked irritated. "I don't see why you're still moping over that jerk, Akane. You're much better off without him."
Akane frowned at her friend. "Sayuri! Don't talk about Ranma that way." She noticed the looks her friends gave her. "Besides, if - if I don't have Ranma, what else is there left me?"
Yuka tried to be positive. "There's Kuno!"
Sayuri nodded. "Or Gosunkugi!"
Akane glared at her friends.
****
Kuno looked desperate. "I _must_ know where my pig-tailed goddess has fled. I'll pay anything!" He laid five thousand yen on the table.
Nabiki frowned at the insane kendoist. "You'll have to do better than that, Kuno-baby."
****
Ami studied her notepad. "Hmm. Okay, I have you and your father's names and birthdays. I should also be able to get more from your school records." She looked at Ranma. "Meet me after school. We'll go to the office and ask to see your file. You need to be there to give permission for someone else to see your records."
Ranma nodded. "After school tomorrow then."
Shingo gave him a smile. "I hope you find your mom. I'd hate not being able to see my mom for so long." Usagi just nodded her agreement, being too consumed in consuming her sundae to speak.
****
Sayuri studied her friend. "Well, he's in Juban. You might leave early tomorrow and head over to Juuban High. You can probably catch him as he leaves."
Akane nodded. "After school tomorrow then."
Yuka gave her a smile. "I hope things work out for you Akane. You've really been depressed lately. I know I'd be depressed if I were missing my True Love." Her smile turned silly and her eyes glazed over as her two friends stared at her and shook their heads.
****
Nabiki studied the pile of money. Kuno added another five thousand, bringing the total up to twenty five thousand. "Hmm. Okay, she's in Juban. If you leave school early tomorrow, you should be able to catch her as she leaves Juuban High."
Kuno jumped up and raised his bokken aloft. "After school tomorrow then. The pig-tailed girl and I shall meet once more, and then we shall date!"
Nabiki tried not to choke on her sundae. "Well Kuno-baby, I hope you find her. I hear Ranma was in the area as well. I know I'd hate to see you lose the pig-tailed girl to him." She shook her head as Kuno yelled and ran out the door; maybe the jerk would transfer and make everyone's life easier.
And so ends Part 2 of Wild Horses and Rabbits Don't Mix. Next time, showdown at Juuban High. Who will be left standing? Will the school be left standing? How will Minako react to the competition? Or vice-versa?
Author's notes: I know that Genma hasn't changed yet, at least not to anyone's knowledge. Just think of it as more of Ranma's bad luck. Yes, Koshino-yu onsen is a real hotspring in Juban. Yes, Triumph International is a real Japanese manufacturer of lingerie. Who knew Ryoga was a Sailor-V otaku? Maybe he saw her in England, or Greece, or China... there's a side story for another time. Ranma hasn't met his mother yet in either form; remember, Nodoka doesn't enter the story until after New Years in the normal Ranma universe. Given the way this story is going, it'll be sooner here. I haven't seen any hint of the names of Minako's parents, so I just made her mother's name Amai, which means indulgent. The idol Pandora was in Sailor-V, volume 3; the evil Hawaiians were in volume 7, and the karaoke battle was in volume 14, for those who just _have_ to know.
End file.
| fanfiction |
Deepanath Channa Perera is an Sri Lankan Film actor in Sri Lankan cinema and television as well as a filmmaker and screenplay writer.
Personal life
Channa Perera was born on 16th of August 1975 as the eldest of four sons. His father Piyasena Perera was a Director of Education who was in-charge of special education in Sri Lanka. His mother,Vineetha Piyasena was a teaching instructress. Perera was educated at Sri Sumangala Boys' School, Panadura and then from Royal College Colombo. He completed A/L from bio stream and then took over a Banking job.
He is married to popular actress Gayathri Dias. He met Gayathri during the teledrama Makara Vijithaya. They got married on September 26 in 1996 and divorced in 2014. The couple has two daughters - Maleesha Parindya and Duasha Adithya. Elder daughter Maleesha completed education from Musaeus College.Duasha is currently studying at Royal Institute. .
Career
His maiden cinematic experience came through 1994 film Sujatha directed by Daya Wimalaweera. Since then, he acted in many dramatic roles particularly in romantic supportive roles. His has acted in many popular serials including Golu Hadawatha, Sathpura Wesiyo, Senehewanthayo, Sath Mahala, Sakwa Lihiniyo and Sooriya Daruwo.
He entered in film direction with the 2006 blockbuster Anjalika. The film won many awards at local film festivals. He introduced Kollywood actress Pooja Umashankar to Sri Lankan film industry with title character in Anjalika. He directed his first television serial, Punchi Weerayo, which became a cult in Sri Lankan television. His next directorial film Sanda Diya Salu, which is an Indian-Sri Lankan joint production was planned to release for nearly 30 theaters of NFC Ridma circuit cinemas, ten Tamil and Telugu copies. But the screening was postponed by many disputes.
Some of his television serials
Awasan Horawa
Bharyawo
Dahas Gawdura
Dedunu Yanaya
Eka Gei Kurullo
Golu Hadawatha
Kaneru
Makara Vijithaya
Prema Parami
Sahas Gaw Dura
Sakwa Lihiniyo
Sanda Hiru Tharu
Sathmahala
Sathpura Wesiyo
Sawsiri Uyana
Senehewanthayo
Sooriya Daruwo
Sudu Mahaththuru
Suwanda Padma
Tharupaba
Thimira Pauwa
Vihanga Geethaya
Television serials directed
Punchi Weerayo 1 and 2
Wassanaye Hiru Evidin
Sanda Diya Arana
Tikiri Hapannu 1 and 2
Filmography
As an Actor
{| border=2 cellpadding=4 cellspacing=0 style=margin: 1em 1em 1em 0; background: #f9f9f9; border: 1px #aaa solid; border-collapse: collapse; font-size: 95;
|- bgcolor=#CCCCCF align=center
| Year || Film || Role ||Ref.
|-
|| 1994 || Sujatha || Sanath ||
|-
|| 1994 || Dhawala Pushpaya || uncredited role ||
|-
|| 1995 || Mama Baya Ne Shyama || ||
|-
|| 1995 || Chandiyage Putha || Suresh ||
|-
|| 1997 || Ninja Sri Lanka || ||
|-
|| 1998 || Gini Avi Saha Gini Keli || ||
|-
|| 1999 || Thirtha Yathra || Kusal ||
|-
|| 2000 || Undaya || Murthi Palihawadana ||
|-
|| 2002 || Seethala Gini Kandu || ||
|-
|| 2004 || Mille Soya || Chamara ||
|-
|| 2006 || Anjalika || Thivanka ||
|-
|| 2010 || Hadawatha Mal Yayai || Himal ||
|-
|| 2012 || Senasuru Maruwa || Nisal ||
|-
|| 2014 || Kalpanthe Sihinayak || Kalpa Wickramasinghe ||
|-
|| 2019 || Inda Nimidam ||South Indian Movie||
|-
|| 2015 || Mayavi || Senehas ||
|-
|| 2019 || Yugathra || Visal/Sagara ||
As a Film Director
Awards and accolades
He has won several awards at the local film festivals and television festivals, both for acting and direction.
Sarasaviya Awards
|-
|| 2006 ||| Anjalika || Most Popular Actor ||
Sumathi Awards
|-
|| 1998 ||| Thimira Pauwa || Merit Award ||
|-
|| 2001 ||| Punchi Weerayo || Best Creative Director ||
|-
|| 2001 ||| Peoples' vote || Most Popular Actor ||
|-
|| 2002 ||| Peoples' vote || Most Popular Actor ||
|-
|| 2003 ||| Peoples' vote || Most Popular Actor ||
|-
|| 2004 ||| Nannadunannee || Best Supporting Actor ||
|-
|| 2016 ||| Rathu Ahasa || Jury Special Award ||
Signis OCIC Awards
|-
|| 2009 ||| Anjalika || Best Direction ||
Derana Music Video Awards
|-
|| 2008 ||| Anjalika || Best Visualized film song ||
SLIM-Nielsen Peoples Awards
|-
|| 2008 ||| Anjalika || Most Popular Film ||
Hiru Film Awards
|-
|| 2014||| Senasuru Maruwa || Best Actor ||
Derana Lux Film Awards
|-
|| 2014||| Senasuru Maruwa || Best Actor ||
References
External links
අපි බැදලා අවුරුදු 17 - Channa Perera and Gayathri Dias
Chat with Gayathri Dias
හිතගියේ ගයාත්රිට විතරයි... - Channa perera
කුණුවලට මිනිස්සු රහ වැටෙනවා - Channa Perera
Category:20th-century Sri Lankan male actors
Category:Sri Lankan film directors
Category:Alumni of Royal College, Colombo
Category:Living people
Category:21st-century Sri Lankan male actors
Category:Sri Lankan male television actors
Category:1980 births | wikipedia |
The following is a list of international rugby union teams:
Multinational teams
Combination sides
The British and Irish Lions, perhaps the most famous multi-national rugby team.
Established in 1950, East Africa has conducted seven tours between 1954 and 1982 and has played against incoming international, representative and club touring sides including twice against the British Lions; perhaps the only example of representative as opposed to invitational multinational teams playing against each other. They have also played against the Barbarians.
formerly Tanganyika
A similar development in 2004 has been of a Pacific Islanders XV.
The South American Jaguars were a combination team who played South Africa during the early 1980s.
The African Leopards are a development side drawn from across Africa, they have played representational rugby union against South African students.
The Arabian Gulf rugby union team combined various teams from Arab countries in the Persian Gulf and competed in World Cup qualification. The Arabian Gulf Rugby Union has now been dismantled and responsibility for the game devolved to each of the member nations, although the team may be revived in the future.
There is also a West Indies side, which first toured when the Caribbean Rugby Union sent a team managed by Gavin Clark to tour England in 1976. Their last tour was also to England in October and November 2000.
The Commonwealth of Independent States also played during the early 1990s.
World XV sides have also been fielded nine times between 1977 and 2014.
Invitation sides
The Barbarian Football Club is probably the most famous invitation side. It has spawned New Zealand Barbarians, South African Barbarians, and French Barbarians.
Scorpions RFC are an East African equivalent founded in 1959 existing and playing under a similar ethos to the Barbarians.
Other invitational sides past and present include:
President's Overseas XV, selected for the hundredth anniversary of the RFU
Overseas Unions rugby union team
Rest of the World XV
Four Home Unions XV
Rest of Europe XV
In the aftermath of the 2004 tsunami a Northern hemisphere side took on a Southern hemisphere side in the IRB Rugby Aid Match:
Northern Hemisphere XV
Southern Hemisphere XV
National teams tier classification
The sport's international governing body, World Rugby formerly the International Rugby Board, organises its member unions into three tiers. All Tier 1 and 2 nations have competed in the Rugby World Cup RWC.
Tier 1
Tier 2
Pacific countries participate in the World Rugby Pacific Nations Cup. European countries participate in the Rugby Europe International Championships.
Tier 3
Development One
Development Two
National teams band classification
Starting in 2008, in addition to the existing tier system, the IRB introduced a four-band system of classification in which unions and, by extension, teams are classified based on their development status and record on the international stage. The new structure is:
High performance
All countries previously in Tiers 1 and 2.
Development One
These are countries earmarked for increased developmental funding and include
Targeted
Again, the IRB did not release a list of unions in this category, but named several as being in this band:
Developmental
This is the location for all remaining unions.
Other teams
Defunct national sides
Various national sides have ceased to exist for political reasons. In the case of the Soviet Union, Czechoslovakia and Yugoslavia, there is more than one successor team. In the case of Catalonia, the Spanish Civil War and Franco's crackdown put an end to it, and in the case of East and West Germany, reunification led to their amalgamation into a single German side.
Arabian Gulf* dissolved by the end of 2010 and replaced by separate unions and national teams
CIS*
* a combination of Kenya, Tanzania/Tanganyika and Uganda. It has not played since 1982 but the Rugby Football Union of East Africa RFUEA still exists and there have been recent talks to resurrect the team
- superseded by the Zimbabwe rugby team since 1980, the year of the country's sovereignty.
has not played since 1971 and so moribund
* For more information on these teams see above.
Women's rugby
Defunct women's national sides
Invitation sides
Nomads
Notes and references
International | wikipedia |
We have had trouble adding documents to the class pages for the past couple of weeks.
Well done on keeping up-to-date with the paper copies in your homework diaries and bringing in such excellent projects.
Photos of our great class assembly.
In Kestrel class we have been thinking about how to be the best learners possible. We all understand that it is our responsibility to listen attentively, follow instructions, help others, present our work neatly and face challenges with a smile on our faces and an air of positivity.
Kestrels have been designing their own tags in our graffiti art lessons!
5 Star Basketball Academy came in to offer some tuition to our year 5 pupils. They enjoyed an hour's basketball tuition and then a lecture on balancing sport with a healthy lifestyle.
The whole school were invited to participate in a competition to design a healthy meal for an athlete. Our winner won with her balanced meal ideas. She won a basketball signed by the players at the academy and a voucher towards basketball camp! | slim_pajama |
The South Australian Railways A Class Locomotives arrived for the South Australian Railways in September and October 1868 from Robert Stephenson and Company. A third and final locomotive was ordered and arrived in 1873, these locomotives were withdrawn between 1893 and 1924 from the SAR after many years of hard service.
History
The railway line from Roseworthy to Forresters now known as Tarlee, was opened of rail traffic on the 5th of July 1896. The line was originally designed and intended for horse traction and was laid with light 40 pound rail. The idea of horsepower was later discarded and eventually the first two locomotives imported from the Robert Stephenson and Company arrived. These first lot of two locomotives were designated the A Class and were put to work on the Roseworthy to Forresters line. The A class were a first for the South Australian Railways, being the first Broad Gauge locomotives to be fitted with outside cylinders. Though not long after these new locomotives arrived they were found to be quite rigid in their wheelbase and too heavy for the light track. With the arrival of the new F class locomotives in September 1869 the A class had their place taken on this stretch of line. Following the A class locomotives being moved from the Roseworthy to Forresters railway line, they were then placed in service on the Port line. On the Port line these locomotives proved to be a much more valuable asset, so much so that a third locomotive was ordered from Robert Stephenson and Company and arrived in 1873. Over their career these three engines were allocated to suburban passenger and goods services around the South Australian Railways network. Together these locomotives performed shunting duties for many years at various locations, including the Adelaide railway yard. One of the three locomotives was stationed for a period of years at Strathalbyn and was in service to work from Strathalbyn to Milang. The Milang line was a branch off the Victor Harbor Railway Line.
References
A
Category:Broad gauge locomotives in Australia
Category:Robert Stephenson and Company locomotives | wikipedia |
AMERICAN PSYCHO by Mary Harron and Guinevere Turner
AMERICAN PSYCHO
by
Mary Harron and Guinevere Turner
Based on the novel by Bret Easton Ellis
Fourth Draft
November 1998
INT. PASTELS RESTAURANT- NIGHT
An insanely expensive restaurant on the Upper East Side.
The decor is a mixture of chi-chi and rustic, with swagged
silk curtains, handwritten menus and pale pink tablecloths
decorated with arrangements of moss, twigs and hideous
exotic flowers. The clientele is young, wealthy and
confident, dressed in the height of late-eighties style:
pouffy Lacroix dresses, slinky Ala�a, Armani power suits.
CLOSE-UP on a WAITER reading out the specials.
WAITER
With goat cheese profiteroles and I also have an arugula
Caesar salad. For entr�es tonight I have a swordfish
meatloaf with onion marmalade, a rare-roasted partridge
breast in raspberry coulis with a sorrel timbale...
Huge white porcelain plates descend on very pale pink linen
table cloths. Each of the entrees is a rectangle about four
inches square and look exactly alike.
CLOSE-UP on various diners as we hear fragments of
conversation. "Is that Charlie Sheen over there?" "Excuse
me? I ordered cactus pear sorbet."
WAITER
And grilled free-range rabbit with herbed French fries. Our
pasta tonight is a squid ravioli in a lemon grass broth...
CLOSE-UP on porcelain plates containing elaborate
perpendicular desserts descending on another table.
PATRICK BATEMAN, TIMOTHY PRICE, CRAIG MCDERMOTT and DAVID
VAN PATTEN are at a table set for four. They are all wearing
expensively cut suits and suspenders and have slicked-back
hair. Van Patten wears horn-rimmed glasses.
The camera moves in on Bateman as his narration begins:
BATEMAN (V.O.)
We're sitting in Pastels, this nouvelle Northern California
place on the Upper East Side.
The Waiter sets down plates containing tiny, elaborately
decorated starters. As he does so we hear Bateman's
description of each of the men at the table.
BATEMAN (V.O.)
You'll notice that my friends and I all look and behave in
a remarkably similar fashion, but there are subtle differences
between us. McDermott is the biggest asshole. Van
Patten is the yes man. Price is the most wired. I'm the
best looking. We all have light tans. Right now I'm in a
bad mood because this is not a good table, and Van Patten
keeps asking dumb, obvious questions about how to dress .
VAN PATTEN
What are the rules for a sweater vest?
McDERMOTT
What do you mean?
PRICE
Yes. Clarify.
McDERMOTT
Well, is it strictly informal-
BATEMAN
Or can it be worn with a suit?
McDERMOTT
(Smiling)
Exactly
BATEMAN
With discreet pinstripes you should wear a subdued blue or
charcoal gray vest. A plaid suit would cal I for a bolder
vest.
McDERMOTT
But avoid matching the vest's pattern with your socks or
tie. Wearing argyle socks with an argyle vest will look
too studied.
VAN PATTEN
You think so?
PRICE
You'll look like you consciously worked for the look.
VAN PATTEN
Good point. Excuse me, gentlemen.
Van Patten leaves the table. As he does so, a busboy
discreetly removes their largely untouched plates.
BATEMAN
Van Patten looks puffy. Has he stopped working out?
PRICE
It looks that way, doesn't it?
McDERMOTT
(Staring at retreating waiter)
Did he just take our plates away?
PRICE
He took them away because the portions are so small he
probably thought we were finished. God, I hate this place.
This is a chicks' restaurant. Why aren't we at Dorsia?
McDERMOTT
Because Bateman won't give the maitre d' head.
(He guffaws)
Bateman throws a swizzle stick at him.
McDermott scans the room, settling on a handsome young man
with slicked-back hair and horn-rimmed glasses.
McDERMOTT
Is that Reed Robinson over there?
PRICE
Are you freebasing or what? That's not Robinson.
McDERMOTT
Who is it then?
PRICE
That's Paul Owen.
BATEMAN
That's not Paul Owen. Paul Owen's on the other side of the
room. Over there.
He points to another handsome young man with slicked-back
hair and horn-rimmed glasses.
McDERMOTT
Who is he with?
PRICE
(Distracted by the waitress's
cleavage as she bends over to
uncork a bottle of wine � the
waitress glares at him)
Some weasel from Kicker Peabody.
Van Patten returns.
VAN PATTEN
They don't have a good bathroom to do coke in.
McDERMOTT
Are you sure that's Paul Owen over there?
PRICE
Yes. McDufus, I am.
McDERMOTT
He's handling the Fisher account.
PRICE
Lucky bastard.
McDERMOTT
Lucky Jew bastard.
BATEMAN
Oh Jesus, McDermott, what does that have to do with
anything?
McDERMOTT
Listen. I've seen the bastard sitting in his office on the
phone with CEOs, spinning a fucking menorah. The
bastard brought a Hanukkah bush into the office last December.
BATEMAN
You spin a dreidel, McDermott, not a menorah.
You spin a dreidel.
McDERMOTT
Oh my God. Bateman, do you want me to fry you up
some fucking potato pancakes? Some latkes?
BATEMAN
No. Just cool it with the anti-Semitic remarks.
McDERMOTT
Oh I forgot. Bateman's dating someone from the
ACLU.
Price leans over and pats Bateman on the back.
PRICE
The voice of reason. The boy next door. And speaking
of reasonable...
He shows McDermott the bill for the meal.
McDERMOTT
Only $470.
VAN PATTEN
(Without irony)
Not bad.
The others murmur agreement. Four platinum Amex cards slap
down on the table.
INT. LIMOUSINE - NIGHT
Bateman is pouring vintage champagne into flutes. Price is
lighting up a cigar.
McDERMOTT
Last week I picked up this Vassar chick-
VAN PATTEN
Oh God, I was there. I don't need to hear this
story again.
McDERMOTT
But I never told you what happened afterwards. So
okay, I pick up this Vassar chick at Tunnel-hot number, big
tits, great legs, this chick was a little hardbody-and so I
buy her a couple of champagne kirs and she's in the city on
spring break and she's practically blowing me in the
Chandelier Room and so I take her back to my place-
BATEMAN
Whoa, wait. May I ask where Pamela is during all
this?
McDERMOTT
Oh fuck you. I want a blowjob, Bate-man. I want a chick
who's gonna let me-
VAN PATTEN
(Putting his hands over his ears)
I don't want to hear this. He's going to say something
disgusting.
McDERMOTT
You prude. Listen, we're not gonna invest in a co-op
together or jet down to Saint Bart's. I just want some
chick whose face I can sit on for thirty, forty minutes.
Price throws a cigar at McDermott, who catches it.
McDERMOTT
Anyway, so we're back at my place and listen to
this. She's had enough champagne by now to get a fucking
rhino tipsy, and get this-
VAN PATTEN
She let you fuck her without a condom?
McDERMOTT
This is a Vassar girl. She's not from Queens. She
would only-are you ready?
(Dramatic pause)
She would only give me a handjob, and get this...she kept
her glove on.
The men sit in shocked, horrified silence.
ALL IN UNISON Never date a Vassar girl.
EXT. TUNNEL NIGHTCLUB - NIGHT
The limo pulls up to the sidewalk outside the Tunnel.
McDermott holds the door open for a passing HOMELESS MAN,
who looks confused.
McDERMOTT
I suppose he doesn't want the car. Price, ask
him if he takes American Express.
PRICE
(Offering card)
You take Amex, dude?
The man stumbles away. The club DOORMAN, seeing the limousine,
unhooks the
velvet rope and welcomes them inside.
INT. LADIES ROOM, TUNNEL - NIGHT
Brilliant white light, a bemused elderly female attendant in a
black-and-white maid's uniform trying to give out paper towels.
MUSIC thuds through an open doorway. Trashed-looking girls
stare into mirrors repairing their eye make-up or sit on the
counter chatting to friends. There are almost as many men as
women in the room. Couples stand in line, twitching as they
wait to do coke. As soon as one bathroom door opens, a couple
lurches out rubbing their noses while another couple rushes
past them and slams the door.
PRICE
There's this theory out now that if you can catch the
AIDS virus through having sex with someone who is infected,
then you can also catch anything-Alzheimer's, muscular
dystrophy, hemophilia, leukemia, diabetes, dyslexia, for
Christ's sake-you can get dyslexia from pussy-
BATEMAN
I'm not sure, guy, but I don't think dyslexia is a
virus.
PRICE
Oh, who knows? They don't know that. Prove it.
Price and Bateman finally get a stall and rush in. Price is
sweating.
PRICE
I'm shaking. You open it.
Bateman opens a tiny packet of coke.
PRICE
Jeez. That's not a helluva lot, is it?
BATEMAN
Maybe it's just the light.
PRICE
Is he fucking selling it by the milligram? (He dips
the corner of his Amex card in the packet and takes a snort)
Oh my God...
BATEMAN
What?
PRICE
It's a fucking milligram of Sweet'n Low!
Bateman dips his Amex in the envelope and snorts.
BATEMAN
It's definitely weak but I have a feeling if we do
enough of it we'll be okay.
PRICE
I want to get high off this; Bateman, not sprinkle it
on my fucking All-Bran.
The GUY IN STALL next door yells at them in an effeminate
voice:
GUY IN STALL
Could you keep it down, I'm trying to do drugs!
Price pounds his fist against the stall.
PRICE
(screaming)
SHUT UP!
BATEMAN
Calm down. Let's do it anyway
PRICE
I guess you're right...
(Raising his voice)
THAT IS, IF THE FAGGOT IN THE NEXT STALL THINKS IT'S OKAY!
GUY IN STALL
Fuck you!
PRICE
(Trying to climb up against the aluminum divider)
No, FUCK YOU!!
(He collapses, panting against the stall door)
Sorry, dude. Steroids...Okay, let's do it.
BATEMAN
That's the spirit.
They both dig their platinum Amex cards into the envelope
of white powder, shoveling it up their noses, then sticking
their fingers in to catch the residue and rubbing it into
their gums.
INT. NIGHTCLUB - NIGHT
Bateman saunters toward the bar as "Pump Up the Volume"
plays in the background.
BATEMAN (to BARGIRL) Two Stoli on the rocks.
He hands her two drink tickets.
BARGIRL
It's after eleven. Those aren't good anymore. It's
a cash bar. That'll be twenty-five dollars.
Bateman pulls out an expensive-looking wallet and hands her
a $50.
She turns her back and searches the cash register for
change.
BATEMAN You are a fucking ugly bitch I want to stab to
death and then play around with your blood.
The music muffles his voice. She turns around. He is
smiling at her. She gives him his change impassively.
INT. BATEMAN'S APARTMENT- MORNING
Tableaux of Bateman's apartment in the early morning light.
A huge white living room with floor-to-ceiling windows
looking out over Manhattan, decorated in expensive, minimalist
high style: bleached oak floors, a huge white sofa, a large
Baselitz painting (hung upside down) and much expensive
electronic equipment. The room is impeccably neat, and oddly
impersonal - as if it had sprung straight from the pages of
a design magazine.
BATEMAN (V.0.)
My name is Patrick Bateman. I am
twenty-six years old. I live in the American Garden
Buildings on West Eighty-First Street, on the eleventh
floor Tom Cruise lives in the penthouse.
Bateman walks into his bathroom, urinates while trying to
see his reflection in a poster for Les Miserables above his
toilet.
BATEMAN
(V.0.) I believe in taking care of myself, in a
balanced diet, in a rigorous exercise routine. In the
morning, if my face is a little puffy, I'll put on an ice
pack while doing my stomach crunches. I can do a thousand
now.
Bateman ties a plastic ice pack around his face.
Bateman does his morning stretching exercises in the living
room wearing the ice pack.
CUT TO:
A mirror-lined bathroom. Bateman is luxuriating in the
shower steam, scrubbing his body, admiring his muscles.
BATEMAN (V.O.)
After I remove the icepack, I use a deep
pore-cleanser lotion. In the shower, I use a
water-activated gel cleanser, then a honey-almond body
scrub, and on the face an exfoliating gel scrub.
Bateman stands in front of a massive marble sink applying a
gel facial masque.
BATEMAN (V.O.)
Then I apply an herb mint facial masque which
I leave on for ten minutes while I prepare the rest of my
routine.
Bateman opens the door of a mirrored cabinet, which is
stocked with immaculate rows of skin care products. He
begins selecting bottles jars and brushes, laying them in
readiness on the marble counter.
BATEMAN (V.O.)
I always use an after-shave lotion with little
or no alcohol because alcohol dries your face out and makes
you look older. Then moisturizer, then an anti-aging eye
balm, followed by a final moisturizing "protective" lotion...
Bateman stares into the mirror. The masque has dried,
giving his face a strange distorted look as if it has been
wrapped in plastic. He begins slowly peeling the gel masque
off his face.
BATEMAN (V.O.)
There is an idea of a Patrick Bateman, some
kind of abstraction, hut there is no real me, only an
entity, something illusory, and though I can hide my cold
gaze and you can shake my hand and feel flesh gripping you
and maybe you can even sense our lifestyles are probably
comparable: I simply am not there.
INT. BATEMAN BEDROOM - MORNING
Another huge white room, equally minimal: a futon, rumpled
white sheets, a bedside lamp with a halogen bulb, and a large
expensive painting (Eric Fischl or David Salle) chosen by
Bateman's interior decorator.
Dressed in silk boxer shorts, Bateman stands in front of a
huge walk-in closet, filled with rows of expensive shirts,
shoes and designer suits, organized according to color and
tone.
BATEMAN (V.O.)
It is hard for me to make sense on any given
level. My self is fabricated, an aberration. My personality
is sketchy and unformed, my heartlessness goes deep and is
persistent.
Fully dressed in Armani, Bateman stands in front of a
full-length mirror in the middle of his vast bedroom,
adjusting his cuff-links.
BATEMAN (V.0.)
My conscience, my pity, my hopes disappeared
a long time ago, if they ever did exist.
He gives a last look at the mirror and likes what he sees.
He gives his reflection a smile.
INT. OFFICES OF PIERCE & PIERCE - DAY
As Bateman walks down the corridor, he passes another MAN who
looks just like him.
MAN
Morning, Hamilton. Nice tan.
Bateman walks past the desk of JEAN, his secretary, pulling
his Walkman from around his neck. Jean is attractive,
wholesome, earnest. She smiles shyly. She loves him.
JEAN
Late?
BATEMAN
Aerobics class. Sorry. Any messages?
JEAN
Ricky Hendricks has to cancel today. He didn't say what
he was canceling or why.
BATEMAN
I occasionally box with Ricky at the Harvard Club.
Anyone else?
JEAN
And...Spencer wants to meet you for a drink at Fluties Pier 17.
BATEMAN
When?
JEAN
After six.
BATEMAN
Negative. Cancel it.
Jean follows him into his office.
JEAN
Oh? And what should I say?
BATEMAN
Just...say...no.
JEAN
Just say no?
Jean stands at his desk, waiting for instructions.
BATEMAN
Okay, Jean. I need reservations for three at Camols
at twelve-thirty, and if not there, try Crayons. All
right?
JEAN
(Playfully)
Yes, sir.
She turns to leave.
BATEMAN
Oh wait. And I need reservations for two at Arcadia at eight
tonight.
Jean turns around.
JEAN
Oh, something. . romantic?
BATEMAN
No, silly. Forget it. I'll make them. Thanks.
JEAN
I'll do it.
BATEMAN
No. No. Be a doll and just get me a Perrier, okay?
JEAN
You look nice today.
Jean exits. Bateman straightens some magazines in his
office, lifts a painting off the wall and puts it back at a
slightly different angle. He fiddles with some pencils in a
beer stein. He puts on some MUSIC and flips through a
Sports Illustrated. He buzzes Jean. She comes in a moment
later with the Perrier and a file.
JEAN
Yes?
BATEMAN
Is that the Ransom file? Thanks. Don't wear that
outfit again.
JEAN
Ummm...what? I didn't hear you.
BATEMAN
I said "Do not wear that outfit again." Wear a
dress. A skirt or something.
Jean stands there, then looks down at herself.
JEAN
(Smiling bravely)
You don't like this, I take it?
BATEMAN
Come on, you're prettier than that.
JEAN
(Sarcastically)
Thanks, Patrick.
The phone RINGS and Jean turns to leave.
BATEMAN
I'm not here. And high heels. I like high heels.
As Jean leaves, Bateman clicks on the TV set in one corner
of the room and starts watching Jeopardy!
INT. TAXI - EVENING
EVELYN WILLIAMS, Patrick Bateman's
fianc�e, is making notes with a gold Cross pen and sipping
a bottle of mineral water. Evelyn is blonde, classically
beautiful, expensively educated, and utterly pleased with
herself. She usually addresses Patrick as if he were a
small child.
EVELYN
I'd want a zydeco band, Patrick. That's what I'd
want, a zydeco band. Or mariachi. Or reggae. Something
ethnic to shock Daddy Oh, I can't decide...And lots
of chocolate truffles. Godiva. And oysters on the halfshell.
CLOSE-UP on Bateman, who is wearing a Walkman and staring
out the window.
BATEMAN (V.O.)
I'm trying to listen to the new George
Michael tape but Evelyn-my supposed fianc�e-keeps buzzing
in my ear.
Evelyn continues to make notes.
EVELYN
Marzipan. Pink tents. Hundreds, thousands of roses.
Photographers. Annie Leibovitz. We'll get Annie Leibovitz.
And we'll hire someone to videotape. Patrick, we should do it.
BATEMAN
(Removing his Walkman)
Do...what.
EVELYN
Get married. Have a wedding.
BATEMAN
Evelyn?
EVELYN
Yes, darling?
BATEMAN
Is your Evian spiked?
EVELYN
We should do it.
BATEMAN
No-I can't take the time off work.
EVELYN
Your father practically owns the company. You can do
anything you like, silly.
BATEMAN
I don't want to talk about it.
EVELYN
Well, you hate that job anyway. Why don't you just
quit? You don't have to work.
BATEMAN
Because I...want...to...fit...in.
The taxi bumps to a halt.
INT. ESPACE RESTAURANT- NIGHT
A cavernous garage, harshly spot-lit, decorated in
self-conscious brutalist chic. Iron girders, walls of waxed
plaster featuring exposed rusted pipes, a huge Schnabel
smashed-plate painting on one wall. The tables and chairs are
made of extremely uncomfortable
bolted steel.
BATEMAN (V.O.)
I'm on the verge of tears by the time we arrive at Espace
since I'm positive we won't have a decent table, but we do,
and relief washes over me in an awesome wave.
Tm Price and two downtown types, STASH and VANDEN, are
already seated. Vanden is about twenty, pretty and sullen,
with green streaks in her black hair. Stash is pale, with
ragged black hair and bad skin.
They are all trying to read large stainless steel menus
that look like minimalist art.
PRICE
The menu's in braille.
He gets up to greet them, giving Evelyn a suspiciously long
kiss.
PRICE
I have to talk to you.
He drags her away, half giggling and protesting.
EVELYN
(Over her shoulder)
Pat, this is my cousin Vanden
and her boyfriend Stash. He's an artist.
BATEMAN
(After smiling at his own reflection in the mirror and
checking his hair)
Hi. Pat Bateman.
Vanden takes his hand reluctantly, says nothing.
BATEMAN
Let me guess-you live in the East Village?
Pause.
STASH
SoHo.
COURTNEY RAWLINSON and LUIS CARRUTHERS arrive at the table.
Courtney is blonde, classically beautiful and from
precisely the same social background as Evelyn, but she is
considerably more fragile and neurotic. Luis is
half-English, half-Argentinean, slightly overweight (a
rarity in this crowd), puppyish and eager to please. He
wears the same type of designer clothes as Price and
Bateman, but with foppish tendencies: velvet jackets,
bow-ties, boldly patterned vests.
They exchange air kisses. As soon as Luis turns his back,
Bateman sneaks a kiss on Courtney's neck.
COURTNEY
(Whispering)
Stop it!
Stash and Vanden watch them in silence.
LATER:
Price is whispering in Evelyn's ear. Everyone else is
quietly eating, except Bateman, who is drinking and watching
Evelyn and Price.
BATEMAN (V.O.)
I am fairly sure that Timothy and Evelyn
are having an affair. Timothy is the only interesting
person I know. Courtney is almost perfect looking. She s
usually operating on one or more psychiatric drugs. Tonight
I believe it's Xanax. More disturbing than her drug use,
though, is the fact that she's engaged to Luis Carruthers,
the biggest dufus in the business.
Courtney rouses herself from her drug haze.
COURTNEY
Tell me. Stash...do you think SoHo is
becoming to...commercial?
CARRUTHERS
Yes, I read that.
PRICE
Oh, who gives a rat's ass?
VANDEN
Hey. That affects us.
PRICE
(Wired on coke)
Oh ho ho. That affects us? What
about the massacres in Sri Lanka, honey? Doesn't that
affect us, too? I mean don't you know anything about Sri
Lanka? About how the Sikhs are killing like tons of
Israelis there? Doesn't that affect us?
BATEMAN
Oh come on. Price. There are a lot more important
problems than Sri Lanka to worry about. Sure our foreign
policy is important, but there are more pressing problems
at hand.
PRICE
Like what?
BATEMAN
Well, we have to end apartheid for one. And slow
down the nuclear arms race, stop terrorism and world
hunger. But we can't ignore our social needs. either We
have to stop people from abusing the welfare system. We
have to provide food and shelter for the homeless and
oppose racial discrimination and promote civil rights while
also promoting equal rights for women but change the
abortion laws to protect the right to life yet still
somehow maintain women's freedom of choice.
The table stares at Bateman uncomfortably.
BATEMAN
We also have to control the influx of illegal
immigrants. We have to encourage a return to traditional
moral values and curb graphic sex and violence on TV, in
movies, in pop music, everywhere. Most importantly we have
to promote general social concern and less materialism in
young people.
Price chokes on his drink. Everyone is silent and
mystified.
CARRUTHERS
Patrick, how thought-provoking.
INT. EVELYN'S BEDROOM - LATER THE SAME EVENING
Bateman and Evelyn are lying on her bed watching television.
BATEMAN
Why don t you just go for Price?
EVELYN
Oh God, Patrick. Why Price? Price?
BATEMAN
He's rich.
EVELYN
Everybody's rich.
BATEMAN
He's good-looking.
EVELYN
Everybody's good-looking, Patrick.
BATEMAN
He has a great body
EVELYN
Everybody has a great body now.
Bateman unbuttons his shirt and makes advances to get
Evelyn to have sex with him. She ignores him, watching the
Home Shopping Channel with the remote in her hand. Finally,
he straddles her, penis close to her face. She tries to
look around him at the TV, then takes notice.
EVELYN
What do you want to do with that, floss with it?
Bateman flops back down beside her and stares at the television.
EVELYN
Are you using minoxidil?
BATEMAN
No. I'm not. Why should I ?
EVELYN
Your hairline looks like it's receding.
BATEMAN
It's not.
EXT. STREET - LATER THAT NIGHT
It is 3 a.m. Bateman is standing at an ATM, listening to the
comforting sound of fresh bills thudding out of the machine.
Bateman turns around and watches a solitary young woman walk
past him. He collects his money, placing it carefully in his
wallet, and then walks toward her, whistling. He catches up
to her as she pauses at a red light.
BATEMAN
Hello.
The woman looks suspicious for a moment and then, seeing
his smile, smiles back.
INT. DRY CLEANERS - DAY
Bateman, dressed in an Armani suit
with an unlit cigar between his teeth is standing in a dry
cleaners, arguing with the Chinese woman behind the
counter.
BATEMAN
Listen, wait. You're not...shhh wait...
you're not giving me valid reasons.
The woman continues to speak to him in another language,
grabbing at the sleeve of the jacket.
BATEMAN
What are you trying to say to me?
Her husband has taken Bateman's horribly bloodstained
sheets out of the bag and is staring at them.
BATEMAN
Bleach-ee? Are you trying to say bleach-ee?
Bleach-ee. Oh my God.
She keeps pointing to the jacket and talking.
BATEMAN
(Talking over her)
Two things. One. You can't bleach a Soprani. Out of the question.
Two.
(Louder)
Two. I can only get these sheets in Santa Fe. These are very
expensive sheets and I really need them clean.
She keeps talking and Bateman leans into her.
BATEMAN
If you don't shut your fucking mouth I will kill
you, are you understanding me?
She talks faster.
BATEMAN
Now listen-I have a very important lunch meeting
(Checks Rolex)
at Hubert's in thirty minutes, and I need those
...no wait, twenty minutes. I have a lunch meeting at
Hubert's in twenty minutes with Ronald Harrison and I need
those sheets cleaned by this afternoon.
She keeps talking.
BATEMAN Listen. I cannot understand you.
Bateman starts laughing, slaps his hand down on the
counter.
BATEMAN
This is crazy. You're a fool. I can't cope with
this.
Bateman is on the verge of tears.
BATEMAN
Stupid bitchee! Understand? Oh Christ!
Someone enters the store behind him. It's VICTORIA,
late-twenties, attractive but a little overweight, wearing a
tailored business suit with white sneakers and sports socks.
VICTORIA
Patrick?
She takes off her sunglasses.
VICTORIA
Hi, Patrick. I thought that was you.
BATEMAN
Hello
(Mumbles un incomprehensible name)
Awkward pause.
BATEMAN
Well.
VICTORIA
Isn't it ridiculous? Coming all the way up here,
but you
know. They really are the best.
BATEMAN
Then why can't they get these stains out? I mean can you talk
to these people or something? I'm not getting anywhere.
Victoria moves toward the sheet that the old man is holding
up. She
touches it and the woman behind the counter begins talking
again.
VICTORIA
Oh my, I see. What are those? Oh my.
BATEMAN
Um, well...it s cranberry juice. Cranapple.
VICTORiA
(Skeptically) Really?
BATEMAN
Well, I mean, um, it s really...Bosco. You
know, like...
like a Dove Bar. It's a Dove Bar...Hershey's Syrup?
VICTORIA
(As if sharing a secret joke) Oh yeah. Oh I get it.
Fun with chocolate.
BATEMAN
Listen, if you could talk to them
(He yanks the sheet out of the man's hand)
I would really appreciate it. I'm really late. I have a
lunch appointment at Hubert's in fifteen minutes.
Bateman turns to leave.
VICTORIA
Hubert's? Oh really? It moved uptown, right?
BATEMAN
Yeah, well, oh boy, listen, I've got to go. Thank
you, uh...
Victoria?
VICTORIA
Maybe we could have lunch one day next week? You
know, I'm downtown near Wall Street quite often.
BATEMAN
Oh, I don't know, Victoria. I'm at work all the
time.
VICTORIA
Well, what about, oh, you know, maybe a Saturday?
BATEMAN
(Checking his watch)
Next Saturday?
VICTORIA
(Shrugging)
Yeah.
BATEMAN
Oh, can't, I'm afraid. Matin�e of Les Miserables.
Listen, I've really got to go. I'll-Oh...Christ...I'll call
you.
VICTORIA
Okay. Do.
Bateman glares at the woman behind the counter and rushes
out the door. Victoria stares after him as we hear the sound
of the bell on the closing door.
INT. BATEMAN'S APARTMENT - DAY
Bateman is sitting on the sofa watching a video, talking to
Courtney on a portable phone. He's holding a video box in one
hand, perusing the title: Inside Lydia's Ass. Offscreen we hear
the sounds of the porn movie as he talks.
BATEMAN
Listen, what are you doing tonight?
COURTNEY
What? Oh, I'm...busy.
BATEMAN
Listen, you're dating Luis, he's in Arizona. You're fucking me,
and we haven't made plans. What could you possibly be up to
tonight?
COURTNEY
Stop it. I'm...
BATEMAN
On a lot of lithium?
COURTNEY
Waiting for Luis to call me. He said he'd call
tonight. Oh don't be difficult, Patrick.
BATEMAN
You should come have dinner with me.
COURTNEY
But-when?
BATEMAN
Am I confused or were we talking about tonight?
COURTNEY
Ummm . . yeah. Luis is calling me tonight. I
need to be
home for that.
BATEMAN
Pumpkin?
COURTNEY
Yes?
BATEMAN
Pumpkin you're dating an asshole.
COURTNEY
Uh huh.
BATEMAN
Pumpkin you're dating the biggest dickweed in New
York.
COURTNEY
I know. Stop it.
BATEMAN
Pumpkin, you're dating a tumbling, tumbling
dickweed.
COURTNEY
Patrick don't call me pumpkin anymore, okay? I have to go.
BATEMAN
Courtney? Dinner?
COURTNEY
I can't.
BATEMAN
I'm thinking Dorsia.
COURTNEY
Dorsia's nice.
BATEMAN
Nice?
COURTNEY
You like it there, don't you?
BATEMAN
The question is do you like it, Courtney? And will
you blow off a fucking phone call from your sad excuse for a
boyfriend to eat there tonight.
COURTNEY
Okay. Yeah. What time?
BATEMAN
Eight?
COURTNEY
Pick me up?
BATEMAN
Sounds like I'll have to. Don't fall asleep, okay? Wear
something fabulous. Dorsia, remember?
Bateman hangs up, opens up the Zagat's guide and dials the
number for Dorsia with trembling fingers. It's busy and so
he puts it on speakerphone, constant redial. He waits with
his head in his hands, sweating with anxiety, until there
is finally an answer.
MAITRE D'
Dorsia. Please hold.
He is on hold for a long time, getting very tense.
MAITRE D'
Dorsia.
BATEMAN
(Both of his eyes are closed)
Umm...yes...I know it's a little late but is it possible to
reserve a table for two at eight or eight-thirty perhaps?
Long pause. The Maitre D' starts giggling quietly and then
more loudly until the laughter is almost hysterical and he
hangs up the phone.
INT. TAXI- NIGHT
Bateman and Courtney are in the back of a cab. Courtney is
heavily medicated.
COURTNEY
A facial at Elizabeth Arden, which was really
relaxing, then to the Pottery Bam where I bought this
silver muffin dish.
(She starts to pass out)
BATEMAN
Is that Donald Trump's car?
COURTNEY
(Thickly)
Oh God, Patrick. Shut up.
BATEMAN
You know, Courtney, you should take some more
lithium. Or have a Diet Coke. Some caffeine might get you
out of this slump.
COURTNEY
I just want to have a child. Just...two...
perfect...children...
(Her voice trails as she descends back into a drug haze)
The cab draws up outside a restaurant. The awning reads
"Barcadia."
INT. BARCADIA - NIGHT
An insanely expensive nouvelle Italian restaurant all
polished natural brick, spotless white tablecloths,
minimalist flower arrangements, discreet lighting.
A waiter has come to take their drink orders.
BATEMAN
J&B. Straight.
COURTNEY
Champagne on the rocks. Oh-could I have that with
a twist? She starts to sink back in her chair and Bateman
leans over and pulls her back up.
COURTNEY
Are we here?
BATEMAN
Yes.
COURTNEY
This is Dorsia?
BATEMAN
(Examining a menu that says "Barcadia" in large script)
Yes, dear.
Courtney almost falls asleep while looking at her menu, and
starts to slide off of her chair. Bateman grabs her by both
shoulders and props her up.
BATEMAN
Courtney, you're going to have the peanut butter
soup with smoked duck and mashed squash. New York magazine
called it a 'playful but mysterious little dish." You'll
love it. And then...the red snapper with violets and
pine nuts. I think that'll follow nicely.
COURTNEY
Mmmm...thanks, Patrick.
She falls asleep at the table.
INT. COURTNEY'S BEDROOM - NIGHT
Bateman and Courtney are in Courtney's bed. Bateman is on
top of her, reaching for a condom in the ashtray. He tears
it open with his teeth, puts it on.
COURTNEY
(Dazed on lithium)
I want you to fuck me.
Bateman gets on top of her, starts to fuck her.
COURTNEY
Luis is a despicable twit.
BATEMAN
Yes, Luis is a despicable twit. I hate him.
He keeps fucking her.
COURTNEY
No, you idiot. I said "Is it a receptacle tip?"
Not, is Luis a despicable twit. Is it a receptacle tip?
Get off me.
BATEMAN
Is it a what?
COURTNEY
Pull out.
BATEMAN
I'm ignoring you.
COURTNEY
(screaming)
Pull out, goddamnit!
BATEMAN
(Slowing down but not stopping)
What do you want, Courtney?
She pushes him away from her.
BATEMAN
It's a plain end. I think.
COURTNEY
Turn the light on.
She tries to sit up.
BATEMAN
Oh Jesus. I'm going home.
COURTNEY
Patrick. Turn on the Light.
He turns on the light.
BATEMAN
It's a plain end, see? So?
COURTNEY
Take it off.
BATEMAN
Why?
COURTNEY
Because you have to leave half an inch at the tip �
(She covers herself with her comforter)
to catch the force of the ejaculate!
BATEMAN
I'm getting out of here. Where's your lithium?
Courtney throws a pillow over her head and starts crying.
COURTNEY
(Screaming)
Do you think you're turning me on by having unsafe sex?
Bateman pulls the pillow off her and slaps her face.
BATEMAN
Oh Christ, this really isn't worth it. And see,
Courtney, it's there for what? Huh? Tell us.
(He slaps her again lightly)
Why is it pulled down half an inch?
So it can catch the force of the ejaculate!
COURTNEY
(Choking crying)
Well, it's not a turn-on for me.
I have a promotion coming to me. I don't want to get AIDS.
Bateman grabs her head and makes her look at the condom.
BATEMAN
See? Happy? You dumb bitch? Are you happy, you dumb bitch?
COURTNEY
Oh God, just get it over with.
He fucks her quickly until he has a mediocre orgasm and
falls down next to her. They lie side by side with their
bodies not touching, eyes open, staring at the
ceiling.
INT. CONFERENCE ROOM, PIERCE & PIERCE - DAY
Bateman and Luis Carruthers are seated at a long table in
the conference room at Pierce & Pierce, which looks out onto
a spectacular view of Manhattan.
CARRUTHERS
Patrick, thanks so much for looking after Courtney.
Dorsia, how impressive! How on earth did you get a
reservation there?
BATEMAN
Lucky, I guess.
CARRUTHERS
That's a wonderful jacket. Let me guess,
Valentino Couture?
BATEMAN
Uh huh.
CARRUTHERS
(Reaching out to touch it)
It looks so soft.
BATEMAN
(Catching Luis hand)
Your compliment was sufficient Luis.
Carruthers is distracted by a question from the colleague
on his left.Paul Owen enters, carrying the Wall St. Journal
under his arm. He is handsome, supremely confident and
self-satisfied; he sees himself as a leader among men.
OWEN
(To Bateman)
Hello, Halberstam. Nice tie. How the hell are you?
BATEMAN
I've been great. And you?
Their conversation fades down as we hear Bateman's
thoughts.
BATEMAN (V.O.)
Owen has mistaken me for this dickhead Marcus Halberstam.
It seems logical because Marcus also works at P&P and in
fact does the same exact thing I do and he also has a
penchant for Valentino suits and Oliver Peoples glasses.
Marcus and I even go to the same barber, although I have
a slightly better haircut.
During this voiceover the CAMERA WANDERS over to MARCUS
HALBERSTAM, who is conferring with a colleague in the
opposite corner of the room. He bears a
superficial resemblance to Bateman.
OWEN
How's the Ransom account going, Marcus?
BATEMAN
(Nervous)
It's...it's...all right.
OWEN
Really? That's interesting.
(He stares at Bateman, smiling)
Not great?
BATEMAN
Oh well, you know.
OWEN
And how's Cecilia? She's a great girl.
BATEMAN
Oh yes. I'm very lucky.
McDermott and Price enter.
McDERMOTT
Hey. Owen! Congratulations on the Fisher account.
OWEN
Thank you, Baxter.
PRICE
Listen, Paul. Squash?
OWEN
Call me.
(Hands him a business card)
PRICE
How about Friday?
OWEN
No can do. Got a res at eight-thirty at Dorsia. Great sea
urchin ceviche. There is a stunned silence as he walks away
and sits in a corner of the room, ostentatiously studying papers.
CLOSE-UP on Bateman's face, cold with hatred.
PRICE
(Whispering)
Jesus. Dorsia? On a Friday night? How'd he swing that?
McDERMOTT (Whispering)
I think he's lying.
Bateman takes out his wallet and pulls out a card.
PRICE
(Suddenly enthused)
What's that, a gram?
BATEMAN
New card. What do you think?
McDermott lifts it up and examines the lettering carefully.
McDERMOTT
Whoa. Very nice. Take a look.
He hands it to Van Patten.
BATEMAN
Picked them up from the printers yesterday
VAN PATTEN
Good coloring.
BATEMAN
That's bone. And the lettering is something called
Silian Rail.
McDERMOTT
(Envious)
Silian Rail?
VAN PATTEN
It is very cool, Bateman. But that's nothing.
He pulls a card out of his wallet and slaps it on the
table.
VAN PATTEN
Look at this.
They all lean forward to inspect it.
PRICE
That's really nice.
Bateman clenches his fists beneath the table, trying to
control his anxiety.
VAN PATTEN
Eggshell with Romalian type.
(Turning to Bateman)
What do you think?
BATEMAN
(Barely able to breath, his voice a croak)
Nice.
PRICE
(Holding the card up to the light)
Jesus. This is really super. How'd a nitwit like you get so
tasteful?
Bateman stares at his own card and then enviously at
McDermott's.
BATEMAN (V.O.)
I can't believe that Price prefers McDermott's card to mine.
PRICE
But wait. You ain't seen nothin' yet.
He holds up his own card.
PRICE
Raised lettering, pale nimbus white...
BATEMAN
(Choking with anxiety)
Impressive. Very nice. Let's see Paul Owen's card.
Price pulls a card from an inside coat pocket and holds it
up for their inspection: "PAUL OWEN, PIERCE & PIERCE,
MERGERS AND ACQUISITIONS." Bateman swallows, speechless.
The sound in the room dies down and all we hear is a faint
heartbeat as Bateman stares at the magnificent card.
BATEMAN (V.O.)
Look at that subtle off-white coloring. The tasteful thickness
of it. Oh my God, it even has a watermark...
His hand shaking, Bateman lifts up the card and stares at it
until it fills the screen.
He lets it fall. The SOUND RETURNS TO NORMAL.
CARRUTHERS Is something wrong? Patrick...you're sweating.
EXT. STREET- EVENING
The financial district. The streets are eerily deserted.
Bateman stands at an ATM, enjoying the reassuring sound of
$500 in fresh bills thudding from the machine. As he turns
to leave, he notices someone across the street.
A HOMELESS MAN is lying in a doorway on top of an open
grate, surrounded by bags of garbage and a shopping cart. A
cardboard sign is attached to the front of the cart: I AM
HOMELESS AND HUNGRY PLEASE HELP ME. A small, thin dog lies
next to him.
He is black, dressed in a stained, torn, lime-green
polyester pants suit with jeans worn over the pants.
BATEMAN
(Offering his hand) Hello. Pat Bateman.
The Homeless Man stares at Bateman, struggling to sit up.
BATEMAN
You want some money?. Some...food?
The Homeless Man nods and starts to cry. Bateman reaches
into his pocket and pulls out a $I 0 bill, then changes his
mind and holds out a $5 instead.
BATEMAN
Is this what you need?
The Homeless Man nods, looks away, wipes his nose.
HOMELESS MAN
I'm so hungry.
BATEMAN
It's cold out, too, isn't it?
HOMELESS MAN
I'm so hungry.
BATEMAN
(Holding the bill just out of the man's reach)
Why don't you get a job? If you're so hungry, why don't you
get a job?
HOMELESS MAN
(Shivering and sobbing)
I lost my job...
BATEMAN
Why? Were you drinking? Is that why you lost it?
Insider trading? Just joking. No, really-were you drinking on
the job?
HOMELESS MAN I was fired. I was laid off.
BATEMAN
Gee, uh, that's too bad.
HOMELESS MAN
I'm so hungry.
The dog starts to whimper.
BATEMAN
Why don't you get another one? Why don't , you get another job?
HOMELESS MAN
I'm not...
BATEMAN
You're not what? Qualified for anything else?
HOMELESS MAN
I'm hungry
BATEMAN
I know that, I know that. Jeez, you're like a broken record.
I'm trying to help you.
HOMELESS MAN
I'm hungry.
BATEMAN
Listen, do you think it's fair to take money from people who
do have jobs? From people who do work?
HOMELESS MAN
What am I gonna do?
BATEMAN
Listen, what's your name?
HOMELESS MAN
Al.
BATEMAN
Speak up. Come on.
HOMELESS MAN
Al.
BATEMAN
Get a goddamn job, Al. You've got a negative attitude.
That's what's stopping you. You've got to get your act together.
I'll help you.
HOMELESS MAN
You re so kind, mister. You're kind. You're a kind
man. I can tell.
BATEMAN
(Petting the dog)
Shhhh...it's okay.
HOMELESS MAN
(Grabbing Bateman's wrist)
Please...I don know what to do. I'm so cold.
BATEMAN
(Stroking his face, whispering)
Do ,you know how bad you smell? The stench, my God.
HOMELESS MAN
I can't...I can't find a shelter
BATEMAN
You reek. You reek of...shit. Do you know that?
(Shouting)
Goddammit, Al-look at me and stop crying like some kind of
faggot. Al...I'm sorry.
Bateman carefully puts the money back in his wallet.
BATEMAN
It's just that...I don't know I don't have anything in common
with you.
He opens his briefcase and pulls out a long thin knife with
a serrated edge. He pushes up the sleeve of his jacket to
protect it.
BATEMAN
Do you know what a fucking loser ,you are?
HOMELESS MAN'S POV as Bateman lunges at him with the knife.
EXTREME WIDE SHOT of the street. Bateman's shadowed figure
is hunched over the Homeless Man, stabbing him in the stomach.
The dog barks wildly and Bateman stomps on it until it is
silent.
LOW ANGLE shot of Bateman as he throws a quarter on the ground.
BATEMAN
There's a quarter. Go buy some gum.
Bateman walks calmly into the empty caverns of Wall Street.
Cars drift past, their headlights momentarily illuminating the
body left twitching on the ground.
INT. BEAUTY SALON - DAY
CLOSE-UP on Bateman's face and torso. His eyes are closed as a
woman's hands rub cream into his face.
FACIALIST
What beautiful skin you have, Mr Bateman. So
fine, so smooth...
His eyes open to look up at the facialist and then he
closes them again.
BATEMAN (V.O.)
I have all the characteristics of a human being- flesh, blood,
skin, hair-but not a single clear, identifiable emotion except
for greed ,und disgust. Something horrible is happening inside
me and I don't know why.
CUT TO:
Bateman sitting in a chair, looking down at the
MANICURIST who is giving him a pedicure. She is cutting his
nails with tiny sharp scissors. He stares at them longingly.
BATEMAN (V.O.)
My nightly bloodlust has overflowed into my days. I feel lethal,
on the verge of frenzy.
CUT TO:
Bateman lying irradiated by ultraviolet light on a tanning
bed, wearing goggles.
BATEMAN (V.O.)
I think my mask of sanity is about to slip.
INT. TEXARKANA RESTAURANT - NIGHT
An insanely expensive nouvelle Tex-Mex restaurant, with an
ironic Southwestern decor: Santa Fe colors, Navajo blankets,
naive cowboy art, rawhide banquettes.
Bateman bursts in the door, late, and approaches the MAITRE D'.
BATEMAN
Marcus Halberstam. For two at eight?
MAITRE D'
Your friend has already been seated. Follow me, Mr. Halberstam.
Paul Owen is seated at a table underneath an enormous pair of
ram's horns. He is arguing with the WAITER.
OWEN
No, I want to know. I came here for the cilantro
crawfish gumbo, which is after all the only excuse one
could have for being in this restaurant, which is by the
way, almost completely empty. Am I to believe that all ten
people in this restaurant have eaten your entire supply of
cilantro crawfish gumbo?
WAITER
I'm very sorry sir. There was a fire in the kitchen
earlier today, and-
BATEMAN
J&B, straight. And a Dixie beer.
WAITER
Would you like to hear-
OWEN
Double Absolut martini.
WAITER
Yes, sir. Would you like to hear the specials?
BATEMAN
Not if you want to keep your spleen.
The Waiter leaves.
OWEN
This is a real beehive of, uh, activity, Halberstam.
This place is hot, very hot.
BATEMAN
Listen, the mud soup and the charcoal arugula are outrageous
here.
OWEN
Yeah, well, you're late.
BATEMAN
Hey, I'm a child of divorce. Give me a break
(Studying the menu; he's in a surprisingly good mood)
Hmmm, I see they've omitted the pork loin with lime jello.
OWEN
We should've gone to Dorsia. I could've gotten us a table.
BATEMAN
Nobody goes there anymore.
There is a long disgruntled silence.
BATEMAN
Is that Ivana Trump over there? (Laughs) Jeez
Patrick I mean Marcus, what are you thinking? Why would Ivana
be at Texarkana?
Another pause.
BATEMAN
So, wasn't Rothschild originally handling the
Fisher account? How did you get it?
OWEN
I could tell you that, Halberstam, but then I'd have
to kill you.
He guffaws. Bateman laughs politely.
LATER:
Paul Owen is very drunk. BATEMAN cold sober.
BATEMAN
I like to dissect girls. Did you know I'm utterly insane?
Owen continues laughing and motions to the waiter for another
drink.
OWEN
Great tan, Marcus. Really impressive. Where do you tan?
BATEMAN Salon.
OWEN
I've got a tanning bed at home. You should look into it.
Bateman nods, agitated.
OWEN
And Cecelia, how is she? Where is she tonight?
BATEMAN
Cecelia is, well...you know (Cecelia. I think
she's having dinner with...Evelyn Williams.
OWEN
Evelyn. Great ass. Goes out with that loser Patrick
Bateman. What a dork.
BATEMAN
Another Martini, Paul?
Owen nods drunkenly.
LATER:
The end of the meal. Owen is squeezing a lime onto the
table, missing his beer, incredibly drunk. The check is laid
down.
BATEMAN
(Talking to Owen like a child)
Paul, give me your Amex card. Good boy.
Bateman slaps the card down, looks at the check.
BATEMAN
Two-hundred-and-fifty. Very reasonable. Let's leave
a big tip, shall we? My place hr a nightcap?
OWEN
No, man. I'm gonna bail.
BATEMAN
Come on, you dumb son of a bitch.
(Helping him into his jacket)
I've got a preview of the Barneys catalogue and a
bottle of Absolut waiting for us.
INT. BATEMAN'S APARTMENT - NIGHT
The living room floor has been meticulously covered with
newspaper.
Owen is slumped drunkenly in a white Eames chair, a glass
in his hand. Bateman is looking through his CDs.
BATEMAN
You like Huey Lewis and the News?
OWEN
They're okay.
BATEMAN
Their early work was a little too New Wave for my
taste. But then Sports came out in 1983, I think they really
came into their own, commercially and artistically.
Bateman walks to his bathroom, taking a large ax out of the
shower. He takes two Valium.
BATEMAN
(Said partly from the bathroom)
The whole album has a clear, crisp sound and a new sheen of
consummate professionalism that gives the songs a big boost.
Bateman comes back out and leans the ax against the wall.
He walks to the foyer and puts on a raincoat, watching Owen
from behind ail the time.
BATEMAN
He's been compared to ELvis Costello but I think
Huey has a more bitter, cynical sense of humor.
Owen is absent-mindedly leafing through the Barneys
catalogue.
OWEN
Hey, Halberstam?
BATEMAN
Yes, Owen?
OWEN
Why are there copies of the Style section all over
the place? Do you have a dog? A chow or something?
BATEMAN
No, Owen.
OWEN
(Confused)
Is that a raincoat?
BATEMAN
Yes, it is.
Bateman moves to the CD player. He takes a CD out of its
case and slides it in the machine.
BATEMAN
In 1987 Huey released this, Fore!, their most
accomplished album. I think I heir undisputed masterpiece is
"HiP To Be Square," a song so catchy that most people probably
don't listen to the lyrics. But they should because it's not
just about the pleasures of conformity and the importance of
trends. It's al~ a personal statement about the band itself.
Bateman puts on "Hip To Be Square."
BATEMAN crosses the room and picks up the ax.
We follow BATEMAN from behind as he walks up to Owen, the
ax raised over his head.
BATEMAN
Hey, Paul?
As Owen turns around, FROM OWEN'S POV we see Bateman swing
the ax toward his face.
Blood sprays onto the white raincoat.
FROM BEHIND OWEN, we see BATEMAN as he yanks the ax out.
Owen drops to the floor. His body falls out of the frame.
We stay on his legs twitching mechanically.
Blood pulses onto the newspaper-covered floor.
BATEMAN
(Raising the ax and screaming)
Try getting a reservation at Dorsia now, you fucking
stupid bastard!
LOW ANGLE ON BATEMAN as he beats Owen with the back of the
ax.
OFFSCREEN, the sound of the ax hitting Owen.
BATEMAN
(Panting)
Fucking bastard...
Bateman takes his raincoat off, still panting. He folds the
coat carefully in half, bloody side in, and drapes it neatly
over the back of a chair.
He sits back on the white sofa and surveys the scene. He
checks his Rolex and lights a cigar.
OFFSCREEN, Paul Owen's last faint sighs are heard.
INT. LOBBY - NIGHT
BATEMAN drags a large, blood-soaked sleeping bag through the lobby,
past the bored doorman, who looks up from the Post for a moment.
EXT. STREET - NIGHT
BATEMAN is trying to hail a cab. Owen's body is at his
feet. Luis Carruthers and a Japanese girl walk up to him.
CARRUTHERS
Patrick? Is that you?
BATEMAN
No, Luis. It's not me. You're mistaken.
CARRUTHERS
This is Gwendolyn Ichiban. This is my very good
friend Patrick Bateman. Where are you going? We're going to
Nell's. Gwendolyn's father's buying it.
(Looking down at the body)
Where did you get your overnight bag?
BATEMAN
Commes des Garcon.
A cab stops. BATEMAN opens the door and manages to get
Owen's body into the backseat.
Bateman gets into the cab.
CARRUTHERS
Call me please, Patrick.
BATEMAN
Jesus lives, Luis.
INT. BATEMAN'S HELL'S KITCHEN APARTMENT - NIGHT
A bare room, lit by one light bulb. The walls are blank
except for a Les Miserables poster. There is one ratty chair.
Bateman pours lime over Paul Owen's body, which is lying in
a bathtub. He plays Huey Lewis, smokes a cigar, watches the
body dissolve.
INT. PAUL OWEN'S APARTMENT - NIGHT
Bateman is letting himself into the apartment. It is very
similar to Bateman's, but even more minimalist. The walls
are white-pigmented concrete with a large minimalist painting
on the wall. One wall is covered in a trendy, large-scale
scientific drawing above a long, black leather couch.
BATEMAN
Where to send the bastard? Dallas? Pans?
He throws some clothes into a suitcase, randomly grabbing
toiletries and shoving them in.
BATEMAN
Singapore? London. I'll send the asshole to London.
He puts some music on to help muffle his voice, then leans
over the answering machine.
He does a passable imitation of Owen's speech.
BATEMAN
Hi, this is Paul. I've been called away to London
for a few days. Meredith, I'll call you when I get back.
Hasta la vista, baby.
INT. BATEMAN'S OFFICE - MORNING
Bateman is sitting at his desk, with the latest copy of
Sports Illustrated in front of him and his Walkman playing
Kenny G. We hear the MUSIC until Jean enters and he takes
the Walkman off.
BATEMAN
(Faintly irritable)
What is it?
JEAN
Patrick?
BATEMAN
(Condescendingly)
Ye-es, Je-an?
JEAN
Patrick, a Mr. Donald KIMBALL is here to see you.
BATEMAN
Who?
JEAN
Detective Donald KIMBALL?
Silence. Bateman stares out the window, then down at the
drawing of a headless woman he's been doodling on the back
cover of Sports Illustrated.
BATEMAN
Tell him I'm at lunch.
JEAN
(whispering)
Patrick, I think he knows you're here.
It's only ten-thirty.
Silence.
BATEMAN
Send him in, I guess. As she exits, he picks up the cordless
phone and pretends to talk to someone at the other end.
BATEMAN
Now, John, you've got to wear clothes in proportion
to your physique. There are definite do's and don'ts, good
buddy, of wearing a bold-striped shirt. A hold-striped shirt
calls for solid-colored or discreetly patterned suits and ties...
The door to the office opens and he waves in DETECTIVE DONALD
KIMBALL. KIMBALL is surprisingly young - about Bateman's age -
and good-looking, dressed in a crumpled linen Armani suit of
the type Bateman and his friends might wear.
Kimball sits down and crosses his legs with a
self-assurance that makes Bateman so nervous he forgets to
carry on with his fake conversation. Kimball looks up at
him curiously, noticing the silence.
BATEMAN
(Realizing that Kimball is staring at him)
Right. And yes...always tip the stylist fifteen percent.
Bateman shrugs at the detective, rolling his eyes in
exasperation.
KIMBALL nods understandingly.
BATEMAN
Listen, John, I've got to go. T Boone Pickens just
walked in...
(He laughs inanely)
Just joking...
(Pause)
No don't tip the owner of the salon. Okay, John,
right, got it.
(He hangs up the phone and pushes the antenna in)
Sorry about that.
KIMBALL
No, I'm sorry. I should've made an appointment.
(Gesturing toward the phone)
Was that anything important?
BATEMAN
Oh that? Just mulling over business problems.
Examining opportunities...Exchanging rumors...
Spreading gossip.
They laugh politely.
KIMBALL
(Holding out his hand)
Hi. I'm Donald KIMBALL
BATEMAN
(Shaking firmly)
Hi. Pat Bateman. Nice to meet you.
KIMBALL
I'm sorry to barge in on you like this. but I was supposed
to talk to Luis Carruthers and he wasn't in and...well,
you're here, so...I know how busy you guys can get.
KIMBALL stares at the three open copies of Sports
Illustrated and the Sony Walkman lying on Bateman's desk.
Bateman sees the look and sweeps the magazines
into the top drawer along with the Walkman, which is
still running.
BATEMAN
(Forcing himself to sound friendly and relaxed)
So, what's the topic of discussion?
KIMBALL
I've been hired by Meredith Powell to investigate
the disappearance of Paul Owen.
BATEMAN
You're not with the FBI or anything, are you?
KIMBALL
Nothing like that. I'm just a private investigator.
BATEMAN
Ah, I see...Yes. Paul's disappearance...Yes.
KIMBALL
So it's nothing that official. I just have some
basic questions. About Paul Owen. About yourself-
BATEMAN
Coffee?
KIMBALL
No. I'm okay.
BATEMAN
Perrier? San Pellegrino?
KIMBALL
No, I'm okay.
KIMBALL takes out a small black notepad and the same gold
Cross pen that Bateman and his friends all use. Bateman buzzes
Jean.
JEAN (O.S.)
Patrick?
BATEMAN
Can you bring Mr...
KIMBALL
KIMBALL.
BATEMAN
Mr. Kimball a bottle of San Pelle-
KIMBALL
Oh no, I'm okay.
BATEMAN
It's no problem
Bateman watches intently as KIMBALL writes something down
in his notebook, then crosses something out. Jean enters
and places the bottle of San Pellegrino and a Steuben etched
glass on the table, shooting a concerned glance at Bateman.
He glares at her. KIMBALL smiles and nods at Jean as she leaves.
BATEMAN
Well, what's the topic of discussion?
KIMBALL
The disappearance of Paul Owen.
BATEMAN
Oh right. Well, I haven't heard anything about the
disappearance or anything...
(Trying to laugh)
Not on "Page Six" at least.
KIMBALL
I think his family wants this kept quiet.
BATEMAN
Understandable.
(Staring at the untouched bottle of San Pellegrino)
Lime?
KIMBALL
No, really. I'm okay.
BATEMAN
You sure? I can always get you a lime.
A pause.
KIMBALL
Just some preliminary questions that I need for my own
files, okay?
BATEMAN
Shoot.
KIMBALL
How old are you?
BATEMAN
Twenty-six. I'll be twenty-seven in October.
KIMBALL
(Scribbling in his notebook)
Where did you go to school?
BATEMAN
Harvard. The Harvard Business School.
KIMBALL
Your address?
BATEMAN
Fifty-five West Eighty-First Street. The American
Gardens Building.
KIMBALL
(Looking up, impressed)
Nice. Very nice.
BATEMAN
(Flattered)
Thanks.
A pause as KIMBALL studies his notebook. Bateman closes his
eyes, as if in pain.
KIMBALL
Pardon me, but are you okay?
BATEMAN
Who do you ask?
KIMBALL
You seem...nervous.
Bateman reaches into his desk drawer and brings out a
bottle of aspirin.
BATEMAN
Nuprin?
KIMBALL Uh...no, thanks.
Kimball takes out a pack of Marlboro's and lays it on the
desk.
BATEMAN
Bad habit.
KIMBALL
I know. I'm sorry.
A pause, as Bateman stares at the cigarettes.
KIMBALL
Would you rather I not smoke?
BATEMAN
No, I guess it's okay.
KIMBALL
You sure?
BATEMAN
No problem.
(Buzzing Jean)
JEAN (O.S.)
Yes, Patrick?
BATEMAN
Bring us an ashtray for Mr. KIMBALL, please.
She whisks in with a crystal ashtray as they sit in silence.
KIMBALL
What can you tell me about Paul Owen?
BATEMAN
Well...
He coughs, shakes two Nuprin into his hand and swallows
them dry.
KIMBALL
How well did you know him?
BATEMAN
I'm...at a loss. He was part of that whole...Yale thing,
you know.
KIMBALL
Yale thing?
A pause.
BATEMAN
Yeah...Yale thing.
KIMBALL
What do you mean...Yale thing?
A pause.
BATEMAN
Well, I think for one that he was probably a closet
homosexual. Who did a lot of cocaine...that Yale thing.
A silence during which the sound of the air conditioner
becomes deafening.
KIMBALL
So...there's nothing you can tell me about Paul
Owen?
BATEMAN
He led what I suppose was an orderly life. He...
ate a balanced diet.
KIMBALL
What kind of man was he? Besides...
(He hesitates tries to smile)
the information you've just given.
BATEMAN
I hope I'm not being cross-examined here.
KIMBALL
Do you feel that way?
BATEMAN
No. Not really.
KIMBALL
(As he writes without looking up)
Where did Paul hang out?
BATEMAN
Hang...out?
KIMBALL
Yeah. You know...hang out.
BATEMAN
Let me think. The Newport. Harry's. Fluties. Endochine.
Nell's. Comell Club. The New York Yacht Club. The regular
places.
KIMBALL
He had a yacht?
BATEMAN
No, he just hung out there.
KIMBALL
And where did he go to school?
A slight pause.
BATEMAN
Don't you know this?
KIMBALL
I just wanted to know if you know.
BATEMAN
Before Yale? If I remember correctly, Saint Paul's...
Listen, I just...I just want to help.
KIMBALL
I understand.
He makes another note.
KIMBALL
Anything else you can tell me about Owen?
BATEMAN
We were both seven in 1969.
KIMBALL
(Smiles)
So was I.
BATEMAN
Do you have any witnesses or fingerprints?
KIMBALL
Well, there's a message on his answering machine saying he
went to London.
BATEMAN
Well, maybe he did, huh?
KIMBALL
His girlfriend doesn't think so.
BATEMAN
But...has anyone seen him in London?
KIMBALL
Actually, yes.
BATEMAN
Hmmm.
KIMBALL
Well, I've had a hard time getting an actual verification.
A Stephen Hughes says he saw him at a restaurant there, but
I checked it out and what happened is, he mistook a Hubert
Ainsworth for Paul, so...
BATEMAN
Oh.
KIMBALL
Was he involved at all , do you think, in occultism or Satan
worship?
BATEMAN
What?
KIMBALL
I know it sounds like a lame question, but in New Jersey I
know this sounds like a lame question, but last month-I don't
know if you've heard about this, but a young stockbroker was
recently arrested and charged with murdering a young Chicano
girl and performing voodoo rituals with various body parts-
BATEMAN
Yikes! No. Paul wasn't into that. He followed a balanced
diet and-
KIMBALL
Yeah, I know, and was into that whole Yale thing.
A pause - the longest so far.
BATEMAN
Have you consulted a psychic?
KIMBALL
No.
BATEMAN
Had his apartment been burglarized?
KIMBALL
No, it actually hadn't. Toiletries were missing. A
suit was gone. So was some luggage. That's it.
BATEMAN
I mean no one's dealing with the homicide squad yet
or anything, right?
KIMBALL
No, not yet. As I said, we're not sure. But...
basically no one has seen or heard anything.
BATEMAN
That's so typical, isn't it?
KIMBALL
It's just strange.
(He stares out the window, lost in thought)
One day someone's walking around, going to work, alive,
and then...
BATEMAN
Nothing.
KIMBALL
People just...disappear.
BATEMAN
The earth just opens up and swallows people.
(He checks his Rolex)
KIMBALL
Eerie. Really eerie.
Silence.
BATEMAN
(Standing up)
You'll have to excuse me. I have a lunch meeting
with Cliff Huxtable at Four Seasons in twenty minutes.
KIMBALL
Isn't the Four Seasons a little far uptown? I
mean aren't you going to be late?
BATEMAN
Uh, no. There's one...down here.
KIMBALL
Oh really? I didn't know that.
Bateman leads him to the door.
BATEMAN
Yes. It's very good.
KIMBALL turns to face him.
KIMBALL
Listen, if anything occurs to you, any information
at all...
BATEMAN
Absolutely, I'm 100% with you.
KIMBALL
Great, and thanks for your, uh, time, Mr. Bateman.
Bateman closes the door firmly on KIMBALL. He closes his
eyes and leans against the door, sweating.
INT. BATEMAN'S APARTMENT - AFTERNOON
A perfectly lit kitchen still-life - a bottle of Evian,
a white porcelain plate on which sits a sliced kiwi, some perfect
green grapes, a few berries.
OFFSCREEN, the SOUND OF SCREAMS AND A CHAINSAW can be heard
from the living room.
The living room: Bateman is maniacally doing abdominal
crunches as the television plays a video of Texas Chainsaw
Massacre. There is a pile of horror videos on his coffee table,
next to a copy of GQ.
LATER:
Bateman is sitting in his armchair, phone book in hand,
jerking off. He is squealing into the phone and breathing.
BATEMAN
You like that, slut?
The person on the other end clearly hangs up.
CLOSE-UP on his fingers dialing the phone.
BATEMAN
You want to know what I'm wearing? Sixty-dollar
boxer shorts by Ralph Lauren, a hundred-and-fifty-dollar white
cotton T-shirt by
Commes des Garcons.
(He snorts like a pig)
My Rolex cost-
Another hang-up. He dials again.
BATEMAN
(Whipering)
I'm a corporate raider. I orchestrate hostile takeovers. What do
you think of that?
(Makes disgusting sucking noises and grunts)
Huh, bitch?
GIRL (O.S.)
Dad, is that you?
Bateman hangs up, frustrated.
EXT. STREET/INT. LIMOUSINE - NIGHT
Bateman cruises around in the limo. It pulls up alongside
CHRISTIE, a pretty blonde hooker in shorts and leather jacket.
Bateman opens his window to speak to her.
BATEMAN
I haven't seen you around here.
CHRISTIE
You just haven't been looking.
BATEMAN
Would you like to see my apartment?
Bateman flips on the light inside the limo. He's wearing a
tuxedo.
CHRISTIE
(looking away to some dark corner)
I'm not supposed to.
Bateman is holding out a $100 bill, which Christie now
notices, then takes.
BATEMAN
Do you want to come to my apartment or not?
CHRISTIE
I'm not supposed to.
(She pockets the bill)
But I can make an exception.
BATEMAN
Do you take American Express?
Christie is still looking out behind her.
BATEMAN
Do you take American Express?
Christie looks at him like he's crazy.
BATEMAN
I'm joking. Come on, get in.
As they drive uptown, Bateman dials the cell-phone. He
reads off a credit card number.
BATEMAN
I'd like a girl, early twenties, blonde, who does
couples. Couples. Fifty-five West Eighty-First, the
American Gardens Building. Apartment 7C. And I really
can't stress blonde enough. Blonde.
He hangs up.
BATEMAN I'm Paul. My name is Paul 0wen, have you'got that?
You are Christie. You are to respond only to Christie. Is
that clear?
INT. BATEMAN'S APARTMENT - NIGHT
Christie is in the bathtub, Bateman is pouring in white
milky bath oil.
BATEMAN
That's a very fine Chardonnay you're drinking.
Long pause, in which Christie is luxuriating in the tub and
Bateman is casually touching her breast.
BATEMAN
I want you to clean your vagina.
Christie reaches for a washcloth.
BATEMAN
No. From behind. Get on your knees.
Christie shrugs.
BATEMAN
I want to watch. You have a very nice body.
The doorman RINGS. Bateman answers.
BATEMAN
Thank you. Send her up. Christie, get out and dry
off, choose a robe-not the Bijan and come and meet me and
our guest in the living room for drinks.
Bateman answers the door.
BATEMAN
You've arrived! How lovely, let me take your coat.
I'm Paul. How good of you to come.
The escort girl looks somewhat bewildered. Bateman takes
her coat and inspects her body and face.
BATEMAN
Not quite blonde, are you? More dirty blonde. I'm
going to call you Sabrina. I'm Paul Owen.
Bateman escorts her into the living room and brings her a
glass of wine. Christie enters, sitting next to Sabrina on the
couch, and Bateman sits across from them. There is a
long silence.
BATEMAN
So, don't you want to know what I do?
The two girls look at each other with uncomfortable smiles.
Christie shrugs.
CHRISTIE
No.
SABRINA
(Smiling)
No, not really.
Bateman is visibly irritated, recrosses his legs.
BATEMAN
Well, I work on Wall Street. At Pierce & Pierce.
(Long pause)
Have you heard of it?
Another long pause. They shake their heads. Christie stands
up and goes over to the CD collection.
CHRISTIE
You have a really nice place here...Paul.
How much did you pay for it?
BATEMAN
Actually, that's none of your business, Christie,
hut I can assure you it certainly wasn't cheap.
Bateman leaves to refill his wine glass and Sabrina takes a
pack of cigarettes out of her purse.
Bateman returns, carrying a tray of chocolates.
BATEMAN
No, no smoking. Not in here.
He walks over to Christie.
BATEMAN
Varda truffle?
Christie stares at the plate and shakes her head. Sabrina
takes one.
BATEMAN
I don't want you to get drunk, but that's a very
fine Chardonnay you're not drinking.
Bateman goes over to his CDs and scans his vast collection.
He takes one out and examines it.
BATEMAN
Do you like Phil Collins? I've been a big Genesis
fan ever since the release of their 1980 album, Duke. Before
that I really didn't understand any of their work. It was too
artsy, too intellectual. It was on Duke where Phil Collins'
presence became more apparent. He puts aside the CD and takes out
another one.
BATEMAN
I think "Invisible Touch" is the group's undisputed
masterpiece.
He puts on the song and gestures for them to follow him
into the bedroom.
BATEMAN
It's an epic meditation on intangibility, at the
same time it deepens and enriches the meaning of the preceding
three albums. Christie, take off the robe.
Bateman puts out a lace teddy. He motions to Christie to
put it on.
BATEMAN
Listen to the brilliant ensemble playing of Banks,
Collins and Rutherford. You can practically hear every nuance
of every instrument. Sabrina, remove your dress.
Bateman starts to undress.
BATEMAN
In terms of lyrical craftsmanship and sheer
songwriting, this album hits a new peak of professionalism.
Sabrina, why don't you dance a little?
Sabrina dances awkwardly. Christie sits on the bed.
BATEMAN
Take the lyrics to "Land of Confusion." In this
song, Phil Collins addresses the problem of abusive political
authority.
Bateman knots a silk scarf around Christie's neck - rather
menacingly - then helps her into some suede gloves.
BATEMAN
"In Too Deep" is the most moving pop song of the 1980s about
monogamy and commitment. The song is extremely uplifting.
Their lyrics are as positive and affirmative as anything
I've heard in rock.
He turns on the video camera.
BATEMAN
Christie, get down on your knees, so Sabrina can see your
asshole.
Bateman looks through the viewfinder.
BATEMAN
Phill Collins solo efforts seem to be more commercial and
therefore more satisfying in a narrower way, especially
songs like "In the Air Tonight" and "Against
All Odds." Sabrina, don't just stare at it. Eat it.
He walks over to the sound system in his bedroom and slides in
the CD.
BATEMAN
But I also think that Phill Collins works better
within the confines of the group than as a solo artist-and
I stress the word artist. This is "Sussudio," a great,
great song, a personal favorite.
SEX MONTAGE CUT TO "Sussudio." We see this in WIDE SHOT, or
through the LENS OF THE VIDEO CAMERA.
CUT TO:
Bateman asleep in his bed with Christie and Sabrina
on either side of him. Sabrina accidentally touches his
wrist. Bateman's eyes open.
BATEMAN
Don't touch the Rolex.
Bateman gets up from his bed and goes over to his armoire.
He opens the drawer in which are a nail gun, a coat hanger,
a rusty butter knife and a half-smoked cigar. He turns
around to see Christie and Sabrina both starting to get up
and get dressed. He takes the coat hanger.
BATEMAN
We're not through yet...
CUT TO:
Bateman ushering them out the door impatiently. They
are both sobbing, badly bruised and bleeding. Bateman has a
deep scratch on his hand and one on his shoulder. In the
b.g. Phil Collins' "In the Air Tonight" is playing.
INT. YALE CLUB � DAY
McDermott, Van Patten and Bateman are
having drinks. Price walks by with a gorgeous girl and
gives them the finger.
BATEMAN
What an asshole.
McDERMOTT
Why is Laurie Kennedy dating Price? He's a
fucking drug addict. No self-control.
VAN PATTEN
But Laurie Kennedy is a total hardbody. What do
you think, Bateman?
BATEMAN
I know her. I knew her.
McDERMOTT
Why do you say it like that? Why does he say it
like that?
VAN PATTEN
Because he dated her.
BATEMAN
How did you guess?
VAN PATTEN
Girls dig Bateman. He's CQ. You're total CQ,
Bateman.
BATEMAN
Thanks, guy, but...she's got a lousy
personality.
McDERMOTT
So what? It's all looks. Laurie Kennedy is a
babe. Don't even pretend you were interested for any other
reason.
VAN PATTEN
If they have a good personality, then something
is very wrong.
McDERMOTT
If they have a good personality and they are not
great looking-who fucking cares?
BATEMAN
Well, let's just say hypothetically, okay? What if
they have a good personality?
(He smiles giving up)
I know, I know-
ALL IN UNISON
There are no girls with good personalities!
(They laugh and high-five each other)
VAN PATTEN
A good personality consists of a chick with a
little hardbody who will satisfy all sexual demands without
being too slutty about things and who will essentially keep
her dumb fucking mouth
shut.
McDERMOTT
Listen, the only girls with good personalities who are
smart or maybe funny or halfway intelligent or even
talented-though God knows what the fuck that means-are ugly
chicks.
VAN PATTEN
Absolutely.
McDERMOTT
And this is because they have to make up for how
fucking unattractive they are.
Pause.
BATEMAN
Do you know what Ed Gein said about women?
VAN PATTEN
Ed Gein? Maitre d' at Canal Bar?
BATEMAN
No, serial killer, Wisconsin in the fifties. He was
an interesting guy.
McDERMOTT
So what did Ed say?
BATEMAN
He said, "When I see a pretty girl walking down the
street I think two things. One part of me wants to take her
out and talk to her and be real nice and sweet and treat
her right."
Pauses, finishes his drink.
McDERMOTT
What does the other part of him think?
BATEMAN
What her head would look like on a stick.
McDermott and Van Patten look at each other and then back
at Bateman. Bateman starts to laugh, and the other two uneasily
join In.
Luis Carruthers walks up to the table.
CARRUTHERS
(Shyly)
Hi, guys. I wanna get your opinion on something.
McDermott rolls his eyes at the rest of the table.
McDERMOTT If it's about the bow-tie you're wearing, you
know how we feel about it. Luis laughs good-naturedly.
CARRUTHERS
Yes, I do. No, it's my business card-I decided to
get a new one too.
He pulls out something incredibly tasteful. Everyone
compliments Luis except Bateman. The SOUND DROPS and all we hear
is the beating of his heart as he stares at the card enviously.
Luis plucks it from his hand and walks away, pleased with
himself.
VAN PATTEN
Listen, what about dinner?
BATEMAN
(Suddenly angry)
Is that all you ever have to contribute, Van Patten? "What about
fucking dinner?"
McDERMOTT
Ah, cheer up, Bateman.
(Slaps him on the back, massages his neck)
What's the matter? No shiatsu this morning?
BATEMAN
(Watching Luis going into the men's room)
Keep touching me like that and you'll draw back a stump.
McDERMOTT
Whoa, hold on there, little buddy.
BATEMAN
Excuse me.
He gets up from the table. As Bateman walks away, Van
Patten grabs a waiter.
VAN PATTEN
Is this tap water? I don't drink tap water Bring
me an Evian or something, okay?
INT. MEN'S ROOM - DAY
Bateman pulls on his gloves as he
enters the men's room. Carruthers is standing in a stall with his
back to Bateman. The sound of his urinating is heard until Bateman
approaches, then abruptly stops. Slowly, Bateman brings his hands
up over the collar of Carruthers' cashmere jacket, circling his
neck until both thumbs and index fingers meet. All we can hear
is the sound of Bateman's heavy breathing. Slowly he starts to
squeeze. Almost in slow motion, Carruthers turns around.
Carruthers looks down at Bateman's wrists as if lost in
thought. Then he lowers his head and kisses Bateman's
wrist. He looks back at Bateman with a shy, love-struck
expression, then reaches up and tenderly touches the side
of his face.
CARRUTHERS
God, Patrick. Why here?
He strokes Bateman's hair.
CARRUTHERS
I've seen you looking at me. I've noticed your hot body.
Carruthers tries to kiss him on the lips but Bateman backs
away. He drops his hands from Carruthers' neck. Carruthers
immediately takes them and places them back. Bateman drops
them again.
CARRUTHERS
Don't be shy.
Bateman takes a deep breath, closes his eyes and tries to lift
his hands again, but abandons the attempt.
CARRUTHERS
You don't know how long I've wanted it. Ever since that Christmas
party at Arizona 206. You know the one, you were wearing that
red-striped paisley Armani tie.
Bateman looks down and sees that Carruthers' pants are
still unzipped. He moves past him out of the stall and
stands by the sink and pretends to wash his hands until he
realizes he still has his gloves on. Carruthers comes up
behind him.
CARRUTHERS
I want you. I want you...too.
Bateman storms out of the men's room, bumping into a waiter
and several customers and cursing. Noticing the maitre d'
and another waiter conferring and looking at him strangely,
Bateman straightens up and smiles and waves cheerfully at
them. Carruthers walks up behind him.
BATEMAN
(Hissing)
What...is...it?
CARRUTHERS
Where are you going?
BATEMAN
(Stumbling away from him)
I've gotta...I've
gotta...return some videotapes.
CARRUTHERS
Patrick?
BATEMAN
What?
CARRUTHERS
(Silently mouthing the words)
I'll call you.
Bateman storms out of the restaurant.
INT. COURTNEY'S APARTMENT - NIGHT
Bateman is lying on top of Courtney in her bed, after sex.
Still panting, he rolls off her, onto his back. He feels
something lumpy underneath him and pulls out a stuffed toy,
a black cat with blue jewel eyes. There is silence.
COURTNEY
Will you call me before Thanksgiving?
BATEMAN
Maybe.
Courtney sighs and reaches for a bottle of pills on her
nightstand, swallowing several. Bateman gets up and begins
to dress, admiring himself in the mirror. Courtney watches
the TV at low volume.
COURTNEY
What are you doing tonight?
BATEMAN
Dinner at the River Cafe. Au Bar afterwards, maybe.
COURTNEY
That's nice.
BATEMAN
You and...Luis?
COURTNEY
(Lighting a cigarette)
We were supposed to have dinner at Tad and
Maura's, but-you know how Luis is...
BATEMAN
I never knew you smoked.
COURTNEY
(Smiling sadly)
You never noticed.
Bateman is making final adjustments to his tie.
COURTNEY
Listen...Patrick. Can we talk?
BATEMAN
You look marvelous. There's nothing to say. You're
going to marry Luis. Next week, no Less.
COURTNEY
(Sarcastically)
Isn't that special?
(A pause)
Patrick?
BATEMAN
Yes, Courtney?
C0URTNEY
If I don't see you before Thanksgiving, have a nice one, okay?
BATEMAN
(Flatly)
You too.
Courtney picks up the black cat and starts petting its
head. Bateman heads down the hallway to the front door.
COURTNEY
Patrick?
BATEMAN
Yes?
COURTNEY
Nothing.
INT. NIGHTCLUB - NIGHT
A big eighties nightclub with a mixed crowd: hip-hop
kids, visitors from Jersey, downtown art people, yuppies.
I Bateman makes his way through the crowd to the bar, and
tries to attract the bartender's attention. He is wearing a
suit and his tie is loosened. Kimball approaches him.
KIMBALL
Mr. Bateman?
Bateman gasps and recovers.
BATEMAN
Detective Kendall...uh Campbell?
KIMBALL
Kimball.
(Extending his hand)
Call me Don.
BATEMAN
Don.
KIMBALL
So...you hang out here a lot?
BATEMAN
Uh, yes...I mean...whenever necessary. You
know.
Pause.
BATEMAN
How's the investigation going? Taken anyone
in for "formal questioning?" (He makes quotation marks
in the air and laughs a not-so-relaxed laugh)
KIMBALL
0h no. Informal conversations, mostly. What's that, Stoli?
BATEMAN
Yeah. No Finlandia, as usual. Fucking dump.
KIMBALL
(Looking at his glass)
Too true. You know, Bateman-people tend to reveal so much
more about themselves when they're in a relaxed setting,
don't you think?
Bateman is nodding nervously, idiotically.
KIMBALL
Some people just can t help themselves. Another Stoli?
Bateman shakes his head.
KIMBALL
I mean they want to get caught.
BATEMAN
Dan, great to see you again. Like I said, you need
anything at all, I'm your man. I don't envy your job. I mean
Owen was a...complex man.
Bateman wanders away.
He looks back uneasily at KIMBALL, who is watching him from
the bar. A GUY WITH DREADLOCKS walks by.
BATEMAN
(Holding up his hand to high-five) Rasta Man!
The man stares at him.
BATEMAN
I mean-Mon. We be jammin'...
The man walks by, shaking his head.
Bateman wanders into the next room, which is filled with a
more familiar crowd: young men in designer suits, girls in
black designer dresses. Across the room he spots McDermott
and Price sitting with three models, all wearing black
mini-dresses. Price and McDermott are having a whispered
argument.
PRICE
I have to talk to these girls? They're models.
McDERMOTT
Someone has to get the Bolivian marching powder.
You went last time. Stay here.
McDermott waves gaily to the girls and disappears.
Bateman looks at the models. DAISY and CARON are staring
into space, smoking. LIBBY is trying to work out how to
unfold her napkin. Price signals to Bateman for help.
PRICE
(Clapping his hands together)
Let's have a conversation. So...it was hot out today, no?
Silence.
LIBBY
Where did Craig go?
PRICE
Well, Gorbachev is downstairs. McDermott is going to
sign a peace treaty with him between the United States
and Russia. McDermott's the one behind glasnost, you know.
LIBBY
Well...yeah. But he told me he was in mergers and acquisitions.
PRICE
You're not confused, are you?
LIBBY
No, not really.
CARON
Gorbachev's not downstairs.
DAISY
(Smiling)
Are you Iying?
PRICE
Yes, Caron's right. Gorbachev's not downstairs. He's
at Tunnel.
BATEMAN
(To Daisy)
Ask me a question.
DAISY
So, what do you do?
BATEMAN
What do you think I do?
DAISY
A model? An actor?
BATEMAN
No. Flattering, but no.
DAISY
Well...
BATEMAN
I m into, well, murders and executions mostly.
DAISY (Unfazed)
Do you like it?
BATEMAN
Welt...it depends, why?
DAISY
Well, most guys I know who work in mergers and
acquisitions don't really like it.
Silence.
BATEMAN
So, where do you work out?
MUCH LATER IN THE EVENING:
The club is half-empty now. Price is leaning over a
balcony, messed-up on drugs. Bateman comes up behind him
in a menacing way that suggests he might push him over
the railing. Price turns around, wild-eyed, just as Bateman
is reaching for him.
PRICE
(Shouting)
I'm leaving. I'm getting out.
BATEMAN
Leaving what?
PRICE
This.
Bateman is confused, he thinks Price is referring to his
drink.
BATEMAN
Don't, I'll drink it.
PRICE
(Screaming)
Listen to me, Patrick. I'm leaving.
BATEMAN
Where to? Are you going to go get a gram?
PRICE
I'm leaving! I...am...leaving!
BATEMAN
Don't tell me...merchant banking?
PRICE
No, you dumb son of a bitch. I'm serious. I'm
disappearing.
BATEMAN
(laughing)
Where to? Morgan Stanley? Rehab? What?
Price looks away.
McDermott and Daisy walk up to them.
McDERMOTT
Hey-don't worry, be happy.
Price lifts his arms up as if greeting the crowd and is
shouting something that can't be heard, then
PRICE
Goodbye! Fuckheads!
He climbs over the railing.
DAISY What is he doing?
BATEMAN
Price! Come back!
Price leaps from the balcony. He disappears for a moment
then resurfaces and runs off into the crowd.
EXT. CLUB - NIGHT
Bateman and Daisy are waiting for a cab.
DAISY
My ex-boyfriend, Fiddler, who was in there, he plays
in this band that just opened for U2-he couldn't understand
what I was doing with a yuppie.
BATEMAN
Oh really?
DAISY
He said...
(She laughs)
He said you gave him bad vibes.
BATEMAN
That's...that's too bad.
DAISY
You think I'm dumb, don't you?
BATEMAN
What?
DAISY
You think I'm dumb. You think all models are dumb.
BATEMAN
(insincerely) No. I really don't.
DAISY
That's okay. I don't mind. There's something sweet about you.
She takes his hand as they get into a cab.
INT. DAISY'S HALLWAY - LATER THAT NIGHT
Bateman leaves Daisy's apartment carrying a suitcase. He pauses
in the hallway and tucks some long blonde hair back inside the
case.
INT. BATEMAN'S OFFICE - LATE AFTERNOON
Bateman sits at his desk wearing Wayfarers doing the New York
Times crossword puzzle at dusk.
Jean knocks gently on the half-open door and walks in with
a folder in her hand. Bateman ignores her.
JEAN
Doin' the crossword?
Bateman nods without looking up.
JEAN
Need help?
BATEMAN doesn't respond. We see that every space on the
puzzle has been filled in with the words MEAT or BONE. Jean
drops the folder on his desk and then walks out.
BATEMAN
Jean?
JEAN
(Re-enters office)
Yes, Patrick?
BATEMAN
Would you like to accompany me to dinner?
He erases one of the M's on the crossword puzzle.
BATEMAN
That is...if you're not doing anything.
JEAN
Oh no. I have no plans.
BATEMAN
(Lowering his Wayfarers)
Well, isn't this a coincidence.
A pause.
BATEMAN
Listen, where should we go?
He leans back and pulls a Zagat's from the desk drawer.
JEAN
Anywhere you want?
BATEMAN
Let's not think about what I want. How about
anywhere you want.
JEAN
Oh Patrick, I can't make this decision.
BATEMAN
No, come on. Anywhere you want.
JEAN
Oh, I can't.
(Sighs)
I don't know.
BATEMAN
Come on. Where do you want to go? Anywhere you want.
Just say it. I can get us in anywhere.
A long pause.
JEAN
What about...Dorsia?
Bateman stops looking through the Zagat's guide and smiles
at her.
BATEMAN
Soooo...Dorsia is where Jean wants to go...
JEAN
Oh, I don't know. No, we'll go anywhere you want.
BATEMAN
Dorsia is...fine.
He dials the number.
MAITRE D'
Dorsia, yes?
BATEMAN
Yes, can you take two tonight, oh, let's say at
nine o'clock?
He checks his Rolex and winks at Jean.
MAITRE D'
We are totally booked.
BATEMAN
Oh really? That's great.
MAITRE D'
I said we are totally booked.
BATEMAN
Two at nine? Perfect.
MAITRE D'
There are no tables available tonight. The waiting list is
also totally booked.
BATEMAN
See you then.
He hangs up the phone. He walks over to the coat rack. He
glances over at Jean, who is still standing in front of the
desk, confused.
BATEMAN
Yes? You're dressed...okay.
JEAN
You didn't give them a name.
BATEMAN
They know me.
Pause.
BATEMAN
Why don't you meet me at my house at seven o'clock
for drinks, okay?
She turns to leave.
BATEMAN
And Jean? You'll want to change before we go out.
INT. BATEMAN'S APARTMENT - EARLY EVENING
Jean stands by the floor-to-ceiling windows, looking out.
JEAN
Patrick, it's so...elegant. What a wonderful view.
Bateman opens up the freezer where Daisy's head is cleady
visible.
BATEMAN
Jean? Sorbet?
JEAN
Thanks, Patrick. I'd love some.
Bateman walks in with a bottle of wine and a corkscrew in
his hand and hands her the sorbet.
Jean is eating the sorbet.
JEAN
Want a bite?
BATEMAN
I'm on a diet. But thank you.
JEAN
You don't need to lose any weight. You're kidding, right?
You look great. Very fit.
BATEMAN
(Weighing the corkscrew examining the point for sharpness)
You can always he thinner. Look...better.
JEAN
Well, maybe we shouldn't go out to dinner. I don't
want to ruin your willpower.
BATEMAN
No. It's all right. I'm not very good at controlling
it anyway.
Silence, as Bateman walks around his apartment, opens up
his knife drawer, looking at the knives.
BATEMAN
So listen, what do you really want to do with your
life?
Pause.
BATEMAN
And don't tell me you enjoy working with children,
okay?
JEAN
Well, I'd like to travel. And maybe go back to school,
but I really don't know...I'm at a point in my life
where there seems lo be a lot of possibilities, but I'm so...
I don't know...unsure.
Bateman is touching a knife in the drawer, feeling the edge
of the blade.
BATEMAN
Do you have a boyfriend?
JEAN
No, not really.
BATEMAN
Interesting.
JEAN
(Shyly)
Are you seeing anyone? I mean, seriously?
BATEMAN
Maybe. I don't know Not really.
Bateman opens up a cupboard where there are a lot of very
Bateman opens a cupboard where there are a lot of neatly
ordered weapons - an ax, a rifle, a chain saw, duct tape,
twine and a nail gun.
BATEMAN
Jean, do you feel...fulfilled? I mean, in your life?
JEAN
Well, I guess I do. For a long time I was too focused
on my work, I think, but now I've really begun to think about
changing myself, you know, developing, and...growing.
BATEMAN
Growing. I'm glad you said that.
Bateman picks up the duct tape.
BATEMAN
Did you know that Ted Bundy's first dog, a collie,
was named Lassie? Had you heard this?
JEAN
Who's Ted Bundy?
BATEMAN
Forget it.
JEAN
What's that?
BATEMAN
Oh. Uh, tape. Duct tape. I...need it for...
taping something. Bateman goes back to the cupboard for the
nail gun.
JEAN
Patrick, have you ever wanted to make someone happy?
Jean puts her spoon down on the table.
BATEMAN
(Looking up from loading nails into the gun)
What...No! Put it in the carton.
JEAN
Sorry.
(She puts the spoon in the carton)
BATEMAN
Jean? What?
JEAN
Make someone happy-have you ever wanted to?
From behind, we follow Bateman as he walks across the room and
stands behind the couch.
BATEMAN
I'm looking for...I guess you could say I just
want to have a meaningful relationship with someone special.
JEAN
Hmmmm.
He points the nail gun at the back of Jean's head.
The phone RINGS. Startled, Bateman hides the nail gun
behind his back. The answering machine picks up. As Bateman
listens he discreetly places the nail gun behind the couch.
He sits down opposite Jean, enjoying her discomfort as she
listens to the message.
EVELYN
Patrick I know you're there. Pick up the phone, you bad boy.
What are you up to tonight? It's me. Don't try to hide. I hope
you're not out with some little number you picked up because
you're my Mr. Bateman. My boy next door. Anyway you never
called me and you said you would and I'll leave a message for
Jean about this too to remind you but we're having dinner with
Melania and Taylor-you know Melania, she went to Sweet Briar,
auld Taylor, he went to Cornell-and we're meeting at the Cornell
Club, so l'll call you tomorrow morning probably-bye, honey-oopps!
You hate that. Bye Mr. Big Time CEO Patrick. Bye. Bye.
Silence. Jean is obviously embarrassed and upset.
JEAN
Was that...Evelyn?
Silence.
JEAN
Are you still seeing her?
Silence.
JEAN
I'm sorry, I have no right to ask that.
Silence.
JEAN
Do you want me to go?
A long pause.
BATEMAN
Yes. I don t think I can...control myself.
JEAN
I know I should go. I know I have a tendency to get
involved with unavailable men, and...I mean, do you
want me to go?
Another long pause.
BATEMAN
If you stay, I think something bad will happen. I
think I might hurt you.
(Almost hopefully)
You don't want to get hurt, do you?
JEAN
No. No, I guess not. I don't want to get bruised.
You're right, I should go.
She gets up to leave.
JEAN
And don't forget you have a breakfast meeting with
Frederick Bennet and Charles Rust at '21.
BATEMAN
Thanks. It slipped my mind completely.
He sinks back on the sofa and shuts his eyes.
INT. BATEMAN'S OFFICE - DAY
Bateman enters P&P, walks up the corridor and pauses outside
the door to his office. He sees KIMBALL in conversation with
Jean, and Jean looking through her date book. He watches for
a moment, frozen with anxiety. He then bursts in, shutting
the door behind him.
BATEMAN
Kimball-I've been wanting to talk with you, Come
into my office. Jean, great jacket. Matsuda?
Jean looks flustered.
Kimball follows Bateman into his office.
KIMBALL
I actually came to see Timothy Price, but he's
taken a leave of absence.
BATEMAN
Yeah, gone into rehab. Shame.
(Hopefully)
Is he a suspect?
KIMBALL
Not really.
A pause.
KIMBALL
Do you remember where you were on the night of
Paul's disappearance?
(He checks his notebook)
Which was on the twentieth of December?
BATEMAN
God...I guess...I was probably returning
videotapes.
He opens his desk drawer and pretends to search through his
diary.
BATEMAN
I had a date with a girl named Veronica.
KIMBALL
Wait. That's not what I've got.
BATEMAN
What?
KIMBALL
That's not the information I've received.
BATEMAN
Well...I...Wait...What information have
you received?
KIMBALL
Let's see...
(He flips through his notebook)
That you were with-
BATEMAN
Well, I could he wrong.
KIMBALL
Well...When was the last time you were with Paul Owen?
BATEMAN
(Clearly nervous and under pressure)
We had...gone to a new musical called...Oh Africa, Brave Africa. It
was...a laugh riot...and that's about it. I think we had dinner
at Orso's. No, Petaluma. No, Orso's. The...last time I
physically saw him was...at an automated teller. I can't
remember which...just one that was near, um, Nell's.
Kimball is clearly giving up on Bateman for now. He opens
his briefcase to put away his notebook.
KIMBALL
Well, thank you, Mr. Bateman.
BATEMAN
Patrick, please. I hope I've been informative. Long
day-a bit scattered.
KIMBALL
Listen, I'm a little spent for now but how about lunch
in a week or so when I've sorted out all this information?
BATEMAN
Great, yes, I'd like that.
KIMBALL
And if you could try and pin down where you were
the night of Owen's disappearance, it would make my job a
lot easier.
BATEMAN
Absolutely. I'm with you on that one.
Kimball is rifling through his briefcase. He pulls out a
new shrink wrapped CD and holds it up.
KIMBALL
Huey Lewis and the News. Great stuff. Heard it? I
just bought it on my way here.
Bateman stares at the CD - stunned, terrified.
BATEMAN
Never. I mean...I don't really like...
singers.
KIMBALL
Not a big music fan, eh?
BATEMAN
No, I like music. Just-they're-Huey's too...
black sounding. For me.
KIMBALL
Well, to each his own. So-lunch, Thursday? I'll
call your secretary about reservations.
BATEMAN
I'll be there.
EXT. MEAT PACKING DISTRICT/INT. LIMOUSINE - NIGHT
The same street corner where Bateman found Christie before.
The limo is kept idling as he talks to her through a
half-opened window.
CHRISTIE
I'm not so sure about this. I had to go to Emergency after
last time...
BATEMAN
Oh this won't be anything like last time, I promise.
CHRISTIE
I don't think so.
He hands her a $500 bill.
BATEMAN
Just come in the limo and talk to me for a minute.
The driver's here, you'll be safe.
Christie gets in hesitantly.
BATEMAN
Nothing like last time, promise.
CHRISTIE
Alright.
He pours her a shot of vodka and makes her drink it.
BATEMAN
(Chatting as if they were at a cocktail party)
So, you're looking great, how have you been?
CHRISTIE
(A little confused)
Well, I actually might need a little surgery after last time.
BATEMAN
(Mock shock)
Really?
CHRISTIE
My friend told me I should maybe even get a
lawyer.
BATEMAN
Oh, lawyers are so complicated-don't do that. Here.
He writes her a check for $I ,000 to cash and hands it to
her. She snatches the check out of his hand and gets
quickly out of the limo, walking hurriedly down the street.
BATEMAN
Bitch.
He follows alongside her slowly in the limo, waving a huge
wad of cash at her. She hesitates; he uses the money to
lure her into the car. As she reluctantly gets into the
limo, she reaches for the money.
He snatches it away.
BATEMAN
Uh uh uh. Half now, half later.
She takes the money and puts it inside her shirt.
BATEMAN
Okay, your name is Christie. We're meeting a friend of mine,
Elizabeth. She'll be joining us in my new apartment shortly.
You'll like her. She's a very nice girl. Don't say anything
about yourself. Is that clear. Christie?
Christie nods.
INT. PAUL OWEN'S APARTMENT - NIGHT
The living room: ELIZABETH has kicked off her shoes and flopped
down on the couch underneath the Baselitz. Elizabeth is an
attractive, dark-haired society girl who models occasionally.
Christie is sitting on the couch opposite her, pretending to
examine a CD.
ELIZABETH
You look really familiar. Did you you go to Dalton?
Christie shakes her head.
The kitchen: Bateman is grinding up tabs of Ecstasy and
putting them in a bottle of wine. In the living room, Elizabeth
is still staring at Christie as if she came from Mars.
ELIZABETH
I think I met you at Au Bar, didn't I ? With Spicey?
Christie looks blank.
ELIZABETH
Well, maybe not with Spicey but it was definitely at Au Bar.
Christie still blank.
ELIZABETH
You know, Au Bar?
Christie shakes her head.
ELIZABETH
Anyway, Au Bar sucks now, it's terrible. I went to a birth
day party there for Malcolm Forbes. Oh my God, please.
Bateman enters carrying the bottle of wine and two glasses.
Christie, who seems frightened, sips her wine and stares at
the floor. There is an awkward silence.
CHRISTIE
This is nicer than your other apartment.
BATEMAN
(Offended that she prefers Owen's apartment)
It's not that nice.
Silence.
CHRISTIE
Where did you two meet?
ELIZABETH
Oh God! I met him at, oh God, the Kentucky Derby in '86-no,
'87, and...
(Turning to Patrick)
You were hanging out with that bimbo Allison Poole.
(Sarcastically)
Hot number.
BATEMAN
What do you mean, she was a hot number.
ELIZABETH
If you had an American Express card she'd give you a blowjob.
(To Christie)
Listen, this girl worked in a tanning salon, need
I say more?...What do you do?
A long silence. Christie reddens and stares at the floor.
BATEMAN
She's my...cousin.
ELIZABETH
(Skeptically)
Uh huh?
BATEMAN
She's from...France.
A pause. Elizabeth looks at Bateman dubiously.
ELIZABETH
Where's your phone? I've got to call Harley.
Bateman hands her a cordless phone. She dials, and stares
At Christie while she waits for someone to answer.
ELIZABETH
Where do you summer? Southampton?
Christie looks at Bateman and then back at Elizabeth.
CHRISTIE
No.
ELIZABETH
(Listening to the receiver)
Oh God, it's his machine.
BATEMAN
Elizabeth, it's three in the morning.
ELIZABETH
He's a goddamn drug dealer! These are his peak hours.
BATEMAN
Don't tell him you're here.
ELIZABETH
Why would I?
Bateman has poured her another glass of wine. She downs the
whole glass, making a face.
ELIZABETH
This tastes weird.
(She examines the label and shrugs)
Harley? It's me. I need your services. Translate that anyway
you'd like. I'm at-
BATEMAN
(Whispering)
You're at Paul Owen s.
ELIZABETH
Who?
BATEMAN
(Whispering)
Paul Owen.
ELIZABETH
I want the number, idiot.
(She waves him away and continues into the reciever)
Anyway, I'm at Paul Norman's and I'll try you later and if I
don't see you at Canal Bar tomorrow night I'm going to sic my
hairdresser on you.
She hangs up.
ELIZABETH
Did you know that guy who disappeared? Didn't he work at Pierce
& Pierce, too? Was he a friend of yours?
BATEMAN
No.
ELIZABETH
Do you have any coke? Or Halcyon? I'd take a Halcyon.
Bateman sits next to Elizabeth on the couch and pours her
another glass of the drugged wine.
BATEMAN
Listen, I would just like to see...the two of you...get it on.
What's wrong with that? It's totally disease-free.
ELIZABETH
(Laughing)
Patrick, you re a lunatic.
BATEMAN
Come on. Don't you find Christie attractive?
ELIZABETH
Let's not get lewd.
(Flirty)
I'm in no mood to have a lewd conversation.
BATEMAN
Come on. I think it would be a turn-on.
ELIZABETH
(To Christie)
Does he do this all the time?
Christie shrugs.
BATEMAN
Christie, you're not drinking your wine.
Christie looks at her wine and gingerly takes a sip.
BATEMAN
(To Elizabeth)
Are you telling me you've never gotten it on with a girl?
ELIZABETH
No! I'm not a lesbian. Why do you think I'd be into that?
BATEMAN
Well, you went to Sarah Lawrence for one thing.
ELIZABETH
Those are Sarah Lawrence guys, Patrick. You're making me
feel weird.
LATER:
Elizabeth is now writhing around on the couch and making
out with Christie. Bateman holds up a Whitney Houston CD,
showing them the picture of Whitney on the cover.
BATEMAN
Did you know that Whitney Houston's debut LP
called simply Whitney Houston had four number-one singles
on it? Did you know that, Christie? Whitney's voice leaps
across so many boundaries and is so versatile-though she's
mainly a jazz singer-that it's hard to take in the album
on a first listening.
ELIZABETH
You actually listen to Whitney Houston? You
actually have a Whitney Houston CD? More than one?
She giggles, rolling off the sofa onto the floor.
BATEMAN
(Ignoring her)
It's hard to choose a favorite track
among so many great ones, but "The Greatest Love of All"
is one of the best, most powerful songs ever written about
self-preservation and dignity. It's universal message
crosses all boundaries, and instills one with the hope
that it's not too late to better ourselves. to act kinder.
Since, Elizabeth, it's impossible in the world we live in
to empathize with others, we can always empathize with
ourselves.
As he speaks, he opens the case and carefully places the CD
in the player, admiring its pristine silver surface, and
watches it slide into the machine.
BATEMAN
It's an important message, crucial, really, and it's
beautifully stated on the album.
INT. BEDROOM - LATER
AN OUT-OF-FOCUS HOME VIDEO SHOT of Elizabeth, Christie and
Bateman in the throes of sex, in the master bedroom.
CUT BACK TO WIDE SHOT of the bedroom, partially blocked by
the video camera in the foreground. Their bodies are an
incoherent tangle of arms and legs. The only sounds are
moans, heavy breathing and the slapping of flesh against
flesh. CLOSE ON Christie's head and shoulders. Her eyes are
shut as she grimly concentrates on giving a good professional
performance, turning her head every so often to check the
progress of her partners.
OFFSCREEN WE HEAR Elizabeth panting in genuine pleasure,
moaning loudly. Her voice gets louder and louder and then
shifts to actual pain.
Bateman rises up off the bed, suddenly appearing behind
Christie. There is blood on his face.
Christie turns her head and sees him. She screams and leaps
off the bed, running out of the room. She slams the
mirrored door behind her, and as it swings shut for a split
second we see Elizabeth writhing in pain on the bed.
We follow Christie out of the room, panicking, screaming.
Christie runs down a darkened hallway, frantically opening
doors, looking for an escape.
She hears the SOUND OF A CHAINSAW coming from the bedroom.
She opens a closet. The closet lights up as she opens the
door and sees two dead, women hanging inside. She screams,
then claps a hand over her mouth. She stops and listens. THE
DISTANT SOUND OF THE CHAINSAW.
She backs away slowly, into another dark room, lit only by
the light from a television set. Through the darkness she
sees a head on the top of the TV and starts to whimper.
She runs toward the nearest door. Finding herself in the
main hallway, she begins to jog toward the front door, then
runs.
Bateman appears from nowhere, holding the chainsaw,
spattered with blood.
Christie screams and changes direction. Bateman leaps at
her, bellowing.
They run through the bedroom and into the bathroom.
Christie trips over Elizabeth's body, which is half in the
bathtub.
Both are slipping on the floor, which is slick with blood.
Christie falls, tries to get up. Bateman grabs her leg. He
tries to bite it.
She kicks him in the face and gets up, running toward the
front door.
He runs after her.
BATEMAN
Not the face, you bitch. Not the fucking face, you
piece of bitch trash!
Christie, screaming, makes it out the front door.
Bateman runs after her.
She runs down the hall screaming and banging on doors.
She moves to the elevator, pounding hysterically on the
buttons. She sees the stairwell and runs for it.
Bateman sees this and runs after her, revving the chainsaw.
She runs down the stairs, Bateman two flights behind her.
He stops, leans over the railing to look at her, then aims
the chainsaw at her and drops it.
Christie SCREAMS OFFSCREEN, then is suddenly silent.
FROM BATEMAN'S POV we see Christie's body sprawled facedown
at the bottom of the stairwell. The chainsaw sticks out of
her back like a sword.
INT. CRAYONS - EARLY EVENING
An insanely expensive restaurant with a childhood motif: paper
tablecloths and jars of crayons for drawing, lots of primary
colors, and a goldfish bowl on each table.
Bateman is at a table with Evelyn. They are both drawing on
the tablecloth. Bateman is drawing Christie with the
chainsaw in her back.
EVELYN
I want a firm commitment.
BATEMAN
I think, Evelyn, that we've...lost touch.
Evelyn waves to a couple across the room.
EVELYN
(Distracted)
Why? What's wrong?
BATEMAN
(Speaking very carefully, measuring each word)
My need to engage in homicidal behavior on a massive scale
cannot be, um, corrected, but I have no other way to fulfill
my needs.
The woman across the room holds up her hand, displaying a
new bracelet. Evelyn smiles and nods approvingly.
BATEMAN
We need to talk.
EVELYN
Talk about what, Patrick? What is there to talk
about?
BATEMAN
It's over, Evelyn. It's all over
EVELYN
(Motioning to the waiter for water)
Touchy, touchy. I'm sorry I brought the wedding up. Let's just
avoid the issue, alright? Now, are we having coffee?
BATEMAN
I'm fucking serious. It's fucking over. Us. This
is no joke. I don't think we should see each other anymore.
EVELYN
But your friends are my friends. My friends are your
friends. I don't think it would work.
(Reaching over to dab his face with a napkin)
You have a little something on your upper lip.
BATEMAN
(Brushing her hand away)
I know that your friends are my friends. I've thought about
that. You can have them.
Evelyn stares at him, suspicious and bewildered, a
realization dawning.
EVELYN
You're really serious, aren't you?
BATEMAN
Yes, I am.
EVELYN
But what about the past? Our past?
BATEMAN
We never really shared one.
EVELYN
You're inhuman.
BATEMAN
I'm...in touch with humanity. Evelyn, I'm sorry.
(He pauses, as if searching for the right words)
You're just not terribly important to me.
Evelyn begins to cry.
EVELYN
No, no, no.
BATEMAN
I know my behavior is...erratic sometimes.
She reaches desperately across the table and takes his
hand. Bateman pulls his hand away.
EVELYN
(Sobbing)
What do you want me to do, what is it you want?
The occupants of nearby tables begin to stare. Bateman is
becoming increasingly agitated and embarrassed.
BATEMAN
(Looking uncomfortably around the room)
If you really want to do something for me, you can stop making
this scene right now.
EVELYN
Oh God, I can't believe this.
BATEMAN
I'm leaving now. I've assessed the situation and I'm going.
Evelyn makes an effort to compose herself. She blots the
tears so they will not affect her make-up.
EVELYN
(Surprisingly calm)
Where are you going?
BATEMAN
I'm just leaving.
EVELYN
But where?
BATEMAN
I have to return some videotapes.
He rushes out of the room.
EXT. TRIBECA STREET - EVENING
Bateman wanders into misty Tribeca streets, sees a stray cat.
BATEMAN
Here kitty, kitty.
The small mangy cat rubs against him. He picks it up and
walks toward an ATM, holding the cat. He puts his card in
the machine. The screen reads: FEED ME A STRAY CAT.
Bateman begins to attempt to shove the kitten into the
deposit slot with some difficulty. The kitten squeals. He
takes a gun from out of his pocket and points it at the
kitten. He doesn't notice the woman waiting behind him.
WOMAN
Oh my God! Stop that! What are you doing?
Bateman wheels around and shoots her. She falls screaming
to the floor.
Responding to the gunshot, A POLICE CAR SIREN WAILS in the
distance. Bateman breaks into a run. The police car
screeches after him.
COP CAR (O.S.)
HALT STOP. PUT DOWN YOUR WEAPON.
Bateman ducks down an alley.
EXT. ALLEY - NIGHT
A COP rushes toward him, seemingly from
out of nowhere, and tackles him, trying to get the gun away
from him.
Bateman manages to shoot the cop in the face while both of
them have their hands on the gun, then shoots him again. He
reloads the gun. The sound of more COP CARS arriving.
He runs out of the alley.
EXT. STREET - NIGHT
As he reaches the street, he finds A PHALANX OF POLICE CARS
approaching.
COP CAR
Halt. Put down your weapon.
The cops leap out and fire a warning shot in the air.
Bateman shoots at them. The police return fire.
Bateman ducks down behind a parked car and continues
shooting wildly. A bullet hits the gas tank of one of the
police cars. It catches fire and explodes. The flames light
up the scene, illuminating the bodies of policemen both living
and dead.
NEW ANGLE: Bateman flees from the scene. The camera follows
him as he runs along a row of Porsches, trying to open each
one, setting off a cacophony of CAR ALARMS.
THE SOUND OF POLICE SIRENS draws near.
NEW ANGLE: He runs, panting, until he ends up in front of a
tail, brilliantly lit office building. As he approaches,
the lights in the building are going off floor by floor.
INT. OFFICE BUILDING - NIGHT
He rushes into the lobby, running for the elevator.
NIGHT WATCHMAN
Burning the midnight oil, Mr. Smith? You
forgot to sign in.
Bateman wheels around and shoots him. He runs toward the
revolving doors. As he swings around in the doors, he
notices a JANITOR who has witnessed the shooting. He
revolves back into the lobby and shoots the janitor.
NEW ANGLE:
He runs out of the building and across the
street to an identical office building, the one that houses
Pierce & Pierce.
INT. PIERCE & PIERCE LOBBY - NIGHT
Bateman nods at the Pierce & Pierce NIGHT WATCHMAN and signs
in. He breathes a sigh of relief as the elevator doors close
behind him.
INT. BATEMAN'S OFFICE - NIGHT
Bateman stands looking out
through the floor-length windows at a panoramic night view
of the city and the river.
Below him he sees a SWAT TEAM swarming over the roof of the
opposite building. There are ambulances standing by, flares
everywhere, distant sirens.
Suddenly, THE SOUND OF A HELICOPTER draws near. Frightened,
he drops to the floor behind his desk.
Helicopter searchlights scan the building, illuminating
Bateman's office for a few moments with a blaze of light.
He is crouched in one corner, half-sobbing, talking into
the phone, as the searchlight keeps circling.
BATEMAN
Harold, it's Bateman. Patrick Bateman. You're my
lawyer so I think you should know-I've killed a lot of
people. Some escort girls, in an apartment uptown, some
homeless people, maybe five or ten, an NYU girl I met in
Central Park. I left her in a parking lot, near Dunkin'
Donuts. I killed Bethany, my old girlfriend, with a nail
gun. and a man, some old faggot with a dog. Last week I
killed another girl with a chainsaw-I had to, she almost
got away There was someone else there, maybe a model, I
can't remember but she's dead too. And Paul Owen. I killed
Paul Owen with an ax, in the face. His body is dissolving
in a bathtub in Hell's Kitchen. I don't want to leave anything
out here...I guess I've killed 20 people, maybe 40-I have tapes
of a lot of it. Some of the girls have seen the tapes, I even...
well, I ate some of their brains and I tried to cook a little.
Tonight I just, well, I had to kill a lot of people and I'm not
sure I 'm going to get away with it this time-I mean I guess
I'm a pretty sick guy. So-if you get hack tomorrow, I may show
up at Harry's Bar, so, you know, keep your eyes open.
Bateman hangs up the phone. The helicopter searchlight
circles back, briefly illuminating the room. The camera rises
up over Bateman huddled in the corner, staring blankly at the
sky.
INT. SMITH AND WOLLENSKY RESTAURANT - DAY
KIMBALL and Bateman are sitting at a corner table.
KIMBALL
(Very surprised)
No hash browns?
BATEMAN
Not in the mood, I guess.
KIMBALL
But...everyone orders the hash browns here. I
mean- it's-have you been here before?
BATEMAN
(Deliberately nonchalant)
Yes, of course. The hash browns are delicious. I'm just...not...
ordering them.
KIMBALL
(Looking at him like he's nuts)
Suit yourself, I guess.
Pause.
KIMBALL
So, the night he disappeared? Any new thoughts on
what you did?
BATEMAN
I'm not really sure. I had a shower...and some
sorbet?
KIMBALL
I think maybe you've got your dates mixed up.
BATEMAN
But how? Where do you place Paul that night?
KIMBALL
According to his date book, and this was verified by his
secretary, he had dinner with...Marcus Halberstam.
BATEMAN
And?
KIMBALL
I've questioned him.
BATEMAN
Marcus?
KIMBALL
Yes. And he denies it. Though at first he couldn't
be sure.
BATEMAN
But Marcus denied it?
KIMBALL
Yes.
BATEMAN
Well, does Marcus have an alibi?
KIMBALL
Yes.
A pause.
BATEMAN
He does? You're sure?
KIMBALL
(smiling)
I checked it out. It's clean.
BATEMAN
Oh.
KIMBALL Now where were you?
(He laughs)
BATEMAN
(Laughing with him)
Where was Marcus?
KIMBALL
He wasn't with Paul
Owen.
BATEMAN
So who was he with?
KIMBALL
He was at Atlantis with Craig McDermott, Frederick Dibble,
Harry Newman, George Butner and �
(He pauses, Then looks up)
- you.
A moment of stunned silence.
BATEMAN
Oh, right. Of course...We had wanted Paul Owen
to come. But he said he had plans...I guess I had dinner
with Victoria...the following night.
KIMBALL
Personally I think the guy went a little nutso. Split town for
a while. Maybe he did go to London. Sightseeing. Drinking.
Whatever. Anyway, I'm pretty sure he'll turn up sooner or
later.
(A pause)
I mean, to think that one of his friends
killed him, for no reason whatsoever would be too
ridiculous. Isn't that right, Patrick?
McDermott stops by the table.
McDERMOTT
KIMBALL! How's the investigation?
Talking to Bateman? Don't believe a word he says.
(Laughs uproariously slapping him on the back)
Bateman, what's wrong with ,you?
Bateman looks at him in silence,
panicking.
McDERMOTT
You can't eat at Smith and Wollensky
without ordering the hash browns. Jesus, Bateman, you're a
raving maniac. Been at Pierce & Pierce too long.
(He wanders off muttering)
No fucking hash browns...
INT. PAUL OWEN'S APARTMENT BUILDING - DAY
Bateman walks into the lobby of Paul Owen's building. He
has a surgical mask in one hand.
DOORMAN
What can I do for you, sir?
BATEMAN
20B.
DOORMAN
Of course. Mrs. Wolfe is up there right now.
BATEMAN
Mrs. Wolfe?
DOORMAN
The real estate agent? You do have an appointment,
don't you?
Bateman steps out of the elevator and walks cautiously down
the hallway. Owen's door is open. The apartment is freshly
painted and has been immaculately redecorated in English
country-house style: overstuffed sofas, lots of chintz. There
are flowers everywhere, and a YOUNG YUPPIE COUPLE stands
admiring the place talkingto the realtor, MRS. WOLFE. Bateman
wanders down the hallway, looking for familiar signs. He stops
at the closet where we last saw two dead girls hanging. He
opens the door and the light switches on, but it is empty. Mrs.
Wolfe approaches, smiling.
MRS. WOLFE
Are you my two o'clock?
BATEMAN
No.
Mrs. Wolfe eyes him strangely, then looks down at the
surgical mash clutched in his hand. Her expression changes.
MRS. WOLFE
Can I help you?
BATEMAN
I'm looking for...Paul Owen's...place.
She stares at him impassively.
BATEMAN
Doesn't he live here?
MRS. WOLFE
No, he doesn't.
BATEMAN
Are you sure?
MRS. WOLFE
You saw the ad in the Times?
BATEMAN
No. Yes. I mean yes, I did. In the Times. But...
doesn't Paul Owen still live here?
MRS. WOLFE
There was no ad in the Times.
Bateman is shaking as they continue to stare at each other.
MRS. WOLFE
I think you should go now.
BATEMAN
But I think...I want to know what happened
here.
MRS. WOLFE
Don't make any trouble. Please. I suggest you go.
Bateman backs away slowly.
MRS. WOLFE
Don't come back.
BATEMAN
I won't...don't worry.
Mrs. Wolfe glares at him as he walks down the hall,
rattled, and gets into the elevator.
EXT. DEPARTMENT STORE - DAY
Bateman enters the revolving
door of an office building, panicking and breathing
heavily. He is sweating, his hair is wild, and he looks
deranged. He goes around the revolving door twice and comes
out onto the street again, where he bumps smack into a GUY
just like him.
GUY
Hey, Kinsley.
Bateman looks up at him wild-eyed.
GUY
See you at Fluties, okay?
The guy walks away, utterly unfazed. Bateman wanders down
the street, banging his briefcase against walls, garbage
cans, etc.
EXT. MIDTOWN PHONE BOOTH - DAY
Bateman searches his pockets
for pills. He finds three different pills and swallows
them. He's sweating, and takes his jacket off to wipe his
face, dialing a number.
JEAN (O.S.)
Patrick Bateman's office.
BATEMAN
Jean? Hello? Jean?
JEAN (O.S.)
Patrick? Is that you?
BATEMAN
Hello? Jean, I need help!
JEAN (O.S.)
Where are you?
BATEMAN
Jean-I'm not-
JEAN (O.S.)
Craig McDermott called. He wants to meet you and
David Van Patten and Tim Price at Harry's for drinks.
BATEMAN
Oh God, what did you say, you dumb bitch?
JEAN (O.S.)
Patrick? I can't hear you.
BATEMAN
What are I doing?
JEAN (O.S.)
Where are you? Patrick, what's wrong?
BATEMAN
I don't think I'm gonna make it, Jean.
Pause.
BATEMAN
...to the office this afternoon.
JEAN (O.S.)
Why?
BATEMAN
(Screaming)
Just...say...no!
JEAN (O.S.)
What is it, Patrick? Are you alright?
BATEMAN
Stop sounding so Fucking sad! Jesus!
He hangs up. He throws the Walkman which is around his neck
into a nearby trash can, and wipes his face with his
jacket.
INT. BATEMAN'S OFFICE- SAME DAY
Jean sits at Bateman's desk. She looks around, and then opens
his desk drawer and tentatively begins to search through it.
INT. HARRY'S BAR - EVENING
Bateman comes into the bar, a little cleaned up from the
previous scene (he's smoothed his hair), but still panicking
and disheveled. He spots his friends in a corner, sits down,
still breathing heavily.
Price is on his cell-phone, trying to get reservations.
McDERMOTT
Bateman, you're looking a little wild-eyed rough
day at the office?
They all laugh.
McDERMOTT
Hey, look-Price is back. And he's drinking
Perrier. He s a changed man. Except...he still can't
get a reservation to save his life.
Bateman sits down silently.
McDERMOTT
Why don't you try I 50 Wooster? Just fucking call them.
BATEMAN
(On automatic)
I'm not going anywhere unless we
have a reservation.
VAN PATTEN Le Cirque, Flamingo East, Oyster Bar, come on,
faggots-just get a res.
PRICE
Keep your shirt on. Maybe lose the suspenders.
Bateman spots HAROLD CARNES at the bar, tenses.
BATEMAN
(He downs his drink)
Excuse me, gentlemen. Right back.
He approaches Carnes cautiously.
CARNES
Face it-the Japanese will own most of this country by the
end of the '90s.
Bateman approaches, trying to act casual.
BATEMAN
Shut up, Carnes, they will not.
Carnes is surprised, turns around, looks vaguely confused.
BATEMAN
So, Harold, did you get my message?
Carnes lights a cigarette, stalling. Then laughs.
CARNES
Jesus, Davis. Yes. That was hilarious. That was you,
wasn't it?
BATEMAN
(Waving smoke out of his face)
Yes, naturally.
CARNES
Bateman killing Owen and the escort girls? Oh that s
fabulous. That's rich...
Pause
CARNES
It was a pretty long message, wasn't it?
BATEMAN
What exactly do you mean?
CARNES
The message you left.
Carnes is distracted, waving at people.
CARNES
By the way Davis, how is Cynthia? You're still
seeing her, right?
BATEMAN
But wait, Harold, what do you mean?
Carnes isn't really listening.
CARNES
Excuse me. Nothing. Good to see you. Is that Edward Towers?
He turns to go.
BATEMAN
Carnes? Wait.
CARNES
(Sighing)
Davis. I'm not one to bad-mouth anyone, your joke was amusing.
But come on, man, you had one fatal flaw: Bateman's such a dork,
such a boring, spineless lightweight, that I couldn't fully
appreciate it. I wasn't fooled for a second. Now, if you'd said
Price, or McDermott...Otherwise, it was amusing. Now, let's
have lunch or dinner or something. Hilarious, Davis. A killer.
BATEMAN
What are you talking about? Bateman is what?
CARNES
Oh Christ. He can barely pick up an escort girl, let
alone...what was it you said he did to her?
Carnes looks around the club, raises his glass to a passing
couple. He laughs politely.
CARNES
Now, if you'll excuse me, I really must...
BATEMAN
(Desperate, shouting)
Wait. Stop. You don't seem to understand. You're not really
comprehending any of this. I killed him. I did it, Carnes.
I'm Patrick Bateman. I chopped Owen's fucking head off.
I tortured dozens of girls. The whole message I left on your
machine was true.
CARNES
Excuse me. I really must he going.
BATEMAN
No! Listen, don't you know who I am? I'm not Davis, I'm
Patrick Bateman! I talk to you on the phone all the time!
Don't you recognize me? You're my lawyer.
Carnes stares at him in confusion and annoyance.
BATEMAN
Now, Carnes, listen to me. Listen very, very carefully. I killed
Paul Owen and I liked it. I can't make myself any clearer
CARNES
But that's simply not possible. And I don't find
this funny anymore.
BATEMAN
It never was supposed to he! Why isn't it possible?
CARNES
(Eyeing Bateman worriedly)
It's just not.
BATEMAN
Why not, you stupid bastard?
Carnes stares at him.
CARNES
Because I had dinner with Paul Owen twice in
London...just ten days ago.
BATEMAN
No, you...didn't?
CARNES
Now, if you'll excuse me.
Bateman returns back to his friends' table, in a daze.
They are all looking at the television, where Ronald
Reagan is giving a speech about Iran Contra. They are
halfheartedly arguing about whether or not he's
lying.
PRICE
How can he lie like that? How can he pull that shit?
VAN PATTEN
What shit? Now where do we have reservations at?
I mean I'm not really hungry, but I would like to have
reservations somewhere.
PRICE
(To Bateman)
I don't believe it. He looks so...normal. He seems so...
out of it. So...undangerous.
McDERMOTT
He is totally harmless you geek. Was totally harmless.
Just like you are totally harmless. But he did do all that
shit and you have failed lo get us into I 50, so, you know,
what can I say?
PRICE
I just don't see how someone, anyone, can appear that
way and yet be involved in such total shit. How can you be so
fucking, I don't know, cool about it?
VAN PATTEN
Some guys are just born cool, I guess.
Bateman laughs at this. Price shoots him a look.
PRICE
And Bateman, what are YOU SO fucking zany about?
BATEMAN
I'm just a happy camper. Rockin' and a-rollin'.
VAN PATTEN
(To Price) Rehab's done wonders for you, pal.
Working for UNICEF now?
McDERMOTT
Do you want another Perrier Timothy? Some seltzer water?
PRICE
Oh brother look-he presents himself as a harmless
Old codger. But inside...
Pause.
PRICE
But inside...
The SOUNDS OF THE BAR FADE AWAY and we hear Bateman's thoughts:
BATEMAN (V.O.)
But inside doesn't matter...
THE SOUNDS OF THE BAR RETURN.
McDERMOTT
(Bored)
Inside? Yes, inside? Believe it or not, Price we're actually
listening to you.
PRICE
Bateman? Come on, what do you think?
Bateman looks up and smiles at Price. Then shrugs.
BATEMAN
Whatever.
The conversation breaks up as Van Patten takes out his phone.
VAN PATTEN
Whose moronic idea was it to drink dry beers? I need a Scotch.
The sounds of the bar fade down. The following voiceover runs
over images of Bateman and his friends ordering drinks, talking
on portable phones, talking, laughing - combined with images of
other very similar young men at other tables drinking, talking
on portable phones, talking, laughing,
BATEMAN (V.O.)
There are no more barriers to cross. All I have in common with
the uncontrollable and the insane, the vicious and the evil,
all the mayhem I have caused and my utter indifference toward
it, I have now surpassed...
INT. BATEMAN'S OFFICE - DAY
Jean is alone in Bateman's office, looking through his diary.
We see the pages that she is looking at. They are filled with
doodles of mutilated women and their names...Jean looks lost
and frightened, and begins to cry.
BATEMAN (V.O.)
My pain is constant and sharp and I do not hope for a better
world for anyone. I fact I want my pain to be inflicted on
others. I want no escape.
INT. HARRY'S BAR - EARLY EVENING
As the film ends the camera moves CLOSE on Bateman. He is
leaning back in his leather armchair, drinking a double Scotch,
his eyes blank.
BATEMAN (V.O.)
But even after admitting this, there is no catharsis. I gain no
deeper knowledge about myself, no new knowledge can be extracted
from my telling. There has been no reason for me to tell you any
of this. This confession has meant nothing...
The camera moves up to a sign on the wall behind him:
"THIS IS NOT AN EXIT."
CREDITS ROLL
American Psycho
Writers : Matthew Markwalder
Genres : Drama Horror Thriller
User Comments
Back to IMSDb
| screenplays |
the treatment of abdominal aortic aneurysm ( aaa ) has shifted from the traditional open graft replacement to the less invasive endovascular approach .
currently endovascular aneurysm repair ( evar ) is being widely used , and complications of this procedure have been reported , including endoleaks , stent migration , stent occlusion or breaks , and graft infection .
other complications such as ischemic colitis , aortoenteric fistulas and spinal cord ischemia have also been reported , but most of these complications are vascular complications related to either technical problems or vascular compromise . we report herein a case of non - vascular complications after evar in the immediate post - procedural period .
a 78 year - old male patient undergoing endoscopic mucosal resection of colon polyps had been incidentally diagnosed of a 4 cm - sized infrarenal aaa , 1.5 to 2 cm distal from the left renal artery , with extension to the right common iliac artery ( cia ) , 3.8 cm in maximal diameter on computed tomography ( ct ) scan .
the patient had a past medical history of hypertension ( diagnosed 2 years ago ) and gout ( diagnosed 5 years ago ) , and both on medications .
two years later , the patient was diagnosed of prostate cancer and underwent robot - assisted laparoscopic prostatectomy . during the work - up for the operation ,
the aneurysm was detected on ct scan but the aaa size was unchanged ( 4 cm ) and the patient remained asymptomatic .
postoperatively , the patient suffered from deep vein thrombosis ( dvt ) needing the insertion of an inferior vena cava filter and anticoagulation . during the next 8 months ,
the maximum diameter of the aorta grew to 4.2 cm and that of the right cia to 4.3 cm , with the aneurysm extending also to the proximal left common iliac artery ( fig .
because of the large sized , rapid growth of right common iliac artery aneurysm , we decided to perform an evar procedure .
the first stage was the embolization of the right internal iliac artery using a 16 mm vascular plug and the second stage was an evar procedure under general anesthesia using a bifurcated modular aortic stent graft ( zenith , cook inc , bloomington , indiana , usa ) . during evar
intraopertive minimal transfusion with red blood cell 1 pint was done , and hemoglobin was slightly dropped from 11.6 g / dl to 10.8 g / dl without definite change of vital sign after evar .
the overall procedure was done without any other major complications and both lower extremity pulses were good immediately after the procedure .
follow - up ct angiography performed on the second day after procedure revealed a type ii endoleak with otherwise intact lower limb blood flow ( fig .
2 ) . also from day 2 after the procedure the patient had a fever of spiking pattern with peak temperatures of up to 39.6 and a leukocytosis of 19,000/mm . at that time , systolic blood pressure was 105 mmhg with a hemoglobin level of 10.4 g / dl . on day 4 the patient presented with sudden onset of hypotension ( systolic bp < 80 mmhg ) , tachycardia ( > 120/min ) , anemia ( hb 5.9 g / dl ) , oliguria and melena as well as continued spiking fever , leukocytosis , elevated c - reactive protein and hyperbilirubinemia ( total bilirubin 1.5 mg / dl ) .
ct scan revealed active bleeding from the second portion of duodenum and the wall thickening of gallbladder with pericholecystic abscess and inflammation ( fig .
esophagogastroduodenoscopy revealed a huge exposed vessel with bleeding at the duodenal bulb , probably due to duodenal ulcer bleeding and hemoclipping was performed .
however the patient 's anemia and melena did not improve and angiography revealed active bleeding at the duodenal branch of the anterior pancreaticoduodenal arcade , which was embolized using a mixture of glue / lipiodol and gelfoam ( fig .
furthermore a percutaneous drain was inserted in the gallbladder in order to decompress the inflamed gallbladder , and nature of drain revealed out an infected bile .
the patient was discharged on day 35 and is currently being followed - up in an outpatient basis with resumption of his normal activities .
the most current follow - up ct angiogram shows decreased but still existent type ii endoleak , but without any other complications ( fig .
many complications after evar have been reported , including endoleaks , stent migration and stent rupture , aortoduodenal fistula and spinal cord ischemia . however , these complications are mainly vascular complications .
review of the literature has shown that non - vascular complications following evar are very rare .
the only non - vascular complication reported up to date is the report of a case of acute pancreatitis as a complication of evar .
this case describes ulcer bleeding and acute cholecystitis as complications of evar . the patient had spiking fevers and leukocytosis starting from day 2 after the procedure . at the time , the differential diagnosis was either post - implantation syndrome or lung atelectasis . retrospectively reviewing the case , these differential diagnoses could have had some influence in the patient 's fever , but there is a high probability that the cause of the spiking fever was due to acute cholecystitis .
we suggest that cholecystitis may have occurred due to the stressful condition after the procedure .
there have been several reports of stress - induced acute acalculous cholecystitis , especially postoperatively .
furthermore , the fact that the patient had undergone evar under general anesthesia and that there was no evidence of cholecystitis or calculus before the procedure favor the causal relationship between the procedure and the acute acalculous cholecystitis . the patient presented with melena and other signs of bleeding ( hypotension , tachycardia and anemia ) from day 4 after the procedure .
workup showed active bleeding from a duodenal ulcer , which was controlled both endoscopically and angiographically .
it is probable that the bleeding may have occurred from an indolent , preexisting duodenal ulcer , although there is no esophagogastroduodenoscopy to confirm this theory .
such bleeding may have occurred due to the fact that the patient had been on warfarin for more than 8 months for a previous dvt and had switched to low molecular weight heparin for 4 to 5 days before and after the procedure .
this increased bleeding tendency , and the stressful condition after the procedure may have accounted for the ulcer bleeding , which was controlled successfully . from this case , we need to emphasize the importance of recognizing the underlying medical and medication histories of patients undergoing a stressful condition such as surgery or other invasive procedures , and to take the necessary precautions for the possibly related events that may occur .
vascular patients , in particular , may have several comorbid conditions , such as cardiovascular or cerebrovascular diseases , and may be on several medications , including antiplatelet agents or anticoagulants .
these conditions may increase the risk of bleeding , as well as the incidence of myocardial infarction or cerebrovascular accidents after general anesthesia , and therefore it is important to evaluate the risks of complication and to take the necessary measures to minimize them .
the importance of a detailed history and a thorough physical examination needs no further debate , and emphasis on this aspect is needed in patients with vascular diseases . | pubmed |
pubmed |
|
Why is the Virial Theorem not a Special Case of the Ergodic Theorem? What is their Relationship?
The virial theorem involves the time-averages of the potential and kinetic energies if the motion of the system is bounded to a finite region of space.
An ergodic theorem relates the time and space averages of a quantity, in the case of thermodynamics usually the average amount of time spent in some region of phase space with constant energy is proportional to the volume of that region of phase space.
Both principles involve time averages of energy, so I would be surprised if there was no meaningful relationship between them. [Someone asked a similar question on Quora, but got no answers](https://www.quora.com/unanswered/Dynamical-Systems-Does-the-proof-of-the-virial-theorem-involve-a-special-case-of-the-ergodic-theorem).
**What is the relationship, if any, between the virial and ergodic theorem?**
(Also I apologize for asking two questions in succession -- this and my previous question were both inspired by reading the same chapter of Landau and Lifschitz.)
The virial theorem is valid if few simple conditions are satisfied (system particles, in the course of its evolution, remain bounded in a finite-sized region) and is thus quite general.
Ergodic theorem requires evolution to be ergodic:
<https://en.wikipedia.org/wiki/Ergodicity>
This is a special requirement that is not guaranteed to be satisfied for all systems. For example, integrable systems with more than 1 integral of motion are not ergodic (such as two or more noninteracting simple harmonic oscillators).
| stackexchange/physics |
How is the volume kept constant in an NVE MD simulation?
The simplest way to conduct a molecular dynamics simulation is to set up some initial conditions and propagate the system in time by solving Newton's equations of motion. When one does not interact with the system at all(no thermostat or barostat) this will be an NVE simulation, since the number of particles, the volume and the total energy is conserved.
My problem is, that I see no reason why(or how) such a simulation without external influences conserves volume. Consider simulating a cluster of water: due to the random motions, every once in a while a molecule on the surface will have sufficient energy to break away from the cluster, and fly away into what is effectively a perfect vacuum. In fact, that is exactly what I would expect from a tiny droplet of water in perfect vacuum: to evaporate and become a gas.
So my question is, how do MD simulations preserve volume?
The answer to this is linked to how you define the “volume” of your system, and the boundary conditions. The simplest case is simply to consider an isolated systems, like a molecule in gas phase. This corresponds to $N$ atoms (or molecules or particles) with no restrictions of their coordinates and no boundary conditions. This is essentially an infinite box. Its volume naturally does not and cannot vary.
Note that the volume of the system is not defined as “the volume actually occupied by the atoms”, such as for example the Connolly volume of your system. Instead, the volume of the system is the boundary of space where the atoms can go.
If you take a finite volume for your simulation, for example of cube of size $L$ and volume $V=L^3$. You have to put periodic boundary conditions, for example reflexive (your box is surrounded by a wall, and particles bounce on it) or periodic (look up for *periodic boundary conditions* in a textbook). Then from the initial positions and velocities of the atoms, Newton's equation allows you to propagate those quantities and determine their evolution in time. But nothing in Newton's law affects the system size $L$ (and thus $V=L^3$) or the boundaries. They will stay fixed and the volume will be constant.
Also, in all cases, because of conservation of matter, $N$ is constant. And if the forces acting on the system are conservative (as are all interatomic forces), then the total energy in the system $E$ is conserved.\* Thus, the system samples the $(N, V, E)$ thermodynamic ensemble.
---
\* the momentum of the system is also conserved… and it is not as trivial as it may sound :)
| stackexchange/chemistry |
in this series of papers we take the perspective of open quantum systems ( oqs ) and examine from their nonequilibrium ( neq ) dynamics the conditions when the physical quantities , concepts , constructs and the time - honored laws of thermodynamics ( td ) become well defined and viable for quantum many body systems .
we utilize one broad class of models where the nonequilibrium dynamics can be solved exactly the brownian motion of strongly coupled ( sc ) harmonic oscillators , interacting strongly with a scalar field environment to explore a range of basic issues in quantum thermodynamics ( qtd ) .
the exact solutions possible in these oqss enable us to examine and define these conditions more precisely in a quantitative , systematic and transparent way .
this approach hopefully compensates for the rather loose , qualitative and at times contrived way thermodynamic descriptions for quantum systems are proposed because of the need to adhere to the dictum of classical thermodynamics , which is valid only under very special conditions . a clarification in the meaning and contents of quantum thermodynamics ( qtd ) @xcite might be useful before we proceed : to us , it is the study of the thermodynamic properties of quantum many - body systems ( mbs ) .
quantum now refers not just to the particle spin - statistics ( boson vs fermion ) aspects the rather limited meaning of ` quantum ' in traditional quantum statistical mechanics ( qsm ) , but also includes in the present era the quantum phase aspects , such as quantum coherence , quantum correlations and quantum entanglement .
this is where quantum information has a hand in qtd @xcite .
the thermodynamics connotation can be extended to include systems not necessarily in equilibrium at all times , thus encompassing dissipative and relaxation processes for systems deviating from equilibrium , including linear or nonlinear response theories applied to quantum mbs , familiar in condensed matter or chemical physics and for classical mbs , topics incorporated in the traditional field of neq td @xcite .
these considerations can be extended to weakly nonequilibrium conditions but not for far - from - equilibrium , fully arbitrary time evolutions .
that is when an open quantum system treatment becomes necessary .
the issues addressed in this first paper encompass the nature of internal energy , heat capacity and the third law for a fully nonequilibrium ( neq ) system .
we demonstrate what it takes for it to evolve to an equilibrium ( eq ) condition , and from that point establish the connection with traditional td theory .
the conditions for traditional td theory to be well - defined and operative for a classical or quantum system are very specific despite its wide ranging applicability : a system of relatively fewer degrees of freedom in the presence of a thermal bath of a huge number or infinite degrees of freedom ( we shall consider only heat but no particle transfer here and thus the td refers only to canonical ensembles ) , the coupling between the system and the bath is vanishingly small , and the system is eternally in a thermal equilibrium state by proxy with the bath which is impervious to any change in the system .
this also involves new challenges at zero or very low temperatures when quantum features become prominent , challenges posed by non - markovian environments and in the treatment of non - markovian dynamics . by virtue of its ability to provide a first principles derivation of noise from quantum fluctuations ( e.g. , for gaussian noise via the feynman - vernon identity , instead of being put in by hand ) , and linking fluctuations and noise with dissipation and relaxation by dynamical relations ( such as the fluctuation - dissipation relation which can be traced to the unitarity in the original closed system before one coarse grains the environment to a description of mean field dynamics and its fluctuations ) , the open quantum system approach is also a natural setting for incorporating stochastic thermodynamics @xcite , which has seen a wide range of chemical and biological science applications .
the set - up : in our opinion , the neq dynamics of open quantum systems , e.g. , in the tradition of feynman - vernon , caldeira - leggett _ et al _ @xcite even though requiring more work , is the preferred setting for addressing _ new issues in quantum thermodynamics for future challenges _ .
this is in comparison with a popular set - up which has been studied more in the literature namely , that of a global thermal state ( cgts ) assumed for the combined or closed system ( c ) = system ( s ) + bath ( b ) . in the cgts set - up
the initial and final states of c are the same , namely the combined system remains in a equilibrium global thermal state , because the dynamics of the combined closed system is unitary .
this is visibly closest to the setting of thermodynamics and thus naturally convenient for exploring small extensions of thermodynamics .
by contrast the open system neq ( oneq ) approach deals with time evolution of the open system .
it requires the specification of the initial conditions and the derivation of the late time behavior of the open system . for those systems that upon interaction with a bath equilibrate at late times
, one may then connect its behavior with the descriptions of thermodynamics .
for sure this is a many - to - one relation - many different initial conditions can produce the same final steady / equilibrium state , or that there is no common final steady / equilibrium state .
a lot depends on the structures of the system , the properties of the bath and the way they interact .
all the above mentioned factors need to be considered for interacting quantum many - body systems before we construct thermodynamical quantities , address thermodynamical issues and invoke ( or hasten to claim success in revoking @xcite ) the well - established thermodynamical laws .
we will elaborate on their differences in a subsection below .
there are three main components in this paper : \1 ) set - up and conditions : the physical differences of the set - ups , comparing our open system nonequilibrium ( oneq ) approach ( level 2 ) with traditional td ( level 0 ) on the one hand , and with the global thermal ( cgts ) state set - up ( level 1 ) on the other . in td , as mentioned above , the system - bath coupling has to be vanishingly small whereas in both the level 1 and 2 treatments the system - bath coupling can be strong .
we will mention the cgts approach as many existing work is based on this setup , but focus more on how to use an open system approach to define and quantify quantum thermodynamics . in a companion paper @xcite we will attempt to build some bridges between these two approaches , via generating functional and reduced density matrix formulations .
the hope is that from the open system perspective , one may be able to identify which entities and concepts are more suitable for treating new problems in qtd and which are residues of the old which may hinder new developments .
other authors using an open system approach to quantum thermodynamics include duarte and caldeira @xcite who treated a coupled - oscillator system by the influence functional method , carrega _ et al _ @xcite who treated a two level system via moment - generating functionals , and esposito _ et al _ @xcite using nonequilibrium green s functions .
\2 ) model with exact solutions : we use a quantum brownian motion ( qbm ) model of harmonic oscillators with strong - coupling both within the system ( @xmath1 ) and interacting with a scalar field bath ( @xmath2 ) .
the merit of this model which represents a rather broad class of physical problems is that being a gaussian system it can yield exact solutions which enable us to cross - examine the relevant issues leaving little room for speculation .
even when familiar quantities like energy and entropy can be defined in different ways under different conditions , since we are treating neq dynamics , if we make precise specific conditions , these quantities are defined .
there is no worry about ambiguity .
the results from this model study are used for addressing the following issues : \3 ) issues and consequences : a. energy extensivity : thermodynamic functions are well defined under the conditions when thermodynamics theory is viable , namely , that the system is very weakly coupled to the bath , the bath being a passive source which provides a temperature parameter , not a dynamical variable which can back - react on the system .
it is a meaningful question to ask if the nice properties we are accustomed to in conventional thermodynamics , e.g. , the extensive property of internal energy will still hold for strongly interacting quantum systems . in the model we studied here we answer this question in the affirmative ,
that the internal energy remains extensive under strong coupling .
b. heat capacity : from the internal energy we calculate the heat capacity and examine its behavior toward @xmath3 .
we find a power law , not an exponential decay .
this has significan implications .
this aids us to address a version of the third law and to resolve some puzzles raised in the literature such as the claimed negative specific heat near absolute zero even in well behaved systems @xcite . c. third law .
there are several formulations and statements of the third law .
we approach it from the behavior of the heat capacity near absolute zero , which aids us to resolve some puzzles raised in the literature such as the claimed negative specific heat near absolute zero even in well behaved systems @xcite , and address some concerns expressed by hanggi , ingold , talkner , weiss _
et al _ @xcite .
d. vedral _ et al _ @xcite invoked heat capacity as an indicator of entanglement , and raised the issue of how the entanglement at a system s ground state bears on the third law . for the ( spin ) system they studied they made the claim that the validity of the third law of thermodynamics relies on quantum entanglement " . using the behavior of the heat capacity at @xmath3 we derived here , combined with our earlier results on the entanglement between two coupled oscillators interacting with a zero temperature bath @xcite
, we show that this is not the case at least for the coupled oscillator system .
there is no connection between entanglement in the system and the third law .
e. the oneq approach we adopt for the dynamics of the system provides means to calculate entropy production , but not before the meaning and definition of entropy for interacting quantum systems can be understood and clarified .
we say this because even the most commonly invoked von neumann entropy has problems if not used and understood properly .
we shall mention this issue at the end of this paper but leave a proper treatment of heat , entropy , entanglement , and from it the first and second law , to the second paper @xcite in this series .
we begin by stating a few basic facts connecting the three levels of treatments : level 0 thermodynamics ( td ) , level 1 closed system ( system and environment combined ) in a global thermal state ( cgts ) and level 2 open system evolving to an equilibrium state ( oneq ) .
a. traditional statistical mechanics treats many body systems in thermal ( canonical distribution ) and chemical ( grand canonical ) equilibrium .
the starting point of quantum statistical mechanics ( qsm ) is probability density , no quantum phase information is invoked .
this is encoded in _ the two fundamental postulates of quantum statistical mechanics _ : equal a priori probability to all accessible states and random phase approximation .
thus from a quantum information viewpoint , the system of interest to qsm is already fully decohered in the energy basis and behaves classically in an effective way
what is quantum in qsm only pertains to quantized energy levels and particle spin - statistics .
b. partition function is well defined only for systems in thermal equilibrium .
it _ is ill - defined for systems under nonequilibrium conditions when the notion of temperature is lacking .
_ pathologies may ensue if it is forced upon even perfectly normal systems ( in contradistinction to systems for which the canonical ensemble does not exist and the heat capacity is negative in the microcanonical ensemble , such as gravitating systems ) . as noted in @xcite
if one proceeds from assuming that the combined system + environment is in a thermal state the behavior of the heat capacity of the system is different when it is derived from the energy of the central system at equilibrium or from a partition function approach @xcite . by examining the open system nonequilibrium dynamics with no reference to the partition function one
never encounters these pathologies .
likewise , old notions such as _ the hamiltonian of mean force @xcite are only meaningful in the conceptual framework of equilibrium systems _ @xcite as in cgts . c. the oft - heard statement ,
that the generating functional ( in quantum field theory ) is equal to the partition function ( in equilibrium statistical mechanics ) is true only for thermal fields , i.e. , there exists a canonical distribution where a thermal state is well defined for all times .
this statement arises from treating thermal ( finite temperature ) fields with imaginary ( matsubara ) time quantum field theory . _
if one uses real time representation to describe the neq dynamics of open systems the generating functional remains well defined but it is not the ( canonical ) partition function defined in imaginary time .
_ d. if an open system upon interaction with its environment can equilibrate at late times , and if it is further thermalized , it enters a thermal state . but
this equilibrium state is different from that of a system in contact with a heat bath which behaves in a totally passive and non - dynamical way , in particular , with no backaction on the system .
the latter is where a theory of quantum thermodynamics is often constructed , namely , from a simple extension of conventional classical thermodynamics .
the difference lies in the dynamical correlations between the system and the bath , which conventional thermodynamics ignores completely by assuming a vanishingly small coupling .
e. as for the differences between oneq and the cgts setups , there are important physical consequences .
let us illustrate this with a simple model calculation from the ubiquitous qbm .
below we use an illustrative calculation based on the ubiquitous quantum brownian motion to drive home this important point . consider a system of an harmonic oscillator bilinearly coupled to an environment consisting of harmonic oscillators , also referred to as the quantum brownian motion ( qbm ) model .
the hamiltonian of the combined system is : @xmath4 where the variables in capital are associated with the system , and @xmath5 , @xmath6 are the mass and the oscillating frequency of the system oscillator .
the parameter @xmath7 is the coupling strength between each bath mode @xmath8 and the system oscillator @xmath9 , while @xmath10 and @xmath11 are their respective conjugate momenta .
such a combined system is sufficiently simple to serve our current purpose .
at some initial time @xmath12 the system and environment are assumed to be uncorrelated .
moreover , the environment is in the thermal state with respect to its isolated hamiltonian @xmath13 : @xmath14 in the above equation @xmath15 $ ] .
if the environment is very large and the system - environment coupling is such that the system relaxes to a unique steady ( or equilibrium ) state irrespective of the initial state , we call the environment a thermal reservoir or a heat bath . under these assumptions of equilibration it has been shown that @xcite the unique steady ( or equilibrium ) state @xmath16 has the form : @xmath17\,,\end{aligned}\ ] ] where @xmath18 is defined analogous to @xmath19 above , and @xmath20 is the reduced state of the system , evolved out of the initially uncorrelated global state .
this state is referred to as the equilibrium state to distinguish it from the thermal state given by the boltzmann - gibbs distribution with respect to the system hamiltonian alone .
it is important to note that although the system relaxes to the equilibrium state , the global state of the system+environment is not in equilibrium .
in particular , @xmath21 the density matrix @xmath22 here is the state of the combined system and environment , evolved from the initial state ; thus @xmath23 .
. is true because the thermal state of the combined system+environment is a stationary state of the full hamiltonian and thus can not be reached from a nonstationary state under hamiltonian dynamics .
what says is that the reduced system state is consistent with a global thermal state and that no further information about the nonequilibrium state of the combined system+bath can be obtained if one has access to the system only . in other words the information on the non - equilibrium state of the combined system+environment is not stored in the system but rather in the environment and in the correlations between the system and the environment . to demonstrate this point , we focus our attention to a single bath mode .
the solutions to the equation of motion are : @xmath24 + \frac{p_k(t_i)}{m_k \omega_k}\ , \sin[\omega_k(t - t_i ) ] + \int_{t_i}^t ds\ ; \frac{\sin[\omega_k(t - s)]}{m_k \omega_k}\ , g_k\ , q(s)\ , , \\
q(t ) & = q(t_i)\ , m_{0 } \dot{g}(t - t_i ) + p(t_i)\ , g(t - t_i ) + \int_{t_i}^t ds\ ; g(t - s)\,\xi(s)\ , , \\
\xi(s ) & = \sum_n g_n \left\ { q_n(t_i ) \cos[\omega_n(t - t_i ) ] + p_n(t_i ) \,\frac{\sin[\omega_n(t - t_i)]}{m_n \omega_n } \right\}\,.\end{aligned}\ ] ] here @xmath25 is the green s function of the system oscillator , the exact form of which is not important for this discussion ( see ref .
@xcite for details ) . under the assumptions of equilibration
@xmath26 as @xmath27 .
this is the reason why the system can not keep any of the memory of its initial state .
however , since the closed system dynamics is unitary , that information is not lost .
rather , it is distributed over the bath modes .
the first two terms in the expression for @xmath28 do keep the memory of the initial thermal state of the bath .
the last term is the only place where the memory of the initial state of the system survives in the bath .
@xmath29\notag \\ & \propto m_{0}q(t_i ) \int_{t_i}^t ds\ ; \sin[\omega_k(t - s ) ] \dot{g}(s - t_i ) + p(t_i ) \int_{t_i}^t ds \sin[\omega_k(t - s ) ] g(s - t_i)\ , .
\end{aligned}\ ] ] the important observation is that although @xmath25 and @xmath30 are decaying functions , the above integrals are oscillatory .
( this can be seen explicitly by choosing @xmath31 ( ohmic case ) and doing the integrals explicitly . ) as a result , the information on the initial state of the system survives forever in the bath degrees of freedom .
similarly , information on initial state also survives in the correlations between the system and bath modes as can be seen by studying the late - time limit of @xmath32 .
however , the coupling to each mode is extremely small under the assumption of equilibration , and this makes it practically impossible to extrat this information in reality . under the assumption of equilibration ,
the reduced system relaxes to the equilibrium state at late times , irrespective of the initial state of the system . as a result
any thermodynamic formulation that only relies on the reduced state of the system for its definitions , will be independent of the initial state of the system .
moreover , all the information about the reduced state of the system can be obtained by assuming a global thermal state without introducing any errors . in the weak coupling limit , @xmath33
, the equilibrium state approaches the thermal state .
but in general , the equilibrium state differs from the thermal state .
it is common to define the so called `` hamiltonian of mean force '' to quantify this difference .
in essence , hamiltonian of mean force is the operator with respect to which the equilibrium state has the boltzmann - gibbs form , where the temperature is that of the bath . in conclusion ,
a ) for strong coupling between the system and bath , if the system can approach the equilibrium state , then the reduced density matrix of the open systems is the same as the reduced density matrix in the cgts framework upon integrating out the bath .
b ) however , the final global states are different , despite the fact in both cases the dynamics is generated by the same hamiltonian ( @xmath34 ) .
this is because two global systems start out with different initial states , and the unitary evolution does not change the distinguishability between the states .
c ) note that in the cgts set up , even though the closed system is assumed to be in a global thermal state , the system is not necessarily in a thermal state .
one needs extra assumptions , such as the system is very weakly coupled to the bath .
it is under the same condition that the open system can reach thermalization .
one should be mindful of these presumptions when comparing the thermal states in both setups .
we mention these facts as a cautionary note to remind ourselves and for those who want to compare quantities calculated in these three different setups .
[ [ energy - extensivity . ] ] energy extensivity .
+ + + + + + + + + + + + + + + + + + + in conventional thermodynamics , when the intra - system coupling is negligible , the internal energy is extensive in term of the number of the oscillators , like the case of the dilute gas .
when this coupling is finite , we may instead understand the extensive property of the internal energy in terms of the normal modes of the coupled oscillators .
we have shown that with this definition of extensivity the internal energy becomes extensive after the system reaches equilibrium , as implied by .
it is interesting to note that the degrees of freedom of the oscillators used to describe the extensive property of the internal energy are neither the original degrees of freedom associated with each oscillator , nor the modes that decouple their equations of motion .
rather they are the degrees of freedom that diagonalize the oscillation frequency matrix @xmath35 . in this regard ,
the extensive property of the internal energy in the final equilibrium state is the same as that of coupled oscillators in conventional thermodynamics , that is , in the vanishing system - bath coupling limit .
this offers an explicit theoretical justification , from the open - system viewpoint , of conventional thermodynamics when applied to such a many - body system .
[ [ heat - capacity . ] ] heat capacity .
+ + + + + + + + + + + + + + when the system of @xmath0 coupled oscillators in a shared scalar field bath reaches equilibrium , its heat capacity is shown to be always non - negative for all nonzero bath temperatures , and it moves towards zero only if the bath temperature approaches zero .
these properties are independent of the spatial arrangement of the oscillators , the inter - oscillator coupling and the system - bath interaction strength , as long as the collective non - markovian motion of the system is stable .
[ [ the - third - law . ] ] the third law .
+ + + + + + + + + + + + + + therefore from the viewpoint of behavior of the heat capacity at @xmath3 for this class of systems in an equilibrium state the third law is not violated . in this connection
we also addressed the issue of entanglement and the third law pertaining to heat capacity .
it was stated in @xcite that one may therefore say that in these systems the validity of the third law of thermodynamics relies on quantum entanglement ... " .
our view is that the third law depends on the nondegeneracy of the ground state manifold and has nothing to do with entanglement directly .
indeed it has been shown @xcite in the case of two spatially separated but coupled oscillators in a zero - temperature shared bath that the equilibrated state of this two oscillator system is not always entangled .
for example , with sufficiently strong oscillator bath interaction , the reduced state of the two oscillators is separable .
( see fig . 3 in @xcite ) .
here we have shown that the heat capacity of the coupled harmonic oscillator system goes to zero independent of the system - bath interaction strength .
thus it offers a counterexample to the above claim , that the validity of the third law of thermodynamics relies on quantum entanglement
we now begin our detailed model study for considering the viability in the establishment of a thermodynamics theory of open quantum systems . consider a collection of coupled quantum harmonic oscillators in a shared finite - temperature @xmath36 bath modeled by a massless scalar field in 1 + 3 minkowski spacetime .
the action of such a system is given by @xmath37-\int\!dt\,\sum_{j > i}m\sigma\,\chi_{i}(t)\chi_{j}(t)+\int\!d^{4}x\;j(x)\phi(x)\notag\\ & \qquad\qquad\qquad\qquad+\int\!d^{4}x\;\frac{1}{2}\,\partial_{\mu}\phi(x)\partial^{\mu}\phi(x)\,,\end{aligned}\ ] ] with @xmath38 .
each oscillator is located at a fixed spatial coordinate @xmath39 , and has the same mass @xmath40 and bare natural frequency @xmath41 .
the `` current '' @xmath42 in the oscillator - bath interaction term takes the form @xmath43 , with @xmath44 the coupling strength between the oscillator and the bath .
the parameter @xmath1 is the strength of direct coupling between two oscillators and assumed to be positive for concreteness and @xmath1 are confined to ranges where instability in the dynamics are avoided .
we will comment on this point later . ] . here
we suppose that the initial state of the combined system is a factorized state , given by @xmath45 where @xmath46 is the free hamiltonian of the scalar field . while the field is initially prepared in a thermal state , the initial state @xmath47 of the system can be quite arbitrary .
thus in the beginning the system and the bath are not in equilibrium , nor correlated or uncorrelated .
we will let them interact and evolve in time .
we will explore and make explicit the conditions when the system can and will reach equilibration .
this equilibrium state in general will have no resemblance to the thermal state of the combined system , nor of the reduced system .
thus the setup here is in strong contrast to the closed system globally - thermal state ( cgts ) often adopted in the discussions of quantum thermodynamics .
there , for the total hamiltonian of the combined system @xmath48 it is assumed that @xmath49 in the global thermal state , the system has already established correlation with the bath , and the interaction between the system and the bath is such that it maintains this correlation throughout .
since they are in thermal equilibrium , the combined system will remain in the global thermal state unless an external disturbance is introduced to bring the system out of equilibrium .
the influence of a gaussian bath on the system can be captured neatly by the feynman - vernon influence functional ( if ) @xcite . using the feynman - vernon gaussian identity the imaginary part of if can be represented by a stochastic noise which inherits the quantum statistics of the bath . in the framework of the in - in formalism , a revised imaginary part combined with the original real part of the influence functional , together with the action of the system , form a new , real , stochastic effective action , from which the equation of motion of the reduced system can be derived @xcite . following this well - established procedure the langevin equation for the stochastic dynamics of the @xmath50 oscillator ( strongly ) interacting with other oscillators and their shared bath with action
is given by @xmath51 in addition to the drag force and the quantum fluctuations of the bath found in a single oscillator system a new factor entering in the present coupled - oscillator shared - bath system is the induced interaction between the oscillators through their respective interaction with the scalar field bath .
the field - environment mediated effect is non - markovian in nature ( see e.g. , @xcite ) , often absent in a shared bath modeled by a collections of oscillators ( see , e.g. , @xcite ) .
this feature introduces additional complications and brings forth new physics in analyzing the stochastic dynamics of the quantum many - body system , as well as its quantum thermodynamics .
the statistics of the gaussian noise field @xmath52 is determined completely by the first two moments @xmath53 all the higher even moments can be expressed by the second moment with the wick expansion while all the odd moments vanish .
the @xmath54 notation denotes either an ensemble average or expectation value , depending on whether the variable under consideration is stochastic or quantum .
the two kernel functions @xmath55 and @xmath56 are most relevant for our present study : they are the retarded and the hadamard functions of the scalar field @xmath57 in its thermal state , defined by @xmath58=\frac{1}{4\pi r}\,\theta(\tau)\,\bigl[\delta(\tau - r)-\delta(\tau+r)\bigr]\,,\label{e : ejfdhwe}\\ g_{h}^{(\phi)}(x - x')&=\frac{1}{2}\,\langle\bigl\{\phi(x),\phi(x')\bigr\}\rangle=-\frac{1}{8\pi\beta r}\left[\coth\frac{\pi(\tau - r)}{\beta}-\coth\frac{\pi(\tau+r)}{\beta}\right]\,,\label{e : ejfdhwe1}\end{aligned}\ ] ] with @xmath59 and @xmath60 .
since they are time - translation invariant , their fourier transforms with respect to the @xmath61 variable satisfy the well - known relation , @xmath62 where the fourier transformation of the function @xmath63 is defined by @xmath64 introducing the matrix representation of the equation of motion , @xmath65 where @xmath66_{ij}\equiv g(\tau,\mathbf{z}_{i}-\mathbf{z}_{j})$ ] , we obtain a matrix equation @xmath67 the solution generically takes the form @xmath68 where @xmath69 are the initial conditions and @xmath70 are a special set of homogeneous solutions to . the actual form of @xmath71 is not important but the fourier transform of @xmath72 is @xmath73^{-1}\,.\ ] ] later it will be shown that for certain choices of parameters , the solution to exhibits instability and grows indefinitely when @xmath74 approaches infinity . in these case , the homogeneous solutions @xmath70 are not integrable , @xmath75 so their fourier transforms do not exist in the usual sense .
thus when results are expressed in terms of @xmath76 , it pays to be careful about their interpretations .
finally we note from that the oscillator is driven not only by the local noise at its very location , but is also affected by the quantum fluctuations of the bath at the locations of the other oscillators .
this novel and intriguing feature is essential in keeping the energy balance of the reduced system after it equilibrates .
this will become clearer when we calculate the energy balance in sec .
[ s : erhbdjhfbs ] . from , if there exists an equilibrium state lie on the upper half of the complex @xmath77 plane .
see sec .
[ s : jkjdf ] .
this is also the very basis on which we can discuss the fluctuation - dissipation relation of the reduced system and the energy balance among the dissipative , retarded and noise force terms . ] for the reduced system , then the moment @xmath78 at late time , after the reduced system completely relaxes , is well defined and given by @xmath79 where the superscripts @xmath80 and @xmath81 denote the transposition and hermitian conjugate of the matrix , respectively .
since @xmath82 is a symmetric matrix , we observe that @xmath83 with the help of the matrix identity @xmath84 for two nonsingular matrices @xmath85 , @xmath86 .
thus we can write @xmath87 in as @xmath88 where the retarded green s function @xmath89 of the reduced system is in fact @xmath90 similarly we introduce @xmath91 and at late times it becomes @xmath92 this integral in general is not well - defined due to the presence of ultraviolet ( uv ) divergence so regularization is needed .
we define the internal energy of the system as its total mechanical energy .
the total mechanical energy @xmath93 of the coupled oscillators is @xmath94+\sum_{j > i}m\sigma\,\langle\chi_{i}(t)\chi_{j}(t)\rangle\notag\\ & = \frac{m}{2}\operatorname{tr}\,\bigl\{\pmb{\sigma}_{\upsilon\upsilon}(t)+\pmb{\omega}_{p}^{2}\cdot\pmb{\sigma}_{\chi\chi}(t)\bigr\}\,.\end{aligned}\ ] ] here @xmath95 is the matrix trace , and the matrix @xmath35 is defined in a way similar to @xmath96 except that the elements @xmath97 in @xmath96 are replaced @xmath98 , where @xmath99 is the renormalized or physical frequency , which will be determined by the system preparation at the experimental energy scale .
the difference between them is not necessarily large and depends on the choice of the cutoff frequency @xmath100 , such that @xmath101 where the damping constant @xmath2 is equal to @xmath102 . in the equilibrium state
( note it is not necessarily the gibbs state @xcite ) , the total mechanical energy becomes @xmath103\cdot\tilde{\mathbf{d}}_{2}(\kappa)\bigr\}\,.\end{aligned}\ ] ] the heat capacity @xmath104 is then given by @xmath105 the evaluation of @xmath106 can be trickier than expected if regularization is not properly introduced .
at this point it may be desirable to get some physical feel of the dynamics and thermodynamics of the system .
we thus pause the formal development for the @xmath0-oscillator system but treat a simpler system of one and two oscillators so that we can see the subtleties involved in the non - markovian dynamics and thermodynamics of a strongly interacting open quantum system .
with the technical results gathered thus far we now treat the thermodynamics of an open quantum system of one and two oscillators .
we will focus in this paper on the energy and heat capacity aspects and from them , discuss the third law of thermodynamics .
we first examine the one - oscillator system .
the absence of mutual interaction between the constituents of the system renders it exactly and fully solvable without approximation .
it can readily be compared with the corresponding case in conventional thermodynamics , where the system is extremely weakly coupled to and assumed to be always in thermal equilibrium with a heat bath , whose dynamics is of no concern to the system beyond its being in a thermal state with a temperature parameter . in this case
the mechanical energy is given by @xmath107 where @xmath108 is given by @xmath109 the integral in is logarithmically divergent , so we will introduce a regularization scheme in due course .
in addition since it is much more difficult to evaluate the integral of the hyper - trigonometric function , we write the factor @xmath110 as the summation of the algebraic function of the matsubara frequency @xmath111 , @xmath112 in hope that the resulting integral contains only the algebraic function . on account of regularization
, we may assume it valid to exchange the order of integration and summation , so that becomes @xmath113 the evaluation of the integral in is straightforward except for the contribution of the zero mode @xmath114 , which needs a separate treatment from the @xmath115 case .
the contribution from the @xmath116 zero mode has an infrared ( ir ) divergence .
we introduce an ir cutoff @xmath117 and obtain @xmath118 for @xmath119 , the integral in the summation is well defined and it gives @xmath120 now eq . becomes @xmath121 the summation including infinitely high matsubara frequencies will give an inevitable uv logarithmic divergence , as expected from .
we insert a damping factor @xmath122 , with @xmath123 , to regularize the summation and arrive at @xmath124 where @xmath125 and @xmath126 is the resonance frequency , given by @xmath127 . the hypergeometric function @xmath128 is defined by @xmath129 and has a branch - cut on the complex @xmath130 plane along the real axis from 1 to @xmath131 . in the limit @xmath132 ,
the mechanical energy of the oscillator becomes @xmath133 where @xmath134 is the @xmath135 harmonic number .
the cutoff parameter @xmath100 defines the highest energy scale in the problem , its presence can be understood as the consequence that the oscillator couples with a bath that contains a huge number of degrees of freedom .
it results from the bath contribution on very short length scales .
since @xmath136 is accompanied by the damping constant @xmath2 , the cutoff - dependent term in is negligible for weak oscillator - bath interaction while it can have a significant contribution in the strong interaction limit .
thus the internal energy @xmath106 in principle can depend on the cutoff scale .
note that since the cutoff - dependent term does not depend on temperature , it will not appear in the heat capacity .
this yields for the heat capacity @xmath137 when @xmath138 .
we thus see the heat capacity grows algebraically from zero at low temperature and then saturates to unity at high temperature .
the function @xmath139 is the @xmath135 derivative of the digamma function .
next we examine the weak oscillator - bath coupling limit @xmath140 . in this limit
the mean mechanical energy becomes @xmath141 where @xmath142 contains the finite and higher .
contribution of the order @xmath2 . in principle as @xmath140 , the physical frequency @xmath99 will approach to the bare value @xmath41 .
this seems innocuous at first sight for the weak oscillator - bath interaction regime , but their values can be drastically different in the strong interaction and the large cutoff scale limit . in particular since @xmath99 and @xmath41 are related by , the choice of @xmath2 and @xmath100 must be restricted so that @xmath98 remains positive definite to prevent unstable dynamics . since the physical frequency @xmath99 is determined by experimental preparation . from the operational viewpoint we let
the physical frequency be fixed at the energy scale of measurement , and then ] we can compare results for different values of the system - bath interaction strength @xmath2 . following this protocol , the corresponding heat capacity
is then given by @xmath143 it is divergence - free due to the fact that the logarithmic divergence does not depend on temperature .
let us now compare this expression with the corresponding heat capacity in conventional thermodynamics .
consider a harmonic oscillator in its thermal state @xmath144 its mean mechanical energy is given by @xmath145 it does not depend on the coupling between the oscillator and the bath ( because of this , one may not realize that conventional thermodynamics is an open - system theory ) and in fact this expression is the same as the dominant term of in the weak coupling limit .
for this system the heat capacity in conventional thermodynamics is exactly given by @xmath146 and is equal to the leading term of in the weak coupling limit .
note that it has a different low temperature asymptote from that in .
this is central to the consideration of the third law .
similar results have been obtained for the same configuration , which is nonetheless initially prepared in the equilibrium global thermal state @xcite , but the physical contents are different .
the similarity in outcomes based on the nonequilibrium initial state and equilibrium global thermal state is not a coincidence , as has been discussed in @xcite .
essentially it is the consequence of the damped , stable motion of the reduced system due to the interaction with the bath . for nonvanishing oscillator - bath coupling
, there is a stark difference between the conventional thermodynamical equilibrium and our open - system nonequilibrium approaches . in general
, the results in the open - system framework may have cutoff - dependent contributions , as a result of the huge number of degrees of freedom in the bath .
since this cutoff - dependent term is proportional to the oscillator - bath interaction strength , it tends to be ignored in the weak coupling approximation .
the second distinction is related to the observation that there is one more scale @xmath2 in the open - systems nonequilibrium framework , in addition to @xmath77 and @xmath36 already existent in the conventional equilibrium thermodynamics framework .
this introduces an additional subtlety in defining the low temperature limit @xmath147 . in the open - systems nonequilibrium framework
, there may be a more stringent criterion such as @xmath148 when @xmath149 , or @xmath150 , where @xmath151 is a dimensional function of @xmath2 , @xmath77 and @xmath152=l^{-1}$ ] , that is , inversely proportional to the length scale @xmath153 .
the presence of this additional scale contributes to different predictions of the heat capacity between the two frameworks in the low temperature regime , as can be seen from and .
the low - temperature behavior of the heat capacity in has been argued @xcite , for the global thermal state case , to be related to the density of the state of the harmonic oscillator in the thermal bath .
there it has been shown that if the combined system is initially in the equilibrium global thermal state , then the original discrete energy spectrum of the undamped oscillator will become a continuous one with a unique ground level .
that is , the oscillator - bath interaction renders the oscillator a gapless system .
this interesting observation has not been proven for a nonequilibrium initial state .
it may still apply because the spectrum depends on the effective hamiltonian ( lagrangian ) instead of the prepared initial state .
when the system has two or more oscillators , the dynamics of the reduced system becomes much more intricate .
other than their direct coupling , the oscillators also interact with each other indirectly through their shared bath . this indirect influence by one oscillator will propagate in the form of the bath / field disturbance exerted onto all the other oscillators . in turn ,
more and more subsequent repercussions will be proliferated among the perturbed oscillators . thus the total effect on the system as a whole depends on the history of each oscillator , leading to very complex evolution .
addition to this further complication in the interpretation of the results arises from the reduced ( environment - influenced ) system s parameter space containing regions where its motion is unstable .
we need to identify and exclude this case , then expound the results of the reduced system in an equilibrium state after its motion is fully relaxed . from ,
the equations of motion for two coupled oscillators are @xmath154 where the oscillators 1 , 2 are respectively located at @xmath155 , @xmath156 so that @xmath157 .
it is convenient to reorganize the coupled motion of these two oscillators to an uncoupled motion of a fast mode @xmath158 and a slow mode @xmath159 , @xmath160\,,\\ \ddot{\delta}(t)+\omega_{-}^{2}\,\delta(t)+2\gamma\,\dot{\delta}(t)+\frac{2\gamma}{\ell}\,\theta(t-\ell)\,\delta(t-\ell)&=\frac{1}{m}\bigl [ \xi_{1}(t)-\xi_{2}(t)\bigr]\,,\end{aligned}\ ] ] with @xmath161 .
their solutions are most easily found if we perform the laplace transformation over this set of equations of motion and turn them into a simultaneous set of algebraic equations @xmath162\tilde{\sigma}(z)&=\bigl(z+2\gamma\bigr)\sigma(0)+\dot{\sigma}(0)+\frac{1}{m}\,\tilde{\xi}_{+}(z)\,,\\
\bigl[z^{2}+2\gamma\,z+\omega_{-}^{2}+\frac{2\gamma}{\ell}\,e^{-z\ell}\bigr]\tilde{\delta}(z)&=\bigl(z+2\gamma\bigr)\delta(0)+\dot{\delta}(0)+\frac{1}{m}\,\tilde{\xi}_{-}(z)\,,\end{aligned}\ ] ] where @xmath163 and @xmath164 .
unstable motion occurs when the solutions to @xmath165 have the positive real parts . in order to identify the unstable motion , we first rescale the variables as follows @xmath166 for @xmath167 such that becomes @xmath168 we will show that if the solution to has the positive real part , then this solution must be real .
to prove this , we write @xmath169 with @xmath170 , @xmath171 .
substituting it into gives @xmath172 we immediately see @xmath173 is a trivial solution to .
let us assume @xmath174 . if @xmath175 , then in , we have @xmath176 , @xmath177 and @xmath178 .
it implies that the lefthand side of is always positive .
eq . is not possibly satisfied unless @xmath173
. therefore the criterion of unstable motion in is equivalent to finding a positive real solution to . when @xmath179 , the exponential term in is negligibly small and can be ignored . in this case
, a consistent runaway solution exists only for the slow mode when @xmath180 is greater than @xmath181 .
this corresponds to an inverted harmonic oscillator .
thus it implies that the real positive solution of is typically small if we require @xmath182 ( @xmath183 ) , which is based on the physical preparation that the coupled motion of both oscillators remains stable when they are infinitely far apart .
therefore for the regime @xmath184 , although the exponential @xmath185 becomes of the order unity , the last term in will not have the nontrivial contribution unless @xmath186 is also at least @xmath187 .
in this case @xmath188 tends to be subdominant , compared with @xmath189 .
ignoring the contribution of @xmath188 , the rest of can be solved to give a positive real solution @xmath190 when @xmath191 .
that is , it is only possible in the limit of very strong oscillator - bath interaction . here
@xmath192 is the lambert @xmath193-function or known as productlog , which is the principal solution for @xmath194 in @xmath195 . in particular for the cases of strong inter - oscillator coupling such that @xmath196 , the solution to is given by @xmath197 thus the solution to is then obatained by @xmath198 a word of caution about the choice of @xmath199 : when @xmath199 is extremely small such that @xmath200 the contribution from the retardation term is comparable with the frequency renormalization due to the interaction of the oscillator with the bath .
therefore the expression for the equation of motion like becomes dubious in the sense that 1 ) a point particle model is not always feasible in the context of the self - force , as was long pointed out by rohrlich and others @xcite , 2 ) the equation of motion has a different damping term , proportional to the third - order time derivative , instead of the first - order one @xcite .
thus the effect of finite size of the oscillator must be taken into consideration . in summary , instability of motion
occurs when the formal effective oscillating frequencies of at least one of the two modes @xmath201 become negative .
it is likely to happen when 1 ) the oscillating frequencies of the normal mode @xmath202 become imaginary , and/or 2 ) the non - markovian field - induced effect becomes too extreme .
finally we remark that the ratio @xmath203 measuring the relative strength between the direct inter - oscillator coupling and the indirect environment - induced non - markovian effect is a useful quantity for this consideration , as was introduced in @xcite for expounding the competing physical mechanisms determining the quantum entanglement between two coupled oscillators in a shared bath . in the matrix notations for this two - oscillator system , we have @xmath204 where @xmath157 , and from , we can find @xmath205 given by @xmath206\,e^{i\,\kappa\tau}\notag\\ & = \begin{cases } \dfrac{e^{i\,\kappa r}}{4\pi r}\,,&r\neq0\,,\vspace{6pt}\\ \dfrac{\delta(0)}{2\pi}+i\,\dfrac{\kappa}{4\pi}\,,&r=0\ , .
\end{cases}\end{aligned}\ ] ] in the diagonal elements of @xmath207 , the divergent or cutoff - dependent term will be absorbed with the diagonal elements @xmath97 in @xmath96 to form the physical frequency @xmath208 .
the remaining term in the diagonal elements of @xmath207 will then give @xmath209 .
thus @xmath210 in becomes @xmath211 this is essentially what we need to compute the total mechanical energy of two oscillators when their motion reaches equilibrium after relaxation .
we have assumed somewhat artificially that @xmath1 is a constant independent of the separation between the two oscillators .
we may relax this restriction to allow it to be a function of @xmath212 , namely , @xmath213 here @xmath214 is a monotonically decreasing function of @xmath130 , except for the case @xmath215 , where we require @xmath216 , i.e , no self - interaction . the total mechanical energy for the two coupled oscillator system is then given by @xmath217 and the corresponding heat capacity
is @xmath218 let us examine the sign of the generic expression @xmath219 for all @xmath220 because it will determine the sign of the heat capacity .
explicitly it takes the form @xmath221}{\bigl[(\kappa^{2}-\omega^{2})\ell\mp2\gamma\,\cos\kappa\ell\bigr]^{2}+4\gamma^{2}\bigl[\kappa\ell\mp\sin\kappa\ell\bigr]^{2}}\,,\end{aligned}\ ] ] which is obviously positive for all @xmath220 .
note that the integrand in is nowhere negative and the integral is well defined .
thus the heat capacity @xmath222 in is always positive for all nonzero temperatures even with the presence of bath - induced non - markovian effects between the oscillators .
we observe that in the low temperature limit @xmath223 , the factor @xmath224 goes to zero .
thus it implies that the heat capacity must vanish at zero temperature since the integral in is regular .
this argument may be too simplistic .
in fact , when @xmath223 , the major contributions to the integral in comes from the interval @xmath225 , within which the rest of the integrand is slowly varying .
thus we may pull the slowly changing component out of the integral and write as @xmath226 where @xmath227 is a finite constant independent of @xmath228 .
thus indeed the heat capacity vanishes algebraically fast as the temperature approaches zero .
most important of all , the heat capacity vanishes for all permissible choices of oscillator separation , inter - oscillator coupling , and oscillator - bath interaction strength .
the analytical expression of the heat capacity for the two - oscillator system can not be given without resort to approximation due to the retarded non - markovian effect .
however its low - temperature behavior is expected to be more complicated than its one oscillator counterpart because of additional scale @xmath199 dependence .
a numerical example is given in fig .
[ fi : twosc ] .
in particular in fig .
[ fi : twosc]-(c ) , we compare the temperature dependence of heat capacity of this system between the conventional thermodynamics and the present nonequilibrium approaches .
an interesting feature appears when the interaction strength between the oscillators and the bath is sufficiently strong .
the heat capacity in the two - oscillator system does not increase monotonically as a function of @xmath2 as is the case in the one - oscillator system .
in fact , as shown in fig .
[ fi : non - mak1 ] , when the damping constant is greater than a critical value @xmath229 , the heat capacity will increase monotonically afterwards with increasing @xmath2 .
this non - monotonic behavior is most easily seen at high temperatures . in this limit the critical value of @xmath229 is approximately given by @xmath230 but slightly falls off with lower temperature .
this explains why the non - monotonic behavior of the heat capacity is not seen at low temperatures .
the non - monotonicity in the heat capacity results from the presence of the term @xmath231 in , which in turn corresponds to the retarded terms in the equations of motion and .
that is , the non - monotonicity in the heat capacity is due to the strong nonlocal effects mediated by the bath .
the critical value @xmath232 has a special physical significance , namely , it indicates the relative significance between the direct coupling and the indirect bath - induced causal influence among the oscillators . when @xmath233 , i.e. , @xmath234 , the bath - induced effect dominates , whereas when @xmath235 , i.e. , @xmath236 , the direct inter - oscillator coupling wins over .
this can be further seen from fig .
[ fi : nonmark2 ] . in fig .
[ fi : nonmark2](a ) the curves of heat capacity at high temperature @xmath237 are plotted for different choices of damping constants @xmath2 with respect to the oscillator separation @xmath199 , while in ( b ) they are drawn for various selections of direct coupling strengths @xmath1 .
they all show a monotonic behavior once @xmath199 is smaller than the critical separation @xmath238 .
similar behaviors also appear in thermal entanglement @xcite .
mathematically it is not difficult to understand why this non - monotonicity in heat capacity is readily seen at high temperatures . from , we immediately see that @xmath239 and since the remaining terms in the integrand does not depend on temperature @xmath36 , it implies that the temperature will not have any effect on the contributions from the causal influence @xmath231 .
physically the rise of heat capacity with increaing @xmath2 at short inter - oscillator separation can be understood as a consequence of increasing thermal fluctuations of the scalar - field bath , since heat capacity is a measure of the variance of internal energy at least in conventional equilibrium thermodynamics after the system equilibrates its dynamics is governed by the noise force , thus large quantum / thermal fluctuations from the bath can in principle induce large fluctuations in the energy of the system , which shows up as large heat capacity . to be specific
, the hadamard function of the scalar field depicts the correlation of the noise forces in and , and fig .
[ fi : spectra ] shows the corresponding power spectrum , which is the temporal fourier transform of the hadamard function . in general the spectrum of the scalar - field bath
shows larger values for shorter inter - oscillator separation @xmath199 and higher bath temperature @xmath36 .
they reflect the mere facts that when we probe into a smaller spatial region , we see larger quantum field fluctuations ( simply seen on account of the uncertainty principle ) , and at higher temperatures thermal fluctuations become more pronounced .
these large fluctuations will then produce large variances in the variables of the system via , for example , .
this non - monotonic behavior of heat capacity at short distance may not be easy to observe because the transition occurs on a scale smaller than @xmath240 at moderate temperatures .
this scale may be shorter than the minimal separation at which the motion of the system remains stable or fall below the physical size of realistic systems modeled by oscillators .
here we consider a system that contains @xmath0 coupled harmonic oscillators in a shared thermal bath .
their spatial locations , specified by @xmath39 with @xmath241 , @xmath242 , @xmath0 , is arbitrary , and their initial states can be far from equilibrium . from the previous discussions , we have learned that their motion is highly non - markovian and intertwined , so it is not obvious whether such systems do equilibrate .
this would be the most important issue to address , namely , identify the conditions , or lack thereof , for an @xmath0 coupled harmonic oscillators in a shared thermal bath to reach in time an _ equilibrium _ ( note different from _ thermal _ ) state .
we will show that indeed it exists . then in this equilibrium state
, we can discuss for this non - markovian system the energy balance and the fluctuation - dissipation relation .
we then advance towards the thermodynamics issues , beginning with a proof of the extensivity of the internal energy , the positivity of the heat capacity and finally , the behavior of the heat capacity as the temperature approaches to zero , pertaining to the issues of the third law .
the number @xmath0 of the system constituents can be arbitrary but can not be infinite , because when it is comparable with the number of degrees of freedom of the bath , 1 ) it may lose the character of a system in contradistinction to its environment , as the basic definition of open systems calls for .
2 ) the system and environment should in this situation be considered as two equal subsystems interacting with each other which has a very different dynamics from open systems , e.g. , recurrence ; more seriously 3 ) the system may never equilibrate because any oscillator will be continually perturbed by the non - markovian influences from its faraway counterparts all the time .
this will make the motion of the system impossible to settle down . even for a finite @xmath0
we exclude those arrangements where some of the oscillators are placed remotely from all others because such a setup can render the relaxation time unusually long . from these considerations
we assume the number @xmath0 is much smaller than the number of degree of freedom of the bath , and that the oscillators are all localized within a finite region . as a reminder
, this still does not exclude the possibility that when the non - markovian effects are sufficiently strong , albeit not enough to induce instability , the system can have an extraordinarily long relaxation time so as to behave almost like an undamped one . since analytical results for the @xmath0-oscillator system
are unavailable , we will provide a qualitative but general analysis based on the mathematical properties of positive matrices .
we start with two simpler topics by first examining the energy balance between the reduced system and the bath , and then the fluctuation - dissipation relation of the reduced system in the final equilibrium state .
we will save the discussion on the existence of this equilibrium state for the end .
we direct our attention now to the correlation function of @xmath243 and derive the corresponding fluctuation - dissipation relation when the reduced system reaches equilibrium . from , we find the correlation function , namely , the hadamard function of @xmath244 given by @xmath245 again @xmath246_{ij}=g_{h}^{(\phi)}(s - s',\mathbf{z}_{i}-\mathbf{z}_{j})$ ] .
it is not invariant in time translation so the intermediate state is not an equilibrium state .
if we choose the parameters of the configuration in such a way that no runaway solution is allowed , then @xmath70 exponentially decays with time .
thus in , those terms that are not inside integrals will be exponentially small at late times .
the double integrals in can be written as @xmath247 among which we have used the approximation @xmath248\notag\\ & = e^{-i\,\kappa t}\,\tilde{\mathbf{d}}_{2}^{*}(\kappa)+\mathcal{o}(e^{-\alpha t})\,,\end{aligned}\ ] ] with @xmath249 being some positive number to describe the generic decaying behavior of @xmath82 with time .
more details about the time dependence of @xmath82 will be given in sec .
[ s : ebrej ] .
thus we see the nonstationary components in @xmath250 becomes negligibly small as @xmath74 , @xmath251 .
we can then focus on the stationary component , @xmath252 where we have invoked the fluctuations - dissipation relation of the free ( stand - alone ) scalar field @xmath253 in , we notice that the integrand in fact is @xmath254 by the definition of the fourier integral , and thus we arrive at @xmath255 when the reduced system reaches equilibrium .
thus , from the derivation we see that the correlation function of the reduced system is not stationary in time during the nonequilibrium evolution , but dissipation causes the nonstationary component of the correlation to decay with time such that when the dynamics of the reduced system is relaxed , the correlation becomes stationary .
this reflects the presence of a final equilibrium state .
stationarity enables us to express the fluctuation - dissipation relation of the reduced system in the frequency domain , similar to that of the bath .
however , even though they appear deceptively similar in structure , they are utterly different in physical contents . essentially is based on the initial thermal state of the bath , while is established only because there exists a final equilibrium state , which by no means is necessarily a gibbs thermal state ; however it still inherits the information of the initial thermal state of the bath .
this is related to the fact the late - time statistics of the reduced system is governed by the bath .
a similar behavior is also observed for the case when a charged oscillator interacts with a quantized electromagnetic field , initially prepared in a squeezed vacuum @xcite .
the only difference is that the proportionality constant in the fluctuation - dissipation relation like takes a different form and depends on the squeeze parameters of the bath s initial squeezed vacuum state .
now we turn to the energy balance of the reduced system described by in the equilibrium state , @xmath256 where complexity arises from the frequency renormalization and the nonlocal causal influence among oscillators . in the single oscillator case ,
when equilibrium is reached , the net energy flow between the oscillator and the bath stops .
the energy flowing in from the noise force of the bath is counterbalanced by the energy flowing out of the oscillator due to the frictional force , as captured by the fluctuation - dissipation relation . in the multi - oscillator case , it is then interesting to ask whether only the same two factors are needed to balance the energy flow in the course of equilibration , or other mechanisms are also involved ?
if so , what are their roles in the fluctuation - dissipation relation ?
we will show that @xmath257 that is , the energy transfer mediated by the shared bath ceases after the motion of the reduced system reaches equilibrium .
we first rewrite the third term in as , @xmath258 where the second term on the righthand side vanishes for a scalar - field bath at late times , and we have introduced a new kernel function @xmath259 , @xmath260_{ii}=-\frac{d}{d\tau}\gamma^{(\phi)}(\tau)\,,&&\leftrightarrow&\tilde{g}_{r}^{(\phi)}(\omega,\mathbf{0})&=i\,\omega\,\tilde{\gamma}^{(\phi)}(\omega)\,.\end{aligned}\ ] ] in what follows we will calculate the power delivered to the ith oscillator in the equilibrium state .
each of the terms in gives a contribution with a distinct physical interpretation .
the first term on the righthand side of will be absorbed into the bare frequency @xmath41 to form the physical frequency @xmath99 @xmath261 the third term on the righthand side of thus represents the dissipative force whose mean power delivered to the @xmath50 oscillator is @xmath262 the mean power exerted by the noise force on the @xmath263 oscillator is @xmath264 finally the net power delivered by the other oscillators to the @xmath263 oscillator via the nonlocal causal influence transmitted by the field is given by @xmath265 these three contributions look very distinct in nature , but we will show that at late times after the system of oscillators relaxes , their sum vanishes .
let us rewrite in the limit @xmath266 , * @xmath267 : it is given by @xmath268_{ii}\notag\\ & = -e^{2}\int^{\infty}_{-\infty}\!\frac{d\kappa}{2\pi}\;\tilde{\gamma}^{(\phi)*}(\kappa)\,\kappa^{2}\bigl[\tilde{\mathbf{g}}_{h}^{(\chi)}(\kappa)\bigr]_{ii}\notag\\ & = i\,e^{2}\int^{\infty}_{-\infty}\!\frac{d\kappa}{2\pi}\;\kappa\,\operatorname{im}\bigl[\tilde{\mathbf{g}}_{r}^{(\phi)}(\kappa)\bigr]_{ii}\bigl[\tilde{\mathbf{g}}_{h}^{(\chi)}(\kappa)\bigr]_{ii}\ , , \end{aligned}\ ] ] where we have used several facts a. in general @xmath269 is not invariant with time translation unless @xmath74 , @xmath270 are sufficiently large .
that is , the non - stationary components will decay with time , so when @xmath74 , @xmath271 , we can write @xmath272 into @xmath273 .
[ e : kbfheer ] b. the real part of the fourier transform of a retarded green s function @xmath274 is an even function in @xmath275 , but the imaginary part is an odd function . c. @xmath276_{ii}=-\operatorname{im}\bigl[\tilde{g}_{r}^{(\phi)}(\kappa,\mathbf{0})\bigr]_{ii}$ ] . *
@xmath277 : it is given by @xmath278_{ij}\langle\xi_{i}(t)\xi_{j}(s)\rangle\notag\\ & = -i\,e^{2}\sum_{j}\int_{-\infty}^{\infty}\!\frac{d\kappa}{2\pi}\;\kappa\,\operatorname{im}\bigl[\tilde{\mathbf{g}}_{r}^{(\chi)}(\kappa)\bigr]_{ij}\bigl[\tilde{\mathbf{g}}_{h}^{(\phi)}(\kappa)\bigr]_{ij}\ , , \end{aligned}\ ] ] where we have made use of the fluctuation - dissipation relation for the reduced system .
* @xmath279 : it is given by @xmath280_{ij}\langle\chi_{j}(s)\dot{\chi}_{i}(t)\rangle\notag\\ & = i\,e^{2}\sum_{j\neq i}\int^{\infty}_{-\infty}\!\frac{d\kappa}{2\pi}\;\kappa\,\operatorname{im}\bigl[\tilde{\mathbf{g}}_{r}^{(\phi)}(\kappa)\bigr]_{ij}\bigl[\tilde{\mathbf{g}}_{h}^{(\chi)}(\kappa)\bigr]_{ij}\ , .
\end{aligned}\ ] ] we observe that unlike the one - oscillator case , @xmath281
so in the multi - oscillator case , the energy balance is more delicate . on the other hand ,
the contribution @xmath267 can be combined with @xmath279 to form @xmath282_{ij}\bigl[\tilde{\mathbf{g}}_{h}^{(\chi)}(\kappa)\bigr]_{ij}\,,\ ] ] which turns out to be the negative of @xmath277 .
we thus see in fact we should have @xmath283 if both of the fluctuation - dissipation relations @xmath284 hold .
. immediately implies .
here we see additional mechanisms are at play in the energy transfer between coupled oscillators .
the motion of any oscillator is , apart from direct coupling , causally affected by all the other oscillators via the shared bath .
these coherent and correlated contributions from the other oscillators , depending on their individual evolution history , do not necessarily induce a drag nor a push force on that very oscillator .
the net effects of the retarded influence are thus highly complicated , hinging on the distance between any two oscillators and their states of motion .
it is not obvious how they participate in balancing the energy flow between each system oscillator and the bath .
however , we have mentioned earlier that each oscillator , in addition to experiencing the disturbance from the noise of the bath locally , is also affected by the bath fluctuations at the locations of the other oscillators .
we can see that the correlations of the bath fluctuations will be passed on to the oscillators such that their motions are also correlated .
these correlated noises can be the counterparts of the causal influences , both of which are the off - diagonal elements in the fluctuation - dissipation relation of the bath , in the roles of either the fluctuation - dissipation relation or the energy balance of the system .
moreover once we observe that the retarded influence is in fact related to the linard - wiechert - type radiation of the scalar field as a consequence of the oscillators motion , it is clear that the damping force is of the same physical origin as the non - markovian causal influences .
thus grouping @xmath267 and @xmath279 together in becomes natural , and from that follows .
eq . says that even with the presence of non - markovian influences in the motion of the reduced system , the interaction of the system with the bath is such that when the system settles down in its equilibrium state , its total mechanical energy becomes constant in time .
hereafter the reduced system acts as a collection of coupled _ undamped _ oscillators , oscillating at the physical frequency @xmath99 , and can be completely described by the final equilibrium density matrix .
that is , the reduced system becomes self - contained and free from any further intervention from the bath .
this motivates us to assign the total mechanical energy as the internal energy of the system .
next we will discuss the extensive property of the internal energy of a system of @xmath0 coupled oscillators in a shared bath . before proceeding to the coupled system in a nonequilibrium configuration
, we first delineate the extensivity of the internal energy in the simpler equilibrium case .
formally , equilibrium thermodynamics is realized in the limit @xmath140 , whereby the matrix @xmath89 reduces to @xmath285^{-1}\to\frac{1}{m}\bigl [ \pmb{\omega}^{2}_{p}-\bigl(\omega+i\,\epsilon\bigr)^{2}\,\mathbf{i}\bigr]^{-1}\,,\ ] ] where in order to preserve the retarded property of @xmath286 , we have let @xmath287 with @xmath288 .
since the matrix @xmath289 is real and symmetrical , we may find a real orthogonal constant matrix @xmath290 , independent of @xmath99 and @xmath1 , to diagonalize it , that is , @xmath291 the matrix @xmath292 is real and diagonal and we have assumed that its diagonal elements remain positive definite , with the appropriate choice of @xmath99 and @xmath1 to avoid instability in motion .
thus we write as @xmath293^{-1}\cdot\mathbf{u}^{t}=\mathbf{u}\cdot\tilde{\pmb{\mathfrak{g}}}_{r,\,0}^{(\chi)}(\omega)\cdot\mathbf{u}^{t}\,,\end{aligned}\ ] ] with the diagonalized @xmath294 matrix given by @xmath295^{-1}\,.\ ] ] now since the symmetric matrices @xmath87 and @xmath296 are related to @xmath89 , according to and , we can write them into the diagonal forms as well with the help of @xmath290 , @xmath297 in which the diagonal matrices @xmath298 , @xmath299 are @xmath300 so far what we have done is equivalent to expressing the results in terms of the normal modes of the coupled oscillators when their interaction with the shared bath is almost nonexistent .
the matrices @xmath298 , @xmath299 are nothing but the position and velocity uncertainties of the normal - mode coordinates .
this decomposition implies that the mean mechanical energy in the equilibrium thermal state , due to the presence of the trace , is invariant under the orthogonal transformation acted by @xmath290 , @xmath301\cdot\mathbf{u}^{t}\bigr\}\notag\\ & = \frac{m}{2}\operatorname{tr}\,\bigl\{\mathbf{m}(\infty)+\mathbf{w}_{p}^{2}\cdot\mathbf{n}(\infty)\bigr\}\,.\label{e : bdfehrf}\end{aligned}\ ] ] the advantage of the form is that since every matrix in it is diagonal , can be literally and formally written as @xmath302 where @xmath303 is essentially the mechanical energy associated with each normal mode .
that is , the total mechanical energy is the sum of the mechanical energy of each normal mode .
thus when the interaction between the coupled oscillators and the shared bath is negligible , the mechanical / internal energy is extensive , at least with respect to the normal modes .
this is the limiting condition underlying conventional thermodynamics .
when the oscillator - bath interaction is not negligible , the green s function matrix @xmath89 of the oscillators contains the contribution from the retarded green s function matrix @xmath304 of the free scalar field , @xmath305^{-1}\,.\ ] ] since the values of the elements of the matrix @xmath304 depend on the locations of the coupled oscillators , @xmath306_{ij}(\omega)=\tilde{g}_{r}^{(\phi)}(\omega,\mathbf{z}_{i}-\mathbf{z}_{j})\,,\ ] ] the orthogonal matrix @xmath290 that can diagonalize @xmath96 in general can not diagonalize @xmath304 , because the latter two matrices do not commute in general unless the locations of the oscillators are especially arranged .
that is , in general the matrices @xmath307 are not diagonal , neither are @xmath298 and @xmath299 in this case . even though always holds , and it will give an impression that the total mechanical energy can still be expressed as a sum like , here @xmath308 does not enjoy the special significance of the mechanical energy of each normal mode for the full equation of motion @xmath309 this may be most easily understood if we apply the transformation @xmath290 to the coupled equations of motion , and it becomes @xmath310 where @xmath311 represents the coordinates of the normal modes of the coupled oscillators in the absence of the bath as is discussed earlier , but is not the normal modes of the coupled oscillators in the presence of the shared bath .
the off - diagonal elements @xmath312 will link up any given element in @xmath313 with all other elements .
therefore , from we arrive at some interesting conclusions . when the coupled oscillators interact with a shared bath , _
after the coupled system reaches equilibrium , the internal energy of the system oscillators becomes extensive _ ; however this extensivity is expressed by neither its original degrees of freedom nor the decoupled degrees of freedom .
instead , the extensive property of the system s internal energy is only manifested by a specified set of modes obtained from the orthogonal transformation that diagonalizes @xmath289 , as can be seen from eq . .
moreover , before the motion of the reduced system equilibrates , this special extensiveness property does not hold , as is implied by .
thus we are not able to discuss the extensive property of the system s internal energy during the nonequilibrium evolution of the reduced system , until the final equilibrium state of the reduced system is attained . in particular , this seemlingly mundane conclusion ,
together with , justifies or explicitly demonstrates , in the weak oscillator - bath coupling , why conventional thermodynamics ( at least for the system that constitutes coupled oscillators ) works , why we need only the density matrix of the system to describe the behaviors of the system , and why we need not be concerned with renormalization , relaxation , damping , bath noise .
now we would like to discuss the positivity of the heat capacity for a system of @xmath0 coupled oscillators in a shared bath in the context of nonequilibrium thermodynamics .
the positivity of heat capacity , the decaying behavior and the retarded nature of @xmath72 all hinge on the existence of the equilibrium state .
thus in this section , we will also address the conditions that a nonequilibrium system settles into an equilibrium state at late times .
given the internal energy when the system reaches equilibrium , we proceed to examine the positivity property of the heat capacity @xmath222 , given by @xmath314\cdot\tilde{\mathbf{d}}_{2}(\kappa)\bigr\}\,e^{-\frac{\lvert\kappa\rvert}{\lambda}}\,,\end{aligned}\ ] ] from and .
the damping factor @xmath315 , with @xmath132 , is necessary to regularize the integral .
if we consider only the case that there is no runaway solution in the motion of the system , such as with the inverted oscillator , then this requires that the matrix @xmath35 should be at least positive definite .
this allows us later to define a matrix that would be the square root of @xmath316 .
the imaginary part of @xmath210 can be written as @xmath317\cdot\tilde{\mathbf{d}}_{2}^{\dagger}(\kappa)\,.\ ] ] using we know that @xmath210 takes the form @xmath318^{-1}=\bigl[\pmb{\omega}_{p}^{2}-\kappa^{2}\mathbf{i}-i\,2\gamma\kappa\,\mathbf{i}-\frac{e^{2}}{m}\,\tilde{\slashed{\mathbf{g}}}_{r}^{(\phi)}(\kappa)\bigr]^{-1}\,,\ ] ] with the help of .
the matrix @xmath319 is @xmath274 with its diagonal elements removed , @xmath320_{ij}=\begin{cases } 0\,,&i = j\,,\vspace{6pt}\\ \bigl[\tilde{\mathbf{g}}_{r}^{(\phi)}(\kappa)\bigr]_{ij}\,,&i\neq j\ , .
\end{cases}\ ] ] the diagonal elements of @xmath274 account for the usual damping term and the frequency renormalization .
now we introduce the matrix @xmath321 by @xmath322^{\frac{1}{2}}\cdot\tilde{\mathbf{d}}_{2}(\kappa)\equiv\tilde{\mathbf{d}}_{2}(\kappa)\,,\ ] ] such that @xmath323\cdot\tilde{\mathbf{d}}_{2}(\kappa)\bigr\}&=\operatorname{tr}\,\bigl\{\tilde{\mathbf{d}}_{2}^{\vphantom{\dagger}}(\kappa)\cdot\bigl[2\gamma\kappa\,\mathbf{i}+\frac{e^{2}}{m}\,\operatorname{im}\tilde{\slashed{\mathbf{g}}}_{r}^{(\phi)}(\kappa)\bigr]\cdot\tilde{\mathbf{d}}_{2}^{\dagger}(\kappa)\bigr\}\notag\\ & = \operatorname{tr}\,\bigl\{\bigl[2\gamma\kappa\,\mathbf{i}+\frac{e^{2}}{m}\,\operatorname{im}\tilde{\slashed{\mathbf{g}}}_{r}^{(\phi)}(\kappa)\bigr]\cdot\tilde{\mathbf{d}}_{2}^{\dagger}(\kappa)\cdot\tilde{\mathbf{d}}_{2}^{\vphantom{\dagger}}(\kappa)\bigr\}\,,\end{aligned}\ ] ] where we have used the cyclic property of the matrix trace .
the product of the last pair of matrices is positive , so we would like to examine whether the matrix sandwiched by @xmath324 and @xmath325 in is positive as well . in general , it takes the form @xmath326 where @xmath327 .
here we assume that the choices of the parameters @xmath99 , @xmath1 and @xmath328 is such that the matrix @xmath329 is strictly diagonally dominant , that is , its elements satisfying @xmath330 at the first sight , this assumption looks pretentious ; however we observe that the strictly diagonally dominant matrix has a nice property of being positive definite @xcite .
that is , its eigenvalues are all positive .
thus this assumption , together with positive definiteness of @xmath35 , implies that the integrand in is always positive .
since the integral is well defined , we conclude the value of the heat capacity @xmath222 remains positive for all temperatures @xmath36 with one exception that @xmath223 . in that limit
the factor @xmath331 goes to zero , so it indicates that the heat capacity for the system of coupled oscillators will be zero at zero temperature ; otherwise it is always positive .
physically the assumption amounts to the existence of the effective damping constants for all modes of motion , and thus the motion of the system , described by @xmath332 reduces to that of a collection of coupled damped oscillators .
this can be read off from the denominator of @xmath210 .
suppose the real matrix @xmath329 can be diagonalized by the orthogonal matrix @xmath333 @xmath334 the matrix @xmath333 in general can not diagonalize @xmath35 unless @xmath35 commutes with @xmath329 , but it will transform @xmath35 to another symmetric , positive matrix , which we denote by @xmath335 .
the diagonal elements of @xmath335 describe the same physical frequencies @xmath99 of the transformed modes and the off - diagonal ones account for the coupling among them .
the mode - mode couplings are usually different among pairs of modes . explicitly
the denominator of @xmath210 is transformed to @xmath336 and the zeros of its determinant @xmath337 identify the eigen - modes of the motion of the system .
the signs of the imaginary part of the solutions to provide information about the stability of the motion .
if there exists a solution whose imaginary part is positive , then instability of the collective motion will occur .
. in fact corresponds to a simultaneous set of equations of motion that describes a system of coupled damped oscillators , @xmath338 thus the stability condition associated with is equivalent to whether the characteristic polynomial , when @xmath339 , is a ( strict ) hurwitz polynomial @xcite , whose zeros are all located on the left half of the complex @xmath270 plane . in other words ,
the motion described by is stable if the characteristic polynomial associated with the laplace transformation of the lefthand side of @xmath340 is hurwitz .
we observe that since all the elements in @xmath341 and @xmath335 are real , the coefficients in the @xmath342-degree polynomial @xmath343 are real .
this implies that the roots of @xmath343 will appear in a pair of complex conjugates .
thus in principle @xmath343 can be factorized as a product of the form @xmath344 thus if @xmath343 is a hurwitz polynomial , i.e. , @xmath345 , then its coefficients are all real and positive .
however , this gives a necessary condition of the hurwitz polynomial .
in general , a sufficient and necessary condition is provided by the routh - hurwitz stability criterion @xcite , which states that all principal minors of the hurwitz matrix associated with @xmath343 are positive . for a given polynomial @xmath346
its corresponding hurwitz matrix is a matrix of order @xmath347 , the @xmath50 row of which has the elements @xmath348 , @xmath349 , , @xmath350 , with @xmath351 if @xmath352 or @xmath353 .
this criterion becomes computationally cumbersome as @xmath347 grows , and it is very hard to establish an apparent connection between this criterion and the physically meaningful matrices @xmath341 and @xmath335 . for this reason we turn to finding arguments to directly relate the properties of the matrices @xmath341 and @xmath335 with the stability condition of motion described by .
these arguments , although mathematically less rigorous , are physically more transparent .
the idea is that solving the polynomial @xmath354 is equivalent to finding the eigenvalue @xmath270 of the system @xmath355 with the normalized column eigenvector @xmath356 , with @xmath357 .
or we can put in a form close to the conventional eigenvalue problem : @xmath358 with the matrix @xmath85 being constructed by @xmath359 where @xmath360 is a real cholesky decomposition of @xmath335 , i.e. , @xmath361 .
thus we can write @xcite @xmath362 we multiply from the left with @xmath363 , transforming the matrix expression to an ordinary quadratic equation of @xmath270 , @xmath364 so that @xmath365 since we have required that @xmath341 and @xmath335 are ( strictly ) positive definite , the variables @xmath366 and @xmath367 are also positive by construction .
this implies that @xmath368 thus the positive definiteness of @xmath341 and @xmath335 is sufficient to ensure the stability of the motion which in turn signals the existence of an equilibrium state .
in addition , the expressions in resemble those we have seen for the case of one oscillator interacting with a bath , where @xmath369{\omega_{p}^{2}-\gamma^{2}_{\vphantom{p}}}}$ ] is related to the resonance frequency . in summary ,
the requirement that @xmath341 and @xmath335 are positive matrices implies that @xmath370 is indeed a retarded green s function and @xmath324 does not have any pole along the real axis of @xmath220 and on the upper half of the complex @xmath220 plane .
therefore the integrand in is positive and bounded , so the heat capacity is positive and approaches zero as @xmath223 .
in addition it ensures the existence of the equilibrium state , which is needed a ) for the reduced system to have a meaningful fluctuation - dissipation relation , b ) to show the energy balance between the system and the bath , c ) to ensure the extensive nature of the internal energy of the system and finally d ) for the associated heat capacity to be positive definite in our framework of open system nonequilibrium dynamics approach to quantum thermodynamics .
here it is perhaps worthwhile to add some cautionary comments on the differences between an oscillator bath which has been used extensively in brownian motion studies , e.g. , @xcite and the scalar - field bath , which also has been used by many , e.g , @xcite .
as we shall show , with two or more system oscillators in the same spatial location , e.g. , in @xcite which is often assumed in the @xmath371-oscillator bath situation , there is a causality issue .
no such issues exist with system oscillators in spatially separate locations in a scalar - field bath .
recall how one proceeds from a harmonic oscillator representation to field theory .
consider the plane - wave expansion of a massless scalar quantum field @xmath372\,.\ ] ] the creation and annihilation operators @xmath373 , @xmath374 satisfy an equation of motion similar to that of the ladder operators for the quantum harmonic oscillators @xmath375 with @xmath376 .
in particular when @xmath377 , eq . and
together represent a collection of quantum harmonic oscillators .
the hamiltonian of the massless scalar field in the plane - wave expansion @xmath378\,\omega\,,\end{aligned}\ ] ] is to be compared to the hamiltonian of a collection of quantum harmonic oscillators , @xmath379\,\omega_{i}\,,\ ] ] where @xmath40 is the mass and @xmath380 is the displacement of @xmath381 oscillator , whose natural frequency is given by @xmath382 .
the parameter @xmath383 is some fundamental mode frequency .
the ladder operators @xmath384 , @xmath385 in the latter case are defined by @xmath386 where @xmath387 is the canonical momentum conjugate to @xmath380 . for this and other reasons
most people would not make a distinction between two bath models .
e.g. , this is so if one does not ask where each of the system oscillators is located .
if they are stacked up at one particular spatial location or when the dipole approximation @xmath388 is applicable , then there is no difference whether the bath is described by a bunch of oscillators or a massless quantum scalar field , since one can arbitrarily shift the location of the system such that @xmath389 .
however , there are still fundamental differences between these two models .
in quantum field theory , the creation and annihilation operators @xmath390 , @xmath391 depend on the mode functions we use to expand the quantum field . in the plane wave expansion case
, the mode function takes a simple form @xmath392 so the vacuum annihilated by the corresponding @xmath390 and the associated number states have a definite three - momentum @xmath393 .
thus , even merely using the uncertainty principle argument , one can see that these quanta are highly nonlocalized , distributed over the whole configuration space .
by contrast for harmonic oscillators , the ground state and the excited states of each bath oscillator are essentially confined by the corresponding harmonic potential @xmath394 .
thus the higher the value of the natural frequency @xmath395 is , the more localized the corresponding mode .
the difference between a field and a collection of harmonic oscillators shows up , for example , when there is a spatial boundary present . the boundary will modify the mode functions of the field and alter the two - point functions of the bath to recognize the effects of the boundary .
it is not obvious how this boundary - induced spatial dependence can be naturally implemented in the bath - oscillator model .
additional complexity emerges when the system contains more than one oscillator which are spatially separated from one another , since the @xmath371-oscillator bath model does not have the dynamical degrees of freedom to register the locations of the spatially - separated constituent oscillators in the system unless extra input of the spatial information of the system constituents and how it enters in their interaction with the bath is provided .
more often than not , one simply ignore the spatial distances between the system constituents by assuming that this separation is so small that we can essentially view them as being situated at the same spatial location or by taking the dipole approximation .
this creates a causality problem . for relativistic quantum fields , the influence of an object at one spacetime point on another object at another spacetime point is effected by the former s imprint on the field , which propagates causally to the latter when it begins to exert its influence .
the dynamics of the latter will in turn trigger a new disturbance , on top of the previous one it received , in the field , which propagates at finite time and exerts its influence on the motion of all the other components .
this field - induced interaction among the spatially separated components of the system depends on the history of its constituents and is thus fundamentally non - markovian in nature ( see , the plots in e.g. , @xcite ) .
notably this causal propagation feature is mostly lacking in the oscillator - bath mode if the spatial information of the system constituents is not properly accounted for . the field - bath model being relativistic
naturally incorporates the spatial correlation and respects the causality .
as a preamble we bring up the rather special conditions whereupon the foundation of thermodynamics is laid , from an open system perspective : a small open system interacting with a vast environment ( whose thermal properties can be captured by a few physical parameters , its temperature , chemical potential ) , it is in the limit of vanishing coupling between them , only when the system can equilibrate and thermalize at late times , that thermodynamics makes sense .
these considerations can be extended to nonequilibrium conditions but not for far from equilibrium , fully arbitrary time evolutions .
we mentioned the important differences in the setups for treating quantum thermodynamics ( qtd ) , namely , between level 1 assuming the closed system ( comprising the system and its environment ) remains in a global thermal state ( which we call cgts ) and level 2 an open system approaching equilibrium at late times ( we call it oneq ) , which is the preferred approach we adopt for the discussion of lvel 0 .
the centroid of this paper is a detailed model study , that of a system of @xmath0 coupled , spatially separated quantum oscillators interacting with a common scalar quantum field bath at finite temperature , where the existence of exact solutions can provide unambiguous quantification of physical variables , thermodynamic relations and help to clarify many basic issues in qtd .
the set of issues we addressed include : \1 ) equilibrium state at late times : let the system initially be prepared in a state that is not in thermal equilibrium with the shared bath , it has been known that if the coupling between the system and the bath is vanishingly weak , the reduced system will equilibrate at late times .
this is the pre - condition for talking about its thermodynamic behavior .
the new challenge is whether the system will equilibrate for strong coupling .
this point has been emphasized in e.g. @xcite who used the quantum brownian motion model where the system consists of @xmath0 quantum harmonic oscillators and the environment is an infinite - oscillator bath .
\2 ) equilibration , not thermalization : the strong coupling regime poses new challenges : allowing the coupling between the system oscillators and the interaction between the system and the bath to be strong , and assuming that the dynamics of the system remains stable , the first and foremost statement is that due to non - weak system - bath interaction , this final state ( of the system ) is not described by a density matrix of the gibbs form with respect to the system hamiltonian . therefore one should refrain from using the word thermalization to describe the end result , and note that conventional thermodynamics need not apply .
the tough question is , _ when will td remain a viable theory for this equilibrated strongly coupled system_.
\3 ) environment - induced non - markovian inter - oscillator interaction : the newer challenge which we need to take on here is to show equilibration for a system of strongly coupled @xmath0 quantum oscillators _ at finite spatial separation _ and strongly interacting with an environment composed of a quantum scalar field .
the case of @xmath0 oscillators in the same spatial location is easier to prove because one needs not worry about the field - induced non - markovian effects .
however , beware of the pathology of even two oscillators stacked up at the same spatial location , as described in sec .
[ s : rbjdhe ] .
the added complication is due to the non - markovian nature of the induced interaction discovered in @xcite amongst the system oscillators ( or qubits ) mediated by the field environment .
this issue has not been dealt with in this context before , as far as we know .
\4 ) the existence of an equilibrated state for the case of two coupled oscillators has been demonstrated .
the conditions for @xmath0 oscillators are discussed in sec .
[ s : jkjdf ] .
we argue that certain positive - definiteness requirements must be satisfied to the effect that the effective damping constants of the oscillators stay positive and the effective oscillator frequencies remain real .
\5 ) with the assurance of an equilibrated state , many nice properties follow .
specifically , the extensivity of the internal energy and the positivity of the heat capacity .
the absence of such a state for open quantum systems severs the linkage to thermodynamics .
qtd in the form described here does not exist for these systems .
\1 ) the internal energy for certain strongly bounded systems may not be straighforwards to define ( e.g. , the presence of self energy as when gravity is involved ) but fortunately not so in the model we studied : it is the sum of the kinetic energy of each oscillator , the harmonic potential energy , and their coupling energy .
heat capacity is the derivative of the internal energy with respect to the bath temperature .
\2 ) we examine the third law from the behavior of the heat capacity at low and zero temperatures .
we are concerned with a ) low temperature behavior , b ) the positivity and c ) the extensivity of heat capacity .
\3 ) the internal energy and the heat capacity for a system consisting of only one harmonic oscillator have been derived before in the cgts setup @xcite .
they are derived here in an open quantum system oneq setup , which in the epoch after equilibration , can be compared , in the weak osc - bath coupling limit , with the quantities derived in the cgts and in the conventional thermodynamics .
they all agree with each other .
\4 ) complexity arises when the system has more than one constituent .
the bath - induced non - markovian effects can not be properly described in conventional thermodynamics .
this also brings in question the validity of energy extensivity because the system constituents are not only directly coupled ( which is easy to deal with by normal mode separation ) but are indirectly coupled or intertwined in a non - markovian way by the induced interaction through their common environment .
\5 ) with the proven existence of an equilibrated state for @xmath0 spatially separated but mutually coupled system oscillators we have shown that even a strongly coupled system can still have asymptotic extensivity of the internal energy , and the heat capacity remains positive as long as the motion is stable .
\6 ) to compare results calculated in the three different levels , cgts , oneq and conventional thermodynamics , we need to beware of their respective regimes of validity and identify their common denominators , e.g. , the common physical quantities and the states they are in .
we work here with an open system oneq set up , namely , we allow the system to evolve from a nonequilibrium initial state to a final equilibrium state .
if the system thermalizes then the results obtained in the oneq setup can be compared to results in conventional thermodynamics , as we did . since the reduced density matrix of the oneq after equilibration and that of the system in the cgts setups
are the same @xcite , the results from these two setups can be compared using this quantity .
for the same system we have studied here there are claims of negative heat capacity in variance to our findings .
e.g. , the author of @xcite working with a global thermal state cgts setup claims that the heat capacity of the system of multiple quantum harmonic oscillators can be negative at low temperatures for 1 ) stronger system - bath interaction , or 2 ) smaller number of system constituents .
however , we have demonstrated under rather general conditions that after the system reaches equilibration , the heat capacity of the system is always positive and approaches zero , for the full range of system - bath interaction strength .
thus the third law , from the aspect of low - temperature behavior of the heat capacity of the system , is not violated .
our findings of the extensivity of the energy and the positivity of heat capacity for @xmath0 coupled oscillator system should hold in all three levels of inquiry . in ref .
@xcite wieniak _
_ have shown that the low - temperature behavior of the specific heat can reveal the presence of entanglement in bulk bodies in the thermodynamical equilibrium " .
they drew this conclusion by showing that the heat capacity is an entanglement witness for some spin models .
this involves finding a lower bound on heat capacity that can be achieved by separable states of the system .
the third law requires the heat capacity to approach zero asymptotically with the temperature .
this means that at low enough temperatures the behavior of heat capacity is not compatible with separable states , and is thus an indicator of entanglement .
here we find that specific heat is not a reliable indicator of entanglement for our model .
we see no requirement that the zero temperature state is always entangled . for vanishingly weak coupling to the bath the system relaxes to its ground state at zero temperature , which is entangled due to the coupling among system oscillators .
however , for strong system - bath coupling the system relaxes to a mixed state at zero temperature ( the equilibrium state ) and the entanglement among system oscillators can vanish . in this state
the system oscillators get entangled with the bath oscillators , which in turn can undermine the entanglement among system oscillators .
this can be understood as a consequence of the monogamy of entanglement . at the same ,
we have shown that the third law is valid for our model in all parameter regimes .
there is no connection between the third law and entanglement . moreover , even in the models / parameter regimes in which this connection exist , we do not interpret this observation as the third law relying on quantum entanglement .
the third law stands . the claim that the third law implies the existence of entanglement
could well be affected by the use of entanglement witness as a criterion . [
[ relation - with - global - thermal - state - formulation - sequel - on - heat - energy - and - entropy ] ] relation with global thermal state formulation , sequel on heat , energy and entropy ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [ [ relation - to - global - thermal - state - formulation - seiferts - systematics - of - energy - heat - and - entropy - for - quantum - systems ] ] relation to global thermal state formulation : seifert s systematics of energy heat and entropy for quantum systems ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ much work on qtd has been done under the closed system in a global thermal state ( cgts ) set up .
it would be useful to find a link between it and our open system nonequilibrium ( oneq ) approach .
we have carried out a first step towards this goal .
we focused on seifert s rendition of energy and entropy for classical thermodynamics @xcite in a closed system global thermal state ( cgts ) set up . in a companion paper
we have generalized his results for the thermodynamics of classical systems to quantum systems .
this will enable us to use his systematics for discussing the first and second laws for quantum systems .
the diversity of how thermodynamic functions are defined is both a resource of adaptivity and at times a source of confusion . to show how the thermodynamic functions are used and how they enter into the td relations , in this same companion paper we studied the approach of gelin and thoss @xcite who also work in the cgts setup but adopt a different set of thermodynamics functions from seifert s .
consulting seifert s systematics and allowing for varying thermodynamic functions we hope to construct more links between our open systems oneq formulation and the prevailing cgts formulations of quantum thermodynamics .
the issues of heat , entropy and entanglement in strongly coupled open quantum systems will be the center of attention in our second paper .
notice the subtle yet important difference between energy and heat . in this paper
we have focused on the internal energy and heat capacity of the system , but not heat , which is the energy transfer between the system and the environment .
this is because heat transfer as energy change contains ambiguities in an open system context .
for example esposito _
et al _ @xcite found that any heat definition expressed as an energy change in the reservoir energy plus any fraction of the system - reservoir interaction is not an exact differential when evaluated along reversible isothermal transformations , except when that fraction is zero . even in that latter case
the reversible heat divided by temperature , namely entropy , does not satisfy the third law of thermodynamics and diverges in the low temperature limit .
we also have reservations in some claims of violation of the second law for quantum systems @xcite .
for example if one uses the clausius inequality representation for the second law , we know it is only valid for classical systems at high temperatures .
one needs to scrutinize the different definitions of entropy for strongly coupled quantum systems to make sure they are physically sound in the quantum regimes ( such as at low temperatures ) , including possible non - markovian behaviors , before adopting them to address foundational issues . the relevant issues ranging from quantum correlations , entanglement , information to entropy production and heat can be sampled in these references of the last 15 years @xcite , which span the scope of our sequel studies using the paradigm established in this paper .
e.g. , k. sekimoto , `` langevin equation and thermodynamics '' , prog .
130 * , 17 ( 1998 ) ; u. seifert , `` stochastic thermodynamics , principles and perspectives '' , eur .
j. b , * 64 * , 423 ( 2008 ) ; `` stochastic thermodynamics , fluctuation theorems and molecular machines '' , rep . prog .
phys , * 75 * , 126001 ( 2012 ) ; c. g. bulnes , a. engel and m. esposito , `` stochastic thermodynamics of rapidly driven quantum systems '' , new j. phys .
* 17 * , 055002 ( 2015 ) ; c. van den broeck , s
sasa and u. seifert ( eds ) , focus issue on stochastic thermodynamics , new j. phys .
* 18 * , 020401 ( 2016 ) . b. l. hu , j. p. paz , and y. zhang , `` quantum brownian motion in a general environment : exact master equation with nonlocal dissipation and colored noise '' , phys .
d * 45 * , 2843 ( 1992 ) ; `` quantum brownian motion in a general environment .
nonlinear coupling and perturbative approach '' , * 47 * , 1576 ( 1993 ) .
e.g. , a. e. allahverdyan and t. m. nieuwenhuizen , `` extraction of work from a single thermal bath in the quantum regime '' , phys . rev .
lett . * 85 * , 1799 ( 2000 ) ; g. w. ford and r. f. oconnell , `` a quantum violation of the second law ? '' , phys .
lett . * 96 * , 020402 ( 2006 ) ; s. deffner and e. lutz , `` generalized clausius inequality for nonequilibrium quantum processes '' , phys . rev . lett . * 105 * , 170402 ( 2010 ) .
m. carrega , p. solinas , a. braggio , m. sassetti and u. weiss , `` functional integral approach to time - dependent heat exchange in open quantum systems : general method and applications '' new j. phys .
* 17 * , 045030 ( 2015 ) .
f. rohrlich , `` classical charged particles '' ( addison - wesley , reading , mass . , 1965 ) ;
a. d. yaghjian , `` relativistic dynamics of a charged sphere - updating the lorentz - abraham model '' , lecture notes in physics , vol .
686 , ( springer - verlag , new york , 2006 ) . c. hrhammer and h. bttner , `` thermodynamics of quantum brownian motion with internal degrees of freedom : the role of entanglement in the strong - coupling quantum regime '' , j. phys .
a * 38 * , 7325 ( 2005 ) . | arxiv |
Franca Fiacconi born 4 October 1965 in Rome is a marathon runner from Italy.
Biography
Fiacconi won the 1998 New York City Marathon, after finishing second in 1996 and third in 1997. She also won the 2001 Enschede Marathon. She placed fourth in the women's marathon at the 1998 European Championships and won the silver medal at the 1993 Summer Universiade.
Fiacconi won the Turin Marathon in 1996 and 1998, also taking the Italian national title in the latter edition.
Achievements
All results regarding marathon, unless stated otherwise
Personal bests
10,000 metres - 36:02.5 - Roma - 10/04/1993
Half marathon - 1:12:37 - Uster - 27/09/1998
30 kilometres - 1:44:08 - Osaka - 28/01/2001
Marathon - 2:25:17 - New York City - 01/11/1998
See also
Italian all-time lists - Marathon
References
External links
Category:1965 births
Category:Living people
Category:Italian female long-distance runners
Category:Italian female marathon runners
Category:Sportspeople from Rome
Category:New York City Marathon female winners
Category:European Athletics Championships medalists
Category:Universiade medalists in athletics track and field
Category:Universiade silver medalists for Italy | wikipedia |
Ranma Así somos
**Todos los personajes de Ranma 1/2 incluídos en esta historia pertenecen a Rumiko Takahashi. **
**Hago esto sin ánimo de lucro.**
**Así somos.**
Era una tarde tranquila en Nerima, sobretodo en la casa de la familia Tendo, pues todos habían salido, a excepción de los prometidos más famosos de la ciudad. Pero esta tarde no era una común, era diferente…
– ¿En que piensas Akane?
– En todo y en nada…
– ¿A que te refieres? – cuestionó Ranma.
– Bueno… las cosas han ido demasiado rápido ¿no crees?
– Mmm… sí, un poco. Pero lo que importa es que estamos juntos ¿o no?
Akane tardó un poco en contestar, pensando en su respuesta y en los acontecimientos suscitados. Unos minutos antes, estaban en el dojo entrenando, en un mal movimiento ambos cayeron al piso y todo se salió de control, dejándose llevar por lo que su corazón les decía, a tal grado que ella y Ranma se encontraban en su habitación, apenas cubiertos por las sábanas de la cama.
– Sí, creo que tienes razón, aunque en realidad nuestra relación ha ido muy lenta durante todos estos años y que de repente estemos, eh… así – un tono carmesí se instaló en sus mejillas. – No sé es un poco extraño. No pensé que avanzaríamos taaan rápido. – finalizó viendo fijamente al techo, intentando evitar la mirada de su prometido.
– Es cierto… pero ¿no te arrepientes verdad? – preguntó el chico, temeroso de su respuesta.
– Creo que no… – el techo parecía tener algo interesante – ¿Y tú?
– N...no – balbuceó el ojiazul, a él le parecía más interesante la pared que estaba a su lado.
Después de unos minutos de silencio…
– Aunque… tengo una duda – indicó la menor de los Tendo.
– ¿Y cuál es?
– Aún no sé como es que te soporto Saotome. – dijo socarronamente, mientras lo besaba en la mejilla. Ranma rió y su lado engreído salió a flote.
– Lo que pasa es que no puedes resistirte a mis encantos – explicó con una sonrisa egocéntrica en los labios.
Akane le sacó la lengua – Sí claro, no podría esperar de ti una respuesta menos vanidosa.
– Aquí la gran pregunta más bien sería… ¿cómo es que yo me fijé en un marimacho como tú? Digo, eres patosa, no sabes cocinar, eres torpe, gruñona, celosa…
Enumeraba con los dedos cada una de las "cualidades" de su prometida, cuando un golpe con la almohada le fue asestado justo en la cara.
– ¿Ya empezamos? – gruñó Akane con el ceño fruncido y una ligera aura azul rodeándola. Almohada en mano.
– ¿Lo ves? Eres una gruñona – se burló el chico de la trenza.
La peli-azul al escuchar lo último, se incorporó sentándose y le dio la espalda cruzando los brazos, sin percatarse que la sábana ya no cubría gran parte de su anatomía.
– Pues si tanto te desagrado puedes irte con Shampoo o Ukyo que seguro te apetecen más de compañía. – bufó molesta.
Ranma no pudo evitar sonrojarse al ver la espalda desnuda de la chica. Era tonto, pues sólo unos minutos antes había visto más que su espalda. Dejando de lado esos pensamientos, se incorporó también y la abrazó desde atrás.
– No seas tonta. Sabes que te digo esas cosas sólo para molestarte. Si de verdad quisiera estar con alguien más, ¿crees que estaría aquí contigo… en estas condiciones? – dijo lo último susurrando cerca del oído de la joven, provocando en ésta un estremecimiento.
– Bueno, si sabes que me molesta, ¿por qué me lo dices? – preguntó Akane, girando su cuello para encontrarse con dos pupilas azules que la miraban intensamente, haciendo que el rojo volviera a sus pómulos.
– Pues… no lo sé, es mi forma de acercarme a ti, supongo. Pienso que sería muy aburrido sino peleáramos ¿no lo crees? – se recostó nuevamente sobre el colchón con los brazos debajo de la nuca. Akane se acomodó junto a él.
– Puede ser… – la chica se quedó pensativa unos instantes – Sí, es divertido mandarte a volar – dejó escapar una leve risita. Ranma fingió reír mostrando su descontento. Akane le sacó la lengua.
– Sí, muy graciosa… – contestó haciendo una mueca. – Pero aún así… no sé, siento que de algún modo el que me trates así, significa que te importo, porque eres diferente conmigo. No como las otras chicas, que aún cuando yo hago algo mal, no me reprochan, en cambio tú te enfadas conmigo y me haces ver mi error.
– ¿Entonces… te gusta que te pegue o te insulte? – La joven rió – ¡Pareces masoquista Ranma!
– ¡Por supuesto que no! – Se defendió él – claro que no me gusta, sólo trato de decir que te importo lo bastante, como para que me trates diferente o te enojes conmigo. No sé cómo explicarlo. Pero obviamente me gusta más cuando me sonríes o cuando hablamos, o cuando… me besas – a este punto ya estaba bastante rojo.
– ¡Oh! Nunca pensé escuchar eso de ti. Eso quiere decir, ¿que también, cuando tú me insultas es porque te importo?
– Sí, algo así…
– Pues…vaya forma de llevarnos ¿no? – expresó Akane.
– Siempre ha sido igual, desde que nos conocemos. Así somos, y no creo que cambiemos, tampoco quiero que lo hagamos, me gusta así – habló con sinceridad Ranma.
– Sí… creo que a mi también me gusta. – señaló la joven y se abrazó a su amado tormento, recostando su cabeza en el pecho del chico. Él la aferró por la cintura, pegándola más a su cuerpo.
Se quedaron un tiempo así, abrazados, disfrutando del calor y cercanía del otro. Viviendo del momento. De pronto un ruido los alertó, rápidamente se incorporaron. Se escuchaban pasos en la entrada.
– ¡Estamos en casa! – exclamó Kasumi, mientras subía las escaleras.
Ranma y Akane se dieron una fugaz mirada, dándose a entender mutuamente que si los pillaban, habría boda pronto. Rápidamente el artista marcial recogió su ropa regada por el piso y salió por la ventana. La menor de los Tendo, se puso la camisa de su pijama y fingió estar dormida, para cuando su hermana abrió la puerta, todo estaba en orden.
– ¿Akane estás dormida? – preguntó su hermana mayor. Akane simuló un bostezo.
– No Kasumi, ya estaba despertándome.
– Bien, porque trajimos albóndigas de pulpo para la cena, sólo falta que tú y Ranma bajen. ¿Por cierto, dónde está Ranma?
– Supongo que en su habitación – contestó Akane fingiendo indiferencia.
– ¿Podrías avisarle? Voy a poner la mesa. – Kasumi salió de la habitación, antes de que Akane pudiera responderle.
Después de vestirse, la joven se dirigió a la habitación de su prometido. Al abrir la puerta, se encontró con que éste "estaba durmiendo".
– Despierta dormilón – bromeó. – Ya no hay de que preocuparse. – Ranma se quitó la sábana de encima y soltó un suspiro de alivio.
– Anda vamos, que nos esperan para cenar. Compraron albóndigas de pulpo.
– ¡¿En serio?! – A Ranma le brillaron los ojos – ¡Con el hambre que tengo! – y bajó corriendo las escaleras. Akane sonrió, nunca cambiaría.
Después de la cena, aún todos reunidos en la mesa, Nabiki preguntó mordazmente a la pareja.
– ¿Y cómo se la pasaron solos? ¿Hicieron algo interesante?
Ambos chicos se sonrojaron al instante y bajaron la cabeza.
– Pues… ¿qué podría hacer de interesante yo con un marimacho como Akane? – se excusó Ranma para que no sospecharan. Akane se tomó el comentario en serio, aunque después se dio cuenta de la situación y le siguió la corriente.
– ¡Pues yo tampoco se que haría con un fenómeno y un pervertido como tú! – le espetó a su prometido.
– ¡¿Fenómeno?! Al menos yo no soy tan torpe como tú.
– ¡Ah! ¡Te odio Ranma! – se levantó y subió las escaleras corriendo.
– ¡Que insoportable! – y Ranma también se fue por donde se había ido la chica.
Nabiki miraba divertida la escena, mientras su padre lloraba.
– ¿Cuándo será el día en que esos dos se lleven mejor? – decía entre sollozos.
– Más pronto de lo que piensas papá. – A Nabiki no se le escapa una.
Cuando Ranma subió, Akane lo esperaba en el pasillo. Se sonrieron divertidos.
– ¿Con que marimacho no? – dijo la joven acercándose a su prometido y rodeando con sus brazos el cuello de él.
– ¿Y tú me odias, verdad? – preguntó el chico, tomándola a ella por la cintura.
– Un poquito… pero así somos. – le susurró Akane. Él sólo sonrió y la besó tiernamente.
--
**Notas:**
¡Hola a todos! Aquí estoy con mi primer oneshot, mientras espero a que me llegue la inspiración para mi otro fic. Fue algo que se me ocurrió de repente y tal vez les parezca extraña la idea, intenté conservar la esencia de los personajes, aún cuando ya han avanzado hasta cierto tipo de intimidad, pues si fueran exactamente los mismos de la serie, nunca ocurriría nada. Igual me gustó el resultado y pues aquí esta.
Ya saben... me gustaría mucho conocer su opinión, así que no sean malitos y dejen su review con comentarios, felicitaciones, tomatasos, lo que ustedes piensen. No les cuesta mas que cinco minutos para hacer feliz a esta autora.
¡Saludos!
Nos vemos en mi otro fic.
**Marii-san**
End file.
| fanfiction |
On July 21, 2016, Jiefu group subsidiary in shenzhen east peak mining co., LTD and its subsidiary in guizhou guizhou metals and minerals import and export co., LTD., dongguan Jiefu retardant materials co., LTD., dushan antimony industry co., LTD. Companies such as single peak years meeting was held in lianjiang li wave hotel.
The meeting shall be presided over by Jiefu Zhang Honghang group human resources management center director, chairman of the board of directors of the company and President Xie Jianlong yong-qiang xu, director of investment, financial center director hai-hua li, assistant general manager of the information center Shi Changjiang, east peak mining GuYuSheng, guizhou Zhao Xia minmetals' general manager, general manager, general manager of dongguan Jiefu Lv Fanghui leading companies such as executives attended the meeting.
The meeting by Jeff group chairman Xie Jianlong delivering, the theme of this year to do clear instructions, request meeting to brief show company's achievements, find out the weakness and the daily management work, to take a practical and effective measures and methods to solve the problem, and make the meeting resolution in the meeting, improve the meeting time.
To attend each company general manager and each business unit manager seriously summed up the achievements of the first half of 2016 and the problems existing in the work, the participants of cultivating speak freely, put forward the concrete measures and methods to solve the problem, the decision-making, deployment tracking implement, improve execution.
The meeting showed, cultivating the new scene of on-the-spot decisions, not only exists in the process of daily management of marketing, technology, production and daily management, team building and other issues specific solutions and ideas are given, and the company to solve especially the peak in the development of cable layout and development of the whole industry chain, improve, improve, make the whole management team in the company's development on some new promotion and know, and the implementation of the resolution on the meeting made a specific deployment.
The conference in all forum and organization staff fully prepared, the meeting has obtained the expected effect. | slim_pajama |
Define, (actually define) the "stability" and "energy" of a compound
When we say a conformer or compound is of "higher energy" than another, are we quantifying energy in terms of the bond strength? Or are we going off of how much energy it takes to break the bond? I don't think we can just assign energies to each compound... so what is this based off of?
One might answer that its based off of stability. Well, what is "Stability?" Is it how rigid/strong the bonds are? Is it how reactive the compound is?
Often times i find myself reading explanations with circular language on this topic. *A higher energy conformer means lower stability* or *A stable compound is one that has low energy*. I'm finding these definitions to be crazy ambiguous, and don't thoroughly define what these are.
If someone can clearly explain this in terms that a first year undergraduate student can understand, you have earned my gratitude.
As a chemist, I would agree that textbooks are not clear about the term stability and energy. It is not your fault and undergraduate organic chemistry books make the situation worse. I cannot recall the text, it was an old book, however it clearly said that stability of a compound does not mean anything. We should always ask, stability with respect to what? Are we talking about thermodynamic stability or kinetic stability? For example H2+O2 mixture is not stable. This statement is meaningless because we are not saying stability with respect to what? This mixture should form water right away but people actually waited for 30 years and did not find much water in a mixture of H2 and O2. Thermodynamically, this mixture is not stable and it will react violently once you provide the right activation energy. When you are reading about stability, ask this question yourself.
In the same vein, the term energy should also be clarified by authors. As a crude analogy is that you can think of energy as the potential energy of the whole molecule when the authors talk about conformers. Have a overall picture of the molecule. Imagine two springs, A) one which is less stretched and the other one (B) is more stretched. You can say spring B has more (potential) energy than (A). An eclipsed conformer has higher potential energy (overall, no need to think locally) than a staggered one.
Finding minimums: a general view
--------------------------------
When minimizing energy you are searching (using numerical methods) for the minimum of Potential Energy). You are at the minimum when the derivative(Jacobian) is equal to zero. However, there are a couple unstable places that also have a derivative of zero, namely saddle points and maximums (top of a circle). We are after the minimum (bottom of a circle).
Think of a pendulum. It has two spots where the derivative is zero... when it is all the way up, and all the way down, but only when it is in the all the way down position is it stable. When the Hessian (second derivative) is positive definite, you are at the "bottom of the pendulum swing" and at a minimum. Pendulum up the derivative is zero, but this is a maximum.
There is also the problem that often in energy landscapes it looks like a rollercoaster... At a commenters request, a better image (taken from wikipedia, source in image description)
[![AimNature [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0)]](https://i.stack.imgur.com/j4Wqj.png)](https://i.stack.imgur.com/j4Wqj.png)
We need to find not just the a minimum that has a derivative of zero,but the lowest of all minimums present. This is a real tough problem since numerical solvers stop once the derivative is zero. They don't know there are other minimums. There are methods to try to get around this, but it is a very active area of research and a huge prize awaits whoever can guarantee a global minimum is found.
A thought on energy
-------------------
What is this energy we are minimizing? We are minimizing the energy compared to a reference point. Everything is always with respect to a reference point.
I am not a chemist, and I don't know much Quantum mechanics but I will try to give a chemistry answer...This is my impression of what is done in the scenario you are asking about. I perform minimizations on Free Energy, but that is related but not quite what you are after. In Quantum mechanics the reference point is when all nuclei and valence electrons are infinitely apart. Another common reference point in chemistry, physics and engineering is the ideal gas, which is when all molecules are infinitely apart from each other but atoms (and electrons) are still bonded to each other.
Given a reference point which we define to have "zero" energy, for each conformer we would calculate the energy to form all of the covalent bonds in the molecule, which is to say, calculate the energy to pull the valence electrons and nuclei in from infinitely far apart and put them in the exact geometry you want. Do this for many geometries. The one that took the lowest energy to form will be the stablest of the ones you tried (There may be others you did not try though! you may be in the wrong loop of the rollercoaster still). It takes different amounts of work to put two nuclei different distances apart etc. In practice, QM programs do all of this for us, and they are getting quite fast but it can still take a very long time. It is a hard thing to calculate.
Bond Energies
-------------
Generally in molecular mechanics bond energies are calculated using the harmonic spring approximation (hookes law), however the below image shows the QM calculated energies.
[](https://i.stack.imgur.com/0x3LF.png)
Angle Energies
--------------
Here is an image from the simualtion software Espresso's [website](http://espressomd.org/html/doc/inter_bonded.html) which shows that the energy required to bend an angle is closely approximated by a quadratic function
[](https://i.stack.imgur.com/bebPI.png)
Torsional Energies
------------------
Torsional energies are more complicated than the bond and angle potential energies because a torsional angle needs to be able to be turned 360 degrees and be back where it started. Here is the energy for different conformers as the geometry of the torsion angle is turned. Because of the different geometries, the nuclei and electrons are different distances apart from each other, and it takes a different amount of work (energy) to move them from infinitely far apart to each of those geometries. The image is from [here](http://www.chem.wisc.edu/content/conformations-alkanes).
[](https://i.stack.imgur.com/aEUnm.png)
Force-Fields
------------
In molecular mechanics we use functions (called force-fields) to approximate the above potential energy contributions. Here is a general set of the equations used. You can find the minimum of energy by changing bond lengths/angles/torsion parameters for a single molecule, and after each change, calculating the energy. The geometry with the lowest energy is the most stable because molecules, like people, always take the path of least resistance. I have copied the equations as an image from [here](https://www.ks.uiuc.edu/Training/Workshop/Boston/emad_lecture/ET-ClassicalForcedfields-light.pdf)
[](https://i.stack.imgur.com/mamoa.png)
The answer is complicated because there are different kinds of stability and when we talk about energy, we also can mean different kinds of energy.
When we speak of energy, we generally refer to a free energy. Your normal laboratory setup is an open-air, constant-pressure system, so we use Gibbs free energy. If you were working with bomb calorimeters, you'd want to use Helmholtz free energy for constant-volume processes.
Note importantly, that energies are relative. "What is the energy of this compound?" is a meaningless question. And when we speak of "high energy," we mean high relative to some reference point. That's precisely why most examinations of energy in chemistry focus on a change, most commonly $\Delta G$, the change in Gibbs free energy. Gibbs free energy is a tool for measuring changes in internal energy (most commonly bond-breaking and bond-making) while compensating for the entropic costs of those changes and pressure-volume work done by the system.
At standard state, the Gibbs free energy change for a reaction or transformation can describe the relative preference of the "reactants" versus the "products" via an equilibrium constant $K$.
$$\Delta G^{\circ} = -RT \ln K$$
This is a way to measure one kind of stability, thermodynamic stability.
Considering $\ce{A <=> B}$, $\ce{A}$ is thermodynamically stable relative to $\ce{B}$ if the free energy change of this process is positive (i.e., $\Delta G > 0$), and vice versa.
Unfortunately, thermodynamics only tells half the story for a reaction. There's also the kinetic piece, which determines how fast a reaction proceeds, that is, the rate of the reaction. Rates are determined by the relative energy of a fleeting transition state, captured by $\Delta G^{\ddagger}$. For a reaction that is highly spontaneous, if the reactant is kinetically stable (that is $\Delta G^{\ddagger}$ has a large value), then reaction will still proceed very slowly. This is kinetic stability.
As folks are saying in the comments, energy is used throughout chemistry and comes in many different flavors, so instead of attempting to answer the broad question "How is energy and stability defined throughout chemistry", I will focus on your two examples.
>
> When we say a conformer is of "higher energy" than another, are we quantifying energy in terms of the bond strength?
>
>
>
Conformers are different shapes (3D structures) a given molecule assumes over time (usually by rotating about single bonds, i.e changing torsion angles). High energy conformers are rare, and low energy conformers are common. Conformational energy is a potential energy. It can be used to figure out the forces on the molecule as you change the torsion angles.
The reason that molecules don't just assume the lowest energy conformation is that there is kinetic (thermal) energy available. Other molecules keep bumping into our molecule of interest, giving it the energy to adopt higher energy conformations. On the other hand, when our molecule of interest goes from a higher energy conformation to a lower one, the potential energy is transformed into kinetic energy.
The reason that different conformers have different energies is because in some conformations, atoms that are not directly bonded come too close to each other ("steric clashes", associated with high conformational energy) or have favorable interactions (hydrogen bonds, dipole-dipole interactions etc). Also, some conformations don't allow optimal bonding. An extreme example would be a double bond, rotation about which would break the pi-bond and increase the potential energy a lot. Even with a single bond, some conformations have lower energy than others because the allow for a slightly stronger bond (this is called a stereo-electronic effect).
So the conformational energy depends on subtle changes in bond strength (stereo-electronic effects) and on non-bonded interactions (steric clashes, non-covalent interactions).
>
> When we say a compound is of "higher energy" than another, are we quantifying energy in terms of the bond strength?
>
>
>
For a clean comparison of the "energy" of two compounds, they have to contain the same set of atoms, i.e. they should be isomers. So you could ask whether silver fulminate (AgCNO) or silver cyanate (AgOCN) has the lower energy. Or you could ask whether acetaldehyde occurs as aldehyde (CH3-CHO) or enol (CH2=CH-OH). Conceptually, we could add up all the bond energies in the two compounds to see which one has the lower potential energy.
In cases where the potential energy difference is very high, we can safely say that one compound will be common and the other rare or non-existent. You would say one is more stable than the other. If the potential energies are similar, we also have to consider how the compounds would interact with surrounding molecules (e.g. solvent), and we have to consider entropy (or, equivalently, we have to compare Gibbs free energy instead of potential energy only), which is beyond the scope of this answer (and some might argue beyond first year undergraduate study).
"When we say a conformer or compound is of "higher energy" than another, are we quantifying energy in terms of the bond strength? Or are we going off of how much energy it takes to break the bond?"
The two options are expressing the same and yes, we are doing that.
*But* for an analysis is generally convenient to think of the same bonds and consider other potential energies, which can be due to torsion, electrostatic repulsion / steryc hindrance, tension... Entering in the discussion of what is more conceptually appropriate might astray from the question, but often the above partition is surely motivated by the different energies involved.
*Suppose* to separately burn two conformers of an alkane. The products are totally insensitive to this, still the heat of combustion will be higher when burning what we *then* call the unstable conformer, right because its energy content was higher. Note that so was, independent of the way we thought to distribute the energy surplus in & around the molecule.
" don't think we can just assign energies to each compound... so what is this based off of?".
We can as we have just did above, assuming a reference of course. In the above example we could have taken the energy of the products to be zero, tough you may look for how standard states are defined.
Once you have standard states, you can order different molecules by their energy of formation, and this gives you an order of stability.
When we consider the free energy instead of entalpy, we can even compare different and differently sizes molecules. The order is done per *mole*. The fact that burning more matter gives more heat is of course trivial and does not tell itself about the stability of that matter. Enthalpy alone worked above because we had a) conformers and b) the same reaction.
It is not necessary to mention quantum chemistry, if not calculations or deeper insights are required. Thermochemistry is older and deal with this concept as well, as in the given example. While the core quantity in thermochemistry is heat of formation, combustion makes (made) easy to run the experiments and get things by comparison. This is to say that my example must not be taken as a definition of stability, but it was to show that there is no circular language. Thermodynamics quantities are of course real and quantifiable.
"Is it how reactive the compound is?"
As addressed by others reactivity should not be confused with thermodynamical instability. It is just matter of wording dictated by the fact that a system wich does not change is called "stable", both in daily chemistry and daily life. I have difficulties to think of a language which instead of still stones speak about stones in metastable equilibrium. However in chemical physics we have this term, as well the term activation energy. Once the activation energy is available to a system in a metastable state, then the fate of the latter is dictated by the thermodynamics, as above.
| stackexchange/chemistry |
The
Game
by
John Brancato & Michael Ferris
and
Larry Gross
and
Andrew Kevin Walker
2/8/96
HOME MOVIES
from the 60's, SILENT and grainy:
EXT. MANSION -- DAY -- HOME MOVIES
A stately mansion. A perfect lawn. A BUTLER carries a
birthday cake with sparking sparklers...
Past wealthy MEN in crewcuts and thin ties, WOMEN in cat-eye
sunglasses. Everyone sings (silent) "Happy Birthday"...
CHILDREN follow the cake, in dresses and suits, gathering
round NICHOLAS VAN ORTON, 7, guest of honor, who wears a
blindfold. MOTHER comes to remove the blindfold and
Nicholas ogles the cake, laughs. He reaches for a sparkler.
STEP PRINT: Mother intercepts, fussing, fixing his hair...
Nicholas' FATHER sits near, smoking, nodding. He's intense,
thin, wearing a party hat. He notcies the camera without
mugging for it, bends to snuff his cigarette in an ashtray.
SPLICE-JUMP TO/STEP PRINT: a Harlequin CLOWN ties balloon
animals. Nicholas assists, distracted by the inattentive
children who look into the camera and pull hair and stand on
their chairs...
Men are drinking, storytelling, laughing. A fraternity...
The women are elsewhere, doing movie-vamp poses for the
camera, blowing cigarette smoke, brightly dressed, eyelids
blue and green, lipstick perfect...
Servants clear the table. Father holds a piece of untouched
cake. A man talks to him, but Father stares off, lost in
thought. He's forgotten the party hat on his head...
STEP PRINT: Mother puts her arms around Father and makes him
face the camera. He leans in, posing dutifully.
SPLICE-JUMP TO: a nanny in uniform, ILSA, holds an INFANT
(CONRAD) to the camera, places the baby in Nicholas' arms.
STEP PRINT: Nicholas is gentle, overwhelmed by cradling his
tiny brother.
SPLICE-JUMP TO: children play tag. Across the lawn, Father
heads to the house. He looks back, walks backwards.
STEP PRINT: he gives a small wave, continuing away...
Kids chase past. Nicholas and two other kids huddle, arms
locked, spinning round and round, till they stumble
different directions, falling, laughing, dizzy...
Nicholas gets up, wearing a PUPPET on each hand.
STEP PRINT: He walks CLOSE and peers in the camera, steps
back, happily talking. We can't hear because it's SILENT...
DISSOLVE TO:
INT. VAN ORTON MANSION, BATHROOM -- MORNING
The emotionless face of NICHOLAS VAN ORTON, just today 40,
looks upon itself in a mirror. He brings an electric shaver
across his chin, shuts it off, wipes his face with a towel.
INT. VAN ORTON MANSION, MASTER BEDROOM -- MORNING
Nicholas crosses. The bedroom is spacious, devoid of
clutter. A weight-machine in a far corner. A big T.V.
shows CNN with no sound.
At a bedside table, Nicholas picks up a heavy, gold ROLEX,
sliding it on, checking the time. 6:32.
INT. VAN ORTON MANSION, KITCHEN -- NIGHT
Nicholas stands at the kitchen islandm his tie thrown over
his shoulder, eating breakfast. ILSA, now elderly, is
across the way doing dishes.
The only sounds are the tiny clicks of Nicholas' knife and
fork against his plate. He's reading a German newspaper.
Nicholas jabs the last piece of egg, skewers the last bit of
ham and last square of toast. Plate's clean.
He sips his last swallow of juice, dabs his mouth with a
napkin, picks up his briefcase and heads to a back door.
NICHOLAS
(without looking)
Thank you.
ILSA
Have a nice day.
EXT. VAN ORTON MANSION, BACKYARD -- MORNING
Nicholas walks down a garden pathway to a three-car garage.
He looks at his Rolex.
CUT TO:
INT. NICHOLAS' BENTLEY -- MORNING
Bentley Continental Coupe. Quiet. Nicholas drives, begins
humming, barely audible. A Prince song, "Erotic City."
NICHOLAS
(sings, to self)
...until the dawn... making love till
cherry's gone..
(humming, quiet)
... Erotic City, you and me...
Nicholas changes lanes, HONKING the HORN, impassive. We can
BARELY HEAR the BEEPING in here. He glances back.
He drives, adjusts his mirror. Resumes humming.
CUT TO:
EXT. VAN ORTON BUILDING -- MORNING
Distinctive SAN FRANCISCO skyline on the horizon.
Nicholas' building is a brownstone bookended by skyscrapers.
Old money dwarfed by new. The Bentley arrives...
INT. VAN ORTON BUILDING, UNDERGROUND GARAGE -- MORNING
The Bentley moves past a valet station. One VALET follows.
The Bentley takes its place. A brass plaque reads:
"NICHOLAS VAN ORTON, Van Orton Enterprises." The valet
opens the car door for Nicholas.
CUT TO:
INT. VAN ORTON OFFICE -- MORNING
Two objects on Nicholas' desk: phone and laptop computer.
He's on the phone, operating the laptop with one hand.
Business talk, mile-a-minute.
MALE VOICE (v.o.)
(from phone)
... might be perched up on majority
shares, but you're not the only one
who gets hurt if the actuals crash.
Forecasts were fucked to begin with.
NICHOLAS
(into phone)
The moment Baer/Grant's P and L
report is placed in my hand, I will
be speed dialing your number.
Empty walls. No distractions. MARIA, the proper executive
assistant, stands practically at attention.
MALE VOICE (v.o.)
Is that a promise?
NICHOLAS
I'm sorry... I'm unfamiliar with the
term.
MALE VOICE (v.o.)
What if Alan calls me with a sob
story about substantiation procedure?
NICHOLAS
Take evasive action: have your
secretary say you're in a meeting.
Goodbye, Jack.
MALE VOICE (v.o.)
Yeah.
Nicholas hangs up, shuffling computer windows: stock quotes,
pie-charts, graphs, lists. Maria refers to an index card.
MARIA
Invitations: the Museum Gala.
NICHOLAS
No.
NICHOLAS
The Fitzwilliam Botanical Garden
Annual Fundraiser.
NICHOLAS
No.
NICHOLAS
The Hinchberger wedding.
NICHOLAS
Let me think...
(sits back, eyes closed)
Hordes of men in tuxedos. Everyone's
droning. Ludwell's trying to break
the ice by reciting an off-color
limerick...
MARIA
(impatient)
I'll send your regrets. Honestly,
why must I even bother?
NICHOLAS
Because, if you don't know about
society, you don't have the
satisfaction of avoiding it.
A KNOCK and a female ASSISTANT enters. There's a lot more
NOISE and ACTIVITY behind her.
ASSISTANT
Elizabeth on line three.
Nicholas taps his fingers on his lips, considering.
MARIA
Your ex-wife.
NICHOLAS
I know who she is.
(to assistant)
Take a message.
ASSISTANT
Um... Happy Birthday, sir.
Nicholas squints.
MARIA
(icily)
Thank you, Maggie.
The assistant backs out. Nicholas returns to his computer.
NICHOLAS
I don't like her.
MARIA
I wouldn't mention the following,
except he was very insistent. It's
obviously some sort of prank...
NICHOLAS
What?
MARIA
A gentleman left a message requesting
a lunch, but I assured him...
NICHOLAS
What gentleman, Maria?
MARIA
A Mister... Seymour Butts.
Nicholas looks up. He sits back, lost in thought.
NICHOLAS
(to himself)
"Under the Bleachers"... by Seymour
Butts.
MARIA
Pardon me? I'm afraid I don't...
NICHOLAS
Cancel lunch. Make reservations at
Campton Place for me and Mr. Butts.
Maria nods, heading out, high heels clicking as she crosses.
NICHOLAS
And, put the reservation in my name.
CUT TO:
INT. CAMPTON PLACE RESTAURANT -- DAY
Upscale. Quiet. Nicholas is in a booth facing the rear,
studying a thick FINANCIAL STATEMENT, making tiny notations.
A WAITRESS arrives.
WAITRESS
Ready to order, sir?
NICHOLAS
I'm still waiting...
Nicholas points out the other plate. The waitress leaves.
NICHOLAS
Excuse me...
She returns. He slides his empty glass toward her.
NICHOLAS
This was iced tea.
He's returned to his report. The waitress takes the glass
and leaves, irritated. Nicholas checks his watch. An
EXAGGERATED SNEEZE is HEARD and liquid hits the back of his
neck -- AH-CHOO!...
Nicholas jumps, sickened, turning to face CONRAD, who holds
a spray bottle and smiles.
CONRAD
Hey there, Nickie.
NICHOLAS
(repulsed)
Conrad, what a surprise. Gesundheit.
CONRAD
Happy Birthday, man.
NICHOLAS
(nods)
"Seymour Butts." I never get tired
of that one.
CONRAD
That's why it's a classic. Come on,
man... how 'bout a hug... ?
Nicholas is wiping his neck with a napkin as Conrad forces a
hug on him. Conrad takes a seat, good-lookingm unkempt,
tan, wearing a too-big suit jacket.
CONRAD
They gave me a free jacket at the
door.
NICHOLAS
They'll be wanting it back.
CONRAD
Not after I'm done with it.
(laughs)
Actually, I've been here. In
grad-school I bought crystal-meth
from the maitre d'.
NICHOLAS
Which grad-school?
Conrad smiles. The brothers take each other in for a
moment. Long moment. They're a bit stunned to be reunited.
NICHOLAS
You look good.
CONRAD
So do you. And to think I was
worried...
NICHOLAS
About me?
CONRAD
How long's it been? Since mom
died... four years? How are you?
NICHOLAS
Never better.
CONRAD
Elizabeth?
NICHOLAS
Divorced. Remarried to some
pediatrician or gynecologist, or
pediatric gynaecologist, in Sausalito.
CONRAD
Too bad, I liked her. So, you're all
alone in the House of Pain?
NICHOLAS
I redecorated. What about you?
CONRAD
Nowhere in particular. Don't you
keep track of my whereabouts anymore?
NICHOLAS
Connie... what brings you here? Is
everything alright?
CONRAD
Yeah.
NICHOLAS
You need anything?
CONRAD
No.
NICHOLAS
Really?
CONRAD
I don't need anything from you. I
was laying on a beach somewhere in
Spain, naked, and, it hit me --
Nickie's birthday. So, here I am,
four layovers, twenty-seven hours
flying and one donkey ride later.
Not necessarily in that order.
Conrad drops an envelope on the table.
CONRAD
For you.
NICHOLAS
You shouldn't have.
Nicholas opens it, takes out a sappy, Hallmark B-day card.
A BUSINESS CARD falls out. Nicholas picks it up...
CONRAD
What do you get for the man who has
just slightly more than everything?
The card: "Consumer Recreation Services." With a
PHONE NUMBER and ADDRESS below.
CONRAD
Call that number.
NICHOLAS
"Consumer Recrreation Services."
What, do they make golf clubs?
CONRAD
Trust me. Call that number.
NICHOLAS
Why?
CONRAD
They make your life fun. Their only
guarantee is you will not be bored.
NICHOLAS
Fun?
CONRAD
You've heard of it. You've seen
other people having it. They're an
entertainment service, but more than
that.
NICHOLAS
This isn't an escort service?
CONRAD
It's a profound life experience.
NICHOLAS
Like a stroke?
CONRAD
Call them. Trust me.
The waitress shows up with Nicholas' iced tea, spills some.
Nicholas blots it up with a napkin.
WAITRESS
Sorry. Let me get you another
napkin.
NICHOLAS
I'll be fine... if we could just...
She moves off as Nicholas raises a finger to order, ignored.
CONRAD
Tell me you'll call.
NICHOLAS
Okay.
CONRAD
Will you?
NICHOLAS
I said I would...
CONRAD
But, will you?
NICHOLAS
Are you still on mediction?
CONRAD
(taken aback)
Why would you say that?
The waitress arrives.
WAITRESS
Ready to order, gentlemen?
NICHOLAS
(ignores, to Conrad)
I didn't mean it like it sounded...
CONRAD
I'm not on anything anymore. I'm not
even seeing a shrink. I'm happy.
(notices waitress,
turning to her)
Do you mind... ?!
The waitress gives him a look, leaves.
CONRAD
(to Nicholas)
I thought you'd like this. Best
thing I ever did. If you don't want
to do it, DON'T...
NICHOLAS
I'll call them, okay?
CONRAD
It doesn't matter...
NICHOLAS
I'm going to call.
CONRAD
Do it for YOU.
NICHOLAS
Okay, okay... okay?
(pause, studies card)
I just... you know I hate surprises.
CONRAD
I know...
Conrad CLINKS his fork against a glass, motioning...
Behind Nicholas, WAITERS, WAITRESSES and BUS-BOYS, lying in
wait, now come to SING "HAPPY BIRTHDAY."
Conrad stands, loving it. Nicholas forces a fake smile.
CUT TO:
EXT. NICHOLAS' NEIGHBORHOOD -- NIGHT
The Bentley cruises hilly streets, ESTATES on all sides.
INT. NICHOLAS' BENTLEY -- NIGHT
Nicholas is on his CELLULAR PHONE. CLASSICAL MUSIC PLAYS.
FEMALE VOICE (v.o.)
(from cellular)
... seen the profitability report.
No one's happy with the numbers.
NICHOLAS
(into cellular)
Imagine how much MORE unhappy I am.
FEMALE VOICE (v.o.)
You'll deal with Alan?
NICHOLAS
Correct.
FEMALE VOICE (v.o.)
Okay, Nicholas. Sleep well.
NICHOLAS
I plan to.
He increases VOLUME on the CLASSICAL MUSIC, makes a turn.
He looks out his window, watching the street roll past...
FLASHBACK
/GRAINY HOME MOVIES -- 1960'S -- DAY
SILENT, HOME MOVIE-ISH IMAGES as before: YOUNG NICHOLAS, 10,
peers out from a LIMOUSINE, watching his neighborhood
pass... PERIOD FASHIONS, PERIOD CARS and HOUSES...
BACK TO SCENE, IN THE BENTLEY
Nicholas faces front. The Bentley comes to the formidable
FRONT GATE of the mansion. The gate begins to slide open.
Nicholas stares ahead, expressionless.
FLASHBACK
/GRAINY HOME MOVIES -- 1960'S -- DAY
The LIMOUSINE pulls up the ungated driveway. Young Nicholas
emerges, carrying books, waving goodbye to the CHAUFFEUR.
Young Nicholas runs past rose bushes, heading to the house,
but slows, looking up...
High up, Nicholas' FATHER, in a robe, stands on a balcony
railing, looking to hte sky. He's weary, lowers his gaze...
Young Nicholas is puzzled, gives a tentative wave.
Father just stares, eyes dead, expression blank.
BACK TO SCENE, IN THE BENTLEY
Nicholas looks down, puts the car in gear and drives...
THRU THE WINDSHIELD: the Bentley's headlights sweep the
stately Van Orton house.
CUT TO:
EXT. VAN ORTON MANSION, BACKYARD -- NIGHT
Nicholas exits the garage, walks up the garden path. Ahead,
Ilsa's leaving through the kitchen door of the house,
heading across the yard to the GUEST HOUSE.
ILSA
Dinner's in the oven.
NICHOLAS
Thank you. Goodnight.
At the rear door, Nicholas stops himself.
NICHOLAS
Oh, I saw Conrad today.
Ilsa stops, looking back. They're far from each other.
ILSA
You did? How is he?
NICHOLAS
Okay. I think he's into some sort of
new personal improvement cult.
ILSA
(nods, at a loss)
Well... send my love, if you see him
again.
Nicholas nods. Ilsa leaves.
CUT TO:
INT. VAN ORTON MANSION, KITCHEN -- NIGHT
Nicholas uses mitts to remove a dinner plate from the oven,
sets it on a waiting tray: huge cheeseburger and hand-cut
french fries, perfectly presented.
Nicholas picks up a CUPCAKE with a B-day candle in it.
CUT TO:
INT. VAN ORTON MANSION, DEN -- NIGHT
Nose-bleed-high ceilings. Cavernous fireplace. THREE TVs
in the ENTERTAINMENT WALL, the largest showing CNN.
Nicholas is seated in a chair facing his meal, pouring a
glass of champagne.
He toasts to no one, takes a sip. The PHONE RINGS.
Nicholas looks to it, hesitates. He hits SPEAKERPHONE.
NICHOLAS
(to speakerphone)
Elizabeth.
ELIZABETH (v.o.)
(from speakerphone)
Happy Birthday, Nick.
NICHOLAS
(looks at watch)
Eleven forty. You almost didn't make
it this year.
Nicholas uses a REMOTE to MUTE BERNARD SHAW on the TV.
ELIZABETH (v.o.)
Did you have a great birthday?
NICHOLAS
Does Rose Kennedy have a black dress?
You know my parties. I went not
once, but
twice
through the
spanking-machine.
ELIZABETH (v.o.)
I can only imagine. How are you?
NICHOLAS
Connie asked me the same thing today.
ELIZABETH (v.o.)
Connie, really? I always liked him.
NICHOLAS
Anyway...
ELIZABETH (v.o.)
I just thought this... might be
difficult for you.
NICHOLAS
Just another birthday.
ELIZABETH (v.o.)
I meant because of your father.
NICHOLAS
That's right. He
was
forty, wasn't
he? Hadn't thought about it, to tell
you the truth, thanks for the
reminder.
ELIZABETH (v.o.)
Why do I call you... ?
NICHOLAS
I honestly don't know. Listen, give
my best to Doctor Mel and Rachel....
ELIZABETH (v.o.)
Sue has a little brother on the way.
We just did the ultrasound.
NICHOLAS
No kidding? An official nuclear
family. You must be pleased.
ELIZABETH (v.o.)
We are. We couldn't be happier.
Nicholas smiles thinly, bored, waiting for more.
NICHOLAS
Well, so... thanks for calling. I've
got some work here...
ELIZABETH (v.o.)
I should let you go.
NICHOLAS
Take care of yourself.
ELIZABETH (v.o.)
You too, Nicholas. I mean that, I
really do.
NICHOLAS
Um-hm. Good luck. Bye.
He PUSHES OFF the PHONE in the middle of her "goodbye." He
uses the t.v. remote to give BERNARD SHAW back his VOICE.
Nicholas eats, watching the news. He takes out the business
card Conrad gave him, looks at it, puts it on the table.
The card: "Consumer Recreation Services."
Nicholas sits back, chewing. He stares at the ceiling.
FLASHBACK
/GRAINY HOME MOVIES -- 1960'S -- DAY
SILENT IMAGES: Nicholas' FATHER stands on the high balcony,
as before. He looks skyward one last time, then LAUNCHES
INTO SPACE... falling in EXTREME SLOW MOTION...
A head-first dive...
CUT TO:
INT. OFFICE BUILDING, 10TH FLOOR -- DAY
"DING," elevator doors open. Nicholas and TWO EXECUTIVES
are talking. As PEOPLE get on, the two executives get off.
EXECUTIVE 1
We're getting off here.
Nicholas follows. He and the executives huddle nearby.
NICHOLAS
(voice low)
So, we understand each other?
EXECUTIVE 2
We do.
NICHOLAS
Make it work on paper, and you can
count on my full support.
EXECUTIVE 1
Right-o. We'll talk. Soon.
They shake. The executives walk away. Nicholas returns to
elevator, pushes the button, waiting. He turns, noticing...
A massive WALL OF TRANSLUCENT GLASS marks the office of
"
C.R.S.
" Modern. Activity beyond it.
Nicholas finds this disconcerting. He takes out his wallet,
digging up the C.R.S. business card, studying it... looking
again to the glass facade to double check.
He looks at his Rolex.
ON THE OTHER SIDE OF THE GLASS DOORS
Nicholas enters. A female RECEPTIONIST speaks into a
HEADSET/PHONE. EMPLOYEES mill about. UTILITY MEN sort
crawlspace wiring.
NICHOLAS
(to receptionist,
shows "C.R.S." card)
Is this Consumer Recreation
Services... ?
The reecptionist takes the card. In the b.g., JIM FEINGOLD
pays a DELIVERY GUY for CHINESE FOOD.
RECEPTIONIST
(into PHONE)
You shouldn't feel this reflects
negatively upon yourself.
(to Nicholas)
Just a moment.
(back into phone)
We hope we haven't caused you any
inconvenience. Thank you for
considering C.R.S.
She studies the card, hangs up and motions to Feingold, a
bald, amiable engineer-type who passes with his food bag.
RECEPTIONIST
Mister Feingold... could you assist
this gentleman?
Feingold spins on his heels, looking, walking over with his
hand out. Nicholas shakes.
FEINGOLD
Jim Feingold, V.P., E.D.A.
Engineering and Data Analysis.
NICHOLAS
I'm not quite sure how this works.
My brother...
FEINGOLD
Oh, here we go...
Feingold takes the card the receptionist offers, examines
it, turns it over: finds FOUR NUMBERS on the back.
FEINGOLD
(of the numbers)
Excellent. Let's get started.
Nicholas picks up his briefcase to follow Feingold.
INT. C.R.S. OFFICES -- DAY
Big operation. Feingold leads past partitioned cubicles
that seem to go on forever. C.R.S. WORKERS abound.
TELEPHONE CO. WORKMEN operate on the phones.
FEINGOLD
Sorry about about all the hullabaloo.
We're still moving. Stick with me...
I've got an office around here
somewhere.
Feingold reaches open BOXES, begins collecting pages from
each, loading up on all sorts of forms. he holds out his
leaking, greasy food bag to Nicholas.
FEINGOLD
Mind holding this... ?
Nicholas reluctantly takes it, keeping it at arms length.
INT. FEINGOLD'S OFFICE -- DAY
Feingold types at his computer. Nicholas stands, looking
through the pile of forms on a clipboard.
FEINGOLD
(TYPES in keyboard)
V-A-N... O-R-T-O-N...
(studies screen)
A gift from Conrad Van Orton.
Interesting...
NICHOLAS
What is?
Feingold picks up his Chinese food, eats using chop-sticks.
The BOX features a grinning CARTOON PANDA mascot,
FEINGOLD
(still studying screen)
Your brother was a client with our
London branch. We do a sort of
informal scoring. His numbers were
outstanding.
(holds up box)
Sure you're not hungry at all... ?
Tung Hoy, best in Chinatown...
NICHOLAS
No, thank you.
FEINGOLD
(eating, mouth full)
You need to fill out those forms.
Application, psych-tests: M.M.P.I.
and T.A.T. For the financial
questionnaire, don't answer anything
you don't feel like. We'll run a
T.R.W....
Nicholas looks through the densely written forms.
NICHOLAS
(reading FORM)
"I sometimes hurt small animals.
True or False?" "I feel guilty when
I masturbate..."
Nocholas looks up, skeptical. Feingold shrugs, embarrassed.
FEINGOLD
I don't write the questions. I just
review them.
NICHOLAS
What's all this for?
FEINGOLD
We want a sense of your overall
capabilities, limitations, turn-ons,
turn-offs...
NICHOLAS
No, I mean, what is it FOR? What
are you selling?
FEINGOLD
Oh... it's a game.
NICHOLAS
A game?
FEINGOLD
Tailored specifically to each
participant. Think of it as a great
vacation, except you don't go to it,
it comes to you.
NICHOLAS
What kind of vacation?
FEINGOLD
It's different every time.
NICHOLAS
(patience waning)
Humor me with specifics.
FEINGOLD
We provide whatever's lacking.
NICHOLAS
And if nothing's lacking?
FEINGOLD
May I make two suggestions... ?
NICHOLAS
Do you really expect me to
participate without knowing a single
thing?
FEINGOLD
First, admit to yourself that it
sounds intriguing. Second, you don't
have to decide today. Take the silly
tests, fill out the forms. One day,
the game begins. You either love it
or hate it. Decide then. We're like
an experimental Book-of-the-Month-
Club; drop out at any time with no
further obligation.
(smiles)
That was my sales pitch.
Nicholas thumbs thru the forms one last time...
NICHOLAS
How long will these take?
FEINGOLD
An hour for those... maybe another
for the physical.
NICHOLAS
Physical?
FEINGOLD
Cursory examination. Turn-your-head-
and-cough sort of thing. You'll be
out of here in no time.
Feingold takes out a ballpoint pen, clicks it and offers it
to Nicholas. Nicholas takes it.
On the pen, in tiny letters: the C.R.S. LOGO.
CUT TO:
TESTING MONTAGE
-- VARIOUS C.R.S. OFFICES -- DAY
- Nicholas fills out an APPLICATION of endless questions.
- A #2 pencil fills in circles on a long M.M.P.I. form.
CLOSE ON: "I often feel someone is following me.
True/False." "I hate vegetables. True/False." "Vegetables
hate me. True/False."
- WHITE ROOM. A stone-faced PSYCHOLOGIST holds up CARDS.
Nicholas gives his unenthusiastic interpretation into a TAPE
RECORDER, checks his Rolex.
One CARD shows a large ant in an apron feeding a TV dinner
to a human child. That card is replaced by another of a man
slipping head over heels on a banana peel.
- Nicholas wears HEADPHONES, facing a TECHNICIAN, raising a
finger on his left fist or right fist for each low BEEP.
Nicholas sighs, can't believe he's doing this.
INT. C.R.S. OFFICES, EXAM ROOM --
MONTAGE CONTINUES
Electronic MONITORS and PRINTERS record Nicholas' EEG and
EKG. He's on an exam table, wearing a paper gown, covered
in SENSORS and WIRES, talking on a C.R.S. telephone.
NICHOLAS
(into phone)
... cancel. Push Cooper back to
Wednesday afternoon.
A TECHNICIAN studies readouts. A NURSE takes BLOOD PRESSURE.
MARIA (v.o.)
(from phone)
Mister Sutherland called about
Baer/Grant Publishing.
NICHOLAS
(into phone)
Tomorrow. Hold on...
(to NURSE)
How much longer?
NURSE
Almost done.
NICHOLAS
I heard that two hours ago.
The nurse smiles, pumping up the blood-pressure cuff.
Nicholas returns to the phone.
- DARK ROOM. Images FLASH on a screen: SHAPES, CURSE WORDS,
PICTURES of U.S. PRESIDENTS, INSECTS...
In flickering light, Nicholas, still in his gown, watches
with THREE BUTTONS before him, pushing one from time to
time. Frustrated, he looks around. He stands and turns...
Directly into the projector's bright BEAM OF LIGHT.
NICHOLAS
Hello... ? Anyone there?
(squints, holds up hand)
Hello?!
CUT TO:
INT. C.R.S. OFFICES, EXAM ROOM -- DAY
Nicholas dresses, alone, pulling up his pants. He notices
above: a MIRRORED DOME in the corner, obviously a camera.
Nicholas pulls on his jacket as Feingold arrives.
FEINGOLD
Sorry to keep you waiting.
NICHOLAS
Don't worry. It's been terrific
spending the entire day with your
"crack team".
FEINGOLD
It's all down to this...
Feingold holds out a CLIPBOARD with PAPERWORK in it.
Nicholas takes it, studies it, wary.
FEINGOLD
An insurance company requirement. It
states that you are aware "the game"
exists and that you are a willing
participant in said game, so on and
so forth.
Nicholas flips a page and Feingold leans over, pointing.
FEINGOLD
(of the paperwork)
One guarantee. Payment's entirely at
your brother's discretion and, as a
gift, dependent on your satisfaction.
NICHOLAS
(still reading)
You mean, I don't like it, he doesn't
pay?
FEINGOLD
It's never happened. We've never had
an unsatisfied customer.
NICHOLAS
You mean,
dis
satisfied.
FEINGOLD
(glances at form)
That's right -- you're a left-brain
word fetishist.
Nicholas uses the C.R.S. pen to sign. Feingold turns pages.
FEINGOLD
Initials... initials, and...
(another page)
Sign here.
Nicholas is about to sign when Feingold grabs his wrist...
FEINGOLD
In blood.
(laughs)
Just kidding.
Nicholas signs. Feingold tears out a few PINK TINTED COPIES
and hands them to Nicholas, kind of in a hurry now.
FEINGOLD
Your copies, thank you. Keep the
pen. We'll let you know.
Feingold exits, gives a thumbs-up and a WINK, shuts the
door. Nicholas is a bit bewildered. He continues dressing.
NICHOLAS
(muttering to self)
... grown man just winked at me.
INT. ATHLETIC CLUB, RACQUETBALL COURT -- NIGHT
WHAM! -- a blue racquetball BALL SLAMS a wall...
THRU A WINDOW: Nicholas plays, alone, sawtting violently at
the ball. We HEAR a PHONE CONVERSATION in VOICE OVER:
CONRAD (v.o.)
What about Monday or Tuesday?
NICHOLAS (v.o.)
Bad for me.
CONRAD (v.o.)
How 'bout tonight?
NICHOLAS (v.o.)
Unfortunately I'm working all
evening. Wednesday's the only
possibility right now...
CONRAD (v.o.)
Okay.
NICHOLAS (v.o.)
Dinner?
CONRAD (v.o.)
Fine. I get to pick the restaurant.
NICHOLAS (v.o.)
By the way, I went to C.R.S...
CONRAD (v.o.)
Really? What'd you think?
NICHOLAS (v.o.)
They seemed disorganized.
Nicholas finishes playing, exits. The ball keeps bouncing.
CONRAD (v.o.)
Well, the office is new. When I did
it in London, they'd been around
awhile. You gonna do this?
NICHOLAS (v.o.)
Haven't decided yet.
CUT TO:
INT. ATHLETIC CLUB, LOCKER ROOM -- NIGHT
Carpeted floors and mahogany lockers. Nicholas sits at his
locker, wet, in a monogrammed robe, toweling his hair.
VOICES can be HEARD O.S.: BUSINESSMAN 1 and BUSINESSMAN 2.
BUSINESSMAN 1 (o.s.)
... getting in on the ground floor of
the next Disneyland.
BUSINESSMAN 2 (o.s.)
C.R.S. will not go public. They're
family owned.
BUSINESSMAN 1 (o.s.)
Stranger things have happened.
BUSINESSMAN 2 (o.s.)
No, they haven't, actually.
Nicholas leans to look around a locker. Businessman 1 and 2
dress, two fat-cats. Nicholas leans back, still listening.
BUSINESSMAN 1 (o.s.)
They just opened here.
BUSINESSMAN 2 (o.s.)
The game in San Francisco? You see,
they're doing fine without any of us.
INT. ATHLETIC CLUB, LOUNGE/BAR -- NIGHT
Nicholas enters, looking around, spotting Businessman 1 and
2 across the room. He gets the BARTENDER'S attention,
motioning to the businessmen.
NICHOLAS
New members?
BARTENDER
I believe so, sir.
NICHOLAS
This round's on me.
Nicholas moves casually toward the men...
INT. ATHLETIC CLUB, BAR/LOUNGE --
TIME CUT
LATER. Another round arrives at the table where Nicholas
and Businessman 1 and 2 chat. The businessmen smoke cigars.
BUSINESSMAN 1
... last time I played Pebble, I
swore I'd never pick up a club again.
NICHOLAS
Speaking of games... I couldn't help
but overhear you talking about C.R.S.
Businessman 1 and 2 share a furtive glance. Nicholas
discretely waves cigar smoke out of his face.
NICHOLAS
I only mention it because I took the
test this afternoon, down on
Montgomery Street.
BUSINESSMAN 2
Did you? Kudos.
BUSINESSMAN 1
So, yours hasn't started?
NICHOLAS
Not yet. I was hoping you could tell
me... uh...
(almost embarrassed)
What is it?
Businessman 1 and 2 smile. Shared enlightenment.
BUSINESSMAN 1
(to Businessman 2,
knowingly)
Ahh, what is it?
BUSINESSMAN 2
The eternal question.
BUSINESSMAN 1
(to Nicholas)
I envy you. I wish I could go back
and do it for the first time all over
again...
He raises his glass. They toast.
BUSINESSMAN 1
Here's to... new experiences.
(gulps drink)
If you'll excuse me, I've got to be
going. 'Night, Jon... Nicholas.
He leaves. Nicholas focuses on Businessman 2.
NICHOLAS
Did you play recently?
BUSINESSMAN 2
Hm? No, about a year ago. I was
working out of Los Angeles.
NICHOLAS
(nodding)
I've heard good things about their
London branch.
(leans in)
You have to admit, it sounds like
some fantasy, role-playing nonsense.
BUSINESSMAN 2
You want to know what it is? What
it's all about?
(off Nicholas' nod)
John. Chapter nine. Verse
twenty-five.
NICHOLAS
I, uh... haven't been to Sunday
school in years...
BUSINESSMAN 2
"Whereas once I was blind, now I can
see."
(rises)
Night, Nick. Best of luck.
Businessman 2 puffs his cigar, walks away. Nicholas watches
him go, then pauses, puzzled, mouthing the words to himself.
CUT TO:
INT. LAW FIRM, CONFERENCE ROOM -- DAY
A table of unhappy LAWYERS. Nicholas goes thru a thick
CONTRACT with a red pen, CIRCLING, CROSSING-OUT and
SCRAWLING QUESTION MARKS ON paragraphs that displease him.
SUTHERLAND, trust personified, in his late 50's, stands
behind Nicholas, imperturbable.
NICHOLAS
(still scrawling)
As far as I'm concerned...
(reading, x-ing out)
... if the Baer/Grant meeting does
not take place
tommorow
, it might
as well never take place at all.
Nicholas slides the contract to the center of the table.
SUTHERLAND
When Mr. Van Orton boards his plane
in the morrow, he will have every
contract, side agreement and
addendum, the complete closing
package, flawlessly revised.
INSTANT UPROAR as the contract is grabbed up. All the
lawyers talk at once, fearful, arguing, protesting.
SUTHERLAND
Ladies and gentlemen...
(as they quiet)
This is why you're paid twice what
you deserve. So you will miss
another opera you would've fallen
asleep during anyway...
During this, Nicholas' CELLULAR PHONE is HEARD RINGING.
Nicholas takes it out, irritated.
SUTHERLAND
The meeting has been moved forward.
It affords you the opportunity to
show our client how well you will
rise to his exhilarating challenge.
QUIET COMMOTION resumes as Nicholas takes his cellular phone
to a corner, answering impatiently:
NICHOLAS
(into cellular)
Yes?
WOMAN'S VOICE (v.o.)
(from cellular)
Nicholas van Orton?
NICHOLAS
Yes, who is this?
WOMAN'S VOICE (v.o.)
This is Cynthia calling from C.R.S...
NICHOLAS
How did you get this number?
WOMAN'S VOICE (v.o.)
We've finished processing your
application...
NICHOLAS
I'm in a meeting...
WOMAN'S VOICE (v.o.)
... I'm afraid your application was
rejected.
NICHOLAS
(pause)
Pardon me?
WOMAN'S VOICE (v.o.)
You shouldn't feel this reflects
negatively upon yourself. We hope we
haven't caused you any
inconvenience...
NICHOLAS
This is absurd...
WOMAN'S VOICE (v.o.)
Thank you for thinking of C.R.S.
CLICK -- she's hung up. Nicholas folds the phone and
pockets it, his mind suddenly far away from the meeting
behind him. Sutherland steps close, concerned, quiet...
SUTHERLAND
Anything wrong... ?
NICHOLAS
Nothing. Nothing at all.
CUT TO:
EXT. FINANCIAL DISTRICT STREETS -- NIGHT
Nicholas guides the Bentley down streets lined with
skyscrapers, staring ahead. A
previous
PHONE CONVERSATION
is HEARD in V.O., a PHONE RINGING... RINGING... RINGING...
SWITCHBOARD OPERATOR (v.o.)
Would you like voice-mail?
NICHOLAS (v.o.)
I suppose.
SWITCHBOARD OPERATOR (v.o.)
I'll connect you. Thank you for
calling the Four Seasons.
EXT. NICHOLAS' NEIGHBORHOOD -- NIGHT
The Bentley heads towards home. The V.O. PHONE CONVERSATION
CONTINUES uninterrupted, CLICKING, then...
CONRAD'S VOICE (v.o.)
(voice-mail recording)
This is Conrad. Leave a message.
NICHOLAS (v.o.)
(waits till after BEEP)
Connie, it's Nicholas. Give me a
ring when you get a chance...
INT. BENTLEY -- NIGHT
The Bentley reaches the VAN ORTON GATES, which open slow.
V.O. CONVERSATION CONTINUES:
NICHOLAS (v.o.)
About your birthday gift. Things are
tight right now. I'm just not sure
whether it'll fit my schedule.
Anyway, see you at dinner tomorrow.
The PHONE is HEARD DISCONNECTING.
EXT. VAN ORTON MANSION -- NIGHT
The Bentley's headlights sweep the front of the Van Orton
house. There's something there, on the ground...
INSIDE THE BENTLEY
Nicholas stops the car, peering ahead, worried...
THRU THE WINDSHIELD: A BODY lies face down on the edge of
the driveway.
FLASHBACK
/GRAINY HOME MOVIES -- 1960'S -- DAY
The BODY of Nicholas' FATHER, sprawled face-down, in nearly
the same place, head twisted, mouth bloody.
BACK TO SCENE
Nicholas gets slowly out of the Bentley, reluctant.
NICHOLAS
Hello! What are you doing there?
(no reaction)
Wonderful...
Nichoals CLAPS his hands. The body doesn't stir. Nicholas
look all directions, then approaches.
NICHOLAS
Are you okay?
Nicholas nudges the body with his foot. He crouches,
confused, turning the limp body. It's a grotesque
HARLEQUIN, not unlike the clown from Nicholas' seventh
birthday, with a shiny face of painted wood.
Nicholas looks around for an explanation.
CUT TO:
INT. VAN ORTON MANSION, FOYER -- NIGHT
The front door opens. Nicholas enters with the Harlequin,
depositing it on a hallway BENCH.
A half-inch of RED RIBBON sticks out from the Harlequin's
lips. Nicholas tugs the ribbon... pulling out a GOLD KEY
tied to the other end.
Three letters embossed on the key: "C.R.S."
CUT TO:
INT. VAN ORTON MANSION, DEN -- NIGHT
Nicholas sits with his evening's meal, examining the key.
CNN on TV. He looks across the room to the couch where the
Harlequin is slumped staring back.
BERNARD SHAW (v.o.)
(from television)
... according to Nicholas Van Orton,
millions of Americans will be
affected by this legislation.
Nicholas hears this vaguely in the back of his mind, looks
to the TV. BERNARD SHAW has moves on to the next story.
Nicholas goes to the Harlequin, opening its hinged mouth,
attempting to look inside. He gets a knife from his tray,
uses it to probe the Harlequin's mouth, jabbing, prying.
BERNARD SHAW (v.o.)
... number of criminals behind bars
growing by record numbers, with Van
Orton pointing the finger at stiff,
anti-crime regulations...
Nicholas looks up. He heard that. He walks toward the TV.
Bernard Shaw is reporting, nothing strange.
Nicholas waits. Nothing. He walks away...
BERNARD SHAW (v.o.)
... largest portion of population
incarcerated. These figures were
given at a press conference called
toady by Mr. Nicholas Van Orton.
Nicholas turns, disbelieving. Bernard Shaw apparently looks
out FROM THE TELELVISION, perturbed...
BERNARD SHAW (v.o.)
You going to spend the rest of the
evening prying at that clown's mouth?
NICHOLAS
(dumbfounded)
I... I don't...
BERNARD SHAW (v.o.)
It's frustrating for me if you don't
even pretend to pay attention.
NICHOLAS
What is this... ?
BERNARD SHAW (v.o.)
This is your game, Nicholas, and
welcome to it. I'm here to let you
in on a few ground rules...
Bernard Shaw's FACE RIPPLES and GLITCHES occasionally,
revealing its true, computer-generated nature.
BERNARD SHAW (v.o.)
You've received the first key and
others will follow. You never know
where you'll find them, or when or
how you'll need to use them, so keep
your eyes open.
NICHOLAS
(waves his hand)
How do you... ? You can see me?
BERNARD SHAW (v.o.)
I see you, I hear you. Why don't we
save the questions till...
NICHOLAS
How does this work?
BERNARD SHAW (v.o.)
There's a tiny camera looking at you
right now.
NICHOLAS
That's impossible.
BERNARD SHAW (v.o.)
You're right. Impossible. You're
having a conversation with your
television.
Nicholas touches the TV, feeling the seams.
BERNARD SHAW (v.o.)
It's miniaturized.
Nicholas begins poking his butter knife between slots of the
television's speaker, stabbing, poking...
BERNARD SHAW (v.o.)
Do you know how dangerous that is?
Nicholas pries at the plastic speaker cover. It's not easy,
but he's determined, cracking the plastic...
ILSA (o.s.)
Mister Van Orton... ?
The speaker cover breaks off with a SNAP! and Nicholas
spins, holding the broken piece.
NICHOLAS
Yes... Ilsa, what is it?
ON T.V., Bernard Shaw grabs up pages, resumes...
BERNARD SHAW (v.o.)
... and in other news, auto workers
vowed to remain on picket lines...
Ilsa's in the doorway, wondering.
ILSA
Is everything alright?
NICHOLAS
Fine.
ILSA
I've finished for the evening. Will
you be needing anything else?
NICHOLAS
No, thank you. Goodnight.
ILSA
Goodnight then.
She leaves. Nicholas throws the piece of television away.
Bernard Shaw stops reading now that the coast is clear.
BERNARD SHAW (v.o.)
Who was that?
NICHOLAS
Never mind who that was.
BERNARD SHAW (v.o.)
You're uncomfortable. You want to
know how a camera got into your home,
don't you?
NICHOLAS
Yes, I do.
ON TELEVISION: Bernard Shaw is REPLACED by a FISH-EYED IMAGE
of NICHOLAS' DEN. It shows Nicholas from behind.
The P.O.V.
is
not
from the TV. Nicholas crosses the
room, keeps his eye on the TV as a guide...
BERNARD SHAW (v.o.)
(from t.v., o.s.)
... cold... cold... warmer...
warmer...
ON TELEVISION: Nicholas gets bigger as he gets closer to...
The Harlequin. Nicholas leans, looks at the clown's eyes...
ON TELEVISION: Nicholas' face is huge, distorted.
Nicholas pries one of the Harlequin's glass eyes with his
knife, pulling it out and examining it.
ON TELEVISION: The Harlequin's P.O.V. turns to STATIC.
Bernard Shaw returns with a PHONE NUMBER SUPERIMPOSED.
BERNARD SHAW (v.o.)
Write this number down. It's a
24-hour Consumer Recreation Services
hotline, for emergencies only.
BERNARD SHAW (v.o.)
But, don't call asking what the
object of the game is; figuring that
out
is
the object of the game.
Nicholas feels his pockets, finds the C.R.S. pen. He comes
up with a VALET PARKING TICKET to scrawl the number on.
BERNARD SHAW (v.o.)
Good luck and congratulations on
choosing C.R.S. We now return you to
your regularly scheduled program...
STATIC and SNOW, then CNN's Bernard Shaw is back for real,
newscasting. Nicholas reads the number he wrote.
CUT TO:
EXT. VAN ORTON MANSION -- NIGHT
Nicholas crouches at a coaxial CABLE LINE at the side of the
house. He fingers a BOX with a miniature LOOP and RABBIT
EAR ANTENNA that's been spliced into the line.
He starts to unscrew it... then thinks twice. He leaves it.
INT. VAN ORTON MANSION, KITCHEN -- NIGHT
Nicholas enters thru the back door. He pauses, looking out
at the night. He closes the door and locks it. He PUNCHES
the ALARM CODE into a KEYPAD.
Nicholas takes his Bentley key chain from its hook, takes
out the gold, "C.R.S." key... adding it to the keychain.
CUT TO:
INT. SAN FRANCISCO INTERNATIONAL AIRPORT -- DAY
Nicholas enters the vast, busy terminal, briefcase in hand.
He walks with purpose, but is extra-aware of the world
around him. He notices...
A MAN and WOMAN engaged in a SIGN LANGUAGE conversation.
A MAN reading a newspaper peers from behind the pages.
A JANITOR opens a door with a big KEY CHAIN full of keys.
A MAN on a payphone seems to be staring at Nicholas...
Nicholas turns his head to keep an eye on the man,
practically bumping into a grimy HOMELESS BUM...
HOMELESS BUM
Help me out there? Used to be an
affluent fella, till some folks did
this to me...
Nicholas moves away, leaving the homeless man behind.
HOMELESS BUM
Don't ignore me. I got screwed.
INT. AIRPORT, RED CARPET LOUNGE -- DAY
Quiet MUSIC. Rich people's lounge. Nicholas sits with a
cup of coffee, considering magazines on a coffee table. Two
seats down, a BUSINESSMAN coughs and rises, leaving his
newspaper on the empty seat between Nicholas and himself.
Nicholas glances down, curious when he sees...
A smiling-clown-face INFANT'S RATTLE on the seat beside,
sticking out from under the paper.
Nicholas catches only a glimpse of the exiting businessman.
Nicholas looks around, picks up the rattle.
He rattles it, studies it, rattles it in his ear. He tries
to see thru it by holding it up to the light. He doesn't
notice the MOTHER who enters with a baby, watching him.
MOTHER
Excuse me...
Nicholas looks up, realizes, awkward, offering the rattle.
She takes it and exits.
There's a BESPECTACLED MAN watching Nicholas.
Nicholas notices, tries to ignore.
But, bespectacled man is really staring.
NICHOLAS
(sits forward, fed up)
May I help you... ?
Nicholas' tone has turned other heads. Bespectacled man
seems embarrassed, shy, taps his chest.
NICHOLAS
What... ? What is it?
Bespectacled man taps his chest again, points at Nicholas.
Nicholas looks down. Inside his suit jacket -- a huge blue
INK STAIN across his shirt. Nicholas stands, aghast, taking
out the offending pen.
It's the "C.R.S." pen, dripping ink.
INT. AIRPORT, BATHROOM -- DAY
Running water. Nicholas tries to clean his shirt, blotting
it ineffectually with wet paper towels. he looks in the
mirror, crestfallen. The stain's worse.
DEEP VOICE (o.s.)
Hey, buddy... you still out there?
Nicholas looks around. He's alone, except for a MAN in a
TOILET STALL. All we see are the man's brown shoes.
DEEP VOICE (o.s.)
(from toilet stall)
I'm in a little bit of trouble...
The man's hairy hand motions from below the stall. Nicholas
backs away, nervous, grabs his briefcase.
DEEP VOICE (o.s.)
I need paper. There's none in here.
Come on, help a guy out...
Nicholas considers, then hurries to exit.
DEEP VOICE (o.s.)
Hello?! Anybody? Hello?
INT. AIRPORT, METAL DETECTORS -- DAY
Nicholas' briefcase rides into the x-ray machine.
Nicholas drops his keys, cellular phone and Rolex in a tray.
He passes thru the metal detector. A SECURITY GUARD brings
the tray to him.
SECURITY GUARD
Nice watch.
Nicholas smiles tolerantly, collects his belongings. He
waits at the x-ray conveyor belt, which is stopped. A
FEMALE GUARD studies the x-ray monitor.
NICHOLAS
Is there a problem?
The female guard looks up, turns the conveyor belt back on.
Nicholas' briefcase arrives.
Nicholas moves on, aggravated. Ahead, Sutherland rises from
a seat along the concourse hallway, walking to meet him.
NICHOLAS
I wasn't expecting you.
SUTHERLAND
Wanted to wish you luck. Not that
you'll need it.
Sutherland offers the contract, points to Nicholas' shirt.
SUTHERLAND
Attractive...
NICHOLAS
(paging thru contract)
Don't ask.
SUTHERLAND
I checked it personally.
Nicholas nods, props his briefcase up on a window ledge,
opens it and drops the contract in.
CUT TO:
EXT. SEATTLE AIRPORT, RUNWAY -- DAY
Nicholas' jet touches down.
EXT. SEATTLE AIRPORT, LOADING ZONE -- DAY
Nicholas follows a CHAUFFEUR. The chauffeur opens a LIMO
door. Several pressed SHIRTS hang waiting.
EXT. BAER/GRANT BUILDING -- DAY
In the shadow of the Baer/Grant Publishing offices, the
limousine idles. Downtown Seattle.
INT. BAER/GRANT PUBLISHING, ALAN BAER'S OFFICE -- DAY
Meet ALAN BAER, elderly CEO, blue-blooded, pissed.
ALAN BAER
All these years... the first time
ever you step foot in these offices,
it's to ask me to step down?
Nicholas stands by CHILDREN'S TEXT BOOK mock-ups. "Math-
Magic." "Wonder-Words." They're "Little Baer Books."
NICHOLAS
You promised you'd meet projections,
Alan. A dollar sixty per share you
said. So, I don't think this is so
surprising a visit.
ALAN BAER
Projections were far too optimistic.
NICHOLAS
Admittedly...
ALAN BAER
Our E.P.S. was one fifty last
quarter. We're up eight cents per
share.
NICHOLAS
But, the expectation was ten. And,
in this case, expectation is
everything.
ALAN BAER
Will you really hold me to it over
pennies
?
NICHOLAS
My stock's falling. Isn't yours?
Those pennies are costing me
millions.
ALAN BAER
The stock will turn.
NICHOLAS
It probably will. In fact, I'd go so
far as to say it almost certainly
will, in time. Why should I settle
for that?
ALAN BAER
Because it's fair. Give me next
quarter. If you still feel this way,
vote your shares...
NICHOLAS
You're talking tomorrow. Today is
what counts.
ALAN BAER
You intractable son-of-a-bitch. If
your father could see you now...
NICHOLAS
What?
ALAN BAER
Your father was a friend. Goddamn
it... I watched you grow up. How do
you end up treating me like this?
This swings Nicholas into a new mode: acutely-focused anger.
NICHOLAS
It is so very inappropriate for you
to mention my father. Or, did you
think this, between us, was
friendship? Just because you went
fishing with my father, I should sit
on my hands while you throw my money
away?
ALAN BAER
Now, look...
NICHOLAS
(holds up his hand)
I'll be done in a minute. You
misspoke before. You're not
"stepping down." I'm taking you out
at the knees. The whole point is to
prove that you're not deciding
anything anymore. I'm firing you.
Action's taken. Confidence restored.
Stock goes up. I sell my shares.
ALAN BAER
There is no Baer/Grant Publishing
without Alan Baer.
NICHOLAS
Remember Daniel Grant? Do they
say, "without Daniel Grant, there is
no Baer/Grant Publishing?" He's gone
sailing, Alan. He's out there
enjoying his golden years, probably
wondering where you are.
At Alan's desk, Nicholas clears a space for his briefcase.
NICHOLAS
You made a promise. You failed. The
severance I'm offering is more than
equitable. Valid tonight only.
(looks at watch)
For one hour.
Nicholas takes a pen from a holder, lays it on the blotter.
NICHOLAS
I'll step outside, so you'll have the
privacy you need to read and sign it.
He tries to unlatch his briefcase clasp. It's stuck.
ALAN BAER
I could fight you on this.
NICHOLAS
You could. But, if I leave without
your signature, this agreement begins
to disintegrate; benefits shrink,
options narrow, compensations
shrivel.
Nicholas works on the briefcase the whole time, distraction
growing as it becomes a true struggle.
NICHOLAS
So... it is in your best interest...
to sign presently.
Nicholas sits, pulling the latch, trying to see what's
jammed. It refuses to open. Nicholas stares at it,
frustrated, then... an odd realization...
He takes his keys out, finds the C.R.S. KEY, tries it...
It doesn't fit. It was never meant for this lock. Alan
Baer watches, wondering.
Forgetting himself, Nicholas grabs up the briefcase,
pulling, grunting, desperate, striking it with his palm.
Nicholas straightens, immediately composed.
NICHOLAS
Well... as luck would have it, you've
just gotten a reprieve, I'm sure
you'll come around to my way of
thinking.
(picks up briefcase)
I have a plane to catch. My
attorneys will contact you.
Nicholas exits. Alan Baer doesn't know quite what to think.
CUT TO:
EXT. SEATTLE AIRPORT TERMINAL -- DAY
On the sidewalk, Nicholas bashes his briefcase over and over
again against a fire hydrant.
EXT. SAN FRANCISCO AIRPORT, RUNWAY -- SUNSET
Nicholas' jet touches down.
INT. CAMPTON PLACE RESTAURANT -- NIGHT
Nicholas sits staring. His battered briefcase is near. He
checks his watch, impatient, flags down a WAITER...
NICHOLAS
Is there a message up front from a
Conrad Van Orton?
The waiter goes. Nicholas drums his fingers. He slides out
of the booth, rising. when a WAITRESS knocks into him with a
tray. Wine spills. Glasses crash.
WAITRESS
Oh, excuse me...
Nicholas looks down at his wine-stained front. The waitress
is CHRISTINE, same waitress as the other night. She tries
to clean him up with a napkin.
CHRISTINE
I'm so sorry.
NICHOLAS
Please, don't do that...
Nicholas snatches the napkin from her, wiping his suit.
CHRISTINE
I apologize, sir, I'm having a
bad day...
NICHOLAS
A bad month. You did the exact same
thing to me last week.
Christine's taken aback.
NICHOLAS
Don't help me, just get more napkins.
And soda water.
CHRISTINE
(gets more napkins)
It was an accident.
NICHOLAS
Terrific. I now have a hundred
dollar dry cleaning bill.
CHRISTINE
I said I was sorry...
Nicholas turns his back on her, throwing wet napkins,
picking up clean ones, still patting at the stain.
CHRISTINE
(stews)
Asshole.
Nicholas turns, angry. The MAITRE D' arrives, shocked.
MAITRE D'
Christine! Mister Van Orton is a
valued customer...
CHRISTINE
Then, you kiss his ass.
She's leaving, but the maitre d' pulls her aside.
MAITRE D'
You don't talk to me like that.
CHRISTINE
(quiet, evenly)
I apologized, I offered to help.
MAITRE D'
Clean out your locker.
CHRISTINE
Fine, Dennis. Soon as I get my money
for this week.
MAITRE D'
I'll be right with you.
Christine heads to the back. The maitre d' motions for BUS
BOYS to clean, smoothly guiding Nicholas to a new table...
MAITRE D'
I'm terribly sorry, Mr. Van Orton.
If you're not too uncomfortable, will
this table suit you for a
complimentary meal... ?
NICHOLAS
Yes. Fine.
MAITRE D'
I'll fetch your waiter.
Nicholas sits, keeps wiping his shirt as the maitre d'
hurries away. After a moment, a uniformed WAITER moves
past, leaves a CHECK...
WAITER
Check, sir.
Nicholas picks up the check, indignant.
NICHOLAS
Excuse me...
But, the waiter is long gone. Nicholas shakes his head,
then the check catches his eye... "DON'T LET HER GET AWAY"
scrawled across it.
Nicholas turns to look. The waiter who brought the check
crosses the room, goes out the front door.
Nicholas rises, following...
EXT. CAMPTON PLACE RESTAURANT -- NIGHT
Nicholas comes out the front, sees: the waiter has crossed
the street, still moving...
The waiter gets in a CAR as the car pulls quickly away.
Nicholas is baffled, looks at the check, heads back inside.
EXT. ALLEY, BEHIND RESTAURANT -- NIGHT
Christine exits the kitchen door, purse over her shoulder.
CHRISTINE
(back to doorway)
Yeah... ? Well, fuck you and your
vichyssoise, prick.
She heads down this dark alley. After a moment, Nicholas
follows, hurrying to catch up, briefcase in hand.
NICHOLAS
Pardon me... Miss... ?
CHRISTINE
Oh, no... you.
Christine picks up the pace.
NICHOLAS
I'm not sure how this works. Do you
have something for me... ? I got
this note...
CHRISTINE
What are you babbling about, psycho?
NICHOLAS
I want to know what's going on. Are
you part of this?
CHRISTINE
What's going on? I'm going on my
second job this month, and now I'm
going on unemployment.
She keeps walking. Nicholas stops, ponders. He follows.
They're nearing the end of the alley.
NICHOLAS
Excuse me, I need to explain...
CHRISTINE
Don't explain. Fuck off. Goodbye.
Nicholas steps in a deep, splattering pot-hole, stumbles,
pants soaked, stopping, fed up.
NICHOLAS
Son of a bitch!
Christine rounds the corner, heading down the street.
Nicholas reaches the sidewalk, watches her go.
NICHOLAS
(shouts after)
I'm trying to... ask you...
(giving up)
I'm apologizing...
He heads back the way he came. A strangled CRY is HEARD.
Nearby, a HEAVY MAN falls to his knees, then falls face
forward to the concrete. Nicholas looks around, alone...
NICHOLAS
(to Heavy Man)
Are... are you okay?!
DOWN THE SIDEWALK, Christine slows, looks back...
Nicholas bends, trying to see the man's face, seems afraid
to actually touch him.
NICHOLAS
Jesus... this can't be...
Nicholas looks up to see Christine running back.
CHRISTINE
What's with him?
NICHOLAS
I don't know... he fell.
Christine kneels, turns Heavy Man on his side and feels for
a pulse. Heavy Man convulses.
CHRISTINE
Do you know what to do?
NICHOLAS
I don't think he's breathing.
Christine clears Heavy Man's airway, pulling saliva and
mucus from his mouth with two fingers.
NICHOLAS
Oh, God... !
CHRISTINE
Don't just stand there, get help!
NICHOLAS
(taking out his CELLULAR)
This can't be real...
CHRISTINE
He's pissing his pants. Is that real
enough for you? Call 911!
NICHOLAS
Alright... okay...
CHRISTINE
He's turning blue!
Nicholas is starting to believe, dialing, circling as
Christine gives C.P.R. He listens to his phone -- STATIC.
NICHOLAS
Damn...
He backpedals in the street, cellular to his ear, trying to
catch a signal, tilst his head. STATIC. A HORN BLARES -- a
CAR barely misses Nicholas, DRIVER cursing.
Nicholas anxiously punches buttons. He spots a SQUAD CAR
and runs toward it...
NICHOLAS
Police!
SAME STREET --
TIME CUT
...
SIREN BLASTING, an AMBULANCE is parked. PARAMEDICS pull a
stretcher, helped by TWO COPS, hurrying to the prone Heavy
Man. A crowd is gathered.
Nicholas and Christine watch the paramedics work. COP ONE
hands Nicholas a clipboard, everything hurried, overlapped:
COP ONE
You have to fill these out.
NICHOLAS
I don't know this man.
Christine takes the clipboard.
CHRISTINE
(to cop, of clipboard)
What do you need... ?
Paramedics hoist heavy Man on a stretcher and take him to
the ambulance. Cop Two goes to help them lift.
NICHOLAS
(to Christine)
I can't get involved in this.
Christine moves to climb into the ambulance.
COP TWO
(to Nicholas)
We'll have to detain you.
COP ONE
Report's got to be filled out. Ride
with your wife. We'll meet at the
hospital.
PARAMEDIC
(shouting to cop)
We're moving!
Cop One leads Nicholas to the ambulance.
NICHOLAS
She's not my wife.
COP ONE
It's a few blocks. Help me out, huh,
pal?
Nicholas reluctantly gets in.
EXT. CITY STREETS -- NIGHT
Busy streets. The ambulance rockets on...
INT. AMBULANCE -- NIGHT
SIREN WAILING. Paramedic works. Christine fills out forms.
Nicholas tries to see where they're going, frustrated.
NICHOLAS
This is nuts.
CHRISTINE
(without looking up)
What
is
your problem?
NICHOLAS
(digging in his pocket)
Ten minutes ago, I'm looking forward
to a quiet dinner. I get a note...
Nicholas slaps his CHECK on top of Christine's paperwork.
NICHOLAS
Suddenly I'm in an ambulance. Why am
I in an ambulance?!
He looks out the window. Christine studies the check:
"DON'T LET HER GET AWAY," finds it odd, looks to Nicholas.
NICHOLAS
(wincing, to paramedic
of Heavy Man)
He's breathing, isn't he? Is the
siren entirely necessary?
INT. UNDERGROUND PARKING ENTRANCE -- NIGHT
"Emergency Vehicles Only." The ambulance races down a RAMP,
moving across this big underground garage, doing a u-turn...
Backs up toward a busy EMERGENCY ROOM ENTRANCE. MEDICAL
PERSONNEL everywhere. Other ambulances. INJURED PEOPLE.
Our paramedics get out and unload Heavy Man.
Nicholas and Christine get out, disoriented. Heavy Man's
rushed inside via automatic doors. Christine hands off the
clipboard to Nicholas, following the stretcher...
CHRISTINE
Let's talk to whoever can get this
over with...
NICHOLAS
(reading clipboard)
Hold on...
(of the clipboard)
They want your driver's license
number.
Christine returns to look, and suddenly ALL THE LIGHTS GO
OUT. Nicholas and Christine look up. In the surrounding
darkness, we HEAR EVERYONE FLEEING...
FOOTSTEPS SCATTER... then, SILENCE.
NICHOLAS
You've got to be kidding.
CHRISTINE
What... is... happening... ?
The only light is a BULB inside the ambulance.
NICHOLAS
(disgust)
I was trying to tell you... it's a
game.
CHRISTINE
A game?
NICHOLAS
(tosses clipboard)
It's run by a company... they play
elaborate pranks. Things like this.
I'm really only now finding out
myself.
CHRISTINE
What are you talking about?
NICHOLAS
The lights went out, one hundred
people all ran away...
CHRISTINE
You mean, the guy who turned blue and
wet
himself... ?
NICHOLAS
I'm sorry, about this...
CHRISTINE
You should be.
Christine climbs into the ambulance, searching.
CHRISTINE
There's got to be a flashlight.
NICHOLAS
(quietly)
I don't understand why they're
getting you involved.
IN THE AMBULANCE, she finds all drawers and cabinets EMPTY.
CHRISTINE
This is so fucked. You don't fuck
with people like this. I thought
that guy was gonna die. I gave him
mouth to mouth!
She digs in her purse, finds a book of restaurant MATCHES.
She lights a match, climbing out.
CHRISTINE
See you around.
NICHOLAS
Where are you going?
CHRISTINE
Home.
NICHOLAS
How do you know that's the way?
She just keeps walking.
A distant "DING" is HEARD. Far away, an ELEVATOR OPENS with
a light inside. Christine stops.
Christine changes direction, heading for the elevator.
Nicholas hurries to follow. The match burns out. A moment,
then Christine strikes another, lighting the way, barely.
As they squeeze between parked cars, Christine searches...
CHRISTINE
Where'd you all go? Motherfucking
frat boys. You better hide.
(to Nicholas)
Is your life so pathetic that this is
something you're willing to pay for?
NICHOLAS
It was a gift... from my brother.
CHRISTINE
How thoughtful. The gift of
inconvenience.
NIcholas stumbles. A beer BOTTLE is HEAR SKITTERING away.
INT. ELEVATOR -- NIGHT
They reach the elevator. Nicholas pushes a button.
NICHOLAS
Ground floor.
He and Christine step back and wait, looking up. And
wait... and wait, looking unhappily to each other.
Nicholas pushes all the buttons. Nothing happens.
Christine opens the EMERGENCY PHONE door: NO PHONE.
Nicholas touches his finger to a KEY HOLE below the buttons.
He takes out keys, finds the C.R.S. KEY, tries it...
it fits. He turns it. DOORS CLOSE and the ELEVATOR MOVES.
Nicholas is pleased, sees Christine wondering.
NICHOLAS
(of the key)
Long story.
(off her stare)
I found this key in the mouth of a
wooden Harlequin.
CHRISTINE
Never mind.
The ELEVATOR LURCHES, DROPS, then HALTS. LIGHTS OUT,
replaced by RED EMERGENCY LIGHT. A MOTOR is HEARD DYING.
CHRISTINE
I don't like that.
(pushing buttons)
We're stuck.
Nicholas takes out his phone, puts it to his ear. STATIC.
NICHOLAS
(pockets phone)
No signal.
Christine pounds on the buttons and doors, frustrated. She
tries to pry the doors open. Can't.
CHRISTINE
What's the going rate for the
"trapped-in-elevator-adventure" these
days?
Nicholas hits BUTTONS hard. Christine studies the ceiling,
moving under the square seam of the TRAP DOOR, pointing.
NICHOLAS
Don't even think about it.
CHRISTINE
Why not?
NICHOLAS
Read what it says: "Warning, do
not
attempt to open. If elevator stops,
use emergency... "
CHRISTINE
If there was one.
NICHOLAS
"... wait for help." Wait for help.
I'm not opening a door that
specifically warns me not to.
CHRISTINE
Are you suggesting we wait till
someone finds us?
Nicholas considers this, looks around.
INT. ELEVATOR SHAFT -- NIGHT
The trap door CREAKS open. Nicholas looks up from the
elevator, standing on hand rails. He gets down.
IN THE ELEVATOR
NICHOLAS
I'll give you a boost.
CHRISTINE
You first.
NICHOLAS
This isn't an attempt to be gallant.
If I don't lift you, how are you
going to get there?
CHRISTINE
You pull me up.
NICHOLAS
It's much easier this way. Come on,
step up...
CHRISTINE
No.
NICHOLAS
Please...
CHRISTINE
I'm not wearing underwear. Okay?
There, I said it. Satisfied.
NICHOLAS
(looks at her skirt)
Oh. FIne.
Nicholas starts climbing...
IN THE ELEVATOR SHAFT
Nicholas comes up, batting cobwebs, tentative. He grips a
handful of grease, disgusted. He climbs thru, catching his
jacket on a jutting screw, FABRIC RIPPPPPPPPING...
CHRISTINE (o.s.)
Oops.
Nicholas stands in the shaft, pissed. He looks for a place
to wipe his hand, wipes it on his jacket, looking up.
NICHOLAS
There's a ladder here.
IN THE ELEVATOR
CHRISTINE
My hero. Let's go.
Nicholas offers his grease covered hand from above.
NICHOLAS
I don't think so.
Nicholas withdraws that hand, offers the clean one.
CUT TO:
INT. BUILDING LOBBY -- NIGHT
Elevator doors shift, forced from inside. Nicholas climbs
out, then pulls Christine out behind him. They're
head-to-toe filthy, clothing ruined.
NICHOLAS
Damn. My briefcase.
He looks back down the shaft.
CHRISTINE
I'll wait.
NICHOLAS
(resigned sigh)
It's not like anyone could actually
open it.
They walk, looking at the vast lobby and sky-lit ATRIUM.
NICHOLAS
This is C.R.S.
CHRISTINE
What's C.R.S.?
NICHOLAS
Consumer Recreation Services. It's
their building. They...
A BEEP is HEARD. Nicholas looks above...
Sees a MOTION SENSOR with a green light blinking.
NICHOLAS
Oh...
An ALARM SOUNDS; a loud RINGING BELL. Nicholas backs away.
NICHOLAS
Don't panic. When security gets
here, we simply explain what
happened...
CHRISTINE
They'll love that.
NICHOLAS
Yes... well...
FOOTFALLS. Nicholas turns to see Christine running away.
CHRISTINE
(over her shoulder)
Explain for both of us!
Nicholas looks around, unsure. He follows...
EXT. ALLEYWAY, BEHIND C.R.S. BUILDING -- NIGHT
Christine bursts thru "EMERGENCY EXIT" doors. Nicholas
arrives. He grips her arm and they walk, out of breath.
NICHOLAS
Walk, slowly. Don't draw attention.
Out for a stroll...
TIRES SCREECH. A SPOTLIGHT HITS them from behind.
ANGRY VOICE (o.s.)
You! Stay where you are!
It's a SECURITY CAR on the other side of a fence.
CHRISTINE
Run!
They run, down the alley.
ANGRY VOICE
Stop!
EXT. NARROW ALLEYWAY -- NIGHT
SIRENS HEARD. Christine and Nicholas sprint round a corner,
all out... thru puddles, glancing back. Ahead, a SECURITY
CAR skids, starting for them. Christine and Nicholas double
back. She takes the lead.
Christine spots something, makes a chouse, moving
into a very NARROW ALLEY space.
NICHOLAS
Where are you going?
(looks in, worried)
You can't fit there.
She's making fine progress regardless.
NICHOLAS
I can't!
Nicholas sees the SECURITY CAR bearing down. He must turn
sideways to fit in the narrow alley, shuffling after.
BEHIND, the car stops and SECURITY GUARD gets out, club in
hand. In the car, a GERMAN SHEPHERD barks.
Security Guard tries to fit down the space, but can't. His
belly's too big, his utility belt catching. He runs back to
the car, opens the door...
The German Shepherd shoots down the alley, a projectile...
DOWN THE TIGHT ALLEYWAY
Christine comes out into OPEN AREA, running on, looking up.
Ruined buildings on all sides, CHAIN LINK FENCES everywhere.
Nicholas arrives, pissed, trying to catch up...
NICHOLAS
You deserted me.
CHRISTINE
You're a grown man. I'm not
responsible for you.
NICHOLAS
You're the one who started running.
CHRISTINE
Me? You're the one who... !
(sees something)
Shit!
Christine runs faster. Nicholas looks back...
The German Shepherd's on its way...
Nicholas faces front, runs, arms pumping, terrified...
The German Shepherd's closing, growling...
Christine and Nicholas reach the CHAIN LINK FENCE ahead...
NICHOLAS
Climb!
Christine makes the leap first, scrambling up the fence.
Nicholas climbs beside her, pulling himself up...
The German Shepherd leaps... bites Nicholas' leg...
Nicholas YELLS -- PANTS RIPPING. The dog falls with a
mouthful of cloth.
Christine and Nicholas reach the top of the fence, clinging,
balanced on their elbows, looking back. The German Shepherd
barks and leaps.
Christine and Nicholas start over the fence, beginning their
climb down the other side...
ON THE OPPOSITE SIDE: three OTHER DOGS run from the shadows,
Pit-Bulls and a Doberman, jumping and biting...
Nicholas and Christine scramble back to the top.
All the dogs hop up and down, snapping. They gnash at each
other and bark at each other, frenzied.
Nicholas and Christine have no choice but to hang, stranded.
CHRISTINE
Now what?
Nicholas looks up, daunted. He spots something...
There's a place where the fence runs under a FIRE ESCAPE.
NICHOLAS
Follow me...
Nicholas gets a toe-hold, shifts his elbows, grunting,
beginning the herky lateral climb toward the fire escape.
Christine follows his example.
Slow going. DOGS BARKING NON-STOP, nipping at their heels.
CHRISTINE
Shut up, you stupid, fucking dogs!!
BARKING AND BARKING AND BARKING.
CHRISTINE
What are they guarding around here?
Each other?
Nicholas slips, keeps grip, but loses a SHOE...
The dogs catch the shoe in their jaws, fighting for it.
Nicholas watches the shoe get torn to pieces, keeps moving.
NICHOLAS
There goes a thousand dollars.
CHRISTINE
Your
shoes
cost a thousand dollars?
NICHOLAS
That one did.
CHRISTINE
(to herself)
... two hundred dollars a toe.
Nicholas reaches the fire escape, balancing precariously to
reach it. He climbs gracelessly up...
He helps Christine after him, bringing her on board. They
lean against the rail, exhausted. Nicholas looks to the
multi-leveled ladders above.
NICHOLAS
Let me guess. Me first?
He climbs. Christine looks down at the dogs, stupefied,
looks up at Nicholas on the CREAKING rusty fire escape.
CHRISTINE
(to herself)
This is getting out of hand.
As she starts up.
CUT TO:
EXT. GARBAGE ALLEY -- NIGHT
ABANDONED BUILDING. Boarded-over windows are kicked open
from inside. Nicholas and Christine look out.
They climb out onto ANOTHER FIRE ESCAPE, two stories up
above a trash filled, dumpster crowded alley.
CHRISTINE
Never did catch your name.
NICHOLAS
Nicholas. Nicholas Van Orton.
CHRISTINE
Nicholas Van Orton? What are you,
a czar?
Nicholas moves to the catch of the fire escape ladder,
unhooks it. The LADDER DROPS to bridge the gap to the
ground, KEEPS GOING, sliding free and disconnecting -- falls
flat to the ground below with a LOUD, ECHOING CLATTER.
CHRISTINE
(pause)
That's classic.
NICHOLAS
(staring down, misery)
Why... ?
Christine crosses to the far edge of the railing, points.
CHRISTINE
We hang down here and drop. The
garbage'll break our fall.
NICHOLAS
I think not.
Christine climbs over the fire escape railing...
CHRISTINE
Afraid you're going to ruin your
one-legged suit?
She lowers herself down, hanging off, legs dangling...
NICHOLAS
Be careful...
A metal DOOR is THROWN OPEN below. TWO THAI BUS-BOYS come
out, dumping garbage, smoking cigarettes, laughing.
Above, Christine looks up at Nicholas, mortified. She nods
urgently for him to help her back up. Nicholas climbs the
rail, beside her, trying to get a grip, none too effective.
Below, one bus-boy looks up, shouting. The other bus-boy
looks. They back away, SPEAKING RAPID THAI, pointing.
CHRISTINE
What are they... ?
(realizing)
Hey!
Christine lets go with one hand, trying to pull her skirt
shut. Nicholas loses hold, drops her...
Christine lands hard in garbage.
NICHOLAS
Are you okay... ?!
Nicholas drops, alarmed... lands in broken plastic bags of
wet garbage, slipping as he moves to Christine. Bus-boys
are helping her up.
CHRISTINE
I'm okay... I'm okay, thank you...
Bus-boys keep questioning in Thai. Nicholas and Christine
brush off. Nicholas takes off his spewed jacket, shakes it
in disgust, straightens his tie. They stop...
At the doorway, all the COOKS, BUS-BOYS, WAITERS and
DISH-WASHERS stare at Nicholas and Christine in wonder.
Nicholas and Christine stare back. Nicholas looks to
Christine, brushing rotten lettuce off her shoulder, nods to
the restaurant workers, clears his throat.
NICHOLAS
Table for two, please.
He offers his arm to Christine, she takes it, they head in.
CUT TO:
EXT. CITY STREETS -- NIGHT
ONE CONTINUOUS LONG SHOT: Nicholas and Christine walk,
taking their time, eating out of take-out boxes.
CHRISTINE
Where are we going?
NICHOLAS
(points at skyline)
That tall, bright building. Near
there.
They walk a long time in silence. A POLICE CAR moves from
behind. POLICEMAN shines a flashlight up and down Nicholas.
POLICEMAN
Everything okay, miss?
CHRISTINE
Yeah. How are you?
The police car keeps pace, then drives on.
CUT TO:
INT. NICHOLAS' OFFICE -- NIGHT
Nicholas enters, turning on lights, which dim to a warm
glow. Christine takes in the impressive office. Nicholas
crosses to a wall, opens a hidden closet, chooses a shirt.
NICHOLAS
There's a shower, if you'd like.
Christine leans to peek in the bathroom.
CHRISTINE
A shower in your office? You an
athlete or something?
Nicholas puts on a new shirt.
Christine circles the desk, runs her fingers down his phone.
CHRISTINE
What exactly do you do?
NICHOLAS
Investment banking. Moving money
from place to place.
Christine has wandered to the closed blinds, opening them to
reveal a breathtaking view of the city.
CHRISTINE
Nice.
NICHOLAS
Hm?
(looks)
Oh, yes.
Nicholas takes out a SWEATSHIRT and offers it.
NICHOLAS
A fresh shirt...
CHRISTINE
(takes shirt, crossing)
If this was my office, I wouldn't
keep that closed.
NICHOLAS
I don't spend much time looking out
the window.
(goes to desk)
I'll call you a taxi.
Christine faces away, throws off her filthy shirt...
Nicholas, on the phone, looks to Christine's shapely back
and RED BRA. He averts his eyes, embarrassed...
NICHOLAS
Oh! Uh...
Christine puts on the PENN STATE sweatshirt, straightens it.
CHRISTINE
Thanks.
Nicholas nods, phone to his ear.
CUT TO:
EXT. VAN ORTON BUILDING -- NIGHT
TWO CABS. Nicholas opens the door of the first for
Christine. She faces him, close.
NICHOLAS
I know the owner of Campton Place. I
could talk to him in the morning.
CHRISTINE
Don't. It was a shitty job anyway.
I overreacted.
Christine sits, keeps her legs out the door of the cab.
Nicholas stands waiting for her to pull her legs in.
NICHOLAS
Goodnight.
CHRISTINE
I don't think I've ever spent this
much time with someone who didn't
even ask my name.
NICHOLAS
The maitre d' called you Christine.
CHRISTINE
(remembering)
Right. Call me Christy.
NICHOLAS
Goodnight, Christy. It was nice
meeting you.
CHRISTINE
Give me an address so I can send your
shirt back.
NICHOLAS
Keep it.
She looks up at Nicholas, sits inside. He shuts the door
and steps back. Christine rolls her window down.
CHRISTINE
I have a confession to make. Someone
gave me six-hundred dollars to spill
drinks on you, as a practical joke.
NICHOLAS
Seriously? What did they say?
CHRISTINE
They said five hundred. I said six.
They said the man in the gray
flannel suit. I think I said, you
mean the attractive guy in the gray
flannel suit?
Christine smiles, rolls up the window. The taxi leaves.
Nicholas watches it go. A twinge of regret.
EXT. CAMPTON PLACE RESTAURANT -- LATER NIGHT
Nicholas' cab pulls up at the closed restaurant, behind the
Bentley. A restaurant VALET sweeps the sidewalk, waves to
greet as Nicholas gets out of the cab.
CUT TO:
INT. VAN ORTON MANSION, MASTER BEDROOM -- NIGHT
Nicholas comes from the bathroom, just showered. He looks
at CNN on TV. He walks to change channels: infommercials,
B+W movies, cartoons. BUGS BUNNY. Nicholas leaves Bugs
Bunny on, steps back, watching.
He sits on the bed.
CUT TO:
INT. VAN ORTON MANSION, MASTER BEDROOM -- DAY
Nicholas sleeps. Cordless PHONE RINGING. He stirs,
awakens, face creased, hair mussed.
NICHOLAS
(in phone, voice cracks)
Hel... hello?
MARIA (v.o.)
(from phone)
Mr. Van Orton, it's Maria. I... I
wasn't sure I should call...
NICHOLAS
(in phone)
What time is it?
Nicholas studies his CLOCK RADIO: 11:05. He picks it up and
examines it, suspicious.
MARIA (v.o.)
(from phone)
Eleven o'clock. I took the liberty
of rescheduling your nine a.m. with
Allison and Dietrich. Are you... not
not feeling well?
NICHOLAS
I'll be in in an hour. I left my
briefcase at fifteen-thirty-three
Montgomery. Check with their lost
and found.
MARIA (v.o.)
Alan Baer's in town, at the
Ritz-Carlton.
NICHOLAS
Really?
MARIA (v.o.)
He's requesting dinner tonight.
NICHOLAS
We'll let him know.
MARIA (v.o.)
Also, the Claremont Hotel called to
say they have your American Express
card at the front desk. You left it
last night?
Nicholas is confused. He crosses with the phone, finds and
studies his wallet. He fingers an empty plastic pocket.
MARIA (v.o.)
Should I send someone... ?
NICHOLAS
No. Give me their number.
MARIA (v.o.)
Eight, four, three, three-thousand.
NICHOLAS
See you in awhile. Goodbye.
Nicholas hangs up, dials.
HOTEL MANAGER (v.o.)
(from phone)
Claremont Resort and Spa.
NICHOLAS
(into phone)
This is Nicholas Van Orton. I'm told
my American Express card...
HOTEL MANAGER (v.o.)
(from phone)
Yes, Mister Van Orton. Everything's
in order. The concierge has arranged
for the wine and flowers in the room.
NICHOLAS
Has he?
HOTEL MANAGER (v.o.)
And, a young woman phoned just now to
say she's on route but running a
little late.
NICHOLAS
(pause)
Did this young woman leave her name?
HOTEL MANAGER (v.o.)
I'm sure I don't know.
NICHOLAS
Thank you.
Nichola hangs up, interest piqued.
CUT TO:
EXT. BAY BRIDGE -- DAY
Nicholas drives the Bentley.
PREVIOUS
CONVERSATION:
SWITCHBOARD OPERATOR (v.o.)
There's no answer. Would you like
his voice mail?
NICHOLAS (v.o.)
Tell him his brother called, and to
call back soon as he can.
SWITCHBOARD OPERATOR (v.o.)
Yes, sir.
CELLULAR DISCONNECT. Nicholas looks in his rearview mirror.
THRU MIRROR: a grimy BLACK SEDAN follows... keeps distance.
EXT. CLAREMONT HOTEL -- DAY
Grand hotel. Nicholas lelaves his car with the valet.
INT. CLAREMONT HOTEL, LOBBY -- DAY
At the GLASS DOORS, Nicholas pushes thru. A THIN MAN in a
plain suit isn't looking, BUMPS Nicholas.
THIN MAN
Sorry. My fault.
Thin Man exits. Nicholas crosses the opulent lobby to the
desk. The grinning HOTEL MANAGER spots him coming.
HOTEL MANAGER
Ah, Mr. Van Orton. Here you go...
NICHOLAS
Have we met?
He hands over Nicholas' AMEX CARD, which Nicholas studies.
HOTEL MANAGER
I believe so. If you would jsut sign
here...
The manager offers a CHARGE SLIP and pen. Nicholas looks at
the manager, the slip, then signs. The manager hits a BELL.
A BELLHOP arrives.
HOTEL MANAGER
Show Mr. Van Orton to his room.
NICHOLAS
The key?
HOTEL MANAGER
Hm?
NICHOLAS
Is there a room key?
HOTEL MANAGER
Didn't I give you two?
NICHOLAS
No, you didn't...
Nicholas shakes his head and pats his pockets, stops,
feeling one pocket... reachse in and takes out a GOLD KEY on
a hotel key chain. Nicholas looks to the GLASS DOORS.
NICHOLAS
Cute.
INT. CLAREMONT HOTEL, HALL -- DAY
Long hallway. Nicholas follows the Bellhop. They arrive at
the door to ROOM 277.
NICHOLAS
I'll take it from here.
He tips the Bellhop, who leaves, uses the key, entering...
INT. CLAREMONT HOTEL, ROOM 277 -- DAY
Nicholas shuts the door. There's a room-service cart with
wine chilling. Nicholas moves down this short hall...
NICHOLAS
Hello... ?
His jaw drops. The room is TRASHED. Curtains shredded,
furniture overturned, television imploded, mirror
spiderweb-smashed, walls full of holes.
Nicholas moves forward, having spotted...
His battered BRIEFCASE on the ruined mattress.
The latch is undone. Nicholas opens it.
Inside: MANY PHOTOGRAPHS of blurry SEX acts. Bodies in
motion. Limbs. Breasts. A NAKED WOMAN tied to the bed.
One PHOTO shows two women entwined with a NAKED MAN who
appear to be NICHOLAS. It's a so-so cut-and-paste job.
A LOUD KNOCKING at the door startles Nicholas. He closes
the briefcase, freaked.
He hurries to the door as POUNDING is HEARD again, puts his
eye to the peephole.
THRU THE PEEPHOLE: a MAIN gets out her keys.
MAID
(thru door)
Time to make up the room.
Nicholas fumbles with the SECURITY CHAIN, slides it in place
as the door opens -- stopped. Nicholas keeps hidden.
NICHOLAS
Could you come back later?
MAID
Yes, sir. Sorry.
THRU THE PEEPHOLE: the maid moves away.
Nicholas crosses to retrieve his briefcase, and is crossing
back when he stops in his tracks upon seeing...
On a dresser, a MIRROR covered in COCAINE lines and residue.
IN THE BATHROOM
Nicholas turns on the faucet, washing the cocaine down the
sink, hands shaking. The mirror edge cuts his thumb and he
gives a cry, drops the mirror, which SHATTERS on the floor.
Nicholas sucks his thumb, puts it under the faucet. He
finds a hand cloth and wraps it round his thumb.
There are big blood droplets on the sink and floor.
Nicholas grabs wads of tissues from a box on the back of the
toilet, using them to blot up the blood, throwing tissues in
the toilet and flushing.
Nicholas keeps wiping blood. The toilet burps, OVERFLOWING.
WATER SPILLS OUT...
Nicholas backs away, panicked, exiting...
INT. CLAREMONT HOTEL, HALL -- DAY
Nicholas looks out from Room 277. He sees a MAID CART,
HEARS an O.S. VACUUM CLEANER. He run-walks down the hall,
hugging his briefcase. He pushes thru a STAIRWELL DOOR.
EXT. CLAREMONT HOTEL -- DAY
Nicholas takes his Bentley back from the valet, pulling out
fast to the street. Further back, the grimy BLACK SEDAN
moves from the curb.
INT. NICHOLAS' BENTLEY -- DAY
Nicholas' mind races. He wipes sweat off his face.
He glances in his rearview...
THRU MIRROR: the black sedan, following again.
Resolve comes to Nicholas, and anger. He speeds up.
EXT. BERKELEY STREETS -- DAY
The Bentley weaves thru traffic, taking a corner sharp.
Nicholas spins the wheel, heading...
DOWN AN ALLEYWAY
Nicholas brakes hard, gets out of the Bentley and heads for
the mouth of the alley...
As the black sedan follows, blocked, stopping. Nicholas
comes to pull open the car door, confronting the rumpled,
PLUMP GUY behind the wheel.
PLUMP GUY
What the fuck... ?!
NICHOLAS
Why are you following me?
PLUMP GUY
I don't know what you're talking
about. I'm just driving...
He falters as he follows Nicholas' angry gaze to the seat
beside him where a FILE is open to a PHOTO of NICHOLAS.
PLUMP GUY
(fumbling to close file)
Look... what I'm doing is none of
your business...
NICHOLAS
Is Alan Baer "the Game?" Is that
what this is?
PLUMP GUY
(defiant pause)
Friend... why don't you back off.
He leans as he talks... inside his jacket, he wears a gun.
Nicholas reaches across and pulls the gun, hefting it.
PLUMP GUY
Hey... !
NICHOLAS
(of the gun)
Nice touch. Does the game use real
bullets... ?
Nicholas points the gun at the sedan's rear tire, FIRES!
The gun is SHOCKINGLY LOUS -- BURSTS the TIRE!
Nicholas looks to the smoking weapon, blanching.
Plump Guy leaps to the other seat, scrambling out the
passenger door, submissive...
PLUMP GUY
Okay, I'm a private investigator.
Somebody hired me to keep tabs on
you...
Nicholas lifts the gun, unsure, pointing it awkwardly...
NICHOLAS
Who... who hired you?
Plump Guy bolts, running away down the alleyway. Nicholas aims
the gun after him, but catches himself, lowers it. He runs
the other direction, back to the Bentley...
Nicholas gets in the car, drops the gun on the seat, drives.
INSIDE THE BENTLEY
Nicholas returns to the street, glancing back. He looks at
the gun. He opens the glove compartment, throws the gun in.
He takes out his CELLULAR PHONE, dialing...
MARIA (o.s.)
(from cellular)
Mister Van Orton's office...
NICHOLAS
(into cellular)
Maria. Have Sutherland meet me at
the Ritz-Carlton. I'm on my way
there now.
MARIA (o.s.)
May I tell him... ?
But, Nicholas is already pushing DISCONNECT.
CUT TO:
INT. RITZ CARLTON HOTEL, LOBBY -- DAY
Nicholas enters with briefcase. Sutherland rises to follow.
SUTHERLAND
What's happened...
NICHOLAS
Follow me.
INT. RITZ-CARLTON, ALAN BAER'S SUITE -- DAY
A HOTEL EMPLOYEE rolls a room service cart out. Nicholas
pushes past with Sutherland in tow. Alan Baer, his handsome
WIFE and lovely DAUGHTER are seated at a table where a
WAITER lays out a splendid meal.
ALAN BAER
Nicholas... this is unexpected.
Nicholas takes out the SEX PHOTOS, throws them on the table.
NICHOLAS
Do you actually believe that because
you publish children's books,
anyone's going to care about my
reputation?
Wife and daughter are frightened. Alan Baer covers the
photos with his napkin.
NICHOLAS
You could print pictures of me
wearing nipple rings and butt-fucking
Captain Kangaroo... all anyone would
wonder was whether the stock was up,
or down.
Sutherland's nervousness grows by the second.
DAUGHTER
Daddy... ?
ALAN BAER
It's alright, dear. Mr. Van Orton...
SUTHERLAND
Nicholas...
NICHOLAS
(still to Alan Baer)
That you've involved Conrad... is
unforgivable. I am now your enemy.
ALAN BAER
Are you finished?
NICHOLAS
No. This is my lawyer, Samuel
Sutherland. I thought you two should
meet.
ALAN BAER
We met, this morning. I signed the
termination contract for Baer/Grace.
I accepted your settlement, Nicholas.
you were right. I'm going sailing.
Nicholas opens his mouth, but no words come. He looks to
Sutherland. Sutherland nods to confirm.
ALAN BAER
You're welcome to join our luncheon.
Maybe we can straighten this our.
(motioning to...)
My wife, Mary Carol, and my
daughter-in-law, Kaliegh.
Wife and daughter give mumbled greetings, having no desire
to meet Nicholas. Nicholas just stands stymied.
NICHOLAS
It seems I've... please, disregard
my apparently misguided remarks.
Nicholas heads for the door, hurrying out. Alan, wife,
daughter, the waiter and Sutherland exchange looks.
SUTHERLAND
Well...
Sutherland walks to retrieve the sex photos.
SUTHERLAND
Enjoy your lunch.
Sutherland smiles, exiting.
CUT TO:
INT. NICHOLAS' OFFICE -- DAY
Nicholas sits at his desk, opens his briefcase, checking the
contents. Soon, Sutherland arrives, shutting the door. He
watches Nicholas, deciding.
SUTHERLAND
How concerned should I be?
NICHOLAS
It was a misunderstanding.
Sutherland puts the SEX PHOTOS on the desk.
NICHOLAS
Someone's playing hardball. It's
complicated. Can I ask a favor?
SUTHERLAND
You know you can.
NICHOLAS
Find out about a company called
C.R.S. Consumer Recreation Services.
SUTHERLAND
Sounds like they make tennis rackets.
What do we know?
NICHOLAS
Just what I told you.
SUTHERLAND
Nothing else?
Nicholas remembers. He opens up a file drawer in his desk.
NICHOLAS
They gave me their waiver. On
their... wait...
Nicholas hands over a file, returning to his briefcase. He
finds an ENVELOPE with a SMILELY-FACE on it. He opens it.
He takes out a silver-plated METAL CRANK. Like a handle.
SUTHERLAND
What is this?
Nicholas looks up. Sutherland's looking in the file,
quizzically, hands it back...
Nicholas studies PINK-TINTED PAGES; the pages Feingold gave
him, once dense with words, now
completely blank
except
for NICHOLAS' SIGNATURE and INITIALS several places.
NICHOLAS
(of the pages)
Christ... I can't believe it...
invisible ink?
SUTHERLAND
You're joking.
NICHOLAS
It's what they do. It's like...
being toyed with by a bunch of...
(picks up SEX PHOTOS)
Depraved children.
Nicholas examines each photo. Sutherland goes to leave.
SUTHERLAND
Very well. If you tell me not to
worry, I shan't.
NICHOLAS
Sam...
(as Sutherland stops)
Thank you.
Sutherland exits. Nicholas keeps examining the pictures.
He sits forward, finding something...
IN A PHOTO: the out-of-focus back of a NAKED WOMAN wearing
only a RED BRA.
NICHOLAS
(INTO PHONE-INTERCOM)
Maria. The other night... last
night, there was a woman here named
Christine. I called a taxi, from
that company we use...
MARIA (v.o.)
(FROM PHONE-INTERCOM)
Elite?
NICHOLAS
What?
MARIA (v.o.)
Elite Taxi Company?
NICHOLAS
Look into it. Find out which car
answered and where they took her.
Nicholas sits back. He picks up the METAL CRANK, twists it
in his hands, frowning, pockets it.
CUT TO:
EXT. VAN ORTON MANSION, GARAGE -- NIGHT
The rapid SOUND of a PHONE OFF THE HOOK is HEARD OVER: BEEP
BEEP BEEP BEEP... The Bentley pulls in. Headlights out.
IN THE CAR, Nicholas takes the gun from the glove
compartment and puts it in his briefcase.
INT. VAN ORTON MANSION, KITCHEN -- NIGHT
Dark. The PHONE OFF THE HOOK is LOUDER, grating: BEEP BEEP
BEEP BEEP BEEP... Nicholas comes in the back door, peering
into the weak moonlight.
NICHOLAS
Ilsa?
Nicholas replaces the phone on its cradle. QUIET.
He reaches for a light switch, ZAP! -- BLUE SPARKS leap to
his fingers. Nicholas YELPS and shakes his hand out.
The switch has been RIPPED OUT, leaving exposed wiring.
Nicholas goes to his briefcase, getting the gun and moving
forward, wary, calling out...
NICHOLAS
Ilsa!?
INT. VAN ORTON MANSION, DEN -- NIGHT
In the blackness, Nicholas comes to stand at the doorway,
levels the gun at someone across the room...
NICHOLAS
I've got a gun!
There's a roaring fire in the giant fireplace and a FIGURE
in a chair. Nicholas eases forward...
It's the HARLEQUIN in the chair, with a GLOSSY B+W PHOTO
between its teeth. Nicholas pulls out the picture...
A POLICE PHOTO of NICHOLAS' FATHER, his body sprawled.
It's stamped "PROPERTY SFPD" in red.
There's a NOTE papere-clipped behind:
"Like my father before me, I choose eternal sleep." At the
bottom, a RED SIGNATURE ARROW affixed, "Please Sign Here."
Suddenly, ALL LIGHTS SURGE TO LIFE, icy and ghoulish -- each
and every bulb replaced by BLACK LIGHT...
Nicholas pivots slowly, taking in the horror...
The wrecked den is covered in FLUORESCENT SPRAY-PAINT
GRAFFITI: "WELCOME HOME" "FUCK YOU" "NICHOLAS VAN
COCKSUCKER" "SUCK IT" "C.R.S. RULES" "HAVING FUN, RICH
BOY?" Everywhere. Across windows, paintings and curtains.
The ceiling is covered in "MOMMA'S BOY" and OBSCENITIES.
Scaffolding's been left behind. Used SPRAY CANS on the
splattered Oriental rug. A PAINT/AIR COMPRESSOR.
NICHOLAS
... fuckers...
INT. VAN ORTON MANSION, MASTER BEDROOM -- NIGHT
A glowing ANARCHY SYMBOL sprayed across the door which is
throw open by Nicholas as he enters.
It's all BLACK LIT here too. GRAFFITIED and DESTROYED.
"HELTER SKELTER: in jolting letters. Nicholas backs out...
INT. VAN ORTON MANSION, VARIOUS ROOMS -- NIGHT
FOLLOW: Nicholas down the hall and around corners, BLACK
LIGHTS above, walls covered in CURSES and MULTI-COLORED
SQUIGGLES. Like a bad trip thru the Bat-Cave...
DOWN STAIRS
Past OTHER ROOMS likewise awash in vibrant slurs...
THRU THE KITCHEN
Now also revealed as ruined. Nicholas goes out the door...
EXT. VAN ORTON MANSION, BACKYARD -- NIGHT
Nicholas runs to the GUEST HOUSE.
INT. VAN ORTON GUEST HOUSE, FOYER -- NIGHT
BANGING on the FRONT DOOR. Ilsa comes to look thru the
peephole, opens the door to a breathless Nicholas.
ILSA
Mr. Van Orton... ?
NICHOLAS
Ilsa... you're alright?
ILSA
Yes. What do you mean? What's wrong?
NICHOLAS
Did the alarm go off? The house...
they... you didn't see... ?
ILSA
I don't know what you're talking
about. What's happened?
NICHOLAS
There's been a break in. Lock this
door and stay here. Don't move a
muscle.
Nicholas runs back toward the house.
ILSA
Be careful!
EXT. VAN ORTON MANSION, BACKYARD -- NIGHT
Crossing the lawn, Nicholas pulls out his cellular phone,
dialing as he runs, takes out his gun.
911 OPERATOR (v.o.)
(from cellular)
Nine-one-one, emergency...
NICHOLAS
(into cellular)
I need the police. There's been a
break-in at my home...
911 OPERATOR (v.o.)
(from cellular)
Okay, sir. Stay on the line and give
me your address...
INT. VAN ORTON MANSION, KITCHEN -- NIGHT
Nicholas enters, still on the phone, locking the door,
beginning to punch the security code into the ALARM KEYPAD.
NICHOLAS
(into cellular)
Twenty-two Moore Street. At the
corner of Moore and Buchanan.
911 OPERATOR (v.o.)
Now, sir, you said it was a
break-in...
NICHOLAS
Yes...
911 OPERATOR (v.o.)
Are you sure they're gone... ?
As Nicholas finishes the security code, the KEYPAD BEEPS,
and Nicholas straightens, worried.
911 OPERATOR (v.o.)
... are you sure there's not still
someone somewhere in the house?
NICHOLAS
I... don't think so.
And with the DYING HUMMMMMMMM of POWER FAILING, all the
BLACK LIGHTS GO OUT. Nicholas raises his gun...
NICHOLAS
Oh God...
Pointing it into the dark kitchen, hand trembling.
911 OPERATOR (v.o.)
Hello? Are you still there?
Behind, a DARK FIGURE outside rises against the kitchen door
window, POUNDING FRANTICALLY! Nicholas leaps and spins,
CRYING OUT in terror, dropoping the gun...
The gun bounces across the linoleum.
It's CONRAD at the kitchen door, haggard and scared, his
pale face pressed against the glass, pointing frantically.
CONRAD
Meet me out front!
Conrad ducks away, moving on.
CUT TO:
EXT. CITY STREETS -- NIGHT
The Bentley takes a corner fast, heading downhill, moving
from residential to mostly urban...
INSIDE THE BENTLEY
Nicholas drives. Conrad looks back over his shoulder, a man
on the run, dark circles under his eyes.
NICHOLAS
Tell me where we're going.
CONRAD
Just drive, man.
(slumps low)
It's fucking nuts!
NICHOLAS
What's this all about, Connie?
CONRAD
Shhhhhhh. Wait... wait...
Conrad flips the sunshade, looks behind it, feels the fabric
of the roof and the seam of the door.
He grips the interior LIGHT, breaks it open, pulling the
bulb and wires.
NICHOLAS
What are you doing?
CONRAD
They're methodical. They're nothing
if they're not that.
NICHOLAS
Who?
CONRAD
C.R.S. Who do you think? Jesus H.,
thank your lucky charms. To think
what I almost got you into.
NICHOLAS
(miserable)
Yeah, almost...
CONRAD
You dodged a bullet.
NICHOLAS
How do you mean, exactly?
CONRAD
They fuck you and they fuck you and
they fuck you. And then, just when
you think it's done, that's when
the
real
fucking begins.
NICHOLAS
Slow down, take a breath...
CONRAD
It doesn't stop, Nick. I paid the
bill, I gave 'em their money, but it
all started again. They won't leave
me alone...
NICHOLAS
What have they been doing to you?
CONRAD
Everything. I'm a goddamn
human-pinata...
NICHOLAS
Calm down. Why would they keep
playing after you paid?
CONRAD
You think I know? I paid them
more
to make it stop.
BOOM! -- the wheel jerks in Nicholas' hand, TIRES SCREAM...
CONRAD
What the hell... !?
ON THE STREET
A TIRE'S BLOWN OUT. Riding the rim, the car jerks over...
INSIDE THE BENTLEY
Nicholas stops at the curb. Conrad's turned in his seat.
CONRAD
It's them. They did this.
NICHOLAS
It's a flat tire. That's all.
CONRAD
How do you know?
NICHOLAS
We're going to figure this out. Get
a grip on yourself.
CONRAD
Okay... okay.
Conrad faces forward. Nicholas gets out to look at the
wheel, using his cellular, then returns to the open window.
NICHOLAS
The phone's dead.
CONRAD
Really?
NICHOLAS
Do you know how to change a tire?
CONRAD
No. Do you?
(off Nicholas' frown)
Can't be too hard, can it? I don't
think we should be here out in the
open like this.
Nicholas rubs his temples, looks all around, frustrated.
NICHOLAS
Check the glove box... might be
another battery there.
Conrad OPENS the glove compartment: KEYS SPILL OUT. At
least fifty, silver and gold, all stamped "C.R.S."
Conrad's breath catches in his throat. He looks to
Nicholas, afraid. Nicholas leans closer...
NICHOLAS
How did those... ?
CONRAD
You're part of it...
NICHOLAS
What? Connie...
Conrad climbs out, pointing across the roof of the car...
CONRAD
No! You're one of them. Of course,
it makes perfect sense!
NICHOLAS
No, it doesn't! Those keys were put
there. I didn't even know...
CONRAD
You're behind this, aren't you? You
and your sick friends. Well, make it
stop!
NICHOLAS
Listen to yourself. Why would I do
anything like what you're describing?
CONRAD
Because you hate me. Because you had
to be here, when mom died. Because
you had to do it alone.
(near tears)
Well, don't you think if I'd known...
I'd've been here too. I'd have been
here...
NICHOLAS
Stop this. It's not true...
CONRAD
I'm sorry, Christ, I'm sorry! How
many more times do I have to say I'm
sorry before you forgive me... ?
NICHOLAS
Stop it!
Conrad bolts away, full tilt, into a nearby PARK and PUBLIC
GARDENS. Nicholas gives chase, calling after.
AHEAD, Conrad runs headlong, disappearing thru thick bushes.
Nicholas follows, downhill, falls and slides, gets up. At
the bottom, he shoves thru vegetation...
On the other side, Nicholas looks all directions, gulping
air. Conrad's nowhere to be seen. Nicholas stops.
NICHOLAS
(shouting)
Connie!
Far off, there's a concrete path winding thru the park past
a BANK OF PAYPHONES. ONE PAYPHONE starts RINGING. Nicholas
starts back the way he came.
Behind, ALL THE PAYPHONES start RINGING. Nicholas halts.
He runs to the phones, answers one.
NICHOLAS
(into phone)
You sons-of-bitches...
MAN'S VOICE (v.o.)
(from phone)
Flippy? Is Flippy there? Flippy?
Nichols slams the phone down, picks up another...
RECORDING (v.o.)
(from phone)
If you'd like to make a call, please
hang up and...
PHONE STOP RINGING. Nicholas hangs up, digging out his
wallet. Rifling thru it, he comes up with the VALET TICKET
with the C.R.S. EMERGRENCY 800-NUMBER on it. He dials...
Puts the phone to his ear. BUSY SIGNAL. He slaps the
headset-tongue, redialing, waiting...
RECORDING (v.o.)
(from phone)
We're sorry. The number you have
dialed has been disconnected or is no
longer in service...
He throws the receiver, tears the valet ticket in half and
tosses it, then steps back -- KICKS the phone.
EXT. CITY STREET -- NIGHT
Nicholas returns to his car, looks down at the flat tire.
At the rear, Nicholas opens the trunk. He reaches in and
takes out the car's JACK. He looks at it like an alien
thing, turns it over, tosses it into the street.
He closes the trunk, REMOTE's the ALARM, walking away.
There's a TAXI heading this way. Nicholas hails it...
INSIDE THE TAXI
Nicholas gets in. GLASS separates him from the CAB DRIVER
NICHOLAS
Twenty-two Moore Street.
The driver nods and hits the gas.
EXT. CITY STREETS, FURTHER ON -- NIGHT
The taxi roars down the street.
INSIDE THE TAXI
Nicholas has his head back, eyes closed, loosening his tie.
He looks out the window, narrow his eyes.
NICHOLAS
(pointing)
Um... you want to turn here...
(TAXI KEEPS GOING)
Excuse me, you missed the turn.
The driver says nothing. Nicholas knocks on the glass.
NICHOLAS
Did you hear me? You're...
Nicholas stops, noticing the DRIVER I.D. on the other side
of the partition. "California Regal Sedans." C.R.S.
NICHOLAS
No... no, no, no. Stop the car!
The taxi HALTS at a LIGHT. Nicholas tries the DOOR HANDLE.
Doesn't work. He tries the WINDOW HANDLE -- it COMES OFF.
ON THE STREET
The cab PEELS OUT as the light turns green.
INSIDE THE TAXI
Nicholas tries the other door, panicky. Same results --
locked in. The taxi makes a SCREEEEECHING TURN...
ON THE STREET
The taxi speeds up... heading for a WHARF AREA and PIERS.
INSIDE THE TAXI
Nicholas presses against the partition, urgent, calm...
NICHOLAS
Listen. I am a very wealthy man.
Whatever they're paying you, I'll
double it!
The taxi driver simply opens his door and leaps out...
THRU THE WINDOW: the driver ROLLS, a perfectly executed
stunt fall. Nicholas can't believe. He grabs frantically
for his seatbelt, SNAPS it around him, looks up...
Opens his mouth to SCREAM...
ON THE WHARF
The taxi goes FLYING off a deserted pier... airborne...
SPLASHES DOWN! in the San Francisco Bay.
INSIDE THE TAXI
Nicholas is jerked forward, breath slammed out of him.
ON THE SURFACE OF THE WATER
The taxi goes under in an eruption of bubbles.
UNDERWATER
THRU THE TAXI WINDOW: Nicholas pulls off his seatbelt,
extricates himself and starts kicking the window. Dashboard
lights grow eerie as they submerge.
INSIDE THE TAXI
Nicholas stops kicking, trying to calm. He looks to the
front: water's gushing in through two-inches of open window.
The taxi's less that half full.
NICHOLAS
(to himself)
It's a game... it's a game...
He tries the DOOR HANDLE again, yanking, to no avail. He
realizes something, searches his pockets...
UNDERWATER
The taxi sinks, headlights dimming in murkier depths.
INSIDE THE TAXI
Nicholas finds the METAL CRANK. He takes a deep breath...
SUBMERGING. He puts the crank in the WINDOW HANDLE HOLE,
turns the crank. The WINDOW LOWERS, water flooding in...
UNDERWATER
Nicholas swims out the window, heading upwards...
EXT. SAN FRANCISCO BAY -- NIGHT
Nicholas bursts to the surface, sucking air. He treads
water, catching his breath.
GIRL'S VOICE (o.s.)
Hey, mister... are you alright?
Nicholas turns. There's a CABIN CRUISER docked nearby. A
beautiful GIRL in a yellow raincoat throws a life preserver.
Nicholas swims to it.
EXT. CABIN CRUISER -- NIGHT
Nicholas climbs the rear ladder with the girl's help. He
stays on his knees, teeth chattering. The boat's luxurious.
GIRL
You could get hepatitis from that
water.
She helps Nicholas up, keeps a grip on him.
NICHOLAS
I need the police.
GIRL
Let's get you dried off first. I
might have some clothes below.
INT. CABIN CRUISER, BATHROOM -- NIGHT
The shower and mirrors are fogged. Nicholas' wet clothing
sits in the sink. He's wearing a short-sleeved shirt,
pulling on trousers.
IN THE ADJOINING BEDROOM
QUIET MUSIC. Nicholas comes from the bathroom, feeling the
waistband of the pants, checking out the cuffs.
NICHOLAS
You know, these fit... perfectly.
GIRL
They were my husband's. My late
husband... may he rest in peace.
Nicholas looks to the girl. She rises from the bed and
slides the raincoat off, wearing only a BIKINI. A Playmate.
Nicholas just sort of sags.
The girl undoes her top, which falls. She steps forward.
GIRL
I've been so lonely.
NICHOLAS
I can't tell you how
not
interested
I am.
GIRL
Don't be nervous. They said you'd be
nervous.
NICHOLAS
Don't take another step.
The girl covers her breasts, confused. Nicholas gathers his
clothing from the sink, heading for the stairs.
GIRL
Isn't this what you like? They told
me you had a thing for boats.
NICHOLAS
First they try to kill me, now you?
(to girl)
Put your damn clothes back on.
Nicholas scrambles upstairs...
EXT. CABIN CRUISER -- NIGHT
Nicholas leaps off onto the wharf. The girl, pulling on her
raincoat, crosses to the boat's rail, waving a BOX. Thru
the box's window: a gold GLASS CUTTER nestled in velvet.
GIRL
Don't you want your thing? I was
supposed to give you this thing.
Nicholas just keeps walking.
CUT TO:
EXT. C.R.S. BUILDING -- DAY
TWO POLICE CARS, marked and unmarked, pull to the curb.
From the plainclothes car, MALE DETECTIVE and FEMALE
DETECTIVE get out. Nicholas and Sutherland get out.
INT. C.R.S. BUILDING, LOBBY -- DAY
Nicholas, Sutherland, Male and Female Detective cross the
busy lobby with TWO UNIFORMED OFFICER'S behind.
INT. C.R.S. BUILDING, OFFICES -- DAY
Nicholas enters, followed by the others. He stops short...
REVEAL: this huge room, once filled with cubicles far as the
eye could see, is now entirely EMPTY. Trash. Dust.
Fixtures jutting from the floor.
CUT TO:
INT. NICHOLAS' OFFICE -- DAY
Nicholas stands with hands in pockets, staring at the floor.
Sutherland's here. Female and Male Detective stand
together. She's checking notes.
FEMALE DETECTIVE
Management for the building says that
space hasn't been officially rented
yet. The county recorder has no
listing for "Consumer Recreation
Services" or any derivation thereof.
No sign of the boat or the girl.
We're checking escort services, but
it's unlikely. Divers are looking
for the taxi, and soon as they find
it they'll pull the plates and V.I.N.
MALE DETECTIVE
Have you gotten in touch with your
brother?
NICHOLAS
He hasn't called back.
SUTHERLAND
What about the house?
MALE DETECTIVE
The graffiti was painted in an
oil-based marine marking solution.
Illegal in the states. Not impossible
to trace, but it'll take time.
FEMALE DETECTIVE
The photos, gun, the clown, the
ambulance, cable box, everything
else... it's all pending.
(shuts notebook)
Breaking and entering we have, solid.
Malicious mischief, vandalism,
harassment. But, that's about all.
SUTHERLAND
Illegal surveillance, reckless
endangerment...
NICHOLAS
Attempted murder.
MALE DETECTIVE
Except... you said you
hired
these
people.
SUTHERLAND
That's irrelevant.
MALE DETECTIVE
It's our job to let you know what we
have. We haven't got motive.
FEMALE DETECTIVE
(to Nicholas)
You are who you are, so we know
you're not making it up. But, we've
never dealt with anything quite like
this. Be appropriately cautious.
(pause)
Unless you think they're done with
you.
CUT TO:
INT. VAN ORTON MANSION, KITCHEN -� NIGHT
Ilsa sets down a plate: sandwich with crust cut off, potato
chips and carrot sticks. Nicholas eats, pondering.
NICHOLAS
What was my father like?
Ilsa's at the fridge, near where drop-cloths, paint cans and
other repair preparations are piled.
ILSA
What makes you ask?
NICHOLAS
I'm not sure.
Ilsa comes to set down a glass, fills it with milk.
ILSA
All the time I've known you, you've
never once asked about him.
NICHOLAS
He came to my mind recently, that's all.
Ilsa moves to put food back into the refrigerator.
ILSA
Your mother thought he was a good
man. He worked very hard. What I
remember most was his manner was
so... slight. It was easy to spend
time in a room, and not realize he'd
been there the whole time.
NICHOLAS
Was he morose, or...? I mean...
ILSA
No. What happened... no one expected
it.
NICHOLAS
Sometimes I wonder how much of him
there is in me.
ILSA
Not much, I think.
NICHOLAS
I'm just like him.
ILSA
You're not like him at all. I don't
know exactly what's going on around
here lately, but don't make me start
worrying about you.
NICHOLAS
Did you worry about him?
ILSA
Nobody worried about your father.
Nicholas stares at his milk. PHONE RINGS. He answers...
NICHOLAS
(into phone)
Hello.
MARIA (v.o.)
(from phone)
It's Maria. I found the address you
wanted from Elite Taxi.
NICHOLAS
(picks up pen and paper)
Go ahead...
CUT TO:
EXT. SUBURBAN NEIGHBORHOOD -- NIGHT
Rows of lower-middle-class homes. Nicholas parks. A WHITE
VAN sits near, a wrench-wielding WORKMAN painted on the
side. "Cable Repair Specialists."
Nicholas crosses the lawn of a WHITE HOUSE, to the porch.
He rings the doorbell and waits. Finally, an older man in a
bathrobe answers, CHRISTINE'S DAD, puffy-eyed.
CHRISTINE'S DAD
Yeah?
NICHOLAS
Hello. Is Christine in?
CHRISTINE'S DAD
She's sleeping.
CHRISTINE (o.s.)
Who is it, dad?
INT. CHRISTINE'S LIVING ROOM -- NIGHT
Christine looks down from the top of the stairs. Below,
Nicholas looks up past Christine's dad.
CHRISTINE
What are you doing here?
NICHOLAS
Can we talk?
CHRISTINE
It's okay, dad.
Christine's dad opens the door and heads away. Christine
comes down, in a pajama top and shorts, pleased.
CHRISTINE
Didn't think I'd ever see you again.
NICHOLAS
Come here...
He watches to make sure dad's gone, leads Christine to the
middle of the room, takes out a PHOTOCOPY, unfolds it.
NICHOLAS
What can you tell me about this?
The SEX PHOTO of the woman in the RED BRA.
CHRISTINE
What is it?
NICHOLAS
Is this you?
CHRISTINE
Where'd you get this?
NICHOLAS
It was left in my hotel room, well,
not really mine. You're saying it's
not you?
CHRISTINE
I think I would remember.
(hands it back)
What makes you think it's me?
NICHOLAS
Well... the red bra.
CHRISTINE
(like he's crazy)
Okay.
NICHOLAS
I thought...
He's at a loss, drained.
NICHOLAS
Do you mind if I sit?
CHRISTINE
Sure. You alright? Is this still
that contest you're in...
NICHOLAS
(sits)
I'm tired. I'm sorry, I should go.
I've been enough of a nuisance.
CHRISTINE
Let me go get some clothes on.
We'll talk, okay? Be right back.
Christine hurries upstairs. Nicholas stands, calls after.
NICHOLAS
Do you have any aspirin?
Nicholas takes in the room, unhappy. He squints at a VIRGIN
MARY figurine, picks it up... unscrews the head. It's a
decanter. He sniffs it and puts it back. He sniffs the
air, noticing...
A WISP OF SMOKE rises from a bright LAMP.
INSIDE THE LAMPSHADE: Nicholas peers inside. A PRICE TAG
dangles against the bulb, turning brown, smoking.
Nicholas reaches to remove the tag -- burns his finger on
the bulb, jerking his hands away. He blows on his finger,
sighs, walks to poke his head thru a swinging door...
INT. CHRISTINE'S KITCHEN -- NIGHT
Modest, cluttered. Nicholas goes to the sink, holds his
finger under the faucet. NO WATER. He jerks the faucet
handle, but gets nothing. He looks around...
Opens a drawer -- EMPTY. He opens another drawer -- EMPTY.
He opens more EMPTY DRAWERS, a disturbing thought forming.
Opens a cabinet -- EMPTY.
INT. CHRISTINE'S LIVING ROOM -- NIGHT
Nicholas returns, scanning the room. He picks up a FRAMED
PHOTO of a LITTLE GIRL in a dress, takes the frame apart...
The picture is an ADVERTISEMENT from a glassy magazine, with
TEXT folded behind and print on the back.
Nicholas takes a breath, quickly replaces the clipping just
as Christine returns from upstairs. She's in a pull-over
dress, putting her hair up.
CHRISTINE
Want anything to drink?
NICHOLAS
(holds up frame)
You?
CHRISTINE
Yeah. First Communion. Aren't I a
little angel?
Nicholas offers the frame to Christine, fury showing...
NICHOLAS
Take the picture out.
CHRISTINE
What's wrong?
NICHOLAS
Take the picture out of the frame and
show it to me.
CHRISTINE
I don't...
Christine tries to assess the situation... realizes he's
onto her. She swallows, making a quick decision, drops her
facade, her voice a desperate WHISPER.
CHRISTINE
They're watching.
NICHOLAS
Wha... ?
CHRISTINE
(under her breath)
Not here! They can see.
Christine motions with her eyes. Nicholas looks...
ON THE CEILING, a red-bulbed SMOKE DETECTOR.
CHRISTINE
(cheery, in character)
So, what do you say we go for a
drive? We'll take your car...
She takes his hand and pulls him. Nicholas yanks away...
NICHOLAS
No! I'm sick of this...
CHRISTINE
Nicholas...
Nicholas points up at the smoke detector, addressing it...
NICHOLAS
You can come out now, if you're
there. Come on out! Let's go!
Nicholas walks to the fireplace, picks up a FIREPLACE POKER.
He moves to SWING it up -- SWATS the smoke detector.
Christine runs to the picture window.
CHRISTINE
Now you've done it!
THRU WINDOW: THUG 1 and THUG 2, muscle men, climb out from
the CABLE REPAIR VAN, running this direction.
Nicholas comes to look, poker in hand.
NICHOLAS
What? Oh, and I suppose they're going to...
THRU WINDOW: Thug 1 and 2 draw guns, pointing...
Nicholas furrows his brow, unsure.
CHRISTINE
Get down!
WINDOW'S BLOWN IN by GUNFIRE! as Christine tackles Nicholas.
Shattered glass showers down. KNICK-KNACKS FLY TO PIECES.
Christine crawls. Nicholas follows. They flee, Nicholas
gasping and glancing back, terrified...
IN THE KITCHEN
Christine pulls Nicholas thru a door...
INT. CHRISTINE'S GARAGE -- NIGHT
Christine and Nicholas come downstairs to the empty garage.
Christine's dad looks up from his solitaire game at a card
table, a day player thrown off by this backstage intrusion.
CHRISTINE'S DAD
What the hell... !?
Christine leads Nicholas out the REAR DOOR...
EXT. CHRISTINE'S BACKYARD -� NIGHT
They run along the back of the house...
NICHOLAS
What is this!?
CHRISTINE
God, wake up, it's a con!
Around the corner, toward the front, Christine stops, looking
across the front lawn to Nicholas' Bentley.
INT. CHRISTINE'S GARAGE -� NIGHT
Thug 1 and 2 bluster in, guns up. Christine's dad points to
the open rear door, afraid. Thug 1 thinks quick -- SLAMS
the GARAGE DOOR OPENER...
The OPENER'S MOTOR RATTLES to life, GARAGE DOOR RISING...
EXT. CHRISTINE'S FRONT LAWN -� NIGHT
Nicholas and Christine speed away in the Bentley.
BEHIND, Thug 1 and 2 crawl under the garage door, giving
chase, FIRING. Too little, too late. They run to the van.
EXT. SUBURBAN STREETS -- NIGHT
The Bentley roars onwards...
IN THE BENTLEY
Nicholas drives, white-knuckled. Christine watches behind.
ON THE STREET
The van pursues, far behind, but closing ground.
IN THE BENTLEY
Nicholas checks his mirror. Christine looks forward...
CHRISTINE
Look out!
ON THE STREET
The Bentley SIDESWIPES another CAR as Nicholas runs a light.
The Bentley keeps going, the other car SPINNING...
The van BRAKES HARD to avoid the spun-out car. The van
reverses, angling to get around...
FURTHER ON
The Bentley SKIDS into an alley, lights off, still moving.
The van, having lost half a block, misses this and continues
straight, raging forward, then SCREEEEECHING to stop...
In the middle of a four-way intersection, stumped. The van
chooses a direction, cutting a corner, roaring away...
INT. BENTLEY -� NIGHT
CHRISTINE
(looking back)
Okay... they're gone...
She's thrown forward as Nicholas SLAMS BRAKES. He reaches
across and throws Christine's door open.
CHRISTINE
What are you doing... ?
NICHOLAS
Get out.
CHRISTINE
I could've handed you to them. They
find me now, I'm dead...
NICHOLAS
Get out of my car!
CHRISTINE
You don't have a choice. No one else
is going to tell you what's going on.
Nicholas stares at her with hatred.
CHRISTINE
Do you want to know? If I'm gone,
you never will.
Nicholas flips the headlights on, puts the car in gear and
drives. She pulls the door shut.
NICHOLAS
You can talk while I drive us to the
police.
CHRISTINE
No cops. I've got a warrant out.
Mail fraud. They'll take me in, but
you won't be able to prove anything
else.
Christine takes out cigarettes, lights up.
CHRISTINE
I can't believe they didn't take the
time to get the house right.
Nicholas grabs the cigarette, throws it out his window.
NICHOLAS
Who are "they?"
CHRISTINE
I don't know, nobody does. I'm an
employee.
NICHOLAS
Then, what good are you?
CHRISTINE
I know things... like who you can
trust. Like that your brother was in
on it from the beginning.
NICHOLAS
That's a lie...
CHRISTINE
Yeah? I was your waitress on your
birthday. Connie told you about
C.R.S. that day, remember? I was
already playing my part,
before
you
started the game.
Nicholas looks to her, realizing the truth of it.
Christine's lighting up a new cigarette.
CHRISTINE
It wasn't his fault. He thought it
was his only way back. They fleeced
him real good.
NICHOLAS
How? How could they have gotten
anything?
CHRISTINE
They did the same to him as they did
to you.
NICHOLAS
What are you talking about... ?
She gives him a pitying look.
CHRISTINE
They've already got it, Nicholas.
They got everything.
Nicholas shoots her a glance; this is absurd.
CHRISTINE
Check your accounts. That night in
your office, when we were there...
FLASHBACK -- NICHOLAS' OFFICE -- THAT NIGHT
Christine runs her finger down Nicholas' TELEPHONE. She
looks to see Nicholas is preoccupied, lifts the receiver...
Reads the PHONE NUMBER underneath. She turns, looks down...
There's a NUMBER written on the PHONE JACK on the wall: #C4.
CHRISTINE
I got the number to your private line
and modem. I gave C.R.S. remote
access to your computer...
FLASHBACK --
VARIOUS INSERTS
NICHOLAS' C.R.S. TESTING: Nicholas' hand scribbles his
SIGNATURE... fills out a FINANCIAL QUESTIONNAIRE. A TAPE
RECORDER'S REEL SPINS... a PENCIL blackens TEST BLOCKS...
CHRISTINE
You already gave them everything
else. Handwriting, voice samples,
psych-info. They used it all to
figure out your passwords.
FLASHBACK: ON A MONITOR, combinations of LETTERS and NUMBERS
SCROLL BY, multiplying, too quickly for the eye to see...
CHRISTINE
From there, they only had to keep you
distracted while they broke into the
network and transferred your holdings
to dummy accounts.
FLASHBACK: FIGURES appear on a COMPUTER SCREEN; HIGH NUMBERS
flying down to 000,000,000's. More NUMBERS, falling.
CHRISTINE
Remember Jim Feingold, the guy who
signed you up? He did five years for
hacking Citibank in eighty-four...
FLASHBACK: PAN UP from deft fingers at a keyboard to JIM
FEINGOLD, lit by cold COMPUTER SCREEN GLOW.
BACK TO SCENE IN BENTLEY
Nicholas sweats. He checks his watch, takes out his
cellular, dialing with his thumb. Christine smokes.
CHRISTINE
Why else would they be willing to put
you under... ?
NICHOLAS
(into cellular)
Overseas operator? Please dial
Allgemeine Bank, Zurich.
CHRISTINE
They don't care about you anymore.
Alive or dead is the same, as long as
they bury you deep enough.
EXT. HIGHWAY -- NIGHT
The Bentley SPEEDS out a tunnel on the highway toward S.F.
INSIDE THE BENTLEY
NICHOLAS
(into cellular)
Guten tag. Vilen dank, Englisch.
Blue-two-backslash-five. Mother's
maiden name: Miller. Six-nine-zero,
D as in David. Yes. The balance...
(listens)
That's impossible. When did... ?
Nicholas listens, scarcely breathing. Christine seems
regretful. Nicholas lowers the phone, shuts it off.
CHRISTINE
They got everything.
Lights flash across Nicholas' sweaty features.
CUT TO:
EXT. GAS STATION/CONVENIENCE HUT -� NIGHT
Nicholas pumps gas, pale, on his cellular. Christine stands
across the lot, out of earshot, watching the dark freeway.
NICHOLAS
(into cellular)
Call soon as you get this message,
Sam. I checked them all, I don't
know how, but they drained my
accounts. Now they're trying to kill
me. You tell the cops, I've got one
with me. We'll make her testify. I
know how it must sound. Call on my
mobile. Be careful
INT. CONVENIENCE HUT -- TIME CUT
A FEMALE CLERK taps a gold credit card, listens on a PHONE.
She hangs up, goes to the BULLETPROOF WINDOW. Nicholas and
Christine wait on the other side with armloads of food.
CLERK
(into intercom)
They say I have to take the card.
Nicholas seems numb. Christine checks her pockets.
CHRISTINE
(via intercom)
I think I've got some cash.
CUT TO:
EXT. DIRT ROADWAY -- NIGHT
The Bentley overtakes a logging TRUCK on this dirt road.
IN THE BENTLEY
QUIET NEWS RADIO. Nicholas drains coffee from a styrofoam
cup, rolls his window and tosses the cup out, trying to stay
awake. He looks beside him.
Christine's asleep against her door, placid and
innocent-looking. Nicholas stares at her.
CUT TO:
EXT. LAKE, VAN ORTON CABIN -- NIGHT
Beautiful lake. Dense forest. The Bentley's parked near a
relatively humble CABIN. LIGHTNING FLASHES across the sky.
INT. CABIN -- NIGHT
FIRE in the fireplace. Christine tends a metal pot over the
flames. Nicholas sleeps slumped in a low chair. Christine
passes with the pot. Nicholas awakens, disoriented,
searching for familiarity. He sits forward...
Christine's in the candle-lit kitchenette. He watches her,
grim. She makes coffee. He sits back.
CHRISTINE
What?
Christine comes over and gives him a mug of coffee.
CHRISTINE
What did you say?
NICHOLAS
I didn't say anything.
He gets up, walks, sipping coffee. Christine watches him.
Nicholas stares at FAMILY PHOTOS on the mantle.
CHRISTINE
(sad, unsure)
My name's not Christine. It's not my
real...
NICHOLAS
Who the fuck cares?
He doesn't even look at her, picks up a PHOTO: FATHER and
YOUNG NICHOLAS, holding up fish. Nicholas rubs the dust off
his father's face.
CHRISTINE
It's just money. You should be glad
you're alive.
NICHOLAS
It might be best if we didn't talk.
CHRISTINE
All I mean is... someone like you...
NICHOLAS
How many times have you done this?
I'm interested.
CHRISTINE
What?
NICHOLAS
Scams, con games. How many?
CHRISTINE
I don't know. A lot.
NICHOLAS
Whatever kind of nickel-and-dime shit
you did before, this is more than
just me. Your friends raided pension
plans, and payrolls... they took just
over six-hundred million. You ruined
people's lives.
Christine looks sick and truly scared. The CELLULAR CHIRPS.
Nicholas goes to pick it up off a table.
NICHOLAS
(into cellular)
Yes.
SUTHERLAND (v.o.)
(from cellular)
I got your message. I was disturbed,
to say the least...
Christine stands.
CHRISTINE
Who is it?
NICHOLAS
(into cellular)
What do we do?
SUTHERLAND (v.o.)
(from cellular)
I've been on the phone for an hour
already. Nicholas, your funds are
intact. Nothing's been touched.
CHRISTINE
(worried, insistent)
Who is it?
NICHOLAS
(still into cellular)
What do you mean? I checked them
myself. I made the calls...
SUTHERLAND (v.o.)
Nothing's changed. I'm telling you,
not a cent is unaccounted for...
NICHOLAS
(cups phone, to Christine)
My lawyer... says nothing's missing.
She shakes her head ominously.
CHRISTINE
(fear, whisper)
He's in on it...
Nicholas stares at Christine, trying to comprehend...
SUTHERLAND (v.o.)
I don't know what's happening, but
stay where you are till I get to you.
Give me your precise location...
CHRISTINE
Sutherland's in on it.
SUTHERLAND (v.o.)
I'll come there. Hold on, Nicholas,
I have another call. Tell me where
you are.
Nicholas lowers the phone, pushes DISCONNECT, afraid.
NICHOLAS
We have to get out of here.
The PHONE CHIRPS again. Nicholas looks at it, flicks a
switch on the side, silencing it. He sits, sickened.
NICHOLAS
How did they get to him? Why didn't
you tell me?
She lights a cigarette, backing toward the kitchenette.
CHRISTINE
Mm... I wouldn't worry about it.
NICHOLAS
What... what do you mean?
CHRISTINE
It's out of your hands.
He looks up, trying to figure. His head lulls...
He takes a breath, looks at his trembling hands. Drugged.
He looks around, confused... spots the COFFEE CUP, realizes.
With a CRY of RAGE, he LUNGES toward Christine, but comes up
short, toppling a shelf, contents CRASHING DOWN...
Nicholas rolls, pained, clutching his throat, taking air in
RASPING GULPS. He crawls, swings his fist, slams a table...
CHRISTINE
Cellular calls can be intercepted,
you know.
Christine backs to avoid, hefts a heavy cooking POT in case.
She maneuvers, steps over him. He grabs, blindly...
She scoops up the dropped PHONE and crosses away.
CHRISTINE
(cigarette 'tween lips)
All those calls you made, to B of A,
France, Switzerland... you were
talking to my people.
(hits REDIAL on cellular)
You filled the blanks. Access codes,
passwords, stuff even your lawyer
didn't have -- but we have it now.
Nicholas tries to stand, falls, clutching his gut, CRYING
OUT in great pain, frothing at the mouth.
CHRISTINE
It's over, Nicholas. Goodbye.
THE ROOM SPINS round and round, spinning OUT OF CONTROL.
FADE TO BLACK
BREATHING... then a STRUGGLE... POUNDING, KICKING...
INT. CRYPT -- MORNING
A PARTICLE-BOARD LID SPLINTERS as Nicholas pounds his way
out of a COFFIN, looking wildly around, eyes blood-shot...
A moldering MAUSOLEUM. Light seeps thru cracked walls.
Piles of rotten flowers. Coffins. Hundreds of flies.
Nicholas gags on the air, climbing free and falling to the
floor, legs weak. He's in a WHITE SUIT, dazed and afraid.
There's a RED ROSE taped to his chest.
EXT. MEXICO CEMETERY -- MORNING
Pushing the plywood door of the MAUSOLEUM outward, Nicholas
tumbles into dawn light. He's in a ramshackle GRAVEYARD.
Tombs for miles. Misty, tropical vegetation. Third World.
Nicholas walks, trying to figure this. He notices the red
rose, pulls it off and throws it. An OLD WOMAN sits at a
grave with her rosary. She watches Nicholas, emotionless.
NICHOLAS
Where am I? What is this place?
The OLD WOMAN speaks SPANISH. Nicholas stares blankly. She
seems to be asking questions. Nicholas finally realizes
it's a foreign language, turns, walks away.
CUT TO:
EXT. MEXICO STREET -- MORNING
A busy downtown street. A sea of MEXICAN PEOPLE, many poor.
Nicholas walks, caught in the flow of the crowd, JOSTLED,
aimless. The world's a NOISY BLUR around him.
Nicholas pushes to the TRAFFIC JAMMED street, spotting a
POLICEMAN directing traffic, heads for him...
NICHOLAS
Officer... officer...
HORNS BLAST. Nicholas comes to the officer, relieved...
NICHOLAS
Do you speak English? I'm an
American.
The policeman scolds Nicholas in SPANISH, shoos him away.
Nicholas searches his empty pockets...
NICHOLAS
Listen... they took my wallet...
(insistent, of himself)
American. I am an American citizen.
The policeman shouts angrily, grabs Nicholas' arm. Nicholas
reflexively pulls away...
NICHOLAS
No, you don't understand, I'm an
American...
The policeman unsheathes his baton -- STRIKES Nicholas.
Nicholas hits the street, raising his arms in defense. The
policeman SWINGS AGAIN...
Hits Nicholas' skull. Nicholas runs, escaping thru traffic.
The policeman curses after him.
CUT TO:
EXT. MEXICAN BUS STOP -- DAY
Hot. Nicholas sits on a bench, a dried blood trail down his
face, holding balled-up newspaper to his bleeding head.
Others on the BUSY SIDEWALK don't even take notice of him.
Nicholas checks to see if he's clotted, tosses the
newspaper. He watches traffic pass, sits forward, elbows on
his knees, staring at the sidewalk.
NICHOLAS
... fuck...
Tears forming in his eyes. He takes a deep breath, stops
himself, swallowing back despair, deciding. Determined...
He gets up and walks. He picks up the pace, running.
LONG SHOT: Nicholas running, across one street, down
another, a strange sight in his filthy white suit. Stopping
now and then to ask questions of passerbys, moving on...
FOLLOW: Nicholas continuing, stopping in a SHOP DOORWAY.
NICHOLAS
(to SHOPKEEPER)
The embassy? Please... the American
embassy, do you know it?
No answer. Nicholas continues, slowing. Ahead down the
sidewalk, there's another MEXICAN COP, tough-looking.
Nicholas hesitates, then, approaches...
NICHOLAS
Excuse me... Buenos Diaz, I'm looking
for the United States embassy. U.S.
embassy, please... pour favor?
The cop seems angry, eyeing Nicholas' appearance, deciding.
The cop points down the street. Nicholas heads away.
NICHOLAS
Thank you. Thank you, sir.
Nicholas runs.
EXT. AMERICAN EMBASSY -- ESTABLISHING -- LATER DAY
"Embassy of the United States of America, MEXICO CITY."
INT. AMERICAN EMBASSY, OFFICE �- DAY
A secretary leads Nicholas in from a crowded hallway. An
American COUNSELOR rises from his small desk in his small
office, shaking Nicholas' hand, taking PAPERWORK.
COUNSELOR
Please, sit...
Nicholas sits in a metal chair. A fan blows, poor remedy in
the heat. The counselor reads the paperwork.
NICHOLAS
Mister...
(sees desk name plate)
Mister Patterson. Some things have
happened... it's important that I...
The counselor holds up his hand, still reading...
COUNSELOR
No money, no identification or
passport. You are in a fix.
(looks up from papers)
What did happen to you?
NICHOLAS
Well, where to begin. It's
complicated...
COUNSELOR
(matter of fact)
It always is.
Nicholas looks to the counselor, who sips a glass of water
and looks at papers. Nicholas takes a moment, rethinks.
NICHOLAS
What happened was, I'm on vacation,
alone... I was robbed, at gunpoint.
They hit me and ran. Two men, a few
blocks away. They took my wallet,
money... all of it. So...
COUNSELOR
Robbed?
NICHOLAS
Yes.
COUNSELOR
Have you gone to the police?
NICHOLAS
I don't speak Spanish. All I need is
to get back... just enough for that.
The counselor taps his finger on desk's edge.
COUNSELOR
We'll help with the police, if you
want to bother. As far as money
goes... can I make a suggestion?
(off Nicholas' nod)
You say you were mugged?
NICHOLAS
Yes.
COUNSELOR
And, they didn't take that watch?
Nicholas looks at the ROLEX he's wearing, didn't realize it
till now, having taken it for granted.
COUNSELOR
How much is it? A few thousand, at
least. A Rolex like that... lucky
for you they missed it.
NICHOLAS
Yes, very lucky.
INT. MEXICO CITY PAWN SHOP -- LATER DAY
INSCRIBED on the back of Nicholas' ROLEX: "On your 18th
birthday, your father's watch. Love, Mother"
The FEMALE OWNER examines the Rolex inside a rusty metal
cage, makes a face. Nicholas is at the front of the long
line in this impossibly cluttered pawn shop.
PAWN SHOP OWNER
Cincuenta dolares Americano. Fifty.
NICHOLAS
Fifty? Do you know...
(deep sigh)
It's a Rolex. It's gold. Not gold
colored
, actual gold.
PAWN SHOP OWNER
Si, oro. Cincuenta y cinco.
Cincuenta y cinco Estados Unidos.
Nicholas runs his hands thru his hair... resigned.
NICHOLAS
You see, all you had to do was get in
the ballpark. Yes, fifty-five... si,
senorita.
The owner counts battered dollar bills from a cigar box.
CUT TO:
EXT. BUS STOP/TACO STAND -- DAY
At a faltering TACO STAND painted in peeling orange paint,
Nicholas pays for tacos wrapped in paper and a bottle of
Budweiser. A bus ticket sticks out his breast pocket.
Nicholas steps away, wolfing down the food, following it
with guzzled beer. MANY PEOPLE are waiting for the bus, on
and around benches, suitcases and belongs in piles.
Nicholas looks, still chewing, to THREE YOUNG MEXICAN
CHILDREN staring at him. They stand with their plump
MOTHER, just watching him. Nicholas faces away, eating.
CUT TO:
EXT. MEXICAN HIGHWAY -- DUSK
A repainted SCHOOL BUS zooms past, trailing exhaust.
INT. BUS -- DUSK
Not one empty seat. At the back, Nicholas' eyes flutter
under their lids. He SNORES QUIETLY. The MOTHER of the
three Mexican children is next to him, one child in her lap.
She's asleep, leaning toward Nicholas. The child's awake.
The bus shifts, GEARS GRINDING, and mother slides further
over till her head rests on Nicholas' shoulder. Nicholas
awakens, looking at Mother against him.
The child looks up at Nicholas. Nicholas looks at the
child. Nicholas puts his head back, closes his eyes.
After a moment, the bus jerks and Nicholas opens his eyes,
turning to look out the window, watching a far-reaching
SUNSET. Crimson and gold clouds.
CUT TO:
EXT. MEXICO/UNITED STATES BORDER -� NIGHT
In the line of vehicles at the U.S. BORDER, the BUS' BRAKES
HISS, doors swinging open for an AMERICAN BORDER OFFICER...
INT. BUS -- NIGHT
The BORDER OFFICER comes on, not a calming presence. The
Mexican passengers know what to do, holding up GREEN CARDS
and PASSPORTS for perusal...
The officer grunts at each passenger he approves, moving on.
Nicholas slides lower in his seat. Mother, beside him,
produces her GREEN CARD and holds it aloft, waiting.
The officer comes to glare at Nicholas.
Nicholas looks back at him, unblinking.
The officer looks to Mother's card. He says something in
SPANISH. Mother responds in SPANISH. The officer grabs her
card, speaking, dissatisfied.
He shouts for Mother to get off... hurrying her up, moving
her out...
Mother moves, carrying the child in her lap, hastening the
other two children seated in front of her.
Mother protests about her rope-bound SUITCASES in the
overhead shelf, trying to grip one, arms full of child. The
official pulls her along, ignoring...
Nicholas watches. He rises...
OUTSIDE THE BUS
Mother and three children are unloaded. The official waves
the bus on to the border, despite Mother's protest.
The bus sets in motion...
AT THE BACK OF THE BUS, the rear emergency door is forced
open. Nicholas is there, dropping one suitcase...
Following with a second suitcase, tossing it to the ground
gently as the bus' motion allows. Mother spots this, moving
to collect the suitcases, children following...
ON THE BUS
The BUS DRIVER shouts a complaint in SPANISH.
At the rear, Nicholas pulls the door shut and latches it,
watching thru the window as Mother and children drag their
suitcases out of the path of other vehicles.
CUT TO:
EXT. CALIFORNIA HIGHWAY -- NIGHT
Nicholas walks backwards, exhausted, hitchhiking on the
freeway shoulder. TRAFFIC absolutely SOARS PAST.
EXT. BOB'S BIG BOY RESTAURANT -- NIGHT
Highway in the b.g., Nicholas hikes across the parking lot
of this 24-hour DINER, past many parked TRACTOR TRAILERS.
INT. BOB'S BIG BOY RESTAURANT -� NIGHT
There's a heavy duty TRUCK DRIVER clientele elbow to elbow
at the counter, eating, drinking coffee. The BELL above the
door TINKLES as Nicholas enters.
NiCHOLAS
Pardon me...
Nicholas moves to the end of the counter, louder...
NICHOLAS
Excuse me, please, if I could have
your attention...
Conversations stop. Everyone looks to Nicholas. He's
scruffier than ever; a hobo freak in a white suit, fed up.
NICHOLAS
Thank you. If anyone's heading to
San Francisco, I need a ride.
Met with silence. Nicholas clears his rough throat.
NICHOLAS
There's...
(digs in pockets)
There's all the money I've got left
in it for you... eighteen dollars and
seventy-nine cents...
Nicholas puts his crumpled bills and coins on the counter.
One penny falls. You can hear it hit the floor and roll.
CUT TO:
EXT. UPSTATE CALIFORNIA HIGHWAY -- DAY
BRIGHT DAY. A big, Baskin-Robbins TRUCK rumbles by...
INT. BASKIN-ROBBIN'S ICE CREAM TRUCK -- DAY
ENGINE and ROADWAY ROARING. Windows open, wind whipping.
Beside the DRIVER, Nicholas sleeps wrapped in a blanket.
CUT TO:
EXT. SAN FRANCISCO -- EARLY EVENING
The Baskin-Robbin's tractor trailer keeps on truckin'.
AHEAD: the San Francisco skyline.
EXT. WAREHOUSE DISTRICT -- NIGHT
Nicholas climbs down from the Baskin-Robbin's truck, thanks
the driver. The truck lurches away. Nicholas walks.
CUT TO:
EXT. VAN ORTON MANSION -- NIGHT
The gate is WRAPPED IN CHAINS. Nicholas arrives, trudging.
He pulls to test the chains. There's a "PUBLIC AUCTION"
SIGN hung. Nicholas tears it down, begins climbing...
INT. VAN ORTON MANSION, KITCHEN -- NIGHT
A ROCK SMASHES a glass pane in the door. Nicholas reaches
thru to let himself in. No electricity. Graffiti's gone.
There's scaffolding. Work in progress. Appliances gone.
Nicholas checks the PHONE, finds it dead.
INT. VAN ORTON MANSION, DEN -- NIGHT
Nicholas looks in. Furniture's wrapped in thick plastic.
Curtains and paintings are gone. Like the kitchen, this
room's repainted. Cold and bare.
INT. GUEST HOUSE, FOYER/LIVING ROOM -- NIGHT
The front door's ajar. Nicholas pushes it open slow,
entering darkness. The living room is completely empty.
NICHOLAS
(calling upstairs)
Ilsa.
Pitch dark at the top of the stairs. Nicholas moves forward
into another EMPTY ROOM. It's creepy quiet.
INT. VAN ORTON MANSION, GARAGE -- NIGHT
Nicholas enters the moonlit garage. THREE EMPTY SPACES.
INT. MANSION, MASTER BATH -- NIGHT
IN THE SHOWER, Nicholas scrubs his hair with a bar of soap,
huddled under the cold spray, shuddering.
INT. MANSION, MASTER BEDROOM �- NIGHT
In the stripped bedroom, Nicholas, in a baggy t-shirt and
jeans, pulls a paper wrapped package from a dresser. On the
bed, he tears open the paper, pulling out a long OVERCOAT.
INT. MANSION, KITCHEN -� MORNING
Dawn light. BIRDS HEARD SINGING. Nicholas opens drawers.
He finds a mason jar with CASH inside, unscrews the lid.
INT. MANSION, LIBRARY -- MORNING
Moving boxes. Half the shelves of this impressive library
are emptied into high stacks of books on the floor.
Nicholas moves to search a section still lined with books...
... looking for one in particular, reading spines...
"To Kill a Mockingbird" by Harper Lee, leather bound.
Nicholas takes it down.
INT. MANSION, FOYER -- MORNING
Nicholas heads for the front door. He halts, noticing...
An ENVELOPE on the counter, "TO WHOM IT MAY CONCERN."
Nicholas opens the envelope, unfolding a letter... "Like my
father before me, I choose eternal sleep." Still with the
RED SIGNATURE ARROW affixed below.
INT. MANSION, KITCHEN -- MORNING
The "suicide note" lands in the sink, BURNING.
CUT TO:
EXT. UNION SQUARE, GEARY STREET -- DAY
A MINI BUS halts at a corner. Nicholas is the second rider
off, paranoid, book under his arm. He moves down the
sidewalk... toward the FOUR SEASONS HOTEL.
INT. FOUR SEASONS HOTEL, FRONT DESK -- DAY
Unkempt, unshaven Nicholas is a blight in this flawless
hotel. At the desk, he gets the CLERK'S attention.
NICHOLAS
I'm here to see Conrad Van Orton.
Ring his room.
The desk clerk gives a pause while Nicholas scans the lobby.
DESK CLERK
One moment, please...
The desk clerk crosses to a gray, elder statesman MANAGER,
huddling to speak in hushed tones. Nicholas watches them,
concerned. The manager walks over...
NICHOLAS
What's the trouble?
MANAGER
You're here for Conrad Van Orton?
I'm the hotel manager...
He offers a handshake which Nicholas ignores.
NICHOLAS
Pleasure to meet you, I'd like to see
my brother, thank you.
MANAGER
(worry, guiding Nicholas)
Your brother. Will you come with me?
NICHOLAS
What's this about?
MANAGER
It's a private matter, for you... I
think you'll be more comfortable...
NICHOLAS
Where's my brother?
The manager looks around, feeling indiscreet, voice low.
MANAGER
There were complaints by other
guests, and damage to his room. We
did the best we could to accommodate
his behavior.
NICHOLAS
His behavior... ?
MANAGER
He couldn't, or refused to pay. We
extended credit...
NICHOLAS
Look, where is he?!
MANAGER
There was an incident a few days
ago... a nervous breakdown, they
said. The police took him. They
left this address, in case anyone...
Nicholas struggles to absorb this while the manager takes
out a BILLFOLD of business cards, offers a SLIP OF PAPER...
MANAGER
It's a hospital in Napa. I'm
terribly sorry. If you'd have been
here, you'd have seen, there was
nothing else to do.
Nicholas regards the paper, disbelieving, sorrow welling up.
CUT TO:
EXT. ELIZABETH'S HOME (SAUSALITO) -- DAY
ELIZABETH, Nicholas' ex-wife, bends to kiss her young
DAUGHTER. The daughter runs to a waiting, luxury MINI-VAN.
The female driver waves as the van pulls away.
Across this suburban street, Nicholas stands watching.
Elizabeth is about to go back inside, but she sees Nicholas.
She's surprised, smiling at first instinctively, but then
she looks concerned.
INT. RESTAURANT -- DAY
BUSINESS PEOPLE chat over breakfast. A TV at the bar shows
GOOD MORNING AMERICA. Nicholas and Elizabeth are seated
near. He's edgy, fingering a spoon, hand on his book.
NICHOLAS
I need your car, Elizabeth.
ELIZABETH
What happened to you, Nick? I mean,
look at yourself...
NICHOLAS
I know, look at me, well...
(short laugh)
What happened? I don't know. I
don't even really know. I have some
things to try to take care of... I
need the car a little while.
ELIZABETH
Of course you can have it if you need
it. Can I get you something to eat?
She starts working the CAR KEY off her keychain.
NICHOLAS
You're the only person I can trust.
Everyone else...
(pause)
If Sam Sutherland calls, don't tell
him you saw me. Lie to him. And,
whatever you hear, whatever anyone
tells you when this is over...
Nicholas straightens as a PALE WAITRESS arrives. He studies
her. She notices his fixation, tries to ignore.
PALE WAITRESS
(serving...)
There we go... coffee and English
muffin... water...
(smiles)
So, if there's anything...
Nicholas picks up his bottled water, examining the broken
plastic SAFETY SEAL around the cap.
NICHOLAS
This is open. Someone opened it.
PALE WAITRESS
Yes sir, I...
NICHOLAS
I can't have this open.
(gives it back)
I'd like another unopened. And I
don't want ice. I need a glass
without ice.
The waitress leaves, glad to get away from this freak.
Nicholas keeps looking all around the restaurant and over
his shoulder. Elizabeth takes Nicholas' hand, worried.
ELIZABETH
Nick, talk to me. You're scaring me.
I don't even know what you're saying.
He faces her, looks down at her hand in his.
NICHOLAS
I'm sorry, Liz... I don't mean to.
Nicholas clasps her hand, caresses it, looks at her.
NICHOLAS
The last few days, um... I've been
thinking... had a lot of spare time.
(pause, sad)
I want to tell you... I'm starting to
understand why you left me. I've
been resenting you for it, maybe, but
... I want to apologize, for all of
it. For shutting you out, for not
being there. I...
(swallows)
Anyway, I hope you can forgive me.
ELIZABETH
There's nothing to forgive.
NICHOLAS
It would mean a lot to me... if you
and I could be friends. If I could
have you back in my life... in some
small way. It would be important.
ELIZABETH
Of course, Nick...
Nicholas tries to smile. He glances away for a second, and
he lets out a STRANGLED CRY because he SEES SOMETHING...
NICHOLAS
No... no!
He stands, agonized, looking across to the...
TELEVISION, where JIM FEINGOLD is ON SCREEN in C.U.
NICHOLAS
(to television)
You fucking bastard!
ON TELEVISION: Feingold looks menacing, the top of his HEAD
REDDENING and beginning to THROB. CHEESY SOUND EFFECTS...
NICHOLAS
(still to t.v.)
How did you find me here?!
Obviously, everyone's watching Nicholas, Elizabeth included.
FEINGOLD (v.o.)
(ON TELEVISION)
Honey, my head is killing me!
WIFE'S VOICE (v.o.)
(from t.v., o.s.)
Did you take anything, sweetie?
FEINGOLD (v.o.)
(on television)
I took aspirin, but it's not working!
ON TV: a FEMALE HAND appears, offering a BOTTLE OF PILLS.
WIFE'S VOICE (v.o.)
(from television)
Try Ambutol, you silly goose. It's
stronger than aspirin and...
Nicholas is starting to understand, stunned.
NICHOLAS
He... he's an actor...
ON TV: Feingold, now cured, holds up the pills and smiles.
FEINGOLD (v.o.)
Thanks to Ambutol, I've got my head
back together.
JINGLE MUSIC. Nicholas looks to Elizabeth, points to t.v.
NICHOLAS
It's just a t.v. He's just an actor.
ELIZABETH
(slowly)
Yes.
Nicholas realizes how he must look. He picks up the car
key, gives Elizabeth a kiss on the forehead.
NICHOLAS
I'll explain someday.
ELIZABETH
I hope.
She watches Nicholas hurry away. She sits forward,
wondering, shaking her head.
NEAR THE CASH REGISTER, Nicholas moves to the door, but
stops. He goes to the CASHIER.
NICHOLAS
Can I borrow your Yellow Pages... ?
The cashier digs under the counter, comes up with the PHONE
BOOK. Nicholas takes it, leaving...
NICHOLAS
Thanks.
Nicholas goes out the door, gone. The cashier does a
double-take, about to say something, confused, dour.
CUT TO:
EXT. URBAN STREET -- DAT
A run-down neighborhood. Nicholas drives Elizabeth's VOLVO,
erratically, distracted...
INSIDE THE VOLVO
He steers with one hand while paging thru the YELLOW PAGES
open on the seat. He gets to RESTAURANTS, trading glances
between the book and the street.
ON THE STREET
Red light ahead. The Volvo stops.
INSIDE THE VOLVO
Nicholas finds ads for CHINESE RESTAURANTS, running his
finger down, flipping the page. His finger hits it -- a
grinning CARTOON PANDA. "TUNG HOY Chinese Restaurant."
NICHOLAS
Tung Hoy. Tung Hoy... best in
Chinatown.
He tears the page out and studies it like a pirate with a
treasure map. Suddenly, an arm reaches in thru the window,
putting a KNIFE to Nicholas' throat...
MALE VOICE (o.s.)
Get out of the car, fucker...
Nicholas holds still, eyes shifting to look at the wasted,
skittish TEEN THUG threatening.
TEEN THUG
Open the door and climb out. Leave
it running.
Nicholas is twitchy calm, motionless.
NICHOLAS
You're making a mistake...
The knife presses harder against Nicholas' throat.
TEEN THUG
Get out of the car.
NICHOLAS
You don't understand...
TEEN THUG
Get out of the car, motherfucker!
Get out of the car... !
Nicholas' hand finds and opens the book "To Kill a
Mockingbird" beside him. It's HOLLOWED-OUT with a GUN
hidden inside, a revolver, which Nicholas grips...
Nicholas brings the gun across, into the thug's face...
NICHOLAS
You have
no idea
how fragile I am
right now.
The thug backs off... runs away. Nicholas watches him go,
puts down the gun, drives.
CUT TO:
EXT. TUNG HOY -- DAY
A festive Chinatown neighborhood. At "TUNG HOY," ducks hang
behind the CARTOON PANDA painted on the window.
INT. TUNG HOY -- DAY
Cramped. Walls covered in CELEBRITY HEADSHOTS. Nicholas
faces an OLD CHINESE WOMAN behind the counter.
NICHOLAS
He's an actor. He does television
commercials...
CHINESE WOMAN
Do you know how many customers we
have? Hundreds. Thousands.
NICHOLAS
I know he orders from you. He had
his food delivered to Montgomery
Street. Fifteen-thirty-three...
The woman just shakes her head, continues bagging orders.
Nicholas realizes it's futile. He bends over the counter.
NICHOLAS
Is there anyone else I could ask?
Maybe they'll remem...
Nicholas stops, eyes locked...
Low on the wall, amongst the grease-browned pictures of
pseudo-celebs, there's a newer GLOSSY OF FEINGOLD,
smiling big, labeled "William Fisher."
Nicholas looks to woman who's shouting into the kitchen. He
jumps up on the counter, reaching with his fingertips for
the "Feingold" PHOTO, straining, almost has it...
EXT. CHINATOWN STREET -- DAY
On a PAYPHONE, Nicholas looks at the BACK OF THE HEADSHOT --
credits, phone number -- flips it to show Feingold/Fisher.
NICHOLAS (v.o.)
(into phone)
... I know it's short notice Mrs.
Fisher, but we were hoping your
husband could audition today. He's
perfect for the part...
MRS FISHER (v.o.)
(from phone)
Oh, this will break his heart...
NICHOLAS
Is there any way we can get in
touch with him?
MRS FISHER (v.o.)
His beeper's here on the table. He
took the kids to the zoo.
NICHOLAS
The zoo. How sweet. Which zoo?
CUT TO:
EXT. ZOO -- DAY
ANIMALS lounge in their cages. TOURISTS wander, mostly
families. Here comes Nicholas, running, searching...
Ahead: Feingold's in casual clothes, eating ice cream, doing
his best to supervise THREE OBNOXIOUS CHILDREN. Nicholas
moves in, slows when he's close.
NICHOLAS
Bill Fisher, I love your work...
Feingold turns, smiling... till he sees Nicholas and
recognition sets in. He goes pale, sheepish.
FEINGOLD
Okay, please.. I got my kids...
Nicholas casually shows him the gun.
NICHOLAS
Get rid of them.
FEINGOLD
Hey, everyone -- snack time! Here...
here you go...
Feingold takes out cash and dispenses it. KIDS CHEER and
run to a nearby SNACK CART.
FEINGOLD
Look, it was just a job. Nothing
personal, ya know? I play my part,
improvise a little. That's what I'm
good at.
NICHOLAS
I'm tired of dealing with peons. I
need to get to whoever's in charge.
FEINGOLD
Nobody knows, pal. Nobody gets the
big picture...
(looking away)
Jason, Tommy, cut it out!
His BOYS are THROWING ROCKS at the MONKEYS. They look to
their father, drop the rocks and saunter away.
FEINGOLD
Goddamnit, why do they do that?
NICHOLAS
(grips Feingold's shirt)
How do I find them? Their offices are empty.
FEINGOLD
They own the whole building. They
just move from floor to floor.
Nicholas releases him.
NICHOLAS
They know you... you worked for them.
You can get me in.
FEINGOLD
No, I can't. I'm sorry and all,
but...
NICHOLAS
Tell them the cops are after you...
tell them you've got to talk to
someone, I'm threatening to blow the
whistle.
FEINGOLD
What whistle? There's no fucking
whistle. This is fucking dangerous.
Nicholas gets in Feingold's face, furious.
NICHOLAS
You don't seem to understand. Right
now --
I'm
dangerous.
Feingold gets the message.
CUT TO:
EXT. C.R.S. BUILDING -- EARLY EVENING
Dusk. LIGHTS OFF in the towering building. A battered
STATION WAGON rounds a corner, PAUSES at the GARAGE RAMP.
IN THE STATION WAGON
Cluttered car. Feingold at the wheel, tense, appears alone.
FEINGOLD
We're here.
BEHIND THE SEAT, Nicholas peeks from under a blanket.
NICHOLAS
Drive in.
FEINGOLD
What are you gonna do anyway? You
won't get your money back.
NICHOLAS
(muffled, under blanket)
I don't want money. I'm pulling back
the curtain. I'm here to meet the
wizard.
INT. C.R.S. UNDERGROUND GARAGE -- NIGHT
The station wagon comes down the ramp to a closed GATE. A
BEEFY GUARD looks from his booth. Feingold waves timidly.
The GATE RISES and the station wagon moves on...
IN THE STATION WAGON
IN THE REARVIEW MIRROR: Beefy Guard watches, suspicious.
FEINGOLD
(under his breath)
He's eyeing us like Tiffany Towers.
NICHOLAS (o.s.)
Just go. Park where he can't see.
IN THE UNDERGROUND GARAGE
ACROSS THE GARAGE, near elevators, the station wagon parks.
Feingold gets out, scared. Nicholas climbs out, crouched,
gun in hand, points for Feingold to go first.
Feingold goes to push the elevator button, sweating.
Nicholas remains hidden between cars.
A few elevators down, ELEVATOR DOORS open and a fierce
C.R.S. SECURITY GUARD gets off, spots Feingold, murmurs into
a WALKIE-TALKIE while taking out a gun.
C.R.S. GUARD
You're not allowed to be here.
FEINGOLD
No, they called me back... I have a
fitting...
Behind, Nicholas puts his gun to the guard's neck.
NICHOLAS
Give me the gun.
Security Guard gives it up, an automatic, which Nicholas
throws across the garage. Nicholas forces the guard to the
open elevator, takes the WALKIE-TALKIE and pockets it, pulls
Feingold along...
IN THE ELEVATOR
Nicholas frisks the Guard... pulls out HANDCUFFS.
FEINGOLD
You don't need me...
NICHOLAS
Shut up. Cuff him to the rail.
Feingold takes the handcuffs and obeys. Nicholas jams the
gun against the guard's neck.
NICHOLAS
What floor?
C.R.S. GUARD
Fourteen. But this elevator ain't
gonna get you there, college boy.
Nicholas pulls off the guard's KEYCHAIN, sorts keys...
He uses a GOLD C.R.S. KEY on the control pad, turns it and
hits 14. DOORS CLOSE. The elevator sets IN MOTION.
C.R.S. GUARD
You'll never get away with this.
These people will fuck you up.
Nicholas ignores. Feingold whimpers.
INT. C.R.S. BUILDING, 14TH FLOOR HALLWAY -- NIGHT
ELEVATOR OPENS. Nicholas peers out. No one in the hall.
He pushes Feingold ahead, pushes ALL THE FLOOR BUTTONS.
C.R.S. GUARD
You're fucked. You're both...
ELEVATOR SHUTS. Nicholas and Feingold move on.
NICHOLAS
Where?
FEINGOLD
I told you, they hired me over the
phone. I never met anyone.
NICHOLAS
Where'd you pick up your checks?
FEINGOLD
It was a different floor then...
NICHOLAS
Guess!
FEINGOLD
Like, this way... sort of...
Nicholas nudges Feingold ahead with the gun.
INT. COMMISSARY -- NIGHT
Door swings open. Nicholas and Feingold enter...
A BUSTLING, NOISY COMMISSARY. A cafeteria counter along one
wall. People CHATTING and LAUGHING at rows of long tables.
Nicholas keeps a grip on Feingold, walks forward, stunned...
EVERYONE FROM THE GAME IS HERE: the PARAMEDICS eat with the
HEAVY MAN who faked the heart attack. CHRISTINE'S FATHER is
seated near the airport HOMELESS BUM, BIKINI GIRL and the
MEXICAN MOTHER with her THREE CHILDREN from the bus.
PLUMP GUY, the P.I. who followed Nicholas and had his gun
taken, comes off the cafe line with a soda, spotting
Nicholas... spotting the gun, quaking. He flees...
Nicholas and Feingold continue. BUSINESSMAN 1 and 2 from
Nicholas' club sit near AMBULANCE ATTENDANTS. The TAXI
DRIVER and the FEMALE DETECTIVE chat.
There's the HOTEL MANAGER from the Claremont... the
BELLHOP... the CHINESE WOMAN from Tung Hoy... the DESK CLERK
from the Four Seasons and TEEN THUG.
Every
incidental
character from Nicholas' recent life.
Nicholas inches into the room. A few of the players begin
to notice him, some trying to place him, others pointing him
out to their dining partners. Nicholas halts, sees...
CHRISTINE rising, picking up her dirty tray, in
mid-conversation till she turns and sees...
Nicholas, who raises his gun.
CHRISTINE
Oh, fuck...
People notice the gun. SOME SCREAM. Everyone goes HUSHED.
CHRISTINE
What are you
doing
here?
NICHOLAS
I'm back from the dead.
CHRISTINE
Nicholas, okay... you're not about to
shoot anyone...
Nicholas moves to grab Christine. She drops her tray...
NICHOLAS
You're coming with me!
MALE VOICE (o.s.)
Everybody down!
Nicholas spins. At a far entrance, TWO SECURITY GUARDS aim
guns. PEOPLE SCREAM. Some run. Many dive for cover.
PANIC. Nicholas gets behind Christine...
He uses Christine as a shield, arm around her throat, pulling
her backwards. Feingold's frozen, hands held high...
SECURITY GUARD 1
Don't move!
Nicholas glances at the door, moving for it, dragging
Christine. Feingold's still got his hands up...
Nicholas and Christine near the doors...
Feingold bolts another direction, leaping tables...
Security Guard 1 shifts aim to Feingold...
SECURITY GUARD 1
Stop!
Security Guard 1 FIRES...
INT. 12TH FLOOR HALLWAY -� NIGHT
Nicholas shoves out into the hall with Christine just as
GUNSHOTS ECHO behind. MORE horrified SCREAMS HEARD and
TABLES TOPPLING and PLATES CRASHING.
Nicholas shoves Christine ahead, searching desperately...
NICHOLAS
Get us out of here...
CHRISTINE
Nicholas...
NICHOLAS
Get us out!
He shoves. She falls. He pulls her back up...
INT. STAIRWELL -- NIGHT
They enter. He makes her climb at gunpoint...
NICHOLAS
Move, move, move!
They climb stairs... up towards the "HELIPORT..."
EXT. ROOFTOP -- NIGHT
Air ducts, etc. A MUFFLED ALARM SOUNDS as Christine comes
out the door onto the windy rooftop, followed by Nicholas.
She backs against the railing the borders the huge BLACK
PIT at the center of the building; an atrium SKYLIGHT.
Nicholas SLAMS the door, throws the HEAVY BOLT, searches to
make sure the rest of the roof is clear.
CHRISTINE
What do you think you're doing?
NICHOLAS
You tell me... I want to know who's
behind this. Who did this to me...
how, why... ?
CHRISTINE
How deluded can you be? There's no
why
...
NICHOLAS
Who's responsible?!
CHRISTINE
It wasn't you. It wasn't personal...
NICHOLAS
You call them...
Nicholas pulls out the WALKIE-TALKIE, throws it to her.
CHRISTINE
It could have been any asshole with a
couple hundred million in the bank.
NICHOLAS
Call them, tell them to get the boss
up here. Tell them I'll kill you...
POUNDING is HEARD from the other side of the roof DOOR.
MUFFLED VOICES. Nicholas reacts.
CHRISTINE
They won't...
NICHOLAS
They will! You tell them if they
don't come now, I will shoot you!
STATIC and GARBLED ORDERS HEARD from the WALKIE-TALKIE.
CHRISTINE
I'm telling you... they'll let me die
first. You're not in a position to
threaten them. You're trapped.
You're the one who...
Christine freezes, thrown...
CHRISTINE
... wait a minute...
She's taking notice of the revolver Nicholas brandishes...
CHRISTINE
Where'd you get that... ?
NICHOLAS
... what... ?
CHRISTINE
That gun. That... that's not
automatic. The guard had an
automatic...
POUNDING is LOUDER against the nearby door.
NICHOLAS
What the fuck are you... ?
CHRISTINE
Where'd you get that gun?
NICHOLAS
It's mine...
CHRISTINE
We searched the house.
NICHOLAS
Guess you missed it.
CHRISTINE
(suddenly very afraid)
Just... wait. Just wait! Okay...
please, I'm not kidding anymore...
Christine brings the WALKIE-TALKIE to her mouth...
CHRISTINE
(into walkie-talkie)
He's got a gun. Everyone, he's got a
real
gun up here! Real situation!
(switching channels)
... damn it...
NICHOLAS
What are you doing?
CHRISTINE
Nicholas, this is fake. It's all
part of the game...
NICHOLAS
Fuck you.
THUMP-THUMP-THUMP against the DOOR...
CHRISTINE
Listen very carefully, I'm telling
the truth... this is the game. This
was all the game.
NICHOLAS
Bullshit. They killed him.
Feingold, Fisher, whoever... they
shot him...
CHRISTINE
No, now wait... think about it. What
did you see... ?
NICHOLAS
I saw them kill him!
CHRISTINE
What did you
really see
? This
whole time... special effects,
squibs, like in the movies. Please,
you've got to believe me...
(into walkie-talkie)
He's got a gun, with real bullets!
NICHOLAS
Stop talking to them!
CHRISTINE
Okay... okay...
(drops walkie-talkie)
I put it down. Now open that door.
Mister Fisher's right on the other
side of that door. He's an actor...
NICHOLAS
Stop talking...
CHRISTINE
Nicholas...
NICHOLAS
Shut up!
CHRISTINE
Let me show you...
She takes a step toward the door.
NICHOLAS
No! You take another step, I'll
shoot! They're trying to kill me...
CHRISTINE
You're wrong. You're about to make
the biggest mistake of your life.
Put that gun down.
POUNDING on the DOOR is DESPERATE. Nicholas falters...
CHRISTINE
Think about it! They followed you
every step of the way. There was
always a safety net. The taxi, there
was a diver. At my house, the window
was rigged... they shot at us with blanks...
NICHOLAS
That's not true...
CHRISTINE
It is. It's what you hired us for.
Nobody touched your money. Nobody
stole anything. They're waiting on
the other side of that door with
champagne... all your friends... it's
a celebration...
NICHOLAS
No...
CHRISTINE
Open that door, you'll see. Your
brother's there... Conrad. He's
there. It's your birthday party...
NICHOLAS
Stop it!
CHRISTINE
Please, Nicholas, let me show you...
She takes a tentative step towards the door...
NICHOLAS
Don't move, you bitch... !
CHRISTINE
(still moving)
I have to show you...
NICHOLAS
No!
And from the staticy WALKIE-TALKIE on the ground:
MALE VOICE (v.o.)
(thru WALKIE-TALKIE)
... Take him down! Take him down...
CHRISTINE
(shouts to door)
He's got a gun!
With a CLANK! -- the DOOR is POUNDED OPEN, swinging...
Nicholas turns, aims at the door...
CHRISTINE
Don't!
Nicholas FIRES, gunshot DEAFENING... !
In the doorway, Conrad, in TUXEDO and PARTY HAT, is startled
as the magnum of CHAMPAGNE he holds EXPLODES and throws foam
and glass in a wide spray...
The smile falls from Conrad's face as BLOOD spreads across
his chest. He looks to Nicholas, confused, collapsing...
A collective cry of horror comes from the gaily dressed
PARTY-GOERS behind as Feingold catches Conrad and eases him
to the ground, cradles him...
Nicholas lowers his gun... realizing...
NICHOLAS
Connie...
Feingold clutches Conrad, trying to stop the bleeding,
feeling for a pulse. Blood flows out Conrad's mouth.
FEINGOLD
Jesus... you
shot
him... !
(back to others)
Someone call an ambulance!
Conrad's eyes are closed. He's motionless. He's dead.
Christine lets out a hysterical sob, hands to her mouth.
FEINGOLD
Oh, God... oh, God...
Nicholas drops the gun, moves forward, stunned, numb...
FEINGOLD
He's dead... he's dead... !
(to Nicholas)
You killed him!
Nicholas falls to his knees in front of Feingold and Conrad.
Christine's eyes fill with tears...
CHRISTINE
(to Nicholas)
Why?! I told you... I told you. Why
didn't you listen?
Feingold releases Conrad to the floor, rising, bloody...
FEINGOLD
We're going to jail. We're all going
to jail for the rest of our lives...
People start clearing out of the stairwell, heading down.
FEINGOLD
(to Nicholas)
We thought you
knew
! How could you
let this get so out of hand?
Nicholas just remains kneeled there, breathing unevenly,
staring at his brother's corpse...
CHRISTINE
Why wouldn't you listen to me? What
is wrong with you? You killed your
own brother!
Nicholas looks to the dark sky, tears streaming down his
face. He looks all around.
Christine stops, looking down at the corpse, crying out of
control. Feingold comes to attempt to comfort her.
Nicholas gets to his feet, unsteady, backing away, looking
to the GLASS SKYLIGHT. He wipes his tears.
Nicholas stands motionless for the longest time. Calm.
Nicholas moves forward... a goal in mind...
Christine turns, sees...
Nicholas comes to the edge of the SKYLIGHT...
Christine screams...
Nicholas leaps...
INT. C.R.S. BUILDING -- NIGHT
Nicholas CRASHES thru the SKYLIGHT, FALLING...
SPARKLING SHARDS surround him like stars as he PLUMMETS...
The WORLD BELOW is PITCH DARK. Nicholas turns in the air,
head thrown back, closing his eyes...
FLASHBACK
/GRAINY HOME MOVIES -- FLASH FRAMES
QUICK IMAGES: the CLOWN, CHRISTINE'S FACE, NICHOLAS and
CONRAD as children, Nicholas' FATHER striking the ground...
IMAGES so RAPID they're hard to process.
BACK TO SCENE
As Nicholas falls...
FALLING forever...
He lets out a CRY as the end rushes closer...
BRILLIANT LIGHT suddenly illuminates him. Nicholas throws
his eyes open, gasping in the brightness...
LIGHTS come on from all sides to show NICHOLAS' IMPACT as he
lands on his back, arms outstretched, SWALLOWED by an
ENORMOUS INFLATED LIFESAVING CUSHION that covers the entire
floor of the atrium...
AIR is HEARD RUSHING. Nicholas sinks, coming to rest as the
cushion DEFLATES. Harmless bits of BREAKAWAY GLASS shower
down. He doesn't move...
He can't comprehend. Motionless.
DOORS are HEARD OPENING. FOOTSTEPS RUSHING FORWARD.
VARIOUS VOICES (o.s.)
... let's go! ... make sure he's
alright... see if he's okay...
STUNT COORDINATORS come from all directions, in C.R.S.
jumpsuits, wading thru the flowing cushion, coming to help
Nicholas up, asking if he's okay. Nicholas just blinks at
them, quaking, lips trembling...
He's led out of the cushion, barely standing, sees...
Conrad runs from the elevators, covered in blood but very
much alive, smiling...
Conrad reaches Nicholas, throwing his arms around him,
giving him a long kiss, laughing...
CONRAD
Happy Birthday, Nickie. Happy
fucking Birthday...
Conrad embraces him again, knocks him back into the cushion.
Nicholas is still not all there, pulling away...
NICHOLAS
Get... get off. Get off me!!
You... you...
Nicholas shoves free, staring at Conrad, looking up, looking
back at Conrad, looking all around, terrified, near tears...
Emotion overwhelms Nicholas. He laughs and cries at once,
takes Conrad in him arms, holding tight, hands balled into
fists, clinging gratefully.
ACROSS THE ATRIUM, DOORS OPEN and people flow out, cheering:
Sutherland, Ilsa and Elizabeth at front, looking unsure,
forcing smiles, led by C.R.S. ESCORTS. And behind, DOZENS
and DOZENS of C.R.S. WORKERS, ASSISTANTS and TECHNICIANS.
At the bank of ELEVATORS, DING, DING, DING... DOORS OPEN and
the CAST OF CHARACTERS EMERGES, Feingold leading, holding
Christine's hand, everyone elated and shouting victoriously.
The crowd encircles Conrad and Nicholas as they climb back
out of the cushion. HUNDREDS of WELL-WISHERS gathering...
Conrad climbs a few stairs, pulls Nicholas along, motions...
CONRAD
Ladies and gentlemen...
(pause)
My big brother... Nicholas Van Orton!
He had it all, and now he has it all
back!
THUNDEROUS APPLAUSE. Nicholas looks out over them, flush,
awed, unable to catch his breath.
CUT TO:
INT. C.R.S. BUILDING, ATRIUM/LOBBY -- TIME CUT -� NIGHT
LOUD MUSIC. COCKTAIL PARTY IN PROGRESS. A huge CAKE is
being cut. Tables surround a PACKED dance floor area where
Feingold dances crazily. Everyone's drinking, eating...
IN THE CROWD, FIND: Nicholas stands with a bottle of
champagne in hand, watching Ilsa embrace Conrad.
ILSA
I hope we'll be seeing more of you.
CONRAD
Count on it.
Ilsa reaches to straighten Conrad's hair. She regards
Nicholas with affection, kisses his cheek.
ILSA
Goodnight. See you home.
NICHOLAS
Goodnight.
(watches her go, to Conrad)
Where was she?
CONRAD
In a hotel. Ordering room service
and watching pay-per-view. She was a
real sport.
BUSINESSMAN 1 and HEAVY MAN come thru the crowd to Nicholas.
BUSINESSMAN 1
Hey, congratulations! You did
great... really kicked ass...
HEAVY MAN
Amazing, just wanted to tell you...
Nicholas thanks them, shaking hands as they move on.
NICHOLAS
(to Conrad)
You know... how'd you manage the gun?
I mean...
CONRAD
Baby, they were all over the house
with metal detectors. They switched
your gun with a look-alike, rigged
barrel, loaded with blanks. Pop-gun.
MAN'S VOICE (o.s.)
(from behind)
Mister Van Orton... ?
Nicholas and Conrad both turn to face a C.R.S. ACCOUNTANT, a
nebbish who holds a CLIPBOARD and gives an amused look.
ACCOUNTANT
Conrad
Van Orton.
CONRAD
Yeah... ?
Conrad steps aside with the accountant. Nicholas takes a
swig off his champagne, nods in response to C.R.S. WORKERS
who slap his back as the pass.
Nicholas realizes something, begins searching the crowd as
Elizabeth arrives with HUSBAND and DAUGHTER hand in hand.
ELIZABETH
We have to head out... just wanted to
say goodbye.
NICHOLAS
You're going? Well, thanks again.
(to DAUGHTER)
Good to see you, Rachel...
(shakes HUSBAND'S hand)
Thanks for coming, Mel. I'll get
your car back. Right now it's, uh...
at the zoo. Sorry.
ELIZABETH
Happy Birthday, Nicholas.
NICHOLAS
I'll call. I really will.
ELIZABETH
I know.
She kisses his cheek. Nicholas waves as they go...
NICHOLAS
Bye guys.
Nicholas looks around, still searching. He walks, receiving
more random congratulations, heading to a table where
Sutherland sits puffing a cigar. Nicholas sits.
SUTHERLAND
Bravo, young man. you have to tell
me what this was all about sometime.
(blows cigar smoke)
I want you to know... when it looked
there for awhile like you were going
slowly insane... I was fully
prepared to have you committed to the
finest
mental-health facility
available. I mean that sincerely,
don't thank me.
NICHOLAS
You warm my heart.
Sutherland smiles, raises his glass. Conrad deposits
himself in a seat, holding an inch-and-a-half thick stack of
COMPUTER PAPER, studies the last sheet, thumbs the pages.
NICHOLAS
What?
CONRAD
This... ? Oh, this is just... this
is the bill.
Conrad tries to laugh, daunted.
NICHOLAS
Really?
CONRAD
(none too happy)
Yeah.
NICHOLAS
Split it?
CONRAD
Oh, God yes please. Thanks, man.
I'll take you up on that.
NICHOLAS
(leans forward)
Where's Christine?
(off Conrad's look)
The waitress.
CONRAD
Yeah, yeah. She called a cab.
Said something about catching a plane.
NICHOLAS
Did she?
Nicholas looks around.
EXT. C.R.S. BUILDING -- NIGHT
Nicholas comes out of the building to the street, hurrying
without wanting to appear hurried, looks both ways. Down
the block, a TAXI arrives. Christine's getting in.
Nicholas runs to catch it...
NICHOLAS
Excuse me... Christine... !
She looks out, waiting with the door open.
NICHOLAS
Hi. Didn't get a chance to say
goodbye.
CHRISTINE
That's my fault. I get too worked up
at these. I'm very method. You do
know... that's not my name.
NICHOLAS
I didn't know what else to call you.
CHRISTINE
Claire.
NICHOLAS
Claire. Pleased to meet you.
He holds out his hand. She shakes.
CHRISTINE
I have to get to the airport...
NICHOLAS
Where are you going in such a hurry?
CHRISTINE
There's another gig starting in Saudi
Arabia. I'm just a walk-on this time
though. Bit-part.
NICHOLAS
What about dinner sometime, when you
get back? Would that be... ?
CHRISTINE
(pause)
Is this something you're interested
in? I'm not really that person I was.
NICHOLAS
I realize. Maybe you could... tell
me a little about yourself.
CHRISTINE
Like what... my favorite color... ?
NICHOLAS
Like... where are you from?
CHRISTINE
Originally, Connecticut.
NICHOLAS
Big family... small?
CHRISTINE
One brother, one sister.
NICHOLAS
Studied acting, I assume?
CHRISTINE
Julliard, yeah.
NICHOLAS
Single?
CHRISTINE
Yes.
NICHOLAS
Boyfriend?
CHRISTINE
No.
NICHOLAS
Underwear?
CHRISTINE
Always.
Nicholas nods, scratches his head.
NICHOLAS
I could learn to live with that.
Christine smiles.
NICHOLAS
See how much I've learned already.
Imagine how much more I could learn
if you let me keep you company to the
airport.
She considers.
She moves over. Nicholas gets in beside her, shuts the
door. The cab drives away, into the nighttime city.
THE END
| screenplays |
Planck constant: photon energy level and density question
$$E = hf = \frac {hc}{\lambda} = J = eV$$
[Wikipedia](https://en.wikipedia.org/wiki/Electronvolt) says a photon with $\lambda = 532$ nm would have $E = 2.33$ eV $= 2.33$ J.
This calculates for a single photon, so is photon density required to calculate the energy for cross sectional area? How is that found?
I see Planck's Law $B(f,T) = \frac P {m^3} = \frac {W} {t m^3}$ so perhaps $\frac W {m^3} =B(f, T) t$?
As it stands, your question is incomplete.
You currently have the energy for each photon, $E\_{\text{photon}}=hf$. If you we are provided other parameters we can assist you in reaching a conclusion.
For instance, if given "$10^{10}$ photons per square meter" then the energy density ($N\_{\text{photons}} E\_{\text{photon}}/A$) can be calculated as $10^{10} \text{photons} \cdot 2.33\frac{\text{eV}}{\text{photon}}/1\text{m}^2$.
| stackexchange/physics |
although the success is very high , posterior maxilla can withstand lower mechanical forces because of its thinner cortical layer , and the lower density of the maxillary spongiosa thus is more critical than other sites .
furthermore , the maxillary sinus restrict the available bone volume , necessitating shorter implants and/or grafting procedures .
bone density plays an important role in planning of implant dentistry in terms of timing of loading as well as number of implants to be used for denture support especially in critical locations such as posterior maxillae .
bone mass , structural properties ( macro- and microarchitecture ) , and material properties ( modulus of elasticity , mineral density , etc . ) constitute mechanical competence of bone , which is commonly referred to as bone quality in implant dentistry .
substantial variations in bone quality in corresponding anatomical sites and direct correlation between bone quality and implant success rates exist .
since mechanical behavior of bone is a critical factor in the attainment and maintenance of osseointegration , several classification systems and procedures were advocated for assessing bone quality and predicting prognosis [ 5 , 6 ] .
these assessment methods have various limitations in addressing cortical and cancellous bones in a subjective and quantitative manner .
there are several radiological methods for bone mineral density ( bmd ) measurements yielding close relationships such as dual - x - ray absorptiometry ( dxa ) scanning and hounsfield unit ( hus ) from computed tomography imaging .
texture analysis has been applied in micro - ct , while hounsfield units ( hu ) have been used in spiral ct as a measure , related to jaw bmd .
cone beam computed tomography ( cbct ) is a more recent development than spiral ct .
its clinical application in the field of dentomaxillofacial radiology is gaining importance and spreading widely [ 1012 ] , but the available research on cbct - based bone quality assessment is scarce .
low dose cbct is often advised for implant planning , considering the possibility to gather clinically relevant 3d data at a low dose , but cbct does not necessarily allow reliable and accurate bone quality assessment when focusing on the inherent radiographic density information that is otherwise expressed by hu .
on the other hand , a very recent study reported of a strong positive correlation of radiographic bone density assessed by cbct with bone volumetric fraction assessed by micro - ct at the site of dental implants in the maxillary bones .
although strong correlations exist , still a 3050% of unaccounted variance in mechanical properties from bone density measurement has been reported [ 15 , 16 ] .
osteoporotic cancellous bone is characterized by low bone mass as well as a deterioration of the microarchitecture .
whether a patient is diagnosed osteoporotic depends only on his / her bmd and how this bmd value compares to a population average .
clinical results have shown that bmd of patients with osteoporotic bone fractures and patients without such fractures can have a substantial overlap , causing variance similar to that in density mechanical property relationship studies .
the microarchitecture of cancellous bone has been largely attributed to this variance ; density approximates the amount of bone tissue within a cancellous bone specimen but it does not quantify the microarchitecture that is inherent . together with bone density readings , a quantitative measurement of microarchitectural parameters may improve our ability to better estimate bone strength .
microcomputed tomography ( micro - ct ) is a relatively new method to image and quantify bone with very high resolution [ 14 , 20 ] .
microcomputed tomography ( micro - ct ) scanners , with similar working principle as conventional clinical ct scanners , have been used to study microstructure of materials in three dimensions and to study the relationship between microarchitectural parameters and mechanical properties of cancellous bone .
micro - ct may not be applicable routinely in clinical practice for now , although as a reliable method for bone mass and structure evaluation , it might offer much needed insight into bone quality assessment by providing objective and quantitative microstructural data .
image datasets of human cancellous bone specimens at micron resolution were acquired and from these datasets , microarchitectural parameters have been determined and converted into microfinite element ( fe ) models .
it was shown that the predictive power of bone strength and stiffness was improved with the combination of bone density and microarchitecture information and this work supported the prediction of microarchitecture using current clinical computed tomography imaging technology . while clinical ct scanners typically produce images composed of 1 mm volume elements ( voxels ) , x - ray microcomputed tomography ( micro - ct or ct ) systems developed in the early 1980s had much better spatial resolution , producing voxels in the range of 550 m , or approximately 1,000,000 times smaller in volume than ct voxels [ 24 , 25 ] .
compact commercial systems are now available and are rapidly becoming essential components of many academic and industrial research laboratories .
a wide range of specimens may be examined directly using micro - ct including mineralized tissues such as teeth , bone , and materials such as ceramics , polymers , or biomaterial scaffolds .
micro - ct systems are now widely used in many academic fields , several recent reviews have presented the current state of micro - ct imaging and analysis of them [ 14 , 2730 ] .
emphasis has traditionally been placed on the cortical bone as quality predictor due to its stiffness for achieving primary stabilization [ 31 , 32 ] .
however , a dental implant is mainly in contact with cancellous part of bone , and mechanical characteristics of cancellous bone also influence the load bearing capacity of implant - bone union . in fact
, the presurgical determination of bone density plays an important role in planning of the surgical procedure as well as prosthetic treatment . in another study human cadaveric maxillary and mandibular trabecular bone with 3d morphometric data acquired through micro - ct
were analyzed and correlated with bone density measurements in hounsfield scale and lekholm - zarb bone classification [ 3 , 5 ] .
micro - ct is a nondestructive , fast , and precise technique that allows measurements of trabecular and cortical bone .
it can provide a spatial representation of bone formation at the implant surface and the peri - implant region up to a few microns or even better , and can evaluate both qualitative and quantitative morphometry of bone integration about dental implants .
the aim of this pilot study was to review the current literature about bone density assessment and evaluate the macroscopic structure of bone specimens having been scored by hounsfield units afore .
after removal of the mandible from the cadaver , the obtained mandible was scanned by dental volumetric tomography ( dvt ) for planning of the specimen positions and fabrication of a surgical guide .
the scan of the mandible was performed with a newtom ( newtom cone beam 3d imaging , afp imaging corporation , new york , usa ; figure 1 ) .
a surgical guide was fabricated on the cast obtained from an impression of the alveolar process of the mandible ( figure 2 ) .
bone cylinders of 3.5 mm diameter and 5 mm length , were excised from a cadaver mandible using the surgical stent ( figure 3 ) .
excising of bone cylinders from the mandibular body was done using a slow speed trephine drill ( trephine drill 3.5 mm 22 mm , salvin dental specialties , inc , charlotte , nc , usa ) under constant irrigation by the use of the prepared stent ( figure 4 ) .
nine bone cylinders in total were extracted for the experiment ; cylinders were stored in consequently numerated 0.9% saline solution containing little vessels . however , since 2 of the cylinders were damaged during removal , these were excluded from the study .
the 5 mm cylinder length was chosen to satisfy continuum assumption , so that mechanical properties derived for each cylinder was representative of the whole bone .
after removal of the cylinders two more scans were performed , with the surgical stent and without surgical the stent , respectively .
the images of the first scan were used for the determination of the hounsfield unit values .
the cavities of the removed bone specimens were localized by viewing the second and third scan images and the hounsfield unit values of the missing bone cylinders was determined by taking the mean of five values : coronal , apical , buccal , lingual , and the center .
the software ( newtom imaging software , afp imaging corporation , new york , usa ) is capable of giving graphically the hu values of the marked zone . for each bone cylinder , the raw ct values were converted into hu by means of the following formula : hu = 1000(ct ctw)/(ctw cta ) where ct , ctw , and cta are the values of bone , saline , and air , respectively . as a part of the pilot study ,
the bone cylinder on the left first premolar molar region of human cadaver bone was randomly chosen for micro - ct scanning .
the bone cylinder was placed in a custom vessel wrapped in paper soaked with saline solution to prevent any desiccation , and isotropically scanned at 14 m resolution with a model 1172 micro - ct scanner ( skyscan , kontich , belgium ) using a cbct scanning technique ( figure 5 ) .
cbct is a novel ct image acquisition technique in which up to a several hundred ct images ( as opposed to 13 images in normal ct ) are reconstructed by one data acquisition as the data on the fluoroscopic image is handled as plane data .
the total time required for scanning and reconstruction was approximately 30 minutes per sample , thus deterioration of the bone cylinder as a result of being exposed to ambient conditions was significantly reduced . to ensure a consistent ct image resolution among all the datasets ,
the scanner turntable location was fixed at a specific sod and sid distance of 19.03 mm and 356.90 mm , respectively .
the x - ray parameters were set at 51 kv and 200 a and the ct images were processed at a scaling coefficient of 50 and averaged three times . with these parameters , together with a 0.5 mm aluminum plate placed at the x - ray detector , a good contrast was achieved in the resultant ct images between trabeculae .
resultant ct images for each bone cylinder was evaluated for microarchitectural parameters such as tissue volume , bone volume , percent bone volume , tissue surface , bone surface , intersection surface , bone specific surface , bone surface density , trabecular bone pattern factor , structure model index , trabecular thickness , trabecular number and trabecular separation ( ct analyzer , skyscan , belgium ) ( figure 6 ) .
the main objective of this study was to study the possibility of inferring of microarchitectural parameters from clinical ct images .
the rate of cancellous bone volume in the total volume of core is the bone volume density ( bv / tv ) , which was in the range of 0.120.29 for the sample .
all the measured hu values , means , and ranges are shown in table 1 .
the highest hu values were encountered in the interforaminal region , especially in the midline ( 408742 ) .
posterior regions showed lower hu values , especially the first molar regions ( 2261 for the right ; 1466 for the left first molar regions ) .
the bone cylinder which was scanned by micro - ct showed an incongruous structure when hu of the donor site was considered .
the hu values indicated a higher density bone , whereas the micro ct image revealed rather a spongious bone ( figure 6 ) .
our primary objective of studying the relationship between hu from ct images and microarchitectural parameters , density given in objective values ( mg / cm ) and hu , was the evaluation of a diagnostic tool for in vivo assessment of bone quality .
a formalin - fixed cadaver mandible was harvested and used in the present study for several reasons .
the main reason was the ease to obtain in comparison to a fresh cadaver as recommended in a few studies [ 36 , 37 ] .
tissue fixation with 10% formalin ( 4% formaldehyde ) is widely used to preserve specimens without refrigeration , offering researchers the added benefit of protection from specimens with communicable diseases [ 3842 ] . although it is assumed that formalin fixation alters the mechanical properties of bone , studies failed to deduce quantitative data [ 43 , 44 ] .
chemical fixation through the use of aldehydes has been shown to cause a direct effect on bone mechanical properties by forming an increased number of inter- and intrafibrillar cross - links of primary amine groups of polypeptide collagen chains [ 38 , 44 ] have shown that while formalin fixation has no effect on the mineral composition of bone , it causes the collagen fibrils to be more closely packed . however , in a recent study it was reported that formalin fixation and freezing would not adversely affect the viscoelastic and elastic mechanical properties of murine bone .
the use of embalmed bone is known to be used in studies testing the mechanical behavior and efficacy of fracture fixation devices , joint prostheses , and other reconstructive orthopedic devices .
accuracy of micro - ct was qualitatively evaluated by comparing to standard histomorphometric data with the corresponding ct slices for the same specimen .
the results showed that , in general there was a good correlation between histomorphometric data and microtomographic data .
one author obtained a correlation coefficient of 0.855 . the result from this pilot study has raised doubt that in addition to bone density , bone microarchitectural parameters can also be predicted from clinical - ct imaging .
we chose to use the cbct , as it is a three - dimensional measurement often used in dentistry .
in similar studies [ 47 , 48 ] , it was reported that to reasonably evaluate cancellous bone architecture , image datasets of resolutions not more than 100 m should be used .
microarchitectural parameters from both clinical - ct imaging and histological sections were also compared and it was shown that high - resolution clinical - ct resulted in an overestimation of microarchitectural parameters .
in a recent study , the scan was initially utilized to assess bone quality subjectively in lekholm and zarb classification at incisor and molar edentulous sites by rating the distribution of cortical and cancellous bones and density of cancellous bone in hu was determined through a function of the ct equipment by averaging the readings of multiple slices within respective sites .
similarly , in our study , the hounsfield units were determined by taking the average of five values of the removed cylinders : coronal , apical , buccal , center , and lingual , additionally stating the range of hu values of each cylinder . for harvesting the cylinders
there is great difficulty in accurately excising bone specimens that correspond to the exact ct volume of interest , if the bone specimens are to be excised after clinical imaging , as pointed out in a previous study . in the previously mentioned study ,
the specimens were scanned after removal from the bone for this reason . however in the present study we preferred to use the whole mandible in the cbct to mimic the clinical application . in a study by fanuscu and chang , the anterior sites in both arches
were noted to be volumetrically denser than the posterior sites , indicating varying bone mass .
it was noted that volume density remained depthwise stable in the maxilla , whereas in the mandible it decreased with depth in the corono - apical direction , as being seen in our study too .
current classifications and procedures for evaluating bone have certain shortcomings as mechanical competence in terms of mass , structure and material is not well addressed for trabecular bone .
friberg et al . proposed an objective cutting resistance procedure that might provide a composite value for mechanical characteristics in predicting bone quality for initial stability .
however , mechanics of drilling with a bur and withstanding occlusal forces by an implant has to be further investigated and correlated .
trisi and rao compared histomorphometrics and hand - felt cutting resistance and demonstrated that subjective tactile sensation was proved to be poor in discerning finer differences .
about ten years ago an image - based bone density classification that utilizes gray - scale values through ct was suggested .
the method of preoperative bone density measurement was advocated as a prognostic indicator in which site - specific , objective and quantitative results on the hounsfield scale would provide bone - quality information . following this perspective ,
the reliability of hounsfield units in predicting bone density was evaluated in this preliminary study .
the proposed classification evaluates bone mass ; however , its mechanical value is limited without structural and material properties .
. reported on bone mass increase in osteoporotic patients by medications and found that bone strength was not increased and fracture risk was not lowered as much as expected by the gain in bone density .
this suggests that there is an important influence of the complex microarchitecture on the mechanical competence of bone .
it should be underlined that cbct data have a larger amount of scattered x - rays than conventional spiral ct .
this may enhance the noise in reconstructed images , and thus affect the low contrast detectability . because of scatter and artifacts , hu values in cbct are not valid , and therefore the method of correlating bmd to hu values from cbct is not ideal .
moreover , the scatter and artifacts in cbct get worse around inhomogeneous tissues with reduced hu values up to 200 hu , which confirms that the hu in cbct is not a valid method for bone quality assessment . since up till now cbct - based bone quality assessment is neither accurate nor reliable ,
there is a need to find methods to circumvent the shortcomings of this particular development , so as to have a reliable way to assess bone quality or there is a need for methods , other than density measurements , for bone quality assessment . in a bone density assessment study
it was concluded that mandibular cortical bone was denser than cortical bone of the upper maxilla , whereas cancellous bone has similar densities in both mandible and the upper maxilla .
texture analysis may thus come into play , which is strengthened by the fact that bone quality may be expressed by its microarchitectural composition .
may be for this reason a very recent study concluded that correlation of micro - ct and conventional histomorphometry should be subject of future research .
in contrast to classic histomorphometry architectural metric parameters such as bone volume ( bv ) , total volume ( tv ) , and bone surface can be directly determined from the 3d images acquired by micro - cts , without assuming the geometric model .
the increased failure rate of implants that are placed in posterior regions was attributed to differences in bone quality and quantity and elevated occlusal stress in the molar areas [ 56 , 57 ] .
therefore it is very important to analyze the bone density in posterior maxillae before implant surgery . within the limitations of this pilot study , it can be concluded that hu values alone could be a misleading diagnostic tool for the determination of bone density .
it is advisable to concentrate future research on density quantification from clinical ct images and relate those to various bone types with different mechanical properties to be able to make predictions concerning the bone quality . | pubmed |
[ [ algebraic - lambda - calculi . ] ] algebraic @xmath0-calculi .
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + two algebraic versions of the @xmath0-calculus arise independently in distinct contexts : the algebraic @xmath0-calculus ( @xmath1 ) @xcite and the linear algebraic @xmath0-calculus ( @xmath2 ) @xcite .
the former has been introduced in the context of linear logic as a fragment of the differential @xmath0-calculus @xcite : the algebraic structure allows to gather in a non deterministic manner different terms , _
i.e. _ each term represents one possible execution .
the latter has been introduced as a candidate @xmath0-calculus for quantum computation : in @xmath2 , a linear combination of terms reflects the phenomenon of superposition , _
i.e. _ the capability for a quantum system to be in two or more states at the same time .
[ [ four - languages - with - different - behaviours . ] ] four languages with different behaviours .
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + in both languages , functions which are linear combinations of terms are interpreted pointwise : @xmath3 , where `` @xmath4 '' denotes the scalar multiplication .
the two languages differ on the treatment of the arguments . in @xmath2 , in order to deal with the algebraic structure , any function is considered as a linear map : @xmath5 , reflecting the fact that any quantum evolution is a linear map .
it reflects a call - by - value behaviour in the sense that the argument is evaluated until one has a base term . in the opposite
, @xmath1 has a call - by - name evolution : @xmath6 $ ] , without any restriction on @xmath7 . as a consequence ,
the evolutions are different as illustrated by the following example . in @xmath2 ,
@xmath8 while in @xmath1 , @xmath9 .
because they were designed for different purposes , another difference appears between the two languages : the way the algebraic part of the calculus is treated . in @xmath2 , the algebraic structure is captured with a rewrite system , whereas in @xmath1 terms are considered up to algebraic equivalence .
the two choices call - by - value versus call - by - name , algebraic equality versus algebraic reduction allow one to construct four possible calculi .
we name them @xmath10 , @xmath11 , @xmath12 , and @xmath13 , see figure [ tab : linalg ] where they are presented according to their evolution policy and the way they take care of the algebraic part of the language .
inspired by @xmath2 and @xmath1 , the operational semantics of the four languages we introduce slightly differ from the original ones for focusing on the particularities of the calculi we are interested in : reduction strategy and handling of algebraic structure in _
programs_. a first modification is that in all four languages , we avoid reduction under lambda abstractions . as a consequence , contrary to @xmath1 ,
the @xmath0-abstraction is not linear anymore : @xmath14 .
this restriction is a common restriction : reducing under @xmath0 could be considered as optimising the program .
also note that since we consider @xmath15 with algebraic rewrite rules instead of the equalities used in @xmath1 , we need two extra rules : @xmath16 and @xmath17 . these rules were not needed with equalities , since @xmath18 . concerning @xmath19 and @xmath20 ,
restrictions originally imposed in @xmath2 on the rewrite system to ensure confluence are replaced by restrictions which make @xmath19 and @xmath20 actual call - by - value languages .
for example , the rule @xmath21 when @xmath22 is closed - normal form is replaced by only asking @xmath23 to be a value . notice that even in the original language @xmath2 , waiving the restrictions makes sense when confluence can be ensured by other means , see _ e.g.
_ @xcite .
[ [ contribution - relation - between - the - four - languages - through - simulation . ] ] contribution : relation between the four languages through simulation .
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + although these languages behave differently , we show in this paper that they simulate each other .
this result connects works done in linear logic @xcite and works on quantum computation @xcite .
we show that call - by - value algebraic @xmath0-calculi simulate call - by - name ones and _ vice versa _ by extending the continuation passing style ( cps ) @xcite to the algebraic case .
we also provide simulations between algebraic equality and algebraic reduction in both directions .
the simulations we prove are summed up in figure [ fig : relation ] .
the solid arrows stand for theorems that do not require confluence in their hypothesis whereas the dashed arrows stands for theorems that do .
a preliminary version of this work was presented in @xcite .
[ [ consistency . ] ] consistency .
+ + + + + + + + + + + + without restrictions on the set of terms , both algebraic reductions and algebraic equalities cause problems of consistency , albeit differently .
let @xmath24 . in a system with algebraic reduction
, the term @xmath25 reduces to @xmath26 , but also reduces to @xmath27 and hence to @xmath28 , breaking confluence . to solve this issue ,
several distinct techniques can be used to make an algebraic calculus confluent . in @xcite , restrictions on reduction rules are introduced , e.g. @xmath29 if @xmath28 is closed normal . in @xcite , type systems are set up to forbid diverging terms such as @xmath30 . in a system with algebraic equalities , if @xmath28 and @xmath7 are any terms , the term @xmath28 reduces to @xmath31 , therefore to @xmath7 . in @xmath1 a restriction to positive scalars is proposed to solve the problem .
however such a solution does not work in a system with algebraic reduction ( _ cf .
_ section [ sec : consistency ] ) . in this paper
we do not make a choice _ a priori _ , instead we show that the simulations between the four calculi are correct , providing a general enough methodology to work in a large variety of restrictions on the language .
therefore , we do not force one specific method to make the calculi consistent , leaving the choice to the reader .
[ [ plan - of - the - paper . ] ] plan of the paper .
+ + + + + + + + + + + + + + + + + + in section [ sec : alglam ] , we define the set of terms and the rewrite systems we consider in the paper . in section
[ sec : consistency ] , we discuss the confluence of the algebraic rewrite systems .
section [ sec : sim ] is concerned with the actual simulations . in section [ sec : redeq ] we consider the correspondence between algebraic reduction and algebraic equality whereas in section [ subsec : lintoalg ] and [ subsec : algtolin ] we consider the distinction call - by - name versus call - by - value . in section [ subsec : compose ] , we show how the simulations can compose to obtain the correspondence between any two of the four languages . in section
[ sec : concl ] we conclude by providing some paths for future work .
most of the omitted and sketched proofs are fully developed in the appendix .
the languages @xmath2 and @xmath1 share the same syntax , defined as follows : @xmath32 where @xmath33 ranges over a ring , the _ ring of scalars_. we use the notation @xmath34 as a shorthand for @xmath35 .
note that we could have asked for a semiring instead ; in fact we shall see in section [ sec : conf ] that the analysis we develop here can be adapted to semirings of scalars .
we provide a complete formalisation of the rewrite rules and show how they relate to each other .
we summarise in figure [ tab : rw ] all the rewrite rules that are being used .
the rules are grouped with respect to their intuitive meaning .
we use the usual notation regarding rewrite systems : given a rewrite system @xmath36 , we write @xmath37 for its reflexive and transitive closure .
that is , @xmath38 is valid if @xmath39 or if there exists a rewrite sequence @xmath40 linking @xmath41 and @xmath42 .
we write @xmath43 for the symmetric closure of @xmath36 , that is , the relation that satisfies @xmath44 if and only if @xmath45 or @xmath46 . the original languages @xmath2 and @xmath1 made particular assumptions both on the reduction strategy and the handling of algebraic structure under the reduction . in this paper , we consider separately the distinction call - by - name / call - by - value and the distinction algebraic equality / algebraic reduction .
we develop therefore four languages : a call - by - value language @xmath20 with algebraic equality , a call - by - value language @xmath19 with algebraic reduction , a call - by - name language @xmath47 with algebraic equality and a call - by - name language @xmath15 with algebraic reduction .
these four languages are summarised in figure [ tab : linalg ] .
[ def : lang ] we use the following notations for the rewrite systems obtained by combining the rules described in figure [ tab : rw ] : @xmath48 we define the following four languages and their associated rewrite systems : [ cols="^,^",options="header " , ]
in this section we show that the four languages @xmath19 , @xmath15 , @xmath20 , and @xmath47 are locally confluent . a rewrite system @xmath36 is locally confluent if whenever @xmath49 and @xmath50 there is @xmath51 such that @xmath52 and @xmath53 . in comparison ,
a rewrite system @xmath36 is confluent if whenever @xmath38 and @xmath54 there is @xmath51 such that @xmath52 and @xmath53 .
notice that confluence implies local confluent whereas the inverse is not true .
we first concentrate on the algebraic rules . for each of these calculi
, we use the reductions describing the algebraic structure : @xmath55 and @xmath56 correspond to an oriented rewriting description whereas @xmath57 and @xmath58 correspond to a description by equalities ( since every rewrite rule can be reversed , _ cf . _ definition [ def : lang ] ) .
[ locallyconfluence ] the rewrite systems @xmath55 , @xmath56 , @xmath57 and @xmath58 are locally confluent . for @xmath56 and @xmath55
, we give a semi - automatised proof in the interactive theorem prover coq @xcite .
the interested reader can find the proof in @xcite which is sketched in the appendix .
since for any rewrite system @xmath36 , its symmetric closure @xmath43 is trivially locally confluent , both @xmath57 and @xmath58 are locally confluent
. the rewrites systems considered in this paper are also locally confluent in the presence of the @xmath59-rewrite rules .
[ lem : localconf - llinred ] the four languages in figure [ tab : linalg ] are locally confluent .
the local confluence of the algebraic fragment is proven in lemma [ locallyconfluence ] .
the beta - reduction is confluent using a straightforward extension of the confluence of lambda calculus .
finally , the beta - reduction and the algebraic fragments commute , making each rewrite system locally confluent . in this section , we show that the algebraic fragments are confluent modulo associativity and commutativity .
concerning the full languages , we show that they are either not confluent or trivially confluent ( in the sense that any term is reducing to any other ) . as a consequence ,
we introduce a generic notion of language fragment to describe confluent and consistent sub - languages .
in particular , fragments are used in simulations theorems in section [ sec : sim ] for abstractly representing confluent sub - languages .
[ [ the - algebraic - fragment . ] ] the algebraic fragment .
+ + + + + + + + + + + + + + + + + + + + + + + it is clear that neither @xmath55 nor @xmath56 is strongly normalising : with both systems one can go back and forth between @xmath22 and @xmath60 .
they are however strongly normalising `` modulo associativity and commutativity '' in the sense that any rewrite sequence consists eventually of terms that are equal modulo associativity and commutativity . on the contrary ,
the rewrite systems @xmath57 and @xmath58 are not . in order to formalise this ,
let us denote @xmath61 the system generated by @xmath62 and @xmath63 the rewrite system obtained by taking off the rules @xmath64 and @xmath65 where @xmath36 stands for @xmath55 or @xmath56 .
hence , @xmath66 stands for the system generated by @xmath67 and @xmath68 for the system generated by @xmath69 .
[ def : acnorm ] let @xmath36 be either @xmath56 or @xmath55 and @xmath70 be a reduction sequence ( finite or not ) characterised by the set of terms @xmath71 and the set of rules @xmath72 used to go from @xmath73 to @xmath74 , where @xmath75 stands for a fixed rule in @xmath36 .
we say that the reduction is _ ac - finite _ if the set of indices @xmath76 such that @xmath77 is finite .
the _ ac - length _ of the rewrite sequence is the cardinal of this set of indices .
the rewrite system @xmath36 is _ ac - strongly - normalising _ ( ac - sn ) if for any term @xmath28 , there exists a number @xmath78 such that the ac - length of any rewrite sequence starting at @xmath28 is less than @xmath78 . a term @xmath28 is _ ac - normal _ with respect to a rewrite system @xmath36 if any rewrite sequence starting with @xmath28 consists only of rules ac .
[ th : acnorm ] the systems @xmath55 and @xmath56 are ac - sn .
we use the technique described in @xcite .
an auxiliary measure is defined on terms by @xmath79 , @xmath80 , @xmath81 , @xmath82 , @xmath83 and @xmath84 .
this measure is preserved by rules ac and strictly decreasing on the other algebraic rules .
local confluence plus strong normalisation implies confluence ( see for example @xcite ) .
[ cor : algconf ] the rewrite systems @xmath55 and @xmath56 are confluent , modulo ac .
although we have proved that the four languages under consideration are locally confluent , neither @xmath19 nor @xmath15 is confluent : in each one , the term @xmath25 rewrites both to @xmath26 and @xmath28 , where @xmath24 .
regarding @xmath20 and @xmath47 , without restriction both are trivially confluent since for all terms @xmath28 and @xmath7 , @xmath28 reduces to @xmath7 : @xmath85 .
hence , with the algebraic equality , both languages can simulate any rewrite system . for getting back consistency , it is of course possible to modify the rewrite systems as in @xcite but it would break the correspondence between call - by - value and call - by - name . in this paper
we propose instead to restrict the set of terms . in the literature ,
there have been two methods : with algebraic equalities , vaux @xcite considers non - negative scalars ( semiring ) on a language with algebraic equality .
the restriction on scalars is enough for getting unicity of normal forms .
although this solves the consistency problem for the languages with algebraic equality , it does not give confluence for the languages with algebraic reduction .
indeed , consider the critical pair @xmath86 , @xmath87 .
the term @xmath88 can only produce an even number of @xmath28 s : we can not close the pair . with algebraic reductions , other papers @xcite use type systems for retrieving strong normalisation on a language with algebraic reduction .
this technique could be directly adapted to our setting since it is possible to have subject reduction in these cases .
the simulations theorems that we develop in this paper are correct in a general untyped setting ( and in fact trivially true when we simulate a language with algebraic reduction with a language with algebraic equality as remarked above ) , but also true if one restrict the scalars to a semiring ( as done in @xcite ) , or if we restrict the terms to any typed setting , provided that the languages @xmath19 and @xmath15 satisfy subject reduction and that the cps translations preserve typability .
thus , in this paper we do not restrict the calculi _ a priori _ , instead , we propose a notion of _ language fragments _ to parametrise the simulation results .
the definition of fragment is general enough to capture many settings : various typed systems , but also the restrictions to a given set of terms such as the set of ac - sn terms or taking scalars from a semiring .
we define formally a fragment in the following way : [ def : subset ] a fragment @xmath89 of @xmath19 ( resp .
@xmath15 ) is a language defined on a subset of terms closed under @xmath90-reduction ( resp .
@xmath91-reduction ) .
the rewrite system of @xmath89 is inherited from the one of @xmath19 ( resp .
@xmath15 ) . the definition of a fragment in the presence of algebraic equalities should be treated carefully .
indeed , note that the algebraic equalities are defined as @xmath92 if and only if @xmath93 or @xmath94 . as a consequence , for any subset @xmath89 of terms closed under @xmath95-reduction , if @xmath28 is in @xmath89 then for any @xmath7 ( in @xmath89 or not ) , @xmath96 since @xmath97 .
we therefore need to define the algebraic equality with respect to the particular subset of terms under consideration .
[ def : subeq ] a fragment @xmath89 of @xmath20 ( resp .
@xmath47 ) is a fragment of @xmath19 ( resp .
@xmath15 ) together with an algebraic equality defined as @xmath98 ( resp .
@xmath99 ) if and only if @xmath100 and @xmath101 or @xmath102 ( resp . @xmath103 or @xmath104 ) .
the @xmath59-reduction is not modified . when referring to a fragment of @xmath20 ( resp .
@xmath47 ) , we use the abuse of notation @xmath58 ( resp .
@xmath57 ) instead of @xmath105 ( resp .
@xmath106 ) for the restricted rewrite system , when the fragment under consideration is clear .
the core of the paper is concerned with the mutual simulations of the four languages .
the first class of problems relates algebraic reduction with algebraic equality . if simulating a language with algebraic reduction with a language with algebraic equality is not specially difficult , going in the opposite direction is not possible in general .
indeed , if @xmath107 is possible in @xmath20 , ( where @xmath24 ) it is difficult to see how one could make @xmath26 go to @xmath28 in @xmath19 without further hypotheses . in this section ,
we show that a fragment of a language with algebraic equality can be simulated by the corresponding fragment with algebraic reduction provided that the latter is _ confluent _ ( theorems [ th : eqred ] and [ th : eqred2 ] ) .
the second class of problems is concerned with call - by - value and call - by - name . in this paper , the simulations of call - by - name by call - by - value and its reverse
are treated using continuation passing style ( cps ) , extending the techniques described in @xcite to the algebraic case ( theorems [ th : sim ] , [ th : simeq ] , [ th : sim2 ] and [ th : sim2eq ] ) .
the results are summarised in figure [ fig : relation ] .
solid arrows correspond to results where no particular hypothesis on the language is made .
dashed arrows correspond to results where confluence is required . as the relation @xmath90 is contained in @xmath108 and the relation @xmath91
is contained in @xmath109 , the first simulation theorems are trivial .
[ th : redeq ] for any term @xmath28 if @xmath110 , then @xmath111 .
[ th : redeq2 ] for any term @xmath28 if @xmath112 , then @xmath113 .
the simulations going in the other direction are only valid in the presence of confluence . in the following two theorems ,
the algebraic equality is defined with respect to the considered fragment ( see definition [ def : subeq ] . )
[ th : eqred ] for any term @xmath28 in a confluent fragment of @xmath19 , if @xmath114 , then @xmath115 , with @xmath116 . first note that a value can only reduce to another value .
this follows by direct inspection of the rewriting rules .
we proceed by induction on the length of the reduction . * if @xmath117 , then choose @xmath118 and note that @xmath119 . *
assume the result true for @xmath120 : there is a value @xmath121 such that @xmath115 and @xmath116 .
let @xmath122 .
case distinction : * * @xmath123 , then @xmath124 which implies @xmath125 . * * @xmath126 , then either @xmath127 , and then this case is analogous to the previous one , or @xmath102 . due to the confluence of the subset , there exists a term @xmath23 such that @xmath128 and @xmath129 , implying that @xmath23 is a value , thus @xmath130
. then we have @xmath130 and @xmath116 , so @xmath131 , closing the case .
[ th : eqred2 ] for any term @xmath28 in a confluent fragment of @xmath15 , if @xmath132 , then @xmath133 , with @xmath134 .
similar to the previous theorem . to prove the simulation of @xmath19 with @xmath15 and the simulation of @xmath20 with @xmath47
, we introduce an algebraic extension of the continuation passing style used to prove that call - by - name simulates call - by - value in the regular @xmath0-calculus @xcite .
let @xmath135\!]}:\lambda_{{\ensuremath{\lambda_{{\it lin}}}}}\to\lambda_{{\ensuremath{\lambda_{{\it alg}}}}}$ ] be the following encoding where @xmath136 and @xmath137 are fresh variables . @xmath138\ ! ] } & = & { \lambda f\,\left(f\right)~x } , & { [ \![{0}]\ ! ] } & = & 0,\\ { [ \![{\lambda x\,m}]\ ! ] } & = & \lambda f\,(f)~\lambda x\,{[\![{m}]\ ! ] } , & { [ \![{(m)~n}]\ ! ] } & = & { { \lambda{f}\,({}})~\lambda{g}\,({{[\![{m}]\!]}})~\lambda{h}\,(({g})~{h})~{f}}{{[\![{n}]\!]}},\\ { [ \![{\alpha.m}]\ ! ] } & = & \lambda f\,(\alpha.{[\![{m}]\!]})~f , & { [ \![{m+n}]\!]}&=&\lambda f\,({[\![{m}]\ ! ] } + { [ \![{n}]\!]})~f .
\end{array}\ ] ] let @xmath139 be the encoding for values defined by @xmath140 , @xmath141 , @xmath142\!]}$ ] , @xmath143 , @xmath144 .
note that this encoding is compatible with substitution ( proof by induction on @xmath28 ) : [ 2:lem : substitution ] @xmath145}]\!]}={[\![{m}]\!]}[x:=\psi(b)]$ ] with @xmath146 a base term . using this encoding
, we can simulate @xmath19 with @xmath15 , as formalised in the following theorem .
the sketch of the proof is developed in the second part of this section .
[ th : sim ] for any term @xmath28 if @xmath147 where @xmath148 is a value , then @xmath149\!]})~\lambda x\,x { { \ensuremath{{{\to_{a\cup\beta}^{\textrm{$\ast$}}}}}}}\psi(v)$ ] .
[ ex:1 ] for any terms @xmath28 and @xmath7 , let @xmath150 .
let @xmath151 be the term @xmath152 , and let @xmath153 and @xmath154 be two values . then @xmath155 and @xmath156 .
we consider the simulation @xmath19 to @xmath15 .
the translation @xmath157\!]}$ ] is @xmath158\!]})\ , \lambda g\ , ( { [ \![{u+v}]\!]})\lambda h\ , ( ( g)\,h)\,f$ ] , where @xmath159\!]}$ ] is the term @xmath160\!]}$ ] , with @xmath161\!]}$ ] being @xmath162 , @xmath163\!]}$ ] being @xmath164\!]}+{[\![{v}]\!]})\,f$ ] , and @xmath165\!]}$ ] being @xmath166 .
we now rewrite @xmath167\!]})\,\lambda z\,z$ ] in @xmath15 .
@xmath168\!]})\ , \lambda g\ , ( { [ \![{u+v}]\!]})\lambda h\,((g)\,h)\,\lambda z\,z \\ & = & ( \lambda f\ , ( f)\,\lambda x\ , { [ \![{{\left\langle x , x\right\rangle}}]\!]})\ , \lambda g\ , ( { [ \![{u+v}]\!]})\lambda h\ , ( ( g)\,h)\,\lambda z\ , z \\ & { { \ensuremath{{\to_{a\cup\beta } } } } } & ( \lambda g\ , ( { [ \![{u+v}]\!]})\ , \lambda h\ , ( ( g)\,h)\,\lambda z\ , z)\ , \lambda x\ , { [ \![{{\left\langle x , x\right\rangle}}]\ ! ] } \\ & { { \ensuremath{{\to_{a\cup\beta } } } } } & ( { [ \![{u+v}]\!]})\,\lambda h\ , ( ( \lambda x\ , { [ \![{{\left\langle x , x\right\rangle}}]\!]})\,h)\,\lambda z\ , z \\ & { { \ensuremath{{\to_{a\cup\beta } } } } } & ( { [ \![{u}]\ ! ] } + { [ \![{v}]\!]})\ , \,\lambda h\ , ( ( \lambda x\ , { [ \![{{\left\langle x , x\right\rangle}}]\!]})\,h)\,\lambda z\ , z\\ & { { \ensuremath{{\to_{a\cup\beta } } } } } & ( { [ \![{u}]\!]})\ , \,\lambda h\ , ( ( \lambda x\ , { [ \![{{\left\langle x , x\right\rangle}}]\!]})\,h)\,\lambda z\ , z + ( { [ \![{v}]\!]})\ , \,\lambda h\ , ( ( \lambda x\ , { [ \![{{\left\langle x , x\right\rangle}}]\!]})\,h)\,\lambda z\ , z \\ & { { \ensuremath{{{\to_{a\cup\beta}^{\textrm{$\ast$ } } } } } } } & ( \lambda h\ , ( ( \lambda x\ , { [ \![{{\left\langle x , x\right\rangle}}]\!]})\,h)\,\lambda z\ , z)\ , \psi(u ) + ( \lambda h\ , ( ( \lambda x\ , { [ \![{{\left\langle x , x\right\rangle}}]\!]})\,h)\,\lambda z\ , z)\ , \psi(v ) & ( * ) \\ & { { \ensuremath{{{\to_{a\cup\beta}^{\textrm{$\ast$ } } } } } } } & ( ( \lambda x\ , { [ \![{{\left\langle x , x\right\rangle}}]\!]})\,\psi(u))\,\lambda z\ , z + ( ( \lambda x\ , { [ \![{{\left\langle x , x\right\rangle}}]\!]})\,\psi(v))\,\lambda z\ , z \\ & { { \ensuremath{{{\to_{a\cup\beta}^{\textrm{$\ast$ } } } } } } } & ( { [ \![{{\left\langle x , x\right\rangle}}]\!]}[x:= \psi(u)])\,\lambda z\ , z + ( { [ \![{{\left\langle x , x\right\rangle}}]\!]}[x:= \psi(v)])\,\lambda z\ , z \\ & { { \ensuremath{{{\to_{a\cup\beta}^{\textrm{$\ast$ } } } } } } } & ( { [ \![{{\left\langle u , u\right\rangle}}]\!]})\,\lambda z\ , z + ( { [ \![{{\left\langle v , v\right\rangle}}]\!]})\,\lambda z\ , z \quad \textrm{(lemma \ref{2:lem : substitution } ) } \\ & { { \ensuremath{{{\to_{a\cup\beta}^{\textrm{$\ast$ } } } } } } } & ( \lambda z\ , z ) \ , \psi({{\left\langle u , u\right\rangle } } ) + ( \lambda z\ , z ) \ , \psi({{\left\langle v , v\right\rangle}})&(**)\\ & { { \ensuremath{{{\to_{a\cup\beta}^{\textrm{$\ast$ } } } } } } } & \psi({{\left\langle u , u\right\rangle } } ) + \psi({{\left\langle v , v\right\rangle}})\\ & = & \psi({{\left\langle u , u\right\rangle } } + { { \left\langle v , v\right\rangle } } ) \\ \end{array}\ ] ] similarly , one can relate fragments of @xmath47 to fragments of @xmath20 as follows . [
th : simeq ] for any two fragments @xmath169 of @xmath20 and @xmath170 of @xmath47 such that @xmath171 , @xmath149\!]})~\lambda x\,x\in s_{\it a}$ ] , and for any term @xmath28 in @xmath169 , if @xmath114 where @xmath148 is a value , then @xmath149\!]})~\lambda x\,x { { \ensuremath{{{\to_{a\cup\beta}^{\textrm{{\tiny $ = $ } $ \ast$}}}}}}}\psi(v)$ ] .
again , the sketch of the proof is developed later in the section . as we already noted several times in this paper , without restricting the languages , theorem [ th : simeq ] would be trivial .
any term reducing to any other one , the desired reduction would be of course valid without restriction .
this theorem shows that if the calculi are restricted to fragments , the result is still true .
one example of such fragments is found by taking the restriction of scalars to non - negative elements , as in @xcite .
once a term is encoded it can be reduced either by @xmath172 or by @xmath173 ( respectively @xmath174 or @xmath175 ) without distinction , and still obtain the same result .
we state this fact as a corollary : [ cor : ind ] ( 1 ) for any term @xmath28 , if @xmath147 where @xmath148 is a value , then @xmath149\!]})~\lambda x\,x { { \ensuremath{{{\to_{\ell\cup\beta}^{\textrm{$\ast$}}}}}}}\psi(v)$ ] ; ( 2 ) for any fragment @xmath89 of @xmath20 such that @xmath176 , @xmath149\!]})~\lambda x\,x\in s$ ] , and for any term @xmath28 in @xmath89 , if @xmath114 where @xmath148 is a value , then @xmath149\!]})~\lambda x\,x { { \ensuremath{{{\to_{\ell\cup\beta}^{\textrm{{\tiny $ = $ } $ \ast$}}}}}}}\psi(v)$ ] .
it suffices to check the proofs of theorems [ th : sim ] and [ th : simeq ] to verify that all the reductions @xmath172 are done by rules common in both languages .
[ ex:1-indifference ] note that in example [ ex:1 ] one could have as well rewrite with @xmath90 which illustrates the indifference property ( corollary [ cor : ind ] ) .
now we proceed to prove theorems [ th : sim ] and [ th : simeq ] . the proof in @xcite
can be extended to the algebraic case .
[ [ an - administrative - operation . ] ] an administrative operation .
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + we define a convenient infix operation ( @xmath177 ) capturing the behaviour of translated terms . for example , if @xmath146 is a base term , _
i.e. _ a variable or an abstraction , then its translation into @xmath15 is @xmath178\!]}={\lambda f\,\left(f\right)~\psi(b)}$ ] .
if we apply this translated term to a certain @xmath179 , we obtain @xmath180 .
we define @xmath181 and get that @xmath182\!]})~k{{\ensuremath{{\to_{a\cup\beta}}}}}b : k$ ] .
this fact will be generalised to @xmath149\!]})~k{{\ensuremath{{\to_{a\cup\beta}}}}}m : k$ ] in lemma [ lem : lemma2 ] .
let @xmath183 be the infix binary operation defined by : @xmath184\!]})\,\lambda\,h\,((g)\,h)\,k \\
\end{array}\ ] ] [ lem : lemma2 ] if @xmath179 is a base term , then for any @xmath28 , @xmath149\!]})~k{{\ensuremath{{{\to_{a\cup\beta}^{\textrm{$\ast$}}}}}}}m : k$ ] .
structural induction on @xmath28 .
we give the case @xmath185 , as an example .
first an intermediate result is needed : for any @xmath28 , @xmath186\!]})~\lambda h\,((g)~h)~k$ ] @xmath91 @xmath187 .
this can be proved by structural induction on @xmath28
. then @xmath188\!]})~k=({{\lambda{f}\,({}})~\lambda{g}\,({{[\![{m'}]\!]}})~\lambda{h}\,(({g})~{h})~{f}}{{[\![{n}]\!]}})~k$ ] which @xmath91-reduces to @xmath189\!]})~\lambda g\,({[\![{n}]\!]})~\lambda h\,((g)~h)~k$ ] .
note that @xmath190\!]})~\lambda h\,((g)~h)~k$ ] is a base term , so by the induction hypothesis the above term reduces to @xmath191\!]})~\lambda h\,((g)~h)~k$ ] which by the previous intermediate result , @xmath91-reduces to @xmath192 .
the following lemmas and its corollary state that the @xmath193 operation preserves reduction .
[ lem : lemma3alg ] if @xmath102 then @xmath194 base term , @xmath195 .
induction on the possible rule applied from @xmath102 .
we give one simple case as an example .
. then @xmath197 .
[ lem : lemma3 ] if @xmath198 then @xmath194 base term , @xmath199 . if @xmath102 , then use lemma [ lem : lemma3alg ] . if @xmath200 , then we prove it by induction on the possible rule applied ( either @xmath201 , @xmath202 or one of @xmath203 ) .
we give the case of the @xmath201-reduction as an example : @xmath204 , @xmath205-reducing to the term @xmath206\!]})\,\psi(b))\,k$ ] which @xmath205-reduces to @xmath207\!]}[x:=\psi(b)]\,k$ ] , equal by lemma [ 2:lem : substitution ] to @xmath145}]\!]}\,k$ ] . by lemma [ lem : lemma2 ] , it @xmath172-reduces to @xmath208:k$ ] .
[ cor : lemma3 ] if @xmath113 then @xmath194 base terms , @xmath209 . by case distinction .
if @xmath198 , then by lemma [ lem : lemma3 ] , @xmath199 , which implies @xmath209 .
if @xmath127 , then by lemma [ lem : lemma3alg ] , @xmath210 , which also implies @xmath209 . finally , the @xmath193 operation also captures the translation of values in the following way : [ lem : valuestranslation ] for any value @xmath148 , @xmath211 we proceed by structural induction on @xmath148 .
let @xmath148 be a base term .
then @xmath212 . let @xmath213 .
then @xmath214 , which by the induction hypothesis , reduces to @xmath215 .
let @xmath216 .
then @xmath217 , which by the induction hypothesis , reduces to @xmath218 .
. then @xmath220 .
we discuss example [ ex:1 ] in the light of these results . the term @xmath221 is equal to the terms @xmath222 and @xmath223 .
the term @xmath224 is equal to the term @xmath225 which reduces to @xmath226 .
so we do have the rewrites requested by lemmas [ lem : lemma2 ] , [ lem : lemma3 ] and [ lem : valuestranslation ] .
now the proofs of theorems [ th : sim ] and [ th : simeq ] go as follows . from lemma [ lem : lemma2 ] , @xmath149\!]})~\lambda x\,x{{\ensuremath{{{\to_{a\cup\beta}^{\textrm{$\ast$}}}}}}}m:\lambda x\,x$ ] and from lemma
[ lem : lemma3 ] , it @xmath172-reduces to @xmath227 . from lemma [ lem : valuestranslation ] , @xmath228 . from lemma [ lem : lemma2 ] ,
@xmath149\!]})~\lambda x\,x { { \ensuremath{{{\to_{a\cup\beta}^{\textrm{$\ast$}}}}}}}m:\lambda x\,x$ ] , and this implies that @xmath149\!]})~\lambda x\,x { { \ensuremath{{{\to_{a\cup\beta}^{\textrm{{\tiny $ = $ } $ \ast$}}}}}}}m:\lambda x\,x$ ] . from corollary [ cor : lemma3 ] , this latter term @xmath174-reduces to @xmath227 . from lemma [ lem :
valuestranslation ] , @xmath228 , which implies that @xmath229 .
note that since @xmath149\!]})~\lambda x\,x\in s_{\it a}$ ] , @xmath230 is also in @xmath231 due to the closeness under @xmath57 of @xmath170 .
the same applies to @xmath232 , thus also to @xmath227 and finally to @xmath233 .
[ [ the - simulation - of - lambdato_it - alg - with - lambdato_it - lin . ] ] the simulation of @xmath234 with @xmath235 .
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + to state that @xmath19 simulates @xmath15 , we use an algebraic extension of the continuation passing style encoding following again @xcite .
let @xmath236 be the following encoding where @xmath136 and @xmath137 are fresh variables .
@xmath237 this encoding satisfies two useful properties ( the first is a trivial result and the second follows by induction on @xmath28 ) .
[ 3:lem : base ] for all terms @xmath28 , the term @xmath238 is a base term .
[ 3:lem : substitution ] @xmath239\}\hspace{-.55em}|\hspace{.3em}}={\{\hspace{-.235em}| m\}\hspace{-.55em}|\hspace{.3em}}[x:={\{\hspace{-.235em}| n\}\hspace{-.55em}|\hspace{.3em}}]$ ] .
let @xmath240 be the encoding for values defined by @xmath241 , @xmath242 , @xmath243 @xmath244 , @xmath245 , @xmath246 .
simulation theorems , similar to theorems [ th : sim ] and [ th : simeq ] , can be stated as follows .
[ th : sim2 ] for any program @xmath28 ( _ i.e. _ closed term ) , if @xmath247 where @xmath148 is a value , then @xmath248 .
[ th : sim2eq][th : simeq2 ] for any two fragments @xmath170 of @xmath47 and @xmath169 of @xmath20 such that @xmath249 , @xmath250 , and for any program @xmath28 in @xmath170 , if @xmath132 where @xmath148 is a value , then @xmath251 . a result similar to corollary [ cor : ind ] can also be formulated .
it is proven in a similar manner .
[ cor : ind2 ] ( 1 ) for any program @xmath28 , if @xmath247 where @xmath148 is a value , then @xmath252 ; ( 2 ) for any fragment @xmath89 of @xmath47 such that @xmath176 , @xmath253 , and for any program @xmath28 in @xmath89 , if @xmath132 where @xmath148 is a value , then @xmath254 . before moving to the description of the proof of theorems [
th : sim2 ] and [ th : sim2eq ] , let us consider an example .
[ ex:2 ] we illustrate theorem [ th : sim2 ] using the term @xmath255 of example [ ex:1 ] which reduces to @xmath256 in @xmath19 and to @xmath257 in @xmath15 .
the translation @xmath258 is the term @xmath259 , where @xmath260 is @xmath261 .
@xmath262 is @xmath263 , @xmath264 is @xmath265 and @xmath266 is @xmath267 we now rewrite @xmath268 in @xmath15 .
@xmath269 ) \,\lambda z\,z \\
\textrm{(lemma \ref{3:lem : substitution } ) } & = & ( { \{\hspace{-.235em}| { \left\langle u+v , u+v\right\rangle}\}\hspace{-.55em}|\hspace{.3em}})\,\lambda z\,z \\ & { { \ensuremath{{\to_{\ell\cup\beta } } } } } & ( \lambda z\,z ) \ , \phi({{\left\langle u+v , u+v\right\rangle } } ) & ( { * } { * } { * } { * } ) \\ & { { \ensuremath{{\to_{\ell\cup\beta } } } } } & \phi({{\left\langle u+v , u+v\right\rangle } } ) \end{array}\ ] ] [ [ proof - of - the - simulation - theorems . ] ] proof of the simulation theorems .
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + in section [ subsec : lintoalg ] , the proofs of the simulations theorems were performed using an administrative operation `` @xmath177 '' and three intermediate results , as follows ( the term @xmath179 is taken as a base term ) .
( 1 ) prove that @xmath149\!]})\,k { { \ensuremath{{{\to_{a\cup\beta}^{\textrm{$\ast$}}}}}}}m : k$ ] ; ( 2 ) prove that if @xmath198 then @xmath199 ; ( 3 ) prove that if @xmath148 is a value , @xmath270 . for the simulation theorems of the present section , we use a similar procedure .
[ [ an - administrative - operation.-1 ] ] an administrative operation .
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + we keep the same notation for the administrative , infix operation defined for the purpose of the proof .
let @xmath271 be the infix binary operation defined by : @xmath272 the three lemmas needed for the proof of the simulation theorems now read as follow . [ lem : lemma2cps ] if @xmath179 is a base term , for any closed term @xmath28 @xmath273 .
the proof is done by structural induction on @xmath28 .
we follow the sketch of the proof of lemma [ lem : lemma2 ] , and give the case @xmath185 , as an example .
first we prove by induction on @xmath28 that @xmath274 . then @xmath275 .
note that @xmath276 is a base term , so by the induction hypothesis the above term reduces to @xmath277 which by the previous intermediate result , @xmath90-reduces to @xmath192 .
[ lem : lemma3cps ] if @xmath278 then @xmath194 base term , @xmath279 case by case on the rules of @xmath15 .
we give the case of the @xmath205-reduction as an example : @xmath280 which by lemma [ 3:lem : base ] , @xmath90-reduces to @xmath281)\,k$ ] .
this , by lemma [ 3:lem : substitution ] , is equal to @xmath282\}\hspace{-.55em}|\hspace{.3em}})\,k$ ] and this , by lemma [ lem : lemma2cps ] , @xmath173-reduces to @xmath283:k$ ] .
note that in the previous derivation , the reduction @xmath284
@xmath90 @xmath285 $ ] is valid since for any term @xmath7 , @xmath286 is a base term . [
lem : valuestranslation2 ] if @xmath148 is a value and @xmath179 is a base term , @xmath287 .
we discuss example [ ex:2 ] in the light of these results .
the term @xmath288 is equal to the terms @xmath222 .
the term @xmath289 is equal to the term @xmath290 which reduces to @xmath291 .
again , we have the rewrites requested by lemmas [ lem : lemma2cps ] , [ lem : lemma3cps ] and [ lem : valuestranslation2 ] .
we are now ready to prove the simulation theorems .
as advertised , these proofs reflect the exact same structures of the proofs of theorems [ th : sim ] and [ th : simeq ] .
from lemma [ lem : lemma2cps ] , @xmath292 , from lemma [ lem : lemma3cps ] it @xmath173-reduces to @xmath227 . from lemma
[ lem : valuestranslation2 ] , @xmath293 . from lemma [ lem : lemma2cps ] , @xmath294 , and
this implies that @xmath295 . a result equivalent to corollary [ cor : lemma3 ] can be shown as easily : if @xmath296 then for all base terms @xmath179 , @xmath297
this entails that @xmath232 @xmath175-reduces to @xmath227 . from lemma [ lem : valuestranslation2 ] , @xmath287 , which implies that @xmath298 .
note that since @xmath299 , @xmath230 is also in @xmath231 due to the closeness under @xmath58 of @xmath169 .
the same applies to @xmath232 , thus also to @xmath227 and finally to @xmath300 . in figure
[ fig : relation ] , some arrows are missing .
we are now showing that the already existing arrows `` compose '' well .
the first two simulations are @xmath301 and @xmath302 and do not require confluence . for any program
@xmath28 , if @xmath147 ( resp .
@xmath247 ) where @xmath148 is a value , then @xmath149\!]})~\lambda x\,x { { \ensuremath{{{\to_{a\cup\beta}^{\textrm{{\tiny $ = $ } $ \ast$}}}}}}}\psi(v)$ ] ( resp .
@xmath303 ) . given that @xmath147 , by theorem [ th : sim ] , @xmath149\!]})~\lambda x\,x{{\ensuremath{{{\to_{a\cup\beta}^{\textrm{$\ast$}}}}}}}\psi(v)$ ] , which by theorem [ th : redeq ] implies @xmath149\!]})~\lambda x\,x{{\ensuremath{{{\to_{a\cup\beta}^{\textrm{{\tiny $ = $ } $ \ast$}}}}}}}\psi(v)$ ] .
analogously , given that @xmath247 , by theorem [ th : sim2 ] , @xmath304 , which by theorem [ th : redeq2 ] implies that @xmath305 @xmath175 @xmath300 .
the other two simulations are @xmath306 and @xmath307 and they do require confluence . for any program @xmath28 in a confluent fragment of @xmath20 ( resp .
@xmath47 ) , if @xmath114 ( respectively @xmath132 ) then @xmath149\!]})~\lambda x\,x { { \ensuremath{{{\to_{a\cup\beta}^{\textrm{$\ast$}}}}}}}\psi(v')$ ] with @xmath116 ( respectively @xmath308 with @xmath134 ) . given that @xmath114 and that @xmath28 is in a confluent fragment , theorem [ th : eqred ] states that @xmath115 with @xmath116 .
in addition , theorem [ th : sim ] states that @xmath149\!]})~\lambda x\,x{{\ensuremath{{{\to_{a\cup\beta}^{\textrm{$\ast$}}}}}}}\psi(v')$ ] .
the other result is similar using theorems [ th : eqred2 ] and [ th : sim2 ] .
in this paper we described four canonical algebraic lambda - calculi with vectorial structures , recapitulating the few existing means of writing such a language .
we show how each language can simulate the other , by taking care of marking where confluence is used or not .
as already shown by plotkin @xcite , if the simulation of call - by - value by call - by - name is sound , it fails to be complete for general ( possibly non - terminating ) programs . a known solution to this problem is developed in @xcite .
recent work @xcite shown that the technique can be adapted to the algebraic case to retrieve completeness .
the work @xcite develop a galois connection between call - by - name and call - by - value . a direction for study
is to build on this work to also get a galois connection in the algebraic case .
concerning semantics , the algebraic @xmath0-calculus admits finiteness spaces as a model @xcite .
what is the structure of the model of the linear algebraic @xmath0-calculus induced by the continuation - passing style translation in finiteness spaces ?
the algebraic lambda - calculus can be equipped with a differential operator . what is the corresponding operator in call - by - value through the translation ? [ [ acknowledgements ] ] acknowledgements + + + + + + + + + + + + + + + + many thanks to pablo arrighi , ali assaf and lionel vaux for fruitful discussions and suggestions .
this work is supported by the cnrs - ins2i peps project quand .
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* if @xmath93 and @xmath309 , using only algebraic rules , then this has been already proven in lemma [ locallyconfluence ] .
* if @xmath93 and @xmath309 , using only beta - reduction , this is a trivial extension of the confluence of lambda calculus . *
if @xmath93 by an algebraic rule and @xmath309 by beta reduction , then in @xmath19 a term of the form @xmath310 has to be a subterm of @xmath28 , since @xmath28 beta - reduces . note that @xmath311 can not reduce since it is under a lambda and @xmath146 can not reduce since it is a base term .
then the beta - reduction and the algebraic - reduction are independent in @xmath19 , and so this result is trivial . in @xmath15 a term of the form
@xmath312 has to be a subterm of @xmath28 .
note that @xmath311 can not reduce since it is under a lambda and @xmath7 can not reduce since it is an argument . then again the beta - reduction and the algebraic - reduction are independent in @xmath15 , and so this result is trivial . structural induction on @xmath28 .
. cases : * * @xmath314 . then @xmath208=y$ ] , and so @xmath145}]\!]}={\lambda f\,\left(f\right)~y}={\lambda f\,\left(f\right)~x}[y / x]={[\![{m}]\!]}[x:=\psi(b)]$ ] . * * @xmath315
. then @xmath145}]\!]}={\lambda f\,\left(f\right)~\lambda y\,{[\![{n}]\!]}}={\lambda f\,\left(f\right)~x}[\lambda y\,{[\![{n}]\!]}/x]={[\![{m}]\!]}[x:=\psi(b)]$ ] . * @xmath316
. then @xmath145}]\!]}={[\![{m}]\!]}[x:=\psi(b)]={[\![{m}]\!]}$ ] .
* @xmath317 .
analogous to previous case .
* @xmath318 . then @xmath319}]\!]}&=&{[\![{\lambda y\,(n[x:=b])}]\!]}\\ & = & { \lambda f\,\left(f\right)~\lambda y\,{[\![{n[x:=b]}]\!]}}\\ & & \textrm{by the induction hypothesis}\\ & = & { \lambda f\,\left(f\right)~\lambda y\,{[\![{n}]\!]}[x:=\psi(b)]}\\ & = & ( { \lambda f\,\left(f\right)~\lambda y\,{[\![{n}]\!]}})[x:=\psi(b)]\\ & = & { [ \![{m}]\!]}[x:=\psi(b ) ] \end{aligned}\ ] ] * @xmath320 . then @xmath321}]\ ! ] } & = & { [ \![{((n_1)~n_2)[x:=b]}]\!]}\\ & = & { [ \![{(n_1[x:=b])~n_2[x:=b]}]\!]}\\ & = & { { \lambda{f}\,({}})~\lambda{g}\,({{[\![{n_1[x:=b]}]\!]}})~\lambda{h}\,(({g})~{h})~{f}}{{[\![{n_2[x:=b]}]\!]}}\\ & & \textrm{by the induction hypothesis}\\ & = & { { \lambda{f}\,({}})~\lambda{g}\,({{[\![{n_1}]\!]}[x:=\psi(b)]})~\lambda{h}\,(({g})~{h})~{f}}{{[\![{n_2}]\!]}[x:=\psi(b)]}\\ & = & { { \lambda{f}\,({}})~\lambda{g}\,({{[\![{n_1}]\!]}})~\lambda{h}\,(({g})~{h})~{f}}{{[\![{n_2}]\!]}}[x:=\psi(b)]\\ & = & { [ \![{(n_1)~n_2}]\!]}[x:=\psi(b)]\\ & = & { [ \![{m}]\!]}[x:=\psi(b ) ] \end{aligned}\ ] ] * @xmath322 . then @xmath323}]\ ! ] } & = & { [ \![{(\alpha.n)[x:=b]}]\!]}\\ & = & { [ \![{\alpha.(n[x:=b])}]\!]}\\ & = & { \lambda f\,({\alpha.{[\![{n[x:=b]}]\!]}}\,f)}\\ & & \textrm{by the induction hypothesis}\\ & = & { \lambda f\,({\alpha.{[\![{n}]\!]}[x:=\psi(b)]}\,f)}\\ & = & ( { \lambda f\,({\alpha.{[\![{n}]\!]}}\,f)})[x:=\psi(b)]\\ & = & { [ \![{\alpha.n}]\!]}[x:=\psi(b)]\\ & = & { [ \![{m}]\!]}[x:=\psi(b ) ] \end{aligned}\ ] ] * @xmath324
. then @xmath323}]\ ! ] } & = & { [ \![{(n_1+n_2)[x:=b]}]\!]}\\ & = & { [ \![{n_1[x:=b]+n_2[x:=b]}]\!]}\\ & = & { \lambda f\,({({[\![{n_1[x:=b]}]\!]}+{[\![{n_2[x:=b]}]\!]})}\,f)}\\ & & \textrm{by the induction hypothesis}\\ & = & { \lambda f\,({({[\![{n_1}]\!]}[x:=\psi(b)]+{[\![{n_2}]\!]}[x:=\psi(b)])}\,f)}\\ & = & ( { \lambda f\,({({[\![{n_1}]\!]}+{[\![{n_2}]\!]})}\,f)})[x:=\psi(b)]\\ & = & { [ \![{n_1+n_2}]\!]}[x:=\psi(b)]\\ & = & { [ \![{m}]\!]}[x:=\psi(b ) ] \end{aligned}\ ] ] structural induction on @xmath28 . * @xmath313 . then @xmath325\!]})~k=({\lambda f\,\left(f\right)~x})~k { { \ensuremath{{\to_{a\cup\beta}}}}}(k)~x = x : k$ ] .
* @xmath326 . then @xmath327\!]})~k=({\lambda f\,\left(f\right)~\lambda x\,{[\![{n}]\!]}})~k$ ] and by definition of @xmath139 this is equal to @xmath328 .
* @xmath317 . then @xmath329\!]})~k = ( 0)~k { { \ensuremath{{\to_{a\cup\beta}}}}}0 = 0:k$ ] . * @xmath330 . then @xmath331\!]})~k = ( \lambda f\ , ( { [ \![{m'}]\!]}+{[\![{n}]\!]})~f)~k$ ] which @xmath91-reduces to @xmath189\!]}+{[\![{n}]\!]})~k { { \ensuremath{{\to_{a\cup\beta}}}}}({[\![{m'}]\!]})~k+({[\![{n}]\!]})~k $ ] which @xmath91-reduces by the induction hypothesis to @xmath332 . * @xmath333 . then @xmath334\!]})~k = ( \lambda f\ , ( \alpha .
{ [ \![{n}]\!]})~f)~k { { \ensuremath{{\to_{a\cup\beta}}}}}(\alpha . { [ \![{n}]\!]})~k$ ] which @xmath91-reduces to @xmath335\!]})~k)$ ] and this , by the induction hypothesis , @xmath91-reduces to @xmath336 . * @xmath185
. then @xmath188\!]})~k=({{\lambda{f}\,({}})~\lambda{g}\,({{[\![{m'}]\!]}})~\lambda{h}\,(({g})~{h})~{f}}{{[\![{n}]\!]}})~k$ ] which @xmath91-reduces to @xmath189\!]})~\lambda g\,({[\![{n}]\!]})~\lambda h\,((g)~h)~k$ ] .
notice that the term @xmath190\!]})~\lambda h\,((g)~h)~k$ ] is a value , so by the induction hypothesis the above term reduces to @xmath191\!]})~\lambda h\,((g)~h)~k$ ] .
we do a second induction , over @xmath311 , to prove that @xmath191\!]})~\lambda h\,((g)~h)~k{{\ensuremath{{\to_{a\cup\beta}}}}}(m')~n : k$ ] . * * if @xmath337 , then @xmath191\!]})~\lambda h\,((g)~h)~k=((m_1)~m_2)~n : k=(m')~n : k$ ] . * * if @xmath311 is a base term , then @xmath191\!]})~\lambda h\,((g)~h)~k$ ] is equal to @xmath338\!]})~\lambda h\,((g)~h)~k)~\psi(m'){{\ensuremath{{\to_{a\cup\beta}}}}}({[\![{n}]\!]})~\lambda h\,((\psi(m'))~h)~k$ ] which by the main induction hypothesis @xmath91-reduces to @xmath339 , and this is equal to @xmath192 . * * if @xmath340 , then the term @xmath191\!]})~\lambda h\,((g)~h)~k$ ] is equal to @xmath341\!]})~\lambda h\,((g)~h)~k = \alpha.(m_1:\lambda g\,({[\![{n}]\!]})~\lambda h\,((g)~h)~k)$ ] which by the second induction hypothesis @xmath91-reduces to @xmath342 . * * if @xmath343 , then @xmath191\!]})~\lambda h\,((g)~h)~k = m_1+m_2 : \lambda g\,({[\![{n}]\!]})~\lambda h\,((g)~h)~k$ ] which is equal to @xmath344\!]})~\lambda h\,((g)~h)~k+m_2 : \lambda g\,({[\![{n}]\!]})~\lambda h\,((g)~h)~k$ ] which @xmath91-reduces by the second induction hypothesis to @xmath345 . * * if @xmath346 then @xmath186\!]})~\lambda h\,((g)~h)~k= 0 : \lambda g\,({[\![{n}]\!]})~\lambda h\,((g)~h)~k = 0= ( 0)~n : k = ( m')~n : k$ ] case by case on the rules @xmath56 . rules @xmath347 : : + * @xmath348 , with @xmath146 being a base term . then @xmath349 .
* @xmath350 , with @xmath146 base term .
then @xmath351 @xmath352 .
* @xmath353 , with @xmath146 a base term . then @xmath354 .
rules @xmath355 : : + * @xmath356 , with @xmath148 being a value
. then @xmath357 .
* @xmath358 , with @xmath148 being a value
. then @xmath359 .
* @xmath360 , with @xmath148 a value .
then @xmath361 .
rules @xmath362 and @xmath89 : : + * @xmath363
. then @xmath364 . * @xmath365
. then @xmath366 . * @xmath367 . then @xmath368 . * @xmath369
. then @xmath370 . * @xmath371
. then @xmath372 .
. then @xmath374 which @xmath55-reduces to @xmath375 . * @xmath376
. then @xmath377 . * @xmath378
. then @xmath379 . * @xmath380
. then @xmath381 .
rules @xmath382 and @xmath383 : : + * @xmath384
. then @xmath385 . * @xmath386 . then @xmath387 .
rules @xmath203 and @xmath202 : : assume @xmath388 , and assume that for all @xmath179 base term , @xmath389 .
we show that the result also holds for each contextual rule .
+ * @xmath390
. then @xmath391 .
* @xmath392 , analogous to previous case . * @xmath393 . then @xmath394 . * @xmath395 .
case by case : * * @xmath396 .
then @xmath397 which @xmath55-reduces by the induction hypothesis to @xmath398 . * * @xmath399 .
then @xmath400 . *
. then @xmath402 which @xmath55-reduces by the induction hypothesis to @xmath403 . * * @xmath213
. then @xmath404 which @xmath55-reduces by the induction hypothesis to @xmath405 .
* @xmath406 case by case : * * @xmath407 .
absurd since a base term can not reduce .
* * @xmath408 .
case by case on the possible @xmath56-reductions of @xmath28 : * * * @xmath409 with @xmath410
. then @xmath411 which by the induction hypothesis @xmath55-reduces to @xmath412 . * * * @xmath413 and @xmath414
. then @xmath415 . * * * @xmath416 and @xmath417 .
then @xmath418 . * * * @xmath419 and @xmath420
. then @xmath421 . * * * @xmath422 and @xmath346
. then @xmath423 . * * * @xmath424 and @xmath346
. then @xmath425 . * * @xmath426 .
case by case on the possible @xmath56-reductions of @xmath28 : * * * @xmath427 with @xmath428 . then @xmath429 which by the induction hypothesis @xmath55-reduces to @xmath430 . * * * @xmath431 with @xmath432 .
analogous to previous case .
* * * @xmath433 and @xmath434 . then @xmath435 and this @xmath55-reduces to @xmath436 . * * * @xmath437 and @xmath438 .
analogous to previous case . *
* * @xmath439
. then @xmath440 . * * * @xmath441 , @xmath442 and @xmath443
. then @xmath444 . * * * @xmath441 , @xmath445 and @xmath446 .
analogous to previous case . *
* * @xmath447 and @xmath448 .
analogous to previous case . *
* @xmath317 .
absurd since @xmath26 does not reduce .
* * @xmath449 .
then the term @xmath450 is equal to @xmath451\!]})~\lambda h\,((g)~h)~k$ ] , which by the induction hypothesis @xmath55-reduces to @xmath191\!]})~\lambda h\,((g)~h)~k$ ] .
we do a second induction , over @xmath311 , to prove that @xmath191\!]})~\lambda h\,((g)~h)~k{{\ensuremath{{\to_{a}}}}}(m')~n : k$ ] . *
* * if @xmath452 , then @xmath191\!]})~\lambda h\,((g)~h)~k$ ] is equal to @xmath453 .
* * * @xmath311 can not be a base term since from @xmath454 it is not possible to arrive to a base term using only @xmath56 . * * * if @xmath455 , then @xmath191\!]})~\lambda h\,((g)~h)~k= \alpha.m'_1:\lambda g\,({[\![{n}]\!]})~\lambda h\,((g)~h)~k=\alpha.(m'_1:\lambda g\,({[\![{n}]\!]})~\lambda h\,((g)~h)~k)$ ] which @xmath55-reduces by the induction hypothesis to @xmath456 . * * * if @xmath457 , then the term @xmath191\!]})~\lambda h\,((g)~h)~k$ ] is equal to @xmath458\!]})~\lambda h\,((g)~h)~k$ ] which is equal to @xmath459\!]})~\lambda h\,((g)~h)~k+m'_2 : \lambda g\,({[\![{n}]\!]})~\lambda h\,((g)~h)~k$ ] which @xmath55-reduces by the induction hypothesis to @xmath460 . * * * if @xmath346 then @xmath191\!]})~\lambda h\,((g)~h)~k$ ] is equal to @xmath461\!]})~\lambda h\,((g)~h)~k = 0= ( 0)~n : k = ( m')~n : k$ ] case by case on the rules of @xmath2 .
rule @xmath201 : : @xmath462\!]})\,\psi(b))\,k\\ & { { \ensuremath{{\to_{\beta_n}}}}}&{[\![{m}]\!]}[x:=\psi(b)]\,k\\ ( \textrm{lemma~\ref{2:lem : substitution}})&=&{[\![{m[x:=b]}]\!]}\,k\\ ( \textrm{lemma~\ref{lem : lemma2 } } ) & { { \ensuremath{{{\to_{a\cup\beta}^{\textrm{$\ast$ } } } } } } } & m[x:=b]:k \end{aligned}\ ] ] algebraic rules : : if @xmath102 , then by lemma [ lem : lemma3alg ] @xmath195 which implies that @xmath199 . rules
@xmath203 and @xmath202 : : if @xmath388 , then we use lemma [ lem : lemma3alg ] to close the case .
assume @xmath463 , and assume that for all @xmath179 base term , @xmath464 .
we show that the result also holds for each contextual rule .
+ * @xmath465
. then @xmath466 .
* @xmath467 , analogous to previous case .
. then @xmath469 . *
case by case : * * @xmath396 .
then @xmath397 which @xmath91-reduces by the induction hypothesis to @xmath398 .
* * @xmath399
. then @xmath400 . *
* @xmath401 .
then @xmath402 which @xmath91-reduces by the induction hypothesis to @xmath403 . * * @xmath213
. then @xmath404 which @xmath91-reduces by the induction hypothesis to @xmath405 . * @xmath471 case by case : * * @xmath407 .
absurd since a base term can not reduce . *
* @xmath408 .
the only possible @xmath472-reduction from @xmath28 is @xmath409 with @xmath473
. then @xmath411 which by the induction hypothesis @xmath91-reduces to @xmath412 .
* * @xmath426 .
case by case on the possible @xmath472-reductions of @xmath28 : * * * @xmath427 with @xmath474 .
then @xmath429 which by the induction hypothesis @xmath91-reduces to @xmath430 .
* * * @xmath431 with @xmath475 .
analogous to previous case . *
* @xmath317 .
absurd since @xmath26 does not reduce . *
* @xmath449 .
then the term @xmath450 is equal to @xmath451\!]})~\lambda h\,((g)~h)~k$ ] , which @xmath91-reduces , by the induction hypothesis , to @xmath191\!]})~\lambda h\,((g)~h)~k$ ] .
we do a second induction , over @xmath311 , to prove that @xmath191\!]})~\lambda h\,((g)~h)~k$ ] @xmath91-reduces to @xmath192 . *
* * if @xmath452 , then @xmath191\!]})~\lambda h\,((g)~h)~k$ ] is equal to @xmath453 . * * * if @xmath311 is a base term , then the term @xmath191\!]})~\lambda h\,((g)~h)~k$ ] is equal to @xmath338\!]})~\lambda h\,((g)~h)~k)~\psi(m')$ ] which @xmath91-reduces to @xmath476\!]})~\lambda h\,((\psi(m'))~h)~k$ ] which , by lemma [ lem : lemma2 ] , @xmath91-reduces @xmath477 . * * * if @xmath455 , then @xmath191\!]})~\lambda h\,((g)~h)~k= \alpha.m'_1:\lambda g\,({[\![{n}]\!]})~\lambda h\,((g)~h)~k=\alpha.(m'_1:\lambda g\,({[\![{n}]\!]})~\lambda h\,((g)~h)~k)$ ] which @xmath91-reduces by the induction hypothesis to @xmath456 . * * * if @xmath457 , then the term @xmath191\!]})~\lambda h\,((g)~h)~k$ ] is equal to @xmath458\!]})~\lambda h\,((g)~h)~k$ ] which is equal to @xmath459\!]})~\lambda h\,((g)~h)~k+m'_2 : \lambda g\,({[\![{n}]\!]})~\lambda h\,((g)~h)~k$ ] which @xmath91-reduces by the induction hypothesis to @xmath460 . * * * if @xmath346 then @xmath191\!]})~\lambda h\,((g)~h)~k$ ] is equal to @xmath461\!]})~\lambda h\,((g)~h)~k = 0= ( 0)~n : k = ( m')~n : k$ ] structural induction on @xmath28 .
. then @xmath478\}\hspace{-.55em}|\hspace{.3em}}={\{\hspace{-.235em}| n\}\hspace{-.55em}|\hspace{.3em}}=x[x:={\{\hspace{-.235em}| n\}\hspace{-.55em}|\hspace{.3em}}]={\{\hspace{-.235em}| x\}\hspace{-.55em}|\hspace{.3em}}[x:={\{\hspace{-.235em}| n\}\hspace{-.55em}|\hspace{.3em}}]$ ] . * @xmath316
. then @xmath479\}\hspace{-.55em}|\hspace{.3em}}=y={\{\hspace{-.235em}| y\}\hspace{-.55em}|\hspace{.3em}}[x:={\{\hspace{-.235em}| n\}\hspace{-.55em}|\hspace{.3em}}]$ ] . *
analogous to previous case .
* @xmath480 . then @xmath481\}\hspace{-.55em}|\hspace{.3em}}&=&{\{\hspace{-.235em}| \lambda y\,(m'[x:=n])\}\hspace{-.55em}|\hspace{.3em}}\\ & = & { \lambda f\,\left(f\right)~\lambda y\,{\{\hspace{-.235em}| m'[x:=n]\}\hspace{-.55em}|\hspace{.3em}}}\\ & & \textrm{by the induction hypothesis}\\ & = & { \lambda f\,\left(f\right)~\lambda y\,{\{\hspace{-.235em}| m'\}\hspace{-.55em}|\hspace{.3em}}[x:={\{\hspace{-.235em}| n\}\hspace{-.55em}|\hspace{.3em}}]}\\ & = & ( { \lambda f\,\left(f\right)~\lambda y\,{\{\hspace{-.235em}| m'\}\hspace{-.55em}|\hspace{.3em}}})[x:={\{\hspace{-.235em}| n\}\hspace{-.55em}|\hspace{.3em}}]\\ & = & { \{\hspace{-.235em}| m\}\hspace{-.55em}|\hspace{.3em}}[x:={\{\hspace{-.235em}| n\}\hspace{-.55em}|\hspace{.3em } } ] \end{aligned}\ ] ] * @xmath320 . then @xmath482\}\hspace{-.55em}|\hspace{.3em } } & = & { \{\hspace{-.235em}| ( ( n_1)~n_2)[x:=n]\}\hspace{-.55em}|\hspace{.3em}}\\ & = & { \{\hspace{-.235em}| ( n_1[x:=n])~n_2[x:=n]\}\hspace{-.55em}|\hspace{.3em}}\\ & = & \lambda f\,({\{\hspace{-.235em}| n_1[x:=n]\}\hspace{-.55em}|\hspace{.3em}})~\lambda g\,((g)~{\{\hspace{-.235em}| n_2[x:=n]\}\hspace{-.55em}|\hspace{.3em}})~f\\ & & \textrm{by the induction hypothesis}\\ & = & \lambda f\,({\{\hspace{-.235em}| n_1\}\hspace{-.55em}|\hspace{.3em}}[x:={\{\hspace{-.235em}| n\}\hspace{-.55em}|\hspace{.3em}}])~\lambda g\,((g)~{\{\hspace{-.235em}| n_2\}\hspace{-.55em}|\hspace{.3em}}[x:={\{\hspace{-.235em}| n\}\hspace{-.55em}|\hspace{.3em}}])~f\\ & = & ( \lambda f\,({\{\hspace{-.235em}| n_1\}\hspace{-.55em}|\hspace{.3em}})~\lambda g\,((g)~{\{\hspace{-.235em}| n_2\}\hspace{-.55em}|\hspace{.3em}})~f)[x:={\{\hspace{-.235em}| n\}\hspace{-.55em}|\hspace{.3em}}]\\ & = & { \{\hspace{-.235em}| ( n_1)~n_2\}\hspace{-.55em}|\hspace{.3em}}[x:={\{\hspace{-.235em}| n\}\hspace{-.55em}|\hspace{.3em}}]\\ & = & { \{\hspace{-.235em}| m\}\hspace{-.55em}|\hspace{.3em}}[x:={\{\hspace{-.235em}| n\}\hspace{-.55em}|\hspace{.3em } } ] \end{aligned}\ ] ] * @xmath483 . then @xmath482\}\hspace{-.55em}|\hspace{.3em } } & = & { \{\hspace{-.235em}| ( \alpha.m')[x:=n]\}\hspace{-.55em}|\hspace{.3em}}\\ & = & { \{\hspace{-.235em}| \alpha.(m'[x:=n])\}\hspace{-.55em}|\hspace{.3em}}\\ & = & \lambda f\ , ( \alpha.{\{\hspace{-.235em}| m'[x:=n]))\}\hspace{-.55em}|\hspace{.3em } } ) ~f\\ \textrm{by the induction hypothesis}\\ & = & \lambda f\ , ( \alpha.{\{\hspace{-.235em}| m'\}\hspace{-.55em}|\hspace{.3em}}[x:={\{\hspace{-.235em}| n\}\hspace{-.55em}|\hspace{.3em}}])~f\\ & = & \lambda f\ , ( \alpha.{\{\hspace{-.235em}| m'\}\hspace{-.55em}|\hspace{.3em}})~f[x:={\{\hspace{-.235em}| n\}\hspace{-.55em}|\hspace{.3em}}]\\ & = & { \{\hspace{-.235em}| \alpha.m'\}\hspace{-.55em}|\hspace{.3em}}[x:={\{\hspace{-.235em}| n\}\hspace{-.55em}|\hspace{.3em}}]\\ & = & { \{\hspace{-.235em}| m\}\hspace{-.55em}|\hspace{.3em}}[x:={\{\hspace{-.235em}| n\}\hspace{-.55em}|\hspace{.3em } } ] \end{aligned}\ ] ] * @xmath324 . then @xmath482\}\hspace{-.55em}|\hspace{.3em } } & = & { \{\hspace{-.235em}| ( n_1+n_2)[x:=n]\}\hspace{-.55em}|\hspace{.3em}}\\ & = & { \{\hspace{-.235em}| n_1[x:=n]+n_2[x:=n]\}\hspace{-.55em}|\hspace{.3em}}\\ & = & \lambda f\ , ( { \{\hspace{-.235em}| n_1[x:=n]\}\hspace{-.55em}|\hspace{.3em}}+{\{\hspace{-.235em}| n_2[x:=n]\}\hspace{-.55em}|\hspace{.3em}})~f\\ & & \textrm{by the induction hypothesis}\\ & = & \lambda f\ , ( { \{\hspace{-.235em}| n_1\}\hspace{-.55em}|\hspace{.3em}}[x:={\{\hspace{-.235em}| n\}\hspace{-.55em}|\hspace{.3em}}]+{\{\hspace{-.235em}| n_2\}\hspace{-.55em}|\hspace{.3em}}[x:={\{\hspace{-.235em}| n\}\hspace{-.55em}|\hspace{.3em}}])~f\\ & = & \lambda f\ , ( ( { \{\hspace{-.235em}| n_1\}\hspace{-.55em}|\hspace{.3em}}+{\{\hspace{-.235em}| n_2\}\hspace{-.55em}|\hspace{.3em}})~f [ x:={\{\hspace{-.235em}| n\}\hspace{-.55em}|\hspace{.3em}}]\\ & = & { \{\hspace{-.235em}| n_1+n_2\}\hspace{-.55em}|\hspace{.3em}}[x:={\{\hspace{-.235em}| n\}\hspace{-.55em}|\hspace{.3em}}]\\ & = & { \{\hspace{-.235em}| m\}\hspace{-.55em}|\hspace{.3em}}[x:={\{\hspace{-.235em}| n\}\hspace{-.55em}|\hspace{.3em } } ] \end{aligned}\ ] ] structural induction on @xmath28 . * @xmath326 . then @xmath484 and by definition of @xmath240 this is equal to @xmath485 . * @xmath317
. then @xmath486 . *
then @xmath487 which @xmath90-reduces by the induction hypothesis to @xmath332
. * @xmath333 .
then @xmath488 which @xmath90-reduces to @xmath489 and this , by the induction hypothesis , @xmath90-reduces to @xmath336
. * @xmath185 . then @xmath490 which @xmath90-reduces to @xmath491 .
note that @xmath276 is a value , so by the induction hypothesis the above term reduces to @xmath277 .
we do a second induction , over @xmath311 , to prove that @xmath492 . * * if @xmath337 , then @xmath493 . * * if @xmath311 is a base term , @xmath494 which @xmath90-reduces to @xmath495 . * * if @xmath340 , then @xmath496 which @xmath173-reduces by the induction hypothesis to @xmath497 . * * if @xmath343 , then @xmath498 which is equal to @xmath499 which @xmath173-reduces by the induction hypothesis to @xmath345 . * * if @xmath346 then @xmath500 case by case on the rules of @xmath501 . rule @xmath201 : : @xmath502\,k\\ ( \textrm{lemma~\ref{3:lem : substitution}})&=&{\{\hspace{-.235em}| m[x:=n]\}\hspace{-.55em}|\hspace{.3em}}\,k\\ ( \textrm{lemma~\ref{lem : lemma2cps } } ) & { { \ensuremath{{{\to_{\ell\cup\beta}^{\textrm{$\ast$ } } } } } } } & m[x:=n]:k \end{aligned}\ ] ] rules @xmath503 : : * let @xmath504 . @xmath505 . *
let @xmath506 .
@xmath507 * let @xmath508 .
@xmath509 rules @xmath362 and @xmath89 : : + * @xmath510
. then @xmath511 . * @xmath512
. then @xmath513 .
. then @xmath515 . * @xmath516
. then @xmath517 . * @xmath518
. then @xmath519 .
. then @xmath374 which @xmath90-reduces to @xmath375 . * @xmath521
. then @xmath522 .
. then @xmath524 . * @xmath525
. then @xmath526 .
rules @xmath382 and @xmath383 : : + * @xmath527 . then @xmath528 . *
. then @xmath530 .
rules @xmath203 : : assume @xmath531 , and that for all @xmath179 base term , @xmath532 . we show that the result also holds for each contextual rule .
+ * @xmath533
. then @xmath534 . * @xmath535 , analogous to previous case . *
. then @xmath537 . * @xmath538 case by case : * * @xmath407 .
absurd since a base term can not reduce .
* * @xmath408 .
case by case on the possible @xmath91-reductions of @xmath28 : * * * @xmath409 with @xmath539
. then @xmath411 which by the induction hypothesis @xmath90-reduces to @xmath412 . * * * @xmath413 and @xmath414
. then @xmath540 . * * * @xmath416 and @xmath417 .
then @xmath541 . * * * @xmath419 and @xmath420
. then @xmath542 . * * * @xmath422 and @xmath346
. then @xmath543 . * * * @xmath424 and @xmath346
. then @xmath544 . * * @xmath426 .
case by case on the possible @xmath91-reductions of @xmath28 : * * * @xmath427 with @xmath545 . then @xmath429 which by the induction hypothesis @xmath90-reduces to @xmath430 . * * * @xmath431 with @xmath546 .
analogous to previous case . *
* * @xmath433 and @xmath434 . then @xmath435 which @xmath90-reduces to @xmath436 . * * * @xmath437 and @xmath438 . analogous to previous case . * * * @xmath439
. then @xmath547 . * * * @xmath441 , @xmath442 and @xmath443 .
then @xmath548 . * * * @xmath441 , @xmath445 and @xmath446 .
analogous to previous case . *
* * @xmath447 and @xmath448 .
analogous to previous case . *
* @xmath317 .
absurd since @xmath26 does not reduce .
* * @xmath449 . then @xmath450 is equal to @xmath549 , which by the induction hypothesis @xmath90-reduces to @xmath277
. we do a second induction , over @xmath311 , to prove that @xmath492 . *
* * if @xmath452 , then @xmath550 . * * * if @xmath311 is a base term , then @xmath277 is equal to @xmath551 . * * * if @xmath455 , then @xmath552 is equal to @xmath553 which @xmath173-reduces by the induction hypothesis to @xmath456 . * * * if @xmath457 , then @xmath554 which is equal to @xmath555 which @xmath173-reduces by the induction hypothesis to @xmath460 . *
* * if @xmath346 then @xmath500
the proof of the local confluence of the algebraic fragments of @xmath19 and @xmath15 are sufficiently monotonous so that one can ask a proof assistant to do them . for this purpose
we use the library locconf setting up some convenient tactics .
the interested reader can find the whole set of files in @xcite : hypothesis s_0_1_dec : ~ s1 = s0 .
hypothesis s_0_lunit : forall a , s0 + a = a. hypothesis s_0_lelim : forall a , s0 * a = s0 .
hypothesis s_1_lunit : forall a , s1 * a = a. hypothesis s_rdistrib : forall a b c , a*(b+c ) = ( a*b)+(a*c )
. hypothesis s_ldistrib : forall a b c , ( a+b)*c = ( a*c)+(b*c ) .
hypothesis s_add_assoc : forall a b c , ( a+b)+c = a+(b+c ) .
hypothesis s_mul_assoc : forall a b c , ( a*b)*c = a*(b*c ) .
hypothesis s_add_commut : forall a b , a+b = b+a
. hypothesis s_mul_commut : forall a b , a*b = b*a . notation " a + b " : = ( tadd a b ) : term_scope .
notation " a ' * * ' b " : = ( tmul a b ) ( at level 35 ) : term_scope . notation " @ a " : = ( tvar a ) ( at level 10 ) : term_scope . notation " a ; b " : = ( tapply a b ) ( at level 30 ) : term_scope .
notation " \ a " : = ( tlambda a ) ( at level 40 ) : term_scope .
( * * elementary rules * ) definition r_t0_runit : = forall t , r ( t + t0 ) t. definition r_s0_anni : = forall t , r ( s0 * * t ) t0 .
definition r_s1_unit : = forall t , r ( s1 * * t ) t. definition r_t0_anni : = forall a , r ( a * * t0 ) t0 .
definition r_mul_abs : = forall a b t , r ( a * * ( b * * t ) ) ( ( a * s b ) * * t ) .
definition r_ma_dist : = forall a s t , r ( a * * ( s + t ) ) ( a * * s + a * * t ) .
( * * factorization * ) definition r_add_fact : = forall a b t , r ( a * * t + b * * t ) ( ( a + s b ) * * t ) .
definition r_add_fact1 : = forall a t , r ( a * * t + t ) ( ( a + s s1 ) * * t ) .
definition r_add_fact11 : = forall t , r ( t + t ) ( ( s1 + s s1 ) * * t ) .
( * * assoc . and commut .
of addition * ) definition r_add_com : = forall s t , r ( s + t ) ( t + s ) .
definition r_add_rassoc : = forall r s t , r ( ( r + s ) + t ) ( r + ( s + t ) ) .
definition r_add_lassoc : = forall r s t , r ( r + ( s + t ) ) ( ( r + s ) + t ) .
( * * congruence * ) definition r_cong_mul : = forall a s t , r s t - > r ( a**s ) ( a**t ) .
definition r_cong_ladd : = forall u s t , r s t - > r ( s+u ) ( t+u ) .
definition r_cong_radd : = forall u s t , r s t - > r ( u+ s ) ( u+t ) .
definition r_cong_lapp : = forall u s t , r s t - > r ( s;u ) ( t;u ) .
definition r_cong_rapp : = forall u s t , is_value u - > r s t - > r ( u;s ) ( u;t ) .
( * * linearity of application * ) definition r_add_app_ldist : = forall r s t , is_value
t - > r ( ( r + s);t ) ( r;t + s;t ) .
definition r_mul_app_ldist : = forall a r s , is_value s - > r ( ( a**r);s ) ( a**(r;s ) ) .
definition r_t0_app_ldist : = forall s , is_value s - > r ( t0;s ) t0 .
definition r_add_app_rdist : = forall r s t , is_base t - > r
( t;(r + s ) ) ( t;r + t;s ) .
definition r_mul_app_rdist : = forall a r s , is_base s - > r ( s;(a**r ) ) ( a**(s;r ) ) .
definition r_t0_app_rdist : = forall s , is_base s - > r ( s;t0 ) t0 .
( * * elementary rules * ) definition r_t0_runit : = forall t , r ( t + t0 ) t. definition r_s0_anni : = forall t , r ( s0 * * t ) t0 .
definition r_s1_unit : = forall t , r ( s1 * * t ) t. definition r_t0_anni : = forall a , r ( a * * t0 ) t0 .
definition r_mul_abs : = forall a b t , r ( a * * ( b * * t ) ) ( ( a * s b ) * * t ) .
definition r_ma_dist : = forall a s t , r ( a * * ( s + t ) ) ( a * * s + a * * t ) .
( * * factorization * ) definition r_add_fact : = forall a b t , r ( a * * t + b * * t ) ( ( a + s b ) * * t ) .
definition r_add_fact1 : = forall a t , r ( a * * t + t ) ( ( a + s s1 ) * * t ) .
definition r_add_fact11 : = forall t , r ( t + t ) ( ( s1 + s s1 ) * * t ) .
( * * assoc . and commut .
of addition * ) definition r_add_com : = forall s t , r ( s + t ) ( t + s ) .
definition r_add_rassoc : = forall r s t , r ( ( r + s ) + t ) ( r + ( s + t ) ) .
definition r_add_lassoc : = forall r s t , r ( r + ( s + t ) ) ( ( r + s ) + t ) .
( * * congruence * ) definition r_cong_mul : = forall a s t , r s t - > r ( a**s ) ( a**t ) .
definition r_cong_ladd : = forall u s t , r s t - > r ( s+u ) ( t+u ) .
definition r_cong_radd : = forall u s t , r s t - > r ( u+ s ) ( u+t ) .
definition r_cong_lapp : = forall u s t , r s t - > r ( s;u ) ( t;u ) .
( * * linearity of application * ) definition r_add_app_ldist : = forall r s t , r ( ( r + s);t ) ( r;t + s;t ) .
definition r_mul_app_ldist : = forall a r s , r ( ( a**r);s ) ( a**(r;s ) ) .
definition r_t0_app_ldist : = forall s , r ( t0;s ) t0 . | arxiv |
making connections between high - energy ( hard ) and low - energy ( soft ) models of hadrons , that is between the quantum chromodynamics ( qcd ) and effective theories of strong interactions working in the infrared limit , is one of the major challenges of modern particle theory .
the electromagnetic form factor of the charged @xmath0 meson , @xmath1 , represents a particularly interesting observable in this context . on one hand , its high - energy asymptotics
is well defined within the perturbative qcd @xcite . on the other hand , precise experimental data in the soft region
allow to directly trace the evolution of the observable with the momentum transfer , @xmath2 , up to @xmath3 gev@xmath4 , that is close to the range where one expects the hard behavior to start settling down .
the @xmath1 form factor is remarkable in one more aspect which we will exploit here .
it is probably the only observable for which a successful low - energy theory exists which gives the correct qcd asymptotics quantitatively without a dedicated parameter tuning @xcite .
the soft / hard transition is governed by switching the constituent - quark mass @xmath5 off in the model , and wherever the mass is switched off , the qcd asymptotics settles down , provided the low - energy description works well .
therefore , no additional parameters are required to be tuned to reproduce quantitatively the qcd asymptotics .
the model uses the @xmath6 dependence as an input , and various ways of switching the mass off are allowed , just because the asymptotics is universal and is determined by the infrared , and not intermediate - scale , parameters .
therefore , the model , in its present form , does not predict the energy scale at which the soft / hard transition , that is switching @xmath6 off , takes place ; this scale is to be determined either by a detailed model for @xmath6 or experimentally . unfortunately , detailed models for the @xmath5 running available in the literature contain a number of free parameters and can hardly be used for this purpose . here , we explore prospects for experimental determination of this scale from future @xmath1 measurements .
the rest of the paper is organized as follows . in sec .
[ sec : model ] , we briefly review the model for the pion form factor which gives the correct qcd asymptotics starting from the low - energy physics . in sec .
[ sec : constraints ] , we describe how the unknown ingredient of the model , the dependence of the effective constituent - quark mass on @xmath2 , is constrained . we proceed in sec .
[ sec : results ] with estimates of the impact future data may have on these constraints , working within two representative scenarios ; then we briefly conclude in sec .
[ sec : concl ] .
we adopt a well - elaborated model for the pion form factor @xcite originally developed as a low - energy theory based on the poincar invariant constituent - quark model .
it exploits the instant form of relativistic hamiltonian dynamics ( see e.g.ref .
the use of the modified impulse approximation @xcite provides for the full relativistic invariance and eliminates certain drawbacks of the original instant form .
the pion form factor , @xmath7 , is given by rather cumbersome but explicit expressions @xcite collected in ref .
@xcite , which we do not quote here .
the low - energy model has two free parameters , the constituent - quark mass @xmath5 and the wave - function confinement scale @xmath8 ( the actual choice of the wave function does not have any significant effect on the result , see refs .
these two parameters are tuned to reproduce correct experimental values of the pion decay constant @xmath9 and of the pion charge radius .
it is remarkable that these parameters were fixed from the low - energy data ( actually in 1998 , ref .
@xcite , by making use of the @xmath7 measurements at @xmath10 gev@xmath4 @xcite ) , so no room to tune them remained .
the predictions of ref .
@xcite have been subsequently verified by new measurements of @xmath7 up to @xmath11 gev@xmath4 , an order of magnitude higher , and are in excellent agreement with all present - day data . in parallel with this phenomenological success , the model has an interesting , if not miraculous , theoretical advantage .
it has been noted in ref .
@xcite that the asymptotical behavior @xmath12 , predicted by qcd @xcite , is obtained in this model at @xmath13 .
this is however not a full story : introducing explicit @xmath6 dependence in such a way that @xmath14 is taken from the original model but @xmath15 , we obtained in ref .
@xcite the numerical coefficient of this asymptotics which appeared to reproduce the qcd predictions quantitatively , without any parameter tuning , for every possible way of switching the quark mass off .
the qcd asymptotics @xcite is @xmath16 where @xmath17 is the one - loop qcd coupling constant ( extension to higher loops is not straightforward , see e.g.refs .
@xcite ) . the right - hand side of eq .
( [ eq : * ] ) is determined by two parameters , @xmath9 ( determined in the low - energy theory ) and the qcd scale @xmath18 ( which is related , though not explicitly , to the low - energy confinement parameter @xmath8 ) .
the fact that , by fixing @xmath19 and the charge radius in the low - energy theory , we immediately reproduce eq .
( [ eq : * ] ) quantitatively , is an important advantage of the model , not seen in other approaches .
the idea of switching the constituent - quark mass @xmath5 off in order to obtain the form - factor behaviour at high @xmath2 was put forward in ref .
@xcite in the frameworks of the light - front approach @xcite ; however , eq . ( [ eq : * ] )
was not obtained there . in ref .
@xcite , we used a parametrization for @xmath6 inspired by ref .
@xcite but corrected for effects of a one - gluon exchange , @xmath20 @xmath21 the soft / hard transition is therefore governed by two parameters , @xmath22 and @xmath23 , of the @xmath6 function .
the @xmath22 and @xmath23 parameters determine the position and the steepness of the transition between @xmath14 and @xmath24 .
the boundary value @xmath25 while @xmath26 gev is fixed , like in previous studies , to reproduce @xmath9 and the pion charge radius correctly .
we note that the parametrization ( [ eq:5 * ] ) , ( [ eq:5 * * ] ) describes well the @xmath6 dependence obtained , within certain assumptions about free parameters , in complicated non - perturbative dynamical models @xcite , see ref .
@xcite for details and illustrations . to summarize this section
, we have a predictive quantitative model for the pion form factor whose low - energy parameters are fixed and determine the correct high - energy asymptotics automatically , but the soft / hard transition is parametrized by @xmath6 , that is by two parameters @xmath27 .
we turn now to constraining these parameters .
we start with theoretical constraints which are determined by the limits of applicability of the model .
while , technically , eq . ( [ eq:5 * ] ) implies that @xmath5 is always decreasing for arbitrary @xmath22 and @xmath23 , it appears that it can not decrease too slow .
indeed , for each fixed @xmath2 , there exists a value @xmath28 beyond which the form factor , considered as a function of @xmath5 , ceases to be monotonic .
this , in turn , implies that the form factor as a function of @xmath2 may cease to be monotonically decreasing .
we calculate this @xmath28 numerically and determine , from the requirement @xmath29 , the corresponding restriction on the parameters @xmath27 .
this bound ( `` the consistency limit '' ) , applicable in any case , is presented in fig .
[ fig : mu - lambda ] and @xmath23 which govern the quark - mass evolution , see text .
long - dashed line : the consistency limit ( region to the left of the line is allowed ; relevant for all cases ) .
full black line : the 95% cl bound from the present data ( region to the right of the line is allowed ) .
other lines : 95% cl example bounds from future data for the low - scale
( dashed ; the allowed region is bound by the lines ) and `` high - scale '' ( dot - dashed ; the allowed region is to the right from the lines ) scenarios of the soft / hard transition ; thin lines assume 12-gev jlab data , thick gray lines assume eic data .
the values of @xmath22 and @xmath23 assumed for the `` low - scale '' and `` high - scale '' scenarios are shown by the triangle and the diamond , respectively . ] as a long - dashed line : the allowed region is to the left of this line .
note that the requirement of perturbativity at large @xmath2 we used in ref .
@xcite is qualitatively similar to this bound .
the other kind of constraints come from experimental measurements of @xmath1 at relatively high @xmath2 . as we have already pointed out ,
the original model with @xmath30 predicted the form - factor values up to @xmath31 gev@xmath4 with high accuracy , hence an early departure from the constant - mass scenario might result in a disagreement with data .
the corresponding bound on @xmath6 is obtained from the requirement of agreement , at the 95% confidence level ( cl ) , of the corresponding @xmath7 function with the data points , tested by means of the ususal chi - square method . for demonstration purposes
, we also define the `` soft / hard transition scale '' @xmath32 as the value of @xmath2 at which the difference between the predicted @xmath33 and eq .
( [ eq : * ] ) is one half of its maximal value , that is the form factor is half way from its nonperturbative values to the qcd asymptotics . by making use of all present - day data described in ref .
@xcite , we obtain constraints on @xmath6 which are presented in fig .
[ fig : mu - lambda ] in terms of @xmath22 and @xmath23 ( the full line ; the region to the right of the line is allowed ) .
the corresponding range of allowed @xmath7 is shown as a gray band in fig .
[ fig : plot-6gev2 ] corresponding to the `` low - scale '' and `` high - scale '' soft / hard transitions discussed in the text .
existing experimental data points ( see ref .
@xcite for their description and list of references ) are shown by black dots with thin error bars . a typical simulated example realization of expected 12-gev jlab data , corresponding to the `` high - scale '' scenario , is shown by gray dots with thick gray error bars .
it is evident that the jlab data would not help to choose between the allowed scenarios of quark - mass running within our model but would provide a good test of the model versus others . ]
( see ref .
@xcite for more plots ) . in terms of the soft / hard transition scale ,
this constraint is @xmath34 gev@xmath4 .
having determined the constraints on @xmath6 from the present data , we are ready to discuss prospective bounds from future experiments .
experimental prospects of the measurements of the pion form factor are briefly summarized in ref .
@xcite . they include the approved e12 - 06 - 101 experiment at the upgraded jefferson laboratory ( 12-gev jlab ) fascility and measurements at the projected electron - ion collider ( eic ) .
more details may be found in the experimental proposal @xcite for the 12-gev jlab and in the talk @xcite for eic .
hereafter , we will use the information about the @xmath2 reach and projected error bars of @xmath1 measurements at these fascilities given in refs .
@xcite and reproduced in ref .
@xcite ( for eic , we assume the energy of the ion beam of 5 gev , the lowest one considered there ) . with the 12 gev energy
, jlab will be able to measure @xmath1 for the momentum transfers up to @xmath35 gev@xmath4 with the accuracy of @xmath36 .
for eic , there exist various proposals under consideration ; for the 5 gev proton energy , @xmath1 might be measured up to @xmath37 gev@xmath4 with the accuracy of @xmath38 . to proceed further ,
we restrict ourselves to two particular representative scenarios corresponding to the `` low - scale '' and `` high - scale '' soft / hard transition .
the @xmath39 parameters of these scenarios are shown in fig .
[ fig : mu - lambda ] by symbols .
the low - scale scenario corresponds to the lowest transition scale which agrees , at the 95% cl , with the present data ( @xmath40 ; @xmath41 ) .
the high - scale one is a typical representative point inside the allowed region ( @xmath42 ; @xmath43 ) .
the corresponding @xmath44 functions are shown in figs .
[ fig : plot-6gev2 ] , [ fig : plot-15gev2 ] ( dashed lines ) corresponding to the `` low - scale '' and `` high - scale '' soft / hard transitions discussed in the text ( gray bands bound by dotted lines ) .
existing experimental data points ( see ref .
@xcite for their description and list of references ) are shown by black dots with thin error bars .
two typical simulated example realizations of expected eic data , corresponding to the `` high - scale '' ( black ) and `` low - scale '' ( gray ) scenarios , are shown by dots with thick error bars .
jlab 12-gev simulated data are not shown for clarity .
it is evident that the eic data would make it possible to choose between the allowed scenarios of quark - mass running within our model . ] by dashed lines .
having assumed particular values for @xmath22 and @xmath23 , and therefore a particular @xmath44 model curve , we simulate fake data points for a given experiment , scattered around the theoretical curve with the gaussian distribution .
the width of the distribution is determined by the error bars quoted in refs .
@xcite ; the values of @xmath2 for these fake `` measurements '' are also taken from there .
then , these fake data are processed in the joint chi - square fit with the existing data .
the results are presented in figs .
[ fig : mu - lambda ] , [ fig : plot-6gev2 ] , [ fig : plot-15gev2 ] . for 12-gev jlab
, one may see from fig .
[ fig : plot-6gev2 ] that the expected error bars of the @xmath1 measurements exceed the width of the region allowed by the present data for our model .
therefore , these data are not expected to contribute much into the determination of the soft / hard transition scale , as illustrated in fig . [
fig : mu - lambda ] in terms of @xmath45 .
however , we point out that the 12-gev jlab data will be of crucial importance for testing the model itself . in fig . [
fig : plot-6gev2 ] , predictions of two alternative scenarios describing soft / hard transitions are also shown ( see ref .
@xcite for a more detailed discussion ) .
clearly , the precision of the expected 12-gev jlab data would be sufficient to confirm or exclude the model we use here .
contrary , the 5-gev eic data , though having large expected error bars , will be able to disentangle the low - scale and high - scale transition scenarios within our approach , see figs .
[ fig : mu - lambda ] , [ fig : plot-15gev2 ] .
the 95% cl constraints obtained in the two example scenarios are clearly separated .
there still remains a formal degeneracy for @xmath46 gev@xmath4 , but this range of momentum transfer , with the energy scale of order the @xmath8-quark mass , most probably corresponds to the perturbative qcd regime anyway .
we considered the effect of future experimental data on our understanding of the dependence of the pion electromagnetic form factor , @xmath1 , on the momentum transfer squared , @xmath2 , paying a special attention to the `` soft / hard '' transition region where the qcd asymptotics should settle down .
we took advantage of a particular low - energy model which describes excellently the existing data and predicts the qcd asymptotics automatically , without parameter tuning .
given the estimated precision of 12-gev jlab and of eic , as well as the expected range of the momentum transfer accessible to the instruments , we conclude that the coming jlab data may confirm or exclude our model while the eic measurements would be able to pin down the soft / hard transition scale .
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Mount Proctor is a mountain in British Columbia, Canada located near Fernie. Scaling , this limestone mountain is home to a very popular hiking trail. The legend of Mount Proctor tells of a young Indian chief who could not decide whom to marry and was turned into the mountain. The Three Sisters peak facing Mount Proctor is said to be the three maidens. Before there was an Alpine resort at the Fernie Alpine Resort, there was an Alpine resort at Mount Proctor around 1960.
External links
Fernie Worldweb
Category:Elk Valley
Proctor
Category:Regional District of East Kootenay
Proctor | wikipedia |
nurses must be aware of and consider implementing novel strategies to ensure that all community members healthcare needs , which are a basic human right , are addressed .
clear data are available on refugees and migrants who take formal routes to gain asylum and residency .
more than 625,000 asylum applications were submitted in the european union in 2014 ( bitoulas , 2015 ) .
the makeup of asylum applicants in 2014 was 1834 years of age ( 53.7% ) , 3563 years of age ( 19.9% ) , 013 years of age ( 18.8% ) , 1417 years of age ( 6.7% ) , 65 years of age and over ( 0.8% ) , and unknown ( 0.1% ) , with the majority being men ( bitoulas , 2015 ) .
irregular migration is defined as the movement of persons to a new place of residence or transit that takes place outside the regulatory norms of the sending , transit and receiving countries , and an irregular migrant is defined as a person who , owing to irregular entry , breach of a condition of entry or the expiry of their legal basis for entering and residing , lacks legal status in a transit or host country
european union member countries have less access to data on irregular migrants and generally base estimates on sanctions against employers for employing irregular migrants ( european migration network , 2011 ) .
this type of data collection does not include irregular migrants who are present without employment or who are employed with employers who have not been sanctioned .
the most recent data estimates on irregular migrants in europe were collected by the clandestino project , commissioned by the european union , which was terminated in 2009 ( clandestino , 2012 ) .
estimates of irregular migrants , both working and nonworking , from data collected from 2007 to 2009 , were between 1.9 million and 3.8 million for the 27 member states of the european union ( eurostat , 2011 ) .
irregular migrants are at higher risk for health impairments because they do not have valid authorization to reside in the country where they live and therefore try to make a living in jobs that are typically dangerous or degrading while experiencing challenges in accessing health care , education , and housing ( european union agency for fundamental rights , 2011 ) .
not all european union states recognize the rights of irregular migrants to claim compensation for accidents in the workplace or provide a means to seek judicial redress when discriminatory or abusive practices occur in the workplace ( european union agency for fundamental rights , 2011 ) .
access to health care for irregular migrants is variable between european union states , and even in states that provide healthcare services there are obstacles of unawareness of entitlements and fear of information exchange between service providers and immigration enforcement authorities ( european union agency for fundamental rights , 2011 ) .
education access for irregular migrant children is complicated by rules that require documentation for enrollment or to receive diplomas ; as education levels increase , access becomes increasingly restrictive ( european union agency for fundamental rights , 2011 ) .
housing is also problematic for irregular migrants who lack appropriate documentation to secure housing or lack sufficient financial resources to maintain a place of residence ( european union agency for fundamental rights , 2011 ) .
international human rights should be applicable to every person , as a consequence of being human , regardless of immigration status ( united nations , 1948 , 1966a , 1966b ) .
the universal declaration of human rights states that everyone is entitled to the rights and freedoms set forth in the declaration , without distinction of any kind , such as race , colour , sex , language , religion , political or other opinion , national or social origin , property , birth , or other status ( united nations , 1948 , article 2 ) .
recommendations for european union member states from sources such as the universal periodic reviews and the european center for disease prevention and control have focused on assurance of access to basic social services for irregular migrants , which includes health care ( european center for disease prevention and control , 2015 ; european union agency for fundamental rights , 2011 ; united nations , 2015 ) .
spain , where this public health project took place , had a unique process within the european union for irregular migrants .
irregular entry was not considered a crime in spain ( european union agency for fundamental rights , 2011 ) .
spain was the only european country that allowed and fostered the registration of irregular migrants through a registration process called padrn , which gave irregular migrants access to free medical care and public education on the same basis as spaniards or regular migrants ( clandestino , 2009 ) .
many south american immigrants , african , and eastern europeans entered the country as false tourists and used irregular migration as part of the process to gain residency or citizenship ( clandestino ) .
irregular migrants in spain could access other basic human needs , in addition to health care , via a broad charitable organization called critas , which is the official charity group of the catholic church in spain .
food , clothing , and other necessary supplies are distributed to those in need through offices located within catholic churches ; the physical address of a person or family corresponds to a specific church or dioceses where the person or family must go to receive services ( critas espaola , 2009a , 2009b ) .
the requirement to have a physical address , verified by a utility bill or government paper , to locate and receive services may be a barrier to irregular migrants who do not have access to stable housing , are not listed on utility bills , or do not receive government papers .
due to an extended economic crisis , new legislation real decretoley 16/2012 , 2012 was passed on april 20 , 2012 , that restricted access of irregular migrants , as well as other sections of the population , to the national healthcare system ( gobierno de espaa , 2012 ) . in response , a nongovernmental organization ( ngo ) , yo s sanidad universal , was formed to denounce and work on the retraction of the law through civil disobedience by accompanying community members , including irregular migrants , who are excluded from healthcare services to seek assistance within the national healthcare system ( yo si sanidad universal , 2015 ) .
the groups of accompaniment are most often organized and enacted with spanish speakers ( european commission , 2012 ) , which can be a barrier for irregular migrants who do not speak spanish .
the right of the independent european states to enforce immigration law may have a negative indirect impact on the ability of migrants to access basic rights in the host country and may discourage irregular migrants from accessing support services from ngos or charity organizations for fear of arrest ( european union agency for fundamental rights , 2011 ) . a common method of policing for irregular migrants within the european union are routine identity checks that are often carried out on routine traffic stops , on public transportation , or in public spaces ( european union agency for fundamental rights , 2011 ) .
identity checks carried out near schools , health centers , or religious buildings have an indirect effect of discouraging migrants from accessing charitable services and can be frightening , humiliating , or traumatic for the juxtaposition of seeking charitable services and being suspect at the same time ( european union agency for fundamental rights , 2011 ) .
irregular migrants live with persistent fear and distrust because they reside in a society that does not recognize them ( skibaking , 2016 ) . enforcing immigration law at points of charitable service or resources for irregular migrants only deepens the fear and distrust while additionally building barriers to receiving fundamental basic rights .
social capital has been linked to health outcomes in public health literature ( islam , merlo , kawachi , lindstrom , & gerdtham , 2006 ; murayama , fujiwara , & kawachi , 2012 ) .
the concept of social capital has continued to evolve to include the nuances of bonding ,
bonding and bridging social capital are both horizontal in nature ; bonding social capital involves trusting relationships between a network of people ( e.g. , family , friends ) who view themselves as similar , while bridging social capital is based on mutual respect and support between group members who may not be alike in social identity or demographic ( e.g. , banks , police ; putnam , 2000 ) . linking social capital is a vertical strategy that links individuals in positions of high social capital with those individuals who lack social capital to open up and provide access to services or relationships that were previously inaccessible ( woolcock , 2001 ) . linking social capital is important in the health of poor communities where access to formal institutions , such as hospitals and clinics , must be based on trust and respect in order to improve access and health outcomes ( szreter & woolcock , 2004 ) . although linking social capital can be led by disadvantaged community members , trusting relationships
are usually successfully formed when those with greater social capital reach out to those with less social capital ( gittell & thompson , 2001 ; noguera , 2001 ) .
concisely , the burden resides with community members who have social capital to both recognize and create trusting relationships with those who lack social capital .
together , the action of high social capital community members initiating and interacting with vulnerable community members embodies the application of linking social capital to create change .
meeting the needs of irregular migrants in the communities in which they live is an essential component of community health .
nurses , through the nurse patient relationship , are well prepared to meet the needs of irregular migrants ( skibaking , 2016 ) .
nurses are prepared academically to be change agents who can enter communities of irregular migrants and work as mediators to provide linking social capital to the unseen members of society through the intentional creation of trusting relationships .
individuals are only able to change their lifestyle habits and improve health if they are able to learn from honest and truthful individuals ( afzali , shahhosseini , & hamzeghardeshi , 2015 ) . linking social capital
must be carefully constructed in order to create feelings of mutual respect and shared goals between group members and minimize the effects of the inherent power differential between those with high social capital and those with low social capital ( szreter & woolcock , 2004 ) .
irregular migrants are outside the formal systems of society and lack social capital , which may impair them from seeking assistance through ngos or charity organizations out of fear of deportment or lack of understanding due to low literacy , low numeracy , or insufficient language skills .
nursing 's role in providing care to society 's most vulnerable members through linking social capital has been clearly demonstrated since lillian wald and mary brewster began the henry street settlement in new york 's lower east side in 1893 and pioneered public health nursing ( yost , 1955 ) . after a random , brief encounter with the living conditions of the immigrants inhabiting the lower east side of new york city ,
wald became an activist to improve the health and wellbeing of those who were on the fringe of society through public health initiatives and advocacy ( wald , 1915/2014 ) .
she noted during her first encounter with a family living in poverty , squalor , and social exclusion that they [ the immigrants ] were not without ideals for the family life , and for society , of which they were so unloved and unlovely a part
she linked the immigrant family 's current condition with a lack of knowledge that could be rectified through education to help them avoid the natural consequences of their ignorance and promote health ( wald , 1915/2014 ) . in order to meet the needs of those at risk , wald and brewster moved into the henry street settlement house in the lower east side to live near and directly attend to the issues of those living there ( wald , 1915/2014 ; yost , 1955 ) .
wald and brewster navigated successfully to link social capital between privileged , educated , highstatus women and immigrants living in squalid conditions to build trust and construct mechanisms to meet community needs , which then improved health for both the immigrant community members and the larger community around them .
an analogous public health nursing approach was employed as the foundational structure to identify , address , and assist a community of irregular migrants attending englishspeaking worship services at a multicultural church in central madrid .
adult males make up 70% of the population , with 30% being women and children .
all irregular migrants attending worship services report being christian ; no data were collected to differentiate between catholic and protestant faiths .
the irregular migrant community socializes routinely amongst themselves before and after church services as well as outside of church services ( bonding social capital ) .
the influential members of their community , such as spiritual leaders and tribal chiefs , interact with the religious leader of the church and the church 's council members ( bridging social capital ) .
interaction between church members of both regular and irregular status occurs during church services , religious education classes , bible study classes , language classes , and a coffee hour after church . through these formal and informal activities ,
the church has become a place for spiritual , social , and emotional support as well as a location to access food and clothing for irregular migrants through critas .
when spanish law banned irregular migrants from healthcare services in the national healthcare system , the church community witnessed the negative effect of limited healthcare access .
irregular migrants are part of the social community of the church , so being unable to access health care posed a threat to not only the irregular migrants health but the church community 's health as well .
therefore , the decision was made to use linking social capital to improve access to healthcare services for irregular migrants to maintain community health .
work for the program began with bridging social capital to identify civic groups for collaboration .
the parish nurse scheduled meetings with local ngos ( e.g. , yo si sanidad universal ) , humanitarian organizations ( e.g. , red cross ) , and charity organizations ( e.g. , critas ) to identify systems already in place .
conversations addressed available services , distribution of services , and perceived barriers that kept targeted populations from accessing services . following the use of bridging social capital at the professional level , bridging social capital was employed again at the church level between the church leaders and the irregular migrant leaders .
gaining entrance into the community and creating a trusting relationship were the main objectives of these meetings .
discussions involved the perceived needs of the irregular migrant community , which services were most valued by the community ( primary , secondary , or tertiary care ) , and perceived barriers in accessing the services .
meetings were continued until an agreed process , location , time , and access point were mutually determined by all parties .
the religious leader of the church , who evokes trust and respect among the irregular migrants , was a significant gate keeper , allowing access to the spiritual and tribal leaders as well as access to a physical location to distribute services .
the bridging social capital meetings informed and directed further meetings to assess strategies and resources to meet the needs of the communities involved .
main themes included ways to address and eliminate or reduce the barriers identified by the service providers and the irregular migrant community .
based on these conversations , an inventory of resources available , the volunteers present , and anticipated financial needs were collected .
a charitable foundation was legally structured , according to local law , to manage the financial and legal issues related to the program .
initial ideas for the program included : ( a ) appointments on sunday mornings at the church , before worship services to lower transportation costs ; ( b ) an appointment sheet posted in a private area where interested parties could sign up for 10min appointments slots ; ( c ) a private office space for appointments with an external entrance to allow private entrance and exit ; ( d ) an office space located next to a restroom for access to water ; ( e ) no financial handouts for medication or supplies would be distributed , but the physical distribution of necessary medication and supplies would be given directly to the client ; and ( f ) intentional and specific collaboration with ngos , humanitarian agencies , and charities would begin on the bridging social capital level and move towards linking social capital as trust and respect increased between the organization and individuals seeking assistance .
the program provides direct assessment for basic health ailments that can be managed on an outpatient basis with immediate distribution of medications or supplies for symptomatic treatment .
additionally , health promotion seminars , which are adapted to the needs of lowliteracy and lownumeracy learners , are created and implemented on a regular basis .
after the seminar , individual bags containing supplies referenced in the seminar and a lowliteracy , lownumeracy teaching sheet are distributed to participants . finally , through linking social capital , the program acts as a triage and referral to link irregular migrants with ngos , humanitarian groups , and charity organizations .
after trust and mutual respect have been cultivated between the nurse and client , the suggestion to access appropriate services and charities is considered safe by the irregular migrant .
as skibaking ( 2016 ) clearly wrote , when nurses listen to the . . .
undocumented migrant , we are establishing caring connections we are creating new stories to flood the community ( p. 325 ) .
culturally , there was a huge divide between the white , educated women providing services and the irregular migrant men seeking services .
a white coat was worn by providers and a desk separated the provider from the client to discuss the issue of concern before the examination .
confidentiality was reinforced at each visit , truth keeping was a requirement , as was honoring the needs of the client before our assessment of needs by listening and seeking understanding .
twenty percent of visits each week are to address chronic conditions or are followup visits .
males make up 64% of the clients ; 76% of the clients are adults , 5% adolescents , and 19% infants and children .
the majority of visits are related to common ailments such as gastrointestinal concerns , respiratory infections , hypertension , and skin infections .
the nature of visits by gender and age are described in figures 2 and 3 , respectively .
irregular migrants are referred to outside resources for more severe health impairments , such as suspected broken bones , abnormal growths , uncontrolled hypertension , severe lacerations , sexually transmitted diseases , unwanted pregnancy , birth control , and psychiatric issues .
a specific process is employed when clients are referred to outside resources because most irregular migrants do not have sufficient language skills to communicate their needs .
additionally , there can be fear and distrust of seeking services beyond the church . to begin
, a note is written at the sixth grade english level and read to the client so they understand what information they are carrying .
then , this information is rewritten in spanish to assist the person receiving the client at the referred location .
finally , an email is sent to the receiving organization to make them aware that a client will be arriving with limited language skills , but carries a letter from our program to help them access the services he or she needs .
this is possible because formal lines of communication were created during the development of the program through bridging social capital .
the last step is to inform the irregular migrant of the exact location of the service provider and specific directions on how to use the public transportation system to arrive at the location at the right time and on the right day .
a followup visit is encouraged with the client after his or her referral to learn more about his or her experience and to provide information to improve the process .
most clients are happy to participate in the improvement process and share positive experiences readily with their community members through bonding social capital .
not all initial ideas worked due to cultural issues . the signup form for appointments was never used .
when irregular migrant community members were asked why the signup sheet did not work , two reasons were given : ( a ) not all members could write their english name clearly , and ( b ) there is a cultural norm of not showing weakness .
the irregular migrants did not want other members of their community to know they were seeking support .
the clients wanted the medications and supplies needed for treatment , but did not want others to see what they were receiving . having a pharmacy bag to put the medications in , for privacy reasons , was very important to the community .
beyond physical health needs , irregular migrant community members actively seek information on secondary health issues such as nutrition , child development and discipline , grief and loss , exercise and healthy behaviors , and clarifying culturally learned health behaviors ( i.e. , questions such as : how long do you have to wait between users of public restrooms to allow the air to change ? ) .
this prompted the need to connect with other health professionals to find appropriate resources and information .
one issue is the hierarchy between men and women ; women will be in the invisible line , but men will jump ahead of them .
the last meetings of the morning are always women and their children . additionally , there have been issues of trying to seek more medication than necessary , seeking medications for afflictions not being experienced , or bringing in an empty medication container and demanding the exact same medication to be distributed .
another challenge is guiding the expectations of the client . educating clients that health impairments are not always resolved with the first medical appointment or first therapy is critical to maintaining a trusting relationship and avoiding skepticism of the program .
correspondingly , followup can be difficult among a transient population , which can affect medication therapies , monitoring health conditions , or knowing if certain procedures were effective .
issues that influence volunteers are : ( a ) a lack of a shared native language between the nurse and client so there can be misunderstandings about what is being expressed ; ( b ) power differential can be uncomfortable when strong personalities interact ; ( c ) power struggles can arise ; ( d ) fairness is culturally assessed and clients can complain about services ; and ( e ) when a service is free there can be feelings of entitlement , which can be demoralizing for the providers .
the irregular migrant community reports feeling supported and is better able to access services it previously did not know were available or were uncertain how to access .
specific examples include : ( a ) two women and one man being successfully treated for sexually transmitted diseases from a foundation specializing in sexual health education ; ( b ) a woman was able to access services to address an unwanted pregnancy and obtain birth control by two distinct foundations providing women 's health services ; ( c ) a man was able to receive appropriate diagnostic testing , treatment , and followup for a cerebral vascular accident related to uncontrolled hypertension from a humanitarian organization .
this individual now has his daily medication purchased and distributed by the program as well as weekly followup to prevent a reoccurrence ; and ( d ) a man with an abdominal tumor was able to access an evaluation and treatment within the national healthcare system through the assistance of an ngo that accompanied him to his doctor visit and assured he was adequately evaluated . in all these cases ,
the irregular migrants were previously unaware of available services , were unable to access the services due insufficient language skills , or did not have sufficient trust to visit these services without the direct and repeated assurance of the program members . linking social capital was integral in helping the irregular migrants know , understand , and access services that are available in the community to meet their healthcare needs . additionally , the parish community is better protected from preventable communicable disease .
health promotion seminars on proper handwashing use and technique help lower the spread of gastrointestinal illnesses .
prompt and appropriate treatment of intestinal worms limits the spread between household members and other community members outside the household .
health promotion seminars on healthy eating are well attended by both irregular migrants and local community members to improve health and wellbeing . through these shared experiences and shared concern for each other , increasing networks of bonding and bridging social capital among church community members reinforce the benefits from providing linking social capital to the irregular migrant community .
this novel strategy of employing wald 's grassroots approach can be recreated by nurses in their local communities to start caring for the unseen .
the universal declaration of human rights ( united nations , 1948 , 1966a , 1966b ) clearly entitles all humans , regardless of status , to basic human rights , which includes health care .
violence , conflict , and extreme poverty continue to force migration globally ; migrants who choose irregular entry are at higher risk for health impairments due to lack of social capital ( european migration network , 2014 ; wermuth , 2003 ) .
nurses have the ability to build positive relationships with irregular migrants based on safe interactions in order to assist them in meeting their healthcare needs ( skibaking , 2016 ) .
the use of linking social capital between nurses and irregular migrants , stemming from a trusting and respectful nurse patient relationship , can improve access and healthcare outcomes for both the irregular migrant community and the larger community as a whole ( szreter & woolcock , 2004 ) .
furthermore , nurseled efforts to meet irregular migrant health needs and scholarly documentation of these efforts directly support the global nursing research priorities set by sigma theta tau international ( 2005 ) which include health promotion and disease prevention as well as advocacy and promotion of health of vulnerable and marginalized communities . | pubmed |
Earl Henry Buchholz, Jr., dit Butch Buchholz, né le à Saint-Louis, est un joueur de tennis professionnel américain.
Biographie
En tant que junior, il remporte Roland-Garros et Wimbledon en 1958 et l'Open d'Australie en 1959.
Demi-finaliste à l'US Open contre Rod Laver en 1960, il rejoint le circuit professionnel en 1961. En 1968, il fait partie des Handsome Eight, un groupe de joueurs de tennis faisant partie du nouveau circuit WCT.
Il arrête sa carrière à 29 ans en 1970 sur blessure, devient entraîneur pour l'USTA puis créé un club de tennis à Saint-Louis en 1971. Il a ensuite dirigé le tournoi WCT organisé dans la ville pendant trois ans. Il refait une apparition lors du tournoi de Jackson en 1975 et se paye le luxe d'éliminer le n°2 mondial John Newcombe en demi-finale.
Il a été délégué de la World Team Tennis en 1977 et 1978, puis directeur exécutif de l'ATP entre 1979 et 1983 et membre du conseil des joueurs de 1981 à 1983. Il fonde en 1985 le Lipton International Players Championships à Delray Beach, aujourd'hui connu comme étant le Masters de Miami, tournoi de premier plan ouvert à la fois aux hommes et aux femmes. Ce tournoi disputé au mois de février avait pour vocation d'être le premier grand rendez-vous de l'année, l'Open d'Australie étant alors organisé en décembre.
Il est membre du International Tennis Hall of Fame depuis 2005.
Palmarès
Titre en simple
Finales en simple
Finales en double
Autres performances
US Open : demi-finaliste en 1960
US Pro : demi-finaliste en 1963, 1965 et 1966
Roland-Garros Pro : demi-finaliste en 1965 et 1966
Wembley Pro : demi-finaliste en 1962, 1963 et 1965
Résultats en Grand Chelem
En simple
En double
Liens externes
Joueur américain de tennis
Dirigeant américain de tennis
Membre du International Tennis Hall of Fame
Naissance en septembre 1940
Naissance à Saint-Louis (Missouri) | slim_pajama |
this review focuses on current methods to track natural killer ( nk ) cells used in cancer therapy : how they can be monitored in vivo to assess tumor response , assay treatment efficacy , and elucidate mechanisms of nk cell - based immunotherapy .
nk cell therapy includes activation of endogenous nk cells , and adoptive transfer of activated and genetically modified nk cells .
adoptive transfer of ex vivo - targeted nk cells has been used more recently . typically , response to adoptive cell therapy
is evaluated on the basis of decreases in tumor markers and tumor size and improved survival that are assessed weeks to months after administration of treatment .
localization and function of adoptively transferred immune cells at the tumor site are typically determined through biopsy and ex vivo analysis .
accumulation in the tumor region is one of the requirements for effective adoptive immunotherapy . with the biology of nk cells
continually being elucidated , tumor targeting of nk cells can potentially be enhanced using a variety of new methods .
nk cells may be labeled with different markers for in vivo monitoring.1 cells can be labeled directly by harvesting them and labeling them ex vivo with fluorophores , radiotracers , or paramagnetic nanoparticles that allow visualization by optical microscopy , positron emission tomography / single - photon emission computed tomography ( pet / spect ) , and magnetic resonance imaging ( mri ) , respectively .
direct labeling procedures may prove to be useful for clinical translation because of the ease of labeling procedures and the potential to use labels that are already approved for clinical use .
first , the level of labeling depends on the capacity of the cell to retain the label , as different cell populations may exhibit different levels of phagocytosis or have different membrane properties .
second , the direct method can be useful for in vivo imaging of only terminally differentiated cells , such as nk cells , dendritic cells , and macrophages , because the label may be lost or diluted as cells proliferate or die .
cells may also be labeled indirectly ex vivo where cells are transduced with a vector carrying a reporter gene .
signal can be generated and tracked in vivo when the reporter gene is expressed and when a transgene - specific probe is administered . although genetic manipulation makes it possible to track the long - term fate of a cell population ( distribution , proliferation , and survival ) in vivo , insertion of reporter genes demands stable genetic modification and is currently restricted to preclinical research .
noninvasive imaging technologies are now able to qualitatively and quantitatively detect the presence of labeled nk cells in target tumors .
these imaging signals can potentially be used as real - time biomarkers for tumor response and for differentiating patients who are responders or nonresponders to nk cell therapy .
noninvasive nk cell imaging has the potential to provide immediate evaluation of nk cell therapy in both preclinical and clinical realms .
nk cells are a crucial part of the innate immune system that were originally identified based on their ability to lyse malignant and infected cells without prior sensitization or immunization.2 nk cells mediate the suppression of infected and tumor cells through several effector mechanisms ( e.g. the perforin / granzyme - containing granule , death - receptor and interferon- ( ifn- ) mediated pathways , and antibody - dependent cell - mediated cytotoxicity ( adcc)).3 nk cells produce cytokines that have proinflammatory and immunosuppressive effects ( e.g. ifn- , tumor necrosis factor- ( tnf- ) , or interleukin il-10 ) and growth factors , such as granulocyte macrophage colony - stimulating factor ( gm - csf ) and granulocyte colony - stimulating factor ( g - csf ) ) .
they also produce many kinds of chemokines that are crucial in nk cell trafficking to lymph nodes and areas of inflammation , as well as their colocalization with dendritic and other hematopoietic cells.4,5 nk cell - mediated cytotoxicity and cytokine production provide regulatory roles of nk cells that impact members of the adaptive immune system , such as dendritic cells , macrophages , neutrophils , and t and b cells.4 human nk cells are broadly defined as cd3 cd56 cells and can be further divided into two subsets based on the level of their expression of cd56.6 cd56 nk cells are predominantly involved in immunoregulation by producing cytokines .
cd56 nk cells also express high levels of low - affinity fc receptor for igg ( fciiir cd16 ) , which mediates adcc .
nk cells are widely distributed throughout lymphoid and nonlymphoid tissues , including bone marrow , lymph nodes , blood , liver , spleen , and lung.5 about 90% of nk cells in the peripheral blood and spleen are cd56 cd16 + nk cells .
most nk cells in the lymph nodes are cd56cd16 nk cells are equipped with a variety of receptors that stimulate or inhibit activity .
nk cell activation is dependent on the balance between inhibitory and activating receptors . activating receptors
human activating receptors include the natural cytotoxicity receptors ( ncr nkp46 , nkp30 , and nkp44 ) , c - type lectin receptors ( cd94/nkg2c , nkg2d , nkg2e / h , and nkg2f ) , and killer cell immunoglobulin - like receptors ( kirs ) ( kir-2ds and kir-3ds ) .
inhibitory receptors include c - type lectin receptors ( cd94/nkg2a / b ) and kirs ( kir-2dl and kir-3dl).8 the nk cell receptor repertoire provides three ways by which nk cells take part in tumor immune surveillance .
normal cells express major histocompatibility complex ( mhc ) class i self molecules that bind to inhibitory receptors and inhibit nk cell killing . under stress conditions , mhc class
i is down - regulated in target cells resulting in loss of inhibitory signals and activation of nk cells .
nk cells possess activating receptors that recognize molecules that are pathogen - encoded , only expressed by infected cells , and are not expressed by the host .
for example , in mice , the cytomegalovirus - encoded m157 ligand is recognized by the activating receptor ly49h in nk cells .
human nk cell activating receptor nkp46 can recognize hemagglutinins on virus - infected cells and initiate nk cell - mediated lysis.913 third is the stress - induced self
process , wherein nk cells recognize proteins up - regulated only by transformed or infected cells .
furthermore , ifns and cytokines ( il-2 , il-12 , il-15 , il-18 , and il-21 ) can potentiate these surveillance roles by enhancing activation , increasing cytolytic activity and promoting maturation of nk cells.4,8
nk cells play crucial roles in the innate and adaptive immunities against infections and tumors .
their therapeutic use is currently being pursued in cancer immunotherapy.8,14 briefly , there are five methods in which nk cell therapy is being employed pre - clinically and clinically .
autologous nk cells can be activated and potentiated through systemic administration of cytokines ( il-2 , il-12 , il-15 , il-18 , il-21 , and type i ifns).4,1518 however , poor clinical outcome has been observed with severe side effect in cancer patients , including vascular leak .
ex vivo activation and expansion of autologous nk cell using cytokines and eventual adoptive transfer back to the patients have shown greater success.8 use of allogeneic nk cells in adoptive cell transfer has shown kir mismatch and enhanced tumor - killing ability .
kir mismatch contributes to alloreactivity of nk cells through the missing self - recognition process , i.e. the inhibitory kirs on allogeneic nk cells do not detect self mhc class i ligands.19,20 following transfer of haploidentical allogeneic nk cells in acute myeloid leukemia ( aml ) patients , 26% had complete remission and most patients experienced nk cell expansion following il-2 therapy.19 to take advantage of the alloreactivity of nk cells , they are expanded and activated in vitro prior to adoptive transfer using various cytokines ( il-2 , il-15 , or il-21 ) and growth factors.21,22 nk cell function can also be enhanced by blocking inhibitory kir with monoclonal antibodies.23 adcc : nk cells expressing the activating receptor type iiia fc receptor ( cd16 ) recognize antibodies on target cells and trigger nk cell - mediated adcc .
the use of monoclonal antibodies with or without immunocytokine stimulation of endogenous or adoptive nk cells could potentiate adcc and improve immunotherapy .
antibody treatment of non - hodgkin lymphoma ( with anti - cd20rituximab ) and metastatic breast cancer ( with anti - transtuzumab / herceptin ) shows strong evidence that adcc is nk cell mediated.2426 nk cell lines : ex vivo - activated nk cells have increased cytolytic activity compared to parental nk cells .
this has led to the use of cytotoxic nk cells lines that can be continuously expanded , maintained using good manufacturing practice ( gmp ) , and kept readily available without a donor .
there are seven established nk cells lines : nk-92 , yt , nkl , hank-1 , khyg-1 , nk - ys , and nkg.8,27 the human nk-92 cell line originated from a patient with large granular lymphoma and is the only cell line that has been shown safe in adoptive transfer in humans.28,29 nk-92 cells can also be expanded in recombinant il-2 .
more recently , tonn et al showed that infusions of ex vivo il-2-activated nk-92 cells were well tolerated in patients with advanced cancer and remain in circulation up to 48 hours.30 genetic modification : in addition to mediating cytotoxicity of nk cells , it is also important to optimize accumulation and retention of the modified nk cells at the tumor site by altering the targeting receptor milieu .
small interfering rna ( sirna)-based technologies can be used to down - regulate the expression of inhibitory nk cell receptors or overexpress activating receptors.3133 gene transfer of chimeric tumor - antigen - specific receptors in nk cells enhance their tumor targeting and killing abilities .
studies in vitro and in vivo have shown that genetic modification of nk cells via transfer of chimeric receptors targeted against her2/neu , carcinoembryonic antigen ( cea ) , cd33 + leukemia , and epithelial cell adhesion molecules ( epcam)-positive prostate cancer provided specific cytotoxicity.3439 genetically modifying nk-92 cells with cd20-specific chimeric antigen potentiated nk cell cytotoxicity toward a cd20 expressing lymphoma that was previously resistant to nk cells.40 multimodal immunotherapy promises to optimize nk cell efficacy and tumor targeting.15 nk cell therapy can be combined with cytokines , hematopoietic growth factors , humanized monoclonal antibodies , immunocytokines , and/or immunomodulatory drugs.4,1518,41,42 other types of cancer treatments may provide some tumor priming that could also enhance direct or indirect nk cell - mediated tumor recognition and killing . ionizing radiation and chemotherapy may lead to increased expression of nkg2d ligands on tumor cells and increased nk cell targeting and binding of nkg2d activating nk cell receptors.43 drugs acting on histone deacetylase inhibitors or proteasome inhibitors may up- regulate expression of tnf - related apoptosis - inducing ligands on malignant cells and render them more susceptible for trail - mediated nk cell - induced death.4447 focused ultrasound treatment of human breast cancer increases tumor - infiltrating lymphocytes that include : cd3 , cd4 , cd8 , cd4/cd8 t cells , b cells , and nk cells .
levels of fasl+ , granzyme+ , and perforin+ lymphocytes also significantly increase after focused ultrasound treatment.48 focused ultrasound has also been used to disrupt the blood - brain barrier to deliver targeted nk-92 cells expressing a chimeric her2 antigen receptor to her2-expressing human breast tumor cells.49
quantitation of the distribution and timing of nk cell trafficking is necessary to clinically assess the efficacy of their adoptive transfer . using various imaging techniques ,
this evaluation can be done quickly and noninvasively in patients receiving adoptive nk cell therapy .
there are currently three methods to track nk cells in vivo50 : ( 1 ) optical imaging ( oi ) using fluorescence ( fli ) or bioluminescent imaging ( bli ) , ( 2 ) radionuclide - based imaging using pet or spect , and ( 3 ) mri . direct or indirect cell labeling can be used to track nk cells using oi .
cells can be directly labeled with exogenous fluorescent tracers for fli or indirectly via transfection of a reporter gene that generates a protein product for fli ( e.g. green fluorescent protein , gfp ) or bli ( e.g. luciferase ) .
fluorescent dyes can be used to permanently label nk cells and other lymphocytes through covalent and noncovalent binding to dna , rna , and protein sites ; cell membrane insertion ; and reactions in the cytosol.51 optical markers exhibit high sensitivity and high specificity , but provide limited resolution ( 23 mm ) , poor anatomical discrimination , and limited tissue penetration ( 1 mm fluorescence ; 3 mm bioluminescence ) .
oi is well suited for small animal models due to small tissue depths as compared to humans .
there are also no readily available clinical instruments . using oi , nk-92scfv(moc31)-zeta cells targeted to epcam antigen in human prostate cancer xenografts
have been tracked in vivo in athymic rats using a near - infrared dye did ( 1,1-diotadecyl-3,3,3,3-tetramethylindodicarbocyanine ) .
tumor fluorescence increased significantly after injection of targeted nk-92 cells vs. nontargeted parental nk-92 cells ( fig .
1).39 nk-92mi cells have also been labeled with anti - cd56 antibody conjugated with quantum dots ( qd705 ) without affecting viability and ifg- production and cytolytic activity .
qd705-labeled nk cells have been tracked up to 12 days post intratumoral injection in human malignant melanoma ( mewo ) xenografts in mice.52 conjugation of fluorescence organic dye ( cy5.5 ) with magnetic nanoparticles ( fe3o4/sio2 ) has also been used to visualize the migration of nk-92mi cells to the tumor site controlled by an external magnetic field.53 pet and spect provide high sensitivity for detecting labeled nk cells ( in the nanomolar concentration range ) , high specificity ( target to background contrast ) , quantification of labeled cells , and has immediate clinical translation through use of fda - approved labeling agents .
however , limitations include poor spatial resolution ( ~15 mm ) , limited anatomic information , ionizing radiation , and , depending on the radionuclide , limited duration and number of scanning sessions.50 radionuclide tracer decay limits follow - up studies within hours ( fdg 24 hours ) to days ( in 47 days ) .
integration of computed tomography ( ct ) can improve the resolution of pet and spect through attenuation correction and allows registration of tracer signals with anatomical structures.54 nk cells have been labeled with positron emitting radionuclides , including fdg ( half life = 109 min ) and c - methyl iodide ( half life = 20 min ) for pet,22,35,55 as well as with gamma emitting radioisotope in ( half life = 2.8 days ) for spect.56,57 pet tracers have been used to experimentally investigate the optimization of nk cell targeting to tumors .
melder et al , using c - methyl iodide and pet , demonstrated that 430% of injected activated nk cells localized ( 1 hour post injection ) to the tumor site of a murine fsaii fibrosarcoma model compared to 34% of nonactivated splenic lymphocytes.22 using an fda - approved pet label , fdg , meier et al tracked genetically modified nk-92 cells , nk-92-scfv(frp5)-zeta cells .
these cells express a chimeric antigen receptor targeting tumor - associated her2/neu antigens , and were shown to accumulate more in the tumor site compared to parental nk-92 cells in mice ( fig .
2).35 additionally , spect agents have been used to explore optimal administration routes for adoptively transferred nk cells clinically .
matera and colleagues used in - oxide - labeled recombinant il-2-activated nk cells , evaluated by spect , to show that intra - arterial injection vs. intra - venous results in increased accumulation of adoptively transferred nk cells in the liver tumor site ( colon carcinoma metastasis).56 for mri , nk cells have been labeled with nanoparticles , such as superparamagnetic iron oxide ( spio ) and ultra - small superparamagnetic iron oxide ( uspio ) nanoparticles.34,36,58,59 depending on how long the adoptively transferred nk cells survives ; nk cells are able to retain their iron oxide label up to 4 days.58 iron oxide - based agents produce strong hypointensity in t2 and t2 * weighted images .
interpretation of the signal loss may be difficult because other factors could contribute to the hypointensity regions in an image , apart from the presence of iron oxide - labeled cells ( e.g. presence of blood , susceptibility artifacts due to air tissue interfaces , magnetic field inhomogeneities due to poor shimming , etc . ) .
even with its drawbacks , direct labeling with paramagnetic particles show promise of direct clinical translation since fda - approved iron oxide nanoparticles are already in clinical use ( ferumoxide , ferumoxytol , and ferucarbotran ) and iron oxide nanoparticle labeling involves simple incubation , electroporation , or use of a transfection agent.34 direct measurement of the relaxation rate , r2 * ( r2 * = 1/t2 * ) provides quantification of the attenuated signal intensity .
r2 * relaxometry displays the effects of iron oxide as a positive signal and is a quantitative measure that correlates with iron concentration .
use of ultra short echo - time ( ute ) pulse sequence60 is an alternative imaging protocol that can display signal increase in the presence of iron oxide nanoparticles .
meier et al demonstrated significant decreases in t2 * -weighted signals in epcam - positive tumors after injection of ferumoxide - labeled epcam - targeted nk-92 cells ( nk-92-scfv(moc31)-zeta ) , but not after injection of ferumoxide - labeled nontargeted parental nk-92 cells ( fig .
3).36 for a more quantitative approach , relaxation rate maps can be constructed to provide quantitative metrics of the organ and tumor tissues and possibly labeled nk cell concentrations .
for instance , sheu et al showed that tumor signal changes in t2 * relaxation time maps generated from gradient echo sequences after intra - arterial infusion of spio - labeled nk-92 cells.59
figure 4 shows a t2 * -weighted image and the corresponding parametric r2 * ( r2 * = 1/t2 * ) map of an nod - scid - gamma ( nsg ) mouse implanted with daudi burkitt s lymphoma before ( pre ) and after ( 6 hour post ) tail vein injection of ferumoxtyol - labeled nk cells .
the r2 * maps show a heterogeneous signal increase in the tumor region 6 hour after administration of ferumoxtyol - labeled nk cells .
mri is readily available clinically , has relatively high resolution ( better than 0.1 mm ) , well - defined soft - tissue contrast , and has no ionizing radiation .
disadvantages of mri compared to oi or radiotracer - based imaging are limited sensitivity for detecting small cell populations , relatively high cost , long scan times , and low specificity .
quantitation of cells in vivo is theoretically possible using relaxation rate maps , but this type of quantification is indirect as the mr signal detected is related to the perturbation in tissue proton magnetization rather than directly to cell concentration .
multiplexing adoptive transfer with patient and tumor priming ( via adjuvant and/or immunocytokine treatments , genetic modification of nk cells , and/or combinatorial therapies ) are being explored to optimize targeting to the tumor and enhance cytotoxicity of nk cells . in vivo assessment of the spatiotemporal distribution and the concentration of transferred nk cells within tumor sites
existing imaging techniques with optimized probes can be used noninvasively and results can be visualized in real time . for future clinical applications , multimodal imaging ( mri and pet )
offers the most desirable characteristics for measuring responses to nk cell adoptive therapy , to qualitatively and quantitatively track cells , and to measure cellular viability through visualization of pet and mri signal colocalization . | pubmed |
//
// SwiftServer.h
// core
//
// Created by Chunwei on 4/4/15.
// Copyright (c) 2014 Chunwei. All rights reserved.
//
#pragma once
#include "../../utils/all.h"
#include "../system/node_init.h"
#include "../system/server/init.h"
//#include "../system/server/init_config.h"
#include "../system/server/terminate.h"
namespace swift_snails {
template<typename Key, typename Val, typename Grad, typename PullMethod, typename PushMethod>
class SwiftServer {
public:
typedef Key key_t;
typedef Val val_t;
typedef Grad grad_t;
//typedef SparseTable<key_t, val_t> table_t;
typedef PullMethod pull_method_t;
typedef PushMethod push_method_t ;
explicit SwiftServer(const std::string &config_path) {
// init configs
/*
server_init_configs();
global_config().load_conf(config_path);
global_config().parse();
*/
}
void operator() () {
// register to master as server node
node_transfer_init(true);
node_hashfrag_init();
init_pull_method();
init_push_method();
// terminate local service after the task finished
terminate();
}
private:
NodeTransferInit node_transfer_init;
NodeHashfragInit node_hashfrag_init;
ServerInitPullMethod<key_t, val_t, grad_t, pull_method_t> init_pull_method;
ServerInitPushMethod<key_t, val_t, grad_t, push_method_t> init_push_method;
ServerTerminate<key_t, val_t> terminate;
}; // class SwiftServer
}; // end namespace swift_snails
| slim_pajama |
Is there a reaction to get hydrogen from hydrocarbons?
Combustion of hydrocarbons reveals hydrogen, but not sure at what efficiency. Is there a reaction to get hydrogen from hydrocarbons?
Hydrocarbons are in fact the main source of hydrogen gas. According to [Wikipedia](https://en.wikipedia.org/wiki/Hydrogen#Steam_reforming), 95% of all hydrogen is produced by the [steam reforming reaction](https://en.wikipedia.org/wiki/Steam_reforming):
$$\ce{CH4(g) + H2O(g) -> 3H2(g) + CO(g)}$$
This is a very important industrial process which has been studied in depth. It is done at very high temperatures (~1000 °C) and under pressure (~20 atm), and can be "[up to 75%
efficient](https://web.archive.org/web/20060204211916/http://www.getenergysmart.org/Files/HydrogenEducation/6HydrogenProductionSteamMethaneReforming.pdf)" (though efficiency here may not be defined as solely reaction yield).
As an aside, the fact that so much hydrogen is obtained from methane (itself generally sourced from natural gas, a fossil fuel) is one reason why hydrogen fuel cells currently have limited environmental benefit, though there is a huge amount of research into more efficient techniques for obtaining hydrogen from water splitting (especially using light) which could be carbon-neutral.
| stackexchange/chemistry |
Lord of the Rings, Naruto The Village Hidden in the Flames
Hello readers, you should be able to see my name so I wont bother with it. As a fan of both Naruto and the works of J.R.R. Tolkien, a crossover has always interested me, unfortunately the majority of the stories in this section either suck or have been abandoned with only a few that have been worth reading. Thus, I will write my own, now let me get some things in order, this is the first time I have written in a while so it may be a bit before I get my mojo back (as if I had any in the first place), This story will be slightly AU but into the future in regards to Naruto canon as some clans said to be extinct in canon will not be in this story, which will barely be mentioned, and very AU in regards to LOTR canon, for example the elves will not be leaving to the undying lands (Sorry traditionalists, its the only way for my plans to work) as the story will extend past the war of the ring, I am breaking new ground here, I have looked around and there is no fanfiction quite like the one I have planned. Brace yourselves.
Speaking- normal dialogue/ Common Tongue
**Speaking**- Elvish
_**Speaking**_- Japanese/ Jutsu
_Speaking_- sign language
now we begin
()
In the aftermath of the Fourth Great Shinobi World War, thousands were scattered, homes destroyed, but legends were made, and many fell in the battles. Just as these legends rose and fell, clans and missing nin united frequently into fledgling villages, who were almost as frequently destroyed by infighting or by their rivals within the first few years of their existences, with only a few who survived past half a decade. One of these stalwart villages was Gekkogakure of Snow country, a village that became known for extreme brutality and violence despite the appeals of their good natured Daimyo. The village became feared among its neighbors for its ruthless aggression and secretive practices, one of which was sealing volatile and bloodthirsty spirits and minor demons into its own shinobi, in the hopes of increasing their power.
This practice would spell their doom.
The Nindaime Yukikage Kojima Mikota, or the Snow Wolf of Gekko, was a cruel woman, who cared only for the increasing of her power first, and the Village's second. Upon the birth of her son, she had her husband murdered and committed suicide, with instructions to seal her free soul into the body of her child, intending to possess him. However she was betrayed by the seal-master, who divided her soul and only sealed the battle-persona of her, the Snow Wolf, into her son. The seal-master, Masamoto Mamoru, then became the Sandaime Yukikage, raising the son, Kojima Hisoka, to be a weapon of the village, having him trained in the ways of the powerful Kojima clan, who were a vicious breakaway faction of the Inuzuka, preferring wolves over dogs, and the ways of his father's clan, the Arakaki, a clan of samurai from the Land of Iron.
Hisoka grew up powerful, well-trained, and feared by both his enemies and allies. However, he soon began to doubt the true potential in the Elemental Nations and began to investigate and research the lands outside the continent after murdering the Kojima clan head and taking the position for himself and being awarded the title of clan head of his Father's Arakaki clan after winning a kenjutsu duel with his uncle. During his studies and travels, he met a man who would be essential to his plans, Gandalf the Grey, who was studying the Elemental Lands when he met Hisoka, the shinobi spotted and followed him before confronting the old wizard. Gandalf was just as interested in Hisoka as the latter was with him, the two began a game of riddles which ended as a draw, as such the two told one another of their lives, experiences, and goals. Gandalf was impressed by Hisoka's achievements and character, despite his cruel and ruthless tendencies. He and the wizard then traded information on each other's homelands, which caused a plan to form in his mind and the Sandaime soon inadvertently gave him an opportunity to carry out the first stage of this plan.
The Yukikage had begun to fear the power that Hisoka wielded with both clans at his disposal and banished both the Kojima and Arakaki clans from Gekkogakure. Hisoka, enraged, wandered the Elemental Nations with his clans, becoming a group of raiders, after marching through the remainders of Otogakure of Rice Country, he was joined by the Hebinochi clan, a clan of mask wearing snake-like shinobi, led by the young Hebinochi Emiko, along with the last specimens of clans the snake sannin Orochimaru had held, including a small number of the bone-weilding Kaguya clan that Orochimaru held in stasis, as well as several missing-nin groups and ronin samurai clans. Next he and his now massive army moved through Wind Country, encountering the A-rank Suna missing-nin Hashimoto Raiden, who he befriended and convinced the feared Lightning Scorpion to join them, but not before a skirmish against several Suna Jonin, causing the Kazekage Garra to send Hunter-nin after them.
The next year, they marched on Gekkogakure, holding the village under siege, Hisoka, Emiko, and Raiden battled the paranoid and power-mad Sandaime Yukikage together, defeating him after four hours of non-stop fighting. The people of Gekkogakure were then added to the group as well as all of their shinobi that surrendered, while the Masamoto clan was massacred and their knowledge of seals stolen with their wealth before the village was razed to the ground.
It was a year after this in Wave Country when Hisoka encountered the grey wizard again, his now vast army of wanderers had settled in a remote part of the watery area to hide from the forces of Sunagakure and Iwagakure. After another game of riddles and telling of tales, Hisoka asked where exactly the continent of Arda, which the wizard came from, was. The old man smiled and pulled a contract from his coat. Its contents stated the offering of a large sum of land, in exchange for the services of Hisoka and his people, should he need them, the Shinobi leader signed the contract in blood. Upon Hisoka's question of where to go, Gandalf said to him:
**_"Follow the Shining Star, when you arrive on land, follow this map"_**
Gandalf gave Hisoka the map before disappearing, and the shinobi leader began preparations for the journey, he purchased over one hundred ships and loaded them with supplies and not a month later they were at sea.
For six months they journeyed across the sea, eventually, Hisoka following Gandalf's instructions and following the brightest star, brought him to the mouth of the river Isen. Unloading the cargo and burning the ships, Hisoka and his people traveled quickly and discreetly trying to avoid notice in the new lands. Eventually settling on the spot Gandalf gave him, a piece of woodlands on the Greyflood River. It was there that the construction of Honogakure, the village hidden in the flames, began, but first was the naming of its Kage, and there was only one option within the army's mind, and Kojima Hisoka was named the Koteikage of Honogakure, commander of all samurai and shinobi forces of the village.
Three years passed, Honogakure had been completed and surrounded by a wall, its academy was built up, teaching children how to be shinobi at a brutal pace. Hisoka would often send criminals to the academy for torture or execution, the students performing them in order to prepare them for shinobi life, those who couldn't be shinobi were often placed in the training of the samurai forces, who battled roving bandits and orc raiders.
As much as Hisoka would have liked to avoid it, soon rumors were spread throughout the land of a secret city of warriors to the North of Isengard and a company of rangers began to seek them out. Needless to say, the samurai drove them off, but the incident made the Koteikage aware of the need of his people to learn the common tongue if they planned to gain any power in this new continent and he sought out one of his ANBU who had learned the common tongue when out on missions. The ANBU, over the next year, was ordered to teach the Common tongue of Westron to the Jonin and ANBU forces. The practice soon spread to the civilian populace after many Jonin taught it to their Genin squads, who taught it to their clans and families, and after two years, the majority of the civilian population and all of the shinobi and samurai forces were bilingual. Honogakure began to spread outward as well, many towns, small villages, and shinobi outposts were established throughout Honogakure's immediate territory. It was these outcroppings that finally brought the other kingdoms of middle earth's curiosity, a delegation of the men of Rohan was sent to discuss a possible military alliance or trade agreement. Their delegation was turned back by a group of shinobi, the failure of the interaction spread suspicion of Honogakure, making other kingdoms shy away from the new nation.
It was another year after that Sauron rose again, and unbeknownst to the majority of middle earth, the ring was taken to Rivendell, in the hands of a hobbit. The house of Elrond had sent out its envoys spreading word of a council, convening to discuss what was to be done of Sauron. The Elvish envoy sent to Honogakure was intercepted by the Head of Jonin forces, Hashimoto Raiden, and was allowed to gain an audience with the Koteikage, after hearing the summons the elves brought with them. After Hisoka heard their message he had them escorted out of Hono territory while he decided on whether it was time to become fully engaged in the affairs of Middle Earth. It was during this time that Gandalf appeared before him again saying it was time for Hisoka to fulfill his contract he had signed years before, forcing Hisoka's hand, he then prepared to arrive in Rivendell as a show of force and to fulfill his deal at the same time, by marching to Rivendell with a contingent of Samurai and Shinobi.
()
So this was the prologue, tell me what you guys think, should I continue, or should I die in a fire?
End file.
| fanfiction |
Basic maths theories for good understanding of the standard model [duplicate]
**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!**
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[Mathematical background for Quantum Mechanics [duplicate]](/questions/5014/mathematical-background-for-quantum-mechanics)
(4 answers)
Closed 9 years ago.
I want to know what mathematical theories I should be aware of for a deep understanding of the standard particles model.
This depends on what you already know, but if you know some quantum field theory, then getting to know the $SU(N)$ groups is a good start.
<http://en.wikipedia.org/wiki/Special_unitary_group>
This is because the standard model is built upon Gauge-symmetry under these groups. The symmetry group of the standard model is:
$$SU(3) \times SU(2) \times U(1)$$
The $SU(3)$ is the symmetry of the strong force under the echange of colour. The $SU(2) \times U(1)$ is the symmetry group of the electroweak sector.
| stackexchange/physics |
Lethops connectens, the halfblind goby, is a species of marine goby native to the eastern Pacific Ocean from central California, United States to Baja California, Mexico where they inhabit kelp forests. The adults hide amongst the stones and the holdfasts of kelp on the seabed while the juveniles form schools in the kelp canopy. This species can reach a length of TL. Like the name suggests, the eyes of L. connectens are highly reduced. This species is the only known member of its genus.
See also
Blind goby
Blind fish
References
Category:Gobionellinae
Category:Monotypic fish genera
Category:Fish described in 1926 | wikipedia |
Why will a Fourier transform of a pickup placed at the middle of a string only result in odd harmonics?
My physics teacher explained a lot of information about strings but he never went in depth with my question. What happens to the even harmonics and why are the odd ones the only ones picked up?
A [guitar pickup](https://en.wikipedia.org/wiki/Pickup_(music_technology)) generally produces an electrical signal representative of the motion of the string.
Below is a diagram showing the motion of a string for the first several harmonics:
[](https://i.stack.imgur.com/6NCES.png)
As you can see, the even-numbered harmonics have a [node](https://en.wikipedia.org/wiki/Node_(physics)) (a point where the string doesn't move at all) at the midway point, and the odd harmonics don't.
When you pluck a guitar string, many of these harmonics are excited simultaneously, and the guitar string takes a shape and motion that is a superposition of all of the excited harmonics (with varying amplitudes). However, if you place a pickup at the midway point, the even numbered harmonics won't contribute anything to the electrical signal, since those harmonics don't contribute any motion at the midpoint.
| stackexchange/physics |
Teen Wolf don't leave my hyper heart alone
When Stiles is eighteen she steals her dad's razor and shaves off her hair. She packs up her bag and laces up her boots and leaves a note on her bed, written in Polish, so only the Sheriff can read it.
When Stiles is eighteen she leaves Beacon Hills and joins the army and doesn't look back once.
(She never said it was a good idea.)
* * *
><p>The thing is, after werewolves and druids and a whole bunch of other supernatural shit, the world just feels too small for her to stay in school. She could be valedictorian, she knows, or at least runner-up for it after Lydia. She could get a perfect GPA, land a scholarship to Berkeley and ace all her classes there, too.<p>
But she can't. There's a tightness in her chest that feels like the beginnings of a panic attack, only this time is doesn't go away, just lurks there inside of her, loosening only after she's driven her jeep over the Beacon Hills town line.
* * *
><p>It's surprisingly easy to forget about the pack. She's not <em>Stiles <em>here, not anymore, instead _Private Stilinski_, and the name fits her like a second skin. She loses herself in drills and suicide runs and camouflage uniforms and tries not to dwell on memories of her best friend's dopey smile or Lydia's curling hair or even Isaac's fucking stupid scarf. (Or _him_, most of all, him and his stubble and his eyebrows and his eyes.) It works, too. She finds that her training, along with the Adderall, is calming her ADHD down in ways that never happened back home.
She hasn't had a panic attack since she was drafted. Stiles counts that as a win.
* * *
><p>They're at the shooting range today, and the men standing on either side of Stiles – <em>boys, <em>she corrects herself, _they're only kids_ – look wary, uncomfortable, like they've never used a gun before. In fact, they probably haven't.
Stiles has.
The drill sergeant stops in front of her and asks if she can shoot. _Sir, yes sir, _she replies, and he hands her a rifle.
The target is ten metres away, big and easy to hit. She lifts the rifle and breathes _in, out_ like her dad taught her when she was ten. _In, out_ like Allison showed her when she needed reminding.
In, out.
The bullet hits dead centre and Stiles allows a smile to grace her lips.
* * *
><p>She never really thought about being deployed until it's actually happening. They're leaving the day after tomorrow, following months of training, and Stiles' friends are going into town tonight one last time. To celebrate, she thinks, though the word sits wrongly on her tongue.<p>
"Coming?"they yell at her as she's finishing re-shaving her head.
They wind up at a tattoo parlour.
Stiles draws out the design on a spare piece of paper on the front counter. Though she hasn't seen it in person in months, she knows it like she knows her own face in the mirror. She only wants the tattoo small, the size of a coin on the inside of her wrist.
(Not like his, never like his, this small reminder is enough.)
It hurts, but she's been through worse.
The next day, as she peels off the bandage, McFadden and Dwyer and Bennett crowd around her. "What's it mean?" they ask, and Stiles swallows.
"It's a triskele,"she hears herself say. "Three-fold star that can symbolise anything…birth, life and death; past, present and future. You know."
"What's it mean to you?"
Stiles swallows and looks down at her wrist. _Little Zdziesława_, _Stiles_, _Private Stilinski_, she could say. _I'm three people all at once_. _I've tattooed my heart onto my wrist in the form of Derek's triskele_.
"I'm not sure yet," is all she says out loud, and, for once, they drop the subject.
* * *
><p>She supposes it shouldn't come as a surprise to her that when the first opportunity to mail letters home rolls around, she writes one to her dad and the other to Derek.<p>
The triskele is staring up at her whenever she aims her gun and shoots, so she supposes it's only natural he springs to mind.
Truth be told, she doesn't know what she puts in his letter. If she could carve out _sorrys _and _I miss yous _from her freckled skin and slip them into the envelope she would. She would tug out her own heart and send it to him for safekeeping, too. But she doesn't. She can't.
(She thinks she writes something meaningless about a memory from home, but she isn't sure.)
* * *
><p>It <em>is <em>a surprise that when it's their turn to receive letters, not only does she get one from Dad and Scott and Lydia and Allison and even Isaac, there's a small brown envelope with her name written on the front in a spindly hand she knows instinctively is Derek's.
She reads his last. Reads his when she's meant to be sleeping, reads by the glow of her lighter that she's careful not to hold too close to the page.
He hasn't written that he misses her, has noted down nonsense about what's happening with the pack and how her dad is going instead, but she understands the subtext and it makes her smile.
She never thought she'd miss _Derek Hale_ most of all, but there's that cliché about not knowing what you have until it's gone. Though she doesn't regret joining the army, for the first time since leaving home she feels a sharp stab of something in her gut that takes her a moment to place as _longing_.
* * *
><p>It becomes a thing between the two of them. During the day, Stiles dodges landmines and washes blood from her hands and closes the glassy eyes of her dead friends. She's Private Stilinski out here in the field, stitching up skin around organs that spill out into her palms, slipping cheap cigarettes whenever she can, field-stripping her gun when she has the time to do so. It's messy, it's sickening, and it's what she signed up for.<p>
But at night, she's simply Stiles, and writes down whatever comes to mind in a letter to Derek that, by the time she ends up sending it, reaches twelve pages in length.
(She slips her longing in-between the inked words, and trusts that he'll find it and keep it safe.)
* * *
><p>Her nineteenth birthday was forgotten amidst busy schedules and target practice, but Stiles celebrates her twentieth with McFadden and Bennett, the empty chair where Dwyer would have sat as blindingly obvious as her mum's old seat at the dining table back home.<p>
They get drunk, even though none of them are twenty-one yet, but Stiles consoles herself with the fact that it's legal somewhere.
She vaguely remembers writing a drunken confession that evening, and when she wakes in the morning she finds it stuffed beneath her pillow, a letter of smudged ink entitled _Dear Derek _with at least thirteen _I love yous _inside.
She burns it.
(She wishes she was brave enough to send it.)
* * *
><p>Her dad sends her an announcement of his engagement with Melissa McCall. Stiles stares at it for a long time, stares at it until the sun bleeds up and over the horizon. She wonders if this is the only thing she's missed while away from home; if anyone else has fallen in love while she's been gone.<p>
(She looks at her triskele and wonders if she's too late.)
* * *
><p>Stiles is twenty-one and a half when her time in the army's up. She only signed on for three years, three years to learn how to live her own life, three years to learn how to breathe again.<p>
The jeep is right where she left it, lurking in an impound lot where she pulled out her dad's status for a favour. The guy manning the desk grumbles as he gives her the keys, but she catches his small wave as she turns onto the road.
The trip home is shorter than she remembers, and soon enough she's crossing the town line. She waits for the tightness to return, the construction of Beacon Hills to come back full force and engulf her, but it never does.
She's breathing freely and loudly and she thinks she might be laughing a little hysterically, too.
* * *
><p>She breezes into the police station first. Her dad is in the foyer talking quietly on the phone, but the handset slides from his grip as he sees her, as he takes her in, and then they're hugging and both their faces are a little wet and Stiles can't quite see straight.<p>
When they pull apart, it's for her to tease him about Mrs McCall, and he looks so genuinely worried that she pulls him back in for a kiss to the cheek.
"I'd better be the one who walks you up the aisle," she growls, and there's an _it's okay _threaded in there somewhere, interwoven with an _I'm sorry_, and she knows her dad has heard the words behind the words when he smiles, big and wide and real.
* * *
><p>Scott waylays her at the traffic light outside the clinic, banging on the passenger seat window until Stiles pulls over and hops out. He hugs her like she's a rag doll, all flesh and sinew and no bone, but she's hugging him back the same way, so it's a moot point. He smells like antiseptic and springtime and even though she's no werewolf, it's a scent that's familiar and screams of <em>home. <em>Isaac and Allison and Lydia are right behind him, and all take turns to see who'll be the one to squeeze the life out of her first.
Isaac is still wearing his dumb as fuck scarf, but all Stiles can do is tug fondly at it and grin.
Allison's hair is short, and Stiles makes some dumb comment about them matching now, even though hers is a buzz cut and Allison's is kind of designer, but they laugh about it anyway.
Lydia just slaps her upside the head before pulling her in for a kiss on both cheeks.
It's another ten minutes before Stiles convinces them to let her go, and only after she swears on her jeep to meet them for coffee tomorrow.
(She has one more person to check off her list.)
* * *
><p>The drive is familiar and so are the stairs and so is the door knocker that stares her down.<p>
(_Breathe_.)
* * *
><p>When he opens the door, when he finally opens the door, Stiles can do nothing but stand there and drink him in. She shuffles her feet, suddenly awkward, because she's forgotten the lines she'd practiced in the car, because maybe – definitely – she has this all wrong and he never found her <em>I miss yous <em>buried amidst pages of nonsense sent from miles and miles away_, _because who would?
But then he smiles.
Derek Hale. Smiles.
He reels her in by the lapels of her coat and she's been kissed before, but not like this, never like this. It's an ending, or maybe a beginning, or maybe a middle to this story they've been writing together for years.
(Whoever said Stiles wasn't a sucker for clichés?)
* * *
><p>Later, when he spots her triskele, he pushes her down into the sheets and kisses the explanation he doesn't need from her lips, kisses her breathless, kisses her heart open and wide enough for him to fit perfectly inside.<p>
* * *
><p>When Stiles is eighteen, she joins the army to find herself. She does.<p>
Along the way, however, she discovers that a little piece of her will always remain in Beacon Hills, and that's the reason why, when Stiles is twenty-one and a half, she comes home.
(And stays.)
* * *
><p><strong>Author's Note:<strong> I know nothing of the American military, and wasn't bothered to look anything up, so this is all wildly inaccurate. Also, girl!Stiles because reasons.
End file.
| fanfiction |
ameloblastoma is a true neoplasm of odontogenic epithelial origin , which does not undergo differentiation to the point of hard tissue formation .
it is slow - growing but locally invasive , with a high rate of recurrence if not treated adequately .
its incidence , combined with its clinical behavior , makes ameloblastoma the most significant odontogenic neoplasm .
furthermore , the histomorphological diversity exhibited by the tumor and its possible clinical implications make it even more intriguing .
the follicular and plexiform are the most common histological subtypes while the other patterns are relatively rare . ameloblastomas showing extensive keratinization are extremely rare and have been termed as keratoameloblastomas .
although a small amount of keratinization is accepted within the histological spectrum of acanthomatous variant of ameloblastoma , those cases described in literature as keratoameloblastoma are characterized by distinctively large amounts of keratin production within the neoplastic odontogenic epithelium .
first report of such a lesion was by pindborg in 1970 , who observed a jaw tumor composed of keratinizing cysts and partly of islands with papilliferous appearance and suggested the term papilliferous keratoameloblastoma .
review of english literature has revealed that subsequently fifteen more cases of ameloblastomas showing extensive keratinization have been reported , some exhibiting papilliferous component as described by pindborg while others lacking this feature .
these have all been included in the group named keratoameloblastoma ; though , it has been suggested that despite the similarity of the names , keratoameloblastoma and papilliferrous keratoameloblastoma should be considered as distinct morphological entities .
this article report a case of this rare variant of ameloblastoma presenting as an extensive mandibular lesion along with a short review of the literature .
a 22-year - old female patient of indian origin reported to the out - patient department with a chief complaint of a painful swelling in the right posterior mandible of 6 months duration .
the swelling was insidious in onset and had progressed slowly to cause facial asymmetry along with mild parasthesia . on examination , there was a diffuse hard swelling on the right side of face with smooth margins extending anteroposteriorly from anterior border of the masseter muscle to the posterior border of the ramus and superoinferiorly from tragus to the inferior border of the mandible [ figure 1 ] . the skin overlying the swelling was normal in appearance with no rise in local temperature and there was no associated cervical lymphadenopathy .
intraorally there was bicortical expansion in the posterior region of the right mandible with a firm , tender soft - tissue mass posterior to the second molar .
there was no other apparent abnormality in the oral cavity except for missing maxillary third molar on the right side .
an orthopantomograph was advised and it revealed a large unilocular lesion in the ramus of the right mandible extending supero - inferiorly from the superior border of the ramus , involving the coronoid process , to the inferior border of the mandible , leaving a thin rim of bone inferiorly .
postero - anteriorly the lesion extended from posterior border of the ramus up to the body of the mandible distal to the second molar and involving the entire width and the anterior border of the ramus [ figure 2 ]
. based on the clinical and radiographic findings a provisional diagnosis of ameloblastoma was made with other benign / malignant odontogenic neoplasm , keratocystic odontogenic tumor , calcifying cystic odontogenic tumor or any other intraosseous neoplasm being kept as differential diagnosis .
fine needle aspiration ( fna ) was performed , which yielded fluid with some cheesy white material .
papanicolau and h and e stained smears prepared from the aspirate showed abundant poorly preserved superficial epithelial squames along with numerous nucleated and anucleate keratin flakes in a background of necrosis , debris and a moderate amount of leukocytes [ figure 3 ] .
the cytological findings were suggestive of a keratinizing cystic lesion leading to a tentative diagnosis of odontogenic keratocyst ( okc ) .
an incisional biopsy was done and referred to a general pathologist and was reported as ameloblastoma . following the diagnosis of ameloblastoma and the extensive nature of the lesion
segmental mandibulectomy up to the distal of right second premolar was performed with preservation of condyle followed by reconstruction using titanium reconstruction plate and iliac crest graft .
clinical photograph showing diffuse swelling of the right side of the face causing facial asymmetry orthopantomograph showing large unilocular radiolucent lesion on the right mandibular ramus involving the coronoid process .
well - defined sclerotic margins and sparing of the condylar process can be noted photomicrograph showing fine needle aspiration cytology from the lesion revealing epithelial squames along with numerous nucleated and anucleate keratin flakes in a background of necrosis and debris ( pap , 400 ) the resected specimen showed a creamy white , brittle soft - tissue mass involving the ramus with complete destruction of the lingual cortical plate .
the histological sections from the tumor mass revealed proliferation of odontogenic epithelium in the form of sheets , broad interconnected plexiform ribbons [ figure 4 ] and few follicles with peripheral layer of tall columnar cells having hyperchromatic palisaded nuclei showing reverse polarity in focal areas .
large areas of squamous metaplasia with extensive keratinization were evident within sheets of odontogenic epithelium [ figure 5 ] . in few places
keratin filled cystic spaces were also evident [ figure 6 ] , some showing pacinian corpuscle like stacks of lamellated parakeratin [ figure 7 ] .
the background stroma was scanty , loose and edematous with areas of cystic degeneration but relatively free of inflammation .
patient is currently kept under close follow - up and so far has not shown any signs of persistent or recurrent disease 24 months post - surgery .
note the scanty loose stroma with cystic degeneration ( h and e , 100 ) photomicrograph showing areas of squamous metaplasia and keratin pearl formation ( h and e , 200 ) photomicrograph showing central cystic degeneration in ameloblastic follicle leading to the formation of keratin filled cyst ( h and e , 200 ) photomicrograph showing keratin arranged in concentric lamellated flakes resembling pacinian corpuscles ( h and e , 400 )
the term keratoameloblastoma has been used to describe a histologically heterogeneous group of ameloblastoma variants , which have in common the formation of keratin , in a considerable amount , by the ameloblastic epithelium .
review of the available literature on keratoameloblastoma shows a wide variation in the histomorphological features of this neoplasm even though only few cases have been reported .
whitt et al . have classified these lesions histologically into four groups :
papilliferrous histology , simple histology , simple histology with okc like features andcomplex histology .
papilliferrous histology , simple histology with okc like features and parakeratinization is most commonly observed , but orthokeratinization may also be seen .
the feature most consistently described is the proliferation of ameloblastic epithelium in the form of follicles , the center of which shows keratinization with or without cystic areas .
the case initially reported by pindborg consisted partly of keratinizing cysts and partly of tumor islands with papilliferous appearance .
later other cases showing keratinizing cysts lined by papilliferous epithelium were reported , but a larger subset of cases lacked such papillary epithelium .
some of the initial descriptions of the lesion also lacked convincing histological evidence of typical ameloblastoma like a reversal of polarity thus making it difficult to assess the true nature of these lesions .
another variation has been a presence of okc like features in the cystic elements of the tumor .
this was first reported by siar and ng who suggested that their cases may in fact represent a hybrid lesion , but others have advocated the inclusion of tumors with such histology into the spectrum of keratoameloblastoma .
the cases reported by siar and ng also did not show the characteristic reversal of polarity of basal cells and the histopathological description resembled that of a case described by ide et al . who considered the lesion as solid cystic tumor variant of okc .
whether these cases represent true ameloblastomas or fall in spectrum of neoplastic okc needs to be explored .
few lesions have been described as having a complex histomorphology with parakeratin packed epithelial follicles along with ribbons of epithelium showing lamellar arrangement of keratin forming hair like structures or pacinian like stacks .
extrusion of keratin into the fibrous connective tissue stroma with or without associated foreign body reaction has been reported .
it is suggested that packing of keratin within the follicle may cause its rupture leading to extrusion of keratin into the connective tissue , but the lack of any inflammatory response against this extruded keratin in most of the cases makes this assumption equivocal . on the other hand , lamellar stacks of keratin filling up
the entire follicle and lying in the close proximity of surrounding connective tissue fibers may give an erroneous impression of extrusion though they may actually be separated by a delicate basement membrane .
the eosinophilia demonstrated by all three tissue components ( i.e. , keratin , collagen and basement membrane ) in h and e stain may further compound this problem and even trichrome staining may fail to resolve the issue .
possibly use of immunohistochemical marker for basement membrane components may help in shedding some light on this problem .
other reported features include cribriform or solid areas with squamous metaplasia , tubular structures , focal granular cell change , cementum or bone like calcifications and necrotic debris within cystic lumina .
the connective tissue stroma is usually mature fibrocollagenous , but rarely may show myxoid changes .
the present case showed few unique previously unreported or rarely reported features like proliferation of odontogenic epithelium in sheets and broad interconnected ribbons rather than the typical keratin packed follicles .
the stroma also was scanty , loose and myxoid with areas of cystic degeneration , features reminiscent of the plexiform variety of ameloblastoma .
even though we found pacinian like stacks of lamellated keratin , none of them were seen extruding into the connective tissue as has been seen in few previous cases . at this point , we would also like to emphasize on the utility of fna in diagnosis of this lesion . though fna has been reported to be a valuable tool in the pre - operative diagnosis of ameloblastoma by few authors , its accuracy in certain histological variants such as acanthomatous ameloblasoma and keratoameloblastoma needs to be examined carefully .
presence of abundant keratinous debris in absence of typical epithelial component , as seen in our case , could make it difficult to differentiate from other keratinizing lesions , such as okc and intraosseous keratinizing squamous cell carcinoma .
clinically , a diverse age distribution has been reported ranging from 26 to 76 years with peak incidence in the fourth decade making the present case youngest of the reported cases .
three fourth of the cases were seen in males , which is in contrast to conventional ameloblastoma , which tends to occur in almost equal frequency among the genders . the lesion has been reported from a diverse population groups including caucasian , african and east asian but to the best of our knowledge it has not been reported in a native indian subcontinent population .
similar to conventional ameloblastoma , mandibular cases outnumber maxillary ones by almost 3:1 with mandibular molar - ramus area being the most common site . on the other hand ,
a greater number of maxillary lesions ( 50% ) have been found to occur in the anterior region when compared with conventional ameloblastoma .
radiographically , majority of lesions presented as multilocular radiolucencies , a minority being unilocular as seen in the present case .
two of the lesions have also been reported exhibiting mixed radiolucency and opacity giving a ground glass appearance .
curettage , enucleation , segmental resection and hemimandibulectomy are the various modalities which have been used for treating cases of keratoameloblastoma .
though there is very limited post - treatment follow - up data available for this rare variant of ameloblastoma , recurrences have been reported in two of the four reported follow - ups . in one case recurrence was seen within 6 months following curettage . in another case , exhibiting papilliferous histopathology , which was treated by hemimandibulectomy , there were two local recurrences in the 4 and 5 year respectively following the initial surgery .
this prompted the authors to consider the papilliferous variant as a malignancy and suggest renaming of the lesion to papillary ameloblastic carcinoma .
based on the available data , it would be prudent to follow a similar treatment protocol for these lesions as that of a conventional solid multicystic ameloblastoma with a close and extended follow - up of the patients .
although ameloblastoma is the most common occurring odontogenic neoplasm , a considerable clinical , radiological and histomorphological diversity may sometimes make the diagnosis difficult especially in the absence of classical pathological characteristics .
the problem may be compounded in cases where a small incisional biopsy sample or fna findings might show features overlapping with other lesions .
keratoameloblastoma , though rare , is one such variant where tendency for extensive keratinization may mask the pathognomonic features and may mislead toward the diagnosis of other keratinizing lesions .
since there is limited literature on this variant of ameloblastoma , we suggest that a close follow - up of the patients and reporting of recurrences , if encountered , would help in further understanding the nature of these lesions and formulating appropriate treatment modalities for the patients . | pubmed |
physical problems that involve probabilistic outcomes range from the statistical mechanics of large ensembles of particles to the seemingly simple games of chance such as the toss of a coin and the spin of a roulette wheel .
not surprisingly , in systems with many degrees of freedom , the accompanying phase space is large , and we can expect chance to play an important role in determining how the system evolves . even in systems with a few degrees of freedom , such as those associated with games of chance governed by deterministic equations of motion , the outcomes can be random due to the amplification of small variations in the initial conditions .
poincar was the first to think physically about probability in his classic paper on the roulette wheel.@xcite later hopf showed that the underlying physical processes are responsible for the regularity property of probability;@xcite that is , the observed frequencies are almost constant .
this advance was particularly important because it provided a physical context for the method of arbitrary functions introduced by poincae in determining probability distributions .
hopf was among the first to show the role of the laws of physics in determining the flow of initial distributions to the final states in a system that can be described in terms of probability distributions , particularly when considerations of symmetry or invariance alone do not suffice.@xcite in the context of the coin toss , the purportedly random outcome can be understood in different ways .
statistically , the equal likelihood of heads and tails is suggested from an analysis of a large sequence of experiments that sample the space of outcomes .
an interpretation based on symmetry suggests that because there are only two possibilities ( for a coin of zero thickness ) , both faces should have equal probabilities .
this conclusion assumes that the coin can actually explore both configurations ( heads and tails ) with equal likelihood , which is not always true in a real coin toss .
for example , a coin that does not flip , but precesses as it spins can end up the same way as it started . to really understand the randomness in the outcome of a coin toss
, we must introduce probability into a mathematical and physical description of the process .
a distribution of initial conditions evolves dynamically leading to outcomes that have effectively forgotten " the initial conditions either because the system parameters and/or initial conditions take on particular ranges of values and/or the system has extreme sensitivity to initial conditions ( such as in chaotic systems with one or more positive lyapunov exponents ) . in this paper
we focus on the simplest situation corresponding to the case for which the system has dynamical equations that are integrable and allow us to explicitly understand how a distribution of the initial conditions leads to effectively random outcomes via a dynamical flow .
a first step in incorporating probability into the physics of the coin toss was done by keller,@xcite who considered the simple but illuminating case of a coin of zero thickness spinning about a horizontal axis passing through a diameter , which eventually lands without bouncing .
he showed that such a coin toss becomes fair , that is , @xmath0 , in the asymptotic limit of infinite angular velocity @xmath1 and vertical velocity @xmath2 , when the phase space of any probability distribution about some nominally deterministic initial conditions @xmath3 is homogeneously and equally divided between the possible outcomes , that is , heads and tails .
he showed by explicit calculation how the flow of the dynamical system with a distribution of initial conditions to the final outcome determines the probability of the outcomes .
a later report included the dynamics of bouncing in the plane into this minimal model and showed how any initial probability distribution is whittled away exponentially fast.@xcite adding a third dimension involves a number of new effects the coin has two more rotational degrees of freedom in addition to one translational degree of freedom ( which is irrelevant ) ; the complex dynamics of bouncing because the coin can land on its edge , side , or face and thus end up neither with heads or tails ; and the finite thickness of the coin , which is more cylinder - like .
diaconis , holmes , and montgomery analyzed the three - dimensional dynamics of the toss of a coin of zero thickness,@xcite and emphasized the role of the bias induced by the initial conditions .
others have studied the effects of bouncing on a substrate to understand how collisions can also lead to randomness.@xcite a recent book elaborates on the nature of randomness in mechanical games of chance , including the coin toss , by including the effects of air resistance and bouncing.@xcite these more complex models and experiments serve to confirm that the randomness in a coin toss stems primarily from the dynamical flow that acts on the uncertainty in the initial conditions .
accounting for the finite thickness of a coin leads to a new possibility and increases the phase space of outcomes to include that of landing on an edge an event that has a small but nonzero probability.@xcite for a cylindrical coin of thickness @xmath4 and diameter @xmath5 , which is tossed and lands without bouncing , the probability of landing on a side is a function of its aspect ratio @xmath6
. the coin will almost surely land on a face when @xmath7 , and will almost surely land on its side when @xmath8 .
continuity suggests that as @xmath9 is varied , so will the probability of landing on either heads / tails or sides .
this variation leads naturally to two related questions .
what is the aspect ratio of a fair 3-sided " coin ?
a fair 3-sided coin is one that starts with a vigorous initial spin and large upward velocity , and lands on heads , sides , and tails with equal probability .
how can we build coins with a prescribed probability for landing on their side or face ?
mosteller@xcite described an anecdote about how john von neumann solved the problem of a fair 3-sided coin almost as it was posed , announcing the answer to an astonished audience , @xmath10 ! "
von neumann must have solved this problem using considerations of symmetry and the geometrical notion of fairness ; that is , assuming all possible orientations of the coin are likely , what proportions should the disk - like coin have so that the areal projection of its faces and sides on a circumscribing sphere are identical to each other ?
although this assumption is plausible for a rapidly spinning coin , it neglects that the spinning coin must satisfy newton s equations of motion ( actually , euler s equation for rigid body dynamics ) and this equation enforces some conservation laws ( angular momentum in particular ) .
this system also highlights a classical conundrum in probability known as
bertrand s paradox . " that is , the probabilities of an event are ill defined unless the mechanism that produces the random variable is clearly prescribed.@xcite a way around bertrand s paradox is to use the principle of `` maximum ignorance , '' as given by jaynes,@xcite and then von neumann s result is correct . given the knowledge of a physical law , we must account for it , and we can not ignore the conservation of angular momentum .
in this paper we use the geometry and dynamics of rigid body motion to derive simple analytical expressions for the probability of landing on heads , sides , or tails for a coin that is tossed vigorously , spins in the air , and lands without bouncing on an inelastic substrate , such as the palm of one s hand or a pile of sand .
these expressions generalize the earlier results for coins of zero thickness , @xcite and allow us to see how probability depends on the geometry of the coin via its aspect ratio @xmath11 and the dynamical angle @xmath12 which characterizes the precession of the coin , as determined by its initial angular momentum .
we find that a notion of fairness based on rigid body dynamics yields a fundamentally different probability distribution for the outcomes compared to the result based on the purely symmetry - based notion of fairness .
in particular , the new criterion yields an aspect ratio of @xmath13 for an equal probability of heads , sides , and tails when the coins are spun rapidly .
@xcite simple experiments qualitatively confirm our theory and allow us to prescribe criteria for designing coins with a prescribed probability distribution of landing on heads , tails , or sides .
our approach also allow us to illustrate the role of skill as exemplified by the ability to bias the outcome of the coin toss using the law of conditional probabilities .
, that is , @xmath14 , conservation of angular momentum dictates that @xmath15 sweep out a ( dotted ) circle on the unit sphere .
( b ) if the coin lands without bouncing , the side which faces up is determined by the difference between the dynamical angle @xmath16 and the static angle @xmath17 , where @xmath18 is the aspect ratio of the coin .
thus , we obtain heads if @xmath19 , sides if @xmath20 and tails if @xmath21.,width=576 ] we assume that a coin is made of a homogeneous material and is axisymmetric , with its initial orientation such that the normal vector @xmath15 outward from the head points upward , that is , @xmath22 , and its initial angular velocity is @xmath23 .
therefore its angular momentum is @xmath24 , where @xmath25 is the moment of inertia tensor , with principal moments of inertia @xmath26 and @xmath27 , so that @xmath28 .
we write the angular momentum relative to a lab - fixed frame @xmath29 that is connected to the body - fixed frame @xmath30 by the relation @xmath31 , with the rotation matrix @xmath32 , so that the body - fixed angular velocity @xmath33 , and the body - fixed angular momentum @xmath34 .
the evolution of the unit normal to the coin is given by@xcite @xmath35 if @xmath12 is the angle between the angular momentum @xmath36 and @xmath15 at time @xmath37 given by @xmath38 where @xmath39 , @xmath40 , and @xmath41 , we find that @xmath42 that is , the normal to the coin sweeps out a cone as it precesses about the axis @xmath43 with the frequency @xmath44 , keeping the angle between the angular momentum vector and the normal @xmath12 constant for all time . on the unit sphere ,
@xmath15 traces a circle which contains the `` north pole '' ( @xmath45 ) as shown in fig .
[ sphere](a ) .
the projection of the normal in the up direction @xmath45 is@xcite @xmath46 where @xmath47 and @xmath48 . between the the angular momentum vector @xmath36 and the normal to the coin @xmath49 , defined by @xmath50 and the aspect ratio of the coin @xmath51 .
( a ) @xmath52(heads ) as a function of @xmath11 and @xmath12 , ( b ) @xmath52(sides ) , and ( c ) @xmath52(tails ) .
( d ) a section through the figures for @xmath53 shows the probability distribution of landing on heads ( solid curve ) , sides ( small dashed ) and tails ( long dashed ) as a function of @xmath12 . only for @xmath54
is the coin dynamically fair so that it is equally likely to land with heads , tails , or sides up when tossed vigorously with @xmath55.,width=576 ] when such a coin falls onto a substrate without bouncing , its normal vector @xmath56 at that instant determines whether the coin lands on its heads , sides , or tails , depending on the difference between the dynamical angle @xmath57 given by eq .
( 3 ) and the angle @xmath58 which the diagonal to the coin makes with the normal [ see fig . [ sphere](b ) ] .
the time of flight , @xmath59 , can be found by solving newton s equations for the center of mass of the coin : @xmath60 where the particular choice of @xmath61 simplifies some of the subsequent calculations .
if the coin is caught at height @xmath62 , then @xmath59 is the smallest positive root of the equation [ see fig . [ sphere](b ) ] @xmath63 and the criteria for landing on heads , sides , and tails are respectively given by [ cutoff ] @xmath64 which divides the surface of the unit sphere into three zones : a polar spherical cap for heads , a middle equatorial zone for sides , and another polar spherical cap for tails as shown in fig .
[ sphere](a ) .
_ problem 1_. instead of a coin , suppose we toss a book into the air . in this case
the principal moments of the book , a rectangular prism , are all different ( @xmath65 , non axi - symmetric ) , and hence eq .
( [ mech2 ] ) does not apply , and we have to resort to euler s equations . at time @xmath66 the book is flipped with angular velocity @xmath67 , where @xmath68 .
show that @xmath69 is approximately constant throughout the motion , and that in this case @xmath70 and @xmath71 are bounded and oscillate with frequency @xmath72 given by @xmath73 if we start off with @xmath74 , where @xmath75 , then @xmath70 and @xmath69 do not remain small .
analyze this case .
the axisymmetry of the coin provides a great deal of simplification . for a polyhedral dice toss
, we have to track the vertical velocity , the angular velocity vector @xmath76 , and the evolution of the body - fixed frame @xmath30 , which makes the problem more complicated , but worthy of study .
to link the physics of spin and precession to probability , we consider the phase space of initial conditions .
because coins are usually flipped vigorously , we might imagine that the angle associated with the spin is uniformly distributed .
this assumption does hold as shown by kemperman and engel,@xcite who proved that for vigorously flipped coins , i.e. @xmath77 , where @xmath44 is the precessional frequency as defined earlier and @xmath2 is the magnitude of the upward velocity , the quantity @xmath78 , modulo 2@xmath79 , approaches a uniform distribution on the interval @xmath80 . because the function @xmath81 in eq .
( [ angle ] ) is symmetric about @xmath82 and monotonically decreasing on @xmath83 , it follows that there is a unique value of @xmath84 in @xmath83 that defines the landing condition @xmath85 , where @xmath86 and @xmath87 .
thus , the probability of heads , @xmath88 , given by the uniform measure of the set @xmath89 , is @xmath90 we can now calculate the full probability distribution for a coin with arbitrary aspect ratio @xmath6 , that is , @xmath9 , and arbitrary angular momentum vector @xmath91 , that is , @xmath92 $ ] . because @xmath93 , p(heads ) @xmath94 when @xmath95 so that @xmath96 $ ] , and the normal to the coin precesses about the angular momentum vector making an angle in the range @xmath97 relative to the vertical axis .
similarly if @xmath98 , that is , @xmath99 $ ] , the coin will only land on heads or sides , and if @xmath100 , that is , @xmath101 $ ] , the coin can land on heads , sides , or tails . a geometrical way of understanding this result follows by tracking the trajectory of the tip of the unit normal vector @xmath15 , which traces three possible distinct classes of circles : a circle that lies entirely in the polar heads zone , a circle that lies in the polar - equatorial heads and sides zone , and a circle that lies in all three zones .
we define @xmath102 and obtain the three types of solutions as shown in table i. in fig .
[ result ] we plot the probability distribution for landing on heads , sides , and tails as a function of @xmath11 and @xmath12 in the limit of high spin .
these results complement the earlier results for the planar flip of a coin of zero thickness , of keller@xcite @xmath103 , @xmath104 and the three - dimensional dynamics of a coin of zero thickness : the line @xmath105$].@xcite as expected , we see that vigorously tossed thick coins that start heads - up are biased to come heads - up because there is a large range for the initial angle @xmath12 that favors this outcome .
a dynamically fair coin is one where @xmath106 ( see table i ) , so that @xmath107 and @xmath104 , @xmath108 , and the aspect ratio of the coin @xmath109 , in contrast with the condition for a geometrically fair coin , where @xmath110.@xcite only for this unique combination of coin geometry and orientation of the angular momentum vector @xmath111 , does the trajectory of the unit normal vector @xmath15 transverse a great circle containing the meridian ( line of longitude ) on the unit sphere with equal length of the trajectory in the heads , sides , and tails regions .
this point is the only one in the phase space of @xmath111 for which there are equal probabilities for heads , sides , and tails in the dynamical sense .
thus , we can only obtain a fair result when tossing a thick coin under the `` keller flip '' condition : coin starts heads up with @xmath104 . , hyperbolae separate the phase space into regions of heads ( white regions ) , sides ( black regions ) and tails ( stripes regions ) as defined in eq .
( [ omega ] ) .
the case shown corresponds to the fair coin when @xmath53 and @xmath104 , and shows that sides appear twice as often , but with half the area associated with heads and tails .
far from the origin , corresponding to arbitrarily large values of @xmath2 and @xmath1 and a vigorously spun coin , any disk of arbitrarily small area will contain equal proportions of heads , sides , and tails regions , because the hyperbolae become more closely spaced , and approaches the limiting case of a fair 3-sided coin . , width=576 ] for @xmath53 we find that the coin always lands heads up when @xmath112 ; that is , @xmath113 $ ] .
the coin only land son either heads or sides when @xmath114 ; that is , @xmath115 $ ] .
the coin can land on either heads , sides , or tails when @xmath116 ; that is , @xmath117 $ ] .
thus , we have the following three cases : @xmath118 \\ p(\text{heads } ) & = \dfrac{\theta_1}{\pi } , \,p(\text{sides } ) = \dfrac{\pi - \theta_1}{\pi},\ ; p(\text{tails } ) = 0 , & & \psi \in [ \pi/6 , \pi/3 ) \cup ( 2\pi/3 , 5\pi/6 ] \\ p(\text{heads } ) & = \dfrac{\theta_1}{\pi } , \,p(\text{sides } ) = \dfrac{\theta_2 - \theta_1}{\pi } , \;p(\text{tails } ) = \dfrac{\pi-\theta_2}{\pi } , & & \psi \in [ \pi/3 , 2\pi/3].\end{aligned}\ ] ] [ main ] the probability outcomes @xmath88 , @xmath119 , and @xmath120 as a function of @xmath12 , the angle between the normal of the coin to the angular momentum vector are plotted in fig .
[ result ] . to understand how the probability distribution of initial conditions evolves through the flow and leads to random outcomes , we consider how the phase space of possibilities , that is , heads , sides , or tails , is mapped onto the initial conditions , that is , the pre - images , which lead to these different outcomes . in fig .
[ phase ] we show the pre - images of heads , sides , and tails of a dynamically fair coin , that is , one tossed upward with @xmath104 and @xmath121 .
after the coin has landed ( without bouncing ) , it has rotated @xmath122 times .
depending on the number of revolutions @xmath123 , where @xmath123 is an integer , the coin lands on its head if @xmath124 and lands on its tail if @xmath125 ; otherwise the coin lands on its sides .
thus the phase space @xmath126 may be decomposed into the regions with boundaries of the regions given by the hyperbolae @xmath127 [ omega ] on the axis @xmath128 , the coin remains heads up throughout the toss , and therefore this axis and the adjacent strip lie in h , the pre - image of heads as shown in fig .
[ phase ] .
the next strip lies in s , the pre - images of sides ; the next strip lies in t , the pre - image of tails ; the next strip lies in s , and the sequence h , s , t , s repeats itself .
we see that the hyperbolae striate phase space ever more finely as the spin @xmath44 and the scaled velocity @xmath129 increase .
each region of h and t have equal area while s is half as large but occurs twice as often . as we shift a finite area disk in this phase space to infinity , we find that h , s , and t occupy fixed and equal areas of the disk , so that the coin toss becomes dynamically fair only asymptotically
. subtended by the head of the coin to the total solid angle of a unit sphere , that is , @xmath130 . for a fair coin with an equal probability of landing on its head , tail , or side , @xmath131 and @xmath132 .
( b ) for the dynamical argument associated with the keller flip ( the only case where for a vigorous flip , it is possible to eliminate the bias based on initial conditions ) , the probability of heads is the ratio of the arc length @xmath133 subtended by heads and the circumference of the circle , that is , @xmath134 , so that for a fair 3-sided coin , @xmath135 and @xmath136.,width=576 ] as we have seen , the basic difference between the von neumann flip and the keller flip can be characterized in terms of the geometry of allowable orientations . a minimal view of von - neumann s argument is shown in fig .
[ geom](a ) . given the assumption of a uniform distribution of all possible orientations , the probability of landing on heads and tails
is given by the ratio of the solid angle subtended by heads ( or tails ) @xmath137 to the total solid angle of a unit sphere , that is , @xmath130 , and that of landing on a side is @xmath138 .
therefore , a fair 3-sided coin must be such that @xmath139 .
if we use the usual spherical coordinate system , we can calculate @xmath140 , where @xmath141 is the half - angle subtended by the face .
if we equate the two relations , we find that @xmath142 . by definition ,
@xmath143 , so that the aspect ratio of the coin is @xmath132 .
in contrast , the constraint of constant angular momentum leads us to consider the keller flip , the only truly unbiased flip .
in this case we consider a projection of a cross - section of the coin onto a circumscribed circle , as shown in fig .
the probability of landing on a particular face ( or side ) is now the ratio of the arc subtended by the face ( or side ) divided by the entire circle ( @xmath144 ) .
thus , @xmath145 , @xmath146 , and @xmath147 , so that for a fair 3-sided coin , @xmath135 , and thus the aspect ratio of the coin @xmath148 .
thus , we see another example of how bertrand s paradox arises naturally . depending on the assumptions of the mechanism ( or equivalently , the implied symmetry and invariance ) which produces the random variable , the probabilities are ill - defined and thus lead to different answers for the aspect ratio of a fair coin .
to test our theoretical results , we conducted a series of simple tabletop experiments . to make thick coins , we glued u.s . quarters , of diameter 24 mm and thickness 1.75 mm , together to form an @xmath149-coin of different aspect ratios , for example , a 3-coin is formed by gluing three u.s .
quarters together , and tossed them by hand with @xmath150 and starting heads up , onto a highly inelastic surface , such as a pan of rice covered by a thin film of plastic . for thicker coins , we cut cylindrical pieces of an aluminum rod of diameter 25 mm .
each coin was vigorously tossed ( @xmath151 ) 100 times starting with heads up , and the experimentally determined frequency of sides is plotted ( as dots ) in fig .
[ scale ] .
the sum of squared errors for the geometrical case ( @xmath152 ) is significantly larger than for the dynamical case ( @xmath153 ) .
our experimental results are in good agreement with the predictions of the dynamical theory , and suggest a simple criterion for the aspect ratio of designer coins with a given bias to land on a side or a face .
we conclude with a brief remark on the role of the distribution of @xmath12 , the angular variable that describes the relative orientation of the coin normal to the angular momentum vector .
as @xmath12 deviates from @xmath154 , the probability of sides is no longer 1/3 .
then @xmath155 , where @xmath156 heads , sides , or tails is given by @xmath157 where the conditional probability @xmath158 is now given by eq .
( [ main ] ) . in table
ii we show the affect of three symmetrical distributions for @xmath159 , @xmath92 $ ] .
we consider @xmath160 ; @xmath161 , and @xmath162 with @xmath163 . in each case
we find that the coin is biased toward heads ( the initial condition ) .
this bias suggests learning strategies for novices to become experts and approach the mythical rosencrantz and the real diaconis who are able to exploit these deviations to effect long streaks of heads.@xcite | arxiv |
systemic and local proinflammatory changes are in focus when investigating the pathophysiology of arteriosclerosis and acute coronary syndromes . in acute myocardial infarction ( ami ) ,
proinflammatory markers such as c - reactive protein ( crp ) , interleukins , or monocyte - chemoattractant protein ( mcp)-1 are elevated [ 13 ] and their increase is of prognostic relevance for future cardiovascular events [ 46 ] and mortality [ 79 ] . moreover , in healthy persons elevated proinflammatory markers are associated with an increase in cardiovascular risk [ 1012 ] .
patients with increased circulating proinflammatory markers in ami present with decreased myocardial salvage after coronary reperfusion therapy .
sources of inflammatory response are vascular cells such as activated endothelial cells , which release proinflammatory cytokines such as interleukin ( il)-8 .
il-8 is a cxc cytokine that acts as a chemoattractant and agonist for neutrophils , lymphocytes , and monocytes and is found in macrophage - rich atherosclerotic plaques . under flow conditions , il-8 facilitates the arrest of monocytes on endothelium , which is necessary for migration into the intima in evolution of arteriosclerosis . reperfusion injury after ami as well as systemic inflammatory response syndrome can be associated to increased levels of il-8 . in experimental setting , murine il-8 receptor knock - out mice display smaller arteriosclerotic lesions with less macrophages . apart from their contribution to arteriosclerosis , cxc cytokines are also produced by malignant cells and can promote tumor progression of a large variety of malignancies .
besides il-8 , many other cytokines such as il-6 take part in inflammatory responses by inducing b - cell differentiation , t - cell activation , and synthesis of acute phase proteins , but also contributing to proliferation of vascular smooth muscle cells ( smcs )
the pathogenesis of proinflammatory changes in acute coronary syndromes as well as the interplay between coagulation and inflammation is poorly understood and is subject to intense research .
the mechanisms by which the coagulation system is altered by inflammatory interactions comprise enhanced synthesis and activation of coagulant proteins , decreased synthesis of anticoagulants , and suppression of fibrinolysis .
accordingly , increased levels of prothrombin fragment f1 + 2 , fibrinopeptide a and d - dimer , reflecting activation of the coagulation cascade , are also associated with an unfavorable outcome in acute coronary syndromes [ 2527 ] . in this paper
we focus on possible mechanisms of the interplay between coagulation and inflammation in acute coronary syndromes .
a strict separation between the intrinsic and extrinsic coagulation cascade surely fails to reflect physiologic conditions .
nevertheless , in the setting of arteriosclerosis and acute coronary syndromes the extrinsic pathway of coagulation is of particular significance .
tissue factor ( tf ) is the most important initiator of the extrinsic coagulation cascade .
tf , a 47 kda transmembrane glycoprotein and member of the class ii cytokine receptor family , is the cofactor for the activated plasma clotting factor vii ( fviia ) .
the tf - fviia complex catalyzes the activation of factor x and ix , which leads to the generation of thrombin and thus finally of a fibrin clot . under physiologic conditions
tf is abundantly expressed only in the adventitia and is induced by several inflammatory mediators such as il-6 , il-8 , and mcp-1 [ 28 , 29 ] .
after vascular injury , tf is rapidly augmented in smc of the media and accumulates in the smc of the developing neointima .
consequently , tf is highly expressed within atherosclerotic lesions and displays high procoagulant activity suggesting a role in determining plaque thrombogenicity . in atherosclerotic carotid lesions disruption of plaques
exposes tf - positive cells within the plaque to plasma clotting factors and initiates local thrombosis with subsequent occlusion of the vessel .
furthermore , increased tf expression can be noticed on circulating monocytes and microparticles in acute coronary syndromes and may , thereby , contribute to activation of coagulation [ 3234 ] .
it has been shown that cytokines can induce expression of soluble tf , which on the other hand has been shown to accumulate in developing thrombi .
however , the clinical significance and individual contributions of microparticle - derived and soluble tf remain a matter of debate .
several studies have demonstrated increased levels of circulating tf in patients with unstable angina pectoris ( uap ) and acute myocardial infarction ( ami ) [ 32 , 3845 ] .
therefore , it has long been speculated that , in cases with no plaque rupture or only fractional superficial erosion , thrombus formation may mainly depend on circulating levels of tf .
consistent with this idea , several studies suggest that the levels of circulating tf and other haemostatic biomarkers may correlate to adverse cardiovascular events and mortality in patients with acute coronary syndrome [ 4648 ] .
stimulation of the tf - thrombin pathway does not only occur at the site of the plaque but also within the ischemic myocardium where activated coagulation factors may enhance inflammatory responses and increase infarct size .
furthermore , tf expression has been reported in a number of cancers , such as glioma , pancreatic cancer , non - small - cell lung cancer , colorectal cancer , ovarian cancer , prostate cancer , hepatocellular cancer , and breast cancer .
tf expression in tumors not only correlates with the incidence of thrombosis but also promotes metastasis , tumor progression , and tumor angiogenesis .
on one hand tf allows docking and activation of fvii and , therefore , promotes the generation of downstream coagulation factors and activation of protease - activated receptors ( pars ) which themselves possibly induce intracellular signal transduction . on the other hand
there is evidence for direct signalling through the cytoplasmic domain of tf following tf - fviia complex formation [ 55 , 56 ] .
the endogenous kunitz - type inhibitor tissue factor pathway inhibitor-1 ( tfpi ) inhibits initiation of tf - induced blood coagulation and is mainly expressed on vascular endothelial cells .
increased levels of the tfpi - fxa complex may reflect both increased fxa generation and increased tfpi concentrations .
in addition to the full length tfpi most of the plasma tfpi circulates in truncated forms that are bound to plasma lipoproteins .
these truncated forms lack their c - terminal domains and exhibit reduced affinity for vascular wall proteolysis .
additionally , it has been shown that endogenous proteases and elastase released by neutrophils degrade tfpi , resulting in enhanced local coagulation that contributes to prevent pathogen dissemination during infection .
conversely , infusion of a mutant tfpi protein resistant to proteolysis by elastase strongly impaired host defence against systemic infection .
important players in the interaction between coagulation and inflammation are protease - activated receptors ( pars ) .
pars are g - protein coupled receptors that mediate various cellular reactions as cytokine release , expression of adhesion molecules , cell migration , or proliferation . unlike other receptors , pars are not activated by a soluble , external ligand .
proteases , such as activated coagulation factors , detach a defined part of the nh2-terminal chain of the receptor , thereby inducing a conformational change of the receptor .
pars can also be activated by synthetic peptides consisting of the sequence of amino acids representing the tethered ligand .
in contrast to other receptors , the activation of pars by enzymatic cleavage is irreversible .
pars are mainly expressed in vascular cells , but also in many different other cell types such as gastrointestinal and bronchial epithelial cells .
four different pars are known : par-1 , -3 , and -4 show responsible for thrombin signaling whereas par-2 is activated by trypsin - like serine proteases , fviia , and matriptase but not by thrombin .
par-1 and par-2 are expressed on smooth muscle cells and endothelial cells , whereas mainly par-1 is expressed on monocytes .
par-1 agonists or thrombin induce il-8 and il-6 in smc , ec , and mononuclear cells ( mncs ) therefore emphasizing the role of par-1 in inflammatory processes in vascular cells and confirming data about par-1-mediated cytokine release in ec and monocytes . in smooth muscle cells par-1 and par-2 agonists induce cytokine release to a similar extent which underlines the relevance of both pars .
in addition to coagulation factors other serine proteases , for example , matriptase secreted by monocytes stimulate proinflammatory cytokine release in endothelial cells via par-2 activation . increased par-2 expression in atherosclerotic lesions suggests a role for this proinflammatory pathway ( figure 1 ) .
in addition , pars can also be cleaved downstream of the tethered ligand , resulting in receptor inactivation by preventing further proteolytic activation .
par-1 signalling not only induces inflammatory responses but also causes antiapoptotic and vasculoprotective reactions . since the anticoagulant protease - activated protein c can activate par1 when in complex with the endothelial cell protein c receptor ( epcr ) , which may account for much of the protective effects conferred by activated protein c ( apc ) in severe sepsis
first , apc acts via par-1 when attached to epcr , resulting in cellular responses distinct from thrombin signalling by a mechanism dependent in trans - activation of the sphingosine 1 phosphate receptor 1 . in mouse models with strongly reduced epcr expression or par-1 deficiency ,
the loss of epcr / apc signalling via par-1 resulted in increased endotoxemia - induced lethality .
concordantly , apc mutants have been shown to contribute to protective effects during sepsis by pathways independent from anticoagulant properties [ 67 , 68 ] .
the second pathway described is independent from epcr . in this case , the availability of the integrin cd11b
/ cd18 has been shown to be crucial for par-1 mediated apc signaling on macrophages , thereby exhibiting anti - inflammatory effects and reducing endotoxin - induced lethality .
thus the strength of par1 and par2 activation by thrombin , factor xa , and activated protein c can either promote or protect against changes in vascular permeability depending on the status of the endothelium .
platelet activation with subsequent thrombus generation plays a major role in the development of acute coronary syndromes . at low concentrations thrombin activates par-1 on platelets through a hirudin - like site and at high concentrations additional par-4 .
this induces shape change , p - selectin , and cd40l mobilization to the platelet membrane and promotes the release of platelet agonists adp , thromboxane a2 , chemokines , and growth factors and , thereby , enhances proinflammatory changes .
thus , inhibition of pars by thrombin of fxa inhibitors may prove beneficial in reducing not only thrombotic but also proinflammatory responses .
binding of the serine protease fvii to tf results in generation of the coagulation protease fxa ( fxa ) and subsequently thrombin both known to induce cell signaling .
fxa shows dose - dependent induction of intracellular calcium transients in endothelial cells that is active - site - dependent , and independent of thrombin .
potential pathophysiological responses to fxa include stimulation of proliferation , production of proinflammatory cytokines , and prothrombotic tf .
elevated tfpi - fxa and prothrombin fragments f1 + 2 plasma levels indicate activation of the coagulation cascade in acute coronary syndromes . under physiological conditions
an inverse relationship between tfpi - fxa and f1 + 2 suggests that tfpi - fxa regulates prothrombinase activity in vivo . under conditions associated with activation of the coagulation cascade , however , increased tfpi - xa plasma levels occur [ 57 , 74 ] .
activation of coagulation as measured by tfpi - fxa but not by f1 + 2 is associated with plasma concentrations of the proinflammatory cytokine il-8 in acute coronary syndromes .
furthermore , subsequent elevated il-6 levels in the course of acute coronary syndromes are associated with initial tfpi - fxa concentrations .
these results argue for a proinflammatory role of fxa in acute coronary syndromes that is independent of thrombin .
although thrombin provokes similar proinflammatory effects as fxa in vitro the effects of thrombin may be diminished after heparin treatment in vivo .
several trials of unfractionated heparin ( ufh ) , direct thrombin inhibitors , and enoxaparin have thus far failed to demonstrate mortality reductions in acute coronary syndromes . yet
, the oasis-6 trial suggests a reduction in reinfarction and mortality without excess bleeding in patients not undergoing pci .
therapeutic inhibition of the proinflammatory effects of factor xa may , therefore , prove additional benefits as compared to thrombin inhibition in the clinical course in acute coronary syndromes .
this is currently investigated in the atlas - acs 2 timi 51 trial that is testing the hypothesis that anticoagulation with the oral factor xa inhibitor rivaroxaban reduces cardiovascular death , mi , and stroke among patients with acs treated with guideline - based therapies for acs . in vitro experiments revealed that fxa stimulates il-8 and mcp-1 transcription in endothelial cells and mononuclear leukocytes .
genetic studies and receptor desensitization experiments indicate that signaling by fxa is mediated by par-1 and par-2 [ 80 , 81 ] . according to the expression of par-1 and par-2 , par-1 and par-2 agonists induce il-8 and mcp-1 release in endothelial cells , whereas , only par-1 agonists stimulated cytokine release in mononuclear cells .
several studies suggest a signaling mechanism of the tf - fviia complex via par-2 . in this model ,
tf - bound fviia proteolytically activates par-2 and , to a lesser extent , par-1 , and thereby evokes intracellular signaling cascades .
in contrast to fxa , fviia does not elicit a proinflammatory response in endothelial cells or mononuclear cells .
the tf - fviia - par-2 signalling was only observed in smc since they express both tf and par-2 and both of them seem to be a prerequisite for fviia action .
ec expressing par-2 but lacking tf will not permit fviia docking , whereas mnc displaying tf but only low par-2 expression , probably allow fviia binding but do not express sufficient par-2 molecules being subsequently activated .
however , par-2 and tf are induced by cytokine stimulation [ 28 , 84 ] .
thus , fviia may still have an important impact in atherosclerotic vessels and acute coronary syndromes . in recent studies
, it has been demonstrated that fvii is synthesized by different cancer cells ( liver , ovary , prostate , lung , gastric , thyroid , and breast ) . considering that these tumor cells also synthesize tf it is conceivable that supraphysiologic concentrations of fviia after binding of fvii to tf occur . on tumor cells , the tf - fviia binary complex mediates activation of par-2 .
therefore tf - fviia - par-2 interaction with subsequent cytokine release may be relevant within a tumor environment .
tf / fviia / par2 signalling has been shown to promote proliferation and metastasis of tumor cells [ 87 , 88 ] .
consistently , tf / fviia - specific upregulation of il-8 expression in breast cancer cells has been shown to be mediated by par-2 and to increase cell migration .
whether tf - fviia - par-2 interaction may also contribute to local thrombus formation and progression of atherosclerotic disease remains to be elucidated .
experimental evidence suggests that this interplay may contribute to the development of vascular remodeling or support plaque disruption of the artery .
however transfer of these data to the clinical settings remains controversial since additional optimized medical and interventional treatments interfere .
therefore , understanding the causes of inflammation facilitate the development of new therapeutic strategies . to analyse whether these new therapies translate to improved clinical outcome
needs to be studied in appropriate clinical trials . while inhibiting proinflammatory cytokines such as tumor - necrosis factor- ( tnf ) has been shown to effectively improve survival in several animal models of sepsis [ 8991 ] , anti - tnf therapy in septic humans failed to ameliorate or even worsened clinical outcome [ 9295 ] . in chronic inflammatory diseases however , anti - inflammatory treatment has become clinical routine .
for example , inhibition of il-6 by the first anti - il-6 antibody , tocilizumab , has been shown to completely block tf - dependent thrombin generation in experimental endotoxemia [ 23 , 96 ] , and tocilizumab will be of special future interest as it has been approved for rheumatoid arthritis .
experimental studies that have shown that anticoagulant treatment not only diminishes activation of coagulation but also inhibits inflammation , underline the cross - talk between activation of coagulation and cytokine release in vivo [ 49 , 97 , 98 ] . in acute inflammatory disorders such as severe sepsis , administration of recombinant apc
apc mutants that lack anticoagulant properties but still enable sphingosine 1 phosphate receptor 1 dependent activation of par-1 will be of special clinical interest as they have been shown to reduce sepsis - induced in mice but do not predispose to bleeding complications .
so far , anti - inflammatory treatments displayed no explicit benefit in patients with acute coronary syndromes .
however , there is evidence that fxa inhibitors prove to be superior to thrombin inhibitors .
particularly , treatment with low molecular weight heparins , that include additional anti - fxa activity as compared to unfractionated heparin , has been shown to decrease inflammatory changes in vitro and in vivo [ 101 , 102 ] .
yet the question remains if and what anticoagulant therapies will prove beneficial to alter systemic inflammatory responses . | pubmed |
My Lord Willoughby's Welcome Home is a traditional English ballad of the sixteenth century. A lute version was composed by the composer John Dowland. It celebrates the return of Peregrine Bertie, Lord Willoughby to England after he had led an expeditionary force to assist the Dutch Republic in its war for independence from Spain. Willoughby was regarded as a popular Protestant hero, and the lyrics commemorate his exploits in battle.
References
Bibliography
Graham Wade. A Concise Guide to Understanding Music. Mel Bay Publications, 2011.
Category:English songs
Category:Year of song unknown
Category:Compositions by John Dowland
Category:Lute songs | wikipedia |
"STARMAN"
Screenplay by
Bruce A. Evans and Raynold Gideon
with Dean Riesner (uncredited)
DRAFT SCRIPT
FADE IN:
EXT. HIGHWAY - NIGHT
The wail of a siren grows out of the distance and very faintly
through the fog we see the headlights and flashing blue rack
lights of a police car coming toward us. It drops into a
dip, reappears almost immediately, hurtling down the center
of the deserted highway. It gets closer and closer until the
lights and siren fill our senses then zooms past us.
INT. POLICE CAR - NIGHT
A frightened SECURITY GUARD is tensed forward off the back
seat, his hands clutched into the fabric between the two
regular POLICE OFFICERS in front.
GUARD
(an edge of fear in
his voice)
It's coming up... Slow down...
(he points out between
them)
There, right there...
Through the windshield we can see the headlights pick up a
billboard announcing a 'new' housing development.
EXT. HIGHWAY - NIGHT
The squad car skids off the asphalt in front of the sign and
starts up a rutted dirt road. The sign tells us we are headed
for 'Pinewood Estates,' a housing development financed by
the Farmers Bank of Wisconsin.
INT. POLICE CAR - NIGHT
The Security Guard is becoming more agitated. He wipes a
cold sweat off his brow. The blue flashers reflect off the
fog onto the faces of the men. Suddenly the Security Guard
lunges forward and slaps off the rack lights and siren.
OFFICER
(startled)
Benny, God, take it easy...
BENNY (GUARD)
I don't want to scare them away.
The two Police Officers exchange an indulgent look.
EXT. HOUSING TRACT - NIGHT
Using only its parking lights, the police car creeps up the
dirt road between skeletons of unfinished houses.
INT. POLICE CAR - NIGHT
The windows are rolled down. Periodically one of the men
leans out for a better look at the terrain around them.
SECOND OFFICER
Smells smoke...
BENNY
I told you.
EXT. HOUSING TRACT - NIGHT
The police car comes around a curve on the hillside and stops.
Above them on the next hill, a necklace of embers from a
grass fire and a burning tree flicker through the fog. The
men get out of the car.
BENNY
(loud whisper)
There!! Up on the hill!!
The officer steps forward for a better look. Benny hangs on
his shoulder.
BENNY
Right in line with that burning tree.
OFFICER
I don't see anything.
BENNY
It's there. The fog's thicker now,
but it's there. What do you think
started those fires?
The officer strains to see through the fog.
OFFICER
Benny, there's nothing there.
BENNY
There is. They came out of the belly
of the ship and then went to the
first terrace and flew down into the
houses.
OFFICER
Flew?! Oh, come on Benny...
The second officer is peering intently at something down
among the houses.
OFFICER
You hear that, Mike? Now he's telling
us...
MIKE (SECOND OFFICER)
What's that?
Benny and the officer look to where Mike is pointing. What
appears to be the beam of a powerful headlight bobs among
the houses below them. Further into the track another beam
of light moves slightly from right to left but seems otherwise
stationary.
BENNY
What did I tell you?
OFFICER
Probably kids.
One of the lights rises over a house and settles on the other
side.
MIKE
(not convinced)
Probably...
EXT. HOUSING TRACT - NIGHT
A light shines directly into our eyes. As it swings away
from us we realize that it was the searchlight on the police
car which is idling along the dirt road with its running
lights off. The fire on the hill gives the fog down here a
red tint.
INT. POLICE CAR - NIGHT
The police officers are beginning to feel anxious. Benny's
nervous fidgeting in the back seat doesn't help them any.
BENNY
Don't you think you should call a
backup?
OFFICER
No, we can handle this.
EXT. HOUSING TRACT - NIGHT
The police car passes a road perpendicular to the one it is
on. A couple of houses down that road a faint glow spills
over the sides of an industrial dumpster. As we watch we
hear an eerie high pitched whistle, a shaft of light slowly
rises out of the metal box and seems to fly off between the
houses.
INT. FINISHED HOUSE - NIGHT
As a humanoid silhouette passes in front of the picture
window, a shaft of light floats by in the fog outside. The
silhouette continues around to look at the kitchen. It raises
a hand to eye level. There is a sharp "SNAP" and a hard-edged
cone of light shoots out of the darkness to capture the inside
of the kitchen and pulls back a three-dimensional image of
stove, sink, cupboards, electrical fixtures and walls to the
silhouette.
EXT. HOUSING TRACT - NIGHT
The police car is parked in the middle of the dirt road.
Benny and the officers are intent on a light that reaches
them only in strobes as it moves through the houses in the
direction of the fire on the hill. The police searchlight
swings onto the house.
OFFICER
(over outside speakers)
This is the police. Identify
yourselves.
It is deathly silent.
Carrying a shotgun the officer motions Benny and Mike to fan
out on either side of him and, guns drawn, they cut across
the tract to where they last saw the bobbing light.
The fog quickly isolates them, heightening their fear. Each
man becomes acutely aware of the loudness of his breathing
and the crunch of his footsteps on the ground. They drift in
and out of visual contact with each other.
Benny freezes as he hears a burst of the high pitched whistle
sweep by on his left. He turns slowly to see, through the
ribs of an unfinished house, a shaft of the white light
pointing at a cement mixer.
BENNY
(to the officers, his
voice cracking)
There's one over here...
The brilliant light swings toward him. Benny, his hands
trembling, raises the gun.
BENNY
Stop!! Police!!
The light fixes on Benny and terrified he shakes off a couple
shots. The light goes out immediately.
MIKE
(in Benny's direction)
What happened?
BENNY
I think I shot one.
MIKE
Jesus, Benny. What are you doing?
INT. FINISHED HOUSE (BEDROOM) - NIGHT
We are looking at the back of the humanoid figure. It crosses
to a high window and looks out. The reddish tinge of the fog
outlines him.
EXT. HOUSING TRACT - NIGHT
The men strain to see something through the silent fog.
OFFICER
You see anything, Mike?
Before Mike can answer, a strange percussive clicking sound
is heard. He pumps a shell in the chamber of his shotgun and
swallowing his fear moves toward the voices. They stop.
OFFICER
This is the police. Identify
yourselves.
Benny, his flashlight throwing a feeble beam in front of
him, inches around the house looking for what he shot at. He
gets to where it should be but it's not there. His light
searches the area. There is nothing but a stack of lumber.
Shaking visibly he shuffles to it and peers around its corner.
Nothing. Benny relaxes and allows himself to breathe again.
BENNY
(shouts to the officers)
You wanna give me some help over
here.
MIKE
Okay...
Benny continues around the house. He flashes his light into
a doorway. There is nothing but framing. When he moves on, a
figure steps out of the darkness to fill the space, then
raises its arms. With a sharp snap cylindrical devices swing
off its wrist into its hands.
At the corner of the house Benny hears the snap and stops.
The high pitched whistle starts behind him. He stumbles around
to face a brilliant white light flying directly at him. Benny
screams in terror and fires at it. The light swerves and a
laser streak from one of the hand rockets sears Benny's chest
and knocks him to the ground in pain. Holding his shoulder
he watches the light rise and fall erratically between the
houses.
The officers watch in awe as the beam wobbles through the
air, then crashes to the earth.
OFFICER
Mike, call for back-up.
(shouting)
Benny, you all right?
BENNY
I don't think so...
(clutching his shoulder)
OFFICER
(waving the beam of
his flashlight, shouts)
Benny, this is me. I'm going to take
a look.
Benny's beam flashes back.
BENNY
Don't leave me. I'm coming.
The two men begin to trot toward the light. It swings wildly
around and, accompanied by the high-pitched whistle, starts
to stagger back up the hill. Benny and the officer break
into a run. They are on their way up the hill when the light
in front of them crashes to the earth. It rolls over and
lays still, the beam shooting straight up into the air. Benny
and the officer slow their pursuit, terrified of what they
might find. Suddenly a high-pitched whistle is bearing down
on them from behind. Before they can turn a light rockets
over their heads. With a rumble the hill begins to vibrate.
As they follow its flight, they see lights beginning to ripple
to life across the skin of a saucer-shaped spacecraft resting
at the edge of the forest on top of the hill. With a rumble
the hill begins to vibrate. Frightened, the officers stop.
INT. FINISHED HOUSE - NIGHT
The humanoid figure walks rapidly down the hall into the
kitchen. An indistinct image plays on the inside of its
faceplate and we hear the faint sounds of a percussive
language. Through the window over the sink we can see the
lights of the spaceship.
The rockets flip into the humanoid's gloved hands and it is
airborne out the open back door.
EXT. HOUSING TRACT - NIGHT
From the road Benny and the officer watch as the humanoid
figure that just blasted over them flies between the trees
and into the white light emitting from the underbelly of the
spacecraft. The noise from the ship's power plant is deafening
as it begins to rise above the trees.
With Mike at the wheel the police car, its rack lights
flashing, fishtails up the dirt road and slides sideways to
a bone-jarring stop next to Benny and the officer. As they
jump out of the way they find themselves facing into the
super white beam of the figure that was in the house. They
are between it and the ship. At the angle that it is coming
up the hill, the light looks like it is heading directly for
them. This is too much for the officer and in terror he raises
his shotgun and fires wildly at it. The figure veers off and
disappears into the fog.
With an awesome roar the spacecraft reaches escape velocity
and hurtles into the night sky. The concussion waves knock
Benny and the officers off their feet.
EXT. COUNTRY ROAD - NIGHT
The escaped figure's light comes out of the fog at tree
height. We hear the high-pitched whistle of its rockets. A
burst of percussive language comes from behind the faceplate.
SUBTITLE
Lander four to Mapmaker Wind. Fix
position for rescue. Repeat. Fix
position for rescue.
EXT. HOUSING TRACT - NIGHT
The fires on the hillside have been renewed. Shaking, Benny
and the officer rise to their feet and start toward the light
shafting straight up from the figure lying on the hillside.
The only sound is police chatter coming out of the radio in
the open squad car.
EXT. LOGGING ROAD - NIGHT
An 18-wheeler with a load of logs lumbers past us.
INT. TRUCK - NIGHT
It feels cozy with the wipers slapping the rain off the
windshield. The DRIVER is trying to steal a cigarette out of
his snoring PARTNER'S pocket without waking him up. He gets
one and reaches for the lighter.
EXT. COUNTRY ROAD - NIGHT
The escaped figure banks around a blind corner.
INT. TRUCK - NIGHT
The driver gets a glimpse of something in his headlights and
slams on the brakes, but it is too late. The figure hits the
spoiler above the cab. We hear the smack of impact. One of
its boots scars the windshield.
EXT. COUNTRY ROAD - NIGHT
The figure bounces off the jack-knifing truck and like a
wounded bird tumbles through the air into the trees. With
the light spinning crazily, it plunges through the boughs
and smashes face first into the mud at the bottom of an
embankment. The strip lights on the sides of its helmet go
out.
EXT. TRUCK - NIGHT
The driver and his partner, standing in the shafts of the
high beams, are peering into the woods.
PARTNER
What the hell was it anyway?
DRIVER
Damned if I know.
EXT. WOODS - NIGHT
The figure thrashes over on its back and tries to close a
shoulder-to-hip tear in its life-support suit. By the faint
identification light that flickers on and off inside its
helmet, we see a MAN FROM THE STARS. His skin is translucent
coral. He is gasping as our atmosphere mixes with his and
threatens to suffocate him.
Under his translucent skin a maze of veins and arteries extend
from a white mass that sits in the upper half of his head.
He is hairless. Underneath a graceful fore-head, transparent
eyelids droop over black pupilless eyes. The thin lips that
delineate his mouth are chalk-white.
He tries to clutch the edges of the tear together but is too
weak. His hands drop limply from the suit, allowing the rent
to gape open and reveal the translucent body underneath.
PARTNER (V.O.)
Come on. I'm getting wet.
DRIVER (V.O.)
It musta been a bird.
PARTNER (V.O.)
How about if I drive now?
Behind the faceplate a piece of white light breaks off from
the shining mass in the STAR MAN'S head and moves down his
neck. Through the hole in the suit we see it arrive at the
top of his single lung. The white light spreads throughout
the organ like a phosphorescent tide. The STAR MAN lapses
into unconsciousness as we hear the truck pull away.
INT. HELICOPTER (COCKPIT) - DAWNBREAK
A light rain is falling.
We are looking through the windscreen at the gray landscape
passing under the helicopter. MARC SHERMIN, a grizzled man
in his mid-fifties with an honest stubborn face, shifts his
attention from the right side to the left side of the craft.
Below him he can see the road leading into the housing tract
is blocked by police cars. The helicopter leans into a banking
turn and the spacecraft's blackened landing site comes into
view. Below it an orange nylon tent has been erected over
the dead extraterrestrial. It glows from the inside. An Air
Force helicopter is parked on the other side of the burn.
EXT. HOUSING TRACT - DAWNBREAK
A man in a white contamination suit is helping Benny and the
two officers into the Air Force helicopter. The three men
are glassy-eyed and wrapped in blankets. Benny has a bandage
across his chest. They look up at Shermin's descending
helicopter. They are still looking at it when they disappear
inside.
Shermin's unmarked S65 settles on the clearing. The nose
door is open and Shermin, carrying the hood of his
contamination suit, comes down the ladder. A tall homespun
man, also in a hoodless contamination suit, steps forward to
greet him.
MAN
(around a cigarette)
Major Aaron Bell...
SHERMIN
Marc Shermin, National Security
Agency.
Shermin takes a moment to look over at the tent, the green
hillside and the forest beyond. It is pastoral in the soft
light of dawn.
SHERMIN
This has always been my favorite
time of day.
MAJOR BELL (MAN)
Very beautiful country up here...
SHERMIN
Any signs of biological contamination,
excessive radiation, anything like
that?
MAJOR BELL
Not on the landscape. We're trying
to get a tube under the faceplate
for a reading on possible deadly
lifeforms but it's hard going.
SHERMIN
Can you see under the faceplate?
MAJOR BELL
No.
Bell's hands shake as he lights a new cigarette off the one
in his mouth.
SHERMIN
There's a good chance you could be
wrong about this thing then...
MAJOR BELL
Wait'll you see it.
He throws away the cigarette and begins to put on his
contamination hood. Shermin follows as they start for the
tent.
MAJOR BELL
We had a flight of F16's play tag
with the spaceship over Michigan for
an hour. Then it shot straight up
and disappeared.
SHERMIN
Was there visual contact?
MAJOR BELL
No, sir. Radar.
SHERMIN
It could have been anything.
EXT. BLACKENED LANDING SITE - DAWNBREAK
Hooded, Bell and Shermin make their way past three suited
scientists examining the landscape with geiger counters and
other sensing instruments. With the coming of dawn and Bell's
handlight we can clearly see the pod indentations and the
huge black glass cup of earth that was fused by the energy
blasting out of the spaceship's power plant.
MAJOR BELL
After I called in, I had a chance to
sit down with the three locals. They
swear there's another one that didn't
make the ship... It might be alive.
SHERMIN
People have made mistakes in these
situations before.
MAJOR BELL
I've been investigating sightings
for seventeen years, Mr. Shermin.
This one's real. We have a dead extra-
terrestrial in that tent and another
one in the area that might be alive.
We've been visited. It's finally
happened and the sooner Washington
accepts that and starts figuring out
how we're going to deal with these
beings, the better off we're going
to be.
EXT. FOOT OF EMBANKMENT - DAWNBREAK
It is still raining.
The STAR MAN stirs and awakens with a start. He parts the
tear in his suit and looks at his lung through his translucent
body. It has changed in color from brown to a rich yellow
ocher. He takes several deep breaths of our atmosphere and
his lung expands and contracts easily. He conducts a quick
inventory of his damaged spacesuit, then struggles to his
knees and stands up.
INT. BIOQUARANTINE TENT (HOUSING TRACT) - DAWNBREAK
The sound of a powerful slow-speed drill greets Bell and
Shermin as they enter. The extraterrestrial is still on its
back with its helmet lights shining straight up. A hose that
extends from a portable gas chromatograph has been suction-
sealed to a corner of the faceplate. A SCIENTIST is making
adjustments at the chromatograph while his COMPANION is
monitoring the progress of the drill into the faceplate.
Both are wearing contamination suits.
A foam-lined coffin-shaped metal box is on the ground next
to one of the walls. Bell and Shermin approach the body.
Shermin's first look is at the faceplate, but all he can see
is his own reflection. His eyes travel down the body.
MAJOR BELL
Look at the hands.
The gloved hands of the figure have only three fingers and a
thumb.
Shermin takes Bell's flashlight. He angles it at the
faceplate. As he leans in to follow the beam, the pitch of
the drill rises. He shifts the light. The drill breaks through
and the faceplate explodes out of the helmet. The men throw
themselves back in panic. When they turn back to look,
distorted impressions of the face inside the helmet reflect
on the glass of their contamination hoods. (Pause)
SHERMIN
Oh, Jesus.
MAJOR BELL
(moving toward the
body)
We better get it into the box. Come
on...
The other men approach the body but before they can bend to
it a burst of percussive language, followed by a low buzz,
comes from inside the extraterrestrial's helmet. The men
freeze. There is another burst of percussive language and a
projection beam shoots out of the helmet throwing the image
of the escaped STAR MAN onto one of the scientists. He jumps
aside and the beam falls out of focus and indistinct on the
tent wall behind him.
SUBTITLE
Mapmaker Wind. Do you hear me?
SHERMIN
(incredulous)
The other one is alive!
EXT. FOOT OF EMBANKMENT - DAWNBREAK
The STAR MAN is standing. We hear the sounds of his percussive
language coming from behind his mirrored faceplate.
STAR MAN
(subtitle)
Mapmaker Wind. Do you hear me?
His answer is nothing but the low buzz. He taps a series of
buttons on his chest panel and speaks again.
STAR MAN
Mapmaker Wind. Do you hear me?
Again the buzz.
STAR MAN
Mapmaker Wind. Do you hear me?
The buzz continues. He is very still for a moment. Then he
presses the palms of his hands together, prayer fashion, and
concentrates. When he pulls them apart, a blue force field
pulses between them. He stops at shoulder width. A solarized
aerial view of the United States forms on the force field. A
green dot appears in the area of western Wisconsin, a red
dot in the area of Death Valley, California. He drops his
hands to his lap and sits very still. The solarized compass
remains floating in the air in front of him. After a long
moment he reaches up and squeezes it into a ball that
disappears when his palms come together.
INT. HELICOPTER - DAWNBREAK
Shermin steps through the open bay door into a communications
room. The radar and radio consoles each have a TECHNICIAN. A
third technician, LYMAN, sits in front of a square of six
medium-sized television screens.
LYMAN
Is it for real?
SHERMIN
Get Fox.
Lyman taps a code into the computer keyboard. There's a shower
of static on one of the TV screens. When it clears up GEORGE
FOX, mid-forties, hair slicked straight back, round wire-
rimmed glasses, is peering intently into the camera.
SHERMIN
(before Fox can speak)
It's real, George.
FOX
There's no mistake? You're absolutely
sure?
SHERMIN
I saw it with my own eyes. We've
killed an extraterrestrial and...
FOX
Is there any possibility that it's a
hoax? Could you be mistaken?
SHERMIN
None. And there's another one in the
area that's alive. I don't know if
it's the only one. I don't know if
it was left here by accident or it's
part of an inva...
FOX
Get the body out of there. Load it
on the Air Force chopper and get it
to Wright Patterson. They'll take it
from there... We didn't expect this,
Shermin.
SHERMIN
(answering the
accusation)
Neither did I.
Major Bell enters the helicopter.
FOX
We're going... Damn!
(he shakes his head
in disbelief)
We'll tell the press that there was
an accident. Chemical warfare spill.
That cover cannot be violated in any
way. Understand me, Shermin?
MAJOR BELL
Major Bell here, sir. We have to
tell these people that we're friendly.
That this whole thing was a mistake.
Is anyone trying to contact the ship?
FOX
(ignores this)
Shermin, I want you and Bell to start
looking for the one on the ground.
SHERMIN
We'll need a lot of help, George.
You could hide an army up here.
FOX
I'm going to the White House right
now. I'll try and get you everything
you need.
SHERMIN
Wait, wait... What are my orders if
we find this thing?
Fox sits silently for a second.
FOX
Contain it and get back to me.
SHERMIN
What do you mean by 'contain?'
Fox knows Shermin is looking for a definite order.
FOX
Just what I said.
The television screen is reduced to static. Shermin stares
at it blankly then Lyman turns it off.
EXT. HOUSING TRACT - MORNING
The lift off of Shermin's helicopter reveals contamination --
suited scientists slipping the dead extraterrestrial's coffin
into the Air Force helicopter.
EXT. WOODS - DAY
The STAR MAN, still in his life-support suit, looks surreal
in the twilight world under the canopy of firs. The morning
rain has gone. A hum of traffic pulls him across the hill to
a stand of alders that border the forest. Through the leaves
he can see a highway entering the sprawl of Eau Claire,
Wisconsin. The cars and trucks zipping along the asphalt are
of particular interest to him.
When he has absorbed them he walks through the trees to get
a better look at the town. On the wind he can hear shouts
from students boarding a line of yellow buses in front of a
grade school off to his right. Suburban houses have begun to
snuggle up to the base of the hill he is on.
Keeping to the tree line well above them he continues his
search for an avenue of escape. His head swivels to watch a
Volvo station wagon come down the street. It swings into the
driveway of the house directly below him and stops next to a
Mustang Hatchback. The back door opens and JENNY HAYDN, a
pretty girl in her mid-twenties, gets out carrying a crudely
lettered be-ribboned sign 'Welcome Back, Mrs. Haydn.' Female
voices drift up to the STAR MAN from inside the car.
VOICES
It was great to have you back... The
kids loved it. We loved it. You're
doing the right thing...
EXT. HOUSE - DAY
JENNY
I hope so... We'll see... See you
tomorrow... Bye. Bye.
VOICE
(as the Volvo backs
out of the driveway)
Remember you're required to have a
lesson planned tomorrow.
Jenny laughs and waves. With the Volvo moving away up the
street Jenny picks her newspaper off her walk and goes into
the house.
EXT. HILLSIDE - DAY
The STAR MAN presses on through the trees. He hears a light
plane overhead. He stops and watches until the branches cut
off his view. A path between two logs leads him to the tip
of a promontory. From behind the cedars growing there, he
sits and looks down on the center of Eau Claire.
Arm in arm, a YOUNG COUPLE meander through the trees. The
boy has a blanket over his shoulder and the girl's hair is
disheveled. Without seeing him, they walk past the STAR MAN
crouched in a thicket of small pines. After they've gone by,
he straightens up and watches them walk down toward the
highway.
EXT. HILLSIDE - LATE AFTERNOON
The sun is setting over suburban Eau Claire. The colors are
reflected in the STAR MAN's faceplate as he watches Jenny
push a hand mower over her back yard.
He takes a dusty gray marble out of a leg pocket and while
Jenny finishes the lawn he rolls it between his gloves. It
turns a glowing gold as it grows in size. When it reaches
the dimensions of a baseball, he brings it close to his
faceplate and speaks into it.
STAR MAN
(subtitles)
Iron channel message. Suit and rockets
destroyed. Radical mixture of this
atmosphere and ours in helmet allowed
chemo-ion response time to adapt my
body to this air. Am going to attempt
extreme transformation in order to
cross land mass to site of our
practice landings. If transformation
is not fatal, second message ball by
next darkness.
He opens his hands and the ball rises quickly into the sky.
Jenny is dumping the grass clippings into a garbage can at
the side of the house when the sudden motion of the message
ball catches her eye and she watches it quizzically until it
disappears.
EXT. WISCONSIN SKIES - LATE AFTERNOON
We are on the belly of Shermin's helicopter looking at the
tree tops rushing underneath.
INT. HELICOPTER - LATE AFTERNOON
Shermin is standing back of Lyman and Bell who are seated in
front of the square of television screens watching various
shots of the wooded landscape flowing by under them. Shermin
scrubs his hands over his face then bends over to stretch
his back.
SHERMIN
Aghh... I'm supposed to umpire a
little league game tomorrow.
LYMAN
I wouldn't worry about it... There
might not be any little league
tomorrow.
Pause.
MAJOR BELL
I'm telling you they're probably
friendly.
LYMAN
Then why did they try and sneak in
the back door? Tell me that. Why
didn't they contact us first and
say...
RADAR TECHNICIAN
(loud)
UFO coming out of the grass.
SHERMIN
Lock in.
RADAR TECHNICIAN
Got it.
Lyman and the technicians tap out orders to their tracking
units and the views of the forest on three of the television
screens change to images from their microwave scanners,
neutron back scatters and doppler radar. On a fourth screen
the forward-looking infrared module begins creating a picture
of the UFO. The men relax as they recognize the configurations
of a light sea plane.
LYMAN
This is crazy. What were we going to
do if that had been the ship? We
have two thirty calibre machine guns,
three M16's and some handguns.
SHERMIN
Give it a rest, Lyman.
MAJOR BELL
(after a pause)
I've never once heard of anybody
being hurt by an extraterrestrial...
Shermin goes hand over hand along the overhead straps to the
radio operator. He begins to flip through a stack of telex
messages.
LYMAN
That's because the ones that were
hurt, died. They couldn't talk to
you.
SHERMIN
(to technician, after
a look at Lyman)
Any reports about monsters, people
in Halloween masks, anything like
that?
TECHNICIAN
No, but there sure were a lot of
people who saw lights in the sky
last night. Reports are still coming
in.
MAJOR BELL
(under above)
I've heard of blood being drawn,
sometimes they were taken for a ride
in the ship, a lot of times they
said they had sex... But nobody was
ever hurt...
LYMAN
But you decided those weren't real.
This one is.
There is a buzz and a red dot appears in the center of one
of the screens.
LYMAN
(over his shoulder to
Shermin)
Fox.
He taps a three digit code and Fox comes into view.
FOX
I've got something for you.
A photograph of a very thin slab of yellow plastic pops up
on a second screen next to Fox. Above lines of glowing colored
dots are symbols of a hydrogen atom, pulsars, a nude man and
a woman and Earth's position in our solar system.
FOX
Recognize this?
MAJOR BELL
It's a copy of the plaque NASA sent
into space on the Pioneer probes.
FOX
Houston found it in the
extraterrestrial's suit.
MAJOR BELL
They must have picked it up in space.
SHERMIN
Then it's not an accident that they
found us.
FOX
We don't think that's necessarily
bad. At least it's a point of contact.
SHERMIN
Not necessarily bad! If they knew we
were here why didn't they let us
know they were coming?
FOX
We'll get those answers when you
find the one you're looking for.
SHERMIN
That's not going to happen, George,
unless you get us the help you
promised us.
FOX
We've been back and forth on this
all day and keeping in mind the panic
that would occur if this got to the
general public, it's been decided
not to expand the search at this
time.
SHERMIN
Don't let them do it this way, George.
It's too important. We can't find
this thing alone.
FOX
You have to. We're trying to contact
the ship. If we do, I'll let you
know immediately. Good luck.
The television screen is reduced to static. Lyman shuts it
off.
RADAR TECHNICIAN
You get the feeling we're expendable?
SHERMIN
We always were.
EXT. HOUSE - NIGHT
We are looking through the living room window at Jenny
watching television while she irons the clothes she plans to
wear to work tomorrow. The STAR MAN stands just outside the
light-fall in the back yard watching her.
A commercial interrupts the old movie with a jolly fat MAN
in a jumpsuit touting his used cars. The two words 'We
have...' are repeated constantly during the pitch. 'We have
automatics... We have sticks... We have colors... We have
financing...' ...
We move in close on the STAR MAN'S faceplate.
STAR MAN
(practicing the human
sound)
Wehave...
(more precise)
Wehave...
(well-formed)
Wehave...
Jenny finishes the skirt, unplugs the iron, picks up the
clothes, shuts off the television, the light and heads
upstairs. Half way up she stops.
JENNY
(faint through the
glass)
Damn!
She turns around and looks down indecisively, then hurries
upstairs. A light goes on in the bedroom. The STAR MAN backs
away to look up at it. He can't see anything. He is on his
way to try and get in the side door when Jenny comes clumping
down the stairs in an old sweatshirt and pulling on a pair
of jeans. She disappears into the kitchen. Without warning
the door ahead of him is swung open and Jenny rushes out.
The STAR MAN barely has time to step into the shadows. Jenny
grabs the handle of one of the garbage cans lined against
the house and drags it down to the street. When she comes
back for the second one we see that the STAR MAN is no longer
in the shadows.
INT. HOUSE - NIGHT
Jenny comes in and locks the door. She passes through the
kitchen and is on her way to the stairs when the STAR MAN
steps out of the darkness in the living room. A scream catches
in Jenny's throat.
STAR MAN
(precise)
Wehave...
Jenny bolts for the front door. At the end of the hallway
her foot catches in a phone cord pulling the phone off an
end table. The receiver is jarred out of its cradle. Jenny
regains her balance and gets to the door ahead of the STAR
MAN. She jerks it open, but the guard chain stops it three
inches from the jamb. Frantically, she tries again but the
chain holds.
The STAR MAN slams the door shut and reaches out to grab
her. She flails back at him. One of her hands strikes the
panel on his chest and the identification light comes on
inside his helmet. At the sight of the STAR MAN, Jenny begins
to scream. He presses her back against the wall and puts a
mittened hand over her mouth.
STAR MAN
Wehave...
Jenny ceases her struggle and begins to cry. The STAR MAN
takes his hand away from her mouth.
JENNY
Please don't hurt me... please...
please.
Holding her with his eyes he grasps one of Jenny's hands and
lifts it up to look at it.
He raises a piece of skin off her wrist, rolls it between
his thumb and forefinger.
Jenny lets out a blood-curdling scream and strikes out at
him. Flashes of light erupt off his exposed chest where she
hits. The ferocity of her attack knocks him aside and she
sprints up the stairs.
The STAR MAN recovers and starts after her.
INT. BEDROOM - NIGHT
Jenny gets there two steps ahead of the STAR MAN. She slams
the door in his face and locks it. With him POUNDING ON THE
OUTSIDE, Jenny throws open the closet and begins rummaging
madly through the side pockets of her jackets and coats.
The POUNDING STOPS. It takes her a moment to hear the silence.
When she does, she whirls toward the door expecting the worst,
but it remains closed. She waits. All she can hear is the
sound of the rain. She intensifies her search.
JENNY
(hysteria creeping
into her voice)
It's got to be here... it's got to
be here...
She finds it in the pocket of a down jacket. The Army issue
.45 looks big in her hand. She releases the safety and, with
a wary eye on the door, reaches for the phone on the night
table next to the bed.
Long before the receiver gets to her ear, she can hear the
"BLEET" caused by the PHONE BEING OFF THE HOOK for so long
in the living room. She hangs up and walks around the bed to
sit on the corner facing the door. In the distance, we can
HEAR the THUMP OF AN APPROACHING HELICOPTER. After a moment's
indecision, Jenny gets up and releases the lock. Again she
waits.
Nothing happens. With the gun ready, she turns the knob and
opens the door a crack. The hallway is empty. She kicks off
her shoes and lets herself out of the bedroom.
INT. HALLWAY - NIGHT
Jenny creeps toward the stairs in her stockinged feet. She
looks in the bathroom. The STAR MAN isn't there. She decides
to go downstairs.
INT. HOUSE - NIGHT
The STAR MAN isn't in the living room. Jenny sidles along
the wall for the front door. At the archway to the den a
hissing sound stops her. She peers around the molding. The
spill from the stairwell light provides the only illumination.
The STAR MAN is sitting on the edge of a chair with his back
to her. He is naked. A dot of light is HISSING around his
head. The shadows in the room make it difficult for Jenny to
tell exactly what is going on.
Pointing the .45 at the STAR MAN, she steps into the room
for a better look. The floor creaks and the STAR MAN turns
to her. Jenny shudders at what she sees. The STAR MAN is
holding an 8x10 color photograph of Jenny and a man in his
mid-twenties standing on a beach in their bathing suits.
The dot of light is copying the man's features onto the STAR
MAN'S translucent head. The top two-thirds of the face is
already done. Everything is perfect, even the eyes. Jenny
begins to tremble and lowers the gun.
JENNY
(in a small voice)
No... please don't...
She sags against the armchair, racked by sobs that are drowned
out by the FLAP OF THE APPROACHING HELICOPTER. The STAR MAN,
with the dot of light stopped on his left cheek, gets up and
takes the gun from her.
He drops it on the couch and raises his eyes to the sound of
the helicopter NOW DIRECTLY OVER THE HOUSE. THROUGH THE
WINDOWS, we can SEE the searchlight scouring the hillside
next to the back yard.
The STAR MAN returns to the picture and resumes his
transformation. He completes the chin, then continues downward
weaving skin and filling in the human characteristics over
the entire body.
DISSOLVE TO:
INT. CLEAN ROOM (HOUSTON) - NIGHT
We come down an electrical cord that ends in a micro-phone,
then down further to DR. BERGEN, a tall thin balding man in
his late fifties dressed in the medical equivalent of a
contamination suit.
DR. BERGEN
The creature was hit three times...
Using a laser light indicator Dr. Bergen shows us where.
DR. BERGEN
...the arm, the abdomen and the upper
chest, the one in the chest being
the cause of death. It shattered,
for want of a better term, the
creature's backbone. It's not really,
because it's not jointed. It's simply
a hollow shaft of very pliable
silicate material, as is its entire
endoskeleton. The creature seems to
have tremendous regenerative powers.
Although it must have died within
minutes of receiving the fatal wound,
the arm and abdomen wounds are almost
totally healed and the bullet here...
(indicates with the
light)
has begun to dissolve...
INT. SMALL RECTANGULAR ROOM - NIGHT
Fox, another CIVILIAN and two MEN in uniform are watching
the autopsy on a bank of screens which show Dr. Bergen, the
room and various close-ups of the dead extraterrestrial lying
on a white glass table lit from underneath.
DR. BERGEN
It has veins but no blood. We think,
and this is just speculation, that
some form of energy flows from the
brain, which is much more
sophisticated than ours, throughout
the rest of the body... We don't
think there is any danger of bacterial
contamination. Our biochemistries
are too different...
INT. HELICOPTER - NIGHT
Shermin and his crew are glued to the monitors, watching the
autopsy from Houston.
DR. BERGEN (V.O.)
The flesh is gelatinous, the skin is
very porous and very moist. This is
another guess, but it probably comes
from a planet that receives only
reflected light, perhaps from a ring
of moons. Its atmospheric pressure
is slightly less than ours and it
contains a great deal more water...
FOX (V.O.)
Dr. Bergen, George Fox here in
Washington. Can you give us an idea
of why they're here?
DR. BERGEN (V.O.)
They're so advanced... I... eh...
can't imagine what they would want
from us. I know they could be
dangerous. But they could also be
the greatest thing that ever happened
to mankind...
Shermin and his crew share mixed reactions.
INT. JENNY'S HOUSE - BEDROOM - DAWNBREAK
Jenny, sitting on the floor with her arms wrapped around her
knees, is reflected in a mirror fastened to the back of the
closet door. The STAR MAN edges around the door to look at
himself in the glass. In baggy tan cords, a windbreaker and
a plaid shirt, buttoned all the way to the neck and a button
in the wrong hole halfway down the front, he looks like an
innocent abroad. He notices the shirt is askew across his
chest and, with his new hands, awkwardly resets the buttons.
He looks himself over. His movements resemble a human's but
are noticeably more precise.
The clothes seem right so he leans into the mirror to inspect
his face. He squeezes the skin on his cheeks, examines his
eyes, turns his head as far as he can to inspect the sides
of his face, folds his ears forward to check the skin behind
them and he even gives a good two-fisted tug to his hair to
see if it is on securely.
He turns from the mirror and goes over to where the .45 and
a leg pouch from his life-support suit are lying on the bed
next to a snapshot of the man whose identity he has taken.
In the picture the man is dressed exactly as the STAR MAN is
now. The STAR MAN picks up the gun and the pouch and, speaking
to Jenny in his own language, steps to the door and motions
for her to follow. Jenny consciously ignores him. The STAR
MAN comes over, reaches down and grabs her arm to pull her
to her feet. Jenny squirms back, but he holds her tight. She
looks at the hand, almost touches it, then up at the familiar
yet disturbingly unfamiliar face above her.
STAR MAN
Please...
JENNY
Don't... don't do this... please...
The STAR MAN gets her to her feet and hustles her out of the
room. On the dresser is Jenny's wedding picture. The man the
STAR MAN has become is her husband.
INT. HOUSE - DAWNBREAK
The STAR MAN pulls Jenny down the stairs.
JENNY
(struggles to free
herself)
You're hurting me. Stop.
The STAR MAN guides her into the entryway and reaches for
the front door. Realizing his intentions, Jenny increases
her struggle and manages to pull away.
JENNY
Oh, God, no! I'm not leaving this
house with you. You're going to hurt
me, I know...
The STAR MAN looks intently at her, then opens the front
door. He taps his chest, points to Jenny and motions to the
dawn outside.
JENNY
(through tears)
I can't. I'd like to help. You look
like Scott, but I know you're not. I
don't know what you are. You gotta
understand, I'm afraid of you...
As Jenny backs into the living room, the STAR MAN closes the
door. He raises the gun, examines it quickly, then with his
finger around the trigger, points it at Jenny.
STAR MAN
Please.
JENNY
Why are you doing this to me? I'll
give you whatever...
The STAR MAN swings the muzzle sights across Jenny's body
and FIRES. A FLOOR VASE EXPLODES. Jenny turns to look at the
remains, then back to the STAR MAN.
EXT. JENNY'S HOUSE - DAWNBREAK
The Mustang is backing out of the driveway with Jenny behind
the wheel and the STAR MAN perched nervously on the passenger
seat.
INT. MUSTANG - DAWNBREAK
Wary of what will happen next, the STAR MAN watches Jenny
move the gear selector to the drive position.
The car jerks forward and he grabs the dashboard to keep
from toppling back in the seat.
During the ride up the block, his head swivels from side to
side trying to take in as much of the darkened urban landscape
as he can. When the car stops at a 'stop' sign, he looks at
Jenny questioningly.
STAR MAN
Please...
JENNY
Which way do you want to go?
She motions ahead and he turns to look at an inter-section
with streets running in three directions off of it. His eyes
question Jenny again.
JENNY
You can go that way...
(points left)
That way...
(straight ahead)
That way...
She points right. After another look at Jenny, the STAR MAN
presses the palms of his hands together, concentrates briefly,
then slowly draws them apart. The force field appears between
them. On it the solarized view of the United States rotates
until the red destination dot is on his right. He drops his
hands and points to the right.
STAR MAN
(measured)
That way.
The satel compass continues to hover over the dashboard.
JENNY
(staring incredulously
at the compass)
God, what are you?
She starts her right turn without looking left and fails to
see a little MG approaching from that direction. The WAIL OF
THE AIR HORN startles Jenny and reflexively she slams on the
brakes.
The Mustang stalls and the MG squeals around them. Jenny
checks the STAR MAN. He has pressed himself against the
passenger door. The gun lies on the seat next to him. They
both look at it. The STAR MAN recovers and picks it up.
JENNY
(starting the engine)
I'm sorry...
This time when Jenny puts the car into drive, the STAR MAN
is ready for the acceleration. The car completes the turn
and the compass rotates to its new heading. Looking at it
from this angle, Jenny suddenly recognizes it for what it
is: an aerial view of the United States.
JENNY
That green dot, that's us, isn't
it... and the red's where you want
to go?... You don't understand me,
do you?
The STAR MAN looks at her uncomprehendingly.
JENNY
(to herself)
I gotta get out of here.
EXT. STREET - DAWNBREAK
The Mustang cruises through the industrial section of Eau
Claire.
INT. MUSTANG - DAWNBREAK
The STAR MAN is watching Jenny drive. A set of headlights
rushes TOWARD US in the other lane. Jenny twists around to
follow the car as it goes by and we SEE the desperation on
her face.
When she returns her attention to the road, she sneaks a
glance at the STAR MAN to see if her action has given away
her state of mind. His expression hasn't changed. Jenny takes
a deep breath and lets it out slowly. Uttering a phrase in
his own language, the STAR MAN touches the steering wheel.
JENNY
(startled)
What?
STAR MAN
(thinking the steering
wheel is called
'what," he repeats)
What.
With the same phrase in his language, he points to the 'gear
shift.'
JENNY
(realizing her mistake)
Ah... no...
STAR MAN
(repeats)
Ah no.
He points to the dashboard. Jenny senses there is going to
be a great deal of misunderstanding if she uses more words.
She shakes her head 'no' and touches the steering wheel.
JENNY
(enunciates)
Steering wheel...
STAR MAN
(correcting her)
What.
Jenny shakes her head 'no.'
JENNY
Steering wheel.
STAR MAN
(repeats)
Steering wheel.
JENNY
(points to the gear
shift)
Gear shift.
STAR MAN
Gear shift.
JENNY
(slaps the dashboard)
Dashboard.
STAR MAN
Dashboard.
Jenny sees a police car creeping across the intersection
ahead of her and interrupts the lesson to stare at it. The
STAR MAN looks to where she is looking.
STAR MAN
(alarmed)
What?!
JENNY
Eh... police.
STAR MAN
(remembering)
Police...
He raises the gun off his lap. Jenny tries to distract him.
JENNY
(raps on the steering
wheel)
What?...
With his eyes on the police car the STAR MAN ignores her.
JENNY
Steering wheel...
(she points to the
gear shift)
What?
The STAR MAN is intent on the police car. Jenny gives up
trying to distract him. The patrol car passes out of their
view. The STAR MAN lowers the gun and looks at Jenny.
STAR MAN
(unprompted, points
correctly at each
item)
Steering wheel... gear shift...
dashboard...
JENNY
(this frightens Jenny
even more)
Good.
STAR MAN
Good.
EXT. INTERSECTION - DAWN
We COME DOWN FROM a red light TO FIND the Mustang stopped
behind the limit line.
JENNY (V.O.)
Which way?
STAR MAN (V.O.)
That way.
The light changes and the car proceeds straight across the
intersection.
STAR MAN (V.O.)
Good.
INT. MUSTANG - DAWN
While the STAR MAN picks through the contents of the glove
compartment, Jenny looks for a way to escape. An all-night
laundromat is a possibility, but it's deserted. The STAR MAN
finds the switch on a flash-light and flicks it on and off.
STAR MAN
What?
JENNY
(distant)
Flashlight.
He puts the flashlight in his lap along with the owner's
manual and gas slips and takes a stack of Discount Coupons
out of the glove compartment.
STAR MAN
What?
JENNY
Coupons.
Jenny sees a set of headlights turn into the oncoming lane.
She slides her eyes toward the STAR MAN. He is busy looking
through the Coupons. Jenny measures the distance between the
Mustang and the oncoming lights. The STAR MAN holds up one
of the Coupons and points to a picture of the product.
STAR MAN
What?
JENNY
(curt)
Pancakes.
STAR MAN
Pancakes.
He points to the cluster of letters that spells SAVE 35�.
STAR MAN
What?
Jenny doesn't answer. The distance between the two vehicles
is narrowing rapidly.
STAR MAN
What?
Jenny sets her jaw and wrenches the steering wheel violently
to the left.
EXT. STREET - DAWN
The Mustang skids sideways across the center line. The
oncoming van jams on its brakes and swerves to its left.
Locked in a skid, it drifts toward the Mustang.
INT. MUSTANG - DAWN
The STAR MAN sucks himself back in terror as the van descends
on him. It swings past his window and clips the rear fender
of the Mustang. Both vehicles shudder to a stop. Jenny claws
at her door. It swings open. She is halfway out before the
STAR MAN manages to grab the tail of her sweatshirt. Jenny
begins to scream at the top of her lungs and keeps it up
while he tries to wrestle her down on the seat.
EXT. STREET - DAWN
A tall, raw-boned MAN in his late twenties storms around the
front of his van.
MAN
You stupid son of a bitch!!
He kicks the Mustang.
JENNY
(screaming)
Help me!!
MAN
You could have killed us both!!
JENNY
(battling to maintain
her grip on the door
frame)
He's kidnapping me!!!
The Man bends down to look at the struggle.
MAN
Jesus Christ!! You crazy people...
JENNY
Call the police!!
MAN
(not sure he wants to
get involved)
Hey buddy... let her go...
The STAR MAN increases his efforts and Jenny loses her grip
on one of the door frames.
JENNY
Help me!!!
MAN
(grabbing her other
arm)
Hey, she doesn't want to go with
you. Come on.
The STAR MAN frees his right hand and blindly searches the
floor for the gun. He comes up with it and, shoving the barrel
in the Man's face, barks a harsh command in his language.
The Man freezes and Jenny stops struggling. It's suddenly
very quiet on the street.
MAN
Oh God, man... don't shoot me... My
mistake... I'm sorry...
JENNY
He doesn't understand... just walk
away...
The STAR MAN claps a hand over her mouth.
MAN
I promise I'm not going to tell
anybody about this... None of my
business... I'm going to move now,
okay...
(takes a step to one
side)
You guys want to fight, that's up to
you...
(takes another step)
I'm leaving now... I won't say a
word...
He keeps his eyes on the STAR MAN until he reaches the back
of the Mustang, steals a quick look at the license plate,
then blots for his van. The STAR MAN takes his hand off
Jenny's mouth and slams her back into her seat. Uttering an
expletive in his language he points the gun in her face and
keeping it there indicates the red dot on the satel compass
floating undisturbed above the dashboard.
STAR MAN
Go.
EXT. STREET - DAWN
The Mustang moves back into the correct lane and continues
on.
INT. MUSTANG - DAWN
JENNY
Could you put the gun down?
The STAR MAN just stares at her. She points to the gun.
JENNY
Gun... Down... Down.
Slowly, he lowers it to his lap.
JENNY
Thank you.
EXT. ABANDONED LOGGING CAMP - EARLY MORNING
Shermin's helicopter is taking on fuel from an Army tanker
truck. The pilot and co-pilot are catching forty winks on
the grass next to the old bunkhouse.
INT. HELICOPTER - EARLY MORNING
Major Bell, bleary-eyed and unshaven, is huddled in front of
the television screens eating a breakfast off a styrofoam
plate. On the top left screen is a satellite picture of
Northern Michigan and half of Wisconsin taken with a Doppler
radar.
On the lower left screen is an infrared view of the same
area. Over both these views is a schematic of the state
boundaries and major cities. On the screens to the right of
these views are blow-ups of smaller sections of the overview.
Lyman and the radar technician are asleep on the floor. Seated
in front of the radio console Shermin is going through the
telex messages. Next to him the radio technician is bent
over the desk with his head in his forearms.
SHERMIN
There's nothing... No reports of
sightings or landings or anything...
in the other parts of the country or
overseas... Seems like a totally
isolated incident.
MAJOR BELL
It was only an accident that we
discovered them.
SHERMIN
I know, but...
Shermin continues on through the messages. Bell asks the
computer to change the pictures on the screens. Rhythmically,
a sequence of images appears and disappears.
SHERMIN
You married, Major?
MAJOR BELL
Twenty-eight years.
SHERMIN
To the same woman?
MAJOR BELL
(smiling)
Yes.
SHERMIN
I tried it once... Fourteen years
ago... 'I was a lousy husband and a
worse father. The only thing I'm
good at is this... At least until
yesterday.
Bell stuffs his breakfast plate into a garbage bag and goes
to get a breath of fresh air in the open doorway. Shermin
stops at a point on the telex sheet. He reads the message to
himself again.
SHERMIN
How would you describe the sounds we
heard coming out of that thing's
helmet?
MAJOR BELL
(after trying to
imitate them)
It was kind of like clicking, maybe
a language wasn't it?
SHERMIN
Listen to this.
(paraphrasing the
telex)
A woman was kidnapped in Eau Claire
this morning. When a citizen went to
her rescue the kidnapper threatened
him with a gun and shouted at him in
a strange 'clicking gibberish'...
MAJOR BELL
It was a man though... right?
SHERMIN
The police think he was high on
drugs...
Bell shrugs.
SHERMIN
What do you think?
EXT. WISCONSIN FOREST - EARLY MORNING
With a rush the helicopter rises out of the trees and thunders
away.
EXT. JENNY'S HOUSE - MORNING
There are Eau Claire police cars on the street. Shermin is
out back watching Bell pick his way down the hill. Through
the windows we see uniformed policemen in the living room.
MAJOR BELL
(slides the last few
feet down the hill)
Nothing up there... The grass is
matted down in a few places, but
that could have been anything.
SHERMIN
It was the husband. The police finally
got a hold of the witness at work
and showed him a picture of the woman.
The man standing next to her in the picture was her husband
and the witness said that was the guy who kidnapped her.
MAJOR BELL
It's the right area, that's for sure.
Throughout the above, Shermin has noticed a WOMAN in the
house next door peeping through her blinds at the activity
around Jenny's. She closes the drapes suddenly when she
realizes Shermin has spotted her.
SHERMIN
Why the clicking language though?
EXT. NEXT-DOOR HOUSE - EARLY MORNING
Shermin knocks and waits on the steps with Bell for someone
to answer. We hear a chain being pulled off and the door is
opened by a freckled-face MAN in his late thirties, dressed
in a business suit and wiping the traces of a breakfast from
around his mouth.
SHERMIN
Sorry to disturb you, sir, but there's
been some trouble next door. I'd
like to ask you a few questions.
MAN
What happened?
SHERMIN
There's a possibility that Mrs.
Haydn's been kidnapped. We're hoping
you might have seen something.
A WOMAN in a robe opens the door a little wider to include
herself in the conversation. She is as freckled as the man
and about the same age.
WOMAN
(to the Man)
I told you...
MAN
Judy, that's stupid.
WOMAN
Well, maybe these men won't think
so. We were asleep when a helicopter
woke me up. It made me so nervous I
went into the kitchen for something
to eat. I happened to look out the
window and there was Scott Haydn
with this green thing draped over
his arm pulling Jenny down the walk
to the car.
MAN
You know that's impossible!
WOMAN
I know what I saw. I've seen him
enough times.
MAN
(giving up on his
wife and addressing
Shermin and Lyman)
Scott Haydn is dead. He died about
three months ago. We went to the
funeral.
Shermin and Bell exchange a glance.
EXT. INTERSTATE - DAY
Jenny's Mustang is sailing through the beautiful Wisconsin
farmland.
STAR MAN (V.O.)
R-r-S-s...
INT. MUSTANG - DAY
The STAR MAN is copying the letters, upper and lower case,
from the Owner's Manual he found in the glove compartment,
onto the back of an envelope.
STAR MAN
T-t-U...
He draws the upper case but has to check the manual for the
lower case.
STAR MAN
u-V-v...
The STAR MAN looks up as they go by a farm.
STAR MAN
(pointing correctly
to the various animals)
Cow... Dog... Pig...
He looks to Jenny for confirmation. She nods absently. He
returns to the alphabet.
STAR MAN
W-w...
He forms both the upper and lower case 'X-x' and shows them
to Jenny.
STAR MAN
What?
JENNY
(knows what's coming)
X...
Without smiling the STAR MAN opens his mouth and emits a
short chirping laugh.
JENNY
What's so funny about X?
The STAR MAN laughs harder. Jenny watches him warily. He
starts to hiccup. He is unable to control it through the
laughter.
DISSOLVE TO:
INT. SMALL RECTANGULAR ROOM - DAY
Shermin's image waits on the television screen. He is gaunt,
tired and visibly shaken. The picture sizzles and breaks up
intermittently. Fox and the three men who watched the autopsy
stride quickly into the room.
SHERMIN (V.O.)
(his voice quavering)
George, we've just confirmed the
existence of the live
extraterrestrial.
FOX
(after a beat)
When can we expect containment?
SHERMIN (V.O.)
Well, we're in pursuit of a green
Mustang...
FOX
(very controlled)
It's in a green Mustang?
SHERMIN (V.O.)
Yes. It's kidnapped a woman at
gunpoint and from what we can make
out is forcing her to drive it
somewhere.
MILITARY MAN
(to the room)
This one has a weapon.
SHERMIN (V.O.)
No, no... A .45, it probably got it
in the woman's house. They were last
seen in downtown Eau Claire...
FOX
Why did you let it get into a
populated area?
SHERMIN (V.O.)
It's taken on a disguise.
FOX
Clarify that.
SHERMIN (V.O.)
It's made itself look like the woman's
dead husband.
Static breaks up the t.v. picture. When it returns, Fox leans
toward the screen.
FOX
Repeat the last item.
Almost reluctantly Shermin holds up Scott Haydn's picture.
SHERMIN (V.O.)
The extraterrestrial now looks like
this.
FOX
(softly)
Oh shit!!!
EXT. INTERSTATE - AFTERNOON
Jenny's Mustang moves along through the traffic.
INT. MUSTANG - AFTERNOON
We are CLOSE ON the back of a ten-dollar bill.
STAR MAN (O.S.)
(reading slowly)
The United States of America. In God
We Trust. Ten dollars.
We pull back as he holds the ten up to Jenny.
JENNY
Money.
STAR MAN
Money.
He holds up a quarter.
JENNY
Money.
Confused, the STAR MAN puts the money back into Jenny's wallet
and reads the first card through its plastic window.
STAR MAN
Mi-chi-gan driver li-see-ens...
Jennyhaydn... Money?
JENNY
(shaking her head
'no,' exhausted)
We're going to have to stop for gas
soon.
Under the license is a picture of Jenny smiling broadly. The
STAR MAN looks at Jenny, back at the picture, then imitates
the smile for Jenny.
STAR MAN
What?
JENNY
Smile.
STAR MAN
Smile... good?
JENNY
Yes.
He practices curling the corners of his mouth up into a smile.
One of them freezes as the Interstate curves and a glistening
skyline backlit by the afternoon sun comes into view across
a river.
STAR MAN
(impressed)
What?!
JENNY
Minneapolis.
STAR MAN
(reaching into the
leg pouch he took
from his life-support
suit)
Minneapolis... Minneapolis...
JENNY
What are you doing?
He takes out his camera.
JENNY
...What's that?
He points the white disc at Minneapolis. With a 'POP,' a
cone of light flashes out. It sucks back, almost instantly,
bringing with it a three-dimensional image of the skyline.
STAR MAN
Minneapolis... good.
JENNY
You're full of tricks, aren't you?
The car starts across the twin cities' bridge.
JENNY
(taps the fuel gauge)
We need gas.
The STAR MAN looks at the gauge. Jenny scrunches against the
door to avoid contact with him.
JENNY
No gas.
STAR MAN
No gas.
JENNY
This car runs on gas.
She presses the accelerator to the floor. The car jumps
forward.
JENNY
Gas...
She takes her foot off the accelerator and the car quickly
slows down.
JENNY
No gas.
EXT. BRIDGE - AFTERNOON
JENNY
(V.O.)
Gas.
The Mustang spurts forward a few yards.
JENNY
(V.O.)
No gas.
It staggers down to a crawl.
JENNY
(V.O.)
Gas.
The car leaps forward again.
JENNY
(V.O.)
No gas.
It drops back to a crawl.
INT. MUSTANG - AFTERNOON
JENNY
No gas... car dead.
(her head lolls forward
on her chest)
We need gas. I don't want to get
shot for running out of gas.
STAR MAN
Gas good?
JENNY
Yes. Very good.
INT. MUSTANG - AFTERNOON
We are LOOKING DOWN Jenny's arm AT a gas station just off
Interstate 169 in the Minneapolis suburbs.
JENNY
Gas...
The STAR MAN contemplates the station as they pass it, then
turns to Jenny, puzzled:
STAR MAN
Go.
JENNY
It's closed... closed. We need one
that's open.
STAR MAN
Closed?
JENNY
You'll see.
There are no more gas stations in sight. The STAR MAN becomes
bored with the silence. He picks up Jenny's wallet. The
driver's license is familiar so he flips to the next window.
In it is a picture of an older man and woman standing in
front of a church.
STAR MAN
What?
JENNY
(snaps)
Not what. Who. What is for things.
(touching the steering
wheel, dashboard,
seat, gear shift)
What? What? What? What? For people
you use who. Who is he?
(points to the man in
the picture)
Who is she?
(points to the woman)
Who are you?
(points to the STAR
MAN)
Who am I?
She touches her chest.
STAR MAN
(mirrors her gestures)
Who is he? Who is she? Who are you?
Who am I?
(pause; it clicks for
him and he points at
Jenny)
Who are you?
JENNY
I am Jenny Haydn.
STAR MAN
(flips back to her
license and reads)
Jennyhaydn.
Jenny nods.
JENNY
Who are you?
STAR MAN
I am...
We HEAR MODULATED CLICKS of his percussive LANGUAGE.
JENNY
That's a big help. Where are you
from?
STAR MAN
From?
JENNY
(leans forward and
points through the
windshield at the
sky)
Are you from up there? Space?
STAR MAN
(leans forward to
look with her)
Space?
JENNY
Up there... I... eh... can't
explain...
(leans back)
But that's the only place you could
be from.
The STAR MAN spots a station on the other side of the
Interstate.
STAR MAN
Gas.
JENNY
(shakes her head 'no')
Closed.
He taps the fuel gauge which has dipped below empty.
STAR MAN
No gas.
JENNY
I know.
They both scan the horizon for a gas station. When one doesn't
come up immediately, the STAR MAN flips to the next picture
in the wallet. It is of the man he has become. He is leaning
against a fire truck, in uniform.
STAR MAN
Who?
JENNY
My... husband.
STAR MAN
I am husband?
JENNY
No. I don't know what you are, but
you're not Scott.
Silence. The STAR MAN catches her mood. A tear rolls down
Jenny's cheek.
JENNY
(brushes it away
angrily)
Shit.
STAR MAN
Shit?
JENNY
No, no... don't say that. Bad word.
STAR MAN
(likes the sound of
it)
Shit... shit... what shit?
JENNY
(screams)
Stop!! Enough!! Jesus! You're worse
than a parrot!!
Like closing a zipper, she slides her fingers across her
mouth.
JENNY
Mouth closed... closed.
The STAR MAN does as he is told. He doesn't like it, but he
does it. With his lips puckered, he looks straight down the
road. The car rises out of a gulley. Topping a knoll straight
ahead is a gas station with an enormous Exxon sign revolving
above it. With his lips firmly pressed together, he tugs
Jenny's sleeve and points.
JENNY
I see it.
The STAR MAN reaches forward and squeezes the satel compass
back into his palms.
EXT. GAS STATION - AFTERNOON
The Mustang comes up the off-ramp toward the pumps.
INT. MUSTANG - AFTERNOON
The STAR MAN'S hand closes around the butt of the .45 when
he sees the ATTENDANT step out of the office.
STAR MAN
Who?
JENNY
Attendant. He'll give us gas. Put
the gun down. Under the seat. Under
the seat...
STAR MAN
No.
JENNY
Oh God! You're going to get us both
killed. Okay... in your pocket...
She shoves her hand into the pocket of her slacks showing
him what to do.
JENNY
In your pocket... pocket...
Jenny eases in next to the pumps and stops. The Attendant is
already coming around the front of the car.
JENNY
In your pocket, please...
STAR MAN
(draws his fingers
over his lips)
You. Mouth closed.
JENNY
Okay.
The STAR MAN stuffs the gun into the left pocket of his baggy
cords just as the Attendant arrives at the driver's door.
ATTENDANT
Morning, folks. Fill her up?
The STAR MAN looks at Jenny for help. She sweeps her fingers
across her mouth to indicate her lips are sealed. The STAR
MAN peeks around her at the Attendant.
STAR MAN
(overly loud)
...Gas...
ATTENDANT
You got it.
He leaves the window. The STAR MAN watches him until the
nozzle is in the Mustang, then pleased with himself, turns
to Jenny and lifts his face into a 'smile.'
JENNY
I'm going to the ladies' room. You
stay here.
EXT. GAS STATION - AFTERNOON
Jenny gets out of the car. When she straightens up, she finds
the STAR MAN staring at her over the roof. She slams the
door and strides rapidly in the direction of the ladies'
room. Stuffing the green pouch in his pocket, the STAR MAN
trots after her.
JENNY
(wheels on him as he
catches up)
Go back to the car.
The STAR MAN looks at her but doesn't move. Jenny snarls in
frustration, then with the STAR MAN on her heels, stalks to
the ladies' room and throws open the door.
INT. LADIES' ROOM - AFTERNOON
The STAR MAN follows Jenny inside.
JENNY
See. It's a bathroom. I'm not trying
to escape. I just have to go to the
bathroom.
He checks out the stall.
JENNY
Satisfied? Now get out. Out.
STAR MAN
No.
Furious, Jenny steps around him and opens the door. She points
to the sign on it.
JENNY
Women... me.
She continues out. The STAR MAN goes after her.
EXT. RESTROOMS - AFTERNOON
Jenny points to the sign on the next door.
JENNY
Men. You go in here.
She cracks the door for him.
JENNY
Come on.
He takes the door from her and pushes it open for a look
inside. Jenny ducks into the ladies' room. He is confused
for a moment then takes a long look at the men's room. It
means nothing to him. He backs out and tries the ladies'
room. It is locked. Not knowing what to do, the STAR MAN
stands uncomfortably in front of the door, then like a child
waiting for his mother, he sits on the curb. He watches the
Attendant lift the Mustang's hood and reach in for the
dipstick. The numbers on the pumps turn over, adding up the
gallons and the cost of the gas.
Everything is peaceful and quiet within the circle of light
cast by the gas station. The STAR MAN pulls the camera disc
out of his pocket and points it at the pumps. The cone of
light flashes out and pulls back its three-dimensional image.
The Attendant turns around and waves genially at the STAR
MAN, who waves back a perfect imitation of the gesture.
The SHARP RUMBLE of a SOUPED-UP HONDA MOTORCYCLE coming up
the off-ramp shatters the mood and the STAR MAN gets to his
feet.
He is startled by the image of the RIDER. In a one piece
driving skin and helmet he looks amazingly like a space
traveller. The STAR MAN steps cautiously forward for a better
look and mutters something to himself in his language. The
rider stops his bike at the second row of pumps and swings
himself stiffly out of the seat.
RIDER
Do I need a key for the head?
ATTENDANT
It's open.
Without taking off his helmet, the Rider sets out for the
men's room.
RIDER
(over his shoulder)
Fill it up.
ATTENDANT
You got it.
The rider's approach frightens the STAR MAN. He backs up to
the ladies' room door and knocks. There is no answer. He
tries the knob. With the other hand he inches the gun slightly
out of his pocket.
INT. LADIES' ROOM - AFTERNOON
Jenny is bent over the sink dabbing nail polish around the
corners of a paper towel. Her head snaps around to look at
the doorknob. It holds.
JENNY
Just a minute.
EXT. RESTROOMS - AFTERNOON
The STAR MAN tenses and forces a smile as the Rider passes
in front of him. A VOICE comes from behind the faceplate.
RIDER
Howdy... can't get her out.
STAR MAN
(thru the smile)
Gas.
RIDER
I know how she feels.
The rider enters the men's room. As the door closes behind
him, the STAR MAN's face falls and he knocks frantically on
the ladies' room door. Jenny opens it under his knuckles. He
blocks the doorway and she backs up as he steps inside.
INT. LADIES' ROOM - AFTERNOON
The STAR MAN looks around. Jenny's eyes widen at what is
happening behind him. The pneumatic arm above the door is
pulling it shut to reveal her paper towel pasted to the back.
The message on it, written in red lipstick, reads: KIDNAPPED
GOING W ON 169 JADE MUS. LIC#PXV237.
JENNY
(stepping around him)
It's still a toilet. Hasn't become a
ballroom.
She tries to swing the door open and hide her message against
the wall, but she is too slow. The STAR MAN sees it and steps
forward to read.
STAR MAN
Kid-nap-ped... go-ing W o-n...
Jenny realizes he doesn't know what it means.
JENNY
(on her way out)
That's very good.
Other graffiti on the door helps convince the STAR MAN Jenny's
message has nothing to do with him and after a last look at
it, he follows her.
EXT. GAS STATION - AFTERNOON
A CAN of Coke CLATTERS DOWN the chute of a drink dispenser.
Jenny picks it up and, with the STAR MAN hovering at her
shoulder, moves on to the candy machine. He watches a quarter
disappear into the slot and when Jenny picks another one out
of her purse, he points to it.
STAR MAN
Money.
JENNY
Yes.
She inserts the quarter and makes her selection. A Reese's
Peanut Butter Cup drops from its position into the pickup
bin.
STAR MAN
What?
JENNY
Candy.
Using the change from this and another quarter, she selects
an Almond Joy.
STAR MAN
(as it tumbles into
the bin)
Money... candy.
ATTENDANT
(to the STAR MAN)
That'll be fifteen fifty, sir.
JENNY
Here.
She hands him a twenty.
ATTENDANT
Thank you.
He goes to make change.
STAR MAN
(to himself)
Thank you.
Jenny pops the top on the Coke can and on the way to the car
takes a sip.
STAR MAN
What is...
(reads off the can)
...Coke?
JENNY
A drink.
STAR MAN
(holds his hand out
for it)
I...
JENNY
You want to try it?
STAR MAN
I want to try it.
JENNY
This stuff could kill...
(changes her mind and
smiles)
Be my guest.
The STAR MAN fills his mouth, swirls it around and swallows.
STAR MAN
(after a loud burp)
Good.
He hands the can back to Jenny. She looks at it and knows
there are alien bacteria there her body would not like to
meet.
JENNY
Eh... you keep it. I've had enough.
The STAR MAN takes another drink. He stops dead when he lowers
the can. Jenny continues for a few steps before she realizes
he isn't with her. She looks back over her shoulder. Her
eyes go immediately to where he is looking. The license plate
PXV 237 hangs like an accusation on the front bumper of the
Mustang. Jenny decides to brazen it out.
JENNY
What's the matter?
STAR MAN
(throws the can to
the ground)
Shit!
INT. MUSTANG - AFTERNOON
Jenny and the STAR MAN ride along in tight-lipped silence.
STAR MAN
What is kidnapped?
Jenny ignores him.
STAR MAN
(yells)
Kidnapped!!!
She flinches but remains silent. The STAR MAN snatches the
paper towel off his lap and flaps it in her face, jabbing at
the word violently with a forefinger.
STAR MAN
Kidnapped!!! What is kidnapped?!!
Jenny can't take it anymore and screams back at him through
tears.
JENNY
Kidnapped is what you're doing to me
now!!! Kidnapped is pointing a gun
at me and taking me from my house!
Kidnapped is changing yourself into
my husband. I don't know what you
are and I don't care. I just want to
get away from you!
Jenny's outburst rocks the STAR MAN back into silence. He
waits for her to calm down, then slowly takes the gun out of
his pocket.
STAR MAN
Jennyhaydn.
She doesn't dare look at him.
STAR MAN
I am good.
(and he slides the
.45 under his seat)
EXT. INTERSTATE - NIGHT
Jenny speeds up to pass a truckload of horses.
STAR MAN
What is that?
She doesn't answer. The car passes the truck. The highway
before them is empty.
JENNY
(finally)
Horses.
STAR MAN
(without looking at
her)
Horses.
Jenny TURNS ON the RADIO and finds a COUNTRY AND WESTERN
STATION.
STAR MAN
What?
JENNY
Music.
It is pleasing to him and he listens for a while, then reaches
in his pouch and takes out one of the dusty gray marbles. He
rolls it between his palms. It changes to a glowing gold as
it grows to the size of a baseball.
JENNY
(alarmed)
What are you doing?!
The STAR MAN brings the globe close to his mouth and speaks
into it.
STAR MAN
(subtitles)
Iron channel message. Transmute was
successful. Have captured one of
them. It is taking me to the pick-up
point in a land vehicle.
(eyeing Jenny)
I think I can control it by mastering
its language, which is primitive and
easy to learn. Will arrive on time.
Wait for me.
The STAR MAN opens his hands and, to Jenny's astonishment,
the ball rises quickly and seeps through her roof without
leaving a trace.
EXT. INTERSTATE - NIGHT
The Mustang swerves violently, then straightens itself as
the ball comes through the roof and surges into the sky.
EXT. SKY - NIGHT
Unexpectedly, Shermin's helicopter storms into view. It is
so close we can count the rivets. As it clears, we go to:
INT. HELICOPTER - NIGHT
The flow of traffic on the Interstate below is being fed
into the six television screens from infrared cameras on the
belly of the craft. The image on the screen under the master
begins to move and ends in a close-up of a green Mustang.
It's not Jenny's. With a buzz the red dot appears and Fox's
face interrupts the view of the Mustang.
FOX (V.O.)
I just came from a meeting with the
Security Council and
(the picture breaks
up, but the voice
continues)
in view of the extraterrestrial's
radical change and the fact that all
our efforts
(the picture re-
assembles)
to contact its ship remain unanswered,
it was decided to issue a ten state
'all points bulletin' for Scott Haydn,
Jenny Haydn and the green Mustang.
The officers have been instructed
not to approach the people or the
vehicle but to contact you. You will
then move in and contain the subjects.
Shermin rubs his hands over his face while he digests this.
SHERMIN
(sorting it out)
You sure you want this, because...
that's putting an awful lot of faith
in people we have no control over...
FOX (V.O.)
I'm afraid the situation demands
that kind of risk.
SHERMIN
I don't like it, George...
FOX (V.O.)
Dammit Shermin. Earlier you were
asking for help. What's changed?
SHERMIN
It's messy... the thing's got a gun...
We're just asking for somebody to
get killed...
FOX (V.O.)
We don't know what else to do. We
need results.
SHERMIN
(accepting)
You'll get results one way or the
other, that's for sure... Okay.
FOX (V.O.)
I'm gonna be here if you need
anything.
His image is replaced by one of the highway.
MAJOR BELL
They're gonna let some local cop
blow him away.
LYMAN
Save us all a lot of trouble.
MAJOR BELL
Jesus Lyman, you're an ignorant fool.
LYMAN
Bullshit!
MAJOR BELL
You have no conception of this, do
you?
LYMAN
You jerk! You look at all the
sweetness and light and goodness you
think'll come out of this. You know
what's gonna come out of this... The
end of religion, the end of
civilization, the end of the earth.
We could become slaves, we could
become a colony of these things.
Don't you see that? Are you too stupid
to see that?
SHERMIN
Are you ladies through?...
Bell and Lyman look at their feet.
SHERMIN
Good... It looks like we might be
the welcoming committee, so I think
we should try and figure out what
we're gonna do if we have to come
face to face with this creature.
LYMAN
Bell wants us to get down on our
knees and bow.
SHERMIN
(to Bell)
Did your people have any contingencies
rehearsed?
MAJOR BELL
No... I guess we never thought it
would happen.
It's Shermin's turn to look at his feet.
SHERMIN
Terrific.
On one of the screens behind him the camera has picked up a
lighted billboard advertising 'Kellogg's Corn Flakes' with
its slogan 'HAVE A GREAT DAY.'
EXT. HIGHWAY - EARLY MORNING
Jenny's Mustang is barreling along well over the speed limit.
As it PASSES US, we PAN WITH it TO a sign: SLOW FOR
INTERSECTION.
EXT. INTERSECTION - EARLY MORNING
A truckload of corn is hurtling down ON US from the north.
An empty semi is rumbling up from the south. The light is in
their favor.
INT. MUSTANG - EARLY MORNING
The STAR MAN is driving. It is obvious that he doesn't see
the red light facing him. But Jenny does. And she also sees
the trucks closing in from either side.
JENNY
(loud)
Red light!
The STAR MAN doesn't see it, doesn't believe her, doesn't
slow down.
JENNY
(screams)
Stop!!!
EXT. INTERSECTION - EARLY MORNING
It is as if all three vehicles have heard Jenny. They slam
on their brakes at the same time and begin to skid toward
each other. It's going to be close.
INT. MUSTANG - EARLY MORNING
The prows of the trucks loom over Jenny and the STAR MAN
and, for a fleeting instant, it looks like they will join
the bugs imbedded in the radiators.
EXT. INTERSECTION - EARLY MORNING
The Mustang barely squeaks through and the trucks slam into
each other behind it, spilling corn all over the highway.
INT. MUSTANG - EARLY MORNING
It finally comes to a stop on the center line.
JENNY
That was a red light!! I told you
you have to stop at a red light!!
STAR MAN
(sheepish)
It was yellow.
JENNY
You didn't even see it.
The STAR MAN looks back for the traffic light. It is hanging
from a pole in the middle of the road. Under it the truck
DRIVERS are climbing out of the cabs.
STAR MAN
I will see it next time.
JENNY
You better.
The STAR MAN angles back into his lane and begins to pick up
speed.
EXT. SIOUX FALLS - SOUTH DAKOTA - DAY
Deftly, the STAR MAN moves in and out of the afternoon
traffic. A bus coming in the other direction hits a pothole
filled with water and the SPLASH covers the Mustang.
INT. MUSTANG - DAY
Jenny watches the STAR MAN calmly turn on the wipers and the
washer and clean the windshield. The light above the
intersection ahead turns red and, even though he is still
fiddling with the wipers, the STAR MAN manages a smooth stop
back of the crosswalk.
JENNY
(indicating the red
dot on the satel
compass)
Why are you going here? What is here?
STAR MAN
My...
(searches for word)
...car will take me...
(pokes finger toward
sky)
...up there... home.
The light changes and the STAR MAN continues down the street.
JENNY
(at the red dot again)
When do you have to be here?
STAR MAN
I do not understand.
JENNY
(rubs her temples and
laments to herself)
How will I do this one?...
The answer is hovering above the city in front of them.
JENNY
(pointing to the sun)
Sun...
STAR MAN
Yes.
JENNY
Sun... day. No sun... night. You
understand?
STAR MAN
Yes. Day... night.
JENNY
How many days and nights do you have
to go...
(prods the red dot)
...here?
STAR MAN
Three nights... two days.
JENNY
That's not much time. I'll just slow
you down. I have to sleep. I'm very
tired. And I have to wash and eat.
You don't...
STAR MAN
I need you.
JENNY
I won't tell anybody if that's what
you're worried about. I promise.
You'll keep...
STAR MAN
No.
JENNY
You'll keep the car. I'll take a
bus...
(an awful possibility
occurs to her)
Am I going up there with you... in
your ship... up there?
STAR MAN
No.
JENNY
Then let me go. You don't need me.
STAR MAN
No.
JENNY
I feel like I'm going crazy here.
You're Scott. But he's dead. I don't
know what's real anymore. I can't be
here with you.
The STAR MAN is unyielding.
JENNY
Do you understand what I'm saying to
you? You can keep the car.
(she hands him some
money)
That should be enough for gas from
here to there. Please let me go.
STAR MAN
(taps the red dot on
the satel compass)
When we get here.
Jenny slams herself angrily back in the seat.
JENNY
You bastard.
Her upper lip trembles and, in spite of herself, she might
cry. The STAR MAN sees the center lane is open. He checks
his side mirror and drifts over, only to be caught by a light.
The car is still rolling when Jenny makes her move. She throws
open the door and, by the time the STAR MAN turns around,
she is out and running.
STAR MAN
Jennyhaydn!
He takes his foot off the brake to go after her and the car
lurches into the cross traffic. He clambers back behind the
wheel, regains control and cuts a hard right in front of the
other car waiting at the light.
EXT. STREET - SIOUX FALLS - DAY
Over her shoulder, Jenny can see the Mustang coming. She
dodges up a brick walkway toward a J.C. Penney shopping mall.
The Mustang skids to a stop at the curb. The STAR MAN jumps
out in time to see Jenny push her way past a stream of
pedestrian traffic and enter the mall. He leaves the car and
zigzags through the people in that direction.
INT. SHOPPING MALL - DAY
As he barges in, the STAR MAN accidentally knocks a cup of
Coke out of a YOUNG MAN's hand.
YOUNG MAN
Hey!!
In a panic to find Jenny, he continues jostling past people
to look in the shops that border the atrium.
MEZZANINE
Jenny warily approaches the railing and peers over. Below
her the STAR MAN comes out of a record store. She turns away
and gets on the escalator to the second floor.
ON THE GROUND FLOOR
The STAR MAN thinks he sees Jenny in an electronics store,
but when the girl turns around, it is obviously not her.
Backing out of there, he knocks over a sandwich board
advertising a restaurant. The LOUD THWACK it makes when it
hits the cement turns faces in his direction.
Jenny's is not among them. His eyes raise to the mezzanine.
Maybe she's there. He looks wildly around for a way up. He
spots the escalator and, trying to keep the upper floor in
view while he runs for it, he slams into an unattended pram.
It begins to tip over. The BABY INSIDE SCREAMS. The STAR MAN
manages to snatch it out of the carriage before it hits the
floor. He is looking for a place to put it when the MOTHER
comes charging out of a plant store.
MOTHER
My baby!!! He's stealing my baby!
Burt!!
The STAR MAN holds the baby out to her.
She grabs it out of his hands and he turns to leave.
MOTHER
Burt!! Somebody stop him!! He was
stealing my baby!!
Two tough-looking MEN in T-shirts step in to block the STAR
MAN's way to the escalator.
MAN
Where you think you're going?
Not understanding, the STAR MAN tries to get by them. They
push him back.
STAR MAN
Please.
A tall, skinny blond man with spectacles elbows his way to
the Mother.
MOTHER
He was trying to steal Gloria.
Two steps and Burt is on the STAR MAN. He spins him around.
BURT
Is that right? Huh?
He throws him back against the crowd that has gathered.
STAR MAN
(stutters)
Please.
Burt pulls the STAR MAN up by his shirt front and shakes
him.
BURT
Is that right? Come on. Answer me.
Fear erases the STAR MAN's tenuous grasp of English and he
begins to jabber in his own language. This makes Burt even
madder.
BURT
Were you trying to steal my baby?
Huh? Answer me!
STAR MAN
Jennyhaydn!
SECOND FLOOR
Jenny has just gotten on the escalator to the third floor
when she hears her name. She knows she shouldn't but she
gets off and joins the crowd at the railing. From there, she
can see the STAR MAN trapped in a circle of people. He clubs
Burt away from him and tries to thrash his way out of the
mob.
STAR MAN
Jennyhaydn!
One of the T-shirts throws him back and Burt begins to punch
him. We MOVE IN UNTIL we are CLOSE ON Jenny's face.
GROUND FLOOR
Some of the onlookers have joined Burt in his attempt to
bring the STAR MAN down. Growling in his own language, the
STAR MAN fights back as best he can. The sleeve of his
windbreaker is torn. One of the T-shirts lands a blow on his
right shoulder that turns the STAR MAN around. He takes a
blow on the chest. Another in the kidneys. Burt gets a grip
on the STAR MAN's left wrist and holds on. The attackers
close in. Jenny's voice cuts through the din.
JENNY (O.S.)
Stop it!!! Stop it!!!
She barges into the fray and starts peeling the men away
from the STAR MAN.
JENNY
Get away from him!! Leave him alone!!
You stupid jerks!! He's retarded!!
Can't you see that?!! Get away from
him!!
The men do. Jenny pushes the sleeve of the torn wind-breaker
back up on the STAR MAN's shoulder.
MOTHER
He was stealing my baby...
JENNY
You're wrong!! He would never do
anything like that!!
(takes STAR MAN's
hand)
Let's go...
MOTHER
He had Gloria in his hands!
JENNY
He's retarded! I shouldn't have left
him alone!
She starts to push out of the circle. Burt steps in to block
her.
JENNY
(hisses)
Get out of my way.
She stares at him until he does, then leads the STAR MAN
down the path that opens for them in the crowd. They pass a
MALL GUARD who has just arrived.
EXT. STREET - SIOUX FALLS - DAY
JENNY
Are you okay?
Still shaken, the STAR MAN nods. Jenny realizes that it is
comforting to him to have his hand in hers and she leads him
like a child down the sidewalk to the Mustang.
STAR MAN
(as Jenny puts him in
the passenger seat)
Thank you.
The Mall Guard follows them down the walk-way and watches
them drive off. He scribbles the license number in his
notebook.
INT. GREYHOUND BUS STATION - SIOUX FALLS - DAY
At the counter Jenny puts her Visa card back into her wallet
while the CLERK staples the pages of a ticket into a travel
folder.
CLERK
(handing it to her)
Gate three. It's boarding now.
JENNY
Thank you.
CLERK
Have a nice trip.
We FOLLOW Jenny THROUGH the people milling around the benches
in the waiting area TO the STAR MAN seated in an open-faced
coffee shop. He is watching a MOTHER feed her baby in the
booth across from him. A map of the United States is spread
out on the formica. Jenny plunks herself down catty-cornered
from him. The tear in his sleeve has been closed with safety
pins.
JENNY
The closest I was able to get you
was Lathrop Wells...
STAR MAN
(pointing to baby)
Is that a baby?
JENNY
Yes.
STAR MAN
A baby is a new person?
JENNY
Eh... yes...
STAR MAN
Do you have a baby?
JENNY
No... The closest...
STAR MAN
Why?
JENNY
I'd love to have a baby. But I
can't...
STAR MAN
Why?
JENNY
I can't... Forget the baby. Okay?
The closest I was able to get you
was Lathrop Wells. You'll have to
hitchhike the rest of the way.
The STAR MAN looks at the map. Lathrop Wells is a small town
north of Las Vegas on Highway 95. From there he runs his
finger to a spot in the Funeral Range of Death Valley.
STAR MAN
But I must go here.
JENNY
I know that. But the buses don't go
there.
STAR MAN
(suspicious)
What is hitchhike?
JENNY
That's easy. I'll explain that in a
minute. This is your ticket. When
you get on the bus here, the driver
will take this part. You will ride
to Omaha. When you get to Omaha, ask
the driver. 'Salt Lake City, please.
I do not speak English.'
The STAR MAN nods that he understands.
JENNY
Say it.
STAR MAN
'Salt Lake City, please. I do not
speak English.'
JENNY
The driver will...
STAR MAN
But I speak English.
JENNY
Will you please do it my way? You'll
get into trouble if you don't. If
anybody talks to you, tell them... I
do not speak English.
STAR MAN
(indignant)
I do not speak English.
JENNY
Right. In Omaha the driver will put
you on the bus for Salt Lake City
and the new driver will take...
(bends back second
portion of ticket)
...this part. When you get to Salt
Lake City, ask the driver, 'Las Vegas,
please'...
STAR MAN
(impatient)
'Las Vegas, please. I do not speak
English.' What is hitchhike?
JENNY
You want this ticket?
STAR MAN
Yes.
JENNY
Then don't be smart.
P.A. SYSTEM (V.O.)
Last call for bus 33 to Vermillion,
Sioux City and Omaha... loading at
Gate 3.
JENNY
That's your bus.
(picks up the map and
folds it)
When you get to Las Vegas, ask the
driver. 'Lathrop Wells, please. I do
not speak English.'
STAR MAN
(falling into step
next to her)
'Lathrop Wells, please. I do not
speak English.'
JENNY
(hands him the map)
You keep this. Now this is hitch-
hike...
(stops in the middle
of the waiting area
to illustrate)
You stand on the side of the road,
the highway... you understand? And
you face the cars going in the
direction you want to go. When you
see a car or a truck coming, you
stick out your thumb like this...
Jenny takes a few sweeps at an imaginary highway with her
thumb. The stares this pantomime draws make the STAR MAN
more nervous about the bus trip than he already is.
JENNY
Your thumb tells the driver that you
want a ride.
STAR MAN
The car will stop?
JENNY
(continuing toward
the loading platform)
Not every car, but... a car will
stop... Maybe not the first car...
maybe number eight, number fifteen...
The STAR MAN stops.
STAR MAN
When do I get to Lathrop Wells?
JENNY
Tomorrow morning. Start hitch-hiking
right away and...
Jenny pushes open a glass door to:
EXT. LOADING PLATFORM - DAY
JENNY
...you'll have plenty of time to get
to where you want to go.
The STAR MAN hangs back when he sees the security guards.
JENNY
Don't worry. They're not going to
hurt you. Come on.
(gives him ticket)
Only show this to the driver. Nobody
else. And don't lose it.
STAR MAN
Can I have the gun?
JENNY
No.
She maneuvers him into the end of the line.
JENNY
You might need this.
She takes some of the paper money out of her wallet and stuffs
it in his pocket.
JENNY
Don't be afraid. Do what I told you
and you'll be okay.
STAR MAN
(nervous)
Yes.
The line moves forward a step.
JENNY
Well... I'm going to go now.
STAR MAN
Go?
JENNY
Yes. I have a long ride ahead of
me...
(takes his hand)
Goodbye.
STAR MAN
Goodbye.
He watches her walk away.
STAR MAN
Jennyhaydn.
JENNY
Yes?
STAR MAN
Please stay.
Jenny comes back and takes his hand.
JENNY
I'll stay till you get on the bus.
A family of four climbs aboard and the line moves up. The
STAR MAN is alert to everything happening on the platform.
Jenny sneaks him an affectionate look. No one in front of
him has baggage to check and they move quickly past the DRIVER
until the STAR MAN is next in line.
DRIVER
Ticket?
The STAR MAN hands the Driver his ticket. The Driver rips
out the first coupon and hands it back.
JENNY
See? You're going to be okay.
When they stop at the door, she impulsively kisses him on
the cheek.
JENNY
Goodbye.
STAR MAN
(touches his cheek)
What?
JENNY
It's a kiss...
(she motions for him
to get on the bus)
Goodbye...
DRIVER
Let's go.
The STAR MAN climbs the steps just ahead of him. The door
closes. Its ENGINE REVVING, the bus backs out of its stall.
Jenny catches a glimpse of the STAR MAN bent over in the
aisle looking out at her. She waves until the bus rounds the
building.
EXT. GREYHOUND PARKING LOT - DAY
Jenny's green Mustang loops around the end of a row of cars
and heads for the street.
INT. MUSTANG - DAY
LOOKING OVER Jenny's SHOULDER, we SEE the Star Man waiting
for her at the curb.
JENNY
(softly)
Oh no...
She stops next to him and rolls down her window.
JENNY
What happened?
STAR MAN
I was afraid.
Jenny moans and lays her head on the vinyl of the window
sill. When she raises up, he smiles at her.
JENNY
Okay, you win. Get in.
INT. SHOPPING MALL - DAY
Shermin is standing next to the security guard in the middle
of a knot of shouting people.
SHOPKEEPER
This kind of thing's real bad for
business...
TOUGH
He couldn't even speak English.
MOTHER
Those kind of people should be shot.
ONLOOKER
What happened?
WAITRESS
I think he was just lost...
BURT
Who's side are you on?
TOUGH
No way he was going to get away from
me.
We move in on a lapel mike pinned to the front of Shermin's
shirt.
INT. HELICOPTER - DAY
The hubbub in the shopping center is being recorded on a
tape deck. Lyman, a phone to his ear, is seated in front of
the television screens.
LYMAN
Where's that?... And it was one
person, one way...
He hangs up and heads for the rear door. Jenny Haydn's current
Visa statement occupies the upper left screen. The last two
items are circled: The charge for the Greyhound ticket and
the credit for the return of that ticket.
EXT. SHOPPING MALL - DAY
The security guard tags Shermin into the parking lot.
SECURITY GUARD
Eyewitnesses are the worst. You get
two of them together. You got three
stories. You know what I mean?
Shermin sees Lyman come out of the crowd surrounding the
police cars in front of the helicopter.
SECURITY GUARD
Is there a reward in this?
SHERMIN
Huh?... Eh... no, there isn't
SECURITY GUARD
Because I'm the one who called the
police, you know.
SHERMIN
Yeah, thanks. We appreciate that.
SECURITY GUARD
Hey, it's none of my business why
you're chasing a retard... You want
my opinion, it's the girl. She had
to hold the guy's hand all the way
to the car like he was a kid.
SHERMIN
You saw that?
SECURITY GUARD
Hey... he didn't look like no big
time criminal to me.
Lyman meets them. It is obvious he has something to tell
Shermin.
SECURITY GUARD
Eh... the store tells you to call
when there's trouble, so they won't
get sued... But that shouldn't matter
if there's a reward, right?
SHERMIN
I wouldn't think so.
SECURITY GUARD
(peeling off)
That's what I thought. So remember
it was me because sometimes rewards
come late, you know.
SHERMIN
We will.
(he turns to Lyman)
Something's wrong here. She's helping
him now.
LYMAN
(alarmed)
I know. She bought him a ticket for
Lathrop Wells and put him on the
bus. He didn't stay on though and
they drove off together.
SHERMIN
(shaking his head)
Doesn't make sense.
LYMAN
Maybe he's turned her into one of
them. They enter the crowd around
the helicopter.
EXT. INTERSTATE 29 - DAY
The Mustang cruises along between fields of corn.
JENNY (V.O.)
Why did your ship land on this
planet... on Earth?
STAR MAN (V.O.)
It was a mistake.
INT./EXT. MUSTANG - DAY
The following conversation will be played over various views
of Americana: a station wagon load of kids, waving and
laughing, lovers kissing at a bus stop, billboards, car lots,
a dog taking a leak against a tree, cheerleaders practicing
on a football field, a funeral cortege, a telephone repairman
up on a pole.
JENNY
You thought we were a different
planet?!
STAR MAN
No. My ship was doing a map of all
the suns and...
JENNY
Stars... When a sun is far away, we
call it a 'star.'
STAR MAN
We were doing a map of the stars and
all the other things up there when
we saw a small ship. My... eh... we
kidnapped it. On it there was a map
that said how to come to Earth. This
was very important. Before then, we
thought we were the only people in
all the stars.
JENNY
You did? That's funny. So did we.
STAR MAN
Yes?
JENNY
Yes.
STAR MAN
We told our home, and the people who
tell us what to do on my planet said
to come and look but not to talk,
not to land, not to shoot. Just to
look from up there. We came and...
the driver of my ship...
JENNY
The captain...
STAR MAN
The captain wanted to land to see
close and to get some things from
Earth to take home. The police came
and shot at us. One of the people
from my ship was killed.
JENNY
Oh, that's terrible. I'm sorry. Was
he a good friend?
STAR MAN
I don't understand 'friend.'
JENNY
A friend is a person that is good to
you... someone you like to be with...
someone you like to laugh with...
STAR MAN
He was a good friend... The captain
took the ship away fast and I was
not in the ship.
JENNY
The police shouldn't have started
shooting. But you can hardly blame
them. You surprised them. They didn't
know you were up there. When they
saw you, they thought you were here
to hurt us.
STAR MAN
I understand.
JENNY
Sounds like your captain's going to
get hell when he gets back home.
STAR MAN
What is hell?
JENNY
It's bad.
STAR MAN
He will.
Pause. Jenny feels the STAR MAN staring at her. She turns to
look at him. His gaze doesn't waver. She looks back at the
road, then back at the STAR MAN.
JENNY
What are you doing?
STAR MAN
Are you my friend?
JENNY
Yes.
STAR MAN
(smiles)
I am your friend.
EXT. INTERSTATE 80 - NIGHT
Jenny's Mustang is whipping west out of Lincoln, Nebraska.
We HEAR A JUMBLE OF RADIO STATIONS as the SELECTOR is RUN
THROUGH THE FREQUENCIES.
INT. MUSTANG - NIGHT
Jenny is driving. The STAR MAN finds a RELIGIOUS STATION ON
the RADIO.
PREACHER (V.O.)
(on radio)
God is your creator. God is your
master. God is you savior. God is
the only reason that you exist. If
God...
STAR MAN
(during the above)
Who is God?
Jenny is tired. She doesn't want to get into that.
JENNY
Nobody knows.
STAR MAN
Why?
JENNY
I don't know.
The STAR MAN lets it drop and finds a COUNTRY AND WESTERN
STATION.
STAR MAN
I like this music.
JENNY
I've noticed... Do you understand
what they're saying?
STAR MAN
Not all... but it feels like a kiss.
Jenny smiles at him, then:
JENNY
Do you have music up there?
STAR MAN
Yes.
JENNY
I'd like to hear it. Can you sing
something?
STAR MAN
I do not want to.
JENNY
Don't be afraid... I'd really like
to hear it.
She TURNS OFF the RADIO.
JENNY
Please.
He turns away from her, clears his throat and begins. His
singing is like nothing we have ever heard. Vibrations of
tones and glottal stops blend into a haunting, seductive
fugue. The STAR MAN stops.
STAR MAN
I am not a good singer.
JENNY
That was beautiful.
STAR MAN
(incredulous)
You liked my singing?
JENNY
Yes. Sing some more.
EXT. INTERSTATE 80 - NIGHT
With the STAR MAN's SERENADE WAFTING over the Nebraska plains,
we FALL BACK TO FIND a Highway Patrol car tagging along at a
safe distance behind the Mustang.
EXT. BEST WESTERN MOTEL - NIGHT
The STAR MAN stops the Mustang in front of the office. He
and Jenny get out and go inside. As the door closes on them,
three Nebraska Highway Patrol cars speed up the off-ramp.
The lead car turns right on a surface street and enters the
motel parking lot at the far end.
The middle car goes straight across the intersection and
positions itself at the curb next to the driveway, giving
access to a frontage road which leads to an on-ramp. The
last car also turns right on the surface street, but parks
in a restaurant parking lot directly across from the office.
INT. OFFICE - BEST WESTERN MOTEL - NIGHT
In answer to Jenny's bell, the night CLERK comes out of the
living quarters in the back, finger combing his sleep-rumpled
hair.
CLERK
What can I do for you folks?
JENNY
How much are your rooms?
CLERK
Thirty-seven fifty for one person,
forty-nine fifty for two.
Drawn by the bright colors on their covers, the STAR MAN
wanders over to the magazine rack. By chance, he selects a
copy of 'Playgirl' and begins to look through it.
JENNY
You have one with two beds?
CLERK
Sure.
JENNY
I'll take that.
CLERK
(slides her a
registration card)
Fill this out.
(as Jenny writes)
Will this be cash or credit card?
JENNY
Credit card.
CLERK
I'll have to run your card off now.
JENNY
(digging through her
purse)
We're only going to be here a few
hours...
CLERK
It's still the full price.
STAR MAN
Jenny, look...
From behind the STAR MAN, we WATCH Jenny react to the open
Playgirl centerfold that he is holding up.
JENNY
Put that back.
STAR MAN
But I have never seen this before. I
am not complete.
Although we cannot see it, we know what he is pointing at.
JENNY
Put it back.
The STAR MAN swivels the picture around so that he can see
it. Jenny hands the smirking Clerk her credit card. He steps
to the side and inserts it into the imprinter. Out of the
corner of his eye, he sees a dot of light leave the STAR
MAN's forehead to drop behind the magazine and into his
trousers.
The Clerk glances over at Jenny to see if she hears the
HISSING that is going on behind the STAR MAN's fly. She does
and she hopes it'll stop soon. His eyes on the STAR MAN, the
Clerk fumbles the key to 117 off the rack.
CLERK
You can park your car in front of
the room.
He drops the key on the counter.
INT. MIDDLE PATROL CAR - NIGHT
Through his side window, the DRIVER can see the motel office.
DRIVER
(into microphone of
his radio)
What did these two do?
INT. LAST PATROL CAR - NIGHT
SECOND DRIVER
All anybody knows is that they're
armed and dangerous.
In the office, he can see Jenny and the STAR MAN leave the
counter and head for the door. He raises a pair of binoculars
to his eyes for a good head-on look at them.
THROUGH THE BINOCULARS
We SEE Jenny and the STAR MAN come out of the motel office.
BACK TO SCENE
The Second Officer lowers the glasses and looks down at the
telex pictures of Jenny and the STAR MAN taped to the
dashboard.
SECOND OFFICER
Be a piece of cake for us to take
'em.
INT. LEAD PATROL CAR - NIGHT
THROUGH the WINDSHIELD, we can SEE Jenny and the STAR MAN
approaching the Mustang.
THIRD DRIVER
National Security folks should be
here any minute. Let them take care
of it. That's what they get the big
bucks for.
EXT. BEST WESTERN MOTEL - NIGHT
STAR MAN
I want a drink. May I have two
quarters?
At the passenger door, Jenny sets her purse on the car roof
to take out her wallet.
JENNY
(handing it to him)
You shouldn't drink so much of that
stuff. It's bad for you.
STAR MAN
On the radio they say it's good.
JENNY
Hurry up.
Over her purse she notices the patrol car facing her from
the restaurant parking lot. There is certainly nothing unusual
about a patrol car in a restaurant parking lot. She shrugs
it off and gets in the Mustang.
INT. MUSTANG - NIGHT
Jenny's behind hasn't even hit the seat before she sees the
patrol car parked on the frontage road off to her left. She
looks at the STAR MAN. He's busy pounding on the drink
machine. She turns around to check the lot behind her and
spots the patrol car there.
STAR MAN
(coming to the car
with a drink can in
each hand)
The machine gave me two. Should I
put one back?
JENNY
No. Get in.
STAR MAN
(rounding the hood)
You can have one.
JENNY
(as he gets in)
I'm not sleepy anymore. Let's drive
for a little while longer.
The STAR MAN stiffens when he sees the patrol car on the
frontage road.
STAR MAN
Are you angry at me?
JENNY
No. I'm just not tired. Let's go.
EXT. BEST WESTERN MOTEL - NIGHT
The Mustang moves toward the frontage road.
INT. LAST PATROL CAR - NIGHT
SECOND DRIVER
(as the Mustang rolls
onto the frontage
road)
They made us. Let's get 'em.
EXT. BEST WESTERN MOTEL - NIGHT
All three patrol cars jam on their rack lights and, with
their SIRENS HOWLING, peel out after Jenny and the STAR MAN.
INT. MUSTANG - NIGHT
At the SOUND, the STAR MAN snaps his attention to the rear
view mirror. It's ablaze with police lights. He tromps on
the gas.
JENNY
No.
INT. HELICOPTER - NIGHT
Shermin is patched into the Nebraska Highway Patrol and is
listening to the pursuit.
EXT. INTERSTATE 80 - NIGHT
The Mustang careens down the on-ramp and squeezes into the
traffic a hair's breath ahead of an 18-wheeler. This cuts
off the patrol cars momentarily, but the Mustang doesn't
have the speed to stay ahead of them. Using the other cars
on the road as shields, the STAR MAN dodges from lane to
lane trying to keep the police from coming alongside.
INT. MUSTANG - NIGHT
The lead patrol car feints forward on the STAR MAN's side.
The STAR MAN sways over to cut it off and the middle patrol
car slips in next to Jenny. The STAR MAN grabs the gun from
under the seat.
JENNY
No!!! No!!!
INT. MIDDLE PATROL CAR - NIGHT
DRIVER
He's got a gun!!
INT. MUSTANG - NIGHT
Jenny screams.
A shotgun blast from the middle patrol car rips through the
door and into Jenny. Part of the FRONT WINDOW is BLOWN OUT.
Bleeding badly, she slumps against the STAR MAN.
STAR MAN
Jennyhaydn! Jennyhaydn!!
Her eyelids flutter open and she tries to speak, but can't.
The middle patrol car is lining up for another shot. The
STAR MAN slams the Mustang into it, sending it spinning onto
the shoulder and into a ditch.
The last patrol car speeds up to replace it. The lead patrol
car slips in next to the STAR MAN. They've got him in a
sandwich. The STAR MAN stands on his brakes.
EXT. INTERSTATE 80 - NIGHT
Caught by surprise, the patrol cars rocket ahead of him. The
Mustang cuts across the swatch of land that acts as a center
divider in the highway and races west in the eastbound lanes.
INT. MUSTANG - NIGHT
The STAR MAN squints against the headlights of the on-coming
traffic as he calmly wedges his way straight through it.
EXT. INTERSTATE 80 - NIGHT
The lead patrol car tries to follow him but is clipped by a
Cadillac swerving to avoid the STAR MAN and bounced back
into the center divider. The last patrol car parallels the
Mustang in the westbound lanes.
INT. MUSTANG - NIGHT
The STAR MAN realizes he's still boxed in. A car carrier
swerves by on his left. The lane behind is open. The STAR
MAN takes advantage of the opportunity.
EXT. INTERSTATE 80 - NIGHT
The Mustang vaults off the shoulder of the highway into an
open field and bullets away through the weeds.
The rush of oncoming traffic traps the three patrol cars in
the center divider.
INT. MUSTANG - NIGHT
Jenny moans as the car jostles over the rough ground. The
STAR MAN puts out a hand to cushion her ride. His headlights
pick up a gravel road splitting the field and he turns onto
it. In a quick look back, he sees the patrol car shooting
across the highway after him.
EXT. GRAVEL ROAD - NIGHT
We FOLLOW the Mustang as it winds upward through the grazing
lands sparsely dotted with clumps of trees. The plume of
dust kicked up by the fleeing car is turned silver by a full
moon. The WAIL OF the PATROL CARS is DISTANT BUT CLOSING.
EXT. PASTURE - NIGHT
The Mustang barrels around a curve and slides to a surprise
stop before a gate in a barbed wire fence that ends the road.
With the .45 in his hand, the STAR MAN jumps out of the car
and tries the gate. It is locked.
When he turns back to the car, he sees something that
frightens him more than the approaching patrol cars. A
helicopter has joined the chase. He looks for a place to
hide. A stand of cottonwood and elm fifty yards on the other
side of the gate offers the only protection.
The STAR MAN opens the passenger door. Jenny is soaked in
her own blood. He hooks the strap of her purse over his
shoulder, lifts her tenderly and, cradling her in his arms,
wiggles between a fence post and the gate and jogs into the
trees.
EXT. PASTURE - NIGHT
The helicopter sets down behind the Mustang. Shermin leads
Bell, Lyman and the technicians to the car.
LYMAN
(seeing the blood on
the passenger seat)
One of them must be pretty badly
hurt.
Shermin pushes the seat forward. The STAR MAN's life-support
suit is stuffed in the space behind it. The patrol cars skid
around the curve.
SHERMIN
(to Bell, indicating
the suit)
Get this back to the copter.
Shermin takes a bullhorn from Lyman and goes around to the
front of the Mustang. The highway patrolmen get out of their
cars behind him.
SHERMIN
(bullhorn to woods)
Mrs. Haydn, please come out. We don't
want to hurt you or your friend.
Please put down your weapon and come
out.
EXT. TREES - NIGHT
Jenny's limp weight is beginning to slow the STAR MAN. He
hears the bullhorn but doesn't stop.
EXT. PASTURE - NIGHT
Shermin lowers the bullhorn and speaks to the patrolmen.
SHERMIN
Okay, fan out. These people have a
gun but we want them alive.
Understand?
EXT. TREES - NIGHT
A deep shadow on the other side of an elm offers a likely
hiding place. He moves through the underbrush toward it.
Without warning, his feet begin to slip out from under him.
He struggles to regain his balance.
When he does he looks down to find himself staring at a RAGING
RIVER 150 feet below. The bank on the other side is just a
few feet above the water and in the moonlight he can see a
flat plain cut by a highway that stretches into the distance.
Slowly, he backs away from the edge of the cliff.
From under the elm he watches the helicopter sweep out over
the ravine. Its searchlight darts toward him bleaching the
treeline. The overhanging branches cloak him and Jenny and
the light passes without picking them up. The STAR MAN adjusts
his grip on Jenny and starts off in the opposite direction
from the helicopter to look for a way down the cliff.
EXT. TREES - NIGHT
Shermin, his people and the patrolmen are combing the woods
with flashlights in a picketline search. The Third Driver
stops at the mouth of a clearing that runs between the
cottonwood and elm to the cliff. He takes a bite off a block
of chewing tobacco.
As he replaces it in his pocket, he sees a shadow flit across
the far end of the clearing. He swings his flashlight in
that direction. The beam catches a piece of Jenny and the
STAR MAN.
THIRD DRIVER
Over here! They're over here!
EXT. TREES - NIGHT
Standing on the rim of the gorge, the STAR MAN sees the rays
of his pursuers' flashlights choking off any possible escape.
He eases Jenny to the ground behind a boulder. She whimpers
with the pain.
STAR MAN
(strokes her cheek)
You will be all right.
He stretches over the top of the boulder and scatters FOUR
SHOTS at the lights.
EXT. TREES - NIGHT
The patrolmen, the technicians and Shermin all hit the ground
and kill their lights.
SHERMIN
Mrs. Haydn, we don't want to hurt
you. Put down your gun and come out.
We just want to talk to your friend.
THE STAR MAN AND JENNY
The STAR MAN peers around the boulder. At that instant the
searchlight from the helicopter happens to splash across the
men in the field. He sees that their guns are drawn and
pointed in his direction. The STAR MAN pulls back and takes
a marble from his pouch. It grows and glows gold as the STAR
MAN rolls it between his palms. When it reaches the size of
a baseball, he clutches it firmly in his right hand and
EMPTIES the .45 toward Shermin and the police. This time,
there is a BARRAGE OF ANSWERING FIRE.
With the BULLETS RICOCHETING around him, the STAR MAN lifts
Jenny to his shoulder. He massages the golden orb until it
becomes the size of a soccer ball, then takes two quick steps
to the edge of the cliff and leaps into the abyss.
EXT. ABYSS - NIGHT
The upward thrust of the ball supports their fall and under
its glow they begin a slow descent to the other side of the
river. Above them, the helicopter dips back and locks its
searchlight on the shelf of boulders they just left.
EXT. PLAIN - NIGHT
The STAR MAN sets down with the smoothness of a man stepping
off an escalator. He looks over his shoulder. The helicopter
is still concentrating its spotlight on the ridge. He speaks
to the ball in his language.
STAR MAN
(subtitles)
Iron channel message. Almost caught
by pursuers. This may hinder escape.
Wait for me.
He lets the ball go and, with even more velocity than the
others, it zips into the sky.
DISSOLVE TO:
EXT. TRUCK STOP - NIGHT
A WOMAN in a Frederick's of Hollywood negligee lets a TRUCK
DRIVER out of one of the Winnebagos parked to the side of
the main building.
WOMAN
Don't forget to tell the boys where
you had a good time.
DRIVER
(calling back to her)
You weren't that good.
Her rusty laugh follows him into the parking lot. He walks
between the trucks to a semi which has half of a pre-fab
mobile home tied onto its flat-bed. The polyethylene that
covers the open side of the house flaps in the WIND at the
lower corner next to the cab. The Driver opens his door. He
takes out a staple gun and refastens the dark green plastic
to the house frame.
INT. HALF HOUSE - NIGHT
In the middle of the empty bedroom, the STAR MAN tries to
cushion Jenny against the sudden JOLTS made by the semi as
it lumbers out of the parking lot.
EXT. HIGHWAY 76 - NIGHT
With the Driver taking it smoothly through the gears, the
semi picks up speed.
INT. HALF HOUSE - NIGHT
The STAR MAN moves Jenny into a rectangle of moonlight shaped
on the floor by a high, wide window and strips off her blouse.
The cold light marbles Jenny's skin and makes the blood from
her wounds appear black. With her blouse, the STAR MAN wipes
away the blood on the right side of her head and neck. He
finds a deep glass cut on her cheek and two entry points in
her neck. He concentrates on her cheek and we can SEE the
glow of his brain through his human skin.
A bit of the white light comes out of his forehead. It tumbles
across to Jenny's cheek and settles into the wound. The STAR
MAN watches intently as one end of the wound flares brightly
for an instant, then dies. The flesh left behind has been
closed without a scar.
A larger piece of light drops out of his forehead into what's
left of the gash. With that area suffused in a healing glow,
he shifts his focus to the pellet holes on her neck. He sends
two pieces of light plunging into the wounds. Immediately,
they spread into halos which we can SEE radiating from under
the skin.
Out of the night comes a LONG BLAST ON the AIR HORN and the
STAR MAN has to steady Jenny as the truck swerves around
something in the highway.
When it settles back into its ride, the STAR MAN wipes the
blood off Jenny's shoulder. The beams of the passing cars
through the plastic catch the fatigue on the STAR MAN's face
as he works over Jenny.
EXT. HIGHWAY 76 - NIGHT
With its pre-fab house, the semi rumbles through Julesburg,
Sterling and Ft. Morgan. By the time it gets to Denver, dawn
is beginning to color the tips of the Rocky Mountains.
INT. HALF HOUSE - DAWNBREAK
It's still dark in here. With a chunk of light in his left
hand, the STAR MAN dabs at the last of Jenny's wounds, leaving
behind a phosphorescent bandage. More of these patches glimmer
up and down her right side. He checks her over to see if
he's missed a wound. He hasn't.
He covers her with his windbreaker and, exhausted by his
efforts, sits back against the wall. He waits to see that
Jenny is sleeping comfortably, then presses the palms of his
hands together. The satel compass appears between them. The
green dot tells him he is still on course.
EXT. INTERSTATE - SUNRISE
Colorado Highway PATROLMEN are dropping orange fluorescent
cones across two of the three westbound lanes to form a
roadblock. The sound of a harmonica draws us to Shermin's
helicopter parked in a meadow beside the road.
EXT. HELICOPTER - SUNRISE
As the radio technician plays the harmonica, Lyman clangs
down the steps and bends to wake Shermin who is sacked out
under the fuselage.
SHERMIN
Tell him I'm not here.
LYMAN
I did.
Shermin sighs and rolls over on his back. He looks terrible.
SHERMIN
Get me a radio. At least I won't
have to look at his face.
EXT. MEADOW - SUNRISE
Shermin is holding a field radio to his ear.
FOX (V.O.)
We're growing very concerned back
here. There's no use pretending
otherwise. We're rapidly approaching
a 'condition red.' People are
beginning to ask difficult questions.
SHERMIN
I'll make this as simple as I can,
George. They disappeared.
FOX (V.O.)
I don't care where you're from you
just can't disappear into thin air.
SHERMIN
(through a punchy
hysterical laugh)
George, listen to what you're saying.
This thing's changed itself into a
man. Disappearing may not be that
big a deal.
FOX (V.O.)
So far you've let it cross the heart
of America. For two days it has been
absorbing information that is
detrimental to our security. I don't
see the humor in that.
Stung, Shermin takes a deep breath, controls himself and
returns the radio to his ear.
SHERMIN
Maybe... look, this is just something
to think about... from what I got at
the shopping center, it was more
scared than anything else... I don't
feel it's as big a threat as you
think it is...
FOX (V.O.)
Is that what's affecting your
performance?
SHERMIN
I'm not being unpatriotic, and I'm
doing my damndest to catch them.
Bell's up on 80 and I'm down here on
70 past Grand Junction. They're
heading west. If they're not flying
we have a damn good chance of getting
them. All I'm asking is that you
people think about it.
FOX (V.O.)
You just do your job, Shermin. We'll
make the policy.
EXT. HIGHWAY 70 - DAY
The semi is in the slow lane. Its right rear turn signal
blinks steadily telling US that it is leaving the highway
and going north at the intersection ahead.
INT. HALF HOUSE - DAY
Jenny stirs awake under the windbreaker in the bedroom as a
sloppy DOWNSHIFT JOLTS the house. Her eyes flutter open and
she looks around the room trying to figure out where she is.
The truck leans into the turn. Jenny braces herself on one
arm and sits up.
Catching the windbreaker as it slips off her front, she
remembers that she was shot and examines her right side. She
runs her fingers over her cheek and neck, across her shoulder
and down her side, feeling for traces of the wounds she knows
she sustained. She has been completely healed and there are
no scars. She leans forward and looks down the hallway.
JENNY
Hello... hello.
The WIND snapping the polyethylene is the only answer she
gets. She picks her blouse off the floor next to her purse,
but throws it aside and shrugs into the windbreaker when she
sees the blood and bullet holes.
Her sudden rise to a standing position makes her light-headed
and she has to lean against the doorway until the spinning
stops. With her hands outstretched, as guards against the
sway of the truck, Jenny shuffles down the hallway.
JENNY
Hello. Where are you?
There is no one in the kitchen and she continues into the
living room. It is empty. Jenny opens the door to an enclosed
back porch. It is also empty. The STAR MAN is gone. She
returns to the living room and stands there not really knowing
what to do next. The countryside rushes by outside a floor-
to-ceiling picture window.
A WAIL FROM the semi's AIR HORN jars Jenny out of her reverie
and she goes to press her cheek against the window. She is
looking past her left hand at the road when she notices a
wide green ring on her finger above her wedding band. She
steps back from the window to examine it, then with some
trepidation, twists it off. As it clears the end of her
finger, the STAR MAN's VOICE SPEAKS OUT OF IT.
STAR MAN (V.O.)
Jennyhay...
Jenny drops the ring as if she'd been stung. The STAR MAN's
voice stops as soon as she does and the ring bounces across
the floor until it hits the baseboard. It looks innocent
enough lying there, but Jenny has a great deal of trouble
making herself approach it.
When she finally picks it up, it does nothing. She turns it
in her hand and when the side of the ring hole that was facing
her when she took the ring off faces her again, the STAR
MAN's VOICE CONTINUES.
STAR MAN (V.O.)
...nd. You are all fixed. I'm sorry
you were shot. I was a big problem
for you. Thank you for your help. I
can go to my ship alone now.
EXT. HIGHWAY - DAY
The semi is picking up speed as it heads north.
EXT. SEMI'S CAB - DAY
The Driver checks his side view mirror to see if the lane
next to him is clear and is astonished to see a woman's arm
sticking out of the polyethylene waving a blouse at him.
EXT. HIGHWAY - DAY
Smoke billows from under the tires as the semi skids to a
stop.
EXT. SEMI - DAY
Jenny, her purse over her shoulder, is running toward the
cab as the Driver steps out with a wrench in his hand.
JENNY
Where did you stop last?
DRIVER
What the hell do you think you're
doing?
JENNY
Where did you stop last?
DRIVER
Stay right there...
JENNY
What was your last stop?
DRIVER
Elmo's...
JENNY
Where's that?
DRIVER
About five miles back.
Jenny's thumb is already out for a ride as she sprints across
the highway.
DRIVER
(shouting after her)
Are there any more in there?
EXT. HIGHWAY 70 - DAY
A passing car TAKES US TO the STAR MAN as he runs along the
shoulder to a maroon and white '57 Chevy that has pulled off
to pick him up.
EXT. '57 CHEVY - DAY
A swarthy, bald MAN with hairy arms leans across the seat.
MAN
Where are you going?
STAR MAN
Las Vegas, please. I do not speak
English.
MAN
Hop in.
INT. '57 CHEVY - DAY
MAN
(re-entering the flow
of traffic)
I can only take you to Grand Junction,
but you'll have a better chance to
get a ride from there.
The STAR MAN smiles.
MAN
Where you from?
The STAR MAN starts to point to the sky, then catches himself.
STAR MAN
I don't understand.
MAN
Parlez vous Francais?... Habla
Ingles?... Sprechen zie deutsch?
These are foreign words to the STAR MAN and he pastes on his
smile.
MAN
Good job, neither do I. What do you
do for a living?
STAR MAN
(pretending)
I don't understand.
MAN
I'm a cook. Do you understand 'cook?'
STAR MAN
No.
COOK (MAN)
Food. Eat. I prepare food. I work as
a cook. That's how I make money.
STAR MAN
I understand.
COOK
What do you do?
STAR MAN
(searches for an
answer, then)
I make maps.
COOK
Hey, that sounds interesting. You
like it?
STAR MAN
Eh... yes.
COOK
Make any money?
STAR MAN
No.
COOK
(takes a pack of Camels
out of his pocket)
You don't get rich as a cook, either,
believe me. I got a girl going to
college this fall. The wife had to
go back to nursing to help pay for
it.
He sticks a cigarette in his mouth and flips one up for the
STAR MAN.
COOK
Smoke?
The STAR MAN takes it, quickly examines it, then positions
it in his mouth at the exact angle the Cook did. His eyebrows
raise when the Cook flicks his Bic and puffs an ash on the
end of his cigarette.
The butane flame is swung in his direction and he flinches
back before allowing the Cook to singe his Camel. He copies
the Cook's puffing and the end of his cigarette begins to
glow.
COOK
She wants to become a doctor. She's
a bright kid. Hard worker. I think
she'll make it. But the damned
inflation's driven the tuition up so
high it makes it real tough on a
family like ours.
The Cook inhales deeply from his cigarette and blows smoke
at the windshield. The STAR MAN mimics the inhalation, then
chokes. His eyes bulge and his cheeks puff out as he tries
to be cool and not cough. The Cook takes no notice of his
struggles.
COOK
I got two other kids. I don't know
what we'll do when they get old enough
for college.
Smoke starts to dribble out of the Star Man's nose and mouth.
Puzzled, he re-examines his cigarette.
COOK
Everybody blames it on the oil crisis.
That might be where it starts. But I
think a lot of people are just using
that as an excuse to rip the rest of
us off. I see it every day in the
kitchen. Peaches. We use the gallon
cans. The price has gone up three
times in the last year. And now the
cans are only half full.
The Cook takes another drag. As if etiquette required it,
the STAR MAN hurries to copy him. This time there are no ill
effects.
COOK
Do you have children?
STAR MAN
No.
COOK
They're damned expensive and a pain
in the ass sometimes, but I wouldn't
trade having them for anything.
The Cook flicks his ash out of the window. A moment later,
the STAR MAN mirrors his action.
COOK
What do you think of America?
STAR MAN
It is beautiful.
EXT. ELMO'S - DAY
A truck stop set back as little as the law allows from the
BUZZ OF INTERSTATE 70.
JENNY (O.S.)
I'm looking for a guy about this
tall, with brown hair and really
gray eyes...
We FIND Jenny at the set of fuel pumps nearest the highway
dogging an ATTENDANT while he services an 18-wheeler
JENNY
He had on tan cords, a plaid shirt
and a baseball cap... probably
hitchhiking.
ATTENDANT
I don't pay much attention to those
guys.
JENNY
(taking out her wallet)
In the last hour or so...
ATTENDANT
Nope.
Jenny folds back the plastic windows to the picture of her
husband.
JENNY
This is him.
ATTENDANT
(shakes his head)
Sorry.
We FOLLOW Jenny as she wends her way through the trucks
questioning other attendants. The RUMBLE OF TRAFFIC DROWNS
OUT their CONVERSATION, but the answer is always the same.
Finally, we FOLLOW the picture as Jenny hands it up to an
ATTENDANT cleaning the windshield on a Peterbilt cab.
SECOND ATTENDANT
(looking at picture)
I don't know... I'm not sure. I might
have seen him up the road a piece on
my way in. He's long gone by now.
He hands the snapshot back to Jenny. She nods a 'thank you'
and looks wistfully around the yard. There is nothing she
can do. Fitting the picture back into her wallet, she walks
away. After a few steps she turns back.
JENNY
You know if anybody here's going to
Wisconsin?
SECOND ATTENDANT
Ask inside.
INT. ELMO'S DINER - DAY
It's bustling, loud and smoky. Jenny is standing just inside
the entrance. She licks her lips and tries to clear the frog
out of her throat.
JENNY
(small voice)
Anybody going to...
Nobody pays any attention to her. Her voice trails off. She
swallows hard and tries again, this time booming out.
JENNY
Anybody going to Wisconsin?
The activity in the diner comes to a screeching halt and in
the silence Jenny adds in a normal voice:
JENNY
I need a ride.
An OLDER MAN, with a face seamed by cigarettes and weather,
waves at her from the counter.
OLDER MAN
I'm going to Des Moines. If you can
wait till I finish here, you're
welcome to ride along.
This gets some good-humored cheers and catcalls.
JENNY
I can wait.
Smiling self-consciously, she takes a seat at the end of the
counter and orders coffee from the waitress. While she is
waiting for it to come, she happens to glance outside and
sees a Colorado Highway patrol car stopped in the yard.
The officer on the passenger side is talking to one of the
attendants. Jenny turns away from the window and finds that
she is able to watch the conversation in a strip of mirrors
that runs around the top of the pie case. The squad car leaves
and her coffee arrives.
JENNY
(to the waitress)
Where's the phone?
INT. SIT-DOWN PHONE BOOTH - DINER HALLWAY - DAY
Jenny drops a dime in the slot and dials 'O.'
OPERATOR (V.O.)
Operator... may I help you?
JENNY
Could you give me the highway patrol,
please?
After TWO RINGS, the phone is picked up on the other end of
the line.
MALE (V.O.)
Sergeant Packert, Highway Patrol.
JENNY
My name's Jenny Haydn. I think you're
looking for me. I was kidnapped in
Eau Claire, Wisconsin a couple of
days ago. But I'm free now.
SERGEANT (V.O.)
What was your name again?
JENNY
Jenny Haydn. I'm on my way home and
I don't want anybody I'm with shot
at when you...
SERGEANT (V.O.)
Hold on.
EXT. ROADBLOCK (INTERSTATE 70) - DAY
Standing back of the officers, Shermin watches them check to
cars passing through the squeeze point. Every car trunk is
opened. Vans and campers are looked into.
Lyman runs up and whispers in Shermin's ear. Shermin is
startled by what he hears. He leaves Lyman in charge and
hurries to the helicopter parked in the field beside the
roadblock.
INT. HELICOPTER - DAY
A TECHNICIAN gives Shermin a headset phone as he enters.
SHERMIN
(hand over the mouth-
piece)
You trace it yet?
TECHNICIAN
All we know right now is that it's
east of here.
Shermin puts on the headset and the technician starts a tape
recorder.
SHERMIN
This is Marc Shermin. Where are you,
Mrs. Haydn?
INT. SIT-DOWN PHONE BOOTH
JENNY
I don't know. Someplace called Elmo's.
Look, I just wanted to tell you that
I'm all right and I'm on my way home.
SHERMIN (V.O.)
You've been through quite an ordeal,
Mrs. Haydn. Why don't you stay where
you are and let us pick you up? We'll
fly you home.
JENNY
No. You'll want to ask a lot of
questions I don't want to answer
right now. I already have a ride.
INT. HELICOPTER - DAY
The Technician hands Shermin a note which reads: ELMO"S TRUCK
STOP/ABOUT 30 MILES EAST.
JENNY (V.O.)
I only called to tell you I was free
and not to shoot anybody I was with
if you see me.
Shermin jabs his thumb upward, indicating that the helicopter
should lift off.
SHERMIN
Is the man who kidnapped you there
now?
JENNY (V.O.)
I told you. He let me go. I'm on my
way home.
SHERMIN
(his hand over the
mouthpiece)
Get a highway patrol unit over there.
EXT. ROADBLOCK - DAY
Shermin's helicopter lifts off.
SHERMIN (V.O.)
Mrs. Haydn, I'm going to have to ask
you to stay where you are.
INT. SIT-DOWN PHONE BOOTH
A sharp rap on the glass startles Jenny and she turns around
to see her ride.
OLDER MAN
Ready?
Jenny holds up a finger that asks for a moment longer on the
phone.
JENNY
(into phone)
Mr... I'm sorry, what was your name
again?
SHERMIN (V.O.)
Marc Shermin.
JENNY
Mr. Shermin, I'm hanging up now. If
you want to ask me any questions,
call me at home in a couple of days.
I'm in the book.
SHERMIN (V.O.)
Do you know what you were kidnapped
by?
Pause.
SHERMIN (V.O.)
Mrs. Haydn...
JENNY
He doesn't want to hurt anybody.
Please leave him alone.
SHERMIN (V.O.)
Is he on his way to Lathrop Wells?
This hits Jenny like a kick in the stomach. She leans her
head back against the wall. Her ride is pacing outside the
booth.
SHERMIN (V.O.)
What's he planning to do in Lathrop
Wells? Is he meeting someone there?
Jenny smashes the receiver back in its cradle and throws
open the door.
JENNY
(on her way past the
weathered driver)
I changed my mind. Thanks.
She rushes down the hallway to the dining area where again
she stands just inside the entrance.
JENNY
(at the top of her
lungs)
It's me again...
The place goes quiet except for a smattering of laughter.
JENNY
I need a fast ride west.
INT. PORSCHE - DAY
The speedometer reads 90. The driver, a bespectacled, pimply-
faced SIXTEEN YEAR OLD, shifts into fifth gear. Jenny is
harnessed in the passenger seat. Chatter from a CB under the
dash COMPETES WITH ROCK N' ROLL ON THE TAPE DECK.
JENNY
You sure this is your car?
TEENAGER
(with a stutter)
My grandmother's rich.
JENNY
(as they come up on a
station wagon)
Slow down, slow down.
TEENAGER
Geez, Mrs. Haydn, we just got going.
But he downshifts. The Porsche is going a mere 80 when they
pass the station wagon.
JENNY
(peering at its
occupants)
I told you I'm looking for someone.
TEENAGER
In the cars, too?!
JENNY
I don't know where he is.
TEENAGER
This is going to be a real drag. I
thought you wanted to go fast.
Howling at full throttle, three highway patrol cars rush
past them in the opposite direction. Jenny swivels around to
follow their progress until they are out of sight.
TEENAGER
They after you?
JENNY
What? No, of course not.
TEENAGER
(his stutter thicker
than before)
Would be kinda neat if they were. I
think I could outrun them. Maybe get
my picture in the papers.
Jenny takes a second look at this guy. He flashes her a gap-
toothed grin.
EXT. OVERPASS - DAY
The Cook's '57 Chevy makes a left on the street intersecting
the off-ramp and stops at the curb. Behind it a large plastic
yellow chicken twirls on a pole above the restaurant it
advertises.
COOK
Well, here we are... You go down
that ramp there, you're sure to get
a ride.
STAR MAN
(getting out)
Thank you.
COOK
And don't be shy about your English.
You speak better than a lot of people
I know.
(leaving)
Take care of yourself.
As an afterthought, the STAR MAN duplicates the Cook's wave,
then heads down the ramp. As he clears the frame, our VIEW
ZOOMS AND ZOOMS AND ZOOMS UNTIL we can SEE a piece of the
roadblock in the valley below him. During the MOVE-IN, we
BEGIN TO PICK UP CB CHATTER.
VOICES (V.O.)
Flash for all you good buddies heading
west on 70. Smoky's got a roadblock
just beyond Grand Junction... Better
dump your dope, they're going through
everything... He's right. I was just
there and I'm still sore...
INT. PORSCHE - DAY
Jenny TURNS DOWN the ROCK 'N ROLL to listen to the CB.
VOICES (V.O.)
Ah loves to be frisked! What are
they looking for? I'm holding. Any
way around it? Where are you? Oh
no!! There it is!!
TEENAGER
I bet you we find your friend at the
roadblock.
Jenny doesn't answer immediately. She takes her time checking
out the people in a VW they are passing.
JENNY
(to the road ahead)
We better find him before that.
EXT. INTERSTATE 70 - DAY
In the style prescribed by Jenny, the STAR MAN raises his
thumb to a dilapidated Vega shimmying down the on-ramp. The
two blue-haired ladies inside are afraid to look at him as
they go by. He has the same luck with an attractive blonde
secretary that passes on the highway.
EXT. ELMO'S - DAY
A highway PATROLMAN is standing behind the open door of his
car speaking into the mike of his radio.
PATROLMAN
The girl's not here, Mr. Shermin.
Seems right after she talked to you,
she got a ride west with a kid.
INT. HELICOPTER - DAY
All six TV screens display the road rushing under it.
SHERMIN
(into mouthpiece of
his headset)
You get that, Lyman?
LYMAN (V.O.)
We're ready.
EXT. SKY ABOVE INTERSTATE 70 - DAY
Shermin's S65 banks through a U-turn and chases west.
EXT. INTERSTATE 70 - DAY
A dun-colored Roadrunner gurgles down the ramp and stops in
front of the STAR MAN. Two grubby LONG HAIRS in worn western
clothes are inside with boxes of house-hold utensils and
duffle bags.
LONG HAIR
Where you going?
STAR MAN
Las Vegas, please.
LONG HAIR
We're going to L.A.
He looks at his buddy stretched on the jumble in the back.
The buddy nods.
LONG HAIR
Sure. Get in. We can drop you in
Vegas or get you darn close.
The STAR MAN opens the door and gets in.
INT. PORSCHE - DAY
The CB CONTINUES TO CRACKLE with news of the roadblock.
Jenny's eyes restlessly search the overpass under the whirling
yellow chicken for any sign of the STAR MAN. She sees the
dun-colored Roadrunner waiting at the foot of the on-ramp
for a break in the traffic, but she is too far away to see
who's inside. As the Porsche gets closer, it overtakes an 18-
wheeler and Jenny's view of the Roadrunner is cut off
entirely. She passes without seeing the STAR MAN.
EXT. INTERSTATE 70 - DAY
The Porsche weaves through the traffic giving Jenny a chance
to look into the cars and trucks it shoots by.
INT. PORSCHE - DAY
Jenny is turned around looking back at a camper.
TEENAGER
I'm telling you, you're going to
find him at the roadblock, or right
after, or not at all.
JENNY
If he didn't want to go through the
roadblock, is there any other way to
get to Vegas?
TEENAGER
Fly.
Jenny gives him a withering look.
TEENAGER
The five-fifty. We already passed
it. But it'll take him way out of
his way.
JENNY
Pull over. I've got to get back there.
TEENAGER
Why wouldn't he want to go through
the roadblock?... What did you guys
do?... I won't tell anybody.
JENNY
It's easier not to tell if you don't
know.
EXT. INTERSTATE - DAY
The Porsche slows to a stop on the shoulder.
TEENAGER
(as Jenny opens the
door)
Wait. Could I have your autograph?
JENNY
Sure.
She leans back and gives the startled Teenager a kiss on the
mouth, then gets out.
TEENAGER
I have nothing to do. I'd like to
help you.
JENNY
Don't worry. I'll be all right.
She closes the door. The Teenager takes a last look at her
before pulling back on the highway. Jenny waits for a car in
the slow lane to go by, then runs across to the line and
waits for cars in the fast lane to go by.
INT. ROADRUNNER - DAY
The STAR MAN spots Jenny standing on the line peering into
the on-coming cars for signs of him. He becomes agitated and
his mouth begins to move soundlessly. There is a break in
the traffic and Jenny dashes to the center divider. The STAR
MAN leans across his driver and yells as the Roadrunner
plunges by her.
STAR MAN
JENNYHAYDN!!!
EXT. INTERSTATE - DAY
Jenny spins around to see the Roadrunner skid to a stop on
the shoulder and the STAR MAN get out. A motorcycle bombs
by. He starts across the lanes of traffic toward Jenny. A
truck blasts past him in the slow lane. He is buffeted into
the fast lane. Jenny runs down the center divider to meet
him. A VW honks, its tires squeal on the pavement as it
swerves around him. He reaches the safety of the center
divider. Jenny throws her arms around him and lays her head
against his chest. He stands there uncomfortably not knowing
how to respond to this human emotion.
STAR MAN
I told you goodbye. Why are you here?
JENNY
The police are waiting for you up
ahead. There's a roadblock. You have
to go back.
STAR MAN
This car will take me to Las Vegas.
I cannot go back.
JENNY
The police know about Lathrop Wells.
We have to go another way. Come on.
She grabs his wrist but he hangs back.
STAR MAN
If I don't meet the ship, my people
will go home without me.
JENNY
Please understand. If you go this
way, you'll never get to your ship.
The police know about Lathrop Wells.
We have to go another way. I'll get
you to your ship. I promise.
STAR MAN
I will go. But not you.
JENNY
You shit! I'll decide if I go or
not. Not you. I don't know what you
do on your planet, but I didn't think
that was very nice walking out on me
like you did.
STAR MAN
I don't want you to be hurt.
JENNY
Come on.
Holding the STAR MAN's hand, Jenny pulls him toward the road.
JENNY
I didn't ask to come along on this
trip, but I sure as hell am going to
be the one to say when I get off.
They bolt across the lanes of traffic to the other side of
the road where she flags down an old black pickup truck. She
says something to the driver and she and the STAR MAN climb
into the back. As the truck returns to the highway, the CLACK
OF AN APPROACHING HELICOPTER OVERPOWERS the TRAFFIC SOUNDS.
EXT. SKY - DAY
Shermin's helicopter slices around a pine-dotted peak
following the twists of Interstate 70 below. In the near
distance, we can SEE the roadblock.
INT. HELICOPTER - DAY
Unnoticed by Shermin or the Technicians, the black pickup
passes off the television screens carrying their quarry east.
SHERMIN
(into headset)
Any sign of either of them yet?
The roadblock appears on the television screens.
EXT. ROADBLOCK - DAY
Lyman, wearing a headset plugged into a belt pack, is walking
down the line of cars.
LYMAN
I don't think they're going to show.
INT. HELICOPTER - DAY
A swift kick from Shermin sends a stool clanging into a
bulkhead. The Technicians won't meet his eyes when he turns
back to them.
SHERMIN
Okay. Tell the highway patrol to
block all major arteries off 70 from
here to Elmo's.
EXT. INTERSTATE 70 - DAY
Two highway patrol cars scatter the traffic in front of them
with their rack lights and SIRENS.
EXT. PICKUP - DAY
Jenny and the STAR MAN are sitting against the cab, a horse
blanket drawn up around their shoulders. They can see the
flashing lights coming from way down the road and watch
helplessly as the patrol cars eat up the distance between
them.
EXT. INTERSTATE 70 - DAY
The pickup makes the turn onto Highway 550.
EXT. PICKUP - DAY
For a moment, Jenny and the STAR MAN think they're safe.
That hope turns to despair when the two patrol cars loop
after them. They keep getting closer. The STAR MAN inches
the blanket up over his nose. Unexpectedly, the patrol cars
are thrown into a skid. When they stop, they are facing each
other ready to inspect the traffic coming off 70. They lower
the blanket from their faces. Jenny lays her head back against
the cab, exhausted.
STAR MAN
The Cook said I speak good English.
DISSOLVE TO:
EXT. HIGHWAY 550 - LATE AFTERNOON
A RUMBLE OF DISTANT THUNDER follows the lightning that flashes
from the dark clouds hanging on the horizon. Looking
incomplete without its trailer, the tractor/cab of a Mack
truck makes a turn on a farm road, revealing Jenny and the
STAR MAN standing on the gravel. The STAR MAN looks back to
where they came from. There is nothing coming so he sets out
in the other direction.
JENNY
Where are you going?
STAR MAN
I must meet my ship.
JENNY
Why can't we wait here for a ride?
STAR MAN
I feel better if I move.
JENNY
We're hundreds of miles from where
you have to be.
The STAR MAN ignores her and continues to walk.
JENNY
(shouts at him)
Even if we walk five miles, it's not
going to make any difference.
Jenny turns toward an oncoming car and sticks out her thumb.
The STAR MAN falls into the same pose just back of her. The
car honks at them as it breezes by.
STAR MAN
(screams after it)
Asshole!!
JENNY
(shocked)
Where did you learn that?
STAR MAN
The cook.
EXT. ROADSIDE - LATE AFTERNOON
A torrential rainstorm lashes the countryside. The STAR MAN
and Jenny splash along the edge of the asphalt. Their heads
are lowered against the weather. They are both drenched to
the skin.
JENNY
(after a few steps)
We're not going to get a ride tonight.
STAR MAN
I can't stay on this planet.
JENNY
No one's traveling in this weather.
STAR MAN
You promised you would get me to my
ship.
JENNY
(shouts after him)
I will. I will. We still have another
day.
STAR MAN
You promised.
JENNY
What do you want from me? There are
no cars on this road. I didn't ask
for this stupid storm.
The STAR MAN mutters in his language.
JENNY
What are you saying?
STAR MAN
You can stop. I will go on alone.
JENNY
We're too far away to walk. Don't
you understand?
The STAR MAN looks at her. With the rain streaming off his
face, he looks at her. For the first time, the reality of
the situation hits him. He turns and, swearing in his own
language, flails at the rain. A distance from Jenny, he stops
and cries out in English.
STAR MAN
I can't stay here. I want to go home.
I don't want this skin. I don't want
to look like this.
Jenny can see him standing with his head bowed. She walks
over to him.
JENNY
(trying to ease his
pain)
Why don't you send one of your radio
balloons and tell your captain that
you might be late?
STAR MAN
I used the last one to jump off the
cliff...
JENNY
Let's find a place out of the rain.
I'm sure we'll get a ride in the
morning.
STAR MAN
I can't be late. I don't know if the
radio balloons work above your planet.
I don't know if my words went to the
ship. If I'm not there, the captain
will think I'm dead and go.
JENNY
We'll get a ride in the morning.
A flash of lightning shows us:
EXT. DESERTED RAILROAD SIDING - DUSK
Jenny and the STAR MAN are following the tracks to an
abandoned boxcar.
INT. BOXCAR - DUSK
The STAR MAN climbs in and pulls Jenny after him. Jenny is
shivering badly.
JENNY
Can you close the door?
The STAR MAN scrapes it forward. He activates the satel
compass which lights the interior of the boxcar. While he is
doing this Jenny turns her back to him and takes off her
jacket. Her teeth chattering, she tries to wring the water
out of it.
STAR MAN
You are cold.
JENNY
You're damn right I am.
STAR MAN
I do not get cold.
Clutching the windbreaker to her breasts, Jenny looks at the
STAR MAN over her shoulder. It doesn't take her long to make
up her mind.
JENNY
(crossing to him)
Open your shirt.
She waits while he struggles with the buttons. After two she
brushes away his hands and undoes the rest. She lets the
windbreaker drop and, slipping her arms around his waist,
presses her bare chest against his.
JENNY
(savoring it)
Oh, you're warm... put your arms
around me.
The STAR MAN does and Jenny jumps as the wet sleeves touch
her back.
JENNY
Take your shirt off.
It is difficult with Jenny around his waist, but he manages.
He drapes his arms over her. She snuggles into him. The RAIN
POUNDS ON THE ROOF. Gradually, Jenny responds to the STAR
MAN's warmth and relaxes. She lifts her head off his chest
and looks at him.
STAR MAN
What?
JENNY
Nothing.
She brushes her lips against his. The STAR MAN's not sure
what's happening. But he's not offended. Her next kiss is
full and long. He accepts it with his eyes open and when she
eases back he leans in for more. Jenny responds. As if on
command, the satel compass comes from around behind the STAR
MAN to hover in back of Jenny. He takes it between his palms
and extinguishes it.
INT. BOXCAR - MORNING
Jenny awakens and looks around. The STAR MAN is not with
her. As she stands up she hears his VOICE OUTSIDE. He is
speaking to something in his language.
She goes to the door to find out what and sees him standing
beside a fenced-in pasture talking to the horses inside.
EXT. PASTURE - MORNING
Jenny joins the STAR MAN at the fence.
JENNY
Good morning.
STAR MAN
Horses.
JENNY
You don't forget anything, do you?
STAR MAN
No.
Jenny pets one of the horses on the nose.
JENNY
(to the horse)
Hello... hello. How are you this
morning?
STAR MAN
Do they talk?!
JENNY
(laughs)
No, they don't talk... We talk to
them.
STAR MAN
I understand.
An appaloosa nudges her way through the others to the fence.
JENNY
Oh, you're pretty...
STAR MAN
I gave you a baby last night.
Shocked, Jenny looks at him from around the appaloosa's nose.
The STAR MAN is combing a horse's mane with his fingers and
he doesn't see her expression.
STAR MAN
(meaning the horses)
They are beautiful.
JENNY
Yes, they are.
STAR MAN
You have been very good to me,
Jennyhaydn.
(turns to face her)
You said you wanted a baby, so I
gave you one.
JENNY
(shakes her head 'no')
But...
STAR MAN
It will be human and it will look
like this.
(touches his face)
But when it comes it will know
everything I know and everything you
know. That is something from my planet
that I want your baby to have.
JENNY
I told you it's impossible for me to
have a baby.
STAR MAN
You will have this baby. If you want
it. If you don't, I can stop it now.
Jenny comes over and puts her arms around the STAR MAN.
JENNY
I want it.
EXT. SKY - DAY
A formation of six black Bell Cobra helicopters rush at us
out of the blue. From above them we can see that they are
heading for a small desert town. 'Welcome to Lathrop Wells'
is spelled out on a hillside in white-washed stones.
EXT. AIRSTRIP - DAY
Grubby, unshaven and unwashed, Shermin, Bell, Lyman and the
rest of the crew watch the seven Cobras land in sequence.
Fox, immaculate in a freshly pressed black flight suit, climbs
out of the first one down and he and Shermin meet in the
middle of the runway.
SHERMIN
Hello George.
FOX
Shermin...
SHERMIN
What's all this for?
FOX
We have a new directive. I'm taking
over.
SHERMIN
(scans the Cobras)
We don't have to do it that way. We
can catch him this time.
FOX
Washington thinks it's too late for
that.
SHERMIN
I've never been taken off an
assignment in my life. Give me twenty-
four hours and I'll have him for
you.
FOX
You're not hearing me.
SHERMIN
You can change a directive, George.
You've done it before. Listen to me.
He's going somewhere in Death Valley.
Lathrop Wells was never anything but
a bus stop. East is the nuclear site.
There are no roads in there. She was
teaching him to hitchhike. I'm telling
you. We block the four roads into
Death Valley and we got him.
FOX
We'll do that. But how are we going
to hold him? He can change himself
into a man. He can disappear.
SHERMIN
That's the chance we have to take.
FOX
No, we don't.
SHERMIN
Then you're going to have to do it
without me.
FOX
You're a career intelligence officer,
Shermin. You'll be in the air with
us.
SHERMIN
You're talking about taking a life.
The most unique life form on this
planet. I think we're better than
that.
EXT. LAS VEGAS - LATE AFTERNOON
A fire-engine-red Pontiac convertible with two COWBOYS (late
fifties) in the front and Jenny and the STAR MAN in the back
moves with the traffic along the main drag in the downtown
area. The STAR MAN's head swivels from side to side trying
to take in the neon that juts up around him. The convertible
stops at a light. The cowboy on the passenger side opens the
door and tips his hat to Jenny as she and the Star Man get
out of the back seat.
EXT. SIDEWALK (LAS VEGAS) - LATE AFTERNOON
The STAR MAN is afraid of the crush of people and wants to
stay close to Jenny, but is fascinated by the whir and click
and jingle of the one-armed bandits that seem to be
everywhere.
STAR MAN
Is this gambling?
Jenny nods. A LADY in curlers and pedal pushers hits a twenty
dollar jackpot. Hanging onto Jenny's hand the STAR MAN turns
around and walks sideways to watch the quarters tumble out
into the lady's shopping bag.
STAR MAN
The cowboys were right. You can make
money fast gambling.
JENNY
You don't make money gambling. You
lose it.
INT. DRUG STORE - LATE AFTERNOON
The STAR MAN hangs back to examine a one-armed bandit inside
the front door while Jenny goes to the counter. An almost
imperceptible blue haze seems to seep from under the STAR
MAN's palms as he runs his hands up and down the sides of
the machine.
JENNY (V.O.)
(to the clerk)
Do you have a good map of Death
Valley?
CLERK (V.O.)
We should have. Let me see.
While the clerk searches for the map the STAR MAN comes up
to Jenny.
STAR MAN
May I have twenty-five cents, please?
JENNY
What for?
STAR MAN
I want to gamble.
Jenny sighs and rolls her eyes and fishes two quarters out
of her purse and hands them to him.
JENNY
Here are two quarters. When you lose
these, you're not going to get
anymore.
STAR MAN
I understand.
(heading back to the
machine)
Thank you.
He drops a quarter into the slot and pulls the handle. While
the pictures of fruit spin behind the view window, his hands
stroke the sides of the machine. An orange, a pear and a
cherry stop in the view window. At the counter Jenny explains
to the clerk that she is hitchhiking and wants the busiest
route into Death Valley without going through Lathrop Wells.
The STAR MAN looks long and hard at the machine before putting
in his last quarter. He pulls the handle. The blue haze flows
from his palms, three cherries lock into a line and the one-
armed bandit begins to spit quarters.
INT. CASINO - LATE AFTERNOON
Jenny is nervous about being here. She feels every face that
looks at them could be a cop. The STAR MAN is pulling her
through a Maginot Line of slot machines toward a 'Super
Jackpot' machine that advertises a $275,000 payoff.
JENNY
This is crazy. We don't have time
for this.
STAR MAN
I know how to gamble now.
JENNY
You won ten dollars. Big deal. If we
don't get a good ride before dark we
could miss your ship.
STAR MAN
I want to get money for you and the
baby.
JENNY
I don't need any money for the baby.
I'll be fine.
STAR MAN
Inflation, tuition, college. Children
are damned expensive. I know.
JENNY
The cook again?
STAR MAN
(stepping up to the
'Super Jackpot')
Yes.
JENNY
If I ever run into that guy, I'm
going to kick his ass.
The STAR MAN pops a gleaming silver dollar into the machine,
pulls the handle and places his hands against the metal.
Jenny, knowing it can't work, but hoping that it will, stands
back and gnaws on her thumb. Then she sees the blue haze
vibrating out of the STAR MAN's palms. Jenny stifles a scream.
She looks around to see if anybody else has noticed. They
haven't. The STAR MAN smiles at her. The force field does
it's work. A picket line of 7's fills the view window. Amid
the jangle of bells and flashing lights that accompany a
winner Jenny doesn't know whether she should jump for joy or
hide her face.
EXT. DESERT HIGHWAY - DUSK
A dot in the distance becomes a brand new Camaro. As it blasts
away from under us we see a paper license in its back window.
The cabin light is on inside the car.
INT. CAMARO - DUSK
In the passenger seat the STAR MAN is riffling through a
Columbia "History of the World." A Webster's Dictionary is
on the dash in front of him. Wedged between his legs and the
transmission well is a shopping bag full of money.
JENNY
It'll tell you pretty much everything
about us...
STAR MAN
This is very interesting. We are
born knowing our history. We have
other books. But not a book like
this.
JENNY
Any words you don't know you can
find in the dictionary.
STAR MAN
I understand.
JENNY
It'll give you the different
countries, how they came to be, what
they are now, how America came to
be, the governments, the languages...
everything.
STAR MAN
(chuckles)
Many of my people will not believe
those things are possible. On my
planet there is only one government,
one people, one language. I will be
asked a lot of questions.
JENNY
What will you say about us?
STAR MAN
I will say that we can be friends.
JENNY
We can.
She notices the green ring on her left hand and takes it
off.
JENNY
This is yours...
STAR MAN
If you want to keep it, you can.
JENNY
I'd like to...
She slips it back on her finger above her wedding band. They
drive in silence. The STAR MAN sets the history book on the
dash.
JENNY
(takes the ring off
again)
Would you put some of your singing
in this for the baby?
STAR MAN
You want the baby to laugh at me.
JENNY
Yes.
EXT. DESERT HIGHWAY - DUSK
With the STAR MAN SINGING IN HIS LANGUAGE, the Camaro moves
further into Death Valley. The SONG FADES and we:
DISSOLVE TO:
EXT. DESERT HIGHWAY - NIGHT
The Camaro blows by a gas station, closed for the night.
INT. CAMARO - NIGHT
The STAR MAN shifts restlessly in his seat as he searches
the ghostly landscape for something familiar. He activates
the satel compass. The red and green dots are touching.
JENNY
How long will it take you to get
home?
STAR MAN
(absently)
Many, many days and nights...
He presses the satel compass into his palms.
JENNY
Would you like to listen to some
music?
The STAR MAN shakes his head "no."
JENNY
I'm sure we could find a country and
western station.
STAR MAN
No, thank you.
Jenny takes his hand in hers.
JENNY
Don't worry. Everything's going to
be fine.
The STAR MAN smiles wanly at her.
JENNY
(leans forward to
look up at night sky)
Which star is yours?
It only takes the STAR MAN an instant to find his home.
STAR MAN
There.
JENNY
Where?
He directs Jenny's attention to the constellation Auriga.
STAR MAN
(meaning the star
Capella)
The yellow one.
JENNY
Oh, wow... I'll tell you what. When
the baby is born, we'll go out in my
back yard and wave to you.
STAR MAN
(smiles)
I will wave to you.
All we can HEAR are the TIRES HUMMING over the road. The
Camaro rounds the side of a low hill.
STAR MAN
Oh, shit!
Jenny slams on the brakes. One of the Cobra helicopters, lit
from the inside, is parked next to a line of flares across
the road ahead.
EXT. CLOSED GAS STATION - NIGHT
The STAR MAN is looking through a window at the repair bay,
lit by a work light. Jenny is standing in a phone shell on
the front of the garage, the receiver to her ear.
The STAR MAN moves to the office door. He tries the knob. It
is locked.
JENNY
(to the STAR MAN)
They're trying to get him.
Suddenly the STAR MAN slams his shoulder against the door.
It swings open.
JENNY
What are you doing?!!
Fox's voice comes out of the receiver in her hand.
FOX (V.O.)
Mrs. Haydn...
INT. COBRA - NIGHT
FOX
(speaking into a
headset)
This is George Fox...
JENNY (V.O.)
I want to speak to Marc Shermin.
FOX
You can speak to me, Mrs. Haydn. I'm
in charge of this operation now.
EXT. CLOSED STATION - NIGHT
JENNY
If I don't speak to Mr. Shermin, I'm
hanging up.
FOX (V.O.)
(a beat)
Okay...
Tethered by the phone cord, Jenny tries to see what the STAR
MAN is doing inside the repair bay.
INT. REPAIR BAY - NIGHT
Using an air filter top as a basket, the STAR MAN scavenges
from the work bench and the car up on the lift, fuses, lengths
of wire, circuit boards from a radio, tubing, metal pipe and
a Black and Decker drill. While he is doing this we get
glimpses of Jenny pleading his case on the phone. Finally,
leaving the receiver dangling at the end of its cord, she
comes around to stand in the doorway.
JENNY
Mr. Shermin wants to speak to you.
INT. SHERMIN'S HELICOPTER - NIGHT
JENNY (V.O.)
Here he is.
Shermin looks warily at the headset. When the STAR MAN doesn't
speak immediately, he takes the initiative.
SHERMIN
Hello...
STAR MAN (V.O.)
I must get to my ship, Mr. Shermin.
SHERMIN
We can't let you do that.
STAR MAN (V.O.)
I don't want to hurt anybody. I just
want to go home.
INT. COBRA - NIGHT
Fox is listening to the conversation.
SHERMIN (V.O.)
All the roads into Death Valley are
blocked. We'd like to talk to you.
STAR MAN (V.O.)
If I talk to you, I will miss my
ship.
SHERMIN (V.O.)
Hold on a minute... Let's take the
chance, George.
FOX
No deal.
EXT. CLOSED GAS STATION - NIGHT
SHERMIN (V.O.)
I'm afraid we can't let you go.
STAR MAN
I understand.
He hangs up.
INT. REPAIR BAY - NIGHT
The STAR MAN shaves the rubber off the electrical lines
leading into the fuse box and clips two wires of his own
onto the exposed copper. With Jenny watching we have a montage
of the STAR MAN working through the night: modifying the
insides of the Black and Decker drill, cutting out the mid-
section above the trigger, fitting electrical components
into that area, screwing a pipe into the bit-clamp, welding
it together with the spark that arcs between the electrical
wires.
INT. OFFICE (GAS STATION) - NIGHT
Jenny folds a sheaf of money into a sheet of yellow paper
and props it on the cash register. 'For Damages. Thank You'
is scribbled on the front. She runs out to catch the STAR
MAN who is on his way to the Camaro.
EXT. CAMARO - NIGHT
Carrying the modified Black and Decker drill the STAR MAN
opens the driver's door.
JENNY
Where do you think you're going?
STAR MAN
Thank you, Jennyhaydn. You are good.
I must go alone now.
JENNY
I said I would get you to your ship
and that's where we're going to say
goodbye.
INT. CAMARO - NIGHT
Both hands on the wheel, Jenny is burning down the center
line. The STAR MAN bends two thin wires trailing out from
the grip of the drill. Jenny winces as he buries them into
the flesh on either side of his left wrist. The car skates
around the corner of a low hill. They can see that the Cobra
is still sitting next to the road.
JENNY
(glancing at the
modified drill)
I hope that works.
The STAR MAN is lost in concentration.
Jenny kills her lights and glues the accelerator to the floor.
Three MEN scramble from the helicopter with M16s. A BURST OF
SLUGS RIPS THROUGH the Camaro's WINDSHIELD. The STAR MAN
leans out the passenger window and with an other-worldly
scream, fires. The helicopter is BLOWN TO SMITHEREENS. The
concussion throws the men to the ground.
EXT. BURNING HELICOPTER - NIGHT
The Camaro whizzes through the falling DEBRIS.
INT. CAMARO - NIGHT
JENNY
It works.
The STAR MAN slumps in exhaustion and pain.
STAR MAN
I do not know how many times I can
do this.
INT. SHERMIN'S HELICOPTER - NIGHT
It is filled with the radio voices of the Cobra crews setting
up to attack the Camaro.
EXT. DESERT HIGHWAY - NIGHT
The Camaro becomes airborne at the crest of a dip. Only its
new shocks save the landing.
INT. CAMARO - NIGHT
The STAR MAN draws the satel compass out between his palms.
The green dot now covers the right half of the red dot. He
presses his palms together and looks past Jenny at the rugged
foothills.
The first light of day is starting to color the sky behind
them. Jenny and the STAR MAN are startled by the DRUMMING
WHOMP OF A HELICOPTER. The STAR MAN looks out the window for
its source. He can't see anything. The SOUND FADES. In a
moment, it is REPEATED ON THE OTHER SIDE OF THE CAR and AGAIN
IT FADES.
STAR MAN
If my ship is not here, we are in
trouble.
This is a truism that Jenny doesn't want to hear and she
flexes her fingers on the wheel.
STAR MAN
(points at a
distinctive cone
peak)
That's where we landed last time.
Right under that mountain.
Jenny and the STAR MAN steady themselves for the last leg of
their journey. Suddenly, their silence is exploded by a COBRA
dropping out of the sky in front of them. Its searchlight
bangs into their faces and, with its thirty-calibre MACHINE
GUNS BLAZING, it comes straight at them.
Jenny yanks the Camaro onto the shoulder. The SLUGS CHEW UP
the asphalt beside it. She fishtails back onto the road. A
SECOND COBRA surprises them from the STAR MAN's side. Its
MACHINE GUN KNOCKS OUT the BACK WINDOW before he can FIRE.
The STAR MAN crawls over his seat and arranges himself in
the hole that was the back window to meet the Cobras' next
FIRING RUN. It doesn't take them long. The first two have
been joined by a THIRD. They swoop down on the Camaro.
INT. LEAD HELICOPTER - NIGHT
The gunsights lock on the car below. The CO-PILOT squeezes
the trigger.
EXT. CAMARO - NIGHT
SHOTS THUMP INTO the trunk in front of the STAR MAN and he
FIRES. The lead HELICOPTER ERUPTS, raining pieces of hot
metal over the desert floor. The other helicopters are jarred
out of their run and their BULLETS harmlessly KICK UP SAND
on the shoulder. Before they can regroup, the STAR MAN BLOWS
THEM OUT OF THE SKY.
JENNY
In front!!! In front!!!
The STAR MAN has to hang on as Jenny dodges the car out of
the path of a Cobra skimming over the highway toward them.
As it goes over, he is able to get off a SHOT directly INTO
its UNDERBELLY. The BALL OF FLAME almost engulfs the Camaro.
INT. CAMARO - NIGHT
The STAR MAN slumps down into the back seat breathing hard.
Jenny looks over her shoulder at him and is shocked at the
strain that shows on his face.
JENNY
Hang on.
She throws the car into a skid and leaves the blacktop for a
dirt road winding between two low hills.
EXT. DESERT - NIGHT
At the base of a sandstone cliff, the Camaro slides to a
stop. Jenny helps the STAR MAN out. She supports him as they
struggle toward the protection of the boulders. Fox's Cobra
roars over the hill.
INT. COBRA - NIGHT
FOX
(spots the car)
Over there.
EXT. DESERT - NIGHT
The STAR MAN turns toward the Cobra. Weakly, he raises his
weapon and pulls the trigger. Nothing happens. The searchlight
from the Cobra finds them. Its machine guns begin to raise
puffs of gravel around them. Jenny grabs the STAR MAN's arm
and pulls him into the relative safety of the rocks. The
STAR MAN collapses against the cool stone.
STAR MAN
(gasps)
I can't shoot anymore.
Jenny looks out between the crags. Shermin's helicopter
arrives to join the Cobra. With their searchlights flicking
over the sagebrush, they move cautiously toward the cliff.
Jenny turns back to the STAR MAN. He is too weak to run
anymore.
JENNY
(touches his shoulder
lightly)
I won't let anyone hurt you.
INT. FOX'S HELICOPTER - NIGHT
FOX
Watch it. They're coming out.
INT. SHERMIN'S HELICOPTER - NIGHT
Six images (close-up to full shot) of Jenny and the STAR MAN
stepping out of their hiding place fill the television screens
in front of Shermin.
FOX (V.O.)
End it, Shermin.
Lyman taps his keyboard. The screens all change to a long-
shot of Jenny and the STAR MAN with cross-hairs superimposed
on them.
EXT. DESERT - NIGHT
Shermin's helicopter moves toward Jenny and the STAR MAN
standing helpless in the circle thrown by the searchlight.
INT. SHERMIN'S HELICOPTER - NIGHT
The cross-hairs have locked on Jenny and the STAR MAN. Shermin
knows he can't do it. He picks up a headset.
SHERMIN
George... Do you hear me, George?
FOX (V.O.)
What?
SHERMIN
I just retired.
FOX (V.O.)
Shermin!! Shermin!!!
Shermin flips a switch on the console that cuts Fox off.
SHERMIN
(to his crew)
Let's get out of here.
EXT. DESERT - NIGHT
Shermin's helicopter passes over the heads of Jenny and the
STAR MAN and rises into the dawn sky.
INT. COBRA - NIGHT
FOX
Shermin!!!
He throws down his headset.
FOX
(to the pilot)
Lock in.
The gunsights lock in on Jenny and the STAR MAN. Fox's grip
tightens on the trigger. Suddenly the helicopter begins to
vibrate and drift off its target. Fox looks toward the sound
coming from his right and his eyes widen in fear as he sees
the STAR MAN's ship looming over him.
EXT. DESERT - NIGHT
The spacecraft passes over the top of the helicopter. The
whirling downdraft emanating from the spaceship's underbelly
yanks the Cobra away from Jenny and the STAR MAN and whips
it into a spin which gets faster and faster until it
disintegrates and falls to the desert floor.
EXT. DESERT - NIGHT
Jenny and the STAR MAN shield their faces against the DUST
STORM that billows under the WHINING DESCENT of the
spacecraft. It settles into a landing across the dirt road
resting on its three pods. With a crack, a cone of bright
white light blasts from the underside.
JENNY
Well...
STAR MAN
I must go.
Jenny nods.
STAR MAN
What do I do now?
JENNY
You say you love me and kiss me
'goodbye.'
The STAR MAN puts his arms around her and holds her tight.
STAR MAN
I love you.
JENNY
(her head on his
shoulder)
I'm never going to see you again, am
I?
STAR MAN
No.
He kisses the tears out of her eyes, then full on the mouth.
JENNY
I love you.
The STAR MAN steps back and places a hand on Jenny's stomach.
STAR MAN
Tell the baby about me.
JENNY
I will.
STAR MAN
Goodbye.
He turns from her and walks to his ship. Jenny watches him
go, then remembers something.
JENNY
Wait!!
She gets the Webster's Dictionary and the Columbia History
of the World from the Camaro and runs to the STAR MAN. He
takes them and kisses her again.
STAR MAN
Thank you, Jennyhaydn.
Jenny backs away as the STAR MAN walks under the ship into
the white light. He waves one last time to Jenny and is
swallowed into the ship by the light.
EXT. DESERT - NIGHT
Jenny turns away from the stinging sand as the space-craft
lifts off. When she looks again, it is high and moving over
the foothills. A banking turn brings it back. The ship dips
low over her, rocks itself in a gesture of farewell, then
shoots off into the stars. When she can no longer see it,
Jenny drops her wave with a sigh and starts back toward the
Camaro.
Over her walk, we SUPER:
JENNY HAYDN GAVE BIRTH TO AN EIGHT-POUND, SEVEN-OUNCE BABY
BOY ON MARCH 10TH.
FADE OUT:
THE END
Starman
Writers : Bruce A. Evans Raynold Gideon
Genres : Adventure Drama Romance Sci-Fi
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Luce Guilbeault born in Outremont on 5 March 1935 died in Montreal on 12 July 1991 was a Québécoise actress and director. She was one of the leading figures of Quebec repertory theatre of the 1960s and one of the most-sought actresses of Quebec cinema in the 1970s. She received a Canadian Film Award in 1975 and the first Prix Iris from the National Film Board of Canada in 1991 for her life's work.
Biography
Raised in Montreal as a doctor's daughter, Luce Guilbeault was introduced to the arts at an early age, particularly in music and theatre. She studied for five years with William Graves at the National Film Board of Canada NFB, using the Stanislawski method, then studied for a few years at the Actors Studio in New York.
Guilbeault's career began in the theatre, where she excelled in the Quebec repertoire e.g.: Réjean Ducharme, Michel Tremblay. She is most remembered for her career in the cinema, with some 20 films to her credit. Her first major film role was that of a disillusioned wife in Denys Arcand's La Maudite Galette 1972 followed by Réjeanne Padovani 1973. She played in O.K. ... Laliberté 1973 by Marcel Carrière, Tendresse ordinaire 1973 by Jacques Leduc and in the films of Anne Claire Poirier.
As a director, Guilbeault mainly created biographies of feminists, including actress Denise Benoît and a series of American feminists. She also directed the 1978 direct cinema film D'abord Ménagères which documented housework and the status of women in Quebec.
She was successful in the 1980s with the television soap operas and .
Around 1990 Guilbeault wanted to write a booklet about the fate of aging actresses, composing an interview list of her contemporaries, with nothing to lose ... and willing to confide. She found a publisher but was refused a grant from the Ministry of Culture. She died from cancer on 12 July 1991.
Legacy
From 1991 to 1998 Les Rendez-vous du cinéma québécois awarded the to the best young promising actor or actress; winners included Luc Picard, and Patrick Huard.
In 2000 the feature-length biographical documentary Luce Guilbeault, explorActrice was produced by the NFB, directed by Marcel Jean.
In 2016 Ariel Borremans assembled the book Ma mère dans l'oeil de mon père which features photographs of her mother, Guilbault, taken by his father, 19342012. The photographs are accompanied by texts from Quebec artists including Michel Tremblay, André Melançon, Réjean Ducharme, and Denys Arcand. Critic Antoine Aubert noted that, beyond the grace of the actress and the love of the photographer for his muse, it tells of an artistic history essential to the identity of Quebec.
Filmography
1957-1959 TV series
1971 mini-series
1972 l'une des Françoise Durocher
1972 Palma
1972 Dirty Money La Maudite galette Berthe
1972 The Time of the Hunt Le Temps d'une chasse La Rousse
1973 Souris, tu m'inquiètes
1973 La Dernière neige
1973 O.K. ... Laliberté
1973 Tendresse ordinaire Luce
1973 Questa
1973 Réjeanne Padovani Réjeanne Padovani
1974 Par une belle nuit d'hiver
1974 Muriel
1975 TV series Justine Demers
1975 Mustang Marie
1975 Le Temps de l'avant Hélène
1976 Bargain Basement
1977 J.A. Martin Photographer Madame Beaupré
1978 Passages
1978 Angela Marie Lebrecque
1979 A Scream from Silence Mourir à tue-tête a client
1980-1986 TV series Georgette Garon-Laflamme
1982 Beyond Forty Hélène
1986 Qui a tiré sur nos histoires d'amour Lady
1986-1989 TV series Claire Trudel
1989-1991 TV series Claire Trudel
1990 La Nuit du visiteur
Awards
In 1976 Guilbeault received a Canadian Film Award for Best Actress for Bargain Basement
In 1991 Guilbeault received the first Prix Iris from the National Film Board of Canada for all of her work.
References
Category:1935 births
Category:1991 deaths
Category:Actresses from Montreal
Category:Canadian feminists
Category:Deaths from cancer
Category:Film directors from Montreal
Category:French Quebecers | wikipedia |
j. w. young , the editor of the book @xcite , wrote in his introduction : _ there are fashions in mathematics as well as in clothes , and in both domains they have a tendency to repeat themselves .
_ during the last decade , `` hyperbolic plane geometry '' aroused much interest and was investigated vigorously by a considerable number of mathematicians .
despite the large number of investigations , the number of hyperbolic trigonometric formulas that can be collected from them is fairly small , they can be written on a page of size b5 .
this observation is very surprising if we compare it with the fact that already in 1889 , a very extensive and elegant treatise of spherical trigonometry was written by john casey @xcite . for this
, the reason , probably , is that the discussion of a problem in hyperbolic geometry is less pleasant than in spherical one . on the other hand , in the 19th century , excellent mathematician
cyrill vrs in hungary made a big step to solve this problem .
he introduced a method for the measurement of distances and angles in the case that the considered points or lines , respectively , are not real .
unfortunately , since he published his works mostly in hungarian or in esperanto , his method is not well - known to the mathematical community . to fill this gap
, we use the concept of distance extracted from his work and , translating the standard methods of euclidean plane geometry into the language of the hyperbolic plane , apply it for various configurations .
we give a model independent construction for the famous problem of malfatti ( discussed in @xcite ) and give some interesting formulas connected with the geometry of hyperbolic triangles . by the notion of distance introduced by vrs
, we obtain results in hyperbolic plane geometry which are not well - known .
the length of this paper is very limited , hence some proofs will be omitted here .
the interested reader can find these proofs in the unpublished source file @xcite .
the points @xmath0 denote the vertices of a triangle .
the lengths of the edges opposite to these vertices are @xmath1 , respectively .
the angles at @xmath0 are denoted by @xmath2 , respectively . if the triangle has a right angle , it is always at @xmath3 . the symbol @xmath4 denotes half of the area of the triangle ; more precisely , we have @xmath5 . *
* connections between the trigonometric and hyperbolic trigonometric functions : * @xmath6 * * law of sines : * @xmath7 * * law of cosines : * @xmath8 * * law of cosines on the angles : * @xmath9 * * the area of the triangle : * @xmath10 @xmath11 where @xmath12 is the height of the triangle corresponding to @xmath13 and @xmath14 are the signed lengths of the segments into which the foot point of the height divides the side @xmath15 . * * heron s formula : * @xmath16 * * formulas on lambert s quadrangle : * the vertices of the quadrangle are @xmath17 and the lengths of the edges are @xmath18 and @xmath19 , respectively .
the only angle which is not a right angle is @xmath20 .
then , for the sides , we have : @xmath21 and @xmath22 moreover , for the angles , we have : @xmath23 and @xmath24
first we extract the concepts of the distance of real points following the method of the book of cyrill vrs ( @xcite ) .
we extend the plane with two types of points , one of the type of the points at infinity and the other one the type of ideal points . in a projective model
these are the boundary and external points of a model with respect to the embedding real projective plane .
two parallel lines determine a point at infinity , and two ultraparallel lines an ideal point which is the pole of their common transversal .
now the concept of the line can be extended ; a line is real if it has real points ( in this case it also has two points at infinity and the other points on it are ideal points being the poles of the real lines orthogonal to the mentioned one ) .
the extended real line is a closed compact set with finite length .
we also distinguish the line at infinity which contains precisely one point at infinity and the so - called ideal line which contains only ideal points . by definition
the common lengths of these lines are @xmath25 , where @xmath26 is a constant of the hyperbolic plane and @xmath27 is the imaginary unit . in this paper
we assume that @xmath28 .
two points on a line determine two segments @xmath29 and @xmath30 .
the sum of the lengths of these segments is @xmath31 .
we define the length of a segment as an element of the linearly ordered set @xmath32 . here
@xmath33 is the linearly ordered set of real numbers extracted with two new numbers with the `` real infinity '' @xmath34 and its additive inverse @xmath35 .
the infinities can be considered as new `` numbers '' having the properties that either `` there is no real number greater than or equal to @xmath36 '' or `` there is no real number less than or equal to @xmath35 '' .
we also introduce the following operational rules : @xmath37 , @xmath38 , @xmath39 and @xmath40 for real @xmath41 .
it is obvious that @xmath42 is not a group , the rule of associativity holds only for such expressions which contain at most two new objects .
in fact , @xmath43 is a contradiction .
we also require that the equality @xmath44 holds for every real number @xmath45 , and for brevity we introduce the respective notations @xmath46 and @xmath47 .
we extract the usual definition of hyperbolic function based on the complex exponential function by the following formulas : @xmath48 we also assume that @xmath49 , @xmath50 and @xmath51 . assuming that the trigonometric formulas of hyperbolic triangles are also valid with ideal vertices the definition of the mentioned lengths of the complementary segments of a line are given .
for instance , consider a triangle with two real vertices ( @xmath52 and @xmath3 ) and an ideal one ( @xmath13 ) , respectively .
the lengths of the segments between @xmath3 and @xmath13 are @xmath45 and @xmath53 , the lengths of the segments between @xmath52 and @xmath13 are @xmath54 and @xmath55 and the lengths of that segment between @xmath3 and @xmath52 which contains only real points is @xmath41 , respectively .
let the right angle be at the vertex @xmath3 and denote by @xmath56 the other real angle at @xmath52 .
( see in fig . 1 . ) with respect to this triangle we have @xmath57 , and since @xmath13 is an ideal point , the parallel angle corresponding to the distance @xmath58 less than or equal to @xmath59 .
hence @xmath60 implying that @xmath61 .
hence @xmath45 is a complex number .
if the polar of @xmath13 is @xmath62 , then it is the common perpendicular of the lines @xmath63 and @xmath29 .
the quadrangle @xmath64 has three right angles .
denote by @xmath65 the length of that segment @xmath66 which contains real points only .
then we get @xmath67 meaning that @xmath68 similarly we have that @xmath69 implying that @xmath70 , hence @xmath53 is complex .
now we have that @xmath71 using the formulas between the trigonometric and hyperbolic trigonometric functions we get that @xmath72 implying that @xmath73 so @xmath74 analogously we get also that @xmath75 here @xmath76 and @xmath77 are arbitrary integers . on the other hand , if @xmath78 then @xmath79 , and so @xmath80 meaning that @xmath81 .
for the half length of the complete line we can choose an odd multiplier of the number @xmath82 .
the most simple choosing is when we assume that @xmath83 and @xmath84 .
thus the lengths of the segments @xmath63 and @xmath85 can be defined as @xmath86 and @xmath87 , respectively .
we now define all of the possible lengths of a segment on the basis of the type of the line that contains them .
we can distinguish six subcases .
the definitions of the respective cases can be found in table 1 .
we abbreviate the words real , infinite and ideal by symbols @xmath88 , @xmath89 and @xmath90 , respectively .
@xmath91 means a real ( positive ) distance of the corresponding usual real elements which are a real point or the real polar line of an ideal point , respectively .
every box in the table contains two numbers which are the lengths of the two segments determined by the two points .
for example , the distance of a real and an ideal point is a complex number .
its real part is the distance of the real point to the polar of the ideal point with a sign .
this sign is positive in the case when the polar line intersects the segment between the real and ideal points , and is negative otherwise .
the imaginary part of the length is @xmath92 , implying that the sum of the lengths of two complementary segments of this projective line has total length @xmath93 .
consider now a point at infinity .
this point can also be considered as the limit of real points or limit of ideal points of this line . by definition
the distance from a point at infinity of a real line to any other real or infinite point of this line is @xmath94 according to that it contains or not ideal points .
if , for instance , @xmath13 is an infinite point and @xmath52 is a real one , then the segment @xmath29 contains only real points has length @xmath36 .
it is clear that with respect to the segments on a real line the length - function is continuous .
cc|c|c|c| & & + & & @xmath88 & @xmath89 & @xmath90 + & & .distances on the real line . [ cols="^ " , ] + + & & & @xmath90 + @xmath36 + @xmath35 & @xmath90 + @xmath36 + @xmath35 + & & & & @xmath90 + @xmath95 + @xmath96 + similarly as in the previous paragraph we can deduce the angle between arbitrary kinds of lines ( see table 3 ) . in table 3 ,
@xmath41 and @xmath45 are the given lines , @xmath97 is their intersection point , @xmath77 is the polar of @xmath98 and @xmath13 and @xmath52 are the poles of @xmath41 and @xmath45 , respectively .
the numbers @xmath99 and @xmath100 represent real distances , as can be seen on fig .
2 , respectively .
the general connection between the angles and distances is the following : _ every distance of a pair of points is the measure of the angle of their polars multiplied by @xmath27 .
the domain of the angle can be chosen in such a way , that we are going through the segment by a moving point and look at the domain which is described by the moving polar of this point . _ with the above definition of the length of a segment the known formulas of hyperbolic trigonometry can be extracted to the formulas of general objects with real , infinite or ideal vertices .
for example , we can prove the hyperbolic theorem of sines for right - angled triangles .
it says that @xmath101 .
we prove * first * those cases when all sides of the triangle lie on real lines , respectively .
we assume that the right angle is at @xmath3 and that it is a real point because of our definition . * if @xmath13 is an infinite point @xmath52 and @xmath3 are real ones then @xmath102 is indeterminable and we can consider that the equality is true .
the relation @xmath103 is also true by our agreement .
if @xmath104 are at infinity then @xmath105 and the equality holds , too .
* in the case when @xmath106 are real points and @xmath13 is an ideal point , let the polar of @xmath13 be @xmath107 . then by definition @xmath108 where @xmath109 is the distance of @xmath52 and @xmath110
; @xmath111 where @xmath91 is the length of the segment between the lines of the sides @xmath63 and @xmath15 .
if @xmath107 intersects @xmath63 and @xmath15 in the points @xmath112 and @xmath113 , respectively , then @xmath114 is a quadrangle with three right angles and with the sides @xmath41 , @xmath115 , @xmath91 and @xmath109 ( see the left figure in fig .
this implies that @xmath116 , as we stated . *
if @xmath3 is a real point , @xmath13 is at infinity , and @xmath52 is an ideal point , then @xmath117 and the right - hand side @xmath118 is undeterminable .
if we consider @xmath119 it is infinite by our agreement , and the statement is true , again .
* very interesting is the last case when @xmath3 is a real point , @xmath13 and @xmath52 are ideal points , respectively , and the line @xmath29 is a real line ( see the right - hand side picture in fig .
3 ) . then @xmath120 , @xmath121 and @xmath122 , thus @xmath123 and the theorem holds if and only if in the real pentagon @xmath124 with five right angles it holds that @xmath125 .
but we have : denote by @xmath126 the edge lengths of the successive sides of a pentagon with five right angles on the hyperbolic plane .
then we have : @xmath127 @xmath128 .
* second * we assume that the hypotenuse @xmath29 lies on a non - real line .
now if it is at infinity and at least one vertex is an infinite point then the statement evidently true .
assume that @xmath13 , @xmath52 and its line are ideal elements , respectively .
then the length @xmath54 is equal to @xmath92 , the angle @xmath129 is equal to @xmath130 , where @xmath91 is the distance between @xmath3 , and the polar of @xmath52 and the length of @xmath41 is equal to @xmath131 , respectively .
the equality @xmath132 proves the statement in this case , too .
it is not clear who investigated first the concept of inversion with respect to hyperbolic geometry .
a synthetic approach can be found in @xcite using reflections in bachmann s metric plane . for our purpose
it is more convenient to use an analytic approach in which the concepts of centres of similitude and axis of similitude can be defined .
we mention that the spherical approach of these concepts can be found in chapter vi and chapter vii in @xcite .
in the hyperbolic case , using the extracted concepts of lengths of segments , this approach can be reproduced .
the product @xmath133 is constant if @xmath134 is a fixed ( but arbitrary ) point ( real , at infinity or ideal ) , @xmath135 are collinear and @xmath104 are on a cycle of the hyperbolic plane ( meaning that in the fixed projective model of the real projective plane it has a proper part ) . on the basis of lemma 3.1 .
we can define the power of a point with respect to a given cycle .
the _ power _ of a point @xmath134 with respect to a given cycle is the value @xmath136 where the points @xmath13 , @xmath52 are on the cycle , such that the line @xmath29 passes through the point @xmath134 . with respect to lemma 1
this point could be a real , infinite or ideal one .
the _ axis of power _ of two cycles is the locus of points having the same powers with respect to the cycles .
the power of a point can be positive , negative or complex .
( for example , in the case when @xmath104 are real points we have the following possibilities : it is positive if @xmath134 is a real point and it is in the exterior of the cycle ; it is negative if @xmath134 is real and it is in the interior of the cycle , it is infinite if @xmath134 is a point at infinity , or complex if @xmath134 is an ideal point . )
we can also introduce the concept of similarity center of cycles .
the _ centres of similitude _ of two cycles with non - overlapping interiors are the common points of their pairs of tangents touching directly or inversely ( i.e. , they do not separate , or separate the circles ) , respectively .
the first point is the _ external center of similitude _ , the second one is _ the internal center of similitude_. for intersecting cycles separating tangent lines do not exist , but the internal center of similitude is defined as on the sphere , but replacing @xmath137 by @xmath138 .
more precisely we have two points @xmath139 which divide the segments @xmath140 and @xmath141 , joining the centers of the two cycles in the hyperbolic ratio of the hyperbolic sines of the radii @xmath142 are the centers of similitude of the cycles . by formula , if @xmath143 then the points @xmath139 are the centers of similitude of the given cycles .
we also have the following if the secant through a centre of similitude @xmath144 meets the cycles in the corresponding points @xmath145 then @xmath146 and @xmath147 are in a given ratio .
we now discuss the cases for the possible centers of similitude .
we have six possibilities .
i : : _ the two cycles are circles . _ to get the centers of similitude we have to solve an equation in @xmath115 . here
@xmath91 means the distance of the centers of the circles , @xmath148 denotes the respective radii , and @xmath115 is the distance of the center of similitude to the center of the circle with radius @xmath149.@xmath150 from which we get that @xmath151 or , equivalently , @xmath152 the two centers corresponding to the two cases of possible signs . if we assume that @xmath153 , then the center is an ideal point , point at infinity or a real point according to the cases @xmath154 , or @xmath155 , respectively .
the corresponding center is the external center of similitude . in the other case
we have @xmath156 , and the corresponding center is always a real point .
this is the internal center of similitude .
ii : : _ one of the cycles is a circle and the other one is a paracycle . _ the line joining their centers ( which we call axis of symmetry ) is a real line , but the respective ratio is zero or infinite . to determine the centres we have to decide the common tangents and their points of intersections , respectively .
the external centre is a real , infinite or ideal point , and the internal centre is a real point .
iii : : _ one of the cycles is a circle and the other one is a hypercycle . _
the axis of symmetry is a real line such that the ratio of the hyperbolic sines of the radii is complex .
the external center is a real , infinite or ideal point , the internal one is always a real point .
each of them can be determined as in the case of two circles .
iv : : _ each of them is a paracycle . _
the axis of symmetry is a real line and the internal centre is a real point .
the external centre is an ideal point .
v : : _ one of them is a paracycle and the other one is a hypercycle . _
the axis of symmetry ( in the poincar model , with the hypercycle replaced by the circular line containing it , and the axis containing the two apparent centers ) is a real line .
the internal centre is a real point .
the external centre is a real , infinite or ideal point .
vi : : _ both of them are hypercycles . _ the axis of symmetry ( in the poincar model , with the hypercycle replaced by the circular line containing it , and the axis containing the two apparent centers ) can be a real line , ideal line or a line at infinity .
for the internal centre we have three possibilities as above as well as for the external centre .
we can use the concepts of `` axis of similitude '' , `` inverse and homothetic pair of points '' , `` homothetic to and inverse of a curve @xmath157 with respect to a fixed point @xmath144 ( which ' ' can be real point , a point at infinity , or an ideal point , respectively " ) as in the case of the sphere .
more precisely we have : the six centers of similitude of three cycles taken in pairs lie three by three on four lines , called _ axes of similitude _ of the cycles . from lemma 3.5
it follows immediately that if two pairs of intersection points of a line through @xmath144 with the cycles are @xmath158 and @xmath159 then @xmath160 is independent from the choice of the line .
thus , given a fixed point @xmath144 ( which is the center of the cycle at which we would like to invert ) and any curve @xmath157 , on the hyperbolic plane , if on the halfline joining @xmath144 ( the endpoint of the halfline ) with any point @xmath98 of @xmath157 a point @xmath161 is taken , such that @xmath162 is constant , the locus of @xmath161 is _ called the inverse _ of @xmath157 .
we also use the name _ cycle of inversion _ for the locus of the points whose squared distance from @xmath144 is @xmath163 . among the projective elements of the pole and its polar
either one of them is always real or both of them are at infinity .
thus , in a construction the common point of two lines is well - defined , and in every situation it can be joined with another point ; for example , if both of them are ideal points they can be given by their polars ( which are constructible real lines ) and the required line is the polar of the intersection point of these two real lines .
thus the lengths in the definition of the inverse can be constructed .
this implies that the inverse of a point can be constructed on the hyperbolic plane , too .
finally we remark that all of the concepts and results of inversion with respect to a sphere of the euclidean space can be defined also in the hyperbolic space , the `` basic sphere '' could be a hypersphere , parasphere or sphere , respectively .
we can use also the concept of ideal elements and the concept of elements at infinity , if it is necessary .
it can be proved ( using poincar s ball - model ) that every hyperbolic plane of the hyperbolic space can be inverted to a sphere by such a general inversion .
this map sends the cycles of the plane to circles of the sphere .
in this section we give applications , some of them having analogous on the sphere , and others being completely new ones .
malfatti ( see @xcite ) raised and solved the following problem : _ construct three circles into a triangle so that each of them touches the two others from outside and , moreover , touches also two sides of the triangle . _ the first nice moment was steiner s construction .
he gave an elegant method ( without proof ) to construct the given circles .
he also extended the problem and his construction to the case of three given circles instead of the sides of a triangle ( see in @xcite , @xcite ) .
cayley referred to this problem in @xcite as _ steiner s extension of malfatti s problem_. we note that cayley investigated and solved a further generalization in @xcite , which he also called steiner s extension of malfatti s problem .
his problem is _ to determine three conic sections so that each of them touches the two others , and also touches two of three more given conic sections .
_ since the case of circles on the sphere is a generalization of the case of circles of the plane ( as it can be seen easily by stereographic projection ) , cayley indirectly proved steiner s second construction .
we also have to mention hart s nice geometric proof for steiner s construction which was published in @xcite .
( it can be found in various textbooks , e.g. @xcite and also on the web . ) in the paper @xcite we presented a possible form of steiner s construction which meet the original problem in the best way .
we note ( see the discussion in the proof ) that our theorem has a more general form giving all possible solutions of the problem .
however , for simplicity we restrict ourself to the most plausible case , when the cycles touch each other from outside . in @xcite
we used the fact that cycles are represented by circles in the conformal model of poincar .
the euclidean constructions of circles of this model gives hyperbolic constructions on cycles in the hyperbolic plane .
to do these constructions manually we have to use special rulers and calipers to draw the distinct types of cycles . for brevity , we think of a fixed conformal model of the embedding euclidean plane and preserve the name of the known euclidean concepts with respect to the corresponding concept of the hyperbolic plane , too .
we now interprete this proof without using models .
we use gergonne s construction ( see the euclidean version in @xcite , and the hyperbolic one in @xcite or @xcite ) which solves the problem _ construct a circle ( cycle ) touching three given circles ( cycles ) of the plane .
_ steiner s construction can be done also in the hyperbolic plane .
more precisely , for three given non - overlapping cycles there can be constructed three other cycles , each of them touching the two other ones from outside and also touching two of the three given cycles from outside . 1 .
construct the cycle of inversion @xmath165 , for the given cycles @xmath164 and @xmath166 , where the center of inversion is the external centre of similitude of them .
( i.e. , the center of @xmath165 is the center of the above inversion , and @xmath167 are images of each other with respect to inversion at @xmath168 . observe that @xmath168 separates @xmath164 and @xmath166 . ) 2 .
construct the cycle @xmath169 touching two cycles @xmath170 and the given cycle @xmath166 , in such a way that @xmath171 touch from outside , and @xmath172 ( or @xmath173 ) touch in such a way that @xmath169 lies on that side of @xmath168 ( or @xmath174 ) on which side of them @xmath166 lies .
3 . construct the cycle @xmath175 touching @xmath176 and @xmath169 through the point @xmath177 .
4 . construct malfatti s cycle @xmath178 as the common touching cycle of the four cycles @xmath175 , @xmath179 , @xmath164 , @xmath180 .
to the second step we follow gergonne s construction ( see in @xcite ) .
the third step is a special case of the second one .
( a given cycle is a point now . )
obviously the general construction can be done in this case , too .
finally we have to prove that this construction gives the malfatti cycles .
as we saw , the malfatti cycles exist ( see in @xcite theorem 1 ) .
we also know that in an embedding hyperbolic space the examined plane can be inverted to a sphere .
the trigonometry of the sphere is absolute implying that the possibility of a construction which can be checked by trigonometric calculations , is independent of the fact that the embedding space is a hyperbolic space or a euclidean one .
of course , the steiner construction is just such a construction , the touching position of circles on the sphere can be checked by spherical trigonometry .
so we may assume that the examined sphere is a sphere of the euclidean space and we can apply cayley s analytical methods ( see in @xcite ) by which he proved that steiner s construction works on a surface of second order .
hence the above construction produces the required touches .
the notation of this subsection follows the previous part of this paper : _ the vertices _ of the triangle are @xmath0 , the corresponding angles are @xmath181 and the lengths of the sides opposite to the vertices are @xmath1 , respectively .
we also use the notion @xmath182 for the _ perimeter _ of the triangle . let denote @xmath183 the radius of the _ circumscribed cycle _ , the radius of the _ inscribed cycle _
( shortly incycle ) , and the radii of the _ escribed cycles _ opposite to the vertices @xmath0 , respectively .
we do not assume that the points @xmath0 are real and the distances are positive numbers .
in most cases the formulas are valid for ideal elements and elements at infinity and when the distances are complex numbers , respectively .
the only exception when the operation which needs to the examined formula has no exact mathematical meaning . before examining hyperbolic triangle centers , we collect some further important formulas on hyperbolic triangles .
we can consider them in our extracted manner .
the concept of _ staudtian of a hyperbolic triangle _ somehow similar ( but definitely distinct ) to the concept of the euclidean area . in spherical trigonometry
the twice of this very important quantity was called by staudt the sine of the trihedral angle @xmath184 , and later neuberg suggested the names ( first ) `` staudtian '' and the `` norm of the sides '' , respectively .
we prefer in this paper the name `` staudtian''to honour the great geometer staudt .
let @xmath185 then we have @xmath186 this observation leads to the following formulas of the staudtian : @xmath187 from the first equality of ( 4.2 ) we get that @xmath188 where @xmath189 is the height of the triangle corresponding to the vertex @xmath3 . as a consequence of this concept we can give homogeneous coordinates of the points of the plane with respect to a basic triangle as follows
: let @xmath190 be a non - degenerate reference triangle of the hyperbolic plane .
if @xmath191 is an arbitrary point we define its coordinates by the ratio of the staudtian @xmath192 where @xmath193 , @xmath194 and @xmath195 means the staudtian of the triangle @xmath196 , @xmath197 and @xmath198 , respectively .
this triple of coordinates is the _ triangular coordinates _ presents the point @xmath191 with respect to the triangle @xmath190 .
consider finally the ratio of section @xmath199 where @xmath200 is the foot of the transversal @xmath201 on the line @xmath15 .
if @xmath202 , @xmath203 mean the staudtian of the triangles @xmath204 , @xmath205 , respectively , then , using ( 4.3 ) , we have @xmath206 @xmath207 proving that @xmath208 the _ angular staudtian _ of the triangle defined by the equality @xmath209 is the `` dual '' of the concept of staudtian and thus we have similar formulas for it . from the law of cosines for the angles we have @xmath210 and adding to this the addition formula of the cosine function we get that @xmath211 from this we obtain that @xmath212 analogously we get that @xmath213 from these equations it follows that @xmath214 finally we also have that @xmath215 and from the first equality of ( 4.8 ) we get that @xmath216 the connection between the two staudtians is given by the formula @xmath217 dividing the first equality of ( 4.2 ) by the analogous one in ( 4.8 )
we get that @xmath218 implying the equality @xmath219 we denote the medians of the triangle by @xmath220 and @xmath221 , respectively .
the feet of the medians are @xmath222,@xmath223 and @xmath224 .
the existence of their common point @xmath98 follows from the menelaos theorem ( @xcite ) .
for instance if @xmath29 , @xmath15 and @xmath63 are real lines and the points @xmath104 and @xmath3 are ideal points then we have that @xmath225 implies that @xmath224 is the middle point of the real segment lying on the line @xmath29 between the intersection points of the polars of @xmath13 and @xmath52 with @xmath29 , respectively ( see fig . 5 ) . the fact that the centroid exists implies new real hyperbolic statements , e.g. _ consider a real hexagon with six right angles
. then the lines containing the middle points of a side and being perpendicular to the opposite sides of the hexagon are concurrent_. we have the following formulas connected with the centroid : @xmath226 @xmath227 @xmath228 @xmath229 where @xmath230 , @xmath231 , @xmath232 , @xmath233 mean the signed distances of the points @xmath234 to a line @xmath235 , respectively .
finally we have @xmath236 where @xmath237 is a point of the plane .
( 4.15 ) and ( 4.16 ) are called the `` center - of - gravity '' property of @xmath98 and the `` minimality property '' of @xmath98 , respectively . using the first order approximation of the hyperbolic functions by their taylor polynomial of order 1
, we get from this formula the following one : @xmath238 which associates the centroid with the physical concept of center of gravity and shows that the center of gravity of three equal weights at the vertices of a triangle is at @xmath98 .
the minimality property of @xmath98 for @xmath239 says that @xmath240 .
this implies @xmath241 . from the second - order approximation of @xmath242
we get that @xmath243 . from this ( take into consideration only such terms whose order is less than or equal to @xmath244 ) we get an euclidean identity characterizing the centroid : @xmath245 . as a further consequence
we can see immediately that the value @xmath246 is minimal if and only if @xmath237 is the centroid .
denote by @xmath247 the center of the circumscribed cycle of the triangle @xmath190 . in the extracted plane
@xmath247 always exists and could be a real point , point at infinity or ideal point , respectively . since we have two possibilities to choose the segments
@xmath29 , @xmath15 and @xmath63 on their respective lines , we also have four possibilities to get a circumscribed cycle .
one of them corresponds to the segments with real lengths and the others can be gotten if we choose one segment with real length and two segments with complex lengths , respectively .
if @xmath0 are real points the first cycle could be a circle , a paracycle or a hypercycle , but the other three are always hypercycles , respectively .
for example , let @xmath248 be a real length , and @xmath249 , @xmath250 be complex lengths , respectively .
then we denote by @xmath251 the corresponding ( ideal ) center and by @xmath252 the corresponding ( complex ) radius .
we also note that the latter three hypercycles have geometric meaning .
these are those hypercycles whose fundamental lines contain a pair from the midpoints of the edge - segments and contain that vertex of the triangle which is the meeting point of the corresponding edges .
the first order taylor polynomial of the hyperbolic functions of distances leads to a correspondence between the hyperbolic staudtians and the euclidean area @xmath256 yealding also further euclidean formulas .
more precisely , we have @xmath257 and @xmath258 .
hence we give the following formula : @xmath259 or , equivalently , the known euclidean dependence of these quantities : @xmath260 .
use the minimality property of @xmath98 for the point @xmath261 .
then we have @xmath262 . approximating this
we get the equation @xmath263 . the functions on the right hand side we approximate of order two .
if we multiply these polynomials and hold only those terms which order at most 2 we can deduce the equation @xmath264 , and hence we deduced the euclidean formula @xmath265 . applying ( 4.18 ) to a triangle with four ideal circumcenters ,
we get a formula which determines the common distance of three points of a hypercycle from the basic line of it .
in fact , if @xmath91 means the searched distance , than @xmath266 , and we get : @xmath267 for the euclidean analogy of this equation we can use the first order taylor polynomial of the hyperbolic function .
our formula yields to the following @xmath268 implying a well - known connection among the sides , the circumradius and the area of a triangle .
we are aware of the fact that the bisectors of the interior angles of a hyperbolic triangle are concurrent at a point @xmath269 , called the incenter , which is equidistant from the sides of the triangle .
the radius of the _ incircle _ or _ inscribed circle _
, whose center is at the incenter and touches the sides , shall be designated by @xmath149 .
similarly the bisector of any interior angle and those of the exterior angles at the other vertices , are concurrent at a point outside the triangle ; these three points are called _ excenters _ , and the corresponding tangent cycles _ excycles _ or _ escribed cycles_. the excenter lying on @xmath270 is denoted by @xmath271 , and the radius of the escribed cycle with center at @xmath271 is @xmath272 .
we denote by @xmath200 , @xmath273 , @xmath274 the points of the interior bisectors meets @xmath15 , @xmath63 , @xmath29 , respectively .
similarly @xmath275 , @xmath276 and @xmath277 denote the intersection points of the exterior bisectors at @xmath13 , @xmath52 and @xmath3 with @xmath15 , @xmath63 and @xmath29 , respectively .
we note that the excenters and the points of intersection of the sides with the bisectors of the corresponding exterior angles could be points at infinity or could also be ideal points .
let @xmath278 , @xmath279 and @xmath280 denote the touching points of the incircle with the lines @xmath15 , @xmath63 and @xmath29 , respectively and the touching points of the excycles with center @xmath271 , @xmath281 and @xmath282 are given by the triples @xmath283 , @xmath284 and @xmath285 , respectively ( see in fig . 6 ) .
the second order approximation of ( 4.28 ) leads to the equality @xmath295 @xmath296 . from this
we get that @xmath297 . but for euclidean triangles we have ( see @xcite ) @xmath298 and @xmath299 .
the equality above leads to the euler s formula : @xmath300 .
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classical plasma theories , which describe plasmas as collections of charged classical particles moving in self - consistent electromagnetic ( em ) fields , become deficient when relativistic and quantum effects are important .
the conditions at which relativistic quantum effects are important may be determined by comparing three energy scales : the energy scales of the plasmas , the energy scales of the em fields , and the rest energy of charged particles .
the energy scales of plasmas are the thermal energy @xmath0 , the fermi energy @xmath1 , and the plasmon energy @xmath2 .
the energy scales of wave fields are the photon energy @xmath3 and the ponderomotive energy @xmath4 .
the energy scales of static electric and magnetic fields are @xmath5 and @xmath6 , respectively .
relativistic effects are important when the energy scales of either the plasmas or the em fields are comparable to the rest energy of charged particles .
quantum effects are important when the thermal energy is low compared to other energy scales .
an example where relativistic quantum effects are important is the magnetosphere of an x - ray pulsar @xcite .
the typical magnetic fields of x - ray pulsars are on the order @xmath7 g. the corresponding magnetic energy @xmath8 kev is comparable to the rest energy of electrons @xmath9 kev , indicating that relativistic effects are important .
moreover , the effective temperature of x - ray pulsars @xmath10 kev is colder than @xmath11 , indicating that quantum effects are also important .
that relativistic quantum effects are important , an inference made by comparing energy scales , is strongly supported by anharmonic cyclotron absorption features observed in spectra of x - ray pulsars @xcite . since classical plasma theories
can not explain these spectral features , the presence of high order harmonics is attributed to inelastic scatterings of photons with electrons that occupy quantized landau levels @xcite , and the anharmonicity is attributed to viewing geometry as well as relativistic effects @xcite . despite numerous efforts , many features of cyclotron absorption lines remain to be explained @xcite .
the locations and shapes of these lines contain important information such as the magnetic field and plasma profiles of magnetospheres of x - ray pulsars .
this information can not be extracted , unless wave dispersion relations , which enter the radiation transport equations @xcite that serve as the forward model in the retrieval problem @xcite , are obtained for strongly magnetized plasmas . in this paper , we will obtain , for the first time , explicit expressions of wave dispersion relations in strongly magnetized plasmas .
another example where relativistic quantum effects are important is a plasma produced by ultra intense lasers interacting with a solid target . during the interaction , a quasistatic magnetic field on gigagauss scale
can be produced @xcite .
the corresponding magnetic energy @xmath12 kev is comparable to the electron temperature of the plasma , indicating that quantum effects are important .
relativistic effects also turn out to be important when optical lasers are used to diagnose the plasma .
this is because the frequencies of optical photons are close to wave cutoffs , if the plasma has density @xmath13 , corresponding to @xmath14 ev .
due to singularities near cutoffs , small modifications of the cutoff frequencies can have large effects .
such effects have been revealed in a number of experiments @xcite . in these experiments , it is found that the magnetic field , determined from classical formulas , is larger when the same plasma is diagnosed by lasers with higher frequencies .
this peculiar dependence of the inferred magnetic field strength on the frequencies of diagnostic lasers indicates that systematic errors exist in classical formulas .
these systematic errors can be removed only by carefully calculating how waves propagate in strongly magnetized plasmas . in this paper
, we will describe , for the first time , how faraday rotation is modified by relativistic quantum effects . to describe wave propagation in strongly magnetized plasmas , as well as in other plasmas where relativistic quantum effects are important
, we develop a general theory that can be applied to various situations .
the general theory , which is based on the concept of effective action in quantum field theory , describes wave propagation through possibly nonthermal scalar qed plasmas in background em fields .
the wave effective action has a clear physical meaning .
when waves propagate through plasmas , they interact with charged particles , whose dynamics are affected by the presence of the background fields as well as the wave fields .
after all the interactions related to charged particles are summed up , what remains is the effective action of waves .
this clear physical picture of the wave effective action can be translated into rigorous mathematical procedures .
to derive the effective action , we start from the standard action of scalar qed , self - consistently factor out the background fields from the fluctuating fields , and then integrate out the charged particle fields in the path integral perturbatively .
we shall see that at the 1-loop level , the effective action is related to the linear response of the system to small amplitude waves .
having developed the general theory , we demonstrate how it can be applied using two examples .
the first example is a uniform , unmagnetized , boson plasma .
such a system has been studied by a number of authors using other methods @xcite .
results of our general theory agree with these authors in this special case .
the second example is a uniform , magnetized , boson plasma .
such a system has been studied by witte and coauthors @xcite , who can only describe wave propagation parallel to the background magnetic field .
our results agree in this special case .
moreover , our transparent formalism also enables us to describe nonparallel wave propagation , which was obscure in previous studies .
although many theories and models have been developed in the literature to describe waves in relativistic quantum plasmas , such as plasma response theories @xcite , finite temperature theories @xcite , quantum hydrodynamic models @xcite , and models that are based on the historical heisenberg - euler effective lagrangian @xcite , this is the first theory capable of demonstrating its correctness by showing that all linear wave modes well - known in classical plasma theories can be recovered when taking the classical limit , where @xmath15 is the rest mass , @xmath16 is the momentum , and @xmath17 is the quantized energy of a particle . ] in relativistic quantum results . beyond the immediate goal of establishing a formalism that describes wave propagation in relativistic quantum plasmas , the goal of this paper is to demonstrate that quantum field theory , in whose language the standard model of particle physics
is written , and in whose language many phenomena in condensed matter physics are explained , is also an effective language for plasma physics .
since particle physics describes a few particles with high energy , condensed matter physics describes many particles with low energy , and plasma physics describes intermediate number of particles with intermediate energy , it should not be surprising that a language that is effective for both extremes is also effective in the intermediate regime . in this paper
, we study scalar qed , which describes spin-0 bosons , instead of spinor qed , which describes spin-1/2 fermions , so that our main ideas can be illustrated without complications due to spins .
although plasmas are typically made of spinor particles instead of scalar particles , scalar qed can be a good model for many condensed matter systems like superconductors and superfluids @xcite .
moreover , our scalar qed plasma theory does recover waves in classical plasma theories , which typically take no account of spins at all .
extension of our formalism to spinor qed plasmas is straightforward and will be reported separately .
the rest of this paper is organized as follows . in sec .
[ sec : action ] , the general theory of wave propagation in scalar qed plasmas is presented . in sec .
[ sec : unmagnetized ] , we evaluate the wave effective action in unmagnetized plasmas and obtain linear wave modes in a cold plasma . in sec .
[ sec : magnetized ] , an explicit expression of the wave effective action in a cold and uniformly magnetized plasma is obtained , followed by analysis of linear wave modes . conclusions and discussion
are made in sec .
[ sec : conclusion ] .
some important mathematical details are given in the appendices .
our starting point is the standard action of scalar qed , in which a complex scalar field is coupled to the gauge field through minimum coupling . in natural unit @xmath18 and minkowski metric @xmath19 ,
the standard scalar qed action is @xmath20 the complex scalar field @xmath21 , whose complex conjugate is denoted as @xmath22 , describes charged spin-0 bosons with mass @xmath15 and charge is a dimensionless small number related to the fine - structure constant @xmath23 .
we denote @xmath24 the charge of particle states of species @xmath25 , so the charge of anti - particle states is @xmath26 . ]
the real - valued 1-form @xmath28 is the gauge field that defines the gauge covariant derivative @xmath29 .
the covariant derivative has curvature 2-form @xmath30 , known as the field strength tensor .
the @xmath31 interaction is necessary for the theory to be renormalizable , and the self - coupling constant @xmath32 is in general nonzero . but
to 1-loop level , @xmath32 does not contribute to the propagation of gauge bosons .
for simplicity , we set the renormalized value of @xmath32 to zero from now on .
it is well - known that the lagrangian density of action ( [ eq : action ] ) is invariant under local u(1)-gauge transformation @xmath33 where @xmath34 is any function .
the gauge invariant symmetry current is @xmath35.\ ] ] contributions by other charged species are additive to the current as well as to the lagrangian .
for conciseness , we will not write summations over charged species explicitly . to describe plasmas , which are constituted of charged particles and their self - consistent em fields ,
let us first understand the roles of background fields in quantum field theory .
in the usual quantum field theory , fields fluctuate near their vacuum expectation values .
the creation and annihilation of energy momentum quanta are always accompanied by the creation and annihilation of particles .
however , when fields fluctuate near some non - vacuum backgrounds , these two types of fluctuations become orthogonal .
energy momentum quanta can be created and annihilated without changing the number of particles in a system , and the number of particles can be altered without changing the total energy and momentum of the system .
this idea is illustrated in fig .
[ fig : background ] .
mathematically , the fields @xmath21 and @xmath36 can be decomposed into classical backgrounds and quantum fluctuations @xmath37 vacuum is the trivial case when the background fields @xmath38 and @xmath39 are zero .
when the background fields are nontrivial , the self - consistency of the classical backgrounds is given by the euler@xmath40lagrange equations @xmath41 in the above equations , @xmath42 is the background gauge covariant derivative , @xmath43 is the background field strength tensor , and @xmath44 is the total background current , summed over all charged species .
it is clear that the above equations are invariant under the background u(1)-gauge transformation on @xmath45 and @xmath39 .
the classical equations of motion ( [ eom ] ) describe bound states as well as unbound states .
when the potential energy is larger than the kinetic energy , as is the case in condensed matter systems , particles are bound by the potential created by other particles . in this case , the wave functions @xmath38 and @xmath39 are localized and interactions between particles can be strong . on the other hand , when the kinetic energy is larger than the potential energy , as is the case in plasmas , particles are unbound . in this case , the motion of one particle is weakly correlated with the motion of other particles , except during collisions .
fluctuates near the vacuum ( a ) , energy and momentum fluctuations are always accompanied by density fluctuations . on the other hand ,
when the field fluctuates near some non - vacuum background ( b ) , energy and momentum fluctuations can be orthogonal to density fluctuations.,width=321 ] while the background em field @xmath46 is conceptually simple , the background charged particle field @xmath38 needs some clarifications .
when the plasma background is constituted of n bosons , the classical background field @xmath47 is formally related to the properly symmetrized n - body wave function @xmath48 by @xmath49 here @xmath50 is the volume form of the @xmath51 dimensional subspace space of the n - boson configuration space . the half - form @xmath52 is commonly seen in geometric quantization @xcite .
it is easy to check that the n - body wave function has mass dimension @xmath53=m^{2n-1}$ ] and the field @xmath54 has mass dimension @xmath55=m$ ] as expected .
when a pair @xmath56 appears in an expression , two half - forms combine into the volume form , and the integration can then be carried out .
for example , the current @xmath57 of an @xmath58-body wave function @xmath59 can be written explicit as @xmath60.\ ] ] for conciseness , whenever the pair @xmath56 appears in an expression , integration over all other coordinates of @xmath61 of the many - body wave function @xmath62 will be implied .
having clarified the roles of background fields , let us study their effects in quantum field theory .
separate classical backgrounds from quantum fluctuations using decomposition ( [ expand ] ) , integrate by part using @xmath63 and cancel terms using the background self - consistency conditions ( [ eom ] ) , we can write action ( [ eq : action ] ) as @xmath64 here @xmath65 is the field strength tensor for the fluctuating field @xmath66 , @xmath67 are currents due to vacuum excitation and background plasma excitation , respectively .
the background - reduced action ( [ reducedaction ] ) is associated with a lagrangian density @xmath68 that depends on the fluctuating fields @xmath69 and @xmath66 .
when waves propagate through background plasmas , the background field @xmath46 , which is usually generated by some slowly - varying and large - scale external charge current distributions , can be regarded as fixed .
the background charged particle field @xmath45 , which is self - consistent with @xmath46 , can also be regarded as fixed . in this way ,
all interactions between waves and charged particles are taken into account by the fluctuating fields .
up to the constant term @xmath70 , the lagrangian density of the fluctuating fields @xmath66 and @xmath69 is @xmath71 here @xmath72 , @xmath73 , and @xmath74 correspond to terms on the second , the third , and the fourth line , respectively .
@xmath72 is the lagrangian density of the free @xmath69 field .
it should be clarified that @xmath69 is not free in the sense that its dynamics is influenced by the background field @xmath39 , as is manifested by the background gauge covariant derivative @xmath75 acting on @xmath69 .
but @xmath69 is nevertheless free in the sense that it neither interacts with @xmath66 nor couples to itself .
similarly , @xmath73 is the lagrangian density of the free @xmath66 field .
notice that the background field @xmath38 endows the gauge field @xmath66 with a mass term that can have spatial and temporal dependences .
finally , the interaction lagrangian @xmath74 contains interactions between @xmath69 and @xmath66 .
some interactions only involve the fluctuating fields @xmath69 and @xmath66 with constant couplings .
these interactions happen in plasmas as well as in the vacuum .
other interactions involve the background fields @xmath38 and @xmath39 in the coupling .
these interactions do not happen unless nontrivial background fields are present .
the lagrangian density ( [ reducedlagrangian ] ) has a number of gauge symmetries .
it is obvious that the lagrangian is invariant under background local u(1)-gauge transformation @xmath76 it is less obvious but equally true that once the background fields @xmath45 and @xmath39 are fixed the lagrangian is invariant under the following transformation @xmath77 this can be understood intuitively from fig .
[ fig : background ] as follows .
the local u(1)-gauge transformation ( [ gauge ] ) is a shift in @xmath36 and a phase rotation in @xmath21 .
when @xmath39 is fixed the shift is completely absorbed into @xmath66 .
when @xmath45 is fixed @xmath69 has to transform by eq .
( [ symmetry ] ) in order to preserve the norm of @xmath21 .
the symmetry current is @xmath78 this gauge invariant current @xmath79 contains contributions from excitations of the background fields as well as excitations of the vacuum .
so far , no approximation has been made , and the lagrangian density ( [ reducedlagrangian ] ) is exact .
the lagrangian density describes the free @xmath69 field , the free @xmath66 field , and their interactions . when the gauge field @xmath66 propagates , it interacts with charged particles and becomes dressed by these interactions . after summing up all these dressings , the effective action , which describes the propagation of the dressed @xmath66 field ,
can be obtained .
the summation of dressings can be rigorously implemented using the path integral . ] , which can be evaluated perturbatively using the small dimensionless coupling constant @xmath27 as an expansion parameter .
formally , the exponentiated effective action @xmath80}}$ ] of the @xmath66 field is the partially evaluated quantum partition function , while in the quantum case , the average is weighted by the phase factor @xmath81 .
] when the @xmath69 field is integrated out . to integrate out the @xmath69 field
, we will need to expand the action exponential @xmath82 , the quantum equivalence of the boltzmann factor , and it is convenient to group terms in the interaction @xmath83 according to their powers in @xmath27 , @xmath69 , and @xmath66 .
schematically , we can write @xmath84 denote the action of the free @xmath69 field and the free @xmath66 field by @xmath85 and @xmath86 , respectively .
expand the action exponential to @xmath87 order and use properties of gaussian integrals to eliminate terms that contain odd powers of @xmath69 in the path integral , we obtain the exponentiated effective action @xmath88}}&:=&\frac{1}{z_{\varphi}}\int[\mathscr{d}\varphi][\mathscr{d}\varphi^{*}]e^{i(s_{\varphi}+s_{\mathcal{a}}+s_{i})}\\ \nonumber & = & e^{is_{\mathcal{a}}}\frac{1}{z_{\varphi}}\int[\mathscr{d}\varphi][\mathscr{d}\varphi^{*}]e^{is_{\varphi}}\\ \nonumber & & \hspace{30pt}\times\bigg[1+i\big(s_{e\varphi^2\mathcal{a}}+s_{e^2\varphi^2\mathcal{a}^2}\big)\\ & & \hspace{35pt}+\frac{i^2}{2}\big(s_{e\varphi\mathcal{a}}^2+s_{e\varphi^2\mathcal{a}}^2\big)+o(e^2)\bigg],\end{aligned}\ ] ] where @xmath89[\mathscr{d}\varphi^{*}]$ ] denotes the path integral over fields @xmath69 and @xmath90 , and @xmath91[\mathscr{d}\varphi^{*}]e^{is_{\varphi}}$ ] is the partition function of the free @xmath69 field .
the term @xmath92 is linear in @xmath66 .
it serves as the source term that is responsible for the emission , absorption and scattering of gauge bosons .
since our focus is wave propagation , we will not be concerned with this term in this paper .
the remaining terms in the expansion ( [ effectiveaction ] ) are quadratic in @xmath66 and they are responsible for the propagation of the gauge field . to express the effective action in a more illuminating form , we can write terms in the above expansion in terms of quantities that are familiar in quantum field theory . the first quantity is the propagator , or the green s function , of the free @xmath69 field @xmath93[\mathscr{d}\varphi^{*}]e^{is_{\varphi}}\varphi(x)\varphi^{*}(x').\end{aligned}\ ] ] the green s function is a 2-point quantum correlation function .
it is the probability amplitude of creating a charged particle at one location and then annihilating this particle at another location .
the green s function of the free @xmath69 field appears from @xmath94 after evaluating the path integral ( [ effectiveaction ] ) .
the second quantity is the gauge invariant polarization tensor @xmath95 .
use properties of gaussian integrals to integrate out the @xmath66 field field requires gauge fixing .
however , since the @xmath66 field does not contribute to the polarization tensor to @xmath87 order , we do not need to be concerned with gauge fixing at this order .
] , we can evaluate the exact polarization tensor as @xmath96[\mathscr{d}\varphi^{*}][\mathscr{d}\mathcal{a}]e^{is}\mathcal{j}^{\mu}(x)\mathcal{j}^{\nu}(x')\\ \nonumber & = & \frac{1}{z_{\varphi}}\int[\mathscr{d}\varphi][\mathscr{d}\varphi^{*}]e^{is_{\varphi}}(\bar{\eta}^{\mu}\bar{\eta}^{\nu}+\bar{\jmath}^{\mu}\bar{\jmath}^{\nu})+o(e^2)\\ & = & \pi^{\mu\nu}_{2,\text{bk}}(x , x')+\pi^{\mu\nu}_{2,\text{vac}}(x , x')+o(e^2).\end{aligned}\ ] ] where @xmath97[\mathscr{d}\varphi^{*}][\mathscr{d}\mathcal{a}]e^{is}$ ] is the total partition function of lagrangian density ( [ reducedlagrangian ] ) .
the polarization tensor is the quantum current - current correlation function .
it is the probability amplitude that a current is excited at one location and then de - excited at another location .
the two terms @xmath98 and @xmath99 are polarization of the background plasma and the polarization of the vacuum , respectively .
they appear from @xmath100 and @xmath101 after evaluating the path integral ( [ effectiveaction ] ) .
the subscript 2 " indicates that they are approximated expressions to @xmath87 order in the perturbation series . in terms of these quantities ,
the effective action of gauge boson propagation to order @xmath87 can be written in the concise form @xmath102}&=&\frac{1}{2}\int d^4x\bigg(\mathcal{a}_{\mu}(x)(\partial^2g^{\mu\nu}-\partial^{\mu}\partial^{\nu})\mathcal{a}_{\nu}(x)\\ & & + \int d^4x'\mathcal{a}_{\mu}(x)\sigma_2^{\mu\nu}(x , x')\mathcal{a}_{\nu}(x')\bigg),\end{aligned}\ ] ] where @xmath103 is the response tensor to order @xmath87 .
the response tensor contains contributions from the background plasma as well as the vacuum @xmath104 the response due to the background plasma is constituted of the gauge boson mass term and the plasma polarization term bk @xmath105 the background plasma responds by particle - hole pair excitation . during this process , a gauge boson is forward scattered , namely , the gauge boson is first absorbed after exciting a plasma particle and then get re - emitted by the particle after its de - excitation .
the response due to the vacuum is constituted of the gauge boson mass renormalization and the vacuum polarization vac @xmath106 the vacuum responds by virtual pair excitation . during this process
, a gauge boson first decays into a pair of virtual particle and antiparticle , and then get reproduced when the virtual pair annihilates .
the first line of the effective action ( [ 1-loop ] ) is the same as @xmath107 after integration by part .
this is the action of the @xmath66 field in the vacuum .
the second line is a nonlocal term that depends on two coordinates @xmath108 and @xmath109 .
this term describes the dressing of the @xmath66 field due to its interactions with the background plasma and the vacuum .
explicit expressions of the polarization tensors @xmath98 and @xmath99 can be found by evaluating the path integrals in ( [ polarization ] ) . for conciseness , we will abbreviate 1-point functions by @xmath110 , @xmath111 , and so on .
similarly , we will abbreviate 2-point functions by @xmath112 , @xmath113 , and so on .
it is useful to note the following properties of the path integrals .
first , since @xmath114 is quadratic in @xmath115 , using properties of gaussian integrals , we know @xmath116 .
second , due to the imaginary exponential @xmath82 , we have @xmath117 .
evaluate the path integrals in ( [ polarization ] ) using these properties , we find the background polarization tensor @xmath118\big[\phi_0'\bar{d}^{'*\nu}-(\bar{d}^{'\nu}\phi_{0}')\big]g - c.c . \hspace{2pt},\ ] ] and the vacuum polarization tensor @xmath119(\bar{d}^{'*\nu}g)+c.c.\hspace{2pt}.\ ] ] expressions ( [ 1-loop])-([vacpol ] ) combined give an explicit formula of the effective action of gauge field propagation to order @xmath87 in the most general setting . since the @xmath87-order effective action contains feynman diagrams up to the 1-loop level , the @xmath87-order effective action is the same as the 1-loop effective action .
having obtained the formula of the 1-loop effective action , it is worth pointing out a number of symmetries and conservation properties that the effective action has .
first , the 1-loop effective action is manifestly lorentz invariant .
second , it is easy to check that the 1-loop effective action is invariant under the background u(1)-gauge transformation ( [ backgroundgauge ] ) , under which the green s function @xmath120 is transformed by @xmath121 this property guarantees that the effective action is independent of the choice of the background gauge .
so one is free to choose a background gauge that is convenient for calculations .
finally , the 1-loop effective action is invariant under local gauge transformation of the fluctuating gauge field @xmath122 . use the schwinger - dyson equation of the green s function @xmath123g(x , x')=-i\delta(x - x'),\ ] ] together with properties of the @xmath124function @xmath125 and the background consistency equations ( [ eom ] )
, one can show by straightforward calculations that @xmath126 after integration by part , it is clear that the effective action is invariant under the local gauge transformation of the @xmath66 field .
identities ( [ bkconservation ] ) and ( [ vacconservation ] ) indicate that the plasma current and the vacuum current are conserved separately , so the plasma contribution to wave propagation is separable from the vacuum contribution . in the above discussion
, we obtain the effective action in the configuration space .
sometimes it is more convenient to work in the momentum space , which is related to the configuration space by fourier transforms @xmath127 the configuration space reality condition @xmath128 and the exchange symmetry @xmath129 correspond to the momentum space conditions @xmath130 in fourier space , the @xmath87-order effective action @xmath131}&=&\frac{1}{2}\int\frac{d^4k}{(2\pi)^4 } \bigg(\hat{\mathcal{a}}_{\mu}(-k)(k^{\mu}k^{\nu}-k^2g^{\mu\nu})\hat{\mathcal{a}}_{\nu}(k)\\ & & + \int\frac{d^4k'}{(2\pi)^4}\hat{\mathcal{a}}_{\mu}(-k)\sigma_2^{\mu\nu}(k , k ' ) \hat{\mathcal{a}}_{\nu}(k')\bigg),\end{aligned}\ ] ] where @xmath132 is the minkowski inner product . simplifications can be made when the plasma is translational invariant . in this case , @xmath133 only depends on the difference between coordinates @xmath134 and is independent of @xmath135 .
change variables from @xmath108 and @xmath109 to @xmath136 and @xmath137 in eq .
( [ fourier ] ) , we have @xmath138 , where @xmath139 .
the gauge invariance ( [ bkconservation ] ) and current conservation ( [ vacconservation ] ) reduce to the ward@xmath140takahashi identities @xmath141 with the extra delta function , the momentum space @xmath87-order effective action ( [ ms1loop ] ) can be simplified as @xmath142}=\frac{1}{2}\!\int\!\frac{d^4k}{(2\pi)^4 } \hat{\mathcal{a}}_{\mu}(-k)\lambda^{\mu\nu}(k)\hat{\mathcal{a}}_{\nu}(k),\ ] ] where the dispersion tensor @xmath143 for given background fields @xmath38 and @xmath39 , the dispersion tensor @xmath144 is a function of the wave 4-momentum @xmath145 . when there is no external source , the classical equation of motion of @xmath146 is @xmath147 .
the nontrivial solutions are plane waves whose wave 4-momentum @xmath148 satisfies @xmath149 .
the property @xmath150 guarantees that one eigenvalue of @xmath151 is trivial .
in fact , using the ward@xmath140takahashi identity and performing elementary row and column operations , it is easy to show that the temporal components of the dispersion tensor ( [ eq : dispersiontensor ] ) can be eliminated by matrix similarity .
hence , the wave dispersion relations are given by @xmath152 where @xmath153 is the spatial block of the dispersion tensor .
in general , the 3-by-3 matrix @xmath153 has three nontrivial eigenvalues , giving relativistic covariant dispersion relations of three waves .
when there is some external test current @xmath154 , the equation of @xmath146 is @xmath155 .
after gauge fixing , the solution to this inhomogeneous equation is of the form @xmath156 taking inverse fourier transform , the linear response of @xmath157 to the external test current @xmath158 can be found .
for example , when placing a test charge in the plasma @xmath159 , one can derive screening in the relativistic quantum plasma .
finally , it is worth pointing out that the configuration space response tensor @xmath160 is in general complex , corresponding to the momentum space response tensor @xmath161 that contains an antihermitian part . in classical field theory ,
when one solves the dispersion relation ( [ dispersion ] ) with @xmath162 , the wave 4-momentum @xmath163 is necessarily complex . so the amplitude of a plane wave either changes in time in an initial value problem , or changes in space in a boundary value problem . in the quantized field theory ,
the wave 4-momentum @xmath163 is always real , and it is the number of gauge bosons that change when @xmath162 . by the famous optical theorem ,
the imaginary part @xmath164 is proportional to the total cross section of the gauge boson .
in fact , the optical theorem can be derived from the action exponential as follows . in the configuration space , we can separate the exponentiated action into an oscillatory part and an exponential part : @xmath165 when @xmath166 , the exponential is purely oscillatory .
this corresponds to the simple propagation of the gauge field .
when @xmath167 , namely , when the matrix is positive definite , the exponential decays .
this corresponds to wave damping in the classical theory , and the decay or absorption of gauge bosons in the quantized theory .
when @xmath168 , namely , when the matrix is negative definite , the exponential grows .
this corresponds to instabilities in the classical theory , and the production or emission of gauge bosons in the quantized theory . finally ,
when the matrix @xmath169 is indefinite , some eigenmodes grow while others decay . in this case , a state of @xmath66 field can convert from one mode to another mode as it propagates .
when there is no background em field , it is convenient to choose the vacuum gauge @xmath170 in this case , the equation of motion of @xmath38 reduces to the klein - gordon equation in its simplest form .
it is well - known that the single - boson solution to the klein - gordon equation is plane waves with the dispersion relation @xmath171 .
since particles are not confined , the background wave functions are not square integrable . to deal with an infinitely large plasma with finite density , it is helpful to first think of a periodic spatial box with size @xmath172 and a temporal box of length @xmath173 that contains @xmath58 particles , and then take the limit that @xmath174 while keeping the density @xmath175 fixed . inside the box , the properly normalized single - boson wave function @xmath176 where @xmath177 is the 4-momentum with @xmath178 .
the wave function represents a particle state when @xmath179 and an anti - particle state when @xmath180 .
the wave function is normalized such that the current density @xmath181 is what one would expect of a single particle . in the periodic box
, @xmath182 is quantized .
we can label single particle states by their wave numbers @xmath183 .
it is clear that the inner products @xmath184 and @xmath185 . to see how to deal with an infinitely large plasma ,
let us calculate current density of @xmath58 bosons contained in a box .
since particles in plasmas are unbound , they interact weakly with each other .
to lowest order , the plasma may be approximated as a collection of noninteracting particles .
suppose the @xmath58 bosons occupy @xmath186 orthogonal states @xmath187 , with @xmath188 bosons in the state @xmath148 , then the properly symmetrized and normalized wave function @xmath189 here @xmath190 is the permutation group of n - elements .
the index function @xmath191 is defined such that @xmath192 for @xmath193 ; @xmath194 for @xmath195 ; and @xmath196 for @xmath197 . after carrying out
the integrals and summations , the current density ( [ mbcurrent ] ) becomes @xmath198 .
more elaborately , the current density can be written as @xmath199 where @xmath200 is the density of the state @xmath201 , and the summation runs over all single - boson states .
when @xmath202 , the spectrum of @xmath38 becomes continuous . in this case , let a single - boson state be labeled by its wave vector @xmath203 .
if we keep the density of state @xmath204 fixed when we take the limit @xmath205 , the current density can be written as @xmath206 where the properly normalized effective single - boson wave function @xmath207 we see that the current ( [ sbcurrent ] ) can be obtained from the many - body current ( [ mbcurrent ] ) by replacing @xmath54 with the properly normalized effective single - boson wave function ( [ single ] ) , followed by summations and integrations over the hilbert space of single - boson states .
besides the wave functions , we will also need the green s function of the free @xmath69 field .
it is well - known that when @xmath208 , the green s function @xmath209 for path integrals to converge , one needs to replace @xmath210 in the exponentiated action .
this gives a prescription of the integration contour around poles in the complex plane when evaluating the integral in eq .
( [ eq : umgreen ] ) .
the resultant green s function is the feynman green s function .
the vacuum response when @xmath208 is also well - known . in fourier space , the vacuum response tensor @xmath211
the ward@xmath140takahashi identity is manifestly satisfied . using dimensional regularization in @xmath212 dimensions for divergent 1-loop integrals , imposing the renormalization condition that photons remain massless in the vacuum , and subtracting the counter terms
, we obtain the renormalized vacuum permittivity @xmath213\\ \nonumber & = & \frac{2e^2}{3(4\pi)^2}\big\{\frac{4}{3}-\frac{4m^2}{k^2}+\big(\frac{4m^2}{k^2}-1\big)^{3/2}\\ & & \times\arctan\big[\big(\frac{4m^2}{k^2}-1\big)^{-1/2}\big]\big\}.\end{aligned}\ ] ] on the first line , @xmath214 is the gamma function , which diverges when @xmath215 equals to nonpositive integers . to obtain the second equality , the limit @xmath216 is taken , followed by integration over the feynman parameter @xmath217 .
it is not hard to see that @xmath218 is real when @xmath219 , and @xmath218 becomes complex with a positive imaginary part when @xmath220 .
the positive imaginary part is proportional to the cross section of a gauge boson , which can decay into a pair of charged particle and antiparticle when @xmath220 .
the plasma response @xmath221 can be evaluated by substituting the effective single - boson wave function ( [ single ] ) and the green s function ( [ eq : umgreen ] ) into eq .
( [ bkpol ] ) , followed by integration and summation over the single - boson hilbert space .
the contribution of each charged species to the mass term of the @xmath66 field is @xmath222 and the plasma polarization tensor ( [ bkpol ] ) becomes @xmath223\\ & & \qquad\times[\psi_{\mathbf{p}}^{\epsilon'}\partial^{'\nu}-(\partial^{'\nu}\psi_{\mathbf{p}}^{\epsilon'})]g - c.c.\hspace{2pt}.\end{aligned}\ ] ] similar results are shown by melrose @xcite using the prescription of cutting one charged particle propagator in the vacuum polarization diagrams and replacing it by statistical average over the plasma .
our formulation has thus provided a justification for such a prescription .
let us consider the example of a cold particle plasma .
denote the 4-momentum of plasma particles by @xmath224 , then the density of state @xmath225 where @xmath226 is the number density of the plasma .
because of the @xmath227-functions , integrals and summations can be carried out very easily .
the current density due to each charged species becomes @xmath228 this is what one would expect of a cold uniform fluid . to satisfy the background self - consistency @xmath229
, the plasma needs to be constituted of more than one charged species , such that the total current @xmath230 when summed over all charged species . using the density of state ( [ umagdos ] ) , the mass term of the @xmath66 field ( [ eq : bkmass ] ) becomes @xmath231 it is easy to recognize that @xmath232 is the plasma frequency .
the plasma polarization tensor ( [ eq : bkpol ] ) becomes @xmath233 the two terms above correspond to the @xmath25-channel and the @xmath234-channel feynman diagrams of the forward scattering of a gauge boson .
we see quantum recoil , the change of the 4-momentum of charged particles during forward scattering of gauge bosons , is automatically taken into account . combining ( [ ummass ] ) with ( [ umpol ] ) and taking fourier transform , the contribution of each charged species to the momentum space plasma response tensor is @xmath235 here @xmath132 and @xmath236 are minkowski inner products .
it is straightforward to check that the ward@xmath140takahashi identity is satisfied .
having found the response tensors due to the vacuum ( [ umvac ] ) and the cold plasma ( [ umbk ] ) , we can proceed to find dispersion relations .
the simplest case is when different charged species in the plasma have no relative motion . in this case
, there is an inertial frame in which all background particles are at rest . in this plasma rest frame , the particle 4-momentum @xmath237 .
let us choose a coordinate system such that wave 4-momentum @xmath238 . in this coordinate system ,
the nonzero components of the plasma response tensor are for 4-momentum of and the roman @xmath239 for the magnitude of the wave vector .
while @xmath132 and @xmath236 denote the minkowski inner products , @xmath240 and @xmath241 are products of scalars . ]
@xmath242 where @xmath243 are the plasma frequency and the plasma susceptibility , respectively .
using elementary column and row operations , the dispersion matrix @xmath151 can be diagonalized and the eigenvalue problem can be solved .
there are two transverse modes and one longitudinal mode .
the two transverse modes are degenerate and electromagnetic with the dispersion relation @xmath244 from this dispersion relation , it is easy to see that the photon modes are gapped when background plasmas exist .
namely , the wave frequency @xmath245 when the wave vector @xmath246 if @xmath247 .
the longitudinal mode is electrostatic with the dispersion relation @xmath248 since @xmath249 , there always exist one gapped plasmon mode , known classically as the langmuir wave .
when there are two or more charged species , there also exists a gapless phonon mode , known classically as the ion acoustic wave .
, @xmath250 , and @xmath251 .
the solid black curves are the 1-loop dispersion relations .
the solid red curves are the dispersion relations that ignore the vacuum polarization .
the dashed black curves are wave dispersion relations in a classical plasma .
the upper curves are the electromagnetic waves , the middle curves are the langmuir waves , the bottom curves are the ion acoustic waves , and the dashed gray line across the diagonal represents the light cone .
notice that near the light cone , wave dispersion relations in the relativistic quantum plasma asymptote to wave dispersion relations in the classical plasma.,width=325 ] an example of wave dispersion relations in a cold , quasineutral , spinless , electron - ion plasma is plotted in fig .
[ fig : umdispersion ] . in the figure ,
the upper curves are the degenerate em waves , the middle curves are the langmuir waves , and the lower curves are the ion acoustic waves . there also exist high energy solutions with @xmath252 .
these high energy modes readily decay and are not plotted here . in fig .
[ fig : umdispersion ] , the solid black curves are the 1-loop dispersion relations solved from ( [ em ] ) and ( [ langmuir ] ) .
the red curves are wave dispersion relations when the vacuum polarization @xmath253 is ignored .
the dashed black curves are wave dispersion relations in a classical plasma . in this example
, we set the plasma density high with @xmath254 , such that relativistic quantum effects are visible on the scale of this figure .
we set the ions mass low with @xmath251 , such that ion effects are comparable to electron effects .
the coupling constant is taken to be unphysically strong @xmath255 , such that vacuum effects are comparable to plasma effects on the scale of this figure . as can be seen from the figure , wave dispersion relations in the relativistic quantum plasma are very similar to those in the classical plasma near the light cone .
however , there are clearly distinctions away from the light cone .
in particular , unlike classical plasma theories , the relativistic quantum theory predicts that longitudinal waves propagate with nonzero group velocities even when the plasma is cold .
this can be understood intuitively .
since the longitudinal wave quanta spend part of their time being carried by some excited charged bosons , they propagate together with these charged bosons , which have nonzero velocities . the photon modes and the plasmon mode have the same cutoff frequency @xmath256 , which is given by the solution to the equation @xmath257 . the cutoff frequency @xmath256 , or the mass gap , is less than the plasma frequency @xmath232 due to the vacuum polarization . it can be shown that the ratio @xmath258 decreases with increasing @xmath259 .
this can be understood intuitively .
vacuum polarization produces virtual pairs near charged particles .
these virtual pairs screen the electric field of charged particles , so the effective electric charge of particles are reduced . for higher plasma densities ,
the virtual pair density is also higher , resulting in stronger shielding of the electric charge and consequently smaller cutoff frequencies . to get a sense of how small the vacuum polarization effect is ,
let us approximate @xmath256 when @xmath260 .
write @xmath261 . since the physical value for electron charge is @xmath262 , where @xmath263 is the fine structure constant ,
the equation for @xmath256 can be solved asymptotically .
to lowest order , @xmath264 .
we see the effect of the vacuum polarization is minuscule . now let us check that classical dispersion relations are recovered when taking the classical limit in relativistic quantum results .
since energy of particles are not quantized in unmagnetized plasmas , the non - relativistic low energy limit is the classical limit . in the low energy limit @xmath265 , namely , near the light cone , contribution of a relativistic quantum plasma asymptote to that of a classical plasma @xmath266 and the contribution of the vacuum vanishes @xmath267 this can be understood intuitively , since gauge bosons in this limit do not have sufficient energy to create pairs of massive charged particle and anti - particle . in the low energy limit , the asymptotic dispersion relations of the photon , the plasmon , and the phonon modes are @xmath268 here @xmath269 is the vacuum shielding length due to virtual pair production .
similar results are obtained in @xcite , in which the phonon mode was not considered . in the opposite limit @xmath270 , namely , away from the light cone , the plasma contribution diminishes @xmath271 this can be understood from the perspective of spatial scales by fixing @xmath272 and letting @xmath273 go to infinity .
in this perspective , since the wave length of a high energy gauge boson is much smaller than the typical inter - particle spacing in the plasma , the gauge boson rarely encounters a plasma particle and propagates as if it is in the vacuum .
the asymptotic behavior ( [ eq : pasym ] ) can also be understood from the perspective of time scales by fixing @xmath273 and letting @xmath272 go to infinity . in this perspective , since the wave frequency is much larger than the plasma frequency , the plasma does not have time to respond .
unlike the plasma response , which diminishes in the high energy limit @xmath270 , the real part of the vacuum susceptibility blows up @xmath274 this can be understood intuitively . since the gauge boson has sufficient energy to create massive charged particles in this limit , the vacuum fluctuation is large .
outside the light cone , the imaginary part of @xmath253 is always zero . inside the light cone ,
when @xmath275 , the imaginary part of the vacuum susceptibility @xmath276 this positive imaginary part is proportional to the total decay cross section of a massive gauge boson .
the imaginary part is larger when there are more charged species , in which case there are more types of particles that the massive gauge boson can decay into .
after its typical life time , a massive gauge boson decays and thereafter stops propagating .
let us choose a coordinate system such that the uniform magnetic field with strength @xmath277 points in the @xmath278 direction .
since the choice of gauge does not affect final results , we are free to use the symmetric gauge @xmath279 this gauge is convenient since it respects the rotation symmetry of the system . having chosen the background gauge @xmath39 , the field @xmath38 can be solved from its equation of motion ( [ eom ] ) .
the solutions are relativistic landau levels , which have been obtained by a number of authors @xcite . since particles are confined by the magnetic field in the @xmath280-plane , for a single - boson wave function to be normalizable , it is only necessary to impose a periodic box in the @xmath215-direction .
let @xmath172 be the length of this periodic box . then in polar coordinate ,
properly normalized single - boson wave functions are @xmath281\bm{\}}.\end{aligned}\ ] ] here @xmath282 is the principle quantum number , @xmath283 is the angular momentum quantum number , @xmath284 is the parallel momentum , and @xmath179 and @xmath285 for particle and antiparticle states , respectively . the relativistic landau level with principle quantum number @xmath286 and parallel momentum @xmath284 has energy @xmath287 where @xmath288 is the gyrofrequency and the effective mass of the @xmath286-th excited state is @xmath289 in radial wave functions
, @xmath290 is the generalized laguerre function , where @xmath291 is the generalized laguerre polynomial .
the radial wave functions are localized within a length scale set by the b - field @xmath292 in the azimuthal wave functions , the upper and lower sign of @xmath293 in front of @xmath294 correspond to the case @xmath295 and @xmath296 , respectively .
these signs account for the fact that positively and negatively charged particles gyrate in opposite directions . to see the wave functions are properly normalized , one can calculate , for example , the total current in the @xmath215-direction . to deal with plasmas that are infinitely large , we follow procedures in sec .
[ sec : unmagnetized ] .
namely , we first consider finite number of particles in a spatial box of size @xmath172 and temporal box of length @xmath173 .
using the many - body wave function and taking the limit @xmath205 while keeping the plasma density fixed is equivalent to using the effective single - boson wave function @xmath297\}},\end{aligned}\ ] ] followed by integration over the continuous label @xmath298 and summations over the discrete labels @xmath299,and @xmath17 over the single - boson hilbert space . in the above expression
, @xmath300 is again the density of state . besides the wave functions
, we will also need the green s function of charged bosons in a uniform magnetic field . the green s function
can either be found by calculating the propagator of the quantized @xmath69 field , or more directly by solving the schwinger@xmath140dyson equation ( [ eq : sdgreen ] ) .
there are many representations of the green s function , for example , the spectral representation @xcite and the proper time representation @xcite
. a useful expression of the green s function for our purpose is obtained in appendix [ app : green ] .
the green s function can be put into the form @xmath301}}{q_{0}^{2}-q_{\parallel}^{2}-m_n^2}\lambda_{n}^{(0)}\bm{\big(}\frac{(x - x')^2+(y - y')^2}{r_0 ^ 2}\bm{\big)}.\end{aligned}\ ] ] this form of the green s function respects a number of symmetries of the system .
it is manifestly invariant under the rotation around the @xmath215-axis .
it is also invariant under parity @xmath302 . finally , it is invariant under the joint symmetry action of charge conjugation @xmath303 and time reversal @xmath304 .
these demanded symmetry properties will enable easy extraction of physics later on .
notice that the green s function has poles when @xmath305 .
these are nothing other than the dispersion relations of charged particles occupying relativistic landau levels . when the @xmath69 field propagates , it can propagate through any of these channels
. we will not consider the vacuum response in this section for three reasons .
first , as can be seen from sec .
[ sec : unmagnetized ] , effects of the vacuum response are minuscule compared to effects of the plasma response for low energy waves and the cyclotron energy @xmath306 are smaller than the electron rest energy @xmath307 . ] .
second , due to ( [ bkconservation ] ) and ( [ vacconservation ] ) , contributions by plasmas and the vacuum are separable . ignoring the vacuum response
does not break any symmetry of the system .
finally , for a practical reason , obtaining a useful expression of the vacuum response is highly nontrivial .
although many representations of the response tensor have been obtained @xcite , they can be evaluated analytically only in some special limits @xcite .
after choosing the density of state appropriately , such that the equation for the background em field @xmath229 is satisfied , we can evaluate the plasma response tensor ( [ bkpol ] ) by plugging in the effective single - boson wave functions ( [ eq : magsingleeff ] ) and the green s function ( [ eq : maggreen ] ) , followed by integration over the continuous label @xmath298 and summations over the discrete labels @xmath299 , and @xmath17 .
let us consider the example of a cold particle plasma , in which all charged bosons are condensed in the lowest landau levels . in the rest frame of the cold plasma , the density of state @xmath308 where @xmath226 is the number density of the plasma .
the three @xmath227-functions make it very easy to carry out the integrations over @xmath298 and summations over @xmath299 , and @xmath17 .
using covariant derivatives listed in appendix [ app : derivative ] , it is easy to calculate the many - body current .
the current density due to each charged species is @xmath309 this is what one would expect of a uniform cold fluid .
the self - consistency condition @xmath310 is satisfied if the plasma is quasineutral .
the contribution of each charged species to the mass term of the @xmath66 field is @xmath311 where @xmath312 is again the plasma frequency .
the calculation of the plasma polarization tensor is more technical .
we show details of the calculation of @xmath313 in appendix [ app : polarization ] .
other components of the polarization tensor can be calculated using similar methods .
combining the polarization term with the mass term , the contribution of each charged species to the fourier space plasma response tensor is @xmath314\bigg),\\ \nonumber \hat{\sigma}^{\lambda a}_{2,\text{bk}}(k ) & = & \hat{\sigma}^{a\lambda}_{2,\text{bk}}(-k)=\frac{m\omega_p^2}{2m_0}\sum_{\varsigma=\pm 1}(\kappa+\varsigma\varrho)^{\lambda}\\ & & \times\bigg(-\kappa^ak_\varsigma^{(1)}\pm i\varsigma\varepsilon^{ab}\kappa^b(k_\varsigma^{(1)}-k_\varsigma^{(0)})\bigg).\end{aligned}\ ] ] in the above expressions , the greek indices @xmath315 correspond to the unconfined directions , and the latin indices @xmath316 correspond to the confined directions . on right hand sides ,
@xmath317 is the metric tensor of the minkowsi space , @xmath318 is the @xmath227-function , and @xmath319 is the 2-dimensional levi - civita symbol . the upper and lower sign of @xmath320 in the imaginary parts correspond the the case @xmath295 and @xmath296 , respectively . for conciseness ,
we denote @xmath321 , where @xmath322 , @xmath323 , and the @xmath324-function is related to the confluent hypergeometric function @xmath325 by @xmath326 the wave 4-momentum is normalized by the magnetic field length @xmath327 and the 4-momentum of the plasma particle is normalized by @xmath328 .
the summation over @xmath329 corresponds to the summation of the @xmath25-channel and the @xmath234-channel feynman diagrams of the forward scattering of a gauge boson .
the plasma response tensor ( [ magpol ] ) satisfies a number of required symmetries .
it satisfies the exchange symmetry @xmath330 , as required by ( [ eq : reality ] ) .
it is invariant under the rotation around the @xmath215-axis , which is a basic symmetry of the system .
moreover , it transforms properly under time reversal symmetry @xmath331 by @xmath332 . finally , using property ( [ eq : kconfluent ] ) of the confluent hypergeometric function , it is straightforward to check that the ward@xmath140takahashi identity ( [ eq : ward ] ) , which is required by charge conservation and gauge invariance , is satisfied .
in addition to these symmetry properties , the plasma response tensor ( [ magpol ] ) has a number of asymptotic properties .
first , since the confluent hypergeometric function @xmath325 has poles whenever @xmath333 equals to nonpositive integers , the response tensor has poles whenever @xmath334 , where the frequency of relativistic quantum cyclotron resonances @xmath335 the above asymptotic behavior is in the limit @xmath336 .
these resonances have clear physical meanings .
the @xmath337 resonance corresponds to the energy it takes to excite a plasma particle from the ground state to the @xmath286-th landau level with parallel momentum @xmath338 .
the @xmath339 resonance corresponds to the aforementioned excitation energy plus the energy it takes to create a pair of new particles in ground states .
the second important asymptotic property of the response tensor ( [ magpol ] ) is when the magnetic field @xmath340 . in this limit , the ground state mass @xmath341 asymptotes to the bare mass @xmath15 .
moreover , use the asymptotic property that @xmath342 when @xmath343 while keeping @xmath344 fixed @xcite , we can find the asymptotic behavior of the @xmath324-function @xmath345 here @xmath132 is the minkowski inner product .
using the above expression , it is straightforward to check that in the limit @xmath340 , the response tensor ( [ magpol ] ) of cold magnetized plasmas asymptotes to the response tensor ( [ umbk ] ) of cold unmagnetized plasmas
. let us choose a coordinate system such that the wave 4-momentum @xmath346 .
since @xmath347 in this coordinate system , the plasma response tensor ( [ magpol ] ) can be simplified . to facilitate discussions next ,
let us write the wave dispersion relation ( [ dispersion ] ) explicitly @xmath348 the situation becomes particularly simple when the wave vector is exactly parallel ( @xmath349 ) or perpendicular ( @xmath350 ) to the magnetic field . in these cases , @xmath351 for both @xmath352 and @xmath353 ,
so simple analytical expressions of the dispersion relations can be obtained . when waves propagate perpendicular to the magnetic field , namely , when @xmath350 , the contributions by each charged species to the nonvanishing spatial components of the plasma response tensor are @xmath354 the dispersion relations can be easily read out by substituting these into eq .
( [ eq : magdisp ] ) . when the wave e - field is parallel to the background b - field
, the wave is transverse .
the dispersion relation of this ordinary electromagnetic wave ( o - wave ) is @xmath355 this is very similar to the dispersion relation of the o - wave in classical plasmas , except that the bare mass @xmath15 is now replaced by the ground state mass @xmath341 .
when the wave e - field is perpendicular to the background b - field , the longitudinal and transverse components of the wave are mixed by the off - diagonal components of the response tensor .
relativistic quantum cyclotron resonances ( [ eq : poles ] ) hybridize with the extraordinary electromagnetic wave ( x - wave ) by the dispersion relation @xmath356 while the x - wave is more or less captured by classical plasma theories , cyclotron resonances , also known as the bernstein waves , are absent in classical plasma theories when plasmas are cold @xcite . in classical plasma theories ,
charged particles sample wave fields along their gyro - orbits .
bernstein resonances arise when their gyrofrequencies match the wave frequency .
if plasma temperature is zero , cyclotron motion of classical particles stops and bernstein resonances vanish consequently .
however , this is not the case when quantum effects are taken into account .
using the uncertainty principle and the fact that the kinetic momentums @xmath357 do not commute @xmath358=-ie\bar{f}_{\mu\nu}$ ] , it is easy to see that the gyromotion of quantum charged particles never stops .
so bernstein waves persist in a quantum plasma even when it is cold . and @xmath359 .
the solid curves are waves in a relativistic quantum plasma and the dashed curves are corresponding waves in a classical plasma .
the red curves are the ordinary electromagnetic waves .
the blue curves are the extraordinary electromagnetic waves hybridized with cyclotron resonances . the dashed gray line across the diagonal represents the light cone .
notice that near the light cone , wave dispersion relations in the relativistic quantum plasma asymptote to wave dispersion relations in the classical plasma .
while the classical dispersion relations only capture the upper - hybrid resonance @xmath360 , the relativistic quantum dispersion relations capture all cyclotron resonances .
notice that gaps between bernstein waves remain open even when the relativistic quantum plasma is cold .
also notice that cyclotron resonances are not harmonically spaced .
the 5-th resonance occurs near @xmath361 instead of @xmath362 in this example.,width=325 ] an example of wave dispersion relations for perpendicular propagation is plotted in fig .
[ fig : perpendiculardispersion ] . for the sake of clarity , we set the mass of ions to infinity , such that the immobile ions merely serve as a neutralizing background . by doing so
, ion resonances and the gapless compressional alfv@xmath363n wave are removed , and what remain are the o - wave , the x - wave , and the relativistic quantum electron bernstein waves .
we only plot the low energy branches with @xmath364 , for which effects of the vacuum polarization can be safely ignored .
parameters used for making this plot are @xmath365 and @xmath366 . in fig .
[ fig : perpendiculardispersion ] , the solid curves are dispersion relations in a relativistic quantum plasma and the dashed curves are dispersion relations in a classical plasma .
the solid and the dashed red curves almost overlap , since the dispersion relations of the relativistic quantum and the classical o - wave differ only in their mass gaps by the ratio @xmath367 .
the blue curves are the x - waves hybridized with cyclotron resonances .
while the classical dispersion relation only captures the upper - hybrid resonance at @xmath368 , the quantum dispersion relation captures all the cyclotron resonances , which are present even when the plasma is cold .
notice that cyclotron resonances are not harmonically spaced due to relativistic effects . as can be seen from fig .
[ fig : perpendiculardispersion ] , the 5-th resonance occurs near @xmath361 instead of @xmath362 in this example .
the dispersion relations of relativistic quantum bernstein waves may be approximated as follows .
denote @xmath369 , where @xmath337 is defined in ( [ eq : poles ] ) . using property ( [ eq : kasympt ] ) of the k - function , the asymptotic behaviors of the plasma response tensor when @xmath370 are @xmath371 where @xmath372 .
a good approximation of wave dispersion relations may be obtained by substituting the above expressions into ( [ eq : xwave ] ) , keeping all the even powers of @xmath272 intact , and replacing odd powers @xmath373 , such that the asymptotic behavior @xmath374 near the light cone is respected .
to lowest order , the approximated dispersion relation near the resonance @xmath375 is @xmath376,\end{aligned}\ ] ] where @xmath377 is a function of @xmath378 .
the gaps between branches of relativistic quantum bernstein waves are controlled by the factor @xmath379 .
notice that the gaps remain open even when plasmas are cold .
cyclotron resonances in strongly magnetized plasmas are anharmonically spaced . in uniform magnetic fields ,
the anharmonicity is due to relativistic effect , which redshifts the cyclotron resonance @xmath380 from its classical value @xmath381 .
the redshift is significant when either the b - field is strong or the cyclotron order @xmath286 is large .
more specifically , the redshift is comparable to the gyrofrequency , namely , @xmath382 when @xmath383 the ratio of the frequency of cyclotron harmonics to the frequency of the fundamental is plotted in fig .
[ fig : harmonicratio ] . in the figure ,
the solid curves are ratios when relativistic quantum effects are taken into account , and the dashed lines are classical ratios . using expression of @xmath384 in eq .
( [ eq : poles ] ) , it is easy to see when in the weak field limit @xmath385 , cyclotron resonances are harmonically spaced @xmath386 . while in the strong field limit @xmath387 , cyclotron resonances are anharmonically spaced with @xmath388 .
when magnetized plasmas are illuminated by external light sources , cyclotron resonances appear as absorption features .
these anharmonic cyclotron absorption features have been observed in the spectra of a number of x - ray pulsars @xcite , whose polar caps serve as external light sources that illuminate their magnetospheres , which are made of magnetized plasmas .
the frequencies of line centers are determined by @xmath337 , which is given by eq .
( [ eq : poles ] ) . by fitting locations of absorption lines
( [ eq : poles ] ) , the line - averaged magnetic field can be determined . as has been noted in the previous paragraph
, the spacing between absorption lines becomes anharmonic when eq .
( [ eq : cycloredshift ] ) is satisfied . for x - ray pulsars , @xmath389 , and
the redshift starts to be significant from the 9-th resonance .
the width and optical depth of the absorption lines are determined by gaps between branches of bernstein waves , as well as the inhomogeneities of the plasma .
qualitatively , as can be seen from fig .
[ fig : perpendiculardispersion ] , lower bernstein branches have larger gaps , resulting in wider absorption lines with larger optical depth . quantitatively , when plasma density and magnetic field profile are known , the absorption line shapes can be found by solving the radiative transfer equations @xcite , in which photons advection is governed by the dispersion relation ( [ eq : magdisp ] ) .
conversely , when the absorption line shapes are measured , the plasma and magnetic field profile can be retrieved by solving the inverse problem .
thus a new era in astrophysics has been opened , in which the profile and evolution of the magnetosphere of an x - ray pulsar can be measured as it accretes materials from its companion star . when waves propagate parallel to the magnetic field , namely , when @xmath349 , the nonvanishing spatial components of the plasma response tensor can be written as @xmath390 in the above expressions , @xmath391 , @xmath392 , and @xmath393 are notations of permittivities typically used in classical plasma physics .
using these notations , the dispersion relations of the right - handed circularly polarized electromagnetic r - wave , the left - handed circularly polarized electromagnetic l - wave , and the longitudinal electrostatic p - wave are @xmath394 where @xmath395 is the refractive index . writing summations over charged species explicitly , the permittivities @xmath396 in the expressions of @xmath137 and @xmath172 , the upper and lower sign of @xmath293 and @xmath320 correspond to @xmath397 and @xmath398 , respectively .
since particle energy is not quantized in the direction parallel to the magnetic field , the low energy limit is the classical limit . in the classical limit @xmath399 , it is clear that the above expressions asymptote to their classical values .
consequently , wave dispersion relations in relativistic quantum plasmas asymptote to those in classical plasmas .
an example of wave dispersion relations for parallel propagation in a quasineutral electron - ion plasma is plotted in fig .
[ fig : paralleldispersion ] .
only low energy branches with @xmath364 are plotted , for which effects of the vacuum polarization can be safely ignored . in the figure , the solid curves are wave dispersion relations in a relativistic quantum plasma and the dashed curves are corresponding wave dispersion relations in a classical plasma .
the black and blue curves are the right- and left - handed circularly polarized em waves , respectively .
the red curves are the longitudinal electrostatic waves , which include a gapped langmuir wave and a gapless acoustic wave . for relativistic effects to be visible , the magnetic field is made strong such that @xmath366 . for ion effects to be visible , the mass of ions is chosen to be close to the electron mass with @xmath251 .
the ratio of the plasma frequency to the gyrofrequency is chosen to be @xmath365 .
it is easy to see that the relativistic quantum dispersion relations asymptote to the classical dispersion relations near the light cone . to get a sense of how large relativistic quantum corrections are
, we can calculate the cutoff frequencies , the wave frequencies when the wave vector @xmath400 . in a single - species plasma ,
the approximated cutoff frequencies in the limit @xmath401 are @xmath402 here @xmath403 is the cutoff frequency of the r - wave in a classical plasma and @xmath404 is the cutoff frequency of the r - wave in a relativistic quantum plasma .
similar notations are used for the l - wave and the p - wave .
as expected , relativistic quantum effects are large when @xmath405 , namely , when the energy scale of the background magnetic field is comparable to the rest energy of charged particles . ,
@xmath359 and @xmath251 .
the solid curves are waves in a relativistic quantum plasma and the dashed curves are corresponding waves in a classical plasma .
the black and blue curves are the right- and left - handed circularly polarized electromagnetic waves , respectively .
the red curves are the longitudinal electrostatic waves , which include a gapped langmuir wave and a gapless acoustic wave . the dashed gray line across the diagonal represents the light cone .
notice that near the light cone , wave dispersion relations in the relativistic quantum plasma asymptote to wave dispersion relations in the classical plasma.,width=325 ] although relativistic quantum corrections of cutoffs are small when @xmath385 , they can be important when magnified by singularities of refractive indices near cutoffs .
for example , faraday rotation , the rotation of the wave polarization axis caused by the phase velocity difference between the r - wave and the l - waves of the same frequency , can be substantially modified near cutoffs .
denote @xmath406 the polarization angle of a linearly polarized wave as it propagates along the @xmath215-axis . then faraday rotation per vacuum wave length @xmath407
is given by the well - known formula @xmath408 , where @xmath409 and @xmath410 are refractive indices of the r - wave and the l - wave , respectively .
a comparison between faraday rotations in a relativistic quantum plasma and a classical plasma is plotted in fig .
[ fig : faradayrotation](a ) , for parameters @xmath411 and @xmath359 . in the figure ,
the left axis is faraday rotation per vacuum wavelength .
the solid black curve is the faraday rotation @xmath412 in a relativistic quantum plasma and the dashed black curve is the faraday rotation @xmath413 in a classical plasma .
the right axis of the figure is the relative difference @xmath414 .
as can be seen from the figure , while the relative difference asymptotes to a small number @xmath415 when @xmath416 , it can be of order @xmath417 near the classical cutoff of the r - wave .
denote @xmath227 the relative difference at @xmath418 .
the region in the @xmath419 space where @xmath227 is of order 1 is plotted in fig .
[ fig : faradayrotation](b ) . in the figure , the horizontal axis is the density of the electron gas and the vertical axis is the strength of the magnetic field .
the region above the solid black contour is where @xmath420 , the region above the large - dashed black contour is where @xmath421 , and the region above the small - dashed black contour is where @xmath422 . to facilitate reading of the figure ,
contours of @xmath403 are also plotted .
the blue contour is where @xmath423 ev , the red contour is where @xmath424 ev , and the gray contour is where @xmath425 ev .
the contours of @xmath227 and @xmath403 combined can be used to determined how important relativistic quantum corrections are in a given situation .
for example , the small - dashed black contour and the red contour intersect around @xmath426 and @xmath427 .
this means if laser with photon energy @xmath428 ev is used to diagnose such plasma , then ignoring relativistic quantum effects will introduce @xmath429 systematic error . and
@xmath359 . notice that near the classical cutoff @xmath403 , faraday rotations in the relativistic quantum plasma and the classical plasma differ significantly .
( b ) region in the @xmath419 space where relativistic quantum corrections are important .
the regions above the solid , large - dashed and small - dashed black contours are regions where @xmath420 , @xmath430 and @xmath431 , respectively . the blue , red and gray contours are where @xmath423 ev , @xmath417 ev and @xmath432 ev , respectively .
these two sets of contours combined can be used to determine how important relativistic quantum corrections are in given conditions .
see the main text for more details.,width=325 ] in laser plasma experiments , when lasers with frequencies close to classical cutoffs are used for diagnostics , relativistic quantum corrections of wave dispersion relations need to be taken into account in order to avoid systematic errors . as can be seen from fig .
[ fig : faradayrotation](a ) , if one tries to match data points on the relativistic quantum curve by shifting the classical curve , then @xmath433 will have to be smaller than its true value , resulting in systematic errors . as the frequency of the diagnostic laser increases , the inferred magnetic field strength approaches its true value from the below .
this is why the inferred magnetic field appears to increase with the frequency of the diagnostic laser when classical formulas are used . in experiments conducted by tatarakis , wagner and their coauthors
@xcite , the magnetic field strength is determined from cotton - mouton effect , which depends on frequencies of cutoffs just as the faraday rotation does .
it is beyond the scope of this paper to go into details , but the peculiar dependence of the inferred magnetic field strength on the frequencies of diagnostic lasers can already be understood qualitatively as a consequence of relativistic quantum corrections of cutoff frequencies .
in this paper , we show that quantum field theory is an effective language for plasma physics .
this language naturally incorporates relativistic and quantum effects without the necessity of manually adding patches to plasma models . to demonstrate the effectiveness of this language
, we study wave propagation in scalar qed plasmas by calculating the 1-loop effective action of wave propagation .
the 1-loop effective action contains all information of linear waves , and particularly , the dispersion relations . to order @xmath87 , the effectively action ( eqs .
[ 1-loop]-[vacpol ] ) captures effects of the polarization of the background plasma as well as the polarization of the vacuum . using the 1-loop effective action and explicit expressions of cold plasma response tensors ( eqs .
[ umbk ] and [ magpol ] ) , we show that all linear waves well - known in classical plasma theories can be recovered from relativistic quantum results when taking the classical limit . in unmagnetized plasmas ( fig .
[ fig : umdispersion ] ) , the eigenmodes are the degenerate em waves , the langmuir wave , and the ion acoustic wave . when propagating perpendicular to the external b - field ( fig .
[ fig : perpendiculardispersion ] ) , the eigenmodes are the electromagnetic o - wave and x - wave , and the electrostatic compressional alfv@xmath363n wave and the bernstein waves . when propagating parallel to the external b - field ( fig .
[ fig : paralleldispersion ] ) , the eigenmodes are the electromagnetic r - wave and l - wave , and the electrostatic langmuir wave and acoustic wave .
since the lagrangian of classical charged particles can be deduced from the relativistic quantum lagrangian by making semiclassical approximations @xcite , the agreement between relativistic quantum results and classical results in the classical regime is not coincidental .
when relativistic quantum effects are important , we show that corrections to classical wave dispersion relations have profound observable consequences . in cold unmagnetized plasmas ,
relativistic quantum effects are important when either the plasma frequency @xmath2 or the wave vector @xmath434 is comparable to electron rest energy @xmath307 . in these regimes ,
longitudinal waves propagate with nonzero group velocities even when the plasma is cold ( fig .
[ fig : umdispersion ] ) .
when propagating perpendicular the external b - field , quantum effects sustain cyclotron resonances even when the plasma is cold , and relativistic effects space these resonances anharmonically even when the magnetic field is uniform ( fig .
[ fig : harmonicratio ] ) . by providing explicit expressions of wave dispersion relations in strongly magnetized plasmas ,
we open up a new era in astrophysics where profiles of magnetospheres of x - ray pulsars can be retrieved from anharmonic cyclotron absorption features observed in their spectra . when propagating parallel to external b - fields , cutoff frequencies are modified differently by relativistic quantum effects .
these modifications can be important even when relativistic quantum corrections are small , if lasers whose frequencies are close to the cutoffs are used for diagnostics . in this paper , we describe how faraday rotation is modified ( fig .
[ fig : faradayrotation]a ) and map out the parameter space where such modifications are important ( fig .
[ fig : faradayrotation]b ) .
we show that for a large range of parameters relevant to laser plasma experiments , relativistic quantum corrections need to be taken into account in order to avoid systematic errors .
our descriptions of relativistic quantum plasmas are enabled by developing a quantum field theory with nontrivial background fields .
the idea of separating classical backgrounds from quantum fluctuations is an extension to furry s picture of strong field qed @xcite .
in addition to external em fields , which are treated non - perturbatively in strong field qed , we also take into account of the existence of non - perturbative background charged particle fields . the formidable task of finding s - matrix elements by calculating quantum correlation functions whose
end states contain infinitely many particles is reduced by incorporating effects of background charged particle fields directly into the lagrangian .
such an incorporation , which has been attempted phenomenologically by shvets @xcite , is made rigorous and systematic in this paper .
we partition the fields into classical backgrounds and quantum fluctuations similar to what has been done by raicher _
we make further progress by simplifying the lagrangian using the self - consistency of backgrounds , and developing the classical field theory to quantum level by including 1-loop effects . in this way
, we thoroughly clarify the role of background fields and use boson plasmas as examples to demonstrate how nontrivial background fields can be treated in quantum field theory from first principle . using our formalism
, further progress can be made by calculating higher order terms in the perturbation series . in the next order
, effects such as particle collision and wave scattering will contribute . without these effects , the linear response theory we have developed in this paper is a random phase approximation of relativistic quantum plasmas , in which particles respond collectively to the mean field instead of interacting directly with each other . to go beyond the random phase approximation , two steps are necessary .
the first step is to solve the interacting many - body wave functions @xmath435 and @xmath39 .
the second step is to calculate the effective action to higher order in the perturbation series .
for example , to describe wave propagation in thermal plasmas , one should first solve the thermal background states , which contain not only a thermal distribution of charged particles , but also a thermal distribution of wave quanta @xcite , and then calculate the propagator of the gauge boson to higher loops such that effects of collision between charged particles and scattering of waves are taken into account . in the end
, we want to point out the implication of this work for quantum field theory . an important consequence of including nontrivial background fields is a new mechanism for mass generation in gauge theories . in the higgs mechanism @xcite
, gauge bosons acquire masses through a gauge - symmetry - breaking mass term .
for such a term to arise , the bare mass of the scalar field is required to be imaginary in order for the gauge symmetry to be spontaneously broken .
in contrast , when nontrivial background fields are present , gauge bosons acquire masses through a gauge invariant response tensor ( eqs .
[ bk ] and [ bkconservation ] ) .
the response tensor endows gauge bosons with their masses , requiring that neither the bare mass of the scalar field be imaginary , nor the local gauge symmetry be broken .
the authors are grateful to i. y. dodin and d. e. ruiz for valuable discussions . this research is supported by nnsa grant no . de - na0002948 and doe research grant no . de - ac02 - 09ch11466 .
a spectral representation of the green s function of charged scalar fields in a uniform magnetic field has been obtained in @xcite . in the landau gauge @xmath436 the green s function can be written as @xmath437 } } { q_0 ^ 2-q_\parallel^2-m_n^2}\\ \nonumber & & \times\psi_n\bm{\big(}\frac{r_0}{\sqrt{2}}(q_\perp+eb_0y)\bm{\big)}\psi_n\bm{\big(}\frac{r_0}{\sqrt{2}}(q_\perp+eb_0y')\bm{\big)}.\end{aligned}\ ] ] here @xmath438 denotes the green s function in the landau gauge and @xmath439 is the hermite function . using the completeness of the hermite functions @xcite
@xmath440 it is straightforward to check the green s function ( [ eq : landaugreen ] ) solves the schwinger@xmath140dyson equation ( [ eq : sdgreen ] ) in the landau gauge .
this form of the green s function is expanded by wave functions that are eigenfunctions of the @xmath441 drift .
these eigenfunctions are featured by free propagation in the @xmath215-direction , the direction of the @xmath442 field ; free propagation in the @xmath108-direction , the direction of @xmath441 drift ; and harmonic oscillation in the @xmath443-direction , the direction of the e - field .
these features make the green s function ( [ eq : landaugreen ] ) a convenient form for studying dc quantum hall conductivity .
but the loss of rotation symmetry in the perpendicular plane makes it inconvenient for studying ac wave phenomena . to restore the rotation symmetry , we need to make a gauge transformation into the symmetric gauge ( [ eq : symmetricgauge ] ) .
the symmetric gauge is related to the landau gauge ( [ eq : landaugauge ] ) by gauge transformation ( [ backgroundgauge ] ) with @xmath444 under this gauge transformation , the green s function is transformed by ( [ eq : gaugegreen ] ) as @xmath445 where @xmath446 denotes the green s function in the symmetric gauge . in the symmetric gauge , the eigenfunctions ( [ eq : magsingle ] ) are circular in the perpendicular plane , so the green s function @xmath446 , which can be expanded by these eigenfunctions , is also invariant under rotation around the @xmath215-axis .
to put @xmath446 in a manifestly rotational invariant form , we need the following relation between the hermite functions and the laguerre functions @xmath447 to prove this identity , recall the hermite function @xmath448 where @xmath449 is the hermite polynomial .
the hermite polynomial satisfies @xmath450 also recall that the laguerre function @xmath451 where @xmath452 is the laguerre polynomial .
the closed series of the laguerre polynomial is @xmath453 write @xmath454 and @xmath455 . with the change of variable @xmath456 ,
the lhs of the identity ( [ eq : hermitelaguerre ] ) becomes @xmath457 we have thus proved the identity ( [ eq : hermitelaguerre ] ) , which relates the integral of the hermite functions to the laguerre functions .
using identity ( [ eq : hermitelaguerre ] ) , we can carry out the @xmath378 integral in the green s function ( [ eq : landaugreen ] ) and put the result in a rotational invariant form . with the following change of variables
@xmath458 it is easy to see that the green s function ( [ eq : slgreen ] ) can be put into its final form eq .
( [ eq : maggreen ] ) . finally , using the completeness of the laguerre functions @xcite @xmath459 it is straightforward to check that the green s function ( [ eq : maggreen ] ) satisfies the schwinger@xmath140dyson equation ( [ eq : sdgreen ] ) in the symmetric gauge .
we have thus found a convenient form of the green s function for later calculations .
to evaluate the plasma response tensor ( [ bkpol ] ) in the symmetric gauge ( [ eq : symmetricgauge ] ) , we will need the following background gauge covariant derivatives @xmath460 here we have used the identity @xmath461 , where the upper and lower sign of @xmath320 correspond to @xmath295 and @xmath296 , respectively . since we denote @xmath27 the charge of the particle state , the charge of the antiparticle state is @xmath462 .
this is why @xmath17 appears in the above expressions .
recall @xmath179 for the particle state and @xmath180 for the antiparticle state . to calculate the covariant derivatives of the wave functions ,
let us abbreviate the wave function as @xmath463 , where @xmath186 is the constant amplitude , @xmath464 is the normalized radius , @xmath465 $ ] is the phase , and the argument of @xmath466 is omitted . in terms of these abbreviations ,
the covariant derivatives of the wave function are @xmath467,\\ \nonumber \bar{d}^{2}\psi&=&\frac{m}{r_0}e^{i\theta}[2\eta^{l - n+1}\lambda_{n-1}^{(l - n+1)}\sin\theta\\ \nonumber & & + e^{\pm i\epsilon(\theta-\pi/2)}\eta^{l - n-1}(\eta^2-l - n)\lambda_{n}^{(l - n)}],\\ \bar{d}^{3}\psi&=&i\epsilon pme^{i\theta}\eta^{l - n}\lambda_n^{(l - n)}.\end{aligned}\ ] ] here we have used the property of the laguerre function @xmath468 .
note @xmath469 when @xmath470 . in the above expressions , we see @xmath471 can be obtained from @xmath472 by replacing @xmath473 , which is expected from the rotation symmetry . to find the covariant derivatives of the green s function ,
let us abbreviate @xmath474 , where @xmath475 is the summation and integration prefactor , @xmath476 is the momentum space propagator in the @xmath477-subspace , @xmath478 is the phase , and the argument of @xmath479 is omitted .
write @xmath480 and @xmath481 , we find the covariant derivatives of the green s function @xmath482,\\ \nonumber \bar{d}^{2}g&=&\upsilon\mathcal{g}_n\frac{e^{ix}}{r_0}[2\eta_2\lambda_{n-1}^{(1)}+(\eta_2\mp i\epsilon\eta_1)\lambda_{n}^{(0)}],\\ \bar{d}^{3}g&=&\upsilon\mathcal{g}_niq_\parallel e^{ix}\lambda_n^{(0)}.\end{aligned}\ ] ] the covariant derivatives @xmath483 with respect to @xmath109 can be found by direct calculations . alternatively ,
recall @xmath484 .
we can also find @xmath483 derivatives using @xmath485 .
the above are all the background gauge covariant derivatives that are necessary for evaluating the plasma response tensor .
in this appendix , we calculate @xmath313 of a cold and uniformly magnetized plasma . for conciseness , we use abbreviations in appendix [ app : derivative ] .
we further abbreviate @xmath486 , @xmath487 , @xmath488 , @xmath489 , and @xmath490 . substituting the density of states ( [ eq : magdos ] ) into the effective single - boson wave function ( [ eq : magsingleeff ] ) and
use it in place of the background field @xmath38 in the expression of the background polarization ( [ bkpol ] ) , we have @xmath491-\bm{\eta}^2/2}\lambda_n^{(0)}-c.c.\\ & = & \frac{im\omega_p^2}{2m_0}\upsilon e^{i(q_0\tau - q_\parallel\zeta)-\bm{\eta}^2/2}\lambda_n^{(0)}\pi_n^{00},\end{aligned}\ ] ] where @xmath492 note @xmath313 only depends on the difference between coordinates @xmath493 .
this is expected since the system is translational invariant . in the fourier space ,
since the system is translational invariant , we know @xmath494 .
denoting @xmath495 , we have @xmath496 to calculate the integral , we need the following identities of the laguerre and hermite polynomials @xcite @xmath497 as well as the fourier integral @xmath498 with these properties , we have @xmath499 write @xmath500 , then @xmath501 becomes @xmath502 take the limit @xmath340 , it is easy to see that the above expression recovers the polarization tensor @xmath503 in the unmagnetized case .
notice that the pole of @xmath504 is weighted by @xmath505 , which is proportional to the strength of interaction between the plane wave with 4-momentum @xmath148 and particles in the @xmath286-th landau level .
the weighting factor maximizes at @xmath506 . for large @xmath286 , the maximum value scale as @xmath507 .
we see waves couple more strongly to electrons in lower landau levels . the summation in ( [ eq : sum0 ] )
can be carried out using the confluent hypergeometric functions @xmath325 . using the definition and properties of the confluent hypergeometric functions
@xcite , we have @xmath508 the @xmath324-function ( [ eq : kfunction ] ) is defined in such a way that @xmath509 from this expression , it is easy to see that when @xmath510 , where n is some integer , the @xmath324-function @xmath511 using the @xmath324-function , the 00-component of the plasma polarization tensor can be written as @xmath512,\end{aligned}\ ] ] where @xmath513 .
this is the final expression of @xmath501 .
other components of the plasma response tensor @xmath514 can be calculated using similar methods .
when calculating other components , one will encounter fourier integrals similar to ( [ eq : fourier0 ] ) .
the following property of the laguerre polynomial is useful @xcite @xmath515 using this property , together with ( [ eq : fourier0 ] ) , all fourier integrals that appear in the calculation of other components of @xmath516 can be calculated .
for example , @xmath517 to carry out summations similar to ( [ eq : sum1 ] ) , the following recurrence relation of the confluent hypergeometric function is useful @xcite @xmath518 using this recurrence relation , summations that appear in the calculation of other components of @xmath516 can be simplified .
for example , @xmath519 in terms of the @xmath324-function , the recurrence relation ( [ eq : confluent ] ) becomes @xmath520 using this identity , it is straightforward to show that the response tensor ( [ magpol ] ) satisfies the ward@xmath140takahashi identity . 49 ifxundefined [ 1 ] ifx#1 ifnum [ 1 ] # 1firstoftwo secondoftwo ifx [ 1 ] # 1firstoftwo secondoftwo `` `` # 1 '' '' @noop [ 0]secondoftwo sanitize@url [ 0 ]
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scientific developments in the wake of the human genome and hapmap projects are helping to shape the future of public health and clinical medicine . however , while dramatic progress has been made in detecting genetic associations with complex diseases , the role of genetic determinants is only a part of a much larger picture .
the role of lifestyle , environmental and social factors in modulating the risk and/or progression of chronic diseases has been recognized and explored for many years .
this is entirely logical even from the perspective of functional genomics : the concept of
fitness that is central to natural selection and human evolution has , as its fundamental basis , the interaction between prevailing environment and the genome .
it is therefore clear that bioscience needs access to studies that incorporate social , environmental and lifestyle factors as well as genetic determinants .
provided that the quality of the information that such studies generate is adequate and that the statistical power of key analyses can be rendered sufficient , it will then be possible to successfully pursue a comprehensive investigation of the direct and interactive effects of a broader range of relevant classes of aetiological determinants .
however , in the real world , the attainment of adequate statistical power presents a serious challenge .
for example , when appropriate account is taken of assessment errors in both determinants and outcomes , sample - size estimates for analyses involving gene
environment interactions comparable in magnitude with the direct genetic effects that have so far been replicated , typically indicate a requirement for tens of thousands of cases. this means that even the largest and best measured of contemporary studies will only be able to generate enough cases or subjects for the commonest of complex diseases .
this in turn implies that the analysis of synthesized data across several studies is set to become increasingly important .
such harmonization may be used to support targeted scientific projects , and to facilitate synthesis of information among studies or data portals .
for example , data synthesis was pivotal to the success of the epic study ( the european prospective investigation into cancer and nutrition ) which starting in the 1990s , recruited more than 500 000 participants via ( initially ) 22 centres across nine european countries . epic s focus on nutrition placed heavy demands on sample size , and effective data synthesis across all centres was therefore critical to many of its principal analyses .
although epic was designed prospectively as a coordinated consortium of studies , centre - specific questionnaires were used .
in such a setting , the data synthesis was constrained by the quality of the underlying data and by their compatibility .
one of the important achievements of the epic project was the development of methods and tools ( e.g. epic soft ) to enable calibration and pooling of data that had been collected under different protocols in different centres , so that data synthesis was rendered valid .
however , in common with other major epidemiological consortia e.g . genomeutwin project and euralim project
furthermore , as scientific ambitions and capacities have extended , the sample - size challenge continues to grow , and the requirement for effective data synthesis has now become a regular necessity . moreover , as different sets of outcome and exposure variables are required for different analyses and
are necessarily being pooled with different combinations of other studies as demonstrated , e.g. by the number of different consortia involving studies such as avon longitudinal study of parents and children ( alspac ) , epic - norfolk and the 1958 birth cohort .
this implies that it would be beneficial to supplement consortium - specific approaches to harmonization , calibration and synthesis with more generic methods .
however , the scientific utility of data synthesis is always constrained by the quantity and quality of the underlying data , and by their compatibility between studies .
the latter implies that the collection and recording of information and data must be carried out in a manner that is sufficiently similar in the different studies to allow valid synthesis to take place . when this is so ,
the fundamental challenge might therefore be viewed as being to increase sample size by synthesizing over an adequate number of studies , but to restrict that synthesis to those studies that are satisfactorily harmonized for the specific outcomes , genetic , environmental and lifestyle factors targeted .
thus : ( i ) core sets of information may be identified to serve as the foundation for a flexible approach to harmonization ; or ( ii ) standard collection devices ( questionnaires and standard operating procedures ) may be suggested as a required basis for collection of information .
it is with all of these considerations in mind that the datashaper project ( dataschema and harmonization platform for epidemiological research ) has been launched .
the datashaper ( http://www.datashaper.org ) offers free access to questionnaires and core sets of variables that can be used to support the development of data - collection tools for emerging studies or to serve as a central reference for harmonization between pre - existing studies .
the datashaper is an international project that is being developed under the joint umbrellas of pg ( the public population project in genomics ) , phoebe ( promoting harmonization of epidemiological biobanks in europe ) and cpt ( canadian partnership for tomorrow ) , in collaboration with more than 50 major studies from around the world .
this conceptual article describes the motivation , aims and scientific foundation of the datashaper project .
however , scientific , technological , ethical , cultural and other constraints make it difficult to impose identical infrastructures and uniform procedures across studies .
furthermore , it is important to recognize that it is not always necessary to use precisely the same methods and tools for data collection in order to achieve valid data integration across studies .
inferentially equivalent. if the quality of the data to be integrated is also adequate , inferential equivalence greatly increases the potential for collaboration between studies and , therefore , the scientific opportunities .
the definition of equivalence will vary with the scientific context and must take into account both the primary information collected ( e.g. serum cholesterol level ) and the qualifying factors that can influence the interpretation of that information ( e.g. whether the participant had been fasting prior to sample collection ) . in some situations , even a small change in the way information is collected can substantially modify scientific compatibility , whereas in others , considerable flexibility can be allowed .
formally , a valid balance must be struck between the use of precisely uniform specifications that render pooling straightforward ( e.g. identical questions asked under identical conditions ) , and the acceptance of greater flexibility and diversity that may be appropriate and more realistic in a collaborative context ( e.g. similar questions , but asked by an interviewer in one study and completed by the participant in another ) . in an ideal world , information would be
prospectively harmonized : emerging studies would make use , where possible , of harmonized questionnaires and standard operating procedures .
this enhances the potential for future pooling but entails significant challenges ahead of time in developing and agreeing to common assessment protocols .
however , at the same time , it is important to increase the utility of existing studies by retrospectively harmonizing data that have already been collected , to optimize the subset of information that may legitimately be pooled . here
, the quantity and quality of information that can be pooled is limited by the heterogeneity intrinsic to the pre - existing differences in study design and conduct .
originally , the plan had been to develop a standardized questionnaire ( or set of questionnaires ) with the primary aim of facilitating prospective harmonization of future biobanks .
but after some months of work , it became clear that complete standardization was too restrictive and would be of limited applicability to retrospective harmonization .
this resulted in a fundamental change of approach that led to the piloting of the concept that is now known as the datashaper . in order to understand the datashaper
variablesthe primary units of interest in a statistical analysis and the specific assessment items that are collected by individual studies ( e.g. questions in questionnaires ) .
it is a pre - defined set of variables that serves as the reference for harmonization between studies .
this approach provides an appropriate level of flexibility , because a given variable may potentially be constructed using different assessment items in different studies .
it is important to note that this does not imply a reduction in scientific rigour ; the specific information collected by a given study can only be viewed as harmonized to a particular datashaper variable if the assessment items in that study can be used to generate a
structurally , the datashaper is a dynamically evolving entity that is built upon two primary components : the dataschema platform and the harmonization platform .
the latter reflects a step - by - step approach that facilitates estimation of the potential for harmonization and pooling between studies for defined scientific purposes .
the web - based application was developed by the datashaper team with the support of experts in ontologies and open - source software .
it is written in java and uses open - source libraries ( spring framework , hibernate , google web toolkit , sesame / elmo , etc . ) .
the user interface makes extensive use of asynchronous javascript and xml ( ajax ) technologies , which provide for enhanced usability .
thus , key information bearing objects ( e.g. dataschemas and component elements of the harmonization platform ) are stored using a recognized ontological format to facilitate exchange with other applications .
where relevant , the generic dataschema makes use of terms defined in the national cancer institute thesaurus ontology ( published on the national center for biomedical ontology bioportal ) .
. however , to access the dataschemas under development as well as the results generated by the pre - existing harmonization platforms , users need to respond to specific criteria , be authenticated by the datashaper team and use a username and password .
a dataschema is a hierarchical structure composed of variables nested within domains , themes and modules ( figure 1 ) .
each dataschema on the platform is made up of variables that may be derived from : interview administration ; health and risk - factor questionnaires ; physical and cognitive measures ; medical files ; sample collection , handling , processing and banking ; biochemical measures , registries ( e.g. databases containing deaths , hospitalization episodes and environmental variables ) and others .
variables may be of primary scientific interest in their own right or qualifying factors that contribute to the interpretation of other information of primary interest .
a variable may be complete in itself [ e.g. current smoker ( yes / no ) or measured weight ] or it may derive from one or several others ( e.g. body mass index ) .
figure 1hierarchical structure of the module , theme and variables related to the household status domain in the generic dataschema hierarchical structure of the module , theme and variables related to the household status domain in the generic dataschema the dataschema platform on the datashaper website contains a comprehensive description of available schemas .
each may include : a list of variables with their definitions and formats ; links to relevant ontologies ; and access to reference questions / questionnaires , indexes and operating procedures that have been selected or developed . where possible , variables have been defined such that they can reliably be constructed from standard questionnaires and classifications ( e.g. the international physical activity questionnaire for physical activity ) .
although a dataschema aims primarily to provide a template for prospective and retrospective harmonization , it also provides a guide to help emerging projects select suitable assessment items and sample collection tools , even when data pooling is not planned .
it is aimed at supporting the construction of general - purpose baseline questionnaires for use in large cohorts enrolling middle - aged participants .
its construction was a collaborative effort involving investigators from more than 25 international cohorts in 14 countries .
its structure and contents were determined at a series of international consensus workshops held over 2 years ( 200608 ) with iterative rounds of comments and feedback between meetings .
the contents were chosen so as to provide a core data set with broad international applicability .
ethnic and cultural specificity was therefore minimized and the schema was chosen so as to be simple enough to encourage widespread use , yet comprehensive enough to support meaningful research .
box 1 criteria for selecting individual variables in the generic dataschemathe variable is of substantial relevance to genomic or public health research.the variable may potentially be used for a wide range of research questions in a variety of populations.each level of response to a categorical variable is of high enough prevalence to ensure that sufficient power can potentially be obtained.the assessment items required to generate the variable can be obtained in a valid way and reliably be assessed , where possible using standard questions and/or indexes.the assessment items required to generate the variable can be collected in a manner that entails no major burden to participants.the assessment items required to generate the variable can be collected at acceptable cost.a variable may be selected if it is of primary interest in its own right , is a qualifying variable that modifies the interpretation of other variables , or is viewed as being a potentially important confounder , or indicator of potential bias .
a fundamental aim was to restrict the generic dataschema to a limited number of variables identified as key by consensus .
the variable is of substantial relevance to genomic or public health research.the variable may potentially be used for a wide range of research questions in a variety of populations.each level of response to a categorical variable is of high enough prevalence to ensure that sufficient power can potentially be obtained.the assessment items required to generate the variable can be obtained in a valid way and reliably be assessed , where possible using standard questions and/or indexes.the assessment items required to generate the variable can be collected in a manner that entails no major burden to participants.the assessment items required to generate the variable can be collected at acceptable cost.a variable may be selected if it is of primary interest in its own right , is a qualifying variable that modifies the interpretation of other variables , or is viewed as being a potentially important confounder , or indicator of potential bias .
a fundamental aim was to restrict the generic dataschema to a limited number of variables identified as key by consensus .
the variable may potentially be used for a wide range of research questions in a variety of populations .
each level of response to a categorical variable is of high enough prevalence to ensure that sufficient power can potentially be obtained .
the assessment items required to generate the variable can be obtained in a valid way and reliably be assessed , where possible using standard questions and/or indexes .
the assessment items required to generate the variable can be collected in a manner that entails no major burden to participants .
a variable may be selected if it is of primary interest in its own right , is a qualifying variable that modifies the interpretation of other variables , or is viewed as being a potentially important confounder , or indicator of potential bias .
the generic dataschema contains 3 modules , 13 themes , 45 domains and more than 180 variables . as an illustrative example of its content ( figure 1 ) , the theme
household status ( defined as a social unit comprised of one or more individuals living together in the same dwelling , all of whom need not be related ) which in turn includes three variables : ( i ) marital status ( currently married ; yes / no) ; ( ii ) living with a partner in a common household ( yes / no) ; and ( iii ) number of people who live with the participant in the same household ( number). early versions of the generic dataschema were used by several large population - based studies to help create their data - collection tools .
these included the lifelines ( the netherlands ) and lifegene ( sweden ) projects as well as the five cohorts in the cpt project and the canadian longitudinal study on aging .
it is the harmonization platform that enables a dataschema to be used as a basis for harmonization in a specific scientific context .
it provides a rigorous approach to a three - step process that entails : ( i ) the development of rules providing a formal assessment of the potential for each individual study to generate each of the variables in the dataschema ; ( ii ) the application of these rules to determine and tabulate the ability of each study to generate each variable , thereby identifying the information that
can be shared ; ( iii ) where a variable can be constructed by a given study , the development and application of a processing algorithm enabling that study to generate the required variable in an appropriate form .
the compatibility of variables is formally assessed on a three - level scale of matching quality :
pairing. rules generated for variable pairing are context specific and will vary according to each harmonization project .
rule creation and pairing are both systematic processes based on protocols involving iteration between domain experts , research assistants and a validation panel .
table 1example of pairing results for the variables under the domain individual history of diabetesindividual history of diabetesstudy astudy bstudy cstudy dstudy eoccurrence of diabetescompletecompletecompletecompletecompletetype of diabetesimpossibleimpossiblecompletepartialimpossibleonset of diabetespartialcompletecompletecompleteimpossible example of pairing results for the variables under the domain individual history of diabetes the first use of the harmonization platform was in association with the generic dataschema .
as an illustrative example , table 2 details the rules created for the variable current quantity of red wine consumed ( number of glasses of red wine / week). using such pairing rules , the potential to harmonize 50 large population - based studies ( each including at least 10 000 healthy participants ) has now been explored for
all variables in the dataschema : additional studies joined the collaboration to enable this formal evaluation to take place . in combination , these 50 collaborating studies have recruited or plan to recruit a total of approximately 5.4 million participants .
table 2pairing rules used for the variable current quantity of red wine consumed and specific questions asked by exemplar studies pairing rules used for the variable current quantity of red wine consumed and specific questions asked by exemplar studies the detailed results of the full pairing analysis will form the basis of a second paper to follow . for the purposes of the present conceptual article , we will therefore do no more than provide a brief illustration of the nature of the results to be anticipated . for example , using the specific variable considered in table 2 ( average number of glasses of red wine consumed by the participant per week ) , 7 ( 14% ) of the 50 studies generated a complete match , 3 ( 6% ) a partial match and 38 ( 76% ) an impossible match . in the particular case
being considered , therefore , information from approximately 873 900 participants might potentially be co - analysed for the variable of interest ; i.e. from those studies that provide a complete match .
in contrast , when the variable current quantity of wine consumed was considered ( with no specification of red or white wine ) , 21 ( 42% ) studies provided a complete match ( 1.8 million participants ) .
measured weight was investigated , 36 ( 72% ) studies ( 3.6 million participants ) provided a complete match . according to the pairing rules in this setting , in order that it might be considered a
partial match. however , in order to answer a real scientific question , the pairing statuses of more than one variable must usually be considered simultaneously .
for example , if harmonized information is required on current quantity of wine consumed , body mass index and current tobacco smoker , a total of 12 studies provide a complete match for all three variables ( approximately 1 million participants ) . at the same time
these include ethico - legal constraints on access to data or samples , the compatibility of different study designs and protocols , and the distribution of missing data .
originally , the plan had been to develop a standardized questionnaire ( or set of questionnaires ) with the primary aim of facilitating prospective harmonization of future biobanks .
but after some months of work , it became clear that complete standardization was too restrictive and would be of limited applicability to retrospective harmonization .
this resulted in a fundamental change of approach that led to the piloting of the concept that is now known as the datashaper . in order to understand the datashaper
variablesthe primary units of interest in a statistical analysis and the specific assessment items that are collected by individual studies ( e.g. questions in questionnaires ) .
it is a pre - defined set of variables that serves as the reference for harmonization between studies .
this approach provides an appropriate level of flexibility , because a given variable may potentially be constructed using different assessment items in different studies .
it is important to note that this does not imply a reduction in scientific rigour ; the specific information collected by a given study can only be viewed as harmonized to a particular datashaper variable if the assessment items in that study can be used to generate a
structurally , the datashaper is a dynamically evolving entity that is built upon two primary components : the dataschema platform and the harmonization platform .
the latter reflects a step - by - step approach that facilitates estimation of the potential for harmonization and pooling between studies for defined scientific purposes .
the web - based application was developed by the datashaper team with the support of experts in ontologies and open - source software .
it is written in java and uses open - source libraries ( spring framework , hibernate , google web toolkit , sesame / elmo , etc . ) .
the user interface makes extensive use of asynchronous javascript and xml ( ajax ) technologies , which provide for enhanced usability .
thus , key information bearing objects ( e.g. dataschemas and component elements of the harmonization platform ) are stored using a recognized ontological format to facilitate exchange with other applications .
where relevant , the generic dataschema makes use of terms defined in the national cancer institute thesaurus ontology ( published on the national center for biomedical ontology bioportal ) .
. however , to access the dataschemas under development as well as the results generated by the pre - existing harmonization platforms , users need to respond to specific criteria , be authenticated by the datashaper team and use a username and password .
a dataschema is a hierarchical structure composed of variables nested within domains , themes and modules ( figure 1 ) .
each dataschema on the platform is made up of variables that may be derived from : interview administration ; health and risk - factor questionnaires ; physical and cognitive measures ; medical files ; sample collection , handling , processing and banking ; biochemical measures , registries ( e.g. databases containing deaths , hospitalization episodes and environmental variables ) and others .
variables may be of primary scientific interest in their own right or qualifying factors that contribute to the interpretation of other information of primary interest .
a variable may be complete in itself [ e.g. current smoker ( yes / no ) or measured weight ] or it may derive from one or several others ( e.g. body mass index ) .
figure 1hierarchical structure of the module , theme and variables related to the household status domain in the generic dataschema hierarchical structure of the module , theme and variables related to the household status domain in the generic dataschema the dataschema platform on the datashaper website contains a comprehensive description of available schemas .
each may include : a list of variables with their definitions and formats ; links to relevant ontologies ; and access to reference questions / questionnaires , indexes and operating procedures that have been selected or developed .
where possible , variables have been defined such that they can reliably be constructed from standard questionnaires and classifications ( e.g. the international physical activity questionnaire for physical activity ) .
although a dataschema aims primarily to provide a template for prospective and retrospective harmonization , it also provides a guide to help emerging projects select suitable assessment items and sample collection tools , even when data pooling is not planned .
it is aimed at supporting the construction of general - purpose baseline questionnaires for use in large cohorts enrolling middle - aged participants .
its construction was a collaborative effort involving investigators from more than 25 international cohorts in 14 countries .
its structure and contents were determined at a series of international consensus workshops held over 2 years ( 200608 ) with iterative rounds of comments and feedback between meetings .
the contents were chosen so as to provide a core data set with broad international applicability .
ethnic and cultural specificity was therefore minimized and the schema was chosen so as to be simple enough to encourage widespread use , yet comprehensive enough to support meaningful research .
box 1 criteria for selecting individual variables in the generic dataschemathe variable is of substantial relevance to genomic or public health research.the variable may potentially be used for a wide range of research questions in a variety of populations.each level of response to a categorical variable is of high enough prevalence to ensure that sufficient power can potentially be obtained.the assessment items required to generate the variable can be obtained in a valid way and reliably be assessed , where possible using standard questions and/or indexes.the assessment items required to generate the variable can be collected in a manner that entails no major burden to participants.the assessment items required to generate the variable can be collected at acceptable cost.a variable may be selected if it is of primary interest in its own right , is a qualifying variable that modifies the interpretation of other variables , or is viewed as being a potentially important confounder , or indicator of potential bias .
a fundamental aim was to restrict the generic dataschema to a limited number of variables identified as key by consensus .
the variable is of substantial relevance to genomic or public health research.the variable may potentially be used for a wide range of research questions in a variety of populations.each level of response to a categorical variable is of high enough prevalence to ensure that sufficient power can potentially be obtained.the assessment items required to generate the variable can be obtained in a valid way and reliably be assessed , where possible using standard questions and/or indexes.the assessment items required to generate the variable can be collected in a manner that entails no major burden to participants.the assessment items required to generate the variable can be collected at acceptable cost.a variable may be selected if it is of primary interest in its own right , is a qualifying variable that modifies the interpretation of other variables , or is viewed as being a potentially important confounder , or indicator of potential bias .
a fundamental aim was to restrict the generic dataschema to a limited number of variables identified as key by consensus .
the variable may potentially be used for a wide range of research questions in a variety of populations .
each level of response to a categorical variable is of high enough prevalence to ensure that sufficient power can potentially be obtained .
the assessment items required to generate the variable can be obtained in a valid way and reliably be assessed , where possible using standard questions and/or indexes .
the assessment items required to generate the variable can be collected in a manner that entails no major burden to participants .
a variable may be selected if it is of primary interest in its own right , is a qualifying variable that modifies the interpretation of other variables , or is viewed as being a potentially important confounder , or indicator of potential bias .
the generic dataschema contains 3 modules , 13 themes , 45 domains and more than 180 variables . as an illustrative example of its content ( figure 1 ) , the theme
household status ( defined as a social unit comprised of one or more individuals living together in the same dwelling , all of whom need not be related ) which in turn includes three variables : ( i ) marital status ( currently married ; yes / no) ; ( ii ) living with a partner in a common household ( yes / no) ; and ( iii ) number of people who live with the participant in the same household ( number). early versions of the generic dataschema were used by several large population - based studies to help create their data - collection tools .
these included the lifelines ( the netherlands ) and lifegene ( sweden ) projects as well as the five cohorts in the cpt project and the canadian longitudinal study on aging .
it is the harmonization platform that enables a dataschema to be used as a basis for harmonization in a specific scientific context .
it provides a rigorous approach to a three - step process that entails : ( i ) the development of rules providing a formal assessment of the potential for each individual study to generate each of the variables in the dataschema ; ( ii ) the application of these rules to determine and tabulate the ability of each study to generate each variable , thereby identifying the information that
can be shared ; ( iii ) where a variable can be constructed by a given study , the development and application of a processing algorithm enabling that study to generate the required variable in an appropriate form .
the compatibility of variables is formally assessed on a three - level scale of matching quality :
pairing. rules generated for variable pairing are context specific and will vary according to each harmonization project .
rule creation and pairing are both systematic processes based on protocols involving iteration between domain experts , research assistants and a validation panel .
table 1example of pairing results for the variables under the domain individual history of diabetesindividual history of diabetesstudy astudy bstudy cstudy dstudy eoccurrence of diabetescompletecompletecompletecompletecompletetype of diabetesimpossibleimpossiblecompletepartialimpossibleonset of diabetespartialcompletecompletecompleteimpossible example of pairing results for the variables under the domain individual history of diabetes the first use of the harmonization platform was in association with the generic dataschema .
pairing rules were therefore developed for all the variables in that schema . as an illustrative example , table 2 details the rules created for the variable current quantity of red wine consumed ( number of glasses of red wine / week). using such pairing rules , the potential to harmonize 50 large population - based studies ( each including at least 10 000 healthy participants )
all variables in the dataschema : additional studies joined the collaboration to enable this formal evaluation to take place . in combination , these 50 collaborating studies have recruited or plan to recruit a total of approximately 5.4 million participants .
table 2pairing rules used for the variable current quantity of red wine consumed and specific questions asked by exemplar studies pairing rules used for the variable current quantity of red wine consumed and specific questions asked by exemplar studies the detailed results of the full pairing analysis will form the basis of a second paper to follow . for the purposes of the present conceptual article , we will therefore do no more than provide a brief illustration of the nature of the results to be anticipated . for example , using the specific variable considered in table 2 ( average number of glasses of red wine consumed by the participant per week ) , 7 ( 14% ) of the 50 studies generated a complete match , 3 ( 6% ) a partial match and 38 ( 76% ) an impossible match .
in the particular case being considered , therefore , information from approximately 873 900 participants might potentially be co - analysed for the variable of interest ; i.e. from those studies that provide a complete match .
in contrast , when the variable current quantity of wine consumed was considered ( with no specification of red or white wine ) , 21 ( 42% ) studies provided a complete match ( 1.8 million participants ) .
measured weight was investigated , 36 ( 72% ) studies ( 3.6 million participants ) provided a complete match . according to the pairing rules in this setting , in order that it might be considered a
complete match , the weight of the participant had necessarily to be measured at least once by a trained nurse / interviewer with a standard device .
partial match. however , in order to answer a real scientific question , the pairing statuses of more than one variable must usually be considered simultaneously .
for example , if harmonized information is required on current quantity of wine consumed , body mass index and current tobacco smoker , a total of 12 studies provide a complete match for all three variables ( approximately 1 million participants ) . at the same time
these include ethico - legal constraints on access to data or samples , the compatibility of different study designs and protocols , and the distribution of missing data .
the datashaper was originally launched under the pg and phoebe initiatives in response to requests from the members of both consortia for guidelines to support the construction of questionnaires to facilitate prospective harmonization of large population - based studies .
but the overall focus evolved , and rapidly subsumed the critical need for tools to support retrospective synthesis of information between existing / legacy studies .
as the nascent project progressed , it became clear that one of the primary needs of the scientific community was to have access to comprehensive documentation of the potential to synthesize data across subgroup of studies .
it was also recognized that such documentation needed to include descriptions of the procedures used to collect data and to target both generic and specialized data collected by studies using various designs .
the network of the datashaper collaborators has therefore extended over time and now includes , e.g. , scientists working in disease - oriented networks of studies such as genecure ( chronic kidney diseases ) .
clearly , the ongoing development of new dataschemas and harmonization platforms will reflect the interests and needs of the scientific teams using and developing them . as illustrative examples ,
future datashapers may focus on particular conditions ( e.g. stroke , type 2 diabetes ) , social and lifestyle factors ( e.g. nutrition , environmental pollutants ) , or specific population subgroups ( e.g. newborn , elderly ) . documenting
the potential to synthesize information across studies is critical and should foster collaboration , but it is only a step in the process leading to the final statistical analyses making use of synthesized data sets . in its recent development , the structure and web interface of the datashaper
is thus being consolidated in order to facilitate complementarity with other tools and approaches to harmonization , data access , processing , pooling and analysis ( e.g. phenx , dbgap , datashield , obiba and sail ) .
it is the access to such integrated suites of tools that will ultimately facilitate the generation of new scientific discoveries using large - scale synthesized data sets across networks of studies .
the question what would constitute the ultimate proof of success or failure of the datashaper approach needs to be addressed .
such proof will necessarily accumulate over time , and will involve two fundamental elements : ( i ) ratification of the basic datashaper approach ; and ( ii ) confirmation of the quality of each individual datashaper as they are developed and/or extended .
an important indication of the former would be provided by the widespread use of our tools . however , the ultimate proof of principle will necessarily be based on the generation of replicable scientific findings by researchers using the approach .
but , for such evidence to accumulate it will be essential to assure the quality of each individual datashaper ( see box 2 ) .
even if the fundamental approach is sound , its success will depend critically on how individual datashapers are constructed and used .
it seems likely that if consistency and quality are to be assured in the global development of the approach , it will be necessary for new datashapers to be formally endorsed by a central advisory team .
box 2 development of a datashaper : how to ensure rigour of the process and formal validation of the outcomesdataschema
process the development of a dataschema should be scientifically driven and based upon iterative review and consensus methodologies.outcome ( list of core variables)the structure and specific content of each schema has to be formally evaluated .
this involves , e.g. , the assessment of the content by external groups of experts and systematic comparison with current practice or relevant gold standards and guidelines .
furthermore , for the schemas underpinning data - collection devices ( e.g. questionnaires ) , formal validation of these resultant tools should be undertaken.harmonization platform
process methodical quality control should be implemented through all of the harmonization process .
this should include systematic validation of the pairing rules that have been developed and analysis of the agreement between the pairing classification achieved by different staff and an independent control panel.outcome ( database including pairing results)formal assessment of the impact of participant studies and variables characteristics on the pairing results should be undertaken to define factors influencing the potential for synthesis .
factors targeted include : ( i ) study characteristics such as design of the study ( e.g. cohort or case control study ) , nature of the population ( e.g. minimal age at recruitment , sex , place of residence ) and the procedural methods used to collect information ( e.g. paper- or computer - based questionnaire ) ; and ( ii ) variable characteristics such as whether the variable has a quantitative or a categorical format , and whether the information defining a particular variable relates to the participant or to his / her family .
data
as for any database generated by a stand - alone study , once it has been created , the final product of the harmonization process ( a synthesized database including data from all participating studies ) should be subjected to standard data validation procedures including appropriate range checking and tests of internal validity .
the development of a dataschema should be scientifically driven and based upon iterative review and consensus methodologies.outcome ( list of core variables)the structure and specific content of each schema has to be formally evaluated .
this involves , e.g. , the assessment of the content by external groups of experts and systematic comparison with current practice or relevant gold standards and guidelines .
furthermore , for the schemas underpinning data - collection devices ( e.g. questionnaires ) , formal validation of these resultant tools should be undertaken .
process the development of a dataschema should be scientifically driven and based upon iterative review and consensus methodologies .
outcome ( list of core variables)the structure and specific content of each schema has to be formally evaluated .
this involves , e.g. , the assessment of the content by external groups of experts and systematic comparison with current practice or relevant gold standards and guidelines .
furthermore , for the schemas underpinning data - collection devices ( e.g. questionnaires ) , formal validation of these resultant tools should be undertaken .
harmonization platform
process methodical quality control should be implemented through all of the harmonization process .
this should include systematic validation of the pairing rules that have been developed and analysis of the agreement between the pairing classification achieved by different staff and an independent control panel.outcome ( database including pairing results)formal assessment of the impact of participant studies and variables characteristics on the pairing results should be undertaken to define factors influencing the potential for synthesis .
factors targeted include : ( i ) study characteristics such as design of the study ( e.g. cohort or case control study ) , nature of the population ( e.g. minimal age at recruitment , sex , place of residence ) and the procedural methods used to collect information ( e.g. paper- or computer - based questionnaire ) ; and ( ii ) variable characteristics such as whether the variable has a quantitative or a categorical format , and whether the information defining a particular variable relates to the participant or to his / her family .
data
as for any database generated by a stand - alone study , once it has been created , the final product of the harmonization process ( a synthesized database including data from all participating studies ) should be subjected to standard data validation procedures including appropriate range checking and tests of internal validity .
this should include systematic validation of the pairing rules that have been developed and analysis of the agreement between the pairing classification achieved by different staff and an independent control panel .
outcome ( database including pairing results)formal assessment of the impact of participant studies and variables characteristics on the pairing results should be undertaken to define factors influencing the potential for synthesis .
factors targeted include : ( i ) study characteristics such as design of the study ( e.g. cohort or case control study ) , nature of the population ( e.g. minimal age at recruitment , sex , place of residence ) and the procedural methods used to collect information ( e.g. paper- or computer - based questionnaire ) ; and ( ii ) variable characteristics such as whether the variable has a quantitative or a categorical format , and whether the information defining a particular variable relates to the participant or to his / her family . as for any database generated by a stand - alone study , once it has been created ,
the final product of the harmonization process ( a synthesized database including data from all participating studies ) should be subjected to standard data validation procedures including appropriate range checking and tests of internal validity .
the novelty of the datashaper is not in the scientific challenges or solutions being addressed and proposed : similar projects have been embarked upon before .
however , the datashaper provides access to useful tools ( see box 3 ) and has critical advantages .
the approach aims to be generic , flexible and can be used both prospectively and retrospectively .
furthermore , the web interface can easily be updated as new dataschema and harmonization platforms are added and thus , provides a good potential for constant improvement of the content . finally , the datashaper has emerged as a common approach to the concrete need to document the potential to synthesize data across biobanks and cohort studies .
however , the scientific utility of any synthesized data set depends on the quality of data to be pooled and on the rigour of the harmonization and synthesis process .
however , if it is to be successful , it must continue to evolve and it must be used both widely and wisely .
box 3 tools provided by the datashaper ( http://www.datashaper.org)for emerging studies
lists of core variables useful in the development of information collection tools relevant in specific scientific contexts. exemplar questionnaires and standard operation procedures enabling collection of these core variables .
for network of studies to be prospectively or retrospectively harmonized
a scientific method , web - based platform and provision of expertise for : ( i ) the definition of core set of variables to be shared ; and ( ii ) the development and application of the harmonization process .
for emerging studies
lists of core variables useful in the development of information collection tools relevant in specific scientific contexts. exemplar questionnaires and standard operation procedures enabling collection of these core variables .
for network of studies to be prospectively or retrospectively harmonized
a scientific method , web - based platform and provision of expertise for : ( i ) the definition of core set of variables to be shared ; and ( ii ) the development and application of the harmonization process .
lists of core variables useful in the development of information collection tools relevant in specific scientific contexts .
a scientific method , web - based platform and provision of expertise for : ( i ) the definition of core set of variables to be shared ; and ( ii ) the development and application of the harmonization process .
genome canada and genome quebec ( the public population project in genomics ) ; canadian partnership against cancer ( cpt ) ;
european fp6 ( lshg - ct-2006- 518418 to promoting harmonization of epidemiological biobanks in europe ) ; medical research council project grant ( g0601625 ; methods programme in genetic epidemiology at the university of leicester that focuses on genetic statistics and large - scale data harmonization and pooling ) ; wellcome trust supplementary grant ( 086160/z/08/a ) ; leverhulme trust research fellowship ( rf/9/rfg/2009/0062 ) ; national institute for health research ( leicester biomedical research unit in cardiovascular science ) ; german federal ministry of education and research ( bmbf ) in the context of the german national genome research network ( ngfn-2 and ngfn - plus ) ( to e.w . ) ; german federal ministry of education and research ( bmbf ) ( model attempt for networking in german research consortiadevelopment of a common concept for biobanks ) ; european framework 7 ( biobanking and biomolecular resources research infrastructure ) ; j.l . is a canada research chair in human genome epidemiology . | pubmed |
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after entry in target cells , retroviral capsids are subject to host restriction by the alpha spliced variant of tripartite motif protein 5 ( trim5 ) ( stremlau et al . , 2004 ) .
restriction operates by direct recognition of the viral capsid in the cytoplasm , leading to a premature and accelerated uncoating and to abortive infection ( stremlau et al . , 2006 ) .
trim5 proteins restrict retroviruses in a species - specific manner and thus constitute an effective barrier to cross - species transmissions of retroviruses . for instance
, rhesus macaque ( rm ) trim5 restricts hiv-1 , sivagm , and n - mlv , but not sivmac , whereas human trim5 can block n - mlv and equine infectious anemia virus ( eiav ) , but is less effective against hiv-1 ( bieniasz , 2004 , song et al . , 2005 ) .
trim5-mediated restriction was identified in a number of macaque primary cells and cell lines ( llc - mk2 , frhk-4 , frhl-2 , rh.f and rm primary lung fibroblasts ) ( besnier et al . , 2002 , cowan et al . , 2002 ,
, 2002 , stremlau et al . , 2004 , yap et al . , 2004 ) .
however , while rm t lymphocytes efficiently block hiv-1 infection , we have previously shown that rm dendritic cells ( dcs ) lack trim5-mediated restriction and are permissive to hiv-1 infection ( arhel et al . , 2008 ) .
we further showed that trim5 rna levels are normal in dcs and there is no detectable increase in the competitive inhibitor trim5. these findings suggest that the endogenous trim5 protein is likely to be dysfunctional , a possibility supported by the finding that the overexpression of rm trim5 in dcs restores restriction ( arhel et al .
recent work proposed that trim5 restriction may be modulated by the small ubiquitin - related modifier ( sumo ) machinery ( arriagada et al .
, 2015 , lukic et al . , 2013 , nepveu - traversy and berthoux , 2014 ) .
sumo can either be directly conjugated to protein substrates by covalent addition of a sumo moiety to a lysine residue within the kxe consensus sequence ( where is a large hydrophobic residue and x any amino acid ) ( sampson et al . , 2001 ) , or can interact non - covalently with target proteins through sumo - interaction motifs ( sims ) ( hecker et al . , 2006 ,
many viral proteins are sumoylated or influence the sumoylation of cellular proteins , and the infection of some viruses is dependent on pathways that are regulated by sumoylation ( everett et al . , 2013 ) .
sumo1 overexpression enhances restriction of n - mlv and hiv-1 by human and rm trim5 , respectively , while knockdown of sumo1 or the ubc9 e2 sumo - conjugating enzyme reduces hiv-1 restriction by rm trim5 ( arriagada et al .
we recently showed that human and rm trim5 are substrates for sumo modification in vitro and in cellulo , and the putative sumo conjugation consensus site at residue k10 is the main site for sumo modification ( dutrieux et al . , 2015 ) .
however , although k10r point mutants abrogated sumoylation at this position , trim5 antiviral activity was not impaired , arguing that non - covalent interaction with sumo or sumo - modified proteins rather than direct sumoylation of trim5 might be responsible for trim5 restriction .
three sims that are able to bind sumo1 were identified within the pryspry domain necessary for capsid recognition and are shown to contribute to the ability of human trim5 to restrict n - mlv infection ( arriagada et al . , 2011 ,
given that the mlv capsid ( ca ) was shown to undergo sumo1 conjugation ( yueh et al . , 2006 )
, this suggests that human trim5 might interact with sumoylated mlv ca via sims within the pryspry domain .
however , two of the three sims in rm trim5 are reportedly buried internally within the pryspry domain and are therefore unlikely to mediate sumo - sim interactions ( brandariz - nuez et al . , 2013 ) .
the aim of this study was to define the mechanism responsible for the lack of trim5 function in dcs and to clarify the effects on viral immune sensing by these potent accessory cells .
we first show that absence of trim5 restriction is observed in dcs from all tested human and non - human primates , pointing to a common trait of humans and old world monkeys .
endogenous trim5 in dcs was found to be sequestered in the nucleus within nb that co - localize with cajal bodies , a phenotype that was reversed upon treatment with ginkgolic acid ( ga ) , an inhibitor of the e1 sumo activating enzyme . finally , induced cytoplasmic localization of trim5 in dcs by its overexpression or by ga treatment restored restriction and abrogated type i ifn production following retroviral infection . together ,
our data show that trim5 is unable to restrict incoming retroviruses in dcs because it is absent from the cytoplasm .
the resulting unhampered retroviral infection triggers innate sensing by host cell sensors and robust type i ifn production , suggesting that the lack of trim5 restriction in dcs is an anti - viral mechanism that has evolved to promote immune responses necessary to control viral spread in the infected host .
we previously showed that rm ( macaca mulatta ) dcs , contrary to all other tested rm cells ( arhel et al . , 2008 , besnier et al .
, 2002 , stremlau et al . , 2004 , yap et al . , 2004 ) , are permissive to hiv-1 infection , indicating an absence of functional trim5-mediated restriction in this cell type ( arhel et al . , 2008 ) . given that immature dcs are highly phagocytic , we carried out retroviral transductions in the presence of a reverse transcription inhibitor to ascertain whether uptake might be the result of non - specific pseudo - transduction .
rm peripheral blood lymphocytes ( pbls ) and monocyte - derived dcs were characterized with phenotypic markers ( figure s1a ) and transduced with either sivmac ( not restricted ) or hiv-1 ( restricted ) .
rm pbls were not permissive to hiv-1 , and treatment with a specific trim5 small interfering rna ( sirna ) restored transduction , confirming that trim5 is responsible for restriction in these cells ( figure 1a ) .
in contrast , rm dcs were equally permissive to sivmac and hiv-1 , indicating an absence of efficient trim5 restriction in dcs .
hiv-1 infection of rm dcs was also observed using r5-tropic hiv-1 virus ( figure s1b ) .
treatment with nevirapine ( nev ) reduced hiv-1 infection to levels similar to those seen in uninfected samples , validating that hiv-1 infection of rm dcs resulted in bona fide productive transduction events ( figure 1a ) . to determine whether the absence of trim5 restriction in dcs is a common phenomenon ,
human pbls and dcs were transduced with either hiv-1 ( not restricted ) or eiav ( restricted ) vectors ( figure 1b ) .
dcs were 2-fold less permissive than pbls to hiv-1 infection ( 12.0% 6.9% versus 24.1% 8.7% infected cells , n
= 4 ) , as reported in the literature ( berger et al . , 2011 , laguette et al . ,
as expected , human pbls were refractory to eiav infection ( 0.9% 0.3% infected cells ) and knockdown of trim5 in these cells restored transduction , confirming that restriction is mediated by trim5. human dcs , on the other hand , were efficiently transduced with eiav ( 28.7% 3.8% ) , pointing to absence of restriction .
infection in the presence of tenofovir ( tdf ) , which blocks both hiv-1 and eiav reverse transcription ( figure s1c ) , reduced infection to levels comparable to uninfected samples ( 0.5% and 1.6% for pbls and dcs , respectively , figure 1b ) .
similarly , african green monkeys ( agm , sabaeus species ) pbls were found to be non - permissive to hiv-1 transduction with < 1% gfp - positive pbls and weakly permissive to sivmac , with 8% transduction .
in contrast , > 30% chlorocebus sabaeus dcs were efficiently transduced by hiv-1 and 20% by sivmac , indicating an absence of efficient trim5 restriction in agm dcs ( figure 1c ) .
since restriction by trim5 is saturable , the addition of sufficient quantities of virus - like particles overcomes its activity . to ensure that the transduction of dcs did not saturate trim5 activity , we performed dose - response studies .
pbls and dcs from cynomolgus macaques ( cm ) ( macaca fascicularis ) , whose trim5 restricts hiv-1 but not sivmac , were infected with increasing moi from 0.5 to 25 . cells from pigtailed macaques ( ptm ) ( macaca nemestrina ) , which , in the place of trim5 , express a trimcyp fusion protein that can not bind to or restrict hiv-1 ( brennan et al . , 2008 , liao et al .
pbls from all three species were permissive to sivmac transduction ( figure 1d ) .
however , as expected , cm pbls were poorly permissive to hiv-1 transduction compared with ptm and human pbls , even at high moi , indicating efficient restriction of hiv-1 .
in contrast , cm dcs were as permissive to hiv-1 infection as ptm dcs and more permissive than human dcs , even at a moi as low as 0.5 ( figure 1d ) .
thus , our results demonstrate a lack of efficient trim5-mediated restriction in dcs from rhesus , cynomolgus , and pigtailed macaques , in humans , and in african green monkeys , suggesting that this phenomenon is a widespread trait of primate dcs .
infection of dcs was dependent on efficient reverse transcription and was also observed at low moi , indicating that it was not a result of pseudotransduction ( non - specific uptake of gfp protein ) or saturation of the trim5 restriction factor .
trim5 proteins from humans and rm have been reported to shuttle between the cytoplasm and the nucleus ( diaz - griffero et al . , 2011 ) .
we therefore hypothesized that trim5 might be mislocalized in dcs and thus unable to interact with incoming cytoplasmic retroviral cores . to test this hypothesis
, we used a rabbit polyclonal antibody raised against a c - terminal fragment of trim5 ( zhang et al . , 2008 ) to detect endogenous trim5. reactivity against rhesus trim5 ( trim5rh ) was previously established by western blotting ( zhang et al .
, 2008 ) , and we confirmed that it also recognizes endogenous human trim5 ( trim5hu ) ( figure s2a ) .
similarly to commercial antibodies , the rabbit trim5 antibody used for this study recognizes higher molecular weight bands that likely correspond to trim5 multimers ( li et al . , 2011 ,
specific trim5 knockdown was associated with a marked decrease in the trim5 signal detected by immunofluorescence ( figure s2b ) .
conversely , transduction of mdtf cells that do not encode a trim5 ortholog ( reviewed in lee and kewalramani , 2004 ) with trim5rh - ha or trim5hu - ha led to positive trim5 labeling in ha - positive cells , while negative cells showed minimal background staining ( figure s2c ) .
pbls and dcs from human and rm donors were labeled with the trim5-specific antibody to assess endogenous localization in these cells ( figure 2a ) . whereas trim5 localized mainly in the cytoplasm of pbls , it aggregated within the nucleus of dc in structures reminiscent of nb , a phenotype that was not observed in pbls .
although some cytoplasmic signal was also detected in dcs , the majority co - localized with the golgi marker gm-130 ( figure 2b ) .
golgi - localized trim5 , which may correspond to a step in trim5 proteasome - independent degradation ( sastri and campbell , 2011 ) , was also observed in pbls .
whole - cell extracts revealed no difference in total levels of trim5 between pbls and dcs , but subcellular fractionation confirmed the differences in subcellular localization observed by microscopy ( figure 2c ) . given that trim5 restriction is operational in pbls but not dcs , we hypothesized that the accumulation of trim5 in structures resembling nb in dcs might account for its lack of antiretroviral activity .
previous work showed that exogenously expressed trim5 in hela cells can be induced to co - localize with pml - nb by blocking crm1-dependent protein nuclear export with leptomycin b treatment ( lmb ) ( diaz - griffero et al . , 2011 ) .
in pbls , trim5 is mainly cytoplasmic and no co - localization with pml - nb was detected ( figure 3a ) . in dcs , trim5 nb and pml - nb were both readily observed , but the signals did not overlap ( manders coefficient of co - localization m < 0.1 ) . treatment with ifn , previously shown to enhance trim5 and pml expression ( carthagena et al . , 2008 , sakuma et al . , 2007 ) , increased the number and size of pml - nb , as previously described ( chelbi - alix et al . , 1995 ) , but did not induce co - localization between trim5 and pml - nb .
lmb treatment , shown to trap trim5 in the nucleus ( diaz - griffero et al . ,
2011 ) , induced diffuse nuclear accumulation of trim5 in pbls , but not co - localization with pml - nb .
next , we tested for trim5 co - localization with another nuclear body , cajal bodies , using the marker p80 coilin to identify these subnuclear structures ( figure 3b ) . in dcs ,
trim5 nb were found to partially co - localize with coilin ( m 0.3 ) , indicating that in dcs 30% of trim5 might be trapped in cajal bodies .
this was observed both in human and rm dcs and was not further induced by lmb treatment ( figure 3b ) . to confirm the interaction of endogenous trim5 with cajal bodies
, we performed a duolink in situ proximity ligation assay ( figure 3c ) . in pbls ,
signal detection was low ( 0.27 0.06 spots / cell ) indicating a lack of proximity between trim5 and coilin .
in dcs , however , signals of proximity were about seven times more frequent ( 1.86 0.35 spots / cell ) . given that the number of cajal bodies detected in dcs is one to five per nucleus , this result is concordant with the co - localization of trim5 with cajal bodies .
we previously showed that overexpression of trim5rh in rm dcs restores efficient restriction of hiv-1 infection ( arhel et al . , 2008 ) .
human dcs were either labeled with trim5 antibody to reveal endogenous protein , or transduced with a lentiviral vector coding for mrfp - trim5hu fusion protein . while endogenous trim5 formed nuclear aggregates in dcs , its overexpression resulted in its accumulation as dense cytoplasmic aggregates , characteristic of cytoplasmic bodies as previously reported ( stremlau et al . ,
control or trim5-overexpressing human dcs were challenged with eiav and infection was assessed by flow cytometry at 48 hr post - infection ( hpi ) ( figure 4b ) .
forced cytoplasmic expression of trim5 by overexpression restored restriction against eiav in human dcs , suggesting that trim5 nuclear localization in dcs accounts for the lack of efficient restriction . to confirm this ,
trim5rh was fused at its n terminus to the cajal body targeting domain ( cbd ) of human coilin ( figure 4c ) .
p4-ccr5 cells were transduced with trip - trim5rh or trip - coilin - trim5rh and challenged with hiv-1 .
infection was efficiently restricted by trim5 but forced nuclear targeting abrogated restriction , confirming that mislocalization of trim5 accounts for the lack of restriction .
recent work showed that human and rm trim5 are substrates for sumo modification ( dutrieux et al . , 2015 ) , and that putative sim domains in trim5 may mediate interaction with sumo - modified proteins ( arriagada et al . , 2011 ) .
sumo modification has been shown to modulate sub - nuclear localization and function of trim19/pml ( mller et al . , 1998 ) .
we therefore examined whether sumo modification might account for trim5 accumulation in nb of dcs .
human pbls and dcs were treated with 10 and 100 m ga for 24 hr and labeled for endogenous trim5 and either pml or coilin .
ga treatment did not induce trim5 co - localization with pml in either cell type ( figure 4d ) .
similarly , no co - localization between trim5 and coilin was detected in pbls and this was not altered following ga treatment . in dcs , however , ga treatment led to a dose - dependent reduction of trim5 co - localization with coilin , without reducing the number of cajal bodies per cell .
pre - treatment with 10 m ga led to a 5-fold decrease in trim5/coilin co - localization , and co - localization was abolished following treatment with 100 m ga . given the obtained manders coefficients
, we estimate that approximately one - third of nuclear trim5 is found associated with cajal bodies in dcs and that this is dependent on sumo modification .
localization of trim5 in golgi was not sensitive to ga treatment in either dcs or pbls , indicating that it is unlikely to contribute to the sumoylation - dependent functional inactivation of trim5 in dcs . given that inhibition of sumoylation counteracts trim5 nuclear localization in dcs , we next tested whether inhibition of sumoylation restored trim5 restriction in dcs .
human dcs were treated with 100 m ga for 24 hr and infected with eiav .
untreated human dcs were permissive to eiav , whereas ga treatment restored efficient restriction , leading to a 3- to 8-fold reduction in infectivity in three independent experiments ( figure 4e ) , suggesting that sumoylation - dependent nuclear sequestration of trim5 accounts for the observed lack of restriction in dcs . to determine whether ga - induced restriction is trim5-dependent , we performed ga treatment in the presence of sirnas targeting trim5. twenty - four hours prior to ga treatment , human dcs were dotap transfected with two different sirnas targeting either trim5 or luc and then transduced with eiav ( figure 4f ) .
ga treatment induced strong anti - eiav restriction in dcs , and this phenotype was reversed by trim5 knockdown , indicating that ga - induced restriction in dcs is trim5-dependent .
further exploration is required to confirm this phenotype using replicative virus , however , no replicative eiav was available at the time of the study . together , our results show that the lack of restriction in dcs is explained by the sumoylation - dependent re - localization of trim5 to the nucleus and to cajal bodies , thereby preventing contact with incoming retroviral capsids .
sumo modification of human and rm trim5 was demonstrated using immobilized metal affinity chromatography on extracts prepared from hela cells overexpressing ha - tagged trim5 , ubc9 , and 6 his - sumo1 ( dutrieux et al . , 2015 ) .
to assess sumo modification of trim5 in primary dcs , we were limited by the fact that trim5 overexpression can not be used , since it reverses observed phenotypes , and endogenous trim5 is present in quantities that are too small for pull - down assays to be effective .
preparation of pbls and dcs lysates in the presence of iodoacetamide ( iaa ) , a cysteine protease inhibitor that preserves post - translational modifications such as sumoylation during the preparation of cell extracts , led to an increase in the molecular weight of the detected trim5 band by 15 kda , which is suggestive of a mono - sumo modification of trim5 in both pbls and dcs ( figure 5a ) .
quantification revealed that the proportion of trim5-70 relative to trim5-55 was greater in pbls than dcs , and higher molecular weight bands were also visible in pbl extracts prepared in the presence of iaa , but less so in dcs ( figure 5a ) .
these findings suggest that trim5 may be more sumo1-modified in pbls than in dcs . to confirm that higher molecular weight bands correspond to sumoylated trim5
ga treatment reduced overall protein sumoylation , as observed by reduced smearing of sumo2/3 labeling ( figure s3a ) and decreased the detection of the higher molecular trim5 weight bands ( figure s3b ) , confirming that these represent sumo - modified forms of trim5. to investigate the compartmentalization of trim5 sumoylation , we performed duolink in situ proximity ligation assays ( pla ) , using trim5 and sumo1 primary antibodies , followed by species - specific pla probes .
the results revealed close proximity of trim5 with sumo with an average of 7.1 1.2 ( sem ) spots per cell in pbls , compared with 2.2 0.4 spots per cell in dcs , pointing to reduced trim5-sumo interactions in dcs ( figure 5b ) .
treatment with ginkgolic acid ( ga ) , a small molecule inhibitor of sumo modification that blocks formation of the e1-sumo intermediate ( fukuda et al . ,
2009 ) , induced a dose - dependent reduction in trim5-sumo1 proximity signals , suggesting that endogenous trim5 is conjugated by sumo1 or interacts with sumoylated proteins in pbls and dcs .
trim5-sumo1 signals were observed both in the cytoplasm and nucleus , indicating that sumo - modified trim5 can shuttle in and out of the nucleus .
however , nuclear signals were rare in dcs ( 0.8 0.1 spots per nucleus versus 4.8 1.4 in pbls ) , suggesting that nuclear - localized trim5 no longer associates with sumo1 in dcs . to test this ,
we co - labeled trim5 and sumo1 in human dcs ( figure 5c ) .
both sumo1 and trim5 strongly localized to the nucleus , but the two did not co - localize , indicating that nuclear trim5 does not associate with sumo1 in dcs . to confirm these observations , we analyzed trim5 post - translational modifications in both nuclear and cytoplasmic fractions by western blotting .
cytoplasmic and nuclear fractions from human pbls or dcs were prepared in the presence of iaa and loaded on gels such that for each subcellular fraction , the lane contained lysate from equal cell equivalents ( 4 10 cells ) , rather than equal protein amounts ( figure 5d ) .
high molecular weight bands were observed in pbls and dcs cytoplasmic fractions , suggesting that trim5 is sumoylated in both cell types , although imaging analysis revealed that cytoplasmic trim5 is cytosolic in pbls but golgi - associated in dcs ( figure 2b ) .
total nuclear trim5 was diminished in pbls , as in figure 2 . in dcs ,
nuclear trim5 detection was strong , but higher molecular weight bands were consistently reduced , indicating that nuclear - localized trim5 undergoes desumoylation .
innate sensing of retroviral infections by dcs is crucial for the establishment of an efficient immune response required for infection control . to gain insight into the relevance of this trim5 regulation mechanism
, we asked whether inefficient restriction in dcs might correlate with efficient innate immune sensing . to address this question , we induced cytoplasmic localization of trim5 by overexpression of human trim5 in human dcs and assessed innate sensing of retroviral infections by measuring cytokine expression and production following infection with viruses that are either restricted by human trim5 ( n - mlv and eiav ) or not restricted ( hiv-1 ) .
human dcs were transfected with the expression plasmid plpcx - trim5-ha or plpcx ( empty vector [ ev ] ) .
transfection was preferred over lentiviral transduction to avoid high experimental background noise due to sensing of the lentiviral vector .
after 24 hr , dcs were treated with 100 m ga to inhibit sumoylation , 100 m tdf to block reverse transcription , or left untreated . after a further 24 hr , dcs were transduced with hiv-1 , n - mlv , or eiav egfp vectors at moi 5 .
dcs were harvested at 10 hpi to prepare dna extracts and to perform qpcr analysis of reverse transcription products and at 24 hpi to prepare rna extracts for qrt - pcr quantification of trim5 , ifn1 , ifn , il6 , and housekeeping transcripts .
qpcr analysis of trim5 transcripts confirmed an 40-fold increase in trim5 mrna following overexpression in dcs ( figure 6a ) .
moreover , quantification of reverse transcription products revealed that all retroviruses underwent reverse transcription and this was specifically blocked by the reverse transcriptase inhibitor tdf or by heat - inactivation of vectors prior to infection ( figure 6b ) .
overexpression of human trim5 led to a 70%80% reduction in reverse transcription products of n - mlv and eiav , but had only limited impact on hiv-1 reverse transcription , confirming that overexpression of trim5 in dcs restores efficient trim5-mediated restriction of susceptible viruses ( figures 5b and 6b ) .
similarly , ga treatment , which induces forced re - localization of trim5 to the cytoplasm by blocking its sumoylation - dependent targeting to cajal bodies ( figure 4c ) , also reduced reverse transcription of n - mlv and eiav without affecting hiv-1 ( figure 6b ) . to assess sensing of retroviral infection by dcs , we measured cytokine expression following infection .
ifn1 and ifn were induced 5- to 20-fold by hiv-1 , n - mlv , and eiav infection ( figures 6c and 6d ) , indicating that these viruses are sensed in human dcs , as previously shown for hiv-1 ( silvin and manel , 2015 , van montfoort et al . , 2014 ) .
in contrast , il6 expression was not significantly induced , suggesting that the host sensor involved likely operates via irf-3 and not nf-b ( figure 6e ) .
infection in the presence of tdf abolished sensing ( figures 6c and 6d ) , at both 24 hpi and 8 hpi , indicating that the recognized pamp is reverse transcribed dna , as previously shown ( gao et al .
, 2013 , rasaiyaah et al . , 2013 , yoh et al . , 2015 ) .
overexpression of human trim5 in the cytoplasm strongly reduced ifn and ifn expression ( 5- to 10-fold ) , but not il6 levels , following n - mlv and eiav infection , pointing to inefficient sensing following forced altered localization of restrictive trim5 to the cytoplasm ( figures 6c6e ) . in contrast , hiv-1 sensing was not diminished by human trim5 overexpression , which is concordant with the fact that trim5 overexpression did not reduce hiv-1 reverse transcripts ( figure 6b ) .
the defect in type i ifn production was confirmed by measuring levels of type i ifn released in supernatants from infected dcs at 48 hr post - infection using hl116 indicator cells ( figure s3c ) .
similarly , the inhibition of sumoylation by ga treatment of dcs led to a stark reduction in ifn and ifn transcripts ( 5- to 10-fold ) , but not il6 , confirming that the restoration of trim5 restriction in dcs by blocking the sumo machinery reduces efficient sensing of retroviral infection ( figures 6c6e ) .
combining ga treatment with trim5 overexpression generally further accentuated the block in type i ifn expression following n - mlv or eiav infection .
on the other hand , ga treatment did not affect sensing of hiv-1 , indicating that non - specific effects of ga treatment other than trim5 regulation are unlikely .
trim5 has been reported to contribute to innate immune sensing of hiv-1 infection ( pertel et al . , 2011 ) .
to determine whether endogenous trim5 contributes to viral sensing by dcs , we measured ifn1 , ifn , and il6 expression following infection by hiv-1 , n - mlv , eiav in dcs transfected or not with trim5-specific sirnas ( figure s4 ) .
hiv-1 , n - mlv , and eiav all induced type i ifn production as already shown in figure 6 , and knockdown of trim5 had no effect on ifn1 , ifn , or il6 expression following infection , indicating that endogenous trim5 does not contribute to viral sensing by dcs .
this is concordant with our results showing that trim5 is sequestered in the nucleus away from incoming retroviruses .
several groups have shown that the pathogen recognition receptor ( prr ) for reverse transcribed dna during retroviral infection is cgas ( gao et al . , 2013 , lahaye et al . , 2013 , rasaiyaah et al . , 2013 , yoh et al . , 2015 ) . to assess whether cgas is responsible for innate sensing of retroviral infection in human dcs , we transduced dcs with short hairpin rnas ( shrnas ) targeting either cgas or , as a control , lacz and monitored cd86 induction by infection .
cgas knockdown prevented induction of cd86 expression by eiav in dcs , indicating that cgas is a sensor of eiav infection ( figure 6f ) .
together , these results suggest that dcs can not both efficiently restrict and efficiently sense an incoming retrovirus . in wild - type dcs , where trim5 is not present in the cytoplasm to intercept incoming viruses , retroviruses are not restricted , and the reverse transcribed provirus is efficiently detected by a host sensor that triggers type i ifn production .
conversely , if trim5 is forced to the cytoplasm by overexpression or inhibition of the sumo pathway , retroviruses are restricted but are no longer sensed , since restriction inhibits viral dna synthesis and all downstream replication events .
in this study , we investigated the mechanism responsible for lack of trim5-mediated restriction in human and non - human primate dcs .
dcs from rhesus and cynomolgus macaques , african green monkeys , and humans were all found to be permissive to retroviruses that are normally restricted by trim5 from these species .
although trim5 in lymphocytes is mainly cytoplasmic , it accumulates within nb that partly co - localize with cajal bodies in rhesus and human dcs .
nuclear sequestration of trim5 in dcs was sumoylation - dependent and correlated with the lack of retroviral restriction .
forced cytoplasmic localization of trim5 , either through trim5 overexpression or the inhibition of sumoylation , restored efficient restriction in dcs but abolished sensing of the reverse transcribed viral genome by cgas .
inefficient restriction in dcs may paradoxically promote effective immune control if it results in effective sensing .
thus , the absence of efficient trim5 restriction in dcs might have evolved to ensure appropriate sensing of retroviral infections by host cell sensors .
our results indicate that trim5 can be sumo modified and undergo nucleo - cytoplasmic shuttling in both pbls and dcs , but only in dcs does sumo modification of trim5 lead to cajal body targeting and nuclear sequestration ( figure 7 ) .
it is not known how targeting of trim5 to cajal bodies is mediated . although trim5 can be sumo modified
, we can not exclude that an interaction between trim5 sim domains with a sumoylated shuttling protein is also involved .
interestingly , the cajal body marker coilin is both directly sumoylated and contains putative sims and could therefore mediate trim5 nuclear targeting . in pbls ,
endogenous trim5 remains essentially cytoplasmic despite shuttling , and forced accumulation in the nucleus by lmb treatment leads only to nucleoplasmic localization .
further work on differences in cajal body biology comparing pbls and dcs may shed light on the differential nuclear targeting of trim5 in these cells .
cajal bodies participate in the biogenesis of spliceosomal small nuclear ( snrnp ) and small nucleolar rnp ( snornp ) ( cioce and lamond , 2005 , machyna et al . , 2013 , morris , 2008 ) , and it is unclear why trim5 localizes to cajal bodies in dcs .
one possible indication comes from the observation that trim5 was less sumo - modified and sumo - associated in the nuclei of dcs , suggesting its targeting to cajal bodies may lead to its desumoylation and consequent nuclear sequestration .
intriguingly , a novel sumo isopeptidase ubiquitin - specific protease like 1 ( uspl1 ) was recently identified in cajal bodies ( schulz et al . , 2012 ) .
it is also noteworthy that only approximately one - third of nuclear trim5 co - localized with the cajal body marker coilin at any one time . although this may be explained by the dynamic and transient nature of cajal bodies or by the fact that some cajal bodies are coilin - negative ( cioce and lamond , 2005 , machyna et al .
, 2013 , morris , 2008 ) , it is also possible that following sumo - dependent targeting of trim5 to cajal bodies , desumoylated trim5 leaves cajal bodies and remains in the nucleoplasm .
further work will be required to specifically test the involvement of e3 sumo ligases and sumo isopeptidases in trim5 sumo modification .
trim5 regulation by sumoylation is likely to be a finely - tuned mechanism since overexpression of trim5 led to strong accumulation of trim5 within cytoplasmic bodies but negligible nuclear localization , suggesting that the cellular sumoylation machinery had been overridden . in dcs ,
nuclear sequestration of trim5 was associated with efficient innate sensing of retroviral infection resulting in substantial type i interferon production .
conversely , induced cytoplasmic expression of trim5 in dcs restored restriction but impaired viral sensing , suggesting that restriction of incoming retroviral complexes by cytoplasmic trim5 prevents the detection of one or more key viral pamps .
retroviral infection of dcs may be detected by a number of cell host sensors at different stages of the viral cycle : rig - i - like receptors ( rlr ) , toll - like receptors ( tlr ) , and dna sensors such as ifi16 and cgas ( cerboni et al .
, 2013 , luban , 2012 , melchjorsen , 2013 , van montfoort et al . , 2014 ) .
retroviral capsid recognition by trim5 can signal production of pro - inflammatory cytokines ( pertel et al .
, 2011 , uchil et al . , 2013 ) . however , type i ifn production was by far the more potent signaling outcome of retroviral sensing in dcs .
the use of the reverse transcriptase inhibitor tdf abolished type i ifn production following infection , indicating that the retroviral pamp that is recognized in infected dcs is reverse transcribed dna and is unlikely to be capsid .
several groups have shown that the prr for reverse transcribed dna during retroviral infection is cgas ( gao et al . , 2013 , lahaye et al . , 2013 , rasaiyaah et al . , 2013 , yoh et al . , 2015 ) .
our work confirms that cgas is the prr that signals sensing in human dcs infected by n - mlv or eiav when trim5 is sequestered in the nucleus ( figure 7 ) . since trim5 blocks reverse transcription ( stremlau et al . , 2004 , stremlau et al . , 2006 ) , efficient restriction in dcs would block innate detection of pamps generated by incoming retroviruses downstream of reverse transcription , including reverse transcribed viral dna , rna transcripts , and de novo synthesized gag . in addition , efficient restriction would be likely to prevent integration and presentation of endogenous viral peptides on mhc - i molecules for cd8 t cell priming . both innate
sensing and triggering of adaptive response of retroviral infection by dcs are crucial for an efficient immune response and the control of infection .
given that all tested dcs lacked efficient trim5 restriction , we speculate that absence of trim5 restriction might have evolved in dcs frequently exposed to retroviral infections in order to ensure both efficient innate detection of incoming retroviruses by host cell sensors and presentation of viral epitopes to cytotoxic t cells .
conversely , preservation of efficient restriction of incoming retroviruses in lymphocytes , which we confirmed in all tested human and non - human primates , makes an important contribution to the defense of this cell population , which is a key target of many retroviruses ( hatziioannou et al . , 2009 , soll et al . ,
2013 ) . of note , the phenotypes described in this study for endogenous trim5 are entirely abrogated by the expression of exogenous trim5. overexpression following standard transduction protocols led to a dramatic 40-fold increase in trim5 mrna , underlining the non - physiological nature of trim5 overexpression .
the dichotomy between results obtained with endogenous trim5 and overexpressed protein have been described previously ( zhang et al . , 2008 ) , confirming that caution must be exercised when interpreting data based on overexpressed trim5 protein . in this regard , the seeming discordance between our study and previous work showing potent nf-b - dependent transcription following the sensing of retroviral capsid by trim5 ( pertel et al . , 2011 )
may be explained by the fact that the regulation of trim5 function by sumoylation that we describe here was observed only with endogenous trim5 protein and only in primary dcs . in conclusion
, our study reveals that the ability of trim5 to restrict incoming retroviruses in human and non - human primates is lost in dcs as a result of its sumoylation - dependent sequestration in nuclear cajal bodies .
this lack of restriction allows efficient innate sensing of incoming retroviruses by dc host cell sensors and likely contributes to improved viral control in the infected host .
this evolutionary trade - off specific to dcs underlines the multi - valence of dc functions at the crossroads between innate and adaptive immunity , and the ability of dcs to fine - tune their antigen - presenting and sensing functions to best confront recurrent viral exposures .
young ( 34 years old ) male cynomolgus macaques ( macaca fascicularis ) imported from mauritius , 6- to 10-year - old pigtailed macaques ( macaca nemestrina ) originating from the palmyre zoo ( les mathes , france ) , and 3- to 4-year - old african green monkeys ( chlorocebus sabaeus ) were housed at the institut pasteur non - human primates facility .
rhesus macaques ( macaca mulatta ) were housed at the cea ( fontenay - aux - roses ) .
monkeys were tested negative for siv , simian herpes b , filovirus , stlv-1 , srv-1 , srv-2 , measles virus , hepatitis b - hbsag , and hepatitis b - hbcab before inclusion in the study .
blood sampling was conducted in accordance with guidelines established by the french and european regulations for the care and use of laboratory animals ( animal welfare assurance number : a5476 - 01 ) .
blood from the saphenous vein was collected using heparin tubes or bd vacutainer cpt cell preparation tube with sodium heparin .
blood volume and bleeding frequency were defined as a function of animal weight according to the gircor recommendations .
human buffy coats and cytopheresis rings were obtained from the etablissement de sang franais ( efs rungis and hpital saint - louis ) .
pbmc were isolated using ficoll ( 100% and 95% for human and monkey blood , respectively ) ( biochrom ) .
dcs were derived from monocytes following 4- to 5-day differentiation using 50 ng / ml gm - csf ( immunotools ) and 20 ng / ml recombinant human of rm il4 ( immunotools ) .
pbls were activated by treatment with phytohaemagglutinin ( pha , 10 g / ml ) for 23 days and concanavalin a ( con a , 5 g / ml ) ( sigma ) for human and non - human primate samples , respectively , and induced to proliferate by treatment with human recombinant il2 ( 10 ng / ml ) ( sigma ) .
the differentiation and activation phenotypes of cells were systematically checked by phenotypic markers using flow cytometry ( figure s1a ) .
the human fibrosarcoma hl116 cell line carries the luciferase gene under control of the ifn - inducible 6 - 16 promoter ( uz et al . , 1994 ) .
hl116 cells were grown in medium supplemented with hat ( hypoxanthine : 20 g / ml , aminopterin : 0.2 g / ml , thymidine : 20 g / ml ) .
p4-ccr5 are hela - based cells that express cd4 and ccr5 and have tat - inducible -galactosidase activity .
lentiviral and retroviral vectors used were hiv-1 ( trip - cmv - gfp , pierre charneau , institut pasteur ) , sivmac239 ( gae - cag - gfp , franois - loic cosset , ens lyon ) , eiav - egfp ( ony8.9 , oxford biomedica ) , and n - mlv - eyfp expressing vectors ( jonathan stoye , mrc london ) .
mlv - based retroviral vectors plpcx - trim5rh - ha and plpcx - trim5hu - ha were provided by j. sodroski ( stremlau et al . , 2004 ) .
rm and human trim5 were fused in frame to the mrfp fluorophore or the first 102 aa of coilin in n - ter by strand overlap pcr .
fusion constructs were cloned within the ptrip vector within kpni / xhoi restriction sites to generate the following constructs : ptrip - cmv - mrfp - trim5rh , ptrip - cmv - mrfp - trim5hu , ptrip - cmv - coi - trim5rh , and ptrip - cmv - coi - trim5hu .
viruses were sivmac239 , hiv-1 lai , vsv - g pseudotyped lai , vsv - g pseudotyped nl4 - 3-ires - egfp , and r5-tropic nl4 - 3 - 92th014.12-ires - egfp ( papkalla et al . , 2002 ) .
vectors and viruses were produced in hek293 t cells by calcium phosphate co - transfection of vector / virus plasmid , gag - pol expressing plasmid for vectors , and pvsv - g for pseudotyping .
supernatants were collected 48 hr post - transfection , and vector particles were concentrated by ultracentrifugation at 22,000 rpm for 1 hr at 4c ( beckman sw41 ) .
mus dunni tail fibroblast ( mdtf ) cells devoid of trim5 , apobec3 g , and tetherin restriction factors , were used to titer vectors ( carthagena et al . ,
vector transductions of pbls and dcs were performed at moi 0.255 ( tu / cell ) in the presence of cytokines .
egfp or eyfp expression was assessed by flow cytometry or qpcr at 34 days post - transduction ( dpt ) . as a control , vectors were heat inactivated by incubation at 56c in a water bath for 2 hr with frequent mixing prior to transduction .
plasmid and sirna transfections of human dcs were performed using dotap ( roche molecular ) at 1 g dna or 160 nm sirna/0.1 10 dcs according to manufacturer s instructions .
pbls were cytospun onto poly - l - lysine ( sigma - aldrich)-treated coverslips for 5 min at 500 g to optimize cell attachment and cytoplasmic spread .
imaging was performed using a zen 2012 lsm700 and lsm780 confocal microscopes ( zeiss ) with a plan - apochromat 63/na 1.4 objective .
duolink proximity ligation assay ( pla ) was performed according to manufacturer s instructions ( olink biosciences ) .
cytoplasmic and nuclear fractions from 4 10 pbls or dcs were prepared using ne - per isolation kit ( pierce ) .
fractions were loaded onto 10% sds - polyacrylamide gel using equal cell equivalents rather than protein amounts .
the purity of subcellular fractionations was confirmed using tubulin and lamin a / c for the cytoplasmic and nuclear fractions , respectively . | pubmed |
Anime X-overs, Game X-overs 1. Chapter 1
Well, guys, sorry about the lack of updates on my part, but I have something that I can do in my spare time while I try to work on The Son of Space and Unknown: Powers of Chaos.
That would be this Q&A&Dare thingy. Yes, that is what I'm calling it.
Deal with it.
So yeah, as the name suggests, review with a dare or a question, and I will find some sort of answer. It could have anything to do with my characters or any others I've referenced, like Classic Dante or Megaman.
No statements, sorry.
Well, good luck, guys!
2. The first set of dares
Great...I have to write this again...
Well, I was hoping to with at least 3 reviews, but this will have to do.
* * *
First one is from a good friend of mine: TheAncientVamPie:
Alright. Pinkie:
Get as hyperactive ad you can, and then listen to MDK: The great ghastly
As far as I know, you want to break something. And I'm pretty sure that base form Pinkie is as hyperactive as she gets, but here goes nothing...
*a few minutes later...*
Unknown's house is destroyed.
Unknown: Thank God I don't need insurance.
Me: lol
* * *
The next one is from another good friend of mine, stargazer the angel hedgehog:
i dare unknown to dress up as sailor chibi moon (if you don't know what it looks like look it up on google images)
Unknown: ...:I
Me: Dude, do it for her.
Unknown: ...Fine, I will only do it for the people.
(I did this already, so I'll just get to the point. Unknown morphs into a girl. Rule 63 :I)
And now the magical girl anime scene appears.
He/She(I don't know lol) is covered in a white light and gets the Sailor Chibi Moon outfit.
Unknown: Can I change back now?
Me: Hmm...fine.
* * *
Third one is by a new user, Liliylove123:
I dare Unknown and Dante to kiss. (on the lips...)
Unknown is a guy again.
Unknown: Okay, let's get this over with...
*a few seconds later*
Unknown is burning his eyes out in the sun and being sucked into a black hole at the same time.
(He couldn't let Dante have the memory, so as soon he did it, he took away Dante's memory)
Unknown: WHY DOESN'T IT WORK WITH MEEEEE?!
* * *
Last one is by that guest that is everywhere(that's just a joke), werewolflover99:
Megaman: I dare you to roll into peanut butter & black ultra mega sticky stinky smelly slime.
Well, I don't know which version of Megaman he's talking about, so I will use Megaman X
X: Unknown, why did you make this?
Unknown: Take it like a man, man.
X: Fine.
X dashes into the mixture, but get's stuck.
X: Wha-? What is this made of?
Me: Why don't you ask werewolflover99?
*a few minutes later*
X is still stuck.
X: Unknown, you can get me out of this, right?
Unknown: Yeah, it's just more fun to look at you like this. :D
* * *
Now then, I have a question for you guys:
Dubbed or Subbed? I prefer subbed :3
Unknown: TEH ABUSE! I will survive! WE. WILL. SURVIVE!
Me: :I
Well, good luck, guys!
End file.
| fanfiction |
How much CO2 gets free when combusting 6 kg n-heptane (C7H16) [closed]
**Closed.** This question is [off-topic](/help/closed-questions). It is not currently accepting answers.
---
**Homework questions** must demonstrate some effort to understand the underlying concepts. For help asking a good homework question, see: [How do I ask homework questions on Chemistry Stack Exchange?](https://chemistry.meta.stackexchange.com/questions/141/how-do-i-ask-homework-questions-on-chemistry-stack-exchange)
Closed 7 years ago.
[Improve this question](/posts/40685/edit)
I am very new to chemistry and have a question to an exercise.
It's about combustion (complete oxidation) n-heptane ($\ce{C7H16}$).
There were several questions I could answer, for example the chemical equation:
$$\ce{C7H16 + 11O2 -> 7CO2 + 8H2O}$$
But what I can't answer is, how I calculate how much $\ce{CO2}$ gets free when burning 6 kg of the n-heptane.
Can someone help me with this?
Thanks a lot!
**Edit:**
I am not sure if this information is needed:
molar mass (g/mol): $\ce{C}=12$ $\ce{O}=16$ $\ce{H}=1$
density of n-heptane: $0.684\ \mathrm{kg/L}$
For these types of problem, concept of mole is very handy. Here, you know the reaction stoichiometry, that means you have at least three information from that reaction equation. How?
\*\* For every mole heptane, you need 11 mole oxygen for complete combustion
\*\* For every mole of heptane combustion, you will get 7 mol carbon di oxide and 8 mol water.
So, now if you know the mole corresponding to 6 Kg heptane you can easily find out the amount of carbon di oxide produced in mole unit.
The relation is
$$n\_{CO\_2}=7 \times n\_{Heptane}$$
$$n\_{Heptane}=\frac{m\_{Heptane}}{molecular~weight~of~heptane}$$
Now if you want to also calculate amount of carbon di oxide produced in mass unit or volume unit, you need to use the second equation or ideal gas law equation.
| stackexchange/chemistry |
Are Normal Stress Differences in Newtonian Fluids Equal?
I was reading about normal stress differences in the context of Non-Newtonian fluids. There was a remark that the normal stress differences in Non-Newtonian fluids are not equal whereas the normal stress differences in Newtonian fluids are equal. I can't figure out why the normal stress differences in a Newtonian fluid should be equal. Can anyone highlight a proof?
In general they are not equal.
A counter example would be a uni-axial straining flow, say $\mathbf u = x\hat{\mathbf x}-y\hat{\mathbf y}$. The stress tensor is
$$
\sigma = -p\mathbb I+\mu \begin{pmatrix}1&0&0\\0&-1&0\\0&0&0\end{pmatrix}\,.
$$
Clearly, $\sigma\_{xx}-\sigma\_{yy}\neq \sigma\_{yy}-\sigma\_{zz}$. Sometimes the normal stresses are interpreted as the stresses along the eigendirections of $\sigma$. Then the differences are differences between the eigenvalues. In this diagonal example it's equivalent.
However, in rheology a simple shear flow is often assumed. Let's say $\mathbf u=y\hat{\mathbf x}$. The Newtonian stress tensor is
$$
\sigma = -p\mathbb I+\frac{\mu}{2} \begin{pmatrix}0&1&0\\1&0&0\\0&0&0\end{pmatrix}\,.
$$
Therefore, in this particular setup the normal stresses, in the sense "diagonal elements of $\sigma$", are zero. Note that in terms of the stresses along the principal directions, this matrix is equivalent (has the same eigenvalues) to the first example.
| stackexchange/physics |
Mariana de Jesús Mendieta b. 10 April 1956 is an Ecuadorian politician. She was the first woman to hold the mayoralty of Durán.
Biography
Mariana Mendieta was born in Chone, Ecuador on 10 April 1956. She entered politics when she joined Ecuadorian Radical Liberal Party in support of and Carlos Luis Plaza Aray. After the deaths of both men, she left the Radical Liberals and joined the Social Christian Party. In 1998, she was elected to the City Council of Durán. During her inauguration, Mendieta was attacked by assailants she identified as being supporters of incumbent mayor Oswaldo Peñaherrera, a member of the Ecuadorian Roldosist Party. She was so badly beaten that she had to abort her pregnancy at that time and developed a colostomy. Mendieta was dismissed from her position following a controversy wherein, during a cantonal meeting, she stripped off her pants and underwear to display her colostomy bag and accuse Mayor Peñaherrera of orchestrating the attack. She was restored to her seat by the Constitutional Court.
Mendieta resigned from her town council seat to stand as a candidate for the as a representative of the Social Christian Party, and was elected Mayor of Durán. She was reelected in the . Her mayoralty was focused on the maintenance of roads and parks.
In July 2007, Mendieta was accused of embezzlement over alleged administrative irregularities.
Citations
Category:1956 births
Category:Living people
Category:Ecuadorian women in politics
Category:Social Christian Party Ecuador politicians | wikipedia |
Transformers 1. HONEY I SHRUNK THE AUTOBOTS!
**HEEEEEEEEEEEEEERRRRRRE'S JOHNNY! Hey guys! Random inspiration hit me in the weirdest place (I'd tell you but it'd be considered TMI.) I also got inspired by a pic I found off Tumblr. I totally forgot to write down the person who owns it so if anyone would be so kind to go find out _who_ created the pic, I would be most happy about it. (It'll be the cover photo and plus hey you don't want credit taken away from you right?)**
* * *
"Normal talk"
"_Bumblebee's Radio Talk_"
::Comm. Link::
'Thoughts'
_**Flashback! *Jazz hands***_
* * *
"Ah can't belive ya went and did that!"
"Talk about the bloke who wanted a new weapon!"
"I'm surrounded by sparklings."
"_Who you calling a kid?!_"
If you walked into the barn you wouldn't necessarily notice anything out of the ordinary. Cade always had scrap parts laying around on the floor, ceiling, and tables that were the Autobot's temporary home for the time being. Now here comes the out of place part. Tessa Yeager walked into the barn to find her father's new invention he had the Autobot's try-out.
The device was a metallic blue with a certain combination of buttons with one side a full lense. Cade dubbed it the "holoform," a device that can shrink the Autobot's down to human size and gave them a human appearence. Of course he didn't invent it by himself. Crosshairs threw out the idea as a joke one day and both Cade and Hound took it into seriousness, scavenging for scrap metal and dissecting the parts of Lockdown's Knight's Pod.
Even though Crosshairs wasn't too happy with destroying the only way to get off this mudball of a planet, he agreed to it only to have it used as a way to go on the defense if humans ever attacked them again. So far it was clear but to be on the safe side, they needed a back up plan.
Which obviously failed.
* * *
Tessa found the device on a cold, metal table; surrounded by now minisculed Drift, Crosshairs, Hound, and Bumblebee. The blonde girl covered her mouth as she watched Hound grab Crosshairs by his helm and chucked him to the other side of the table and Bumblebee circling Drift. Her blonde hair twirled round as she dashed out of the hangar like barn, across the green lawn, shouting, "DAD!"
"What?" Cade was panicked slightly. He was too on his toes since the near execution of his light. Tessa all red in the face, dressed with short shorts and a t-shirt that raise above her stomach pointed to the barn trying to speak.
"They...they..."
"Shrunk? Honey it's supposed to happen like that."
"What?"
Brushing a dark lock of hair from his eyes, Cade began again, ignoring the hot Texas sun on his neck.
"Honey I created a holoform to make them our size and look human-"
"Dad they're tiny! They're not human looking!" To prove her father wrong, Tessa's delicate hands grabbed his thick arm and hauled him towards the barn
* * *
Meanwhile in that time period, Crosshairs had managed to get onto Hound, encircling his legs around the engineer's neck. His coattails were flapping as Hound started twirling around exclaiming, "I'm a fat ballerina that like's to shoot things and squash whatever the Pit is on my neck!" Crosshair's would laugh; until he was slammed onto his back, Hound toppling on top of him. With a groan, Crosshairs rolled out from underneath the fat slagger and threw on his goggles, battle statistics analyzing crucial weak points. With a war cry he threw himself onto a highlighted weak point. The knee joints were the old fool's weakness; before he could even reach Hound, something of glass encased around him. He deployed his chutes, avoiding serious damage from the glass as he landed on the bottom, parachute's engulfing his form.
Hound was left with Bumblebee on the table, watching as Tessa gingerly turned the jar so Crosshairs didn't fall too hard to the bottom. Drift was encased in an identical jar only temporarily until the former Con's optics found Cade's. He threw his samurai swords into the sheath's on his back and transformed to his helicopter mode, going to Cade's shoulder. After transforming and settling on his human companion's shoulder, Drift gave Bumblebee a death glare before turning to Crosshairs predicament.
"Ah'm gonna kill whoever decided to put me in a box!"
"Technically it's a jar." Cade pointed out, setting the spare jar next to the two miniscule Autobot's. Crosshairs ignored him, struggling to see, Tessa frowned and stuck her pinky inside the jar, pulling a section of parachute upwards. It seemed to help Crosshairs as he managed to disentangle himself from both parachutes. Growling, he retracted his parachutes and looked up to Tessa, waving his tiny fists.
"What's the big idea?"
"What?"
"I'm tiny!"
"I noticed." Cade deadpanned, noting that they all were as big as a travel sized shampoo bottles! This went badly oh so badly!
* * *
**Short but I hope to get more elaborate next time! Ciao! The Cherryblossom Tree**
2. YOU LOOKED UP WHAT? AND I HEARD WHAT?
**Bang! Bang! Hi guys! Cherryblossom with a new chapter here. I discovered my link goes to tumblr for the pic so **_**whoever **_**drew the pic on tumblr, I am crediting you with the creation of it and it is not mine! I'm done with my disclaimer so sit down, relax, and watch the mischief unfold.**
* * *
"Normal talk"
"_Bumblebee's Radio Talk_"
::Comm. Link::
'Thoughts'
_**Flashback! *Salutes***_
* * *
Tessa groaned as she Skyped Shane. Drift, Bumblebee, and Crosshairs were in the background, messing around with whatever they got their hands on. She didn't turn around at them to send them a glare as she tried to talk to her boyfriend while Hound and her father were trying to figure out how to reverse the effects of the holoform.
"Babe, why are they bothering you so much? OH and I think Bumblebee found your "drawer.""
"Bee!" Tessa got up from her seat at the window and ran over to snatch Bee in time for him to nearly see the contents of the "drawer."
"_HEY!_"
'I'll face Attinger before letting the Autobot's see what I keep around!' She slammed the white drawer shut, and put Bee next to Crosshairs (whom was on the beam of her room, happily snoozing.)
Bee let out an indignant sigh before crossing the beam. He decided to at least get on the bed. Letting out a static shriek, he threw himself off the beam, disturbing the paratrooper.
"Wye Ah outta...!" He followed the rookie, deploying his chutes, slowly falling onto the bed. He brought out his weapons and started chasing Bee all over the bed, making dents in the once stiff tight made bed. Tessa let out a groan of frustration, watching the two quarrel.
Shane seemed to be enjoying the scene and rooted, "Go Bee! Go!"
"_You're too old, old man!_" Bumblebee let out before transforming into car mode, flying off the side of the bed, tearing it down the hallway, leaving skid marks on the hardwood.
"Ah'm not ol'!" Crosshairs followed on Bee's heels, exiting the room in his car form.
Tessa stood there not knowing if she should go after those two or to stay in the room and talk to her boyfriend. She chose her boyfriend, turning to see the blue samurai she had totally forgotten was in the room with the rest of them. Shane waved happily into the camera and Drift bowed.
"Hey Drift." Letting out a sigh of relief, Tessa crossed the room and sat in her bean bag chair, letting Drift talk to Shane. At least Drift will be more easy going than Crosshairs and Bee.
It had been a while since Shane hung around with the gang of misfits. He once in a while picked up Tessa to go out on a date (much to Cade's dismay) and sometimes Bumblebee would come over to his place to hang out. Other than that, he stayed as far away from them as he could. After all who wants to mess around with the Autobot's war?
"Konichiwa Shane."
"I swear you get into the Japanese culture a little too much there. If you were gay you'd remind me of the stuff called "hentai madness" or something like that."
The last sentence that flew out of Drift's mouth made everything worse.
"And you would know Japanese porn why?"
Shane flinched from the other side of the screen, a tool falling from his hand, and Tessa's pale room seemed to become much darker as she turned to the screen. Shane was stammering trying to explain himself.
"_Oooooh! Someone just got busted!_" Crosshairs had Bee by the scruff of his mechanical neck, the rookie kicking his legs like a child trying to escape his parent's punishment. The green paratrooper brought out his weapon and threw Bee to the ground, making the little bot walk over to the bean bag chair, looking up at Drift.
"Ah' wouldn' know you'd look tha' stuff up there Drif'."
Shane laughed at the now sputtering Drift, whose golden face could distinguishly turn red as Crosshairs and Bumblebee snickered in the background. Tessa rolled her eyes and Shane flashed his white teeth in amusement. He angled the camera towards him now.
"I'll come over and help you out there babe give me at least ten minutes."
"Okay, love you."
"Love you too."
The laptop went black and Tessa closed her computer, turning her attention to Drift.
"Don't worry Drift. It was just a joke." Drift still embarrassed, flew up to the beams, and settled himself there. He ignored the two cackling mechs below him and meditated, now trying to gain inner peace from the backfire statement. Bee walked over to Tessa's foot, tugging on her skirt.
"_Table for two?_"
"Make it three, Ah' hate bein' on the ground." Crosshairs groused, folding his arms as he looked away, daring not to meet the human's kind eyes. Tessa gave a weak smile as she leaned down and wrapped her hands around the tiny forms before depositing them in her lap. Bee curled up like a cat, letting a purr escape his vocalizer while Crosshairs scrambled to the side of the bean bag. He didn't want to get involved with any affection. He was a soldier for Primus's sake! A paratrooper can only trust his parachutes and as a weapon's technician, he can only trust his fully locked and loaded weapons there was no way-
::Crosshairs, Bee, Drift. We have a slight problem.:: Hound's gruff voice came over the comm. links, still gruff and not really easy-going with the other mechs. His innards turned into a knot of defeated worry. This was going to be some extremely bad news on his part. Answering the comm. link, Bee and Drift joined him.
::What is the matter?:: Drift's soft voice came in, kind of making the situation seemingly lighten up.
::_Yeah what's shakin' bacon?_::
::Shut it Bee.:: Crosshairs sneered before settling himself in for the news.
::Now that ya'll are settled in I might as well be blunt: we are going to be tiny for a looooooooooooooooong time.::
::Doesn't seem too bad. It could've been worse.:: Drift commented. Crosshairs slammed a fist down.
::Worse? What could be worse? Us transportin' to Cybatron without even tryin' or stayin' small? Ah can't believe this!::
::_Don't worry, be happy. Woohoo don't worry be happy._::
::Now calm down, Cross,:: Hound started probably looking at the holoform this instant, ::Cade and I will break this doo-hickey down to it's original parts and once we rebuild it, we can get right on back to our nomal heights or our true holoforms.::
Crosshairs hung up, growling with anger. He hated this height so much! There wasn't anything for him to do that was deemed "appropriate", the human's were trying to keep an eye on all four of them without trusting them, and of course he was right now rendered useless in case of an attack.
Tessa looked down at Crosshairs, frowning a bit before saying, "You'll be fine. We can manage without your protection. We'll get Joshua to set up some defense or something like that."
"Ah' don't trust 'im."
"Neither does my dad. At least he was nice enough to put me in college, rebuild the house and barn, and good enough to let you guys get some upgrades."
"Yeah, yeah, yeah." With that subject properly dismissed, Crosshairs decided that it was getting too crowded in here and jumped down from the bean bag. Tessa made no move to stop him and quite frankly she didn't want to disturb Bee from his nap. The Autobot's did look adorable now that they were minisculed especially Bumblebee with his fluttering doorwings and his-
"AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAH!" Stuff came flying out of Tessa's closet when Crosshairs flung open the doors and was now buried in clothes, boxes, and other stuff that was previously held back in the doors. Bee was startled awake, Tessa was wondering how the hell Crosshairs was strong enough to open the doors to her closet, and Drift was looking at the scene with what anime called a sweat drop.
* * *
**Ta-da! Hope it was long enough to makeup for the short first chapter! Aufwiedersehen! (I hope I spelled it right. [Fun fact: I took three years of German.]) The Cherryblossom Tree**
3. WHO ARE YOU?
**Tick! Tock! Tick! Tock! Hello we meet again! I felt a wave of inspiration kick me right of my bed this morning (not to mention a Pirates of the Caribbean Song blaring in my ears.) Hope you enjoy and OMG THANK YOU FOR REVIEWING!**
* * *
"Normal talk"
"_Bumblebee's Radio Talk_"
::Comm. Link::
'Thoughts'
_**Flashback! *Swings Drift's sword***_
* * *
It had been an hour since Shane arrived, taking Bee as the robot to keep his eyes on while Tessa took Crosshairs. Drift was luckily left alone since he didn't usually get into stuff and was well-behaved. Right now they were in the attic, cleaning it out for an item that Hound and Cade needed.
* * *
_**As soon as Shane arrived in his little Chevy Sonic, Cade stormed out of the barn, Hound bouncing up and down on his shoulder.**_
_**"The hell are you doing here?!"**_
_**"Relax Dad of the Year," Shane started calmly, watching as Tessa was waving for him to come inside urgently. "Tessa wants me to watch one of the Autobots since they seem to be giving her hell."**_
_**Groaning at this information, Cade looked from Shane to Tessa and back to Shane. He opened his mouth to say something but Hound beat him to the punch.**_
_**"Good, we want you and Tessa to look for this item," he whipped out a polaroid photo of what looked like a ball with spikes on it, "this is going to help the electricity distribute itself so we won't be this size." Shane took the photograph and mentally groaned. Probably hidden in the attic that wasn't really destroyed when the government came for Cade and Tessa.**_
_**With a nod, Shane ran up to Tessa's bedroom, hearing muffled curses and shouts before entering to see Crosshairs being disentangled from a pair of Tessa's underwear. He was shouting in Cybertronian at Bee as a huge applause and cat calls blared through his vocalizer.**_
_**"Knock it off there Bee, you don't want Crosshairs to steal Drift's sword again." Shane lightly reprimanded, remembering that day oh so fondly.**_
_**Which Bee really remembered and immediately ran over to Shane, hiding behind his leg.**_
_**"Aww...you're so cute Bee!" Tessa gushed, after getting Crosshairs free from his "womanly" prison. Crosshairs grumbled and tried to shrug off the comment but it looked like he wished he had recieved one as well. Drift jumped off the beam and walked over to Crosshairs, nodding a bit at the comment. **_
_**'Are they seriously jealous Bee gets more attention than them?' Shane wondered as he gave Tessa the photo and explained it was in the house somewhere. Tessa groaned dramatically and finally answered, "Fine. Fine, let's go find this stupid thing!"**_
_**"Cool! I'll take Bee!"**_
_**"Looks like Ah'm paired with you Tessa." Crosshairs stated, turning his head upwards only to stare at her lacy pink underwear. His faceplates immediately turned bright red and he was giving a mix of astonishment and humiliation.**_
_**'Crud! Tha' was what tha' thin' was! An interface panel!' **_
_**Bee pointed at Crosshairs and laughed. Tessa looked down at Crosshairs noticing where he was looking.**_
_**"You better turn your gaze somewhere else or I'll sick Shane on you!"**_
_**"Yeah buddy," Shane smirked, "that's my job!"**_
_**"What's your job? Giving Crosshairs an ailment or looking at Tessa while her father isn't doing so?" Drift asked, with all honesty. **_
_**"Are you serious?" Shane asked again. 'It sounded like Super Dad molests Tessa for a living. Kind of explains why she butts heads with him.'**_
_**Drift was going to restate his question when Crosshairs butted in.**_
_**"Can we go? Ah don' like wastin' time."**_
* * *
After that, everybody moved into the attic to look for the spiky ball which probably had no meaning to them but to Cade and Hound. Tessa couldn't clean or find anything unless there was a movie in the background. She had popped in Pirates of the Caribbean, the movie projected against a far wall where there were still Tessa's old toys and toys that were meant to be passed on to the next generation. One of them happened to be a pirate ship.
It was indeed old, never painted, and with working sails, ropes, pulleys, helm, and had a crow's nest. The Autobots were currently watching the movie, noting some things that reminded them of Crosshairs.
"You look like this Jack Sparrow, Crosshairs."
"_It's CAPTAIN Jack Sparrow!_"
"Wot' are you all talkin' about? No way Ah could be 'im!"
"Well you do have something that represents his coat, you like to get drunk when there's spare energon around, you love to fight, and you can come up with witty things." Drift stated coolly, climbing up to the crow's nest. He didn't obstruct the view but his point was proven when Jack Sparrow came across the screen in his coat, said something witty to Will Turner, before taking something called "rum" back to him and Gibbs.
Crosshairs shook his head, knowing they were right about how he was comparable to Jack Sparrow. He flopped onto the deck of the ship, looking through the railing instead of watching the movie. That's when he spotted the spiky ball Cade wanted.
'Bah! Ah won't tell them Ah found the doo-'ickey.'
Bee must've spotted it too because in the next moment, he was throwing his vocalizer loudly enough so Tessa and Shane could hear him over their rummaging ruckus.
"_I found it! I found it!_" Now Crosshairs would normally let Bee tell the two humans he had found the spiky ball but right now he wasn't in the mood to give credit to someone else. He got up and pounced onto Bee, stealing a tricorn hat off a doll, and grabbed a sewing needle as a sword.
Pointing the thing at Bee, Crosshairs growled, "Walk the plank!"
"_Somebody please save me!_" A high pitched, somewhat female voice, came through the vocalizer as Bee was backed up to the plank. Drift was watching in some disdain at his two teammates. They were acting like sparklings! Though this was getting a little bit more action then the movie itself. He watched the show below, careful not to alert the humans of what was going on.
The music in the background was enough help as the action unfolded before him. Bee jumped behind Crosshairs only to duck as the sewing needle swung for his neck. The rookie rolled out of the way but Crosshairs wasn't finished yet. He grabbed him by the doorwings and threw him onto the helm. He punched Bee in the back of the head, only to have Bee trap Crosshairs in his doorwings like a Venus fly trap.
"Ah'm not goin' down that easy!" With all the strength he could muster, Crosshairs threw Bee backwards...only to have Bee land in Shane's hands!
"What are you two doing?"
"Nothin'!"
"_He punched me!_" Came the little whiny voice from Bee. Crosshairs rolled his optics. Tessa came over and spotted the spiky ball. Using her shirt off her jacket, she picked it up before looking at Crosshairs.
"Who do you think you are, stopping Bee from telling us where this thing was?" Immediately, Crosshairs knew Drift must've told them the story when questioned about the fight. Slowly readjusting the hat on his helm, and tucking the sewing needle in his coat, Crosshairs stated, "Ah'm Captain Jack Sparrow."
* * *
**S****orry my creative juice kind of slowed. My friend had a nasty break up, trying to comfort her and everything. Ciao! The Cherryblossom Tree**
4. HEY IT'S FLUFFY!
**Scritch-scratch! Scritch-scratch! Hey guys! I totally feel torturous towards our little bot's today. Oh good lord help them from my wrath. *Evil Cackle* Also I found out who drew the pic on tumblr (which remember I didn't draw it so I'm crediting the person.) It was wiingu! Hope you don't mind! Also apologies for not updating earlier today, had to run errands and drive my mom to work. Now onto the torture sequence! *Thunder crashes with lightning in the background***
* * *
"Normal talk"
"_Bumblebee's Radio Talk_"
::Comm. Link::
'Thoughts'
_**Flashback! *Cries over the loss of Robin Williams***_
* * *
Crosshairs was pissed! Why do you ask? Simple: after the fight with Bumblebee, he was "sentenced" to the accursed jar prison for the night. He watched through the clear glass as Bee snuggled with Tessa and Shane while Drift free roamed the girly bedroom. Shane was crashing with Tessa using the excuse that Crosshairs might break out of his prison and do something cruel to Bee. (Of course this is Crosshairs, so he's going to give a bit of payback!)
Cade was furious at the statement but luckily, Hound told him he'd watch Shane and Tessa, making sure they don't exchange "paint jobs." So here the grumpy old bot was sitting next to the encaged Crosshairs, watching the human youths sleeping peacefully with Bee in between them. The bot looked to the paratrooper, noticing how somber he looked.
"What's got ya all mopey there Cross? Never seen ya act like that before."
"Ah'm not mopin'!" Crosshairs snapped before looking down at his current position. "Ah' just 'ate bein' prisone' in this blasted thin'!"
"Sorry, ya got ta stay till mornin'."
Bee woke up at the conversation between the technician and the weapons specialist. They were conversing about the weapon, stuff he tuned out easily. Most of that gibberish wasn't comprehendible to him. Stretching his doorwings, he scuttled across Shane's body, earning a giggle from his sleep. Soon, Bee was at the edge of the bed, looking down at the hardwood below.
"_One for the money, two for the show, three and here I go!_" He jumped off, landing on his feet before standing up straight and tall, looking under the bed for the samurai. No signs for him. Now the true goal for Bee to be up and about was to cause some mischief. A plan forming in his head, Bee transformed into his Camaro form and drove out of the room, trying to be a sneaky as possible.
Unaware to the scout, Drift, knew what the yellow bot was up to. From his beam, Drift was formulating a plan to teach this "child" how not to underestimate him. He scanned for something useful and decided to follow Bee. Maybe he could follow and catch him in the act? It was a better idea than sitting here and waiting for Bee to spring a trap on him. Transforming, Drift flew down to Hound and Crosshairs. At least he could warn them of Bee.
"I believe the child is trying to set up a prank for all of us. I'm going to follow him." Ok, it was half a lie, but it could happen to both Crosshairs and Hound. The two mechs looked at one another before Hound replied, "Take Crosshairs with you. At least _he_ can combat Bee's pranks."
"Fine, I have to return you to your prison before the humans awaken though." Drift thought that was even a better idea! An upperhand!
"That's fine, Ah just want ta get my 'ands on him." Drift jumped on top of the jar while Hound held the base. Crosshairs stood up and eagle spread himself; bracing himself for anything. Drift slowly undid the cap, keeping a wary eye out for Tessa or Shane to wake up. With a _pop_ the top came off and Crosshairs managed to jump out onto the nightstand, quietly jumping off the furniture with parachutes up again. Drift followed but stopped when Crosshairs wasn't descending anymore. He looked up and there he was, dangling from the corner of an open drawer.
"Seriously?" Drift hissed, transforming back to his robot mode and tugged at the parachute to give.
"Ah'm bein' cereal." was the snarky reply before Crosshairs fell with a thump onto the ground. Rubbing his aft, Crosshairs stood up and ran out of the room, Drift not too far behind while Hound grumbled about youngsters, dozing against the jar as the other two snuck downstairs.
* * *
It was too quiet. Bee was looking around, marveling at the living room and kitchen. He was always too big to see inside the house. The kitchen was all home country with golden lighting and the living room had white carpeting with geometric wallpaper. There was static coming from the TV, signaling how late it was into the night. Being the only light in the room, Bee tiptoed as quietly as his systems would allow him to.
"_There's got to be something around here I can use. Kitchen...is the best...choice._"
"Mew."
"_Huh?_" Bee turned to face a kitten that was awakened by his systems chirring and clunking. A sweat drop appeared on Bee, remembering the information about cats on the internet. They hunted for fun! Not wasting a beat, Bee ran as fast as he could, a nursery rhyme playing through his speakers, "_Run, run as fast as you can, you can't catch me 'cause I'm the Gingerbread Man!_"
The kitten, now fully interested, chased after the scrambling metal toy. A little tabby loved this kind of fun stuff! Which is rather unfortunate for Bee; soon he was starting to get tired and the kitten caught up, ready to punce on him. In a sheer determination, Bee turned the corner to escape the creature when he smacked into a person. Horror dawned onto the scout as the white nose and dangerously evil eyes glaring a potential hole into his soul.
"_Oooooooooooh nooooooooooooooooooooo!_" came the squeaky voice. Crosshairs picked the little bot and pinned him against the cabinet. The little bot struggled out of fear for the kitten than the angry paratrooper.
"Aye mate, want ta play a game?"
"_How about...let's NOT GET EATEN!_"
"Huh?"
"Mrawr!" Crosshairs, Drift, and Bee turned their heads to face the dreaded kitten. The other two knew about the cat, a parting gift from Joshua to Tessa. The little furball raised a paw and started swatting at the three bots. Crosshairs threw Bee to the side and went for his sewing needle. Nothing was found, instead he whipped out a toothpick!
"Bumblebee!"
"_What? You were going to kill little old me!_"
"MEOW!" The kitten yelped in pain as Crosshairs stabbed the toothpick into its plush paw. The kitten backed off and ran off much to the dismay of Drift.
"You shouldn't have harmed it. Tessa will surely notice the injury."
"Well if ya planned to become a chewy toy, Ah'd say you should thank meh."
The lights flicked on and there was Shane holding the injured kitten and Tessa with her hands on her hips, glowering down at the three. All they could offer was sheepish grins before you could hear three screams echo in the hot night.
* * *
Now the daylight is on and...
"AH! This is degrading!" Hound yelled indignantly, as burning hair and newspaper was dumped into his jar. All four Autobots were trapped in seperate jars, each serving terms in their prison for different reasons with the hair burning dumped into their jars for extra measures. The sentence and times of the serving were printed on the notecards attached to the jars.
Hound: let Crosshairs escape and didn't watch Tessa nor Shane. Duration: 3 hours
Crosshairs: Withheld information, beat Bee, escaped, and stabbed Toodles. Duration: 24 hours
Bumblebee: Fought with Crosshairs and snuck out. Duration: 2 hours
Drift: An accomplice to Crosshairs escape. Duration: 1 hour
None of them were pleased. Drift looked up from his meditation pose and narrowed his optics at Shane.
"You dishonor me greatly!"
"_Dishonor on you,_" Bee pointed at Shane and then towards Tessa. "_Dishonor on your cow!_"
::Bee, you shouldn't have done that!:: Hound bellowed as Tessa smiled evilly.
"Since Bee decided to call me a cow," Tessa walked over to Bee's notecard and changed the duration to four hours. "I'll just do this!" She grabbed a heavy blanket and draped it over the jars, blocking all the sunlight out. Leaving them in stale burnt hair jars.
::Told ya so.::
::_Shut up!_::
* * *
**HAHAHAHA! I can be evil! Anyways thanks for the review! Ciao! The Cherryblossom Tree**
5. RUB A DUB DUBDID SOMETHING HAPPEN?
**Splish splash**
**I ws takin' a bath**
**'Long about a Saturday night (yeah!)**
**Rub dub**
**Just relaxin' in the tub**
**Thinkin' everything was all right**
**Well, I stepped out the tub**
**Put my feet on the floor**
**I wrapped the towel around me**
**And I opened the door**
**And then a **
**Splish, splash**
**I jumped back in the bath**
**Well, how was I to know**
**There was a party goin' on**
** That song popped into my head for this fic and a phrase from the old Get Smart series (Rub-a-Dub-Dub Three Spies in a Sub.) Thanks for all the reviews now on with the show!**
* * *
"Normal talk"
"_Bumblebee's Radio Talk_"
::Comm. Link::
'Thoughts'
_**Flashback! *Puts on a fumigation helmet***_
* * *
It had been at least a day and a half before Crosshairs was let out. The paratrooper was none too pleased of bathing in the scent of burnt hair; while the others got off with lesser sentences than he. He was currently sitting on the bathroom counter next to Hound, Bee, and Drift. Apparently they weren't permitted to be washed of their new "perfume" until Crosshairs served his sentence. The bathtub was currently being filled; not too deep but not too full. There was bubbles in there, they looked harmless enough.
'At least it'd be better than the time Ah was dangled over a vat of slag.' Shane walked over to the four bots and flopped down on the toliet, rolling his eyes.
"I don't know what to tell you. That you are probably going to be man-handled during the wash or the polishing is going to be the worst thing in the world."
"We've been through worse." Drift replied, meditating as he patiently awaited for Tessa. Hound snorted, "Yeah we've been hunted by you guys, remember?"
"Yeah that does sound worse than a man handled bath."
"_You bet your ass it is!_"
"You know Tessa didn't forget about the "cow" comment?"
Bee immediately screeched as Tessa snatched up the flailing Autobot and he shrieked as Tessa plunged him into the cold water. He flailed his arms as though he were drowning.
"Oh cool it Bee. Think of it as payback."
"_Payback is a bitch!_"
"Yeah but it's my payback!" Bee squealed some more as he was rinsed off under the cold faucet before dumped into the warm bathtub, folding his arms, and pouting at the rough treatment. At least the water was warmer. Testing his doorwings, it felt nice to have his hinges feel like new, all the tension get off his ba-
"HAHAHA!" Crosshairs launched himself on to Bee, forcing the little robot to go underwater. It didn't hurt but his intakes did not enjoy the soapy water taste. He came up and "coughed", trying to get rid of that taste. Hound and Drift jumped in besides Crosshairs, Drift taking hold of Crosshairs while Hound took Bee. They all didn't want to get stuck in those stinky jars again.
"_Let me at 'im! Let me at 'im!_" Bee was throwing invisible punches at Crosshairs, Hound restrainging the rookie and Drift doing the same to Crosshairs.
"Brin' it small fry!"
"_Oh it's on now!_" Hound rolled his eyes at the threat, deciding enough was enough. He got in front of Bee and fire carried him to the more shallower end of the tub, Bee kicking and punching the older mechs back the whole way.
"_This is mutiny!_"
"Can it!" Hound threw Bee into the shallow end, a clunk making ripples around the tub. Drift escorted Crosshairs to the deeper end. Bee started swimming circles around Hound, bored that nothing was going to happen.
"Meow!"
All the bots looked up to find Toodles with a damaged paw, smacking the water timidly. Bee hid behind Hound and shook.
"_I-it's b-back!_" Toodles looked at Bee and purred, trying to reach him but didn't want to get wet. Shane grabbed a wash cloth and dipped it into the water before pushing Toodles out of the way.
"Come here Bee."
"_No!_"
"Seriously Bee? Act your age!"
"_How can I act my age when I just turned my age?_"
Shane snatched Bee up and washed him kind of roughly earning squeaks and blushing faceplates. Crosshairs laughed at the blushing, knowing Bee liked it via interfacing. Drift smacked Crosshairs and all he could offer was a sheepish grin. The relationship between those two were confusing but yet understandable. War made stuff happen and happen it did.
"Alright Crosshairs, time for you to get clean." Tessa muttered, grabbing a washcloth and reached for him. Crosshairs grabbed the washcloth out of the girl's hand and cleaned himself with some help from Drift.
'No way Ah'm being handled by a woman, especially human.' Tessa shrugged and Bee was dumped on his ass, Shane handing the washcloth to Hound. Better leave it to the bots.
* * *
**Yeah creative juices died like the ripples. A note before I go, I am going to be busy for a while which does include job searching, family chauffeur, college (which starts in late August), and etc. Expect some delays. Hope you'll excuse this chapter, I'll make up for it soon! Ciao! The Cherryblossom Tree**
6. THE GREAT OUTDOORS!
**Boom-boom-kish! Boom-boom-kish! Guess who's back with a new chapter? I think I don't qualify for a Sonic position so I'm just chillin' and giving you this fun scene! BTW I recommend a short but hysterical fic by ****ObsessiveXD****, the title is ****Gas Pedal****, and can be found on (just message me if you're interested [STUPID THING! WHY YOU NO RECOGINZE A WEBSITE?!])**** Enjoy!**
* * *
"Normal talk"
"_Bumblebee's Radio Talk_"
::Comm. Link::
'Thoughts'
_**Flashback/IMAGINATION *Jumps on a surfboard***_
* * *
Crosshairs, Drift, and Bee were running around outside. Hound had to go back to work on the holoform with Cade, Tessa, and Shane tailing them.
"_This sucks._" Bee whined, sitting under the massive tree. Drift was on the tallest part of the tree and Crosshairs was somewhere out in the fields. It was so hot outside! How can humans tolerate such heat? He was dying out here! Drift wasn't faring any better, actually he wasn't meditating, he was laying in the cool shade, body shaking uncontrollably at the intesne heat. Back on Cybertron, his triple-changer form made him sensitive to heat and the temperature rarely changed. Here it changed dramatically; the heat was overtaxing on his systems, inducing a human sickness called, "heat stroke."
Plating shaking, Drift tried to focus on something, his optics fading in and out of an uncomfortable stasis lock. The last thing he truly remembered was his body shifting off to the side.
* * *
"Oi, Drift? You okay mate?" He opened his optics to see Crosshairs towering over him with Bee idly playing around with a _MASSIVE_ sunflower. Drift tried to speak, only static coming out. His optics were working thank Primus but that terrible heat was making him extremely ill. Crosshairs, picked one of Drift's arms up and wrapped it around his neck before supporting Drift. He tilted his head towards the direction of Bee was walking in, dragging the sunflower behind him.
"Ah think you're goin' to love this!" Drift offered a weak nod, trying to walk as quick as he could to meet Crosshairs brisk and excited pace. It wasn't really working, he had jelly legs, making him clumsy. With a roll of the shiny blue optics, Crosshairs literally swept Drift off his feet and bridal carried him to the mystery destination.
"Hey!"
"You're going too slow in this Primus-damned heat!"
"_Here comes the bride! All dressed in white-_"
"Ya better shut your vocaliza' before Ah come ova' and rip it out!"
"_You're no fun..._"
Drift just groaned and was put into an uneasy recharge, focusing on the footsteps crunching through the dried out grass. Bee dragged his sunflower behind him, spotting the edge of the Yeager's property where there was a oasis from the forest. With a squeal Bee ran towards the sanction that was glaring at them straight in the face when his foot slipped and...
SPLASH!
Sputtering and fake choking echoed from Bee as he sturggled to get back on his side of this seemingly huge river. A splash emanated from Bee's side before there were servos on his waist, holding the rookie from sinking to the bottom of this canal.
"Ah got ta do everthin' around here!" Crosshairs growled, hoisting Bee up to the edge of the canal. Bee got a hold of a root and pulled himself out before throwing the root to Crosshairs, whom followed him. Drift was taking refuge in a makeshift boat; a coffee pot with some leaves on the side and a wooden spoon acting as the rudder.
He was currently curled at the bottom, staring at the murky water. Little parasites and an occasional fish was so unique, he weakly smiled as an ugly fish kind of stopped and was opening and closing its mouth.
'This planet is interesting.'
The coffe pot slightly shifted, as Bumblebee clamored in, flexing his doorwings to grab the coolness of the pot.
'At least he is courteous enough to leave me alone.' Drift thought as he closed his optics and let his body soak in the coolness, feeling Crosshairs circle the rim of the pot and start steering the makeshift boat over to the oasis. For humans, we could definitely jump over the "river" but for the miniscule bots, it took them at least fifteen minutes to reach the side.
All silence was present during that time, the only noise as was the creaking of the rudder before the coffee...ahem..."boat" hit the other side, jolting Drift and getting a childish scream from Bee. A lasso was seen being thrown at a heavy log that had a small branch protruding from it. Crosshairs didn't earn his name for nothing; with good accuracy, he got the lasso around the branch and pulled tight, stopping the boat from floating down the stream. Bee immediately jumped out, running for the much cooler shade, hiding in a hole under the tree.
Drift was slower only because the heat had screwed up his systems a bit. Offering a hand, Crosshairs crouched down and grabbed the samurai's outstretched hand. With a heave, Drift clambered out and jumped down from the boat, making it over to a small pond, laying against a fallen branch. It was a lot better here than over at the Yeager's Farm. He watched Crosshairs make his way over to the pond, not going to sit by him.
'I hope it isn't one of his "inventions."' Actually, Crosshairs pulled out what looked like a toy canoe, and picking up a stick, before hopping in and pushing off. He was re-enacting a gondola movement, using the stick to manuever around the pond. It looked like Bee wanted a piece of the action too as he walked over and waved his arms frantically.
Crosshairs smiled and pushed over to him.
"Where is your destination?"
"_To the Mississippi where we bought the land from Napoleon._" Looking up the adventure, it was called the Exploration of Lewis and Clark where they travelled the vast wilderness from the purchase and with the guide named Sacagawea. Crosshairs smirked and said, "Climb on there Lawrence, we are goin' to go explore the wilderness."
"_Affirmative!_" With that they pushed off and their imagination took over.
_**They could see the spooky forests with unknown inhabitants. Taking a glimpse back, he saw Bee in his fur clothes including a raccoon hat. He looked down and snarled to find such formal clothing on himself. The noises were getting on their nerves as there was crashing of leaves. Finally, a figure came to the edge of the river all dressed in those Injun clothes. Sacagawea, the most rumored Indian to have great beauty. The gold face raised a questioning optic ridge as Crosshairs guided the boat to the edge of the pond.**_
_**"Want to be our guide?"**_
_**"And why should I?"**_
"_Because you know it's fun_."
"Fine."
_**In climbed Drift as he settled himself in the middle of the canoe, Crosshairs taking the front paddle and Bee taking the rear paddle. Onwards they continued, watching as fur posts were passed with great speed on the river. Watching exotic animals drink from the river, changing landscapes, and even other Indian tribes that stared at these strangers with great interest. Soon, they listened to the pleasant noisesof the wind blowing through the trees, the crickets, and the-**_
"Guys?! Where are you?"
"Bee!"
"Crosshairs?"
"Drift?"
_**Bee stood up in the canoe, listening to the familiar names that are being screamed. He wasn't watching his footing and suddenly the boat threw everyone into the very currents of the river.**_
"AGH! Bee!" Drift yelped indignantly as Bee flailed like a maniac, not liking the murky water seeping into his wires while Crosshairs surfaced with a lily pad acting as a hat, spitting a stream of water back into the pond.
"_Mayday! MAYDAY!_"
"There you guys are!" Cade exclaimed, coming upon the three bots who had capsized. He held back a snicker but smiled as he jumped over the river with Tessa and Shane following him. Hound was still at the barn fixing the holoform. Shane sighed as he scooped the writhing Bee out of the water.
"Bee! I just washed you!"
"_I'm sorry daddy._" Bee admitted, bowing his head. Cade scooped up Drift who didn't look pleased at being capsized into the water. He let him sit on his shoulder, not happy with the stench but happy nobody saw them. Tessa fished out Crosshairs, gently removing the lilypad from his head. He was looking down feeling down now. It was hard to figure out why but he just felt sad so suddenly. Tessa saw he didn't want his feelings pointed out so she cupped him in her hands, a makeshift hug for him. Stunned, Crosshairs allowed himself to hug the hand back.
It felt weird to recieve any affection but it was a good weird.
"Let's go rewash them." Tessa said to Shane who was currently trying to wipe as much mud off Bee with his thumb. All three bots looked to one another with wide optics and thought the same thing, 'SLAG!'
* * *
**Hope you enjoyed! The Cherryblossom Tree**
7. MOVIE NIGHT!
**Thump! Thump! Hey guys! Sick in bed and watching some old movies, triggers something I want to do with friends someday; this simple event made this episode of ****Honey! I Shrunk the Autobot's!**** Hope you enjoy!**
* * *
"Normal talk"
"_Bumblebee's Radio Talk_"
::Comm. Link::
'Thoughts'
_**Flashback *Chucks a textbook out the window!***_
* * *
Tessa was getting a migraine. I mean sure college is important but seriously, why is studying so hard? This college test had to be on history she knew since the third grade, all about the Revolutionary War.
'I wish I could watch a video on this. This would go much quicker!' She banged her head repeatedly against the pages of the book, getting weird looks from the four bots currently residing on the other side of the desk.
After Crosshairs, Drift, and Bee were washed, Tessa threatened to cut their interface parts off with a butter knife if they didn't behave. The three sat and waited for night to come, so they could sneak off and maybe torment Toodles some more. A couple hours later, Cade deposited Hound on the desk next to them and ordered Shane to get out of the house.
Needless to say, it didn't end pretty. They watched as Shane limped off as though there was something shoved up his ass accompanied by the shout, "If I see you try that again I'm going to shove my foot up your ass so far you'll taste my toes till Christmas!"
Under the impression nobody wants to get permanently damaged or interface equipment removed, they stayed silent and still. Even now with Tessa banging her head in the textbook.
::Oi! Remind me not to surf the internet for awhile.:: Crosshairs commed, not wanting to pull attention to himself or any other bot. The rest followed him, watching Tessa with great worry and confusion.
::Is this normal for humans?:: Drift asked.
::_Get out, Get out of my head!_::
::Then get off the comm. links Bee!:: Hound stated, smacking the youngest bot. Bee indignantly squeaked rubbing the back of his head before glancing at Tessa. She seemed exhausted and not to mention stressed. The scout looked around the pale room and would give anything to go to a drive-in that one time Sam took him and Carly before...
That's it!
::_Guys, let's...have a...drive in!_::
::A what?:: Hound questioned, Drift scooting closer to a pencil holder, trying not to get involved with a potential fight. Crosshairs smiled and explained, ::A drive-in is where humans are in their vehicles an' watch a movie all nigh'! Ah'm in! Beats a head bangin' human.:: He jabbed a finger over to the now stilled Tessa. With silent like grace, Crosshairs and Drift jumped off the table, already deciding to be the ones who grabbed the projector while Hound and Bee snuck downstairs to steal some goodies.
* * *
This was _somewhat_ working. Crosshairs was trying desperately to relieve his weight as he hung onto the grappled projector as Drift lowered himself towards the ground in his helicopter mode. Drift was groaning and the cable was straining which if it broke and snapped back, meant a sore aft for at least a month. The helicopter lowered down to the ground, the projector slightly grazing the ground.
You're wondering why Drift didn't use his optics as a projector?
Here's the reason: he hated the experience. To him he was practically in the movie or memory file. It wasn't an enjoyable experience watching people die or be in the middle of an obnoxious conversation. It should be fun just not enjoyable.
Crosshairs deciding the ground was close enough to jump, deployed his chutes and jumped. Guess what he forgot? The cable holding the projector.
There he was now dangling by his weight, lips kissing feet. Spinning around uncontrollably, Crosshairs could do nothing but spat curses, jibberish, and other stuff not pleasant to any ears; Cybertronian or otherwise.
"I HOPE PRIMUS IS PLEASURING HIMSELF WITH A PLEASUREBOT FOR FUN INSTEAD OF TORMENTING ME!"
"Be quiet Crosshairs!" Drift hissed as he too started spinning out of control. They floated towards the tree that was located next to the barn. Everybody didn't seem to notice them until...
* * *
CRASH!
Hound and Bee froze in mid packing of marshmellows, graham crackers, chocolate, soda, popcorn, and of course the movie. The collision came from outside and the house was extremley quiet until the loud noise. They listened, straining their audios to find if Cade will come barging in with his "foot up ass tasting toes till Christmas" or Tessa with her hands on her hips with the infamous "I'm going to torture your souls" glare.
Nothing stirred. Just a few creaky floorboards from the adjusting foundation, and of course:
"Primus..."
"Crosshairs you idiot! Didn't you know that would happen?"
"Shu'd up!"
Rolling his eyes, Hound threw in a few makeshift chairs created just for them before jumping off the kitchen counter, watching out for Toodles, the fur of evil! Ghosting the tile floors, he stepped outside to find Drift (back in robot mode,) hanging upside down by his ped and a cord hanging out his aft. It'd be nasty for humans but to Autobot's it doesn't matter.
The projector was luckily safe with Crosshairs as the cushion. All you could see was hands on one side, feet and coattails on the other. He wasn't moving; Bee trailed after Hound and immediately started playing a laugh track. The older bot rolled his optics as he pointed to Drift and put the finger back to his lips. Nodding, Bee scrambled up the tree and began helping the cool mech, trying not to point out his position, he didn't want another dent in his head.
Hound flipped the projector over; Crosshairs goggles were broken yet he popped his head up and gave the older mech a cheeky grin.
"I told ya I could defy deaf'."
"Don't be cocky." Hauled to his feet, Crosshairs was thrown in the direction of the barn while Hound grabbed the projector, using his shoulder to carry the device while Drift and Bee were mutually silent dropping from the tree in awkward silence. Most. AWKWARD. MOMENT. EVER! Especially with winding the cable. Bee shivered and hoped he never had to do that EVER again!
* * *
Reaching the barn; everyone set up seats, created a mini bonfire, whipped out the ingredients for human smores, soda, and popcorn. They could eat and drink human energy supplies. They were much tastier than energon; it clogged their pipes though. A guilty pleasure which everyone will enjoy tonight. Crosshairs helped Hound set up the projector, grumbling about the movie choice.
"Why comedy? Why not some action?"
"Too loud, will wake the humans, don't want to get in trouble, and I think we all need a good laugh."
"Stupid skmrmrmr..." he trailed off helping plug in the movie. He wasn't looking forward to it.
Drift and Bee were roasting the marshmellows, Drift taking care to make sure he didn't burn the delicate pillows while Bee torched them screaming, "_I make fire! Man make fire!_" So immature. Why oh why did Optimus want Bee to be second in command? The human must've hit the Prime's processor one too many times while repairing him. Drift gently grabbed the sticks and pulled them away before grabbing a pan already covered with tinfoil, putting the popcorn over the fire. Soon the kernels turned into popcorn with a vibrating Drift, vibrating away from the fire, his optics turning darker.
Finally, Crosshairs strode over and grabbed Drift, ultimately stopping him from going into the mini koi fish pond. It was built for Drift courtesy of KSI. Crosshairs opened the popcorn and grabbed a handful, scarfing it down. He smiled at the taste before moving himself over to the smores as the movie began to play.
It was about a man who lied a lot and his child wished his dad couldn't lie for a full day. It was an interesting movie to say the least. Hound enjoyed this more than the other three. Bee was too young really to like it; Crosshairs doesn't like anything where there isn't guns shooting, battles, or even a car chase; and Drift? It was weird.
"Why is the man beating himself up?" or "What's wrong with him? I'm sure he can lie if he chose to."
In the end it was a good night for them. The morning sucked though for Toodles was licking marshmellow off them all while Shane complained they could've invited him and Tess with a disapproving Cade telling the young man to back off.
* * *
**Hope you liked it! College for me starts in T-minus five days! WHAT HAPPENED TO BEING A TEENAGER?! Anyways mini question done. Now I will do commissions just PM me or PM me for requests. (Not desperate just like to see you guy's suggestions.) The movie was Liar Liar. Ciao and thanks for the reviews: here's a cookie! *holds out a platter* The Cherryblossom Tree**
8. WHAT'S IN THE MYSTERY DRAWER!
**AHAHAHAHAHAHA! I'M SORRY! College started on Monday and KERBLARGH! I'm going to die from the silence and boredom! I hope you guys are having a better school year than me so far. Now ON WITH THE SHOW! (Btw thanks for the messages and the reviews! :) Awesome people!)**
* * *
"Normal talk"
"_Bumblebee's Radio Talk_"
::Comm. Link::
'Thoughts'
_**Flashback/Songs *Bangs head against a desk***_
* * *
An alarm rang at seven in the morning. It was annoying playing a song called Fancy.
_**I'm so fancy**_
_**You already know**_
_**I'm in the backseat **_
_**from L.A. to Tokyo**_
"Someone please shut tha' racket off!" Crosshairs grumbled, throwing his servo's over his audials as the song kept blaring. The Autobot's decided to sleep with Tessa out of protection and not to mention they lost so much body heat in the middle of the night. Right now he was curled up against Tessa's neck. Bee was quietly snoozing, his head bobbing in tune to the song. He purred happily while Drift awoke to the sun high in the sky, shining in his blue optics. Popping his back, the samurai sat up on top of Tessa before darting over to the sleeping teenager.
Waving his arms around like a maniac he tried to be loud yet not to the point of yelling.
"Tessa! It's seven in your time! Don't you start class in twenty minutes?!"
Hazel eyes snapped open and immediately, Drift, Bee, and Cross were thrown across the room while Tessa streaked in her pink underwear with a grey tank top on, gathering clothes, her cellphone immediately talking to Shane, and her textbooks; dashing down the stairs and into the awaiting boyfriend-of-a-racer's car. It did a huge doughnut, kicking up dust as they flew down the gravel road off to the respective college.
Bee sat up looking around wildly as he was trying to piece together what had happened.
"_What just happened?_"
"Tessa." came Crosshairs groan as he fell back on the hardwood floor, missing the warmth from the human. Yes he still resented the human race as a whole, he will admit he missed the warmth and craved for the return of her. Knowing college, she will be able to escape the hot Texas sun while they suffered.
Cade walked in with a cup of coffee in hand and Hound balancing on his shoulder with a tiny mug of his own. The two mature men of the house looked down at the three bots before Cade smiled.
"Let me guess: Tessa was late for class."
"That is correct." Drift softly replied, drowsiness lacing his vocalizer. Cade gave a nod before taking a violent swig of his drink leaving the three Autobot's alone.
Bee looked over to an open drawer, the one that Tessa yanked him away from a few weeks ago. He had been trying to get in there ever since the incident with no success but now this could be his chance! With a devious soundtrack playing, Bee tip toed over to the drawer and heaved it open, climbing the bulky rectangle. Swinging his body over, the scout's aft connected with a little box which had little squares and inside the squares were squishy circle's.
Bee picked one up and tossed it over the drawer, respectively hitting Crosshairs in the face.
"Ah'm gonna kill ya soon an' tha's a promise."
"_Yeah, yeah._" Bee flippantly replied as he threw a box out and grabbed what felt like soft cushion's. He climbed out but as soon as his peds touched the floor, he was hit in the face with this huge white thing. And there standing two feet away was Crosshairs holding the old case in his hand before grabbing another; peel, aim, shoot, repeat. Peel Aim Shoot Repeat!
An all out war begun between the two Autobot's with Drift on the side lines, taking tally on who has the highest score. Some hours later, Drift calculated Crosshairs won by default as Bee was literally buried under the white ammo with strings attached. Tessa walked in and threw a fit, throwing both Bee and Crosshairs in seperate jars, shoving them into her closet, grumbling about how tampons weren't used as weapons.
* * *
**Sorry if it's short. I'm tired, college has become a burden already. See you guys later I shall make this chapter up to you guys! Next will be longer! Ciao! The Cherryblossom Tree**
9. SO THAT'S HOW CROSSHAIRS GOT HIS GOGGLES
**Plip-Plop! Plip-Plop! Hi guys! I want to let you know I'm holding a contest**** and the prize will be a fic. **
**I will boil it down to two categories: one for Supernatural and one for Transformers (the universe has to be Bay Movies, G1, or Animated.) It will be a Halloween fic and can be any rating, any characters, just as long as Halloween is involved. They will all be judged on Halloween and the winner will be announced November 2. The prize will be a fic I will write for you and post it from my account! **
**Thanks for the suggestions (which I will include later) this idea popped into my head since I have a feeling Crosshairs might suffer from PTSD. Hope you enjoy! Ciao! The Cherryblossom Tree**
* * *
"Normal talk"
"_Bumblebee's Radio Talk_"
::Comm. Link::
'Thoughts'
_**Flashback/Songs *Rollerskates right into a pole***_
* * *
Today was a lazy day. Everyone was really worn out and tired. Tessa was flopped on her bed, Crosshairs laying in between her boobs, Bee curled by her neck, and Drift laying on her thighs in a blissful recharge. It was now officially week four of the shrinkage of Autobot's and so far, there was no solution appearing any time soon. Hound and Cade were still tinkering with the holoform with no success. It was so bad that Joyce was going to come and help them when his schedule permitted him to visit the farm.
Tessa was currently stroking Crosshairs back, as he curled on his side and was strangely quiet. Too quiet for anyone's taste.
"Crosshairs?" Tessa whispered, stopping her ministrations and noticing Crosshairs still trembling. She wondered what was wrong with him, before going back to stroking his back, hoping it subconsciously calmed the paratrooper.
* * *
_**"Crosshairs!" A grouchy voice called through the thicket of smoke. Crosshairs couldn't move. He was pinned under debris from a glass building, his wires sparking and whipping about, HUD telling the rookie he was going to go into emergency stasis soon. The paratrooper's head was spinning and the world was dangerously darkening. An explosion came dangerously close to the stranded soldier as he couldn't access his language centers to cry out for help. A figure moved in front of him, paranoia and fear hitting his instincts painfully. Crosshairs started struggling, trying to free himself and not die today. Large hands came from the smoke, triggering Crosshairs to release his built in daggers, slashing at them. **_
_**"Knock your slag off kid! It's me!" The large hands placed themselves on each side of his face and stared into those aqua optics, matching the teal paint job before relaxing. It was his squadron leader, Kup, the old veteran of the Golden Age. He was as big as a Decepticon but he was an Autobot.**_
_**'Thank Primus!'**_
_**"Kid? Kid? Can you hear me?" All that Crosshairs could hear was static and weird feedback. His circuits were fried! Kup frowned and said something soothing before lifting the boulder off his crippled soldier.**_
_**'Crud! I can't understand him!'**_ _**The teal mech hoisted Crosshairs into a sitting position before whipping off his red and blue goggles, putting them on his subordinate. Crosshairs raised an optic ridge before realizing he was understanding his leader.**_
_**"I made these around your age, they adapt to any situation, and will never screw up your vision." Hoisting the rookie onto his back, Kup moved forward, his denta gritting with determination. Crosshairs admired this mech for his strength but not for his plans requiring patience. He was a mech of action, not of peace!**_
_**"I swear you're worse than-" Within that instance, Kup's head went missing, Crosshairs tumbled off the headless body and fell into a nearby ditch, his world spinning chaotically with the screams of people, bombs, gunfire; he just wanted it all to stop!**_
* * *
"Crosshairs?" Tessa held the little mech in her hands, softly nudging him with her pinky. The eyes opened drowsily and looked up at the human before shaking his head.
'It was just a dream. A memory. And here I am the only one out of possibly six Autobot's living today.' He never forgot that damn midget called Brains. That little shit got into stuff he shouldn't get into! A hand touched his shoulder and Crosshairs turned to face Drift whom looked concerned.
::What is bothering you? You worried Tessa and I when you never responded to us.::
::Ah'm fine just a memory flux.::
::It worries us.::
::Again Ah'm fine just a memory.::
::Remember Crosshairs, you should not keep things to yourself. It might make you worse than you are now.::
::Drift all Ah want to do is recharge.:: He wasn't going to put up with the samurai. Nestling himself in the warm palms of Tessa's hands, Crosshairs curled up and went into recharge, hoping for a much better memory to drift along.
10. WHAT DID YOU DO!
**Wink wink, nudge nudge, punch punch, whack whack! Hi everyone! School's busy same with family tension/drama. Apologies for not updating but dun dun nah nah! New chapter! Hope you all enjoy!**
* * *
"Normal talk"
"_Bumblebee's Radio Talk_"
::Comm. Link::
'Thoughts'
_**Flashback/Songs *Sits in an empty locker and waits for a rescue***_
* * *
Crosshairs was pissed as he silently smacked Bee around in the ever changing matter of the room. This was beyond stupidity! How did he come to watching this slagger again?
* * *
_**The sunlight was trickling through the window as Crosshairs shifted comfortably against the mounds. For humans, they were quite comfortable and he got the best place to sleep! Drift slept usually on one side of Tessa's neck while Bee chose the other side, each side being extremely warm. That wasn't for Crosshairs; yes he liked attention but he wanted his space and all the humans respected him and his privacy.**_
_**Well almost everyone.**_
_**Suddenly the door burst open and there was a flash of light before anyone could react. Everyone jumped out of bed ready to fight: Crosshairs with his triple Cybertronian barrel revolver, Drift with his samurai blades, and Bee with his laser cannon. Tessa prepared herself for battle holding up her ultimately twelve inch book and hurled it at the intruder. **_
_**"OUCH! GUYS!" The figure went down only for the head to pop up with those vibrant eyes Tessa fell in love with the first time.**_
_**"Shane?" Before anyone could react, Tessa grabbed her pillow and chucked it at him. Shane rolled out of the way, grabbing his Polaroid camera and waving the picture that the camera spat out. Bee ran over to Shane and snatched the pic out of his hand, running back to the safety of Tessa while Shane lunged himself at the mini Autobot only to come up short.**_
_**"Give that back!" A Cybertronian revolver was pointed at his nose. Crosshairs wasn't even looking at him, he was looking at Tessa who studied the picture. There she wasasleep like Disney's Sleeping Beauty with Bee and Drift laying all curled up against her neck like puppies, Crosshairs curled up like a kitten with his head laying on her purple bra.**_
_**Heat flooded the young teen's cheeks before getting up and walking to the back of her closet where Joyce had luckily installed a safe. Normally it was used for saving money and protecting objects from her childhood but this picture needed to forever stay hidden. She quietly started unlocking all the locks while Shane got on his feet with Crosshairs and Drift staring up at him in disapproval.**_
_**"What?" **_
_**"What were ya thinkin'!" Crosshairs asked aiming his gun now at his crotch. Drift scurried onto the bed as he watched Cade pop into the doorway, Hound propped on his shoulder. Cade looked furious, leaning against his daughter's doorway. The racer was desperately trying to explain himself as best he could, holding the incriminating camera.**_
_**"I-I didn't mean to do that! Just well Tessa always whips out her camera and takes random pictures of me. Especially when I'm not expecting it to happen! She even took a picture of me in the shower!" **_
_**Cade snapped.**_
_**"YOU DID WHAT?!" Everyone jumped at the man of the House minus Drift and Hound. Bee scurried into the backpack and Crosshairs equally ran in, not wanting to be squished or used as evidence. Bee buried himself under a crap load of notebooks while Crosshairs hid behind a textbook.**_
_**The yelling got louder with a few shrieks, some furniture thrown, ground shaking, and eventually the backpack was picked up, the two bots inside bouncing up and down wildly from side to side. A pencil whizzed by Crosshairs audios, as he sought refuge, crawling next to Bee, avoiding all the flying objects.**_
_**"Of course we get to be the ones in trouble again." The paratrooper snarled as Bee freaked out.**_
_**"**__Find a happy place! Find a happy place! Find a happy place!__**" **_
_**Crosshairs couldn't agree more.**_
* * *
They didn't know what was going on until there was the sound of people chattering, screams, shouts, and a lecture soon perked Crosshairs audio's. They were at Tessa's school.
"Now students, please grab your History textbook and turn to page two hundred thirty five." The flap came open and they stared up to see a shocked Tessa as she pulled out her textbook.
"Guys!" She whispered, shocked by their presence. They both looked to each other before Crosshairs whispered back, "Don' worry, we'll keep quiet."
"_Yeah don't worry be happy!_"
"Quiet!" Crosshairs locked Bee in a headlock and put his servo over Bee's mouth. He shot Tessa a smile before letting her grab her textbook and return to her studies. As soon as the flap casted darkness on the two mech's, Crosshairs threw Bee to the other side of the bag before pouncing on him and kepping a finger to his lips.
::No more radio snippets!:: He snapped as Bee grabbed a spare notebook and shaped it into a mini lounger looking at his comrade.
::_Fine, fine._:: With that they both sat in silence listening to snippets of the lecture before Bee started annoying Crosshairs.
::_If you could, would you bang Tessa?_::
::Wha' kind of a question is that'?::
::_A what if? question._:: Bee pressed, rising from his lounger and standing in front of Crosshairs. The green mech shook his head. Sure Tessa was hot and nice but Cade's thunderous temper and the fact that Tessa was human, it wasn't meant to be.
::Nah I wouldn't.::
::_Ooooooh! I think you would!_::
::Seriously?:: Crosshairs jumped to his feet and snarled, throwing on his goggles. That was a point to stop taunting the easily-tempered paratrooper but Bee was having too much fun with this. The little camaro poked Crosshairs in the chest and sang, ::_Crosshairs and Tessa sitin' in a tree! K-I-S-S-I-N-!_::
The bot didn't have time to react as Crosshairs tackled the little bot and started throwing punches, his fury boiling over. Why didn't anybody leave him alone? All he wanted was some slaggin' peace! Bee threw his hand up and grabbed one of Crosshairs hands, twisting it in the opposite direction. Crosshairs bit his lip hard, tasting energon while Bee flipped him off and grabbed a pen, aiming it at the paratrooper like a sword. Crosshairs grabbed a huge pink eraser and held it up, shielding himself from the rookie's slashes, examining his wrist.
The wires were sparking and energon was threatening to leak from his cables but he continued on with his onslaught. With a grunt, Crosshairs pressed forward and overwhelmed Bee, the pen sinking through the eraser and coming in between his legs. Crosshairs threw the pink eraser aside as he chased Bee around.
They scurried over objects, crawled into pockets, and even slid into another mini bag before being yanked out and tossed into the back of the car. With a pained cry Crosshairs started cursing.
"Son of a glitch! What the frag were ya thinkin'?!" The flap opened and there Tessa was with Shane driving away from the college. Bee climbed out and jumped into Shane's lap, the Irish-American wasn't the least affected. Tessa grabbed Crosshairs out by his waist and dragged him intro her lap, seeing his wrist.
"Crosshairs?"
"It was Bumblebee. Little slagger twisted my wrist in the wrong direction." He mumbled, pride now deflated horribly. Bee's laughing wasn't helping and Tessa threw a glare at the camaro before staring down at the prone green form. She lightly traced a finger down Crosshairs back. Normally he'd shrug it off but with the stinging pride and how much his wrist hurt, he decided to sink back into the touch.
After all it had been a rough morning for everyone in that house.
* * *
**Remember the contest I put up if anyone is interested! Thanks for the reviews! Have a good weekend! The Cherryblossom Tree**
11. EPILOGUE: THE GAME
**Fwoosh! Hi guys! Can't really give you an excuse but I hope this chapter makes up for my absence. It is storming hard here in my neck of the woods which inspired this chapter along with a board game I truly miss. **
* * *
"Normal talk"
"_Bumblebee's Radio Talk_"
::Comm. Link::
'Thoughts'
_**Flashback/Imagination*Throws on Sherlock's hat and grabs a magnifying glass***_
* * *
_**This was spooky! He had been invited to this creepy mansion and by who? Well by this guy named J. Bodie. Driving down this gravel street, rain pouring on his new sleek green Chevy Corvette, Crosshairs wasn't happy to say the least. **_
_**The wipers were going back and forth rapidly but it was still hard to see in this terrential down pour. Up the street, he saw lights through the distorted windshield and came closer and closer, spotting other colorful splotches. Deciding it would be better to hike in the rain than risk an accident, he pulled over and hastily exited with his green trench coat sticking against his now soaking legs.**_
_**"Stupid fraggin' spike suckin'-" Other curses were muttered as Crosshairs exited his vehicle, activating his nightvision, and continued now to the mansion soaked from head to ped in water.**_
_**"This better be worth it or I'll-" A honk and tires later a huge wave of water engulfed the former trooper now banker, Crosshairs yelled off obscenities while the driver of the yellow Chevy Camaro laughed loudly. They had been at each other's necks for a while and to see the banker covered from head to toe in mud made Bumblebee's day even brighter. He drove up to the house where he spotted all his friend's vehicles all drenched but still classy.**_
_**Killing the engine, Bumblebee happily jumped out of his car and marvelled at the house. Extremely old, mysterious, and-oh!**_
_**"**_**Oh lah lah!**_**" Up above, Bumblebee saw the silhouette of a woman cast upon the third story window with a familiar samurai talking to her. Excited to see Tessa or by her stage name "Scarlet". Throwing open the door, Bee charged up the stairs, passing atrifacts of inventions Mr. Bodie collected and burst into the room. Drift unleashed his bright blue swords while wearing his peacock feathered helmet, Hound nearly choked on his purple cigar as Tessa was *glomped full force into the ground.**_
_**"**_**Hi Tessa!**_**" Tessa returned the hug but scoffed at her equal in age.**_
_**"Bee please, it's Scarlet." The youngest Autobot got up and brought Tessa up with him marvelling her red dress and sapphires around her neck. The servant Shane marvelled at her bodice while serving Hound another cocktail. J. Bodie strolled right in, both his glasses and shiny bald head had the reflections of the flames from the fireplace shimmering on the surfaces.**_
_**He smiled and looked around but slowly frowned when he counted up the number of his guests.**_
_**"Where's Crosshairs?"**_
_**Bumblebee snickered before getting smacked on the back of the head by Drift as he generously accepted another cocktail from the youthful servant. Hound rolled his optics as he blew another billow of purple smoke.**_
_**"What are we doin' here again?"**_
_**"I am sorry to inform you but I cannot disclose any information until all the guests have arrived." Josh walked to the fireplace, marvelling at the architecture of the fireplace. Ever since he was a kid, he was marvelled by his family's wealth which made him drive to become new money and not his family's old money. **_
_**'Too bad I won't get to see this anymore.'**_
_**The door flung open and in waltzed Crosshairs, soaked from head to toe and giving Bee the death glare as he shuffled over to the fireplace. He did not care if he was going to ruin his paint job but he was freezing his aft off! Mr. Josh Bodie Watched the disgruntled paratrooper warm himself by the fire, not caring about the people in the room (well minus Bumblebee who was hiding behind Tessa, a sneaky smirk on his face plates.) Tessa checked out Shane in his white tuxedo as he moved over to Crosshairs offering a drink but was turned down as Crosshairs glared at Josh.**_
_**"Why the hell am Ah here?"**_
_**With a sigh, Josh replied, "Since all my guests are here, I have brought you all here tonight for a special event." Everyone looked at one another before the host started speaking again, circling the room with a cigar billowing black smoke.**_
_**"You all have nasty secrets, ones that I have been blackmailing you about. Such as Drift," he pointed to the stone faced Autobot, "he was originally a Decepticon named Deadlock who slaughtered innocent children. The lovely Tessa "Scarlet" you have been sleeping with directors to get roles in movies. Bee, a commander of the Autobot's who would sneak out with Stinger and trade paint marks." **_
_**Everyone snickered at the blushing yellow bot but Josh wasn't done yet.**_
_**"Shane, you sabotaged race cars so then your chances of winning were in your favor. Hound, you illegally made weapons against Prime's wishes and last but not least, Crosshairs."**_
_**Everyone turned their heads to Crosshairs but he didn't look shocked or mortified like the people in the room, in fact, he was casually lounging on the sofa drinking high grade energon. He watched Josh in anticipation.**_
_**"You entered illegal air space, massacred thousands of Decepticons, vandalized property, had sex with an outlaw, and executed with no warrant."**_
_**"Guilty as charged." Crosshairs smirked, taking another swig of the energon. Mr. Bodie rolled his eyes before stating, "I was planning to expose you all for your blackmails but I wanted to play a game."**_
_**"**_**Oooooh!**_**" Bee giggled and that's when the lights cut out!**_
* * *
"Tessa!"
"Yeah dad?"
"Is Lucky Charms upstairs with you?" Bee, Hound, Drift, and Crosshairs were standing where Peacock, Green, Plum, and Mustard should be while Shane had Mrs. White and Tessa Ms. Scarlet. Shane had snuck into her room before everybody hiked up into the attic while the weather outside raged on, making it a perfect setting for the game Bee managed to dig out. It seemed to appeal to the Autobot's sense of mystery fun.
"Noooo!" Tessa yelled back to her dad as she dug into another piece of pizza from the pizza box. The candles gave the game an eerie feel to the game that is if they are left in peace to finish the game. It didn't help that Crosshairs wanted an image of Mr. Bodie thus creating a voodoo doll representation of Joshua Joyce (much to Crosshairs' delight.) They were in the attic, the creepiest part of the house besides the basement, flickering candles, rain with a crap load of lightning and thunder, throw in the creaking house, and ba-BAM! Creepiness and a mystery game. Now if only to move along...
"Tessa! Come down and do your chores!"
With that, Tessa left hearing her friend's yelling at her to hurry up so they can start the game and hearing them all start "gossiping" as they took advantage of an absent woman.
* * *
[*A.N. If there are people who do not know (or wish to correct me on my explanation) a glomp is where a person runs and tackles you in a hug.]
**Cliffhanger! MWAHAHAHA! I'm evil but hope you all enjoyed and thank you for the reviews and also, remember zhe contest! Signing off: The Cherryblossom Tree**
12. PART 1: COMMENCEMENT
**Ding-Dong! I am working on 3-4 requests for my drabble fic: Crosshairs Smut Drabbles plus this chapter, I'm happy to oblige just might take me awhile to update. Thanks for all the reviews and a fan doesn't know what CLUE is so I recommend you go to Amazon Prime where CLUE is free to watch and also CLUE is a mystery game where Mr. Body is murdered and the object of the game is to find the murderer. It's fun and I miss playing it. ;-; Anyways thanks for the reviews!**
* * *
"Normal talk"
"_Bumblebee's Radio Talk_"
::Comm. Link::
'Thoughts'
_**Flashback/Imagination *Pulls out a flashlight and shines it at a creepy painting***_
* * *
_**There was a shriek coming from below the group. Tessa clung onto someone warm and human, totally freaked out by what was going on and there was a grunt followed by a clang!**_
_**"**_**OWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW!**_**"**_
_**"Ah it is the one who mastered the puppy dog eyes to get what he desires. That is below you." Drift chuckled as he walked back over to the fireplace and drew out his other blade, striking the metal together and making sparks fly back onto the wood. The room lit up again. Crosshairs was out like a light, helm dented by a blunt object; Tessa clutching onto Shane like her life depended on it, Bee holding his helm, and then Hound was casually lounging in the corner smoking his cigar. **_
_**When Shane and Tessa's eyes locked with each other, they immediately parted with a heavy blush. Shane stared up at the ceiling while Tessa looked over to where Crosshairs was and noticed something was off. She looked around before asking, "Where's Mr. Bodie?"**_
_**Everyone glanced around the room before noticing that the door was ajar, eerily creaking open as if beckoning the group to come find out why it's open. Bee immediately put his arms in an x shape and started complaining, "**_**Nuh-uh! No way am I going back out there!**_**" **_
_**"I must agree with Bumblebee, we do not know what is out there." Drift replied as he lightly shook Crosshairs in an attempt to wake him. Heavy footsteps came up the stairs, making everyone go silent in anticipation as they made their way down the hall and towards their door. Bee freaked and slammed the door shut, locking it before grabbing a chair, positioning it under the doorknob in case the lock was broken.**_
_**The door rattled as the unknown perpetrator banged and rammed the door; Tessa was scared witless enough to faint into Shane's arms while Bee brandished his weapon. The door stopped shaking and soon the footsteps retreated downstairs in a calm manner. Drift watched the door for a few more seconds before turning back to Crosshairs and shook him.**_
_**"Crosshairs?" A glint of silver caught the samurai's optic from under the couch Crosshairs occupied. Reaching a hand under the couch, Drift wasn't aware Hound approached the unconscious mech and grabbed his smoking cigar from in between his lip plates and using his free hand, plucked up Crosshairs servo and slammed the lit end into Crosshairs palm!**_
_**"AGH!" Crosshairs hissed. He remembered the room going dark before there was a splitting pain in his processor, and then the burn.**_
_**"What happened?" He asked, not knowing for sure what had happened. From the supplying evidence, Mr. Bodie disappeared, and Tessa was just regaining consciousness. Drift came from under the couch producing a silver candlestick that had a few dents and a stripe of green paint.**_
_**'My green paint.' Crosshairs thought as he hoisted himself off the couch and walked over to Tessa, worried about her safety. **_
_**"You okay?"**_
_**"I'll be fine, thanks." Tessa replied to Crosshairs as Shane helped her back to her feet. She wasn't enjoying this little "special event." All the scarlet wanted to do was go home, take a nice warm bath, and wonder what her next movie will be. Instead, she's stuck with five men in a creepy mansion and worst of all, there's a potential attacker in the house! With a sigh, Tessa muttered, "Apparently the letter said we call each other by the alias's provided in the...candlestick?" Drift looked at the candlestick clutched in his servo and locked gazes with Crosshairs before flickering their optics over to Bee who was still monitoring the door.**_
_**Crosshairs winked to Drift and in five seconds flat Bee was on the ground and in Drift's hand was a note. Clearing his throat, Drift read, "Dear guests, as you have seen the game has commenced. After you receive your alias, please proceed downstairs to participate in the game. Happy hunting!"**_
_**Shane grabbed the note, chuckled, and replied, "These aliases is something we are wearing or something that reminded Mr. Bodie of. Anyways, the names go like this; Tessa, you are Ms. Scarlet; Crosshairs you are Mr. Green; Drift, you are Mr. Peacock; Bee is Colonel Mustard; Hound is Professor Plum; and I am Mr. White."**_
_**"**_**I'm not going downstairs! Who knows who's out there?**_**" The room was silent and finally Crosshairs whipped out his precious Cybertronian revolver, pulled the hammer bacl and growled, "I'm going to get this done!" He stomped over to the door, picked up the chair and threw it against the wall. The chair shattered like glass before wrenching the door open and ran down the stairs.**_
_**Everybody else followed Crosshairs lead, rushing down the stairs into the now working lighted house. Walking from the stairs to the main room, and Tessa shrieked and wailed. **_
_**For in a pool of blood was Mr. Bodie.**_
* * *
"_This is taking too long!_" Bee complained as he was now standing by the Lounge and Dining Room, Crosshairs by the Conservatory, Drift by the Billiard Room, Hound by the Kitchen, Tessa by the Ballroom, and Shane was by the Study. The teenage girl had her hand in her hair. She did suggest they not play the game since it was a slow strategy game but they insisted. Drift didn't seem to mind and Crosshairs was sitting on his tile, waiting to roll the dice again. Hound seemed to be enjoying this game as he smoked again before looking to Bee.
"Kid ya asked to play the game. We are going to finish what we started."
"Alright," Shane grabbed the dice and rolled again.
* * *
_**Crosshairs walked over to Mr. Bodie and put two digits against the pulse area of the neck. No pulse.**_
_**"Definitely, dead." Crosshairs grunted as he turned the body over, looking for any incriminating evidence. No bruises, no stab wounds, no gunshot wounds, no nothing!**_
_**"So much for a weapon..." The paratrooper muttered as the rest of the group examined the paratrooper, his green trench coat now soaked with blood. They were looking around for clues about the murder, just they didn't broaden their search until a set of footsteps came to the group and there was the maid with a silver platter. Now she looked sexy in a skimpy outfit, the first thing that came out of Hound's mouth, "Put on some darn clothes!"**_
_**The maid tipped her head off to the side and gave Drift the platter. She took the cover off and underneath was another letter. Bee grabbed the next letter and read aloud, "**_**One of you has killed me. Your objective: find out who murdered me, with what, and where. Winner doesn't get arrested. I called the cops and they'll arrive in approximately an hour. Happy hunting. P.S. If anyone else is murdered tonight you have got to solve their murders like you're going to solve mine. You will also be spared the trip to jail.**_**" **_
_**"Well this is great." Crosshairs muttered, face palming himself. Drift gave the platter back to the maid with the letter and addressed his comrades.**_
_**"We should split up into groups of two. I will go with Cross-I mean Green, Plum you're with Mustard, Scarlet you're with White."**_
_**Wordlessly, everyone split up into the groups they were assigned to. **_
* * *
_**Bee and Hound decided to take the basement after seeing Tessa bristle at the suggestion of her doing it. They crept down the stairs that squeaked and creaked flashing their lights around jars of mummified animals. Bee nearly purged at the thought. Hound was somewhat fascinated at it, the grotesque was weird and gross but he liked seeing things that were hideous that didn't touch him.**_
_**A piercing shriek cut through the silence and Hound whipped out his mini-gun, spinning around to find Bee swatting at a cobweb stuck to his faceplates, the girl screaming track playing.**_
_**"**_**AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!**_**" Hound rolled his optic's and went to the flailing youth, Bee immediately hitting a part of the wall. It gave way, Bee crashing into the newly discovered passage way.**_
_**::Hound-I mean Plum! What happened?:: Drift asked, concerned for his former comrade's safety. Hound shook his head and got the cobwebs out of Bee's optic's before replying, ::Kid Mustard here got spooked. Nothin' too major.:: **_
_**::Alright I better tell the other's it's a false alarm. Peacock out.:: The engineer rolled his optics. Why the alias's again? It still escaped him but now wasn't the time to get all worked up. This kid just found an important clue that could help finish this game! Helping Bee to his feet, Hound supported him as they shared the secret passageway together.**_
_**"Let's hope this is the ticket out of this crazy game."**_
_**"**_**PLEASE LET THIS BE OVER WITH!**_**" Bumblebee hollered, his echo's bouncing off the halls walls. With a clank to the head, the two continued in silence, not bothering to see the shadowy figure behind them.**_
* * *
**Ok, I'll pause that there and I hope I can finish this little embedded series finished soon. I have a question for you guys: what is a BAMF? I keep finding it on another fan fiction website and I don't know what it stands for. Could you please enlighten me on the term? Thanks! The Cherryblossom Tree signing off! P.S. I don't own CLUE in any way, shape, or form.**
13. PART 2: END GAME
**Clank-Clink! Apologies my wonderful viewing audience! Still shortening this request list for my drabble list (Crosshairs Smut Drabbles) down and trying to keep my rolodex of ideas on the role. Thanks for all of the reviews and now I get BAMF. Thank you! Now onto the show!**
* * *
"Normal talk"
"_Bumblebee's Radio Talk_"
::Comm. Link::
'Thoughts'
_**Flashback/Imagination *Pulls out a flashlight and shines it at a creepy painting***_
* * *
The guys had to stop playing when footsteps were bounding up the stairs excitedly. Shaun leaped behind a few boxes and other pieces of junk as the door was kicked open with Cade happily whooping and cheering with Joshua Joyce who calmly walked in. The Autobot's bristled at the other man's presence; they didn't forget what he had done to their kind. Now the Autobot's would scatter for a fighting formation yet they didn't want to lose their spot on the game. Bee raised an optic ridge and blared out, "_The hell are you rootin' and tootenin' about?_"
That's where Cade produced a small blue box now labelled as The Holoform 2.0. He smiled like the Joker as he started explaining, "With the help of Hound and Josh, we finally fixed it!" Bee jumped up and down playing his trademark, "_I'm so excited!_" Crosshairs said, "Finally!" Drift and Hound looked to one another, raising an optic ridge.
Cade pointed the invention at the bots and pressed a red button.
"_Here we go!_" All the Autobot's closed their eyes and clenched their fists in anticipation. Hound opened his optics first and rolled his optics.
::Guys, it didn't work.:: The other's opened their optic's and they were disappointed. Crosshairs threw a tantrum, steam coming out of his audios as he threw his arms around in the air in anger. Bumblebee mimicked crying, his doorwings pressed against his body, sinking down onto the board game. Drift sighed with sadness yet he was calm while Hound crossed his arms in frustration. Joyce rolled his eyes and told Cade, "Remember, we didn't get the correct materials and your scraps from other machines aren't compatible. I have a shipment of some of the left over Transformium to use for the holoform."
Nobody liked that idea but right now, they'd do _anything _to have their disguises and be back to their normal sizes. Tessa frowned and Joyce backed off with Cade in tow. Shane came out after hearing the screen door close.
He walked over and saw the frustrated bots plus a crying Bee. Tessa pulled out Mustard and scooped up Bee while placing the figure in his place. Stroking a finger up and down in between Bee's doorwings, Tessa watched as Crosshairs marched over to his spot before he went on a hissy fit and grumbled, "Les finish this and be done!"
* * *
_**Drift rolled his optics as Crosshairs started posing in the mirror. They were currently investigating the attic, surrounded by dusty artifacts that Bodie had accumulated over the years. One of them happened to be a mirror where things to try on seemed to appear. Crosshairs had his same armor on just a different color; his was in the scheme of red and blue flames.**_
_**"Ah'd look good as Prime!" That earned him a smack on the back of his helm. Drift rolled his optics and looked around, holding out his swords as they were his appendages to lift up the sheets from old furniture. Crosshairs smirked and a devious thought popped into his head. He got onto his hands and knees, quietly creeping under a piece of furniture and waited.**_
_**"Do you think Mr. Bodie's killer could've been here?" Drift called back to Crosshairs. There was no response from the mech who constantly complained about the humans. He looked back and no Crosshairs.**_
_**"Crosshairs?"**_
_**A hand snapped out of nowhere and grabbed Drift's ankle. The stoic mech freaked out and slashed a sword at the protruding hand and earned a yowl.**_
_**"DAMNIT DRIFT!" Withdrawing his hand, Crosshairs examined it and groaned. He was bleeding and then there was a scream.**_
* * *
_**Everybody crowded around the body of the maid, the maid who wore a skimpy maid's outfit. Shane groaned in dismay, Tessa smacked him upside the head, and the four bots looked to one another shrugging.**_
_**This time the killer left a couple clues: there was an electrical burn on her leg and it travelled up and out her ear. The necklace she was previously wearing is gone, also there was blue tufts of hair on her shoes. That last clue earned a couple of eyebrow raises.**_
_**"Do you guys know anyone like this?" Tessa asked. All the Autobot's looked at one another before Bee caught the sight of a little midget who was hiding behind the extremely expensive china vase. He nudged Hound who nudged Drift who nudged Crosshairs. They all looked at the vase and with a final glance at one another they all started conversing onto the vase. The little shadow (who saw the two in the basement,) was currently mulling over the piece of jewelry he managed to grab off the lady's neck.**_
_**It was soooooo beautiful! A sapphire in the middle of a stamped necklace that read, "Prostitute #001" Suddenly, "ROOOOOOOOOOOOOOOOOOOOOOOOAR!" The vase was tackled, it broke, dirt flying everywhere, the plant landing on Bee's helm, and the blue figure was screaming all the way.**_
_**Shane and Tessa watched in fright yet in amusement as the Autobot's looked all funky. Drift and Hound were covered in dirt, spitting it out their intakes, and Bee looked like he has dreadlocks, and then there was Crosshairs who had the culprit in his bulky fingers: Brains.**_
_**"Hey! Hey! Hey! Put me down! Put me down! I did nothin' wrong!" Brains yelled but his story didn't work as everyone saw him fritz, his blue hair shed, and the necklace was in his clutches.**_
_**"Ya' a piece of wasted mahterials." Crosshairs muttered as he grabbed a seperate vase and dumped all the contents out, putting the culprit in the vase. It was like a lobster trap once the lobster goes in, it cannot get out. Brains was yelling little obscenities and the necklace was held in Drift's hands. Hound looked over to Brains and said, "You're goin' to jail."**_
_**"Wait! I can tell you who murdered Mr. Bodie, just don't tell the cops I did this!" Everyone looked to one another before going into a huddle. Shane started, "We could let this slide. She was a prostitute, a lot of people don't care about them."**_
_**"Why do you say a lot of people don't care?" Drift asked. That was a weird question. Shane then replied, "Because some people will get offended if we say nobody cares."**_
_**"**_**Who?**_**" Bee asked. Everyone looks up at the ceiling and dramatically broadcasted through the radio, "**_**We shall never know. The universe is full of mysteries**_**." Brains sweatdropped at the scene before everyone got back together. While everyone whispered to one another, (and an occasional slap to Bee's helm) made Brains reconsider the deal and actually killing the prostitute for a necklace that wouldn't even help him with his leg. Finally after a brief discussion, everyone breaked and Tessa said, "You promise you will tell?"**_
_**"Of course! The murderer is-"**_
* * *
"WHAT ARE YOU DOING IN MY HOUSE!?" Everyone looked to see Cade with an axe and staring at Shaun with a murderous glare. That's when he came charging in, the game being strewn, Autobot's being flung and scrambling for cover, Shaun running around the attic before fleeing out of the house, and Tessa yelling at her dad to leave her boyfriend alone.
Right then and there, everyone concluded: Mr Bodie was murdered with an axe, in the attic, and it was at the hands of Cade Yeager.
* * *
**Hope you all enjoyed! I'm going to make a Halloween fic next! Signing off: The Cherryblossom Tree!**
14. HALLOWEENIES
**Dun-dun-dun nuh nuh-dun dun dun nuh nuh- Hello my fellow followers! HAPPY HALLOWEEN! Favorite holiday of the year where you can be whoever the hell you want to be! Today is the final day for submission of any fic for my contest! Happy trick-or-treating! I don't have friends to take me out so I'll be passing out candy (and maniacally eating some when nobody is looking!) Hope you all enjoy! [I tried to hum This Halloween from The Nightmare Before Christmas {which I do not own either!}]**
* * *
"Normal talk"
"_Bumblebee's Radio Talk_"
::Comm. Link::
'Thoughts'
_**Flashback/Imagination *Creeps into a cemetary and scares Slenderman away***_
* * *
It was _finally _Halloween! It was completely dark on the farm, looking extremely abandon and creepy with no one in the barn. Actually nobody was home at the Yeager farm. Everyone went to Chicago to work on the holoform. Cade was currently gone with Josh and his scientists while Shane, Tessa, and the little bots were currently in Josh's penthouse, celebrating Halloween.
Currently said four Autobot's were currently in costume some not liking their costumes like the others.
"Why do I got to be the pumpkin!?" Hound cursed out, rolling helplessly on his back like a turtle on their back. Crosshairs was currently putting fangs in his mouth, his coattails painted black on the outside and the underside a bright red. Actually, Crosshairs was black from head to toe (minus his face.) Bee was currently admiring his mummy costume, toilet paper wound around his form, and Drift well he was a samurai but he was a ghost, all painted white and covered in flour. Dift wasn't too pleased with his new look but it was for a special occassion so he'll let it slide.
Bumblebee hummed happily with his doorwings fluttering happily as he danced teasingly around the struggling Hound.
"_Because you are the Great Pumpkin, Charlie Brown!_"
"Bee once I get up, I'm gonna slag you!"
"_Not anytime and plus I'll become a ghost! Much scarier than a pumpkin!_"
"That has already been taken Bumblebee!" Drift snapped. Bee blew raspberries through his radio before retreating to the teenagers at the other side of the table making jack-o-lanterns. Tessa was having problems making them since the knife kept getting stuck. Shane was currently scooping out pumpkin guts. It was gross and disgusting but that was the coolest part of carving pumpkins!
Bee jumped over to Tessa and pulled on her apron (which not surprisingly has no pumpkin guts.)
"Did you want something Bee?" Tessa asked, giving up on the knife and turning her attention to the now adorable mummy.
"_Can I climb on your shoulder?_" Not even an answer as Tessa picked Bee up and deposited him on her shoulder. He cooed like a sparkling, earning a squeal from Tessa. Shane buried his hands deep within the pumpkin and yanked hard at the piece of gut that refused to budge. With two hard yanks from his slippery hands, the guts were released but unfortunately, they coated Crosshairs.
"HEY!"
"Sorry Crosshairs. Trying to get this damn thing carved!" Shane apologized, glancing over at the TV, watching Hocus Pocus. It had just started and Drift along with Hound were watching the movie from the table. Bee was too quiet for everyone's comfort; there must be a prank up his sleeves.
Crosshairs grumbled at now the loss of his costume. He was going to lose the paint job when he washed the pumpkin guts off. Going to the sink, Crosshairs turned on the hot water and took a shower, the black paint dripping off his form. He grumbled at the lose of his awesome costume; at least he had Plan B. Drying off, Crosshairs grabbed his tricorn hat and sewing needle, becoming his old Jack Sparrow self. With a smirk, Crosshairs bounded over to Hound and pushed him back onto his peds.
That's when the TV blared about a haunted house taking place at a park nearby the cemetary on the outskirts of the city.
"_Can we go? Please pretty please?_"
"I don't know Bee," Tessa started as she finally made a successful cyclops jack-o-lanern, "dad told us not to leave the penthouse." Bee gave her the puppy dog eyes and she threw up her hands in defeat. Bee clapped his hands in excitement before rubbing them together deviously. He hopped off Tessa's shoulder and told her, "_Just before we go..._" Bee grabbed the discarded pumpkin guts and threw them at Tessa.
Last thing anybody knew was Tessa's screams and then shoved into a bag.
* * *
This wasn't at all scary. The haunted house turned out to be a charity that needed the donations for an organization. What it was, nobody really paid attention to. Tessa wasn't even scared and she was the weak link when it came to haunted houses. A clown jumped out...nothing, a skeleton came out...not a peep, a witch grabbed her...yawn...
This was going nowhere fast. The mini autobot's looked to one another and they commed each other, ducking back into the bag when a group of trick or treaters ran past Shane, Tessa, and a cheap Frankenstein makeup.
::Ah never thought ta say this but this holiday sucks.:: Crosshairs said, crossing his arms in a huff. Drift and Hound silently nodded.
::Ya can't help but wonder what the point of this human holiday is.:: Hound replied as he tried to cross his arms but the pumpkin costume wouldn't let him. Bee fluttered his doorwings in an inspiring moment.
::_Guys, guys! I know what we can do!_::
::Bumblebee, we cannot blow up KSI.:: Drift snapped, feeling his Decepticon side growing. Bee walked over to Drift and the others, his doorwings slanting in an offensive way.
::_That's not what I was thinking. I want to go to a cemetary! Wouldn't that be cool? I mean sure there are dead humans in the ground or in the mausoleum but think about it: we could scare those two by hiding and jumping out at them!_::
There was silence for a few minutes before Crosshairs nodded.
::Sounds like a good plan. Ah'll get their attention.:: Poking his head out, "Jack Sparrow" looked up at Tessa and shouted, "Oi! Can we get outta here? This is not even worth it." Shane sighed and shrugged as a zombie dressed in bloody gauze ran out. Tessa turned to Shane and said, "I'm leaving." That was the statement that sealed the deal. Retreating into the woods, there was a trail that went directly to the cemetary. Bee whirred excitedly, nobody seemed to be in the cemetary. It was dark and creepy with the bonus of a fog settling to the ground, this was a perfect place to scare the teenagers witless!
Tessa lifted everybody out of her bag and set them on the nearest tombstone. Shane grabbed Tessa's hand and looked to the mini bots. He wanted to do something to Tessa she'll never forget but he couldn't do it with the other's watching. Coming up with a good excuse for them to leave him and Tessa alone, Shane turned to find the bots missing. Tessa had to do a double take before she panicked; if her father found out the Autobot's are missing and with them at this size...
"Guys? GUYS?!" Tessa yelled and Shane joined in to find their friends.
* * *
Meanwhile, Bee and Crosshairs were happily darting from tombstone to tombstone while Drift and Hound hung back. They knew it was an insult to dance on one's grave but the other two were happily dancing around on the graves, trying to catch another on ein a game of tag. Hound asked Drift, "Do you think it's really necessary to let our guard down around here?"
"No but to be honest maybe it is time to "let loose" as the humans say." Drift than ran and tickled Bee (who shrieked with fright before laughing.) Crosshairs joined them in a tickle fight, getting harder to determine who is tickling who. Hound chuckled as he lit his new cigar. This was turning out to be a new life that he couldn't imagine having. Finally after the dust had settled, Drift was standing triumphantly on top of Crosshairs and Bee who were still giggling like sparklings. The ghost was now stained with dirt and grass.
Bee whimpered "not fair" while Crosshairs adjusted his hat and threw Drift off him, whipping out his "sword" and running towards the large white marble structure. The mausoleum was decked out in cobwebs and the seal seemed to have never been disturbed in years. On the side of the wall read: Dedicated to Those Who Perished in Chicago.
Normally it would be a bad idea to sneak into such a place but the bots found a hole just their size to squeeze in. With their optics lit to unnaturally bright levels, they all scampered inside. To humans it was a normal sized entryway but to the little bots, this was enormous!
"_OOOOH! I hope we get to see an actual ghost!_" Bumblebee squealed as he darted the furthest into the entryway while Drift marvelled at the architecture.
"This is impressive." He muttered and Crosshairs along with Hound rolled their optics. Obviously Drift caught the rolling optics and grabbed their heads before clanking them together.
"Ooooooooooooooooooooooooooooooooooooooooooh..." came a soft whisper. Bee jumped at the noise while the other three looked around for the source of the noise. They couldn't track it as their optics roamed the mausoleum. There was no sign of the noise. Crosshairs huffed and suddenly came face to face with a large human all covered in blood and was transparent. The girl gave a sly smile before her mouth dropped open to show rows of teeth like what you would see in a shark before screaming.
"AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHH!" They all hightailed out of the mausoleum and towards Shane and Tessa. What they didn't see was Josh chuckling behind a projection screen while Cade's laugh echoed throughout the supposed sealed mausoleum.
* * *
**Sorry trickortreaters are showing up. I'll re-edit this show later. Hope you all enjoyed! Signing off: The Cherryblossom Tree**
15. SONGCHRISTMAS PROLOGUE
A little song parody I created but I don't own Deck the Halls or Transformers 4 (obviously I'd be a billionaire if I did!:)
CROSSHAIRS WEAPONS ARE IN OUR FACE!
OH-OH-OH-OH HOLY SHIT!
LOCKDOWN IS GOING TO KILL US!
CE-EM-EM-EM-EM-ATARY WIND!
BETTER GET OFF THIS NIGHTMARE SHIP!
BUMBLEBEE, BUMBLEBEE, FRIENDLY!
TROLL THE ANCIENT LOOKING SEMI
MO-O-O-O-O-O-NEY.
SEE THE BLAZING ROCKET FLYING,
HIT THE DE-E-E-E-E-CK!
STRIKE THE ENGINE AND JOIN THE 'VENTURE!
SHUT UP AND FLIPPIN' DRI-I-VE!
THERE'S A LOOSE PRISONER ON THE SHIP!
SUQUALI-MO-SEDAE!
THE MECHANICAL BEASTS ARE ON OUR ASSES!
TE-E-SSA YOU'RE NOT GO-O-ING BA-A-CK!
FLY AWAY IN AN ALIEN SHIP!,
WAIT YOU'RE LEAVING? WH-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y-Y?!
BETTER GO AND FIGHT SAVOY!
DAMN IT JO-O-SH! L-I-I-STEN T-O-O CADE!
SING WE ALL DON'T HAVE TO D-I-I-I-I-E!
WOOO-HOOOOO-OOOOO-OOOOO!
BUT OPTIMUS HAS TO LEAVE NOW!
OH NO-NO-NO, NO-NO-NO-_**NOOOOOOOOOOOOOOOO!**_
* * *
**Hope you all enjoy the next chapter's! All Christmas themed and each take place in each Autobot's dreams! We'll start with the prologue and everything else is fun!**
"_Bee's Radio Talk_"
::Comm. Link::
(Wrestles Brains away from the Xmas gifts!)
* * *
It was Christmas Eve, a pre-holiday for a holiday. In the Christian holiday it's when the Creator's child was born and he is renowned for spreading peaceful behavior throughout the sinful world the Creator was ashamed of. At least that's what some of the bots understood. Bumblebee was ogling the presents under the twinkling tree, walking up to one addressed to each bot. Cade and Josh unfortunately couldn't get the holoform working at all. Instead, they fabricated the Autobot's gifts in large material and shrunk it down with the dubbed, "Shrink Ray."
The littlest Autobot found a tiny box with his name on it, wrapped in golden foil and wrapped with red ribbons. He knew he wasn't allowed under the tree and this was a bad idea but he blamed Hound for the idea. Hound's famous quote blazed through his audials, "It's a bad idea but I'm all _about_ bad ideas!" Bee didn't notice the snow covered boots that stopped next to the tree or the fact there was a concerned answer.
"Why is Bee under the tree? I told him he wasn't allowed to do that! You even knew better than this Tessa!" Cade grumbled angrily, getting down to one knee and snatching the Autobot from under there and heading for the kitchen.
"Sorry dad, he was throwing cookie dough at the others and I wanted some down before you got back."
Bee flailed in Cade's hand before being deposited on the kitchen counter. Hound was currently shaping out gingerbread men and desperately itching to pop his cygar in his mouth, Drift was in his helicopter mode trying to put the gingerbread roof on the house, and Crosshairs was currently decorating some of the already baked gingerbread men. The paratrooper was using a crap load of white frosting on one gingerbread person. Cade peered over it with Bee skittered to Tessa's side.
Cade saw black and white with those round glasses…
"Crosshairs, please tell me that isn't Josh!"
"Kay it's not Josh."
"Is it true though?"
"...Wots it to ya?"
Cade threw a hand in the air and low and behold, in walked Josh who noticed his cookie being showed off. Crosshairs didn't start on the and that was a good thing too. Josh took it as a compliment, asking if he could eat that one specifically. He could rip it from the Autobot's hand just he didn't want Crosshairs to shoot up his company with the other Autobot's like last time.
At first Crosshairs didn't want to give Josh the cookie not until he finished it at least. He grabbed the frosting and doodled a mouth with a tongue sticking out. Handing Josh the cookie, he gave a mischievous smile before running over to Tessa and Bee. Josh shrugged before looking to Cade.
"Now I'm glad you have these guys and not me. This is proof that they'd probably be in an incinerator by the time the day ended." Biting off his own doppelganger's head, Josh headed upstairs to the guest room. Josh was staying for the holidays since this was the time of year everybody had to complain to the CEO. He was hiding and being incognito, shutting off his phones, and no more internet. It would drive normal people nuts since we are all addicted to our electronics; Josh was going slightly bonkers from the lack of them, just this was for the best.
Cade sighed at the CEO and fellow inventor before undressing himself, left in soaked jeans and no shirt. Tessa nor the others minded, determined to get their baking done so there were cookies left to eat and leave out for Santa. Now the bots think he wasn't real because of a big man squeezing down a tiny chimney; the legends behind him were very intriguing. From the old tales of leaving bags of gold for three sisters to marry someone to the ones where Saint Nick came and rewarded the nice with gifts while the others got something like a smacking with branches.
After some time later, everybody was gathered on the couch, watching various Christmas movies. So far they have watched Home Alone, White Christmas, A Christmas Carol, The Steadfast Tin Soldier, and now they were watching the Nutcracker. Tessa had dozed off wearing a Christmas hat while the other four bots joined her, curled up against her neck, dreaming a wonderful dream.
* * *
**Standby in the next few hours (*cough*a couple of days*cough*.) Signing off the Sunflower Seed.**
16. VALENTINE'S DAY ANDBEE?
**VROOOOOOOOOOOOOOOOOOOOOOM! Boom baby! Look who's back! Hi my awesome fans! Apologies on my computer crashing and burning severely. I have a bunch of job applications submitted so I hope I get a job and enough money for a new laptop so then I don't have to depend on college computers and other stuff. **
**I'm rewriting the Christmas chapter so then the dreams are included and aren't in separate chapters so be aware for those updates soon. The ****Crosshairs Smut Drabbles** **is also underway and will hopefully will be completed by the end of the week. So those fans who like that other drabble series, look out!**
**Also Happy (Early) Valentine's Day! For those who are in a relationship, hope you have an awesome and romantic evening! For those who are single: you don't have to watch the couples at school being overly mushy for it's on the weekend! (I don't mean offense to anybody in this section of comments!) Let us see what these little minibots are doing now!**
* * *
"Normal talk"
"_Bumblebee's Radio Talk_"
::Comm. Link::
'Thoughts'
_**Flashback/Imagination *Starts dodging Cupid's arrows***_
* * *
Ahhhhh...love was in the air. The birds were singing in the air, a light breeze of lavender tickled everybody's noses, and…
"WHAT THE HELL ARE YOU TWO DOING?!" Cade yelled as he entered his daughter's room. Shane was hovering over Tessa, his face frozen in pure horror. They were making out in Tessa's room (managing to shove their Autobot friends out of the room which was no easy task.) The Autobot's were actually huddled behind Cade's leg, snarky grin's shot in their direction. Tessa was mad!She shot a glare at the Autobot's; making Hound and Drift walk to the safe haven of the table in the hallway, Bumblebee was shyly pressing his face into Cade's pant leg while Crosshairs was sneering at the two love birds.
"Dad-!"
"DON'T YOU "DAD" ME, TESSA ELIZABETH YEAGER! YOU KNOW THAT YOU AREN'T SUPPOSED TO BE SMOOCHING WITH LUCKY CHARMS!" Everything kind of blurred with his yelling, becoming incomprehensible. Within moments, Shane was escorted out of the bedroom and along with Tessa, by the scruffs of their shirts. The Autobot's didn't follow instead they hung back, cowering when Tessa shot a glare at them.
"Do you think they'd suspect what's really going on?" Hound asked as the teens were dragged down the staircase. A couple more yells and the banging of the screen door signaled the humans leaving the premises.
"Yup they're gone. Goodbye, see ya!" Crosshairs replied flippantly. Drift smacked the paratrooper on the back of his head.
"Ow! Ya damn slagger!" He snapped rubbing his helm as Drift walked over to the staircase and scaled the post that separated the railing from the staircase railing. Bumblebee chirped happily and scaled the post too.
"_Look guys! I'm king of the world!_" Bee was flexing his muscles and Drift rolled his optics at the sight.
"Such a child."
"_This child can kick your ass!_" Bee lunged for the blue samurai. Drift sidestepped the younger 'bot, Bee ending up sliding down the railing.
"_SQUUUUUUUUUUUUUUUUUUUUUUUUUUUUUEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE!_" He whirred, wings fluttering with both fear and excitement. Alas, his fun came to an end when he ran out of railing. Joshua Joyce was walking by and the little robot dove into one of his side pockets.
"What the?" The inventor was surprised at the sudden weight that was added to his suit.
He dug through his pockets. 'Keys, phone, and….what's that?' He took a grasp and pulled out Bumblebee, his optics circling in opposite directions.
"Now how'd you get there?"
"_On the Slip N' Slide!_" Came the giggly voice from the speakers. The child's voice sounded excited though Bee didn't look none too thrilled about the ride. Bee stood up in the scientist's hand and pointed to the kitchen.
"_Onward my noble steed!_"
"Don't call me that." Joshua deadpanned and soon there were three more little Autobot's on him. Drift and Crosshairs took a residence on his shoulders while Hound took Joshua's polished shoe.
"What do you guys want from me?"
"Calm down baldy," Hound chuckled. "we need your help with somethin'."
"Like what?"
"We want to help Tessa and Shane celebrate this weird holiday." Drift answered, handing Joyce a box of red Jello.
The scientist looked at the instructions and nodded his head.
"Alright I might as well get this done." The minibots cheered and into the kitchen everybody went. Josh deposited everyone onto the counter as he grabbed the saucepan, filling it with water, and letting it sit to boil. The Autobot's sat in a circle and started debating about what to do.
"I read among human culture that things that are romantic on this particular day have to do with roses, flowers in general, teddy bears-" Drift babbled about before Crosshairs put his servo over the mech's mouth.
"Ah think ya've been researchin' too much again."
"_Objection!_" Bee cried for the former Decepticon's defense.
"Yer right kid, yer the one who over does it!" Bee sent the paratrooper glares, his wings jumping up in anger. Hound took another puff of smoke and replied, "Drift knows more about this holiday than any of us. Let him speak." Crosshairs reluctantly withdrew his servo and the samurai babbled on about the human holiday.
Josh observed the Autobot's, even when he diverted his attention for just a minute to dump in the contents. They reminded him of a council of Native Americans that he learned about since he was a tot. Too bad nobody was appointed as a leader or had a headdress to identify who was truly leading this conversation. A spoon stirring in his peripheral vision snapped him out of the mini council to see the youngest bot stirring the mix. He was chirping a cheerful little tune. It wasn't any that Joshua would know.
'Probably from their planet.' Looking at the mixture, Joshua knew it was done. He gently put his hand between the Autobot and the hot saucer, pushing the mini Autobot away.
"_HEY!_"
"I got to set this in the fridge." Josh dumped the contents into a glass bowl, creating a crap load of scream. He ducked to the lower cabinets below for the top. Bumblebee watched the jello, looking for signs of hardening into the springy squishy thing that he'd witnessed on Youtube. Something bumped against the bowl and Bee flipped into the Jello mixture, the lid was attached, and the Jello (along with the tiny Autobot) was thrown into the refrigerator.
"_HEY! Let me out! Let me out!_" Bee cried, smacking his tiny fists against the lid. It didn't budge. After a few more attempts, the little Autobot gave up and sunk into the Jello, feeling the warm mixture ease his joints. The Autobot was so warm and cozy, relaxing into the liquid before going under.
* * *
Meanwhile, the others were getting the romantic evening set up. Hound and Joshua were currently hanging the Christmas lights in the dining room, bordering the crown molding that wrapped around the dining room. Joshua held up the mini Autobot and studied a painting that was on the pale wall. It was a simple picture of the Brooklyn Bridge during the night. It was dark with the soft glow of the lights. The CEO smiled softly remembering his first date.
* * *
_**He was nervous. The nerd of the school now turned into a small but successful man, he had landed a catch of a life time. Her name was Darcy. A student currently looking for a degree in geology wanting to become a geologist for a company that was needed to identify some of predating fossils. Geologists were involved to estimate the years the fossils have been dormant for. He straightened his jacket, a rose in his suit pocket, and slicked his hair back, waiting for her. When Darcy arrived, she was stunning. She wore a simple white blouse with a blue skirt that showed off her nice legs. Joshua was speechless.**_
"_**Something wrong?"**_
"_**N-no! You look fantastic!" he stammered. Darcy giggled, her lips painted a bright red contrasting such bright white teeth. Taking her hand, Joshua led her to a private elevator he bought in advanced for tonight. Up the elevator they went, the ride smooth while Darcy told him, "I can't wait to see what you wanted to show me! This is going to be a beautiful date!" Upon the ending of that sentence, the elevator "dinged" and Joshua put his hands over Darcy's eyes.**_
"_**Hey!"**_
"_**Not yet," Joshua whispered, gently pushing her forward. They were on the walkway of the bridge. A dinner table set up with steak, alfredo noodles, and what romantic evening wouldn't be complete without bread? A bottle of wine sat in the center between a chinese lantern; it was too windy to have candles lit for they'd either extinguish or somehow set the table or his date on fire! He turned her to face the water where the boats lights now looked like little orbs bobbing on the sea. **_
"_**And...now!" He jerked his hands away. The reaction was instantaneous; Darcy gasped, her hands covering her mouth in surprise.**_
"_**This is beautiful! I've never thought to get a view like this ever in my life!"**_
"_**That's just the appetizer." She turned to find a romantic dinner waiting for her. With a dazzling smile, she grabbed Joshua's sleeve and pulled him over to the table.**_
* * *
"Hey baldy!"
"What do you want now?"
"I was saying that we're done here!"
"Oh…"
"Let's go see if the other two knuckleheads are done." Hound sighed, Joshua slowly lowered his hand and offered the Autobot a seat on his shoulder. The Autobot at first hesitated before climbing onto the CEO's shoulder. Joshua looked at the Autobot's handy work and softly smiled, knowing that this was the Autobot's treat to their younger human companions.
'They're going to love this.' Joshua thought and left the house, going to locate the other Autobot's.
* * *
In the garden (which is more of a jungle to these tiny Autobot's) Crosshairs and Drift were currently rifling through the flowers, finding roses, carnations, daisy's, and even a couple of lavender. They were sweating away. Drift was charged with slashing the flower's while Crosshairs sorted said flowers the good from the bad. They both felt exhausted. Drift didn't mind the hard work but Crosshairs griped especially about the youngest member who was still missing in action.
"Ah swear if tha' younglin' is slaggin' off again Ah'll-!"
"Crosshairs," Drift scolded almost serenely as a tumbling rose fell on top of said paratrooper.
"Oof!"
"You must learn to have patience with this child."
"Says the guy who picks a fight with him almost every night!" Crosshairs retorted as he managed to crawl from underneath the rose. Inspecting the petals, the green mech deemed the flower healthy. He dragged it over to the left.
A shadow loomed over him and at first both of the Autobot's were startled. They hated when human shadows drifted over them. It scared them to death that they were tiny and couldn't do anything to stop anybody from abducting them. A sigh of relief escaped from their vocalizers, realizing it was only Hound and Joshua. Drift sheathed his swords and bowed.
"Hello."
"Hey!" Crosshairs said waving at the two. Josh smiled and crouched down to see the two piles of flowers, scooping both Autobot's and placing them on his shoulder. He craned his neck and looked from side to side.
"Is somethin' wrong?" Hound asked. Josh shrugged a bit.
"Where's Bumblebee?"
"Probably napping somewhere." Drift replied. Crosshairs pointed to the group of flowers on the left.
"Those are for Shane and Tessa's center piece."
"Ok." Joshua scooped them up and went into the house, setting the flowers in a teal vase, and started cooking the steaks. All the Autobot's looked at him with questioning looks. Without looking at them he explained, "I remember that steak is usually a delicacy for dates. For my first date that's what my dte and I had. It was nice."
"So why do this for the youngsters?" Hound asked. Drift and Crosshairs ran to one of the cupboards and wrenched the door open.
Unfortunately one of Bee's pranks was set up. Flour tipped over and splattered all over the floor, including Crosshairs and Drift.
"AGH!" Crosshairs sputtered, trying to dust himself over. Drift was silent as he wiped the flour from his optics. Josh graciously walked over to the two bots and grabbed them from the flour pile. He deposited them on the counter before grabbing a broom and dust pan, cleaning up the mess. The two Autobots sat by the stove, trying to get the bread in the basket. They were working wonderfully as the sun started to set. Soon the table was set for two with a couple candles (lit by Hound's flamethrower), the dinner was placed on their respective plates. Satisfied with their work, the Autobot's took their leave as Joshua grabbed the two youngsters.
* * *
It took a couple minutes for Cade was still angry for the make out session. After convincing to relinquish the "authority" over to Joshua, the CEO herded the couple into the dining room and they were stunned. The three Autobot's were on the table all smug. Drift explained, "We wanted to get you into trouble so then you wouldn't interrupt us in preparation for our thank you gift. It's a gift we wanted to present to you for all that you did for us."
"Aww! That's so sweet!" Tessa gushed and with a bow from the three present Autobot's, Joshua swept them up as the love birds enjoyed their dinner.
During the time of the meal, Crosshairs and Drift took a quick "shower" under the powder room's sink. Joshua decided to watch TV quietly as the teenagers ate. Soon they finished and Joshua entered.
"Don't leave yet," he hummed as he strutted into the kitchen. He grabbed the Jello pan and tipped the platter upside down onto the serving platter. He rushed back out. "Enjoy!" He retreated and sat on the couch hearing a pregnant pause before hysterical laughter broke out between the two teenagers. At first, the Autobot's and Joshua thought it was a joke but the laughter kept going and going; that's when they thought the teenagers lost it. Raising eyebrows at one another, Drift, Crosshairs, and Hound hitched a ride on Joshua's shoulder once again to see what was going on. They entered and there suspended in Jello animation was Bumblebee. He looked like a cat, all curled up and the group swore the Jello twitched as though he was trying to move his door wings.
* * *
After calming down both Shane and Tessa, everyone grabbed a spoon and dug the now pink stained minibot. Bumblebee trilled in response to the cold Jello that had clung to him. The other Autobot's couldn't help laughing at his new "paintjob". Soon Joshua took Cade out to dinner so then everyone can recover from their fits of laughter. Bee was washed and he looked disgruntled as he ranted, "_Why didn't anyone come looking for me? I've been stuck in that gel for eleven and a half hours!_"
"Sorry kid," Hound laughed taking a puff of his cygar smiling as Bee sent him a glare, "we thought you went for a snooze or somethin'." Crosshairs and Drift were relaxing in the drawers that Tessa "converted" into makeshift beds for all the Autobot's. Hound and Bee climbed in shortly afterwards as the lights went off. A sniffle and a sneeze sounded from Bee, signaling that he had caught a cold.
* * *
**Hope you all enjoyed this fic! Signing off: The Sunflower Seed.**
17. SICK DREAM
**ACHOOOOOOOOOOOOOOOOOOOOO! Hi everybody! Inspired by both the end of a chapter, me being sick today, and a tiny review plus a song/clip from a movie I've seen when I was a kid. Hope you enjoy! Also can someone teach me the term: OTP? I'm still getting used to the tumblr lingo and abbreviations. (Or list all tumblr lingo and abbreviations in the comments or my inbox. I feel so out of whack!) So enlightenment please and thank you! Disclaimer: I do not own the movie that I'm going to hint at!**
* * *
"Normal talk"
"_Bumblebee's Radio Talk_"
::Comm. Link::
'Thoughts'
_**Flashback/Imagination**_
_Songs__*Stands in the police light showing them my jazz hands*_
* * *
Bee chirped unhappily as his fans whirred with congestion. With the whole Jello fiasco, Bee was now sick. Tessa was wondering, how the hell do Cybertronian's get sick? At least Hound explained before Cade whisked him off to work on the holoform. When Cybertronians get sick it's because their tubings, wires, and fans are jammed with frost or gunk (in this case Jello) it mimics the humans' common cold. The body reacts to getting rid of the gunk; unfortunately a virus is produced and now the frame has two problems: the gunk and the virus produced from over production of coding to combat the gunk.
For now he was cuddling against Tessa, with Crosshairs and Drift lounging on the bean bags beside Tessa. It was a lazy day. Sure they should be prepping for an invasion but it was pointless if they were the size of hotel shampoo bottles! Bee coughed and Tessa let her hand stroke in between his doorwings earning an appreciative mewl. Crosshairs rolled his optics.
"Bee it's not that serious!" the paratrooper sneered as Bee let out a tiny sneeze. Tessa rolled her eyes as Drift jumped in.
"Stop being a child! Your puppy dog eyes act was bad enough now this is taking it too far."
"Knock it off you two," Tessa groaned as she sank deeper into her bean bag, Bee safely tucked in the crook of her neck. "I don't want fighting right now. Dad isn't breathing down my neck, he's working, Shane isn't going to provoke a fight again, and for once, I don't have to do anything for school right now." Crosshairs and Drift both rolled their eyes but didn't complain.
They all directed their attention to the TV screen, watching a very quirky movie.
"You humans have quite the imagination." Drift piped up, watching a man wearing a green mask in an orange suit, dancing rapidly, once in a while throwing in a cartoon action or stunt. Soon, Bumblebee dozed off, nasally watching his dream unfold.
Tessa felt Bee relax in her arms and Crosshairs shifted over, now fully pressed against her neck. The girl raised an eyebrow.
"Did you need something Crosshairs?"
"Nah, Ah hate bein' cold."
"You're feeling cold?"
"Ya, somethin' wrong with tha'?"
"No. I thought it was weird because don't you guys have something inside you to regulate your temperatures?"
"Yes and no." Drift spoke, deciding to face Tessa, climbing in front of her. He sat on top of her chest and explained, "It usually depends on the frame types. Like mine." Drift gestured to himself, "I am extremely sensitive to temperature because of my triple changer frame. Crosshairs suffers from coldness because of old wounds acting up. The child here is only suffering from temperature fluxes due to his ailment."
"Oh ok." Tessa nodded with understanding as she relaxed back into her bean bag chair.
"Ow!" Drift and Crosshairs were startled by Tessa's cry and saw Bee's doorwings entangled with her long hair. Drift jumped to Tessa's rescue and started untangling the hair with deft precision. Crosshairs would've helped but he knew he'd make it worse. The samurai got the hair out of the doorwings and resumed unwinding, watching the movie unfold.
* * *
All was quiet and peaceful until a couple shots rang out (courtesy of the film), Bee was startled out of his sleep. He rubbed his optics tiredly before stretching and pushed the remote button.
"Hey!" Crosshairs shouted, throwing his fist in the air with anger. Tessa raised an eyebrow at Bee.
"_I want to show you guys something!_" Bee squealed as he poked Drift with his pede. An eye opened lazily, watching the yellow scout position himself so then the projection would be displayed on the wall.
* * *
So far everything looked like the movie they were previously watching. Although they were all watching in tension when suddenly the guy who was supposed to be wearing the green mask was replaced by Crosshairs. He was boarding up the gate to the park, losing the unknown cops. The real Crosshairs growled at the youngling and whipped out his pistol only to falter when his face jumped out with big eyes at the helicopter and SWAT team waiting for him. The dream Crosshairs stood there, glancing from the helicopter to the crowd of SWAT men. One of them happened to be Drift in that crowd. With a cheeky grin, Crosshairs jumped and yelled, "Hit it!"
Immediately the cops lights and the helicopter spotlight shined onto Crosshairs, revealing Crosshairs had traded his trenchcoat in for a top used for flamenco dancing with the puffy sleeves. He swayed his hips back and forth as flamenco music turned on, the Autobot dancing to the beat. The dream Drift started to as well yet stopped when he got glares from the cops. The real Crosshairs facepalmed and before he could demand the video be turned off, the dream Crosshairs began to sing, whipping out boxes of ammo.
_They call me Cuban Pete. I'm the king of the rhumba beat._
_When I play the ammo boxes I go chick-chicky-boom, chick-chicky boom_
Everybody was laughing hysterically as they watched the dream image of Crosshairs shaking his hips and chest, shimmying his way over to the cops. Heat swelled in his cheekplates and he snarled angrily as the song continued
_Yes sir, I'm Cuban Pete_
_I'm the craze of my native street._
_When I start to dance, everything goes chick-chicky-boom, chick-chicky boom_
_The senoritas they sing and how they swing with this rumbero,_
Everyone including Crosshairs went into fits of hysterical laughter as the women on the streets were actually Tessa and Joshua. Joshua was dressed in fishnet stockings, wearing a short leather shorts along with a latex top that revealed his bellybutton piercing. He wore bright red lipstick and a pink feather boa. Bee giggled as he slightly bounced to the tune, reminding himself to show Joshua the image of him being a prostitute.
_It's very nice, so full of spice._
_And when they're dancing they bring a happy ring the maraquero,_
_Singin' a song, all the day long._
_So if you like the beat, take a lesson from Cuban Pete_
_And I'll teach you to chick-chicky-boom, chick-chicky-boom._
The dream Crosshairs jumped over to dream Drift and waved his hands, getting Drift to start dancing and singing. Tessa and Bee continued laughing while the other two abruptly stopped, both faces blushing with embarrassment and awkwardness.
_He's really a modest guy, although he's the hottest guy_
_In Havana, in Havana._
The two mechs started doing a duet dance with their hips and the real pair were burying their faceplates in their servo's too ashamed to continue watching the film.
_Si, senorita I know that you would like to chicky-boom-chick_
_It's very nice, so full of spice._
_I'll place my hand on your hip, and if you will just give me your hand_
_Then we shall try - just you and I. Aye-aye-aye!_
The officers who were supposed to catch Crosshairs finally showed up. Surprisingly it's Optimus Prime and Cade who watched the scene below. Instead of them being snarky towards each other like the original film suggested, they were both stunned and shocked. Cade yelled at his daughter to stop dancing while Crosshairs danced on top of a police cruiser.
_So if you like the beat, take a lesson from Cuban Pete_
_And I'll teach you chick-chicky-boom, chick-chicky-boom, chick-chicky-boom_
He got off the car and managed to get every single person to do a congo line as they weaved their way through the gaps of police cruisers before dancing the night away. It would've worked until Optimus and Cade shot into the air, trying to free their officers of the hypnotic spell Crosshairs put them in. Catching the hint, Crosshairs slid out of the picture.
_Shake Your Booty, Daddy, Wow!_
_See ya!_
The film ended with Crosshairs dashing into the alleyway with all officers chasing him.
* * *
Tessa and Bumblebee giggled and occasionally burst out laughing from the memory of the dream. Crosshairs and Drift couldn't bear to look at one another for the rest of the week. The end result: a very confused Cade and Hound.
* * *
**Sorry if it was choppy and short. I am not feeling well and I **_**really**_** wanted to finally get a chapter posted. I have some new ideas for a drabble based off this but I'm debating whether to integrate it with this series or keep it separate. Still debating. I hope you enjoyed it! Signing off: The Sunflower Seed. **
**P.S. I am on Tumblr. Find me at strawberryjoe. **
**P.S.S. I do NOT own The Mask!**
18. TRUTH OR DARE?
**AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAARE You guys ready for another little drabble? I do apologize if it has taken a long time to come back and do another one. Things happened and writing eluded me. My creativity has really started to bud out so expect maybe some more writings and maybe artwork. Enjoy you guys, and welcome back! Signing Off: The Sunflower Seed**
* * *
"Normal Talk"
"_Bumblebee's Radio Talk_"
::Comm. Link::
'Thoughts'
_**Flashback/Imagination *Shrugs with an awkward expression on my face***_
* * *
Oh this was going to be good! Brains was sitting on top of a shelf, his camcorder up and filming the scene below in the living room. All the tiny Autobots formed a circle creating one half while Tessa, Shane, and Josh created the other half. Joshua was still flustered from the video Bumblebee showed him. In the middle of the circle was a glass bottle, waiting to be spun.
"Why are we playin' this again?" Crosshairs asked, sitting with Bumblebee to his right and Drift to his left. Hound was absent as he tried to help Cade at least a good idea on how to correct the little device. Bumblebee nudged Cross, "_Because we're doing Truth or Dare in a Russian Roulette fashion that you wanted._"
"Truth or Dare? More like Interrogation or Humiliation!" Cross snarled back. Tess rolled her eyes and grabbed the bottle.
"Remember: when you spin the bottle and it lands on a person, you ask them truth or dare. If it lands back on you, you spin again. You have to tell the truth if prompted and perform the dare if told."
"We understand." Drift said softly. Sure he could've gone and meditated instead of doing a foolish activity such as this but he wanted to at least experience this game since it is a popular game among human teenagers.
Shane started laughing, "I still think it'd be funny if we actually play the real version of spin the bottle."
"Sorry I do not wish to exchange paint jobs." Drift deadpanned as Crosshairs chuckled and Bee choked on the thin air. It took a while for the three humans to get the joke before they started sputtering.
"I definitely don't want to kiss you guys! No offense." Tessa coughed out. Josh giggled and said, "One: I am not gay. Two: I don't think they would appreciate drool on them. Three: just no."
"Yeah let's get started." Shane awkwardly stated, Tessa put the bottle in the center of their circle.
"Oh before we go, let's have designated spinners for the Autobot's."
"_Are you saying I belong in Weenie Hut Junior's_?"
"No I'm saying you might not have enough momentum to spin." Tessa replied only to have Bee stomp over to the center of the circle and grab the bottle.
"_Super Weenie Hut Junior's?"_ He threw with all his strength and successfully managed to make the bottle spin a full circle only to smack him on the back of the helm! The scout flew forward into Tessa's lap and whined his optic collided with her jean's buttons.
"_AGH! That's my eye!_"
"Told you." Tessa picked up the scout and passed him over to Crosshairs so the paratrooper can look for any damage, "Now since it landed on me Bee, ask me the question."
"_Why isn't the number eleven pronounced onety one?_"
Everyone looked to one another and Shane replied, "Well where in our numbers do we have the first number match the second digit?"
"Forty-four." Cross deadpanned as he finally pushed Bee to one side with a shrug, "Got smacked. Nothin' to see here."
"_Turd or Dub?"_
"Oh God um…truth?"
"_Name a part of the woman's body which is bigger than a man's._" Steve Harvey's voice echoed throughout the house. Shane and Josh laughed hysterically while Drift shifted uncomfortably in his spot and Crosshairs added a new dent to the scout's head.
"The chest obviously." A spin and it landed on Drift.
"Truth or Dare?"
"Truth." Drift replied, preparing himself for something very stern.
"Ok, if you were forced to, who would you marry from our group?" Tessa couldn't keep the smirk off her face as Drift looked mentally disturbed. Crosshairs walked over and snapped at Tessa, "Hey, don't make him crash! It'll make repairs more difficult for me!"
"Gomen. Crosshairs."
"Wait, what?" Cross asked clearly caught off guard. Drift looked to Tessa, "I'd choose Crosshairs." The look of disgust turned into a wicked grin from Crosshairs. He wrapped his arm around Drift's waist and purred, "So you want to go trade paint jobs after we're done with this?" Everyone laughed as Drift grabbed the paratrooper and flung him into the cat's bed, the kitten watching the little green toy sent his way. The kitten pawed at the green thing and smacked it into the plush bedding.
"Ack!" Crosshairs wheezed and Tessa went go save him as Shane spun for Drift. The bottle landed on Josh.
"Truth or Dare?"
"Dare!"
"I dare you to endure something called a mustache tickle for thirty seconds."
"What are mustache tickles?" Josh's answer was Shane scooting closer to Josh and he said, "I do it to Tessa when I want something now come here!" Drift started the timer as Shane's scruff tickled and itched Josh's bald head and face.
"AGH! MAKE IT STOP!" Josh was hysterically yelling in dismay as the weird sensations were focused on his polished bald head. Crosshairs and Tessa were stoic as she rescued the paratrooper from Toodles. When they came back, Josh spun the bottle and it landed on Tessa again.
"Truth or Dare?"
"Dare."
"Endure mustache tickles for a minute."
"Crap!" Tess shrieked as Shane wrapped his arms around the blonde and rubbed his scruff along her neck and up to her cheeks. She thrashed around at the weird sensations while everyone was laughing at the exchange with Drift acting as the timer. The noise of the door opening and closing was not heard by anyone except for Brains (who by the way wasn't invited by this group at all.) When the mustache tickle ended, Tessa's hair was everywhere with static and she elbowed Shane in the gut.
"I hate that so much!" As she spun the bottle. It landed on Shane. With an evil grin, Tessa asked, "Truth or Dare?"
"Dare." Shane did not like how Tessa's eyes went from blue of happiness to dark with revenge.
"I want you to hold still and let me do a purple nurple."
Everyone's eyes went wide and Shane closed his eyes as he turned his body towards Tessa.
"Don't blame me when we can't have sex later because of my nipples." With a hard twist, Tessa got a yell out of Shane and they were about to continue when Drift asked, "How would that work? I don't think your nipples touch Tessa unless you do it the way an animal called a dog would perform the action." Crosshairs snickered as Josh face palmed himself.
"We shouldn't even talk about this unless you want Ca-"
"WHAT THE HELL LUCKY CHARMS?!"
Everyone looked to see Cade standing behind the couch, anger imminent on his face. Crosshairs rolled his optics, "Oi! How the hell does he keep appearing? He's like what humans call a ghost."
"_I will find you and I will kill you._"
"Shut up!"
The Autobot's could only watch as Cade hauled Shane away with Tessa and Joshua following with Cade's threats to personally neuter the Irish man himself for being a dog.
End file.
| fanfiction |
How is the interchange of the radial space component and time on the black hole horizon to be interpreted physically?
On the event horizon of a black hole (or just behind it), the radial component of the metric is interchanged with its time component. How can this be interpreted? Extra question: what happens to these components when you look exactly on the horizon?
This interchange has no physical meaning; it is simply an oddity of the coordinate system being used. Spacetime at the black hole horizon is “locally flat” just as it is everywhere else, except at the singularity. This means that, by choosing appropriate “normal” coordinates in the vicinity of any point on the horizon, the metric can be made to look Minkowskian to first order in those coordinates.
If you are freely falling through the horizon and do experiments in a sufficiently small region as you pass through, you will therefore get similar results to those you’d get in the freely-falling International Space Station. There might be larger tidal effects around the black hole (or not, depending on the mass), but those can be made *arbitrarily small* by confining your experiment to a smaller volume. These effects arise from the second-order non-Minkowskian corrections to the metric.
In the case of a Schwarzschild BH, there is a $coordinate~singularity$ in Schwarzschild coordinates $t,~r,~\theta,~\phi$ at the event horizon. This is similar to asking what happens at longitude 0 on Earth - the longitude coordinate has a discontinuity there. If you perform a coordinate transformation to something like [Kruskal-Szerkes](https://en.wikipedia.org/wiki/Kruskal%E2%80%93Szekeres_coordinates) coordinates which can describe spacetime inside an event horizon, you can see that there isn't actually a singularity at the event horizon.
| stackexchange/physics |
photoemission lineshape contains information on the many - body interactions in the solid under study .
one notable example is the kink structure in the angle resolved photoemission(arpes ) spectral function from a metal at the bosonic mode energy due to electron - bosonic mode coupling@xcite . in this regard ,
the kink structures at near 70 mev found in the arpes spectral functions from cuprate high temperature superconductors ( htscs ) have been a hot topic during the last several years as it may provide a clue on what mediates the pairing in the htsc@xcite .
it is still under debate whether the kink is caused by phonons or magnetic excitations .
in addition to the kink near 70mev , an anomalous high energy kink structure from insulating cuprate ca@xmath2cuo@xmath2cl@xmath2 ( ccoc ) was recently reported@xcite .
subsequently , it was found that the high energy kink also exists in doped cases , making it omnipresent at all dopings@xcite .
existence of the high energy kink reveals that there may be another energy scale from the many - body interactions in htscs .
it is thus important to find the physics in this high energy scale .
one can extract from the data the information on the many - body interactions through the self energy analysis .
conventionally , the self energy analysis is done by extracting the dispersion and peak width from the momentum distribution curves ( mdcs)@xcite . however , there are underlying assumptions for the analysis to be valid .
first of all , arpes peaks should be sharp enough to be quasiparticle - like .
secondly , the bare band dispersion should be quite linear within the energy range of interest so that one can guessthe bare band dispersion .
unfortunately , none of these are valid assumptions in the analysis of arpes spectral function from ccoc : the peaks are too broad to be considered as quasi - particle peaks@xcite and there is an inherent confusion regarding what should be considered as the original bare band as ccoc is a mott insulator
. similar limitations also apply to the recently found high energy kinks in htscs@xcite .
however , the lack of quasiparticles should not be confused with a lack of physics .
for example , in luttinger liquids , where fermi liquid quasiparticles do not exist , arpes has provided detailed information on the excitation spectrum.@xcite .
it is therefore necessary to develop a method to extract the self energy from non - quasi particle arpes spectral functions .
in fact , there was an earlier attempt to obtain the self energy through a hilbert transformation with the assumption of particle - hole symmetry@xcite .
this method however is not applicable to systems without particle - hole symmetry ( for example , ccoc@xcite ) .
here we propose to use the self energy defined for the electron _ removal _ green s function .
even though different , it bares similar characters of the usual self energy and its imaginary part is found to appropriately represent the width of the spectral feature .
moreover , we developed a method to extract the self energy from a general arpes spectrum from a single band system .
it can thus be used to for spectral functions with broad spectral features .
we believe our analysis method provides a new way to examine the underlying physics from photoemission spectral functions .
the full green s function for a single band system at 0 k can be written as @xmath4\nonumber\\ & = & \frac{1}{\omega-\varepsilon_k-\sigma^{full}(\textbf{k},\omega)}\end{aligned}\ ] ] where @xmath5 and @xmath6(*k*,@xmath1 ) are the bare band and self energy , respectively .
the chemical potential @xmath7 is set to zero for convenience .
note that due to the sum rule @xmath8=1 , the asymptotic behavior ( @xmath9 ) of @xmath10 is 1/@xmath1 .
this makes the self energy non - divergent when @xmath11 .
in addition , the self energy is analytic in the positive complex plane , and as a consequence the real and imaginary parts of the self energy are hilbert transforms of each other@xcite . the green s function defined in this way ( full green s function )
is thought to represent electron addition or removal processes and the self energy holds the information on the interaction .
the full green s function in the above equation however includes not only electron removal but also electron addition process for which we do not have information . our goal is to obtain the self energy from a general spectral function with as few assumptions as possible .
therefore , we attempt to look at the self energy for the electron removal green s function which should best describe the arpes process and is defined as @xmath12 or @xmath13 where @xmath14 and @xmath15 is the electron removal spectral function ( the superscript er stands for electron removal ) .
another difference is that @xmath5 @xmath16 @xmath17 be the bare band dispersion as will be discussed later .
the asymptotic behavior of @xmath18 is now @xmath19 and with the definition given in equation ( 2 ) , the real and imaginary parts of the electron removal self energy ( re@xmath0 and im@xmath0 , respectively ) are again related through hilbert transforms . to obtain the electron removal self energy @xmath0
, we use the fact that the measured arpes spectrum is proportional to the electron removal spectral function , that is , @xmath20 where _ _ i__@xmath21 and m(*k * ) are the measured arpes spectrum and matrix element , respectively . here , the @xmath1 dependence of the matrix element m(*k * ) is ignored as usual . note that the fermi function is missing as we deal with the electron @xmath22 green s and spectral functions .
the real and imaginary parts of the electron removal green s function are , as is the case for @xmath10 , hilbert transforms of each other , re@xmath23=h(im@xmath23 ) where h ( ) represents the hilbert transformation . then the combination of equations ( 3 ) and ( 4 ) gives@xcite , @xmath24 @xmath25 where @xmath5 and @xmath26 are the bare band and -@xmath27 , respectively . the only remaining task to get
@xmath3 is to determine @xmath26 and @xmath5 .
we can obtain @xmath26 by integrating both sides of equation ( 4 ) .
@xmath28 to define @xmath5 , we enforce the standard relationship re@xmath0=h(im@xmath0 ) .
for this relationship to hold , @xmath0(*k*,@xmath1 ) @xmath29 0 as @xmath30 . by expanding the last term in equation ( 3 ) in terms of 1/@xmath1 for @xmath31
, we get @xmath32 using @xmath33 and @xmath34 , @xmath0 becomes @xmath35 since @xmath0(*k*,@xmath1 ) @xmath29 0 as @xmath31 , we set @xmath36 and thus we have @xmath37 that is , @xmath5 is the center of gravity of the spectral function but may not be the true bare band .
we rationalize this definition of @xmath5 from the knowledge that @xmath38 , the bare band value , independent of the strength of interactions in the limit @xmath39 1@xcite .
alternatively , @xmath5 could have been chosen differently such as the true bare band value of the original non - interacting problem but it will only shift re@xmath0 determined here by a constant . in that case , the relationship between re@xmath0 and im@xmath0 would be modified to re@xmath0=h(im@xmath0)+@xmath40-@xmath5 .
we note then that re@xmath0 goes to a finite value of @xmath40-@xmath5 as @xmath11 ( similarly re@xmath6 asymptotically goes to the hartree - fock value ) . using this expression
we can see that the parameter @xmath5 drops out and that the imaginary part of the self energy remains uniquely determined independent of our choice of @xmath5 .
in applying the newly developed method to the arpes data , one has to consider other aspects of the experimental data such as experimental resolution and thermal broadening . in that respect
, ccoc can be an ideal system to test the method : the experimental resolution and thermal broadening are much smaller than the width of the characteristic features of ccoc and thus can be ignored .
this provides an extra motivation for this study . for the experimental data , we use the published ccoc data along the ( 0,0 ) to ( @xmath41,@xmath41 )
cut shown in fig . 1(a)@xcite .
before we apply the procedure to extract @xmath0 , we also have to subtract the background intensity from the data .
this is because the background intensity is from a process that can not be described by the green s function in equation ( 2 ) . in our case , subtracting the background so that @xmath42(*k*,@xmath1 ) @xmath29 0 as @xmath31 is a necessary condition for re@xmath0 and im@xmath0 to be hilbert transforms of each other .
the background intensity is also casually subtracted in other methods , either naturally by fitting the mdcs@xcite or enforcing it@xcite .
there are a number of potential ways to subtract the background , among which we may consider the following two .
the first one is subtracting the shirley background@xcite .
the other is subtracting the intensity of the unoccupied * k * states ( approximately beyond @xmath43 in fig .
1(a ) ) , that is , the mdc background assuming that it is from the momentum independent background intensity .
we show the result extracted by using the latter method in fig .
however , the final results are similar independent of the background subtraction method .
= 8.5 cm in panels ( a ) and ( b ) of fig .
2 , we show re@xmath0 and im@xmath0 obtained by applying the procedure discussed above . note that while re@xmath0 can be negative , -im@xmath0 is always positive .
the most notable aspect of the data is that overall @xmath44 dependence for both re@xmath0 and im@xmath0 is weak .
this is very striking considering the fact that the dispersion of the spectral features is very strong .
the momentum independence of the self energy which has been casually assumed@xcite is indeed seen in the data .
the momentum independence could further be tested for our systems . yet
, we still see some momentum dependence of the self energy , especially at the low energy side .
therefore , for the accurate measure of the self energy , it is important to have the self energy in the full * k*-@xmath1 space as is the case for our method . the potential importance of the above observation can not be understated .
the largest shortcoming of dynamical mean field theory ( dmft ) is that momentum independence of the self energy must be assumed ( some momentum dependence can be added back in with cluster calculations , but this is computationally very expensive)@xcite .
while experimental limitations forced us to make a few assumptions such as the background subtraction , our results are encouraging that the momentum independent self energy assumption made in dmft calculations of the cuprates are valid . to our knowledge , this is the first experimental attempt to prove the validity of this assumption .
looking at im@xmath0 plotted in panel ( b ) , one may wonder about the validity of the result near the gap region as im@xmath0 is zero while it is known that im@xmath6 diverges near the gap region@xcite .
the divergence of im@xmath6 near the gap is due to the fact that multiple poles of @xmath10 ( or two peak structure in @xmath45(*k*,@xmath1 ) ) are attempted to be described by a single pole with a self energy .
however , by using only the occupied part , _ a@xmath46 _ effectively becomes a single peak spectral function .
as im@xmath6 does not diverge for a single peak spectral function , im@xmath0 calculated from an effective single peak does not necessarily diverge even though ccoc is an insulator .
this issue will be discussed again with simulations presented in fig .
3 . in the conventional method of fitting mdcs and converting the mdc widths to edc widths@xcite ,
one estimates the width , thus im@xmath0 , at the peak positions .
we present the result in a similar fashion by plotting im@xmath0 along the dispersion .
this provides the most accurate estimate of @xmath0 of the feature because of the possible momentum dependence discussed above . in fig .
2(c ) , we plot -im@xmath0 along the mdc dispersion shown in panel ( b ) . at this point
, it is worth checking the validity of the new result .
one way of doing so is to compare the im@xmath0 obtained by the new method with the value from a conventional method ( if such a method can be applied ) . in the case of ccoc
, a conventional way of measuring the half width of a quasiparticle - like peak may be applicable only to the features with the lowest binding energy . in the inset
, we plot the edc of the feature that has the lowest binding energy of 0.4 ev , hence is sharpest .
the half width of the feature is about 150 mev .
im@xmath0 at 0.4 ev indeed shows a similar value .
this fact gives us confidence in the new method .
looking at im@xmath0 curve in panel ( c ) , one sees bendsat about 0.3 and 1 ev binding energies .
0.3 ev is where the spectral weight of the lowest binding energy feature starts as can be seen from fig .
therefore , the bend at 0.3 ev may not mean any coupling energy .
meanwhile the bend at 1 ev is in the middle of the dispersion .
interestingly , 1 ev binding energy is where the kink - like dispersion appears to have bosonic modecoupling .
when the kink - like feature from ccoc was first reported@xcite , the most obvious problem with the interpretation of it in terms of bosonic mode coupling was how an insulator can have bosonic mode coupling .
strictly speaking , an insulator can have bosonic mode coupling and should display kink - like features even though the effect would be small@xcite .
even though it does not show the origin , our analysis firmly shows that im@xmath0 behaves as if there is a bosonic mode coupling at 1 ev ( or 0.6 ev from the top of the band ) .
this value is comparable to the energy found in doped htscs@xcite . in fig .
2(d ) , we plot the mdc dispersion of the high energy features and its extrapolation as the dashed line .
this has a strong resemblance to the lda band and may serve as the bare band@xcite . also plotted in the panel is the @xmath5 obtained by calculating the center of the gravity of the spectral function . in comparing the two
, one sees very little resemblance between them .
the deviation of @xmath5 from the bare band near @xmath47 ( where @xmath48 ) is from the reason discussed above .
meanwhile , we believe the difference near @xmath49 , where we expect @xmath50 to be closer to 1 , is from the fact that we cut out the spectral weight at high binding energies under the main valence band@xcite during the background subtraction .
= 8.5 cm an important question is whether the self energy defined only for the electron removal process is meaningful .
we argue that it still bares useful information .
first of all , the self energy defined in this way is identical to the usual @xmath6 when @xmath51 .
this is important because for most of the cases one analyzes the self energy for the occupied parts of the momentum space where @xmath52 .
in addition , we find that im@xmath0 measures the widthof spectral function fairly well in various cases as illustrated below .
lastly , on the practical side , the method can also be applied when the dispersion is flat and therefore mdcs can not be obtained .
this is very useful when the dispersion does not cross the fermi energy as in insulators . to discuss
if im@xmath0 indeed measures the width of the occupied part of a spectral function well , we use numerical simulations as illustrated in fig .
the first case , shown in panel ( a ) , is when the spectral weight is truncated by the fermi function . from the results plotted in panel ( b ) ,
we find that im@xmath0 still measures the width of the peak fairly well below the fermi energy . we may also discuss cases where there is a gap at the fermi energy and the spectral function splits into two due to , for example , charge density wave or mott transition .
to simulate such cases , we use two lorentzian peaks as shown in panel ( c ) . from the self energies plotted in panel ( d ) , we find that im@xmath0 is very close to the lorentzian peak width while im@xmath6 has a large value near @xmath1=0 .
these numerical simulation results support the assertion that im@xmath0 measures the width of the occupied part of a spectral feature .
the case illustrated in panels ( c ) and ( d ) is also relevant to the discussion on the behavior of the self energies in the gap region . while im@xmath6 has a large value at @xmath1=0 , im@xmath0 stays at a finite value close to the peak width . our method ,
as it is , may not be used for multi - band systems .
this is due to the fact that states from different bands may have different matrix element @xmath53 .
however , our scheme in principle can be extended to multi - band systems even though it is more difficult .
if it can be extended to multi - band system , our method will find far more applicability and usefulness in the analysis of self energies of many - body systems .
this is at the present left for the future work .
in conclusion , we propose using the electron removal self energy which is found to represent the spectral width very well .
the method has the advantage that one can easily extract the self energy from a spectral function with arbitrary shape , allowing us to avoid making inappropriate assumptions .
application of the new method to experimental data from ccoc reveals momentum independence of @xmath3(*k*,@xmath1 ) which has been an assumption in the conventional analysis .
we expect this new method to be useful in strongly correlated systems where spectral features are often quite broad .
authors would like to thank b. j. kim for a key suggestions in programming and w. meevasana , jun won rhim and jung hoon han for helpful discussions .
this work is supported by the kosef through cscmr and by the kicos through a grant provided by most in m60602000008 - 06e0200 - 00800 .
work at los alamos was performed under the auspices of us doe .
a. lanzara , p. v. bogdanov , x. j. zhoud , s. a. kellar , d. l. feng , e. d. lu , t. yoshida , h. eisaki , a. fujimori , k. kishio , j .-
shinoyama , t. noda , s. uchida , z. hussain , and z .- x .
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shen , phys .
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. lett . * 98 * , 147001 ( 2007 ) .
a. a. kordyuk , s.v .
borisenko , v. b. zabolotnyy , j. geck , m. knupfer , j. fink , b. buchner , c. t. lin , b. keimer , h. berger , a.v .
pan , seiki komiya , and yoichi ando , phys .
* 97 * , 017002 ( 2006 ) . | arxiv |
Donald E. Garrison May 23, 1925 August 13, 2018 was an American lawyer and politician.
Political career
He served as a Democratic member in the Texas House of Representatives from 1961 to 1966.
Biography
Garison was born in Los Angeles, California. He graduated from El Monte High School, in El Monte, California. He served in the United States Army during World War II. He then went to Stanford University for three years. During the Korean War, Garrison served in the United States Air Force and was commissioned a captain. In 1964, Garrison received his law degree from South Texas College of Law and practiced law in Houston, Texas. He died at Berks Heim Nursing Facility in Leesport, Pennsylvania.
References
Category:1925 births
Category:2018 deaths
Category:People from Houston
Category:Politicians from Los Angeles
Category:Military personnel from California
Category:South Texas College of Law alumni
Category:Stanford University alumni
Category:Texas lawyers
Category:Members of the Texas House of Representatives
Category:Texas Democrats | wikipedia |
Ratio of energy required for electrolysis vs creating water
I had an idea a while back for a machine that would be totally green. Powered by a Hydrogen Fuel Cell. A big question came up: Where do I get the Hydrogen? I assumed that I could just electrolysis of water to create Oxygen (which would be released into the air) and Hydrogen (which would be used in the cell). But, then I remembered a key factor of bonds: Creating a bond gives the nuclei a more stable configuration, which releases energy. Breaking a bond requires an input of energy.
Let's say I use electrolysis to split water. This will take energy. Then I use a Hydrogen Fuel Cell to generate electricity. This process gives me the same amount of water that I just split.
Q: Which process uses/gives more energy? Would the above example result in a net gain or loss?
Theoretically, you will get the same amount of energy out of putting hydrogen and oxygen through a fuel cell as it takes to produce them by electrolysis, and you can reach this result by adding up all the enthalpies of formation involved using Hess' Law and realizing that the fuel cell is just the reverse process of electrolysis.
It is therefore impossible to have a net energy gain by this process as it would violate the conservation of energy.
It is, however possible to lose energy during this process and in the real world, energy is lost during both steps.
Electrolysis:
* Takes a net input of energy to produce hydrogen and oxygen
* Much of the electricity added is wasted to produce heat due to electrical resistance and overpotential losses.
Current large scale electrolysis systems have efficiencies of at best ~70% [[1]](https://en.wikipedia.org/wiki/Electrolysis_of_water#Efficiency)
* Storage of the gases is also energetically wasteful as they need to be compressed. (or perhaps the hydrogen stored as a metal hydride)
Fuel cell:
* Produces a net output of energy by consuming hydrogen and oxygen.
* Suffers from the same types of electrical losses as the electrolysis process, resulting in sub-100% conversion efficiency
Fuel cells are still useful devices as they can produce electricity without combustion, without the limitation of sunlight, etc., but they require a source of hydrogen.
Most hydrogen is produced from natural gas because producing it by electrolysis is so inefficient and requires energy from somewhere else.
In the future electrolysis combined with fuel cells might become useful for temporarily storing electricity for load balancing solar panels or other green power sources, and there are some projects using hydrogen generation for grid storage purposes where excess power is stored as hydrogen in underground reservoirs, but they use hydrogen combustion generators to get electricity back as fuel cell technology has not advanced sufficiently. [Example in Newfoundland](http://www.ieawind.org/wnd_info/KWEA_pdf/Oprisan_KWEA_.pdf)
| stackexchange/chemistry |
there has been an ongoing debate in several countries on who is not qualified to learn and practice cosmetic and aesthetic procedures .
many professional societies representing a diverse group of specialists often claim competence in a particular cosmetic or aesthetic procedure and project it as their exclusive domain and try to restrict other specialists from other streams to learn it , do it and master it .
this is a seemingly never - ending debate , and the professional societies often have biased views due to conflicting interests .
the regulatory bodies have been unable to decide on such issues , as aesthetic medicine and surgery is a relatively new field which at present is poorly defined , high in demand and not an independent speciality with a dedicated postgraduate course .
aesthetic medicine and surgery is gaining rapid significance as the society at large has given up the myth of inner beauty since the 1980s and allowed open and uninhibited discussions on physical beauty .
the biological anthropologist karl grammer found that symmetrical scorpion flies attract more mates than asymmetrical ones . in humans ,
it has been observed that even young infants look more frequently at beautiful faces and beautiful children are less likely to get punishment in school .
appreciation of beauty is one of the conserved traits in the animal kingdom [ figure 1a ] .
the author was attracted towards the beauty of these flowers , so was the insect .
dermatologic aesthetic surgery international league congresses are so successful because they engage different specialists on a single platform to create a high - standard scientific programme .
the picture shows some of the indian colleagues during a social event of the dermatologic aesthetic surgery international league congress - 2016 in dubai quantum physicist david deutsch introduced the concept of objective beauty .
he emphasised that beauty exists outside cultural fads or sexual selection and it is as objective as the laws of mathematics and physics .
people from south africa and austria judged the same japanese women as beautiful suggesting that beauty is defined on similar lines across cultures .
populations as diverse as the members of hazda tribe of africa , who are not exposed to the external world and europeans , judged the more average faces of hazda tribe as attractive suggesting that the cross - cultural similarity of beautiful traits is not due to the effect of western media and ideals .
extreme ( non - average ) genotypes are more likely to possess genes that are detrimental to an individual than those with more average genotypes .
thus attraction to averageness ( close resemblance to the majority of other faces within a population ) is also explained by theory that beauty is associated with biological fitness .
, there is a great demand and huge market for the so - called fairness creams which reflect the strong desire of people to turn the dark colour of their skin fairer or close to the global averages . on the other hand , many light skin - coloured populations in the west try to tan their skin by exposing to sun or ultraviolet rays to make their skin darker ( closer to the global averages ) even at the risk of exaggerated photoageing and skin cancers at a later age . though the basis of beauty is explained by biology
research has shown that attractive people are judged as being more trustworthy as compared to the not - so - attractive ones .
the author ( sg ) introduces the concept of aesthetic socialism ; according to this , those who are not so beautiful or those who have lost their beauty because of disease , trauma or ageing should have an opportunity to achieve or regain attractiveness by enhancing or restoring their beauty by modifying dimensions , proportions and complexion to bring them closer to the population averages so that they can enjoy social privileges which a naturally beautiful person enjoys . aesthetic medicine and surgery
can help achieving this by interdisciplinary cooperation and interaction to devise strategies to enhance or restore beauty .
karl grammar has done extensive work on the anthropological , biological and evolutionary basis of beauty .
he identified eight pillars of beauty ( the author has added two more i.e. the body shape and physical fitness ) .
table 1 suggests how inter - disciplinary cooperation is necessary to achieve the aesthetic socialism .
the pillars of beauty and how experts from different specialities can work together to enhance or restore beauty when it is lost or missing and achieve the goal of aesthetic socialism by giving everyone a chance to look beautiful and thus enjoy sociocultural advantages
modern medicine , as a whole , and aesthetic medicine and surgery , in particular , is rapidly becoming a part of the profit - making industry .
when we adopt the models of market for medicine , we are exposed to both the strengths and pitfalls of the market .
we are living in a globalised world which allows open competition in the market ; those who provide quality services and products will survive . minimally invasive aesthetic medicine and surgery is among high - demand , high - profit and low - risk ventures and attracts a large number of specialists from different specialities .
this upwards trend of inter - specialty aesthetic care is likely to continue for several more years until it slows down due to saturation of the market .
for example , the number of cosmetic procedures in the united states has increased from 10 million procedures in the year 2005 to close to 16 million procedures in 2014 , this amounts to an enormous growth of 60% .
the american society of plastic surgeons report indicates 759% increase in the use of botulinum toxin type a , 274% increase in soft - tissue fillers , 14% increase in chemical peel and 52% increase in laser hair removal between 2000 and 2015 in the united states .
this includes a period of economic recession which affected other industries but did not affect the growth of cosmetic procedures .
hassan ghaladari jokingly said in his lecture during the dermatologic aesthetic surgery international league ( dasil ) congress in 2016 at dubai that people may die hungry but they do nt want to die ugly. thus , the insecurities of specialists regarding the loss of market to another specialty to another specialty are excessive and unnecessary .
rather professional societies should focus on strengthening the training opportunities for their members to improve the quality of aesthetic services and place them in a comfortable position in the aesthetic industry .
the training opportunities to interested specialists will continue to grow to meet the increasing demand of cosmetic procedures .
as the open market principles are applicable to aesthetics , different specialties and specialists would seek and attempt to legitimise their claim on this field .
on the other hand , beauticians and unqualified workers will also try to put forward their claim on quasi - medical cosmetic procedures in an attempt to capture the market . this may become a challenge in countries where regulatory bodies are not so effective . in such countries
, they will capture a significant share of the minimally invasive aesthetics market as services provided by them will be economical as compared to qualified physicians .
it is an excellent platform where experts and specialists of various specialties who have common interests in aesthetic and dermatologic surgery come together to exchange knowledge and interact [ figure 1b ] .
just have a look at their membership categories below ; it does not discriminate between specialties :
fellow member : a physician or surgeon , either allopathic or osteopathic , in good standing within the individual 's country and is certified or credentialed by the country 's or regional accrediting agencyassociate member : a physician or surgeon , either allopathic or osteopathic , in good standing within the individual 's country and who is eligible to be credentialed by the country or geographical accrediting agencyfellow - in - training : an individual currently engaged in post - residency or postgraduate study : graduate of an allopathic or osteopathic school who is studying in specialty - focused trainingaffiliate : a non - graduate of either an allopathic or osteopathic medical school who is actively engaged in the study and training of either dermatologic or aesthetic surgery or is employed supporting this practice environmentretired : a person who is no longer in active practice or employment , who has reached a predefined age but still wants involvement with the dasil .
fellow member : a physician or surgeon , either allopathic or osteopathic , in good standing within the individual 's country and is certified or credentialed by the country 's or regional accrediting agency associate member : a physician or surgeon , either allopathic or osteopathic , in good standing within the individual 's country and who is eligible to be credentialed by the country or geographical accrediting agency fellow - in - training : an individual currently engaged in post - residency or postgraduate study : graduate of an allopathic or osteopathic school who is studying in specialty - focused training affiliate : a non - graduate of either an allopathic or osteopathic medical school who is actively engaged in the study and training of either dermatologic or aesthetic surgery or is employed supporting this practice environment retired : a person who is no longer in active practice or employment , who has reached a predefined age but still wants involvement with the dasil . for a professional society to grow and expand , it has to breach the narrow boundaries of nationality , specialty , gender , age , etc . , the association of cutaneous surgeons ( i ) ( acs[i ] ) can take the lead from the dasil .
some suggested steps which acs(i ) can take for its members are as follows :
take initiatives to include cosmetic , aesthetic and dermatologic minimally invasive procedures in postgraduate training curriculum of dermatologyform an alliance with different specialities to ensure holistic advancement in the field of cosmetic and aesthetic surgeries in india .
this will ensure exchange of knowledge and will facilitate learning of acs(i ) members from the best of the expertsincrease learning opportunities for its members through multidisciplinary conferences , workshops , hands - on training courses and fellowships .
however , in the second phase , acs(i ) should involve experts from other specialties and use modern techniques in imparting training and providing fellowships to its members [ figure 2 ] .
this will be mutually beneficial.let us stop worrying about the loss of patient population to another specialty .
there are 10,000 dermatologists in india for a population of 1.3 billion , out of whom , only less than a quarter practice cosmetic and aesthetic surgeries .
this means , on an average , one cosmetic dermatologist is catering to the aesthetic needs a population of about 500,000 people .
the demand and supply deficit will continue to remain high .
take initiatives to include cosmetic , aesthetic and dermatologic minimally invasive procedures in postgraduate training curriculum of dermatology form an alliance with different specialities to ensure holistic advancement in the field of cosmetic and aesthetic surgeries in india
this will ensure exchange of knowledge and will facilitate learning of acs(i ) members from the best of the experts increase learning opportunities for its members through multidisciplinary conferences , workshops , hands - on training courses and fellowships .
however , in the second phase , acs(i ) should involve experts from other specialties and use modern techniques in imparting training and providing fellowships to its members [ figure 2 ] .
there are 10,000 dermatologists in india for a population of 1.3 billion , out of whom , only less than a quarter practice cosmetic and aesthetic surgeries .
this means , on an average , one cosmetic dermatologist is catering to the aesthetic needs a population of about 500,000 people .
milind naik , an oculoplastic surgeon from hyderabad , india , had organised a three - dimensional video workshop for the association of cutaneous surgeons ( i ) members , mostly dermatologists , during the association of cutaneous surgeons ( i ) north zone workshop on november 13 , 2016 , in new delhi .
interdisciplinary interaction and exchange of knowledge along with the use of modern technologies for training and teaching are the need of the hour
about 1 centuries ago , charles darwin introduced his famous theory of evolution . according to his theory , struggle and violence
however , subsequently , with further advancement of science , we came to the realisation that cooperative interaction among organisms and their environment is a far more important factor in evolutionary advancement than competitive struggle .
the cooperation among the members of hunter - gatherer homo sapiens gave them an evolutionary edge and thus supremacy over other species .
the countries such as the united states which have opened their door to scientists and technocrats from all over the world have achieved more prosperity and technological advancement . as an association , we should follow the same model if we wish to evolve in the current socio - cultural - economic scenario with the rapidly increasing demand of cosmetic and aesthetic procedures [ figure 2 ] . in the introduction ,
the author said aesthetic and cosmetic surgery is no one 's domain , he ends this viewpoint by saying aesthetic and cosmetic surgery should be everyone 's domain ( i.e. everyone , in allied specialities who is trained in aesthetics ) , till such time it is an independent specialty with a dedicated post - graduate course . | pubmed |
The weedkiller paraquat can be produced from methyl-pyridinium chloride using a cyanide catalyst: what is the mechanism?
Paraquat is 4,4'dipyridinium chloride. There are two common ways to synthesise it starting with pyridine.
In one reaction that can be done on a large scale in water or liquid ammonia, methyl-pyridinium chloride is reacted with a base and catalytic amounts of sodium cyanide in the solvent to give a dimeric intermediate that oxidises easily into paraquat.
What is the chemical mechanism of the dimerisation reaction?
While the mechanism is not 100% certain (or wasn't when I worked on it some time ago), the current best guess is that it is similar to the well known [Benzoin condensation](http://en.wikipedia.org/wiki/Benzoin_condensation):
This is based on the following intermediate:
Applied to the paraquat conditions this might go like this:
The neutral quinone-like intermediate crystallises out of solution and can be separated and then oxidised (it is very oxygen sensitive) to the desired paraquat product.
The details are partially guesswork, though, as it isn't the easiest reaction to investigate mechanistically.
I remember PET (photoinduced electron transfer) works by the Mariano group in which N-dimethylallyl pyridinium perchlorate underwent intramolecular radical cyclizations upon uv irradiation and in fact, I've seen N-methyl chinolinium salts undergo dimerization under these conditions.
Imagine that the N-methylpyridinium cation is irradiated at $\lambda$ = 300 nm. The resulting $S\_1$ state oxidizes cyanide to a cyanogen radical.
The N-methylpyridinium cation is thereby reduced to a **pyridyl radical**.
Radical dimerization furnishes a 4-4'-dihydrobiaryl (see drawing).
Aromatization to paraquat requires the loss of two hydrogen atoms and two electrons; the latter are being used to **regenerate cyanide**.
The mechanism is a bit speculative but consistent and reflects the catalytic use of cyanide.
---
*Note: I would have liked to add a sketch for the mechanism but BKChem died on me several time while doing so.*
| stackexchange/chemistry |
because of their large masses , charm quarks are produced very early and propagate through the quark - gluon plasma formed in relativistic heavy ion collisions .
any modifications of charm quark spectrum thus carry information on the properties of the quark - gluon plasma .
although charmed hadrons are at present not directly observable in central nucleus - nucleus collisions at the relativistic heavy ion collider ( rhic ) , experimental data on the transverse momentum spectrum of electrons from their decays have already provided useful information on the interaction of charm quarks in the quark - gluon plasma .
for example , the transverse momentum spectrum of these electrons is found to be insensitive to the charm final - state interactions as results from both the pythia model and the blastwave hydrodynamic model are consistent with the experimental data @xcite . on the other hand ,
the large elliptic flow of these electrons is consistent with the prediction of the coalescence model @xcite which assumes that charm and light quarks are in thermal equilibrium and have same elliptic flow . in the present talk
, we discuss in the framework of the ampt model @xcite the mechanism for the generation of charm quark elliptic flow and the dependence of its value on the charm scattering cross section in the quark - gluon plasma @xcite .
the ampt model has four components : initial conditions , parton cascade , hadronization , and hadron cascade . for studying charm elliptic flow
, we use the version with string melting , in which hadrons that are generated from the hijing model @xcite are converted to partons according to their valence structures with a formation time that is determined by the transverse momentum of the parent hadron , in order to simulate the evolution of the energy stored in initial strings and the effects of particle production from the coherent color field .
the space - time evolution of resulting partonic system is modeled by the zpc model @xcite , which includes elastic scatterings between partons with a cross section given by the leading pqcd and regulated by a screening mass that is taken as a parameter to adjust the magnitude of the cross section .
after the partonic system freezes out , closest quarks and anti - quarks are recombined into hadrons with their subsequent evolution simulated by the art model @xcite .
using parton cross sections @xmath0-@xmath1 mb , the ampt model with string melting can give a good description of measured low transverse momentum particle spectrum @xcite , elliptic flow @xcite , higher - order anisotropic flows @xcite , and the pion interferometry @xcite .
charmed particles are rare particles even at rhic as only about two pairs are produced in the mid - rapidity region of central au+au collisions at available top energies .
to simulate charm particles efficiently , we use the perturbative method @xcite by introducing an enhancement factor for their production from initial hard scattering , so that each charmed particle carries a probability given by the inverse of corresponding enhancement factor , and neglects the effects due to charmed particle scattering on un - charmed particles . using the power law parametrization of d meson spectrum measured in d+au collisions by the star collaboration @xcite
, we first generate the transverse momentum distribution of d mesons between rapidity of -2 and + 2 with their distribution in the transverse plane according to the positions of initial nucleon - nucleon collisions .
the initial phase - space distribution of charm quarks is then obtained by dissociating d mesons into their valence quarks after a formation time given by inverse of the d meson transverse momentum . the charm scattering cross section with other partons in the quark - gluon plasma
is taken to be the same as the cross section for collisions between light quarks .
both cross sections of 3 mb , which is similar to that given by the perturbative qcd , and 10 mb that is needed for describing observables related to light quarks , are used in present study . at the freeze - out of partons ,
charm quarks are combined with light quarks into d mesons according to the coordinate - space coalescence model used in the ampt model . for the scattering of charmed mesons with other hadrons ,
their cross sections are simply taken to be the same as the charm - parton cross section as their effect on the charmed meson spectrum is insignificant .
from their transverse momentum spectra at mid - rapidity , charm quarks are found to approach thermal equilibrium when their scattering cross sections increase .
this result is reminiscent of the transition from the charm spectrum obtained from the pythia to that of the blastwave hydrodynamic model . as in ref.@xcite ,
the spectrum of electrons from the decay of final charmed mesons is not very sensitive to charm final - state interactions and is compatible with experimental data @xcite for both cross sections . for elliptic flows ,
results from the ampt model are shown in fig .
[ fig : v2pt2 ] .
it is seen from panels ( a ) and ( b ) that the magnitude of charm quark elliptic flow increases with increasing parton scattering cross section . for both parton cross sections ,
there is , however , a strong mass ordering of quark elliptic flows with charm quark elliptic flow saturating to about the same value at a larger transverse momentum compared with that of light quarks .
the elliptic flows of d mesons and their decay electrons are shown in panels ( c ) and ( d ) .
both are seen to follow essentially that of charm quarks as the momentum of a charmed meson is largely given by that of charm quark when light quarks have only bare masses as in the ampt model
. a larger charmed meson elliptic flow of about 10% at @xmath2 gev / c is obtained if an isotropic instead of screened coulomb cross section is used for charm quark scattering as suggested recently in ref.@xcite that charm quark scattering is dominated by the formation of charmed meson resonances in the quark - gluon plasma . to explain the large charm elliptic flow of more than 10% in the available data @xcite thus requires effects beyond the perturbative qcd in the quark - gluon plasma .
we have not included in the present study electrons from the decay of mesons consisting of bottom quark .
their contribution is expected to become important at @xmath3 gev / c . also , the effect of radiative energy loss on charm quark elliptic flow , which becomes non - negligible as the charm quark transverse momentum increases , is not considered . for charm quarks with high transverse momentum
, charm meson production will be mainly from fragmentation instead of recombination .
these effects need to be included for a more complete study of heavy quark elliptic flow at high transverse momentum .
our results are , nevertheless , consistent with other recent studies of charm collective flow @xcite , i.e. , charm elliptic flow is sensitive to charm final - state interactions and a large elliptic flow seen in available data requires a charm scattering cross section larger than that given by the perturbative qcd .
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moore and d. teaney , phys .
c 71 ( 2005 ) 064904 .
m. djordjevic , m. gyulassy , r. vogt and s. wicks , arxiv : nucl - th/0507019 . | arxiv |
Lorentz Transformation of a Tensor
If I have the electromagnetic field tensor, then, under a Lorentz transformation:
$$F^{'}\_{\mu\nu} = \Lambda\_{\mu}^{\alpha} \Lambda\_{\nu}^{\beta} F\_{\alpha\beta} $$
I know that the Lorentz matrix is orthogonal, then:
$$\Lambda\_{\mu}^{\alpha} \Lambda\_{\mu}^{\beta} = \delta\_{\alpha}^{\beta}$$
So, for every diagonal element with $ \mu = \nu $,
$$F^{'}\_{\mu\mu} = \delta\_{\alpha}^{\beta} \ F\_{\alpha\beta} = F\_{\alpha\alpha}$$
Is this correct? For every tensor, the diagonal elements will not change under a Lorentz transformation?
Your second equation is not a proper tensor equation, as the RHS has $\alpha$ downstairs, where in the LHS it is upstairs.
In order to have a correct relationship, you need to sum over an upstairs and a downstairs $\mu$, otherwise you will be left with a $\mu$ in the RHS.
| stackexchange/physics |
The Mescalero Ridge forms the western edge of the great Llano Estacado, a vast plateau or tableland in the southwestern United States in New Mexico and Texas. It is the western equivalent of the Caprock Escarpment, which defines the eastern edge of the Llano Estacado.
Mescalero Sands
Extending north-south along the western edge of the Mescalero Ridge lies a vast sand sheet called the Mescalero Sands, named after the Mescalero Apaches who once hunted in these sandhills. In 1928, Nelson Horatio Darton of the United States Geological Survey observed: On the east side of the Pecos Valley in southern New Mexico there are very extensive sand hills formed of deposits known as the Mescalero Sands, which are doubtless of Quaternary age ... In places, these sands climb up and over the Mescalero Ridge and spread out over portions of the Llano Estacado.
See also
Eastern New Mexico
West Texas
Pecos River
Caprock Escarpment
Llano Estacado
References
External links
High Plains Historical Foundation
Category:Landforms of Chaves County, New Mexico
Category:Landforms of Eddy County, New Mexico
Category:Landforms of New Mexico
Category:Geology of New Mexico
Category:Landforms of Texas
Category:Geology of Texas
Category:Landforms of Lea County, New Mexico | wikipedia |
Skins Wallpaint Friendship
Brandon Hill seemed a lot larger with regret bubbling in the pit of his stomach and for the first time ever the word vomit he called music wasn't helping to get rid of it. He doesn't exactly know why he feels guilty - if anything it should just be self disgust. He doesn't feel guilt. It's not hardcore and he doesn't do that.
It doesn't help that footsteps are approaching and he knows it's either Mini or Alo and the question is answered by the noticeable flaming red hair that catches the corner of his eye. Too late now with nowhere to run and stuck on a fucking hill.
His headphones are pulled off before the job could be done for himself, _mercilessly. _He nearly snaps something at him before the guilt overpowers him and he rests himself on his elbows while he waits for the lecture. Or whatever it is Alo's planned on throwing at him.
"What were you thinking," his mouth's set in a straight line and he sounds cold.
"I don't know," Rich sighs out rolling his head to the side to avoid the sharp gaze that'd been turned on him.
"You don't know?"
"No,"
"How the fuck can you _not _know I thought you knew _everything_,"
"I don't know!" There's the snap that was threatening to spill and he can sense the way Alo flinches back slightly. "We were drunk, it just happened,"
"I thought you hated her," Glancing over the expression's morphed from practically expressionlessto.. hurt. "You were drunk, so you just decided you'd make out with the one girl in school you dedicate all your time to professing your deep hatred towards,"
"I thought I did to," He sits up straight and pulls his headphones off entirely, waits for an answer he won't like anyway. "Jesus Alo, alcohol can do a lot of things, okay?"
It takes a while for Alo to respond a bit of fidgeting here and there and looking off for a different yet similar reason as the one Rich had. "What the hell does she see in you?"
It draws the line, and temporarily the guilt melts away. It's enough though to take away the leash on anything harsh he had. "I don't know, clearly something she doesn't see in you. A brain, perhaps?"
Alo's face falls, and he gets up before Rich can say anything. "Alo-"
"Forget it," "Alo, mate,"
He'd gotten up in a rush (nearly knocked himself over in a rush too. Another not really hardcore move.) but the ginger's already strode down the hill with a clenched jaw and fists that looked close to punching the lights out of someone (not that they could) and Rich sinks back to the ground, buries his head and his tangle of hair in his hands and lets a wave of emotions he didn't even know he had wash over him.
End file.
| fanfiction |
Ranma Wanderers Continued
WANDERERS CONTINUE
Author's note: this story is continuing from Pyenku's story called the Wanderers. I will be starting with chapter 7. For the first six chapters go to Pyenku's profile page to read the story so far.
Disclaimer: I do not own Ranma ½ or any other characters.
Chapter 7 new facts.
Ucchan's Okonomiyaki:
So now that is over with, Yumi said. We need to get you some clothes.
Why? Ranma asked.
Let just say we meet important people, Ryou said. so clothes are important.
You will be surprised about it, Chisato said.
Why do I get the feeling Genma didn't tell Ranma anything about different genders? Ukyo said.
I wouldn't be surprised, Akane said.
Same here, Nabiki said.
What are they talking about? Ranma asked.
Everyone face-faults and Nodoka's battle aura forms and she yells: Genma!
It is good thing I went for the divorce. If he uses the Saotome name we can get him good, Nodoka said.
It looks like he wanted you to be dumb so he could make money off you and been set for life, Yumi said.
The phone rings Nabiki answer it. She listen and after she hung up she started laughing.
He is already paying the price! Nabiki said. Kasumi found his journal. It was as Yumi said. But here the strange part, it seemed he wanted you to declare Ranma unmanly. It said if you did that he would file for a divorce and he would 70% of the whole clans money and then abandon you, most likely locking you in female form. No male wants a dense girl for a wife. Anyway Kasumi has kicked him out of the house with Happossia too. Soun got a good talking as well.
That is too true! Shampoo said. Great grandma sent me over to tell Ranma the about the full curse, but elder cologne wants to tell you herself as soon as possible.
Tell we will be there soon as we can, Ranma said.
Since it is late let's go, Yumi said.
Cat Café:
You came, Shampoo said.
It is good that you came, Cologne said. All of you have probably figure out that there is always more to Jusenkyo, then meets the eye.
Yes I assumed that, Yumi replied.
You are 100% correct, Cologne said. Jusenkyo has many different uses. It is use for Punishment for my tribe. It can be called a curse. Also it is a place for healing. And some can use it as a doorway. For you Ranma it was a place of healing and you found a door too freedom. Everyone has both male and female Ki in them. That is normal. When I first saw you; you had no female Ki, but it was starting to form. If you didn't gone to Jusenkyo you would have died in China way before you reached the ocean. Jusenkyo gives you the complete package. Meaning that you are now 100% female, Jusenkyo can't give out half it can only give full curses. Nodoka I need to talk to you alone later. Ranma don't be stubborn because if you are heading into that war, that attitude will get you kill easily. Learn how to be comfortable as female. Mean wearing female clothes.
Oh my! Akane said. I would never guess that! Ranma I challenge you to wear female clothes for two months!
I second that challenge, Yumi replied.
I'm in, Ryou said.
Me too, Chisato said.
No way could Ranchan do that, Ukyo said.
If Ranma makes it through the challenge I will pay for a feast here which I doubt she could do, Nabiki said.
Ranma is like a tomboy, Shampoo said.
If Ranma does it, it will be half off for the next three months after the challenge, Cologne said.
You're on! Ranma shouted.
Looks like you know his weak spot, Nodoka said laughing. That was me in my young teen years. I was ever more of a tomboy than Akane is.
Akane? Cologne asked.
Yes, cologne, Akane replies.
You have seen what it takes to be a Praetorian, haven't you? Cologne asked.
Yes I have, Akane replied.
Ranma, Akane, we have been around for three thousand years, do you think we haven't come into a contract with a race we can't beat?
Yes, Akane replied.
Maybe, Ranma replied. If you did why is your tribe around?
Yes we have run into several races that were better than us. Remember this, winning is not everything war is the high point of that fact. You can win by not winning. You will be surprised on how well that works.
That reminds me of what my Great-Great-Great-Great-Great- Great-Great-Great-Great-Great grandmother say, Shampoo said.
You can't be talking about the great war of the Amazons! Cologne said. Well she was wise beside her years. After all I wouldn't be where I am today without him.
Him? Akane asked.
Her? Ukyo asked.
Jusenkyo, right Cologne? Ranma asked.
That proves it, Cologne said. your brain was trapped in your female form!
Hey, oh never mind I'll take that as a complement, Ranma said.
Everyone burst into a laughing fit. Two minutes later after they stopped laughing.
What my Great-Great-Great-Great-Great- Great-Great-Great-Great-Great grandmother says, Shampoo said, it was:
Who can fight another day will one day find away to win, a fool is the one who stick around even knowing they are outmatch that will lead you to your down fall. You can win by losing, though it may sound stupid; when in war you need all the time you can get.
That is true, Cologne said. Where you saw our village from your trip to Jusenkyo has been moved sixteen times. Ranma you can still have children but you will find out by yourself sooner than later.
After the kids left Nodoka and cologne where sitting in the kitchen.
Is it true that Ranma can give me grandchildren? Nodoka asked.
Yes, it is true, Cologne said. Do not push her; her body is still adjusting to its new form. In time she will be more female. She is heading for the rough time soon. She will need your help. I should know because if it was for my Great-Great-Great-Great-Great-Great grandmother, she was born as a male, he was a weak male. all the females picked on him. It was so bad he ran away but as soon as he ran away the next day we enter a war. two months after the war started a female saved our tribe. They were surprise to find out it was him. Since he was band from the tribe and that she saved us. They offer a choice. Stay a male leave and never return again or get his curse locked. He chose to become a female. Shampoo doesn't know this at all.
I do already know about this, Shampoo said.
When? Cologne asked.
There was something fish about Ranma when we first met. She was holding back, like she was in fear of something. Before I left I went to the library and I looked up Jusenkyo and found our history so I follow them because I wanted to if she was a he because of Jusenkyo. I was really mad at you for keeping a family fact like that hidden from me.
Okay, you got me there, Cologne said. Ranma was right we are stuck within the past.
So you mean Ranma can and will get her time? Nodoka asked.
Yes she will but it be the worst one, Cologne said. She is powerful she is even more so now. Can you she what would happen to this city if she lets out a depression Ki blast?
Scary! Shampoo said.
I understand, Nodoka said. Here I come nightmare.
To be continued:
End file.
| fanfiction |
9/11 attack: How can a whole building fall even though impact only on the top of building? [closed]
**Closed.** This question is [off-topic](/help/closed-questions). It is not currently accepting answers.
---
This question appears to be about **engineering**, which is the application of scientific knowledge to construct a solution to solve a specific problem. As such, it is off topic for this site, which deals with the **science**, whether theoretical or experimental, of how the natural world works. For more information, see [this meta post](https://physics.meta.stackexchange.com/a/4536/).
Closed 8 years ago.
[Improve this question](/posts/206360/edit)
The airplane hit the top of the building. After a few time the whole building collapsed. How is this physically possible?
To state the physics of this question: fire raises the temperature of load bearing steel. The latter's mechanical properties radically change - yield strength in particular drops radically - leading to structural failure under normally well bearable loads.
The engineering stuff: Steel is a known, severe fire hazard in this way, but its strength and low weight make it indespensible in building. Therefore, design uses both redundant load bearing members and shielding of steel in concrete shells to make sure that (1) a fire that can be put out will not bring the building down or (2) that there is enough time to get people out if the fire cannot be quenched before the steel structure heats enough to yield.
Believe it or not, the designers of the World Trade Center would have considered the possility of an aircraft strike: several large aircraft have stricken towers in New York in the last 70 years, through mistaken navigation. There was never any possibility that the aircraft would have brought the towers down immediately.
If you read the Wikipedia articles on the [Collapse of the World Trade Center](https://en.wikipedia.org/wiki/Collapse_of_the_World_Trade_Center) it gives you a good summary of the physics, design criteria and engineering factors. One of the main causes of the collapse was found to be the fact that steel members had their *fireproofing blown away by the collisions and explosions straight afterwards*.
| stackexchange/physics |
October Road Taking Chances
**Taking Chances**
Maybe she was making something out of nothing, but she needed to know. She had decided that if the opportunity presented itself tonight, she would ask Eddie about it.
Janet closed her front door behind her and turned on the light. Eddie would arrive in about an hour as he had made a habit of coming by on her nights off and she wanted to take a long, hot shower before he got there.
About an hour later as Janet was finishing drying her hair she heard Eddie call out her name as he walked in. She was always surprised at how her heart leapt at seeing him come through her door and it amazed her that she had come to care about him so intensely, and so quickly. She and Eddie had been seeing each other for about two months now and she always felt a rush of excitement every time she saw him. It was as if his smile was just for her. He made her feel so special, so cherished.
He leaned down to kiss her hello.
"Mmm, you smell good", he said as they finally broke their kiss
"Soap. Smells better than stale beer and peanuts." She said with a twinkle in her eye.
Eddie laughed and kissed her again.
She loved making him laugh.
"How was your day?" he asked as he took her hand and led her to the sofa. Eddie sat down and pulled her in to settle against him.
"It was alright. I've still got my hands full with Rooster, but we're making progress. He actually initiated conversation with me today on three separate occasions." She said with a half-smile. Since she and Eddie had become "official" Rooster was having a difficult time with the adjustment. He was convinced Eddie was going to break her heart and had told her in no uncertain terms that he would not be there to pick up the pieces when it happened. "I just wish he could accept that we're together and we could go back to the way things were. I miss the friendship we had."
"I could talk to him if you think it would help. Try to make him understand about you and me." Eddie said.
Eddie understood how this loss of friendship was devastating to her and he wanted to make it right, to help her through this. This was only one of the reasons she cared for him so deeply. Janet liked knowing that she was one of the few people who knew how special Eddie really was. When most people in Knight's Ridge looked at Eddie Latekka they saw the football hero of ten years ago, or the "lady's man", or some other false, superficial face. But she knew the other Eddie, the one he didn't show to anyone else but her. She knew the Eddie that cared about people, especially his friends. He was smart, kind, loyal and extremely generous with those he cared most about.
She leaned over to kiss him, "You're sweet, but unfortunately I don't think this is something you can fix. I think Rooster and I have to work this out on our own" she said as she smiled up at him.
"Alright." he said in a way that let her know he wasn't happy about doing nothing, but that he would let it go for now. "So, what do you want to do tonight?"
"Um, I think I feel like staying in. How about we watch a movie?" she suggested.
"A movie huh? Don't you remember what happened the last time we tried to watch a movie together on your couch? If I remember correctly we barely made it through the opening credits before 'other' things became far more interesting." he said with a knowing grin.
He didn't have to remind her. That particular evening is the one that started her thinking that this relationship was perhaps moving a little too slowly for her liking. They had spent most of that evening making out like a couple of hormonal teenagers until Eddie had pumped the brakes. She had been willing to see it through to its natural conclusion and had been surprised when Eddie announced that it was late and he needed to get going.
"Oh I remember, it's pretty hard to forget actually" she said with a shy smile and a blush.
It was now or never, "I actually wanted to talk to you about that night." She tried to keep her voice light, but the nervousness she was feeling crept in.
"What's going on Janet?" Eddie's look of concern made her feel sorry that she'd even brought it up.
"No, it's nothing really. I just, I wanted to ask you why you left in such a hurry that night. I thought we were having a good time and that the situation seemed to be progressing in a certain direction and then suddenly, it was over. I guess I was just a little confused." She knew she needed to keep going, to get everything out in the open but it was much harder than she thought it would be, "I mean, I guess I was just wondering if it was me. If it was something I did or didn't do that made you leave so suddenly."
Eddie turned toward her so they were face-to-face and took both of her hands in his. "Janet, no. It was nothing you did or didn't do. I'm so sorry, I never intended to make you feel like you did something wrong that night".
"Then what happened Eddie. I mean, I know we haven't really talked about what comes next in this relationship, but I want you to know that I'm ready and I want to be with you."
The look of vulnerability on her face was almost too much for him. He reached up and brushed her curls back. "Janet, what happened that night had everything to do with me and nothing to do with you."
"What do you mean?" she asked.
He got up from the sofa hoping that putting some distance between them would help him think a little more clearly. He needed to explain this in a way so that she would understand how much he cared about her and wanted this relationship to work.
"You know who I was before we started dating. I was the guy who couldn't make a relationship last past two weeks and I liked it that way. No attachment meant nothing is really lost when it ends, you know. But with you it's different. I've never felt this way about anyone before." He sat back down beside her and took her hands "This is new territory for me too Janet, and I guess I'm scared."
She stroked his hand and urged him to continue.
"With all those other girls, I lost interest in them after we had sex. And the thing is I can't be sure if that was something that happened because I wanted it to or if it's just who I am." Eddie knew he may be sounding desperate but he needed her to understand what she meant to him, "I want us to work Janet. I want you in my life, and I'm scared that if we take this to the next level that might be the end and I'm not ready for that".
Eddie took a breath and searched her eyes for a sign of understanding, of assurance.
"Look Eddie. I don't know what went on with those other girls, but I do know how we feel about each other. I have feelings for you that I didn't even know I could have for another person and from what you've just told me, you feel the same. I understand there is risk involved, for both of us because I don't want this to end any more than you do, but I don't think we can keep treading water either. I think if we're in this, then we're in this…all the way and I have to believe that the level of feeling we have for each other is what will make us work."
He took her face in his hands for a deep and passionate kiss. When Eddie kissed her all rational thought left her.
She was the one to break the kiss this time, "Maybe we could skip the movie for tonight?"
Eddie said nothing as he led her to the bedroom.
-----------
The next morning Janet woke with Eddie's arms around her and the feel of his breath on her neck. His breathing told her that he was still sound asleep and she took the opportunity to reflect on what had happened last night. After they had made love the first time Eddie had fallen silent and she became concerned.
"Eddie?" She had asked. Never had one word held so many questions.
Eddie brought her close, and kissed her with an intensity she had never felt from him before.
"I love you Janet."
She smiled back at him, "I love you too Eddie."
With that thought she nestled as close as she could to him and fell back to sleep.
End file.
| fanfiction |
there are considerable variations of the minimum weight that defines macrosomia.[13 ] the most satisfactory definition is a birth weight above the 90th percentile corrected for gestational age and sex .
ethnic factors , gestational diabetes , prolonged pregnancy , high parity , and obesity have been shown to play a role in determining fetal weight .
macrosomia has been found to be associated with many complications , including shoulder dystocia , traumatic birth injuries , and asphyxia .
the aim of this study was to determine the prevalence of fetal macrosomia and macrosomia - associated maternal morbidity and mortality during a 1-year study in the qassim region of saudi arabia .
in this retrospective study , 9241 deliveries were performed at the maternity and children hospital ( mch ) , buraidah , al - qassim region , kingdom of saudi arabia , from january 1 , 2011 through december 30 , 2011 .
the qassim region is located in the center of the arabian peninsula , with a population of 1.08 million . in this study ,
we included all live newborn singleton macrosomic babies who were delivered at or greater than 37 weeks gestation and who had no clinical evidence of congenital malformations .
gestational age was determined by the duration of amenorrhea and was confirmed by an early ultrasound scan during pregnancy .
all women in this study were receiving regular antenatal care at the maternity and children hospital , where random blood sugar testing was performed at the booking visit .
furthermore , gestational diabetes screening was performed between 24 and 28 weeks gestation using an oral glucose tolerance test .
the diagnostic criteria for gestational diabetes mellitus ( gdm ) were based on american diabetes association threshold .
the department policy for management of diabetic patients is induction of labor at the completion of 38 weeks gestation .
maternal complications that were assessed included the mode of delivery , shoulder dystocia ( defined as delayed head - to - body delivery time , and the use of obstetrical maneuvers ) , postpartum hemorrhage ( pph ) , perineal lacerations , and cervical tears .
this study was approved by the ethics committee of the college of medicine , qassim university . the statistical package for
the social sciences ( spss 15 for windows ) was used for data recording and statistical analyses .
the statistical package for the social sciences ( spss 15 for windows ) was used for data recording and statistical analyses .
the mean maternal age was 29.76.9 years ( range , 16 to 42 years ) .
most women in the study group were multiparous ( 81.1% , n = 339 ) , whereas 18.9% ( n=74 ) were primigravida .
the mean fetal birth weight was 4.590.56 kg ( range , 4.12 - 5.4 kg ) .
based on the criteria for diabetes established by american diabetes association , the total number of mothers with diabetes in this study was 403 .
thus , the incidence of diabetes ( gestational and pre - existing ) was 4.4% ( n = 403 ) .
of these 403 patients , 66.3% ( n = 267 ) had gdm , and 33.7% had pre - existing diabetes ( n = 136 ) . of the macrosomic infants ,
the adverse outcomes of pregnancy in this study were as follows : 47.6% ( n = 199 ) of the macrosomic babies were delivered by cesarean section ( cs ) whereas 52.4% ( n = 219 ) were delivered vaginally , 2.3% of which ( n = 5 ) were delivered by forceps . in this study ,
common fetal complications encountered were erb 's palsy ( 0.96% , n = 4 ) and fractures ( 1.4% , n = 6 ) , mainly of the clavicle and humerus . recorded maternal complications included perineal tear , postpartum hemorrhage , and cervical lacerations , which occurred in 1.7% ( n = 7 ) , 1.2% ( n = 5 ) , and 0.7% ( n = 3 ) of the study population , respectively . during the study period
macrosomia was the indication for cs in 6.9% ( n = 199 ) of these cases .
the highest reported prevalence is 20% in nordic countries , while 1.5% of neonates in the usa have a birth weight of 4.5 kg .
a previous study conducted in ksa from 2004 through 2006 reported a prevalence of 5.6% using the same birth weight definition , which is greater than the rate in our report . a decline in the fetal macrosomia rate is supported by data from the national vital statistics ; the usa has shown a significant , steady decline in the rate of fetal macrosomia using the same weight definition for macrosomia .
this decline has been attributed to increases in the rates of preterm labor , labor induction , and twin pregnancies .
this decline may also be explained by the increasing public health awareness about diabetes and the counseling of patients about the risks of hyperglycemia ; these factors lead to good patient compliance and therefore good glycemic control .
however , the rate of macrosomia in saudi arabia is expected to increase because of the increase in risk factors for macrosomia , including obesity and diabetes .
the differences in the rates of macrosomia may be related to variations in ethnicity in addition to differences in fetal weight cutoffs used to define fetal macrosomia , as in the study conducted in the usa .
nevertheless , the exact causes of excessive fetal weight gain during pregnancy remain unexplained . despite good glycemic control in the mothers with diabetes included in this study ( as indicated by the levels of hba1c ) , there was a high incidence of macrosomia ( 40.4% , n = 169 )
. a higher rate of macrosomia among controlled diabetic mothers ( 48.8% ) was reported by evers et al . in a nigerian study ,
ezegwui et al . demonstrated that the prevalence of macrosomia was 3.2% among mothers with diabetes , whereas segregur et al .
moreover , ju et al . stated that there was no significant relationship between macrosomia and diabetic pregnancy .
the higher reported rates of macrosomia despite glycemic control may be due to constitutional factors that operate together with diabetes ; such factors would be difficult to discern in this study . in most of these studies , diabetes is clearly regarded as a cause of macrosomia , but the influence of genotype on this association was not considered .
thus , it is unclear whether there is a genetic predisposition toward greater birth weight among some women with diabetes . in most pregnancies ,
the actual fetal weight is determined retrospectively , as the predictive power of both clinical measurements and ultrasound is limited , especially in diabetic patients .
the overall rate of cs in this study was 31.3% ( n = 2895 ) , of which 6.9% ( n = 199 ) of cases were due to macrosomia .
consistent with previous reports , nearly half of the macrosomic babies ( 47.6% ) were delivered by cs .
higher rates were reported by gyurkovits et al . and akin et al . , while cheng et al . reported a rate of 40.9% .
the high rate observed in our study was mainly due to elective delivery of macrosomic babies via cs rather than by induction of labor , in accordance with hospital policy and not due to feto - pelvic disproportion or other abnormalities of labor cited in other studies .
in addition , the use of carpenter - coustan criteria for the diagnosis of gdm was found to increase the risk for surgical delivery , macrosomia , and shoulder dystocia .
induction of labor at 38 weeks in mothers with diabetes significantly increases the risk for cs as compared with non - diabetic mothers .
one of the most serious complications of vaginal delivery in macrosomic babies is shoulder dystocia , due to its association with birth trauma .
current evidence shows that increasing birth weight heightens the risk of both shoulder dystocia and permanent brachial plexus injury . in this study ,
shoulder dystocia occurred in 9.6% ( 40 ) of the cases , which is comparable to the rate of 10.5% reported by esakoff et al .
the fetal sequelae for shoulder dystocia included 4 cases of erb 's palsy ( 0.96% ) that recovered completely after 2 months and 6 cases of bone fractures ( 1.4% ) related to shoulder dystocia .
langer et al . reported that 76% of cases of shoulder dystocia are preventable if the rate of cs is increased by 2.6% .
however , this finding is difficult to put into practice because most macrosomic babies are diagnosed retrospectively . in our study ,
the only way to decrease the incidence of shoulder dystocia related to macrosomy is by improving the ability to estimate fetal weight , either clinically or biometrically .
maternal complications encountered perineal tear ( 7 cases , 1.7% ) , pph ( 5 cases , 1.2% ) , and cervical lacerations ( 3 cases , 0.7% ) .
maternal complications related to macrosomia may arise after emergency cs , as macrosomia is most often diagnosed during abnormal labor ; as a result , the fetal head is already deeply engaged at the time of surgery .
pph complicating macrosomia is due to uterine atony and genital lacerations , which can be managed effectively if who guidelines are strictly followed .
the shortcomings of this study are its retrospective nature , the lack of a control group , and the gathering of data from a single center rather than multiple centers ( the latter of which could be more representative of the general population ) .
despite reasonable control of diabetes in pregnant mothers , there is still a high rate of macrosomia among this population .
further study is warranted to investigate the association of diabetes with macrosomia after the exclusion of genetic factors among patients with diabetes .
such studies would help to distinguish constitutional factors from diabetes itself in determining the causes of macrosomia .
to reduce the morbidity associated with macrosomia , individuals supervising the labor ward should be properly trained in performing obstetric maneuvers for shoulder dystocia and second - stage cs .
in addition , further prospective studies are required to improve antenatal determination of fetal weight . | pubmed |
we recruited 17 current and 17 ex - smokers with copd to form our study sample .
copd was diagnosed according to the gold criteria.1 participants were allowed to have any degree of bdr following inhalation of 200 g salbutamol , but no history of asthma as confirmed by two physicians independently .
smoking intensity was defined both as pack - years , and number of cigarettes smoked on average per day when smoking , regardless of years of smoking history .
all participants were in a stable condition at the time of the study and free from acute exacerbations of symptoms and/or from upper respiratory tract infections for at least one month preceding the study .
participants did not have any active concurrent medical problems and/or a clinical history of allergic diseases ( eg , rhinitis ) .
atopic status was assessed by skin prick testing to a panel of seven common aeroallergens and a positive response was defined by a weal diameter of 3 mm .
participants had not used corticosteroids in any form in the last three months or long acting bronchodilators in the past 4 weeks .
pulmonary function tests were performed for all participants according to ats standards.15 bdr was assessed by remeasuring spirometry in all participants 20 minutes after the inhalation of 200 g of salbutamol from a metered dose inhaler .
gas transfer factor was measured by the single breath carbon monoxide method,16 and lung volumes were measured in a body plethysmograph post bronchodilator .
carboxyhemoglobin levels were measured during lung function testing and reviewed to confirm the nonsmoking status of the ex - smokers .
sputum induction was performed with hypertonic saline inhalation , following well established methods.17,18 sputum plugs free of salivary contamination were selected and processed according to an adaptation of the method used by pin et al.17 bal and endobronchial biopsies were obtained and processed as described previously.19,20 briefly , participants were pre - medicated with nebulized ( 5 mg ) and sedation was achieved with intravenous administration of midazolam ( 310 mg ) and fentanyl ( 25100 g ) .
lignocaine ( 4% ) was applied topically to the nose , pharynx , and larynx , and 2% lignocaine was admistered below the cords .
bronchoalveolar lavage was performed to yield three 60 ml aliquots from the right middle lobe using a standard protocol .
total cell counts were determined on unfiltered balf using a neubauer hemocytometer and cytocentrifuge preparations were stained with toluidine blue and diff - quik ( american scientific , mcgaw park , il , usa ) to allow identification and determination of mast cells and balf absolute and differential cell counts , respectively .
endobronchial biopsies were then taken from sub - segmental cariane of the right lower lobe of each patient , using alligator forceps ( fb-15c ; olympus , toyko , japan ) .
differential cell counts were performed on at least 500 cells per slide across the middle band of the cytocentrifuge spot,20,21 under 100x magnification using an oil - immersion lens . for mast cells , 2,5005,000 total cells ( depending on cytospot density ) were enumerated by presence of metachromasia .
results were averaged and expressed as both a percentage and absolute count for each cell type.20 interleukin ( il)-8 concentration in cell - free supernatants of sputum and bal was measured using a four - layer quantitative chemiluminescence sandwich
enzyme linked immunosorbent assay ( elisa ) , according to the manufacturer s instructions ( r&d systems inc . ,
a chain polymer technology system ( envision plus , dakocytomation ) was employed.22 monoclonal antibodies used were anti - neutrophil elastase ( dako , glostrup , denmark ) , anti - cd68 ( dako ) , anti - tryptase a ( dako ) , anti- eg1 , anti - eg2 ( pharmacia diagnostics , uppsala , sweden ) , anti - cd4 , and anti - cd8 ( dako ) , as well as a negative isotype control .
cells were quantified in the subepithelial lamina propria up to a depth of 150 m , excluding vessels , mucosal glands , and smooth muscle by light microscopy , by a single experienced observer , using an image analyzer ( image pro plus 4.5 , usa ) .
two quality slides from one of the best tissue blocks from each participant were coded and scored blind .
results were expressed as the number of positive cells per millimeter of epithelial basement membrane.19 statistical analysis was performed using spss ( version 12.0.1 for windows , usa ) . for two group comparisons , t tests , and mann whitney and chi - square tests
pearson s test and spearman s test were used for parametric and nonparametric data , respectively .
data were expressed as mean standard deviation if parametric , and as median and interquartile range if nonparametric . we have previously demonstrated in endobronchial biopsies and bal studies that around 15 participants per group is an optimal number.23,24 preliminary repeatability data for copd airway samples were similar , indicating that the power versus participant number plot flattened markedly beyond this number of particpants with little extra gain in power with larger numbers .
we recruited 17 current and 17 ex - smokers with copd to form our study sample .
copd was diagnosed according to the gold criteria.1 participants were allowed to have any degree of bdr following inhalation of 200 g salbutamol , but no history of asthma as confirmed by two physicians independently .
smoking intensity was defined both as pack - years , and number of cigarettes smoked on average per day when smoking , regardless of years of smoking history .
all participants were in a stable condition at the time of the study and free from acute exacerbations of symptoms and/or from upper respiratory tract infections for at least one month preceding the study .
participants did not have any active concurrent medical problems and/or a clinical history of allergic diseases ( eg , rhinitis ) .
atopic status was assessed by skin prick testing to a panel of seven common aeroallergens and a positive response was defined by a weal diameter of 3 mm .
participants had not used corticosteroids in any form in the last three months or long acting bronchodilators in the past 4 weeks .
pulmonary function tests were performed for all participants according to ats standards.15 bdr was assessed by remeasuring spirometry in all participants 20 minutes after the inhalation of 200 g of salbutamol from a metered dose inhaler .
gas transfer factor was measured by the single breath carbon monoxide method,16 and lung volumes were measured in a body plethysmograph post bronchodilator .
carboxyhemoglobin levels were measured during lung function testing and reviewed to confirm the nonsmoking status of the ex - smokers .
sputum induction was performed with hypertonic saline inhalation , following well established methods.17,18 sputum plugs free of salivary contamination were selected and processed according to an adaptation of the method used by pin et al.17 bal and endobronchial biopsies were obtained and processed as described previously.19,20 briefly , participants were pre - medicated with nebulized ( 5 mg ) and sedation was achieved with intravenous administration of midazolam ( 310 mg ) and fentanyl ( 25100 g ) .
lignocaine ( 4% ) was applied topically to the nose , pharynx , and larynx , and 2% lignocaine was admistered below the cords .
bronchoalveolar lavage was performed to yield three 60 ml aliquots from the right middle lobe using a standard protocol .
total cell counts were determined on unfiltered balf using a neubauer hemocytometer and cytocentrifuge preparations were stained with toluidine blue and diff - quik ( american scientific , mcgaw park , il , usa ) to allow identification and determination of mast cells and balf absolute and differential cell counts , respectively .
endobronchial biopsies were then taken from sub - segmental cariane of the right lower lobe of each patient , using alligator forceps ( fb-15c ; olympus , toyko , japan ) .
differential cell counts were performed on at least 500 cells per slide across the middle band of the cytocentrifuge spot,20,21 under 100x magnification using an oil - immersion lens . for mast cells , 2,5005,000 total cells ( depending on cytospot density ) were enumerated by presence of metachromasia .
results were averaged and expressed as both a percentage and absolute count for each cell type.20 interleukin ( il)-8 concentration in cell - free supernatants of sputum and bal was measured using a four - layer quantitative chemiluminescence sandwich
enzyme linked immunosorbent assay ( elisa ) , according to the manufacturer s instructions ( r&d systems inc . ,
minneapolis , usa ) . for staining of cell populations within endobronchial biopsies , a chain polymer technology system ( envision plus , dakocytomation ) was employed.22 monoclonal antibodies used were anti - neutrophil elastase ( dako , glostrup , denmark ) , anti - cd68 ( dako ) , anti - tryptase a ( dako ) , anti- eg1 , anti - eg2 ( pharmacia diagnostics , uppsala , sweden ) , anti - cd4 , and anti - cd8 ( dako ) , as well as a negative isotype control .
cells were quantified in the subepithelial lamina propria up to a depth of 150 m , excluding vessels , mucosal glands , and smooth muscle by light microscopy , by a single experienced observer , using an image analyzer ( image pro plus 4.5 , usa ) .
two quality slides from one of the best tissue blocks from each participant were coded and scored blind .
statistical analysis was performed using spss ( version 12.0.1 for windows , usa ) . for two group comparisons , t tests , and mann whitney and chi - square tests
pearson s test and spearman s test were used for parametric and nonparametric data , respectively .
data were expressed as mean standard deviation if parametric , and as median and interquartile range if nonparametric . we have previously demonstrated in endobronchial biopsies and bal studies that around 15 participants per group is an optimal number.23,24 preliminary repeatability data for copd airway samples were similar , indicating that the power versus participant number plot flattened markedly beyond this number of particpants with little extra gain in power with larger numbers .
there were no statistical differences in regard to age , sex , and atopic status between the two copd groups examined .
although the ex - smokers had a higher mean pack year smoking history , the variability within groups was large and the difference was not significant .
no significant differences were found in any of the lung function indices ( table 2 ) . the mean % bdr predicted was 7.4 and 7.2 in current and ex - smokers ( ns ) . among current smokers
there were six participants ( 35% ) with bdr 10% ( given as % of predicted ) and in ex - smokers there were four ( 23.5% in the group ; not significantly different between groups according to the results of a chi - square test ) .
in sputum , current smokers with copd had significantly increased absolute numbers of mast cells compared to ex - smokers , who in contrast demonstrated significantly increased absolute numbers and percentage differential counts of neutrophils ( table 3 ) . in bal ,
current smokers demonstrated a significant increase in absolute numbers and percentage differential counts of eosinophils compared to ex - smokers , who in turn exhibited overall decreased total cell counts , but with associated increases in lymphocyte , neutrophil , and epithelial differential cell percentages as well as a trend toward increased il-8 levels ( p = 0.06 ) ( table 4 ) .
in contrast , biopsy cellular profiles were very similar ( table 5 ) between current and ex - smokers .
there were few significant correlations between smoking intensities , airway inflammatory cells , and lung function , although there was a significant negative relationship between smoking intensity and lung function in current smokers as perhaps might be expected , ie , more smoking was associated with poorer lung function , but this relationship was not seen in the ex - smokers . in current smokers
there was a weak relationship between smoking intensity and total cell counts , but this was in a negative direction and only in bal samples ie , more smoking was related to fewer total cells in bal . in ex - smokers ,
some relationships were seen in sputum , bal , and biopsy between smoking intensity and cell counts but again , these were mainly negative ( for lymphocytes , mast cells and epithelial cells ) , although positive for macrophages ; there was little consistency between airway compartment types . in general ,
therefore , more total cells in sputum and bal tended to be associated across the board with better lung function . in airway biopsies , higher cell numbers were similarly associated with better lung function .
for current smokers , the strongest such relationships were for neutrophils and cd4 lymphocytes , and for ex - smokers for cd4 lymphocytes and mast cells .
cell profiles in sputum , bal , and airway biopsies were statistically unrelated to each other in either current or ex - smokers with copd .
there were no statistical differences in regard to age , sex , and atopic status between the two copd groups examined .
although the ex - smokers had a higher mean pack year smoking history , the variability within groups was large and the difference was not significant .
no significant differences were found in any of the lung function indices ( table 2 ) . the mean % bdr predicted was 7.4 and 7.2 in current and ex - smokers ( ns ) . among current smokers
there were six participants ( 35% ) with bdr 10% ( given as % of predicted ) and in ex - smokers there were four ( 23.5% in the group ; not significantly different between groups according to the results of a chi - square test ) .
in sputum , current smokers with copd had significantly increased absolute numbers of mast cells compared to ex - smokers , who in contrast demonstrated significantly increased absolute numbers and percentage differential counts of neutrophils ( table 3 ) . in bal ,
current smokers demonstrated a significant increase in absolute numbers and percentage differential counts of eosinophils compared to ex - smokers , who in turn exhibited overall decreased total cell counts , but with associated increases in lymphocyte , neutrophil , and epithelial differential cell percentages as well as a trend toward increased il-8 levels ( p = 0.06 ) ( table 4 ) .
in contrast , biopsy cellular profiles were very similar ( table 5 ) between current and ex - smokers .
there were few significant correlations between smoking intensities , airway inflammatory cells , and lung function , although there was a significant negative relationship between smoking intensity and lung function in current smokers as perhaps might be expected , ie , more smoking was associated with poorer lung function , but this relationship was not seen in the ex - smokers . in current smokers there was a weak relationship between smoking intensity and total cell counts , but this was in a negative direction and only in bal samples ie , more smoking was related to fewer total cells in bal . in ex - smokers ,
some relationships were seen in sputum , bal , and biopsy between smoking intensity and cell counts but again , these were mainly negative ( for lymphocytes , mast cells and epithelial cells ) , although positive for macrophages ; there was little consistency between airway compartment types .
in general , therefore , more total cells in sputum and bal tended to be associated across the board with better lung function . in airway biopsies , higher cell numbers were similarly associated with better lung function . for current smokers ,
the strongest such relationships were for neutrophils and cd4 lymphocytes , and for ex - smokers for cd4 lymphocytes and mast cells .
cell profiles in sputum , bal , and airway biopsies were statistically unrelated to each other in either current or ex - smokers with copd .
our aim in this cross - sectional study was to investigate in detail , using different airway compartment sampling techniques , the differences between airway inflammatory profiles in current and ex - smokers with established copd and to explore the relationship between airway inflammation , smoking intensity , and lung function .
current smokers had an increase in sputum mast cell and bal eosinophil numbers compared to ex - smokers .
in contrast , ex - smokers with copd had higher total cell counts and absolute neutrophil numbers in sputum , but not in bal or biopsies compared to current smokers . in bal
there was an increase in the relative proportions ( percentage ) of neutrophils , lymphocytes , and epithelial cells in ex- versus current smokers and a trend for bal il-8 levels to be higher in ex - smokers , consistent with the higher percentage of neutrophils in bal .
it is quite obvious that the picture that can be obtained will vary considerably depending on sampling modality used , which explains why the results gained in previous reports have varied so much .
our study results demonstrate that airway inflammation persists in copd ex - smokers but that the cell patterns differ compared to current smokers , especially in sputum and bal .
the picture in airway biopsies , on the other hand , is similar in current and ex - smoker copd patients , suggesting that once copd is established , trafficking of cells through the airway wall into the lumen may be what is different , which may reflect remodeling changes and perhaps changes in vasculature , but this can not be addressed by a cross - sectional study and needs - specific prospective study .
notably , for inflammatory cell profiles in general , more historical smoking and poorer lung function were both associated with less marked inflammation , which may imply that cellular inflammation is most prominent in milder physiological disease , and that later , with more significant physiological abnormality , airway remodeling , and perhaps a reduced ability of cells to migrate becomes the more predominant pathological process , but this also needs prospective study of both airway remodeling and cell infiltration after smoking cessation .
caution obviously needs to be exercised when attributing cause and effect relationships from cross - sectional studies such as ours , but on the other hand , longitudinal smoking - cessation studies in copd needing several years to complete are unfortunately difficult to recruit for and undertake . from our experience , the majority of recruits with copd to such studies can not stop smoking at all , or if they manage to quit , it is for only such a short time as to make any study of changes in airway pathology unfruitful ( unpublished data and personal observation ) .
therefore , inferences from cross - sectional studies such as the current one are necessary and important in trying to gain better understanding of copd pathogenesis , although the relationships between airway inflammation , smoking status , and physiological disease appear complex .
willemse et al compared current smokers with copd using sputum and airway wall biopsy cell profiles to current smokers without copd and then conducted a smoking cessation study in both participant populations.25,26 established copd was associated with increased sputum neutrophils and eosinophilic cationic protein ( ecp ) levels , but there were no changes within the airway wall that discriminated smokers with copd from those without , although smoking per se was related to an increase in airway biopsy macrophages .
interestingly , following one year of smoking cessation there were significant increases in sputum neutrophils , as well as il-8 and ecp levels but only in those participants with copd , whereas inflammatory cell counts and cytokine levels were significantly reduced in the smokers without copd who had successfully quit .
once again , there were no changes in cell profiles in bronchial biopsies and willemse and colleagues concluded that airway wall remodeling may be the more important factor and also that the apparent increase in inflammation could reflect an active repair process.26 lapperre et al from the same research team used pooled data from several centres27 to undertake a cross - sectional comparison of airway biopsies in over a 100 participants with copd and found increased cd3+ve , cd4+ve , and cd8+ve lymphocytes in short term quitters , but an increase in airway wall plasma cell and reduction in cd8+ve numbers in ex - smokers with longer durations of smoking cessation .
altogether , these studies are consistent with our findings that inflammation does not seem to reduce following smoking cessation in the setting of established copd and indeed may worsen , but whether this is part of a repair process requires more investigation into which inflammatory changes within the three airway compartments are related to changes of remodeling within the airway wall
. a further potential explanation for some of the differences seen in copd between current and ex - smokers , such as a difference in bal macrophages , may be alterations in the balance between inflammatory cell recruitment , apoptosis , and apoptotic cell clearance induced by smoking.28,29 on the other hand , the increase in mast cells in sputum and eosinophils in bal in current smokers compared to ex - smokers may reflect an
response to cigarette smoke components , as has been suggested previously and this could be consistent with the higher sputum ecp levels in copd current smokers observed in willemse et al s study or in the general push of active smoking to produce higher systemic ige levels.30,31 the lack of relationship between cell profiles in sputum , bal , and biopsies indicates that the effects of smoking or smoking cessation are different depending on which airway compartment one studies , suggesting that to get a truly holistic view of the effects of smoking , one needs to sample all compartments .
the other important message is that sputum cell profiles do not reflect airway pathology in either more distal airways ( sampled by bal ) , or in more central airway walls , which cautions against overinterpretation of sputum indices when commenting on airway pathology in copd . in summary , in this three compartment airway study we compared inflammatory cell profiles in current and ex - smokers with copd and demonstrated that there is a complex interplay between smoking and airway inflammation in copd , which varies depending on which airway compartment is being assessed .
ex - smokers with copd have persisting airway inflammation , which differs qualitatively and quantitatively from current smokers .
prospective studies of smoking cessation now need to consider the relationship between inflammation and airway remodeling / repair , which may influence these cell profiles . | pubmed |
with 14.7% of 1559-year - olds testing anti - hcv positive , egypt has the highest hcv prevalence in the world .
although parenteral antischistosomiasis therapy ( pat ) was important in the genesis of egypt 's hcv epidemic this was stopped over 25 years ago and hcv incidence remains high estimated between 150 000 and 500 000 new infections per year [ 24 ] .
infection from inadequate sterility of dental and medical devices has been shown to play a role in this regard [ 1 , 2 , 512 ] .
support for this theory comes from studies such as a longitudinal study of incidence in two villages in egypt , which found that the strongest predictor of incident of hcv was having an anti - hcv positive family member . among those that did and
did not have a family member infected with hcv , hcv incidence was 5.8 and 1.0/1000 person years , respectively .
this elevated risk of incident of hcv of family members could be due to sharing of implements such as razors or toothbrushes or due to sexual transmission between family members [ 14 , 15 ] .
alternatively , the elevated risk may be due to shared risk factors ( such as the family members all attending a particular health practitioner ) rather than being caused by direct transmission between family members . to disentangle these relationships
if a husband , is infected is this associated with an increased risk of his wife being infected and vice versa ? is the risk higher for a spouse than nonspousal family members ?
are these relationships affected by whether the affected individuals are hcv rna as opposed to antibody positive ? in 2008
egypt conducted its first nationally representative survey of hcv prevalence the 2008 egyptian demographic and health survey ( edhs ) . a recently published analysis of this survey found that hcv prevalence increased steadily with age but more so in men than women , reaching , in the 5059-year - age group , 46.3% in men and 30.8% in women .
hcv was also more prevalent in rural than urban areas and on multivariate analysis it was found to be associated with male sex , age , poverty , past history of pat , and blood transfusion . in urban regions , those with a lack of education and females with genital cutting were more likely to be hcv infected .
this analysis did not however examine the extent to which hcv infection covaried within couples and families .
the edhs is the first hcv survey in the world that is both nationally representative and done in a way which enables researchers to link the hcv status of husbands and wives . in this paper
the edhs entailed a three - stage probability sample that provided a nationally representative sample of 16527 ever - married women aged 1549 who were interviewed about a range of key population indicators ( kpi ) .
in addition , in a subsample of 4953 households , 6702 women and 6078 men aged 1559 were sampled for a special health topics ( sht ) component ( see figure 1 ) .
the overall response rate for this latter section was 96.2% and 87.6% for the men and women , respectively .
this sht component was selected so as to provide a sample which was representative for egypt and the six major areas that the edhs was stratified by : urban and frontier governorates and upper and lower egypt ( each of the latter two was divided into rural and urban areas ) . in order to link husbands and wives , we made use of the fact that 3877 women completed both questionnaires .
these were the women who had ever been married , were 1449 years old , and completed the kpi questionnaire .
if the respondent was currently married , then the kpi questionnaire specified the husband 's line number within their house .
, we established that , in the case of 2591 individuals , the husband of a respondent also completed the sht component of the edhs . in this paper
we study the relationships between hcv and various risk factors in these 2591 husband - wife pairs . apart from the 5182 individuals in this married subgroup , further 2338 persons aged 1559 years , living in the same houses as the married couples ,
although the outcome variable used in this study is the presence of anti - hcv antibodies in the 5182 members of the married subgroup , the relationship between the hcv serostatus of the married couples and that of the other household members is also of relevance .
we therefore included the hcv antibody and rna status of these 2338 individuals as exposure variables in our analyses .
these were used as a measure of local or community hcv prevalence . unless otherwise stated the terms hcv prevalence and infection refer to hcv antibody prevalence .
the hcv antibody prevalence rates were calculated for a range of potential risk factors available in the special health topics questionnaire . because of the strong association between age and hcv prevalence all the odds ratios and p values given are age - adjusted .
logistic regression was used to explore the strength of the association of each variable with hcv infection in the 5192 individuals in the married couples cohort .
these tests revealed that the effect of several of the variables varied according to urban / rural location and men / women . as a result
, separate models were constructed for men and women as well as urban and rural areas .
all the urban women who had not undergone female genital cutting were hcv negative . to avoid the collinearity that this created in the analyses , for the analysis limited to urban women , we randomly selected one urban woman who had not undergone female genital cutting and changed her hcv status as positive .
the final models were constructed by including all variables with p values < 0.2 on univariate logistic regression .
the education variable was not included due to significant collinearity with the income variable . the hcv status of the spouse and that of the other household members ( both exposure variables ) were represented by hcv rna instead of hcv antibody positivity in the multivariate models due to exerting a stronger effect on the outcome variable ( and considerable collinearity between the rna and antibody hcv tests ) .
statistical analysis was conducted using stata version 12.0 ( statacorp , college station , tx ) .
the hcv prevalence rates for the husbands and wives were also stratified by the wives ' excision status to explore how hcv prevalence in both husbands and wives varies according to the excision status of the woman .
the terms excision and female genital cutting ( fgc ) are used synonymously in the paper .
the fgc variable was defined as follows : both the women who had experienced fgc and the men whose wives had undergone fgc were coded as 1 and the women and men whose wives had not undergone fgc were coded as 0 . to assess
the impact of whether hcv prevalence in women was associated with who conducted the fgc , a second fgc variable , termed fgc - operator , was constructed as follows : women with no history of fgc coded 0 , fgc performed by doctor and nondoctor coded as 1 and 2 , respectively .
the multivariate models for women were run separately with the fgc and fgc - operator variables .
a third generation enzyme - linked immunosorbent assay was used to detect hcv antibodies ( adaltis eiagen hcv ab , casalecchio di reno , italy ) .
seropositive specimens were tested for hcv rna using the realtime_m2000 system ( abbott laboratories , abbott park , il , usa ) .
full details of the survey and sampling strategy have been previously published [ 1 , 16 ] .
overall hcv antibody prevalence in the married couples was 18.2% ( 95% ci , 16.819.6 ) .
hcv antibody prevalence was higher in the husbands ( 23.7% ) than the wives ( 12.1% ; p < 0.001 ; see table 1 ) . restricting
this analysis to the 1549-year - olds reduced the difference in hcv between the husbands and wives ( 18.8% and 11.6% resp .
hcv prevalence was also higher in rural ( 20.4% ) than urban ( 12.0% ) regions ( p < 0.001 ) .
hcv prevalence increased steadily with age reaching 30.2% ( 95% ci , 26.833.8 ) in men and 23.9% ( 95% ci , 20.427.7 ) in women in the 4149-year - old category . amongst women
, there was a stepwise increase in hcv prevalence with increasing number of children : 6.9% if 02 children , 14.1% if 35 children , and 24.5% if more than 5 children .
there was a lower hcv prevalence in those who had completed secondary level education ( 14.3% ) compared to those with no education ( 23.5% ; p = 0.001 ) and those in the top two income quintiles ( 12.1 and 12.9% ) compared to those in the poorest quintile ( 22.8% ; p < 0.001 ) .
hcv prevalence in persons who had received pat ( 32.1% ) was higher than in those who had not ( 16.5% ; p < 0.001 ) .
women with excision had a trend to higher hcv prevalence ( 12.5% ) than those without ( 3.9% ;
p = 0.096 ; see tables 1 and 2 ) . men whose wives had been excised had a higher hcv prevalence than those whose wives had not ( 23.7% versus 8.3% ; p = 0.003 ) .
women who had been excised by a doctor had a lower hcv prevalence than those excised by a nondoctor ( 5.6% versus 13.7% ; p = 0.003 ) .
respondents who had received a blood transfusion had nonsignificantly higher hcv prevalence rates than those who had not ( 26.9% versus 17.8% ; p = 0.132 ) .
hcv prevalence increased with length of marriage , increasing from 8.2% to 17.6 and 29.6% in those married for ten years or less , 1120 years , and over 20 years , respectively .
persons with an hcv seropositive partner had a higher hcv prevalence than those who did not ( 32.6% versus 15.1% ; p < 0.001 ) .
this effect was also evident if one 's partner was rna positive for hcv ( 34.7% versus 15.9% ; p < 0.001 ) .
the effect was not as marked if it was another member of the household who was hcv antibody ( 23.3% versus 17.7% ; p = 0.004 ) or rna positive ( 23% versus 17.9% ; p = 0.015 ) .
in the multivariate logistic regression analyses , three variables were associated with hcv infection in all models ; see table 3 . these were age , local hcv prevalence , and having a spouse who was infected with hcv .
having a nonspousal household member who was hcv infected was not independently associated with hcv . for both men and women hcv was less prevalent in the richer quintiles but in the case of men
hcv was associated with a blood transfusion in women but this association only applied to the rural areas .
pat was associated with hcv in all the models except in the men in the rural and the women in the urban areas .
being married for longer than 20 years was associated with hcv , but only for men .
this relationship in men was driven by a relatively strong association in urban areas . amongst the women
, there was no association between fgc and hcv overall but in urban areas none of the women who were not excised were hcv infected . in the second set of women 's models substitution of the fgc variable with the fgc - operator variable had little effect .
fgc had no effect in rural areas and a strong effect in urban areas regardless of whether it was conducted by a doctor or nondoctor ( data not shown ) .
the edhs reveals that , of the women who had undergone fgc , 99.9% had done so by the age of 18 .
of the women aged 1518 surveyed in the edhs , the hcv prevalence was significantly higher in those who had been excised ( 39/723 ; 5.4% ) than those who had not ( 0/164 ; 0% , p = 0.028 ) .
there was no evidence of interaction between the wife 's fgc status and hcv status of the partner variables .
linking husbands and wives allowed us to test the association of hcv infection between husbands and wives .
this represents the first time that this has been done in a nationally representative hcv survey .
the sampling strategy used to describe the epidemiology of hcv in the usa , although nationally representative , does not include sexual partners in a linked way that would allow a similar analysis .
this is true for analyses limited to rural and urban areas and for subanalyses of men and women within these areas .
the relationship is slightly stronger when the hcv in the partner is measured with an rna - based as opposed to an antibody - based test .
if not due to confounding , this association may be due to nonsexual intrafamilial transmission ( such as shared utensils , toothbrushes , and razors ) , sexual transmission , or shared risk exposures ( such as attending to the same health care practitioner ) .
if the former was predominant then we should expect an association between hcv infection in nonspousal family members and in respondents .
there was no evidence of such an association in any of the multivariate models . in our models we controlled for a large number of plausible , shared risk exposure types ( such as blood transfusions , multiple injections , and pat ) , but these did not affect the strength of the relationship between respondent and partner hcv status .
the stronger association between the respondent 's hcv status and that of their wife / husband as opposed to that of other family members may be mediated by the greater length of time they spent together .
the fact that there is a relationship between length of marriage and hcv infection ( for men ) could be interpreted as supporting evidence for this idea .
an alternative explanation , and one that is also supported by the relationship between hcv infection and length of marriage , is that sexual transmission between partners is responsible for the relationship of hcv infection in married couples .
we can not however exclude the possibility that the reason why the association between the wife and the husband 's hcv status remains strongly positive after controlling for the hcv status of the other household members is due to the partner 's hcv status being a better measure of general ( nonsexual ) infection pressure than the hcv status of the other household members . in the models we do control for the hcv in the surrounding community , but this is defined at the level of the governorate .
there is a strong relationship between hcv infection and fgc in the urban areas but none in the rural areas .
for the men in the urban areas there is an association between hcv infection and having a wife who was excised ( or 3 ; 95% ci , 1.17.9 ) . in the case of women ,
though this is possible , it should be noted that it is circumcision by nondoctors that is most strongly correlated with hcv infection and in rural areas the proportion of fgc performed by nondoctors is higher ( 84.2% ) than in urban areas ( 73.0% ; p < 0.001 ) .
another possibility is that fgc is so prevalent in the rural areas ( 97.2% ) that there are too few nonexcised women to be able to demonstrate an effect of fgc on hcv prevalence .
for example , in two of the other studies , to consider the impact of fgc on hcv in egypt , no effect was found , but this may have been due to the extremely low numbers of persons not excised . in the first study there was only one person ( out of 1989 individuals in the survey over the age of 20 ) who was not excised . in the second study ,
only 4 women out of 1051 ( 0.4% ) over the age of 30 were not excised .
this study found a nonsignificant increase in the risk of hcv infection in those women who had been excised by an informal health care provider as opposed to those nonexcised combined with those excised by a formal health care provider ( or 1.6 ; 95% ci , 0.73.8 ) . in a separate analysis of the edhs a strong ecological association
a population - based , cross - sectional study from the gambia , for example , found a strong association between prevalent fgc and herpes simplex virus-2 infection ( or 4.7 , 95% ci , 3.76.4 ) and a weaker association between fgc and bacterial vaginosis .
a case - control study of primary infertility in sudan found more extensive forms of fgc to be more prevalent in the cases . there were too few cases and controls without fgc in sudan study to allow any analysis of those with versus those without fgc .
a case control study of the determinants of infertility found that cases were more likely to have been excised by a traditional practitioner and more likely to have had more extensive forms of fgc .
what could be the possible mechanisms for fgc to result in increased rates of hcv for both men and women ?
the higher hcv prevalence in excised versus nonexcised 1518-year - olds in the edhs could be interpreted as evidence supporting this nonsterility hypothesis .
in addition , hcv transmission at the time of fgc could have been greater in the past when a considerably greater proportion of fgc procedures were performed by nondoctors .
two studies from egypt have found an association between male circumcision performed by informal health care providers and prevalent hcv infection [ 5 , 24 ] .
the anatomical changes produced by fgc , particularly the more extensive forms of fgc , could also promote subsequent female to male and male to female hcv transmission .
it is biologically plausible that fgc could both enhance women 's susceptibility to the sexual transmission of hcv and increase the chances that hcv is transmitted to their partner .
we can not however exclude the possibility that the relationship between fgc and hcv is due to an unmeasured confounding variable .
there is considerable controversy in the literature about the extent to which hcv can be transmitted by sexual contact and cohabitation . in general most studies and two systematic reviews
have found that hcv can be transmitted sexually but that the risk of infection is low [ 14 , 25 ] .
the most recent systematic review tried to make sense of the conflicting results by dividing the studies into those from high ( japanese ) and low ( non - japanese ) prevalence regions .
they found that pooling the results of studies along these lines provided strong evidence of increased hcv prevalence in offspring of affected persons in endemic areas but no such effect in nonendemic areas .
in contrast they found evidence of an increased hcv prevalence amongst the spouses of persons who were hcv seropositive in nonendemic areas but no evidence for this effect in endemic areas .
one interpretation of these apparently discordant findings is that hcv prevalence in spouses of hcv seropositive persons was not higher than controls in endemic areas as the prevalence in the controls was so high . in endemic settings
, transmission rates may be so high that close to all susceptible persons are infected by the time they are married .
sexual transmission was shown to occur in low prevalence areas such as usa but not in high prevalence areas such as east asia [ 26 , 27 ] .
more recent studies have found evidence of spousal transmission of hcv in endemic areas [ 5 , 6 , 11 , 13 , 2830 ] .
genotypic studies provide further evidence of the spousal transmission of hcv [ 8 , 15 , 30 , 31 ] . in egypt
there is an increasing amount of evidence that intrafamilial transmission is an important source of new infections [ 5 , 13 , 29 ] .
two prospective studies investigating the correlates of incident of hcv in egypt have found evidence of intrafamilial transmission [ 13 , 32 ] .
one of these was a study that followed up a cohort of 6734 hcv antibody negative persons from 2 rural villages over a median of 1.6 years . in this time
there were 33 new hcv infections , 27 of which occurred in families with an anti - hcv positive member .
parenteral factors were not associated with an elevated hcv incidence and in 21 of the cases there was no history of any parenteral exposure .
hcv incidence per 1000 person years was higher in spouses of hcv antibody positive as opposed to antibody negative persons ( 13.1 versus 1.9 ; p = 0.08 ) .
men and women with anti - hcv positive spouses were 7 and 2 times as likely to seroconvert as those with seronegative spouses .
hcv incidence in children increased in a stepwise manner if they had one of two parents who is hcv antibody positive .
a number of other studies have found marriage to be a risk factor for hcv infection but not all of these are controlled for age , which is likely a significant confounder [ 5 , 6 , 29 ] .
one study found that parenteral factors only play a part in explaining prevalent cases in those over the age of 20 in egypt .
one way of tying together the seemingly discordant findings about the extent of intrafamilial hcv transmission from different studies around the world is to apply the insight from hepatitis b virus epidemiology that the predominant mode of transmission may vary considerably between different regions of the world .
hepatitis b transmission in east asia is predominantly perinatal , in usa it is largely sexual and intravenous drug use [ 33 , 34 ] , and in sub - saharan africa an important cause is horizontal transmission between children through poorly defined mechanisms [ 3537 ] . in usa , iatrogenic and intravenous drug usage have been shown to be the dominant modes of hcv transmission .
there is mounting evidence that sexual transmission is important in hcv outbreaks of men who have sex with men .
the best quality evidence however suggests that sexual transmission has not played a large role in hcv transmission among heterosexuals in the usa [ 17 , 39 ] .
however , most individuals infected by this route clear the virus spontaneously [ 6 , 40 ] .
unsterile procedures have clearly played an important role [ 1 , 2 , 68 , 11 ] . a large proportion of cases are however not explained by these factors [ 1 , 6 , 9 , 13 ] .
our study backs up the evidence from elsewhere of the likelihood of horizontal spread between family / household members [ 5 , 9 ] .
some of this may be sexual but much is likely to be via other , as yet unclearly defined , mechanisms .
the findings presented here also build on the evidence from elsewhere that fgc may have played a role in the spread of hcv both at the time of the procedure and via enhancing the sexual transmission of hcv .
the edhs was a cross - sectional survey and thus the direction of any implied causation can not be established .
only 5182 individuals ( out of 11126 individuals surveyed in the special health topics sample ) could be linked together to provide the wife - husband dyad sample used for this analysis . furthermore the limitations imposed by the linking process meant that the ages of the husbands were from a wider age - band ( 1559 years old ) than that of the wives ( 1549 ) .
because of these limitations , the sample we used can not be assumed to be representative of whole egypt .
the uni- and multivariate analyses of the married couple subsample are , however , remarkably similar to those found in analyses of the entire sample of 11126 respondents ( presented in guerra et al . ) .
given the ongoing high incidence of hcv in egypt , further research is needed to better define the mechanisms for intrafamilial spread so as to guide new prevention strategies . in particular further research is needed to ascertain if fgc is an effect - modifier in the sexual transmission of hcv . | pubmed |
THE PRESTIGE
Written by
Jonathan Nolan & Christopher Nolan
FADE IN:
TOP HATS. Clustered in a small glade. As we SUPER TITLES,
a BLACK CAT slinks its way through them. As TITLES END-
BORDEN (V.O.)
Are you watching closely?
A SECOND BLACK CAT races into frame, HISSING, SPITTING,
CHASING the first cat into the woods beyond and we-
CUT TO:
INT. CLUTTERED WORKSHOP -- DAY
Moving along a row of CANARIES in CAGES.
CUTTER (V.O.)
Every magic trick consists of three
part, or acts...
Stop at a cage. Weathered HANDS envelope the canary. Hands
and voice belongs to a man in his 60's- CUTTER.
CUTTER (V.O.) (CONT'D)
The first part is called the Pledge...
A LITTLE GIRL pershes on a chest in the workshop, watching.
CUTTER (V.O.) (CONT'D)
...the magician shows you something
ORDINARY-
Cutter moves to a small ORNATE CAGE resting on a prop table.
CUTTER (V.O.) (CONT'D)
A deck of cards, ar a bird...
INT. SCALA THEATRE, LONDON -- NIGHT
A packed house. Many hands raised. Move in on a BEARDED MAN,
his gloved hand tentatively rising into the air.
CUTTER (V.O.)
...or a man.
A GLAMOROUS ASSISTANT beckons Bearded Man from the aisle. He
shuffles along his row towards her. Embarrassed.
CUTTER (V.O.) (CONT'D)
He show you this object, and pledges
to you its utter normality...
Bearbed Man and four other VOLUNTEERS follow the Assistant
down towards the stage...
2.
On which stands the magician, leaning on his cane, smiling.
This is ROBERT ANGIER, 35, an American. Looming over him is
a large and complex ELETRICAL MACHINE.
CUTTER (V.O.) (CONT'D)
Perhaps he asks you to inspect it...
Bearbed Man, FASCINATED, and other Volunteers look over
the vast machine. As angier GESTURES theatrically at the
various features of the metal and glass apparatus.
CUTTER (V.O.) (CONT'D)
...to see that it is indeed real...
As the Assistant leads the Volunteers off the stage, Bearded
Man slips through the gap at the side of the curtains-
CUTTER (V.O.) (CONT'D)
...unaltered...
INT. STAGE THEATRE, BACKSTAGE -- CONTINUOUS
-looks around, DISORIENTED, then darts for some stairs leagind
below stage where he runs into a burly STAGEHAND.
CUTTER (V.O.)
...normal.
STAGEHAND
Where'd you think you're going?!
CUTTER (V.O.)
But, of course, it probably isn't...
Bearded Man pulls off his beard, revealing the face of ALFRED
BORDEN, mid 30's.
BEARDED MAN
I'm part of the act, you fool!
The Stagehand raises his eyebrows and steps aside. Borden
RACES down below the stage. Cutter approaches the Stagehand.
CUTTER
Who was that?
INT. SCALA THEATRE, ONSTAGE -- CONTINUOUS
As the machine GROANS to life. SPARKING and CRACKLING, Angier
gazes at it, forgettig his audience. Entranced. Possessed.
INT. BENEATH THE STAGE -- CONTINUOUS
Borden fumbles through the darkned area, lit by flashes and
sparks through gaps in the boards of the stage above. He
GASPS as a flash illuminates a STAGEHAND with SOLID WHITE
EYES sitting nearby. Borden waves a hand in front of the
3.
INT. WORKSHOP -- DAY
Cutter gently places the canary into the ornate cage.
CUTTER (V.O.)
The second act is called the Turn...
INT. SCALA THEATRE, ONSTAGE -- NIGHT
Angier, facing the audience, steps into the machine.
CUTTER (V.O.)
The magician takes the ordinary
something...
INT. BENEATH THE STAGE -- CONTINUOUS
Borden lights a MATCH. In front of him is a LARGE GLASS
TANK FILLED WITH WATER, ITs LID PROPPED OPEN. Borden frowns.
CUTTER (V.O.)
...and makes it do something
extraordianry.
INT. WORKSHOP -- DAY
Cutter places a SILK SHAWL over the cage. Then SLAMS his
hands down on the shawl, which FLATTENS- The Little Girl
FLINCHES. Then STARES, FASCINATED.
CUTTER (V.O.)
Now you're looking for the secret.
INT. SCALA THEATRE, ONSTAGE -- NIGHT
Bolts of electicity draw inwards, wrapping Angier in a ball
of light which CRACKS-
CUTTER (V.O.)
But you won't find it...
INT. BENEATH THE STAGE -- CONTINUOUS
The ROOM fills with light as a TRAPDOOR snaps open and a
BODY DROPS INTO THE TANK.
CUTTER
Because of course, you're not really
looking...
The lid of the tank and trapdoor above SNAP SHUT, leaving
the tank, and Borden, in complete DARKNESS.
CUTTER (V.O.) (CONT'D)
...you don't really want to know.
4.
INT. WORKSHOP -- DAY
Cutter WHIPS the shawl from the table. Cage and bird have
DISAPPEARED.
CUTTER (V.O.)
...you want to be fooled.
The Little Girl stares, EXPECTANT.
CUTTER (V.O.) (CONT'D)
But you couldn't clap yet. Because
making something disappear isn't
enough... you have to bring it back.
INT. SCALA THEATRE, ONSTAGE -- CONTINUOUS
The MACHINE sputters to a stop. Angier is GONE. The audience
sits, WAITING.
CUTTER (V.O.)
That's why every magic trick has a
third act. The hardest part..,
INT. WORKSHOP -- DAY
Cutter forms a fist. Drapes the shawl over it.
CUTTER (V.O.)
...the part we call...
Cutter WHIPS the shawl away to reveal- the CANARY. The
Little Girl CLAPS.
INT. BENEATH THE STAGE -- NIGHT
Borden LIGHTS another match. Stares in HORROR-
CUTTER (V.O.)
...The Prestige.
Inside the tank, ANGIER IS DROWNING. His rolling EYES fixes
on BORDEN, he POUNDS desperately on the thick glass, SCREAMING
BUBBLES... The screen fades to BLACK.
PROSECUTOR (V.O.)
The Prestige...?
INT. COURTROOM -- DAY
The PROSECUTOR turns to face the witness in the box: Cutter.
PROSECUTOR
And did Robert Angier, the Great
Danton, your employer, get to that
final part of his trick that night?
5.
CUTTER
No, sir. Something went wrong.
PROSECUTOR
What went wrong?
CUTTER
I saw a someone head below the
stage... I followed... and I found
BORDEN-
Cutter points at the dock: Borden is there, CHAINED TO THE
FLOOR. FLANKED BY GUARDS. Cutter POINTS.
CUTTER (CONT'D)
-watching Mr. Angier drown in a tank.
PROSECUTOR
Would you describe your occupation
to the jury please, Mr.Cutter?
CUTTER
I'm an ingeneur. I design illusions
and construct the apparatus necessary
for perfoming them.
PROSECUTOR
And for how long had you been
Mr.Angier's "ingeneur"?
CUTTER
Eight years. I was privvy to the
secrets of his entire act.
PROSECUTOR
So, Mr.Cutter, was this water-filled
tank beneath the stage part of
Mr.Angier's illusion- the illusion
billed as "THE REAL TRANSPORTED MAN"?
CUTTER
No, sir. The tank had been used for
the first trick, then taken offstage.
Borden must have put it under the
trap door after the interval.
Cutter looks across at Borden, who is absently tapping his
hand against the rail- it is MUTILATED, MISSING 2 1/2 FINGERS.
The DEFENDER STANDS.
DEFENDER
How large was this tank?
CUTTER
The sort of tank used for underwater
escapes- four or five hundred gallons.
6.
DEFENDER
How do you think Mr.Borden was able
to move the tank under the trap door
without anyone noticing?
CUTTER
Ask him- he's the magician.
Titters from the gallery. The Defenser turns to the JUDGE.
DEFENDER
(IMPATIENT)
I ask again that this man explain
the mechanics of Mr.Angier's illusion.
CUTTER
(ANGRY)
If I reveal my magician's secrets
here in open court, I'll be
unemployable and the secrets will be
worthless. The Real Transported Man
is the most sought-after illusion in
the business and I have te right to
sell it on.
The Judge considers this. He looks at Cutter. Sympathetic.
JUDGE
Mr.Cutter, I see your predicament
but we are talking about a capital
offence- Alfred Borden's life hangs
in the balance.
Cutter looks down. Quiet.
JUDGE (CONT'D)
If you were prepared to disclose the
details to me in private, I might be
able to judge their relevance to the
case.
(ADDRESSES LAWYERS)
Might this be an acceptable
compromisse?
Amid murmurs of assent, the Judge ADJOURNS the proceedings.
As the Guards begin the complex ritual of unlocking Borden's
chainsa from the floor, Borden's looks across the courtroom:
The LITTLE GIRL from the opening stands in the gallery,
looking back at him. Borden gives her a little WAVE. She
waves back, then is GUIDED OUT by a man wearing GLOVES and
BOWLER HAT- this is FALLON. He nods at Borden.
7.
EXT. PRISON YARD, NEWGATE PRISON -- DAY
OWENS, 50's a lawyer, stands at the entry gate. The CAPTAIN
of the guard walks out to greet him.
CAPTAIN
I'm going to have to ask you to turn
out your pockets.
Owens raises his eyebrows.
CAPTAIN (CONT'D)
Not my idea, sir. The Warden saw
his show in Manchester last year
where he vanished into thin air-
he's convinced he'll try an escape.
Owens smiles as he hands over his pocket watch ans wallet.
They walk along a hall wrought iron fence. The PRISON looms
over them.
A door in the prison opens and Borden emerges, trussed
absurdly in chains held by two WARDERS. The other INMATES
begin cattle-calling and whistling as BOrden is paraded up
to a WOODEN SECTION of the fence.
CAPTAIN (CONT'D)
I told him the only way Borden's
going to disappear is if I leave him
out with the others immates.
At the fence, the Warders lock the ends of their chains to a
thick eye hook set into the ground.
CAPTAIN (CONT'D)
(TO WARDERS)
Check the locks. Twice.
They check the locks. Then retreat to allow privacy. The
Captain marches away. Borden looks at Owens. Bored.
OWENS
My name is Owens- I'm a solicitor.
Borden says nothing.
OWENS (CONT'D)
I represent Lord Caldlow, and
accomplished amateur magician and
historian of magic-
BORDEN
How much?
OWENS
Lord Caldlow is interested in-
8.
BORDEN
(COLD)
How much for my tricks?
OWENS
Five thousand pounds.
BORDEN
Talk to Fallon, my ingenuer- the
money's for him.
OWENS
I did. He offered to sell all of
your tricks... except the most
valuable one - The Transported Man.
BORDEN
I'd never forgive myself for selling
my greatest trick.
Borden signals the Wardens to come and unlock him.
OWENS
Even for your daughter?
Borden looks up. Owens moves closer, quietly assertive.
OWENS (CONT'D)
If the newspapers are right, and
you're for the drop, your daughter's
going to need looking after
BORDEN
Fallon can take care of-
OWENS
Bernard Fallon? A man with a past
even more obscure than your own?
The court have already motioned to
have the girl removed from his "care".
No, the girl is to be an orphan.
I've been to the work house...
Owens looks around the prison yard. Shrugs.
OWENS (CONT'D)
It's better than this.
Borden looks at Owens, hard. The Warders unlock Borden.
OWENS (CONT'D)
I'm offering you a way to warp up
your affairs with dignity, and I'm
offering your daughter a future. As
Lord Caldlow's ward she will want
for nothing. Ever.
(hands him a card)
Think it over.
9.
Borden absently VANISHES the card as a REFLEX.
OWENS (CONT'D)
Lord Caldlow wanted you to have this-
(produces a leather
BOUND JOURNAL)
As a show of good faith. He thought
it might be of interest.
A SULLEN WALDER TALKS the journal, flicks through it.
OWENS (CONT'D)
Robert Angier's diary... It includes
the time he spent in Colorado learning
your trick...
Sullen hands the journal to Borden. Borden takes it.
BORDEN
Angier never learned my trick.
OWENS
Really? When he returned from
Colorado he mounted a version of the
Transported Man that the papers said
was better, even...
(WITH RELISH)
Than your original.
BORDEN
(ACID)
If you want Angier's secret you can
dig him up and ask him for yourself.
Borden TURNS, dragging the Warders with him.
OWENS
I want your secret, Mr.Borden...
(LOUDER)
Consider your daughter!
INT. CELL, NEWGATE PRISON -- DAY
Borden, on the bed, opens Angier's JOURNAL. Starts to read...
ANGIER (V.O.)
A cypher. An enigma...
CUT TO:
LETTERS ON A PAGE. IN MEANINGLESS COMBINATIONS. GIBBERISH.
INT. TRAIN, MOUNTAINS -- DUSK
Aniger, with a SIGH, closes a CARDBOARD-COVERED NOTEBOOK.
OPENS his LEATHER-BOUND JOURNAL. Starts to write.
10.
ANGIER (V.O.)
...Borden's cypher is simple-
unraveled by a single word. Now it
takes only patience. And a passion
to know his mind.
Angier lloks up at his own reflection in the train window.
EXT. TRAIN STATION -- DUSK
No platform, no office, no sign. Just an electric streetlight
which, as Angier watches, FLICKERS ON. Angier, leaning
heavily on his cane limps over to the light and stares up at
it as he's never seen one before.
VOICE (O.S.)
Mr.Angier? Welcome to Colorado
Springs.
Angier looks back and smiles. A driver is looking down
expectantly from atop a STAGECOACH. Angier hands his cane
up to the driver nd , with some difficulty, hitches his way
up to the roof of the rig. As he does, the town of Colorado
Springs rises into view, a few hundred yards down the road,
lit brightly with ELECTRIC STREETLIGHTS.
ANGIER
(DISBELIEF)
The whole town has electricity?
The driver nods and WHIPS the horses into action.
EXT. ROAD, PIKE'S PEAK -- EVENING
The Stagecoach flies along, inches from a precipitious drop.
It rounds a corner and pulls to a halt in front of the CLIFF
HOUSE INN, equal parts log cabin and crystal palace.
INT. CLIFF HOUSE INN -- CONTINUOUS
The lobby is cavernous and immaculate. The entire STAFF of
the hotel - BELLBOYS, MAIDS, COOKS, and GARDENERS - are lined
up along the sides like a regiment of soldiers.
Angier reaches the reception desk and the smiling MANAGER.
ANGIER
Quit a reception.
MANAGER
You're our first guest of the season,
Mr.Angier.
(opens guest book)
Your telegram didn't indicate how
long you would be staying with us.
11.
ANGIER
As long as it takes.
(SIGNS BOOK)
I'll need a coach tomorrow to take
me up the mountain.
MANAGER
The peak is closed, sit. For
scientific experimentation.
ANGIER
(SMILES)
That's why I'm here.
EXT. ROAD, PIKE'S PEAK -- MORNING
A stagecoach rumbles along a dirt track, The driver pulls
on his reigns and the coach pulls to a stop.
DRIVER
You have to walk the reat, I'm afraid,
sir.
Angier nods. Lowers himself down to the roadway.
EXT. CLEARING, PIKE'S PEAK -- MORNING
Angier comes through the trees to find a wire fence with a
sign: EXTREME DANGER- NO TRESPASSING
Beyond the fence is a COMPOUND of three BARNS. Rising from
the center barn is a 200ft steel TOWER capped with a GIANT
STEEL BALL. GIANT ARCING BOLTS of electricity run down the
tower from the ball. The windows of the building RADIATH
with BLUE EXPLOSIONS.
Angier stops forwards, entranced, and threads his fingers
through the fence.
He is sent FLYING backwards -- the fence has been electrified.
The tower is SHUT OFF- a door opens and a stout little MAN,
shotgun under one arm, MARCHES up to the fence. He uses a
RUBBER PAD to pry open the fence and stands over Angier, who
is CURLED on the ground, GROWNLING in pain, trying to stand.
SHOTGUN
I'm amazed at how many of you
newspaper writers can't read mu sign.
Shotgun picks up Angier's cane and hands it to him.
ANGIER
Not the welcome I was expecting.
Shotgun RECOGNIZES Angier, AMAZED.
12.
SHOTGUN
I know you. You're that magician-the
Great Danton.
(helps Angier up)
I'm Alley. I saw your show. IN
London. Seven times- you guessed
every object the audience had in
their pockets.
Angier leans on his cane and gently brushes off the dirt.
ALLEY
I'm sorry about the fence. People
keep interfering with our work.
ANGIER
I've come to see Tesla.
ALLEY
Why?
ANGIER
He built a machine for a- for a
colleague of mine. A long time ago.
Can you get me a meeting with him?
(off his look)
I've come a very long way.
ALLEY
Impossible, I'm afraid.
ANGIER
I've brought a lot of money.
Beat.
ALLEY
I'm sorry, Mr.Angier. I simply can't
help you.
Alley pulls the fence closed.
ANGIER
I'll be staying at the hotel.
Indefinitely.
Alley watches Angier walk away. He pulls something from his
pocket.
ALLEY
What am I holding?
Angier doesn't look back.
ANGIER
Your watch.
Alley GRINS, opening his hand. He is holding a gold watch.
13.
INT. HOTEL ROOM, COLORADO -- DAY
Angier sits, the cardboard-bound notebook on the table in
front of him. He makes a notations in his own journal as he
deciphers Borden's words.
ANGIER (V.O.)
April 3rd, 1893... a few days after
he first met me...
Angier runs his finger along the first line, translating...
BORDEN (V.O.)
We were too young men at the start
of a great career...
INT. THEATRE -- NIGHT
Borden sits in the audience. Younger- both hands intact.
BORDEN (V.O.)
Two young man devoted to an
illusion...
Two rows in front sits Angier. Similarly youthful.
BORDEN (V.O.) (CONT'D)
Two young men who never intended to
hurt anyone.
Onstage is a TANK. Standing beside the tank is a beautiful
young magician's assistant. JULIA.
The magician, MILTOn, adress the audience.
MILTON
Which of you brave souls is willing
to bind this lovely young woman...
Milton GESTURES to Julia- the MEN in the crowd go wild- hands
in the air, catcalls. Smiling radiantly, Julia selects two
young men, who SCRAMBLE up to the stage- ANGIER and BORDEN:
younger, full of energy- Angier has no limp.
They spring onto stage, beside Julia and take the ROPE she
offers them. Milton GRABS a HOOK that descends from the
flies on a chain.
Cutter is watching fron the wings.
MILTON (CONT'D)
Are either of you two gentlemen
gailors?
Both shakes their hands as they start to bind Julia with the
ropes, Borden wrapping the rope around her wrists, Angier
the one around her ankles.
14.
MILTON (CONT'D)
Well, I'm sure you can both tie a
strong knot...
As Borden finishes his knot tests it, it SLIPS APART.
Borden frowns, hastly RETYING it, covering.
Cutter NOTICES.
Borden finishes, glancing at julia who gives a small sign of
assent with her eyes. As Angier finishes tying her ankles
he sneaks a light KISS on her ankle. She frowns at him and
raises her arms. Milton hooks the rope onto the chain.
Milton gesticulates in the wings, Cutter signals to a
stagehand who starts HOISTING Julia into the air.
Milton wheels the tank under Julia's bare feet. Cutter feels
for the handle of an AXE placed by his feet and pulls out a
STOPWATCH.
JULIA looks down at Angier. They smile at each other. Julia
DROPS into the tank with a massive splash- Milton SLAMS the
lid shut, PADLOCKS it and raises a curtain around the tank...
Cutter checks his stopwatch, grips the handle of the axe...
A grand GESTURE from Milton- the curtain around the tank
DROPS- Julia is GONE. Milton raises the curtain again, then
with another flourish, DROPS it to reveal JULIA, beside the
tank, one arm in the air, dripping wet, smiling.
The audience erupts in APPLAUSE. Angier smiles produly.
INT. DRESSING ROOM -- NIGHT
Angier, Borden and Julia sit around the cluttered room.
Borden is in the middle of a passionate rant-
BORDEN
Milton's squadering their goodwill
or a bunch of tired second-hand tricks-
ANGIER
(AMUSED)
Old favourites, please.
BORDEN
What about something fresh? He won't
even try a bullet catch-
CUTTER (O.S.)
Bullet catch is suicide.
They turn. Cutter stands in the doorway, counting out money.
15.
CUTTER (O.S.) (CONT'D)
All it takes is a smart-arse volunteer
dropping a button down the barrel...
BORDEN
(INDICATES HIMSELF
AND ANGIER)
USE PLANTS-
ANGIER
He can't use plants for every trick.
JULIA
There'd be no seats left for the
punters.
BORDEN
Fine- no bullet catch. But a real
magician tries to invent something
new, something other magicians scratch
their heads over-
CUTTER
They sells it to them for a small
fortune.
Cutter hands Angier some money.
CUTTER (CONT'D)
I suposse you have such a trick,
Mr.Borden?
ANGIER
Actually, I do.
CUTTER
Care to sell it?
BORDEN
No one else could do my trick.
ANGIER
I could.
BORDEN
You don't even know what it is.
ANGIER
Show it to me twice, I'll do it.
Cutter looks at Borden, thoughtful.
CUTTER
I admire your spirit, Mr.Angier.
But if Borden here really has invented
his masterpiece it might well be
something only he can do.
16.
ANGIER
Why?
CUTTER
It might be something only he is
prepared to do.
(gestures to the props)
my illusions employer, Mr.Milton,
is a skilled showman. But Borden's
right- he won't get his hands dirty.
You want to see what it takes to
make real magic- go to the Tenley.
There's a Chinaman there who's got
what it takes.
ANGIER
Chung Ling Soo.
BORDEN
Tickets are pricey.
CUTTER
I know a lad on the door. You two
watch his show- whoever tells me how
he does his goldfish bowl trick gets
the prize.
ANGIER
Which is?
Cutter gives a sly smile.
CUTTER
Ten minutes onstage in front of my
old friend, Mr.Ackerman.
Angier and Borden prick up at the name.
JULIA
Who's Ackerman?
BORDEN
The most powerful theatrical agent
in London.
Cutter holds out money to Borden, who reaches for it- Cutter
grabs his wrist. Serious.
CUTTER
I saw you drop the knot again, Borden.
JULIA
I think I had my wrist turned-
17.
CUTTER
(IGNORING JULIA)
Some nights you just can't get it,
can you? If that knot slips when
Julia's on the hoist she'll break a
leg.
BORDEN
(DEFENSIVE)
It's the wrong knot. A Langford
double would hold tighter.
CUTTER
The Langford double's not a wet knot
it's too dangerous. The ropes could
swell and she'd never slip it-
JULIA
I can slip a Lanford underwater.
BORDEN
We've been practiced it-
ANGIER
(CUTTING IN)
He said no.
Julia glances at Angier.
CUTTER
(TO BORDEN)
No more mistakes.
Borden stares at Cutter. Leaves. Angier watches him go.
ANGIER
Where's he from?
CUTTER
Where are you from?
Angier nods. Fair enough.
CUTTER (CONT'D)
He shuffles props for Virgil at the
Hall.
ANGIER
He works for another magician? Aren't
you worried he'll steal your tricks?
CUTTER
(SHAKES HEAD)
He doesn't deal in methods.
ANGIER
How do you know?
18.
CUTTER
(SLY SMILE)
Because I hired him to try and find
out Virgil's orange trick.
ANGIER
I don't know if I trust him.
CUTTER
He's a natural magician. Of course
you can't trust him.
JULIA
I think he's alright.
Angier turns to Julia. Smiles.
ANGIER
You think everyone's alright.
JULIA
Even you.
Julia kisses Angier. Cutter rises.
CUTTER
And Mr.Angier...?
(Angier looks up)
Learn your aight lines- if I can see
you sneaking a peck on your wife's
ankle from the wings, the blokes on
each end of rows 3 and 4 can, too.
INT. THEATRE, CONVENT GARDEN -- EVENING
Borden watches from the wings. Onstage, a magician, Virgil,
locks a CANARY into a cage then covers the cage with a SHAWL.
Borden notices a beautiful YOUNG WOMAN in the front row with
a little BOY who is watching Virgil's act, spellbound.
Virgil SLAMS the SHAWL down onto the table, as if nothing
were beneath it, then WHIPS it away- BIRD and CAGE are gone.
The little BOY begins to WAIL and CRY.
Borden watches as the young woman tries to make him stop.
Virgil takes the flower from his lapel, covers it with the
shawl, and SNAPS it away- the flower has become the CANARY.
The audience bursts into enthusiastic APPLAUSE, but the little
boy is still CRYING INCONSOLABLY. Virgil takes bows and
walks off, handing Borden the canary as he passes backstage.
As the audience leaves, Borden climbs off the stage and hols
the bird in front of the boy.
BORDEN
Look- he's all right. He's fine.
19.
BOY
(SNIFFS)
But where's his brother?
Borden is at a loss. He turns to the young woman.
BORDEN
Sharp lad, your son.
YOUNG WOMAN
(LAUGHS)
My brother.
Borden smiles back.
INT. WORKSHOP -- LATER
Borden gently strokes the bird's feathered head.
BORDEN
You're the lucky one tonight.
Borden walks to a wall of DOZENS of bird cages -- each one
with an identical canary. He puts the bird into its cage
and returns to the cart props. He taps on the top of the
TABLE- a panel POPS open, revealing the FLATTENDED BIRD CAGE.
Borden insefts a ROD into the bird cage and PRIES it apart.
A TRICKLE of BLOOD emerges, dripping into a bucket below.
Borden SLAPS the cage.
And the FLATTENED CARCASS of the ORIGINAL BIRD slides out
and SPLASHES into the bucket.
EXT. STAGE DOOR -- EVENING
Borden exits. The young woman, SARAH, is there with her
brother.
BORDEN
(to the brother)
Are you watching closely?
Borden reaches to the Boy's ear. Casually produces a coin.
The Boy marvels as he takes the coin then looks at Borden.
BORDEN (CONT'D)
Look closer.
BOY
It's got two heads.
Sarah smiles. Borden crouches to address the Boy, grave.
BORDEN
Never. Show. Anyone.
20.
The Boy looks at him, a little afraid.
BORDEN (CONT'D)
They'll beg you and flatter you for
the secret- but as soon as you give
it up you'll be nothing to them.
Understand? Nothing. The secret
impresses no one- the trick you use
it for is everything.
Borden looks into the boy's staring eyes. Then SMILES and
pets him on the head. he stands. Sarah smiles at him.
BORDEN (CONT'D)
Where do you two live?
SARAH
He lives with Mum.
BORDEN
And you?
INT. STAIRWELL -- EVENING
Sarah lingers at the top of the stairs to her flat. Borden
tries to KISS her, but she pushes him back. He tests the
LOCK of the open door.
BORDEN
Enough to keep me out?
SARAH
I think so. Wil I see you again?
Borden SHRUGS and turns to go back down the stairs. Sarah
looks after him, about to change her min. Hesitates.
INT. SARAH'S FLAT -- CONTINUOUS
She closes the door and LOCKS it, smiling. After a moment
she pads through living/kitchen area, draws back the curtain
to her bedroom and SHRIEKS:
Borden is there, smiling. Sarah moves towards him, giggling.
INT. TENLEY THEATRE -- NIGHT
Onstage, CHUNG LING SOO, 60's, wearing a long silk robe,
HOBBLES painfully to the center of the stage. Clearly
CRIPPLED. In the audience, Borden and Angier watch intently.
Soo lays a silk SHAWL and a BARE TABLE. He WHIPS it up,
revealing a BOUQUET OF ROSES. So repeats the trick again
and again, producing a different object each time.
Finally, with a drum roll, Soo whips the shawl aside to reveal
a MASSIVE GOLDFISH BOWL, complete with GOLDFISH.
21.
To THUNDEROUS APPLAUSE, Soo bows and HOBBLES off the stage.
Angier, clapping, shakes his head, utterly baffled. He turns
to Borden. Who has a small, knowing, smile.
EXT. RESTAURANT -- NIGHT
Borden and Angier watch Soo being helped down from his
carriege by HANDLERS who treat him with great gentleness.
ANGIER
You're wrong. It can't be.
BORDEN
It is. He carries the bowl between
his knees for the entire performance.
ANGIER
but look at the man!
BORDEN
(POINTS)
This is the trick. This is why no
one detectes his method.
Soo hobbles into the restaurant, frail, and fragile.
BORDEN (CONT'D)
Total devotion to his art...
(looks at Angier)
Utter self-sacrifice. It's the only
way to escape this.
Borden SLAPS the bricks of the wall behind them.
INT. BEDSIT -- NIGHT
Julia, in bed, watches Angier, SHEET wrapped around him like
a robe, HOBBLING. He pulls up the sheeyt- between his knees
is a goldfish bowl.
ANGIER
I can barely lift this thing and
it's not even filled with water. Or
fish. He must be strong as an ox.
JULIA
(INCREDULOUS)
He's been preteding to be an cripple
for years?
ANGIER
Any time he's in public. Any time
he goes out. It's unthinkable.
Angier puts the bowl down with a flourish. Climbs into bed.
22.
ANGIER (CONT'D)
Borden saw it at once. I couldn't
fathom it- living your whole life
pretending to be someone else.
JULIA
You're pretending to be someone else.
ANGIER
I don't think changing your name
compares.
JULIA
Not just your name- who you are,
where you're from...
ANGIER
I promised my family I wouldn't
embarrass them with my theatrical
endeavors.
Angier cuddles up to Julia.
JULIA
I came up with a name for you...
"The Great Danton"
(ANGIER FROWNS)
You don't like it? It's
sophisticated.
ANGIER
It's French.
INT. BEDSIT -- DAY
Sarah unlocks the door, but has to PUSH against MAGICAL PROPS
stacked against it- the bedsit is FILLED with DEVICES.
SARAH
Alfred?!
Sarah surveys the confusion- spots Borden across the flat
deep in conversation with another man. Borden spots her-
BORDEN
We have our routine for Ackerman!
The other man turns- it is Fallon.
SARAH
(COLD)
We haven't had the pleasure.
Fallon nods. Borden comes over, holding a DUELING PISTOL.
BORDEN
Mr.Fallon is my ingeneur-
23.
SARAH
Where did yo get all of-
BORDEN
Begged, borrowed and don't ask.
Mr.Fallon's an enterprising soul.
SARAH
I need talk to you.
Fallon slips past Sarah with a nod to Borden. Exits. Sarah
looks at Borden. TENSE.
SARAH (CONT'D)
We can't afford to pay him-
BORDEN
We'll start making money once we
have our audience-
SARAH
And until then? What I earn is barely
enough for us.
BORDEN
(SHRUGS)
I'll give him half of my food.
Sarah looks meaningfully at Borden.
SARAH
You're already going to be sharing
it with someone else.
Borden looks at her, confused. Then realizes.
BORDEN
You're...?
SARAH
Having a baby.
Borden freezes. Then SMILES, taking her in his arms. She
FLINCHES against the gun he is holding.
SARAH (CONT'D)
What's this?
BORDEN
The trick to wake up Ackerman at the
end of my audition.
SARAH
Your great trick? The "masterpiece
that will make our fortunes"?
24.
BORDEN
No. The world isn't ready for that
one, yet.
Borden moves to the bureau and starts LOADING the gun.
Pouring in SHOT, then WADDING...
BORDEN (CONT'D)
This is merely a run-of-the-mill
daring and spectacular bullet catch-
Borden drops the BULLET into the barrel...
SARAH
I'm not letting you get shot.
Borden RAMS the bullet and charge down then removes the RAMROD
and hands the pistol to Sarah.
BORDEN
It's perfectly safe. Shoot me.
Sarah looks at Borden then down at the pistol. She aims at
Borden. Then sims off, at a mirror beside him.
BANG. Borden's hand SNAPS out to "catch" the bullet. The
mirror is intact.
Borden looks at Sarah, grave, as he reveals the bullet in
his hand.
SARAH
Show me.
(Borden shakes head)
Then you're not doing it. I can't
raise a child on my own, Alfred.
Borden looks at her. Takes the bullet from her and places
it on the bureau.
BORDEN
The bullet goes in the gun. Then
comes the ramrod.
He takes the RAMROD and PUSHES it down onto the bullet, which
disappears.
BORDEN (CONT'D)
AND VOILS-
He points the ramrod at Sarah- she pulls the bullet out of
the HOLLOW TIP.
BORDEN (CONT'D)
The buller's not even in the gun
when the charge is fired.
Sarah looks at ramrod with disdain.
25.
SARAH
Once you know it's so obvious.
Borden BRISTLES slightly. Takes the bullet back.
BORDEN
Yes, well, people still get killed
perfoming it.
SARAH
How?
BORDEN
Sme smart-arse drops something down
the barrel.
SARAH
Such as?
BORDEN
A penny, or a button. Or, of course,
a bullet.
(off worried look)
But don't fret-
Borden embraces her, putting his hand on her belly.
BORDEN (CONT'D)
I'm not letting anything happen- I
love you too much.
Sarah grabs his face, looking at his eyes, smiling.
SARAH
Say it again.
BORDEN
I love you.
SARAH
(MATTER-OF-FACT)
Nope. Not today.
BORDEN
What?
SARAH
(SMILES)
Some days, it's not true. Todayt
you don't mean it. Maybe today you're
more in love with magic than me.
(OFF LOOK)
It's alright. I like being able to
tell the difference- it makes the
days it is true mean something.
Borden shakes his head, grinning.
26.
INT. HOTEL ROOM, COLORADO -- NIGHT
Angier closes Borden's notebook. He looks across at a
photograph of julia on the table. Reaches for his own diary.
ANGIER (V.O.)
Borden writes as if no one but he
understood the true nature of magic...
INT. CELL, NEWGATE PRISON -- DAY
Borden sits on his cot reading Angier's journal.
ANGIER (V.O.)
...but what does he know of self-
sacrifice more than the rest of us?
Borden looks up from Angier's journal.
BORDEN
Bloody fool.
Borden TOSSES the book across the cell.
INT. EVIDENCE ROOM, WARHOUSE -- DAY
A POLICEMAN opens the door for the Judge and Cutter.
POLICEMAN
(POINTING)
It's all laid out down the end, you
honour.
The Judge NODS. The Policeman exits, LOCKING them inside.
The Judge follows Cutter, approaching a collection of magical
apparatus, including a MASSIVE CRATE. Cutter looks up at it
with AWE, touching the side where it says "COLORADO SPRINGS".
JUDGE
What's in there?
Cutter OPENS it, revealing metal and glass MACHINERY within.
CUTTER
Angier's machine.
JUDGE
You built this, Mr.Cutter?
CUTTER
(SHAKES HEAD)
Oh no. This wasn't built by a
magician... it was built by a wizard.
(OFF LOOK)
A man who can actually do the things
a magician pretends to...
27.
Cutter closes the crats. The JUDGE turns to other props.
CUTTER (CONT'D)
your honour, what will happen to
these things when the trial is over?
The Judge is staring at a large glass tank.
JUDGE
They've benn sold to a Lord Caldlo.
An avid collector, apparently very
interested in the case.
CUTTER
Don't let him take this.
The Judge looks over. Cutter is touching the crate.
JUDGE
Why ever not?
CUTTER
It's dangerous.
JUDGE
I'm sure beneath its bells and
whistles it's get some simple and
disappointing trick.
CUTTER
The most disappointing of all- it
has no trick. It's real.
The Judge looks at Cutter. Smiles indulgently. Turns.
JUDGE
This is the tank Angier drowned in?
Cutter turns to look at the empty, smashed glass of the tank.
Nods. Cutter indicates the top of the tank, where there is
a PADLOCK. Cutter pushes down on a panel of the lid-
CUTTER
This lets the performer's hands reach
the trick padlock...
-a small section POPS open.
JUDGE
A standard magical apparatus for
escapes?
CUTTER
With one important difference...
Cutter grabs the PADLOCK. Rattles it.
28.
CUTTER (CONT'D)
This isn't a trick lock... it's been
switched out for a real one.
The Judge stares at the tank, appaled.
JUDGE
What a way to kill someone. Why in
God's name go to such lengths?
CUTTER
These are magicians, you honour.
Showmen. Men who live by dressing
up plain and sometimes brutal truths
to amaze. To shock.
JUDGE
Even without and audience?
Cutter stares at the tank-
INSERT CUT: ANGIER SCREAMING BUBBLES.
CUTTER
There was and audience.
(looks at Judge)
See, the water tank had a particular
signinficance for the two men...
INT. THEATRE -- EVENING
Onstage, A SIMILAR TANK FILLED WITH WATER.
CUTTER (V.O.)
A particular awful significance...
Julia stands next to the tank. Milton adresses the audience.
MILTON
Which of you brave souls is willing
bind this lovely young woman?
Milton gestures to Julia- the crowd goes wild. Julia makes
a show of deciding. She picks up Angier and Borden, who are
made up to look different from the last performance. As
they leap up onto stage, Borden makes eye contact with Cutter
in the wings- Cutter's is a WARNING GLANCE.
As Angier ties Julia's ankles he can't resist tickling just
under her toes- she KICKS him in the chin.
Borden starts to wrap the rope around Julia's wrists in a
particular fashion. Stops. Reconsiders. Julia NODS at
him, encouring. Borden starts RETRYING the knot.
Cutter watches. His hand checking for the axe handle.
29.
Borden tests the rope- it is tight. Julia gives him the
sign with her eyes- he steps back. Angier rises to his feet,
grinning at Julia. As she raises her arms to the hook, she
can't quite hide her smile back at him.
Milton gives the sign and Julia is HOISTED into the air.
Cutter slips his STOPWATCH out of his pocket as Milton moes
the tank under Julia's bare feet.
Angier looks up at Julia. Proud. She stares out over the
audience, preparing herself. Looks down at Angier, smiling...
Julia PLUNGES into the tank- Milton SLAMS the lid shut- Cutter
checks his stopwatch, hand caressing the axe handle...
Milton raises the curtain around the tank, then circles it,
working his "magic". Angier shifts a little. Time passing...
Milton looks at Cutter- TOO MUCH TIME...
Cutter GRASPS his axe and SPRINT at the tank- Milton RIPS
the curtain down- Julia, one arm free, is CONVULSING...
Angier and Borden look on in HORROR as Cutter SWINGS his axe
into the glass- which CRACKS... cutter SWINGS again and again-
the web of crackes GROWING, Julia's convulsions SLOWING, her
eyes PLEADING with Angier's, until-
CRASH- the glass gives way, FLOODING the stage- Cutter and
Angier GRASP at Julia- FULL her onto the stage- Cutter ELBOWS
Angier out of the way to POUND on Julia's chest- Borden
wacthes, stunned, as Julia FLOPS, LIFELESS, onto the boards.
Cutter looks up at Angier, stricken.
Angier takes Julia in his arms, looking down at her staring
eyes. He desperately BRUSHES water from Julias cheeks and
forehead. Borden looks on, shen.
BORDEN (V.O.)
How often I've fought with my self
over that night .. one half of me
swearing bling that i tied a simple
slip knot... the other half convinced
that I tied the Langford double. I
suppose I'll never know for sure-
INT. HOTEL ROOM, COLORADO -- DAY
Angier looks up from Borden's journal, despairing.
ANGIER
How can be not know?!
Angier FLINGS Borden's journal across the room.
ANGIER (V.O.) (CONT'D)
He must know what he did. He must.
30.
INT. PRISON CELL -- DAY
Borden smiles as he reads Angier's dairy.
BORDEN
"How can be not know?!"
(STARTS LAUHING)
Because, Angier, life is complicated,
people are complicated, knots are
COMPLICATED-
PRISONER (O.S.)
Shit it, Professor, or I'll shut it
for you.
Borden quiets. Looking at the journal.
BORDEN (V.O.)
How could I not know? How can you
read my story and not understand?
INT. COURTROOM -- DAY
Cutter sits in the CROWDED GALLERY. Borden, in the dock,
SCANS the crowd. Finally SPOTS Fallon pushing to the front-
he is alone. Borden stares at him. Fallon shakes his dead.
Borden is prompted to stand by two GUARDS as the Judge enters.
The JUDGE has a piece of black cloth draped over his wig.
JUDGE
Alfred Borden, you have been found
guilty of the murder of Robert Angier.
You will, in one month's time, be
hanged by the neck until dead. May
the Lord have mercy on your soul.
Borden barely reacts.
EXT. PRISON YARD, NEWGATE PRISON -- DAY
Borden stands at the fence with Fallon
BORDEN
They took her away?
(FALLON NODS)
To the workhouse?
Another slow nod. Borden closes his eyes with despair. Then
opens them and hands Fallon OWENS' CARD.
BORDEN (CONT'D)
Tell him I've reconsidered.
(OFF LOOK)
It's for the best.
31.
INT. DINING ROOM, CLIFF HOUSE INN, COLORADO SPRING -- DUSK
Angier stares down at the NOTEBOOK, making notes on a napkin.
Through large windows a THUNDERSTORM batters Pike's Peak.
Angier is the only guest in the hotel's massive dining room.
VOICE (O.S.)
Mind if I join you?
Angier looks around. Alley is standing by the table.
ALLEY
Tesla sends me down here during the
storms. Perfect excuse to come shere
a drink with the Great Danton.
Alley sits, gesturing to a waiter.
ALLEY (CONT'D)
Have you tried our Bourbon yet, Mr.
Angier? It matches the scenery
nicely.
(TO WAITER)
Two of 'em.
(TO ANGIER)
Beautiful, isn't it? I do miss New
York, though.
ANGIER
Why are you here?
ALLEY
The lightning lives here. And noit
much else- our work is secret.
Alley glances down at the notebook and Agier's scribbles.
ALLEY (CONT'D)
A cypher?
Angier nods as Alley lifts the cardboard notebook.
ANGIER
My profession also deals in secrets.
Alley looks at the gibberish on the pages of the notebook.
ANGIER (CONT'D)
It's a rotating transposition that
shifts every day of the dairy. Simple
but time-consuming to translate once
you have the five-letter keyword.
ALLEY
Which is?
Angier smiles as he reaches for the notebook.
32.
ANGIER
We magicians have a circle of trust.
ALLEY
You have a circle of trust with
someone whose dairy you stole?
ANGIER
Maybe I bought it.
ALLEY
Magicians sell their secrets?
ANGIER
It's how we pay for our retirements
and how greats tricks outlive us.
Alley considers this. Taps the cover of the notebook.
ALLEY
You're hoping to find a great secretin
there?
ANGIER
I've already found it. That's why
I'm here.
Angier reaches in his pocket and removes his own, leather-
bound journal. He tears a PAGE from it and hands it to Alley.
Who unfolds it ans stares at it.
ANGIER (CONT'D)
Tesla built one for another magician.
ALLEY
Why would you want the same thing?
ANGIER
Call it a professional rivalry.
ALLEY
Tesla has built unusual machines for
unusual people, but he would never
talk about it.
ANGIER
I understand discretion. I just
want the machine.
Alley looks at Angier. Thinking.
ALLEY
Finish your drink. You'll have a
special appreciation for our work.
ANGIER
I thought it was a secret.
33.
ALLEY
(SMILES)
You're a magician. Who's going to
believe you?
EXT. FIELDS, COLORADO SPRINGS -- NIGHT
The storm has abated. Angier's cane into the muddy ground
as he follows Alley through the moonlit field.
There are large glass GLOBES pushing out of the soil as if
planted all around them. They stop in the middle of the
field, looking down at the electric LIGHTS of the town.
ALLEY
We do our tests when the townspeople
are asleep- Mr.Tesla doesn't want to
scare anyone.
Alley checks his wacth by the moonlight.
ALLEY (CONT'D)
Not long now.
As they watch, the lights of Colorado Springs DISAPPEAR.
ALLEY (CONT'D)
Our equipment requires a great deal
of current. Tesla eletrified the
whole town in exchange for using the
generators when we need to.
The field around them EXPLODES with DAZZLING LIGHT. Angier
laughs out in surprise- the field is full of a thousand large
LIGHTBULBS, all glowing together. Alley bends down and picks
up the nearest lightbulb -- as he does, the light in it
extinguises. He tosses the bulb to Angier. Except for the
size, it's a normal lightbulb.
ANGIER
Where are the wires?
ALLEY
Exactly.
Angier bends and gently PUSHES the lightbulb into a random
spot in the wet soil. The lightbulb FLICKERS on again.
ANGIER
Where's the generator?
ALLEY
You saw it last week.
ANGIER
But that must be ten miles from here.
34.
ALLEY
Fifteen. And I have to ride all of
them before I get to bed.
(turns to leave)
I'll send word for you in a few days,
Mr.Angier.
Angier bends to pick up his lightbulb. As he does, the light
FADES in all of them, and the lights in town come back on.
Angier is alone.
INT. BATHROOM, LONDON -- DAY
Angier has his head SUBMERGED in a sink full of water. He
BURSTS FREE, GASPING- COLLA`PSES to the floor, SOBBING.
INT. BATHROOM -- LATER
Angier lays out MAKE-UP SUPPLIES. He takes out a BULLE.
Places it on the sink next to a FALSE MOUNSTAGE.
EXT. PRINCE'S ARMS BAR AND THEATRE
Rough. Unwelcoming. Crowded. A small "stage" at one end:
Borden works his way through the Chinese rings. The crowd
is JEERING.
VOICE
Get out your gun, Professor!
Someone BURLS a bottle at the stage- it narrowly misses.
Borden GLARES out into the audience. Pulls out his GUN.
BORDEN
A volunteer.
The crowd SURGES forward with EAGER VOLUNTEERS. Fallon scans
the crowd, passing over too-eager and too-drunk before
settling on a MOUNSTACHED MAN and bringing him up onstage.
Borden LOADS the pistol, hands it to Moustache and steps
backwards, pulling his coat apart, CHALLENGING.
BORDEN (CONT'D)
Are you man enought, sir?
MOUSTACHE
(QUIET)
Yes.
Something in Moustache's tone makes Borden looks closely-
behind the moustache... Angier. QUIVERING WITH TENSION.
35.
Borden looks at the trembling gun. Then at Angier. Spreads
his hands, inviting.
BORDEN
(SMILES)
I think not.
Angier purses his lips, straining to pull the trigger.
INSERT CUT: JULIA'S FACE, SCREAMING BUBBLES...
Angier's eyes are almost closed as he SQUEEZES the TRIGGER-
Fallon HITS Angier JUMPS to Borden's side, GRABBING his
BLEEDING HAND. The DROWS is SCREAMING, PUSHING for the door,
os STRAINING for a closer look at Borden.
Aniger, SHOCKED, melts into the crowd.
INT. PUB -- DAY
Angier sits at the bar. Staring. He raises his pint glass.
Downs it, then STOPS, looking at the bottom- there is a
PLAYING CARD. He loos around. Cutter is sitting at a table
with two fresh pints in front of him. Angier heads over.
ANGIER
Never thought I'd find an answer at
the bottom of a pint glass.
CUTTER
Hasn't stopped you looking.
(ANGIER SITS)
I heard about a booking. Nice little
theatre. Good up-and-coming magician.
ANGIER
Who?
CUTTER
You.
ANGIER
You got me a booking? Why?
Cutter looks down into his beer.
CUTTER
Because I want to keep working...
(looks up at Angier)
And who's going to hire the ingeneur
who killed Julia McCullough in front
of a sellout crowd at the Orpheum?
Angier looks back at Cutter.
36.
ANGIER
Someone who know that it wasn't your
fault. Someone who knows Alfred
Borden and his repertoire of exotic
knots.
CUTTER
Heard he had a spot of bad luck doing
a bullet catch South of the river.
Angier looks down at the liquid in his glass.
ANGIER
To die like that. Locked in water...
lungs screaming...
(SHAKES HEAD)
What did she go through, Cutter?
Cutter watches Angier's distress.
CUTTER
I knew an old sailor. Told me about
a time he got pulled over the side
tangled in the sheets... they dragged
him out, but it was five minutes
before he coughed...
Angier stares at Cutter. Hanging.
CUTTER (CONT'D)
He said it was like... going home.
Angier considers this. Collects himself.
ANGIER
Which knot did Borden tie that night?
CUTTER
He wouldn't say.
ANGIER
Wouldn't say?!
CUTTER
It was as if... as if he didn't know.
INT. WORKSHOP -- DAY
Angier and Cutter isspect a large empty room.
CUTTER
We'll have to whitewash the windows
to cofound the more curious members
of your audience...
(LOOKS AROUND)
But this should do.
37.
ANGIER
We should see about an assistant.
CUTTER
I've made arrangements. Have you
settled on a name?
ANGIER
Yes, I have. The Great Danton.
CUTTER
Hmm. Bit old-fashioned?
Angier smiles gently at Cutter.
ANGIER
No. It's sophisticated.
INT. ANGIER'S WORKSHOP -- DAY
Angier is sitting at a worktable, pensive. He is moving one
hand across the other, making a ROSE appear and disappear.
The windows have been WHITEWASHED and the room has filled
with an array of magical apparati: cabinets, costumes, props.
On the other side of the room Cutter watches as OLIVIA
WENSCOMBE, 20s, equal parts grace and mischief, squeezes
herself into a tall cabinet, looking past Cutter to Angier.
OLIVIA
What's so hard about this?
Cutter leans into the cabinet and pops up a TRICK PANEl in
the floor, revealing a tiny chamber.
CUTTER
In here, Miss Wenscombe. No point
meeting Mr.Angier unless you fit.
Olivia shrugs and hands Cutter her hat, then her thick skirts,
and folds herself into the bottom of the box.
CUTTER (CONT'D)
Breathe as little as possible.
Cutter closes the lid over her and walks over to Angier.
CUTTER (CONT'D)
Not much experience , but she knows
the basics. She knows how to present
herself and a pretty assistant's the
most effective from of misdirection.
Angier nods. There is a small SNEEZE from inside the cabinet.
CUTTER (CONT'D)
(SMILES)
I suppose I should let her out.
38.
INT. SARAH'S FLAT -- DAY
Sarah is frantcally REDRESSIN Borden's injured hand. BLOOD
has SEEPED trough the bandages.
SARAH
I don't understand, Alfred. How can
it be bleeding again?
She examines the wounds: 2 1/2 FINGERS ARE MISSING. The
injuries are black, but wet and fresh.
SARAH (CONT'D)
What have you been doing to it? It
looks as had as the day it happened.
We need to get the doctot back-
BORDEN
(SNAPS)
We can' afford the doctor back!
A BABY STARTS CRYING in the bedroom. Sarah glares at Borden.
SARAH
You've woken her.
BORDEN
I'm sorry. I just need this to heal
so I can het back to work.
Sarah looks at Borden. Reluctantly.
SARAH
Alfred, you have to face things.
What tricks could you peform with
this kind of injury?
BORDEN
Some of the card pulls, prop tricks...
(leans forward, excited)
And the trick I've been telling you
about. The trick they'll remember
me for.
INT. ANGIER'S WORKSHOP -- DAY
Angier and Cutter at the workbench, examine a BIRD CAGE.
Cutter is wearing a strange LEATHER HARNESS over his shirt
it has LARGE SPRINGS and small PULLEYS on the back.
ANGIER
The bird cage can't be our climax-
everybody knows it.
CUTTER
Not like this, they don't.
39.
ANGIER
And I don't want to kill doves.
CUTTER
(SNAPS)
Then stay off the stage.
(glares at Angier)
You're a magician, not a wizard- you
have to get your hands dirty to
achieve the impossible.
ANGIER
You sound like him.
CUTTER
(holds up cage)
Put your hands on the sides...
INT. PANTAGE'S THEATRE -- DAY
A heavy, disinterested man slouches in the third row of the
empty theatre with a newspaper- MERRIT, the stage manager.
Onstage, Angier energetically YANKS coloured handkerchiefs
from a hat and TOSSING them into the air. Olivia, in the
glamorous, revealing costume of Magician's Assistant, darts
back and forth PLUCKING the handkerchiefs from the air.
Angier finishes with a flourish. Merrit shrugs. Angier
places an ORNATE CAGE onto the table.
ANGIER
I need a volunteer.
Merrit rolls his eyes. Climbs to his feet. Angier produces
a DOVE. Places it in the cage.
INT. ANGIER'S WORKSHOP -- DAY
Now Angier is wearing the harness. He places a dove in the
cage and picks it up.
Close on: HOOKS concealed on Angier's palm slip into CATCHES
on the bars of the cage.
CUTTER
Hang on, hang on...
Cutter reaches in and slips a NOOSE around the bird's ankle...
CUTTER (CONT'D)
There we go. Now you tell the
volunteer to put his hands here...
Cutter pleases his hands on the TOP and BOTTOM of the cage...
40.
INT. PANTAGE'S THEATRE -- NIGHT
Merrit places his hands on the TOP and BOTTOM of the bird
cage. Angier's hands are on the sides. Olivia reaches around
Merrit to place her hands on the remaining two sides. Merrit
looks up at Angier over his glasses.
MERRIT
You'd beat not be intending to hut
this animal, Mr.Angier.
ANGIER
Of course not.
Angier raises and lowers their hands in a rythm...
ANGIER (CONT'D)
And one, two... THREE!
The bird cage, and the dove, VANISH.
INT. ANGIER'S WORKSHOP -- DAY
Angier and Cutter have their hands on the bird cage.
ANGIER
...THREE!
The bird cage BREAKS APART, WHIPPING UP ANGIER'S FOREARMS.
WHERE SLEEVES WOULD BE, YANKED BY THE HARNESS. Angier smiles.
ANGIER (CONT'D)
Bloody marvelous, Cutter.
CUTTER
And the best part...
Cutter reaches to Angier's armpit... pulls up the DOVE,
HANGING BY ITS ANKLE, ALIVE.
ANGIER
Thought you said I had to get my
hands dirty.
CUTTER
Someday, perhaps you will. I needed
to know that you can.
INT. PANTAGE'S THEATRE -- DAY
Merrit nods, impressed, stepping backwards. Angier REACHES
into Merrit's pocket. Removes a dove.
MERRIT
Very nice. Very nice indeed.
Olivia packs up the props. Cutter approaches from the wings.
41.
ANGIER
(SMILING)
I haven't had a chance to compliment
you on your beautiful theatre yet,
Mr.Merrit.
MERRIT
A lot more beautiful when it's full,
Mr.Angier.
ANGIER
Don't worry.
MERRIT
You all say that. Why sould I worry?
If your tricks don't get 'em in,
someone else's will. Maybe someone
willing to do a bullet catch or a
water scape.
CUTTER
cheap thrills, Mr.Merrit. People
hoping for an accident- and quite
likely to see one, too. What would
that do for your business?
MERRIT
(SHRUGS)
You've got a week.
EXT. PANTAGE'S THEATRE -- EVENING
A line a PATRONS runs from the box office to the street.
The marquee above the theatre reads: "THE GREAT DANTON PERFOMS
FEATS OF MISTERY AND IMAGINATION"
INT. THEATRE -- EVENING
Angier is perfoming to a good crowd. He steps forward.
ANGIER
You sir, in the hat. Could you show
us your handkerchief?
A MAN in the audience STANDS and pulls a HANDKERCHIEF from
his pocket. He stares at it, CONFUSED. The audience LAUGHS.
MAN
This isn't mine.
ANGIER
Perhaps you'd be so good as to return
it to the other man. He has yours.
Another man stands and pulls out a handkerchief. APPLAUSE.
Angier dows and walks quickly off the stage, past the squad
of DANCING GIRLS who run on to entertain in the break.
42.
INT. BACKSTAGE -- EVENING
Cutter and Olivia are waiting for Angier as he comes off.
OLIVIA
I'm so nervous- I'm sorry, I'm making
mistakes.
Cutter quickly REMOVES Angier's coat...
ANGIER
The audience doesn't seem to be
responding much, Cutter.
Cutter puts he LEATHER HARNESS over Angier's arms...
CUTTER
This is a grand theatre with a
sophisticated audience- They've
seen most of these tricks before.
But not this next one. You'll see.
Cutter checks the SPRINGS of the harness and replaces Angier's
coat. He spots a STAGEHAND poking his head around the flies.
CUTTER (CONT'D)
You! Piss off out it!
The dancers are wrapping up.
ANGIER
Wish us luc, Cutter.
CUTTER
(SMILING)
I'll have the champagne ready.
Angier, followed by Olivia, steps out onto the stage.
INT. STAGE -- CONTINUOUS
Angier steps to the table center stage. Pulls out the bird
cage. There are one or two groans from the audience. Angier
SMILES as he produces a DOVE with a FLOURISH.
ANGIER
You've seen this one before?
HECKLER (O.S.)
Seen 'em all before, mate!
Laughter.
ANGIER
Well, I'll make it a little harder,
shall I?
In the wings, Cutter smiles and nods at Angier's showmanship.
43.
ANGIER (CONT'D)
Two volunteers, please. A lady and
a gentleman to hold this cage with
me...
Hands go up. Olivia pulls an ELEGANT LADY from the audience.
ANGIER (CONT'D)
I'll perform this feat in a manner
never before seen by yourselves or
by any other audience anywhere in
the worth...
Olivi brings Elegant Lady onto the stage along with a RED-
BEARDED MAN. The audience is getting interested. Angier is
on role...
ANGIER (CONT'D)
Any magician can make this cage
disappear... that's why I'll ask
this good lady and fine gentleman to
place their hands firmly on the
cage...
Olivia guides Elegant Lady's hands onto the sides of the
cage. Red-beard places a hand underneath the cage.
ANGIER (CONT'D)
...to ensure that no trickery
whatsover is employed.
Angier RAISES the bird cage. The audience is RAPT.
Red beard's other hand appears on the top of the cage- it is
MUTILATED, missing fingers.
Angier FREEZES- looks up at Red Beard... IT IS BORDEN
Borden SMILES as he WORMS his little finger into the cage
mechanism...
SNAP! HALP THE CAGE WHIPS UP ANGIER'S SLEEVE- THE OTHER
HALF COLLAPSES ON THE DOVE AND THE ELEGANT LADY'S FINGERS-
SHE SCREAMS- BIRD BLOOD SPLATTERS ONTO THE THREE OF THEN-
THE AUDIENCE GOES CRAZY-
Borden smiles at Angier through his blood-spattered fake
beard and retreats into the chaos surrounding the Elefant
Lady who is still SCREAMING as Angier tries to free her
fingers from the mechanism.
INT. BACKSTAGE -- LATER
Angier and Cutter watch the STAGEHANDS clear the stage.
ANGIER
I should've spotted him.
44.
CUTTER
You had a lot of plates spinning.
Angier looks down at the harness in his hands.
ANGIER
Don't suppose they'll let us do this
one again.
CUTTER
No.
ANGIER
So what's the climax of our show?
MERRIT (O.S.)
Show? You don't have a show.
ANGIER
Mr.Merrit, we have a week's engagment-
MERRIT
To perform magic- not butcher birds
and break my costomer's fingers!
Clear out, anything here in the
morning gets burned.
Cutter puts his hand on Merrit's arms.
CUTTER
Mr.Merrit-
MERRIT
It's done, John. I've hired a
comedian. You know I hate comedians,
which should indicate the may I felel
about your friend's future as a stage
magician.
Cutter nods. Merrit leaves. Cutter turns to Angier.
CUTTER
There are plenty of good theatres...
if we can come up with another trick
and change the name of the act-
ANGIER
The name stays.
Cutter sees Angier's resolve.
CUTTER
Right. Well, the new trick will
have to be irresistible, then. I've
a couple of methods to try out, but
we'll need a fresh angle on the
presentation.
45.
Angier nods.
CUTTER (CONT'D)
If you need inspiration, there's a
technical exposition at the Albert
Hall this week. Scientists and
engineers. That sort of thing
captures the popular imagination.
EXT. ROYAL ALBERT HALL -- AFTERNOON
The large concert hall is surrounded by crowds and covered
in banners advertising a Technical Exposition. Angier makes
his way past a giant STEAM ENGINE and into the building.
INT. ALBERT HALL -- AFTERNOON
THe lobby if filled with displays and models. Angiers pokes
around, looking thouroughly disinterested until he comes to
an information booth plastered with illustrations of
electrical bolts.
TICKET HAWKER
Would you like to know the future,
sir? The man who kill change the
world is speaking right now.
Continents divided no more. Free,
clean power. The mysteries of the
world solved.
The posters show a tall, handsome man bathed in lightning
and standing astride the world like colossus. In bold print
IT SAYS:
THE WONDERS OF "ALTERNATING CURRENT"...NIKOLA TESLA
INT. AUDITORIUM, ALBERT HALL -- CONTINUOUS
The hall is completely darkened, but bright blue FLASHES
illuminate ANGIER as he pushes his way to a seat.
On the stage, a tall rod capped with a steel ball is
transmitting a steady, sparking stream of electricity onto a
matched ball across the stage.
A FIGURE walks around from behind the machine and the audience
GASPS as a shower of sparks bounce off of his immaculate
evening wear. This is TESLA- but Angier is too far from the
stage to get a good look at him.
TESLA
With a system like this I could have
the entire city electrified whitin
two years.
The audience breaks into LAUGHTER. The spell is broken.
Tesla must be a lunatic.
46.
TESLA (CONT'D)
Mr. Edison's direct current system
is flawed and dangerous. With my
alternating current devices-
Someone from the audience chimes in:
AUDIENCE MEMBER
(YELLS)
Fraud.
Angier turns to look. The man who called out is leaving
he's not alone. Angier FREEZES, staring down at aisle-
Borden is sitting there, RAPT, lit by FLASHES from the
machinery on stage. As tesla continues his demonstration,
Angier STARES at Borden.
EXT. STREET -- DAY
Borden walks down the street. Angier is following him.
Borden meets Sarah, pushing a PRAM. Borden looks down at
the baby then up at Sarah.
BORDEN
I love you.
Sarah smiles.
SARAH
See? Today, it's true.
Angier watches Borden kiss wife then his baby.
ANGIER (V.O.)
I saw hapiness...
INT. HOTEL ROOM, COLORADO -- NIGHT
Angier writing in his leather-bound journal.
ANGIER (V.O.)
...hapiness that should have been
mine. But I was wrong.
Angier glances at Borden's notebook sitting on the desk.
ANGIER (V.O.) (CONT'D)
Reading his account I realize that
he never had the life I envied.
Angier flips open the notebook. Staring at the coded writing.
ANGIER (CONT'D)
The family life he craves one minute
he rails against the next, demanding
freedom. His mind is a divided one...
47.
INT. PRISON CELL -- DAY
Borden sits on his cot. Reading Angier's journal.
ANGIER (V.O.)
His soul restless. His wife and
child tormented by his fickle and
contradictory nature...
Borden is crying. He puts the journal down and jumps to his
feet BANGING on the cell door.
BORDEN
Guard! Guard!!
The viewing slot slides open.
GUARD
What do want, Professor?
BORDEN
Paper and pencil. Please.
INT. PRISON LIBRARY, NEWGATE PRISON -- DAY
Te library is long and titled, with two long tables. It
looks as if it used to be a latrine.
Borden sits at a table. Writing on a stack of notepaper.
His arms have been unbound, but long chains runs from his
ellbows to where Sullen Gaurd sits smoking, craning his nek
to read Borden's writing.
SULLEN
Let me see?
Sullen SNATCHES up the papers. Borden makes no move to stop
him. The top sheet is a sketch of a cabinet.
SULLEN (CONT'D)
I'm going to know all of the
Professor's secrets.
BORDEN
(SMILING)
Only if I teach you how to read.
Sullen mashes the papers into a ball and drops them.
SULLEN
Just stupid tricks, right? Haven't
helped you get out of here-
(TUGS CHAINS))
Have they? Or can't you open real
locks, Professor?
48.
BORDEN
Perhaps I'm just biding my time.
Perhaps one day I'll just hold up my
HAND-
Borden produces a RUBBER BALL in front of Sullen's face.
Sullen stares.
BORDEN (CONT'D)
-get you attention. Then quietly
SAY-
(WHISPERS)
"are you wacthing closely"... perhaps
say a magic word or two... then I'll
be gone.
Borden VANISHES the ball, but FUMBLES it, it drops to Borden's
feet. Sullebn LAUGHS as Borden SCRABBLEs around his ankles
to retrieve the ball.
SULLEN
How'd you get so famous, then?
Borden STANDS.
BORDEN
Magic.
Borden TURNS, NO LONGER CHAINED. Sullen JUMPS to his feet
to follow, but HIS ANKLE IS CHAINED TO THE TABLE. The other
PRISONERS are LAUGHING and CHEERING.
SULLEN
Oi, Borden, get back here!
Sullen FUMBLES with his keys as Borden takes a BOW. Another
warder CRACKS Borden over the head with a TRUNCHEON. Sullen,
now free, KICKS Borden in the ribs.
CUT TO:
CLOSE ON AN ADVERTISSIMENT: "the professor has DEFIED DEATH
to return with a new SPECTACULAR!" Pull wider-
INT. ANGIER'S WORKSHOP -- NIGHT
A NEWSPAPER on the makeup table. Angier sits at the mirror.
He hubs BROWN PASTE into his hair and then combs it out.
Then he chooses a beard, seats it on his chin and begins to
adjust it. He drops the BOTTLE of spirit gum as he looks in
the mirror and sees OLIVIA standing behind him.
ANGIER
(EMBARRASSED)
I thought you'd gone.
Olivia shifts. Embarrassed.
49.
OLIVIA
I don't really.... have anywhere to
go.
Angier slips the newspaper from the table.
ANGIER
You've been sleeping here?
OLIVIA
Cutter said it would be okay till we
get another booking.
(BEAT)
What are you doing?
ANGIER
Researching. Part of a magician's
job is to watch his competition, to
see what illusions they're-
OLIVIA
You're going to do something to that
man, aren't you?
Olivia moves closer. Angier is quiet.
OLIVIA (CONT'D)
Cutter's hopig you'll let things
life. He says if Borden thinks things
are even between you then we can-
ANGIER
Even? My wife for a couple of his
fingers? He has a child now. And
he's perfoming again.
(BITTER)
Borden is out there, living his life
just as he always intended. As if
nothing had happened. And look at
me. I'm alone. And no theatre will
touch me.
OLIVIA
Us.
Olivia moves towards him.
OLIVIA (CONT'D)
You're going to need a better
disguise.
Olivia reaches for Angier's beard.
INT. TINY, GRUBBY THEATRE -- NIGHT
Angier, almost unrecognizanle as a blonde, slips into the
back of the theatre, which is as rough and unwelcoming as
Borden's last venue.
50.
On the small raised stage, Borden works through his way
through the Chinese rings with GLOVED HANDS to hide his
damaged fingers. The tough crowd is JEERING AT HIM.
Borden puts the rings down on a table and PICKS UP a bag.
BORDEN
I need a volunteer.
Angier takes a few steps towards the stage.
Borden produces a RUBBER BALL.
he TOSSES the ball to Angier.
BORDEN (CONT'D)
As you can see , it's just a rubber
ball. But it's not normal at all.
Angier examines the ball. Hands it back to Borden who shows
no sign of recognizing Angier.
BORDEN (CONT'D)
Thank you.
Angier notices that two TALL BLACK CABINETS are standing
twenty feet apart on the stage.
BORDEN (CONT'D)
(TO AUDIENCE)
You're not impressed?
Borden BOUNCES the BALL on the ground and catches it.
BORDEN (CONT'D)
It's a magic ball.
Borden continues to BOUNCE the ball on the floor. The
audience looks bored, waiting for something to happen.
OLIVIA (V.O.)
What happened?
INT. ANGIER'S WORKSHOP -- NIGHT
Angier still in disguise, is slumped in an armchair, drink
in hand. He is SMILING, remembering.
Olivia, sitting on the workbench, waits for him to continue.
OLIVIA
What happened, Robert?
ANGIER
He had a new trick.
OLIVIA
Was it good?
51.
Angier looks at her...
INT. TINY, GRUBBY THEATRE -- EVENING
Now it's CUTTER standing in the audience, watching. Onstage,
Borden BOUNCES the ball over and over again.
ANGIER (V.O.)
It was the greatest magic trick I
have ever seen.
Borden walks to one side of the stage and OPENS the door to
one of the cabinets. It's empty. He CLOSES it again and
crosses the stage, BOUNCING the ball the whole way.
At the far cabinet, Borden repeats the process, OPENING the
door to the empty cabinet. This time, however, he leaves
the door open.
He steps forwards and GENTLY BOUNCES the ball SIDEWAYS, across
the stage...
Borden STEPS into the CABINET behind him, CLOSING the door.
With no one on stage, the audience watches as the ball
continues to BOUNCE across the stage. BOUNCE. BOUNCE.
BOUNCE. The ball loses seep and height...
Just as reaches the second cabinet, something IMPOSSIBLE
happens.
THE DOOR TO THE SECOND CABINET OPENS AND BORDEN STEPS OUT,
CATCHING THE BALL.
Cutter FLINCHES, then studies Borden. The audience is
BEMUSED. Finally, a trickle of applause.
INT. ANGIER'S WORKSHOP -- DAY
Angier is talking to Cutter. Olivia is watching.
ANGIER
Did they applaud when you saw it?
CUTTER
Not very enthusiastically.
INT. TINY, GRUBBY THEATRE -- NIGHT
Angier is disguise, starts CLAPPING loudly, FIRMLY, as if he
can't help it, LEADING the applause.
Borden BOUNCES the ball once again, then BOWS deeply. The
APPLAUSE peters out. Borden walks off the stage.
INT. ANGIER'S WORKSHOP -- DAY
Angier turns to Cutter.
52.
CUTTER
The trick is too good -- too simple-
the audience harly knows what they've
seen.
ANGIER
He's a dreadful magician.
CUTTER
He's a wonderfull magician- he's a
dreadful showman. He doesn't know
how to dress it up, how to sell the
trick.
ANGIER
How does he do it?
CUTTER
He uses a double.
ANGIER
(SHAKES HEAD)
It's not that simple. This is a
complex illusion.
CUTTER
You think that because you don't
know the method. It's a double who
comes out at the end. It's the only
way.
ANGIER
I've seen his perfom ir three times
now, Mr. Cutter- the Prestige is the
SAME MAN-
CUTTER
IT'S NOT-
ANGIER
The same man comes out of the second
cabinet. I promise you.
OLIVIA
It is the same man.
They both turn to look at Olivia.
OLIVIA (CONT'D)
He wears padded gloves to hide his
damaged fingers, but if you look
closely you can tell.
Angier looks at Cutter.
ANGIER
He doesn't know how to sell his trick
to an audience. But I do.
53.
CUTTER
(NODS)
It would give us our climax.
ANGIER
The man stole my life. I'm going to
steal his trick.
CUTTER
We'll have to find someone who can
look like you on a stage.
ANGIER
He doesn't use a double-
CUTTER
(IMPACIENT)
I don't know how Borden does it,
Robert. So either you wait for Borden
to retire and buy his secret, or you
can listen to how I would do this
trick.
(ANGIER NODS)
Ang the only way I know is to find
you a bloody good double.
Angier smiles. Turns to Olivia, pointing to his face.
ANGIER
Take a good look- let's get out
there and find me.
EXT. ROAD, PIKE'S PEAK -- MORNING
Angier, swinging his cane, walks slowly up the mountain road.
EXT. TESLA'S LABORATORY -- CONTINUOUS
The lab is illuminated by thirty fot STREAMERS of electrical
DISCHARGE that pour from the base of the tower.
Angier stops, fearful.
ALLEY
It's perfectly safe.
As Angier stares, a MAN begins to emerge from the very center
of the CONFLAGRATION.
Bolts SNAP and TRAIL after the man as he walks, in SILHOUETTE,
towards Angier.
54.
TESLA
So this is the Great Danton.
Tesla emerges from the ball of electricity, dressed as if he
were on his way to the opera. He brushes SPARKS from the
sleeve of his jacket as he extends a band to Angier.
TESLA (CONT'D)
Mr. Alley has effused about your act
to me on any number of occasions.
Something you did with pockets?
Angier returns the handshake.
ANGIER
I saw a lecture you gave in London,
several years ago. I'm flattered
you agreed to see me.
Tesla keeps hold as Angier's hand.
Angier, confused, does so. Alley hands him a lightbulb,
which starts to glow as he grasps its metal base.
ANGIER (CONT'D)
What's conducting the electricity?
TESLA
Our bodies, Mr. Angier, are quite
capable of conducting, and indeed,
producing energy.
Tesla release Angier's hand. The bulb goes out. Alley takes
it from the Angier who looks at the palms of his hands.
TESLA (CONT'D)
Have you eaten, Mr. Angier?
EXT. DECK, LABORATORY -- MORNING
Angier, Alley and Tesla are seated around a table on a decl
overlooking a spectacular view. They are eating sandwiches.
TESLA
Alley has explained that you require
a very interesting device.
ANGIER
I need something impossible.
TESLA
You're familiar with a phrase 'Man's
reach exceeds his grasp'?
(MORE)
55.
TESLA (CONT'D)
(off his look)
It's a lie. Man's grasp exceeds his
nerve. The only limits on scientific
progress are these imposed by society.
Tesla looks out at the mountains.
TESLA (CONT'D)
The first time I changed the world I
was hailed as a visionary. The second
time I was asked politely to retire.
The world only tolerates one change
at a time. And so here I am.
(gestures at laboratory)
Enjoying "retirement".
(looking at Angier)
Nothing is impossible, Mr. Angier.
What you want is simply expensive.
Tesla rises, washing his hands in a basin on a side table.
TESLA (CONT'D)
Alley says you are a stage magician.
If a built you this device, you would
be presenting it only as an illusion?
ANGIER
If people thought the things I did
on stage were real, they wouldn't
clap- they'd scream. Think of saving
a woman in half.
Tesla nods. Considering.
TESLA
Mr.Angier, the cost of such a machine-
ANGIER
Price is not an object.
TESLA
Perhaps not. But have you considered
the cost?
ANGIER
I'm noit sure I follow.
TESLA
I can make your machine, Mr. Angier.
But I can also give you some advice...
(POINTED)
Go home. Forget this thing. I can
recognize an obsession. As Mr. Alley
could tell you, I myself an given to
one now and then. It will not do
you any good.
56.
ANGIER
Have your obsessions done you no
good?
TESLA
At first. But I've followed them
too long- I am their slave. Their
whipping boy. And one day they may
choose to destroy me.
Angier looks into Tesla's eyes.
ANGIER
if you understand an obsession then
you know you won't change my mind.
TESLA
(SMILES)
So be it.
ANGIER
Will you build it?
TESLA
I have already begun to build it,
Mr. Angier. I hope you enjoy the
mountain air. This will take time.
Tesla disappears into the lab.
INT. GREEN ROOM DRINKING CLUB -- EVENING
The club is warm and dark. Olivia, Cutter and Angier make
their way to the bar. Olivia points to the far end of the
bar, to a TRAMP in tattered clothing, curled over a pint.
OLIVIA
(TO TRAMP)
Gerry?
The tramp sees Olivia, hoists himself up and spills his way
down the bar to them. As he draws closer, we understand why
Olivia has brought them here.
Underneath the filth and matted hair, this man is SPITTING
IMAGE of Robert Angier- HE IS PLAYED BY THE SAME ACTOR
OLIVIA (CONT'D)
Mr. Angier, Mr. Cutter, I would like
you to meet Mr. Gerald Root.
ROOT
A pleasure to meet you fine gentlemen.
Angier is staring a little too much. Root throws an ARM
over Angier's shoulder and draws him in.
57.
ROOT (CONT'D)
(WHISPER)
Would you like for me to tell you a
little joke?
Angier smiles unconfortably. Sunddely Root WRAPS this hands
around Angier's neck and begins to THROTTLE him.
Cutter breaks it up and pushes Root back.
ROOT (CONT'D)
(YELLING)
Are you laughing?
Angier is shaken. Root picks up his hat off the bar and
disappears onto the street.
ANGIER
He's out of his mind.
OLIVIA
He's an out-of-work actor- of course
he's out of his mind.
CUTTER
He's perfect. A little work, mind
you, but when I'm done with him he
could be your brother.
ANGIER
I don't need him to be my brother.
I need him to be me.
EXT. NORTH HILL -- DAY
Borden escorts Sarah and their TODDLER, a girl, up the three
lined street.
Borden stops abruptly. Crouches to his daugther.
BORDEN
Would you like to see a magic trick?
Borden reaches up and pushes a wayward LOCK a her hair over
her ear. When his hands returns, it's holding a KEY.
He stands, places the key in Sarah's hand.
SARAH
What is this for?
Borden takes her gently by the shoulders and turns her around
until she's facing a modest two-story HOUSE. She looks down
at the key in her hand.
58.
SARAH (CONT'D)
When I asked last week you said we
couldn't afford.
BORDEN
You caught me in the wrong mood.
SARAH
But you want through all the-
BORDEN
Sarah, I'm allowed to change my
mind, aren't I? The act is taking
off, maybe soon I'll get us into a
bigger theatre. Things will work.
Sarah turns and embraces her husband.
INT. EMPIRE THEATRE
The auditoruim is empty. Two doors is simple frames have
been erected in the middle of the stage. Angier fiddles
with one, opening it, walking through it. Olivia is watching.
OLIVIA
You walk through this one- then...?
Angier stands Olivia in front of the door.
he pushes the door all way open. Suddenly, a TRAP-DOOR set
into the floor POPS open. Angier JUMPS through it-
INT. EMPIRE THEATRE -- CONTINUOUS
Olivia gathers up her skirts and DROPS through the hole-
INT. BENEATH THE EMPIRE STAGE -- CONTINUOUS
-LANDING beside Angier on the straw matterss.
OLIVIA
Oof. Couldn't you find a softer
one?
ANGIER
(SMILES)
It's not for sleeping on.
Olivia looks around the below stage area.
OLIVIA
And Root goes up through there?
59.
She gestures at a LIFT twenty feet away with a TRAP DOOR
MECHANISM above it. Angier nods. Olivia looks at Angier.
OLIVIA (CONT'D)
It's going to be amazing, Robert.
ANGIER
It has to be. Borden's trick is
getting noticed. The place was packed
today.
Olivia looks at him strangely.
OLIVIA
You went and saw his show again?
Angier looks away, embarrassed.
OLIVIA (CONT'D)
You becoming obsessed, Robert.
CUTTER (O.S.)
Ready to meet yourself, Mr. Robert.
Angier and Olivia look up to see Cutter at the trap door.
INT. EMPIRE THEATRE -- MOMENTS LATER
Angier and Olivia sit in the front row. Cutter beckons Root
onstage. He's been clened up and dressed in Angier's stage
costume. he TRIPS on his way across the stage.
ANGIER
All I have to do is keep myself
stinking drunk all the time and no
one will be able to tell the
difference.
CUTTER
A little faith, sir. Could you favor
us with a perfomance. Mr. Root?
Root picks himself up and dusts himself off.
Suddenly, ROOT HAS BECOME ANGIER. he is channeling everything
from his facial expressions to his walk. Angier nods,
starting to believe this might work. The illusion is PERFECT --
till he opens his mouth.
ROOT
You would drink, too, if you know
the world half so well as I do.
Angier hops up onto stage, examining Root from different
angles. Root starts APING his every movement. Olivia starts
laughing. Angier is getting uncomfortable.
60.
ROOT (CONT'D)
Did you think you were unique, Mr.
Angier? I have been Cassar. I have
been Faust. How difficult could it
possibly be to play 'The Great
Danton?'
CUTTER
You can go back to being yourself.
Root. For free..
Root looks challengingly at both men.
ROOT
I'd rather be him, for now. I find
it amusing.
Root WAVES his hands across his chest, in the same manner
that Angier does onstage. He produces a bottle of Gin from
thin air, and takes a long swallow and jumps down to Olivia.
CUTTER
Root has to keep a low profile--
anyone sees him the game's up.
ANGIER
(WATCHING ROOT)
I don't know how you do these things,
Cutter. I'm not sure I want to know.
CUTTER
Have you thought about what we should
call the trick?
ANGIER
No point being coy. Borden calls
his trick 'The Transported Man'?
Cutter nods.
EXT. LEICESTER SQUARE -- EVENING
The enormous MARQUEE of the Empire Theatre:
'The Great Danton perfoms THE NEW TRANSPORTED MAN'
Beneath it, a CROWD. Fallon amongest them. STARING up at
the sign.
INT. EMPIRE THEATRE -- EVENING
Angier is onstage, nearing the end of his show, SMILING
BROADLY as he pulls dozens of FLOWERS from thin air and tosses
them to the crowd. APPLAUSE fills the theatre.
The DOORFRAMES are wheeld out on either side of the stage.
Angier approaches the edge of the stage to address the
audience with a suddenly SOLEMN demeanor.
61.
ANGIER
Ladies and gentlemen, much of what
you've seen tonight can be termed
illusions. Entertaining trifles of
the sort you may have seen other
magicians perform.
Angier puts on a TOP HAT.
ANGIER (CONT'D)
Alas, I cannot claim this next feat
as illusion. Watch carefully- you
will see no trickery, for no trickery
is being employed. Merely a techique
familiar to certain citizens of the
orient and various holy men of the
Himalyas. Indeed, some of you may
be familiar with this technique, but
for those of you who aren't, do not
be alarmed, what you are about to
see is considered safe...
Angier gracefully TURNS and heads upstage to the right-hand
door, opens it, SLAPS it to show that is sold.
Then strolls through crossing the stage-
-to the other door, which he opens, SLAPPING to show its
solidity, then walking trough the frame.
Angier removes his TOP HAT and THROWS it high into the air.
It sails back down to him and he catches it.
Angier THROWS the HAT again, even harder this time, and it
disappears uo into the rafters. After a beat, it is clear
it's not coming back down.
LAUGHTER. Angier snaps his fingers and the hat is dropped
back down to him. He catches it.
Angier movies to the first door and THROWS HIS HAT in a HIGH
ARC across the stage. He OPENS the door- steps behind it...
The second DOOR, FAR ACROSS THE STAGE, IMMEDIATELY opens and
ANGIER/ROOT EMERGES, REACHING UP TO CATCH THE HAT.
BOTH DOORS SLAMS SHUT behind him. He puts on the hat.
The AUDIENCE ERUPTS- A STANDING OVATION, Fallon the only one
in his seat as Angier/Root takes his BOWS.
INT. UNDER THE STAGE -- CONTINUOUS
Angier, hearing the MASSIVE APPLAUSE, climbs off the straw
mattress, PEERING up through the cracks in the floorboards.
Smiling, Angier turns to the unseen audience and BOWS.
62.
INT. DRESSING ROOM -- EVENING
Angier, Olivia, and Cutter are CELEBRATING their sucess.
Empty bottles of champagne line the makeup table.
OLIVIA
(TOAST)
To our achivement.
They drink.
CUTTER
The manager said he's never seen a
reaction like it.
Angier smiles, rueful.
ANGIER
At least he got to see it. I spent
the ovation hidden under the stage.
No one cares about the man who
disappears, the man who goes into
the box. They care about the man
who comes out the other side.
OLIVIA
I care about the man in the box.
Angier turns to Olivia, raises his glass.
ANGIER
Thank you.
(TO CUTTER)
Maybe we could switch before the
trick. That way I could be the
Prestige and Root ends up below stage.
CUTTER
(SHAKES HEAD)
The antecipation of the trick is
everything- it needs your showmanship
to built suspense. If Root opens
his mouth, it's all over- he can't
introduce the trick.
ROOT (O.S.)
of course I can. I'm the Great
Danton.
They turn. Root is lying behind a trunk, still in costume.
CUTTER
Root, you bloody fool, get that
costume and makeup off right now,
anyone could walk in here!
Cutter is SLAPPING Root to his feet. He grabs his collar
and turns to Angier and Olivia.
63.
CUTTER (CONT'D)
Congratulation, all.
Cutter DRAGS Root out. Olivia slides onto the makeup table.
ANGIER
I suppose I should get more rest.
OLIVIA
Life is not full of these moments,
Robbie.
Olivia pours him some more champagne.
OLIVIA (CONT'D)
We've worked hard for this, and we
need to celebrate properly.
Angier looks up at her with a gentle smile. She pulls him
in closer and they KISS. She wraps her legs around him.
They kiss again.
Angier pulls back.
OLIVIA (CONT'D)
What's wrong?
(SOFTLY)
It is your wife?
Angier shakes his head, distracted.
ANGIER
The trick isn't good enough.
Olivia stares at him.
OLIVIA
Didn't you see the audience?
ANGIER
No.
OLIVIA
Well, they loved it.
ANGIER
It's not as good as his trick.
OLIVIA
Borden's trick is nothing compared
to ours. He doesn't have any style-
ANGIER
He doesn't have to spend the finale
hiding under the stage.
Angier rises, turning out of her embrace.
64.
ANGIER (CONT'D)
I need to know how he does it.
OLIVIA
Why?
ANGIER
So that I can do it better.
Angier turns to her. Looks her in the eye.
ANGIER (CONT'D)
I need you to go and work for him.
OLIVIA
Work for him? Are you joking
ANGIER
You'll be my spy.
OLIVIA
(TAKEN ABACK)
We just got our start and you want
me to leave?
ANGIER
It's how we advance.
Angier moves to Olivia, placing his hands on her shoulders.
ANGIER (CONT'D)
Think of it, Olivia... we've got
people excited about Cutter's version
of the trick- imagine what we could
do with the real illusion. We'll
have the greatest magic act anyone's
ever seen.
OLIVIA
(FRUSTATED)
He knows I work for you.
ANGIER
Exactly why he'll want to hire you.
He'll want my secrets.
OLIVIA
Why would he trust me?
Angier thinks for a second. Then smiles.
ANGIER
Because you're going to tell him the
truth.
INT. TESLA'S LABORATORY -- DAY
Alley shows Angier in. Tesla is sitting, reading.
65.
TESLA
You must be curious to see what so
much money had bought you, Mr. Angier.
Tesla RISES. Leads Angier to a back corner at the room and
pulls a SHEET from a ten-foot tall apparatus- the ELECTRICAL
MACHINE Angier used on stage in the opening of the film.
TESLA (CONT'D)
Fitting that you should be here for
the maiden voyage.
Alley FIRES a GENERATOR connected by thick cables to the
machine. It RUMBLES into life, smoke pouring from the slats.
TESLA (CONT'D)
Your hat.
Angier takes off his hat and tries to hand it to Tesla.
Alley intercepts the hat and lays it on a chalk hasmark
directly underneath the machine. He returns to the controls.
ALLEY
You might want to stand back.
TESLA
No, no. It will be fine. Mr. Alley,
please proceed.
Without further ceremony, Alley FIRES the machine.
Nothing happens. Then, as they watch, the GLOBE on top of
the tripped FLASHES whits hot. BOLTS shooting out of it,
wrapping themselves around the legs of the tripod. The CHARGE
reaches a FREEZY and then emits a loud BANG, as if it has
broken the sound barrier.
Suddenly the room is still.
Tesla walks forward. Looks down into the pit.
Alley joins him at the edge of the pit. Angier, limping,
is the last to arrive, locking into the pit-
-at the TOP HAT, which hasn't moved an inch.
ANGIER
I don't understand-
Tesla STARES at the hat as if trying to melt it with
CONCENTRARION. Alley pulls Angier away from the pit.
ALLEY
Perhaps it would be best if you left
us to it. We'll see you next week?
Angier begins to protest but Alley gestures towards the door.
66.
INT. BORDEN'S WORKSHOP -- DAY
A small, disused shop off an arcade, crowed with tools,
cabinetry and props, windows plastered with playbills. Borden
is sitting at a workbench, sleeves rolled up, working a lathe.
Fallon enters, Olivia behind him. Borden looks back at her,
turns back to the table, instinctively putting on his gloves.
OLIVIA
(LOOKING AROUND)
Interesting workshop.
BORDEN
We make do.
OLIVIA
My name is Olivia Wenscombe.
BORDEN
I know who you are. Are you here to
steal the rest of my show?
Olivia sees one of the theatrical notices that litter the
shop: "THE GREAT DANTON BREAKS RECORD WITH HIS ASTONISHING
NEW TRICK"
OLIVIA
No. I'm here to give your show what
is missing.
BORDEN
And what might that be?
OLIVIA
Me.
BORDEN
(TO FALLON)
Wasn't I just saying that, Bernard?
A woman's touch.
Fallon leaves, closing the door.
OLIVIA
I've left Angier. I want a job.
Borden sits there.
OLIVIA (CONT'D)
I know you have no reason to trust
ME-
BORDEN
Why on earth shouldn't I trust you?
The mistress of my enemy.
Olivia is taken aback. Chanes tack.
67.
OLIVIA
Mr.Borden-
BORDEN
Alfred.
OLIVIA
Alfred. I'm going to tell you the
truth.
BORDEN
Ah. The truth. A slippery notion
in our life of work, Miss Wenscombe.
OLIVIA
I'm here because he sent me here.
He wants me to come and work for you
and steal your secret.
BORDEN
What does he need my secret for?
His trick is top notch. The Great
Danton vanishes and isntantly
reappears on the other side of the
stage -- mute, overweight, and,
unless I'm mistaken, rather drunk.
Borden rises, moves closer to Olivia.
BORDEN (CONT'D)
Tell me, Olivia. Does he like taking
his bows under the stage?
Olivia meets his gaze.
OLIVIA
No. It's killing him. he's obsessed
with discovering your method. He
thinks of nothing else, and takes no
pleasure in our sucess. I've had
enough. There's no future with him.
He sent me here to steal your secrets,
but I've actually come to offer you
his.
BORDEN
He has no secrets from me.
Borden stares at her, unsure.
BORDEN (CONT'D)
And this is the truth?
She gives Borden a challenging smile/shrug.
68.
INT. BACKSTAGE -- DAY
Cutter is fixing a prop mechanism. Angier approaches, in
his undershirt, looks over his shoulder. Cutter glances up.
CUTTER
Best be getting changed for the
martinee, sir.
- Angier nods. Cutter REALIZES.
CUTTER (CONT'D)
ROOT! You're late.
(SNIFFS)
And even more drunk than usual. Get
yourself below stairs, right away!
ROOT
No.
CUTTER
No?!
Root looks at Cutter with genuine malice.
ROOT
We need to have a chat, Mr.Cutter.
INT. DRESSING ROOM -- DAY
Angier is applying his makeup. Cutter enters. Angier looks
at him through the mirror.
ANGIER
We have a problem, Cutter.
He holds up the paper, folded to an advertisement:
PANTAGES THEATRE- FROM NEXT WEEK- THE PROFESSOR WILL
DEMONSTRATE THE ORIGINAL TRANSPORTED MAN- ACCEPT NO CHEAP
IMITATIONS!!!
ANGIER (CONT'D)
He'll be perfoming right across the
street.
CUTTER
We have a bigger problem. Root.
ANGIER
Don't tell me he fell over again.
CUTTER
Worse. He realized he can make
demands.
ANGIER
He's blackmailing us?
69.
CUTTER
In a word, yes. I'm surprised, to
be honest- it usually takes them a
lot longer to figure it out.
ANGIER
How much does he want?
CUTTER
It makes no difference- we have to
stop doing the trick.
ANGIER
(WIELDS PAPER)
Stop doing the trick? Look at this.
CUTTER
Look at yesterday's. And last week's,
where they called you "London's
premiere stage performer", not
"magician" mind. Performer. Of any
kind.
ANGIER
What's the point?
CUTTER
My point, Robert, is that you've
climbed too high to get away with
any kind of professional
embarrassament. We're not doing any
tricks we can't control.
Angier considers this. Nods. Thinking.
ANGIER
Pay him whatever he wants, for now.
We keep doing the trick till Borden
opens, then we'll phase it out.
INT. BENEATH THE EMPIRE STAGE -- NIGHT
Root smokes a cigarette. PULL BACK to reveal he is standing
on the LIFT beneath the stage...
The trapdoor OPENS and Angier DROPS onto the straw mattress.
He looks over to see Root finishing his cigarette.
ANGIER
(HISSES)
Get up there!!
Root smirks at Angier- TOSSES the cigarette and CATAPULTS up-
INT. STAGE, EMPIRE THEATRE -- CONTINUOUS
-onto the stage and STEPS/STUMBLES out from behind the door
to LOUD APPLAUSE.
70.
Root has a SLOPPY GRIN as he STRUTS acroos the stage, milking
the applause from every angle, blowing kisses, winking...
loving it. He turns to Cutter in the wings. Blows him a
kiss.
Cutter GLARES. Then TURNS to a stagehand.
CUTTER
Get it down!
ANGIER (V.O.)
Cutter was always surprised how fast
Root turned bad.
The stagehand starts LOWERING THE CURTAIN.
INT. RESTAURANT, CLIFF HOUSE INN -- DAY
Angier sits with Borden's dairy.
ANGIER (V.O.)
We paid him enough to keep him in
beer- you wouldn't expect him to
rock the boat. Today I learned
Borden's view on the episode...
INT. TAVERN -- EVENING
The bar is dark and seedy, packed with an unpromising lot.
ANGIER (V.O.)
...and his account suggests a reason.
Root is hanging precariously from his barstool, head lolling
towards his empty glass. He is in his own clothes, but
cleaned up to look like Angier.
A full PINT arrives in front of him. Root turns to face his
benefactor- BORDEN. Root takes several large GULPS, staring
at Borden. Suppresses a belch.
ROOT
To what do I owe the pleasure of
this rather welcome pint of ale?
BORDEN
You are the Great Danton, aren't
you?
Root gestures silence, glancing around them.
ROOT
Of course I am. But don't advertise
it- I'll be mobbed with fans.
(grins at Borden)
And who might you be?
71.
BORDEN
Just a humble admirer. And fellow
practitioner.
ROOT
Ah, very good.
Root DOWNS the rest of his new pint, placing the empty glass
in front of Borden with an emphatic THUNK.
BORDEN
Another?
ROOT
If you insist. I'm not perfoming
tonight. Well, only one show, and,
to be frank, my people pretty much
run things these days.
BORDEN
You could probably do it blindfolded.
ROOT
Bloody good idea.
BORDEN
Have it.
ROOT
Thanks.
A new pint arrives. Root sips.
BORDEN
Actually, there's something I might
warn you about.
ROOT
Oh?
BORDEN
Well, it's your Transported Man
illusion. Now, I'm noit claiming to
know your method... but I had a
similar trick in my act- and I used...
(looks around,
WHISPERING)
...a double.
ROOT
Oh, I see, very good.
BORDEN
At first. Then it went bad. You
se, I hadn't counted on the fact
that once I incorporated this bloke
into my act, he had complete power
over me.
72.
ROOT
Complete power, you say?
BORDEN
(NODDING GRAVELY)
Weel, he was the secret, you see.
And the more successful I became,
the more outrageous his demands
became. He practically backrupted
me. In the end I had to stop
performing the illusion completely.
(looks at Root)
You must be very careful about giving
someone that power over you.
Root looks at Borden. Drunken whells spinning.
ROOT
Thanks for the warning.
INT. STAGE, EMPIRE THEATRE -- EVENING
Angier is almost all the way through his act.
ANGIER
...some of you may be familiar with
this technique, but for those of you
who aren't, do not be alarmed, what
you are about to see is considered
safe...
Angier takes his time, confident, MILKING IT. He throws his
HAT into the air, catches it.
INT. UNDER THE STAGE -- CONTINUOUS
Angier DROPS ten feet to the concrete floor. But there is
NOTHING to break his fall-
He SMASHES painfully to the ground. CLUTCHING his leg in
AGONY, he looks up and sees SOMEONE standing on the lift
twenty feet away... BORDEN.
INT. STAGE -- CONTINUOUS
The first door slams shut. The audience turns their attention
to second door.
The door remains closed. The HAT falls gently to the floor.
SILENCE, broken by a COUGH in the audience.
INT. UNDER THE STAGE -- CONTINUOUS
BORDEN bows to Angier- the LIFT ROCKETS BORDEN UP THROUGH
THE STAGE FLOOR.
73.
INT. STAGE -- CONTINUOUS
The second door OPENS, and BORDEN steps through, looking all
around, CONFUSED, as if he doesn't know where he is. He
looks back at the door, then picks up the HAT...
INT. UNDER THE STAGE -- CONTINUOUS
Angier looks at his leg- a nasty COMPOUND FRACTURE. As he
chokes on pain he can hear LAUGHTER from the AUDIENCE.
INT. STAGE -- CONTINUOUS
As Borden mugs with the hat, trying it on and finding it too
small, something is LOWERED from the flies above:
ANGIER/ROOT, BOUND AND GAGGED, HANGS from a chain. A sign
around his neck reads: "OPENING AT PANTAGE- THE PROFESSOR"
Borden looks up behind him.
BORDEN
Great Danton, I must apologize! I
simply had too much magic for my
stage at the Pantages!
The Great Danton comes to rest three feet above the stage.
BORDEN (CONT'D)
Pardon my intrusion!
Borden places the top hat and ANGIER/ROOT at a JAUNTY ANGLE.
THUNDEROUS APPLAUSE and LAUGHTER. Borden BOWS, hops down
off the stage, and walks up the aisle, bowing, enjoying it
all the way.
INT. STAGE -- LATER
Cutter crouches over Angier, fixing a LONG SPLINT to his
broken leg. Behind them, Root still hangs above the stage,
groaning in protest.
CUTTER
I don't see how Borden found him- I
had him under wraps, I was careful.
ANGIER
Well, he did.
Cutter helps Angier to his feet.
CUTTER
Sit, do you think it might be her?
Olivia?
Angier stops to look at Cutter.
74.
ANGIER
No. I don't.
Cutter gestures at Root.
CUTTER
Shall we cut him down?
ANGIER
He's the Great Danton. Let him cut
himself down.
EXT. PANTAGE'S THEATRE -- NIGHT
Angier, thinly disguised, leg in long metal brace, pushes
through the crowd outside the box office. The marquee: The
Professor Performs His Masterpiece- THE ORIGINAL TRANSPORTED
MAN!!
On the box office: SOLD OUT THRU SUNDAY. Angier STARES.
SCALPER (O.S.)
Need tickets, sir?
Angier turns to the SCALPER. Nods.
INT. PANTAGE'S THEATRE -- EVENING
Angier slumps into a seat at the back of the PACKED theatre.
ONSTAGE: Borden works through his show with a SUPERIOR DEGREE
OF SHOWMANSHIP, even cracking a smile when called for.
Working WITHOUT GLOVES, he makes much of performing tricks
ONE-HANDED. He is assisted by Olivia, who looks STUNNING.
Borden performs ths Transported Man. Borden HAS DRESSED IT
UP WITH ELECTRICAL APPARATUS. Two large glass balls transmit
SPARKS between one cabinet and the other along BARE WIRES.
Another watches, anger rising as he watches Olivia's close
RAPPORT with Borden.
INT. APARTAMENT -- EVENING
Olivia enters in to the darkness bedroom. She strikes a
match and lights one of the gaslights...
...and SCREAMS as the gaslight illuminates Angier, sitting
in an armchair, cane leaning against the arm of the chair.
ANGIER
You weren't expecting me?
OLIVIA
I was expecting you sooner, Robbie.
Your message said "afternoon".
75.
ANGIER
Well, it takes a bit for me to get
around these days...
Angier RAPS his leg brace with his cane. HOISTS himself up.
ANGIER (CONT'D)
He's taken everything from me. My
wife, my career... now you.
OLIVIA
What do you mean? You sent me to-
Angier takes her by the shoulders, ROUGHLY.
ANGIER
I sent you to steal his secret- not
to improve his act-
OLIVIA
That's my job-!
ANGIER
Or to fall in love with him!
OLIVIA
You abandoned me to him!
Angier SLAPS her. She shakes her head at him.
OLIVIA (CONT'D)
I did everything you asked.
ANGIER
(CHALLENGING)
Yes? Then how does he do it?!
OLIVIA
Cutter was right- it's a double.
Angier shakes his head, furious.
ANGIER
Of course Borden said that-
OLIVIA
He didn't say anything- he'd never
say. I've seen things- make-up,
glasses, wigs. We don't use any of
it for the show, but I've found it
hidden backstage.
ANGIER
(SCORN)
It's misdirection- he leaves those
things lying around to make you think
he's using a double.
76.
OLIVIA
All the time? He doesn't know when
I'M LOOKING-
ANGIER
All the time, Olivia- that's who he
is, that's what it takes- he lives
his act, don't you see?!
(BEAT)
And just because you're sleeping
with him doesn't mean he trusts you.
Olivia glares athim, tears forming in her eyes.
OLIVIA
You thing you can see everything,
don't you?
She moves to her bed, REACHING below the mattress.
OLIVIA (CONT'D)
But the Great Danton, is a blind
fool.
Olivia tosses something at Angier: a CARDBOARD-BOUND NOTEBOOK.
OLIVIA (CONT'D)
His notebook.
Angier starts leafing desperately through pages.
ANGIER
You stole it?
OLIVIA
I borrowed it for tonight. I thought
you'd be able to translate some of
it, but now I realize-
ANGIER
I can't.
OLIVIA
(SCORN)
You can't.
ANGIER
Olivia, no one could-
(STUDIES PAGES)
It's a cypher- with a transposition
that probably shifts every day of
the diary. Even with the keyword it
would take months to decode...
OLIVIA
And without the keyword?
77.
ANGIER
Perhaps never. We'll see.
Angier puts the cardboard-bound notebook into his pocket.
Olivia, worried, holds out her hand for the notebook.
OLIVIA
No, we won't- if I don't get that
back tomorrow morning, he'll know I
took it.
Angier looks at her, incredulous.
ANGIER
You can'r possibly think I'd let
this go? This is his diary, Olivia.
All of his secrets are right here,
in my hands.
OLIVIA
(PLEADING)
Don't do this do me, Robert!
ANGIER
(SHRUGS)
Leave him.
OLIVIA
He knows where I live!
ANGIER
I need to know his method.
OLIVIA
(DESPERATE)
It won't get your wife back, Robert.
ANGIER
I don't care about my wife- I care
about his secret!
Angier stops, realizing what he said. Calms himself.
ANGIER (CONT'D)
Look, I'll go to his workshop and
stage a break-in-
OLIVIA
He'll know it was you-
Angier puts his hands GENTLY on her shoulders.
ANGIER
Yes, me, not you. Understand?
Olivia nods, crying. Still scared. Angier drags his leg to
the door. She watches him go, torn.
78.
OLIVIA
Robert? I have fallen in love with
him.
Angier looks at her, sympathetic.
ANGIER
Then I know how hard this had been
hard for you.
INT. BORDEN'S WORKSHOP -- DAY
CLOSE ON: SHATTERED GLASS, BROKEN PROPS AND CABINETRY.
Borden and Fallon survey the WRECKAGE of their shop. Borden
looks at Fallon.
BORDEN
Notebook.
Fallon nods. Borden sighs. Weary.
BORDEN (CONT'D)
Then he's just getting started.
EXT. STAGEDOOR, PANTAGE'S THEATRE -- EVENING
A small CROWD of autograph SEEKERS crowd the stagedoor. A
BODYGUARD steps through the door and begins unshering them
away as Fallon and Borden follow him through the door.
The bodyguard hold the door to a carriage open and Fallon
steps up. Borden stops at the door.
BORDEN
I'm walking tonight, gentlemen.
Fallon looks concerned.
BORDEN (CONT'D)
Let him come. I don't care.
Borden doffs his hat and walks onto the crowd street.
Fallon steps down, reaches into the bodyguard's jacket and
pulls out a PISTOL. He checks that it's loaded and slips it
into his own jacket. Then he sets off after Borden.
EXT. STREETS, WEST END -- EVENING
Fallon continues to follow Borden at a distance. Borden
steps into a tobacconist's. Fallon stops and idles at the
street corner.
As Fallon watches, acrooss the street, another man STOPS.
Fallon slips back around the corner and looks:
It's Angier, leaning on his cane.
79.
Borden emerges from the tobacconist and continues down the
street, a cloud of pipe smoke drifting after him.
Fallon waits for Angier to set off after Borden, then follows
both men from a distance.
Borden crosses to the same side of the street as Angier.
Fallon picks up his pace and tries to cross the street but
is HELD UP for a second by passing traffi.
As he reaches the other side, Borden is gone, but he sees
Angier dissappear down and alleyway.
EXT. ALLEY -- CONTINUOUS
Fallon rounds the cornder and stops. The alleyway is EMPTY. --
he has lost them. Finally, he sees an open, darkned doorway
towards the end of the alleyway.
INT. HALLWAY -- CONTINUOUS
Fallon stops at the doorway, his gloved hand gripping te
doorframe.
Angier stands at the other end of the hallway, watching him.
Fallon takes a step towards him and CRASHES through the rotten
floor to the basement below.
INT. BASEMENT -- CONTINUOUS
Fallon drops heavily into an almost-vertical OPEN COFFIN.
DISORIENTED, Fallon just glimpses CUTTER DROP THE LID INTO
PLACE, shutting him in. Cutter starts NAILING it down.
A GUNSHOT TEARS through the lid of the box. Cutter falls
back, but is caught by Angier.
Angier rolls Cutter off to one side. He is clutching at a
BLOODY WOUND on his arm.
CUTTER
I'll live.
(TO COFFIN)
You save me the trouble to making
you an air hole!
Angie picks up the hammer and continues NAILING.
EXT. HIGHGATE CEMETARY -- MORNING
Borden picks up his way through the overgrown cemetary. He
hears a KNOCKING and turns:
Angier is behind him, RAPPING on a broken headstone with the
head of his cane.
80.
BORDEN
I'm impressed.
ANGIER
Why's that?
BORDEN
You're finally getting your hands
dirty. This is what a good trick
costs, Angier. Risk. Sacrifice.
ANGIER
The sacrifice, I'm afraid, is all
going to be yours. Unless you give
me what I want.
BORDEN
Which is?
ANGIER
Your secret.
Borden tries to gauge Angier's expression.
BORDEN
My secret?
ANGIER
Your method for the Transported Man.
Fallon wouldn't tell me. In fact,
he doesn't talk at all.
BORDEN
(SHRUGS)
You have my notebook.
ANGIER
Useless without the keyword.
Angier pulls a sheaf of writing paper and a pencil stub from
his pocket. He offers them to Borden.
ANGIER (CONT'D)
Write down your method Mr. Borden.
Describe it in full.
Borden takes the paper and pencil and stares Angier in the
eye, gauging him.
Beat.
Borden writes a SINGLE WORD on the top page and folds it up.
ANGIER (CONT'D)
I want the method not the keyword- I
don't even know if the secret is in
you notebook.
81.
Borden looks at Angier with a glint in his eye.
BORDEN
The keyword is the method.
Angier reaches for the folded paper, which Borden lifts out
of reach.
BORDEN (CONT'D)
Where is my ingeneur?
Angier pulls a SHOVEL free from a pile of dirt beside him.
He STAKES it into a fresh pile of dirt in front of Borden.
Borden looks at Angier, CONCERNED.
BORDEN (CONT'D)
IS HE
Angier plucks the folded paper from Borden's hand.
ANGIER
How fast can you gid?
Angier movies away through the headstone, leaning heavily on
his cane. Borden begins to DIG.
INT. HOSPITAL -- EVENING
Cutter is slumped in a chair by the wall, his arm bandaged.
He smiles up at Angier, who sits down next to him.
ANGIER
How's the arm?
CUTTER
Still attached. Did you get your
answer?
Angier holds up the folded paper.
ANGIER
Our answer, Cutter. I haven't looked
yet, I wanted you to share this.
Cutter looks curiously at Angier.
CUTTER
I already know how he does it, Robert.
The same way he always has, the same
way we do. You just want it to be
something more.
Angier looks at Cutter, uneasy.
ANGIER
Well, let's find out, shall we?
82.
Angier opens the piece of paper. A large GRIN spreads across
his face. he turns it to Cutter- it reads-
-TESLA-
Cutter frowns, confused.
CUTTER
What does it mean?
ANGIER
(EXCITED)
It means, Cutter, that we have a
journey ahead of us. To America.
Cutter watches Angier's excitement. Awkward.
CUTTER
Robert, listen to me.
(gentle, but definite)
Obssession is a young man's game, I
can't follow you any farther in this.
Angier looks at Cutter, uncomprehending. He considers saying
something. Stops. Restraining himself.
ANGIER
Then the rest is up to me.
INT. ELEGANT RESTAURANT -- EVENING
Sarah sits by herself at a table for two. Borden ENTERS
with a swagger, Olivia beside him, Fallon behind. The MAITRE
D' hurries over, signaling WAITERS. Sarah looks up.
UNCOMFORTABLE.
SARAH
I didn't know we'd be joined for
dinner.
BORDEN
Absolutely. We're celebrating.
The Waiters spirit another table and chairs to join Sarah's.
Borden pulls out a chair for Olivia.
SARAH
Miss Wenscombe. Mr.Fallon.
Olivia smiles cheerfully. Fallon nods, embarrassed.
BORDEN
(to wine waiter)
Champagne. Your finest
SARAH
What are we celebrating, dear?
83.
BORDEN
Well, we've hit upon a new trick,
haven't we, Fallon?
OLIVIA
What trick, Freddy?
SARAH
(BRITTLE)
Yes, "Freddy". What trick?
The WAITER presents a bottle of champagne. Borden nods
without looking at it.
BORDEN
(LOUD)
I'm going to bury myself alive.
Every night. Then someone's going
to come along and dig me up!
OTHER DINERS are glancing over. The waiter uncorks the bottle
with a muffled POP and pours champagne into Borden's glass.
SARAH
(TO WAITER)
I'm not sure my husband needs-
BORDEN
Who are you to tell me what?!
Awkward silence. Olivia shifts in her seat.
OLIVIA
PERHAPS-
SARAH
Perhaps, Mr.Fallon, you might escort
Miss Wenscombe home. My husband's
being a bore. I see no reason for
the two of you to suffer as well.
Fallon is on his feet, pulling back Olivia's chair.
OLIVIA
Good-night, Mrs.Borden. Good-night,
Freddy.
They leave. Borden glares at his wife.
SARAH
"Freddy"?
BORDEN
It's my name.
SARAH
Not at home.
84.
BORDEN
I'm not always at home.
Sarah is clearly on the verge of tears.
SARAH
Alfred, why are you being like this?
Borden, seeing her fistress, softnes.
BORDEN
Sarah, I had a terrible ordeal today.
I thought I'd lost something very
precious to me.
SARAH
What?
Borden looks at her speechless. Shrugs helplessly.
SARAH (CONT'D)
I see. More secrets.
BORDEN
Secrets are my life, Sarah. Our
life.
Sarah brushes away a tear.
SARAH
When you're like this, Alfred, I'm
not seeing the real you. You're
treating me like your audience.
Performing. I can't live with that.
Borden just sits there. Offering nothing.
EXT. CLIFF HOUSE INN -- DAY
Angier walks up to the hotel. A MOTORCAR is parked in front
and TWO MEN are unloading it. One of the men STARES at Angier
as he enters the hotel.
INT. CLIFF HOUSE INN
Angier walks to the reception desk.
ANGIER
I thought I had the place to myself.
MANAGER
Unexpected guests.
(looks out the window
at the men)
Not very polite. A lot of questions.
At first I thought they might work
for the government.
85.
ANGIER
No?
MANAGER
(LOWERS VOICE)
Worse. They work for Thomas Edison.
Angier starts out the windo at the men unloading equipment.
INT. HOTEL ROOM, COLORADO -- CONTINUOUS
Angier sits at the desk, deciphering Borden's diary.
BORDEN (V.O.)
Today, a most curious development...
INT. BORDEN'S WORKSHOP -- DAY
Borden turns to see Fallon show in Olivia.
BORDEN (V.O.)
His assistent come to us with a
proposition...
They start to speak as Borden's V.O. continues.
BORDEN (V.O.) (CONT'D)
Obviously Angier has sent her, and
told her to admit as much...
BORDEN (CONT'D)
Tell me Olivia. Does he like taking
his bows under the stage?
Olivia meets his gaze.
OLIVIA
No. It's killing him. He's obssessed
with discovering your method. he
thinks of nothing else, and takes no
pleasure in our success. I've had
enough. There is no future with
him. He sent me here to steal your
secrets, but I've actually come to
offer you his.
BORDEN
He has no secrets from me.
Borden stares at her, unsure.
BORDEN (CONT'D)
This is the "truth" you spoke of?
She gives him a sly smile.
86.
OLIVIA
No. This is what he told me to tell
you.
Beat.
OLIVIA (CONT'D)
The truth is that I loved him. And
stood by him. And he sent me to you
like he'd send a stagehand to pick
up his shirts.
(looks him in the eye)
I hate him for that.
They sit there in silence, appraising each other.
BORDEN
I can spot Angier's methods from the
back of the theatre. What could you
possibly have to offer me?
Olivia smiles, moves to Borden, reaching for his gloved hand.
Borden flinches, surprised.
OLIVIA
You may know he does his tricks...
but you can't understand why no one
can see that yours are better.
She tenderly PEELS OFF his padded glove revealing his
mutiladed hand.
OLIVIA (CONT'D)
You hide this. I had to look closely
to spot it when you performed the
Transported Man.
(looks into his eyes)
But this makes you unique... it shows
the audience that you aren't using a
double; You musn't hide it, you
must display it proudly...
(looks at hand)
I'm sure it takes great skill to
perform illusions with one good hand.
BORDEN
(QUIETLY)
It does.
OLIVIA
Then let people know. You can be so
much more then he is. I can show
you how.
Borden looks into her eyes.
BORDEN (V.O.)
I think she is telling the truth.
87.
INT. BEDROOM, BORDEN'S WORKSHOP -- NIGHT
Borden and Olivia are in bed together. It is raining outside.
He watching her get out of bed and moves to the window to
smoke a cigarette.
BORDEN (V.O.)
I think we cannot trust her. But I
love her. I need her. We need her.
BORDEN (CONT'D)
How could he send you away? He must
be blind, deaf and dumb.
She smiles quietly at this.
OLIVIA
Robbie's blinded by his jealosy.
He'd do anything for you secret.
Sending me away was the least of it.
Borden considers this.
BORDEN (V.O.)
Trust is not the point- love is the
point... who have we ever trusted?
To open myself to such a relationship,
EXT. NARROW ALLEYWAY -- DAY
Olivia makes her way past crowed MARKET STALLS.
BORDEN (V.O.)
...to the dangers of such an affair...
I need assurances of fidelity. Of
love.
Fallon is SHADOWING her from a distance.
BORDEN (V.O.) (CONT'D)
But how to be sure when truth is
layered like the skin of an onion?
I know a way... she must help me rid
ourselves of Angier. It is the only
way to kow her mind.
INT. HOTEL ROOM, COLORADO -- DAY
Angier looks up from Borden's diary. Pale. He flips pages
and pages forward TO THE LAST ENTRY...
BORDEN (V.O.)
Today my mistress proves her
truthfulness. Not to me, you
understand.
88.
BORDEN (V.O.) (CONT'D)
I have been convinced since she led
me to Root... today, Olivia proves
her love for me to you, Angier.
Angier looks up from the notebook. Mind reeling.
BORDEN (V.O.) (CONT'D)
Yes, Angier. She gave you this
noteboook at my request. Yes, she
led me to Root, and yes, Tesla is
merely the key to my dairy, not to
my trick. Did you really think I
would part with my secret so easily
after so much? Good-bye, Angier,
may you find solace for your thwarted
ambition back in yout American home.
Angier STARES at the pages, unblinking. JUMPS to his feet...
INT. TESLA'S LABORATORY -- DAY
Angier STRIDES up to the fence.
ANGIER
TESLA!
(NOTHING)
TESLA!!
Angier takes his cane and starts running its METAL TIP across
the eletrified fence- causing SPARKING and CRACKLING.
ANGIER (CONT'D)
ALLEY, GET OUT HERE AND LET ME IN!!
Alley emerges from the building, consufed.
INT. TESLA'S LABORATORY -- DAY
Alley opens the door- Angier BURSTS IN past him, ENRAGED.
ANGIER
I've veen played for a fool!
ALLEY
Who by?
ANGIER
Tesla never made a machine like the
one I asked for.
ALLEY
We never said he had.
ANGIER
You let me believe that he had, Alley!
(MORE)
89.
ANGIER (CONT'D)
You stole my money because your
funding was cut off- you've been
shooting sparks at my top hat,
laughing at me all along while you
use my money to stave off ruin.
I've seen Edison's men-
ALLEY
Where?
ANGIER
In the hotel. I've every mind to
bring them up here myself-
TESLA
That would be unwise, Mr.Angier.
Tesla is holding a cage containing a large tabby CAT.
TESLA (CONT'D)
It is true, sir, that you are your
one remaining financier. But we
have not stolen your money...
ALLEY
Sir, my cat?
Tesla silences Alley with a tiny GLANCE.
ALLEY (CONT'D)
When I told you I could make your
machine I spoke the simple truth.
Science is just a name for the art
of rendering the exotic mundane. It
has no boundaries- its very purpose
is to destroy boundaries.
ANGIER
Then why isn't the machine working?
Tesla gives Angier the slightest of smiles.
TESLA
Because exact science, Mr.Angier, is
not an exact science. The machine
simply does not operate as expected.
It needs continued examination.
ANGIER
Where did my top hat go?
ALLEY
Nowhere.
Alley points to the top hat, which is sitting on a workbench.
90.
ALLEY (CONT'D)
We've tried the damn thing a dozen
times. And the hat went nowhere.
TESLA
Which is why we need to rey a
different material. It may provoke
a different result.
Tesla opens the cage and points the open end at Alley.
TESLA (CONT'D)
You don't expect me to handle the
thing myself?
Alley reluctantly reaches into the cage and pulls out the
TERRIFIED CAT. He jumps down into the pit and secures the
animal bu its collar to a eye-hook sunk into the ground.
ALLEY
You are responsible for whatever
happens to this animal, Doctor.
Alley pulls himself out of the pit, and Tesla CHARGES the
generator.
The cat stares up at the machine around it and HISSES.
Without ceremony, Tesla FIRES the machine. As before, large
BOLTS spew from the head of the machine, down towards the
unseen cat. The machine build to a DEAFENING ROAR, then
sputters out.
Silence. The three men begin edging towards the pit.
Suddenly, a terrifying SCREECH. The cat is still there,
still tied to the hook.
Alley breathes a sigh of relief and starts to free the car.
Tesla looks frustated. Suddenly, the cat bursts free of
Alley and ROCJETS through the open side door of the lab.
ANGIER
I'll go.
Angier limps after the cat.
EXT. TESLA'S LABORATORY -- CONTINUOUS
Angier sees the cat disappearing along the edge of the
building and into the forest beyond.
Angier follows.
EXT. FOREST -- CONTINUOUS
Angier pushes his way through the dense undergrowth, trying
to keep up, but the cat has disappeared.
91.
ANGIER
Here, kitty, kitty.
Suddenly, a HORRIBLE SCREECHING reaches Angier. He begins
to follow the noise.
He stops at the opening of a tiny GLADE, no more than ten
feet across.
Two IDENTICAL CATS are fighting viciously in front of Angier.
He tries to separate the two animals, and succeeds in grabbing
one. The other cat RACES off.
Angier takes a few steps after it, then FREEZES, staring at-
TOP HATS. Clustered in a small glads. The first cat slinks
its way through them.
The SECOND BLACK cat jumps from Angier's hands- RACES into
the glade, HISSING, SPITTING, CHASING the first cat into the
WOODS BEYOND-
Angier is left alone in the clearing, staring at the pile of
dozens of IDENTICAL TOP HATS.
EXT. PORCH, TESLA'S LABORATORY -- DAY
The top hats are in a pile on the dark. Tesla is at the
table, measuring two HATS with a pair of Calipers. Angier
and Alley are watching.
ANGIER
So the machine was working?
ALLEY
I never bothered to check the
calibration. The hat never moved.
TESLA
These things never quite work as you
expect them to, Mr. Angier. That's
one of the principal beauties of
science.
Tesla looks carefully at the hat in his hands. It has a
tiny TEAR on the inside of the brim. He picks up another
hat. It has the same TEAR.
TESLA (CONT'D)
We'll need a couple of weeks to iron
OUT THE-
(looks at hats)
-problems with the machine. I'll
send word when it's ready.
Angier, still dazed, takes his cane and heads for the door.
92.
TESLA (CONT'D)
Don't forget your hat.
Angier stops and looks at the pile of hats.
ANGIER
Which one is mine?
TESLA
They are all your hat, Mr. Angier.
Tesla smiles at him.
INT. BORDEN'S WORKSHOP -- DAY
Borden's daughter, JESS, now four, runs into the room and
tries to hop up into his lap. Laughing, he helps her up.
JESS
Are we going to the zoo this
afternoon, daddy?
BORDEN
Daddy's got some business this
afternoon.
JESS
But you promised.
BORDEN
Did I?
Jess nods at him, solemly.
BORDEN (CONT'D)
Then go to the zoo we shall.
Borden holds the newspaper open for her to look at.
BORDEN (CONT'D)
(gestures to newspaper)
Who's that?
A large advertisement features a picture of Borden: The
Professor- England's premiere magician!
JESS
That's you, daddy?
Borden picks up the girl off of his lap and stands.
BORDEN
Daddy has some errands to run. I'll
be back before you know it, so get
ready.
Borden walks to the door. As he does, Sarah enters, avoiding
his eyes, then ducking him as he tries to kiss her.
93.
She reaches for the sherry decanter. He watches her pour.
Sarah looks at him, eyes red from crying.
SARAH
We each have our vices.
Borden moves to her, gentle concern in his eyes.
BORDEN
Sarah. Whatever you may think, your
only competitions for my affections
is my little girl. I love you. I
will always love you, and you alone.
She looks into his eyes. Fascinated.
SARAH
You mean it today.
BORDEN
Absolutely.
SARAH
That makes it so much harder when
you don't.
She turns from him. Borden watches her sadly. Leaves.
EXT. CANAL -- AFTERNOON
Borden walks along a disused strecth of industrial canal
that snakes through the poorer neighborhoods of the city.
Borden wanders into a tunel. Another man is waiting for
him -- Fallon.
Fallon hands Borden a folded piece of paper. He studies it.
BORDEN
More shopping. She doesn't like the
smell of money, doesn't she?
Fallon looks away. Borden tears up the paper.
BORDEN (CONT'D)
The little lady wants to visit the
Zoo, I thought you could take her.
I'll do it tomorrow, if not.
(looks at his feet)
Sarah... she knows. At least, she
knows things aren't right.
(looks at Fallon,
PLEADING)
Help me with her. Try and convince
her that I love her. Please.
Borden, embarrassed, pats Fallon on the shoulder and makes
off down the path. Fallon sets off in the opposite direction.
94.
INT. OLIVIA'S APARTMENT
Olivia, barely wearing a dressing gown, answers the door to
Borden. She pulls him in, trying to draw him into a kiss,
but he backs away.
OLIVIA
What is it. Freddy?
BORDEN
Please don't call me that. It's
nothing, just... sometimes things
seem... wrong.
Olivia looks at him. Cold.
OLIVIA
Freddy, I've told you before. When
you're with me, you're with me.
Leave your family at home where they
belong.
BORDEN
I'm trying, Olivia. Please.
OLIVIA
I'll get dressed.
Borden watches her move down the hall.
OLIVIA (O.S.) (CONT'D)
I saw Fallon hanging around my house
again, after you left.
Olivia comes back in, half-dressed.
OLIVIA (CONT'D)
There's something about him I don't
trust.
BORDEN
You trust me?
(off her look)
Then trust Fallon- he protects the
things I care about.
EXT. CLIFF HOUSE INN -- MORNING
Angier walks out from the lobby. The two MEN he saw before
are loading up their automobile. Smiling, laughing.
EXT. ROAD, PIKE'S PEAK -- MORNING
The coach pulls to a stop. Angier and the driver look up.
A plume of SMOKE is rising from further up the hill.
95.
EXT. CLEARING, PIKE'S PEAK -- MOMENTS LATER
Angier rounds the bend in the road and comes into view of
the laboratory. He FREEZES.
The fence has been TORN DOWN. Beyond it, the LAB has been
BURNED TO THE GROUND. The metal tower is in SMOLDERING
PIECES. Everything else is gone.
Angier notices a piece of metal lying in the road near him,
and, using his cane, flips it over. It's Alley's sign warning
trespassers to keep out.
INT. ANGIER'S ROOM, CLIFF HOUSE INN -- EVENING
Angier takes down the picture of Julia from the mantel. He
studies it a second then puts it in the top of his packed
suitcase.
INT. LOBBY, CLIFF HOUSE INN -- MORNING
The BELLBOYS wrestle with Angier's cases as Angier walks to
the reception desk. The manager smiles up at him.
MANAGER
We're sorry to see you go, Mr. Angier.
Angier takes out his wallet and begins laying down bills.
MANAGER (CONT'D)
We are sorry to see Mr. Tesla leave
as well. He was very good to Colorado
Springs. A very generous man.
Angier smiles up at him, absently and begins to leave.
MANAGER (CONT'D)
Mr. Angier?
(ANGIER TURNS)
I didn't feel it was necessary to
tell the other men about the box.
Angier stops.
ANGIER
What box?
The manager smiles.
INT. HALLWAY, CLIFF HOUSE INN -- MORNING
Angier follows the manager down a darkened hallway.
MANAGER
We never use these rooms in the off -
season. It's a shame.
96.
The manager stops at a set of DOUBLE DOORS and unlocks them.
He pushes them open and ushers Angier through.
INT. BALLROOM, CLIFF HOUSE INN -- CONTINUOUS
Angier steps into the massive, elegant room.
Standing on the dance floor is an ENORMOUS SHIPPING CRATE.
Stencilled on one side "COLORADO SPRINGS"
Angier walks up to the huge crate, awestruck.
An envelope addressed to him has been stuck to the front.
Angier stops it and begins to read.
TESLA (V.O.)
My dear Angier, you will find what
you were looking for in the box. I
apologize for leaving without saying
goodbye...
EXT. TESLA'S LABORATORY -- NIGHT -- FLASHBACK
Under cover of night, a group of FIGURES ransack the
laboratory.
TESLA (V.O.)
But I seem to have outstayed my
welcome in Colorado.
The figure begin setting FIRE to the sides of the laboratory.
TESLA (V.O.) (CONT'D)
The extraordinary is not permitted
in science and industry. Perhaps
you'll have more luck in your field,
mystified. As to the use of the
machine...
INT. ABANDONED THEATRE -- NIGHT
The open crate sits empty at the side of a derelict stage.
Angier, in shirt sleeves is running cables to the MACHINE,
which is standing center stage.
TESLA (V.O.)
Alley has written you a thorough set
of instructions. I add only one
suggestion on using the machine-
EXT. COLORADO SPRINGS -- NIGHT -- FLASHBACK
Alley holds open the door to a coach. Tesla steps up into
it and looks back from the coach's open door, up the mountain.
97.
TESLA (V.O.)
-Destroy it. Drop it to the bottom
of the deepest ocean.
High on the mountain, the laboratory is ABLAZE.
TESLA (CONT'D)
Such thing will only bring you
misery.
Tesla folds himself into the coach, shutting the door as it
moes off down the mountain.
INT. ABANDONED THEATRE -- NIGHT
Angier moves to one side of the stage where he makes a hash
mark with a piece of chalk.
ANGIER (V.O.)
Tesla's warning is as unheard as he
knew it would be. Today I tested
the machine...
He loads A GUN and places it next to the machine.
ANGIER (V.O.) (CONT'D)
Taking precautions in case Tesla
hadn't ironed out the kinks in its
operation...
Angier THROWS THE SWITCH. The machine GROANS into LIFE-
SPARKING and GLOWING as it gets up to full power.
ANGIER (V.O.) (CONT'D)
...if it went wrong I would not want
to live like that for long...
Angier closes his eyes for an instant, listening to its power,
then THROWS HIMSELF INTO THE MACHINE. HE IS CONSUMED BY
LIGHT...
WHITE SCEEN-
ANGIER (V.O.) (CONT'D)
But here, at the Turn, I must leave
you, Borden...
The WHITS becomes handwriting an a page and we are-
INT. PRISON CELL -- DAY
Borden STARES at Angier's journal in disbelief.
ANGIER
Yes, you, Borden. Sitting there, in
your cell, reading my diary. Awaiting
your death. For my murder.
98.
Borden SLAMS the journal shut. Staring at it.
EXT. PRISON CELL, NEWGATE PRISON -- DAY
BORDEN stands at the fence again.
OWENS
Lord Caldlow was happy to hear that
you'd reconsidered his offer.
BORDEN
Angier's journal, the "gesture of
good faith"? It's a fake.
OWENS
(SURPRISED)
I assure you it's not.
BORDEN
It has to be- it refers to events
that happened after his death.
OWENS
Clever predictions, I'm sure. The
provenance of the journal is clear
and under no doubt. It's written in
Angier own hand, of which we have
numerous examples.
(looks at Borden)
What makes you think it's a fake?
Borden looks away, uncomfortable.
BORDEN
It doesn't matter.
Borden leans forward and stuffs ROLLED PAPERS through the
fence. Owens takes them carefully.
BORDEN (CONT'D)
My tricks. All of them.
OWENS
Including the Transported Man? Lord
Caldlow will be very pleased.
BORDEN
No he won't. They're not complete-
you only have the Pledge and Turn
for each.
Owens leafs through the papers, annoyed.
OWENS
Without the Prestige for each trick
these are wothless.
99.
BORDEN
You'll get the rest after you bring
my daughter here.
Owens looks at Borden.
BORDEN (CONT'D)
I want to say goodbye.
INT. BORDEN'S HOUSE -- NIGHT
Jess sits at the foot of the stairs, listening to her parents
SHOUT at each other in the living room. She is CRYING.
BORDEN (O.S.)
Stop it! Just stop it!
SARAH
Deny it all you want- I know!
INT. LIVING ROOM, BORDEN'S HOUSE -- CONTINUOUS
Sarah is WILD, eyes red, hair a mess. Utterly DISTRAUGHT
Borden is trying to calm her.
BORDEN
Sarah, it's not true! I've told you
Olivia means nothing to me!
SARAH
I'll go yo her! I know what you
really are, Alfred!
BORDEN
(QUIETLY FIRM)
Sarah. You can't do that.
INT. HALLWAY, BORDEN'S HOUSE -- CONTINUOUS
Jess looks up. Fallon is standing above her. Listening.
SARAH (O.S.)
I'll do what I have to!
Jess reaches up a hand. Fallon takes it in his.
BORDEN (O.S.)
Sarah, you can't talk like this!
INT. LIVING ROOM, BORDEN'S HOUSE -- CONTINUOUS
Sarah turn to face Borden. Deperate.
SARAH
I can't live like this!
100.
BORDEN
(ANGRY)
What do you want from me!
Sarah pauses. Catches her breath.
SARAH
(QUIET)
I want you to be honest with me. No
tricks, no lies, no secrets.
Borden calms. Looks into her eyes. Nods.
SARAH (CONT'D)
Do you love me?
Borden looks into her eyes. Sincere.
BORDEN
Not today.
Sarah takes this in. Borden watches, helpless.
SARAH
(WHISPERS)
Thank you.
Borden watches her turn away from him.
INT. HALLWAY, BORDEN'S HOUSE -- CONTINUOUS
Jess reaches up to Fallon with her other hand. He takes her
gently in his arms. We stay on Jess's tear-stained face
over Fallon's shoulder as he carries her up the stairs.
INT. BORDEN'S WORKSHOP -- MORNING
CLOSE ON A POSTER: Borden, in costume, looking intense: THE
PROFESSOR- MASTER OF DARK FORCES. As we PULL BACK we hear a
GENTLE CREAKING...
PULL BACK past a hanging PAIR OF FEET, one shoe missing...
wider shows up that it is SARAH, HANGING BY HER NECK FROM A
BEAM IN THE MIDDLE OF THE SHOP. Gently swinging.
INT. PUBLIC HOUSE -- NIGHT
Cutter is finishing his meal at the bar. He goes to take a
swig from his pint and FREEZES- at the bottom of the glass:
A PLAYING CARD. He looks around the bar. No one he
recognizes. He reaches into the glass.
Cutter pulls out the card- an ADDRESS is written up one side.
EXT. ABANDONED THEATRE -- NIGHT
Cutter walks along labyrinthine streets. Stops at an
ABANDONED THEATRE. He looks up at the building, then enters.
101.
INT. ALBERT HALL -- EVENING
Cutter makes his way past the tattered box office and into
the derelivt auditorium.
In the middle of the room is the CRATE. Cutter stands and
stares at it.
MALE VOICE (O.S.)
WHO'S THERE
Cutter turns. A STAGEHAND. His eyes are solid white. The
man is clearly BLIND.
CUTTER
I- I'm looking for an old friend-
ANGIER (O.S.)
I heard about a booking...
Cutter turns. Angier is behind him, leaning on his cane.
Beside Angier is a SECOND BLIND STAGEHAND.
ANGIER (CONT'D)
Nice little theatre. Good up-and-
coming magician.
CUTTER
You came back.
ANGIER
It's a good to see you, John.
Cutter sizes Angier up. Looks around the theatre.
CUTTER
Good rehearsal space. Blind
stagehands. I like it-
(KNOWING SMILE)
You always had an eye for publicity.
Angier sits in one of the stalls. Cutter follows suit.
ANGIER
I need your help, John. My last
show. A limited engagement.
CUTTER
Your last show?
ANGIER
A wise man once told me that obsession
was a young man's game. I'm almost
done. One thing left...
(points at crate)
The real Transported Man.
Cutter stares at the crate.
102.
CUTTER
You want to design a show around it?
ANGIER
i don't want you backstage, I need
you front of house, managing.
Cutter considers this. Uncertain.
ANGIER (CONT'D)
i need you calling in any favours
and connections you have left to get
us the right booking for the run.
CUTTER
What sort of booking are you after?
ANGIER
The sort that Borden can't ignore.
Cutter looks at Angier. Nods.
EXT. ABANDONED THEATRE -- DAY
A long, expensive CARRIEGE creeps out to a halt outside the
abandoned theatre, and the confused driver pulls over.
DRIVER
This is the address, sir.
The carriage opens, an imposing man in his 50's steps out,
looks the place up and down, then heads inside.
INT. ABANDONED THEATRE -- CONTINUOUS
The man enters the auditoruim and stares downat the BRIGHTLY
LIT STAGE.
Cutter moves quickly up the aisle, hand outstretched.
CUTTER
Mr.Ackerman. It's an honor to see
you again, sir.
Ackerman shakes Cutter's hand.
ACKERMAN
When you said you only wanted to
show me one trick it piqued my
interest.
CUTTER
It's a very special trick.
Mr.Ackerman.
Angier has appeared.
103.
ANGIER
Pleased to meet you, Mr. Ackerman.
ACKERMAN
Likewise, I'm sure. Let's get on,
shall we?
Angier smiles.
CUTTER
(down to stage)
Turn it on, please.
After a moment, the machine SPARKS INTO LIFE. ELECTRIC BOLTS
CASCADE from the GLOBE and SPLASH on the stage.
ACKERMAN
Very pretty.
Angier smiles at Cutter and head back down the stage. he
STEPS himself into the machine and DISAPPEARS.
The machine SPUTTERS out and is silent.
ACKERMAN (CONT'D)
That's it, Cutter? He simply
disappears? That's not a trick. He
has to come back. There has to be a-
VOICE (O.S.)
-a Prestige?
ACKERMAN
EXACTLY-
Ackerman begins to turn around- then STOPS-
ANGIER IS STANDING DIRECTLY BEHIND HIM.
Ackerman is dumfounded. He looks back down at the stage.
ACKERMAN (CONT'D)
(quiet, haunted)
Pardon me. It's very rare to see...
real magic. it's been many years
since I've seen...
Anckerman steadies himself;
ANGIER
Are you interested in helping us?
ACKERMAN
(NODS)
Yes. But you'll have to dress it up
a little. Disguise it. Give them
enough reason to doubt it.
104.
INT. STAGE MANAGER'S OFFICE, PANTAGE'S THEATRE -- DAY
Merrit sits eating a sandwich. The door to his office opens
and ACKERMAN strides in. Merrit STRUGGLES to his feet.
MERRIT
(SURPRISED)
Mr. Ackerman. When they said...I
didn't think you'd be here in person.
Ackerman sits without being asked to.
ACKERMAN
I have an act for your venue.
MERRIT
(FLUSTERED)
Well, of course, sir...But I'm afraid
I'm booked. The Moscow Ballet.
They're playing through next year.
ACKERMAN
Get rid of them. This is a magical
act. An excellent one. I believe
you booked his first engagement
several years ago. The Great Danton.
MERRIT
You really want me to-
Ackerman stands.
MERRIT (CONT'D)
I'll do it. Of course.
Ackerman picks up a pen and paper from Merrit's desk.
ACKERMAN
(SMILES)
There will be one hundred
performances. No more, no less.
Five perfomances a week. No
matinees, no weekends.
Ackerman scribbles onto the paper and hands it to Merrit.
ACKERMAN (CONT'D)
(SMILES)
And that's what you'll be charging
for each ticket. Good day.
Ackerman sweeps out of the room, leaving Merrit dumbfounded,
staring at the scrap of paper in his hands.
INT. RESTAURANT -- EVENING
Olivia and Borden are seated across from each other, finishing
their meal. Olivia watches Borden eat.
105.
OLIVIA
You haven't spopken about her, Freddy.
Not once.
BORDEN
Who?
OLIVIA
Don't be cruel.
BORDEN
Why would I talk about her to you?
OLIVIA
Because she was part of your life
and now she's gone.
Borden says nothing.
OLIVIA (CONT'D)
She wanted to meet me the day before
she killed herself. Said she had
something to tell me about you.
(LOOKS AWAY)
I was such a coward, I couldn't bring
myself to face her.
(looks at Borden)
What would she have said, I wonder?
BORDEN
(SNAPS)
You want the truth about me, Olivia?
(she nods, wary)
I never loved Sarah.
OLIVIA
(APPALLED)
You married her, had a child with
HER-
BORDEN
Part of me loved her. But part of
me didn't. The part that found you.
The part that's sitting here now. I
love you. That is the truth that
matters.
Olivia tosses her napkin on her plate.
OLIVIA
You could be sitting in some other
restaurant talking to some other
woman about me that way. It's unhuman
to be so cold.
Borden watches her rise from the table. She looks at him.
106.
OLIVIA (CONT'D)
By the way, have you seen who's opened
at the Pantages?
(Borden shakes head)
The Great Danton.
BORDEN
He's back?
OLIVIA
After two years. And he has a new
trick. They're saying it's the best
that London's ever seen.
Borden cannot hide his reaction.
OLIVIA (CONT'D)
If you could see the look on your
face, Professor. You should go to
him- you deserve each other.
Olivia smiles at him and leaves.
INT. PANTAGE'S THEATRE -- EVENING
Borden, in disguise, takes his seat halfway along the aisle.
The lights dim. Curtains RISE on a simple stage. Bare except
for a WATER-FILLED GLASS TANK.
Borden STIFFENS in his seat, perplexed.
Angier limps onto the stage. Addresses the audience.
ANGIER
Ladies and gentlemen, my first trick
of the evening is one that involves
considerable risk.
(removes his coat)
Anyone in the audience who would be
irrevocable damaged by seeing a man
drown should leave now, for when I
tell you that the young lady who
taught performing it, you will
understand the seriousness of the
danger involved.
Borden watches the hook descend from the flies. Remembering.
INSERT CUT: Borden STARES as Angier desperately BRUSHES the
water from Julia's face.
INT. PANTAGE'S THEATRE -- LATER
Angier steps forward as another curtain is drawn up behind
him, revealing TESLA'S MACHINE.
107.
ANGIER
In my travels I have seen the future,
and it is a strange future indeed.
The world is on the brink of new and
terrifying possibilities.
The audience RECOILS in terror as the MACHINE is STARTED and
BOLTS fly from it. SMOKE drift over the audience.
Borden inches forward in his seat. Angier stands in front
of the machine, silhouetted by the FRENZY of electricity
behind him. He TOSSES his cane to his assistant and steps
into the machine.
The audience SCREAMS as large bolts BLAST from the machine
and wrap themselves around ANGIER'S ARMS and legs.
Borden is watching very carefully. Angier is almost
impossible to see as the machine builds to a climax, but,
just before it does; Borden catches a glimpse of ANGIER'S
BODY FALLING THROUGH A TRAP DOOR.
The machine sputters out. Angier has DISAPPEARED. The lights
are dim. A FOLLOW SPOT FIRES into the BOXES, audience looks
up with a gathering commotion-
ANGIER IS STANDING ON THE RAIL OF THE ROYAL BOX, thirtyfeet
above stalls. He smiles down at the audience.
ANGIER (CONT'D)
Man's reach exceeds his IMAGINATION!
The audience breaks into a MASSIVE STANDING OVATION.
INT. BORDEN'S WORKSHOP -- DAY
Fallon is at the workbench, staring at a sketch of Tesla's
machine. Borden paces, AGITATED.
BORDEN
Why only 100 performances? Do his
methods dictate it, or is it simply
a publicity move?
Borden walks back and stares at the sketch.
BORDEN (CONT'D)
Fifty yards in a second. And all I
know is that he uses a trapdoor.
What's going on under that stage?
EXT. PANTAGE'S THEATRE -- NIGHT
The theatre is closed, and tree BLIND STAGEHANDS are
wreastling a TARP-WRAPPED BOX onto a cart in the alleyway
behind the theatre.
Fallon is watching from the shadows.
108.
EXT. LABYRINTHINE STREETS -- CONTINUOUS
Fallon shadows the cart as it slowly makes its way.
EXT. ABANDONED THEATRE -- LATER
Fallon watches from further down in the alley as the Blind
Stagehands unload the box onto a dolly and wheel it through
the stage door.
He moves closer, then STOPS. Seeing something. CUTTER has
emerged from a nearby doorway and slipped through the stage
door.
INT. ABANDONED THEATRE -- CONTINUOUS
The blind stagehand wheel the tarp-covered box to two LARGE
METAL DOORS in the floor of the auditorium and start hooking
it up to a winch. The metal doors open with a metal HOWL...
Cutter slips down the aisle. WATCHING.
BLIND STAGEHAND
WHO'S THERE!
The man turns precisely to Cutter, flasing his white eyes.
CUTTER
It's Cutter.
BLIND STAGEHAND
What do you want?
CUTTER
I'm looking for Angier.
ANGIER
You found him.
Cutter turns. Angier approaches.
ANGIER (CONT'D)
I told you, John- I don't want you
backstage on this one.
CUTTER
What are they doing?
ANGIER
Disposing of the Prestige materials.
Cutter looks down at the BLACK HOLE in the floor.
CUTTER
What's down there?
Angier looks at him, serious.
109.
ANGIER
Do you really want to know?
Cutter considers Angier's grave tone.
CUTTER
Perhaps not.
Cutter leaves by the stage door.
INT. BORDEN'S WORKSHOP -- DAY
Borden sits at his work bench. Fallon fiddles with his howler
hat.
BORDEN
They do this every night. After
each performance?
Fallon nods. Borden gets to his feet with a sigh. Turns to
a POSTER on the wall- "The Great Danton Perform THE REAL
TRANSPORTED MAN- 100 SHOWS ONLY"
He studies the image of Angier. There is a small DEVIL
looking over his shoulder.
BORDEN (CONT'D)
We're done.
(turns to Fallon)
Let him have this trick. You're not
to go back there. I don't need to
know his secret. Leave him alone.
Fallon puts on his hat with a shrug.
INT. PANTAGE'S THEATRE -- EVENING
A packed house. Many hands raised. Move in on a BEARDED
MAN, his gloved hand tentatively rising into the air. IT IS
BORDEN.
A GLAMOROUS ASSISTANT beckons Borden from the aisle. He
shuffles along his row towards her. Embarrassed.
Borden and four other VOLUNTEERS follow the Assistant down
towards the stage...
On which stands Angier, leaning on his cane, smiling. Looming
over him is the large and complex ELECTRICAL MACHINE. Borden
STARES at the machine as he mounts the stage.
Borden, FASCINATED, and the other volunteers look over the
vast machine. As Angier GESTURES theatrically at the various
features of the metal and glass apparatus.
As the Assistant leads the Volunteers to the side of the
stage, Borden slips through the gas at the side of the
CURTAINS-
110.
INT. PANTAGE'S THEATRE, BACKSTAGE -- CONTINUOUS
-looks around, disoriented, then darts for some stairs leading
below stage where he runs into a burly STAGEHAND.
STAGEHAND
Where'd you think you're going?
Borden pulls off his beard.
BORDEN
I'm part of the act, you fool!
The Stagehand raises his eyebrows and steps aside. Borden
RACES down below the stage. Cutter approaches the Stagehand.
CUTTER
Who was that?
INT. PANTAGE'S THEATRE, ONSTAGE -- CONTINUOUS
Angier throws switches on his machine. As it GROANS into
life, SPARKING and CRACKLING, Angier gares at it, forgetting
his audience. Entraced. Possessed.
INT. BENEATH THE STAGE -- CONTINUOUS
Borden fumbles through the darkned area, lit by flashes and
sparks through gaps in the boards of the stage above. He
GASPS as a flash illuminates a STAGEHAND with SOLID WHITE
EYES sitting nearby. Borden waves a hand in front of the
Stagehand's face. He is BLIND. Borden moves on.
INT. PANTAGE'S THEATRE, ONSTAGE -- NIGHT
Angier, facing the audience, steps backwards into the machine.
He looks up at the electricity sparking just above him.
INT. BENEATH THE STAGE -- CONTINUOUS
Borden lights a MATCH. In front of him is a LARGE GLASS
TANK FILLED WITH WATER, ITS LID PROPPED OPEN. Borden frowns.
INT. PANTAGE'S THEATRE, ONSTAGE -- CONTINUOUS
BOLTS of electricity draw inwards, wrapping Angier in a ball
of LIGHTING which CRACKS-
INT. BENEATH THE STAGE -- CONTINUOUS
The ROOM fills with lIGHT as a TRAPDOOR snaps open and a
BODY DROPS INTO THE TANK. The lid of the tank and trapdoor
above SNAP SHUT, leaving the tank, and Borden, in complete
DARKNESS.
111.
INT. PANTAGE'S THEATRE, ONSTAGE -- CONTINUOUS
The Machine sputters to a stop. Angier is GONE. The audience
sits, WAITING.
INT. BENEATH THE STAGE -- NIGHT
Borden the tank, ANGIER IS DROWING. His rolling EYES fixed
on Borden, he POUNDS desperetely on the thick glass, SCREAMING
BUBBLES...
Borden, HORROFIED, tries forcing the lif ot the tank open.
It's sealed shut. He leaves the tank and begins searching
around under the stage. He finds a SPANNER.
Borden SMASHES again and again at the glass of the tank,
which spiders, then CRACKS, and finally GIVES WAY.
WATER bursts from the tank, sweeping Angier's body into
Borden, and both of them onto gournd.
Above them we can hear YELLING. Borden rolls Angier onto
his side and POUNDS on his back. Water and blood OOZE from
the man's lungs. His eyes are dilated and lifeless:
ANGIER IS DEAD.
Borden is frozen, unable to move.
Cutter appears behind him, SHOCKED by what he sees. Borden
turns to look at him, his eyes wild with confusion.
CUTTER
What did you do?
INT. MORQUE -- EVENING
A MORTICIAN pulls back a sheet draped over a CORPSE.
Angier's lifeless eyes stare up at us. Cutter looks at
Angier, the up at the Mortician. Nods.
JUDGE (V.O.)
Alfred Borden, you have been found
guilty of the murder of Robert
Angier...
INT. COURTROOM -- DAY
borden stands chained to the dock. The JUDGE has a piece of
black cloth draped over his wig.
JUDGE
You will, in one month's time, be
hanged by the neck until dead. May
the Lord have mercy on your soul.
112.
INT. EVIDENCE ROOM, WAREHOUSE -- DAY
A POLICEMAN shows Owens into the room, walking him past all
of the equipment to the far end where Cutter stands staring
at the MACHINE'S CRATE.
OWENS
Mr.Cutter?
(CUTTER TURNS)
Owens.
They shake hands.
CUTTER
Thank you for coming, Mr.Owens.
It's fallen to me to dispose of
Mr.Angier's equipment. Looking at
the manifest, it's cleat that Lord
Caldlow has purchased the bulk of
the items.
OWENS
Mr.Cutter, if you needed to know
where to deliver the items you surely
could have just-
CUTTER
It's not just that, Mr.Owens. There
is a particular item
(turns to crate)
This time, in fact, that I wish to...
well, that is to say, I want to-
OWENS
You wnat to buy it instead.
CUTTER
I suppose so, yes.
Owens moves closer to the crate. Sees the COLORADO SPRINGS
stencil.
OWENS
This is the machine?
(OFF LOOK)
I'm afraid Lord Caldlow was adamant
about procuring this particular item.
CUTTER
Perhaps if I dould talk to Lord
Caldlow in person.
OWENS
Out of the question, I'm afraid.
Cutter nods. Owens starts to walk away. Turns.
113.
OWENS (CONT'D)
of course, I suppose... if, in the
course of your delivery arrangements
your paths were to cross... I can't
stop you from speaking your mind.
Cutter nods.
INT. CONDEMNED MAN'S CELL, NEWGATE PRISON -- MORNING
Borden is sitting quietlt in a large cell.
Sullen opens the door.
SULLEN
(SARDONIC)
Still here, Borden?
Borden looks up.
BORDEN
For now.
SULLEN
Got a visitor. Lord Caldlow. With
a little girl.
Borden HURRIES to his feet.
EXT. PRISON YARD, NEWGATE PRISON -- DAY
Borden, clutching an envelope, is escorted across the yard,
PEERING at the fence. He catches a glimpse of this daughter
waling beside a man on the wooden section.
As Borden reaches the fence he CROUCHES to greet his little
girl, forcing the Sullen and the other Warder to crouch to
undo his chains.
BORDEN
Jess, how are you?
Jess SMILES at him and reaches through the fence.
BORDEN (CONT'D)
Are you alright?
She nods.
BORDEN (CONT'D)
I've missed you. Fallon's missed
you. We both have.
Borden drinks in her gace, her hair. She grasps the fence.
JESS
Can I come in there, Daddy?
114.
BORDEN
Everything's going to be okay.
It is only then that he notices the HAND ON HER SHOULDER.
He rises to come face-to-face with Lord Caldlow-
BORDEN (CONT'D)
You must be Lord-
-who is ROBERT ANGIER. Risen from the dead.
ANGIER
(ENGLISH ACCENT)
Caldlow. Yes, I am. I always have
been.
Borden STARES at Angier.
BORDEN
I saw you die.
Angier just SMILES.
ANGIER
They flatter you with all those
chains, Alfred. Don't they know you
can't escape without your little
rubber ball?
Borden says nothing.
ANGIER (CONT'D)
All I wanted to do was prove that I
was the better magician. But you
couldn't leave me alone.
BORDEN
You were always afraid to get your
hands dirty...
(looks down at his
JESS)
Not anymore.
ANGIER
No. Not anymore. And I win. Because
no one cares about the man in the
box, the man who disappears.
BORDEN
You win. But don't take my little
girl...
Angier looks at Borden. Bitter
ANGIER
I know how hard it is to have someone
so precious taken away, don't I
(MORE)
115.
ANGIER (CONT'D)
Borden? But you can't take her with
you know, can you? She'll be looked
after. Good-bye, Professor.
Angier gently pulls Jess back from the fence. She PROTESTS
Desperate, Borden holds out the envelope.
BORDEN
Wait. Don't you want this? You
paid for it.
ANGIER
Your secret.
Borden nods. Angier steps up, takes the envelope.
ANGIER (CONT'D)
You always were the better magician,
Borden. We both know that.
HE TEARS the envelope in half. Then again. And again...
ANGIER (CONT'D)
But whatever your secret was, you'll
have to agree-
He tosses the peices on the ground.
ANGIER (CONT'D)
(VICTORIOUS)
-mine is better.
Angier TURNS.
BORDEN
Angier! Let me say good-bye. Please.
Angier stops. Lets Jess come to fence. She is crying.
JESS
When are you taking me home, Daddy?
BORDEN
Soon. I promise. Soon.
ANGIER
For God's sake, Borden.
BORDEN
Daddy's coming, I promise. I promise.
HERE-
Borden PRODUCES his RUBBER BALL. Jess looks at it.
BORDEN (CONT'D)
I promise.
116.
Borden VANISHES the rubber ball. ANgier pulls Jess back
from the fence and starts walking away. Borden rises.
BORDEN (CONT'D)
You think this place can hold me,
Angier?
Angier continues walking Jess away. Shaking this head.
BORDEN (CONT'D)
Angier!
Borden is alone. He watches as the wind scatters the pieces
of his prestige over the muddy yard.
EXT. LARGE COUNTRY ESTATE -- EVENING
Angier steps out of an ornate carriage with Jess.
INT. LARGE COUNTRY ESTATE -- EVENING
Angier steps inside with Jess. The HOUSEKEEPER comes to
take her.
HOUSEKEEPER
Come here, love.
(TO ANGIER)
Sir, there's gentleman waiting.
Angier looks at her, surprised.
INT. DRAWING ROOM, COUNTRY ESTATE -- CONTINUOUS
Cutter is in the drawing room, looking at the carriage clock
on the mantle. Angier enters. Cutter spots his reflection.
CAPTAIN
Dead God.
ANGIER
Hello, Cutter.
CUTTER
You're alive.
(ANGIER NODS)
You're Lord Caldlow.
(Angier nods again)
How?
ANGIER
(SHRUGS)
I learned an American accent from-
CUTTER
(ANGRY)
How are you alive, Robert?! I saw
you on the slab, for God's sake.
117.
Angier fixes Cutter with a steady gaze.
ANGIER
I magician never reveals his secrets.
The Housekeeper appears with Jess at her side.
HOUSEKEEPER
Go on, child.
Angier smiles kindly at her.
ANGIER
Good night, Jess.
They leave.
CUTTER
Who's the girl?
Angier says nothing.
CUTTER (CONT'D)
I've seen her. I've seen her in
court with Fallon...
Cutter, realizing, looks at Angier, SHOCKED.
CUTTER (CONT'D)
(QUIET)
What have you done?
ANGIER
She needs looking after-
CUTTER
She needs her father, but you're
letting him hang. And I helped you.
Cutter moves to the door. In a daze. Pauses.
CUTTER (CONT'D)
I came here tonight to beg Lord
Caldlow to let me destroy that
machine. But I won't beg you for
anything.
ANGIER
You don't have to. I'm going to
make sure the machine. is never used
again.
(SHRUGS)
A good magician never repeats his
tricks.
118.
Cutter considers this. Makes a decision.
CUTTER
Then, Lord Caldlow, where would like
me to deliver it?
ANGIER
My theatre. It belongs with the
Prestige materials.
Cutter lookd at Angier. Sad.
CUTTER
I once told you about the sailor who
described drowing to me...
ANGIER
(NODS)
He said it was like going home.
CUTTER
I was lying. He said it was agony.
Cutter opens the door. Angier watches him go.
EXT. PRISON YARD, NEWGATE PRISON -- MORNING
Borden is at the fence. Fallon is on the other side.
BORDEN
We go alone now- both of us. Only I
don't have as far to go as you.
Borden looks down at his feet.
BORDEN (CONT'D)
You were right. I should've left
him to his damned trick... I'm sorry.
I'm sorry for so many things. For
Sarah. I didn't want to hurt her.
Fallon wipes tears from his face. Borden looks at him.
BORDEN (CONT'D)
Don't cry. Not for me. Go live
your life in full. For both of us.
Borden pulls the RUBBER BALL from his pocket and BOUNCES it
up and down. He TURNS to be led back into the prison,
DROPPING the ball.
The ball bounces gently past the fence. Fallon catches it.
INT. PRISON CORRIDOR, NEWGATE PRISON -- MORNING
Borden is led along the empty corridor, braced by six guards.
119.
The procession stops at a large windowless metal door, sunk
deep into the wall. Sullen opens the door and Borden is led
inside. As Borden passes Sullen he leans in to his ear-
BORDEN
(QUIET)
Are you watching closely?
Sullen stares back at him, terrified.
INT. DEATH CHAMBER, NEWGATE PRISON -- CONTINUOUS
The room is low and small. Two parallel beams, eight feet
high, run from one wall to the other. Hanging from the center
of the beams is a chain. Below the chian is a trap door.
Sullen locks the door to the chamber.
EXT. LARGE COUNTRY ESTATE -- DAY
Jess is playing in the grounds. A NURSEMAID some distance
off chats to a GARDENER.
Jess looks up from playing. Someone is there. Cutter.
EXT. ABANDONED THEATRE -- EVENING
A CART pulls up to the side of the theatre.
Cutter and two WORKMEN step down from the cart and move to
the back of it. Cutter pulls the tarp off the back of the
cart. Underneath it is the MACHINE's CRATE.
INT. ABANDONED THEATRE -- EVENING
The crate is sitting on the dolly in the auditorium.
CUTTER
Thank-you gents.
WORKMAN
Where do you want it?
CUTTER
Don't worry. Someone's coming to
help.
The workmen levae. Cutter looks at the crate.
Angier emerges from the darkness.
INT. DEATH CHAMBER
The warders remove Borden's chains and shackles and replace
them with strong leather belts that bind his feet together
and his hands to his sides.
They shuffle him forward onto the trapdoor.
120.
INT. ABANDONED THEATRE -- NIGHT
Angier and Cutter load the crate onto a platform suspended
by a rope. Angier pulls open the two metal doors sunk into
the floor.
Cutter begins turning a WHICH, lowering the crate into the
HOLE. Angier indicates a pile of bricks and a bag of sand.
CUTTER
I'm bringing this over after we're
done.
ANGIER
Cautions as ever, Cutter. No one's
going to use the place. I own it.
INT. CELLAR, ABANDONED THEATRE -- EVENING
Angier slowly climbs down a ladder from the hole to join
Cutter in the darkness below.
Cutter is standing next to the platform and the crate. The
only night comes from a LANTERN Angier is carrying. We can
see only a small flicker of the high moldy walls of the
cellar, but it is a large open space.
CUTTER
No room left- you couldn't have
acommodated 100 performances.
ANGIER
It's a good thing I retired early
then.
Angier puts the lattern and his cane on the lif of the crate
and the two men heft ir off the platform.
ANGIER (CONT'D)
We'll put it down the end.
Angier and Cutter move into the darkness with the crate.
From the small pool of light afforded by the lattern, we can
see that they are navigating their way through a large space
filled with LARGE GLASS BOXES.
They arrive at the end and set the crate down.
CUTTER
I'll go mix the cement.
Cutter looks at Angier, cold.
CUTTER (CONT'D)
Take a minute to consider your
achiviement.
Cutter turns.
121.
ANGIER
Cutter, I tried not to involve you.
Cutter looks at Angier. Nods. Then disappears into darkness.
INT. ABANDONED THEATRE -- MOMENTS LATER
Cutter comes across the stage and up through the auditorium.
Fallon is coming in the other direction.
As they pass they nod gravely at each other.
INT. DEATH CHAMBER, NEWGATE PRISON -- DAY
Borden is held in place by the trapdoor by two warders. The
HANGMAN walks up behind him and attaches a NOOSE to the chain
hanging above Borden. He slips the other end of the noose
over Borden's neck. Positions it under Borden's jaw.
INT. CELLAR, ABANDONED THEATRE -- CONTINUOUS
Angier is alone bather in the lgiht of the lantern. He turns
to the nearest glass box and smoothes a hand along its face.
ANGIER
(WHISPER)
No one cares about the man in the
box.
Behind him, a NOISE.
ANGIER (CONT'D)
(CALLING)
Cutter?
No responses.
INT. DEATH CHAMBER, NEWGATE PRISON -- DAY
They WRDEN looks at Borden.
WARDEN
Alfred borden, on this day, in the
name of the King and the high court
of England, you will meet your end.
Do you have anything to say for
yourself.
Borden saus nothing. The Warden gestures to the HANGMAn who
begins to PULL the lever.
BORDEN
(WHISPER)
Abacadabra.
The trap DROPS from under Borden and he FALLS into the room
below. His rope SNAPS to a halt-
122.
INT. CELLAR, ABANDONED THEATRE -- NIGHT
Angier PEERS down the row of glass boxes with the lantern.
ANGIER
(TENSE)
CUTTER?
Angier FREEZES. He can hear a small THUD, THUD, THUD getting
closer, approaching from the darkness...
Angier FLINCHES as a RUBBER BALL bounces into the light-
Angier DROPS his cane to CATCH the ball. He turns it around
in his hands, confused.
Light EXPLODES around him as a GUNSHOT rings out.
Angier stands for a moment, confused, staring at the ball,
then COLLAPSES to the ground, clutching at his stomach.
Fallon's BOWLER HAT breaks into the circle of light. he is
holding a smoking pistol...
Angier drops the ball and it rolls across the floor, coming
to rest at Fallon's feet. But it is not Fallon's gloved
hand that picks up the ball-
-it is a MUTILATED HAND, WITH 2 1/2 FINGERS MISSING. Angier
LOOKS UP:
ALFRED BORDEN REMOVES THE BOWLER HAT AND TAKES A BOW.
ANGIER (CONT'D)
(WEAK)
You- you died.
Borden shakes his head.
Realization sweeps over Angier like a nightmare.
ANGIER (CONT'D)
A brother. A Twin.
INT. BASEMENT -- CONTINUOUS -- FLASHBACK
Fallon DROPS into the coffin. As fallon stares up at us, WE
SEE, FOR THE FIRST TIME, SOMETHING FAMILIAR IN HIS FACE --
FALLON IS REALLY BORDEN IN DISGUISE.
ANGIER
You were Fallon. The whole time...
Fallon/Borden's face disappears as Cutter seals his coffin.
INT. CELLAR, ABANDONED THEATRE
Borden smiles.
123.
BORDEN
We were both Fallon. And we were
both Borden.
Angier considers this. Minds spinning.
ANGIER
Were you the one who went into the
BOX-
INT. STAGE -- EVENING -- FLASHBACK
As the ball bounces acroos the stage, Borden steps into the
cabinet, shutting the door behind him.
ANGIER (V.O.)
-or the one who come back out?
Borden steps out of the second cabinet and catches the ball.
INT. DRESSING ROOM -- EVENING -- FLASHBACK
A stagehand wheels the two stage cabinets into the dressing
room and leaves. Borden holts the door after him.
BORDEN (V.O.)
We took turns. The trick is where
we would swap...
Borden opens the first cabinet and pulls up the false bottom.
His TWIN BROTHER, in indentical stage clothes, uncurls himself
from the hidden compartment and hauls himself out.
INT. DRESSING ROOM -- LATER -- FLASHBACK
Fallon and Borden are seated at the makeup table. Fallon
begins removing pieces of his costume and makeup and handing
them to the other brother. As we watch, THEY SWITHC
INDENTITIES.
INT. CELLAR, ABANDONED THEATRE -- EVENING
Angier stares up at Borden. Appalled.
ANGIER
Cutter knew. But I told him it was
too simple. Too easy.
BORDEN
Simple, maybe. But not easy.
INT. WORKSHOP -- EVENING -- FLASHBACK
Both Bordens are standing at the workbench. One brother is
gripping the other by his wrist and placing a CHISEL on his
finger.
124.
He checks the placemen of the chisel against his own mutilated
fingers, adjust the chisel's position, them picks up the
hammer.
BORDEN (V.O.)
Nothing easy about two men sharing
one life.
The second brother SWIGS from a gin bottle, then BITES down
a padded stick as the first brother BRINGS DOWN THE HAMMER-
INT. CELLAR, ABANDONED THEATRE -- EVENING
Borden stares at his mutilated hand clasping the rubber ball.
ANGIER
What about Olivia? And your wife?
BORDEN
We each loved one of them. We each
had half a full life. Enough for
us, but not for them.
Borden puts the ball in his pocket. Tears in his eyes.
BORDEN (CONT'D)
Sacrifice, Robert- that's the price
of a good trick.
Borden looks down at Angier with contempt.
BORDEN (CONT'D)
But you wouldn't know anything about
that, would you?
Angier is dying. He opens his mouth to talk, but his voice
is so wak that Borden has to stoop to hear him.
ANGIER
(VERY QUIET)
I've made sacrificies.
BORDEN
It takes nothing to steal someone
else's work.
ANGIER
It takes everything.
INT. ABANDONED THEATRE -- DAY -- FLASHBACK
Angier stands in front of Tesla's machine. Loading the
pistol. He places the pistol by the machine...
Angier takes off his jacket and steps towards the HISSING
machine. BOTLS curl themselves around him.
ANGIER HURLS HIMSELF INTO THE LIGHT.
125.
This time we do not cut away.
The machine sputters out.
ANGIER IS STILL STANDING BENEATH IT.
ANGIER
(CONFUSED)
It didn't work.
VOICE (V.O.)
Yes it did.
Angier turns...
ANOTHER ANGIER is standing on the chalk hashmark, STEAM rising
off his shoulders.
The first Angier lunges for the pistol and levels it at the
second Angier.
SECOND ANGIER
(HORRIFIED)
No, wait! I'm the-
BANG! BANG! The firt Angier FIRES TWO SHOTS and, grim-
faced, drops the pistol. SHOCKED. He stumbles back, in a
daze, clothes still steaming.
INT. CELLAR, ABANDONED THEATRE -- NIGHT
Angier looks down, a slight smile on his face. He gestures
to the lantern.
ANGIER
(WEAKER)
Do you want to see what it cost me?
You didn't see where you are, did
you? Let me show you.
Angier slumps to the floor as he tries to reach for the
lantern. He can't his hand to obey him.
ANGIER (CONT'D)
It took courage to climb into that
machine every night...
INT. UNDER THE STAGE -- EVENING -- FLASHBACK
A drowing tank, identical to the one we have already seen.
A blind stagehand sits behind it, smoking.
ANGIER (V.O.)
Not knowing if I'd be the Prestige....
Suddenly, a trap door flashes open as Angier falls from the
stage door and SPLASHES into the tank. The lid snaps shut.
126.
ANGIER (V.O.) (CONT'D)
Or the man in the box...
Angier pounds on the glass, frantic. The blind stagehand
continues smoking. Oblivious.
INT. WORKSHOP -- DAY -- FLASHBACK
Two hands SLAM shut on the lid of a birdcage.
The blind stagehand are wrestling a LARGE CRATE onto a cart
in the alleyway behind the theatre.
INT. CELLAR, ABANDONED THEATRE -- NIGHT
Angier stops trying tomove and leans back, resigned.
BORDEN
(SCORN)
You went halfway around the world.
You spent a fortune. You did terrible
things... and all of it for nothing.
Angier looks up at him with his last spark of competitiveness.
ANGIER
Nothing? You never understood, id
you? Why we did this?
(COUGHS)
The audience knows the truth- that
the world is simple. Miserable.
Solid all the way through. But if
you could fool them, even for a
second, you could make them wonder.
Then you got to see something very
special...
(coughs, looks up)
You really don't know?
Borden just stares at Angier. Who smiles.
ANGIER (CONT'D)
It was the look on their faced.
Angier's body TOPPLES over, KNOCKING over the lantern. Borden
steps back as the oil spreads, flamming, fro the lantern.
CUTTER (V.O.)
Every magic trick consists of three
parts, or acts...
Borden watches Angier for a moment, then turns to leave.
127.
INT. WORKSHOP -- DAY
The workshop from the opening of the film. We now recognize
it as Borden's. Cutter performs the bird cage trick for the
Little Girl we now know as Jess.
CUTTER (V.O.)
The first part is called the Pledge.
Cutter is showing far the canary.
INT. ABANDONED THEATRE -- NIGHT
The burning lamp oil SPREADS LIGHT through the cellar...
CUTTER (V.O.)
The second part is called the Turn.
I take the ordinary something...
Angier lies in his pooling blood.
Angier's eyes move around, looking at the shapes around him
increasing illuminated by the hellish light...
INT. WORKSHOP -- DAY
Cutter WHIPS the shawl away- cage and bird have disappeared.
CUTTER (V.O.)
But you wouldn't clap yet.
Jess stares, EXPECTANT. Cutter hols up his handkerchief-
covered hand...
CUTTER (V.O.) (CONT'D)
Because making something disappear
isn't enough...
Cutter whips the handkerchief from his hand, revealing a
canary. Just then, Jess SEES something and JUMPS off the
chest, running past him...
CUTTER (V.O.) (CONT'D)
You have to bring it back.
BORDEN IS IN THE DOORWAY- JESS LEAPS INTO HIS ARMS. Borden
holds her tight. Looks at Cutter, who is putting on his
coat. Nods. Cutter leaves.
Borden reaches into his pocket and hand Jess his rubber ball.
She smiles, then buries her head in his neck.
128.
INT. ABANDONED THEATRE -- NIGHT
Borden STOPS at the ladder. He notices the shadows from the
burning oil playing on the walls...
CUTTER (V.O.)
Now you're looking for the secret...
Borden turns slowly to look back into the cellar, PEERING
into the flickering light of the burning lamp oil.
CUTTER (CONT'D)
But you won't find it...
Borden stares back into the cellar. What he sees puts a
look on his face that is beyond words:
LARGE GLASS TANKS. DOZENS OF THEM. ROW AFTER ROW STRECHING
INTO THE CAVERNOUS CELLAR.
CUTTER (CONT'D)
...because you don't really want to
know...
FLOATING IN BACH AND EVERY TANK, DRESSED IN ROTTING STAGE
CLOTHES, IS YET ANOTHER ROBERT ANGIER.
INT. ABANDONED THEATRE -- DAY
Cutter spreads MORTAT on the last BRICK of the wall he has
built in the opening to the cellar.
He places the brick in the wall, sealing it up.
EXT. FOREST -- DAY -- FLASHBACK
A cat slinks its way through a pile of top harts, knocking
one over as it disappears into the forest beyond.
CUTTER (V.O.)
...you want to be fooled.
We are left alone in the glade, staring at the top hats-
FADE OUT.
CREDITS.
END.
Prestige, The
Writers : Jonathan Nolan Christopher Nolan
Genres : Drama Mystery Sci-Fi
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details of the nature of the astrophysical @xmath0 process @xcite producing the rare , proton - rich , stable isotopes of elements beyond ni still remain elusive .
it has been shown that such proton - rich isotopes can be produced by photodisintegrations in massive stars @xcite , involving ( @xmath2,n ) , ( @xmath2,p ) , and ( @xmath2,@xmath7 ) reactions at stellar temperatures exceeding 10@xmath8 k. depending on intricate details of the stellar structure and evolution , @xmath0 nuclides are mostly produced in the final explosion of a massive star ( @xmath9 ) as a core - collapse supernova or in pre - explosive oxygen burning episodes @xcite . despite the fact that @xmath0 nuclei can be produced consistently with solar ratios over a wide range of nuclei in such scenarios , there remain deficiencies in a few regions , for mass numbers @xmath10 and @xmath11 .
the problem is especially pronounced in the mo - ru region where the @xmath0 isotopes are strongly underproduced .
this fact motivates the search for alternative or additional ways to produce these nuclides .
proton capture and photodisintegration processes in exploding carbon - oxygen white dwarfs have been suggested as a source @xcite , or thermonuclear explosions in the proton - rich layer accreted on the surface of a neutron star in a binary system with mass flow from the main - sequence companion star @xcite .
common to all approaches is that the modelling requires a large network of hundreds of nuclear reactions involving stable nuclei as well as unstable , proton - rich nuclides .
it is well known that ( @xmath2,@xmath7 ) reactions are important at higher masses , whereas ( @xmath2,p ) or proton capture is important for the production of the less massive @xmath0 nuclei .
the relevant astrophysical reaction rates calculated from the cross sections are inputs to this network , therefore their knowledge is essential for @xmath0 process calculations . while there are compilations of neutron capture data along the line of stability , there are still very few charged - particle cross sections determined experimentally @xcite , despite big experimental efforts in recent years .
thus , the @xmath0 process rates involving charged projectiles are still based mainly on ( largely untested ) theoretical cross sections obtained from hauser - feshbach statistical model calculations .
the aim of our systematic study is to contribute to the existing database of measured cross sections relevant to the astrophysical @xmath0 process , and to check the reliability of the statistical model calculations over an extensive set of nuclides . this way the uncertainties in the @xmath0 process abundance calculations arising from nuclear physics input can be constrained . in this paper
we present measurements of the @xmath5se(p,@xmath2)@xmath6br , @xmath12se(p,@xmath2)@xmath13br , and @xmath4se(p , n)@xmath4br reactions in the astrophysically relevant energy range using an activation technique .
the two proton capture reactions and their inverses are directly playing a role in the synthesis of @xmath5se , whereas the ( p , n ) reaction can be used as a further test of statistical model calculations . the choice of these reactions is further elaborated in sec .
[ sec : reacs ] and the experimental method is described in sec .
[ sec : expmethod ] .
the resulting cross sections and astrophysical @xmath14 factors ( given in sec .
[ sec : expres ] ) are compared with results obtained with the two hauser - feshbach statistical model codes non - smoker @xcite and most @xcite in sec .
[ sec : comp ] .
both codes are based on the statistical theory of hauser and feshbach @xcite but use different models for the nuclear ingredients of the calculations . by using both codes we are able to investigate the effects of a broader range of nuclear level densities and optical model potentials .
the astrophysical reaction rates derived from our new experimental data are given in the concluding sec .
[ sec : concl ] .
the element se has six stable isotopes with mass numbers @xmath15 , 76 , 77 , 78 , 80 and 82 having isotopic abundances of 0.89% , 9.36% , 7.63% , 23.78% , 49.61% and 8.73% , respectively .
proton capture reactions on these isotopes lead to br isotopes among which @xmath16br and @xmath17br are stable .
therefore the cross sections of the @xmath18se(p,@xmath2)@xmath19br reactions can not be measured using an activation technique .
the half life of @xmath20br , i.e. the reaction product of @xmath13se(p,@xmath2)@xmath20br , is too short ( t@xmath21 = 6.49 min . ) for our experimental method ( see experimental details ) .
thus the aim of the measurement was to determine the proton capture cross section of three reactions : @xmath22se(p,@xmath2)@xmath23br .
however , in the case of @xmath4se the ( p , n ) channel opens already at @xmath24 = 891 kev and , therefore , competes strongly with the ( p,@xmath2 ) reaction in the whole energy range investigated in the present work .
moreover , the strongest @xmath2 transition following the @xmath25 decay of @xmath26br has a very low relative intensity ( only 1.2% of the decays lead to the emission of this 529.6kev @xmath2-ray ) .
the latter two facts made it impossible to observe the decay of @xmath26br and to measure the @xmath4se(p,@xmath2)@xmath26br cross section .
however , the @xmath4se(p , n)@xmath4br cross section could be determined . in summary ,
the cross sections of three reactions have been measured : @xmath1se(p,@xmath2)@xmath3br , and @xmath4se(p , n)@xmath4br .
the astrophysically relevant energy range ( gamow window ) for these reactions in the temperature range from t=1.8@xmath27k to 3.3@xmath27k spans from 1.25 to 3.87mev .
this energy region was covered by the experiment .
the relevant part of the chart of nuclides can be seen in fig .
[ nuclide ] where the proton induced reactions and the decay of the reaction products can also be seen .
the decay parameters used for the analysis are summarized in table [ decay ] .
this work was partially supported by otka ( t034259 , t042733 , f043408 ) , the nato crg program ( crg961086 ) , the greek - hungarian bilateral collaboration program ( gsrt / demokritos / e797 ) , and the swiss nsf ( 2000 - 061031.02 )
. the authors are grateful to i. borbly - kiss for carrying out the pixe measurements .
gy . and
zs . f. are bolyai fellows .
t. r. is a profil professor ( swiss nsf 2024 - 067428.01 ) . | arxiv |
HELLBOY: RISE OF THE BLOOD QUEEN
Screenplay by
Andrew Cosby
Revisions by
Christopher Golden, Mike Mignola and Andrew Cosby
Current draft by
Andrew Cosby
Based on the comic book series by Mike Mignola
November 16, 2016
Lawrence Gordon Productions
12011 San Vicente Boulevard, Suite 350
Los Angeles, CA 90049310-472-4786FADE IN:
EXT. ENGLISH COUNTRYSIDE - 566 A.D. - NIGHT
A BAND OF CELTIC WARRIORS thunders past on horseback,
silhouetted against the blood moon. Dangerous looking men, faces painted for war, covered in scars and runic tattoos.
They slow as they come to a loose collection of stone houses
with thatched roofs. A once prosperous medieval village, now a graveyard. Bodies in the streets, covered in sores, tongues black and swollen. These people died screaming, victims of the devastating plague sweeping through Europe.
The Celts survey the gruesome scene, cold dead eyes staring
back at them as they ride on, heading for the forest.
EXT. FOREST - CONTINUOUS
Following a trail of rotting trees, the Celts head deep into
the dark wood. Shafts of moonlight filter through craggy branches, casting clawed shadows upon the forest floor. Flickering firelight beckons from up ahead...
EXT. PENDLE HILL - CONTINUOUS
In a small clearing at the foot of an isolated hill, a COVEN
OF WITCHES makes camp for the night. Dozens of them, pale, lifeless things with hollow eyes and empty souls.
And at the center of it all, lit by a blazing bonfire and
wearing a CROWN OF THORNS, is their leader, THE BLOOD QUEEN, an otherworldly beauty, both ancient and terrible. She holds court from the trunk of a sprawling cypress:
BLOOD QUEEN
...but I say to you, here and now, never again! No longer will we cower in the shadows like dogs, letting them slaughter us without thought or consequence! This is our world too. And if they cannot live with us, then they cannot be suffered to live at all!
On that note, the witches let loose a fearsome battle cry that echoes through the night. The Blood Queen just stands there, looking out over her flock, smugly triumphant.
Then, she catches sight of something GLINTING in the
surrounding forest. Her expressions falters as -- THWAP! An arrow hits the Blood Queen in the chest. Dead center.
She’s unable to hide her surprise as she stares down at the shaft protruding from her chest.
THWAP! THWAP! THWAP! More arrows erupt from the tree line,
pincushioning the Blood Queen, forcing her back against the tree. But still she does not fall.
With a wave of her clawed hand, the edge of the forest wilts.
THREE CELT BOWMEN tumble out, dead before they hit the ground, consumed by her supernatural plague, which seems more like a living thing than any disease known to man.
The Blood Queen smiles and pulls out one of the arrows,
realizing too late that this was merely a distraction...
With an epic battle cry, a huge CELT WARRIOR lunges from the
woods to drive his spear through the Blood Queen, impaling her against the cypress.
The other witches flee into the woods. The Blood Queen
HISSES, more from rage than pain, exhaling her plague breath in the warrior’s face. He staggers, tears off his helmet, clawing at his eyes and throat as he’s consumed by disease. A second warrior steps forward, strong and unafraid.
BLOOD QUEEN (CONT’D)
What is this then? More lambs to the slaughter?
He removes his helmet to reveal the steely grey eyes of a born leader, ARTUR, years of hardship etched upon his scarred visage. Unlike the others, he is covered head to toe in intricate arcane symbols.
ARTUR
Only a fool mistakes a lion for a lamb.
BLOOD QUEEN
Ah, the mighty King Artur. I did not think you had the courage to face me alone.
ARTUR
It is not courage I lack. Only mercy. And I am not alone...
Three WITCH SISTERS step forward to stand alongside Artur. The eldest, GANEIDA, can barely lift her head to meet the Blood Queen’s shocked gaze.
BLOOD QUEEN
You! You led them here?2.GANEIDA
I had no choice. This war between
our kind and theirs must end. So I have brokered a truce.
BLOOD QUEEN
In exchange for what?
A druid appears, MYRDDIN, young and fierce-looking, with long dark hair and a patch over one eye, cloaked in a robe of bones and raven feathers. He’s flanked by Celts carrying stout WOODEN CRATES etched in ARCANE RUNES.
MYRDDIN
This madness ends now, Nimue.
BLOOD QUEEN
You hunt our kind to oblivion, and dare to call me mad?
She pulls the spear from her chest, freeing herself.
BLOOD QUEEN (CONT’D)
For centuries, we have tried to live in peace, all the Creatures of the Night. But still you call us monsters. You make up stories to scare the children, blame us when your crops fail. Because we are different, because you don’t understand. You have always feared us. And what man fears, he destroys. You are the real plague. You and all of humanity.
(to Ganeida)
Be their servant if you must, but I bow my head to no man.
ARTUR
(drawing his sword)
Bow you then to Excalibur
!
BLOOD QUEEN
Fool! Mortal weapons cannot harm me!
ARTUR
This is no mortal weapon...
Artur brandishes the sword, which gleams unnaturally in the moonlight. The Blood Queen waves a hand, but her dark magic washes harmlessly over him, absorbed by the mystic runes.3.BLOOD QUEEN
I see. Myrddin’s pitiful magic
protects you from my blight. No matter, I still have a thousand ways to kill you.
ARTUR
Alas, I have but the one.
With a flash of steel, Artur chops off her hand. The Blood Queen falls to her knees, losing her crown of thorns in the process. She clutches the bloody stump, staring in disbelief.
While Artur and his Celts are distracted, Ganeida grabs the
discarded crown and quickly retreats back into the forest, along with the other witches. Myrddin picks up the Blood Queen’s severed hand. It writhes in his grasp.
MYRDDIN
This is man’s world now, Nimue. Your time has come and gone.
BLOOD QUEEN
You think this is over, Myrddin? I am eternal! My time is without end!
ARTUR
Then let that eternity be your hell.
Artur raises the sword high. The Blood Queen SCREAMS.
EXT. PENDLE HILL - MOMENTS LATER
PULL BACK from the Blood Queen’s SCREAMING FACE to reveal we
are now looking at her SEVERED HEAD inside one of the wooden crates. Her screams cut short as the lid is nailed shut.
The remaining body parts are placed into separate crates. SIX
IN TOTAL. Sealed tight. Each strapped to a different horse.
MYRDDIN
Go now. Bury her wretched remains deep in the earth. As far from here as you can.
SIX BRAVE CELTS mount up and ride off in different directions, taking the remains of the Blood Queen with them to the far corners of England.
DISSOLVE TO:4.EXT. BAR - NIGHT
The most low-rent bar on the worst street in the sketchiest
part of Tijuana.
SUPER: TIJUANA, MEXICO. PRESENT DAY.Through the windows of the cantina, we see a HULKING FIGURE
in a trench coat and hoodie, drinking and carousing, having a good time before stumbling over and smashing through a table.
No one moves to help him as he drunkenly rises back to his
feet and stumbles out the door.
ACROSS THE STREET - two very TOUGH-LOOKING MEXICANS watch
with keen interest as the hulking figure heads off, turning down a dark alley.
INT. ALLEY - CONTINUOUS
The Mexicans approach from behind as the hooded figure
reaches the end of the alley. He suddenly stops, speaking to them without turning around, a deep resounding voice:
FIGURE
You’ll have to forgive me, my Spanish is a little rusty...
He turns, revealing the demonic red face and stubby horns of our titular hero, HELLBOY.
HELLBOY
How do you say “Big Mistake” in español?
As Hellboy steps forward menacingly --
MEXICAN #1
You are the one they call the Hellboy, no?
MEXICAN #2
We have heard the stories and are very much in need of your help.
HELLBOY
Look, fellas, I’m sorta on vacation here, so --
MEXICAN #1
Please, Señor. We would not ask if it were not muy importanté.5.MEXICAN #2
For months now, our brother Hector
has been disappearing. Only for a few days, but then he returns with no memory of where he was been or what he has done.
MEXICAN #1
Always, we hear of terrible things. I fear for what may happen if something is not done.
Hellboy glances up at the FULL MOON.
HELLBOY
Once a month, huh?
MEXICAN #1
Sí, señor.
Hellboy considers this a long beat.
HELLBOY
Where’s your brother now?
EXT. WRESTLING ARENA - NIGHT
A rundown Lucha Libre arena on the outskirts of town. Vendors
selling everything from stale churros to colorful Luchador masks. The CHEERS of a lively crowd rising from within.
INT. WRESTLING ARENA - CONTINUOUS
MASKED LUCHADORES square-off center ring, a four-man tag-team
match, entertaining a packed house with an impressive display of acrobatics and choreographed moves.
EL TORO waits outside the ropes, while the masked CRUSADER
gets double-teamed by the villainous VASCO BROTHERS.
The banners around the arena and fan t-shirts make it
apparent that Crusader is a hometown favorite. He plays to his audience, drawing CHEERS from the crowd. But then falters, falls to one knee, in the throes of some spasm.
The Vasco Brothers look to one another, not sure what to do.
A hush falls over the crowd. The REFEREE leans down to check on their fallen hero, whose eyes suddenly pop open, fiery yellow and bloodshot. 6.Crusader grabs the referee by the throat, forcing the Vasco
Brothers to break character in an attempt to rescue the ref. The crowd cheers again, thinking it’s just part of the act.
EL TORO
(subtitled, in Spanish)
Hector, what’s wrong with you? This isn’t what we rehearsed!
Crusader glares at El Toro with INHUMAN EYES. He tosses the referee aside and lunges at El Toro, teeth gnashing, CLAWS bursting through his wrestling gloves.
HELLBOY (O.S.)
Hey, amigo!
Crusader stops and turns as Hellboy climbs into the ring. The crowd CHEERS again, assuming Hellboy’s some new masked wrestler there for their entertainment.
HELLBOY (CONT’D)
I hear you haven’t been feeling yourself these days.
Crusader lunges. Hellboy catches him in a headlock, sees the fiery yellow eyes and fangs hidden behind his wrestling mask.
HELLBOY (CONT’D)
My what big teeth you have.
Crusader growls and swipes at Hellboy with razor-sharp claws. Hellboy grabs the arm and pulls up Crusader’s sleeve to take a look at the FANG MARKS hidden there.
HELLBOY (CONT’D)
Yup. That’s what I thought.
Fans continue to cheer as the Crusader twists out of Hellboy’s grip, then leaps on top of Hellboy, teeth snapping. Hellboy throws him off. Crusader circles like a predator.
HELLBOY (CONT’D)
Look. I’m gonna cut you some slack, cuz maybe you don’t habla the inglez so well --
Crusader grabs Hellboy, lifts him over his head and SLAMS him down to the mat, crushing his face into the canvas.
HELLBOY (CONT’D)
...ouch.7.Hellboy kicks Crusader away and scrambles back to his feet,
then strips out of his trench coat and waves it like a Matador’s cape. (Cue MARIACHI GUITAR)
The crowd grows silent, breathless with anticipation.
Crusader lunges again. Hellboy pivots out of the way with a flourish of his coat, sending Crusader into the ring pole.
HELLBOY (CONT’D)
Olé!
Crusader roars and tears his shirt off, revealing that he’s transformed into some kind of hideous BAT/WOLF CREATURE. The CROWD GOES WILD! They’re loving this, leaping to their feat, turning over chairs as many of them rush the ring.
HELLBOY (CONT’D)
Hey! Stay back! This isn’t part of the show!
Crusader lunges at one of the fans, but Hellboy dives between them, taking a big bloody gash across his back. Hellboy cries out, dangles the coat again. When Crusader charges, Hellboy whips it away to reveal his HUGE STONE FIST.
CRACK! A devastating uppercut sends Crusader flying back into
the ring pole, putting him down for the count. The unconscious Crusader begins a reverse-transformation, reverting back to human. His brothers look on in horror.
MEXICAN #1
What did you do to Hector?
HELLBOY
What did I
do?!?
Hellboy shakes his head and climbs out of the ring.
HELLBOY (CONT’D)
Get yourselves a calendar. Make sure he’s chained up during the full moon.
Before the brothers can respond -- SMACK! Hellboy is struck from behind by a crumpled BEER CAN. He spins to see the crowd has turned on him. They’re an ANGRY MOB now, throwing trash and yelling obscenities, completely out of control.
HELLBOY (CONT’D)
Ah c’mon! I’m the good guy here!8.EXT. WRESTLING ARENA - MOMENTS LATER
Hellboy exits the arena beneath a hail of garbage... runs
headlong into a couple of B.P.R.D. AGENTS waiting for him beside a sleek black SUV.
B.P.R.D. AGENT
Your father wants to see you.
Hellboy looks back at the angry fans emerging from the arena.
HELLBOY
No time like the present.
He climbs into the back of the SUV, which sinks low, groaning beneath his tremendous weight. The Agents take one look at the angry mob headed their way and decide Hellboy’s got the right idea. They jump in and speed away.
INT. B.P.R.D. VAN - CONTINUOUS
Heading down a dusty road, angry mob receding into the
distance.
AGENT #2
What happened back there?
HELLBOY
Same thing that always happens. How’d you boys find me, anyway?
AGENT #1
We never lost you.
AGENT #2
The Professor likes us to keep close tabs on all our assets.
HELLBOY
Did you just call me an asset?
AGENT #2
Sorry, I meant --
HELLBOY
Yeah. I know what you meant.
Hellboy lies back, pulling up his hood.
HELLBOY (CONT’D)
Wake me when we hit Texas. I wanna stop for ribs.9.EXT. B.P.R.D. HEADQUARTERS - DAY
On a snow-capped mountainside, a low-slung, modern complex
juts up from the surrounding rock, the exposed tip of a much larger structure buried beneath.
SUPER: BUREAU FOR PARANORMAL RESEARCH AND DEFENSE
INT. B.P.R.D. HEADQUARTERS - DAY
A bustling high-tech facility adorned with all manner of
arcane artifacts: cryptid skeletons, freakish things encased in formaldehyde, period weapons, etc. Etched into the floor is a symbol of a hand holding a sword, with the words: IN ABSENTIA LUCI, TENEBRAE VINCIUNT.
Various B.P.R.D. PERSONNEL steal wary glances at Hellboy as
he and the two agents stroll through the main corridor.
Hellboy suddenly stops and doubles-back... eyes lighting when
he sees a muscular fish-man, ABE SAPIEN, in the midst of dissecting a giant MUTATED FROG CREATURE.
HELLBOY
Abe! You beautiful blue bastard!
ABE SAPIEN
Hellboy?
Hellboy moves in for a big awkward hug.
ABE SAPIEN (CONT’D)
Please. It’s hard enough to breathe out of water as is.
HELLBOY
Missed you, buddy.
Hellboy lets go to take a closer look at the frog creature.
HELLBOY (CONT’D)
I see you’ve been keeping busy.
ABE SAPIEN
Mutant frog invasion. Long story. What about you? I thought you were on sabbatical.
HELLBOY
Maybe. What’s a sabbatical?10.ABE SAPIEN
In your case, an excuse to get into
more trouble.
HELLBOY
Yeah, well... When you look like this sometimes you can’t help raising a little hell?
A slap on the shoulder nearly knocks Abe over.
HELLBOY (CONT’D)
Anyway, love to catch up, but the old man wants to see me. Word is he’s pretty pissed.
ABE SAPIEN
I’d say more like disappointed.
HELLBOY
That’s even worse.
As Hellboy heads off, Abe goes back to work on the frog monster, switching on an ELECTRIC BONE SAW.
INT. HELLBOY’S ROOM - LATER
The sound of the bone saw becomes GRINDING METAL, taking us
through a HUGE VAULT DOOR and into Hellboy’s living quarters. A total wreck. Beer cans and pizza boxes piled high. Clothes and comics strewn everywhere. Punk Rock posters covering the walls. Multiple electric guitars with all the strings broken.
The grinding grows louder as we PUSH INTO the bathroom, where
Hellboy, fresh from the shower with a beach towel wrapped around his waist, stands in front of the mirror, shaving his horns with a BELT SANDER.
Satisfied, he switches off the sander and takes a long, hard
look at himself in the mirror, closely inspecting the shaved horns and his other demonic attributes. His expression darkens. He PUNCHES the mirror with his big stone fist.
INT. B.P.R.D. HEADQUARTERS - LATER
More museum than office. Bookshelves filled with dusty tomes
and ancient artifacts. A distinguished older gentleman, TREVOR “BROOM” BRUTTENHOLM, sits at a desk, studying an illuminated manuscript with a pair of multi-lensed goggles.11.Hellboy peeks his head in, already seeming more subdued than
we’re used to. Broom looks up, removing the goggles to don his spectacles. The tension between them is palpable.
BROOM
Ah, the Prodigal Son returns.
HELLBOY
Father.
BROOM
Next time you decide to just take off, do me the courtesy of telling somebody where you’re going.
HELLBOY
I didn’t know where I was going. Just knew I needed to get away.
BROOM
Because of what happened in New Orleans?
HELLBOY
Seems like whatever I do, the villagers are waiting with torches and pitchforks.
BROOM
You’re exaggerating.
HELLBOY
No. Really. The last ones had actual pitchforks.
Broom returns the manuscript to retrieve another.
BROOM
Regardless, that’s not why I called you back. Something’s come up. I need you to go to London.
HELLBOY
Why? What’s in London?
BROOM
Your next assignment.
Broom opens the book to an old tin-type photo of a group of dour-looking BRITISH OCCULTISTS gathered around an Egyptian tomb. He shows it to Hellboy.12.BROOM (CONT’D)
This is the Osiris Club, an occult
society founded in 1866 by ranking members from the Heliopic Brotherhood of Ra.
HELLBOY
I can see why they changed the name. But what does that have to do with me?
BROOM
Like us, when things go bump in the night, they bump back. And they’ve requested our assistance in a local matter.
HELLBOY
So? Send Abe. He loves those upper-crusty types.
BROOM
They didn’t ask for Abe. They asked for you.
Broom opens a drawer to retrieve a diplomatic passport.
BROOM (CONT’D)
Here, take this. A plane is already fueled and waiting. And remember, Hellboy, these are old acquaintances of mine. Try and behave yourself.
HELLBOY
In other words, I don’t have a choice.
BROOM
You’ll always have choices. I just need you to start making the right ones.
Ouch. Hellboy looks stung, just stares at his ridiculous passport photo, not wanting to meet his father’s gaze.
BROOM (CONT’D)
People will always judge a book by its cover. But the story within... that you write for yourself.13.EXT. HAILES ABBEY - NIGHT
A Medieval monastery nestled deep in the Devonshire valley.
An impressive monument made of stone, brick and mortar.
SUPER: HAILES ABBEY, DEVON, ENGLAND
INT. HAILES ABBEY - NIGHT
The nave extends from the entry to the chancel, flanked by
lower side-aisles, where a small number of MONKS bow their heads in silent prayer.
Closer to the altar, we find an elderly ABBOT and his young
NOVICE, lighting prayer candles and preparing to join their brethren, when the silence is suddenly broken by a THUNDEROUS POUNDING at the chapel door.
The monks share curious glances. Its an odd hour for
visitors. Two of them go to investigate --
MONK #1
I’m afraid we’re closed for the evening.
MONK #2
You’ll have to come back in the --
BOOM! The huge chapel door suddenly EXPLODES inward, crushing the two monks, killing them instantly.
THE GRUAGACH steps through the threshold. A hideous demonic
creature with razor sharp teeth and vaguely porcine features, its face made all the more frightening by a jagged burn scar.
Upon seeing this, the Novice ducks for cover behind one of
the pews. He cowers there, listening to the sounds of HEAVY HOOVES on stone, followed by SHOUTING AND SCREAMING.
A monk’s corpse lands next to him. The Novice peeks up from
behind the pew to find the other monks dead, their broken bodies strewn across the abbey floor. Only the Abbot remains. The hulking figure looming over him.
ABBOT
Pater noster, qui es in caelis --
GRUAGACH
By all means, pray. See if He answers. No? All right then. Show me where you keep your secrets.14.ABBOT
There’s nothing for you here,
demon!
The Gruagach turns his gaze to the cowering Novice.
GRUAGACH
What about you? You know what I’m looking for?
NOVICE
...Yes...I believe so.
GRUAGACH
(back to the Abbot)
Then I don’t need you, do I?
Gruagach snatches the Abbot up, jaws opening wide.
INT. MONASTERY CRYPT - NIGHT
Light floods in from above as the Novice opens a secret
entrance, leading the Gruagach down into a crypt, filled with the tombs of the previous Abbots. Gruagach TAKES A TORCH from the wall and lights it, shoving the Novice ahead of him. They stop at an IRON VAULT with an intricate locking mechanism set into the stone wall.
NOVICE
Th...this is it. B...but I don’t have the key.
The Gruagach roughly shoves the Novice aside and grabs both sides of the vault door with his clawed hands, RIPPING it from the wall. Inside is one of the BLOOD QUEEN’S CRATES, wrapped in chains, covered in runes and wards. The Gruagach drags the crate out and drops it to the ground next to the Novice.
GRUAGACH
Open it.
The Novice stares at the box, hopeless.
NOVICE
I’m only a novice. I--
GRUAGACH
Open.
NOVICE
(desperate)
I...I don’t know how to do that.15.The Gruagach hangs his head in a huff, then picks up the
crate with both hands and hurls it at the wall, where it SHATTERS, wood and contents thumping to the stone floor.
The novice CRIES OUT, scrambling away from the Gruagach on
the floor, then turns as he realizes he’s close to the shattered crate. We see his eyes widen in shock and terror.
The Gruagach SNAPS the Novice’s neck.
GRUAGACH
Welcome back, Your Majesty.
The Gruagach smiles, lifts his torch to reveal the BLOOD
QUEEN’S SEVERED HEAD, lying in the ruin of the crate. Her eyes suddenly pop open, wide and staring. Still very much ALIVE.
EXT. OSIRIS CLUB - DAY
A security gate trundles open and a hackney cab is waiting to
come through.
A middle-aged, thick-mustached GUARD in hunting tweed stands
blocking the drive with a shotgun casually laid across his arms. He studies the cab, then steps aside.
SUPER: SOMEWHERE IN ENGLANDThe cab rumbles up the long driveway past a dozen luxury
cars, where chauffeurs await their respective employers.
INT - CAB - DAY
In the backseat, Hellboy looks out his window. His DRIVER
eyes him in the rearview mirror.
DRIVER
You sure you wanna go in there, mate? Pardon me saying, but you don’t seem the type.
HELLBOY
I keep telling myself that.
EXT. OSIRIS CLUB - DAY
All eyes on Hellboy as he steps out of the cab, complete with
trench coat and utility belt. 16.He reaches into his pocket and pulls out a crumpled wad of
cash, when the driver is suddenly right there next to him, cell phone out for a quick selfie --
DRIVER
You mind? The missus’d never believe me otherwise.
Without waiting for an answer, he snaps an awkward photo. Hellboy couldn’t look less interested, but the driver is thrilled.
DRIVER (CONT’D)
Cheers, mate!
He grabs the cash, jumps back in the cab and speeds away.
A BUTLER appears at the front door.
BUTLER
Good evening, sir. You’re expected.
If you’ll come this way.
Hellboy follows the butler, pausing to take a look around, soaking in his surroundings. Second thoughts abound.
INT. OSIRIS CLUB - DAY
The Butler ushers Hellboy into the Victorian parlor of a
stuffy English gentlemen’s club. Lots of leather and antiques, various framed prints and paintings on the walls.
Three men stand together in the corner, drinking, smoking,
talking in hushed, conspiratorial tones: LORD ADAM GLAREN, handsome and austere; DR. CARP, heavyset and slightly drunk; and AUGUST SWAIN, frail and bird-like.
They approach with the arrogance of the rich, taking
Hellboy’s measure.
LORD GLAREN
Hellboy, welcome. Lord Adam Glaren. And may I introduce my associates, Dr. Edwin Carp and Sir August Swain. So glad you accepted our invitation.
HELLBOY
It wasn’t really my decision.17.LORD GLAREN
Ah, yes. The Professor. And how is
the old boy these days? You know, your father and I go way back.
HELLBOY
You don’t say.
Hellboy wanders around the room, perusing weird occult artifacts and engravings, all related to witchcraft and demonology. He picks up a small stone effigy, which looks remarkably similar to Hellboy.
LORD GLAREN
As I’m sure you know, the Osiris Club has been long dedicated to preserving the secret history of Great Britain. This affords us certain insights into individuals such as yourself.
AUGUST SWAIN
We’ve also provided vital counsel to your B.P.R.D. on occasion. That werewolf incident in Griart for exam --
HELLBOY
Look, I know you didn’t have me fly halfway around the world for a history lesson. Why am I here?
The noblemen share knowing looks. Lord Glaren moves to a bookshelf and flips a hidden lever, revealing a classic SECRET DOORWAY and a set of stairs leading down...
HELLBOY (CONT’D)
Ooooh, a secret door.
INT. CATACOMBS - CONTINUOUS
As they descend, Lord Glaren takes a candle from one of the
wall sconces to light their way. It glows mysteriously, more brightly than it should, revealing old suits of armor lining the halls, along with various paintings and tapestries.
AUGUST SWAIN
You’re aware that giants once dominated the British Isles.
HELLBOY
Sure.18.AUGUST SWAIN
This land was all theirs once.
Their graves run from one end to the other.
They reach the bottom, an antechamber from which several hallways branch. TAPESTRIES hang around the chamber.
We glimpse one tapestry, which shows the arrow-riddled Queen
of Blood getting her hand chopped off by King Arthur.
DR. CARP
It’s a curious feature of giants that they occasionally rise from their graves.
HELLBOY
I’ve heard. Never seen it myself.
LORD GLAREN
When they do, we organize a hunt. What we like to call The Wild Hunt.
Lord Glaren shines the candle down a long corridor, where DOZENS OF GIANT HEADS are mounted, along with portraits of past hunting parties down through the ages. Always with a prominent central figure in a CEREMONIAL HEADDRESS made from the head of an ELK stag, adorned with a huge RACK OF ANTLERS.
HELLBOY
Okay. I’m starting to get the picture. You guys want me to help you kill a giant.
LORD GLAREN
Giants
. Plural.
AUGUST SWAIN
Usually it’s just the one. But this time there could be as many as three.
HELLBOY
Three? How do you know? Have you seen ‘em?
WOMAN’S VOICE (O.S.)
In a manner of speaking...
The light lands upon an elderly blind woman, LADY HATTON, sitting at a table with a cloudy CRYSTAL BALL. She’s creepy and pale, with the air of a Victorian medium. 19.LORD GLAREN
Hellboy, I’d like to introduce you
to our resident seer, Lady Hatton.
She lifts her blank gaze to get a better “look” at Hellboy. An OTHERWORLDLY EYE peers out from within the crystal ball.
LADY HATTON
We’ve met once before. Many years ago.
HELLBOY
Oh yeah?
LADY HATTON
I was younger then. And you were just a boy.
HELLBOY
Still not ringing any bells.
LADY HATTON
Then by all means, let me refresh your memory...
As she runs her fingers over the crystal, colors and dark figures begin to appear. Hellboy stares into it, becoming mesmerized, the sounds of war echoing in his memory...
FLASHBACK TO:
EXT. SCOTLAND - NIGHT
A storm rages above Tarmagant Island, just off the coast of
Scotland. NAZI OCCULTISTS gather inside a STONE CIRCLE, where a robed figure, GRIGORI RASPUTIN, performs an arcane ritual.
LADY HATTON (V.O.)
The war was coming to an end, and the Nazis found themselves fighting a losing battle. In their desperation they turned to the sorcerer, Grigori Rasputin. His dark ritual was meant to the shift the war back in Germany’s favor. But something went wrong.
The ritual builds to a climax. Lightning strikes the center of the circle. A brilliant, blinding FLASH. But nothing happens. Just a big smoldering crater, nothing more. The Nazis turn on Grigori, angry and disappointed.20.LADY HATTON (V.O.)
They assumed Grigori had failed
them. Never realizing just how successful he really had been...
INT. BROMWICH CHURCH - THAT SAME NIGHT
Inside the decaying ruins of an old church, another group of
OCCULTISTS has gathered, waiting for something. LADY HATTON is among them. As is PROFESSOR BRUTTENHOLM. Both younger, more vital looking.
LADY HATTON (V.O.)
Professor Broom was working with the allies at the time. And fortunately, with my help, it was he who found you.
A ghostly wind suddenly whips up, sending dust and debris whirling about the room. Followed by an EXPLOSION that knocks everyone off their feet. When the dust settles, Broom gropes for his glasses, shocked to see a frightened LITTLE HELLBOY staring back at him, stone fist too big to carry.
LADY HATTON (V.O.)
He named you, took you in and raised you as his own, made you part of his Bureau for Paranormal Research and Defense.
The Professor smiles kindly, holding out his hand. Little Hellboy gingerly reaches for it...
BACK TO PRESENTThe crystal ball becomes cloudy again. The connection broken.
LADY HATTON
So you see, my dear. You and I
share quite a history.
Hellboy just stands there, stunned.
HELLBOY
I’m sorry... Did you say Nazis?
LADY HATTON
Your father never told you?21.HELLBOY
That I was brought into this world
by a fascist band of goose-stepping occultists? No. Must’ve slipped his mind.
As Hellboy reels from this new discovery, Lord Glaren takes him by the arm and continues down the hall. Hellboy glances back at Lady Hatton, who “watches” him go, her expression grim and unreadable.
LORD GLAREN
As I was saying... We’ve hunted giants for generations, but three at once... that exceeds even our capabilities.
AUGUST SWAIN
If they’re appearing in numbers, it could presage a full scale return. The resulting carnage --
DR. CARP
They gnaw the bones and eat the marrow. Men, women, children. There’s no telling how many would die before they could be stopped.
LORD GLAREN
We need you Hellboy.
INT. OSIRIS CLUB - HUNTING LODGE - CONTINUOUS
Lord Glaren ushers Hellboy into a large chamber decorated
with a huge mural of Herne the Hunter. More OSIRIS MEMBERS are here, dressed for the hunt, equipping themselves with ELECTRIC LANCES attached to retro-tech backpacks.
LORD GLAREN
So, what do you say? Join us, so that together we can rid the world of these hideous abominations.
Still deciding, Hellboy notes the traditional ELK HEADDRESS sitting on a nearby pedestal.
HELLBOY
I don’t have to wear the hat, do I?22.INT. OSIRIS STABLES - DAY
Lord Glaren, wearing the elk headdress and dressed in hunting
garb, joins the other HUNTSMEN as they prepare their mounts. Hellboy just stares at his horse.
HELLBOY
Seriously? You guys don’t have like a jeep or motorcycle or something?
LORD GLAREN
It’s tradition. Wouldn’t be very sporting, otherwise.
Lord Glaren tests his lance, which CRACKLES with electricity.
LORD GLAREN (CONT’D)
You’re sure I can’t offer you one? We designed them especially for hunting giants.
Hellboy raises his big ass HAND CANNON.
HELLBOY
I’m good.
LORD GLAREN
Suit yourself.
As Lord Glaren and the others mount up, Hellboy turns to his horse. Neither of them happy about the arrangement.
HELLBOY
For the record, this wasn’t my idea.
EXT. ENGLISH COUNTRYSIDE - DAY
HOOVES SLAM into the earth, kicking up dirt as the WILD HUNT
thunders through the forest on horseback. Hellboy holds on for dear life. Lord Glaren leads. He raises his hand as they come upon a path of BROKEN TREES. The pack slows, moving carefully now, following the path of destruction.
EXT. COTTAGE - MOMENTS LATER
The Wild Hunt emerges from the woods to find a small cottage,
its roof partially crushed. A truck out front has been torn in half. Debris everywhere, like a tornado came through. 23.While the huntsmen check the cottage and surrounding area,
Hellboy climbs down from his horse to inspect a huge set of FOOTPRINTS, much larger than any man’s.
LORD GLAREN
Three sets of tracks. Just as Lady Hatton said.
HELLBOY
(dubious)
So the blind lady saw this. In her crystal ball.
LORD GLAREN
She sees better than most, my friend. And she’s never wrong.
One of the huntsmen exits the cottage --
HUNTSMAN
I found bodies inside. And a pile of bones near the kitchen.
LORD GLAREN
Which means they’ll be back.
HELLBOY
What makes you say that?
LORD GLAREN
Giants don’t leave food behind.
Lord Glaren squats, showing Hellboy the footprints.
LORD GLAREN (CONT’D)
These tracks go back and forth, coming and going. They’re using this place as a pantry.
Hellboy shudders as Lord Glaren and the other huntsmen mount up, arming themselves with their electric lances as they follow the giant prints into the forest, along a path of broken trees.
EXT. STONE BRIDGE - MOMENTS LATER
Hellboy and the huntsmen dismount as they approach an OLD
STONE BRIDGE. Lord Glaren sidles up to Hellboy, points out over the raging river.
LORD GLAREN
This is where we’ll make our stand.24.HELLBOY
Why here?
LORD GLAREN
They’ll need the bridge to cross.
We can take positions in the brush on either side.
HELLBOY
Perfect place for an ambush.
LORD GLAREN
Precisely.
As Hellboy starts to turn around -- ZZZAPPPP!! One of the other huntsmen rides up behind him, driving his lance into Hellboy’s back, sending a powerful surge of ELECTRICITY through him.
HUNTSMAN
Die monster!
Hellboy CRIES OUT and reaches for his gun as MORE HUNTSMEN ATTACK, charging with their lances, shocking him into submission. He falls to his knees, dropping the gun into the river.
Lord Glaren looms over him, a smug expression.
LORD GLAREN
Did you really think we needed your
help? To kill something we’ve been hunting for centuries?
A kick to the ribs sends Hellboy tumbling downhill and into the water. The others dismount from their horses and join Glaren as he casually marches down toward the riverbank.
LORD GLAREN (CONT’D)
I must confess, when Lady Hatton first told me what needed to be done, I was hesitant. After all, your father and I were once quite close. Unfortunately, fate has left us with little alternative.
Lord Glaren arrives at the water’s edge.
LORD GLAREN (CONT’D)
We will never allow the devil to sit on the throne of England!
He looms over to the fallen Hellboy, DRAWING HIS SWORD. 25.LORD GLAREN (CONT’D)
If it’s any consolation, your head
will make a fine addition to our gallery.
Hellboy tries to stand, but then collapses back into the river, too weak to fight. The huntsmen all gather around to watch, laughing as Hellboy slips beneath the surface.
HELLBOY’S UNDERWATER POV -- Lord Glaren raises his sword for
the killing blow, and is suddenly tackled out of frame. His severed head, still wearing the elk headdress, splashes down into the water, eyes wide with shock and terror as it floats by Hellboy.
This is followed by MUFFLED SCREAMS and distorted glimpses of
the violence unfolding above as the remaining huntsmen are attacked by some unseen enemy.
Hellboy sinks into darkness and eerie silence. Around him,
the water turns red with blood. A horse falls in. Body parts floating past.
EXT. RIVER - LATER
Hellboy abruptly resurfaces downstream, sucking in a lung
full of precious air. He drags himself to shore, one of the lances still sticking out of his back.
HELLBOY
Well... that hurts.
Yanking it out, Hellboy pulls himself up onto the riverbank, wounded and bleeding. A look upriver, toward the old stone bridge shows no sign of the Hunt or anyone else.
But then Hellboy makes a face, sniffs the air... catching a
FOUL SCENT on the breeze. Slowly, painfully, he lumbers off in the direction of the odor.
EXT. BRIDGE - MOMENTS LATER
Hellboy peeks up from behind the bridge to find TWO GIANTS
crouched on the hillside. Disgusting, malformed creatures, streaked in blood and viscera. They huddle over the fallen members of the Wild Hunt, gnawing on their mangled remains.
HELLBOY
Guess you needed me, after all.
(realizing)
Hmm, thought they said there were...26.A shadow falls as the missing GIANT slowly rises behind him.
HELLBOY (CONT’D)
...three.
The THIRD GIANT roars, throwing a punch. Hellboy sidesteps
and hammers him with his stone fist, knocking the giant to the ground. The other two come thundering toward him. One has an axe, the other a massive club.
Axe Giant is in the lead, already swinging. Hellboy hurls
himself out of the way as the giant’s axe comes down, burying itself in the Third Giant’s skull. Hellboy cracks a little smile... That’s one down.
While the Axe Giant tries to pry his weapon loose, Hellboy
scrambles back to his feet, his injuries making every movement a symphony of pain. But before he can respond --
WHACK! -- Hellboy is batted into the woods by a massive club,
sending him smashing through several trees before finally hitting the ground in a deep furrow.
Club Giant rushes the defenseless Hellboy, who, at the last
possible second, lifts one of the BROKEN TREES and uses Club Giant’s own momentum to impale him. Sliding down the tree with a sickening sound, the giant exhales a putrid last breath right into Hellboy face.
HELLBOY (CONT’D)
Jeez. What’ve you been eat -- oh, right. Never mind.
Hellboy shoves the dead giant off as Axe Giant finally frees his weapon. He stalks toward Hellboy, furious. The two collide with bone crunching force.
Hellboy blocks blows from the axe with his stone fist,
resulting in a SHOWER OF SPARKS. He’s finally able to grab the giant’s axe and crushes it. The enraged giant wrestles Hellboy to the ground. Together, they roll down the riverbank and into the water.
Hellboy is losing blood by the pint. In his weakened
condition, it doesn’t take long for him to succumb to the giant’s relentless assault.
Finally, the giant grabs Hellboy by the throat, shoving his
head into the river. Hellboy struggles for air, bubbles coming from nose and mouth. But the giant is just too strong.
It looks like it’s all over... but then Hellboy sees
something... HIS DISCARDED GUN lying in the river bed.27.Hellboy suddenly comes up for air, aiming the hand cannon
right in the giant’s face.
HELLBOY (CONT’D)
Checkmate, you ugly son of a --
CLICK! SPUTTER! Misfire. Water dribbles from the gun barrel.
HELLBOY (CONT’D)
...crap...
The giant bats Hellboy thirty feet across the forest floor. Then charges, picking up speed with every step.
Hellboy slowly recovers, looking back over his shoulder. He
smiles. Then, just as the giant is about to slam into him, Hellboy casually steps out of the way to reveal a HUGE TREE STUMP. The giant slams into it, getting his head stuck.
HELLBOY (CONT’D)
That’s using your head.
Hellboy grabs the giant by one arm and leans back, twisting with all his might to SNAP the giant’s neck.
Exhausted, Hellboy turns to walk away, leaving a trail of
blood in his wake. He staggers, reaching down to the wound on his back. Then collapses. Barely conscious, he fumbles for his B.P.R.D. belt buckle, triggering its HOMING BEACON. The buckle flashes, giving off a faint beeping noise...
As Hellboy slips into unconsciousness, it’s not clear if he’s
hallucinating, but he sees a FIGURE approaching... Then all goes black.
BEGIN DREAM SEQUENCE:As the darkness gives way to flickering hellfire, Hellboy is
assaulted by images from the night he came into this world. The flames grow white hot, becoming thunder and lightning, providing brief flashes of Grigori’s ritual, the Nazi Occultists, the ruins of Bromwich Church, Lady Hatton’s empty gaze, and at long last the face of Hellboy’s earthly father, Trevor Broom. Hellboy reaches for the Professor as he is swallowed by shadow, only to have Grigori emerge, laughing maniacally. Good and evil struggling for dominance in this nightmare vision.
INT. COUNCIL HOUSE - BEDROOM - PRESENT DAY - DAY
Hellboy wakes with a start inside a dark bedroom. He’s been
cleaned up, wounds freshly bandaged. His utility belt slung over a bedside chair, HOMING BEACON still blinking. 28.INT. COUNCIL HOUSE - FRONT ROOM - CONTINUOUS
Hellboy stumbles into the front room, which has been
converted into what appears to be a PSYCHIC READING PARLOR, complete with fortune table, tarot cards, crystals and all the usual accoutrement.
Among the esoteric trappings, Hellboy finds a photo of a
YOUNG GIRL & HER PARENTS. They seem oddly familiar, but before he can put his finger on it, he’s distracted by the sound of someone rummaging around in the kitchen...
HELLBOY
Uh... hello?
WOMAN’S VOICE (O.S.)
Keep your knickers on, I’m making us some breakfast.
Moments later, ALICE MONAGHAN steps from the kitchen with a mismatched tea setting and tray of burnt scones. She’s street smart and tough, 20’s.
ALICE
Sorry, never was too handy in the kitchen. Just eat around the burnt parts.
She sets it all down on the reading table. Hellboy recognizes her immediately.
HELLBOY
Alice? Is that really you?
ALICE
In the flesh. All grow’d up and everything.
HELLBOY
How did you find me?
ALICE
You know I hear things.
HELLBOY
Dead people.
ALICE
It’s a gift.
HELLBOY
Some gift.29.ALICE
There’s a whole lot of them talking
about you lately.
HELLBOY
Any of them talking about the Osiris Club? I’m gonna have to go back and find out what the hell that was all about.
Hellboy picks up a business card: ALICE MONAGHAN. MEDIUM AT LARGE. He reads it, gives Alice a raised eyebrow.
ALICE
Yeah, yeah, I know. But it beats sloggin’ pints down at the local pub.
HELLBOY
You here all by yourself?
ALICE
More or less. Sometimes Mum and Dad drop by.
HELLBOY
Oh? Where are they living now?
ALICE
They’re not. But we talk all the time.
She gestures to a PAIR OF URNS on the mantle, next to a framed photo of Alice’s MOTHER and FATHER. Happier times. Hellboy stares blankly as Alice pours him a cup of tea.
ALICE (CONT’D)
Go on. Better drink up before our guests arrive.
HELLBOY
Guests?
EXT. COUNCIL HOUSE - DAY
FOUR UNMARKED TACTICAL VANS screech to a stop outside the
council house. ARMED SOLDIERS file out, dressed in heavy assault gear, rifles at the ready.
Taking point is MAJOR BEN DAIMIO, rugged military type with
cold, calculating eyes, close-cropped hair and three jagged
scars raked across his grizzled face.30.A few dangerous-looking LOCALS glare as Daimio and his men
make their way into the building. This is a very low-rent, high-crime section of London, and these people have seen their fare share of police raids.
INT. COUNCIL HOUSE - ALICE’S UNIT - MOMENTS LATER
SMASH! Daimio and his soldiers kick in the front door and
rush into the room, guns drawn, taking aim at Alice and Hellboy as they sit there, awkwardly having tea.
DAIMIO
Clear
!
Hellboy just arches an eyebrow, lifts his tea and scone almost in a toast.
HELLBOY
Scone?
Professor Broom, with Abe by his side, pushes through the scrum of soldiers, visibly relieved to see Hellboy still alive and in one piece.
BROOM
Hellboy! You’re all right!
HELLBOY
I’m fine. No thanks to your pals at Osiris.
BROOM
What happened?
HELLBOY
Bastards tried to kill me, that’s what happened. Got me to join in one of their little Wild Hunts, only it turned out I was the one being hunted.
Daimio finishes securing the room, speaking into his radio:
DAIMIO
Stand down. The asset is secure.
HELLBOY
(sighs)
I really wish people would stop calling me that.31.BROOM
Hellboy, I’d like you to meet Major
Ben Daimio, formerly of the Royal Marines, now with Section Eleven.
HELLBOY
I thought M-11 was disbanded after the war.
DAIMIO
And I thought we were supposed to fight monsters, not work with them.
Hellboy looks Daimio up and down, not liking what he sees.
HELLBOY
Oh, you and me are gonna be besties. I can already tell.
BROOM
If the Bureau wants to operate on British soil, Section Eleven is along for the ride. It’s a joint operation.
HELLBOY
Operation? This isn’t a rescue?
DAIMIO
Sorry to burst your bubble, but we’ve got bigger fish to fry. No offense, Sapien.
Abe waves it off --
ABE SAPIEN
None taken.
HELLBOY
Someone mind cluing me in on what’s happening here.
ABE SAPIEN
We were already on our way to London when we picked up your homing beacon. Afraid we’ve got a bit of a situation. But don’t worry, it’ll all be explained in the briefing.
HELLBOY
(bewildered)
There’s a briefing?32.INT. ALICE’S UNIT - MOMENTS LATER
Alice clears the tea setting so Abe can use the table to set
up a HOLOGRAPHIC PROJECTOR, which he controls with a little handheld computer tablet.
DAIMIO
(to Alice)
Thanks. Now if you’ll just step outside --
ALICE
Like hell. This is my house, I’m not going anywhere.
She takes a seat, arms crossed defiantly.
BROOM
It’s all right, Major. If things are headed where I think, none of this will be a secret for very much longer.
(to Alice)
Besides, we owe a debt of gratitude for what you did for Hellboy, Miss...?
ALICE
Monaghan. Alice Monaghan.
This strikes a familiar chord in Broom.
BROOM
Wait...no... Not little Alice, the girl abducted by faeries?
ALICE
That’s me.
BROOM
My goodness, it’s been years. How have you been?
ALICE
Different. Very different.
ABE SAPIEN (O.S.)
All right, people, eyes front.
Abe taps his computer tablet. A 3-D holographic projection of the abbey appears, filling the space between them. 33.ABE SAPIEN (CONT’D)
Two days ago, we got an urgent
message from the Vatican regarding a massacre at a monastery three hours outside London. One of the monks survived long enough to say something about a demon stealing an ancient crate.
TAP: The hologram shifts to one of a rune-carved box.
ABE SAPIEN (CONT’D)
Our Vatican contact wouldn’tconfirm, but based on the dyingmonk’s description, I believe thestolen item is the head ofVivienne, sometimes called Nimue.
HELLBOY
Nim-who?
PROFESSOR BRUTTENHOLM
Nimue. A medieval sorceress. Also known as the Blood Queen.
TAP: The hologram becomes an illuminated manuscript showing the Blood Queen with a green fog coming from her open mouth.
PROFESSOR BRUTTENHOLM (CONT’D)
Legend has it, she was responsible for numerous atrocities, including the Black Plague, which she claimed to have unleashed as retribution for the wanton murder of her fellow witches and other non-human entities by a ruthless Celtic warlord, Artur Artorius. You might know him better as King Arthur.
HELLBOY
Wait, King Arthur?
ALICE
You believe in fairies, but you’re having a hard time with King Arthur?
HELLBOY
We’ve dealt with fairies. But I’ve never seen anyone yank a magic sword out of a rock.
Hellboy turns back to Abe.34.HELLBOY (CONT’D)
Why would someone go to all this
trouble for some dead witch?
ABE SAPIEN
Because. She’s not actually dead.
TAP: the hologram shifts to a tapestry of the Blood Queen being hacked to pieces by a group of barbarians.
ABE SAPIEN (CONT’D)
Her powers were such that she could not be killed by mortal means. Instead, Arthur hacked her to pieces with Excalibur, sealing each away in a separate casket, to be buried alive in the far corners of England. Where they could never be discovered.
HELLBOY
So much for that plan.
TAP: The hologram becomes a crude wood-cut illustration of a blood-stained, rune-engraved crate. Broom steps in to close out the briefing.
BROOM
If someone is trying to resurrect the Blood Queen, they have to be stopped. Humanity barely survived her once, we may not be so fortunate a second time.
ALICE
So where do we begin?
DAIMIO
We?
HELLBOY
I know where I’m headed. I’m going back to Osiris.
BROOM
Hold on, Hellboy. Your desire for retribution is going to have to wait. We are trying to prevent a supernatural disaster.
HELLBOY
Did you already forget those guys tried to kill me? 35.ABE SAPIEN
I’ve spent the last twenty-four
hours combing through all known historical records. And while there is no clear indication as to where the Nimue caskets were buried, it’s believed that at least two of them had been discovered. One was being kept by the Benedict Monks at Hailes Abbey for safe keeping. And the other is rumored to be held by --
HELLBOY
(smiles, interrupts)
Don’t tell me. Our good friends at the Osiris Club.
BROOM
That’s all I need to hear.
HELLBOY
Good. Then we’re all in agreement. Osiris needs an ass-kicking.
EXT. COUNCIL HOUSE - DAY
A gathering crowd of BYSTANDERS collectively GASPS as Hellboy
and Abe exit the building, soon followed by the others. They’ve all heard the stories, but nothing prepares you for the real thing. Someone in the crowd yells “FREAKS!”
HELLBOY
Don’t suppose we should stop for autographs.
ABE SAPIEN
Why can’t the apocalypse ever happen in Canada? They love us in Canada.
HELLBOY
They love everyone in Canada.
As they reach the tactical vans, Broom pulls Hellboy aside and signals one of the FIELD AGENTS, who hurries over to present Hellboy with a case. Hellboy opens it to reveal another HAND CANNON.
BROOM
Thought you might need that.36.HELLBOY
What I need is an explanation.
BROOM
What do you mean?
HELLBOY
You know, I must’a heard the story
of how you found me at least a hundred times, but never once did you mention the word Nazi
.
Broom is taken aback. He’s been dreading this moment since the day he took Hellboy in.
HELLBOY (CONT’D)
(picking up on Broom’s
silence)
So then it’s true.
BROOM
Try to understand, Hellboy. All these years, I’ve watched you struggle with making your way in the world, trying to figure out where you belong. Always feeling like an outsider, different from everyone else. I know the pain it causes you, and I guess I just didn’t want to add to that.
HELLBOY
Yeah, but Nazis?!? Like it’s not bad enough I’ve got hooves and a tail. You should have told me.
BROOM
I tried, believe me. Countless times. But just kept putting it off. After awhile, I guess it just didn’t seem so important.
HELLBOY
Maybe not to you.
BROOM
You’re right. You’re absolutely right. And I promise, from here on out, no more secrets.
Hellboy softens. Broom puts a loving hand on his shoulder.
BROOM (CONT’D)
Are we good?37.HELLBOY
Good-ish.
BROOM
Okay then. Go out there and do what
you do best. Save the day. Make your father proud.
HELLBOY
You’re not coming?
BROOM
I have to get to London and start setting up our base of operations.
HELLBOY
Come on, you can’t stick me with G.I. Joke over here and then just take off.
DAIMIO
I heard that.
BROOM
Daimio’s more than capable. Give him a chance. Besides, you’ll have Abe to keep you company.
ALICE (O.C.)
And me!
Alice peeks out from behind the group. We didn’t even know she was still with us. Daimio looks annoyed.
DAIMIO
I’m sorry, who are you again?
ALICE
The girl who saved Hellboy. Who the hell are you?
DAIMIO
Not that I don’t appreciate the idea of an untrained civilian tagging along, but I think we can handle things from here.
ALICE
Actually, you can’t. Not without my help.
DAIMIO
Is that so?38.ALICE
You don’t get taken by faeries
without also learning a few tricks.
Daimio looks around, incredulous --
DAIMIO
Did she just say “faeries?”
She pushes past him and climbs into the van’s front passenger seat. Abe can’t help but admire her moxie.
ABE SAPIEN
I like her.
HELLBOY
Sorry, Scarface. Looks like we’re a package deal. You want me, the girl comes with.
Hellboy and Abe climb in the back of the van.
ALICE (O.S.)
This thing have a stereo?
ROCK MUSIC suddenly blares from inside the van. Daimio just shakes his head and climbs in behind the wheel.
Broom watches as the van speeds away, a grim expression.
There’s more going on here than meets the eye.
EXT. OSIRIS CLUB - DAY
The van arrives at the Osiris Club, where the front gate has
been ripped wide open. Following the trail of destruction, we come to the main entrance. A splintered hole where the door used to be. Hellboy and the others step out of the van, taking in the scene.
ALICE
Jesus, what happened here?
ABE SAPIEN
Nothing good.
Daimio draws his gun and chambers a round.
DAIMIO
Let’s go. Stay close and follow my lead.
Hellboy draws his hand cannon.39.HELLBOY
Thanks pal, but I don’t need a tour
guide.
He pushes past Daimio and heads inside. Alice follows. Daimio looks to Abe.
DAIMIO
Is he always this reckless?
ABE SAPIEN
Oh no. He’s usually much worse.
INT. OSIRIS CLUB - MOMENTS LATER
It’s dark in here. The team’s flashlights cut through the
gloom to reveal the place is a wreck. Dead servants everywhere. Overturned furniture. Shattered lights blinking.
HELLBOY
Must be the maid’s day off.
DAIMIO
Keep it quiet. Whoever did this could still be here.
A sobering thought. They all exchange wary glances. Abe takes out his own sleek, high-tech pistol as they continue deeper into the club, stepping over bodies as they go. Alice eyes the bodies.
ALICE
This is horrible.
DAIMIO
If you’re scared, you can wait in the van.
ALICE
It’s horrible because I hear the dead still screaming. Their souls haven’t had time to adjust.
DAIMIO
Their souls? What’s she talking about?
Nobody bothers to answer. Hellboy finds a trail of blood.
HELLBOY
Come on, this way.40.The blood trail leads into the parlour, disappearing beneath
a familiar bookshelf. Hellboy pulls the hidden lever triggered earlier, and the shelf slides away to reveal --
ABE SAPIEN
Oooh, a secret door.
On guard, they step cautiously through the doorway.
INT. OSIRIS CATACOMBS - CONTINUOUS
Alice tucks in behind Hellboy as they descend into the
catacombs. An ominous, hollow SCRAPING NOISE comes from somewhere down below.
ABE SAPIEN
I’m not the only one hearing that, right?
ALICE
You realize this is the part of the movie where the audience is yelling at the idiots on-screen not to go into the basement.
HELLBOY
Just stay focused and keep your eyes peeled.
ABE SAPIEN
They’re always peeled.
(off Daimio’s look)
I don’t have eyelids.
DAIMIO
Way too much information, Sapien.
They continue onward, eventually coming to the hallway lined with mounted giant heads. The scraping noise grows louder as they continue down the corridor. Alice stops to examine one of the GIANT HEADS more closely.
ALICE
I’m getting a really bad feeling about --
Alice is STARTLED as a DEAD BODY tumbles out from between the trophies. She stumbles back, bumping into a another CORPSE, which falls from the shadows, landing next to the first one. Hellboy recognizes them immediately: AUGUST SWAIN and DR. CARP.41.HELLBOY
I know these two. They were with
the other guy, the one who tried to chop my head off.
DAIMIO
So much for your revenge. Looks like somebody beat you to the punch.
Hellboy considers this, then looks around and realizes...
HELLBOY
Hey, where’s Abe?
They stare down both ends of the corridor. Abe is nowhere to be seen. Once again, we hear the strange hollow scraping sound. The group shares uneasy looks and races off in that direction.
INT. OSIRIS CATACOMBS - MOMENTS LATER
As they turn the corner, Hellboy and the others find Abe
standing over the LADY HATTON’S CORPSE, lying twisted on the floor, head turned all the way around, faced locked in a petrified scream. Her CRYSTAL BALL circles the body with a life of its own, the source of the strange scraping noise.
HELLBOY
What in the --
ABE SAPIEN
It’s Lady Elizabeth Hatton.
HELLBOY
You know her?
ABE SAPIEN
She’s one of the world’s foremost psychic mediums.
DAIMIO
How good could she be? She didn’t see this coming.
ALICE
That’s dark, Major. Real dark.
DAIMIO
What’s with the crystal ball?
Alice walks over and bends to touch it. The ball stops dead just inches from her hand.42.ALICE
Well, that was weird.
HELLBOY
You picking up anything?
She closes her eyes and concentrates.
ALICE
I can feel her. She was the real
thing. Such power...
(disappointed)
But I can’t get through...
Daimio rolls his eyes, not buying into all this hocus pocus nonsense. Looking around, he spots a couple of SECURITY CAMERAS.
DAIMIO
Tell you what, while you and the human Ouija Board waste more time, I think I’ll go find out if those cameras got anything.
Daimio heads off.
ALICE
There’s something I can try... But if this goes wrong, I’m going to come back and haunt you.
HELLBOY
Go ahead.
Alice kneels down next to Lady Hatton’s corpse, eyes it.
ALICE
Physical contact in the immediate aftermath of death has been proven to amplify psychic connections when attempting to commune with the dead.
(then, preparing herself)
You boys might wanna stand back.
Hellboy and Abe do as ordered. Alice takes a deep breath and reaches for the corpse. She makes contact.
ALICE (CONT’D)
Lady Hatton. Can you hear me?
There’s a beat and the body FLINCHES. Alice’s eyes roll back and she sucks in air, reacting to something, and then-43.-An ectoplasmic version of LADY HATTON’S GHOST emerges from
the corpse, an opaque, looming, dreadful specter.
LADY HATTON
Nimue.
HELLBOY
Son of a-
LADY HATTON
The Blood Queen. Her madness...her evil’s at the root of the thing.
HELLBOY
Whoa, whoa. If you’re feelin’ chatty, maybe first thing we talk about is you and your buddies tryin’ to kill me.
LADY HATTON
Man will fall to darkness. And those who call the shadows home shall rise again.
HELLBOY
Very poetic. Still doesn’t answer my question.
ABE SAPIEN
It’s why I hate talking to ghosts. All the cryptic, riddle of Sphinx crap.
LADY HATTON
The Queen must never find a King. That is why Osiris wanted you dead. When she is whole again, your true destiny will be revealed. This I have seen. Only then will...
She trails off.
HELLBOY
Only then will what? Come on, you were just gettin’ to the good part!
ABE SAPIEN
Can you tell us where she is? If you can sense her --
The ghost stiffens and shudders, stricken with fear.
The ectoplasm that makes up the ghost starts to WARP out of
shape, stretching horrifically. She looks at Hellboy.44.LADY HATTON
(panicking)
She’s here .
Lady Hatton’s features twist horribly, stretching out of
shape. Her ectoplasmic form doubles over, SCREAMING in pain. The crystal ball SHATTERS. The screams turn to LAUGHTER, and when she looks up again, it’s not Hatton’s face we see, but
that of the Blood Queen .
BLOOD QUEEN
Fools. You should know better than to play with dead things.
Hellboy draws his gun.
HELLBOY
Look, lady, we can either do this the easy way, or the --
WHAM! The Blood Queen’s ectoplasmic form lashes out, knocking the gun from Hellboy’s hand and swatting him across the room.
HELLBOY (CONT’D)
(pained, face down)
Okay. Hard way it is.
INT. SECURITY ROOM - CONTINUOUS
In cramped security room with a wall of monitors, Daimio
scans the recorded footage, stunned by what he sees.
DAIMIO
What in the --
WHAM! -- Something slams into the other side of the wall, hard, cracking the foundation, sending dust raining down.
INT. CATACOMBS - CONTINUOUS
Daimio returns to find the bizarre scene unfolding -- the
Blood Queen bats Abe aside and snatches Hellboy up by the throat, pulling him in for a closer look, curious...
BLOOD QUEEN
You... What are you?
HELLBOY
Someone you don’t wanna mess with.
BLOOD QUEEN’S POV: A GHOSTLY IMAGE OF HELLBOY WITH A FULL SET
OF HORNS, FLAMING CROWN AND EYES BLAZING WITH HELLFIRE. 45.BLOOD QUEEN
Interesting... I have never met one
such as you before. So much power. Such glorious potential.
HELLBOY
Stop, you’re makin’ me blush.
BLAM! A shot rings out, followed by a PUFF OF ECTOPLASM as the bullet passes harmlessly through the Blood Queen’s ectoplasmic form, ricocheting of the wall behind her.
She turns her furious gaze to Daimio, who fires again, but
the bullets continue to have no effect. The Blood Queen lunges. Daimio deftly dives out of the way, tucking, rolling, dropping the gun to draw two hidden blades.
DAIMIO
Hello?! Someone want to tell me what we’re up against here?
Realizing he’ll never reach Daimio in time, Hellboy heads straight for Alice, to wrestle her away from Lady Hatton, breaking her connection with the corpse.
As the Blood Queen leaps at Daimio, her form suddenly
collapses, raining sticky ectoplasmic residue down onto him.
While Hellboy and Abe tend to the unconscious Alice, we STAY
ON Daimio, whose hands are shaking. Making sure no one is looking, he reaches into his vest to take a couple of PILLS, instantly relaxing his nerves.
Alice finally opens her eyes. Hellboy helps her to her feet.
DAIMIO (CONT’D)
What the hell was that thing?
ALICE
An ectoplasmic manifestation.
DAIMIO
In English.
ALICE
It was a psychic projection of Lady
Hatton’s spirit. The Blood Queen somehow managed to commandeer it before I could break contact.
DAIMIO
And why was it so interested in Hellboy?46.HELLBOY
Guess I just have one of those
faces.
While Hellboy and Daimio continue bickering, Abe notices a LARGE WALL TAPESTRY depicting an heroic image of KING ARTHUR SLAYING THE BLOOD QUEEN has been torn in half. Upon closer inspection, he discovers it was concealing a HIDDEN VAULT. A Blood Queen crate inside, smashed open and empty. As he examines one of the rune-engraved pieces --
APE SAPIEN
Uh, guys...
Hellboy and Daimio stop arguing and look over at Abe.
ABE SAPIEN
It’s definitely one of hers.
HELLBOY
Which means whoever’s behind this is now a step closer to putting Humpty Dumpty together again.
ALICE
I don’t understand. Why would someone want to bring the Blood Queen back in the first place?
DAIMIO
Not someone. Some thing
.
INT. SECURITY ROOM - MOMENTS LATER
Hellboy, Alice and Abe huddle around Daimio as he shows them
the security footage.
ON-SCREEN: As chaos erupts all around, the Gruagach steps
into frame, carrying the severed head of the Blood Queen. Daimio pauses the footage.
HELLBOY
Gruagach.
Reactions all around. Hellboy looks to Alice.
DAIMIO
What the hell’s a gru-gak?47.HELLBOY
A changeling. Shape-shifter. Nasty
little bugger, too. It’s how Aliceand I first met.
FLASHBACK TO:
INT. ALICE’S COUNCIL HOUSE - NIGHT
Dimly lit by the flickering flames of a drafty fireplace. In
the corner is an antique crib.
HELLBOY (V.O.)
She was just a baby at the time. And faeries love to steal babies.
The floorboards creak as Hellboy enters the room, ALICE’S PARENTS just behind him. We recognize them from the photo we saw earlier in Alice’s flat. They look like they haven’t slept in weeks.
HELLBOY (V.O.)
Who knows why, but when the do manage to get their hands on one, they leave a changeling in its place. To pass for human.
MOTHER
It started a few weeks back. Little things at first, then lately...
FATHER
It’s like living in a nightmare you can’t wake up from.
HELLBOY
Anything look different about her?
FATHER
No, she looks the same.
The mother nods, her eyes haunted.
MOTHER
And yet, everything about her has changed. I can’t describe it, but a mother can tell. That is not my daughter.
Hellboy follows the mother’s frightened gaze to a crib in the corner of the room. He cautiously approaches to find a sweet little BABY GIRL staring up at him.48.HELLBOY
Well, hello there, kiddo. Aren’t
you just the cutest little thing.
The baby coos softly.
HELLBOY (CONT’D)
Your Mommy and Daddy are worried about you, tell me you’ve been acting strange. That’s okay, Uncle Hellboy’s here now, and he has just the thing...
Hellboy whips out a HORSESHOE. Dangles it over the crib. The baby SCREECHES, face contorting horribly. Hellboy is hurled backward by some invisible force, slamming into the hearth. The impact makes him drop the horseshoe.
ALICE’S FATHER
What in the name of --
HELLBOY
Iron. Changelings hate the stuff.
The parents cower, as the baby transforms into a tiny, scrawny version of the Gruagach. It springs from the crib, latching onto Hellboy, clawing at his face.
Hellboy gropes for the discarded horseshoe, just out of
reach. Instead, he finds the rack of fireplace tools and grabs a pair the IRON TONGS.
HELLBOY (CONT’D)
You’re really gonna wish you hadn’t done that.
Hellboy grabs at the Gruagach with the tongs, BURNING its face. It SHRIEKS and staggers back, skin smoking and blackening from contact with the iron.
Gruagach tries to run, but Hellboy uses the tongs to snatch
it up by its ankle.
GRUAGACH
(burning, screaming)
It hurts! Please! Let me go!
HELLBOY
If I do that, how am I gonna get these nice folks’ baby back?
GRUAGACH
They’ll bring it back! I swear! Just let me go!49.HELLBOY
Gee, I’d love to take your word for
it, but I’m not... you know... stupid.
The Gruagach spits in Hellboy’s face, momentarily blinding him. Then twists free of the tongs and races away.
HELLBOY (CONT’D)
Damn! Slippery little -
The Gruagach darts into the fireplace and up the chimney. Hellboy races after it, but the loathsome creature spits into the fire, causing it to erupt into a sudden blaze.
Flames belch from the hearth, catching parts of the living
room on fire. Hellboy, immune to the heat, remains unaffected as he stamps out the blaze.
When the smoke clears, Hellboy is left standing there,
covered in soot and thoroughly pissed off.
A sudden KNOCK on the front door. Hellboy turns toward it,
draws his gun...
EXT. - ALICE’S COUNCIL HOUSE - FRONT DOOR - NIGHT
Hellboy opens up. Nobody is there. Until he looks down... BABY ALICE is cooing on the doormat.Hellboy quickly holsters his gun, picks up Alice. He steps
out, looks down the hall. In the dark, he catches just a shadow of the FEY FOLK retreating. He looks back down at Alice, smiles. He heads inside, shuts the door.
BACK TO PRESENT:Daimio stares up at Hellboy in disbelief.
DAIMIO
So that’s it? That’s what started
all this? Some little fairy tale wanker you brassed off looking for revenge?
ALICE
And he’s using the Blood Queen to get it.50.EXT. FOREST - DAY
CLOSE ON - Gruagach trudging through the forest carrying the
BLOOD QUEEN’S HEAD, her SEVERED HAND tied to a rope and slung over his shoulder.
BLOOD QUEEN
Tell me what you know of this creature, the one they call the Hell Boy?
GRUAGACH
He burned me with iron and cursed me to a world of darkness and shame. It took all these years to make myself what I am now. And every hour of every day, I swore I’d have my revenge.
BLOOD QUEEN
This is why you sought me out... for vengeance?
GRUAGACH
So you would grant me the power to destroy him.
(ranting)
I could have been a person. Not this wasted, wandering thing. It would’ve been a real life, filled with light and happiness. Hellboy stole that from me.
BLOOD QUEEN
I see.
GRUAGACH
Then you’ll do it? You’ll make me what I once was?
BLOOD QUEEN
No. I will make you more powerful than you could possibly imagine. But first you must do something for me...
They reach the outskirts of a little ENGLISH VILLAGE.
BLOOD QUEEN (CONT’D)
I need blood. From every man, woman and child you find. None may be spared.
Gruagach stalks into town, carrying the Blood Queen’s head.51.EXT. OSIRIS CLUB - DAY
Hellboy heads for the van. Abe, Alice and Daimio follow.
DAIMIO
So what’s the plan? Drive around
until you stumble across an angry Changeling?
HELLBOY
We know Gruagach has at least two of the crates, right?
DAIMIO
So?
HELLBOY
So maybe that’s all he’s got.
ABE SAPIEN
(realizes)
Of course. If he’s trying to restore the Blood Queen, all we have to do is beat him to one of the crates.
HELLBOY
Can’t finish a puzzle without all the pieces.
DAIMIO
Terrific. So we just have to find a needle in a haystack the size of Great Britain.
HELLBOY
You got a better idea?
ABE SAPIEN
We can start by focusing on locations of religious significance.
ALICE
This is England. Swing a cat.
ABE SAPIEN
To narrow the search, I’ll need a map of Great Britain from the 5th or 6th century, a scrying compass, full set of Forte’s Arcanum, and a copy of Saint Isidore’s Illuminatica, preferably first edition. 52.DAIMIO
Where the hell are we gonna find
all that?
INT. B.P.R.D. VAN - DAY
The B.P.R.D. van pulls up out front a dilapidated FISH &
CHIPS SHOP in London’s East End warehouse district. Hellboy looks around, disappointed --
HELLBOY
This is it?
DAIMIO
What’d you expect, a sign out front that says “Secret Headquarters”?
EXT. FISH AND CHIPS SHOP - CONTINUOUS
As Hellboy, Abe and Alice exit the van, Hellboy realizes
Daimio’s not getting out.
HELLBOY
Aren’t you comin’?
DAIMIO
Got some business to attend to. Until I’m back, no one leaves this facility. Last thing I need are more freaks wandering around.
Daimio speeds off. Hellboy and the others turn to head inside.
INT. FISH ‘N CHIPS SHOP - MOMENTS LATER
Hellboy, Abe and Alice enter, taking a look around. A handful
of rough-looking locals stare back at them.
HELLBOY
Yeesh, it’s worse on the inside.
At second glance, Hellboy realizes the “locals” are actually B.P.R.D. AGENTS in disguise. Among them, the two agents who picked him up in Mexico, both dressed as fisherman.
HELLBOY (CONT’D)
Phil?
PHIL looks up from his plate, gives a sheepish wave. 53.HELLBOY (CONT’D)
I thought you were on a diet?
The agent shrugs as the WOMAN behind the register relaxes her
grip on a concealed MACHINE GUN, then presses a small red button. The wall behind her slides open to reveal a hidden elevator.
Hellboy heads over, grabbing Phil’s chips as he goes.
HELLBOY (CONT’D)
You’ll thank me later.
INT. B.P.R.D. LONDON BRANCH - MOMENTS LATERThe elevator opens on an high-tech underground facility,
bustling with B.P.R.D. PERSONNEL busily setting up work stations and computer terminals.
Hellboy steps out, stuffing his face with chips.
HELLBOY
(mouth full)
Now that’s more like it.
Broom appears, toting an armful of old texts.
BROOM
Good, you’re here.
He hands Abe one of the larger books.
BROOM (CONT’D)
Arrived from Chetham’s library a
few minutes ago. The third edition, just like you asked.
INT. B.P.R.D CONFERENCE ROOM - CONTINUOUS
Broom ushers Hellboy and the others to a table piled high
with books, scrolls, manuscripts and parchment maps. Various wall monitors display dozens of different HISTORICAL & RELIGIOUS LANDMARKS all over England.
HELLBOY
What’s all this?
BROOM
Research materials pertaining to the potential location of the Nimue caskets.54.Hellboy looks out over the crowded table as if he’s allergic
to the materials laid out there.
BROOM (CONT’D)
Well, don’t just stand there. Grab a seat and let’s get started.
Hellboy grumbles as Broom hands him a stack of manuscripts:
HELLBOY
Guess now we know why Daimio skipped out.
INT. M-11 LABORATORY - CONTINUOUS
Inside a laboratory marked: M-11 Personnel Only
, Daimio,
SCIENTISTS and HOODED PRIESTS watch as a FRAIL LITTLE MONK
finishes pouring a smoldering blend of ARCANE INGREDIENTS into the casing of a silver bullet, engraved with occult symbols. The monk screws the bullet onto it.
DAIMIO
This better work.
The monk places the MAGIC BULLET into a tiny silver box.
MONK
Just make certain it’s a kill shot. Either the heart or the brain.
DAIMIO
This is Hellboy we’re talking about. Better stick with the heart, brain is too small a target.
INT. B.P.R.D. CONFERENCE ROOM - LATER THAT NIGHT
The room is a mess. Books and maps strewn everywhere, covered
in sticky notes and handwritten annotations.
Hellboy, Broom, Abe and Alice sit around the conference
table, bleary-eyed and exhausted, poring over research. They’ve been at it all night.
ALICE
Have we looked at Edge Hill?
ABE SAPIEN
Twice.
ALICE
There’s always Stonehenge.55.BROOM
Too obvious. The Celts wanted to
hide her remains. They’d never choose such a conspicuous location.
ALICE
What about the Elva Stones in Cumbria?
BROOM
Put it on the “maybe” pile. I’ll go and get the next batch of research.
HELLBOY
(incredulous)
There’s more?
Alice marks the page, then tosses the book onto a growing stack of similar tomes. Hellboy looks discouraged. He checks his watch, then rises and stretches, making a big show of it.
HELLBOY (CONT’D)
I don’t know about the rest of you, but I could use a break.
He heads for the door. Abe watches him, curious.
INT. B.P.R.D. LONDON BRANCH - MOMENTS LATER
Hellboy heads straight for the elevator. But just as he
presses the button --
ABE SAPIEN (O.S.)
Going somewhere?
Hellboy turns to find that Abe has followed him.
HELLBOY
Just looking for the bathroom.
(rubs his stomach)
I think those chips were past their expiration date.
ABE SAPIEN
Seriously? That’s the best you could come up with?
Busted, Hellboy drops the pretense --56.HELLBOY
This isn’t working, Abe. While we
sit here playing study hall, the Gruagach is out there somewhere, arming a supernatural weapon of mass destruction.
ABE SAPIEN
So what do you suggest?
HELLBOY
That we fight fire with fire.
(beat)
I’m gonna go see Baba Yaga.
Abe’s eyes go wide --
ABE SAPIEN
What?!? Are you nuts?!?
ALICE (O.S.)
Who’s Baba Yaga?
Startled, Hellboy turns to find Alice standing there now.
HELLBOY
(sighs)
And here I thought I was being sneaky.
ALICE
Answer the question.
HELLBOY
She’s a witch.
ABE SAPIEN
Not just a witch. A powerful one, ancient and evil. Used to go around counting dead men’s fingers and eating children.
HELLBOY
I was okay with the fingers, but the eating thing had to be stopped.
ABE SAPIEN
Which is why Hellboy banished her from the mortal realm.
HELLBOY
That was ages ago. I’m sure she’s forgiven me by now.57.ABE SAPIEN
You shot her eye out!
HELLBOY
Whatever. You know I wouldn’t risk
it if there was any other way.
DING! The elevator arrives. Hellboy steps inside. Alice tries to follow, but he stops her at the door.
HELLBOY (CONT’D)
Whoa. Where do you think you’re goin’?
ALICE
I’m coming with.
HELLBOY
Like hell you are.
ALICE
You said it yourself. We’re a package deal. Where you go, I go.
HELLBOY
Not this time, Alice. This is something I have to do alone. Besides, I need you and Abe here helping the Professor. In case things don’t pan out.
ALICE
You mean, in case you don’t come back.
His silence speaks volumes. They share a little moment.
ABE SAPIEN
(interrupting)
Come on, Alice, we have to get back inside.
HELLBOY
Cover for me with the old man.
ABE SAPIEN
Sure. I’ll just tell him you’re busy doing something incredibly stupid. He’ll believe that.
Hellboy smiles as the elevator doors slide shut. 58.ALICE
He’ll be okay, right? I mean, how
dangerous could this Baba Yaga person really be?
EXT. JUNK YARD - NIGHT
WIDE ESTABLISHING SHOT of a salvage yard on the outskirts of
London, surrounded by vacant lots and abandoned warehouses. Not a living soul in sight.
HELLBOY (PRE-LAP)
This is not one of my better ideas.
EXT. JUNK YARD - CONTINUOUS
With a BURLAP SACK slung over his shoulder, Hellboy sneaks
through a labyrinth of gutted cars and towering heaps of scrap metal, eventually coming upon an old RUSTED SHACK.
He peeks through a cracked window and sees the SHACK IS
EMPTY, then pushes on the wall, checking the building’s structural integrity.
HELLBOY
Guess this will have to do.
Satisfied, Hellboy rifles through his sack to find a handful of RUNES and CHARMS, which he scatters along the base of the shack’s doorway, whispering a quiet INCANTATION.
The ground beneath him trembles. Hellboy takes a deep breath
and cautiously opens the door...
INT. SHACK/BABA YAGA’S LAIR - CONTINUOUS
As Hellboy enters, the shack’s interior transforms into the
luxurious parlour room of some 18th Century Russian palace. Much bigger inside than out.
HELLBOY
Knock, knock. Anybody home?
A tense beat as Hellboy peers into the dimly lit space. A WOMAN’S VOICE rises from out of the gloom, speaking with a thick Slavic accent:
VOICE (O.S.)
You dare to show your face here?59.BABA YAGA appears, crouched in a wooden mortar, holding a
large pestle like a staff. A monstrous creature from a forgotten age, ancient and terrifying. FLIES buzz around her hideously deformed face. One eye a vacant, fleshy hole.
BABA YAGA
After what you did to me? You are either very brave or very foolish.
HELLBOY
Can’t I be both?
She drifts closer. Hellboy reaches into his utility belt to retrieve something from one of the pouches: a RUSSIAN NESTING DOLL. He thrusts it out, like a cross to a vampire.
BABA YAGA
(recoiling)
Matryoshka!
Baba Yaga HISSES and retreats back into the shadows. As the scene continues, she drifts in and out of sight, trying to get at Hellboy, who brandishes the doll to keep her at bay.
Every time she gets close, a layer of the wooden nesting doll
withers away, exposing the smaller dolls beneath.
BABA YAGA (CONT’D)
Why have you come? Speak quickly, while you still have a tongue in your head.
HELLBOY
I need information.
BABA YAGA
Don’t play coy, demon. You have come to ask about the Blood Queen. Where you might find her remains.
HELLBOY
So then you know.
BABA YAGA
There is very little that I do not. But the answer you seek will do you no good.
Another layer of the nesting doll burns away.
HELLBOY
Why is that?60.BABA YAGA
Because, Dark Prince. You are not
the first to ask.
HELLBOY
(realizes)
...Gruagach.
She laughs with wicked delight.
BABA YAGA
Yes, it was I who told the changeling how to find the Blood Queen’s remains.
HELLBOY
Why? What could he possibly have to offer you?
BABA YAGA
Only the assurance that your death would be slow and painful.
HELLBOY
Then we have nothing left to discuss.
As Hellboy turns to leave --
BABA YAGA
Ah, but that’s where you are mistaken. For while you are too late to prevent the Gruagach from finding the Blood Queen, there is still time to prevent her from becoming whole. Even now, she prepares for the ritual that will return her to her former glory.
HELLBOY
Tell me where and when.
BABA YAGA
You ask something of me, you must give me something in return.
HELLBOY
What do you want?
BABA YAGA
Your eye. To replace the one you took from me.61.HELLBOY
Uh-uh. No way. Pick something else.
BABA YAGA
That is my price. Take it or leave
it.
Hellboy hesitates, trying to come up with some other way to appease Baba Yaga. Another layer of the nesting doll withers away. He’s running out of time. Baba Yaga looms closer.
The last nesting doll withers away to nothing, leaving
Hellboy defenseless. Baba Yaga is about to lunge, when --
HELLBOY
(defeated)
Fine. We have a deal. Just tell me where the ritual is taking place.
BABA YAGA
The bargain is sacred. Once made, it cannot be broken.
HELLBOY
Look, I said you can have my damn eye. What more do you want?
She smiles, revealing iron teeth sharpened to points.
BABA YAGA
Go to the ruins of St. Osyth’s Priory. Her resurrection will be consummated beneath the full moon at midnight tonight.
Hellboy takes a deep breath. He has what he came for.
BABA YAGA (CONT’D)
Now, for your end of the bargain...
Baba Yaga drifts toward Hellboy, pulling out a DAGGER.
BABA YAGA (CONT’D)
Let’s see, which shall it be... the right one or the left? I think I like the left one.
As she goes to carve out his eye, Hellboy grabs her wrist.
HELLBOY
Yeah, about that. See, we never discussed a time frame. You should have been more specific.62.He gives her a smug look and steps back toward the door.
HELLBOY (CONT’D)
But don’t worry, you’ll get your
eye. Just as soon as I’m done with it.
Baba Yaga explodes with fury. She opens her mouth impossibly wide, unleashing a billowing SWARM OF FLIES. They fill the room, biting, buzzing, choking Hellboy, obscuring his vision.
Baba Yaga springs from the pestilence, CRACKING Hellboy in
the head with her giant wooden pestle. He reels from one blow after another as Baba Yaga darts in and out of the swarm, using it to camouflage her attacks.
Hellboy hits the ground hard, struck from behind. And that’s
when he finally catches sight of the exit.
With his last ounce of strength, Hellboy ducks one final
attack and leaps back through the doorway.
EXT. JUNK YARD - CONTINUOUS
Baba Yaga SCREAMS, darting for Hellboy as he scatters the
runes and charms, destroying the mystical connection between the two worlds.
Hellboy’s left lying on the front stoop, staring into an
empty shed. Baba Yaga’s angry cries fading into the distance. Slowly, painfully, he drags himself back to his feet.
HELLBOY
(sighs)
I should’a been a plumber.
INT. B.P.R.D. - CONFERENCE ROOM - DAY
Daimio confers with Broom, while Abe and Alice continue
poring over research materials.
HELLBOY (O.S.)
Honey, I’m home!
They look up as the battered Hellboy staggers into the room. Alice leaps up to give him a big awkward hug. Hellboy winces. Everything hurts.
DAIMIO
(angry)
Where the hell have you been? I told you to stay put! 63.HELLBOY
Yeah, well, I’m not much for doing
what I’m told.
ABE SAPIEN
He’s right. Ask anybody.
DAIMIO
You know, this literal devil-may-care routine might fly back home, but you’re on my turf now. Pull a stunt like this again and I’ll slap the tracking collar on you myself.
HELLBOY
Go ahead and try.
BROOM
The Major’s right, Hellboy. This is neither the time or place for one of your little walkabouts.
HELLBOY
Ground me later. Right now we need to get to St. Osyth’s Priory. That’s where we’ll find the Blood Queen.
DAIMIO
How’d you come by this information?
HELLBOY
Doing my job. You should try it sometime.
Hellboy grabs one of the maps off the wall --
HELLBOY (CONT’D)
Let’s get moving. St. Osyth’s isjust outside Essex, at least athree-hour drive.
DAIMIO
Oh, I think we can do better than that.
EXT. FISH AND CHIPS SHOP - MOMENT LATER
Daimio escorts everyone to the vacant parking lot across the
street, where they find a sleek MILITARY HELICOPTER waiting.
Daimio climbs into the cockpit, slips on a flight helmet and
starts his pre-flight checks, revving up the engines.64.DAIMIO
Wheels up, we’re moving out!
ALICE
Always wanted to ride in a
helicopter.
HELLBOY
What? You’re our pilot?!? Oh, this just keeps getting better and better.
As the others climb aboard, Broom pulls Hellboy aside.
BROOM
I’m sorry I doubted you.
HELLBOY
Don’t be. I’ve given you plenty of reasons.
BROOM
Just be careful.
DAIMIO
Come on, people. Let’s move. Alice, you’re up front with me.
HELLBOY
Oh, I get it. Monsters in the back.
DAIMIO
We wouldn’t want to scare the kiddies, would we?
HELLBOY
Looked in a mirror lately?
ANGLE ON BROOM - watching anxiously as the helicopter lifts off and heads out over the city.
EXT. ST. OSYTH’S CHAPEL - DUSK
High atop a small mountain are the remains of an ancient
stone chapel. In the shadow of its crumbling tower, Gruagach carries a heavy cauldron. The Blood Queen’s severed head rests nearby, silhouetted against the dying sun, peering into the distance.
BLOOD QUEEN
They’re coming. I can feel it.65.GRUAGACH
Hellboy?
BLOOD QUEEN
And his compatriots.
The Gruagach stops what he’s doing, looks skyward, worried --
GRUAGACH
The sun has only just begun to set.
Are we going to be ready? And where are the others you summoned?
BLOOD QUEEN
Fret not, Gruagach. They will be exactly where I need them to be...
EXT. OPEN FIELD - NIGHT
The Helicopter lands in an open field. Hellboy, Abe and Alice
get off, look around.
HELLBOY
Where are we? I don’t see any chapel.
DAIMIO
This is as close as we can get and still maintain surprise. We hike from here.
Abe checks the map, points --
ABE SAPIEN
The Priory should be just over that rise. We better get going if we want to be there before midnight.
EXT. WOODS - NIGHT
They trudge uphill through the dense forest, Abe checking the
map as they go. Hellboy takes point, clearing a path with his stone fist.
DAIMIO
A little louder, Hellboy. I’m not sure they can hear us coming.
HELLBOY
Why don’t you get up here so I can snap something besides these branches.66.As Hellboy continues on, Alice sidles up to Daimio.
ALICE
Why are you always on him? Does he
really bother you that much?
DAIMIO
I just call ‘em like I see ‘em.
ALICE
I’m a spiritual medium, Major. Been seeing things from the other side most of my life. And if it’s taught me anything, it’s that evil doesn’t always wear a familiar face.
DAIMIO
Really? You’re going to lecture me
about faces?
(re: his scars)
Or did you think I got these shaving?
Alice considers his jagged scars.
ALICE
A monster did that?
DAIMIO
During a recon mission in the Amazon basin.
We hear the distant sounds of SCREAMING and GUNFIRE from Daimio’s memory as we --
FLASHBACK TO:
EXT. AMAZON JUNGLE - DAY
A YOUNGER BEN DAIMIO hits the dirt, BLOODY GASHES running
down his face. He and a team of heavily-armed SOLDIERS are being attacked by a vicious JAGUAR BEAST.
DAIMIO (V.O.)
My unit was a dozen klicks from the rendezvous point when I realized we were being stalked.
The jungle fills with SCREAMS and GUNFIRE as the soldiers are yanked into the overgrowth and torn to shreds. 67.DAIMIO (V.O.)
But it was too late. Damn thing
came out of nowhere. Tore through us like tissue paper. A dozen well-trained, heavily armed soldiers. Gone. Just like that.
The beast turns on Daimio, who barely manages to raise his gun - BLAM!
BACK TO SCENE:Daimio shakes off the memory.
DAIMIO
I was the only one who survived.
Before Alice can respond, Hellboy tears some more brush away,
startled by the sudden appearance of a DEMONIC VISAGE carved into an moss-encrusted stone.
ABE SAPIEN
What is it?
HELLBOY
A grave marker.
Hellboy pulls back more brush to reveal more demonic effigies.
ABE SAPIEN
Looks like we’ve stumbled into some sort of burial ground.
A NOISE like creaking branches. Hellboy looks up into the trees to find PREDATORS EYES glinting back at him. UNDEAD WITCHES. Dozens of them. Hideous undead things.
ALICE
There’s so many.
Out of nowhere, one of the witches SWOOPS DOWN, clawing at Hellboy as it passes.
DAIMIO
Back to back, quickly! Form a column. Fire in short bursts to conserve ammo.
ALICE
I don’t have a gun!
DAIMIO
Do you know how to use one?68.ALICE
No.
DAIMIO
Then that’s a good thing.
A witch lunges. Daimio shoots, blowing it away mid-air.
ANOTHER BURSTS UP FROM THE GROUND beneath Hellboy’s feet, clawing its way out of the grave.
HELLBOY
You gotta be kidding...
He crushes it with a swing of his stone fist.
HELLBOY (CONT’D)
Does anything stay buried in this godforsaken country?
One of the witches leaps onto Daimio, clawing at him viciously. Alice grabs the witch, trying to pry her loose.
ALICE
Let go of him!
Desperate, she balls up her fist and punches the witch as hard as she can, accidently knocking the WITCH’S SPIRIT right out of her. The disembodied spirit flees SCREAMING off into the night, while her corporeal form crumbles to dust.
ALICE (CONT’D)
Did I do that?
DAIMIO
(nods yes)
Three o’clock!
Alice spins to find a witch rising from the grave. She punches her soul out, amazed by her newfound ability. Daimio is seized by a violent cramp, forcing him to stop fighting long enough to take another pill. Meanwhile, Hellboy and Abe fight back-to-back, blasting witches.
HELLBOY
Just like old times, huh?
ABE SAPIEN
You say that like it’s a good thing.
They form the defensive column once again, taking turns firing and reloading, working like a well-oiled machine. Daimio notices that Hellboy’s shots cause the witches to burst into clouds of fiery ash.69.DAIMIO
What the hell are you packing?
HELLBOY
Special bullets. You guys don’t
have those?
DAIMIO
Saving mine for the right occasion.
Another witch leaps at them. Hellboy blows it away, ash clearing to reveal the FULL MOON above. Abe sees it too.
HELLBOY
We’re running out of time.
ABE SAPIEN
Go. We’ve got this.
Hellboy gives his old friend a nod, then takes off up the hill, blasting witches as he goes. We can just make out the ruins of ST. OSYTH’S CHAPEL in the distance. Abe, Alice and Daimio keep fighting. Daimio slaps in another clip.
The battle continues. A witch swoops past. Alice spins around
just in time, punching the soul right out of her.
DAIMIO
How are you doing that?
ALICE
No idea. But I’m starting to get the hang of it.
ABE SAPIEN
It’s called a Spirit Wrack. Basically the reverse of what you did with Lady Hatton’s corpse. I saw it in India once, performed by a Param Guru. But only after decades of practice.
Alice takes a stance as the remaining witches close in.
ALICE
Something tells me we don’t have that kinda time.
INT. ST. OSYTH’S CHAPEL - NIGHT
Portions of wall and archways are missing, but the chapel is
still mostly intact. Where the altar once stood, there is now a WIDE PIT surrounded by large OVERTURNED CAULDRONS. 70.Gruagach stands by the pit, holding a flickering torch. He
tips the last of the cauldrons over, pouring its contents into the pit, which we now realize is filled with BLOOD.
GRUAGACH
De lapidibus et igne fit terra!
VOICES rise from the darkness in response, thick and gravely.
VOICES (O.S.)
Sanguis vitam est!
Gruagach’s torch reveals stooped, leathery TROLLS hunched in the shadows. All shapes and sizes, each more grotesque and malformed than the last.
One by one, they approach the pit with the BLOOD QUEEN
CRATES, withdrawing the various body parts, shriveled with age but still moving and twitching, very much alive.
They toss the parts into the pit. The Gruagach watches with
grim satisfaction as each sinks down into the pool of blood, then tosses his torch in after them.
WHOOSH! The blood pool ignites, becoming a whirling column of
fire. The trolls CHEER! Gruagach shields his eyes from its intensity as --
BOOM! A shot rings out, echoing through the chapel. The troll
closest to the Gruagach suddenly EXPLODES, splattering the changeling with bits of gore and viscera.
All eyes on HELLBOY as he steps into view, gun smoldering.
HELLBOY
Sorry. Didn’t mean to interrupt.
Gruagach ducks for cover behind one of the cauldrons as
Hellboy fires again, killing the troll standing behind him.
HELLBOY (CONT’D)
Hope I’m not late for the party.
BLOOD QUEEN (O.S.)
On the contrary...
The BLOOD QUEEN steps from the fiery pit, whole again
, a dark
goddess drenched in blood and draped in living shadow.
BLOOD QUEEN (CONT’D)
You’re just in time.
She cranes her neck, bending, flexing, testing her newly restored form. 71.HELLBOY
...crap.
Hellboy takes aim and fires, but the Blood Queen casually
deflects the shot with a wave of her hand. He tries again -- CLICK...CLICK...but he’s out of ammo.
BLOOD QUEEN
Poor deluded creature. You have done so much for mankind, and still you are shunned by them. Treated as an outsider, an outcast... a monster.
HELLBOY
Careful. You’ll hurt my feelings.
The trolls close in, cutting Hellboy off from the Blood Queen, holding him at bay.
BLOOD QUEEN
When I first touched you, I felt your pain, your loneliness, just as I sensed your true nature. I knew then what you have struggledwith your entire life... that you are one of us, a creature of darkness.
(beat)
Why fight for those who hate and fear you? Join me instead, and be revered for who you really are.
HELLBOY
As tempting as that sounds, I’m not really the joining type.
BLOOD QUEEN
Pity.
She gestures to the trolls, who swarm over Hellboy, clawing, punching, kicking, biting. Gruagach emerges from hiding, pleading with the Blood Queen as they move away.
GRUAGACH
Please! Restore me now! Let me take my revenge!
BLOOD QUEEN
Patience. Your time will come.
GRUAGACH
But you swore!72.She spins on him with a look of mad fury --
BLOOD QUEEN
Mind your tongue, pig! Else I’ll
tear it from your head!
Gruagach looks to Hellboy and growls with impotent rage, wanting so badly to finish it here and now. The Blood Queen turns from him to draw shimmering occult symbols in the air, opening a MYSTICAL PORTAL.
BLOOD QUEEN (CONT’D)
Consider my offer, Hell Boy. If you change your mind...
She steps through the portal, followed by Gruagach, who pauses to glare at Hellboy one last time. Hellboy manages to fight his way from beneath the trolls and lunges just as the portal collapses.
HELLBOY
(sighs)
I really hate magic.
As Hellboy is tackled out of frame --
EXT. WOODS - NIGHT
Abe, Daimio and Alice are backed into a corner, desperately
trying to hold their own against the remaining witches closing in on them. Suddenly, the witches stop and flee screaming off into the night, leaving Daimio, Abe and Alice standing there, confused.
DAIMIO
What just happened?
ABE SAPIEN
Alice, was that you?
ALICE
I don’t think so.
They wait a long beat. When the witches don’t return, everyone breathes a collective sigh of relief. Daimio continues up the hill toward St. Osyth’s.
INT. ST. OSYTH’S CHAPEL - MOMENTS LATER
Alice, Abe and Daimio arrive just as Hellboy finishes off the
last of the trolls.73.HELLBOY
Took you guys long enough.
DAIMIO
Where’s Grugak and the Blood Queen?
ALICE
It’s pronounced Gruagach.
HELLBOY
They’re gone.
DAIMIO
What do you mean gone ? You let them
get away?
HELLBOY
I didn’t let them do anything. She
pulled some magicky hoo-ha and just disappeared.
ABE SAPIEN
So she’s back in one piece.
HELLBOY
I’m afraid so.
DAIMIO
So after all this, the Blood Queen just slips through your fingers. You know, I’m starting to wonder whose side you’re really on.
Hellboy glares at Daimio, then marches into the woods, back the way they came. Daimio turns to find Alice and Abe leering at him.
DAIMIO (CONT’D)
I’m just saying what everyone else is thinking.
ALICE
You don’t want to know what I’m thinking.
Alice pushes past Daimio and into the forest. Abe shoots him a look and follows.
EXT. PENDLE HILL - NIGHT
Nestled in the valley below Pendle Hill we find the ancient
CYPRESS TREE upon which the Blood Queen was impaled by Artur. 74.Dark clouds gather, thunder rumbles as a MYSTICAL PORTAL
suddenly opens. The Blood Queen and Gruagach step out, portal closing behind them.
She makes her way over to the tree, the grass beneath her
feet withering in her wake as her disease spreads, radiating outward.
PSYCHIC FLASH: Quick, nightmarish images. Pin-cushioned by
arrows, the Blood Queen is impaled by a spear and nailed to the tree. Blood flows as she is hacked to pieces, seeping into the ground below.
Sensing a presence, the Blood Queen tilts her head toward the
surrounding forest.
BLOOD QUEEN
Well, don’t just cower there like field mice. Step forth and be counted.
The CREATURES OF DARKNESS reveal themselves, representatives from all the different tribes: goblins, witches, trolls, dark elves. Among them, Ganeida and her two sisters.
BLOOD QUEEN (CONT’D)
Ah, dear sisters. So kind of you to grace me with your presence. But where is the rest of your coven? I seem to recall a greater number when last we met.
Ganeida steps forward, removing her CROWN OF THORNS to present it to the Blood Queen.
GANEIDA
The others are dead. Drowned. They threw themselves into the sea when they heard you had returned.
BLOOD QUEEN
And yet you three remain.
With a gesture, Ganeida’s sisters crumple to the ground, every bone in their bodies broken. Ganeida falls to her knees, pleading:
GANEIDA
Please, My Queen! Have mercy!
BLOOD QUEEN
Fear not, Ganeida. The debt is paid.
(to everyone)
(MORE)75.That goes for all gathered here. I
hereby grant clemency for any past transgressions, to you and your kin. It is time for us to stop fighting amongst ourselves and face the real enemy.
The Blood Queen floats up into the air, so that all may see.
BLOOD QUEEN (CONT’D)
Too long have we hidden away in the cracks of the Earth, running from those who would murder our brothers and sisters. Darkness falls upon the world once more, and together we shall bring about a new age... a new beginning. The days of man are done.
The gathered crowd mumbles in agreement.
BLOOD QUEEN (CONT’D)
Now go. Spread the word. When the time is right, I shall call upon you again, to raise an army unlike any the world has ever known. Together, we shall reclaim these lands and take back what has so long been denied.
This last pronouncement is punctuated by another CLAP OF THUNDER and a CHEER from the creatures of darkness. Rain begins to fall. The creatures disperse, vanishing back into the forest. Ganeida tries to slink away unnoticed, but --
BLOOD QUEEN (CONT’D)
Not you, Ganeida.
Ganeida turns back hesitantly, afraid of what comes next. The Blood Queen takes the crown of thorns, magically transforming it into a lethal-looking BARBED ARROW, coating its tip with her vile plague.
BLOOD QUEEN (CONT’D)
I still have one task left, to prove your newfound loyalty.
She hands the arrow to Ganeida, then draws the shimmering symbols in the air, opening another PORTAL.BLOOD QUEEN (CONT'D)
76.EXT. ESSEX WOODS - NIGHT
Hellboy and the others make their way through the dense
forest, retracing their steps back to the helicopter. An annoying songbird follows, SINGING loudly.
DAIMIO
Once we’re back in the chopper, I’ll need all eyes on the ground, searching for any sign of the Blood Queen’s plague. That’ll be the best way to track her movements.
ABE SAPIEN
Good plan. I knew there was a reason we kept you alive this long.
DAIMIO
You know, for a Merman, you’ve got a pretty dry sense of humor.
ABE SAPIEN
Merman?
DAIMIO
(sarcastic)
Sorry. Is that not politically correct? Amphibious Humanoid, then.
ABE SAPIEN
You may find this hard to believe, Major, but I once used to be just like you.
ALICE
Grouchy and ill-mannered?
ABE SAPIEN
Human
.
Alice and Daimio exchange surprised looks.
ABE SAPIEN (CONT’D)
My real name is Langdon Everett Caul. I was a part of a secret society that dabbled in the occult.We performed a ritual which resulted in an entity being released that turned me into... (gestures to himself) this. The society imprisoned me ina water-filled capsule and hid me away. It was many years before I was discovered by the B.P.R.D.77.ALICE
So they saved you.
ABE SAPIEN
Actually, they tried to dissect me.
Fortunately, Hellboy intervened. Been working with the B.P.R.D. ever since.
ALICE
Wow. And I thought my origin story was rough.
Daimio interrupts --
DAIMIO
Okay, enough chit-chat. We need to focus on the problem at hand.
Hellboy suddenly stops, draws his gun.
HELLBOY
You hear that?
DAIMIO
I don’t hear anything.
HELLBOY
Exactly. The bird. It stopped singing.
He’s right. It’s dead quiet now. Abe and Alice look around, instantly on alert. Daimio doesn’t get it.
DAIMIO
So?
ALICE
It’s a warning.
DAIMIO
Seriously? First fairies, now birds? You people...
THWAP! Alice is suddenly struck in the shoulder by an arrow. She stares down at it, startled and confused, before collapsing. Abe catches her as she falls.
Hellboy and Daimio spin to find Ganeida standing by a tree,
holding a bow. She tries to escape, Hellboy lunges, grabbing her by the throat with his giant stone hand.
Abe pulls out the barbed arrow, coated in vile rot. The
disease already spreading in thin black tendrils.78.ABE SAPIEN
The arrow’s been poisoned.
Hellboy glares at Ganeida, grip tightening around her neck --
HELLBOY
You’ve got three seconds to undo
whatever you just did.
GANEIDA
Not me. Nimue. She made me do it.
HELLBOY
Two...
GANEIDA
I didn’t want to. She killed my sisters.
HELLBOY
One...
We can hear the bones in Ganeida’s neck cracking.
GANEIDA
But I can help.
Hellboy loosens his grip enough for Ganeida to speak:
HELLBOY
There is still one who might save your friend. Not far from here. I can take you to him.
Hellboy considers this... let’s go of Ganeida, who falls to the ground, gasping for air.
DAIMIO
What are you doing? You’re not actually going to trust her?!?
But Hellboy’s mind is already made up. He takes a ROSARY from his belt and wraps it around Ganeida’s neck, like a leash.
HELLBOY
Lead the way. And no sudden movements.
Before she can take a single step, Daimio draws his gun
,
leveling it at Ganeida’s head.
DAIMIO
This is crazy. I can’t let you do it.79.HELLBOY
Put that down, Daimio.
DAIMIO
We have our orders. Finding the
Blood Queen is the number one priority. And the longer we wait, the less likely that becomes.
Hellboy steps menacingly closer.
HELLBOY
Don’t make me ask you twice.
ABE SAPIEN
Uh, guys... how ‘bout we take this down just a couple hundred notches?
DAIMIO
Look, I’m sorry about Alice, but you’re weighing one life against millions.
HELLBOY
I told you, we’re a package deal. No Alice, no me. So good luck fighting the Blood Queen on your own.
Daimio considers this for a long beat, then lowers his gun.
DAIMIO
If I wasn’t under orders, I’d drop your sorry ass right here and now.
He grabs Ganeida’s leash and jerks her away. Hellboy lifts Alice, cradling her in his arms. She looks up, barely conscious and in pain, but still manages a weak smile. They move off, following Ganeida into the woods.
EXT. ENGLISH COASTLINE - NIGHT
Hellboy carries the unconscious Alice as the group inches
along a precarious sea wall, following Ganeida’s lead. They eventually come to a hidden CAVE ENTRANCE, ancient runes etched all around it.
DAIMIO
Anyone read Latin?
ABE SAPIEN
Aramaic actually. And yes.80.HELLBOY
What’s it say?
ABE SAPIEN
The short version... “Abandon all
hope ye who enter.”
HELLBOY
Screw it.
Hellboy, leading the group, heads into the cave.
INT. CAVE - CONTINUOUS
They move beyond the cave entrance, descending a stairway
carved from the surrounding rock. More runes here, along with ancient battle scenes etched in bas relief.
INT. CAVERN - CONTINUOUS
The group emerges into an impossibly large cavern, bisected
by a MOAT OF FIRE. A stone bridge leads across it, to the IRON GATES of a massive UNDERGROUND PRISON.
DAIMIO
What is this? Some sort of tomb?
HELLBOY
Looks more like a prison.
GANEIDA
The one you seek resides within. An ancient druid locked away here long ago. Only he can save your friend.
She sets out across the bridge --
GANEIDA (CONT’D)
Quickly now. Every moment we tarry brings her one step closer to dea--
CRACK! A stone hand suddenly reaches out from the shadows and SNAPS Ganeida’s neck, killing her instantly. She falls aside to reveal a HUGE STONE SENTRY forming itself from the surrounding rocks.
Fire flickers in its empty eye sockets, glowing through
cracks in its stoney flesh. Slowly it turns to the others, taking a position between them and the iron gates beyond. Hellboy sets Alice aside and steps up to face him.81.HELLBOY
Outta my way, Rocky. We got
business.
SENTRY
None shall pass.
HELLBOY
We’ll see about that.
Hellboy punches the Sentry with everything he’s got, but the huge stone guardian doesn’t even flinch.
HELLBOY (CONT’D)
...crap.
The Sentry snatches Hellboy up by the neck. Abe and Daimio try to intervene but are easily swatted aside.
HELLBOY (CONT’D)
I don’t suppose we could discuss this.
The Sentry squeezes. Hellboy fights with all he’s got, but it’s no use. As he starts to black out --
SENTRY
(realizing)
Anung un Rama?
The Sentry suddenly lets go of Hellboy, who falls to his knees, gasping for air.
SENTRY (CONT’D)
Forgive me. I did not recognize you.
HELLBOY
S’okay. I fight a lot weird shit too. Hard to keep track of it all.
With a loud CLANKING SOUND, the Iron Gates begin to open.
SENTRY
Enter and be welcome.
The Sentry steps aside, its inner fire waning as it is once more absorbed into the surrounding stone. Hellboy shares a look with the others, then retrieves Alice and continues across the bridge.
DAIMIO
Am I missing something? What just happened?82.ABE SAPIEN
He seemed to have recognized
Hellboy...
DAIMIO
And that just gets us a free pass into this hellhole? That can’t be good.
ABE SAPIEN
No. Probably not.
INT. PRISON - CONTINUOUS
As they enter the prison, Daimio tries to turn on his
flashlight, but the beam spreads no more than a couple of feet before being swallowed by the impenetrable darkness.
A single candle flickers to life, revealing a withered old
man with long, filthy gray hair and a patch over one eye. It’s MYRDDIN, from the opening scene.
MYRDDIN
For fifteen hundred years the witches have held me prisoner. For allowing my king to betray their truce. And in all that time, none have made it past the stone guardian. You must be the one I’ve been waiting for all this time.
HELLBOY
(hurried)
Yeah great. Our friend’s been poisoned. We were told you could help.
More candles ignite, hundreds of them, illuminating the main chamber of a seemingly endless stone dungeon. Myrddin steps forward, taking a closer look at Alice’s wound, stunned by what he sees --
MYRDDIN
This is the work of the Blood Queen. Has she returned?
HELLBOY
With a vengeance.
MYRDDIN
Listen to me. You cannot underestimate this woman. I know, for I loved
her once.
(MORE)83.And allowed myself to believe that
she could love me in return. But it was all a lie. A clever deception so that she could seduce me and steal my magic. Her evil knows no bounds. She must be stopped.
HELLBOY
Yeah, workin’ on that. But first things first... my friend.
Myrddin turns back to Alice, plucks a feather from his cape and brushes it against her lips, then gives it a whiff, inhaling deeply.
MYRDDIN
She’s strong. There is still a chance. But if I do this thing you ask, you must do something for me in return.
HELLBOY
Anything.
MYRDDIN
Good. Then the bargain is struck. Let us begin...
MONTAGE
-- Myrddin prepares the ritual that will save Alice from the
Blood Queen’s poison.
-- Hellboy lays Alice down inside a magic circle, while
Myrddin surrounds her with candles and burning sage.
-- Abe and Daimio watch in rapt wonder as Myrddin performs
his magic over the unconscious Alice.
-- Alice convulses, inky black poison seeping from her wound.-- The poison becomes like a living thing, hovering above
them. Myrddin banishes it with a wave of his hand.
When it’s over, Alice’s eyes open. She’s well again. Hellboy
leans over, giving her a loving smile. Abe and Daimio hover in the background, giving them a moment alone.
HELLBOY
Welcome back.MYRDDIN (CONT'D)
84.ALICE
What happened?
(re: Myrddin)
Who’s the new guy?
Myrddin smiles warmly, takes Alice by the hand.
MYRDDIN
I am known by many names. But you
may call me Myrddin.
ON ABE as he realizes --
ABE SAPIEN
Myrddin...? No way! That’s Merlin!
HELLBOY
Holy crap.
MYRDDIN
(to Hellboy)
It is time for you to uphold your end of our deal.
Myrddin pulls Hellboy away from the others. Daimio starts to protest --
DAIMIO
Hey, just a minute --
-- when, with a wave of Myrddin’s hand, a wall suddenly THRUSTS UP from out of nowhere, sealing off the room. Daimio pounds on it in frustration.
DAIMIO (CONT’D)
Oh, that’s just freakin’ great!
INT. MYRDDIN’S PRISON - CONTINUOUS
Myrddin leads Hellboy through the prison corridors.
HELLBOY
Was that really necessary?
MYRDDIN
Better your friends remain where
they are. What I have to say now is for you and you alone.
HELLBOY
Okay, shoot.85.MYRDDIN
Tell me, are there still tales of
King Artur in your time? How he drew the sword from the stone?
HELLBOY
Yeah. Movies too. He’s a regular pop culture phenom.
MYRDDIN
Then you know of his death at the battle of Camlan.
HELLBOY
Must’ve missed that one.
MYRDDIN
The people believed the Pendragon line ended there. But it’s not true. Artur had a son, Mordred, who sired a daughter by a witch named Katheryn of Gilfach. Eventually she had a daughter of her own, and that daughter had a daughter, and so on.
HELLBOY
So the Pendragon name was lost, but the bloodline continued.
Myrddin stops at an alcove to pick up a dusty leather tome, flipping through its parchment pages.
MYRDDIN
Hidden behind other names. Dale, Hamilton, Talbot... An unbroken line of witches stretching across the ages, ending with Sarah Hughes.
He shows Hellboy a list in the book, written centuries ago, his finger on the last name: SARAH HUGHES.
MYRDDIN (CONT’D)
She used to fly to the sabbat on the back of a demon in the shape of a goat. And on Walpurgis Night in 1574, she married that demon.
HELLBOY
Why are you telling me all this?
MYRDDIN
On her deathbed she repented all her evil deeds, died, was chained into her coffin and prayed over.
(MORE)86.But the demon would not be denied
his bride. That very night she was taken down to Hell, where she delivered a son...
Myrddin turns the page, revealing an archaic woodcut print of a YOUNG HELLBOY.
MYRDDIN (CONT’D)
It’s you, my boy. The only male descendant of Mordred, son of Artur. Last of the royal lineage. If not for the Nazi ritual that brought you to our world, you would have remained a Prince of Hell. A Prince destined to become a King
.
HELLBOY
(stunned)
My mother... She was human?
MYRDDIN
And so are you. At least in part. Blood of his blood. Which is why I know you can do what must be done.
Myrddin closes the book and sets it back in the alcove, which magically slides away to reveal a massive iron door.
MYRDDIN (CONT’D)
Come, Anung un Rama. It is time for you to meet your destiny.
As he leads Hellboy away --
HELLBOY
Okay, that is the second time now. What does that mean? Anung...
MYRDDIN
Anung un Rama. Your name. It is written on the crown your father would have you wear.
HELLBOY
My father?
MYRDDIN
Your true father. In hell. MYRDDIN (CONT'D)
87.EXT. SOMEWHERE OUTSIDE LONDON - NIGHT
Ominous storm clouds gather overhead as Gruagach and the
Blood Queen make their way through a small township. Frightened locals run screaming, then drop like flies, consumed by the Blood Queen’s plague. A trail of death and destruction in her wake. As she continues onward, TILT UP to reveal the London skyline looming in the distance, a beacon to guide their way.
EXT. MYRDDIN’S CAVE - UNDERGROUND POOL - NIGHT
Myrddin brings Hellboy to a large chamber, where a wellspring
feeds a huge underground pool. At its center rises a huge stone with a GLEAMING SWORD sticking out of it.
MYRDDIN
Excalibur. Sword of Kings. The one weapon that can stand against the Blood Queen. Only a true descendant of King Artur can wield it. This is your birthright, Hellboy. Your destiny. Go and claim it.
Hellboy stares, transfixed, wading into the pool, drawn by the sword’s irresistible pull. Unconsciously, he reaches out to grasp it...
FWOOSH! As soon as he connects, the sword ignites, becoming
awash in flame. At that same moment, Hellboy is seized by a horrific vision --
FLASH: Hellboy becomes THE BEAST OF THE APOCALYPSE, wielding
a flaming sword, a fiery crown upon his brow. His horns grow to full length, eyes blazing with hellfire. The underground
chamber becomes an APOCALYPTIC LANDSCAPE, a city in ruins. Fires rise from cracks in the earth, raging out of control. Huge TENTACLED MONSTROSITIES as big as skyscrapers stalk the terrain. Death and destruction as far as the eye can see.
Hellboy yanks his hand away. Everything is back to normal. No
apocalypse. No sword of fire. Just Hellboy in a dark cavern with a very angry Myrddin.
MYRDDIN (CONT’D)
No! You gave your word! Take the sword! Before it’s too late!
But Hellboy has made his decision. He steps back from Excalibur. The sword in the stone slowly sinks back into the pond.88.MYRDDIN (CONT’D)
You fool! What have you done?
HELLBOY
There must be another way.
With every word, Myrddin ages, withering to a husk as the
years rapidly catch up to him.
MYRDDIN
You could have saved them. Saved everything. But it’s too late now. This was the last of my magic. And now the sword has returned to the only man ever truly worthy of it. At least I won’t be here to watch the world wither and die. That I leave to you.
With a final, rattling breath, Myrddin’s corpse crumbles to the ground. A LARGE GRAY MOTH, his immortal soul, climbs out from beneath his eye-patch. Hellboy stares as it flits away... only to be snatched from the air by the Stone Sentry, who appears from out of nowhere.
SENTRY
All debts must be paid.
He crushes the moth, then vanishes back into the rock wall.
INT. MYRDDIN’S PRISON - MOMENTS LATER
Abe, Daimio and Alice await Hellboy’s return when a low
rumbling begins to build. The prison shakes. Stones fall from the ceiling. The whole place begins to crumble. Hellboy enters, in a rush, heading straight for the exit.
HELLBOY
Time to go.
INT. CAVERN - MOMENTS LATER
They race across the bridge as it collapses behind them,
barely making it to the other side as the prison sinks down into the molten lake of fire.
EXT. LONDON - DAY
Lightning FLASHES as ominous storm clouds gather over London,
churning in a reddening, ever-widening maelstrom.89.INT. B.P.R.D. - LONDON BRANCH - CONTINUOUS
Professor Broom confers with a FIELD AGENT. All around them,
bureau personnel work furiously at their computer stations, monitoring the spread of the Blood Queen’s plague. NEWS FOOTAGE of its spread coming in from all over England.
BROOM
Why haven’t we heard from Hellboy?
FIELD AGENT
I don’t know. It’s like he and his team just vanished off the grid.
(off Broom’s reaction)
I’m sure he’s okay, though.
BROOM
What about the Blood Queen?
The agent hands Broom a print-out.
FIELD AGENT
All indications are that she’s gaining strength. Most recent estimates of the spread put the numbers at close to two hundred.
BROOM
Infected?
FIELD AGENT
Deceased
. Known infected is nearing
a thousand reported cases. And that figure represents just a small fraction. Assume at least ten thousand victims so far, with an anticipated mortality rate of ninety-two percent. Depending on location and mobility of the source, that puts the twelve-hour projection at roughly one hundred and fifty thousand.
Broom absorbs the news like a physical blow as they arrive at the wall monitors displaying various NEWS PROGRAMS of the chaos erupting in wake of the epidemic: SCENES of the sick and dying, panic in the streets, hospitals overflowing.
An ANCHORWOMAN report on the situation in dire tones:
ANCHORWOMAN
...but so far, the British
government has failed to pinpoint the origin of the virus.
(MORE)90.A growing number of online sources
have linked the spread to sightings of this mysterious figure seen wandering the English countryside. Be advised: some viewers may find these images disturbing...
ON-SCREEN - jittery camera-phone footage showing a brief, blurred glimpse of the Blood Queen moving down a city street before the camera is dropped, ending with a plague-riddled face falling into frame.
ANCHORWOMAN (CONT’D)
Sightings like these are now being reported all across Great Britain.
(finger to her ear)
Pardon me, but I’ve just received word that the virus has now reached London. The Prime Minister has declared an official State of Emergency, and the World Health Organization is urging residents to stay indoors, avoiding contact with anyone who might be infected...
Suddenly, an ALARM SOUNDS. GUNFIRE and DISTANT SCREAMS come from somewhere inside the facility.
BROOM
She’s here.
FIELD AGENT
(checking her computer)
There’s been a perimeter breach.
(eyes wide)
My god!
ON-SCREEN - THE GRUAGACH brutally kills several B.P.R.D. AGENTS as he moves deeper into the facility.
EXT. ENGLISH COASTLINE - DAY
The team pulls itself up and over the top of the bluffs. The
helicopter in the distance.
DAIMIO
I just want to know what happened down there.
HELLBOY
Not sure I understand it myself.ANCHORWOMAN (CONT'D)
91.DAIMIO
Then how about the broad strokes?
Starting with where you and Merlin ran off to.
ABE SAPIEN
Myrddin.
DAIMIO
Whatever. Something obviously happened to bring the whole place crashing down on our heads. What was it?
Hellboy hesitates, then --
HELLBOY
He offered me the sword.
ABE SAPIEN
Excalibur?
Abe, Daimio and Alice react, surprised and elated by what they assume to be good news.
DAIMIO
That’s great! Where is it?
HELLBOY
I said he offered it to me. I didn’t say I took it.
DAIMIO
WHAT?!? Why the hell not?
HELLBOY
Because. Everything they say about me is true. I saw it, when I touched Excalibur. My true face. I was given a glimpse of the monster everyone else sees when they look at me.
ALICE
What are you talking about?
HELLBOY
Just look at me. The tail, the horns...
Hellboy holds up his big stone fist.92.HELLBOY (CONT’D)
This. Whatever the hell this is.
Think about it. That’s why Osiris tried to kill me. They knew what I might someday become. Lady Hatton showed them. She warned them.
ABE SAPIEN
Come on, Hellboy, don’t --
HELLBOY
See, even the name. My own father gave that to me. Not Tim or Bobby, not even Damien. Hellboy. The boy from hell. My whole life I’ve been avoiding the truth, playing hero, hiding from who and what I really am.
DAIMIO
(wary)
And what is that, exactly?
Before Hellboy can answer, they arrive at the helicopter to find a RED LIGHT FLASHING on the control console, and an ALARM SOUNDING.
DAIMIO (CONT’D)
It’s the emergency beacon.
The others share worried looks as Daimio ducks his head into the cockpit to check the onboard computer. He returns moments later with a worried expression.
DAIMIO (CONT’D)
Something’s happened back at the bureau. We need to go. Now.
HELLBOY
What is it? What’s wrong?
DAIMIO
The Blood Queen’s reached London.
INT. HELICOPTER - FLYING - LATER
Hurricane winds buffet the helicopter as they fly over
London, which is being assaulted by an unprecedented supernatural storm. Daimio struggles with the controls.
DAIMIO
Not sure how much more she can take. I may have to set us down --93.HELLBOY
(resolute)
No, keep going.
Daimio keeps fighting with the controls. Abe leans forward
from the back --
ABE SAPIEN
Any luck contacting the Bureau?
DAIMIO
(shakes his head)
Coms are still out. Storm’s blocking the signal.
Suddenly, it begins to HAIL, first in small pellets, then in GREAT BIG CHUNKS. One of them cracks the chopper’s cockpit windscreen. An alarm sounds. Daimio switches it off.
ALICE
What’s that?
DAIMIO
Rotor’s starting to ice up.
ALICE
Is that bad?
DAIMIO
It ain’t good.
Up ahead, B.P.R.D. Headquarters comes into view. Daimio puts both hands on the throttle and does his best to bring them in for a safe landing. Hellboy stares out of the chopper, a concerned expression.
INT. FISH AND CHIPS SHOP - MOMENTS LATER
Hellboy, Daimio, Alice and Abe enter, horrified to find the
place has been ransacked. A few UNDERCOVER AGENTS from before lying dead on the floor.
DAIMIO
Jesus...
Hellboy shares a worried look with Abe --
HELLBOY
...Father...94.INT. B.R.R.D. UNDERGROUND HEADQUARTERS - LATER
Deep underground, Hellboy races through the maze of ruined
corridors, past more broken corpses of B.P.R.D. agents, until he finally comes to --
INT. BROOM’S OFFICE - CONTINUOUS
Hellboy enters to find the body of the FIELD AGENT slumped
over the computer, her neck snapped. Professor Broom is nowhere to be scene.
Abe, Alice and Daimio arrive to find Hellboy staring at
something just off-screen.
ABE SAPIEN
Any sign of the Professor?
HELLBOY
They took him.
Abe follows Hellboy’s gaze to the shattered wall monitors, where a LARGE CROSS has been painted in blood, along with a single word: SOUTHWARK.
ABE SAPIEN
Southwark... Southwark Cathedral.
DAIMIO
(to Hellboy)
Blood Queen’s calling you out.
Bristling with rage, Hellboy turns and makes for the exit.
HELLBOY
Then let’s not disappoint her.
EXT. STREETS OF LONDON - DAY
Amidst the raging storm, tanks and military vehicles roll
down the streets. Whole sections of the city are being cordoned off. Martial Law in full effect.
EXT. SOUTHWARK CATHEDRAL
A handful of POLICE OFFICERS take cover behind their cars
outside the church, weapons trained on the Blood Queen, who stands atop the steps, looking out over the city as the epidemic unfolds, reveling in the chaos.95.They open fire, but the Blood Queen casually waves off the
attack, then SENDS HER PLAGUE SWEEPING THROUGH THE OFFICERS, who fall to the ground screaming as they’re consumed by boils and pustules. Onlookers flee in terror.
BLOOD QUEEN
That’s right, vermin. Time for you to learn what it is like to cower in the shadows.
And from those shadows, the Gruagach emerges with Professor Broom in tow. Broom stares up at the Blood Queen defiantly -
BROOM
You can’t win. Hellboy will come for you.
BLOOD QUEEN
I’m counting on it.
The Blood Queen turns to Gruagach, lovingly caressing his cheek with her hand, nails long and lethal.
BLOOD QUEEN (CONT’D)
You’ve done well, my pet. And now it is time for your reward...
EXT. SOUTHWARK CATHEDRAL - LATER
Daimio roughly sets his chopper down outside Southwark
Cathedral. Hellboy and the others jump out. A gunshot ricochets off the wall. Hellboy spins angrily at the cops just now arriving on the scene --
HELLBOY
I’m on your side, you morons!
As Hellboy storms off toward the church, the others share worried glances. They’ve never seen him so close to the edge.
Daimio flashes his M-11 badge at the officers.
DAIMIO
M-11. No one enters, under any
circumstances. Is that clear?
INT. SOUTHWARK CATHEDRAL - MOMENTS LATER
Hellboy kicks open the doors, ready for anything... only to
met by an eerie silence. The church is empty. No sign of the Blood Queen. 96.ABE SAPIEN
Well that’s rather anti-climactic.
They move farther into the nave, on alert, checking pews as
they go. But nothing seems out of the ordinary. Hellboy stops when he reaches the altar, confused.
HELLBOY
Where is she? This doesn’t make sense.
ABE SAPIEN
Could be they came and went already.
HELLBOY
So why bring us here?
ALICE
Maybe we misinterpreted the message.
DAIMIO
Or maybe the Blood Queen’s led us on another wild goose chase.
GRUAGACH (O.S.)
Then again, it could be a trap.
Startled, they all turn to find the Gruagach standing in the shadows of the cathedral’s southern transept.
HELLBOY
Where’s Broom? If anything’s happened to him, so help me --
GRUAGACH
Save the threats, Hellboy.
Gruagach steps into the chamber, fully revealing himself, already in mid-transformation. Bones popping and cracking, muscles bulging, shifting beneath roiling flesh. Growing larger by the second.
GRUAGACH (CONT’D)
As you can see, my Queen has kept her promise.
They watch in mute horror as the Gruagach continues his grotesque metamorphosis into a larger, even more monstrous version of himself, covered in thick plates and spiny protrusions. Daimio opens fire, but the bullets just ricochet off the Gruagach’s armored hide.97.DAIMIO
That’s not good.
HELLBOY
I’ll keep him busy. You guys get
out of here.
ALICE
But --
HELLBOY
No arguments. Just go.
ABE SAPIEN
I hope you know what you’re doing.
HELLBOY
You and me both.
Hellboy steps between Gruagach and the others, covering their retreat.
HELLBOY (CONT’D)
Hand over the Professor, and I promise to make this quick.
GRUAGACH
Oh, but I want it to last. You have no idea how long I’ve waited.
HELLBOY
Well, I have some idea. I mean, I was the one who sent little piggy squealing all the way home.
The collide like a couple of prize fighters, trading kicks and punches. But this time, Hellboy is heavily out-matched.
Gruagach snatches Hellboy up in his powerful claws and slams
him through one of the columns. The cathedral shakes from the impact, shattering stained glass windows and cracking stone support beams.
Alice, Daimio and Abe cover their heads to protect from
falling glass and debris as they circle back to the entrance.
ALICE
LOOK OUT!!
The LINTEL suddenly SNAPS. Daimio dives, shoving Abe out of the way as the stone archway comes crashing down, trapping Daimio’s leg and triggering another violent seizure. 98.While Abe and Alice Abe try to lift the heavy stone slab,
Daimio reaches into his vest for his pills, pops the top but then hesitates... looks across the church to Hellboy, fighting a losing battle. The Gruagach is just too big, too strong. Hellboy’s getting tossed around like a rag doll.
ABE SAPIEN
(straining)
It... won’t... budge...
DAIMIO
Get out of here.
Daimio puts the pills away without taking one.
ALICE
We’re not going to leave you.
DAIMIO
You have to.
Their confusion turns to shock as DAIMIO BEGINS TO CHANGE
.
His eyes go fiery red, with the elongated pupil of a cat. Hair sprouts from the scars in his face, growing thicker, spreading outward in irregular patterns. His skin ripples, bulging as the muscles and bones beneath reshape themselves, teeth elongating.
DAIMIO (CONT’D)
(snarling)
GO!!!
As Abe and Alice back away, we go --
BACK ON HELLBOY AND GRUAGACHThey trade one vicious blow after another. Hellboy takes the
brunt of the damage, keeping one eye on his companions, trying to force the action deeper into the church.
HELLBOY
That all you got? My grandmother hits harder than --
WHAM! The Gruagach tackles Hellboy through a wall and into the adjoining chamber. Hellboy kicks him off, draws his hand-cannon and fires -- BOOM! The Gruagach staggers backward into another support column. As it starts to give way, Hellboy raises his gun and takes aim --
GRUAGACH
(smiles)
Don’t you ever learn? That won’t stop me now.99.HELLBOY
I’m not aiming at you.
BOOM! He fires again, taking out the column and bringing the
whole ceiling crashing down on top of the Gruagach. Hellboy rolls out of the way, barely escaping being buried himself.
ALICE (O.S.)
Now that’s what I call bringing down the house.
Hellboy looks up to find Alice and Abe standing over him. They help him up.
ALICE (CONT’D)
Are you all right? Where’s Gruagach?
HELLBOY
(re: the pile of rubble)
Under there somewhere. Any sign of Broom?
ALICE
No, but Daimio... Well, I’m not really sure how to explain...
Before she can finish her thought, the GROUND SHAKES. They back away as the GRUAGACH RISES FROM BENEATH THE RUBBLE .
GRUAGACH
You didn’t really think it would be that easy, did you?
HELLBOY
I was kinda hopin’.
Hellboy steps protectively in front of Alice and Abe as the Gruagach stalks closer.
GRUAGACH
You burned me. Shamed me. Left me to rot in eternal darkness.
HELLBOY
In my defense, you were pretty much asking for it.
Hellboy hauls off and hits the Gruagach with a mighty uppercut from his huge stone fist. But the Gruagach doesn’t even flinch. Then returns the blow with a haymaker of his own, sending Hellboy flying. 100.Abe attacks from behind while Alice tries to Spirit Wrack
Gruagach. Both get swatted away with ease.
Then Gruagach turns his attention back to the fallen Hellboy,
leaping on top of him, pinning him to the ground. Hellboy struggles, but he’s just too weak.
GRUAGACH
I’ve dreamt of this moment for years. And I must say, I’m disappointed. I thought you’d be more of a challenge.
The Gruagach grabs a heavy chunk of rubble and prepares to crush the defenseless Hellboy. As he’s about to deliver the fatal blow --
A MASSIVE JAGUAR BEAST tackles Gruagach from behind. They
tumble away, tearing at one another in a whirlwind of fangs and fur. The Jaguar Beast ROARS! Gruagach rages, ripping the beast off and tossing him into the wall next to Hellboy, who’s just now regaining his bearings.
HELLBOY
Daimio??
The Jaguar Beast narrows its eyes with dim recognition, then turns back to the Gruagach. Hellboy does the same.
HELLBOY (CONT’D)
Let’s do this.
Hellboy and the Jaguar Beast attack as a team. While the Jaguar Beast rakes the Gruagach with its claws, Hellboy delivers one stone-fisted haymaker after another. The Gruagach backs up, overwhelmed by the two-front assault.
Gruagach lashes out wildly, catching Hellboy underneath the
chin. With Hellboy staggered, the Gruagach presses his advantage, raining down blow after blow, until Hellboy is left on his knees, beaten and bloodied.
The Jaguar Beast leaps onto Gruagach’s back, trying to draw
his attention. But Gruagach reaches up and grabs the Jaguar Beast, smashing it against a wall, knocking it out cold.
He then returns to the business at hand, pulling Hellboy’s
head back to expose his throat. Jaws opening wide --
BLOOD QUEEN (O.S.)
Enough!
THE BLOOD QUEEN APPEARS, floating high above them, at the precipice of the wide gap torn through the ceiling.101.GRUAGACH
(confused)
My Queen. What are you -- ?
A wet, rasping cough chokes off the rest of his sentence. The
Gruagach staggers, catching himself on a nearby column. He shoots a stunned, betrayed look at the Blood Queen as her plague and the horrible realization washes over him.
GRUAGACH (CONT’D)
No! I found you! I set all this in motion! I was the beginning of it!
She moves closer, whispering:
BLOOD QUEEN
And I am the end. Poor Gruagach. Forgive me. I needed someone to challenge Hellboy, to push him to the edge, weaken his resolve.
The Gruagach falls to his knees and begins to shrivel, plague blisters appearing across his withered flesh.
GRUAGACH
...but...you promised...
BLOOD QUEEN
To make you whole, powerful beyond compare. And for a brief shining moment, you were. But that moment has passed.
Eyes silently pleading, the Gruagach coughs black blood and falls over dead. Hellboy glares at the Blood Queen, rising unsteadily back to his feet.
HELLBOY
(demanding)
Where’s my father? Is he alive?
BLOOD QUEEN
For now.
HELLBOY
Why did you bring me here?
BLOOD QUEEN
To finish this once and for all...
She gestures, magically lifting Hellboy up off his feet, then violently SENDS HIM CRASHING THROUGH THE FAR WALL, which crumbles and gives way to reveal a HIDDEN TOMB.102.INSIDE THE TOMB
Hellboy slowly, painfully recovers, looks up to see he’s
lying at the base of a HUGE STONE SARCOPHAGUS covered in pagan symbols and Celtic runes. An image of a LION WEARING A CROWN stares back at him, carved into its lid.
The Blood Queen appears at the edge of the tomb --
BLOOD QUEEN (CONT’D)
Just think how many spent their
lifetimes searching for Artur’s tomb, when it’s been right here all along.
Another wave of her hand, and the sarcophagus’ heavy stone lid EXPLODES, revealing ARTUR’S SKELETAL REMAINS resting within, EXCALIBUR clutched firmly in his bony grasp.
BLOOD QUEEN (CONT’D)
You can feel it, can’t you? How it calls to you, stirring the thing at the core of your being? The thing you were destined to be.
CLOSE ON HELLBOY - staring at Excalibur, mesmerized by it.
BLOOD QUEEN (CONT’D)
Take the sword. It’s yours by right.
Hellboy slowly, almost unconsciously, reaches for the sword. The Blood Queen’s eyes light with anticipation.
BLOOD QUEEN (CONT’D)
Yes. Do it. Do it now!
Hellboy is about to grasp the hilt, but then stops.
HELLBOY
No.
He turns to face the Blood Queen --
HELLBOY (CONT’D)
I don’t know what your game is here, but I’m done playing.
BLOOD QUEEN
(sighs)
Oh well. If you will not accept your destiny, then I shall have to force it upon you...103.She holds up her hand. A bound PROFESSOR BROOM flies into it.
BROOM
(weakly)
...Hellboy...
HELLBOY
Father!
(to the Blood Queen)
Let him go! I’m the one you really
want! Take me!
BLOOD QUEEN
Silly little devil. I already have you. You just don’t know it yet.
With that, the Blood Queen scrapes one of her long nails down
Broom’s neck, infecting him with her plague .
HELLBOY
NOOOOO!!
As she lets the Professor fall, Hellboy rushes from the tomb, catches him, cradling him in his arms. The disease quickly spreads, consuming Broom right before Hellboy’s eyes. He reaches out to gently touch Hellboy’s face, taking one last, long look at his son before breathing his last, dying breath. Hellboy clutches Broom to his chest, drowning in sorrow.
Alice and Abe both arrive just in time to witness the gut-
wrenching scene.
BLOOD QUEEN
Save your tears. His death was a mercy compared to what I have planned for the rest of mankind.
Hellboy glares at her, eyes filled with hate.
BLOOD QUEEN (CONT’D)
All because you were too cowardly to use Excalibur when you had the chance.
Setting Broom down, Hellboy rises, jaw set, firsts clenched.
BLOOD QUEEN (CONT’D)
Both of your fathers would be ashamed.
That’s it! Blinded by rage, Hellboy turns and marches back into the tomb, taking hold of Excalibur. Without a moment’s hesitation, he yanks the sword away from Artur, who crumbles to dust. 104.As Hellboy holds Excalibur aloft, the BLADE CATCHES FIRE,
just like in his vision. Hellboy then spins to face the Blood Queen with an expression of savage fury.
As he stalks toward her, the Blood Queen smiles victoriously,
closing her eyes in anticipation of the blow... welcoming it.
SLASH! HELLBOY CUTS OFF THE BLOOD QUEEN’S HEAD. It tumbles to the cathedral floor, coming to rest not far
from where Hellboy stands. Still very much alive, she watches, enraptured, as Hellboy begins to change. Horns growing to their full length, a FIERY CROWN appearing above his head. He is becoming the THE BEAST OF THE APOCALYPSE.
BLOOD QUEEN (CONT’D)
Look at you. So beautiful. You are victory on a scale I never imagined.
EXT. LONDON - DAY
An inhuman ROAR echoes across London. The ground trembles and
splits open, fires blazing. People flee in terror as hideous HELL BEASTS claw their way up through the cracks. Everywhere, the CREATURES OF DARKNESS begin to emerge. GIANT TENTACLES rise from the Thames, wrapping themselves around London Bridge, tearing it down. It’s the beginning of the end.
INT. CATHEDRAL - CONTINUOUS
Hellboy’s transformation continues, turning him into
something both god-like and demonic. The Blood Queen’s severed head rants, revelling in her victory.
BLOOD QUEEN
You see, fate bred you for this moment. It is why I led you to Myrddin, knowing what you would discover. Artur was just a man. In his hand, Excalibur was a holy instrument. But in yours, it will bring more death and destruction than anything I could summon. You will be my plague now!
Meanwhile, Alice desperately tries to revive Broom, while Abe searches through the rubble to find Daimio, who’s changed
back into his human form but is still too weak to move.
DAIMIO
Take this...105.He pulls his ankle gun and gives it to Abe.
DAIMIO (CONT’D)
There’s a special bullet. It will
kill him. You’ll only get one shot, make it count.
ABE SAPIEN
What?! No. I... I can’t.
DAIMIO
You don’t have a choice, Abe. Look at him.
Abe looks at what Hellboy has become, then reluctantly takes the gun and makes his way across the cathedral, leveling it at Hellboy as he approaches. Hellboy just stands there, staring. No recognition there. No humanity left.
ABE SAPIEN
Forgive me...
As Abe’s finger tightens on the trigger --
VOICE (O.S.)
This isn’t you. You’re better than this.
Abe stops and lowers the gun, turning toward the familiar voice to find THE GHOST OF PROFESSOR BROOM emerging through the smoke and fire. An ectoplasmic trail leads back to Alice, who kneels next to Broom’s body, eyes shut, focused and concentrating. The same thing she did with Lady Hatton’s corpse at the Osiris Club.
BROOM’S GHOST
Your whole life has been leading to this moment. But what happens next is entirely up to you.
Hellboy cocks his head, not sure what to make of this little ghost.
BLOOD QUEEN
Don’t listen to this old fool. You were meant for this. To follow in your real
father’s footsteps.
Broom ignores her, walks right up to Hellboy --
BROOM’S GHOST
She thinks she can use you, make you into something you’re not.
(MORE)106.But I’ve always encouraged you to
be your own man. And if that’s half the man I think you are, then you have it in you to choose for yourself.
BLOOD QUEEN
This is the real you. It always has been, long before you even set foot in this world. Embrace your true potential! Burn out the past! Be rid of the weakness and shame!
BROOM’S GHOST
I told you that you’d always have choices. Now’s the time to choose. Not who you are... but who you are going to be.
(beat)
So choose.
BLOOD QUEEN
(raging)
He’s lying! The choice is already made! You are the Great Beast of the Apocalypse! Now destroy your enemies! Kill them all!!
Hellboy looks to the Blood Queen, then down at the sword in his hand, its flames growing even brighter. Shaken from his reverie, his brow furrows with anger. He turns back to Broom, Abe and Alice, raising the sword high, as if to strike them all down with one mighty blow...
...then plunges Excalibur deep into one of the broken stone
columns, lying on the ground.
BLOOD QUEEN (CONT’D)
NOOOOO!!!
Through the cathedral’s crumbling walls, we can see the storm subsiding. Rays of sunshine punch through the dissipating cloud cover, and the creatures of darkness flee in terror.
The Giant Tentacles recede into the River Thames. And the
hell beasts slip back into the cracks in the earth, which begin to seal shut behind them.
BLOOD QUEEN (CONT’D)
You fool! What have you done!?! Fulfill your destiny!!BROOM’S GHOST (CONT'D)
107.Hellboy, becoming his old self again, reaches up and takes
hold of his horns, snapping them off at the base. He tosses them aside and picks up the Blood Queen’s severed head...
HELLBOY
Anyone ever told you you talk too much?
...THEN DROP KICKS it out of the cathedral and into one of the remaining hell cracks, which seals shut, taking the Blood Queen’s fading cries with it.
Off to one side, Alice and Abe watch as Hellboy turns back to
the Professor’s ghost, which is already beginning to fade. Its an emotionally charged moment, knowing this is the last time they’ll speak to one another.
HELLBOY (CONT’D)
You knew, didn’t you?
BROOM
That you were destined to become the Beast of the Apocalypse? Yes. I’ve always known.
HELLBOY
Then why -- ?
BROOM
Because... believing in prophecies is one thing, believing in you is quite another. In the end, I knew you'd do the right thing.
HELLBOY
How could you be so sure?
BROOM
Fathers know their sons.
Broom continues to fade. Hellboy reaches out, desperate to hold onto the moment. But his hand passes right through him.
HELLBOY
Don’t leave me. I’m not ready.
BROOM
Yes, my boy. You are.
Broom’s ghost vanishes, leaving Hellboy standing over his father’s body, filled with pain and heartache.108.Knowing Hellboy needs a moment alone with his grief, Alice
goes to check on Abe, who’s still standing there in shock, holding the gun.
ABE SAPIEN
I almost... I mean... I was this close... I could have killed...
ALICE
But you didn’t. That’s all that matters.
DAIMIO (O.S.)
Hello? A little help.
Alice and Abe go to extricate Daimio from the rubble. Once he’s back on his feet, Abe hands him the gun.
ABE SAPIEN
Here. Don’t think I’ll be needing this again any time soon.
DAIMIO
Yeah, me neither.
Daimio ejects the magic bullet, unscrews it and scatters its arcane contents to the four winds.
ALICE
So... werewolf, huh?
DAIMIO
Were-jaguar, actually.
ABE SAPIEN
Interesting.
Abe pats Daimio on the back as they go to comfort Hellboy, who’s still kneeling next to Broom. Alice puts a loving hand on his shoulder. All of them silhouetted against the fading sun. Excalibur sticks up out of the stone next to Broom’s body, forming a makeshift cross, like a gravestone.
DISSOLVE TO:
EXT. CASTLE - DAY
Hellboy stands at the gates of an imposing Gothic castle
sitting high atop a hill overlooking the Danube River.
SUPER: CASTLE GIURESCU, AUSTRIA - SIX MONTHS LATERCLOSE ON - Hellboy speaking into some kind of handheld radio:109.HELLBOY
Hellboy to Bureau, Hellboy to
Bureau, can you hear me?
(static)
This connection isn’t worth a crap.
(tries again)
If you’re receiving me, I’ve found Giurescu. He’s alive, wounded, and on the loose somewhere underground.
Still nothing. Hellboy puts the radio away and turns to look back down over the mountainside. Checks his watch, an impatient expression.
HELLBOY (CONT’D)
This guy would be late to his own funeral.
REVEAL - Abe and Alice, dressed in matching B.P.R.D. field jackets/uniforms.
ALICE
Poor choice of words, given the circumstances.
ABE SAPIEN
Maybe he’s still getting adjusted to the time difference.
HELLBOY
It’s been six months!
DAIMIO (O.S.)
Don’t you ever stop bitching?
Daimio appears, also dressed in a B.P.R.D. uniform, only his seems different, made from some sort of stretchable material.
ALICE
Glad you could join us.
HELLBOY
Why aren’t you ready?
DAIMIO
It’s not just something I can turn on and off like a light switch. It’s a biochemical reaction to pain and emotional dur --
SMACK! Hellboy slaps him hard across the face. A stunned Daimio GROWLS in response, instantly transforming into the WERE-JAGUAR. 110.HELLBOY
There. Much better. Now let’s go
kick some undead ass.
As they turn to head into the castle, Alice stands on her tiptoes to give Hellboy a little peck on the cheek.
ALICE
For luck.
HELLBOY
We’re talking vampires here. It’s gonna take a lot more than that.
She smiles and plants one on him, a real barn-burner of a kiss. Abe politely looks away, rolling his eyes.
They wait... ...and wait.The Daimio/Were-Jaguar GROWLS impatiently.
ABE SAPIEN
Welcome to the Freak Show.
PUSH IN on the lingering kiss as we --
FADE TO BLACK.
THE END111. | screenplays |
we collected damaged rolled leaves of r. pseudoacacia in the field and took them to the lab , then put them into large jars ( 40 by 30 cm ) and sealed them with gauze and a rubber band .
all jars were placed in the insectary and treated with appropriate temperature ( 25c ) and humidity ( 70% ) . when adults emerged , they were moved into centrifuge tubes ( 1.5 ml ) with 100% alcohol and stored at 20c .
loci were isolated from the genomic dna of 20 adult individuals for each location that emerged from rolled host leaves collected from beijing , qinhuangdao ( hebei province ) and tianjin , china ( table 1 ) .
genomic dna was extracted from each individual midge using the catb genomic dna kit ( aidlab , beijing , china ) .
total genomic dna was completely digested with the sau3ai restriction enzyme ( new england biolabs , ipswich , ma ) for 4 h at 37c .
the 300- to 1,000-bp long fragments were recovered using the axyprep gel extraction kit ( axygen , union , ca ) and then ligated to a sau3ai adapter pair with t4 dna ligase ( new england biolabs , ipswich , ma ) in a 40 l reaction mixture overnight at 16c . a polymerase chain reaction ( pcr )
purification kit ( tiangen , beijing , china ) was used to purify the above mixture , and the solution was finally diluted with 20 l ddh2o .
ligation mixture was amplified with adaptor - specific primers in 50 l reactions with the following conditions : 5 min denaturation at 95c ; followed by 25 cycles of 1 min denaturation at 95c , 1 min annealing at 60c , and 2 min extension at 72c ; with a final extension of 72c for 10 min .
microsatellite - containing sequences were captured using four different 5-biotinylated probes , ( ac)15 , ( ag)15 , ( agat)8 , and ( acg)12 .
bead enrichment for microsatellite - containing dna was performed . from the hybridized adapter - ligated
genomic dna plus probe mixture , the dna fragments with microsatellite repeats were captured using streptavidin magnesphere paramagnetic particles ( promega , madison , wi ) , which were separated magnetically from the hybridization mixture ( paetkau 1999 ) .
the hybridization library was amplified again using adaptor - specific primers and purified using a pcr purification kit ( tiangen , beijing , china ) .
the cleaned dna fragments were ligated into the peasy - t1 vector using the peasy - t1 cloning kit ( promega , madison , wi ) , then transformed into trans10 chemically competent cells ( trashgen , beijing , china ) .
individual clones were screened for the presence of a microsatellite by pcr with the universal primer m13 ( -21 ) ( 5-tgtaaaacgacggccagt-3 ) in a 10 l reaction mixture , with pcr conditions as follows : 95c denaturation for 5 min ; then 35 cycles at 94c for 30 s , annealing at 57c for 30 s , 72c for 30 s ; and final extension at 72c for 12 min .
the pcr product was electrophoresed in 1.2% agarose gels , and clones over 200 bp were bidirectionally sequenced using an abi prism 3730 dna sequencer ( applied biosystems , foster , ca ) .
sequences were analyzed by the dnaman software version 6.0 and the vector sequence removed using the vector search and trim tool in sequin on the genbank website ( http://www.ncbi.nlm.nih.gov/tools/vecscreen ) for alignment .
primers for sequences containing simple sequences repeats ( ssrs ) were designed using primer version 5.0 ( lalitha 2000 ) .
all primer pairs were assayed in individual pcr utilizing fluorescently labeled m13-tailed primers : the forward primer of each pair added a universal m13(-21 ) tail to the 5-end ( schuelke 2000 ) .
the 15 l volume pcr mix contained 5 pmol reverse primer and forward primer , 4 pmol tp - m13(-21 ) primer , 10 mm tris - hcl ( ph 8.3 ) , 50 mm kcl , 1.5 mm mgcl2 , 0.2 mm of each dntp , 0.5 u dna polymerase ( kapa , wilmington , ma ) , and 10 ng template dna .
pcr amplification was performed as follows : 95c for 5 min ; then 10 cycles at 94c for 30 s , 63 c(1c / cycle ) for 45 s , 72c for 45 s ; followed by 32 cycles at 94 c for 30 s , 53c for 45 s , 72 c for 45 s ; and a final extension at 72c for 12 min .
the pcr product was electrophoresed in 1.2% agarose gels , and 16 primer pairs showed clear bands and expected sizes .
sixteen primers were tested in 68 adult individuals who emerged from rolled host leaves originally collected in beijing ( 15 individuals ) , tianjin ( 6 individuals ) , baoding ( 20 individuals ) , and qinhuangdao ( 7 individuals ) , hebei province ; xian ( 10 individuals ) , shaanxi province and shenyang ( 10 individuals ) , and liaoning province ( table 1 ) .
genomic dna was extracted using the cetyltrimethyl ammonium bromide method ( doyle and doyle 1987 ) .
microsatellite pcrs were conducted in a final volume of 15 l containing 1 l ( 10 ng/l ) of genomic dna , 0.3 m microsatellite - specific primer pair with m13 tail , 1.5 mm mgcl2 , 0.2 mm dntp , 1 u taq dna polymerase , and 1 taq buffer ( kapa , wilmington , ma ) .
pcr conditions were as follows : 95c for 10 min ; 35 cycles of 95c for 30 s , 56c for 30 s , and 72c for 30 s ; followed by 10 cycles of 94c for 30 s , 53c for 30 s , and 72c for 30 s ; and final followed at 72c for 7 min .
pcr products were tested for polymorphism using an abi prism 3730 genetic analyzer and the results analyzed using the genemapper software version 4.0 ( applied biosystems , foster , ca ) .
the numbers of alleles per locus , observed and expected heterozygosities , and deviations from hardy weinberg equilibrium ( hwe ) and linkage disequilibrium ( ld ) were examined using genepop software version 4.3 ( rousset 2008 ) .
we collected damaged rolled leaves of r. pseudoacacia in the field and took them to the lab , then put them into large jars ( 40 by 30 cm ) and sealed them with gauze and a rubber band .
all jars were placed in the insectary and treated with appropriate temperature ( 25c ) and humidity ( 70% ) . when adults emerged , they were moved into centrifuge tubes ( 1.5 ml ) with 100% alcohol and stored at 20c .
loci were isolated from the genomic dna of 20 adult individuals for each location that emerged from rolled host leaves collected from beijing , qinhuangdao ( hebei province ) and tianjin , china ( table 1 ) .
genomic dna was extracted from each individual midge using the catb genomic dna kit ( aidlab , beijing , china ) .
total genomic dna was completely digested with the sau3ai restriction enzyme ( new england biolabs , ipswich , ma ) for 4 h at 37c .
the 300- to 1,000-bp long fragments were recovered using the axyprep gel extraction kit ( axygen , union , ca ) and then ligated to a sau3ai adapter pair with t4 dna ligase ( new england biolabs , ipswich , ma ) in a 40 l reaction mixture overnight at 16c . a polymerase chain reaction ( pcr )
purification kit ( tiangen , beijing , china ) was used to purify the above mixture , and the solution was finally diluted with 20 l ddh2o .
ligation mixture was amplified with adaptor - specific primers in 50 l reactions with the following conditions : 5 min denaturation at 95c ; followed by 25 cycles of 1 min denaturation at 95c , 1 min annealing at 60c , and 2 min extension at 72c ; with a final extension of 72c for 10 min .
microsatellite - containing sequences were captured using four different 5-biotinylated probes , ( ac)15 , ( ag)15 , ( agat)8 , and ( acg)12 .
bead enrichment for microsatellite - containing dna was performed . from the hybridized adapter - ligated
genomic dna plus probe mixture , the dna fragments with microsatellite repeats were captured using streptavidin magnesphere paramagnetic particles ( promega , madison , wi ) , which were separated magnetically from the hybridization mixture ( paetkau 1999 ) .
the hybridization library was amplified again using adaptor - specific primers and purified using a pcr purification kit ( tiangen , beijing , china ) .
the cleaned dna fragments were ligated into the peasy - t1 vector using the peasy - t1 cloning kit ( promega , madison , wi ) , then transformed into trans10 chemically competent cells ( trashgen , beijing , china ) .
individual clones were screened for the presence of a microsatellite by pcr with the universal primer m13 ( -21 ) ( 5-tgtaaaacgacggccagt-3 ) in a 10 l reaction mixture , with pcr conditions as follows : 95c denaturation for 5 min ; then 35 cycles at 94c for 30 s , annealing at 57c for 30 s , 72c for 30 s ; and final extension at 72c for 12 min .
the pcr product was electrophoresed in 1.2% agarose gels , and clones over 200 bp were bidirectionally sequenced using an abi prism 3730 dna sequencer ( applied biosystems , foster , ca ) .
sequences were analyzed by the dnaman software version 6.0 and the vector sequence removed using the vector search and trim tool in sequin on the genbank website ( http://www.ncbi.nlm.nih.gov/tools/vecscreen ) for alignment .
primers for sequences containing simple sequences repeats ( ssrs ) were designed using primer version 5.0 ( lalitha 2000 ) .
all primer pairs were assayed in individual pcr utilizing fluorescently labeled m13-tailed primers : the forward primer of each pair added a universal m13(-21 ) tail to the 5-end ( schuelke 2000 ) .
the 15 l volume pcr mix contained 5 pmol reverse primer and forward primer , 4 pmol tp - m13(-21 ) primer , 10 mm tris - hcl ( ph 8.3 ) , 50 mm kcl , 1.5 mm mgcl2 , 0.2 mm of each dntp , 0.5 u dna polymerase ( kapa , wilmington , ma ) , and 10 ng template dna .
pcr amplification was performed as follows : 95c for 5 min ; then 10 cycles at 94c for 30 s , 63 c(1c / cycle ) for 45 s , 72c for 45 s ; followed by 32 cycles at 94 c for 30 s , 53c for 45 s , 72 c for 45 s ; and a final extension at 72c for 12 min .
the pcr product was electrophoresed in 1.2% agarose gels , and 16 primer pairs showed clear bands and expected sizes .
sixteen primers were tested in 68 adult individuals who emerged from rolled host leaves originally collected in beijing ( 15 individuals ) , tianjin ( 6 individuals ) , baoding ( 20 individuals ) , and qinhuangdao ( 7 individuals ) , hebei province ; xian ( 10 individuals ) , shaanxi province and shenyang ( 10 individuals ) , and liaoning province ( table 1 ) .
genomic dna was extracted using the cetyltrimethyl ammonium bromide method ( doyle and doyle 1987 ) .
microsatellite pcrs were conducted in a final volume of 15 l containing 1 l ( 10 ng/l ) of genomic dna , 0.3 m microsatellite - specific primer pair with m13 tail , 1.5 mm mgcl2 , 0.2 mm dntp , 1 u taq dna polymerase , and 1 taq buffer ( kapa , wilmington , ma ) .
pcr conditions were as follows : 95c for 10 min ; 35 cycles of 95c for 30 s , 56c for 30 s , and 72c for 30 s ; followed by 10 cycles of 94c for 30 s , 53c for 30 s , and 72c for 30 s ; and final followed at 72c for 7 min .
pcr products were tested for polymorphism using an abi prism 3730 genetic analyzer and the results analyzed using the genemapper software version 4.0 ( applied biosystems , foster , ca ) .
the numbers of alleles per locus , observed and expected heterozygosities , and deviations from hardy weinberg equilibrium ( hwe ) and linkage disequilibrium ( ld ) were examined using genepop software version 4.3 ( rousset 2008 ) .
we collected damaged rolled leaves of r. pseudoacacia in the field and took them to the lab , then put them into large jars ( 40 by 30 cm ) and sealed them with gauze and a rubber band .
all jars were placed in the insectary and treated with appropriate temperature ( 25c ) and humidity ( 70% ) . when adults emerged , they were moved into centrifuge tubes ( 1.5 ml ) with 100% alcohol and stored at 20c .
loci were isolated from the genomic dna of 20 adult individuals for each location that emerged from rolled host leaves collected from beijing , qinhuangdao ( hebei province ) and tianjin , china ( table 1 ) .
genomic dna was extracted from each individual midge using the catb genomic dna kit ( aidlab , beijing , china ) .
total genomic dna was completely digested with the sau3ai restriction enzyme ( new england biolabs , ipswich , ma ) for 4 h at 37c .
the 300- to 1,000-bp long fragments were recovered using the axyprep gel extraction kit ( axygen , union , ca ) and then ligated to a sau3ai adapter pair with t4 dna ligase ( new england biolabs , ipswich , ma ) in a 40 l reaction mixture overnight at 16c .
a polymerase chain reaction ( pcr ) purification kit ( tiangen , beijing , china ) was used to purify the above mixture , and the solution was finally diluted with 20 l ddh2o . the 10-fold diluted digestion
ligation mixture was amplified with adaptor - specific primers in 50 l reactions with the following conditions : 5 min denaturation at 95c ; followed by 25 cycles of 1 min denaturation at 95c , 1 min annealing at 60c , and 2 min extension at 72c ; with a final extension of 72c for 10 min .
microsatellite - containing sequences were captured using four different 5-biotinylated probes , ( ac)15 , ( ag)15 , ( agat)8 , and ( acg)12 .
bead enrichment for microsatellite - containing dna was performed . from the hybridized adapter - ligated genomic dna plus probe mixture ,
the dna fragments with microsatellite repeats were captured using streptavidin magnesphere paramagnetic particles ( promega , madison , wi ) , which were separated magnetically from the hybridization mixture ( paetkau 1999 ) .
the hybridization library was amplified again using adaptor - specific primers and purified using a pcr purification kit ( tiangen , beijing , china ) .
the cleaned dna fragments were ligated into the peasy - t1 vector using the peasy - t1 cloning kit ( promega , madison , wi ) , then transformed into trans10 chemically competent cells ( trashgen , beijing , china ) .
individual clones were screened for the presence of a microsatellite by pcr with the universal primer m13 ( -21 ) ( 5-tgtaaaacgacggccagt-3 ) in a 10 l reaction mixture , with pcr conditions as follows : 95c denaturation for 5 min ; then 35 cycles at 94c for 30 s , annealing at 57c for 30 s , 72c for 30 s ; and final extension at 72c for 12 min .
the pcr product was electrophoresed in 1.2% agarose gels , and clones over 200 bp were bidirectionally sequenced using an abi prism 3730 dna sequencer ( applied biosystems , foster , ca ) .
sequences were analyzed by the dnaman software version 6.0 and the vector sequence removed using the vector search and trim tool in sequin on the genbank website ( http://www.ncbi.nlm.nih.gov/tools/vecscreen ) for alignment .
primers for sequences containing simple sequences repeats ( ssrs ) were designed using primer version 5.0 ( lalitha 2000 ) .
all primer pairs were assayed in individual pcr utilizing fluorescently labeled m13-tailed primers : the forward primer of each pair added a universal m13(-21 ) tail to the 5-end ( schuelke 2000 ) .
the 15 l volume pcr mix contained 5 pmol reverse primer and forward primer , 4 pmol tp - m13(-21 ) primer , 10 mm tris - hcl ( ph 8.3 ) , 50 mm kcl , 1.5 mm mgcl2 , 0.2 mm of each dntp , 0.5 u dna polymerase ( kapa , wilmington , ma ) , and 10 ng template dna .
pcr amplification was performed as follows : 95c for 5 min ; then 10 cycles at 94c for 30 s , 63 c(1c / cycle ) for 45 s , 72c for 45 s ; followed by 32 cycles at 94 c for 30 s , 53c for 45 s , 72 c for 45 s ; and a final extension at 72c for 12 min .
the pcr product was electrophoresed in 1.2% agarose gels , and 16 primer pairs showed clear bands and expected sizes .
sixteen primers were tested in 68 adult individuals who emerged from rolled host leaves originally collected in beijing ( 15 individuals ) , tianjin ( 6 individuals ) , baoding ( 20 individuals ) , and qinhuangdao ( 7 individuals ) , hebei province ; xian ( 10 individuals ) , shaanxi province and shenyang ( 10 individuals ) , and liaoning province ( table 1 ) .
genomic dna was extracted using the cetyltrimethyl ammonium bromide method ( doyle and doyle 1987 ) .
microsatellite pcrs were conducted in a final volume of 15 l containing 1 l ( 10 ng/l ) of genomic dna , 0.3 m microsatellite - specific primer pair with m13 tail , 1.5 mm mgcl2 , 0.2 mm dntp , 1 u taq dna polymerase , and 1 taq buffer ( kapa , wilmington , ma ) .
pcr conditions were as follows : 95c for 10 min ; 35 cycles of 95c for 30 s , 56c for 30 s , and 72c for 30 s ; followed by 10 cycles of 94c for 30 s , 53c for 30 s , and 72c for 30 s ; and final followed at 72c for 7 min .
pcr products were tested for polymorphism using an abi prism 3730 genetic analyzer and the results analyzed using the genemapper software version 4.0 ( applied biosystems , foster , ca ) .
the numbers of alleles per locus , observed and expected heterozygosities , and deviations from hardy weinberg equilibrium ( hwe ) and linkage disequilibrium ( ld ) were examined using genepop software version 4.3 ( rousset 2008 ) .
of these 35 , 16 microsatellite loci were selected , and primers were designed using primer version 5.0 ( lalitha 2000 ) . of the 16 loci studied , the majority contained single dinucleotide repeat motifs ( 68.5% ) , followed by double dinucleotide ( 25% ) , and higher ( 6.7% ) repeat motifs .
dinucleotide repeats mostly consisted of ac ( 32.5% ) repeats , followed by tc repeats ( 22.5% ) .
the significantly higher percentage of dinucleotide repeats found was in contrast to other ssrs discovered in the family cecidomyiidae ( khemakhem et al .
, 14 loci were found to be polymorphic , with the observed number of alleles per locus ranging from 3 to 10 , and the observed and expected heterozygosity varying evenly from 0.2667 to 0.6548 and 0.5388 to 0.7148 , respectively ( table 2 ) . for each population , the observed and expected heterozygosity ranged from 0.1429 to 1.000 and 0.5 to 0.805 , respectively ( tables 3 and 4 ) .
the allele frequency of the predominant allele for each population varied from 0.25 to 0.5 ( table 5 ) .
the structure of a subdivided population was also analyzed using f - statistics ( table 6 ) .
all loci had negative fis values , indicating heterozygote excess ( outbreeding ) in each locus with six populations .
fst values up to 0.05 suggested negligible genetic differentiation within the population , as observed for locus w5 , w8 , w29 , w31 , and w126 .
the number of migrants per subpopulation ( nm ) reached a maximum of 108.4457 for locus 126 .
table 2.characteristics of 14 microsatellite loci from obolodiplosis robiniaelocus ( accession no.)primer sequence(53)pcr ta/crepeat motifexpected sizeallele size rangenoho ( ave.)he ( ave.)w3 ( kp260518)f : cgtcatatcgcagtagcaat50(tc)5224923425280.65480.7161r : cgccgcatttaaaatatacatw5 ( kp260519)f : accggcgaaaaacaattat51(ac)2714311623750.65600.7148r : agttgatgaatgcgttgtgttw8 ( kp260521)f : ttgaagcgaagcacttgga53(ct)9(tc)1719318719740.38750.6104r : agcaacgaaaagaaacacagagw29 ( kp260522)f : ttgggggatcataaagtctcg51(ca)9(ag)1215213515250.27130.5897r : agttttatgacttgttcgcctcw31 ( kp260523)f : cacgcagaaaccaatcattatc50(ac)919319019850.47920.6615r : agccaaactcaatgacgaacaw33 ( kp260524)f : ccttcgcgtacatttgca49(ag)16166160195100.50670.6832r : aacgcgtctgataagctgaaw35 ( kp260525)f : tgtatgctatctcgtcacactca51(ac)36207167215100.54170.6833r : tcacacgcattcaacctcagw41 ( kp260526)f : tgctatctcttggcgattat47(ct)2015215015430.26670.5388r : gagacagatttatagataaataaagaw46 ( kp260527)f : gctcatgcactgaccaagtta51(tc)8(ct)5(ac)5932329734850.42000.6256r : tcgtacgcacttgttcttgtgw82 ( kp260528)f : tgcacattcactcacgaaacg51(ct)1517817317830.40460.5398r : ttgcacacgaaatgcatcatw83 ( kp260529)f : aaagactcagcgtttttgcag50(tg)613313019470.57140.6540r : acacacatacacacgcaaacaw116 ( kp260531)f : aagagacggatggatggtga50(tg)2122822826650.52920.6064r : cattttggtcgaataaatcgcw126 ( kp260532)f : ggacgggttggctgatgta52(ga)5(tg)1228027828430.35330.5660r : attgctctggctgtaaagtggw132 ( kp260533)f : tttgcgtgaacaaaagtcaga50(gt)2517516019580.44170.6831r : acacgacctaaatacatggcafor each locus , the number of alleles , observed heterozygosity ( ho ) and expected heterozygosity ( he ) are based on a sample of 68 individual midges
.
table 3.observed heterozygosity ( ho ) for each locus with each populationlocusho for loci in each population ( numbers of individuals)bj(15)bd(20)qhd(7)sy(10)tj(6)xa(10)w30.66670.70000.42861.00000.33330.8000w50.80000.55000.28570.80000.50001.0000w80.20000.35000.00000.40000.16670.6000w290.46670.20000.28570.20000.16670.2000w310.53330.65000.42860.60000.33330.3000w330.53330.40000.14290.70000.16670.9000w350.26670.70000.00000.70000.50000.3000w410.20000.30000.00000.10000.33330.2000w460.46670.40000.00000.40000.33330.5000w820.53330.50000.28570.40000.00000.3000w830.50000.70000.42860.50000.83330.3000w1160.66670.35000.14290.50000.00000.6000w1260.36670.50000.14290.20000.50000.3000w1320.46670.60000.00000.30000.16670.4000
table 4.expected heterozygosity ( he ) for each locus with each populationlocushe for loci in each population ( numbers of individuals)bj(15)bd(20)qhd(7)sy(10)tj(6)xa(10)w30.80500.74220.61120.79500.62500.7181w50.73270.74330.62500.71040.72240.7550w80.72240.60210.00000.59380.62500.5087w290.69430.59380.50000.62500.50000.6250w310.79610.74240.61120.70780.50000.6112w330.83530.75000.50000.81640.50000.6976w350.62500.67830.00000.72450.77760.6112w410.50000.56920.00000.50000.62500.5000w460.74170.63240.00000.59380.50000.6600w820.59380.60500.50000.50000.00000.5000w830.74000.75250.61120.74000.58000.5000w1160.65000.62180.50000.58000.00000.6804w1260.62500.66000.50000.50000.61120.5000w1320.73490.70810.00000.72240.50000.7500
table 5.allele frequencies ( most frequent alleles ) of the polymorphic ssr markers amplified in different gall midge populationslocusnumber of alleles and frequency of most frequent alleles(size , bp ) in each population(numbers of individuals)bj(15)bd(20)qhd(7)sy(10)tj(6)xa(10)no . of allelesfrequency ( size)no . of allelesfrequency ( size)no . of allelesfrequency ( size)no . of allelesfrequency ( size)no . of allelesfrequency ( size)no . of allelesfrequency ( size)w360.250(248,254)50.393(242)30.500(234)60.300(234)30.500(248)50.357(234)w540.333(128)40.273(122,126,128)30.500(126)40.375(116)40.333(126,137)50.350(137)w840.333(191,197)30.500(191)0.00030.500(191)20.500(187,191)30.500(191)w2940.357(149,152)30.500(149)20.500(149,152)30.500(147)20.500(147,149)30.500(147)w3150.250(196)50.385(192)30.500(196)40.417(196)20.500(194,196)30.500(196)w3380.250(190)50.375(190)20.500(166,172)70.286(177)20.500(160,166)40.389(177)w3530.500(194)50.429(190)0.00040.357(194)50.333(215)30.500(194)w4120.500(150,154)30.417(154)0.00020.500(150,154)30.500(150)20.500(150,154)w4640.313(297)40.500(297)0.00030.375(299)20.500(299,334)40.400(297,334)w8230.500(178)30.500(178)20.500(175,178)20.500(175,178)0.00020.500(173,178)w8350.350(180)60.357(180)30.500(130)40.300(175,180)30.500(130)20.500(175,180)w11640.450(264)40.429(228,264)20.500(261,264)30.500(266)0.00040.417(264)w12630.500(282)30.400(278)20.500(278,282)20.500(278,282)30.500(282)20.500(278,282)w13250.357(195)50.375(166)0.00040.333(160,166)20.500(189,195)50.375(172 )
table 6.f - statistics and gene flow for all locilocusf index and gene flowfisfstfitnmw30.27230.07780.17322.9634w50.30600.03900.25516.1603w80.52290.03650.46736.5993w290.45770.02080.427411.7692w310.32150.02880.28348.4306w330.23460.05860.16224.0162w350.38750.06870.29223.3890w410.74190.16420.45591.2725w460.38760.06160.30213.8084w820.71880.09450.55622.3955w830.36720.11280.21291.9663w1160.51510.10260.35962.1866w1260.55490.00230.5513108.4457w1320.30880.07510.21053.0789 characteristics of 14 microsatellite loci from obolodiplosis robiniae for each locus , the number of alleles , observed heterozygosity ( ho ) and expected heterozygosity ( he ) are based on a sample of 68 individual midges
. observed heterozygosity ( ho ) for each locus with each population expected heterozygosity ( he ) for each locus with each population allele frequencies ( most frequent alleles ) of the polymorphic ssr markers amplified in different gall midge populations f - statistics and gene flow for all loci p - value deviations from the expected hwe were evaluated using the markov chain algorithm ( 10,000 steps ) for each locus and for all six populations .
significant deviation from hwe was observed for w5 ( p = 0.039 ) , w82 ( p = 0.020 ) , and w116 ( p = 0.017 ) in the population of beijing and for w3
( p = 0.014 ) , w8 ( p = 0.037 ) , w31 ( p = 0.025 ) , w35 ( p = 0.006 ) , w46 ( p = 0.020 ) , w82 ( p = 0.006 ) , w83 ( p = 0.028 ) , w126 ( p = 0.028 ) , and w132 ( p = 0.020 ) in the population of baoding ( table 7 ) .
genotypic ld was tested between all pairs of loci across populations based on a permutation procedure ( p < 0.05 ) in the same program ( 10,000 permutations ) .
a significant ld was detected between three pairs of loci ( p = 0.049 , w5/w83 ; p = 0.017 , w5/w116 ; p = 0.004 , w83/w116 ) in beijing and two others ( p = 0.026 , w5/w132 ; p < 0.01 , w31/w35 ) in baoding .
table 7.hwe test ( p - values ) for each locus with each populationlocushwe for loci in each population ( numbers of individuals)bj(15)bd(20)qhd(7)sy(10)tj(6)xa(10)w30.18760.01650.40000.15880.66670.1099w50.03930.06850.66670.10510.66670.0894w80.66670.03730.00000.22860.00000.0693w290.13320.22860.66670.66670.00000.6667w310.28550.02480.40000.18470.66670.4000w330.39470.14480.00000.39150.00000.0606w350.22860.00390.00000.17580.79680.4000w410.40000.06930.00000.00000.66670.6667w460.45390.01990.00000.22860.66670.2286w820.01990.00550.66670.22860.00000.4000w830.07630.02270.40000.39370.12700.4000w1160.01720.06930.00000.12700.00000.1616w1260.22860.02770.00000.66670.40000.4000w1320.18500.02350.00000.66670.00000.5106 hwe test ( p - values ) for each locus with each population here , a total of 68 individuals of six populations were used to test the new loci , but the number of individuals of each population varied from 6 to 20 ( fig .
1 ) as a result , some data are missing in certain populations , especially ones with a low number of individuals , as listed in tables 24 , with a maximum of 57% data missing ( table 6 ) in the qinhuangdao population ( 7 individuals ) . fortunately , however , the data on populations with low numbers of individuals did not deviate seriously from the others , as shown in fig .
2 , which includes seven loci without missing examples analyzed by jmp pro software version 11 : observed heterozygosity was clearly reduced in small populations in loci w3 , w5 , w31 , and w33 , but expected heterozygosity ( he ) was reduced slightly in all loci pictured except w126 . however ,
alleles number significantly changed in each population even in the same locus , and frequency seem to be unrelated to the number of individuals in the population .
fig .
2.the relationship between populations and observed heterozygosity ( ho ) , expected heterozygosity ( he ) , number of alleles ( na ) , frequency of most frequent alleles in each locus .
the relationship between populations and observed heterozygosity ( ho ) , expected heterozygosity ( he ) , number of alleles ( na ) , frequency of most frequent alleles in each locus .
those new microsatellites exhibit moderate to high polymorphism with 310 alleles per locus and population , and the loci in each population exhibit distinctly different characters , which indicates that all of these markers can be used in the analysis of population genetic diversity and structure . | pubmed |
The Pratt & Whitney J57 company designation: JT3C is an axial-flow turbojet engine developed by Pratt & Whitney in the early 1950s. The J57 first run January 1950 was the first 10,000 lbf 45 kN thrust class engine in the United States. The J57/JT3C was developed into the J75/JT4A turbojet, JT3D/TF33 turbofan, and PT5/T57 turboprop of which only one was built.
Design and development
The J57 was a development of the Pratt & Whitney XT45 PT4 turboprop engine that was originally intended for the Boeing XB-52. As the B-52 power requirements grew, the design evolved into a turbojet, the JT3.
The J57 used titanium alloys and the Ti-150 alloy used in the mid 1950s suffered hydrogen embrittlement until the problem was understood.
The prestigious Collier Trophy for 1952 was awarded to Leonard S. Hobbs, Chief Engineer of United Aircraft Corporation, for designing and producing the P&W J57 turbojet engine.
On May 25, 1953, a J57-powered YF-100A exceeded Mach 1 on its first flight. The engine was produced from 1951 to 1965 with a total of 21,170 built.
One XT57 PT5, a turboprop development of the J57, was installed in the nose of a JC-124C BuNo 52-1069, and tested in 1956.
Variants
Data from:Aircraft Engines of the World 1964/65, Aircraft engines of the World 1957
J57-P-1W s.t with water injection B-52A
J57-P-1WAAs P-1W
J57-P-1WBAs P-1W
J57-P-2
YJ57-P-3 thrust, used in the Convair YB-60
J57-P-4A thrust
J57-P-5
J57-P-6 thrust
J57-P-6B thrust
J57-P-7 thrust
J57-P-8
J57-P-8A thrust
J57-P-8B thrust
J57-P-9
J57-P-9W thrust
J57-P-10 thrust
J57-P-11 thrust, thrust
J57-P-12
J57-P-13 thrust
J57-P-15
J57-P-16 thrust
J57-P-19W thrust with water injection
J57-P-20 thrust
J57-P-20A thrust
J57-P-21 thrust
J57-P-23 thrust
J57-P-25 thrust
J57-P-27
J57-P-29W thrust with water injection
J57-P-31
J57-P-37A
J57-P-39
J57-P-41
J57-P-43W thrust
J57-P-43WA thrust
J57-P-43WB thrust
J57-P-59W thrust
J57-F-13Production by Ford
J57-F-19WProduction by Ford
J57-F-21Production by Ford
J57-F-23Production by Ford
J57-F-29WProduction by Ford
J57-F-31WProduction by Ford
J57-F-35Production by Ford
J57-F-43Production by Ford
J57-F-43WProduction by Ford
J57-P-53
J57-P-55
J57-F-59WProduction by Ford
JT3C-2 Civilian derivative of the J57-P-43WB, thrust
JT3C-4
JT3C-5
JT3C-6 thrust
JT3C-7 thrust
JT3C-12 thrust
JT3C-26 Civilian derivative of the J57-P-20, thrust
JT3D/TF33:A turbo-fan derivative of the J57.
T57/PT5 turboprop
Applications
J57 Military
Boeing B-52 Stratofortress
Boeing C-135 Stratolifter and KC-135 Stratotanker
Convair F-102 Delta Dagger
Convair YB-60
Douglas A3D Skywarrior
Douglas F4D Skyray
Douglas F5D Skylancer
Lockheed U-2
Martin B-57 Canberra
McDonnell F-101 Voodoo
North American F-100 Super Sabre
Northrop SM-62 Snark
Vought F-8 Crusader
JT3C Civilian
Boeing 707
Boeing 720
Douglas DC-8
T57 turboprop
Douglas JC-124C Globemaster II testbed
Douglas C-132 not built
Engines on display
A J57 cutaway is on display at the New England Air Museum, Bradley International Airport, Windsor Locks, CT.
A J57 cutaway is on public display at the Aerospace Museum of California. It is s/n 35 used on the XB-52 program.
Specifications J57-P-23
Specifications JT3C-7
See also
References
Notes
Bibliography
Francillon, René J. McDonnell Douglas Aircraft since 1920. London: Putnam, 1979. .
External links
Pratt & Whitney History page on the J57/JT3
Pratt & Whitney J57 Turbojet National Museum of the United States Air Force
Photo of C-124 with xT57 in Flight magazine
Two-Spool Turbo-Wasp a 1953 Flight article on the J57 by Bill Gunston
Category:1950s turbojet engines
J57 | wikipedia |
Moonwalker, también conocida como Michael Jackson: Moonwalker, es una película del género de antología musical del artista estadounidense Michael Jackson, lanzada en octubre de 1988.
Como es usual en este tipo de producciones, la película en vez de tener una única narración continua, consiste de una colección de ocho segmentos o vídeos cortos del artista. Varios de ellos correspondientes al séptimo álbum de estudio de Jackson, Bad (1987). Moonwalker se estrenó el 29 de octubre de 1988, casi un año después de la publicación del álbum y, al mismo tiempo, del inicio de la primera gira musical a nivel mundial de Jackson.
Moonwalker estuvo disponible en formato de vídeo en los Estados Unidos y en Canadá a inicios de 1989, poco antes del final de la gira de Jackson. La misma estaba programada para finalizar tiempo antes, pero fue aplazada debido a problemas en su voz.
La película lleva el nombre de la técnica de baile conocida como el "moonwalk", uno de sus movimientos más característicos y populares. El nombre del movimiento de baile fue acuñado por los medios de comunicación y no por Jackson; Sin embargo, él mismo eligió este como el título de la película.
Moonwalker fue estrenada simultáneamente en Europa, Asia y Sudamérica con gran éxito. Para abril de 1989 ya había vendido 800.000 ejemplares sólo en los Estados Unidos. La recaudación global para aquel entonces era de un estimado de 67 millones de dólares.
Argumento
La película se compone de un collage de historias cortas, en lugar de ser una historia continua. Cada uno de los segmentos se describe en las subsecciones a continuación.
Man in the Mirror
La apertura de la película consiste en una mezcla de actuaciones en vivo de "Man in the Mirror" durante el Bad World Tour de Jackson. También cuenta con un montaje de clips de niños de África, Mahatma Gandhi, Martin Luther King, Jr., John Lennon, y otras figuras históricas.
Retrospectiva
Es una corta biografía sobre su trayectoria musical, mostrando mediante diversos cortos, sus inicios hasta la era Bad]]. En este video de aproximadamente 12 minutos de duración, se pueden escuchar extractos de las siguientes canciones:
"Music and Me"
"I Want You Back"
"ABC"
"The Love You Save"
"2-4-6-8"
"Who's Lovin' You"
"Ben"
"Dancing Machine"
"Blame It on the Boogie"
"Shake Your Body (Down to the Ground)"
"Rock With You"
"Don't Stop 'til You Get Enough"
"Can You Feel It"
"Human Nature"
"Beat It"
"Thriller"
"Billie Jean"
"State of Shock"
"We Are the World"
"The Way You Make Me Feel"
"Dirty Diana"
Badder
Una parodia del video musical de la canción [[Bad (canción de Michael Jackson)|Bad, con niños interpretando los papeles de los diversos personajes del clip original.
El video fue protagonizado por Brandon Quintin Adams, quien interpreta el rol de Michael Jackson. También participaron tres de los sobrinos de Michael, Jermaine La Jaune Jackson, Jr., TJ and Taryll Jackson; y una joven Nikki Cox, quien luego participaría en las series Unhappily Ever After y Las Vegas. Los integrantes del grupo The Boys participaron como bailarines.
Speed Demon
El clip "Badder" da paso a un segundo cortometraje, denominado Speed Demon, dirigido por Will Vinton, artista innovador de Claymation. En este segmento, Michael, intenta evadir a una horda de fanáticos que lo persiguen (entre los que figuran estereotipados turistas asiáticos, periodistas y The Noid, mascota de la cadena de pizzerías Domino's) disfrazándose de un conejo llamado Spike, usando para ello un traje que encuentra en uno de los sets de filmación (y el cual presenta algunas características animatrónicas realizadas con ma técnica de animación Claymation). A pesar del disfraz, Jackson es descubierto, lo que da lugar a una persecución por parte de sus fanáticos. Durante la misma, Jackson roba una bicicleta que luego se transforma en motocicleta, mientras que quienes lo persiguen utilizan otros vehículos de estilo caricaturesco. Además, se transforma en otras celebridades, incluyendo a Sylvester Stallone, Tina Turner y Pee-Wee Herman. Finalmente, los fanáticos y periodistas son arrestados por un policía gigante, mientras que Jackson se aleja en el desierto. Tras quitarse el disfraz de Spike, éste cobra vida y lo desafía a una competencia de baile.
Hacia el final, un policía lo interrumpe para señalar que se encuentran en una zona en la que no está permitido bailar. Cuando Jackson intenta explicar que estaba en una competencia con el conejo Spike, éste ya ha desaparecido. Ante esto, el policía sarcásticamente le solicita su "autógrafo" en el ticket de una multa. Mientras Michael se prepara para partir en la moto, en una cima rocosa se materializa la cabeza de Spike, que luego asiente con la cabeza y sonríe.
Leave Me Alone
El quinto segmento de la película es el cortometraje para la canción "Leave Me Alone". Se trata de un vídeo musical de animación enfocado en el excesivo interés de los medios por la vida personal de Jackson. En este también expresa cómo para sus fanáticos su vida es una especie de parque de diversiones. En tono de burla, se muestra cómo los medios inventaron que él tenía un santuario dedicado a Elizabeth Taylor, o que compró los huesos del hombre elefante. Los miembros de la prensa aparecen representados con cabezas de perros, dando a entender que actúan como animales. El segmento concluye con Jackson destruyendo el parque de diversiones y mirando hacia el espacio.
El vídeo de la canción ganó un Grammy en 1989 en la categoría de video más innovador, convirtiéndose así en el único Grammy recibido por el álbum Bad.
Smooth Criminal
La película abre con una secuencia que representa la elaboración de una escena vinculada a los acontecimientos que ocurren cerca del final de la película, en la que un grupo de niños (entre ellos Sean Lennon) ven como sale Jackson de una tienda de música, y de repente mafiosos lo atacan con ametralladoras. Katie, la niña más cercana a él, recuerda que, un día mientras jugaban con Michael en un campo con una pelota, su perro se escapó a un bosque, pero durante su búsqueda, Michael y Katie descubren la guarida de Mr. Big, Frankie Lideo (Joe Pesci, como una parodia del representante de aquel entonces de Jackson, Frank DiLeo), en el cual quería que todos los niños del mundo consumieran drogas.
Mr. Big descubre que Jackson y Katie estaban ahí, pero escapan; Jackson le dice a los niños que se reúnan con él en el Club 30's, que resulta ser una discoteca abandonada desde la década de 1930. La historia se remonta a los ataques de los mafiosos a Jackson, y aquí se revela que Jackson es en realidad un mágico gánster, que basa su poder en estrellas fugaces, como cuando Jackson se convierte en un poderoso auto deportivo con apariencia futurista, y se escapa de los ataques de Mr. Big corriendo a una velocidad casi supersónica. Mientras que los niños van al Club 30's y después tienen miedo cuando oyen un ruido y salen de ahí, luego Katie ve que es Michael, luego él entra y una luz brillante sale de la puerta. El Club ahora esta lleno de bailarines y Jackson participa en un baile de despegue con los demás miembros del club, y ahí comienza el vídeo musical de "Smooth Criminal".
La versión de la canción utilizada en este segmento es diferente de la versión del álbum - existen varias nuevas letras y la canción es mucho más global, incluyendo el material sinfónico por Bruce Broughton. Los extras son letras para hacer la historia de la canción claro. El más comúnmente visto la música es una forma de video de cuatro minutos collage de diversos clips de la película.
En el clímax de la canción, Mr. Big establece asedio al club y secuestra a uno de los niños, Katie. Terminada la canción, Jackson se reúne con los otros dos niños, donde le explican que Mr. Big ha secuestrado a Katie, y él decide ir a enfrentarlo en su guarida, cuando llega, termina rodeado por sus secuaces. Es entonces cuando Michael es golpeado, y Mr. Big aparece amenazando a Katie con inyectarle una droga. Aunque Katie logra zafarse de Mr. Big, él ha tenido suficiente y ordena a sus hombres que maten a Katie y a Michael, pero de repente pasa una estrella fugaz. Es entonces cuando Michael Jackson se transforma en un robot gigante y mata a todos los soldados de Mr. Big. Después se convierte en una nave espacial gigante, pero Mr. Big se encuentra en las laderas montado un gran cañón de energía, disparando sobre la nave espacial en un barranco cercano. Los niños son su próximo objetivo, pero la nave vuelve a partir de la guarida de Mr. Big justo a tiempo para repeler un nuevo cañonazo contra los niños. Tras esto, la nave se aleja a baja velocidad.
Come Together
Después del segmento Smooth Criminal Sean, Katie y Zeke regresan a la ciudad creyendo que Michael se fue para siempre. Después Michael aparece caminando en la oscuridad y los niños lo ven y lo abrazan y van de regreso al Club 30's y al entrar ven que ahora se transformó en un backstage y encuentra a su perro perdido Skipper. La película se cierra con Jackson, realizando un cover de "Come Together" (Canción de The Beatles). Uno de los niños actores en esta película es Sean Lennon, hijo de John Lennon. Lanzado como el B-Side de "Remember the Time" en enero de 1992 y una versión ligeramente distinta apareció en el segundo disco del álbum HIStory álbum, Lanzado en 1995.
The Moon is Walking (El Cierre de Créditos)
Durante los créditos, dos segmentos se muestran. En el primero se muestra a la banda Ladysmith Black Mambazo (cuya cual utilizan las partes de su cuerpo en vez de los instrumentos) cantando "The Moon is Walking" en el Club 30's (con imágenes de un detrás de escenas). En el segundo segmento se muestra la versión de 4 minutos del video "Smooth Criminal".
Certificaciones
Videojuego
La película tuvo su propio videojuego llamado Michael Jackson's Moonwalker creado por Sega, lanzado en 1989 y 1990 que incorporan el personaje propio de Michael Jackson y fueron co-desarrollado por él mismo. Fue lanzado en diferentes plataformas. El juego consiste en rescatar a los niños secuestrados de las manos del maligno "Mr. Big", mientras que Michael va realizando unos pasos de baile con tonos musicales derrotando a los villanos.
Referencias
Enlaces externos
Videoálbumes de Michael Jackson
Películas de 1988
Películas dirigidas por varios directores
Películas ómnibus
Películas de superhéroes de Estados Unidos | slim_pajama |
Band of Brothers 1. Chapter 1
**I don't own the characters. I mean no offense to the actual people. This is based on the actors portrayal and of my own warped fairytale! Enjoy!**
I stood in line with my fellow nurses, nerves rattling me to my very core. I wasn't sure what possessed
me to join in the war effort, but here I was in England.
The air was much cooler for this time of year than my southern upbringing had prepared me for. We all
stood in our crisp, Army sanctioned uniforms. We were a new bread, female field nurses. We were
meeting our units today. They arrived yesterday and we would spend the next while training with them.
I had experienced one year of medical training, then a little over a year in a British hospital catering to injured soldiers. I knew that being a field nurse would be much different than working in a controlled
environment.
We were introduced to Colonial Sink who would inform us of our companies. He began shouting names in his southern drawl and soon made his way to mine.
"Master, Elliot! You will be assigned to Easy!" he shouted.
"Yes sir!" I tried sounding brave but it came out hoarse.
As he went on another girl named Hillary Wilde was also assigned to Easy.
"Now ladies, you will go and find you companies. They are waiting for your arrival and your training will start today! Good luck." He finished and saluted us. We all stood at attention, waiting for a commanding officers to find us. The group tried to assemble in order. Getting in the groups they would go with.
"Hey are you with Easy?" I heard a voice ask. I turned and saw a young woman, maybe twenty or so, looking down at me. She had to be five foot eight and she stood tall over my five foot two frame. Her hair was jet black and her nose covered in freckles, she had the prettiest blue eyes I had seen and she was curvy to boot.
"Umm yeah." I mumbled, shy as ever.
"Well I'm Hilary! We are in the same company!"Her voice was scratchy and sexy, she all but purred.
"I'm Elliot. You can call me Ellie." I said looking at the ground. Through our conversation we were making our way over. I felt my face heat as she studied me and pulled at my lip with my teeth. I didn't like being stared at. I knew she didn't mean anything by it and was just trying to see who she just met, I still wanted to hide.
"I am here for the women of Easy." a voice full of authority called. We looked at each other and immediately rushed forward. We saw the man with the voice hollering for us again. He was taller, with dark hair and eyes. He stood with perfect posture and full of command. He was handsome but something about him seemed arrogant. I suppose being a Captain would allow you to be arrogant.
"Sir we are the nurses for Easy." Hilary said for both of us as we saluted.
His eyes narrowed and he leaned in looking at her face.
"Names!" he shouted. Did he need to shout? We were right here!
"Wilde, Hilary Wilde!" Hilary called in confidence. I wondered how she managed when his face was inches from hers with an intimidating snarl on his face.
My thoughts were interrupted when said scary face was all up in mine.
"Masters, Elliot Masters." I all but mumbled and stuttered out.
"Nervous Masters?" he mocked me already. How could I let myself get on this guys bad side with only saying my name? This guy was intimidating and intimidating for sure.
_Be Brave_
"No sir!" He pulled back looking me in the eye. I just blinked. I had to be brave..be strong.
"Lets go meet the company and start exercises." He commanded and then began marching off. Hilary and I looked at each other, she raised an eyebrow and I just shrugged.
Seriously...what did I get myself into?
**Reviews, help, questions...all wanted..needed...Sorry kinda short. Elliot will be meeting Easy next chapie and that should liven it up. What do you think?**
2. Cheeky Bastards
**Here is two...I am hoping for this to be longer. We will learn more about Ellie the chapter too! Once again don't own and no disrespect!**
Our Captain all but strutted. It would be funny if he wasn't so damn scary. I wasn't a completely
I knew what I was doing but when I felt someone in my personal space I got nervous. I think this guy
had a habit of being in peoples bubbles. I shivered...just my luck. I had space issues and a Captain
who clearly had the exact opposite problem.
He led us over to a group of men all at attention. Though they held their position respectfully, they all were eyeing us.
"Men! These are our field nurses!" he said plainly.
"Now get moving! Winters I want this company doing Pt!" with a salute from who I assumed was Winters, our leader turned to leave.
Winters had a kind face but serious face. He was taller and had broad shoulders. His eyes were a pretty blue and his hair a darker shade of red. I flushed as he walked towards us.
"Hello, I Lieutenant Winters. Names?" he asked gently but with authority...and no yelling
"Masters, Elliot." I said just as calmly.
"Wilde, Hilary." Hilary purred. As the men heard her last nae someone cat called and I saw a few raise their eyebrows with a grin. I wanted to laugh at Hilary's eye roll, I settled for a smile instead. Winters through a look over his shoulder looking to be struggling with a laugh himself .
"We have to do PT. Roe" Winters called.
A smaller skinnier man came forward. Even in his small stature he was still bigger than me. He had dark hair and icy blue eyes.
"Yes suh?" Oh he had an accent. I couldn't lie it was adorable and fitting.
"Show our nurses to their quarters so they can change out of their dress uniforms." Winters ordered. Roe nodded and motioned for us to follow. As we walked behind him I turned to Hilary who waggled her eyebrows at me. I had to hide my giggle.
"You ladies will be sharing a room with myself and the other Medics." Roe said
"You mean to tell me we are sharing rooms with men?" Hilary asked startled.
"Fraid so." Roe mumbled.
I shot Hilary a duh look. What did she expect? We were the only women in the company and would be sharing the battlefield with these men. Of course we would have to get used to living with them. I began to wonder if she was ready for this.
If the biggest problem I faced was sleeping in the same room as men, I was set. I was used to no privacy. I felt however, that this would be the least of our concerns.
We entered a room where there were several beds and a bathroom.
"Yall can change in tha bathroom when the men are around." Roe said turning slightly red. He was a gentlemen for sure.
"Thank you." I said nodding at him.
"I will let you get to it then. It's Masters and Wilde, right?" He asked pointing respectfully at us.
"Yeah." Hilary said. Roe just nodded and left.
"Well I guess we better get changed. I don't wanna get a target put on me from Sobel." Hilary said grabbing the PT gear laid on the beds.
I more than agreed with that.
We had dressed out of our pretty skirts into our regular uniforms. We had the exact same thing on as the men. I would have to hem my pants. They were too long, something I was used to unfortunately.
As we made our way over I noticed Hilary walked with a feminine sway, everything about her screamed woman. I on the other hand felt like a little girl in comparison. I knew I wasn't a total lost cause in the looks department, I just didn't feel stunning either. I had wild, curly, blonde hair and big blue eyes. I also had dimples which didn't help my young girl looks. I didn't have Hilary's figure but I had my own small curves. It wasn't like any of this mattered...I was here to mend the men, not date them. I had never cared much before and I wouldn't let myself become jealous of Hilary's blessings. I knew I had my own.
We grew closer again to the men and their stares. I flushed as usual.
"Welcome back." Winters greeted us. We both nodded and then were told to get to work. We did what was called warm ups. I had never done most of the exercises and felt more than foolish. When I thought we were finally done Winters informed us of our run.
"Run? I thought that was our PT!" Hilary exclaimed in a whisper.
"Afraid not sugar." One of the men beside us commented.
Hilary shot the man a glare as I turned to look. He had an underbite but it only added to his handsomeness. He was a tough guy I could tell.
"You are?" Hilary asked continued stretching.
"Bill Guarnere." He said not missing a beat. Hilary snorted and I looked at her confused.
"Nice name." she said. She was not shy for sure.
"Laugh it up kid." He said not even looking offended.
"You mute or something?" He added looking at me.
"Um huh?" I stummbled out. He raised an eyebrow.
"Mute...can you speak?" Bill asked exaggerating each word like he was talking to a foreigner.
"Oh yeah. I can speak." I said flushing. He probably thought I was really dumb. Great.
Winters motioned for us to get moving Bill ended up running by me and Hilary on the other side, running in rows of three.
It started misting and my curls began to escape the bun I pulled them back into. Running I could do, the exercisers before however made it harder. I turned to Hilary who was having a harder time than and was lagging.
"They not train you or somethin?" Bill asked. I expected Hilary to snap with a smartass remark but when she stayed quite I decided to answer.
"Yes I mean we ran and we were trained medically if that's what you mean." I said
Bill nodded.
"Where you from?" he asked. I had noticed his accent so I assume he noticed mine.
"Missouri." I said.
"Missouri isn't in the south." He said skeptically.
"Some of it is..." I said.
"She needs to speak louder! I can barely hear what the broad is saying." A new voice sounded.
I turned to look behind me. In a row were three men. The one on the far left was huge. Big and tall to even an averaged size person. He had blue eyes and blonde hair. If he wasn't so big we coulda passed for kin. He saw me staring and gave me a brief nod and smile.
The man on the far right was short and clearly italian. He was probably five foot four so still taller than me, not by much though. His hair was fixed and his teeth were white, he was looking me over which caused me to flush.
Then my eyes came to the middle man...as I eyed his messy yet styled hair, bright brown eyes, and cheeky grin. Over all he was very handsome. I then tripped.
"EEP!"I squeaked.
Bill caught me laughing.
"Look what you did to the poor girl Bull! She thinks your a giant. Don't worry sweety he wont eat you. He is a friendly." The middle man called to me laughing. I just nodded face flaming. Glad however that he didn't realize I tripped because of him.
"By the way Perco, these are ladies not broads. Best not to get on their bad side considering they will be patching you up after the Jerrys get ahold of ya." He said to the little italian.
"Yeah what he said." Hilary wheezed out, finally joining our conversation. I began to laugh as did the men.
"Big man on the end is Denver Randleman, or Bull, wiseass in the middle would be George Luz, and pocket Italian is Frank Perconte, or Perco...or shithead." Bill said.
"Hilary Wilde." Hilary said gasping. Jesus, I hope she didn't pass out.
"Elliot Masters...or um Ellie whatever is fine." I said starting to struggle with the run.
"Ok...Hilary and whatever." George said. I flushed but gave him a look, which caused him to smile.
"We almost done for the love god please say yes." Hilary all but begged.
"Yeah...this is nothing though." Bull said.
"Oh lord." Was Hilary's only reply.
I barked a laugh.
"Ellie up here is doing mighty fine even with you two starring at her ass." I turned beat red and looked over my shoulder again.
Perconte had the deciensy to look a little ashamed while looking up at the sky, Luz however was starring right at me with that cheeky grin. He then winked at me. I snapped my head forward finally seeing camp.
"Language Gonorrhea!" He said.
"He has no shame." Bill whispered causing me to smile weakly.
Oh lord indeed.
3. Hunting Dogs and Rogue Cows
**Here is chapter three! Once again no disrespect! Thanks to all the reviews and story alerts I got! You guys are amazeballs!**
Even after yesterdays lovely exercise and being exhausted, I found myself getting little sleep. Hilary snore liked a drunk man and the aches from my body didn't help.
Sleep was something I always had trouble with. I always found myself thinking about my past which was hazy at best. My first memory was waking up in a hospital. I had maintained all knowledge but no personal memories. I could count and speak in perfect sentences but I could not answer important questions. I could only give them the simple name of Elliot. After several test were ran I was moved. Later I was told that a couple men had found me on the bank of the Mississippi, nearly beaten to death. I came to stay at an orphanage in the small town Sikeston Missouri. I was only eight and on my own. I have no hard tales of the evil orphanage but being an orphan in it self was lonely. I didn't know who I really was or if my family were looking for me. At night I wondered if my family were the ones to hurt me so bad.
Even though this happened over ten years ago, it was of course one of those things you couldn't simply forget. I had to admit though, the orphanage did prepare me for the army.
Privacy, something I never had. Uncomfortable sleeping arrangements? Don't get me started. These cots felt like a fluffy cloud compared to the hard as concrete beds I was used to. Now the men...that was something I knew from the get go I would have problems with.
The orphanage I was in was mostly female. The only men we had weren't men at all, they were young boys or little babies. Now I was surrounded by men several good looking men all giving me the look.
I knew I was a bit naïve but I wasn't stupid. These men were starving for female attention and two ladies just fell into their laps.
Luckily the rain finally lulled me to sleep. Nothing soothed me like the rain.
I woke up to some of the medics shuffling around. I opened one eye and caught site of Hilary. She was a lump on her bed...still snoring away like a jack hammer.
She had her pillow, I use the term pillow lightly by the way, over head blocking any noise. I sat up and stretched. I groaned as several cracks went off in my back. This caused several of the men to look my way. Roe being one of them, gave me a slight grin.
"Morning." I mumbled sleepily.
"Morning. You better start getting ready, breakfast will be served soon, then we have a mock mission today." Roe said. I nodded. I stood up achy as all hell. As I walked passed the guys, I got some smiles and other looks. I was wearing my P.T shorts and shirt. I knew I was showing a lot of leg but I didn't care too awful much.
When I got to the bathroom I looked in the mirror, bed head didn't even begin to describe my wild curls. It looked like my hair was trying to eat me alive. I sighed...the joys of having mass amounts of curly hair...please. I began to wonder how the men looked at me with their hungry looks when my hair looked a different creature.
Finally I managed to tame the beast and walked out to find Roe trying to wake Hilary.
"She wont wake up." He said slightly frustrated. I nodded and grabbed my pillow. Being one of the oldest at the orphanage I was used to having to take care of the younger ones. This meant waking them up for chores and such. I had yet to meet a person I couldn't wake up.
I began to beat Hilary with the pillow.
"Wake up!" I called, my normally quite voice reaching a loudness I very rarely used.
Roe chuckled as Hilary sat up.
"What!?" She screeched at me.
"Breakfast." I said simply.
"Spina, why don't you take Elliot here to the mess hall and I will wait on Hilary." Roe said.
The guy I assumed was Spina nodded. He was tall and more stout than Roe. He had dark hair and nice eyes.
He nodded for me to follow.
"I'm Ralph Spina." he introduced grinning down at me a very handsome grin.
"Elliot Masters." I said flushing and smiling back. I really needed to work on getting more comfortable with these men or else my head would explode from my constant and embarrassing blushes.
As we stepped outside I was hit with the cool, misty, weather. It felt like this was always the weather we had but I enjoyed it.
The grass was greener than the dry straw-like grass we had at home and there were hills rolling. Back home was flat as a pancake with cotton fields as far as you could see. I loved the difference and thought England was beautiful. The air seemed fresher and I felt lighter than I ever had.
"You're fellow nurse snores louder than a machine gun." Spina said breaking the silence. I barked out a laugh.
"I was thinking more of a jack hammer but a machine gun is good too." I tried for a joke. He grinned at me and laughed.
I felt more comfortable as Spina started up conversation. It seemed he was happy just to talk and I was happy to listen. He didn't give me any hungry looks which eased my nerves.
The walk to the mess hall wasn't a long one but I rather enjoyed my company. The building that held the hall was cabin like and seemed cozy. As we walked in we were hit with the warmth from food cooking. I could admit that the food didn't smell so great but hungry as I was, I'd it.
I walked in line with Spina him offering me advice.
"Eggs are kinda dry but they are probably the best thing besides the cardboard pancakes. You can always cover those with syrup." he advised. I nodded. I grabbed a couple less than eye pleasing pancakes and began my search for a place to sit alone.
"Elliot over here!" A familiar voice called. I looked over to see Bill Guarnere waving me down. I looked at Spina who shrugged and began walking over.
"I called for Elliot not you." Bill said giving Spina a hard time. I followed and Luz pushed Perconte almost off the bench and he shoved into a red headed fellows side making room. I suppose he wanted me to sit down. I gave him a small smile.
"Thanks." I said. Luz nodded and game me his cheeky grin.
"Where is your other half?" Bill asked setting across from me.
"Hopefully awake." I said.
"That girl...whats her name?" Spina asked.
"Hilary." I said taking a bite of my pancakes. He was right...dry cardboard. I swallowed making a face causing a few of them to chuckle.
"Well Hilary kept our room up! Snores like a freaking jack hammer is what Elliot said. Sleeps like the dead too. Ellie here had to assault the girl with a her pillow." Spina said. This caused the boys to laugh.
"Don't give her a hard time. She can't help it." I mumbled. Spina grinned.
"You sleep well?" He asked. I didn't say anything but took a bite of my pancakes. This caused the boys to crack up.
"Hey Ell...where were you before here?" Luz asked.
"I was in a hospital in London." I said turning to him.
"There for the all the bombing they got?" The red haired man asked.
"Um no. I did't get there tell September 42. Most of the bombing stopped in 41 but there was still some occasions." I answered looking down. My time in London was scary and not something I cared to remember. The city was lovely but the moans of the wounded and the occasional blasts were terrifying.
I knew it had made me prepared me for what was to come but I still dreamed about the lives I couldn't save.
"So you have actually already seen action? Patched up the Brits? Glad to have someone who knows what they are doing." Bill said shoving eggs into his mouth.
I shrugged and sipped on my juice.
"Yeah we are going to need good nurses thanks to fucking Sobel." Perconte said earning agreements form the men. I looked confused.
"What? I know Sobel has anger issues but isn't he good?" I asked chewing on my lip.
"Good at getting us fucking lost." Luz said. I turned to him and tilted my head...hoping for an explanation.
"On one of our exercises, he had us move from a perfect position with cover, right into the middle of the opposing team Ellie, causing us to lose the little scrimmage. Now in real life that means getting your gut peppered with bullets." Bill said. I swallowed hard.
"Yeah, we know how ya feel." George said.
"Scoot over." A voice purred at me. I turned around to see Hilary looking fresh as a daisy. Must be from all that sleep she got.
She looked like she was going to set between Luz and until Perconte shoved me into Luz making me squeak. Luz grinned brightly and pulled along with him, making room.
"Sleep well?" Spina asked grinning. I grinned.
"Do I know you?" She asked giving him a glare.
"Ralph Spina Medic." He winked. She rolled her eyes.
I was a bit distracted to follow their banter by how close I was to Luz. I had rarely been this close to anyone for any period of time, seeing my space issues, I however didn't mind Luz being close.
In the hospital I had treated men of course, but I was in work mode, not having to communicate, just focus. This was different. I was apart of this company and these men wanted to interact with me. That was a whole new concept. I didn't find myself minding.
"So you snore." I heard Bill say. I heard Hilary gasp.
"I do not!" She hissed. I suddenly burst into laughter.
"You told them I snore? You traitor." Said glaring at me. I wasn't sure if she was seriously mad so I calmed my giggles down and shook my head and pointed at Spina. Causing him to mock gasp.
"I do not gossip!" he said giving Hilary a puppy dog look.
"Oh whatever. I don't snore." she huffed crossing her arms.
Breakfast soon ended and I found myself walking in the middle of the guys. I looked to my right and found Luz walking close by carrying on with Perconte, then to my left. The redhead from breakfast stood there talking with some more men I had yet to meet.
"Well introduce us." I heard one guy say.
"Hey Elliot." the redhead said. I met his gentle green eyes.
"I don't think we really met, I'm Don Malarky, this is Muck, Penkala, and Hoobler." I gave them all a smile.
Penkala was dark and handsome, Muck had a sweet face, and Hoobler was just precious. I had never describe a man as precious before but Hoobler was. Between his cute ears and child like face. He was adorable and I immediately liked him.
"You can call me Skip." Muck said winking. I grinned.
"Elliot...Ellie." I said.
We all stood at attention, being separated into two groups. One was led by Winters. The other was led by Sobel. I prayed to be in Winters group but Hilary somehow managed that one.
Sobel was an angry man and he seemed to have a special amount of hate for little old me. I would catch him glaring at me as we marched in our field exercise and said rather demeaning things.
"Can't keep up?" He would shout.
"Go back to the Kitchen" he would sneer.
Luckily I was with Perconte, Luz, Muck and Hoobler. Some of my favorites. I kept up just fine despite being in full gear. Anytime Sobel gave me crap I could look at Luz or one of the others who gave me a smile or pulled a face. Atleast the scenery was pretty and the cloud cover kept you from getting too hot. Oh the silver lining.
As we ran through a field, the men with their guns, like we were in the war, our jog came to a stop.
We all knelt...a barbwire fence holding cows was in our way.
"Why is there a fence?" Sobel asked, angry and confused.
"There should be no fence here!" Sobel seemed panicked.
"Tipper!" He shouted for the man...who was right behind him.
"Yes sir." He asked.
"Give..Give me the map!" He started to look at it then realized we were in mock war.
"Perconte...Luz...get the men..get them. Take cover!" he stuttered out.
"Yes sir!" Came their replies.
"Lets go!"
"Move fellas." They ordered as we jogged behind a bush.
"Hey Perco, Sobel lost again?" One of the guys asked. I was curious too.
"Yeah." He answered rolling his eyes.
"Hey Luz...Luz come here." Luz walked over closer and I decided to follow.
"Can you do major Horton?" Perconte asked.
I wasn't sure who that was or what they meant by asking Luz.
"Does a wild bear crap in woods." The men around him, including me, began to laugh. I wasn't sure who Horton was but apparently Luz sounded just like him.
"Maybe the good Major can goose this shmuck. Get us moving along." Perconte said grinning.
"No, no way." Luz said as the grin fell from his face.
"Oh yes. Yes! You gotta." Muck said. George breathed as several others put in their agreements. He then turned to me and looked over my face. I knew there was a slight grin as I bit my lip. I wasn't sure why he looked at me or what he was looking for so I just looked at the ground and grinned.
"Alright. Just this once!" I heard the smile in his voice and looked at him. His grin was quickly becoming one of my favorite things.
Muck pulled me down and George cleared his throat.
"Is there a problem, Captain Sobel?" Luz hollered.
"Who...Who said that? Who broke silence?" Sobel roared.
If Luz was caught his goose was cooked!
"I think it's Major Horton sir." I heard the man named Tipper reply
"Major Horton? Wh, what is he...did he join us?" Sobel asked sounding panicked.
"I think, maybe, he's moving between platoons, sir?" we heard Tipper reply
"What is the GAWD-Damn holdup, Mr Sobel?" Luz yelled. We all started giggling. Not even having met Horton...Luz was a riot.
"Uhhh, A fence sir, uh God...barbwire fence." Sobel called.
"Oh, That dog just ain't gonna hunt! You cut that fence and get this goddamn platoon on the move!" Luz finished.
"Where are my wire cutters." Sobel scrambled. I couldn't get the smile off my face and we began to move and so did the cows. I looked at Luz, he smiled back at me.
As we ran down the road and finally hit our mark, Sobel yelled "High Ho Silver!" in joy only to be completely stopped by the site of Winters. We looked around and we were surounded.
"Dead." Perconte said to me shaking his head. Our leader was a fool. I sighed not feeling so gleeful anymore. The man leading us would lead us to only our deaths. Thinking about it, one of his men tricked him into cutting a fence. He clearly wasn't that bright even if Luz was good. I began to worry and chew on my lip.
Later on the men, plus Hilary and I, were setting around. The men from the other group roaring with laughter at what Luz had done. The story had lost a lot of humor to me. I didn't join to be lead by someone who wasn't capable.
"I think I am going to turn in, it was a long day." I murmmerd to Hilary. She nodded still intent on the story beinging told.
I got up and began my walk to our quarters. I then noticed a couple cows had made it to our base.
"Hey El! Ellie!" I heard a voice call. I turned and jogging towards me was George Luz. I stopped and blushed as he stopped infront of me, giving me that damn grin.
"Where you off too? Don't you want to bask in my glory?" he asked.
I had never spoken to Luz one on one like this and I was instantly nervous at the thought.
"Umm, I'm pretty tired. I will let you have all your glory Luz." I muttered and looked at the ground.
"Call me George, and let me walk ya." He said grabbing my arm. Yep my head would explode any minute.
"Uhh George you don't have to." I said nervous.
"Hey, what kinda gentleman would I be?" He asked grinning. I could tell he wanted me to be comfortable around him so he was joking. I swallowed and wrapped my arm through his and nodded. I would try.
"I uh can't believe the cowss made it here." I said trying to be at ease.
" I know great isn't it? Heard Sobel got shit for it and found out Horton was on leave in London." George exclaimed. I haulted.
"Aren't you afraid of getting in trouble. They will ship you back home!" I said nervous for him.
"Aw hell. It would be worth it!" He said grinning. I shook my head. George was one of kind.
"I would miss you an awful lot though." George said winking. I flushed again instantly but smiled. Not sure what to say I just shook my head. George Luz was a character and even though I didn't know many he was like no other man I had ever met.
**Ok. So I tried adding more about her past. I don't want this to be a complete sob story so what do you think? Isn't George Dreamy? I was thinking about doing a chapter from his POV what do you think? I hope they aren't moving along too fast...I am nervous. Review please!**
4. Beers and Battering Rams
**Thanks to all who reviewed! **
The weeks had past and I was constantly amazed by these men. They handled Sobel's crap and still managed to smile.
I on the other hand felt like I was running low. I was so tired but sleep was hard to come by and our lovely Captain had not let up.
I sat at lunch vaguely aware of the conversations surrounding me. Setting between George and Malarky was my new place. They would talk back and forth sometimes picking on me or buying for my attention. However sometimes I felt like I wasn't even there.
George often took the time to talk to me daily. There wasn't a day he didn't try to pull a smile from me. He did that for everyone. George Luz was Easy's clown and bright light. I hoped he didn't fade once he hit battle.
I knew our time here was ending and that was part of the reason for my depressing funk. I had witnessed men who had went to war, I didn't want Easy's eyes to get the haunted looks I had seen.
I was already afraid of losing them. I had never felt a closeness to any body and these men had made me feel apart of them, apart of something.
WACK! I hissed in pain and rubbed my shin that was just kicked
"AHH!" I seethed and looked straight Muck who looked all too please with himself.
"Wake up!" He said.
I gave him a dirty look.
"What Luz here was trying to get you to come out with us." he said trying to save face.
I turned to look at George who gave me "the grin" and nodded.
"I don't want to get in your way or tag along." I mumbled pushing around my food.
"Hilary always comes and has a blast! You wont get in our way. We are men on a mission." Malarky added. Their mission of corse was to bed a local girl. I didn't care much to witness to that.
"Just come on! You need a break Kid!" Guarnere added.
I bit my lip and turned to George. I expected to be on the end of his lopsided grin, he was giving me the most pathetic look I had gotten from him. His normal bright eyes giving me the look of a kicked dog and his cocky grin replaced by pouty lips. I would never admit it but his lips did me in.
"Lets go."
"This was all such a horrible idea. I never go to bars!" I hissed as I walked with Hilary as we left. The night was cool, clear, and crisp. It would be a perfect night to just stare at the stars and think. They were so bright.
"You are a prude! You need to loosen up and have some from! Come on Ellie!"
I knew she was right but I was nervous. I didn't drink or dance. What was I doing at a bar?
"Besides you look amazing!"
I looked down. My dress was white, haltered and flared at my hips. I wore a red cardigan and matching heels. I actually had put on a little makeup and styled my curls so I could wear them down. I guess I did clean up ok.
Hilary, always was stunning even in our gear was wearing a purple dress that hit off her green eyes. She was on the hunt or so she told me.
We arrived at the pub, it was on the smaller side and smelled of stale smoke and booze. My eyes stung a little.
It was crawling with men from several companies and what appeared to local girls. I searched the crowd and quickly spotted Bull. Hilary made a bee line towards a group of guys I had never met and I raised an eyebrow at her and shook my head. Boy crazy didn't begin to Cover her.
"Well look what Hilary brought along!" Buck Compton called. His tall frame pulling me in for a hug.
Bill showed up whistling.
"Someone cleans up real good. Can't believe you came!" he added. I flushed as usual and shrugged.
"Thought I would check out the scene." I said busying myself with my sweater.
I wasn't used to dressing up or having on make up. I felt odd and out of place. Uncomfortable didn't cover it.
I sat myself down from Carwood Lipton, one of the nicest men I had ever met, as Buck got me a drink.
I wouldn't be in the way if their hunt, seeing as Lipton was married and Buck was in love with his girl back home. I hadn't had the chance to spend a lot of time with them so maybe coming out wasn't the worst idea.
"Beer ok?" Buck asked handing me a drink as Bull pulled up a seat as well. I just nodded.
"No girls catching your eye Bull?" Buck asked grinning.
"Nah." Was Bull's reply.
"What about this one here?" Lipton said sending me a wink as I grinned sipping on the beer. I didn't even like the grainy taste but I figured when in Rome...
"Why do you think I came over here?" Bull said grinning.
I flushed.
"Aw Bull! Well thanks!" I said playing along.
He laughed and shook his head.
"You do look mighty pretty in a dress Ms. Ellie." Buck said.
"Don't get used to it!" I said shooting them all a grin. I got some laughs and some grins.
As the weeks went on , I found myself blushing less around most of them, most of the time. However there were a few who could heat up my face. Almost like it was their goal, one in particular was George Luz.
With George coming to mind I decided to gaze around for him. I found several Easy men before finding George surrounded by Perconte, Muck, and Hoobler, along with a couple ladies. I had to hold back my groan. I really didn't want to see George flirt with girls and I wasn't sure why.
I downed the rest of my beer and stood up to get another one.
The my company was chit chatting away so I didn't think they would notice.
"You going for another one?" Lipton asked. I gave him a nod which he lifted his empty glass, grinning.
I nodded.
"Any one else?" I received to no's and went on up to the bar. I had no intentions of getting drunk...I just needed to busy myself. I knew that by two beers I would be feeling pretty good. I was the definition of light weight. I decided to check for Hilary while I was at it.
She had a couple Easy guys with their targets near her and some handsome looking men from other companies. Trusting that the Easy men would take care of her, I continued my journey to the bar.
AS I made my way I felt like a target. These men were looking for one thing and were just looking at me. Even the bar tender gave me a sleezy look. I began to rethink being here.
"Could I get two beers?" I asked quitely not meeting the bartenders eyes. He asked for the money and I reached to pay.
"Don't worry about it." I heard a voice say. "Got it covered." I turned to my side and there stood a very handsome soldier.
He had the brightest blue eyes, pale skin, and dark hair. He grinned down at me and I couldn't help but smile and flush.
"Thanks but you don't have to. It's for my friend as well." I muttered.
"You're friend? You're American!" He said grinning.
"Yeah I'm a field nurse." I said. He whistled.
"A'right, I don't care who pays as long as someone does." The rude Bartender said still leering at me. I felt myself lean back a little trying to gain space.
Before I could fish out the money the handsome soldier sat it down on the bar, giving the bartender a glare.
"Why don't we give your friend the beer and maybe talk?" he asked. I noticed he turned a little red.
Desperate to get away I nodded.
"That guy...was something else!" the man said. I nodded.
"I'm Andrew Deangelis." He introduced.
"Elliot Masters." I said shaking his extended hand.
"What Company? I know you aren't Able."
"I'm Easy." I said.
He snorted and my eyes widened.
"No! No! I'm not Easy! I'm in Easy!" I said flustered as he laughed.
"Whatever you say!" He was grinning. His smile was so bright and nothing like the cocky grin I was always looking for.
I looked down at the ground and shook my head.
As I opened my mouth to banter back some guy pushed into me sending me into Andrew.
I felt his arms wrap around me steadying me. My chest hurt from the guys shoulder.
"Hey buddy watch where the fuck you're going." Andrew called.
The guy in question was looking down at my chest, causing me to become flustered and blotchy.
"Hey!" Andrew pulled me around him.
"Her fucking eyes on her face." I looked at him. No one had ever taken up for me. I was so amazed I felt like I couldn't even speak or defend myself.
He eyed Andrew who was giving the drunk Soldier the stink eye. The soldier seemed to come to his senses and muttered an apology.
"He was just drunk." I said to Andrew.
"You ok?" He asked turning towards me. He went from angry to sweet and no time.
"Umm..yep. Had it all under control." I said smiling.
He shook his head and grinned.
"Atleast he didn't spill your beers!"
I grinned at him. Conversation was easy with Andrew and I found myself instantly comfortable around him. He seemed nervous too and that made me feel at ease.
"Sorry about the language." said frowning.
"I'm in the military. I've heard far worse." I said.
We finally made it back to Bull, Buck, and Lipton all of which eyed Andrew.
"Sorry it took so long Lip." I said handing him his beer. He just gave me a sweet smile.
"Thanks!" He said taking a sip.
"Don't thank me. Andrew covered it." I said giving Andrew a sideways glance. He rubbed the back of his neck looking uncomfortable.
"Oh Andrew is it?" Buck asked giving me a hard time. I just blushed and rolled my eyes.
I wanted to escape their cocky grins and knowing eyes.
"Wanna grab a table?" I asked in a bold move, hoping the much too handsome for me soldier would say yes.
He nodded, looking as uncomfortable as I felt.
"You behave Missy! Oh and Andrew be nice!" Buck called after us.
I was mortified. I turned to Andrew beat red. I didn't know what his intentions were, but mine were innocent.
"I'm...I'm so sorry!" I stuttered out.
"They are just looking out for their nurse is all." Andrew said sweetly, even if he was red too.
We found our own little table, in a corner, where we could talk.
We made small talk and I found out that he was from Detroit, he loved the color green, and had two sisters. I told him where I was from but nothing of my family or lack there of. He now knew my favorite color was green too and all the simple things most people never asked me. He looked so interested and I had never felt this much attention on me. I felt comfortable, which I hardly ever felt and like I could listen to him all night.
"Shouldn't you be talking up the local girls?" I wondered playing with the sweat on my drink.
"Not really my kinda thing. Just don't tell these men that." He said.
"That's a horrible line." I said grinning.
"I'm serious. With my two sisters around, I saw what that kinda thing did to the girl and well...It's just not my thing." He said grasping for the right words. He was either a very good liar or a true gentleman.
"Besides you are the best looking girl here." HE flushed but sent me a smile.
I became red and rolled my eyes.
"Hardly."
The night continued on with less than deep conversation. He made me laugh and blush, I even had him laughing. He tried to get me to dance but I wasn't having it. Begging him to not make me, he let it go with only a promise of trying again next time.
I felt a heavy arm sling around my shoulders and my eyes widened. Andrew was grinning and I turned to look to see who it was.
I was met with a clearly drunk Hilary.
"Heyy...heyy I told you you would have a gooood time!" She slurred.
"I had a great time." I smiled at Andrew who lit up.
"I think you need to get back to bed." I said eyeing her.
"I think you are right!" She said.
"I'll walk ya back."
"Gonna go wait outside..I'm all hot" she said pouting. I patted her arm and she slinked away.
"Guess I better go help my better half." I said giving Andrew a smile.
"Need any help?" He asked.
"No but thanks. I really did enjoy our eveing. Sorry I robbed you from havin and company later." I flushed, not feeling sorry at all. I didn't want anyone sharing a bed with Andrew.
He shook his head.
"I told you, but you didn't rob me of anything. I'd like to see you again, if thats all right."
Was he asking me on a date? Was it a smart idea to get involved with a soldier in the middle of war?
It probably wasn't but he was so sweet and charming. He had treated me like I was special and I couldn't help myself.
"I would like that." He grinned and stood up. He came around to my side and helped me stand. Holding on to my hand, he kissed my cheek, closer to my mouth than not.
I felt more than my face heat up and decided to return the favor. He was looking at me with a soft smile, still slightly bent. I still had to get on my tip toes because of our height difference and planted a soft kiss on his cheek as well. He grinned and hugged me
I would later blame my boldness on the beer but I knew it was just Andrew. He had a way awabout him that made me forget how shy I was and made me comfortable.
I walked away feeling his eyes still on me. I turned and he was giving me a goofy grin and I gave a little wave.
AS I left the building I was assaulted with the cool air. I shivered missing the warmth of the bar and the company I had. I looked around but couldn't find Hilary. I saw her leave the bar and knew she had to be somewhere. I figured in her drunken state she decided to make the journey alone.
For a split second I thought of going to get Andrew and having him walk me home, I decided against. Not sure if I should test it my self control.
I began making the walk back to barracks, hoping to find her along the way.
Everything was so quite and I found myself all alone. The street was stone and the buildings reminded me of a fairytale. Melbourne was really a beautiful place. I was feeling brighter and lighter than I had since arriving here, thanks to Andrew.
All I could hear was my own breathing, until I heard a faint moan. I stopped when I heard it louder. I figured a couple had skipped away to an ally for alone time and flushed at what they were probably doing.
"Help." I heard the vaguely familiar voice call. I then heard a slap
"Shh shut the fuck up." I heard an angry voice hiss.
My eyes widened. That wasn't the sound of two lovers.
Without thinking, I quietly as I could snuck down the ally.
A huge figure came into view, and a familiar purple dress was on the ground.
Hilary!
Again without thinking, I jumped on the back of the goliath figure and got my arms around his neck.
"AHHH!" The man screamed half out of fright and half out of my choke hold.
I could see Hilary, her lip bleeding and head bleeding, dress pushed up and ripped, she looked awful. I tightened my grip. I could smell the booze on this guys breath and knew he was drunk. That was my advantage. I knew he would be slow to react. The man stumbled into the wall squishing me between him and the wall. The breath left me and I cried out in pain. Using me as a battering ram to a stone wall that wouldnt give. This was a terrible idea, I didn't release my grip however...I tightened it. He began clawing at my arms, cutting me and continued to ram me into the wall. I would for sure be bruised. Each slam was becoming less and less hard until he slammed me into a window.
I cried out again feeling the glass cut into my back. My hold loosened slighting until he rammed me into the wall again. I felt glass get shoved deeper into my skin and warm blood began to trickle. I knew if he got me to let go...I was done for. Luckily he began to tumble with his drunkeness, in a last ditch effort he threw his head back connecting it with my face. I gasped in pain but help on tightly. He began to franticly scratch at my arms and I willed myself to hold on.
I heard a few voices.
"He is just mad because she was with that Able guy." a man said.
"Shut up Shit head." Came a bitter reply.
"HELP!"
My voice cracked from over use and it not ever being that loud. The man dropped to his knees bringing with him, he then proceeded to fall over...unconscious. I made sure to let go...still feeling a pulse and staggered to stand. I looked down at the man disgusted. I was exhausted from our fight. The boots had stopped infront of me and I looked up hoping it was friendly men.
There stood an aghast Skip Muck, a disgusted Frank Preconte, a blank faced Bull Randleman, and a furious George Luz. I could see the anger simmering under Bull's face, such a calm man who I never had a reason to be frightened of, finnally looked his sized.
George on the other hand, I never really seen him anything but happy but he was murderous.
"Elliot...is that...that you?" Muck called the first to step forward slowly.
I must have looked a fright. Blood still gushing from my nose..or lip. I looked down and frowned. My dress was stained and torn and so was my cardigan. My shoes had fallen off and I knew my back was in bad shape.
"Yeah...it's me." I felt overwhelmed. I turned and decided to check on Hilary.
"He was on Hilary. She was supposed to wait for me! Help me!." I felt the adrenaline leaving me and the reality of what had just occurred was making me frantic.
"Fuck." was the only reply I got which came from Frank.
I knelt next to Hilary on my knees, my back already protesting. I checked for a pulse from the unmoving girl. He face was all beat up and I felt ready to cry. He dress was more ripped down the front the than I had realized and angry bruises were already showing on her breast bone.
"Ell." she whispered.
"Shh sh." I hushed. I could feel a lump in my throat and turned the unmoving boys with wide eyes.
"Help me!" I felt hot tears poor down my face.
Bull was the first to move. He ripped off the coat from his dress uniform as he stepped forward and handed it to me.
I draped it over Hilary and turned to Bull.
"Can you carry her?" He gave me nod and gently picked her up.
"Ell?" she croaked sounding panicked.
"I'm here." Said, going to stand, feeling glass tear more into my flesh. I winced.
"It's ok Hilary. I've got you. It's me Bull." I heard Bull tell her calmly.
George was at my side in an instant.
"What happened? Are you ok?" he asked gently grabbing my by the hips. I nodded and put my hand to my face feeling blood.
"Can we go back now. I wanna be there to help Hilary." I said softly.
"You can't walk like that." Muck said eyeing my feet, which I had managed to cut on glass.
Looking around...I couldn't find my heels, they were my favorite pair. My only pair.
"My backs in bad shape. I can't be carried." I muttered. George looked upset but turned around knelt.
"Hop on." He was offering me a piggy back ride.
"George." I groaned.
"Just do what the man said." Perconte said trying to joke. I nodded weakly and hopped on.
I felt George's hands on my thighs and could stop the blush. I dug my face into his warm neck and tried to calm myself down. I knew I was shaking. I realized what had happened and now...after it was finished I was scared. I knew men could do this but I never thought they would.
Muck whisted. "What happened to your back?" he asked.
"Better question is how did you get a guy three times your size knocked out. Some right hook you must have." Perconte said.
"Rammed me into the wall...then into the window." I mummbled not moving my face from George's neck. Breathing in his sent...it calmed me.
"Fuck. Your legs are even cut up. Am I hurting you?" George asked. He sounded mad and worried all the same. I shook my head knowing he might not see it but he could feel it.
We reached Base and found Roe already working on Hilary. There stood Winters, Nixon, and Sink. I hope Hilary, or myself, weren't in trouble.
"What happened?" SInk asked getting straight to the point as Spina rushed forward eyeing my blood covered faced.
I retold the story ask best as could, sounding scared still even to my own ears, and stuff from my bloody nose.
I saw George and several others wince at my story. I tried making it brief as I could. Once finished Sink was just staring at me, Nixon looked slightly impressed, and Winters looked worried. Not meeting any of their eyes I asked the dreaded question.
"Where is Sobel?"
"Surgery...appendicitis" Winters said.
"You were very brave and lucky. Thats some fast thinking there. Easy is lucky to have you." With that Sink left and I wasn't the only one to breath a sigh of relief.
"Sir am I in trouble?" I asked Winters.
"You saved your fellow nurse and acted very bravely. I don't see why you would get punished. However, Ms. Wilde, may receive a minor punishment for making poor choices and endangering her fellow nurse." Winters said.
"It really wasn't her fault sir." I said trying to defend her.
Winters just shook his head.
"Where is the man responsible. We will have the MPs pick him up. Could you pick him out if you needed too?" Winters asked. I nodded vaguely. I looked over and Spina had cleaned up my face and was now eyeing my back.
"I will let you to it then." WInters nodding at Spina.
As they left Nixon gave me a pat on the head causing me hiss has glass cut my head. He pulled his hand away, it now bleeding too.
"Sorry!" He groaned.
"No, I'm sorry."
Get her cleaned up!" Winters called pulling Nixon along.
"Umm Ellie... I'ma need you to take off your dress I'm afraid." Spina said atleast having the decency to blush.
I nodded.
"I need to get the glass out of them cuts." he added as he got a look from George.
"I will see ya in the morning kid." Muck said taking this as his cue to leave.
"Way to get em tiger." Perconte said leaving. I shook my head but smiled anyways.
I looked to George expecting him to leave, not really wanting him too. He plopped down in a chair looking at Spina.
"Luz you can't really be here." he said hestantly.
"I aint leaving." Was Georges reply. He sent me a wink and I smiled softly at him.
Spina raised an eyebrow and looked ready to argue.
"No...It's ok." I mumbled. Roe made his way over.
"How ya feeling?" he asked ignoring the glare contest between Spina and George.
"Hurts but I'm ok really." I mummbled. He handing me a sheet.
"Why dont you get out of the dress and wrap up in that?" he asked. I nodded. With each step I took the the bath room, my feet throbbed.
The dress stuck to my wounds as I pulled it off, causing me to cry out in pain.
"You ok?" George asked sounding slightly desperate.
"Ye..yeah." I stuttered out. The dress was muddy and bloody, clearly ruined. I sighed. Stupid man.
I came out in just the sheet wrapped around me keeping my modesty.
"Hilary ok?" I asked. Roe nodded.
"She will be just fine. Now lay on your stomach." as he said.
"Luz you gonna stay, you gonna help. Get this glass out of her hair." ROe called. George was at my side in an instant.
"Ima give you some morphine ok. Digging out this glass aint gonna be fun." Roe added.
I went to refuse it, knowing we should save for the battles to come but before I could speak I felt the pinch of the needle.
Roe began to pull the sheet and expose my back. He hissed and George whispered Fuck.
I felt George begin to run his fingers through my curly hair and pull at glass. Roe started with my feet cleaning the wounds. I could feel the morphine kick in and everything became fuzzy.
I blinked and looked at George who was trying to smile at me.
"You ok baby girl?" he asked softly.
"Mmmmm tired." One eye decided to close and I fought to keep the other open. I couldn't feel what Roe was doing but I could feel George's touch burn me in the best way.
I purred like a cat as George played with my hair, still checking for glass. I never realized how soothing someone playing with my hair was until George was doing it.
"You give her enough doc?" Spina asked from somewhere. Both my eyes closed.
"I gave her the standard dose." Roe mumbled in concentration. I felt George's hands leave my hair and my eyes shot open.
"Don't go George." I pleaded tiredly.
"Wouldn't dream of it." He said pulling up a chair and contiuning playing with my hair. My eyes closed.
"Sleep Cheeks." he said. I could hear the smile in his voice but the pull of sleep called me before I could ask who cheeks was.
**I don't know about the chapter...Ehh. I like some of it. Not a lot of George though, and Andrew is moving on Elliot! Review please**
5. Everyone needs comfort
**Hiya Dolls! I love the reviews! Keep them coming!**
The first thing I was aware of was the ache of my back. I had as a child, hurt before. The accident I didn't remember left me in pain that I hadn't forget. This pain was different, not as intense, but still a throbbing that I was certainly aware of.
I was laying on my stomach and the light of the sun warmed my face and the light had woken me up. I went to stretch and the dullish throb of my injuries turned into a breath taking, sharp pain.
So moving a lot was bad...I would keep that in mind.
I opened my eyes and looked around. We had brought Hilary to our corders where all the medics were so I didn't need to be moved, thankfully. I could feel the tightness of the bandages around my back, legs, and feet. I think I was more beat up then Hilary. Thinking of her I looked around.
She was in her bed, still out. Her snore let me know she would be fine. I was actually thankful to hear the loudness of them and smiled.
My smile reminded me of my facial injuries and I groaned.
Smiling was out too. Lovely.
I moved my arms, ignoring the ache and felt my face. It was tender and slightly swollen. I rolled my eyes. I was happy to save Hilary, but I should have gone for help.
My stomach interrupted my self assessment and urged me to feed it with a loud growl. I threw the covers off...ever aware of my back and was met with the cooler air. I shivered and made my way to the bathroom.
The girl in front of the mirror looked like a train wreck.
My hair, as always was a mess, it was only made worse by the struggle, I had two lovely black eyes, last nights makeup was all over the place, lipstick smeared, and a swollen nose and lip.
I would scare everyman here if I left looking like this, even Sobel. I chuckled at the thought, and then I throbbed.
"Oh shut up." I mumbled to my back.
I turned around and stared longingly at the shower, knowing I couldn't rewrap myself. I would have to wait for Roe, or maybe Hilary. I sighed and decided to change.
As I looked down, I remembered that for Roe to clean the wounds, I had undressed and was naked as the day I was born. I flushed, seeing that I was in a PT shirt that went to my knees, my own shorts, and my underthings.
Knowing Doc was a medic, he wasn't a doctor and didn't handle many woman. I was sure he had seen it all before, that didn't make it ok for him to see mine.
Horrified I remembered George being there too. I wonder if he had seen anything. Surely Roe wouldn't have let him.
I got into my uniform, after scrubbing my face, and looked at the mess of blonde curly hair. When brushed, I loved my hair. I loved the light blonde color and the soft curls, however this morning I put a new meaning to bed head.
I then remembered sweet George Luz.
My hair was in such a state because he ran his fingers through it, searching for glass.
I had never had someone play with my hair and George doing so, had eased my mind, made me feel safe.
I couldn't help but grin and sigh as I brushed out the rats.
He was only trying to help but that didn't change how wonderful it felt.
After I had pulled myself together I decided to check on Hilary.
"Hil, you ok?" I asked setting on her bed.
I was met with a loud roar of a snore. I couldn't contain my giggles.
"Hilary." I said more loudly.
"Whaaa." she groaned.
"I'm goin for breakfast. Would you like anything?" I asked.
"No..I wanna sleep." she purred...still half asleep.
I would bring her back some orange juice anyways.
The sun beat down on me, warming me up. I hissed at the brightness.
From the drinks I had and the brick wall meeting my head along with another head, my head hurt.
I walked into the mess hall keeping my head down. I made my way up to the food and found not breakfast but lunch or dinner food. How late did I sleep in?
I grabbed a soggy sandwich and looked for somewhere to sit.
I found Easy. Several looked angry, some upset. I wondered why they looked so sad. George and Perconte looked to be telling a story and I wondered what had happened.
I squeezed between the two to sit down.
"Hi boys." I finally said looking up.
Bill Guarnere whistled.
"You feeling alright doll?" Joe Toye asked. I hadn't been around Toye much but his tough guy attitude always amused me even though it softened in my presence.
" I feel like I ran into a brick wall." I said straight faced. I didn't even get a chuckle. Not even from Perconte. I looked around and George was even giving me a concerned look. I blushed seeing him, once again wondering if he had seen me in the ultimate state of undressed.
"Oh come on. I don't look that bad do I?" I asked flushing and stabbing my sandwich.
"Nah you look great. Now leave the poor sandwich alone. It wasn't the one who did it." Bill said. Finally someone was acting normal.
Deciding they were all big, gossiping, babies I knew I should reassure them.
"My back hurts, yes, but other than that, I am just fine. You should see the other guy!" I said looking at them.
"The other guy? The one who attacked Hilary? You get em good?" Toye asked grinning.
"No the window he pushed me through. In complete pieces. I shattered it." I said taking a bite of my sandwich.
That broke the tension. George loving a good joke chuckled. I looked at the way his eyes crinkled, he had little dimples that I had somehow never seen, and his forehead creased. I loved the way his whole face was animated and lit up. George's face should never be anything less than smiling. His grin made my heart beat faster and I didn't know why, but I loved it.
Having the ice broken, the boys began their tidal wave of questions.
I answered the best I could.
"He is going to be in trouble." Muck said as if I needed assurance.
"He better be. He is safer away from me." Bill grumbled.
"Nobody hurts our Easy Girls!" George said gently putting his arm around me winking as the other boys laughed at his double meaning.
"Ha. Ha. Ha." I said turning red.
"Hell Ellie don't need us. She is tough as nails." Bull said. I beamed at him. I wanted these men to know that I was strong. That I was here to help them and not hold them back.
"Yeah you better watch what ya say Luz, Elliot here will jump on you and knock you out if you don't watch it!" Bill said laughing at his own joke.
I giggled and lightly elbowed George who exaggerated the blow.
"Wilde ok?" Perconte asked.
I shurgged.
"Snoring." I added. The boys grinned and we finished up lunch, the attention turning to shithead Sobel, as the boys liked to call him.
Apparently he tried to bust Winters, Winters was fighting it with a court marshall.
As we walked by I heard Leibgott mutter about clumsy grenades and dropping one near Sobel.
Shifty, sweet Shifty tried to defend Sobel.
George, Perconte, Guarnere, and Toye found our own little place to sit.
George of course closes to me.
"We do need to do something. I sure as hell aint following that man into combat." Toy said.
Bill for once, was silent, he seemed to agree however.
We looked over and Winters headed our way.
"Masters we need you to identify Wilde's attacker. Can you do that?"
"Yes sir." I tried saying clearly.
"I could come along Sir. I saw him too." George added suddenly. I looked to him and at the other men. They looked amused and troubled at the same time.
Winters clearly held back a smile but agreed.
We made it to a room where there was only a chair and two Mps behind the attacker.
It was him alright.
I could barely see the bruises on his neck from his uniform but they were there.
Sick bastard.
"That's him." I muttered stepping back. I bumped into George's chest and hissed slightly. His hand came up to steady me and the man in front of me leered.
"That's all we needed. You are dismissed MAsters, Luz." Winters said.
I nodded and scurried to get out of there. I knew I had won, barely, but I won the little fight. I wasn't exactly afraid of the man, but I knew what kinda man he was and I wasn't a fan.
"Stupid son of a bitch." George said looking down at me. I just shrugged.
"Why did you walk alone. You coulda got me or that fellow you were with." He seemed reluctant to talk about Andrew. I looked up and saw his face was clouded with seriousness, anger. His jaw was tight and I found myself mesmerized. Every time I looked at him I found something more attractive about him. I shook off the thought blushing.
"Are you mad at me?" I asked. Biting my lip
George sighed and ran his hand through his glorious hair.
"No, I mean come one Elliot. You are smart! Why did you go alone? You got lucky. We both know it. No matter how many jokes we both tell. We know what should have happened. What Perco, Muck, Bull, and I woulda found. He could have hurt you real bad. Don't you get it?" I felt like a child, getting a firm talking to. Like I was in trouble. Couldn't he see that I was able to take care of myself.
"But...I'm fine." I said not wanting to think about what could or should have happened.
"I was afraid when I saw you. You looked more beat up then Hilary." George mumbled.
He was looking down, not meeting my eyes. Maybe as my friend he was just worried.
"I really am ok." I said taking his hand, wanting both of us to believe it.
When I grasped his hand, George looked at my face and rolled his eyes.
"Already getting hurt and we haven't even made it to war. What am I going to do with you?" He joked weakly bringing me into a loose hug. George was back.
The was the first time I had ever been in George Luz's arms. I had never been hugged much in my life...that I could remember of course. I knew I was stiff and awkward.
I pulled away from him.
"I need to go check on Hilary." I squeaked.
"You tell that girl I got a thing or two to say to her!" George said grinning down at me..
I grinned and made my way to our quarters.
As usual I paid no attention to where I was headed, instead looking down and I fell into someone.
CRASH
I fell to the ground.
I landed with the breath knocked out of me and my back searing in pain.
"ahh." I whimpered. I looked up to see the woman of the hour. Her head was cut and she had a nasty bruise on her jaw.
"Just who I was looking for." Her normal purring voice sneering. I thought she would help me up, she didn't. I some how managed to stand.
"Are you alright? I was lookin for you too!" I said eyeing her, givin her a slight smile.
"I am just fine no thanks to you!" She hissed.
"Wh...I was the one who got that good for nothing oaf off you. Dont you remember?" Maybe she was confused. Maybe she thought I left her.
She eyed me.
"I got in trouble did you know that? Did you hm? Nope you sure didn't. All the men around here are lookin at you like you are some kinda hero. I heard them saying how they wondered about me. How I was weak. I don't need your help Elliot. Just stay out of my way!" She was livid. She hissed like a cat and even her dark hair seemed to fray up. She looked like an angry cat.
"But I was just trying to help." I said.
"Ya know what? Know one is buying this quite girl act! We all know why you are here."
What was she even talking about?
"I'm here for the same reason as you Hilary. Why are you so mad?" I asked feeling my throat tighten. I had never had many friends, never any real ones. I thought Hilary and I were on our way to being real close, apparently I had upset her.
"Just stay out of my way Elliot Masters. I don't want to help you out with your attention seeking." With that she spun on her heal
I stood froze. I had helped her. How could she say those thing.
I stood absolutely frozen. I could feel my eyes well up and knew I needed a good cry.
I didn't want attention. I had wanted to help my friend. How could she misunderstand the situation so badly. I needed to be alone.
I shuffled along as fast as I could tell I found a nice ally to have a cry in. I knew I had lived a fairly sheltered life but I had never thought people to be this cruel.
In my years living at the hospital I had made no connections. The men came in, some died and were removed. Some got better and lived, moving. Now, I started making real connections and since I started I have stopped a rape and the victim was livid with me. Even George was slightly upset with me earlier. I was a failure at this whole people thing/
Ughh. I sniffed and tasted blood from my nose which throbbed. My head started hurting worse and I could tell dinner would be soon. I wiped my face and prayed that no one notice.
As I shuffled almost to the mess hall I heard my name. Was it someone else out for my blood?
I turned around seeing Andrew jogging my way. His face was full of concern.
"Elliot!" He came to a stop very close to me and I looked up at his easy 6ft frame.
"God are you ok?" I wasn't sure if he was referring to my injuries or if he could tell I had been crying my eyes out.
"I'm ok." I gave a weak smile.
He ran his hair through his jet black hair and looked upset.
"I should have walked you back. I'm so sorry." This conversation sounded familiar and I didn't need yet another person telling me how silly I was.
"It's fine." I mumbled getting ready to walk away.
"You're mad." He stated. I quickly turned. He sounded defeated and I felt horrible.
"Noo. I thought you were mad at me. I thought I was going to get another talking to." I said kicking the dirt and sniffling.
"I'm mad at myself and the dick that did it. I'm damn proud of you!" Andrew said giving me a slight grin. I smiled back.
"He was from my company. Getting kicked out. Are you sure you are ok?" He asked worry covering his handsome features.
"I'm a bit tired and sore." I said honestly.
"I can imagine. I am really sorry. As soon as you left I started beating myself up, I mean I didn't think you would jump on someone." he added winking at me. I flushed and looked down. I knew that even cleaned up I still had a lot of bruises and I'm sure I looked like a different person, but here Andrew was talking to me like it was last night and I was still in my pretty dress.
"Its ok Andrew."
"As long as you are ok.
He grasped my hand, he was comforting me. For the firs time today, someone was trying to make me feel better. I had been struggling all day trying to tell everyone everything was find.
"I feel rotten. Sore as hell." I muttered. I felt a tug and suddenly I was in Andrews arms. I was still stiff but Andrew just pulled me in. He was careful not to hold me too tightly but I felt secure.
I was so tired and drained. I looked up at Andrew and he was looking down on me. I felt my throat tighten. He made me feel safe. No one had ever done that for me.
He stood up for me at the bar last night. He protected me.
"You like you are gonna cry. Are you sure you are ok? Am I hurting you?" He asked about to pull away. I realized that wasn't what I wanted and held on.
I didn't care for once if he saw me weak. He wasn't my company and he didn't have to go out of his way to check on me. Here he was though. I broke.
I felt the tears start running and I told him everything.
I told him how the boys acted this morning, how George had lectured me, how it wasn't in his nature, and finally how Hilary had hurt me.
He held me tightly and listened.
"I think your company really cares about you, which makes me feel better, knowing they care. They just want you safe, sounds the same with George. When people get scared they get mad too. You scared them but you were so brave. I honest don't know what to tell you about Hilary." he said tugging on a curl that had escaped my updo.
"You are right. I just don't know how to deal with all this." I muttered.
"You are a shy girl Ellie. It's a lot to handle. You got me though." I could hear the joke in his voice and I finally pulled away. I wiped the tears off my face. I felt the weight lift. I could be weak around Andrew if I needed to and I felt relieaved. I had to be so strong for everyone else. Not him.
"Well You have me Mr. DeAngelis." I said holding his arm. His face lit up and we began walking again.
"I'd still like to strangle that fucker." Andrew said.
"Beat you to it." I said with cheek. Andrew laughed and walked me to dinner.
**So here chapter 5. I hope there wasn't too much drama. There is about to be a lot more action. Next one will be the night of nights. Also don't totally hate Hilary. She has her reasons to be a bitch. Also I love George...and Andrew :)**
6. Angry Words and Truths Told
**So here is chapter 6. **
I was in complete awe of Bill Guarnere, Floyd Talbert, and Johnny Martin. It wasn't even because of Tab's good looks.
"You coulda been shot!" I said in amazement.
"Well we figured with Sobel that would happen anyways." Bill said as we walked.
I shook my head.
"Yall are brave!"
"We are Paratroopers." Came Martins reply.
These men had wrote letters to Sink, informing him that it was basically them or Sobel. Their punishment should have been death for such treason. Only a few were transferred and I stood with these three shock.
"I wonder what they are going to do about Sobel?" I asked.
"Not sure, but they know how the company feels." Tab said eyeing me.
I had only spoke to Tab a handful of times. His good looks and charm tended to make me flustered. I think he knew it and liked it. Men.
"That was ballsy." I muttered.
"Well we gotta look out for our girl!" Bill said slinging his arm around me.
All of Easy seemed conflicted where I was concerned. Some of the men avoided me, some were a bit over protective (giving Andrew the stink eye anytime he came around), and some thought I was tough enough.
Bill seemed a mix of both. That was Bill for ya though. He was loyal.
I looked up at him and grinned. I felt like my smiles were few and far between but I always had one for Wild Bill.
He winked at me and we walked towards lunch.
AS I walked in I felt someone catch my swinging arm. I turned around and flushed.
Andrew was sitting with his company at the end of the table and managed to catch me.
"Hey Ellie. Long time no see." He said grinning. I giggled and rolled my eyes. We had seen each other this morning. Even I knew he was flirting with me and I was not the most experienced dater.
"Hey Andrew." I said. I heard a couple cat calls and chuckles from his company and turned redder. I cast my eyes down, embarrassed.
"Hey shut it." Andrew yelled. I looked up and he was red too. He got up and pulled me to the opening of the mess hall.
"SO I am hearing that we don't have much time here left. I was uh wondering if you maybe wanted to
go grab some food and some drinks at the pub. I know its probably not your favorite place, but we don't
have a lot of choices." He said bright red, rubbing his neck.
Was he asking me out? Like on a a date?
Every time I had to look up at him I got butterflies. I found that him being so much taller attracted me. I felt safe around his tall lean figure. I studied his nervous and handsome face.
"On a date?" I asked. I wanted to be sure. I didn't want to think one thing and it really be the other.
"Uh yeah, I mean if thats ok. Its really whatever you want." he stuttered out.
"What do you want it to be?" I knew what I wanted. I needed to hear it.
"A date." He said meeting my eyes. I grinned and nodded.
"Meet here at 7?" he asked beaming. I nodded. He quickly looked around and then surprised me with a brief kiss to the cheek. He squeezed my hand and turned to leave. I sighed happily.
Afterwards, I made my way with my tray to my spot with Easy only to find Hilary stuck to George's side. She was giggling and touching his arm and batting her eyelashes. For some reason, this didn't set well with me. I would just stay out of her way like she asked. I turned and found an empty table.
All the men at the table seemed to wrapped around her little finger. Listening to whatever she was saying. Days afters the incident, she was still sending me glares and snarky comments, or just flat out acting like I wasn't there.
I hadn't told any of the men. I didn't want them to hear me complain or cause any problems. It seemed though, for the most part, they took her side without even realizing it.
She was always around George and Perconte. Those two were some of my best friends here. I hadn't talked to either much since George's lecture. Bill still found time for me. I knew they didn't realize what was going on and I was the one who was staying away. I just didn't want to make things worse with Hilary.
I heard her loud cackle and lost my appetite.
CLANK!
I jumped as a tray slammed next to me. I looked up and found Bill sitting next to me, closely followed by Toye, Muck and Malarky.
"Now what's a pretty gal like you doing eating by herself?" Toye asked winking at me.
I shrugged looking up at Hilary who was inches from George's face. He seemed to be deep in a story and wasn't aware of how close they were. I bit my lip. Hilary looked my way and winked. My eyes shot down.
"Ok now what was that?" Bill asked. Once again I shrugged.
"Something has been up with you two since the other night. Lovers spat?" Muck asked. I gave a weak grin but said nothing.
"Come on Masters. Spill." Toye said.
"You guys gossip more than old woman after church." I mumbled.
Bill just gave me a look.
"I don't wanna cause any trouble. She ain't happy with me thats all." I said.
"Why?" Malarky asked looking surprised.
I shook my head and got up to stand.
"I don't wanna talk about it." My happiness about my date with Andrew had all but gone. Now I felt more alone than I had in the orphanage.
I left.
I didn't know why they wanted to know so much. I was angry and felt abandoned by George.
"Elliot!" Why were people always chasing me down? Couldn't they tell I wanted to be alone?
I turned and sure enough Bill Guarnere was chasing me down.
"Now hold on. You going to tell me what happened or am I gonna have to go in there, cause a scene with Hilary, and make her tell me?" He arriving right in front of me. I sighed but said nothing.
Bill eyed my face, nodded, and turned. I gasped.
Bill Guarnere had some nerve.
"NO! I will tell! Ok? I just don't want to rock the boat!" I said grabbing his arm.
"Good! It aint good to bottle all that up." He said clearly pleased with himself.
" Didn't bottle anything up. I told Andrew." I said kicking the dirt.
"Romeo don't count. He aint in our company." Bill said. I rolled my eyes.
I went on tell the story of our first interaction, her hateful actions the past couple days, and I how I already felt distant from our Company.
Bill was giving me a hard look, jaw tight.
"Ungrateful bitch." He spat turning on his heal. I paused, surprised, eyes wide.
"Where are you going?" I asked chasing him.
"Spoiled little brat needs to be set straight." He hissed.
"No! Bill please! Don't! Please! This is exactly why I didn't want to tell anyone!" I pleaded pulling on him. He turned to look at me and his face softened.
"She has no right to treat you that way. You coulda been killed." Bill said softly. I looked at him.
"Please don't do this. It wont make anything better." I begged. Bill nodded and I instantly relaxed.
"The guys are doing that on purpose. They think you and Wilde are right as rain. Fuck, if they knew this they would be on your side." Bill said.
"I don't want there to be sides. I just want to know what I did wrong so I can make it right." I said shaking my head.
"You didn't do anything. She will come around." Bill said. We began walkin back to the mess hall. As we were about to enter, George Luz was leaving, he looked like he was in a big hurry.
"Well goddamit! Where have you been?" He asked grinning at me. I shrugged.
His cute grin faltered and he looked at Bill. I felt him shrug at my side.
"George where are you going?" A voice purred. I shrank into Bill. I wasn't afraid of Hilary physically. I knew that she could however tare me to pieces mentally.
She stepped out and immediately glared. I felt Bill's arm around me. George must have seen the glare and looked at me.
"Well Wilde...why you shootin daggers at Ells here? We're all friends here." Bill said tightening his grip. My eyebrows shot up. What was Bill doing? George was looking between Hilary and I.
"Are we?" Hilary asked putting a hand on her hip.
"We should be. I mean she did save you." Bill said. Just what I didn't want to happen.
George looked extremely interested.
"You squeal to Guarnere here? Tell him big bad Hilary hurt your feelings?" Hilary asked dropping the sweet act.
"I did not." I muttered.
"I pulled it out of her. I was wondering why she was eating a lone, why she wasn't around anymore." Bill asked stepping in front of me.
"See Elliot? You are so pathetic! You get all these guys to stand up for you! You just love their attention don't you? Little damsel in distress." She sneered. I saw George's face flash in an instant. He went from confused to livid.
"Now wait a fuckin minute. Aren't you the one who SHE saved?" He asked stepping towards Hilary.
"You don't see it! She is just manipulating you! Flirting with all you and that able guy!" Hilary sounded desperate.
"Flirting? I don't even know how!" I blurted out...immediately regretting it. I saw George's mouth twitch to smile.
"I think you are jealous. How could be so upset that she saved you?" Bill asked. Hilary now looked close to tears. I pulled away from Bill.
"Hilary. I'm sorry. I don't know why you are mad or why you think these things about me." I was shaking my head. Hilary gave me weak glare and before anyone could say anything else, she was off.
I sighed and looked down.
"That was exactly what I was talking about Bill!" I said looking at him. He just shrugged and looked proud of himself.
"Well I gave her some food for thought." He said grinning.
"I don't want yall mad at her. I think she is just going through a lot. It had to have been scary." I muttered.
"You aint mad at her being a dumb drunk. You saved her. That's that." Bill said.
"Anyways all this fighting reminds me I still need some of the shit they call food." He added leaving George and I in an awkward silence.
"Hi." I muttered. Not knowing what else to say. I wanted to face palm at my own awkwardness.
George grinned and threw and arm around me.
"Walk with me. Talk with me." He said. I let him pull me along. Once we were in a place where we wouldn't be bothered he dropped his arm and turned to me.
"I thought you were mad because of my little um outburst." George said. I looked at him and raised an eyebrow.
"You weren't really talking to me and I thought you needed to cool down. Like I uh overstepped or something." George said running a hand through his hair. He was always good with words but seemed at a loss.
"No Hilary told me to stay out of her way. She was always around you." I murmured.
"If I had known." George started.
"I didn't want anyone to know. We are a company and need to all work together. If yall were mad at me or mad at her...it wouldn't work. So I just kept it to myself."
"She was using me to get to you." George said suddenly...surprised.
I nodded and looked down.
"Why?" He asked standing close to me.
I looked up wide eyed.
"I uh... because. Because we are close? Like I'm closest to you and Bill I guess." I stuttered out breathless, just being this close to the funny man.
George grinned.
"Best buddies." He said putting his arm around me and ruffling my curly hair.
"Something like that." I said trying to fix my hair.
"Anyways..she will get over it. You hear about Sobel?" George asked.
We were back to talking and I couldn't be more happy.
Later that night I was dressed in a pretty blue dress and black flats, seeing as how my heals were still missing.
I finished up my light makeup, finding there wasn't much I could do about the bruises on still around my eyes. The color did however bring out the blue in my eyes. I giggled at my own weirdness.
I heard a whistle.
"Looking good short stuff." Spina said. I grinned.
"Thanks!"
"Where are you going." I heard Hilary ask. I turned and looked at her. She had clearly been crying.
"Out with Andrew." I said quietly. Not sure what I would get.
She shrugged and turned in bed. Well...that wasn't soo bad.
"Becareful." Roe said giving me a small smile. I nodded and left to meet Andrew.
"You look amazing." Andrew said looking me up from head to toe. I flushed and smiled.
"Hardly. Still have all these brusies. The dress doesn't cover my back so I had to wear this sweater." I said.
"Pft. Bruises or not. You are stunning." Andrew said kissing my hand. He was still red, but smooth.
I flushed as he took my hand and started our walk to the pub. We made small talk. Going over our favorite songs and movies.
He liked comedies and I was a romantic type.
He knew more about me now than anyone.
My heart swelled with the attention he paid to me. He wanted to know everything. It was frightening but amazing at the same time.
Always the gentleman, he opened the door for me and pulled out a chair. We both ordered the fish and chips. He ordered a beer and I decided on a coke.
"Tell me about your family." he said.
It was a topic I had avoided and dreaded. I knew it was coming however.
I debated briefly what I should do. It was something I had found myself wondering about a lot. Should I just tell him? I clearly liked him and he seemed to like me. I hope I didn't send him running.
"Um I don't really know them. I was raised in an orphanage." I said not meeting his eyes.
He sputtered.
"Oh, Ellie. I'm sorry. Fuck you don't have to talk about it." he said. I sighed.
"I want you to know me." I said honestly. Andrew reached for my hand and I looked at him.
"I wanna know you." he said.
So I told him about everything. How I woke up, what bad shape I had been in, everything.
"That's tough. And you figured well I haven't been through enough, I will become a war nurse." he said finishing his meal. I shrugged. He didn't seem afraid.
"I wanted something new. Something I wanted. I'm not real sure who I am Andrew. I'm not sure if I will ever remember so I figured, it's time to live." I said flushing.
"I'm glad you told me. I'm glad you came. Where the nuns just awful?" he asked trying to lighten the conversation. I giggled.
"No! Well except the mother superior. She just didn't like me much. Always gave me the hardest chores! Sister Kathy though was the best. She was the first one I met. Really nice. I write her sometimes. She let me help with the little kids. I loved that." I said. He asked more questions about Sister Kathy. I hadn't thought about her or written her since meeting Easy. I felt ashamed and knew I would start a letter as soon as I could. She was the only person I held on to. Alot of the sisters moved around in and out.
They never became too close with the kids because they were always leaving. Now mind you, they
weren't mean at all. They just didn't like broken hearts. Sister Kathy however always comforted me
when I never got a home to call my own. I sighed thinking about the other kids. I loved the younger
ones. I would sing to them to help them sleep. Mother them.
They made my heart grow.
Andrew seemed so interested. I couldn't explain how that made me feel. I felt a knot grow in my throat as he asked questions and listened. I knew that a lot of the times men didn't hear what women said, Andrew heard and understood. I felt lucky and my feelings deepened instantly.
The check came, and not paying any attention to my protesting, Andrew paid.
"I'm glad you told me. That couldn't have been easy." Andrew said taking my hand. I shrugged.
"You're the first person I have told." I told him. Hoping he would see how nervous as I was. How I was trying to trust him.
Andrew stopped and pulled me into him. I sighed. I could get used to his hugs.
"Thanks for telling me. I hope you know that I really do care about you Elliot." He whispered. I felt my breathing quicken.
"I care about you too Andrew." I muttered. I was scared, I think he knew that, I trusted him though.
His face was close to mine.
"Can I kiss you?" he asked quietly. I couldn't find my voice so I nodded.
I looked up into his pretty eyes as they started to close and I followed suite. My heart was pounding in my chest as his soft, luscious, lips met mine.
I had only been kissed a handful of times. At best they were awkward.
Andrew however, moved his lips over mine with skill as one hand cupped my face and the other on my hip bring me closer. I tried to put my feelings in this kiss, rarely having the words to express myself.
It was intense and heartbreaking. I was completely sold.
Andrew pulled away slightly, kissing my forehead.
I searched his eyes and gave him the biggest smile I could remember smiling.
**Ok so not much George but hold your horses. D-Day is next chapter, there will be so much George it will make you Luz crazy. I needed to develop this relationship and work more on Elliot. Let me know what you think!**
7. Loose Lips
**Not Mine! No disrespect to the real soldiers :)**
_George's P.O.V_
I must love punishment. First I join the goddamn paratroopers, jumping out of perfectly fine planes, and be surrounded in enemy territory. Then I mock every superior officer there was just for friends to have a laugh. Now I watched Elliot kiss that jackass from Able.
I could admit, at least to myself, that I at the very least liked Elliot. She was sweet and quite. Everything I never had in a girl. I always seemed to go for the stuck up girls. Girls who knew they looked amazing.
Elliot was different. Every man in the whole damn corps could see it. She was beautiful. Pretty blonde hair that curled, blue eyes that were so deep you could swim in, they squinted when she smiled or laughed. Her smile, I would do anything to get her to smile my way. I loved making people smile anyways but hers, was my favorite. She had these dimples and luscious lips. She chewed on those lips when nervous or worried. I was jealous. I wanted a nibble.
The best part was she wasn't even aware of any of her looks.
George Luz was not someone who went on about girls looks. I was never too picky especially if I was looking for one thing, which was often.
Elliot wasn't that kind of girl. That scared me a bit. For the first time, I felt more than just lust for a girl and here we were about to be shipped off into a World War.
It didn't matter much. Even though I thought I saw some flicker in her eyes, here she was kissing that schmuck.
I knew that I would have to make the move. She was too soft, too quite.
I sighed and turned around. Having enough torture for one night. The way Wilde had been acting I wondered if she had feelings for me. I would only ever sleep with her. Never more. She was clearly a bitch. Thinking about her got my blood boiling.
I was usually a calm man but when it came to Elliot I, along with several other Easy men, became protective. I worried about what would happen to her in war.
Maybe that's why I hadn't made my move. If anything the laughs and the jokes, were there to protect myself, protect the men, protect Elliot. It's easy to not get hurt if you don't take anything too seriously.
I did take Elliot seriously, but I knew that if she chose me, I would be gone.
She was just about perfect in my eyes.
She could clearly handle herself, proving that with the ally incident. I had been terrified when we found them.
I vowed to watch her and protect her tell I won her over. I grinned. I didn't always get the girl but Elliot, Cheeks, was mine and every Easy man knew that.
Clearly not every Paratrooper knew that. I felt my chest tighten. I was all sorts of messed up because of this woman. Some funny man I was. I had never been so serious. It was driving me nuts. NUTS.
I made people laugh, I was always happy and yet here I was moping around about some broad who I wasn't sure if she felt the same.
"Heya Luz watcha doing out here?" My height challenged friend asked.
"Well Frank, came for a walk and stumbled across El on her date." I muttered bitterly.
"Tough luck. You're whipped." Frank said grinning. I felt like punching in his white smile. Instead I pushed him and began to walk off.
"Oh come on George! haven't ever acted like this over any broad. You are more moody than Cobb!" He said running after me.
He was of course right.
"I don't know what to do. I care about her...there is just a lot at stake and I'm not sure what to do." I admited. Frank gave me an odd look. Not used to hearing me so open. I was desperate for fucks sake.
"Well, you don't really know how she feels. She could die, you could die." He said.
Why did I think Frank Perconte would give good advice?
"No shit."
"If I was you and a class act like Elliot could even possibly like me. I would take advantage of whatever time I had. You're George Luz! Get you're shit together. Besides Fuck Able, you are apart of Easy company. Best company there is! You win her over George" He said clapping me on the back. I raised an eyebrow at him and he waggled his at me. I chuckled.
"Fuck you are right you small, small, man." I said grinning.
I was George Luz! I was funny, charming, and incredibly good looking! Why mope?
_Back to Elliot's P.O.V_
I woke up grinning like the cat that got the cream.
I had gone out with Andrew and told him everything! I even got a mind blowing kiss. I felt giddy. I stretched and popped. Ready for the day. As I went to the mess hall I found easy, no Hilary in sight. I shrugged and made my way over.
"Well, well, well. Look what the cat dragged in. It's Ms. Juliet. How was the date with Romeo?" Muck asked.
I felt my face heat up. Agin with their gossiping.
"Just fine." I answered back.
"Shove over Cheeks." I looked up and there was George and Frank. George had a sparkle in his eye that I hadn't seen since the night at the bar. I moved to let him in.
"So he didn't try anything?" Bill asked looking a little edgy. I flushed and gave him an odd look.
"Well?" George asked eyeing me. I rolled my eyes and shook my head.
"Good! We can't have any of that now can we?" Muck said laughing.
I rolled my eyes.
"Hoob why are they always picking on me?" I asked Hoobler who was sitting across from me.
"It's because we care." He said grinning.
"I was hoping for a little sympathy." I muttered. I heard a few chuckles, George beging closest.
"We pick, because we care." He said throwing his arm around me and pulling me close.
I felt my face flush.
All of lunch, George found ways to touch me and every time I was aware of it. I flushed and my heart sped up. He would brush my leg with his or lean into me while laughing.
I didn't know what he was up to, but I decided to brush it off.
After lunch we had to practice packing our bags. I heard Joe Toye angry about his pack.
"Does anyone know how this thing works?" George asked holding his leg strap.
"Kinda." I answered.
He grinned and motioned for my help.
"Put it on for me?" he asked grinning.
I blushed.
"I will show you how to put it on." I answered. I saw his mock disappointment and laughed. The mess crew then started handing out ice cream.
If there was one treat I loved, it was ice cream.
I sat down with Bill, both of us on our second bowls, acting like two kids. I finished and went to scoop some of his ice cream and got swatted away.
"Im out!" I pouted.
"Too bad. You're gonna get fat!" Bill said. My jaw dropped while Malarky and Toye roared with laughter.
I pouted. I loved joking with Bill. I was sure he was the best friend I've ever had.
"Aw cheeks, you ain't going to get fat. Share you're ice cream ya pig." George said coming to my rescue.
"Yeah you pig. Share!" Said poking Bill. Bill scooped a huge bite and ate it, eying me the whole time. I stuck my tongue out at him.
I had never been so comfortable around any man, Andrew aside.
Tipper then popped up handing a letter.
"Soldiers Of the Regiment!" George started in his best Colonial Sink impression.
"Tonight is the night of nights!" he still led on, then as he realized what he was reading, he became serious.
"Today, as you read this you are en route to the great adventure for which you have trained for over the past two years.
Bill and I both stopped eating.
"So that's why they gave us ice cream." Bill complained. I looked at him and smiled. I felt my nerves kick in. Nervous didn't cover it.
They were showing a movie now, knowing we would be off tomorrow. I had looked for Andrew, not finding him, I placed myself between Bill and George.
George would lean in and mock the movie. I would have to hide my giggles as the people around us got angry.
"Grabbed the wrong jacket." Bill said suddenly. I looked at him and he looked pale. He got up and handed MArtin the jacket.
Martin and I both moved to follow.
"Elliot where are you goin?" George asked.
"Out. Bill looked upset."
George thought for a second, not letting go and then nodded.
When I got there MArtin was headed my way looking upset.
"Is he ok?" I asked.
"His bother's been killed. My wife wrote me, he grabbed my jacket." Martin said looking upset.
I patted his shoulder but took off after Bill.
"Bill!" I shouted.
He turned and stopped.
"Bill I'm sorry." I said stopping infront of my favorite Philly man.
"You knew?" He spat out.
"No! MArtin just told me." I whispered.
Bill nodded and pulled away, and turned to leave.
"Bill." I said grabbing him.
"Let it go." He answered not looking at me.
"Bill please! You can talk to me." I pleaded. I wanted my best friend to be ok.
"Fuck Elliot I said dropped it!" He yelled. I finally felt intimidated by the infamous Bill Guarnere.
I bit my lip, nodded, and felt my eyes fill with tears. I knew he didn't mean it. I decided to leave before he could further hurt my feelings.
I turned and decided to head back to my bed. I heard his foot steps going in the opposite direction. He may have upset me but I would go back when he had cooled down. I would let things go like this between us long. I didn't have a long stubborn streak and I hated when people were upset with me. I knew I was a push over and people would take advantage of that but this was Bill and none of that mattered. He had cared for me and looked out for me from day one. I could look after him too.
As I walked along the wet pavement. I heard rustling. Last time I was alone and heard a similar noise I attacked someone. I decide it was better to just walk away, until I heard my name.
I looked closer and there was Hilary with a man. No surprise there.
She had some guy up against a wall and was leaned in real close. As I looked closer I finally realized who it was.
Andrew.
I instantly felt pain in my stomach and my throat tighten. Hillary lent up and kissed him. I didn't care to see this. How could he know everything and turn his back on me? With Hilary!?
He knew how she had been. He knew everything. Oh god.
What if he told someone? What if it was the reason he was with Hilary?
Could Hilary have had him ask me on a date? Ohhhh god!
I needed to get out. I turned and ran.
I ran as fast as I could away from our bunks. I just ran. I didn't see any of the people I past or hear them calling my name.
My head was stuck replaying what I had saw, all the terrible questions. Inevitably, eyes filled with tears,not being graceful, I tripped and collied with concrete.
The cool pavement felt good and I deiced to just lye there for a while. Silently crying.
That was the plan tell I heard him.
Not Andrew.
George.
"Elliot. What the fuck happened. Fuck." he yelled running towards me. He skidded to a stop and knelt beside me. I lifted my head and looked at him.
"Come ere. Tell me what happened." I didn't want to. I didn't want another sob story. How could I be amongst people for so little time and continuously get screwed over? I accepted Georges embrace and he looked at my scratched up palms.
How was it that I was the one always hurt?
I just shrugged.
"Elliot!" Another voice called, this time it was Andrew. I curled in closer.
"What did he do?" George asked. His normally cheerful voice, quite with anger.
"It's not. It wasn't what it looked like! I know that sounds like a horrible excuse but she kissed me!" Andrew said coming towards me, arms extended to touch me.
George eyed Andrew, clearly telling him to fuck off. He helped me stand and pushed me behind him.
"This is between me and her." Andrew said, his temper showing.
"Who were you kissing?" George asked.
"None of your business." Andrew replied. Both men had growling at each other like it was some kind of pissing contest.
"Hilary." I suddenly answered George's question.
"He was kissing Hilary, even though I told him how awful she was and then I told him everything else." I said.
"You kissed Wilde? Everything...what?" George started going off on Andrew but then was distracted by my admission.
"How she was brought up." Andrew looked ashamed.
"Did she ask you to find dirt on me? To hurt me?" I asked getting angry and upset. I fisted George's shirt.
"No! Elliot I swear! I told you I care about you!" Andrew said pleading.
I felt a lump in my throat.
"Elliot is a sweet girl, how the fuck are you going to mess around with the girl who is giving her such a hard time? She opened up to you and you fucked it up." George was getting more and more worked up.
"Who the fuck are you? This is between us and like I said Hilary Kissed me! Elliot can we please talk in private?" Andrew begged.
Maybe he was right. Infact it probably was Hilary, but I couldn't shake off the fact he kissed her back. He was strong enough to push away.
I shook my head. I did not want to make things right.
"You could have stopped her." I muttered letting go of George and walking past Andrew.
"Elliot wait." Andrew pleaded. I just kept walking.
Soon I knew I was being followed, I turned to tell Andrew to leave me alone, only to find a sympathetic George.
I figured he would have been angry but he was gentle. He took my hand and for once kept his mouth closed. I didn't want to laugh right at this moment and he seemed to have that figured out.
" Stupid." I admitted.
"You aren't" He argued gently.
"I shouldn't get involved in this war, I shouldn't have told him everything, it's just...(I felt my throat tighten) I just..it felt right. I felt like I could trust him and tell him, but It was so stupid." I felt like falling apart.
"Trusting isn't dumb. He is dumb for hurting you. I will go tell Bull and he can beat him up." George said nudging me. I smiled weakly.
"You don't want to go at him?" I asked.
"Well...he is a bit big." George smiled down at me. I couldn't help the small chuckle that escaped. Atleast I had George and Easy...so much for my first romance.
The next day I found myself between Joe Leibgott and Roy Cobb. George was on the other side. I had little sleep that night thinking of that kiss. Atleast it had offered a good distraction from what we were about to do. I now however, felt the nerves and the doom start. I knew what we were doing was all but stupid and that several of my boys could die. I looked around the room and said a small prayer to whatever was listening that my Easy men would be safe.
That morning Andrew had made his way over, fighting off the glares of George and the Easy men, I am assuming he told.
I turned him away. I should have made up I guess. Seeing as how were were about to take off, but something in my heart, maybe the stubborn side finally showing, told me not to. I hadn't seen Hilary either.
"Switch me." I heard George say. Cobb shrugged, not caring to sit next to me and switched.
George grabbed my hand and I felt the heaviness of my day lighten.
"Stay close." George muttered as I felt my lack of sleep and the air sick pills catch up to me. I nodded not truly understanding and drifted into sleep.
8. Airplanes Like Shooting Stars
**Hey guys! Sorry I didn't have the chance to update last week! I was out of town! Anyways...you know the story, not mine!**
I woke up to the sound of unimaginable loud bangs and the plane rocking as if we were a ship in an angry sea. Everything smelled smokey and I nearly choked.
I looked into the dark, trying to the faces of Easy Company. I could closely inspect few, one being the face of Bill Guarnere.
As I looked up at him, he must have felt my eyes because his snapped up to meet them. I thought about looking away, but I held his gaze. He let out a deep breath, then gave me a small, apologetic smile.
I did my best to shrug, my helmet, that was a bit too big, fell forward. I quickly fixed it and saw Bill giving me a softer look.
Suddenly, the plane shook violently. I gasped and almost fell out of my seat. I felt two sets of arms straighten me. I thanked Joe and George both.
I studied the faces, Joe Leibgott looked calm on the surfaces, he had a good poker face. Up close, however, I could see a fear under his mask. He gave me a nod of the head and continued looking forward.
I turned to George, I was met with his eyes are studying my face. I took the opportunity to study his face too.
The company clown, looked smaller, younger, and scared. Most of these men were older than me but several of them were still too young to die, too young to see the things we all knew were coming.
George was the man to hold his head high with laughter, brightening us all. He had an innocence about him that no one else had.
He was the company's light.
Plane shook again and I closed my eyes. This wasn't turbulence, this was war. This was bombs and guns trying to shoot us down. Some men had trained for this moment for at least two years. I was sure some would never even see battle.
I felt a rough hand grab mine and I looked at George. I had never seen him look so uneasy.
I wasn't sure if the bombs or his unsmiling face scared me more.
This was war.
It all seemed to happen quickly. Our plane shook violently and Winters calm face told us to stand. As we went through the motions we were taught, our plane was penetrated.
Where George Luz had once stood, Roy Cobb was now hit. I moved to help him. I was unsturdy on my feet but I knew my objective.
I shoved George out of the way as he had caught Roy. I hoped the bullet didn't hit an artery.
"AH Fuck! I'm hit!" Roy shouted in pain.
Several men tried to hover and made it hard for me to see.
"Get back!" I shouted of the loud noises of the bombs and chaos below us.
It took me pulling with most of my strength to get Roy to let me see.
I was in my zone and I wiped the blood away from his gushing wound. This was nothing compared to what I had dealt with back in London.
"You're going to be fine! I shouted to Roy I opened my pack and quickly dressed his wounds. I had him sit down and turned to Winters.
"Sir he is fine...should I stay with?" I shouted.
"If he is stable, we need you down there Masters." Winters shouted back.
I nodded and stood up. George grabbed me and I could feel that he was shaking.
That was almost him.
I squeezed back, I tried to offer him comfort the best I could.
A sudden jolt and I was completely in his arms. I looked up at his wide, scared brown eyes and I felt like crying. I didn't want him to jump or get hurt.
He was so open with me in that moment I wrapped my arms around him in a tight embrace.
We were shoved forward and George let go. He seemed to pull himself together as we saw Winters jump.
He held my hand tell it was his turn. With one final look back at me, a fake smile, and a wink, he jumped.
I held in a sob as I came to the door. Without giving myself time to look or think, I jumped as well.
I felt like I was flying in the sky on the 4th of July and it was oddly beautiful.
Unfortunately, I remembered that it was not fireworks going off, it was bombs.
I felt a rush of panic and fear as I heard bullets zoom close by me.
I looked down and was horrified to see planes in flames.
I wasn't surprised but saddened.
I hit the ground as taught and quickly got my para-shoot off. I tried to hied in the long grass and got a better look at my surroundings. I didn't see any land marks or anything of the such. I was completely alone.
I was shaking from adrenaline and also lacking a weapon.
If this wasn't bad luck, I didn't know what was.
I realized at least I was still alive, forever how long it lasted.
I knew I needed to move and I hoped that I could find friendly faces.
I had no idea where to start so I decided on the direction I faced. Not my best idea but heck, I was scared and alone. My only other option was laying down and crying and that wouldn't get me anywhere but shot or worse.
The night was hot and sticky and I had been walking a couple hours, hiding anytime I heard gunshots, the shouts of Germans. I was, for the first time, quite thankful of my small stature. I could hide in smaller wholes men couldn't, I could hide in bushes they wouldn't have been covered with, and the Germans were not looking for a little woman, they were looking for the big brawny American men.
All the walking had me thinking about the men of my company. The men who had become my first real friends, my first family I could remember. I felt my throat tighten. I wondered if they were ok or hurt. I wasn't there to help and I felt terrible.
I tried not to think about my situation, alone and unarmed. I tried not to think about what would happen to an American woman in the middle of combat with no protection. I tired but was unsuccessful.
I was thick in the forrest close to railroad tracks. I had come to the conclusion to follow them but not openly. I didn't want to be without cover if I had come across less then friendly faces.
I think the only thing on my side was the weather. It was actually not raining and I was very thankful.
Every gunshot had me jumping and every stir of the leaves had me hiding. Maybe I was overly paranoid or just plain scared but I didn't like my odds.
The scenery all looked the same and the only reason I was positive I wasn't going in circles was the tracks just out of sight.
Sometime later, I found myself in a little hidey whole once again as I heard footsteps and just like every time I had hid, my heart felt like it was going to burst out of my chest.
I heard loud...AMERICAN voices.
"Flash!" A voice whispered.
"Thunder!" I heard as the men met up together.
"Sir is that you?" I heard a man ask.
"Good to see you Malarky. Men." It was the calm voice of Lieutenant Winters.
"Thunder!" I gasped making myself known. I was covered in mud, emotionally drained, but glad to see these men. They had never looked more handsome to me than they did at that moment. I was happy to see several of my close friends and Bill. Winters however was my saving grace. HE was calm and collected in the middle of a drop and a man I would follow anyway. He had my unwavering trust and I almost sobbed in relief at the sight of someone who had the situation under control.
"Masters?" Winters asked.
"Yes sir." I mumbled.
"You all alone?" Lip asked eyeing me.
"Yes sir." I said "Have been for hours I suppose." I added.
"Glad to see you." Winters said patting my back.
"I'm more glad to see you." Came my scratchy reply.
"How in the hell did you manage to get here, alone, and get that dirty already?" Toye asked.
"Luck mostly" I shrugged.
"I was in bushes and wholes in the ground hiding from the krauts, bound to get dirty." I mumbled.
"Glad your with us." Bill said shoving into me.
"You're a sneaky little thing huh?" Malarky said grinning at me.
I shrugged glad to be back with Easy.
"Guarnere, Hall, up front." Winters called.
"Hall?" I asked.
"From Able." Joe said walking with me.
I nodded. Andrews company. I hadn't thought about him since before everything started. I wondered if he was ok. In the light of recent events, I could admit that I should have listened to him. Maybe it was a mistake. I may never know though. I had been in actually in the middle of War for less than twenty-four hours and already felt things like that as insignificant.
In London I had heard the sometimes close and sometimes far bombs, the gunshots. I had seen the battered men and the dead children.
I had never thought about my own mortality because for the most part I felt safe. The only time I felt safe that night was seeing Winters for the first time. I was trained in medical situations and mock war situations, nothing prepared me for the adrenaline of actually being in war. No one would grant me mercy and I realized that with a stray or aimed bullet I would die.
It had been my job to look out for the men who would live or die but now I would see the ones who never made it to hospitals.
War was a lot different up close.
I sighed and began following Hall and Guarnere.
I was between Malarky and Joe. I had no weapon, which I never had except a small hand gun.
"you have any supplies?" Winters asked.
"Yes sir."
There were so many questions I had and I didn't know where to start if they could answer them. We however, had to stay quite.
I was nervous about being in the open on the track but Winters was very aware.
Suddenly we heard horses and men.
Winters motioned the men to come forward, sure enough it was a wagon of Krauts.
Winters motioned me to get down by Guarnere and the men were told to hold fire until Winter's command.
I felt like I was a useless tag along. I couldn't fight.
I was interrupted from my musings as a loud POW POW POW went off right by my head. Guarnere had lost his mind and went crazy on the Germans. Bullets sprayed on top of me, one burning my hand as I covered my head. I felt my breath quicken and my stomach.
His shots were soon followed by the other men opening fire. I felt myself twitch as one German held a surrender position shot.
Bill was wild eyed and just kept shooting, lost in grief.
"Guarnere, THAT is enough! Next I say wait for my command, wait for my command!" Winters snapped. Bill looked ready to slap Winters but he backed down. The horses still crying out broke my heart. I felt my hands twitch to help the gently giants. I jumped as Toye shot his pistol, putting the poor horses out of their misery.
I eyed Bill but didn't say anything. I had no idea what to say to someone that angry. He had been brutal and I decide my best bet was to steer clear for the time being.
The rest of the night consisted of sounds of gunfire and Bill complaining about Winters. My patience for Bill's mouth was low. I thought Winters was a fine man and an excellent leader. I didn't care if he drank or not.
I was bitten by bugs, had achy feet from marching all damn night, cut up, filthy, and exhausted. I was excited to finally see our camp. We trudged along and Malarky harassed some P. and found out one lived close to him. I was interested but more exhausted.
We were stopped by a road block like I had never seen before.
I felt my eyes well and I couldn't stop the gag. It was a mountain of dead horses. Blood was oozing everywhere. The smell, was of death and I grew upset. I was once again reminded, for what felt like the millionth time, that this was war and war was brutal to all.
I pushed away from the men in hopes to run into more Easy men and George but I was really excited to fall into a cot.
"Look it's more Easy men!" We were surrounded by men from our Company and many others.
Buck Comptan waved at me as he started chatting with Winters.
"Medical tent is over there." Maters. Winters informed me.
I decided to make my way. I hoped to see Roe and Spina. I also began to wonder where Hilary was.
I was struct with the thought that she may had not been as lucky as I was. Even though she had been terrible to me, I wanted her to be ok.
"Lookie what we got here Doc." I heard a voice call. I turned and saw Spina, cut up but alive.
I grinned at him. I then noticed that the tent was already full on injured me. So much for sleep.
"Glad you made it." Roe said smiling gently in my direction.
"Anymore Easy come with you?" Spina asked. I nodded and told them who I traveled with.
"Hilary?" I asked.
"Not made it yet." was all Roe said.
Apparently all companies were spread out. The Germans had been successful in killing several and making nearly everyone miss their DZ.
"Why don't you get some rest?" Roe asked.
"Don't you need my help?" I wondered.
"We are about to try and get some rest ourselves. This guys didn't have to walk all goddamn night." Spina said throwing an arm around me.
Sleep sounded wonderful and I wasn't about to turn it down.
As I readied to leave the tent, and rogue arm grabbed me. I looked down and on the caught was the last man I expected to see.
Andrew.
He was in bad shape and I gasped leaning down.
"Andrew?" I gasped.
"I'm so glad you are ok." He coughed out. I scanned him quickly. His face was covered in blood from a head wound and a dressed side wound. I felt my stomach clench.
"I'm glad I get to see you." My newly found pride could take a hike. I cared for this man and he laid here hurt.
"I did...I did not kiss her."
"It's ok." I mumbled.
"It's not. I was...trying to tell her off. She must have heard you. She just caught me off guard." Andrew said reaching for my face. Every word a struggle.
I grabbed his hand and held it to me.
"I believe you. It's ok."
He looked relieved.
"I swear I cared for you." His words sounded like goodbye.
"I still care for you." I said kissing his dirty hand.
"They are going to get you out of here soon Andrew. You just have to hold on. Write me ok? Promise?" I was desperate to keep him alive.
"I'm glad I got to kiss you Ellie. I'm thankful for the time we had even if it was short."
"Andrew." I pleaded crying.
I knelt in and kissed his lips softly.
I looked at his face and he was looking at me tenderly. I felt tears in my eyes as his breathing softened then came to a complete stop.
I sobbed and fell on him.
I wished that I forgave him. I wish that I could have had a proper kiss before we took off. I wish I had been with him instead of by myself.
I felt my stomach was in my knees and a pain I knew too well.
Loss.
I always seemed to lose things. I felt arms around me, guiding me from Andrew. I looked back at him and promised to remember him fondly.
Roe moved me to a cot.
I let the tears fall silently and soon a blackness took hold of me.
**Poor Andrew! Poor Elliot! I struggled a bit with all this so reviews would be amazeballs! **
9. Brick By Brick, The Walls Go Up
_George's P.O.V_
I had only one face in mind as I finally saw camp. I hoped she was there. I hoped she was okay.
We walked through and first saw Guarnere and Malarky.
"Bout time you shitheads get here." Guarnere greeted us.
"Yeah, we lose anyone?" Frank asked.
"Nobody has seen anyone from Meehan's plane. We had to take some guns at Brecourt. They were shooting up Utah Beach. Popeye got shot in the ass." Malarky said as we sat down.
"That would make Winters." I started.
"In charge." Bill confirmed.
"You see Ellie?" Frank asked as if he was reading my mind.
"Yeah, met up with her." Malarky said.
"Had been walking alone for hours before we saw her. She was covered in mud." Bill said grinning at the memory.
"Where is she?" I asked.
"She is probably looking after the guys who got hurt." Malarky shrugged.
Frank and Malarky started talking, showing their souvenirs while Bill motioned for me to follow him.
"I need to give you a heads up." Bill said quietly.
I looked at him.
"Remember that guy from able?" He asked.
I nodded. Fuck how could I forget my competion.
"He is dead. Died right in front of Elliot." Bill said.
I was completely blank.
"Fuck." I breathed. She was surely messed up.
"How she taking it?" I asked.
"Not good. Barely has said a word to anyone."
I swore again. Elliot Masters was a mystery to almost everyone. She never spoke of family or of home. We all raved about where we came from but not her.
She was not a very open girl and was clearly uncomfortable around men and women alike.
I was instantly afraid that all the progress I had made, the company had made, would be down the drain .
Just as she had opened up and joked with us, she took a blow and I wasn't sure if she would recover from it.
"Do you know where she is?" I needed to see her. Try to get my smile from her.
"Medic tent." Bill said. I nodded.
"Good luck." He called.
I made my way over.
She was standing over some poor schmuck whose face was all bandaged up.
Elliot was cleaner than I, which wasn't saying much. She did have blood on her but what struck me was the vacant face. She was just going through the motions.
Watching her work, I smiled softly, she was graceful and quick. The men responded to her touch.
"Hey Cheeks! You're a sight for my sore eyes!" I finally called.
She slowly turned to look at me. Her head tilted to the side and she stared.
"Hello?" I asked grinning walking towards her.
"George." She mumbled.
I expected a hug, wanted a kiss. Hey, I could dream. I just got a her big eyes blinking at me, like she couldn't believe it.
"Where have you been?" she finally asked walking towards me. As soon as she was close enough I pulled her to me.
Her arms didn't surround me awkwardly like normal. They were on my chest. She wasn't even hugging me back.
I pulled away.
"I was uh trying to find Easy." She just hummed in response.
"Wilde make it?" I asked. She shook her head.
"She was on Meehan's plane. No one knows where they are." She said looking anywhere but at me.
Another fucking blow. Wilde may haven't cared about Elliot, but for some reason, Elliot cared about her.
"You ok?" I asked finally. She just shrugged. I was seeing first hand, the girl I care about, build up the walls Easy had managed to destroy. We had only been dropped into war days ago and her defenses were back up. She was a scared little doe again.
I felt my heart sink into my stomach.
"I have work to do." She mumbled, stepping away from me.
I nodded feeling lost. I turned to leave.
"Catch you later El." I called in a weak voice.
As I was leaving Roe caught me.
I just stared at the medic who was as reclusive as Elliot.
"She's afraid of losing you. You didn't see her after Andrew died. Don't you give up on her." He said in his cajun accent.
He was right but having went from clinging to each other on the plane to a less then warm welcome my kinda hurt and so did my pride.
I just nodded.
I wanted to rest and think so a group of more spirited and happy people. Just then Talbert, Blithe, and Shifty came walking in.
We got to showing off what we had, when Talbert pulled out a poncho.
"That's real nice!" I commented smiling. He walked away knowing he had the best loot. My company could always cheer me up, we would do the same for Elliot. Just as we got to relaxing, Welsh called for us.
I looked around and the medics were coming too.
"Listen, it's goin to be dark soon! I wanted Light and noise discipline, no talking, no smoking, and no playing Grab Fanny with man infront of you Luz!" that got him some laughs as I looked around innocently.
Well I was just offended! The only ass I would grab was Elliot's and she was barely talking. I grinned as I realized she had moved towards me.
"So where we headed?" A guy asked.
"We are taking the town of Carentan." Welsh said.
"That sounds like fun."
"It's the only place where armor from Omaha and Utah beach can link up and head inland. We take Carentan and they are stuck on the sand. General Taylor is sending in the whole division."
I grinned and couldn't help myself, atleast to get a smile on that pretty face of Elliot.
"Remember boys! You give me three days of Hard fighting and you will be relieved!" I mocked General Taylor. Getting laughs from everyone, even a small smile from Elliot, who tried to just hide it by looking down.
Encouraged I went on.
"Flies spread diseases, so keep yours closed!" I started laughing and so did the men. I saw Elliot turned red and grin. Sure she was scared and hurt but I would make it my duty to make her laugh and to open up again. I tugged on her sleeve and winked at her.
_Elliot's P.O.V_
We had been walking for forever. I was being ate alive by bugs and it was hot and muggy.
It was a cruel setting of planes, bodies, tanks, and various other things, all on fire.
We weren't allowed to talk but out of the corner of my eye I saw George sneaking glances at me.
I knew I had been cold but I didn't know what I was supposed to do.
I didn't want to hurt and even bein lonely was better than watching someone you cared for die.
What if Bill or god what if George got hurt?
What would I do?
I was used to being alone, I could handle that.
I was not used to caring for people and them leaving me.
I would be strong and keep my head clear because I was in war and these men depended on me.
I caught George again looking at me. I studied him for a second, how could he stay so positive when anyone person in our company that he cared about could just die.
He was stronger then me, stronger than most.
My thoughts stopped as we came to an abrupt hault. I tried seeing ahead but couldn't.
Frank came our way.
"We lost F company."
I raised an eyebrow.
"Again?" I blurted out. George nodded in agreement as we all sat down for a little rest.
The men around me talked, joked, and laughed. I couldn't understand how they weren't scared.
Maybe I wasn't hard enough for this.
Soon it was daylight and we had found Carentan. We were huddled in a ditch and all was quite.
Winters ordered Welsh and first platoon to move and like that chaos in sued. I was terrified as men hit the ground...George was in that group. I didn't have much time to think because shouts of Medic and Orders from Winters were heard.
"MOVE! MOVE! MOVE!" Winters ordered.
I did what I was told and dodged my way to the injured men. Most dead or dying already. I felt someone pull me along and looked to Talbert.
"I know you're a medic but you have to keep moving." Talbert said grinning and taking aim. We hid behind and building.
I would feel horrible later but I admitted I was relieved none of the men had been George.
Shouts for Medic could be heard and even though every instinct told me to stay hidden, I had to move and help the wounded.
I ran out into the road as some Easy men pulled a wounded man into a semi safe zone. I quickly did the best I could. It was a shot to the side, but he would live.
My time with the injured was short. I had to stop the blood wrap it and make sure they were in a safe spot.
I could barely move most of them on a regular bases, the adrenalin gave me strength I didn't know I possessed.
I dodged and jumped and tried to remember all my training.
I stayed hidden tell I could get to the man that was hurt and then move along tell I heard cries for help.
My job was not to shoot but to help. I focused not on the Germans but on the men of this company.
I heard shouts of us being Zeroed in and then the loud explosions started. I felt like hyper ventilating.
All I could smell was gun powder and blood.
Everything around me was crumbling and I heard the snapping of bullets, the roars of explosions, and the desperate cries of the men who needed me.
I had never been so terrified in my life.
"They have us Zero'ed in!" I recognized the call of Lip. I started to move when I was knocked through the air with a loud boom.
I hit the wall and felt the air get knocked out of me. I gasped hard and started feeling for wounds. I was afraid to look but opened my eyes anyways. Other than some cuts I was ok.
It took a lot to stand but I managed.
I wobbled over to Lip, praying the gentle man was ok.
Talbert was with him.
"You're ok Lip." He said.
I looked him over as Talb tied off a wound on his arm. Lip wasn't looking at us but down. I followed his eyes.
He was bleeding from his groin. I blushed but sucked up my embarrassment and went to look.
Lip grabbed my hand and nodded at Talbert who grinned.
HE ripped Lip's pants open and checked.
"You're just fine, everything is where it's supposed to be." Lip grinned softly.
Eventually we had taken Carentan.
It wasn't without losses or injuries. I was stabilizing Tipper who had an explosion blast him. The men had found Blithe who seemed to be suffereing from hysterical blindness.
Other men and medics brought and more and more men.
I dreaded it.
I had lost sight of George and didn't know if he was ok. They didn't bring in the dead seeing how there wasn't much we could do.
Winters took a stray bullet to the leg but was just fine.
"You did real good out there Masters." Roe said.
He acted like he was more experienced than me.
I shrugged.
"You too." I muttered. I went to leave, Tipper being the last man I was responsible for.
Heading out, I bumped into the man I had worried I would see being drug in or worried he laid dead on one of the streets.
George Luz stood infront of me, barely a scratch on him and looked in awe.
"I hadn't seen you since before we took Carentan." He stated walking at me.
He quickly hugged me, this time I couldn't help but hug him back in relief.
"I thought you had been shot with the rest of first platoon." I said pulling away. He shrugged. He didn't look to keen to talk about his almost death.
I didn't know how to stop caring for the always sunny, funny man. I wasn't sure I could. I just knew every time he made it out alive my heart soared.
**So not real happy with this. I don't like writing the action scenes as I feel like I'm not very great at them. Sorry I haven't updated. Just review Please! I also don't own Band of Brothers :)**
End file.
| fanfiction |
the recognised convention for representing the overall galaxy population is the luminosity distribution or space density of galaxies ( see review by binggeli , sandage & tammann 1988 and more recently @xcite ) .
this distribution is typically derived from a magnitude limited redshift survey which is corrected for malmquist bias ( e.g. , efstathiou , ellis & peterson 1988 ) and fitted with the three parameter schechter function @xcite .
generally , the schechter function is found to be a formally good representation , although some surveys ( e.g. , @xcite ; @xcite ) have hinted at an upturn at the faintest limits , where the statistics become poor ( typically @xmath25 mag , see also @xcite ) .
the process of fitting a luminosity function ( lf ) reduces the galaxy population to three crucial numbers : the characteristic luminosity , @xmath10 ( or @xmath26 ) , the normalisation , @xmath27 , and the faint - end slope , @xmath28 . since the pioneering work of @xcite numerous measurements of these three crucial parameters have been made ( see @xcite ) . among the most recent are those derived from the two - degree field galaxy redshift survey ( 2dfgrs ; @xcite ) and the sloan digital sky survey ( sdss1&2 ; @xcite ; 2003a ) .
however , although individual surveys yield schechter function parameters to high accuracy , a comparison between independently published values shows excessively large variations , indicative of strong systematic errors ( see @xcite ; @xcite ; @xcite ) . @xcite
discuss the impact of surface brightness selection effects on measurements of the lf ( see also @xcite ; @xcite ) and find that such effects _ may _ provide an explanation for the variation seen .
in @xcite we compared a number of recent @xmath24-band schechter function values and used the precision number counts of the millennium galaxy catalogue with a uniform isophotal detection limit of @xmath29 mag arcsec@xmath1 in the @xmath24-band to revise the normalisation parameters .
this resulted in a reasonably consistent global schechter function with : @xmath30 mag , @xmath31 mpc@xmath7 and @xmath32 ( taken from @xcite ) . despite the apparent convergence brought about by @xcite there are two strong reasons to now go beyond the monovariate schechter function : \(1 ) numerical and semi - analytic simulations are sufficiently developed that it is now possible to predict not just the luminosity distribution but also the size distribution ( see e.g. @xcite ; buchalter , jimenez & kamionkowski 2001 ; @xcite ) and hence the _ bivariate _ distribution of luminosity and size ( or luminosity and surface brightness , see e.g. @xcite ; @xcite ; @xcite ; @xcite ) .
this bivariate brightness distribution ( bbd ) can be fitted by a 6-parameter chooniewski function @xcite essentially a schechter function with a luminosity dependent gaussian distribution in surface brightness ( see e.g. @xcite ; @xcite ) or compared directly without confinement by any functional form .
either way , a multivariate distribution provides a more stringent constraint than the monovariate schechter function ( see also @xcite ) ; \(2 ) @xcite essentially circumvent the surface brightness issues raised by @xcite by allowing the normalisation of the lfs to accommodate the missing flux from low surface brightness galaxies .
this approximation succeeds because the galaxies that dominate the bright galaxy number counts are all around the @xmath26 value , where the surface brightness distribution appears well defined ( see @xcite , @xcite ) .
we also know from studies of giant ellipticals ( @xcite ; @xcite ) , disk galaxies ( @xcite ) , dwarf galaxies in the local group ( @xcite ) , rich clusters ( @xcite ; @xcite ) and from early work on the global field bbd ( @xcite ; @xcite ; @xcite ; @xcite ) that there exists a luminosity surface brightness relation ( see also @xcite for the near - ir relation and a discussion of its variation with wavelength ) .
together these imply that the impact of surface brightness selection effects will be a function of luminosity . therefore recovering the full luminosity distribution
can only be done by simultaneously considering luminosity _ and _ surface brightness
a conclusion reached many times over the past half - century ( @xcite ; @xcite ; @xcite ) .
an additional motivation is that given the size of contemporary datasets , it becomes logical to start to explore multivariate distributions to quantify trends such as the luminosity - surface brightness relation @xcite or the colour - luminosity relation ( e.g. , @xcite ; see also @xcite ) . here
we reconstruct the bivariate luminosity - surface brightness distribution with careful attention to the impact of surface brightness and size selection effects . in section [ data ]
we describe the imaging and redshift data . in section [ cosmoke ]
we describe the conversion of our catalogue from apparent to absolute properties , the various selection boundaries and our methodology for deriving the joint luminosity - surface brightness distribution .
we apply it to our data in section [ mgcbbd ] and compare our results to previous estimates of the bbd ( @xcite ; @xcite ) , the lf ( @xcite ; @xcite ; @xcite ; @xcite ) and the surface brightness or size distribution ( @xcite ; @xcite ) .
we summarise our key results in section [ conclusions ] . throughout
we assume @xmath33 as defined in section [ cosmology ] .
the millennium galaxy catalogue ( mgc ) is a deep ( @xmath34 mag arcsec@xmath1 ) , wide - field ( @xmath35 deg@xmath36 ) @xmath24-band imaging survey obtained with the wide field camera on the 2.5-m isaac newton telescope .
the survey region is a long , 35-arcmin wide strip along the equator , covering from @xmath37 to @xmath38 ( j2000 ) , and is fully contained within the regions of both the 2dfgrs and sdss data release 1 ( dr1 ; @xcite ) .
in @xcite we gave a detailed description of the observations , reduction , object detection , galactic extinction correction and classification ( using sextractor ; @xcite ) and presented precision galaxy number counts over the range @xmath39 mag . all non - stellar sources to @xmath40 mag were visually inspected and if an object was found to be incorrectly deblended or if the object s parameters were obviously wrong , the object was re - extracted by manually changing the sextractor extraction parameters until a satisfactory result was achieved . in addition , all low - quality regions in the survey ( e.g. near ccd defects ) were carefully masked out ( see @xcite and @xcite ) .
we demonstrated that the internal photometric accuracy of the mgc is @xmath41 mag and that the astrometric accuracy is @xmath42 arcsec .
in @xcite we then compared the photometric accuracy , completeness and contamination of the mgc to the 2dfgrs and sdss - edr and dr1 datasets .
being deeper and of higher resolution , we found that the mgc is both more accurate and more complete than either of these surveys .
the mgc is currently the highest quality and most complete representation of the nearby galaxy population .
[ mgcexamples ] shows images of three galaxies from the digital sky survey ( left ) , the sdss ( centre ) and the mgc ( right ) , illustrating the superior resolution and greater depth of the mgc data .
the mgc - bright catalogue of @xcite was bounded at the bright end by @xmath43 mag , where stars begin to flood in our best seeing fields .
we now extend this catalogue brightwards to @xmath44 mag by carefully examining all non - stellar objects in the range @xmath45 mag , repairing objects that had been over - deblended by sextractor and checking completeness with ned at @xmath46 mag , where sextractor
optimised for faint galaxy detection and photometry may occasionally miss very large objects .
a second change to mgc - bright with respect to @xcite is the deletion of some exclusion regions .
liske et al .
had placed exclusion regions around very bright objects ( @xmath47 mag ) to avoid spurious halo detections and problems with background estimation in their vicinity .
@xmath48 such regions had been erroneously placed around galaxies fainter than @xmath49 mag and these have been deleted , resulting in an increase of the good - quality survey area from @xmath50 to @xmath35 deg@xmath36 .
further minor changes were introduced to mgc - bright , each affecting @xmath51tens of objects : different deblending decisions ; spectroscopic identification of galaxies previously misclassified as stars ( compact emission line galaxies ) and vice versa ( stars which appear extended because of almost perfect alignment with small , faint background galaxies ) ; and identification of asteroids previously misclassified as galaxies ( discovered by comparison with sdss - dr1 imaging data ) .
the final mgc - bright sample now comprises @xmath2 galaxies . by design the mgc survey region
is fully contained within the 2dfgrs and sdss survey regions .
hence we first turned to these surveys in order to obtain redshifts for mgc - bright .
in addition we obtained redshifts from the 2qz @xcite , ned ( excluding 2dfgrs and sdss objects ) and the smaller surveys of francis , nelson & cutri ( 2004 ) ( pf ) and @xcite ( lsbg ) . in turn each survey , @xmath52 , was matched against mgc galaxies and stars with @xmath53 mag .
this magnitude limit and the following matching procedure were chosen in order to be able to account for every @xmath52 object and hence to verify the completeness of the mgc . objects with multiple redshift measurements .
the distribution has an rms dispersion of @xmath54 km s@xmath55 .
the solid line is a gaussian with the same median and rms as the data . ]
first we found all pairs of @xmath52 and mgc objects where each is identified as the other s nearest neighbour in that catalogue .
a pair with separation @xmath56 smaller than some @xmath57 is classified as a match unless one or more other mgc objects have also identified the @xmath52 object as their nearest neighbour in @xmath52 with a separation @xmath58 ( where @xmath56 refers to the separation of the closest pair ) .
these @xmath52 objects as well as objects with @xmath59 and those which have not been identified as a nearest neighbour by any mgc objects are classified as initially unmatched .
the value of @xmath60 is chosen as the separation where the invariably occurring tail in the distribution of separations begins to dominate . the above definition of initially unmatched objects is designed to conservatively flag all possible mismatches .
almost all mismatches fall into one of three categories , which are a priori difficult to distinguish from one another but for which one needs to proceed differently : ( i ) unusually large positional disagreement ; ( ii ) two ( or more ) objects in one catalogue where the other catalogue only has one object , because of different deblending choices or different resolution ; ( iii ) one object in @xmath52 but none in mgc because of inaccurate photometry in either @xmath52 or mgc , or because the @xmath52 object is an asteroid or a spurious noise detection , or because the object is genuinely missing from the mgc .
all initially unmatched objects are visually inspected in order to reliably identify those objects that were in fact correctly matched .
the few cases where the mismatch was due to poor object extraction in the mgc were fixed .
each redshift of a matched object is assigned a redshift quality , @xmath61 , which has the same meaning as in the 2dfgrs @xcite : @xmath62 means no redshift could be measured ; @xmath63 means possible but doubtful redshift ; @xmath64 means probable redshift ; and @xmath65 or @xmath66 means good or very good redshift . @xmath62 and @xmath67 are considered failures and we will use only redshifts with @xmath68 in this paper .
in addition to the 2dfgrs this system is also already used by pf .
we translate the various quality parameters of the other surveys to our system in the following manner : sdss - dr1 redshifts are assigned @xmath65 unless the sdss zstatus or zwarning flags indicate a serious problem ; for the 2qz we use @xmath69 ; and ned and lsbg redshifts are assigned @xmath64 . in total the public data provided good quality redshifts for @xmath70 mgc galaxies . in order to complete the redshifts for the full mgc - bright sample we conducted our own redshift survey ( which we label mgcz ) , targeting those galaxies which did not already have publicly available redshifts .
these observation were mainly carried out with the two degree field ( 2df ) facility on the anglo australian telescope .
the data were collected , reduced and redshifted in an identical manner to that of the 2dfgrs ( see @xcite for full details ) . in particular
we again used the same redshift quality parameter , @xmath61 , as the 2dfgrs ( see above ) .
the redshift incompleteness of the 2df data showed a clear bias against low - surface brightness galaxies .
hence we undertook additional single - object long - slit observations , targeting low - surface brightness galaxies ( @xmath71 mag arcsec@xmath1 , where @xmath72 is the apparent effective surface brightness within the half - light radius , see section [ mgcsb ] ) as well as gaps in our 2df coverage , with the double beam spectrograph ( dbs ) on the australian national university s @xmath73-m , the low resolution spectrograph ( lrs ) on the @xmath74-m telescopio nazionale galileo on la palma , the eso multi - mode instrument ( emmi ) on the new technology telescope in la silla and the gemini multiple object spectrograph ( gmos , long - slit nod & shuffle mode ) on gemini north . in all cases we observed between @xmath75 and @xmath76 s through a @xmath77 to @xmath67-arcsec wide slit , aligning the slit with the major axis of the object to collect as much flux as possible .
all the data were reduced in a similar manner using standard iraf procedures .
the resulting spectra are of similar resolution as our 2df data , but of higher quality : they increased our redshift completeness at @xmath78 mag and @xmath71 mag arcsec@xmath1 from @xmath79 to @xmath80 per cent .
using all available data and mgcz data qthe overall redshift completeness of mgc - bright is @xmath81 per cent . in fig .
[ completeness ] ( third row from top ) we show the final incompleteness as a function of apparent effective surface brightness and apparent magnitude , ( @xmath82 ) and ( @xmath83 ) model colours . in table
[ alldata ] we list the numbers of redshifts contributed by each of the surveys . for @xmath84 galaxies we have more than one @xmath85 redshift measurement , totaling @xmath86 redshifts .
these duplications are mainly due to overlaps between the 2dfgrs and sdss - dr1 , but @xmath87 of these galaxies have at least one mgcz redshift . for these objects
we pick a ` best ' redshift by sorting first by @xmath61 , then by signal - to - noise ratio ( where available ) and then by the order of the surveys in table [ alldata ] . fig .
[ multiplezs ] shows the distribution of differences between the multiple redshifts which has an rms of @xmath54 km s@xmath55 .
to calculate the mgc bbd we first need to adopt a cosmological framework , appropriate @xmath5-corrections [ @xmath88 and an evolutionary model [ @xmath89 .
it is of course possible to determine a lf while simultaneously solving for one or more of these quantities
see e.g. @xcite , who derive a lf while simultaneously solving for both the number - density evolution and the luminosity evolution . however , our concern with this approach is that it can lead to erroneous results _ if _ the incompleteness is significant and biased ( as indicated in @xcite and fig .
[ completeness ] ) . in this case
the evolutionary functions would be fitting not only evolution but also the uncorrected selection biases . instead , our philosophy is to adopt reasonable assumptions for the evolution and concentrate on a strategy to account for selection bias .
-corrections as defined in section [ kcorrections ] .
the solid curves show the bright and faint magnitude limits assuming the mean @xmath5-correction and a universal evolution of @xmath90 .
the dashed lines again show the magnitude limits but now assuming the bluest and reddest @xmath5-corrections used in the mgc .
the upper and lower redshift limits are marked as vertical lines and the @xmath91 value from norberg et al .
( 2002 ) is shown as a horizontal dotted line .
note that the lower redshift limit defines the minimum absolute magnitude of @xmath92 mag .
the locations of known abell clusters are indicated and clearly show up as redshift over - densities . ]
we use @xmath93 and @xmath94 broadly confirmed by the wmap mission combined with the 2dfgrs power spectrum but adopt @xmath95 km s@xmath55 mpc@xmath96 for ease of comparison with previous results .
we also define maximum and minimum redshift limits .
the maximum limit is chosen as the point at which red @xmath26-galaxies fall below our imposed @xmath40 mag limit ( this occurs at @xmath97 , see fig .
[ mz ] , excluding @xmath98 galaxies ) .
the lower limit is determined by the point at which the redshifts are significantly influenced by the local velocity field . from @xcite
we find that the pairwise velocity dispersion , as measured from the 2dfgrs , is @xmath99 km s@xmath55 . hence to ensure minimal impact from peculiar velocities ( i.e. , @xmath100 ) we must set @xmath101 ( excluding 44 galaxies ) . fig .
[ mz ] shows the absolute magnitude versus redshift distribution for our data along with the upper and lower redshift limits ( vertical lines ) and the typical value of @xmath91 ( @xcite ; dotted line ) .
note that the lower @xmath102 limit , combined with the faint apparent magnitude limit ( @xmath40 mag ) ultimately defines how far down the luminosity distribution one can probe ( @xmath103 mag ) .
one can only _ reliably _ push fainter by extending the faint apparent magnitude limit of the survey and not by covering a wider area ( unless direct distances are measured or the detailed local peculiar velocity field is modeled ) . in total
there are @xmath104 galaxies within these redshift limits .
-band @xmath5-correction . ]
@xmath5-corrections , or bandpass corrections , are galaxy specific ultimately galaxy component specific and given the known variation in galaxy types , a mean @xmath5-correction ( as adopted in @xcite and in most previous studies ) may be overly simplistic ( see also @xcite who reach a similar conclusion ) . here
we identify a best fit synthetic spectrum from the combined broad - band mgc and sdss - dr1 colours for each individual galaxy and then directly measure the @xmath5-correction from this optimal template .
we use the extinction - corrected mgc kron ( @xmath105 kron radii ) and extinction - corrected sdss - dr1 petrosian magnitudes for this purpose .
the petrosian magnitudes are corrected to the ab system using @xmath106 ; @xmath107 and @xmath108 as recommended on the sdss - dr2 website
. the @xmath109 magnitudes are adjusted for the known zeropoint offset of @xmath110 mag between the mgc and sdss - dr1 @xcite and converted from vega to ab .
this conversion was found to be @xmath111 for the mgc system .
-probability distribution from our @xmath112 fitting algorithm ( histogram ) as compared to the expected distribution ( for five degrees of freedom , solid line ) .
note that because we re - analyse galaxies with probabilities less than @xmath66 per cent no values with @xmath113 occur . ]
we now wish to derive the optimal spectral template match to these six filters in the ab system .
we elect to use the spectrum library of @xcite which includes ellipticals and early and late - type spirals , with ages ranging from @xmath114 gyr to @xmath115 gyr ( @xmath116 synthetic templates in all ) . to determine the best template we calculate the ab magnitudes as if observed through the @xmath109 and sdss @xmath117 filters for a single template and iteratively rescale the amplitude of the spectral template to minimise @xmath118 : @xmath119 ^ 2 $ ] where the errors are given by : @xmath120 and @xmath121 mag .
these error values were derived as follows .
firstly , using just the sdss filters , we determined the @xmath122-distribution for the optimal spectral fits based on the errors listed on the sdss website ( @xmath123 [ red leak ] , @xmath124 ) .
we then scaled the @xmath125 errors until the recovered @xmath126-distribution matched the expected distribution for four degrees of freedom .
we then repeated this process now including the @xmath109 filter ( see fig .
[ prob ] ) .
these final errors are in good agreement with the study of @xcite . the @xmath118-minimisation was repeated for each of the @xmath116 spectral templates and the smallest of the @xmath116 @xmath126 values used to identify the most appropriate template . finally if the @xmath126-probability for the optimal template was less than @xmath66 per cent we repeated the process , first rejecting the @xmath109 filter and then the @xmath127 and @xmath102 filters in turn ( hence the truncation at @xmath128 on fig .
[ prob ] ) .
magnitudes fainter than the quoted @xmath129 per cent completeness limit were not used ( @xmath130 , @xmath131 , @xmath132 , @xmath133 , @xmath134 mag , see @xcite ) .
[ kcorrexamples ] shows two example galaxies with the best - fit spectral templates overlaid on the measured magnitudes .
[ prob ] shows the resulting @xmath122 distribution ( histogram ) and the expected @xmath118-distribution ( for five degrees of freedom , solid line ) .
the mgc @xmath5-corrections trace out the 27 tracks of the synthetic spectra of poggianti ( 1997 ) .
the filled circles indicate the mean of our data and the vertical dashed lines show the adopted redshift limits used in the bbd analysis . ] shown in fig .
[ kcorr ] are the resulting @xmath5-corrections for the mgc , which trace out the @xmath116 different spectral templates , as well as the mean @xmath5-correction in @xmath135 redshift intervals ( large dots ) . finally , in the few cases ( @xmath136 galaxies in total ) where a galaxy did not have an sdss - dr1 match we assigned the mean @xmath5-correction value at the galaxy s redshift .
we adopt a global evolution of the form @xmath137 with an initial value of @xmath138 ( i.e. , @xmath139 , see @xcite ) .
given the redshift limits this implies an evolutionary correction in the range @xmath140 mag .
this is a passive luminosity evolution model with no merging over this redshift range ( @xmath141 ) . in section [ evolmstar ]
we solve for @xmath142 and find @xmath143 ( see fig .
[ beta ] ) .
more complex evolutionary scenarioes will be considered in future papers where we sub - divide the galaxy population by type and component .
however we do note that recent studies ( e.g. , @xcite ) including our own ( @xcite ) indicate a very low low - z merger rate based on counts of dynamically close pairs .
it is also worth noting that the step - wise maximum likelihood method used assumes no number density evolution .
we adopt the effective surface brightness , i.e. the average surface brightness within the half - light radius , as our structural measurement .
the effective surface brightness is chosen as it makes no assumption of the radial flux profile and can be measured empirically from the data for any galaxy shape . hence it is a direct measure reflecting the global compactness regardless of whether the galaxy is smooth or lumpy .
the half - light radius is the semi - major axis of the ellipse containing half the flux of sextractor s best magnitude .
the ellipse s centre , ellipticity and position angle are taken from sextractor . for compact objects
the half - light radius is affected by the seeing . through simulations of both exponential and de vaucouleurs profile galaxies using iraf artdata ( see appendix [ appsim ] for details )
we find that we can correct the observed half - light radius for this blurring and recover its true value , @xmath144 , to an accuracy of @xmath145 per cent ( see fig .
[ selection ] ) by : @xmath146 where @xmath147 is the observed half - light radius and @xmath148 is the fwhm of the seeing profile , all in arcsec .
work is currently underway to determine 2d bulge - disk decompositions from the mgc data which will be presented in a future paper .
however at this stage it is unclear whether the effective radius or independent bulge and disk parameters are the more fundamental . here
, we define our absolute effective surface brightness , @xmath149 , as : @xmath150 - 10 \log ( 1+z ) - k(z ) - e(z),\ ] ] we note that @xmath144 is defined along the semi - major axis and hence the above prescription assumes galaxies are optically thin , i.e. , derived parameters are independent of inclination .
the role of dust will be explored in a future paper .
like all surveys our catalogue will suffer from some level of incompleteness in both the imaging and spectroscopic surveys .
as our data are the deepest available over this region of sky we can not empirically quantify our imaging incompleteness ( see @xcite for an assessment of the incompleteness of the supercosmos sky survey , 2dfgrs and sdss - edr / dr1 relative to the mgc ) .
we can , however , define the selection limits at any redshift , following @xcite , and use this information later ( section [ swml ] ) to quantify the selection boundary in our final space density distribution . and the solid line shows the fit .
the low surface brightness and maximum size limits are defined as limits of reliable photometry by requiring errors in the photometry of less than @xmath151 mag and @xmath151 mag arcsec@xmath1 .
the dashed line is the fundamental detection limit . ]
we begin by noting the mgc s apparent survey limits : a bright and faint apparent magnitude limit of @xmath152 mag and @xmath153 mag , a limiting apparent effective surface brightness of @xmath154 mag arcsec@xmath1 , a minimum size of @xmath155 arcsec ( where @xmath148 is the seeing fwhm ) and a maximum size of @xmath156 arcsec .
the last three limits refer to the seeing - corrected quantities ( see section [ mgcsb ] ) and were derived from simulations of @xmath157-inclined optically thin exponential disks using iraf s artdata package ( see appendix [ appsim ] for details ) .
it is important to note that the surface brightness and maximum size limits do _ not _ define the _ absolute detection _ limits but the boundary of _ reliable photometry _ ( where ` reliable ' is arbitrarily defined as @xmath151 mag and @xmath151 mag arcsec@xmath1 accuracy , see fig .
[ selection ] ) .
[ maxhlr ] shows these limits in the apparent magnitude - apparent effective surface brightness plane , along with the galaxy distribution with ( dots ) and without ( triangles ) redshifts .
-corrections ) and the full ( @xmath141 ) mgc distribution ( dots ) .
the figure illustrates that the selection boundaries vary dramatically with redshift ( bottom to top ) such that each redshift slice , within the survey limitations , only samples a restricted region of the luminosity - surface brightness plane .
note that some points may lie outside the box if their @xmath5-corrections are significantly different from the galaxy for which the selection lines have been drawn .
figure degraded see http://www.eso.org/@xmath51jliske/mgc/ for full pdf copy of this paper . ] for each galaxy @xmath158 with known redshift , @xmath159 , we can now determine the parameter space in absolute magnitude , @xmath160 , and absolute effective surface brightness , @xmath149 , over which this galaxy could have been observed , given the survey limits .
the appropriate limits are ( following @xcite ) : @xmath161 note that @xmath162 is defined by both the minimum effective surface brightness for reliable detection , @xmath163 , and the maximum reliable size limit , @xmath164 .
the maximum reliable size limit is imposed by the smoothing box size when calculating the background sky levels .
these limits are introduced in more detail in @xcite .
one can also envisage a sixth limit ( also @xmath165 ) due to the dynamic range of the ccd detector . in our case none of the galaxies have their central regions flooded and so this limit can be ignored .
[ limfig ] shows the selection limits for three galaxies at redshifts @xmath166 ( lower panel ) , @xmath167 ( middle ) and @xmath168 ( upper ) along with the location of the galaxy ( large solid circle ) , galaxies with similar redshifts ( open squares ) and the full ( @xmath169 ) mgc distribution ( dots ) .
the selection boundary consistently forms a five - sided figure which glides through the full distribution as the redshift increases . because of the individual @xmath5-corrections each galaxy has its own unique selection window .
it is worth noting that large luminous galaxies are undetectable , or at least photometrically unreliable , at very low redshift .
hence the methods of @xcite which use @xmath170-style corrections , _ may _ underestimate this population because they implicitly assume selection boundaries only cut into the distribution at some upper redshift limit .
@xcite accounted for this effect in their analysis . for each galaxy with known redshift
we now define an observable window function , @xmath171 , as : @xmath172 the functions @xmath173 will be used in section [ swml ] in the construction of the bbd .
we now construct the mgc bbd using a bivariate brightness step - wise maximum likelihood ( swml ) estimator similar to that described by @xcite .
this is an extension of the standard swml method defined by @xcite in the sense that the sample is now divided into bins of both absolute magnitude _ and _ absolute surface brightness as opposed to just absolute magnitude alone .
note that @xcite formulated their method in terms of absolute magnitude and a physical diameter .
however , the mgc is primarily magnitude and surface brightness limited with a fixed isophotal detection limit of @xmath29 mag arcsec@xmath1 . for this reason
we elect to work in @xmath160-@xmath149 space rather than @xmath160-@xmath174 space .
essentially , for @xmath175 objects the volume - corrected relative bbd in @xmath176 absolute magnitude bins and @xmath177 surface brightness bins with widths @xmath178 and @xmath179 can be evaluated by ( cf .
@xcite ) : @xmath180},\ ] ] where the relative space density of galaxies , @xmath181 , is given in terms of the space density of the previous iteration , @xmath182 , the weighting function , @xmath183 , and the visibility function , @xmath184 .
the weighting function , @xmath183 , corrects for the incompleteness in our redshift survey .
this incompleteness is demonstrably not random ( see fig . [ completeness ] ) and we are preferentially missing faint dim galaxies with extreme colours . when constructing lfs this bias is often ignored ( e.g. , @xcite ) or considered a function of magnitude only ( e.g. , @xcite ) . here
, we account for luminosity and surface brightness dependent incompleteness and define @xmath183 as : @xmath185 where @xmath186 is the total number of galaxies lying in the same apparent magnitude - apparent surface brightness bin as galaxy @xmath158 and @xmath187 is the number of galaxies with known redshifts ( i.e. , those with @xmath85 , see section [ data ] ) in the same bin .
hence each galaxy is weighted by the inverse of the redshift completeness in the galaxy s apparent magnitude - surface brightness bin .
the visibility function @xmath184 is given by : @xmath188 where @xmath189 is defined in section [ sellim ] . hence @xmath184 is the fraction of the @xmath190-@xmath191 bin which lies inside the observable window of galaxy @xmath158 .
[ matrices ] shows example @xmath183 and @xmath184 matrices for @xmath192 mgc16504 ( upper and lower left respectively ) as well as the summed @xmath193 and @xmath194 matrices ( upper right and lower right respectively ) .
@xmath195 is essentially the observed galaxy distribution corrected for incompleteness and @xmath196 is analogous to the visibility surface of visibility theory ( phillipps , davies & disney 1990 ) , although not precisely as it does not account for the variation of physical cross - section with redshift or for isophotal corrections .
the steep sides of the @xmath196 surface ( fig .
[ matrices ] ) highlights the narrow range over which surface brightness selection effects go from negligible to extreme and hence the importance of understanding a survey s selection limits .
we now apply the above methodology to our mgc sample . to recap , we extract galaxies in the range @xmath197 mag , determine individual @xmath5-corrections , determine seeing - corrected surface brightness estimates , attach an incompleteness weight to each galaxy , reject galaxies which lie outside of their designated reliably observable regions ( @xmath198 galaxies too large , @xmath199 too compact and @xmath200 too dim ) , generate weighting and visibility matrices for each galaxy and then iteratively apply equation ( [ phijk ] ) until a stable set of @xmath201-values is found . fig .
[ bbd ] shows the result of this procedure after renormalisation ( described below ) .
it is worth noting that the majority of the rejected galaxies are extremely compact and have entered our sample only through spectroscopy of apparently stellar objects ( 2qz , sdss qso survey , ned and mgcz ) .
mpc@xmath7 mag@xmath55 ( mag arcsec@xmath1@xmath202.,width=377,height=302 ] the swml method , by its construction , loses all information regarding the absolute normalisation ( cf .
@xcite ) . here
the normalisation issues are compounded by the consideration of selection bias .
we overcome this by calculating the number of galaxies in the absolute magnitude and absolute surface brightness interval @xmath203 mag and @xmath204 mag arcsec@xmath1 .
this parameter space is observable for any @xmath112 over the redshift range , @xmath205 ( equivalent to a co - moving volume of @xmath206 mpc@xmath207 for the @xmath208 deg@xmath36 field - of - view ) . within these redshift , absolute magnitude and surface brightness
ranges there are @xmath209 galaxies with a summed weight , due to incompleteness , of @xmath210 .
the @xmath211 values are now rescaled to reproduce the correct space density for these galaxies ( i.e. , @xmath212 mpc@xmath7 ) .
the error includes both possion and large scale structure considerations and was derived from mock 2df ngp catalogues ( @xcite ; http://star-www.dur.ac.uk/@xmath51cole/mocks/main.html ) extracted from the virgo consortium hubble volume .
volumes equivalent in shape to the mgc normalisation volume were extracted and the standard deviation of @xmath213 mag galaxies determined .
the final error , inclusive of large scale structure , is roughly twice that of the poisson error alone .
[ bbdcont ] shows the final normalised bbd on a logarithmic scale .
the thick dotted line shows the region within which the statistical errors are @xmath136 per cent or less .
the thick solid line shows the effective detection limit defined as the bbd region sampled by at least @xmath214 galaxies ( equivalent to a volume limit of @xmath215 mpc@xmath216 ) .
the detection limit bounds the bbd at the low surface brightness and faint limits and clearly starts to impinge on the distribution from around @xmath217 mag ( coincidentally the usually adopted boundary between the dwarf and giant galaxy populations ) .
this confirms that even the mgc , the deepest local imaging survey to date , remains incomplete for both high ( @xmath218 mag ) and low surface brightness galaxies . to sample these regions requires both deeper ( @xmath219 mag arcsec@xmath1 ) _ and _ higher resolution imaging data ( @xmath220 arcsec ) over a comparable or larger area ( @xmath221 deg@xmath36 ) with high spectroscopic completeness .
following @xcite and @xcite we attempted to fit the mgc bbd with a chooniewski function @xcite , given by : @xmath222 ^ 2\right\rbrace\end{aligned}\ ] ] the parameters @xmath27 , @xmath10 and @xmath28 are the conventional schechter function parameters @xcite .
the three additional parameters , @xmath223 , @xmath224 and @xmath142 are the characteristic surface brightness , the gaussian width of the surface brightness distribution and the luminosity - surface brightness relation respectively . this function has been derived analytically by @xcite , @xcite and @xcite . note that the additional normalisation factor , @xmath225 , ensures that @xmath226 and @xmath28 are directly equivalent to the more familiar schechter function parameters .
the fit is achieved using the downward simplex method @xcite and the 1-@xmath227 errors are derived from a one - dimensional @xmath118-minimisation across each parameter ( @xmath228 ) . for the @xmath229 degrees of freedom ( @xmath230 data values minus @xmath231 model parameters )
we find an unreduced @xmath126 of @xmath232 .
this suggests that the chooniewksi function is a poor fit to the data ( see fig .
[ bbdfit ] ) .
the main reason appears to be the intrinsic assumption of a constant @xmath224 , whereas the distribution shown in fig .
[ bbd ] clearly broadens , a feature also observed by @xcite in their sdss data .
we discuss this further in section [ sbd ] .
chooniewski parameters and associated errors are tabulated in the upper half of table [ lfdata ] along with other published data including our previous measurement based on the 2dfgrs @xcite .
mpc@xmath7 mag@xmath55 ( mag arcsec@xmath1@xmath202 .
the greyscale image and the thick solid line are the same as those in fig .
[ bbdcont].,width=377,height=302 ] of particular interest over the past few decades has been the galaxy luminosity distribution .
this can be derived from the bbd by integrating over the surface brightness axis , ( the associated errors are the root sum squares of the individual errors for each bin ) .
[ lf ] ( left panel ) shows the result : @xmath233 mpc@xmath7 , @xmath234 mag and @xmath9 .
note that the error in the normalisation parameter , @xmath27 , is the combination ( in quadrature ) of the error from the fitting algorithm combined with the error from the number of galaxies within the normalisation volume . for completeness
we also show the implied lf from our chooniewski function fit ( dotted line ) .
however recall the poor @xmath126 value from this fit which highlighted the fit s inability to model the dwarf population correctly ( mainly due to the broadening of the surface brightness distribution ) .
the right panel of fig.[lf ] shows the formal 1,2,3-@xmath227 error contours for the schechter function fit to the collapsed mgc bbd luminosity distribution .
contours of the schechter function fit . ] fig .
[ lfcomp ] compares our lf based on the bbd analysis of the deeper , higher quality , higher completeness mgc data to a number of other recent lf estimates ( tabulated in the lower half of table [ lfdata ] ) .
note that these schechter functions are shown with their original @xmath27-values as opposed to the @xcite corrected values .
we find our lf recovers a comparable @xmath10 value to most previous surveys , but a slightly higher normalisation ( as one might expect from a bbd - style analysis which recovers more light from the low surface brightness population than a non - bbd style analysis ) , and an @xmath28 value consistent with the median of these other surveys . in comparison to the esp
lf ( @xcite ) we find consistent schechter function parameters within the quoted errors of the two surveys . in comparison to the 2dfgrs lf ( @xcite ) we find consistent @xmath10 and @xmath27 values but a flatter ( move positive ) @xmath28 .
this discrepancy in @xmath28 is formally significant at the @xmath235-level , however we do note that the 2dfgrs has undergone a major overhaul of its photometry since this result ( see discussion in @xcite ) .
the final 2dfgrs post - recalibration lf has yet to be determined .
our result are consistent with the @xmath10 value only for sdss1 and inconsistent with all three schechter function values for sdss2 .
a detailed discussion of this discrepancy follows in the next section . and @xmath28 together with the mgc @xmath236 , @xmath67 and @xmath237-@xmath227 contours ( right panel ) .
] -@xmath227 error ellipses for the schechter function fits along with the data points from the right panel of fig .
[ lfcomp ] . ] the most noticeable outliers in fig .
[ lfcomp ] are the two sdss results , sdss1 @xcite and sdss2 @xcite .
the discrepancy in the normalisation of sdss1 has been comprehensively discussed by both @xcite and @xcite and ascribed to the lack of an evolutionary model in the sdss1 analysis , coupled with their method of normalisation .
an over - density in the sdss commissioning data region also contributes .
the sdss1 normalisation has been revised by @xcite : @xmath238 ) .
once corrected , the sdss1 lf agrees well with the mgc ( 2@xmath227-discrepancy in @xmath28 ) , the 2dfgrs and the eso slice project ( esp ) estimates .
the more recent sdss2 result has a significantly fainter @xmath10 to @xmath109 is given by @xcite as @xmath239 . ] and a much flatter faint - end slope than any of the other surveys .
@xcite argued that the difference in the @xmath240-band lfs of sdss1 and sdss2 was simply due to the inclusion of luminosity evolution in the latter and that the luminosity densities measured by the 2dfgrs and sdss2 agreed to within the errors once the differing amounts of evolution had been taken into account .
however , in the @xmath241-band the discrepancy in @xmath28 between sdss1 and sdss2 is more than twice that in the @xmath240-band .
furthermore , even though the luminosity evolution derived in the sdss2 fitting process is very strong ( @xmath242 mag per unit redshift , where @xmath243 ) it can not explain away the difference between the mgc and sdss2 values .
our evolutionary correction given in section [ evolution ] corresponds to @xmath244 .
if we replace this with the sdss2 evolution , @xmath245 , and re - derive our collapsed mgc lf we find @xmath246 mag and @xmath247 ( or @xmath248 mag and @xmath249 if we restrict the lf fitting to the equivalent sdss2 limit of @xmath250 mag ) .
hence some tension remains between the sdss2 and mgc lfs irrespective of evolution .
the same argument holds when comparing sdss2 to the 2dfgrs since the latter adopted an evolution equivalent to @xmath251 . to test whether the surface brightness selection limits might be responsible , fig .
[ lfcomp2 ] shows a re - analysis of the mgc data , following the same procedures as before , but now imposing progressively shallower surface brightness limits ( as indicated ) .
the left panel again shows the lfs and the right panel the @xmath236-@xmath227 error ellipses of the schechter function fits .
it is quite apparent that shallower surveys progressively miss a greater fraction of the dwarf population(s ) and ultimately giants recovering both a fainter @xmath10 and a more positive @xmath28 .
in fact , fig.[lfcomp2 ] based on mgc data mirrors the expectation from the simulations of @xcite remarkably well ( see their fig . 5 ) . on fig .
[ lfcomp2 ] the lf with an imposed selection limit of @xmath252 mag arcsec@xmath1 appears to match the sdss2 lf closely and initially suggests that surface brightness selection might explain the sdss2 result .
( note that sdss1 implemented a bbd - style analysis ) .
however fig .
[ completeness ] ( left panels ) do not show a significant difference in the low surface brightness spectroscopic completeness between the 2dfgrs and sdss surveys suggesting limits closer to @xmath253 mag arcsec@xmath1 .
we note that the sdss2 surface brightness @xmath254 per cent completeness limit ( including consideration of deblending and flux loss issues , etc . )
is quoted as @xmath255 \approx 23.4 $ ] mag arcsec@xmath1 ( @xcite , their fig .
3 ) , where @xmath256 $ ] indicates that the sdss surface brightness measures are derived from ` circular ' half - light radii .
conversely the mgc ( and most contemporary datasets ) use major axis half - light radii .
these are derived by growing the optimal ellipse until it encloses @xmath254 per cent of the flux .
the use of a circular aperture will always result in a lower half - light radius than an elliptical aperture ( except for purely face - on systems ) , and hence in a higher effective surface brightness .
the two effective surface brightnesses are related by : @xmath257 = \mu^e[{\rm circular}]-2.5\log \left(\frac{b}{a } \right),\ ] ] where @xmath258 is the axis ratio . for a random distribution of infinitely thin disks
the expected median axis ratio @xmath259 is @xmath260 . in reality
the galaxy distribution is more diverse consisting of spheroids , bulges and thick disk components / systems .
circular half - light radii measurements are also somewhat resolution dependent , introducing both seeing and redshift dependencies into the conversion .
empirically we find for our mgc data : @xmath261 , implying a correction of @xmath262 mag arcsec@xmath1 .
although we can not directly compare our mgc elliptical half - light radii to the circular s ' ersic half - light radii used by sdss2 , we can compare them to the standard sdss - dr1 circular petrosian half - light radii .
we find @xmath263 , independently confirming the correction of @xmath262 mag arcsec@xmath1 .
hence the quoted sdss2 @xmath254 per cent completeness limit of @xmath255=23.4 $ ] mag arcsec@xmath1 equates to @xmath264=23.77 $ ] mag arcsec@xmath1 .
the colour correction is more complex as it depends strongly on galaxy type and luminosity .
the low luminosity population is the bluest ( @xmath265 mag ) and hence surface brightness incompleteness will preferentially affect the faint end of the lf .
evidence for such a colour completeness bias can be seen in the observed sdss incompleteness within the mgc region .
this is shown as a function of @xmath266 or @xmath267 versus @xmath72 in the middle row ( centre and right panels ) of fig .
[ completeness ] . as the sdss spectroscopic survey is @xmath240-band selected it should not be surprising that the @xmath109 completeness is a more complex surface in magnitude , surface brightness and colour . in the worst case scenario we find a 50 per cent completeness limit for the bluest systems of @xmath268 mag arcsec@xmath1 which is consistent with fig .
[ completeness ] ( middle left ) , but more importantly significantly fainter than the surface brightness limit implied by fig .
[ lfcomp2 ] .
that a colour selection is obvious in both the @xmath266 and @xmath267 sdss completeness maps of fig .
[ completeness ] argues that the colour selection bias is not a feature of the @xmath127 band data but more a general trend across all filters .
adopting an appropriate @xmath269 selection criterion is clearly non - trivial , however a simple way forward is to construct a lf from the available sdss2 redshifts within the mgc region ( see table .
1 ) . this will have the sdss selection function inherently built in .
we adopt @xmath270 mag , @xmath271 mag arcsec@xmath1 , the sdss2 @xmath241-band evolutionary correction and apply a conventional monovariate step - wise maximum likelihood @xcite .
we now recover @xmath272 mag and @xmath273 ( or @xmath274 mag and @xmath275 for @xmath276 mag ) and consistent at the @xmath277-@xmath227 level with sdss2 .
we therefore conclude that the discrepancy between the mgc and sdss2 lfs is complex , but predominantly due to the colour bias within the sdss ( cf .
[ completeness ] middle right ) .
this highlights the additional complexity in measuring lfs for filters other than the spectroscopic selection filter .
finally we note the recent preprint by @xcite in which an attempt is made to sample the very low luminosity regime from their new york university value added catalogue @xcite .
this incorporates a strategy for correcting the surface brightness incompleteness within the sdss2 dataset resulting in a significantly steeper faint - end slope ( @xmath278 to @xmath279 in @xmath240 ) .
the premise is that the surface brightness distribution of the dwarf population can be extrapolated from that of the giant population .
this results in correction factors for the space density of dwarf systems of up to @xmath280 ( see @xcite , their fig .
6 ) . in a similar spirit of producing a ` best guess ' lf at low luminosities fig.[guesstimate ] shows the mgc lf with the selection boundaries and lower redshift bounds removed .
this undoubtedly represents an underestimate of the true space density at low luminosities ( @xmath281 mag ) , but in so far as a comparison can be made it is consistent with the sdss result @xcite , in the sense that the sdss data lie above the mgc lower limits .
our lf is also consistent with a compilation of @xmath282 galaxies within the local sphere ( @xmath283 mpc ) taken from @xcite .
apart from indicating the amount of work that is yet to be done , fig.[guesstimate ] does suggest that the low redshift global luminosity function must steepen beyond @xmath284 at some intermediate magnitude ( @xmath285 mag ) .
however it would seem unlikely that it could steepen enough for the dwarf systems to make a significant contribution to the total local luminosity density ( as indicated by the dashed line ) .
mpc ) data taken from the catalogue of @xcite .
the schechter function from fig .
[ lfcomp ] is shown as the solid line and its extrapolation as the dotted line .
the dashed line shows the contour of equal contribution to the overall luminosity density . ] as we found earlier the chooniewski function adopted by previous studies ( @xcite ; @xcite ) provides a poor fit to the joint luminosity - surface brightness distribution .
this is mainly due to the apparent broadening of the surface brightness distribution towards fainter luminosities .
[ sbcomp ] highlights this by showing the surface brightness distribution at progressively fainter absolute magnitude intervals along with the selection limits taken from fig .
[ bbdcont ] .
we attempt to fit each of these distributions ( fig .
[ sbcomp ] , solid lines ) with a gaussian function defined as : @xmath286,\ ] ] where , @xmath223 is the characteristic ( peak ) surface brightness and @xmath224 is the dispersion ( analogous to those values in the chooniewski function ) .
the errors reflect @xmath287-statistics from the original observed number of galaxies contributing to each histogram element . for elements with zero values ( i.e. , no galaxies detected )
we adopt the error appropriate for a detection of one galaxy so that the significance of these ` null ' detections can be used to help constrain the fits .
the number of degrees of freedom ( listed in the final column of table [ gfdata ] ) is the number of data values plus any zero values either side of the distribution within the selection boundaries minus the number of fitting parameters ( three ) .
[ sbgauss](a ) shows the @xmath223 ( dark grey line ) and 1-@xmath224 values ( shaded region ) as a function of absolute magnitude .
these results are also tabulated in table [ gfdata ] .
[ sbgauss](a ) shows a trend of an initially invariant luminosity - surface brightness relation until @xmath288 mag , and then a steady decline to the limits of detection at @xmath289 mag .
the dispersion of the surface brightness distributions grows steadily broader as the luminosity decreases .
the changes in both the luminosity - surface brightness relation and its dispersion explain the poor fit of the chooniewski function which can not accommodate such features . at this stage
it is also worth noting that the gaussian fits return poor @xmath126 values at intermediate luminosities with even a hint of bimodality ( at @xmath290 mag ) .
this may imply that the low luminosity distribution consists of two overlapping populations : rotationally supported disks ( lower surface brightnesses ) and pressure supported spheroids ( higher surface brightnesses ) .
if borne out by more detailed structural studies then one might expect the rotationally supported disk systems to exhibit both a steeper @xmath160-@xmath291 relation and a narrower surface brightness distribution than the overall population .
three luminosity - surface brightness trends ( @xmath292-@xmath293 ) are well known ( see table [ lfdata ] ) : the kormendy relation for spheroids ( @xcite ) ; freeman s law for disks @xcite ; and the virgo / local group dwarf relation ( @xcite ; @xcite ) .
more recently @xcite identified a relation for late - type disks similar to that seen for dwarf systems in virgo and the local group .
the general trends for these established relations are overlain on fig .
[ sbgauss](a ) .
one can speculate that the combination of these trends might well lead to the overall shape of the global @xmath292-@xmath293-distribution shown on fig .
[ sbgauss](a ) , as the spheroid - to - disk ratio typically declines with decreasing luminosity .
hence the global trend initially follows a kormendy relation , switching to a more constant freeman law and finally into a declining dwarf relation . in comparison to the @xcite sample for late - type disks we find a shallower luminosity - surface brightness relation and a broader surface brightness distribution
this may have two reasons : firstly , the djl sample is @xmath294-band selected and our use of a global filter conversion may introduce this error ; secondly , the djl sample is far more local and both inclination and dust - corrected .
an obvious extension to the mgc analysis would be to also implement these corrections .
obviously , detailed structural analysis is required before a meaningful comparison to these ad hoc local studies can be made .
however , we can highlight two key questions : ( i ) are there two distinct disk populations , i.e. a giant disk population adhering to freeman s law and a dwarf - disk population which does not , or just a single dwarf - disk relation ? ( ii ) is the dwarf surface brightness distribution bimodal reflecting the two dominant classes of dwarf galaxies ( dwarf ellipticals and dwarf irregulars ) ?
there are three significant studies of the global @xmath292-@xmath293 distribution ( see table [ lfdata ] ) : a 2dfgrs study by @xcite , an sdss study by @xcite and a local galaxy sdss study by @xcite . in comparison to @xcite
we find that the mgc data follow a similar @xmath292-@xmath293 relation but show significantly broader surface brightness distributions .
[ sbgauss](b ) shows the comparison where we have taken the data from table c2 of @xcite and fitted gaussian distributions in a similar manner as for the mgc data .
the obvious discrepancy is in the @xmath224 values and this reflects a number of significant improvements .
firstly , the deeper mgc isophote coupled with the improved redshift completeness of mgcz ( see fig . [ completeness ] ) enables the inclusion of lower surface brightness systems . as these preferentially occur at lower luminosity the effect acts to broaden the surface brightness distribution at fainter luminosities .
secondly , the 2dfgrs sample was not seeing - corrected and hence the sizes of the high surface brightness galaxies were overestimated .
thirdly , the cross et al.analysis derived the surface brightness measurements under the assumption that all galaxies were perfect exponential disks . these factors conspire to push the 2dfgrs bbd into a narrower distribution .
a fourth factor , hard to qualitatively assess , is the major revisions to the 2dfgrs photometry which have taken place since @xcite ( see @xcite for further details on the 2dfgrs recalibration history ) . in fig .
[ sbgauss](c ) we overlay the recent sdss results by @xcite .
the shen et al .
study is @xmath295-band selected with an imposed surface brightness cut at @xmath296=23 $ ] mag arcsec@xmath1 .
shen et al .
divide their sample into a number of sub - groupings and we elect to show the data from their fig .
13 which separates galaxies according to concentration index , @xmath297 ( see @xcite for details ) .
this divides the population into galaxies earlier or later then s0/a ( with an @xmath298 per cent success rate ) . to convert the shen et al .
@xmath240-band results to @xmath109 we derive the early and late - type @xmath299 colour in each of the @xmath240-band absolute magnitude bins specified by shen et al . to do this
we assume our eyeball e / s0 type corresponds to ` early ' and our eyeball sabcd / irr to ` late ' ( a detailed account of the eyeball morphologies and morphological luminosity functions is presented in driver et al .
, in preparation ) .
hence each data point is adjusted independently .
in addition we must also correct the sdss effective surface brightness measurements from circular to major axis measurements as discussed in section [ sdssdiff ] , i.e. @xmath300 = \mu^e[{\rm circular}]+0.37 $ ] .
[ sbgauss](c ) shows the comparison between the shen et al .
data and the mgc and we see a uniform offset of @xmath301 mag arcsec@xmath1 . despite extensive experimentation with various data subsets and selection boundaries
we have been unable to reproduce this result from the mgc data .
[ sbgauss](d ) shows a comparison between the recent very low redshift sdss @xmath240 results @xcite and the mgc .
we implement the same colour and surface brightness corrections as for the shen et al . data .
the ridge line of the very local sdss data shows good agreement with the mgc data , albeit with a narrower distribution ( i.e. , lower @xmath227 values ) .
however this appears to be a further manifestation of the sdss use of circular apertures .
for example , if we derive the surface brightness distribution around the @xmath10-point for the mgc data using circular and major axis derived surface brightness measures we find a peak offset of @xmath302 ( slightly larger than our estimated median offset of @xmath262 ) with @xmath303 and @xmath304 .
this latter value is now consistent with the recent sdss estimate ( @xcite ) .
note that the dashed lines on fig .
[ sbgauss ] indicated the sdss extrapolated data used to correct the faint - end of the luminosity function . to the mgc limit
these extrapolated distributions appear to match our data well providing some vindication for the extrapolation process ( see @xcite , section [ llfe ] and fig . [ guesstimate ] ) .
the above two comparison between the mgc and the @xcite and @xcite studies must imply an inconsistency between the two sdss results .
this is perhaps more obvious if one bypasses the mgc data and directly compare fig . 14 of shen et al with fig . 5 of blanton et al .
the peaks of the late - type / low sersic index sb distributions ( both measured in @xmath240 ) are clearly distinct . given the consistency with the 2dfgrs and the traditional structural studies discussed earlier we conclude that the problem most likely lies with the shen et al . analysis .
if we disregard the shen et al study , we can conclude that the ridge line of the effective surface brightness distribution is well constrained and consistent between the mgc , 2dfgrs and the most recent sdss results .
however the mgc distribution is significantly broader than either the 2dfgrs or sdss results which is due to improvements in the analysis ( in comparison to the 2dfgrs ) and the use of elliptical as opposed to circular aperture photometry ( in comparison to the sdss ) . in section [ evolution ]
we described our adopted evolutionary parameter , @xmath142 , where the luminosity evolution follows the form : @xmath305 $ ] . in section [ sdssdiff ]
we saw that this evolution differs from that adopted by the 2dfgrs and sdss2 and discussed the possible impact .
[ beta ] ( upper panels ) highlights this dependency by showing the derived values for @xmath10 and @xmath28 for various values of @xmath142 . taking this one step
further we can attempt to constrain @xmath142 directly by adopting the additional constraint that the recovered @xmath10 parameter should be invariant to redshift .
we divide our sample into two redshift intervals : @xmath306 and @xmath307 ( with median redshifts of @xmath308 and @xmath309 respectively ) and redetermine the collapsed lf distributions using our bbd analysis for regular intervals of @xmath142 .
we hold @xmath28 fixed to the value derived from the full redshift range for each @xmath142 ( i.e. , the value indicated in the middle panel of fig . [ beta ] ) and
solve for @xmath10 and @xmath27 .
it is necessary to hold @xmath28 fixed because the high-@xmath102 sample has too few low - luminosity galaxies to adequately constrain it .
[ beta ] ( main panel ) shows the resulting @xmath310 versus @xmath142 and we find the weak constraint : @xmath311 . while this is not particularly stringent , it is consistent with our adopted value of @xmath312 .
this constraint on beta is marginally inconsistent ( @xmath313 ) with the evolution found by @xcite for the @xmath241-band ( @xmath314 ) , but consistent with the evolution adopted by the 2dfgrs ( @xmath315 ) .
perhaps more importantly this range of @xmath142 implies a potential systematic uncertainty on the quoted @xmath10 ( @xmath28 ) values of @xmath316 ( @xmath317 ) . as noted at the start of section [ cosmoke ] , it is also equally plausible that this error does not actually reflect evolution per se but could instead be interpreted as a redshift dependent photometric error or similar . from the variation of @xmath10 between low and high redshift samples .
upper panels : the @xmath10 and @xmath28 values for the entire dataset for different beta values . ]
in this paper we have attempted to recover the space density and surface brightness distributions of galaxies , paying careful attention to surface brightness selection biases .
we have used the millennium galaxy catalogue which , although smaller in size , has significantly higher resolution , greater depth and higher redshift completeness than either the 2dfgrs or sdss datasets , hence probing to fainter intrinsic luminosities . in comparison to most earlier studies this work includes the following enhancements .
\1 . imaging data which probes @xmath277@xmath67 mag arcsec@xmath1 deeper than the 2dfgrs and sdss surveys
. \2 . exceptionally high spectroscopic completeness ( @xmath4 per cent ) .
individual @xmath5-corrections derived from @xmath318 fits to spectral templates .
seeing - corrected half - light radius measurements without assumption of profile shape .
modeling of the mgc surface brightness detection and reliability limits which includes the effects of the analysis software .
\6 . a weighting system which accounts for apparent magnitude and apparent surface brightness dependent redshift incompleteness .
\7 . a joint luminosity - surface brightness step - wise maximum likelihood method which incorporates the selection boundaries .
having incorporated these additional improvements to the classical measurement of galaxy luminosity functions , we generally find close agreement with previous results . in particular , our collapsed luminosity distribution is marginally higher in normalisation and marginally flatter than the 2dfgrs @xcite , esp @xcite and sdss1 ( @xcite ; after renormalisation by @xcite ) results .
it is significantly brighter and steeper than the more recent sdss2 luminosity function @xcite .
we infer that this discrepancy arises because of a colour - selection bias in the sdss .
the mgc survey extends to lower luminosity than these previous surveys , providing more leverage and hence more reliability at the faint end .
our final schechter function parameters are : @xmath319 mpc@xmath7 , @xmath320 mag and @xmath9 with a @xmath321 of @xmath322 indicating a respectable fit .
overall we find that surface brightness selection effects do not play a significant role at bright luminosities .
however , the combination of the luminosity - surface brightness relation and the broadening of the surface brightness distribution is likely to lead to the loss of both low surface brightness and compact dwarf systems in contemporary surveys hence the variation in @xmath28 ( cf .
[ lfcomp ] & [ lfcomp2 ] and discussion in section [ spacedensity ] ) . at the very faint end
we provide lower limits which suggest that the luminosity function must turn up at some point faintwards of @xmath323 mag . the final mgc schechter function parameters , which include compensation for the effects of selection bias , imply a luminosity density of @xmath325 mpc@xmath7 ( adopting @xmath326 mag and @xmath327 , cf .
this is fully consistent with the mgc revised values for the 2dfgrs , esp and sdss1 surveys ( see table 3 of @xcite ) .
it is also worth noting that this value is also consistent with the original 2dfgrs ( @xcite ) and esp ( @xcite ) values .
the more recent sdss2 result ( @xcite ) finds @xmath328 mpc@xmath7 and @xmath329 mpc@xmath7 .
hence while the @xmath12 value is consistent the @xmath13 value is not ( @xmath330 ) .
the sdss @xmath13 value is derived by adopting the evolutionary parameters derived by @xcite .
if we use our evolution instead ( @xmath138 , see section [ evolution ] ) the sdss @xmath13 luminosity density becomes @xmath331 mpc@xmath7 which although closer is also inconsistent with our result . from section [ sdssdiff ]
we concluded that a colour bias may have resulted in an underestimate of the sdss @xmath241-band lf and hence to an underestimate of the sdss luminosity densities .
based on the consistency between the mgc , 2dfgrs and esp results we can also find that while the more sophisticated bbd analysis does recover some additional flux from the low surface brightness population , it does not constitute a significant change ( consistent with the findings of @xcite ) .
our recovered bivariate brightness distribution exhibits a clear ` ridge ' of data well separated from the selection boundaries down to @xmath332 mag at which point both very compact and highly extended dwarf systems will be missed .
this indicates that the recovered schechter function is generally robust to surface brightness selection effects for luminous galaxies but that the dwarf population(s ) remain elusive .
we attempted to fit a chooniewski function @xcite , essentially a schechter function with a gaussian distribution in surface brightness , to the overall distribution .
it introduces three additional parameters : a characteristic surface brightness ; a gaussian dispersion ; and a luminosity surface brightness relation .
we find that this function fails to provide a satisfactory fit due to the broadening of the surface brightness distribution with decreasing luminosity and a distinct change in slope of the luminosity - surface brightness relation at @xmath333 mag .
we find that the surface brightness distribution of galaxies exhibits interesting behaviour , with a well bounded gaussian - like distribution at @xmath26 , qualitatively consistent with the combination of the kormendy relation for spheroids and a @xmath334 broader freeman s law for bright disks . at @xmath26
we find that the surface brightness distribution is well described by a gaussian with parameters : @xmath335 mpc@xmath7 , @xmath336 mag arcsec@xmath1 , @xmath337 mag arcsec@xmath1 with a @xmath321 of @xmath338 . at fainter luminosities the normalisation increases ,
the characteristic surface brightness becomes fainter and the dispersion broadens until the distribution appears almost flat ( or possibly bimodal ) .
the schechter function fit to the gaussian normalisations ( column 4 of table 3 ) provides a basic completeness correction and yields consistent schechter function parameters to those quoted in section [ lfresult ] , i.e. @xmath339 mpc@xmath7 , @xmath340 mag and @xmath341 with a @xmath321 of @xmath342 . in comparison to the 2dfgrs study of @xcite
we find a consistent luminosity - surface brightness relation but with a significantly broader dispersion in surface brightness .
this is predominantly due to the implementation of seeing corrected size , direct ( i.e. , profile - independent ) half - light radius measurements and improved completeness for extended systems .
a comparison to the sdss results of @xcite and @xcite are complex because of the sdss standard of circular aperture photometry .
however we find that our results can be reconciled with those of @xcite but not with those of @xcite .
we also note that the sdss use of circular apertures also leads to significantly narrower surface brightness distributions . various studies ( @xcite ; @xcite ; @xcite ; @xcite ;
@xcite ) relate the gaussian dispersion of the surface brightness distribution , or equivalently of the @xmath174 is the half - light radius measured in kpc .
it is related to surface brightness by @xmath343 and hence @xmath344 . ]
distribution , to the dimensionless spin parameter of the dark matter halo , @xmath345 @xcite .
the basic concept is that the baryons in the disk reflect the angular momentum state ( rotational or dispersive ) of the dark matter halo .
while the luminosity relates to the mass , the disk scale - length relates to the specific angular momentum via the spin parameter .
numerical simulations generally predict values for @xmath21 ( @xcite ; see also @xcite ) .
this is most consistent with our observations at fainter luminosities .
however , at brighter luminosities we find a significantly narrower dispersion @xmath346 .
this may imply that brighter , more mature galaxies have evolved via mechanisms currently beyond the standard numerical simulations ( i.e. , the baryons have decoupled from the dark matter halo and evolved away from the halo properties ) .
alternatively it may argue for significant non - directional baryon infall onto the halo , muddying any coupling between the primordial baryons and the halo @xcite .
further possibilities might also include the presence of bulges in high luminosity systems whose properties depend more critically on a central supermassive black hole @xcite . one intriguing result of the simulations is the lack of variation of the surface brightness or size distribution with mass ( @xcite .
however , the more detailed studies which actually follow individual halos _ do _ imply a greater variation in @xmath347 for low - mass systems .
for example , @xcite trace the history of three halos through the merging process .
they clearly show that @xmath347 initially varies significantly as the halos grow but that it becomes more resilient to mergers once the halos reach sufficient mass .
ultimately all three halos converge towards a common value at high mass .
this seems plausible as one would expect smaller systems to be more affected by mergers than more massive systems .
the surface brightness distribution of galaxies has been hotly debated for over thirty years since the advent of freeman s law and the conjecture that it is wholly a selection bias @xcite . while in many minds
the debate is resolved through deep hi studies ( e.g.@xcite ) and ly-@xmath28 absorption line studies ( @xcite ; @xcite ) , others remain loyal to disney s conjecture ( e.g. oneil , andreon & culliandre 2003 ) and still argue for a flat surface brightness distribution at all luminosities ( @xcite ; @xcite ; @xcite ) implying a significant amount of hidden mass . at least in oneil
et al.s case this stance derives from neglecting the clear luminosity - surface brightness relation seen in their data .
the global surface brightness distribution may indeed be flat but the low surface brightness systems are predominantly dwarfs , providing little enhancement to the global luminosity , baryon or mass densities .
we have attempted to address this debate through careful consideration of _ most _ selection issues .
we probe to depths where the distribution is clearly bounded and where we robustly demonstrate we could reliably recover giant low surface brightness galaxies were they to exist in significant numbers .
they do not .
while we address the selection bias in the redshift survey as a function of apparent magnitude and apparent surface brightness other potential selection effects remain unexplored .
for example , the redshift completeness may well be a function of spectral type , in which case the assumption that all galaxies of similar apparent magnitude and surface brightness are drawn from the same redshift distribution will not be correct . in particular , inert low surface brightness galaxies which may have insufficient features to readily yield a redshift and may be missed entirely .
we also do not at this stage decompose galaxies into bulge and disk components .
this is clearly required by both the observations ( which show two , or possibly three , distinct luminosity - surface brightness relations for spheroid and disk components ) as well as by theory and simulations which argue for distinct formation mechanisms for these components ( merger and accretion respectively ; e.g. pierani , mohayaee & de freitas pacheco 2004 ) .
we hence intend to extend our analysis in three ways : @xmath214 per cent spectroscopic completeness ; bulge - disk decompositions ; and extension to longer wavelengths and in particular the near - ir which promises smoother , dust - free profiles .
we thank shiyin shen , eric bell and michael blanton for useful discussions and exchange of data , steve phillipps , alister graham and stefan andreon for comments on the early drafts and the referee for a number of detailed scientific and stylistic improvements .
the millennium galaxy catalogue consists of imaging data from the isaac newton telescope and spectroscopic data from the anglo australian telescope , the anu 2.3 m , the eso new technology telescope , the telescopio nazionale galileo , and the gemini telescope .
the survey has been supported through grants from the particle physics and astronomy research council ( uk ) and the australian research council ( aus ) .
the data and data products are publicly available from http://www.eso.org/@xmath51jliske/mgc/ or on request from j. liske or s.p . driver .
this research has made use of the nasa / ipac extragalactic database ( ned ) which is operated by the jet propulsion laboratory , california institute of technology , under contract with the national aeronautics and space administration .
funding for the sloan digital sky survey ( sdss ) has been provided by the alfred p. sloan foundation , the participating institutions , the national aeronautics and space administration , the national science foundation , the u.s .
department of energy , the japanese monbukagakusho , and the max planck society .
the sdss web site is http://www.sdss.org/. the sdss is managed by the astrophysical research consortium ( arc ) for the participating institutions .
the participating institutions are the university of chicago , fermilab , the institute for advanced study , the japan participation group , the johns hopkins university , los alamos national laboratory , the max - planck - institute for astronomy ( mpia ) , the max - planck - institute for astrophysics ( mpa ) , new mexico state university , university of pittsburgh , princeton university , the united states naval observatory , and the university of washington . | arxiv |
Total number of photons per unit volume in a box (extremely confusing)
This is a worked example from a text.
>
> a) Find an expression for the number of photons per unit volume with energies between $E$ and $E+dE$ in a cavity at temperature $T$.
> $$n(E)dE = g(E)f(E)dE = \frac{8 \pi E^{2}dE}{(hc)^{3}(e^{(\frac{E}{K\_{B}T})}-1)}$$
>
>
>
The second part confuses me very badly, to the point of it being disturbing.
>
> b) Find an expression for the total number of photons per unit volume (all energies)
> $$\frac{N}{V} = \int\_{\infty}^{0}n(E)dE = \frac{8 \pi ((K\_{B}T))^{3}}{(hc)^{3}}\int\_{0}^{\infty}\frac{(\frac{E}{K\_{B}})^{2}(\frac{dE}{K\_BT})} {e^{\frac{E}{K\_{B}T}}-1}$$
>
>
>
Where did $$((K\_{B}T))^{3}$$ come from and why is the numerator divided by $$K\_{B}T$$ Obviously, the energy of a photon is $E=hf$ and not $$K\_{B}T$$ and even if it was
I can see that constants are moved outside of the integral operator.
Any help is going to be tremendously helpful!
Thanks in advance
The $kT$ comes from the Bose-Einstein statistics. The photons are governed by this statistic, nothing suspicious is here. The power three appears when we go form the variable $E$ to the variable $E/kT$ in the integral.
| stackexchange/physics |
Why is the pressure correction constant 'a' independent of temperature?
In the van der Waals equation of state, 'a' which is the correction value is based on inter-molecular forces of attraction? Then should inter-molecular forces decrease when temperature increases, and thereby cause a change in value of 'a'?
Then why is 'a' independent of temperature?
The parameter $a$ is independent of temperature because we *defined* it this way. There is no other reason. Indeed, van der Waals equation is **very much not** a law of nature. It is just an empirical approximation. There are other approximations, maybe a dozen or more. You may create your own, where $a$ would decrease with temperature. Wait, it's been done already - look at the [Berthelot equation](https://en.wikipedia.org/wiki/Real_gas#Berthelot_and_modified_Berthelot_model)!
| stackexchange/chemistry |
pubmed |
|
Direct conversion of amides to esters
Rarely does the literature describe the synthesis of esters from amides. I understand that amides are a relatively unreactive functional group but they can easily be hydrolysed to give carboxylic acids under basic or acid conditions. Why can't they be converted to methyl esters under similar conditions using methanol in place of water?
Surely the mechanism would be identical to hydrolysis? Additionally, the pKa of water is very similar to methanol so I cannot justify it on the basis of nucleophilicity/basicity. The only thing I can think of is steric hindrance but methanol isn't that bulky compared to water.
You are right about the rarity of amide to ester conversion. Amide to ester conversion has remained a challenging and underdeveloped synthetic transformation. It is often due to the fact that amides are sufficiently stable because of its resonance-stabilized $\ce{C–N}$ group that imparts a planar geometry to amides and as such, esterification is difficult and requires the use of harsh acidic or basic conditions, while employing a large excess of nucleophile (e.g. using alcohol nucleophile as solvent). In contrast, esters are generally reactive under a variety of mild condition and therefore the opposite conversion of ester to amides is quite normal.
The most promised method of achieving amide to ester conversions is Keck’s methylation/hydrolysis although this method is limited to the synthesis of methyl esters and thus researchers has developed some method to expand this conversion's feasibility and efficiency.
1. Hie et. al. has achieved amide to ester synthesis using nickel complex catalyst. They studied the conversion of various aryl and heteraryl amides. One studied reaction is conversion of benzamide to methyl benzoate using $\pu{10 mol{\%}}$ $\ce{Ni(cod)2}$, $\pu{10 mol{\%}}$ SIPr, 2 equivalents of methanol, and toluene as solvent at $\pu{110 °C}$ for 12 hours. (Ref. 1)
[](https://i.stack.imgur.com/mT74R.png)
2. An efficient two step transformation of 1° and 2° amides to methyl and ethyl esters has been developed using trimethyl- and triethyloxonium tetrafluoroborates, and dilute acid. This method was applied to 1-benzyl-4-phenylamino-4-piperidinecarboxamide, a precursor in the synthesis of carfentanil, to produce the methyl ester in $\pu{60{\%}}$ yield and the ethyl ester in $\pu{80{\%}}$ yield. (Ref. 2 and 3)
3. Conversion of amides to ester has been achieved using $\ce{CeO2}$ catalyst and HY zeolites. A variety of metal oxides as catalyst and ester yields has been discussed. (Ref. 4)
[](https://i.stack.imgur.com/XQKhL.png)
**References**
1. Hie, L., Fine Nathel, N., Shah, T. et al. Conversion of amides to
esters by the nickel-catalysed activation of amide C–N bonds. Nature
524, 79–83 (**2015**). DOI: [10.1038/nature14615](https://www.nature.com/articles/nature14615) ([PDF link](https://authors.library.caltech.edu/63747/1/s-0035-1560598.pdf))
2. Amide to ester conversion: a practical route to the carfentanil class of analgetics
Douglass F. Taber and Mohammad Rahimizadeh, The Journal of Organic Chemistry, **1992**, 57 (14), 4037-4038, DOI: [10.1021/jo00040a061](https://pubs.acs.org/doi/10.1021/jo00040a061)
3. Anthony J. Kiessling & Cynthia K. McClure (**1997**) The Conversion of Amides to Esters with Meerwein'S Reagent. Application to the Synthesis of a Carfentanil Precursor., Synthetic Communications, 27:5, 923-937, DOI: [10.1080/00397919708004212](https://www.tandfonline.com/doi/abs/10.1080/00397919708004212?journalCode=lsyc20)
4. Conversion of Amides to Esters via Selective Cleavage of Amide C–N Bonds over a CeO2 Catalyst by Shimizu et. al. ([PDF](http://www.shokubai.org/16kjsc/pdf/Youth_oral/YO_D11.pdf))
| stackexchange/chemistry |
local properties of semiconductor nanostructures can be probed by the scanning gate microscopy @xcite ( sgm ) in which the charge of the atomic force microscope tip perturbs the potential landscape below the surface of the semiconductor within the space occupied by confined charge carriers .
sgm covers both the open systems ( quantum point contacts @xcite , resonant cavities @xcite , quantum rings @xcite ) in which the probe is used to read out the wave function at the fermi level from the conductance perturbations as well as systems that are weakly coupled to the reservoirs , i.e. closed quantum dots @xcite . for the latter , the current flows through the quantum dot only outside the coulomb blockade conditions @xcite , i.e. , when the chemical potential ( @xmath0 ) of @xmath1 confined electrons lies within the transport window defined by the fermi levels of source and drain . in experiments , the tip - induced variation of @xmath2
is determined from the shift of voltages that is necessary for restoration of the current flow @xcite . since the variation depends on the electron density beneath the tip this technique allows for visualization of the charge density @xcite .
the details of the variation of the charge density can be detected only for large quantum dots exceeding the range of tip potential . in large dots and at low electron densities the sgm technique can at least potentially resolve single - electron islands within the few - electron quantum dot which are formed as an effect of strong electron - electron correlations with the charge density nucleating to wigner molecules @xcite .
the effort on the extraction of the confined charge density by the scanning gate microscopy concerned mostly quasi one - dimensional ( 1d ) quantum dots defined within a quantum wire @xcite .
wigner molecules in 1d quantum dots @xcite are relatively stable against external perturbations due to the fact that the electrons in one dimension can not exchange their positions . in circular 2d
quantum dots at low carrier densities the electron localization acquires a molecular form @xcite only in the inner coordinates of the system and not in the charge density which remains rotationally invariant .
the wigner form of the electron density with separate single - electron islands can observed in the laboratory frame of quantum dots of lower symmetry only for some @xmath1 , for which the classical @xcite charge distribution reproduces the symmetry of the confinement potential @xcite .
so far , the scanning gate microscopy experiments on closed two - dimensional ( 2d ) quantum dots defined within the two - dimensional electron gas ( 2deg ) concerned : imaging of the single - electron quantum dot @xcite , mapping the position of floating double dot defined electrostatically @xcite , and determination of the effective tip potential as seen by the confined electrons @xcite . in the present paper
we consider an extent to which the energy variation induced by the tip can be used for visualization of few - electron charge density in 2d quantum dots .
we investigate the relation between the wigner molecule formation in the laboratory frame and the reaction of the confined density on the potential of the tip .
we perform configuration interaction calculations taking into account both the electron - electron correlation and the reaction of the quantum dot to the tip potential .
the study covers up to four electrons and quantum dots of various symmetries and profiles .
we discuss the adequacy of the perturbative approach for extraction of the electron density @xcite confined in quantum dots and the fidelity of charge images outside the perturbative regime .
we find that the images obtained with repulsive ( attractive ) tip potential tend to overestimate ( underestimate ) the electron localization .
we demonstrate that the confined charge density is best resolved when the classical electron configuration agrees with the symmetry of the confinement potential .
we also identify cases when the confined electron density evades visualization even for weak perturbation introduced by the tip .
in this work we assume a strictly two - dimensional model of confinement which is usually justified by the strong confinement of 2deg in the growth direction ( @xmath3 ) .
the hamiltonian of @xmath1-electron system is taken in form @xmath4 where @xmath5 is the position of the @xmath6th electron and @xmath7 is the single - electron hamiltonian , @xmath8 in eq .
( [ 1h ] ) , @xmath9 is the effective mass , @xmath10 is the dielectric constant ( we use gaas material parameters @xmath11 , @xmath12 ) , @xmath13 stands for the external potential , @xmath14 denotes the tip potential as seen by the electrons within the plane of confinement and @xmath15 is the position of the tip .
the single - electron eigenequation is diagonalized ( @xmath16 ) using a basis of gaussian functions @xmath17\right ) , \label{gb}\ ] ] where the centers of gaussians @xmath18 are distributed on a rectangular lattice of @xmath19 points ( typically several hundred centers are taken
see for instance the crosses in fig .
[ schemat ] ) and @xmath20 is optimized variationally @xcite .
the applied multicenter gaussian basis allows for description of any smooth potential with arbitrary or no symmetry @xcite . the few - electron eigenproblem is solved with the configuration interaction approach using the eigenstates of operator ( [ 1h ] ) for construction of the basis .
the single - electron eigenfunctions ( @xmath21 ) are used for construction of slater determinants that are used as the basis for the @xmath1-electron schrdinger equation for hamiltonian ( [ nh ] ) , @xmath22 , \nonumber\end{aligned}\ ] ] where @xmath23 is the antisymmetrization operator , and @xmath24 is one of the eigenstates of the spin pauli @xmath25 matrix . for construction of the basis of determinants we use up to 38 single - electron spin - orbitals . in experiment
the maps of the chemical potential @xmath26 can be gathered by re - tuning the conditions for the current flow ( i.e. lifting of the coulomb blockade ) with varied backgate potential or bias . since @xmath27
, the energy maps as functions of the tip position can be deduced for any @xmath1 .
simulation of the confined charge density mapping by the sgm technique is performed in the following sequence .
we first calculate the energy of @xmath28electron system as a function of the tip position .
the charge density extracted from the energy map @xmath29 is obtained under the assumption that the action of the tip is perturbative @xcite @xmath30 equation ( [ feft ] ) is a convolution of the tip potential and the confined charge density .
the charge density can be extracted from the energy dependence of the tip position using the fourier transform technique @xcite . alternatively eq .
( [ feft ] ) can be treated as the fredholm - type integral equation for @xmath29 .
we apply the nystrm approach replacing the integral by a quadrature ( rectangle rule ) . upon replacement
we obtain a linear system of equations for the charge density in the mesh points used for the quadrature . in the following
we compare the charge density deduced in this way ( @xmath29 ) with the exact one ( @xmath31 ) that is calculated from the few - electron wave function @xmath32 for comparison we calculate also the charge density @xmath33 assuming that the tip potential is point - like @xmath34 .
then , eq . ( [ feft ] ) reduces to @xmath35 normalized charge density @xmath33 derived from this formula is simply proportional to the energy variation .
the original potential of the charged tip is of the coulomb form .
as the tip approaches the 2deg its charge density reacts by deformation which results in the screening of the tip potential .
previous schrdinger - poisson calculations @xcite for the reaction of the 2deg to the tip indicated that the effective ( i.e. screened ) tip potential is close to the lorentz form @xmath36 where the width of the tip @xmath37 turns out to be of the order of the tip
2deg distance @xcite independent of the charge at the tip and the density of 2deg , which only influence the strength of the perturbation @xmath38 and not its range .
the lorentz form of the effective tip potential for sgm measurements on 2deg was also found in experimental studies of 2d quantum dots @xcite .
therefore , in the bulk of this work we use mainly the lorentz model potential of the tip and assume @xmath39 nm , which seems the smallest reasonable value of the potential width .
for comparison we also consider the reaction of the confined system to the long - range coulomb potential @xmath40 where @xmath41 is the tip potential , and @xmath42 the position of the tip above the 2deg plane .
an ample discussion of potentials of electrostatic quantum dots defined within 2deg was given in ref .
the calculations @xcite indicated that depending on the geometry of the device one can obtain both parabolic and quantum well profiles .
the latter can only be realized for large dots @xcite of the linear extent of the order of a few hundred nm , i.e. the ones which are studied in the present work . since our purpose is to determine the relation between the @xmath28dependent classical electron distribution and the quantum dot geometry we consider a number of potentials : parabolic @xmath43 of circular @xmath44 and elliptic @xmath45 symmetry , as well as non - parabolic dots modeled by formula @xmath46 which produces a well - like potential with a flat bottom of a nearly rectangular shape of dimensions @xmath47 .
( [ rect ] ) we discuss the dots from a nearly 1d ( @xmath48 ) to square ( @xmath49 ) geometry .
let us first consider a circular parabolic quantum dot with @xmath50 mev .
the solid line in fig .
[ oscylator](e , f , g , h ) shows the unperturbed radial charge density for 1,2,3 and 4 electrons , respectively .
when a tip modeled by the attractive lorentzian with @xmath51 mev moves above the system , the changes in the energy are of the order of 0.2 mev only [ fig . [ oscylator](a - d ) ] . the reproduced charge density : @xmath29 ( circles ) very well agrees with the unperturbed density , which is also the case for weak repulsive tip potential [ fig .
[ oscylator](m - p ) ] . a stronger amplitude of the energy variation should be useful for the signal to noise ratio of the experimental maps . for a stronger attractive perturbation ( @xmath52 mev , fig .
[ oscylator](i - l ) ) we notice that the size of the charge droplet is overestimated with an extra oscillation of a small amplitude . on the other hand : a stronger repulsive potential ( @xmath53 mev , fig .
[ oscylator](q - t ) ) gives a smaller size of the droplet .
figure [ oscylatorg ] shows the two- and three- electron densities : unperturbed [ fig .
[ oscylatorg](a - b ) ] , and in the presence of the tip [ fig .
3(c - f ) ] .
the attractive tip @xmath52 mev captures a part of the density underneath [ fig .
[ oscylatorg](c - d ) ] , the position of the other electron islands becomes well resolved .
the repulsive tip also pins the orientation of the wigner molecule in the laboratory frame [ fig .
[ oscylatorg](e - f ) ] , only with a void under the tip position .
the impact of the tip on the electron density is therefore a drastic one for both negative and positive tip potentials , so a success of the perturbative formula given by eq .
( [ feft ] ) for reproduction of the radial density as calculated in the absence of the tip found in fig .
[ oscylator ] is quite remarkable , even if the original density lacks finer details .
the finer details of the unperturbed electron density appear for dots of lowered symmetry : see the results for an elliptic ( @xmath54 mev , @xmath55 ) quantum dot in fig .
[ eliptu ] . for two electrons : single - electron islands
are formed [ fig . [ eliptu](b ) ] along the @xmath56 axis , as in the classical solution [ fig .
[ celiptu](a ) ] . for three
electrons two equivalent classical charge distributions exists [ see fig .
[ celiptu](b ) ] each of the symmetry lower than the elliptical one , and in consequence the single - electron islands do not appear in the laboratory frame of the quantum system [ fig .
[ eliptu](c ) ] .
for each @xmath1 , similarly as for the circular potential , for a weak perturbation both negative tip [ @xmath51 mev fig .
[ eliptu](m - p ) ] and positive tip [ not shown ] , @xmath29 density very well reproduces the unperturbed one .
second and third rows of fig .
[ eliptu ] show the energy of the system in function of the tip position for stronger attractive and repulsive tip potentials @xmath57 mev . for the negative tip
we obtain a flat minimum , within more or less the entire region occupied by the unperturbed charge density [ fig .
[ eliptu](e - h ) ] .
the minimum appears since the tip creates its own potential minimum and the electron system follows the minimum as the tip is translated .
the reproduced density [ fig .
[ eliptu](q - t ) ] occupies larger space than the original one ( as in the circular for @xmath52 mev see fig .
[ oscylator](i - l ) ) , and a variation of smaller amplitude appears within the maximal density area . for the positive tip
the energy maximum is more strongly localized [ fig .
[ eliptu ] ( i - l ) ] around the center of the dot , and the amplitude of @xmath29 variation [ fig .
[ eliptu ] ( u - x ) ] is drastically increased with respect to @xmath31 .
also , the reproduced density occupies visibly smaller area than the original one . nevertheless , the configuration of the maxima of @xmath29 agrees with the ones present for @xmath31 . for @xmath58 mev ,
the density @xmath33 reproduced with the assumption that the energy map obtained in fact for the lorentz function is due to the delta - like tip potential , gives a closer [ fig .
[ eliptu ] ( y - ab ) ] idea about the size of the charge droplet .
nevertheless , the details of the density maxima are not reproduced by @xmath33 .
let us now consider a square quantum dot [ confinement potential given by eq .
( 11 ) for @xmath59 nm ] .
for @xmath60 the unperturbed electron density distinctly sticks to the corners of the square dot [ fig .
[ square](b - d ) ] as should be expected for interacting charge density within a box . for @xmath61 and 3 an increase of the density along the dot edges is also observed .
the classical system of 4 electrons possesses a single lowest - energy configuration [ fig .
[ csquare](d ) ] which coincides with the charge density of fig .
[ square](d ) .
systems of two and three electrons possess two and four equivalent configurations , respectively [ fig .
[ csquare](a - c ) ] .
the few - electron wave function contains contributions of all these configurations . since one or two corners of the square are unoccupied in the classical configurations , the lower amplitude of the maxima at the corners than in the case of @xmath62 .
as the negative tip scans the dot [ fig .
[ square](e - h ) ] we observe a rather flat dependence of the energy on the tip position with minima at the corners where the unperturbed electron density is the largest .
remarkably , for the positive tip and @xmath61 and @xmath63 the energy extrema lie on the axes of the dot [ fig .
[ square](j - k ) ] , and not on the corners .
the reason for this behavior is given in fig.[squareg ] which displays the charge distribution when the tip is present .
when the tip is above the corner of the dot [ fig .
[ squareg](g - h ) ] we can see that the electron density becomes nearly identical with the classical systems of electrons [ cf .
[ csquare](a - c ) ] .
the other equivalent lowest - energy configurations of the charge density were excluded by the presence of the tip above one of the corners . on the other hand , for two - electrons when the tip is above the center of the side of the dot [ fig . [ squareg](e ) ] the electrons instead of occupying the opposite corners of the dot , go to its other side and approach each other , hence the corresponding maximum of the energy [ fig . [ square](j ) ] . for three electrons ,
formation of four instead of three charge maxima is found [ fig . [ squareg](f ) ] which also increases the electrostatic energy of the system above the minimal one .
the charge density @xmath29 as reproduced for the negative tip [ fig .
[ square](m - t ) ] exhibits maxima near the maxima of @xmath31 . for stronger tip potential [ fig .
[ square](q - t ) ] the charge density localization near the potential edges is overestimated . when a weak positive tip potential ( @xmath64 mev ) is applied [ fig .
[ square](u - v ) ] we notice that the maxima are pushed to the interior of the dot from the edges .
we also notice for two - electrons [ fig . [
square](v ) ] that the position of the @xmath29 maxima is shifted to the axes of the dot , which is the result of the energy increase for the tip above the sides of the dot discussed above . for @xmath58 mev we notice a similar phenomenon also for three electrons [ fig .
[ square](aa ) ] . for one and four electrons [ fig .
[ square](y , ab ) ] the maxima are localized in the correct positions , and they distinctly shrink in size as compared to the maxima of @xmath31 .
we also considered the mapping of the charge density confined in the square quantum dot by the long - range coulomb potential [ eq .
( 9 ) ] i.e. for neglected screening of tip potential
[ squarec ] .
we considered the tip localized @xmath65 nm above the dot and the charge at the tip @xmath66 and @xmath67 [ e ] , for which the maximal value of the perturbation below the tip equals 3.8 mev and 0.38 mev , respectively .
the weak ( @xmath68 ) attractive perturbation [ fig .
[ squarec](u - x ) ] gives @xmath29 which well agree with @xmath31 . on the other hand already for the weak repulsive perturbation ( @xmath69 ) the maxima of @xmath29 for @xmath61 and 3 go to the axes of the dot the phenomenon observed above for the lorentz perturbation .
for @xmath66 the calculated @xmath29 differs drastically from the unperturbed density @xmath31 . for @xmath70 , @xmath29 [ fig .
[ squarec](y - ab ) ] drifts to the edges of the dot .
this density localization convolved [ eq .
( 5 ) ] with the coulomb potential gives the flat energy curve of fig .
[ squarec](i - l ) . on the other hand for the positive potential @xmath71
the derived @xmath29 density [ fig.[squarec](ag - aj ) ] is localized in tiny islands inside the dot and only for a single and four electrons for which a single classical configuration of the charge exists their positions are close to the original ones . for @xmath61 and @xmath63 the switching between similar configurations of the type presented in fig .
[ squareg ] becomes so strong , that the reproduced charge density [ fig .
[ squarec](ah , ai ) ] have little in common with the original one .
finally , let us consider the rectangular quantum dot near the 1d limit ( @xmath72 nm , @xmath73 nm ) .
the results for the lorentz and coulomb tip potentials are displayed in figs.[1dl ] and [ 1dc ] , respectively .
for this dot the classical few - electron systems for @xmath74 possess two equivalent zig - zag configurations [ fig.[c1d ] ] .
the electron positions in the two configurations differ only slightly and these differences are not resolved in the quantum charge density , which presents well resolved single - electron islands that are clearly visible in the original electron density for all @xmath1 [ fig .
[ 1dl](a - d ) ] .
the single - electron islands are also well resolved in the maps obtained for all the lorentz tip potentials considered in fig .
[ 1dl](m - x ) , as well as in the crudest assumption of point - like potential [ fig .
[ 1dl](y - ab ) ] .
the charge density islands obtained for @xmath75 mev [ fig .
[ 1dl](q - t ) ] are distinctly more extended along the axis of the dot , which results from the fact that the islands follow the attractive tip as it moves . on the other hand for @xmath58 mev [ fig .
[ 1dl](u - x ) ] an extension of the @xmath29 densities in the direction perpendicular to the axis is found . when the repulsive tip localized near the edges of the dot its width in @xmath76 direction is effectively reduced . in this way
the tip increases not only the local potential energy but also the kinetic energy due to the localization . for that reason ,
the perturbative formula produces the charge density which penetrates the region outside the dot , where the original density vanishes .
the repulsive coulomb potential reproduces correctly the charge localization [ fig .
[ 1dc](q - t ) ] with an enhanced effect of the elongation of charge density island perpendicular to the dot . on the other hand , the attractive coulomb potential [ fig .
[ 1dc](m - p ) ] misses the details of the charge density which is seen as equally spread along the dot . for @xmath77 (
not shown ) the 1d wigner molecule is well reproduced by @xmath29 .
we have performed simulations of the charge density mapping for electron systems confined in two - dimensional quantum dots using model tip potentials of the lorentz and coulomb form , several confinement potentials and the exact solution of the few - electron schrdinger equation .
we investigated large quantum dots , where the electron - electron correlation is strong , which can give rise to formation of single - electron islands in the laboratory frame , i.e. the wigner molecules .
for the circular dots we found that the molecular electron distributions appear in the laboratory frame pinned by the tip potential .
the wigner molecule follows the tip as it moves above the dot . in consequence
the energy map in function of the tip position is rotationally invariant , and the density map reproduced by the perturbative formula is very close to the original one .
we noticed that a stronger repulsive ( attractive ) tip leads to underestimate ( overestimate ) of the charge density size .
this conclusions for the size of the droplet holds for any dot profile studied .
moreover , for the elliptical and square quantum dots single - electron islands appear in the charge density for some @xmath1 , and they are resolved in the charge density that is reproduced from the integral perturbative formula .
we have found that in the 1d dots the wigner molecule is clearly visible in the charge density mapped from the energy dependence for all @xmath1 and for most of the tip potential studied , with the exception of the negative coulomb potential for which the single - electron islands are lost .
we demonstrated that the charge density of electron systems which possess a few equivalent classical configurations , generally are difficult to be resolved by the scanning probe technique for the repulsive tip potential , since the tip switches between equivalent configurations . in consequence ,
the mapped charge density maxima do not overlap with the original ones .
this work was supported by national science centre according to decision dec-2012/05/b / st3/03290 and by pl - grid infrastructure .
calculations were performed in ack cyfronet
agh on the rackserver zeus .
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Acidity order of acetone, methyl acetate and N,N-dimethylacetamide
>
> Why is the acidity order true?
> $$\ce{CH3COCH3} > \ce{CH3CO2CH3} > \ce{CH3CON(CH3)2}$$
>
>
>
I deduced that in methyl acetate and *N*,*N*-dimethylacetamide there is a −*I* effect of the methoxy group, $\ce{N(CH3)2}$ and a +*R* effect, too so the attached keto-carbon develops a positive charge and the conjugate base becomes unstable due to the +*R* effect of methoxy and $\ce{N(CH3)2}$ groups.
Is my logic right?
The increased acidity of the protons on the alpha-carbon in these compounds, compared to the acidity of the protons in methane, is due to stabilization of the resultant negative charge through **resonance** with the adjacent carbonyl. In the top line of the following figure we show a ketone where the proton has been removed. We can draw 2 resonance structures to describe this carbanion. In structure II the negative charge has been delocalized onto the electronegative oxygen atom - a very favorable and stabilizing situation.
To whatever degree we remove the carbonyl's ability to resonance stabilize that adjacent charge we will decrease the acidity of the alpha-protons.
In the case of both the ester (III) and amide (VI) we can draw a third resonance structure (V and VIII respectively). To whatever extent these resonance structures contribute to the overall description of the ester and the amide, the carbonyl will be less available to stabilize the negative charge through structures IV and VII.
It turns out that resonance structures V and VIII are significant contributors, with the amide structure VIII having a positive charge on nitrogen being more important than resonance structure V which places the positive charge on the more electronegative oxygen (less favorable). In fact, resonance structure VIII is such a significant contributor that restricted rotation occurs about the $\ce{C-N}$ bond and we can typically observe two different R group signals in the proton-nmr spectrum of amides.
So as stated earlier, as the contribution of the third resonance structure increases, the contribution of the second structure (the structure that stabilizes our carbanion) will decrease making our compound less acidic. The ketone doesn't have a third structure so it will be the most acidic structure. Structure VIII is more important than structure V, so the ester will be more acidic than the amide. Therefore, the overall order of decreasing acidity is
$$\ce{CH3COCH3 > CH3CO2CH3 > CH3CON(CH3)2}$$
just as you noted.
| stackexchange/chemistry |
nearly all known grb with known red shifts lie either on or to one side of the amati relation , which is usually shown as a plot of grb spectral peak energy @xmath1 , on the y - axis , as a function of the isotropic equivalent energy @xmath2 .
this can be understood as being due to the observer s light of sight being offset relative to the direction of motion of the material at which the emission or last scattering took place ( @xcite ) .
however , the absence of grb below the edge " - defined by the amati relation to be @xmath3^{1/2}$ ] mev - is curious . for
it states that the isotropic equivalent photon number in a grb decreases in proportion to the peak photon energy .
it thus strongly constrains scatter in the extent of any process within a grb fireball that reduces photon energy without decreasing the number of photons , e.g. adiabatic losses of photons emitted in an optically thick region .
similarly , it constrains scatter in the number of photons emitted in gbr having a given spectral peak , e.g. the number of energetic particles emitting in an optically thin region in a given magnetic field . that the lower right side of the amati graph is free of any grb of known redshift is particularly remarkable considering that it represents the brightest grbs at a given spectral peak .
it suggests that there is no such thing as a
slightly compromised " grb whose photons are softened without being lost , e.g. as in a dirty fireball . in this letter , however , we suggest that the x - ray flash ( xrf ) 060218 is a dirty fireball .
we note that , unlike most xrf , the low energy component has , despite its much softer spectrum , a similar photon number to classical grb , as opposed to most xrf , which have far fewer photons .
xrf 060218 was detected with the burst alert telescope ( bat ) instrument onboard swift spacecraft .
the spectrum peaks below 10 kev , thus classifying this transient as an xrf .
xrf 060218 is distinguished by its unprecedentedly long duration ( @xmath4 sec ) with a smooth light curve .
the light curves show a significant spectral lag , with soft photons lagging behind the hard photons , as usually seen in long grbs ( @xcite ) .
the peak of the light curves are at @xmath5 , @xmath6 , @xmath7 and @xmath8 seconds ( @xcite ) in the energy band ( 15 - 150 ) kev , ( 5 - 10 ) kev , ( 2 - 5 ) kev and ( 0.3 - 2 ) kev respectively . the xrt spectrum ( 0.3 - 10 kev ) shows a thermal component in soft x - ray with temperature @xmath9 kev ( @xcite ) .
the high energy spectra ( 15 - 150 kev ) from bat show spectral softening with time .
the optically discovered supernova 2006aj is associated with xrf 060218 .
the optical afterglow spectra and the strong emission lines from the host galaxy represent a redshift of @xmath10 , corresponding to a distance of @xmath11 mpc ( @xcite ) .
the isotropic equivalent prompt energy release is @xmath12 erg ( @xcite ) .
the unusually long duration of this event raises the question of whether the central engine goes on this long , or whether the duration represents something downstream of the central engine , e.g. shock breakout through the surface of the star or a light echo from slowly moving , extended material .
the chromaticity of the duration of the event and the location of the peak is significant .
it challenges breakout and light echo models , in which the duration is established by hydrodynamics .
we focus on this issue .
we propose that the radiation pressure of the photons on the matter can accelerate it up to relativistic lorentz factors , which makes the duration appear longer than the actual activity of the central engine .
we show that the intrinsic duration of central engine activity need not be pathologically long for an xrf , but appears longer because of the relativistic motion of the scatterer .
we also show that the apparent duration is expected to be wavelength dependent , and we fit the observed light curves .
we assume that the primary radiation is scattered by an extended baryonic cloud of optical depth unity and that the scattered radiation is seen by an observer at an angle @xmath13 with the motion of the scatterer ( fig .
the entire scattering cloud is within the cone of the primary hard radiation and the observer sees the hard radiation due to scattering from the cloud whereas the extended soft component may also reach the observer directly ( see below ) . the scatterer itself is offset from the axis of the primary radiation and scatters only the soft fringes of the primary photon jet .
the off - axis observer sees a fast rise , slow decay light curve due to acceleration of the scattering baryons by the primary radiation pressure which causes the beam of the scattered radiation to narrow , intensify ( the rise ) , and finally narrow to below the offset angle ( the decay ) .
we have calculated the light curve for different energy band following @xcite .
it produces an energy dependent delay in the light curve because , for the same primary photon energy , the observer sees a photon energy that decreases with time due to the acceleration of the scatterer ( @xcite ) . in reality
the scatterer can be an extended one .
this may prolong the light curve at all photon energies ( i.e. create a light echo ) as the contribution from the closer part of the cloud is less delayed than that from the furthest part of the cloud .
we have calculated the light curves by assuming the primary photon spectrum to be a broken power - law i.e. , @xmath14 where e is photon energy .
we have taken the low energy photon index @xmath15 with a break at @xmath16 kev and the high energy index @xmath17 to explain the light curves of xrf 060218 .
this is much softer than assumed in previous papers , and the assumption is that the _ primary _ radiation is that of an x - ray flash .
the picture is that the scattering material itself is off the grb jet axis , and sees an x - ray flash , which it then further scatters into the line of sight of the observer .
the duration of the primary radiation , as seen by the scatterer , may then be itself prolonged by kinematic effects relative to the actual duration of activity of the central engine .
moreover , the primary emission may contain in part an intrinsically longer event such as shock breakout from the surface of the host star , or a `` dirty fireball '' , either of which would be emitted over a larger angle than that of the a baryon - poor inner jet .
the primary source isotropic luminosity is taken to be @xmath18 erg / s ( @xcite ) .
the luminosity of the source starts to decay exponentially after 400 second with a decay constant 300 second .
the overall duration of the source activity is 590 sec which corresponds to 2500 sec in the observer frame .
we assume that the baryonic cloud is moving radially within the primary radiation cone with an initial radial expansion speed @xmath19 and the centre of the cloud makes an angle @xmath20 with respect to the observer .
we have considered an extended scattering cloud of diameter 400 light second which , at an initial distance of @xmath21 cm from the source , makes an opening angle @xmath22 , so that the closest point of the scatterer moves in a direction @xmath23 off the line of sight .
all the primary radiation that hits the cloud is assumed to have been scattered isotropically in the frame of the cloud by the time it exits . in fig .
2 we plot the observational data ( histograms ) with the model light curves ( solid lines ) from the scattered primary emission , illustrated by the blue cone in figure 1 .
the red , green , blue , magenta color represent the data in the energy band ( 0.3 - 2 ) kev , ( 2 - 5 ) kev , ( 5 - 10 ) kev and ( 15 - 150 ) kev respectively .
the model light curves show a good agreement with the observation except the very soft component ( red line ) which is at least one order of magnitude smaller than the observed value .
so one needs an extra source of soft component radiation to explain the observation , and this is illustrated by the wide red cone in figure 1 . in subsequent figures ,
we explore the dependence of different parameters of the model on the resulting light curve .
we compare the light curves in two different energy bands ( 2 - 5 kev ) and ( 15 - 150 kev ) by changing the model parameters . in fig .
( 3 - 5 ) , we use red and magenta lines to represent the light curves in ( 2 - 5 kev ) and ( 15 - 150 kev ) energy band respectively with the same set of parameters as in fig .
2 . also the green and blue lines in fig .
( 3 - 5 ) represent the the light curves in ( 2 - 5 kev ) and ( 15 - 150 kev ) energy band respectively but with a change of one parameter from fig .
3 shows the light curves for observing angle @xmath20 ( red and magenta ) and @xmath24 ( green and blue ) .
clearly , as the observing angle increases the pulses rise , peak , and decay faster , and the observed flux decreases .
the light curve profile is sensitive to nature of the assumed primary spectrum .
the relative contributions between the pulses of different energy bands are sensitive to both the low energy index ( @xmath25 ) and high energy power law index ( @xmath26 ) of the primary spectrum .
4 shows that as the low energy index decreases from @xmath15 ( red and magenta ) to @xmath27 ( green and blue ) , the low energy flux decreases and the pulse peak shifts to an earlier time and decays more rapidly .
this change in low energy index will decrease the normalization at the break energy ( @xmath28=9 kev ) and so the flux of the high energy pulse also decreases .
5 shows the effect of high energy index @xmath26 on the light curve as it increases from @xmath29 ( red and magenta ) to @xmath30 ( green and blue ) .
the high energy index @xmath26 has almost the same effect as @xmath25 on the light curve in high energy band but the low energy light curve is not sensitive to @xmath26 . as before ,
the low energy pulses are unaffected by changing @xmath28 to high energy since the break energy is well above the low energy band .
but the high energy contribution decreases as @xmath28 increases since it reduces the high energy band .
the overall amount of kinetic energy imparted to the cloud for the above choice of parameters is @xmath31 ergs .
this is in good agreement with the value estimated from radio afterglow calorimetry ( @xcite ) , provided that there is no other component of blast energy .
perhaps most baryon kinetic energy , then , is from entrained baryons that have been accelerated by an otherwise baryon poor jet .
there could be significant scatter in the extent of such entrainment , and the small value for kinetic energy obtained from this very close xrf , relative to cosmologically distant grb , may simply be due to selection of brighter afterglows for the more distant events .
the same selection may of course apply to prompt emission , as nearby xrf and grb are generally underluminous relative to distant ones .
we have accounted for both the _ chromaticity _ of the light curve of grb 060218/sn2006aj component and the exceptionally long duration ( relative to most grb and x - ray flashes ) , as being a result of our seeing the photons after they have scattered off baryonic material ( e.g. wind material ) that is accelerated by the radiation pressure of primary protons .
the scatterer may lie at the periphery of the the primary jet of photons .
these assumptions are quite reasonable : one would expect material blown out of the path of the primary grb emission to be found at the periphery of the latter .
an optical depth of order unity at a distance of order @xmath32 cm , which we have tacitly assumed in order to match the amount of scattered radiation with the observed fluence , is somewhat high for a typical wolf - rayet wind , but , just prior to a supernova , the optical depth of the wind could be atypically high .
moreover , if the material includes matter from the body of the progenitor itself that is ejected in the early stages of , or just prior to the grb / sn , then large transverse gradients are expected near the periphery of the jet , and one expects some region to be of optical depth of order unity .
even if the optical depth is greater than unity , the photons can nevertheless escape by reflecting into the backward hemisphere .
once the matter is accelerated to relativistic velocities , it is mostly beamed forward even if it reflects back into the backward hemisphere in the frame of the scattering material .
while there are many parameters in the model , it should be recalled that there are several nearby grb - sn associations , each with different high energy emission properties , and we suggest that the differences can be accounted for by variations in the parameters of the scattering material . because we have used a very soft x - ray spectrum
, we conclude that our model may be spectrally consistent with a breakout shock from the supernova together with a grb . however , the total isotropic equivalent energy , @xmath33 ergs , is probably too high for a breakout shock from the envelope , and may instead be powered by a grb within .
the preferred alternative to a breakout shock is that the soft component is the emission of a dirty fireball , as it contains the isotropic equivalent of nearly @xmath34 photons , close to that of a typical grb , which peaks at a much higher energy .
the kev photons that dominate the total emitted energy can be interpreted as grb photons that have been adiabatically decelerated while being trapped in the baryons . that the peak energy is so far below that of a typical grb is curious .
it still leaves open the question of why there are still no examples of grb in the lower right of the amati graph that are closer to grb in @xmath35 ) space .
perhaps there is a sharp distinction between the baryon rich outflow , which traps and adiabatically decelerates photons , and the baryon poor outflow , which does not .
adiabatic deceleration would then take place either to a great extent , or to a very small extent .
the model and fit illustrate that significant quantities of matter may be injected into a fireball at large distance from the central engine and accelerated by the fireball to relativistic energies
. that the energetics are modest here may be a result of the source being very close and viewed from a large off - axis angle , and that even the scattering material may have been somewhat off - axis .
this is consistent with the otherwise coincidental situation that grb 060218 is both one of the longest , closest , and softest gamma ray bursts .
thus , the various distinguishing features of this grb can be attributed to a large off - axis viewing angle .
we thank c. wheeler , e. ramirez - ruiz , a. soderberg , a. mcfadden , and d. frail for helpful discussions .
this research was supported by the israel - us binational science foundation , the israeli academy of science , and the joan and robert arnow chair of theoretical astrophysics , and , via the kavli institute of theoretical physics , the us nsf grant nsf phys05 - 51164 .
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sigmoid diverticulosis has a prevalence of up to 60% in 70-year - old individuals , of whom 1025% may progress to diverticulitis and a further 1025% of these may develop complications such as abscess formation , perforation or fistulas . the mortality rate has been demonstrated to be 0.55% .
the most common symptoms include left lower abdominal pain lasting for a few days , fever , nausea and vomiting , and abdominal tenderness and rigidity during clinical examination .
false diverticulum , e.g. only the mucosa and submucosa herniate through the muscular layer of the gut .
risk factors include , among others , obesity and chronic constipation . the pathophysiological process of sigmoid diverticulitis is primarily thought to be erosions caused by pressure exerted in the sigma , in combination with feces and microbial toxins which form microabscesses .
these erosions develop into ulcers which may then perforate , either covered by peritoneum , or freely , into the abdominal cavity .
toxic epidermal necrolysis ( ten ) is caused by a severe inflammatory reaction , most probably of autoimmune origin .
it is characterized by cytotoxic t - lymphocytes and other cytokine pathways , causing keratinocyte apoptosis and thereby disruption of the epidermis from the dermis of the skin .
it presents clinically with fever , itchy eyes , pain upon swallowing and cutaneous efflorescences such as erythematous purpuric macules on the trunk and proximal upper extremities as well as on the lips and oral , conjunctival and genital mucosae .
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a 91-year - old female was admitted to our emergency department shortly after having been found lying in the shower at home .
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she had been taking mefenamic acid and paracetamol , but the latter had been changed to metamizole a pyrazolone derivative approximately 3 weeks prior to admission .
taking the patient 's history was complicated by her age and dementia , and retrospectively , possibly due to a delirious state . on admission , the patient reported having suffered burns from a stove .
she then took a shower where she slipped and fell , and was burnt additionally by the hot water .
clinically , she presented with epidermal lysis on both thighs and proximal upper extremities , totaling approximately 7% of the tbsa , which in the context of the reported burning , were interpreted as second - degree burns ( fig .
the skin showed no adherence to the underlying tissue and could be stripped off without effort .
a slight reddish rash was noted on both breasts and the lower abdomen and was interpreted as a reaction to the bandages .
she presented with a distended abdomen , tender to the touch in the left lower quadrant , lacking rebound tenderness .
laboratory studies showed elevated c - reactive protein of 169 mg / l and leucocytes of 33,100/l . moreover , she presented with lymphocytopenia ( lymphocyte count 500/l ) , renal insufficiency ( creatinine 121 mol / l ) and a hypokalemia level of 2.7 mmol / l .
free air in the abdominal cavity and signs suggestive of perforated sigmoid diverticulitis were observed ( fig .
the condition was managed by emergent sigmoid colectomy with colostomy ( hartman 's procedure ) . in the course of intubation and surgery ,
a rapid progression of the epidermal detachment was noted on the abdomen , spreading to 3040% of her tbsa . a direct nikolsky sign could be elicited , and an attempt at an indirect sign was negative . following surgery ,
renal function deteriorated progressively . during the following 2 days , further cutaneous vesicles developed , the epidermolysis generalized and the patient became increasingly delirious .
after 3 days , she showed signs of apneic breathing , after which we decided on palliative treatment .
the matter under discussion is whether the perforated sigmoid diverticulitis in our patient developed due to the epidermolysis resulting from an adverse reaction to medication , or whether it evolved independently .
a review of the literature shows very few cases of simultaneous ten with ulcerative gastrointestinal disease , and only 1 case of ten with perforated sigmoid diverticulitis . a study from 1991 by chosidow et al .
three out of the 4 patients showed severe mucosal erosive lesions in the small intestine ; similar changes were also found in the colon of all patients .
epithelial cell necrosis could be observed predominantly in the sigmoid and rectum , resulting in detachment of the epithelial lining .
similarly , very few other cases have been published describing superficial erosions with bleeding throughout the colon in the context of ten [ 5 , 6 , 7 , 8 , 9 , 10 , 11 ] .
these cases , however , were not complicated by perforation of the colon , as ours was . to date , only 1 case of sigmoid perforation in the presence of ten has been reported , by carter and mitchell . the patient presented with cutaneous changes characteristic of ten , in addition to renal insufficiency . in the course of 1 week , the patient complained of worsening abdominal pain associated with coffee - ground emesis and blood per rectum .
an abdominal ct scan revealed a pneumoperitoneum , upon which surgical exploration was carried out .
fecal peritonitis , complete necrosis of the terminal ileum as well as multiple colonic perforations along the sigmoid and cecum were identified . an ileal resection and total colectomy
histological workup of the resected specimen demonstrated complete necrosis of the ileum and focal necrosis of the colon , with several areas of linear mucosal ulcerations showing lymphohistiocytic inflammatory infiltrate . after a long course of antibiotics and supportive
there are very few reported cases of perforated ulcerative conditions in the gastrointestinal tract due to mucosal necrolysis .
some authors suggest a similar immunologic pathogenesis as for toxic epidermal necrolysis [ 11 , 12 ] .
endoscopic biopsies have shown an increase in lymphoid cells , with no abnormal number of neutrophils or existence of crypt abscesses .
histological workup demonstrated pathological changes characteristic of diverticulitis , but no lymphocytic infiltrate characteristic of ten .
however , our patient had lymphocytopenia , possibly indicating migration of lymphocytes to dermal tissues .
also , her medication had been changed from paracetamol to metamizole approximately 3 weeks prior to developing ten , corresponding to the time average reported so far . in all cases reported to date , patients presented with abdominal pain , bloody diarrhea or blood per rectum , usually simultaneous to the development of skin lesions .
diagnosis was supported by colonoscopy showing mucosal erosions , predominantly in the sigmoid and rectum .
our patient did not present with the abovementioned symptoms , and colonoscopy could not be performed due to the upcoming surgery . only carter and mitchel
have reported free sigmoid perforation in the presence of ten from which the patient recovered successfully .
patients discussed in other cases , as well as ours , died , proving the severity of the condition . the condition 's outcome can be estimated using the scorten score .
our patient acquired a score of 4 points ( age > 40 years , tbsa affected > 10% , serum urea nitrogen > 28 mg / dl , bicarbonate
< 20 mmol / l ) , which is associated with a mortality of 60% .
this may be indicative that an early and aggressive surgical approach is crucial in order to successfully avoid abdominal sepsis and increase survival rates .
she presented with an affected tbsa and temporal development similar to previously reported cases of ten with intestinal involvement .
, ten has a low incidence rate , but continues to result in serious , potentially fatal outcomes .
although the condition predominantly affects the skin , other areas such as the oral , esophageal as well as colonic ( especially the sigmoid ) mucosae may be affected .
it has been shown that gastrointestinal involvement may increase mortality dramatically by rapidly progressing to transmural ulcerations causing fecal peritonitis .
medical staff must therefore be alert to all patients with ten who complain of abdominal discomfort . | pubmed |
A PERFECT WORLDWritten byJOHN LEE HANCOCKDecember 1992 Draft
FOR EDUCATIONALPURPOSES ONLY1MUSIC UP. It's a tad eerie. If a Zydeco band died in a 1bus crash this is the kind of music they'd play in heaven.FADE IN ON:WHITE SCREENwhich transforms to a milky white and eventually into abright high noon sun. A large black bird flies in circlesoverhead. As it wipes the sun a bright flare causes...CLOSEUP - PAIR OF EYESto squint, then adjust to the light and finally open. Theylook tired, but content, maybe even relaxed.CLOSEUP - MANthe owner of the eyes. Though we only see from his shouldersto the top of his head, we can tell he's lying in a field.His arm is propped behind his head as a pillow and he appearsto be resting comfortably. MUFFLED VOICES and WHISPERS fillthe air but they seem to come from another place. The mandoesn't notice them. His name is BUTCH.A gust of wind blows Butch's hair a bit and a piece of strawwipes across his forehead. Then, oddly enough, it is followedby a dollar bill, which rests against his cheek, then skittersacross his face. It is followed by another and another, afive, a ten, a single. Butch pays no attention. He's inanother world.DISSOLVE TO:2EXT. NEIGHBORHOOD - MADISONVILLE, TX. - DUSK2SUPERSCRIPT: OCTOBER, 1963.A small country town. Normally quiet at this hour, thestreet is tonight alive with trick or treaters dressed aswitches, goblins and superheroes making their annual door todoor rounds.3EXT. PERRY HOUSE - NIGHT3GLADYS PERRY, 30 going on 45 due to single motherhood andhaving worked two fulltime minimum wage jobs the past tenyears, looks out the window with disgust and pulls thecurtains closed.4INT. PERRY HOUSE - NIGHT4Gladys retreats from the sparsly decorated living room to thepredictably drab linoleum kitchen. At the table, hands ontheir laps, sit her children, NAOMI and RUTH, twin girls aged10, and PHILLIP, a quiet boy of 8.(CONTINUED)2.4CONTINUED:4Gladys sets a casserole on the table and goes to the frig fora container of milk. The children WHISPER to one another...NAOMIJudy Baumer is going as a twirler.RUTHBut she's so fat. I'd go as Cinderella...or Peter Pan.NAOMIPeter Pan's a boy. Tinker Bell's a girl.Phillip could go as Peter Pan... 'ceptyou gotta' fly.Phillip smiles a bit at the notion.RUTHPhillip could go as a bump on a log.The girls giggle and Phillip frowns.PHILLIPWhy can't we go just once?NAOMICaus' we jus' can't, ok?Gladys sets milk and butter on the table and stares directlyat her son.GLADYSOur personal beliefs lift us to a higherplace. 'Sides, Halloween is nothing butthe Devil's work.The DOORBELL RINGS. The kids gulp as Gladys turns and headsfor the door.5EXT. FRONT DOOR - NIGHT5MR. HUGHES, a 35-year-old family man is playing chaperone toprepubescent versions of SUPERMAN, TINKERBELL, and a DANCINGSKELETON.KIDS(in unison)Trick or treat!!!Gladys simply stares at the children before looking to Mr.Hughes.GLADYSI'm sorry but we don't take no part inHalloween.(CONTINUED)3.5CONTINUED:5MR. HUGHESExcuse me?Phillip arrives at his mother's apron. He stares at the kidswith relish. In the near window, Ruth and Naomi steal a lookthrough the window.GLADYSWe're Jehovah's Witness.Superman locks eyes with Phillip.SUPERMANHey, Phillip Perry.PHILLIPHey, Billy Reeves.SUPERMANHow'd ya' know it was me?GLADYSGo eat your supper, Phillip.MR. HUGHESCome on, kids. Let's go to the nexthouse. Sorry for the bother.Gladys closes the door firmly and locks it.6EXT. HUNTSVILLE STATE PRISON - NIGHT6A green Impala pulls up to the main entrance and stops. AGUARD steps from his office to greet the driver, LARRY, apudgy 55-year-old prison employee wearing a loud plaid jacket.GUARDEvenin', Larry. Forget somethin'?LARRYGoin' to Austin tomorrow. Gonna' takesome work with me.GUARDWork, work, work. When you and me gonna'go out and grab a cold one?LARRYSooner the better.The gate opens and the Impala passes.4.7INT. CELL - NIGHT7BUTCH HAYNES, a 38-year-old inmate who reeks with knowledgeprocured from the wrong side of the tracks, but whose sad,tired eyes bemoan a maximum of regret, stands on the top of acell bunk chipping at the ceiling.JERRY PUGH, 29, rail thin, a punk who constantly licks hislips, keeps watch at the door. An OLD TIMER sits on his bunkand watches both with a cautious eye.Butch chips through to something.BUTCHDamn if the old man ain't right.Jerry smiles, turns and grabs the old man by the shirt.JERRYAnd this goes to the roof?OLD TIMERUsed to... afore they walled it over.JERRYIf it don't I'm gonna' rip your tongue out.OLD TIMERGet yer' damn hands off me!Jerry laughs and joins Butch, who is already well on his wayto bending open a slot in a corrugated metal air shaft hiddenbehind the wall.8EXT. NEIGHBORHOOD - NIGHT8Superman and Dancing Skeleton, no longer with adult super-vision, fill water balloons at an outdoor water spigot.SUPERMANMake 'em small so you can heave 'em.9INT. PERRY HOUSE - NIGHT9An assembly line at the kitchen sink as the twins wash andPhillip dries the evening dishes. Gladys sits at the kitchentable, reading religious pamphlets and keeping a watchful eyeover the process.Several THUDS resound through the house.PHYLLISWhat in the world?Phillip jumps down off his stool and races into the livingroom.5.10EXT. HOUSE - NIGHT10Superman lofts a BALLOON and grabs another as the first hitsthe door of the Perry house and SPLATTERS.SUPERMANBombs away!Dancing Skeleton does his best Warren Spahn and tosses a wetfastball at the door.SKELETONHere's your trick!At the window, Phillip, his nose pressed to the pane, staresexpressionless at the onslaught. He barely flinches as aBALLOON SPLATS only inches away. Gladys arrives and pullsthe curtains shut once more.11AEXT. PRISON - NIGHT11AButch kicks the top off a ventilator shaft and rolls onto theroof. Jerry follows as Butch shimmies to the wall.At the edge, Butch and Jerry survey the yard as a searchlightroutinely bathes the walls in a circle of light.11BTHEIR POV - GREEN IMPALA11Bparked almost directly below them, next to the Administrationoffice of the prison.JERRYYou'n'me must be livin' right, Butchie boy!BUTCHLet's get something straight. I don'tlike you. As soon as we're on our way,that's it.JERRYWho said I liked you?Butch slides down and hangs from the ledge before dropping onthe roof of the building below.12INT. ADMIN OFFICE - NIGHT12A SOFT THUD causes a Guard to look up, but only momentarily ashe spots Larry departing, files in hand, waving goodbye.GUARDHave a safe trip now, Larry.6.13EXT. YARD - NIGHT13Just as Larry reaches the Impala, Butch and Jerry leap downand land on him. The spotlight showers them in a flash oflight as it passes by.Butch cups his hand over Larry's mouth while Jerry reachesinto his jacket -- Bingo -- a shiny .38.BUTCH(to Larry)Keep yer' mouth shut.JERRY(to Larry)Gawd I'd love to blow yer' head off.14EXT. PRISON GATE - NIGHT14Larry, driving with his eyes straight ahead, stops at the gateand waves a palm at the Guard, who opens without hesitation.GUARD'Night, Larry.15INT. CAR - FLOORBOARD - NIGHT15stuffed and hidden half on the floor and half under the matsare Jerry and Butch.JERRY'Night, Larry.16OMITTED1616AINT. SMALL, WELL-LIT DINER - NIGHT16AA weathered finger drops a quarter in a jukebox.MAN (O.S.)B-5. Haven't heard that one in awhile.The woman, MAE, 45, a dog-tired waitress, punches in thenumbers and returns to her post behind the counter. Alonesome HANK WILLIAMS tune pours forth.MAENot since last night. How's the pie?RED GARNETT, 60, a grizzled but handsome Texas Ranger, sitsat the counter slowly chewing.REDKinda rubbery. It was better yesterday.(CONTINUED)7.16ACONTINUED:16AMAESame pie as yesterday. Not much callfor rhubarb. Sell one slice a day.In the background we hear a SIREN. Red turns and watches apolice patrol car whiz past, lights on.MAEYer off duty. Tell me, if I stopped bakin''em would you still come by every night?Red, preoccupied, takes another rubbery bite.REDI don't know.Mae smiles and turns her back to Red as she cleans the grill.MAENaw, Red Garnett, you don't come in herefor the coffee and pie. You come in herefor the company. To see me.Another patrol car races past. Red's eyes follow it.16BANGLE ON MAE16BMAENow that I've said that, I'll go one better.What say I cook you dinner at my placesometime? Steaks, baked taters, cold beer,the works. Well?... I'm askin' you out.She turns to face Red but he's gone. A coupla dollars lienext to the half-eaten pie. All she can do is sigh.16CINT./EXT. PATROL CAR - NIGHT16CRed pulls up in front of a small house in a residentialsection of town. Police cars are everywhere and severalofficers are behind their vehicles, guns pointed at the house.Red steps out of the car and is greeted by a POLICE SERGEANT,about the same age as Red.SERGEANTLong time, no see. What are you doin'here, Chief?REDCouldn't sleep. Whattaya got?(CONTINUED)8.16CCONTINUED:16CThey walk. Red arrives at a truck with a 10 gallon coffeeurn roped to the tailgate. He grabs a paper cup and pours.SERGEANTGuy holdin' his family hostage. She kickedhim out, served him divorce papers, he cameback drunk and pulled a .38. Fired two shotsbut we don't think anybody's hit. Actuallyyou might know the guy from your sheriffdays. Hayden Webb. Been on suspension forawhile. Ring any bells?REDYeah. Lemme talk to him.SERGEANTNo can do. Police jurisdiction.Red tastes the coffee -- cold. He spits it out, pours thecontents of the cup on the ground and walks toward the frontyard. Sergeant follows.REDAnd how are you guys doin'?SERGEANTWe got specific rules to follow in thesekinda situations, Red.(gives in)He won't talk. Jus' keeps yellin', cryingand waving his gun around.Red moves forward into the yard.SERGEANTAt least use the megaphone, you stubbornjackass!But Red ignores and arrives at the front door. He knocks.REDHayden, this is Red Garnett. We worked togethera few years back. Mind if I come in?The YELLING inside STOPS and the door opens a crack. HAYDEN,35, distraught, peers out.HAYDEN'Evenin', Chief.REDLeave it to the P.D. They got a three-ring circus out there and not one cupof hot coffee. You mind?Hayden mulls it over, then opens the door.9.16DINT. WEBB HOUSE - NIGHT16DOn the couch sits Hayden's wife, JULIE, cradling her two kids,an infant and an 8-year-old boy. Julie sobs. Her eye andtemple are bruised purple.Red slowly enters, nods to Julie, takes off his hat and setsit on a lampstand. Hayden has moved away from Red againstthe wall. He holds the gun out at no one in particular.HAYDENJulie, put a pot of coffee on.She slowly gets up and moves to the kitchen, still weeping.REDAppreciate it. Jus' what is it you want,Hayden?HAYDENI dunno... I want my job. I want my family.REDWhat'd they suspend you for?HAYDENI answer a call in South Austin. Girlgettin' raped, that's the word. I bustin the door, this lowlife is beatin' theshit outta her with a tire iron. 'Help me,help me,' she says. I take the guy down.He bites me. I break his arm. Case closed,right? No. She was his wife and they bothsue me and the department. The guy's aboutto kill her and she sues me 'cause now hecan't pump gas. They have chump change inthe bank but they got the best lawyer intown. Three months I'm goin' crazy. Nopay. Then my wife leaves me and I getserved divorce papers by John Reese -- asheriff's man. You know how embarrassin'that is? What's happenin', Chief? Imean, everybody's got a fuckin' lawyer!Julie emerges from the kitchen and retakes her seat.REDYou love her? Love the kids?HAYDENYeah.JULIEThen why do you hit me!Hayden grips the quivering revolver tight and points itat her. Red calms the situation...(CONTINUED)10.16DCONTINUED:16DREDYou don't wanna shoot her.HAYDENI swear to God I think I do.REDNaw, Hayden, I don't think so. I think youlove her. You know what else I think? Thatyou'd like a way out of this whole mess...That's where I come in.16EEXT. HOUSE - NIGHT16ESergeant and other cops stand around and watch the house.SERGEANTWell, I'll be damned.NEW ANGLEThe front door opens and Julie emerges with her two kids.She takes a few cautious steps, then runs to the police.16FINT. HOUSE - NIGHT16FRed sits on the coffee table, unloading Hayden's gun. Heopens the cylinder and drops the shells to the floor.A calmer Hayden exits the kitchen with Red's coffee. Redaccepts it, takes a sip.REDHits the spot.Hayden starts to sob a bit. Red hands over a handkerchiefwhich Hayden accepts.HAYDENNo cuffs, huh, Chief?REDOkay. You ready?Hayden nods, they stand. Red picks up his hat, sticks iton his head, opens the door and holds it for...Hayden, transfixed by the multitude of lights outside. Hegulps.REDWe'll walk out together, okay?Hayden steps back, looks at Red, then reaches behind hisback, underneath his shirt and pulls out a .22 pistol.(CONTINUED)11.16FCONTINUED:16FHAYDENAny good officer has a back-up.Red holds his palms out and takes a step toward Hayden.REDLemme have it, Hayden.Hayden points the gun at Red, freezing him.HAYDENWas I a good officer, Chief?Red nods.HAYDENWas I a good deputy? The kinda man youcould depend on to do what's right?REDYeah.Hayden smiles.HAYDENThank you.Then he turns the GUN on himself, swallows the barrel andBLOWS his brains out.DISSOLVE TO:16GEXT. HOUSE - NIGHT (LATER)16GHayden's dead, covered body is carried out the door. Juliescreams and sobs, still holding her crying children.Red, looking pretty shook up, slowly exits the house. Hestops and looks at Julie and the kids. His eyes lock withthe little boy's.COPGot a call, Chief Garnett. They'relookin' for ya downtown.Red slowly walks away. The little boy's eyes follow him.17INT. CONVENIENCE STORE - NIGHT17It's a small town version of a 7-11, kept open by an owneranxious to cash in on the later night munchies of beerdrinkers. Good idea. Bad luck.(CONTINUED)12.17CONTINUED:17Jerry skims through a girly magazine, turning the pages withthe gun.Butch, wearing Larry's plaid jacket, jimmies open the cashregister. He looks to the floor then to...Jerry, who catches Butch's gaze, holds it, looks down at thefloor, then, smiling, looks back to Butch. He returns tothe skin mag.Butch holds his stare at Jerry then, in one move, grabs a wadof cash and hops over the counter and out of the store.Jerry notices Butch leaving, grabs a handful of assortedBrach's candies and hurries after.JERRYHey, wait up!Jerry's feet scurry through a pool of blood and past aquivering hand.18INT. D.P.S. - TEXAS RANGERS HEADQUARTERS - NIGHT18It's very late, after midnight, and only a handful of people,half of whom are cleanup crews, shuffle through the offices.A light from an office at the end of the hall catches oureye. A MUFFLED VOICE over the phone...RED (V.O.)I understan' your concern, Johnny.19INT. RED'S OFFICE - NIGHT19Red, behind a huge ranchstyle desk covered with files andpaper, sips coffee with one hand, works a buffalo nickelthrough magician's paces with the other and balances thephone receiver in the crook of his neck.RED(on phone)Cons are creatures o' habit. Like oldcoyotes, they'll crawl back into familiarholes. Uh huh... Yeah... Sure yer' right.Listen you go back to bed and I'll call youin the A.M. with an update. I'll have thefiles by then. Say hullo to the Mrs..Red sighs, puts the PHONE back in the hook and stares atit until it RINGS again.20INT. PERRY HOUSE - NIGHT (JUST BEFORE DAWN)20The CLANGING wind up alarm CLOCK reads 5:30 and Gladys opensher eyes and gently quiets it with a touch. She groans andrises, not happy but used to the daily ritual required of her.13.21INT. PERRY LIVING ROOM - NIGHT21As the kitchen light comes on we see that the couch has beenopened up to a bed in which all three children sleep. Thetwins sleep soundly but Phillip tosses and turns away fromthe light.22EXT. NEIGHBORHOOD - NIGHT22The Impala creeps through the previously seen neighborhoodwithout its lights.23INT. IMPALA - NIGHT23Butch drives while Jerry scours the block.JERRYThere's a Buick.BUTCHDon't want a Buick. Want a Ford.JERRYFord's leak oil. A car's a car.Butch puts on the brakes and brings the car to a stop.BUTCHThen take the Buick.JERRYSoon as we cross state line I'll do justthat.(beat)I'm tired of riding around. I'll checkdown the block... for a Ford!Jerry gets out, slams the door, lights a cigarette and walksaway.Butch waits a few seconds, quietly turns the key one notchand checks the gas ggauge. It reads almost empty. He tapsit with his finger but it doesn't budge. He sighs, looks upand sees...JERRYas he checks one locked car, then feeling eyes on his back,turns, looks at Butch, grins and disappears around a corner.BUTCH discreetly exits the car himself, carefully closing thedoor without a sound.24INT. PERRY KITCHEN - NIGHT24Gladys steps into a slip and snaps her bra while cracking eggsinto a skillet. By rote she salts, stirs, and pops bread intothe toaster.14.25EXT. PERRY BACKYARD - SOMEONE'S POV - NIGHT25FROM BEHIND a fence, THROUGH the opened, screened windows wesee Gladys at work.Phillip enters, dressed in cotton briefs and a T-shirt, dragsa chair from the kitchen table by the window and assists hismother by buttering the toast.POV MOVES CLOSER.GLADYSThank you, Phillip. Go wake up yoursisters.Phillip dutifully steps down and returns to the living room.Gladys works to adjust her slip, then grabs plates andsilverware and takes them to the table.JERRYI take mine fried.26INT. KITCHEN - NIGHT26Gladys gasps at Jerry's face pressed against the screen, butcontrols herself when he brandishes the pistol. He motionsfor her to open the back door. She does. He slides into theroom and sits down at the table.27EXT. ON STREET - NIGHT27A Ford sits in a driveway. In the far b.g. a back porch lightglares. Butch ENTERS FRAME, looks at the light, turns to theFord and starts to jimmie the lock. No luck. He rises andlooks to the light.28INT. KITCHEN - NIGHT28Jerry stuffs a piece of toast in his mouth, grins at Gladysand makes a motion to the counter.JERRYA lil' on the bland side. Gimme' thatketchup.She picks up a bottle of Heinz and inches toward him. Whenshe gets close, he grabs her and forces her onto his lap. Heholds the gun to her throat and whispers in her ear.JERRYDon't got a man around here, do ya'?29AINT. NEIGHBOR'S HOUSE - NIGHT29AMR. CUMMINGS, 70, puts on his glasses and peers through thewindow.15.29BHIS POV - PERRY KITCHEN29BGladys sits on Jerry's lap, thanks to .38 caliber coercion.The convict's hands move freely over the frightened woman'sbody.30INT. PERRY KITCHEN - NIGHT30JERRYFeed me, sweet thing.Her shaking hands raise a forkful of eggs to his lips. Helicks them once then gobbles with gusto.Phillip enters the room and stops dead in his tracks.JERRYWell lookie here, you do got a man!Jerry smiles at Phillip while he kisses and licks Glady's neck.At once, Phillip darts across the room at Jerry, who backhandsthe boy with his gunhand, sending Phillip sprawling.Butch blasts through the door in an instant. With a swiftkick to the head, Jerry is knocked senseless onto the flooragainst the cabinets.The gun slides across the floor and lands at Phillip's feet.JERRY(holding his ear)I'm bleedin'! You happy?Butch gives Jerry an icy stare and kneels down to eye levelwith Phillip. Butch looks at the gun and then at Phillip.BUTCHWhat's your name, boy?PHILLIP(scared shitless)Ph... Phillip...BUTCHWell, okay Phillip. Reach down and pickup that pistola.JERRYGive it to me.BUTCH(to Jerry)Shut yer' mouth.(to Phillip)Pick it up and bring it over here.(CONTINUED)16.30CONTINUED:30Phillip reaches down and slowly picks up the gun by the handle.He takes one step toward Butch, then another. Gladys,petrified, sobs.Phillip arrives armslength from Butch.CLOSEUPS - PHILLIP AND BUTCHBUTCHNow say 'stick 'em up.'PHILLIP(hesitant)Stick 'em up...Butch laughs and then a NOISE from outside brings him backto reality. He grabs the gun and spins to see...MR. CUMMINGSStanding outside the screen door, gun leveled. Before the oldman can utter a syllable, Butch grabs Phillip and points thegun straight at Cummings. Jerry jumps up and grabs Gladys.BUTCHPut the gun down, old timer. You couldn'thit me anyway. Probably shoot the boy.The PHONE RINGS.BUTCHLeave it be.The twins wiping sleep from their eyes, wander into the room.NAOMIMama?...GLADYSIt's all right, honey.PHONE continues to RING. Cummings can't decide what to dowith the gun he's pointing at Butch.JERRYYou deaf?!!!BUTCHSet it on the ground.Cummings reluctantly obeys.JERRYWe gotta' get the hell outta'here!(CONTINUED)17.30CONTINUED: (2)30PHONE still RINGS...JERRYShut up!In one fluid move he rips the phone from the wall. Thesilence is deafening.JERRY(re: Gladys)I vote we bring her with us.BUTCHNo.JERRYHow we gonna' get outta' here without ahostage, tell me that? The whole goddamneighborhood's awake.BUTCHWe'll take the boy.Silence. Gladys can't believe her ears. Then...GLADYSNooooo!!!Jerry tosses Gladys aside. She collapses onto the floor.The TWINS instantly start to CRY.Phillip winds up and hits Butch as hard as he can. Butch pickshim up, directs Cummings into the kitchen with the gun and nodsfor Jerry to lead.BUTCHYou'll get him back. I swear it.31EXT. FRONT YARD - DAWN31Butch, carrying Phillip, and Jerry emerge from the back ofthe house and race back to the Impala.GLADYS (O.S.)Phillip!!!!...Butch flips Jerry the gun, tosses Phillip into the passengerseat, leaps over the hood and into the driver's seat. TheCAR STARTS and SQUEALS away.Neighbors, aroused by the noise, exit their homes clad inrobes, nighties and curlers.18.32INT. CAR - DAWN32Jerry FIRES a SHOT over their heads, sending them to the deckor scurrying for safety.JERRYAin't you folks ever heard of sleepin'in?!!33EXT. PERRY YARD - DAWN33Cummings races from behind the house with the SHOTGUN,levels it and FIRES a BLAST...A nearby station wagon WINDOW SHATTERS. Rising from theircover position, its owners look at Cummings with disgust.OWNERNice shootin', Fred.34INT. RED'S OFFICE - DAY34Garnett, still in the same clothes, rests the phone receiverin his ear while he shuffles through the files before him.Red's deputy and boy friday, TOM ADLER, 40, lank, thinninghair, with a face as soft as Red's is hard, warms up Red'scoffee with a jolt from the Chief's favorite plaid Thermos.RED(into phone)Yes, Johnny, I do understand that...The jabbering on the other end of the phone line continuesas Red's eyes squint to read the files.INSERT - FILESThe first is Jerry's, complete with a grinning mug shot in theupper right hand corner. There are several pages in the file,but Red's fingers quickly peruse the top rap sheet beforeturning to...INSERT - SECOND FILEIt's Butch's and again Red's fingers start to move down thepage then they stop and move to the photo of Butch at the topof the page.RED'S FACEA hint of recognition. The jabbering continues...CLOSEUP - PHOTO OF BUTCHA little younger than now. A younger con with the grim facadeof a man facing hard time.(CONTINUED)19.34CONTINUED:34REDkeeps staring at the photo, oblivious to the phone conversa-tion he's "not having".PHONE VOICE (V.O.)Red? Red, you there?ADLER(a whisper)Red?....RED(to Adler)Huh?ADLER(a whisper)He's talkin' to ya'.PHONE VOICE (V.O.)Have you heard a word I've said?!Red comes to...RED(into phone)Yeah, Johnny. Jus' thinkin' is all....ADLER(another whisper)Press has been waiting almost an hour, Red.Red nods then notices someone at the door and motions herin... SALLY GERBER, 28, cute in a plain, no nonsense way,with giant curls accenting her round face in step with thelatest hair fashions, enters the room, closes the door behindher. She's nervous as hell but trying to hide it.Red motions her to have a seat while he finishes his call.RED(into phone)Yeah.... Clear as a bell... Mi' sabe.Red hangs up the phone, takes a draw on the coffee mug andlooks again at the file. He seems lost in time.ADLERWhat'd he say?RED(distracted)Who?(CONTINUED)20.34CONTINUED: (2)34ADLERThe Guvner', Red.Red closes the file.REDReminded me it's an election year.Red turns his attention to Sally.REDYou drink before noon?SALLY(confused)Uh... no.REDGood. Last one I had was on a liquid diet.SALLYLast what?REDSecretary.ADLER(remembering)Penny Munroe.SALLYI believe you have me confused. I'm herefrom Huntsville. Assigned by GovernorConnally.Red is confused. He turns a blank expression to Adler.REDAdler... what is this?Adler searches the messy desk for something.ADLERRings a bell, Red. Believ' they sent ussomething about her this mornin'...REDWho sent?...ADLER... Guvner', Red.Adler finds the telex message sheet he's looking for and handsit to Red.(CONTINUED)21.34CONTINUED: (3)34ADLER... Here it is.SALLY(introducing)Uh, I'm Sally Gerber. Criminologistwith the State Prison System.Sally offers her hand. Red, perusing the telex, ignores butAdler shakes somewhat reluctantly, not sure if he's supposedto like her or not.ADLERTom Adler. Deputy. State Police...System.SALLYIt's a relatively new procedure but Iwas assigned by Governor Connally...RED(reading from telex)... 'to work with State law enforcementofficials in all affairs where penalmatters coincide with those of the StatePolice.' It don't say nuthin' about...SALLY... It includes parole and work releaseprograms as well as penal escape situations.The office PHONE BUZZES. Adler picks it up.ADLER(into phone)On our way, Marge.Adler hangs up the phone.ADLERGettin' antsy, Red. You scheduled it.Adler hangs up, grabs Red's tie and coat from a brass rung onthe wall and hands them over. Red puts down the telex, staresat Sally and reluctantly attempts to make himself presentable.SALLYThe idea is that an understanding of theparticular behavioral case historiesshould, in parole situations, help thesubject to avoid habitual traps and, inpenal escape situations could, conversely,identify those self-same traps as an aideto apprehension.(CONTINUED)22.34CONTINUED: (4)34Adler stares at Sally then turns to Red with a "never heardthe like" look of amazement on his face.Red, roguishly handsome in his tan, western cut blazer, clipon tie and ten gallon hat, makes his way to the door. But,before he exits...REDIn the first place, Miss Gerber.SALLYSally, please.REDIn the first place, Sally, it ain't a'penal escape situation.' It's a manhunt.Fancy words in a circle don't help much.SALLYAnd what does?REDA nose like a Blue Tick, a medulla with anantenna and one helluva lot of coffee.And with that he's out the door.35INT. PRESS ROOM - DAY35A throng of photogs and news writers stuff the undersizedroom. The clamor settles when Red enters and steps behindthe lectern.REDListen up, I'll only say it once. Atapproximately ten o'clock last night twoinmates over to Huntsville, Robert 'Butch'Haynes and Jerry David Pugh, escaped throughan air shaft, grabbed a prison employee'scar and got out through the main gate. Atapproximately 1 A.M. we believe they robbeda market outside of Cut-n-Shoot and killedthe store's owner.REPORTER #1Is the prison employee with them?REDWas when they left the prison.Sally and Adler enter the room and stand beside the lecternobserving. Red notices them.(CONTINUED)23.35CONTINUED:35REPORTER #2What's the rap sheet on these guys like?REDLong as Christmas eve to a kid. Haynes wasdoin' 40 for armed robbery and Pugh wasridin' 20 hisself for manslaughter andassorted parole vios.REPORTER #3Is there any indication of...RED... Lemme' finish, Billy. This mornin'another hostage was taken... from a privatehome in Madisonville. A boy, age 8.Grabbed him out of bed.REPORTER #1Any sex offenses on Haynes or Pugh?REDYer' askin' if they're preverts. Well,one is.REPORTER #4You got inter-agency cooperation on this?REDTexas Rangers as the criminal investigationarm of the D.P.S. share responsibility withthe F.B.I. due to the kid being taken. ButI doubt they're out of bed yet.A few chuckles.REPORTER #3Red, how do you plan to apprehend theescapees?REDOfficially I can only say we have a fullmanhunt team on their trail and we'llproceed with due haste.REPORTER #3And unofficially?Red hesitates a moment, something's bothering him, then blurtsout...REDUnoffically? I'm gonna' hunt 'em likethe rabid dogs they are.(CONTINUED)24.35CONTINUED: (2)35Every hand in the place shoots up and Ad Lib questions flylike bullets.REDThat's all I've got but I'd like tointroduce ya' to Miss Sally Gerber.She's straight from the Governor'soffice. Knows all about psychologicalprofiles and the like. You probablyhave some questions for her.Red steps back and to one side. Sally is taken aback but thenwarms to the idea and steps to the podium for her first pressconference, ready to take on the tough questions, to show offa bit, but....There are no questions. In fact there is utter silence asevery raised hand drops. Eyes stare.Red sighs and starts to walk away.REDLook, fellas, I got work to do.And he heads out the door, followed by Sally's eyes and everyreporter's in the room, who commence once again to yell outquestions and mob after the Chief. Every reporter, that is,except one.He's near the back of the room and he smiles and raises hishand.Sally, unsure what to do, looks to him...SALLYYou have a question?REPORTERYes I do.Sally smiles a bit then puts on her serious face awaiting...REPORTERYou doin' anything tonight?Sally, steamed, glares at the guy and stomps out of theroom.REPORTERI'm serious!36INT. IMPALA - DAY36Butch is driving with Phillip in the front seat beside him,still in his underwear. Jerry, in the backseat, leers atButch, aims out the window and FIRES ONCE.25.37EXT. FIELD NEAR ROAD - DAY37An aluminum water tank spews a violent leak.38INT./EXT. CAR - DAY38BUTCHWe got a handful of caps and yer'shootin' water tanks. He's a smartguy, huh, Phillip?Phillip doesn't move or change expression. Jerry smiles,almost to himself, and FIRES TWICE more for the hell of it.The ROOF of the Impala EXPLODES with two holes as the carspeeds off down the highway.39EXT. PARKING LOT - DAY39Red is finishing up with several reporters near the door tothe parking lot. Adler jumps in, holds up his hands.ADLERAll right, that's it, boys. Chief's gotwork to do.Red and Adler move through the parking lot to SAUNDERS, 50, anaide to the Governor. Saunder's seconds are a PHOTOGRAPHER,young and energetic, and SUTTLE, 35, dark-haired, with acowlick.Saunders shakes Red's hand and they turn to gaze upon...'60-STYLE AIRSTREAM MOBILE HOMEparked in the middle of the lot hitched to the back of a newChevy truck. The Airstream is painted in state colors andsports banners, decals and logos.40EXT. PARKING LOT - DAY40Saunders follows Red as he walks around the showpiece,occasionally kicking a tire or two.SAUNDERSSo whattaya' think?Saunders motions for the Photographer to come closer and takepictures. He moves in next to Red and poses as the cameraclicks.SAUNDERSWe are very proud of this baby. GovernorConnally special ordered it so stateofficials and dignitaries can ride in theparade in Dallas. You know PresidentKennedy's comin'?(CONTINUED)26.40CONTINUED:40REDSo I hear.SAUNDERSLatest technology, oversized engine,complete kitchen and sleeping quarters,gun racks, frig, stove, the works. Evengot a hot line phone straight to theGovernor's office.Red stops circling and nods to Adler, who scurries away.REDFine piece of machinery.SAUNDERSWhat's more, as soon as it gets back fromDallas it will be at your requisitioneddisposal. Perfect for lots of situations-- a headquarters on wheels.Red smiles, walks up to one of the Lone Star decals and ripsit off.REDWe'll take it.SAUNDERSUh, Chief?....Red rips off another decal. Adler and a few others start toload equipment, guns and files into the motor home. Inaddition they cart out unecessary items: mattresses, etc.and stack them in a pile outside the motor home.The Photographer continues to snap photos.SAUNDERS(to Red)Whattaya' doin', Red?!(to Photographer)Stop takin' pictures!Red does away with the parade banner. Saunders follows behindand tries to reinstate the decal.SAUNDERSIt's jus' not possible, Red. The Governor'sgonna' ride it in a campaign parade tomorrow.REDGuvner' hisself told me this manhunt wastop priority.(CONTINUED)27.40CONTINUED: (2)40Adler moves through the door to the RV carrying Red's favoritedesk chair. He's followed by BOBBY LEE, 20's, cocksure,wearing a plain khaki uniform and boots.ADLER(to Saunders)S'cuse me.(to Red)This here's Bobby Lee. He's a specialistwith the Feds. They want him to tag along.Red stares hard at Bobby Lee, then nods. Bobby Lee stepsinto the Airstream.SAUNDERSPlease, Red, ya' gotta' believe me...Red spots Suttle, 35, bright-eyed, with a cowlick, sitting atthe wheel of the Chevy truck.REDWho are you?SUTTLEDick Suttle, the driver.REDNot anymore. Bradley.BRADLEY, 35, glasses, moves to the truck and gets in.Suttle shrugs and steps out.Saunders stops Suttle and turns to Red.SAUNDERSThis man stays with the vehicle whereverit goes, Red!RED(to Suttle)You know how to operate the gadgets?SUTTLEYessir.RED(to Suttle)Grab a seat.Suttle sets himself in the passenger seat of the truck.Sally emerges from the building, ticked off, carrying anarmload of file boxes, and makes a beeline for Red.Saunders gently touches Red's shoulders; a final plea.(CONTINUED)28.40CONTINUED: (3)40SAUNDERSPlease Red, I'm beggin'. I mean, what amI suppose to tell the Governor?Sally arrives but before she can spit out a word...REDTell John that Miss Gerber here checkedme out on it.Red whistles and the ENGINE REVS. Red closes the door as themotor home pulls away. Saunders runs beside the passengerside window and yells in to Suttle, who stares out the window.SAUNDERSNot a scratch, you hear me, Suttle?Not a scratch!Saunders stops, breathing hard, next to Sally. She'spissed and overloaded with files.AIRSTREAMabout 20 yards down the way, comes to a stop. A second laterthe door opens and the steps pop out.Sally walks toward the bus but when she arrives at the door...... LAUGHTER filters out of the Airstream. The Airstreammoves another 20 feet then stops.Sally waits a full five seconds, then she blows the hair outof her eyes and, against her better judgment, moves cautiouslyforward, the file boxes getting heavier by the minute. Again,when she gets close......the Airstream moves. Sally, boiling mad as her coiffurewilts in the Texas sun, stops, and tosses down the file boxin anger.The Airstream stops. LAUGHTER from inside and a few AD LIBS,i.e. -- "Okay, Okay." More LAUGHTER. Red steps out the door,turns his gaze back inside and the laughter and comments stopon a dime. Smiling slightly he turns to Sally, moves straightfor the file box, picks it up and walks back to the Airstream.When he arrives at the steps he turns, looks to Sally, whostews and holds her ground.REDYou comin' or not?She hesitates only a moment before walking straight to Red,grabbing back her file box and entering in front of him.29.41OMITTED4142INT. AIRSTREAM - DAY42Sally enters, balancing the boxes, and glares at the facessurrounding her. A smiling Red, a grinning Adler messilygorging on a cinnamon roll, a nervous KAISER, the radio man,and, in the corner, a nasty smirk from Bobby Lee.When the Airstream takes off again, she loses her balance anddrops one of the boxes. Adler and Suttle jump forward to helpbut she gives them the evil eye.SALLYI've got it.She kneels down to pick it up and feels eyes on her. Shelooks up to the men staring at...Her skirt, raised a bit, exposing a thigh.She calmly stands and looks to Adler, a piece of cinnamon rolldangling on his chin.SALLYYou've got shit on your face.Red can't help but smile as Adler wipes at his face.43EXT. RURAL ROAD - DAY43The IMPALA BLASTS along, kicking up dust and dispersing crowsas it heads into a one light township. It slows, however,before the main part of town and slides to a stop near a payphone booth.44INT./EXT. IMPALA - DAY44JERRYWhy the hell we stoppin'?BUTCHYou said you had a cousin near here.JERRYSo?BUTCHSo give him a call. See if we can shackthere til' things cool down.Jerry thinks it over, leans forward and, in one quick swipe,grabs the keys from the ignition. Then he laughs and crawlsout on his way to the phone booth.(CONTINUED)30.44CONTINUED:44In the b.g. we see Jerry strut to the phone booth and porethrough a thin directory. Phillip steals a glance at Butch,who watches his rear view mirror and grits his teeth.PHILLIPWhy'd he take the keys?BUTCHSo I won't leave him.PHILLIP(a tad hopeful)Would you leave him?BUTCHOh yeah.In the b.g. Jerry rips the 20 page phone book in half andreturns to the car, half pleased with himself. He tossesthe keys to Butch, who starts the car and drives off.JERRYMusta' moved. Prolly' couldn't have heard'em anyway. Goddam ear's still bleedin'.You ever try that shit again...BUTCHWhat?JERRYWhat?BUTCHYou were in the middle of threatenin' me.JERRY(from the movies)Ain't a threat. It's a fact.Butch reaches over, takes Phillip's hand and places it on thesteering wheel.BUTCHHere kid, take the wheel.Phillip, scared at the prospect, nevertheless does his bestto see over the dash and keep the wheel straight. Butchturns back over the seat to confront Jerry.BUTCHIn two seconds I'm gonna' break your nose.That's a threat...(CONTINUED)31.44CONTINUED: (2)44Before Jerry has time to snicker Butch hits him full in theface and grabs the gun. Blood spurts from Jerry's nose andthe injured man cups his hands over the wound.Butch spins and retakes the wheel from a frightened Phillip.BUTCH... And that's a fact.Instead of expressing outrage, Jerry slinks back down in theseat wearing a look of pure hatred.JERRYI'm gonna' kill you for that.BUTCHAnd that's a threat. Beginnin' tounderstand the difference?Somethin' catches Butch's eye and he turns and slows down andturns into...45EXT. RURAL STORE - DAY45The Impala brakes to a dusty stop near the front of the store,which is bordered by a giant hay field.46INT. IMPALA - DAY46BUTCHOkay, Phillip, listen up. I'm gonna'run in here and get some smokes.JERRYGet beer.Butch hands Phillip the revolver.BUTCHHere, hold it like this.... And point itright between his eyes.JERRYWhat the hell?...BUTCH(to Phillip)If he so much as moves you pull the trigger... right here... Put your finger on it.Jerry snickers and then laughs maniacally. Butch reachesover and cocks the pistol. Jerry's guffaws stop on a dime.JERRYYer' a fuckin' crazy man.(CONTINUED)32.46CONTINUED:46BUTCHAnd that's a fact. I believe yergettin' the hang of this.Butch steps out of the car and heads for the market.47INT. STORE - DAY47Butch enters. A short fat man with a fishing cap is sweepingup.BUTCHHow-do. Where's yer' sodees?MANHot in the first aisle. Cold in theback, in the cooler.48INT. IMPALA - DAY48Phillip's slightly shaking hands hold the pistol pointeddirectly at Jerry's head.JERRYYou ever shot a gun before, boy?No answer. Phillip steals a glance at the store, anxious forButch to return.JERRYPowww!!!... It'll knock you on your ass.PHILLIPBe quiet, mister.JERRYNaw. You ain't never shot no gun before.Livin' in a house with three split tails...no Daddy around. You'll prolly' grow upqueer, you know that?A bead of sweat rolls down Phillip's cheek.JERRYNow I'm gonna' lean up here real slow,okay? So we can talk.Jerry raises his hands, palms up and slowly leans forward inthe back seat. Phillip's hand quivers but he doesn't pullthe trigger.JERRYThere we go. Now we can have a 'man toman.' You are a man, ain't ya'?33.49INT. STORE - DAY49Butch dumps a six pack of RC Colas, a handful of Moon Pies,a handful of beef jerky and some gum on the counter.50INT. IMPALA - DAY50Jerry's chin is on the front seat now and his arms are drapedover it.JERRYThose are cute little underwears you gotthere, boy. Say does your mama sew yer'name in 'em, initials or anything?Jerry's hand slowly reaches down to the white briefs. Heplaces one finger in the front elastic waistband and slowlypulls it open.JERRYWhatcha' got in there?Jerry sneaks a peek.JERRYKinda' puny, ain't it?Phillip, diverted, looks down. In a flash Jerry grabs thegun.JERRYThe hand is quicker than the eye.Jerry flicks open the revolver, spins it -- empty slots.JERRY(re: Butch)That sonofabitch. Hell's bells, noshells.51INT. STORE - DAY51The Old Man puts down his broom and ambles to the register.OLD MANThis be all for ya'?BUTCHThis and a carton of Chesterfields.(beat)Are those .38 shells? Gimme a box.The Old Man puts the cigs and shells on the counter and startsto tally the bill on a notepad.(CONTINUED)34.51CONTINUED:51OLD MANWith deposit comes to four dollars eighty.Butch reaches in his pocket and extracts the wad stolen fromthe convenience store. The Old Man takes note. Butchselects a five and places it on the counter.OLD MANLand's sake. What line of work you in?The Old Man bags the goods, but Butch takes the shells andputs them in his coat pocket.BUTCHUsed cars. Buy 'em, fix 'em up. Sold aCadillac down in Madisonville this mornin'.OLD MANDon't say.52INT. IMPALA - DAY52Jerry puts his gun hand around Phillip's neck and pulls thesobbing boy closer. Jerry rests his face on Phillip's neck.JERRYCome over a little closer.As Jerry groans, Phillip seizes the moment and bites Jerryhard on the ear. Jerry screams and drops the gun, whichPhillip picks up and carries with him as he scurries out ofthe car and into the hay field.Jerry, in pain, now with both ears bleeding, crawls out ofthe back seat and gives chase.53EXT. FIELD - DAY53Phillip, still sobbing, runs for his life in the hay, whichis a full foot taller than he.JERRYno longer stumbling, now grinning maniacally, gives chase,whistling as if calling for a lost puppy.JERRYI'm gonna' find you boy. You best come here.PHILLIPgun in hand, stumbles, falls, gets up, keeps running. He fallsagain and crawls to a stop. He wipes his tears and balls upon the ground trying to make himself invisible.35.54EXT. STORE - DAY54Butch exits with a grocery sack. When he sees the car doorsopen he dumps the groceries in the front seat and looks tothe field.HIS POVThe hay rustles as Jerry moves through the field.55EXT. FIELD - DAY55Jerry, crouching, moves through the field -- eyes peeled forany sign of Phillip.Phillip lies still. He hears the hay rustling near him andhe looks up, squares his body and points the revolver at...Butch, who spots him, motions for him to stay put and holdsout his hand for the gun. Phillip hands it over and watcheswhile Butch reaches into the plaid jacket pocket, extracts afew shells and loads the .38.JERRYa little frustrated now, but still moving forward.JERRY(a whisper)Hey boy. Hey boy. You better hope Idon't find ya'.He spots something -- a dash of color -- and begins to crawlfaster. He parts a thick batch of hay and looks up into thegun barrel and eyes of ...BUTCHsquatted down, who levels the revolver and closes one eye.Jerry laughs.JERRYWhatcha' gonna' do? Hit me with it?Butch reaches into the coat pocket with his free hand andshows a shell or two. Jerry's grin drops.JERRY(pleading)Me'n you are friends!!!!BUTCHThick as theives.PHILLIPhears a GUNSHOT and runs for his life back toward the store.36.56EXT. PARKED IMPALA - DAY56Phillip runs to the car and hides behind the tire opposite thestore and field. In the b.g. we see Butch emerge from thefield and walk toward the car.The Old Man, who also heard the shot, emerges from the storewith a baseball bat. Butch arrives at the car, spots the OldMan and levels the revolver at him. Phillip is relieved whenhe hears Butch's voice instead of Jerry's.BUTCH(to Old Man)You got a phone?OLD MANNaw.BUTCHThen go inside and lie down til' we're gone.The Old Man meekly does so. Butch goes to the car door, opensit and motions to a frozen stiff Phillip.BUTCHWell... Get in.57EXT. HIGHWAY - DAY57The truck and Airstream barrel down the highway.58INT. AIRSTREAM - DAY58The place is a functioning mobile headquarters now. Adler onthe short wave and tacking up a map, Bobby Lee still in hiscorner, Red and Sally sitting across from one another at the"kitchen table".In the rear section of the Airstream Red's chair and a minioffice for the Chief have been put together.ADLERGot a spot on 'em. A store right outsideof Benhur. About 20 miles from here.Adler sets down the mike, sticks a tack on the map and standsback.REDAll right. Push the roadblock on 288north by 50 miles.Kaiser calls in the instructions. (NOTE: Kaiser's radiotransmissions are not scripted but go on a lot of the timewe're in the Airstream. In addition, his and Adler's direc-tions and missives to Bradley in the truck are not allscripted.)(CONTINUED)37.58CONTINUED:58ADLERYa' figger' they're that far along?REDHell, I dunno'and neither do they. They'rejus' happy to be out. It's a high speedSunday drive to them.ADLERSunday drive. I like that. Never heardyou use that one before, Red.Sally is watching Red and listening to all of this with atroubled look on her face. Red notices...REDSomethin' eatin' at you?SALLYIt's... perhaps premature, but do you havean auxiliary roadblock plan for when theysplit up?Everyone stares. No one ever questions Red.ADLERWhat makes you so sure they won't staytogether?Sally hesitates. Red notices...REDYou got somethin' to say, spit it out.SALLYTheir situation is one of accommodation.They won't be together long.Silence. Sally continues.SALLYHaynes and Pugh are opposites. Haynes isa criminal's criminal -- armed robbery,mano y mano confrontation. Pugh, on theother hand, has a rap sheet littered withmolestation and petty crime. They'llsplit sheets soon.ADLER(still on attack)What about the hostages? They gonna' flipa coin to see who gets to keep who?Red rises and walks to the sink. He rinses a spoon.(CONTINUED)38.58CONTINUED: (2)58SALLYIt's happened before. Either way it's adilemma they'll address soon.(beat)That's why we should address it now.She looks to Red. He refuses to return her gaze.REDWe don't have a dilemma. And neither dothey. They'll keep one hostage... and getrid of one, if they haven't already.SALLYOkay... which one?REDIf there's a SNAFU, who's John Q. Publicmore likely to give a rat's ass about --an innocent boy or a goddam bureaucrat.Red wipes the water off the spoon on his shirt and walks tohis office in the back. Adler, Bobby Lee and Kaiser chucklelightly at their boss's snubbing of the female upstart intheir midst. Sally's face glows a bright red.59INT. MOTOR HOME - BACK OFFICE59Red sits in his office chair, pulls out the spoon and poursGeritol from a bottle into his coffee. He doesn't even lookup when Sally enters, a stern look on her face.SALLYWe need to talk, Chief Garnett.REDCall me Red.SALLYRed.(beat)Why are you so hell-bent on embarassing me?REDI'm hell-bent on one thing. You hangaround long enough you'll find that out.Til' then a tough backside and a sense ofhumor will get you through a lot.SALLYI have a fine sense of humor, but the onething I won't do is be your straight manso you can play hero to a bunch of moronswho think you're some kind of hillbillySherlock Holmes.(CONTINUED)39.59CONTINUED:59Red sips from the mug calmly then groans, his face contorted.REDAwful. Arthur Godfrey says it keeps ya'young, but I'm not sure it's worth it.SALLYI'd like an answer.REDThis yer' first time out of an office?She refuses to answer.REDThought so. What'd ya' expect ya' signedon for?Adler, Bobby Lee and Kaiser all watch the discussion, smileson their faces. Sally abruptly closes the door.SALLYYou think I'm what? Some dumb schoolgirlwho wandered into the boy's locker room?Well you're wrong. I don't mean to boast,but I happen to be one of the two mostintelligent people involved in this fiasco.REDDidn't ask that. Asked what you expected.SALLYI expected to be allowed to do the jobassigned to me by the Governor.REDI happen to like the Governor, hunt quailtogether every year. But deep down he andI know that win, lose or draw this is myship, not his.SALLYThe Governor as chief executive officerof this state bears ultimate responsibilityfor...RED... Bullshit. Responsibility lies with theone that loses sleep; the one with the mostulcers. This mess turns bloody -- and itmight -- all it's gonna cost the Governoris a few votes! Me, I'm the one that's...(CONTINUED)40.59CONTINUED: (2)59Red catches himself about to get too personal. He takesanother swig of his coffee/geritol. Sally softens her stance.SALLYYou're the one that what?But Red side-steps.REDTell ya' what. You think I'm makin' awrong turn you speak up. Might not agree,but I'll listen. As far as stepped ontoes and wounded pride, I'll buy everyonea drink when we head for home. Not until.I got more to worry about.(beat)That sound fair to you?SALLYYes.REDWell okay then.Sally turns, about to leave.REDSo who's the other one?SALLYOther one?REDIf yer' one brain, who's the other?SALLYHaynes. He was tested in prison.60INT. IMPALA - DAY60Butch drives and catches an occasional glance at Phillip whosits quietly, but who, too, steals looks at his captorbetween swigs of RC Cola.He finishes off the bottle. Butch reaches in the sack foranother, pops the top on the dashboard and hands it toPhillip.PHILLIPThankyew.(beat)Are you gonna' shoot me?BUTCHNo. Me'n you are friends.(CONTINUED)41.60CONTINUED:60Butch realizes that in Phillip's eyes he and Jerry wereprobably friends.BUTCHIf I was choosin' a runnin' buddy, I'dtake you over him any day of the week.61EXT. RURAL STORE - DAY61The RV slides to a stop in the gravel parking lot which isfull of state and local police. Red exits first, followedby the others. A LOCAL SHERIFF walks up to greet.REDWe got a positive I.D.?LOCAL SHERIFFYessir, with only the boy as hostage. Butnot five minutes ago we found something else.62EXT. HAY FIELD - DAY62PAN FROM a fingertip UP an arm and TO the face of Jerry Pugh.A clean bullethole has left him with a third eye, a bloodyback and an entourage of late summer flies. We hear theCLICK of a photographer's CAMERA.BOOM UP TO Red, Local Sheriff and other bystanders.REDLeast now we know who's in charge.63INT. IMPALA - DAY63Butch notices that Phillip is pretty somber as he tugs onanother RC.BUTCHWhattaya' thinkin' about?PHILLIPNuthin'.BUTCHIf I guess you tell me?Phillip nods.BUTCHYou thinkin' about yer mama?Phillip sits still. That was it.Butch brings the car to a stop. He points to the horizon.Desolate.(CONTINUED)42.63CONTINUED:63BUTCHI hear ya', Phillip, but look around. Ican't very well leave you here, can I?64EXT. RURAL ROAD - DAY64The Impala rests in the fork of a dirt road.65INT. IMPALA - DAY65BUTCHLemme' ask you somethin'. You right orleft handed?Phillip meekly holds up his right hand. The car racesforward.BUTCHThen that's the way we'll go. You everridden in a time machine before?Phillip shakes his head.BUTCHSure you have. Whattaya' think this is?PHILLIPA car.BUTCHYer' lookin' at this thing bassackwards.This is a 20th Century time machine.I'm the captain and you're the navigator.Butch points forward through the dash.BUTCHOut there... that's the future.Butch taps on the rearview mirror.BUTCHBack there... that's the past. If life'smoving too slow and you wanna' projectyerself into the future you step here onthe gas. See?He does so and the Impala surges forward.BUTCHAnd if yer' enjoyin' the moment yer' in,well hell, just step on the brake hereand you can slow it down.(CONTINUED)43.65CONTINUED:65Butch brings the car to a complete and dusty stop.BUTCHThis is the present, Phillip. Enjoy itwhile it lasts.Then he laughs uproariously and steps on the gas.66EXT. ROAD - DAY66The Impala spins out, kicking dirt in all directions.BUTCH (V.O.)Yessir. Time travelin' through Texas! Wegot to find us a Ford. My daddy alwaysdrove Fords, you know that?67INT. AIRSTREAM - DAY67The Airstream sits in the parking lot of the store. Bradleyand Suttle sit up front in the truck.INT. TRUCK - DAYBradley turns the knob on an intercom speaker system nextto the radio.SUTTLEIt's an intercom speaker system. You canget and give instructions to and from therear of the vehicle.BRADLEYHow's it work?SUTTLEYou push the power button but if you'vegot the volume turned up...Bradley pushes the power button. The SYSTEM SQUAWKS LOUDLYand then CREAKS TINNILY. Speakers blown.SUTTLE... you'll blow the speakers. Sheeeit...INT. AIRSTREAM - DAYRed cringes, his ears still ringing from the squawk, and turnsto stare at the front of the RV.(CONTINUED)44.67CONTINUED:67INT. TRUCK - DAYBRADLEY(quiet; to Suttle)This thing's prolly' got a warranty.You oughta' make a list of all thethings that are wrong.INT. AIRSTREAM - DAYRed shakes his head and stands in front of the map, placingthumbtacks at crossroads indicated by the circle mark.ADLERThat oughta' put his pecker in a sling,huh, Red?(remembers Sally)Sorry, ma'am.SALLY(ignoring Adler)Shouldn't these be roadblocked as well?She points to several other unmarked roads.REDSooner or later he'll get on a main road.We don't got the manpower to roadblockevery farm to market.ADLERIn a perfect world, Miss Gerber, we'd lockarms and thrash the bush til' he turned up...SALLYIn a perfect world things like this wouldn'thappen in the first place.Adler hears something on his headset, turns to Red.ADLERLocals are heading out. Wanna' follow?REDLet's sit tight. He'll turn up.68EXT. RURAL ROAD - DAY68The Impala travels slowly along the road until it edges to astop by the entrance to a small farmhouse with a truck andcar parked in a long dirt driveway. A farmer on a combineworks a small field.45.69INT. PLYMOUTH - DAY69BUTCHOk, Phillip, we're gonna do some carshoppin'. You ever play cowboys n' Injuns?See that Ford sedan? Now I want you tosneak on over there like an Injun and takea peek and see if the keys is in it.Phillip hesitates.BUTCHDon't have to if you don't wanna... butI'd appreciate it... You bein' the newnavigator and all.Phillip thinks it over then opens the door and slips out.BUTCHHey, Phillip, check for a radio, too.70EXT. FARMHOUSE - DAY70Phillip, still in his skivvies, legs cut up and muddied fromhis escape from Jerry, sneaks up to the car and quietly peersinto the open window.The keys dangle when his small hand touches them.Phillip closes the door, looks around and then runs pell-mellto the passenger window of the Impala.PHILLIPIt's got keys and a radio. I checked.BUTCHGood man.Phillip holds his crotch and stamps his feet.PHILLIPCan we stop at a fillin' station.BUTCHWhat for?PHILLIPNumber one.BUTCHThis here's nature, Phillip. Pee in theditch.Phillip scrambles to the ditch to relieve himself while Butchsteps out of the Impala, tosses the keys into the field andwalks toward the Ford.(CONTINUED)46.70CONTINUED:70The FARMER stops his tractor and notices Butch and Phillip.Phillip, despite his prior urgency, is having trouble coaxingrelief.Butch slides into the Ford, pumps the gas pedal and turns thekey. The ENGINE GRUMBLES and DIES.The Farmer is walking now, slowly and then at a trot as herealizes what's happening.Phillip finally starts to pee.Butch cranks again and again but the Ford is flooded.BUTCHStart, you sonofabitch!The Farmer runs faster, comes closer...FARMERHey, that's my car! Hey!!!Butch floors the gas to clear the flood and the ENGINE finallySTARTS. He throws it into reverse and peels out backwardsinto the road beside the ditch where Phillip continues torelieve himself.BUTCHGet in the car, Phillip!The Farmer, only 30 yards or so away, is racing toward themmadder than a wet hen.Phillip tries to hurry but the RC continues to run throughhim.BUTCHPhillip! Get in the car!Phillip pulls his underwear up and races to the car. He leapsinto the open passenger door at the same moment Butch steps onthe gas and the Farmer arrives and grabs onto the door as itcloses.71INT. FORD - DAY71The CAR is SCREECHING down the road but the Farmer holds onfor dear life and auto. He claws at Phillip, who does hisbest to fend off flailing hands and fingers.Butch reaches under the seat for and grasps the pistol.Phillip sees what's about to happen and bites the Farmer'shand as hard as he can.(CONTINUED)47.71CONTINUED:71FARMERAaaaaayyyyyy!!!!The Farmer releases his grip on the door and falls backward,summersaulting into the adjacent ditch.Butch places the gun back under the seat.BUTCHGoddam, boy, how many RC's did you drinkanyway?PHILLIPFour.Butch shakes his head and laughs.BUTCHOne thing's for sure. You got one helluvaset of chompers.72INT. TRUCK - DAY72Sitting still. Bradley tries to light a cigarette withthe lighter but gets no heat.BRADLEY(to Suttle)Lighter don't work. Put that on the list.INT. AIRSTREAM - DAYBobby Lee sits alone in the back corner of the main room ofthe RV. He just sits and stares, occasionally smilingcynically at Sally.Adler takes the latest info off the radio while the otherslisten in.ADLER(into radio)Highway 16 north. Four miles south ofDesdemona. Got it.(to Red)Stole a vehicle.Kaiser radios up front, the ENGINE STARTS and the Airstreammoves.RED(to Adler)What kinda' shape's it in?(CONTINUED)48.72CONTINUED:72ADLERWhat's that?SALLYThe Ford he stole.ADLEROwner told the locals they only drove itto church, but it does have a bad emergencybrake.(to Sally)How'd ya' know it was a Ford?SALLYHe likes Fords.Adler looks at the map.ADLERLooks like you was right, Red. He's offthe farm to market and onto a spur.Whattaya' wanna' do?REDBeef up the I-20 roadblock.Adler gets more news through the headsets.ADLERWhat's that?(beat)Red, the locals wanna' know if they're totake a clean shot if they get one?Red stares out the window for what seems like an eternity...REDNo.Adler looks quizzically at Red and pulls off the headphones...RADIO VOICE (V.O.)Come back...? Come back Mobile One.Adler, are you there...?REDTell 'em what I said.ADLER(into mike)Uh... no.RADIO VOICE (V.O.)Was that a negative?(CONTINUED)49.72CONTINUED: (2)72ADLERNo, er, yes. No means negative. Samething. Over.Red sees Sally peering at him over the top of her file. Heglances around at the other sets of eyes.REDI don't want some half-ass Sergeant Yorktaking pot shots with a deer rifle.Adler puts the headphones back on.Bobby Lee smirks a bit.SALLYIt's the only thing to do. He's got thechild with him.Red gives her a look that says, "Don't defend me".BOBBY LEE(to Sally)I suppose you figger' he'll jus' give up.SALLYMaybe, maybe not.BOBBY LEEWell now there's a safe bet.SALLYI'll give you a safe bet. The boy'sin better hands now than he was.REDThe third eye Pugh's sportin' on the wayto the morgue shouts otherwise.Sally flashes Red a look back. Bobby Lee rises and movespast Red on his way to the toilet.BOBBY LEE(casually)Then why not shoot to kill.Red just stares at Bobby Lee as the younger man moves slowlypast him to the toilet.Adler on the radio...(CONTINUED)50.72CONTINUED: (3)72ADLER(to Red)They've forwarded the stolen vehicle licenseto the roadblocks. You still wanna' go tothe farm?Red pulls out a package of Red Man chewing tobacco and mullsover the question while he slaps a wad into his cheek.REDYeah. I gotta' hunch.73INT. FORD - DAY73BUTCHYou got blue eyes don'tcha', Phillip?Never met a blue-eyed Phillip before.Who you named after?PHILLIPMy daddy.BUTCHYou and your old man get along all right?PHILLIPYeahsir.BUTCHToss the ball around, play grab-ass in theyard, that sorta' thing?PHILLIPNawsir.BUTCHWhy the hell not?PHILLIPHe ain't around, really.BUTCHWell he is or he ain't. When's the lasttime you saw him?Phillip shrugs.BUTCHMe'n you got a lot in common, Phillip.The both of us got blue eyes, we bothlike RC Cola and neither one of us hasan old man worth a damn.(CONTINUED)51.73CONTINUED:73PHILLIP(a bit defensive)My Mama says he'll prolly' come back.Prolly' when I'm ten or so.BUTCHWell... she's lyin' to ya' pure andsimple. He ain't never comin' back.Disappointment registers on the boy's face.BUTCHGuys like us, Phillip, we gotta' be onour own. Seek foolish destiny, thatsorta' thing.74EXT. GAS STATION - DAY74The Ford pulls off the dusty road and into the lone pump inthis dilapidated petrol mirage. A BUCK TOOTH BOY, 15, inoveralls steps to the window.BOYWhat can I do ya' for?BUTCH(to Phillip)Tell him your name.PHILLIPPhillip.BOYFill-er-up it is.The attendant starts to pump the gas.BUTCHSee there! All you gotta' do is say yourname and people are waiting on you handand foot. Like a goddam king or somethin'.Phillip can't help but smile at the notion.75EXT. FARMHOUSE - DAY75Bradley and Suttle lean against the parked RV, chatting.BRADLEYYou responsible for engine maintenanceon this thing?SUTTLEUh, yeah. I'm the full time driver.(CONTINUED)52.75CONTINUED:75Bradley shakes his head. "Too bad".SUTTLEWhat? Why?BRADLEYYou notice how it keeps wanting to slip abit goin' into second. Feels to me likesomebody's been a little heavy-footed withthe clutch.(beat)I'd take care of that if I was you.PAN TO: an ambulance door opens and the Farmer, strapped in,is rolled toward it as his wife, sobbing, attends to him.Several local police scour the surrounding field, walkingfour feet apart, looking for what they hope they won't find.Red leans on the trunk of the Impala, chews and spits on theground. He sniffs the air. Unsavory. Adler strides up fromthe field.ADLERNo bodies this time, thank Gawd.REDYou got the keys to this thing?ADLERUh... naw...REDGet me a crowbar.(to Sally)You might wanna' wait in the boat.SALLYNo thank you.76AINT. TRUNK - DAY76ABut it's black as night. A CROWBAR CRANKS at the lock untilthe trunk blasts open like a bottletop. A blast of lightgives way to the silhouetted faces of Red, Adler and Sally,who turns and walks away in nauseous disgust.REDWell....THEIR POV - OPEN TRUNKIn it lies the crumpled, bent, bloody remains of Larry, theprison employee, the original hostage.RED... there's our bureaucrat.53.76BRED76Bspits a chaw, turns and walks to the RV. Near the entranceSally is heaving.RED(to no one in particular)It's sure nice to know the boy's in goodhands.Sally straightens herself, ready to bite back, but Red'sface is soft. He offers a handkerchief. She takes it.REDGallows humor, Sally. Without it we'dall be heavin'.77EXT. SMALL TOWN (NOODLE, TEXAS) - DAY77The Ford slides down the Main Street and into a side alleynext to a Department Store.78INT. FORD - DAY78BUTCHYou ready to get out of those skivviesand into some britches?Phillip nods.BUTCHWell all right then. But first we gotta'come up with some A.K.A.'s, fake identities,ya' know. Names to call each other whenwe're around other folks.(beat)Go ahead and think one up. Whatever nameyou want.Phillip is amused by the sport of it all.PHILLIPAny name I want?79EXT. STORE FRONT - ESTABLISHING - DAY79A small time Dry Goods store with a sign over the entranceproclaiming: "FRIENDLY'S - The Friendliest Store in Texas!"80INT. FRIENDLY'S - DAY80A small, well-organized country dry goods store with a dozenor so aisles carrying everything from DDT to used boots.(CONTINUED)54.80CONTINUED:80A long counter at the front of the store is backed by a smalloffice with a large glass window that gives the Manager, MR.WILLITS, 45, bespectacled, anal-retentive, a clear view of thestore. A nuclear family with two kids exits the store just asButch and Phillip enter. Butch holds the door open and smilesat them. They say "thanks" but can't help but notice Phillip,cowering behind Butch, still clad in his underwear. He hidesbehind a nearby display which reads: Cast Your Vote ForFriendly's Friendliest Clerk!A clerk, LUCY, 30, holding a handful of shoeboxes noticestheir entrance. She's schoolmarmish with a smile that lookslike it's painted on.LUCYWell, hello there and welcome to Friendly's.Looks like the little fella' needs some pants.BUTCHAs a matter of fact. Shoes and new skivvies,too. He'll tell you his size. Go with thelady, Buzz.Phillip, still in somewhat of a daze, doesn't recognize hisown "name".BUTCHBuzz!Phillip snaps to, cracks a smile at Butch and follows the ladyto the children's section of the store.LUCYBuzz, what a cute name. Like a bee.BUTCHwalks past the cash register, gives the clerk behind the deska wink and proceeds to an aisle which features hardware, rope,tape, nails, etc. He stoops and grabs a shank...... with his hands he grips the rope tight and jerks it taut.CHILDREN'S AISLELucy is holding jeans up to Phillip's waist.LUCYIt'd be easier if I knew your size, butwe'll get it right.Phillip's eye catches something...(CONTINUED)55.80CONTINUED: (2)80HALLOWEEN COSTUME DISPLAYon a circular rack with shelves. Hanging prominantly is aCasper the Friendly Ghost costume. Above it a sign reads:"MARKED DOWN - Get the Jump on Next Year!"CLOSEUP - PHILLIPmesmerized by the display.BUTCHtakes a roll of electrician's tape. He tears off a strip,attaches it to the back or his hand and tugs. It holds tight.LUCYkneeling, looking for sizes, selects a pair and turns to findPhillip gone. She spins around and smiles when she sees...PHILLIPwearing the Casper mask.LUCYWhy look. It's a friendly ghost. Say 'Boo.'PHILLIP(unconvincingly)Boo.LUCYNot very scary but you'll have a wholeyear to work on it if your Daddy letsyou have it. Good price, too. What'dyou go as this year?PHILLIPA bandit.81EXT. MAIN STREET - DAY81A local police car cruises slowly, spots the Ford parked inthe alley and comes to a halt.82INT. POLICE CAR - DAY82The cop, TERRANCE, 25, who only started last month after heflunked out of Texas A&M, checks the plates against a notepadon his dash.TERRANCE(realizing his find)Aw... shit...83INT. FRIENDLY'S - DAY83Butch, with a handful of supplies, including the rope andtape, makes his way to the register.(CONTINUED)56.83CONTINUED:83He's greeted there by PAULA, to whom he earlier winked. She's25, country cute, and wears a fake smile that rivals Lucy's.Butch reaches for and tries on a pair of sunglasses.BUTCHWhattaya' think?PAULALook good.He adds them to the pile of stuff.PAULAWill that be all for you today?Butch nods and hands over the goods.BUTCHYou folks are about the grinninest bunch Iever seen.Paula laughs, then drops her grin, looks behind her to seeMr. Willits is watching, and whispers...PAULAOld Man Willits holds a contest ever'month. The friendliest clerk gets a$20 bonus.(beat)There's a ballot box at the front.BEHIND GLASSMr. Willits adjusts his black and white TV and settles on alocal news broadcast.NEWSCASTER (V.O.)(on TV)... the hunt continues for Butch Haynes,who escaped last night from the maximumsecurity unit over in Huntsville. Haynes,six-one, 185 pounds, with brown hair isconsidered armed and dangerous. He waslast seen...CHECKOUT COUNTERPaula checks Butch's items as Lucy and Phillip emerge from anaisle and drop a pair of jeans and sneakers onto the counter.LUCYHere's the clothes, but Buzz has hisheart set on a Halloween costume fornext year. It is half off.(CONTINUED)57.83CONTINUED: (2)83MR. WILLITSpays more attention to Butch as the newscast continues.NEWSCASTER (V.O.)... Haynes is believed to have an8-year-old boy with him as hostage.CLOSEUPS - BUTCH AND WILLITSEach checking out the other.BUTCH(to Phillip)We'll get it next time. Go get in thecar, son.84EXT. MAIN STREET - DAY84Terrance pulls his black and white to one end of Main Streetand parks it across the street, blocking it.TERRANCE(into radio)Okay, Pete, I'm all set down here. You?ANOTHER COPPETE, 40, probably Terrance's uncle, slides his black andwhite to the opposite end of the street and puts it in park.PETE(into radio)Copasetic. Let's just keep him tiedup til' the state boys get here.85INT. RV - DAY85Adler takes the urgent message off the radio and turns to thegroup...ADLERThey've got him penned down in Noodle,north of Abilene.86INT. FRIENDLY'S - AT COUNTER - DAY86Paula bags the items, including the jeans.CLOSEUP - WILLITSstaring straight at Butch.CLOSEUP - BUTCHshakes his head at Willits -- "Don't even think about it".(CONTINUED)58.86CONTINUED: 86PHILLIPwalks toward the front door but stops short when he sees,once again, the Halloween display.BUTCHpays Paula, then stuffs a $20 in her blouse.BUTCHYou are truly the friendliest clerk Iever met.She blushes a "thank you" as Butch makes a hasty retreat tothe door.PAULA(an afterthought)Thank you for shopping Friendly's!87EXT. MAIN STREET - DAY87Butch exits the store, spots the blackandwhites, and slidesinto the middle of a group of old-timers moving down thesidewalk at a leisurely pace.88INT. FRIENDLY'S - DAY88Phillip stands at the costume display, looks around, thengrabs a Casper costume carton, stuffs it under his T-shirtand walks quickly to the door.89EXT. SIDE ALLEY - DAY89Butch slides away from the Old Timers and into the Ford.90AINT. FORD - DAY90AButch checks the back seat. No Phillip, no Buzz. He checksthe rear view mirror and sees...90BIN REAR-VIEW MIRROR90BPete, his cherry top spinning, pulls in behind Butch, blockinghis entrance to the main street.91EXT. SIDE ALLEY - DAY91Butch throws the Ford into reverse and steps on the gas.Pete not expecxting this kind of pace, at least not from theget-go, leaps into his back seat.The Ford rams into the black and white pushing it backwardinto a lightpole and a truck. The TRUCK'S OWNER, carryingmulch from the feed store, watches as his truck slidestoward him.(CONTINUED)59.91CONTINUED:91TRUCK OWNERDammit, Pete!!!92EXT. FRIENDLY'S - DAY92Phillip steps out the door. He spots the crash and watchesas...The Ford blasts back into the alley in a hail of dust.93INT. FORD - DAY93Butch, driving like a maniac, turns into the back alley andsteps on it. All at once he mashes on the BRAKES and comesto a SQUEALING stop.HIS POVThe alley is a dead end.BACK TO SCENEButch rips the CAR into reverse and SQUEALS all the way backto the original side alley.94EXT. FRIENDLY'S - DAY94Phillip stands frozen, scared, not knowing what to do butkeeping a look out on the street for the Ford.95INT. FRIENDLY'S - DAY95Lucy and Paula peer from behind the counter at Phillip andthe fracas taking place in the street.LUCYI knew something was wrong from the get-go.They spot Phillip standing a few feet in front of the door.PAULALook, he left his little boy.LUCYAnd look, the little rascal has... he'sno better than...PAULAWhat?!...LUCYHe's got that Casper costume. He stole it!96EXT. MAIN STREET - DAY96The FORD emerges from the side alley once more and SQUEALSonto Main Street.(CONTINUED)60.96CONTINUED: 96TERRANCEcan't believe his eyes...HIS POV - FORDis COMING STRAIGHT FOR him, hell bent on destruction andpicking up speed.BACK TO SCENETerrance sticks his black and white in rapid reverse and backsdown the street at 40 mph.PETE (V.O.)(on radio)Get the hell outta' there. We can'tlose both vehicles!TERRANCE'S POV - FORDis GAINING ON him -- he can actually SEE Butch's grimaced face-- when suddenly it goes into a dusty fishtail, does a 180,and barrels in the OPPOSITE direction.PHILLIPantsy as hell, stuck, wondering how this whole thing is goingto play out. He's suddenly aware of the peering eyes behindhim. Lucy bangs on the glass.LUCY(yells)Buzz! You little shit. Shoplifting isa crime!BUTCHchecks his mirror, looks ahead, spots Phillip and blastsstraight for the front door of the store. He SKIDS to a haltand stares right at Phillip.BUTCHUp to you, Buzz...PHILLIPHe's frozen for a second, his knees knocking, teethchattering, the works. Lucy appears behind him and theglass door...LUCY(to Phillip)You'll never get away with this, littlemister!Phillip dashes to the Ford and makes a swimmer's startingdive into the open passenger window.(CONTINUED)61.96CONTINUED: (2)96Butch pulls his GUN and FIRES once into the glass door abovethe clerk's heads.97INT. FRIENDLY'S - DAY97The GLASS DOOR and surrounding WINDOWS SHATTER into a millionpieces, sending Lucy, Paula, makeup, pantyhose, grins and allinto a heap on the floor.98EXT. STREET - DAY98The FORD SQUEALS out down the street. Pete crawls out frombehind the seat and ducks again just as...... the Ford sideswipes the black and white for good measureand fishtails out of town.Pete crawls over the back seat again as his radio SQUAWKS...TERRANCE (V.O.)Pete?... Pete? You okay?...99INT. FRIENDLY'S - DAY99Paula emerges from behind the counter and stares at Lucy, onthe ground amidst glass and mayhem.PAULASay what you want. I'm keepin' the twenty.100EXT. RURAL ROAD - DAY100Two young, country boys stand by the side of the road. One,FRANK, tosses an egg from hand to hand while he watches thehorizon. The other, BILLY, approaches, crawling through abarb wire fence dragging something behind him.FRANKHurry up. Someone's comin'.ON HORIZONSure enough, a hail of dust signals the approach of a vehiclea mile or so away.Billy crawls into the ditch next to Frank. We see what he'sdragged from the field -- a scarecrow with a floppy hat andred bandana.FRANKStick it in the road. Hurry up.Billy does so, propping the scarecrow into a sitting positionwith a forked stick. Then he races back to the ditch andslides in next to Frank to divide the eggs.(CONTINUED)62.100CONTINUED:100FRANKWe got seven eggs. I get four to throwand you get three... since it was my idea.Billy nods.FRANKHere they come. Aim for windows and getready to run.The car crests the hill, followed by another, and another anda final one, all Highway Patrol, all with their lights on andSIRENS WAILING.FRANKOh shit!The cars don't even slow at the sight of the scarecrow, blast-ing right through it, sending hay, hat, limbs and all, flying.The scarecrow, or what's left of it, lands in a ditch next tothe boys. In unison they breathe a sigh of relief, look ateach other, drop the eggs and hightail it for home.101INT. FORD - DAY101The car is parked in a field of some sort. Butch reaches inthe back seat for the bag of clothing.BUTCHHere, take them nasty skivvies off andput on yer' jeans.He spots Phillip's not so successful effort to hide thecostume box.BUTCHWhatya' got there?PHILLIPA ghost suit.BUTCHFrom the store? You kyped it?Phillip nods, expecting the worst.BUTCHWell, hell, Phillip, put it on.PHILLIPYou ain't mad?BUTCHLet's unnerstan' each other here.(MORE)(CONTINUED)63.101CONTINUED: 101BUTCH (CONT'D)Stealin's wrong, ok? But if there'ssomethin' you need bad and you ain't gotthe money, then it's okay to take aloaner on the item. It's what ya' callan exception to the rule.Phillip tears into the box, rips out the costume, looks at it,starts to take off his underwear then balks. Butch notices.BUTCHWhat's wrong?PHILLIPNuthin'.Butch notices Phillip's hands covering his crotch.BUTCHWhat? You don't wanna' get undressed,is that it?Phillip shrugs.BUTCHYou embarrassed caus' I might see yer'pecker?PHILLIPIt's... puny.BUTCHWhat?PHILLIPIt's puny.BUTCHWell hell, lemme' see.Phillip still hesitates.BUTCHGo on. I'll shoot ya' straight.Phillip gingerly pulls off his underwear. Butch smiles abroad grin.BUTCHHell no, Phillip, it's good size for aboy yer' age!Phillip, remasculated, smiles and starts to put on thecostume.BUTCHHere they come.64.102EXT. RURAL ROAD - DAY102The four Highway Patrol VEHICLES from before BLAST past at90+, sending stray dogs and roadrunners scurrying for cover.CRANE DOWN to reveal the Ford off the same roadside, butbehind a burm in a field. As soon as the patrol cars pass,Butch STARTS up the ENGINE and humps it to the road and offin the opposite direction.103INT. AIRSTREAM - DAY103Sally, deep in her files. She looks up from the file to...ANOTHER ANGLEBobby Lee who sits by himself, whittling away at a stick andleering at her. Adler is at the map, holding the shortwavemike and wearing the earphones. Behind him, Red stares outthe window.ADLERHaynes bought tape, rope, and some clothesfor the boy.Red comes to and turns to Adler. Sally smiles almost to her-self. She was right -- Haynes is looking after the boy.Everyone knows it, but no one says anything.ADLEROne puzzler though. They say the boycould have gotten away but didn't.SALLYProbably scared to death.ADLERThat's not all. The kid stole aHalloween outfit.REDHoly Jeezus, they're a team.ADLERWith the pit stop in Noodle looks likehe's headed for the Panhandle.Red sighs and groans. Unpleasant news but somehow he knew it.He moves to the back room for another shot of Geritol.SALLY(to Red)What?ADLERThere's more roads than people in thePanhandle.(CONTINUED)65.103CONTINUED:103SALLYHow's that happen?KAISER(over his shoulder)Poor counties. They tend to half finishroads then start on another one.ADLERBut if anybody knows them backroads it'sRed.Sally lifts her head, watches Red reenter the room, thenstares out the window.SALLYOkay, so... I'm Robert Haynes. CalledButch by everyone. I was born inAmarillo, but grew up in the FrenchQuarter of New Orleans.ADLER(sotto voce)What's she doin', Red?SALLYI killed a man when I was eight.Silence. Nobody seems willing to play along. Red turnsfrom the window to Sally.REDHow'd ya' kill him?SALLYShot him with a pistol. There was alwaysone around the dance hall. That's whatthey called it but it was a whorehouse.We lived there.Red moves away from the discussion and stands at the frontof the Airstream, staring out the front window.ADLERWhat'd the authorities do?SALLYThe victim was wanted by the locals sothe whole thing got shoved under thecarpet Cajun-style.ADLERThey didn't even stick him in juvy?(CONTINUED)66.103CONTINUED: (2)103SALLYPut me in school. Three years behindbut I catch up.KAISERSounds like things are goin' okay' now?SALLYThey were. For awhile. When I'm twelvemom dies.ADLERWhat happened?SALLYDelilah Jane Haynes hung herself in thebathroom of the brothel. Could have savedherself the trouble. Post-mortem checkuncovered last stage syphilis.KAISERWhere's yer' father?Red's face tells us he's listening.SALLYNobody knows where he is now. Ditchedwhen I was six. He was a small-time felon.Popped up again after Mom died -- he'd justbeen paroled. Moved us back to Amarillo.A year later I'm in trouble again.ADLERYeah? Kill somebody else?SALLYTook a joyride in a Ford coupe that Ijust couldn't resist.KAISERHell, that's no big deal.SALLYJudge gave me four years in Gatesville,toughest juvy farm in Texas.ADLERThat's where the son-of-a-bitch learnedto be a criminal. Seen that before,ain't we, Red?Red doesn't answer. He seems in a faraway place.(CONTINUED)67.103CONTINUED: (3)103BOBBY LEE(smart ass)So, Butch, why don't you tell us whereyer' goin', save us the trouble o'huntin' you down?SALLYWhere I'm going isn't as important as'Why am I going there?'BOBBY LEE(tired of the game)Shit. 'Caus' I'm runnin' and they're chasin'and I'd jus' as soon go north as south aseast as west. It's a fun lil' parlor game,lady, but right now Butch Haynes don'thave the slightest idea where he's headed!104AINT. FORD - DAY104APhillip, now fully-attired in his Casper outfit and mask, islooking at a folded map while Butch drives.BUTCHAn inch is 24 miles. Hold yer' pointin'finger along the line of the road. Yougot three lines on your finger, don'tcha'?Each one's an inch. So how many inchesto Childress?Phillip holds one finger to the map, then another.PHILLIPOne, two... six.BUTCHYer' a helluva' navigator, Phillip. A lotsmarter than Jerry. But I guess that's notsayin' a lot.Something catches Phillip's eye.PHILLIPLookie there!104BHIS POV - TRUCK AND AIRSTREAM 104Bcoming TOWARD them on the highway.105INT. AIRSTREAM - DAY105Bradley, driving, tinkers with a broken windowshade.Suttle yawns, comes to, notices the broken windowshade andgives Bradley a look. Bradley, caught, just smiles.68.106INT. FORD - DAY106BUTCH(excited, too)Seen one of them in a magazine. It'scalled a motor home. They're new.Kinda' like a house on wheels.Butch HONKS the HORN TWICE and waits for a retort.107INT. TRUCK - DAY107Bradley smiles, looks to Suttle, who nods an "okay." Johnsonsits on the HORN for TWO solid BLASTS.108INT. FORD - DAY108Phillip laughs and waves.109INT. TRUCK - DAY109Bradley and Suttle wave back.SALLYstaring out the window. She looks at the passing Ford.HER POVButch is hard to make out, but there's no mistaking the Casperoutfit Phillip wears with pride.BACK TO SCENESALLYYou said the boy stole a Halloween costume...What character?ADLERI believe it was Casper... Casper thefriendly ghost.SALLYThat was them. They just passed us.REDTurn this thing around!Adler jumps on the radio to the truck.ADLER(into mike)Turn it around! That was them!110EXT. ROAD - SAME TIME110The Airstream slows to a grind, pulls off the narrow shoulderand begins to make a wide U-turn.(CONTINUED)69.110CONTINUED:110SUTTLE (V.O.)We'll never make it. Stop!It's a close fit but the Airstream just survives a brush witha burm. The TRUCK PEELS away with Airstream in tow.111OMITTED111111AINT. FORD - DAY111AButch checks his rear-view mirror and gets a puzzled look onhis face.IN REAR-VIEW MIRRORThe Airstream barreling fast behind -- catching up.111BINT. TRUCK - DAY111BBradley presses the pedal to the floor. The ENGINE STRAINS.Suttle nervously sneaks a peek at the speedometer.SUTTLEIt's... it's not safe to go over 65 withthis much load!The speedometer reaches 80. The ENGINE SCREAMS.111CINT. AIRSTREAM - DAY111CThe whole thing is shaking, twisting, bumping. All aboard tryand keep their balance.BOBBY LEE(to Adler)Tell him to pull up next to 'em!Bobby Lee opens a window and leans out.111DINT. FORD - REAR-VIEW MIRROR - DAY111DAs Bobby Lee leans out the window of the Airstream some 50yards back.NEW ANGLEPhillip turns around backward in the seat to watch.PHILLIPThey're goin' fast!BUTCHPhillip, you get in the back seat andlie down on the floor.(CONTINUED)70.111DCONTINUED:111DPHILLIPWhy?BUTCHHell, I don't know. 'Caus' I said so!111EINT. TRUCK - DAY111ESuttle is scared to death while Bradley is loving everyminute. The ENGINE starts to STEAM.SUTTLEYer burnin' up the engine!But Bradley pays no heed.111FINT. AIRSTREAM - DAY111FBobby Lee unholsters his pistol and leans back out thewindow. Red spots him.REDHolster that firearm and get yer assback inside!Bobby Lee thinks it over, shakes his head in disgust andholsters his piece.111GINT. FORD - DAY111GButch spots an opening and...BUTCHHold on, Phillip!111HEXT. ROAD - DAY111HThe Ford makes a sharp veer off the road into a flat scrubbrush field. The car spins out a bit when it hits the dirtsending forth a dust devil, then it regains its traction andblasts ahead through the dust.111-I INT. TRUCK - DAY111-IBradley spots the maneuver and starts to follow.SUTTLEDon't!!!111JEXT. ROAD - DAY111JThe truck, in an attempt to enter the field, misses the flatspot, hits a burm with its front right tire and flies intothe air.(CONTINUED)71.111JCONTINUED:111JThe trailer hitch snaps as does the safety chain.The truck lands hard and continues pell-mell through thefield.The AIRSTREAM, sans truck, BLASTS forward along the roadat 50+ m.p.h.111KINT. AIRSTREAM - DAY111KBouncing like hell. Sally holds on for dear life, thenglances out the window and almost jumps out of her seat whenshe sees...HER POVThe truck, 100 or so yards away, blasting through the fieldtoward the horizon.SALLYShit!!!!NEW ANGLERed spots the same but before he can cuss...111LEXT. ROAD - DAY111LThe Airstream veers off the road and into the rocky field.Trees, scrub brush and boulders are no deterrent for thesleek silverfish which seems to be moving even faster thanbefore.111MINT. TRUCK - DAY111MSteam, smoke pouring from the engine. Suttle, covering hiseyes, sneaks a peek behind and screams when he sees noAirstream behind them.SUTTLEAhhhh!! They're gone!!!Bradley looks in the rear-view mirror, turns around andscreams, too. Without visual guidance...111NEXT. FIELD - DAY111NThe TRUCK BLASTS into a mesquite tree, runs halfway upthe tree, then dies a horrible death.111-O INT. AIRSTREAM - DAY111-OIt's an anti-gravity room what with the files, coffee, mapsand bodies flying around.72.111PEXT. FIELD - DAY111PThe Airstream, now losing a bit of steam, hits a burm, almosttopples and comes to a precarious stop in a dried-up wateringhole.111QINT. AIRSTREAM - DAY111QAdler, still wearing the headphones, rises first and goes tothe radio to answer an incoming call.Red groans. Sally crawls to her feet and offers Red a helpinghand, which he accepts.ADLERUh... Red?REDWhat?ADLERThey wanna know if the boy lookedokay?SALLYHe was laughing and waving.REDDon't tell 'em that.112INT. GOVERNOR'S OFFICE (AUSTIN, TEXAS) - DAY112A large group of very serious advisors sit and stand in acircle around the Governor's desk. Across from GOVERNORCONNALLY sits a nervous, near tears GLADYS PERRY. An AIDEon the telephone, turns to the Governor.AIDEThey say the boy looked A-okay.Governor Connally nods, sighs, and reaches hand across thedesk and touches Gladys's shoulder.GOVERNORHe'll be fine, Mrs. Perry. This wholenightmare will be over and done with verysoon and you'll be home with your boy. Ipromise.Gladys, distraught, nods. Governor Connally discreetly nodsto a photographer in the group while keeping his hand onGladys's shoulder. A CAMERA'S FLASH causes everyone to blinkin reaction.The Governor shakes it off and continues...(CONTINUED)73.112CONTINUED:112GOVERNORI want you to know that I personally okayedthe use of a brand-new high-tech mobilehome from which to conduct the manhunt.It's an amazingly futuristic piece of lawenforcement equipment.Another FLASH.113OMITTED113thruthru115115115AEXT. FIELD - DAY115AThe Airstream, the amazingly futuristic piece of lawenforcement equipment sits beat to hell and leaning to oneside in the dry pond bed. All the tires are flat and dentsand bruises abound. The door tries to open but is stuck.Red applies a boot to it and the whole thing comes off itshinges and flies to the ground. Red exits. He groans andshakes his head when he spots...Bradley and Suttle limping toward him across the field.Red sighs and starts slowly walking in the direction Butchand Phillip headed.115BINT. AIRSTREAM - DAY115BSally, her hair a bird's nest, does her best to collect herfiles before she sits down, takes a deep breath and glancesout the window at Red in the distance.115CEXT. FIELD - CLOSEUP - RED - DAY115CStanding in the middle of the field, staring at the horizon.He sticks a chaw in his mouth without diverting or blinkinghis eyes.116EXT. ROAD - CLOSEUP - BUTCH - DAY116Staring at the horizon.ANOTHER ANGLEButch sits on the hood of the Ford, which is stopped on anasphalt road which, a few feet farther, turns into dirt anda few feet farther a dirt clod field.(CONTINUED)74.116CONTINUED:116BUTCHStarted this road 20 years ago and itstill ain't finished.(beat)Appears to me we got a decision to make.Phillip, aka Casper, exits the car and, imitating Butch, leansagainst the car.BUTCHIt's up to you, Phillip. We can backtrackto the highway or we can try it on foot.PHILLIPWhere we goin'?Butch reaches in his back pocket and pulls out a foldedpostcard. He hands it over to Phillip.INSERT - CARDIt's at least 20 years old, crumpled. It unfolds to reveal abeautiful green valley with a snow capped mountain behind it.BACK TO SCENEBUTCHIt's Alaska, Phillip. Last of the wildfrontier.PHILLIPIt's pretty.BUTCHIt's beautiful!PHILLIPYou been there?BUTCHNaw. Just got the one postcard. Butanyhoo, back to our present dilemma. Youfeel like a hike?PHILLIPHow far?BUTCHCan't be more'n, oh, say, fifteen hundredmiles.Phillip seems a tad apprehensive about the prospect.(CONTINUED)75.116CONTINUED: (2)116BUTCHYer' prolly' right. Go give our suppliesa check.Phillip returns to the car and emerges with the paper bag oncefull of soda, candy and jerky. Butch surveys the countryside.HIS POV - PAN COUNTRYSIDETypical midwest Texas; flat, dusty, barren. A mile or soaway sits a home -- a small ranchhouse.BACK TO SCENEPhillip returns with the bag and pores through it.BUTCHHow's it look?PHILLIPA soda... some gum... half a Moon Pie.BUTCHRations for one at best. Come on.Butch strides straight into the rocky field. Philliplingers a moment, then sticks the half eaten moon pie inhis mouth and follows, hurrying to catch up.117OMITTED117thruthru122122122AEXT. FIELD - AIRSTREAM - DAY122ASuttle limps around the broken-down silver junker, his handscovering what his eyes can't bear to see.BRADLEYNow yer sure that gooseneck had a safetychain?Suttle turns and glares.SUTTLEYes!!!NEW ANGLERed walks slowly toward the slumping Airstream. A PHONERINGS from inside, then STOPS. Adler sticks his head out ofthe door and calls to Red...(CONTINUED)76.122ACONTINUED:122AADLERGovernor's hot line, Red. Governorinsists that he have the mobile homeback for the parade tomorrow.Red just stares at Adler, then sighs, removes his hat andscratches his head.RED(isn't it obvious?)Tell 'em to come and get it.123EXT. DUSTY FIELD - DAY123Butch continues his hell-bent brisk pace in the field of dirtclods. It's all Phillip can do to keep up.PHILLIPWhere we goin'?BUTCHWe're goin' trick r' treatin', Phillip.Phillip stops dead in his tracks. Butch, sensing that the boyis no longer following, stops, spins and faces Phillip.BUTCHWhat?PHILLIPWe ain't allowed to trick r' treat.BUTCHHuh?PHILLIPMy mama don't allow it.BUTCHTrick r' treatin'? Why not?PHILLIPAgainst our religion.BUTCHAgainst yer' religion. What kind offoolishness is that?PHILLIPJehovah Witness.Butch picks up a dirt clod and hurls it as far as he can. Hesighs and turns to Phillip.(CONTINUED)77.123CONTINUED:123BUTCHNow, I'm askin' you, Phillip. I ain'taskin' yer' mother and I ain't askin'Jehovah. Do you wanna' go trick r'treatin' or not?124EXT. YARD OF FARMHOUSE124Butch and Phillip cross the dirt yard and make their way tothe door.BUTCHOk, Phillip, all ya' gotta' do is knockon the door and when they open it you say'trick or treat.' Got it?They arrive at the door. Butch nods at Phillip who RINGS theBUZZER.BUTCHNow wait til' they come.A FARM WIFE, 65 or so, like something from a Grant Wood, onlysmiling, opens the door and looks out on the pair through thescreen door.BUTCH(whispers)Now, Phillip.PHILLIPTrick r' treat.WOMAN (FARM WIFE)Well ain't you the cutest lil' ghost Iever did see.BUTCH(whispers)Say it again, Phillip.PHILLIPTrick r' treat, ma'am.WOMANWell, seein' that Halloween was yesterday,I guess you'll have to trick me. Youmissed the caramel popcorn balls I madeup special.Butch smiles, pulls up his shirt and exposes the revolverstuck in his pants.WOMAN(tune changed)Wait right here.Butch smiles and pats Phillip on the shoulder. His eyes aredrawn to...(CONTINUED)78.124CONTINUED:124HIS POV - TELEPHONE WIRE which enters the house near the door. We PAN WITH thetelephone line FROM the house TO a nearby pole.BACK TO SCENEThe Woman returns with an armload of anything she could findin the kitchen. Phillip gratefully opens his sack and watchesas the Woman drops in a loaf of bread, a jar of mustard,candies, jams, butter and anything else she could find.Empty-handed she reaches inside the door, opens her purse anddumps her money -- a couple of dollars and lots of change intothe bag.Phillip smiles.PHILLIPThankyew.125EXT. YARD - DAY (SECONDS LATER)125Phillip, sack in hand, waves goodbye to the frightened oldWoman, who shuts her door and locks it.Butch and Phillip make their way back across the yard.BUTCHNever underestimate the kindness of thecommon man, Phillip.Butch reaches up and grabs the phone line, yanks it loose andtosses it aside.126INT. AIRSTREAM - DAY126The Airstream is fast becoming a pig sty. Coke bottles,coffee spills, overfull ashtrays, etc. are everywhere. Adlerholds the mike and stares at the thumbtacked map.ADLER(into mike)Spur 208 northbound. And 83 at Aspermontcoming and going.(to Red)That it?REDYeah.Adler moves to set down the mike and topples a cup of coffee.It spills on the floor. Suttle grabs a towel to wipe it upbut realizing the futility of keeping the Airstream clean, hesimply throws it aside.79.127INT. FORD - LATER - DAY127Butch drives while Phillip digs through the sack and comesup with a jar of mustard.BUTCHYou sure there's no meat in there? Spammaybe, Vienna sausages, anything like that?PHILLIPNawsir.BUTCHWell, I bet you can make us some mustardsandwiches, can't ya'?PHILLIPYeahsir.BUTCHWell go to it.Phillip breaks out the loaf of bread and lays out fourslices on the dashboard.PHILLIPHow many?BUTCHMany as you want.Phillip lays out six more slices. The dashboard is nowcovered with bread. Phillip pulls out the mustard but has noknife. Butch pulls out a stick of gum and hands it toPhillip to spread with.As they drive along they pass a large, happy family (Mom, Dad,girl 5, boy 7) picnicking in the dip of a long hill alongsidethe highway. From the look of their brand-new loaded downstation wagon they are on vacation.CLOSEUP - PHILLIP Mesmerized by the family.CLOSEUP - BUTCH Ditto. He pulls his eyes back to the road, notices something.128EXT. ROAD - DAY128Butch brings the car to a stop near the crest of the hill,sets the emergency brake, grabs the first completed mustardsandwich and gets out, leaving the Impala running.(CONTINUED)80.128CONTINUED:128BUTCHBe right back. Don't be stingy withthat mustard now.Phillip nods and continues piling the yellow goop on each ofthe slices of bread.BUTCHwalks ahead to the crest of the hill, the tallest hill in thecounty. He takes in the 360 degree view. His eyes settleon...LINE OF CARS IDLING as they wait their turn to pass a roadblock at thebottom of the hill.PHILLIPspreading even more mustard. Every so often he sneaks a peekback at the picnicing family.EMERGENCY BRAKEslips a little, then gives all at once.FORDstarts to roll backwards.PHILLIPWhooaaa! Butch! Butch!!!BUTCHturns and sees the Ford rolling backwards, picking up steamback down the hill.BUTCHStep on the brake! Put your foot on thebrake! The middle one!!PHILLIPpanicked, slides over and grabs the wheel. Of course, he istoo short to press on the brake and when he bends down...FORDswerves off the road and onto the shoulder.(CONTINUED)81.128CONTINUED: (2)128FAMILYheaded by BOB, 35, their Ward Cleaverish father, looks up tosee...FORDbarrelling backwards toward them, swerving to and fro andfollowed by Butch shouting instructions.BOB (O.S.)Everybody, run! Quick!BOBmakes a beeline for the station wagon.BOB'S WIFEForget the car, Bob!BOBAre you crazy. It's only got a 1000 mileson it!He jumps in the Driver's seat of the WAGON and franticallyREVS it just as...PHILLIPgains control of the wheel and steers the rapidly reversingFord around the Wagon.FORDcontinues backwards to the bottom of the hill, but it hasenough steam built up to head backwards up the other inclineof the previous hill.BUTCHcomes to a heaving halt next to Bob, who is near heart attackhimself.BUTCHBad brakes.BOBThat was close.Bob gets out of the station wagon and stands next to Butch.They watch for the Ford for a second, see that it's losingmomentum and smile at each other.(CONTINUED)82.128CONTINUED: (3)128BOBBob Fielder.BUTCHEdgar Poe.PHILLIPbreathes a sigh of relief as the Ford loses momentum and comesto a stop. But then, of course, ...FORDlike any car on a roller coaster, starts to move downhill,slowly at first, but then picking up speed.BOB AND BUTCHBOBHad me scared silly. I've only had hertwo months.BUTCHShe's a beaut, all right. Say, Bob, whatwith my brake problem and all, I sure wouldappreciate a lift. Me'n my boy live aboutfive miles up the road here. I can pickup the car tomorrow.They notice the Ford coming back down the hill and squint tosee...FORDcoming straight for them, gaining speed, with Casper thefriendly ghost behind the wheel.BUTCH AND BOBchuck the small. Bob looks for a place to hide.CLOSEUP - PHILLIP Screaming at the top of his lungs.CLOSEUP - BUTCH Staring straight ahead at Phillip.Butch doesn't even flinch, standing his ground in the middleof the road, staring straight into Phillip's oncoming face.BUTCHThe brake, Phillip! Step on the brake!Hard!(CONTINUED)83.128CONTINUED: (4)128PHILLIPtotally freaked, jumps down on the floorboard and pushes withboth hands on the brake. SQUEALING TIRES bring...FORDto a SKIDDING halt inches from Butch's kneecaps.CLOSEUP - BUTCH smiles at Phillip.BUTCHHelluva job, Phillip! Never had a doubt.CLOSEUP - PHILLIP Smiling back.BOBcrawls down from the luggage rack on top of his wagon andsmiles a sigh of relief.129EXT. ROADBLOCK - DAY129Two Highway Patrol officers check licenses and peek into carsat the checkpoint. In the b.g. we see the red station wagonin line.130INT. STATION WAGON - DAY130It's full to the brim with the Family Bob plus two, Butchand Phillip, who ride in the back with Bob's son. As thecar approaches the roadblock Butch grabs a blanket, reclines,and hides behind a stuffed animal.BOBSorry for the inconvenience, Edgar. Thekids like the back down like that so theycan play.BUTCHNo trouble at all, Bob.131EXT. ROADBLOCK - DAY131Bob brings his precious car to a gingerly stop. He pulls outhis license, shows it.BOBWhy the roadblock, Officer?OFFICEREscaped convict, sir. Just a precaution.84.132EXT. AIRSTREAM - DAY132Bradley examines the gooseneck hitch. Bobby Lee sits on anearby rock, still whittling at his stick. It's starting toresemble something.133INT. AIRSTREAM - DAY133As in the old Westerns, it's quiet, too quiet. The inside ofthe RV is pretty much trashed now -- the product of menworking in close contact. Sally stares at a file. Thesilence is broken as Red spits tobacco juice into an emptyCoke bottle.Sally peruses a file.INSERT - FILE It's Butch's again. She's reading an addendum page withJUVENILE COURT RECORD stamped at the top. A photo of 14-year-old Butch is stapled in the corner.BACK TO SCENESally finds something very interesting. She looks up at Red.He returns her stare.REDWhat?134EXT. AIRSTREAM - DAY134Bobby Lee finishes his whittling, blows away shavings,smiles at his creation, sets it on the rock, gets up andwalks away.CLOSEUP - HIS CREATION A four inch long wooden replica of a high caliber shell.135INT. AIRSTREAM - DAY135Adler is getting something on the shortwave.ADLER(to Red)They've got two Highway Patrol cars theycan give to us now.REDTell 'em stand by. We got the best seatin the house right here. Have thesouthern roadblocks call in the dogs andmove north. Check every road, every farmfrom San Angelo to Sweetwater.(CONTINUED)85.135CONTINUED:135Adler surveys the map and sticks in a few more thumbtacks.ADLERHe knows he's hemmed in. I predict we'llhave him singing a different tune bynightfall.136EXT. HIGHWAY - DAY136The red station wagon creeps along the highway to thewhistled strains of "Old MacDonald had a Farm."137INT. STATION WAGON - DAY137Butch, truly "singing a different tune," whistles "OldMacDonald." Bob joins in and soon the whole damn Family Bobis whistling the tune.Bob's daughter PATSY, 5, red hair, freckles, starts jumpingup and down on the back seat, singing and spilling her drink.BOB'S SONYou're spilling! You're spilling!Bob and his Wife immediately turn around.WIFEPatsy! Look at what you're doing?!BOBAhhh noooo!Bob's wife grabs Patsy by the arm and shakes her. Butch con-tinues to whistle softly, almost eerily, but he's watchingclosely.BOB'S WIFELook at what you did! It's all overthe seat of your father's new car!The little girl starts to cry while Bob grabs at tissuesfeverishly and hands them to his Wife who, leaning over theseat is wiping hard at the stain. She grabs her daughter'sarm and shakes her, staring into her face.Butch, directly behind the little girl, watches closely.BOB'S WIFEWhat is wrong with you?! I told you twicenot to jump up and down! Didn't I!!Patsy bawls harder than ever. Bob's Wife finishes wiping andreseats herself in the front seat.(CONTINUED)86.137CONTINUED: 137BOB'S WIFE(to herself)Damn that kid!The little girl is crying harder than ever now. Bob reachesback over the seat and tries to touch his daughter.BOBIt's okay, sweetie. Daddy's not mad.BOB'S WIFESo much for the new car smell.The little girl muffles her tears.Butch smiles sincerely then looks to the passing landscape.BUTCHThis will do fine right here, Bob. But Ido have one more favor to ask.138EXT. ROAD - DAY (FIVE MINUTES LATER)138The entire Family Bob is standing along the roadside, theirluggage and belongings by their side. The looks on theirfaces say it all -- Stranded.Butch hands over the stuffed animal to Patsy, pats Bob Jr. onthe head and sticks out his hand to Bob.BUTCHJust a loaner, Bob. Not to worry. You'llget her back.Bob reluctantly shakes Butch's hand in an attempt to impressupon Butch his most important concern of all...BOBPlease, it's new. Hold it under 45... atleast for the next 500 miles.BUTCHYou know I will, Bob.Butch gives a snappy salute and is off to the wagon.139INT. STATION WAGON - DAY139Butch STARTS the CAR and he and Phillip slowly pull away.BUTCHWave, Phillip.Phillip does so. Bob's kids wave back. Phillip starts togiggle.(CONTINUED)87.139CONTINUED: 139PHILLIPThey look funny.BUTCHMaybe, but Bob did the right thing. Whatif he'd put up a fight? I mighta' had toshoot him, and where would that family bethen? Naw, Bob's a fine family man andthat's about the best thing a fella' canhope to be.Butch floors the wagon and the CAR SCREECHES rubber on thehighway.BOBcringes as he watches his pride and joy rocket toward thehorizon.140EXT. ROADBLOCK - DAY (LATER)140The Highway Patrol continues to monitor cars one by one. Oneof the Officers sees something and nudges his partner to lookat...FAMILY BOBcresting the hill carrying their hats in their hands alongwith their luggage and coolers.141INT. AIRSTREAM - DAY141Adler drops his headphones and turns to Red.ADLERHe got through! At Aspermont.BRADLEYWhat?ADLERCoerced a motorist.Red sighs.REDWell goddam, shout at Amarillo. Tell 'emwe got a notion he's headed their way.Adler gets right to it.(CONTINUED)88.141CONTINUED: 141RED(almost to himself)Truth is I wish he'd cross the border sowe could turn this over to the feds.Nobody in the room expected to hear this.REDI got work to do back home.Red rises and stretches, walks to the open door and stares outat the late afternoon light.REDI'm hungry. This thing got any food?SUTTLEWell, uh...Adler jumps up and goes to the frig.ADLERGot T-bones in the frig, Red!SUTTLEUh, uh, those were stocked for the Governor.I don't think that he would approve of...Adler finds a plastic bag in the freezer and inspects it.ADLER-- And look, Red! Tater Tots! Thosekind you like!Red turns and looks.REDThat so?142INT. STATION WAGON - DAY142Butch fiddles with the RADIO. He settles on a Spanishstation playing a BALLAD and ADJUSTS the VOLUME.BUTCHCan't find a Coonass Waltz to save my ass.(beat)Hey, Phillip, that stuff you told me 'boutnot trick r' treatin' causa' Jehovah... Wasyou pullin' my leg?PHILLIPNawsir.(CONTINUED)89.142CONTINUED: 142BUTCHWhat else ain't you suppose' to do?PHILLIPWe don't get Christmas.BUTCHYer' shittin' me?PHILLIPNawsir. No birthdays, nor parties, neither.BUTCHYou ain't never been to a carnival neither,have ya'?PHILLIPNawsir.BUTCHNot even one?PHILLIPNot even one.BUTCHCotton candy?PHILLIPSeen that once. It's red.BUTCHPink.PHILLIPNever ate none though.BUTCHRoller coasters?BUTCHSeen pictures.BUTCHYou know, Phillip, you have a goddammedred, white and blue American right to eatcotton candy and ride roller coasters.PHILLIPI do?90.143EXT. STATION WAGON - EXTREME CLOSEUP - PHILLIP'S OPEN 143MOUTH - DAYscreaming. PULL BACK to reveal...CLOSEUP - PHILLIPstill screaming in glee, the wind blowing his crew-cutstraight up into the air.PULL BACK FARTHER to reveal that Phillip is firmly tied tothe luggage rack of the station wagon, which is rocketingacross the winding plains of West Texas.BOOM DOWN to reveal Butch, having almost as much fun asPhillip, hooping and hollering as he steps on the gas andweaves to and fro trying his damndest to hit every bump.144EXT. PLAINS OF WEST TEXAS - LONG SHOT - DUSK144A Nehi Orange sun pours itself into the Grape-Ade DavisMountains. PAN ALONG the horizon PAST nothing but open spaces... Then a red neon sign, small and broken down, like the spitgrill diner it advertises.The stolen station wagon sits alone beside the pressed dirtparking lot of Dottie's Cafe.145INT. DOTTIE'S CAFE - DUSK145A skinny, small town WAITRESS checks her face in a bathroommirror. She applies too much lipstick and pinches her cheeksbefore exiting. We FOLLOW as she exits the kitchen bathroomdoor, grabs two already prepared hamburger platter specialsfrom beside the grill and moves through a swinging door intothe diner. A counter, three booths, grease everywhere...She sets the two plates in front of Butch and Phillip at abooth.Butch digs in but Phillip holds for a beat. Butch noticesand stops chewing while Phillip says "grace".PHILLIP(quiet as a mouse)Thankyew, Father, for yer' 'boundiful'nature and goodness.Butch and the Waitress/cook share a smile.BUTCHAmen. Now dig in, Buzz.(to Waitress)Call him that caus' he eats like a buzzard.If it's dead he'll swoop and chow.(CONTINUED)91.145CONTINUED: 145She leans down to the table and flirts with her overdone eyes.BUTCHYou Dottie?WAITRESSEileen. Dottie died. Her son runs theplace but... he ain't never here.BUTCHNever?EILEEN (WAITRESS)He leaves at four. Not much trafficafter lunch.She brazenly stares a hole through Butch as she lifts a sliceof pickle off his plate, places it in her mouth and slowlychews.Phillip, mouth full, takes note of the confusing spectacle.Eileen turns to walk away.EILEENIf you need me, I'll be right over here.She slowly sashays away to behind the counter.Butch watches her every step. Phillip chews and watchesButch's eyes. Butch turns his head and catches Phillipwatching him.BUTCHEat yer' food.146EXT. FIELD - AIRSTREAM - DUSK146A SIRLOIN STEAK hits a grill beside a Tater Tot shiskabob andSIZZLES to beat the band.A homemade barbecue pit, built from nearby abundant rocks,sits square in the middle of the highway with red flares setup just in case a car did come by.Red smiles and shakes a liberal dose of Lea and Perrins ontothe flesh. He's obviously a veteran of many back yard B-BQsand this is definitely one.We see Sally THROUGH the window. She's inside, still goingover her files. She gets up and walks into the back room tolook for something.(CONTINUED)92.146CONTINUED: 146BOBBY LEEsitting outside, rises and slides into the Airstream whileBACK TO SCENERed continues to cook with Adler and Bradley looking on.147INT. AIRSTREAM - BACKROOM - DUSK147Sally turns on a nightlight and looks at herself in themirror. She splashes a little water on her face and isstartled when ...Bobby Lee slides in behind her.BOBBY LEEThink yer' pretty smart now don'tcha'?She doesn't back down, instead looking him straight in theeye.SALLYExcuse me?BOBBY LEEWell yer' not smart but you are pretty.Sally stares right at Bobby Lee then moves for the door. Heshifts his position and blocks her.SALLYExcuse me.Bobby Lee smiles a crooked-tooth grin, refusing to move.BOBBY LEEWork and pleasure should naturally gotogether don't you think? Take me, Ienjoy my work.SALLYI could give a shit.BOBBY LEEYou got a mouth, don't ya?RED (O.S.)How you take your steak, Sally?Bobby Lee and Sally both look up to see Red standing in thedoorway.(CONTINUED)93.147CONTINUED: 147SALLY(relieved)Uh.. rare.REDA woman after my own heart.She takes this opportunity to slide between Red and Bobby Leeon her way into the main room. As she goes...REDI'll just wipe its ass, herd it through andyou can cut off a hunk. How'd that be?SALLYMaybe medium-rare.Bobby Lee and Red are left standing face to face.REDI don't give a damn who you work for.You're here for one reason and onereason only.BOBBY LEEAnything else, Chief?REDYeah. Yer' in my office.The hot line PHONE RINGS...Bobby Lee flinches first and moves back into the main room.Red follows.ADLERThat's the Governor's line, Red!Red calmly walks past Sally who smiles a "thanks". He givesher a one finger to the hat salute, walks to the phone,reaches down and yanks out the cord. The RINGING STOPS.REDNuthin' as impolite as callin' at thedinner hour.148INT. DOTTIE'S CAFE - NIGHT148Phillip, at the booth, plays with the parsley on his emptyplate, which sits across from Butch's barely touched one. Theboy looks over his shoulder and sneaks a peek at Butch, whosits at a barstool watching Eileen work behind the counter.(CONTINUED)94.148CONTINUED: 148AT COUNTERButch leans over and whispers something sexy into Eileen'sear. She giggles and licks her lips.Butch feels eyes on his back and looks at Phillip, whoimmediately turns away from them. When Butch returns hisattention to Eileen she's moved a few feet away and isrefilling ketchup bottles.BUTCHBuzz, go ahead and chew on mine if you want.PHILLIPNo thankyew.Eileen slides back down toward Butch. She makes refillingcondiment bottles the sexiest pasttime since the hula hoop.EILEENVery polite.BUTCHI try hard but, ya' know, since his mamadied...PHILLIP-- My mama's not dead!Butch, a tad annoyed, turns to Phillip and gives him a look.Once again, when he turns back, Eileen has moved.She's flirting with Butch, moving, bending, wiping her handson her hips. His eyes are focused on her every squirm.BUTCH(over his shoulder)Okay now, Buzz, you go on out in the parkinglot and chunk some rocks or something.BACK TO SCENEPhillip reluctantly slides down off the stool and slowly walksout the door. His eyes stay on Butch and Eileen, barelyconcealing confusion mixed with a hint of jealousy.EILEENSo is she dead or not?BUTCH(covering badly)Well his biological mother is alive. Gavehim up for adoption to me and my wife. Mydead wife, that is. She is, was Phil, erBuzz's stepmother, so she's his mom, was hismom, stepmom, but... she's dead.(CONTINUED)95.148CONTINUED: (2)148EILEENI'm so sorry.But she's not. In fact it seems to have turned her on evenmore.She puts her hand behind Butch's neck and slowly pulls himclose for gentle kiss.149EXT. PARKING LOT - NIGHT149Phillip tosses a rock then turns to the diner. They're gone.Phillip drops his handful of rocks and walks to the frontwindow of the diner.PHILLIP'S POV - DINERIt is empty. He sees that the kitchen swinging door is stillswinging on its hinges.150INT. DINER - ADJUNCT OFFICE - NIGHT150A one room addition office built onto the kitchen. It has adesk against one wall, a few chairs, a fan -- pretty sparse.Two large windows throw light from the outside neon sign ontothe room. A large lamp provides harsh light.Eileen leads Butch by the hand into the room, closing the doorbehind them. At once they are all over each other. Butchlifts her up onto the desk and starts to kiss her face andneck. Then, in an instant, he flips her over, pulls theribbon from her hair and unzips the back of her waitressoutfit to the waist. He kisses her neck, her back andsuddenly, passionately, he flips up her skirt and beginskissing her voluptuous backside.151AEXT. DINER - NIGHT151APhillip, a bit scared, moves around the side of the front ofthe diner and sees something.151BPHILLIP'S POV - THROUGH WINDOW 151BIn profile Butch continues to kiss Eileen's buttocks. Shemoans in ecstasy.151CBACK TO SCENE151CPhillip, like a pacifist at a prizefight, doesn't want towatch but can't not watch. He moves down the wall to awindow positioned right at the desk. When he stops he's rightin front of the window, separated from Butch and Eileen byonly a foot of air and a thin plate of glass.96.151DPHILLIP'S POV - BUTCH AND EILEEN 151DKissing, writhing, but FROM this ANGLE all he can really seeis a mane of hair swinging to and fro. Butch is out of sightbut it's obvious that his lips continue to caress Eileen'sbackside. She cranes her neck, arching it like a swan,moaning like a wildebeast and then...She stops and stares STRAIGHT AHEAD. Butch continues to kissbut only for a beat, sensing the locomotive he's on hasstopped at an unscheduled station. He slides his face fromaround her rear, a la Kilroy, and he stares, too. Except fortheir continuing heavy breathing they could be modern artstatues staring STRAIGHT AHEAD AT...152AINT. OFFICE - REVERSE - NIGHT152APhillip's nose is pressed to the glass. In fact if he pressedany harder there wouldn't be any glass.152BBUTCH AND EILEEN 152Bhold their pose for a second until...152CPHILLIP152Ccomes back to real time and bolts away into the darkness ofthe parking lot.EILEENNosy little feller'.152DBUTCH 152Draces to the side window and watches as Phillip runs into theparking lot.BUTCHPhillip!...EILEEN(a last try)I keep a cot in the back.But Butch, still at the window, just keeps breathing.153EXT. DOTTIE'S CAFE - ANGLE ON SKY - NIGHT (SECONDS 153LATER)Nothing but stars swimming in black West Texas crude.PHILLIPstands right next to the SPUTTERING NEON SIGN, staringstraight up, the neon light splashing his face in a grotesquepink light.(CONTINUED)97.153CONTINUED: 153BACK TO SCENEIn the b.g., over his shoulder, the cafe door opens, CLANGINGa string of BELLS as Butch hastily exits and walks pastPhillip.BUTCHGet in the car.154INT. STATION WAGON - NIGHT154Silence. Butch drives away libidinous desires, Phillip sitsquietly, staring straight ahead, now and again stealing a peekat Butch.PHILLIPYou mad at me?BUTCH(curt)No.More silence.PHILLIPYou kissed her, huh?BUTCH(much regret)Jus' barely.PHILLIPWhy?BUTCHCaus' it feels good. Ain't you ever seenyour mama kiss a man?PHILLIPNo.(beat)You kissed her backside, huh?BUTCHIt's, well, uh, it's kinda' hard toexplain. I know how it musta' looked.(beat)Hell, I don't know how it looked....As Butch's voice trails off silence overtakes the car. Aftera few seconds Butch seems happy not to have to answer anymore questions. Phillip fidgits with the door handle.Several more seconds pass, then...(CONTINUED)98.154CONTINUED: 154PHILLIPDo you love her?BUTCHWho?PHILLIPThe lady that cooked the hamburgers?Butch ponders this, then a grin slides across his face.BUTCHYeah, Phillip, I love her.(beat)Kissed her butt didn't I?And they both start to laugh.155EXT. COUNTRY ROAD - NIGHT (LATER)155The station wagon pulls off the main dirt road and onto asmaller, private road. After 150 yards or so, it leaves thegraded dirt and, shocks bouncing, crosses into a plowed fieldand comes to a dusty stop.BUTCH (V.O.)You wanna' drive?PHILLIP (V.O.)Yeah!BUTCH (V.O.)Jus' kiddin', Buzz. I'm just gonna' stophere for awhile and catch 40.156INT. WAGON - NIGHT156Butch KILLS the ENGINE but keeps the RADIO MUSIC on low.BUTCHThings go our way we'll be in Alaska infour or five days. Get the jump on winter.Phillip looks a little sad.BUTCHWhat's wrong?PHILLIPI wanna' go home.BUTCHIf you wanted to go home so bad, whydidn't you stay at that store today?(CONTINUED)99.156CONTINUED: 156PHILLIPCaus'.BUTCHCaus' why?PHILLIP'Caus' I stole. They'd put me in jail.Prolly' go to hell.Butch chuckles at the notion.BUTCHSame difference. We'll get you home soon.I swear, okay?PHILLIPButch?BUTCHYeah, Phillip?PHILLIPI can drive.BUTCHDone proved that ain'tcha'? There's lotsand lots of stuff you can do, Phillip.(gets an idea)Reach in that glovebox there. See ifBob's got a notepad or something.Phillip extracts a small ringed memo pad.BUTCHGood old Bob. Can you write?PHILLIPI can print.BUTCHGood enough. Now I want you to make alist of everything you ever wanted to dobut wasn't allowed to. Okay?PHILLIPLike what?BUTCHLike... cotton candy.PHILLIPCotton candy?(CONTINUED)100.156CONTINUED: (2)156BUTCHHell I don't know. It's yer' list.Butch settles in for a catnap. Just as his eyes close...PHILLIPButch?...BUTCHYeah?...157EXT. FIELD - NIGHT157Only the dome light and the LOW MUSIC bring attention tothe car sitting lonely in the middle of the massive field.PHILLIP (V.O.)How ya' spell 'rocketship?'158INT. AIRSTREAM - NIGHT158The aftermath of a full scale Texas Bar-B-Q: plates full ofgristle and bone, cigarettes burning in ashtrays and swirl-ing in half-drunk bottles of Coke and mugs of coffee, mengroaning and picking their teeth with toothpicks.Bradley, Adler and Suttle are dead-ass asleep and snoring.Bobby Lee, too mean to sleep, sits by himself cleaning hisfingernails with a pocket knife.159EXT. FIELD - NIGHT 159Red leans against the Airstream and sips coffee from histhermos. Sally walks up, sipping from a mug, and leansagainst the bumper. Red doesn't even turn.REDFigger to give 'em another hour ofshuteye, then grab the patrol cars andhead for the Panhandle.SALLYBring back any memories?REDToo many.Red turns to her. They both know he's divulged something.REDThey got a file on me, too?(CONTINUED)101.159CONTINUED: 159SALLYIt's the 60's, Red. They've got a fileon everybody.REDJust caus' it's written down don't makeit true.SALLYYou worked as County Sheriff in Amarilloand Austin before you became a Ranger.Right so far?(beat)Oh, and it says your name's Cecil.REDYeah, well, that's definitely the worstof it.Red uncorks his thermos and refills Sally's mug. She takesa sip and almost chokes on it.SALLYStrong... but good. So Cecil...Red gives her a strong look.SALLYRed. What do you do when you're not atwork.REDThe file don't tell ya' that, too?SALLYNope.REDI got a ranch I never visit, nieces Ihardly know, a tackle box full of dry luresand a dog that figures he's the owner andI'm the pet. Could have a point, he'sthere more.SALLYA confirmed bachelor. Any regrets?REDLiked to have wet those lures. Maybe anew dog.(beat)How'd you get into... whatever the hellit is you do?(CONTINUED)102.159CONTINUED: (2)159SALLYMy father's defense lawyer.REDThat explains your mouth.Sally smiles.SALLYInstead of Home Ec, I studied Criminology.When I graduated, my father, with theGovernor's help, they, he and my dad...I created a position for myself with theprison system.REDWhat's yer' husband think about allthis?SALLYDon't own one.REDYer' not careful you'll wind up jus' likeme. Old, tired, with nobody around tolove ya'.SALLYMaybe.REDIt's crazy ain't it?SALLYWhat's that?REDGoin' without sleep chasin' after athree time loser and Casper the FriendlyGhost?SALLYSleep? That's what retirement's for.REDBite your tongue.SALLYYou wanna' know what's really crazy?Hayne's juvenile court record lists youas Amicus Curiae.Silence save the CRICKETS.(CONTINUED)103.159CONTINUED: (3)159SALLYFriend of the court. Evidence given by anon-party with the intention of swayingthe judge one way or the other. They'reusually in written form, but there's nocopy attached.Red doesn't flinch.SALLYOkay, then at least tell me why Haynesgot four years for a joyride? What aboutprobation? The boy had a home, a father.REDWhat's your file say about him?SALLYThat he was a petty thief who did a littletime, got out and stayed pretty clean.REDThere are murderers I'd trust with mymother and petty thieves I wouldn'tturn my back on. Your precious filesare wrong.SALLYI'm listening.REDHayne's old man was a career criminalwith a soft spot for whores. One way orthe other he beat the hell outta' everyperson he ever crossed, screwed orfathered. Judge sends junior home withthe old man and you can bet your lastdollar that within a year he'll have arap sheet as long as yer arm.(beat)I know kids who did Gatesville, made itthrough, shaped up. Hell, one's even apriest.Sally realizes she's opened an old wound.SALLYStill, I don't understand from the filewhy...RED-- This job ain't about files and booksand second guessin'. Ya get one shotand ya call 'em like you see 'em.(CONTINUED)104.159CONTINUED: (4)159SALLYI'm a bit confused...Red tosses out the rest of his coffee.REDIn Texas the bottom line is who ya' knowand what they owe ya. That's how I domy job and how you got yours.He turns to walk inside.SALLY(a bit ticked)What are you trying to say?Red stops, faces Sally.REDI bought the judge a T-bone and toldhim to send the boy up. Told him itwas the right thing to do. He wentalong right down the line.Red disappears. Sally just stares after him, her faceonce again soft.160INT. STATION WAGON - CLOSEUP - MEMO PAD - NIGHT160resting on Phillip's lap.BACK TO SCENEHis fingers release it as he drifts to sleep.CLOSEUP - PHILLIPasleep, the way a child sleeps. Soundly.CLOSEUP - BUTCHalso asleep, but only his body -- his mind works over-time...DISSOLVE TO:161SERIES OF SHOTS - BUTCH'S DREAM161(NOTE: the entire dream is a series of snapshots to astrong Coonass beat)A) A baby snapshot of Butch.(CONTINUED)105.161CONTINUED: 161B) A Haynes family photo -- a grizzled father standing behind a mother seated holding a baby. They stand in front of a small, white framed house.C) Extreme closeup -- The baby in the snapshot - Butch.D) Snapshot of a young Butch, age 6, with his father and another adult male, who are both holding deer rifles with one hand and with the other the antlers and head of a dead deer.E) Extreme closeup -- Butch's father from the same photo.F) Snapshot of Butch, 8, with his mother but no father.G) An establishing snapshot of a nightclub in New Orleans. The gaudy sign above the joint reads: CLUB - DANCE HALL.H) A snapshot of Butch's mother dressed in a somewhat sleazy Latino outfit. She's surrounded by 3 or 4 lounge lizard types, whose hands are all placed on parts of her body. She has a drunken sneer on her face.I) Snapshot of Butch, 8, being taught to dance in the club by his mother. He looks awkwardly into the camera.J) Snapshot of Butch, 8, sitting on the bar of the club, surrounded by a motley group of sleazy "dime dancers".K) Another snapshot of Butch being taught to dance by his drunken mother.(NOTE: A heavy MACHINE GROWL should START LOW and INCREASEIN VOLUME through the remainder of these fast-paced seriesof cuts.)L) Snapshot of Mom dancing very closely, too closely, to a handsy patron of the club.M) Snapshot of Mom kissing the same man. We see a tattoo on his arm.N) Extreme closeup -- the tattoo. It is of a naked girl. The words "hell-bent" in cursive frame the tattoo.O) Snapshot of Mom sitting on the tattooed man's lap at the bar. His hand is resting on the inner portion of her thigh.P) Snapshot of Butch at the bar with the club bartender.Q) Same as (K) -- Butch being taught to dance.(CONTINUED)106.161CONTINUED: (2)161R) Extreme closeup -- Butch in same photo.S) Same as (J) -- Butch in bar with dime dancers.T) Extreme closeup -- Butch in same photo.U) Same as (O). Mom with tattooed man.V) Extreme closeup -- tattooed man from same photo.W) Snapshot of crime scene in the bar. A man lies on the floor in a pool of blood. Onlookers, including some of the dime dancers and Butch's mom, express their shock at the incident while police photographers and newsmen look on.X) Extreme closeups -- Some of the onlookers faces.Y) Extreme closeup -- Butch's mom's face. As opposed to the others, her face is rather displaced. You'd think she'd witnessed a fender bender instead of a murder.Z) Extreme closeup -- The face of the victim. It's the tattooed man.AA) Extreme closeup -- The tattoo.The ROAR of the MACHINE GROWL is now DEAFENING as the image of the tattoo...FADES INTO:162BRILLIANT WHITE LIGHT162that FILLS the FRAME.INT./EXT. STATION WAGON - NIGHT (PRESENT)Except it's brighter than the brightest day as a high powerlight shines directly at...EXTREME CLOSEUP - BUTCHwho exits his dream and enters reality with a throttledshock. He squints and tries to discern the source of thelight while groping for his gun under the seat.BUTCH'S POV - WHITE LIGHTIt's bright as hell but getting clearer, less fuzzy.We can now see it's the headlights of a huge COMBINE whichsits, ENGINE RUNNING, directly in front of the stationwagon.(CONTINUED)107.162CONTINUED: 162A BLACK MAN - 50 or so, KILLS the ENGINE (but leaves thelights on) steps down from the combine cab and startstoward the station wagon.BACK TO SCENEPhillip, now wide awake and scared. He notices that...Butch is fingering the gun, resting it in his hands andunder his right leg.The Black Man, whose name is Mack, crosses the front of thewagon and walks to the driver's side window.MACK (BLACK MAN)Didn't mean to scare ya'. I work atnight. It's cooler. Ya'lls car breakdown?BUTCHMe n' the boy was just catchin' someshut-eye in yer' field.MACKOh, it ain't mine. I just works it forMr. Andrews. Where ya'll from?BUTCHDrove from Texarkana yesterday.MACKQuite a haul.BUTCHSaid a mouthful there.MACKWell, ain't no sense in ya'llsleepin' in the car. Not when I got afold out couch sittin' empty.BUTCHWouldn't want to put you out. 'Sides weneed to get back on the road.MACKNo trouble t'all. Wake you up firstlight, fill yer' belly and send you onyer' way.163EXT. RURAL ROAD - FIRST LIGHT - DAY163A Highway Patrol car, followed by a tow truck, breeze alongthe highway.164OMITTED164108.165INT. HIGHWAY PATROL CAR - DAY165Two officers, MONTGOMERY and HALL, scan the horizon. Theylook like they've driven all night.Saunders wakes up in the back seat and leans forward.SAUNDERSWe didn't pass it did we?Saunders spots the RV on the horizon.MONTGOMERYThere it is.166EXT. ROADSIDE - DAY166The patrol car stops, as does the tow truck.167INT. PATROL CAR - DAY167Hall and Montgomery view the beat to hell RV while Saunders,ready to cry, jumps out and runs into the field.MONTGOMERYGood Gawd Almighty. Governor ain'tgonna' like this.168INT. AIRSTREAM - DAY168Suttle is asleep among the rubble. He jumps to whenSaunders bursts in. Saunders gasps when he sees the shapehis prize vehicle is in.SAUNDERSWhere are they?!SUTTLEUh, uh, they're gone.SAUNDERSHow long?!SUTTLEI don't know, uh, four, five hours.Saunders, dejected, starts to move some of the trash fromthe couch. He sits down and moans...SAUNDERSWell, goddammit, did he say anything?SUTTLEYeah.(CONTINUED)109.168CONTINUED: 168SAUNDERSWhat?!SUTTLEWell, uh, Chief Garnett wanted me to tellyou that the vehicle gets his seal ofapproval....Saunders' face begins to turn red.SUTTLEAnd that he wants his chair back.If he was red before, now Saunders is crimson. A ther-mometer dropped into boiling water.169EXT. AIRSTREAM - DAY169We hear a SCREAM and then a second later, Red's desk chaircomes flying out the door. It hits a rock and splits as itbounces.170EXT. HIGHWAY - DAY170Two Highway Patrol cars rocket along, one behind the other.171INT. LEAD PATROL CAR - DAY171OFFICER JONES, a lean, hard-nose of 25, drives. Adler inthe front seat, Red and Sally in the back. Not a word isspoken. Serious business.172INT. SECOND PATROL CAR - DAY172ANOTHER OFFICER drives this car. Kaiser rides shotgunworking the radio. In the back seat sit Bobby Lee andBradley.173INT. MACK'S HOUSE - DAY173A COFFEEPOT RATTLES on the stove.Two black hands move the pot and rescue overfried eggs ina skillet on the stove.Two small black feet dangle from a too-high bathroomtoilet. As they hit the ground we hear a FLUSH. WeFOLLOW the feet DOWN down a short hall and into theliving room. As they pass the bottom of a fold-out couchwe...BOOM UP to reveal Butch and Phillip asleep. Butch's armhas found its way under Phillip's head and is acting asan early morning pillow.(CONTINUED)110.173CONTINUED: 173A small head pops up on the side of the bed nearestPhillip. The six-year-old eyes of CLEVELAND peer closeto Phillip and watch, only inches away, as Phillip sleeps.Phillip's eyes blink a bit and then they open...PHILLIP(scared)Aaaayyyyy!CLEVE(more scared)Aaaayyyy!!!Butch jumps up like a rocket and is on the floor in aninstant.BUTCHAaaayyyyy!!!!Cleve races into the kitchen and the apron strings of hisgrandmother, Mack's wife, LOTTIE.LOTTIEHe wake ya'll up?(to Cleve)Now I told ya not to do that.BUTCH AND PHILLIP, breathing hard, can't help but laugh.BUTCHNo harm, Ma'am.LOTTIEI'm Lottie. Mack's wife. This here'smy grandbaby, Cleveland.CLEVEName's Cleve. I'm six.PHILLIPI'm eight. Mine's Buzz.174INT. MACK'S KITCHEN - DAY174Butch, Cleve and Phillip finish breakfast while Lottiepours coffee. Cleve and Phillip, hitting it off well, areengaged in fervent storytelling.CLEVEWe got us a creek down the way.Wanna go later?(CONTINUED)111.174CONTINUED: 174PHILLIPSure thing.Mack enters after a hard night's work.BUTCHMornin' to ya.MACKMornin'. Rest done ya'll some good.LOTTIEYou wanna plate?MACKNot jus' yet.(to Cleve)Boy, go get my thermos from the truck.Cleve, still whispering and giggling with Phillip, isn'treally listening.MACKDon't ya hear good, boy?!Mack firmly cuffs the boy's ear and Cleve jumps up and outthe door, one hand holding the side of his head. Butch andPhillip both look up at Mack.MACKBoy don't got the sense Gawd gave achicken.175INT. LEAD PATROL CAR - HIGHWAY - DAY175JONESWant me to stay on Highway 70?REDLet's head on over towards Amarillo.We'll cross him there or wave goodbye atthe border.176INT. MACK'S HOUSE - LIVING ROOM - DAY176Phillip sits on the couch and watches as Butch shows Clevea trick. Cleve bends over, puts his hands between his legsand Butch grabs them and pulls -- a flip. Cleve isecstatic at the result. Phillip and Butch laugh along.CLEVEAgin'! Do it agin'!(CONTINUED)112.176CONTINUED: 176LOTTIE(to Butch)Where's the boy's mother?BUTCHWe left her at home this time. Boy'snight out kinda thing.Butch spots an old phonograph.BUTCHSay, lookie here.He gives it a spin with his finger and searches through astack of 78s.LOTTIEMr. Andrews give 'em to us when he gothisself a newfangled one.Butch finds a particular favorite.BUTCHJeezus. Now this is music. You knowhow long it's been since I heard this.LOTTIEThat's an oldie all right. Mrs.Andrews' maiden name was Bougeois --half-Creole herself she is, but Mr.Andrews he don't like nobody to know.'Suppose that's why he give 'em to us.177INT. BATHROOM - DAY177Mack drops his pants and sits on the throne. He reachesover and turns ON the RADIO resting on the wash basin. AFARM REPORT comes on just as...178INT. LIVING ROOM - DAY178A NEEDLE DROPS on a 78, filling the room with the SCRATCHYsounds of a Coonass waltz.Butch's eyes come to life.BUTCHYou dance, Lottie?LOTTIELawd goodness no.(CONTINUED)113.178CONTINUED:178BUTCHHere, jus' follow me.He takes her in his arms and slowly but surely adjusts hermovement to his. After a few rough turns they're not toobad.Phillip can't help but smile as he and Cleve watch andgiggle.Butch and Lottie dance, swirling around the room.LOTTIEMr. Poe, you sure can move.BUTCHOughta be able to. Was raised in a dimea dance whorehouse.LOTTIEYer' foolin' me?BUTCHNo, ma'am. My mama would dance theirasses out of the fryin' pan and into theback room fire.Butch spots Phillip and Cleve, watching, giggling.BUTCHGet on yer' feet, Buzz. You'n Cleveshake a leg.LOTTIE(encouraging)Well go on!Cleve and Phillip reluctantly stand and stare at oneanother.BUTCHDance, boys!The little boys do their best to emulate the adults andsoon they're laughing and dancing, too.The RECORD STOPS. They all clap and laugh. Butch hearssomething... The RADIO in the bathroom.179INT. BATHROOM - DAY179Mack sits, cleaning his fingernails with a Barlow knife asthe radio announcer begins a news flash.(CONTINUED)114.179CONTINUED:179ANNOUNCER (V.O.)Update on the manhunt for the escapedconvict. Haynes is armed and extremelydangerous. He is believed to have ahostage with him, an eight-year-old boy.A finger turns OFF the RADIO. We FOLLOW the finger UP anarm TO Butch's concerned face. He sits down on the edge ofthe tub across from Mack and takes the knife away from him.BUTCHWe'll be leavin' soon enough. I'll killall of you if you try anything stupid.Mack swallows hard.180INT. LIVING ROOM - DAY180Lottie quizzes Phillip...LOTTIEWhat's Texarkana like? I ain't neverbeen there.PHILLIP(through his teeth)Oh, it's real nice. I got a dog named...Phillip and a tree house and...Mack, nervous, enters the room followed by Butch.BUTCHCome on, Buzz. Time for us to hit theroad.LOTTIEWhass' wrong, Mack? You look like youseen a ghost.Cleve runs up to Butch, turns around backwards and puts hishands between his legs.CLEVEDo me agin'!MACK(scared for the boy)No! Boy! Get over by yer' Mammaw!Lottie senses something is wrong. Cleve, too young tosmell trouble, persists...CLEVECome on, Mister, do me agin'!(CONTINUED)115.180CONTINUED:180Butch smiles and starts to oblige the boy, but Mack inter-venes and smacks Cleve hard, sending him sprawling to thefloor bawling.Butch, instantly enraged, back-hands Mack, grabs him by thecollar and tosses him onto the floor.Phillip -- frozen, sitting, watching as things go from badto worse.Cleve -- confused, bawling, afraid.Butch pulls the gun from his pants, bends down, picks upMack by his throat, presses the gun in his mouth and liftshim into a chair beside Lottie. He bends close to Mack --their noses are inches apart.BUTCHWhy'd ya' wanna' go and hit Cleve for?He didn't move fast enough for ya', isthat it? Or maybe he gets excitedsometimes and don't hear everything ya'say? You make me sick to my stomach.Butch spits in Mack's face, then rises and walks over toPhillip and hands him the revolver.BUTCHPoint it at 'em.PHILLIPI don't wanna'...BUTCHPoint it!Phillip does so, occasionally wiping a tear from his eye.Mack reaches down and holds Lottie's hand.Butch kneels down to a still-sobbing Cleve.BUTCHNow, son, you wanna' flip?Cleve shakes his head "no" between sobs. Butch gentlytakes the boy and lifts him to a standing position.BUTCHGo ahead. Put yer' hands between yer'legs. I won't hurt ya'.Cleve turns to Mack and then runs to him. Butch walkscalmly over and pulls the crying child away from the old manand back to the center of the room.(CONTINUED)116.180CONTINUED: (2)180BUTCH(to Mack)He don't trust ya' no more. You gotta'earn that, ya' know?(to Cleve)Put yer' hands 'tween yer' legs, son.Cleve, still sobbing, does so. Butch reaches down andflips him, all the while staring at Mack. Each time heflips the boy, Butch reaches down, grabs Cleve's hands andflips him again.Finally he allows the frightened child to go to Mack andLottie.Butch takes the gun from Phillip.BUTCHBuzz. Go out to the car and get thatrope.Phillip stands frozen.BUTCHPhillip!...Phillip slowly rises and walks away. He stops for a momentand turns his back.EXTREME CLOSEUP - PHILLIPHis eyes lock in a gaze with...EXTREME CLOSEUP - CLEVEHis sobbing eyes plead for something, anything.181EXT. HOUSE - DAY181Phillip exits the house, walks past an old well to thestation wagon. He opens the door, stops, looks back.182INT. HOUSE - DAY182Butch sits on the coffee table across from Mack, Lottie andCleve.BUTCH(to Mack)Now you hold that boy and tell him youlove him.Mack grabs Cleve and sets him in his lap.(CONTINUED)117.182CONTINUED: 182MACK(scared)I love you.Butch cocks the revolver and slides forward. His nose isalmost touching Mack's.BUTCHNo, old man. Say it like you mean it.MACKThis boy know I loves him, mistah'.BUTCHThen say it.LOTTIEPlease, mistah'. I gotta' sense aboutyou. I know you a good man.BUTCHNome', I ain't a good man. Ain't theworst neither, jus' a different breed.183EXT. HOUSE - DAY183Phillip is at the screen door looking in. He holds the bagin his hand.HIS POVButch sits on the coffee table, which is pushed right upto Mack, Lottie and Cleve, who sit on chairs.184INT. LIVING ROOM - DAY184Butch, enthralled with the episode he's directing, almostquivers with anticipation.BUTCHSay it, Mack. Don't cost nuthin'.MACKI love you, Cleve.BUTCH(serious)Gawd that's beautiful.Butch spots Phillip standing at the entrance to the livingroom with the bag. He takes it from the boy, empties thecontents -- candy, cookies, bread, sugar and all -- andpicks up the rope, takes Mack's Barlow knife from hispocket and cuts off a long shank. Butch takes the rope andbegins to tie up the three.(CONTINUED)118.184CONTINUED:184Phillip stands, stares, aware that something bad ishappening.Butch finishes tying, sticks the knife in his pocket andwalks over to the PHONOGRAPH. He turns it back ON. TheSCRATCHY RECORD plays. He turns UP the VOLUME.BUTCH(to Phillip)You can go wait in the car or you canwatch. Yer' old enough to think foryer'self.Phillip, unsure what to do, stands his ground.Butch returns to his seat on the coffee table and staresat the three hostages. He appears as if he's about to cry,closes his eyes and rests his chin on the barrel of therevolver while he recites instructions...BUTCHShut yer' eyes, Cleve. Mack, you andLottie hold the boy tight. Shut yer'eyes, too.Phillip, awkwardly aware that he's going to witness anexecution, starts to cry out, then squelches himself.Butch seems to be in another world now -- taken to anotherplace and time. A slight smile finds its way to his face,then disappears.LOTTIEPlease, mistah', ain't no use in it.MACKWe'll give you ever'thing we got!But Butch doesn't even hear the words. He slowly opens hiseyes, pulls his chin from the pistol barrel and points itat Mack.LOTTIEOur Father, which are in heaven, Hallobe thy name...BUTCH(to Lottie)Shhh... shhh... shhh...LOTTIE... Thy Kingdom come, Lawd, thy will bedone... here on Earth as it is in Heaven.(CONTINUED)119.184CONTINUED: (2)184BUTCHShhh.. shhh...LOTTIE(to Mack/Cleve)Say it wif' me....Butch looks to Phillip in a strange way, sets the gun onthe floor between them, and crawls amongst the candy, gumand wrappers until he finds the electrician's tape.Phillip watches, not knowing what to do.The revolver -- cocked, resting on the floor.MACK, CLEVE & LOTTIEGiv' us this day our daily bread andforgiv' us, Lawd, our trespasses as weforgiv' those who tresspass agin' us...Butch rips tape from the roll and slaps a piece over eachof their mouths, silencing their prayers one by one.Out of breath, he kneels down in front of them and staresat the three while he reaches his hand behind him for the.... pistol -- but it's not there...Butch looks up to see...Phillip -- teeth gritted, holding the pistol, pointing itdirectly at Butch.CLOSEUP - BUTCHHis expression is blank -- then a slight smile. For asecond it's as if none of this has happened, that Butch willgrasp Phillip in his arms...A DEAFENING GUNBLAST turns his expression to blank.Phillip, knocked to the floor by the revolver's kick,recovers to his knees, shaking like a leaf.The MAMBO RECORD comes to an END, but SCRATCHES ON ADINFINITUM.Butch falls back to his knees, still staring at Phillip.He looks at his stomach, where a stain of brown-redgushes through his T-shirt, and back to the boy.BUTCH(as if he hasn't seen him in years)Phillip?....(CONTINUED)120.184CONTINUED: (3)184Phillip, momentarily dazed, stares at the gun in his hand,at Butch, the blood pouring from Butch's side, and theshocked faces of Mack and his family. Then, in a flash, heruns, pell-mell, out of the house.185EXT. HOUSE - DAY185Phillip blasts out the screen door and runs straight to thewell.He drops the gun into the well, catches his breath and headsfor the road.After a few yards he has a thought, runs back to thestation wagon, grabs the keys and throws them as far intothe adjacent field as he can. Then he resumes his race forthe road.186INT. HOUSE - DAY186Butch gropes to his feet, still in shock. He stumblestoward the door, then stops, reaches in his pocket,extracts Mack's Barlow knife, holds it up and walks towardthem, staring hard.Mack, Cleve, Lottie -- Afraid they'll be killed after all.Butch, surprisingly, meekly sets the knife down on thecoffee table...BUTCHThanks for yer' hospitality.And walks away.187EXT. HOUSE - DAY187Butch emerges and stumbles out.BUTCH(to the horizon)Phillip?!...No answer. He drags himself to the station wagon and, withmuch effort, slides himself into the seat. No keys. Heopens the door, crawls out, leaving a trail of blood, looksout to the road and starts to walk.PHILLIPruns down the road, looking back every so often to see ifButch is following(CONTINUED)121.187CONTINUED: 187BUTCHmakes his way onto the private dirt and starts walking backtoward the main road.BUTCH(yelling)Phillip?!! I won't hurt ya', I swear!PHILLIPis running out of steam on the road ahead. He stops for ablow and looks back.HIS POVA few hundred yards back, Butch struggles forward.BACK TO SCENEPhillip crawls through the ditch beside the road andsqueezes through a barb wire fence.His costume hangs on a barb. He rips away from the fenceleaving a foot-long strand behind.In the b.g. -- a pickup truck drives by.188INT. TRUCK - DAY188ARCH ANDREWS, 50, the owner of the Ranch, slows down whenhe sees...ARCHWhat the hell?...HIS POV - PHILLIPclad in his white costume, running across a field towarda grove of trees beside the creek.BACK TO SCENEArch continues on down the road and passes...Butch -- nearly in shock, stumbling down the road.TRUCKpulls into Mack's place, and Arch gets out, peers into thestation wagon, sees blood, grimaces and walks up to thehouse. He notices a dripping trail of blood on the porch.122.189INT. HOUSE - DAY189Arch enters the kitchen, sees no one and starts toward theliving room. The MAMBO continues to SCRATCH.ARCHMack?... Lottie?...Arch enters the living room and stops when he sees Mack andfamily, still gagged and tied to the chairs.190EXT. ROAD - DAY190Butch, holding his side, the pain is worse as he stumblesalong.He stops when he spots something -- a piece of whitecostume on the fence. He crosses the ditch, steps throughthe fence and walks in the same direction Phillip did.BUTCHThat was a helluva' thing to do, Phillip.You're a hero. Prolly' be in all thepapers tomorrow, how you saved thosefolks. Truth is, I don't think I woulda'killed 'em. I only killed two people inmy whole life. One hurt my mama and onehurt you.191INT. LEAD PATROL CAR - DAY191Adler listens in on the shortwave.KAISER (V.O.)A town called Happy, over in SwisherCounty.RED(to Jones)How far?JONESHalf-hour tops.RED(to Adler)Get on the radio and tell whoever getsthere first to play it nice and easy.Sally gives him a look.KAISER (V.O.)They've got the boy's mother flyin' inon a private. You want her on standby?(CONTINUED)123.191CONTINUED:191REDJeezus, who did that?ADLERGuvner, I assume.SALLYNot a bad idea.REDGo ahead and chopper her in.After a moment of silence, Sally turns to Red.SALLYI didn't mean to pry last night.REDYes, ya did.SALLYLook, Red, it was 20 years ago.REDFunny thing. When the judge sent himaway the kid stared at me. Like he knew.Not hard or mad like you'd expect. Itwas... It was like he was forgiving me.SALLYForgiving you for what?! For lookingat the facts and doing what youthought was right?REDNaw. For what's gonna happen today.192EXT. FIELD - DAY192Butch follows Phillip's path through the field.BUTCHWhat say we talk this over? Settlethings man to man. Then we can be onour way. I'll even let you drive. Knockthat right off yer' list. How'd that be?PHILLIPfinally arrives at the creek, looking over his shoulder allthe way. He looks at the water -- deep and running swift.Where to go? He decides and heads for the nearest tree --a big oak, and shimmies up to a branch ten feet or so abovethe ground.124.193INT./EXT. LOCAL BLACK AND WHITE - DAY193A country cop answering the report, drives slowly down theroad, his pistol drawn and held upright in one hand. Hepulls into Mack's driveway and parks. Arch walks out ofthe house to greet him.ARCHThat's his car. Took off on foot. He'sgot a pistol. Mack says it looks like a.38.194EXT. FIELD - DAY194Butch stops to rest. Something catches his eye.HIS POVA white figure moves slightly in the boughs of an oak tree.Phillip tries to climb higher but can't reach the next limb.BACK TO SCENEButch walks underneath the tree without even looking atPhillip. He sits down to rest.BUTCHAlaska, Phillip. Wild and wooley. Managainst nature. Me personally, I likethem odds.(beat)Did I tell you my daddy lives there?He's the one that sent the picturepostcard. Listen here to what he saysabout it...Butch pulls the postcard from his back pocket and reads...BUTCH(reading)'Dear Robert'... that's my real name,Phillip. Robert. Jus' like old Bob thefamily man. 'Dear Robert, I just wantedto tell you that me leaving has nothingto do with you.'Phillip, still afraid, can't help but listen as Butchsuffers through his memories.BUTCH(reading)'Alaska is a beautiful place. Colderthan hell most all the time.(MORE)125.194CONTINUED: 194BUTCH (CONT'D)Someday you can come and visit and we'llmaybe get to know each other better.'Short and sweet. That's the old man'sstyle. 'Cold all the time' -- like that'sa big sellin' point.He laughs to himself.BUTCHHe useta' pat me on the head and tellfolks 'that it's some that can live lifewithout askin' about it and it's othershas to know why, and this boy here isone of the latters.'(beat)That's why I wanted to go up there. Tovisit the old man, I guess. Prolly'punch him one first, but then maybe we'dend up bein' friends, sit down, have abeer, talk things over....Butch groans. He pulls his hand from his side. Blood isoozing all over the place. He returns the postcard tohis pocket.BUTCHWe'll jus' rest awhile. Then youcan make up yer' mind. How's that?Phillip, still clinging to the tree, can't help but feelcompassion for his friend.195EXT. MACK'S HOUSE - DAY195A dozen Highway Patrol cars now sit in the driveway. TheFed in charge, AGENT HENDRICKS, assigns different officersto secure the area in an incredibly organized fashion.Mack, Lottie, Cleve and Arch watch from the porch.196EXT. CREEKSIDE - DAY196Butch's eyes are closed. A small puddle of blood dripsand becomes a rivulet running down into the creek.Phillip, still in the tree, still watching, can't bear itany longer. He slowly climbs down and drops next to Butch,who opens his eyes to the boy and smiles.BUTCHOne thing's for sure now -- I definitelybelieve in ghosts.(beat)Never been shot before.(CONTINUED)126.196CONTINUED: 196PHILLIPI'm sorry.BUTCHI know ya' are. Truth is, if it had tohappen, I'm glad it was you. As opposedto someone I don't know, I mean. Allthings considered, I feel pretty good,though. Could use a beer, though.PHILLIPWhat's beer taste like?BUTCHOh, it's about the best thing there is.You'd better put that on the list.Phillip's eye catches something. He stands up fearfully...HIS POV - TWO MORE PATROL CARSlights spinning, rushing down the road, kicking up dust.197INT./EXT. RED'S PATROL CAR - DAY197Sally watches Red. When the car comes to a stop, shereaches out and touches his arm.SALLYI think our chances of this thing endingpeacefully are good.He smiles a lonesome smile, opens the door and exits.198EXT. CREEKSIDE - DAY198Phillip kneels back down to Butch.PHILLIPYou better run.BUTCHNaw, Phillip, I need me a time machinewith a loud radio to take me where I'mgoin'. Walkin's for squares.199EXT. MACK'S HOUSE - DAY199Red exits his patrol car, followed by Sally. AgentHendricks walks up.HENDRICKSGarnett, I'm Tom Hendricks, F.B.I., outof the Amarillo office. I understand youhave one of our men with you?(CONTINUED)127.199CONTINUED: 199REDYeah. You got the area quadroned off?HENDRICKSWater tight. Like a frog's pussy.(notices Sally)Sorry, ma'am.SALLYNo doubt an observation based on personalexperience.Red can't help but smile.REDYou got him spotted?HENDRICKSBy the creek, half-mile down the road.I spaced officers in a circle around them100 yards or so away.REDYou got any problem with me handling thisone?HENDRICKSWhat say we both handle it?Red sighs.REDLet's head on down there. Bradley, gimme'a megaphone.HENDRICKSOne other thing, Chief. Haynes is wounded.The boy gut-shot him.REDYer' shittin' me.200EXT. CREEKSIDE - DAY200Phillip scoops a handful of water and brings it to Butch,who opens his mouth and drinks, A megaphoned voiceinterrupts...RED (V.O.)(through megaphone)Butch, this is Red Garnett of theTexas State Police.A thin, knowing smile crosses Butch's lips.(CONTINUED)128.200CONTINUED: 200RED (V.O.)I know yer' hurt. We've got damn near100 armed men here. Take a look aroundand you'll see I'm shootin' ya' straight.BUTCH(yelling back)All this for me. I'm touched, but I'mafraid ya'll gonna' have to back it up astep or two. I'm headed to Mexico.(to Phillip)Lyin' to 'em, of course.201EXT. ROADSIDE - DAY201Red leans against a patrol car, accompanied closely by Adler,Sally and Hendricks.RED(into megaphone)Hate to tell ya', Butch, but yer' headedthe wrong direction. Tell ya' what.You let the boy go and we'll talk aboutit. Discuss it over a cold beer.202EXT. CREEKSIDE - DAY202BUTCH(to Phillip)Beer. What'd I tell ya'.(to Red)Appreciate the offer, Cap'n, but ya'know I can't do that. If you and yer'pals back outta' here, I'll drop the boyat the border.(beat)If you don't I'll shoot him in thehead. I mean it!Phillip, betrayed beyond comprehension, stares at Butch.BUTCH(to Phillip)Don't look at me like that. I don'teven have a gun. What did ya' do withthe pistola' anyway?PHILLIPThrew it in the well.BUTCHGood thinkin'.129.203EXT. ROADSIDE - DAY203ADLERYa' think he means it?Red mulls it over, replaces his old chaw with a fresh oneand looks to Sally.REDWhat do you think?SALLYBased on what's happened the past twodays I don't think he would.REDOne thing's for sure. If he gets outta'here with the boy, we're right back towhere we started.BRADLEYIf he kills the boy he'll get the chair.ADLERShit, he'll get the chair anyway. He'skilled two in two days.SALLYWe don't know that he pulled the triggeron either of the innocent victims.ADLERWell he wasn't at home in his Strat-O-Lounger. 'Sides, who killed Pugh?Casper?REDAll right, both of you, that's enough!From the trail of blood I got a feelin'it ain't gonna' make any difference.Let's jus' concentrate on gettin' theboy out for now.Bobby Lee approaches with a leather case, bypasses Red andgoes straight to Hendricks.BOBBY LEEWhere ya' want me, sir?REDCan you shoot off a hood?Bobby Lee nods.In the b.g., a HELICOPTER circles, preparing to land.(CONTINUED)130.203CONTINUED: 203ADLERThat'd be the boy's mother.REDBring her on over.204EXT. CREEKSIDE - DAY204Butch and Phillip watch the helicopter land.BUTCHSee, Phillip, dreams do come true.There's yer' rocketship.PHILLIPThink I'll get to ride it?BUTCHToday's the day.RED (V.O.)(megaphoned)Butch, we got the boy's Mama here.She wants to say something.Phillip is visibly stunned by the news. He crawls up tothe crest of the creekside and squints, looking for hismom.BUTCHWhat's wrong, Phillip?PHILLIPIt's my mama.Phillip still cranes his neck to see.BUTCHNow that ya' got yerself a ghost suit,do ya' think she'll let ya' trick r'treat?PHILLIP(better than none)I got to do one house.Butch smiles. He has an idea.BUTCHPut yer' mask back on.205EXT. ROADSIDE - DAY205Bobby Lee carefully unsnaps the latches on his leather caseand opens it on the hood of the patrol car.(CONTINUED)131.205CONTINUED: 205Inside is... a high-powered military rifle in three parts.Hands unzip a velvetine bag and pull out a high-poweredscope.Bobby Lee holds the lens of the scope to his mouth, blows abreath on it and wipes it clean with a piece of cleancloth. He feels eyes and turns to see...Sally, watching him at work.Bobby Lee smiles at her, cocksure. His dark role in thismanhunt is now perfectly clear.Sally turns her head, disgusted.Gladys Perry, frazzled, somewhat in shock, is usheredforward. She's handed the MEGAPHONE. She fumbles with it,pushes the button. It SQUAWKS LOUDLY.REDJus' push the button and talk normal.It SQUAWKS again.REDHere, I'll hold the damn thing.You jus' talk.GLADYS(into megaphone)Hullo... Hullo. Please, sir, he's myonly son. I'll give you money, whateverI can. Please, I want to take my boyhome! I want to...The MEGAPHONE SQUALKS one final dying time and SHORTS OUT.Red hands it to Bradley, who immediately sets it on thetrunk and starts taking it apart.RED(to Gladys)Yer' doin' fine. We'll get another one.BRADLEYI think yer' tobacco spit shorted itout, Red.206EXT. CREEKSIDE - DAY206Phillip wears the mask. Butch dusts him off and smiles.BUTCHYou ready to go home?(CONTINUED)132.206CONTINUED: 206PHILLIP(very sure)Yeahsir.BUTCH(yells)Hey, Cap'n, you got any candy?INTERCUT BACK and FORTH BETWEEN Butch and:REDBRADLEY(re: megaphone)This one's shot.REDWell, find another one!Red sighs and cups his hands around his mouth.RED(yells)What?!BUTCH(yells)Candy! Halloween candy! Popcorn balls,caramel apples, gum, shit like that?!RED(yells)You hungry?BUTCH(yells)You find me some candy and I'lldeliver up a ghost.RED(to Adler)You heard him.207EXT. ROADSIDE - DAY207Red nods to Adler who starts to gather sticks of gum,mints, anything from the surrounding officers.BRADLEYDon't have another megaphone, Chief.Red just shakes his head and sighs. Bobby Lee leans onthe hood of the car and places one eye behind the scope ofhis rifle.(CONTINUED)133.207CONTINUED: 207REDYou all set?BOBBY LEEYou say when, I'll say dead.Red glares at Bobby Lee for an extended moment.RED(yells; to Butch)You got yer'self a deal. Candy's waitin'.208EXT. CREEKSIDE - DAY208BUTCH(yells)One more thing. His old lady has toswear to take him trick r 'treatin'every year.Phillip strains to look for his mom. He's upset, ready toleave.BUTCHGimme' yer' list, Phillip.PHILLIPButch?...BUTCHGimme that list.Phillip pulls it out. Butch snatches it and reads it tohimself, laughing. He's on a death roll of sorts, betweenlosing blood and being in an impossible situation he almostseems to be enjoying the macabre scenario as it unfolds.Phillip, on the other hand, is beginning to sob.BUTCH(yells)And she's gotta promise to take him tothe fair for rollercoasters and cottoncandy whenever he wants... or at leastonce a year...PHILLIPI wanna' go home!...BUTCH(checks list; yells)And when he gets older he gets to drinkbeer...(CONTINUED)134.208CONTINUED: 208PHILLIPI don't need beer!...BUTCH(to Phillip)Well it's on yer' list.(yells to Red)And to go out on dates with girls!(to Phillip)Not on the list, but you'll thank melater for that little addition.(checks list)Done that, got to drive, gonna' ride thatrocketship. That's about it.(yells; to Red)She's gotta' promise or I won't let himgo!PHILLIPI wanna' go home, Butch. My mama's notbad! She gives me those things.BUTCHDon't kid a kidder, Phillip.209EXT. ROADSIDE -DAY209Red, exasperated, he can't believe how weird this hasgotten.RED(yells)It's a deal!BUTCH(yells)Make her say it!Red looks to Gladys as if to say, "go ahead". She seemsreluctant. Red's frustration is showing.210EXT. CREEKSIDE - DAY210Phillip is near tears.He rises and starts to move for the field, but Butch grabshim with one arm, pulls him close and holds him like he'shis own child.PHILLIPI jus' wanna' go home.BUTCH(sincere)Know jus' how ya' feel, Phillip.135.211EXT. ROADSIDE - DAY211GLADYS(to Red)Phillip knows those things are againstour beliefs.RED(to Gladys)What kinda' foolishness is that?(yells)She promises!BUTCH(yells)Make her say it!Red gives her a look that says, "Say it or deal with me".GLADYS(yells)I promise!212EXT. CREEKSIDE - DAY212BUTCH(to Phillip)Can we trust her?PHILLIPShe's a real good mama.Butch reaches into his pocket, extracts the remaining wadof stolen bills, unzips the Casper outfit, stuffs theminto the costume and rezips.BUTCH(to Phillip)When you get home, hide this. Ifshe's lyin' you can buy yer' own damnbeer.Phillip quiets for a moment and stares at Butch.PHILLIPYer' not bad, are you, Butch?BUTCHYeah.(beat)Now, Buzz, listen here. I want ya' tostep out there real slow, keepin' yer'paws in the air. Then strut right overto them cops and yell 'trick r' treat.'Got it?(CONTINUED)136.212CONTINUED: 212PHILLIPWhat are you gonna' do?BUTCHSomethin'll come to mind.Butch sticks out his hand. Phillip shakes it, afraid.BUTCH'Bye, Phillip. It's been one helluva'ride.Butch nods and smiles.BUTCH(yells)All right, Cap'n. Make way for Casperthe friendly ghost. The friendliestghost I know.Butch nudges Phillip and the boy starts toward the field.213EXT. ROADSIDE - DAY213Adler, looking through binoculars, can't help but smile.REDGimme' them things.Adler hands over the binoculars. Red takes a look.HIS POV - PHILLIPnee Casper, walking in his full whitehood, arms reachingfor the sky.214EXT. FIELD - DAY214Phillip reaches level ground and for the first time seesthe full strength of the amassed police forces -- at least20 cars, swirling lights, guns everywhere, pointing at him.215EXT. ROADSIDE - DAY215Red watches.RED(yells)Come on. Keep walkin'!HIS POV - THROUGH BINOCSPhillip stops walking and stands perfectly still.(CONTINUED)137.215CONTINUED: 215BACK TO SCENERed lowers his binocs.RED(to himself)Why the hell's he stoppin'?(to Gladys; direct)Call for yer' boy to come!Gladys, near shock, AD LIBS commands to Phillip. "Come onhoney," "Phillip, keep walking," that kind of thing.(NOTE: Her commands become more and more shrieking andfrantic and continue throughout, giving rise to even moreconfusion than is already present.)216EXT. FIELD - DAY216Phillip turns back and sees ...Butch -- He tries to get up in an attempt to make a run forit, but his strength is gone. He collapses.Phillip, standing still, with his mother's shrieks fillingthe air behind him, watches Butch for a second then runsback toward him.217EXT. ROADSIDE - DAY217Red sighs and lowers the binocs.218EXT. CREEKSIDE - DAY218Phillip stands before a struggling Butch.BUTCHPersonally I think we negotiated a prettyfair deal, but if there's somethin' elseyou want...PHILLIP(disbelief)Do they want to shoot you?Butch starts to lie to the boy but can't.219EXT. ROADSIDE - DAY219A finger strokes the trigger of a high-powered rifle.Bobby Lee -- Smiling, ready, waiting.Red shrugs and wipes his brow.(CONTINUED)138.219CONTINUED: 219HENDRICKSHe thought better of releasin' the hostage.SALLYIt doesn't necessarily mean that.RED(to Bobby Lee)Stay on ready.220EXT. CREEKSIDE - DAY220Phillip holds his hand out and helps Butch get up. Butchstands, dusts himself off, grabs the boy's hand and to-gether they walk toward the field.221EXT. ROADSIDE - DAY221Red, through the binoculars.REDI seen it all now.222EXT. FIELD - DAY222Butch and Phillip, hand in hand, walking across the field.223EXT. ROADSIDE - DAY223Red scratches his head.HENDRICKSWhat's he up to?REDHell if I know.SALLYHe's giving himself up.HENDRICKSKeep in mind -- he still has the gun.RED(yells; to Butch)Butch! Stop and let the boy go! Putyer' hands up and let the boy go!!!(NOTE: AD LIB instructions from Red continue as well.)139.224EXT. FIELD - DAY224With all the yelling, it's hard to make out what's beingsaid. Butch and Phillip continue to walk and talk.BUTCHSo I guess that's it for Alaska, Phillip.225EXT. ROADSIDE - DAY225REDStop and put your hands on your head!GLADYSRun, Phillip! Come here, Phillip!SALLY(to herself)Come on, come on...HENDRICKS(a warning)Chief, we've got an armed killer and aninnocent boy out there.RED(to Bobby Lee)You clean?BOBBY LEEAs a whistle.REDKeep him locked down. Don't squeeze til'I say 'when.'Red holds Bobby Lee's eyes until the young Fed nods. ThenRed unstraps his holster and moves between the cars.HENDRICKSWhere the hell you going?But Red's not listening, just walking, long and tall, intothe field.EXT. FIELD - DAY Butch and Phillip continue to walk, Butch holding Phillip'shand. When Butch spots Red approaching he slows and thenstops.Red shows his palms and keeps walking toward them. Whenhe gets within 25 feet he stops.REDI'm unarmed. Toss your gun on theground.(CONTINUED)140.225CONTINUED: 225Butch smiles.BUTCHIf I had a pistola I'd be headed theother direction. My partner here got ridof the evidence.(beat)Do I know you, friend?REDNo... not really.BUTCHHmm. Well, look I wanna' talk to the boyand then we'll take care of bidness. How'sthat? Only take a second.Red nods then looks over his shoulder at the patrol carslined up like a wagon train, guns aimed, Bobby Lee peeringthrough the scope of his rifle.226NEW ANGLE 226Butch and Phillip.BUTCHI wanna' give ya' somethin'.227EXT. ROADSIDE - DAY227HENDRICKSHe's stopped.ADLERHe's gonna make a run for it.SALLYGive it a second!HENDRICKS(to Bobby Lee)Hold him!SALLY(yells)Let the boy go, Butch!HENDRICKS(to Bobby Lee)If he makes a move...141.228EXT. FIELD - DAY228Butch kneels down beside Phillip. He reaches slowly, pain-fully for his back pocket.BUTCHMebe' someday you'll get to go...229EXT. ROADSIDE - DAY229Hendricks looks through the binocs.HENDRICKSHe's goin' for his weapon!THROUGH BINOCULARSButch reaches into his back pocket...IN FIELDRed squints to make out what Butch's reaching for.HIS POVButch smiles as he retrieves the POSTCARD from his pocket.BACK TO SCENEA look of concern crosses Red's lips...ROADSIDESally realizes it's not a gun that Butch is reaching for.SALLYNoooooo...!!!!FINGER ON TRIGGERsqueezes -- An EXPLOSION followed by a RINGING ECHO.IN FIELDButch's chest explodes when the bullet hits him. He rocksbackwards, still on his knees... and looks at Phillip inamazement.Phillip screams, grabs Butch and holds him up.THROUGH CROSSHAIRS OF GUNPhillip is obscuring a second shot at Butch.BUTCHtastes blood and sighs.(CONTINUED)142.229CONTINUED: 229BUTCHDamn, Buzz, shot twice in the same day.He collapses and falls into Phillip's arms. Phillip backsaway two steps and falls to his knees. Butch wavers for asecond then topples on his back.Phillip moans, sobs, as he watches Butch, the GUNSHOT stillECHOING.AT ROADSIDEGladys runs from behind the car, followed by a host ofofficers.HENDRICKSKeep everybody back!Bobby Lee stands, lowers his rifle disengages and smiles atHendricks.BOBBY LEENo need to worry. He can't hurt nobodynow.IN FIELDRed stands frozen, staring, in another world. An OFFICERtrots up to Butch and does a careful ground frisk.OFFICER(calls back)No weapon, Chief!Red "comes to," turns and walks toward the...ROADSIDERed walks up to Bobby Lee, stops and stares at the grinningmarksman. After a beat, Red turns then nearly jumps out ofshoes with a sudden right cross that floors the younger man.Red starts to jump in for more but Hendricks, stunned, jumpsin, grabs Red and, joined by four other Officers, holds theolder man back. Shouting, i.e. "Hey, hey, Red, whoa, whoa!"Red settles a bit. Hendricks turns to Bobby Lee who risesto one knee and wipes at a bloody lip, and then to Red whois still breathing hard.HENDRICKSWhat the hell was that all about?!REDI didn't say 'when.'(CONTINUED)143.229CONTINUED: (2)229Red turns and walks away. Hendricks throws his hat to theground, kicks it and follows Red with his eyes...HENDRICKS(to no one/everyone)Goddammit!!Adler catches up to Red. He stares at his old friend andboss as they walk along.ADLERI thought he had a gun, too, Red. Therewas just no way of knowin'.Red doesn't even look at Adler, just keeps walking. Adlerstops, his eyes following Red.Sally, nearby, watches Red walk away.PHILLIPis helped to his feet by his mother. She holds him dearlyto her chest. He hugs back just as hard, his blood-stainedCasper outfit staining her blouse. She unzips the costumeand dollar bills fly all around. She starts to leadPhillip off but he won't leave until...He pulls the postcard from Butch's hand.CLOSEUP - PHILLIPStaring down at Butch.CLOSEUP - BUTCHHis eyes flutter a bit with recognition.AT PATROL CARRed leans against the car. After a few seconds Sally walksup and finds a spot a few feet down from him where she, too,leans against the car. After a few more seconds.SALLYYou did everything you could. You knowthat.Red just stares straight ahead.REDI don't know nuthin'. Not a damn thing.(CONTINUED)144.229CONTINUED: (3)229Red reaches into his pocket, pulls out his tobacco andstuffs a chunk into his mouth.IN FIELD - CLOSEUP - BUTCHHe licks his lips as the MUFFLED VOICES CONTINUE aroundhim. He squints hard and sees:HELICOPTERas it lifts off and speeds away. As it wipes the sun...CLOSEUP - BUTCHA slight smile crosses his dying face as he squints tosee Phillip's flight.CLOSEUP - PHILLIPNose pressed against the glass bubble.BUTCHHis eyes don't close, still squinted but frozen.CLOSEUP - EYESWe realize now, are lifeless.BUZZARDcontinues its flight past the sun.SUNflares, SENDING the SCREEN TO:MILKY WHITE IMAGEthat opened the film.FADE TO BLACK. THE END | screenplays |
health by no small measures adds value to life ; little wonder why its scope as judged by the world health organization is not restricted to the physical absence of infirmity only but also includes the mental and social well - being of an individual .
health - seeking behaviours have been described as the sequence of remedial actions taken by an individual as a means to rectify perceived ill health ; it is however significantly affected by the beliefs and attitudes of people ( according to the health belief model ) .
the treatment action - plan thus developed is usually consequent on the initiation of symptom definition .
the attainment of good health has however been a theoretical expectation at the moment in many parts of the world , port harcourt in nigeria not being an exception ; a comparison of the mortality statistics for nigeria and other african countries as well as the african regional average over time shows this .
infant mortality rate is seen as the most important indicator of the health status of a community ; other indicators include the under - five mortality rate , maternal mortality rate , life expectancy at birth , nutritional status and fertility rate .
the inference from table 1 can thus point to a poor health status in nigeria and port harcourt city by extension .
a defective health status is however thought to be due to a poor distribution of health facilities or impaired health seeking and/or utilization behaviours ; these behaviours in themselves are affected by socio - demographic factors , gender , educational , cultural and biological dynamics .
socio - economic status is widely accepted as a cardinal factor affecting seeking health care of any sort at all ; this thus closely relates health and health status to socio - economic status .
this study aims at determining the distribution and determinants of the health - seeking behaviours of port harcourt residents , and comparing these amongst the upper and lower socio - economic classes , by so doing , it intends to provide information with which policy makers can effect transitive and people - oriented health policies .
the residents of the metropolitan town of port harcourt in rivers state of nigeria were chosen for this study , which used a descriptive cross - sectional study design .
the study used a multi - staged sampling technique ; the first stage being by stratified sampling using socio - economic class as the stratification criteria , creating strata within port harcourt ; the residents of the old government residential area for upper socio - economic class , while the residents of azuabie town and marine - base area for the lower socio - economic class .
the social and economic classifications used for the study are presented in tables 2 and 3 . the upper social class and the high - income earners
were grouped as upper socio - economic class and like manner for the middle and lower socio - economic classes .
the second stage was by clustered sampling technique ; the upper class stratum ( old g.r.a . ) was grouped into 4 clusters based on the preexisting streets and road network from which one was taken ( abana , ernest ikoli and william jumbo streets ) , the lower class stratum ( azuabie town and marine base area ) was also grouped into clusters from which the estate area ( california , government , fishermen s and blackman estates ) was taken from the marine base area and the azuabie town centre from the azuabie town .
this was followed by the use of a team of investigators and local contacts to carry out a structured questionnaire survey that occurred between january and march 2011 .
the exclusion criteria for this study included people younger than 14 years , students , and residents with duration of residency less than six months prior to the study as well as members of the middle socio - economic class .
a total of 204 respondents were utilized of the initial 240 questionnaires sent out ; this gave a response rate of about 85% .
the five - sectioned questionnaires used had sections for bio - data , concept of health , illness and health facility as well as information on health - care givers .
the questions were partly generated following literature search and partly from the investigators ; the initial questionnaire developed was pre - tested using 24 respondents ( comprised of student and non - student residents of the environs of the university of port harcourt ) , which were 10% of the sample size for the study .
after the pretesting , options for the remaining open - ended questions but one were generated ( appendix ) .
2007 ( microsoft corp . , redmond , wa , usa ) for generation of tables and charts as well as calculation of proportions and standard deviations that were used to test for difference of proportions using the z - test for difference of proportions according to lwanga et al .
the study had limitations that were especially the short duration of the study period which limited the possible expansion of the sample size .
the 204 residents used showed a sex distribution that revealed that 131 ( 64.22% ) of the respondents were males , as against 73 ( 35.78% ) that were females .
the social class distribution had values as 83 ( 40.69% ) , 28 ( 13.73% ) and 93 ( 45.58% ) for upper , middle and lower social classes respectively .
the income earnings grouping based on average monthly earnings returned values as 102 ( 50.00% ) , 12 ( 5.88% ) and 90 ( 44.12% ) for high , middle and low income earners respectively .
table 4 shows that most ( 65.69% ) of the upper social classed residents were also high - income earners and also similarly for the lower social class and low income earners .
most of the respondents with high level of education - post - graduate ( 75.61% ) and tertiary ( 63.33% ) levels - were also of the upper social class , while most ( 91.43% ) of the respondents with secondary level of education were of the lower social class .
the perception of health amongst port harcourt residents showed no statistically significant difference ( p>0.05 ) between the upper and lower socio - economic classes . most [ 193 ( 94.61% ) ] of the respondents think that some people are healthier than others ; both compared socio - economic class groups agreed that people with educational level of tertiary and above as well as high income earners have better health .
other factors thought to account for better health include having adequate knowledge on health issues ( 22.41% ) , eating good and balanced diet ( 20.69% ) , having regular medical check - ups ( 19.83% ) , having resources to take care of one s self ( 17.29% ) , etc .
the means of maintaining a state of wellness as perceived by the respondents were to have regular medical check - ups ( 42.17% ) , treat any disease immediately ( 17.77% ) , stay updated on recent and emerging health issues ( 16.57% ) , etc .
actions taken by port harcourt residents when ill include : seeking for help from any available source ( 76.58% ) , take a rest alone or seek for health - help also ( 11.26% ) , seek for advice from friends and relatives ( 3.15% ) , etc .
the knowledge of the respondents of some common health conditions were tested , using a scoring system with scores from 0 - 16 .
the average knowledge score of all the respondents was 11.3734.649 . the upper and lower social classed respondents had an average score of 12.8614.532 and 10.6154.313 respectively .
the scores for the high and low - income earners were 12.5354.730 and 10.8953.953 respectively .
most ( 81.86% ) of the respondents knew more than 8 of the 16 common health conditions tested .
no statistically significant differences ( p>0.05 ) were noticed amongst the upper and lower social class groups as well as the high and low income earners as regards their perceived uses of health facilities and the determinants of health facility usage and preference . concerning the perceived uses of health facilities ,
the respondents think that it s a place to get treatment ( 34.84% ) , medical enlightenment ( 25.50% ) , medical check - up ( 23.80% ) , a place to find out illnesses affecting someone ( 15.30% ) and others ( 0.57% ) .
the reasons for use of health facility by the respondents include , for treatment of illness ( 37.98% ) , regular check - ups ( 21.36% ) , diagnosis of illness ( 16.02% ) , to learn of medical issues ( 13.06% ) , if i think i am ill ( 10.98% ) and others ( 0.59% ) . preference for health facility by the respondents had reasons ranging from good treatment outcome ( 31.88% ) , ease of access ( 21.56% ) , nice / kind staff ( 16.25% ) , affordability ( 15.23% ) , proximity ( 10.94% ) and others ( 3.75% ) .
the preferred health facility for upper and lower social class groups showed no significant difference ( p>0.05 ) , this was not the case for the high and low - income earners who showed differences ( p<0.05 ) .
the used health facility showed statistically significant difference ( p<0.05 ) amongst the compared social class and income earner groups , this is presented in table 5 .
the commonly used health - care giver and that used when last ill by port harcourt city residents showed statistically significant ( p<0.05 ) differences across the social class and income earner groups .
the reasons for selection of health - care giver also differed significantly ( p<0.05 ) between the social class and income earner groups ; the values are as presented in table 6 .
the determinants of the selection of healthcare giver used showed statistically significant ( p<0.05 ) differences between the social class and income earner groups .
the upper socio - economic class had competence and previous good treatment outcomes as the major determinants for selection of health care giver ; this was not the case for the lower socio - economic class for whom previous good treatment outcome was the most significant factor , this is as shown in table 7 . concerning the effect of severity of illness on choice of health - care giver sought ; the upper socio - economic class sought after a doctor mostly ( 60.87% and 58.95% for upper social class and high income earners respectively ) in less serious illnesses and this trend continued even more for more serious illnesses ( 88.89% and 93.81% for upper social class and high income earners respectively ) ; this was not in accord with the findings for the lower socio - economic class , it is presented in table 8 .
most port harcourt city residents think that all peoples are not equally healthy ; they accepted educational level of at least tertiary and high income earnings as determinants of healthiness ; this was in keeping with gupta s findings ( high educational status and high income earnings reduced the probability for falling sick ) , this finding however showed discord with malanyaon who reported that the health conditions of the rich and poor showed no difference . the educated are likely to procure preventive and curative health services more readily as they are able to seek and access health information ; in addition , they are in better positions to earn high .
although wealth may not have a direct bearing on the health status in isolation , it may however confer an increased ability to access health care as cost barriers may be lifted for such people .
other determinants of healthiness accepted - in order of magnitude of acceptance - include : adequate knowledge on health issues , proper dieting , regular medical check - ups , having resources to take care of self , etc . having regular medical check - ups , prompt treatment of diseases and updating health knowledge are accepted by port harcourt residents as major ways by which a state of wellness can be maintained .
the actions taken by port harcourt residents when ill include : seeking for health - help from available sources , resting , resting alongside seeking for health help , seeking for advice from the significant others , etc ; this is in keeping with the findings of peng et al . , who in beijing showed that when ill , most people would see a doctor or self - medicate .
when ill , most persons would generally take actions towards getting relief , the remedial choice would however vary in line with the other determining factors .
most of the residents had an above average knowledge of some common health conditions tested .
the port harcourt residents perception of the uses of health facilities includes : being a place to get treatment , medical enlightenment , medical check - ups , diagnostics etc .
these were similar to the actual reasons for their use , which were mainly ( in decreasing order of acceptance ) : for treatment of illness , medical check - up , diagnostics , medical enlightenment etc .
these may have accounted for the difference in health facility used by the upper and lower socio - economic classes : the upper used mostly government and private hospitals and clinics , this is in keeping with gupta s finding that the high income earners used government health facilities more than the low income earners ; this also showed congruence with case et al . where most of the adults who used a public clinic also saw a private doctor
the upper classed reside in areas with adequate distribution of health facilities ( especially government and private hospitals and clinics ) , in addition , their high earnings would boost their choosing power for health facilities irrespective of location and cost .
the lower class in addition to use of government and private hospitals and clinics also significantly used health centres and un - orthodox health facilities , being congruent with the report of borah et al .
that showed the use of public and un - orthodox health facilities by rural community dwellers ; the health facility choices here are for reasons ranging from cost and proximity to the local acceptance of the facilities , this is so as within the lower class residential areas , low expenditure setups are rampant to meet with the needs of these persons ; the local primary health care facilities would also have some patronage as well .
the reasons for preference of health facility by port harcourt residents were similar for the upper and lower socio - economic classes , they include : good treatment outcome , easy access , nice / kind staff , affordability , proximity etc ; this was in accord with the report of nonye et al .
that showed that confidence of cure at place of treatment was the most important determinant of preference for any health facility .
puwar however reported than the most important factors in the use of public health facilities are free or inexpensive treatment , while private health facility use is mainly determined by its accessibility and good reputation .
people are generally tilted towards having more benefit for their money and are thus expected to be willing to pay less for services rendered especially in economic poor settings where cost can be a significant factor affecting choice of health facility ; however , in the presence of abundant resources , service quality is expected to top the list of the reasons for choosing a facility . concerning the preferred health facility by port harcourt residents , the upper and lower social classes were similar ; this was not the case for the high and low income earners who had different preferences ; albeit , they prefer the government and private hospitals and clinics ( government was more preferred than the private ) to other health facilities , just like the upper and lower social classes . this was congruent with malanyaon s findings in the philippines .
the choice of government over private facilities is especially because of the government s health subsidy packages that tend to even out the social class barrier here .
the medical doctor is the health - care giver of choice for the upper socio - economic classed port harcourt residents ; the lower socio - economic classed residents would mostly see a doctor but , more significantly see a pharmacist and also a nurse ; this finding mirrored those in a report from ibarapa local government area in nigeria , where the traders studied mostly see a patent drug seller , it was also in keeping with findings from rural populations in bangladesh as well as the findings by case et al . in northern kwazulu - natal where almost all the adults would see a western medical provider .
the major determinants of selection of health - care giver by the upper socio - economic class were competence and previous good treatment outcomes ; the lower class had good treatment outcomes as their major determinant .
the doctor is expected to standout as the most sort after health care provider , however the factors like overall time spent for consultation with a doctor in relation to self - medicating or seeking health - help from various lower cadre health personnel , to proximity and thus cost implications , may deter people from seeing a doctor at all times , especially if they get relief from the symptoms .
increasing severity of illness altered the choice of healthcare giver seen by the lower socio - economic class ( they stepped to health care givers of higher competence with increasing severity of illness ) , this was not the case for the upper socio - economic class ; they mostly remained fixed to their health care giver , likely because most of them saw a medical doctor as their health - care giver ; malanyaon also reported a similar finding indicating a change in health - care giver sought based on varying severity of illness .
treatment failure and or persistence of symptoms following remedial actions are expected to drive the health seeker to try to access the most competent health - care giver , under these circumstances , trivialities of proximity , cost , etc , are set aside as the survival of the patient becomes paramount .
the highly educated and rich are expected to have a better health status than their contemporaries ; and the role of having adequate health knowledge , proper dieting , regular medical check - ups , having resources to take care of self and so on in the acquisition of a good health status by an individual can not be overemphasized . hence , particular attention should be paid to enlightening the masses on this .
most people when ill would definitely seek for health - help , as would port harcourt residents .
most commonly , they would present to either a public or private hospital or clinic ; especially on account of previous good treatment outcome , but also for the accessibility , staff behaviour , affordability and proximity etc .
it is thus incumbent on the health personnel to enhance the quality of health services provided , while the government ( being the health policy makers ) should place importance on the quality control and assurance of the health services rendered by the health facilities .
the expected roles of health facilities such as medical enlightenment , diagnostics and therapeutics should be appropriately distributed to all levels of health care , thus making the erstwhile un - orthodox health facilities to be competitively less relevant to the healthcare seeker , especially the lower socio - economic class who may not have all it takes ( knowledge and finances ) to seek for optimally acceptable health care .
the fact that most people would see a doctor is good to know ; the significant percentage that would see a nurse or pharmacist as health - care giver is worrisome , this only buttresses the need for enlightenment of the populace on the roles of the varying cadres of health - care givers .
the health - care giver seen is determined largely by competence , previous treatment outcomes and severity of illness .
the upper socio - economic class has better health - seeking behaviours than the lower as evidenced by their use of more competent health caregivers and better choice of health facilities .
the residents of the metropolitan town of port harcourt in rivers state of nigeria were chosen for this study , which used a descriptive cross - sectional study design .
the study used a multi - staged sampling technique ; the first stage being by stratified sampling using socio - economic class as the stratification criteria , creating strata within port harcourt ; the residents of the old government residential area for upper socio - economic class , while the residents of azuabie town and marine - base area for the lower socio - economic class .
the social and economic classifications used for the study are presented in tables 2 and 3 . the upper social class and the high - income earners
were grouped as upper socio - economic class and like manner for the middle and lower socio - economic classes .
the second stage was by clustered sampling technique ; the upper class stratum ( old g.r.a . ) was grouped into 4 clusters based on the preexisting streets and road network from which one was taken ( abana , ernest ikoli and william jumbo streets ) , the lower class stratum ( azuabie town and marine base area ) was also grouped into clusters from which the estate area ( california , government , fishermen s and blackman estates ) was taken from the marine base area and the azuabie town centre from the azuabie town .
this was followed by the use of a team of investigators and local contacts to carry out a structured questionnaire survey that occurred between january and march 2011 .
the exclusion criteria for this study included people younger than 14 years , students , and residents with duration of residency less than six months prior to the study as well as members of the middle socio - economic class .
a total of 204 respondents were utilized of the initial 240 questionnaires sent out ; this gave a response rate of about 85% .
the five - sectioned questionnaires used had sections for bio - data , concept of health , illness and health facility as well as information on health - care givers .
the questions were partly generated following literature search and partly from the investigators ; the initial questionnaire developed was pre - tested using 24 respondents ( comprised of student and non - student residents of the environs of the university of port harcourt ) , which were 10% of the sample size for the study .
after the pretesting , options for the remaining open - ended questions but one were generated ( appendix ) .
2007 ( microsoft corp . , redmond , wa , usa ) for generation of tables and charts as well as calculation of proportions and standard deviations that were used to test for difference of proportions using the z - test for difference of proportions according to lwanga et al .
the study had limitations that were especially the short duration of the study period which limited the possible expansion of the sample size .
the 204 residents used showed a sex distribution that revealed that 131 ( 64.22% ) of the respondents were males , as against 73 ( 35.78% ) that were females .
the social class distribution had values as 83 ( 40.69% ) , 28 ( 13.73% ) and 93 ( 45.58% ) for upper , middle and lower social classes respectively .
the income earnings grouping based on average monthly earnings returned values as 102 ( 50.00% ) , 12 ( 5.88% ) and 90 ( 44.12% ) for high , middle and low income earners respectively .
table 4 shows that most ( 65.69% ) of the upper social classed residents were also high - income earners and also similarly for the lower social class and low income earners .
most of the respondents with high level of education - post - graduate ( 75.61% ) and tertiary ( 63.33% ) levels - were also of the upper social class , while most ( 91.43% ) of the respondents with secondary level of education were of the lower social class .
the perception of health amongst port harcourt residents showed no statistically significant difference ( p>0.05 ) between the upper and lower socio - economic classes .
most [ 193 ( 94.61% ) ] of the respondents think that some people are healthier than others ; both compared socio - economic class groups agreed that people with educational level of tertiary and above as well as high income earners have better health .
other factors thought to account for better health include having adequate knowledge on health issues ( 22.41% ) , eating good and balanced diet ( 20.69% ) , having regular medical check - ups ( 19.83% ) , having resources to take care of one s self ( 17.29% ) , etc .
the means of maintaining a state of wellness as perceived by the respondents were to have regular medical check - ups ( 42.17% ) , treat any disease immediately ( 17.77% ) , stay updated on recent and emerging health issues ( 16.57% ) , etc .
actions taken by port harcourt residents when ill include : seeking for help from any available source ( 76.58% ) , take a rest alone or seek for health - help also ( 11.26% ) , seek for advice from friends and relatives ( 3.15% ) , etc .
the knowledge of the respondents of some common health conditions were tested , using a scoring system with scores from 0 - 16 .
the upper and lower social classed respondents had an average score of 12.8614.532 and 10.6154.313 respectively .
the scores for the high and low - income earners were 12.5354.730 and 10.8953.953 respectively .
most ( 81.86% ) of the respondents knew more than 8 of the 16 common health conditions tested .
no statistically significant differences ( p>0.05 ) were noticed amongst the upper and lower social class groups as well as the high and low income earners as regards their perceived uses of health facilities and the determinants of health facility usage and preference . concerning the perceived uses of health facilities ,
the respondents think that it s a place to get treatment ( 34.84% ) , medical enlightenment ( 25.50% ) , medical check - up ( 23.80% ) , a place to find out illnesses affecting someone ( 15.30% ) and others ( 0.57% ) .
the reasons for use of health facility by the respondents include , for treatment of illness ( 37.98% ) , regular check - ups ( 21.36% ) , diagnosis of illness ( 16.02% ) , to learn of medical issues ( 13.06% ) , if i think i am ill ( 10.98% ) and others ( 0.59% ) .
preference for health facility by the respondents had reasons ranging from good treatment outcome ( 31.88% ) , ease of access ( 21.56% ) , nice / kind staff ( 16.25% ) , affordability ( 15.23% ) , proximity ( 10.94% ) and others ( 3.75% ) . the preferred health facility for upper and lower social class groups showed no significant difference ( p>0.05 ) , this was not the case for the high and low - income earners who showed differences ( p<0.05 ) .
the used health facility showed statistically significant difference ( p<0.05 ) amongst the compared social class and income earner groups , this is presented in table 5 .
the commonly used health - care giver and that used when last ill by port harcourt city residents showed statistically significant ( p<0.05 ) differences across the social class and income earner groups .
the reasons for selection of health - care giver also differed significantly ( p<0.05 ) between the social class and income earner groups ; the values are as presented in table 6 .
the determinants of the selection of healthcare giver used showed statistically significant ( p<0.05 ) differences between the social class and income earner groups .
the upper socio - economic class had competence and previous good treatment outcomes as the major determinants for selection of health care giver ; this was not the case for the lower socio - economic class for whom previous good treatment outcome was the most significant factor , this is as shown in table 7 .
concerning the effect of severity of illness on choice of health - care giver sought ; the upper socio - economic class sought after a doctor mostly ( 60.87% and 58.95% for upper social class and high income earners respectively ) in less serious illnesses and this trend continued even more for more serious illnesses ( 88.89% and 93.81% for upper social class and high income earners respectively ) ; this was not in accord with the findings for the lower socio - economic class , it is presented in table 8 .
most port harcourt city residents think that all peoples are not equally healthy ; they accepted educational level of at least tertiary and high income earnings as determinants of healthiness ; this was in keeping with gupta s findings ( high educational status and high income earnings reduced the probability for falling sick ) , this finding however showed discord with malanyaon who reported that the health conditions of the rich and poor showed no difference .
the educated are likely to procure preventive and curative health services more readily as they are able to seek and access health information ; in addition , they are in better positions to earn high .
although wealth may not have a direct bearing on the health status in isolation , it may however confer an increased ability to access health care as cost barriers may be lifted for such people .
other determinants of healthiness accepted - in order of magnitude of acceptance - include : adequate knowledge on health issues , proper dieting , regular medical check - ups , having resources to take care of self , etc . having regular medical check - ups , prompt treatment of diseases and updating health knowledge are accepted by port harcourt residents as major ways by which a state of wellness can be maintained .
the actions taken by port harcourt residents when ill include : seeking for health - help from available sources , resting , resting alongside seeking for health help , seeking for advice from the significant others , etc ; this is in keeping with the findings of peng et al . , who in beijing showed that when ill , most people would see a doctor or self - medicate .
when ill , most persons would generally take actions towards getting relief , the remedial choice would however vary in line with the other determining factors .
most of the residents had an above average knowledge of some common health conditions tested .
the port harcourt residents perception of the uses of health facilities includes : being a place to get treatment , medical enlightenment , medical check - ups , diagnostics etc .
these were similar to the actual reasons for their use , which were mainly ( in decreasing order of acceptance ) : for treatment of illness , medical check - up , diagnostics , medical enlightenment etc .
these may have accounted for the difference in health facility used by the upper and lower socio - economic classes : the upper used mostly government and private hospitals and clinics , this is in keeping with gupta s finding that the high income earners used government health facilities more than the low income earners ; this also showed congruence with case et al . where most of the adults who used a public clinic also saw a private doctor .
the upper classed reside in areas with adequate distribution of health facilities ( especially government and private hospitals and clinics ) , in addition , their high earnings would boost their choosing power for health facilities irrespective of location and cost .
the lower class in addition to use of government and private hospitals and clinics also significantly used health centres and un - orthodox health facilities , being congruent with the report of borah et al .
that showed the use of public and un - orthodox health facilities by rural community dwellers ; the health facility choices here are for reasons ranging from cost and proximity to the local acceptance of the facilities , this is so as within the lower class residential areas , low expenditure setups are rampant to meet with the needs of these persons ; the local primary health care facilities would also have some patronage as well .
the reasons for preference of health facility by port harcourt residents were similar for the upper and lower socio - economic classes , they include : good treatment outcome , easy access , nice / kind staff , affordability , proximity etc ; this was in accord with the report of nonye et al .
that showed that confidence of cure at place of treatment was the most important determinant of preference for any health facility .
puwar however reported than the most important factors in the use of public health facilities are free or inexpensive treatment , while private health facility use is mainly determined by its accessibility and good reputation .
people are generally tilted towards having more benefit for their money and are thus expected to be willing to pay less for services rendered especially in economic poor settings where cost can be a significant factor affecting choice of health facility ; however , in the presence of abundant resources , service quality is expected to top the list of the reasons for choosing a facility . concerning the preferred health facility by port harcourt residents , the upper and lower social classes were similar ; this was not the case for the high and low income earners who had different preferences ; albeit , they prefer the government and private hospitals and clinics ( government was more preferred than the private ) to other health facilities , just like the upper and lower social classes .
the choice of government over private facilities is especially because of the government s health subsidy packages that tend to even out the social class barrier here .
the medical doctor is the health - care giver of choice for the upper socio - economic classed port harcourt residents ; the lower socio - economic classed residents would mostly see a doctor but , more significantly see a pharmacist and also a nurse ; this finding mirrored those in a report from ibarapa local government area in nigeria , where the traders studied mostly see a patent drug seller , it was also in keeping with findings from rural populations in bangladesh as well as the findings by case et al . in northern kwazulu - natal where almost all the adults would see a western medical provider .
the major determinants of selection of health - care giver by the upper socio - economic class were competence and previous good treatment outcomes ; the lower class had good treatment outcomes as their major determinant .
the doctor is expected to standout as the most sort after health care provider , however the factors like overall time spent for consultation with a doctor in relation to self - medicating or seeking health - help from various lower cadre health personnel , to proximity and thus cost implications , may deter people from seeing a doctor at all times , especially if they get relief from the symptoms .
increasing severity of illness altered the choice of healthcare giver seen by the lower socio - economic class ( they stepped to health care givers of higher competence with increasing severity of illness ) , this was not the case for the upper socio - economic class ; they mostly remained fixed to their health care giver , likely because most of them saw a medical doctor as their health - care giver ; malanyaon also reported a similar finding indicating a change in health - care giver sought based on varying severity of illness .
treatment failure and or persistence of symptoms following remedial actions are expected to drive the health seeker to try to access the most competent health - care giver , under these circumstances , trivialities of proximity , cost , etc , are set aside as the survival of the patient becomes paramount .
the highly educated and rich are expected to have a better health status than their contemporaries ; and the role of having adequate health knowledge , proper dieting , regular medical check - ups , having resources to take care of self and so on in the acquisition of a good health status by an individual can not be overemphasized . hence , particular attention should be paid to enlightening the masses on this .
most people when ill would definitely seek for health - help , as would port harcourt residents .
most commonly , they would present to either a public or private hospital or clinic ; especially on account of previous good treatment outcome , but also for the accessibility , staff behaviour , affordability and proximity etc .
it is thus incumbent on the health personnel to enhance the quality of health services provided , while the government ( being the health policy makers ) should place importance on the quality control and assurance of the health services rendered by the health facilities .
the expected roles of health facilities such as medical enlightenment , diagnostics and therapeutics should be appropriately distributed to all levels of health care , thus making the erstwhile un - orthodox health facilities to be competitively less relevant to the healthcare seeker , especially the lower socio - economic class who may not have all it takes ( knowledge and finances ) to seek for optimally acceptable health care .
the fact that most people would see a doctor is good to know ; the significant percentage that would see a nurse or pharmacist as health - care giver is worrisome , this only buttresses the need for enlightenment of the populace on the roles of the varying cadres of health - care givers .
the health - care giver seen is determined largely by competence , previous treatment outcomes and severity of illness .
the upper socio - economic class has better health - seeking behaviours than the lower as evidenced by their use of more competent health caregivers and better choice of health facilities . | pubmed |
American Airlines upgrades their website over the weekend.
Friday I received an email from American announcing their plans to launch a new look to aa.com. They went live last night just after midnight central time.
Next week, when you log on to AA.com, you will see your suggestions reflected in a major redesign that makes your favorite AA.com features more intuitive, smarter and easier to navigate.
The new AA.com is just the latest in a long list of milestones we have achieved over the past 15 years aimed at improving your online experience.
To see how far they've come, take a look at the original aa.com from 1998.
They left functionality in place and didn't add anything new features. If you're familiar with the way the old site worked, you'll feel right at home with the new look: it's mostly a visual refresh of the site, with less clutter, a larger typeface, and an emphasis on the sections that visitors use most.
I've been in the web design business for a long time, the company I work for does websites for Fortune 100 companies. In my experience, one of the biggest challenges with changing a site is that it forces long time users to relearn how to use the site.
Usually when a design team redesigns a site there's the temptation to radically change functionality just because you can, and the decision to leave familiar functions in place takes some courage. When a company decides to redo a site, they'll bring in mangers, designers, consultants, business analysts, engineers, and programmers, and it's human nature to feel that in order to justify your budget and efforts, you have to make some radical changes in order prove you're making progress. You won't believe how difficult it can be to defend the decision to leave well enough alone when working on a redesign project and it can be very difficult to explain to a company's executive team that you've spent all this time and money and that the best solution is to do the least. I applaud them for upgrading the look of the site without degrading ease of use.
My only criticism is that they didn't bring back the flexible search feature, I wish they'd bring it back. Take a look at this video tour of the new aa.com and let me know what you think. | slim_pajama |
C&C Group has hit out at "discriminatory" behaviour from Polish authorities, who forced it to remove advertising for cider brand Magners from Celtic football team shirts for a Champions League match against Legia Warsaw last night.
The drinks group was, however, able to feature its lager brand Tennent's on team shirts instead, thanks to a loophole in Polish anti-alcohol advertising regulations that permits the promotion of beer brands.
However, C&C has expressed concern that the prohibition on cider advertising represents an "illegitimate and disproportionate barrier to the free movement of goods within the EU".
Paul Condron, group marketing director at Magners, expressed his frustration at the rules, claiming: "Polish national advertising rules that allow beers to be promoted in and around Polish stadia and on TV while banning the Magners branding from the Celtic kit are clearly discriminatory.
Calling for the two products to be given equal treatment, he argued: "Cider has a similar alcoholic content to beer, it is packaged and drunk in a similar way and is the most comparable alcoholic drink to beer that there is. We can see no rational or persuasive reason for cider to be treated differently from beer, other than to protect the interests of local beer brands. | slim_pajama |
this paper is devoted to propagation of singularities in linear hyperbolic partial differential equations with non - smooth coefficients in the framework of the colombeau theory of generalized functions @xcite .
such equations involve a nonlinear interaction of coefficient singularities with those in the solution which emanate from the initial data . in the past years
, this problem has been investigated intensively in a series of papers , in which the coefficients and the solution have been viewed as elements of the colombeau algebra of generalized function .
so far , microlocal elliptic regularity is well understood for general equations and systems in this framework @xcite .
further , generalized fourier integral operators have been introduced in order to describe the wave front set of generalized solutions @xcite .
these methods have allowed to describe the propagation of singularities in scalar first order hyperbolic equations with generalized function coefficients @xcite . as a new phenomenon
, the colombeau wave front set has been shown to possess a more refined structure than the corresponding distributional wave front set @xcite . for a survey of these methods and relations to various classical approaches
we refer to @xcite . in the special situation of hyperbolic equations and systems with piecewise constant coefficients ( with possibly jumps across smooth hypersurfaces ) ,
the problem may be interpreted as a transmission problem and can be solved classically by a piecewise distributional solution . in case of systems or higher order equations , an incoming singularity will split at the interface into a refracted and a reflected wave . while in many cases it has been shown that the colombeau solution is associated with the distributional solution of the transmission problem @xcite , the task of identifying the refracted and reflected singularity by means of the colombeau wave front set directly in the generalized solution without considering the associated distribution has remained open . the purpose of this paper is to demonstrate in a simple model problem that the splitting of singularities at an interface can indeed be observed in the colombeau solution . at the same time
, the effect depends on the interplay of the scale of regularization of coefficients and data .
we consider the cauchy problem for the one - dimensional wave equation with a discontinuous coefficient depending on time @xmath0 we will seek solutions in the colombeau algebra @xmath1 of generalized functions , which will be defined in section @xmath2 below .
the colombeau algebras are constructed as factor algebras of nets of smooth functions , depending on a regularization parameter .
they are differential algebras ; the space of distributions can be imbedded as a subspace using regularization by convolution with a friedrichs mollifier .
the initial data as well as the coefficient will be taken from the algebra @xmath3 , which contains the space @xmath4 of distributions . as a model situation
, we consider the case when @xmath5 , @xmath6 and @xmath7 , where @xmath8 , @xmath9 , @xmath10 is the heaviside function and @xmath11 is the delta function .
the singularity of the initial data propagates from the origin in the two characteristic directions until it hits the coefficient discontinuity at time @xmath12 . as the coefficient has a discontinuity in time
, the singular support is expected to split at time @xmath12 into a transmitted and a refracted part . in the classical setting
, the piecewise distributional solution exhibits this splitting
. we will demonstrate the occurrence of the splitting effect in the colombeau setting as well , using the generalized singular support .
however , in the colombeau setting the effect depends on the scale in terms of the regularization parameter .
if the initial data and the coefficient are regularized on the same scale , both the transmitted and the refracted ray will be shown to belong to the colombeau singular support .
if the coefficient is regularized by means of a slow scale mollifier , only the transmitted ray belongs to the colombeau singular support . in order to be able to observe this effect
, we have to prove a new existence result for the cauchy problem ( [ eqn : wave equation ] ) which does not restrict the choice of scale for the regularization of the coefficient .
the equation can be rewritten as a one - dimensional first - order hyperbolic system with discontinuous coefficients in the colombeau algebra of generalized functions .
this transformation will be used in the existence and regularity results .
we also demonstrate that the colombeau solution has the piecewise solution of the transmission problem as its associated distribution .
that is , the nets defining the colombeau solution converge to the piecewise distributional solution .
this latter argument relies on energy estimates .
the paper is organized as follows : we recall the definition and basic properties of the colombeau algebra @xmath13 in section @xmath2 . in section @xmath14 , we show that problem @xmath15 is uniquely solvable in the colombeau algebra @xmath16 without restriction on the scale of regularization of the coefficient ( theorem [ thm : existence and uniqueness ] ) .
the problem of propagation of singularities is addressed in section @xmath17 ( theorem [ thm : propagation1 ] ) .
the question whether the regularity of the coefficient affects that of the solution is discussed in section [ sec : 5 ] ( theorem [ thm : propagation2 ] ) . in section [ sec : 6 ] , we show that the colombeau generalized solutions to problem ( [ eqn : wave equation ] ) with arbitrary distributions as initial data admit the piecewise distributional solutions of the corresponding transmission problem as associated distributions ( theorem [ thm : associated distribution ] ) .
we will employ the _ special colombeau algebra _ denoted by @xmath18 in @xcite , which was called the _ simplified colombeau algebra _ in @xcite .
however , here we will simply use the letter @xmath19 instead .
let us briefly recall the definition and basic properties of the algebra @xmath19 of generalized functions . for more details , see @xcite .
let @xmath20 be a non - empty open subset of @xmath21 .
let @xmath22}$ ] be the differential algebra of all maps from the interval @xmath23 $ ] into @xmath24 .
thus each element of @xmath22}$ ] is a family @xmath25}$ ] of real valued smooth functions on @xmath20 .
the subalgebra @xmath26 is defined by all elements @xmath25}$ ] of @xmath22}$ ] with the property that , for all @xmath27 and @xmath28 , there exists @xmath29 such that @xmath30 the ideal @xmath31 is defined by all elements @xmath25}$ ] of @xmath22}$ ] with the property that , for all @xmath27 , @xmath28 and @xmath32 , @xmath33 _ the algebra _
@xmath34 _ of generalized functions _ is defined by the quotient space @xmath35 the colombeau algebra on a closed half space @xmath36 is constructed in a similar way .
we use capital letters for elements of @xmath19 to distinguish generalized functions from distributions and denote by @xmath25}$ ] a representative of @xmath37 . then for any @xmath38 , @xmath39 and @xmath28
, we can define the partial derivative @xmath40 to be the class of @xmath41}$ ] and the product @xmath42 to be the class of @xmath43}$ ] .
also , for any @xmath44 class of @xmath45 } \in { \ensuremath{{\mathcal g}}}([0,\infty)\times\mathbb{r})$ ] , we can define its restriction @xmath46 to the line @xmath47 to be the class of @xmath48}$ ] .
[ remark : imbedding ] the algebra @xmath34 contains the space @xmath49 of compactly supported distributions . in fact , the map @xmath50}\ ] ] defines an imbedding of @xmath49 into @xmath34 , where @xmath51 and @xmath52 is a fixed element of @xmath53 such that @xmath54 and @xmath55 for any @xmath28 , @xmath56 .
this can be extended in a unique way to an imbedding of the space @xmath57 of distributions . moreover , this imbedding turns @xmath24 into a subalgebra of @xmath34 .
a generalized function @xmath58 is said to be _ associated with a distribution _ @xmath59 if it has a representative @xmath25 } \in { \ensuremath{{\mathcal e}_{m}}}(\omega)$ ] such that @xmath60 we write @xmath61 and call @xmath62 the _ associated distribution _ of @xmath38 provided @xmath38 is associated with @xmath62 .
regularity theory for linear equations has been based on the subalgebra @xmath63 of _ regular generalized functions _ in @xmath34 introduced in @xcite .
it is defined by all elements which have a representative @xmath25}$ ] with the property that , for all @xmath27 , there exists @xmath29 such that , for all @xmath28 , @xmath64 we observe that all derivatives of @xmath65 have locally the same order of growth in @xmath66 , unlike elements of @xmath26 .
this subalgebra @xmath63 has the property @xmath67 , see ( * ? ? ?
* theorem 25.2 ) .
hence , for the purpose of describing the regularity of generalized functions , @xmath63 plays the same role for @xmath34 as @xmath24 does in the setting of distributions . the @xmath68-singular support ( denoted by @xmath69 ) of a generalized function
is defined as the complement of the largest open set on which the generalized function is regular in the above sense .
we end this section by recalling the notion of _ slow scale nets_. a net @xmath70}$ ] is called a slow scale net if @xmath71 for every @xmath29 .
a _ positive slow scale net _ is a slow scale net @xmath70}$ ] such that @xmath72 for all @xmath73 $ ] .
we refer to @xcite for a detailed discussion of slow scale nets .
[ ex : delta ] let @xmath74 be a fixed element of @xmath75 such that @xmath74 is symmetric , @xmath76 on @xmath77 $ ] , supp@xmath78 $ ] and @xmath79 . put @xmath80 .
then @xmath81 defined by the class of @xmath82}$ ] is associated with the delta function @xmath11 , and @xmath83 . on the other hand ,
if @xmath81 is defined as the class of @xmath84}$ ] , where @xmath85}$ ] is a positive slow scale net , then it is associated with the delta function again , but @xmath86 .
more generally , for any distribution @xmath87 , there exists a generalized function @xmath88 which is associated with @xmath89 , see e.g. @xcite .
thus , any distribution on @xmath20 can be interpreted as an element of @xmath63 in the sense of association .
we rewrite problem @xmath15 in the form @xmath90 in the space of generalized functions , where @xmath91 is an element of @xmath92 . in the colombeau
setting , existence and uniqueness follows , for example , from results in @xcite , provided the coefficient @xmath91 is of logarithmic type , i.e. , satisfies bounds of type @xmath93 in ( [ eqn : moderate ] ) . when the coefficient depends on time only ,
this hypothesis is not required , as we are going to show in the following existence and uniqueness theorem for problem @xmath94 .
[ thm : existence and uniqueness ] assume that @xmath95 has a representative @xmath96}$ ] independent of @xmath97 and satisfying the following two conditions : * there exist two constants @xmath98 , @xmath99 such that , for any @xmath73 $ ] and @xmath100 , @xmath101 * for any @xmath73 $ ] , @xmath102 then for any initial data @xmath103 , @xmath104 , problem @xmath94 has a unique solution @xmath105 . put @xmath106 and @xmath107 .
then problem @xmath94 can be rewritten as the cauchy problem for a first - order hyperbolic system @xmath108 ( \partial_t - c\partial_x)w & = & mw - mv & & \mbox{in}\ { \ensuremath{{\mathcal g}}}([0,\infty)\times\mathbb{r}),\\[2pt ] v|_{t=0}\ = \ v_0 & = & u_1 - ( c|_{t=0})u_0^{\prime } , & & \mbox{in}\ { \ensuremath{{\mathcal g}}}(\mathbb{r}),\\[2pt ] w|_{t=0}\ = \ w_0&=&u_1 + ( c|_{t=0})u_0^{\prime } & & \mbox{in}\ { \ensuremath{{\mathcal g}}}(\mathbb{r } ) , \end{array}\ ] ] where @xmath109 .
if problem @xmath110 has a unique solution @xmath111 , then so does problem @xmath94 . to prove the existence of a solution @xmath111 , let @xmath112 be the unique @xmath113-solution to the cauchy problem @xmath114 ( \partial_t - c^{\varepsilon}(t)\partial_x)w^{\varepsilon } & = & \mu^{\varepsilon}(t)w^{\varepsilon}-\mu^{\varepsilon}(t)v^{\varepsilon } , & & t > 0,\ x \in
\mathbb{r},\\[2pt ] v^{\varepsilon}|_{t = 0}\ = \ v_0^{\varepsilon } & = & u_{1}^{\varepsilon } - c^{\varepsilon}(0)(u_0^{\varepsilon})^{\prime } , & & x \in \mathbb{r},\\[2pt ] w^{\varepsilon}|_{t = 0}\ = \ w_0^{\varepsilon } & = & u_{1}^{\varepsilon } + c^{\varepsilon}(0)(u_0^{\varepsilon})^{\prime } , & & x \in \mathbb{r } , \end{array}\ ] ] where @xmath115}$ ] , @xmath116}$ ] , @xmath117}$ ] and @xmath118}$ ] are representatives of @xmath103 , @xmath119 , @xmath91 and @xmath120 , respectively , such that @xmath121 is as in the statement and @xmath122 . for the existence of such @xmath112 , see @xcite .
if we show that @xmath123}$ ] and @xmath124}$ ] belong to @xmath125 , their equivalence classes in @xmath92 will form a solution of problem @xmath110 . to show that the zeroth derivatives of @xmath126 and @xmath127 satisfy estimate @xmath128 ,
consider the characteristic curves @xmath129 and @xmath130 passing through @xmath131 at time @xmath132 which satisfy @xmath133 along these characteristic curves , @xmath126 and @xmath127 are respectively calculated as @xmath134 for each @xmath135 , we define @xmath136 as the trapezoidal region with corners @xmath137 , @xmath138 , @xmath139 , @xmath140 . using @xmath141 and @xmath142 , we see that @xmath143 we add these two inequalities and apply gronwall s inequality to get @xmath144 on the right - hand side , the terms involving @xmath145 and @xmath146 are of order @xmath147 for some @xmath29 .
the exponential term is uniformly bounded in @xmath148 by the condition ( ii ) on @xmath121 . hence
, the zeroth derivatives of @xmath126 and @xmath127 satisfy estimate @xmath128 on @xmath136 .
we can obtain analogous estimates for all derivatives of @xmath126 and @xmath127 by differentiating the equations and using the same argument .
thus , @xmath123}$ ] and @xmath124}$ ] belong to @xmath125 . for the proof of uniqueness , we only need to obtain the zero - order estimates ( by lemma 1.2.3 in @xcite ) , which follow along the same line as above .
we remark that condition ( ii ) in theorem [ thm : existence and uniqueness ] can be weakened to the requirement that @xmath149 as @xmath150 for some @xmath29 .
in this section we study the phenomenon of propagation of singularities in the generalized solution to problem @xmath15 with @xmath5 , @xmath151 and @xmath7 , where @xmath8 , @xmath9 , @xmath10 is the heaviside function and @xmath11 is the delta function . let us begin by regularizing the coefficient and initial data .
let @xmath74 be as in example [ ex : delta ] and put @xmath152 then @xmath153 in @xmath154 as @xmath150 , and the family @xmath117}$ ] belongs to @xmath125 .
we define @xmath155 as the class of @xmath117}$ ] .
. we also define @xmath157 and @xmath104 as the class of @xmath82}$ ] , where @xmath74 again is a mollifier as in example [ ex : delta ] .
( actually , the mollifier need not be the same as the one chosen for the regularization of the coefficient @xmath158 . )
thus we interpret problem @xmath15 with @xmath5 , @xmath151 and @xmath7 as problem @xmath94 with @xmath91 , @xmath103 and @xmath119 defined above . the existence and uniqueness of a generalized solution
is then ensured by theorem [ thm : existence and uniqueness ] . as may be seen from the following theorem ,
the splitting of the singularities occurs at points of discontinuity of the coefficient ( see figure [ fig : singular support1 of u ] ) .
-singular support of the solution @xmath38 ] [ thm : propagation1 ] let @xmath91 , @xmath103 and @xmath119 be as above and let @xmath105 be the solution to problem @xmath94 .
then it holds that @xmath160 & \!\!\!\!\cup \left\{(t , x ) \mid x = \pm\left(2\int_0 ^ 1 c(s)\,ds-\int_0^t c(s)\,ds\right),\ t \ge 1\right\}. \end{array } \label{eqn : singular support of u}\ ] ] for the sake of presentation , we first assume that @xmath161 . to show that assertion @xmath162 holds , we first calculate the @xmath68-singular support of the solution @xmath111 to problem @xmath110 with @xmath163 and @xmath164 . as may be seen from the proof of theorem [ thm : existence and uniqueness ] , the solution @xmath111 has a representative @xmath165}$ ] , which satisfies the integral equations @xmath141 with @xmath166 and @xmath142 with @xmath167 : @xmath168 where @xmath169 the solution @xmath112 is obtained by iteration , see @xcite . from this , we can check that @xmath170 and @xmath171 for @xmath100 and @xmath172 . using this fact
, we get @xmath173 * step 1*. we first prove that @xmath174 it is easy to check that @xmath175 vanishes off @xmath176 and thus is @xmath68-regular there
. we will show first that @xmath176 is contained in @xmath177 .
fix @xmath178 arbitrarily , and consider @xmath179 by inequality @xmath180 , we have @xmath181 . noting that @xmath182 for @xmath183
, we get @xmath184 .
furthermore , @xmath185 .
hence , we see that @xmath186 .
the mean value theorem shows that there exists @xmath187 such that @xmath188 repeat this process to find that for any @xmath189 there exists @xmath190 such that @xmath191 since @xmath192 as @xmath150 , assertion @xmath193 holds .
+ * step 2*. we next prove that @xmath194
the proof is similar .
we can easily check that @xmath195 equals @xmath196 outside @xmath197 and thus is @xmath68-regular there .
we will show below that @xmath198 @xmath199 .
fix @xmath200 arbitrarily .
let @xmath201 , and consider @xmath202 we see that , for @xmath203 , @xmath204 using this , inequality @xmath205 and supp@xmath206 $ ] , we get @xmath207 choose @xmath208 so that @xmath209
. then , for @xmath210 , we have @xmath211 . using this and noting that @xmath76 on @xmath77 $ ] and the symmetry of @xmath74 , we find that @xmath212 for @xmath213 .
therefore , by inequality @xmath214 , we obtain @xmath215 where @xmath216 is independent of @xmath148 and greater than @xmath217 .
thus , we obtain @xmath218 we also see that , for @xmath203 , @xmath219 on which @xmath220 .
furthermore , by @xmath221 and @xmath222 , we have @xmath223 hence , @xmath224 . by the mean value theorem , there exists @xmath225 such that @xmath226 repeating this process gives that for any @xmath189 , there exists @xmath227 such that @xmath228 since @xmath229 as @xmath150 , assertion @xmath230 holds .
+ * step 3*. we finally prove that assertion @xmath162 holds . similarly to steps 1 and 2 , we can show that @xmath231 if @xmath232 and @xmath233 . by the definitions of @xmath234 and @xmath195 , the @xmath68-singular support of @xmath38
coincides with the union of @xmath193 , @xmath230 , @xmath235 and @xmath236 .
thus , assertion @xmath162 follows .
the case @xmath237 can be treated by the same arguments , using a change of sign in @xmath119 and invoking the linearity of the equation .
the proof of theorem [ thm : propagation1 ] is now complete .
we remark that assertion @xmath162 in theorem [ thm : propagation1 ] still holds when @xmath104 is given by the class of @xmath238}$ ] with @xmath239 , i.e. , @xmath119 is any power of the delta function .
we here discuss how the regularity of the coefficient @xmath91 affects that of the solution @xmath38 to problem @xmath94 .
as mentioned in example [ ex : delta ] , one may regularize the piecewise constant propagation speed @xmath5 in such a way that the corresponding element @xmath240 belongs to @xmath241 .
in fact , it suffices to use a mollifier @xmath242 , where @xmath243}$ ] is a positive slow scale net .
it has been shown in @xcite that a bounded element @xmath91 of @xmath244 belongs to @xmath241 if and only if all derivatives satisfy slow scale bounds . consider problem @xmath94 with @xmath157 and @xmath119 given by the class of @xmath82}$ ] as in theorem @xmath245 .
then as may be seen from the following theorem , the refracted rays @xmath246 \gamma_{+ } & = & \left\{(t , x ) \mid x = -2\int_0 ^ 1 c(s)\,ds + \int_0^t c(s)\,ds,\ t >
1\right\}\\ & = & \left\{(t , x ) \mid x = -c_0 + c_1(t-1),\ t > 1\right\}\end{aligned}\ ] ] do not belong to @xmath247 , if @xmath91 belongs to @xmath241 ( see figure [ fig : singular support2 of u ] ) .
-singular support of the solution @xmath38 with slow scale coefficient ] [ thm : propagation2 ] let @xmath91 , @xmath103 and @xmath119 be as above and let @xmath105 be the solution to problem @xmath94 .
if @xmath248 , then @xmath249 as can be seen from the proof of theorem [ thm : propagation1 ] , it suffices to consider problem @xmath110 when @xmath163 and @xmath164 : @xmath250 the same argument as in the proof of theorem [ thm : propagation1 ] shows that @xmath251 holds .
thus , it remains to show that @xmath195 is @xmath68-regular in a neighborhood of @xmath252 .
a simple calculation shows that the commutator of @xmath253 and @xmath254 is given by @xmath255 = 2c'(t){\ensuremath{\partial}}_x.\ ] ] using this commutator relation and the second line of system ( [ eq : system ] ) , we have @xmath256 from the first line of system ( [ eq : system ] ) , @xmath257 further , @xmath258 together with @xmath259 this leads to @xmath260 let @xmath136 be as in theorem [ thm : propagation1 ]
. then the representatives @xmath112 of @xmath111 are of order @xmath261 on @xmath136 for some @xmath262 .
further , @xmath120 and its derivatives are slow scale by assumption ; hence @xmath263 for some slow scale net @xmath264}$ ] . from integration along characteristics and gronwall s inequality as in the proof of theorem [ thm : existence and uniqueness ] , we get @xmath265 since @xmath266 is bounded by construction .
recursively we find that @xmath267 where @xmath268 depends linearly on @xmath234 , @xmath195 , @xmath269 and may contain derivatives of @xmath91 , @xmath120 and their products and powers .
the linearity of @xmath268 in the first variables and the slow scale property of @xmath270 and their derivatives yield by induction that @xmath271 for some slow scale net @xmath272}$ ] . for the remainder of the proof we may use the fact already shown in theorem [ thm : propagation1 ] that @xmath234 vanishes on @xmath252 ,
hence @xmath273 along @xmath252 .
again the higher order directional derivatives of @xmath195 in the direction @xmath274 can be estimated inductively and bounded by some slow scale net times @xmath261 .
similarly , all mixed derivatives @xmath275 can be estimated by reduction to previously computed terms . in conclusion ,
all derivatives of @xmath195 can be bounded by some slow scale net times @xmath261 , hence are of order @xmath276 .
thus @xmath195 is @xmath68 along @xmath252 .
we remark that the result can be generalized in various ways .
for example , the integral bound on @xmath277 can be replaced by the requirement that the net @xmath278 is slow scale .
the proof is expected to go through for arbitrary initial data @xmath119 whose @xmath68-singular support is @xmath279 .
we consider again the wave equation in one space dimension with propagation speed @xmath280 depending on time , i.e. , @xmath281 with initial conditions
@xmath282 if @xmath283 is piecewise constant , say @xmath5 , and @xmath284 , this problem has a unique solution @xmath285 thus the problem is interpreted as a transmission problem across a discontinuity at @xmath286 ; the transmission condition is that the solution should be a continuously differentiable function of time with values in @xmath287 .
it is simply obtained by solving the wave equation for @xmath288 and for @xmath200 and taking the terminal values at @xmath12 as initial values for @xmath289 .
on the other hand , imbedding @xmath290 , @xmath291 and @xmath158 into the colombeau algebra by convolution with suitable compactly supported mollifiers ( concerning @xmath158 , we use a mollifier as in example [ ex : delta ] ) , problem ( [ eq : wave1d ] ) , ( [ eq : icwave1d ] ) has a unique solution @xmath292 .
we are going to show that the colombeau solution is associated with the piecewise distributional solution .
[ thm : associated distribution ] let @xmath283 be a piecewise constant , strictly positive function and let @xmath293 . then the corresponding generalized solution @xmath292 is associated with the piecewise distributional solution @xmath294 satisfying ( [ eq : piecewise ] ) .
we first assume that @xmath295 and @xmath296 and that both have compact support .
fix some @xmath297 .
let @xmath298}$ ] be a representative of the generalized solution that vanishes for @xmath97 outside some compact set , independently of @xmath299 , @xmath300 .
this and the smoothness imply that @xmath65 belongs to @xmath301 . thus we can use energy estimates . multiplying the wave equation @xmath302 by @xmath303 and integrating by parts we get @xmath304 observing that @xmath305 we obtain that @xmath306 for @xmath307 and thus the energy estimate @xmath308 by assumption , @xmath309 is bounded in @xmath310 , and so gronwall s inequality shows that @xmath311 and hence also @xmath312 remain bounded on @xmath313 $ ] , uniformly in @xmath314 .
in particular , the family @xmath298}$ ] is bounded in @xmath315 as well as in @xmath316 . by construction ,
the supports of the functions @xmath317 are contained in a common bounded set .
thus the first property implies that @xmath318}$ ] is relatively compact in @xmath319 for every @xmath299 .
the second property shows that @xmath298}$ ] is an equicontinuous subset of @xmath320 . by ascoli s theorem
, the net @xmath298}$ ] is relatively compact in @xmath320 .
taking @xmath97-derivatives in equation ( [ eq : wave1d ] ) we can apply the same argument to @xmath321 and conclude that both @xmath322 and @xmath323 remain bounded on @xmath313 $ ] , uniformly in @xmath314 . by the differential equation ( [ eq : wave1d ] ) ,
the same is true of @xmath324 . by the same argument as above , @xmath325}$ ] is relatively compact in @xmath320 and so @xmath298}$ ] is relatively compact in @xmath316 .
there exists a subsequence @xmath326 such that @xmath327 but on every compact subinterval of @xmath328 and of @xmath329 , @xmath121 is identically equal to @xmath98 or @xmath330 , respectively , when @xmath314 is sufficiently small .
this implies that @xmath331 is a distributional solution of the wave equation ( [ eq : wave1d ] ) on both strips .
since @xmath332 , so is @xmath333 . from the equation
, we get that @xmath334 in other words , @xmath331 is the unique piecewise distributional solution to ( [ eq : wave1d ] ) , ( [ eq : icwave1d ] ) .
consequently , the whole net @xmath298}$ ] converges to @xmath335 .
if @xmath295 and @xmath296 do not have compact support , we consider an arbitrary rectangle @xmath336\times [ 0,t]$ ] and take a cut - off function @xmath337 identically equal to 1 on a neighborhood of @xmath338\times [ 0,t]$ ] . by the derivation above , the colombeau solution with initial data @xmath339 , @xmath340 is associated with the piecewise distributional solution with the corresponding initial data . but
both solutions coincide with the corresponding solutions without cut - off on the rectangle @xmath336\times [ 0,t]$ ] , by finite propagation speed .
this shows that the association result holds without the assumption of compact support . in the next to last step , take @xmath293 and assume that they are distributions of finite order .
write @xmath341 , where @xmath342 has its support bounded from the right , and @xmath343 has support bounded from the left , and similarly for @xmath291 .
there is an integer @xmath344 such that @xmath345 and @xmath346 , where @xmath347 is the @xmath344-fold convolution of the heaviside function with itself ; a similar assertion holds for @xmath348 and @xmath348 .
we may assume without loss that @xmath349 .
let @xmath294 and @xmath38 be the piecewise distributional solution and the colombeau solution with initial data @xmath350 , respectively .
let @xmath351 and @xmath352 be the piecewise distributional solution and the colombeau solution with initial data @xmath353 and @xmath354 , respectively . by the previous step , @xmath352 is associated with @xmath351 .
but @xmath355 and @xmath356 , since both satisfy the wave equation with initial data @xmath350 in the appropriate settings .
therefore , @xmath38 is associated with @xmath294 as well . the compactness argument in the first step of the proof
can be set up in various spaces .
for example , the uniform boundedness of @xmath322 on @xmath313 $ ] implies the equicontinuity of @xmath298}$ ] in @xmath357 .
hence @xmath298}$ ] is actually relatively compact in @xmath358 .
the first author expresses his most heartfelt thanks to gnther hrmann for the warm hospitality during his visit to the fakultt fr mathematik , universitt wien from october 2 , 2009 to march 31 , 2011 .
he also gives his deep appreciation to michael oberguggenberger for the warm hospitality during his several visits to universitt innsbruck in the past years .
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in this paper we describe a global thermal instability and nonlinear cooling wave that can develop naturally in the hot interstellar medium ( ism ) of evolving elliptical galaxies .
the ism in elliptical galaxies arises from mass loss from an evolving population of old stars .
gas expelled from mass - losing stars into the ism dissipates the kinetic energy inherited from the parent star and attains a temperature comparable to the galactic virial temperature ( @xmath6 k ) . as a result the hot ism occupies approximately the same volume as the visible stars . the hot
ism loses energy by radiative losses and slowly sinks in the galactic potential ; this is a galactic cooling flow .
compression of the subsonically inflowing ism by the galactic gravity field keeps the gas temperature nearly isothermal throughout most of the flow , but radiative cooling losses ultimately dominate at the base of the flow where the plasma density is highest .
the inflowing gas should cool toward a disk if the galaxy is rotating ( brighenti & mathews 1996 ) . in this paper
we describe the evolution of cooling flows in a typical large elliptical galaxy , demonstrating that a cooling wave or galactic drip
instability can be expected quite generally provided ( i ) the type ia supernova rate is low ( as recent x - ray observations suggest ) and ( ii ) the stellar velocity ellipsoids are significantly radial at large galactic radii so that the effective stellar temperature in the outer galaxy is subvirial .
this mass deposition from the ism may have important implications for creating a subsystem of younger stars ( worthey et al .
1992 ; worthey et al .
1995 ) , in forming large , coherent filaments of cold gas far from the galactic cores ( trinchieri & di serego alighieri 1991 ) or possibly in creating regions of lower x - ray temperature ( kim & fabbiano 1995 ) .
these galactic features have previously been identified with the residue of recent galactic mergers , but galactic drips may provide an alternative explanation . however , if the elliptical galaxy is located in a relatively dense cluster containing high - pressure cluster gas then the formation of galactic drips is suppressed .
the evolution of galactic cooling flows is described by the usual equations of gas dynamics with additional source terms ( loewenstein & mathews 1987 ; brighenti & mathews 1996 ) .
the continuity equation contains a source term @xmath7 ( gm s@xmath1 @xmath8 ) representing the rate that new gas is introduced into the ism by evolving stars of local space density @xmath9 . both mass - losing stars and supernovae are sources of gas , @xmath10 , although @xmath11 .
the momentum equation contains a gravitational term , including an important contribution from dark matter , and a sink term @xmath12 , where @xmath13 and @xmath14 are the velocity and density of the local ism .
the sink term accounts for the momentum removed from the local flow in accelerating newly injected gas up to the local flow velocity .
the rate of change of the specific thermal energy @xmath15 is given by @xmath16,\eqno(2.1)\ ] ] where @xmath17 is the usual cooling coefficient for an optically thin plasma .
the term @xmath18 , where @xmath19 is the proton mass , is the specific thermal energy corresponding to the mean injection temperature of stellar ejecta : @xmath20 in equation ( 2.1 ) @xmath21 represents the excess of total specific kinetic and thermal energy in stellar ejecta above that in the ambient plasma .
a fraction @xmath22 of the energy of newly supplied gas is lost as the dense stellar ejecta does work against the ambient gas in achieving pressure balance .
finally a small amount of energy per gram @xmath23 is dissipated due to the motion of the cooling flow gas relative to the rest frame of the stars . for simplicity and for comparison with other recent theoretical studies of galactic cooling flows
we assume that the stellar mass is described with a simplified king model , @xmath24^{-3/2}$ ] where @xmath25 is the stellar core radius .
the mass distribution in the dark halo is described with a pseudo - isothermal profile , @xmath26^{-1}$ ] .
both density distributions terminate at some large radius @xmath27 .
the galactic parameters that we adopt here are appropriate for a luminous elliptical lying on the fundamental plane ( dressler et al .
1987 ; djorgovski & davis 1987 ; tsai & mathews 1995 ; brighenti & mathews 1996 ) .
we assume that the total mass in the dark halo @xmath28 is nine times that in the stars @xmath29 .
all relevant galactic parameters are listed in table 1 .
a self - consistent stellar temperature @xmath30 , required to determine the injection temperature @xmath31 , can be found by solving the equation of stellar hydrodynamics in the total galactic potential ( mathews 1988 ) .
such a solution requires that some assumption be made about the variation of the stellar velocity ellipsoid with galactic radius . for this purpose
we assume that the stellar orbits become progressively more radial as @xmath32 .
specifically , we adopt a velocity ellipsoid of the form @xmath33 where @xmath34 and @xmath35 are the transverse and radial stellar velocity dispersions respectively .
we choose @xmath36 , but the evolution of the ism is not sensitive to the value of @xmath37 over a wide range @xmath38 .
a preponderance of radial orbits is expected as a general result of many galactic formation models and is consistent with the anisotropic stellar pressure required to understand the observed flattening of massive ellipticals which is not due to galactic rotation .
[ we note however that oblate ellipticals can also be supported by increasing the azimuthal stellar velocity dispersion relative to the mean dispersion in the meridional plane ( satoh 1980 ) .
] however , a global instability in the stellar system toward growth of @xmath39 modes is expected if the orbits are too radial ( polyachenko & shukhman 1981 ) . for stability
it is necessary that @xmath40 where @xmath41 and @xmath42 are the kinetic energies in the radial and transverse directions ( e.g. bertin & stiavelli 1993 ) and @xmath43 is the stellar distribution function .
for the orbital model described by equation ( 2.3 ) with @xmath36 we find @xmath44 , which is safely stable .
finally , tsai and mathews ( 1995 ) have shown that mean stellar temperatures resulting from ( 2.3 ) are similar to those recently measured in the ism of several bright ellipticals ( serlemitsos , et al .
1993 ; mushotzky et al .
1994 ) . the rate coefficient for stellar mass loss @xmath45 for an old
, single - burst stellar population can be represented quite accurately by a power law : @xmath46 where @xmath47 and @xmath48 s@xmath1 is the current stellar mass loss rate ( mathews 1989 ) evaluated at @xmath49 gyr .
fortunately @xmath50 and @xmath51 depend only very weakly on the poorly - known imf ( mathews 1989 ) .
type ia supernovae may supply additional energy to the cooling flow gas .
the equivalent temperature of supernova ejecta in equation ( 2.2 ) is @xmath52 where @xmath53 and @xmath54 are the energy and mass of material expelled in each supernova explosion .
the type ia supernova rate observed in elliptical galaxies @xmath55 is usually characterized in snu units , the number of supernovae in a 100 year interval from a stellar mass having luminosity @xmath56 . to represent @xmath57 in cgs units we use the mass to light ratio determined by van der marel ( 1991 ) : @xmath58 where @xmath59 is the reduced hubble constant , taken as @xmath60 here .
consolidating these results , the factor @xmath61 required for the injection temperature is @xmath62 the factor @xmath63 describes the current and past supernova rate .
the current value @xmath64 , with @xmath49 gyr , is poorly known from direct observation and its past behavior is very uncertain , evidently depending on the exotic evolution of mass exchanging binary stars .
observed values of the supernova rate in elliptical galaxies , snu@xmath65 @xmath66 ( van den bergh & mcclure 1994 ; cappellaro et al .
1993 ) , are also poorly determined and differ in principle from snu in equation ( 2.4 ) which is defined relative to other uncertain theoretical quantities ( such as @xmath67 )
. therefore snu@xmath68 snu@xmath65 is expected , but not exact equality .
an upper limit on the value of @xmath63 in equation ( 2.4 ) is provided by the iron abundance observed in the hot ism ; we assume that each type ia supernova releases @xmath69 @xmath4 of iron .
unfortunately this constraint on snu is complicated by the uncertain amount of additional iron that accompanies normal stellar mass loss @xmath70 into the ism . for the past history of type ia supernovae
we adopt a simple power law with adjustable parameters : @xmath71 with @xmath72 or 1.0 ( loewenstein & mathews 1991 ) .
positive values of @xmath73 correspond to the decline in supernova activity expected in cosmic evolution .
additional iron is supplied to the ism by normal stellar mass loss . for this purpose
we adopt a stellar iron abundance given by @xmath74^{-m } \eqno(2.6)\ ] ] where @xmath75 is the solar abundance . the iron abundance at the centers of bright ellipticals is generally thought to be in the range 1 - 2 @xmath76 .
regarding the exponent @xmath77 , thomsen & baum ( 1989 ) find @xmath78 for the magnesium - index ( mg@xmath79 ) gradient in terms of the projected radius @xmath80 .
owing to the rapid decrease of stellar density with galactic radius , the variation of metallicity with physical radius , @xmath81 , is almost identical to that observed in projected light .
but the iron abundance may not follow that of the magnesium index which itself is poorly known beyond an effective radius . in addition the iron abundances observed in the hot ism are often much lower than those in stars within an effective radius . for these reasons
we consider both @xmath82 and @xmath83 in equation ( 2.6 ) .
the variation of the iron abundance in the ism is described by @xmath84 where @xmath85 is the fraction of mass in type ia supernova that is iron and @xmath86 s@xmath1 . throughout the following discussion of the evolution of the ism and its iron abundance the only galactic parameters that are varied
are @xmath77 , snu@xmath87 and @xmath73 .
the high iron abundance in the intercluster medium surrounding massive ellipticals , @xmath88 , indicates that strong galactic winds dominated the earliest galactic evolution . since our interest here is specific to the later evolution of the ism when cooling flows dominate , we begin the evolutionary calculation after the initial wind phase is assumed to have ended , at @xmath89 gyr with a very low initial gas density , @xmath90 .
the spherically symmetric gas dynamical equations are integrated from @xmath91 to the present time , @xmath92 gyr using a time dependent lagrangian code .
for the calculations described here the boundary condition at the outer boundary of the calculation @xmath27 is assumed to be a fixed wall , but calculations done with a free surface at @xmath27 give essentially the same results in all important respects .
when gas cools to less than @xmath93 k in a computational zone , it is removed from the calculation .
the temperature and number density profiles of three cooling flows are illustrated in figure 1 at a variety of times for parameters snu@xmath94 , 0.022 , 0.011 all with @xmath95 , i.e. snu@xmath96 .
for the largest current supernova rate considered , snu@xmath94 , the temperature and density evolve in a perfectly regular manner ( panels a and b of figure 1 ) , just as expected for normal cooling flows .
all the gas cools within the galactic core .
however , when the current supernova rate is reduced to 0.022 ( panels c and d ) , the gas temperature in the outer parts of the galaxy is smaller until age @xmath97 gyr and profile irregularities appear .
with snu@xmath98 the irregularities in the flow propagate inward as seen in figures 1e and 1f . in figure 1e at @xmath99 gyrs
a small temperature minimum appears at @xmath100 which becomes more pronounced at times 8 and 10 gyrs as it moves slowly toward the galactic center .
the amplitude of the temperature minimum gradually increases as the cooling wave propagates inward , occasionally deepening catastrophically due to severe radiative losses .
when the gas temperature drops below @xmath93 k , the gas is removed from the hot phase of the ism and begins to free fall in the galactic potential as it experiences a variety of hydrodynamic instabilities .
this is the galactic drip .
figure 2a illustrates the total mass of cold gas that drops out of these cooling flows beyond radius @xmath101 for the snu@xmath102 and 0.011 solutions . in the latter case the mass drop - out beyond 5
kpc is large : @xmath103 @xmath4 .
this is approximately equal to the total mass of hot gas remaining in the ism after 15 gyr , @xmath104 @xmath4 .
also shown in figure 2b is are the times and galactic radii of the specific mass dropouts ( where the temperature minimum drops below @xmath93 k ) as the galactic drip moves inward .
for snu@xmath98 the drip starts at @xmath105 kpc then slowly propagates toward the galactic core at velocity @xmath106 kpc gyr@xmath1 , reaching the center at @xmath107 gyr .
none of these details of the cooling flow evolution depend on the assumed boundary condition at @xmath27 ( fixed or free ) , on the size of the grid zoning , or on the criterion used to remove cold gas in the drips .
in addition to the deposition of cold gas by the cooling wave , figure 2b also indicates that a significant mass of gas cools within about 5 kpc late in the cooling flow evolution for both values of snu@xmath87 .
this cooling occurs in numerous small drip events shown by the large number of points rising vertically at the left in figure 2b .
although located at small galactic radii , this second type of cooling is well resolved by the numerical gas dynamics .
this cooled gas may be optically visible since it is compressed by the high pressure ism near the center of the galaxy . when the past supernova rate is decreased by assuming snu@xmath108 , or @xmath72 , galactic drips are more pronounced for fixed values of the current supernova rate snu@xmath87 .
results for these calculations are shown in figures 3 and 4 .
in contrast to the results in figures 1a and 1b , figures 3a and 3b and 4 show that an appreciable mass of cold gas drops out within about @xmath109 5 kpc from the galactic center even for the largest current supernova rate snu@xmath94 .
this is evident in the intermittent irregularities visible in figure 3a for times @xmath110 gyr .
the total mass of cold gas that drips out is not small : @xmath111 @xmath4 .
as snu@xmath87 is decreased to 0.044 and 0.022 , figures 3c - 3f and 4 show that the cooling wave begins at earlier times in the calculation and at larger galactic radii . in figure 3e the cooling wave moves to the origin before the time corresponding to the fourth temperature contour ( @xmath112 gyr ) , but the inward motion of the cooling wave is nicely resolved in figure 3c . in every case after a cooling wave reaches the center of the galaxy the temperature and density profiles return to their normal shapes .
galactic drips arise when gas at great distances from the galactic center virializes locally to a temperature that is significantly less than that of the entire galaxy .
this accumulation of cooler gas at large galactic radii is possible only if the supernova rate is sufficiently low .
most of the gas ejected from stars at large @xmath101 is deposited early in the galactic evolution ( @xmath113 ) when the assumed type ia supernova rate was also larger . at later times the supernova rate declines and the temperature of the cool , sub - virial gas drops further .
meanwhile the cool gas at large @xmath101 goes into approximate freefall and accumulates where it encounters hot , pressure - supported gas at intermediate radii .
the density at the base of the approximately freefalling gas becomes sufficiently large to initiate strong radiative cooling , a global thermal instability .
as gravity pulls the relatively cool gas toward the galactic center , adjacent regions just beneath the cooling gas become compressed and the non - linear cooling wave slowly propagates inward in the galaxy , undergoing intermittent `` mass dropouts '' or `` drips '' when the radiative cooling time in the wave becomes very short . in the wake of the cooling wave , the ism density , temperature and pressure are all lowered in this sense the cooling wave resembles a phase change . throughout the entire evolution
the flow velocity is subsonic and the gas is in hydrostatic equilibrium to an excellent approximation .
just before the cooling wave undergoes one of its episodic drips , there is a small density inversion in the wave .
such a condition will result in a localized rayliegh - taylor instability which is suppressed in the 1d calculation shown here .
for this reason there is reason to believe that the evolution of the cooling wave after the first mass drop - out occurs may be geometrically more complicated than our 1d results suggest .
if the wavefront becomes distorted , separate regions of cool gas may appear in the flow .
it is possible , but far from proven , that this could account for the numerous cool inclusions which have been recently resolved by rosat pspc observations in the outer parts of the cooling flow of the elliptical ngc 507 ( kim & fabbiano 1995 ) .
apart from this possible non - spherical distortion of the flow , our lagrangian code is particularly well - suited to compute the evolution of the thermally cooling wave .
the onset of catastrophic cooling in a small layer of gas can be masked by the zone - averaging procedures employed in eulerian codes ; this may explain why galactic drips have not been noticed in earlier theoretical calculations .
nevertheless , fabrizio brighenti ( private communication ) has successfully duplicated our results using 1d and 2d eulerian codes , but only by using a very large number of computational zones . the smooth , large scale subsonic velocity field in cooling flows ( not shown in figs .
1 and 2 ) becomes more irregular when the cooling drip occurs .
low - amplitude sound waves generated near the nonlinear cooling wave , particularly during mass dropout episodes , propagate outward in the galaxy retaining a modest amplitude as they move down the galactic density gradient .
the iron abundance in the cooling flow gas depends on the stellar abundance variation with galactic radius and the current and past supernova rate .
recent determinations of the iron abundance in the hot ism in elliptical galaxies are based on the equivalent width of the complex of fel iron lines at @xmath114 kev .
abundances observed using the asca satellite are very low : loewenstein et al .
( 1994 ) find @xmath115 in both ngc 1404 and ngc 4374 ; ngc 720 , 1399 , 4406 , 4472 and 4636 have @xmath116 ( awaki , h. et al .
abundances based on the fel feature should be accurate particularly for iron ions having only a few bound electrons that are most abundant at ism temperatures @xmath117 k. therefore the fel abundances should be reliable for most massive ellipticals .
the mean _ stellar _ abundance based on equation ( 2.6 ) is @xmath118 if @xmath82 and @xmath119 if @xmath83 .
these mean stellar abundances provide definite lower limits on the iron abundance in the ism since the additional iron contributed by supernovae can only raise it further . obviously , no ism model computed with @xmath120 and @xmath82 can match the ism iron abundances measured in ngc 1404 and ngc 4374 .
models assuming @xmath83 ( for which there is no observational support ) do have lower mean iron abundances , but still exceed those observed .
table 2 lists mean iron abundances in the ism @xmath121 for nine cooling flow models at time @xmath122 gyr .
very few of these values are as low as those observed in the ism by the asca satellite .
the apparent discrepancy between the stellar iron abundances , the observed type ia supernova rate and the asca iron abundances in the hot gas is an outstanding problem that is currently unresolved
. nevertheless , the parameters @xmath73 and snu@xmath123 used here to describe the past and present type ia supernova rate in the cooling flow models shown in figures 1 - 4 are not too small ; the discrepancy between the iron abundances found in the models shown in table 2 and the asca values would only be larger if @xmath73 and snu@xmath123 were increased sufficiently to inhibit galactic drips . we conclude that galactic drips should be a common occurrence in elliptical galaxies .
the final state of the cooled off gas is uncertain , particularly since magnetic stresses are likely to play a significant role as the density increases in the dripping gas . if we assume nevertheless that the cold gas is able to form into stars , the total mass of young stars is small compared to the older stellar population , @xmath124 .
the luminosity of a hypothetical population of young stars formed from this gas can be estimated by assuming that they form immediately after mass dropout and decline in luminosity according to the single burst luminosity evolution ( with salpeter imf ) described by bruzual and charlot ( 1993 ) . for most of the ism calculations with mass dropout shown in figures 2 and 4
the resulting approximate luminosity of young stars is @xmath125 @xmath126 .
this is a small fraction of the total b - band luminosity of the galaxy , @xmath127 @xmath126 . in two cases ,
however , the last mass dropout before the calculation was terminated at @xmath49 gyr is so recent that the luminosity of young stars is rather large : @xmath128 @xmath126 ( @xmath95 ; snu@xmath102 ) and @xmath129 @xmath126 ( @xmath72 ; snu@xmath130 ) . of course
these estimates in which stars are assumed to form with a normal imf in this unusual environment are very uncertain .
it is possible nevertheless that young stars formed in drips could contribute in an important way to the photometric h@xmath131 index ( a signature of youthful stars ) observed in many ellipticals by worthey , faber and gonzalez ( 1992 ) .
the total mass of gas deposited by cooling waves beyond several kpc , @xmath132 @xmath4 , although small compared to the mass of old stars , is often comparable with the total mass of hot gas remaining in the cooling flow after @xmath49 gyr , @xmath133 @xmath4 . if some of this cooled - off gas resides for a time in pressure equilibrium with the local hot gas and is kept ionized by galactic uv radiation ( mathews 1990 ) , it could account for the large scale , asymmetric h@xmath134 filaments extending out to at least @xmath0 kpc observed in many bright ellipticals ( trinchieri & di serego alighieri 1991 ) .
the cooling gas in the outer parts of galactic cooling flows may also be related to the numerous islands of cool gas recently resolved by the rosat satellite in the x - ray image of ngc 507 ( kim & fabbiano 1995 ) .
for galactic drips to occur it is necessary that the supernova rates and stellar temperatures be rather low at large galactic radii , although both conditions seem easy to justify .
the influence of various supernova rates on drip formation is illustrated in figures 1 - 4 . to gain insight into the influence of stellar temperature on galactic drips
, several calculations were repeated with different values of @xmath37 in equation ( 2.3 ) .
we find that the cooling flow patterns are not critically sensitive to this parameter . in another experiment
the galactic stars were divided into two distributions , one having velocity ellipsoids as described by equation ( 2.3 ) and a second having purely circular orbits ( which have the largest possible temperature @xmath135 at a given @xmath101 ) .
typically we find that galactic drips appear in the flow unless more than half of the stars beyond @xmath136 have highly tangential ( i.e. circular ) orbits .
since geometric flattening in ellipticals depends on a strong radial component in the stellar orbits , we conclude that equation ( 2.3 ) is a reasonable model .
in addition to adjusting internal parameters , it is also possible to suppress drips by immersing a drip - prone galaxy in hot cluster gas .
even when the velocity of the elliptical is small relative to the ambient gas , some hot cluster gas can move into the galaxy , physically displacing the outer ism and heating it by compression . to illustrate this latter effect ,
the evolutionary ism calculation for the elliptical having parameters @xmath72 , snu@xmath102 and @xmath83 , which generated drips in figures 3e , 3f and 4b , was repeated in a relatively high pressure cluster environment . at present
we have only a poor understanding of the evolution of cluster gas , but it is likely that gas observed in clusters today has evolved significantly during the last few gyr and may still be highly transient in many clusters . in order to illustrate the influence of ambient cluster gas on the galactic drip phenomenon ,
we assume for simplicity that the cluster gas has been in existence with its present - day properties since @xmath89 gyr and that there is no appreciable motion of the galaxy relative to the cluster gas . at @xmath91
the cluster gas is assumed to be isothermal at @xmath137 k and in hydrostatic equilibrium in the galactic potential before the evolution of the galactic ism is begun .
as the galactic ism evolves , its cooling flow is born into the preexisting cluster environment .
the cluster gas is assumed to extend to a fixed wall at 1 mpc where its ( initial ) density is @xmath138 @xmath8 .
the initial cluster gas density , in isothermal hydrostatic equilibrium in the galactic potential , increases to @xmath139 @xmath8 at the galactic center .
these cluster gas parameters have been chosen so that the radiative cooling time beyond the physical limit of the galaxy ( @xmath140 ) exceeds 15 gyr . during the ensuing evolution
the ambient density and temperature in the cluster gas ( @xmath141 mpc ) remain approximately constant although some of the cluster gas initially beyond @xmath142 flows into the galaxy . since the pressure of the ambient hot cluster gas does not vary appreciably , the evolution of the galactic ism is astronomically unrealistic , but we can suppose that the final state after @xmath122 gyr provides a reliable indication of the present - day influence of the cluster environment on the ism .
figure 5 compares the galactic cooling flow after @xmath122 gyr for the isolated galaxy with an identical galaxy that has evolved in the cluster environment as described above .
the increased gas temperature and density and altered iron abundance within the galactic boundary ( at @xmath143 ) relative to the isolated galaxy ( long - short dashed lines ) all arise due to the flow of cluster gas into the galaxy .
in particular the temperature profile in the cluster galaxy ( solid line in figure 5a ) increases with radius beyond @xmath144 , ultimately joining the temperature @xmath145 k of the ambient cluster gas . the gas temperature in the outer parts of the galaxy
is increased due to thermal mixing with the hot cluster gas that flows into the galaxy and from the compression of galactic gas by the ambient pressure which exceeds that in the galactic ism at @xmath146 . since the gas temperature is kept high everywhere in the flow , no galactic drips occurred in the cluster galaxy during its entire evolution leading up to the final configuration shown in figure 5 .
when the galaxy is immersed in cluster gas , the gas density variation in the outer galaxy is less steep ( solid line in figure 5b ) .
this will result in a shallower x - ray surface brightness profile than that of the isolated ( field ) galaxy . in view of the low iron abundances in the hot gas determined by asca
, some authors have questioned whether the metallicity of the cluster gas can influence that of the galaxy . for insight into this question ,
we illustrate in figure 5c the iron abundance at @xmath122 gyr in the galactic ism for a galaxy having a stellar metallicity characterized by a power law index @xmath1471.3 in equation ( 2.6 ) . the cluster gas is assumed to have abundance @xmath148 .
it is clear from figure 5c that the overall ism metallicity of cluster galaxies _ can _ be influenced by the flow of cluster gas into the galaxy .
the iron abundance @xmath149 for the isolated galaxy ( long - short dashed line ) is actually _ higher _ than that for the same galaxy when placed in the iron - rich cluster environment ( solid line ) !
the explanation of the sense of this difference is that the inward flow velocity is increased somewhat when the galaxy is surrounded by high pressure cluster gas .
the iron abundance in the faster moving cooling flow gas is lower since it experiences fewer supernova events during its shorter flow time to the galactic center .
paradoxically , therefore the iron abundance in an elliptical ism can be _ reduced _ by placing it in a hot cluster of even higher iron abundance !
galactic drips can occur in isolated ellipticals whenever ( i ) the type ia supernova rate is low enough to be ( more ) consistent with observed iron abundances in the ism and ( ii ) provided the stellar orbits become preferentially radial in the outer galaxy , leading to relatively low stellar temperatures @xmath30 .
this latter condition is consistent with the asymmetric stellar pressure required to flatten ellipticals having very low rotation velocities .
when these conditions are satisfied , a global thermal instability can form in the ism , initiating a cooling wave that propagates slowly inward .
should finite aspherical density or temperature perturbations with appreciable amplitudes exist in the wave region , the subsequent evolution of the wave may be geometrically complex , but it is not clear why such perturbations would be expected .
if the cooling wave develops in a quiesent galactic atmosphere , as we assume here , it slowly propagates toward the galactic center , experiencing episodes of precipitous cooling ( drips ) which can deposit substantial masses ( @xmath150 @xmath4 ) of cold ( @xmath151k ) gas within about 15 @xmath144 .
in addition to this sequence of drips , a significant amount of gas can cool within the brightest parts of the elliptical , @xmath152 , in a multitude of drips confined to this region .
if the cooled - off gas eventually forms into stars , as many authors have assumed , it may be sufficient to account for the populations of young stars reported by worthey , faber , & gonzalez ( 1992 ) .
unfortunately , the physics of such a star formation process remains obscure .
in many theoretical models of spherical galactic cooling flows it has been assumed that cold gas can condense directly from the hot ism in thermally unstable regions located far from the galactic center ( stewart et al . 1984 ; thomas et al .
1987 ; white & sarazin 1987a , 1987b , 1988 ; bertin & toniazzo 1995 ) .
this assumption was found to be useful to reduce the theoretical x - ray surface brightness near the galactic cores to agree with surface brightness distributions observed in three bright virgo ellipticals ( canizares , fabbiano , & trinchieri 1987 ) .
unfortunately it has subsequently been shown that low amplitude perturbations are not generally thermally unstable ( balbus 1991 ) while finite amplitude perturbations disrupt rapidly as a result of shear and rayleigh - taylor instabilities ( hattori & habe 1990 ; malagoli et al . 1990 ) .
in addition , there is no natural way for finite perturbations to arise in the ism ( mathews 1990 ) .
it is more likely that the effects of galactic rotation ( brighenti & mathews 1996 ) and magnetic field , which are not included in the studies above , must be considered in comparing theoretical and observed surface brightness distributions near galactic cores .
however , the galactic drip phenomenon described here does provide a physically plausible mechanism for thermal instabilities to develop directly from the hot gas at large galactic radii .
nevertheless drips can not provide a general explanation for the relatively flat central x - ray surface brightness distributions for ellipticals since the cooling wave that produces the drip is a transient effect that can not be synchronized in all galaxies .
moreover , it seems likely that the environmental influences of companion galaxies and randomly infalling gas in the ( poorly understood ) outermost parts of real ellipticals could introduce a non - spherical character to the initial growth of galactic drips .
in addition , perfectly spherical ellipticals are rare in nature .
therefore in the absence of multidimensional theoretical studies , it can be doubted that cooling flows in real ellipticals evolve in the idealized spherical manner shown in figures 1 - 4 all the way to the galactic centers .
since it is likely that cooling waves may not be spatially coherent on spherical surfaces , the evolution of the soft x - ray luminosity and surface brightness profiles corresponding to figures 1 - 4 has not been emphasized here .
galactic drips can be suppressed in three ways : ( i ) by increasing the current or past theoretical supernova rate , ( ii ) by assuming that a large fraction ( at least half ) of the galactic stars have tangential orbits at large radii ( @xmath153 ) , or ( iii ) by immersing the galaxy in hot cluster gas .
the first means of avoiding drips is unacceptable since the global iron abundance would be too high at the current time , even if the stellar iron abundance drops much faster with galactic radius than is commonly thought .
the second means of suppressing drips , by introducing tangential stellar orbits at great distances , may be inconsistent with models of elliptical formation that have a significant dissipationless character .
but in any case , strongly radial orbits are required to account for the anisotropic stellar pressure support that prevails in luminous , non - spherical ellipticals .
therefore the primary mechanism to avoid galactic drips may be cluster membership .
if star formation results from galactic drips , field ellipticals should exhibit more evidence of recent star formation ( larger h@xmath131 indices ) than cluster members .
it is therefore quite remarkable that precisely this result has been reported by worthey , trager , & faber ( 1995 ) .
these authors find that the incidence of a population of younger stars is almost ( perhaps totally ) a property of field ellipticals while cluster ellipticals seem to have little or no evidence of youthful stars .
this last result may be understood alternatively as a consequence of galactic mergers which are expected to be more common for field galaxies .
although very clear evidence for recent mergers exists in some ellipticals , it is far from proven that mergers are the dominant ongoing evolutionary process in these galaxies at the present time or in the recent past .
we have shown here that the appearance of young stars , transient filaments of ionized gas and cool x - ray inclusions are not unambiguous signatures of recent mergers , but may instead result from galactic drips , a natural development in the evolution of galactic cooling flows .
finally , we note that the iron abundance in galactic cooling flows can be _ lowered _ when the galaxy is located in high pressure , iron - rich cluster gas ; this may account in part for some of the remarkably low iron abundances that have been observed in the hot ism of some ellipticals .
wgm thankfully acknowledges support from calspace , a faculty research grant from ucsc and nasa grant nag 5 - 3060 .
thoughtful remarks and advice from fabrizio brighenti , sandra faber , mike loewenstein , scott trager , and john tsai are acknowledged with thanks .
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transgender people have an assigned sex at birth that differs from their current gender identity or expression.1 this report describes the evolution of fenway health s multidisciplinary model of transgender health care , research , education , training , and dissemination of its practice .
this includes the development of , and changes to , a community - based approach spanning almost two decades .
opportunities for future growth of transgender care and research locally and globally are discussed , with a focus on the linkage of clinical care with health research , education , training , and advocacy to promote social justice and health equity for transgender people across the world .
the mission of fenway health is to enhance the well - being of the lesbian , gay , bisexual , and transgender ( lgbt ) community and all people in local neighborhoods and beyond.2 fenway health was founded as a grassroots clinic in 1971 in a central urban neighborhood of boston , massachusetts , as part of a grassroots effort in the heyday of political activism . since that time , fenway health has developed into a comprehensive federally qualified community health center offering integrated primary medical and behavioral health services with an emphasis on lesbian , gay , bisexual , and transgender ( lgbt ) health . in 1975 , the center recorded 5000 patient care visits.3 in 2013 , fenway health providers saw 21,600 patients who made 110,000 patient visits.2 in the early 1980s , fenway s response to the aids epidemic included the development of the first community - based hiv research program in new england , which ultimately led to the development of the fenway institute , an embedded community - based research entity , colocated in a community health center .
fenway health s annual budget exceeds $ 65 million with more than 600 staff people employed there .
transgender people have sought health care and been served by fenway health since the organization s initial founding . as fenway s patient base grew in the 1980 s and early 1990 s , the organization recognized gaps in non - hiv healthcare services .
one of these gaps was access to medical gender affirmation services ( e.g. , cross - sex hormone therapy ) , and the provision of other optimal , culturally tailored services for transgender people .
fenway s board of directors and leadership recognized the growing need for comprehensive care for transgender people and decided that this was a priority area for the organization .
t in lgbt was officially added to fenway s organizational mission in 1995 .
hiring of staff specifically trained to focus on the needs of this community led to the development of the transgender health program .
fenway s transgender patient population steadily increased in the first decade from 8 patients in 1997 to 90 patients in 2006 and more than 1200 by 2014 ( fig .
active is defined as a patient who had a visit in that calendar year and accessed the transgender health program ( documented in their electronic medical record ) before the end of that calendar year .
active is defined as a patient who had a visit in that calendar year and accessed the transgender health program ( documented in their electronic medical record ) before the end of that calendar year .
fenway s organizational systems expanded during this time to support providers and other staff in delivering gender affirmative care . for example , routine data capture in electronic health record fields was implemented to gather preferred name , pronouns , assigned sex at birth , and current gender identity of patients , data important for providing gender affirmative care in addition to assessing the quality of care provided to transgender patients .
cultural competency trainings related to transgender health were implemented throughout the organization , including modules that became part of new staff orientation and regularly part of ongoing departmental trainings . in 2007 , fenway implemented a modified informed consent model for cross - sex hormone therapy pioneering the dissemination of an accessible , holistic , gender affirming , and multidisciplinary model of transgender care .
the informed consent model removed unnecessary barriers to hormone therapy , including restrictions specifying prolonged mental health evaluations and real life tests
( i.e. , living full - time in one s self - identified gender ) to obtain hormone therapy that had long been embedded in existing standards of care .
transgender patients were asked to complete a hormone readiness assessment before accessing gender affirmation services , but mental health counseling was not automatically required . during this timeframe , fenway health also relocated to a full - service 10-story facility dedicated to lgbt health , increasing its capacity to serve more transgender patients . with the implementation of a modified informed consent model
the menu of services provided to transgender patients at fenway health is outlined in table 1 .
demographic characteristics of active transgender patients served at fenway health in calendar year 2013 are in table 2 , delineated by gender identity ( 52 % female - to - male and 48 % male - to - female spectrum).table 1services provided as part of transgender healthcare at fenway health primary care for adults and adolescents : internal medicine , family medicine family planning : alternative insemination , contraception counseling and administration transgender care : reproductive rights and medication counseling , hormone administration and monitoring , post - operative wound / drain / prosthesis care hiv and std care : comprehensive hiv / aids care and case management , hiv / std counseling and testing , std treatment and partner notification services internal medicine subspecialty care : pulmonology , infectious disease other medical specialties : obstetrics , gynecology , podiatry , nutrition complementary and alternative medicine specialties : acupuncture , massage therapy , osteopathic manipulative therapy integrated behavioral health and non - clinical case management diagnostic imaging : digital x - ray and mammography , bone mineral density screening clinical and retail pharmacy general dentistry optometrytable 2demographic characteristics of the transgender patient population at fenway health served in calendar year 2013 ( n = 1197)totalfemale - to - male ( ftm)male - to - female ( mtf)total
n
%
n
%
n
% 621
52 % 576
48 % 1197
100 % ageftmmtftotal mean age ( in years)28.5235.1531.71gender identityftm - nftm-%mtf - nmtf-%total - ntotal-% female81 % 24442 % 25221 % male28346 % 295 % 31226 % genderqueer or not exclusively male or female8714 % 478 % 13411 % missing / not reported24339 % 25644 % 49942 % race / ethnicityftm - nftm-%mtf - nmtf-%total - ntotal-% white non - hispanic49480 % 38467 % 87873 % black356 % 499 % 847 % latino / hispanic295 % 6010 % 897 % asian244 % 315 % 555 % multiracial254 % 265 % 514 % other102 % 163 % 262 % missing / not reported41 % 102 % 141 % employment statusftm - nftm-%mtf - nmtf-%total - ntotal-% employed : unspecified10216 % 8815 % 19016 % employed : part - time285 % 122 % 403 % employed : full - time366 % 173 % 534 % employed : self - employed10 % 20 % 30 % unemployed184 % 224 % 403 % retired10 % 20 % 30 % student569 % 387 % 948 % other71 % 102 % 171 % not reported37260 % 38567 % 75763 % income categoryftm - nftm-%mtf - nmtf-%total - ntotal-% 100 % of poverty level and below27745 % 24543 % 52244 %
101150 % of poverty level335 % 315 % 645 % 151200 % of poverty level264 % 193 % 454 % over 200 % of poverty level11519 % 8915 % 20417 % refused to report569 % 6912 % 12510 % missing / unknown11418 % 12321 % 23720 % insuranceftm - nftm-%mtf - nmtf-%total - ntotal-% medicaid14624 % 20035 % 34629 % medicare366 % 8815 % 12410 % missing61 % 41 % 101 % none / uninsured274 % 376 % 645 % private40665 % 24743 % 65355 % hormonesftm - nftm-%mtf - nmtf-%total - ntotal-% yes50381 % 51389 % 101685 % no11819 % 6311 % 18115 % surgeryftm - nftm-%mtf - nmtf-%total - ntotal-% yes25441 % 12321 % 37731 % no12821 % 10218 % 23019 % unknown / not reported23938 % 35161 % 59049 % months at fenwayftmmtftotal mean length being a patient ( in months , since first visit)35.87 months ( 3 years)42.64 months ( 3.5 years)39.13 months ( 3 years , 1 month ) services provided as part of transgender healthcare at fenway health demographic characteristics of the transgender patient population at fenway health served in calendar year 2013 ( n = 1197 ) the number of transgender people getting their health care at fenway continues to grow , and fenway s model of care continues to dynamically evolve to meet the needs of the patient population . underlying
this approach is a philosophy of accessible , patient - centered care that views gender affirmation as routine part of primary care service delivery , not a psychological or psychiatric condition in need of treatment .
feedback and input from the transgender community through consultations with key opinion leaders and community forums is used to direct development of service delivery programs to ensure ongoing responsiveness of care .
part of the responsiveness to care needs voiced by the transgender community includes over 80 in - person clinical care and competency trainings of mental health and medical providers regionally and nationally conducted by the transgender health program since 2007 .
transgender people have sought health care and been served by fenway health since the organization s initial founding . as fenway s patient base grew in the 1980 s and early 1990 s , the organization recognized gaps in non - hiv healthcare services .
one of these gaps was access to medical gender affirmation services ( e.g. , cross - sex hormone therapy ) , and the provision of other optimal , culturally tailored services for transgender people .
fenway s board of directors and leadership recognized the growing need for comprehensive care for transgender people and decided that this was a priority area for the organization .
t in lgbt was officially added to fenway s organizational mission in 1995 .
hiring of staff specifically trained to focus on the needs of this community led to the development of the transgender health program .
fenway s transgender patient population steadily increased in the first decade from 8 patients in 1997 to 90 patients in 2006 and more than 1200 by 2014 ( fig .
active is defined as a patient who had a visit in that calendar year and accessed the transgender health program ( documented in their electronic medical record ) before the end of that calendar year .
active is defined as a patient who had a visit in that calendar year and accessed the transgender health program ( documented in their electronic medical record ) before the end of that calendar year .
fenway s organizational systems expanded during this time to support providers and other staff in delivering gender affirmative care . for example , routine data capture in electronic health record fields was implemented to gather preferred name , pronouns , assigned sex at birth , and current gender identity of patients , data important for providing gender affirmative care in addition to assessing the quality of care provided to transgender patients .
cultural competency trainings related to transgender health were implemented throughout the organization , including modules that became part of new staff orientation and regularly part of ongoing departmental trainings .
in 2007 , fenway implemented a modified informed consent model for cross - sex hormone therapy pioneering the dissemination of an accessible , holistic , gender affirming , and multidisciplinary model of transgender care .
the informed consent model removed unnecessary barriers to hormone therapy , including restrictions specifying prolonged mental health evaluations and real life tests
( i.e. , living full - time in one s self - identified gender ) to obtain hormone therapy that had long been embedded in existing standards of care .
transgender patients were asked to complete a hormone readiness assessment before accessing gender affirmation services , but mental health counseling was not automatically required . during this timeframe , fenway health also relocated to a full - service 10-story facility dedicated to lgbt health , increasing its capacity to serve more transgender patients . with the implementation of a modified informed consent model , fenway s transgender patient population grew exponentially ( fig . 1 ) .
the menu of services provided to transgender patients at fenway health is outlined in table 1 .
demographic characteristics of active transgender patients served at fenway health in calendar year 2013 are in table 2 , delineated by gender identity ( 52 % female - to - male and 48 % male - to - female spectrum).table 1services provided as part of transgender healthcare at fenway health primary care for adults and adolescents : internal medicine , family medicine family planning : alternative insemination , contraception counseling and administration transgender care : reproductive rights and medication counseling , hormone administration and monitoring , post - operative wound / drain / prosthesis care hiv and std care : comprehensive hiv / aids care and case management , hiv / std counseling and testing , std treatment and partner notification services internal medicine subspecialty care : pulmonology , infectious disease other medical specialties : obstetrics , gynecology , podiatry , nutrition complementary and alternative medicine specialties : acupuncture , massage therapy , osteopathic manipulative therapy integrated behavioral health and non - clinical case management diagnostic imaging : digital x - ray and mammography , bone mineral density screening clinical and retail pharmacy general dentistry optometrytable 2demographic characteristics of the transgender patient population at fenway health served in calendar year 2013 ( n = 1197)totalfemale - to - male ( ftm)male - to - female ( mtf)total
n
%
n
%
n
% 621
52 % 576
48 % 1197
100 % ageftmmtftotal mean age ( in years)28.5235.1531.71gender identityftm - nftm-%mtf - nmtf-%total - ntotal-% female81 % 24442 % 25221 % male28346 % 295 % 31226 % genderqueer or not exclusively male or female8714 % 478 % 13411 % missing / not reported24339 % 25644 % 49942 % race / ethnicityftm - nftm-%mtf - nmtf-%total - ntotal-%
white non - hispanic49480 % 38467 % 87873 % black356 % 499 % 847 % latino / hispanic295 % 6010 % 897 % asian244 % 315 % 555 % multiracial254 % 265 % 514 % other102 % 163 % 262 % missing / not reported41 % 102 % 141 % employment statusftm - nftm-%mtf - nmtf-%total - ntotal-% employed : unspecified10216 % 8815 % 19016 % employed : part - time285 % 122 % 403 % employed : full - time366 % 173 % 534 % employed : self - employed10 % 20 % 30 % unemployed184 % 224 % 403 % retired10 % 20 % 30 % student569 % 387 % 948 % other71 % 102 % 171 % not reported37260 % 38567 % 75763 % income categoryftm - nftm-%mtf - nmtf-%total - ntotal-% 100 % of poverty level and below27745 % 24543 % 52244 % 101150 % of poverty level335 % 315 % 645 % 151200 % of poverty level264 % 193 % 454 % over 200 % of poverty level11519 % 8915 % 20417 % refused to report569 % 6912 % 12510 % missing / unknown11418 % 12321 % 23720 % insuranceftm - nftm-%mtf - nmtf-%total - ntotal-% medicaid14624 % 20035 % 34629 % medicare366 % 8815 % 12410 % missing61 % 41 % 101 % none / uninsured274 % 376 % 645 % private40665 % 24743 % 65355 % hormonesftm - nftm-%mtf - nmtf-%total - ntotal-% yes50381 % 51389 % 101685 % no11819 % 6311 % 18115 % surgeryftm - nftm-%mtf - nmtf-%total - ntotal-% yes25441 % 12321 % 37731 % no12821 % 10218 % 23019 % unknown / not reported23938 % 35161 % 59049 % months at fenwayftmmtftotal mean length being a patient ( in months , since first visit)35.87 months ( 3 years)42.64 months ( 3.5 years)39.13 months ( 3 years , 1 month ) services provided as part of transgender healthcare at fenway health demographic characteristics of the transgender patient population at fenway health served in calendar year 2013 ( n = 1197 ) the number of transgender people getting their health care at fenway continues to grow , and fenway s model of care continues to dynamically evolve to meet the needs of the patient population . underlying
this approach is a philosophy of accessible , patient - centered care that views gender affirmation as routine part of primary care service delivery , not a psychological or psychiatric condition in need of treatment .
feedback and input from the transgender community through consultations with key opinion leaders and community forums is used to direct development of service delivery programs to ensure ongoing responsiveness of care .
part of the responsiveness to care needs voiced by the transgender community includes over 80 in - person clinical care and competency trainings of mental health and medical providers regionally and nationally conducted by the transgender health program since 2007 .
fenway health initiated one of the nation s first community - based hiv research programs in 1983.2 since then , the fenway institute ( tfi ) at fenway health has expanded in scope and broadened its mission to make life healthier for those who are lgbt , people living with hiv / aids , and the larger community through research and evaluation , education and training , and public health advocacy , resulting in many multidisciplinary publications .
tfi faculty members have been at the forefront of scientific and advocacy efforts to increase knowledge about transgender health.47 transgender research projects continue to steadily increase and represent a diverse portfolio.814 one area of focus in transgender health research at tfi is on methodological innovations , including data collection and measures for clinical care15 and population studies7,1618 and sampling research19 and study designs.20,21 tfi faculty have researched best methods to gather information in electronic medical records for the care of gender minorities and have advocated nationally for the systematic collection of gender - inclusive data such as preferred name and pronoun , assigned sex at birth , and gender identity.15,2224 tfi researchers have expanded transgender health collaborations globally , including but not limited to partnerships in latin america , the caribbean , portugal , and spain , india , vietnam , and amsterdam .
funding streams supporting transgender health research are diverse and include the national institutes of health ( nih ) , the patient - centered outcomes research institute ( pcori ) , and amfar the foundation for aids research .
for example , through nih funding , tfi researchers are testing a model of asset - based intervention to provide young transgender women ages 1629 years with skills that will enhance their resiliency and decrease their risk of acquiring or transmitting hiv.25 the model has been expanded to culturally tailor the intervention for young transgender men who have sex with men . in 2011 ,
the national lgbt health education center at tfi through funding from hrsa began expanded education and training efforts to improve care for transgender patients throughout the country .
this included collaboration between tfi and the fenway s clinical transgender health program to develop materials focused on improving clinical care center s front - line staff competency ( fig . 2 ) .
the education center regularly provides trainings on transgender health to health center - based and hospital - based programs around the nation and has six archived online webinars focused on transgender health needs in diverse populations ranging from the needs of youth to the needs of farmworkers .
collaborations between transgender health researchers nationally and globally are ongoing through the transgender working group at the center for population research in lgbt health at tfi.fig .
2collaboration between the national lgbt health education center , faculty at the fenway institute ( tfi ) , and transgender health program to address cultural competency of front - line health care staff to provide gender affirming care to transgender patients .
collaboration between the national lgbt health education center , faculty at the fenway institute ( tfi ) , and transgender health program to address cultural competency of front - line health care staff to provide gender affirming care to transgender patients .
the rapid and sustained growth of fenway health s transgender health care , research , education , training , and advocacy might be succinctly summarized by the mantra from the movie field of dreams : if you build it , they will come .
clearly there are many who have not had access to care simply because it did not exist .
fenway health s model of transgender clinical care has continued to grow exponentially , change , and dynamically evolve to meet the changing needs of local transgender patients and the changing health care delivery system .
the development of the most recent world professional association for transgender health ( wpath ) standards of care , version 7 in 2011 was informed in part by the success of fenway health s and other community health centers ( e.g. , callen lorde and tom waddell ) informed consent models of clinical care.26,27 fenway health , alongside several other community health centers , shaped standards for transgender people worldwide .
the integration of community assessment , research , education , training , and advocacy alongside clinical care provides a holistic public health model that highlights the key role of gender affirmation in caring for transgender people . in many ways ,
the evolution of transgender health at fenway health mirrors larger societal changes in conceptualizations of transgender people shifting away from pathology ( transgender as disorder ) to a strengths - based depathologization of human gender diversity ( transgender as
identity).28 adaptation and replication of fenway health s patient - centered , gender affirming model of transgender clinical care , research , education , training , and advocacy in other settings and contexts represents a unique future opportunity to meet the underserved needs of transgender people .
reducing transgender health inequities globally necessitates foregrounding gender affirmation in health care service delivery . clearly , many challenges exist to mainstreaming the care of transgender people . not the least of these are developing treatment algorithms which provide smart reminders to clinicians about the needs of transgender patients , much like
electronic systems remind providers to care for basic needs such as monitoring screening with tests like pap smears and mammography and prostate exams .
there is also work to be done with payers to advocate for coverage for transgender - related affirmative care including medical , behavioral , and surgical services in addition to providing for basic primary care needs in an inclusive manner . | pubmed |
Subsets and Splits