text
stringlengths 0
13.1M
| source
stringclasses 9
values |
|---|---|
James Robert Hoffman (June 12, 1932 – February 8, 2003) was an American prelate of the Roman Catholic Church. He served as Bishop of Toledo from 1981 until his death in 2003. He previously served as an auxiliary bishop of the same diocese from 1978 to 1980.
Early life
James Hoffman was born on June 12, 1932, in Fremont, Ohio. He studied at St. Meinrad Seminary in St. Meinrad, Indiana and St. Mary Seminary in Norwood, Ohio.
Hoffman was ordained to the priesthood by Bishop George Rehring for the Diocese of Toledo on July 28, 1957. He then served as a curate at the following Ohio parishes:
St. Peter's in Mansfield
St. Joseph's in Marblehead
Blessed Sacrament in Toledo
In 1966, Hoffman earned a Licentiate of Canon Law from the Catholic University of America in Washington, D.C. Hoffman was later named secretary to Bishop John Donovan and chancellor of the diocese. In addition to these duties, he also served as pastor of St. Joseph's Parish in Sylvania, Ohio.
Auxiliary Bishop and Bishop of Toledo
On April 18, 1978, Hoffman was appointed as an auxiliary bishop of the Diocese of Toledo and Titular Bishop of Italica by Pope Paul VI. He received his episcopal consecration on June 23, 1978, from Bishop Donovan, with Archbishop Joseph Bernardin and Bishop Albert Ottenweller serving as co-consecrators. Hoffman selected as his episcopal motto: "Omnia Omnibus", meaning, "All things to all men" ().
Hoffman was named by Pope John Paul II as the sixth bishop of Toledo on December 16, 1980. He was installed by Archbishop Bernardin at Rosary Cathedral in Toledo on February 17, 1981.
Hoffman was criticized for his handling of sexual abuse cases in the diocese, which had 11 lawsuits filed against it. In 1992, he placed the Rev. Robert J. Fisher in active ministry after the latter admitted to molesting a 14-year-old girl and spent 30 days in prison. He later suspended Fisher in 2002 due to "the media climate," but said he had no plans to remove other such priests. He later declared, "My difficulty with zero tolerance is that the Gospel teaches reconciliation. We believe in forgiveness."
James Hoffman died from cancer at the Ursuline Center in Toledo on February 8, 2003, at age 70. He is buried at St. Ann Cemetery in Fremont.
References
1932 births
2003 deaths
Roman Catholic bishops of Toledo
20th-century Roman Catholic bishops in the United States
Catholic University of America alumni
People from Fremont, Ohio | slim_pajama |
The Kamloops Formation is a geologic formation in British Columbia. It preserves fossils dating back to the Paleogene period.
See also
List of fossiliferous stratigraphic units in British Columbia
References
Category:Paleogene British Columbia | wikipedia |
How exactly does the reaction between alkyl halides and silver nitrite occur?
$$\ce{R-X + AgNO\_2 -> RNO\_2}$$
Now depending on the $\ce{R}$ and solvent the reaction can occur via $\mathrm{S\_N1}$ or $\mathrm{S\_N2}$.
When the reaction proceeds via $\mathrm{S\_N1}$ the product formed is $\ce{R-O-N=O}$ whereas for $\mathrm{S\_N2}$ it is $\ce{R-NO\_2}$.
Why is this so? According to me as the $\ce{Ag-O}$ bond is covalent the lone pairs on nitrogen must attack in both the cases forming the product $\ce{R-NO\_2}$.
>
> *The concept of hard and soft acids and bases (HSAB) proved to be
> useful for rationalizing stability constants of metal complexes. Its application
> to organic reactions, particularly ambident reactivity, has led
> to exotic blossoms. By attempting to rationalize all the observed
> regioselectivities by favorable soft–soft and hard–hard as well as
> unfavorable hard–soft interactions, older treatments of ambident
> reactivity, which correctly differentiated between thermodynamic and
> kinetic control as well as between different coordination states of ionic
> substrates, have been replaced. By ignoring conflicting experimental
> results and even referring to untraceable experimental data, the HSAB
> treatment of ambident reactivity has gained undeserved popularity. In
> this Review we demonstrate that the HSAB as well as the related
> Klopman–Salem model do not even correctly predict the behavior of
> the prototypes of ambident nucleophiles and, therefore, are rather
> misleading instead of useful guides. An alternative treatment of
> ambident reactivity based on Marcus theory will be presented.*
>
>
> — H. Mayr’s, M. Breugst’s and A. Ofial’s introductory remark in their review pulished in *Angew. Chem. Int. Ed.* **2011**, *50*, 6470. DOI: [10.1002/anie.201007100](http://dx.doi.org/10.1002/anie.201007100).
>
>
>
Within the review, in the section on the nitrite ion, the authors give two competing effects that control product distribution.
For electrophiles with an electrophilicity parameter $E < -3$ (the *bis*-(4-methoxyphenyl)carbenium ion has $E = 0$, lower values are more stabilised carbocations such as *bis*-(4-dimethylaminophenyl)carbenium) the reactions proceed at equilibrium under thermodynamic control and the product yields are equivalent to their relative stabilities. Since nitro compounds are more stable than nitrite esters, they predominate.
$$\ce{R-ONO <=> R+ + NO2- <=>> R-NO2}$$
For electrophiles with a parameter $E > 0$, the reactions are essentially diffusion controlled, i.e. the free electrophile will capture the first nucleophile it can find. This includes tertiary alkyl carbocations ($E \approx 7{-}8$). The reactions **do not** go through classical transition states, and any means of describing them *via* frontier orbitals must fail. **That explicitly includes describing them according to $\mathrm{S\_N1}$ or $\mathrm{S\_N2}$.** In these reactions, kinetic control determines that the $\ce{O}$-attack is slightly more likely with $k\_\ce{O} / k\_\ce{N} \approx 3.4$. (This corresponds to computational models that show a slightly smaller activation barrier for the oxygen attack.)
Reality is more complex than these simple models imply especially for the diffusion controlled reaction. While the attack of oxygen is favoured kinetically, the attack of nitrogen results in less required reordering of the molecule (the two $\ce{N-O}$ bonds would still be identical while they become $\ce{O-N=O}$ in the nitrite ester) which reduces the expected favourism for oxygen. Effects such as solvent and counterion slightly affect the product distribution, and the highest ratio of nitromethane : methyl nitrite can be achieved using $\ce{Bu4N+ NO2-}$ and $\ce{MeI}$ in $\ce{CDCl3}$ (a product ratio of $70\,:\,30$ in favour of nitromethane). Note that $\ce{AgNO2}$ and $\ce{MeI}$ in DMSO yield more methyl nitrate ($54\,:\,46$) although the same electrophile is used. The authors conclude the nitrite section with the statement:
>
> It should be noted, however, that the selectivities
> shown in [the table presented in the review] are also not related to the hardness of the electrophiles.
>
>
>
---
**Note**
Throughout this answer, electrophilicity parameters according to Mayr’s equation are used:
$$\lg k\_{20~\mathrm{^\circ C}} = s(E + N)$$
$E$ is a nucleophile-independent electrophilicity parameter while $s$ and $N$ are electrophile-independent nucleophilicity parameters.
---
**Bibliography**
A paper related solely to studying the nitrite anion: A. A. Tishkov, U. Schmidhammer, S. Roth, E. Riedle, H. Mayr, *Angew. Chem. Int. Ed.* **2005**, *44*, 4623. DOI: [10.1002/anie.200501274](http://dx.doi.org/10.1002/anie.200501274).
The review mentioned in the opening, concerning all sorts of ambient nucleophiles often explained *via* the HSAB concept: H. Mayr, M. Breugst, A. Ofial, *Angew. Chem. Int. Ed.* **2011**, *50*, 6470. DOI: [10.1002/anie.201007100](http://dx.doi.org/10.1002/anie.201007100).
Pearson's [HSAB theory](https://en.wikipedia.org/wiki/HSAB_theory) provides a simple explanation. When the reaction proceeds via $S\_N1$, a hard acid (electrophile) is firstly generated (the carbocation) which interacts with the harder part of the nitrite anion an that's the oxygen-hard nucleophile. The $S\_N2$ proceeds smoothly for the pair soft nucleophile–soft electophile.
In the given example the soft electrophilic carbon reacts with the soft center of the nitrite anion, and that's the nitrogen atom. In the former case, the silver coordinated to the oxygen definitely weakens its nucleophilicity. The formed carbocation has to be pretty hard and not so much stabilized by the solvent for the O-attack to be operative.
| stackexchange/chemistry |
Trying to figure out the mathematics behind the classical superhero lift-by-the neck [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 3 years ago.
[Improve this question](/posts/570505/edit)
I recently got into a debate about the classical villain or hero move of lifting an adversary by the neck. We've all seen the one-arm or even two-arm lift and i made the case that even two arms against a wall would be a close-to impossible feat by any human but of course the relative strength and weight has a say in this. That is why im posting this question here.
**How would one do the math, taking into account joints and levers (shoulder, elbow, upper arm and forearm) the relative angle/height and weight plus the wall(?), on the two-arm against a wall lift**
*(the one-arm would be cool as well, but lets look at the "easy one" from a human capability point of view.)*
I would guess most of the torque needs to be generated by the shoulders just like a front delt raise of sorts to even lift someone maybe with a lot of static force by biceps and hands.
Please feel free to add in details i have overlooked.
**Thank you**
[](https://i.stack.imgur.com/KtNe3.jpg)
We are pretty startling creatures.
I don't have any experience lifting people up by the neck. Those who do tend not to spend much time answering stack exchange questions. And so, I go to videos.
This video shows a [front raise](https://youtu.be/t-h0T3dE8t4?t=320) workout by bodybuilder Seth Feroce. I can't see the numbers on the weights very well, but based on the numbers on the weights in his [instructional video](https://www.youtube.com/watch?v=ALNyDCkW9y8), I think he's working out with 40-50 pound weights. And mind you, he's doing this for "fun" and doing many many reps. I think its safe to assume that he could do much more if he was doing a single rep.
One also has to consider the psychology of the situation. In scenes like the picture you posted, the villain is angry. The human body actually holds back a *lot*, to avoid injuring itself. We have stress sensors in our tendons that can actually shut off our muscles if they come under too much strain. However, these sensors can be turned off by the brain. When you hear stories of mothers lifting a car, that's what can be done by the human body when it really needs to. The price is that you tear muscles and tendons and may need weeks of rehabilitation afterwards (or you may never be the same at all).
And, of course, we have to consider the strength of the hand required to lift a person. A lot depends on hand shapes, but between [bodybuilders](https://youtu.be/7ArJeC7oagw?t=42), [climbers](https://www.youtube.com/watch?v=84OkzOIfphg), and [gymnasts](https://www.youtube.com/watch?v=vdjWgw98EeI) there is a lot of evidence to suggest the structure of the hand can hold a bodyweight without that much trouble.
Now, you ask for math. You aren't going to get any from me. It turns out the biomechanics of the human body are astonishingly complicated compared to the nice easy diagrams of levers and pulleys we see in textbook problems. It keeps surprising me every time. Some of the behaviors, like force-velocity curves of our muscles are rooted in CFD modeling of the liquid inside our muscle cells, and nearly all of our muscles and bones in our body are in some [tensegrity](https://en.wikipedia.org/wiki/Tensegrity) like layout, which are quite strong and flexible and notoriously hard to calculate equations of motion for.
A major example is how you actually lift someone in such an awkward angle. Sure, you can do a nice easy textbook physics problem by doing a front lift. But if you really want someone in the air, that's not how you do it. Instead, you bend your knees a little, get under them, and then rise up. Why does this work better? A peculiarity of our muscles, our muscles are actually stronger in isometric contraction than in concentric contraction. In fact, they are about [3 times stronger](http://muscle.ucsd.edu/musintro/props.shtml), which means that if you can do a front-press of 70 pounds, you can hold your position against a load of about 210 pounds. Thus, to get more apparent strength, you bend at your knees a little to make it easier to get your arm into position, before lifting them with your legs rather than your biceps or delts.
The real limiting factor of this kind of lift is that the person you are lifting is squirming. I think much of the terror in these scenes is how the intimidating posture of the villain causes the good guy to become calm and complicit, afraid to act out for fear that the villain will snap their neck. Lifting a squirming body is *much* harder than lifting dead weight.
The one certain physics requirement is that the center of their combined bodies must be over the villain's foot. If the villain does not lean back a little or shove the good guy up against a wall, then the villain will simply tip over and there's nothing that can be done about it. (Unless you have access to the force, in which case you write your own physics textbooks)
I would add the following to strengthen your argument. Consider the free-body diagram of a forklift. If the center of the 2-body mass is not supported directly under the lifter then the system will tip. You often do not see the villain repositioning his footing so that at least one foot is directly under the center of mass. It doesn't matter how strong any of his muscles are, the two-body system would then tip over.
| stackexchange/physics |
What's the necessary and sufficient condition for the expectation value of an measurement to be constant?
For operator $A$, the famous equation from Heisenberg picture (see: [Time Variation of Expectation Value](http://www.eng.fsu.edu/~dommelen/quantum/style_a/schrodc.html) ) stated that, since
$$\frac{d A}{dt}=\frac{i}{\hbar}\left[H,A\right]+\left(\frac{\partial A}{\partial t}\right) ,$$
if $[H,A]=0$ and $A$ does not explicitly dependent on time, then the expectation value of $\langle A\rangle$ was a constant.
However, I'm wondering if that's true only for system possible to be described by the Heisenberg picture. (Possible mistake I.) Is it possible for it to be different in other pictures?
In that case, do we need to prove that all system can be written in either Heisenberg picture / Schrödinger picture? Or the "minimal condition for the system" be able to expressed in either Heisenberg picture / Schrödinger picture?)
Counterxample:
**Example 1**: In [Rabi cycle](https://en.wikipedia.org/wiki/Rabi_cycle), the energy states and expectation $\langle H\rangle$ definitely changes.
**Example 2**: In interaction picture, like [Jaynes Cumming model](https://en.wikipedia.org/wiki/Jaynes%E2%80%93Cummings_model), with the presents of $\hat{H}\_{int}$, things also become complicated. (Is it guaranteed that $[\hat{H}\_{int},\hat{H}\_{atom}]\neq 0$ because of the physical interpretation?)
What's the necessary and sufficient condition for the expectation value of $A$ to be constant? Does the statement in Heisenberg true for all the system? Or if there's any more generalized statement?
1. The dynamics of every quantum system can be expressed in both the Schrödinger and Heisenberg pictures, and the two descriptions are formally equivalent.
In other words, for whatever calculation you would like to perform, the outcome of the calculation does not depend on the chosen picture.
(This situation is quite analogous to mechanics, where you are allowed to choose any inertial coordinate system for your calculations.)
2. The expectation value of an operator depends on the state of your system. We must thus distinguish two different questions. (a) Under which condition is the expectation value of $A$ constant, no matter which state the system is in? (b) Under which condition is the expectation value of $A$ constant, given that the initial state of the system is $|\psi\rangle$?
3. Both questions can be answered in the Heisenberg picture using the time evolution equation you provided.
(a) The expectation value of $A$ is constant in all states if and only if $\frac{\mathrm dA}{\mathrm dt} = 0$, i.e.,
$$ \frac{\mathrm i}{\hbar} [H,A] + \frac{\partial A}{\partial t} = 0 . $$
(b) The expectation value $\langle A \rangle\_\psi \equiv \langle \psi | A | \psi \rangle$ is constant if and only if $\langle \frac{\mathrm dA}{\mathrm dt} \rangle\_\psi = 0$, i.e.,
$$ \frac{\mathrm i}{\hbar} \langle \psi | [H,A] | \psi \rangle + \langle \psi | \frac{\partial A}{\partial t} | \psi \rangle = 0 . $$
4. In Rabi oscillations, the Hamiltonian is explicitly time-dependent, therefore $\frac{\mathrm dH}{\mathrm dt} = \frac{\partial H}{\partial t} \neq 0$.
| stackexchange/physics |
Toy is an unreleased album by English musician David Bowie, recorded for release in 2001, and leaked onto the Internet in 2011. Although Bowie had begun recording the album intending to feature new versions of some of his earliest pieces as well as three new songs, its sessions led him to Heathen 2002 and it was never released officially.
Recording and production
Bowie recorded the album Toy for release in 2001 or 2002. It was meant to feature some new songs and new versions of some of his lesser-known songs from the 1960s. Toy remains officially unreleased. In 2001, on his own site, Bowie participated on a virtual chat with fans and when one of them asked about the release of Toy, he replied: I'm finding EMI/Virgin seem to have a lot of scheduling conflicts this year, which has put an awful lot on the back burner. Toy is finished and ready to go, and I will make an announcement as soon as I get a very real date. Meantime, I'm already started writing and recording for another album untitled at the moment. So far I have to say it's back to experimental. But knowing me, it doesn't mean that's how it'll turn out. I shall be writing and recording throughout the summer, but daddyfying is really my priority at the moment.
Tony Visconti would later say that Bowie was 'hurt terribly' by the label's refusal to release Toy and as a result, Bowie left Virgin/EMI and announced in March 2002 that he had signed an agreement with Columbia Records to launch the new album Heathen via his own ISO label instead. Several of the Toy tracks were then released as single B-sides and Bowie announced his intention to continue to release tracks as specials for CD singles so that not too much time goes on before they are available. Then, along with all the other tracks, gather them all up an release them as an album.
Alternative versions
Liza Jane was Bowie's debut single, released under the name Davie Jones with the King Bees. You've Got a Habit of Leaving was his third single, credited to Davy Jones but recorded with his then band the Lower Third. The original version of Silly Boy Blue appeared on Bowie's eponymous debut album, and several other versions of these songs were released during Bowie's early career including I Dig Everything, Baby Loves That Way, as collected on Early On 19641966, and In the Heat of the Morning, and The London Boys, as collected on The Deram Anthology 19661968. A version of Conversation Piece was recorded and released in 1970. Shadow Man was allegedly recorded during the sessions for Ziggy Stardust.
Uncle Floyd retitled Slip Away and Afraid were later released on Heathen, Baby Loves That Way, Shadow Man, and You've Got a Habit of Leaving were released as B-sides to Heathens singles, and Conversation Piece was included on the limited-edition bonus disc of Heathen in 2002.
The songs Let Me Sleep Beside You, Your Turn to Drive and Shadow Man are included on the 3-CD Deluxe edition of Bowie's 2014 compilation album Nothing Has Changed, which also includes the original versions of In the Heat of the Morning, Silly Boy Blue, You've Got a Habit of Leaving and Liza Jane.
Track listing
This is the track listing of the version of the album leaked in 2011,Discogs - Toy - the Lost Album - images, ISO Records COL 502001 1 which is rumored to be different from the originally intended version.
All songs written by David Bowie, except Liza Jane which is credited to Leslie Conn.Other releases of Toy songs'''
Heathen - Uncle Floyd Renamed Slip Away, Afraid
Heathen Bonus Disc - Baby Loves That Way, Conversation Piece, Shadow Man, You've Got a Habit of Leaving
Nothing Has Changed Deluxe Edition - Let Me Sleep Beside You, Toy Your Turn to Drive, Shadow Man
Personnel
Recorded at Sear Sound, in Hell's Kitchen, Manhattan. Overdubs and Mix at the Looking Glass Studios, in NoHo, Manhattan.
Mixed by Mark Plati.
Engineered by Pete Keppler.
Musicians
David Bowie: vocals, keyboards, stylophone, mandolin
Earl Slick: guitar
Gail Ann Dorsey: bass
Mark Plati: bass, guitars
Sterling Campbell: drums
Lisa Germano: violin
Holly Palmer: backing vocals
Emm Gryner: backing vocals
Gerry Leonard: guitars
Mike Garson: piano
Tony Visconti - string arrangements
External links
Buckley, David 2005 [First published 1999]. Strange Fascination David Bowie: The Definitive Story. London: Virgin. .
Pegg, Nicolas 2002. The Complete David Bowie''. Reynolds and Hearn. .
References
Category:David Bowie albums
Category:Unreleased albums
Category:Albums arranged by Tony Visconti
Category:Albums produced by Mark Plati | wikipedia |
Why is the pKa of the thiol group in N-acetylcysteine higher then the pKa of the thiol group in cysteine?
I understand why cysteine has a $\mathrm pK\_{\mathrm a}$ of 8.3. But the $\mathrm pK\_{\mathrm a}$ of thiol in *N*-acetylcysteine is 9.27. Since there is an acetyl group attached to the nitrogen, doesn't this lower the $\mathrm pK\_{\mathrm a}$ *via* the inductive effect?
Shown below are the relevant ionization events of cysteine and N-acetylcysteine. The question is asking about the second ionization of each, the deprotonation of the thiol groups, but we see a similar difference in pKas for the carboxylic acid groups as well. The difference in each case is an ammonium group vs. an acylated nitrogen. It's true that the acetyl group is an electron withdrawing group, but it turns out that the cationic ammonium group is even more inductively electron withdrawing. For both the first and second ionizations, the difference in electron withdrawing power is enough to lower the pKa by >1 pKa unit.
[](https://i.stack.imgur.com/rnTUd.png)
iad22agp's explanation is a good way of rationalizing this. Looking at the first ionization, cysteine is cationic while N-acetyl cysteine is neutral. Since the rest of the structures are similar, we would assume that it's easier to take a positive charge away from a positively charged compound than a neutral compound. Similarly looking at the second ionization, it's easier to take a positive charge away from a neutral compound than a compound that's already negatively charged.
pKa refs: [cysteine](http://www.cem.msu.edu/~cem252/sp97/ch24/ch24aa.html), [N-acetylcysteine](http://toxnet.nlm.nih.gov/cgi-bin/sis/search/a?dbs%20hsdb:@term%20@DOCNO%203003)
Assume you are titrating the substance with base. You are already at pH 7 and going up. Removing a proton from a zwitterion (cysteine) to form an anion will require less energy than removing a proton from an already anionic species (N-acetylcysteinate anion) to form a dianion.
| stackexchange/chemistry |
Do catalysts increase the rate of exothermic reaction more in a reversible reaction?
I'm just learning chemistry for school and I've learnt that adding a catalyst reduces the activation energy for the forward and backward reaction by equal amounts, therefore the rate of forward and backward reaction increase by the same amounts so equilibrium stays the same but is reached more quickly.
I'm having some trouble understanding this. I know that the activation energy of the exothermic reaction is always smaller than that of the endothermic reaction. So thinking about the Maxwell Boltzmann distribution, a change in $E\_a$ near to $0$ will have a greater effect on the rate of exothermic reaction than the endothermic reaction. Therefore, a catalyst should cause equilibrium to shift to the exothermic side?
Look at the form of the Arrhenius rate equation (this is fine since they mostly all have this form):
$$k = Ae^{-\frac{E\_{a}}{RT}}$$
If you make the substitution, $E\_{a}->E\_{a}+\Delta E$, then you have:
$$k = Ae^{-\frac{E\_{a} + \Delta E}{RT}} = Ae^{-\frac{E\_{a}}{RT}}e^{-\frac{\Delta E}{RT}}$$
This means that you're just scaling the rate constant $k$ by another constant. This scaling applies to both the forward and reverse rate constants. If the concentrations were such that they were in equilibrium before, they're still in equilibrium now.
You'd have to prove this in general for complex reactions with complicated rate laws, but for simple reactions, this should suffice to help you see that the equilibrium is unaffected.
| stackexchange/chemistry |
Pulsed source in Finite Difference Time Domain simulations
I want to simulate a resonator cavity with a medium inside with FDTD method. The medium has a resonant frequency $\omega\_R$. I want to find ratio of outgoing $P\_{out}$ power to the incoming power $P\_{in}$ at the frequency $\omega$:
$A(\omega)= \frac{P\_{out}}{P\_{in}}$
Currently, I use a continuous wave (CW) source at a fixed frequency. I slowly ramp the amplitude of the source and wait until the the steady state. I added a small damping to the medium. But even with the damping the resonance causes numerical problems, since the amplitude becomes very large at the resonance.
**The question:**
Is possible to use a pulsed source and still be able to obtain $A(w)$? This way the amplitude, will not become too large and numerical problems will be avoided. I am worried that the steady state is not achieved when the pulse is used as a source.
**Appendix:**
The simulations are in 2D. The medium is a magnetized plasma. The geometry is shown in the figure below.
[](https://i.stack.imgur.com/2mIg1.png)
It sounds to me like you are interested in the resonator **quality factor** $Q$ (please correct me if I'm wrong), which can be roughly defined as
$$
Q = \frac{\mbox{stored energy}}{\mbox{energy dissipated per period}}.
$$
Since you are using a pulsed source, I guess you want to use the **ring-down method** to estimate $Q$: switching-off the driving signal leads to a decay of the stored energy (due to the dissipation) and the decay time $\tau$, the $1/e$ time, is proportional to $Q$,
$$
Q = \tau\cdot\omega\_R,
$$
with the resonance frequency of the system $\omega\_R$.
To finally answer your question, yes, in my understanding it should definitely be possible to measure the quality factor with a pulsed source in your FDTD-code.
The numerical instability you mentioned is a separate topic, does that occur at the metallic walls? If so, how have you modelling/realized your metal walls?
| stackexchange/physics |
Values for heat of reaction example
I am currently studying the textbook *Mass Spectrometry*, third edition, by Jürgen H. Gross. Chapter **2.4.3 Bond Dissociation Energies and Heats of Formation** says the following:
>
> **Energetics of $\ce{H}^\bullet$ loss from $\ce{CH\_4^{+ \bullet}}$** The minimum energy needed to form a $\ce{CH\_3^+}$ ion and a hydrogen radical from the methane molecular ion can be estimated from the heat of reaction, $\ce{\Delta H\_r}$, of this process. According to Fig 2.6, $\ce{\Delta H\_r} = \ce{AE\_{(CH\_3^+)}} - \ce{IE\_{(CH\_4)}}$. In order to calculate the missing $\ce{AE\_{(CH\_3^+)}}$ we use the tabulated values of $\ce{\Delta H\_{f(H^\bullet)}} = 218.0 \ \text{kJ mol}^{-1}$, $\ce{\Delta H\_{f(CH\_3^+)}} = 1093 \ \text{kJ mol}^{-1}$, $\ce{\Delta H\_{f(CH\_4)}} = -74.9 \ \text{kJ mol}^{-1}$, and $\ce{IE\_{(CH\_4)}} = 12.6 \ \text{eV} = 1216 \ \text{kJ mol}^{-1}$. First, the heat of formation of the methane molecular ion is determined based on the experimental value of $\ce{IE\_{(CH\_4)}}$:
>
>
> $$\ce{\Delta H}\_{f(CH\_4^{+\bullet})} = \ce{\Delta H\_{f(CH\_4)}} + \ce{IE\_{(CH\_4)}} \tag{2.14}$$
>
>
> $$\ce{\Delta H}\_{f(CH\_4^{+\bullet})} = -74.9 \ \text{kJ mol}^{-1} + 1216 \ \text{kJ mol}^{-1} = 1141.1 \ \text{kJ mol}^{-1}$$
>
>
> Then, the heat of formation of the products is calculated from:
>
>
> $$\ce{\Delta H\_{f(prod)}} = \ce{\Delta H\_{f(CH\_3^+)}} + \ce{\Delta H\_{f(H^\bullet)}} \tag{2.15}$$
>
>
> $$\ce{\Delta H\_{f(prod)}} = 1093 \ \text{kJ mol}^{-1} + 218 \ \text{kJ mol}^{-1} = 1311 \ \text{kJ mol}^{-1}$$
>
>
> Now, the heat of reaction is obtained from the difference
>
>
> $$\ce{\Delta H\_r} = \ce{\Delta H\_{f(prod)}} - \ce{\Delta H}\_{f(CH\_4^{+\bullet})} \tag{2.16}$$
>
>
> $$\ce{\Delta H\_r} = 1311 \ \text{kJ mol}^{-1} - 1141.1 \ \text{kJ mol}^{-1} = 169.9 \ \text{kJ mol}^{-1}$$
>
>
> The value of $169.9 \ \text{kJ mol}^{-1}$ ($1.75 \ \text{eV}$) corresponds to $\ce{AE\_{(CH\_3^+)}} = 14.35 \ \text{eV}$, which is in good agreement with published values of about $14.3 \ \text{eV}$ (Fig. 2.7).
>
>
> [](https://i.stack.imgur.com/Y7HcS.png)
>
>
>
**Note**: The amount of energy needed to be transferred to the neutral $\ce{M}$ to allow for the detection of the fragment ion $m\_1^+$ is called the *appearance energy* ($AE$) of that fragment ion.
>
> [](https://i.stack.imgur.com/4zBn5.png)
>
>
> [](https://i.stack.imgur.com/HgOVR.png)
>
>
> [](https://i.stack.imgur.com/6gFxS.png)
>
>
> [](https://i.stack.imgur.com/9x6fP.png)
>
>
>
Taking the values from Fig. 2.7 and using [this](http://www.colby.edu/chemistry/PChem/Hartree.html) calculator, we get that $1311 \ \text{kJ mol}^{-1} = 13.588 \ \text{eV}$ and $1386 \ \text{kJ mol}^{-1} = 14.365 \ \text{eV}$.
Unless I have made a mistake or am misunderstanding something, these values do not agree with what the author has presented. It seems that, if we take the values from Fig 2.7, the value of $169.9 \ \text{kJ mol}^{-1}$ ($1.75 \ \text{eV}$) corresponds to $\ce{AE\_{CH\_3^+}} = 13.588 \ \text{eV}$, which implies that the published value should be around $14.365 \ \text{eV}$.
So has the author made a small mistake here? Or am I misunderstanding something?
I would greatly appreciate it if people would please take the time to review this.
The exercise in question is a prediction of the appearance energy of the methyl cation fragment $\ce{CH3+}$. The authors predict that value by estimating the enthalpy for the reaction of methane ionization followed by loss of a hydrogen atom. The enthalpy change estimation is based on published values for heats of formation and bond dissociation energies that have been determined experimentally.
The values presented, however, are rounded to the nearest integer or tenth, and the authors continue to round values during the explanation. For example, 12.6 eV is converted to the closest integer value of 1216 kJ/mol. All values in Fig 2.7 are presented as integers.
There seem to be two possible explanations for the final value being given as 14.35 rather than your calculated value of 14.365. Most likely, the authors have chosen to round to the nearest multiple of 0.05 rather than the nearest tenth or hundredth. Alternatively, they could have used unrounded values throughout the calculation rather than the rounded numbers presented in the step-by-step description. Either way, the difference is insignificant relative to the (im)precision with which the value can be predicted or experimentally determined.
| stackexchange/chemistry |
Why does symmetrical distribution of electrons in d and f orbital lead to greate stability of these or orbitals in comparison to s orbital? [closed]
**Closed**. This question needs [details or clarity](/help/closed-questions). It is not currently accepting answers.
---
**Want to improve this question?** Add details and clarify the problem by [editing this post](/posts/166226/edit).
Closed last year.
[Improve this question](/posts/166226/edit)
My high school textbook mentions the following as on of the reason for why Cr and Cu have thier 3d orbitals filled completely before their 4s orbital.
>
> The extra stability of d and f orbital is due to:
> Symmetrical distribution of electron :It is well known that symmetry leads to stability . The completely filled or half - filled subshell have symmetrical distribution of electron in them and are therefore more stable . This effect is more dominant in d and f - orbitals . This means three or six electrons in p - subshell , 5 or 10 electrons in d subshell and 7 or 14 in f - subshell forms a stable arrangement
>
>
>
I don't understand why symmetry should lead to greater stability. So I asked my teacher but I was unsatisfied by the explanation and looked over some books and websites but I couldn't understand why symmetrical distribution of electrons should lead to greater stability.
The completely filled s orbital also has Symmetrical Distribution of electrons(at least According to me ,correct me if am wrong) so why are the d orbitals filled completely before the s orbital?How does symmetry leads to greater stability?
I tried to add this as a comment, but I don't have 50 reputation points so I'm replying here.
I don't think symmetry of half-filled orbitals plays much of a role in the stability, look at the electronic configurations of Nb, Tc, Ru, Pt for example. They too have exceptional electronic configurations where the electron enters d orbital instead of s orbital, but in their cases it is not due to partial or full filling of the d orbital. Also, W (tungsten) has a configuration of d4s2, and not d5s1 as would be expected had symmetry of orbitals been the sole reason for stability.
I can't prove this, but it might be because s orbital being small and spherical in shape has less distribution of electrons, and consequently has greater electron-electron repulsion as compared to the d orbital, which might be resulting in these particular electron configurations with an electron in the d orbital instead of the s orbital to be more energetically favourable by having less e--e- repulsions.
| stackexchange/chemistry |
it seems that a paper with this title should necessarily start with a list of the reasons that make us believe that there should be an effective description of qcd in terms of strings@xcite .
the more commonly cited arguments are the dominance of planar diagrams in the large @xmath1 limit@xcite ` filling in ' a surface ( interpreted as the world - sheet of a string ) , the expansion in terms of surfaces built out of plaquettes in strong - coupling lattice qcd@xcite , and the success of regge phenomenology@xcite , which can ultimately be understood in terms of string theory ideas ( although , as we will discuss a little bit later , the actual regge theory that corresponds to qcd can not be derived , at present , from any known string theory ) . to these
we could add two more reasons .
one is the appearance in string theory of the universal ( at long distances ) lscher term@xcite .
the static inter - quark potential provided by the string @xmath2 gets modified by quantum fluctuations by a coulomb - like piece @xmath3 . while for the heavy quark bound state calculations it is perturbative qcd ( complemented with some non - perturbative corrections ) that is applicable , and not the string regime , the lscher term is quite useful . finally , and in a completely different context , namely that of deep inelastic scattering , the evolution of the parton distribution down to low values of @xmath4 ( around ( 2 gev)@xmath5 ) leads@xcite to a low @xmath6 behavior for the structure functions of the form @xmath7 , while regge theory predicts @xmath8 , in striking good agreement . in the last years
the possibility of describing some non - abelian gauge theories in terms of string theories has become a reality thanks to the ads / cft relationship@xcite .
unfortunately , the gauge theories that one can describe , or rather solve , in this way possess an unrealistically large number of supersymmetries . breaking this large amount of supersymmetry to the realistic case of @xmath9 while decoupling the unwanted degrees of freedom from long - distance physics has proven to be a formidable task and one in which not much success has been attained yet .
it should be clear to the reader from the very beginning that we are not addressing in this paper these deep and fundamental issues .
yet , it is clear that the mentioned theoretical developments give credence to the idea that there must be some kinematic regime where the simplest bosonic string , obtained after integrating out all the remaining degrees of freedom made heavy by the breaking of supersymmetry , must provide an approximately valid description .
in fact it is highly questionable where one should expect a string description to be exactly valid for real , non - supersymmetric , four - dimensional , asymptotically free qcd , as a string does not seem to be the natural language to understand high - energy processes in deep - inelastic scattering where the point - like structure of quarks and gluons is apparent
. we should probably be less ambitious and satisfy ourselves with an effective description .
we subscribe this point of view and think of strings as effective theories and not worry at all about their mathematical consistency as fundamental objects .
it is surprising that even with this limited scope all known string theories fail to provide a description of low energy qcd . to see how this comes about
let us recall the original veneziano amplitude@xcite .
the original motivation for this _ ad hoc _ formula was to provide a description of hadrons that manifestly exhibited duality . while the evidence for duality was rather weak@xcite , at the time this amplitude sparked nambu@xcite to suggest that it should originate in bosonic string theory .
after decorating the veneziano amplitude with the appropriate chan - paton@xcite factors , it is supposed to describe the scattering amplitude of four pions @xmath10 @xmath11 where @xmath12 is the regge trajectory .
the regge trajectory slope is determined , after a fit , to be @xmath13 gev@xmath14 @xcite we immediately recognize that there are poles in the @xmath15-channel whenever @xmath16 .
thus a tachyon is present for @xmath17 and we see the first of the problems alluded to in the abstract appearing .
furthermore the second ( @xmath18 ) state ( which we should identify with the rho particle ) is massless .
this is the second one of the problems we alluded to . shortly afterward
, supersymmetry was introduced in string theory@xcite , but unfortunately most of the difficulties with the bosonic string are still present in supersymmetric string theory when one applies it to the present context .
the relevant amplitude for our purposes is the four tachyon amplitude @xmath19 now @xmath20 is the so - called @xmath21-trajectory which in regge theory describes exchanges of particles with positive @xmath22-parity .
this is the lovelace - shapiro amplitude and it contains no tachyonic poles .
could it then be a candidate to describe pion scattering ?
the answer is no .
it does not have the appropriate adler zero , i.e. the property that at @xmath23 the pion scattering amplitude vanishes .
and although it has no tachyons in the intermediate channel , unfortunately , the vertex which is supposed to represent the pion is a tachyon itself .
furthermore , the first resonance in the @xmath21-trajectory ( supposed to represent the physical @xmath21 particle ) has zero mass .
all in all , one is at the same dead end .
a fix@xcite to this problem consists in arbitrarily changing the intercept in @xmath24 . indeed , if we write @xmath25 and use eq .
( [ neveu ] ) , the resulting amplitude has poles in the @xmath15 or @xmath26-channel when @xmath27 .
it has no tachyons and the first pole , which is massive , can be identified with the @xmath21 particle .
furthermore , the previous amplitude has the right adler zero . expanding this amplitude in powers of @xmath15 and @xmath26 and comparing with the amplitudes obtained from an effective lagrangian , polyakov and vereshagin@xcite found that @xmath28 , which numerically turn out to be quite acceptable values was established earlier in bosonization models @xcite and in the chiral quark model@xcite by means of a derivative expansion of quark determinant .
however at that time its possible connection with a string description of qcd was not recognized . ] .
unfortunately , no known string theory leads to such a fix in the intercept , and hence the intercept by adding additional terms in the string action , rigidity , for instance@xcite or imposing constraints on the string motions@xcite .
however spectroscopy suggest that while such terms might exist they are probably of limited influence .
moreover the conformal invariance of a modified string becomes questionable . ] .
it is believed that the ultimate reason for the presence of a tachyon in the spectrum lies in a wrong choice of the vacuum@xcite . since the choice of the spin zero vertex operator , @xmath29 , is based on the lorentz properties alone , it is the same both for scalar and pseudoscalars and , accordingly , both scalars and pseudoscalars have tachyonic poles in the @xmath15-channel on account of parity conservation .
the situation is thus parallel to the one in multicomponent @xmath30 theory with @xmath31 , where perturbing around @xmath32 gives negative @xmath33 values for all components .
it is natural to assume that the amplitudes obtained through the use of the canonical vertex operators correspond to ( unphysical ) amplitudes for excitations perturbed around the wrong , unphysical vacuum .
these ideas have in fact been around for a long time , but no one appears to have implemented them in any practical way . in a previous paper@xcite by some of the present authors a possible line of attack was suggested .
the idea is the following . given that with the present string theory technology it is impossible to find the ` true ' vacuum , let us assume that the vacuum is non - perturbative in string creation and annihilation operators and that it actually corresponds to the true qcd vacuum . in this case ,
the relevant ( lightest ) degrees of freedom are the ones emerging after the spontaneous breaking of chiral symmetry . in the physical vacuum of qcd
there is a clear distinction between scalars ( sigma particle ) and pseudoscalars ( pions ) .
the sigma particle is just another hadronic resonance with a mass in the 1 gev region and without any specially important role to play .
the massless pseudoscalars , on the other hand , can be collected in a unitary matrix @xmath34 which under chiral transformations belonging to @xmath35 transforms as @xmath36 and describes excitations around the non - perturbative vacuum . from the string point of view @xmath34 is nothing but a bunch of couplings involving the string variable @xmath6 .
our goal is to find a consistent string propagation in this non - perturbative background .
a crucial property of string theory is , undoubtedly , conformal invariance .
this amounts to demanding that the theory is independent of the specific conformal factor chosen to describe the two - dimensional world sheet .
while this is a desirable and , as a matter of fact , a crucial property of fundamental strings , it might not be necessarily so for the qcd string ( if we look at the qcd string with a magnifying glass we shall eventually see quarks and gluons , not the string itself ! ) .
however in the limit of large @xmath37 the qcd hadronic amplitudes are saturated by gluon fishnet diagrams among which any higher order samples give , in principle , a comparable contribution .
thereby it appears plausible that there should be no dependence on a specific choice of configuration describing a dominating gluon propagation .
therefore the hadronic string action should obey reparameterization invariance of diagram surfaces and conformal invariance . since conformal invariance must hold when perturbing the string around any vacuum , perturbative or not , we have a powerful tool at our disposal , namely to couple the chiral field @xmath34 to the string degrees of freedom and demand conformal invariance .
exactly in the same way as einstein equations are derived from string theory@xcite by requiring the vanishing of the beta function for an external metric @xmath38 .
this approach was followed in @xcite with mixed success .
the lowest order chiral lagrangian , or rather the equations of motion coming from it , were obtained and the whole approach seemed consistent .
unfortunately , the @xmath0 coefficients were identically zero .
experimentally these are numbers of order @xmath39 .
we have now found out the reason for this failure .
it turns out that the action considered in @xcite is only a particular case of the general case , and one that does not allow a proper treatment of the unitarity condition of the external source @xmath34 .
when the general case is considered , unitarity and locality can be implemented consistently at least at the order we have worked and , as a consequence of the new terms in the action , new divergences and hence new contributions to the beta function for @xmath34 appear .
these lead to @xmath0 terms in the effective lagrangian .
these are the results we would like to report here .
the hadronic string in the conformal gauge is described by the conformal field theory action in the four dimensional euclidean space - time @xmath40 where for @xmath41 one takes @xmath42 the conformal factor @xmath43 is introduced to restore the conformal invariance in @xmath44 dimensions , and this is the only way it enters the theory .
the regge trajectory slope ( related to the inverse string tension ) is known to be universal @xmath45 gev@xmath14 @xcite .
we would like to couple in a chiral invariant manner the matrix in flavor space @xmath34 containing the meson fields to the string degrees of freedom while preserving general covariance in the two dimensional coordinates and conformal invariance under local scale transformations of the two - dimensional metric tensor .
the equations of motion for the @xmath34 field will then be obtained from the condition that the quantum theory must be conformally invariant , i.e. the @xmath46 functional for the @xmath34 couplings must vanish .
since the string variable @xmath6 does not contain any flavor dependence , we have to invent a way to couple it to the background @xmath34 variable .
we introduce two dimensionless grassmann variables ( ` quarks ' ) , or rather several families of them , living on the boundary of the string sheet : @xmath47 which transform in the fundamental representation of the light flavor group ( @xmath48 in the present paper ) . a local hermitean action @xmath49 is introduced on the boundary @xmath50 to describe the interaction with background chiral fields @xmath51 where the normalization scale @xmath52
, the weak pion decay constant , is introduced to relate the field @xmath53 to a @xmath54-meson one .
the boundary lagrangian is chosen to be reparameterization invariant and in its simplest minimal form reads @xmath55 herein and further on a dot implies a @xmath56 derivative : @xmath57 . in order to arrive to eq .
( [ lag ] ) a number of field redefinitions have been made .
it is impossible to simplify eq .
( [ lag ] ) any further .
details are given in appendix a. a further restriction is obtained by requiring @xmath58 invariance .
there are two @xmath58-like transformations .
the first one is @xmath59 the above lagrangian is @xmath58 symmetric for @xmath60 .
the second one is @xmath61 under this transformation the lagrangian becomes invariant only for @xmath62 .
we interpret the first @xmath58 transformation as the physical one and the one which one should require of a lagrangian describing strong interactions .
the above coupling may appear surprising at first and somewhat _
ad hoc_. to see that this is not so , let us expand the non - linear field @xmath34 , i.e. @xmath63 and retain the first two terms .
the first term just gives rise to a @xmath64-function propagator which eventually leads to the familiar ordering in the usual string amplitudes @xmath65 .
the second term just provides ( after integrating the fermions out ) the usual ( tachyonic ! ) vertex . in short ,
if we ignore the non - linearities in the theory we are back to the usual difficulties .
it is easy to see that the previous action is invariant under general coordinate transformations of the two dimensional world sheet .
the fermion action is automatically conformally invariant , because it does not contain the two dimensional world sheet metric tensor since it can be written as a line integral . in @xcite the cases
@xmath66 were considered .
none of them is a valid one on symmetry grounds .
now we expand @xmath67 around a constant background @xmath68 and look for the potentially divergent one particle irreducible diagrams ( 1pi ) .
we classify them according to the number of loops .
each additional loop comes with a power of @xmath69 .
we expand the function @xmath34 in powers of the string coordinate field @xmath70 around a constant @xmath68 which is the translational zero mode of the string @xmath71 one can find a resemblance to the familiar derivative expansion of chiral perturbation theory .
indeed perturbation theory in the operators ( [ expan ] ) makes sense as a low momentum expansion which is presumably valid up to momenta approaching to the mass of the first massive resonance ( @xmath21 meson etc . ) . in the present case
@xmath69 is the dimensional parameter normalizing the above expansion .
the free fermion propagator is @xmath72 if we impose @xmath58 symmetry then @xmath73 for unitary chiral fields @xmath34 .
the free boson propagator projected on the boundary is @xmath74 the latter results hold in dimensional regularization ( see below ) . in order to make contact between dimensional regularization , a short - distance cut - off ( which we shall later use ) and regge phenomenology we need to unambiguously fix the normalization of the string propagator .
this can be inferred from the definition of the kernel of the n - point tachyon amplitude for the open string@xcite .
the veneziano amplitude corresponds to the insertion of vertex operators @xmath75 on the boundary of the string . after resolution of the gaussian
integral one obtains for the kernel of the generalized beta - function @xmath76 which unambiguously prescribes @xmath77 the @xmath78 dependence does not show up in ( [ norma ] ) due to energy - momentum conservation . keeping in mind
this definition let us determine the string propagator in dimensional regularization , restricted on the boundary .
first we calculate the momentum integral in @xmath44 dimensions @xmath79 + { \cal o}(\epsilon ) .
\label{epsprop}\end{aligned}\ ] ] a dimensionally regularized propagator properly normalized to reproduce ( [ prop ] ) can be constructed by subtracting from ( [ epsprop ] ) its value at @xmath80 where ( [ prop ] ) should vanish @xmath81 therefrom one finds unambiguously the relation @xmath82 + { \cal o}(\epsilon ) \equiv
\delta_\epsilon - 2\alpha'\ln\varphi , \label{dzero}\ ] ] where in the spirit of dimensional regularization we have assumed that @xmath83 and hence the first term in ( [ reg ] ) vanishes at @xmath84 .
the two - fermion , @xmath1-boson vertex operators are generated by the expansion ( [ expan ] ) and they appear with an extra sign @xmath85 following the definition for the generating functional @xmath86 and eq .
( [ lag ] ) . in particular , for the @xmath87 transition one has @xmath88\right),\ ] ] and for the @xmath89 transition the hermitean conjugated vertex @xmath90 appears . the corresponding feynman rule for the 2-fermion ,
n - boson vertex of the @xmath87 transition is @xmath91 , \label{nvert } \end{aligned}\ ] ] where @xmath92 are proper - time values for the left- and right - handed fermions and @xmath93 are proper - time values for the boson field - string variables . from this point on it
is quite straightforward to proceed with the renormalization process .
we shall determine the counterterms required to make the beta functional for the coupling @xmath34 vanish up to the two loop level . in spite of the relative complexity of the feynman rules ,
the fact that we are working with a boundary field theory is crucial in making the calculation manageable .
in fact most diagrams can be determined by simply playing with integration by parts and using basic properties of the dirac delta function . yet
the renormalization is quite non - trivial and the ultraviolet structure of the counterterms is surprisingly quite complex .
it is thanks to this complexity that non - zero values for the @xmath0 coefficients can be obtained .
in fact we believe that some of the results presented in this work can have some bearing on more general discussions involving fundamental strings too . in what follows
we retain not only the singular parts of one - loop diagrams but also the finite ones as they will be necessary to construct two - loop diagrams .
to avoid clutter the main body of the paper we have relegated the detailed derivation of the different feynman diagrams to the appendixes . since the present calculation is somewhat non - standard , we provide the technical details there . using the set of feynman rules described in the previous section one arrives to the following result for the divergent part of the propagator ( appendix b ) , @xmath94 this divergence
is eliminated by introducing an appropriate counterterm @xmath95 @xmath96= 0 . \label{resym}\ ] ] conformal symmetry is restored ( the beta - function is zero ) if the above contribution vanishes .
let us find out for which value of @xmath97 this variation of @xmath98 is compatible with its unitarity .
@xmath99 a simple calculation shows that this takes place for @xmath100 . for other values of @xmath97 eq.([resym ] ) entails @xmath101 which has only a trivial constant solution in euclidean space - time . in @xcite this value of @xmath97
was not considered and thus unitarity of @xmath98 was not properly taken into account . when @xmath100 and before the unitarity constraints are imposed the local classical action which has ( [ resym ] ) as equation of motion is @xmath102
. \label{weinb}\ ] ] for other values of @xmath103 the related local action is unknown .
the above lagrangian is of course the well known non - linear sigma model which is commonly employed to describe pion interactions .
we have thus succeeded in finding the action induced by the qcd string .
it has all the required properties of locality , chiral symmetry and proper low momentum behavior ( adler zero ) .
furthermore , it describes massless pions .
@xmath104 , the overall normalization scale , can not be predicted from these arguments . to this point
we have been quite successful in our program , but of course no real predictability has been achieved yet .
indeed we knew the form of this action from general principles , even though it is nice to see that things work out consistently .
we have to turn to the @xmath0 effective lagrangian to get non - universal results .
in order to proceed to a two loop calculation we shall need in addition to the counterterms for the one - loop propagator ( which we just got ) the counterterms for the vertex with two fermion lines and one and two boson lines , @xmath105 , respectively . we also have to check whether the minimal lagrangian ( [ lag ] ) is sufficient to renormalize also the vertices .
it turns out that , in fact , it is not .
let us obtain the divergences for vertices with external boson lines .
we introduce an external background boson field @xmath106 to describe vertices with several boson legs and split @xmath107 .
the free propagator for the fluctuation field @xmath108 coincides with the one for @xmath109 .
then the total divergence in the vertex with two fermions and one boson line is ( see appendix c ) @xmath110 \right.\nonumber\\ & & \left .
+ \bar x_\mu(b ) ( 1-z)\left[- \partial_{\mu}(\partial^2 u ) + ( 1-z ) \partial_\nu u u^{-1}\partial_\mu\partial_\nu u + 2\partial_\mu \partial_\nu u u^{-1}\partial_\nu u\right.\right.\nonumber\\ & & \left.\left .
- \frac12 ( 1- z)(3 + z ) \partial_\nu u u^{-1
} \partial_\mu u u^{-1 } \partial_\nu u \right]\right\ } u^{-1 } \nonumber\\ & & \equiv - \frac12 \theta(a - b ) u^{-1 } \left[\bar x_\mu(b ) \phi^{(1)}_\mu + \bar x_\mu(a ) \phi^{(2)}_\mu \right]u^{-1}. \label{div1}\end{aligned}\ ] ] let us now amputate the fermion legs and evaluate the pure vertex divergences .
the amputation rules are @xmath111 then the divergent part ( [ div1 ] ) can be reproduced by the following operator in the lagrangian @xmath112 where the vertex matrices @xmath113 can be rearranged as follows @xmath114 the terms proportional to derivatives of @xmath115 are automatically eliminated by the redefinition of @xmath98 that one performs to renormalize the one - loop propagator ( and it of course vanishes if the equations of motion are imposed ) . but the part proportional to @xmath116 remains and to absorb these divergences new counterterms are required . evidently , these terms come out of the following terms in the lagrangian : @xmath117 therefore the counterterms required to eliminate the additional divergences for the vertex with one boson and two fermion lines can be parameterized with three bare constants @xmath118 , @xmath119 and @xmath120 , which are real if the @xmath58 symmetry for @xmath121 holds @xmath122 renormalization is accomplished by redefining the couplings @xmath123 in the following way @xmath124 the constants @xmath125 are finite , but in principle scheme dependent , and from ( [ dzero ] ) it follows that a logarithmic dependence of the bare couplings on the conformal factor @xmath126 is introduced along the renormalization process .
the counterterms are of higher dimensionality than the original lagrangian ( [ lag ] ) and therefore the couplings @xmath123 are of dimension @xmath127 .
since ( [ lag ] ) was actually the most general coupling permitted by the symmetries of the model , in particular conformal invariance , one is lead to the conclusion that conformal symmetry is broken , already at tree level , by these couplings , unless they happen to vanish . since they are dimensional , it is natural to normalize them by the only dimensional parameter , namely @xmath69 .
even if the new couplings are dimensional , it turns out that at the order we are computing , the trace of the energy - momentum tensor is still vanishing once the requirements of unitarity of @xmath98 are taken into account ( see appendix d ) and therefore conformal invariance is not broken at the order we are working . at higher orders in the @xmath69 expansion
further counterterms may be however required in order to ensure conformal invariance perturbatively .
we postpone a more detailed discussion to the final sections
. one can introduce the running effective " couplings @xmath128 one - loop conformal invariants are @xmath129 and @xmath130 . at any rate ,
the dependence of the new couplings on the liouville mode is determined .
in any case , the appearance of new vertices changes the fermion propagator due to the diagrams discussed in appendix e. one obtains from such terms ( which are of higher order in derivatives ) the following contribution to the propagator @xmath131 we shall denote this contribution by @xmath132 .
one should add the divergence contained in @xmath133 to the one - loop result , thereby modifying the @xmath98 field renormalization and equations of motion @xmath134= 0.\ ] ] this is , in fact , the source of the much sought after @xmath0 terms .
we note that this new contribution ( [ dren ] ) is proportional to @xmath135 and it was thus absent in @xcite . at this point
we have to ask whether such equation of motion may be derived from a local effective lagrangian containing both dimension 2 and dimension 4 operators .
this would then constitute the effective lagrangian derived from the string model .
however at this point this question is too premature to formulate .
two - loop diagrams generated from ( [ lag ] ) could certainly produce similar contributions and , as a matter of fact , so could new counterterms from diagrams with two fermions and two boson lines , should they require an additional counterterm .
in fact it can be seen that the above equation of motion can not be derived from a local lagrangian involving the unitary matrix @xmath98 .
the requirements of locality and unitarity would force @xmath136 , so this should not be the full answer . before concluding this section and moving to the other contributions we have just mentioned , we calculate the renormalization of the vertex with two fermion and two boson lines , as this is also required as a counterterm .
let us summarize the divergent structure for these diagrams ( see appendix f ) @xmath137\right.\nonumber\\ & & \left .
+ \bar x_\mu(b ) \bar x_\nu(b)\left [ \partial_\mu\partial_\nu ( -\delta u ) ( 1-z ) + \phi_{\mu\nu}\right ] \right.\nonumber\\ & & \left .
+ \delta ( 0)frac{1-z^2}{2}\int^a_b d\tau\left [ - \bar x_\mu(\tau ) \dot{\bar x}_\nu(\tau ) \partial_{\rho } u u^{-1 } \partial_\mu u u^{-1 } \partial_\nu\partial_{\rho } u ( 1-z)\right.\right.\nonumber\\ & & \left.\left .
+ \dot{\bar x}_\mu(\tau ) \bar x_\nu(\tau ) \partial_{\rho}\partial_\mu u u^{-1 } \partial_\nu u u^{-1}\partial_{\rho } u ( 1+z)\right.\right.\nonumber\\ & & \left.\left .
+ ( \bar x_\mu(\tau ) \dot{\bar x}_\nu(\tau ) -\dot{\bar x}_\mu(\tau ) \bar x_\nu(\tau ) ) \partial_{\rho}\partial_\mu u u^{-1 } \partial_\nu\partial_{\rho } u\right]\right\ } u^{-1 } , \label{secvar}\end{aligned}\ ] ] where @xmath138\end{aligned}\ ] ] one can check that the terms encoded in @xmath139 , together with the last contribution in eq .
( [ secvar ] ) combine precisely as a second variation of the additional interaction vertices ( [ newver ] ) in coordinate fields .
therefore their renormalization is completely performed with the help of counterterms ( [ count ] ) and no additional counterterms or operators appear .
it can also be seen that , in fact , any diagram with an arbitrary number of external boson lines and two fermion lines , i.e. any vertex of those generated by the perturbative expansion of ( [ lag ] ) is rendered finite by the previous counterterms .
this completes the renormalization program at one loop .
the two - loop contributions to the fermion propagator can be obtained from one - loop diagrams with two external boson legs by joining the latter with a boson propagator . a factor
@xmath140 has to be added .
one must include not only one - particle irreducible diagrams but also one - particle reducible ones and consider both divergent and finite parts .
there are 10 two - loop diagrams which are listed in appendix g. the divergences in the propagator at two - loops can be presented separated into five pieces @xmath141.\ ] ] the first and second piece contain the double divergence @xmath142 , the third , fourth and fifth pieces reveal only a single divergence @xmath143 .
finite parts are irrelevant for the present discussion .
the component @xmath144 represents `` the second variation '' , or one - loop divergence in the one - loop divergence @xmath145\right\ } u^{-1},\nonumber\\ \delta u & = & \delta ( 0)\left[\frac12 \partial^2_{\mu } u - \frac{3 + z^2}{4}\partial_\mu u u^{-1}\partial_\mu u\right].\end{aligned}\ ] ] therefore it is renormalized away by the redefinition of the @xmath98 field and vanishes when the equations of motion are imposed .
the counterterms renormalizing @xmath98 field yield the same expression but twice more and of the opposite sign .
thus the result is @xmath146 in correspondence with the results of @xcite ( for @xmath147 they coincide ) .
this is all that was obtained in that work . in particular
no single - pole , @xmath148 appeared and therefore no new equations were obtained at the two loop level .
accordingly , the coefficients of the @xmath0 coefficients were deemed to vanish
. this will not be the case here .
the second part represents the remaining terms of order @xmath149 in two loop diagrams after subtraction of @xmath144 and it reads @xmath150 this term is identical , but of opposite sign , to the contributions generated by the one - loop counterterm in the vertex with two fermions and one boson line , after its insertion in a one - loop diagram ( see appendix e ) .
to summarize , we show in table 1 the distribution of @xmath151 divergences between @xmath144 and @xmath152 .
short - hand notations are used for the corresponding chiral field ( cf ) operators , for instance , @xmath153 corresponds to @xmath154 . in @xmath155
we include those single - pole divergences , proportional to @xmath156 , which are removed once the one - loop renormalization of @xmath98 in the finite nonlocal part of fermion propagator at one loop ( see , eq .
( [ 1prop ] ) ) is taken into account , that is when we replace @xmath98 by @xmath157 in the one - loop propagator @xmath158 u^{-1}.\end{aligned}\ ] ] likewise in @xmath159 we include the divergences that are eliminated when the additional counterterms in the one - boson vertices ( those proportional to @xmath123 ) are included in the finite part of the one - loop fermion propagator ( the terms proportional to @xmath160 in eq .
( [ addi ] ) ) .
+ one can check that all terms in the two loop fermion propagator linear in @xmath148 and in @xmath160 belong either to @xmath155 or to @xmath159 .
we present them in table 2 .
thus one - loop renormalization removes @xmath155 and @xmath159 completely .
some single - pole divergences remain however . indeed , there are some divergences linear in @xmath148 which come from the double integral in the diagrams of appendix g , ( [ 2 - 0,8 ] ) and ( [ 2 - 0,10 ] ) , @xmath161 ^ 2 .
\label{jab}\end{aligned}\ ] ] in appendix h this integral is calculated using two different regularizations . the divergence is found to be @xmath162\nonumber\\ & \equiv & - \delta(0 ) u^{-1 } \bar d_v u^{-1}. \label{dfive}\end{aligned}\ ] ] with @xmath163 for @xmath100 .
this term survives after adding all the counterterms and together with ( [ dren ] ) are the only new genuine divergences that can contribute to the beta function ( single poles ) .
it must therefore be added to the equation of motion at the next order in the @xmath69 expansion and modifies the term @xmath164 , @xmath165 in a crucial manner ; namely it opens the way to non zero solutions for the coupling constants @xmath123 and therefore for nonzero values for the gasser - leutwyler @xmath0 coefficients .
the equation of motion of @xmath166 , eq .
( [ resym ] ) , can be obtained from a local action of the weinberg type ( [ weinb ] ) , involving a unitary matrix @xmath34 , only for @xmath167 .
if the corresponding terms with four derivatives that we have just found are to be derived from dimension - four operators in a local effective lagrangian then certain relations are for sure to be required from the so far arbitrary constants @xmath125 .
such a lagrangian has only two terms compatible with the chiral symmetry if we use the dimension - two equations of motion ( [ resym ] ) , @xmath168 the terms @xmath169 which are in principle possible are reduced to the set ( [ dim4 ] ) with the help of integration by parts in the action and of the dimension - two equations of motion ( [ resym ] ) .
variation of the previous lagrangian gives the following addition to the equations of motion @xmath170 \right.\nonumber\\ & & \left .
+ k_2\left[\partial_\mu\partial_\rho u u^{-1 } \partial_{\mu } u u^{-1 } \partial_{\rho } u + \partial_\mu u u^{-1}\partial_\rho u u^{-1 } \partial_{\mu } \partial_{\rho }
u + \right.\right.\nonumber\\ & & \left.\left . 2 \partial_{\mu } u u^{-1 } \partial_\mu\partial_\rho u u^{-1 } \partial_{\rho } u\right.\right.\nonumber\\ & & \left.\left .
+ \partial_\mu^2 u u^{-1 } \partial_{\rho } u u^{-1 } \partial_{\rho }
u + \partial_\mu u u^{-1 } \partial_{\mu } u^{-1 } \partial_{\rho}^2 u \right.\right.\nonumber\\ & & \left.\left . - \partial_\mu u u^{-1 } \partial_{\rho } u u^{-1 } \partial_{\rho } u u^{-1 } \partial_\mu u- 2 \partial_\mu u u^{-1}\partial_\rho u u^{-1 } \partial_{\mu } u u^{-1}\partial_{\rho } u\right.\right.\nonumber\\ & & \left.\left .
-3 \partial_\mu u u^{-1}\partial_{\mu } u u^{-1 } \partial_{\rho } u u^{-1 } \partial_{\rho } u\right ] \right\}u^{-1}. \label{dimen4}\end{aligned}\ ] ] let us now apply the @xmath166 equations of motion to remove the laplacian on chiral fields @xmath171 .
then one obtains the set of coefficients for the various chiral field structures given in table 3 .
these coefficients to be determined are then compared with the results obtained from the coefficients of the one - loop and two - loop single - pole divergences ( see ( [ dren ] ) and ( [ dfive ] ) ) . for @xmath172
only one solution is possible , implying @xmath173 thus , comparing eq .
( [ dim4 ] ) with the usual parameterization of the gasser and leutwyler lagrangian@xcite , @xmath174 for @xmath175 gev@xmath14 and @xmath176 mev it yields @xmath177 which is quite a satisfactory result@xcite .
so far we have paid no attention to the unitarity of @xmath98 at the two - loop level .
does the variation implied by @xmath133 and @xmath178 respect the perturbative unitarity of @xmath98 ? or does this lead to a new constraint eventually incompatible with the numerical previous numerical values ?
it turns out ( see appendix i ) that if one accepts arbitrary real coefficients in the set of dimension - four vertices included in ( [ dimen4 ] ) then the only solution compatible with the unitarity is given by the parameterization with constants @xmath179 and @xmath180 .
thus the requirement to preserve unitarity under field renormalization is entirely equivalent to the local integrability condition , similarly to the case of dimension - two operators .
this is a remarkable result that hints to the consistency of the whole procedure .
conformal invariance is a subtle issue . as we have discussed in detail in the introduction
this is a necessary ingredient for the consistency of string theory and it is , according to general principles of field theory , equivalent to requiring the vanishing of the beta functions .
there are several sources of breaking of conformal invariance in the present model . we have been concerned with the equations of motion for the @xmath34 string field functional .
the beta functional has been computed up to two loops , properly including the unitarity constraints .
the vanishing of the single pole divergences at one loop leads to the familiar non - linear sigma model . at two loops the @xmath0 terms of gasser and leutwyler appear .
the numerical values turns out to be identically determined by the arguments of locality and unitarity and they therefore determine the ` renormalized ' value of @xmath125 in terms of the constant @xmath181 .
the latter being the coefficient of a single loop divergence in an integral appears to be manifestly universal .
the former could be in principle ambiguous since a change in the renormalization scheme ( for instance by choosing the subtraction to a value different from @xmath182 in the @xmath6-propagator ) may shift a finite piece between @xmath148 and the renormalized value of the coupling . however , this ambiguity is of no relevance . the requirements of locality and unitarity seem to restrict the ` measurable ' value of @xmath125 to specific , well determined values .
if one changes the renormalization scheme by a finite amount @xmath183 , the ` measurable ' couplings will all change by the same amount to @xmath184 , but it is this last quantity the one that will then appear in the equations of motion and will be related to @xmath181 , which is universal , so this change of scheme is immaterial .
furthermore , the renormalized couplings @xmath125 are conformal factor independent , so the relations determined in the previous section hold in any conformal frame and so are the values for the @xmath0 coefficients of the chiral lagrangian .
this is of course in full agreement with general considerations based in qcd and chiral lagrangians ( in the large @xmath1 limit , that is , where the string picture is supposed to hold ) . in @xcite
a general , but tentative , argument ( based in conformal invariance ) was given that , if valid , would imply the vanishing of the @xmath0 coefficients to all orders in the inverse string tension . here
the argument simply fails because the additional couplings which are required to renormalize the model are dimensional .
these couplings were not considered in @xcite because the need for additional counterterms was not manifest along the renormalization process due to the ( incorrect ) choice of the value of @xmath97 .
of course this immediately raises a new issue .
the new counterterms seem to entail a breakdown of ` classical ' conformal invariance . indeed , introducing the coupling @xmath123 , which are of dimension
@xmath127 makes the action non - conformally invariant already at the classical level , in a way that is similar to the introduction of a coupling to the tachyon in the familiar bosonic string theory .
although the issue is somewhat independent of the equations of motion for the matrix field @xmath34 we have to give an answer to this difficulty if conformal invariance is to hold . to demand conformal invariance in the string - mode sector , we have to guarantee the vanishing of the trace of the energy momentum tensor .
this issue can be discussed in several ways , but let us proceed to determine the trace of the energy momentum tensor . on general grounds we can write @xmath185 where @xmath186 is the beta function for the @xmath187-th coupling and @xmath188 the accompanying operator . then , when computing the trace of the energy momentum tensor , the part of the tensor bilinear in fermion fields leads to a contribution that contains operators of the form ( [ count ] ) with their couplings @xmath123 replaced by the appropriate beta functions .
these beta functions contain a classical , purely engineering , part as well as a quantum one , which has been computed in the text , and which is the same for all couplings @xmath123 . in the string - mode sector
their contribution is given by the averaging over the fermion vacuum and it vanishes according to the arguments presented in the appendix d. there is no a fermion induced string action when the @xmath58 symmetry ( [ cp1 ] ) holds .
thus the presence of conformally non - invariant interaction on the boundary does not affect conformal symmetry in the bulk . throughout this paper
we have systematically used conventional perturbation theory and the fermion loop expansion which however may be more cumbersome when one proceeds to the vertices with larger number of emitted bosons and to higher orders in the loop expansion . as an alternative ,
direct functional methods can be developed , an example of which is displayed in the appendix j. this approach can be also exploited to show how to go ahead without fermions and so bypassing the potential problems related to breakdown of conformal anomaly since it allows a formulation where the ` quarks ' are integrated out .
doing so apparently removes any conformal anomaly present in the boundary as we just discussed . on the other hand , at some point we do expect a genuine breakdown of conformal invariance .
this is so because of the conformal anomaly that the bosonic string theory must necessarily exhibit .
in fact , this breakdown ( tantamount to introducing a scale dependence ) is quite welcome as we do not expect the simple string picture presented here to be even approximately true at very short distances ( even within the large @xmath1 limit ) .
the naive bosonic string action used in the present paper does not prevent large euclidean world sheets from crumpling @xcite .
it does not also describe correctly the high - temperature behavior of large @xmath1 qcd @xcite . according to by now common
lore@xcite , the dependence on the conformal factor has to be understood in terms of the renormalization group flow .
this dependence has not been worked out in detail , but it would be feasible to take it into account perturbatively in a way not too different from standard sigma model calculations in string theory by including dilaton , spin two , etc .
backgrounds . the dilaton beta function
precisely contains the @xmath189 term characteristic of the anomaly . at some order in the @xmath69 and topological expansion there
would appear a coupling between the dilaton and the chiral fields through the exchange of @xmath6 string variables .
it would be interesting how the hadronic degrees of freedom can modify the anomaly condition , if at all
. a qcd induced string action may also include nonlocal @xcite or , at least , higher - derivative @xcite vertices breaking manifestly conformal symmetry which help to make the strings smooth and supply the correct high - temperature asymptotics .
however , as we are concerned here with the low - energy string properties we do not expect that the strategy and technique to derive the chiral field action needs any significant changes to be adjusted to a modified qcd string action .
the only changes may come out from the short distance behavior of the modified string propagator .
finally we enumerate some of the simplifications and missing points of the approach undertaken in the present paper .
\1 ) from the beginning we have restricted ourselves to the @xmath48 global flavor group .
the reason is that only parity - even terms in the equations of motion can be revealed from the simple fermion lagrangian ( [ lag ] ) .
as it is supposed that all relevant meson degrees of freedom are reproduced by the hadronic string one can not expect the appearance of multi - fermion interaction which may effectively arise only due to heavy - mass reduction of glueballs and hybrids suppressed in the large @xmath1 limit .
then the only way to obtain the parity - odd wess - zumino - witten terms is to supplement one - dimensional fermions with spinor degrees of freedom , i.e. , for instance , to add reparameterization invariant vertex @xmath190 with dirac matrices @xmath191 and new dimensional constant @xmath192 .
this extension will be investigated elsewhere .
\2 ) one can easily add external electromagnetic fields and thereby calculate also the chiral constants @xmath193 .
however it is not yet clear how to introduce current quark masses consistently with the open string picture with ultra - relativistic quarks at their ends .
hence the other chiral constants need more efforts to be understood within the string approach if the boundary fermions were indeed associated with quarks .
\3 ) going back to the possibility of higher derivative @xcite or nonlocal @xcite or five - dimensional @xcite action for the hadronic string , we find it interesting to explore the traces of deviations from the conformal string theory in low - energy chiral constants and phenomenology .
including the running of the @xmath0 coefficients would however require the introduction of @xmath194 corrections .
we do not know if the string picture can be consistently implemented when subleading corrections are taken into account .
\4 ) as we have mentioned in this section and emphasize here once more the conformal anomaly can hopefully be taken into account consistently within the present approach , but he have not really attempted to do so in this present work .
this is a major challenge that we leave for the future .
\5 ) the value for the coefficients of @xmath0 that we have found are , up to the usual factors of @xmath54 , etc .
rational numbers . in other words
, they are not the first terms in the taylor expansion of a @xmath195 function or similar transcendental functions
. what would be the appropriate amplitude replacing veneziano formula then when the proper symmetries of the qcd vacuum are considered such as in the present case ?
we do not know .
all things considered , we believe that the objectives we set in the introduction have been achieved . we have obtained the leading effective action for low energy qcd from two very simple requirements : chiral invariance and conformal symmetry and two simple ideas : perturbing about the true vacuum of qcd and using the simplest possible effective world - sheet action .
the approach seems to be oversimplified , but has proven to be considerably robust .
all cross checks and physical requirements are met .
the outcome is very sensible from a phenomenological point of view .
perhaps more importantly , several interesting avenues are open for future exploration and a fully consistent approach may be developed .
we also hope that the considerations presented in this work may be of use to the ample string community since some of the techniques we have employed appear to be relevant in a wider context .
we thank a. dobado who participated in the initial stages of this work for multiple discussions and g.venturi for invaluable comments .
this work was finished during the visit of one of the authors ( d.e . ) to the departamento de fsica of the universidad catlica de chile , whose hospitality is gratefully acknowledged .
we acknowledge the financial support from mcyt fpa2001 - 3598 and cirit 2001sgr-00065 and the european networks eurodaphne and eurogrid and also from the project fondecyt 7010967 .
the work of j.a . has been partially supported by fondecyt 1010967 and l.b . has been supported by fondecyt 2000028 .
j.a . and l.b .
wish to thank the warm hospitality extended to them during their visit to the universitat de barcelona .
is partially supported by grant rfbr 01 - 02 - 17152 , russian ministry of education grant e00 - 33 - 208 and by the program _ universities of russia : fundamental investigations _ ( grant 992612 ) . by this work a.a . and d.e .
contribute to the fulfillment of project intas 2000 - 587 .
g. thooft , _ nucl .
phys . _ * b72 * , 461 ( 1974 ) ; + e. witten , _ nucl . phys . _ * b160 * , 57 ( 1979 ) .
k. g. wilson , _ phys .
* d10 * , 2445 ( 1974 ) .
see for instance : p. frampton , _ dual resonance models _
( benjamin , new york , 1974 ) .
m. lscher , k. symanzik and p. weisz , _ nucl .
_ * b173 * , 365 ( 1980 ) ; + m. lscher , _ nucl .
phys . _ * b180 * , 317 ( 1981 ) ; + o. alvarez , _ phys .
* d24 * , ( 1981 ) 440 .
see for instance : r. k. ellis , w. j. stirling and b. r. webber , _ qcd and collider physics _
( cambridge univ . press , cambridge 1996 ) .
j. maldacena , _ adv .
* 2 * , 231 ( 1998 ) .
g. veneziano , _
nuovo cim .
_ * 57a * , 190 ( 1968 ) .
h. harari , in _ proc . of 14th int .
conf . on high - energy physics , vienna , 1968 _
( geneva , cern , ( 1968 ) ) p.195 .
y. nambu , in _ symmetries and quark models _ , ed .
r. chand ( gordon and breach , new york , 1970 ) ; + h.b .
nielsen , in _ proc .
15 int.conf . on high energy physics _
( kiev , 1970 ) ; + l. susskind , _
nuovo cim .
_ * 69a * , 457 ( 1970 ) . j. paton and h. m. chan , _ nucl .
phys . _ * b10 * , 516 ( 1969 ) .
s. filipponi , g. pancheri and y. srivastava , _ phys
* 80 * , 1838 ( 1998 ) .
p. ramond , _ phys .
rev . _ * d3 * , 2415 ( 1971 ) ; + a. neveu and j. schwarz , _ nucl .
* b31 * , 86 ( 1971 ) .
f. gliozzi , j. scherk and d. olive , _ phys .
_ * 65b * , 282 ( 1976 ) ; _ nucl
. phys . _ * b122 * , 253 ( 1977 ) ; + see also j. scherk , _ rev .
phys . _ * 47 * , 123 ( 1975 ) . c. lovelace , _ phys .
* 28b * , 264 ( 1968 ) ; + j. shapiro , _ phys .
rev . _ * 179 * , 1345 ( 1969 ) .
m. polyakov and v. vereshagin , _ phys .
rev . _ * d54 * , 1112 ( 1996 ) .
a. a. andrianov and l.bonora , _ nucl .
_ * b233 * , 232 , 247 ( 1984 ) ; + a.a .
andrianov , _ phys .
lett . _ * b157 * , 425 ( 1985 ) .
d. espriu , e. de rafael and j. taron , _ nucl .
phys . _ * b345 * , 22 ( 1990 ) ; erratum-_ibid .
_ * b355 * , 278 ( 1991 ) .
a. m. polyakov , _ nucl .
phys . _ * b268 * , 406 ( 1986 ) ; + h. kleinert , _ phys . lett . _ * 174b * , 335 ( 1986 ) ; _ phys
* 58 * , 1915 ( 1987 ) .
t. i. curtright , g. i. ghandour , c. b.thorn and c. k. zachos , _ phys
lett . _ * 57 * , 799 ( 1986 ) ; + t. curtright , g. ghandour and c. k. zachos , _ phys .
rev . _ * d34 * , 3811 ( 1986 ) .
g. p. pronko and a. v. razumov , _ theor .
_ * 56 * , 760 ( 1984 ) .
e. cremmer and j. scherk , _ nucl .
* b72 * , 117 ( 1974 ) ; + see also a. neveu , _ dual resonance models and strings in qcd _
( les houches summer school publ . , 1982 ) , p. 757 . c. g. callan , e. j. martinec , m. j. perry and d. friedan , _ nucl .
_ * b262 * , 593 ( 1985 ) .
s. fubini , a. j. hanson and r. jackiw , _ phys . rev . _ * d7 * , 1732 ( 1973 ) . a. strumia and g. venturi , _ lett .
nuovo cim . _
* 13 * , 337 ( 1975 ) .
k. r. dienes and j .- r .
cudell , _ phys .
lett . _ * 72 * , 187 ( 1994 ) .
see , e.g .
, c.rebbi , _ phys.rep .
_ * c12 * , 1 ( 1974 ) .
see for instance : a. dobado _
et al _ , in _ effective lagrangians for the standard model _ ( springer - verlag , berlin , 1997 ) .
j. gasser and h. leutwyler , _ nucl .
phys . _ * b250 * , 465 .
g. amoros , j. bijnens , p. talavera , _ nucl .
phys . _ * b602 * , 87 ( 2001 ) .
a. m. polyakov , _ physica scripta _ * t15 * , 191 ( 1987 ) .
j. polchinski and zhu yang , _ phys .
rev . _ * d46 * , 3667 ( 1992 ) .
e. alvarez , c. gomez and t. ortin , _ nucl .
phys . _ * b545 * , 217 ( 1999 ) ; + e. alvarez and c. gomez , _ nucl .
phys . _ * b550 * , 169 ( 1999 ) , _ jhep _ * 0005 * , 012 ( 2000 ) .
a. m. polyakov , _ nucl .
phys . _ * b486 * , 23 ( 1997 ) .
f. quevedo and c. a. trugenberger , _ nucl .
_ * b501 * , 143 ( 1997 ) .
d. antonov , d. ebert , and y. a. simonov , _ mod .
lett . _ * a 11 * , 1905 ( 1996 ) ; + d. antonov and d. ebert , _ phys .
rev . _ * d58 * , 067901 ( 1998 ) .
m. c. diamantini , h. kleinert and c. a. trugenberger , _ phys .
lett . _ * 82 * , 267 ( 1999 ) ; _ phys .
lett . _ * b457 * , 87 ( 1999 ) .
a. m. polyakov , _ nucl .
supp . _ * 68 * , 1 ( 1998 ) ; _ int . j. mod
. phys . _ * a14 * , 645 ( 1999 ) .
to construct the most general reparameterization- and chirally invariant action on the boundary of the string one can use the following set of operators bilinear in fermion variables and of the minimal dimension one @xmath196 other vertices like @xmath197 can be decomposed in a linear combination of basic vertices ( [ vertex ] ) after integration by parts in the action @xmath49 .
the multi - fermion local interaction is suppressed in the leading large @xmath1 approximation as we assume that all meson degrees of freedom relevant in this limit are reproduced by the hadronic string .
then a multi - fermion interaction may effectively arise only due to heavy - mass reduction of glueballs , hybrids and multiquark mesons suppressed in the large @xmath1 limit . as the case of @xmath58 symmetric action
is of the most importance to provide the conformal symmetry we restrict ourselves with the analysis of this action only .
thus the general @xmath58 invariant hermitean lagrangian takes the form : @xmath198 where the constant @xmath199 is complex whereas the constants @xmath200 are real .
as compared to the minimal lagrangian ( [ lag ] ) the general @xmath201 contains three more real parameters , @xmath202 .
now let us show that by the local rotation of fermion variables preserving their chiral structure , @xmath203 one can eliminate the redundant vertices and reduce the lagrangian ( [ lag ] ) to the minimal form . in order to prove it we transform the minimal lagrangian ( [ lag ] ) with the help of rotation ( [ rot ] ) .
the initial set of constants is @xmath204 .
the final set of vertices will be @xmath58 invariant if the following conditions are fulfilled : @xmath205 the first two constraints relate some phases , @xmath206 whereas the third one eliminates one of the moduli of @xmath207 and @xmath208 .
three remaining moduli and the relative phase @xmath209 turn out to be sufficient to fit three real constants @xmath202 , @xmath210 evidently this system of equations has solutions for arbitrary @xmath202 and therefore the minimal lagrangian can be always obtained by an equivalence transformation ( [ rot ] ) of fermion fields . at the quantum level this local transformation does not yield a nontrivial jacobian when one applies the dimensional regularization to calculate it . in this and the following appendixes we present the results of our perturbative calculation .
when necessary , both finite and divergent parts are given .
diagrams are labeled according to the figure number . in this appendix
we show the result of the one - loop calculation of the vertex with two fermions and one boson line .
the divergences that appear are not fully eliminated by a redefinition of @xmath98 and additional counterterms with higher derivatives are called for .
diagram 2.b : @xmath214 \partial_\nu u u^{-1}\partial_\mu\partial_\nu u\right.\nonumber\\ & & \left .
+ \left[\delta ( 0)\left((1 + z)^2\bar x_\mu(a ) + 2(1 - z)\bar x_\mu(b)\right)\right.\right.\nonumber\\ & & \left.\left .
+ \delta ( a , b ) ( 1-z^2)\bar x_\mu(a ) \right ] \partial_\mu \partial_\nu u u^{-1}\partial_\nu u \right\}u^{-1}.\end{aligned}\ ] ] diagram 2.c : @xmath215\right.\nonumber\\ & & \left .
+ \delta ( a , b ) ( 1-z^2)\left[\bar x_\mu(a)(1+z ) + \bar x_\mu(b)(1-z)\right]\right.\nonumber\\ & & \left . + ( 1-z^2 ) \int^a_b d\tau \dot{\bar x}_\mu(\tau ) \left[\delta(\tau , b)(1-z ) - \delta(a,\tau)(1+z)\right]\right\}\nonumber\\ & & \times u^{-1 } \partial_\nu u u^{-1 } \partial_\mu u u^{-1 } \partial_\nu u u^{-1}.\end{aligned}\ ] ] there are two mutually conjugated operators in the bilinear form of the lagrangian ( [ lag ] ) : @xmath216,\nonumber\\ { \cal d}^\dagger & = & \frac{i}{2}\left [ ( 1 + z^ * )
u^+(\tau ) i \partial_\tau + ( 1 - z^ * ) i \partial_\tau\biggl ( u^+(\tau ) \right ] \label{oper}.\end{aligned}\ ] ] therefore the total fermion determinant ( the result of integration over fermions ) or fermion loop contribution can be represented by @xmath217 where we have restricted ourselves with unitary fields @xmath98 .
now one can factorize out the infinite constant for free operators and find the nontrivial part in terms of fermion propagators : @xmath218 herein the triangle property of the free fermion propagator has been exploited , @xmath219 which follows from the advanced green function prescription by adding @xmath220 . as a result , only the first order in the expansion of the logarithms in ( [ deter ] ) survives when the functional trace operation is performed .
the value @xmath221 and the @xmath58 invariant choice @xmath121 are employed . more rigorously
this result can be obtained by taking the finite proper - time interval with anti - periodic boundary conditions for fermion fields .
then the determinant will be given by the product of discrete eigenvalues of the operators ( [ oper ] ) .
when proceeding to the infinite line limit and for the advanced prescription with @xmath220 one recovers exactly the functional presented in the last line of ( [ deter ] ) .
evidently , for @xmath222 groups and for @xmath223 groups with periodic boundary conditions the exponent in ( [ deter ] ) vanishes and therefore the fermion loop contribution from the minimal lagrangian is absent .
it automatically eliminates the scale anomaly @xmath224 and thereby the conformal symmetry remains intact by vacuum polarization effects . for the extended lagrangian including the higher dimensional vertices ( [ count ] ) the derivation of the fermion determinant is similar .
the corresponding differential operators look as follows : @xmath225\right ) u,\nonumber\\ \tilde{\cal d}^\dagger & = & u^+ \left(i \partial_\tau - \frac{i}{2}(1 - z^ * ) \dot{u } u^+ - \frac{i}{8 } ( 1 - ( z^*)^2)\left [ ( g_1 - z^ * g_2 ) u \partial_\nu u^+ u \partial_\nu \dot{u}^+\right.\right.\nonumber\\ & & \left.\left . - ( g_1 + z^ * g_2 ) u\partial_\nu \dot{u}^+ u\partial_\nu u^+ + 2z^ * g_3
u \partial_\nu u^+ u\dot{u}^+ u \partial_\nu u^+ \right]\right ) . \label{oper2}\end{aligned}\ ] ] again only the first order in the expansion of the logarithmic trace is not vanishing : @xmath226\right.\nonumber\\ & & \left . + ( 1 - ( z^*)^2)\left[- z^ * g_2 \partial_\nu \dot{u } \partial_\nu u^+ + z^ * g_3 \partial_\nu u u^+ \dot{u } u^+ \partial_\nu u u^+ \right]\right ) .\end{aligned}\ ] ] the vertices proportional @xmath118 do not appear after tracing .
let us take the @xmath58 symmetric constants @xmath121 .
the vertices with the coupling constant @xmath120 happen to be proportional to @xmath227 and therefore vanish .
as to the @xmath119 terms they form a total time derivative in the @xmath58 invariant case , @xmath228 the latter taking place for periodic boundary conditions . thus , in spite of the fact that the higher dimensional vertices bring a scale dependence into the lagrangian ( the constants @xmath229 are dimensional ) , they do not generate a scale anomaly due to fermion loops iff the @xmath58 symmetry is imposed on the lagrangian .
its divergent and finite parts are @xmath235\right.\nonumber\\ & & \left .
+ \delta(a , b)\bar x_\mu(b ) \bar x_\nu(b ) ( 1-z^2)\right\ } u^{-1 } \partial_{\rho } u u^{-1 } \partial_\mu\partial_\nu \partial_{\rho } u u^{-1}.\end{aligned}\ ] ] its divergent and finite parts are @xmath236\right.\nonumber\\ & & \left .
+ \delta(a , b)\bar x_\mu(a ) \bar x_\nu(a ) ( 1-z^2)\right\ } u^{-1 } \partial_\mu\partial_\nu \partial_{\rho } u u^{-1 } \partial_{\rho } u u^{-1}.\end{aligned}\ ] ] its divergent and finite parts are @xmath237\right.\nonumber\\ & & \left .
+ \delta(a , b)(1-z^2 ) \left[\bar x_\mu(a ) \bar x_\nu(a ) ( 1+z ) + \bar x_\mu(b ) \bar x_\nu(b ) ( 1-z)\right]\right.\nonumber\\ & & \left . + ( 1-z^2 ) \int^a_b d\tau ( \bar x_\mu \dot{\bar x}_\nu ( \tau)+ \dot{\bar x}_\mu \bar x_\nu ( \tau ) ) \left [ \delta ( \tau , b)(1 - z ) - \delta ( a , \tau)(1 + z)\right]\right\}\nonumber\\ & & \times u^{-1 } \partial_{\rho } u u^{-1 } \partial_\mu\partial_\nu u u^{-1 } \partial_{\rho } u u^{-1}.\end{aligned}\ ] ] its divergent and finite parts are @xmath238\right.\nonumber\\ & & \left .
+ \delta ( a , b ) ( 1-z^2)\left[\bar x_\mu(a ) \bar x_\nu(b ) ( 1 + z ) + \bar x_\mu(b ) \bar x_\nu(b ) ( 1 - z)\right]\right.\nonumber\\ & & \left . + ( 1-z^2)\int^a_b d\tau \left [ \dot{\bar x}_\mu(\tau ) \bar x_\nu ( b ) \delta ( \tau , b)(1 - z ) - \dot{\bar x}_\mu(\tau ) \bar x_\nu ( \tau)\delta ( a , \tau)(1 + z)\right]\right\}\nonumber\\ & & \times u^{-1 } \partial_{\rho } u u^{-1 } \partial_{\mu } u u^{-1 } \partial_\nu \partial_{\rho } u u^{-1}.\end{aligned}\ ] ] its divergent and finite parts are @xmath239\right.\nonumber\\ & & \left .
+ \delta ( a , b ) ( 1-z^2)\left[\bar x_\mu(a ) \bar x_\nu(a ) ( 1 + z ) + \bar x_\mu(a ) \bar x_\nu(b ) ( 1 - z)\right]\right.\nonumber\\ & & \left . +
( 1-z^2)\int^a_b d\tau \left [ \bar x_\mu(\tau ) \dot{\bar x}_\nu ( \tau ) \delta ( \tau , b)(1 - z ) - \bar x_\mu(a ) \dot{\bar x}_\nu ( \tau ) \delta ( a , \tau)(1 + z)\right]\right\}\nonumber\\ & & \times u^{-1 } \partial_{\rho } \partial_\mu u u^{-1 } \partial_\nu u u^{-1}\partial_{\rho } u u^{-1}.\end{aligned}\ ] ] its divergent and finite parts are @xmath240\right.\nonumber\\ & & \left .
+ 2 \delta ( a , b ) ( 1-z^2)\bar x_\mu(a ) \bar
x_\nu(b)\right\}\nonumber\\ & & \times u^{-1 } \partial_{\rho } \partial_\mu u u^{-1 } \partial_{\rho } \partial_\nu u u^{-1}.\end{aligned}\ ] ] its divergent and finite parts are @xmath241\right.\nonumber\\ & & \left .
+ \delta ( a , b)(1-z^2)\left[\bar x_\mu(a ) \bar x_\nu(a)2 ( 1 + z ) + \bar x_\mu(b ) \bar x_\nu(b ) ( 1 - z)^2\right.\right.\nonumber\\ & & \left.\left .
+ \bar x_\mu(a ) \bar x_\nu(b)(1 - z^2 ) - ( 1-z^2)\int^a_b d\tau \dot{\bar x}_\mu(\tau ) \bar x_\nu(\tau)\right]\right.\nonumber\\ & & \left . +
( 1-z^2)\int^a_b d\tau \left[\delta ( \tau , b ) \left ( \bar x_\mu(\tau ) \dot{\bar x}_\nu(\tau ) 2 ( 1-z)\right.\right.\right.\nonumber\\ & & \left.\left.\left .
+ \dot{\bar x}_\mu ( \tau)\bar x_\nu(\tau ) ( 1-z^2 ) + \dot{\bar x}_\mu ( \tau)\bar x_\nu(b)(1-z)^2 \right)\right.\right.\nonumber\\ & & \left.\left .
- \delta ( a,\tau ) \left ( \bar x_\mu(\tau ) \dot{\bar x}_\nu(\tau ) ( 1-z^2 ) + \dot{\bar x}_\mu ( \tau)\bar x_\nu(\tau ) 2(1+z)+ \bar x_\mu(a ) \dot{\bar x}_\nu(\tau ) ( 1+z)^2 \right)\right]\right.\nonumber\\ & & \left . -
( 1-z^2)^2\int^a_b d\tau_1 \int^{\tau_1}_b d\tau_2 \dot{\bar x}_\mu ( \tau_1 ) \dot{\bar x}_\nu(\tau_2)\delta ( \tau_1,\tau_2)\right\}\nonumber\\ & & \times u^{-1 } \partial_{\rho } u u^{-1 } \partial_\mu u u^{-1 } \partial_\nu u u^{-1}\partial_{\rho } u u^{-1}.\end{aligned}\ ] ] all divergences are removed by combining the renormalization of @xmath98 and the additional counterterms determined from the one loop vertex with one external boson lines .
no new counterterms are required .
its divergent and finite parts are @xmath251 the first integral is assembled into a non - singular expression .
the second integral is prepared to have a weaker singularity than @xmath149 and it reveals a singularity of @xmath156-type .
let us first understand the singularities in @xmath252 with the help of euclidean 2-dim scalar field propagator ( [ reg ] ) in the cutoff regularization , @xmath253 , \qquad r \rightarrow 0.\ ] ] the regularization smears the @xmath254 singularity , the normalization is taken to provide + @xmath255 for @xmath256 .
thus on the boundary , @xmath257,\qquad \partial_\sigma \delta(\tau,\sigma= 0 ) = 0,\ ] ] the latter being in accordance with neumann boundary conditions for open strings .
evidently , the relation between divergences in dr and the present regularization is : @xmath258 \leftrightarrow - \frac{2\alpha'}{\epsilon}.\ ] ] of course this propagator is not necessarily exact in its finite part .
but the divergences extracted with its help should be universal . with this ansatz
it is easy to find that @xmath259 the first divergence is power - like and we neglect it ( it should not appear in dr calculation ) .
the second term is logarithmically divergent @xmath260 and we retain only this one .
now let us perform the same calculation in the dimensional regularization .
first we define the integral ( [ jab ] ) in @xmath261 dimensions .
evidently we can do it consistently for the second expression in ( [ jab ] ) .
namely , we replace @xmath262 with @xmath263 being a @xmath264 dimensional vector and integrate over the sphere @xmath265 , @xmath266 ^ 2 . \label{jabeps}\ ] ] next we insert in ( [ jabeps ] ) the derivative of the string propagator ( [ reg ] ) in @xmath261 dimensions , @xmath267 which leads to @xmath268 where the angular volume , @xmath269 after integration one finds the following expression @xmath270 thus we have reproduced the same value of the constant @xmath181 .
let us take the most general set of operators which can appear in the equations of motion ( e.o.m . ) with arbitrary constants .
the equations of motion of dimension two ( [ resym ] ) are assumed to hold and therefore we do not include any vertices containing the dalambertian @xmath271 .
we would like to find out a set of constants which supports the unitarity relation ( [ unit]),@xmath272 .
the results are presented in the table 4 .
one can see that the unitarity of @xmath273 is provided for @xmath172 only if @xmath274 thus unitarity is achieved when the operators in the equation of motion are derived from the local lagrangian ( [ dim4 ] ) and _ vice versa_. in this appendix we shall explore a somewhat different approach and see how the results are fully equivalent to those presented in the text .
we shall integrate out the ` quarks ' and derive an effective action in terms of external sources . to derive the effective action let us supplement the lagrangian ( [ lag ] ) with the external sources for fermion fields @xmath275
as this lagrangian is quadratic in fields the effective action , @xmath276 is supported by the solutions of classical equations , @xmath277 the solutions read @xmath278\nonumber\\&&\times i u^{-1}(\tau_1 ) j_r(\tau_1),\\ \psi_l(\tau ) & = & \int_{-\infty}^{\tau } d\tau_1 \left [ \mbox{\bf
t}\exp\left(-\int_{\tau_1}^\tau d\tau_2 \frac{1}{2 } ( 1-z^*){u^\dagger}^{-1 } ( \tau_2)\dot{u^\dagger}(\tau_2)\right)\right ] \nonumber\\&&\times i { u^\dagger}^{-1}(\tau_1 ) j_l(\tau_1),\end{aligned}\ ] ] and their complex conjugated partners . therefore the effective action takes the simple form : @xmath279 \nonumber\\&&\times i u^{-1}(\tau_1 ) j_r(\tau_1)\end{aligned}\ ] ] in turn the full fermion propagator takes the form @xmath280
\mbox{\bf t}\exp\left [ \frac12 ( 1-z)\int^{\tau_1}_{\tau_2}d\tau \dot{u } u^{-1}[x_\mu(\tau ) ] \right]\theta(\tau_1 - \tau_2),\nonumber\\ & = & \mbox{\bf t}\exp\left [ - \frac12 ( 1+z)\int^{\tau_1}_{\tau_2 } d\tau u^{-1 } \dot{u}[x_\mu(\tau ) ] \right ] \nonumber\\&&\times u^{-1 } [ x_\mu(\tau_2)]\theta(\tau_1 - \tau_2 ) .
\label{propa}\end{aligned}\ ] ] we stress that two pieces with t - exponentials in the last equality are identical .
let us expand the first expression for the propagator in ( [ propa ] ) @xmath281 \biggl[1 + \frac12 ( 1-z)\int^{\tau_1}_{\tau_2 } d\tau \dot{u } u^{-1}[x_\mu(\tau)]\nonumber\\ & & + \frac14 ( 1-z)^2\int^{\tau_1}_{\tau_2 } d\tau \int^{\tau}_{\tau_2 } d\tau ' \dot{u } u^{-1}[x_\mu(\tau ) ] \dot{u } u^{-1}[x_\mu(\tau ' ) ] + \cdots\biggr ] , \label{expans}\end{aligned}\ ] ] the second order in the expansion is sufficient to analyze one - loop divergences of the propagator . in turn we can develop the perturbative expansion around a background , @xmath282 , @xmath283 = u^{-1}(x_0)\biggl\{1 - \tilde x_\mu(\tau_1 ) ( \partial_\mu u ) u^{-1}(x_0)\nonumber\\ & & + \frac12 \tilde x_\mu(\tau_1 ) \tilde x_\nu(\tau_1 ) [ -(\partial_\mu\partial_\nu u ) u^{-1}(x_0 ) + 2 ( \partial_\mu u ) u^{-1 } ( \partial_\nu u ) u^{-1}(x_0)\biggr\}. \label{exp}\end{aligned}\ ] ] evidently
the term with two derivatives on @xmath98 comes out only from this part of expansion .
further on one should also evaluate : @xmath284 & = & \dot{\tilde x}_\mu \partial_\mu u u^{-1 } ( x_0 ) + \dot{\tilde x}_\mu { \tilde x}_\nu\left [ \partial_\mu\partial_\nu u u^{-1 } ( x_0)\right .
\nonumber\\ & & \left.- \partial_\mu u u^{-1 } \partial_\nu u u^{-1 } ( x_0)\right ] + \cdots\end{aligned}\ ] ] now we insert the above two expansions into eq .
( [ expans ] ) and retain only terms quadratic in @xmath285 , @xmath286\tilde x_\mu(\tau_1 ) \tilde x_\nu(\tau_1)\nonumber\\ & & - \frac12 ( 1-z ) u^{-1 } \partial_\mu u u^{-1 } \partial_\nu u u^{-1}(x_0 ) \int^{\tau_1}_{\tau_2}d\tau\tilde x_\mu(\tau_1 ) \dot{\tilde x}_\nu(\tau)\nonumber\\ & & + \frac12 ( 1-z ) u^{-1 } [ \partial_\mu\partial_\nu u u^{-1 } ( x_0 ) - \partial_\mu u u^{-1 } \partial_\nu u u^{-1 } ( x_0 ) ] \int^{\tau_1}_{\tau_2}d\tau \dot{\tilde x}_\mu(\tau ) \tilde
x_\nu(\tau)\nonumber\\ & & + \frac14 ( 1-z)^2 u^{-1 } \partial_\mu u u^{-1 } \partial_\nu u u^{-1}(x_0 ) \int^{\tau_1}_{\tau_2}d\tau \int^{\tau}_{\tau_2}d\tau ' \dot{\tilde x}_\mu(\tau ) \dot{\tilde x}_\nu(\tau')\end{aligned}\ ] ] after integration over @xmath287 and averaging in @xmath288 with the help of formulas for the string propagator , having in mind that @xmath289 ( i.e. the contribution of the third line is equal zero ) one obtains the 1-loop part in the form written in the main text , @xmath290 u^{-1}.\end{aligned}\ ] ] | arxiv |
Gundam Wing/AC Shots in the Dark
Shots in the Dark
Aleesha Posey
July 18, 2003
(Narrator clears throat :) Duo sat at the bar alone... again...as usual. He'd tried to get the guys to go with him... correction... he'd only asked Wufei since he knew that Trowa had just come back from a battle on L-3 and he and Quatre were probably going to...celebrate. And Heero... Heero was a different story...
Rykie: "What? Why was Heero a different story? I thought Duo and Heero were together..."
Aleesha: "Not in this story, and besides, I've only written 5 lines, give me a chance, will you?"
Duo walks up with a shot glass in hand.
Duo: "Excuse me, I'm supposed to be the main character of the story, remember?"
Rykie and Aleesha: "Oh, yeah."
Narrator: ahem He was on his sixth round of whisky and was only a shot or two away from the floor. He was trying to drink away the past couple of days...
Aleesha glares
Narrator: Ok, alright... He was trying to drink away the past couple of years... (Whispers) Better?
Aleesha nods.
Rykie: "Gee, I know how he feels... had to do that..."
Aleesha (interrupting): "Um, Rykie, HUSH!"
Rykie: "Sorry."
Narrator: ANY way! The bar tender walked up and took the bottle away from the braided boy. "That's enough for tonight, son... Go home!" He said as calmly as he could, Duo didn't protest which surprised the bartender... but simply got up and left.
Rykie: "Now he's gonna go fuck Heero, right?"
Aleesha: "No, Rykie."
Rykie: "C'mon! That's the best part!"
Aleesha: "No, Rykie."
Rykie snaps her fingers and sits down in her purple, satin covered inflatable chair and sips a martini, Aleesha sighs, shakes her head and continues writing.
Narrator: Duo walked down through the park, sat on one of the swings, and sighed heavily. Then................. (Dramatic pause)............. the sprinklers came on. He got up and found a bench on the pier... and consequently out of the water works. He was about to leave when he heard...
Rykie (interrupting): "I LOVE you DUO! Come back here and have SEX with me!"
Aleesha: "Rykie."
Rykie: "Not apologizing."
Aleesha: "Rykie."
Rykie: "What?"
Aleesha: "Shut up."
Rykie closes her mouth, thinks a moment then blows a raspberry at Aleesha who just rolls her eyes and sticks out her tongue.
Narrator (frustrated): Footsteps approaching from behind, slow and deliberate... It could be none other than..................(another dramatic pause).................. Heero Yuy... "Duo." He spoke in the same monotone... The same tone Duo loved so much. "What are you doing out this late... and this drunk?" Duo hung his head, still not facing the Wing Pilot, his perfect soldier. "Thinkin'" he replied and lie down on the bench. "About what?" Heero pressed. "Why d'ya wanna know?" Duo spat and sniffled. Heero lifted Duo's head up and sat, laying it back down in his lap. Duo didn't know what to think or say or do... He was stunned at the Japanese boy's actions. "Breathe, Duo." Heero said and the braided baka exhaled. "Now tell me, what the hell is wrong?" Duo sat and tried to focus on the beauty in front of him. To no avail—too inebriated...
Rykie: "C'mon! I want SEX not CONFESSION... you're to angsty! Just get to the SEX would ya?!"
Aleesha: "Rykie.... do you wanna write this?—then shut up."
Rykie: "But I wanna see 'em Fuck!"
--Here Allison walks into the room; however, hearing Rykie's last statement, she promptly turns and exits...
Aleesha: "Rykie... I'll get there... shush!"
More Rykie pouting ensues.
Narrator (throws up papers and stomps out of room. Sarah enters and picks them up, and reads): "Duo why did you just run off like that? It's not like you." Heero said. Duo closed his eyes and sighed. "I had to think." "About what?" Heero wasn't going to let this one go; he'd seen Duo like this before, and it hurt. Duo sighed again and thought 'Because I love you' "Duo?" "I..." "You what?" "I LOVE YOU, OK?!" Duo leapt up and took off the pier, across the street and deep into the woods. Heero watched him go, "Did he just...?" Heero took off after him...
Rykie: "Go get your guy Heero! It's sex in the forest!"
Sarah: "Who the hell was that?" Looks around
Aleesha: "Just ignore her... she wants them to have sex... Keep reading..."
Sara smiles and nods.
Sarah: Duo ran into the woods and stopped when he came to a little clearing he fell to his knees right in the middle of it.
Heero ran after him and found him there talking to himself. "Duo you idiot, now you've done it. Now he's gonna kill you." Duo was brought from his thoughts by a hand on his arm and warm breath on his year. "No one is going to kill you, I won't let them." It was Heero. Duo's head turned toward the hand on his arm, "You're not mad at me?" Heero leaned against Duo and wrapped his arms around him. "No Duo, I'm not mad. But I'll have to teach you a lesson for running away from me." Duo knew full well what Heero was talking about and he leaned into the embrace.
Heero's hands began to move and his mouth found Duo's, Kissing him gently, then roughly as his hands pulled off the offending shirt, and spun Duo around to lie on the ground before him. Taking a moment to savor the boy's features he asked, "Duo, are you sure?" Duo nodded. "Heero, I've never been more sure of what I want. You. Inside me. Now." Heero pounced on the braided boy and had almost declothed him entirely when they heard shooting in the distance, and it was getting nearer. "Shit. It's probably OZ soldiers..." Duo sighed. Their love session was about to be cut short... –Not if Heero could help it... Heero jumped to his feet and reached into his black-hole-o-spandex® and pulled out a little black handle with a red button on the end. "Heero, what's that?" Duo asked and Heero pushed him back down just as the gunners came into view. "HEE-CHAN!"
Heero turned to the intruders. "Omae-O-Korosu!" He pushed the button and all the land around them was no more.
Rykie: "Yes! Sex AND death!'
Aleesha and Sarah: "It's almost over! Shut up!"
Rykie: "Ok, ok... Sorry!"
Sarah (Imitating Heero's glare-o-death® at Rykie): "Heero, if I didn't know better, I'd say you planned all of this..." Duo said with a smile. "It was planned; I've been after those troops... and YOU for weeks... Figured I'd kill two birds with one stone..." Heero smiled a little smile and knelt over the Braided Baka. "How'd you know I'd come here, and where I'd fall, and... everything else...?" Duo was thoroughly confused. "AHH, that... I just took a shot in the dark."
Rykie: "That's it?! NO SEX!! How could you!?"
Aleesha: "With all your interruptions, I got tired... I don't feel like writing any more... sorry. If you want sex, you can write it in... I'm through..."
Rykie stomps off and Sara grabs a pen and sits on the floor "If YOU'RE not gonna write it; I will!"
Owari!
Author's Notes: I don't own anything. This is for the sole purpose of entertainment. Don't sue, I'm not worth it. Apologies to Rykie, Sarah, and the Narrator... You must learn to bear with me...The trips are often short, bumpy and interesting...
Aleesha Posey
End file.
| fanfiction |
, officially the , , , is a in the province of , . According to the , it has a population of people.
Banate has a port for boats that transport passengers and local products, like rice and bananas, to the island of Negros, which in turn, exports sugar and organic produce to this town.
Banate is from Iloilo City.
The town is primarily a fishing and agricultural municipality, with large areas planted with rice, sugarcane, vegetables, beans, coconut and bananas. Banate is well known for Kasag crabs, krill or shimp paste called ginamos, and the fresh fish, which local entrepreneurs take to and sell in the capital of the province, in many of the non-coastal towns, and even in Manila.
Barangays
Banate is composed of 18 barangays, 7 of which are along the coast and the rest are in the interior uplands.
History
Banate during the Pre-conquest Period
The settlement in Banate is of ancient origin. It was among the ancient organized territories of the Confederation of Madja-as in Panay also called by the ancient Bornean migrants, the island of Madya-as, which the Spaniards found when they came to the Island. It was known to Spanish missionaries during the earliest dates of the colonization as Bobog. The Spanish Augustinian historian, Fray Gaspar de San Agustin, mentions it in an account about Dumangas and other coastal towns of the island, where in ancient times there was a principality and trade center that had the most illustrious nobility in the whole island of Panay. Bobog Banate, Araut, Anilao, and Hapitan were among the ancient coastal civilizations in Panay.
There are theories that settlers from the powerful ancient thalassocratic Malay empire based on the island of Sumatra, modern-day Indonesia which influenced much of Southeast Asia arrived in Banate in around 600 A.D., during the second wave of migration from the Sulawesi Island of the southern archipelago of Southeast Asia. First, the most northern part of Iloilo, Estancia, was settled. Some migrants moved to Batad, Balasan and Carles. Then, Ajuy was settled, and from there communities spread to inhabit the present Conception and San Dionisio area. In time, communities of Ajuy spread upland to populate the hamlet of Sara. The families of Sara spread to Lemery. Other families inhabited the coast of Bobog Banate-Viejo, and traversed the mountain now called San Rafael. Some families settled near the River Jalaud. Others moved further South and settled in Irong-irong and finally stopped at Ogtong. These independent coastal settlements were engaged in fishing, and settled near rivers.
The Maragtas of Pedro Alcantara Monteclaro mentions that the area near the Alakaygan River was among the first areas to be exploited by the early Malay settlers for agriculture. In these places they cultivated the land, planting kauayan, mabulo, hidiok, bagtikan, sibukao, buri, niog, kulo, kalamansi, paray, batad, kahangkugui and other seed, which they brought from Borneo. Alakaygan and Bubug Bobog, which gave its name to the ancient society and where the future Spanish population would develop, were among the first settlements established by the Malays in Panay.
As a side note, Alakaygan is the only place in Banate where, until recent years, Tapukal krill or hipon smoked in the bark of a native tree was produced. It is a delicacy that can be found only in Banate.
Banate during the Spanish Regime
Origin of the Town's Name
At the beginning of the Christianisation of Panay, Bobog was a visita of the Augustinian parish and monastery of Dumangas. Gaspar de San Agustin mentioned the existence of the town in his book Conquistas de las Islas Filipinas 15651615. Another Augustinian historian Fray Juan Fernandez, in his Monografias de los pueblos de la isla de Panay, affirms that Banate was known in the ancient times as Bobog or Bog-og. The Augustinian friar says that the modern name Banate might have been derived from some flora that abundantly thrive in the town. One possibility is the Butacea, named by Carl Linnaeus as Murraya exotica. If the spelling and the pronunciation are corrupted, and instead of Banate what is written or pronounced is Bangate, it would therefore be the leguminous papilionácea called in botany as Abrus praecatorius.
To the inhabitants, the town's modern name is commonly attributed to the presence of many Bangate trees in the area. According to a local legend, when the Spaniards arrived, all the inhabitants of Banate fled away for safety. An old man, however, failed to escape because he was of advanced age and was already so weak. It was raining then. So, the old man took shelter under the Bangate tree where a Spanish officer found him later on. The white man asked the native; Come se llama esto pueblo?, The old man, uncertain what to say, merely said Bangate thinking that the Spaniard was asking him about the name of the tree. Unable to understand clearly what the old man mumbled, the Spaniard thought the native had said Banate. While such legend sounds too absurd to be true, it is the only explanation often given by people when asked why their town is called Banate. Indeed, 'Bangate' trees still abound within the territorial limits of the municipality.
Banate at the Beginning of the Colonial Period
Bobog, in the early part of its history as a Christian settlement and a Visita of Dumangas, was placed under the advocation of St. John the Evangelist. In the early part of the 1700s, it was called Banate Viejo by the Spaniards. A map of the Philippines, made by the Jesuit priest Fr. Murillo Velarde and published in Manila in 1734, shows Banate Viejo among the ancient towns of the island. The appelative Viejo, which the Spaniards attached to the early hispanized name of the town, indicates the ancient origin of Banate.
Fr. Juan Fernandez says that Banate was formally established as a municipality in 1763. By then, it acquired as its Visita the settlement of Sinaba-an. In a private definitory of the Augustinian Order, on 31 October 1763, Fr. Alejandro Arias was appointed as Vicar for the town.
The Spaniards noted that the town enjoyed good ventilation and healthy climate. The houses were of simple construction, but the community had good defenses to protect itself against the frequent Moro incursions. People were engaged, however, in agriculture, which constituted their main occupation. Fishing was also a very important trade, because of the abundance of the harvest from Banate Bay. At this period, Banate and Anilao formed a single town, which was considerably important.
Being a coastal village with a rich fishing ground, Banate is naturally inclined to flourish. However, it was also a natural target to invaders. In 1764, many people would leave the town because of a disastrous incursion and pillage of the Moros from Mindanao. R. P. Fray Arias, O.S.A., the town's priest who was at the same time the parish priest of Guimbal, was escaping this raid when he was captured by Moro pirates in that year at the Port of Tayabas. Later, the invaders executed him.
Consequently, after the Muslim pillage, Banate was re-annexed to Dumangas. It later became a Visita with its own teniente de justicia, dependent to Barotac Nuevo for its civil and ecclesiastical government until 1843, when it was declared independent again.
Erection as a Town and Parish
There is no extant document or act of legislation recording the date of the formal reestablishment of Banate as a municipality in the year 1843. It could be noted, however, that the town had its first duly appointed Gobernadorcillo in the person of Don Felix Baviera, in 1837. Included within the territorial jurisdiction of the town of Banate during that time were Barotac Viejo and Anilao. The original site of the Poblacion of Banate was in what is now known as Bularan. The small Church there, around which the town grew, was then situated near the shore. Nearby, towards the North, the town cemetery was located. For the market place, nipa and bamboo shacks were constructed near the area where the first Church used to be. During the later part of the 19th century the present Roman Catholic stone Church was constructed in the adjacent barangay which subsequently became the Poblacion or the capital of the town.
An extant record published by the Augustinians Friars states that in the year 1845, the town had 1,464 tributaries. It was described as follows:
It is located by the shore, and has three stone bastions that defend it. Its climate is one of the best in the province. In addition to agriculture, the natives devote themselves to fishing, and export fish to many towns in the province; and women engage themselves in making fine fabrics from pineapple fiber. Its interim parish priest is R. P. Fray Bartolomé Villa,O.S.A., 27 years of age and 4 years in the ministry.
Fray Villa, the interim parish priest, came to manage Banate in 1843. He was given charge of Antique in 1847, and was transferred to Manila for health reasons, in 1856. In the list of priests assigned in Banate, there is no other name between him and the next Augustinian friar who came to the town in 1854.
The official local election results record for the year 184445 found in the National Archives in Manila entitled Relacion nominal de los Gobernadorcillos, tenientes, juezes, y alguaciles del año corriente con exposicion de sus Pueblos lists Don Pascual Baylon as the Gobernadorcillo of Banate, and that the other town officials during his incumbency were Julian Fuentes- Primer Teniente, Victoriano Bonifacio- Segundo Teniente, Ynesanio Domingo- Primer Juez, Ruberto Cayetano- Segundo Juez, Lucas Espinosa- Primer Alguacil, Juan Mateo- Segundo Alguacil, Juan Ygnacio- Tercer Alguacil.
Thirteen years after the first Gobernadorcillo of Banate was appointed, Governor General Antonio Blanco declared Banate as an independent parish on 5 April 1850, at the same time as that of Anilao. In his decree, the Governor General noted that Banate was already separated from Barotac Nuevo in its temporal administration, and after consulting with the various Spanish colonial authorities, including the Bishop of Cebu who had ecclesiastical jurisdiction of the entire Visayas and the Governor of the Region, he deemed it opportune to decree the separation of the town's spiritual care from its mother Parish of Barotac Nuevo.<ref>The text of the Decree reads: Instruido espediente en el Gobierno Yntendencia de Visayas sobre separacion espiritual de las visitas de Anilao y Banate de su matres Barotac nuevo de la Provincia de Yloilo;he decretado en el con esta fecha lo que sigue. En vista de lo consultado por ellos Gobernador Militar y Político de la provincia de Yloilo acerca de la utilidad y conveniencia de separare en lo espiritual las visitas de Anilao y Banate de su matres Barotac nuevo, las cuales lo están ya en lo temporal, erigiendose cada uno de ellas en Parroquia, dandoles Cura propria que los administre; con presencia de lo informado por el Exmo. e Yllmo. Sór. Obispo del Cebu, Sór. Gobernador Yntendente de Visayas, el Devoto Cura Parroco de aquel pueblo de cuanto resulta de este espediente, y de conformidad con el parecer que antecede del Sór. Asesor General del Gobierno; venga en decretar dicha segregación, constituyendose cada una de las expresadas visitas en Parroquia puesto que ambas de poner reúnen el suficiente numero de tributos para congrua sustentación de un Cura, y tienen Yglesia, Casa Parroquial, y demás edificios que se requieren, procediendose con antelación por el Sór. Gobernador de la provincia a la demarcación de limites jurisdiccionales entre los dos pueblos que se separan y sus colindantes, a fin de evitase cuestiones que en esta parte pudiera ocurrir. Comuniquese este Decreto al Exmo. e Yllmo. Sór. Obispo del Cebu, Sór. Gobernador Yntendente de Visayas, el Sór. Superintendente, el Subdelegado de Hacienda, y al M. R. P Provincial de Agustinos Calsados para los fines convenientes en los que a cada una de dichas Autoridades corresponda, archivandos el después el expediente. Lo traslade a V.R. para su conocimiento y a fin de que se sirva proponer las ternas de Religiosos para la provision de los nuevos Curatos. Dio que a V.R.ma. Manila 5 Abril de 1850. Antonio M. Blanco</ref> However, the town was not formally established as a parish until 1854. The following year, in 1855, it was placed under the patronage of St. John the Baptist. In that year, the elected Gobernadorcillo of Banate was Capitan Don Tomas Juanico, and the following were the other town officials: D. Alfonso Arroyo- Primer Teniente, Pablo Becenra- Segundo Teniente y Juez mayor de Ganados, Sabino Apacible- Juez mayor de Sementeras, Claudio Juanico- Juez de Policia, Fabiano Baquisal- Primer Alguacil, Tobias Bacabac- Segundo Alguacil, Luis Banbeno-Tercer Alguacil. The first full-time parish priest of Banate was R. P. Fray Nicolas Calvo, O.S.A., who served the town in a more stable manner upon its formal erection as a parish in 1854.
Because of the benefit of good natural defenses, which were built after the reestablishment of the town in order to protect those returning after the destruction caused by the Moros, the inhabitants benefited more and more from its advantageous location. Within very short years after the resettlement of the town, Banate recovered to be a notable community with plenty of rice, sugar, tobacco, and pineapple fiber, which the women produced.
The present Church of the parish was built in 1870 by R. P. Eustaqiuo Torés, O.S.A. It was made of stone and wood during the Spanish time. His successor, Fr. Manuel Santos, built the convent made of wood in 1883.After the World War II, significant renovations and repairs of the Church were made possible through the efforts of several parish priests, like Rt. Rev. Mons. Panfilo T. Brazil, H.P., J.C.D., and Rev. Fr. Quirino Palma, Jr., who succeeded to complete the roof project in 1996. The Bell tower on the right was constructed by Fr. Celda in 1975; and the bigger one on the left, by Rev. Fr. Col. Nicasio Lisondra former Chief of the Philippine Army Chaplains, who became acting parish priest of Banate from 20002002 and by the current pastor, Fr. Winifredo H. Losaria, who also led the Banatenhons in building the present parish rectory.
On 28 October 1898, during the Revolution for Philippine Independence, Banate which remained loyal to Spain was reduced to ashes by the rebels under the ill-mannered Juan Maraingan - a leader of one of the bandit groups or aggraviados boyongs, pulahanes, and tulisanes, who took advantage of the unsettled times to come down and attack the Spanish forces and unprotected towns and villages. The revolutionaries welcomed cooperation with these groups, but would later make a clear distinction between the two movements. The relationship between the Principalía-led revolutionaries and the agraviados was marked by distrust and conflict. In the eyes of revolutionaries like Martin Delgado, Ananias Diocno, and Leandro Fullon, the agraviados were outcasts, religious fanatics.
Towards the end of the Spanish rule, Banate had 6,285 residents. All of whom were baptized Catholics, except for 5 of the 6 Chinese residents. At that time, there were 3,145 persons paying tribute de pago, and 256 or around 12.29 classified as exempted or de privilegio y gratis principales.
Landmarks and Infrastructures during the Colonial Period
Three Stone Bastions located at the shore that defended the town of Banate, from marauding Muslims of Mindanao.
Municipal Hall made of wood.
Parochial Church made of strong materials up to the tower, with zinc and galvanized steel roof. It has three naves with a transept and three altars; the lower part or the walls made of stone.
School made of bamboo cane.
Parochial House made of chosen woods. The aforementioned parish house was supported by a dozen molave harigues of extraordinary enormity of eighty centimeters in diameter. It had zinc roof. Until the year one thousand eight hundred and ninety and nine, there was another parish house that existed next to the beach. That, too, was made of strong materials until the upper floor, and the roof was made of wood with covered of nipa. From this house the harigues or pillars were removed to build the new parochial house.
Cemetery about five hundred meters distant from the Poblacion settlement; and located on the road that leads to the mountain near the hill called Cambang-bato, which was enclosed by a short wall made of bamboo cane.
The Municipal Hall, Church, School, and the Cemetery were made under the supervision of R.P. Fray Eustaquio Torés, O.S.A., while the Parochial House was made by R.P. Fray Manuel Santos, O.S.A.
The Spanish Friars Who Evangelized Banate
The Parish Priests played important roles in the life of towns of the Philippines during the Spanish Regime. Many of them were the builders of public structures and defenses of colonial towns. Having its own parish priest added prestige to the status of a municipality during that period. Banate had its first priest in 1763. Below is the list of Spanish Augustinian Friars who served the town during the colonial era:
R. P. Fray Miguel Arias, O.S.A.
This religious was a native of Villarodrigo, province of Leon. He entered the convent of Valladolid in 1734, at the age of seventeen. He was a missionary of the Italones in 1740, and Minister of Pórac 1744, Magalan and Tarlac 1747, S. Miguel de Mayumo 1747, S. José de los Montes 1750, Anilao 1759, and Guimbál with Banate 1763. He was captured by the Moros in 1764, in the port of Tayabas, and was killed by them.
R. P. Fray Bartolome Villa, O.S.A. 1843
He was born in Castañeda in the Province of Oviedo in Asturias, in 1817. He received the Augustinian habit in the Colegio de Valladolid in 1832. On 4 March 1836, he was given the Royal Mandate by Queen Isabela II, together with 23 other Augustinian missionaries, to evangelize in the Philippines. He was 21 years old upon receipt of the mission order, and was still a theologian in the Order of sub-deacons. Fray Villa arrived in the Philippine Islands in November 1836. After finishing his studies in Manila, he went to Visayas, where he held the parishes of Banate and Antique in 1843 and 1847 respectively. In 1856, he came to Manila and, taking sick leave in the town of Gapán, died on May 2 in the same year 1856.
R. P. Fray Nicolas Calvo, O.S.A. 1854
A native of Villasarracino, in the province of Palencia; son of Zoilo and Benita Andrés. He was born in 1819. He took his religious vows in the Colegio de Valladolid in 1844, and ministered the parishes of San Pedro 1850, Banate 1854 and Igbaras 1858 in Visayas, dying in this last town assignment, on June 13, 1861.
Fray Calvo was among the 13 Augustinian priests and 7 friars in minors orders, who were given the Royal permission by Queen Isabela II, on 20 January 1845, to embark from the port of Santander, for Philippine mission.
R. P. Fray Julián Alonso, O.S.A. 1859
He was born in Valladolid in 1833; and son of Felipe Benicio Alonso and Patricia Barriuso. After having taken religious profession in the Colegio de los Agustinos of the aforementioned city on 13 May 1851 and, having received the Royal mandate of Queen Isabela II earlier, on 25 September 1854 No. 131, he moved to Manila in 1855 to begin his missionary work in the Philippines. Here he was ordained a priest and, soon after, obedience destined him to go to the province of Iloilo, where he administered the towns of Banate in 1859, and Barotac Nuevo from 1865 to July 2, 1878, date of his death.
R. P. Fray Eustaqiuo Torés, O.S.A. 1870
Fray Eustaqiuo Torés was a native of Olmedo, Province of Valladolid; son of Nemesio and Lorenza Sanz. He received the religious habit in Valladolid in 1861, made profession of his first vows in 1862; and his final vows on June 26, 1868 at the age of 23 years, after 6 years in the Order. His studies include Philosophy, Theology, and Cycle I of Canon Law.
The young Augustinian went to the Philippines, already a deacon, in 1868, having received earlier, on 4 December 1867, the Royal Order of Queen Isabela II No. 59, to embark on mission to the Archipelago. He administered in the province of Iloilo the curates of Banate and Barotac Nuevo in 1870 and 1882 respectively. In these towns, he built churches made of stone blocks and of wood. He died in Barotac Nuevo, on May 4, 1888.
R. P. Fray Manuel Santos, O.S.A. 1882
He was born in Iglesias Burgos in 1853; son of Ruperto an Bonifacio González. He made his religious profession in the Colegio de Valladolid, on 21 September 1870.
On 13 November 1873, Fray Santos and 9 other Augustinian friars received the permission of the Government of the First Spanish Republic, to embark for mission in the Philippines. In the Visayas, he served as associate of the parish priest of Santa Barbara in 1878, and parish priest of Banate, in which town he built the wooden parish rectory from 1883 to June 29, 1889, the day of his death.
R. P. Fray Lazaro Ramirez, O.S.A. 1890
This religious was born in Bergüenda Alava. After embracing the monastic life in the Colegio de Valladolid in 1879 at the age of seventeen, he arrived in the Philippine Archipelago, already a deacon, in 1886. Ordained as a priest in December of this same year, he studied the Panay dialect in the town of Santa Bárbara. He served the parishes of Mina in 1888, Banate 1890, Ajui in 1892, and Pavia from 1895 to 1898. It was from Pavia where, full of the spirit of God and eager to preach the Gospel to the pagans, he went to the missions of Hun-Nan China where he continued to work in such a glorious zeal. He finished building the beautiful church of Pavia and prepared it for sacred cult.
R. P. Fray Agapito Lope, O.S.A. 1893
Native of Cornago in La Rioja. He was born on 24 March 1859. He did his first religious profession in the Colegio de Valladolid, on 25 October 1877. Fulfilling the mandate of his superiors, he left Spain for the Philippines, to whose capital he arrived on 10 September 1884. In the Philippines, after completing his regular studies, he was assigned as parish priest of Barotac Viejo 1886, S. Miguel 1890, Bánate 1892, Dingle 1893, Igbarás 1894, Librarian of the convent of the Santo Niño de Cebú 1895, parish priest of Dueñas 1897 and associate of the parish priest of Maasin from the month of September of that year until November 1898. He died in Spain in the early 1900s.
An extant document of the Report made by Fray Lope regarding the description of the Parish and its people, as well as describing the Church properties in Banate, exists in the custody of the Monastery of the Augustinian Province of the Most Holy Name of Jesus of the Philippines in Valladolid, Spain. The document, which was written and signed in Cornago, La Rioja the hometown of the Spanish Friar is dated 4 August 1911.
At the end of the document, Fray Lope mentions the vecinos distinguidos distinguished residents of the Banate: Don Eugenio Badilla, Doña Carmen Baban, Don Marcelo LaMadrid, Don Florencio Villaluz, Doña Nicolasa Badilla, and Doña Apolonia Baban.
R. P. Fray Bernardo Arquero, O.S.A. 1893
He was born in the town of Ocaña, province of Toledo, on August 20, 1864. He was professed in Valladolid in 1880, and was ordained a priest in the following year upon his arrival in the Philippine Archipelago. He was parish priest of Dueñas in 1889, and of Banate from 1893 to 1898. Afterwards he served as professor of the Seminary of Manaus, of the State and Diocese of Amazons Brazil. His name is cast on the largest bell of Banate.
Fray Arquero is also known for the manuscript he redacted on 1 January 1897, regarding the statistical data and historical information of the Parish of St. John the Baptist in Banate, Iloilo Philippinesat the later part of the Spanish rule. The document can be found in the Archives of the Monastery of the Augustinian Province of the Most Holy Name of Jesus of the Philippines in Valladolid, Spain.
Banate during the American Regime
When the Americans seized control of Panay at the later part of 1899, Banate was among the first settlements they bombarded and chosen as landing spot for their forces. On October 27, 1899, General Diocno informed General Delgado of the docking at Iloilo of the USS Concord. On board were 3,000 troops and 200 horses. On November 2, two American gunboats bombarded the town of Banate. On the 5th, American forces began their advance outside the frontlines toward San Miguel. Landings were made in Banate on November 25, in Capiz and Calivo in December, and in San Jose de Buenavista in January 1900. Unable to resist the American advance, the Filipino revolutionaries retreated to the mountains of Panay. Delgado retreated to the mountains of Lambunao, Diocno to the hills of Aclan, and Fullon to the vicinity of Mt. Madia-as. By July 1, 1900, the Panay defenders had opted to shift to guerrilla tactics.Cf. Jose Manuel Velmonte, Ethnicity and the Revolution in Panay in Kasarinlan, Volume 14 No. 1. The author is an Associate Researcher at the UP-Center for Integrative and Development Studies.
By the beginning of 1901, the disenchanted revolutionaries had run out of men, ammunition, and food. In February, Delgado surrendered to the Americans. On March 1, Fullon followed suit, and on March 21, Diocno signed the Paz de Aclan. Colonel Salas continued the fight until October.
When the American rule was established, the town's population was 6,250 2973 males and 3277 females.
When the Revolution broke out in 1898, Ciriaco Fuentes, more popularly known as Capitan Takong, was the Gobernadorcillo. He was succeeded by Don Eugenio Badilla as the first local President shortly after the town became part of the United States territory in 1901, upon the arrival and takeover of the American soldiers under the command of Commander Brunnel, who established the American rule in Banate.
The town's first officials under the American Regime were the following:
Don Eugenio Badilla, President
Don Marcelo Madrid
Don Florencio Villaluz
Don Ciriaco Fuentes
Don Fortunato Perez
Don Nemesic BadillaN. B. Don Eugenio Badilla, Don Marcelo Madrid, Don Florencio Villaluz were also listed by the second to the last Spanish Friar assigned in Banate as among the distinguished residents of the town during the last years of the Spanish Era.
From 1 October 1901, an American teacher was also stationed in Banate.
During this American, Barotac Viejo and Anilao were reduced as districts under Banate. The Administrative Act No. 2657 of the Insular Government of the Philippine Islands, dated 31 December 1916, shows Banate as one of the 24 Municipalities in Iloilo, and of the five towns belonging to the Fifth District of the Province. On 1 January 1918, Barotac Viejo was separated through the Executive Order No. 84 of the American Governor General. On that occasion, the majority of the town Officials of Banate were Barotacnons. As a consequence, there came about a succession of appointed Presidents in Banate, until the time of the next election. During the term of Benjamin Buyco as President of the town 19361939, Anilao was separated from Banate. Afterwards, Benjamin Buyco also became the first Mayor of Anilao.
During this period, a Banatenhon - Ludovico Arroyo Bañas - was chosen as one of the ten personnel of the American government telegraph service in the Philippines to compose the first and only group of Filipino pensionados who, in 1919, underwent advanced training in wireless telegraphy radio, at the US Naval Radio School in Cavite. The training of the ten Filipinos was made possible through a special arrangement between the U. S. Naval Authorities in the Philippines and the Insular Government. To select the trainees, a special examination was conducted among the 398 students of the Post-Telegraph School.Policarpio Y. Cuanico, Bañas in Personality Section, The Telecom News, Philippines: 31 March 1959, p.missing. Later, Bañas who is one of the prominent figures in the history of Philippine Telecommunications became the Regional Superintendent of the Bureau of Telecommunications BUTEL in Region IV Panay, Negros, Romblon, and Palawan, at the time of his retirement, on 16 February 1966.Policarpio Y. Cuanico, Bañas in Personality Section, The Telecom News, Philippines: 31 March 1959, p.missing.
Demographics
In the , the population of Banate, Iloilo, was people, with a density of .
The 1995 National Census on Population and Housing shows that Banate had a total population of 24,976 excluding those residing in Fuentes a contested barangay between Banate and Anilao. However, if Fuentes is included, the total population would be 25,597. Banate has average annual population growth rate of 1.21 based on the population change within the years 19901995. In the year 2010, the town's population reached 29,543.
The Natives of Banate
As any other old Spanish town in the province of Iloilo, the natives of Banate were given surnames starting usually with the letter BA, BAL, BAS, etc. after the name of the town itself. This is also true for Barotac Viejo which was once a part of the pueblo which is why one can notice even up to the present that both towns share some families/clans with the same surnames.
Municipal income
Being a very versatile town with livelihood income both coming from the sea and the farmlands, Banate has generated actual income from calendar year 1995 to calendar year 1999 reaching up to P82,167,999.30. The increase of the town's income was mainly due to the increase in revenue allotment, tax, and operating revenue of the municipality. It could be observed that Banate is increasingly growing in commerce and industry.
Household
The 1995 Census of Population and Housing which includes Fuentes recorded a total of 4,761 households with an average household size of 6 person per household for the urban area, and 5 persons per household for the rural area. The urban area, comprising Poblacion, Alacaygan, Bularan, Carmelo, Talokgangan and Zona Sur, had a total household of 1,653. The 12 rural barangays had a total of 2,908 households with San Salvador having the highest number households 480.
The 12 barangays belonging to the rural area had a population of 15,772 or about 62 of the total population of Banate. Of the 12 barangays, San Salvador had the highest population 2,380 or 9.31, while Fuentes, a disputed barangay between Banate and Anilao had the least population of only 621 persons or 4 of the rural population, since some residents considered themselves residents of Anilao.
Population density
Banate has an A & D area of 5,240.849 and a population of 25,597 as of 1995. The municipal gross density is 500 people/km². Urban density is 1600 people/km², of which Bularan is the highest having a density of 15,700 people/km². In the rural area, population density is 300 people/km². As projected, within the twelve 12 year period 19992010, the municipal gross population density will increase from 500 to 600 people/km².
Age-sex distribution
Of the 25,597 as of 1995, the male population has numbered 12,949 or 50.59 with those in the age bracket of 5 9 years old having the highest population 1,743 or 13. The age bracket with the lowest percentage are those with the age ranging from 85 years old and above 30 or 0.23.On the other hand, female population has reached to 12,648 or 49.41 with those in the age range of 5 9 years old having the highest number 1,649 or 13. The female residents with age range of 85 and above number 48 or 0.38. The date of the census of 1995 shows that the ratio of male and female residents is 102:100.
Religion
Based on the 1990 record, the majority of the Banatenhon's are Roman Catholics 16,338 or 70; the next religious denomination with the second highest number of adherence are the Aglipayans or the members of the Philippine Independent Church 5,057 or 22; there are 750 Protestants who comprise 3 of the population; Iglesia ni Kristo has 203 churchgoers or 1 of the population; and members of other religious sects like United Church of Christ in the Philippines, Jehovah's Witnesses, Seventh Day Adventist, Muslims, etc. number 1,012 or 4 of the local population.
Statistics on marriage
A greater percentage of the population 10 years old and over are single 49.32 than married 45.75. About 3.73 are widowed; 0.37 are separated; and 0.82 are common law partners and unknown. The number of unmarried persons is higher among the adult males 4,840 as compared with those who are married 4,174. Among adult females the proportion of married persons is higher 4,253 or 23.09 than those who are unmarried 4,245 or 23.05.
Language
Majority of the people living in Banate speak Hiligaynon or 99.54 and 0.46 of the population speaks other Visayan dialects. English and Tagalog are also understood and spoken, and are also used in school, business, and government day to day transactions.
It is notable that when Banatenhons speak Hiligaynon, people from other places could easily distinguish the accent, most of the time dismissing the Banatenhons as Dumangasanons. Among the towns in the surrounding area, only Banate and Dumangas speak pure Hiligaynon, as opposed to other towns whose native tongue is Kinaray-a.
Economic dependency ratio
As of 1995, a total of 10,711 persons with ages below 15 and over 64 years old are considered dependents; 14,625 belong to the working population with ages 1565 years old. Hence, there are 7 dependents out of 10 working persons.
Labor force
As of 1990 the labor force numbered 13,643 persons or 57 of the total population. Of these, there are 6,747 or 49.45 male and 6,896 or 50.55 female ranging the age 15 years old and above. Of the 13,643, 7,886 have stable employment. 5,239 of these are male and 2,647 are female. Population projection shows that from 1995 to the year 2010, the population growth rate is 1.21. This means an additional potential work force for the municipality, which when properly exploited will generate a maximum income to the town of Banate. The labor force within the twelve 12 year period 19992010 will reach to 18,683 and 11,527 of these, will be economically active labor force 15 years old and over.
Banate-Negros Occidental Bridge
On July 30, 2006, governors from 16 provinces of the Visayas met at the Provincial Capitol of Negros Occidental in Bacolod City to discuss the construction of bridges linking Panay, Negros, Cebu, Bohol, and Leyte. They call these bridges the Trans-Visayas Friendship Bridges. Among these bridges would be the Banate-Negros Occidental Bridge, which would link the Island of Negros to the Island of Panay. Located at the spot nearest to Negros, Banate is the most logical and ideal place for the construction of the connecting bridge between the two islands of the Visayas.
Historical/Unique Landmarks
The Roman Catholic Church
The Catholic parish of Banate celebrated its 250th foundation anniversary in 2013. The Catholic community was established in Banate by the friars of the Augustinian Order in 1763, when Fray Alejandro Arias was assigned to in the town.
The present church was erected under the supervision of Fray Eustaqio Torés, OSA in 1870. But was left unfinished when Fray Torés was transferred to Barotac Nuevo, where he also built another church. This probably explains why there is no particular architectural style found in the edifice. Nevertheless, the church of Banate withstood the tests of time, from fires to the bombings of the war. Built in the shape of a Latin cross, it is one of the old churches in Iloilo, still intact and whole from the narthex to the apse and transepts unlike some churches which were either cut into half or damaged either by nature or war. It is made of corals, limestone and rocks and put together through a mixture of Apog and Eggs. The first detailed description of the church building can be found in the 1911 Report of Fray Agapito Lope, parish priest of Banate in 1893. It is also one of the widest, in terms of space, having three spacious naves all in all surpassing even that of Santa Barbara or Lambunao.Fray Agapito Lope Manuscript 1911, p. 2.
The last Augustinian curate of Banate, Fray Bernardo Arquero, OSA, commissioned the three bells donated by Doña Carmen Baban and cast by the renowned bell-caster Hilario Sunico. The campana mayor is one of the largest in the island but it is, unfortunately, broken. It is the last existing old Augustinian-built church in the north. It was built under forced-labor. The parish also boasts of having the complete old baptismal, marriage and death records dating back to the early 1900s which can be found in the parish office.
Parish and Assistant Priests who served the Parish of Banate from 19-present records from 17631898, 18991909, 194144 [World War II Era] are perhaps gone already. After the revolution against Spain, the parishes under the friar orders, Banate being one under the Augustinians, were handed over to the care of the secular clergy of the dioceses. The following are the names of the priests who had performed their ministry in Banate, as retrieved in the parish register of baptisms:
Reverendo Padre Ezequiel Pioquinto
RP Mayolo Silva
RP Doroteo Imperial - Parroco Interino Acting Parish Priest
RP Mayolo Silva
RP Ramon Declaro - Parroco Interino
RP Mayolo Silva
RP Carlos Legislador - Cura Parroco de Barotac Viejo y encargado de la parroquia de Banate
RP Tomas Paguntalan
RP Gregorio Rosaldes
RP Pedro Sedantes
RP Miguel Tadifa - Parroco Interino
RP Pedro Sedantes
RP Vicente Silloras
RP Jose Villasis
RP Ireneo Pontiliano
RP Francisco Garcisto
RP Policarpio ParconN.B.During the time of Fr. Parcon, the Congregation of the Most Holy Redeemer Redemptorist Fathers had a mission in Banate, during which a number of Aglipayans converted to Catholicism, as noted in the parish register of Baptisms. The Redemptorists fathers were: RP Patrick Scott, CSsr and RP William Daley, CSsr.
RP Ramon Declaro
RP Mons. Panfilo Brazil
RP Amadeo Escanan - Parroco Auxiliar
RP Francisco Celda
RP Agapito Sumbong
RP Quirino Palma, Jr. 1980-1996Fr. Palma is also remembered for his tireless work of encouraging the parishioners of this once sleepy parish at taking more active roles in the life of the Church. He was the first parish priest to have introduced a Parish Pastoral Council in this town. He also labored toward the renovation of the Church, including the replacement of the old roof with the new one with steel trusses, while sacrificing and choosing to live in an old rectory.
RP Elmer Tababa - Parroco Auxiliar
RP Ramon Sequito - Parroco Auxiliar
RP Ildefonso Tagamolila - Parroco Auxuliar
RP William Villalobos - Parroco Auxiliar Military Ordinariate of the Philippines in Claretian Communications Foundation, Inc.
RP Francisco Gabriel - Parroco Auxilar
RP Francisco Apologista 1996-2001
RP Nicasio Lesondra 2001-2003
RP Lorenzo Camacho 2003-2005
RP Winifredo Losaria 2005-2011Directory of Priests of the Archdiocese of Jaro, c.2009.
RP Edgar Palmos 2011-2017
RP Franklin Pilaspilas 2017present
Celebrations
San Juan Fiesta
Every year, since 1855, the town of Banate celebrates the feast of its Patron St. John the Baptist, on the 24th of June. The Diana, a marching band, wakes the townsfolk early in the morning so as to signal opening of the fiesta. Masses are held, in both Roman Catholic and Aglipayan Churches after which, devotees' carry in procession a decorated carroza containing the statue of the Patron saint through the main streets of the town. The townspeople cook typical delicious dishes for the guests to eat and, later in the afternoon, children as well as teenagers go to the plaza to enjoy the fun at the peryahan. People would throw water to everyone roaming in the streets, as part of the celebration. In the evening, a search for Miss Banate is held in the municipal covered gymnasium, where the crowd would pack in the gym, in order to cheer for their respective candidates.
Semana Santa Celebration
Banate has, for centuries, also observed the Holy Week celebration in the traditional Catholic custom. The town boasts of antique ivory religious images, which are only seen displayed during the Easter Triduum celebrations and processions. Both the Roman Catholic and the Aglipayan Communities in this town have preserved the Western and Catholic way of making the memory of the passion, death and resurrection of Jesus Christ alive through the heritage received from the Spaniards, who evangelized the town for centuries. The meditation on the seven last words of Jesus and the re-enactment of his last moments on calvary attract devotees from neighboring towns on Good Fridays.
Kasag Festival
For over 17 years in the making, Kasag festival came as an offshoot of the Annual Street Dancing Competition as highlight of the Annual Town Fiesta, and the promotion of the town's famed product, the Blue Crabs scientific name: Portunus Pelagicus which translates to savory beautiful swimmer, through as the Municipality's One Town One Product OTOP project. The idea of Kasag Festival as vessel of promotion and marketing of the town product sprung from the OTOP Coordinator during the OTOP presentation at Passi City,
Previous Street Dancing Competitions were held every 24th day of June, as one of the highlights of the final day of the Annual Town Fiesta honoring and thanking God through the intercession of St. John the Baptist for the fruitful year spent. However, the activities meant at integrating Kasag Festival with the Feast of St. John the Baptist proved to be such a tedious endeavor for Banatenhons, requiring much of their time and effort. Most often, this results to distractions, if not deviations, from the original essence and spirit of the religious fiesta which is about the devotion to St. John the Baptist and thanksgiving to the Almighty God.
With the implementation of the DTI's One Town One Product OTOP, Banate identified Kasag Blue Crab as the prevalent and flourishing fishery based industry thus making it Banate's OTOP. Promoting the new product and incorporating the product with the festival was conceptualized by the people in charge of OTOP.
With positive response from the Local Chief Executive, all systems go for the First Kasag Festival Celebration; with young blood from the newly elected public officials and the desire to promote Banate's One Town One Product as well as Banate's Tourism Development the First Kasag Festival came into celebration in December 2007.
Food Courts of various mouth-watering and native delicacies were there to give justice to the ever-craving and discriminating taste of Ilonggos. A nightly Singing contest to entertain and showcase the singing prowess of Banatenhons was staged. Daily entertaining activities like Laro ng Lahi old Filipino games, Basketball Tournament and search for Mutya sang Kasag were organized topped by the eagerly anticipated all new Street Dancing Competition based on the idea of Kasag's preservation for future generation and Kasag's nature and thanksgiving to the bountiful season of fishing.
Participation in Other Festivals
Selected Kasag performers regularly compete in other festivals. Banate is represented by Tribu Kasag in the Kasadyahan portion of the Dinagyang Festival every January in Iloilo City. The Kasag festival also competes in the Aliwan Fiesta held every April in Metro Manila. Both Tribu Kasag and the Kasag Festival have won several awards, including the Kasadyahan championship trophy in 2009 and 2010, and the second runner-up trophy at the Aliwan Fiesta in 2010.Nota Bene: History of Tribu Kasag and its antecedent Tribes.Since 1987, Banate has participated the well-known Kasadyahan Festival which takes place before the Iloilo City's Dinagyang Festival. Tribu Kasway has represented the town from the year 1987 to 1993. After then, from 1995 to 1999, the town changed the group's name to Tribu Hugyaw. They won 2nd Place in 1999. Tribu Panagat, the newly adapted name, was Kasadyan Festival's winning groups in the year 2000. It continued to represent the town of Banate until 2003. From 2004 to 2005, the name Tribu Hugyaw was re-adapted by the group.
Later and until the present, Tribu Kasag represents Banate at the Dinagyang Festival as well as at other festivals in the Province of Iloilo and national competitions of the same kind. This current cultural ambassadors of Banate are known for their merry and lively dance which depicts the townpeople's livelihood as fishermen, and the town's famed product: Kasag or crabs.
Awards of Tribu Kasag:
Kasadyahan Competition 2008 - 1st Runner-up, Best in Demonstration, Best in Choreography.
Kasadyahan Competition 2009 - Grand Champion, Best in Production Design, Best in Choreography, Best in Performance.
Aliwan Festival 2009 National Competition- 2nd Place.
Kasadyahan Competition 2010 - Grand Champion, Best in Performance, Best in Choreography, Best in Music, Best in Costume.
Annual AD3 Karera de Paraw & Pinta Layag Competition
A mixture of art, entertainment and skills enhancement: that is Banate's Karera de Paraw.
Held every Easter Sunday of the year, the Karera de Paraw is a sailboat racing competition participated by Banatenhon fisher folks. It is a four-day activity, which includes the Pinta Layag sail painting competition involving the out of school youths, Mutya sang Paraw a beauty pageant competition, Rakustik an acoustical jam competition, and capped by the Karera de Paraw'' on the fourth and final day.
It aims to help boost Banate tourism together with Kasag Festival, to encourage the artistic ability of Banatenhon youth through the sail painting competition, and to give a good and fun-filled break for the fisherfolks while aiming to bag home prizes.
Originally conceived and financed by Alfonso Nonong Delicana III, the Annual AD3 Karera de Paraw & Pinta Layag competition is now on its 4th year. However, the expanding scope and number of activities of the event encourage at this point the involvement and participation also of supporters in and outside Banate. Organizers would now welcome donations for the activities of the coming year.
Civil Heads of Government
Gobernadorcillos of Banate since 1837
Felix Baviera 1837
Alfonso Arroyo
Eustaquio Fuentes
Pasqual Baylon 184445
Ricardo Baban
Tomas Juanico 185556
Apolinario Arroyo
Mariano Fuentes
Martin Balderas
Nepomuceno Fuentes
Apolinario Juanico
Mateo Baban
Julian Bactung
Sotero Fuentes 188991
Feliciano Espinosa
Ciriaco Fuentes 18981900
Presidents elected for Banate during the American regime
The local political leaders of the town during the American Regime were the following:
Eugenio Badilla 190103
Mauricio Tupas 190305
Florencio Villaluz 190507
Victorio Vargas 190709
Juanito Balleza 191012
Alejandro Baban acting/appointed1918
Felix Tarrosa acting/appointed1918
Elpidio Padilla 191820
Fernando Banaria192123
Elpidio Baylen 192426
Paulo Badilla 192729
Fortunato Perez 193032
Mayors of Banate during the U.S. commonwealth government.
Manuel Bacabac 193335
Benjamin Buyco 193639, during whose term Anilao was separated from Banate. Afterwards, Benjamin Buyco also became the first Mayor of Anilao.
Paulo Badilla 193940
Mayors of Banate during the Japanese occupation and after the liberation
Exequiel Palec 1941
Simeon Balladares 1941liberation
Exequiel Palec liberation1947
Mayors of Banate during the time of the republic
Exequiel Palec 194851
Jose Babayo 195255
Nicolas Tarrosa 195559
Exequiel Palec 195963
Marcelino Bacabac 196467
Antonio T. Seyan 196882
Leonardo A. Cabangal 198286
Jonathan V. Sanico 198688
Jonathan V. Sanico 198892
Mayor Vicente V. Bacos 199201
Carlos O. Cabangal, Jr. 200130 June 2010
Renerose B. Caborubias 1 July 201013 May 2013
Carlos O. Cabangal, Jr. 13 May 2013present
Notes
References
External links
Official Website of the Municipality of Banate, Iloilo, Philippines
Local Governance Performance Management System
The projected Banate-Negroes Occidental Bridge
Category:Municipalities of Iloilo | wikipedia |
Why do meteors heat up when they fall through the atmosphere?
When an object (like a meteor) falls through the atmosphere towards the Earth, why does it start to heat up and glow? Is it because of the compressed air in front of it or because of drag? How do spacecrafts prevent themselves from burning as they hurtle through?
Friction and especially compression of the air in front with the air heats up the meteor, the closing speed of a meteor approaching in an opposite direction to the earth's orbital motion can be substantial, and the meteor can heat up to 10,000 degrees K. This causes ablation, a removal by heat, of the outer meteor layers.
>
> As the fireball travels through the atmosphere, the hot vapor from ablation is compressed by collisions with
> atmospheric atoms and molecules. This creates an air cap or hydrodynamic cushion that protects the meteor
> from direct collisions, which can be seen in the figure below.
>
>
> [](https://i.stack.imgur.com/sXGtq.jpg)
>
>
> This barrier creates two macrostates in front of the meteor: One at 3500-5000K, which
> we will call the main spectrum, and one at 10000K, which we will call the second spectrum.
> [[source](http://minerva.union.edu/claina/visualmeteors.html)]
>
>
>
>
[](https://i.stack.imgur.com/WmwTc.jpg)
Apollo 12 capsule's ablative heat shield (after use) on display at the Virginia Air and Space Center.
Image Source: [Wikipedia Heat Shield Ablation](https://en.wikipedia.org/wiki/Heat_shield)
The ablated heat shield of an Apollo command module
With a space probe, normally it would be impossible to withstand this level of heat, so an ablation heat shield is used, which carries energy away from the spacecraft by, "burning" away like a meteor, but with more control over the ablation of the spacecraft surface by pitching the craft at a specified angle and by creating the ablation shield from composite materials that burn slowly.
Meteors are moving very fast when they enter the Earth's atmosphere. The frictional forces generated by the collisions with molecules of the atmosphere are responsible for the heating. Spacecraft have ceramic heat shields and insulation for protection from the high temperatures encountered during reentry.
| stackexchange/physics |
how can i clear that secret Veneer
[](https://i.stack.imgur.com/8cTfd.jpg)
Hi
my friend gave me a mysterious 10 dollars and on the back of it there's a secret code hidden but theres something weird on it covering it what i don't know how to erase it. This is the picture i feel like its thicker than an actual dollar this is all i know.
Could anyone help me solve the problem ? How and with what can i erase it?
Use household tools!
* Can you bend or fold the note? Is the layer brittle and does break off?
* Can you scratch the layer off with a sharp blade?
* Place the note between paper (kitchen roll) and use a hot flat iron. Does the layer melt?
* Can you wash the layer off using a cotton bud and
+ water
+ methylated spirit
+ nail polish remover
Try dissolving it in ethanol or some kind of alcohol. Alcohol is polar so it would dissolve the cover if the substance is polar. The dollar bill is non polar and wouldn't be dissolved.
| stackexchange/chemistry |
No need to spend hours finding a lawyer, post a job and get custom quotes from experienced lawyers instantly.
C Corporation Formation Lawyers
Contract Lawyers
Copyright Lawyers
Intellectual Property Lawyers
Internet Lawyers
LLC Formation Lawyers
Patents Lawyers
S Corporation Formation Lawyers
Startup Lawyers
Trademark Lawyers
View all legal areas
Patent Law Resources
Trademark Law Resources
Startup Law Resources
Free Legal Documents
Full Faith and Credit Definition: Everything You Need to Know
The full faith and credit definition is the obligation that every state has to recognize and accept other states' public records, judicial proceedings, and legislative acts.3 min read
The full faith and credit definition is the obligation that every state has to recognize and accept other states' public records, judicial proceedings, and legislative acts. It may also involve the government's agreement to repay debts. It's provided for in the U.S. Constitution by what's called the "Full Faith and Credit Clause."
What Full Faith and Credit Means
If the United States backs a bond with full faith and credit, the U.S. government is obligated to repay the bond and must find a way to do so. The types of bonds known as full-faith-and-credit-bonds include Ginnie Mae bonds and U.S. Treasury securities, as well as some other debt securities.
While some municipalities may attach full faith and credit to the bonds they issue, this credit means less than the backing of the federal government.
The Constitutional clause regarding full faith and credit helps to ensure that court decisions in one state will be honored in other states. The clause is primarily used to enforce judgments.
Purpose of Full Faith and Credit
The framers of the U.S. Constitution wanted to unite the newborn country when they wrote this clause. They also wanted to allow states to keep some of their autonomy. To achieve this, it was necessary to guarantee that one court's judicial decisions and judgments would be honored by any other state. This was essential for creating one union out of many jurisdictions.
The clause also prevents someone from "forum shopping," or bringing a suit in another state if he or she doesn't get the desired outcome in his or her home state. It also prevents individuals from moving to other states in order to avoid court judgments.
The U.S. Supreme Court has three contexts in which it uses the clause to govern state-court proceedings, which are as follows:
To determine when a state must take jurisdiction for claims arising in other states
To limit how local state law applies to another state's laws in disputes involving multiple states
To recognize and enforce judgments rendered in sister-state courts
The Supreme Court has ruled that one court can't refuse to hear claims arising under the laws of another state.
State courts usually apply their own rules, including their individual statutes of limitations, but there are instances when one state's substantive law should give way to another state's substantive law.
Examples of Full Faith and Credit in Action
Historically, child custody determinations had fallen under state court jurisdiction. Prior to the 1970s, other states didn't enforce full faith and credit on these determinations. Due to this, divorced parents sometimes sought more favorable rulings in other states. This provided incentives for unhappy parents to take a child and move to another state in order to petition for custody. Therefore, the Uniform Child Custody Jurisdiction Act was adopted in 1968 to prevent these types of situations.
Another act that extends full faith and credit is The Violence Against Women Act of 1994. This involves protective order enforcement. Previously, protective orders were only enforced in the state in which they originated. This Act gave victims who moved to another state added protection.
When a court issues a valid judgment, and the involved parties have proper notice of the action, the clause requires the judgment to receive the same effect in any other state in addition to the one where the judgment was originally entered.
An individual who obtains a judgment in one jurisdiction may petition another state's court to enforce that judgment. In this instance, the issues are not litigated again in the other state. Instead, the second state has an obligation to fully recognize and honor the first state's judgment.
Although the U.S. is made up of 50 states, with individual state laws shaping much of each one's government, there are instances where all states are expected to follow the same rules. This applies in the case of full faith and credit.
It prevents a number of legal issues that could come up if one state didn't recognize the validity of another state's judgments. This clause helps ensure uniformity and provides a measure of protection for certain groups as well. In this way, all of the states behave like a cohesive unit.
If you need help with legal matters, you can post your legal need on UpCounsel's marketplace. UpCounsel accepts only the top 5 percent of lawyers to its site. Lawyers on UpCounsel come from law schools such as Harvard Law and Yale Law and average 14 years of legal experience, including work with or on behalf of companies like Google, Menlo Ventures, and Airbnb.
Was this document helpful? Share it with your network!
The Best Lawyers For Less
Hire the top business lawyers and save up to 60% on legal fees
Content Approved
by UpCounsel
Good Faith Clause
Acting in Good Faith
Contract of Good Faith
Example Of Good Faith Exception
Statement of Good Faith
What Is Good Faith Defense?
Bad Faith Legal Definition
Acting in Bad Faith
Good Faith Bargaining
Consumer Credit Protection Act
Want High Quality, Transparent, and Affordable Legal Services?
Request Free Proposals
Visit our Support Center
UpCounsel is an interactive online service that makes it faster and easier for businesses to find and hire legal help solely based on their preferences. We are not a law firm, do not provide any legal services, legal advice or "lawyer referral services" and do not provide or participate in any legal representation.
© 2019 UpCounsel, Inc. | slim_pajama |
Does the rate of heat addition to a thermodynamic system affect its final state?
I have read that the entropy change of a system is greater than or equal to the integral of the heat added to it divided by its temperature. The case where entropy is equal to the integral is when the heat is reversibly added, i.e., through an infinitesimal temperature difference and by implication, an infinitesimal heat transfer rate. I assume the greater the temperature difference, and thus the greater the heat transfer rate, the greater the entropy change of the system.
Additionally, the heat added at constant pressure is equal to $mC\_pdT$, so that for a given amount of heat addition and constant mass, there is a definite temperature change.
Now, consider a cylinder-piston setup. In one case we add heat very slowly (reversibly), and in another we add the heat fast (irreversibly). In both cases, we add the same amount of heat and do so at constant pressure, so that the final temperature and pressure are the same in both cases. The initial and final state variables are therefore the same between the two cases, including the entropy, however in the slow case heat is added reversibly and in the other case irreversibly.
So, I am confused, because I am told that rate of heat addition can affect the entropy of a system, but I cannot see how in my thought experiment. I was hoping someone might help me clear this up.
Thanks!
Let's go through some things you say and clean them up:
>
> I assume the greater the temperature difference, and thus the greater the heat transfer rate, the greater the entropy change of the system.
>
>
>
As you say, under reversible conditions the entropy change is
$$
\Delta S\_{12}=\int\_{T\_1}^{T\_2} \frac{dQ}{T}
$$
where $T\_1$ and $T\_2$ are the initial and final temperatures. We cannot quite relate the magnitude of $\Delta S\_{12}$ to the magnitude of $\Delta T$, as we can see from the $TS$ graph below:
[](https://i.stack.imgur.com/5Fxev.png)
As you can see, we can construct various paths between the same end temperatures with any $\Delta S$ we wish, positive or negative.
Secondly, the temperature difference $T\_2-T\_1$ does not say anything about the *rate* of heating. This rate depends, among many other things, on the difference between the temperature of the system and the temperature of the source that is used to heat up the system.
So, the temperature difference says nothing about the magnitude of the $\Delta S$ and nothing about whether heating is fast or slow.
Now to reversible (slow) versus irreversible (fast) heating: if we heat fast, the pressure of the system will likely increase first before it finally equalizes with the pressure of the surroundings. In this case $Q\neq \Delta H$, because this equation assumes constant pressure, which we don't have. To calculate heat in this case we need more information about the details of the process. Regardless, we can be certain about one thing: the same amount of heat will lead to *different* final states under slow or fast heating.
Consider heat added to the piston/cylinder system. $Q - W = \Delta U$ where $Q$ is the heat added to the system, $W$ is the work done by the system, and $\Delta U$ is the change in internal energy of the system.
For $Q$ added reversibly (slowly), $W$ is less than for the same amount of heat added irreversibly (rapidly), so the change in internal energy for the irreversible process is greater that the change in internal energy for the reversible process.
If the system contains an ideal gas, the internal energy is a function of temperature alone, so the final state for the irreversible case has a higher temperature than for the reversible case.
The same heat added to the system results in less work done by the system for the irreversible case.
The final entropy of the gas is greater for the irreversible case than for the reversible case for the same heat added. See [Difference between reversible and irreversible heat transfer](https://physics.stackexchange.com/questions/544634/difference-between-reversible-and-irreversible-heat-transfer) on this exchange.
| stackexchange/physics |
Sookie Stackhouse/Southern Vampire Mysteries Le journal de Nyna
Univers : La communauté du sud
Rating : tout public, couples femme/femme et homme/femme.
Titre : Katrina
Résumé : Tout allait bien pour Nyna Harper avant Katrina. Fille aimée du chef de la meute de l'est de Ste-Catherine, elle a vu sa vie bouleversée par l'arrivée de Katrina.
Auteur : Sookie
Extraits du Journal personnel de Nyna Harper.
_
28 août 2005,_
__
23 heures.
Des vents violents, apportés par l'ouragan ont déjà arraché les toits et les arbres les plus frêles. Notre père est absent depuis un moment déjà. Il est parti aider Maryann, elle et son mari ont été pris dans un accident de voiture. Je suis morte de peur. Je ne le montre pas. Je dois être forte. Pour Jonathan, Il a seulement 14 ans. Sa Première Lune ne date que de 2 mois.
Je déteste ça. Je suis impuissante. Si au moins j'avais quelqu'un à combattre. Mais tout ce que je peux faire contre Katrina, c'est renforcer les fenêtres, préparer des réserves, m'enfermer dans l'abri avec mon frère et sa mère et prier.
Minuit.
Si je n'avais pas ce journal, je crois que je deviendrais folle. Je regarde Priscilla et j'admire son calme. Je ne l'ai jamais vraiment aimée et pour tout dire, elle me le rendait bien. Elle aurait voulu être la seule et l'unique pour mon père. Mais un chef de meute a un devoir envers les siens. J'avais été le fruit de sa victoire, le jour où il avait accédé au statut de chef de meute et si ma mère ne compte pas plus que n'importe quel autre loup de la meute à ses yeux, il m'a toujours aimée moi.
Mon portable sonne.
Une heure.
Il ne reviendra pas. Il m'a envoyé un message : « joyeux anniversaire ma Nyna. Embrasse Jonathan. Je vous aime. »
Le vent se fait plus fort à l'extérieur. Je prie. Je prie et je pleure.
30 août 2005
Tôt le matin.
Nous sommes en vie. Tous les trois. Papa n'est pas rentré. Priscilla a prit les choses en main. Jonathan semble être en état de choc. Assise à côté de lui, je regarde les membres de la meute arriver, un par un. J'espère que Lucie s'en est sortie.
31 août 2005
Je n'ai pas eu le courage de reprendre ce journal hier.
Papa est mort. Maryann nous a rejoints dans l'après-midi hier. Il a réussi à la sauver. Mais un arbre est tombé sur la voiture alors qu'il tentait d'aider Tom. Il aurait dit que c'était au mieux. Qu'il fallait conserver les femelles. Et en temps que membre de la meute, j'approuvais. Mais en tant que sa fille…
En tout, 18 loups ont regagnés cette maison. Je continue à espérer qu'il y en aura d'autres. Lucie n'est toujours pas arrivée.
Un quinzaine de bougies brillent sur la table de salon, la seule pièce de la maison qui soit encore à peu près habitable. Une par absent. Mais le comté de Ste Catherine n'est pas un petit territoire. Il y a encore de l'espoir.
[…]
6 septembre
Priscilla semble avoir prit le pouvoir au sein de la meute. Certes, elle n'a encore contraint personne à lui prêter allégeance. Mais tous lui obéissent. Nous venons de passer plusieurs jours à rechercher les derniers membres de la meute, aidant les secouristes à fouiller les décombres. Sur quinze manquant, nous n'en avons trouvés que 3.
Lucie est parmi eux. Je suis soulagée à un point que je n'arrive pas à le retransmettre à travers de simples mots. Si mon père avait su à quel point nous étions proches… Il aurait certainement chassée Lucie de son territoire, et moi, moi je serais déjà certainement mariée.
[…]
15 septembre
Notre jardin est désormais un vrai campement. Nos mâles sont partis aider leurs proches et leur famille. Mais la reconstruction prendra des semaines, voir des mois.
Hier encore, John Peers est arrivé ici, nous redonnant l'espoir que peut-être encore, nous pourrions revoir les nôtres.
19 septembre
Priscilla est au courant. Pour Lucie et moi je veux dire. Hier soir, elle nous a surprises dans la tente que nous nous étions attribuée. Elle n'a rien dit. Mais le regard qu'elle m'a lancé en partant valait tous les discours du monde.
Sur le coup, ça m'a fait mal. Mal de savoir que la mort de mon père n'avait rien changé à son comportement. Mal de voir cette haine dans son regard, mal d'y voir le reflet de sa victoire.
Maintenant, je me rends compte à quel point ça ne compte pas finalement. Ca m'étonnerait qu'elle puisse faire grand-chose contre moi. Il ne faut pas oublier qu'elle reste une femelle. Elle ne deviendra pas chef de meute. Peu importe son influence du moment…
[…]
5 octobre
La maison est à peu près habitable. Du moins nous avons un toit en plastique, l'eau courante, l'électricité, et depuis peu, internet. Quelques uns des membres de la meute sont partis puis revenus. Priscilla veut nous voir, je pars à la recherche de mon frère, qui s'isole de plus en plus récemment. Il traverse une passe difficile, que nous avons tous connu un jour. Seulement il a aussi perdu son père. Lors de sa troisième lune, nous avons tous chassé en petits groupes, pour éviter de trop attirer l'attention. Il a besoin d'être guidé et peu importe combien j'essaierai, c'est un loup Alpha dont il a besoin.
Plus tard.
Cette femme est complètement dingue ! Mais le pire, c'est que tous l'approuvent… Enfin tous sauf Morris. Mais il n'est plus là pour en parler. Cet ouragan n'a pas que balayé, nos vies et nos espoirs. Il semble aussi avoir emporté nos coutumes avec lui.
Priscilla est une louve extraordinaire, c'est certainement ce qui a attiré l'attention de mon père, mais elle vient de prouver qu'elle était l'égal d'un mâle ! Un sacré choc pour tout le monde… Voilà à peu près ce qui c'est passé cet après midi :
Aux alentours de 14 heures, tous les membres de la meute étaient réunis dans notre cour, pensant probablement assister à l'élection d'un nouveau chef de meute, depuis un mois et demi que ma belle-mère remplissait ce rôle… Mais à la surprise générale, elle n'a pas parlé d'abandonner sa charge et nous a dit ces mots que je tente de retranscrire aussi fidèlement que possible :
« Mes frères, mes sœurs, écoutez-moi !
Le jour de la Grande Révélation est proche, mais notre territoire n'est plus ! Nous ne pouvons nous permettre d'apparaître ainsi vulnérables aux yeux du monde ! Nous nous devons de faire honneur à notre race et nous montrer plus fort que jamais !
Katrina nous a arraché des êtres chers, nos pères, nos frères, nos compagnons, mais tous ici nous devons avancer, en leur mémoire et pour nous-mêmes !
Nous ne pouvons rester sur un territoire dévasté, à camper dans nos jardins à attendre, la queue entre les jambes, que l'on daigne nous tendre la main !
C'est pourquoi nous allons quitter cette terre pour une autre, plus riche et plus prospère, mais sans jamais nous soumettre ! Nous resterons forts et unis face aux obstacles !
Loups de Ste-Catherine, m'entendez-vous ? »
Un grand silence a alors suivi. C'est cet instant que Morris a choisi pour se manifester.
« Je ne t'entend pas. Femme. »
Je ne sais pas si c'est le ton qu'il a employé ou simplement l'affront qu'il faisait à son discours qui a rendu Priscilla hors d'elle, mais elle a bondit vers lui, se transformant alors même qu'elle était dans les airs, des lambeaux de ses vêtements pendant à sa fourrure. Il n'y a pas à dire, c'est une sacré louve. Et elle a un certain don pour les entrées, fracassantes.
Morris était plutôt costaud, autant sous une forme que l'autre. Mais il n'avait jamais été une lumière. Alors que Priscilla…
Il est mort. Elle lui a déchiqueté les tendons avant de lui sauter à la gorge, et lui la briser. Il s'est défendu, certes. Mais ça n'a pas été suffisant.
Reprenant forme humaine, la bouche encore dégoulinante de sang, elle a reposée sa question.
« M'entendez-vous ? »
Jonathan fut le premier à répondre, et si le reste des mâles a eu du mal à accepter la prise de position d'une femelle en temps que leur chef de meute, ils ont obtempérés.
Je les soupçonne d'attendre une occasion plus propice de prendre leur revanche. Ce n'est pas dans l'ordre des choses, mais ils sont en infériorités et avouons-le, le plan de Priscilla tient la route. Pour l'instant.
[…]
18 octobre
Le plan de Priscilla est simple : envoyer deux mâles rejoindre son frère à Shreveport, intégrer la meute locale et en éliminer quelques femelles clefs, pour agrandir le fossé qui séparait déjà les deux clans opposés de cette meute et attendre qu'ils s'entretuent.
Les femelles sont trop importantes et si tant est que l'on choisisse les bonnes, leur mort les mènerait à leur perte. Les idiots.
21 octobre
_Ca fait deux semaines que le plan de Priscilla a été mis en place. Nous avons élu domicile dans un immeuble désaffecté à l'extérieur de la ville depuis peu. Nous avons attendu la nouvelle lune avant de prendre position.
Cet après-midi, elle nous a annoncé que son frère l'avait informée d'une rencontre entre les deux clans de Shreveport. Malgré l'atrocité de nos actes, nos actes car nous avions tous accepté de la suivre, je sentais l'excitation et la fébrilité me gagner. J'aimais me battre, peu importe la forme que j'empruntais alors.
Jonathan est venu me voir il y a quelques minutes. Il voulait que je parle à sa mère. Pour la convaincre de le laisser se battre. Je crois l'avoir convaincu de la justesse de l'interdiction de Priscilla. Il est trop jeune. Il ne maîtrise pas encore toutes ses capacités. Et soyons honnête, depuis que notre père est mort, je suis devenue une louve tout ce qu'il y a de plus ordinaire. Elle ne m'aurait pas écoutée. Et si ça se trouve, nous n'auront même pas à nous battre. Pas sérieusement. Sur les 28 membres de la meute, seuls 23 sont en âge de se battre et les femelles les plus âgées resteront pour garder les petits. Nous serons donc 20 ce soir.
J'arrête d'écrire. Lucie arrive. Nous avons à parler._
******
La meute attendait sur un toit, surplombant le lieu, où, d'après Cal, la rencontre devrait avoir lieu. A l'avant, Priscilla et trois des mâles observaient la scène qui se jouait en bas et dont la plupart de la conversation venait à nos oreilles. Ils auraient mieux entendu sous notre forme animale. Mais ils ne pouvaient prendre le risque que leur odeur les trahisse. C'est donc aussi prêts à se transformer que possible, qu'ils attendaient la suite des évènements.
Un peu à l'écart des autres, Nyna et Lucie ne se quittaient pas, leurs mains jointes à l'image de leurs regards, qui ne cessaient de se chercher et de s'accrocher. Elles savaient quelles options s'offraient à elles et aucune ne pouvait les satisfaire pleinement. Lucie était la plus fragile des deux, elle était une combattante acharnée, mais son côté humain était trop sensible. Nyna le savait. Elle la protègerait. Peu importe ce que ça impliquerait.
-Mais alors où est ma femme ? a grondé une voix dans la ruelle.
-Morte et enterrée, et je suis prête à la remplacer, est alors intervenue Priscilla, se dévoilant, entourée des trois mâles. Quant à Cal, il est à moi.
D'un même mouvement, les loups, le Changeling et l'humaine qui se trouvait avec eux levèrent la tête comme un seul homme.
Un moment, son apparition a failli faire éclater le conflit entre les deux clans. Mais ça n'a pas marché.
Sentant le danger qui planait sur son frère, elle a du paniquer un instant pour tenter de le protéger et a déclaré bêtement :
-Cal est mon frère. Et vous n'avez pas intérêt à toucher un seul cheveu de sa tête ni même à un seul poil de sa fourrure.
Mais en déclarant cela, elle a signé son arrêt de mort et dans un cri de rage elle a sauté du toit, le cri se transformant en hurlement alors qu'elle se métamorphosait, suivi de ses troupes. Ce n'était pas le combat qu'ils avaient prévu. Mais ce serait ainsi.
Un rugissement a figé les loups, comme s'ils avaient été victime de quelque sortilège. La meute de Ste Catherine a perdu deux loups en ne ressaisissant pas assez vite. Ils avaient désormais plus de 20 loups et un lion contre eux…
[...]
Ils avaient perdu. A genoux, dans les bras l'une de l'autre, Nyna et Lucy observait d'un œil vide le spectacle qui s'offrait à elles. Des monceaux de corps, blessés ou sans vie se détachaient autour de ceux qui avaient été des cibles de choix : les chefs de clan et le lion. Une blonde, la seule véritable humaine présente, s'approcha de l'un d'eux, leur chef, afin de l'examiner. Elle a cherché son pouls, dans son cou, sur son bras, allant même jusqu'à poser la main sur son cœur.
-C'est fini, a-t-elle finalement déclaré.
Une symphonie de hurlements envahit alors la ruelle. Heureusement qu'il s'agissait d'un quartier désaffecté… Le rival de Furnan enjamba alors le corps sans vie de Priscilla, la frappant au passage. Nyna tressailli, en entendant un grognement à sa droite. Contre les ordres de sa mère, Jonathan les avaient rejoints au milieu du combat. L'homme s'est agenouillé en inclinant la tête face au corps de celui qu'il avait tant haït, lui rendant l'hommage du à son rang. Se relevant, il a alors fermement proclamé qu'il était désormais chef de cette meute, et clairement, nous devions nous soumettre.
Trop choqué pour encore protester, Jonathan a regardé ses frères se faire exécuter devant ses yeux, ne sentant même pas la main de sa sœur, glissée dans la sienne et qui enfonçait ses ongles dans ses chairs, retenant difficilement ses cris. Mais elle devait être forte. Pour Jonathan et pour Lucy.
-Venez, a-t-elle discrètement mais fermement déclaré. Taisez-vous, inclinez-vous et par pitié ne faites rien de stupide. Quoique je dise.
-Nyna, fit Lucy d'une voix suppliante.
-Silence. Allons-y.
Se trainant plus que marchant, tous les trois sont alors allé s'agenouiller devant Léonard, puisque que c'est ainsi que tous l'appelaient, présentant leur gorge découverte en guise de soumission.
Nyna pariait sur le fait que la mort des femelles de cette meute devait être compensée et que Jonathan, encore jeune, serait accepté.
*********
_18 août 2006 _
_Cela fait trois jours que Arthur Jr est né et je reprends ce journal pour la première fois depuis cette nuit d'octobre où nous sommes partis nous battre. Lucy vient de partir. Elle a mit longtemps à accepter mon geste. Mais jamais elle n'aurait supporté d'être ainsi l'objet d'un homme, d'un loup, porté par son sentiment de victoire et de supériorité. J'avais enduré cela avec un calme apparent , masquant mes sentiments pour rendre cela mois dur.
Toujours pour elle et pour Jonathan. Ma famille._
********
Reposant son journal, Nyna se leva pour observer son fils endormi.**
**
End file.
| fanfiction |
clinical reports have focused on the effectiveness of brain hypothermia therapy for acute encephalopathy in children . however , there is a lack of high - quality studies with a large number of cases that can show the effectiveness and safety of clinical methods used in brain hypothermia therapy in childhood acute encephalopathy .
there are currently two methods of therapy for which numerous high - quality reports are available in the literature .
these studies mostly focused on brain hypothermia therapy and reported on hypoxic - ischemic encephalopathy in newborns and acute encephalopathy in adults following cardiopulmonary resuscitation associated with out - of - hospital cardiac arrest state resulting from ventricular arrhythmia .
six large - scale clinical studies focusing on hypoxic - ischemic encephalopathy of newborns were reported during the period 20052010 .
one of these clinical studies was the toby trial which was conducted in 2009 and included 163 cases ( 1 ) .
investigators in the toby trial performed body cooling for 72 h and reduced the temperature ( rectal temperature ) to 33c and 34c .
the results revealed a significant reduction in mortaligy or severe after - effects after 18 months from the treatment ( 1 ) .
follow - up studies conducted during the childhood period indicated improvements in the cognitive ability of the children involved ( 2 ) . in a report conducted on 100 cases in 2010 in china ,
the nasopharynx was cooled for 72 h at 340.2 using a selective head cooling method ( 3 ) .
results from that study showed a significant difference in mortality and severe after effects after 18 months ( 3 ) . as a result ,
the brain hypothermia therapy was recommended for childhood hypoxic - ischemic encephalopathy by the international liaison committee on resuscitation in 2010 ( 4 ) . concerning the out - of - hospital cardiopulmonary arrest state in adults ,
two high - quality reports were published in 2002 . in one report , 275 patients were resuscitated from the cardiopulmonary arrest state . in that study
137 patients were assigned to the hypothermia group and 138 to the normothermia group ( 5 ) .
the mortality rates 6 months after cardiac arrest was 14 percentage points lower in the hypothermia group than that in the normothermia group , while 55% of patients in the hypothermia group had a favorable neurologic outcome , as compared with 39% in the normothermia group .
authors of that study concluded that the systemic cooling to a bladder temperature between 32c and 34c for 24 h increased the chance of survival and produced a favorable neurologic outcome ( 5 ) .
in the second study , 77 patients were assigned to treatment with hypothermia or normothermia ( 6 ) .
core body temperature of patients in the hypothermia group was reduced to 33c within 2 h after the return of spontaneous circulation and maintained at that temperature for 12 h. results from that study revealed that the life prognosis improved in the hypothermia group ( 6 ) .
authors of that study concluded that induced hypothermia improved outcomes in comatose patients after resuscitation from out - of - hospital cardiac arrest ( 6 ) .
consequently , in 2002 , the american heart association and the european resuscitation council recommended the brain hypothermia therapy as a viable treatment following resuscitation from cardiopulmonary arrest state in adults .
studies conducted on the effectiveness of brain hypothermia therapy for childhood acute encephalopathy exist only at the case report level , and a large - scale clinical research report has yet to be performed . in one clinical study reporting on brain hypothermia therapy in 38 children , caused by out - of - hospital cardiac arrest , the clinical effects were not confirmed ( 7 ) .
acute encephalopathy is an aspect of this disease with a broad spectrum of symptoms including a variety of pathological conditions ( such as fever , infection , epilepsy , immunological abnormalities , metabolic issues , hypoxia and genetic factors ) caused by brain dysfunction . in childhood
acute encephalopathy , therefore , it is preferable to select a treatment method according to its class and the severity of the complication . in another case report on brain hypothermia therapy
the authors reported about a noteworthy outcome in an infant with epilepticus - type acute encephalopathy who suffered from cardiac arrest and cardiopulmonary resuscitation ( 8) . the results reported in that study were very encouraging and may lead to more discussions and even initiate additional studies in future .
the method of brain hypothermia therapy for children has yet to be widely introduced as a viable type of treatment .
there is only one protocol report on the method of brain hypothermia therapy for children ( 9 ) .
this protocol report was developed in a single facility , without establishing any standard treatment method or safety precautions .
therapy using various drugs , such as pulse steroids , high - dose -globulin and anticonvulsants was used in combination for brain hypothermia ( 9 ) ; however , no study group has conducted a comparative study on the clinical effects of these medications .
for example , we do not have a complete understanding regarding the most efficient temperature or the most effective treatment period duration that should be used for patients such as children . in a multi - facility cooperative study conducted in europe and australia , a study on 950 cases of adults suffering from acute brain disorder following cardiac arrest
the targeted control body temperatures were divided into two groups with a temperature of 33c and 36c .
results of that study reported no substantial amelioration in the prognosis in the groups investigated ( 10 ) .
based on the results obtained in the abovementioned study , the brain normal - temperature method or targeted temperature management ( ttm ) has been recently attempted as a practical treatment method for childhood acute encephalopathy .
brain normal - temperature method or ttm were also employed as treatment methods for maintaining the brain or body temperature at 36 ( 11 ) .
currently , however , this procedure remains at the investigation stage , while there is no evidence indicating the obvious effectiveness of ttm . when applying brain hypothermia therapy to childhood acute encephalopathy , the timing and safety from the onset of acute encephalopathy until brain hypothermia therapy commences should be also studied satisfactorily . during the early phase of the childhood acute encephalopathy
this damage increases the risk of secondary disorders such as delayed energy production and defective energy utilization , neuronal edema , and cerebral blood flow perfusion abnormality ( 9 ) .
therefore , the therapeutic time window ( ttw ) is limited and there is only a narrow time window to treat severe acute encephalopathy effectively ( 10 ) .
a study on ttw was conducted in 10 japanese facilities equipped with a pediatric intensive care unit ( picu ) ( 12 ) .
the japanese study group worked on 43 cases of which 27 were submitted to mild hypothermia and 16 cases to normothermia .
children were subjected to the brain hypothermia therapy for 48 h using the whole body cooling system to set the body temperature at 33.535c ( 12 ) .
results from that study demonstrated that brain hypothermia therapy in the early stage of the disease significantly improves the neurological prognosis ( 12 ) .
a contradictory report offer evidence on the poor prognosis of brain hypothermia therapy in the early stage of disease ( 13 ) making the selection of an appropriate therapeutic method a challenge .
brain hypothermia therapy in children is a treatment that should be performed in highly advanced medical facilities or intensive care rooms in order to provide optimal care and monitoring facilities . in the brain hypothermia therapy whole - body management at the picu level
is required . in some cases of brain hypothermia therapy , steroid pulse therapy , -globulin therapy , and intravenous therapy of various anti - seizure drugs
therefore , to confirm the clinical effects of this therapy , it is essential to study the clinical courses of treatment by dividing the cases into two groups : i ) group being administered the brain hypothermia therapy alone and ii ) group receiving the treatment using the concomitant drugs .
informed consent , however , remains a determining factor in studies on brain hypothermia therapy .
as there are many cases with good prognosis using medical therapy alone in childhood acute encephalopathy , overtreatment must be sufficiently taken into consideration when selecting brain hypothermia therapy . in future , in order to determine the effects and prognosis of the brain hypothermia therapy for acute encephalopathy with a broad spectrum of symptoms including the epilepticus - type encephalopathy in children , evidence worthy of the objective evaluation in accordance with the clinical symptoms should be obtained and assessed . | pubmed |
Photographs of the Godfrey James Family.click on photo for larger view. .
Godfrey James of Union County North Carolina. He was born 24 Aug 1838 and died 28 Jul 1908. During the Civil War, he served in Company E, 49th NC Infantry. Buried at Waxhaw Baptist Church, Union County, North Carolina.
His daughter Mary Jane 'Mollie' James. She lived with Godfrey in Monroe before moving to Chicago in 1890. | slim_pajama |
Dragon Age 1. Chapter 1 - Cole
**The Inquisitor's Ghost**
**Description**: She met him in the dungeons of the White Spire. She was the only one who could see him, the only one who could remember him. She never thought she'd ever see him again, though she'd never forgotten him. His memory haunted her. And now, five years later, he was back in her life, appearing out of thin air just like the ghostly apparition he was. Like the spirit he was, the demon. Tempting her with something she could never have. Because every mage knew, you never take a demon into your soul. You'll change yourself forever.
**Author's Note**: Part I and II of this story are based on the book "Dragon Age: Asunder" by David Gaider, the lead writer of the Dragon Age games. The book takes places about a year after the conclusion of Dragon Age 2, and about two years prior to Varric's interrogation by Cassandra. The book is the origins story of Cole, a mystical killer who stalks the halls of the White Spire and later a possible Companion of the Inquisitor in Dragon Age 3. The whole book centers on finding out who and what Cole is, which you the reader (as well as Cole the character) discover at the end. Since Parts I and II of this story take place before the events in Dragon Age: Asunder, Cole himself still doesn't know what he is in the Parts I and II of this story. Part III starts at the beginning of the third game.
**Disclaimer**: BioWare owns Dragon Age and its characters. I just play with them.
**Part I – The Ghost of the Spire**
**Chapter 1 – Cole**
_In the absence of light, shadows thrive._
_-Threnodies 8:21, Chant of Light_
_9:36 Dragon _
_The White Spire_
A dark figure moved easily through the blackness of the catacombs like a wraith. The shadows skittered around him as if frightened by what was coming through the darkness. The rats fled out of his path, as if threatened by an approaching danger.
The catacombs were located beneath the White Spire Tower in Val Royeaux, which was used by the local Circle of Magi and acted as a templar stronghold in Orlais.
The lone figure came to a stop in front of a large, heavily armored door that blocked his path. His pale hand lifted, his calloused fingers tracing over the ancient arcane, carved symbols that adorned the wall next to the door that led to the dungeons. Despite the templars' hatred of the Tevinter magisters, they were more than willing use the Tevinter magisters' magic to lock up their own.
His fingers moved dexterously over the rusted bolts and locks of the door, until the colossal padlocks opened for him. The metal door opened with a loud, whining creak to reveal a long and dismal hallway.
The figure moved down the dark corridor that was only lighted by a single wall sconce every few feet. His footsteps were a broken rhythm on the cracked and dirty concrete floor. He kept to the shadows, apart of them, proceeding down the gloomy corridor toward the dark abyss that was the dungeons that dwelled below the lively halls of the White Spire where the mages lived with their templar tormentors. There were many levels in the great Tower, filled with sunlight and wide spaces. He rarely went up there. He was more comfortable down below, with the things the templars had forgotten as well as the things they _wanted_ to forget. The bowls of the Tower reached deep into the earth, and they were his home. He loved the darkness. He felt at one with it, attuned to its harmonies and its discords.
Moments later, and he was passing through the last heavily metaled door that would lead him to the dungeons. The dungeons of the Spire were filled with hundreds and hundreds of cells on multiple levels. But one inhabitant in one particular cell was calling to him, like a siren's call. He could _feel_ them. Could feel their pain. It was as if their broken spirit was crying out to him.
They needed help. They needed mercy. They needed a way out.
And he would give it to them.
Snaking through the shadows as if born to them, the lone figure moved deeper into the dark depths of the dungeons of the Spire. The air grew more stale and harder to breathe with each step he took, his surroundings morbid with their dripping walls and lichen-splotched ceilings. The cries of the tormented echoed in this dark place and the prisoners' blood and death were imprinted into the stone.
He never liked coming here unless he absolutely had to, when he felt he would fade into nothingness at any given moment.
The mages and templars both feared this place. The recent stories that circulated through the crowded halls of the White Spire increased their caution to approach the dungeons. The stories kept them away. Stories of a mystical killer that was rumored to stalk the halls, granting apprentices and newly-arrived mages a swift end rather than the eventual prospect of Tranquility or execution by the templars. This unworldly specter was said to appear from the very pits of hell, taking not only the lives but also the souls of his victims. Race, age, and gender were no concern to this killer who willfully took the lives of mages without a single witness. A few mages and templars claimed to have seen a strange young man wandering the halls of the Spire, but their memory was faulty and in time they forgot him completely. And so this killer was granted a name that was feared by both mages and templars alike.
_I am the Ghost of the Spire_.
It was an unpleasant thought, one Cole had turned over and over again in his mind. It seemed fitting, he thought, since a ghost didn't exist. A ghost travelled unseen amongst the living. A ghost was a soul that was lost on its way to the Maker's side. A ghost was left to drift alone in an empty wasteland of shadow. But ghosts where of the dead.
Cole wasn't dead.
He slept, he hungered, he breathed, he bled, he sweat. Those were not things dead people did.
_No_, Cole thought, _I'm not dead. Yet, at the same time, I don't exist_.
Venturing down a circular stairway, Cole navigated into the lower chambers of the dungeons to where the prisoners were held. He turned a corner and glided down a dark and dismal hallway, cells on either side of him. Most of the cells were empty, but some housed mages, young and old and of every different race. But they all had one thing in common: hopelessness.
Cole moved in front of the metal bars completely unseen. The inhabitants didn't raise their heads as he passed in front of their prison cells, whether because they knew no one was coming to release them or because they couldn't see him, he didn't know.
No one ever saw him. No one ever remembered him. He was lost in a world that couldn't see him, couldn't remember him. Loneliness and emptiness were his only companions.
Cole overheard muted cries and sniffles to his right and slowed as he passed a cell that contained a human female with short, white-blonde hair. He recognized the young woman, but only by sight. Cole had watched both the male mages and templars stare at her with a strange look in their eyes that closely resembled hunger. It was odd and he had difficulty comprehending it. Cole had watched the sorceress meet with a few male mages in dark corners of the Tower. Cole had watched them, unseen as always, trying to understand what they were doing rutting against one another and making strange sounds.
Cole looked at the woman through his bangs that always hung into his eyes as he contemplated this woman's fate. She was an apprentice with little talent for magic. She was currently awaiting the Right of Tranquility.
_Tranquil_.
Cole almost shivered at the name. They walked aimlessly, emotionlessly, stripped of their abilities and doomed to live in passive service to their tormentors.
He felt pity for the woman crying sorrowfully in her cell.
Cole looked away from the woman's pitiful form and quickened his pace, turning left down another dark and dismal corridor.
He was close now, he thought, acutely aware of everything around him. He loathed how his pulse was pounding in eagerness, adrenaline surging in his blood, his anticipation mounting as he drew closer to the siren's call. He despised himself for coming here, for what he planned to do, but it could not be helped. He had desperately fought the pull, but he could fight it no longer.
It was the only way, he knew, the only way to remain.
Cole stumbled abruptly as an ominous coldness gripped him. His eyes rolled back into his head and he reached out for the wall to steady himself, afraid his hand would pass right through the stone wall. He suddenly felt like he was disappearing, like he was becoming transparent. He felt like he was drifting away, as if he were exhausted and on the verge of sleep, being lulled into a slumber he knew he'd never awaken from.
There was only one way to ensure he awakened. Only one way to prevent himself from becoming immaterial.
The panic rose within him, clawing at his throat as he felt the shadows surround him, seep into his skin, and he feared at any moment he would be lost in them forever.
It was his greatest fear.
_Not now_, he cringed, fighting the shadows that threatened to swallow him whole. _Not yet!_
He was trembling. His heart was hammering. A cold sweat was pouring down his face.
The shadows abruptly stopped closing in on him and he found he had regained the ability to breathe.
On a ragged exhale, Cole's hand came up to rub at his clammy forehead. He inhaled slowly, taking air into his expanding lungs, before exhaling slowly. After a few more breaths, his breathing slowed, returned to normal, and he relished in the feel of firm and solid flesh beneath his fingertips.
He was still real.
_It's not too late_.
Cole breathed with a relief that was soul deep, though he still felt trapped somewhere between what was real and unreal.
After a few moments, he was able to collect himself somewhat and push the darkness down deep into himself, control it, and keep it at bay. His hand slowly fell away from the wall and he continued forward.
His stride became more determined as he drew closer to the cell that seemed to be calling his name. After passing a few dozen cells, Cole's pulse quickened in tandem with his footsteps as he turned the corner and came to a stop in front of a cell. The siren's call was coming from within that cell, calling out to him, drawing him to it.
Nearly trembling with anticipation, Cole pulled the key he had easily lifted from the templar on guard and unlocked the cell door. It swung open to reveal a male elf in his early twenties lying on the damp stone floor, whimpering. The elf's yellow mage robes were dirty, his face was bruised, and his straight black hair hung in lank strands over his thin shoulders, loose strands sticking to his forehead. The rats surrounded him, nipping at his flesh, but the elf didn't seem to notice or care. The elf also didn't seem to notice or care that his cell door was open, and that Cole was standing in the doorway. He was completely oblivious to his presence.
_Everyone is oblivious to my presence_, Cole thought with a twinge of misery and soul-wrenching loneliness. No one ever saw him. Those few who did see him soon forgot he ever existed within a day or two. He wasn't even certain that he did exist.
Cole strode right up to the man, completely unnoticed. He bent down to rest his elbows on his knees as he stood balanced on the balls of his feet. His face was inches away from the other man's, though the elf remained oblivious to Cole's presence. Cole's eyes ran over the man's emaciated form huddled on the ground. The mage was lying on his side, curled into himself, praying in his lonesome cell with his head bent and hands folded in prayer.
There in the cold and nothingness, Cole watched the mage beg for death, just like all the rest. Cole's head tilted slightly as he studied the elf. This right here was the most painful moment of this man's life. He was beaten, bruised, tortured, helpless, hopeless, and left in a deep, dark hole to rot until the rats were eating at his dead carcass.
The mage suddenly lifted his head, the last words of his prayer falling almost silently from his lips as his eyes met Cole's. Cole's heart leapt as he saw recognition. The mage could _see_ him. The elf's eyes were staring right at him with confusion, weariness, fear, and pain. So much pain.
"You can see me," Cole stated quietly, his relief palpable. He suddenly didn't feel so alone.
"Who… who are you?" the mage said without emotion, his lips cracked and chapped from dehydration.
"My name is Cole." His voice was raspy from none use. He hadn't spoken since the last one.
The elf's gaunt face was apathetic as he sat up, though Cole remained kneeling in front of him on the balls of his feet with his elbows resting on his knees. "What are you doing here?" the mage asked, though it didn't seem like he particularly cared to know the answer.
Cole was silent for a long moment. "I came because you can see me."
The elf stared at him with dead eyes. "What do you want from me?"
Cole reached under his leather vest and drew a wicked looking dagger from its ebony sheath. It was an ornate blade with an elaborate brass hilt carved in the shape of a dragon's head.
The elf's eyes fixed blankly upon the dagger in his hand. "Are you… are you going to kill me?" the elf asked in a small voice.
"I think so. Yes."
The elf's expression remained eerily calm, but his eyes turned questioning. "Why?"
"I'm… fading away," Cole confessed solemnly. "I can feel myself becoming immaterial… unreal." Cole's expression was apologetic, his eyes somber. "I have to do this. I'm sorry."
The mage released a ragged breath of acceptance. "Oh… okay." His eyes lowered and stared fixed upon the ground for a moment before they looked up at Cole again with something akin to serenity. "It won't hurt anymore?"
Cole's eyes remained locked with his. "No, it won't hurt anymore," he promised. "I'll take the pain away."
The elf swallowed hard. "Will you… will you make it quick?"
Cole nodded slowly.
The elf's head bowed and his hands clasped as he said a final prayer. When he was done, his head remained bent, but his hands fell limply into his lap.
Cole leaned forward, his heart thumping madly in his chest. "Look into my eyes…"
The mage's head lifted, slowly, so slowly. When his eyes finally met Cole's, they were filled with weary relief and peaceful acceptance. "I'm ready to go to the Maker's side."
"Thank you," Cole whispered, his grip tightening on the hilt of his dagger, his pulse erratic.
The blade in his hand gleamed in the darkness of the cell a second before Cole buried it in a smooth upward strike into the heart of the mage. Blood gurgled in the elf's throat before spilling out of the corners of his mouth to roll in lines down the sides of his mouth and chin. Cole stared down into his wide eyes, drinking in every moment as the life ebbed out of him. The mage collapsed forward into Cole's arms and the knife was gently pulled free, releasing a flow of blood that stained his yellow robes crimson. Cole held the mage close, waiting for the spasms to stop, watching the final spark of life leave his eyes before gently allowing the limp body to sink to the floor.
Cole immediately stumbled and fell back against the cell wall clutching the blood soaked dagger in his hand, his bloody knuckles white around the hilt of the blade as he tried to catch his breath. He couldn't stop looking at those eyes, staring off into nothing.
Cole cradled his head on his knees and rocked back and forth.
_Murderer_.
That's what they called him – both the mages and the templars of the Tower. But he didn't see it that way. He wasn't taking their lives away from them. He was freeing them, granting them a swift end, rather than the eventual prospect of Tranquility or execution by the templars.
He wasn't acting selflessly though, Cole knew. He felt as if he were fading away, lacking a connection to the world, and the killings somehow strengthened it. They made him feel _alive_. He thrived on the adrenaline, the blood rushing through him when he pushed his blade into a mage's chest, seeing the gratitude in the mage's eyes as they stared up at him, silently thanking him. Each time he looked into their eyes, he saw recognition reflected in them.
They _saw_ him. Truly _saw_ him.
In those moments before he granted them freedom, he was the most important thing in their entire world. Those moments reduced the cold emptiness in his chest and the loneliness chilling his veins. It made him feel a part of the world, rather than an insignificant speck floating in and out of existence.
_You can't keep doing this._
Cole continued to rock back and forth as the thought echoed in his mind. But killing like this… it felt… _good_. It left him burning with life force and feeling real, vital, and alive. And that's what he needed most - to feel alive. He wanted it, needed it, with a desperation that reached the very marrow of his bones.
_You need to stop._
Cole lifted his head and took slow and deliberate breaths as he watched the blood oozing out of the hole he'd made in the mage's chest. It was red - dark, wet, glistening crimson on the stone floor.
Blood red… it was his favorite color.
He liked blood. Liked the red color, liked the coppery smell, and the feel of it between his fingers. Blood was life. Blood was power. He could see the allure of why mages turned to blood magic.
_You need to stop._
Cole steeled himself as he rose to his feet. He would resist the siren's call next time, even though it might mean he would cease to exist in this world. Cole left the cell and locked it behind him. He moved swiftly through the dungeons to where the templar guard was sleeping beside the door that led to the higher levels of the Tower. Cole easily returned the key and washed his dagger and his hands in a bucket of water before sheathing his blade.
For a moment he considered going up to the Tower to steal some food and watch the mages as he typically did, but decided against it. Instead, he turned and started making his way back to the catacombs where he lived.
Cole was making his way to the other side of the dungeons when he turned a corner and came to a stop at the end of a long hallway that was lined with cells that held some of the most dangerous mages. He saw eight armored templars at the end of the hallway throwing someone into a cell. Cole's head cocked to the side as he surveyed the templars struggling to keep the lone prisoner from escaping the cell.
Cole's eyes glistened with interest in the shadows beneath the shaggy bangs that hung in his eyes. He should retreat and take the longer route to the catacombs, he knew, but his feet remained rooted. He couldn't help but be curious. He'd never seen so many templars drag down a single mage.
"Careful," Templar One warned the others. "This one knows how to conjure fire and ice as well as electricity and earth. She's dangerous."
Templar Two snorted contemptuously. "I'd like to see her try to-"
A fist came flying out of the cell and slammed into Templar Two, sending him flying backwards into the metal bars of the cell behind him.
"Sweet blood of Andraste!" Templar One gasped as he watched Templar Two sink to the floor, knocked unconscious by the single blow. "I thought we bound her hands with Mage's Bane-" A Stonefist suddenly slammed into the side of his head and Templar One fell to the ground, the loud crack of his skull as it collided with the stone floor echoing in the hallway, reaching even Cole's ears.
"How is she able to use magic?! She should be entirely drained of mana?!" Templar Three shouted as he unsheathed his sword when a knee came up to ram into his family jewels. Templar Three grunted in pain while he doubled over, cupping himself as he fell sideways to the ground.
Templar Four swiftly performed a Cleanse to purge the area of hostile magic, while Templar Five rushed forward, but became encased in a block of ice before he could reach the cell.
Templar Four's eyes widened in fear. "I used a Cleanse! She couldn't have been unable to use magic for-" His words were cut off as he was suddenly lifted into the air by an invisible force before being slammed back down to the ground, like a ragdoll, as though pummeled by a great fist.
"Telekinesis!" Templar Six shouted. "She's a Force Mage!"
Templar's Six and Seven jumped together to overpower the prisoner, but their bodies instantly fell to the floor, seizuring and spasming, as jolts of electricity shot through them.
"Andraste's great flaming ass! Lock her up! LOCK HER UP!" Templar Seven shouted before a spell of Horror hit him causing terrifying visions to rend his mind, leaving him stunned.
Templar Eight rushed towards the cell but a Spirit Bolt shot out of the cell toward him. Templar Eight spun and avoided it before launching himself at the unseen prisoner inside the cell. Cole could hear the grunts and scuffle of a fight going on inside of the cell followed by a loud cry of pain by a male voice and then a loud crack of what could only be a fist slamming into bone.
"You fucking bitch!" Cole heard a male voice bark inside the cell before there was a loud crash, of what could only be a body being thrown against a stone wall.
Cole watched Templar Eight limp out of the cell, cradling a heavily bleeding arm and sporting two black eyes and a busted nose before slamming the cell door shut with a loud and ominous clang. Templar Eight fumbled with a large ring of iron keys before sticking the one he wanted into the lock and sliding it into place. Two small hands suddenly reached through the bars to grab his armor before yanking him forward and slamming his head into the metal bars. Templar Eight slumped to the floor in a heap.
The prisoner's hand was reaching between the bars and was twisting the key to unlock the cell, when Templar Seven recovered from the Horror spell and stepped up to the bars and slammed the hilt of his blade between the bars into the cell. There was a loud grunt followed by what sounded like a body falling to the ground.
Cole watched, astounded, as the templars struggled to their feet and revived their fallen comrades with health potions. The eight templars stood and limped away towards where Cole was hiding at the end of the hallway, each sporting numerous injuries.
"I'm surprised you didn't stay, André," Cole heard Templar Seven say to Templar Eight. "You usually like having you're way with the women. You know, teach them a lesson about authority."
Templar Eight cradled his arm as he shook his head. "That one's not pretty enough to tempt me, especially knowing the fight she would put up. I'd have to beat her into submission, and even then I don't think she would submit. I'd probably just end up killing her. Too much trouble."
Templar Three snorted. "You've got that right. She's a bloody she-devil, she is! She nearly scratched my eyes out dragging her down here!"
Templar Five nodded in agreement. "Trouble is the best way to describe that bitch. Though, I wonder if the drapes match the carpet? I've never seen hair that color before."
There were a few snickers at that remark. As they drew closer to where Cole was hiding, one templar lifted his head, looking straight at Cole. Cole sucked in a sharp breath, expecting to see recognition in his eyes. But the man saw through him and soon looked away.
The templars drew impossibly close and Cole stayed where he was, nervously holding his breath as they drew even closer. He felt immaterial, as if he were made of the same substance as the shadows. When they reached him, however, they did what most people did: they walked around him, completely oblivious to him. It was never a sure thing, and Cole always half expected that someone might see him. Half hoped, even.
Once the templars were out of sight, Cole turned his attention to the cell that was at the end of the long hallway. Fascinated, Cole moved on silent feet toward the cell of the prisoner that had easily taken on eight armed templars. He moved silently down the dark corridor that was only lighted by a single wall sconce every few feet, his footfalls muted against the grimy stone floor. Moments later, he came to an abrupt halt in front of the metal bars to the prisoner's cell.
The cold, swirling emptiness in his chest froze for a second as his eyes collided with a young girl, no more than eighteen, sitting on the floor with her back against the grimy wall and her arms resting on her bent knees. Through the wayward strands of hair hanging in his eyes, Cole's gaze traveled over her, assessing her with utter curiosity.
The first thing he noticed about her was her hair. How could he not? It was a thick, heavy, untamed mass of curls that were a shocking fiery red color that tumbled over her shoulders down to her stomach. The vibrant crimson color of her hair contrasted richly with her sun-kissed skin, her smooth complexion sprinkled with light freckles, a healthy glow to her features. There was a bruise on her cheek that was a terrible black and dark purple and she sported a busted lip. Her lips were full and ripe and so dark a red they almost matched her hair.
His eyes trailed lower. She was not dressed in robes as he imagined, but in coppery chainmail, with black leather boots that almost reached her thighs. She had a tall, slender figure that was lined with lean muscle and slight feminine curves that were only accentuated by the figure-hugging armor she wore. She looked strong and tough, like a girl who fought as easily as she breathed.
The girl lifted her head to the ceiling and exhaled heavily, wearily, but surprisingly not in defeat. Through the wild flaming curls that framed her face, Cole got a good look at her. She was striking with her bright and vivid coloring, freckled face, and narrow, fine-boned features.
_She doesn't belong here_, Cole immediately thought and was surprised by the force behind it. She looked too young and too bright to be here… in this place… a place full of nothing but darkness, hopelessness, blood and death.
The girl's head suddenly turned sharply toward him and Cole found himself staring into the deepest most mesmerizing blue-green eyes he'd ever seen. Cole stilled, his body rigid with shock and disbelief as those arresting orbs stared him dead in the eyes beneath a thatch of charcoal lashes. Her eyes were sharp with keen intelligence and her wildly unruly curls framed her bruised face as she stared at him.
"I know you're there," the girl said in a low voice, answering his unspoken question. Her voice held a honeyed warmth that was soft and feminine, yet lined with a strength and fierceness like that of a lioness.
Cole felt tension coil within him as she stared right at him, a tightly wound knot. His world came to a standstill as a single thought ran frantically through his mind: _Did she see me?_
"Come out of the shadows," she stated firmly, the authority in her voice enough to rival that of the Knight-Commander, despite her few years.
For a long moment Cole did nothing. He stood perfectly still, cloaked in shadow, staring numbly the girl. The shock of finding someone who could see him was so considerable that he felt the effects of it deep within himself. The girl stared at him while he stared back at her, curiosity and interest reflected in her brilliant blue-green eyes.
_Aquamarine_, Cole thought as he stared into them, _like gemstones_.
The girl's head tilted slightly, her eyes locked with his, refusing to release him. Cole's eyes closely followed her arm as it lifted in front of her and watched as she drew upon the Fade. Part of Cole wondered if the girl would use her magic on him. Would she conjure fire? What would that be like? Could she kill him?
But she didn't try to kill him. Instead, she summoned a flame that hovered a few inches above the palm of her hand. The flame brought light into the gloomy darkness and caused shadows to dance across her face. Something within him shifted as he stared at her. Now, as he studied her, he could see that there was a light inside her that shone like a beacon, bright and warm like a welcoming fire on a cold night. He could feel it then; inside him. And then, for a fleeting instance he could _see_ it too. The light in her hand and the light that seemed to be shining from within her stretched out across the cell and seeped into his skin, making him feel warmth for the first time since… since he could remember.
Irresistibly impelled, Cole stepped closer toward her, toward the warmth, his nose almost pressing against the metal bars. Cole watched her eyes flicker with new emotions as he moved out of the comfort and safety of the cold, dark shadows that surrounded him and into the warm, bright light she cast. Now that he was visible to her, he expected to see fear in her eyes. They always looked at him with fear. But there was no fear in this girl's eyes, though there was sudden suspicion and distrust reflected in those aqua orbs.
"Who are you?" the girl demanded, her voice direct and challenging, a blood red curl falling over her eyes that were impaling him with such a severe look that it stole his breath away.
Cole could do nothing but stare at her, unblinking and dumbfounded. He felt like the world was collapsing around him. His mind was unable to comprehend just how this girl was able to see him. She was neither weak nor praying for death. She was neither hopeless nor consumed with defeat and despair. This girl was strong and fierce and would never give up trying to escape, he could see it right there in her aquamarine eyes.
_So then how… how can she see me? _
**Author's Note**: The opening words of the book Dragon Age: Asunder are: "_I am the Ghost of the Spire_. It was an unpleasant thought, one Cole had turned over and over again in his mind." I thought I should give a little salute and tribute to David Gaider. There are also a few other lines taken from the book. For example, the description of Cole's blade is the same as in the book since we will most likely see it in the Dragon Age 3 game and I thought you guys might like to read the original description of it. Also, when Cole says, "Look into my eyes…" that is a line Cole says multiple times in the book right before he kills someone. It is a line he will most likely say in the third game. I have uploaded some pictures and videos on my bio page.
2. Chapter 2 - Ember
**The Inquisitor's Ghost**
**Chapter 2 – Ember**
_Here lies the abyss, the well of all souls _
_From these emerald waters doth life begin anew_
_Come to me, child, and I shall embrace you_
_In my arms lies Eternity_
_- Andraste 14:11_
A low, sinister feminine chuckle echoed within the prison cell as a young human woman watched the eight templars flee from her like frightened vermin. They limped away, a few still groaning in pain from the damage she'd inflected upon them, each holding either a black eye, an injured limb, or a pair of damaged testacles. Her blue-green eyes gleamed from beneath long black lashes as she watched the templars from behind the metal bars, priding herself on the destruction she'd left in her wake.
She dragged her thumb across her split lip, removing the blood that had accumulated there. Her thumb lingered on the cut in her bottom lip and her lips curved dangerously as she listened to the conversation the fleeing templars were having.
So, the little templar named André liked raping imprisoned female mages who couldn't fight back, did he?
While she knew nothing about men - having never even been kissed - she wasn't ignorant to the atrocities a man could inflict upon a woman. But no man would ever rape her.
They'd die first.
If the little templar dared to try and put his hands on her, he would meet the Maker slowly, painfully, begging for mercy. Despite the mana draining bars that caged her, she would pull everything she could from the Fade and unleash it upon him.
She would destroy him.
And she would smile while she did it.
But the templars weren't coming back. She could hear their footsteps getting fainter and fainter. She heard the slam of heavy doors, the bolts crashing into place, leaving her alone with only her thoughts and the rats to keep her company.
Ember breathed in steadily, then out again as she heard nothing at all except the cries of the tormented and deranged that echoed around her.
Her eyes narrowed on the bars in front of her face and she turned away from them with a look of disgust. She moved across the small cell to the side wall. The hobble made it difficult. Her leg hurt where one of those bastards had kicked her. But she did not think it was broken – it took her weight when she tested it. It was a mere flesh wound.
She'd suffered far worse in her few years.
With a wince she lowered her bruised and battered body to the filthy floor that stunk of mold, blood, and death. How many had died in this exact spot? She wondered with a grimace of revulsion.
A huge brown rat scurried across the floor, running toward the darkness on the other side of her cell.
_What a wonderful way to celebrate your eighteenth birthday_, Ember thought with a snort as she adjusted on the dirty floor to press her back against the stone wall, heavy exhaustion following in the wake of blood-pumping adrenaline. The sad thing was this wasn't even the worse birthday she'd ever had. Her birthdays had always been cursed. The worst days of her life had all been on her birthday.
Her hand came up to rub tenderly at her throbbing and swollen jaw. Her face ached where one of the templars had hit her. There was blood and a piece of broken tooth in her mouth. She spat it out on the floor.
With a weary sigh, she bent her knees and rested her elbows on them. A faint tremble shook her. Nerves and stress. She hadn't slept in days. Hadn't eaten a real meal in twice that time – a loaf of bread stretched between. They wouldn't feed her much here, she knew. But she didn't expect to be here long. She'd escaped jail cells in the past and she would do so again.
_Although, this time might take a little more finesse_, she thought glumly as she eyed the magically enhanced bars that imprisoned her.
She'd heard stories of this place – the dungeons of the White Spire Tower in Val Royeaux were feared by every mage in Thedas. The bars here drew on a mage's mana, draining it to nothing, like a leech sucking the blood of its victim. She could feel it, feel the magic they contained reaching out to try and extinguish her power.
Ember blew a red springy curl away from her face as she looked around her prison cell. This place was dark and bitter cold and wet with dried blood splashed across the dirty stone floor. A foul mix of odors stung her nostrils - rot, urine, blood, and decay. There was nothing in the cell except for a dirty chamber pot in the corner. Her heart sank. She was locked away, caged, trapped in a small metal box. She was left to rot in a grimy, cramped space, wrapped in almost total darkness.
An airless void rose up, threatening to choke her. She prayed to the Maker that this would not be her grave.
_No_. Her head shook adamantly, dark crimson curls whipping around her face. _I will not die here. I am destined for something… greater_.
Ember nodded resolutely. She would escape this dismal place, or die trying. And once she escaped, she would pay a little visit to the person that had betrayed her to the templars. Her eyes glittered maliciously at the thought. She didn't run from her problems. She ran through them, like a battering ram. And there was no question that the one who'd betrayed her trust was a problem, one she would deal with in time.
Her gaze fell, her head tilted. The rat was back, nibbling on the laces of her thigh-high leather boot. Despite herself, the corner of her mouth pulled up into a smirk. This one was bold, fearless, reckless. She liked it. It reminded her of herself, a kindred spirit. She wondered how the little guy felt being locked away in this place, not free to roam the wild and overgrown forests just outside the White Spire Tower?
Feeling a vulnerability she rarely felt, Ember wrapped her arms around her knees. The cold was biting, seeping through her coppery chainmail armor, down into her skin, and aching in her bones. She'd dreaded being locked up like this ever since her eighth birthday when she'd set the family barn on fire with only her hands.
Her parents had tortured her, maimed her, left deep and lingering scars on her body and mind. But they couldn't break her and when they couldn't, her parents turned her over to the templars without a backward glance, thankful to be rid of her and her cursed magic. But she didn't go quietly with the templars.
Not willingly. Never willingly.
Even as a child she was too unruly, her will too strong, her spirit to wild. Even at the age of eight, Ember knew she'd rather die than be caged, than be forced into obedience, than be the servant of another's will.
After her parents' betrayal, she'd managed to escape from the clutches of the templars. As soon as she broke free of them she ran, she ran as fast as her little legs could take her, and she's been running ever since.
_Apostate_. That was the name they branded her with. But that detested title never stopped her from tempting fate - or making it obey her will.
She'd run from her home in the solitary country of Orlais to a small village in Ferelden.
Lothering.
It was by pure chance that she'd come across a friendly family of warriors and apostates. A gentle man named Malcolm Hawke and his wife Leandra and their three children Marian, Carver, and Bethany had taken her in, protecting her, saving her. She'd been only a child of eight summers when she'd met the Hawke family, while Marian had been eighteen and the twins sixteen.
Malcolm and Bethany had taught her about magic. They taught her how to wield it and an arsenal of spells. But they taught her how to hide her magic from recognition, to keep her identity as an apostate hidden. Carver had made her run for miles, building her muscles by making her engage in strenuous physical exercises. Leandra had taught her how to be a lady. The kind noblewoman had educated her and taught her poise, grace, and charm. She also taught her how to act with manners when out in public and to be able to mingle effortlessly in social settings and high society.
But it was Marian that had instantly captured Ember's undying admiration. Hawke was strong, brilliant, charismatic, and beautiful. She could make anyone laugh, even her enemies. The woman could pick any lock with her eyes closed and lift a man's wedding ring without him knowing it. But the charming woman would become a terrifying foe when she unsheathed her twin daggers that were always strapped to her back. That woman was fierce in battle, glorious in her wrath, and unstoppable once she actually put her mind to something.
That was the kind of woman Ember wanted to be. A woman who was strong - strong enough to ensure her own freedom from the templars and anyone else who dared try and imprison her.
After four years of living with the Hawke family, Ember had become a deadly mage. But she refused to use her magic, except for training in secret or when she absolutely had to when her life depended on it. Instead, she used her mana to hide her magic and she'd gotten so good at it that not even a templar could detect she was a mage, even if he was standing right next to her. She preferred it that way. She refused to be detected and taken again, to be locked up, to be anything but her own keeper.
No one would ever rule over her. No one.
Wanting to be able to protect herself without having to use magic, Ember had forced herself to become a rogue. Hawke trained her, and trained her well. She learned to wield blades and a bow, spending every second of every day perfecting her skills until she was better than any rogue.
But it all came crashing down on her twelfth birthday.
Ember and Malcolm had gone to Redcliffe Village to meet an old friend of Malcolm's for potions and runes, and a staff for a birthday present. Teagan Guerrin was the Bann of Rainesfere and the younger brother of Arl Eamon, and Ember did not trust him with their secret. But Malcolm trusted him, assured her that the man would not reveal their identities as apostates. Despite her instincts telling her not to go, Ember had trusted Malcolm's judgment.
But he was wrong. So wrong.
Teagan Guerrin had betrayed them that day to a templar named Ser Perth. Ember and Malcolm fought them, fought being captured and enslaved. Malcolm, who had become like a father to her, had sacrificed himself so that she could escape. He would never see his family again, all because of his friend's betrayal.
Frightened and running for her life, Ember dared not return to the safety of the Hawke cabin, fearing she would lead her templar pursuers to them, endangering them. So, she'd run as fast as she could to Denerim and stole aboard the first ship she could found.
After days at sea, raiders on a notorious ship called the Siren's Call had attacked. An infamous pirate captain named Isabela attacked the cargo ship Ember was hiding on with cannon fire and without mercy. Ember had abandoned ship, barely escaping the notorious Queen of the Eastern Seas, and swam to the nearest island called Seheron.
It was on the island that she'd met the legendary Fog Warriors. The Fog Warriors were a group of freedom fighters native to the jungles of Seheron. They sought to make the island independent from both Qunari and Imperium rule. They come to her silently amid a deep and unnatural fog that had magical properties and offered her their protection and allegiance. She'd joined their ranks, painting her armor and skin a pale white, becoming one of them. They educated her on the Qun and taught her their fighting style and new spells. In her time with them, Ember had developed a deep sense of camaraderie with the Fog Warriors. They were strong of will, courageous, independent, bowing to no one. She respected and admired them, proud to call herself one of them.
One day, while patrolling the eastern coast, a strange elf with white hair and strange markings washed up on the shore of the island. Ember's small band of Fog Warriors found him and she used her healing magic to nurse him back to health. The moody elf stayed with them for a time. The elf was quiet and kept to himself. He was always brooding and scowling, snapping at those around him like a wounded wolf. But in time they were able to get past his hard exterior and catch a glimpse of the broken soul within.
On her thirteenth birthday a powerful Tevinter magister by the name of Danarius came to the island. He claimed to be the elf's master. The Fog Warriors did not believe in slavery and they refused to let the mage take the elf. Ember fought along side her brothers and sisters in arms. She wielded both magic and daggers. She was an unstoppable force, and for a moment she felt as powerful as Hawke. When the battle had almost been won, Ember had turned to the elf and gave him an assuring smile. It was at that moment that Danarius ordered the elf to kill them.
And the elf did.
Starting with her.
The elf's body had glowed with an eerie white light before he thrust his hand into her chest. She'd felt his hand wrap around her heart and she expected him to rip it from her body. But the elf hesitated, his eyes a deep shade of green agony. He pulled his hand free of her chest but her heart remained within it. He hadn't caused any serious damage, though she'd fallen to the ground, unconscious.
When she'd awakened she'd found the Fog Warriors dead. All of them. The elf had killed every last one of them. Men, women, children. He'd betrayed them. They'd shown him nothing but kindness and he'd betrayed them, slaughtering them all.
All but her, as if Andraste herself was watching over her, protecting her.
Ember lifted her head to stare up at the pitch-black ceiling of her prison cell, her breath leaving her in a heavy, jagged rush. That seemed like a lifetime ago instead of five years. By this point in her short life she was quite familiar with the bitter sting of betrayal and the resulting pain, hatred, and loneliness.
Her family had betrayed her to the templars.
Teagan Guerrin had betrayed her and Malcolm Hawke to Ser Perth.
Fenris had betrayed her and the Fog Warriors to Danarius.
And it was a friend's betrayal that had resulted in her recent capture by the templars, and getting thrown into this stinking pit of darkness to deteriorate and wither away until she died.
Ember's blue-green eyes flashed with an internal fire that matched the wildly flaming curls that tumbled over her shoulders down to her stomach. She'd been captured and caged like a wild animal for her crime of being an apostate – a creature cursed by the Maker in the eyes of the templars.
Her jaw clenched so tight her teeth ground painfully against each other. The templars had dragged her unwillingly to the White Spire and when she fought back, as her rebellious spirit willed, they beat her. Afterward, as she'd lay beaten and bruised and bloodied on the marble floor of the foyer of the Spire, she'd cursed them, laughing maniacally while she did it. They'd beaten her again until she'd lost consciousness. She'd been awakened by their manhandling of her as they dragged her reluctantly to this horrid dungeon - a black pit from which they said she would never emerge. They'd dragged her, kicking and screaming, clawing and biting, to be locked away in this tiny cell encrusted with filth and rot all because these templars feared what she was capable of.
_And they should fear_, Ember mused darkly. _For I am capable of unimaginable things, things they couldn't even dream of._
Ember's mind came skidding to a halt as the hairs on the back of her neck abruptly stood on end. She couldn't escape the feeling she was suddenly being watched. Her body tensed and instinctively her hand went to her belt for the dagger that was no longer there. Her eyes searched the gloom of her cell, meeting nothing but darkness. Someone was there. She knew it, could feel it. Her instincts were never wrong.
The shadows in front of her cell seemed darker, somehow… and she felt something within them staring at her.
"I know you're there," Ember stated in a low and stiff voice, speaking into the shadows that lined her cell.
"Come out of the shadows," she commanded firmly, the authority ringing in her voice.
For a long moment there was nothing. No sound. No air. Nothing but darkness.
Ember's eyes widened in alarm and her heart slammed against her ribcage as a tall, dark, ominous figure materialized out of the darkness right in front of her cell, seeming to emerge from the shadows themselves, as if they lived and breathed them.
Though she forced herself to appear calm, her blood had chilled with fear, her panic mounting, self-preservation instincts taking hold. Refusing to let dread overwhelm her, Ember kept her eyes locked on the figure shrouded in shadow as she lifted her hand in front of her and drew upon the Fade.
Gathering her magic, something she rarely did, Ember reached her mind across the Veil and summoned a shimmering orb of fire into the palm of her hand. The flame brought light into the gloomy darkness and caused shadows to dance across the walls of her cell, stretching across the stone floor to the metal bars.
It was a young man, she realized as she squinted to see into the darkness that surrounded him. He looked to be in his early twenties. Shaggy blonde locks fell over his forehead and into his eyes, causing dark shadows to slash across his sharply chiseled features, highlighting his smooth alabaster skin, harshly carved cheekbones, and long and straight nose that was in perfect conformity with the rigid line of his strong masculine jaw.
Ember's eyes raked the mysterious young man while he appeared to appraise her in return. The young man was tall, over six feet, and whipcord lean, lanky even, and built from solid muscle. Her eyes fell to his slim hips and tightly corded arms. He resembled a lean ivory statue made up of chiseled lines and sharp angles. His mouth was like a band of scarlet on a tower of ivory, his skin so exquisitely white as to seem almost transparent. _He_ was almost transparent, she thought, thinking at any moment the shadows that surrounded him would swallow him whole and cloak him in complete darkness.
Ember shook herself, aware she was guilty of staring. Yet, this odd stranger held an unexplainable captivation. He was no templar or mage, she knew, since he wore no armor or robes. He wore worn leathers that looked like they badly needed washing. But there was a severe countenance to his darkly chiseled face that gave off an ominous, almost malevolent cast.
_If he isn't a mage or a templar, then who is he? _Ember thought._ What is he doing down here? Why is he standing in front of my cell? What does he want with me? _
Realizing her hand was shaking from her unsettled nerves, Ember placed the flame in front of her and it hovered just above the ground. She lifted her head to watch the young man step closer toward her, his nose almost pressing against the metal bars. With her heart knocking against her chest wall, she slowly lifted her eyes to his face and gasped softly. He was staring at her so keenly, with such unblinking intensity, she felt as though he was staring into her soul.
And his eyes… Maker… his eyes were unlike anything she'd ever seen before. They were two icy blue orbs, so pale in color they were almost translucent, but deep as forever and incredibly intense. They were… _unnatural_. Shadows filled them, lived in them, whispering for her to peer closer into them.
Haunted, haunted eyes.
A cold worm of dread coiled in her belly. It was then that she noticed that there was an elusiveness about him, even a slight chill, and a dark ripple of foreboding that caused her to immediately become on her guard. There was something dark, mysterious, and otherworldly about this man.
Something dangerous.
Something that caused the hairs on the back of her neck to stand on end in warning.
Her instincts were _never_ wrong.
The young man took another step toward her, pressing his body against the bars of her cell. Ember tensed, suddenly very aware of this stranger who seemed to emit a very palpable aura of danger, striking a fear into her heart.
"Who are you?" she managed to say despite the icy chill coating her veins.
The young man visibly tensed at her words. There was a furtive tension to the way he stood, as if he would retreat into the shadows at any second. But he didn't retreat. He just stood there, as though he didn't understand the language she spoke.
_Why isn't he saying anything? Why is he just standing there? Can he not understand me? Does he not speak my language? Or is he deaf? Perhaps he's mentally ill or unstable? _
For several heartbeats, Ember didn't know what to do or say. The silence that lingered was deafening. Unable to stand another second of the unbearable tension, she repeated, "Who are you?"
"You can see me." His voice was raspy, as if from lack of use, and it quavered with shocked disbelief.
Ember said nothing, but her eyes remained locked on his as he slowly bent down to crouch low on the balls of his feet in front of her cell. His elbows rested on his knees, hands dangling between his legs. His face was enigmatic and those abnormal eyes offered no emotion. They were simply blank slates of ice blue that stared fixated and unrelenting at her from beneath wayward strands of gilded hair.
"You _can_ see me," the young man repeated, more confidently this time.
Her eyes narrowed in suspicion. _Is this a trick? Some game the templars are playing with me? _Warily, Ember moved on her hands and knees closer to the bars, closer to him. The floating flame she'd cast followed in her wake, as if pulled by some invisible thread. She tried not to let it get to her, but it unnerved her how his eyes closely followed her every move.
Ember swallowed hard as she sat cross-legged in front of the bars of her cell. Her heart leaped into her throat and she pulled back as the young man suddenly pressed his face into the bars as if he were straining to get closer to her, like a feral wolf that had caught the scent of something he liked.
His eyes caught how she shrank away from him and his head tilted, blonde bangs falling over one eye and revealing the other. "Are you afraid of me?"
She was a little at that, which was odd because there was little she was afraid of. But this man… there was something about him that was… _scary_.
"Do I scare you?" he asked, as if reading her thoughts, while he moved to sit on his knees, his long fingers flexing on the bars.
Ember met his eyes that were so deep they seemed like bottomless blue wells reaching into his very soul.
They were not ordinary eyes.
Not human.
Not of this world.
His eyes belonged to something else, somewhere else…
_Is this man real? Does he even exist? _
His face pressed further into the metal bars, straining to get closer. "What is your name?"
Maker, even the rich darkness of his voice was inhuman.
"_What_ are you?" she breathed, her voice a mere wisp of sound.
His expression shuttered. "I don't know what I am."
Her heart came to a stuttering stop with dismay. "What do you mean you don't know what you are?"
Silence split the air. He said not a word, but he kept those eerie, impenetrable eyes keenly focused on her, unwavering and unblinking. His inscrutable countenance gave little away, revealing nothing of his thoughts.
She swallowed hard, her apprehension rising. "Are you here to hurt me?"
The young man said nothing, though his eyes flickered to the side, as if he were debating it.
Panic rose up to choke her. She drew her bottom lip between her teeth, feeling tremors of anxiety twisting within her stomach as she became aware of the peril she'd inadvertently stepped into. She couldn't be sure of his intent. His eyes, like his expression, were inscrutable.
"No," he rasped softly after a long pause. "I won't hurt you."
She exhaled a shaky breath of relief and averted her gaze.
She felt much better when she wasn't looking in those eyes.
"Will you help me escape, then?" She refused to let her hope enter her voice.
"No."
Her eyes snapped to his and narrowed. "And why not?"
Long pale fingers tapped the lock. "This door can only be opened with a key – a key the Knight-Captain keeps on her at all times."
"Lovely," Ember deadpanned, brushing a spiraling red curl from her face with a huff. "Can you lift the key from the Knight-Captain?"
He shook his head and his blonde bangs whipped side to side across his forehead and eyes. "Evangeline de Brassard will not be easily deceived. She's attentive. She would know."
The blonde shifted from his knees to sit on the ground, cross-legged like her. He sat right in front of her, only the metal bars of her cell separating them. They were close, his right knee almost touching hers through the bars. The little flame she'd conjured bobbed slightly up and down as it hovered over the ground beside her, pushing back the blackness that threatened to consume them both.
His head tilted, eyes glittering with intrigue in the light the flame cast. "What's your name?" He asked in a quiet, scratchy whisper.
"Ember," she answered softly. "Ember Laurent."
"Ember." He said her name slowly, as if testing it on his tongue, and the rasping syllables caused a warm tingle of something nameless to trickle down her back.
Unnerved by her reaction to the sound of her own name coming from his lips, Ember lifted her chin and forced her voice to come out even, "You are no mage, nor are you a templar." It was not a question.
"I am neither," he confirmed.
She nodded slowly, her fingers drumming on her knees as she thought. "If you are not a mage and not a templar, then what are you doing down here?"
He hesitated, as if considering whether to answer her or not. "I live in the catacombs beneath the tower," he answered finally.
Her eyebrows pulled together. "But what are you doing here in the dungeons?"
He said nothing, but his eyes shifted away from hers, as if in shame. "I come here sometimes," he replied in a low voice, keeping his gaze from hers. "I visit the tower sometimes for food and other things. I like to watch them - the mages and the templars."
One red eyebrow lifted in question. "Aren't you afraid of getting caught?"
"No." His pale eyes shifted back to hers, watching her from beneath his blonde bangs. "They never see me, never remember me."
Her face pinched with confusion and unease. His answer was strange, very strange, just like him.
"Who are you?" There was a tremor in her voice that revealed the fear she felt.
For a moment he froze, his dark lashes lowering to half mast his crystal clear blue eyes. "I am the Ghost of the Spire." The words came out like a confession and he watched her closely, as if scrutinizing her reaction.
Ember rolled her blue-green eyes. "There's no such thing as ghosts," she scoffed.
He shrugged carelessly. "A ghost is simply a dead man lost on his way to the Maker's side, forever adrift in a land of shadow," he answered simply.
She snorted. "And… that's what you are? You're… _dead_?" Ember murmured with incredulity. Curious despite herself, Ember gripped a metal bar in one hand and she pressed herself against the bars as she reached forward through the bars with her other hand to touch him. She expected her hand to go straight through him, expecting him to be the apparition he claimed to be.
But it didn't.
Her palm pressed flat against his chest, an action she regretted immediately. Beneath his worn leathers, was a warm torso that was a amalgam of sharp angles and sinewy muscle. She licked her suddenly dry lips as she felt hard muscles flex beneath her fingertips, felt the danger and dormant strength he possessed. Power emanated from him like a life force, raw and uncut.
"Death would explain what I am." Her heart gave a fierce leap at his low, husky murmur so close to her ear, his warm breath licking the sensitive skin beneath her ear.
Ember instantly ripped her hand away from his rock-hard chest as if she'd been burned, leaning back from the bars. With her cheeks roasting, she swallowed the sudden dryness in her throat, her response to merely touching him unsettling.
Ember quickly folded her arms in a defensive gesture, trying to hide the rapid beat of her heart, scowling at him as he continued to stare at her coolly, clearly not affected by her touch like she'd been. "You're not dead," she stated firmly, almost accusingly. "You're made of flesh and bone. Just like me."
His eyes were remote and shadowed. "I'm not dead, yet at the same time I don't exist."
She eyed him as if he'd grown two heads. "Are you… a crazy person?"
The slightest quirk of his mouth told her that she amused him. "I don't know." He turned his body slightly away from her, the quirk deepening. "Maybe."
As she studied his side profile a fearful tremble worked its way down her spine as a terrible thought hit her, a thought that scared the blood out of her. "Are you a… demon?"
He paused. After a few heartbeats, his chin turned fractionally toward her, his heavy-lidded eyes piercing into her. "I am no demon." He faced her again and his low hanging blonde bangs fell across his eyes, shielding them from her view. "I've never seen one before or spoken to one, that I know of. And unless someone can be a demon and have no inkling of it, that just isn't possible. A ghost, however?" He sighed softly as he tossed his moppish flaxen hair with an unsteady hand. "That I'm not so certain of."
Ember watched him, considering, assessing. After a few silent moments, her body visibly relaxed and a small smile curved her lips. "I believe you."
Her gave her a pointed look, one that held a hint of admonishment. "So easily?"
"You're not a demon," Ember stated confidently. "I can sense spirits. I would know the difference."
"Would you?" he inquired, curious. "Demons are masters of deception."
Her chin lifted, scarlet unruly curls framing her face. "I'm a spirit medium. I would know if you were lying," she replied assuredly. "I can sense spirits and demons, and I don't sense you as such."
Despite her words, Ember bit her bottom lip in discomfort. Could she trust this man? Was he a clever demon and found a way to hide his true nature from her? Could she trust in her ability to tell the difference?
Her turquoise eyes flickered up to lock onto those arresting pale blue orbs, questioning, searching. "So… if you're not a spirit and you're not a demon… then… then what are you?"
Anguish shadowed his face, and those absurdly long lashes lowered over his eyes. "Lost," he answered desolately, and his low rasping voice echoed with a deep-seated loneliness that tugged at something vulnerable inside of her.
Ember sucked in a sharp breath, her heart aching, as she stared into a tableau of heart-wrenching sadness and despairing loneliness reflected in those fathomless icy pools set in a pale, grief-stricken face curtained by long-hanging golden tresses.
Maker, she'd never seen anyone look so alone, so sad, so forlorn - a lost soul drifting amongst the living.
That harrowing expression was hard to look at and Ember had to close her eyes to escape it. She exhaled slowly, collecting herself. When her eyes opened, he was gone, as if swallowed up by the shadows.
Ember stared blankly into the darkness in front of her cell and was about to call out to him when she realized she didn't even know his name.
**Author's Note**: In the book Dragon Age: Asunder, Rhys is the main character along with Cole. Rhys is the estranged mage son of the Fereldan senior enchanter Wynne from Dragon Age Origins. Rhys is a Spirit Medium, someone who can sense spirits and demons. This ability allows him to see and remember Cole. My Inquisitor has the same gift. Oh, and just to give you a visual, Ember looks like Merida from the Disney movie Brave, except that she has more green in her eyes and her hair is a dark red and not orange. Oh, just a random thought, I think Cole looks like the actor Evan Peters from the TV show American Horror Story.
3. Chapter 3 - Hunger Pains
**The Inquisitor's Ghost**
**Chapter 3 – Hunger Pains**
_For you are the fire at the heart of the world_
_And comfort is only yours to give_
_- Transfigurations 12:1-12:6_
The White Spire Tower was magnificently built with stone and marble, decorated in typical Orlesian style, in ostentation of Orlais' wealth, consisting of lush crimson carpeting and adorned with tapestry of gold, crimson, and velvet. There were many levels in the great tower, filled with sunlight and wide spaces, the scent of magic and parchment in the air along with the stench of oppression. The tower was swarming with people. It was always swarming with people. The sounds of laughter, debate, lessons being taught, and spells being cast echoed throughout the halls.
The first few floors of the tower's lower chambers were typical for any Circle Tower. There was a great hall, mage and templar quarters, a harrowing chamber, studies, classrooms, multiple libraries, and kitchen stores. There were also armories, giant chambers filled with enough equipment and weapons to outfit an army of templars.
Cole moved unnoticed and unseen through the shadows of the lower chambers. Both mages and templars alike moved unconsciously out of his path, as if instinctively threatened by what was approaching. They were unaware of his presence, yet subconsciously they could detect the approaching danger that lurked in the shadows. The rogue kept to the shadows that hugged him like a mother reunited with her child, wrapping around him and cloaking him in their darkness. It was… comforting. Familiar.
Whispers of lyrics echoed in his head as he moved through the crowd of people and he shoved them away, not wanting to listen to them. The whispers were louder up here. That was one of the reasons why he rarely came up here, preferring the silence the bowels of the tower provided.
A young elven girl walked by, a terrible black and blue bruise surrounding her right eye. The girl winced as she gently touched and inspected her injured eye.
_Throbbing. Aching. Hard to see out of it. I didn't know. They looked so good. I didn't know they were only for the templars. They smelled so good. Just like __Mamae __used to make. Oatmeal and raisin, my favorite. They reminded me of home, of the Dalish. It hurts. I didn't know. I wouldn't have eaten one if I'd have known mages weren't allowed to have them. _
Cole shoved the whispers back, not wanting to hear them. After a few more steps, a templar walked by, rubbing the back of his neck and cringing.
_Cold sweat. Head pounding. Itchy. Hard to breathe. Shaking. I just need a taste, just a taste to get me through the day. What good are the dwarves if they don't deliver the lyrium on time?_
Cole could sense a person's pain, hear it. It was like listening to a very sad song. It had surprised him yesterday to discover that he couldn't hear Ember's pain. Whether it was because she had none or because he somehow couldn't hear her song, he didn't know.
Sleep had evaded him last night. His nerves had been too rattled, his mind racing with too many thoughts, questions refusing to leave him alone. And when sleep finally found him, it was her that he saw. The girl. The girl that _saw_ him.
The encounter had left him shaken and confused, but also curious and utterly intrigued. He didn't know how she saw him. Only people in unimaginable pain or wanting death could see him. She was neither, and yet she could see him. Perhaps her being a spirit medium had something to do with it. All he knew was that she could actually _see_ him. The excitement he felt was unlike anything he'd ever felt.
The question now was whether Ember would remember him. No one remembered him. The few that actually saw him only remembered him for a day or two. Eventually they forgot him. They always did. Would Ember forget him too?
His stomach dropped at the thought. He didn't _want_ her to forget him. Cole found himself surprised by how desperately he wanted her to remember him. She was a mystery, a wonderful mystery that had sun-kissed skin that was dusted with light freckles, a radiant smile, a friendly face that was all eyes and ruby lips framed by blood-red curls - his favorite color. She was the brightest thing he'd ever seen. She had sparked a fascination in him that he knew would not go away. He wanted to know her. He wanted her to know him.
Her face appeared in his mind's eyes and Cole realized that it would hurt to see her looking at him with her face and eyes glazed over with non-recognition. Now, after meeting her, Cole realized he wanted companionship, and in a way, he almost craved it. She burned like a beacon, one he could not resist.
Cole moved purposefully now, impatient to return to the dungeons, somewhat startled by how badly he wanted to see the girl again. He wanted to see recognition in her eyes as she looked at _him_, wanted to hear her voice as she spoke to _him_, wanted to feel the whisper of the soothing magic she exuded as it caressed his skin. He found it strange that just thinking of her made his pulse pound in eagerness. The only thing that had a similar effect was when he went to the dungeons to use his knife to free a mage from their pain.
A small explosion pulled Cole from his thoughts. A senior enchanter quickly doused the resulting fire with a Winter Grasp spell. Once the fire was put out, the senior enchanter began scolding her young apprentice who couldn't have been older than ten-years-old.
As ever, Cole felt the darkness living and breathing within him. It seethed in his mind, dancing against the back of his eyes. Just waiting for him to call it forth… and to devour him. There was power in the darkness. If he would just give in to it…
No. He would never dare to use the full measure of that power.
Still, the darkness seemed to hover, waiting, taunting. His dagger cleared its sheath before he realized he'd drawn it. He could hear the siren's call, a mage's pain calling out to him to silence it forever. His body began to tremble with the need to use the knife to set them free. Their death would cease their pain and their blood would ensure his continued existence, he was sure of it.
Cole's knuckles turned white around the hilt of his blade as he suppressed the urge to give into the darkness, keeping it from overwhelming him.
He didn't want to lose himself forever.
Cole shook himself and sheathed his dagger. He continued on his way, heading for the kitchen stores. He slipped into a storage room that was full of elven servants bustling about, preparing meals. Cole searched the shelves, unseen in a room full of people. His arm brushed the elbow of a young elven boy and the boy stopped and looked right at him, but the boy saw straight through him. The boy's eyebrows pulled together in confusion as he rubbed his elbow, eyes searching but seeing nothing. The boy shrugged and continued with his task.
Cole returned to his task and searched the shelves. Once he found what he was looking for, he headed out. Weaving around the marble columns lining the hall, Cole saw a large fountain in the corner of the large room. The fountain threw up water, covered with a gilt symbol of the Circle of Magi, on the top of which is a statue of the Sword of Mercy – the Templar heraldry that is a stylized representation of a flaming sword – supported by columns of black and white marble. It was meant to serve as a reminder that magic exists to serve mankind, and not to rule over him.
As he drew closer, Cole discovered an old man and a middle-aged woman talking in whispers, huddled behind the fountain, a hidden corner shrouded in darkness to escape the eyes and ears of others. Cole could see them easily though. It was easy to see into something that lived inside you.
Cole recognized the old man as Edmonde, the First Enchanter of the White Spire. He was an old man in his late seventies with a baldhead, only a small band of remaining white hair circling the back of his head. He had to lean on his staff for support, his body bent by age. The woman he did not recognize. She wore a voluminous red robe and a glittering headdress. Her head was held loftily with a golden amulet of the symbol of the chantry hanging around her neck. She had a stately bearing, carrying herself in a graceful and controlled manner.
"You must pick a side," Edmonde whispered.
The woman shook her head. "I cannot take sides. We are all the Maker's creatures, but magic allows abuses beyond the scope of mortals."
"The Chantry has not done enough to support efforts the mages have made to reach peace. We need your help, Dorothea."
The woman gave a soft laugh. "It's Justinia now." The woman smiled, amusement twinkling in her eyes. "I've been serving as the Divine of the Chantry for two years now, Edmonde. Haven't you heard?"
The old man smiled, but it was small and sad. "Perhaps you could speak with the Knight-Commander and Lord Seeker Lambert while you're here," the First Enchanter whispered. "They won't listen to me, but perhaps you could make them see reason." The old man sighed wearily. "The templars cannot squeeze the mages into a smaller and smaller box and hope they will disappear."
"The Chantry is not a domineering father with the whip always in his hand. She is a gentle mother, who knows that her children learn best when allowed to learn themselves."
"Can we afford to be so idealistic, your Holiness?"
She raised an eyebrow. "Idealism is our stock in trade, Edmonde. A religion without ideals is tyranny."
He exhaled heavily. "I spoke with your Right Hand about her recent trip to Kirkwall," he replied. "Sister Nightingale spoke with Grand Cleric Elthina. Elthina seems to think the mage-templar situation in Kirkwall is under control with the help of the Champion, but Sister Nightingale does not seem to think so."
"I have faith in Grand Cleric Elthina," she answered. "We must place our trust in the Maker that Elthina will be able to keep peace in Kirkwall."
Edmonde's bushy white eyebrows snapped together. "And how will she be able to do that if she's dead?" he shot back. "Leliana was attacked by resolutionist blood mages in the Chantry. They grow bolder. It shows the mages in Kirkwall think nothing will be accomplished unless they fight for it. Grand Cleric Elthina is not safe in Kirkwall."
"There is no greater devotion than to lay one's life at the Maker's feet. There is no better death than to take the blow for another."
"But Elthina's death will only end in madness. The Circle of Magi in Kirkwall will most likely rebel. The templars will see their rebellion as a challenge to their authority. A mage rebellion will spark unrest in every circle across Thedas. It would plunge the world into war."
"You give me a lesson when I don't need one," she replied quietly, but firmly. "I am sworn to the Maker's service, but that does not mean I am ignorant of the world."
"Perhaps an Exalted March on Kirkwall is necessary. It might prevent war between the mages and the templars."
"I agree that order must be kept. If there is to be peace, it cannot be accomplished through threats and demands. The lives of many more than just the mages and the templars are at stake."
"I fear that we stand upon the precipice of chaos. The world looks to us for guidance and protection as it fears the inevitable plummet into the abyss."
"We should not allow fear to cloud our reason," she answered softly, laying a comforting hand on his shoulder. "Come. Let us get back to the evening's festivities. I am the guest of honor tonight, am I not? I think…"
Cole didn't hear anymore as he had moved out of hearing range. He left the tower's lower chambers with his prize, traveling downward through the archives. He continued downward, down the rickety stairwells that led to ancient storerooms that were filled with dust and strange-looking relics. There was also a great mausoleum that stood as silent testament to templars who had died centuries ago. Cole followed the dark tunnels that seemed to go in circles to the area that lay at its heart. The dungeons were there. And so was she.
Unconsciously, his pace quickened, his anticipation mounting as he drew closer to the girl who was unlike any other.
xxxxxxxxxxxxxxxxxxxxxxxxxx
Ember sat on the cold, wet stone floor of her cell with her back pressed against the wall. The small flame she'd summoned from the Fade hovered above the ground beside her, offering a small amount of light and warmth that was a small comfort in this otherwise dark and dismal place.
Her stomach growled painfully, her lips chapped and cracked from dehydration. The templars hadn't even fed her since they'd captured her over a week ago. Her stomach growled again and she winced. She'd never been so hungry. Her stomach curled in on itself as if desperately searching the emptiness there. She felt weak as well. The hunger she could live with, but the weakness scared her. It would slow her down if she was ever given the opportunity to escape or forced to defend herself against the templars, that one named André in particular.
Another sharp pang of hunger hit her and her hand went instinctively to her stomach, her face grimacing. Maker's breath, she didn't want to die like this - starving to death in a black and empty pit, completely and utterly alone, with not a single person in the entire world to mourn her passing.
Ember felt a wave of loneliness. Other than the one who'd betrayed her, she couldn't think of her last friend. The Hawke family and the Fog Warriors perhaps, but she hadn't seen either in so long. She preferred to go about life unnoticed and unseen in order to avoid the templars, avoid being locked away. Though it did have its drawbacks. No one would remember her. No one would go looking for her. She would die down here and no one would know, no one would care. Maker, how long had she allowed fear, desperation, and loneliness to drive her? Feed her? Keep her alive and free, yet alone and isolated from the rest of the world?
Ember stared desolately at the moldy cell wall, her expression glum, her blue-green eyes dull and weary, her red curls seemingly less vibrant. She felt rotten with misery. Her mouth was dry, her tongue huge. She felt like a raisin left to dry on a windowsill.
The hours crawled by endlessly. She exhaled heavily in boredom, her breath blowing a bright red curl out of her face. She looked down and curled her finger around a long crimson curl before letting it unravel to her stomach, then repeating the move over and over again. She knew she wasn't a pretty girl, at least not in the common way. Eye-catching was perhaps a more appropriate description for her, mostly due to her hair color. At eighteen, she wasn't very womanly, and probably never would be. She had small breasts and small hips that gave her a youthful figure, and hard muscle from years of living on her own and struggling to survive. Her hair was the one feature about her that was pretty and feminine, and she adored her long red curls.
Once during the four years she'd lived with the Hawke family, Carver had told her that her hair was the prettiest thing about her. He said that she would break his heart if she ever cut it. Unaccustomed to being complimented by boys, unlike Marian, Ember had blushed a bright red at his words and hadn't cut her hair since.
Ember looked up at the stone ceiling wishing she could see the stars. She'd been sleeping under the stars since her eighth birthday when she was forced to live alone and on the run from the templars. Those days she'd felt small, inadequate, scared, and alone.
She felt that way again now.
She hated it.
Here, in the cold and the dark and the nothingness, Ember felt herself slipping. It wasn't right her being there. Her spirit was too wild, her nature to unruly to be locked in a cell away from the stars, the sunshine, open spaces and fresh air. It wasn't right to lose her freedom, the one thing that meant everything to her.
If she wasn't able to escape this time, would there be nothing left to do but wait for the inevitable? Would it be a hangman's noose, a chopping block, or the Right of Tranquility? A cold shiver trickled down her spine at the thought of being made Tranquil. Her vote was for the chopping black. That would get her close enough to a weapon to take and then make her escape.
The hairs on the back of her neck abruptly stood on end. She felt she was being watched. Her head snapped to the side and her gaze landed on a tall, dark figure standing in front of her cell. Her eyes widened.
_It's him_.
Her mouth became dry and she could hear nothing but the hammering of her heart.
_The Ghost of the Spire_.
In the dim light, the young man stood still as a statue, his lean-muscled frame looking sleek and powerful beneath the dirty leathers he wore. He was staring at her, intently, with those haunted eyes from under that mop of unkempt blonde hair that fell across his forehead, highlighting the hard planes of his face. The shadows shifted around him, as if frightened by his presence, making him appear infinitely dangerous.
There was a danger to him she couldn't ignore. But then she remembered talking to him before. It would be nice to talk to someone. Actually, it would be heavenly to talk to someone.
"It's you," she breathed.
He said nothing. Unreadable pale blue eyes surveyed her from beneath his bangs. Ember met his stare, forcing herself not to look away despite the unsettling intensity she found there. Those eyes unnerved her. _He_ unnerved her.
"You can blink once in a while. I'll still be here," she muttered, shifting on the ground uncomfortably.
"You can see me." His voice had a particular rasp—the hoarseness of a man who rarely speaks.
She raised a questioning eyebrow. "Didn't we have this conversation already?"
"You… remember me?" he asked quietly with shocked disbelief. "I was afraid you wouldn't be able to see me again, afraid you'd have forgotten me."
Her lips curled. "I doubt anyone who has ever met you could simply forget you. I know I sure won't," she admitted, then cleared her throat in embarrassment.
He held her gaze for a long second, and then the corner of his mouth lifted in the ghost of a smile, transforming his face. That smile was so devastatingly attractive that it made her heart lurch. Ember took a deep breath in an effort at calm. "So… why did you think I'd forget about you?"
"Because no one can see me or remember me." His blue eyes flickered upward and locked onto hers from beneath blonde bangs. "Except you."
Ember licked her suddenly dry lips, her breathing quickening as she watched him watching her with all of that focused and unwavering intensity. "O-Oh," she stammered and quickly cleared her throat. "Does that make me special?"
His eyes lit with some emotion Ember couldn't define. He dropped his gaze from her face and raked her body starting from the tips of her toes. She felt his gaze stop for a long moment at her neck, on her rapidly increasing pulse, before he lifted his eyes to meet hers again. "Yes," he answered, those icy blue pools pouring into her.
She opened her mouth to speak, but no words came out. He was looking at her so intently, with such unblinking fervor, she felt as though he were reading her mind.
She frowned and looked away.
"You haven't eaten," she heard him say after a long and silent pause and there was genuine concern in his voice, which surprised her. He didn't even know her.
She turned to look at him. "It seems feeding me was at the bottom of the templars' list today. I think it's right after they give the mages massages."
"I have something for you," he said as he lowered himself to sit cross-legged in front of her cell.
Her eyebrows rose in surprise. "For me?"
He nodded. While he reached into a pack that he'd set on the ground beside him, Ember moved closer to the bars and sat cross-legged in front of him. "What is it?" she asked, curious.
He pulled a red handkerchief out of the pack and handed it to her through the bars. She opened it to find it filled with meat, cheese, and bread.
For a long moment all she could do was stare at the deliciously smelling food in disbelief. He'd gotten this for her? He'd risked being seen and captured by the templars to get her something to eat?
When her mouth could once again form words, her eyes slowly lifted to his. "You… you got this… for me?"
He smiled at her and there was a slight reddening to the paleness of his cheeks. "You're stomach should be as full as your heart," he answered. "In which case, I would have brought more but they would have noticed."
"I… I don't know what to say."
"Don't say anything. Just eat."
Not having to be told twice, Ember began to eat the delicious food he'd brought her and her eyes rolled back in her head at how good it tasted. As she chewed she heard herself moan in delight and was embarrassed at the sound.
"I spoke to your cell," he said casually. "I asked it to open. But it didn't say anything. I don't think it likes me."
Ember paused in her eating to stare at him. He was a strange one, there was no denying that, and a strange darkness clung to him, was a part of him, that frightened her. Yet, Ember couldn't help but find him fascinating. She also couldn't help but find him kind, considerate, intriguing, and attractive with his golden hair flopping messily across his forehead to hang into his eyes in an entirely rakish manner. Not to mention how his depthless blue eyes and raspy voice were doing funny things to her insides, things she'd never felt before.
Once she finished eating she took the canteen he offered her and drank every last drop of the water inside. She sighed with content as she wiped her mouth with the back of her hand. She rubbed her nose with her hand, then looked up at him to find him staring at her. "Thank you," she said sincerely. "You have no idea how hungry I was."
His expression shuttered. "It's painful. The hunger. No one should feel that kind of hurt."
"Have you?"
He didn't say anything.
After a long stretch of silence, she said honestly, "I'm surprised you returned."
For some reason that seemed to make him think. His eyes looked around before returning to her. "This place is full of old pain, shadows forgotten from dreams too real."
"Then why did you come back?"
Unyielding, his gaze captured hers in a long glance. "The brightest star in the darkest sky is the most luring."
Ember didn't understand his answer, but she did feel the air suddenly become charged with inexplicable tension, a tension that she was hard-pressed to understand. She could feel a faint stirring deep inside her, a fluttering little pulse that seemed to intensify with each throbbing second. He made her feel as though she couldn't catch her breath.
"Most people fear the White Spire Tower, especially the dungeons," she managed to say into the silence. "Anything to do with magic stirs people's fear."
"Magic doesn't stir my fear."
"No?"
"Magic whispers things to me - music in the mind of strange, far away places."
"You shouldn't fear my magic," she assured him. "I rarely use it, and when I do, my magic serves only that which is best in me, not that which is most base."
His mouth lifted in one corner. "The templars wouldn't be so angry all the time if more mages were like you."
She laughed at that. "On the contrary, they would be furious _all_ the time. I have a sharp tongue that I forget to curb most of the time, which typically gets me into trouble. If more mages were like me, the templars would be using a Silence for more than just cleansing."
He laughed and so did she, and for a moment they shared a flash of something between them. Friendship, Ember thought. She found herself hoping that were true. She didn't have any friends. It would be nice to have one, especially here.
"It's good to spend time with you," he said quietly with a shy smile.
"It's good to spend time with you too," she answered just as shyly.
The silence pulsed for a beat or two.
"Bye," he said awkwardly before standing and dusting himself off.
Ember blinked in surprise before jumping to her feet. He turned to leave, but she caught his hand through the bars. The moment she touched him, she knew she shouldn't have. The very second she touched him, he turned those eyes on her, looking at her in a way that made her step away from him.
"Don't go," she whispered, clasping her hands in front of her to hide their trembling. "Stay with me. Talk to me." There was sincerity in her eyes, sincerity and pleading.
He said nothing. He just stood there like an ivory statue, silently staring at her.
"Please… just for a little while?" she asked softly, hating how desperate and vulnerable she sounded.
For several heartbeats, Ember waited for him to answer. When he didn't, she folded her arms and averted her gaze to stare at the stone wall, utterly mortified at having to beg for a scrap of camaraderie. "I just… I _hate_ this place. I hate being surrounded by stone. I hate not sleeping under the stars. I hate having nothing to do but wait for a fate they're deciding for me. I hate being locked away for simply being who I am, exactly as the Maker made me. I hate…" She exhaled sharply, blowing a long red curl out of her face before finding his eyes. "I don't want to be alone."
"Neither do I," he answered in a low voice that rippled with a loneliness she felt within herself. He lowered himself back to the ground to sit cross-legged in front of her cell.
Ember smiled, relief washing through her at not having to be down in this dark pit all alone. She sat cross-legged on the ground again in front of him, only the metal bars of her cell separating them. The little flame she'd conjured bobbed slightly up and down as it hovered over the ground beside her.
Her fingers drummed nervously on her knees as they sat in silence, staring at one another. "So…" Her voice cracked and she cleared it. "I told you my name. Why don't you tell me yours?"
He dropped his blonde head and looked at her from under long black lashes. "Cole." His voice was low and hoarse and gentle. The sound of his name made her palms grow warm.
"Cole…" she said his name slowly and he smiled, as if he liked the way she said his name. "Well, Cole, it's very nice to meet you. Though, I must say, this is not a very nice place to meet."
His lips curved up slightly in the corners at that, the beat of her heart reacting oddly to the sight of it.
She bit her bottom lip nervously. "So, tell me, how did you come to be in this place, Cole?"
Cole was quiet for a moment. When he finally spoke, his eyes were somber, tormented. "I arrived in terror. I was dragged through the halls by a templar's rough hands, terrified and bleeding." He paused, as if to collect himself. "I was dragged down here, just like you, to the dungeons. The templars locked me in a cell for the crime of being a mage." Cole hesitated. "There were beatings, worse than beatings. '_If you tell anyone, I'll say you used blood magic_'."
"Maker's breath…" she gasped, her heart twisting.
"After what felt like a lifetime of being alone, in the dark and the nothingness, with the rats nibbling at my bruised and bloodied flesh, I prayed over and over again to the Maker for the templars to forget I even existed." He bent his head to hide his eyes, but she could see his pain, felt it herself. "And then… I got my wish. That's exactly what they did."
"You became… invisible?"
He took a moment before answering. "I don't know what I became. But everyone simply… forgot about me."
"When did this happen?"
He shook his head, silky blonde hair moving across his face. "I don't remember when."
Her head tilted. "How did you get out of your cell?"
His eyebrows bunched together, as if he was trying to remember. "I don't remember how I got out."
"Can you still wield magic?"
"No. I… I don't know why not."
"Do you remember anything else?"
"I remember very little." Cole raked restless fingers through his golden hair and shot her a dark, brooding look from under his lashes. "Maybe I am a ghost. Maybe I died there in the darkness, and have simply forgotten how it happened."
"But… but you are no apparition. You are _real_." Her hand pressed against his chest through the bars to demonstrate her point, and Cole's muscles tightened and clenched under her touch. The contact did strange things to her, and she suddenly felt a tingling awareness of his undeniable masculinity.
"You are warm," she said softly. Her hand slid up his chest to curve around the side of his neck, her fingers pressing against the pulse that was beating there, wildly, almost in tandem with her own racing heart. "You have a pulse."
Her hand trailed slowly down the side of his neck to his collarbone then down the center of his chest to rest over his heart that was hammering wildly against her palm. "You have a heart and it beats within your chest." Her eyes looked up at him and uttered firmly, "You are _alive_."
His eyes lifted to lock onto hers from beneath his bangs, blue eyes penetrating, stripping her bare, as if trying to read her every thought, her very soul.
Suddenly aware that she was still touching him, Ember yanked her hand away from his chest. Her face felt as if it were on fire as she clasped her hands together and pressed them against her stomach, staring down at them. She brought her bottom lip between her teeth as she thought. "Maybe… maybe you're a mage who took a spirit into himself?"
"You think I'm possessed by a demon?" When he spoke, there was anger in his voice.
Her head shot up in alarm. "No! Not a demon," she replied urgently. She ran a hand over her red curls, searching for the right words to explain herself. "There was a mage named Wynne who fought alongside the Hero of Ferelden. She almost died in the Circle Tower at Kinloch Hold, but a spirit came and saved her. The spirit resides in her and keeps her alive. Maybe… maybe you were taken down here and when death came for you, a spirit saved you too."
There was a long pause before he finally spoke. "Is that what you think I am?"
"Yes. I don't think you're dead. I don't think you're a ghost. I think you're alive. I think you have a special ability that you simply don't understand and haven't mastered yet."
Ember peeked at him sideways from under her lashes, wondering what he thought of that. But Cole wasn't looking at her, he was staring reflectively off to the side, deep in thought.
"Pulled from the Fade and trapped within, or stepped out from the Fade and copied?" he muttered to himself. His eyes flickered to hers. "Which I am, I do not know."
Her eyebrows pulled together. "You are quite unsettling at times."
Cole's head suddenly shot up, his body alert and tense. "Templars are coming."
"What?" she gasped in alarm.
"They are coming for him." Cole's eyes suddenly shifted to a cell down the long hallway. "They think he's starving and dying, begging and bloody. Surprise will greet them. He is already free."
Before she could ask him what he meant, the heavy metal door at the other end of the hallway opened and four templars came walking into the dungeons.
"Cole, you need to hide," she whispered urgently. "If they see you, they will kill you."
"They won't see me," he replied calmly, no trace of fear.
"Cole, listen to me. You have to hide. _Now_. Please, I don't want to see you get hurt," she said firmly, fear in her voice, trying desperately to get him to see reason.
"Vanquish your flame," Cole ordered. "They cannot know the bars do not deplete you of your mana. You will no doubt be made Tranquil."
Ember did as he commanded but before she could try to convince Cole to hide, the templars were approaching.
"This way, boys. The corpse is in the cell at the end of the hall. Just follow the stench," she heard one templar say to the others.
Ember watched as Cole pressed his back against the metal bars of the cell across from hers, his eyes fixed on the templars that were drawing closer.
Ember held her breath. The hallway wasn't very narrow, but Cole was standing right there. It may be dark, but it wasn't that dark. Maker, they were going to see him. They were going to see him and they were going to kill him.
_Maker, please don't let any harm come to him_, she prayed. _Please… please don't let them hurt him. _
The templars drew impossibly close. Cole stayed where he was. Ember nervously held her breath as they kept coming closer and closer. When they reached Cole, however, they walked right passed him, completely oblivious to him, even though he was standing right in front of them, inches away.
Ember blinked. She couldn't believe it. How could they not see him? She realized then that Cole had been telling the truth about himself, despite how crazy it sounded.
"Well, well, well… if it isn't the little she-devil," a voice sneered beside her.
Ember turned her gaze from Cole to the short templar with the long brown hair standing in front of her cell.
André.
The templar smiled cruelly at her. "You don't look so fierce now that your caged."
Ember waved a hand in front of her face with a look of disgust. "I'm just going to assume that something died in your mouth."
His smug look vanished. "You're one to talk." His eyes raked her with contempt. "Why do I even bother? You're no looker."
She snorted. "Speak for yourself. At least I'm no lyrium-swilling, manskirt-wearing bastard like you."
His face contorted with rage. "You know what I do to little mage bitches like you?"
Her eyes rolled. "Oh, the suspense is killing me."
"I teach them a lesson. A lesson they never forget."
"I await with bated breath," she deadpanned.
His anger was instantly replaced with a look of cruelty, the likes of which she'd never seen before. He lifted the baton in his hand and looked at it with an expression on his face that made her sick to her stomach. "You see this? I'm going to beat you nearly to death with it, and then…" Pitch-black eyes met hers. "…and then I'll take from you whatever I want."
Over the templar's shoulder, Ember watched as Cole's pale blue eyes locked onto André, dark and glittering and intense. Corded muscles bunched beneath his tattered leathers, murderous intensions stealing over his face. The aura he carried was deadly and powerful, and Ember wondered how the templars couldn't feel it when it seemed to take up the space around him, pulsing like a dark, foreboding cloud of energy.
"And if you still resist me… well, you won't be able to do that once you're made Tranquil. The Tranquil don't say no to anything."
Blue-green orbs shifted back to the templar, hard and cutting. "You lay one hand on me and I'll rip it off," she promised in a low and menacing voice, refusing to show the fear she felt.
Onyx eyes warred with aquamarine. She straightened her shoulders. She was not going to let this templar frighten her.
"André, let's go," one templar called, irritated with the delay.
André's jaw worked before he spun on his heel and stalked away toward the other templars.
Ember opened her mouth. She knew she shouldn't say it. She knew it would be the absolute worst thing to say, especially since she was still so weak from hunger and dehydration and was unable to draw upon her magic to defend herself. But the words were falling out of her mouth before she could stop them. "That's what I thought, you little slack-jawed coward."
The next thing she felt was a hard blow to the side of her head. Ember fell to the ground, hard, her skull slamming painfully against the stone floor, a loud crack resonating from the impact.
Ember groaned against the grimy stone floor. It was difficult focusing on anything other than the incredible pain searing through her temple, let alone trying to stand and fight back, or summon her mana despite the mana draining bars that surrounded her. Her thoughts were racing through her brain in a jumbled kaleidoscope, and her body felt like it was moving underwater. Her ears thrummed with a loud buzzing and Ember forced herself to breathe deeply to keep the panic from setting in as she heard the cell door open with a loud creak.
"You're going to be sorry for saying that," André spat hatefully down at her as he stood over her. "So sorry you won't be able to walk straight for a month."
His hands were on her then, yanking her to him, pulling at her clothes. Terror-stricken, Ember screamed and thrashed back and forth on the ground, kicking wildly, twisting and lurching from side to side to get away from him.
"We don't have time for this, André," one of the other templars hissed.
"Get your filthy hands off of me, you blighted, ball-less prick!" Ember screamed, kicking wildly at any part of him she could reach while he tried to catch her flailing legs.
"Hold still, ya bitch!" the brute's gritty-edged voice barked down at her.
Ember fought with all her might despite the unbearable pain shooting through her temple. She was on her back, her body flailing convulsively. She kicked her legs and jerked her body. Her nails scratched at his arms like a wildcat, tearing the skin and drawing blood as she tried desperately to wrench herself free from the templar's grasp, trying to summon enough magic to unleash something awful upon him.
Cole appeared impossibly behind André, as if out of thin air. The wicked looking blade in his hand gleamed in the darkness a second before Cole lifted it and brought it down in a smooth downward strike. The tip of Cole's dagger exploded out the front of the templar's armored shoulder, blood spraying. Mouth open, his jaw hanging slack in shock, André toppled forward face-first to the ground and Ember rolled sideways at the last second to avoid him landing on her.
"What the bloody hell was that?!" One templar exclaimed in fright. They were all searching frantically, trying to find the attacker but saw nothing and no one.
"Andraste's great flaming ass!" Another templar cried, terrified. "How the hell did that happen?!"
"Did you see anything?!"
"No!"
"I-It's… it's the Ghost of the Spire!" The third templar cried, trembling with fear.
"We have to get out of here!"
The templars collected André and locked her in her cell again before they ran as fast as they could down the hallway, as if the devil himself were chasing them.
Wide-eyed Ember stared up at Cole from where she lay sprawled on the cold ground. He was standing in front of her cell, staring after the templars. His body was taut, his hands clenched at his sides, knuckles white around his blood-soaked blade, his chest rising and falling with his ragged breaths.
Silence settled heavy on them, nearly suffocating. The only sound was the dripping of the fresh blood off the end of his dagger onto the stone floor. Darkness coiled around him, irreparably bound to some part of him. Cole's chin turned slightly and his eyes clashed with hers from beneath wayward strands of gold, blue orbs blazing with something hard and dangerous.
He was the most frightening thing she'd ever seen.
As he looked at her, his face softened slightly to something more solemn, his eyes brooding as they searching her face. "You're afraid of me." The words were spoken slowly, quietly, carefully, the fear and remorse in them apparent. "You don't have to be."
She looked up at him, but not as far as his eyes. She avoided his unnatural eyes. "I'm not afraid of you," she replied, though in truth she was. "And I'm not afraid of him either."
"You should be," he replied stiffly. "It's cold and black, slithering inside him like snakes."
"What is?"
"His hate," Cole answered sharply, jaw tight. "It's tar black inside. He hates them all because of the pain his mother gave him. Pain, old and lingering, festering. Like poison. It's turned his core black and rotten."
"André?" she asked as she managed to get to her feet. Her temple throbbed, aching, and she brought a glowing hand to her temple to heal it, barely able to summon enough mana for the very basic spell. "He hates who?"
"Women."
She shuffled across the floor to meet him at the bars. "How did you know that?"
"I listened."
"What does that mean? How did you know what he was—why are you looking at me like that?"
His eyes burned into hers and she didn't know whether he was naturally intense that way, but his ice blue orbs glowed in a way that trapped her gaze within his. His breathing met hers, heavy and hard. She could hear him swallow, could see the unnamed emotions careening around the inside of his skull, coloring his eyes, kindling something tender in their blue depths.
"I can protect you," Cole said softly as he moved closer to the bars that separated them, all fluid movement with more than a hint of promised danger beneath the surface. Those eyes didn't release hers - watched her for… something. "If templars come for you, I will kill them."
She stood close to him, not touching him, but close enough to feel the heat of his body, and her heart began to pound. She stared up at his intense, pale blue eyes. And when Ember looked into those eyes, she knew he wasn't lying. She'd never seen eyes like his: pale, compelling, yet frightening at the same time. His eyes showed a great sadness, complexity, and knowledge not of this world. They were dangerous eyes, not innocent ones. Lonely eyes. Haunted eyes.
Before she knew what she was doing, she was moving closer to the bars and leaning into him.
Cole's body went rigged and his eyes became wide as she stepped forward, lifting her arms. "What are you-?"
"Thanking you for saving me," she whispered, watching the various emotions pass over his eyes, his sharp cheeks, and lips as she moved in closer.
He didn't stop her as she slowly wrapped her arms around his shoulders in a friendly and consoling embrace, resting her cheek against his collarbone as best she could with the cold metal bars pressing against her face.
Cole stiffened as if he'd been snap frozen and she heard a sharp intake of breath. His body was taut with tension, marking his unease, his breathing shallow and rapid against the top of her head, which barely came up to his chin.
Ember inhaled slowly, taking the scent of him into her lungs. She could smell the leather of his armor, the dirt on his skin, and something spicy that was all his own. But the coppery scent of blood overpowered the rest, the smell so strong it clung to him like a second skin. She could feel the heat emanating from his body, and the power that seemed to vibrate from his rigid, sinewy frame. It made her feel… something… a something that was so outside anything she'd ever experienced.
Her breath caught in her throat when his lean arms lifted stiffly to encircle her completely in an awkward embrace. His arms were like steel as they pulled her to him, his grip painfully tight, his strength terrifying, the metal bars digging painfully into her body. She felt him nuzzle her hair. She heard him inhale deeply, as if trying to catch her scent. His near-panicked grip and the slight trembling of his limbs led her to wonder when anyone had even attempted to hug him last, if ever.
Emotion wound through her as she gently splayed her fingers against his lean back in an attempt to soothe him. There was an aloneness within him that mirrored her own. In that moment, she knew he felt it too. The isolation. The loneliness. He was as much in need of companionship as she was.
They stayed like that for a while, just reveling in the comfort they each provided. There was a fluttering and simultaneous squeezing in her chest that felt an awful lot like affection, something she hadn't felt in a very long time.
Cole's death grip loosened slightly and Ember pulled away. His fingers trailed down her bare arms as she stepped back before falling limply to his sides.
Ember looked up at him and for a moment she stopped breathing. Cole was breathing heavily, his eyes hard on hers, something darkening them in a way she'd never seen before. No man had ever looked at her as Cole was now. His eyes, usually full of shadows, were now full of… she wasn't sure what was in his eyes, but it wasn't shadows. She stepped away from him, took a few deep breaths and calmed her heart.
"Ember…" His voice wavered with a nameless emotion.
His hand lifted slowly and reached for her between the bars, as if to touch her face. Ember closed her eyes, shaken, trying to calm the frantic rhythm of her heart. She didn't move away from him. She didn't _want_ to move away from him. She lifted her head slowly, a thrum of anticipation pulsing through her. She was trembling, nervous and unsure, and there was just a hint of fear in the air. She opened her eyes.
Cole was gone.
4. Chapter 4 - Little Talks
**The Inquisitor's Ghost**
**Chapter 4 – Little Talks**
_My Maker, know my heart _
_Take from me a life of sorrow_
_Lift me from a world of pain_
_Judge me worthy of Your endless pride_
_- Transfigurations 12:1-12:6_
Cole visited Ember's cell daily. Everyday he returned to her. Just to talk to her. Just to hear her voice. Cole used to try and get people to notice him. They did, sometimes, but they always forgot shortly after. He would simply slip their mind completely. He kept returning to Ember's cell, expecting the same thing to happen, but it never did. She always greeted him with a smile and a whisper of his name that caused his skin to break out into goosebumps. She saw him when most couldn't, and she remembered.
Ember told him about her life. She told him about how she ran away from home when she was eight-years-old, told him about the Hawke family and how they'd saved her and taught her what it really meant to be family. She told him of her time with the Fog Warriors and how they'd been slaughtered, how she'd been the only survivor. She told him about how she'd left Seheron after that, wondering the world, becoming a vagabond. She spent her time alone, hiding, afraid to be identified as an apostate and taken by the templars. She said she'd been searching, searching for somewhere to call home, somewhere she could live unafraid of losing her freedom. She'd gone to Rivain, Antiva, the Free Marches, and even spent some time in Tevinter.
After years of living alone and on the road, she'd found herself traveling to Lothering in search of the Hawke family, in search of the companionship she'd once felt with them to ease her loneliness. At the age of fifteen, Ember had gone home to Lothering, but when she'd arrived she'd found nothing but ash. The little town had been burned to the ground during the Blight. At that time Ember had heard how the Hero of Ferelden had saved the world three years earlier, but she didn't know how badly Ferelden had suffered because of the Blight until she saw it for herself.
On her sixteenth birthday, Ember had been ambushed by darkspawn while searching the Korcari Wilds located just outside of Lothering. She'd been searching for the small cabin that had once been the home of the Hawke family when the darkspawn had attacked her. She'd almost been overwhelmed, death coming for her, when two hooded figures had saved her. The pair had killed the darkspawn that had surrounded her with a precision that was unmatched, as if they lived and breathed killing darkspawn. Once the darkspawn were eliminated, the two hooded figures had approached her. Thinking they were templars or maleficar, Ember had moved into a battle stance, no fear in her eyes as she'd stared them down, silently daring them to bring her harm or to lock her up. The pair had stopped then and removed their hoods, revealing their identities to her.
Ember had gasped, recognizing them immediately. It was Alistair Theirin, the King of Ferelden. He stood tall and proud in his Grey Warden armor, though he couldn't stop playing with his perfectly coiffed blonde hair. Beside him stood Elissa Cousland – The Warden, the Hero of Ferelden, and the Queen of Ferelden. Ember had stared at her in awe. She was so beautiful with her perfect features, long chestnut brown hair, and deep brown eyes. Ember had kneeled, not sure what else to do, and Elissa had laughed softly, telling her to rise.
Elissa had looked Ember over, slowly, as if searching for something. After a long time, Elissa had asked Ember if she was lost. Ember had looked around her, at the Korcari Wilds that surrounded her. It had been a long time since she'd been in Lothering, but she remembered the path to Redcliffe. Ember had told Elissa that she knew where she was going. Elissa had given her a pointed look and asked again if she was lost. Ember had realized then what the Queen of Ferelden was asking her. With those all-too-seeing brown eyes on her, Ember had felt the full weight of her loneliness. Ember had almost burst into tears then when she'd answered the Hero of Ferelden, telling the older woman that she was lost, that she'd been lost for a very long time.
Elissa had nodded, as if she already knew this. The Queen of Ferelden had looked at her husband then and the two seemed to have a silent conversation, speaking only with their eyes. Alistair had shaken his head furiously and crossed his arms, as if in defiance to whatever it was she had silently said. But after a while, the King's arms fell and he nodded in resignation, as if Elissa had somehow silently convinced him of something. Elissa had smiled at Ember then and told her that she would find purpose with Sister Nightingale. The King and Queen of Ferelden had walked away then and didn't turn around, not even when Ember had called after them, asking them who Sister Nightingale was and where she could find her. Ember didn't know where they were going, but they looked like they were on a mission of some kind.
Ember had been searching for Sister Nightingale ever since, which was two years now. Ember had told Cole how she'd trusted someone to help her find Sister Nightingale and how that person had betrayed her, turning her into the templars, which resulted in her being thrown into the dungeons of the White Spire Tower.
Cole was so much enjoying visiting Ember and the feeling of warmth that always accompanied her presence. It's what drew him to her, day after day. He couldn't help himself. Ember was a talkative and open girl. She had the most expressive eyes he'd ever seen. She gladly answered almost all of his questions, unashamed of her thoughts and feelings and unafraid to share them with him. In the weeks she'd been imprisoned in the dungeons of the White Spire, Cole had visited her and learned who she was.
He knew her greatest fear was being made Tranquil. He knew her second greatest fear was losing her freedom. He knew she hated using magic and preferred using a bow or blades. He knew she trained every morning to keep herself strong. He knew she loved the feeling of sand between her toes, the feel of the wind blowing through her hair, the sun shining on her face, and the sound of waves lapping against the shore. He knew she loved warm cookies when it was snowing. He knew her favorite color was red, just like him. He knew she didn't trust anyone, a result of being betrayed by everyone she'd ever trusted. He knew she wished she had a family and friends. He knew she was lonely. He knew she was lost. She was just like him in so many ways.
But it wasn't enough. Cole wanted to know more. When it came to Ember, any scrap of information was necessary. He _needed_ to know it, though he couldn't explain why. There were many things she kept to herself, saying they were too painful to speak of. He wanted to know them. He needed to know _everything_.
Cole found himself growing increasingly frustrated. Why couldn't he hear her pain like he could everyone else? He ignored the whispers of the sad songs that came from others, but with Ember, Cole found himself trying almost desperately to hear her song, to hear her pain, so that he could untangle it. Somehow he knew that if he could untangle her hurt, take away her pain, she would glow even brighter, if that were at all possible. She was like a star – bright and shining and pressing against the darkness that dwelled within him – one that he wanted to orbit around.
Cole realized that ever since he met her, he was behaving very strangely. He was feeling things and doing things he didn't understand, couldn't explain. Like the other day when he found himself trying to catch her eyes, just to stare into them. They were the most mesmerizing eyes he'd ever seen - deep sapphire blue mixed with bright vibrant emerald, the color changing with her emotions. Or when her back was turned and his eyes would take the opportunity to stare unabashedly and unseen.
One night during the beginning of Ember's fourth week at the White Spire Tower, Cole was walking in the White Spire Tower, wanting to get Ember a piece of carrot cake – her favorite – when he saw a pair of young mages huddled in a dark corner. It was a young man and woman and they were standing very close to each other, their bodies touching. Their hands were on each other, running all over. But it was what their mouths were doing that made him pause and draw closer, curious.
The entire experience had greatly disturbed Cole. It wasn't the fact that he was watching the two mages that troubled him. Cole always watched people. That was nothing new. It was _how_ he watched these two that unsettled him. Cole didn't just watch the man's mouth press against the woman's, he _studied_ it. Strangely, unexplainably, he wanted to know what they were doing. He wanted to know what it meant. He wanted to know how to do it. It didn't make sense. He didn't understand. But that didn't change the fact that he still wanted to know.
Cole didn't understand what was happening to him. He was trying to understand, but he didn't. His body was reacting in a way that his mind was unable to comprehend, as if his body and mind were from two different worlds. It was confusing and overwhelming and frightening, but also wonderful and exhilarating and intriguing.
Cole shook his head as if to shake away his thoughts. He didn't want to focus too much on what she was doing to him. Cole turned the last corner and came to an abrupt halt. He stood a few feet away from Ember's cell, keeping to the dark, watching her. Ember's back was to him, pressed against the bars of her cell. Her knees were bent, her slender arms wrapped around them. She was looking up at the ceiling of her cell and he knew she was wishing she could see the stars. She did that a lot.
Cole's eyes raked her, almost greedily. His eyes flickered over her smooth sun-kissed skin, her full red lips, her narrow, fine-boned features. His eyes traveled almost reverently over the thick, heavy, untamed mass of curls that were a shocking fiery red color that tumbled over her shoulders down to her stomach. His fingers itched to touch it. He wanted her head to turn so he could see her eyes – those blue-green orbs lined with thick charcoal lashes.
Cole thought her to be a beautiful girl. The most beautiful girl.
But it was the light shining inside of her that made her unique, made her rare, made her… _her_. In a world that appeared to him in shades of black and grey, Ember stood out among the rest. Her body was haloed with a bright white light, giving her an ethereal glow.
With a heavy sigh, Ember dropped her chin in her hand and huffed out a breath that blew the dangling blood-red curl out of her face.
Cole was enchanted.
On silent feet Cole approached her, lured by her light. The fire within her called to him, beckoned him, drew him in. And like a moth to a flame, Cole found himself moving closer to her, irresistibly impelled, as if pulled by some invisible force. The pull to her was undeniable, irresistible, and Cole wondered if this was what a magnet felt like when it met another magnet.
In that moment Cole knew, deep within himself, that he would never be able to walk away from this girl.
xxxxxxxxxxxxxxxxxxxxxxxxx
Ember sat on the stone floor of her cell with her back pressed against the metal bars. She'd stripped off her coppery chainmail armor and was now dressed in only her black cloth tunic and black tights that she wore under her armor and her black leather boots that almost reached her thighs.
She didn't know how long she'd been trapped here. She knew it was over a month, but she didn't know precisely. Once a day one of the templars brought her food and swapped out the small bucket where she relieved herself. She hadn't seen André since that one day all those weeks ago, and she was grateful for that. The other templars didn't bother her, whether it was because they were good templars, they were afraid of her, of they feared the Ghost of the Spire's wrath, she didn't know. All she knew was that she'd have gone mad by now if not for Cole.
Blue-green orbs flickered every now and then to the side to see down the long dark hallway she knew he would approach from. Ember felt jittery as she eagerly anticipated Cole's return.
Cole visited her everyday. She would sit cross-legged in front of him and he would do the same, only the metal bars separating them and the small flame she would cast as the only source of light besides the single wall sconces that lined the dark halls every few feet.
He would bring her water as well as meat, cheese, bread, and fruit that he'd stolen from the kitchens of the White Spire. He would bring her gifts and do little things that always made her feel better.
For instance, one day she'd told Cole about how Bethany Hawke used to make the best ratatouille. She'd told him how merely the smell of it could bring up the happiest memories of her life and how that smell alone never ceased to bring a smile to her face. Cole didn't visit her for a while after that, but when he returned it was with a large bowl of ratatouille. She didn't know how he'd gotten the ingredients or how he'd made it, or if he'd stolen it. The bowl didn't fit through the bars and so Cole had held the bowl up to her while she took spoonfulls through the bars. She'd smiled at him with tears of joy in her eyes and hugged him for his thoughtfulness.
Another time, Ember had awakened on the stone floor of her cell to find a hand-carved charm on a leather necklace lying beside her. The charm resembled a single star hanging from the top of a half crescent moon. It was clear that whoever made it had spent a great deal of time on it and had used exquisite care to carve the charm. When she'd asked Cole about the necklace he'd blushed a bright red and said he'd made it for her. It took her some time but she was able to get only one answer about the necklace out of him. Cole said it was a star, a star that was shining bright into the darkness that surrounded it, near but far away from the coveting cold, dark moon. Ember wasn't sure what he meant by that or why he would make her something so beautiful, but she tied the leather necklace around her neck and had been wearing it ever since.
Cole was constantly doing little things like that. They were just small little things, but they touched her deeply. They made her happy. They made her smile. They made her momentarily forget her gloomy surroundings and ominous fate.
Ember couldn't suppress the broad smile that bloomed on her face as she thought of him. Bloody hell, she felt like a total idiot smiling like a fool in her prison cell while she thought about a boy. She'd scarcely ever noticed the opposite gender before, at least not in _that_ way. But she was _definitely_ noticing Cole, no matter how hard she tried not to.
Maker help her, there was no doubt about it, she was losing her mind. Still, she couldn't deny that Cole had become special to her, a precious person in her life. He was so kind, thoughtful and caring, so much so that sometimes she swore he was compassion incarnate. She also found him mysterious and irresistibly intriguing as well as devastatingly attractive, but dangerous. Very, very dangerous.
Ember sensed the slightest shift of air pressure behind her, followed by the electrifying aura that encompassed Cole's form. Her skin prickled with awareness as she felt him come up behind her. A second later,nearly startling her out of her skin, Ember felt cool fingers brush her hair to the side. Neck exposed, she felt warm breath fall against the skin on the nape of her neck causing the hairs there to stand on end.
Ember could do nothing but stare straight ahead, her pulse escalating, aware of a slow heat that filled every pore on her skin. Her body began to tremble when she felt warm fingertips trail down the back of her neck. But something inside of her tightened when his fingers began tracing the symbol that was engraved on the back of her neck.
"What is this?" She heard Cole ask in his low, rasping voice that never failed to effect her.
"It's… it's nothing," Ember answered almost breathlessly.
_Oh, yes, definitely dangerous_, Ember thought a bit helplessly, even as she mentally chided herself for letting him affect her so. Certainly no man had ever affected her the way Cole did.
"Trust me." His voice was low, thick and rich like molten honey.
Trust was not a word she believed in. Trust always led to duplicity. Every person in her life had betrayed her, each form of treachery leaving its mark on her flesh and on her heart.
"Can I trust you?" she whispered, uncertain.
Ember turned her head to look at him over her shoulder. Cole was crouched on the balls of his feet, his hand holding her hair away from her neck, his cerulean gaze searing into her. His sharply chiseled features resembled sharply cut ivory and held an austere masculine ruggedness that was only amplified by the messy golden locks that fell carelessly into eyes of liquid azurite.
It really was deplorable the way her pulse reacted to just the mere sight of him. How he contrived to look so unkempt and rough and attractive at the same time was a mystery to her. He had a shadowy and dangerous allure that was hard to ignore, and Ember was surprised to find she didn't want to. Maker's breath, how could anyone not remember this man? Those eyes alone were impossible to forget. She felt as though they were branded in her memory.
Cole lowered his head and looked up at her from beneath his long black lashes. "You can trust me."
Ember fought the increasing tendrils of unnatural attraction towards the blonde-haired man crouched enticingly before her. "Cole…" Ember was surprised at how husky her voice was. "I don't trust easily. Everyone single person I've ever trusted has betrayed me."
"I won't," he replied gently, sincerely. With those fathomless, blue eyes watching her intently, the way they seemed to consume her, made her stomach feel as though it were knotting in a thousand places.
"It is a brand," Ember answered, not sure in her decision to trust him.
Cole's eyes fell away from her briefly, roaming idly over the metal bars laid between them. Ember found that she could breathe a little easier without their intense weight bearing down on her.
"I've seen that brand before," he said. "But yours is not of lyrium."
Ember faced forward to hide her expression from him as she reached behind her to run her fingers over the Chantry's sunburst symbol that had been burned into the skin on the nape of her neck. As she traced the mark, her fingers brushed Cole's and she felt a charge of electricity arch between them with the contact, jolting her with an abrupt shock. Ember told her hand to move, to stop touching him, but her fingers refused to listen and lingered on top of his.
The air immediately shifted, becoming strained and electric.
A few heartbeats later and Ember felt Cole's fingers move slightly beneath hers, the smallest of movement, the tips of his fingers lifted to intertwine with hers as they remained frozen on the nape of her neck. Heat, unnerving panic, and something she couldn't identify seemed to crackle over her skin, making it hum in reaction to the way his fingers seemed to burn into her skin.
Ember ripped her hand away and clasped her hands in her lap. A moment later and Cole removed his hand as well, letting the heavy red curls fall to cover the mark on the back of her neck.
"Tell me," Cole murmured behind her, his voice lower and huskier than it had been before. "Tell me how you received that mark."
Ember tried to formulate a response, but she couldn't when she was maddeningly conscious of the lean, powerful male body behind hers, could feel his heavy-lidded gaze lingering on her, his gaze burning a hole into her back.
"Please," Cole pleaded when she didn't answer. "I _must_ know."
With her heart knocking against her chest wall, Ember turned around to face him, sitting cross-legged in front of the metal bars. She slowly lifted her eyes to his and was instantly arrested by the broody orbs that held hers from beneath his shaggy blonde hair as he remained crouched on the balls of his feet in front of her, his elbows on his knees, his hands dangling between his legs.
"My parents were simple farmers in Orlais. They lived in the country, away from other people," she started. "When I accidently set the family barn on fire, they were frightened of me. They'd never seen magic before." She scoffed with derision. "They thought I was a demon." Her eyes met his, the anger in them apparent. "They tortured me. They thought the torture would force the demon from me. Idiots."
Ember's hand absently went to rub the back of her neck. She closed her eyes at the dizzying wave of anger and pain that memory conjured up. "One day, they went to the nearest Chantry and returned with a book. In the book, they learned how mages were made Tranquil. They thought they could force the magic out of me by branding me with the Chantry's sunburst symbol as they'd seen in the pictures in the book. They didn't realize such a ritual required lyrium. They didn't want it on my forehead where everyone could see it and see I was a mage, so they put it on the back of my neck." She swallowed, her throat working. "They… they held me down and recited the Chant of Light as they branded me with the symbol of the Tranquil with a branding iron. It didn't make me Tranquil, of course. But it…" Her voice wavered and faded out on a shaky whisper of breath. "I was… I was only eight-years-old… just a child…"
She watched Cole's eyes grow stormy and dangerous and a muscle moved up and down in his jaw, as if he were chewing on something hard and distasteful.
Ember bit her bottom lip and cast her eyes down, fixing them upon the ground while she shifted uncomfortably. Never in her life had she opened herself this way. Never had she confessed a weakness to another. The world didn't need any more ammunition to use against her, yet here she was, handing the dagger to him that he could use to stab into her back.
Ember stared down at her boots, refusing to let the tears in her eyes fall. She didn't know why there were tears in her eyes or why there was suddenly a lump in her throat. She hated to cry. She hated when other people cried. Crying never helped anything but show one's weakness. She was not weak. She would not cry. She wouldn't.
"It wasn't your fault," Cole murmured softly, yet firmly.
Aqua orbs dragged slowly up his lean body to his face. Her breath hitched as she saw Cole's breath drawing harshly between his teeth and when she caught a flare of something in his eyes.
"No. It wasn't," she agreed in a little voice.
"What your parents did… it was wrong," Cole whispered in a low, rough voice. "A product of ignorance and fear. You didn't deserve that. You didn't do anything wrong. You were born with a gift - a gift the Maker gave you. There is nothing wrong with that. You were a little girl and someone who was supposed to protect you didn't do that."
"They tried to change me," she said in an uneven voice. "But they couldn't break me. No one will ever break me. I will not go gentle into that good night," she uttered fiercely, the green of her eyes flashing. "I will always rage, rage against the dying of the light."
Cole's dark, dangerous look instantly vanished. His blue eyes lit up with interest and Ember smiled at him in understanding. "You like that?" she asked.
Cole nodded quickly, his curiosity apparent.
"It's a poem," she explained. "Written by a circle mage named Dylan Thomas. He led a mage rebellion in Starkhaven a long time ago. It's my favorite."
Cole stared off into the distance. "The words are loud and filled with hate and pain. They are dipped in ink and blood, the blood of mages and templars alike. The desire for freedom is wrapped around them, like blankets around a child on a winter's night. Hunger coats them - hunger for freedom, for independence. They resonate with you, just as they resonate with other mages."
Ember used her nail to scratch at a dried piece of dirt on her black tights. "The words give mages hope. Sometimes we need hope that there really is joy and redemption on the other side of deep suffering. Sometimes we need hope that if we make a stand for our rights, if we refuse to back down and be intimidated by the face of oppression, that we will find serenity."
Cole said nothing. He continued to stare off to the side, as if he was somewhere else. For a long time they sat there in silence. Once she'd scratched the dirt off her tights, Ember exhaled a sharp gust of air.
"Maker, I'm bored," Ember blurted out, trying desperately to change the subject and lighten the mood. "I wish I had a book to read or something. I love to read." She flashed Cole a playful grin. "If I asked nicely do you think the templars will give me one?"
Cole blinked. "I don't think a templar would give a prisoner a book. They fear books and the knowledge they give the mages. I think they'll give you another black eye and some broken ribs to go with it instead."
She smiled disarmingly, those captivating blue-green eyes twinkling impishly over lightly freckled cheeks. "Well, that's not very hospitable of them, now is it?"
Cole gave her a pointed look. "Templars aren't known for their hospitality."
She laughed. "You're right. They're more known for the skirts they wear."
"And the mages they brutalize," Cole added with a quirk of his lips.
"Maker, Cole, you're such a downer." The laughing mischief in her bright eyes enlivened her entire expression, giving her an uncommon appeal.
Cole chuckled faintly, a rough, rusty sound that made Ember certain he was not a man that laughed often.
Icy blue orbs searched her face before he uttered under his breath, as if to himself. "That would help, wouldn't it?"
Her eyebrows bunched together. "What?"
Expressions, mercurial and rapid, charged across his face. Cole suddenly stood and wiped the dirt off of his leathers. "Bye."
Ember's smile dropped. "What?" She was on her feet in an instant, gripping the metal bars. "Where are you going?"
Cole looked at her as if the answer was obvious. "Parchment and words, stories of old and new, fantasies that only dreams can bring."
Ember blinked. "What does that mean?"
But Cole had vanished into thin air before the last word had left her mouth.
xxxxxxxxxxxxxxxxxxxxxxxxx
Cole walked away from Ember's cell, his body edged with tension and rigidity. He rubbed his chest just over his heart, wondering why it ached there all of a sudden. He was breathing deeply, somewhat frightened by what he was feeling, unable to put a name to the many emotions that flooded him. He couldn't fathom his emotions. He was swimming in them, drowning in them. He was overwhelmed. He chose to grasp the easiest one to deal with, the one that was most familiar to him, and let his anger slam into him.
He wanted to _hurt_ Ember's parents. He wanted it to be painful. He wanted it to be slow. He wanted blood. He wanted their blood for what they did to her. He'd obtained his own vengeance. She deserved hers as well.
His mind was racing, contemplating this intense reaction and what it could possibly mean, as he moved toward the lower chambers. Beneath the tower's lower chambers were the archives – rooms upon rooms filled with the books they didn't keep in the upper libraries. There were books about magic there, as well as books of music and philosophy, books in forgotten languages, and even the forbidden books they put under lock and key. Normally the archives stood empty, but sometimes Cole would find a mage spending long hours reading by candlelight. He would never understand what they found so interesting about words and pictures. Books were all just old paper to him. But right now, Cole was very interested in finding a particular book, one he remembered a young elven mage reading late one night.
A few hours later and Cole returned to Ember's cell. She asked him where he'd gone but he was too nervous to answer her. Instead, he handed her the book he'd gone searching for through the metal bars.
Cole watched with rapt attention as Ember took the book from him with a look of astonishment on her face. "It's a book of poems," Ember read. "Written by Dylan Thomas." She looked up at him and smiled her thanks as she held the book to her chest as though it were a precious and revered object.
Cole absorbed her delighted expression as if it were fuel for his soul. He was very, very pleased with her reaction, a tendril of happiness stirring within himself, the first in so long. Her breath-caught smile as the flames of her conjured flame danced across her face caused something within Cole to stir, to awaken from some dormant state. That smile… it touched something within him he had not known he possessed.
"Thank you, Cole," Ember whispered as she reached through the bars and touched his arm in a gesture of gratitude.
The sudden contact stirred a strange pleasurable spark that flickered along the ends of his nerves. Cole looked down at the small hand that rested gently on the bare skin of his arm. Her touch made him strangely warm, heat crawling down his neck. His skin felt prickly, his pulse doing this weird jumping thing. It felt… _good_. Like he was alive. Like he was real.
A strange intimacy enveloped them. Cole held his breath while she continued to touch him, wanting to touch her in return. Ember looked up at him and Cole's eyes collided with a whirlpool of aquamarine framed by a shock of wild scarlet curls. The air between their bodies seemed to vibrate with some unknown charge, the tension between them palpable. There was an undercurrent of something flowing in the air around them that he couldn't comprehend. And there was something about the way she looked at him…
Ember ripped her hand from his arm as if she'd been burned and Cole felt a sharp sting of disappointment. She tucked a red curl behind her ear as she moved to sit cross-legged on the floor in front of the bars and he did as well. Her knees touched his through the bars, the book open in her lap and the flame she'd cast hovering off the ground beside her.
"Do not go gentle into that good night," Ember read, her voice holding the soft hum of an ocean wave. "Old age should burn and rage at close of day; Rage, rage against the dying of the light..."
Hours later, with most of the book read, Ember had fallen sleep. She sat cross-legged with the book open and forgotten in her lap. Her body was slumped forward toward him, her face turned to the side and pressed against the metal bars. Her neck was arched back at an odd angle that would most likely hurt when she woke up.
A thick, unruly mass of dark red curls were draped over one slender shoulder, forming a small pile on the stone floor. Some of the thick curls fell across the bars, covering his knee and hand that was rested there. His long pale fingers flexed beneath the soft locks and the scarlet curls rippled across the back of his hand, looking like rivers of blood weaving across the ivory skin of the back of his hand. A strange and unexplainable urge hit him to turn his hand over and let those curls rest in his palm, to let his fingers close over them and see what they felt like between his fingertips.
Unable to resist, Cole carefully reached out and lifted one thick, red tendril, stroking the lock of her hair between his thumb and forefinger.
Cole's eyes shifted from her hair to the girl herself. She slumbered fretfully while she traversed in the Fade. He stared down at her from behind his blonde bangs, puzzled yet strangely fascinated. Of their own accord, his eyes traced every line and curve of her face, etching it into his memory. He wondered what it was that made her shine like that. Was it her heart, her soul, or her spirit?
His heart had accelerated while he looked down at her. He found that strange, unsure of the cause. He wasn't in danger, so why was his heart racing in his chest? His hands were sweaty too, though not with the need to draw his blade and run it across flesh. Heat flooded his body, though he wasn't running or sitting in front of a fire. His body was reacting strangely and he was having trouble explaining it, understanding it.
For as long as he could remember he'd carried a hollowness in his soul that could only be called loneliness. He was desperately lonely and consumed with darkness. But being with her… she assuaged his loneliness, brought light to the darkest parts of him, gave him a companionship that he'd been aching for. He felt as if she'd cracked the lifeless chill that had encased him for as long as he could remember. She made him feel hot and intensely vital. Intensely alive. _Real_.
In only a few weeks this girl had crawled in somehow, right down deep inside of him, and made herself at home, like it was where she was supposed to be. He needed something in her as he'd never needed in another. He would watch over this one. He would protect this one, like hands cupping a flickering flame during a winter wind.
Reaching through the bars, Cole ran his fingertips down the delicate bones of the sleeping girl's spine.
_I'll protect you_.
Cole silently made the decision that no one was ever going to hurt her. Because she understood him and because she wasn't afraid of him… because she was warm and bright and trusting while he guarded her while she slept.
_This one is mine_.
Cole pressed his forehead against the metal bars that separated them and closed his eyes, letting sleep claim him.
**Author's Note**: The poem Ember reads is a poem entitled "Do not go gentle into that good night" written by Dylan Thomas.
5. Chapter 5 - The Passion in Compassion
**The Inquisitor's Ghost**
**Chapter 5 – The Passion in Compassion**
_With passion'd breath does the darkness creep_
_It is the whisper in the night, the lie upon your sleep_
_Transfigurations 1:5_
"Cole? Cole!" he was awakened by someone shaking his shoulders. His eyes fluttered open and he got up slowly and brushed himself off. He looked into the face of Ember who was staring at him wide-eyed, fear reflected in her blue-green eyes.
"Are you alright?" she asked.
"I think so," he answered.
"You were having a nightmare," she supplied in a low voice. "You were screaming."
Cole's eyes grew dark and unreadable. "The curses of my life revisit at night, haunting me as if I should not be allowed absolution."
Ember didn't understand his answer. "Who's… who's Bunny?" she asked softly after a long pause. "You were screaming her name while you slept."
Cole's shaggy blonde hair hung in front of his eyes, but those icy blue orbs lifted to pierce her from beneath the wayward strands, his eyes incredibly intense. "She was my little sister."
Ember shifted her weight from one foot to the other. "Did something happen to her?"
Cole hesitated. "Yes."
Ember tucked a bright red curl behind her ear. "You can tell me. It might help."
Cole looked away from her to stare off into the distance, eyes glazed as if seeing something that wasn't there. "My family brings up pain, old pain that lingers just beneath the surface of my skin."
"You can trust me," Ember replied gently, repeating the words he'd said to her the day before.
Cole kept his gaze averted as he replied, "Mother was gentle and kind, yellow inside like a ray of sunlight. Bunny was the same, though inside she was green, like the color of fresh spring leaves."
"And your father?"
A muscle worked in Cole's jaw. "Father was black on the inside. His fists spoke of his rage as he used them on us, his lips cursing us, '_Maker take you and your foul magic!_'"
Ember swallowed. "W-What happened?"
Cole hesitated, his expression pained. "I don't want to go back in the cupboard on the bad day."
"What bad day?"
Ember watched his cerulean eyes take on an unfocused look, as if he was remembering something in his past and when he spoke he spoke as if he was somewhere else, some other time."'_Hide!_' Mama whispers urgently to me. '_Take your sister and hide! Don't make a sound!_' I'm twelve-years-old and I'm taking Bunny in my arms. She's only six and she doesn't understand but she's afraid. She's crying because she's so afraid. I get in the cupboard and hide. Hide, like I always did when his fists needed someone to take his rage."
Ember gasped. "Sweet Andraste…"
"I get in the cupboard. It's small and it's cramped. '_Cole, you little bastard! You think you can hide from me forever?_' I hear him yell. In the cupboard, I hold Bunny in a crushing grip with one hand clamped over her mouth to keep her quiet. '_Don't make a sound_,' I whisper to her. '_Hold your breath. For just a moment, we won't even exist_'. I hear him searching for us. '_Cole, come out and die like a man!_' He is screaming. '_You know what the punishment is!_' While he looks for us my hand remains clamped over Bunny's mouth to keep her quiet. Only… only she is dead." Cole's voice was faint, aching with pain. So much pain.
Ember's throat tightened around a sob. Cole was shaking, fighting against sobs that threatened to overwhelm him. His eyes flickered to hers and Ember winced, her heart wrenching as she caught a glimpse of a soul tormented by a deep sorrow.
"Bunny was crying, so I covered her mouth with my hand so he wouldn't hear," Cole explained in a tiny voice. "Mama told us to be quiet. I only wanted her to be quiet."
Ember's hand flew to her mouth, tears welling in her eyes. "Oh Maker…"
"He finds me," Cole continued, his eyes growing ravaged and tortured as he returned to the bad day. "He finds me in the cupboard with my dead sister in my arms. He rips her from me and throws her to the dogs as if she is garbage. His front is covered in blood not of his own, but of mother's. He looks me up and down. '_You're worthless_,' he sneers. '_A mistake I should have drowned long ago. You've evil in you, boy, passed down by your mother. You'll pay the price just as she did_.' He's going to kill me this time. I know it. The dagger is in my hand. I don't know how. '_I won't let you hurt Mama anymore_,' I tell him. I hurt so much I see only red, breath only red. '_I'll stop you_'."
Cole looked down at his hands that were trembling. "I move faster then he thinks I can. The blade pierces his flesh. Blood is running red and warm between my fingers as I slide the blade into his throat and it exits out the back. We're free. I freed us. Only the only one who is free is me."
Ember could only stare at him, her heart breaking at the look of desolate agony that shadowed his face. She wanted to ease his pain but didn't know how. Cole's chin lifted and his eyes clashed with hers from beneath shaggy blonde locks that hung into his eyes. Ember sucked in a sharp breath, her heart aching, as she stared into fathomless icy blue pools filled with nothing but harrowing grief, guilt, and sorrow.
"I… I killed my little sister." His voice cracked on the last word. "I-I didn't mean to do it. It was an accident. I didn't want him to find her. I didn't want her to get hurt. I was trying to protect her. I was trying to…" His voice caught on a broken sob and faded to nothing. Every inch of his face was carved with anguish and remorse, his fingers clutching the metal bars that separated them so tight his knuckles had turned white. He was shaking, violently, his shoulders jerking sharply as if he were crying, but he made no sound and there were no tears.
Without thinking, Ember leaned forward and reached through the bars to wrap her arms around him. Cole immediately clutched at her, holding her tightly, his arms gripping her almost painfully and she could feel him trembling. Ember held him to her, stroked his hair, and murmured soothing words to him as though he were a child. It felt strange and familiar at the same time to have a man's body so near hers. He clung to her, holding her, clutching, almost as though he were afraid she would leave him.
Cole murmured her name as he buried his face in her neck as best he could with the bars blocking him, his chin on her shoulder. He didn't seem so dark now, so otherworldly, with his strangeness and haunted eyes. Right now he seemed like a sweet, lonely little boy who needed her. Ember whispered soft, comforting words before kissing the top of his head as he nestled closer to her.
After a long time, the awful shaking stopped. Ember caressed his temple, smoothing his hair back from his face, and smiled at him. Cole's eyes slowly opened into hers. The liquid blue depths of his eyes were deep enough to drown in.
"Thank you," he whispered.
"Of course." She smiled at him and ran a hand through his unruly blonde hair, watching as it flopped back to the messy mop on top of his head to hang into his eyes. "What are friends for?"
Fear entered his eyes as he moved out of her arms. "I'm afraid."
Her head tilted. "Of what?"
"I'm afraid you'll forget me."
"Never," she assured him.
His eyes turned sorrowful. "Everyone else does."
She gave him a lopsided grin. "I am not everyone else."
"No, you're not," Cole answered in a low, rasping voice, as those blue eyes seemed to bore into her with their intensity, seeing pieces of herself she'd thought she'd hidden from the world. "You are something else entirely."
Ember held his gaze for seconds that seemed to stretch and twist into something more. "What am I?" she found herself asking.
"You are bright, white-hot light." Cole pointed a finger at himself, eyes downcast. "In me is dark. Your light pushes the darkness until in me is bright."
Her face pinched with confusion and she shook her head. "I don't understand."
His eyes left hers before returning. "You hear but you don't see."
"Help me understand," she replied a little breathlessly.
"When I look at you…" Cole paused, searching for the right words. "…I see light shining, bright and twinkling, elusive and distant." Cole moved closer to her, his blue eyes glittering in a way she'd never seen before. "I am… drawn to it. To you," he murmured, his raspy voice the softest and huskiest she'd ever heard it.
Time suddenly seemed to halt, the very air vibrating with a blazing tension. His eyes seemed to burn as they stared down into hers. There was a strange and unfamiliar thrum in her heart as those eyes promised more than she was certain she could handle. He looked like he had wanted to… to…
Ember tore her gaze away from his and stared down at the metal bars that separated them, her heart galloping in her chest. In the lengthening silence Ember could hear the drip of water from the stone ceiling and the sobs of the imprisoned mages around her. She could feel his gaze on her, felt the heat of it, burning away every layer of clothing until she felt raw and exposed.
Ember saw his feet step into her view and she was suddenly conscience of the intense physical awareness she felt at his nearness. Ember didn't move away, though she knew she should. Cole's overpowering presence was making her dizzy, unable to think rationally, as if he was using magic.
Cole shifted in front of her, his hand moving slightly. Ember's pounding heart leapt into her throat and became lodged there as his hand reached through the bars and settled on her hip.
Ember's eyes dropped to the milky-white, very male hand touching her, burning her skin through her black cloth pants. His fingers flexed on her hipbone and her sharp inhale was a ragged thing, every muscle in her body clenching.
"Look into my eyes," she heard Cole say in a low, husky tone that resonated to some deeper place inside of her that she hadn't known existed until this moment.
Ember stared at his boots, the air around them suddenly thick and heavy with unseen tension, almost as if millions of tiny electrical currents had suddenly ignited all around them. She was keenly aware of his proximity, of what his nearness and touch were doing to her - a primitive, entirely feminine response of her own body.
"Look into my eyes," Cole repeated, and Ember was immediately conscious of the subtle change in his voice. The rasping tone stroked across her skin like a caress.
Unable to do anything else, wide aquamarine orbs slowly dragged up his leather-clad torso, his throat, his chin to meet his eyes. Their gazes locked, and the intensity she found there stole her breath away. Cole was staring down at her. Keenly. Unblinking. The entirety of his attention was focused on her, his eyes deep and penetrating. Ember found that he looked infinitely dangerous with that hard, sculpted face and lean, defined muscles hugged enticingly by the dirty leathers he wore. And his eyes… Maker… there was no light in them. Just blackness. Two dark, endless wells of liquid blue shadows. The haunted darkness lurking in his eyes reached out to her, wrapped its arms around her, pulling her into their shadows.
Cole took a step toward her, pressing against the bars, getting as close as he could, holding her gaze with unwavering intensity as he inhaled the air around him that carried her scent.
Ember exhaled a shuttering breath, her heart a fluttering mess.
Something inscrutable passed in his eyes before his fingertips moved slightly, the lightest of caresses on her hip.
His caress sent every nerve in her body aflame, sharpening all of her senses. Ember remained motionless as Cole's fingertips began to stroke her hip, the dark glint in his eyes mesmerizing her into paralysis.
Ember heard a shallow panting and realized it was the sound of her own breathing.
Cole's fingers trailed up her side, over her hip, to curl around her waist causing heat to spread through her belly.
Cole's grip tightened on her waist and he pulled her closer, dragging her to him until she was pressed against the metal bars.
Her heart thudded so loudly in her ears it was all she could hear, her body humming at feeling his firm male contours pressing against her through the metal bars. She knew she should pull away, yet an unnamable something held her transfixed.
Cole's hand slowly trailed all the way up her side until he was cupping the back of her neck, and she did her best to ignore the way his breathing had changed - becoming faster, deeper.
Ember's heart was beating wildly in her chest. She could hardly breathe.
Icy blue orbs flickered down to her mouth before immediately returning to her eyes, a strange heat suddenly reflected in their depths.
Her lips parted on their own accord, and she was suddenly conscious of an odd yearning deep within her.
His fingers were warm and strong and firm as they tightened on the nape of her neck and then he was pulling her toward him, dragging her inexorably, relentlessly closer to him, his gaze never leaving her mouth as he drew her to him.
With her heart battering her ribs, Ember laid her palm on his chest. The bunched muscle beneath her hand felt rock-hard, like stone, but the rapid beating of his heart told her he was very much alive in there. Drawn by an urge more powerful than reason, Ember tilted her chin up. Never had she felt such wild anticipation mixed with abject panic as his lips descended, closer, until their mouths where almost touching.
Cole abruptly paused, his lips hovering over hers, almost touching, as if he were afraid of what would happen.
Ember was breathless and unsteady as she stared spellbound, unable to surface from the sea of blue eyes in which she swam. The warm, electric current that flowed between them was palpable. Ember's heart beat painfully within her chest like molten rock as they stood there, unmoving, breathing hard, their labored breath mingling in the scarce space between them as he gazed into her eyes with an intenseness that seemed to search her very soul. Her legs suddenly felt warm and weak, as if they might collapse at any second.
"Ember…" It was like he was breathing in her name along with the air. Cole's blue eyes flickered back and forth between hers from beneath his shaggy blonde hair before he exhaled a ragged breath that filtered unsteadily against her mouth and brought her across the last scant inches separating them.
Cole's lips found hers, for only a second - a light brush of his bottom lip against her top. But even though the touch was a light as a feather and for only a brief moment in time, a firework of sparks and flames broke out along her skin, zipping through her body like a raging inferno of scorching heat and tingles. His lips tasted as she imagined moonlight would taste - smooth and mysterious, a hint of the darkness on the other side.
Cole's lips abruptly left hers, but instead of disengaging and moving away, his lips hovered above hers, his face contorted as if in pain. He exhaled sharp bursts of air over her lips and she inhaled, taking his breath deep into her lungs.
For a moment everything turned still and quiet. They stood breathing each other's air, eyes searching, the minuscule distance between them humming with electricity. Ember was breathing rapidly, her heart thundering violently, her face flushed. Her lungs struggled for oxygen and adrenaline pumped hard and heavy through her body. She couldn't think. Couldn't speak. Could barely breathe. The part of her that was needy and lonely wanted that kiss again, wanted it with a longing that was almost frightening. And she seemed incapable of stopping herself.
Ember lifted her chin and softly caught Cole's bottom lip between her lips. Ember's pulse was a dull roar in her ears as a warmth like no other before began to gather at the pit of her stomach before slowly spreading out to her limbs in a trail of fire. She lingered there for a moment before she pulled away ever so slightly, brushed her mouth against his and captured his upper lip. Beneath her hand, his heart thundered so hard it seemed to be in rhythm with her own.
Cole's mouth pressed back against hers awkwardly. They were both unsure of what they were doing, neither having done this before, the metal bars between them making it difficult.
Acting on pure instinct, Ember tilted her head and slanted her lips across his as best she could with the bars preventing her movements.
Cole stiffened and tightened his fingers behind her neck, his lips parting hers, opening them beneath. Ember gasped then sighed into his mouth. He stole her breath as his own and Ember thought she would die from the incredible sensations. With every breath that passed from her lips to his it felt as if he claimed more of her soul.
Electricity crackled around them while something strong and vital flowed between them. His free hand pressed against the small of her back and a bolt of lightning streaked through her so fierce it left her trembling. She could feel her body burst into life in a way she'd never felt before. The feeling threw her and she was paralyzed by it. A tingling, treacherous heat was snaking along her skin and gathering in places that, until now, she hardly knew existed.
A tiny whimper of pleasure glided unbidden from her throat before she could hold it in.
At the soft whimper, Cole's mouth became hot and urgent, and even in her innocence, Ember could feel the raw hunger in him. His hand dragged up the skin of her neck and into the nape of her hair. He tilted her head back, deepening the kiss. The hitch in her breath became ragged, gasping. She couldn't seem to catch her breath. She was drowning. Drowning in him. She couldn't breathe.
Ember pulled away slowly and Cole's lips held on until the last possible moment, loathed to separate, until finally disconnecting with a breathy sigh of instant regret. Cole pulled back slightly to look at her and Ember's hand trailed off his chest. Ember studied his face, watched his eyes blink open, almost as if he were stunned. He seemed barely to be breathing. She wasn't sure she was breathing either.
Ember's mouth opened to say something, to say anything, but no words came out. Her mouth snapped shut as Cole reached between the bars and took a russet curl between his fingers before bringing it to his lips, that dark intensity in his gleaming eyes boring into her.
Ember swallowed hard as Cole's eyes fluttered closed as he inhaled the scent of her hair, his black lashes casting fine shadows against the curve of his ivory cheekbones. Cole expelled an uneven breath, as if straining for willpower. Ember could sense the tight control he exercised over himself, could see the tension in his jaw. Cole's eyes slowly opened into hers and she saw a flicker of something in those deep blue eyes - something dark, potent, and frightening.
And then just like that, Cole faded away.
The curl he'd had pressed against his lips fell against her cheek, and Ember staggered back to lean against the stone wall of her cell and let out an explosive breath she'd been holding in. Shakily, she raised a hand to her chest, trying to calm the frantic rhythm of her heart. A dozen conflicting emotions warred within her, the attraction she felt for him so forceful as to be almost tangible. But the feelings he'd created within her were so… _intense_… almost unnatural.
Ember stared into the darkness Cole had disappeared into. Her eyebrows drew together, her mouth pressing thin with worry as she remembered what Malcolm Hawke had taught her.
_When a demon comes, Ember, it won't seem harmful at first. It'll be something to make you curious until later when it begins to corrupt you._
Before she could contemplate Malcolm's words, a cruel voice echoed ominously in her small cell. "It's time, little she-devil."
Ember turned her gaze to the short templar with the long brown hair standing in front of her cell, his arm in a sling.
André smiled cruelly at her. "It's time to make you Tranquil."
**Author's Note**: Poor Cole. The first time I read about Cole's background in the book _Dragon Age: Asunder_, I almost cried. Cole even mentions being in the cupboard on the bad day in Dragon Age 3 in one of the first conversations you have with him.
6. Chapter 6 - Demon
**The Inquisitor's Ghost**
**Chapter 6 – Demon**
_The first of the Maker's children watched across the Veil _
_And grew jealous of the life _
_They could not feel, could not touch_
_In blackest envy were the demons born_
_- Erudition 2:1_
Ember's body, her thoughts, went cold. Inactive. Immobile.
"T-Tranquil?" She hated how her voice trembled with the force of her terror.
André smiled, almost victoriously at her apparent fright. "That's right. You won't say no to me once you're Tranquil. You'll do everything I ask of you."
Panic licked her spine. "Keep away from me, you templar cur!" she cried, palpable fear lacing the words, and was not surprised when he laughed.
"So much spirit." His cruel smile held as he ran his fingers across the bars. "I want to be the one to break it before it is taken away entirely."
A fury engulfed Ember, freeing her from her paralyzing fear. "Templar swine! I'd kill myself first!"
André just laughed, an ominous sound that chilled her to her bones. Ember's blue-green eyes frantically searched the darkness around the cell for Cole, but she found nothing. Maker help her, she was on her own.
Ember watched with trepidation as the templar reached into his armor, searching for the key to her cell and a slow rolling dread built within her as realization set it.
_He is going to rape me, and then the templars are going to make me Tranquil_.
Awareness, horrific and frightening, caused her eyes to widen and her body to freeze in terror, a wave of pressure crashing from her throat to her gut.
_Oh Maker… don't let this happen… Andraste save me…_
Ember's heart was thumping like a rock against her chest, her throat was dry, her breathing sporadic and growing more labored by the second, her body trembling with fear.
Suddenly, a strange sort of calm settled over her, like a warm blanket, and her panic began to fade, her terror ebbing. A thin line of defiance tightened her mouth as her fingers touched the charm that hung from the leather necklace secured around her neck that Cole had made for her – a single star hanging from the top of a half crescent moon.
_André_ _will not touch me. The templars will not make me Tranquil. I will not allow it. I will fight. I will fight until my dying breath._
Ember's chin tucked, aquamarine eyes flashing beneath blood-red curls as she watched André insert the key into her cell door. Gathering her courage, Ember quickly ripped the leather necklace from her neck. She wrapped her hands around the ends of the leather band and held tight. She watched as the templar opened her cell door and walked inside.
Adrenaline was pumping through her as she waited until the templar's back was turned to close her cell door behind him. With a quick, deft movement she leapt up to his height and threw her arms around his neck, the leather necklace pressed tight against his Adam's apple. The templar gagged and stumbled backwards. Ember's booted feet climbed the back of his legs to dig into his lower back, and she yanked back on the leather band at his neck with all her strength. The templar began to gasp for breath, his hands clawing at hers and the leather necklace as he swung his body sharply to the right and the left, trying to fling her off of him. Ember held on with all her might, pulling on the leather necklace with all her muscle, leaning back and using her weight.
Moments later, the templar's struggling slowed along with his gasps for breath, and he fell forward to the ground, landing face first on the stone floor, taking Ember down with him. Ember lay on top of him, breathing deeply, still clutching the leather necklace in her hands. The templar beneath her wasn't moving, wasn't breathing.
Trembling, Ember forced herself to her feet and secured Cole's leather necklace back around her neck. She quickly donned her coppery chainmail with her black leather boots that almost reached her thighs. She grabbed the book of poems Cole had gotten for her and stuffed it into her belt at her back. She quickly searched the templar's corpse. She took his dagger and secured it at her hip and his pack around her waist that contained health potions and lyrium. She searched his body until she found the keys to the cells. She ran to her cell door, reaching through the bars, and stuck the key in the lock and turned. The lock fell open and she pulled the lock from the cell door.
And then she was running. Running as fast as she could through the dark and winding hallways of the dungeons of the White Spire. She had no idea where she was or where she was going. All she knew was that she had to get out of there before the templars found her. Cole said the catacombs had tunnels that led out of the White Spire. If she could just reach one before the templars found her, she would be free. Her heart leapt at the word. She would not be made Tranquil. She would be free. It was a small hope, but she clung to it with all her might.
_Cole._
The thought of him made her steps falter. She had to find him. She couldn't leave without him. She wanted him to escape with her. She wanted them to be together. She had fallen for him. She'd been trying to make sense of her tangled emotions, but now she knew. She cared for him. After only a month, Cole had somehow managed to situate himself into her heart, becoming someone very special and precious to her.
She would find him. She had to.
xxxxxxxxxxxxxxxxxxxxxxxxx
Cole stumbled, shaking and unstable, wandering deeper into the dark depths of the dungeons of the White Spire. The air grew more stale and harder to breathe with each step he took, his surroundings morbid with their dripping walls and lichen-splotched ceilings. Cole fell against the stone wall that lined the dark and dismal hallway he now found himself in, the back of his head connecting with a soft thud. His heart was beating wildly in his chest. It physically hurt to take in each breath as he tried to steady his breathing with deep, calm breaths.
Cole touched his lips. It tingled and burned where she'd kissed him, and he felt it all the way down to his bones. He couldn't find the right words, never having felt anything quite like what he was experiencing. It was foreign, confusing, and supremely potent. And it was all because of her, a girl so beautiful and gentle it made his heartache. Just thinking of Ember made the center of his chest a hot, searing knot. She was in his bloodstream, being pumped into his heart, filling it. He didn't want her to forget. A week from now, or a month, he didn't want to be the only one who remembered this.
It had required supreme willpower to draw away from her. But he had to. With her mouth pressed so softly and willingly against his he'd felt the darkness within him shift and swell, building inside him, threatening to tear free. When her mouth parted beneath his and she breathed life into him, he'd been filled with this… this _want_… this overwhelming _need_…. the terrifying desire to _possess_. He'd felt the darkness about to escape the tight hold he'd tried to keep on it and he'd fled. He couldn't let it escape. Couldn't allow it. Not with her so close.
Cole groaned and rolled onto his shoulder, letting his warm cheek press against the cold stone wall. He closed his eyes and took a deep breath as that familiar feeling crept like a chill over his bones. The darkness was spilling up inside of him. He tried to will it away, tried to push it back down, but it wouldn't go. It seeped into every part of him, trying to take him away.
_No. Not now. I won't let you. _
He clenched his teeth, terrified of being swallowed up by the darkness and fading away forever. It was like the ground was slowly turning to quicksand under his feet and he was sinking, disappearing, becoming transparent. Terror swept him. He didn't want to be truly lost.
_I won't let you take me away from her._
He was trembling. His heart was hammering. A cold sweat was pouring down his face. It almost felt like the shadows in the hall lengthened, like they stretched out toward him, but he tried to evade them.
_I belong here. I want to be here. I won't leave her. _
Cole rolled again until his forehead was pressed against the stone wall. He needed to push the darkness down deep into himself, to control it. His eyes closed and he focused. The cries of the imprisoned mages echoed all around him, but amidst their grief-ridden sobs, a soft sound began to rise over them. It was a slow and haunting tune, and he was humming it. And he remembered it.
_Wet, white sheets hanging on a line as a warm breeze dried them under a hot summer sun. Flashes of golden hair peeking out between the ivory linens as the wind blew through them. Honeyed tresses and blue eyes. A sudden feeling of comfort, safety, love… and family._
"_I almost didn't hear you approach." A dulcet, feminine voice on the wind. Blue eyes turn to see the tears on his cheeks. Blue eyes see the bruises on his face and arms. Blue eyes become sad. Warm, loving arms are around him, embracing him. A slow, haunting tune falling from lips as she rocks him back and forth._
_"Mama… am I a bad person?"_
_"Why do you say that?"_
_"Dad says I'm cursed with foul magic."_
_"You were born with magic, but that does not make you a bad person."_
_"How do you know?"_
_"Your heart told me." A warm smile shinning down on him. "It is pure, true, honest and kind. You are good, Cole, perfect just the way you are." __Warm, loving arms are around him again. __"Remember, the Maker loves you." __Doting kisses on wet cheeks__. "Mama loves you too, dear heart. Mama loves you."_
Cole blinked as the memory fragment started to fade. He tried to catch it, but the memory slipped through his fingers and was soon gone. He breathed, each moment slow and excruciating, until finally it wasn't so bad. After a few more breaths, his breathing slowed, returning to normal. Cole breathed with a relief that was soul deep.
_I'm still real_.
After a few moments, he was able to collect himself somewhat and he pushed himself away from the wall. He turned and started heading for Ember's cell, needing to be close to her now that the darkness wasn't overwhelming him.
Cole stopped abruptly as he heard something in the distance. It was a soft cry. A soft cry for death. He could feel it. A lost and hopeless soul. A burning need rose within him, a need to seek them out and free them from their pain. Cole ran his thumb along the edge of the dagger that was in his hand. Sharp. He could give them a way out. He could help while also preventing himself from becoming nonexistent.
Unable to ignore the siren's call, Cole moved swiftly through the dark hallways of the dungeons to where a templar stood on guard by the door that led to the White Spire Tower. His head kept drooping and then snapping up again. Slowly, Cole walked over to the templar, heart pounding in his chest. He stood inches away, looking into his eyes, and knew the guard saw nothing. He stared right through him.
_You don't see me. You won't notice anything I do. _
Cole stared into the guard's eyes, concentrating, reaching down into the well of darkness within himself. Way down inside of him, in the darkness he never dared to look, something was there. He tried not to let it frighten him. Instead, he told it to come.
_You can't see what I do_.
Cole stared into the templar's eyes, so close he could smell his sour breath. Cole embraced the dark power within himself, allowing it to pulse out through his limbs, steeling himself against the fear that came with it. The fear that he was slipping away into nothing. Reaching out, ever so carefully, Cole plucked the keys from the templar's belt. He maintained eye contact the entire time. The man didn't react. The keys jingled, and Cole froze.
_You won't see me. _
The templar's mind unconsciously fought against him, and Cole concentrated hard, a headache forming, until he could feel the shroud he'd lain over the guard's eyes. He stood in front of the templar, but the man looked right through him.
Cole carefully backed away from the guard, clutching the keys to his chest, watching for any signs of a response. The man didn't blink, didn't react at all. Cole swallowed, forcing the dark power back down, fighting to keep it from taking over. He brought a trembling hand to his sweaty forehead, fighting for control.
Minutes later, Cole was standing in front of a cell door. Behind it was the lost and hopeless soul that was calling out to him. He unlocked the cell door. The slightest click as he turned the key, and then the faintest noise as he pulled the door open. Quickly, Cole slipped inside. As he entered the cell, Cole saw it was an elven girl, no older than fifteen or sixteen. She was cowering in the corner of the tiny cell, curled up in a ball, crying incessantly, her brown hair greasy and stringy around her face.
His chest tightened as he drew close enough to see the girl clearly. All that remained of her blue mage robes was the tattered skirt. The gleam of white was her skin and the remnants of her muslin chemise. Her thin white arms were peppered with black-and-blue marks where fingers had obviously dug into her flesh. Her chemise had been torn away, baring her small chest. Her cheek was swollen, her lip split open, an ugly purple and blue bruise surrounding her eye. Her tattered skirt rode high, and he saw that the pale skin of her inner thighs was caked with blood and something else.
Cole crouched down in front of her, balancing on the balls on his feet. With a suddenness that startled him, she jerked her head up. Her eyes filled with stark terror. She took one look at him and began to scream, shrill and short, interspersed with shallow panting. She dove passed him and stumbled out of her cell and into the dark hallway. She tripped over her torn skirt and fell to the stone floor. She scrambled back away from him in fear until her back hit the stone wall that lined the hallway.
Cole slowly stood and approached her. The instant he moved, she began glanced around wildly, as if she sought help. When he stood over her, she began to whimper. "W-Who are y-you?"
"I am the Ghost of the Spire," he answered as he reached under his leather vest and drew a dagger from its sheath. It was an ornate blade with an elaborate brass hilt carved in the shape of a dragon's head.
She glanced down at the dagger in Cole's hand, her eyes widening in fear. "Don't hurt me! Please don't hurt me!" she cried frantically as she shrank against the stone wall to put distance between them. Tears welled in her eyes. When she looked at him again, her expression was one of complete despair. "Please don't hurt me. I can't take anymore pain."
Cole crouched down in front of her and whispered softly, "I can make the pain and fear go away. You won't have to suffer what was done to you again. You won't have to see what they have in store for you." His words were gentle as the dagger in his hand glinted in the low light.
"W-What do they h-have in store for m-me?" she asked, uncomprehending. For an instant her disoriented eyes seemed to focus on him. "They're going to make me Tranquil, aren't they?" Her voice was as dead as her eyes.
Cole nodded sadly, but didn't respond.
Her eyes fell to the dagger in his hand. "Then I want to die." Her low voice caught on the last word. She was crying as she whispered, "I want you to kill me."
Cole stared down at the dagger in his hand, and for a long time the two of them remained in silence.
"Look into my eyes…"
The woman stiffened, but slowly tilted her head back until her brown eyes met his. Cole raised his dagger. Gently, he placed the serrated edge against the woman's neck. She didn't flinch. In fact, she pressed her neck against the blade, welcoming it.
"Thank you," Cole breathed as he gently dragged the serrated blade across her neck, drawing blood. She gasped in shock, but did not look away. Fathomless blue orbs stared deep into dark brown as he cut deep, the mage's neck gushing red blood down the front of her bare chest and into her torn robes. The knife left her neck and she convulsed, a spurt of bright blood erupting from her mouth. Then, with a final shudder, she collapsed into his arms. Cole stared down at her, watching the life leave her eyes.
Cole slowly lowered her body to the ground and closed her eyes before standing, though he continued to stare down at her. He was only dimly aware of the warm blood covering the blade, his hands, the entire front of his leathers. He frowned. This usually made him feel connected, like he belonged in the world. It was typically the only thing that made him feel alive. But it was nothing compared to what he'd felt when he'd kissed Ember. When he'd kissed her…
Cole's eyes clenched shut, a muscle working in his clenched jaw. Nothing had ever made him feel more alive. And he knew in the depths of his soul, nothing ever would. In only those blue-green eyes was he anchored, and he felt like he existed. In only those lips was he given life. In only her was he… _real_. He just wanted to feel what she made him feel. All the time. From now on. He couldn't imagine going back to a life without her. With Ember, distance wouldn't come. He wanted to share with her, to feel. Wanted to know emotion and connection with her. He wanted-
A soft gasp cut through his thoughts and the silence that surrounded him like a knife.
Cole's chin slowly turned until blue orbs beneath shaggy blonde locks collided with wide aquamarine framed by fiery russet curls. Cole's heart dropped into his stomach, his breath becoming nonexistent. Standing at the end of the hallway was Ember, staring straight at him. The expression on her face would be forever branded on his memory with a sharpness and clarity that was painful.
Fear, stark and vivid, shone in her wide and alarmed eyes, while the color had drained from her face. That look… it struck him like a physical blow. Acrid shame gripped him, clawing at his throat that was sprayed with fresh blood. Her apparent shock, horror, and hurt ate at him, tore at his insides.
In that moment, Cole felt and saw the full consequence of his actions. Ember was stricken, staring at him as though staring at a strange, unknown, dangerous creature and attempting to make sense of it while also trying to get away from it.
She was afraid of him.
His blood ran cold as a dismal sense of fear crashed over him. He felt a jarring sensation akin to panic and an odd numbness in the vicinity of his heart. Without thinking, Cole rubbed the heel of his palm over his heart, as if that would somehow ease the ache, desperately wanting nothing more than to take it back.
xxxxxxxxxxxxxxxxxxxxxxxxx
Ember stood numb, though her body was visibly shaking. There was a furtive tension to the way she stood, as if she was paralyzed by fear and yet desperate to run. She was afraid to breath, afraid that if she did it would mean she was alive and this was not some terrible nightmare.
Her eyes fell to stare, unblinking, at the blood soaked dagger in Cole's hand. Her eyes lifted to stare at the blood on his hands, on his chest, stare at the blood sprayed across the smooth angles of his ghostly white face, stare into the blackness in his eyes that glowed like a devil's.
In that moment, he was the most dangerous creature she'd ever encountered.
The Veil was fragile here, and she could sense the demons, lurking just beyond and eager to enter this world. Demons were drawn to mages, to transform them into terrible abominations. And Cole… the air of danger that clung to him was palpable, undisputable, dark power coming off him in dark potent waves, eyes tangled and unfathomable as a maze in the Underworld. He was not of this world. A devil spun of darkness and fire.
Understanding nearly brought her to her knees. A dizzying sense of disbelief assaulted her, a nausea so strong she thought she might faint. The violent reality of it was paralyzing. She could feel this stark, gnawing terror in the pit of her stomach. It burned, like acid up her esophagus and she felt she'd choke on it.
Some survival instinct, some sense of self-preservation, told her to run. Run like hell. Run and never look back. To get as far away from him as possible.
"Ember… don't… please don't look that way," Cole pleaded softly, his eyes weary, tortured, bottomless wells of cobalt.
Ember's hand secretly stole toward the dagger she'd taken off the templar that was concealed at her waist. The cold steel made her feel secure and safe, allowing her to keep panic and fear at bay. Icy blue orbs followed the movement, recognizing it for what it was: Fear.
They stood, staring at one another, a brittle and heavy silence engulfing the space between them that was so full of tension that it felt like lute cords stretched unbearably thin and just waiting to snap.
Suddenly, Cole cautiously strode towards her, trying to close the distance between them, but moving down the dark hallway warily, as if he was walking on thin ice.
Ember's eyes went wide as saucers and she scrambled backwards, her body bunched with tension, and she extended an arm to ward him off. "Just – just stay right where you are! D-Don't come any closer!" Panic caked her voice, the edges sharp enough to slice through steel.
Cole came to a stop, his shoulders sagging with the weight of his grief. The agony that twisted on his face was difficult to watch, but she steeled herself against it. The silence that ensued was heavy with tension. The coppery scent of blood and the decaying stench of death hung heavy in the air, saturating it. Stunned and sickened, Ember stared at the bright crimson blood that pooled around the elven girl that was slowly crawling towards her as it expanded on the dirty stone ground. As she stared at the poor girl, despair and anger twisted around her heart, wrenching it tightly.
Ember's expression became fierce and hard as it focused on Cole again. "You… you killed her. You… you _murdered_ her." Her eyes kindled, making her fiery curls seem more vibrant. "You… she begged you… begged you not to kill her, and you… you _killed_ her!"
His eyes flickered down to the dead girl lying on the stone. "She wanted to die."
"She was begging you for her life and you took it!"
His face became wracked with grief. "They beg for death not-"
"_They_?!" she cried in disbelief, her tongue fairly tripping over the word. "Maker's breath! This isn't the first time?!"
Cole stared at the floor, embarrassed and ashamed.
She knew the answer.
Her hand flew to her throat. "Sweet Andraste…"
After a long and painful silence that seemed to suck up all the air, he spoke, "I end their suffering. They see me because they want to die," he explained softly. "The pain isn't too much. I make sure of that."
For a long while, Ember felt paralyzed in mind and body as she stared at him. "Is it blood magic?" she demanded, her voice shaky. She paused and calmed herself. "Do you use blood magic to keep people from remembering you, or even noticing you at all?"
Cole looked perplexed. "I don't know any magic."
"Then why?" she asked, her voice small and strained. "Why do you kill them?"
Cole stood still, holding the wicked-looking dagger that was coating with fresh blood at his side. "I needed to… I need to."
Her eyes flashed, making them appeared more green than blue. "_Needed_ to. You _needed_ to kill them?"
Cole chewed his lip, an expression that Ember had seen before whenever he was trying to put a difficult thought into words. "There's a pool in one of the lower halls. I go there sometimes," he murmured, appearing lost in thought. "You can float when you're underwater. If you close your eyes, it's like you're floating in nothing. You're surrounded by darkness, and all you can hear is yourself. Everything else is far away."
"What the hell are you talking about?" she asked in a strangled voice.
Cole was quiet for a while. "Sometimes I feel like I'm underwater, and I won't ever get out again. I just keep sinking and sinking, and there's no bottom. The darkness is going to swallow me up." His voice broke and he cleared it. "I'm falling into the cracks between what's real and what's not real, and if I don't stop myself I'll be lost there forever. The only way I can stay is to…"
Her heart was pounding in her throat. "Is to… _kill _people?"
"The moment they die, they look at me. They _see_ me. They know I'm the one that's killed them, and that makes me the most important thing in the world." Cole's gaze flickered to her and she found herself staring squarely into the eyes of oblivion. "I've never been that important to anyone." The words came out as a hoarse croak. "They return to the Fade remembering me. For just a moment I'm a part of the world again. I'm real. I'm _alive_. I don't want to be lost-"
"I don't care what you say." Ember's tear-filled gaze sliced to him. "I don't believe you."
Cole looked up at her with wide, uncomprehending eyes. "They were hurting. The dagger lets the hurt out."
"A dagger causes pain and death!" she threw at him.
"I'm helping them." His voice was thick, his eyes large and glistening beneath shaggy blonde locks. "I use the knife to set them free."
"You're not helping them!" she screamed. "You're hurting them! Killing them! There are other ways to help people, but you ignore them all and choose the knife because you _like_ it!" She put her hand to her mouth to stifle a dry sob. "You're a cold-blooded murderer. At best that's what you are. At worst, I don't even want to think about what you might be. You're a monster!"
Cole turned away, as if stricken. He clamped his eyes shut, fighting back a wave of tears.
The guilt, confusion, and disillusionment each shoved against her chest, nearly suffocating her. So desperately did she want to believe him. Whatever he was, she wanted to believe he meant well. But as that poor girl's blood dripped off the end of his dagger to join the pool of it at his feet, she knew she didn't believe it. She felt so mad, hurt and betrayed. She'd refused to see him for what he was because of her foolish attraction to him.
But she could see him for what he was now.
Demons often became confused when they passed through the Veil. They found themselves in a world they had no control over, and no connection to. They sought out such connections, possessing whatever they could see and touch, seeking to make it conform to the world they'd left behind - a world embodied by concepts and emotion rather than immutable reality.
Cole said he killed because he was fading away. As if he lacked a connection to the world, and the killings somehow strengthened it. Blood magic was the manipulation of life energy, the strongest source of mana. Such life energy could provide a demon the connection it needed to prevent it from falling back to the Fade, no matter how temporarily. Cole could influence the minds of others. He could appear invisible to them and also make them forget him. Those abilities were the hallmarks of blood magic. Strange powers fueled by the letting of blood from the victims.
But only a mage could perform blood magic. So either Cole possessed the body of some unfortunate soul and was an abomination, and thus able to use that body's magic to draw the life force from it, or he was a disembodied spirit trying desperately to maintain a connection to this world, his only power the ability to influence the minds of others, most likely bending her thoughts into thinking him harmless.
Ember didn't know which he was. And she didn't care. All she knew was that he was dangerous. Very, very dangerous. He was a murderer, a heartless fiend who killed innocent mages just to feel alive. Was she next? Would he kill her?
Ember bolted. In a flurry she ran through the hall. The stairs leading down to the catacombs appeared around the corner, and she stumbled, practically falling down the steps. Then she almost fell on her face as a tall, dark, dreadfully familiar figure appeared out of thin air in front of her.
Ember shrieked, scrambling madly out of his reach.
"Please…" Cole pleaded, stalking after her, his eyes aglow with that unholy light. "Don't… don't leave me," he whispered brokenly, like he couldn't bear to see it happen, a hint of desperation and an echo of devastation lacing the softly spoken words.
He was in her space then, leaning into her and her face went a bit paler. Her whole body turned ice cold, then fire hot, before all her blood decided to rush violently in her veins, her accelerating heartbeat thumping loudly in her ears.
"You're my first friend. My only friend." He sighed, his breath ruffling her hair. "You burn so brilliantly. Fiery, gentle, warm. Strong yet soft. A flickering flame in a black pit, bright and shining and beautiful. Lips soft as velvet, skin the scent of fire and ice, warm breath breathing life into me…"
His eyes claimed hers and didn't release them. He reached out and captured a scarlet curl between his thumb and forefinger, his expression dark and intense. "I don't want you to go. I don't want you to forget. I… I don't want to return to icy walls of darkness, surrounding, drowning, aching and alone, empty of light and warmth and lips and…" His eyes lingered on her mouth, then rose back to search her eyes. "If you go, dear heart, I want to go with yo-"
"No." That one word echoed against the stone walls that surrounded them.
Ember watched as the life seemed to drain out of Cole, anguish and desolation lying naked in his eyes.
"I wish I'd never seen you." Her voice was only a whisper of quiet anguish, merging with the stillness around them.
She heard the air leave his body in a loud whoosh and saw the pain fill eyes, contort his pale face as cold, as bleak as death. "You may wish to have never seen me, but I cherish the day I saw you, and everyday since." His voice was grating, so rough, eyes so tortured it hurt staring into them.
The breath left her lungs while a sudden ache burned her throat and her eyes. She was so full of hurt, confusion, and choking fear it was ravaging her. She smothered it, forcing herself to become numb and encased in a frigid block of ice.
She was so cold she wasn't feeling anything.
xxxxxxxxxxxxxxxxxxxxxxxxx
Cole felt a strange sense of panic settle in, a nameless fear take hold.
He took one step forward, his hand outstretched, feeling a desperation that he didn't recognize as he watched Ember turn and flee down the stairs to the catacombs, disappearing into the darkness.
His hand fell limply to his side.
Tears burned in his eyes as a terrible grief overwhelmed him.
He stumbled back and hit the stonewall.
There he crouched down, placing his head between his knees and his hands over his head.
She wanted to get away from him.
She was afraid of him.
She thought him a monster.
He lost her.
Lost her forever.
She was gone.
She was never coming back.
He'd never see her again.
She was going to forget about him, just like all the rest.
He was alone.
Again.
All alone in a world that couldn't see him, couldn't remember him.
Anguish, it rippled like a shockwave from his core as a terrifying sense of loss gripped him, making it difficult to breathe.
Cole squeezed his eyes shut, his fingers digging into the back of his skull.
It hurt.
It hurt so much.
Hot-white pain, searing and burning, blistering, tearing, consuming.
It was unbearable.
He could feel the light she'd placed in the vacant hole of emptiness inside of him go out, returning once more to nothing but cold, bleak blackness.
The darkness within him smiled a sinister smile as it slowly rose to claim his soul, devouring it, leaving him hollow, aching, and alone.
**Author's Note**: This chapter was heavily influenced by the book _Dragon Age: Asunder_ written by David Gaider, the head writer of the Dragon Age games. The part where Cole says he sometimes feels like he's underwater was taken straight from the book. That is my favorite quote from the book and I just had to include it. It's such a great description of who Cole is. Oh, and a lot of people have asked me if I intend to continue writing this story. The answer is yes. I don't start posting stories until I have them outlined. In fact, I've already written a fair share of the chapters in this story. This is the last chapter in Part 1 of this story, which takes place in the dungeons of the White Spire. There is only one chapter in Part 2. The rest of the chapters are in Part 3, which takes place five years later during the events of Dragon Age 3. I wanted to give a shout out to NovaCat: Thank you for your review. I have a deep appreciation and love for art and admire those with the gift for it. I wish I could draw so that I could put what I see in my head to color but, alas, I have no artistic skill whatsoever. I would love, love, love any artwork to this story. I love all of you and I hope you have a happy new year!
7. Chapter 7 - Memories
**The Inquisitor's Ghost**
**Part II - The Space Between**
**Chapter 7 – Memories**
_Each night in dreams_
_That you may always remember me_
_- __Threnodies 5:1-5:8_
_One Year Later _
_9:37 Dragon_
_Valence_
At the cloister in Valence, Leliana was on her knees, head bowed, hands clasped in front of her face in prayer, her black hood pulled up and covering her short auburn hair. This was where Divine Justinia V had formerly been the Revered Mother, and simply Dorothea to her. She came here when her faith was shaken, as it was now.
Leliana had just heard that a mage, Anders, had destroyed the Chantry in Kirkwall, slaying the Grand Cleric. His acts had set off a series of events that led to the slaughter of nearly every member of the city's Circle of Magi. So many innocents dead. So much wasted life. She couldn't see how the Maker could allow something like this to happen.
Leliana couldn't help but feel guilty. As the Left Hand of the Divine, she'd gone to Kirkwall to see the mage-templar conflict for herself. The Divine had wanted her to judge the situation and take any action she thought necessary to keep the peace. Leliana had met the Champion of Kirkwall. She'd also met that mage, Anders. She should've killed him then. She could've prevented all of this. Why hadn't she seen him for what he was? Why didn't Hawke kill that abomination years ago? Why didn't-
"Leliana!" Sister Natalie cried as she burst through the doors to the back room, out of breath.
"Yes?" Leliana asked with a raised eyebrow.
"There's a girl… she just stumbled through the front doors and she's… she's covered in blood," Sister Natalie panted, clutching her side. "She's asking for you by name."
Leliana stood swiftly and ran to the front doors followed closely by Sister Natalie. She gasped when she saw the body of a girl lying on the floor by the front doors. She was young, maybe eighteen-years-old, and a heavy mass of deep red curls were spread around her head like a halo of fire. Her face was covered in little cuts and bruises, and her slender body was covered in blood, mud, twigs and leaves. She looked as though she'd been through hell.
Leliana looked over her shoulder at Sister Natalie and said firmly, "Get some health potions and a healer right away. The girl will also need food, water, and a bath."
"A-Alright," Sister Natalie stammered before she disappeared out the front doors.
The girl's head suddenly turned toward her and Leliana found herself staring into the most vivid blue-green eyes she'd ever seen.
"S-Sister… Sister N-Nightingale?" the girl croaked, her voice sounding as dry and cracked as her lips looked.
"Yes, I'm Sister Nightingale," Leliana answered as she approached the girl cautiously, not sure if she should trust her. This could be a trap. This girl could be an Antivan Crow who'd come here to assassinate her. She should be careful.
Leliana knelt beside the girl, her hand on the hilt of her hidden blade. "Maker's breath, child. What happened to you?" she asked softly as she looked the girl over, checking her injuries.
The girl tried to smile up at her, but she winced from the pain it caused her bruised face and the smile disappeared. "I've been looking for you for so long."
"Looking for me?" Leliana asked, eyeing the girl suspiciously.
"You have no idea…" the girl's voice cracked and faded to nothing. Her eyelids fluttered as if she was fighting unconsciousness. "…no idea what I've gone through to find you."
"Why were you looking for me?" Leliana asked sharply, interrogating.
The girl, unable to fight it anymore, let her eyes close. "The Hero of Ferelden told me I'd find purpose with Sister Nightingale," she murmured on a soft breath.
Understanding dawned on her, and Leliana's face softened immensely and her fingers immediately fell from the hilt of her dagger. She gently brushed a few unruly red curls away from the girl's face as she smiled down at her – softly, tenderly, lovingly – and whispered to the girl, "I've been waiting for you."
xxxxxxxxxxxxxxxxxxxxxxxxx
_9:39 Dragon _
_The White Spire_
Cole sat cross-legged on a wooden chair in the archives that was located beneath the White Spire Tower's lower chambers.
"Am I the first person to ever see you?" Rhys asked casually as he moved a chess piece on the board that was lying on the wooden table between them.
Cole shifted uncomfortably in his chair. "No."
Rhys watched his opponent lean forward and take his pawn. The senior enchanter placed his chin in the palm of his hand as he considered the chess pieces in front of him and the possibilities behind his opponent's maneuver. They were past the preliminary moves and were moving into the meat of the game.
"Really? Who saw you before?" Rhys asked while he considered taking Cole's queen.
Cole hesitated. "A girl."
Rhys lifted his head to look at the young man sitting across from him, his expression curious. "A girl?"
Cole scratched his cheek. "She was a spirit medium, like you."
"So… a girl, huh?" Rhys replied suggestively with an impish grin.
Cole looked back down at the chessboard, his pale cheeks holding a pink hue. "She saw me when most couldn't, and she remembered."
Rhys' head tilted. "What was she like?"
A look of melancholy crossed Cole's features. "Gentle. Bright. Alive."
The corner of Rhys' mouth lifted into a knowing smile. "Was she pretty?"
Cole's eyes lifted to pierce him beneath shaggy blonde locks, his eyes incredibly intense. "I did not know something so beautiful could exist."
Rhys was smiling broadly now. "What was her name?"
Cole hesitated, swallowed then swallowed again, unsure if he'd be able to say it out loud. The name was in his head every waking second of every day, her face lingering in the dark abyss of his unconscious at night while he slept. She was always with him in his dreams, but never in reality.
Rhys continued to stare at the young man, waiting, but the blonde didn't say a word, didn't move. Assuming Cole wouldn't answer, Rhys leaned forward to take his queen when Cole murmured so softly and almost unintelligibly, "Ember."
"Ember?" Rhys asked, not sure if that was the name Cole had whispered so quietly, so wistfully.
Cole gave one small nod of his head, eyes fixed upon the chessboard.
Rhys studied Cole's expression as he asked, "What happened to her?"
Cole looked away to stare out the window, staring up at the endless expanse of stars that dotted the night sky. He was quiet for a long time, the expression on his face one Rhys had never seen before.
"Cole? Did you hear me?"
"Look at all the stars. They are so very far away." The words escaped Cole on an exhaled sigh full of wistful longing. "The brightest one of them is gone."
Rhys didn't understand, but he found he usually didn't understand most of what Cole said. "Was she transferred to a different circle?" Rhys guessed.
"She was never in the circle," Cole answered simply, not looking at him, still staring out the window.
"She was an… an apostate?"
Cole nodded, staring up at the night sky. "She doesn't like walls. She likes to sleep under the stars."
Rhys shifted in his seat. "So, she was in the dungeons? When you saw her, that is?"
Cole nodded again, absently, while he watched one finger draw on the frost on the window.
"Was she made… Tranquil?"
Cole's finger stopped in its drawing. "She bears the mark, but not the curse."
Rhys' eyebrows drew together. "I don't know what that means."
Cole's gaze met his, his expression perplexed. "You can't stop a star from shining."
Rhys crossed his arms. "Cole, you need to work on your speech. You always speak in riddles. It's frustrating."
Cole returned to drawing on the frost on the window. "I'll try."
Rhys' fingers drummed on his arms. "So, what happened to her?"
Cole sighed as he looked at the picture he'd drawn, which Rhys noticed was a heart-shaped face with large eyes framed by long curly hair. "She… went away." The words sounded forced from his throat.
Rhys studied Cole's bleak and dismal expression, seeing the longing in his eyes as he spoke of the girl. "You could search for her, you know?"
Cole's eyes grew dark and unreadable. "If she's alive and safe, then she should stay away."
"Nothing is keeping you here," Rhys suggested gently. "You could find her if-"
"The last time she saw me she didn't want to look at me," Cole cut in sharply, his voice harsh with self-loathing, eyes flashing. "She saw a monster." His gaze returned to the window, though Rhys could see a muscle working in his tightly clenched jaw. "Let her forget."
Rhys placed his elbows on the table and folded his hands, resting his chin on top of them. "Is that what you really want?"
"No," Cole growled, low and harsh in his throat. "What I _want_ is for her to remember me, to take that little piece of me with her…" His fingers pressed against the window, straining white against the glass, so much so that Rhys could hear the glass creak beneath the pressure. "I want some part of me, even if it is just my memory, to always be with her." Cole's head snapped back to the window, his jaw sawing back and forth, his eyes flinty in the moonlight as he irritably wiped away the picture he'd drawn on the frost.
Rhys was quiet for a while, unsure of Cole's mood. He'd never seen the young man act like this. "She was special to you."
"Special?" Cole asked, uncomprehending.
"Yes. You know, someone who means a lot. That's what she is to you, right?"
"I don't know. Maybe. It's like…" Cole chewed his lip as he tried to put a difficult thought into words. "Do you remember the first puzzle we made together?"
"Yes."
"Remember how we couldn't find one of the pieces? How we searched and searched for it, but we couldn't find it? It was almost as if it didn't want to be found. But without that one piece, the rest of the puzzle couldn't be finished."
Rhys shook his head, uncomprehending. "I don't see how that relates to-"
"Without her, I'm not complete," Cole whispered, his eyes tortured, his expression forlorn.
Rhys' heart wrenched and he put a comforting hand on the young hand's shoulder. "I'm sorry, Cole."
"It hurts." His voice was thick, eyes large and glistening beneath shaggy blonde hair. "When does it stop hurting?"
Rhys' smile was sad. "I think it never completely stops hurting, but it doesn't hurt as much in time."
Cole nodded, thinking on that. Rhys gave his shoulder a light squeeze and the corners of Cole's mouth lifted slightly. "Thank you for being my friend, Rhys."
"Thank you for being mine, Cole."
xxxxxxxxxxxxxxxxxxxxxxxxx
_9:40 Dragon_
_Kirkwall _
Crouched down on the balls of her feet with her elbows resting on her knees, hands dangling between her legs, Ember was perched on the rooftop of the Keep like a permanent fixture. The twenty-two year old surveyed Hightown from her spot on the roof of the Keep, the chill wind rustling her red curls as blue-green eyes watched the people gathered below.
The moon and stars were hidden behind a steady stream of clouds that left Hightown covered in a blanket of darkness. The dark clouds had been threatening snow all afternoon, the air heavy with anticipation of a winter storm, but nothing had materialized. It seemed the weather was as restless as her mood.
For the past three years she'd been the Left Hand of the Divine's apprentice and closest companion. She'd barely escaped the templars and the White Spire. She'd been barely alive when she'd finally tracked down Sister Nightingale in Valence. The Orlesian bard had taken her in and nursed her back to health. She'd taken care of her and protected her, keeping her identity as an apostate a secret.
Leliana had even sent a few of her people to the White Spire to destroy Ember's phylactery. But when they got there, they'd discovered someone had already destroyed it, along with every record of her. It was a miracle. No one would ever know she was a mage except for those who actually captured her. And Leliana, of course.
Ember's vow to never use magic was renewed after that. She promised herself she would never go back to the dungeons. She would rather die first. She only used her magic to conceal it from others, a skill she learned quickly was rare.
The Hero of Ferelden had been right when she'd told her that Sister Nightingale would give her life purpose. Leliana fed her, clothed her, put a roof over her head. She took her under her wing and trained her in the skills of a bard and a dualist. In time, Ember began to take on jobs and assignments for Leliana. Working for the Divine gave Ember purpose and something to believe in.
But after what had happened at the White Spire, Ember had retreated further into her shell. That last betrayal had cut the deepest. After a lifetime of betrayal by everyone she'd ever known, trust had become impossible. She kept to herself, only speaking to others when she had to. She lived alone. She ate alone. She went on missions alone. She was used to taking care of herself. She always had a dagger strapped to her calf and the instincts of a killer. It had taken years until she'd been able to let Leliana in, allowing the Orlesian bard to become her friend. Her only friend.
A cool midnight breeze blew, ruffling her clothes and her hair. Ember's eyes fell to Leliana. It was dark outside, but the full moon provided enough light for her to see the Left Hand of the Divine standing in front of the Keep with a large crowd of people. They all held candles, mourning the loss that had happened here exactly three years ago.
Ember watched as Leliana began to sing. The words were elven, but she understood them even so: they spoke of sorrow and loss. It was the most haunting and beautiful melody she'd ever heard. She suddenly remembered hearing it in the dungeons of the White Spire all those years ago, being sung by some lost soul.
Ember stood there on the rooftop of the Keep, brow knitted in confusion as the heart-wrenching melody floated up to where she sat on the roof of the Keep, rattling something loose in her mind. She suddenly dug into her tunic. From there she pulled out a small piece of parchment. She lifted the glowlamp sitting beside her and read it:
_His name is Cole. _
_He's not that old, perhaps twenty years. No more. _
_He has shaggy blond hair that hangs in front of his eyes and wears dirty leathers— perhaps the only clothes he owns. His eyes are blue, crystal clear, like melted ice. They are the most haunted eyes you've ever seen. He's tall and lean, as handsome as he is strange. _
_He was there when you were locked in the dungeons of the White Spire. He talked to you, he helped you, he protected you. He brought you ratatouille to cheer you up, he got you a book of poems, he made you the necklace you wear around your neck. You liked him, trusted him, cared for him. He was your first kiss. No other will be like it. _
_Nobody can see him, and those who do forget him. Just like you are doing right now. Remember the kiss. But also remember that he's the Ghost of the Spire. He killed a mage, an elven girl, right in front of your eyes. He said he'd done it before. He said he did it to feel alive. He most likely will again._
_Cole was your first love._
_Cole is a demon. _
Ember lowered the parchment, closing her eyes and trying to cling to the memory. The kiss in the dungeons. She remembered everything about it – every touch of his hand, every brush of his lips, every breath he'd stolen from her. She remembered how she trembled, how her blood rushed in her veins, how weak she'd felt. But Cole himself slipped past her mind's eye. She couldn't see his face, or hear his voice. But she wanted to. Desperately. Though she shouldn't, she knew, as her eyes returned to the one word that stood out the most on the parchment.
_Demon_.
xxxxxxxxxxxxxxxxxxxxxxxxx
_9:40 Dragon _
_The White Spire_
A single man entered his dark and cold chambers in the White Spire Tower. A single candle burned on a nightstand beside an almost empty bottle of lyrium. Rain fell lightly on the roof above his head as he began to remove his templar armor.
The White Spire Tower had been his home for many years. As he'd grown as a man within its walls, so did his hatred for magic. He took pride in leashing the mages. He also took great joy in joining some of the templar hunters as they hunted down apostates, despite his title as Knight-Commander.
The White Spire had disbanded along with all of the other circles. All because of his own senior enchanter, Rhys, and that templar traitor Evangeline. But with the Circle of Magi no more, Lord Seeker Lambert had declared the Nevarran Accord null and void. Neither the Seekers of Truth nor the Templar Order now recognized Chantry authority. Lord Seeker Lambert was currently assembling an army and the pathetic mage rebellion would be crushed. Knight-Commander Eron couldn't be happier. He was glad to be apart of the destruction of the mages.
Knight-Commander Eron finished removing his armor and crawled into his bed, his sword resting against the bed's frame beside him. As sleep slowly came, he became aware of a sinister aura radiating from somewhere in the shadows of his room. His ears perked up as he heard the faintest creak of a loose wooden floorboard.
Immediately he reached for his sword by the bed, but before he could reach it something was upon him. A rough hand shoved him back down and he sucked in a sharp breath when he felt the cold steel of a dagger's blade press against his throat.
Eron's blood ran cold as he stared up into the stone cold face of a menacing young man with shaggy blond hair that hung into eyes of hardened blocks of blue ice. He recognized the intruder. The intruder matched the description Lord Seeker Lambert gave him of the demon calling itself the Ghost of the Spire.
"Demon," the Knight-Commander spat, and winced in pain as the blade pressed against his flesh.
The demon leaned close, a dangerous lethality coating the air around him. "You were the one who captured her. Beaten, bloodied, bruised, and starving you brought her here to be chained in blackness. To break her spirit you gave him her key, knowing he'd do to her what he did to all the others. But unbreakable, indomitable was she. Ink to paper you signed her name beside Tranquil. But you can't extinguish starlight, just as you can't cage a dragon."
"Lord Seeker Lambert knows about you!" Eron spat, the words sticking to the dry walls of his mouth. "He won't stand for this!"
"He was first." The demon's voice was so quietly deadly, Eron's insides flinched. There was no denying it. Right then, the infernal looking young man was the most dangerous, terrifying being Eron had ever encountered.
"W-What do you want from me?" Eron stammered.
The demon's upper lip curled, bearing white teeth that gleamed in the dim light the candle threw off. "I want you to look into my eyes."
xxxxxxxxxxxxxxxxxxxxxxxxx
_9:41 Dragon _
_Haven_
"…and then Alistair turned bright red with embarrassment. It was so adorable." Leliana giggled behind her glass of wine as she lay on her stomach on the bed in the room she'd rented for the night.
"And _that's_ the king of Ferelden? Maker, help us all," Ember laughed as she lay on her back on the floor in front of the bed, her fiery red curls spread out around her head, and her glass of wine resting on her stomach.
Many people mistook the two women for sisters, what with their similar hair color, facial features, and eye color. But Ember's red hair was much longer, reaching the middle of her back, and was a wild mass of thick untamable curls while Leliana's was short and straight. Ember's eyes were a swirl of blues and greens, tempestuous like the ocean, while Leliana's were a cool, serene blue. Ember's facial features weren't as soft or delicate or comely as Leliana's. Ember's skin wasn't milky-white like the Orlesian bard's either, but rather was sun-kissed and dusted with light freckles. Ember's body was athletic with slender muscles and slight feminine curves as opposed to the Left Hand's soft hourglass frame and voluptuous figure. Leliana was also known as being one of the most gorgeous women in all of Orlais, while Ember was usually overlooked by men, not known for her beauty but for her fierceness in battle.
"Is something wrong, sweeting?" Leliana asked, worried. "You look more dour than usual."
"I'm worried," Ember confessed. "I can't shake this feeling that something bad is going to happen at the conclave tomorrow."
"Why do you say that?"
"Because tomorrow is my birthday." Ember's expression was troubled. "Bad things always happen on my birthday." Aquamarine eyes met deep sapphire blue. "Do I really have to go tomorrow?" she whined.
"We've gone over this, sweeting. You're the best one to protect the Divine. You're now an exceptional rogue, but you are also a mage. You'll be able to sense if there is anything magically wrong." At Ember's pout, Leliana gave her an assuring smile. "You'll be fine."
Ember nodded, but the crease between her eyebrows didn't go away.
"Can I ask you something personal, sweeting?" Leliana inquired with a mischievous look.
Ember groaned. "Oh Maker, I'm going to regret this, aren't I?"
"Have you ever been kissed?" Leliana asked with a wicked glance as she sipped her wine.
Ember choked on her own wine. "W-What?"
"Oh, don't be so shy, sweeting." Leliana giggled at the younger woman's blush. "You must have been kissed by now, no?"
"I had to kiss that elderly noble man on that one mission, remember? Bluck," Ember muttered, shaking her head, her expression pinched as if she tasted something bad in her mouth.
Leliana's eyes rolled. "I mean like a _real_ kiss."
Ember found herself thinking once again of the shockingly powerful kiss of Cole. The strange, soul-shattering kiss she had received from the young man who was the Ghost of the Spire, lived in her memory like a rose preserved between the pages of a book.
At her continued silence, Leliana looked at Ember over the top of her wine glass, blue eyes dancing with impishness. "Tell me, has Cullen gathered enough courage to kiss you yet?"
Leliana chuckled as Ember's eyes widened and her mouth dropped in surprise, her curls shifting with the shaking of her head.
Leliana shook her head and sighed. Not in a disappointed way, but in a "we have a lot ahead of us" sort of way. "That poor little templar needs to grow some backbone when it comes to women."
Leliana's gaze returned to Ember and she snorted. "Oh, do not tell me you haven't noticed the way he watches you?" Leliana giggled at Ember's shocked expression. "Every time you look away, he stares at you with longing eyes."
"I had no idea." Ember's expression became vexed. "Great, now that I know, it will be really awkward around him."
Leliana's head tilted. "Has there been no one else?"
Ember frowned at her. "I'm not some great beauty like you, Leliana. Men do not throw themselves at my feet. They barely notice me."
"That does not mean you haven't locked lips with a few, no?"
Ember sighed as she tapped her finger on her glass. "The stable boy in Val Royeaux kissed me once. It was completely by surprise."
"No!" Leliana gasped. "Daylen?"
"Yup," Ember answered with a grimace. "It was terrible. He shoved his tongue so far down my throat that I gagged. Disgusting."
"That is terrible." Leliana frowned. "Maybe you haven't had a good kiss because you've been kissing the wrong sort?"
Ember raised an eyebrow. "Are you implying, dearest Leliana, that I should be kissing girls?"
Leliana's lips quirked. "Why not? It might be a solution to your little problem. You won't know until you try, no?"
Ember sighed. "I don't think that's it."
Leliana eyed her strangely. "Have you really never had a good kiss, sweeting? Not one?"
Ember hesitated. "There was… but it wasn't really a kiss."
"Oh?" Leliana's head lifted with interest. "And what was it?"
Ember sighed wistfully, unable to keep the longing from her voice. "Whatever it was… it was _heart-stopping_."
"Ooohh," Leliana squealed girlishly, full of excitement, as she sat up and sat cross legged on the bed. "Tell me everything."
Ember shook her head. It was wholly unnerving how the memory still haunted her five years later. "It was just a dream."
"Oh, come on. Who was he?" Leliana urged.
Ember stared dolefully up at the ceiling of the bedchamber. "A ghost."
Leliana's stilled. "What do you mean?"
Ember bit her bottom lip. "He wasn't real."
Leliana's eyebrows furrowed. "Was he… imaginary? Like an imaginary friend?"
Ember's face hardened. "He was no friend of mine." Her blue-green eyes were more green as she turned her head on the floor and they clashed with Leliana's blue. "He was a murderer."
"So am I," Leliana pointed out. "So are you."
"That's different. We kill because we have to. He killed…" Ember's jaw tightened and her eyes flashed with anger and deepened with pain before she averted her gaze to stare up at the ceiling again.
"What?" Leliana pressed gently when she didn't continue.
Ember had to swallow a few times before she found her voice, and when she spoke, her words were soaking with bitterness and old pain. "He killed because he _liked_ it. It made him feel _alive_." Her fingers tightened on her glass. "And the worst part is I trusted him," she ground out. "I thought he was my friend. We talked about everything. I could tell him anything. I told him things I've never told anyone and he always understood. He never—" She stopped because, even as mellow as the wine was making her feel, she didn't want to share on this particular topic.
Leliana tossed her hand in the air. "Well, there you go. That's why you haven't had a good kiss."
Ember's head rolled on the floor toward the bard. "Huh?"
Leliana rolled her eyes. "Because you're still hung up on him, this ghost of yours. It's obvious, no?"
Ember bit her lip and looked at her wine glass, watching the red liquid. Leliana was wrong. Cole was nothing more than an old memory, deadened by time and tears. "He's merely an unwanted ghost in my dreams."
Leliana was quiet for a while. "Does this ghost of yours have a name, sweeting?"
Ember's face twisted with melancholy. It was hard to say his name out loud. Her lips did not want to form the word. "Cole," she finally forced herself to whisper, the name coming out on an uneven breath.
"Do you think you'll ever see this Cole again?"
She felt a sinking feeling in her stomach. "I don't know. I don't think so."
Ember's face was still and her expression sorrowful yet wistful, and in such vulnerable repose Leliana felt a rush of sympathy for the young woman. "I'm sorry, sweeting."
"Don't be." Her voice was low and thick. "It was no more than a dream."
**Author's Note**: The note Ember writes to herself to remember Cole is similar to the one Evangeline writes. There is a codex of it in the game. Also, Cole kills the White Spire's Knight-Commander in a way similar to how he kills Lord Seeker Lambert. The next chapter will take place during the events of Dragon Age 3.
8. Chapter 8 - In Your Heart Shall Burn
**The Inquisitor's Ghost**
**Part III - The Herald of Andraste**
**Chapter 8 – In Your Heart Shall Burn**
_Though all before me is shadow_
_Yet shall the Maker be my guide_
_I shall not be left to wander_
_The drifting roads of the Beyond_
_For there is no darkness in the Maker's light_
_And nothing that He has wrought shall be lost_
_- Trials 1:14_
_9:41 Dragon _
_Haven _
The Herald of Andraste laid on her back on the roof of the Chantry in Haven, hands behind her head, staring up at the endless expanse of stars that dotted the night sky. The bleak winter moon glistened off the pristine powder that covered the township of Haven. Moonlight skimmed the high edges of the snow-covered trees, brightening the sea of snow with its silvery light.
In the distance a coyote howled, the sound drifting to her on the winter breeze that smelled of ice. Her breath condensed in front of her face, snowflakes falling upon her, sticking to her eyelashes and reddening her cheeks. Long russet curls fanned around her head, still wet after having just bathed in the icy river that was nearby that cut through the Frostback Mountains. Others would be freezing, but the cold had never bothered her. She believed that exposure to the elements made you strong, made you able to withstand them when you needed to, when your life depended on it.
The twenty-three year old woman wore the uncomfortable, skin-tight beige outfit the Inquisition had given her along with her tan winter boots that were lined with fur. Her newly acquired obsidian armor was drying a few feet away after having been cleaned as well.
It was quiet up on the roof of the Chantry, peaceful even. The music and laughter from the celebration below was greatly muffled, leaving only the softly filtered sounds of nature to be heard amidst the sounds of merriment from below. The smell of wood burning and meat roasting drifted up to greet her along with the sound of logs popping in the heat of a fire.
Maker, she was utterly exhausted. She hadn't slept or eaten in thirty-six hours. But that was what life was like as the Herald of Andraste, which she felt was akin to treading water – continual motion without getting anywhere with the persistent threat of drowning looming threateningly over her head.
The Herald lifted her left hand in front of her face, studying the mark that was on her palm. Sometimes, like now, it was just a slanted green line cutting across her palm, almost like a green tattoo. But other times it glowed, bright emerald green, unknown power pulsing from it and shooting currents of pure energy through her system.
"Escaping already?" Cullen chuckled as he approached her on the roof.
The Herald sat up as she looked at him. "I'm not really one for parties," she replied, her breath billowing puffs of white mist in front of her face.
"Yeah. Me either," he replied as he slowly made his way across the roof toward her, sitting down beside her. The side of his body pressed against hers and she couldn't help but feel nervous and awkward with his closeness.
Ever since her conversation with Leliana the night before the conclave, Ember had decided to move on with her life and give Cullen a chance. They'd been shamelessly flirting for months now. They ate their meals together and spent the little amount of free time they had together. She liked Cullen. He was a nice man, if not a little obsessed with his work, and very handsome. Whenever he accompanied her on a trip to Val Royeaux, women swooned at the sight of him. She was very much aware of how much more attractive he was than her and it made her feel a little insecure and self-conscious.
The Herald looked at Cullen out of the corner of her, her eyes running over him, and she knew why she was attracted to him. He was tall and lean with blonde hair. But he wasn't tall enough or lean enough. His hair was too light a shade of blonde and cut too short. It wasn't thick enough, messy enough, and it didn't fall into his eyes. And his eyes… they were too small, too dark a color, the lashes not long enough or thick enough or sooty enough. His skin was too tan, his armor too heavy. He just wasn't-
"Solas confirms the heavens are scarred but calm," Cullen said, his voice breaking through her thoughts. "The Breach is sealed. We've reports of lingering rifts, and many questions remain, but this was a victory. Word of your heroism has spread." His eyes met hers. "What you did… it was amazing." He gave her a charming smile. "The things you've done… how do you do it?"
The Herald snorted. "Oh, you know, I put on my ugly, beige, big-girl pants one leg at a time."
Cullen laughed, the sound rich and warm. "You really hate that outfit, don't you?"
"Yes," Ember grumbled, fidgeting with the dreadful material. "It's too itchy and tight. And I hate beige."
Cullen's eyes met and held hers in the moonlight. "I think I could help you out of it," he suggested, his voice as sweet and rich as honey.
The Herald ducked her head to hide her blushing cheeks from him.
Seeing her blush, Cullen's eyes widened as he thought back on his wording and he began to stammer in mortification, "I-I… I meant into another outfit, of course. Not out of the one you are in. Well, maybe one day… I mean… wait, that's not what I meant… what I meant to say was… oh Maker, I'll just stop talking now."
They both returned to staring up at the stars, each embarrassed and blushing a furious shade of red. An owl hooted high above their heads as it took off from the branch it was perched on, the rustling of leaves echoing through the silence. They sat there in the moonlight, silent as the grave, for what seemed like an eternity.
"Ember…" Cullen's low voice broke the silence.
"Yes?" she asked as she turned to face him and was surprised to find him staring at her, his eyes a shade darker and his face set with resolve.
"I… I just…" He murmured. "…I just wanted to tell you that I… that I…"
The Herald opened her mouth to speak when his mouth came down and smothered her words. Her eyes were wide open, her body so rigid and stiff her muscles ached. She couldn't blink. She couldn't think. She couldn't respond to the lips that were currently gliding so expertly over her own, the stubble on his jaw scratching her skin. This was her fourth kiss and it was just as awkward as the two before it.
Before she could break the kiss, her heart sank to the pit of her stomach as the light of the moon was suddenly blocked by something in the sky, casting the entire rooftop in complete darkness. A wave of unspeakable dread rushed over her as she caught the glint of onyx metallic scales in the night sky.
Realization dawned on her and it sent a chill down her spine that rippled throughout her entire body, her chest rising and falling quickly with her mounting fear.
With a wrenched cry, the Herald tore her mouth away from Cullen's and cried, "Dragon!"
"WHAT?!" Cullen exclaimed, his eyes jerking up to frantically search the sky before his mouth fell open in shock.
They balked as they watched a massive, scaly, black-skinned torso circle the Inquisition stronghold. The dragon roared as it spread its wings wide and floated over the heads of the Inquisition agents, mages of the mage rebellion, refugees, and Haven citizens celebrating in the courtyard in front of the Chantry. The bard's fingers fell dissonantly from the strings of her lute and an ominous silence fell upon the crowd as everyone looked toward the night sky.
And then all hell broke loose.
Everyone was screaming and scrambling, alarms were ringing, the mages' hands beginning to crackle with magic. Thankfully, the dragon flew away, heading for the mountain.
"Forces are approaching!" Cassandra yelled up at them. "To arms!"
They were on their feet in an instant. "We must get to the gates!" Cullen told her.
"So, celebratory drinks are on hold?" she quipped as she began donning her still wet armor while Cullen shouted commands down to the Inquisition soldiers below.
"Time for some thrilling heroics," the Herald sighed as she slid down the ladder, Cullen behind her, and together they rushed to the gates.
As she ran through the camp, she could hear the sound of swords crashing against swords over the walls. As the clang of sword against sword grew louder in her ears, she began hearing screams of death carried on the howling wind alongside flurries of snow. Adrenaline began coursing through her as she drew closer to the gates and the sounds of the battle grew louder. She could smell the metallic scent of blood, the tang of hot metal, and the acrid sweat of fear. As they approached the gates, she saw Cassandra, Leliana, and Josephine waiting for them.
"Cassandra?" Cullen asked immediately as they skidded to a stop.
"It's an army!" Cassandra exclaimed as she pointed to the mountain. "One watch guard reporting it's a massive force, the bulk over the mountain."
"Under what banner?" Josephine asked.
"None."
"None?!"
"Where are the rest?" The Herald asked, searching for the others.
"Fighting," Leliana replied. "They're keeping whoever it is that's attacking from getting in."
"Was that a dragon?" Cullen asked, astounded. "I could have sworn it looked more like an-"
"Archdemon," Leliana supplied. "Yes, I thought so too."
"Whatever it is, it's cut a path for that army," Cassandra replied.
There was a loud banging on the front gate and the Herald jumped, startled by the loud sound right beside her.
"I can't come in unless you open!" a man yelled urgently through the door.
"Someone's out there! They need help!" she cried as she ran forward to open the gate.
"Herald, wait! It could be a trap!" Cullen yelled after her, but she'd already opened the gate.
She ran forward and came to a skidding halt in the snow as she watched an enemy's words turn into a gurgle of blood in his mouth as the tip of a blade exploded from the enemy's chestplate, right over his heart. The enemy toppled forward face-first to the snow, revealing the man's killer - a young human man in rough leathers with skin as pale as the moon, shaggy blonde hair hanging over his eyes, and fresh blood sprayed across the sharply carved angles of his face.
Her body automatically moved into a defensive stance as the young man approached her, crouched low and cautious, his body moving with the lithe type of grace found in the most dangerous predators. The fires from the nearby burning buildings blazed around him, casting their dancing shadows upon him, illuminating him in a soft glow. He was dangerous, she knew, for he held a wicked-looking dagger at the ready that was covered in blood and dozens of dead bodies surrounded him, his victims she assumed, and the air was heavy with the metallic scent of blood.
Blue-green eyes traveled over him with keen interest. There was something about him that seemed oddly familiar, like he was someone she should know. Someone important. While she searched her memory for recognition, the young man's chin slowly lift and his eyes opened into hers.
Haunted, haunted eyes.
_His name is Cole_.
For a moment, it was as if time stood still. Her surroundings, the Inquisition, the sounds of the battle and her advisors' chatter coming from the gates, just fell away in that moment. Her chest constricted as she fell head first into those deep blue pools of liquid azurite glittering in the firelight. Moving, breathing, thinking - impossible. She tried to drag in a breath, struggling for air while her heart was a staccato beat against her ribcage.
"Cole?" She hadn't realized she'd spoken until she heard the sound of her own voice saying his name in a low, breathy whisper.
"You… you remember me," he murmured quietly, his relief palpable, his gaze so soft on her face it made her heart stand still.
_Remember the kiss_.
It all came back to her in a rush, her thoughts spinning backward in time to five years ago.
Cole closed the last remaining distance between them and the knot in her stomach swelled, pressing on her lungs. Her voice abandoned her. She fumbled for words that did not come. It was not possible, not with the way he was looking at her. Cole was staring at her - _into_ _her_ – his gaze reaching into her own and pulling out her very soul.
Her lips parted on a silent gasp as he leaned into her, sucking up all the air she was already having trouble grasping. "I knew you wouldn't forget," he breathed, a puff of white mist forming in front of his mouth that fell onto her own before she breathed it in, too many emotions in his voice and face to define his expression or thoughts.
"Get away from her!" Cullen barked as he appeared beside her, his sword thrust forward toward Cole.
Cole scrambled back from her, his eyes not leaving the sword in Cullen's hand that was pointed threateningly at him.
"Stop!" She cried without thinking, and lunged toward Cullen, grabbing his sword.
"Get back, Herald. This creature is not what you think."
"I am me," Cole answered simply, eyes inscrutable. "My name is Cole."
_Cole is a demon._
The memories struck her then like a blow to her vitals. The memories of the last time she'd seen Cole - of him slaughtering that innocent mage girl - washed over her like waves of broken glass, each one stinging and leaving behind a laceration. An old wound long buried was suddenly ripped open inside of her. The hurt was still raw and fresh even after all these years, an unhealed wound festering inside her.
Her expression slowly darkened and twisted, transforming into a withering glare as she turned it upon Cole, and asked tartly, "What the hell are you doing here?"
Anguish shadowed his face, and those absurdly long lashes lowered over his eyes. "I know you don't want me here," Cole uttered in a small voice. "But I had to come. I had to warn you. To help," he explained urgently. "People are coming to hurt you. You probably already know."
Her brow became creased with deep lines, her mouth pulling tight. "What is this? What's going on?"
Cole moved closer to her. "The templars come to kill you." Her heart gave a fierce jolt at his low, husky murmur.
"Templars?" Cullen questioned, looking at her. "Is this the Order's response to our talks with the mages? Attacking blindly?"
"These templars are different," Cole answered ominously. "They are red inside."
Cullen's gaze snapped to Cole. "What the hell does that mean?"
"The red templars went to the Elder One," Cole replied before turning to her. "You know him. He knows you. You took his mages." Cole's expression turned grim. "He's very angry that you took his mages."
A red templar rogue appeared out of a puff of smoke behind her, daggers raised. With a flick of his wrist, Cole sent a small dagger whizzing through the air before it flew straight through the side of the red templar's helmet, impaling itself in his temple. It completely tore into his skull, blood running out of his blood red eyes, killing him instantly. His body hit the ground behind her with a dull thud.
"We need to get inside the gates, it's not safe out here in the open!" Cullen yelled and the three of them ran inside, the gates closing behind them with a loud creak.
The Herald turned on the ex-templar. "Cullen, give me a plan. Anything!"
Cullen rubbed the back of his neck uneasily. "Haven is no fortress. Our positioning is not good. They'll kill everyone in Haven."
"The Elder One doesn't care about the village," Cole cut in. Ice blue orbs flickered to lock on hers, brutal in their intensity. "He only wants _her_."
She averted her gaze to stare up at the mountain while a freezing wind blew from the north, a gust of flurry and ice. "If it will save these people, he can have me."
"He can't have you," she heard Cole murmur in a deadly whisper, his voice taut. "Besides, it won't help. He wants to kill you. No one else matters, but he'll crush them. He'll kill them anyway." Cole shuddered. "I don't like him."
Cullen was staring at Cole as if he'd grown two heads. "You don't like…?" Cullen exhaled sharply in exasperation, as if the sentence wasn't worth finishing, then turned to face her. "Herald, there are no tactics to make this survivable. The only thing that could slow them down would be to turn the remaining trebuchets."
"But we're overrun," she countered. "To hit the enemy, we'd bury Haven."
Cullen's expression turned solemn. "We're dying, but we can decide how. Many don't get that choice."
Silence engulfed them then, a silence filled with ominous tension. Cole was looking at the Chantry doors where Chancellor Roderick was leaning heavily on Dorian's shoulder, his hand pressed against his stomach that appeared soaked with blood. "Chancellor Roderick knows a path. You wouldn't know it unless you made the summer pilgrimage as he has," Cole stated before looking at Cullen. "He is in the Chantry now. Dying. But he can show you the way. The people can escape."
"What about it, Cullen?" she asked.
Cullen stared at her, aghast. "You're not honestly suggesting we listen to _it_?"
She frowned. "Just answer me. Could it work?"
Cullen rubbed his chin as he thought. "Possibly. If what _it_ says is true and Chancellor Roderick shows us the path."
She nodded. "Good. I want you leading the way with Chancellor Roderick."
"What about _it_?" Cullen asked with a nod of his head toward Cole.
They both turned to the young man, but found nothing but air.
"Hold on… where did it go?" Cullen asked. His eyes shifted to her. "Are you all right, Herald?" he asked with concern. "You're trembling like you've seen a ghost."
"I'm fine," she replied sharper than she meant to. She softened her voice. "We're running out of time, Cullen. You need to get these people out of here."
Cullen's eyes left hers for a second before returning. "Which companions do you want to take with you?"
"None."
"None?"
"I will not ask the others to die."
"But… what of you? What of your escape?"
She looked away from him, not wanting him to see the truth she knew showed upon her face.
_There is no escape for me._
The thought left a desolate coldness lingering in her bones. She could feel the weight of hundreds of innocent lives weighing on her shoulders, crushing her under its weight. Something inside her sobbed at the injustice of it all. She really did have the worst sort of luck.
But then a strange sensation overcame her. It was calming. It was warm. It comforted her in a peculiar way. Her death may be imminent, but it would not be in vain. Courage coursed through her then, soon accompanied by strength. She would not stand by and watch her new friends, the Inquisition, the mages, the refugees, and the innocent people of Haven suffer and die merely because she was too scared to protect them, too scared to face death. She had to at least try.
_I'm going to die._
The Herald took a deep breath and let that irrefutable fact settle in her chest, accepting it. It slid down slowly like a piece of ice into her stomach where it melted and chilled her from the inside out, encasing her in ice, protecting her. She would not be a coward. By the Maker, her death would not be in vain!
"I'm meant for this." Determined, she lifted her head to meet Cullen's gaze, her aquamarine eyes flashing with power. "I'm not afraid."
Cullen stared at her, wavering somewhere between outrage, disbelief, and admiration. The Herald of Andraste was looking at him with quiet resolve, surprisingly calm for the card fate had dealt her. There was no fear in her blue-green eyes, not even a flicker of it. Grown men quivered in fear while staring into the face of death, but this young woman did nothing of the sort. Fear just seemed to piss her off more.
"Perhaps… you will surprise it and find a way," Cullen offered with hope ringing in his voice.
The Herald forced a smile. "You know me. I'm just full of surprises."
Cullen stepped toward her, hand outstretched as if he meant to touch her. "Ember…"
"Are the trebuchets loaded?" she asked, cutting him off as she stepped away from him.
Cullen's hand fell limply to his side. "Yes."
"Good. I'll keep the Elder One's attention until you're above the tree line. Once you're clear, give me the signal. And then I'll hit that force with everything I can."
Cullen nodded somberly. "If we are to have a chance, if _you_ are to have a chance, let that thing hear you."
Without another word, the Herald of Andraste spun and marched out the gates, letting them close behind her with a heavy note of finality.
The sight that greeted her was frightening. A wave of red templars were charging straight for her.
She was only one.
The Herald stood tall in her obsidian armor in front of the gates, her feet ice cold in the snow. It was quiet now, the stillness of the silence as unsettling as it was calming, the people either dead or taking sanctuary in the Chantry. The snow was cold and smelled of winter as it fell unremittingly from the endless blackness above. The wind howled wildly causing the trees to rustle violently and snow to rise from the ground, forming small whirlwinds that danced along the open expanse of whiteness that covered the ground in front of her.
She took a deep breath and inhaled the crisp winter air. She was alone. There was no one to see her for what she was – a _mage_ - and condemn her for it, or imprison her. Here, now, in her final hour she could unleash upon them everything she had, hold nothing back. She could be free. Herself. Allow the gift she was born with, the gift the Maker gave her, out of its cage for the first time in five years and show these red templars just what a mage could _really_ do.
She reached her mind across the Veil and fire curled around her fists, the air crackling with magic. Power licked her spine, tingling in its wake. A thrill zipped through her system, sparking parts of her to life she'd long thought dead. She smiled up at the stars, snowflakes falling from a black sky to land lightly upon her cheeks and out stuck tongue. Instantly she felt better, happier, than she had in years. The freedom to be oneself was the greatest feeling in all the world. If she was to die, she would die who she was and she would take these red templars with her, one last bow before the curtain fell.
The red templars were closer now, their weapons raised high, some already coated with the blood of innocents and mages. Ember's chin tucked, her eyebrows slashing low over her greenish blue eyes as dark crimson curls framed her heart-shaped face. The corners of her mouth slowly pulled into a wicked smirk. "Time to get loud."
Her hands slowly lifted in front of her body, fire crackling around them. Manipulated flames licked from the air by her hands, splitting madly and racing through the air to greet the approaching enemy. With a shout she threw her hands forward and deadly fire rained down on the red templars - men burned, screaming horribly, while flames bit and burned at their armor and skin.
A few red templars got through. She pulled her daggers from their hilts and spun them once in her hands as she had come accustomed to doing before a fight, but this time she summoned flames to coat the steel. With sleek litheness, Ember rushed forward to meet them, her blades on fire.
"Though darkness closes, I am shielded by flame…"
With a flick of her wrists, she sent both daggers flying forward toward the closest templars. One lodged itself in one's Adam's apple, the other driving into one's chest. She kept running and yanked her daggers out of the templars' bodies before they hit the ground, her steps never slowing, never faltering.
"Andraste, guide me. Maker, take me to your side."
A dozen of templars rushed her and she spun around to face them, her long red curls wrapping around her slim stomach, the words of an enchantment falling from her lips. A traveling cyclone of lightning emerged and spun towards the group of templars, sucking them into the destructive force, spinning them and electrocuting them. The smell of burnt flesh and screams filled her senses, but she paid them no heed.
She didn't think. She just moved.
After a few attacks and blocks, red templars surrounded her, rushing her, and she spun in a tight circle, daggers extended, slashing at anything that came close to her.
Ten bodies fell at her feet.
A sword came slashing downward and she dodged before snapping her wrist forward, flicking her dagger at the templar's shoulder like a whip. The point of her dagger passed through his shoulder and he stumbled backward. She ripped the blade free and ducked under a swinging axe before coming up to lodge her dagger in the man's ribcage, the steel of the blade puncturing his heart.
An arrow came whizzing toward her and the Herald side flipped out of its path. The archer pulled another arrow from her quiver and aimed, but before she could release the arrow, the Herald rose and simultaneously lifted a smaller dagger from her belt and with a flick of her wrist sent it flying, the small dagger imbedding itself in the archer's throat.
The Herald heard the sound of lowly muttered words and she spun around to find a Tevinter mage muttering a spell as he extended his arm toward her. She dove to her right, avoiding the jet of sparks that shot from the sorcerer's fingertips. She threw her hand out in front of her and a ball of fire flew out of it, hitting the mage square in the chest and burning him alive.
Waves of soldiers rushed her, but Ember was faster. Her movements were graceful as she feinted and dodged, her attacks swift and powerful. She drew on every lesson Leliana had taught her, relying on the bard's words like a lifeline. Everything was a blur. Her mind was numb, body moving on pure instinct as her daggers slashed into the bodies that surrounded her, her hands moving to quick for her own eyes to follow. Blood sprayed across her armor, splashing across the snow turning it crimson, corpses filling the field of battle around her, the ranks of the red templars visibly thinning before her eyes.
But then another wave came. And then another. And then another.
Maker help her, they just kept coming. They were endless.
One templar tackled her to the ground but she swiftly lashed out with a spell, flinging the attacker back into a tree with enough force to shatter his bones. Another was already upon her, but she was on her feet in a flash, swinging her blades up into his chest with all of the force she could muster. Her blades tore through his armor and sunk into his flesh with a sickening thud that vibrated all the way up to her shoulders. She gave the daggers one more shove, driving them in to the hilt. Blood gushed from the wounds and onto her hands.
She pulled the daggers free right as a sword sliced across her shoulder from behind. She hissed in pain and brought her head around, using her long hair to her advantage. The heavy mass of curls slapped across the templar's face, granting her a distraction that allowed her to plunge her dagger into his exposed neck. One sword came swinging toward her in a whistling cut at her face and she was forced to bend backward to avoid it, like a dancer sliding under a pole.
When her back snapped straight the assault came without warning. A hard-knuckled fist smashed against her soft right cheek. Reeling sideways, she staggered, mouth open, blood flowing from a torn lip. The kick of a steel-toed boot rammed into her diaphragm. She doubled over in agony, unable to breathe. Her chest muscles squeezed painfully as she tried to suck in oxygen. A crushing blow to the face twisted her backward onto the snow. Spatters of warm, red blood gushed from her mouth and nose as the back of her head cracked against the ground. The Herald groaned in pain, her mouth open and bloody. The world was spinning around her, her body and mind lost in a stuporous daze.
She dug deep down into the reserves of mana within her, deeper than she ever had before. With a cry, she held up her hands and unleashed a torrent of magic. The wave of force that expanded from her sent every red templar flying back, as if they weighed nothing. Every building in Haven shook, and for a single moment she felt exhilarated. The mark on her hand was glowing bright green. The power… it was like nothing she had ever tapped into before. It flowed through her veins, filling her up. It would be so easy to do more. The strange power of the mark was at her fingertips, beckoning her to use it for the first time. She'd only ever used the mark to close the rifts, but it wanted to do more. So much more.
With a cry, the Herald of Andraste threw her hand forward and green sparks flew from it as the Veil tore and a rift formed above the heads of at least fifty red templars. Screams, loud and shrill, was all she could hear as they were sucked into the Fade, piece by piece, until there was nothing left.
The rift closed in on itself and the Herald fell to her knees in the snow, breathing hard from the exertion and the power. She looked down at the mark on her hand, utterly amazed she'd been able to form her own rift. She drew in deep breaths as she used the back of her hand to wipe the blood that was dripping into her eyes from the cut that split her eyebrow. Her tongue tenderly touched the split in her lip and tasted copper, her cheek already swollen from the blows to her face.
Knowing reinforcements would be upon her soon, she forced herself to her feet. A shiver of cold raced through her as she ran for the trebuchet. Snow illuminated white on the ground in front of her as her footsteps flew over the white powder. Soft pillows of snow bunched beneath her boots. Her scarlet curls caught the wind and whipped around her face, the bright red of her hair haunting against the milieu of snow that surrounded her. She looked over her shoulder as she ran to see another wave of red templars in the distance.
Once she reached the trebuchet, she threw a hand back behind her, muttering a spell Bethany Hawke had taught her. A sparkling wall of pure force rose up between them, the red templars slamming against it uselessly. She turned her back to them and quickly aimed the trebuchet.
Behind her, Knight-Captain Denam reached the wall of force. He channeled his own power, shattering it with a single blow of his sword. Hot pain flashed through her, but she didn't stop her task. With one last turn, the trebuchet was fully aimed for the mountain but before she could trigger it, a blast of force struck her. She was lifted off her feet, tumbling head over heels. With a grunt she landed on her stomach several feet away in the snow, and for a moment all was blackness.
The red templars were upon her in an instant, beating her with heavy metal boots, metal gauntlets, and sword hilts. She curled into herself, her screams muffled by the beating she was taking. She tried to summon mana, reached desperately down for power— anything at all— but her head and body only reeled in agony. Hot metal pierced her side and her throat released a pain-filled scream, and her fingers dug into the snow beneath her, fingers numb from the cold. She was overwhelmed with a familiar feeling - a creeping, aching, crawling feeling - that made her feel weak, worthless, utterly useless.
There was a sudden whooshing sound in the air above her, the sound of something moving very quickly in the air followed by the sound of the slashing of clothes and flesh. She looked up to find a dozen red templars fall dead around her, their throats slit.
Blue-green orbs widened as they landed on Cole crouched protectively in front of her. His eyebrows were pulled low and tight over dark-fringed, stormy blue eyes as piercing as a feral wolf's as they surveyed the approaching red templars with the promise of death.
Shock and panic rose quickly within her. "Cole…?" she whispered, her voice dry and cracking, her breath billowing puffs of white mist in front of her face.
"I won't let them kill you." His voice was low and rasping, the words sounding as if they'd been dragged up from the depths of his chest. Anger wasn't even close to what she saw on his face - it was much scarier.
One of the red templars gave a signal and the rest charged them at once. She tried to summon mana, but she had nothing left. With nimble dexterous fingers, Cole spun the daggers expertly in his hands before he became nothing more than a flicker in the moonlight. The only warning the red templars got was his blades flashing with lethal intent before they delivered death.
The Ghost of the Spire striked so suddenly and moved so fast he was just a blur of movement, and sometimes nothing at all, as he appeared and disappeared behind his enemies out of nothing but air. He would materialize behind a templar, and then there would be a flashing of steel and the spraying of blood as he attacked his unsuspecting victim. Then, in the blink of an eye, he would vanish into thin air just as quickly as he appeared. He was fast, so fast, and the red templars weren't able to follow him, and neither was she. He was like a shark moving amidst clueless swimmers. Unseen. Cold-blooded. Deadly.
Her breath caught as one very large templar shouted and charged at Cole from behind, double-handed sword raised over his head. She was about to call out a warning when Cole spun around and threw one dagger at the man. The point of the blade sank into the massive man's gut and the man stumbled back, staring down in shock at the blood-soaked steel sticking out of his stomach.
Cole turned and landed a swift kick to an approaching templar's stomach and the man doubled over. Cole rolled across the man's bent over back and pulled a hidden dagger from his boot while he did so. Cole stood and with a flick of his wrist sent the dagger flying into the Adam's apple of the archer that was aiming an arrow at his heart.
Cole rushed forward and ripped his dagger out of the massive man's stomach, who was still staring dumbfounded at the blade sticking out of his gut. Cole spun on the balls of his feet in the snow, using the momentum to cut the massive man's head from his shoulders, his head rolling off his bulky shoulders to land with a thud in the snow before the rest of his body followed.
The only sound that echoed around her was the clang of metal, the grunts of pain, the rasping of effort, and the whimpering of death. Sweet Andraste, Cole was the best damned killer she'd ever laid her eyes on. He killed with such deadly, silent efficiency, giving nothing but taking everything.
The Ghost of the Spire swiftly brought his daggers up to deflect the two swords aimed for his head and a ringing clang of metal hitting metal echoed in the clearing where the battle was taking place. Cole shoved the swords away and lunged forward, slashing his daggers across both their throats, cutting through bone and muscle. In an instant, flesh tore and blood sprayed. Both men's hands wrapped around their weeping throats before they crumbled to the snow. Cole spun to the right to bring his dagger up to meet a sword's downswing and shoved it away. With unimaginable speed, Cole spun back to check one sword with his dagger before whirling away from a second. He ducked under a blade swiping at his neck and drove his own deep into the man's stomach, intestines spilling out onto the snow. The man toppled as Cole smoothly pulled his dagger free to block another man's feint. He twisted smoothly and easily deflected a thrust and brought the point of his blade forward to ram into the man's exposed gut before embedding it in the ribcage of the last remaining templar.
A war cry beside her caused her eyes to snap from Cole to the red templar who was running toward her with his sword extended. Before she could arm herself, Cole seemed to impossibly flicker behind the man and sever his jugular with a clean swipe of his dagger.
Wide-eyed she stared at the corpse at Cole's feet before her eyes lifted to his face to find him watching her with great intensity. He didn't look away when she stared back at him. Those intense blue orbs held hers, the shadows within them whispering words to her she could not hear, before they flickered down to stare fixatedly at the gash in her armor where bright red blood was pouring out of the stab wound she'd received and spilling into the snow around her. A frisson of dread danced down her spine as she saw how much blood she'd lost, as a fair amount of the snow around her was stained crimson.
Cole bent over and put her arm around his shoulders while his arms went around her torso, and he gently eased her up. Ember hissed in pain but together they managed to get her to her feet. Once she was standing, she staggered a little from blood loss, and she had to lean heavily on Cole causing his arms to tighten around her middle.
A flare shot into the air above the tree line in the distance. The Herald sighed with relief. It was Cullen's signal. The people were free. They'd made it.
"We… have to get to the… the trebuchet… and trigger it…" she breathed heavily as he walked her to the trebuchet, her hand pressed firmly against the wound at her side to staunch the flow of blood. Maker, she'd given anything to know healing magic right now.
Snow crunched beneath their feet with each step they took, and after a few she murmured, "Cole?" She looked up at him as they shuffled forward, snow dusting her crimson curls and eyelashes.
Cole's chin turned fractionally toward her. Thick, tousled honeyed locks fell carelessly over his chiseled face and into eyes so clear a blue that she could see the tiny flecks of white that were sprinkled within those cool irises.
"Why are you here, Cole?" Her voice shook, carrying to him on a gentle gust of wind as he helped her walk. "Why didn't you escape with the others? Why did you stay behind? This is my time to… to…" Her voiced faded to nothing as the wind whipped flurries of snowflakes around them, over them, past them causing her long red curls to wrap around her slim waist.
Golden locks blew across his forehead with the winter breeze as those haunted eyes bored into her with that impenetrable intensity that rattled her nerves. "I promised that no one was ever going to hurt you."
A massive black dragon with black scales like sharpened scythes, claws like spears, and teeth like swords landed in front of them, causing a small shockwave to erupt from the beast that shook the ground and knocked them backward into the snow. The dragon unfurled its massive wings that blocked out the moon, casting everything beneath them in blackness. The beast raised his head to the midnight sky and let loose an earth-shattering roar that shook the ground. The dragon's head turned to them and sucked in a breath before unleashing hellfire.
The Herald dove to the right out of the path of the great jet of fire while Cole was forced to dive to the left. A wall of fire separated them, but she hardly noticed as a monster unlike any she'd ever seen stalked toward her out of the dragon's fire.
Maker, it was a towering humanoid creature tainted with the blight. The thing was huge, as tall as an ogre, with large chunks of molten stone or a mage's cowl sticking out the side of his gaunt face. The flesh of his torso was torn and missing, revealing pieces of bone and red sinewy muscle. A large protruding piece of black metal or armor was sticking out of his chest. The rest of his body was covered in what looked like ancient magister's robes and large black feathery pauldrons covered his bony shoulders. The monstrosity was mutated, skeletal, and grotesque. An evil transfigured creature spat up from the depths of hell.
Dread and terror settled heavy like stones in her belly as the creature approached her and the dragon roared at her back, blocking her retreat, jaws snapping at her.
"Pretender, you toy with forces beyond your ken no more," the atrocity growled at her in a low voice that rumbled down upon her like distant thunder. The Elder One cast his eyes upon her, as if judging her worth and finding it lacking. "Such arrogance, to dare take for yourself the name Herald. I am more than you could ever be."
"And what is that, exactly? A hurlock?" she retorted, scared out of her wits but refusing to show it. "You're a darkspawn. Dark…spawn…" she said the words slowly, stretching out the syllables as if he were dimwitted. "You know, ravaging the Deep Roads, spreading the Blight. Does this ring a bell?"
"Ignorant fool," he spat. "I am no mere darkspawn. Do you not see a god before you? Exalt the Elder One. The will that is Corypheus." A skeletal hand extended toward her with long black claws. "You will kneel."
Ember made sure to enunciate properly. She was in the presence of a false god, after all. "Go. To. Hell."
The chuckle that escaped him was dark, the sound like malevolence scraping against a blackboard of evil. "You shall be the one entering the Black City. As soon as I get what I came for, what you stole from me. I am here for the Anchor." Corypheus lifted an orb in his hand, red energy surrounding it. "The process of removing it begins now."
His ghastly hand extended toward her and the mark on her hand glowed bright green, power from the Fade swirling around her hand. White-hot pain burned bright behind her eyes. Ember screamed, the sound echoing around her as she fell to her knees in the snow. She could see her veins glowing emerald green beneath her skin.
"W-What is this thing?" she gasped.
"A tool to assault the very heaven."
"What is it meant to do?"
"Aid me in championing withered Tevinter and correcting this blighted world." A nasty, malevolent smile curved his mouth. "Beg that I succeed, for I have entered the Golden City, seeking the power of the gods themselves. But it was… black… corrupt."
The Herald felt a sharp jolt of dismay and horror surge through her. "You… you were one of the first darkspawn. It was you and your kind who trespassed into the Maker's city and brought the Blight down on all of us!"
"Do not speak to me of your Maker," Corypheus hissed at her. "I have seen the throne of the gods, and it was empty. You owe _me_ fealty."
Her face wrenched with anger, her aquamarine eyes shredding into his with their vehemence. "You are no god," she spat. "Your arrogance blinds you. I will enjoy humbling that pride of yours when my smile is the last thing you see on this earth before I separate your head from your pitiful body, just like any other mortal."
In the blink of an eye, he was upon her. His hand shot forward, elongated claws clamping tight and unyielding around her neck like an iron shackle as he lifted her easily off the ground. "The Anchor is permanent. You have ruined it with your stumbling."
Ember gasped and struggled for breath, her feet dangling above the ground, her punctured side raining droplets of blood that spattered the white snow on the ground beneath her.
"So be it. I will begin again. I will find another way to give this world the nation, and god, it requires."
She forced the words out past the hand on her throat. "My horse - is more god - than you."
"I will not suffer even an unknowing rival. You must die." The creature vowed, eyes hard and uncompromising, knuckles white from his iron like grip on her neck.
Ember clawed at the immovable hand on her throat, wheezing, her face red and her eyes bulging under the forceful grip. Blackness fringed her vision as air refused to reach her lungs.
Suddenly, there was the tremendous grinding of chains and the loud creak of wood as someone unseen fired the trebuchet.
"What treachery is this?!" Corypheus bellowed as he turned to see that the trebuchet had hit its mark on the top of the mountain, the sharp movement causing him to drop the Herald in the process.
The Herald fell to the ground in a heap, clutching her throat and coughing as she gasped for air. She stumbled, pushing herself to her feet and pulling free the dagger she always kept strapped to her calf. Sweaty crimson curls blew across her face, her blue-green eyes burning like purgatory as she lifted the blade in her hand and rushed the false god while his back was turned.
A hand shot out and grabbed her hip from behind. With a sharp and powerful tug, she was yanked backward, her back colliding with the solid wall of a hard chest.
"No," she heard Cole whisper almost inaudibly in her ear. "It won't work, and you will die."
She tried to get away from him, tried to use the weapon on the Elder One, but Cole's fingers dug into her hipbone, holding her in place. When she continued to fight him, trying desperately to get free, his free hand came around her body to press against her belly and forced her back against him so she couldn't get away. Her heart lodged in her throat and her breathing came faster as his body pressed against her from behind.
Corypheus spun around to face them and every cell in her body stilled, waiting for the death she knew would come. But death did not come. Her eyebrows drew together in confusion. The Elder One was seething his head whipping this way and that as he frantically searched for the threat he could not see.
Then she felt it: a power so faint she barely noticed it was there. It was a hush that surrounded her like a blanket, thick and smothering.
And it came from Cole.
She turned her head to look up at him and saw Cole's eyes clamped shut. He was concentrating hard, a trail of blood seeping out of his nose.
He was making them invisible, she realized.
"Cowardly mortal!" Corypheus screamed, his voice cracking with his anger.
Her gaze snapped back to Corypheus, afraid he'd seen them. Violence and rage emanated from the Elder One's mangled form in rippling dark waves, but he stared straight through them.
"Come out, Herald! I know you're there!"
She tried to hold her breath, not wanting the darkspawn to hear and locate them. But her breathing was erratic. It couldn't be helped. Her eyes clenched shut and her knees became weak as she smelled the heat that rose from Cole's skin that was laced with a potent mixture of leather, cinnamon, sweat, smoke, blood and something musky and male that was entirely _him_. His body was surrounding her in warmth, charging the air with thick unseen tension that was so tangible it split her nerves, fraying them with each pulsing second as they stood perfectly still in the snow.
While Corypheus searched for them, her heart began battering her ribs as she felt Cole shift behind her. A tremor shook her as hot breath fanned across the nape of her neck just over the brand of the Chantry's sunburst. He lingered there and then she heard his deep intake of breath and could feel the tip of his nose against her nape. Goosebumps erupted all over her arms and neck as his body pressed closer, the entire length of him molding to the back of her. A warmth like no other she'd ever felt before began to gather at the pit of her stomach before slowly spreading out to her limbs in a trail of fire.
With a roar of rage, Corypheus ordered a harsh command to the dragon and the beast lowered its wing to scoop him up before taking flight to the sky once more.
The Herald of Andraste stood still, unmoving, despite the Elder One's disappearance. Cole was close. So close. Too close. She couldn't think straight. Couldn't stop her head from spinning. Couldn't see clear. After a few deep breaths she was able to clear her mind somewhat and gather some of her scattered senses. It was then that she noticed something in the distance. It was dark out, nothing but the full moon shinning against the midnight sky, casting a silver aura on the whiteness blanketing the earth and trees. Her eyebrows pulled together as she squinted, trying to see into the darkness. Around her, she heard the horrid hissing of the snow.
After a few seconds, her eyes slowly widened as she spotted a huge wave of snow far in front of her. Her face fell, her eyes stricken with terrible distress and panic that was tearing her apart inside as she watched a thick cloud of snow-dust preceding the thundering of the foremost part of the avalanche that was coming toward them.
_Fast_.
A sharp pain lanced through and she cried out as she doubled over, one hand pressed against the gash in her side, blood seeping warm and wet between her fingers. Her heart sank, as if it were strapped to a stone and tossed into a river. "Go," she ordered through clenched teeth, the pain excruciating. "Run, Cole. Run as fast as you can." Her eyes met his, bleak and hollow, her face pale, her breathing shallow. "If you run now, you'll still be able to make it."
Cole's answer was taut silence, a dark veil falling across his face that was now harsh with strain.
"Go!" Ember yelled at him, her voice edged with steel. "_Now_."
In one quick motion, Cole bent and slid his arms under her, one under her shoulders and the other under her knees, and lifted her effortlessly before turning and running as fast as he could away from the wave of snow that was rushing after them.
"No, no, no…" Ember cried out, wincing in pain as her wound pinched and began bleeding freely. "I'll just slow you down. You won't make it. Leave me. _Leave me_!"
Cole looked down at her with faint lines of pain etched around his mouth before he looked forward again, eyes narrowed in concentration, face set with resolve as his speed increased.
Cole ran.
He ran as fast as his legs could carry him.
Frozen rain swirled and spiraled violently to the ground around him. Under the sheet of snow, the ground was damp and muddy, causing the ground to be slick under his feet as he tried to out run the approaching avalanche, his sweat crystallizing on his brow. He breathed in short, explosive, gulps as he desperately sought more air. His legs were numb and unsteady, and each step he took was becoming increasingly more difficult to manage, his lungs starting to burn. Ember moaned in pain, blood trickling out of the corner of her mouth. The sounds of her pain and the sight of her blood fueled his movement and propelled him forward.
The speed of the avalanche increased rapidly and before long the ground on which Cole ran began to move slowly beneath his feet. A wave of snow crashed right behind them and Cole stumbled before falling backward into the snow. Cole pulled Ember protectively into his chest, falling with her in his arms. A dizzy sort of fear came over her as they were carried down the hill with the snowy wave, until they rolled into an open tunnel used for excavating rare metals.
In midair, Cole pulled her closer to him and rolled on his back right before they landed on the ground below, his back taking the brunt of the fall. They landed underground with a heavy thud, the air rushing out of Cole's lungs and blowing the hair back from her face. Cole groaned, pain etched into his features, his breath coming in short quick gasps as he sought to get the air back into his lungs.
The Herald's tightly closed eyes slowly opened to find herself lying on top of Cole, his arms wrapped securely around her. She stared at her hands that were pressed against his chest. They were trembling, the strong pounding of his heart beneath her palm. Her eyes slowly lowered and heat rose to her cheeks as she noticed the entire length of her body was pressed against the hard planes of his. She slowly dragged her eyes up his chest, his neck, his chin, until she reached his eyes.
Cole was staring down at her, wide-eyed and fearful, blatant concern reflected in the icy blue depths of his eyes.
"I'm… I'm a-alright," she stammered softly, answering the unspoken question in his eyes.
Cole's body visibly relaxed, relief crossing his features. After a score of heartbeats, his eyebrows slowly drew together. His haunted eyes filled with a great sorrow that spoke of past pain that still lingered. Large blue orbs shifted back and forth between hers, stroking the depths of them as he slowly reached up and ghosted a finger against a stray curl of red hair that hung over her eye. His finger lingered on the skin of her cheek, as if he couldn't bear _not_ to touch her, his hand trembling ever so slightly.
Something cold fell on her back and the Herald looked over her shoulder to see a mountain of snow falling through the opening above them. She gasped and quickly reached deep down inside and summoned mana. The pain was incredible, almost blinding, but she fought through it with sheer will alone. With a shout of exquisite agony, she threw her hand up and a shield formed around them right before the avalanche of snow fell on them.
Her eyes were clenched, her body shaking, grunts of pain leaving her as she fought to keep the shield above them that was being trampled by endlessly falling snow that was slowly pilling up on top of the shield. She screamed as the last vestiges of strength left her.
As fast as lightening, Cole wrapped his arms around her and flipped them over so he was on top of her, her hips cradling his. Cole covered her head with his hands, using his body to shield her. Her eyes opened to see her shield disappear over Cole's shoulder and the mountain of snow fall on top of them. She turned her head at the last second and tucked her face into his neck with her eyes clenched shut as the snow fell on top of them, burying them. Snow fell heavy on the side of her face sending an icy blast shooting through her, chilling her to her bones.
Panic settled in as she realized they were buried alive beneath what had to be at least ten feet of snow. Maker, they were going to freeze to death. Her fear spiked and her chest burned with the dry, cold air she was drowning in like life. She felt dizzy, nauseated, horror edging to the surface.
She forced herself to calm, her pulse to slow, her panic to ebb. She had to remain calm. Hysteria, she had learned a long time ago, was a useless reaction. After a calming inhalation, she caught the heady scent of leather, cinnamon, and heat. On a breathy sigh, she let the tip of her nose trace the line of his strong jaw and breathed in the scent of his skin. Her teeth were chattering, causing her lips to quiver against the warm flesh of his throat. She felt Cole's arms tighten around her, clutching at her, holding her tightly, as if he feared she would slip away. On a ragged whisper she heard him murmur her name and the sound of it escaping his throat on the fearful, lowly, lonesome tones of his voice pulled at something tender inside her heart. And then blackness reached up and claimed her_._
**Author's Note**: This chapter has a soundtrack: _Rebirth_ by Two Steps From Hell. You can listen to the whole song for free on YouTube.
9. Chapter 9 – A Wall Full Of Stars
**The Inquisitor's Ghost**
**Chapter 9 – A Wall Full Of Stars **
_Blessed are the righteous_
_The lights in the shadow_
_In their blood the Maker's will is written_
_- Benedictions 4:11_
In the tallest tower of the Skyhold fortress, the Inquisitor stood on her balcony staring out at the most majestic view of the Frostback Mountains. The lightly descending snow was falling softly upon the snowy paths and roofs of Skyhold, coating the Inquisition stronghold in a fresh layer of crisp white powder. The vibrant scarlet of her hair shined like a beacon in the vast whiteness that surrounded her and her greenish blue eyes sparkled in the first rays of sunlight.
Skyhold, or Tarasyl'an Te'las in ancient elvish, meant "the place where the sky is kept." Whatever name you wished to call it, to Ember, it was home. A smile bloomed on her face as she ran her hand along the stone railing. She hadn't had a home since she was eight-years-old. Ever since then she'd been running, hiding, evading capture and the dungeons. Even when she found Leliana, they'd been constantly living on the move as was required of the Left Hand of the Divine. Once Ember was able to go on her own missions for Leliana, she was constantly living on the road. To finally be able to call something her own, to feel safe, to have a _home_ was… there were no words. After all the years of running and hiding from the templars it was nice to feel like she belonged somewhere, even if it was just for a little while.
Ember was also thankful for the people she had with her. Leliana was like a sister to her and she wouldn't be able to do this without her by her side. She visited her mentor in the fortress rookery often, seeking guidance, laughter, and companionship.
Ember had gotten to know Cullen, Cassandra, and Josephine over the years she'd been an agent of the Left Hand of the Divine. She trusted them, and she did not trust easily. With each of them, what you saw was what you got. They had their beliefs and convictions, but they were open-minded enough to bend when needed. As for the others, she'd only met them a few months ago, but she could honestly say that they were a strange bunch.
Varric was undoubtedly her favorite. Brilliant, funny, charming and cunning the dwarf could be running Orzammar, the Merchant's Guild, or the Carta, but wisdom made him prefer the shadows, avoid the spotlight, choose to be overlooked. He had a kind heart and good intentions, but had made some hard decisions and been through so much. A heart could only take so much loss before it had to put a wall up to protect itself. He reminded her of herself, a kindred spirit. Sometimes he would see her enter Skyhold after a long mission and he would stop her, get them a few pints of ale, and have her vent her frustrations until she was laughing, feeling lighter, and blissfully drunk. He'd become a dear friend and she was thankful to have him.
Sera was just a child. She was barely eighteen-years-old. But Ember liked her. She was bold, playful, funny, and colorful. She lacked a proper education, but had spirit. Ember had been like that before she found Leliana. Ember would seek the archer out at the Skyhold tavern when she needed to be reminded that the world was more than just rifts, blood, duty, and death. Sera helped her feel her age and to loosen up, do something fun for a change.
As for Iron Bull… Maker help her… the moment that gigantic Qunari saw her long flowing, vivid red curls… well, he'd been trying to get her into bed every since. Despite having to refuse his advances at every turn, she liked Bull. He was strong, courageous, humorous, and dependable. He may be an agent of Ben-Hassrath, but he'd told her that the moment he'd met her and because of that she trusted him more than others.
Blackwall was lying to her. She didn't know why or what about, but he was lying to her. She didn't trust him. She refused to speak with a man who was lying to her. She only visited him at the stables when she absolutely had to, and even then she always came armed.
As for the mages, Ember avoided them. She was afraid they'd detect her magic and expose her as a mage. Despite her avoidance of them for her own personal reasons, she found herself liking Dorian and Vivienne. Dorian was smart, charming, brave, and unapologetically Tevinter. In a nation known for being a land full of monsters, he definitely was the exception. Ember hoped that Tevinter would see him as an inspiration and not as a threat.
Vivienne was similar, except unapologetically Orlesian. Ember couldn't help but admire the Circle mage for she had manipulated the system into granting her power and protection that few other mages were ever able to achieve. She'd bought her freedom from the templars, and Ember wasn't sure she wanted to know what exactly it was Vivienne had given up in exchange for that freedom.
Solas was not who he appeared to be, of that she was absolutely positive. Other than that, she knew she couldn't trust anything he said or did. There was no doubt in her mind that Solas was the most powerful creature she'd ever encountered. She avoided the atrium beneath the library just as much as she avoided the stables.
The Inquisitor placed her chin in her palm as she relished the splendid view of the mountains from her balcony. The sun was barely rising in the sky, its golden rays skimming the high edges of the mountaintops, brightening the sea of white with the advent of dawn. She knew she should head to the training grounds, she needed to become stronger, but she hadn't stopped to watch the sun rise in so long and this one was… spectacular.
The golden rays of the sun made her think of Cole. She couldn't help but wonder where he was, if he was even alive. She still couldn't understand it or believe it. He'd come all the way to Haven to warn her about the Elder One. He'd helped people, her people. Instead of retreating with the others, he'd risked his life to protect hers.
"_I promised that no one was ever going to hurt you."_
Cole's words lingered in her mind – uttered to her on such soft, gentle tones that continued to drift through her mind like leaves on a summer's breeze.
Ember shook the words from her head as she moved into her room to sit in the center of her bed. She sat cross-legged in her obsidian armor, heavy mass of wildly unruly crimson curls flowing down her back as she sharpened her daggers with a whetstone using the care given a prized possession, which they were. The blades were a beloved gift from Leliana. They were light weight but razor sharp, finely crafted and honed just for her hands and fighting style. They were her most treasured belongings, besides the necklace hanging around her neck and the book of poems resting on her nightstand.
The last thing she remembered of Haven was being buried alive in snow with Cole's body shielding hers, his warmth keeping her from freezing to death, her hips cradling his, his arms wrapped so tightly around her. She remembered the deep longing in his voice when he'd whispered something in her ear right before she'd passed out from blood loss, as if he ached for something. Ember didn't understand a lot of things, but she understood _that_ feeling.
She'd awakened later on a bedroll where the Inquisition had made camp just outside of Haven. She had no memory of how she'd gotten from Haven to the Inquisition's camp, and neither did anyone else. They thought she'd died at Haven, all except for Leliana. Leliana knew within her heart that Ember was still alive and would find her way back to them. They had found her with the other injured soldiers, sleeping soundly. She'd been cleaned and her many injuries bandaged and cared for. The leather necklace with the charm of a star hanging from a half crescent moon had been cleaned and secured back around her neck.
Ember had gone looking for Cole once she'd gained consciousness. She'd searched every inch of the camp and then Skyhold when they'd arrived, but found no sign of him. She'd even asked Cullen if he'd seen the young man from Haven that had helped them, but Cullen couldn't recall ever seeing such a young man.
"Inquisitor?" came Cullen's voice, breaking through her thoughts.
Ember's chin turned to face him from her spot on her bed, dagger and whetstone in hand. She blew a ruby red curl out of her face before asking, "Yes?"
The smile he gave her was charming. "Everyone is gathered in the War Room and waiting for your luminous presence."
"Good," she replied pleasantly as she dragged the whetstone almost lovingly over the length of her blade.
Greenish blue eyes shifted to look at Cullen discretely out of the corner of her eye beneath unmanageable russet curls. She hadn't spoken to him that much since he kissed her on the roof of the Chantry in Haven, which was more than two months ago. It was strange and awkward between them now. She was pretty sure Cullen was aware that there was something impeding her ability to become anything more than just friends with him. Thank the Maker he wasn't aware of what exactly that something was.
"Do you require more whetstones?" Cullen asked politely.
"Yes. Please," the Inquisitor answered before hopping off her bed and sheathing her daggers at her back. "Let's head to the War Room. King Alistair said he had information concerning the Wardens and Corypheus. I want to know what the hell is going on. I want the Wardens for allies. I want the pleasure of stealing not only the mages, but also the Wardens from that ancient darkspawn." Her face was set with grim resolve when she reached him. "I want to reach Crestwood and meet Alistair before nightfall."
"You are very determined, I think," he answered, arching an eyebrow in a manner that would have caused havoc in the heart of any other woman.
A smile curved her lips. "Quite. My mama always said it was my greatest failing."
His smile could stop any other woman's heart. "Or greatest strength."
Aquamarine eyes glittered up at him. "We shall see, won't we?"
xxxxxxxxxxxxxxxxxxxxxxxxx
Two nights later, the Inquisitor was sitting alone on the wooden floor of her room at Skyhold, her back leaning against her bed's frame. She was staring blankly at the ground as rain fell heavy and loud on the roof above her head, an almost empty bottle of wine in her hand. A single candle burned on her nightstand beside another bottle of wine that was already empty.
For a long time she wavered between unparalleled anger and gut-wrenching despair. She'd met with King Alistair in Crestwood and he'd told her how the Grey Wardens were under the influence of Corypheus. Blackwall was currently under lock and key as she was unable to bring herself to trust him enough to roam Skyhold free and clear.
The Inquisitor lifted the wine in her hand and took a long pull on the bottle, until there was no more. She'd admired the Grey Wardens since she was a child and so her mind was currently swimming in a sea of denial. How could they do this? How could they form an alliance with that monster? Why was everyone in the damn world losing their damn minds? What the hell was happening to the world? How was she supposed to save it when it didn't even want to be saved?
The Inquisitor stood and stumbled drunkenly over to her bed. She removed her black armor and boots, stripping down to her smalls, too tired and drunk to put on tights and a tunic for bed. She removed the dagger she always kept strapped to her calf and placed it under her pillow. She never slept without it. She'd been trained by life and Leliana to always keep her guard up and that's what she'd always done. She'd learned early on as a child that, if given the chance, people will strike first. She never gave them the opportunity to try and get the best of her. Never again.
The Inquisitor blew out the candle on her nightstand and pulled back the covers and drunkenly climbed into the bed. The cool feel of the crisp linen sheets on her skin were a welcomed gift after the day and night's events of fighting, bloodshed, disappointment, and death. Adjusting her pillow, she pulled the blankets up to her chest and closed her eyes. Maker, she was exhausted and the darkness and the soothing sounds of the pitter-patter of the rain above her were exactly what she'd been craving these last few hours.
Sleep would be bliss to obtain.
xxxxxxxxxxxxxxxxxxxxxxxxxxx
_"Don't hurt me! Please don't hurt me!" the young mage girl cried frantically as she shrank against the stone wall of the dungeons, trying desperately to get away from the demon that was stalking her with the wicked-looking dagger in his hand._
_The demon crouched down in front of the young elven girl and spoke to her in a voice too low to hear, but the dagger in his hand glinted in the low light with deadly intent. _
_"Look into my eyes…" she heard the demon say to the young girl._
_The demon raised the dagger in his hand and placed the serrated edge against the girl's neck. Mercilessly, the demon dragged the blade across her neck, blood gushing down the front of the girl's chest and into her robes. The girl convulsed, a spurt of bright blood erupting from her mouth. _
_The demon watched. _
_The demon watched intently as the life left the girl's eyes, as if it were sustenance for his soul. _
The Inquisitor woke with a jolt to her empty, pitch-black room. She couldn't tell what had roused her from her sleep. For a long time, she laid still listening to the rain falling on the roof and windowpane, and the beating of her own heart.
Trying to find a comfortable position, she rolled over onto her side, taking a deep breath, but then tensed as she heard the sound of breathing. Breathing?
Someone was in her room.
The Inquisitor knitted her brow, her pulse going wild with alarm, her natural instincts of self-preservation kicking in. Her body immediately went on the offensive. Her hand moved stealthily to the dagger under her pillow. Her fingers curled around the hilt of her blade, calming her jolted nerves. Gliding the cool steel out from its hiding place, she gained a better grip.
Swiftly she sat up, dragging the dagger out from under her pillow and holding it sideways in front of her chest, her heart pounding in her ears. Blue-green eyes narrowed, intently searching the darkness of her room as the rain beat against the roof. There was a flicker in the dark by her window, a shifting of shadows, and she felt something within them staring at her.
"I know you're there," Ember stated in a low and stiff voice, speaking into the shadows that lined her bedchamber. "Come out of the shadows," she commanded firmly, the authority ringing in her voice.
The words were strangely familiar.
For a long moment there was nothing. Nothing but darkness.
A flash of lightning lit the night sky from outside her window, illuminating her bedchamber for a split second in silvery-white light.
Ember's soft, ragged intake of breath rang sharp and loud in the still of the silence of her bedchamber, her heart pounding in her throat, as the light of the lightening flashed upon a head of thick, shaggy blonde hair that was wet with rain, turning it silver with its light.
A young man was crouched low on his haunches, his elbows resting on his knees as he balanced on the balls of his feet on the wooden frame that lined her bed by her feet, not five feet away from her. He wore wet leathers that hugged his long, whipcord lean, tightly corded figure made up entirely of carved lines and sharp angles.
Another flash of lightning lit her bedchamber causing dark shadows to slash across his sharply chiseled features, highlighting his smooth alabaster skin, harshly carved cheekbones, and long and straight nose that was in perfect conformity with the rigid line of his strong masculine jaw. Her heart chilled in her chest as she found herself staring into the eyes of the ghost who'd haunted her dreams for the past five years.
She sat frozen in her bed, afraid to move, afraid to breathe with the knife still held sideways in front of her chest. For what seemed a small eternity, she remained poised motionlessly in her bed, in just her smalls she realized to her horror. On an exhaled breath she gradually sank back against the headboard, her unruly red curls spilling over her shoulders and down to her flat bare stomach. Her lips parted and one softly spoken word fell out on a shuttering breath, "Cole?"
He said nothing. He remained perched at the end of her bed, crouched down on her wooden bedframe like a gargoyle, the rain dripping off of him and soaking into her sheets.
She began stammering, "Why are you… how did you… how long have you been here?"
The silence that lingered was deafening. Haunted, haunted eyes continued to stare at her beneath a wet mop of unkempt golden locks. The wayward strands of blonde hair leaked water down his face and lay in wet strands across his forehead.
"A while."
Ember sucked in a sharp breath through her teeth. That voice… so low and raspy, yet smooth and soft… it seemed to roll right through to her bones. She involuntarily shivered, hoping he didn't see it.
"Have you been in my room the whole time I've been away?"
He looked at her from beneath long, sooty black lashes. "Yes."
"And you don't find that… strange?"
His gaze was piercing. "No."
"Oh," she managed, her voice slightly breathless. After several heartbeats, she was finally able to get her limbs to obey her commands. She turned and placed her dagger down on her nightstand with a trembling hand. With a flick of her wrist she sent magic sprouting from her fingertips to light the wick of the candle on her nightstand, a flame bursting to life and casting the room in a soft golden glow.
When she turned back to him a tiny smile was pulling at the corners of his mouth. That hint of a smile was so devastatingly attractive. "You're safe," he said, raindrops sliding down the pale skin of his throat. "Safe and sound. I was worried. Your lips were so blue before. So much blood. I didn't like it."
She swallowed, trying to calm her nerves as she lifted the sheets to cover her near nakedness, feeling vulnerable all of a sudden. "Are you talking about Haven?"
"Yes." He stared at her in silence for a long moment with a look of agony on his face. "Haven. I remember it and it still scares me: Choking fear, can't think with your blood on my hands and on my chest. Your breath is slower. Your lips are blue. So blue. They are not supposed to be blue and cracked and dry. Their supposed to be soft and red, like the petals of a rose." Cole shook his head, blonde hair swaying softly across his eyes. "Protect her. Nothing else matters. But I wasn't fast enough. Too slow. Too _slow_. I couldn't stop them from hurting you. The guilt wracks me with every heartbeat. You're in pain, so I'm in pain. You're dying, so I'm dying. Hot white pain, everything burning. She can't die. Save her. Save _her_. Nothing else matters. Nothing else-"
"Why are you here, Cole?" she interrupted on an unstable breath, her heart unable to hear anymore.
With wet hair and raindrops rolling down his ghostly white face, Cole was staring at her so keenly, with such unblinking intensity, she felt as though he was peering into her very soul. "A piece is missing. Essential. The rest of the puzzle hurts without it."
A cold chill rushed through her veins. Maker, that _look_. There was something so disturbing about the way he was looking at her. It was uncomfortable, embarrassing, and somehow flattering all at once. "What are you talking about?"
His expression was wistful as his eyes scanned her hair, her face, her throat. "I've missed you."
She froze. She froze, staring into his eyes, his honest words ringing in her ears and her heart tripping in her chest. She froze while a tremor shimmied up her body.
"It's been five years, Cole," she gritted out. "_Five years_."
He ducked his head, letting his wet hair fall over and hide his eyes, causing droplets of rain to roll down his sharply carved face. "Five years, four months, and seventeen days," he corrected in a tiny voice laden with quiet suffering.
Two pink spots flared in her cheeks and she looked down at her hands that were folded in her lap on top of the coverlet. And there her gaze stayed, while the silence in the room grew from being merely uncomfortable to downright suffocating.
"You're different," she heard him murmur into the silence and she looked up at him. "I didn't get a chance to really look before. But you're different. I see it now." His eyes were alight with some emotion she couldn't define as they scanned every inch of her face. "The Fade is heavy on you. Shining, shimmering, sharp. It's strong and pure. Loud and bright. Similar to before, but… different."
"And you're exactly the same." Scowling, she crossed her arms over her chest in a defensive gesture. "Still slaughtering innocents?" She said the words before she had a chance to think them through and she winced when she heard them in her ears. They were cruel. They made her heart hurt just hearing them spoken in her voice, but they were also true words. That hurt even more. She couldn't forget that.
She saw the way his blue eyes softened in remorse as he looked at her for an interminable moment before saying, "The last time you saw me you didn't want to look at me. You saw a monster." His voice was tight with emotion, stormy blue eyes unimaginably sad as they peered into hers. "And you were right," he managed to say in a self-deprecating way. "They were dying or to be made Tranquil. They were in pain. They were begging for someone to make it stop hurting. Every moment would've been agony. They wanted mercy. I wanted to help, but I also didn't want to fade away. Dark and desperate, using blood and death to make myself alive. I used to be like that. I'm not anymore."
Cole's voice shook with emotion and his words rang with sincerity, and she couldn't help the lump that formed in her throat. She wanted to believe him. She wanted to believe that he'd changed, that he wasn't killing innocents anymore. But how could she trust someone that had the ability to influence her mind? He could be bending her thoughts into thinking him harmless so that she would let her guard down and open her mind just that little bit that would allow him to possess her and turn her into an abomination.
Refusing to be manipulated or deceived, she quickly steeled herself against the soft emotions stirring within her. Her lips pursed and her expression hardened beneath her fiery red curls. "I don't want to speak of the past. I want to speak of the present. You still haven't explained why you're here, Cole."
"I want to explain but… I don't always say it right." He looked away from her, staring at the rain rolling down her window, a miserable look on his face. "I've been living in the shadows. Unseen, unrecognized, unwanted. I always see the starlight, but it is remote and far away, and never finds me. I reach for it, but it slips through my fingers, not wanting to be found. In the shadows you are always alone, the world oblivious to your existence." He looked at her from under long black lashes, blue eyes incredibly intense. "I don't want to live in the shadows anymore. I want to live among the stars."
Her resolve to remain unaffected and to not let him get to her began to crumble as she fell victim to eyes the color of a cloudy sky that were so large, so round, and utterly sad in a face that was so forlorn she felt the wretched feeling echoing deep within herself.
The Inquisitor quickly caught herself and smothered the tender emotions that were currently coursing through her. She glared at him, accusingly. She hated that look that resembled a lost, lonely puppy. She hated how it still had an effect on her. She loathed how he could still get under her skin after all these years and after everything she'd done to rid herself of the girlish feelings she'd harbored for him when she was eighteen and young and stupid and naive.
Damn, damn, _damn_.
She didn't need this. He shouldn't be here. She couldn't handle his being here. Anger formed in her gut and she found it comforting. How dare he be here, strolling right back into her life, ruining the fragile balance she'd found in her life with his raspy voice and haunted blue eyes. She hated his eyes, hated the dark shadows that seemed to fill them, hated that she cared, hated that she wanted to be the one to bring light into them.
Her jaw was clenched and she forced the words passed the thin line of her lips, "Thank you for coming to warn me and help me at Haven. I didn't get a chance to thank you for that."
"I will always keep my promise," he whispered to her.
She forced herself to meet his eyes, her heart-shaped face framed by a thick mass of scarlet curls that tumbled over her shoulders. Her features were pinched, causing the freckles speckled across her nose to standout. "The Inquisition thanks you for your service," she uttered through gritted teeth. "I can arrange to have an award granted to you, if you would like."
"I don't want an award."
"Then what do you want, Cole?" The hard knot of distress that was lodged in her throat made the name sound hoarse. She suddenly felt like she was negotiating with the devil on the terms of her soul.
His eyes flickered upward and locked onto hers from beneath disheveled blonde tresses that dripped rain into his eyes. "I want to be where you are."
He didn't elaborate. She kept her gaze fixed on his and remained silent, waiting for some sort of explanation. When she didn't get one, she replied firmly, "That's impossible and you know it."
"Why?"
Her eyes flashed as her heart wrenched. "Because I'm a mage and you're a _demon_!"
Cole shifted uneasily from where he was crouched at the end of her bed on her wooden bed frame, a rueful look on his face. "I want it to be spirit."
Her eyes widened as she recoiled from him, pressing against her headboard. He wasn't even denying it. Maker help her, she suddenly saw her near-future murder playing out in front of her eyes at the hands of the ghost that was still haunting her.
"I am me," he explained quickly when he saw the mixture of terror and apprehension on her face. "The one who won't let anyone hurt you."
When her terrified expression remained, Cole's body flickered and he impossibly appeared standing beside her bed, lean muscles taut and that unearthly aura radiating around him making him appear darker, dangerous, and otherworldly.
Her heart dropped into the pit of her stomach at the same time her blood cooled in her veins. That impossible movement only reminded her how he wasn't human.
_Run!_
A warning voice screamed in her mind, her panic mounting, self-preservation instincts taking hold. But her limbs wouldn't obey. She remained frozen, motionless in fear, unable to do anything but stare. Her heart was hammering wildly in her throat as the Ghost of the Spire moved closer to her, gliding across the wooden planks next to her bed like smoke on the wind.
"You're frightened. You don't have to be." The wretched and desperate look in his eyes when he said that prompted a surprisingly sympathetic reaction from her despite the dread that still gripped her. "See me, dear heart," he murmured with his voice so low and hushed, aching and pleading. "See me when you look at me. Just like you used to."
Something tender twisted painfully within her. Those haunted eyes saw so much and asked only to be seen in return. She didn't answer him. Even if she'd been able to think of a reply, she could never have pushed the words past the constriction in her throat. Nor could she look away as she watched him stop beside her and bend over to place one hand on the headboard beside her head and the other on the bed beside her hip, trapping her in the space between the cold wooden headboard and his very warm body.
The heat emanating from him reached out to her, beckoning. She could not feel his evil, but she could feel his power vibrating from his lean, sinewy frame as it hovered over hers, rain dripping off of him. She held her breath for as long as she could, refusing to breath, until the need for oxygen forced her to inhale slowly, taking the scent of him into her lungs. She smelled the scent of the leather of his armor, the wool of the tunic beneath, the rain that slid wet and slippery along his skin that was as pale as the moon itself, and something sweet yet spicy that was all his own.
Greenish blue eyes looked up at him to find him staring down at her, less than six inches from her face, his expression so intense she stopped breathing. She gulped and squeezed her thighs together beneath the sheets that separated that piercing blue gaze from her bare skin.
The light from the candle flickered this way and that, casting dancing shadows upon his milky-white face as he dropped his gaze to rake her body, slowly, before he lifted his eyes to meet hers again. "Your body is shaking. You ripple like water when the stone is dropped." His head tilted, eyes questioning. "Why?"
She licked her suddenly dry lips, her breathing quickening as she watched him watching her with all of that focused and unwavering intensity. "It doesn't matter," she managed breathlessly, trying desperately to force the trembling to stop, not to give her away. She didn't understand why anytime he moved within a foot of her personal space, it sucked the breath out of her. She especially didn't understand why she liked it.
A disjointed, fragmented feeling of unreality kept her rigid, paralyzed, her pulse pounding in her ears as he slowly brought one of his hands to her face, the very tips of two wet fingers sweeping feathery light across the elegant hollow beneath her cheekbone.
Instantly her body tensed into immobility. Her heart seemed to skip a beat and then pounded at double time, sending the blood roaring in her ears. She could have pulled from his touch, but she didn't. Her breath had deserted her like a traitor and she found she had no will to break the connection.
Cole's eyes followed his hand as it slowly moved down her jaw, then her neck, stopping at her collarbone. He dragged his eyes back to hers and their shade was darker then before. With those eyes delving into hers and his fingers on her skin, she felt like the intervening years fade away until she was eighteen again, young and helpless and in a dark cell with nothing and no one but her ghost, her protector, her one and only friend.
Deep cerulean orbs studied every nuance of her expression from beneath messy blonde locks. Those eyes seemed to reach in and probe the depths of her eyes, before falling to linger on her rapidly increasing pulse at her neck, before he lifted his eyes to meet hers again. "Your heart beats faster when I touch you. Your eyes become darker, you skin warms, and you shine brighter. Why?"
She could barely process his words. She was torn between the need to move away from his overwhelming presence and the desire to lean forward and curl into him and the protection he could certainly offer her.
Protection? She blinked at the idea. How insane was it to want protection from the only thing she'd ever needed protection from?
Unyielding, Cole's gaze captured hers in a long glance as his fingertips ran lightly over the necklace he'd made for her that was hanging around her neck before letting his hand return to the bed beside her hip. "Do you remember it?" he uttered, his voice hoarse from the raw tightness in his throat.
Her chest rose and fell swiftly. "R-Remember what?"
His eyes held hers, icy blue and as deep as forever, while a heated look flitted across his face, so fleeting that Ember was sure she imagined it. "Warm lips. Soft as a summer rain. Starlight-flavored. Light at first, like raindrops splashing down, falling on my skin. Soft sighs inhaled. Gasping, trembling, air seeking, and then lips again. Head underwater, drowning. Feeling like I'm going to die, yet can't get enough." His voice was strained, eyes tormented.
"Cole…" What should have sounded like an admonishment came out like an entreaty.
A raindrop dangled at the end of a lock of blonde hair that was hovering above her before it landed with a soft plop on her bottom lip. His eyes moved downward to her mouth and rested there for an uncomfortably long time. "Can I have it again?" His voice was rougher, darker than it had been.
She blinked a few times at his words. "Can you have what again?"
"Your mouth." A tremor shook her at the vibration of his low, husky murmur. His intense gaze remained fixed on her mouth as he leaned in excruciatingly slowly until his lips just barely reached hers. "I want it again."
The Inquisitor stiffened on a sharp intake of breath as Cole's lips hovered over hers, his warm breath teasing her lips like fingertips. The pulse in her wrists hammered violently as she battled back a flood of emotions. She gasped in air that he exhaled until she felt dizzy.
Sweet Andraste, he wasn't even touching her and yet he'd reduced her to a quivering heap of raw nerves. How was it that he and he alone could affect her so strongly? She hated it. She despised the power he wielded over her. She had to fight this magnetism, this irrepressible allure that hadn't ebbed in the past five years that would inevitably lead to her – _their_ - destruction.
With his breath mingling with her own, she forced herself to remember what he did. Remember what he was. She needed to remember that now. Every fiber of her being knew he was dangerous. He was like a Venus flytrap - attractive but treacherous. Cole was as safe as broken glass. Yet her body didn't seem to care about all that. Stupid lust. But she could not forget, and certainly could never forgive, that he had murdered an innocent young mage girl who'd begged him for her life.
The Inquisitor forced her stomach to stop quivering in anticipation and schooled her features into a stoic mask. "Anything about us is in the past. Let's leave it there," she uttered, speaking in a tightly controlled voice that belied her chaotic emotions.
Only a hairsbreadth away, she watched Cole squeeze his eyes shut, felt his heated breath stutter unevenly against her lips, and saw his jaw clench – in pain? Or restraint?
After a few heartbeats, he reluctantly pulled back slightly, his eyes burning and uncomprehending as he looked down at her.
Her chin jutted out belligerently. "Cole, I'm asking you as nicely as I'm going to ask you. Please leave."
Hurt and confusion flashed across his face before falling and settling into panic. "Wait. That didn't work. Let me try again."
Glowering, she leveled unsympathetic eyes on him. "You don't get to try again. Now please leave."
His eyebrows were pulled together and the pain on his face was raw and real and heartbreaking. "But… but the words came out wrong. I didn't say it right." There was a hard desperation in his eyes that sent chills down her spine. "Let me try again. The right way. You'll forget me in a minute."
"I will _never_ forget you. That's the problem!" she cried, some of her own pain inadvertently leaking into her voice. "You are haunting me!" Her words rang out loudly and sharply, resounding with echoes.
Cole hesitated as if he was going to say something more, then changed his mind. Silence engulfed them. The air between them vibrated raw with tension, the past echoing all around them.
Slowly, his face fell, becoming closed off, as if someone had dropped a curtain over his face. His emotions became shuttered and his features brooding as he took a step back from her and lowered his arms to his sides, allowing her room to breathe again.
One booted foot that was covered in mud and wet from the rain moved back on the wooden floorboard beside her bed and it creaked under his weight. Cole took another step back, fathomless blue eyes never leaving hers as he took another step that brought him further away from her. Those eyes held no emotion. No light flickering in their azurite depths. Another step and he was swallowed up by the shadows of her room and there was a shifting within them as the ghost of her past slipped silently out of her window into the rain pouring from the heavens outside.
The Inquisitor's breath left her in a rush as she fell back against her headboard. Shakily, she raised a hand to her chest, trying to calm the frantic rhythm of her heart as a dozen conflicting emotions warred within her, just as they always did when Cole was involved.
Her eyes flickered to stare at the window he'd just left out of, watching the rain roll slowly down the windowpane. She felt suddenly… lonely without him there. She shouldn't. A mage shouldn't miss a demon.
With a heavy sigh, she shuffled down into her covers. She laid her pounding head on her pillow and blew a stray red curl from her face, wondering why he made her feel like she was wrong when every instinct she had told her she was right. Her instincts were never wrong. When her eyes lifted to the ceiling of her room she gasped in shock.
Hundreds of tiny golden-white stars dotted the deep black background of her ceiling.
Her heart constricted. Tears burned her eyes and her throat ached. She knew instantly who'd taken the time to paint all of those tiny little stars on her ceiling.
There was only one person in the entire world that knew she loved to sleep under the stars.
**Author's Note**: This chapter has a soundtrack: _Little Talks (Live from Vatnagaroar) _by Of Monsters and Men. You can listen to the whole song for free on YouTube. Make sure it is this particular live version, you'll see why, it is a much darker and eerie version that fits this story. Also, someone asked me about Cole calling Ember "dear heart." In Chapter 6, you see that is what the real Cole's mother used to call him. It is very meaningful to Cole since that term of endearment is associated with the few memories the real Cole had of ever receiving compassion in his life. On a personal note, "dear heart" has a very special place in my own heart. My husband is Irish and he calls me "croí daor," which is Irish for "dear heart." I love you all and thank you so much for all your comments. They mean so much to me. I hope you leave a comment. I really love hearing from you all.
I just wanted to give a shout out to Repseh and CalypsoKitsune. Repseh left me a review recommending the song Eternity by Kelly Sweet for this chapter, and CalypsoKitsune recommended the song Frame of Mind by Tristam & Braken. Let me know what you guys think and if you have anymore recommendations for soundtracks to chapters. I usually have one in mind for certain chapters, but I love hearing what you guys think. Love you!
End file.
| fanfiction |
Please explain the weird behaviour of these bubbles in my tea?
Here is a photo of my tea just after i made it-
[](https://i.stack.imgur.com/u9QE8.jpg)
When i stir it, these bubbles first are away, then they come and clump together. If i try to take them away from each other by putting a spoon inside this ball of bubbles, they again come together and stick to each other. But if some of these bubbles stick to the wall of my cup, they dont come near the centre any more!
Also, I noticed that this ball of bubbles, first spins very fast then in a second it slows down, then in the next second, it again spins very fast and this goes on.
Why are these weird things happening, and what is responsible for them?
The bubbles stick together because of surface tension. The water surface area is smaller when the bubbles are together than when they are isolated. They stick to the sides of the cup for the same reason : part of the bubble is next to the wall of the cup, and this reduces the water surface area.
The bubbles move towards the centre when you stir the tea because the cup acts like a centrifuge. The rotating tea has a higher pressure on the outside and lower pressure on the inside. Bubbles "float" toward the low pressure region at the centre. The pressure difference is not strong enough to draw bubbles away from the side of the cup.
When the tea is rotating, as the bubbles gather together the radius of the raft of bubbles decreases and its angular velocity increases because angular momentum is conserved. However, provided the raft of bubbles is not too large, the forces between the bubbles are not strong enough to provide the centripetal force needed to keep them rotating at this speed and radius at the centre. The raft of bubbles breaks up, and groups of them are flung outward. The reverse process then happens. As the bubbles move apart to a greater radius their angular velocity decreases. Further from the centre the pressure difference in the centrifuge pushes them back towards the centre of the cup, and the raft comes back together again.
I'm not quite sure what is responsible for the periodic spinning motion of the bubbles, but the mutual attraction that they are feeling is fairly straight forward. The first piece of the puzzle is the water in the tea. The capillary action and surface adhesion create a meniscus of tea around each of the bubbles. Recall that the bubbles are buoyant, and so will naturally move to the highest point on the surface of the tea in their vicinity. If two bubbles are near each other, they will move towards each other because the menisci around the opposite bubble is the highest point in the immediate surroundings. The same effect occurs at the edge of the tea cup. The tea at the edge creates a meniscus around the inside of the tea cup.
The spinning motion might be caused by your stirring of the cup, and its periodic nature might be caused by constructive and destructive interference of the tea's spinning modes. But don't quote me on this. I'm not too sure about the nature of the spinning motion.
| stackexchange/physics |
Lakers to Make Final Decision on Contract for Veteran Starter
Heavy on Lakers
Updated Jan 3, 2022 at 2:00pm
Getty Russell Westbrook (left), Avery Bradley (middle) and DeAndre Jordan of the Lakers
At the end of the week, the Lakers have a decision to make that once looked pretty easy. Now it looks easy, for the opposite reason.
For a while there, veteran guard Avery Bradley was having one of the worst seasons among any starter in the NBA. The one comfort from that was that Bradley has a contract that is not fully guaranteed until January 7—that would be this Friday—and the team had the option of waiving him and creating a roster spot.
Bradley is slated to make $2.6 million this season as a veteran minimum signing, though because of NBA rules, only $1.7 million of that counts against L.A.'s salary cap.
Now, though, Bradley has returned to his traditional form, playing great defense and opportunistic offense. With a decision on Bradley's future with the team looming, coach Frank Vogel was asked about Bradley on Sunday after he scored 14 points and logged four steals in the win over Minnesota.
"He's done a great job for us all year," Vogel said. "A difficult circumstance for him, bouncing around early in the season and obviously he is a part of what our culture has been the last couple years. He started with us two years ago and really, we just talked about it, having two-way players. He sets a great tone for us on the defensive side of the ball and he has really brought a lot on the offensive side as well."
Lakers Postgame: Frank Vogel (1/2/22)Subscribe for the latest Lakers' content: youtube.com/channel/UC8CSt-oVqy8pUAoKSApTxQw Follow us on Facebook: facebook.com/lakers Follow us on Instagram: instagram.com/lakers/ Follow us on Twitter: twitter.com/Lakers Get the Lakers app: nba.com/lakers/multimedia…2022-01-03T06:10:12Z
Bradley Had a Very Slow Start to the NBA Season
Bradley's spot in the NBA was on tenuous ground to start the season, as he was signed in training camp as a veteran insurance guard by the Warriors, but was cut by Golden State in favor of Gary Payton II. The Lakers picked him up but he never quite hit his stride early in the year.
In the Lakers' first 21 games, Bradley averaged 5.0 points and shot just 38.1% from the field and 34.9% from the 3-point line. In his last nine games, interrupted by a stint on the COVID-19 health and safety list, he is averaging 9.8 points and making 48.6% of his shots from the field and from the 3-point line.
He has made a 3-pointer in nine straight games and is averaging 1.8 steals in that span.
Bradley Has LeBron's Backing
Most important for Bradley, though, is that he has generally played well when LeBron James is on the floor, acting as a floor-stretcher with his perimeter shooting when James (and others) find themselves double-teamed. It is no coincidence that Bradley has been at his best when James is healthy and on the floor.
"What he built his hat on his whole career is the defensive side of the ball, and that is what we are as a group, that's what coach Vogel is, that's what we hang our hats on as a group," James said on Sunday. "So, it's an immediate fit, that's one. And he doesn't do anything he is not capable of doing, you know. He knows exactly how to make his mark on the offensive end around guys who handle the ball, guys that attract a lot of double-teams, guys that attract a lot of eyes. … Over the stints we have had him in a uniform, he has played extremely well for us. When he is on the floor he just makes play on both sides of the floor."
LeBron James postgame interview as Lakers def Timberwolves 108-103LeBron James postgame interview as Lakers def Timberwolves 108-1032022-01-03T05:57:54Z
Basketball, NBA
Follow Heavy on Lakers!
More Heavy on Lakers News
The Lakers have until the end of the week to make a call on the contract of a controversial starter. | slim_pajama |
Bengt Uggla 9 September 1894 26 February 1937 was a Swedish modern pentathlete. He participated in the 1920 Summer Olympics and finished fourth. His elder brother Bertil competed in various sports, including modern pentathlon at the 1924 Olympics. According to the gravestone of Uggla family, Bengt Uggla was a son of general Gustaf Uggla and held the rank of captain.
References
Category:1894 births
Category:1937 deaths
Category:Swedish male modern pentathletes
Category:Olympic modern pentathletes of Sweden
Category:Modern pentathletes at the 1920 Summer Olympics
Category:Sportspeople from Stockholm | wikipedia |
The Dodge Challenger is a legendary retro muscle car that delivers classic style and an on-road performance. Consumer Cash Discounts are applied before taxes and Bonus Cash Discounts are applied after taxes. Offers subject to change and may be extended or changed without notice.Classic Cars For Sale at Classic Car Deals offers many fine classic cars for you to choose from like Buy Classic Corvettes, Corvettes For Sale Near You, Classic Car.
In British Columbia, the incentive will be applied before taxes. You can also find excellent manufacturer incentives on our Dodge deals page.
Shop and save on thousands of discount OEM Dodge parts at Factory Chrysler Parts. All occupants should always wear their lap and shoulder belts properly.
Search pre-owned used car listings to find the best local deals.Chrysler, Dodge, Jeep dealership selling new and used cars and trucks.
The actual fuel consumption of this vehicle may differ depending on driving style, road conditions, vehicle options, etc.
Honda, Toyota, TRD, Scion, Nismo, Mopar performance parts and accessories for Chrysler, Dodge, Jeep, Honda, Nissan and Toyota.Chrome Data makes no guarantee or warranty, either expressed or implied, including without limitation any warranty of merchantability or fitness for particular purpose, with respect to the data presented here.Based on the latest available competitive information and WardsAuto Large Regular vehicle segmentation.Your actual fuel consumption will vary based on driving habits and other factors.
Voice commands of phone require a Bluetooth compatible phone.Visit the official website of Dodge, a brand of FCA US LLC that is marketed in the Middle East.Oil change intervals will vary based on excessive engine run times, operating conditions, maintenance schedules, and driving habits.
Find great deals on eBay for Dodge RAM in Miscellaneous Cars.AEC (Auto Export Corporation) is searching for potential UK dealers for Dodge and Ram vehicles following its appointment as an official importer and general.Provincial electric vehicle incentive programs are administered independently by British Columbia, Ontario and Quebec.
Certain features not available while the vehicle is in motion. iPhone must be within active cellular range.Find great deals on eBay for dodge minivan and plymouth minivan.
Find 2017 Jeep Patriot local offers, incentives and lease deals.Based on the latest available competitive information for minivans in the WardsAuto Small Van segment.
Android Auto requires the Android Auto app on Google Play and an Android compatible smartphone running Android 5.0 Lollipop or higher.WardsAuto - Wards 10 Best Engines of 2011, 2012 and 2013 - 3.6L Pentastar TM V6.
Bringing custom Dodge Ram accessories to your door at the best deals is. dodge ram accessories, dodge ram. This information is supplied for personal use only and may not be used for any commercial purpose whatsoever without the express written consent of Chrome Data.Based on the latest available competitive information and WardsAuto Middle Cross Utility segmentation.
With its spacious interior and practical style, the Caravan is perfect for group vacations and road trips.Total Discounts may vary from time to time and may vary considerably by model and trim. Phone must support Bluetooth Phone Book Access Profile (PBAP).Performance is limited by available traction, which snow, ice and other conditions can affect.Estimated payments are calculated based on the difference between the residual value and the Net Amount, plus any lease finance charges.Only use mobile phones and other devices, even with voice controls, when it is safe to do so.The Guardian - Back to home. make a. New car sales in the UK were down. | slim_pajama |
Worm Conflict
_Conflict: Prologue_
* * *
Amin slowed the car as he approached the smouldering wreck. A small plume of smoke drifted lazily upwards, framed by twilight. He stopped, left the engine running and the headlights on and stepped out of the car. He unholstered his gun and approached the carnage, his shadow spilling large onto the scene from the light of the car behind him. The rusted car was parked haphazardly on the dirt road, it's driver and two passenger doors open. Amin slowly made his way to the front of the vehicle.
The sight that greeted him would have turned his stomach, where it not empty. Melted flesh and melted steel, intermingled and intertwined upon the cars hood. He wished for his eyes to avert themselves, but he could not break his gaze from the charred mass.
He noticed some hair on the ground. Blonde and red. Unusual in these parts, though perhaps less so since the scattering of the Golden Terror. His thoughts froze. Two colours of hair. Two people. He looked back up at the twisted mound, seeing it now not as a whole but as parts. Too many bones for one person.
A gust of wind came over the hood of the car, carrying sand and smell. The smell did what sight could not and Amin turned away and retched, falling to his knees. He holstered his weapon and fumbled for his radio, stopping momentarily to compose himself. He breathed deeply and pressed to the button on the radio to speak.
"This is Officer Amin. Responding to a tip off about a plume of smoke on the North bound dirt road. I have a vehicle out of commission and two deceased, probably parahumans. Requesting a team for salvage and retrieval. I'm about ten kilometres from the station."
A melodic female voice responded. "We have two units responding to a potential shoot out at the well down South. No doubt someone trying to take more than their quota again. We can only spare one unit for you."
Amin sighed. "Fine." He paused. "Tell them to bring the containment gear." he glanced back at the wreck. "They're going to need it."
"Will do, Amin," the voice sang. "Over and out"
As the conversation ended Amin stared briefly at the radio, amazed at his young colleague's flippancy. It's not that they didn't crack jokes or make light before it all went down, but they were professional about it. Professional flippancy, another casualty of the apocalypse.
He made to stand, but was stopped as he noticed the black mark in the dirt below him. The shifting sand had covered it somewhat but and black streak trailed off the road into the long grass. He stood and turned, noting that the streak had come from the direction of the car. Another parahuman, maybe. He drew his weapon and a torch, flicking the latter on
"It never rains, but pours," he whispered while shining the torch against the yellow grass, illuminating a darkened and disturbed patch where the black trail ended. He smirked and made for the grass. It never rains around here anyway.
He brushed the grass aside and walked slowly forward, his head and shoulders bobbing above the grass line, but his eyes fixed downwards. The light of his torch guided his way, eventually falling on a huddled black figure on ground. He readied his gun. Always an unfair fight against these types.
The figure stirred under the light and looked up, brown eyes meeting his own. A kid? Amin lowered his gun and inched forward.
The child withdrew into itself, hiding under the black rag of what might have once been a blanket.
Amin holstered his weapon for a second time that night. "It's okay see, I'm unarmed."
The child looked at him with a confused expression on it's face. A boy, Amin decided.
Amin waved a hand in front of his mouth. "Do you understand?"
The child shook his head.
Amin pointed at the child. "You." He paused before continuing, then gestured towards the road and the wreck behind them. "You?"
The child paused, then shook its head again.
Amin relaxed. Hopefully not a parahuman. He stood and offered his hand to the boy. Gingerly the child took it and Amin hoisted him to his feet. He heard a rumbling in the distance and looked towards the road. A truck lumbered towards his car. He tugged on the boy's hand and the boy followed him to the road and into beams of his car's headlights.
The truck pulled up beside Amin's car and two men stepped out. One made his way to the back on the truck and one towards Amin. Both wore hazmat suits that would have looked cheap in the nineteenth century.
"Amin," said the one who approached them. "I thought you said no one was alive here."
Amin glanced down at the boy, who was staring at his own feet. "I guess I was wrong."
"Anything else you're wrong about, since we're the one's who'll be cleaning this mess up."
Amin narrowed his eyes and made to walk past the man, slapping him on the shoulder. "You better hope not, friend." He smiled without smiling and walked towards his car.
Smoke filled the air, seemingly everywhere thanks to a flickering fluorescent light.
The detective spoke. "Two parahumans, Amin?"
"Potentially one, sir. It was... hard to separate the details of the scene."
The detective stubbed his makeshift cigar out on his desk. "Shit, we barely get one incident a month. Sure, they're rising but -" He sighed. "We haven't got the resources. Some Warden sets up a few holding cells for us and drops off a barrel or two of containment foam every now and then. It's not enough!"
"We're a backwater, sir. Nobody gives a damn about us, if you'll pardon my language."
The detective waved a hand. "A _growing _backwater," he corrected, his voice growing louder. "We may have water issues, but we aren't lacking for food thanks to the herds. More people come here every day and those flying fuckers expect us to export some of our food while they won't even give us a water pipeline! I haven't showered in I don't know how long! The chief-"
Amin cut off the detective's rant. "What about the kid, sir?"
The detective huffed for a moment and leaned to look past Amin at the boy. "Protocol, put him in a cell until the next Warden visit."
"Sir! He's a child."
The balding man coughed. "Watch yourself, Amin. I don't write these rules, I just enforce them. The next Warden visit is in two days."
Amin gritted his teeth. "Of course, detective." He turned abruptly and walked towards the boy. Everyone's on the fucking edge today. As he brought the boy out of the offices and towards the cells, he heard the detective shout.
"Will someone fix that damn light!"
They walked towards the cells and Amin shifted until the boy was on his right. The passed the first cell and that's when the screaming began. The boy clutched onto Amin, tugging at his uniform.
"Uniformed scum! Murderers! Enablers! There'll be no justice here, not while these men are in charge!"
He heard a muffled thump against the door of the cell. Whatever metal the Wardens used for these cells, it was enough to hold a blaster. Another thump. A minor one at least. A moment later he heard another bigger thump in the distance behind them and winced. The girl in there had triggered last week. Taken out her entire family, or they had assumed they were her family. She wouldn't say.
He steeled himself against weak thoughts. Bitch tried to blow my head off. They'd gotten her with the containment foam, fortunately.
They made it to the cell. Amin had chosen the nicest one for the boy. It had a pillow and everything. He let the boy's hand go and gestured for him to go inside. The boy glanced at him and then walked inside.
Amin mined eating and drinking and the boy nodded his head vigorously and gave a thumbs up. He almost smiled, the child seemed to be coming back to life. He mimed for the boy to stay. The boy nodded once again as Amin left.
He tried to ignore the woman's screeching as he made his way down the hallway, but he found the hairs on the back of his neck standing up and his fists clenched.
The woman screamed. "What the fuck's going on!"
He rolled his eyes as he left the hallway. Thankfully, the kid was far enough down and the rooms sufficiently soundproof that the he shouldn't be able to hear her as anything more than muffled noise.
He fetched a bottle of water and some bread and made his way back to the hallway, where he found the detective screaming back at the woman through the door.
The detective was fumbling with his keys. "Fucking bitch! No wonder your family wanted to sell you! Shut up!"
Amin's eyes widened. He dropped the bottle and bread and sped down the hallway. "Ayub," he yelled over the screams of the detective and the woman as he came closer to the portly man.
Ayub spun around and snarled. "That's detective to you! Now go fix that damn light."
Amin stood startled, pausing long enough for Ayub to jam his keys into the lock of the cell and turn.
"Now, you who-"
Ayub was cut off by a flash of heat and light colliding with his face. He screamed and fell back, thrashing against the wall. Another flash hit his abdomen and he fell, both silent and to the ground.
Amin backed up and fumbled for his weapon as the woman emerged, bathed in a blue flame that crackled across her skin like electricity. That was new.
She growled at him, her features contorted with rage. "Where the fuck is it?"
Amin held his hand on his weapon, his thumb itching. He felt himself sweating. "Where's what?"
She looked down at herself. "The one who's doing this! I can feel it. Something pulling strings in my head, messing with my power!"
Crazy bitch. Amin glanced down at Ayub. No chance of saving him. He glanced down the hallway. The kid on the other hand...
The woman seemed to follow his gaze. "Down there! It's down there, isn't it!"
She conjured a ball of light in her hand and flung it at him. Amin dived. Too late, but the ball simply dissipated before it hit him. The woman appeared shocked at her attacks failure to land. Seizing the moment, he drew his gun and aimed just as the woman flung another attack. He screamed as the ball of searing heat hit his hands and the light blinded him. The gun misfired as it clattered to the floor. Disorientated, he slumped against the wall.
He brought his hands up and gazed at the blackness. He tried to move his fingers and failed. Behind his hands he saw the woman limping down to the kid's cell. He felt fear for the boy and then anger. The latter fuelled him as he followed her.
The glowing bitch yanked open the already ajar cell door. "I'll find you," she yelled into the cell, "even if I have to search this whole room!"
Amin leapt at the woman and wrapped his arms around her neck. The flames on her body burned him, but he didn't care. The bitch needed to die. He tightened his hold, bringing them both to the ground. He felt his hair catch fire and his clothes begin to smoulder. She struggled less and less and eventually stopped. The fire went with her. Both lacked for air.
Amin tried to move and his body screamed. He looked around for the kind and saw him standing by the bed, wrapped in a makeshift cloak from the pillowcase. He tried to move an arm towards the boy, but failed. He tried to speak and his burnt tongue made nothing but nonsense. The boy smiled, pointed at him and then gave a thumbs up. Amin passed out.
End file.
| fanfiction |
Evangelion Lo que buscas celebrar
«««««««««««««««««««««««««««»»»»»»»»»»»»»»»»»»»»»»»»»»»
Título original: Finding The Celebration
Autor: Yonathan Wang - yaanathn©pacbell..net
Traducción: Miguel García - garcia.m©gmx..net
«««««««««««««««««««««««««««»»»»»»»»»»»»»»»»»»»»»»»»»»»
¨
**Lo Que Buscas Celebrar**
¨
_Nota del autor: Ya va mucho tiempo, y mi vida degenera poco
a poco en una causa perdida. En un esfuerzo por sacar algo
significativo de mis devaneos, hace un tiempo empecé a pensar
en un proyecto y, ahora, espero que alguien lo lea, o que hasta
lea entre sus líneas, y extraiga así algo de estas pocas palabras.
Sabiendo que habrá de aquellos lectores, esta es una navidad que
puedo considerar rescatable, aunque sea sólo un poco. Y así, sin
más preámbulo, por favor.
_
¨
--Qué tal, Jefe --saludó desde el pasillo un Toji de muy buen
ánimo--. Buenos días.
--Sí --balbuceó Shinji en respuesta.
La puerta al otro lado del pasillo, por detrás de Toji, se entreabrió,
y pudo percibirse claramente la silueta de una soñolienta Asuka
mirando desde dentro.
--Qué irónico, verlos tan madrugadores en un día sin colegio.
--No se puede desaprovechar un día perfectamente libre --se
ufanó Toji, encogiendo los hombros con satisfacción--. Oye, Shinji
--urgió, punceteando afanosamente las sábanas de su amigo--.
Anda, que no tenemos mucho tiempo.
--¿Por qué tanto apuro? --intervino la pelirroja alemana. Ya no
estaba en su puerta, que estaba ahora cerrada, sino llamando desde
dentro, tal vez desde la cama--. Estamos en plenas vacaciones de
navidad, tarado.
--Bueno, a ti se te nota harto poco --declaró Toji con una tenue
traza de lástima--. Anda, jefe, hoy te vas a levantar temprano y
te va a gustar, sí o sí.
--¡Misato! --exclamó Asuka, su voz asordinada indicando que quizá
gritaba desde debajo de la almohada--. ¡Échalo!
--Shinji-kun --llamó Misato con voz bastante alegre. Lo que era una
sorpresa, dada la hora--. Tienes otra visita.
--¿En serio? --preguntó Toji entusiasmado, aunque el muchacho en
cama no lo estuviese--. ¿Quién...?
Se interrumpió tan de pronto que hasta Shinji se volvió hacia ellos
dos, por la curiosidad. O mejor dicho, se volvió hacia ellos tres.
PenPen estaba allí, y graznó un alegre saludo matutino para Shinji.
--PenPen quiere darte las gracias por darle de comer a diario, por
hacerle compañía y por salvar al mundo todos los meses --dijo
Misato, radiante.
Todavía amodorrado, Shinji exhibió una mueca de lamentación y
se volvió en la cama, hacia la pared.
Silencio. Unos graznidos más, seguidos por el sonido de pisadas.
Luego una sensación fría y pegajosa en una mejilla. Los ojos
de Shinji se abrieron de par en par al advertir que PenPen le
lengüeteaba la mejilla. Entonces, hizo lo que pudo por saltar
hasta el techo, gritando. Y entonces empezó la barahúnda.
««««»»»»
--El ojo de Shinji-kun va a estar bien en una semana -- anunció
la doctora Akagi.
Mientras, junto a ella, bastante calmado, se veía a Shinji Ikari,
que ahora lucía un parche en su ojo derecho.
--Ahora tengan la bondad de decirme --preguntó Ritsuko con
un tono más bien irritado en la voz--, ¿cómo un pingüino de
termas se fue a alborotar tanto como para casi sacarle el ojo
a un muchacho?
--No importa, Akagi-san --dijo Shinji.
--A ver... cómo fue... --empezó Misato, sonriendo abochornada
y rascándose la nuca. Dio una explicación del lío de la mañana,
y para cuando terminó, Ritsuko tuvo que esconder su diversión.
--¿Ves? Al principio es pura risa, hasta que alguien...
--¡Ya lo sé! --exclamó Misato. Por descabellado que pareciese,
agarró a Shinji de la mano y lo sacó de la sala de espera de la
sección médica--. Carajo... --Miró al muchacho que iba a su lado,
durante un momento breve--. Perdón, Shinji-kun.
--No importa --dijo Shinji, con sinceridad. Pese a los efectos
colaterales de lo sucedido en la mañana, por alguna razón el chico
no parecía lamentar el haber sido despertado de aquel modo.
--¡Cómo andamos, Shinji! --lo volvió a saludar Toji--. Suerte perra
--dijo a modo de consuelo al ver el parche--. Pero por lo menos en
una de esas te levantas la próxima vez --dijo con una sonrisa ancha.
--Sí, sí --contestó Shinji con un sonrisilla de resignación. Entonces
se le ocurrió algo--. ¿Misato-san? ¿Por qué te levantaste tan
temprano, en todo caso?
--¿Hm? ¡Ah! --Misato aplaudió ansiosa--. Fies...ta -- canturreó.
««««»»»»
Misato había insistido en revisar el parche ocular con maternal
prolijidad antes de convencerse de que bastaría, antes de salir
todos a hacer las compras navideñas. De modo que Shinji se sentó
obedientemente en el sofá de la sala mientras Misato efectuaba su
inspección. Toji saltaba por los canales ofrecidos en la televisión,
poniendo su mejor empeño en verse ocupado; la presidenta de clase
Hikari Horaki permanecía apostada en la puerta principal, mientras
Asuka reunía cuantas pertenencias pudiera necesitar antes de salir
con su amiga.
--¡Vamos! --exigió Asuka, dándole a Shinji un palmazo en la espalda
que fue un pelín demasiado entusiasta, precipitándose luego a su
cuarto en busca de sus cosas. La muchacha estaba claramente de
mejor ánimo tras su baño matinal, y ahora que la presidenta de la
clase estaba en la puerta, Shinji debía admitir que la época navideña
hacía bien incluso -y en especial- al ánimo de la Segunda Niña.
--¡Navidad! ¡Navidad! --festejaba la pelirroja.
¿Está cantando, se preguntó Shinji, oyendo el sonsonete de
Asuka, apuntando una mirada inquieta a la puerta de la muchacha.
Asuka pasó corriendo por su lado y estaba a punto de anunciar su
partida, cuando la frenó una pequeña idea. Se devolvió, mirando
al Tercer Niño hasta que éste se dio cuenta. El muchacho volvió la
cabeza como juguete a cuerda descompuesto, y preguntó:
--¿Q...qué?
--La Primera Niña llamó en la mañana --dijo Asuka con voz suave,
entornando los ojos para dar énfasis a la seriedad de su tono.
--¿Qué? --preguntó la voz desconcertada del joven.
--Eso --declaró Asuka--. Me dijo que te diera un recado.
Shinji, más asustado a cada segundo y preguntándose si la cabeza
de la alemana no se estaba expandiendo en tamaño y empinándose
por sobre él, preguntó con sumo tiento:
--¿Cuál?
Asuka respiró hondo antes de dar su respuesta. Ésta rivalizó con
el chillido más estridente que un loro de tres metros pudiera lograr:
--¡Feliz Navidad!
Cinco segundos después, la pelirroja ya se había marchado con
un simple adiós, dejando a un Toji, a una Misato y a un Shinji muy
aturullados.
--Au --murmuró la mujer.
««««»»»»
Aida Kensuke no tuvo palabra alguna al reunirse con ellos
afuera de los juegos de video. En cambio, prefirió pestañear y
reajustarse los anteojos, y pensar un momento antes de abrir la
boca para hablar.
--Picotazo. Pingüino --contestó Toji antes de que la pregunta fuese
formulada.
--¡Diablos! --masculló Kensuke--. Y yo que esperaba que fuera una
cicatriz de combate o algo así de macanudo. ¿Picotazo de pingüino?
Mientras el otaku desvariaba entre los cómo, porqués, y qué cosas
podían haber detrás de un parche en el ojo, Toji y Shinji decidieron
estamparse una sonrisa en la cara mientras meditaban qué clase de
obsequio le daría Misato al muchacho. En cuanto a la mujer de pelo
azabache, ésta esperaba que, eligiese lo que eligiese, no consistiera
en objetos afilados, ingredientes inflamables o con propiedades de
proyectil. Esta escena continuó durante un lapso de tiempo que
nadie midió.
--Pero --terminó Kensuke--, me imagino que así es más difícil que te
reconozca la prensa.
Los tres recordaron algunas de las noticias que habían visto en
televisión y que involcraban a Asuka Soryu Langley, Segunda Niña y
piloto de EVA Unidad Dos, primer modelo de producción. Asintieron
los tres con un dejo de desconcierto en las mentes.
--Vamos.
««««»»»»
--Los que proponen que Shinji-kun sea el que invite a Rei, que
levanten la mano --terminó Misato, levantando una mano, mientras
Toji hacía lo mismo. Aida los había dejado en los juegos de video
donde se habían encontrado. Esto dejó a Shinji, el único otro
pasajero del vehículo, sintiéndose un tanto estafado.
--Pero --se resistió--, pero a lo mejor no quiere venir.
--¿Quién sabe? --rebatió Misato--. No hay cómo saber hasta que
preguntemos. Además --Guiñó un ojo por el espejo retrovisor--,
puede que hasta le tenga un regalo a alguien.
--Eso --concordó Suzuhara, dándole un codazo al muchacho que
estaba a su lado luciendo cara de desgracia.
--Después de todo --reflexionó Misato--, una fiesta es buena
oportunidad de darle algo especial a alguien especial sin que
parezca especial. --Miró por el espejo retrovisor, esta vez a
Toji--. ¿Tengo razón, Suzuhara-kun?
--A ja já... --contestó Toji, cortado.
Shinji, sólo recientemente iluminado en relación a la supuesta
admiradora secreta de Toji (y no muy seguro, debido a la harto
ambigua explicación de Asuka), se preguntó por un momento
quién regalaría qué entre Toji y la presidenta de la clase, si es
que alguien regalaba algo.
--¿Y? ¿Qué dices, Shinji-kun?
--Pero no creo que ella tenga ningún regalo.
--¿Sí? --insistió Misato--. ¿Por qué tan seguro?
--Porque... --empezó Shinji, dilatando en busca de una respuesta--
...porque...
--¿Hm? --Misato miró hacia atrás, reclinándose un poco en el asiento
y esperado una respuesta.
--Porque ella nunca ha pedido nada. No sería correcto.
Toji soltó un suspiro y se recostó perezosamente en el asiento.
--Eso como que no se entendió mucho --masculló en un sentido tono
de irritación.
Shinji balbuceó en tono afirmativo, y no dijo nada más en todo el
trayecto. ¿Qué estoy diciendo, se preguntó.
««««»»»»
--¿Has conocido la nieve alguna vez, Shinji-kun?
--No --admitió el muchacho sin dificultad.
--Antes nevaba en el invierno --discurrió Misato, oyendo el cantar
de cigarras que a plena luz del día se colaba por la ventana de la
cocina--. La época de navidad no es como antes.
Shinji no dijo nada y se preguntó qué querría decirle Misato.
Ella no se andaba con bromas, estando sentados a la mesa del
comedor: medio de relax y distensión en las comidas, o escritorio
de conferencias. Y la situación ahora caía en esa última categoría.
Hikari estaba tras ellos, habiéndose ofrecido a preparar comida
para el encuentro. Shinji le había ayudado durante un rato antes
de que Misato pidiera tener una breve conversación con él.
--Shinji-kun --dijo Misato, solemne--, yo nada más quería que te
sintieras apreciado. Todos los demás están muy agradecidos por
todo lo que tú has entregado.
--Misato-san, está bien --contestó Shinji, a la ligera--. Ya lo sé.
--Shinji-kun --empezó Misato con seriedad y quizá hasta un tono
de tristeza--. Pensé en eso que dijiste hoy.
"En Rei --explicó Misato antes de que el muchacho pudiese
preguntar. Se inclinó un tanto hacia adelante, haciendo girar la lata
de cerveza sobre el fondo--. Creo que lo que quisiste decir hoy es
que ella nunca ha pedido nada a cambio. ¿Cierto?
--Sí --contestó Shinji con cierta indecisión, sabiendo que Misato
lo había expresado de forma más cercana a lo que él había
querido decir en el vehículo, pero también preguntándose si era
completamente eso. Clavar la mirada en su lata de té le ofreció
poca ayuda para dilucidar qué era lo demás que había querido
manifestar.
--Así que creo que le debemos al menos un poquito --razonó Misato
prestamente.
¿Eso era, se preguntó Shinji. A lo mejor. Asintiendo, se levantó
para irse. Hikari se detuvo en pleno rebanar de verduras; había
escuchado la conversación, probablemente pese a sus esfuerzos
por no oír. Shinji no advirtió nada de aquello, yendo simplemente
a ponerse una chaqueta.
--Arriba ese ánimo, Shinji-kun --entonó Misato en su tono festivo
de siempre--. Todos deberían estar contentos en navidad.
Le dio al muchacho su sonrisa más alentadora.
««««»»»»
Mirando desde la puerta entreabierta se hallaba Ayanami Rei, para
ver quién había venido.
De pie afuera, intentando encontrar un intermedio entre mirar la
profundidad de esas joyas carmesí y pecar de impertinente, se
hallaba el hijo del comandante.
--Ikari-kun --saludó la muchacha.
Shinji cayó en la rápida cuenta, tal como había esperado en parte,
de que Rei, no teniendo nada que ponerse además de su uniforme
de colegio, vestía poco más que una blusa y ropa interior. Era de
pies a cabeza una conglomeración de blanco y negro. Tan pálida
parecía, en contraste con la oscuridad tras la puerta. Sus ojos, por
el contrario, estaban brillantemente iluminados.
--Eh, sí --profirió él en respuesta.
--¿Estás bien? --preguntó ella.
--¿Ah? Sí --respondió él, entendiendo que se refería al parche que
llevaba en el ojo. Un momento después, Shinji se daría cuenta de lo
paupérrimo de su presentación. No era buen comienzo para una
invitación.
--Pasa --ofreció ella, abriendo la puerta por completo y volviendo a
adentrarse en la habitación.
Shinji obedeció, pero no sin detenerse un momento. Al abrirse del
todo la puerta antes de que ella volviera a entrar, la luz de la tarde
se había colado al interior y, por un segundo, la persona de Ayanami
había quedado bañada en un aura de aceptación, de vida y de
luminiscencia. Y era eso lo que daba a Shinji la bienvenida a
ingresar. Al quitarse presuroso los zapatos en la entrada, pudo
oír claramente una hornilla siendo encendida.
Shinji decidió esperar antes de ir al grano.
El cuarto seguía sin cambio alguno. Las paredes estaban podridas
de moho, y hacía falta urgente de alguna iluminación interior.
Sangre y vendajes ensuciaban un rincón del piso. Polvo frío volvía
pálida la ventana, trocando a la única fuente de luz del cuarto en
un matiz de blanco fantasmal. La construcción de afuera sonaba
como si no fuese a ser terminada en toda una vida. El interior del
refrigerador de Ayanami era quizá el aspecto más invitante de su
vivienda. Tal vez, él pudiera ofrecer ayudarle a hacer el aseo
alguna vez. Si se animaba, claro estaba, o si ella se tomaba la
molestia.
--Ten --ofreció Rei, alcanzándole una taza de té caliente. Sacado
de su cavilar, Shinji aceptó la taza, dubitativo.
--¿Qué pasa? --preguntó ella alzando la taza.
--Ah --empezó Shinji--. Yo, o Misato, o... o sea, todos, todos
quieren saber si te gustaría venir al departamento de Misato... a
celebrar las fiestas.
Cayó un breve momento de silencio, en que Shinji rememoró cuánto
más fácil le había parecido en teoría esta tarea que en la práctica.
--Creo --explicó Shinji-- que Misato tiene regalos para todos... a
ella le encanta hacer estas cosas, y tal vez Asuka tiene algunos
para algunas personas, y...
--Yo no tengo ningún regalo --le informó la niña pálida--, para nadie.
--Ah --murmuró Shinji, rascándose despacio la nuca con la mano
libre--. Yo... tampoco tengo ninguno --pensó en voz alta. Miró
hacia un costado, cosa que fue notada de inmediato por un par
de profundos ojos rojos.
--Me imagino... que debería lamentar no haberle comprado algún
regalo a nadie --admitió Shinji con una esforzada nota de risa en
el tono.
--Entonces --calculó Rei--, yo también lo lamento.
Por alguna razón, Shinji sintió algo enfermizo en el estómago con
esas palabras.
--Ah --logró decir.
--¿Qué pasó? --preguntó ella.
--¿Esto? --contestó Shinji, señalándose el ojo--. Fue una broma
cruel --dijo con una risa suave--. Pronto va a estar bien, aunque
es un poquito incómodo.
--Entiendo --contestó Rei con calma--. Es bueno que sólo sea una
herida leve.
--Eh... sí --concordó Shinji, desviando la vista y mirando la taza
de té--. Bueno...
Sin más que decir, simplemente asintió con la cabeza, dejó la taza
y empezó a dar media vuelta camino a la puerta.
Ella lo siguió para al menos abrir la puerta mientras él se ponía los
zapatos. La puerta se abrió con un rechinido pausado, que sonó
estridente en los oídos de Shinji. Cuando el ruido cesó, el muchacho
dejó salir una exhalación que no había podido sacar, con la mente
hecha un torbellino.
--¿Estás bien? --preguntó una voz calma. Sonó justo con la
intención con que quizá había sido dicha... es decir, profesional.
Empero, sus ojos podían haber casi musitado una traza de
preocupación.
--Sí --respondió Shinji, asintiendo con la cabeza para no tener que
mirarla al salir.
La puerta rechinó detrás suyo al caminar. Adentro, la Primera Niña
concentró la atención en su respectiva mano: puesta en la manilla
de la puerta, la bajó para cerrarla. No se cerró. En cambio, una
mano empujó del otro lado de la puerta, evitando que se cerrara.
Con curiosidad, Ayanami miró por la puerta apenas entreabierta.
Era Shinji Ikari, que la miraba sin titubear, aunque no poco agitado.
Antes de que Rei pudiese hablar, el muchacho contestó:
--No tienes por qué lamentarlo --le informó--. Porque... o sea...
Pese a su tono tembloroso, el Tercer Niño parecía más bien calmo.
Así lo vio ella con único un ojo asomado por entre la puerta y el
marco, y viendo con eso sólo una estrecha mitad de él. El muchacho
pestañeó una vez y, entonces, pese a la expresión amedrentada
que creía tener, continuó en un tono más categórico:
--Nadie --dijo-- podría pedirte más.
Con eso, cerró el ojo y asintió con firmeza, o quizá hizo una
reverencia leve:
--Gracias, Ayanami-san.
Con apenas una ranura de visión entre la puerta y el marco, Shinji
no pudo ver la reacción de Ayanami. Muy probablemente no había
reaccionado mucho, pero él mantenía la esperanza. Entonces, la
respuesta de la muchacha volvió todo cuanto él esperaba inesencial,
redundante:
--Ah --dijo ella, casi sin voz.
¨
**fin**
¨
_Nota del autor: agradecimientos especiales a Toh Ee Loong, sobre
todo por señalar un error, pequeño pero crítico, del primer borrador._
End file.
| fanfiction |
Why doesn't water burn?
**Hydrogen** is flammable, and for any fire to burn it needs **oxygen**. Why does a compound made of hydrogen and oxygen put out fires instead of catalyzing them? I understand that hydrogen and water are chemically different compounds, but what causes water to be non-flammable?
You can think of water as [the ash from burning hydrogen](http://www.straightdope.com/columns/read/1244/water-contains-hydrogen-and-oxygen-why-doesnt-it-burn): it's already given off as much energy as possible from reacting hydrogen with oxygen.
You can, however, still burn it. You just need an even stronger oxidizer than oxygen. There aren't many of them, but [fluorine](https://en.wikipedia.org/wiki/Fluorine#Reactivity) will work,
$$
\ce{2F2 + 2H2O -> 4HF + O2}
$$
as will [chlorine trifluoride](https://en.wikipedia.org/wiki/Chlorine_trifluoride#Reactions):
$$
\ce{ClF3 + 2H2O -> 3HF + HCl + O2}
$$
This is the reaction that occurs when hydrogen combusts:
$$
\ce{2H2 + O2 -> 2H2O}
$$
Similarly, this is the combustion reaction for methane, a representative fuel:
$$
\ce{CH4 + 2O2 -> CO2 + 2H2O}
$$
Water is a *product* in both of these reactions. Thus, water represents something that has already been oxidized by oxygen, and as such there is little further energetic gain to be made by trying to react it again with oxygen.
$\ce{H2O2}$ exists, and could be what you expect by *burning* water (since burning is really oxidizing, or adding oxygen.)
However, in stoichiometric proportions, here is what would happen:
Either further burning with outside oxygen
$$
\ce{2H2O + O2 <--> 2H2O2}
$$
or decompose water to get oxygen, and reject hydrogen:
$$
\ce{2H2O <--> H2O2 + H2}
$$
To determine if that can work, we can simply compute the energy result:
* $\ce{H-H}$ bond energy is $432$,
* $\ce{H-O}$ is $459$,
* $\ce{O-O}$ is $142$,
* $\ce{O=O}$ is $494$
(all in $\mathrm{kJ/mol}$)
Also, $\ce{H2O}$ is $\ce{H-O-H}$ and $\ce{H2O2}$ is $\ce{H-O-O-H}$.
For the first equation, we have:
* $2 \times 2 \times \ce{H-O} + \ce{O=O} = 2 \times 2 \times 459 + 494 = 2330$
* $2 \times (\ce{H-O} + \ce{O-O} + \ce{O-H}) = 2 \times (459 + 142 + 459) = 2120$
* Result is $-210\ \mathrm{kJ/mol}$
For the second equation:
* $2 \times 2 \times \ce{H-O} = 2 \times 2 \times 459 = 1836$
* $(\ce{H-O} + \ce{O-O} + \ce{O-H}) + \ce{H-H} = (459 + 142 + 459) + 432 = 1492$
* Result is $-344\ \mathrm{kJ/mol}$
So we see that both reactions are endothermic, so what is more likely to happen is:
$$
\ce{H2O2 + H2 -> 2H2O}
$$
$$
\ce{2H2O2 -> 2H2O + O2}
$$
As a matter of comparison:
$$
\ce{2H2 + O2 -> 2H2O}
$$
Has the following energy:
$$2\times 432 + 494 \ce{->} 4\times 459$$
This is an exothermic reaction with an energy of $+478\ \mathrm{kJ/mol}$
This becomes intuitive once you accept that any chemical compound will 'want' to be in the state with the lowest energy, the ground state for a given temperature and pressure. For example, if you plot the energy of the system of two hydrogen atoms against the separation of the atoms, it looks like this:
So when you bring together two hydrogen atoms, they form a molecule and release an amount of energy $D\_e$. The $\ce{H2}$ molecule is the ground state for hydrogen, so at room temperature and pressure, you would only expect to see hydrogen gas in the form of molecules. It's difficult to draw an analogous graph for water because the molecule has more degrees of freedom (in fact, you would need to draw a seven-dimensional graph), but you would find $\ce{H2O}$ as the ground state of a system with two parts hydrogen to one part oxygen.
So back to the question: why does water put out fire instead of catalyzing it? It really depends on what you are burning. Let's assume it's wood, which is mostly carbon and hydrogen, but for the sake of simplicity, we'll just use methane, which is similar:
$$\ce{CH4 + O2 -> CO2 + 2H2O + energy}$$
The energy released on the right-hand side of the equation is the 'burning'. The ground state of most systems involving carbon, oxygen and hydrogen is some combination of carbon dioxide gas and water. This combination has the lowest energy, and to get anything else, you would have to pump energy into the system.
However, water isn't the ground state of all chemical systems, for example, sodium, hydrogen, and oxygen. This can be seen if you Google a video of sodium reacting with water. In this case, the ground state of the system is sodium hydroxide and hydrogen gas, so the water does 'burn' in this case:
$$\ce{2Na + 2H2O -> 2NaOH + H2}$$
Because the hydrogen in water is already oxidized. When magnesium burns in water, the magnesium is being oxidized because the magnesium takes (binds with) the oxygen from the water molecules. This causes the release of hydrogen gas, which would/could burn in air (air is about 1/5 oxygen, 4/5 nitrogen) to form water again.
When different chemicals react, they form products that have completely different properties than what went into them.
In this case, hydrogen and oxygen are both very reactive, which is why they react together (or 'combust') to form water. The water that is formed is much less reactive, and does not easily react with oxygen, and so will not burn.
Because water is so non-reactive, it's interaction with the fire is entirely physical. It absorbs a lot of heat very quickly and prevents oxygen from getting to the fuel. Between those two effects, it's the simplest way to put out a wood fire.
Water is already burnt hydrogen:
$$\ce{H2 + 1/2O2 -> H2O}$$
The reaction of oxidizing water ever more (to peroxide, for example) [is non favorable and the peroxide will decompose as](https://en.wikipedia.org/wiki/Hydrogen_peroxide):
$$\ce{H2O2 -> H2O + 1/2O2}$$
with ΔH of −98.2 kJ/mol and a ΔS of 70.5 J/(mol·K)
| stackexchange/chemistry |
The 2002 Asian Taekwondo Championships are the 15th edition of the Asian Taekwondo Championships, and were held in Amman, Jordan from April 26 to April 28, 2002.
South Korea dominated the competition, winning twelve gold medals.
Medal summary
Men
Women
Medal table
References
Results
External links
WT Official Website
Asian Championships
Asian Taekwondo Championships
Category:Asian Taekwondo Championships
Taekwondo Championships | wikipedia |
fanfiction |
|
Q: Four Dimensional Matrix I have some multiple questions regarding 4D matrix. I understood that any element of a 4d matrix is itself a 2d matrix. Let $A$ and $B$ be two 4d matrices, then how to find $AB$, i.e. their product? Next is how to define identity matrix in case of 4d matrices? And last, how to find the inverse of a given 4d matrix?
| slim_pajama |
Naruto, Rosario + Vampire 1. The Choice
Just the start of something meant to keep the boredom away. I'm not sure how long this will turn out to be, but in my mind it is a pretty comprehensive story. It will likely mix up events and time lines in the Rosario Universe a good deal, but ultimately hold true to the overlying themes. Writing a canon story with a non canon character is just not appealing. Besides, this is a Naruto-centric story.
I hope you all enjoy the story. I appreciate reviews, and offers to beta other works.
Notes at the end.
* * *
**The Path between Humans and Demons**
_Chapter 1: The Choice_
_Updated: 12/20/2011
_
* * *
It didn't matter how deep his dreams would go. His memories hunted him down, tearing at him when he was his most vulnerable.
He could see fire. Burning forests. Homes lying as ash in the streets he swore to protect.
Cries of the dead rang in his ears. The silence of the dead weighing on him.
Pain. His pain. Their pain. His body's pain after striking down his opponent. His heart's pain at seeing everyone he cared for dead.
He had sealed himself so that he could rest. Hidden so none could seek what was trapped within him.
All that he had left were the dreams.
Yet something was calling to him. Something like Chakra, yet warmer. For the first time in centuries he felt loved. And as he felt it weakening, he felt as if he remembered something important.
Even if it was only for a moment, he wanted to stand up and protect something precious again.
* * *
Tsukune was moving before he had fully thought on what he was doing. Moka-san was about to land another blow on the defenseless Kurumu-chan, and he couldn't bear to watch the fighting anymore. He had seen the power this inner Moka-san possessed, and he truly believed it was enough to break the other girl.
Before he had made it halfway though, the world suddenly grew tense. A force so heavy it stole his breath away had entered the clearing. For a moment he could imagine his death flashing before his eyes. Images of claws, teeth, fire, and tempests filled his mind. The shock of it sent him to his hands and knees. Whatever this power, it made Moka-san's look paltry and weak.
Then it was gone. As if it had never existed, leaving a void in its wake. It was as if the color had been drained from world. Leaving it gray and lifeless.
Looking up, he was greeted with the sight of a smiling blonde boy only a few years his senior. Judging by his demeanor, he didn't appear concerned by the fight he had landed in the middle of. Though, with the power he held that seemed hardly surprising. In fact, all he was doing was looking around curiously at everything in sight.
Still, something about the boy sent his hair to standing on end. Even with his youki hidden, he _looked_ dangerous. Outwardly he seemed harmless enough. The sun kissed blonde hair and blue eyes, signs of foreign blood, seemed to give him a cheery look. He even had a set of whisker marks that, while a little strange looking, helped to sell the appearance of someone friendly. But it was everything else that had him on edge.
Tsukune was not a fighter by any means, but he could tell this stranger was strong. His build, well over six feet, was lean and muscled. And he held himself in a way that looked like he was ready for a fight, even if he gave the impression of being nonchalant.
"Now why would two cute girls be out here fighting?" The stranger angled himself to more fully cover Kurumu-chan, and placed his hands behind his head, smiling at the vampire.
Moka-san crossed her arms, scowling as she tossed her silver hair back with a flick of the head. "My quarrel isn't with you. So unless you want to get hurt, move."
The mysterious teenager cocked his head to one side, looking at the Vampire oddly before he looked over his shoulder at Kurumu-chan. Turning around fully, he knelt down next to the succubus. "Was that mean old lady back there picking on your? Is that what happened?"
Moka-san's eye twitched once, and her voice got especially cold. "What was that?"
"Seems her hearing is going too," he sighed. "Are you all right? Let me guess what happened. The old lady got jealous that you're way cuter than she is. Am I right?" Despite her obvious confusion, the blue haired girl looked slightly flushed at his praise. Before Kurumu-chan could say anything, Moka-san ran at the boy, drawing back a leg to kick him.
The only thing she hit was a rotten log, destroying it in a shower of splinters.
"Woah, dangerous lady there. Say. You're going gray, have a huge chest, AND you have super strength? Your clan name wouldn't happen to be Senju by any chance, would it?" Above them, the blonde was standing on the highest branch of the tree while holding Kurumu-chan bridal style. The demon girl seemed to finally shake off her shock, though, and jumped away from the blonde, using her wings to touch lightly upon the ground. At all this, the boy just pouted. "Look. You scared devil-chan away."
His opponent growled, jumping high to deliver one of her signature round house kicks in an attempt to shut him up. Tsukune gaped as the man only leaned back far enough to let the kick just miss his nose. Continuing with her momentum, Moka-san continued to try and pummel on the blonde, only to keep missing as he dodged each strike. The man wasn't even faster than Moka-san. If anything he appeared to be moving like an ordinary human, yet he was dodging each strike as if he had known where she would be attacking from.
With a final roar, Moka-san tried one last hay-maker punch, forgoing her refined style of fighting for a rage fueled attack. Smirking, the man palmed her bicep, halting the attack as he stepped inside of her guard. Placing his other hand on her forehead, he pushed the vampire off the branch they were standing on. Moving quickly, Tsukune ran to catch her, collapsing under her body weight, but at least preventing her from being hurt.
Looking down at the normally inflappable inner Moka, he was surprised to see her looking stunned and at a loss for words. In a violent move, she grabbed the Rosario and reattached it to her collar. In a way, the action made Tsukune think she had wanted to sulk in private.
He looked up at the sound of a slap, and was surprised to see Kurumu-chan's hand raised and the blonde's cheek turning red. "What is wrong with you?" The succubus was raging now, leaning in close to the blonde's face. "You could have killed her!"
Tsukune blinked. He wondered if this was a good time to remind the girl why they had originally come to this clearing. Still, the man looked calm enough in the face of the angry demon. Instead he just took to scratching the back of his head and looked at Tsukune. "So...mind explaining what the hell is going on here?"
* * *
Naruto sighed.
He always did seem to land himself in the largest mess possible. He had hoped that after a thousand years he would be cured of that little problem, but it seemed some god was still counting on him to provide morbid entertainment. What was worse was that he couldn't remember what it was that had convinced him to wake up.
Somehow he woke up to a school full of monsters. In the middle of a fight between a vampire and a demon.
At times like these, he understood why Baa-chan had started to drink.
Still, in a way it was good to stretch his muscles again. Now that he was awake, there wasn't much he could do about it. It seemed there were problems brewing in this new world, and all knowledge of what he once was would have faded into obscurity. It would be safe to stay here so long as he was careful not to call attention to the power he held inside.
And there was always the silver haired girl vampire. She reminded him of some of the clan members he had known back in the day, and aside from her wanting his blood, pun intended, she had made for a good time.
"So, let me get this straight," Naruto said, pacing back and forth along the front of the abandoned classroom they were using. "This is a school for monsters. And the whole point of it is to teach them how to interact with humans without being discovered. Which I totally don't buy since most of the monsters _I _knew would rather eat a human than play dress up as one. And that girl over there," here he pointed at the unconscious brunette, "is a vampire. And the one I saved is a succubus."
The Tsukune kid nodded solemnly. "That's right."
Naruto laughed. "Right. And I thought _I _had a hell of a time at school. You really got the short end of the stick, didn't you?"
"What do you mean?" The average looking boy was looking too nervous, and Naruto rolled his eyes. Boy couldn't out bluff Tsunade in a game of poker with that face.
"What I mean is that you're clearly a human. What has a human all mixed up with monsters like these? They put you on the lunch menu?"
The boy looked scared half to death, looking around wildly as he put a finger to his mouth in a gesture to keep quiet. "Shh! I'm not _supposed_ to be here. I have no clue how I ended up getting admitted to this place. If I'm found out, though, I am as good as dead. So please, don't tell anyone." Tsukune pointed at the girl resting behind him. The vampire was still asleep, and looked far kinder for it. "Moka-san here is the only other person who knows. But aside from her, this has to stay a secret. I'm begging you."
Naruto scratched his nose. "Wasn't like I was going to tell. I'm human too, and I'm not looking to bring too much trouble down on my head either. Though it makes you wonder what kind of school would teach its students to get along with humans, then kill one if they ever screwed up enough to let one in." He chuckled, "Not like it worries me, of course. Monster or not, the Rokudaime Hokage is no easy target."
"You're human too?" Tsukune looked confused. "But what about that youki before? And the fighting. I've never seen a human who could hope to take on Moka-san and survive."
Chuckling, Naruto walked over and placed a hand on the kid's shoulder. "It's called chakra. Something that all human's can do. At least, I think so. I never did pay close attention to the theory in school. And as for the fighting, well, I was already fighting people that make her seem like a harmless puppy when I was 15."
"What do you mean? You look hardly older than 18. And what kind of enemies could be so strong that -" Tsukune looked ready to go on, but Naruto held his palm up, silencing the boy. A moment later the devil girl, Kurumu-chan if he remembered correctly, entered the room. With a large smile and a skip, she latched herself onto Tsukune's arm before turning to glare at Naruto.
"All right you! Move away from Tsukune before you hurt him too. I already asked the teachers, and they don't know any student that matches your description. So you better be ready to get kicked out when they find you here."
"Umm, Kurumu-chan," Tsukune interrupted, looking down at where she was hugging his arm to her chest. "It's not that I don't appreciate your worry, but, about earlier, um..."
Naruto smiled at the succubus. "What he means," he said in a chipper voice meant to annoy her, "is that you just tried to kill him and his friend. Which begs the question why you're clinging to him now." The other boy nodded. "And besides, you're so mean devil-chan. I come out of nowhere like a good hero, save you, and you were the bad guy all along. Shouldn't I be the one getting thanked?"
Naruto pouted after casually leaning back to avoid a swipe of her tail.
Kurumu nuzzled her head into Tsukune's shoulder. "Well, I was wrong. I saw you moving to save me, which shows how brave you are. Just like how you saved Moka-san. I think I could fall for a guy like you, Tsukune."
The boy was saved an awkward situation when a groan from Moka caught all their attentions. Sitting up, legs straight out in front of her while she rubbed her eyes, she looked like a little child waking from a nap. "What's going on," she murmured.
Tsukune carefully pried himself away from Kurumu, going over and kneeling next to the vampire. Placing a hand lightly between her shoulder blades, he turned her just enough so she was facing Naruto. "We're in school, talking to Naruto-san here. He helped us outside when things got a little heated, and made sure that none of us got hurt. Isn't that right, Kurumu-chan?"
The succubus crossed her arms and turned away from Naruto. She gave a grudging grunt of agreement, and Naruto beamed at her, which only caused her to turn further away. Turning to the other boy, he gave Tsukune a thumbs up before walking over to kneel in front of Moka. "Nice to meet you Moka-chan. I have to say you're a lot less scary when that old hag is in that necklace of yours."
Moka looked confused, but bless her innocent heart, hid it well. "It's a pleasure to meet you too, Naruto-san." Moka bowed her head, "I'm sorry if we inconvenienced you."
Naruto waved it off. "Don't worry about me." Leaning closer, he stage whispered so everyone else could hear, "Though, if you could get Kurumu-chan to stop being so mean to me, I'd be grateful."
Without looking in their direction, Kurumu's heel came down on his instep, causing Naruto to let you large tears. "See what I mean? Won't you make her stop before I lose my toes?"
"Kurumu-chan, please stop hurting Naruto-san," Moka sighed.
The blue haired girl gave Naruto one last glare at Naruto before storming to the door. "Fine. But remember, if you want to be such good friends with this idiot, then it will be all that much easier for me to win Tsukune's heart." Opening the door quickly, she stepped forward without looking, her face smashing itself into that of an older woman with long dreadlocks. Next to her stood another lady whose hair was styled in a manner resembling cat ears. And both of them were staring at Naruto intently.
Sighing, Naruto stood up and moved slightly away from the teachers. "Seems like you guys finally decided to stop hovering in the hallway. Which means that your superior wants the inevitable meeting with me where he makes veiled threats against my person. And just when I thought Kurumu-chan here was about to go get some ramen with me."
"In your dreams, blondie."
"Now now Kurumu-chan. We can discuss my dreams and the part you will play in them later. First, I have to run." With a salute, Naruto gathered some chakra, and before the teachers could close the distance to them, he teleported out of the room. Going to the place where he felt the least chakra or energy at all, he ended up in a large underground chamber. He groaned. It always had to be an underground chamber.
Still, it would work.
He had every intention of going to see that headmaster. Eventually. If he had faced a student with a low jounin's ability, he wasn't sure what he would be facing when he met the person who ran this school. And he had his secrets to keep. While he could hide his chakra well, there was no guarantee his control wouldn't slip soon and give up the game. He already knew he could handle himself in a fight with only a small amount of chakra. The people of this time didn't appear to be as adept with the combat arts as he was used to. True, he had only faced a student, but from the sound of it, a vampire was a big deal. If he could take down one of those, he should be alright against most opponents.
Calling on a handful of clones, he got to work.
In a deserted location like this, the seals he would place to mask all the energy within his body would go unnoticed. No one would be the wiser when he sealed his powers.
At the cardinal points of the room, he began to scribe the intricate seals required. North, beseeching the gods of air and sky for their wisdom. East came the cleansing fires. South was the purity of the seas, the ability to mold the energy into the correct form. And finally earth to the west to stabilize the elements, and bring its form.
Kanji began to cover the floor, until it left a small circle for him to sit within. Four clones stood at the key seals, ready to activate it with a flare of chakra. Taking a deep breath, he sat in the middle of the design, and gave a single nod to his clones.
The chamber filled with a bright blue light as his seals came to life, the symbols and shapes forging the energy into something new, something meant to trap his powers under many strong barriers. He would only be able to access them in the most dire of circumstances now, and none would be the wiser. He refused to have another mad man chase him down for the being living inside of him.
A few moments later it was over. The chamber was quiet. Empty of all the seals and all other life. Sitting there panting, he clenched his fist, sensing the amount of energy within him. He had about the same energy a chuunin would have had in his day. That allowed him the use of all but his most powerful jutsu, only he would have to use them more sparingly from now on.
There was one way to remove the seal, but he hoped it would never come to that.
Suddenly, he twisted around as the sound of a footstep drew his attention.
Stepping out from behind a rock was a strange man. One with his face hidden in shadows, and nothing but a soft gleam coming from his eyes. He wore a strange white pair of robes, and it put him on edge to know this man had gotten the drop on him. "Who are you, and how did you get in here?"
"I believe that is my line. No matter. I am the headmaster at this school, and I walked." Naruto kept his eyes on the man as he walked towards where a cardinal kanji had been. The man inspected the ground for a second before turning to face him again. "Interesting youjutsu you just used, young man. Would you mind telling me what it was you were doing?"
Naruto crossed his arms, using the motion to hide the fact his hand had gone to a hidden kunai kept in the folds of his vest. "Depends. Are you going to answer my second question or not?"
The man grinned, showing off teeth that were just a touch too white to be normal. "A suspicious mind. Wonderful. I'm not sure what sort of magic you were using, but when it blocked off the feeling of youki from this place, I knew something was wrong. There was so much strange energy in the air, it was easy to enter unnoticed. I also must ask what happened to your dopplegangers. I've never seen a technique quite like it, and they disappeared before I could get a good look."
Silently cursing himself, Naruto relaxed his senses for a moment. It was true. The chamber was not filled with chakra, which he had been looking for, but it seemed to be filled with some other type of energy. Clearly it was the energy that these monsters seemed to favor.
Naruto smiled. "It's a secret, you know. I thought I wasn't supposed to give away what sort of monster I was. Are you testing me headmaster? I admit, I should have come to you first about enrolling, but I got distracted and before I knew it, had to take care of a few things."
"Oh ho? Really now?"
Clearly the man didn't believe Naruto's story, but he had him in a corner. His own rules said that he was to keep his 'monster form' a secret. Unless he wanted to break that rule and force Naruto's hand, he wouldn't be allowed to pry anymore. At least, he hoped so.
"You're certainly right," the headmaster began, "excuse my prying ways. Whatever your ritual was for, I can no longer sense your inner beast, and so I cannot complain. A most excellent disguise." Naruto felt a drop of sweat collect on his brow, wondering how much the man knew already. "Ahh, but look at me rattle on. If you could just give me a name, I'll make sure to have your student registration taken care of right away."
"Uzumaki Naruto."
Nodding, the headmaster began to leave the chamber. As he reached the door, he stopped for a moment, not bothering to turn around. "Welcome to the Youkai Academi, Uzumaki-san. I do look forward to seeing what you and Mr. Aono will accomplish." And with that, the man was gone.
Naruto stood there, waiting to make sure the man was truly gone. He let out a shaky breath before he began to gather his sealing equipment. He had a feeling that his desire to avoid conflict in this new time had just abandoned him with the headmaster.
* * *
Notes:
- I hardly follow any manga and anime anymore, so bear with me if I make mistakes. The last time I read Naruto manga was years ago, and I am not exactly up to date with Rosario, either. That being said, some things will not be mistakes, but deliberate changes.
- In terms of power, I must admit, it isn't overly important. I include this because I know there will be inevitable arguments about power, though. So as a general guide, the rough demon to ninja power scale is:
Genin = Average monster. Strong enough that they can take out humans easily enough, but nothing too special.
Chuunin = Most of Tsukune's harem. Kurumu, Mizore, etc., would be about equal to an average chuunin. A cut above the rest, but still rough and unrefined.
Jounin = Inner Moka is a low level jounin. Still quite strong, and heads above the average demon, but still only Jounin. Akua would likely rate as a high level jounin.
Kage = Akasha Bloodriver. Probably Touhou Fuhai when he was in his prime, though I imagine him still being something of a "low level" kage, if you will. More like a sannin.
Now, why would I do this? Because while the demon world is vicious, it still doesn't train it's people to fight in the same way that Naruto's world did. Most people are not warriors, and rely solely on their demon blood to carry them through a fight. Those that are warriors, are correspondingly higher. If Inner-Moka trained more, she could easily use the power granted to her at a higher level.
Naruto is very much a chuunin in terms of power right now. He has sealed his chakra so he has only the reserves of a chuunin. And ultimately, he is still human. In a straight up contest of physical prowess, he would lose to a demon. But given his fight training, it more than makes up for it against the vast majority of untrained fighters.
I hope that avoids any flames about making anyone too weak!
Peace out!
~Ryl
2. Accord
First of all, I would like to thank everyone who replied to the first chapter. Reviews are a great motivators to actually sit down and write some more.
Since I got quite a few questions and remarks about the last chapter, I would like to clarify something.
A lot of what you consider strange behavior, or foolish, is actually done with a purpose in mind.
Now. I will admit, I very well may make mistakes where I introduce something, and it may end up being foolish in retrospect. However, all the things brought up in the reviews so far, were actually planned and well thought out. I didn't give you answers yet because things will come together in their due time.
Also, bear in mind. The first chapter was some 3,000 words. So there wasn't much room to build things into the story yet. Some of the major questions, _some_, are answered in this chapter. I would say getting a slew of questions answered in 7-8k words in a normal novel is quite reasonable.
As for power levels, all I will ask is one question. What need has there been so far for Naruto to be strong? He is far from weak, even with his chakra sealed. If you dislike that, I will remind you of a spandex wearing ninja who doesn't even use chakra, and can kick ass like no tomorrow. Naruto still has a lot going for him. And yes, there are reasons and justifications for his actions.
Anyways, I hope that addresses some of the concerns.
* * *
**The Path between Humans and Demons**
_Chapter 2: Accord_
_Edited 12/20/2011
_
* * *
"Let me get this straight. The girls turned into fish monsters and tried to eat you?"
Tsukune nodded, looking totally worn out just thinking of the experience. Naruto shook his head and placed a companionable hand on the kid's shoulder. "Welcome to the club kid. A club where the gods like to see you squirm as you get thrown ass first into situations way over your head."
Naruto grinned, trying to break the tension. "Hey. Look at it this way. Maybe you'll make it long enough to see the next poor fool get sacrificed for some god's sick sense of humor. Trust me, it's a real laugh to watch."
The boy gave him a dirty look, and Naruto just picked at his ear, not really worried about what a softie like Tsukune could do to him. Tsukune sighed, giving it up. "Well, what about you Naruto-san? Have you chosen a club to join?"
The ninja leaned back in his chair, putting his feet up on the desk. "Nah. Sensei wants us to learn how to blend in with humans more. As I see it, I'm good there. You can keep your newspaper club. I plan to just enjoy myself when I can."
"You couldn't blend in if you tried," Tsukune deadpanned.
"What was that?" Naruto shot to his feet, but stopped yelling when he heard the door to the classroom slide open.
Moka-chan and Kurumu came in, talking animatedly to one another until they saw him in the room. At his tiny wave, the vampire smiled and greeted him while the other girl just ignored him. He held back a sigh at her cold behavior as she made her way to sit next to Tsukune. After greeting the boy with a bright smile, she finally deemed to give Naruto a dirty look. "Shouldn't you be leaving Uzumaki-san? We're about to start our club meeting, and you're not invited."
Naruto put on a smile, at least partially used to her ribbing after the past few weeks. He wasn't sure what he had done to anger the girl, but he was intent on breaking through her animosity eventually. "Just about to leave, Kurumu-chan." The girl snorted and turned to stare out the window, obviously deciding it wasn't worth it to rib him anymore.
He wondered if he would ever understand that girl.
Giving it up as a bad job, he stood and grabbed his bag to leave. Before he could reach the door though, it opened, letting Nekonome-sensei and a senior student into the room. Naruto had to resist the urge to groan when he saw the other student. A real pretty boy, standing there with a bouqet of flowers and what he seemed to think was a winning smile. He was glad to see that Moka-chan was oblivious to his obvious interest in her, and he could have sworn he saw Kurumu roll her eyes at the new guy.
As the new guy introduced himself to Moka-chan, Nekonome-sensei came over and smiled at him. "Naruto-kun. Have you decided to join the newspaper club?" Her smile and wagging tail made him feel bad to tell her no.
"Sorry, sensei. I was just visiting some friends before I went back to the dorms. I'll get out of your way." He tried to leave when she shook her head at him.
"Wait a moment, Naruto-kun. I'd like you to meet your senpai." Forcing a smile to his face over the less than agreeable idea, Naruto turned around.
The boy had pressed his flowers into Moka-chan's arms, and kept sprouting some garbage at her until sensei was forced to tap him on the shoulder to get his attention. With a short look at Naruto, the boy turned around to start talking to Moka-chan again.
A moment later, and sporting a series of claw marks as well as a healthy fear for the teacher, the boy was facing Naruto and holding out a hand to shake. "The name is Gin. What brings my tiny little kouhai here? Thinking of joining the club, Naruto-kun? I have to warn you, if you're here just to talk to pretty girls, that won't do. We're a serious club, and I can't have you distracting them." While he was talking, Naruto could feel the boy increasing the pressure in his grip, causing more than a few bones to groan in protest. It was only through a slight application of chakra that he managed to avoid having anything break in his hand.
And the kouhai talk. This guy was acting like a rutting Inuzuka alpha male, the way he was trying to protect his 'territory'. Besides, the only reason this brat was his senpai was because that bastard headmaster had manufactured a lame ass excuse to keep him in the first year classes with Tsukune. No doubt he wanted to keep his human pets together.
Still, Naruto didn't let his feelings show. "Just visiting my friend Tsukune here. I'm hurt that you would think I would get in the way, senpai." Gin looked at him for a split second, and the tension in the room rose before it suddenly disappeared behind the other student's smile.
As he made his way over to talk to Tsukune, the blonde made a one handed seal before reaching into his pocket for the key to his locker. Infusing it with a touch of lightning chakra, he made sure to slip by Gin on his way out of the room, dropping the key into his back pocket.
Saying goodbye to sensei he began to make his way down the hallway until he heard a large yelp come from the classroom. Naruto grinned. Those metal chairs could be pretty dangerous to sit on when you are carrying along a bit of extra charge.
* * *
The moon was beautiful tonight.
Naruto hated sitting still. To be more accurate, he hated the feeling that he wasn't working towards his goals somehow. The few times he enjoyed the relative peace was when he was in the middle of nature. Normally a moon this large and clear would help him work out his trouble. Only this time it made him feel a bit sad to watch it.
He just wasn't sure what to do with himself anymore.
The past few weeks here at the Youkai academy had been interesting enough. He had made a few friends with the people here, as well as a few enemies of sorts. While he had always been a bit of a hot head, he looked downright passive compared to a few of his classmates. The things he heard them saying about humans honestly made him wonder if this school was doing any good. Maybe they would never hunt down a human, but as monsters, they held a pretty low opinion about humans. According to them, all humans were good for was to be ruled by the monsters, or to be food. In a way, Naruto was thankful that human weaponry had advanced enough to give the monsters pause.
Still, it was funny in that laugh until you cry sort of way. When he was a kid, he was looked down on because people saw him as a demon. Now if people knew he was a human, they would be after him as well.
At least there were a few people he felt comfortable around.
The day to day Moka-chan was one of them. If he hadn't met her alter ego, he would have trouble believing she was actually a vampire. He was convinced the girl didn't have a mean bone in her body when she was in that state. Hell, she could make Hinata look like she had a mean streak in comparison. Whenever he talked to her, it was like he was watching over a younger sister.
A younger sister with a psychotic vampire sealed inside her. In a way that made him feel a bit closer to the girl, but only slightly. It was obvious the bond between Moka-chan and her inner vampire was different what his own had been. For one, it seemed more like the two girls shared one body, giving the inner self a chance to stretch her legs on occasion. That, and their relationship seemed far more friendly.
Though, his own relationship with Moka-chan's tenant was far less pleasant. Not that he didn't deserve it for the way he treated her when he first arrived here. He had been slightly confused when coming out of his forced sleep, and taunting her had helped him focus on something else while his mind caught up to what was going on. Well, there was also the fact that she reminded him of a lot of the stiffs he had known back in Konoha. A few choice words, and you could throw them off their game pretty easily.
As for Tsukune, he was a good guy. He had ended up in a crappy situation, but he was handling it pretty well. In a way, he related to him. He had always had a habit for ending up in situations well over his head, and Tsukune was showing the same penchant for coming out relatively unharmed. He even had the same saving people problem as Naruto.
That earned him some serious points in the ninja's books. He didn't have a demon inside of his belly looking out for his health. It took some serious guts to get the hots for a vampire and to keep up with the trouble she brought with her.
The one he just couldn't understand was Kurumu. Every time he looked at her, it was like he had some sort of niggling thought in the back of his head he couldn't quite grasp. It would be easy to ignore though, if he was sure that she actually hated him so much. Occasionally he would catch her smiling along with the rest when he told the others a joke. Or she would stare at him just a touch longer than was normal when she thought he wouldn't notice. The worst part was she was not a mean girl by any means. Most of the time she came across as very nice and caring, and that made her behavior all the more puzzling.
Groaning, he leaned back until he was flat against the school's rooftop. "The whole thing is so not worth the effort."
Taking a deep breath, he continued to stare at the moon, looking for some insight on what to do.
His thoughts were broken, though, when he heard the sound of something going on somewhere nearby. Standing up, he was about to try and sense where the disturbance was taking place when the answer jumped out at him. Whatever was going on, it involved Moka-chan's inner self coming out, and that energy was hard to miss.
"I guess that's my cue," he muttered, disappearing in a swirl of leaves.
* * *
Moka cursed her fortune. If only this wretch had attacked them an hour earlier, she would have been able to combat him when the moon had been hidden by cloud cover. Now that those treacherous clouds had moved on, she was forced to face this cretin when he had an unadulterated view of the moon.
To think that such a lowly creature would be able to make a mockery of her like this.
She caught his form moving from the corner of her eye, and attempted a spinning hook kick in the hopes to catch him as he came at her from behind. It was for naught though when she felt him duck under the attack and back away once more.
"Ohhh," a new voice called out, "I'm sorry Oba-san, but I'm going to have to give you a 2 out of 10 on form for that one. He dodged it by a mile."
Moka groaned, spinning around, afraid to see the one person she hadn't wanted to appear. And yet there he was. Standing on the roof to the stair enclosure, Naruto was watching their fight with an annoying grin on his face. A part of her wished to go up their and wipe that smile off his face. This was a fight for her dignity, and was not some spectacle for his amusement!
Before she could demand that he leave, the wolf before her howled its anger to the heavens. "Uzumaki! I thought we had an understanding you and I. You wouldn't interrupt my time with my club mates."
Naruto raised a hand and waggled a finger at Gin, as if scolding a child. "Now now mutt. I wasn't going to interrupt your club. But all I see right now is a dog who thinks he is the alpha and has his choice of bitches. Normally I'd pound you on the principal alone, but I think Oba-san over there is more than enough to show you who is the leader of the pack."
Moka raised an eyebrow at the surprisingly chivalrous display from the blonde, but stayed her questions in lieu of keeping an eye on her opponent. The werewolf howled again, this time devolving into laughter as he turned to face Moka once more, his eyes glazed slightly in his lust. "No one will get in the way of our special moment!" Sparing a quick glance at Uzumaki once more, she saw he truly had no intention to help her. While that suited her pride, she was becoming forced to admit that she would fair much better if he would lend her his strength.
Ducking to avoid the opening swipe from the werewolf's claws, she was quickly pressed into defense. All the while, she tried her best to ignore Uzumaki's incessent comments and so called humorous remarks on her fighting prowess. She was certainly NOT getting slower with old age. It was this beast that was remarkably fast and agile. And she had no idea who this Tsunade person was that he kept calling her, though she hoped that the person had injured the blonde in the past.
Jumping to avoid a particularly vicious kick from the werewolf, she cursed her lapse in judgement. In the air, she lacked the mobility to defend herself properly. Sensing his opportunity, Gin jumped behind her, a claw drawn back to strike her down. She attempted to twist her body to meet the blow in time, though she knew she would never make it.
Yet all she felt was the air as his strike kicked up as it narrowly missed her.
Landing in a crouch, she struggled to control her panting. At this rate, she was sure to lose this battle.
"You know," Uzumaki began, causing both combatants to halt, "it seems kind of stupid to go and fight a faster opponent out in the open. Just saying."
Moka prepared a retort when the validity of his statement struck her. She felt the fool for not thinking of such a solution earlier. Still, it appeared as if the werewolf would not allow their battle to stray elsewhere. His roar was ferocious as he glared at the blonde. "As if I'll let her escape me while her friends are here!" The wolf rushed Tsukune, and Moka felt a blossoming of fear in her chest for the first time. As a simple human, Tsukune possessed no hope of escaping the tearing claws and teeth of Gin. Yet as he came within striking distance, a strong breeze destroyed the beasts footing, sending him end over end into the walls surrounding the stairway.
"Back in my day," Uzumaki began with a voice even and without any humor, "wolves were thought to have a sense of honor. Stop embarrassing yourself. Unless you want me to come down there, you best face Moka alone and leave the others out of this." The way he spoke sent chills down the vampires spine. She was unaccustomed to feeling fear from any other creature. As a vampire, there were precious few who could challenge her. Yet this man was a complete mystery. Though he acted the fool one moment, he could quickly switch to a more powerful persona. An unknown factor in this fight, using youjutsu she could not even begin to recognize. She had no doubts that he could easily defeat Gin if he so desired.
Gin let out a frustrated growl and whirled to face Moka once more. Without waiting for him to attack, she ran to the side of the building, launching herself towards and through a window the led to the abandoned hallways of the school. She could hear his angry howls from behind her, though she didn't wait for him. She was already moving as he joined her inside the school.
Uzumaki had been correct in his guess. While Gin still possessed greater speed than her, the wolf was forced to scramble in order to make the corners, and had to sacrifice speed for a steady footing.
Racing down a long corridor, she let the beast gain on her, building his sense of confidence. Just as he was almost upon her, she turned a corner and came to a halt. Claws digging into the ground, the wolf struggled to make the turn with her, but was unable to steady himself before she launched a powerful sidekick into his sternum.
Before he could recover, she spun around, throwing her hips into a spinning roundhouse kick that sent Gin flying down the hallway. At the end of the hallway he struck a window, flying through with the shards of glass to land in the courtyard below. The strength of her blows had taken the fight out of the wolf, and the landing seemingly rendered him unconscious.
She jumped to the ground below, seeing that Uzumaki was already standing there with Tsukune and the succubus. His face was exceptionally grim as he stared at the wolf. When he finally looked up, she gave him the briefest of nods, giving her thanks for his advice. She was treated to a very weak smile in return as he turned away.
"I have to go now," the blonde said. His head turned so he was facing Tsukune slightly, "As I said, welcome to the club." His face looked both sad and angry. Yet before anyone could question it, he disappeared in a swirl of leaves.
While the others were staring at the space the mysterious Uzumaki had disappeared from, Moka strode forward and took the rosary from Tsukune's slack hand. Someday she too would have to ponder on the enigma that was Uzumaki. It confused her, how someone could go from being so carefree to looking like an old soul that had seen far too much.
And Moka hated to be confused.
* * *
Naruto's fist left an indent on the tree before him. He could feel the blood running over his knuckles from where he had torn skin. Focusing on his breathing, he tried to calm himself. Around him, nearly a half dozen trees lay destroyed from his attempts to vent his frustrations.
He had been outwardly calm enough while Moka fought Gin. Inside he had been boiling over. He was still an outsider in this place. If he coddled people and fought their battles for them, they would never survive any future challenges this place would throw at them. Yet, while that had seemed like a great decision when he originally came up with it, following through on it was difficult. Very difficult. That had been the hardest part of being a kage. Letting others fight their own battles.
Seeing some fool try to kill, and possibly rape, a friend of his had nearly sent him over the edge. He had fought for peace to return to the world, and instead he came back to this crap. A world where people had to fight day to day just to survive.
Naruto sent another punch into the tree in front of him, ignoring the snap as bones broke in his hand.
He really wondered what it was that convinced him to break the seal that kept him sleeping all those years. Whatever it was, it must have been important, only now he had forgotten it like a half remembered dream. And even if he chose to use the seal again, it would be another year before his body could accept the seals once more.
Not that he would use them. While there was a part of him that didn't want to be reminded of the pain this sort of life brought with it, he would not abandon his new friends. Tsukune was a good guy. A good guy who was in over his head, and Naruto felt responsible to be there to see him through this mess.
The ninja stiffened when he heard someone coming. Turning around, he saw Kurumu enter the clearing slowly, eyes wide as she took in the small swath of destruction.
"Is there something I can help you with, Kurumu-san?" He kept his voice even, not really feeling up to starting another fight with her.
"Did something..." she starting, looking a bit shaken before she changed tact. "Are you alright?"
The one time Hokage let out a long breath before kneeling down to place a hand on one of the destroyed tree trunks. Imbuing it with basic medical chakra, the only sort he was at all proficient with, he avoided the question. Instead he focused on trying to repair the damage he caused. Back in his days, newly minted chuunin would learn this revitalization technique and practice it on all the tree's around the village. It wasn't a mokuton jutsu, but it helped the trees grow back marginally faster.
Once he finished, he looked up to see Kurumu still standing there, looking uncomfortable as she waited for an answer. He stood up, crossing his arms while looking at the succubus. "Does it really matter to you, Kurumu-san? I thought you couldn't care less what happened to me."
The girl winced, and opted to sit down with her back to one of the trees ringing the edge of the clearing, not really looking at Naruto. "I've not been that bad, have I?" Her voice was soft and hesitant, giving him the impression she already knew the answer to that question.
Naruto sighed, letting go of some of his hostility. "Kurumu-chan, I saved your life. I stepped into a fight that I had no understanding of to try and protect you, and you respond by hitting me and trying to get me in trouble with the teachers here. I would say you have been incredibly clear in your dislike of me." He sat down on a log, waiting for her to look up and make eye contact with her. "What's the deal. I know you're not that cruel. I've seen how you interact with others, and you're not the queen bitch type. What did I do to earn the attitude?"
The succubus flushed a bit, breaking eye contact in the interest of staring at the root near his feet. "Its not that I don't appreciate your help. I just wish you hadn't. It just made everything that much more difficult."
Naruto raised his eyebrow, not sure what she was getting out. Kurumu fidgeted. "Most men," she began, "would fall over themselves to try and please me. It is part of being a succubus, and I'm used to it. I even liked it for awhile. It's part of who I am. Like air and water, succubi draw power from love and adoration. Both giving and receiving it. So when Moka-san started to steal that from me, I was desperate and angry and not thinking straight. So I tried to steal Tsukune from her."
The blue haired girl ran a hand through her hair in a nervous gesture. He could see the conversation wasn't easy on her, but Naruto didn't want to give her any reason to stop by saying something.
"It didn't matter how hard I tried to enthrall him. In the end, he wouldn't completely abandon Moka-san. Normally my gift would have men drop everything to be with me in that situation. Instead of seeing it as something special and amazing, I saw it as just another thing Moka-san was taking from me. So I attacked both of them, hoping to remove the competition."
"What I did was horrible, and I could have killed Moka-san or Tsukune! And then you had to come along and save me. You protected me from my own stupidity." The girl was crying now. "I didn't deserve your help. I almost killed two people because of my vanity! I'm a succubus, but I never felt like a monster until that day."
The girl's crying became full blown sobs, her knees drawing up into her chest as she let the tears flow. Naruto had a sad smile on his face. He finally understood what it was he had done to the girl. It was silly of her, but she thought he had kept her from getting the punishment she felt she deserved.
Naruto moved to her side, not really touching her, but staying close enough that she knew he was there for her. Finally her tears began to ebb, and he waited for her to compose herself before saying anything.
"You know Kurumu-chan," he began softly, "I think it was a good thing that you attacked those two." The girl gave him a shocked look, but he went on. "In my village, we were trained to be soldiers. I was eight when they first started training me to fight, and I entered the ranks when I was twelve. While my village was the most peaceful, we were still taught to make light of death. We were true monsters."
The ninja smiled at Kurumu. "But things are different here. You're being taught how to co-exist with others. Besides, you're a succubus. From the sound of things, you are _meant _to want attention from men. When Moka-san threatened that, you reacted. Its as natural a thing as fighting for food when starved. Lucky for you, no one got hurt this time, but it taught you an important lesson. It taught you how to control those urges, and shows that you're no monster if it bothers you this much."
"Besides," here he shot her a grin, "you're far too cute to worry over what could have been."
Kurumu blushed, and lightly elbowed his side. "You're incorrigable." She looked at him again, "Thanks. You're right, though. I need to learn to control myself, and I shouldn't have let my own shame give me an excuse to take things out on you." She bowed her head slightly, "I'm sorry, Naruto."
He waved her off, and the two sat quietly for a few moments. Seeing she wasn't going to say anything more at the moment, Naruto coughed, grabbing her attention. "So. What brought you out here?"
"Oh! I'm sorry, I totally forgot about that. Tsukune wanted me to come thank you while he looked after Moka-san's injuries. And I suppose I was curious too. You didn't look very happy at the end of the fight..." she trailed off here, looking at the damage in the clearing.
"I was a little angry..." Naruto deadpanned, and Kurumu didn't seem inclined to press the matter right now.
"It's a good thing no one but Gin were seriously injured," the girl went on, "though I'm surprised you didn't step in to help. I think Tsukune is a bit disappointed you didn't."
"I won't always be there to fight their battles. I learned a long time ago that if you don't let your friends fight their own battles, they'll never grow strong enough to protect you when you're not there for them." Naruto tried to not sound bitter, but evidently he failed, because Kurumu laid a hand on his forearm. Smiling at her, the blonde ignored the pain in his chest.
"So, out of curiosity, why do you always make fun of Inner-Moka when she appears?"
Naruto grinned. "She reminds me of a few people I knew back home. She has the strength and temper of one person I knew, and a stick so far up her"
"I get it!" Kurumu yelled, interrupting him. Her face was red with embarrassment as she stood up in a huff. "I don't need that sort of image in my head!" The succubus sighed and reached a hand down to help him up. "You must have driven your friends crazy back home."
"All the time," Naruto agreed. "And I have the head trauma to prove it too."
Kurumu rolled her eyes. "Come on. We should be getting back."
With that, the two of them made their way back to the school, separating at the end to go to their dorms. As Naruto lay back on his bed, he couldn't help but smile. Maybe there was some hope that peace could be had after all.
* * *
Whew. I'm sure the chapter could use a fine tooth comb read through and edit, but as I've said, this is all about having fun. I like to do a fine read through a week or two down the line. And since I didn't want to keep people waiting, here you go. Besides, this is something to keep me from being bored.
And there we go, a peaceful accord between Kurumu and Naruto at last. Well, peaceful enough until he does something stupid, I suppose. I guess they will be having a lot of tiny spats.
As for Gin, I suspect a will get a few people upset with how I portrayed him. All I will say is that, at the root of things, he was trying to kill Tsukune and take Moka for his own in the manga. He was far from a gentle or generous person in the original story. (Along with almost everyone else. Anyone notice a pattern of "Monster tries to kill me, then joins the harem/group of friends"? With friends like that...)
The next chapter will likely have more humor to it. As something of a sneak peak, I will say that a certain Public Safety committee member is going to have a rough few weeks. Maybe after that chapter I will start winding up for the first real important set of events I have in mind.
Please review, it is great motivation.
Peace!
~ Ryl
3. Foxes and Slugs
Another chapter. Whew. I hope everyone enjoys this one. As promised, it is mostly comedy. I slipped in some character development and plot forwarding, but this was mostly meant to be amusing. Comments on any changes from the original Rosario universe as a result of this chapter are discussed at the end of the chapter. Just remember, as soon as Naruto stepped into this universe, it became an AU.
As always, thanks to everyone who has reviewed. It helped motivate me to get this chapter done faster.
A big thanks to **DragonMasterFlex**. You provided some interesting conversations about the chapters so far. While I don't necessarily agree with your views, it was good to have a peaceful conversation about things.
Without further adieu, on to the chapter.
* * *
**The Path between Humans and Demons**
_Chapter 3: Foxes and Slugs_
_Updated 12/21/2011
_
* * *
"Out of my way," Kuyou roared. The underclassman staggered, yet the fox demon couldn't care less. His goal was the bathroom at the end of the hallway, and hell would be had for any poor fool who stood in his way.
Most simply stood to the edge of the hallways, afraid of his reputation as they ought to be. A few, though, were laughing. The little cretins thought this was _funny_. If there weren't so many teachers around, these pathetic monsters would pay for their disrespect.
And as for the one who did this to him...their death would be slow. Slow and incredibly painful. His kitsunebi would feast well on their flesh before he finally let them die.
More laughter drifted towards him from a nearby classroom. He spared her a glare, but the unobstructed view of his face only served to garner more laughter from the students. Lowering his gaze once more, he rushed for the bathrooms. This ink had better come off in water.
He would show the world who the 'Runt of the litter' was.
* * *
Kyuubi was roaring with laughter in Naruto's mindscape. While he rarely agreed with the fox spirit, this was one case where they were both in accord. When they first met this pompous fool, Kyuubi has bristled, sounding an outraged cry.
The fool monster hadn't been trying to hide his power at all. He had been exuding an aura that, for lack of a better term, stunk of foxes to the demon inside Naruto. The territorial part of the spirit in his stomach was railing to destroy the public safety committee member.
And after a short spying expedition? Well, hearing Kuyou go on in private about his power as a four-tailed fox, both Naruto and Kyuubi were a touch offended. It seemed the standard for a kitsune had dropped in the past thousand years.
'Wannabe fox demons need to learn their place,' Naruto thought with a smirk. Passing the other boy in the bathroom, he slipped a seal into his back pocket before entering the stall.
Personally, he was really starting to look forward to that public safety assembly later today.
* * *
Kuyou made his way to the assembly hall. Here and now was his chance to strike fear into the students of this school. Many had become lax before the arm of the public safety committee, and he would not stand for these lesser monsters going against his wishes.
Despite the setback this morning, he was confident in the power and image of the public safety committee. Each day their power grew, and soon they would have full control of the student body. He was a powerful demon, a noble Kitsune, and it was only the natural order that these lower creatures follow his order.
Still, he walked a fine line. That damned Exorcist principal of theirs had powers he had not yet come to understand. For now he had to move slowly, securing his power to a point where that damned man would no longer be able to oust him.
Waiting in the wings of the stage, he feigned patience for an interminable amount of time for the pathetic excuse of a teacher to finish their opening remarks. During their closing remarks, and before the gnome like teacher had called for him, he made his way out before the school. Seeing him coming, the short creature finished it's words and passed him the microphone before scurrying off.
Kuyou turned to face the crowd. This was the feeling he lived for. Watching these little creatures squirm as he stood before them, waiting for him to explain their place in his world.
Opening his mouth, he was prepared to speak when a sound filled the room. A sound coming from his back. A horrible embarrassing..._farting_ sound. And the odor! It was quickly filling the entire auditorium, causing disgust in the body of students before him. The students were pointing and whispering now, ignoring his calls for attention.
Kuyou could feel his anger growing. He would hunt down every student who was mocking him, remind them who was in charge of this school. Looking out into the crowd, he began to commit faces to memory until he saw one non-descript student staring back at him. He was silent, and not a drop of mirth on his face.
And for the first time, Kuyou felt true terror strike his heart.
Just over his shoulder sat the projection of a being he knew instinctively. The strongest fox demon that had ever been. Horrible in his anger and with unrivaled destructive power.
And it was looking at him like it wanted nothing more than to devour his soul.
Kuyou hardly noticed when people began to point and laugh at him. Nor did he notice that the source of their amusement was the visibly growing dampness on the front of his pants. All he could do was to focus on breathing as the boy turned and left the room.
* * *
Naruto turned a corner, and seeing no one nearby, let his henge drop. Stretching, he let out a content sigh. That was a morning of pranks to be proud of.
Naruto waited patiently for everyone to pile out of the auditorium, enjoying the rumors that were now spreading about the public safety president. He didn't have to wait long before Tsukune and the others left the room as well, making their way towards homeroom. Though, they seemed to be joined by the latest person in Tsukune's growing harem. A young witch by the name Yuki...Yuri...something like that.
"Interesting assembly?"
"Did you miss the assembly, Naruto-san?" Moka-chan asked him, looking worried at the thought. "It was required of all the students. If sensei finds out you skipped, you'll be in trouble."
Naruto grinned, lacing his fingers behind his head. "Don't worry about me. It'll be fine."
About that time, the little witch piped up, trying her best to look cocky. "He's right, Moka-san. Naruto-san here is so dumb he can pretend he didn't even understand what sensei told him to do." The girl stuck her tongue at him, and hugged Moka-chan's arm protectively.
"Why you..." Naruto began, before he smirked. "Wait. Who are you again?"
The girl puffed out her cheeks, obviously angry as she pulled Moka-chan ahead. Tsukune gave him an apologetic look before hurrying to catch up with the two girls. Looking at Tsukune for a moment, Kurumu-chan shook her head at their antics, opting to stay back with the blonde.
"Naruto," she began, "you wouldn't happen to know why Kuyou was having some difficulties during his speech, would you?"
The ninja smiled, "No idea. Maybe he needs to check the expiration date on his milk more often?"
"Right," the succubus drawled, "And the marks I saw on his face this morning?"
"Acne," Naruto said, nodding sympathetically. "I hear it can be pretty bad for some people."
Kurumu-chan shook her head and started to walk away before stopping a few feet in front of him. "What flowers should I bring," she asked, not turning around.
Naruto stopped, confused at her question. "Huh?"
The blue haired girl looked over her shoulder, smirking at him playfully. "To your funeral."
Naruto grinned. "Hydrangea. Orange ones."
* * *
Nagare giggled to himself.
Beautiful. She was so beautiful. His Kurumu-chan was simply amazing.
The slug demon wiped the sweat from his forehead, trying to protect his precious camera. Inside were the results of his latest film shoots, and he couldn't afford to lose such valuable material. He was sure that one of these photos would be the perfect picture to impress his love with. And then they could have that promised date.
He giggled again, lifting the telephoto lens back to his eye.
Oh! Oh my god! Kurumu-chan was taking off all her clothes. In front of her open window! If only she would turn around, he would be in heaven!
Panting, he focused on steadying his camera. Inch by inch, the pale silky smooth flesh of her back came into view. Finally the sweater was off, and she was turning to face the window. His heart was racing and the sweat was pouring down his face now.
And then he gagged in shock. Large couldn't even begin to describe her anymore. It was as if she had put on hundreds of pounds in a few moments! He wanted to put down the camera, but he couldn't seem to make his muscles listen anymore. He was forced to watch as her flesh undulated back and forth across her frame.
What had once been beautiful was now large and bloated.
It was then that he noticed she was pulling her skirt down. He tried to look away, but his eyes betrayed him. Slowly his eyes trailed to that secret spot and...
_NO!_
There was more to be found under Kurumu-chan's skirt than he ever wanted to see!
He was thrown back roughly as a his camera exploded in his face, sending him sliding back along the rooftop he was hiding on. He was in a daze, and more than a little glad that horrible sight was gone now. How could she have hidden such a thing? What sort of magic did it take to cover up such a disgusting form as that!
"Did you like the show?"
Nagare spun around, trying to spot the owner of that calm voice. The same blonde he had seen with Kurumu-chan recently was standing nearby, smirking down at him. "I call that my Pudgy Pervert surprise." The blonde gave him a toothy smile. "I love this new age when people can't recognize a simple genjutsu."
"You mean," Nagare began, putting the pieces together. Somehow this...this...fool had made him see those things. "I'll kill you. I'll KILL YOU!" The boy shot to his feet, panting now in his rage. "You ruined Kurumu-chan's beauty for me! I will never be able to look at her without thinking of that beast you showed me!" Beginning to transform, the blonde watched him for a moment, and only when he had neared the end of his slug transformation did the boy do anything. He smiled. He dared smile like something was amusing to him!
And then he disappeared from Nagare's vision. A moment later, a jolt of electricity shot through him, and he tumbled to the ground, a curtain of darkness falling over his vision.
The last thing he head was the blonde's calm voice. "The genjutsu was for Kurumu-chan's sake. This is because I don't like perverts."
* * *
The Exorcist looked out upon the grounds of his school.
This place was a church, and the students his flock. A wild flock to be tamed and guided by his hand. Many would serve little purpose in the coming dark days, but a few would be watched as they grew. Here he could shape them, examine and redirect their growth so they would become his perfect tools to combat the darkness.
Some might call him evil for his use of the students. Some would believe it his job to act their shield from the storm. In this he found his critics to possess flawed understanding of his goals. He modeled himself as neither sinner nor saint. His goal was solely prevent the outbreak of war between the humans and the monsters. He had given himself to a dream Akasha had struggled to achieve. With her passing, the path had become much more difficult, and those he forced to walk it with him were made to suffer a great deal more hardships.
One such person to be used was that curious human, Uzumaki Naruto. He could sense a greater power hidden within the boy, yet for all intents and purposes, he appeared human. No amount of research had turned up who or what he might be, but he was confident in time he would understand where to place him in his great scheme. For now, all he had to work with were the strange workings the boy wrought upon himself at their first meeting, and the strange disturbances that were happening within his school. Until he could understand this puzzle, he would make a fine protector of his other human project. He had many plans for Aono Tsukune, and he had no intention of letting him perish before he had fulfilled them.
The Exorcist turned around at the sound of a slight pop behind him. A wisp of smoke was drifting away from his desk, and atop his papers lay a short hand written note. Making his way over, he read the name on the paper, raising an eyebrow as he spotted Uzumaki-san's name.
Tearing open the letter, he read the contents, curious what the boy could want.
_Headmaster,_
_As a favor to my friend, Kanou Nagare, I am letting you know that he has decided to leave the school. While I am sure that we are all sad to see him leave, I can personally guarantee that his new home is quite beautiful, and that I think he will love it there. He has asked me to keep the location secret, but I assure you he is perfectly safe._
_Uzumaki Naruto_
The headmaster raised an eyebrow. Shrugging casually, he threw the letter to the side, not really worried about the contents. He was sure something was going on here, but frankly that slug boy was of little importance here. With him gone, he could perhaps get some peace from his female staff members.
* * *
_Bonneville Salt Flats, Utah_
Naked and alone, Nagare looked out across the barren landscape. Under the noon day sun, he did his best to remain as motionless as possible. The only safe place to stand was a small meter by meter square surrounded by miles of salted land.
"Somebody? Anybody? Please help me!"
* * *
No pity for stalker slugs. You can argue whether it would actually affect him or not, but I just love the imagery. Also, I won't question how Naruto got him out there if you won't. It was meant to be purely for comedy. Maybe he used one of those portals?
To those of you worried about how Kurumu will learn to wield illusions, don't worry. I will freely admit that she will pick this up in the future.
While I plan to harass Kuyou a bit more, he still has more important parts to play in this story beyond being a comedic punching bag. So to those of you who are wondering what will happen to the Public Safety Committee arc, don't worry. It won't be the same, but Kuyou will have his screen time.
As for the Exorcist bit, I do not buy that the man is made of sunshine and puppies. He uses Tsukune in the manga, and as such, I view him as being pretty manipulative. It **is** fair to say he will look out for your best interests as long as they coincide with his own. This will cause some waves in the future, I assure you.
Please leave reviews. They are great motivation to write. In many ways, I enjoy reading the reviews as much as I enjoy writing the chapters. It also gives me a reason to check my email when I am at work.
Also, I am still looking for a beta. Since I am doing this for fun, and want to post fairly regularly, I am not following my normal writing schedule of waiting two weeks to do revisions. So having a fresh set of eyes will reduce the number of typographical errors.
Until next time!
~Ryl
4. The Coming Storm
Between preparing for grad school, moving, and general trouble with this chapter, I am glad to finally post this chapter. I don't really feel it is up to snuff, but instead of letting it sit on my hard drive forever and never posting it, I chose to just forge ahead and post. Given my schedule, I just need to know when to curb my desire to keep editing things.
Thanks to everyone who posted reviews. They brought me back to the computer when I didn't particularly want to edit this chapter.
* * *
**The Path between Humans and Demons**
_Chapter 4: The Coming Storm_
* * *
"Fox King," Madara greeted with a theatrical bow. His tone was snide and condescending, displaying the Uchiha's arrogance as was usual.
Naruto didn't let his guard down for a minute. Every second around this maniac was an opportunity for him to strike, and every nerve was telling him to move, to run away from this monster of a man. His pride, and his desire to protect his village, kept him there. Standing in front of the gates of Konoha barring entrance to his village's worst enemy. "Madara. I would have prepared a welcome, but you can see we're sort of busy right now."
From behind came the sounds of fighting. Of those fighting for their lives and the freedom of Konoha's people. Konoha was burning in the flames of war.
"Konoha will fall, Naruto." Madara said softly, as if talking to a child. "You fight for an idea that should have died with bHashirama. You and your people don't need to die here. If you come quietly, all that will be lost is this land. They will have their place in my new world. Their life for yours. Isn't that what a good Hokage would do? Give his life to save his people?"
Naruto snarled. At his side, two large, two-tailed, foxes came into being, their fur raised as they growled at their opponent. "Every man and woman here today chose to fight to protect our will of fire, Madara. Even if you destroy the village, we will fight you at every turn, interfere in every one of your schemes, just to stop your madness. We will fight for the freedom of those precious to us, and you can't stop that."
The man began to laugh and applaud. "A wonderful speech, Hokage-dono! Yet still so very deluded." Reaching up to remove his mask, Madara slowly let his face come into view. The man was mad, the disease of his mind showing in his eyes, the mangekyo sharingan swirling at a dizzying pace. Naruto met his eyes, refusing to show fear. The seals across his own face flashing brightly as they worked to combat the sharingan's treacherous power.
"You think your shinobi, your so called friends, will make a difference. By bringing them here, you only help me."
A scream rang out from behind Naruto and though he knew he would regret it, he turned to see from whom the horrible sound issued. When he caught sight of the village gates, he felt his blood go cold.
And then he screamed. Full of rage and pain, joining the voice behind him.
* * *
Naruto shot up in his bed, tearing away the sweat covered sheets.
A dream. It was just a dream. He was no longer in Konoha. Madara was long dead, and he couldn't hurt anyone anymore.
But he could still hear the screams in his head.
Bringing his knees up, he rested his head between his legs, trying to control his shaking. He didn't even notice the sun rising until his alarm went off.
* * *
"The trick is to use layered illusions if you want to fool someone. Once they think they've beaten your illusion, you spring the second part of the trap on them. Remember, a trap is best set when the other person thinks there is a touch of danger. If they don't sense any danger, they will be ready for the worst. Too much danger, and they will work to circumvent your illusion entirely."
Naruto looked at Kurumu-chan, sizing her up for a moment. Frowning, he tried to forgive the fact that she was hardly paying attention to him. "Come on, Kurumu-chan. What would you do if fighting an opponent faster than you?
The succubus groaned, looking up from her homework. "Naruto! When you asked me to explain the abilities of a succubus, I didn't want to sit here hearing about how to best use them in a fight! I can't even use illusions yet! Now, I have to do my homework before Nekonome-sensei gets here, and you're bothering Tsukune. Right Tsukune?" She smiled brightly at the boy, looking to him to try and get her some peace to do her work.
Instead, Tsukune shook his head. "Actually, I find this kind of interesting." The boy scratched his head, looking sheepish at Kurumu-chan, who was looking betrayed. "I mean, we get to learn what you're capable of. And with all the trouble we've been getting into lately, its nice to know what we can do to try and keep everyone safe."
Kurumu-chan sighed, "Boys..." Turning back to her homework, she moved her desk to face away from Naruto, showing she wasn't interested anymore.
Naruto was about at the end of his patience with Kurumu. He was trying to help and she was worried about some stupid homework assignment. "Silly me, I thought you might want to learn how to not rely on Moka-chan all the time. I guess I was wrong."
Kurumu spun around, narrowing her eyes furiously. "Excuse me," she hissed. "I can get along just fine without her in a fight. And at least she helps us. You just stand there acting like you're so much better than the rest of us. I bet you would let your friends get hurt just so you can step in and play the hero!"
CRACK!
Standing up, he let the piece of his desk that he had torn off drop to the floor, ignoring the shocked look in Kurumu's eyes. Maybe she realized she had gone too far, or she was worried about his reaction. Either way, he wasn't in the mood to talk to her right now. Making his way out of the classroom, he didn't even acknowledge Nekonome-sensei as he passed her coming into the room.
* * *
Naruto reached into his pocket, his training taking over as he hid the motion from the person behind him. Pulling out a kunai, he waited for the right moment before casually flicking the kunai over his shoulder. Judging by the sound of the kunai hitting dirt, and the sharp intake of breath, he had hit his mark and come close to the intruders feet.
"Hehehe. You need to work on your aim, Naruto-kun. Though, if I were you I wouldn't try that again. Attacking teachers is a serious crime here."
The ninja looked over his shoulder, not really worried about what Ishigami-sensei had to say. She was one teacher he had a hard time getting along with. There was just something about her that didn't seem right. She had a smell of blood and snakes around her all the time. Kind of like Anko, but without the good kind of crazy that made Anko fun to be around.
In a way, Ishigami made him think of what a love child between Orochimaru and Deidara would turn out like. She really did sport that 'lock away your children' style of creepiness, and was way too obsessed with her art.
He had been subtly keeping Tsukune and the rest from being alone with the art teacher. Something told him that it would be a bad idea to leave Ishigami alone with Kurumu or Moka-chan. Not that people like Kurumu could appreciate the gesture.
"Don't worry, I wasn't aiming for you. I know not to stick my kunai in crazy people."
The woman's eyes narrowed, and Naruto smirked when he felt her killing intent spike. Maybe it wasn't the brightest of ideas to pick on a monster, but he was in a bad mood, and feeling petty. Finally, she managed to get out a laugh, trying to act like she didn't care about his taunts. "Such a witty child. Just be glad that the headmaster wants to see you, boy. Otherwise there would be a detention waiting for you. Maybe next time I can teach you to appreciate my art."
"Right," Naruto said, already deciding that if that ever happened he would just not show up. No way he would let himself be alone in a room with this woman.
Getting up, he walked until the teacher was out of sight, and shunshined his way towards the headmasters office.
* * *
Naruto slid into the shadows of the headmaster's office.
He knew from sending the letter about Nagare, that the headmaster was not as skilled a sensor as he first believed. When he had been discovered in the cave, he had been worried that he would be under watch by a keen eye. For all Naruto knew, the robed man was excellent when sensing youki. But so far it seemed that chakra was harder for monsters to detect, and he had managed to get away with more than he had first anticipated.
Most likely, human energy was probably a foreign concept to monsters, so much so that they never thought to look for it. Killing intent would probably show up just fine, but he wasn't about to experiment.
"Hello Uzumaki-san," the man said, not looking up from his work. "Please take a seat."
The ninja blinked. Looking around, he saw small symbols glowing in the corners of the room, and Naruto figured the old man had taken precautions against anyone sneaking in on him again. Shrugging, he accepted the change and sat down on a high wooden backed chair in front of the desk. While there was a more comfortable looking chair nearby, he had chosen this one so he could move quickly in case of anything. He didn't trust the so called Exorcist, and he wasn't going to be caught flat footed if something did come up.
Jiraiya would have been proud of him, finally thinking these sorts of things through. In the last ninja war, it had become important for him to watch out for betrayal at every turn.
The headmaster finally looked up from his work, his face hidden in shadow as he examined Naruto. "I'm glad you could join me on such short notice."
"I didn't exactly have a choice in the matter, did I?"
The man leaned forward, steepling his fingers as he smiled. "No, I suppose not."
After a long emotionally draining day, Naruto wasn't feeling up to the back and forth banter. "What do you want now, Exorcist?"
The robed man chuckled, and Naruto frowned. The man had a cold humorless laugh, reminding him of Danzo when he thought he had finally cornered an opponent. Just hearing it made Naruto distrust the headmaster even more, but he held the feeling in check. After dreaming of Konoha, he was drawing far too many connections to his old life, and he had to try and recenter himself.
"You've done your research, I see. A very good thing for a boy in your situation. In a new school, unsure of what to do, you took the most logical course and familiarized yourself with the place and its people. My teachers have seen you visiting all parts of campus, and I must say that only makes me believe more in your skills."
"All I've done is try and get used to the school," Naruto countered. "Now would you please get to the point? Or can I go?"
The Exorcist didn't seem bothered by his impatience. "I have need of your skills, Uzumaki-san. Normally I would first try the carrot approach, but seeing as you seem to appreciate straight forward methods, you will be doing an errand for me. Doing so will mean the safety of your friends. And seeing as how you are so close to them already, I think it is safe to say you will agree to my terms."
Growling, Naruto shot to his feet, hands slamming down on the desk hard enough to crack the lacquered wood. He didn't care though, right now he was ready to tear that smug smile from his face. "You care to repeat that? I'd love to see who they get to replace you as headmaster."
The Exorcist smiled, and suddenly the room filled with the spiritual pressure of his youki. If Naruto had to guess, he would say it was every bit as strong as a sannin or even a kage back in his day. Still, he refused to back down to someone threatening his friends. "I chose you for your commitment to your friends," the headmaster began, "and so I will forgive the outburst. But I ask that you sit down so I can explain myself fully."
Naruto crossed his arms, remaining standing. "Go on," he said.
"Your friends are in no danger from me. However, for reasons that I will not share with you at this time, they are of interest to certain other groups in the monster world. It is my understanding that a high ranking member of this group will be visiting Japan soon. More specifically, they will be close enough to one of our portals into the real world that I cannot explain it as a coincidence. Are you understanding what I want you to do now?"
Naruto narrowed his eyes, "You want me to kill them, then. I'm sorry, but I'm not your hired assassin."
"Heaven's no," The Exorcist said, leaning back in his chair. "No, I wasn't asking that. Though I find it interesting that you would jump to that conclusion first. Not many would."
Naruto struggled to hide his grimace. The man before him had clearly played him. He had let his anger make him blind to the bigger game being played between them. He was an unknown factor, and any man in the headmaster's position would be searching for clues to what Naruto was capable of. And after going to such great lengths to hide his skills and powers from men like this, he couldn't afford screw ups like what just happened.
"Exorcist," Naruto began, "you run a school where I have seen my friends fight for their lives. On numerous occasions. This place seems to be filled with thugs and low lives. You shouldn't be surprised that I don't think you place a very high value on life." The once Hokage was proud with how he countered, deciding to go with the truth to cover his mistake. "So what the hell is it you want me to do?"
Making a humming sound in the back of his throat, the old man seemed to accept the topic change for now. "You have shown yourself apt when it comes to hiding. Not many can make it into this office without me noticing. I want you to go spy on this person, and report back to me with whatever they are planning. This way, you can also hear if they have anything planned for your friends. Now, isn't that a nice deal?"
Naruto sat there, trying to figure out what this man was playing at. On one level, he knew the headmaster was asking him to do this so he could understand Naruto's abilities better. The more important question, though, was what was going on outside the school. The headmaster seemed aware of something major happening, something just over the horizon.
And part of being a ninja was trying to ferret out the truth from any situation. If you couldn't figure out what was going on around you, you didn't stand a good chance to survive and learn what was going on when it was all over.
That left him with little choice but to help for now. And by going along with the headmaster's plan, he had the chance to get some valuable intel. The Exorcist knew he was feeding Naruto useful information, but right now that was the nature of their game. Each side had to give something up to learn more about the other.
"Fine," Naruto said. "Just give me whatever damn specifics you have, and I'll see what I can do."
* * *
**Unrelated Omake!**
_(Adapted from a friend's NGE idea.)_
Shinji eyed Sachiel, examining him for weaknesses. After a short moment, he turned back to the little scientists, scurrying about as they tried to figure out how to defeat this monster. Numbers were thrown about, and tense discussions of potential defenses were commonplace.
"I can kill it. Without the Eva," he said, keeping his words simple and clear so they could brook no misunderstanding.
They just stared at him in shock.
At times like this, Shinji wondered what idiot had put a bunch of scientists in charge of defending the world against hostile aliens.
"I can kill it," he said again. "Just give me climbing gear, three N2 mines, and some duct tape." He turned to smile coldly at the alien. "I intend to hit that bastard's big red button with the hammer of god."
* * *
There you have it! A lot of things going on here. Naruto's presence is slowly causing the original Rosario Universe to spiral away from canon. For good or for ill, changes are on the horizon.
And yes, I am going to keep you from knowing the full truth of the final battle for some time. Don't worry, I fully intend to reveal all in due time. For those of you who like epic fights, that will be one of them.
A note for future chapters. I realize that in the original universe, water is the bane of vampires. Now, while Naruto uses primarily wind and lightning in this story, as a Hokage, he certainly has the ability to use basic Water jutsu. I cannot think of a way that this ability would not overpower any vampire. I intend to have him fight smart, and as such, he would not ignore this advantage in battle. So I am limiting him, and saying water does not weaken vampires. Crossing open water is still taboo, as it is in some classic vampire stories, but regular water is just that.
Limiting his chakra had a point in the story. Removing the weakness to water is me just making an out for myself. Once you start mixing and matching Anime universes, it happens that you occasionally need to modify details.
I'm not sure when I will have time to start the next chapter. I start graduate school next week, and my time will be essentially cut down to nothing. I don't intend to drop the story, but I may not have as much time to toy with ideas and chapters.
And this is on top of the novel I am writing which takes far more time and editing than this.
Anyways, reviews are appreciated. They are the most sure fire way to get an author fired up to write something.
I am still looking for a beta to look over my work.
Peace!
~Ryl
5. Status Update
Hey folks.
Sorry for the seeming end to the story. The past few months I have been incredibly busy with graduate school, and have been averaging something along the lines of 12 hours per day in the office and lab. Thankfully, that number will be going down now that the hardest semester of my track is over with.
I will still be busy, but I hope to continue with this story. I lost all my old data and outlines when my computer died, but once I sit down and review everything, I should be able to get started once again.
I know that some people had issues with how I was running the story. As before, all I can say is, I'm sorry to hear this. I have answers for many of your questions, but I do not hand them out on silver platters.
This includes people's interactions with one another, the limitations they set on themselves, and more.
That being said, I still do enjoy getting feedback and discussing the story and my plans. Just don't expect me to give away much. :)
It will still be awhile before I get something to a level I wish to submit it. I plan to do this for fun, so the editing will not be as intensive as original stories, but it still takes time. So please bear with me.
Peace out!
End file.
| fanfiction |
Question about description of Gibbs free energy
When introduced to the gibbs free energy, it was derived as follows:
First law: $dU=dq+dw$
Second law: $dS>dq/T$ for a spontaneous change.
Note $dq$ and $dw$ are inexact differentials.
Subsituting $dq=dU-dw$, into the second law gives us:
$TdS>dU-dw$
using $dw=-P\_{ext}dV$
$Tds>dU+P\_{ext}dV$
or,
$dU+P\_{ext}dV - TdS<0$
Now, keeping pressure and temperature constant, we can say that:
$dU+P\_{ext}dV - TdS<0$
= $d(U+P\_{ext}V - TS)<0$
= $dG<0$, where $G$ is the gibbs free energy.
Here is my problem.
A few lectures later when we were being introduced to the idea of chemical potential, the gibbs free energy was re written as a function of pressure and temperature in the following way.
$dG=Vdp-SdT$, this expression was derived using the result above. My question is that if pressure and temperature were constant in the above expression, isnt $dp$ and $dT$ always 0? If so, how is this a valid expression of $G$?
G is not defined by the equations you wrote. For a pure substance or a mixture of constant chemical composition, it is defined by $$G=U+PV-TS$$And this equation applies only to thermodynamic equilibrium states. So, $$dG=dU+PdV+VdP-TdS-SdT$$But since $dU=TdS-PdV$ we are left with $$dG=-SdT+VdP$$
I'm going to call a thermodynamic transformation that's both isothermal and isobaric a $TP$ transformation for convenience.
Let's say we have an irreversible $TP$ transformation $A$ (with $T=T\_0$ & $p=p\_0$) that starts from state $1$ and ends at state $2$.
$$\text{State 1 : }p\_1=p\_0 \;|\;T\_1=T\_0 \;|\;V\_1\;|\;S\_1\; |\; G\_1=U\_1+p\_1V\_1-T\_1S\_1$$
$$\text{State 2 : }p\_2=p\_0 \;|\;T\_2=T\_0 \;|\;V\_2\;|\;S\_2\;|\;G\_2=U\_2+p\_2V\_2-T\_2S\_2$$
$$\text{For an irreversible isothermal process (Second Law) : }Q\_A \leq T\_0 (S\_2-S\_1) \tag{1}$$
$$\text{For an irreversible isobaric process : }W\_A=p\_0(V\_2-V\_1)\tag{2}$$
$$\text{First Law of Thermodynamics : }\Delta U = U\_2 - U\_1 = Q\_A - W\_A \tag{3}$$
$$\Delta G=G\_2-G\_1=\Delta U + p\_0(V\_2-V\_1)-T\_0(S\_2-S\_1)=Q\_A-W\_A+W\_A-T\_0(S\_2-S\_1)$$
$$ \Rightarrow \Delta G \leq 0$$
$$\Delta U=\int\_{1|\text{process O}}^2(TdS-pdV) \text{ holds iff the process O from state $1$ to state $2$ is reversible} \tag{4}$$
---
$$\underline{\text{The Subtle Detail}}$$
Given transformation $A$ exists, it is not guaranteed that there must also exist a reversible $TP$ process (with the same $T\_0$ and $p\_0$) that connects the same initial and final states. However, *if* there exists a reversible $TP$ transformation $B$ (with the same $T=T\_0$ & $p=p\_0$) that goes from state $1$ to state $2$, then
$$\Delta U \stackrel{\text{Eq. $(4)$}}= \int\_{ 1|\text{process B}}^2(T\_0 dS - p\_0 dV)= T\_0(S\_2-S\_1) - p\_0(V\_2-V\_1) \tag{5}$$
$$\stackrel{\text{Follows from Eq. $(2),(3)$ and $(5)$}}\Rightarrow Q\_{\text{over any $PT$ transformation (can be either reversible or irreversible)}}=T\_0 (S\_2-S\_1)$$
$$\Rightarrow \Delta G=0$$
| stackexchange/physics |
in spite of continuous improvement in the instrumentation of positron emission tomography ( pet ) , its spatial resolution still remains relatively low compared to anatomical imaging modalities such as magnetic resonance ( mr ) or computed tomography ( ct ) .
failure to implement a partial volume correction ( pvc ) in quantitative pet imaging may result in significant bias in the estimate of regional radioactivity uptake [ 13 ] .
the limited spatial resolution of pet is due to several factors that influence the image formation processes , including positron range , noncollinearity , detector width , and reconstruction filtering .
this effect can be accounted for with a knowledge of the three - dimensional ( 3d ) pet image formation processes or a measurement of the global pet point spread function ( psf ) .
usually , a fitted 3d gaussian curve characterized by its full width half maximums ( fwhms ) in the x , y , and z directions is used to estimate the global pet psf .
the second effect is the tissue fraction effect due to the coarse spatial sampling of the pet images , which may cause a single pet voxel to contain more than one tissue type with different tracer uptakes . with the availability of anatomical images in current pet - ct ( or pet - mr ) systems , this effect can be accounted for by segmented coregistered ct ( or mr ) images .
two general categories for pvc implementations are voxel - based and region - based approaches .
some voxel - based techniques require anatomical ct ( or mr ) co - registered images [ 69 ] and others in this category do not [ 1012 ] .
voxel - based techniques most often do not require ct ( or mr ) image segmentation , which could be considered appealing in some applications .
nevertheless , since the correction is performed at the voxel level , the main disadvantage of these techniques is the noise amplification which could be a limiting factor .
a region containing many voxels is less likely to be affected by image noise compared to a single voxel .
region - based pvc approaches are mainly based on a key study by rousset et al .
, in what is commonly referred to as the geometric transfer matrix ( gtm ) method . in this method , the ct ( or mr ) images are segmented to different nonoverlapping regions representing different tissue types . using these regions , the gtm method corrects for both the pet tissue fraction effect and the point response effect in an analytical approach .
the gtm method is attractive since it is straightforward to implement and it provides meaningful physical interpretations for spillover between all regions .
the gtm method indeed remains the most widely used pvc method and is usually considered as the reference pvc method [ 10 , 14 ] .
often new pvc methods , even those that are nonregion - based , are evaluated in performance against the gtm method [ 10 , 12 , 14 , 15 ] .
the gtm method obtains spillover information between regions by calculating regional spread functions ( rsfs ) .
two distinct approaches to calculate rsfs have been used in previous studies , which are very different in terms of computational needs . the first approach
forward projects each region to sinogram - space and sinograms are then reconstructed to obtain rsfs [ 16 , 17 ] .
this approach requires that the pet detector geometry be known and was used in the original gtm method , where 3d resolution effects were modeled using an analytical simulator of a 2d - acquisition pet system .
the second approach , which is used more commonly , is to convolve the regions directly in image - space with a global psf [ 1922 ] . throughout this paper
, we refer to the image - based approach as the gtm method and the sinogram - based approach as the gtmo method .
compared the gtm and gtmo methods by implementing them for data acquired using a 3d - acquisition pet system , an acquisition mode that most current pet systems are based on .
although the gtmo method is computationally slower than the gtm method , the gtmo method more closely simulates the 3d image formation and acquisition processes of a physical pet system compared to the gtm method which uses a global 3d psf .
moreover , only a sinogram - based method can be readily extended to the iterative reconstruction algorithms which are now more commonly used in the clinic .
the 3d implementation of gtmo by frouin was adapted by some studies for clinical applications .
while accurate regional recovery is the main goal of any pvc , precision and noise propagation are important considerations in evaluating the performance of any pvc method .
performance can be further evaluated in terms of robustness to pet - ct ( or pet - mr ) misregistration , as well as with regard to errors in pet psf measurements .
the study by showed that the performance of the gtmo method is similar to that of the gtm method in terms of accuracy , precision , and robustness with regard to registration errors .
robustness to pet - ct ( or pet - mr ) registration is of special concern if patient motion exists between the two scans .
misregistration has been reported to be the factor with the largest impact on the accuracy and precision of the gtm method .
recently , a new region - based pvc has been reported which is referred to as the symmetric geometric transfer matrix ( sgtm ) method .
the accuracy of the sgtm method is similar to that of gtm , while it has better characteristics for noisy pet images in terms of precision and noise propagation .
the sgtm method was also reported to be more robust than the gtm method , both in terms of registration errors and errors in psf measurements .
similar to gtm , the sgtm method is attractive in a sense that it provides an analytical equation with meaningful physical interpretations for spillover between all regions .
the implementation of sgtm does not incur any additional computational cost compared to the gtm method .
the sgtm method referred to above was implemented in image - space , similar to the gtm method .
no previous study has implemented the sgtm method in sinogram - space . as mentioned previously ,
a sinogram implementation is of interest since it more closely simulates 3d pet image formation processes compared to the image - space implementation and it provides the other advantages noted above .
the objective of this study was to implement and validate the sgtm method for 3d pet in sinogram - space . in this study
this study also compares the performance of the sgtmo method to previous region - based pvc methods , that is , gtmo and sgtm .
two hypotheses are tested in this comparison : ( a ) just as gtmo was reported to be similar in performance to the gtm method , the first hypothesis is that the sgtmo method performs similarly to the sgtm method and ( b ) since the sgtm was shown to have performance advantages over the gtm method , the second hypothesis is that the sgtmo method would show similar performance advantages over the gtmo method .
the principles of region - based pvc methods are described in the literature [ 13 , 25 ] . in this section ,
the implementation of four different region - based pvc methods is described , that is , gtm , gtmo , sgtm , and sgtmo , that were used to obtain the results in this paper . in short , high resolution ct ( or mr )
images are segmented into n tissue types with nonoverlapping volumes of interest voii ( i = 1 n ) .
uptake for each tissue type is assumed to be homogenous and the goal is to obtain this uptake value with knowledge of the pet 3d psf or the pet 3d image formation process .
the mask image for each voi contains binary voxel values of unity ( if the voxel belongs to the tissue ) or zero ( if the voxel is outside the tissue ) .
the n voi masks are each interpolated from the ct ( or mr ) voxel size to the coarser voxel size of pet to account for the tissue fraction effect and obtain pet - space voi images . in the gtm and sgtm methods
, each pet - space voi image is convolved in 3d with the pet psf to obtain the rsfs , which are blurred versions of the corresponding tissue masks . in the gtmo and sgtmo methods ,
the global pet psf is not used , and in order to obtain the rsfs , three steps are required .
first , the pet - space voi images are forward projected with knowledge of the 3d pet scanner acquisition geometry .
the resulting projection sinograms containing 3d line of responses ( lors ) are then blurred .
finally , the projection sinogram for each voi is reconstructed with a 3d reconstruction algorithm to obtain the corresponding rsf .
these three steps , in effect , simulate the pet image formation process for each tissue volume separately .
we implemented the first and last steps using the open source software for tomographic image reconstruction ( stir ) , details of which are described in section 2.4.2 below .
the middle step ( blurring ) may be performed by convolving each lor with the intrinsic psf of 2 crystals .
we implemented this step in the fourier domain by multiplying the fourier transform ( ft ) of the sinograms with a gaussian function such that the resulting 3d psf from a simulated point source matched the measured psf of the pet scanner .
note that the rsf images are different for the image - based pvc methods ( gtm and sgtm ) versus the sinogram - based pvc methods ( gtmo or sgtmo ) due to essentially different methods of calculation that account for resolution loss in pet . to perform a pvc ,
all four methods use the following equation :
( 1)[ij]nn[tj]n1=[tj]n1 ,
where in gtm and gtmo methods ,
( 2)ij=fovrsfi(r)voij(r)dr , tj=fovi(r)voij(r)dr
and in sgtm and sgtmo methods ,
( 3)ij=fovrsfi(r)rsfj(r)dr , tj=fovi(r)rsfj(r)dr .
here
, i(r ) is the measured pet image with a given field of view ( fov ) and [ ij]nn is commonly referred to as the geometric transfer matrix which contains weighing factors with a physical interpretation for each element . in the gtm and gtmo methods ,
ij describes spillover from one voi mask to another . in the sgtm and sgtmo methods , on the other hand ,
[ tj]n1 on the right side of the equation is where we sample the measured pet image for each region . in gtm and gtmo methods ,
this is performed by multiplying the pet image by the corresponding voi mask , while in the sgtm and sgtmo methods , this task is performed by multiplying the pet image by the corresponding rsf image .
[ tj]n1 is a vector containing estimates of true uptake values for each tissue type and in order to apply pvc , ( 1 ) can be solved by multiplying both sides of the equation by the inverse of [ ij]nn .
figure 1 illustrates the steps of implementing pvc in sinogram - space ( gtmo and sgtmo ) for an image of a vessel having only two tissue types ( n = 2 ) .
note that unlike rsfs obtained by convolution in gtm and sgtm , where voxel values are only between zero and one , rsfs obtained for gtmo and sgtmo may contain negative voxel values and streak artifacts as shown in figure 1(e ) .
this effect is the result of the reconstruction process and may translate into the weighting matrices as shown in figures 1(g ) and 1(h ) .
however , this effect does not pose a problem to the calculation of weighting factors .
this can be confirmed by adding all the rsf images and verifying that all the voxels are close to unity :
( 4)i=1nrsfi(r)=1 .
for the data presented in this paper , the deviations from unity were less than 0.5% for all voxels and thus we ignored this effect .
the performances of the four region - based pvc methods were evaluated by implementing them for two 3d simulated phantoms ( a sphere phantom and a brain phantom ) and one physical sphere phantom .
a 3d sphere pet phantom was simulated using the geometry obtained from a ct scan of the physical sphere phantom shown in figure 4(a ) .
the spheres were fixed in a cylindrical tank and their sizes ranged in inner diameter from 5 to 30 mm and the wall thickness for all spheres was 0.6 mm .
the ct images of the phantom were contoured automatically using an in - house analytic sphere segmentation algorithm to obtain the location of the spheres and the outer walls relative to the tank . using the ct geometry and voxel size ,
an ideal pet image was obtained by assigning the relative uptake of the sphere - to - background ratio of 3 to 1 and the wall uptake to zero as shown in figure 2(a ) .
this ct - space ideal pet image was then downsampled using a trilinear interpolation algorithm to the pet voxel size to account for the tissue fraction effect .
the pet voxel size was 2 2 3.15 mm in the x , y , and z directions , respectively , the same as that of the physical phantom pet scan .
for the gtm and sgtm pvc methods the ideal pet image was then convolved in 3d with the pet psf and noise was added to obtain the simulation pet image .
the psf was gaussian with fwhms of 7.23 , 7.14 , and 6.65 mm in the x , y , and z directions , respectively , matching the psf for the physical sphere phantom .
for the gtmo and sgtmo pvc methods the ideal pet image was forward projected , filtered , and reconstructed using the 3d filtered back projection ( fbp ) algorithm , and noise was added to create a simulated pet image as shown in figure 2(b ) .
the forward projection and reconstruction parameters were chosen to match those of the physical sphere phantom .
the added noise was uniform across the phantom and uncorrelated for all four pvc methods and had a gaussian distribution with a standard deviation of 25% relative to the mean tank uptake .
this noise level was chosen to match the voxel noise obtained from the physical phantom .
a total of 100 3d pet images were simulated , each with different stochastic noise and the four pvc methods were applied to each 3d pet image . for all pvc methods ,
three vois were chosen , that is , inner sphere volume , sphere wall , and the background volume , which resulted in 3 3 weighting matrices .
the background volume for each sphere size was a cylinder in the tank around the sphere such that its dimensions were at least 20 mm larger than the outer sphere walls in all directions .
the geometry and the parameters ( reconstruction , noise , etc . ) of the simulated pet sphere phantom were chosen to be identical to those of the physical pet phantom .
this approach provides an opportunity to directly compare the results for the simulated and the physical sphere phantoms .
a 3d pet brain phantom was simulated from the segmented images of a dedicated mri head phantom made available by techniques described in a previous study .
five vois were chosen from the zubal phantom : right and left putamen , right and left caudate , skin and skeletal muscle , grey matter , and white matter .
the choice of tissue volumes is typically based on the research question involved and the characteristics of the tracer used .
the vois for the brain phantom in this study are those of a previous study for striatal brain pet imaging using 18f - l - dopa where small vois ( e.g. , putamen and caudate ) are involved in the pvc .
the five vois were assigned relative uptake values of 4.5 , 4.0 , 1.0 , 2.5 , and 2.0 , respectively .
these uptake values were taken from for the 18f - l - dopa tracer .
the rest of the image volume was assigned to be the background voi with a relative uptake of zero .
thus a total of six vois were assigned to create 6 6 weighting matrices for all four pvc methods .
these six vois are shown in figure 3(a ) . the ideal pet image in mr - space
the mr voxel size was 1.1 1.1 1.4 mm in the x , y , and z directions , respectively .
the ideal 3d mr - space image was then down - sampled to match the voxel size of the pet image to account for the tissue fraction effect using a tri - linear interpolation algorithm .
the pet voxel size was 2 2 3.15 mm in the x , y , and z directions , respectively .
for the gtm and sgtm pvc methods , the down - sampled pet image was then convolved in 3d with the pet psf and noise was added to create simulated 3d brain pet images .
the gaussian 3d psf had fwhm values of 7.23 , 7.14 , and 6.65 mm in the x , y , and z directions , respectively .
for the gtmo and sgtmo pvc methods the down - sampled pet image was forward projected , filtered , and reconstructed using the 3d fbp algorithm and then noise was added to create simulated 3d brain pet images . figure 3(c ) shows the simulated pet image for the gtmo and sgtmo pvc methods .
similar to the simulated sphere phantom , a 25% uncorrelated voxel noise was added uniformly for all four pvc methods .
a total of 100 3d pet images were created each with different stochastic noise and the four pvc methods were applied to each 3d image .
a physical sphere phantom shown in figure 4(a ) was constructed that had six fillable spheres with inner diameters ranging from 5 to 30 mm and a wall thickness of 0.6 mm for all the spheres .
the spheres were fixed in a cylindrical tank with a diameter of 20 cm and a height of 20 cm .
the spheres and the tank were filled with f-18 radionuclide solution with a total activity of 40.7 mbq ( 1.1 mci ) such that the uptake ratio of sphere to background was 3 to 1 for all spheres .
the phantom was then scanned with a gemini pet - ct scanner ( philips medical system , cleveland , ohio ) .
the pet fov was 256 mm and a total of 18 frames were acquired each with acquisition time of 5 minutes .
the acquired pet sinograms were reconstructed in stir using 3d fbp as described in section 2.4.2 .
the reconstructed pet voxel size was 2 2 3.15 mm in the x , y , and z directions , respectively .
the pet psf was measured in air using five f-18 point sources and the stir parameters to reconstruct the pet images of the point sources were the same as those used to reconstruct the pet images of the sphere phantom .
the average fwhms of the psf were 7.23 , 7.14 , and 6.65 mm in the x , y , and z directions , respectively .
similar to the simulated sphere phantom , a total of 3 vois , that is , inner sphere volume , sphere walls , and the background volume were created , resulting in 3 3 weighting matrices to apply for all four pvc methods .
an in - house image analysis software toolkit was developed in interactive data language ( idl ) version 8.1 ( research systems inc . , boulder , co ) .
this software was used to create the simulated pet images , display the 3d images , create and display vois , calculate the rsfs , implement the four pvc methods , and plot the results .
the stir routines for forward projection or reconstruction were called from the idl software whenever they were needed ( see below ) . for all pvc methods accuracy , precision , noise propagation characteristics , and the robustness in terms of pet - ct ( or pet - mr )
the accuracy and precision were evaluated by calculating the mean and standard deviation of the recovery coefficient ( rc ) of a given pvc method using
( 5)rc = measured activity within voitrue activity within voi .
the ideal value for rc is unity ; however , rc before pvc might be smaller or larger than unity if the voi is hotter or colder than its surrounding background . to evaluate the noise propagation characteristics of the pvc methods , noise magnification factors ( nmfs ) were calculated , that is , ratio of coefficient of variance after pvc to that before pvc
( 6)nmf = dti / tidti / ti ,
where the ti and ti are as defined above for ( 1 ) .
however , since pvc usually amplifies the noise , the value of the nmf is often greater than unity . to evaluate robustness to misregistrations ,
the ct ( or mr ) mask images were shifted with respect to the pet images before performing pvc and the values of rc were calculated after the shifts .
misregistrations up to 10 mm were applied in the x , y , and z directions separately . in order to perform the 3d forward projection and 3d reconstruction needed to implement the pvc methods in sinogram - space , routines from stir release 2 were used .
these tasks require knowledge of the 3d pet detector geometry and stir contains this information for a number of commercially available pet scanners including the philips allegro scanner used in this study . in order to call stir routines , both image and sinogram data were converted to the interfile format that is compatible with stir . in order to calculate rsfs for gtmo or sgtmo pvc methods in all three phantoms ,
voi masks were forward projected and the sinograms were reconstructed using the stir fwdtest and
this routine is based on a 3d fbp algorithm for a given pet detector geometry .
the measured sinogram data from the physical phantom scan needed to be corrected for detector gaps in the philips allegro scanner prior to reconstruction . since stir does not provide a routine for this task , an in - house gap filling algorithm based on a previous study was implemented .
the attenuation correction was performed in stir based on the measured ct images of the phantom . the scatter correction performed in stir
figure 5 shows the results for accuracy and precision of the rc values with different pvc methods and without using pvc .
all rc values in figure 5 are for the case without pet - ct ( or pet - mr ) misregistration .
figures 5(a ) , 5(b ) , and 5(c ) are the results for simulated sphere , simulated brain , and the physical sphere phantoms , respectively . figures 5(a ) and 5(c ) are for the inner sphere vois . in general , the corrected rcs for all brain and sphere vois and for all four pvc methods were within 5% of the ideal value .
the only exceptions were for the smallest sphere size ( 5 mm diameter ) for 2 pvc methods ( gtm and sgtm ) of the physical sphere phantom , although accuracy within 10% was still obtained even for this small object size .
the variation in rc with image noise for the sgtm and sgtmo methods was less than that for the gtm and gtmo methods especially for smaller objects , as shown by the error bars for each method .
the error bars for the simulated brain phantom in figure 5(b ) are significantly smaller than those for the sphere phantoms ( figures 5(a ) and 5(c ) ) .
this effect is due to the fact that the brain vois had more voxels than the small sphere vois and noise is expected to affect smaller vois more than bigger vois .
the plots in figures 6(a ) , 6(b ) , and 6(c ) are the results for the simulated sphere phantom , simulated brain phantom , and the physical sphere phantom , respectively .
as expected , the nmf values for gtm were similar to those for gtmo method , and the values for sgtm were similar to those for sgtmo method .
moreover , the values of nmf for sgtmo were smaller than those of gtmo method indicating an improvement in noise propagation when the pvc matrix is symmetric , even when the pvc method is performed in the sinogram - space .
figure 7 shows the normalized rc values when misregistration is applied between pet - ct ( or between pet - mr ) images .
the plots in figures 7(a ) , 7(b ) , and 7(c ) are the results for the simulated sphere phantom , simulated brain phantom , and the physical sphere phantom , respectively .
errors in registration were applied by shifting the ct ( or mr ) vois relative to the pet image before applying the pvc .
all curves in figure 7 are shown as a function of misregistration in the lateral ( x ) direction .
the results of misregistration in other two directions ( y and z ) were similar ( data not shown ) .
the rc values in the figure were normalized to the rc values with zero misregistration .
data for one small ( 13 mm diameter ) and one large ( 30 mm diameter ) sphere is shown in figures 7(a ) and 7(c ) to make the plots less cluttered .
the sgtm curves for the brain phantom and the gtm curves for all phantoms are not shown in figure 7 in order to clarify other curves in the figure . however , as expected in all phantoms , the curve for gtm was close to that of gtmo and the curve for the sgtm was close to that of sgtmo .
the results show that the symmetric pvc method is more robust than the nonsymmetric pvc method even if the pvc method is performed in the sinogram - space .
in this study , the sgtmo pvc method , a sinogram implementation of sgtm , was implemented and validated , and its performance was compared to previously established region - based pvc methods . in order to test our two hypotheses , all four region - based pvc methods were applied to images of three different phantoms and their relative performance was evaluated in terms of accuracy , noise characteristics , and robustness with regard to pet - ct ( or pet - mr ) misregistrations .
a discussion of how the results reflect upon the two hypotheses is presented below . in addition
the accuracy of the new sgtmo method is similar to all other region - based pvc methods .
as shown in figure 5 , with no pvc on pet images , accuracy is lost as expected especially for smaller objects . however , using any of the four pvc methods and in the absence of registration errors , the accuracy of recovered uptake measurements will generally be within 5% .
the results presented in figure 6 show that the noise characteristic of the sgtmo method is similar to that of the sgtm method while it is improved compared to the gtmo method .
the precision ( standard deviations ) of the sgtmo method shown in figure 5 is similar to that of the sgtm method while in general smaller than that of the gtmo method .
better precision in the rc value translates to a better noise propagation characteristics when the weighting matrix is symmetric , regardless of its method of calculation , that is , image - based or sinogram - based . the added noise for the simulations was uniform spatially across the image even though the uptake was not uniform within the image .
this decision was based on a previous study which showed that for the fbp algorithm , the noise is almost uniform even if the uptake is spatially nonuniform .
the 25% noise level used in the simulations was the same noise level as obtained from the physical phantom .
this corresponds to noisy pet images where the acquisition time is short ( as for dynamic pet ) or light filtration is applied during reconstruction .
note that the noise in the physical phantom experiments was inherently poisson noise at the projection level , while , for simplicity , noise was added at the postreconstruction level for the phantom simulation experiments .
the results in terms of correction sensitivity to noise level were similar for both physical experiments and simulations , suggesting that the differences in noise spectrum characteristics ( i.e. , one would expect a correlated image noise spectrum for noise added at the projection level ) did not significantly change the interpretation of the results .
a practical pvc method for clinical applications requires robustness to pet - ct ( or pet - mr ) misregistration in order to preserve accuracy .
errors in registration may be due to patient movement during or between the two scans .
the loss of accuracy due to misregistration has been regarded as a major source of error affecting region - based pvc methods .
compared to other sources of error such as missegmentation or errors in psf measurements , the misregistration has the strongest impact on accuracy and precision of uptake recovery .
the results in figure 7 show that the sgtmo method is more robust than the gtmo method
the improvement in the robustness of sgtmo over gtmo is greater for smaller objects or tissue volumes .
this was also the case when sgtm was compared to gtm in a previous study .
thus , a symmetric implementation of the region - based pvc method is more robust to misregistration than the nonsymmetric implementation regardless of the image - based or sinogram - based approach .
it is interesting to point out that the registration errors do not affect the weighting matrices but only the t values on the right side of ( 1 ) . as discussed previously , the improvement in robustness to misregisteration is due to the fact that the symmetric implementation samples the pet image ( t values ) by applying the rsfs with blurry boundaries rather than by utilizing the vois with sharp boundaries .
sampling the pet image with rsfs , in effect , takes advantage of resolution loss in pet .
this implies that , for a given object size , the more resolution loss in pet , the more advantage in using the symmetric pvc ( sgtm or sgtmo ) than the nonsymmetric pvc ( gtm or gtmo ) .
thus , the 3d implementation of the pvc ( compared to 2d ) is important to realize the advantage of improvement in robustness . in the image - based pvc methods ( gtm and sgtm )
, every voi is convolved in 3d with the pet psf to obtain the rsfs and thus the spillover information between the regions .
on the other hand , in the sinogram - based pvc methods ( gtmo and sgtmo ) , every voi is forward projected and then reconstructed to get the same information on spillover . unlike image - based pvc , the sinogram - based approach intrinsically accounts for local variations in the spatial resolution in non shift - invariant systems .
if the psf is shift - invariant , the convolution step for the image - based pvc can be performed in fourier domain using the fast fourier transform ( fft ) which significantly speeds up the pvc implementation .
thus , the fast implementation of the image - based pvc is its major advantage over the sinogram - based pvc .
however , if the psf is nonshift - invariant , the fft can not be used for convolution .
although in this case in principle , it is possible to perform the convolution in the image domain , in practice , this approach is not used for various reasons .
for example , one needs a fully measured and characterized psf for all points in the space .
thus , the advantage of a fast implementation for image - based pvc approach may be lost in nonshift - invariant systems .
nonshift - invariant behavior could be caused by detector parallax which is more pronounced in small animal pet systems due to small bore size .
another example is the head - dedicated pet systems in multislice configuration , where more than 40% difference exists between the axial psf fwhm in the peripheral fov compared to that of the central fov .
once the rsfs are calculated using either convolution or forward projection followed by reconstruction , the remaining implementation steps are based on ( 1 ) for all four pvc methods .
this implies that the implementation of sgtm does not add any additional computational cost to the gtm method .
similarly , the implementation of sgtmo is just as fast as the gtmo method . due to their advantage over conventional analytic fbp algorithms , iterative reconstructions
are commonly used today in the clinic for pet systems . through repetitive forward projection and reconstruction techniques , iterative reconstructions model physical and statistical processes of photon production and detection
more accurately and thus improve the image quality . in terms of region - based pvcs ,
only a sinogram - based pvc method is readily extendable to iterative reconstructions . in this method
, the transfer matrix weighting factors are calculated through a perturbed forward projection and reconstruction technique , an approach which is not feasible for image - based pvc using the convolution technique .
this is an advantage of the sinogram - based pvc over the image - based pvc .
the sinogram - space implementation of a region - based pvc method ( gtmo ) has been extended to iterative reconstruction algorithms .
these algorithms are now commonly used in the clinic due to their advantages over conventional fbp algorithms .
an extension of the sgtmo method to iterative reconstructions is of great interest and is currently under investigation .
a sinogram - space implementation of the symmetric region - based pvc method ( sgtmo ) was implemented and validated using two 3d digital phantoms and one physical phantom .
the performance of the sgtmo method was compared in terms of accuracy , noise characteristics , and robustness to registration errors to previously established region - based pvc methods , that is , sgtm and gtmo .
the results confirm our two hypotheses that sgtmo method is similar in performance to the sgtm method while its performance is improved compared to the gtmo method . | pubmed |
Fluorescence versus phosphorescence
Not in an atomic aspect, I learned that fluorescence is the emission of light from substances until the source of light disappears (there is no emission in the dark), on the other hand, phosphorescence, due to a blocking of electrons on their way back to normal state, is the emission of light from substances even without any source (emission in the dark).
If it is so, then why do we call glowing objects in the dark as *fluorescent*?
>
> If it is so, then why do we call glowing objects in the dark as *fluoroscent*?
>
>
>
I think this is just marketing: most people have heard the term *fluorescence*, while *phosphorescence* or luminescence are largely unknown terms.
While a delayed emission from a singlet state is possible, most glow-in-the-dark items do in fact show phosphorescence, i.e. emission from a tripet state.
| stackexchange/chemistry |
hypertension has been acknowledged as one of the greatest and established risk factors for cardiovascular diseases ( cvd ) ( heart diseases and stroke ) [ 14 ] . particularly in east asian countries , where the mortality and morbidity of stroke have been higher than in western countries , measures against hypertension
hypertension affects a majority of the elderly , and drug therapies for hypertension have greatly added to medical costs in most developed countries . on the other hand , japan is one of the countries with the longest longevity in the world , the major reason of which is regarded to be a great decline in stroke mortality due to a decrease in nationwide blood pressure ( bp ) levels .
the author has been involved in epidemiological researches on the risk assessment and prevention of hypertension through several cohort studies in japan , their meta - analyses , and international cooperative studies . in this article ,
findings from these studies are reviewed from the viewpoints of population - wide and individual - based preventive approaches in japanese , and the reason of the longest longevity of japanese is discussed .
the national integrated project for prospective observation of non - communicable disease and its trends in the aged ( nippon data ) consists of two cohort studies of representative japanese population samples who participated in the national surveys on circulatory disorders and the national nutrition surveys in 1980 ( nippon data80 ) and in 1990 ( nippon data90 ) .
a total of approximately 10,000 ( nippon data80 ) and 8,000 ( nippon data90 ) participants were from 300 randomly selected areas from all over japan .
this project has served a number of evidences on the relationships of major cvd risk factors on long - term cvd mortality risk , including a strong , continuous , graded , and independent relationship of bp levels to cvd risk [ 7 , 8 ] . in addition , follow - up surveys on activity of daily living ( adl ) in the nippon data80 participants reported a positive relation between high bp at middle age and future impaired adl , since a large part of impaired adl is caused by stroke occurrence in japan .
we found that 45% of impaired adl could be explained by non - normal bp at baseline .
the evidence for cardiovascular prevention from observational cohorts in japan ( epoch - japan ) is a meta - analysis of individual participants data from high - quality established 13 cohort studies in japan , including nippon data .
the total number of epoch - japan participants was over 180 thousands , with approximately 10 years of follow - up , and sex- and age - specific risks ( relative and attributable ) of all - cause mortality with higher bp were estimated in this meta - analysis .
adjusted all - cause mortality increased as bp increased in all age - groups ( fig . 1 ) , and this trend was more apparent in younger people than older people ; hazard ratio [ hr ] for 10 mm hg increase in systolic bp was 1.37 in men aged 4049 , whereas hr was 1.09 in men aged 8089 .
younger people should pay more attention to bp increase to prevent future cardiovascular risk , and should modify their lifestyle to lower bp from their younger age .
moreover , population - attributable fraction of deaths with higher bp above optimal ( < 120/80 mm hg ) was 23% in men and 18% in women .
thus , a great impact of higher bp above optimal level on total deaths in japan was revealed .
1relation between blood pressure and multivariate - adjusted mortality rate by age range ( men and women combined ) .
each dot represents a multivariate estimate of mortality rate after adjusting for sex , smoking , drinking , and body mass index , and each line shows the 95% ci relation between blood pressure and multivariate - adjusted mortality rate by age range ( men and women combined ) .
each dot represents a multivariate estimate of mortality rate after adjusting for sex , smoking , drinking , and body mass index , and each line shows the 95% ci some epidemiologic studies reported that pulse pressure ( pp ) , the difference between systolic bp ( sbp ) and diastolic bp ( dbp ) , is a useful predictor for cvd especially in middle - aged or older people [ 11 , 12 ] ; however , it was uncertain whether pp is superior to sbp or dbp in predicting future cvd risk in various age - sex groups of general japanese population , where stroke is dominant among cvds . moreover , it is also important to assess whether dbp has any additional role in predicting risks independently from sbp .
the author examined these questions in a population - based cohort study , the oyabe study , on long - term stroke incidence by four age - sex groups ( men and women aged 3564 and 6579 years ) .
the study showed that relations of pp to stroke risk were less strong than those of sbp in all age - sex groups . in middle - aged men , the strongest relationship to stroke incidence
was observed for dbp ( hr 1.79 for 1 standard deviation [ sd ] increase ) . in older men , the strongest relationship to stroke risk
older women , both sbp ( hr 1.56 and 2.25 ) and dbp ( hr 1.63 and 2.46 ) showed similarly strong relationships to stroke risk .
this issue was also examined by large - scale meta - analyses [ 3 , 14 ] . however , the majority of study participants in these studies were caucasians ( even in one study from the asia pacific region ) , and there have been few investigations including only asian people . moreover , it was still uncertain whether the importance of bp indices differs for predicting ischemic stroke and hemorrhagic stroke risks .
the japan arteriosclerosis longitudinal study - existing cohorts combine ( jals - ecc ) is a pooling project based on individual participant data from existing high - quality prospective cohort studies on cvd in japan . from this project ,
the author reported the meta - analysis of 16 cohort studies which allowed detailed investigations with over 1,000 stroke events and 200 myocardial infarction ( mi ) events from over 400,000 person - years of follow - up in japanese .
stroke risk was most strongly related to mean bp ( mbp ) and sbp in both sexes , and was most weakly related to pp ( fig . 2 ) .
sbp and dbp were independently and positively related to stroke risk in both sexes , even after adjusted for each other .
both stroke subtypes , ischemic and hemorrhagic , were most strongly related to mbp or sbp in both sexes .
also in older men and women aged 7089 , mbp or sbp showed the strongest relation to all stroke risk .
mi risk was most strongly related to sbp and mbp in both sexes . for any cvd endpoints in any age - sex groups , pp was not the strongest predictor . in this report , we concluded that the long - term incident risk of stroke and mi associated with high bp in east asian populations should be assessed mainly on the basis of sbp .
hazard ratios are calculated for each bp index higher by 1standard deviation , and adjusted for age , body mass index , total cholesterol , and smoking using poisson regression . *
sbp systolic blood pressure ; dbp diastolic blood pressure ; pp pulse pressure ; mbp mean blood pressure ; hr hazard ratio ; 95%ci 95% confidence interval adjusted hazard ratios for four blood pressure indexes for all stroke incidence by sex .
hazard ratios are calculated for each bp index higher by 1standard deviation , and adjusted for age , body mass index , total cholesterol , and smoking using poisson regression . * two bp indices
sbp systolic blood pressure ; dbp diastolic blood pressure ; pp pulse pressure ; mbp mean blood pressure ; hr hazard ratio ; 95%ci 95% confidence interval
several factors have been reported to determine population - wide bp level and individual s bp in japan . in 1960
, dahl authored a famous study on the relationship between salt intake and bp in populations in various parts of the world , including japan .
he reported that people living in northern japan consumed about 30 g salt per day and had an almost 40% prevalence of hypertension , whereas alaskan natives consumed less than 5 g of salt per day and had a prevalence of almost zero .
the intersalt study was conducted , using 52 populations in 32 countries ( including three populations in japan ) ( a total of 10,079 participants ) , with strictly standardized bp measurement and evaluation of salt intake by 24-h urinary sodium excretion determination [ 1820 ] .
the intersalt study found that urinary sodium excretion was significantly related to individual bp and to age - dependent bp elevation , after adjustment for age , gender , obesity and alcohol consumption .
it was estimated that 100 mmol lower sodium excretion ( equivalent to about 6 g salt ) was related to 2.2 mmhg lower sbp , and to lower elevation in sbp and dbp by 1011 mmhg and 6 mmhg , respectively , between 25 and 55 years of age a period of 30 years . as also mentioned below
the intersalt study also showed that sbp was significantly higher in men and women drinking 300 ml of ethanol / week ( approximately 238 g ) than in non - drinkers .
other cross - sectional studies in japanese men showed that sbp was approximately 710 mmhg higher , and dbp was approximately 27 mmhg higher , in drinkers of three to six drinks / day ( approximately 210420 g of ethanol / week ) than in non - drinkers [ 22 , 23 ] , and that the relationship was not different among the types of beverage .
moreover , a large - scale 7-year follow - up study of japanese male workers revealed that , when adjusted for age , weight change , and foods intake , average annual increases in sbp were 0.33 mm hg greater in drinkers of 300 g ethanol / week than in non - drinkers ; it means that sbp in drinkers will increase 3.3 mm hg greater in 10 years than in non - drinkers .
a randomized controlled trial in japanese habitual male drinkers also showed that a reduction of ethanol consumption from 56 ml / day to 23 ml / day resulted in 3.6 mm hg decrease in sbp .
the international study of macro - micro - nutrients and blood pressure ( intermap ) showed that mean ethanol intake in middle - aged men was the highest in japan ( 30 g / day ) among four countries , whereas it was 20 g / day in the uk , 17 g / day in china , and 11 g / day in the usa .
therefore , higher alcohol consumption would contribute largely to increase bp level and the prevalence of hypertension in japanese men .
the intermap is an international cross - sectional epidemiologic study of 4,680 men and women ages 4059 from 17 population samples in china ( three samples ) , japan ( four samples ) , uk ( two samples ) , and usa ( eight samples ) .
nutrient intake data were based on four in - depth multi - pass 24-h dietary recalls / person and two timed 24-h urine collection / person , and bp was measured eight times at four visits [ 28 , 29 ] .
the study has reported the relationships of several nutrients to bp , including the intakes of vegetable protein , omega-3 polyunsaturated fatty acids ( pfa ) , omega-6 pfa ( linoleic acid ) , dietary cholesterol , phosphorus , non - heme iron , and glutamic acid [ 3036 ] . among these nutrients ,
omega-3 pfa intake , which was inversely related to bp , was the highest in japan among four countries ( 3.4 g / day in men and 2.7 g / day in women ) due to higher fish intake , so that higher omega-3 pfa intake would affect favorably to bp level in japanese .
on the other hand , dietary cholesterol intake , which was positively related to bp , was the highest in japan ( 446 mg / day in men and 359 mg / day in women ) largely due to higher egg intake , so that higher cholesterol intake would affect unfavorably to bp level in japanese .
obesity is , of course , an important factor for high bp in japanese , although japanese people have been relatively lean compared with western people .
the proportion of individuals with obesity - induced hypertension among total hypertensives was calculated using the baseline data of nippon data80 and nippon data90 .
the estimated percentage whose hypertension was attributed by obesity ( bmi 25 kg / m ) in 1980 and 1990 was 11% and 15% for men and 19% and 22% for women , respectively .
as the proportion of obesity has been increasing continuously in men and in older women in japan , these percentages would be higher now compared with those in 1980 and 1990 .
during 1960 s , mortality due to stroke in the japanese population was markedly high by international standards , but has now been drastically reduced to approximately one - seventh of the previous level ( fig .
this drastic change is the main cause of elongation in longevity of japanese during the past several decades , and it is presumably largely due to a steady decrease in the mean bp of the population .
this decrease in bp was not only found in the elderly , but also in the middle - aged and younger generations .
the national survey on circulatory disorders of japan showed that in the 30 years from 1971 to 2000 , the mean sbp for japanese men aged 40 to 49 decreased by 3.6 mmhg , from 134.8 mmhg to 131.2 mmhg , and for women aged 40 to 49 it decreased by 7.7 mmhg , from 132.6 mmhg to 124.8 mmhg ( fig .
3trend in age - adjusted mortality rate ( /100,000 ) of stroke in japan by sex and stroke subtypes , the vital statistics of japan ( 19502008 ) .
. 4trends in mean systolic blood pressure in japanese men and women by age groups , the national survey on circulatory disorders of japan ( 19712000 ) trend in age - adjusted mortality rate ( /100,000 ) of stroke in japan by sex and stroke subtypes , the vital statistics of japan ( 19502008 ) .
ci cerebral infarction ; ch cerebral hemorrhage ; sah subarachnoid hemorrhage trends in mean systolic blood pressure in japanese men and women by age groups , the national survey on circulatory disorders of japan ( 19712000 ) population - wide screening of high bp by law begun in 1960 s ; therefore , detection and pharmaceutical treatment of hypertension effectively decreased the prevalence of hypertension especially in elder population .
however , as the mean bp decreased in the whole population including the younger generations , such a phenomenon can not be explained merely by the widespread use of anti - hypertensive agents ( e.g. 30% in 1986 to 40% in 2002 in hypertensive men ) , but should be largely due to a change in the japanese lifestyle and dietary habits .
bp decreased despite unfavorable trends of other risk factors such as increased obesity ( excluding young women ) and an increase in alcohol consumption .
several decades ago , people living in the northern part of japan consumed as much as 20 to 30 g of salt per day .
the national nutrition survey reported that the daily salt intake of the japanese decreased by 3.8 g , from 14.5 g in 1973 to 10.7 g in 2009less than half of the estimated intake in the 1950s .
the salt reduction in japan was accomplished in part by a campaign to reduce salt intake initiated by the japanese government in 1960 s , in addition to a big lifestyle change during the past several decades .
people now do not need to preserve foods using salt through the spread of refrigerator and the development of distribution system , and the westernization of dietary habits reduced the use of soy sauce and miso ( fermented soybean paste ) which are major dietary sources of salt in japan .
japan is one of the countries with the longest longevity in the world , and it was accomplished by a drastic decline in stroke mortality from 1960 s .
the decline in stroke mortality would be largely explained by a population - wide decreasing trend in bp level both in men and women in all age - groups , which can not be fully explained by the widespread use of anti - hypertensive agents .
the most probable reason for the population - wide bp decline in japan would be a large decline in dietary salt intake after 1950 s . however , recent increasing trend in obesity , together with high alcohol intake in men , physical inactivity , and unfavorable dietary habits ( high energy , high fat , and low vegetable ) in japan could increase bp level of japanese again .
further continuous efforts for the primary prevention of hypertension are necessary in japan . from the experience and epidemiologic findings in japan , it can be concluded that bp management in individuals and in a whole population is very important to extend longevity .
population - wide screening and early detection of high bp , using both systolic and diastolic bp , are essential , and detected high - risk individuals should modify their lifestyle and , if necessary , should be treated pharmaceutically . on the other hand ,
population - based approaches to change environments for bp reduction make the individual s effort easier [ 46 , 47 ] .
such approaches for society , government , manufacturers , communities , worksites , schools , or mass - media should also be applied continuously in future . | pubmed |
Montecarmelo is a station on Line 10 of the Madrid Metro. It is located in fare Zone A.
References
Category:Madrid Metro stations
Category:2007 establishments in Spain
Category:Railway stations opened in 2007 | wikipedia |
Batman Begins/Dark Knight batman joker exhaust
**Espagueti con Albóndigas**
Ingredientes
320 gramos de spaghetti
400 gramos de salsa de tomate
4 litros de agua
1 hoja de laurel
400 gramos de carne picada
2 yemas de huevo
4 cucharadas de pan rallado
1 cucharada de perejil picado
pimienta negra molida
orégano seco
sal
aceite
queso parmesano
Preparación
Primero vamos a preparar las albóndigas. Pon en un cuenco (o un bol) grande la carne picada y añade encima las yemas de huevo (las claras guárdalas para otra receta), el perejil picado, 1 cucharada rasa de sal fina y una pizca de pimienta negra molida. Con un tenedor ve aplastando la carne mientras los demás ingredientes se mezclan con ella. Sigue así hasta que se forme una mezcla homogénea.
Ahora añadimos el pan rallado y volvemos a mezclar apretando bien con el tenedor hasta que se mezcle bien. Ya tenemos la masa para las albóndigas.
Pon a calentar el aceite. Puedes usar mucho para que las albóndigas queden cubiertas y se hagan de un tirón o menos cantidad de aceite y vas dándole las vueltas a las albóndigas para que se hagan por todos lados.
Coge una porción pequeña de masa y haz una albóndiga girando la masa entre las palmas de tu mano. Si te humedeces ligeramente (muy muy poco) las manos, la carne no de pegará y te costará menos trabajo. Haz las albóndigas del tamaño que más te guste, a mi me gustan pequeñas (de unos 3 cm de diámetro) así salen más albóndigas y se pueden comer de un bocado.
Cuando el aceite esté caliente y tengas las albóndigas preparadas empieza a freírlas por tandas. No amontones demasiadas albóndigas en la sartén, así el aceite no se enfriará y las albóndigas se dorarán bien. Si son pequeñas con 1 minuto será suficiente y si son más grandes déjalas hasta que estén bien doradas. Luego sácalas y deja escurrir el exceso de aceite sobre papel absorbente (papel de cocina).
Ahora pon la salsa de tomate a calentar en una cacerola grande (para que después quepan los espaguetis) e incorpora las albóndigas (para que suelten su sabor en la salsa) y una pizca de orégano seco. Deja que se caliente a fuego medio-bajo mientras preparas la pasta.
Pon el agua a hervir para cocer la pasta. Cuando esté hirviendo añade tres cucharadas pequeñas de sal, una hoja de laurel y los espaguetis. Deja hervir hasta que la pasta esté en su punto (depende de la calidad y del tipo de pasta, lee el envoltorio y ve probando).
Cuando los espaguetis estén en su punto sácalos del agua y añádelos a la cacerola donde están la salsa de tomate y las albóndigas y mezcla bien. Si ves que la salsa está muy espesa añade un poco del agua en el que has cocido los espaguetis.
Sirve la pasta colocando algunas de las albóndigas por arriba y si te apetece añade un poco de parmesano rallado. Fuera de la cocina y a comer!
Nutrición
*Porcentaje de valores diarios basado en una dieta de 2,000 calorias.
Cal.
**404**
kcal
20%
Carb.
**37.9**
g
13%
Prot.
**36.9**
g
74%
Lípidos
**12.0**
g
19%
Fibra
**5.7**
g
11%
Azúcar
**5.8**
g
6.4%
Coles.
**177**
mg
59%
¿qué significa esto?
End file.
| fanfiction |
in industrialised countries injury is the leading cause of death in childhood , accounting for 40% of all childhood deaths between the ages of 1 and 14 years.1 in the eu , every day 14 children die , 2240 are admitted to a hospital and 28 000 attend an emergency department as a result of injury.2 for children under the age of 5 years , the majority of fatal and non - fatal injuries occur in the home.3 children 's risk of injury varies by a range of factors including age , gender and various socioeconomic parameters , with boys having more frequent and more serious injuries.1
4
5 the gender gap is such that it has been estimated by the organisation for economic cooperation and development that if boys had the same injury mortality rate as girls then up to 5000 lives could be saved per year.1
of all injury outcomes , brain trauma is considered severe and impacts significantly on mortality.6 a report on traumatic brain injury ( tbi ) in the republic of ireland7 found that men were three times more likely to sustain a significant tbi than women and that these gender differences were present from a very young age .
brain trauma injury among children contributes significantly to the burden of injury in society and to a large number of disability - adjusted life - years.1
while previous studies have demonstrated gender differences in injury prevalence and fatalities,1 little has been done to investigate gender differences in tbi in young children .
therefore , this study aimed to determine the age at which gender differences in tbi start to emerge and to examine tbi - related gender differences in the mechanism and circumstance of injury occurrence , injury severity , the types of injury sustained and injury - related mortality , using tbi data from the two neurosurgical units ( nsu ) in ireland over a 24-month period .
data on tbi were collected from all patients referred to the two nsu in the republic of ireland ; the national neurosurgical centre in beaumont hospital , dublin and the nsu in cork university hospital , cork .
prospective data were collected over a 24-month period from april 2002 to april 2004 from beaumont hospital and over a 12-month period from november 2003 to november 2004 from cork university hospital .
referrals to the neurosurgical service were initially made by telephone to the on - call team and ct images were electronically linked .
the case and imaging were reviewed and a decision was made either to transfer the patient to the neurosurgical centre for admission or to treat the patient in the referring hospital with management advice .
data were collected by members of the tbi research group from the nsu admissions records and from the on - all telephone logbooks , inputted onto a microsoft excel database and analysed using stata 9.8 preliminary results on the adult population revealed large gender variations.7 this paper presents further statistical analysis of the paediatric data examining gender differences in tbi .
there were 2095 patients registered on the tbi database , of which 342 patients were under 17 years of age and were included in this study .
the mean age was 7.6 years , the median age was 8 years ( 95% ci 6 to 8 years ) .
age distribution by gender for traumatic brain injury ( tbi ) in a paediatric population .
falls were the leading cause of tbi in children ( 56% in total ) with higher rates in girls ( 66% ) than boys ( 51% ) .
boys were more likely to be injured on the roads ( 30% of all boys injured ) or by being struck by or against an object ( 17% of all boys injuries ) .
these gender differences are statistically significant ( p<0.005 , mann whitney u test ) and are shown in figure 2 .
access the article online to view this figure in colour . over half ( 56% ) of tbi sustained by children was as a result of a fall .
girls were statistically more likely to sustain a tbi by falling than boys ( 66% vs 51% , p=0.005 ) .
boys were more likely to fall from a height than girls ( p=0.024 ) ; 27 boys ( 29% ) fell more than 2 m or 10 steps compared with seven girls ( 12% ) .
there was no statistically significant gender difference in the type of surface ( hard or soft ) that the children fell onto ( p=0.52 ) , nor in injury severity ( p=0.69 ) .
boys were more likely to sustain other injuries associated with the fall ; five boys who fell more than 2 m had other injuries , while there were no documented significant other injuries among the injured girls .
mortality after falling ( for children admitted to a nsu ) was higher for boys but the number of fatalities was too low to calculate statistical significance ( five boys and one girl died following a fall ) .
while there was no significant gender difference in the mechanism of road injury , there was a significant difference in the use of protective devices and risk behaviour between boys and girls .
overall , girls were statistically more likely to be secured using an age - appropriate restraint in a car than boys ( mann whitney u test p<0.05 ) ; eight out of nine girls and five out of 18 boys wore an age - appropriate restraint in a vehicle ( table 1 ) .
no medical notes recorded any child cyclist wearing a helmet ; however , nine cyclists were documented to have had no helmet at the time of injury ; eight were boys and the other was a girl .
the home was the most frequent location of injury ; half the girls and over one - third of boys were injured there ( table 2 ) .
overall , gender differences were found in relation to the location or circumstance of the injury ( p<0.05 ) , with girls being significantly more likely to be injured at home ( p<0.02 ) and boys being injured more during other activities ( p<0.05 ) or in unknown circumstances ( p<0.05 ) .
the number of children injured in education and occupation were too low for meaningful analysis .
other includes the categories struck by or against and known , but unclassifiable circumstances .
ten boys ( 4% ) were intentionally injured by another person ; one infant ( < 1 year ) , two children ( 512 years ) and seven adolescents ( 1316 years ) .
eight of the boys assaulted had an initial glasgow coma scale ( gsc ) score between 13 and 15 , while the remaining two boys sustained a more severe injury ( gcs 38 ) .
the less severely injured boys sustained cerebral contusions ( four ) , skull fractures ( three ) , extradural haemhorrhage ( edh ) ( two ) and an intracerebral bleed .
the more severely injured boys had a subdural haemorrhage ( sdh ) , a subarachnoid haemorrhage and cerebral contusions .
while all tbi are considered potentially severe injuries , this study also examined the severity level of tbi using the gcs .
injuries were categorised as mild ( initial gcs 1315 ) , moderate ( gcs 912 ) and severe ( gcs 38 ) .
there were significant gender differences in injury pattern ( table 3 ) , with boys statistically more likely to sustain an extradural haematoma ( p=0.014 ) and girls more likely to sustain a subdural haematoma ( p=0.011 ) .
skull fractures , cerebral contusions , subarachnoid haemorrhage and intracerebral bleeds did not show any gender variation .
two - thirds ( 28 out of 42 ) of the patients with an edh had a skull fracture .
the major mechanism of injury for girls sustaining a sdh was falls less than 2 m ( table 4 ) , while edh in boys were caused by a mix of falls ( 51% ) , road collisions ( 26% ) and being either struck by or against an object ( 23% ) .
pattern of traumatic brain injury sustained by gender ( n=342 ) * patients may have more than one injury type ( so total may exceed n=342 ) . mechanism of injury for patients with an extradural haemhorrhage and subdural haemhorrhage * mechanism of injury for one boy with an extradural haemorrhage was unknown .
deaths outside the nsu and deaths for patients treated in the referring hospital were not recorded .
the nsu mortality rate was 7% but when gender was considered this changed to 9% ( 10 out of 117 ) and 4%
( two out of 57 ) for boys and girls , respectively , but did not reach statistical significance ( p=0.22 ) .
over half ( 56% ) of tbi sustained by children was as a result of a fall .
girls were statistically more likely to sustain a tbi by falling than boys ( 66% vs 51% , p=0.005 ) .
boys were more likely to fall from a height than girls ( p=0.024 ) ; 27 boys ( 29% ) fell more than 2 m or 10 steps compared with seven girls ( 12% ) .
there was no statistically significant gender difference in the type of surface ( hard or soft ) that the children fell onto ( p=0.52 ) , nor in injury severity ( p=0.69 ) .
boys were more likely to sustain other injuries associated with the fall ; five boys who fell more than 2 m had other injuries , while there were no documented significant other injuries among the injured girls .
mortality after falling ( for children admitted to a nsu ) was higher for boys but the number of fatalities was too low to calculate statistical significance ( five boys and one girl died following a fall ) .
while there was no significant gender difference in the mechanism of road injury , there was a significant difference in the use of protective devices and risk behaviour between boys and girls .
overall , girls were statistically more likely to be secured using an age - appropriate restraint in a car than boys ( mann whitney u test p<0.05 ) ; eight out of nine girls and five out of 18 boys wore an age - appropriate restraint in a vehicle ( table 1 ) .
no medical notes recorded any child cyclist wearing a helmet ; however , nine cyclists were documented to have had no helmet at the time of injury ; eight were boys and the other was a girl .
the home was the most frequent location of injury ; half the girls and over one - third of boys were injured there ( table 2 ) .
overall , gender differences were found in relation to the location or circumstance of the injury ( p<0.05 ) , with girls being significantly more likely to be injured at home ( p<0.02 ) and boys being injured more during other activities ( p<0.05 ) or in unknown circumstances ( p<0.05 ) .
the number of children injured in education and occupation were too low for meaningful analysis .
other includes the categories struck by or against and known , but unclassifiable circumstances .
ten boys ( 4% ) were intentionally injured by another person ; one infant ( < 1 year ) , two children ( 512 years ) and seven adolescents ( 1316 years ) .
eight of the boys assaulted had an initial glasgow coma scale ( gsc ) score between 13 and 15 , while the remaining two boys sustained a more severe injury ( gcs 38 ) .
the less severely injured boys sustained cerebral contusions ( four ) , skull fractures ( three ) , extradural haemhorrhage ( edh ) ( two ) and an intracerebral bleed .
the more severely injured boys had a subdural haemorrhage ( sdh ) , a subarachnoid haemorrhage and cerebral contusions .
while all tbi are considered potentially severe injuries , this study also examined the severity level of tbi using the gcs .
injuries were categorised as mild ( initial gcs 1315 ) , moderate ( gcs 912 ) and severe ( gcs 38 ) .
there were significant gender differences in injury pattern ( table 3 ) , with boys statistically more likely to sustain an extradural haematoma ( p=0.014 ) and girls more likely to sustain a subdural haematoma ( p=0.011 ) .
skull fractures , cerebral contusions , subarachnoid haemorrhage and intracerebral bleeds did not show any gender variation .
two - thirds ( 28 out of 42 ) of the patients with an edh had a skull fracture .
the major mechanism of injury for girls sustaining a sdh was falls less than 2 m ( table 4 ) , while edh in boys were caused by a mix of falls ( 51% ) , road collisions ( 26% ) and being either struck by or against an object ( 23% ) .
pattern of traumatic brain injury sustained by gender ( n=342 ) * patients may have more than one injury type ( so total may exceed n=342 )
. mechanism of injury for patients with an extradural haemhorrhage and subdural haemhorrhage * mechanism of injury for one boy with an extradural haemorrhage was unknown .
. deaths outside the nsu and deaths for patients treated in the referring hospital were not recorded .
the nsu mortality rate was 7% but when gender was considered this changed to 9% ( 10 out of 117 ) and 4% ( two out of 57 ) for boys and girls , respectively , but did not reach statistical significance ( p=0.22 ) .
the key findings of the study are that falls are responsible for the majority of tbi in children .
significant gender differences exist , are evident from an early age , and are present throughout childhood and adolescence .
boys sustain injuries associated with a greater energy transfer ( falls greater than 2 m ) , are less likely to use protective devices and are more likely to be injured deliberately .
this results in a different pattern of injury , with potentially higher levels of associated injury and mortality .
road - related injuries and falls are the main causes of severe trauma in children , with head injuries being the main cause of death.6
9
10
11 our findings suggest that while falls occur more frequently in girls ; boys falls tend to be more severe .
this finding is supported by the differences in fall mechanism , with boys more likely to fall from height compared to girls . similarly ,
more boys who were admitted with tbi were injured in a motor collision compared to girls , with a much higher proportion of boys across the age groups not using appropriate restraints .
some studies have previously addressed gender differences in risk perception,10
11 some specifically in relation to traffic.12
13 our findings demonstrate that inappropriate restraint is evident at a much earlier age , a time when guardians are responsible for ensuring the safety of child passengers . graine13 has demonstrated that gender differences in obeying rules in adolescence are very much determined by perceived sex stereotypes more than the biological sex .
however , our findings suggest that such stereotypes may exist in guardians , who may be more tolerant ( or even encouraging ) towards risk - prone behaviour among boys , such as climbing heights , and may be more lenient towards boys who refuse to use restraints while in the car.14
15 the gender differences demonstrated in relation to car restraint devices is of particular importance given that in some studies almost half of all tbi result from road collisions.9
10 studies have demonstrated that being an unrestrained occupant , injury to the head and a young age were all associated with a more severe outcome following a road collision.11
girls were not reported to have been injured intentionally in this study .
the current study found that 4% of boys were intentionally injured and the risk is greatest for adolescent boys .
the intentional injuries in this paper were assaults and no intentional self - harm was reported .
data from the trauma audit research network in england6 found that 1.9% of all severe trauma in children was intentional .
a scottish study of paediatric mortality from trauma9 found that the incidence of assault and suicide was higher in boys . in a further paper by the same authors16 they state that intentional injury poses a greater threat to child health than any single cause of unintentional injury .
the rates of non - operable tbi ( parenchymal bleeds and contusions ) were similar in boys and girls .
however , for operable tbi ( edh and sdh ) , statistical gender differences exist with boys more likely to sustain an edh and girls more likely to have a sdh .
the major mechanism for both edh and sdh is falls and up to 50% of these significant falls occur at home .
the current study is based on 24-month data collected in the two neurosurgical centres in ireland .
all cases that were admitted for tbi were logged and the data present a high level of completeness . yet , for those under 17 years the number of cases is still relatively low and limits the ability to conduct statistical testing . although the majority of the tbi cases in ireland will be admitted to these centres , results should be interpreted with caution .
the mortality rates in this study only record the deaths that occurred within the nsu .
reliable data on mortality were not available for children who were not admitted to the nsu or who were discharged from the unit and subsequently died .
the current study is based on 24-month data collected in the two neurosurgical centres in ireland .
all cases that were admitted for tbi were logged and the data present a high level of completeness . yet , for those under 17 years the number of cases is still relatively low and limits the ability to conduct statistical testing . although the majority of the tbi cases in ireland will be admitted to these centres , results should be interpreted with caution .
the mortality rates in this study only record the deaths that occurred within the nsu .
reliable data on mortality were not available for children who were not admitted to the nsu or who were discharged from the unit and subsequently died .
boys are more likely to fall from a greater height , be assaulted , and tend to sustain other injuries .
whether or not the reason for such differences is sex stereotyping , it is clear that guardians should be guided to care for boys in the same manner as girls .
this includes restricting the height to which they are allowed to climb , and ensuring that they are appropriately restrained when in vehicles . | pubmed |
the [ cii](@xmath1 ) ( @xmath2 m ) line of singly ionized carbon is the dominant cooling line in the diffuse interstellar medium ( ism ) at gas temperatures @xmath3 ( dalgarno & mccray 1972 ; tielens & hollenbach 1985 ; wolfire et al .
excitation of the @xmath4 level of @xmath5 is due to inelastic collisions either with neutral hydrogen atoms and molecules or with electrons ( dalgarno & mccray 1972 ; stacey 1985 ; kulkarni & heiles 1987 ) .
neutrals dominate over electrons if the fractional ionization @xmath6 is smaller than @xmath7 ( dalgarno & mccray 1972 ) .
heating of the interstellar gas is mainly due to photo electrons emitted by 3-d dust grains and polycyclic aromatic hydrocarbons ( pahs ) submitted to ultraviolet radiation from stars ( bakes & tielens 1994 ) , both in the diffuse ism ( wolfire et al .
1995 ) and in photodissociation regions ( pdrs ) , at the interfaces between molecular clouds and hii regions ( tielens & hollenbach 1985 ; bakes & tielens 1998 ) .
the photoelectric effect is due essentially to photons with @xmath8 . in the field of a galaxy ,
this radiation is dominated by b3 to b0 stars with @xmath9 ( e.g. xu et al . 1994 ) but of course hotter , more massive stars can also contribute locally .
earlier studies of the inner regions of gas rich spirals and starburst galaxies ( crawford et al . 1985 ; stacey et al . 1991 ; carral et al . 1994 ) have found that the [ cii ] line intensity , @xmath10 , is typically a few @xmath11 of the total far - ir continuum dust emission , @xmath12 , within the same region .
for these galaxies , the previous authors have also found a linear relation between @xmath10 and the @xmath13 ( @xmath14 mm ) line intensity , @xmath15 , with a scatter slightly larger than one order of magnitude .
conversely , the correlation with atomic hydrogen is poor .
this led them to the conclusion that pdrs are the main sources of the [ cii ] emission on a galaxy scale ( see also wolfire et al .
. however space resolved [ cii ] observations of the large spiral galaxy ngc6946 by madden et al .
( 1993 ) showed that this emission originates also in the diffuse ism ( mostly associated to the interarm regions ) .
more precisely , 5% of the total line luminosity in this galaxy comes from its nucleus , 20% from the spiral arms with their hii regions and pdrs , and 75% from an extended component , the fractional contribution of which increases with radius .
this result is reproduced by the model calculations of sauty et al .
( 1998 ) .
unfortunately resolved galaxies on which such a detailed study can be conducted are not numerous .
we will thus present a discussion of the relative contribution of the diffuse medium and of dense pdrs in spiral galaxies based on a relatively large sample of galaxies observed in the [ cii ] line at their central position , which add to the previous galaxies observed with the kuiper airborne observatory ( kao ) .
a substantial number of galaxies have been observed in the [ cii ] line with the long wavelength spectrometer ( lws ) ( clegg et al .
1996 ) aboard iso ( kessler et al . 1996 ) .
malhotra et al .
( 1997 ) observed 30 normal star forming galaxies , but unfortunately do not give data for individual galaxies .
smith & madden ( 1997 ) report results on 5 low blue luminosity spirals in the virgo cluster , braine & hughes ( 1999 ) measurements of the normal spiral ngc4414 and lord et al .
( 1996 ) observations of the peculiar galaxy ngc5713 .
leech et al .
( 1999 ) detected 14 out of 19 virgo cluster spiral galaxies with relatively low massive star
formation ( sf ) activity .
all the latter galaxies are in general less active in terms of star
formation than the galaxies observed with the kao . using the sample of leech et al .
( 1999 ) together with the kao sample , pierini et al .
( 1999 - hereafter referred to as p99 ) have shown that the [ cii]-to - co line intensity ratio , @xmath16 , is a reliable tracer of the global mass normalized massive star formation rate ( sfr ) of normal spiral galaxies , as measured by the equivalent width of the h@xmath17 line ( h@xmath17 ew ) , which is proportional to the ratio of the stellar lyman continuum to the stellar red continuum .
they also observed a non linear dependence of @xmath18 on the h@xmath17 ew , where @xmath12 is determined as in helou et al .
( 1985 ) . the so - called `` normal star forming '' galaxies with h@xmath17
ew @xmath19 10 have values of @xmath20 , while the `` quiescent '' galaxies with h@xmath17 ew @xmath21 10 , mainly identified with early type spirals , show a continuous decrease in @xmath18 with decreasing h@xmath17 ew .
p99 interpreted the latter behaviour in terms of a dominant `` [ cii]quiet '' component of the far - ir emission , due to dust heating by relatively low mass stars , which do not emit enough non ionizing far - uv radiation to produce a substantial photoelectric effect ( see e.g. xu et al .
this scenario has been recently invoked to interpret the [ cii ] emission of early type galaxies ( malhotra et al .
2000 ) . assuming that the [ cii ] emission characteristics of diffuse and compact galactic sources , empirically established by nakagawa et al .
( 1998 ) , are the same as those of the normal galaxies in their sample , p99 finally showed that the diffuse components of the ism are at least as important sources of gas cooling in these galaxies as are compact regions , in agreement with recent arguments in the literature ( madden et al . 1993 ; heiles 1994 ; bennett et al .
1994 ; dwek et al . 1997 ; smith & madden 1997 ; sauty et al .
1998 ) . here
we want to discuss the latter conclusion in more detail , taking into account the gas content in its molecular and atomic phases at different galactocentric radii .
we will use the total sample of 42 late type galaxies observed by stacey et al .
( 1991 ) ( the kao sample ) , smith & madden ( 1997 ) and leech et al .
the sample and the related data base are discussed in sect .
our observational results are shown in sect .
the discussion and the summary of our conclusions are contained in sect . 4 and 5 , respectively .
the iso guaranteed time program `` virgo '' combines studies of a deep optically complete , volume limited sample of spiral , irregular and blue compact dwarf galaxies , selected from the virgo cluster catalogue ( vcc ) of binggeli et al .
117 member galaxies later than s0 and with @xmath22 were selected in the core and at the periphery of the cluster ( boselli et al .
62 targets were observed with isophot at 60 , 100 and 160 @xmath0 m and a complete sample of 95 targets was observed with isocam through the lw2 and lw3 filters centered respectively at 6.75 and 15 @xmath0 m . due to time constraints , only 19 normal spiral galaxies ( 18 with @xmath23 ngc4491 , with @xmath24 )
could be observed with the lws in the [ cii ] line by leech et al .
fourteen galaxies were detected in the [ cii ] line with a signal - to - noise ratio above @xmath25 ; upper limits were set to the other 5 . assuming a distance of 21 mpc from virgo , the 70 half power beam width ( hpbw ) of the lws corresponds to @xmath26 7 kpc and encompasses at least one exponential disk scale length , with the exception of the galaxies with optical major axis larger than 5 arcmin .
5 other vcc spiral galaxies with @xmath27 , observed with the lws in the [ cii ] line by smith & madden ( 1997 ) are added to this sample .
we call the total sample the iso sample .
this sample contains spirals with a large dynamic range in mass normalized massive star formation rate ( sfr ) ( @xmath28 ) and in morphological type ( from s0/a to sd ) .
h@xmath17+[nii ] equivalent widths are available for 20 out of these 24 galaxies either from ccd imaging ( boselli et al . in preparation ; gavazzi et al . in preparation ) or , in a few cases , from long slit spectroscopy of their central regions ( kennicutt & kent 1983 ) .
the latter equivalent widths represent fairly well the whole mass normalized massive star
formation rate , since the 37 slits used by kennicutt & kent ( 1983 ) cover almost the entire galaxy .
19/24 galaxies have detections of the co(1 - 0 ) line at their central position or upper limits .
13/24 galaxies have hi ( @xmath29 21 cm ) surface density profiles deprojected onto the galaxy plane from warmels ( 1988 ) , while 17/24 have observed hi fluxes listed in de vaucouleurs et al . ( 1991 - rc3 ) .
the parameters of the iso sample are given in table 1 as follows : column 1 : ngc and vcc numbers ; column 2 : morphological type ( rc3 number ) ; column 3 : logarithm of the length of major axis from the rc3 ; column 4 : logarithm of the axial ratio from the rc3 ; column 5 : h@xmath17+[nii ] equivalent width ( h@xmath17 ew for short ) ; column 6 : co(1 - 0 ) line intensity ( in the main beam temperature scale ) at the central position of the galaxy , interpolated / extrapolated at / to the 70 lws resolution as described in sect .
2.2 ; column 7 : average neutral hydrogen column density in the 70 lws beam , @xmath30(hi ) , derived as shown in sect .
2.2 ; column 8 : observed [ cii ] line flux ; column 9 : references for the co(1 - 0 ) and hi data . in the footnotes
, we give the fwhm of the co distribution of individual galaxies , as determined in sect .
data for the kao sample from stacey et al .
( 1991 ) ( hereafter referred to as s91 ) are given in table 2 .
these authors give average [ cii ] line surface brightnesses for the central regions of 18 galaxies of their sample , observed with a beam of 55 fwhm , from which we derive line fluxes comparable to those of table 1 .
s91 also report central measurements of the co(1 - 0 ) line emission ( roughly at the same angular resolution as their kao measurements ) for the whole sample and measurements in the hi line emission ( at different resolutions ) for 16/18 galaxies .
hi flux measurements are listed in the rc3 for 17/18 objects .
unfortunately , h@xmath17 ews are available only for a third of the kao sample , from the 3 slit spectroscopy of kennicutt & kent ( 1983 ) and , therefore , they are poor approximation to the integrated value of the mass normalized massive star
formation rate . in table 2
we give the parameters of the kao sample galaxies as follows : column 1 : galaxy name ; column 2 : morphological type from the rc3 ; column 3 : logarithm of the length of major axis from the rc3 ; column 4 : logarithm of the axial ratio from the rc3 ; column 5 : h@xmath17+[nii ] equivalent width ( h@xmath17 ew for short ) ; column 6 : co(1 - 0 ) line intensity ( in the main beam temperature scale ) at the central position of the galaxy , approximately at the 55 kao resolution ; column 7 : average neutral hydrogen column density in the 55 kao beam , @xmath30(hi ) , derived as shown in sect .
2.2 ; column 8 : observed [ cii ] line flux ; column 9 : `` sb '' and `` gr '' refer to starburst and gas rich galaxies , respectively , i.e. to galaxies with dust temperatures in excess of 40 k ( sb ) and less than 40 k ( gr ) , according to s91 .
we divide the total iso sample into quiescent and normal star forming galaxies according to the values of h@xmath17 ew @xmath21 10 and @xmath19 10 , respectively , when h@xmath17 measurements are available .
a major difficulty in our analysis is the lack of homogeneous [ cii ] , co and hi data obtained at the same angular resolution .
we will try to remedy this situation by interpolating or extrapolating the co and hi measurements to the resolution of the [ cii ] observations , and will consider mainly surface brightnesses in the kao or lws beam . while s91 give co line fluxes obtained at angular resolutions rather similar to their beam , the situation is more heterogenous for the iso sample .
co line fluxes of virgo galaxies have been measured at different angular resolutions by young et al .
( 1985 ) , stark et al . ( 1986 ) , kenney & young ( 1988 ) , boselli et al . ( 1995 ) and smith & madden ( 1997 ) . fortunately ,
the surveys of stark et al .
( 1986 ) ( 100 fwhm ) and kenney & young ( 1988 ) ( 45 fwhm ) have 28 objects in common , 11 of which belong to our iso sample . in fig .
1 we reproduce the plot of the central co line intensity ( in @xmath31 in the main beam temperature scale ) for these 28 objects as observed by these two radiotelescopes , from kenney & young ( 1988 ) .
detections and upper limits are considered .
the filled circles represent the 11/28 galaxies in common with the present study .
we see that the representative points scatter nicely between a line of slope 1 expected for galaxies with a co distribution much more extended than both beams , and a line of slope ( 45/100)@xmath32 expected for distributions much smaller than both beams . in particular , it is inferred that the co distribution of ngc4654 is extended , while the ones of ngc4178 , ngc4394 and ngc4450 are point like .
therefore , for ngc4654 , the average co brightness in the 70 iso - lws beam is derived from the average of the measurements at 45 and 100 resolution . instead , for ngc4178 , ngc4394 and ngc4450 , the average co brightness in the iso - lws beam is derived by dividing the co line flux by the iso - lws beam area . for
the remaining 6 iso galaxies observed and detected in co at these two different angular resolutions , we apply a different method . assuming that both antenna beams are circular and gaussian and that the co brightness is gaussian with the same shape as the optical galaxy ( given by the rc3 )
, we can derive first the fwhm of the co distribution along the major axis from the observed flux ratio , then the average co brightness in the iso - lws beam ( also assumed to be circular gaussian ) .
the values of the fwhm of the co distribution along the major axis of these 6 galaxies are given in the footnotes of tab .
1 . for the galaxies
ngc4178 , ngc4450 and ngc4569 the data of boselli et al .
( 1995 ) ( 34 and 43 fwhm ) are preferred to the ones of kenney & young ( 1988 ) since their accuracy is much better . for the galaxy
ngc4698 only upper limits are available , so that we estimate a mean upper limit to its average co brightness in the lws beam . for the remaining 7 iso galaxies with available co measurements , but taken only at one radiotelescope , we assume that the ratio of the co to the optical size is the same as the average one determined from the 27/28 galaxies observed by both stark et al .
( 1986 ) and kenney & young ( 1988 ) with available measurements / upper limits , and calculate the average co brightness in the lws beam .
this method introduces some uncertainty since the average ratio of the co to the optical size ( 0.32 ) has a rms dispersion of 0.30 for the 27 galaxies .
we find that this ratio does not depend on the morphological type of the galaxy .
the previous 7 iso galaxies represent 40% of the iso galaxies with estimated average co brightness in the lws beam and 20% of the total sample galaxies in fig .
4 . the hi data
set is more heterogeneous .
s91 report average hi column densities from maps obtained at very different angular resolutions with respect to the kao beam .
however , 17/18 galaxies of the latter sample have observed hi fluxes listed in the rc3 .
although the spatial information is not available , the latter measurements constitute at least a homogeneous data set and are preferred to those ones adopted by s91 .
17/24 galaxies of the iso sample have observed hi fluxes listed in the rc3 as well .
in addition , 14 galaxies of the iso sample have hi surface density profiles determined by warmels ( 1988 ) after correction for the inclination of the galaxy .
for these 14 iso galaxies , we use these data to calculate the average hi column density @xmath30(hi ) in the 70 lws beam by correcting backwards the warmel s data into apparent surface densities , not deprojected . for the 2 iso galaxies ( ngc4293 and ngc4522 ) and the 17 kao galaxies with only a hi flux , we derive a `` hybrid '' average surface brighness in the lws or kao beam by assuming that the distribution of hi is gaussian with a fwhm equal to the blue light dimension as given in the rc3 . again , our assumption is reasonable but introduces some uncertainty .
such `` hybrid '' surface brightnesses are admittedly crude but there is no alternative . for the 14 iso galaxies with data from warmels , the average ratio between the average column densities in the iso - lws beam derived from the hi surface brightness profiles and those estimated through the `` hybrid '' surface brightness method is 1.5 , with a rms dispersion of 0.9 .
the difference in these average surface brightnesses is not large enough to justify a further correction .
although the dispersion is large , we are confident that the conclusions derived in the following sections are not biased by the use of these crude hi surface brightnesses . note that in all the previous discussion we have eliminated the interacting galaxy ngc4438 , which is a special case .
due to our observational limitations in terms of angular resolution , we find useful to quantify the fraction of a galaxy observed either with the kao or with the iso - lws in terms of a coverage factor cf .
this coverage factor is the ratio between the area of the observing beam and the projected optical galaxy area as defined in the rc3 .
2 shows a plot of the observed central [ cii ] line intensity vs. the cf of the 42 galaxies of our sample .
it confirms that the kao probed mainly the innermost regions of both gas rich and starburst galaxies .
this is in part because the galaxies of this sample are relatively nearby .
the iso galaxies are further away and as a consequence the lws sampled larger areas of the galaxies .
we note that the 5 iso galaxies with [ cii ] line upper limits fall well within the range of values of cf of the galaxies detected with the lws , so that we are led to the conclusion that their faintness is not due to a particularly reduced spatial sampling but to a genuine deficiency of [ cii ] line emission .
the hubble type of these 5 undetected galaxies is either s0/a or sa ; galaxies of these types have generally a lower sfr than galaxies of later type , so the faintness of their emission is not unexpected . in fig .
3 , we plot as a function of the cf the average column densities of molecular hydrogen in the beam , @xmath33 , ( in terms of hi nuclei ) and those of the neutral atomic hydrogen , also in the beam , @xmath30(hi ) , both not deprojected from the inclination of the galaxy ( panels a and b , respectively ) .
@xmath33 is derived from @xmath15 as follows ( digel et al .
1995 ) : @xmath34 @xmath15 , where @xmath33 is in units of @xmath35 and @xmath15 is in units of @xmath31 .
this value of the @xmath36 column density - to - co line intensity ratio has been derived in orion and we use it for all our galaxies , although it may depend on metallicity and on the isrf intensity ( cf .
israel 1997 and references therein ) .
its uncertainty is equivalent to 13% of @xmath33 .
we arbitrarily assume that both @xmath30(hi ) and @xmath33 are affected by a @xmath37 uncertainty of 20% . for both starburst and non starburst galaxies ,
the inner regions are richer in molecular hydrogen than the outer regions ( cf . young & knezek 1989 ) .
this is not the case for atomic hydrogen .
we note that the iso early type spiral galaxies have the lowest values of @xmath30(hi ) ( cf . tab . 1 and 2 )
, in agreement with solanes et al .
( 2000 ) .
the innermost regions of the kao galaxies are rich in molecular gas , as witnessed by their high molecular - to - atomic hydrogen column density ratio ( @xmath33/@xmath30(hi ) @xmath19 4 ) , or more exactly by their high co / hi line intensity ratio .
therefore , we might reasonably expect that , in these regions , a relevant part of the gas cooling via [ cii ] line emission comes from pdrs associated to molecular clouds where star
formation activity may be more or less active .
in particular , this may account partly for the linear relationship between @xmath10 and @xmath15 found by s91 for their starburst galaxies . in fig .
4 we show this relationship for the 36 galaxies of our total sample that are detected at the @xmath25 level in at least one of the two lines , except for ngc4596 .
the long and short dashed lines represent the two characteristic values of @xmath10/@xmath15 given by s91 for their `` warm dust galaxies '' ( i.e. starburst galaxies ) and `` cold dust galaxies '' ( i.e. normally active gas rich galaxies ) , respectively .
the iso observations extend this relation to line fluxes fainter by 1.5 orders of magnitude .
the overall linear relation remains , although with a probably more significant rather large scatter , even though part of it is due to the uncertainties of our data analysis ( cf .
the interpretation given by p99 for this scatter is that @xmath10/@xmath15 is proportional to the strength of the far - uv radiation field , as represented by the @xmath38 equivalent width .
this is confirmed by the model calculations of pdrs of various densities and of the diffuse ism presented by kaufman et al .
( 1999 ) , their fig .
9 . in fig .
4 , three iso galaxies ( ngc4178 , ngc4222 and ngc4299 ) have exceptionally high values of @xmath10/@xmath15 , typical of starburst galaxies , while their @xmath10 are slightly lower than for galaxies of the same hubble type and with similar cfs .
ngc4222 has a particularly high inclination but small h@xmath17 ew ( cf . tab .
1 ) , so that its `` anomalous '' behaviour in fig . 4 is probably spurious . in fact , the latter vanishes when correcting @xmath10 for inclination ( cf .
wolfire et al .
1989 ) , while the `` anomalous '' behaviours of ngc4178 and ngc4299 are confirmed .
ngc4178 is an hii galaxy , with some giant hii regions in its inner part ( boselli et al . in preparation ) , probed by lws .
its `` anomalous '' behaviour was not noted by p99 due to the different value of @xmath15 adopted by these authors but is not due to the assumption that its co morphology is point like ( sect .
in fact , @xmath10/@xmath15 decreases by only a factor of -0.18 in logarithm under the assumption that the co surface brightness distribution of ngc4178 is partially resolved at 43 resolution . ngc4178 and ngc4299 have bluer b - v colour indices ( gavazzi , private communication ) than the other iso galaxies of the same hubble type considered here .
in addition , they have also exceptionally low values of @xmath33/@xmath30(hi ) .
these behaviours lead us to the conclusion that ngc4178 and ngc4299 have intrinsic particularly intense isrfs ( cf .
israel 1997 and references therein ) and/or intrinsic low metallicity ( cf .
smith & madden 1997 ) .
the correlations presented above have not yet shed light about the [ cii ] line emission by the diffuse ism . before entering this discussion
, it is interesting to summarize what we know about our own galaxy .
the diffuse ism in our own galaxy is thought to consist ( kulkarni & heiles 1987 ; heiles 1988 , 1994 ; reynolds 1993 ; heiles et al .
1996 ) of : i ) a cold neutral medium ( cnm ) , with a temperature t of about 80 k , a hydrogen density @xmath39 of about @xmath40 and a fractional ionization @xmath41 within a factor of 3 of @xmath42 ; ii ) a warm neutral medium ( wnm ) , with @xmath43 , @xmath44 and @xmath45 ; iii ) a warm ionized medium ( wim ) , with @xmath43 , @xmath44 and @xmath46 .
the distinction between the wnm and wim is not completely clear , and it may be that they are partly one and the same thing . in our galaxy , the high latitude [ cii ] line emission is associated to the cnm ( bennett et al .
1995 ) while , in the inner regions of the disk , the wim has been proposed as the main source of the [ cii ] line emission ( heiles 1994 ) . at high galactic latitudes ,
no prominent ob associations are found , while the opposite is true for the inner regions ( bronfman et al .
2000 ) , favoring the wnm and wim . for the local galaxy near the sun , bennett et al .
( 1995 ) find a [ cii ] line emission per interstellar hydrogen nucleus of @xmath47 , while madden et al .
( 1993 ) find a value of @xmath48 for the diffuse ism of ngc6946 , an active star
forming galaxy .
it is interesting to compare these observations to the results of the model calculations of wolfire et al .
( 1995 ) which relate to the local galactic ism : they predict a cooling rate per hydrogen nucleus ( dominated by the [ cii ] line ) from 2.6 to @xmath49 in the cnm and from 0.3 to @xmath50 in the wnm , depending on the exact values of the physical parameters of the medium .
moreover , they estimate a value of about @xmath51 in the wim , where @xmath52 is the wim pressure in units of @xmath53 . their lower value for the cnm compares favorably with the observation of bennett et al .
an increase of the uv flux would raise the cooling rate from the cnm appreciably , but this flux should be higher by considerably more than one order of magnitude to reach the cooling rate of the interarm medium of ngc6946 ( see fig . 3 of kaufman et al .
1999 and table 5 of wolfire et al .
1995 ) . in fig . 5
, we plot the quantity @xmath54 @xmath10/@xmath30(hi ) for our galaxies as a function of the coverage factor cf .
if the diffuse ism was the only source of the [ cii ] line emission , this quantity should be in the same range of values than the numbers given above for the diffuse ism of our galaxy and most probably lower or equal to that for the interarm medium of ngc6946 .
any contribution of the dense pdrs would raise @xmath55 . fig .
5 shows that when the beam covers most of the galaxy ( [email protected] ) @xmath55 is indeed in this range , while it increases strongly when only the central regions are sampled .
this demonstrates the importance of [ cii ] line emission by the diffuse ism in non starburst galaxies when one considers the whole galaxy .
moreover the above discussion shows that the cnm dominates the emission in normal circumstances .
we note that the normal star forming galaxy ngc4178 has a relatively low value of @xmath55 .
this is not unexpected if ngc4178 is indeed a low metallicity galaxy ( wolfire et al .
1995 ) .
we present in fig .
6 the same plot as in fig . 5 but considering this time the line emission per total hydrogen atom whether included or not in molecules ( @xmath57 @xmath10/(@xmath30(hi)+@xmath58 ) . since the contribution of h@xmath59 to the total gas is minor at the scale of a whole galaxy , both plots are very similar at large values of cf .
this is not the case in the inner regions which correspond to small values of cf , but the [ cii ] emission per total h is not very much higher there than for entire galaxies .
this conclusion is however uncertain because the conversion factor between the co(1 - 0 ) line intensity and the column density of @xmath36 is very poorly known in the center of galaxies . as expected , galaxies with more active sf have on average a higher value of the cooling rate per hydrogen nucleus .
this confirms that the total [ cii ] line emission per hydrogen nucleus increases with the strength of the local far - uv field . from our own data
alone it is not directly possible to infer the fraction of the [ cii ] line luminosity which comes from the diffuse ism and from the pdrs respectively , because these data are spatially averaged at our limited angular resolution .
however we note that the lowest values of @xmath55 on fig .
5 are similar to the local value determined by bennett et al .
( 1995 ) for the solar neighborhood .
because the [ cii ] line intensity is relatively insensitive to the far - uv flux density , this local value should be typical for relatively quiescent galaxies .
consequently there is little room left for the contribution of pdrs to the [ cii ] line luminosity for the galaxies with the lowest values of @xmath55 in fig .
5 . on the other hand , the high value quoted for the interarm ism of ngc6946 by madden et al .
( 1993 ) would require a very high far - uv radiation density , perhaps unrealistic , if it is assumed to be due to a cold neutral medium alone , ( wolfire et al .
1995 ) , and therefore it is likely that there is already a contribution of dense pdrs at such high values of @xmath55 .
the statistical results of p99 are consistent with this estimate .
since they used different local galactic data and a different parametrization , our result is also complementary with p99 . in the _ inner _ regions of the sample galaxies , dense pdrs always seem to dominate as shown by the high values of @xmath55 in fig .
5 , even though the wim could give a non - negligible contribution ( heiles 1994 ) .
we have made or collected observations of the central regions of a relatively large sample of spiral galaxies in the [ cii](@xmath1 ) ( @xmath60 m ) gas cooling line .
this sample , mainly observed with the long wavelength spectrometer aboard iso , enlarges a previous sample observed with the kuiper airborne observatory and contains on average more quiescent , fainter galaxies .
for the total kao @xmath61 iso - lws sample of 42 galaxies , we have collected measurements of the atomic and molecular gas , and estimated their average column densities in the same beam as the [ cii ] line observations . this beam covers various fractions of the galaxy disks according to their distance and linear size .
our results are more detailed than but complementary to those of pierini et al .
we confirm the existence of an overall linear relation between the [ cii ] line intensity , @xmath10 , and the co(1 - 0 ) line intensity , @xmath15 , over almost 2.5 orders of magnitude in both quantities .
the significant large scatter around this relation is due to the variation of the far - uv radiation field and is in agreement with model calculations by kaufman et al .
( 1999 ) .
we find that the [ cii ] line emissivity per interstellar atomic hydrogen nucleus , @xmath55 , ranges between @xmath62 and @xmath63 in galaxies where the observing beam cover at least 10% of the optical surface of the galaxy .
the lowest observed values of @xmath55 are similar to the value obtained by bennett et al .
( 1995 ) for the diffuse ism near the sun , where the atomic cold neutral medium ( cnm ) dominates the emission .
for the corresponding galaxies , it is likely that most of the [ cii ] line emission also comes from the cnm .
the dense photodissociation regions plus the warm ionized medium dominate in more active star forming galaxies , even including their extended regions , and they do so in the inner parts of all spiral galaxies . finally , we find that the cooling rate per hydrogen nucleus , when both the molecular and the atomic phases are taken into account , increases moderately with the star formation rate , although it is difficult to give a quantitative result because of the uncertainty in the amount of @xmath36 in regions of intense star formation . 1.0truecm we are grateful for the support of this work to the _ deutsche agentur fr raumfahrt angelegenheiten _
, through _ dara _ project number 50or9501b .
we are indebted to g. gavazzi for providing us with optical data prior their publication .
0.5truecm 46 bakes e. l. o. , tielens a. g. g. m. , 1994 , apj 427 , 822 bakes e. l. o. , tielens a. g. g. m. , 1998 , apj 499 , 258 bennett c. l. , fixsen d. j. , hinshaw g. , et al . , 1994 ,
apj 434 , 587 binggeli b. , sandage a. , tammann g. a. , 1985 , aj 90 , 1681 ( vcc ) boselli a. , casoli f. , lequeux j. , 1995 , a&as 110 , 521 boselli a. , tuffs r. j. , gavazzi g. , et al . , 1997 , a&as 121 , 507 bronfman l. , casassus s. , may j. , nyman l.-@xmath64 , 2000 , astro - ph/0006104 braine j. , hughes d. h. , 1999 , a&a 344 , 779 carral p. , hollenbach d. j. , lord s. d. , et al . , 1994 ,
apj 423 , 223 clegg p. e. , ade p. a. r. , armand c. , et al . , 1996 , a&a 315 , l38 crawford m. k. , genzel r. , townes c. h. , watson d. m. , 1985 , apj 291 , 755 dalgarno a. , mccray r. , 1972 , ara&a 10 , 375 de vaucouleurs g. , de vaucouleurs a. , corwin h. g. , et al . , 1991 , in : third reference catalogue of bright galaxies , springer - verlag , new york ( rc3 ) digel s. w. , hunter s. d. , mukherjee r. , 1995 , apj 441 , 270 dwek e. , arendt r. , fixsen d. , et al . , 1997 , apj 475 , 565 heiles c. , 1988 , in : the outer galaxy , eds . l. blitz , f. j. lockman , lecture notes in physics , vol .
306 , springer , berlin , p. 151
heiles c. , 1994 , apj 436 , 720 heiles c. , reach w. t. , koo b .- c . , 1996 , apj 466 , 191 helou g. , soifer b. t. , rowan - robinson m. , 1985 , apj 298 , l7 israel f. p. , 1997 , a&a 317 , 65 kaufman m. j. , wolfire m. g. , hollenbach d. j. , luhman m. l. , 1999 , apj 527 , 795 kenney j. d. , young j. s. , 1988 , apjs 66 , 261 kennicutt r. c. , kent s. m. , 1983 , aj 88 , 1094 kessler m. f. , steinz j. a. , anderegg m. e. , et al . , 1996 , a&a 315 , l27 kulkarni s. , heiles c. , 1987 , in : interstellar processes , eds .
hollenbach & h.a .
thronson , reidel , dordrecht , p.87 leech k. j. , vlk h. j. , heinrichsen i. , et al . , 1999 , mnras 310 , 317 lord s.d . , malhotra s. , lim t. , et al .
, 1996 , a&a 315 , l117 madden s. c. , geis n. , genzel r. , et al . , 1993 , apj 407 , 579 malhotra s. , helou g. , stacey g. , et al . , 1997 ,
apj 491 , l27 malhotra s. , hollenbach d. , helou g. , et al . , 2000 ,
astro - ph/0006328 nakagawa t. , yui y. y. , doi y. , et al . , 1998 ,
apjs 115 , 259 pierini d. , leech k. j. , tuffs r. j. , vlk h. j. , 1999 , mnras 303 , l29 ( p99 ) reynolds r. j. , 1993 , in : massive stars : their lives in the interstellar medium , eds .
cassinelli , e.b .
churchwell , asp conference series , vol .
35 , p. 338
sauty s. , gerin m. , casoli f. , 1998 , a&a 339 , 19 smith b. j. , madden s. c. , 1997 , aj 114 , 138 solanes j. m. , manrique a. , garca - gmez c. , et al . , 2000 astro - ph/0007402 stacey g. j. , 1985 , ph.d .
thesis , cornell univ .
stacey g. j. , geis n. , genzel r. , et al . , 1991 , apj 373 , 423 ( s91 ) stark a. a. , knapp g. r. , bally j. , et al . , 1986 ,
apj 310 , 660 tielens a. g. g. m. , hollenbach d. , 1985 , apj 291 , 722 warmels r. h. , 1988 , a&as 72 , 427 wolfire m. g. , hollenbach d. , tielens a. g. g. m. , 1989 , apj 344 , 770 wolfire m. g. , hollenbach d. , mckee c. f. , et al . , 1995 , apj 443 , 152 young j. s. , scoville n. z. , brady e. , 1985 , apj 288 , 487 young j. s. , knezek p. m. , 1989 , apj 347 , l35 xu c. , lisenfeld u. , vlk h. j. , wunderlich e. , 1994 , a&a 282 , 19 0.5truecm
* fig . 1 .
* comparison of the observed central co(1 - 0 ) line intensities ( in @xmath31 in the main beam temperature scale ) , for 28 vcc galaxies observed by stark et al .
( 1986 ) ( 100 hpbw ) and by kenney & young ( 1988 ) ( 45 hpbw ) , @xmath65 and @xmath66 , respectively .
both @xmath67 detections and upper limits are shown . here ,
the long and short dashed lines reproduce the relationships between the couples of measurements in case of point - like and extended co distributions with respect to the previous two beam sizes , respectively .
the filled circles represent the 11 galaxies in common with the present study .
the observed central [ cii ] line intensity , @xmath10 , vs. the coverage factor , cf , defined as the ratio between the area of the observing beam and the projected optical galaxy area as defined in the rc3 .
hereafter , asterisks and filled triangles denote starburst galaxies and gas rich galaxies of the kao sample , respectively , while open circles identify spiral galaxies of the iso sample ( see text ) .
arrows define upper limits . the average column density of molecular hydrogen in the beam , @xmath68(@xmath36 ) , ( in terms of hi nuclei ) ( * a * ) and the average column density of neutral atomic hydrogen in the beam , @xmath30(hi ) , ( * b * ) vs. the coverage factor cf .
see text for the determination of @xmath68(@xmath36 ) .
@xmath68(@xmath36 ) and @xmath30(hi ) are not deprojected from the inclination of the galaxy .
the relationship between the observed central [ cii ] line intensity , @xmath10 , and the central co line intensity , @xmath15 , as derived in sect . 2.2 , not deprojected from the inclination of the galaxy . here ,
the long and short dashed lines show the average ratios of the two observables obtained by stacey et al .
( 1991 ) for the starburst galaxies and the gas rich galaxies , respectively .
the rate of [ cii ] line emission per interstellar hydrogen atom , @xmath69/@xmath30(hi ) , vs. the cf . here
, the long and short dashed lines show the rates of [ cii ] line emission per h atom found by madden et al .
( 1993 ) for the diffuse ism of the actively star forming galaxy ngc6946 and by bennet et al .
( 1994 ) for the high latitude regions of our galaxy , respectively ( see text ) . instead , the two dotted lines delimit the range of values of the rate of [ cii ] line emission per h atom in the cold neutral medium ( cnm ) , as calculated by wolfire et al .
: the lower dotted line is almost indistinguishable from the short dashed line . )
the rate of [ cii ] line emission per interstellar hydrogen nucleus , @xmath70/(@xmath30(hi)@xmath71(@xmath36 ) ) , vs. the cf . | arxiv |
South Park Mysterion Rises
Craig awoke to the sound of a heart monitor, the slow steady beep ringing in his ears. He looked around the run down room, noting that he was, in fact, in a hospital. The apathetic boy stood and exited the room. To his realization, he had grown substantially; from what he could tell, he was about 18. How long had it been since he was placed in this hospital? He could find out later, at the moment there were more pressing matter, Craig needed some clothes; he couldn't run around clad only in a hospital gown. The tall boy wondered through the halls, looking for just about anything to dress himself in. Eventually he came upon some camouflage pants shoes, socks, boxers, a black shirt and a baggy grey sweatshirt. After putting on the clothing he departed from the almost post-apocalyptic looking building. South Park was in ruins, dead bodies scattered the ground and smoke rose from some of the buildings. Before Craig could get a good glimpse of his now destroyed home town, someone tackled him to the ground. The raven haired boy blinked a few times, realizing that he was gazing at this best friend, Clyde Donovan.
"Clyde?" he questioned. Without answering Craig, Clyde wrapped his arms around Craig tightly, nuzzling his face into the other male's chest. Craig, who was thoroughly confused now, picked Clyde up as he stood. "Dude, what's going on?" he asked again, hoping to get an answer this time.
"There's no time to explain, come on!" Clyde insisted, grabbing Craig's hand and rushing off towards the thick pine forest that surrounded the town. "We gotta get you to the others where it's safe before he finds you." the shorter male said.
Craig's mind was whirling with questions. Who was he? Others, what others? Where the hell were they going? What happened? How long was he out for? "Clyde" he finally spoke up as the two charged through the thick brush. "h-how long have I been out?" he questioned.
"8 years." Clyde replied blankly. "Dude, I know you're confused and all, but I can explain when we get to the base" he said.
"what base?" Craig interjected, very confused at this point. Clyde disregarded the question and slowed his pace, looking ahead. "There's the base" he smiled, pointing to the old building in front of the two teens. Two of the windows in front of the building were broken and the roof seemed to be caving in. Craig raised an eyebrow. "I know it looks bad on the outside, but trust me, it's much better on the inside" Clyde said, pulling Craig through the beaten wooden door that was handing loosely from the hinges.
Craig looked around the room. Long streams of light pouring though the battered roof illuminated the run down walls of the building. A few posters speckled the wall, they were odd, saying things like "he's watching" or "He sees all". Craig was utterly confused at this point. "so who is this 'he'?" he asked Clyde.
"Mysterion" Clyde said quickly, looking up at Craig.
"Mysterion? You mean Kenny's persona in that stupid coon n' shit thing Cartman made?" He asked.
"Um, that's Coon and Friends" the tubby boy interrupted from the far side of the room by a door way.
Craig turned to see Cartman. "Yeah, whatever, that was a really stupid group anyway, I'm glad I wasn't part of it." he scoffed. "Now can someone please explain what's going on? I haven't gotten a straight answer about this whole situation since I woke up" he said.
"You're going to have to talk to Stan" Cartman said, gesturing to the door way. "He's probably in his room; Clyde will show you where it is."
Craig nodded, walking through the doorway. Before him lay a large flight of stairs leading down into the darkness below, though Craig was a bit hesitant, Clyde rushed down them, pulling Craig behind him. The stairs creaked as the two hurried down them. When they reached the bottom they were met with a large iron door. Clyde entered a code into the keypad beside it and it opened, revealing an blasé hall. The red carpet clashed with the black walls and the lights above flickered every now and again, this wasn't much of a new sight to Craig. The two boys' footsteps seemed to echo loudly off the walls as they walked onward. Large labels were fastened to the doors, the names of some of their childhood friends on them. Craig read them to himself as they went. "Kyle, Cartman, Clyde, Token, Tweek, Butters, Timmy, Jimmy." He halted, making Clyde stop short as well since he was clenching Craig's hand tightly. One of the doors read "Craig" with a red "x" on the door.
"Why is my door marked up?" he asked. Clyde simply answered with "We thought you were dead, so your room is off limits" Craig just looked at him, knowing that if he asked, Clyde would just tell him to wait until they arrived at Stan's room.
Soon the two teens arrived at a door marked "Stan". Clyde opened the door and walked in, Craig trailing behind him. Stan looked up from the floor at the two, brushing a few locks of raven hair from his eyes. "Craig?" he questioned, genuinely surprised. The tall boy nodded. "yeah, it's me. Now how about you tell me what the hell is going on." he demanded.
Stan sighed, offering Craig a seat, then began explaining about the events that led to their current situation. Craig stared at Stan as he explained the horrors of the past 8 years. All the bloodshed, the horrid deaths of some of their colleagues. As Stan continued, Craig remained stoic, just absorbing the information. Clyde, on the other hand, was near tears as Stan went into excruciating detail about what 'he' had done to the citizens of South Park, Colorado. After Stan had finished he looked at Craig. "I'm sure that Clyde has already told you that Mysterion is behind all of this" he sighed.
"You too, Stan? Why don't you just call him Kenny?" Craig questioned, thinking that calling the parka wearing boy 'Mysterion' instead of Kenny was foolish. "He likes to be called Mysterion now..." Stan said blankly.
"Do you mean he's parading around in that dumb outfit from when we were 10?" Craig asked, suppressing a small chuckle. "He made a new one, but yes, it looks the same" Stan said.
"And you're all hiding out here from him? Why not just fight" Craig asked. "We don't have many weapons, and no matter how many times we seem to kill him, he just comes back like nothing happened to him. None of us understand how though" Stan sighed
Craig heaved a sigh and looked at Stan. "So, since I've been out of it for 8 years and all this shit has gone down, would either of you mind explaining how I became comatose?" he asked, expecting an answer from Stan because Clyde probably had little to no idea about that was going on.
"None of us really know, but we think Mysterion might be behind it." Stan said. Craig looked at the floor, letting out a loud sigh. "Dear god, can you please just call him Kenny, I can't take any of your seriously when you call him Mysterion."
"But Craig, I already told you -" Stan said as Craig interrupted him. "I don't care if he likes to be called Mysterion now or not, I'm calling him Kenny and that's the end of it. If you don't want to, go ahead and keep calling him Mysterion, but like I said, I'm not going to take you all seriously." he finished, looking up at Stan. Stan was a bit surprised that Craig burst out like that, but he didn't make it very obvious, he tried to remain straight-faced and calm.
"I suggest you do." Stan finally spoke, looking into Craig's dull blue eyes. "Our advice could end up saving your life. Especially since you have no idea what the hell you're actually doing." he added with a hint of anger in his voice.
Craig glared at him, rising up from his seat and leaving the room. Clyde followed after him, trying to coax him back into the room so Stan could continue talking with him. "Craig, wait! Come back! Stan still has to explain the way things work around here! You can't just run around doing whatever you want!" he said, tugging on Craig's arm.
The taller boy pulled lose from Clyde's grip and stalked off to his room, opening the heavy metal door. His eyes darted around the room, observing every small detail. There was dust on the small table beside his bed and on the window sill. Bright blue blankets decorated the bed, which seemed like it had not been touched in years. The musty air and eeriness of this so-called 'base' made Craig very uneasy, but he knew that he was going to have to stay here, or face the dangers that had led to his hometown's destruction. With a loud sigh, he flopped onto the dusty bed.
Sneezing and coughing due to the sudden puff of dust, Craig rolled over on the bed, staring at the ceiling. Though the top flood of this so called base were disheveled, the bottom floor was in pristine condition; well not pristine, but close enough to be called so. Craig continued to stare at the ceiling, letting himself become occupied with his thoughts. He was quickly snapped out of them when he heard the heavy metal door to his room open. Sitting up quickly he realized it was just Clyde. "Dude, don't scare me like that" he said blankly.
Clyde blushed, looking at the floor. "heh, sorry buddy." he sighed, taking a seat next to him on the bed. He looked at Craig, a spark of something in his eyes that Craig couldn't quite decipher. This was odd for Craig, he was usually so good at reading others' emotions through their eyes; that was the main reason he always kept his feelings hidden, he didn't want anyone to read them. Craig decided to shrug it off as a hallucination.
After moments of tantalizing silence Craig finally spoke up, looking down to the shorter boy. "So what's up, I understand you haven't seen me in like 8 years, but you're not one to just barge in unannounced." he questioned. Clyde blushed again, gazing at the ground. Craig rolled his eyes, Clyde was just being a cry baby like usual. He sighed, wrapping his arm around the smaller boy.
Clyde burst into tears. "Dude, I missed you so much. I thought you were dead! I can't even begin to explain how empty life was without you, I know it sounds cheesy...but Craig, I-I love you" Clyde said.
Craig looked down at the boy, not really knowing how to react. Of course he knew-or at least thought he knew- what Clyde meant by that, but he just had to be sure. "Yeah buddy, I love you too, you're one of my best friends." he said.
The smaller boy looked a bit disappointed, obviously thinking his friend was smart enough to figure out what he meant by that. Craig held back a small snicker, he knew it, Clyde had always hinted at those sort of feelings while they were hanging out. Aside from that, Craig was in fact a bit surprised that Clyde still had those feelings after 8 years, but why question it? In all honesty, Craig felt the same way too, he just never found the right way to tell Clyde. The taller boy let out a long sigh, looking down at Clyde. "Clyde. I feel the same way" Craig said, a small smile slightly evident on his face.
Clyde's face lit up like a stop light, but he smiled happily. "Wow what?! T-this is great!" he exclaimed, hugging Craig tightly.
Days turned to weeks, weeks to months, and eventually Craig found that he had been staying in the base for a whole year. Things had remained normal for the most part, a random gun shot fired somewhere in the distance heard every once in a while. Craig woke with a start, he heard yelling. That couldn't be good. He quickly pulled on his clothes, grabbing his blue chullo hat before heading out his bedroom door. He walked down the hall way quickly, thinking of worse case scenarios to explain this uproar. Someone was hurt; Kenny had actually showed his dirty mug around here for once; or even worse, some had gotten themselves killed, just like Tweek had last year. All these things whirled in Craig's head, though he didn't let it show. Bracing himself for something horrible, he took a deep breath and walked up the stairs. He arrived at the top, only to find himself staring at Kyle and Cartman in the middle of some stupid argument. Obviously these two fools were the source of all this commotion.
Craig pinched the bridge of his nose. "Will you two shut up? You damn near gave me a heart attack, I thought something bad was happening." he said. "I'm pretty sure you woke everyone in the base up." he rolled his eyes before returning to his room. He sat and stared at the wall, it's not like he had much to do around here. A light knock on the door tore him from his thoughts. "Yes?" he questioned.
Clyde opened the door, Stan standing next to him. "Stan said that you and I should go around and see if there's any food still out there. He knows it's been a year and all, but you never know." Clyde said.
Stan nodded. "Just be careful. Also, here" Stan said, walking up to Craig. The raven haired boy handed Craig a pistol, a pocket knife, and some extra bullets. "Keep yourself safe out there, we can't afford to lose another member." he sighed, walking out of the room.
Shoving the weapons in his pockets, Craig walked out of his room. Clyde followed close behind him. "I think Stan is just sending us on a wild goose chase here, obviously there's no food left. It's been a year, we're running low on food, and the only other person around here with food would be Kenny. "Craig said blankly, gripping the pocket knife.
Clyde rolled his eyes. "Don't worry so much, I'm sure we'll find something." he said happily.
The two boys exited the base, making the long trek through the forest to town. Though there were no fires, the town seemed to be covered in a thick smoke. Quietly Craig signaled for Clyde to go up ahead without him, he wanted to split up and cover as much ground as they possibly could. Clyde nodded, rushing off into the heart of the town. Craig surveyed his surroundings, there was a clear path to a few small stores, but he wasn't very interested in those, they would all be empty. No, Craig was more interested in the overturned car adjacent to him. Scavenging around a bit, he found nothing of particular interest. He knew that this trip was for nothing, they wouldn't find anything here in town, it was a wasteland.
Craig continued on, looking for more interesting things to inspect, though in the end it was to no avail. Suddenly a foolish idea popped into his head. He had heard, many times actually, that Kenny was still somewhere in town. Maybe if Craig found him he could learn something about all of this, a reason to this madness maybe. As foolish as it was, Craig needed a bit of excitement, so he decided to head off and look for any signs of the blond-headed fool prancing around in his hero outfit. The heavy thud of his boots on the ground seemed to echo far and wide. Drifting off into thought once more, Craig was caught off guard by the shriek coming from the direction Clyde had wandered off in.
Without even thinking, Craig sprinted across the town. Anger was the lone emotion burning through his veins when he came upon the scene. There was Clyde, his closest friend, and lover, hunched over in pain. Craig gently wrapped his arms around Clyde, immediately being washed over by sadness. Multiple stab wounds covered Clyde's chest and back. Blood dripped from his mouth, and his breathing was labored. Craig wanted to help, he wanted to run back to the base with Clyde and get him fixed up; that wasn't going to happen though, it was too late, they wouldn't make it back in time to save his life.
Clyde, who was surprisingly, still conscious, looked at Craig. A sad smile on his face. "Craig? Dude.. Just leave me; you're not going to get me back in time. It's alright though, just tell them that I died trying." he laughed, though it didn't last long before the laughter gave way to a coughing fit which splattered blood onto the ground.
The taller boy tried to remain stoic. He wasn't known to show emotions, but in this very moment Craig Tucker did something that many though he was incapable of; he showed feeling. Tears streamed down Craig's face and he was chocking back sobs. "Clyde, don't you d-dare talk like that! We-we're gonna get back to the base and get Kyle to fix you up" he sniffled. He lifted Clyde up bridal style, getting blood all over himself.
"Craig, please. You're just helping a lost cause. No matter how fast you run, we're not going to make it back in time for me." Clyde said, wrapping his arms around Craig's neck.
"I-I swear Clyde.. I will find Kenny, I know he did this to you.. I'll find that f-fucking bastard" Craig said, resting his chin on the top of Clyde's head. It was too soon to lose him, they had only just confessed their feelings for each other, Craig had just woken from his coma. This was all happening too soon.
"Craig, you don't have to" Clyde said. "I-it's so dangerous.. Just know.. that" Clyde trailed off a bit, his vision blurring. "T-That I love you " he smiled, kissing Craig on the cheek. "and also that this past year that I've been able to spend with you...has been the best year of my life. I'm sorry that I have to go so soon, but it's not your fault, I should have defended myself better" he sighed, coughing up some more blood.
That was the last straw, Craig broke down right there on the demolished street. Sinking to his knees, the once apathetic boy clutched his dying friend tightly. Tears rolled down his face as he looked at the boy in his arms. "Y-you did the best you could, I'm sure of that.." he waited for a response from the brunet. However, he never received one.
Craig looked down to see that his friend's chest had ceased it's rise and fall pattern. Sick to his stomach and overwhelmed by a mixture of sadness and pure rage, Craig placed Clyde's limp body on the ground and stood up. He was determined to find Kenny. Though he wasn't sure how he'd go about it, he knew one thing; he would avenge Clyde, or at least die trying to that is. His footsteps echoed through the town as he marched forward. Craig was just waiting to find Kenny, he'd teach him a lesson he wouldn't soon forget, if he was even alive to remember it. Was that a silhouette he saw in the distance or was he just seeing things? No, that was a silhouette, he wasn't going crazy.
The raven haired boy ran towards it, ready to strike. He stopped short, looking at the blond haired boy before him. It was Kenny. Blind rage surged through Craig and he charged at the blond, clutching the pocketknife firmly in his hand. Kenny smirked, stepping to the side before Craig could cause him any harm. Not that it mattered much to the blond, he could always just resurrect if his revenge-seeking acquaintance succeeded in fatally wounding him. He let a small chuckle lip out of his mouth as he looked to Craig.
Craig glared at the taller male. "You sick f-fucker. I don't know why, or how you did all of this, but you didn't have to kill Clyde." he was still clutching the pocket knife, ready to fight back if Kenny approached him.
"He got in my way" Kenny said curtly.
Craig's stomach was in knots. His brain was buzzing with emotions; anger, hatred, loathing, sadness. He pushed all of them to the back of his mind and reverted to his normal apathetic state. Approaching Kenny, he kept his dull eyes locked on the malicious blond.
"I'll give you 5 minutes to go hide" Kenny grinned.
"what?" Craig questioned, a bit surprised by this statement.
" 5 minutes, Craig. I suggest you run, your time has already started" the psychotic blond replied.
Craig decided not to question him again, he was only wasting his time. Like a bolt of lightning, Craig was gone. Running for perhaps his life, Craig darted around. He peered into buildings, looking for the perfect place to hide. Finally he found somewhere to conceal himself; a small space beneath a desk in an abandoned office building. Pulling his knees to his chest, Craig awaited his possible extermination. Though he knew it could put him in grave danger of being killed, Craig let a few tears slide down his face as he held back a sob. He knew it was all over now, Clyde was gone, he was no longer to retain his apathetic nature, and Kenny was looking for him. There was no hope left for him now.
Footsteps echoed through the streets of south park as Kenny walked along. He knew Craig was around here somewhere, and he would find the raven-haired boy. He eventually came upon the old office building. After tedious hours of searching for Craig, he knew that he must have been close. Entering the building, he noted that there were many papers and office supplies scattered on the ground. There! Footprints; Craig must have been very careless at the time, because he didn't make much of an effort to hide his tracks.
Craig hugged his knees to his chest tighter as he heard Kenny enter the building. Tears were streaming down his face at this point, he wasn't ready to die, let he had nothing left to live for. His family was already gone, and now Clyde. Though he was going to put up a fight, he needed to get back to the base. As much as he hated it in that dusty safe-home, he needed to help his friends, surely they needed him to help. Of course they did, or at least Craig though that they did. He was snapped back to reality when he noticed the barrel of Kenny's gun pointed towards his face.
The blond boy was smiling at him. "Bye Craig" he said.
Craig didn't even flinch as the bullet penetrated his head. His dull blue-grey eyes lost all the light of life as he fell to the ground. He would never know if his friend really did need his help back at the base.
End file.
| fanfiction |
A query in a step when deriving Maxwell's equations from stationary action
When varying the Maxwell action, one gets to the following part
$$
\begin{align}
\delta \left(F^{\mu \nu} F\_{\mu \nu}\right) &= 2 F^{\mu \nu} \delta F\_{\mu \nu} \\
&= 2 F^{\mu \nu} \left(\partial\_\mu \delta A\_\nu - \partial\_\nu \delta A\_\mu\right) \\
&= 4 F^{\mu \nu} \partial\_\mu \delta A\_\nu
\end{align}
$$
However, how does one actually get from the second last step to the last step? I tried to write out the indices and I got double of the term in the second last step (without the factor of 2) instead.
There are dummy summation indices in $F^{\mu\nu}\partial\_{\nu}\delta A\_{\mu}$. Make the change $ \mu \rightarrow \nu$ and $\nu \rightarrow \mu$. You will get $F^{\nu\mu}\partial\_{\mu}\delta A\_{\nu}$. And now simply use the antisymmetry of the Faraday field tensor to get rid of the minus sign.
| stackexchange/physics |
Field hockey was contested for men only at the 1970 Asian Games in Bangkok, Thailand.
Medalists
Draw
Group A
*
*
Group B
*
* South Korea and Indonesia withdrew, Ceylon moved to Group A to balance the number of teams in each group.
Results
Preliminary round
Group A
Group B
Consolation round
Semifinals
7th place match
5th place match
Final round
Semifinals
Bronze medal match
Final
Final standing
References
Asian Games field hockey medalists
Category:1970 Asian Games events
1970
Asian Games
1970 Asian Games | wikipedia |
our group ( p.i . :
m.kissler-patig ) started a campaign to obtain high s / n spectra of representative globular clusters in early - type galaxies .
this work will form the bulk of thomas h. puzia s phd thesis and be used in combination with optical / nir photometry in maren hempel s phd thesis .
so far , we have obtained intermediate - resolution spectra ( r@xmath1800 ) of globular clusters in six early - type galaxies using the fors2/mxu instrument attached to eso s vlt .
these data are complemented by spectra of the host galaxy s integrated light out to large radii ( 2 - 3 r@xmath2 ) .
our sample covers galaxies with various properties : from bright ( @xmath3 mag ) and faint ( @xmath4 mag ) galaxies , located in the field , in groups , and in clusters .
the aim is to study the chemical composition of globular clusters in order to understand the formation and evolution of their host galaxies .
in particular , we are investigating age differences within a galaxy , are looking for differences in ages / metallicities between bright / faint and cluster / field galaxies ; and are comparing the line indices of the globular clusters with the ones for the corresponding integrated light at comparable radii . here ,
we presents first results for 4 galaxies : [ cols="<,^,^,^,^",options="header " , ]
the best age indicators in the lick system remain the balmer lines . among these
, h@xmath5 is mostly used , but is super - seeded in diagnostic quality by h@xmath6 for good data ( see puzia s contribution in these proceedings ) .
the balmer line needs to be plotted against an @xmath0-element insensitive index ( e.g. [ mgfe ] ) otherwise any derived age is a function of the @xmath0-enrichment of that particular globular cluster . plotted against [ mgfe ] ] fig .
[ fig_age ] shows h@xmath6 plotted against [ mgfe ] for all studied globular clusters in the four galaxies .
we compare our data to the latest ssp model grid of maraston et al .
( 2002 ) for ages 0.815 gyr and metallicities @xmath7 to + 0.6 dex .
open symbols represent globular clusters formally younger than 3 gyr .
using the lick indices , we can probe 1 ) the total metallicity , best traced by [ mgfe ] , a combination of mg and two fe indices that result in a fairly @xmath0-element independent quantity ; and 2 ) the @xmath0-element ratio , well traced by comparing fe and mg .
the total metallicity traces the overall chemical enrichment during the star formation history of the galaxy .
as expected from photometric studies , we observe in all galaxies a wide spread in metallicity ranging from [ fe / h]@xmath8 dex to solar or above .
plotted against @xmath9fe@xmath10 fig .
[ fig_met ] shows mg@xmath11 plotted against @xmath9fe@xmath12 as diagnostic for @xmath0-element enrichment .
the mg@xmath11 index traces the strength of the mg ( @xmath0 element ) absorption feature at 5180 .
the @xmath9fe@xmath12 index is a composite index of two line indices fe5335 and fe5270 which trace the strength of strong iron lines at around 5300 .
the iso - metallicity lines show ssp model predictions computed for three @xmath0/fe ratios ( solar , @xmath13 dex , @xmath14 dex ) assuming a 13 gyr old stellar population ( thomas et al . 2002 ) .
the lines range from -2.25 dex ( lower left ) up to + 0.67 dex ( upper right ) in metallicity .
open symbols show clusters formally younger than 3 gyr ( see fig . [ fig_age ] ) .
* the most striking feature of the age - metallicity plot is the fact that the globular clusters with metallicities below [ fe / h]@xmath15 span a very narrow age range around the @xmath112 gyr isochrone , i.e. comparable to milky way halo clusters . for metallicities above [ fe / h]@xmath15 dex , the globular clusters show a large spread in ages over several gyr . in particular ,
a significant number of intermediate - age clusters appear to be present ( the ratio old to intermediate varying from galaxy to galaxy ) .
a caveat to the latter interpretation might be the influence of fluctuations of the horizontal branch morphology .
however , the spectroscopic intermediate - ages seem confirmed by optical - nir photometry ( puzia et al .
2002 , hempel et al .
2002 , see also hempel et al . in these proceedings ) .
* the clusters in all galaxies span a similar metallicity range as in the milky way .
we found neither super metal - poor nor obvious super metal - rich clusters .
* in all galaxies , the metal - rich clusters ( [ fe / h]@xmath16 dex ) span a wide range of [ @xmath0/fe ] ratios indicating a large variety of formation time scales within a single galaxy .
interestingly , the intermediate - age globular clusters appear to have , on average , lower [ @xmath0/fe ] values than the old clusters . while the bulk of the intermediate - age clusters has ratios close to solar , the old metal - rich clusters tend to be @xmath0-element enriched , similar the diffuse stellar light of the host galaxies . | arxiv |
Evangelion 1. On the journey
Eventually they came to a stockade of some kind.
It seemed to him that Asuka left them and went in, but he had no idea for how long. Time had stopped for him; all moments, past, present, and future, were the same as far as he was concerned. She reappeared, presumably after an interval, with three horses and a meagre supply of rations to enable them to continue their journey.
She didn't explain, and he could not have understood, that they had come to a settlement of survivors who had found ways of scratching a living from the remains. The settlers had helped out the travellers simply to enable them to be somewhere else when either rescue or capture caught up with them, in the hope that the settlement itself would not be noticed by Nerv or Wille - which they presumed would be the end for them.
He was on the back of a horse. Presumably Asuka had put him there. He'd never been on one before. He did nothing, and the horse moved, and was warm; and that was enough. He could see the other pilot on a horse as well. Presumably she had also never ridden horseback before, but she sat there with an air of accepting that people did this, and it worked, and there was nothing more to consider. Had Rei, _his_ Rei, ever sat on a horse? Perhaps there had been an opportunity for her at school; but then, what did he really know of her? Had she also been a clone, like this other pilot? What would that mean? After all, his Rei wasn't _like_ this other one. But what did it mean to be a clone? Were they human? Was _he_ human himself? If he had spent fourteen years inside Unit-01, that was surely not anything a human could do - so what was he now?
They travelled on. He stayed alive, if this was life - he could no longer tell. The other pilot seemed to be more human than he himself. She silently followed Asuka's instructions, and led the horse that he couldn't conceive of controlling. But he still couldn't be sure what she was, really; he couldn't even be sure that Asuka herself was human, after what had happened to her so recently, as it seemed to him - but so many years ago in fact. He recalled that her eye seemed strange, even with the patch, but knew nothing more than that.
Thinking, if we may call it that, of eyes brought his mind round to Kaworu. Kaworu, whose eyes had looked deep into his soul and shown him trust. Kaworu, who had started to fill the void in his heart that the other one, so reminiscient of Rei, had failed to do. Was he starting to recognise some greater similarity between Kaworu and Rei, he wondered, and, the thought struck him, did that mean that perhaps Kaworu was a clone, if Rei had been? His heart quickened for a moment, but then he was overwhelmed again by despair - if there were to be another Kaworu, a clone, would that one be like... no, he couldn't bear that. Better not to think than to have thoughts like that.
They travelled on. It is not recorded whether he stayed on the horse himself, or whether the others had to keep putting him back up. It didn't matter to him.
2. Rei's thoughts
_I exist to obey orders_.
That had been all she had known: _obey orders_. But she was becoming aware that there were other things. After all, someone gave those orders; she didn't know why, and had no interest in that - but giving orders was different from just obeying them. The red one ordered her to get on a horse, and she obeyed; the red one ordered her to lead the horse bearing Shinji, and she obeyed. It was natural, it was the way of things.
_I exist to obey orders._
She had been ordered to fetch the one called Shinji from where he had been. The pink one had tried to stop her, but she had not allowed that to prevent her from carrying out her order; she presumed the pink one had been ordered to stop her, but that was of no consequence to her. She had fetched Shinji, as she had been ordered to, and he had come without resisting. Shinji had been ordered to stay, to resist being fetched. She had heard the order being given. But if he had resisted, she would still have fetched him, as that was her order.
_I exist to obey orders._
Shinji puzzled her... What was this puzzlement anyway? It was something that she had not experienced before fetching Shinji. This was the source of her puzzlement: he had not resisted - he had not obeyed the order. Although he had been ordered to stay, he had come with her willingly. There were those who gave orders, otherwise there would be no orders; there were those who obeyed orders, otherwise the orders would not be carried out. That was her world, but Shinji didn't fit into it. He had been given an order, but he had not carried it out, he had not obeyed. The pink one had been given an order, and had attempted to carry it out, though it had been necessary to ensure that she didn't succeed; the red one now gave her orders, but this was not so puzzling as receiving and giving orders were both parts of the world she knew.
_I exist to obey_...
But Shinji was different; he had not obeyed. He had been different after they had arrived as well. He said strange things to her; he gave her books; but he didn't give her orders. And yet he seemed puzzled - upset, was that the term? - when she didn't read the books even though she had not been ordered to, and when she didn't say things to him. He called her by her name, Rei Ayanami, but seemed to expect her to be someone else, even told her that she was not Rei Ayanami. But what should she say? She had no orders to speak to him.
_I exist to?_...
During the fight the other pilots had spoken to her the same way that Shinji had done. So she had asked for an explanation, asked what "Rei Ayanami" would have done, but received no answer. She was Rei Ayanami; but like Shinji, the others seemed to be expecting a different person, even referring to "the original", another Rei Ayanami, as he had done. So when the end came, she survived. She had not been ordered to; but she had not been ordered to let herself be destroyed either. She had made a choice. She had acted without an order. This was strange, but it had seemed fitting, and it was why she had survived.
_I exist!_...
She had seen Shinji with the music player. She supposed it gave him pleasure, though this was a remote concept for her. He had dropped it, which she had not expected him to do, because he always carried it. Why had she picked it up? So that he could have it again, the thing that gave him pleasure? At the moment of doing it she had felt a flicker of... familiarity? As if it was something she had done before. But she couldn't have; she remembered what orders she had been given, and that had never been one of them. So, what?...
_I_...
3. Arrival
_Shinji! you stupid brat! Pull yourself together and hold on to that horse! We're nearly there and you're slowing us up!_
He heard her, but he didn't hear her. It was like a dream, but it was not a dream. It had become apparent to him that he was no longer human, not a part of this world any more.
I saved Rei, but she was not saved;
I destroyed the angel, but the world was also destroyed;
I set out to repair what had been done, but it was made worse;
_I AM BECOME DEATH, THE DESTROYER OF WORLDS._
He had trusted Misato, who had restored to him a kind of family life which his parents had left him without; but she had broken his trust, and lied to him. He had trusted Kaworu, who had patiently shown him that even after all that had happened there was hope; but he had been deceived and they had both paid the cost, and now he was left alone with the burden. He would never trust again; how could he, why would he even want to?
The horse moved on steadily; its warmth and motion were reassuring, or could have been. But he was not comforted by them. He would never be comforted; there was no way in which he could ever find consolation in a world which he - _yes, he_ - had twice destroyed. The dead couldn't console him; and why should the living, whose lives he had made a misery?
He could hear talking. They had reached the point where it was safe for the rescue craft to pick them up. Asuka was speaking to someone about their journey, telling of how she had brought him only so that they knew where he was, how difficult the journey had been with him, how she would give them a detailed update. She told them to release the horses, because the settlers had probably followed secretly in the hope of recovering them.
_Shinji!_
A strange man's voice addressed him. He ignored it. As he knew he was no longer of this world, why should he react to it?
_Shinji!_
The voice was compelling, and somehow stirred him to glance towards it. The face seemed familiar, though changed by the years. He reluctantly allowed his mind to search back through memories of his past life, until he found the answer.
T..T..Touji?
_I won't punch yer face again while y're all screwed up. But when y've come to yourself enough, however long that takes, y'll have just one chance to persuade me not to do it right then like I did before!_
He collapsed on the ground in tears. They could do nothing with him.
4. Anger
Asuka was furious. All her submerged rage from Shinji's betrayal of her when she'd needed saving had surfaced when she saw him again, after all those years, but still looking the same pathetic child. Punching the security glass had felt cathartic at the time, but resolved nothing. Back then he'd just sat there in his Eva wailing and feeling sorry for himself while the angel started to consume her, and then apparently he'd had the gall to run away rather than face up to his failure - and now on top of it all he had the cheek to say he was glad she was all right. All right!? Damaged goods, more like, and whose fault was that? Then the business with the spears; he wouldn't listen, just like in the old days. What was he doing there in the first place? Was he deluded or just crazy? She wouldn't have been sorry if he'd got himself killed right there. And now here he was, curled up in a ball, doubtless feeling sorry for himself again. She'd always seen him as an idiot, but he was worse - he was simply a deluded self-regarding brat. Yes, in the past, in moments of weakness she had thought of him as a _redeemable_ fool, even slightly endearing; but was he now? She found it increasingly hard to envisage the possibility. But whether or not he was worth saving for his own sake, she'd _had_ to drag him along - she had to accept that leaving him for Nerv to get their hands on would have been worse; though possibly not, from her point of view.
Then there was the other pilot, the Ayanami series puppet who'd invited herself along. Why had she come? She was Nerv's creation, after all, why wouldn't she want to go straight back to Nerv? Wille certainly had no use for her. Not that she was actually being a nuisance, since she never said anything or got in the way; but she was this baleful _presence_, hovering on the edge of being noticed all the time - it was just too creepy. And anyway, she was the _enemy_, and had to be considered and treated as such. Still, in spite of all that, she'd actually proved useful, at least to the extent that she'd removed an irritation from Asuka herself, because she'd been able and apparently content to lead the horse that Shinji had shown himself more likely to fall off than control - the idiot! How many more ways would she stumble across to highlight his incompetence?
And now she was stuck out here in the back of beyond, though she was pleased enough to be in a proper base after that trek through the waste land with not one but two complete liabilities dragging at her heels. The horses had been a godsend, and had marginally improved the company as well. But why couldn't she just get back to the Wunder? OK, Unit-02 had been destroyed, but surely there were still useful things she could do back there, rather than acting as nursemaid to these two apologies for humanity.
5. An argument
No, Asuka, I won't let yer keep disrespecting him like that. It's no help going 'n ranting at him; no wonder he's still curled up in a ball! That's why I'm barring yer from the detention wing.
Yer got it, I'm pulling rank. Here, in this back-of-beyond base's security block, _I'm_ the boss, get it?
No, yer _don't_ need to talk to him, 'cause they're sending Sakura; it seems they think she has the best chance to pull him out of his funk, 'n I think they're right.
Yer seem to f'get that I knew him before you did. Yeah, I even punched his pretty face when he hurt my little sister. But y'know what? - then he went and saved my sorry skin, just like nothing had happened.
No, _you_ don't get it. I was in there with him. They'd compromised the operation to save me 'n Kensuke, but he knew he still had to win, even when they said to give up. Thing is, he's all about doing what's _right_, yer see, whatever the trouble it brings him. Man, he was _hurting_ during that fight, but he just kept on!
Don't yer go calling him an idiot like you always do! He's weird, right enough, but he's not an idiot. And yeah, I'd trust him with my life.
Sure yer got hurt, and he didn't save yer. But y've seen the recordings, y've seen how he tried to do nothing _just to avoid hurting you_, and he tried to stop the dummy system hurting you too. He wanted to save yer more than anything; he was desperate! Y've had the pain, course yer have, but can't yer see the pain he went through 'cause of that?
He ran away, sure, but he came right back when he was needed, and defeated the strongest angel yet.
I know, everything went crazy after that, but y'know what - I don't buy the official report; looks like a whitewash to me, specially seeing how Nerv broke up not so much later. I wanna hear what _he_ says! No one's even asked _him_ yet, have they. And remember, apparently it seems it was like only a few weeks ago for him, so his memory's still fresh.
Yeah, yeah - it all went down again; I know well enough. That's why y're here. And that's why I wanted to punch his face when I saw him - he hurt my sister _again_ disregarding her heartfelt plea to stay out of the Evas. But like I said, _I wanna hear what he says_ before I do that, 'cause back then I _trusted_ him. Anyways, first we gotta get him human again, and y're not helping; so like I said, stay away and leave Sakura to deal with him, right? _Right?_
6. Drawing out
(In which Sakura is patient with Shinji - the scraps of conversation reported here take place on different days at varying intervals.)
_Shinji?_
...
_You don't have to answer if you're not ready; but remember, I'm just here to listen, 'kay?_
...
* * *
_Shinji? I want to take the opportunity to say: thank you. I know that the day I was injured, what you did saved us all. I got better afterwards, but that was only even possible because you saved us, so thank you!_
...
_Shinji?_
...
* * *
_Shinji? Can you remember what happened? Are you able to tell me about it yet?_
K-kaworu told me that the ruin of the world was m-m-my fault, so I, ... I ... I was going to m-make everything right again. Kaworu said I c-could. B-but ... then _that_ happened. And Kaworu ... _died_. He was w-wrong; what he t-told me was a lie. How could he lie? We were friends! Everyone lies to me! Has it really been f-fourteen years? You've been l-living in this ruined world f-for fourteen years?
_Yes, Shinji, we have. As you can see here, it's not all like the area you saw at Nerv; but it's bad enough._
But _you_ didn't lie. You told me n-not to get in the Eva, and I did, and you were right, and it would have been better if I hadn't. And now you must be angry with me; and T-touji will punch me again. And I deserve to be punched - though it won't make the world better.
_Shinji, can you tell me: why did you get in the Eva?_
My father _t-told_ me I would have to. I didn't want to, but Kaworu told me that we could change the world back with the Eva, so I went with him, and we were going to pull the spears out which was how we were going to repair the world, and Asuka was trying to stop us, and Kaworu was saying things, but I was getting confused so I did it anyway to make things better, and Kaworu died, and...
...
* * *
_Shinji, can you remember anything from before?_
There was an angel. It was supposed to be a new Eva, but it was an angel, and it had trapped Asuka! I was there to stop it, but I knew that if I attacked with the plug still in Asuka might be killed! I didn't want to do anything that would kill or hurt Asuka. I refused to attack Asuka, but then my father made the Eva do it anyway! And I tried to stop it! I tried to get him to stop! And then the entry plug got crushed and I thought Asuka must have been killed. I couldn't save her! I wanted to save her, but my father made the Eva attack without considering her, and I couldn't stop it! That's why I never wanted to pilot again! The angel was killed, but the Eva had killed Asuka, I thought, though in fact she was alive, but perhaps the angel had also injured her, and I couldn't stop it!
...
_Could_ I have stopped it?
If I had attacked, could I have controlled the Eva and killed the angel without crushing the entry plug?
I could, couldn't I? You said it was okay when you got injured that time, because I killed the angel! I could have saved Asuka, or killed the angel while giving her less injuries! It's my fault what happened! Just like every time, it's my fault! I _let_ my father do it! _Oh Asuka! Asuka! I'M SORRY, ASUKA!_
...
* * *
_Shinji? Can you talk again? Are you ready to tell me about Rei?_
The next angel came, and I was leaving because I never wanted to pilot again, but then I saw the angel eat Unit-00 and Rei, and I saw it disable Unit-02, and the new pilot helped me get away but she made me think about what was happening - and I knew that I had to choose between letting the angel destroy the world or getting back in the Eva to fight it. So I went to fight the angel, and I was able to stop it. But it had eaten Rei, which made me furious, so I reached into the angel somehow to try to find Rei and rescue her. I don't know what I was doing, but I found her; she said she could only survive where she was, but I was able to bring her out, and I was so happy that I'd been able to save her. I was in ecstasy - but then I don't remember anything else, and I woke up surrounded by guards ... and you told me that fourteen years had passed.
Then Ritsuko told me that I had been in Unit-01 all that time, but Rei had not come out with me - but I know I saved her! And then Rei came and rescued me and took me to Nerv, so I knew they'd been lying. But then it seemed that she wasn't like Rei had been before. She didn't read books, she didn't remember what had happened to her, it seemed as if she didn't even know me! But she said she was Rei Ayanami! And after Kaworu had shown me the state of the world, and told me it was my fault - though I have no idea why - Vice Commander Fuyutsuki told me that Rei was still in Unit-01 and that she was a clone - of my mother! - and I suppose that means the other one is a clone too. And now I'm confused and I don't know what to think, or who's who, or what I've done, or who to believe.
I don't even know now who actually knows anything anyway. What has happened to the world? What has happened to me? What has happened to Rei?
...
Can I ask for something?
_What is it Shinji?_
I want to try and understand for myself what's happened to Rei; so I'd like to be able to speak to the other pilot, the one who calls herself Rei Ayanami.
7. Identity
_REI:_
What is memory?
Where does my memory come from?
I remember... orders.
I remember... obeying orders.
Shinji spoke of rescuing me... I do not remember being rescued.
Shinji brings me books to read... I do not remember reading.
Shinji behaves as if he knows me... _I do not remember Shinji_.
I am me;
What does it mean for there to be another me?
The Wille pilot spoke of another me;
Shinji spoke of another me;
What is "me"?
How do I decide, if I am not given an order?
Do I choose a decision from my memory?
But I have no memory of decisions;
And yet, I have chosen.
I chose not to be destroyed;
I chose to come here with the others;
I chose to bring the player Shinji dropped;
Why did I choose these things?
_SHINJI:_
The Vice Commander told me that Rei is a clone of my mother.
But she is not my mother.
My mother is gone;
He told me that she is still there in Eva-01.
I rescued Rei from the angel;
He told me that she is still there in Eva-01.
I was in Eva-01 for fourteen years.
I was there with Rei, but I don't remember it.
Was I there with my mother? I don't remember it.
Is the other pilot, the other Rei, a clone of my mother?
But she is not my mother.
Is she a clone of the Rei I know?
Is she _not_ the Rei I know?
Who is Rei?
Who is my mother?
Who am I?
What is it to be someone, anyway?
What is a clone?
What is Eva-01?
What am I?
8. Meeting
_Present: Misato Katsuragi (remotely), Asuka Shikinami Langley, Touji Suzuhara, Sakura Suzuhara._
M: As you know, I hate having to meet remotely like this, so I want to keep the meeting short. In a moment I'll be asking each of you for a report on what's been going on.
A: Fat lot of good asking _me_, as that ass over there has kept me locked out of the detention block!
M: Your turn will come, Asuka! Say it then.
M: As I was saying, I'll be asking for your reports, but before that I'll tell you what the arrangements for the detainees will be for the time being.
M: It has been decided that Shinji Ikari is to be kept at the frontier base until further notice. We feel that there is still a significant risk that Nerv might make an attempt to gain custody of him again; but we are also concerned at the possibility that they might also attempt to recover Unit-01 from its present position in the Wunder, and so it's in our interest to keep their possible targets well apart so as not to make it any easier for them.
M: Quite apart from that, it is felt that Shinji Ikari should in any case be kept as far away from Unit-01 as possible. It is vital that there is no possibility of them coming together, as the results of such an event might be disastrous, and cannot even be predicted with any confidence.
M: We see no reason to treat the Ayanami type specially, but you already have her in custody, and there is no reason to move her - so it's convenient for her also to remain at the frontier base.
M: Touji, do you need any extra facilities as a result of this, or will your present arrangements suffice?
T: The present arrangements are adequate, thank y'. The detention block is otherwise empty, and our security barriers are in good order; in any case, neither of the prisoners has shown any sign that they might try to get away.
A: What would Impact Boy need to do to escape anyway - curl up into a ball again and roll out under your gate?
M: _Asuka_!
T: Y' see the problem I've been having with 'er? Now where was I? Ah yes: they are currently being kept in solitary confinement, fed in their cells, and given separate opportunities for exercise - which neither of them has made use of.
M: Are you worried about their health?
T: No, physically they seem fine; but Sakura can probably give you a better picture.
M: Sakura?
S: Yes; no, well, they both seem to be in good physical health. I was worried about the Ayanami type as I understand their metabolism can become unstable without medication, but in this case no problems have become apparent so far. She's weird, though - she just sits there and says nothing unless spoken to. Doesn't do anything ... oh, except sometimes she stares for a while at the table where she's left that ancient music player she was carrying; it's as if she's puzzled by it.
M: An old music player? ... ah, I see ...
M: Carry on; what can you report about Shinji Ikari.
S: Ikari; yes, er, Shinji. Well, um, he's started talking at last. But he still finds it difficult. It seems that however I prompt him, or whatever I ask him about, he ends up talking about a disaster of some kind, which upsets him, and then he has a bit of a relapse.
A: Story of his sorry little life, eh? Do you think perhaps we should just put him out of his misery?
M: _Asuka_! Will you just _stop_ that!
S: Lieutenant, really, I mean, if you could hear some of the things he says! I truly think you might see him differently,...
A: _(humph)_
S: ...but he's not really in a fit state to talk to anyone else yet - let alone face you, lieutenant!
S: There is one thing, though. He's been talking about Rei; that was the name of the first child, wasn't it, who died in his last battle? It's also the name that the Ayanami types use, of course, but he seems to be confused by the difference. After all, he's not been around to see the Ayanami series before. Anyway, he's asked to be allowed to talk to the Ayanami type - to Rei, as he calls her - and I wonder if we should let him? This request is the first thing that he's managed to do off his own bat since he arrived here, and I get the feeling that it's really important to him and I wonder if it might even help him recover some more mental stability.
A: Wants to plot his next impact, I expect...
M: _Please_, Asuka, just wait your turn.
M: Yes, Sakura; I think that should be allowable. I'll want to run it past Ritsuko as well, so wait for my confirmation - but I think it'll be all right. Touji can provide a secure room with monitoring, I presume.
T: Yeah, can do.
M: Now, _Asuka_, do you actually have anything to report?
A: Me? What would _I_ have to say? I'm not even being allowed to see the prisoners, or hear what they're saying. Why am I stuck out in this God-forsaken spot anyway? I just want to get back to work!
M: I understand; but right now your work is being my representative on the spot in case anything important changes. Sometimes you just have to be patient, and accept the boredom. Please put up with it for a bit longer.
M: Now, I know we're all on edge because of what's happened, but I think it's got to us more than we should let it. Touji, Sakura, I understand why you want to prevent Asuka and Shinji meeting right now; but you've taken it too far, keeping her out of the loop. Please ensure that she is kept fully informed about Shinji's progress; remember, she's my personal representative in this situation, and I want to be able to have her perspective on things from now on.
T, S: _(gulp)_ Yes, ma'am!
M: Anything else? No? Well, thank you all for your reports, and I'll be in touch shortly about that request. Goodbye for now.
9. Searching
They met. They were seated on opposite sides of a table in an interview room. They were alone, but they were not alone - for naturally they were also overheard and overlooked.
They sat in silence, Rei looking at her hands on the table, and Shinji staring fixedly at her, trying to find a flicker of something, of _anything_, that would tell him that this was indeed _Rei_. He failed to find what he sought.
After a while, his face crumpled, and a tear rolled down his cheek. "Rei?", he said hesitantly, "do you remember me? From before you fetched me from the Wunder, I mean." She looked up at him. "No", she said, and let her eyes fall again.
They sat in silence a little longer. Shinji was struggling with his thoughts: "I mustn't give up," he told himself, "I must keep talking until I find out what's wrong." More tears came, but he wiped them away.
"Who are you?" he said. She looked up again: "I am Rei Ayanami." "Why do you not remember me?" he said, trying, but failing, to keep a slight sob out of his voice. She was silent for a moment, and then some thoughts came together unexpectedly in her mind, and she looked up at him with an expression of slight surprise, saying: "The Wille pilot said there was another Rei Ayanami, my original, one that was nicer than me. Perhaps that Rei Ayanami remembers you."
Shinji looked at her blankly. His resolve was crumbling, as he realised that he might have to admit that what he had been told, that this Rei was a clone, not the same as _Rei_, _his Rei_, that this was true. But if she was a clone, if they were _both_clones - _his Rei_ as well - this meant that they were the same, didn't it? But they were not the same. If they were the same, but also not the same, why was this, how could this be?
Rei looked at Shinji. She had spoken to him of her own volition; she had _chosen_ to speak, to say something she seemed to know, without being ordered. But it appeared that what she had said upset Shinji; did this mean that she should not have said it? But he had seemed upset from the start of their meeting. Had she upset him, or was he simply upset? In any case, she didn't understand being upset - it was outside her limited experience. It would be better for her not to speak without being ordered or questioned, she decided; it would be less confusing, and cause less trouble.
They sat in silence again; Rei looking down at her hands on the table again, and Shinji glancing around the room, no longer able to bear to look at her face.
But in the silence, a second thought came to Rei. She remembered the music player. She had picked it up because of a vague recollection that it was something that gave him pleasure, of a sort (she wasn't very sure about pleasure, any more than about being upset). The player was in her lap, because she had, without deciding to, picked it up when they came and brought her to this room; she didn't know why, perhaps she had thought she might not be taken back to the same room again, and so should not leave it. But it was _his_ player, so now, without a word, she picked it out from her lap and put it on the table between them.
Shinji looked at the player. His jaw dropped slightly, and he looked up at Rei, down at the player, and up at Rei again. He stared at her for a while, but he couldn't make out anything from her expression. "You had it before!" he whispered, "you had this player when I rescued you! And now you've brought it to me again!" There was a long pause, then: "No," she said, "I do not remember that." Shinji stared at her, aghast, and then with an incoherent shout he jumped up and ran to the door, sobbing, and clamouring to be let out.
10. The neglected child
_I'm sorry, Shinji; perhaps I shouldn't have let..."_
No, no! It's all right! ... It's _ALL RIGHT_! ... I HAD to see her; I had to _know_, you see, to find out finally if she was Rei! But..., but ... she's _not_ Rei. She doesn't remember anything that Rei would know. She didn't know about the music player. She doesn't even know _me_! She's not Rei. I can't call her Rei. I..., I'll ... call her Ayanami. That would be best. Ayanami. Not Rei. Not ... Rei.
_Shinji, we tried to tell you. We told you that Rei had not come back from Unit-01._
Yes, yes..., I know. I didn't believe you, because I _knew_ that I had saved Rei. I _did_ save Rei! And then Ayanami came, and I heard her voice! She called me. She called me by my name: _Shinji_! How could I have known she wasn't Rei? How could she not have _been_ Rei? So I went with her. Of course I did; I thought you were all lying to me, so I went with R..., with Ayanami.
_If there had been time, if you had stayed, you must understand that we would have told you about the Aya..., about Ayanami. Nerv create or activate a new clone when required; she's just the latest - a replacement for one before her who was lost._
I still wouldn't have believed you.
But wait! You say Ayanami was _created_? Created _recently_? I suppose that's what cloning means - but I've never had to think about it. So she was created as she is now? That's why she's so strange, isn't it! She's been created, and ... I expect ... programmed somehow to understand and speak and operate an Eva and obey orders ... and that's it. She doesn't know anything else. She doesn't know anything else because she's never had the chance to learn anything else! That's why she didn't read! She's like a neglected child; she should be learning from those around her; she should _have_people around her!
But Rei wasn't like that. Perhaps because she was the first, perhaps she was created younger, and _did_ have the opportunity to grow up like a child! I should ask ... her. ... No, I can't, can I... But I _know_ that I saved Rei; I just need to find her, or to understand where she is. I wish..., I wish I could have proof. I _know_ I rescued her. I brought her back from inside the angel, so we must have been together in Unit-01. She was in my arms! But then..., the next thing I knew was waking up surrounded by guards, and being told that Rei wasn't there with me. But she _was_! I was holding her - it made me so happy! I don't know why they didn't get her out, or why they couldn't find her, or what had happened to her...
But then, at Nerv, Vice Commander Fuyutsuki told me that she is still in Unit-01! He told me other things too, which I found hard to understand; it all made me crazy. He said my mother was in Unit-01 as well - my mother! - Rei and my mother, both there. But I was there, too - why am I out of Unit-01 and they are still inside? Why is it different for them and me? What are they doing in there? It was then that he told me that Rei and Ayanami were both clones of my mother! But why? Why clone my mother? And why are they there in the Eva when I'm here? I want to rescue them! I want to go back to Unit-01! Perhaps I can get them out; at least let me try.
_No Shinji, that will not be allowed; you cannot be allowed near Unit-01 or any Evangelion. Whatever the reason, we have seen that it is too dangerous. It seems that you have the capability, when you enter an Evangelion, to end the world._
...
End ... the ... world?
Me?
Is that ... what was happening ... after Kaworu ... died?
_Yes, Shinji; the first time it was stopped by Kaworu using the Lance of Cassius; but this time it was only stopped by getting you out of the Evangelion._
Is this..., is this why ... people _hate_ me now? Kaworu said they hated me; he said it was because everyone thinks the ruin he showed me when I was at Nerv was my fault. The Geofront ruined; Tokyo-3 ruined... My fault...
My fault? How was it my fault? What did I do? That wasn't even like this time. All I did then was rescue Rei, and then... Then - nothing; nothing else; I woke up here with guns pointed at me. Why? What did I _do_?
11. New arrangements
Sakura found Touji having an afternoon snack in the canteen. "Hey, big bro!" she called.
"Hey little sis - what y' doing here? - wanna share this?"
"No thanks", she replied, "I want to talk about Shinji. You know I'd been worried how he'd be after getting so upset about the Ayanami type."
"Yeah, right," said Touji, "he did seem pretty shaken up; perhaps we shouldna let them meet."
Sakura settled in a chair opposite him. "No, actually, it's turned out OK. Sure, he's upset, but he's in control of himself, over that anyway. At least he's finally accepted that she's not the Rei he knew from back then. I mean, he's still pretty chewed up about that, but at least he can talk about it without bringing the latest clone into it, though his mother's starting to figure in his thoughts a lot instead."
"Hmm," grunted Touji through a mouthful of bread, "Doesn't get us any further with the things that matter though, does it."
"Perhaps not; but you know, bro, he came out with something really interesting - he was talking about the Ayanami type - he's decided to call her Ayanami instead of Rei, by the way, so perhaps we should too, just to make it easier - anyway, he was talking about her, being a clone and all, and he pointed out what it is that's funny about them, something I'd never thought of myself."
"Yeah?" said Touji, trying to show a little interest, "so what's this great revelation Shinji's given you?"
"They're young children!"
"Children?, whatcha mean?"
Sakura started to explain: "Well, you see, the clones are just activated in the form that we see, and programmed with what they need to know. But they don't know anything else, not even how to interact with other people - all the things we learn as children are missing: social skills, curiosity, fun..."
"Fat lot of _that_ we have these days!" grumbled Touji.
"Oh, you know what I mean," Sakura carried on, "children have to play to learn and all that sort of thing. Anyway, I get the feeling that he wanted to help her. Not because she's Rei, because he knows now that she isn't, but because he thinks she hasn't had the chance that Rei had to become properly human!" Touji paused, then made as if to get up "Well, there's not a lot we c'n do about that, is there. We c'n hardly take her in as family - I c'n just imagine what Hikari would say if I suggested that!"
"And you'd be wrong, I expect - but that's not what I was thinking, at least while this is still a security matter. Hey, hang on a moment while I explain! No, what I'm wondering is, why do they have to be kept in solitary confinement? Honestly, can you see either of them as a risk while they're in here? If they were allowed to use the prisoners' day room together for some of the time, then Shinji could try showing Ayanami how to socialise, or teach her things, or read with her - oh, I don't know; but it would give him something to do, and help stop him brooding too much!"
Touji gathered up his plates: "Well, mebbe that would be no big deal; but I guess I'd better clear it with Asuka to show we're cooperating. Though the first thing she's gonna ask is when we can start to interrogate him properly - it's bin several weeks now."
Sakura looked thoughtful for a moment, then replied: "Well, I think he might be getting there; but it would have to done gently, I mean just you doing the interrogation, and not Asuka yet - I doubt he could face talking to her."
* * *
"...so you see, Asuka, Sakura suggested that they don't really need to be kept in solitary in any case, and that we sh'd let them share the day room. It's just as secure as the rest of the block - there's no extra danger of escape."
Asuka glowered at him. "Well, I suppose it would make no odds, though I'm not sure that making them comfortable is all that sensible. But more to the point, you know that's not what I want to hear about. When are we going to be able to interrogate him properly, _that's_ what I want to know right now. I want to sort out what's what so I can get back to the centre of things before I atrophy from the boredom! So, _when_?"
Touji took a step back as she pushed her face up to his. "Well, actually, Asuka, that's what I w's coming to next."
"Spit it out!" she snapped.
"Sakura reckons he might be ready, but only, er, if I do it, not you."
"What?" she yelled at him, "Do you think I'd beat him up or something? Give me some credit for professionalism, at least!"
"No, no! that's not it, Asuka." Touji replied. "It's just that we think he'd be too intimidated by you to stay focussed; and you do have rather a record of shouting at him, don't you?"
"And richly deserved, every bit of it! How am I meant to stay calm talking to that brat?"
"Exactly!" said Touji, "so don't. I'll do the talking, but if you promise to keep quiet, I'll let you sit in to observe - but not a word, mind you!"
Asuka stared at him for a moment, then said: "Well, OK, I'll try - but I can't promise."
12. Men and Angels
**The First Interrogation - Subject: Initiation of 4I**
Asuka was sitting next to Touji, facing Shinji. She had rejected the suggestion that she sit further away during this first interrogation; she wanted to see his face as he spoke. He was sitting waiting, looking anxious, apprehensive even. But looking at him started to bring back the anger she had felt when she had first seen him in the Wunder. Why had she reacted so violently? After fourteen years of suppressing her emotions about his betrayal, the feelings had just exploded again when he was there! And now, there he sat, looking at them with this face that whatever he was feeling always had the appearance of being in danger of dissolving into tears. This was the boy who had changed her life - how could she look at him dispassionately? But as Touji went through the conduct of the examination with him - boring, but dictated by protocol - she made the effort to pull herself together and rein in her emotions.
She turned her thoughts instead to Touji. He could still be irritating; but here was someone she could respect. He'd been the school jock, showing off his athletic prowess whenever the opportunity arose, and liable to run his mouth off without thinking too much about what he was saying. But that had all changed when he was selected as a pilot while she was convalescing; he had become subdued, as if he thought that here, in spite of his braggadocio, was something that he was not cut out to do. And then when the eleventh angel came, he had been sent out in place of her, with Mari. He had done what he should, and fought well; but his Eva was destroyed by the angel before Mari managed to defeat it in turn. Fortunately he was not badly hurt; but afterwards he had seemed more mature. He had accepted defeat without rancour, but had said plainly and with absolute assurance that he would not pilot again. And he had held them to that.
Unlike this miserable creature in front of them. He had seemed incapable of making a decision. From the start, even before she arrived (the records showed), he wouldn't fight, would fight, ran away, came back, and just couldn't make up his mind. Though he had fought in the end on each occasion, and done well, it had been a drain on other people to curb his whingeing, get him into the right frame of mind, and keep him focussed. And then on that fateful day that she was trapped by the ninth angel, he failed them all, he failed _her_! She had never really felt before that he was trustworthy, and what he did that day destroyed any chance he had of changing that. She respected Touji, even though they were so different in spite of their common experience; but her feelings for Shinji were not to be described as mere lack of respect!
After finishing the initial formalities, Touji had moved on to asking Shinji about the recent events. He had just asked why he had got into the Eva, and Asuka forced herself to stop musing and to listen.
_My father said I should pilot with Kaworu when asked. I didn't want to. But then Kaworu showed me what had happened to the world outside Nerv; he told me that everyone thinks it's my fault all that happened, so it should be me who put it right. I don't know why it was my fault, but I _wanted_ to put it right anyway! That's what we were going to do. Then people would have stopped hating me. Kaworu said that if we went to Central Dogma in the Eva we could remove the spears from Lilith's corpse and use them to restore the world. He said this was his plan, not my father's, so I agreed to go with him. It was to put everything right!_
"Kaworu said, Kaworu said..." muttered Asuka. "Hush, Asuka" said Touji, as she realised she had spoken her thoughts aloud. And now she was thinking of Nagisa, that enigmatic figure who had apparently saved the world by stopping Unit-01 while she was in hospital. But then Gendou had taken him into his inner sanctum, and everything had changed. When the twelfth angel had broken through and finally caused Third Impact, it had been Nagisa's Eva that had trapped it in the end. But there had been something fishy about the way that had been handled, what with the Eva operating autonomously, and after a while it became clear to the rest of Nerv that Gendou was pursuing an agenda different from theirs - which had finally led to the split. Everything was wrong about Nagisa, and she had come to the conclusion that he himself must have been an angel in human form. And of course it was just typical of Shinji that he should be fooled by such a monster! But he was still talking:
_... Kaworu and I were piloting, because the other pilot, A...Ayanami, couldn't help Kaworu; he said her soul was wrong or something. Ayanami came with us in Eva Mk 9 to provide backup or something. Lilith was there in Central Dogma, and another Eva, and Kaworu told me she was dead. We could see the spears. But then Asuka and Mari appeared and Asuka attacked us. She was trying to stop us. I kept trying to explain to her that I wanted to repair the world, but she wouldn't listen! Why wouldn't you listen, Asuka? Why?_
Asuka couldn't stay quiet at that: "Because you're such an idiot, and you don't know anything!" Touji shushed her again, and asked Shinji to continue, which he did after a frightened glance at Asuka.
_When Asuka's battery ran out, I was able to get to the spears. Kaworu had stopped helping, and was saying things I didn't understand about how they'd changed, and he seemed to be getting cold feet, so I went ahead and took hold of them anyway. But then really strange things started happening! Lilith exploded! Then there was an angel in the Eva by Lilith ... and Ayanami cut the Eva's head off and it came out! And then I found I couldn't do anything any more, because the Eva's controls had stopped working! Kaworu started saying the weirdest things, like how he had changed from one angel to another - angel? - I couldn't understand what he was going on about. Then the Eva shot up out of Central Dogma into the sky, and Kaworu said that we had started Fourth Impact, and it was his fault, and he was sorry. He said he'd stop it, and made Eva-13 stab itself with the spears - and then the collar blew his head off! I ..._
At that, Asuka pushed Touji to one side and faced Shinji directly. "Shinji," she said, "Nagisa was an angel. The collar we put on you was designed to kill angels, or anyone who made an Eva awaken like yours did. We put it on you because we didn't know what you were or might turn into when you came back from Unit-01. But how come it was on Nagisa and not you?"
_K..Kaworu said he wanted to make me happy. He mended my music player. And then he took the collar off me and put it on himself - h..he said it was made for him!_
Asuka thought for a moment; Nagisa must have been able to handle the collar precisely _because_ he was an angel. Presumably he'd put it on himself so that it wouldn't warn of having been removed; and presumably he'd been able to suppress the warning it should have given of him being an angel, at least until whatever happened to him in Central Dogma - because, in the end, it _had_ warned them, and then it _did_ kill him. She would have to tell Ritsuko about this, though. But Shinji hadn't stopped speaking:
_But Kaworu was my friend! Why are you saying he was an angel? We're supposed to kill angels. I don't understand - you're confusing me!_
"You don't know anything about Nagisa", Asuka said. "Nagisa was never your friend; he just manipulated you, used you for his own purposes, _as an angel._ And you let him - _you let him_!" Shinji stared at her in shock for several moments. Then he slumped forward onto the table between them and dissolved into tears. "Pathetic!" Asuka said, and got up to go, leaving Touji to sort out the blubbering fool. Shinji wouldn't be able to tell them any more about what had happened; and in any case, he would know nothing of the underlying mysteries: whether the expedition had really been Nagisa's plan, or Gendou's; and what had happened that had led to Nagisa's death, which he surely had not intended for himself in spite having taken the collar.
13. Germination
The failures of his life tumbled through his mind as he reeled from this last blow. But in among them, one stood out; and he knew what he had to do. She was putting her hand to the door when he raised himself just enough to speak:
_Sh... Shikinami!_
She stopped, startled, and turned her head to look at him. He was still bent over the table, his head hanging down; but now he rose, turned to face her, and bowed low.
_Shikinami, I'm sorry!_
"What!" She turned to face him now, quite thrown by how formal he had become.
_Back then. I ... I was wrong! I should have done more! I ... I'm sorry!_
He fell back into his seat, dropped his head to the table again and wrapped his arms tightly round it. She stared at him for a moment. Then she shook her head in puzzlement, and left, walking more slowly than before.
14. Turmoil (Asuka)
Asuka sat in the canteen with her habitual scowl on her face. She was thinking about Shinji, and his responses during and after the recent interrogation. Presently she raised her fist and banged it down hard on the table.
"Woah, there!" said Touji, leaning over from the next table: "What's got into yer?"
"As if you can't guess," growled Asuka: "It's that idiot - he's got right under my skin, _again_. And it's not like I can pretend that his apology wasn't genuine..."
"Of _course_ it was, _'Shikinami'_!" interrupted Touji.
Asuka bridled at that: "Yeah, yeah, I get it! Clearly it was; and from what Sakura has told us, it seems that he really does understand what he did and why I am so angry with him. But the thing is, what does it change? If I forgive him, does that make me want to trust him any more? Of course not! No amount of apologising will change what he is, that's the trouble..." She paused, and then went on: "You know, the problem with stupid Shinji is that he simply doesn't belong in this world; he's too nice." She sighed: "In a different world, I imagine I would have taken the time to get to know him more; but in this world, how could I?"
She lapsed back into silence, and after a moment Touji turned away again as she lost herself in her thoughts: recollections of arriving in Japan, already a trained pilot, a soldier in effect, and finding herself in the company of a cloned girl and a boy conscripted by his father. _Naturally_ she was going to sneer at him - an untrained daddy's boy... and being treated as equal to her! She'd seen the reports of his previous fights; against the fourth and fifth angels he'd only won by pure luck - and in the second case he'd disobeyed direct orders as well - something no proper trained soldier would do! Touji tried to excuse him because he and Kensuke had got in the way, but that was irrelevant when it came down to it. No, she sure wouldn't want someone like that in _her_ team!
When she'd arrived she hadn't really wanted to have anything to do with the other pilots - they would only have cramped her style; and hadn't she dealt with the seventh angel almost incidentally during her flight in? But she accepted that Misato had needed them to work together for the eighth angel; it was just chance that Shinji was the one who was in the position to get under the angel first, and he _did_ stop it; and he held on until they'd reached him and after, in spite of the damage it was doing him. As a soldier, he was simply doing his job, but thinking of him as a mere amateur, as she preferred to do, she had to admit that it could also be seen as bravery. Indeed, she reflected, the same could be said of how he (and Rei) had apparently stood up to the sixth angel, preparing their fatal shot under retaliatory bombardment.
That much, she reflected, was admirable. Possibly she could even have brought herself to admire him; not that _he_ realised that - or at least he couldn't bring himself to admit it. "And then...", she thought, shutting her eyes for a moment, remembering: "... he let me down."
She turned to Touji at the next table, saying: "Hey you! You defended his failure to fight that time; do you really believe that?"
Touji thought for a moment and then replied: "Yes, I do. Remember, even with the experience he'd gained he was still not a soldier, like you were, and so he shouldn't be judged as one."
"But _you_ weren't the one he should have rescued!" Asuka snapped back: "what would you have thought _then_?"
"He rescued me once before", Touji replied mildly.
She snorted and turned back to her own table, giving it another thump with her fist which Touji wisely ignored, and retreating back into her thoughts: He'd disobeyed orders, and refused to fight! He was not professional! Previously he had only needed to be brave - that time he'd had to make a choice, to fight or not, and he'd made the _wrong_ choice! But it was obvious _why_ he'd made that choice - it was because he was kind! and thoughtful! and caring! and anything else you can think of that made him unsuitable to be fighting in a war! And that's why she'd ended up in a coma. She'd also thought of him as a daddy's boy; but then, it seemed, he'd gone and defied the commander, threatening Nerv itself, _precisely because of what had happened to her_, to the point that they'd had to disable him while he was still in the Eva - and then they'd sacked him.
Touji's companions had left, so he came to join her. "D'yer mind?" he said. "Penny for yer thoughts?"
"Oh, I suppose so", she muttered. "I was just thinking about when I saw Shinji in the Wunder after his reappearance. I was _so_ _angry_; the rage I'd been nursing for fourteen years all boiled right up again, and I just couldn't help myself - did you hear that I broke a safety-glass window trying to punch him? But you know what? He was being nice! It embarrasses me to admit it, but he was genuinely pleased to see me; I now realise that when he was last aware of me he didn't even know if I'd live - and he _cared_."
"Well," said Touji, "I'm glad that you recognise that."
Asuka pulled a face, and continued: "But then, as you know, the stupid brat went off to Nerv with that imitation Ayanami, and everything he's done since has been as bad a decision as that one back then. Oh, there's a reason, _every time_ there's a reason, as he's just told us, usually naively following the suggestion of the nearest person who'll talk to him - but how does his apology for what happened back then help with all the things he's done since? Can't he think for himself _at all_? It's absurd to think that I could trust him again; ... but you know," she said, and her face softened slightly: "in a moment of weakness I might wish that we were in a world where it no longer mattered."
Asuka blushed a little as she realised what she'd just said, and then leant forward close to Touji's face. "Why am I saying this to you?" she said. "I didn't say anything, right? If you even _think_ I did, I'll _murder_ you!"
Touji smiled as he replied: "What was that? Do you want something more to drink?"
15. Turmoil (Shinji)
He was at peace, to some extent, for the first time since he had reawakened in this changed world.
Of course, he realised that there were many things which he had to work through, to find the truth of, and to understand his part in and even responsibility for. More shocks still to be revealed to him. And all the losses he still had to come to terms with - Rei; Kaworu; Misato; trust... He might never understand them all, he feared, at least that's how it felt at this moment. Was that how everyone felt at some level? But since he had finally understood the enormity of how he had failed Asuka back then, while talking to Sakura, he had also known that he couldn't be at peace until he had apologised to her in a manner that she might not instantly dismiss. Now he had done it. She hadn't scoffed, as she might have done in the past, and he could only wait to see if she had in any way accepted it. But with the sense of release that flowed from that one act, he had been able to sleep well at least for that night.
But what of Kaworu? And what of this strange new world in which there was an angel walking round? Was what Asuka said true? Could he believe it? He was supposed to kill angels because they were a threat to humanity! But Kaworu had been kind - he had been his friend - how could he have known he was an angel? How could he have _been_ an angel? What were the angels? Ritsuko had said their DNA was almost human - so why were they enemies in any case?
And so, should he have trusted Kaworu? Did Kaworu lie to him? He had shown him the outside world, and had talked of extinctions, and how people hated him; but he had only spoken of "the world", not "the whole world" - of "people", not "everyone". And now here he was in a base whose landscape was not like that which he had been shown. Had Kaworu lied to him, or had he himself taken the wrong meaning from Kaworu's words?
Once again, he was lost in confusion; for how could he judge what he was told? How could anyone? This was, he supposed, the meaning of trust - but what was trust, and where did it come from? He trusted people, if they had not given him a reason not to do so; people did not trust him; but now he knew at least one reason why that might be so.
Then it came to him. To trust another was just a matter of faith; the decision to trust was a matter of judgement, which could be right or wrong - and that judgement could only be improved by experience. So he had trusted Kaworu. It seemed now that he was wrong to do so; perhaps he should have looked for more _reasons_ to trust him - but what was done was done, and his heart had already been torn apart by the consequences.
And what of people trusting him? That was their choice; he could do nothing about that. All he could do was to find a way to live and behave that might in time be seen by them as worthy of trust. Right now he didn't know how to do that; but he could try to work it out, and perhaps one day...
As he sat in the day room mulling over these thoughts in his mind, Shinji started to feel very small and insignificant. What difference could someone like him make to anything important? Was it worth the effort to try doing anything at all? But then it occurred to him that even the smallest and most insignificant member of a team could be the one that made the difference between failure and success; and a determination to be able, once again, to be even that smallest part started to take root in his mind.
16. A distant horizon
Shinji was still sitting in the day room, staring at nothing, lost in his thoughts, when Asuka strode in, planted herself in front of him with her arms akimbo, and spoke. "Well?", she said.
In confusion, Shinji tried to stand up and bow at the same time, making a mess of both: "Sh... Shikinami!" he stammered.
"Idiot!", she said. "You've done that; just call me 'Asuka' like you used to, and I'll continue to call you 'Stupid Shinji' like you deserve."
Shinji fell back into his chair, looking up at her: "B... but, Asuka...", he started saying.
Asuka ploughed on over him: "You've apologised. I accept that you meant it, and I believe that you understand what you did back then; but even so, I'm not sure that I should forgive you for your failure!"
"A... Asuka! P.. please...!", Shinji managed to blurt out, his face falling.
But Asuka wasn't ready to stop: "Shut up, fool! Knowing what you did and being sorry for it is all well and good, but it doesn't erase what happened - you do realise that, don't you? Even you can see some of the damage I suffered, can't you?"
Shinji managed to nod, and tears started to form in his eyes.
"But what I want to know, _Stupid Shinji_", continued Asuka, "is just this: _can I trust you_? Will I ever be able to trust you again?" She stopped, and glared at him, waiting impatiently for his response.
Shinji slumped forward, putting his head in his hands. He seemed on the point of collapsing into tears, and Asuka looked at him with disdain. But then, deep inside himself, Shinji felt the beginnings of an unfamiliar sense of resolve, as the thoughts of the past day insisted on being remembered; and slowly he sat back up straight, wiping his eye - and matching Asuka's gaze he gulped, and then said as firmly as he could manage just one word: "No."
"What?" exclaimed Asuka, clearly taken by surprise, "What do you mean by that?" She pulled up a nearby chair and sat down, still facing him.
"I mean", said Shinji slowly, struggling to keep his voice under control, "that I can't expect anyone to trust me until I trust myself! And I don't yet know if I can do that."
"_Mein Gott_", muttered Asuka to herself, "Does this mean that Stupid Shinji has started learning to _think_?"
"Please let me explain", said Shinji, gaining confidence with every word. "I don't want to be told any more what I may have done wrong, because I don't know how to trust what people tell me. I need to work it out for myself, and I've only just started trying to do that. Call me 'Stupid' if you want; but I'm not going to believe that I'm stupid simply because you tell me so. I'm going to find out what it is I've done, and decide for myself what was wrong with it; only then will I discover how to change the things that it's possible for me to change."
Asuka was struggling to reconcile this new Shinji with the indecisive idiot she had once been familiar with. But it was not in her nature to listen without making a scornful comment. "So how do you intend to make this great discovery, and what's it to do with me?"
"I want to stay here", he replied simply. "I want to be able to ask questions, and read reports, and just think about all the things that I remember I have done until I find enough answers, ones that enable me to understand what I've done, and maybe how I can start to do something worthwhile for myself rather than simply following someone else and so avoiding any responsibility. But I don't yet know if I will be able to find an answer that I can myself trust is right - which is why I said that you won't be able to trust me either.
Unable to find a response to this, Asuka was silent for a moment; then she remembered there was another question she had wanted to ask: "Shinji, did you help me when I was fighting out in space?"
Shinji was completely thrown by this. "Space? When was I ever in space? And what fight are you talking about?" he replied, puzzled. "I mean, I think I once had a childish dream in which you called out because you needed rescuing, like a princess in a fairy tale..." He tailed off, embarrassed. "It was just a silly dream; please don't be angry!""
Asuka stared at him for a moment; then, shaking her head as if to clear it, she stood up again. "Well, you get your wish to stay here, at any rate. You've already been told that you won't be allowed to leave, and why; and that gives you something to think about as well. But it won't be my concern any more, because I'm not staying; I don't suppose I'll see you again."
"What!" said Shinji, startled. "Why?"
"I'm leaving here", replied Asuka, "I'm returning to the Wunder at last. I'm not needed to take part in your next interrogation, as I was in a coma at the time the events happened. I'll be glad to be back where there's something going on; and what's more, I won't have the irritation of dealing with a certain idiotic brat, either. So... I'm saying goodbye."
"I'm sorry", said Shinji, after a pause. "I had hoped I might be able to talk to you some more, so that you could help to set me on the right path."
Asuka snorted, and turned to go.
But Shinji called to her one last time: "Asuka, _a... auf wiedersehen_!"
Hearing that she looked back and replied quietly: "Eh? No, I really don't suppose we'll meet again." She hesitated for a moment, then added: "At least, only if _you_ do something that makes it happen."
17. Puzzlement
Since he had awakened in this topsy-turvy world he had not kept account of time. How long had it been? Hours in the Wunder, no more than a day or so; days or a couple of weeks at Nerv; a month or two here in this Wille outpost... So little time to take in a world that was so different. Although he was no longer unable to face anything outside his head, his mind was still numb with trying to come to terms with the shocks he had been given. And not only the world had changed - the people were different too.
His father: Cold and distant. Well, he always had been, even when they had gone to his mother's grave together; but now he seemed even more remote.
Misato: She had started to become, even if just a little, something of a substitute for his vanished mother; not a replacement, to be sure, but _something_. But now it was as if that had never been; she was hard and dismissive. In the few minutes he had been with her he had seen no trace of her ability to love, no remnant of her sense of fun.
Ritsuko: Previously merely business-like, she now seemed to have a need to subdue the world around her. She had put an explosive device on him, calling it a symbol of his punishment. If she had given him no cause to like her before, he certainly felt he had cause to hate her now.
Asuka: Even the indomitable Asuka had changed. He had been both relieved and glad that she had survived, but the explosion of her anger had rocked him on his heels. But now he understood that anger, and had accepted it and been saddened by it, and had made an apology from the depths of his heart, which she seemed to have recognised. But still, even in their last meeting, there had been none of the competitive Asuka he had known before - simply someone who was clear about her place in the world, and that his place was _not_ in the same world as her. And yet, as she had left, had her look shown something more? He didn't know.
Touji: But at least he could recognise Touji, once a friend - and even now, it seemed, although his gaoler perhaps not his enemy. Still, he was older now, and had responsibilities, and he couldn't picture the kind of friendship they'd had before returning.
Sakura: He hadn't even known her before, though he had injured her; yet here she was looking after him. She had sent a message of forgiveness before, and had now repeated it to his face. Was she the only person that this world had not changed? How wonderful it would be if even one person had come through whatever had happened unscathed!
Kaworu: Who was Kaworu? _What_ was Kaworu? Asuka had said he was an angel, yet he had seemed so human! Should he not have trusted him? Should he have hated him? All he knew was that it felt right at the time, until it all went wrong at the end. Perhaps he could no longer judge people in this changed world - it was as if he had to learn about being with other people all over again, like a child.
And Rei. _Rei_! He had failed Asuka, and his anger with his father and with himself had been such that his father had thrown him out; but he'd had the opportunity, if not to put things right, at least to redeem himself by saving Rei. He had saved Rei - he thought... But Misato said Rei was no more; Vice-Commander Fuyutsuki told him that she was in Unit-01, _with his mother_. How could this be? But it seemed that he had also been in Unit-01 for fourteen years; if he had come out, why had they not?
Then there was Ayanami, this other Rei that was not _Rei_. She was, it seemed to him, the only innocent person in the new world he had been catapulted into. If she was given the opportunity, what..., who could she become?
He came out of his reverie as he became aware that Ayanami had come into the day room to read.
"Good afternoon, Ayanami", he said, as she made to pass his chair.
"Good afternoon, Shinji", she replied, stopping in front of him, and after a moment's pause she added: "Was that appropriate?"
He looked up at her solemn face. "Yes, it was; you remembered correctly. But you need to know that while I don't mind, as it seems you've known me no other way, other people prefer to be addressed formally until they give you permission to use their familiar name."
"So I should really have been addressing you as Ikari? I will if you tell me to."
"No", he answered, "there's no need to change what you've become used to. Besides, it...", and he paused slightly as he felt a slight catch in his throat, "it reminds me of someone I don't want to forget."
"I remind you of the other Rei Ayanami that you knew before; is that correct?" When he nodded, she went on: "But we are both clones, the former Rei Ayanami and I. Are we not therefore the same?"
Shinji felt the sadness welling up inside him, and he had to look away from her as he pulled himself together. "No, Ayanami", he started to explain, "I suppose you started the same, or pretty much so, but what makes you a particular _person_ is what comes after - what you are taught, and what you learn. Especially what you learn about other people, but also about the rest of the world and how it affects you. And you should not only learn what other people tell you to, but also things you discover for yourself."
"Is this why you have told me to read these books - so that I learn from them? Will that make me like the other Rei Ayanami?"
"Yes ... No," Shinji spluttered as he tried to sort out answers to both of these questions. "_Yes_, you can learn from books; but not only books! From watching people, from looking at the world around you, not because you've been told to by me or anyone else, but because you want to!" She looked at him puzzled; but before she could express her puzzlement he went on: "But _No_, it will not make you become like another person - it will make you more of yourself, a person in your own right."
"But how do I know what I want to learn?" she said, hesitating a little more than usual.
"You don't,... until you do." He answered. "I can't explain it better, because that's what you learn as you find out other things. Wanting to learn is called curiosity, and each time you ask me a question you are showing a little more of it."
She looked at him, her expression indecipherable. Then she sat down, saying: "I shall continue reading this book. Perhaps I shall learn from it."
Shinji watched her for a while. Her concentration was complete, and he envied her that. Although she was puzzled by the world she found herself in, she was not saddened by it, and it made him feel a little better that he seemed to be able to help her understand things.
But _he_ was saddened by the world, and helping her was little enough consolation. He could see no possibility of an end to his sadness, even as he was coming to terms with living with it. He felt that he would never be happy again.
End file.
| fanfiction |
she had been admitted two years ago with jaundice and fever . on a ct scan ,
the distal cbd , a large gallbladder ( gb ) and cystic duct stones were revealed .
urgent endoscopic retrograde cholangiopancreatography ( ercp ) to remove the distal cbd stone was performed .
after the stones were removed , there was no filling defect on the cbd during balloon cholangiography .
, the laboratory tests revealed a slightly elevated aspartate aminotransferase level ( 45 iu / l ) and an increased value of c - reactive protein ( 15.3 mg / i ) .
the total bilirubin level , the alkaline phosphatase level , the gamma - glutamyltransferase level and the wbc count were all within the normal ranges .
the presumed diagnosis was recurrent cbd stones , and an ercp for recurrent cbd stones was planned .
transabdominal ultrasonography demonstrated a dilated extrahepatic bile duct filled with echogenic lesions that showed posterior acoustic shadowing , which was suggestive of bile duct stones ( fig .
, another mildly dilated extrahepatic bile duct was seen , but no stone was noted ( fig .
the sonographic findings led us to presume that the stone - filled aberrant right hepatic duct drained into the common hepatic duct .
a contrast - enhanced ct scan was performed using a 64-mdct scanner ( lightspeed vct , ge healthcare , milwaukee , wi ) and it showed two separate extrahepatic bile ducts ( fig .
multiple stones were noted in a posterolaterally located bile duct and these stones extended to right intrahepatic bile ducts . there was a large stone in the gb and the cystic duct joined to a posterolaterally - located extrahepatic bile duct .
the minip images were obtained on a postprocessing workstation ( advantage windows workstation [ version 4.3 ] , ge healthcare , milwaukee , wi ) . the minip image ( coronal oblique with a 5.3 mm thickness slab ) revealed double extrahepatic bile ducts that combined to create a cbd in the pancreatic head portion with a communicating channel in the hilar portion ( fig .
mrcp performed with a 1.5-t intera scanner ( philips medical systems , the netherlands ) failed to depict the precise anatomy of this anomaly due to the impacted stones ( fig .
erc was subsequently performed to remove the multiple stones in one of the double extrahepatic bile ducts .
an erc image also disclosed duplication of the extrahepatic bile duct with multiple stones in the posterolaterally located duct and the right intrahepatic ducts ( fig .
however , we failed to gain access to the right cbd and to remove the cbd stones . to remove the remnant stones , duct exploration with insertion of a t - tube and cholecystectomy
the developmental failure for the double biliary system to regress , and this double system is present in early normal embryogenesis , is considered to be the mechanism of this anomaly ( 5 ) .
the morphological classification of a double extrahepatic bile duct has been modified because the newly reported cases could not be included in the existing classification system .
choi et al . ( 5 ) , when reporting on a type va case , added types va and vb to the classification system that was modified by saito et al .
the individual subtypes of the modified classification system are as follows ( 5 ) ( fig .
1h ) : type i , a cbd with a septum in the lumen ; type ii , a cbd that bifurcates and drains separately ; type iii , double biliary drainage without extrahepatic communicating channels ( without [ a ] or with intrahepatic communicating channels [ b ] ) ; type iv , double biliary drainage with one or more extrahepatic communicating channels ; type v , single biliary drainage of double extrahepatic bile ducts without ( a ) or with communicating channels ( b ) .
the clinical issues for these anomalies are the combined complications and the concomitant aupbd . in a review of the japanese clinical literature by yamashita et al .
( 2 ) , the investigators found cholelithiasis in 28% of the cases , a choledochal cyst in 11% of the cases , aupbd in 30% of the cases and cancer in 26% of the cases .
these investigators also emphasized that the opening site of the accessory bile duct was associated with a type of cancer and the concomitant presence of aupbd .
our case is a form of single biliary drainage in the second portion of the duodenum ; no evidence of aupbd was found by mrcp .
although multiple stones were impacted in one of the double extrahepatic bile ducts , there was no evidence of cholestatic findings based on the laboratory results nor was intrahepatic biliary dilatation found in our case .
this may be ascribed to the presence of a communicating channel between the two extrahepatic bile ducts that provided another way for biliary excretion .
making a correct diagnosis of these anomalies prior to biliary surgery is clinically important due to the risk of biliary injury during the operation . among the seven cases that were recently reported ( 2 - 8 ) ,
mrcp is a safe , noninvasive imaging technique and it provides similar diagnostic information as compared with ercp , which is the standard of reference for biliary imaging ( 10 ) . although mrcp has also played an important role in the diagnosis of double extrahepatic bile ducts ( 5 , 6 ) , it did not provide detailed anatomical information about the biliary tree due to the multiple impacted stones in the current case . instead
, mdct imaging using the minip technique was very helpful for precisely depicting the complex anatomical details of this anomaly .
recent advances in mdct technology enable physicians to acquire a large volume of images rapidly and these advances also facilitate postprocessing applications with high spatial resolution due to the thin collimation .
minip is one of the postprocessing techniques , and it displays the lowest attenuated voxel within a slab and so it is useful for imaging the biliary tree that has a water - density . the usefulness of minip for making the diagnosis of biliary obstruction has been reported in the radiological literature ( 11 , 12 ) .
this technique was more useful than axial ct scanning or mrcp to demonstrate the detailed anatomical information such as communicating channels or a stone - filled duct those in our case . in conclusion , we report here on a type vb case of the duplication of the extrahepatic bile duct that was associated with choledocholithiasis . in this case , obtaining the mdct images using the minip technique played a decisive role in the preoperative diagnosis and therapeutic planning . | pubmed |
Sen. Ben Ray Lujan suffered stroke and underwent surgery
Sen. Ben Ray Lujan, D-N.M., attends a information conference outside the house the U.S. Capitol to desire bigger accountability, transparency and oversight of federal companies, at the U.S. border with Mexico on Tuesday, November 2, 2021.
Tom Williams | CQ-Roll Get in touch with, Inc. | Getty Photographs
New Mexico Sen. Ben Ray Lujan suffered a stroke very last week and underwent mind surgery, his office unveiled Tuesday.
Lujan, a Democrat, is now hospitalized and is "envisioned to make a entire restoration," his main of employees, Carlos Sanchez, said in a statement. The 49-calendar year-aged senator felt dizzy and fatigued early Thursday before becoming hospitalized and observed to have experienced a stroke in his cerebellum, Sanchez explained.
Lujan's recovery and presumed absence from Washington could complicate Democrats' initiatives to immediately appoint a successor to retiring Supreme Court docket Justice Stephen Breyer.
CNBC Politics
Go through additional of CNBC's politics coverage:
President Joe Biden explained he expects to announce his nominee by the finish of this month. The president has vowed to decide on a Black lady to replace Breyer.
Democrats maintain a razor-slim the greater part in the Senate, which is in cost of confirming new justices to the superior court. The chamber is split 50-50 involving Democrats and Republicans, with Vice President Kamala Harris wielding the tie-breaking vote.
As lengthy as Lujan is absent, Democrats do not have adequate members to allow them to verify a Supreme Court justice on a celebration-line vote.
Breyer plans to action down in the summer months, but he has advised that the timing of his retirement will be predicated on whether or not his successor has been verified.
Lujan's office declined to comment when questioned by NBC News when they hope Lujan could return to work.
A White Household spokesman did not promptly reply to inquiries from CNBC about irrespective of whether Biden was informed of Lujan's problem, or whether there was any sense at the White House of what Lujan's recovery timeline may well be.
Lujan "started enduring dizziness and tiredness" early Thursday morning, Sanchez said. "He checked himself into Christus St. Vincent Regional Healthcare facility in Santa Fe. He was then transferred to UNM Hospital in Albuquerque for even further evaluation."
The senator "was located to have experienced a stroke in the cerebellum, impacting his stability. As component of his treatment plan, he subsequently underwent decompressive surgical procedure to ease inflammation," Sanchez explained.
"He is at the moment being cared for at UNM Medical center, resting comfortably, and expected to make a complete restoration. The Senator's workplaces keep on being open and will proceed supplying constituent products and services to all New Mexicans without the need of any interruption," Sanchez mentioned.
"The Senator and his relatives would like to thank the wonderful medical doctors and employees at both equally UNM Healthcare facility and Christus St. Vincent Regional Clinic for their excellent care for the duration of this time. Senator Luján appears ahead to receiving back again to do the job for the men and women of New Mexico. At this time, he and his relatives would take pleasure in their privateness, and request for your continued prayers and effectively needs," the chief of personnel claimed.
It can take weeks to even arrive at the hearing phase just after the president submits his or her select to the Senate. For modern nominees it has taken 41 days on typical, in accordance to the Congressional Analysis Company.
Despite a deeply polarized natural environment on Capitol Hill, the White Residence is optimistic that its nominee to the courtroom will secure at least a number of votes from Republicans during her affirmation.
But whether Republicans pick to cross the aisle on this vote depends in portion on whether or not Democrats endeavor to pass large swaths of Biden's Establish Back Much better Act on a party line vote.
Should really Lujan be not able to return to perform, the state's governor Michelle Lujan Grisham (no relation) would appoint his alternative. The governor is a Democrat, and she would all but undoubtedly appoint a Democrat to Lujan's seat.
On Capitol Hill, information of the senator's stroke despatched shockwaves as a result of both equally parties, and speedily elevated inquiries about why it took five times for his office environment to disclose his situation.
Sen. Dick Durbin, the Democratic Chairman of the Judiciary Committee, experienced been unaware of Lujan's stroke till reporters told him about it Tuesday afternoon.
"Oh my God," Durbin reportedly responded. | slim_pajama |
Ann McKechin born 22 April 1961 is a former British Labour Party politician and was a member of parliament MP from 2001 to 2015. She represented the Glasgow North constituency from 2005 onwards, while in her first parliamentary term, she was the MP for Glasgow Maryhill.
Early life
Born in Paisley to Anne née Coyle and William Joseph McKechin, she was educated at Paisley Grammar School and Sacred Heart High School, before studying Scots law at the University of Strathclyde. She joined the Glasgow-based Pacitti Jones solicitors in 1983 as a solicitor, becoming a partner in 1990, she left the practice in 2000.
McKechin held several posts within the Glasgow Kelvin Labour Party from 1995, then the constituency of George Galloway, then a Labour MP. She was selected as a candidate for the 1999 European election, but failed to be elected.
Political career
She was elected to the House of Commons at the 2001 general election for the Glasgow Maryhill constituency, following the retirement of the previous Labour MP, Maria Fyfe. She retained the Maryhill seat with a majority of nearly 10,000 votes. In the boundary changes which came into force for the 2005 election, the Maryhill constituency was abolished, and McKechin was elected for the newly-drawn Glasgow North constituency, but with a much-reduced majority of 3,338 over the Scottish Liberal Democrats.
In the House of Commons, McKechin served briefly as the Parliamentary Private Secretary to Jacqui Smith in 2005 in her capacity as Minister of State at both the Department of Trade and Industry and at the Department for Education and Skills. She also served on a number of select committees including; Scottish Affairs 200105 and International Development since 2005. She replaced David Cairns as Parliamentary Under-Secretary of State at the Scotland Office on 16 September 2008.
In October 2010, McKechin was elected to the Shadow Cabinet and appointed as Shadow Secretary of State for Scotland, but was replaced by Margaret Curran in shadow cabinet reshuffle on 7 October 2011.
References
External links
Ann McKechin MP official constituency website
|-
|-
|-
Category:1961 births
Category:Living people
Category:Alumni of the University of Strathclyde
Category:Female members of the Parliament of the United Kingdom for Scottish constituencies
Category:Members of the Parliament of the United Kingdom for Glasgow constituencies
Category:Politicians from Paisley, Renfrewshire
Category:Scottish Labour Party MPs
Category:Scottish people of Irish descent
Category:Scottish solicitors
Category:UK MPs 20012005
Category:UK MPs 20052010
Category:UK MPs 20102015
Category:21st-century British women politicians
Category:Maryhill | wikipedia |
Fred Higgins died 1960s, known as Daddy Cleanhead, was an American singer. He was known for singing Something's Goin' On In My Room 1954. Gary Susman of The Boston Phoenix describes the record an obscure gem.
He was the older brother of Chuck Higgins and regularly sang vocals with his brother's band.
He was recorded with them on the following singles
Broke / I'll Be There 1954
One More Time / Dye Ooh Mambo 1954
Papa Charlie 1954
Something's Goin' On In My Room / Let Me Come Back Home 1955 Specialty Records
Shotgun Wedding
and on the following songs from albums
Big Fat Mama 1974
Papa Charlie 2006
Real Gone Hound Dog 2006
and is included in the compilation
Cool DaddyThe Central Avenue Scene 1951-1957, Vol.3
Notes
External links
Crossed Combs Shows the inclusion of Somethings Goin On In My Room in the compilation Keb Darge & Paul Weller - Lost & Found - Real RN'B & Soul
Keb Darge & Paul Weller - Real RNb and Soul
Paul Weller helps out with soul compilation
Biography of Daddy Cleanhead
www.facebookmj.blogspot.com
Category:American male singers
Category:American singers
Category:Year of birth missing
Category:1960s deaths | wikipedia |
Naruto, Pokémon Mobius: Sasori's Side
A/N: The second prologue of my new crossover, Mobius. To repeat, there will be four separate fics altogether, written from Itachi, Kisame, Sasori and Deidara's point of view. This will likely be the longest fic I have ever written, so feel free to cheer me on as I attempt to finish it. Assuming, of course, you like it.
This mostly takes place in the Games canon, although I have borrowed content from both the manga and the anime and messed around with the mythology a bit. Enjoy. Review. Tell me what you think. Where I went wrong. Inconsistencies you noticed. Things you liked. Et cetera.
This one is from Sasori's point of view. I'm putting it up even though I haven't made as much progress on his storyline. Itachi's side will be updated sooner, and Kisame's side will probably follow. The storylines diverge starting from chapter 1, although the overarching plot will be the same and there will be some overlap.
Chapter One: Missing-no
It was, Sasori reflected, a rather ominous silence. He sat with his back pressed to the rock wall, shattered puppet pieces littering the ground around him and flickering strangely in the poor light of the dusk. He heard the frustrated crunch of Kisame's boots as the shark man paced nearby; the quiet slop of Deidara's mud as his partner played with it broodingly. He glanced up at Itachi, who stood staring past the cliff wall to their opponent.
"It is not a demon." The Uchiha spoke calmly, as usual, but his body was too tense. Sasori knew the other man well enough to pick that out. He wondered, briefly, how the creature looked to Itachi's sharingan. Was it even alive, or just a mass of aberrant chakra? He frowned at the puppet pieces surrounding him, remembering how half the puppet had just...dissolved on contact with it. Even now, the pieces of what survived seemed as if they were only half there. Had the rest of it simply ceased to exist? It was a disconcerting thought.
Nevertheless, their orders were clear: find the creature's weakness, subdue it, and bring it back to the base. As usual, failure was very much frowned upon. He sighed and pulled out a warded scroll, then joined Itachi in his vigil. "It has to be _something_. Even the Kyuubi has weaknesses." The Uchiha nodded in agreement, absently. "Is it made of chakra?"
The red-eyed man was silent for a moment. "I do not know." Sasori glanced at him curiously, and the Uchiha shook his head. "It is as if...it does not exist." Ah. That complicated things. Kisame came up beside them; motioned to the scroll.
"We're going in again?" He gripped the sword slung across his back restlessly and shifted in place. Itachi didn't respond, so Sasori began to nod his head - _'we have no choice'_. He stopped when Itachi suddenly took a step backwards. Kisame glanced at his partner and whipped the sword off of his back, even before Itachi made signal for an approaching enemy. Behind them, Sasori heard Deidara stand up.
They stood ready for several seconds. Sasori had opened his scroll and extracted several vials of acid – perhaps this, at least, would have an effect on it. Kisame stood on side of the opening, Samehada poised to strike, and Deidara took up position on the other. Itachi simply stood before the entrance, with the impassive face that Sasori had always found rather impressive for a living human. He looked just like an ivory puppet, waiting for his marionette to pull the strings.
Then Sasori saw movement within the cave - a silvery glow that slowly crept over rocks and around walls. He balanced a vial in his hands and took up a defensive position, nodding to Kisame and Deidara. Kisame gripped his sword, tension visible in his body. Were those silver tendrils moving faster now?
"No." Itachi's clipped voice was all the warning they had. Suddenly the ground around them seemed much more indistinct. Sasori bit back a curse and scrambled away, but it was too late. The air itself seemed shot with silver now, and he couldn't make out any of his colleagues. A strange, cold sensation wormed its way through the puppetmaster's body – the first thing he'd felt since making this body. He heard a faint ringing sound in the distance, and then everything went white.
End file.
| fanfiction |
Anthony Abayomi Odunsi born July 17, 1992 is an American-born Nigerian professional basketball player who last played for the Manawatu Jets of the National Basketball League NBL.
High school and college career
Born in Houston, Texas, Odunsi attended Travis High School in Fort Bend County, Texas, before playing his freshman season of college basketball at Utah in 201112. His sophomore season was spent at Tyler Junior College before his junior season at Albany was reduced to just five games due to injury, as he was received a redshirt as well as a waiver from the NCAA, allowing him to compete for Houston Baptist in 201415 and 201516.
Professional career
Coming out of college, Odunsi was drafted by the Canton Charge of the NBA G League, only to be waived by the team prior to the start of the 201617 season. In January 2017, he moved to Iceland to play for Stjarnan. In November 2017, he had a two-game stint in France with Caen Basket Calvados. In February 2018, he signed to play in Australia with the Sandringham Sabres. In March 2019, he signed to play in New Zealand with the Manawatu Jets. He appeared in two games before being released on 24 April.
National team career
Odunsi has represented the Nigerian national team, making his debut at AfroBasket 2017.
References
External links
Anthony Odunsi at archive.fiba.com
Icelandic statistics at kki.is
Category:1992 births
Category:Living people
Category:American expatriate basketball people in Australia
Category:American expatriate basketball people in France
Category:American expatriate basketball people in Iceland
Category:American expatriate basketball people in New Zealand
Category:American men's basketball players
Category:Basketball players from Texas
Category:Manawatu Jets players
Category:Nigerian men's basketball players
Category:People from Fort Bend County, Texas
Category:Point guards
Category:Shooting guards
Category:Stjarnan men's basketball players
Category:Úrvalsdeild karla basketball players | wikipedia |
Measurement of wave-plate phase shift
I used setup: laser, polarizer set on vertical axis, rotary wave plate, polarizer set on horizontal axis. Then I rotate wave plate to 180 deg on 10 deg step. 0 deg on wave plate is not actually 0 because it was mounted in the holder imprecisely ( 0 deg will be when Power is minimal). So i have a chart with measured points. Can I calculate the value of wave plate phase shift ?
@edit: When wave plate is set on 0 deg, there will be minimum (60 deg on chart) and when we rotate on 40 deg it reach maximum (polarizers axis parallel). So this 40 deg is wave plate phase shift ?
Consider the following configuration:
* A horizontal polarizer, followed by
* a partial waveplate with a fast axis at angle $\theta$ to the horizontal, with an added phase of $\varphi$ on its slow axis, orthogonal to the fast axis, with finally
* a vertical polarizer
followed by an intensity detector.
The state of the light after the horizontal polarizer is given by $\mathbf E(t)=(1,0)\cos(\omega t)$, which reads as
$$
\mathbf E(t)=\cos(\omega t)\cos(\theta)\hat{\mathbf u}-\cos(\omega t) \sin(\theta)\hat{\mathbf v}
$$
in the waveplate's eigenbasis where $\hat{\mathbf u} = (\cos(\theta),\sin(\theta))$, $\hat{\mathbf v} = (-\sin(\theta),\cos(\theta))$, and this gets delayed to
$$
\mathbf E(t)=\cos(\omega t)\cos(\theta)\hat{\mathbf u}-\cos(\omega t+\varphi) \sin(\theta)\hat{\mathbf v}
$$
after the waveplate, giving an amplitude at the detector of
$$
E\_y(t)=\cos(\omega t)\cos^2(\theta)+\cos(\omega t+\varphi) \sin^2(\theta).
$$
The detected amplitude is therefore
\begin{align}
⟨E\_y^2(t)⟩
&=\left<
\left(\cos(\omega t)\cos^2(\theta)+\cos(\omega t+\varphi) \sin^2(\theta)\right)^2
\right>
\\&=
\frac14 \left[
\left(2-\sin^2\left(\frac{\varphi}{2}\right)\right)
+
\sin^2\left(\frac{\varphi}{2}\right) \cos(4\theta)
\right].
\end{align}
This is sufficient to let you infer the phase $\varphi$ (insofar as that's possible with your configuration) from the relative weights of the constant and $\cos(4\theta)$ Fourier coefficients of your data's dependence on the waveplate alignment angle $\theta$.
(On the other hand, (i) the format you give for the data is insufficient to tell what the horizontal axis is, and (ii) your data is pretty far from the clean sinusoid that would be expected from your description, so there's almost certainly other things going on in your experiment (i.e. at the very least some very considerable experimental noise) which you should mitigate / estimate / consider / handle appropriately.)
| stackexchange/physics |
it is vital to fully define the normal oral microbial flora before we begin to understand the role of bacteria in oral cancer as there is a distinctive predominant healthy bacterial flora of the oral cavity that is site - specific and highly diverse before delving into their apparent role in tumorigenesis .
more than 700 bacterial species or phylotypes , of which over 50% have not been cultivated , have been detected in the oral cavity .
it is important to note that micro - organisms in the oral cavity are responsible for various oral diseases , and an existence of an inter - relationship between the two is strongly hinted at .
takahashi attempted to study the microbial ecosystem of the oral cavity and its relationship with various oral diseases .
gendron et al.,(2000 ) opined that oral cavity is a reservoir of bacterial pathogens that can provoke focal infections .
hooper et al . ( 2006 ) studied viable bacteria present within oral squamous cell carcinoma tissue .
chambers et al . , ( 2005 ) conducted a pilot study to examine elevated levels of mutans streptococci in xerostomic cancer patients after pilocarpine therapy .
hooper et al . ( 2007 ) studied viable bacteria present within oral squamous cell carcinoma tissue .
hsu et al . , ( 2004 ) studied the induction of apoptosis in oral cancer cells .
lax et al . , ( 2002 ) attempted to explain how bacteria could cause cancer .
( 2010 ) explored the relevance of human papillomavirus ( hpv ) infection to carcinogenesis of oral tongue cancer .
mager et al.,(2005 ) tried to determine if the salivary counts of 40 common oral bacteria in subjects with an oral squamous cell carcinoma ( oscc ) lesion would differ from those found in cancer - free ( oscc - free ) controls .
mager et al.,(2006 ) attempted to study the alleged relationship between bacteria and human cancers .
nagy et al . , contended that since alteration in the oral microflora demographics consequently led to local and systemic infections in patients suffering from oral neoplasms , an investigative study on the inhibition of biofilm present on the surfaces of oral squamous cell carcinomas ( oscc 's ) was warranted .
thus , anticancer therapy , irradiation , chemotherapy or surgery compromises the defense mechanism of the oral mucosa and is accompanied by a proliferation of the mucosal biofilm with an overgrowth of yeast and bacteria .
this study was designed to probe the inhibition of the biofilm present on the surface of osccs . concerning the organisms found at the tumor site before and after rinsing ( with gaba deutschland manufacture meridol ( basel , switzerland ) , s. mitis ,
staphylococcus aureus and enterococcus faecalis were isolated from at least twice as many tumor surfaces before the rinsing . of the aerobic gram - negative species isolated , haemophilus influenzae , neisseria spp . , and serratia spp .
furthermore , campylobacter , actinobacillus actinomycetemcomitans and capnocytophaga were found more frequently and porphyromonas at the same frequency before meridol rinsing . of the gram - positive anaerobes ,
candida albicans were isolated in every sample before rinsing , but only in two patients after rinsing .
this study has shown that the cancer lesion itself may greatly increase the local and systemic infection risk to oral cancer patients , even before specific tumor treatment .
sharma conducted a comparative study of saliva from patients with oscc and healthy individuals to try and establish the conjecture that the saliva of patients with oral cancers have raised concentrations of certain bacteria and these bacteria can be used as possible diagnostic tools in oral cancer detection .
a comparative study of saliva from 45 patients with oscc and 229 healthy controls showed that levels of six common bacteria species
p. melaninogenica , leptotrichia buccalis , capnocytophaga ochracea , c. gingivalis , eubacterium saburreum , and s. mitis were significantly higher in patients than in controls .
when three of these species ( c. gingivalis , p. melaninogenica , and s mitis ) were used as diagnostic indicators , they correctly predicted 80% of individuals with oral cancer and 83% of controls .
the authors state that alterations in tumor - cell receptors could change the adhesion of some species of bacteria .
donna mager ( the forsyth institute , boston , ma , usa ) is unsure whether these bacteria are simple markers for oscc or have so co - carcinogenic effects .
this encouraging study gives credence to the belief that a reliable noninvasive tool for oral cancer detection may not be a pipe dream anymore .
sixou et al . , ventured out to review literature devoted to quantitative and qualitative variations in the flora of the oral cavity during immunosuppressive treatment of cancer patients .
cloke et al . , assessed patients who contracted wound infection following tissue transfer in head and neck oncological treatments .
sakamoto et al . , attempted to investigate the association between postoperative infection , colonization of certain bacterial species and its translocation to the cervical lymph nodes in oral cancer patients .
mccarthy et al . , ( 1965 ) analyzed the indigenous oral flora of man .
meurman et al . , ( 2010 ) assessed the infectious and dietary risk factors of oral cancer .
rawlinson et al . , ( 1993 ) discovered new data on the microbial flora associated with adult periodontitis .
rosenquist et al . , ( 2005 ) described risk factors for oral and oropharyngeal squamous cell carcinoma .
sakamoto et al . , ( 1999 ) isolated and studied bacteria from cervical lymph nodes in patients with oral cancer .
muthu et al . , ( 2004 ) studied oropharyngeal flora changes in patients with head and neck malignancy post radiotherapy .
fbin et al . , have opined that the genomics , transcriptomics and proteomics of saliva and the oral cavity became increasingly popular subjects of research in the current era as they represent a host of advantages by being a safe , painless and inexpensive source of complex genetic information .
wijers et al . , ( 2001 ) tested the hypothesis that aerobic gram - negative bacteria ( agnb ) play a crucial role in the pathogenesis of radiation - induced mucositis ; consequently , selective elimination of these bacteria from the oral flora should result in a reduction of the mucositis .
meurman opined that in the oral cavity , knowledge of the role of microbiota in carcinogenesis is rudimentary at best .
inflammation caused by infections may be the most important preventable cause of cancer in general .
however , in the oral cavity the role of microbiota in carcinogenesis is not known .
as shown in figure 1 , several bacteria and candida strains in the mouth convert ethanol to carcinogenic acetaldehyde thus explaining the epidemiological evidence between heavy drinking , smoking , and development of cancer .
both the commonly encountered oral streptococci and yeasts possess metabolic pathways for this conversion . proposed paradigm for bacterial involvement in carcinogenesis hooper et al .
regard , tumorous and nontumorous mucosal tissue specimens ( approximately 1 cm ) were harvested from 10 oscc patients at the time of surgery .
differences between the composition of the microbiotas within the tumorous and nontumorous mucosae were obvious which pointed to the selective growth of bacteria within carcinoma tissue .
the group concluded that whether the presence of these bacteria within the mucosa has any bearing on the carcinogenic process is a concept worthy of further investigation .
chocolatewala et al . , attempted to collate all the scientific data pertinent to the apparent association between micro - organisms and oral cancer .
they contended that despite the widening interest in the possible association between bacteria and different stages of the evolution of cancer , much still needs to be done in this regard .
in recent times , bacteria - laden with smart polystyrene nanoparticles , which can transport genes , drugs , nanosensors or other cargo into the interior of host cells , are being used to precisely position cargo inside the cells for the early diagnosis and treatment of cancer and other diseases . to summarize , recent research has provided us with a host of information regarding the bacterial mechanisms purported to cause or cure cancer . however , many doubts linger .
do microbial infections initiate cancer , or is it the preexisting cancer that compromises the host 's immunity facilitating secondary microbial colonization ?
will the site - specific colonization of certain bacteria be of any estimable value in the diagnosis or treatment of oral cancer ? could attenuated bacteria be employed in vaccines to modulate host 's immunity against cancer ?
this renders further exploration on this subject mandatory as it would enable us to clearly fathom the role of the micro - organisms , not only in prevention or early diagnosis of oral cancers , but also in providing an effective treatment and improving the survival of the afflicted individual .
some viruses reported to cause human cancers include some genotypes of : hpv , hepatitis b virus ( hbv ) , hepatitis c virus , ebv , kaposi 's sarcoma - associated herpes virus and human t - lymphotropic virus .
the recently discovered human cancer virus is actually , a polyomavirus ( merkel cell polyomavirus ) purported to be responsible for a rare form of skin cancer dubbed merkel cell carcinoma .
saito et al . , assessed the current issues and perspectives of the rapidly evolving anticancer therapy , dwelling on the potential applications of a distinctive and naturally occurring oncolytic virus .
grinde and olsen contended that the focus has traditionally been on bacteria and fungi when dissecting the microbiological aspects of oral disease in detail .
wu et al . , have established that sensitive and reliable early diagnostic markers for oscc remain unavailable .
herrero et al . , attempted an extensive exploration on the alleged link between hpv and oral cancer .
hpv , the causal agent of cervical cancer , apparently has a role to play in the etiology of cancer of the oral cavity and oropharynx .
hpv is consistently and more frequently detected in cancers of the oropharynx and tonsil than at other head and neck sites , and hpv-16 tends to be the predominant type detected .
results of a few case control studies and a cohort study point to a likely role of hpv in some cancers at certain anatomical sites .
however , many aspects of the association remain to be investigated to better define the precise contribution of hpv to the etiology of these tumors .
in addition to mounting epidemiologic evidence , extensive laboratory evidence supports the association between hpv and a subset of cancers of the oropharynx .
the prospect of hpv vaccine development offers hope for prevention of cervical and anogenital cancers and possibly also for a substantial number of cancers of the oropharynx and oral cavity .
recent studies from the md anderson center support an etiologic role for hpvs in at least a sub - set of head and neck squamous cell carcinoma , especially in tonsillar carcinoma .
dna technology has shown that a substantial portion of oscc and premalignant lesions contain hpv sequences , often of the high risk genotypes ( mainly hpv-16 and hpv-18 ) .
hpv detection is higher when analyzed by in situ hybridization and polymerase chain reaction ( pcr ) , and studies with these techniques have disclosed hpv 11 , 16 or 18 dna sequences in up to 60% of oscc .
analysis of hpv e7 mrna in oscc and cell lines by reverse transcriptase - pcr showed that hpv e7 mrna was present in 90% of patients with oscc .
they concluded that though hpv may be implicated in some tumors but clearly not in all oscc where tobacco and alcohol are more important etiological factors .
thus , hpv is clearly neither necessary nor sufficient for all tumor production , and it must be remembered that much oscc is induced by the known risk habits involving tobacco and alcohol .
they maintained that certain strains of hpv have been shown to be etiologically related to the development of uterine cervical and other genital cancers , but their plausible involvement in the development of malignancies at other sites is still a question mark .
the team concluded that in the head and neck region , hpv - associated scc was site specific with the viral dna commonly found in tumors of the waldeyer 's tonsillar ring .
patients with hpv - positive tumors were reported to have been afflicted with a higher stage of disease than patients with hpv - negative tumors , but there was no discernable difference in the 3-year survival rates between these two groups of patients .
, argued that there is a possibility that viral agents other than hpv could contribute to the development of oscc as squamous cell carcinoma of the oral cavity has not been associated with hpv dna , which suggested alternate etiologic factors .
hermann et al . , reported and reviewed a case highlighting the presence of hpv-18 and ebv in a squamous cell carcinoma of the tongue in a 20-year - old patient .
they acknowledged that this was the first case of co - infection in carcinoma of the tongue to be reported , and they attempted to review the present data and theories concerning viral oncogenesis of oral carcinomas . to find evidence for the presence of hpv or ebv , the team performed hpv - pcr - elisa and ebv - pcr - elisa .
an explanation for the failure to detect any ebv dna in some studies may be the hit and run theory .
it suggests that only the viral dna is needed to induce malignant transformation . after triggering the carcinoma ,
the viral dna is lost during the uncontrolled cell cycles of the host cell . a co - infection of high - risk hpv and ebv is mainly found in nasopharyngeal carcinomas .
assuming that ebv plays a role in oral carcinogenesis , an interesting hypothesis of viral interaction in triggering malignant transformation has been propounded .
a protein homolog , encoded by ebv , might result in a local immunosuppression and lead to or facilitate an infection of epithelial cells by high - risk hpvs .
butel , ( 1999 ) attempted to establish an etiologic role for virus in causing cancers .
the rna and dna tumor viruses have made fundamental contributions to two major areas of cancer research .
viral systems support the concept that cancer development occurs by the accumulation of multiple cooperating events .
viruses are now scientifically accepted as a credible etiologic factor in the development of human cancer .
the infectious nature of viruses distinguishes them from all other cancer - causing factors ; tumor viruses establish long - term persistent infections in human beings , with cancer occurring as a potentially lethal side effect of viral replication strategies .
more information needs to be learned about environmental co - factors that synergize with viral infections to stimulate tumor production .
both the identification of carcinogenic co - factors in specific virus systems and studies of mechanisms of action of such factors in target tissues warrant investigation .
guiding examples are the probable role of aflatoxin in cooperation with hbv chronic infections on induction of hepatocellular carcinoma in certain geographic areas and the involvement of dietary nitrosamines in ebv - induced neoplasia .
cruz et al . , ( 1997 ) carried out a study using pcr technique to assess the prevalence of epstein - barr virus in oral squamous carcinomas , premalignant lesions and normal mucosa .
higa et al . , ( 2003 ) analyzed ebv - related oral squamous carcinoma patients simultaneously infected with hpv in okinawa ( southern japan ) .
maeda et al . , ( 1998 ) investigated the presence of ebv dna in forty - five cases of oral squamous cell carcinoma .
shamaa et al . , ( 2008 ) gave a detailed exposition of the significance of epstein barr virus ( ebv ) and dna topoisomerase ii alpha ( dna - topo ii alpha ) immunoreactivity in normal oral mucosa , oral epithelial dysplasia ( oed ) and oral squamous cell carcinoma ( oscc ) .
sanjaya et al . , scrutinized the data that allegedly links candida and oral cancer .
the team hypothesized a causal role for candidiasis in oral precancer and cancer albeit an indirect one while also implying that candida along with other co - factors has a say in initiation and promotion of carcinogenesis .
the authors suggest that nitrosation potential of the c. albicans results in the production of carcinogenic nitrosamine thus predisposing the oral epithelium to dysplastic changes leading o carcinoma .
further contributing factors include the integrity of the oral mucosa and tobacco smoking habits , which might enhance the virulence of the organism .
the literature review has suggested a role of candida in causing preneoplastic changes of the oral mucosa .
cawson ( 1973 ) demonstrated the ability of c. albicans to elicit epithelial hyperplasia in chick chorioallantoic membrane .
several other studies have confirmed the hyperplastic response of the epithelium when invaded by candida .
( 1998 ) demonstrated a significant positive correlation between fungal infection and moderate and severe epithelial dysplasia .
krogh ( 1990 ) commented on the role of yeasts in oral cancer by means of endogenous nitrosation .
( 1989 ) postulated that nitrosamine compounds produced by candida species may directly or in combination with other chemical carcinogenesis , activate specific proto - oncogenes and thus initiate the development of a malignant lesion .
they further postulated that the progression of the activated cell into a tumorigenic cell might be linked to the amplification and over - expression of oncogenes .
the authors propose a pathogenesis for the role of candida in oral precancer and cancer , wherein certain factors such as immunocompromised state may lead to the activation of various biotypes of c. albicans that have nitrosation ability to form nitrosamines from their precursors .
these nitrosamines then act on the normal epithelium leading to dysplasia and further development of oral carcinoma thereby suggesting a causal role of candida species .
thus , it can be postulated that c. albicans in association with tobacco will enhance the process of carcinogenesis .
major environmental risk factors for upper digestive tract cancers are excessive smoking of tobacco , increased alcohol consumption and unsatisfactory maintenance of oral hygiene .
consequently , this led to raised ach levels in saliva , which has been shown to be carcinogenic .
they postulated that colonization of oral mucosa with candida glabrata ( a non - c .
albicans species ) which is widely deemed to have the potential to produce carcinogenic amounts of ach from both ethanol and glucose may play a considerably vital role in the development of oral cancer .
nagy et al . , ( 1998 ) and ( 2000 ) investigated the inhibition of the biofilm present on the surface of osccs .
bakri et al . , ( 2010 ) revisited the association between candidal infection and carcinoma , particularly oral squamous cell carcinoma .
napenas et al . , ( 2007 ) studied the relationship between mucositis and changes in oral microflora during cancer chemotherapy .
soysa et al.,(2004 ) discussed the clinical and laboratory findings on the relationship between cytotoxics , radiotherapy and oral candidiasis , possible mechanisms of pathogenicity following such therapy , as well as precautions that could be taken to minimize such recalcitrant yeast infections .
siikala et al . , ( 2011 ) explored the ability of the oral microbiome to produce acetaldehyde in ethanol incubation .
, ( 1981 ) studied the yeast flora of the mouth and skin during and after irradiation for oral and laryngeal cancer .
yamamoto et al . , reported some interesting findings on a patient suffering from oral carcinoma .
a patient with oral carcinoma underwent chemo radioimmunotherapy for the same and , approximately 4 weeks right from the start of the therapy , the patient had to grapple with severe oral mucositis evidently caused by the chemoradiotherapy , consequently leading to candidal pneumonia .
randomly amplified polymorphic dna analysis and dna sequence examination of strains isolated from the oral cavity 1-week before the onset of pneumonia and autopsied lung revealed the identity of both strains as c. albicans , and the dna analysis confirmed aspiration of oral candida .
prnnen et al . , set out to study oral mucosal e - cadherin ( e - cad ) degradation by clinical and reference strains of c. albicans and c. glabrata .
this study was carried out to test the ability of two candida strains to degrade human e - cad from the perspective of the candida virulence factor .
thus , degradation of e - cad may result in a significant lack of cellular adhesion , which is often associated with cancer cells .
we have seen in detail , the various data and the existing literature that strongly suggest a definitive link between micro - organisms and oral cancer .
all the three major types of bacteria , fungi and viruses provide certain species , which seem to agree with the aforementioned hypothesis . notwithstanding the burgeoning interest in the possible association between bacteria and different stages of cancer development ,
our definitive knowledge in its relation to oral cancers remains inadequate although various theories have been put forth by various scientists .
similarly , the role of viruses and fungi in causing oral cancer has also been examined in painstaking detail and unanimously , it can be concluded that further study is warranted .
new and improved scientific developments coupled with numerous precise methods of intra - cellular study hints at a future that is optimistic and full of possibilities .
hopefully , the next few years will provide definitive answers to the most pertinent questions examined here . | pubmed |
the interaction between a young planetary system and its protoplanetary disk likely plays an important role in determining the orbital properties of the planets .
such interactions may be important for understanding the observed orbital properties of extra - solar planets ( e.g. marcy et al .
resonances within a gaseous disk likely play a key role in determining planetary eccentricities and inclinations .
much of the previous work , starting with goldreich & tremaine ( 1980 ) , has emphasized the effects of mean - motion disk resonances , which involve frequencies that are comparable to the orbital frequencies of the planets .
another potentially important class of resonances occurs where there is a matching of the precession frequency of a test particle ( e.g. an asteroid ) with the frequency of one of the precessional modes of the planetary system .
the frequencies involved are much lower than in the mean - motion case . at such a resonance ,
the motion of a test particle can be strongly driven by the planets , resulting in a high orbital inclination ( for a nodal resonance ) or eccentricity ( for an apsidal resonance ) .
for example , in the solar system there is an important secular resonance that occurs near 2 au due to driving involving jupiter and saturn .
this resonance is believed to be associated with the inner truncation of the asteroid belt ( tisserand 1882 ) .
it was recognized by ward , colombo , & franklin ( 1976 ) that these resonances must have swept across portions of the early solar system owing to the effects of the gaseous disk , even if the planets do not migrate .
the reason is that even a minimum - mass solar nebula can have an important influence on the relevant precession rates .
as the nebula disperses , the precession rates vary , along with the resonance locations ( ward 1981 ) . regions through which the resonances sweep may be driven into significantly eccentric or inclined orbits , such as are observed among the asteroids today ( e.g. nagasawa , tanaka , & ida 2000 ) .
the resonances can also have an important bearing on the conditions for planet formation by stirring the planetesimal disk .
however , collective effects can be important within the disk and may even result in the development of density waves or bending waves .
consequently , the response is less localized than would be indicated by test particles , as was recognized by ward & hahn ( 1998 ) and tremaine ( 1998 ) .
these investigations concentrated on the collective effects of self - gravity in particle disks .
secular interactions involving the gas disk of a young planetary system are potentially of importance , since much more mass is contained in the gas disk than in the planetesimal disk .
the disk is a fluid body and is capable of wave motions through ( at least ) compressive , inertial , buoyancy , and self - gravitational forces .
it is also capable of dissipating energy through a turbulent effective viscosity or through shocks .
it is therefore important to understand the dynamical response of the disk to secular forcing and the implications for the evolution of the planetary orbits .
the purpose of this paper is to investigate the outcome of secular interactions in mutually inclined planet - disk systems .
the relevant waves in the disk are long - wavelength bending waves with azimuthal wavenumber @xmath0 .
the equations governing such waves in a protostellar disk are fairly well established , while those for long - wavelength eccentric density waves have received less attention ( although see ogilvie 2001 ) .
the importance of understanding the global @xmath0 response of the disk to secular perturbations has been emphasized by tremaine ( 1998 ) .
the general outline of the paper is as follows .
sections 25 describe the physical model for nodal secular interactions and formulate the normal mode analysis .
sections 6 and 7 explore the limit of sufficiently slow modes , when the disk responds nearly rigidly .
section 8 describes how the effects of mean - motion resonances are included in the normal mode analysis .
sections 9 and 10 describe numerical results for jupiter interacting with the solar nebula .
section 11 provides a simple scaling analysis based on a nearly rigid tilt model .
section 12 discusses the relationship of the current approach with that of earlier work involving wkb theory .
section 13 describes the analysis of a close - orbiting planet in the central hole of a disk .
section 14 discusses jupiter and saturn interacting with the solar nebula at the @xmath1 secular resonance .
planets experience secular gravitational interactions on time - scales much longer than their orbital periods . on
such time - scales the planets may be considered as continuous rings representing their average mass density .
these rings are in general elliptical and mutually inclined . gravitational interactions between the rings lead to apsidal and nodal precession of the orbits . in the case of small eccentricities and inclinations , the secular evolution of a system of @xmath2 planets can be described in terms of normal modes of a linear dynamical system , @xmath2 modes for eccentricity and @xmath2 for inclination ( e.g. murray & dermott 1999 ) .
the eigenvector of a mode describes the relative distribution of eccentricity or inclination among the planetary orbits , while the eigenfrequency is the rate at which the pattern precesses . in typical situations involving mean - motion resonances ( lindblad or vertical resonances ) ,
if a particle resonance is located at a certain radius in a fluid disk , the disk responds by launching a wave that carries energy and angular momentum away from the resonance .
such waves are usually assumed implicitly to be damped through some dissipative process before reaching an edge of the disk from which they might otherwise reflect .
the gravitational torque between the disk and the perturber can then be calculated from a standard formula evaluated at the location of the resonance ( goldreich & tremaine 1979 ) .
however , in the case of a secular resonance , the frequency may be so small that the wavelength would be comparable to ( or may even exceed ) the size of the disk . in that case
the global response of the disk must be computed , including explicit dissipation and the correct boundary conditions .
the exact location of the resonance then ceases to have great importance and the new possibility of a global secular resonance arises .
we focus on the case of inclination , so that the relevant waves in the disk are long - wavelength bending waves with azimuthal wavenumber @xmath0 .
as noted above , the equations governing such waves in a protostellar disk are fairly well established .
let @xmath3 be cylindrical polar coordinates with origin at the central object , of mass @xmath4 .
we consider a protostellar disk of semi - thickness @xmath5 , for which the turbulent viscosity parameter @xmath6 satisfies the condition @xmath7 .
the linearized equations for bending waves in such a disk have been derived in several papers ( papaloizou & lin 1995 ; masset & tagger 1996 ; demianski & ivanov 1997 ) .
we present them in the form ( lubow & ogilvie 2000 ) @xmath8 @xmath9 here @xmath10 is the complex tilt variable , which describes the warped shape of the disk .
essentially , the disk can be thought of as a continuum of concentric circular rings with radii @xmath11 and unit normal vectors @xmath12 .
also @xmath13 is the complex internal torque variable . in a warped disk
there is a horizontal internal torque @xmath14 that is mediated by horizontal motions that are proportional to the distance @xmath15 from the midplane .
these stresses are responsible for the propagation of bending waves .
similarly @xmath16 is the complex horizontal external torque density acting on the disk .
finally @xmath17 is the surface density , @xmath18 the orbital angular velocity , @xmath19 the epicyclic frequency and @xmath20 the second vertical moment of the density .
these are defined by @xmath21 @xmath22 where @xmath23 is the ( axisymmetric component of the ) gravitational potential experienced by the disk .
consider a thin , uniform circular ring of mass @xmath24 and radius @xmath25 , representing either an annulus of the disk or the time - average of a planetary orbit .
its contribution to the potential in the plane @xmath26 is @xmath27 therefore the angular velocity and epicyclic frequency experienced by the ring are obtained from summations over all other such rings , in the forms @xmath28 , \label{omega2}\ ] ] @xmath29 , \label{kappa2}\ ] ] where @xmath30 and @xmath31 are symmetric kernels with dimensions of inverse length , given by @xmath32 hereafter we write @xmath31 simply as @xmath33 . now consider the tilt interaction between two such rings of masses @xmath34 and @xmath35 , radii @xmath25 and @xmath36 , and tilt vectors @xmath37 and @xmath38 .
for small relative inclinations , the gravitational torque exerted by ring @xmath39 on ring @xmath40 is @xmath41 this expression can be obtained by averaging the torque exerted by a point mass on a circular ring ( lubow & ogilvie 2000 ) over the orbital motion of the point mass .
similar expressions can be found in studies of galactic warps ( e.g. sparke & casertano 1988 ) . in the complex notation , for small inclinations from the @xmath42-plane ,
the total external torque acting on ring @xmath40 is @xmath43 the kernels can also be written as @xmath44 where @xmath45 , @xmath46 and @xmath47 is the laplace coefficient . in practice
we evaluate these in terms of elliptic integrals using carlson s algorithms ( press et al .
1992 ) .
these kernels diverge as @xmath48 .
in reality the gravitational interaction remains bounded because of the non - zero vertical thickness of the rings , which we have neglected . to take account of this in an approximate way
, we soften the kernels by replacing @xmath49 whenever @xmath50 . here the smoothing length @xmath51 is to be understood as an approximate measure of the thickness of the rings .
we consider a general system consisting of multiple planets embedded in a gaseous disk .
provided the planets create gaps in the disk , the disk then becomes partitioned into a set of disks .
the disks and planets interact through gravity .
we consider planets @xmath52 of masses @xmath53 in circular orbits of radii @xmath54 and angular velocities @xmath55 .
we also consider disks @xmath56 of inner radii @xmath57 and outer radii @xmath58 .
the inclinations of the planetary orbits are described by the tilt variables @xmath59 .
the tilt within a disk is described by @xmath60 .
we assume throughout that the inclinations are small , so that linear theory applies .
if only secular nodal interactions are considered , the planets can be treated as inclined circular rings interacting with each other and with the disks through the torques described in section [ basic equations ] .
we return later ( section [ mean motion ] ) to the effect of mean - motion resonances on tilt evolution .
however , we assume throughout that any evolution of the surface density of the disk , or of the semi - major axes of the planetary orbits , may be neglected .
the secular equations for the planets are then of the form @xmath61 while the equations for the disks are @xmath62 @xmath63 where @xmath64 and @xmath65 . the final term in equation ( [ disk ] )
represents the self - gravitation of each disk and the gravitational interactions between disks . the ( complex ) total horizontal angular momentum of the system ,
@xmath66 is exactly conserved if , as we assume , the boundary conditions @xmath67 hold at all times @xmath68 .
there is also a conservation law for the vertical angular momentum , which we derive in appendix a.
we have a set of coupled integro - differential equations that are linear and homogeneous .
solutions may be sought in the form of normal modes , @xmath69 where @xmath70 is a complex frequency eigenvalue .
the real part of @xmath70 is the precession rate of the mode , while the imaginary part is the decay rate . substituting this and omitting the tildes
, we obtain the integral and integro - differential equations @xmath71 @xmath72 subject to the boundary conditions @xmath73 frequencies @xmath74 and @xmath75 are given by equations ( [ omega2 ] ) and ( [ kappa2 ] ) .
all orbits are assumed to be prograde .
there is always a trivial rigid - tilt mode with @xmath76 , @xmath77 , and @xmath78 .
secular modes usually have very long periods .
if a disk is easily able to maintain radial communication ( through pressure , viscosity or self - gravitation ) on this long time - scale , it will participate in such a mode almost as a rigid body , and @xmath79 will not vary much across the disk .
suppose that each disk indeed behaves rigidly ( @xmath80 ) .
then @xmath81 can be eliminated by multiplying equation ( [ iomegaw ] ) by @xmath82 , integrating from @xmath57 to @xmath58 , and using the boundary conditions .
we then find @xmath83 @xmath84 where @xmath85 is the angular momentum of planet @xmath40 , and @xmath86 is the total angular momentum of disk @xmath87 .
the coupling coefficients are defined by @xmath88 @xmath89 @xmath90 evidently the disks can be treated formally as additional planets if they behave as rigid bodies . by introducing greek indices that run from @xmath91 to @xmath92
, we obtain the algebraic eigenvalue problem @xmath93 this is formally identical to the multiple - planet problem described by , e.g. , murray & dermott ( 1999 ) . since @xmath94 is a symmetric matrix , we have @xmath95 since , further , the coefficients @xmath96 are real and positive
, the eigenvalues are all real and non - positive . apart from the trivial rigid - tilt mode , all modes precess retrogradely without growth or decay .
suppose the system contains only two components , e.g. one planet interacting with a connected disk .
the rigid solution satisfies @xmath97 \left[\matrix{w_1\cr w_2\cr}\right]=\left[\matrix{0\cr 0}\right],\ ] ] where @xmath98 is the coupling coefficient between the planet and the disk .
the eigenvalues and eigenvectors are @xmath99\propto \left[\matrix{1\cr 1\cr}\right],\ ] ] a trivial solution corresponding to a rigid tilt , and @xmath100\propto \left[\matrix{j_2\cr -j_1\cr}\right ] , \label{non - trivial}\ ] ] corresponding to a retrogradely precessing mode in which the tilt of each component is inversely proportional to its angular momentum ( in order to conserve the total angular momentum ) . in a three - component system , e.g. a planet interacting with interior and exterior disks , the rigid solutions satisfy @xmath101 \left[\matrix{w_1\cr w_2\cr w_3\cr}\right]= \left[\matrix{0\cr 0\cr 0}\right],\ ] ] where subscript 1 refers to the planet , and subscripts 2 and 3 to the inner and outer disks . in the general case ,
the eigenvalues and eigenfunctions are algebraically complicated .
however , consider the case in which the planet is much less massive than either disk .
the first non - trivial mode is the equivalent of equation ( [ non - trivial ] ) , but involving the two dominant components : @xmath102\propto \left[\matrix{j_3\cr -j_2\cr}\right ] .
\label{mode1}\ ] ] the planet s tilt is then driven according to @xmath103 secular resonance occurs here if the frequency is such that the denominator vanishes .
secular resonance of this type could also occur , for example , in a system of two massive planets and one low - mass disk . in this case
the disk would be responding globally as a rigid body .
this is quite different from the situation in which a secular particle resonance is located somewhere within a disk .
the second non - trivial mode has @xmath104 here only the planet s orbit is significantly tilted , and precesses at a rate determined by the two disks .
the internal torque @xmath81 required for a disk to respond rigidly can be determined from equation ( [ iomegaw ] ) . in general , equation ( [ dwdr ] ) will then indicate that a slight warping is in fact required .
the rigid solution can be understood as the leading term in an expansion of the solution in powers of a small parameter .
if @xmath105 is the angular semi - thickness of the disk , and @xmath106 the isothermal sound speed , the small parameter here is a characteristic value of @xmath107 , or @xmath108 .
this parameter is small when the disk can communicate effectively , i.e. when the time taken for a bending wave to propagate across the disk is less than the wave period .
now suppose the disk behaves _ nearly _ rigidly , so that we may pose an expansion in powers of this parameter , of the form @xmath109 at leading order we obtain the rigid solution described in section [ rigid response ] , denoted by the superscript @xmath110 . at the next order
we find @xmath111 @xmath112 subject to the boundary conditions @xmath113 after some manipulations we may eliminate @xmath114 by integration and obtain @xmath115|{\cal g}_k^{(0)}|^2 \,2\pi r\,dr . \label{omega(1)}\ ] ] since @xmath116 does not depend on @xmath6 but is proportional to @xmath117 , this shows that nearly rigid modes are damped at a rate @xmath118 proportional to @xmath119 ( for a disk and planetary system of given dimensions ) .
the imaginary part of equation ( [ omega(1 ) ] ) is a special limit of the conservation law derived in appendix a. it is important to note that the self - gravitational term in equation ( [ iomegaw ] ) has no effect on the results we have derived .
the reason for this is that , if a disk behaves nearly rigidly , _ the self - precession of the disk is negligibly small _ even if the mass of the disk exceeds that of the planets .
so far we have treated only secular interactions between the planets and disks . however , a planet also interacts with a disk through mean - motion resonances ( lindblad resonances and vertical resonances ) .
the launching of waves at these locations exerts a torque on the planet .
if the planet s orbit is inclined with respect to the resonant annulus of the disk , this inclination will evolve in time .
borderies , goldreich , & tremaine ( 1984 , hereafter bgt ) calculated the rate of change of inclination of a satellite due to lindblad and vertical resonances .
they showed that the inclination typically grows exponentially at a rate that depends on the strengths of the resonances present .
they assumed implicitly that the launched waves are damped before reaching an edge of the disk from which they might otherwise reflect . in the case of a gas disk
, such waves can damp by means of viscous dissipation , radiative damping ( cassen & woolum 1996 ) , or wave channeling ( ogilvie & lubow 1999 ) . for narrow gaseous rings between planets , wave
damping may well not take place . instead ,
reflection from the ring edges may occur , which could greatly reduce the effects of the mean - motion resonances . for simplicity
, we will also assume that the waves are damped very close to the resonances and transfer their angular momentum to the disk there .
to incorporate the effect of mean - motion resonances , we modify our equations as follows .
( for notational simplicity we here consider only a single planet and a single disk . )
the formulae of bgt can be interpreted as giving the horizontal component of the resonant torque between the planet and the disk .
we use this to add terms to the planet s angular momentum equation , in the form @xmath120 where @xmath121 is the radius of the @xmath39th resonance , and @xmath122 is the dimensionless strength of the resonance .
similarly , we modify the disk s angular momentum equation to @xmath123 as noted above , this assumes that the waves transfer their angular momentum to the disk very close to the resonances .
provided that the disk is not very cold , the precise location of the wave damping is unimportant because the torque is then communicated through the disk over a large radial extent .
the radii and strengths of the resonances are as follows ( bgt ) ; here we have neglected the shifts of the resonant radii caused by precession .
inner vertical resonance ( @xmath124 ) : @xmath125 ^ 2.\ ] ] inner lindblad resonance ( @xmath124 ) : @xmath126 ^ 2.\ ] ] outer vertical resonance ( @xmath124 ) : @xmath127 ^ 2.\ ] ] outer lindblad resonance ( @xmath128 ) : @xmath129 ^ 2.\ ] ] these quantities are listed in tables 1 and 2 for all resonances satisfying @xmath130 . note that the inner lindblad resonances act in the opposite sense to the other resonances .
although equation ( [ modified ] ) formally requires the disk tilt @xmath79 to have a cusp at each resonance , these cusps will be very weak in a disk with good radial communication . for a disk that responds nearly rigidly ,
the effect of the mean - motion resonances is to add a small imaginary part to the planet - disk coupling coefficient @xmath131 : @xmath132 the sum over resonances is always positive for an exterior disk but usually negative for an interior disk . according to equation ( [ rigid_sum ] ) ,
positive sums of this kind tend to cause growth of the non - trivial normal modes .
this must compete , however , with the viscous decay implied by equation ( [ omega(1 ) ] ) .
we adopt a simplified model for the solar nebula .
the disk model is similar to that described in lubow & ogilvie ( 2000 ) .
it is characterized by an angular semi - thickness @xmath133 , and a surface density @xmath134 , where @xmath135 is a constant and @xmath136 a function that is close to unity in most of the disk , but tapers linearly to zero at the edges ( including gaps around planets ) .
the width of the tapers is equal to the local value of @xmath137 .
the vertical structure is that of a polytrope of index @xmath2 , which gives @xmath138 ( as defined in eq . [ [ cali ] ] ) if @xmath137 is the true semi - thickness of the polytrope .
the basic parameters of the model are then @xmath139 , @xmath6 , and @xmath2 , together with the dimensions and mass of the disk .
we normalize the surface density by quoting a nominal disk mass , @xmath140 where @xmath141 is the outermost radius .
the true disk mass is slightly less than @xmath142 owing to the various edges .
we consider the nebula in the presence of a jupiter - like planet . as standard parameters ,
we adopt @xmath143 , @xmath144 , @xmath145 , @xmath146 , and @xmath147 .
the planet creates a gap in the nebula , leading to two separate disks whose parameters are taken to be @xmath148 , @xmath149 , @xmath150 , @xmath151 .
the standard relative half - width of the gap is taken to be @xmath152 .
this situation may be compared with jupiter in a solar nebula extending out to about 100 au .
the effect of varying the important parameters will be considered below .
numerical solutions to the equations of section [ normal modes ] are obtained by discretizing the disk , converting the integrals into sums , and converting derivatives into centered finite differences , with @xmath153 defined on a set of @xmath154 rings for each disk , and @xmath81 on the boundaries between neighboring rings .
planet - disk and disk - disk interactions are computed with softened kernels @xmath155 , as defined by equation ( [ ksoft ] ) . the smoothing length @xmath156 is taken to be the maximum of the semi - thicknesses of the two rings concerned . equation ( [ modified ] )
is implemented by identifying the ring in which each resonance falls , and representing the delta function as @xmath157 , where @xmath158 is the width of the ring .
the problem then reduces to a generalized eigenvalue problem involving a non - hermitian matrix of dimension @xmath159 .
this is solved numerically using the fortran sun performance library routine zgegv on a sun ultra 10 , using @xmath160 .
numerical results are quoted in units such that @xmath161 .
the modes are normalized such that @xmath162 .
we first consider a disk with standard parameters , except that it extends only to @xmath163 instead of @xmath164 . [ accordingly , we set @xmath165 in this case to fix the same normalization of surface density as in the standard model .
the true mass of the disk is only @xmath166 . ]
this case is easier to understand because the disk is able to maintain good radial communication .
only two of the non - trivial modes are of interest . the first mode ( ` mode 1 ' )
has a precession frequency of @xmath167 .
the inner disk has a nearly rigid tilt @xmath168 and the outer disk @xmath169 .
if the mean - motion resonances are neglected , this mode has a viscous decay rate of @xmath170 ; when they are included , the mode acquires a net growth rate of @xmath171 .
[ this mode corresponds to equation ( [ mode1 ] ) in rigid disk tilt theory . ]
the second mode ( ` mode 2 ' ) has a precession frequency of @xmath172 .
the inner disk has a nearly rigid tilt @xmath173 and the outer disk @xmath174 .
if the mean - motion resonances are neglected , this mode has a viscous decay rate of @xmath175 ; when they are included , the mode acquires a net growth rate of @xmath176 .
the remaining non - trivial modes all have significantly larger precession rates and damping rates ( with or without mean - motion resonances ) .
they are the proper bending modes of the disks , modified by gravitational coupling to the other components of the system .
when we proceed to the standard model , the numerical solution becomes significantly more complicated .
the outer disk extending to @xmath164 is not able to maintain good radial communication for typical precession rates .
the precession frequencies estimated from the nearly rigid theory are comparable to the frequencies of global bending modes in the outer disk . as a result , the nearly rigid theory is no longer accurate for the outer disk . to simplify the presentation of results , we focus on three modes that are of greatest interest in that they involve the least warping , and have the smallest precession frequencies and damping rates . ` mode 1 ' and ` mode 2 ' are related to the nearly rigid modes mentioned above , while ` mode 3 ' derives from a bending mode of the outer disk that interferes with the other two when the outer disk fails to behave rigidly .
the structures of the three modes are plotted in fig . 1 .
the modes include the effects of mean - motion resonances . in figs 2 and 3
we plot the precession rates and decay rates of these three modes for the standard model , as we vary each of the parameters @xmath6 , @xmath139 , @xmath142 , and @xmath177 about its standard value .
notice that the variation of decay rate with some parameters is non - monotonic .
in particular , the decay rate of mode 1 peaks at @xmath178 . in appendix
a , we derive an expression for the local decay rate of a warped disk due to dissipation . in fig .
4 we plot for mode 1 the decay rate , as given by equation ( [ gamma ] ) .
notice that the outer disk dissipation dominates over the inner disk dissipation . although the dissipation peaks near the planet , it is broadly distributed throughout the outer disk . in the outer disk , the warp @xmath179 is greatest near the disk radial midpoint and is broadly distributed .
quantity @xmath180 must vanish at the inner and outer disk edges , due to boundary condition ( [ bcs ] ) .
the reason that the peak in fig .
4 in the outer disk occurs near the planet is that the magnitudes of various base - state quantities , such as @xmath117 and @xmath74 , are largest there . in summary ,
an inclined planet gives rise to large - scale warps .
the damping effects of secular interactions dominate over tilt excitation by mean - motion resonances in our model system , provided @xmath181 . for the standard model ,
the decay time of the longest lived mode , mode 1 , is about @xmath182 yr .
although this time - scale is short compared to typical disk lifetimes of several million years , it is comparable to or longer than the expected planetary migration time - scale at this radius ( lin , bodenheimer , & richardson 1996 ; ward 1997 ) .
we compare the numerical results with the nearly rigid theory of section [ nearly rigid response ] for the standard disk model . to do this ,
we carry out some rough estimates and drop all factors of order unity .
consistent with our standard model , we assume below that the mass of the planet is less than , or comparable to , the masses of the two disks , and also that the angular momentum of the outer disk is greater than , or comparable to , the angular momenta of the planet and inner disk .
the coupling coefficients are dominated by the parts of the disk closest to the planet , where @xmath183 . here
the kernel may be estimated as @xmath184 .
thus @xmath185 and @xmath186 here @xmath117 is a typical surface density near the planet .
the precession rate of a mode can be estimated from either equation ( [ mode1 ] ) or equation ( [ mode2 ] ) as @xmath187 we then estimate @xmath188 from equation ( [ iomegaw ] ) as @xmath189 we apply these estimates to equation ( [ omega(1 ) ] ) to obtain an estimate of the viscous damping rate , @xmath190 when mean - motion resonances are taken into account , the planet - disk coupling coefficient acquires a small imaginary part , as in equation ( [ imc ] ) .
the sum over resonances can be estimated using arguments adapted from bgt . for @xmath191 , the number of resonances in the disk scales as @xmath192 .
the strengths of the lindblad resonances , which dominate here , scale as @xmath193 .
thus @xmath194 > from equation ( [ mode1 ] ) this would provide a resonant growth rate @xmath195 the ratio of viscous decay to resonant growth can then be estimated as @xmath196 the first factor depends on the viscosity and temperature of the disk .
the second is related to the ratio of the disk mass within ( say ) two gap widths of the planet to the mass of the planet itself . for our standard parameters ,
these first factor is close to unity , while the second is somewhat less than unity .
this favors tilt growth , provided that the disk indeed behaves nearly rigidly .
disks subject to forcing by a misaligned companion have been studied in the context of planetary rings , but with strikingly different results . within saturn s a ring ,
tightly wrapped waves are launched from a mean - motion vertical resonance by a misaligned satellite , as described by shu , cuzzi , & lissauer ( 1983 ) .
furthermore , the torque carried by the waves is independent of @xmath6 and @xmath139 , unlike the present case . as emphasized earlier
, the difference lies in the fact that the waves here are of low frequency such that the parameter @xmath197 is typically less than unity for protostellar disks with secular resonances . for the mean - motion vertical resonances in planetary rings ,
this quantity is much greater than unity .
nonetheless , a formal connection between the equations used in this paper and those used for planetary rings can be made by considering an artificially cold protostellar disk , such that @xmath197 is much greater than unity .
furthermore , we consider the case that the disk mass is much greater than the planetary mass .
appendix b outlines the derivation of the dynamical equations in the wkb limit . in that limit
we obtain @xmath198 } \frac{d^2w}{dr^2 } \approx\frac{2 g m_{\rm p}}{r^2 } k(r_{\rm p},r ) w_{\rm p},\ ] ] where @xmath199 with the sign depending on whether the waves are trailing or leading , and @xmath200 for @xmath201 , we can re - express @xmath202 in the standard form @xmath203 where @xmath204 potential @xmath205 is due to the star and axisymmetric contributions of the planet , _ but does not include contributions due to the disk_. this equation is identical in form to equation ( 20 ) of shu et al .
( 1983 ) for @xmath0 , apart from the pressure term , the third term in the equation ( [ wkb ] ) .
the pressure term arises because the warping of the disk introduces horizontal pressure gradients .
the resulting shearing horizontal motions give rise to the hydrodynamic torque @xmath206 , which is the dominant factor in the propagation of bending waves in protostellar disks .
the warping is described by the @xmath207 mode in the notation lubow and pringle ( 1993 ) .
the dispersion relation for adiabatic oscillations of this mode in an exactly keplerian disk , whose unperturbed state is vertically isothermal , follows from equation ( 54 ) of lubow and pringle ( 1993 ) with dimensionless frequencies @xmath208 and @xmath209 . in the low - frequency regime ( @xmath210 ) , one obtains then that @xmath211 , independent of the exponent for adiabatic compression @xmath212 . although the form of the dispersion relation is reminiscent of that for a compressive acoustic mode , this mode is largely incompressible , as suggested by the lack of dependence on @xmath212 in the dispersion relation .
the same dispersion relation ( as was obtained by papaloizou & lin 1995 ) follows from equation ( [ wkb ] ) , with @xmath79 varying as @xmath213 , and @xmath214 , and by taking @xmath215 ( ignoring gravity ) , @xmath216 , and @xmath217 . for this limit where the planet mass is small compared to the disk mass , the resonance condition @xmath218 becomes @xmath219 where @xmath220 denotes the mass weighted average of @xmath33 over the disk ( see appendix b for more details ) .
for the standard disk model , the resonance condition is satisfied at radial distances of about 0.7 and 1.3 within the inner and outer disks respectively .
this system contains a secular particle resonance where the precession rate of a particle matches the precession rate of the disk - planet system .
a free particle ( e.g. an asteroid ) will precess due to the gravitational effects of both the disk and the planet .
that is , a free particle resonance will occur when @xmath218 in equation ( [ d ] ) , but @xmath205 now has an additional contribution due to the disk .
the particle resonance location is therefore not the same as the disk resonance location . in other words , in locating a particle secular resonance , the gravity of the gas disk must be included .
particles oscillating vertically in a non - oscillating gas disk have an additional vertical restoring force that alters their precession frequency and shifts their resonance site .
this is a special property of the @xmath0 bending modes ( tilt modes ) , which is a consequence of the fact that there is no self - precession in a rigidly tilted disk . near resonance
, a tilt mode essentially behaves rigidly , due to its locally long wavelength . in the case of a planetesimal ( particle )
disk , the nature of the pressure and viscous interaction may well differ from that of a gaseous disk . on the other hand , the secular resonance condition given by equation ( [ rescon ] ) likely applies to a low - mass planet interacting with a cold planetesimal disk .
current models for the early evolution of close - orbiting extra - solar planets , such as 51 peg b ( mayor & queloz 1995 ) with an orbital radius of about 0.05 au , involve the planet migrating into a central hole in the disk ( lin et al .
the planet is envisioned to migrate into the hole by disk tidal forces until its 2:1 outer lindblad resonance lies just inside the inner edge of the disk .
the planet would then remain at this radius , without further migration .
we consider the tilt stability involving both secular interactions and mean - motion resonances of such a planet - disk system , based on the standard model parameters in section [ standard model ] . in this case
, there is only an outer disk of mass 0.01 @xmath221 , which extends from just outside the planet s 2:1 outer lindblad resonance @xmath222 ( 0.066 au ) to outer radius 2000 @xmath223 ( 100 au ) .
other disk parameters are the same as in the standard model ( @xmath224 , @xmath146 , and @xmath147 ) .
the only mean - motion resonance present in the disk is the rather weak 1:3 resonance ( 2.08 @xmath223 ) , which acts to increase inclination .
5 shows the eigenfunction of the lowest mode of the system .
the eigenfrequency is @xmath225 in units of @xmath226 , corresponding to a decay time - scale of only @xmath227 yr . the inner part of the disk interacts nearly rigidly with the planet , owing to good radial communication @xmath228 ( see lower panel of fig . 5 ) .
however , the outer part of the disk is not in good communication ( @xmath197 is of order unity ) , resulting in a warp and dissipation .
we consider here the case of jupiter and saturn interacting with the portion of the solar nebula that lies interior to the orbit of jupiter , using the equations of section [ normal modes ] .
this case is of interest because the classical @xmath1 nodal secular resonance lies within the disk .
we ignore the effects of mean - motion resonances .
the rigid tilt model involving three objects ( here the two planets plus disk ) was considered at the end of section [ rigid response ] .
as is mentioned there , a secular resonance of the two planets with the disk is possible , if the disk is low in mass compared with the planets .
if the disk mass is greater than the planet masses , then the planets individually interact with the disk in a manner similar to the case in section [ numerical results ] .
we have computed the modes of the system numerically .
we consider jupiter ( planet 1 ) and saturn ( planet 2 ) in circular orbits with the present values of mass ( @xmath229 , @xmath230 ) and semi - major axis ( @xmath231 ) .
a test particle would experience nodal secular resonances at semi - major axes @xmath232 and @xmath233 , corresponding to @xmath234 au and @xmath235 au ( murray & dermott 1999 ) .
we consider a partially depleted solar nebula interior to jupiter s orbit .
our standard model has @xmath236 , @xmath237 , @xmath238 , @xmath147 , and disk inner and outer radii @xmath239 and @xmath240 , respectively , in units of jupiter s orbital radius .
the inner secular resonance for a test particle therefore lies inside the disk . for these parameters ,
the numerically determined eigenfrequencies of the two lowest modes are @xmath241 and @xmath242 .
the response of the disk is very nearly rigid and nothing special happens at the location of the secular particle resonance .
this is to be expected , since @xmath243 throughout the disk .
the effect of self - gravitation is negligible even though the mass of the disk is comparable to that of the planets . if a low - mass disk is extremely cold , it is unable to establish radial communication very effectively on secular time - scales
. it can not respond nearly rigidly , but instead launches a wave at the location of the particle resonance .
( the rigid response is essentially the limit of a wavelike response when the wavelength becomes large compared to the size of the disk . ) in fig .
6 we show the wavelike response generated at the @xmath1 secular resonance at @xmath244 au .
a very thin disk ( @xmath245 ) is required to see this effect , and even then the wavelength is not much shorter than the size of the disk ( so a wkb or tight - winding treatment of the wave might not be particularly accurate ) .
we set @xmath246 so that the wave would be partially damped on reaching the inner boundary .
we also chose a low disk mass , @xmath247 , so that the disk has a toomre parameter @xmath248 .
the eigenfrequency for this lowest mode is @xmath249 , corresponding to a damping time of about @xmath250 yr . the resonantly launched waves damp inclination faster than those in the warmer disk model , even though the disk mass is much lower .
we have carried out a normal mode analysis of planet - disk systems that includes the effects of secular interactions and mean - motion resonances .
the planets and disks interact gravitationally , and the disks communicate internally through gas pressure , self - gravity , and turbulent viscosity .
secular interactions of misaligned planet - disk systems give rise to global effects in the disks , owing mainly to the effects of gas pressure .
the low frequencies @xmath70 associated with secular modes allow pressure to communicate effectively over radial distances in disks that are comparable to ( and somewhat greater than ) the planet s orbital radius . over such distances ,
disks behave rigidly with little dissipation . on the other hand , over larger distances ( @xmath251 ) , which may arise in a continuous disk exterior to the planet s orbit , the radial communication breaks down and
large - scale warps occur , along with enhanced dissipation ( see figs 1 and 5 ) .
the protostellar disk response to secular interactions typically falls between that of a global nearly rigidly tilted disk ( see section [ nearly rigid response ] ) and that of a locally launched wave ( see sections [ wkb bending wave ] and [ disk and two planets ] ) . secular interactions act to decrease inclination by means of turbulent dissipation of horizontal shearing motions within the warp for a simple @xmath6 disk prescription .
the dissipation of the warp is peaked somewhat near the planet , but is broadly distributed throughout the disk ( fig 4 ) .
secular interactions are in competition with the effects of mean - motion resonances ( bgt ) , which can act to increase inclination . for standard disk parameters ,
the secular interactions involving a single planet generally dominate and the inclination decays in time . for a young jupiter interacting with the solar nebula , tilt decay takes places for @xmath252 , with a typical alignment time - scale of order @xmath253 yr ( see fig . 3 ) .
for a close - orbiting planet in the central hole of the disk , the alignment is more rapid .
these results suggest that a planet formed within a disk will remain coplanar with the disk , at least as a consequence of disk interactions .
the classical @xmath1 particle secular resonance , due to jupiter and saturn , is expected to have resided within the solar nebula .
again , due to pressure effects , this resonance is greatly broadened in the gas disk .
consequently , the nebula responds nearly rigidly , with some decay in inclination .
a very cold planetesimal disk might exhibit a genuinely wavelike response ( cf .
fig 6 ) .
the analysis in this paper has focused mainly on the effects of a single planet interacting with its interior and exterior disks . for a system of a multiple planets that opens multiple disk gaps ,
the situation is more complicated because of reflections that occur at the disk edges associated with the gaps .
such gaps can decrease the effective size of the disk region over which a planet can interact , thereby resulting in a weaker warp and weaker dissipation .
the hydrodynamic torque can not propagate across a gap , while the gravitational torque may at least partially do so .
it is quite possible that much longer lived noncoplanar modes may result if the outer part of the nebula is almost disconnected in this way .
this work was supported by nasa grants nag5 - 4310 and nag5 - 10732 , the stsci visitor program , and the institute of astronomy visitor program .
gio acknowledges the support of clare college , cambridge through a research fellowship and the royal society through a university research fellowship .
starting from equations ( [ planet])([torque ] ) we obtain the conservation law @xmath254 where @xmath255 the quantity @xmath256 is the vertical angular momentum associated with the bending disturbance .
when an initially horizontal ring of matter having orbital angular momentum @xmath257 is tilted through an angle @xmath258 , the change in the vertical component of angular momentum is @xmath259 when @xmath260 .
the term proportional to @xmath261 represents an additional angular momentum stored in the bending wave . for a short - wavelength ( wkb )
bending wave in a non - self - gravitating disk , both terms in the integral for @xmath262 are equal .
for a nearly rigidly tilted disc , the first term in the integral dominates . in the appropriate limit
, this first term agrees with the expression for the angular momentum of a bending wave given by bertin & mark ( 1980 , eq .
[ c12 ] ) . in an inviscid system @xmath256
is conserved .
when viscosity is present , the positive definite quantity @xmath262 decays monotonically to zero .
the negative angular momentum of the bending disturbance is transferred to the disk through viscosity , and causes accretion .
( it is nevertheless consistent that we neglect the time - dependence of @xmath117 in a linear theory , because the induced accretion rate is quadratic in @xmath79 . )
we now define a local damping rate @xmath263 by @xmath264 this has the property that @xmath265 in the case of a normal mode , the radial average of @xmath212 corresponds to the damping rate @xmath266 of the mode .
in this appendix we derive equations ( [ wkb ] ) and ( [ rescon ] ) of the text .
we consider equations ( [ wpnm])([dwdr ] ) for a single planet interacting with a single disk .
@xmath267 @xmath268
we now apply the wkb approximation for a cold disk , @xmath269 . in this regime
we assume @xmath270 the requirement on @xmath271 is used in the derivation of the warp equations ( see papaloizou & lin 1995 ; lubow and ogilvie 2000 ) . from equation ( [ g - app ] ) ,
we obtain @xmath272 } \frac{d^2w}{dr^2}. \label{g - wkb}\ ] ] for the self - gravity term , we have that @xmath273 to obtain equation ( [ gr - wkb ] ) , we recognize that self - gravity is dominated by local contributions in the wkb limit and apply the approximation that @xmath274 $ ] for @xmath275 .
the integral is computed by extending @xmath276 to the complex plane and integrating over a closed contour .
the contour begins along the negative real axis , includes a small semicircle around the singularity at @xmath277 , continues along the real axis , and closes on itself through a large semicircle .
the large semicircle resides in either the upper or lower half - plane , depending on whether the waves are trailing or leading .
equation ( [ gr - wkb ] ) then follows from the residue theorem .
this choice of trailing or leading waves determines the sign of the result .
substituting equations ( [ g - wkb ] ) and ( [ gr - wkb ] ) into equation ( [ w - app ] ) , we obtain equation ( [ wkb ] ) . integrating equation ( [ w - app ] ) over the disk area and using equation ( [ wp - app ] ) , we have that @xmath278 where @xmath279 denotes the angular momentum weighted average of @xmath79 . in the limit that @xmath280
, we expect that @xmath79 on the right hand side of equation ( [ wp - app ] ) can be ignored after integration .
it then follows from equation ( [ wp - app ] ) that @xmath281 applying this equation for @xmath70 to the resonance condition @xmath282 , for @xmath283 defined by equation ( [ res ] ) , we obtain the resonance condition ( [ rescon ] ) .
bertin , g. , & mark , j. w .- k .
1980 , , 88 , 289 borderies , n. , goldreich , p. , & tremaine , s. 1984 , , 284 , 429 cassen , p. & woolum , d. s. 1996 , , 472 , 789 demianski , m. , & ivanov , p. 1997
, , 324 , 829 goldreich , p. , & tremaine , s. 1979 , , 233 , 857 goldreich , p. , & tremaine , s. 1980 , , 241 , 425 lin , d. n. c. , bodenheimer , p. , & richardson , d. 1996 , nat , 380 , 606 lubow , s. h. , & ogilvie , g. i. 2000 , , 538 , 326 marcy , g. , butler , p. , vogt , s. , fischer , d. , & liu , m. 1999 , , 520 , 239 masset , f. , & tagger , m. 1996 , , 307 , 21 mayor m. , & queloz d. 1995 , nature , 378 , 355 murray , c. d. , & dermott , s. f. 1999 , solar system dynamics , cambridge univ .
press : cambridge nagasawa m. , tanaka h. , & ida s. 2000 , , 119 , 1480 ogilvie , g. i. , & lubow , s. h. 1999 , , 515 , 767 ogilvie , g. i. 2001 , , 325 , 231 papaloizou , j. c. b. , & lin , d. n. c. 1995 , , 438 , 841 press , w. h. , teukolsky , s. a. , vetterling , w. t. , & flannery , b. p. 1992
, numerical recipes in fortran , 2nd ed . , cambridge univ . press : cambridge shu , f. h. , cuzzi , j. n. , & lissauer , j. j. 1983 , icarus , 53 , 185 sparke , l. s. , & casertano , s. 1988 , , 234 , 873 tisserand , f. 1882 , ann .
paris , 16 , e1 tremaine , s. 1998 , , 116 , 2015 ward , w. r. 1981 , icarus , 47 , 234 ward , w. r. 1997 , icarus , 126 , 261 ward , w. r. , colombo , g. , & franklin , f. a. 1976 , icarus , 28 , 441 ward , w. r. , & hahn , j. m. 1998 , , 116 , 489 rrrr @xmath284&@xmath285&ivr&2 + @xmath286&@xmath287&ilr&2 + @xmath286&@xmath288&ivr&3 + @xmath289&@xmath290&ivr&4 + @xmath291&@xmath292&ilr&3 + @xmath291&@xmath293&ivr&5 + @xmath294&@xmath295&ivr&6 + @xmath296&@xmath297&ilr&4 + @xmath296&@xmath298&ivr&7 + @xmath299&@xmath300&ivr&8 + @xmath301&@xmath302&ilr&5 + @xmath301&@xmath303&ivr&9 + @xmath304&@xmath305&ivr&10 + @xmath306&@xmath307&ilr&6 + @xmath306&@xmath308&ivr&11 + @xmath309&@xmath310&ivr&12 + rrrr @xmath311&@xmath312&ovr&2 + @xmath313&@xmath314&olr&1 + @xmath313&@xmath315&ovr&3 + @xmath316&@xmath317&ovr&4 + @xmath318&@xmath319&olr&2 + @xmath318&@xmath320&ovr&5 + @xmath321&@xmath322&ovr&6 + @xmath323&@xmath324&olr&3 + @xmath323&@xmath325&ovr&7 + @xmath326&@xmath327&ovr&8 + @xmath328&@xmath329&olr&4 + @xmath328&@xmath330&ovr&9 + @xmath331&@xmath332&ovr&10 + @xmath333&@xmath334&olr&5 + @xmath333&@xmath335&ovr&11 + @xmath336&@xmath337&ovr&12 + @xmath338&@xmath339&olr&6 + @xmath338&@xmath340&ovr&13 + @xmath341&@xmath342&ovr&14 + | arxiv |
it is estimated that 25 million american adults have gallstones at autopsy.1 risk factors for cholelithiasis include age , female gender , parity , obesity , rapid weight loss , hypertryglyceridemia , genetics , various medications ( such as estrogens , clofibrate , and ceftriaxone ) , terminal ileal resection , and gallbladder hypomotility as seen in post - vagotomy and total parenteral nutrition.2 cholelithiasis can be asymptomatic or can lead to complications such as biliary colic , choledocholithiasis , and cholecystitis . the definitive treatment for symptomatic cholelithiasis and cholecystitis is surgery , with laparoscopic techniques dominating over open procedures .
it has been estimated that nearly 700,000 cholecystectomies are performed yearly in the united states.1 in rare cases when cholecystectomy is not feasible , a percutaneous transhepatic approach can be used to drain the gallbladder . in recent literature , a new endoscopic approach of draining the gallbladder through biliary stents has been described.3,4 we present a case of chronic cholecystitis treated with spyglass - assisted endoscopic gallbladder drainage and gallstone irrigation through biliary stents .
a 34-year - old female with a history of advanced pulmonary sarcoidosis and right - sided heart failure presented with chronic , postprandial right upper quadrant pain and weight loss .
an abdominal ultrasound revealed cholelithiasis and choledocholithiasis with dilatation of the common bile duct ( cbd ) .
endoscopic retrograde cholangiopancreatography ( ercp ) revealed a distal cbd stricture with proximal dilatation of the biliary tree and several stones .
the stricture was dilated with a 4 cm30 fr biliary balloon dilatation catheter ( hurricane rx ; boston scientific , cork , ireland ) .
sphincterotomy was then performed and two cbd stones were removed with a 12/15 mm biliary retrieval balloon ( extractor rx ; boston scientific , cork , ireland ) .
repeat cholangiogram showed clearance of the cbd and hepatic ducts , however , numerous stones were seen in the gallbladder . despite the patient 's young age and persistent symptoms , cholecystectomy was deemed too high risk and was not performed .
repeat ercp utilizing the spyglass cholangioscopy system ( spyglass direct visualization system ; microvasive endoscopy , boston scientific co. , natick , ma , usa ) , enabled direct visualization of the cystic duct and gallbladder , and a 0.035 in260 cm guide wire ( hydra jagwire ; boston scientific , miami , fl , usa ) was placed into the gallbladder .
on fluroscopy the cystic duct was approximately 4 mm in diameter and the 10 fr spy - glass cholangioscopy system was easily advanced into the cystic duct , without need for dilatation . given these measurements we estimated that the cystic duct would safely accommodate the 7 fr delivery system of the biliary self expanding metal stents ( sems ) . in order to traverse the entire length of the cystic duct , two overlapping 1080 mm fully covered self - expanding metal biliary stents ( wall - flex biliary ; boston scientific , galway , ireland )
subsequently , a third 1080 mm fully covered sems ( wall - flex biliary , boston scientific , galway , ireland ) was placed into the cbd ( fig .
the distal cbd stricture appreciated on the first ercp had resolved post biliary balloon dilatation and the three biliary stents were easily advanced into place .
the gallbladder was then thoroughly irrigated by advancing the spyscope with an attached irrigation system ( endogater ; byrne medical inc . ,
2 ) . repeat cholangiogram revealed a contracted gallbladder with no filling defects in the cbd or the gallbladder .
the patient was a poor surgical candidate , and in lieu of cholecystectomy , we chose fully covered metal stents to allow for the irrigation and removal of all the gallstones , as well as a longer period of drainage .
the fully covered sem biliary stents were chosen for the cbd and gallbladder in order to allow for the possibility of future removal .
the patient did well post procedure and was discharged home on a regular diet several days later .
an abdominal ultrasound at one month follow - up revealed a normal appearing gallbladder without evidence of stones or sludge . at 5-month
follow - up the patient had no abdominal complaints and had normal liver function tests . at 1-year follow - up ,
the patient was pain free but the plan for stent removal was halted by her ongoing pulmonary issues .
surgical cholecystectomy remains the gold standard for treatment of symptomatic cholelithiasis and cholecystitis . in patients considered too high risk for surgery , percutaneous
transhepatic or endoscopic gallbladder drainage can be entertained . a recent systematic review by itoi et al.3 revealed that endoscopic gallbladder stenting had a technical success rate of 96% and a clinical success rate of 88% which compared favorably with percutaneous transhepatic gallbladder drainage ( 98% and 90% , respectively ) . in 2008 , itoi et al.4 reported a 97% clinically favorable response in patients who underwent endoscopic transpapillary gallbladder drainage for acute cholecystitis .
endoscopic transpapillary gallbladder cannulation was first described in 1984.5 with the advent of spyglass , definitive visualization and cannulation of the cystic duct and gallbladder can occur with ease .
several cases of spyglass - directed cannulation of the cystic duct have been described in the literature.6 we describe a novel technique of spyglass - assisted cystic duct stenting using fully covered biliary stents , allowing for improved drainage of gallstones from the gallbladder . using semss allowed for drainage of the gallbladder and also created a conduit through which the spyglass scope , with the irrigation system , could be used to irrigate and successfully clear the gallbladder .
this is the first report of spyglass - assisted placement of fully covered biliary stents into the cystic duct , enabling definitive treatment of symptomatic chronic cholecystitis and cholelithiasis without cholecystectomy . | pubmed |
At what speed is the conservation of angular momentum carried out?
If the sun suddenly slowed down would pluto's orbit immediately speed up? If so, then isn't the information pertaining to the sun's angular momentum change being carried to Pluto faster than light?
Would it also suggest that if a massive star in a distant galaxy suddenly slows down every other rotating body in the universe is suddenly aware of this, or is there a locality to the conservation laws that do not class the universe as a closed system?
This leads me to the question: Why isn't the conservation spread out among all spinning bodies, i.e the moon spins round the earth faster as the earths rotation is slowed by friction with the ocean, but why does the moon take on all of the momentum lost, why not spread it out through the whole universe,(if it is one system), which would produce little discernible affect locally?
Please forgive me if this is absolute nonsense but I couldn't get my head around it
The theory of influences that the question assumes is known as *telekinesis*. Objects arbitrarily act on other objects and transmit their angular momentum (or momentum) to them. But according to physics, telekinesis isn't possible.
An object A may only transfer the angular momentum (or ordinary momentum) to another object B when A exerts torque (or force) on B. The torque (or force) is *exactly the same thing* as the transfer of the angular momentum (or momentum) on the other body. When the torque (or force) is absent, there can't be any transfer so there can't be any slowdown of the object A or acceleration of the object B.
The overall angular momentum carried by the Sun – in the form of its internal spinning – is conserved. If one wants to transfer this angular momentum to another object, one needs a particular "mechanism" that connects the Sun with the object. The tidal forces have this effect but the magnitude of this effect is extremely tiny. One could connect the Sun and Pluto by a metallic construction, or something like that. This could create torque and transfer the angular momentum. But without a mechanism like that, there won't be any transfer.
So the Sun's (or Earth's) spinning just can't slow down with no tangible reason. This is what the conservation of the angular momentum actually says for the Sun! The angular momentum (and similarly the momentum) can never uncontrollably and invisibly dissipate to distant corners of the Universe.
The sun (or any body) can't just "slow down" - there has to be a torque applied. And whatever is applying the torque gets the additional angular momentum. That is how conservation of angular momentum works - there is no "magic at a distance".
| stackexchange/physics |
Is this really a comparison of the absolute energies in the reaction energy profile for ester formation?
In Clayden et al., [Organic Chemistry](http://www.amazon.co.uk/Organic-Chemistry-Jonathan-Clayden/dp/0198503466), p. 332, the authors compare the reaction energy profile for ester formation from a) acyl chloride and b) anhydride:
They then write:
>
> The energy levels of the starting materials, the transition state, and the intermediate are all lower in the anhydride reaction than in the chloride reaction.
>
>
>
Are they really comparing absolute energies between different species?
These authors are comparing **relative** energies. Look at what they set as their reference... the *products*. They could have easily made "starting materials" as their 0.0 reference point and stated that the products of the acyl chloride reaction is lower in energy relative to the anhydride reaction mechanism.
| stackexchange/chemistry |
Central Avenue may refer to:
Roads
Central Avenue Albany, New York in Albany, New York
Central Avenue Albuquerque, New Mexico in Albuquerque, New Mexico, part of Historic Route 66
Central Avenue Augusta, Georgia, in Augusta, Georgia
Central Avenue Baltimore in Baltimore, Maryland
Central Avenue Five Towns in Long Island's Five Towns in Nassau County, New York
Central Avenue Hudson Palisades, New Jersey
Central Avenue Los Angeles in Los Angeles, California
Central Avenue Historic District Hot Springs, Arkansas
New York State Route 100 from southern tip of the route to White Plains, in Westchester County, New York
Minnesota State Highway 65 is known as Central Avenue in Minneapolis and some northern suburbs
Central Avenue Corridor in Phoenix, Arizona, United States
Central Avenue, or Chittaranjan Avenue, in Kolkata, India
Other uses
Central Avenue song, a 2012 song by Bobby Womack | wikipedia |
The Usual Suspects
The Usual Suspects
Written By Christopher McQuarrie
Produced and Directed By Bryan Singer
Revised, 05/25/94 White
Revised, 06/01/94 Blue
Revised, 06/07/94 Pink
Revised, 06/11/94 Yellow
SCRIPT DATE 5/25/94
1 -BLACK
The lonely sound of a buoy bell in the distance. Water
slapping against a smooth, flat surface in rhythm. The
creaking of wood.
Off in the very far distance, one can make out the sound of
sirens.
SUDDENLY, a single match ignites and invades the darkness. It
quivers for a moment. A dimly lit hand brings the rest of the
pack to the match. A plume of yellow-white flame flares and
illuminates the battered face of DEAN KEATON, age forty. His
salty-gray hair is wet and matted. His face drips with water
or sweat. A large cut runs the length of his face from the
corner of his eye to his chin. It bleeds freely. An un-lit
cigarette hangs in the corner of his mouth.
In the half-light we can make out that he is on the deck of a
large boat. A yacht, perhaps, or a small freighter. He sits
with his back against the front bulkhead of the wheel house.
His legs are twisted at odd, almost impossible angles. He
looks down.
A thin trail of liquid runs past his feet and off into the
darkness. Keaton lights the cigarette on the burning pack of
matches before throwing them into the liquid.
The liquid IGNITES with a poof.
The flame runs up the stream, gaining in speed and intensity.
It begins to ripple and rumble as it runs down the deck
towards the stern.
2 EXT. BOAT - NIGHT - STERN 2'
A stack of oil drums rests on the stern. They are stacked on
a palette with ropes at each corner that attach it to a huge
crane on the dock. One of the barrels has been punctured at
it's base. Gasoline trickles freely from the hole.
The flame is racing now towards the barrels. Keaton smiles
weakly to himself.
The flame is within a few yards of the barrels when another
stream of liquid splashes onto the gas. The flame fizzles out
pitifully with a hiss.
Two feet straddle the flame. A stream of urine flows onto the
deck from between them.
BLUE 06/01/94
2.
The sound of a fly zipping. Follow the feet as they move over
to where Keaton rests at the wheel house.
CRANE UP to the waist of the unknown man. He pulls a pack of
cigarettes out of one pocket and a strange antique lighter
from the other. It is gold, with a clasp that folds down over
the flint. The man flicks up the clasp with his thumb and
strikes it with his index finger. It is a fluid motion,
somewhat showy.
Keaton looks up at the man. A look of realization crosses his
face. It is followed by frustration, anger, and finally
resignation.
VOICE (O.S.)
How are you, Keaton?
KEATON
I'd have to say my spine was broken,
Keyser.
He spits the name out like it was poison.
The man puts the lighter back in his pocket and reaches under
his jacket. He produces a stainless .38 revolver.
VOICE (O.S.)
Ready?
KEATON
What time is it?
The hand with the gun turns over, turning the gold watch on
its wrist upward.
The sound of sirens is closer now. Headed this way.
VOICE (O.S.)
Twelve thirty.
Keaton grimaces bitterly and nods. He turns his head away and
takes another drag.
The hand with the gun waits long enough for Keaton to enjoy
his last drag before pulling the trigger.
GUNSHOT
The sound of Keaton's body slumping onto the deck.
YELLOW 06/11/94
3.
MOVE OUT ACROSS THE DECK. Below is the stream of gasoline
still flowing freely.
The sound of the gasoline igniting. The flame runs in front
of us towards the barrels, finally leaping up in a circle
around the drums, burning the wood of the pallet and licking
the spouting stream as it pours from the hole.
MOVE OUT ACROSS THE DOCK, away from the boat.
The pier to which the boat is moored is littered with DEAD
BODIES. Twenty or more men have been shot to pieces and lie
scattered everywhere in what can only be the aftermath of a
fierce fire-fight.
A BARGE COMES INTO VIEW.
On the deck of the barge is a tangle of cables and girders.
The mesh of steel and rubber leaves a dark and open cocoon
beneath its base.
MOVE INTO THE DARKNESS.
Sirens are close now. Almost here. The sound of fire raging
out of control.
SIRENS BLARING. TIRES SQUEALING. CAR DOORS OPENING. FEET
POUNDING THE PAVEMENT.
MOVE FURTHER, SLOWER, INTO THE DARKNESS
Voices yelling. New light flickering in the surrounding
darkness.
SUDDENLY, AN EXPLOSION.
Then silence. TOTAL BLACKNESS.
We hear the voice of ROGER "VERBAL" KINT, whom we will soon
meet.
VERBAL (V.O.)
New York. - six weeks ago. A truck loaded
with stripped gun parts got jacked
outside of Queens. The driver didn't see
anybody, but somebody fucked up. He heard
a voice. Sometimes, that's all you need.
YELLOW 06/11/94
4.
BOOM
3 INT. DARK APARTMENT - DAY - NEW YORK - SIX WEEKS PRIOR TO
PRESENT DAY
The black explodes with the opening of a door into a dark
room. Outside, the hall is filled with blinding white light.
Shadows in the shapes of men flood into the room. We can make
out men in hoods with flashlights. They are laden with
weapons.
VOICES
POLICE. SEARCH WARRANT. DON'T MOVE.
It is a blur of violent action and sound.'Beams of
flashlights cut the darkness in all directions.
FINALLY:
A dozen flashlights land on one man. He lies naked in bed,
Merging from a deep sleep. He squints at the flood of
blinding white light, more annoyed than frightened. He nearly
laughs at the sound of countless guns cocking. He is
McMANUS. Age twenty-eight.
VOICE (O.S.)
Mr. McManus?
McMANUS
Yeah.
VOICE (O.S.)
Police. We have a warrant for
your arrest.
McMANUS
Will they be serving coffee downtown?
Two dozen black gloved hands grab him and yank him out of
bed.
4 INT. AUTO BODY SHOP - DAY 4
An old paint mixer vibrates furiously.
TODD HOCKNEY, a dark, portly man in his thirties is working
on an old Fire-bird.
A YOUNG HISPANIC KID mixes paint a few feet away.
SUDDENLY, the garage door opens TO REVEAL:
YELLOW 06/11/94
4A .
A row of five men silhouetted by the bright sun.
Hockney squints.
YELLOW 06/11/94
5.
HOCKNEY
Can I help you?
Hockney's voice is gruff.
MAN
Todd Hockney'
Hockney reaches for something just inside the door of the
Fire-bird.
HOCKNEY
Who are you?
All six men INSTANTLY PRODUCE GUNS and aim them at Hockney.
MAN
Police.
Hockney withdraws a filthy towel and wipes grease and sweat
from his forehead.
HOCKNEY
We don't do gun repair.
S EXT. STREET - NEW YORK - DAY
FRED FENSTER, a tall, thin man in his thirties strolls
casually down the street. He is dressed conspicuously in a
loud suit and tie with shoes that have no hope of matching.
He smokes a cigarette and chews gum at the same time.
He happens to glance over his shoulder and notice a brown
Ford sedan with four men in it cruising along the curb. He
picks up his step a little. The Ford keeps up.
He looks ahead at the corner. He tries to look as comfortable
as he can, checking his watch as though remembering an
appointment he is late for. The Ford stays right on him.
SUDDENLY, he bolts. He gets no more than a few yards before
cars pour out of every conceivable nook and cranny. Brakes
are squealing, radios squawking, guns cocking. Fenster is
surrounded instantly. He stops short and flaps his hands on
his thighs in defeat.
6 INT. MONDINO'S RESTAURANT - DAY
An attractive man and woman walk quickly through the front of
a small New York cafe. They are charged with nervous, excited
energy.
YELLOW 06/11/94
5A.
The man is DEAN KEATON, a well dressed, sturdy looking man in
his forties with slightly graying hair. He looks much better
than he did in the opening scene. The woman with him is EDIE
FINNERAN, age thirty-three, poised and attractive - Easily
the calmer of the two.
BLUE 06/01/94
6.
They come to a staircase at the back of the restaurant
leading down to a dark room. Edie takes Keaton's arm and
stops him.
EDIE
Let me look at you.
Keaton is uncomfortable in his suit, or perhaps the
situation. Still, he smiles with genuine warmth.
Edie straightens his tie and picks microscopic imperfections
from his lapel.
EDIE (CONT'D)
Now remember, this is another kind of
business. They don't earn your respect.
You owe it to them. Don't stare them down
but don't look away either. Confidence.
They are fools not to trust you. That's
the attitude.
KEATON
I'm having a stroke.
EDIE
You've come far. You're a good man. I
love you.
Keaton blinks then stammers, looking for a response.
PAUSE
EDIE (CONT'D)
Live with it.
She kisses him and runs down the steps with Keaton close
behind. Keaton playfully grabs her ass and she nearly
stumbles down the stairs.
7 INT. RESTAURANT - DOWNSTAIRS
They come to the bottom of the steps giggling and jabbing
each other. Once off the stairs they instantly transform as
though hit with cold air. They assume a cool, professional
exterior and walk two feet apart. One would look at them and
see only two business associates here to ply their trade.
They walk across the dimly lit dining room to a table in the
far corner where two men are already waiting. The first is
MR. FORTIER, age thirty-five, the other is MR. RENAULT, age
sixty. Both men are impeccably dressed with a distinguished
air. They stand and smile.
YELLOW 06/11/94
7.
FORTIER
Edie, nice to see you.
EDIE
Sorry we're late.
FORTIER
Nonsense. Sit, please.
RENAULT
(struggling with English)
You must be Mr. Keaton.
EDIE
I'm sorry. Dean Keaton
Renault's hand is already out.
RENAULT
Monsieur Renault. A pleasure.
KEATON
How do you do?
They shake hands. Keaton takes Fortier's hand next.
FORTIER
Monsieur Fortier. So nice to finally meet
you.
Everyone sits at the table. All faces are smiling.
LOW ANGLE: UNDER TABLE
Edie's hand reaches out and finds Keaton's leg. Her hand runs
high up his inner thigh and squeezes firmly.
Her face is absolutely calm, giving no hint of what her hand
is doing. Keaton smiles and clears his throat.
8 INT. MONDINO'S RESTAURANT 8'
Follow a waiter past the flight of steps.
PAN DOWN TO REVEAL:
Five sets of feet arriving at the bottom.
The feet in the middle wear shoes notably nicer than the
rest.
YELLOW 06/11/94
7A.
PAN UP TO REVEAL:
SPECIAL AGENT DAVID KUJAN (Pronounced Koo-yahn), U.S.
CUSTOMS. Thirtyish, dark-haired and determined.
9 SCENE DELETED
9'
PINK 06/07/94
8.
10 INT. RESTAURANT - DOWNSTAIRS 10
FORTIER
Edie brought us your proposal and I'll be
honest. We're very impressed. A bit
skeptical, I must admit, but impressed.
KEATON
Skeptical.
RENAULT
We find the concept brilliant, but New
York is difficult for new restaurants.
How can we be certain that our money will
be returned in the long run?
Keaton looks at Edie and smiles confidently.
KEATON
It's simple gentlemen, design
versatility. A restaurant that can change
with taste without losing the overall
aesthetic. Our atmosphere won't be
painted on the walls.
FORTIER
This was the part of the proposal that
intrigued us, but I'm not sure I follow.
KEATON
Let's say for example -
VOICE (O.S.)
This I had to see myself.
Keaton looks up. He sees David Kujan. Behind him are the very
serious looking guys in suits.
Keaton is not happy to see them.
KEATON
Dave. I'm in a meeting.
KUJAN
Time for another one.
KEATON
This is my attorney, Edie Finneran.
(Gesturing)
BLUE 06/01/94
9.
KEATON (cont'd)
This is Mr. Renault and Mr. Fortier.
Everyone, this is David Kujan.
KUJAN
Special Agent Kujan. U.S. Customs.
(Gestures to men behind him)
These gentlemen are with the New York
police department. You look great,
Keaton. Better than I would have thought.
RENAULT
Is there a problem, Mr. Keaton?
KUJAN
The small matter of a stolen truck-load
of guns that wound up on a boat to
Ireland last night.
Renault and Fortier's confusion is giving way to suspicion.
FORTIER
Mr. Keaton?
KEATON
If you will excuse us for a moment,
gentlemen.
KUJAN
We need to ask you some questions
downtown. You'll be quite awhile.
Renault starts to get up.
RENAULT
We should leave you to discuss whatever
this is.
KEATON
Please. Sit.
Keaton stands up and throws a wad of money on the table to
cover the check. He looks at Edie. She moves to stand, but he
sits her back down with a hand on her shoulder.
KEATON
Enjoy the meal.
(To Edie)
I'LL call you.
Kujan takes him by the arm, but Keaton yanks away.
YELLOW 06/11/94
10.
He looks out over the dozens of other faces in the
restaurant. Everyone is looking at him with some level of
surprise. If Keaton is humiliated by the whole affair, he
hides it well.
11 INT. LOCK-UP HALLWAY - NIGHT 11'
A police officer steps into the frame and opens the steel
door.
FOLLOW A PAIR OF FEET as they shuffle across the cement
floor. The shoes are shabby and worn, as are the wrinkled
pants that hang too low and loose at the cuffs. The right
foot is turned slightly inward and falls with a hard limp. It
is clear that the knee does not extend fully.
The sound of a steel door opening. The bottom corner of a
steel cage comes into view. Another set of feet falls into
step with the first. Another steel door and another set of
feet. Another door, another and another. Five pairs of feet
walk single file down the hall.
The lame feet are in the front of the line. They come to
another steel door, this one solid and covered with dents and
rivets.
CRANE UP TO REVEAL:
ROGER KINT, VERBAL to his few friends. He has a deeply lined
face, making his thirty-odd years a good guess at best. From
his twisted left hand, we can see that he suffers from a
slight but not debilitating palsy. Behind him are Dean
Keaton, Fred Fenster, McManus and Todd Hockney. t
Verbal steps through the door, followed by the rest.
VERBAL (V.O.)
It didn't make sense that I be there. I
mean these guys were hard-core hijackers,
but there I was. At that point, I wasn't
scared, f knew I hadn't done anything
they could do me for. Besides, it was
fun. I got to make like I was notorious.
12 INT. LINE-UP ROOM 12
The five men are ushered into the room in front of a white
wall painted with horizontal blue stripes. Each has a number
at either end to denote the height of the man in front of it.
Between these lines are thinner blue lines to tell the
specific height in inches.
SCRIPT DATE 5/25/94
11.
Bright lights shine on all of them. They squint, eyes
adjusting.
Keaton leans forward a bit and looks at the men in line with
him. He shares a look of familiarity with Fenster and then
McManus. Hockney smiles at all of them.
McMANUS
(To Keaton)
Where you been, man?
VOICE (O.S.)
SHUT UP IN THERE. Alright, you all know
the drill. When your number is called,
step forward and repeat the phrase you've
been given. Understand?
The men all nod.
VOICE (O.S.)
Number one. Step forward.
Hockney takes a step forward. He looks directly into a mirror
on the other side of the room. It is three feet square and we
can make out faint light behind it. It is a two-way. He
speaks in a complete dead-pan.
HOCKNEY
Hand-me-the-keys, you-fucking-cock-
sucker.
VOICE (O.S.)
Number two. Step forward.
McManus steps up and makes a gun with his thumb and
forefinger. He mocks criminal intensity, pointing at the
mirror. He camps up his line.
McMANUS
Give me the keys, you motherfucking,
cocksucking pile of shit, or I'll rip off
your
VOICE (O.S.)
KNOCK IT OFF. Get back in line.
McManus steps back.
The rest of the men do their bit as Verbal speaks.
BLUE 06/01/94
12.
VERBAL (V.O.)
It was bullshit. The whole rap was a
setup. Everything is the cops' fault. You
don't put guys like that in a room
together. Who knows what can happen?
13 INT. INTERROGATION ROOM - NIGHT
13
McManus sits in a chair in front of a white wall. He smiles
at someone off-screen.
OVERLAPPED:
MCMANUS
This has to be embarrassing for you
guys, huh? I mean you know and I know
this is a load of shit, but at least I
don't have a captain with his dick in
my ass making me play along. That has
got to suck,
VOICE (O.S.)
Are you done?
McManus
Do you work for a broad? That would
have to be the worst.
VOICE (0.8.)
Are you done?
McMANUS
Still, I guess dignity is a small
pries to pay for medical and a
pension. A small pension, mind you,
but a pension nonetheless.
VERBAL (V.O.)
They drilled us all night. Somebody was
pissed about that truck getting knocked
off and the cops had nothing. They were
hoping somebody would slip. Give them
something to go on. They knew we wouldn't
fight it because they knew how to lean on
us. They'd been doing it forever. Our
rights went right out the window. It was
a violation. I mean disgraceful.
BLUE 06/01/94
12A.
VERBAL (V.O.)
They went after McManus first. He was a
good guy. Crazy though. A top notch entry
man .
VOICE (O.S.)
So where'd you dump the truck?
McMANUS
What truck?
VOICE (O.S.)
The truck with the guns, fucko.
McMANUS
You kill me, you really do. Where's my
phone call?
VOICE (O.S.)
Right here. Suck it out.
McMANUS
Clever guy.
VOICE (O.S.)
You want to know what your buddy Fenster
told us?
BLUE 06/01/94
13.
McMANUS
Do I look stupid enough to fall for that?
Jesus Christ. Beat me if you gotta, but
no more of the candy-land tactics, man.
VOICE (O.S.)
WHERE'S THE FUCKING TRUCK?
14 INT. INTERROGATION ROOM 14
Now Fenster is in the seat. He sweats profusely.
FENSTER
I want to call my lawyer. I don;'t know
about any truck. I was in Connecticut all
night on Friday.
VOICE (O.S.)
That's not what McManus said.
OVERLAPPED:
FENSTER
Who?
VOICE (0.8.)
McManus. Be told us another story
altogether.
FENSTER t
Was it the one about the hooker with
dysentery I swear , she never
mentioned money until I came.
VOICE (O.S.)
Be fold us about the truck.
FENSTER s
To be honest, it was more like a +
mobile home. She made a lot of money, t
VOICE (O.S.) +
Who took the guns off your hands?
FENSTER
Hey, are we talking about the same
thing?
VOICE (O.S.)
I'm losing my patience.
BLUE 06/01/94
13A.
VERBAL (V.O.)
Fenster always worked with McManus. He
was a real tight-ass, but when it came to
the job, he was right on. Smart guy. A
gopher. Got whatever you needed for next
to nothing.
FENSTER
You guys got nothing on me. Where's your
probable cause?
VOICE (O.S.)
You're a known hijacker. You're sweating
like a guilty motherfucker. That's my
p.c. Save us the time. Tell us where the
truck is.
Fenster knocks on the table.
FENSTER
HELLO? Can you hear me in the back? P.C.
He looks under his chair.
FENSTER (CONT'D)
Where is it? I'm lookin'. It's not
happening. What's going on with that? I
want
BLUE 06/01/94
14.
15 INT. INTERROGATION ROOM
15
Hockney's turn in the chair. He laughs it all off.
HOCKNEY
- my lawyer. I'll have your badge,
cocksucker.
OVERLAPPED:
HOCKNEY (CONT'D)
I know you. You don't think I know
you're on the take. This whole fucking
precinct is dirty. You don't have a
fucking leg to stand on.
VERBAL (V.O.)
Hockney was just a bad bastard. Good with
explosives. Mean as a snake when it
mattered .
VOICE (O.S.)
You think so, tough guy? I can put you in
Queens the day of the hijacking.
HOCKNEY
I live in Queens. What the fuck is this?
You come into my store and lock me up in
front of my customers. What the hell is
wrong with this country? Are you guys
gonna charge me or what?
VOICE (O.S.)
You know what happens if you do another
turn in the joint?
HOCKNEY
I'll fuck your father in the shower.
Charge me, dick-head.
16 INT. INTERROGATION ROOM 16
Now Keaton sits in the chair, cool and indifferent.
VERBAL (V.O.)
Keaton was the real prize for them, for
obvious reasons.
VOICE (O.S.)
I'll charge you when I'm ready.
BLUE 06/01/94
14A.
KEATON
with what?
VOICE (O.S.)
You know damn well, dead-man.
KEATON
Hey, that was your mistake, not mine. Did
you ever think to ask me? I've been
YELLOW 06/11/94
15.
KEATON (cont'd)
walking around with the same face, same
name - I'm a businessman, fellas.
VOICE (O.S.)
What's that? The restaurant business? Not
anymore From now on you're in the
getting-fucked-by-us business . I'm gonna
make you famous, cocksucker.
Keaton shows just a flicker of contempt. The threat has hit
home.
KEATON
Like I said. It was all your mistake.
Charge me with it and I'll beat it. Let's
get back to the truck.
A FIST flies into the frame and connects with Keaton's jaw.
His head snaps back, blood flowing freely from his mouth.
17 DELETED 17
18 INT. CELL BLOCK 18
Keaton is brought in to a holding where he joins Fenster,
Hockney, Verbal and McManus. He sits in a corner and keeps to
himself.
Fenster is in mid-tirade.
FENSTER
Somebody should do something. What is
this shit - getting hauled in every five
minutes? Okay, so I did a little time,
does that mean I get railed every time a
truck finds its way off the planet?
McManus is silently staring at Keaton, who sits on a bench,
looking away.
HOCKNEY
These guys got no probable cause.
SCRIPT DATE 5/25/94
16.
FENSTER
You're fuckin' A right, no P.C. Well
screw P.C. No right. No goddamn right.
You do some time, they never let you go.
Treat me like a criminal, I'll end up a
criminal.
HOCKNEY
You are a criminal.
FENSTER
Why you gotta go and do that? I'm trying
to make a point.
KEATON
Then make it. Christ, you're making me
tired all over.
McManus looks at Keaton.
McMANUS
I heard you were dead, Keaton.
KEATON
You heard right.
HOCKNEY
The word I got is you hung up your spurs,
man. What's that all about?
McMANUS
What's this?
HOCKNEY
Rumor has it, Keaton's gone straight -
cleaning house. I hear he's tapping Edie
Finneran.
McMANUS
Who?
HOCKNEY
She's a heavy-weight criminal lawyer from
uptown. Big-time connected. She could
erase Dillinger's record if she tried. I
hear she's Keaton's meal ticket.
(To Keaton)
Is it true?
McMANUS
What about it, Keaton? You a lawyer's
wife. What sort of "retainer" you giving
her?
SCRIPT DATE 5/25/94
17.
Keaton shoots McManus a fiery glare.
FENSTER
I'd say you've gotten on his main and
central nerve, McManus.
KEATON
Do your friend a favor, Fenster, keep him
quiet .
McMANUS
You're clean, Keaton? Say it ain't so.
Was it you that hit that truck?
FENSTER
Forget him. It's not important. I was
trying to make a point.
KEATON
(Ignoring McManus)
This whole thing was a shakedown.
McMANUS
What makes you say that?
KEATON
How many times have you been in a line-
up? It's always you and four dummies. The
P.D. pays homeless guys ten bucks a head
half the time. No way they'd line five
felons in the same row. No way. And what
the hell is a voice line-.up? A public
defender could get you off of that.
FENSTER
So why the hell was I hauled in and
cavity searched tonight?
KEATON
It was the Feds. A truck load of guns
gets snagged, Customs comes down on
N.Y.P.D. for some answers - they come up
with us. They're grabbing at straws. It's
politics - nothing you can do.
FENSTER
I had a guy's fingers in my asshole
tonight.
HOCKNEY
Is it Friday already?
SCRIPT DATE 5/25/94
18.
FENSTER
Fuck you. I'11 never shit right again. So
who did it? Own up.
KEATON
I don't want to know.
McMANUS
Nobody asked you, workin'-man.
HOCKNEY
Fuck who did it. What I want to know is,
who's the gimp?
ALL EYES suddenly turn on Verbal. He has been quietly
listening the whole time without uttering a word.
KEATON
He's alright.
HOCKNEY
How do I know that? How about it,
pretzel-man? What's your story?
KEATON
His name is Verbal Kint. I thought you
guys knew him.
McMANUS
Verbal?
VERBAL
Roger really. People say I talk too much.
HOCKNEY
Yeah, I was gonna tell you to shut up.
KEATON
We've met once or twice. Last time was
in...
VERBAL
County. I was in for fraud.
KEATON
You were waiting for a line-up then, too.
What happened with that?
VERBAL
I walked. Ninety days, suspended.
YELLOW 06/11/94
19.
HOCKNEY
So you did it?
VERBAL
To your mother's ass.
Verbal looks away from Hockney, awaiting a violent response.
Everyone slowly starts to laugh. Hockney looks as if he is
about to boil in his own skin.
KEATON
(To Hockney)
Let it go.
Verbal smiles at Keaton appreciatively.
McManus stands and walks to the toilet in the corner of
the cell. He starts taking a leak;
McMANUS
Look, we've all been put out by this, I
figure we owe it to ourselves to salvage
a little dignity. Now Fenster and I got
wind of a possible job -
KEATON
Why don't you just calm down'
HOCKNEY
What do you care what he says?
McMANUS
Yeah, I'm just talking here, and Hockney
seems to want to hear me out. I know
Fenster is with me -
(To Verbal)
How about you, guy?
McManus finishes pissing.
VERBAL
I'm interested, sure.
McMANUS
There, so you see, I'm going to exercise
my right to free assembly.
McManus taps the bars of his cell and the others LAUGH.
KEATON
I'm not kidding. Shut your mouth.
YELLOW 06/11/94
19A.
McMANUS
You're missing the point.
YELLOW 06/11/94
20.
KEATON
No, you're missing the point. Shut up. I
don't want to hear anything you have to
say. I don't want to know about your
"job". Just don't let me hear you. I want
nothing to do with any of you -
(Beat)
I beg your pardon but all of you can go
to hell.
McMANUS
Dean Keaton, gone the high road. What is
the world coming to?
McManus and Keaton stare at one another for a long and tense
moment. Finally McManus turns to the others.
McMANUS (CONT'D)
Forget him then.
(Whispering)
Now I can't talk about this here in any
detail, but listen up...
Everyone but Keaton gravitates toward McManus's cell as he
begins to speak in low, hushed tones.
VERBAL (V.O.)
And that was how it began. The five of us
brought in on a trumped-up charge to be
leaned on by half-wits. What the cops
never figured out, and what I know now,
was that these men would never break,
never lie down, never bend over for
anybody. .. Anybody.
19 EXT. PIER - DAY - SAN PEDRO - PRESENT DAY 19
It is morning in the aftermath of the opening scene.
Harsh sunlight shines on a line of body bags on the dock.
Police swarm everywhere, photographers are taking pictures of
the scene while a team of men in rolled up sleeves and
plastic gloves pick at the remains.
Two men on a fire boat operate a water cannon, dousing the
smoldering remains of a burned-out ships hull.
Watching this from the edge of the pier is a man in a dark
suit. He is SPECIAL AGENT JACK BAER of the F.B.I. He is tall
and fit, in his late thirties. He gazes out over the water
thoughtfully.
YELLOW 06/11/94
21.
A UNIFORM COP trots up to him.
COP
Who are you?
Baer holds up his badge without looking at the man.
BAER
Agent Jack Baer, F.B.I. How many dead?
Before the cop can answer, Baer turns and walks along the
line of body bags.
COP
Fifteen so far. We're still pulling some
bodies out of the water.
Baer eyes the corpses on the dock, burned beyond recognition.
COP
Looking for anyone in particular?
Baer looks at the cop for the first time, unamused.
BAER
f don't want any of the bodies taken away
until I've had a chance to go over this,
understood?
COP
I have to clear the scene. I've got word
direct from the Chief
Baer lights a cigarette, only half listening.
BAER
(Unimpressed)
Yes, the chief. Spooky stuff. Any
survivors?
COP
Two. There's a guy in county hospital,
but he's in a coma. The D.A. has the
other guy - A cripple - from New York I
think. Listen, the Chief said -
BAER
Excuse me.
Baer walks away from the cop, ignoring him completely. He
wanders through the carnage on the pier.
YELLOW 06/11/94
22.
20 MT. OCEAN
20
A half mile out from the pier.
The sea is choppy, stirred by the wind. An object floats into
view a few feet away, bobbing in the water.
It is A DEAD BODY - a man, face down, wearing a CHECKERED
BATHROBE. He drifts quietly toward the open ocean.
21 INT. HEARING ROOM - DAY - LOS ANGELES PRESENT 2:
Verbal Kint sits in a chair in front of a microphone attached
to a tape recorder, his brow beaded with sweat.
On the wall behind him is the seal of the STATE OF CALIFORNIA
He is cleaner, better kept, in a well-cut suit and neatly
trimmed hair. He looks older than he did in New York - worn
down.
A flurry of voices banter off screen. Verbal's eyes follow
the voices back and forth.
VOICE #1 (O.S.)
My client offers his full cooperation in
these proceedings. In exchange, his
testimony is to be sealed and all matters
incriminating to himself are to be
rendered inadmissible.
VOICE #2 (O.S.)
The district attorney's office will
comply provided -
VOICE #1
No provisions, nothing. My clients
testimony for his immunity.
VOICE #2
May-I be frank, Counselor? I suspect your
political power as much as I respect it.
I don't know why Mr. Kint has so many
faceless allies in City Hall, and I don't
care. The embarrassment he helped cause
the city of New York will not happen
here.
VOICE #1
Immunity.
YELLOW 06/11/94
22A.
VOICE #2
Counselor, I will prosecute your client.
VOICE #1
Then prosecute. I will be very impressed
to see if the District Attorney manages
to bring in twenty-seven simultaneous
counts of murder against one man with
cerebral palsy. I would think a man with
your job would agree with these alleged
"faceless people in City Hall" you
mention.
VOICE #2 1
One would think the counsel is veiling a
threat.
VOICE #1 +
Counsel isn't veiling anything.
VOICE #2
I'11 take my chances then. I'11 feel
safer without a job if a man like Mr.
Kint is behind bars.
VOICE #1
Mr. Kint will plead guilty to weapons
possession.
VOICE #2
You're joking.
VOICE #1
Weapons. Misdemeanor one.
VOICE #2
Counselor, you're insulting me.
VOICE #1
Counselor, you're bluffing. Shall I push
for misdemeanor two?
Voices mumble off screen. Verbal fidgets in his chair.
VOICE #2 +
Misdemeanor one. Fine. This is
ludicrous.
A tiny smile and a genuine look of disbelief flash across
Verbal's face.
YELLOW 6/11/94
22B.
VOICE #2 (CONT'D)
(Clearing throat)
As for the rest of the charges grand
larceny, arson... murder - the district
attorney will accept the subject's
testimony in connection with the above
mentioned events and in exchange will
offer complete immunity. The
transcript... The transcript of said
testimony will be sealed and all matters
incriminating to Mr. Kint will be
rendered inadmissible.
Verbal lets out a long-held sigh of relief.
22 INT. POLICE STATION - HALLWAY - DAY
22
David Kujan is walking quickly beside SERGEANT RABIN, a dark
and weathered looking man in his late thirties. They move up
a staircase into the heart of police headquarters.
KUJAN
What do you mean I can't see him?
RAB IN
The D.A. came down here last night ready
to arraign before they even moved him to
county. Kint's lawyer comes in and five
minutes later, the D.A. comes out looking
like he'd been bitch-slapped by the
boogey man. They took his statement and
cut him a deal.
KUJAN
Did they charge him with anything?
RAB IN
Weapons. Misdemeanor two.
KUJAN
What'the fuck is that?
Rabin motions for Kujan to lower his voice. He points out
that they are walking through a bullpen filled with desks
where a number of other police are working within earshot.
RABIN
I give the D.A. credit for getting that
much to stick. This whole thing has
turned political. The Mayor was here -
the chief - the Governor called this
morning, for Christ's sake. This guy is
YELLOW 06/11/94
220.
RABIN (cont'd)
protected - From up on high by the prince
of fucking darkness.
KUJAN
When does he post bail?
RAB IN
Two hours, tops.
KUJAN
I want to see him.
Rabin comes to an office door with his name on it. He opens
it and lets Kujan in before following.
PINK 06/07/94
23-24.
23 INT. RABIN'S OFFICE 23
RABIN +
Dave, please.
Rabin's office can only be described as a disaster area. The
desk is cluttered with weeks, perhaps months or even years of
paperwork that could never conceivably be sorted out.
Above his desk is a bulletin board. It is a breathtaking
catastrophe of papers, wanted posters, rap-sheets, memos and +
post-its. This is in the neighborhood of decades. Rabin is a
man with a system so cryptic, so far beyond the comprehension
of others, he himself is most likely baffled by it.
RABIN (CONT'D)
Even if I was to let you talk to him, he
won't talk to you. He's paranoid about
being recorded and he knows the
interrogation rooms are wired
KUJAN
This won't be an' interrogation, just a...
friendly chat to kill time.
RAB IN
(enunciating)
He won't go into the interrogation room.
KUJAN
Someplace else, then.
RAB IN
Where?
Kujan looks around Rabin's messy office.
RABIN (CONT'D)
No, no, no, no, no.
KUJAN
If it was a dope deal, where's the dope,
if it was a hit, who called it in?
RABIN
And I am sure you have a host of wild +
theories to answer these questions.
KUJAN
You know damn well what I think.
YELLOW 06/11/94
24A.
RABIN
That's crazy, Dave and it doesn't matter.
He has total immunity and his story
checks out. He doesn't know what you want
to know.
KUJAN
I don't think he does. Not exactly, but
there's a lot more to his story. I want
to know why twenty-seven men died on that
pier for what looks to be ninety-one
million dollars worth of dope that wasn't
there. Above all, I want to be sure that
Dean Keaton is dead.
RAB ZN
He's dead.
KUJAN
Two hours. Just until he makes bail.
RAB IN
They're all dead. No matter how tough you r.
say this Keaton was, no one on that boat
could've made it out alive.
PINK 06/07/94
25-29.
24 INT. HOSPITAL - DAY 24
A door marked INTENSIVE CARE.
The door BURSTS OPEN. SUDDENLY, the hallway is a flurry of
activity.
DOCTOR LISA PLUMBER, age fifty, walks quickly beside JACK
BAER .
Baer walks with all of the determination of a battalion of
Chinese infantry.
DOCTOR RIDGLY WALTERS, a young intern in his late twenties
rushes up to them.
PLUMBER
Ridgly, this is Special Agent Jack Baer
from the F.B.I. Agent Baer, this is
Doctor Ridgly Waiters.
RIDGLY
Nice to meet you.
BAER
Is he talking?
RIDGLY
He regained consciousness less than an
hour ago. He spoke - not English - then
he lapsed.
BAER
Hungarian?
YELLOW 06/11/94
30.
RIDGLY
I don't
BAER
It was Hungarian. Most of them were
Hungarians. Any fluent Hungarians on your
staff?
RIDGLY
We have a Turkish audiologist.
Ridgly opens a door and Baer barrels through.
25 INT. HOSPITAL ROOM 25
(<< .. DENOTES LINES SPOKEN IN HUNGARIAN) +
Baer comes to an abrupt halt at the foot of a bed surrounded
by a massive tangle of medical equipment. In the center of it
all is the as yet unnamed ARKOSH KOVASH, mid-thirties. His
body is nearly mummified in bandages and plaster from waist
to chin.
BOLD IS OVERLAPPED:
KOVASH s
<<Are you the police? I need the
police. He'll find out I'm here and
he'll kill me. I need the police. I
will tell them anything they want to
know. Please, I am going to be
killed.>>
BAER
will he die?
PLUMBER
There's a chance.
Baer walks over to Rovash and kneels down on the bed beside
him.
He looks closely at his battered and scalded face. He listens
to him far a moment. Kovash goes on incessantly.
KOVASH
<<Find someone who understands me,
you idiot, I'm going to be killed,
You'll all be killed if he has to do
it. Help me, God. They're all stupid.
Get someone who understands me or
we're all going to die.>>
YELLOW 06/11/94
30A.
Baer pulls a cellular phone out of his jacket and dials.
BAER
Call hospital security and put a man on
the door until the police get here.
KOVASH
<<Why are you just standing there,
you idiot? I'm not speaking English
am I? Wouldn't it make sense to find
someone who could talk to me so you
could find the person that set me on
fire, perhaps? He is the Devil.
You've never seen anyone like Keyser
Soze in all your miserable life you
idiot. Keyser Soze. Do you at least
understand that? Keyser Soze. The
Devil himself. Or are you American
policemen io stupid that you haven't
even heard of him. Keyser Soze, you
ridiculous man. KEYSER SOZE . >>
BLUE 06/01/94
31.
Ridgly runs out of the room. Kovash babbles louder and
louder, trying to get Baer's attention. Baer sticks a finger
in one ear to block him out and hear the phone.
PLUMBER
Is he dangerous?
BAER
Yes.
Someone picks up on the other end of the phone.
BAER (CONT'D)
Joel, it's Baer. I'm down at L.A. county.
The guy they pulled out of the harbor is
ARKOSH Kovash... Yes, I'm sure... No,
he's all fucked up... What? I can't hear
you.
(To Arkosh)
Shut up, Hugo, I'm on the phone.
(Into Phone)
Yes... No... Not until I put someone on
him. Listen, I need you to send me
someone who can speak Hungarian. He's
awake and talking like a Thai hooker...
How should I know? Get me someone who can
talk to him -
Baer is suddenly distracted by something Kovash has said. In
the middle of a long string of unintelligible dialect, he has
spouted two words that have gotten Baer's attention.
He turns and looks down at the tattered man in the bed.
Kovash realizes Baer is listening and says the two words
again.
KOVASH
Keyser - Soze.
BAER
What?
He waves his hand, gesturing for Kovash to say it again.
KOVASH
Keyser - Soze.
BAER
No shit?
(Into Phone)
Joel, call Dan Metzheiser over at Justice
and find Dave Kujan from Customs.
YELLOW 06/11/94
32.
2 INT. HALLWAY - POLICE STATION 26
Rabin walks out of a small room. Behind him, we catch a
glimpse of a workroom with a bench covered with wires.
Kujan comes out a moment later, gently fixing his tie.
Rabin opens the door to his office and Kujan enters. Rabin
follows, looking up and down the hall before closing the door
behind them.
As the door closes we can just make out the back of Verbal's
head. He is seated in Rabin's office, smoking a cigarette.
27 INT. RABIN'S OFFICE 27
Kujan and Rabin sit down across from Verbal.
YELLOW 06/11/94
34.
KUJAN
(Exasperated)
Verbal, you know we're trying to help
you.
VERBAL
Sure. And I appreciate that. And I want
to help you, Agent Kujan. I like cops. I
would have liked to have been a Fed
myself but my C.P. was -
KUJAN
Verbal, I know you know something. I know
you're not telling us everything.
VERBAL
I told the D.A. everything I know.
28
28 INT. WORKSHOP
Rabin stands over LOUIS, a messy looking technician at his
workbench in a room full of electronic equipment. He adjusts
several dials on a receiver until the voices of Kujan and
Verbal come clearly through a tinny speaker on the wall.
Rabin reaches over for a nearby pot of coffee.
KUJAN (VOICE)
I know you liked Keaton I know you think
he was a good man.
VERBAL (VOICE)
I know he was good.
KUJAN (VOICE)
He was a corrupt cop, Verbal.
29 INT. RABIN'S OFFICE 29
VERBAL
Sure. Fifteen years ago, but he was a
good thief Anyway, the cops wouldn't let
him go legit.
KUJAN
Keaton was a piece of shit.
VERBAL
You trying to get a rise out of me, Agent
Kujan?
YELLOW 06/11/94
34A.
KUJAN
I just want to hear your story.
YELLOW 06/11/94
35.
VERBAL
It's right here.
He taps a finger on the stack of paper that Kujan brought in.
Kujan picks it up and thumbs through it.
KUJAN
According to your statement you are a
short-con operator. Run of the mill
seams. Everything you do, you learned
from somebody else.
VERBAL
That's been suppressed. Anything in there
is inadmissible.
KUJAN
Oh, I know. Sweet deal you have. Total
immunity .
VERBAL
(laughing)
Well I do have the weapons charge. I'm
looking at six whole months hard time.
KUJAN
(smiling)
You know a dealer named Ruby Deemer,
Verbal?
VERBAL
You know a religious guy named John Paul?
KUJAN
You know Ruby is in Attica?
VERBAL
He didn't have my lawyer.
KUJAN
I know Ruby. He's very big on respect.
Likes me very much.
Verbal sees this getting to something. His smiles fades.
KUJAN (CONT'D)
Now I know your testimony was sealed.
Ruby is well connected. He still has
people running errands for him. What do
you think he'd say if he found out you
dropped his name to the D.A.?
SCRIPT DATE 5/25/94
36.
VERBAL
There's nothing in there about Ruby.
KUJAN
I'11 be sure to mention that to him.
Verbal is not smiling anymore. He stares at Kujan with utter
contempt, knowing he is being shafted.
KUJAN (CONT'D)
The first thing I learned on the job,
know what it was? How to spot a murderer.
Let's say you arrest three guys for the
same killing. Put them all in jail
overnight. The next morning, whoever is
sleeping is your man. If you're guilty,
you know you're caught, you get some rest
- let your guard down, you follow?
VERBAL
No.
KUJAN
I'11 get right to the point. I'm smarter
than you. I'11 find out what I want to
know and I'11 get it from you whether you
like it or not.
VERBAL
I'm not a rat.
Kujan puts his hand on the transcript of Verbal's confession.
Rabin walks in with a cup of coffee. Verbal takes it with his
good hand and sips it with a relish.
VERBAL (CONT'D)
Ahhh. Back when I was picking beans in
Guatemala we used to make fresh coffee.
Right off the trees I mean. That was
good. This is shit, but hey...
RAB IN
Can we get started again?
KUJAN
Now what happened after the line-up?
Verbal sneers at Kujan, unable to change the subject.
BLUE 06/01/94
37.
30 EXT. POLICE STATION - NIGHT - NEW YORK - SIX WEEKS PRIOR 30
Keaton stops at the top of the front steps of the police
station and lights a cigarette. Edie comes out behind him,
fuming mad.
EDIE
...and the desk Sergeant is actually
trying to tell me he can't release you?
Can you believe that? You weren't even
charged. New York police - Jesus. I want
to take pictures of your face to bring to
the D.A. first thing in the morning.
KEATON
Just forget about it.
He looks across the street and sees Fenster and McManus
talking by a newsstand. McManus is thumbing through
magazines.
EDIE
Absolutely not.
Keaton looks to his right and sees Hockney trying to hail a
cab.
EDIE (CONT'D)
I'11 have this thing in front of a grand
jury by Monday.
KEATON
Edie, please. I don't want to hear this
right now. What did Renault and Fortier
say?
EDIE
They want more time to think about
investing.
KEATON
Goddamnit.
EDIE
They just said they wanted time.
KEATON
Time for what, Edie? Time to look into me
a little more, that's what. No matter how
well you cover my tracks now, they'll
find out who I am.
SCRIPT DATE 5/25/94
38.
EDIE
Give me some credit. I got you this far,
let's go to the grand jury. This is never
going to stop if we -
KEATON
No. It's never going to stop, period. It
won't take more than a week before every
investor in this city is walking away
from us. It's finished. I'm finished.
Just then, Verbal bumps into him on his way out the door. He
excuses himself and hobbles down the steps, oblivious to who
he has bumped into as he tries to navigate the stairs.
EDIE
Don't give up on me now, Dean.
KEATON
They'll never stop.
EDIE
I love you.
KEATON
(To himself)
They ruined me tonight.
EDIE
Dean, I love you. Do you hear me?
Verbal gets to the sidewalk and stops. He turns, realizing it
is Keaton on the steps.
EDIE (CONT'D)
Let's just go to my place. We'll worry
about this tomorrow.
Keaton and Verbal look at one another for a moment. Keaton
then looks over to the newsstand and sees Fenster looking at
him.
KEATON
Huh?
McManus notices Fenster and glances up from his magazine to
see what he is looking at. +
EDIE
Come home with me, please. Dean?
SCRIPT DATE 5/25/94
39.
Keaton looks at Hockney who has one foot in a cab. He is
looking at Fenster and McManus who are looking at Keaton.
This makes Hockney look up at Keaton as well.
SUDDENLY, Edie tunes in to what is going on. She notices the
others on the street. She reaches over and takes Keaton by
the arm, pulling gently. She glares at the others.
EDIE
Come home, Dean.
KEATON
(Distant)
Alright.
Verbal looks at everyone else from where he stands on the
street. Fenster, McManus and Hockney all look at him and then
at each other. It is a strange moment of unspoken
understanding.
All eyes finally turn to Keaton, high on the front steps of
the police station as he walks away with Edie.
31 INT. HALLWAY - DAY 31
Verbal stands in front of an apartment door. He hesitates for
a long moment before he knocks.
After a moment, the door opens and Keaton stands on the other
side of it. He is wearing a bathrobe and smoking a cigarette.
He looks at Verbal without any expression whatsoever.
KEATON
What are you doing here'! How did you find
me?
VERBAL
I just asked one of the detectives
downtown. He seemed pretty happy to tell
me.
Keaton curses under his breath and motions for Verbal to come
in.
32
32 INT. EDIE'S APARTMENT
Verbal walks in and sits down on the couch, watching Keaton
cautiously. He looks around the large apartment, beautifully
furnished and decorated.
SCRIPT DATE 5/25/94
40.
Edie walks into the room in a man's button-down shirt and
sweat pants.
EDIE
Dean, who was at the
She stops when she sees Verbal. Verbal stands and smiles
nervously.
VERBAL
How do you do?
KEATON
Verb - Roger, this is Edie Finneran.
Edie, this is Roger Kint, he was at
EDIE
(Cold)
I know who he is.
VERBAL
I hope I didn't disturb you.
EDIE
I hope so, too, Mr. Kint. Can I get you
something to drink?
VERBAL
A glass of water would be nice.
Edie shoots a look at Keaton on her way out of the room.
Keaton tries to hush his voice despite his anger.
KEATON
What the hell do you want?
VERBAL
I wanted to talk to you. The other guys -
KEATON
I did you a favor by standing up for you
last night, but don't think we're
friends. I'm sorry, but I have other
things -
VERBAL
They're gonna do a job. Three million
dollars, maybe more.
Keaton is speechless. Verbal sits on the couch again.
SCRIPT DATE 5/25/94
41.
VERBAL (CONT'D)
They sent me to offer you a cut. We could
use a fifth man - a driver - That's all
you'll do.
Edie walks in with a glass of ice water and hands it to
Verbal.
VERBAL (CONT'D)
Thank you.
Verbal drinks slowly. Edie stands over him, her face blank.
It is an awkward moment. She deliberately makes Verbal
uncomfortable.
LONG PAUSE - FINALLY:
EDIE
So what is it you do, Mr. Kint?
VERBAL
Umm ...
EDIE
A hijacker like Dean, here? Or something
more creative?
KEATON
That's enough, Edie.
EDIE
(Angry)
I don't know what you came here for, but
we won't have any part of it.
KEATON
Edie, please.
Keaton takes Edie by the arm and tries to guide her toward
the other room. She pulls away, anger turning to rage.
EDIE
I've spent the last year of my life
putting his back together again - I won't
have you come in here and - What makes
you think - GET OUT. GET OUT OF m HOME.
HOW DARE YOU COME HERE?
Keaton is pulling her now. She yanks her arm away and shoves
him.
YELLOW 06/11/94
42.
EDIE
Don't touch me. Just don't,
She turns and walks out of the room. Somewhere in the back of
the apartment, a door slams.
Keaton turns and glares at Verbal. Verbal cringes.
KEATON
Get out.
VERBAL
If you'll just let me -
SUDDENLY, KEATON LUNGES. He grabs Verbal by the lapels and
lifts him off the couch, moving him effortlessly across the
room and slamming him into the wall next to the front door.
He opens it.
VERBAL (CONT'D)
Don't hurt me.
KEATON
(Seething)
Hurt you, you sonofabitch? I could kill
you.
Keaton starts to shove Verbal out the door.
VERBAL
(Quickly)
They're going to hit the Taxi Service.
Keaton freezes. LONG PAUSE.
VERBAL
New York's Finest Taxi Service.
KEATON
They - That's bullshit. They don't
operate anymore.
VERBAL
McManus has a friend in the Fourteenth
Precinct. They're coming out for one job
- Thursday. They're picking up a guy
smuggling emeralds out of South America.
Fenster and McManus have a fence set to
take the stuff.
YELLOW 06/11/94
43.
KEATON
What fence? Who?
VERBAL
Some guy in California. His name is
Redfoot.
KEATON
Never heard of him.
Keaton moves to throw Verbal out. Verbal grabs Keaton and
holds tight.
VERBAL
You have to come.
KEATON
What's with you? What do you care whether
I come or not?
VERBAL
They - They don't know me. You do. They
won't take me unless you go. Look at me.
I need this.
KEATON
Tough break.
VERBAL
Don't tell me you don't need this. Is
this your place?
Keaton is unable to answer.
VERBAL (CONT'D)
They're never going to stop with us, you
know that. This way we hit the cops where
it hurts and get well in the mean time.
Keaton lets Verbal go and steps back, thinking.
VERBAL (CONT'D)
As clean as you could ever get, they'll
never let you go now.
SCRIPT DATE 5/25/94
44.
VERBAL (cont'd)
I'm not knocking you. You look like
you've got a good little seam going with
this lawyer -
WHAM. Keaton punches Verbal in the stomach and drops him to
one knee. Verbal coughs and tries to find his breath.
KEATON
You watch your mouth.
VERBAL
(Gasping)
Okay, okay. You say it's the real thing?
That's cool.
Keaton reaches for Verbal. Verbal flinches. Keaton gently
helps him up and guides him to the couch. They bath sit.
Keaton reaches for a pack of cigarettes and lights one for
each of them.
KEATON
I apologize.
Verbal takes one and has a few drags, catching his breath and
rubbing his stomach in pain.
FINALLY:
VERBAL
I was out of line.
KEATON
You okay?
VERBAL
I'11 be alright.
KEATON
Well, I'm sorry.
VERBAL
Forget it.
(Beat)
I'11 probably shit blood tonight.
Keaton laughs. Verbal thinks about it for a moment and laughs
with him.
Keaton's laughter trails off. He thinks for a moment.
SCRIPT DATE 5/25/94
45.
KEATON
How are they going to do it?
VERBAL
McManus wants to go in shooting. I said
no way.
KEATON
Fenster and Hockney?
VERBAL
They're pretty pissed off. They'll do
anything. Now I got a way to do it
without killing anyone:
but like I said,
they won't let me in without you.
KEATON
Three million?
VERBAL
Maybe more.
KEATON
No killing?
VERBAL
Not if we do it my way.
LONG PAUSE
KEATON
(Lost in thought)
I swore I'd live above myself.
Verbal smiles, knowing he has him.
33 EXT. KENNEDY AIRPORT - DAY 33
VERBAL (V.O.)
New York's finest Taxi Service was not
your normal taxi service. It was a ring
of corrupt cops in the N.Y.P.D. that ran
a high-profit racket, driving smugglers
and drug dealers all over the city. For a
few hundred dollars a mile, you got your
own black and white and a police escort.
They even had their own business cards.
OSCAR WHITEHEAD, a tall gray-haired man in his fifties comes
out of the international terminal in a white linen suit. He
holds a large suitcase in his right hand.
BLUE 06/01/94
46.
VERBAL (V.O.)
After a while, somebody started asking
questions and the taxi service shut down.
Ever since then, Internal Affairs had
been waiting to catch them in the act.
Oscar stands on the curb long enough to light a cigarette.
After a moment, a POLICE CRUISER pulls up to him. He opens
the back door and gets in.
VERBAL (V.O.)
And that was how we started. McManus came
to us with the job; Fenster got the vans;
Hockney supplied the hardware; 'I came
through with how to do it so no one got
killed - but Keaton - Keaton put on the
finishing touch. A little "Fuck you" from
the five of us to the N.Y.P.D.
The car drives out of the airport. A VAN follows at a
distance.
34 INT. POLICE CAR 34
SERGEANT JIM STRAUSZ, a meaty, imposing looking man in his
forties drives the car. Beside him is a thin, greasy looking
PATROLMAN, STEVE RIZZI. They are two drivers for New York's
Finest Taxi Service.
RIZZI
How was the flight?
Oscar hands Rizzi a thick envelope.
OSCAR
Will that get me to the Pierre?
Rizzi counts the stack of hundred dollar bills in the
envelope .
RIZZI
That'll get you to Cape God.
The two men laugh. Strausz watches the road, expressionless.
35 EXT. HIGHWAY 35
The cruiser heads towards the heart of Manhattan.
YELLOW 06/11/94
47.
36 EXT. STREET - LATER
36
The police car makes its way down a wide, abandoned street. A
WHITE MINIVAN pulls out behind it and heads the same way.
37 INT. POLICE CAR
37
Strausz looks in the rear-view mirror. The white minivan is
flashing his high-beams.
STRAUSZ
What the
RIZZI
LOOK OUT.
Strausz looks in front of him. A green minivan swerves in
front of them from out of nowhere. Strausz slams on the
brakes and skids to a halt. The white minivan rams them from
behind.
Strausz and Rizzi are stunned for a moment as two more vans
screech up on either side of the cruiser, boxing it in with
only a few inches between them.
The cruiser is surrounded on all sides.
SUDDENLY, SHOTGUN BARRELS come through the open windows. They
come to rest, one on Strausz's left temple one on Rizzi's
right. RIZZI looks out of the corner of his eye.
He sees the driver of the van next to him holding the shotgun
with one hand. A stocking is over the driver's head.
Strausz looks straight ahead. The minivan in front of them is
missing a back window. Another man with a stocking on his
head aims a sub-machine gun at them from inside.
By the twisted right hand holding the front of the gun, we
know it is Verbal.
Strausz and Rizzi raise their hands without being asked.
38 EXT. STREET 38
The driver of the white van gets out with a gallon jug in one
hand and a sledge hammer in the other.
Moving like lightning, he jumps onto the roof of the police
car
SCRIPT DATE 5/25/94
48.
'He stands on the front of the roof and swings the hammer
down.
39 INT. POLICE CAR
39
SMASH
The hammer punches three huge holes in the windshield and
finally caves it in. Strausz and Rizzi are covered with
pebbles of broken glass. Whitehead clutches his bag in the
back seat. He trembles in terror.
The man standing on the roof doubles over and sticks a gun in
Strausz's face. His face hangs upside down and looks gruesome
- covered from the mouth up in a stocking. By the voice, we
know it is McManus.
McManus
GIVE ME THE SHIT.
STRAUSZ
Give it up.
Oscar hands the suitcase up front and Strausz passes it to
McManus.
40 INT. FRONT VAN
40
Through the front windshield of the front van we see Keaton
at the wheel. Verbal is behind him leaning out the back
window.
Beneath Keaton's stocking mask we see he is trembling and
sweating - sickened by what he is doing.
He glances up at the rear-view mirror and looks at the scene
outside. He looks down at the floor in shame, shaking his
head.
41 INT. POLICE CAR 41
McMANUS
The money.
Strausz looks at Rizzi.
McMAMJS (CONT'D)
THE MONEY. LET'S HAVE IT.
Rizzi hands the money through the remains of the windshield.
YELLOW 06/11/94
49.
McManus takes the money and stuffs it in his jacket. He steps
back and takes the cap off of the gallon jug. He quickly
pours some kind of liquid all over the roof of the car.
STRAUSZ
Do you know who I am?
A hand reaches into the driver's side window and rips
Strausz's badge off of his shirt.
Strausz dares to turn his head right at the shotgun pointing
at him through the window. On the other end is a masked and
smiling Todd Hockney.
HOCKNEY
We db now, Jerk-off.
McManus lights a pack of matches and drops them on the roof
of the car as he jumps off. THE LIQUID IGNITES, the roof of
the car is instantly in flames.
Strausz and Rizzi attempt to bail out, but the vans are too
close for them to open the doors.
The vans pull away.
Strausz and Rizzi escape from the car.
Oscar is trapped inside, SCREAMING.
Strausz and Rizzi stop, each expecting the other to go let
Oscar out.
42 EXT. STREET - LATER 42
The scene is swarming with fresh police cars. Strausz and
Rizzi are fielding questions from a dozen other cops.
Photographers are everywhere.
VERBAL (V.O.)
The papers got Keaton's call that day and
were on the scene before the cops were.
Strausz and Rizzi were indicted three
days later. Within a few weeks, fifty
more cops went down with them. It was
beautiful. Everybody got it right in the
ass, from the chief on down.
YELLOW 06/11/94
50.
43 INT. GARAGE - NIGHT
43
Hockney, Fenster, McManus and Verbal are all laughing in a
secluded garage. They are still in their black clothes from
the robbery. Hockney is throwing everyone a can of beer.
Keaton sits off by himself. He watches the others, unable to
join in the festivities.
The others sit around a cheap card table. It is covered with
emeralds. Dozens of them. Everyone is in awe.
McManus
There's more than I thought.
HOCKNEY
When does the fence come?
McMANUS
Redfoot? He never comes to see me. I have
to go see him.
VERBAL
In California?
McMANUS
Yeah. It'll take a few days. Me and
Fenster
HOCKNEY
Hold the fuckin' phone. You and Fenster?
No, no, no.
McMANUS
Guys, come on.
HOCKNEY
I'm sure you can understand my
hesitation.
FENSTER
Then who goes?
HOCKNEY
We all go. How about it, Keaton?
All eyes turn to Keaton. He comes out of his trance.
KEATON
We need to lay low for a while.
YELLOW 06/11/94
51.
McMANUS
Fine with me.
PAUSE
Everyone looks at each other, their moment of distrust
blowing over. All eyes drift back to the emeralds on the
table.
Hockney begins to snicker, then McManus, then Fenster. Verbal
joins in at last.
McManus grabs Verbal and hugs him, shaking him violently.
McMANUS (CONT'D)
My boy with the plan.
SUDDENLY, everyone yells and pours beer over Verbal's head.
He laughs as he is drenched in white foam, nearly choking as
the others chant his name.
Keaton watches from across the room, trying to smile in vain.
44 SCENE DELETED 44'
45 INT. WAITING ROOM - LAW OFFICE - DAY 45'
Keaton and Verbal sit side by side on a sofa. A sign on the
door behind them reads: MONTGOMERY and LaGUARDIA - ATTORNEYS
AT LAW.
VERBAL
We're going to miss the flight.
KEATON
We'll make it.
VERBAL
Don't do this. Send her a card -
something.
KEATON
We'll make it.
VOICE (O.S.)
Ms. Finneran will be with you in a
moment.
Keaton stands and paces across the waiting room. He comes to
a set of glass doors and looks through them.
YELLOW 06/11/94
51a.
Keaton realizes he is standing on a balcony overlooking a
library below.
He sees Edie working in the library with an old woman. The
two women talk for a moment.
SUDDENLY, Keaton turns with a start. Verbal is standing
behind him.
VERBAL
We're gonna miss the plane.
(beat)
She'll understand.
YELLOW 06/11/94
52.
Edie is smiling and laughing with the old woman.
Keaton's face is marked with guilt and anguish.
Keaton turns and walks out of the waiting room. Verbal takes
one last glance at Edie and turns back to Keaton.
46
46 INT. LIBRARY
Edie seems to sense something behind her. She turns and looks
through the glass doors and up into the waiting room.
NOTHING IS THERE. She goes back to chatting with the old
woman.
47 INT. RABIN'S OFFICE -DAY - LOS ANGELES - PRESENT 47
KUJAN
Heartwarming. Really, I feel weepy.
VERBAL
You wanted to know what happened after
the line-up, I'm telling you.
KUJAN
Oh come on, Verbal. Who do you think
you're talking to? You really expect me
to believe he retired? For a woman?
Bullshit. He was using her.
VERBAL
He loved her.
KUJAN
Sure. And I'm supposed to believe that
hitting the Taxi Service wasn't his idea
either.
VERBAL
That was all Fenster and McManus.
KUJAN
Come on. Keaton was a cop for four years.
Who else would know the Taxi Service
PINK 06/07/94
53.
KUJAN (cont'd)
better? That job had his name all over
it.
VERBAL
You keep trying to lay this whole ride on t
Keaton. It wasn't like that. Sure he
knew, but Edie had him all turned around. r
I'm telling you straight, I swear. +
KUJAN
Let me tell you something. I know Dean
Keaton. I've been investigating him for
three years. The guy I know is a cold- +
blooded bastard. L.A.P.D. indicted him on
three counts of murder before he was
kicked off the force, so don't sell me
the hooker with the heart of gold. +
VERBAL
You got him wrong.
KUJAN
Do I? Keaton was under indictment a total +
of seven times when he was on the force. +
In every case, witnesses either reversed +
their testimony to the grand jury or died +
before they could testify. When they t
finally did nail him for fraud, he spent +
five years in Sing Sing. He killed three
prisoners inside - one with a knife in
the tailbone while he strangled him to
death. Of course I can't prove this but I
can't prove the best part either.
Kujan pauses to drink some coffee.
KUJAN (CONT'D)
Dean Keaton was dead. Did you know that? r
He died in a fire two years ago during an
investigation into the murder of a
witness who was going to testify against
him. Two people saw Keaton enter a
warehouse he owned just before it went
up. They said he had gone in to check a +
leaking gas main. It blew up and took all
of Dean Keaton with it. Within three
months of the explosion, the two
witnesses were dead, one killed himself
in his car and the other fell down an
open elevator shaft.
PINK 06/07/94
53A.
48
48 SCENE DELETED
49 SCENE DELETED/DIALOGUE MOVED - BOTTOM SCENE 47 49
PINK 06/07/94
54.
50 INT. WORKSHOP 50
Rabin and Louis look at one another as they listen.
KUJAN (On Speaker)
Six weeks ago I get an anonymous call
telling me I can find Keaton eating at
Mondino's with his lawyer, and there he
is. Now because he never profited from
his alleged death and because someone
else was convicted for the murder we
tried to pin on Keaton, we had to let him
go.
51 INT. RABIN'S OFFICE 51
KUJAN (CONT'D)
He was dead just long enough for a murder
rap to blow over, then he had lunch.
SCRIPT DATE 5/25/94
55.
VERBAL
I don't know about that.
KUJAN
I don't think you do. But you say you saw
Keaton die. I think you're covering his
ass and he's still out there somewhere. I
think he was behind that whole circus in
the harbor. My bet is he's using you
because you're stupid and you think he's
your friend. You tell me he's dead, so be
it. I want to make sure he's dead before
I go back to New York.
VERBAL
(Blurting)
He wasn't behind anything. It was the
lawyer.
KUJAN
What lawyer?
PAUSE
KUJAN (CONT'D)
What lawyer, Verbal?
Verbal stammers for a moment, looking around wildly.
VERBAL
Back when I was in that barber shop
quartet in Skokie, Illinois I used to
have
Kujan grabs Verbal's shirt and yanks him half out of his
seat.
KUJAN
You think I don't know you held out on
the D.A.? What did you leave out of that
testimony? I can be on the phone to Ruby
Deemer in ten minutes.
VERBAL
The D.A. gave me immunity.
KUJAN
NOT FROM ME, YOU PIECE OF SHIT. THERE IS
NO IMMUNITY FROM ME. You atone with me or
the world you live in becomes the hell
you fear in the back of your tiny mind.
Every criminal I have put in prison,
YELLOW 06/11/94
56.
KUJAN (cont'd)
every cop who owes me a favor, every
creeping scumbag that works the street
for a living, will know the name of
Verbal Kint. You'll be the lowest sort of
rat, the prince of snitches, the loudest
cooing stool pigeon that ever grabbed his
ankles for the man. Now you talk to me,
or that precious immunity they've seen so
fit to grant you won't be worth the paper
the contract put out on your life is
printed on.
Verbal looks at Kujan with utter contempt.
VERBAL
There was a lawyer. Kobayashi.
KUJAN
Is he the one that killed Keaton?
VERBAL
No. But I'm sure Keaton's dead.
KUJAN
Convince me. Tell me every last detail.
52 SCENE DELETED 52
53 INT. HOSPITAL - DAY 53
(<< >> DENOTES LINES SPOKEN IN HUNGARIAN) +
Kovash's room is now filled with people. Jack Baer stands
next to DANIEL METZHEISER, a balding man in his forties. Next
to him is Doctor Plumber. Across from her is Ridgly Waiters.
Sitting beside the bed is TRACY FITZGERALD, a casually
dressed woman in her late twenties. She holds a 15x20 inch
drawing pad on her lap.
Police fill the hall. People are talking loudly outside.
LIONEL BODI, a cop in his mid-twenties pushes his way in.
BAER
Are you the translator?
BODI
Patrolman Lionel Bodi, sir.
YELLOW 06/11/94
57.
PLUMBER
Agent Beer, this is getting out of hand.
BAER
I'11 see to it we're gone before he blows
his porch light, Doctor.
Baer gestures to Tracy.
BAER
(To Bodi)
This is Tracy Fitzgerald. She's a
composite sketch artist from county.
The young couple smile at one another nervously.
BODI
Hi.
TRACY
Hi.
METZHEISER
(Impatient)
I've got a noon meeting, Baer.
PLUMBER
Agent Baer, please.
BAER
Everyone calm down.
(To Bodi)
Ask this man about the shoot-out in the
harbor.
BODI
<<My name is Bodi. How are you'>>
Kovash smiles with relief when he hears his own language.
KOVASH
<<How am 17 You are as stupid as that
one, but at least I can talk to you.>>
BODI
<<You'll be alright. He is from the
F.B.I. He is here to help you. He wants
to know what happened in the harbor.>>
KOVASH
<<We were there to buy a man and take him
back to Hungary.>>
YELLOW 06/11/94
57A.
BODI
He says they were buying It doesn't
make sense. I'm sorry, I'm a little
rusty. They were there to buy something.
BAER
Dope, we know.
KOVASH +
<<You don't understand me either? God
help me, they are all idiots. s
(talking slowly) +
We were there to buy a man, you simple
boy. A witness. I don't know his name. A
witness who knew the Devil.>>
BODI
Not dope. Something else. Some what?.. He
doesn't knob what they were buying. But
not dope... people.
KOVASH
<<I'll tell you everything. I'11 even say
it slow enough for you to understand it.
Just tell this man I want protection.
Real protection.>>
YELLOW 06/11/94
58.
METZHEISER
Your witness is whacked, Baer.
BODI
He says he'll tell us everything he knows
if we protect him.
.BAER
Tell him fine.
BODI
<<He says that is fine.>>
KOVASH
<<No, no, no. I need a guarantee from the
ridiculous man. I am going to be killed.
I have seen the Devil and looked him in
the eye.>>
BODI
No good. He needs guarantees. He says...
his life is in danger... He has seen the
Devil... looked him in the eye.
METZHEISER
I'11 be on my way.
Baer grabs Metzheiser by the arm.
BAER
(To Bodi)
Tell him to tell this man what he was
telling me before. Who is the Devil? Who
did he see?
BODI
<<Who is this Devil you keep talking
about?>>
KOVASH
Keyser Soze He was in the harbor
shooting everyone in sight.>>
Metzheiser is suddenly interested.
BODI
He says he saw him in the harbor. He was
shooting... Killing... Killing many men.
METZHEISER
Did he say Keyser Soze? He saw Keyser
Soze
YELLOW 06/11/94
58A.
BODI
He says he saw him in the harbor. He was
shooting... Killing... Killing many men.
METZHEISER
Did he say Keyser Soze? He saw Keyser
Soze.
KOVASH
<<Keyser Soze. Keyser Sate. I've seen his
face. I see it when I close my eyes.>>
BODI
He says he knows his face. He sees it
when he closes his eyes.
YELLOW 06/11/94
59.
METZHEISER
Ask him what this Devil looks like.
BAER
(To Tracy)
Ready?
Tracy holds up her pad and pencil. She nods.
54 EXT. LOS ANGELES SKYLINE - DAY - FIVE WEEKS PRIOR
54
VERBAL (V.O.)
McManus' fence was this guy named
Redfoot. He had a good reputation around
L.A. Seemed like a good guy - Looked like
a cowhide full of thumbtacks.
55 EXT. FRIENDSHIP BELL - NIGHT 55'
All five guys stand in a group. It is utterly quiet.
An old but well kept Cadillac creeps into the lot from the
far end and idles up to them. The windows are tinted too much
to see in. The car passes within a few feet of them and
drives on.
A moment later, a chrome and leather monster of a Harley
Davidson pulls into the lot. The rider is dressed in an
almost comical array of leather, silver and suede.
He waves to the Caddy as it parks a few yards from Keaton and
the others. It sits quietly, almost menacing.
As he gets closer, we can see he is wearing one black boot
and one red. Keaton is still looking at them when the bike
pulls up to them and stops.
REDFOOT and McManus shake hands.
REDFOOT
How've you been?
McMANUS
Good. You?
REDFOOT
Alright. How's it going, Fenster?
FENSTER
Getting by.
SCRIPT DATE 5/25/94
60.
REDFOOT
You got it?
McManus holds up a briefcase.
Redfoot takes it and gets off the bike. He walks over to the
Caddy. The door of the Caddy opens. Redfoot hands the case to
Someone inside that we cannot see. The door closes.
KEATON
(Whispering)
Snazzy dresser this guy.
A moment later, the door of the Caddy opens again. Someone
hands Redfoot a different briefcase and he walks back over to
McManus.
He hands him the case.
McManus hands the case back to Hockney. Hockney opens it,
revealing the stacks of money inside.
REDFOOT
You must be Keaton.
McMANUS
Jesus, I'm sorry. Redfoot, this is Dean
Keaton, that's Todd Hockney, and that's
Verbal Kint.
REDFOOT
(To Verbal)
The man with the plan.
Verbal smiles.
REDFOOT (CONT'D)
Are you guys interested in more work?
McManus moves to answer, but Keaton cuts him off.
KEATON
We're on vacation.
REDFOOT
I've got a ton of work and no good
people.
McMANUS
What's the job?
SCRIPT DATE 5/25/94
61.
Keaton shoots McManus a foul look. McManus pretends not to
notice.
REDFOOT
A jeweler out of Texas named Saul. He
rents a suite at a hotel downtown and
does free appraisals. Buys whatever he
can. Word is he moves with a lot of cash.
I'11 take the merchandise, you keep the
green.
HOCKNEY
Security?
REDFOOT
Two bodyguards. Pretty good.
McMANUS
Give us time to check it out?
REDFOOT
I'd expect nothing less.
McMANUS
We'll call you.
REDFOOT
Take your time. Enjoy L.A.
KEATON
A friend of mine in New York tells me you
knew Spook Hollis.
REDFOOT
I hear you did time with old Spook. Yeah,
he was a good egg. I used to run a lot of
dope for him. Fuckin' shame he got
shivved.
KEATON
I shivved him.
Now McManus is shooting the angry look at Keaton.
KEATON (CONT'D)
Better you hear it from me now than
somebody else later.
REDFOOT
Business or personal?
SCRIPT DATE 5/25/94
62.
KEATON
A little of both.
REDFOOT
Ain't it a crime? Call if you're
interested.
Redfoot fires up his bike and takes off with the Caddy close
behind.
McMANUS
(To Keaton)
What's your fucking problem?
KEATON
One job, that was the deal.
McMANUS
Take it as it comes, brother.
KEATON
This is bullshit.
McManus laughs and walks away. Fenster and Hockney follow.
Verbal turns to Keaton.
VERBAL
What is it Keaton?
KEATON
(Distant)
Something - I don't know.
(Shaking himself)
I ever tell you about the restaurant I
wanted to open?
Keaton walks off. Verbal follows him in confusion.
VERBAL (V.O.)
L.A., was good for about two hours. We
were from New York. There's no place to
eat after one; you can't get a pizza that
doesn't taste like a fried fruit-bat, and
the broads don't want to know you if you
don't look like a broad. Within a few
days the last of us was ready to go back
to N.Y., but Keaton wouldn't have it, so
he really didn't have a choice. We went
to work.
YELLOW 06/11/94
63.
56
56 INT. PARKING GARAGE - NIGHT
McManus walks along a line of cars. He comes across a black
Mercedes and stops. He looks down at the license plate and
walks over to the next car, a green Honda. He pulls a slim-
jim out of his jacket and pops the lock an the Honda. He
reaches in and opens the hood. He walks around and sticks his
head in the engine.
57 INT. VAN 57
Verbal sits behind the wheel. Keaton is beside him. Hockney
and Fenster are in the back. They all watch McManus from
where they are parked a few dozen yards away.
58 INT. PARKING GARAGE 58
DING-DING
The elevator bell sounds at the far end of the garage. The
doors open. Two men in ill-fitting suits get out and look
around cautiously. The first is TUCCI, a big bellied, white
haired menace. The other is HIGHAM, lean and bad skinned.
They are bodyguards and give it away by their every careful
move.
They turn back to the elevator and motion to someone inside.
Out walks SAUL BERG, a slightly overweight man in his forties
with an open collar silk shirt and a thick gold chain on his
hairy chest. He carries a LARGE ALUMINUM BRIEFCASE.
He lets his guards do the worrying. He walks straight to his
car.
Saul passes McManus under the hood of the Honda. He takes out
his keys and pushes a button on his key chain. The Mercedes
beeps three times and tells Saul his alarm is off.
Tucci keeps an eye on McManus. Higham watches Saul.
McManus pretends to tinker with the car's engine. He has put
a pistol just inside the grill and keeps it within reach.
The van on the other side of the garage starts and pulls out
of the spot. It cruises over toward the Mercedes.
Tucci sees the van. He and Higham are suddenly busy trying to
keep track. They hear laughing behind them and turn around.
YELLOW 06/11/94
64.
FENSTER and HOCKNEY are walking towards them. They are
sporting mustaches and sunglasses in addition to matching
suits, each with loud plaid sport coats, decades out of
style. Saul glances at Tucci and Higham.
HIGHAM
Just get in the car Saul.
Under the hood of the Honda and out of sight, McManus pulls
on a black ski mask.
The van gets closer.
HOCKNEY
I get out of the car, and man if the
thing wasn't wrecked. And I see this
broad in the back seat with nothing on.
Saul gets in the car quickly but calmly as Fenster and
Hockney laugh and talk louder. They look drunk - The desired
effect.
HOCKNEY (CONT'D)
I'm laughing so hard I can't breathe -
Tucci and Higham try to take it all in stride. Saul's reverse
lights come on and he begins to back out of the spot.
HOCKNEY (CONT'D)
...And the fat guy comes out of the car
with his pants on backwards and says -
SUDDENLY, the van revs and screeches to a halt behind Saul's
Mercedes, blocking him in. Hockney and Fenster drop the drunk
act and snap to. They both pull out guns and start screaming.
HOCKNEY (CONT'D)
DON'T MOVE, YOU FUCKERS.
FENSTER
RIGHT THERE. FREEZE.
McManus comes up from under the hood.
Tucci and Higham throw their hands in the air. Hockney and
Fenster grab them and reach into their belts to get their
guns .
Keaton jumps out of the van and runs up to Saul's car, his
face covered in a ski mask. He yanks on the door handle but
it is locked. Saul sits in terror behind the wheel. Keaton
pulls out a pistol and smashes the window with it.
YELLOW 06/11/94
65.
KEATON
Give me the case.
Saul reaches over for the case. Keaton trains the gun on him.
SUDDENLY, Saul comes up with a pistol and points it at
Keaton. Keaton sidesteps and grabs his wrist. The gun goes
off into the fender of the Honda.
Hockney and Fenster both look over at the sound of the gun.
Tucci and Higham seize the opportunity. Tucci grabs Hockney,
Higham grabs Fenster. The four men grapple for the guns.
Fenster's gun falls to the floor. McManus picks it up. He
trains a pistol on each bodyguard and takes a breath. They
are some ten feet apart and moving erratically. Hockney and
Fenster constantly fall in the line of fire.
McManus walks around the four men, keeping a pistol trained
on each of the guards. Finally he comes to an angle where
they are all in front of him. One guard is a few feet away,
the other is ten feet past him.
McMANUS' P.O.V.
The closer of the two moves in and out of the sights of the
pistol in McManus' right hand, the one farther away does the
same with the left.
Verbal gets out of the van and moves towards them to help.
BOOM
Both of McManus' guns go off like one shot. Tucci and Higham
collapse, each with a bullet in his head
PAUSE
The only sound is Saul grappling with Keaton for the gun. His
arm is halfway out the window. His elbow rests in the door
frame.
Keaton cannot get the gun out of his hand. Finally, he pushes
down with all his weight. Saul's elbow breaks backwards on
the door frame. He screams in agony. The gun falls from his
hand.
BLUE 06/01/94
66.
All five of the men look at each other for an impossibly long
moment. The confusion is only aggravated by Saul's screaming.
SLOWLY, Keaton raises his pistol and aims it at Saul. His
hand trembles, his eyes squint to near slits. His finger
tenses and slacks off over and over again on the trigger.
BOOM
VERBAL SHOOTS SAUL. Keaton looks at him in surprise. Verbal
trembles more than he does.
The garage is silent.
HOCKNEY
What the hell?
McManus
Bad day. Fuck it.
DING-DING
The elevator light comes on. All five men look.
KEATON
Move.
Keaton reaches into the car and grabs Saul's case. Everyone
else piles into the van. Keaton gets in as Verbal is driving
for the exit.
59 INT. VAN 59
The mood in the van is grim. Everyone is silent. Keaton pops
the clasps on the case and opens it.
KEATON
Son of a bitch.
Everyone looks in the case. It is filled with cash on one
side. The other side is filled with clear plastic bags of
WHITE POWDER.
60 EXT. PARKING LOT - NIGHT 60
Keaton and the others stand in silhouette in front of the
lights of an oncoming car in the distance. We can make out
McManus loading a gun. +
KEATON
What are you doing?
YELLOW 06/11/94
67.
McMANUS
What does it look like? I'm going to kill
him.
KEATON
We did it your way. Now I'11 deal with
him.
MCMANUS
You gonna kill him?
KEATON
I'm going to deal with him.
The car, Redfoot's escort Caddy, is now in front of them.
The horn lets out three short blasts.
Redfoot comes around from behind the Caddy on his motorcycle.
He gets off the bike, trying to hide a faint smile.
McManus throws Saul's case on the ground in front of him.
McMANUS
What the fuck is this, Redfoot?
REDFOOT
Get a grip. I didn't know.
KEATON
You didn't know.
YELLOW 06/11/94
68.
REDFOOT
The job got thrown to me by this lawyer.
KEATON
Who is he?
REDFOOT
Some Limey. He's a middle-man for
somebody. He doesn't say and I don't ask.
KEATON
We want to meet him.
REDFOOT
He wants to meet you. He called last
night and asked me to set it up. What do
I tell him'
KEATON
Tell him we'll meet.
McMANUS
If you're lying, Redfoot...
REDFOOT
McManus, you're a real bad-ass, but get
off my tip.
McManus lunges for Redfoot.
The Caddy doors instantly pop open and rifle barrels come
into view from within.
Fenster and Hockney draw guns and aim at the Caddy.
Keaton and Verbal grab McManus and hold him back.
Redfoot gets on his Harley, smiling defiantly.
REDFOOT (CONT'D)
Real shame about Saul getting whacked.
Lot's of cops looking for the guys that
did it. I'm sure They'll get around to
asking me.
He starts his bike.
YELLOW 06/11/94
69.
McMANUS
Fuck you.
Redfoot drives off..The Caddy waits until he is completely
out of sight before following.
61 INT. RABIN'S OFFICE - DAY - PRESENT 61
KUJAN
So this lawyer...
VERBAL
Kobayashi.
KUJAN
Came from Redfoot.
VERBAL
Right.
KUJAN
And why leave this out when you talked to
the D.A.?
A KNOCK AT THE DOOR
Rabin sticks his head in.
RAB IN
Someone to see you, Agent Kujan.
Kujan steps out into the hall, shutting the door behind him.
62 INT. OUTSIDE RABIN'S OFFICE 62
Kujan smiles instantly, recognizing the man standing with
Rabin.
KUJAN
Jack. What are you doing here?
BAER
I've been looking all over for you. You
still after the coke that walked out of
that blood bath in the harbor?
KUJAN
Yeah.
BAER
You can stop looking. There was no coke.
I've been in L.A. county with a guy they
PINK 06/07/94
70.
BAER (cont'd)
pulled out of a drainpipe in San Pedro
yesterday after the shoot-out. He came to +
this morning and started talking. He was
part of a Hungarian mob there to do a
deal with a bunch of goats from
Argentina. He says it was definitely not
a dope deal.
KUJAN
There was ninety-one million -
BAER
We know, but our man says no way on the
dope. This Hungarian tells me the whole
bunch was pulling stumps for Turkey the
next' day. They had no time to negotiate
that kind of product and no means to move
it.
KUJAN
What was the money for?
BAER
He didn't know. No one doing the deal
knew except a few key people. This guy
says they were real hush about it.
Whatever it was it was highly sensitive.
KUJAN
I don't get it.
BAER
They tell me you got the cripple from New
York in there. He mention Keyser Soze
KUJAN
Who ?
BAER
Bear with me here...
63
63 INT. RABIN'S OFFICE - LATER
BOOM - The door bursts open.
KUJAN
Who is Keyser Soze
Verbal looks up in shock. He drops his cigarette and trembles
at the mere mention of the name.
YELLOW 06/11/94
71.
VERBAL
Ahhh fuck.
64 INT. HOLLYWOOD ATHLETIC CLUB - DAY - TWO WEEKS PRIOR 64'
Keaton stands while the rest sit and listen.
KEATON
So I need to know if anyone can think of
anybody. Somebody with power. Enough to
possibly track us from New York.
McMANUS
Look. We've been over it for an hour now.
I say we pack up and run. Let's go back
to New York. At least get out of L.A.
SUDDENLY, The sound of a man clearing his throat.
Everyone turns to the door behind them.
MR. KOBAYASHI a tall, slim, well groomed man stands in the
hall. He has a briefcase in his hand. He smiles politely.
KOBAYASHI
Mr. Keaton?
Keaton stands back and lets him in. Kobayashi looks them
over.
KOBAYASHI (CONT'D)
I am Mr. Kobayashi. I've been asked by my
employer to bring a proposal to you
gentlemen. That must be Mr. Hockney. I
recognize Mr. Fenster from his mug shot,
as well as Mr. McManus.
(To Verbal)
I can only assume that you are Mr. Kint.
I believe you were the one who disposed
of Saul. My employer sends his gratitude.
A most unexpected benefit.
Everyone looks at one another in shock that he would know
this.
KEATON
What can we do for you?
BLUE 06/01/94
72.
KOBAYASHI
My employer requires your services. One
job. One day's work. Very dangerous. I
don't expect all of you to live, but
those who do will have ninety-one million
dollars to divide any way they see fit.
KEATON
Who's your boss?
KOBAYASHI
My employer wishes to remain anonymous.
KEATON
Don't jerk me off. We all know what this
is. You don't work with me if I work with
you without knowing who I'm working for.
Now let's cut the shit. Who's the man?
KOBAYASHI
I work for Keyser Sate.
A strange look crosses Keaton's face. Skepticism, mockery and
just a hint of fear. Hockney, McManus and Fenster all share
similar looks.
KEATON
What is this?
VERBAL
Who's Keyser Soze?
KOBAYASHI
I am sure you've heard a number of tall
tales, myths and legends about Mr. Soze
I can assure you gentlemen, most of them
are true.
VERBAL
Who's Keyser Soze?
KOBAYASHI
Judging by the sudden change in mood, I
am sure the rest of your associates can
tell you, Mr. Kint. I have come with an
offer directly from Mr. Soze. An order
actually.
KEATON
An order.
BLUE 06/01/94
73.
KOBAYASHI
In nineteen-eighty one, Mr. Keaton, you
participated in the hijacking of a truck
in Buffalo, New York. The cargo was raw
steel. Steel that belonged to Mr. Soze
and was destined for Pakistan to be used
in a Nuclear reactor. A very profitable
violation of U.N. Regulations. You had no
way of knowing this, because the man
shipping the steel was working for Mr.
Sate without his knowledge. +
(Beat)
Mr. Fenster and Mr. McManus hijacked a
twin-prop cargo flight earlier this year
out of Newark airport. The plane was
carrying platinum and gold wiring. Also
set for Pakistan.
Kobayashi turns and points at Hockney.
KOBAYASHI (CONT'D)
Two months ago, Mr. Hockney stole a truck
carrying gun parts through Queens -
Everyone looks at Hockney. He smiles shyly. It occurs to them
all that he robbed the truck for which they were all arrested
in the first place.
KOBAYASHI (CONT'D)
- guns allegedly set to be destroyed by
the state of New York. They were to be
"lost" in a weigh station and routed to
Belfast. Again, Mr. Sate using pawns who
had no knowledge.
(turning to Verbal)
Which brings us to Mr. Kint.
Verbal crumbles under his stare.
KOBAYASHI (CONT'D)
Nine months ago, one of Mr. Soze less
than intelligent couriers was taken in a
complicated confidence seam by a cripple.
He was relieved of sixty-two thousand
dollars. Now
(To all of them)
- It has taken us some time to find you.
Our intention was to approach you after
your apprehension in New York.
BLUE 06/01/94
74.
KEATON
You set up the line-up.
KOBAYASHI
Mr. Soze made a few calls, yes. You were
not to be released until I came to see
you. It seems Mr. Keaton's attorney, Ms.
Finneran, was a bit too effective in
expediting his release. Holding the rest
of you became a moot point.
KEATON
What about Redfoot?
KOBAYASHI
Mr. Redfoot knew nothing. Mr. Soze rarely t
works with the same people for very long,
and they never know who they're working
for. One cannot be betrayed if one has no
people.
FENSTER
So why tell us?
KOBAYASHI
Because you have stolen from Mr. Soze.
That you did not know you stole from him
is the only reason you are still alive,
but he feels you owe him. You will repay
your debt.
HOCKNEY
Who is this guy? How do we know you work
for Soze
KOBAYASHI
I don't think that is relevant, Mr.
Hockney. The five of you are responsible
for the murder of Saul Berg and his
bodyguards. Mr. Redfoot can attest to
your involvement, and we can see to it
that he will. He is not of your
"superior" breed.
MCMANUS
This is a load of shit.
KOBAYASHI
The offer is this, gentlemen. Mr. Soze's
primary interest, as I am sure you all
know, is narcotics. He's been - competing
shall we say, with a group of
YELLOW 06/11/94
75.
KOBAYASHI (cont'd)
Argentinians for several years. Competing
with Mr. Soze has taken its toll. These
Argentinians are negotiating the sale of
ninety-one million dollars in cocaine in
three days time. Needless to say, this
purchase will revitalize the diminishing
strength of their organization. Mr. Soze
wants you to stop the deal. If you
choose, you may wait until the buy.
Whatever money changes hands is yours.
The transaction will take place on a boat
in San Pedro. Mr. Soze wants you to get
to the boat and destroy the cocaine on
board. Then you are free of your
obligation to Mr. Soze.
KEATON
Give me one good reason why I shouldn't
kill you right now.
Kobayashi smiles and puts his briefcase on the table in front
of him.
KOBAYASHI
A gift from Mr. Soze gentlemen.
He turns and walks out of the room.
Keaton walks over to the case and opens it. He reaches in and
pulls out five thick manila envelopes, each marked in bold
black letters. "KEATON", "McMANUS", "HOCKNEY", "FENSTER" and
"KINT"
Keaton pulls out the files, revealing a map underneath.
Keaton hands each man his file. He opens his first. He pulls
out a thick stack of papers and thumbs through them.
KEATON
Jesus Christ. Open them.
All of the men open their files. Inside are mug shots of each
man in his respective file as well as a printout of his
criminal record. But there is more.
HOCKNEY
They know everything.
McMANUS
This is my life in here. Everything I've
done since I was eighteen.
BLUE 06/01/94
76.
FENSTER
Everybody I ever worked with, did time
with.
HOCKNEY
They fucking know everything.
Keaton pulls out a large black and white photograph of
himself and his lawyer EDIE FINNERAN. They are laughing arm
in arm by a fountain in New York. He hides the photo from the
others.
KEATON
This is not right.
FENSTER
I don't know. Who was that guy that used
to talk about Soze in New York?
McMANUS
Bricks Marlin.
FENSTER
Yeah. He said he did jobs for him.
Indirect stuff. Always five times more
money than the job was worth.
KEATON
Come on. The guy is a pipe dream. This
Kobayashi is using him for window
dressing .
FENSTER
I don't know. This is bad.
HOCKNEY
It's bullshit. This guy could be L.A.P.D.
I think it's a setup.
FENSTER
The way I hear it, Soze is some kind of
butcher. No pity.
KEATON
There' is no Keyser Soze
Verbal thumbs through his file. A long list of names,
numbers, addresses. It is a detailed portfolio of his entire
criminal and personal life. He looks up at Keaton.
BLUE 06/01/94
77.
VERBAL
Who is Keyser Soze
65 INT. RABIN'S OFFICE - DAY - PRESENT 65
Kujan leans into Verbal's face. He hangs on his every word.
VERBAL
He is supposed to be Turkish. Some say r
his father was German. Nobody believed he
was real. Nobody ever saw him or knew
anybody that ever worked directly for
him, but to hear Kobayashi tell it,
anybody could have worked for Soze. You
never knew. That was his power. The
greatest trick the Devil ever pulled was
convincing the world he didn't exist. One
story the guys told me - the story I
believe - was from his days in Turkey.
There was a petty gang of Hungarians that
wanted their own mob. They realized that
to be in power you didn't need guns or
money or even numbers. You just needed +
the will to do what the other guy
wouldn't. After a while they come to
power, and then they come after Soze He
was small time then, just running dope,
they say...
66 SCENE DELETED 66
67 INT. SOZE'S HOME - DAY 67
Three of the Hungarians come bursting into Keyser Soze's +
home. They grab his five children and round them up in the
front room. One of the men grabs his wife and back-hands her
across the face.
BLUE 06/01/94
78.
VERBAL (V.O.)
They come to his home in the afternoon
looking for his business. They find his
wife and kids in the house and decide to
wait for Sate.
68 INT. SOZE'S HOME - LATER 68'
The front door opens and in walks Keyser Sate. We are never t
allowed to see his face.
Sate's wife lies in the corner, beaten and bruised. Her dress
is tattered to shreds. She cannot look up at her husband.
The three Hungarians stand to greet him. Two hold guns in
their hands. The third holds a straight razor. He grabs
Soze youngest boy and holds the razor to his throat.
VERBAL (V.O.)
He comes home to his wife raped and his
children screaming. The Hungarians knew
Soze was tough. Not to be trifled with.
So they let him know they meant business.
The Hungarian smiles. Soze's wife SCREAMS IN HORROR.
The Hungarian holds up a BLOOD SOAKED RAZOR.
SUDDENLY, he grabs another child. A little girl no older than
six.
VERBAL (V.O.)
They tell Soze they want his territory -
all his business. Soze looks over the +
faces of his family... Then he showed
these men of will what will really was.
SUDDENLY, Soze pulls out a pistol and shoots the two men with
guns. He turns and aims at the third man holding his child.
The man threatens to cut the child's throat, slicing just
enough to draw blood.
SOZE FIRES.
The stunned Hungarian watches the child fall from his arms.
Sate turns the pistol on the next child, then the next and
the next. He kills his children one by one in front of the
Hungarian.
PINK 06/07/94
79.
VERBAL (V.O.)
He tells him he would rather' see his
family dead than live another day after
this.
SOZE walks over to his wife, crying and beaten on the floor
and holds up her head. She gives him the strangest look. One
of trust perhaps, saturated with fear and humiliation.
He puts the gun between her eyes and fires.
VERBAL (V.O.)
He lets the last Hungarian go, and he
goes running. He waits until his wife and
kids are in the ground and he goes after
the rest of the mob. He kills their kids,
he kills their wives, he kills their
parents and their parents' friends.
A dark and looming figure of a man walks in front of a wall
of fire - a black shadow blurred by waves of heat.
VERBAL (V.O.)
He burns down the houses they live in and
the stores they work in, he kills people
that owe them money. And like that he was
gone. Underground. No one has ever seen
him again. He becomes a myth, a spook
story that criminals tell their kids at
night. If you rat on your pop, Keyser
Sate will get you. And nobody really ever
believes.
69
69 INT. RABIN'S OFFICE - DAY
KUJAN
Do you believe in him, Verbal?
VERBAL
Keaton always said: "I don't believe in
God, but I'm afraid of him." Well I
believe in God, and the only thing that
scares me is Keyser SOZE.
70
70 INT. WORKSHOP
Jack Baer and Rabin listen to Verbal on the speaker with one
ear.
RAB IN
You give this any weight, Agent Baer?
PINK 06/07/94
80.
BAER
I can introduce you to Dan Metzheiser
from Justice. He has a file on Sate in
D.C. It's been a hobby of his for a few
years. A lot of guys equate him to that
reporter on the Incredible Hulk.
RABIN
Had you heard of him before?
BAER
On the street? A few times. Outside
stuff. Somebody was working for a guy who
was working for a guy who got money
through Keyser Soze. That kind of shit.
Could be an old badge. A hex sign to keep
people from fucking with you back when a
name meant something.
RAB IN
But you're here.
BAER
Shit yeah. I got a guy trying to walk out
of the hospital on d fried drumstick to
get away from SOZE. I'11 run it up the
flagpole.
71 INT. RABIN'S OFFICE 71
VERBAL
I came clean. I told it like it happened
on the boat. So what if I left out how I
got there? It's got so many holes in it,
the D.A. would've told me to blow amnesty
out my ass. So you got what you wanted
out of me. Big fucking deal.
KUJAN
And this is why you never told the D.A.
VERBAL
You tell me, Agent Kujan. If I told you
the Loch Ness Monster hired me to hit the
harbor, what would you say?
KUJAN
Turn state's evidence. Take the stand on
this and we'll hear it out.
BLUE 06/01/94
81.
VERBAL
I've got immunity now. What can you
possibly offer me?
KUJAN
If there is a Keyser Soze he'll be
looking for you.
VERBAL
Where's your head, Agent Kujan? Where do
you think the pressure's coming from?
Keyser Soze - or whatever you want to
call him - knows where I am right now.
He's got the front burner under' your ass
to let me go so he can scoop me up ten
minutes later. Immunity was just to deal
with you assholes. I got a whole new
problem when I post bail.
KUJAN
So why play into his hands? We can
protect you.
VERBAL
Gee, thanks, Dave. Bang-up job so far.
Extortion, coercion. You'll pardon me if
I ask you to kiss my pucker. The same
fuckers that rounded us up and sank us
into this mess are telling me They'll
bail me out? Fuck you. You think you can
catch Keyser Soze? You think a guy like
that comes this close to getting fingered
and sticks his head out? If he comes up
for anything, it will be to get rid of
me.
(beat)
After that, my guess is you'll never hear
from him again.
72 INT. HALLWAY OUTSIDE HOSPITAL ROOM - DAY 72
Doctor Plumber watches from out in the hall. +
Kovash spits out a constant river of Hungarian while Bodi
tries to keep up, relaying everything to Tracy Fitzgerald.
She sketches frantically while Daniel Metzheiser looks on.
The composite sketch of Keyser SOZE is taking form.
BLUE 06/01/94
81A.
(<< >> Denotes liners spoken in Hungarian.)
BODI c
<<What sort of nose did he have?>>
KOVASH
<<It was smaller than that. Sharper.>>
BODI
(To Tracy) +
The nose is sharper. Smaller too. +
(To Arkosh in Hung.)
<<And what about the hair? You said
something earlier about it.>>
KOVASH
<<It is longer than that. And not so
dark. >>
BODI
<<Are you sure?>>
KOVASH
<<Don't be stupid.>>
BODI
(To Tracy)
He says the hair is longer and lighter.
PINK 06/07/94
82.
73
73 EXT. BEACH - DAY
Waves pound across a stone jetty. A MAN sits fishing while
his young son, BRANDO strolls toward the open sea. He pokes
at rocks and seaweed with a fishing pole. He glances down at
Something wedged between the rocks beneath his feet. He
pokes at it. He notes the checkered pattern of the fabric
entwined with the twisted mess. It is the bloated carcass of
THE MAN IN THE CHECKERED BATHROBE. BRANDO pokes it's eye
with the fishing pole. It pops.
74
74 SCENE DELETED/DIALOGUE MOVED
PINK 06/07/94
83.
75
75 INT RABIN'S OFFICE
VERBAL
That was how I ended up in a barber shop
quartet in Skokie, Illinois.
KUJAN
This is totally irrelevant.
VERBAL
Oh, but it's not. If I hadn't been
nailed in Illinois for running a three
card monte in between sets, I never would
have took off for New York. I never
would have met Keaton, see. That barber
shop quartet was the reason for
everything.
KUJAN
Can we just get back to Kobayashi?
VERBAL
The quartet is part of the bit about
Kobayashi. The quartet was in my file,
along with every other thing I had done
since high school, see? Aliases, middle-
men. They knew me better than I did.
They knew all of us.
Kujan looks at his watch.
KUJAN
You're stalling, Verbal.
VERBAL
Give a guy a break, huh?
KUJAN
What happened?
Verbal slumps a bit. He realizes his stalling tactic has
failed.
VERBAL
We woke up the next morning and Fenster
was gone. He couldn't handle the idea of
slumming for SOZE. He left a note wishing
us good luck and took a chunk of the
money we'd scraped together.
SCRIPT DATE 5/25/94
84.
KUJAN
Then what?
VERBAL
McManus was furious. He was talking about
tracking him down and ripping his heart
out and all sorts of shit. That night we
got the call.
KUJAN
What call?
VERBAL
Kobayashi told us where we could find
Fenster.
76 EXT. BEACH - NIGHT - TWO WEEKS PRIOR 76
Keaton looks out over the ocean and smokes a cigarette.
KEATON
What do you want to do with him?
McManus kneels in the sand. Hockney and Verbal stand behind
him, staring at something in front of them.
It is the body of Fred Fenster, literally peppered with
bullet holes. McManus stares at him, fighting any flicker of
emotion.
McMAMJS
I worked five years with Fenster. More
jobs, more money than I can count.
KEATON
I'm sorry, McManus.
McMANUS
I want to bury him.
KEATON
No time.
McManus springs to his feet and points a pistol at Keaton.
Keaton turns to face him and raises his head. McManus might
as well be pointing a feather-duster.
McMANUS
YOU WILL FIND TIME. You're not the only
one with debts, man.
YELLOW 06/11/94
85.
KEATON
No shovel.
McMANUS
WITH OUR HANDS.
77 MT. BEACH 77'
Everyone digs in the sand on the deserted beach with their
hands. They are up to their waists in the hole they have
scooped out. Fenster's body is a few feet away.
HOCKNEY
This is nuts.
McMANUS
Dig.
HOCKNEY
This is fucking dry sand, man. When he
rots, the surfers'll smell him from a
hundred yards out.
McMANUS
DIG, YOU FUCKER.
Hockney can see that McManus has truly gone over the edge for
now. Keaton gives him a look that says don't argue.
HOCKNEY
Keaton, we gotta go. They're gonna find
him.
KEATON
Dig.
VERBAL
What are we gonna do?
HOCKNEY
I can run. I got no problem with that.
KEATON
They don't seem to have a problem with it
either.
McMANUS
Nobody runs.
HOCKNEY
This ain't my boy we're burying. I don't
owe anybody.
SCRIPT DATE 5/25/94
86.
McMANUS
We got a deal here.
HOCKNEY
Since when?
McMANUS
Since tonight. +
HOCKNEY
Fuck that.
McMANIJS
It's payback.
KEATON
IT'S NOT PAYBACK. I don't answer to you. +
It's precaution. You want payback? You
want to run? I don't care. I'm going to
finish this thing. Not for Fenster, not
for anybody else, but
for me. This Kobayashi cocksucker isn't
going to stand over me.
(Beat)
All of you can go to hell.
Keaton turns and digs furiously with both hands. Hockney
takes a moment and slowly starts to do the same.
The four men dig for Fenster. The first to find some rest.
78 INT. RABIN'S OFFICE - DAY - PRESENT 78
Verbal smokes with his good hand shaking badly.
KUJAN
And after they killed Fenster nobody
would run?
VERBAL
I wanted to. I thought we could make it.
KUJAN
Why didn't you say anything?
VERBAL
I tried, believe me, but Keaton wouldn't
have it. It was too far-fetched for him.
Keaton was a grounded guy. An ex-cop. To
a cop, the explanation is never that
complicated. It's always simple. There's
PINK 06/07/94
87.
VERBAL (cont'd)
no mystery on the street, no arch-
criminal behind it all. If you got a dead
guy and you think his brother did it,
you're going to find out you're right.
Nobody argued with Keaton. They just set
their minds on whacking Kobayashi.
79 EXT. PARKING LOT - NIGHT - TWO WEEKS PRIOR 79
Redfoot's Harley rests on the roof of the Caddy in a mangled
heap. The body of the Caddy is riddled with bullet holes.
Redfoot's dead body has been shoved head-first through a hole
in the windshield up to his waist, recognizable only by the
trademark red boot.
80
80 INT. OFFICE BUILDING - DAY
Kobayashi walks through the front door of a plush office
tower followed by two bodyguards. He heads toward the
elevator, failing to notice Hockney a few feet away, reading
a newspaper.
We see a wire running from Hockney's ear to his collar.
HOCKNEY
He's coming up.
81
81 INT. HALLWAY - FORTIETH FLOOR
Keaton, McManus and Verbal stand by the six elevators on the
fortieth floor. They are all wearing khaki overalls and tool
belts with walkie-talkies. They look like servicemen.
All of the elevators have been propped open and stranded.
McManus moves into one of the elevators. As the doors close i
behind him, he scrambles for the ceiling hatch.
82
82 SCENE DELETED
PINK 06/07/94
88.
83f
83 SCENE DELETED
84
84 SCENE DELETED
85
85 SCENE DELETED
86
86 INT. HALLWAY
Keaton and Verbal listen for anything on the radio.
87
87 SCENE DELETED
88
88 SCENE DELETED
PINK 06/07/94
89.
89
89 INT. LOBBY
The elevator opens. Kobayashi and his bodyguards get on the
elevator.
90
90 INT. ELEVATOR
The elevator is empty except for the three men. McManus has
vanished. Kobayashi presses a button and they are on the way.
SUDDENLY, the ceiling hatch opens and McManus' arm comes out.
POP - POP. Two shots from a suppressed pistol and the guards
drop to the floor, DEAD.
Kobayashi looks up with surprising calm into McManus' barrel.
McManus
Press forty.
91
91 INT. HALLWAY - FORTIETH FLOOR
The elevator opens and Kobayashi is greeted by Keaton and
Verbal. McManus drops from the ceiling hatch and pushes him
out.
BLUE 06/01/94
90.
Verbal and McManus grab the dead bodies and drag them out of
the elevator. They drag them to the next elevator which has
been forced open, revealing an empty shaft.
KEATON
The answer is no.
KOBAYASHI
Mr. Soze will be most -
KEATON
Listen to me, cocksucker. There is no
Keyser Sate. If you say his name again,
I'11 kill you right here.
KOBAYASHI
A strange threat. I can only assume
you're here to kill me anyway. Pity about
Mr. Redfoot.
McMANUS
Fair trade for Fenster.
The elevator opens and Hockney steps out.
KOBAYASHI
Ahh, Mr. Hockney. Do join us.
KEATON
We know you can get to us, and now you
know we can get to you. I'm offering you
the chance to call this off.
KOBAYASHI
Mr. So- My employer has made up his mind.
He does not change it.
KEATON
Neither do we.
McMANUS
You got Fenster, you may get more, but
you won't get us all. Not before one of
us gets to you.
KOBAYASHI
I believe you, Mr. McManus. I quite
sincerely do. You would not have been
chosen if you were not so capable, but I
cannot make this decision. Whatever you
can threaten me with is... ludicrous in
comparison to what will be done to me if
BLUE 06/01/94
91.
McMANUS
Just so you know. I'm the guy. I'm the
one that's gonna get through to you.
KOBAYASHI
I am sorry, Mr. McManus.
(To Keaton)
f implore you to believe me, Mr. Keaton.
Mr. Soze is very real and very +
determined.
KEATON
We'll see.
McManus holds a pistol to Kobayashi's chin. The lawyer's cool
eyes never falter'.
KOBAYASHI
Before you do me in, you will let me
finish my business with Ms. Finneran
first, won't you?
SUDDENLY, Keaton grabs McManus' hand and pulls the gun away
before he can shoot.
KEATON
What did you say?
KOBAYASHI
Edie Finneran. She is upstairs in my
office for an extradition deposition. I
requested she be put on the case
personally. She flew out yesterday.
Everyone looks at Keaton.
KOBAYASHI (CONT'D)
No matter. Kill away, Mr. McManus.
KEATON
You're lying.
KOBAYASHI
Am I?
92
92 INT. HALLWAY - FIFTIETH FLOOR
Everyone follows Kobayashi quietly down a dimly lit, oak-
lined hallway. Verbal holds a small pistol discreetly in the
small of Kobayashi's back.
SCRIPT DATE 5/25/94
92.
They come to a glass office foyer. Kobayashi gestures and
everyone looks through the glass into the lobby beyond.
EDIE FINNERAN is talking casually with the receptionist.
93 INT. LOBBY 93
Edie glances toward the men in the hall.
Keaton turns quickly on his heels, facing the others. From
where Edie stands, it looks as though Kobayashi is talking to
a group of harmless maintenance men.
They see A LARGE MAN dressed very much like the two dead
bodies left in the hall downstairs. The man notices Kobayashi
and the others. He stands and stares menacingly.
KOBAYASHI
Ms. Finneran's escort in Los Angeles.
Never leaves her for a moment. I thought
you'd like to know she was in good hands.
Keaton's mind races for an alternative. He can find none.
Verbal lowers his gun without being told.
KOBAYASHI (CONT'D)
Get your rest, Gentlemen. The boat will
be ready for you on Friday. If I see you
or your friends before then, or fail to
check in every half hour with that
unpleasant looking man in there, Ms.
Finneran will find herself the victim of
a gruesome violation before she dies. As
will your father, Mr. Hockney. and your
Uncle Randall in Arizona, Mr. Kint. I
might only castrate Mr. McManus' nephew,
David. Do I make myself clear?
All of the men surround Kobayashi, aching to kill him.
KOBAYASHI
I'11 take care of the dead men
downstairs. We'll add them to the cost of
Mr. Fenster. Now if you'll excuse me.
Kobayashi walks into the office. Edie turns to greet him.
Keaton slowly turns and watches as they shake hands and talk.
Kobayashi says something they cannot hear and Edie laughs,
her back to the window.
SCRIPT DATE 5/25/94
93.
Kobayashi smiles over her shoulder at Keaton.
All the while, the bodyguard watches Keaton. He nods politely
before Keaton and the others leave. Verbal watches for a
moment more and follows.
94 EXT. HILLSIDE ROAD - DAY 94'
Keaton, Verbal, Hockney and McManus sit in a rented sedan
overlooking San Pedro harbor.
Another file from Kobayashi's briefcase is laid out on the
dashboard. This has a map and a good fifty pages of
information in it.
KEATON
It's a logistical nightmare. Close
quarters, no advance layout, ten men,
maybe twenty.
HOCKNEY
Can we stealth these guys?
KEATON
Doubtful. With all that coke, they'll be
ready - which brings me to sunny spot
number two. Even if one of us gets
through and jacks the boat, we get
nothing.
McMANUS
And if we wait for the money?
KEATON
Ten more men at least. In my opinion, it
can't be done. Anyone who walks into this
won't come out alive.
McMANUS
I'm for waiting for the money.
HOCKNEY
Me too.
VERBAL
Did you hear what he just said?
HOCKNEY
If I'm going in, I want a stake.
YELLOW 06/11/94
94.
McMANUS
So do I.
Verbal is shocked by what he is hearing. He looks at Keaton
as if to ask him for his decision.
Keaton's cold stare is all the answer Verbal needs. He slumps
in his seat, resigned to the others.
VERBAL
I just can't believe we're just gonna
walk into certain death.
PAUSE
They all suddenly realize the weight of their situation.
FINALLY:
McMANUS
News said it's raining in New York.
No one knows quite how to respond.
95 EXT, PIER - SAN PEDRO - NIGHT 95
A large boat, sleek and yacht-like, but without finesse. This
is a boat for business - heavy and fast. It is moored to the
pier.
A large crane hoists a pallet of fuel drums from the dock. It
swings slowly over the boat. A man on the dock yells in
Spanish to the crane operator.
96 EXT. BOATHOUSE 96
Behind an old and weathered boat in dry-dock, Keaton and
Verbal watch the boat from the shadows.
VERBAL
What-are they speaking?
KEATON
Russian, I think. I don't know.
VERBAL
Hungarian?
YELLOW 06/11/94
95.
KEATON
Knock it off.
DOLLY OVER TO REVEAL:
McManus climbing up the side of the boathouse.
CONTINUE PAST HIM TO REVEAL: r
A large boat. A very large boat.
97 EXT. BARGE 97
Hockney maneuvers through a mesh of twisted steel, arriving
at a vantage point near the stern of the large boat.
HOCKNEY'S P.O.V.
A black van pulls up and parks near the crane. Four men in
suits get out. One remains with the van and the other three
walk toward the boat.
On the boat, five men come up from below deck. They are tense
and cautious around the men in suits. Someone speaks in
Spanish and someone else in Russian. It takes a moment before
anyone speaks the same tongue. They settle on French for both
negotiators.
Hockney sits in the van. He handles a large shoulder bag +
stuffed with plastique. He tests a timer on top.
He picks up a walkie-talkie.
HOCKNEY
Are we ready, kids?
98 SCENE DELETED 98
99 SCENE DELETED/MOVED TO BOTTOM SCENE 97 99
100 EXT. BOATHOUSE.-- ROOF 100
McManus is positioning himself on the roof of the boathouse.
He stops and grabs his radio.
McMANUS
If I didn't have to stop and answer you,
I would be.
YELLOW 06/11/94
95A.
101 MT. BOATHOUSE 101'
KEATON
(into radio)
Everyone shut up. I'm ready. McManus, you
better be set up in ten seconds.
McMANUS
(On radio)
I'm there.
YELLOW 06/11/94
96.
KEATON
(To Verbal)
I want you to stay here. Understand?
VERBAL +
But I'm supposed to -
KEATON
If we don't make it out, I want you to
take the money and go.
VERBAL
(Confused)
Keaton, I can't just -
KEATON
I want you to find Edie. Both of you find
some place safe. Tell her what happened -
Everything. She knows people. She'll know
what to do. If we can't get Kobayashi my
way, she'll get him her way.
VERBAL
What if I
KEATON
Just do what I tell you.
Keaton turns and takes a few steps. He stops and looks back,
his face marked with guilt and agony.
KEATON (CONT'D)
Tell her I... Tell her I tried.
Keaton leaves before Verbal can respond. He walks down a ramp
toward the boat.
He is no more than a few yards out of the shadows before the
first man sees him.
102 EXT. DOCK 102'
One of the men in suits starts to yell to the others. Men
pull out guns and try to look as cool as they can.
Keaton walks right into the face of all of these men,
undaunted. His hands are in his pockets.
Above him, in the darkness, McManus pokes his head out and
YELLOW 06/11/94
97.
spies Keaton. He pulls his head back and sticks out the
barrel of the rifle.
Keaton comes to a stop about twenty feet from fifteen men all
together.
103 EXT. BOATHOUSE - ROOF 103'
McMANUS'S P.O.V.
McManus stares through the scope of his rifle at the scene.
The cross-hairs breeze past Keaton and find a target. A man
in a suit.
McMANUS
Pow.
He moves to another and then another, picking up speed and
mock-shooting the men. He is steady and quick. It is clear he
could take all fifteen in a few seconds.
McMANUS (CONT'D)
Pow-pow-pow-pow-pow-pow . Oswald was a
fag.
104 EXT. DOCK 104'
The men shout questions at Keaton in a number of languages.
105 EXT. BARGE 105'
HOCKNEY'S P.O.V.
A few men standing on the dock near the stern of the large
boat, move towards the commotion.
Hockney bails out and runs quickly and quietly through the
shadows, bringing the bomb with him.
106 EXT. BOATHOUSE'' 106'
Verbal remains in the darkness, looking frightened.
107 INT. BOATHOUSE - ROOF 107a
McManus still wanders with his scope.
McMANUS
Old McDonald had a farm, ee-aye, ee-aye,
oh. And on this farm he shot some guys.
Ba-da-bip, ba-da-bing, bang-boom.
YELLOW 06/11/94
98.
108 EXT. DOCK 108'
Finally two men walk right towards Keaton. The rest train
guns on him. They reach for his arms, pointing their guns
right at him.
At the far end of the dock, Hockney throws his bomb onto the
stern of the large boat.
IT EXPLODES
The men surrounding Keaton, are distracted.
Keaton pulls a pistol out of each pocket and shoots the two
men closest to him.
109 EXT. BOATHOUSE - ROOF 109'
McMANUS
ELVIS HAS LEFT THE BUILDING.
He fires as fast as he can.
110 EXT. PIER 110
The men from the boat and the men in suits try to peg Keaton,
but McManus' sniping has them running.
111 INT. CRANE 111
The crane operator opens the door to bails out, leaving the
crane in motion.,,
112 EXT. BOATHOUSE - ROOF 112'
McManus runs across the roof of the boathouse and jumps down
to the pier. He arrives at a thick mooring cable and climbs
across to the boat. i
MEANWHILE ON THE DOCK:
Keaton climbs up onto a small lifeboat hanging from the side
of the larger boat. From this he climbs aboard the large
boat.
YELLOW 06/11/94
99.
113 EXT. DOCK 113f
Hockney is firing in all directions.
SUDDENLY, he realizes no one is left on the dock.
PAUSE
FINALLY, he turns and runs back for the van parked on the
pier above. He finds a ramp leading from the dock to the
pier.
At the van, he finds the one man who has stayed behind to
protect it. I i
The man hears Hockney coming and raises his gun. Hockney runs i
straight at him, screaming frantically. i
HOCKNEY
(In Spanish)
<<DON'T SHOOT, DON'T SHOOT. LET'S GET THE +
FUCK OUT OF HERE. EVERYONE IS DEAD.>>
BOOM i
He shoots the man point blank in the face and runs over his
body as it falls.
He gets to the back door of the van and yanks it open.
The inside is stacked with large wooden crates.
114 INT. VAN 114
Hockney, suddenly oblivious to the sound of gunfire, opens
one of the crates and looks inside.
IT IS FILLED WITH MONEY. Cash and negotiable bonds of all
kinds.
He smiles.
BOOM
BLOOD sprays all over the money. Hockney looks at it,
puzzled.
Hockney raises a blood-soaked hand from his belly.
He turns and stares in horror.
YELLOW 06/11/94
99A.
BOOM - Another shot takes off the top of his head.
115 EXT. PIER 115
McManus runs like a wild man across the deck, heading for the
hatch .
He shoots in all directions as though he has eyes in the back
of his head. He sees Keaton climbing onto the deck of the
boat.
YELLOW 06/11/34
100.
116 EXT. WAREHOUSE 116
Verbal is wrestling with what to do. He finally makes a break
for the other side of the boathouse.
117 EXT. BOAT DECK 117'
The crane continues to swing.
A single bullet hits one of the barrels on the suspended
pellet.
Gasoline pours out through the bullet-hole.
118 SCENE DELETED ' 118f
119 EXT. BOAT 119
Keaton finds the hatch and goes below, shooting a man on his
way up the stairs. McManus jumps on board and runs down
behind him.
120 EXT'. PIER 120'
Verbal arrives at the top of the ramp leading from the dock
to the pier. +
He ducks down behind a guardrail beside the ramp.
He turns and sees Hockney's dead body next to the van.
He looks around frantically, frozen in terror.
It is quiet, except for the sounds of screaming, far off in
the bowels of the boat and the hum of the crane.
121 INT. RABIN'S OFFICE - DAY - PRESENT 121
KUJAN
Why didn't you run?
PINK 06/07/94
101.
VERBAL
I froze up. I thought about Fenster and
how he looked when we buried him, then I
thought about Keaton. It looked like he
might pull it off.
A KNOCK ON THE DOOR.
Rabin steps in and motions for Kujan to come outside.
122'
122 INT.HALLWAY
Rabin and Jack Baer are in the hall. Rabin hands Kujan a
thick manila folder. Kujan thumbs through it.
BAER
A boy came across a body on the beach
this morning. Thrown clear when the boat
burned. Shot once in the head. Two guys
from the F.B.I. just identified him. +
KUJAN
And ?
RABIN
His name was Arturo Marquez. A petty
smuggler out of Argentina. He was
arrested in New York last year for
trafficking. He escaped to California and
got picked up in Long Beach. They were
setting up his extradition when he
escaped again. Get this - Edie Finneran
was called in to advise the proceedings.
KUJAN
Kobayashi.
Bear nods.
RAB IN
I called New York County and they fared
me a copy of Marquez's testimony. He was
a rat.
Kujan pulls out page after page from the file.
KUJAN
A big fucking rat.
PINK 06/07/94
102.
RABIN +
Arturo was strongly opposed 'to going back
to prison. So much so that he informed on
close to fifty guys. Guess who he names
for a finale?
Kujan finds one sheet and notices a paragraph is highlighted.
KUJAN
Keyser Soze
BAER
There's more.
123 INT. RABIN'S OFFICE - MOMENTS LATER 123
Kujan walks in and sits down in front of Verbal. He smiles.
KUJAN
I'11 tell you what I know. Stop me when
it sounds familiar.
Verbal is confused.
KUJAN
There was no dope on that boat.
124 INT. BOAT - NIGHT - ONE WEEK PRIOR 124
Keaton is weaving through tight, low-ceiling corridors,
looking in every cabin, working his way towards the bottom of
the boat.
ELSEWHERE IN THE BOAT, McManus is tearing though the
corridors, seemingly less interested in securing the cargo as
he is in killing everyone on board.
He screams like a lunatic, shooting everything in his path,
killing some men with his bare hands, shooting others,
stabbing others still with a knife he has brought along.
125
125 INT. CORRIDOR
JAIME, one of the men from the boat, is half-pushing, half-
helping a thin and sweaty looking MAN IN A CHECKERED BATHROBE
towards a cabin at the end of the hall.
The man in the robe is trembling. He seems stricken with
fear.
BLUE 06/01/94
103.
MAN IN ROBE
He's here. I saw him on deck.
Jaime pushes him inside the cabin and shuts the door.
A stereo playing softly in the room mixes with the man's
panicked breathing.
The man in the robe screams through the closed door, his
voice echoing off of the metal bulkheads.
MAN IN ROBE
(CONT'D)
I'M TELLING YOU IT'S KEYSER SOZE.
Jaime stands outside the door of the cabin and turns to face
down the hall. Off in some other part of the boat, he can
hear McManus wailing like a banshee and the ever-less
frequent sound of gunshots.
126 INT. HOLD 126
Keaton has come to the four-foot-high door to the hold. The
door is open slightly. Keaton finds this strange. He pushes
the door open and steps inside. The hold is empty.
He hears a noise behind him. He wheels around to fire. He
sees McManus in the door. His face is covered with blood.
McMANUS
Did you hear what I heard?
KEATON
What happened to you?
McMANUS
Keyser Soze is on the boat.
KEATON
What?
McMANUS
I heard somebody screaming his nuts off.
He said Keyser Soze was on the boat.
KEATON
Are you alright?
McManus rubs some of the blood off with his sleeve.
SCRIPT DATE 5/25/94
104.
McMANUS
Huh? Oh, It's not mine.
KEATON
There's no coke.
McManus looks around the hold as though he'll see four and a
half tons of dope in some corner where Keaton might have
missed it.
The two men look at one another. There is a long, pregnant
silence.
McMANUS
Let's get the fuck out of here.
KEATON
Right behind you.
127 INT. CORRIDOR 127
Keaton and McManus step out of the hold, walking slowly and
cautiously back from where they came. They hear the sounds of
footsteps running on the deck above and the occasional
hollered sentence in Spanish.
KEATON
Where's Hockney?
McMANUS
I don't think he made it to the boat.
They come to a corner. They can go left or right.
KEATON
I can't remember which way.
McMANUS
Right -
BOOM - BOOM
Gunshots fill the hallway from behind them. They do not stop
to turn around. Keaton goes left, McManus goes right. They
run in opposite directions with the sound of gunfire right
behind them.
128 INT. HALLWAY - CABIN 128
Jaime squints and cocks his head.
YELLOW 06/11/94
105.
SOMEONE IS COMING. He raises a pistol and crouches by the
door.
129 INT. CABIN 129
The man in the bathrobe sits on the foot of the bed watching
the door. He hears the sounds of fighting somewhere not too
far away.
He crawls over the bed and squeezes between it and the
bulkhead. Only the top of his head is visible. He starts to
cry.
BOOM - BOOM - Two shots just outside in the hall.
SUDDENLY, the door bursts open. Jaime collapses in a heap on
the floor, a bullet hole in his eye.
A FIGURE LOOMS IN THE DOOR
The man in the bathrobe looks up at the figure. We cannot see
him.
MAN IN ROBE
I told them nothing.
BOOM
The man in the robe falls dead.
130 EXT. DECK - MOMENTS LATER 130
The boat is quiet now. Keaton walks out onto the deck.
He looks out over the pier and sees Verbal standing in the
middle of the carnage, frozen. Their eyes meet. Keaton waves
at him as if to shoe him away.
131 EXT. PIER - TOP OF RAMP 131
Verbal hesitates and finally moves towards the van with the
money. He looks back over his shoulder and sees Keaton.
Keaton sees him looking and waves again, hurrying him along.
Verbal turns away and focuses on the van.
132
132 EXT. DECK
Keaton hears a noise behind him. He swings around and points
his gun at McManus again. He puts the gun down.
YELLOW 06/11/94
106.
McManus smiles. He walks slowly across the deck towards
Keaton. Something is not right about him.
McMANUS
Strangest thing...
He slumps to the deck. Keaton rushes over to him. He kneels
down and sees a pipe sticking out of the back of McManus's
neck.
133 EXT. PIER 133'
Verbal approaches the van, stepping over Hockney's body. He
closes the back doors of the van. ,
He looks to his left at the huge loading crane. He glances
upward along the giant' arm as it swings steadily on.
Somewhere, off in the distance, the sound of SIRENS can be
heard.
134 EXT. DECK 134
Keaton kneels by McManus, trembling with rage. After a moment
he stands, looking down at McManus' dead body.
135 EXT. PIER 135
SUDDENLY, Verbal realizes something. He turns and goes to
call out a warning to Keaton. He is too late.
136 EXT. DECK 136
Keaton never sees the crane coming.
WHAM
The pellet of barrels hits him square in the back and sends
him flying into the wheel house of the boat.
Keaton is still for a moment. Finally, he tries to get up,
but finds he cannot move his legs.
137 EXT. PIER 137
Verbal runs down the ramp as fast as he can. He comes to a
rope ladder hanging down the side of the boat. +
SUDDENLY, he stops dead in his tracks, looking up at the
boat.
YELLOW 06/11/94
106A.
>From where he stands, he can just make out the figure of a
TAU, THIN MAN walking along the edge of the deck. He moves
quietly and calmly in the shadows towards the crane, looking
out of place in his expensive suit.
YELLOW 06/11/94
107.
Something about this man terrifies him.
138 SCENE DELETED ' 138'
139 INT. RABIN'S OFFICE - DAY - PRESENT . 139
KUJAN
And that's when you say in your statement
that you saw...
Kujan picks up his copy of Verbal's statement to the D.A.
KUJAN (CONT'D)
A man in a suit with a slim build. Tall.
VERBAL
Wait a minute.
KUJAN
(Looking at watch)
I don't have a minute. Are you saying it
was Keyser Soze? You told the D.A. you
didn't know who it was.
Verbal is drowning in Kujan's interrogation. He looks dazed.
VERBAL
I - there had to be dope there.
BLUE 06/01/94
108.
KUJAN
Don't shine me, Verbal. No more stalling.
You know what I'm getting at.
VERBAL
I don't.
KUJAN
YES YOU DO. YOU KNOW WHAT I'M GETTING AT.
THE TRUTH. TRY TO TELL ME YOU DIDN'T
KNOW. TRY TO TELL ME YOU SAW SOMEONE KILL
KEATON .
For the first time, Verbal stands and tries to move away from
Kujan, but Kujan stays in his face, backing him into a
corner. Verbal shields himself with his hands and shuts his
eyes.
KUJAN (CONT'D)
TRY TO REEF LYING TO ME NOW. I KNOW
EVERYTHING .
VERBAL
I don't know what you're talking about.
KUJAN
YOU KNOW. YOU'VE KNOWN THIS WHOLE FUCKING
TIME. GIVE IT TO ME.
Verbal looks into Kujan's eyes with genuine terror. Kujan's
face is red, his body trembles. His locomotive breathing is
the only sound in the room.
VERBAL
I don't understand what you're saying. I
saw Keaton get shot, I swear to you.
KUJAN
Then why didn't you help him?
VERBAL
I WAS AFRAID, OKAY? Somehow, I was sure
it was Keyser Soze at that point. I
couldn't bring myself to raise my gun to
him.
KUJAN
But Keaton...
VERBAL
It was Keyser Soze, Agent Kujan. I mean
the Devil himself. How do you shoot the
Devil in the back?
YELLOW 06/11/94
109.
Verbal holds up a shaking, twisted hand.
VERBAL (CONT'D)
What if you miss?
140 EXT. BARGE - NIGHT - ONE WEEK PRIOR 140'
Verbal is hiding in the tangle of girders and cables on the
barge.
VERBAL'S P.O.V.
Keaton's body is completely obscured.
The man in a suit strides across the deck over to Keaton,
stopping to relieve himself on a small fire on the deck.
He walks up and stands over Keaton. The two men exchange
words and the man in the suit pulls out a pistol. He points
it at Keaton.
RED AND BLUE LIGHTS FLASH BEHIND VERBAL
Verbal turns. He can just make out police cars coming in the
distance.
BANG
Verbal hears a shot from the deck of the boat. He turns in
time to see the man in the suit running across the deck
toward the gangway.
Verbal can barely see the man from where he is now. The man
in the suit is covered by shadows and the poor angle from the
barge. Verbal strains to see but he cannot.
The man in the suit stops long enough to pull out a lighter.
He turns and walks back across the deck and out of sight.
A moment later flames leap up from on the deck.
The mesh of steel and rubber leaves a dark and open cocoon at
its base.
MOVE INTO THE DARKNESS.
Sirens are close now. Almost here. The sound of fire raging
out of control.
SIRENS BLARING. TIRES SQUEALING. CAR DOORS OPENING. FEET
POUNDING THE PAVEMENT.
YELLOW 06/11/94
109A.
MOVE FURTHER, SLOWER, INTO THE DARKNESS.
Voices yelling. New light flickering in the surrounding
darkness.
BLUE 06/01/94
110.
141 INT. RABIN'S OFFICE - DAY - PRESENT 141
KUJAN
Arturo Marquez. Ever hear of him?
VERBAL
Wha- No.
KUJAN
He was a stool pigeon for the Justice
Department. He swore out a statement to
Federal Marshals that he had seen and
could positively identify one Keyser Soze
and had intimate knowledge of his
business, including, but not exclusive
to, drug trafficking and murder.
VERBAL
I never heard of him.
KUJAN
His own people were selling him to a gang
of Hungarians. Most likely the same
Hungarians that Sate all but wiped out
back in Turkey. The money wasn't there
for dope. The Hungarians were going to
buy the one guy that could finger Soze
for them.
VERBAL
I said I never heard of him.
KUJAN
But Keaton had. Edie Finneran was his
extradition advisor. She knew who he was
and what he knew.
VERBAL
I don't
KUJAN
There were no drugs on that boat. It was
a hit. A suicide mission to whack out the
one man that could finger Keyser Soze so
Sate had a few thieves put to it. Men he
knew he could march into certain death.
VERBAL
But how - wait. You're saying SOZE sent t
us to kill someone?
BLUE 06/01/94
111.
KUJAN
I'm saying Keaton did.
Verbal cannot grasp this. He squints, trying to understand.
KUJAN (CONT'D)
Verbal, he left you behind for a reason.
If you all knew Soze could find you
anywhere, why was he ready to send you
off with the money when he could have
used you to take the boat?
VERBAL
He wanted me to live.
KUJAN
Why did he want you to live? A one-time
dirty cop without a loyalty in the world
finds it in his heart to save a worthless
rat-cripple? No, sir. Why'
VERBAL
Edie.
KUJAN
I don't buy that reform story for a
minute. And even if I did, I certainly
don't believe he would send you to
protect her. So why?
VERBAL
Because he was my friend.
KUJAN
No, Verbal. You weren't friends. Keaton
didn't have friends. He saved you because
he wanted it that way. It was his will.
Verbal grinds to a mental halt, trying to grasp the
implication .
SUDDENLY:
VERBAL
No...
KUJAN
Keaton was Keyser Soze
VERBAL
NO.
SCRIPT DATE 5/25/94
112.
KUJAN
The kind of guy who could wrangle the
wills of men like Hockney and McManus.
The kind of man who could engineer a
police line-up from all his years of
contacts in N.Y.P.D.
Verbal stands on wobbly legs, shaking with anger.
VERBAL
NO, NO, NO, NO, NO.
KUJAN
THE KIND OF MAN THAT COULD HAVE KILLED
EDIE FINNERAN.
A strange look crosses Verbal's face. Shock perhaps, or
revelation.
KUJAN (CONT'D)
They found her yesterday in a hotel in
Pennsylvania. Shot twice in the head.
It starts to sink in with Verbal. His eyes swell.
VERBAL
Edie...
KUJAN
He used all of you to get him on that
boat. He couldn't get on alone and he had
to pull the trigger himself to make sure
he got his man. The one man that could
identify him.
VERBAL
This is all bullshit.
KUJAN
He left you to stay behind and tell us he
was dead. You saw him die, right? Or did
you? You had to hide when the first
police cars showed up. You heard the
shot, just before the fire but you didn't
see him die.
VERBAL
I knew him. He would never -
KUJAN
He programmed you to tell us just what he
wanted you to. Customs has been
SCRIPT DATE 5/25/94
113.
KUJAN (cont'd)
investigating him for years. He knew we
were close. You said it yourself. Where
is the political pressure coming from?
Why are you being protected? It's Keaton
making sure you tell us what you're
supposed to. Immunity is your reward.
VERBAL
BUT WHY ME? WHY NOT HOCKNEY OR FENSTER OR
McMANUS? I'm a cripple. I'm stupid. Why
me?
Verbal hears the weight of his words and falls back in his
chair, Kujan looks at him with some pity,; but he is too far
in to stop.
KUJAN
Because you're a cripple, Verbal. Because
you're stupid. Because you were weaker
than them. Because you couldn't see far
enough into him to know the truth.
Verbal is crying now. He shakes his head, eyes closed.
KUJAN (CONT'D)
If he's dead, Verbal - if what you say is
true, then it won't matter. It was his
idea to hit the Taxi Service in New York,
wasn't it? Tell me the truth.
VERBAL
(Sobbing)
It was all Keaton. We followed him from
the beginning.
Kujan smiles with triumphant satisfaction.
VERBAL (CONT'D)
I didn't know. I saw him die. I believe
he's dead. Christ
KUJAN
Why lie about everything else, then?
VERBAL
You know what it's like, Agent Kujan, to
know you'll never be good? Not good like
you. You got good all fucked around. I
mean a stand up guy. I grew up knowing I
was never going to be good at anything
'cause I was a cripple. Shit, I wasn't
BLUE 06/01/94
114.
VERBAL (cont'd)
even a good thief. But I thought the one
thing I could be good at was a keeping my
mouth shut - keeping the code. I didn't
want to tell you for my dignity, that's
all, and you robbed me, Agent Kujan. You
robbed me.
Kujan pulls the microphone out from under his tie and puts it +
on the desk. Verbal actually manages to snort a laugh, but
only briefly, overcome by an apparent wave of nausea.
KUJAN
You're not safe on your own.
VERBAL
You think he's..?
KUJAN
Is he Keyser Soze I don't know, Verbal.
It seems to me that Keyser Sate is a
shield. Like you said, a spook story, but
I know Keaton - and someone out there is
pulling strings for you. Stay here and
let us protect you.
VERBAL
I'm not bait. No way. I post today.
KUJAN
You posted twenty minutes ago. Captain
Leo wants you out of here a.s.a.p.,
unless you turn state's.
VERBAL
I'11 take my chances, thank you. It's
tougher to buy the cheapest bag-man than
it is to buy a cop.
KUJAN
Where are you going to go, Verbal? You
gonna run? Turn states evidence. You
might never see trial. If somebody wants
to get you, you know They'll get you out
there.
VERBAL
Maybe so, but I'm no rat, Agent Kujan.
You tricked me, that's all. I won't keep
my mouth shut 'cause I'm scared. I'11
keep it shut 'cause I let Keaton down by
getting caught - Edie Finneran too. And
if they kill me, it's
YELLOW 06/11/94
115.
VERBAL (cont'd)
because They'll hear I dropped dime.
They'll probably hear it from you.
Verbal stands, mustering his shattered dignity and walks
towards the door. Rabin opens it for him from outside.
For once Kujan cannot bring himself to look at Verbal.
Verbal turns to the door, stopping to look Rabin in the eye.
VERBAL (CONT'D)
Fuckin' cops.
He steps out of the room and into the hall. Rabin follows
him.
142 INT. HOSPITAL - DAY 142
Daniel Metzheiser comes out of Arkosh Kovash's room with a
single sheet of 15x20 inch paper in his hand. He inspects the
sketch with great interest. He folds the edges of the paper
back to make it smaller.
143 INT. HOSPITAL RECEPTION ROOM 143
Metzheiser walks behind the reception desk without asking the
nurse for permission and helps himself to the fax machine.
144 INT. DEPOT - LATER 144
Verbal is downstairs in the depot of the police station
picking up his personal belongings.
A FAT, WHITE-HAIRED COP is checking off the items as he takes
them out of the tray in which they are kept.
COP
One watch: gold. One cigarette lighter:
gold. One wallet: brown. One pack of
cigarettes.
Verbal collects his personal items and shuffles on his lame
leg toward the exit.
145 INT. DISPATCHER'S OFFICE 145
Jack Baer stands by a fax machine. A green light comes on
next to a digital display.
The display reads: RECEIVING
BLUE 06/01/94
116.
146 INT. RABIN'S OFFICE 146
Kujan stares solemnly at the bulletin board, drinking from
Rabin's coffee cup. Rabin sits at the desk, sifting through
the mound of gapers as though considering organizing them
once and for all.
RAB IN
You still don't know shit.
KUJAN
I know what I wanted to know about
Keaton.
RAB IN
Which is shit.
KUJAN
No matter. He'll have to know how close
we came.
RAB IN
Keyser Sate or not, if Keaton's alive
he'll never come up again.
KUJAN
I'11 find him.
RAB IN
Waste of time.
KUJAN
(To himself)
A rumor is not a rumor that doesn't die.
RAB IN
What?
KUJAN
Nothing. Something I - forget it.
Kujan shakes his head. He gestures to the desk.
KUJAN (CONT'D)
Man, you're a fucking slob.
Rabin regards the mess of his office.
RAB IN
Yeah. It's got it's own system though. It
all makes sense when you look at it
right. You just have to step back from
BLUE 06/01/94
117.
RABIN (cont'd)
it, you know? You should see my garage,
now that's a horror show...
Kujan is not listening. He has been staring at the bulletin
board, lost in thought, his unfocused eyes drifting across
the mess of papers, not looking at anything at all.
147 EXT. STREET 147
Verbal steps out into the sunlight, putting on a pair of
cheap sunglasses. He looks up and down the crowded street.
People on their way to and from lunch, no doubt.
Cars choke the street in front of the police department as
they wait for pedestrians to clear the way.
148 INT. DISPATCHER'S OFFICE - 148
A single sheet of paper comes out of the fax machine, face
down.
149 INT. RABIN'S OFFICE 149
Kujan still stares at the bulletin board.
SUDDENLY, Kujan's face changes. He leans in closer to the
bulletin board and squints his eyes. His face changes again.
First a look of puzzlement, then confusion - finally
realization.
The coffee cup tumbles from his hand. It hits the floor with
the SMASH of cheap porcelain. Coffee splatters everywhere.
Rabin snaps out of his droning and looks up in surprise.
KUJAN'S P.O.V.
Kujan is staring not at what is on the bulletin board, but at
the bulletin board itself.
His eyes follow the aluminum frame, mounted firmly to the
wall. One might note it's sturdy construction and it's
convenient size. Big enough to hold a lifetime of forgotten
and disregarded notes and facts. Years of police trivia that
has been hung and forgotten with the intention of finding a
use for it all someday. One might want such a bulletin board
for one's self. One would look to see who makes such a
bulletin board.
Kujan's eyes are locked on a metal plate bearing the
manufacturer's name.
YELLOW 06/11/94
118.
It reads: QUARTET - SKOKIE, ILLINOIS
Kujan's eyes flash all' over the bulletin board. He finds a
picture of Rabin in the far corner. He stands beside a scale
in fishing gear. He proudly holds a hand out to his freshly
caught marlin. His eyes skim quickly over and stop on an
eight and a half by eleven inch fax sheet of what must be a
THREE HUNDRED POUND BLACK MAN. Kujan glazes over his name, it
is irrelevant. His aliases stand out.
Slavin, BRICKS, Shank, REDFOOT, Thee, Rooster...
KUJAN'S EYES WIDEN with sudden realization. He runs for the
door.
His foot crushes the broken pieces of Rabin's coffee cup. The
cup that hovered over Verbal's head for two hours.
Kujan is in too much of a hurry to notice the two words
printed on the jagged piece that had been the bottom of the
cheap mug.
KOBAYASHI PORCELAIN.
150 EXT. HALLWAY 150
Kujan is sprinting wildly down the hall for the stairs.
151 EXT. STREET 151
Verbal looks behind him and sees ANOTHER COP standing just
inside the doorway, lighting a cigarette. The cop notices
Verbal and watches him in the way that cops look at people
they cannot place in the category of idiot citizen, or stupid
criminal.
Verbal smiles politely, meekly at the cop and walks down the
steps into the moving throng.
152 INT. DEPOT 152
Kujan runs up to the desk where Verbal had only moments
before picked up his belongings. Rabin is right behind him, a
look of absolute confusion on his face.
KUJAN
WHERE IS HE? DID YOU SEE HIM? t
COP
The Cripple? He went that way.
YELLOW 06/11/94
118A.
The cog gestures towards the door.
Kujan runs outside looking around frantically.
153 SCENE DELETED 153'
YELLOW 06/11/94
119.
154 EXT. SIDEWALK 154
Verbal limps his way carefully across the sidewalk, avoiding
people as best as he can.
He looks over his shoulder, getting farther away from the
police station. He can see Rabin and the cop on the steps,
looking around with strange, lost expressions on their faces.
He does not notice the car creeping along the curb beside
him.
155 INT. CAR 155
DRIVER'S P.O.V.
The driver's hands tap the wheel patiently. His eyes follow
Verbal as he fumbles through the crowd.
156 EXT. SIDEWALK 156
Kujan pushes and shoves, looking this way and that.
157 EXT. STREET 157
LOW ANGLE on the feet of dozens of people.
Verbal's feet emerge from the crowd on the far side. They
hobble along the curb.
SUDDENLY, the right foot seems to relax a little, the inward
angle straightens itself out in a few paces and the limp
ceases as though the leg has grown another inch.
CRANE UP VERBAL'S BODY
Verbal's hands are rummaging around in his pockets. The good
left hand comes up with a pack of cigarettes, the bad right
hand comes up with a lighter. The right hand flexes with all
BLUE 06/01/94
120.
I-
of the grace and coordination of a sculptor's, flicking the
clasp on the antique lighter with the thumb, striking the
flint with the index finger. It is a fluid motion, somewhat
showy.
Verbal lights a cigarette and smiles to himself. He turns and
sees the car running alongside.
158 INT. DISPATCHER'S OFFICE 158
Jack Beer pulls the sheet out of the fax machine and turns it
over, revealing the composite sketch of Keyser SOZE.
Though crude and distorted, one cannot help but notice how
much it leaks like VERBAL KINT.
159 EXT. STREET 159
The car stops. The driver gets out.
IT IS KOBAYASHI, or the man we have come to know as such. He
smiles to Verbal. Verbal steps off of the curb, returning the
smile as he opens the passenger door and gets in.
The man called Kobayashi gets in the driver's seat and pulls
away .
A moment later, Agent David Kujan of U.S. Customs wanders
into the frame, looking around much in the way a child would
when lost at the circus. He takes no notice of the car
pulling out into traffic, blending in with the rest of the
cars filled with people on their way back to work.
BLACK
Usual Suspects, The
Writers : Christopher McQuarrie
Genres : Crime Mystery Thriller
User Comments
Back to IMSDb
| screenplays |
Grey's Anatomy Te amo como a una canción
_Estaba en el living sentada el sillón cuyo color ya no sabía cual era por las lágrimas que brotaban de mi ojos. Tenía tanto que decirle. Pesaba que las palabras salían de mi boca para detenerlo un rato mas pero me di cuenta que no era así cuando el cerro la puerta, caí en la realidad y eche en un mar de llanto..._
End file.
| fanfiction |
Bleach, Code Geass 1. Prologue: The Unexpected Afterlife
_Disclaimer: I own neither Code Geass or Bleach_
_Hello everyone, this is an idea I have been toying with for a while, a cossover of bleach and code geass._
_The main focus of the story will be Lelouch vi Britannia, going with the theory that he died at the end of R2. The timeline I will be following is the britannian calender starting at 2018 a.t.b and moving on from there. I'm putting the brittanian invasion of japan a few years after the events of winter war and aging the bleach characters to fit into the time line of the fic._
_It begins on that fateful day when the Deamon King Lelouch vi Britannia is killed by Zero._
_So, onward to the story._
* * *
><p><span>Prologue: The Unexpected Afterlife<span>
The feeling, the hands..._Nunnally..._holding his could be barely felt, the tearing pain in his chest...that was becoming less and less as well, his vision was starting to blur...he was seeing the distorted vision of a shocked Nunnally and at the same time he was seeing the past,
The thought elevator, the coup at Pendragon,the planning for the requiem...
"Oniisama! I love you!"
He smiled.
"Destroy….. worlds….." he whispered, "create….. worlds…"
Mother dead, Charles on his throne, the war, Shinjiku, the black kinghts...Zero...Ashford...his friends...and Kururugi shrine...himself Suzaku and Nunally so long ago...together and happy.
He was still smiling when he died.
* * *
><p>For an infinite moment, he floated in a void, no thoughts no emotions, just existance, and peace...he didnt know who he was or what he was, he just knew he simply exsited...and he was at peace...just for a moment.<p>
Then suddenly feeling came crashing back, there was a sensation of falling, a disorienting lurch and he found himself back in the world he just left.
* * *
><p>Zero! Zero! Zero! Zero!<p>
The roar of the crowd chanting the name of the dark knight of justice was the first to reach his ears as he became aware of his surroundings, and found himself standing at the foot of the platform he had been traveling on. At first he was not sure what had happened. How was it that he was standing at the bottom of the platform? He had planned to stay on the throne until Suzaku as Zero arrived, so as to give the crowd...and the news cameras a full view of his demise. When had he come down, and why the chanting. He was expecting the chants, yes, but not until he was good and dead...The confused emperor was standing there, when he became aware of the sound of sobbing by his feet.
He looked down.
And stumbled back in shock. There was his little sister...sobbing hysterically...holding himself!
He looked down at himself, and back at the him that Nunally held, it all came back in one shocked instance, and it took even less time for his mind to reach the inevitable conclusion.
He was dead, dead! And he was looking at his corpse!. Even to a man who has seen as much as he has, this was too much. And he stumbled away clutching at his head. Past the float, past the royal guards standing in mute shock. Non of whom seemed to notice him or pay him the slightest attention. It took a long time until he regained a modicum of sanity and began to think. He was not expecting this...he had never been a religious man, and even after finding out about geass at most he had expected after death was to be assimilated to the collective consciousness not...this.
He looked down at himself again. He still had a body, and he was wearing the same cloths he died in, only they were no longer riped and blood spattered. He reached a ginger hand to his chest, the wound that killed him was no longer there, and in its place was a square metal plate and fixed to the middle of that plate was a long metal chain.
"That's your soul chain."
"A soul chain? And what is that exactly?" he asked, a moment passed before the words registered, and he realized what had happened, and spun around in shock.
* * *
><p>Lelouch vi Britannia had an extraordinary mind. It more than his geass or any other weapon helped him conquer the world and finally end the cycle of hate that griped it. But even with a mind of such caliber, he was stunned and helpless at this moment. Having expected to die and be assimilated to the collective world of c, he now found himself in a position he had not planned for at all, a ghost looking down at his own corpse. He had barely managed to recover when he was shocked a second time, finding a strange attachment to his chest and being told its a...soul chain.<p>
Lelouch stared at the man before him, he was a tall muscular japanese man wearing a black kimono with the sleeves pushed up around his elbows and with his long black hair gathered at the top of his head and tied off with a simple cloth band creating a small ponytail that falls as far as the tops of his ears. At his hip was a katana with a handle wrapped in purple with a square guard in a black sheath. The man was watching him with an amused expression on his lined face.
"Who, Who are you? And what do you mean my soul chain?" lelouch manged to gasp out.
"The soul chain is what connects your soul to your living body, when you die, the chain is severed. This is what has happed to you" the man answered.
It took a long moment for lelouch to process all this, and longer to find his voice.
"So this means i'm now dead, that much I already deduced, does this mean that i'm a ghost now? And more to the point, who are you?"
The man let out a small laugh " You are taking all this very calmly aren't you emperor? No you are not a ghost, ghosts are earth bound spirits who have lingering attachments to this world and are unable to move into the afterlife. You are a plus, a newly dead human spirit"
Lelouch was looking over his shoulder at the royal float. His sister Cornelia and her ragtag band of rebels were right on schedule and had provided the spark needed to ignite the people to rebel against his royal guards. Jeremiah had called the retreat and the rebels were on their way to free the captives.
"There is nothing you can do to or for them now emperor, dead men don't have the power to interfere with the living. They can no longer see you or hear you" The voice bought his attention back to the mysterious man.
"If that is the case, how can you talk to me and see me? I assume you are a, a plus too? And you still haven't told me who you are" lelouch responded. Reverting back to the self assured captivating voice he used when he was zero.
"Heh, you are right, I haven't told you who i'am" the man replied with a smirk. His gaze went up at the sky for a moment and than came back to focus on lelouch.
"I'm Hamada Riku, a humble shinigami assigned to this sector, I was waiting for the execution to finish so i can send the poor bastards you were going to kill to soul society, but it looks like I will be sending you instead"
Lelouch's newly regained composure shattered in an instant.
"A , a, what the hell do you mean Shinigami! a death god, and what the hell is soul society!" lelouch stammered out, his voice a squeak.
"Its were souls go when they are dead, if they stay here the chain of fate crumbles away and they turn to hollow"
"Hollow?"
"Evil spirits that eat pluses like you" The man, the Shinigami, answered, still wearing a small half smirk. And lelouch couldn't be sure in his shaken mental state, but it seemed that the blasted man was enjoying his distress.
"I see" lelouch managed when he had finally calmed himself "so the afterlife is not all roses and sunshine, if you can be someones lunch."
"Heh its a life emperor, just like the life you just left, now lets send you on your way, I for one would say you would deserve to turn into a hollow and be hunted down, but its my duty to send pluses to the soul society, not pick and choose the worthy ones"
"That is very noble of you" lelouch replied with a small smirk of his own, so it seems that even in death his fabricated reputation would follow him, the deamon lelouch. " So how do you go to this soul society?"
"Easy" Hamada drew his katana in a smooth motion and bought the hilt to bear on lelouch's forehead " Safe journey emperor, and keep a low profile in soul society, I get the feeling you wouldn't be popular there"
The hilt made contact with his forehead, and lelouch faded slowly into unconsciousness.
* * *
><p><em>I was unsure if I should send Lelouch to Hueco Mundo or Soul Society at first, but decided on the whole, soul society is best. Mostly as I didn't feel like writing from a hollows view point and there is an excellent fic already about lelouch as a hollow. This fic is still in its infancy and the direction it will take is still up for debate, should lelouch join the shinigami? Or stay in rukongai? That is the next big thing I have to decide, and i'm still on the fence, any suggestions would be welcome.<em>
_Oh and Hamada is an oc i plan on using in the upcoming chapters._
_This is the first serious fanfic i'm writing so reader input is greatly appreciated._
_ps:This is an edited version of the frist two chapters rolled into one, as i felt it would be best if the death and sending off of lelouch was done in one leap._
2. Chapter 1: Rukongai Adventures
_The next chapter is up, and I have decided were i want to send lelouch. Also I have set out the basic shape of the story for the next few chapters. I hope to update once a week if i get lucky._
_For the record, lelouch will not be becoming a shinigami. Not by the traditional go through the academy route at least. But taking XT3s advice i plan to give him a power upgrade down the line. Also i plan to introduce him to a few old friends in the course of the story. Enough of the code geass cast have died by the end of r2 to make life interesting for lulu. Its just a matter of bringing them together. _
* * *
><p><span>Chapter 1: Rukongai Adventures<span>
Lelouch opened his eyes into a bright white light streaming from overhead. He let out a groan and stretched, only for his head to make contact with something hard and uncomfortable. With a sigh he sat up from the blanket he had lain on and surveyed his surroundings.
He had gone to sleep in a small hollow in the rukongai forest. Sunlight was streaming in through the canopy made by the surrounding trees. Lelouch pulled himself to his feet and began to roll up his sleeping blanket.
He had been in soul society for a little more then a month now, and had settled down fairly well.
His little hunch that he would not be able to discard his mask even in the afterlife had been right after all. He had barely arrived in soul society, disoriented and weak, when he found his way into one of the settlements of the district. He had barely been there a minute when someone recognized him as the demon emperor.
What had followed next was unpleasant.
A large mob had soon gathered, and he had been chased by them all the way out of the settlement into the surrounding forests. When he finally manged to avoid them, with a little misdirection, he was bruised and bleeding from both thrown stones and physical blows. That was when he learned the most important lesson in the afterlife, even a dead man can die, and even a dead man wishes to live.
After that he had taken to heart the advice of the shinigami who sent him here. Now he avoided people and kept a low profile. And he had also taken the precaution of keeping both his face and appearance concealed.
Lelouch pulled himself to his feet with a wince, and trying to ignore the kinks and bruises from sleeping on the hard ground, started packing his meager belongings together with the intention of making his way to the nearest settlement. Because as much as he would have wanted to, there were a few problems with becoming a complete recluse.
One was that he had to eat. He had learned that most people in soul society don't get hungry. But the ones who do feel hunger have spiritual power, and must eat when it is depleted. And he had spiritual power unfortunately, so he had to keep himself fed.
It was only one of the many strange things about his new life. Another very important one was that he no longer had his geass, something he was both thankful and regretful for. His geass has caused him so much grief in life, but he never realized how much he relied on it until he lost it. With his geass he stood apart from the others, with his geass he had the power to change his life and to change the world. Now he was once again part of the crowd, powerless to change his course. When he realized his geass was no more, during the first confrontation with the angry mob that welcomed him to his new life, he had cursed his powerlessness and felt sick to the core.
But since then he had come to terms with it and had learned to compensate. One of the good things to come from his death was that he no longer had the weak body he had in life. His new 'spirit body' was both healthy and strong. While it was not up to the standards of suzaku or kallen, he was by no means weak anymore. The rough living on the edges of rukongai was only improving him. Besides which, he still had his immense brainpower. So he was not completely helpless.
But still, the feeling of powerlessness he got from the loss of geass would not go away. In his heart of hearts he knew that his intellectual and physical prowess would never compensate for geass. It set him apart. It defined him. Now he was at a loss, he felt like he lost a part of his identity.
* * *
><p><em>Outskirts of the settlement...<em>
The settlement, when he finally got to it, looked like it could give most of the ghettos in area eleven a run for their money. Wooden buildings clustered close together. Dusty dirt tracks between them serving as makeshift roads. Most of the buildings were residential. Groups of people living together in the manner of an extended family. He had learned that when new people arrived in soul society they were usually taken in by one of these family groups. A family broken up in death usually never reunited in soul society. But the human need for companionship meant that people would soon find an alternative to their missing family. Of course no such luck for him.
The entire settlement was made up of buildings like this. So far he had yet to see stone and brick used for building in soul society. Indeed it still surprised him how incredibly backwards and poverty stricken soul society was. Another thing he had failed to find was any form of advanced technology. He was even starting to wonder if soul society simply lacked in the metals and fuels that made modern civilization possible. It was either that, or it was the fact that most of its populous came from another world, and they saw this as their final resting place. A place to put their feet up and not do any work.
Aside from the family residences, there were only a few shops and social buildings. And most of those were gathered together in the center of the settlement.
This was were his destination was.
* * *
><p><em>Several hours later...<em>
Lelouch pulled the wide brimmed hat down over his eyes and ducked his head under the door as he stepped inside the crude wooden building. Inside was dimly lit because of the half open windows and lack of proper lighting. It had taken some careful inquiry on his part to find this place, now he came here regularly. He had spent the better part of the morning loafing around the settlement, it was now past noon and the time this place opened up for business.
The long room was scattered with short oriental tables and men sitting around them cross-legged talking in low voices, a variety of different games were already underway.
This had been his main pastime and means of supporting himself. He had always enjoyed the little gambling trips he made with rivalz when alive. It had made his otherwise dull life interesting, given him a steady income, and paid for nunnally's medical expenses. Now here in the afterlife it kept him fed.
Lelouch's eyes swept the room in a long slow movement as he walked inside, most of the games were dice but a few were board games. And finally in the far corner of the room, what he had come to find, chess, his source of pleasure and profit. Even though the players he had come across so far had been hardly worth mentioning, a match with clovis would have been preferable over any one of them.
* * *
><p>After a few minutes of bargaining he sat down across a table and gave small nod to his opponent, an old man with a bald pate and drooping mustache. He had learned that people age very slowly in soul society, this man must be ancient to look this old.<p>
The old man smiled at lelouch.
"I hear you have earned quite the reputation in this establishment young man." the old man said through the smile.
Lelouch gave a thin smile, almost a smirk, in return "You flatter me. I haven't been here long enough to earn a reputation sir."
"Still in this small time you have never lost a match, that is a noteworthy achievement." the old man seemed to be seizing him up his eyes flicking from the exposed half of his face to his cloths.
"Been sleeping rough i see" the question startled lelouch for a moment, even as he realized how perceptive this old man was.
"I don't plan on settling down here, in fact I plan to move on in a few days, so no need to look for better accommodations." lelouch answered with care.
The old man nodded with another small smile "Well then, i'm glad i got to play you before you left. I seldom get interesting opponents hereabouts, and you look to be interesting."
"Again you flatter me sir, shall we begin then?" lelouch gestured to the board.
"Ofcourse." the old man was white, he moved first. Kings pawn to e4.
Lelouch smiled and mirrored his opponent.
The old man responded by bringing his queens pawn out next.
Slowly and deliberately, Lelouch moved his king forward behind his pawn.
The old man studied the board carefully, and then looked up at lelouch. Studying him even more carefully. "This is the first time i saw this from a person who was not a novice."
"The king has to move, otherwise how can his people follow?" lelouch replied calmly.
The old man nodded slowly "I see, well then, shall we see if you can still win with a choice like that."
Lelouch merely smirked. For him the game truly began the moment he moved the king. Once the king moved to the front lines, there is no turning back. Its victory or nothing.
* * *
><p>Fifteen minutes later, lelouch was walking out of the gambling house with his winnings. A small satisfied smile on his face. The old man , who had introduced himself as mutsuo, was a good player and had the experience to go with it. The game had been interesting, and both of them had enjoyed it. Old man mutsuo had payed him in good humor and had even invited him over for tea, which he had refused politely. He didn't want to get too involved with people here. He certainly didn't want them seeing his bare face.<p>
While not everyone in soul society would know him by his face, he knew from the talk he had picked up that word had gotten around about the "Demon Emperor" who had terrorized the world of the living. And if someone identified him, like in that accursed settlement back at his arrival site, things could get ugly very fast.
So he had resolved to change his appearance as soon as possible. The most simple step had been getting a hat to cover the top half of his face. It hid both his hair and eyes and also completely changed his profile. A scarf tied around his neck and shoulders, easy to pull up to cover the lower half of his face, completed the disguise. Both items, like the rest of his cloths, had been acquired by way of a little night time burglary on an unsuspecting rukongai citizen.
He had plans for a more permanent disguise. Hair dye and a wig will give him much better options. Now he had finally won enough money from his last few matches to be able to afford them, which was why lelouch was now making his way towards a little shop tucked away in a corner of the settlement. But just as he was turning the corner to the street his shop was in, he head a commotion behind him, yelling children.
He barely had time to glance over his shoulder to see several small shapes dashing in his direction. Two of them, a boy and a girl, being chased by a third boy.
Before he could react in any way the two in the lead had skirted around him and dashed down the street, while the one chasing was coming too fast to stop himself and crashed into lelouch with a loud thump. Leouch was jarred by the impact. But the boy just stumbled back, regained his footing, and tore off down the street in pursuit of the other two without even a word of apology. By the time lelouch regained his senses, he just caught a glimpse of a stock of red hair disappearing down the street.
Lelouch frowned and, shaking his head to clear it, headed for the shop.
* * *
><p>The old lady at the shop was clearly surprised by a young man asking for hair dye. But she didn't ask questions and rummaged through her stock to finally come up with what he asked for.<p>
It was only when he reached for his money to pay for it that lelouch finally realize that he had been robbed.
"Those brats" he snarled.
The old lady was taken aback by the sudden outburst and sudden change of expression from the man who a moment ago was being pleasant and polite.
Lelouch collected himself while the old shopkeeper was still looking at him worriedly. He flashed the old woman a small smile "Please excuse me for a moment, I will be back."
Outside he leaned against the shop wall and closed his eyes tightly. Those brats. All the money he had won at the match was gone. He didn't know how long he would have to wait for another match, or even if he did, its winnings would cover his loss. The only possible culprits were the kids. The one who crashed into him, the redhead, had done it. They had executed a well planned routine. And he had fallen right in. Those brats. He was going to skin them. Just as soon as he found them.
Lelouch let out a tired sigh. It was highly unlikely that he could track down a trio of kids who were on their home turf and who had just made a haul. They would be laying low. But wait, he thought the situation over, replaying the episode in his head. The children had been shabby and wild, not domesticated at all, he thought with a smirk. So street kids. And why would street kids need to rob him? What could they hope to gain? In soul society you don't need much for survival. So why try something so risky. Daylight robbery was no joke. Unless...they were hungry, he smiled.
* * *
><p><em>Sometime later...<em>
Lelouch was watching from the shade of a nearby shack as the boy with the red hair came up to the food vendor. Even though they didn't need to, people still ate in soul society. Out of force of habit, and for entertainment. He supposed it would be the same as going to a movie back home. But the food business was not as profitable as it would be in the world of the living. With the small number of customers and the correspondingly small number of shops. As he had taken the time to familiarize himself with the general overlay of the settlement when he was searching for the gambling house. He knew were the food stalls were. It was easy to calculate were the children will most likely go. And now he was proved correct.
* * *
><p><em>With the redheaded thief...<em>
The red haired boy was walking off with his arms full of bundled bread sticks, when a hand reached out from an ally and caught him by the scruff of his neck. He kicked futilely as he was whisked down the ally and pushed roughly back against one of its wooden walls.
He looked up to see a man wearing a wide brimmed hat that cast its shadow across his face smiling down at him. For some reason the smile made him very nervous.
"Well well, fancy running into you here young man, it was so rude of you to run off like that after bumping into me earlier." the smile became a smirk. " You didn't even give me an apology."
The redheads eyes widened as the identity of the man clicked into place.
"Look mister, ill give you the money back." he was trying to run damage control.
"You mean other than what you just spent." and it wasn't working.
"Look mister." he tried again nervously, trying to turn his neck a bit to avoid getting cramped by the mans stranglehold. "I'm sorry for that, but i will give you the rest of it."
"Please do."
The boy reached into his rags and bought out the money pouch he had relived the man of. The man took it in his hand and weighted it in his hand causally.
"hmmm, you haven't spent that much of it."
Trying to nod only made the cramp in his neck worse "I only bought the bread."
The man was still smiling, and he still hadn't let go, he just pocketed the money. The boy was getting the feeling that he wouldn't get out of this without a beating.
"Now then young man, i have some questions" the man said in that annoyingly smooth voice. "First off, why did you feel the need to rob me?"
"Cant you just let me go, you got the money back, Ow." the last was when he was shaken by the neck.
"But I didn't get all of it back, you spent some of it, so the least you can do it pay me back by answering a few questions." the bastard was still smiling.
"Fine, what do you want to know." the boy asked sullenly.
"How about my earlier question, why did you rob me?"
"Look mister, its not as if we wanted to, but we had to, we needed to get the food."
"You were hungry?"
"Yes." the boy answered, still skulking.
"I thought so." the man seemed satisfied, satisfied enough to cut him loose? The redhead sighed as he showed no sign of letting go. "And you followed me from the gambling house didn't you?"
This time the boy was surprised. "Yes."
The man nodded. "That was a clever distraction you three came up with, fooled me completely, i didn't even know i was robbed till i had to pay for something in a shop."
Again surprise. The bastard was praising him and giving him a neck cramp at the same time? "Uh, thank you mister, I guess."
The man let out a snort this time. "One last question, and you can go. And you can keep the food as well. I know what its like to be hungry."
The redhead immediately brightened up. "Ok." Then what he heard registered. "You have reiryoku(spiritual power) too?"
"So i am told, but that is not my question, the question is..."
"Hey pointy hat!" the shout came from just behind them.
The man turned, surprised at the sound, and was hit square in the face by a porridge of dust, sand and dirt. It got in his eyes and mouth. And then he did the worst thing he could have done at that momment, he breathed in.
The coughing, spluttering man had let go of him to paw at his face. And the redhead didn't waste any time running past him to the ally entrance. The bundle of bread sticks fell and scattered all over the ground in his wake. His two companions were waiting for him at the ally mouth.
"Good shot." he told them grinning. "And i told you two to wait till i came back."
The dark haired girl smacked him across the shoulder. "If we hadn't followed you would be needing a new neck." She turned and sped off "Come on."
The other two took off after her. The redhead still trying to rub the back of his neck as he ran.
Back in the ally the man finally managed to get enough of the muck out of his mouth and nose to breathe properly. He spent another moment panting and spitting to get the taste out of his mouth. Then he walked up to the ally mouth and looked up and down the street. No sign of any of the culprits.
"Those brats!" lelouch snarled.
* * *
><p>It was almost sundown when he finally made it back to the shop. The shop lady was watching him warily from behind her counter. No doubt wondering about his sweaty dusty appearance and thinking him some kind of madman, lelouch thought wryly.<p>
"Hello again. I was asking about some hair dye earlier today" he said helpfully.
When lelouch left the shop, his pack was loaded with a selection of dye and something extra he found. The general helpfulness and good nature of the shop keeper had won past even in the face of a potential madman in her shop, and she had been glad to point out more accessories for his plan. He had given her the most convenient explanation, he was courting someone and wanted to change his style. This, added to his rather charming manners satisfied the old lady and got her out of her fright.
As lelouch finally made it to the outskirts of the settlement, he realized that he would not be able to make it back to his little hollow before sundown. And wandering rukongai by night was a bad idea, especially if you had spiritual power. But he also didn't dare sleep in the town till his disguise was complete. He would probably end up raising another mob if he was recognized, but he risked being eaten by a hollow if he continued.
He growled in frustration. "Those brats." It had taken hours for him to get his money back, and now the cost of the lost time was showing.
"I swear, if I get myself killed today, i'm going to come back as a hollow, and i'm going to hunt the brats down."
Lelouch hauled his pack onto his shoulders and started walking resolutely in the direction of the forest.
* * *
><p><em>So there you have it, chapter 1, and the true beginning of the story. What do you think? As always reader input aka: reviews are greatly appreciated.<em>
_Note that i decided to remove his geass. Mostly as i'm pretty sure death severs the contract. And secondly as it would give him a god mod advantage in rukongai. So now lulu has only his wits and good looks to get him out of any trouble he might land in._
_Also I need to name and number the rukongai district he is on, does anyone have ideas?_
3. Chapter 2: A Memorable Night Part 1
_chapter 2 is up, featuring the midnight adventures of lelouch._
* * *
><p><span>Chapter 2: A Memorable Night Part 1<span>
The rukongai forests were very different from the forests around the kururugi shrine that he had gone exploring in with suzaku so long ago. The very trees felt far more ancient and forbidding. And the calls of the night animals felt alien, leading him to wonder if soul society housed more exotic and different creatures than the world of the living. Even though so far he had only seen fauna he was familiar with, the possibility remained.
Lelouch let out a sigh, his nervous mind was coming up with all kinds of fancy rubbish in an attempt to distract him from his predicament. He just wasn't cut out for this kind of wilderness survival. He really should look into finding a place to stay in the settlement. Or maybe make a little dwelling for himself in the outskirts. As much as he liked the idea of living apart from people, he knew that more people equaled better protection. Well, soon enough his disguise, long in the planning, will be complete and he would be free to turn his efforts to finding a better dwelling than a forest clearing. It wasn't as if he was exactly free to look into it before. Too busy running for his life, learning to survive in the forest, stealing cloths, getting robbed...he shook his head, focus.
He cast a careful glance around him, nothing moved or made a sound. Still, the sooner he made it back the better. He had been lucky so far, but saw no reason to tempt fate. He knew that hollows hunted in the wilderness areas of rukongai. And so had always been careful to do nothing that would attract attention to him...except of course when circumstances went beyond his control. Still, even stuck with wandering in a forest in the middle of the night, he had to admit he felt...at peace. All his life he had been a driven man. A man with so many ambitions. But in the end, he had achieved them all...Now his only concern was day to day living. He could almost feel a smile tug at his face, from waging war on the entire world to this...wait, what was that?
He looked behind him. Nothing, false alarm? He could have sworn he heard something...Come to think of it, no, he didn't exactly hear anything, more like got the feeling that someone was behind him. But nothing to be seen, so...nervous mind playing tricks?
He smirked, yes he had come far from his old life, from genius conqueror to poverty stricken outcaste jumping at shadows. Even his extraordinary mind was going rusty from disuse, if he was this rattled this easy.
"Feeling nervous are we?"
...what? Lelouch panicked and, letting out a rather high pitched yell, spun around looking for the source of the voice.
He ended up face to face with the black outline of a figure standing just behind him, so close he could have reached out and touched it. He yelled again and jumped backwards, this time missing his footing and landing on his ass in a most undignified way.
The figure laughed softly as it stepped forwards to were the moonlight would catch it, revealing itself to be a man sporting a head of messy back hair and a black kimono. And more importantly, there was a katana sheathed at his hip, and his hand was on the hilt.
So it wasn't his mind playing tricks after all, lelouch thought as he scrambled to his feet and backed away. He had somehow known that the man was behind him. Still, this was not the time for that line of thought. Think of his options, he could always make a run for it, he took another step back...
There was a wooshing sound, a gust of wind and...something else, and suddenly, something shoved him in the back, hard. He stumbled forwards and looked over his shoulder. There was another man behind him, this one dressed in a black outfit identical to the first mans but sporting a bald head and with a sheathed katana causally laid across one shoulder.
"Thats far enough" baldy said while lelouch was still trying to work out were the man had come from.
* * *
><p><em>several agonizing seconds later<em>
Lelouch felt that all of this was a bit unfair, all he wanted to do was get back to his little den in the forest and get some sleep after an eventful day, and here he was instead, accosted by two sword wielding ruffians. Could this situation get any worse?
Now that he thought about it...the men were wearing black outfits identical to the shinigami who sent him here. He had learned that all shinigami wear the same uniform, and the one man _had_ just suddenly popped up in a gust of wind. So that just might make these two shinigami. And if that was the case those swords weren't just swords, they were zanpaktou, the magic swords of the shinigami that, according to rumor, depending of which tale you believed, packed the power of anything from a rocket launcher or a hadron cannon. Okay, things could get worse.
But the question was, why would two potential shinigami want to waylay him? Had they found out who he was? and were here to take care of him? It was one of several possibilities, but very unlikely, he had been careful, very careful. So that left the other possibilities, well maybe a simple question would clear things up.
"Who are you? what do you want?" lelouch asked, forcing his voice into relative calm.
The first man, the one with the sword at his hip, was the one who answered "I would say you know who we are already boy" and with that the air around lelouch was filled with a heavy suffocating presence, it was hard to breathe, his eyes blurred, and his mind wouldn't function...what was happening? Then, just as suddenly, it was gone, and lelouch drew in deep gasping breaths as the presence vanished.
"Shi...shinigami" lelouch managed through the gasping breaths.
"That is correct boy, we are shinigami, and when we saw you wandering the forest at this hour, we became a bit suspicious. So why don't you tell us what you are up to."
Lelouch collected himself with extreme effort and forced his shocked and tortured mind to work at maximum speed, what had the man done just now? how had he made him choke like that? that pressure, it felt like? no that was for later, what answer to give? Of course, the most simple one.
"I, i got lost in the forests, was looking for a place to spend the night." hopefully the men would believe him without looking into it too deeply.
The messy haired man shook his head " You fool, wandering the forest at night, you could have been hollow food, especially a boy like you, we could feel your r_eiatsu_, and if we could feel it, you can bet that skinny ass of yours that others could too."
_Reiatsu__? _Spiritual power? They could feel his spiritual power? So that was how they had tracked him. But if thats the case, then would not the opposite be true as well? Could he feel others spiritual power the same way they could feel this? Was that the feeling he had gotten when he thought someone was behind him? had he in fact felt their spiritual power?
Yes, if he concentrated even now, he could feel...something, coming off the man in front of him, and he felt the same from the man behind him. So that makes for one answered question.
The first man was still talking while lelouch was drawing these conclusions.
"Well at least you wont be eaten by a hollow, thats not a very nice way to go" in one smooth movement the mans katana left its sheath "Now, im afraid we must ask you to hand over any money and valuables you have on you" The blade came up to point at his chest.
….what?
"He means we're robbing you" baldy added from behind him.
Robbing? why would they need to rob the likes of him?
Lelouch was instantly alert for danger. These were shinigami, the elite of soul society, they can walk into any settlement and ask for anything they want, and probably get it without even having to pay for it.
So why? His eyes roamed over the first man, and then the second, noticing things he hadn't before in his panic. The black uniforms, while well made, were looking rather shabby and unkempt. The men too looked rather unshaven and unwashed. Unless the shinigami structure was utterly different from the military of the living world, its unlikely that this level of ill discipline will be tolerated, even in the field.
So maybe... just maybe they didn't get their supplies in the settlement because they could not go there, they would be seen and reported, so they had to stick to the forest. But if they were lucky enough to catch some fool wandering the forest all alone, they could relive him of his belongings and silence him so he cant spread word of them. His jaw dropped as realization came.
Messy hair grinned at him "I see you've worked it out " he shook his head "Well we were going to have to kill you anyway, you picked a very bad day to get lost in the forest boy"
Lelouch swallowed, deserters. He was dead, unless he came up with a plan.
* * *
><p>He began by putting on his best terrified expression, which turned out to be surprisingly easy, "Look, look you don't have to do this! I will give you whatever you want" he let his voice shake, "Look i have some coin"<p>
First distract them. Money was always the best distraction, right alongside kallen in a bunny suit, not that that last one would help him here, no bunny suit, and no kallen.
He tossed the bag of coins to the shinigami who caught it and weighed it before opening it, looking decidedly pleased with himself. The bald shinigami also moved over to his friend, peeking at the contents, perfect.
"And then there are some things in my pack you might find useful..." lelouch pulled the pack off his shoulders and opened it, surreptitiously palming a bottle of hair dye as he hefted it up and held it up to them. He was keeping the hand holding the bottle covered by the pack even as he worked the cap loose from the bottle.
Just as the men shifted attention from the coins to the pack, lelouch used all his strength to throw the pack at the man holding the coin pouch. And just as he had anticipated, the man was torn between keeping the coins safe and avoiding the pack. The pack hit him square in the face, causing him to stagger and making both the coins and the contents of the pack to go scattering across the forest floor.
As the man started yelling in anger lelouch was already swinging the hair dye bottle at baldy. Baldy had his katana out and in a guard position so fast that to lelouch it looked like the blade just appeared in his hand. With that kind of speed he would have stopped any thrown projectile, but a stream of liquid was another story.
The dye hit baldy square in the face, and the man screamed and dropped his blade as the liquid got in his eyes.
Without wasting a second lelouch turned and ran for his life, weaving among the trees and heading in the direction were he calculated the settlement was. If he could put distance between the two shinigami and himself, if he could get close enough to the settlement, then they would give up on him.
At least one of the men was out of action, blinded temporarily or permanently, and the second would be torn between helping his friend, collecting the coins, and pursuing him. All he had to was keep running and he would survive.
Suddenly pain exploded in his back, and lelouch found himself flung to the forest floor, landing hard and rolling a couple of times with the impact.
It took a while to lift himself up and raise his head, and it took longer for him to see past the haze of pain and the tears in his eyes, but when he did, he could see a hazy shape standing over him.
He focused through the pain. A shinigami, this one was much younger looking with his hair done in a topknot.
There had been three of them. And he had taken only two out of action.
Failure to properly assess the enemy's strength, how could he have made such a mistake?
The shinigami smiled and kicked lelouch hard in the stomach. The blow lifted him up completely and threw him on his back, the pain was so intense lelouch temporarily blacked out.
When he finally came to his senses again, feeling like he had been run over by the lancelot, he found the blade of a katana at his throat, so close that if he breathed deeply it would have drawn blood.
"You are one clever bastard, you know" the mans lips curved into a smile "you may have blinded kujo back there, and if it wasn't for me you would have gotten away. We would have killed you of course, but it would have been quick and painless, now though"
The shinigami slowly moved the tip of the blade away from his throat going down until it came to rest on his stomach. The smile became a snarl.
"You deserve something special for your stunt back there. You will die very painfully and very slowly"
* * *
><p>Lelouch was paralyzed with fear, staring in horror at the blade of the zanpaktou. How had he come to this, he had once conquered the world! How could he be dying like this, in the middle of an unnamed forest at the hands of a deserter. A month ago all he had to do was give the word and either his black knights or the imperial guard would have cut these filth to ribbons. And if all else failed, he could simply command them to die, and they would obey. He had fallen so far since then. He was so powerless. No black knights, no imperial guards...no geass. Powerless and useless, he had barely begun his afterlife, and now it will end.<p>
And dammit, why? why was he so afraid? He had once been run through with a sword, he had had no fear then. Now he was terrified, was it because he was going to die ignobly and namelessly for no reason other than highway robbery? His chance of a new life wasted?
No no! He refused to accept this, he would live...he would fight for his life.
Something built up in his chest, like a flood struggling against a dam, fighting to get out. Almost without knowing what he was doing, he let it loose.
The shinigamis eyes widened.
* * *
><p>The shinigami leaped back from lelouch, landing a good twenty feet away and bringing his sword up in both hands in a fighting stance, standing with his feet planted wide apart.<p>
Lelouch was on his feet without him even noticing, feet planted firmly fists clenched at his sides. The pain of his body could barely be felt, and strength flowed through him from some were deep inside his body, radiating outwards. He felt like he could crush a mountain in his bare hands, he felt like he could tear this arrogant fool to shreds.
"What the hell" the shinigami snarled, "What the hell were you hiding"
Lelouch chuckled like a maniac in response "What was I hiding? Whats the matter, no longer have the guts to disembowel me?" He took a step forwards, the shinigami griped his blade tighter "You who have been given power over normal souls, you who's duty it is to protect all of soul society, have turned away from everything that you should be and have turned your strength upon those weaker than yourself" He grinned mockingly "And now that your pray has proven to be more then you bargained for, you tremble like a child" Lelouch was still buoyed up by the power coursing through him "You, are pathetic!"
The shinigamis face twisted with emotion, "You bastard, you know nothing, nothing!" he flexed his stance preparing to attack "I'm going to cut you to pieces you bastard!"
Then, before either of them could do or say anything more, the air was once more filled with the same suffocating, mind numbing presence that he felt before. But this time it was a different kind of presence. While before it had made him feel suffocated, this time it also make him feel like throwing up, he could almost smell the scent of rotting carrion in the air. And he got the feeling of...hunger, an immense hunger was coming from the presence.
* * *
><p><em>And that, young shinigami, is why you mustn't raise your r<em>eiatsu<em> just for the heck of it, a shark can smell blood 2.5 miles away, a hollow can smell a juicy shinigami soul from even further._
_Yes, ahem,...anyway._
_Chapter 2 is up. Lelouch meets his first, well second, bunch of shinigami and his first hollow is around the corner. Also he releases his r_eiatsu for the first time. All in all a lot happened. I wonder if this moved too fast actually, what do you guys think? Should the pace slow down? __
__Also you might notice that I spent an enjoyable chapter using lulu as a football, I even interrupted his badass moment at the end. :-) This is something else id like you guys opinion on, should this continue? Or should poor widdle lulu be treated better?__
_I hope to get part two of this up very soon. Until then, feedback is greatly appreciated. _
4. Chapter 3: A Memorable Night Part 2
_Chapter 3 is up featuring the trilling conclusion to the might night adventures of lelouch
><em>
_Taking the readers advice i wont be changing the pace of the story. Also i finally named his district, It will be showing up later. Other than that my update speed may slow down for a while from next month onwards due to unavoidable(educational) circumstances. I promise to do my best to keep the story going though.
><em>
_So onward to the chapter..._
* * *
><p>The shinigami had taken his attention off lelouch completely and now had his eyes fixed on the surrounding forest. "No, that fool. Letting his reiatsu loose like that, i knew this would happen"<p>
Without a word the shinigami turned and began to run back the way they had come from.
Lelouch stood staring after the departing shinigami, trying to make sense of what was happening. He could feel the presence, the _reiatsu _according to the shinigami, of someone or maybe something.
And that something had made the shinigami forget him and run back to his friends. But what could...
Suddenly the night was split by an ear wrenching scream, a human scream, coming from the direction the shinigami had disappeared to. The same direction the other two shinigami were.
Then, as if in accompaniment to the human scream, another sound shook the forest. This one was a roar, full of power and animal fury.
And suddenly he knew.
_Hollow_, lelouch thought furiously. Its a damned hollow. The very thing he had wanted to avoid, and had taken great pains to avoid, had happened. If he lived through this, those brats were going to pay.
* * *
><p>Now, the question was, what to do?<p>
By the sound of things the hollow and the shinigami were already going at it. Both parties were likely to be occupied for sometime. The best course of action would be to use the time to get away. And yet, there was something wrong about leaving anyone, even his attempted murderers, to face a hollow without doing anything to help. Besides, he had no idea in which direction was the settlement was. He had lost track during his tumble. Well thats easy to solve. If you put the approximate location of the hollows roar and the shinigami's scream at his original ambush site...it should be...there. He had it.
So now he had a direction in which to run. But still, something was stopping him.
He was still standing there debating when, with a suddenness that left him shocked, the reiatsu of the hollow vanished.
It took lelouch completely by surprise. The hollows reiatsu had been filling the area, almost making him want to choke, and suddenly, it was gone. Had the shinigami defeated the hollow already? If so, bad news. Had to move it. He turned to run in the direction of the settlement.
Then suddenly, throwing him completely off balance, the hollows reiatsu exploded right in front of him.
Lelouch barely had the time to register what had happened when it was looming over him, as tall a kinghtmare frame, looking like nothing he had ever seen, living or dead.
It looked like a giant scorpion. With two huge pincers larger than a man and six legs coming out of a impossibly long body that was a slick oily black. He could see a tail waving above its head tipped with a sting like apparatus. What made it different from a scorpion was its face, there was a face attached to a short neck on the front of its torso, in between its pincer arms. The face was covered in a pure white skull like mask, triangular in shape with the mouth fixed in a permanent grin.
On pure instinct, with out any thought, lelouch jumped to avoid the pincer that was coming for him.
It missed cutting him in half by inches and lelouch scrambled to safety.
How did this happen? he thought to himself frantically. How could it get ahead of me so fast, and what in hell happened to those shinigami? They were supposed to keep this thing busy.
Just as he was able to regain his footing, the hollow flew at him for another attack. So fast lelouch could barely follow it.
One of its claws landed were he had been an instant before as lelouch jumped back and out of the way. Again barely avoiding the blow.
As he backed off still facing the creature, lelouch wondered how he was going to get out of this. The hollow was obviously stronger and faster then him, there was no hope of outrunning it or distracting it. Anything he could do now would only delay the inevitable.
Lelouch cursed. There had to be a way... Some way out of this. He just had to find it.
Even as he was wracking his brain, the hollow surprised him yet again.
"Well this is surprising" it said, in a voice that dripped malice. "I thought you were another shinigami from your reiatsu, but you are just another soul with too much reiatsu"
...what? It was talking. The hollow could actually talk.
Lelouch struggled to get his mind around the idea. He had thought the hollows were mindless beasts from the talk he had picked up in rukongai. If it can talk, then maybe it could be reasoned with.
"Well ill just finish you off and get back to dealing with them" Okay, maybe not.
The hollow raised its pincers a third time.
Lelouch prepared to dodge, though his chances were slim.
"Hadō 31 Shakkahō"
A ball of crimson light came the size of a soccer ball came out of nowhere and collided with the hollow, causing a huge explosion of light and noise.
The hollow leapt back from lelouch, waving its pincers and roaring in rage. Its reiatsu spiked in time with the roar, rising to such a pitch that, combined with the noise and light of the blast, it was making lelouch dizzy and light headed.
* * *
><p>When he regained his senses, he saw a sight that almost made him doubt his sanity.<p>
The two shinigami, topknot and messy hair, were facing off against the hollow. Their zanpaktou out and held in defensive positions.
It took a while for him to come to terms with what he was seeing. He had thought the hollow had already dealt with all of the shinigami. In fact, he looked around, no sign of the third one. So the scream he heard was probably the bald shinigami. Well he _had_ blinded the man with the dye. Which would have made him an easy target for the hollow. And he had also managed to separate their two remaining fighters, making his situation even worse.
Lelouch winced, yes the hollow definitely would have had an easy time back there with baldy.
Even as he was facing the hollow, topknot cast a quick glance behind his shoulder and caught lelouch's eye.
"You are still a bastard, but you were right about one thing" topknot said "We had forgotten who we were. A shinigami is supposed to protect people by killing hollows. And that," He bought his gaze to settle on the hollow again "is what we are going to do"
Even in this life and death situation, lelouch couldn't help but smirk.
Its very easy to loose sight of your purpose, he recalled the assault on the geass directorate, but remembering that purpose again and living up to it was what redemption was all about.
The hollow disagreed. It opened its masks mouth and screamed at the shinigami.
Lelouch could feel the waves of its reiatsu washing over him in time with the scream.
Just at that moment, some unseen signal passed between the two shinigami, and they leap at the hollow as one. A shingle leap each that effortlessly closed the distance between them and the hollow.
One was in the lead, coming in to slash at the hollows left flank. Even as the hollow swung its pincers at the threat, the shinigami leapt away and out, a twenty foot leap. His partner suddenly came up on the right flank of the beast, swinging his zanpaktou with both hands, cutting into one the hollows pincer arm.
Bright red blood sprayed fourth from the wound on to the ground, a a gaping wound on its arm below the pincer.
The hollow screamed and charged the shinigami with animal rage, and this time the other shinigami was behind the hollow cutting into its back.
This dance continued for some time, with one shinigami feinting and the other moving in for an attack. The hollow was bleeding from a dozen cuts, its two arms crisscrossed with wounds. Still it was fighting, and showed no sign of weakness or slowing down. Its vitality must be monstrous, lelouch thought.
Still if the shinigami could keep this up they will bring the hollow down, not that the two of them were entirely free of injury, both of them were bleeding from brushes with the pincers, but none of the injuries were serious.
Then all of a sudden, the hollow changed tactics.
Topknot had come in from the left again, faking an attack to the hollows mask, when he swerved off and messy hair came in from the right, aiming for its pincer arm on his side. The hollow suddenly jumped back, surprising both messy hair and topknot. It then opened the sting on the end of its tail like some obscene flower and spewed a thick foul smelling gas into the air.
The area around the hollow was suddenly obscured, the gas acting as a smoke screen. Both shinigami and the hollow were lost in the cloud. Lelouch let out a curse as the cloud moved over to him as well, making it almost impossible to see.
Then suddenly the hollows reiatsu vanished.
Suddenly lelouch understood, it can mask its reiatsu. This was how it was able to avoid the shinigami and come to ambush him. Hit and run tactics. It confused the enemy with its smoke screen and, concealing its reiatsu, hit were its enemy was weakest.
So, in a situation like this, with your sight impaired, and with only your ability to sense reiatsu to show you your enemies location...
A sickening sounding chunk came from the smoke, followed by a scream of pain, a _human_ scream of pain, which trailed off into a gurgle.
Next came the sound of something heavy hitting the ground. Followed by a second of silence, which was broken by the desperate scream of denial by one of the shinigami.
The gas had started to disperse almost immediately afterwards. And through its vanishing tendrils lelouch could see that his worst fears were realized.
The topknot sporting shinigami stood with his blade held limply by his side, staring in shock at the dead body of the messy haired one. The man had almost been ripped in two by the hollows pincer, breaking his spine clean and spilling his entrails onto the forest floor.
Of the hollow, there was no sign.
* * *
><p>The topknot sporting shinigami was staring the body of his comrade and muttering under his breath. His hand holding the sword was shaking. He looked, in truth, to be one step away from loosing it.<p>
Lelouch sighed and spoke in the calmest voice he could muster. "Calm down"
The shinigami's head snapped up in his direction. "What?"
"I know you are upset, but you must overcome it. This is exactly what the hollow hoped to achieve, it wanted to throw you off balance so it could get you with another surprise attack."
"Upset, upset" the mans face was twisted up, lelouch sighed again. "Of course i'm upset" topknot screamed at lelouch. "My friends are dead!"
"Upset is fine, but don't let it affect your judgment, remember the battle isn't likely over yet. It could be back any minute"
"Shut up you bastard. I told you,you know nothing about us" the man was screaming in his face.
"You are right, I know nothing about your circumstances" lelouch replied "But I do know that if you carry on like this we will both join him" he deliberately pointed at the dead man.
The shinigami involuntary looked at his dead friend again, and drew a shuddering breath. He stepped away from lelouch and griped his sword with both hands.
"Don't worry, it wont get me by surprise" his reiatsu started to rise. "I'm not going to give it the chance" The man drew in another deep breath.
"I'm going to kill that thing!"
Reiatsu exploded from the shinigami, stronger than any lelouch had felt so far. His body had started to glow with a pale blue light. And even as lelouch watched the light grew outwards and flared like a banner. Lelouch realized that he was seeing the physical manifestation of the shinigami's reiatsu.
"Come out of were you are hiding beast" the shinigami screamed at the surrounding forests "Come out and die"
Lelouch let out a sigh of frustration. This was exactly the wrong way to do it.
"Well since you ask so nicely shinigami" the smooth voice of the hollow came as the creature stepped out of the trees. Pincers raised and ready.
The hollows own reiatsu flared along with his enemy, and lelouch could almost feel the two reiatsu clashing together as if in preparation for the actual fight between the two.
* * *
><p>The two opponents, shinigami and hollow, faced each other across the forest floor.<p>
The shinigami with his zanpaktou griped in both hands and his feet planted wide apart. While the hollow was in a crouch with his pincers raised to strike and its tail waving back and forth.
Lelouch watched the two square off, honestly not knowing who the battle will go to.
On the one hand, the hollow was facing its enemy in open combat. And lelouch had already deduced that this hollow preferred to use hit and run tactics. So it would be out of its element. Besides which, it was already cut up pretty badly.
Still it would have a huge advantage in size and speed. And it had taken down two of its three enemies. He himself didn't count an an enemy.
As for the shinigami, if the reiatsu that was coming from him was any indication, he wasn't lacking in strength either. But he was not in the best frame of mind. And had lost all his support.
But the shinigami had clearly had held the advantage when they fought the hollow earlier. So much so that the hollow had been forced to resort to its smokescreen to counter attack.
So lelouch was at a loss, and there was not much he could do to help either. Other then yell encouragement.
Suddenly the shinigami let out a wordless battle cry and leapt at the hollow, sword raised above his head in both hands.
Lelouch could see that he was going strait for the hollows mask. From hearsay he knew that destroying a hollows mask was the best and easiest way to kill it.
The hollow without running or dodging moved forwards to meet the attack head on.
One of its pincers came up and blocked the sword.
Sound, air and reiatsu spilled out from the clash, pushing against lelouch with physical force.
Then suddenly, the hollow bought its other pincer forwards with lightning speed, aiming to strike the shinigami in the flank.
Its opponent tucked his feet under his chest and kicked against the pincer, using it as a platform to leap away from the incoming attack. The shinigami turned a somersault in midair and landed on his feet. But the hollow had followed up on its attack and was already swinging another pincer at him.
Even as he bought his zanpaktou up to block it, the other pincer was already coming into strike his flank, forcing him to jump out of the way.
That was when lelouch realized the precariousness of the shinigamis situation. Before there had been two of them. And between them they had managed to keep the creatures pincers occupied and even manged to get under its guard. Now it was the other way around. The hollow had two pincers to the shinigamis one blade. The shinigami could hold back only one pincer at a time. It was like fighting a man with two swords while holding only one.
The hollow kept pushing the shinigami back, raining blows on him with its pincers. Eventually the man had to jump up into the branches of a tree to avoid the hollow and gain a respite. But lelouch could see from the mans face that he had no intention of giving up.
Lelouch thought desperately for a way to turn the situation around.
It was obvious that, if this continued, the shinigami would end up dead. Then it would be his turn. But what could he do to help the fool? The hollow was larger and faster, if it manged to catch him in one of those pincers he would be chopped in half. Still without help the hollow would win...He had to do something.
Lelouchs gaze settled on the discarded zanpaktou of the messy haired shinigami, laying a few feet away from its former owners corpse.
* * *
><p>The hollow waved its pincers threateningly at the shinigami perched on the tree branch, "Come come now shinigami, hiding in the tree wont save you, nor will it avenge your friend, come down and play" The shinigami simply balanced on the branch and lowered his blade to his side.<p>
"Whats this? lost the will to fight shinigami?" the hollow taunted.
"He will be taking a breather" a voice said from behind the hollow.
It spun around to find lelouch standing behind it, a zanpaktou held ready.
"You?" the hollow laughed "You are no shinigami. A little boy with a lot of reiatsu, thats all you are. The likes of you don't stand a chance against me."
"How certain are you hollow? Its dangerous to make assumptions" lelouch replied, hefting the blade with both hands, "Its that kind of thinking that gets you killed"
"Bah, you must be the greatest fool I met so far" the hollow snarled, no longer amused "Well you want to die so bad, I will oblige"
And with that it charged lelouch.
Lelouch smirked.
"Hadō 31 Shakkahō"
The shout came from behind the hollow. It barely realized what had happed before the ball of red light slammed into the back of its neck.
The hollow let out a howl of rage and started to spin back around to face the shinigami...
putting its vulnerable flank in the path of the descending zanpaktou.
This was what lelouch had done when the hollow had finally treed its enemy. He had gone for the zanpaktou of the fallen shinigami and, taking advantage of the hollow ignoring him completely and having its back to him, had used hand signals to communicate to the shinigami his intention to draw the hollows attention to himself. It wasn't much that lelouch had done, but it was enough to make an opening.
The topknot sporting shinigami's zanpaktou landed a solid blow on one of the hollows pincer arms.
The hollow let out another scream of rage and pain as the severed arm landed at its feet, a bleeding stump were it had been attached before.
The shinigami landed smoothly on his feet and without wasting a moment flew at the hollow, attacking from its wounded side.
This time it was the hollow who was fighting to keep from falling back under the assault as the shinigami rained blows on the remaining pincer.
As the hollow fell back though the shinigami suddenly stopped attacking and pulled back, surprising both the hollow and a watching lelouch.
"Its time to finish this beast" said the shinigami, and he lifted his zanpaktou one handed and pointed the tip at the hollow.
"Fly swiftly Burakkusōn" (Black thorn)
Reiatsu exploded from the shinigami as he glowed with blue light once more. The zanpaktou in his hands transformed in front of lelouch's eyes in to a black hafted and blacked bladed spear, as long as the man was tall.
The shinigami took a stance and in a single smooth movement, hurled spear at the hollow, aiming for the creatures mask.
* * *
><p>Just as it seemed to hit its mask, the hollow, moving with incredible speed, managed to dodge the incoming spear.<p>
And once more it opened its tail and spilled out the gas which made its smoke screen.
As everything was once more obscured in the foul smelling cloud, lelouch saw a flash of brilliant light even though the sight impairing gas accompanied by a massive explotion, presumably from were the spear had landed.
Then he had no time to do or even think anything else as the hollow exploded out of the gas and was upon him.
"Time to die brat" the hollow shouted gleefully as lelouch lost his footing jumping back from the beast and fell of his back. He barely manged to get his blade up in front of him, even though he knew it would not help him block that pincer.
But as the pincer swung down at lelouch, the shinigami flew out of the mist and landed in front of him, empty arms raised to stop the pincer.
That was when lelouch realized the hollows plan.
"No!" he shouted as the pincer caught the shinigami around the middle and lifted him up. Blood spraying everywhere as the hollow shook him like a rag doll.
The hollow laughed maniacally as lelouch stared in horror. "Its over shinigami. I have defeated all of you. None of you stood a chance against me. Iam the ultimate predator, no matter how cunning my prey, in the end I devourer them." the hollow looked down and fixed its gaze on lelouch. "It was good hunting today...three shinigami, and a delicious looking snack for desert."
"You talk too much"
"What?" the hollow was startled as it bought its gaze to settle once more on the limp form held in its pincer.
The shinigami grinned through bloody teeth.
"Burakkusōn"
The black spear flew out of the surrounding wall of gas, heading strait for the hollows mask.
This time the hollow, taken by surprise, had no time to dodge as it impacted with its mask.
The resulting explosion of noise and light stunned lelouch and threw him across the forest floor. Finally bringing him to a crashing halt against a tree trunk.
* * *
><p><em>several painful moments later<em>
Pain was the first feeling he got back, his body, his head everywhere. Then came confusion. How did he get here? Why was he laying down? He tried to pull himself up only to fall down again. Cursing, he scanned his surroundings .
The rapidly dispersing could of gas, the huge body laying on its side...
Suddenly it all came back. The hollow. The transformed zanpaktou striking its mask. Indeed the hollows head, mask included, was entirely destroyed by the blast. Only a gory stump were its neck was. And even as he watched the giant body was starting to dissipate. Crumbling into black ash like substance and then fading away into the air around it.
Lelouch could hardly believe it was over. The monster had seemed unstoppable. It had been like fighting a knightmare frame, only on foot. Even when the shinigami had it outnumbered, even with the opening he had made, it was still by the thinest of margins that it had been bought down. Even then it had manged to take some of the shinigami down with it.
And speaking of shinigami...
Lelouch looked to were the last shinigami was laying on the ground next to the rapidly dissipating hollow. The hollow had given him massive damage when it caught him in his pincer. Without some kind of medical help he would die.
With an enormous effort, forcing himself to ignore the pain of his body, lelouch struggled to his feet and staggered towards the shinigami. As he kelt at the mans side lelouch could see that it was even worse than he imagined.
The pincer had cut through the mans torso below the ribs, damaging internal organs and shredding his intestines. Blood was gushing from the open wound, soaking into the black kimono. Even with britannian technology, there was no repairing this damage. He was dying.
The shinigami looked up and locked eyes with lelouch.
"Yes, i'm a dead man"
"Maybe if we get you to the settlement" even as he said it lelouch knew it would be no use.
The shinigami shook his head as if in agreement. "No one there can do anything. Don't bother"
"Anything I can do for you?" lelouch asked. He didn't know why he made the offer, but it seemed right.
Suddenly the mans eyes focused on lelouch with intensity.
"Yes, there is something I must ask of you...I know I have no right to, after what we tried to do, but..." he looked down at himself, at the gaping wound that was killing him before his eyes.
* * *
><p>It took precious time to explain what the man intended to lelouch, time that bought one of them ever closer to death. It took longer for lelouch to get his head around the concept, and even longer to accept it. When finally he gave his consent, the shinigami had him retrieve his zanpaktou from were it had fallen. It had transformed from the black spear to an ordinary katana once more.<p>
In no time at all they were positioned with the zanpaktou hilt in the shinigamis hand, and the tip of the blade positioned above lelouch's heart.
"Ready?" the shinigami asked.
"Do it" lelouch replied firmly.
"In this state this will kill me... I am Kiyomizu Isato, formerly of the 12th division. Remember me...remember I died a shinigami" the hand on the hilt tightened, ready to thrust.
Lelouch nodded and closed his eyes, and the blade plunged into his chest.
* * *
><p><em>End of chapter 3. <em>
_What do you think? As always reader input is welcome and appreciated._
_Note that i had him stabbed by the zanpaktou of a dying shinigami. And we all know what that means. This was the best route i could come up with to give him shinigami powers outside the academy that was also in cannon. Also i didn't have lelouch actually fight the hollow, as im sure it would have ended badly.
><em>
5. Chapter 4: Aftermath
_Hello everyone, chapter 4 is ready. I took CmdrNilles's advice and tried to edit this one more carefully, improving the writing I hope. Please let me know if its better. Also I will be introducing another oc in this chapter. Getting to be a lot of ocs, maybe I should follow up with an oc page sometime. _
_So, begin chapter 4..._
* * *
><p><span>Chapter 4: Aftermath<span>
_Dreamland..._
Lelouch was running, the trees flashed past him, the nighttime forest forbidding and disorienting, the only sound was his desperate panting as he pushed his body to move faster, the hollow was behind him, and it was gaining, he risked a glance over his shoulder, it was almost upon him, a huge beast all pincers and legs and mask. He put his head down and put on another burst of speed, gaining on the hollow, he was doing it, he could escape,
"Onii-sama!" the scream came from behind him, "Help me Onii-sama!"
Lelouch stopped in his tracks, "No, no...nunnally, I forgot nunnally"
He looked behind him again, the hollow was gone, he desperately began to run back the way he came from, he had to get to her, had to, before the hollow did.
Even as he ran, he knew he would never make it, he tried to run faster...another scream came from the forest ahead, and lelouch let out a wordless shout of desperation, he had to run faster!
Then his foot tripped.
"Nunnally!" he screamed as he fell to the forest floor.
The triumphal scream of the hollow shook the forest.
"Onii-sama!"
* * *
><p>Lelouch snapped awake, only to stare in confusion at the surrounding forest, it was night time, almost morning, and he was laying on his sleeping blankets, he closed his eyes with a sigh. Just a nightmare, nothing more. Sleep eluded him after sudden waking, and he spent the rest of the night laying there in a half sleep thinking about the hollow encounter, thinking about nunnally. He was still in the half daze when sunrise finally came and he was hit full in the face by the early morning sunlight penetrating through the forest canopy. He winced and shielded his eyes with an arm, turning his face away to the side as he blinked the last of the sleep out of his eyes.<p>
When vision finally cleared his eyes came to rest on a small tent that had been pitched right next to were he had spread his own sleeping blankets. Lelouch let out an involuntary sigh and fell back on his blankets again, hand covering his eyes as he remembered the events of the past few days anew.
The sight of that tent was indeed an apt reminder of the mess his afterlife had become. Just days ago he thought he had it bad, just because he couldn't reveal his identity without raising a mob of rukongai folk waving torches and clubs, eager for secondhand vengeance against the demon emperor. Ha, now he could only gaze back on those days with nostalgia.
Still, the situation had its benefits.
One was that he now saw the world around him in an entirely different light. All of soul society, which meant this entire world, was made of reishi, otherwise called spirit particles, the trees around him, the animals of the forest, even the air he breathed. Now he could feel that reishi effortlessly, just as he could feel the churning power held within his own body, and, his hand lightly brushed the sheathed katana laying next to his bedroll, yes, there were definite benefits. Lelouch's lips curled into an involuntary smile, this was _his_ sword, no...this was his _zanpaktou_. He could feel the reiatsu coming off the blade, identical to his own, but with a very subtle difference. Touching the blade was like listening to a pulse, it was reaching out to him, its reiatsu pulsing with his touch.
And speaking of reiatsu, he felt a tiny spike of it from the tent, which was a sign that its occupant was coming awake. He pulled himself to his feet, grabbed his zanpaktou and belted it at his waist before walking up to the tent. Stopping at the entrance flap, he cleared his throat to announce himself.
"Come inside Lelouch-san, i'm awake" said the voice from inside.
Pulling aside the flap and ducking in, lelouch met the gaze of a young girl who was sitting up inside the tent. She looked Japanese, a year or so younger than him, with a slender body and long black hair that fell past her shoulders in the back and bangs that came down almost to her eyebrows in the front. She was dressed in the black kimono of the shinigami, a __shihakusho, ___the garment of dead souls, as he now knew it was called. _
"Good morning Ayako-san"
"Good morning to you lelouch-san"
"Shall I help you outside" lelouch asked, being careful not to look at the girls legs.
She gave a small nod of assent, and he maneuvered carefully to carry her out of the tent. After she was settled down outside, with a blanket across her legs, lelouch moved to cook breakfast.
That was another thing that had changed, the girl needed to eat everyday, she was injured, and she had to eat to help her body heal, she had to eat a lot. But fortunately, cooking was one of his many skills, and even with the meager supplies they had, he could do impressive work.
Later, with breakfast finally cooking, lelouch decided to break the silence.
"Its been two days now Ayako-san, its time we talked"
"What about?" she was being polite, but distant, and while he understood the reason for it, and even sympathized with her, this was not the time for emotional indulgence, he had waited as long as they could already.
"I understand how you must be feeling, believe me I have felt the same way, but we need to make plans for the future, if either of us are to make it through this"
She was gripping the sheet covering her legs in her fingers, her eyes cast down. Lelouch could read her thoughts in her pose and her expression, still he waited for her to speak, it would help her in the end.
"I know you have gotten yourself in a lot of trouble by helping me lelouch-san" she replied with her eyes still cast down, "Don't think me ungrateful, don't think that I dont know what you are risking its just that... "
Lelouch stared at the girl, Ayako Koyomizu, shinigami, deserter, and sister of Isato Kiyomizu. He had made a promise, that he would help her, that he would protect her.
* * *
><p><em>Flashback...<em>
"There are...are four of us" isato said through the pain, "The other one is at our camp, she will die, she is hurt, you have to promise...to look after them, promise and i will give you my power" blood bubbled at the mans mouth, it seemed as if he was holding his life together out of sheer strength of will.
So all he asked in exchange was that lelouch help his comrade who might be critically hurt herself. Even if these men had wanted to kill him, had wanted to rob him, that had been desperation that had driven them, lelouch could understand desperation. And he remembered his sister, how he had once desperately begged suzaku to protect her, how he had bowed down before him like he had not done before anyone else.
"I promise" lelouch said his voice rising, "I promise to care for your comrade, no matter the cost or consequences"...
* * *
><p>Lelouch shook his head to clear it, he knew she was feeling grief at the loss of her brother and friends, mixed with anger at herself for being helpless and unable to help them against the hollow, and even more so for having to be dependent on a stranger. Under the circumstances, she was bearing up very well. Still, he needed data to formulate his plans, only she could provide, and besides, he justified to himself, this will help in getting her past her grief.<p>
"Ayako-san, never think yourself a burden to me, I have no regrets about helping you, your brother and his friends saved my life, this is the least I could do to repay that debt" he had neglected to mention the part were they tried to rob him, and, he winced, the part were her brother was ready to spill his entrails. He had simply told her that they had intervened to save him from a hollow attack. It did him no harm, and it did her good, "Besides, its not just me, its up to the both of us to see to it that their sacrifice will not be squandered"
She looked up and gave lelouch a small smile, small, but he felt that is was genuine, "Thank you lelouch-san, you really are putting up with a lot because of me"
Lelouch gave her a small smile in return, recovering from a blow like hers would take time, a lot of time, but she showed all the signs of being able to, after all had made a promise, his gaze lingered briefly on her legs, and he meant to keep it.
They talked for a long time, long after breakfast had been finished. Lelouch kept asking questions, about the shinigami, about soul society, about the shinigami organizational structure, the way they fought, and anything and everything in between. He was learning far more about this new world from her than he ever did from any of the rukongai folk he had spoken with. For being a shinigami, she had studied the history and workings of soul society in a far more in-depth and thorough manner, adding to that he learned that she had belonged to the 12th division, the research and development organization of the shinigami, and that she had been a researcher herself. So she was very knowledgeable about the inner workings of the zanpaktou and the shinigami combat techniques.
He was careful to not ask about the circumstances of her desertion. He did learn that her legs were crushed by falling masonry during their desertion, and that the injury, while massively debilitating in the world of the living, can be healed here in the afterlife, her brother had been using something called healing kido, which involved focusing your reiryoku into producing a magic like effect, to fix her legs, but they were nowhere close to finished yet, and now her brother was gone.
Kido was one of the four combat arts practiced by the shinigami, and while powerful it was the one least often used in actual battle, as it required a lot of concentration and long incantations. The other arts were hakuda, unarmed combat, hoho, the speed arts, techniques allowing the shinigami to move at speeds faster than the eye can follow, and lastly zanjetsu, the art of mastering the zanpaktou.
Lelouch soaked up everything she had to tell him, putting his considerable brainpower to work, and the beginnings of a plan started to take shape in his head.
"When you first left the Gotei, where were you planing to go?" he asked during one of their question and answer sessions.
"We were not sure actually, we had plans to hide out in rukongai, or maybe slip into the world of the living, but they were too close behind us to even think to try it"
Lelouch thought a bit more about that, and exile among the living didn't sound too inviting, after all he had just abandoned that world, he wasn't to go back so soon. "But why couldn't you hide in rukongai? Its huge, im sure you can blend in, with a disguise,"
She shook her head, "No, no matter how we disguise ourselves, its almost impossible to hide our reiatsu, that is why it would never work"
"I see" this was going to be harder than he thought.
"Is there anyway to conceal your reiatsu?"
"Well powerful shinigami can do it, most of the captains can, but for you and me, we would need a special gigai or a concealing cloak" she looked haunted for a moment "They make them in the 12th, we were going to steal them when," she gestured to her legs.
Lelouch nodded, not knowing what to say, finally he settled on the truth.
"I admit Ayako-san, this situation is impossible" his lips quirked in an almost smile "It would take a miracle to emerge from this intact"
She met his eyes squarely, "I told you lelouch-san, if, if you want to make a choice now that you understand how things are, I wont hold you to the promise you made ni-sama"
To her surprise, lelouch actually grinned at that and flicked his index finger against the tip of her nose. He continued grinning as she yelped and swatted at him, "There is something about me that i never told you Ayako-san, I have a specialty in making miracles, in fact I was famous for it, some ungrateful people later called my miracles fake, because they were delivered with a means they were uncomfortable about, but I can make miracles with or without that little detail" he looked into her eyes with an intensity that was impossible to fake, "I promise you this Kiyomizu Ayako, i will help you heal your legs, I will help you to find yourself a riatsu concealing gigai, and I will help you to go into exile were the Gotei Thirteen will never find you"
Ayako stared at him wide eyed, wondering if this was some bizarre attempt to cheer her up. But no, he was looking far more intent for that, this man was actually serious.
"You're mad aren't you?"
She watched in shock as the now confirmed madman leapt to his feet and posed dramatically, a huge grin covering his face as he threw one arm out to the side, almost as if flourishing a non existent cloak.
"You don't believe me do you? Nobody believes me, not until I show results," the grin actually widened, she had thought that an impossible feat, "very well then, I will show you, I will show you what I can do, then you shall see, then you shall be convinced"
"Ni-sama, you saddled me with a lunatic, and you made him a shinigami to boot" she muttered, well he was all she had, and she had to make the best of a bad situation, at least his cooking was delicious.
"Excuse me, madman-san, I mean lelouch-san" she tried to get his attention.
"Yes Ayako-san?"
"Before you work your miracle, I would like to, to visit the graves, you told me about them"
"Of course, we will go there, I should have offered it before, thoughtless of me"
"Thank you lelouch-san"
"Wasn't it madman-san?" he asked
"Wha, no," she protested, waving her arms furiously, "I never said that"
He smiled back at her, "Feeling better already I see"
She blinked "What? You _were_ trying to cheer me up," she hurled a small stone at his head.
"No comment" he replied, rubbing were the stone had landed.
* * *
><p><em>Later...<em>
The trip to the graves was delayed slightly as Ayako insisted that lelouch had to begin training to utilize his newfound shinigami powers. He had the feeling that she was getting back at him for the performance he gave in front of her, but he complied silently, anything to distract her from her grief. Lelouch spent the several hours trying to raise his reiatsu at will, which she said was the first step of the training. She explained that all shinigami feats depend on spiritual power, starting from simple attack and defense. A shinigami can decrease the damage he takes in a fight by releasing his spiritual power around his body, letting it act as armor, and he could deal massive damage the same way by letting his power flow into his weapon, turning a simple strike into a mortal blow, it was the same with speed and strength, the more spiritual power you have the faster and stronger you are, this, she said, giving his body a critical once over, was a good thing, as he didn't look as if he could accomplish much with his physique.
This meant that lelouch spent the better part of an hour feeling like an idiot, holding his zanpaktou in a martial stance, she told him the stance was wrong, _he_ didn't care, and trying in vain to get his reiatsu to come out.
After a full hour of trying with no results, she told him they would take a different route, and he spent the next hour running around the clearing as she pelted him with kido spells, apparently pushing your body and mind to exhaustion was another way to awaken reiatsu, however in his case, it did absolutely nothing, and only served to put a nice collection of bumps and bruises on him. He could feel the power inside him, he could even feel it in others, but he couldn't command it, with geass it had been instinct, a simple thought would bring it out, but this, this was another story.
As he lay exhausted from the effort she told him that they would try a simple exercise next, one that usually helps with kido, empty your mind of all thought, and imagine a dark circle, then imagine the circle getting bigger and bigger, and imagine throwing your body into it... lelouch attempted it, calming his mind, picturing the circle, picturing throwing his body at it, picturing himself surrounded in a black void, and finally...he felt, something, something happened inside him, in that calm back void the thing that kept blocking his attempt to command his power was no more, and his power was rising and flooding the area with his reiatsu, he snapped his eyes open and looked triumphantly at Ayako,
"We should have tried that first"
"Well usually they do try that first in the academy, I felt like a little experiment"
Lelouch felt his reiatsu spike as he fought down the desire to strangle the girl.
* * *
><p>Once he had raised his reiatsu consciously and had gotten the hang of it, it proved to be pretty simple, it was essentially mastering your mind, and for lelouch that was child's play. He mastered it so fast that even ayako was left amazed, according to her, most academy students took weeks to pickup what he just did. Lelouch briefly wondered if the girl had planned to put him through this training for weeks, well that little plan had been foiled, that should teach her not to underestimate him. But just as he was congratulating himself, she happily announced that they could move on to more advanced arts since he had proved to be such a quick study.<p>
He was almost stating to wish she wasn't recovering from her grief so soon, she was beginning to reveal a personality that reminded him uncomfortably of a certain blond student council president, if this was the true her, he had the feeling he would be very uncomfortable in the near future.
It took hours of rest before they were able to make the trip to were lelouch had dug shallow graves for the dead shinigami. Lelouch was carried ayako on his back, using his new found skill at reiatsu manipulation to boost his strength, he had to admit, she was remarkably light for her size, hardly different from carrying nunnally, he told her as much, and was rewarded with a hug, it was going to take a long time to understand this girl.
* * *
><p>These had not been the first graves he had dug with his own hands, the first was for rolo, thinking of his adopted little brother made him wonder if rolo was here in soul society, and if they would ever meet again. He set her down next to the graves and walked away, letting her have some privacy, this scene, including his carrying her on his back, reminded him too much of his own past, his own little sister he had left and his little brother who had died for him. When he looked back ayako was leaning over her brothers grave, and seemed to be talking, after a while she turned and beckoned him over telling him she was ready to leave, up close he could see were tear tracks had marked her face and the way she was sitting hunched up as if in pain, still she made no response to his attempt to talk with her, and insisted they should leave. Lelouch respected her silence and wordlessly let her on his back again, beginning the walk back to their camp.<p>
Halfway through the trip back, he broke the silence,
"I wasn't just cheering you up back there you know" he said.
"What do you mean"
"Even though we are in an impossible situation, I intend to keep my promise, I promised you a miracle , and I will deliver"
"You are actually serious aren't you," ayako blinked "very well, have it your way, its good to know that you think im worth the effort, and no matter the...the outcome, I appreciate it"
"You still wont believe me" he shook his head mock sadly.
"Shall we start training again when we get back?"
"Point taken"
* * *
><p><em>End of chapter 4...<em>
_What do you think? Like? dislike? Review and let me know._
_I have been giving a lot of thought into lulu and his zanpaktou, about its name and power._
_And here is a very important question that ties with it. Just how strong should lulu be? Should he have the brawn to go with the brains? If so he will be damn near invincible. Let me know what you guys think. Should he become a swordsman facing off against the enemy in mortal combat or be his old unathletic self. _
6. Chapter 5: Rukongai Adventures, Cont
_Putting this up sooner than intended, but not much happens in this chapter, in it i'm mostly setting the stage for the future and better defining the setting._
_So on to chapter 5..._
* * *
><p><span>Chapter 5: Rukongai Adventures, Continued...<span>
It was days before they got back to the settlement. Lelouch had insisted on going, saying that its better than foraging for food in the forest, were they might easily run into another hollow. Ayako in return had insisted that he learn to conceal his reiatsu before they went anywere near a settlement, and he was forced to concede her point. It turned out to be a lot harder than simply raising your reiatsu, and she said that no matter how well you conceal it, a powerful shinigami would still be able to feel you if they get close enough, but at least now they wont be able to find them from miles away.
There was another thing that had to be done of course, for even with hidden spiritual power neither lelouch nor ayako were exactly free to wander rukongai, not as they were anyway, which brought them back to his original plan, a disguise. Lelouch had gone back to the site of the battle earlier and salvaged what he could. He was lucky, as with the exception of the food, most of the rest of the things in his pack were intact. Unfortunately the same could not be said of the dye bottles, they were glass and glass was fragile, still he had manged to recover a couple of the bottles, barely enough for the two of them, but the colors...they played rock paper scissors for the colors, and lelouch lost. Which was why he was determined to find another hat to cover his newly dyed head, the first had vanished during the battle, in the meantime he resorted to wrapping a piece of cloth around his head like an impromptu turban.
When they finally got to the settlement, with ayako riding on lelouch's back, they held a brief debate on were to go first. Lelouch was in favor of looking for a new hat and she was in favor of getting food, after a while lelouch conceded to her point that he already had a head covering and they went along to the center of the settlement were the food vendors were.
Lelouch maneuvered them to a place he knew that served as tea shop and restaurant combined were he was finally able to get ayako off his back and onto a bench, he was in no mood to eat today, and surprisingly enough he didn't feel fatigue and the corresponding hunger even though he had carried ayako all the way here with only brief stops. When he mentioned this to her, she said it was a good thing,
"You are beginning to use your spiritual power to boost your strength, and you are doing it unconsciously, good news on both counts" she was looking very different today in civilian clothing and with her hair dyed brown and tied into a bun at the back of her neck. The cloths were her own, the hair dye was courtesy of lelouch.
"Well then, if that is the case how do I do it consciously? And just how strong can it make you?"
"You do it the same way you raise your reiatsu, you are simply pouring your power into your own body instead the air around you, and as for strength," she smiled "your resiatsu is the limit"
lelouch grinned, "so I can make myself as strong as a giant" watchout suzaku, here I come.
"Not without lighting up like a fireworks festival, the more power you use, the more obvious you are, and please don't try experimenting here"
"Ill try to hold in my enthusiasm"
* * *
><p><em>Later...<em>
As they were waiting for the food, a familiar face walked in, the same old man against whom lelouch had played chess the day all this started, their eyes met and the old man came over to their table after lelouch made an inviting gesture with his hand.
"Well here is a face I didn't think to see again" he said with a smile, "You said you were planning to leave soon"
"I was planning to, matsuo-san wasn't it?" lelouch glanced at ayako briefly, "but things came up, and now I plan to stay for a while"
The old man glanced at ayako and gave a cheerful smile, no doubt assuming the worst, "Well im glad "things came up", I was hoping for another chance to play you, now it looks like I will have that chance"
"Play him?" ayako injected just as the food arrived, lelouch told her about their chess match as he invited old man matsuo to sit down at their table. After introducing ayako, the old man told them he often came here for a cup of tea and conversation, and indeed most of the patrons present seemed to know him.
Ayako was clearly surprised by the idea of him gambling over a chess match.
"I didn't think you were a gambler lelouch-san" she said with a hint of disapproval,
"Well chess isn't exactly a gamble, its a test of skill, the only gamble is who your opponents is going to be"
"And he didn't fail that gamble ayako-san, I never played a more challenging game"
"So it seems you have hidden skills you never told me about"
"Well I never was one to vaunt myself"
Old man matsuo then bought up the circumstances that made lelouch decide to stay in the district, lelouch and ayako exchanged a look and they both took turns telling the story they had come up with, how ayako was injured while traveling in the forest and how lelouch, by a stroke of good fortune had come upon her and helped her.
The news that ayako was injured came as a shock to the old man, and he expressed concern to her and wondered if she needed healing. Lelouch assured him that she was in no immediate danger and now she just needed time to recover. He got the message that she will be feeling the effects of her injury for the rest of her life and the look in his eyes saddened.
"So where are you two staying then" matsuo asked finally as he sipped his tea.
Lelouch and ayako exchanged glances.
"Well," lelouch began, "We are still looking for a place to stay, until then we make do"
"Well we cant have that" the old man surprised them both, "Ayako-san needs a safe place to recover, and you don't look to be made for hardship either lelouch-san, what do you say I find a place for you"
"Well" lelouch began again, "That's very kind of you matsuo-san, but we really cannot impose on you like that" finding lodgings inside the settlement would be unwise, as they couldn't keep concealing their reiatsu forever, and any random shinigami patrol passing through might pick them up.
"No no, you wont be imposing, in fact you would be doing a favor" matsuo assured them, "you see I have a good friend, an old lady my age who lives in the outskirts of the settlement, she lives alone and I worry about her, its not really safe out there, I have been looking for someone who could share the place with her, keep her company and help her around the house"
The outskirts? actually that wasn't so bad, they would have a roof above their heads and would be safely out of the way. Lelouch looked at ayako, she gave a nod of agreement, she was thinking the same thing.
"But why would an old lady live all the way out there? And what kind of work does she do?" lelouch asked, wanting more information. After all, this was too good to be true.
"Ah, as to that, she has always been a little stubborn, wouldn't move in to the settlement no matter how many times I ask," matsuo sighed, "and she has spiritual power, most folks are afraid of people like that, but you two look like sensible people"
Ah, so there was the catch, a person with spiritual power might also be able to feel the power in them. But, such a person might also be understanding. After all, they could just tell her that they are souls with spiritual power, there was no way they could know who they really were.
"As for what she does, she is a weaver, she makes baskets, hats that kind of thing and sells them to shopps around the settlement"
"Weaver? and she makes hats" lelouch was interested
"Will you give it a rest with the hat lelouch-san" ayako complained "i keep telling you the hat is not a priority"
"Hat? What hat?" the old man asked.
"He's desperately looking for a hat to keep the sunlight from damaging his pretty face" ayako explained.
"Wha, no i'm not, i mean i need a hat, but its not for my face"
"She is teasing you lelouch-san" matsuo smiled, "But yes she does make hats, very good ones I might add"
"Forgetting about the hats for the moment, you would trust us to live with her, an old lady who lives alone? You don't know much about us matsuo-san"
The old man grinned "True, but I do know that you met an injured young woman in the forest and took care of her instead of taking advantage of her, that says something about you, but of course its your choice"
Lelouch smiled in return, "Well give us a moment to talk it over matsuo-san"
The old man gave an affable nod and rose to go, promising to meet them here in the afternoon to escort them to the house if they were agreeable. Once he was gone lelouch and ayako held a long discussion on weather or not to accept the offer. In the end they decided to at least meet the old lady and see how she reacts to them, if she picked up on their abnormally high spiritual power, then they have to abandon the idea, but if she didn't, then they could consider staying.
* * *
><p>That afternoon they made the trip to the house of the old lady, who matsuo informed them was called granny utako by everyone, matsuo was leading the way while lelouch bought up the rear, with ayako riding on his back., the house was on the very edge of the settlement, well away from all other dwellings and almost in the surrounding forest, lelouch could see why matsuo was unhappy about an old woman living alone in a place like this.<p>
The house itself was unremarkable, just a small wooden shack that looked ready to fall down at a push. But it was well cared for and old lady herself was a small woman with gray hair going white who looked pretty hale for her age, She greeted them at the door and when matsuo told them the reason for their visit and the circumstances of ayakos injury, she insisted that they stay with her.
Lelouch could feel that the old woman had spiritual power, nothing to compare to ayako or him, but still enough to be felt. It was the only thing that was keeping him from deciding to stay with her, but that problem solved itself almost instantly. The old lady maneuvered mastsuo out of the way and spoke to lelouch and ayako in a quite tone, telling them that she could feel they had spiritual power, and she was not the least concerned, from this they was able to deduce that while she had enough power to be able to sense reiatsu, she didn't have enough to be able to tell the difference in strength. She wouldn't be able to tell that they were shinigami, not unless they actually do something that requires a lot of power.
That decided things as far as lelouch was concerned, and with ayakos approval he announced that they would like to stay if the old lady allowed it, said old lady was delighted, lelouch got the feeling that she had been very lonely by herself and was glad for the company, especially the company of those who had something in common with her. It was decided that they would spend the night at their new lodging and the next day lelouch would begin moving things from their camp to the house.
Old man matsuo wished them well and left himself, after making lelouch promise to come to the settlement for a chess game with him once a while as payment for helping them find the lodging, lelouch walked him to the door leaving ayako and the old lady to get to know each other.
"Well good bye and good luck lelouch-san, please take care of her for me" matsuo said when they were outside.
"I take it you two have known each other a long time" lelouch had read a lot by watching the two.
"We have, ever since my first day in soul society in fact, she is one of my best friends"
"Well don't worry matsuo-san, we will take good care of her" lelouch smiled.
"Thank you lelouch-san, i knew i was right about you, you are a good person," the old man smiled fondly at the young one "and about ayako-san, im sure she is grateful for what you are doing for her, she already sees you as a friend, give her time and she will see you as something more"
"...what?"
"Lelouch-san im telling you to go slow, i know young men are impatient about this sort of thing, but you didn't have to dye your hair green to impress her"
With that, the grinning old man walked away, leaving a spluttering lelouch behind.
* * *
><p><em>Elsewere...<em>
The forests of rukongai were silent. No birdsong could be heard, the sounds of the ever present insects was so faint as to be unheard, even the wind rustling through the branches had slacked off. It was as if it was enjoying the period of peace that had come after the battle that took place under its branches. That battle was over days ago, but the massive reiatsu unleashed by the combatants still lingered. All other traces though, were slowly being covered up by the forest. Footprints, broken branches...these things lasted less longer than reishi.
But, it was not a problem for the right kind of people. For the right kind of people, the faint traces of lingering reiatsu were enough to read the events that had taken place.
And the right kind of people were there.
A man was currently standing at the very site were the last combat between the hollow and the two shinigami had taken place. When he concentrated, he could pick up the lingering reiatsu. It clearly belonged to multiple shinigami and a hollow. Underlaying it all he felt the traces of concentrated reishi that accompanied a zanpaktou release or kido use.
The conclusion was obvious. A battle had been fought here.
But, there was something else. Some lingering reiatsu that couldn't be explained away. And he was not the kind of man to leave any detail without investigating.
As he crouched over the forest floor and attempted to read more details from the physical evidence, his attention was distracted by the surge of power that accompanied a shunpo. He let out a vexed sigh. Using such techniques so close to the site will mess up the already fading reiatsu. There had better be a reason for this.
He raised his head and repeated as much to the man who had just arrived.
"Oh there is a reason" the newcomer answered in a tone that immediately got his attention. "You will want to see this"
This man was one of several who had been sweeping the area in circles starting from the battle site. If they had come back so soon, it was something out of the ordinary.
The first man followed the newcomer to were a group of men, all dressed in identical black outfits, were standing over what looked like recently dug up shallow graves. Three of them.
The first man took in the scene and met the eyes of the others.
"Its them, I recognize them"
"So we found them" one of the others said.
"We found three of them, the fourth is still missing" the first man corrected. "And this one, his _shihakusho_ is white, this may explain the strange reiatsu we felt at the battle site"
He singled out two of the men.
"Send word to commander Omeda. We have confirmed the death of three of the deserters. The fourth is still unaccounted for, but we hope to apprehend her shortly." He cast another glance at the dead bodies. "Also, there is the strong possibility that a substitute shinigami has been created by the deserters and is in league with them"
The two were gone in a burst of shunpo.
* * *
><p><em>End chapter 5...<em>
_So there you have it. What do you guys think? Review and let me know. :-)_
_As I said above this chapter is mostly for setting the stage for the next chapters._
_In other news the great zanpaktou debate is still ongoing, mostly inside my head, i've pretty much decided to make his zanpaktou unique, but i'm not sure if it should reflect geass or some other thing about lulu and his life._
_Also the majority of you guys voted for a powerful lulu, at least captain class, and I intend to deliver. To keep things fair I plan to either a. give him lots of powerful enemies as RyuujinHaou suggested or b. give him a corresponding handicap, maybe like jushiro ukitake, powerful but sick._
_Lastly you guys were also much in favor of making lulu more like urahara, and I have decided to deliver that as well, I have already taken the first step in this chapter, by note(points up) giving him a hat, or rather putting him with an old lady who makes hats, so he will have a constant supply. :-) _
_See you guys next time._
7. Chapter 6: An Unexpected Reunion
_Chapter 6 is up…..._
* * *
><p><span>Chapter 6: Unexpected Reunion<span>
Lelouch was on the roof, working to repair a spot that leaked.
Ever since they took up residence with Granny Utako both Lelouch and Ayako had been doing their best to be useful around the house. Lelouch had taken over the cleaning and most of the cooking. Both being skills he was well versed in. He had also started to repair the house in small ways. Starting with a broken down chair first and when that proved to be a success, he had moved on to bigger projects. The leaky roof was his most ambitious plan yet. And despite Ayako predicting that he will end up falling off the roof and they would make a pair, he was making progress. Meanwhile Ayako, who was unable to help with the housework, had nonetheless proved to be quite skilled with her hands, and was helping Granny Utako with her weaving.
Lelouch had to admit that he was becoming content with this new turn of events. They were comfortable and they were in good company. Besides, Lelouch told himself, he deserved some peace and quiet.
"Hey Lelouch-san" Lelouch jumped and almost lost his footing on the slanting roof. He looked down in irritation to see Ayako on the ground, right next to the ladder he had used to climb up.
Lelouch sighed. That was another thing that had changed. Ayako no longer needed him to give her piggy back rides. One time when Old man Matsuo had come to visit, he had suggested getting a pair of crutches for her. And had even directed Lelouch to were he could have a pair made. As a result Ayako was able to move freely around the house and garden. She obviously reveled in her newfound mobility. And it was obvious that had done wonders to improve her mental state. The downside was that she was now able to turn up when least expected and bother him. Frequently when he was working. He got the feeling she enjoyed it too.
"Careful Lelouch-san, you almost fell off" She grinned. "You don't want to have to order another pair of these" She waves one of her crutches.
"You did that on purpose" He growled. "Is there a reason you came here or are you just enjoying yourself?"
"Why Lelouch-san how can you think such things" She shook her head mock sadly. "I simply enjoy your company. And you look so handsome with that hat"
Lelouch lifted his had to the hat reflexively. It had been a gift from Granny Utako, a brand new pointy hat to replace the one he lost. And Ayako never stopped giving him grief over it.
"Anyway come down from there. Its almost time for the evening meal and you need to make the trip to the settlement"
"Ah yes" He started climbing down from the roof.
Today he had promised Granny Utako that he would take her weaving to the settlement and drop them off at the shops she supplied. Apparently this was something she did once every couple of weeks. Usually she had gone herself with some help from friends for the heavy lifting. But this time Lelouch had volunteered.
"You had forgotten hadn't you? I knew you would"
"I was counting on you to remind me" Lelouch returned smugly as his feet hit the ground. In truth he had been distracted by his work. So distracted he hadn't felt her approach.
"Hump" She huffed and gestured to the house, urging him to go ahead.
As they walked to the house, with Lelouch slowing his pace so Ayako could keep up, he thought that their relationship had improved greatly in a very short time. At first Ayako had been almost hostile, accepting his help very reluctantly. It had been a mix of grief, shock and natural wariness. However the combination of time ,companionship and Granny Utako's influence had made her warm to him. Now he liked to think of them as friends. Almost as if they were students back at Ashford. Even though she had told him that she was decades older than him. Still looking back on his past life he couldn't ever remember making a friend this fast. Except maybe Suzaku. He grinned. Death does change people.
As they came up on the front door he felt the small shift of spiritual power inside the house that signaled its owners movement. "Hello Granny Utako" He greeted as the old lady appeared at the door.
"Lelouch-kun, i see Ayako-kun got you down from the roof" the old lady said as she ushered them inside. "Lunch is ready. Lets see if my cooking can compare to yours Lelouch-kun"
"I'm sure it leaves him in the dust Granny" That was Ayako.
Lelouch shook his head, "I'll be sure to remember that the next time you want me to make youOyakodon Ayako-san"
* * *
><p><em>Later...<em>
As they were laying out the meal Granny Utako told them that they might be having some visitors later. This came as a surprise to Lelouch. In all the time they had stayed with her, which was admittedly a very short time, the only visitor had been Old man Matsuo. He had begun to think of their host as a true loner.
"I told you I had help moving my things shops didn't i" Granny explained. "Some young ones from the settlement come over every once in a while and give me a hand. This time they will show you around the shops"
"Yes, I do need to know were to go. I had assumed you would give me directions" Lelouch replied. "But its nice that you have such helpful friends Granny, I'm looking forwards to meeting them"
"Yes they are nice" Granny Utako smiled fondly. "They have always helped me whenever I asked. And wanted nothing in return other than a hot meal"
"A meal? So they are..."
"Yes they are spiritually powerful like we are. Its why I've always had a soft spot for them" Her smile turned a little sad. "That and because most folk at the settlement shun them"
"This district is definitely one of the more unfriendly places for the spiritually aware" Ayako interjected. She met his yes. "Its even worse for Shinigami. People are either actively hostile or are terrified of them"
Lelouch understood her meaning. It was one of the reasons her group of deserters had chosen to hide in this district. Anyone searching for them would have had a hard time with the civilians so uncooperative.
"True, they only send the obligatory patrol now and then, those Shinigami. And unless there is a large hollow attack we are pretty much left alone" Granny Utako glanced at the open front door. "They are running late today, i wonder if something kept them from coming"
"I'm sure they will turn up granny. Lets just wait for them" Ayako assured the old lady.
Lelouch focused his mind. While he could easily feel Ayako's spiritual power over a long distance, he had trouble feeling a normal spiritually powerful soul like Granny Utako. Not unless they were very close. Still he cast his awareness outwards, trying to feel the presence of anyone in close proximity to the little house. And he did feel someone, or rather, several someones. There were three of them and, he visualized a map of the surrounding area, yes they were on the road to the house.
"Yes I'm sure they are coming" Lelouch said getting up. Ayako raised an eyebrow at him. "In fact let me set the table for them Granny. And I'll make some tea. They must be tired from the walk. How many of them were there again?"
As he was in the little kitchen getting the tea ready he felt the newcomers coming up to the front of the house and Granny Utako moving to meet them. He heard their voices as they came in and were introduced to Ayako. Judging by the voices they were children. And one of the voices sounded a bit familiar. But that was impossible, he wasn't on familiar terms with anyone from the settlement other than one old man. And he certainly hadn't spoken to any children...except. His head snapped up. Children with spiritual power. Three of them. It couldn't be.
He picked up the tea set and walked carefully up to the kitchen door. Granny Utako lived in a simple three room house. Aside from the kitchen there was just the bedroom and a main room that served as both dining room and living room. Standing just inside the kitchen door he could clearly hear what was being said in the next room. And if he leaned in a bit, he could catch a glimpse of what was happening.
That settled it. It was definitely them. He could catch a glimpse of a head of red hair and clearly hear the boys voice. The same brats who pick pocketed him and started him down the road to all this mess. He didn't know if he should strangle the lot of them or thank them. Still, he grinned, he was going to enjoy this little reunion.
Lelouch carefully stepped into the room, teapot leading. The newcomers were all sitting with their backs to the kitchen door, and so never saw him enter.
"Tea is ready" He announced cheerfully.
"Ah Lelouch-kun come in come in let me introduce you" Granny Utako waved cheerfully.
The children turned almost as one to face him. Of course it took a moment for them to recognize him.
The look on their faces was priceless.
* * *
><p>It took a while to clam down everyone and get them seated again. The redheaded boy had jumped up reflexively as if to run for it, while the other two had started back and upset the table. Granny Utako had been flabbergasted by the way everyone was acting. And Ayako had clearly enjoyed the show. After everyone had calmed down somewhat, Lelouch had watched with amusement as the children had tried to explain away their behavior. From their efforts Lelouch gathered that Granny Utako had no idea of what they did to support themselves in the settlement. And they were hardly about to admit that one of their victims was here in front of them. After he had watched them squirm for a while Lelouch interjected, saying that they had run into each other at the settlement and I must be a shock to see him again like this. That explanation was accepted by everyone, with the children bcking him up vigorously. And Lelouch sending them a look that said they would talk later.<p>
Then finally Granny Utako got to make the introductions. The redhead was called Niito and the leader of their little group. The other two were Saita and Sakura, brother and sister, Saita an year older then his sister. Lelouch and Ayako were presented as guests who will be staying with Granny from now on. So they will be seeing a lot of them. There was notably little cheer about the prospect from the children.
All told it was a subdued group that left the house and headed for the settlement. With the red haired Niito in the lead, Lelouch coming next and the other two behind him. The children were still nervous around Lelouch. As if they expected him to bring up the robbery now that Granny Utako was not here. Lelouch however decided he had had enough fun for now.
"So" He broke the silence, drawing their attention. "About the other day"
"We are sorry about that Lelouch-san" The girl, Sakura, said timidly. "But you see, we were hungry"
"I know" Lelouch cut her off. "And like i said before. I understand hunger" He smiled, "And I'm not entirely innocent of robbery in need myself"
The children were looking at him a bit less warily now, and with more curiosity. As if trying to imagine him pickpocketing people in the street.
"But i have to ask you this. Why do you turn to robbery when you can work for Granny Utako. Its a lot safer than getting caught and being beaten half to death"
"Granny isn't exactly rich Lelouch-san. She only has enough to spare on the days she sells her stuff" Niito explained. "We have to find our own food at other times"
"And she does not know about your little sideline. Am i correct?" The children exchanged glances. "I thought so. Well i wont be telling her" Lelouch assured them. "In exchange for a promise"
They exchanged another glance. "What promise?"
"Now that we will be staying with Granny there will be enough food to go around. Ayako-san eats a lot anyway" Indeed most of the food at the house had come from his gambling proceeds ever since they had moved in. "I want a promise that there will be no more robbery. If you are hungry, drop in at the house and we will feed you"
The children looked at him round eyed.
"Well?" Lelouch demanded.
"We promise Lelouch-san" The promise came simultaneously from three mouths. "No more robbery"
"Or granny will be hearing about this" Lelouch finished. It got instant results, all three of them nodded vigorously.
"Now that leaves just one more thing and we can put this behind us" Lelouch continued. "Which of you was responsible for hitting me with that...dirt"
"It was him...her" The two sentences overlapped as the siblings pointed at each other. Lelouch grinned.
"Well i was going to say good aim, but under the circumstances i will overlook that one" The kids looked shocked as he continued smiling. "Well that takes care of that. We will say no more of this anymore"
"Hai Lelouch-san" The three chorused.
The rest of the trip went much more smoothly after that. With Lelouch and the three children even managing to strike up a lively conversation along the way. When they got to the settlement, they made the rounds at the various shops, Niito directing. And Lelouch dropped off the merchandise and pocketed the payment. Afterwards Lelouch insisted on treating them to a visit to a food stand. One that sold sweets to be precise. Calling it a peacemaking gift.
It was afternoon when they finally parted ways at the settlement outskirts. With Lelouch promising to take their good wishes back to Granny and Ayako.
Lelouch shook his head in bemusement as he walked back. First he had made a promise to help the sister of the man who tried to kill him. And now he had bought sweets as a peacemaking gift for the brats who had robbed him. He was getting soft. But then, if it wasn't for the brats he wouldn't have gained Shinigami powers. The same with Ayako. He had her brother to thank for his power. It was strange how obligations worked. And even stranger how he got tangled up in them. Even in life he had waged war against the land of his birth, partly for the benefit of a people who had taken in him and his sister after their exile. It looked as if things were going to be the same for him even in the afterlife.
* * *
><p>The three children, after they left Lelouch, were walking along the outskirts of the settlement. There was a small hill a short distance from the outskirts. And this was were they were headed. It was their private little place. Were they could safely play and mess around without any interference from the adult population. And today's windfall deserved a celebration.<p>
One of the main topics under discussion was the newcomers who had taken up residence with Granny Utako.
"I'm telling you there is something strange about those two" The youngest of them, Sakura, insisted.
"Of course they are strange, the well Lelouch-san at any rate. I mean the guy bought us sweets for robbing him" Her brother grinned.
"Actually is was a gift for our help. And for making that promise" Niito reminded them.
"That's not it!" Sakura snapped. "There is something very strange about them. We saw Lelouch-san the other day and he was alone. Then suddenly he moves in with Granny and Ayako-san is with him" She shook her head "When did he even meet her? How did they get to know Granny? Its not as if she gets around the place much"
"He probably left Ayako-san at Granny's that day. And someone could have introduced them to Granny stupid" Nitto grinned. "Girls, always jumping to conclusions"
"I'm not jumping to conclusions" she stomped her foot. "I'm just saying its strange" She shivered slightly "Besides, i could feel, _something_, about them. Something strange"
Her brother flicked her nose. Causing her to yelp. "Calm down you. Lelouch-san let us off for robbing him and bought us sweets. Ayako-san was the nicest lady i ever met here. Not counting Granny" He smiled at her. "I'm sure they are good people"
"I guess" Sakura conceded grudgingly. "But still..."
"They are strange. You said that already" Niito finished for her. "Come on lets go" He started for the hill at a run, the others following.
None of them noticed the shadow tailing them from among the trees.
* * *
><p>Predictably it was Sakura who noticed that something was wrong. She suddenly pulled up short and got the others attention.<p>
"Guys we should go back. Something is not okay here" She said, glancing around nervously.
"Sakura what is with you today. You are going on and on about nothing" Saita folded his arms across his chest. "There is nothing wrong here"
"Please guys. Please just this once, lets go back" She pleaded. "Just this once. Something is wrong"
"All all right" Her brother gave in. "But only because you say so"
"Okay then, wasted trip. Back we go" Niito turned to head back the way they came.
"I wouldn't call it a wasted trip little children"
It took them a moment to realize some else had spoken. They turned to look in the direction the voice had come from.
Sakura screamed. The other two were paralyzed, unable to even utter a squeak.
A Hollow towered over them. Twice as tall as a man. Its mask a leering monstrosity. It had approached them without any sound or sign. And was close enough they were almost in its shadow.
"Now now little children. There is no need to be frightened" The monster cackled. "I promise this will be over quickly"
Niito snapped out of his daze. "Run!" He screamed. Giving the other two a push and finally jolting them to action.
That broke the spell they had been under and all three of them turned tail and ran in the direction of the settlement. All three of them had been raised in the streets of Rukongai. And there was nothing wrong with there survival instincts. Speed and quick thinking was the only thing they had going for them. And this was the time they would need those skills the most.
Unfortunately the Hollow was not a normal adversary. Its speed outstripped theirs by huge margin. Before they knew what was happening it was ahead of them. Blocking the way to the settlement.
The children pulled up just in time and backed away from the monster.
"Well well, looks like you will be making this more interesting little children" The Hollow mocked. "Shall we play a game? I will let you run. I will even give you a head start" It leaned over the children. Casting its huge shadow over them. "Then i start chasing you. If you mange to reach the houses before i get you, you will get to live" It laughed, a sickening sound that rang among the trees. "What do you think. A nice game is it not?"
Sakura whimpered. Her brother wrapped his arms around her. Urging her to move.
"You are one sick bastard aren't you" A voice said from behind them.
The Hollow turned to see a man standing behind it. A man wearing a conical hat that obscured most of his face and dressed in a black kosode and hakama under a pale blue sleeveless haori that fell down to his knees.
"Who the hell are you?" The Hollow snarled. "Are you so eager to be food?"
"You tell me" The stranger mocked. "Are you eager to be made into dog food?"
"Ha" The Hollow laughed. "You? Make me into dog food? Come here and try"
"Gladly" The man replied as he reached behind his back and drew out a Katana. He glanced at the children. "You lot. Get out of here"
* * *
><p>"Lelouch-san!"<p>
"Get out of here i said!" Lelouch snarled as he advanced on the Hollow, blade held ready. "Run to Granny's" Ayako was there. And she would be able to provide them with some protection.
"Hai Lelouch-san" Niito said and began to drag the others away. Plainly he could see what Lelouch intended.
"What? Wait, no Lelouch-san" The other two began struggling.
"You fools, what do you plan to do against the hollow?" Lelouch asked mockingly. "Fight it? Go, i will hold it off. And when you are safe away, i will join you"
At that the other two came to their senses and started moving . Or rather, Saita came to his senses first and between them he and Niito dragged Sakura away. Finally she herself gave in to the others and started running on her own. "Don't you die you big idiot" Sakura yelled in parting as they vanished among the trees.
"How touching" The Hollow mocked. It had stood silent during the entire exchange. "Sacrificing yourself to buy them time. But they will not get away. I can follow a scent better than any dog or wolf. I will track them were ever they go. Just as soon as I'm done with you i will go after them"
"I see" Lelouch grinned. "Then i just have to kill you here and now"
"You fool. Do you think that little sword can do anything to me" The Hollow shook its head mock sadly. "You really are a fool. I hope you are a tasty fool however"
Lelouch gripped the Katana in both hands and took a stance, feet planted wide apart and blade held in front of him.
"Come here and find out beast" He mocked. "And this is not just a sword. This is a Zanpaktou"
Lelouch let his Reiatsu rise, flooding the area with his power.
"Your move"
* * *
><p><em>And there you have it. What do you guys think? Review and let me know.<em>
_In the next chapter Lelouch gets to flex his new Shinigami muscles for the first time. And I will be using all the input you guys gave about his abilities. Trying to portray Lelouch actually fighting is hard. I hope I can make it interesting and stay true to his character._
_Also I was reminded that I never actually described how Lelouch looks now, his cloths etc. I covered that this chapter as well._
_ps: Also gave him a pre ass-kicking one liner there at the end. Does that sound like Lulu? :-)
><em>
8. Chapter 7: Against The Hollow
_Chapter 7 is up, featuring the trilling battle between Lelouch and the Hollow._
* * *
><p><span>Chapter 7: Against The Hollow<span>
Lelouch faced the Hollow, Zanpaktou held ready in front of him.
This Hollow was very different from the one he faced before. He had been told by Ayako, his source of Shinigami lore, that each Hollow was different from the next. Their appearance, their powers, and even their mentality is all a reflection of their spirit, or rather, their heart. This one was thin, stick figure thin, with royal purple skin and a crest like that of a rooster starting on its head and running down its back. The Hollow Hole was on the left side of its chest were its heart would have been. Its mask resembled a birds skull, with a long beak that jutted out almost a foot from its face. But this beak had the teeth of a carnivore, set in a permanent grin. Its hands were unusually large even for its large body, and each had three fingers that were very long and skeletal, and seemed to have far too many joints. However despite all this, it was much more humanoid than the other hollow he had encountered.
Also unlike the Scorpion Hollow, that had flooded the entire forest with its Reiatsu, he could tell that this one was weaker. Weak enough for him to handle? Well he would soon find out.
Suddenly the Hollow lifted its hands and held them out at Lelouch, fingers splayed and pointed at him. The fingers lengthened like rubber and shot towards Lelouch, who barely had time to bring his Zanpaktou up to block.
Fingers and blade collided with a sound that rang among the surrounding trees. Lelouch was stunned bye the massive impact of the blow and he was thrown backwards like a rag doll. Coming to a crashing halt against a tree trunk.
He had instinctively pushed Reishi into the air around him, which now acted as a cushion for him and lessened the damage of the impact. Even so it felt like every bone in his body was cracked. A cursing Lelouch forced himself to jump out of the way as the Hollow shot its fingers in another attack, which barely missed him and gored a large chunk out of the tree.
He had barely manged to get on his feet again when the next attack came and Lelouch manged to get his Zanpaktou up to meet it by sheer instinct. The impact flung him away like the fist one, this time causing Lelouch to bounce like a football along the rough ground. The followup attack came an instant later, and Lelouch was forced to scramble out of the way on his hands and knees in a most undignified manner as the Hollow cackled gleefully.
Lelouch scrunched his face up at the pain, he was sure that something had broken. And the dammed Hollow was _laughing_. His grimace of pain became one of rage as he pulled himself to his feet again, once more bringing his blade up. Though his arms hurt so much he could barely lift them and the blade wobbled in time to his shaking hands.
The Hollow advanced leisurely on the battered Lelouch, holding its arms out and flexing its fingers. "I'm disappointed, if truth be told" It sneered. "You have a Zanpaktou, and an impressive amount of Reisatsu, both of which mean that you must be a Shinigami. If this is all the fight you have in you then you are an insult to your kind"
Lelouch started to shake his head, but the attempt made pain spike through his skull. He dearly hoped that his skull wasn't cracked. "Don't be so cocky, if you have fought against Shinigami before you know they are not to be underestimated. Besides, underestimating any enemy no matter how insignificant, can easily get you killed"
"I believe the evidence of my eyes Shinigami" The Hollow returned arrogantly. "They tell me that you are a weakling worm not even worth a fight"
"There is no use talking to you is there?" Lelouch replied. "I told you to make your move, and you did. You let me take the measure of your strength, your speed and most importantly your means of attacking and defending. Though I admit, I wasn't expecting you to do this much damage this fast, your strength is impressive"
"Oh?" The Hollow sneered. "So now you know all that, you are ready to fight? You half dead excuse for a Shinigami"
"Exactly" Lelouch agreed calmly. "Its my move"
"Fool" Snarled the Hollow, bringing its hands up for another attack. "Die!"
Lelouch grinned. Exactly as predicted.
"Bakudo #1 Sai"
* * *
><p><em>Flashback...<em>
"Hado #1 Sho"
The rock shattered to pieces. Ayako lowered her pointing finger and looked at Lelouch.
"This is a simple Hado spell, thought to academy students as a introduction to Kido. This is were we will start"
They were in a small forest clearing a good way away from the house. Having arrived here early in the morning, with Lelouch carrying Ayako as usual. Lelouch had been eager to begin learning about his newfound power. Something Ayako readily encouraged. However there were some difficulties with training him properly as she had explained.
First off he learned that there were four main forms of combat the Shinigami specialized in. These were Zanjetsu or the way of the sword, Kido or the demon arts, Hoho or the speed arts and finally Hakuda or unarmed combat. Unfortunately Ayako was in no condition to teach him most of these as it would involve her moving around and sparring with him. So they had settled on the only one left, Kido, which Lelouch privately thought of as magic.
She explained that when using Kido, the practitioner concentrates Spiritual Power and shapes it with a combination of words, gestures and mental focus. It was, she said, part art, part science and part instinct.
"The majority of the Kido are broken down into two branches" She lectured. "Hado, the destructive arts and Bakudo the binding arts. Each Kido is further ranked from 1 to 99, depending on the difficulty and power needed to use"
"So you must be at a certain level of power to use the high level stuff? There is more than skill involved?" Lelouch inquired.
"Yes, the high level spells demand a massive amount of power to even begin casting them. But" She waved a finger at him. "The amount of power put into a spell depends more on the individual. Even the level one Hado I did just now would be much more devastating if done by a Captain"
"I see, a combination of skill power and mental focus" Lelouch looked thoughtful. "I think I can mange, so long as my power is adequate"
"You have more than enough power Lelouch-san" Ayako assured him. "And you are pretty good at handling your Reiatsu. Thats a very good sign for a Kido user. I have a hunch that you might even be able to work Kido without the incantation faster than most"
"Kido without the incantation?"
"Yes"
She explained that because of the long incantations, precise gestures and concentration needed to cast most Kido, its hard to use them in combat. But it was possible to forgo the incantation and cast the Kido directly. As the incantation and the gestures were just there to help your mental focus. But this convenience came often at a cost, it affected how much power the spell had. So you had to be very skilled to use a Kido without the incantation and still have it at enough power to be effective.
"Well thats enough theory Lelouch-san, lets begin"
"Right" Lelouch grinned.
* * *
><p><em>Present time...<em>
The Hollow found its arms locked behind it as the binding Kido took effect. The sudden loss of balance causing it to fall to its knees and almost faceplant on the ground. It struggled to keep form falling on its face and barely manged to keep its balance as it lifted its head and snarled at him.
"I do thank you for presenting your arms so readily for the Kido" Lelouch taunted. "Normally its so hard to aim these things"
"You fool! How long do you think something this weak can hold me?"
"Long enough" Lelouch replied and raised his hand, index finger pointing at the Hollow. The creature emitted a wordless cry as it realized what was about to happen.
"Hado #4 Byakurai"
A swirling ball of spiritual energy gathered at his fingertip and discharged in the form a bolt of pale blue lightning. The blast stuck the Hollows mask in an explosion of light and sparks that flung it backwards and threw it on its back. The howl of pain and rage the creature gave rang among the trees.
"Hmmm" Lelouch said as he advanced on the Hollow that was now trashing madly on the ground, arms still locked, face pressed against the ground. "I hoped to get you with that one. I guess I didn't put enough power behind the Kido. But that's simple enough to fix"
He raised his hand again. "Goodbye beast"
And the Hollow raised its head up from the ground and looked at him.
Lelouch was frozen in shock. The prepared Kido forgotten. Even the pain in his body momentarily forgotten at the sight of the Hollows face.
"Cl...Clovis" Lelouch whispered.
* * *
><p>The Hado spell had smashed the Hollows mask into fragments and had even caved in part of its face. But that face was still recognizable. Clovis la Britannia, the former third prince of the Holy Britannian Empire and Ex-Viceroy of Area Eleven, whom he had killed with his own hands at Shinjuku Gheto. And as the Hollow Clovis met his eyes, Lelouch saw recondition there.<p>
"Le...Lelouch" The Hollow rasped out.
Lelouch moved his mouth, but no sound came out. Even if he had manged to speak, he had no idea what he may have said. What could he say to a half brother he had executed? In the end it was Clovis who broke the silence.
"Lelouch..." He or it? rasped out. "Look at me"
"What?" That snapped Lelouch out of his shock.
"Look at me" The Hollow Clovis repeated. "I am a monster. I have become a monster" It was almost sobbing now. "Look at what you have done Lelouch. Look at me!"
"What?" Lelouch repeated. Even though he had heard perfectly. He could certainly understand that Clovis would be a little...resentful. But it hadn't been entirely his fault that he came to this end. He had only killed him. But turning him into a Hollow? That had been none of his doing.
The Hollow Clovis was on his feet now. He hadn't seen him move. "I was going to be immortal" It yelled. "And you made me into this!"
Ah, well that answered one question. He had learned that one way to become a Hollow was having a heart clouded with despair. And for Clovis, having his shot at eternity taken away so rudely, and having his pretty face reduced to this was no doubt a very, very unpleasant turn of events. Lelouch remembered the piles of dead Japanese in Shinjuku, dead because Clovis wanted to preserve his image. Lelouch grinned. Maybe there is some justice left in the world after all.
"Come now Clovis" Lelouch returned calmly as he regained his composure. While finding Clovis again had been shocking. In the end his own little monologue had reminded Lelouch that this was still, Clovis."They say a Hollows appearance is a reflection of its heart. So you only have your self to blame for how you look"
"You bastard" Hollow Clovis screamed. "I had forgotten everything. I had forgotten what had happened" That caught Lelouch off guard again. "But you broke my mask. I remembered, I remembered everything you bastard. Even after death you must plague me"
"That's my line" Lelouch snarled back. "You paid with death for the crimes you committed in Shinjuku. And you have learned nothing from that death"
Lelouch lifted his index finger as a ball of swirling blue Reishi, much larger than before, began to form. "Well Clovis, if you don't like this afterlife then I can send you to the next one" He smirked. "It's nothing I haven't done before after all"
The Hollow Clovis bellowed like a wounded bull and strained against the binding Kido. It shattered in an explosion of Reishi and sound and light. Clovis bought his arms forward and in the same motion lunged at Lelouch, launching his fingers at him as he did so.
"Hado #4 Byakurai"
This time the blue lightning stuck Clovis on the chest right under his Hollow hole, punching strait through and leaving a gaping bleeding hole were it stuck. It looked as if he had two Hollow holes one under the other.
Clovis stopped in his tracks and dropped to his knees bonelessly before falling forwards on his hands. His half extended fingers trailed limply on the ground like dead snakes. Remarkably he was still alive. Even bleeding from a massive wound in his chest, even after eating two Hado spells, he was still alive. Lelouch assumed this was due to one of two reasons. Either he still hadn't put enough power behind the spell or he neglected to hit were it counts. The mask, or the face in this case.
"I suppose the stories are true, Hollows are tough bastards" Lelouch muttered as he impassively watched his half brother who was on his hands and knees in front of him.
"Clovis, i'm sorry for this" Lelouch advanced on the prone form. This time he would make sure to hit the head. And, he gathered up his power, he would put everything into the spell.
That was when Clovis surprised him. Driven by rage, or sheer instinct to survive, he dug his fingers into the ground and flung a wall of dirt up at Lelouch.
Lelouch panicked and released the Hado spell without aiming properly.
Not surprisingly, it missed and hit the ground in front of Clovis, the flash of light and noise adding to the confusion and disrupting vision.
Clovis scrambled to his feet and ran, one hand clutching his wound. Even wounded from two Hado spells he had an impressive turn of speed, and by the time Lelouch had recovered had vanished among the trees. Lelouch could still feel his Reiatsu, but it was getting fainter and fainter. A moment later that too was gone.
* * *
><p>Lelouch stood staring after Clovis for a long time, unsure of himself for once. True he had mocked Clovis just now. And he had been prepared to kill Clovis a second time. But, even after the massacre in Shinjuku, had he wished this fate on him? If anything he himself deserved a worse fate for everything he had done, far worse than the blood Clovis had on his hands. And yet here he was, a whole soul, a Shinigami, while Clovis was a Hollow. Lelouch shook his head.<p>
"Clovis" He whispered. "You are still a fool"
With a tired sigh Lelouch sheathed his Zanpaktou and limped over to retrieve his hat. It had been flung clear when he had slammed against the tree and was dusted up but still serviceable. He cleaned the dirt off it as best he could before placing it on his head before moving on.
It took him a while to get his bearings, he had simply run here using the Hollows Reiatsu as a beacon when he had felt it go after the kids. Though it had been sheer luck he had been able to pick up the Hollow targeting them before the kids went beyond his range. Those three brats had been born lucky, first getting away with robbery and now this. And speaking of brats...
He turned from his path and walked over to a clump of bushes that stood a good ways from the battle.
"I thought I told you to go to Granny's" He said as he used the sheathed Zanpaktou to move the bushes aside. "If it had gotten past me the three of you would have been easy pickings"
Huddled underneath were the three children. Staring at him with expressions that went from awe to disbelief to shock. Lelouch winced. Even though they had been a good distance from the fight, and there was a chance they didn't hear the exchange between him and Clovis, there was no mistaking a man shooting lightning from his fingers. Well best to get it over quickly.
"Come on, lets go" He extended his hand to them.
"Le...Lelouch-san you...you are" Niito was struggling with it.
"Yes, i'm a Shinigami. I will explain on the way, come on" He gestured again. Remaining at the site of a fight, especially this close to the settlement, was not a good idea. Someone had surely heard Clovis screaming and they might get it into their heads to come and investigate.
It took a while to get the kids on their feet, still staring at him as if he had grown a pair of horns. And Lelouch hustled them in the direction of the house, talking to them as they walked. Not so long ago, he would have been able to use geass to ensure that they would remain silent. Now he had to rely on simple words to persuade them. But then Lelouch always thought of himself as having a gift with words.
Lelouch was tired from the fight, still shocked by meeting Clovis again and trying to find the proper words to explain his situation to the kids. Otherwise he might have noticed the figures that had been watching him ever since the fight ended. But then even if had been alert, he might not have noticed. These were experts at stealth, trained for years to conceal their spiritual signature.
* * *
><p><em>Later...<em>
In the eternal night of the deserts of Hueco Mundo, the realm of the Hollows, the Hollow who in life had been called Clovis la Britannia wailed in pain and anguish. He had taken refuge in a giant rock outcropping that jutted out from the sands and formed natural caves. After his fight with Lelouch he had run blindly, with no thought other than getting as far away as he could from his brother. It was much later that he had finally recovered his wits enough to escape into Hueco Mundo.
Now he struggled in wain and clawed at his face as his shattered mask grew back.
He knew that the mask had made him forget himself and do terrible things. He knew that the shattering of the mask had made him remember who he had been in life. Now it was coming back, and he was afraid that he would forget himself again. Become an animal again.
"Lelouch..." He wailed, clawing at the white substance creeping up his face. "Lelouch!"
He hated his brother. He hated him. He had brought it all back. Made him see what a monster he had become. In the end he hadn't even killed him. Only left him to live on as a monster.
He remembered Lelouch standing over him as he tasted dirt, hand raised to shoot lightning. He remembered Lelouch grinning as he bought the gun to his forhead. Lelouch hadn't suffered, he wasn't a monster. He had killed him in cold blood, and was rewarded by being made a Shinigami. Sent to kill him a second time. He _hated_ his brother.
"Lelouch" Clovis howled at the night sky as the mask covered his face once more. The flowing bone white substance solidifying almost at once.
Clovis fell to the ground, pawing at the sand and panting.
He lay like that for what seemed like hours. He had no idea how much time had passed before he lifted his newly masked face and clutched one hand to his wound, slowing pulling himself to his knees.
"Lelouch" He growled.
He remembered, he still remembered everything. The mask returning hadn't robbed him of his reason. He could still see Lelouch with his damnable smug smile. Still see the gun coming for his face.
"Lelouch" Clovis snarled. "I swear, this is not over. I will get strong Lelouch, i will get strong and i will make you suffer"
* * *
><p><em>End of chapter 7.<em>
Beginning the OC encyclopedia
"Good evening dear Fanfic readers, today we will be beginning the OC encyclopedia, were we will introduce ocs, discuss story elements and accept donations of pizza. I will be your host C.C" C.C introduced herself decked out in a Shinigami uniform with a Zanpaktou at her hip.
The camera panned to reveal C.C standing in front of a giant projector screen that now flared to life.
"The first subject we have today is" An image of Ayako popped up on the screen.
"Oi, i'm not a bloody subject" Ayako shouted from behind the projecter.
"Shhhhh, we are recording dammit" that was Lelouch, he was operating the camera. He gestured for C.C to continue.
"As i was saying. Kiyamizu Ayako, formerly of the 12th division, she deserted the Gotei with her brother and two companions. During the desertion her legs were crushed due to unrevealed circumstances and never fully healed. Her brother and his companions were killed um, fighting a Hollow, and in his last moments said brother asked Lelouch to stand in for him" C.C gestured again and a picture of Lelouch appeared next to ayako. "Lelouch, with his sister complex was eager to accept, and so she will be serving as major plot element, mostly creating conflict for Lelouch"
"I do not have a sister complex!" Lelouch snarled.
"Your making the camera wobble"
"Shut it you. You are here to create conflict, not offer opinions. Ow!" there was a loud whack! As Ayako hit Lelouch on the head with one of her crutches.
They had to wait while Lelouch got up and setup the camera again.
"Ayako is a girl who looks a year or so younger than Lelouch, but is actually old enough to be his mother. She is also the last on the list if Lelouch is going to be paired with anybody"
"Oi!"
"What!"
Both the projector and the camera jumped in union.
"We really should get a proper filming crew" Ayako growled as she clicked the slides back into order.
"We can't afford it. We spent most of the budget on pizza. And im dead so i cant use my credit card anymore" Lelouch finally got the tripod back up.
"Well maybe Suzaku can do it?"
"I have to keep the peace dammit. Leave me alone" Suzaku yelled from outside the studio.
"Well we will think of something, go on C.C"
"She used to be a researcher at the 12th and combat is not her strong suit. But she understands Shinigami lore better than most, and she is very gifted with Kido. Also she wasn't a seated officer and doesn't have a Shikai"
"Thats it" Lelouch clicked the stop button. "Time for the editing"
"What editing?" C.C asked as she stepped away from the projector. "This went live to the site"
"What!" Lelouch dropped the camera, on his foot.
C.C drew her Zanpaktou.
"Slice, Pepperoni"
The lights went dark.
* * *
><p><em>And thats it for this chapter.<br>_
_Yes the Hollow is Clovis, and yes i made him look like a rooster. :-)_
_I hope was able to present of Lelouch fighting in a way that would fit his character and abilities. Let me know if it fit, or if you think i should make improvements to his fighting style._
_Also note that He now has his first antagonist aka: mini boss. I chose a Hollow, and not some random one, to give Lelouch a chance to see the relationship between Shinigami and Hollow as something more than just pest control._
_The next update will be a bit late as i need to gird my loins and take some exams. As soon as i'm done, assuming i'm not a nervous wreck by then, ill start updating again._
_And what do you guys think about the OC encyclopedia? Good idea or bad idea? Taken of course from the bleach equivalent. Like the witch said i plan to use it discuss OCs, story elements and such. It wont be there every chapter, only once in a while._
_ps: removed and reinstated the oc encyclopedia under pressure from my roommate and a review from observer1 :-)
><em>
End file.
| fanfiction |
•
The Devil Wears Prada
Screenplay by
Peter Hedges
Revisions by
Howard Michael Gould
Paul Rudnick
Don Roos
Current Revisions by
Aline Brosh McKenna
March 10, 2005 FADE IN
INT. CHATEAU FRANCE --DAY
An elegant 17th Century mansion a short distance from Paris, A
dinner is set for about a hundred people. Everything is perfect;
exquisite flowers, linens, silver .••
Anyone who's anyone in the fashion world is there. We see
Lagerfeld ..• Valentino .•. Marc Jacobs ...
NIGEL KIPLING, a dapper man in his late 30's/early 40's, speaks
at a podium at the center of the dais on one side of the room.
Our POV is from someone else on the dais so we see NIGEL from
the back.
NIGEL
.•• her name has become legend. Her
magazine is the Bible for anyone
interested in style, taste and
sophistication. Without a doubt one of
the most elegant women ever to walk
the planet, I give you .•• Miranda
Priestly.
Loud applause rings out. And from the back.we see MIRANDA
PRIESTLY approaching the podium. We can only make out her fancy
updo, the cu:cves of her couture gown.
As MIRANDA lingers, taking in the applause ••.
We reverse to see whose point of view we are watching from •••
..• ANDY BARNES, 20's, pretty, elegantly put together. She stands
a few feet behind MIRANDA.
She applauds, smiling. Some of MIRANDA'S light spills onto ANDY.
MIRANDA starts to talk and we hear a brief SCREECH of feedback.
The SCREECH dissolves into •.•
FLASH BACK TO:
EXT. MIDTOWN STREET --DAY
••• the SCREECH of a taxi, rounding a corner.
Six months .earlier. ANDY walks out of a subway station,
clutching a piece of paper with di.rections on it.
ANDY looks nothing like the polished young woman from the
ohateau. Her hair and makeup are college student simple •. She
wears her best --white shirt, blue skirt, comfortable shoes. 2.
Morning rush hour pedestrians bustle past. She checks her paper.
ANDY
Two blocks to 57th.
EXT. 57TH STREET --DAY
She looks up at an address. 125. She walks in.
AGUA.RD quickly stops her. Indicates she should sign his
clipboard, which she does.
ANDY
What floor is Elias-Clarke?
Beat. The GUARD just looks at her. Her heart starts to pound.
ANDY (cont'd)
Don't. Don't tell me.
GUARD
Honey, you want West 57th.
EXT. 57TH STREET --DAY
ANDY busts out of the wrong building a.nd starts to run, but-
--she' s moving against the pedestrian tide. We widen out to see
ANDY, bucking the flow of people like a salmon going UI)stream.
She gets to an intersection, starts to cross the street ••.
..• and just misses being decked by a bike messenger. He flips
her off. She barely hesitates, starts running again.
EXT. 57TH STREET --DAY
ANDY is looking at numbers.
And she sees, looming in front of her, an elegant tower. Elias
Clarke. 125. She runs toward it.
INT. ELIAS-CLARKE -- DAY
ANDY trots into the building, out of breath and stops,:
overwhelmed by what she sees.
The lobby looms around her. The place is so big, so unto
itsel=··· it probably rains in here.
INT. HUMAN RESOURCES OFFICE --DAY
ANDY sits across from a bored looking woman, SHERRY. 3.
on the wall behind SHERRY are framed covers from all the Elias
Clarke magazines --a news magazine, a coo.king magazine, .a
fitness magazine ••• and Runway.
SHERRY clicks away on her computer.
Huh? ANDY
Thank you for replying to my query
letter. I'm very excited about the
opportunity to--
SHERRY
You like race oars?
ANDY
Actually, for me, it's a toss up
between race oars and monster trucks.
SHERRY
I have two openings --one at Auto
Universe and one at Runway.
ANDY
The fashion magazine? But--
SHERRY
That's it. That's what we have.
ANDY
What if I co.ma back next week?
SHERRY
Might have nothing at all.
INT. RUNWAY RECEPTION AREA --DAY
Sleek, elegant, hard-edged.chic. Behind a large reception desk
is an elegant logo that says RUNWAY.
ANDY walks over to the desk.
ANDY.
I'm here about the assistant·job.
The RECEPTIONIST points ~er towards a seating area •••
... where there are a few other women waiting, each.a tall, thin,·
dressed to kill FEMEOT.
ANDY tries to smile at one of them, who looks away. ANDY sits.
She can hear two of the other WOMAN chatting softly. GIRL #1
I can't believe I'm even in this
office.
GIRL #2
Oh, I know. I would murder my best
friend to get this job.
EXT. RECEPTION LATER 4.
ANDY is trying to arrange herself on the uncomfortable sofa when
suddenly a taller, thinner and, amazingly, more groomed version
of the women in the room walks in. ·
This is EMILY, who looks the part of the sleek fashionista, but
is propelled by a core of barely tamped down anxiety.
EMILY
Um ••. Andrea Barnes?
EMILY looks up. Their eyes meet. As EMILY takes in how different
ANDY looks from everyone else •••
•.• ANDY springs up and follows her down the hallway.
INT. RUNWAY.-- DAY
EMILY walks ANDY down the hall.
EMILY
.. Who put you up for this job?
ANDY
Human Resources sent me.
EMILY
They do have an odd sense of humor.
At the end of a long corridor is a bullpen -- two desks outside
a large corner office.
ANDY can only see part of the corner office, but it is
seductively bright, sending light strearning into the bullpen.
ANDY and EMILY sit down.
EMILY (cont'd)
Miranda has two assistants
first, and we1re interviewing
second, junior assistant.
(pauses, dramatic)
Miranda is an amazing woman,
(MORE) I'm the
for the
a legend. ,_.,,/ L
' '~· EMILY (cont'd)
Working for her sets you up to work
anywhere in publishing. A million
girls would kiLI, for this job.
ANDY
Sounds great.
EMILY
The thing is, A.ndy,·we are a fashion
magazine and an interest in fashion is
crucial.
ANDY
What makes you think I'm not
interested in fashion? 5.
EMILY gives her a look. Suddenly, EMILY'S Blackberry.goes off.
She gasps.
EMILY
Oh my God. No. No, no, no.
AfIDY
What' a wrong?
Ell. ELIAS-CLARKE --DAY
A black .sedan pulls to a sudden stop outside the building.
INT. RUNWAY-- DAY
EMILY springs to her feet.
EMILY
What the hell is she doing here?
She begins rapid-fire dialing four digit extensions.
EMILY {cont'd}
(all but screaming)
She's on her way --tell everyone!
Just then NIGEL, looking dapper as usual, rushes over to EMILY.
EMILY (cont'd)
Eer driver text-messaged. Ber colorist
has the flu! ·
NIGEI, turns and calls out to the office.
NIGEL
Man your battle stations! 6.
He runs down the hall popping in Altoids and brushing himself
with a lint roller at the same time.
EXT. ELIAS-CLARKE --DAY
The sedan door opens. We see more flashes of MIRANDA ..•
..• $2,000 crocodile Manolos, Chanel jacket, perfect hair,
fabulous Harry Winston earrings ..•
INT. ELIAS-CLARKE --DAY
!!veryone is in a high state of alert.
ASSISTANTS frantically push clothing racks out of the way •..
EDITORS race into their office.
1\NDY peers in, sees one of the EDITORS changing from kitten
heels to sky-high stilettos .••
.•. sees another curling her lashes •••
••. another lining her lips •..
..• another pulls on a body shaper under her dress •••
INT. ELIAS-CLARKE --DAY
We watch MIRANDA --still only a partial view of her --click
clacking through the lobby in her 4-inch~heels.
And we see PEOPLE reacting to her.
GUARDS, ASSISTANTS and SECRETARIES cower, DISTINGUISHED
EXECUTIVES bow their heads in respectful greeting.
MIRANDA maintains a high rate of speed towards the elevator.
As she's about to get in she sees a lowly EDITORIAL ASSISTANT in
the elevator. He immediately leaps out.
EDITORIAL ASSISTANT
~orry, Ms. Priestly.
She doesn't acknowledge his existence. Her perfectly manicured
finger presses one of the buttons.
rNT. RUNWAY --DAY
EMILY looks ,around to see if everything's perfect. Notices ANDY. -~,,./ EMILY
Oh my God. You're still here. Go.
ANDY geta up.
ANDY sits. EMILY (cont'd)
No, stay. I don't want you walking
past her. Just .sit there and I'll pray
she doesn't notice you marring the
area.
ANDY
(to herself)
·wow, this is like self-esteem camp.
INT. RUNWAY --DAY 7.
••. MIRANDA steps out of the elevator and for the first time _we
see her head-on.
MIRANDA PRIESTLY, in all her glory. She is stunning, perfectly
put .together, a white Hennes scarf around her neck,
MIRANDA'S look is so distinctive you can spot her a mile away.
She is unlike any other beautiful woman, singularly MIRANDA.
INT. RUNWAY -- DAY
EMILY runs up the hall to MIRANDA and walks her to her office.
MIRANDA
Why didn't you conf_inn?
EMILY
I did. He must have gotten sick
overnight. I'm so sorry, Miranda.
MIRANDA
Sorry is just an excuse to make the
same mistake again.
We see ANDY, watching this, but MIRANDA seems not to notice her,
EMILY
(rattling off quickly)
Here's the bulletin so far. At 7:00,
Simone called from the Paris office.
She figured out dates w~th Tea~ino £0%
the Rio shoot and confinned with
Gisele.
(MORE) EMILY (cont'd)
Then at 7:15 Michael Kors called about
the Model of the Year party. He's at
his house in the Caymans. I have that
number. At 7:30 Natalie from Glorious
Foods called to see whether you'd like
the Vacherin filled with mixed berries
praline or warm rhubarb compote. At
B:15 Mrs. Samuels called to remind you
about Parent-Teacher conferences at
Dalton tonight --you and your husband
have reservations at Le Bernardin
immediately following. 1'1.nd at 8:30
Donatella Versace called about the
upcoming Miami trip. She wants to
know, do you need any staff besides
the driver, chef, Pilates instructor,
personal assistant, three maids and a
yacht captain? Said to call her back
ASAP as the good yacht captains get
snapped up very quickly.
MIRANDA
Fine. I'll be ready to roll calls in
two minutes. Let's try Donatella
first. Then I want Michael, Simone and
then Jay-Z. And tell Nigel I need an
answer about swimwear. 8'
MIRANDA stops at EMILY'S desk, takes off her coat, dumps it on
,~MILY' S chair, walks past ANDY. EMILY is relieved, but then--
MIRANDA {cont'd}
Who was that?
Damn. She noticed her.
EMILY
Nobody. I mean, I was pre-interviewing
assistants for you and she's the last one but--
MIRANDA
I'll do it. You obviously can't do
anything right ..
MIRANDA goes into her office. EMILY looks at ANDY.
EMILY
Oh my God. This is so not happening to
me :ri.ght now~
INT. MIRANDA'S OFFICE --DAY
ANDY enters, hesitant. Behind her, EMILY watches, nervous. L :'INDY now has a better view of MIRANDA'S gleaming office.
A single flower in a Steuben vase.
Photos by Avedon, Penn, Testino and Meisel. 9.
A large photo taken by a very good photographer,of MIRANDA, her.
husband STEPHEN and her twin GIRLS, CASSIDY and CAROLINE and,
playing on a beach in the Bamptons.
Iced Pellegrino on a coaster on the desk. Every current issue of
· any relevant magazine, fanned out precisely on a table.
ANDY walks in. MIRANDA is busy writing, doesn't look up.
MIRANDA
Who are you?
ANDY
•My name is Andy Barnes. I recently
graduated from--
ANDY hands MIRANDA her resume, which MIRANDA ignores.
She finally looks up and gives ANDY her patented once-over, top
to bottom, every molecule dissected.
The phone buzzes. MIRANDA picks it up.
MIRANDA
Yes, all the swimwear by 3 today •••
(hangs up)
What was your major?
ANDY
English, with an emphasis in
journalism.
MIRANDA
Why are you here?
ANDY
Because I think I could do a good job
as your assistant and--
MIRANDA
( impatient)
Why are you here? ANDY
My resume got me a meeting with Human
Resources and they said it's this or
Auto Universe.
MIRANDA takes this in, pleased by her honesty.
MIRANDA
You don't read Runway, do you?
ANDY
No.
MIRANDA
And before today, you had never heard
of me, had you?
ANDY
No.
MIRANDA
And you have no style or sense of
fashion.
ANDY
That depends on--
MIRANDA
That wasn't a question.
She finally picks up ANDY'S resume. Glances.
MIRANDA (cont'd)
Editor-in-Chief of the Daily
Northwestern. Impressive.
ANDY
I also won a nationwide competition
for college journalists with my series on the janitor's union --
MIRANDA holds up her hand.
MIRANDA
That's all.
ANDY, startled by the abruptness, keeps talking.
ANDY
--that uncovered the exploitation of
the--10. j
'--· 11.
MIR.ANDA stares. ANDY abruptly stops talking. Reads for the door.
But then she stops and turns.
ANDY (cont'd) .
Okay, listen, I may not know too much ·
about fashion, but I'm smart and
· resourceful and I will work very hard
and--
And MIRANDA says •.• nothing.
ANDY {cont'd) .
And that's it. That's what I wanted to
say. And now I'll just ••. bye-bye.
INT. MCSORLEY'S --NIGHT
A dark, loud, bustling bar, one of those McSomething bars you.
spend your twenties in.
ANDY is with her boyfriend NATE, a friendly handsome guy with a
great smile, and their friends from college, DOUG and LILY.
DOUG is built like a linebacker and sweet as hell. LILY is arty
and offbeat.
ANDY is in a full-body cringe.
ANDY
I-basically came out and told her I
had no idea that she's one of the most
important people in New York
publishing. Oh, and then I ra:mbled
like a crazy person.
LILY
When do you find out if you got it?
.ANDY
Have you not heard what I've:been
saying? I was a jackass. I'm not
getting it.
DOUG
You never know. Miranda Priestly is
famous for being unpredictable •
.ANDY
oh my God. Bow is it that you .know who
she ie and z d~dn't?
DOUG
I'm actually a girl. LILY
That would explain so much.
DOUG
Seriously, Miranda is a big deal. I
bet a million girls would kill for
that job.
ANDY
Okay, now you're really scaring me.
l'!e shrugs • ANDY thinks •
ANDY (cont'd)
Maybe I shouldn't let this bother me.
It's a fashion magazine. It's all
about cleavage and lip gloss, right? I
turned down law school to be a ·
journalist. Runway's not right for me.
Her friends exchange glances.
NATE
I don't know. You do have to start
somewhere.
LILY
Yeah. Look at Nate. He's flipping
chicken breasts at O'Neal's now so he
can work his way up to being a chef.
And I would take any job in the art
world. Even if it was not exactly what
I wanted.
ANDY
So what you're saying is, I just blew.
my big break in journalism. Great.
Beat. ANDY puts her head in her hands, bummed.
I.lOUG
Luckily, I already have my dream job.
LILY
(huh?)
You're a corporate research analyst -
DOUG
--which totally rocks. Best things
are the free bagels on Thursday and
the whores.
They look at him. 12. DOUG (cont'd}
Okay, so there are no bagels.
(beat)
And only a couple whores.
INT. NATE'S APARTMENT DAWN 13.
Small, with a view of an air shaft. The bed's a futon •. On the
floor. ANDY and NATE are asleep.
Dim light starts to trickle into the apartment. NATE wakes up,
pulls ANDY closer. Soon they' re kissi.ng. Their kisses become
less sleepy and more urgent and at that moment ••.
ANDY'S cell phone rings. Loud. With a ring tone that's
ironically obnoxious, say, "Oops I .Did it Again."
ANDY feels around, finding the phone.
ANDY
Hello? ••• Now?
She looks over at the alarm clock which reads: 6:45 AM.
INT. ANDY'S APARTMENT --MORNING
ANDY, in a hurry, has tried on every bit of clothing she owns;
there's a huge discard pile on the bed. Her closet is empty.
She looks at her outfit in the mirror. And is promptly overcome
by a wave of self-hatred.
She tries .to pull her sweater off. The neckhole is too small.
She hops around, tugging.
INT. RECEPTION --DAY
ANDY steps off the elevator with all the RUNWAY girls who are.
turned out to perfection. She looks completely out of place.
INT. RECEPTION -- DAY
.!\NDY sits on the body-twisting sofa. EMILY strides in.
EMILY
I hope you know that this is a very
difficult job for which you are
totally wrong and if you mess up MY
head is on the chopping block.
She instantly turns on her heels. ANDY fo.llows. ANDY
(to herself)
So, no pressure, then.
EMILY
We have seven minutes before Miranda
gets here. Let's go.
INT. RUNWAY-- DAY
EMILY walks ANDY through the hallways of the offices,
introducing her to people, though not slowing down.
EMILY
This is Jocelyn from Accessories ••.
Jocelyn, this is Andy, the new me ..•
Andy, this is Steph, assistant art
director .•• 14.
All the WOMEN we're meetings are around 25, 6-feet tall and
about 100 pounds. The male employees, straight or gay, are all
expertly styled and groomed.
Suddenly EMILY sees a tall, gorgeous African-American woman.
EMILY (cont'd)
What are you doing here, you witch?!
LISA
I just popped over to say hi to Nigel.
EMILY and LISA hug. EMILY turns to ANDY.
EMILY
This is Lisa, I'm the old her. Miranda
loves her and got her another totally
FAB job.
ANDY looks at LISA, curious.
LISA
It's not a big deal.
(feigning nonchalance)
Assistant editor at the New Yorker.
ANDY
The New Yorker? You're kidding me.
EMILY
Yeah. She's a huge kidder. Especially
with people she doesn't know or care
about. "--.., She gives LISA a look. Can you believe these newbies?
LISA
And here's the man himself •••
She waves her arm towards the dapper gentleman ANDY saw
yesterday with the Altoids. He extends a hand to ANDY.
NIGEL
Niget Kipling. Fashion Director. You
must be the new Emily.
He studies .her, .a more benevolent veraion of MIRANDA' s
appraisal. Finally he sees her feet.
NIGEL (cont'd)
What are those?
ANDY
My shoes. My mom bought these for me
at Nordstrom's my sophomore year.
NIGEL
So .they're, like, vintage. 15.
She smiles. No idea. He takes her hand and spins her around.
NIGEL (cont'd)
oh my God. I love your look. It's like
Oklahoma and New Jersey fell in love
·and had _a baby.
ANDY
Actually, I'm from Cincinnati.
NIGEL
No, it's not possible. Not you.
He kisses·.her on the cheek.
NIGEL (cont'd)
Welcome to the dollhouse, Baby.
He hooks his arm through LISA'S arm and sweeps her away. EMILY
turns to ])NDY.
EMILY
I have three more minutes to explain
to you your whole entire job. 16.
INT. RUNWAY --DAY
J~MILY shows ANDY her desk, next to hers, in the bullpen in front
of MIRANDA'S office.
EMILY
You and I are responsible for the
phones --one of us must always be
here to answer them. She hates calls
rolling to voicemail. Other than that,
we have totally different jobs. I'll
be in charge of her schedule, her
expenses, her appointments. And, most
importantly •.•
(big drumroll, she beams)
I get to go with her to Paris for
Fashion Week in the fall.
EMILY points to the Eiffel Tower screensaver on her monitor.
ANDY
That sounds great.
EMILY
Paris is fabulous. You wear couture,
go to all the shows. It's the best
thing that could ever happen to a
person.
(smiles)
And this time, that person is me.
ANDY looks at EMILY, amazed by her intensity.
Just then NIGEL comes over. He is carrying a pair of stunning
.black Ji.nuny Choo slingbacks.
NIGEL
I guessed 8 1/2.
ANDY
That's right, but I don't think I'll--
NIGEL
Fine. Use them as a paperweight.
He leaves the shoes and walks away.
EMILY
Now, your duties. First, the food. } / I.._.· 17.
INT. RUNWAY --DAY
EMILY shows l\NDY how to aet up for MIRJINDA'S arrival. They move
between the kitchen, the outer office and MIRANDA'S office.
EMILY
It must be Pellegrino, frigid, and
placed on her right in the 2 o'clock
position. These are the only coasters
we use, they're made 'of zebra:wood.
ANDY
Excellent. I don't know what that ia,
but it sounds cool.
EMILY
Her breakfast and lunch are always the
same. Scrambled eggs and bacon for
breakfast. For lunch, a steak so rare
it's practically talking. Once a day
we do a Starbucks run and·she gets a
tall white chocolate·mocha, hotter
· than lava, two blueberry muffins and a
cranberry bliss bar.
ANDY
I can't believe she eats like that.
She's·so thin.
EMILY
I know. She has the·one thing I''Ve
always wanted, •. a metabolism.
EMILY scoops up an armful of magazines.
EMILY {cont'd)
Last thing, the periodicals.
They walk into MIRANDA'S office: EMILY spreads out the magazines
on a table.
EMILY (cont'd)
Fanned out with exactly three-quarters
of an inch between them.
They_step back into the outer office. EMILY looks at the clock.
EMILY (cont'd)
1'.nd then ••.
Th~ clock ticks over to 7:30. 18.
EMILY (cont'd)
.... boom!
And that instant MIRANDA appears, talking on her cell phone,
leaving people scurrying behind her.
MIRANDA
(on phone)
••. I told him there's no way we're
doing tartan OR taffeta again .•.
She walks by ANDY and EMILY without acknowledging them or
stopping her conversation, she drops her coat on ANDY'S desk and
walks into her office. ·
EMILY
Second assistant also does coat.
ANDY
coat?
EMILY opens a closet. ANDY takes the coat and hangs it up.
ANDY (cont'd)
Coat. Got it. ·
EMILY
And, you will also eventually be
responsible for the Book.
ANDY
The Book?
(realizes)
I'm repeating everything you say,
aren't I? Wow, that's annoying.
EMILY shows ANDY a large wire-bound collection of pages as big
as a phone book. EMILY opens it and leafs through it.
EMILY
The Book is The Bible. The current
issue in its latest form. Miranda
needs to approve every single thing in
the magazine so she edits it at night.
The Book is. the most important thing
you will ever touch in your whole
life, including your newborn children
and eventually the face of God.
ANDY 1.ooks at it. It's very impressive and cool.. ' \__,,
I
''--'· EMILY (cont'd)
Every night we deliver the Book, _and
her dry ~leaning, to her house.
ANDY
To her house?
(realizes)
Dammit, I did it again.
EMILY
You will only get to deliver the Book
when Miranda trusts you a.pd feels
you're worthy. Until then, l get the
lovely task of staying late waiting
for all the departments to be done.
Just then EMILY'S phone rings. She picks it up.
EMILY (cont'd)
She wants to see you.
EMILY holds up the Jimmy Choos.
EMILY (cont'd)
I'm begging you.
ANDY
Thank you, but I really don't think I
need those. .She must be fine with how
I dress. She hired me. Remember?
. INT. MIRANDA'S OFFICE --DAY 19 ..
ANDY walks in. Smiling. Eager. MIRANDA'S chair faces away from
her.
ANDY
Good morning. Miranda. -What can I do
for you?
~..nd MIRANDA turns. Her gaze lands on A:NDY'S shoes. Then her eyes
travel up to ANDY'S face, a process which seems to take forever.
Then, of all the scary things she could do, MIRANDA does the
scariest. Rm:i.les.
INT •. RUNWAY -- DAY
Jr.NDY flies out of MIRANDA'S office. Briskly walks past EMILY.
Takes the Jimmy Choos, puts them on, walks back into MIRANDA'S
office. 20.
'E:MILY promptly takes a tissue from her desk. Picks up ANDY'S
shoes and puts the.~ in the trash.
ANDY walks back out.
ANDY
She said she needs a skirt from Ralph
Lauren for the Meisel shoot with Naomi
next week.
EMILY
Did she say which skirt?
(ANDY shakes her head No)
Did she say what kind?
(No.)
Color? Shape? Fabric?
(No. No. No. )
God, I hate it when she does that.
:J:NT. RUNWAY --LATER
EMILY jots some things down. ANDY checks her subway map.
ANDY
To get to the Ralph Lauren store, I
take the 6 and--
EMILY
You're not going to the store.
ANDY
Of course not. I'm going ...
(thinks)
... to his house?
EMILY
(Good Lord)
You're going to the showroom. It's
across the street from Miyake over on
Madison.
ANDY
Miyake. Super. Is that a restaurant?
EMILY gives her a completely disgusted look.
ANDY (cont'd}
I'm guessing no.
EMILY
You need to pick up some other things.
as well. She hands ANDY a list.
J\NDY
Great.
ANDY stands up, clutching her subway map.
EMILY
Md you do not take the subway on
Elias-Clarke business. Ever.
1>.NDY
Wait. You're kidding.
(excited)
I take a taxi?
EMILY hands her a list.
EMILY
You have exactly forty-five minutes to
get everything done.
EXT. ELIAS-CLI\RKE --DAY 21.
ANDY steps out. Sees a Black Lincoln Town.car. Walks over to it.
can't help but smile.
IN.T. TOWN CAA --DE'1
ANDY looks around happily.·Notices a little fridge; opens it.
ANDY
(excited)
Oh my.God! Diet Cokel
The DRIVER, ROY, meets her eye in the mirror.
ANDY (cont'd)
(trying to play it off)
I'm just, um, a little thirsty.
ROY smiles, amused.
INT. RALPH LAUREN SHOWROOM DAY
ANDY watches as the SALES REP brings out skirt after skirt.
SALES REP
You must be new. Congratulations.
P~opie wouia KILL for yo~~ jqh*
ANDY
I've heard that. SALES REP
Of course, she can keep these as long
as she needs. And here--
She brings out a bag, begins piling items into ANDY'S arms.
SALES REP (cont'd)
For Miranda's twins, they love the
rugbys, and for her husband, I threw
in a couple new suits ...
INT. CHANEL --DAY 22.
ANDY enters Chanel, a towering three-story structure on 57th.
The Sl',LBSGIRL hands her a pair of teensy white tennis shorts.
ANDY
Is this for one of the twins?
SALESGIRL
(giggles)
Custom-made for Miranda, silly.
ANDY looks at the shorts. Inhumanly teensy.
INT. HERMES --DAY
The Hermes SALESGIRL piles about 25 scarf boxes onto ANDY'S
outstretched arms.
SALESGIRL
You want me to .get the driver to help
you?
ANDY
No time. Running late.
INT. ELIAS-CLARKE LOBBY -- DAY
JOCELYN, the accessories editor, waits for the elevator. ANDY,
winded, carrying the tower of scarf boxes, races over.
ANDY
(pleased with herself)
I made it back in time.
(off JOCELYN' s look.)
You don't care, do you?
JOCE:i.YN
Miranda does have an eye for the sharp
girls. .J
, --.../1 ANDY
(re: scarf boxes)
She must really like these things.
JOCELYN
They're her signature, the Ee:rmes
white scarf. She's never seen without
the:m and she goes through them like
Kleenex.
Oh.
(beat)
You know, if by chance you ever need
any writing done, I was editor of my
college newspaper--
JOCELYN looks at her.
ANDY (cont'd)
And there's that thing again where you
don't care. 23.
They hear the ding of the elevator and walk in. But suddenly
JOCELYN sees MIRANDA walking toward the elevator. She
inlinediately gets out.
MIRANDA stands by the elevator, looki~g ·at ANDY,
ANDY stays, looking confused. MIRANDA wait~.
Finally JOCELYN walks in arid pulls ANDY out. MIRANDA gets in.the
elevator alone .. After the doors close--
ANDY .(cont'd)
We can't ride up.with her?,Why?
JOCELYN
Half a day on the job and you're still
asking "Why?" That concerns me.
INT .. RUNWAY --DAY
ANDY walks in, laden with stuff: EMILY springs up.
EMILY
Thank God you're here. I have to pee.
ANDY
You haven't pe&d a~noe r left~ EMILY
I told you, these phones can never be
unmanned. Not for a second. I'm going
to lunch. We have fourteen minutes
each. I go first. 24.
ANDY watches EMILY'S pencil-thin hips swing up the hallway.
ANDY
You eat lunch?
INT. CAFETERIA --DAY
A pasta bar. Deserted.
A pizza station. Not a soul.
A salad bar. Girls crowd the lettuce area, though no one's
within a mile of the dressing region.
ANDY walks over to the deserted soup station. Ladles out some
corn chowder into a bowl. NIGEL joins her.
NIGEL
Hey, Cincinnati.
She smiles. He sees what she's putting on her tray.
NIGEL (cont'd)
Corn chowder. Interesting.
ANDY looks at him, confused.
NIGEL (cont'd)
No. Great choice. It's just that I
think cellulite is actually one of the
ingredients of corn chowder.
ANDY
Isn't corn a vegetable?
NIGEL
You are a breath of fresh air •
•
ANDY and NIGEL sit and begin eating.
ANDY.
So none of the girls here eat
anything?
NIGEL
Not since 2 became the new 4 and 0
became the new 2. I I...,_, .. 25.
ANDY
I'm a 6.
This causes NIGEL to choke on his salad.
Just then ANDY dips a piece of bread in her chowder, eats it.
ACROSS THE CAFETERIA
••• seeing this, the TWO FASHION ASSISTANTS gasp in horror like
ANDY just stuck a fork in her eyeball.
ANDY notices a short, expensively rumpled man walks in,
surrounded by a few IMPORTANT LOOKING MEN.
ANDY (cont'd)
Who is that?
NIGEL
Irv Ravitz, who--
ANDY
--owns Elias-Clarke. Wow.
NIGEL
That's.him. Tiny, but packs a.punch.
ANDY watches IRV as he gets a tray and goes through·the.line.
ANDY And he's getting oorn,chowder, Great
minds •••
Distracted,. watching IRV, ANDY accidentally drips on ~er blouse.
ANDY (cont'd)
Oh, .dammit.
on NIGEL, smiling. She looks at him.
ANDY ( oont' d)
Oh no you don't.
He looks at her; What?
ANDY (cont'd)
·You want to lend me a blouse.
NIGEL
•Got me. I'm an evii eiothes-1Gnder ANDY
I've already got the shoes, next thing
you know it's a skirt and then boom!
I'm whirling in and out of revolving
doors like Pretty Woman, getting
totally made over.
NIGEL
And that's .•• a bad thing?
ANDY
Nigel, I have scruples. I'm a
journalist.. I won't be working in
fashion forever. I don't think I have
to change everything about myself just
because I have this job.
NIGEL
(giggles)
Who told you that?
ANDY'S watch beeps.
ANDY
I have forty-five seconds to get back
to my desk.
She smiles and gets up.
NIGEL
Scruples and a digital watch. Oh, the
horror.
INT. MIRANDA'S OFFICE --DAY 26.
The magazine staff is gathered in MIRANDA'S office. MIRANDA
flips through the racks of skirts.
. MIRANDA
Too eighties. Too floppy. Not eighties
enough. Too horrible to be believed.
She looks around at everyone. It is clear. she is horribly disappointed.
MIRANDA (cont'd)
The layout is supposed to be called
the New Skirt. These are the oldest,
most cliched, tired skirts on earth.·
Just then ANDY walks in. Silently, she lays out MIRANDA'S coffee
order in front of her. L
l .....__., .. MIRANDA (cont'd)
We need to start over. ·
She looks at ANDY.
MIRANDA (cont'd)
Sit down, Emily, I need you to take
notes on all these changes. First of
all--
ANDY
(innocently)
Actually, it's Andy.
MIRANDA
Pardon?
ANDY notices she's brought the· rooro to a screeching halt.
ANDY
My name is Andy. Actually, it's
Andrea, b_ut people call roe Andy.
MIRANDA
What a fantastic story. So
entertaining and full of useful
information.
Everyone stares at ANDY. ANDY takes .out a notebook.
MIRANDA (cont'd)
The skirt is important. Crucial, in
fact. Women need separates that can.
take thero through all facets of their
day.
She grabs a skirt off the rack. ANDY watches her.
MIRANDA (cont'd)
This has sequins, but it's denim. It's
of no use to anyone. We need to give
women clear choices about--
{to ANDY)
What are you looking at?
ANDY
Me? .Nothing, I--
MIRANDA
You th.i.n.k you I re a.bovs. th:Ls r ,don't
you? We're talking about ekirt.s ·and
you're smirking. 27. ANDY
I'm not smirking.
MIRANDA
Inside, you're smirking. 28.
And now the room is totally silent. Everyone there has had this
happen to them one time or another, and they're just grateful
this time, it's not them.
ANDY
No, no, no. I'm not. I'm not above
anything. That's my motto. I swear.
MIRANDA
You see that droopy sweater you're
wearing? That blue was on a dress
Cameron Diaz wore on the cover of
Runway --shredded chiffon by James
Holt. The same blue quickly .appeared in eight other designers' collections
and eventually made way to the
secondary designers, the department store labels, and then to some lovely
Gap Outlet, where you no doubt found
it. That color is worth millions of
dollars and many jobs.
She smiles at ANDY. Who quakes.
MIRANDA (cont'd)
Your superior attitude is not
acceptable at this magazine. In this
industry. Or in my presence.
INT. APARTMENT NIGHT
ANDY is trying to come down from a day of work. She changes out
of her work clothes into sweats as she rants ...
NATE. watches her, amused.
ANDY
She could be the most horrible person
I've ever met, seen or heard about.
She's not happy unless everyone around
her panicked, nauseous or suicidal.
She pulls an ancient Northwestern sweatshirt over her head.
ANDY (cont'd)
And they all act like they're curing
cancer or something.
(MORE) ~,/. ANDY (cont'd}
(doing MIRANDA'S voice)
"The skirt is important. Crucial, in
fact."
(her own voice)
Reality check, lady, "the skirt" is
just someth:Lng you wear because "the·
jeans" are in the wash.
NATE
You could just not show up tomorrow.
Or ever.
ANDY
I can't give up, Nate. She may be
heinous, but the job is a great
opportunity. I swear to God, though,
what I'd really like to do is go right
up to her and say what I really think. 29.
QUICK CUT TO:
INT. RUNWAY --DAY
MIRANDA walks in.
ANDY
Good morning, Miranda! Nice to see
you.
In response, MIRANDA simply drops her coat in front of ANDY and
then without .. so much as a glance at ANDY, walks into her office.
ANDY (cont'd)
(under her breath)
••• Me? I'm fine, thanks for asking •.•
INT, RUNWAY-- DAY
ANDY brings in MIRANDA'S scrambled eggs,· served on .china. ·She
just looks at them.·
MIRANDA
Those are freezing.
ANDY almost starts to say something like "You didn't taste
them," but reigns herself in.
ANDY
I'll get you new ones immediately.
She picks up the tray and carriea it out and, with h<>r back to
MIR.Ah'DA, makes a face of explosive frustration. INT. RUNWti.Y -- LATER -- DAY
I
' ANDY is at her desk on the phone.
ANDY
I'll tell Miranda. Okey-doke.
She hangs up. EMILY gives her a look of disgust.
ANDY (cont'd)
So you're saying No on the Okey-Doke.
EMILY hands ANDY a piece of paper.
EMILY
This is Miranda's itinerary for her
weekend in Miami with Donatella. If
she needs something, she'll call you.
One of the perks of being second
assistant. Make sure you leave your
cell phone on 24/7.
(intensely)
Don't. Mess. This. Up.
On ANDY, apprehensive.
EXT. WEST VILLAGE STREET DAY 30.
We see ANDY'S dad, RICHARD, tall and distinguished, if a few
pounds overweight in a nice suit is ringing the doorbell to
ANDY'S apartment.
1'.NDY appears in the window.
ANDY
Dad! I'll be right down!
·INT. STAIRWELL --DAY
ANDY walks RICHARD up the stairs. He's already breathing heavy.
RICHARD
I don't usually come to the ConLaw
conference but I figured, what a great
excuse to come see my Andy.
INT. ANDY'S APARTMENT -- NIGHT
jUJDY'S father looks around. Takes in the smallness, the
kitchen/tub setup. Tries not to broadcast panic or despair.
ANDY
There's a view. .J 31.
She walks him to a spot where if you crane your head and peer
over to the aide you can see a tiny sliver of some buildings.
INT, BLUE RIBBON --NIGHT
ANDY and her DAD are eating at a restaurant on Sullivan Street.
RICHARD
So tell me more about the job •••
. Your mother and I can't wait to get
your first clips.
ANDY
.Actually, I won't be writing for a
while. It's more doing •••
administrative stuff for Miranda.
Then if that goes well, I can move
up to first assistant and after
that Miranda might put me up for a
better job.
RICHARD
Oh. I see. Might.
ANDY
Yeah, I know, It seems like kind of
a gamble, but I've met people wh.o
worked for Miranda and went on to
great places ••.. th.e New Yorker •.•
He eats his food for a beat, not saying anything.
ANDY (cont'd)
Okay, what? Just say it.
RICHARD
Andy, it's just a little confusing ••••
you.were so gung ho to !IIO'll'e out here
·· and you' re not even doing the · thing
you said you.wanted to do.
ANDY
I have to work my way up. I have to
start somewhere. Look, I know you
don't understand, because this is not
your world, but this job with Miranda
is an amazing opportunity ••.
RICHARD
And b,_gra :r: thou.sh·t you..;c O.Qocp:t,O:nQe to
Stanford Law was an amazing
opportunity. · ANDY
Dad--
RICHARD
That school is so hard to get
you're throwing that away--
ANDY into and
Dad, you're a lawyer, your father was
a lawyer and your brother, we have
enough lawyers in our family.
RICHARD
Then why did you even apply?
ANDY
Because it's what you wanted me to
do. And that's all I've ever done,
my whole life --what you thought I
should do. Well, this is what l
want to do. Finally.
RICHARD
so. this is your dream, getting
coffee for fashion editors?
ANDY
If I was getting coffee for senior
partners, would that make you feel
better?
RICHARD
Yes, as a matter of fact. Because
the law is intellectual, it's
substantial, it's --
Just then the cell phone rings. ANDY looks down at it.
ANDY
It's Miranda.
ANDY picks up her cell phone.
INT. MIAMI INTERNATIONAL AIRPORT --NIGHT 32.
MIRANDA is surrounded by crowds heading home for the weekend.
MIRANDA
My flight is cancelled ...
She starts moving through the airport. ' \__. MIRANDA (cont'd)
I have to get home. Tonight. The twins
have a recital at school tomorrow
morning that I can't miss.
INT. BLUE RIBBON --NIGHT
ANDY tries to hear through the noise of the restaurant.
ANDY
Hold on. I can't hear her.
(to RICHARD)
This will just take a second.
She trots outside the restaurant.
EXT. BLUE RIBBON --NIGHT 33.
Through the window, we see RICHARD eat alone. QUICK CUTS of ANDY
on the cell phone.
ANDY
There must be something •••
(jump cut to) .
I've tried that airline already. Let
me talk to your manager. ·
(jump cut to)
Call me back if there's a
cancellation.
( jump cut to)
I'm sorry, Miranda. I'm doing the best
I can. Apparently, there were a lot of
big conventions in town and-~ Of
course I'll keep trying •••
EXT, STREET --NIGHT
ANDY and RICHARD are standing outside the Minekoff Theater where
Fiddler on the Roof is playing.
The crowds atream in. ANDY ii!! still on the phone. RICHARD waits,
tickets in hand.
ANDY
Sir, it's very important that she get
a seat on that flight •••.. Bold on ••. •
(she switches over)
Miranda, it's just that al.l the
charter companies are closed and ••.
Hold. on.
· (she switches over again)
I'll call you back. Please talk to
your supervisor again.
(MORE) ANDY (cont'd)
(she switches back)
Miranda? Hello? Darranit.
She starts frantically dialling.
RICHARD
Andy, stop this. It's Sunday night,
for Christ's sake. Enough is enough.
The show is starting. Let's go.
l'l:e tries to walk her into the theater.
ANDY
Dad, I can't.
RICHARD
Yes, you can. You did the best you
could. You couldn't get her what she
wanted. What she wants is impossible.
She looks at him.
RICHARD (cont'd)
Let's just go in, okay? I haven't seen
you in so long ...
ANDY hesitates •••
ANDY
Okay, fine. 34.
Reluctantly, she puts her phone in her purse. And as she walks
in the theater with her Dad ...
RICHARD
And anyway, Andy, really. It's not
your fault. How angry could this woman
be?
:INT. MIRANDA'S OFFICE --DAY
•ro the brightness of MIRANDA'S office. MIRANDA stands by the
window. ANDY stands there, cowed.
MIRANDA
The girls' recital was great. They
played Rachmaninoff and everyone loved
it. Except for me ..• because I was not
there.
ANDY
I'm so sorry, Miranda. You have no
idea. ___ / (_.·
{
\.,_ .. MIRANDA turns away from the window to look at ANDY.
MIRANDA
Do you know why I hired you?
ANDY shakes her head. MIRANDA turns .to face her.
MIRANDA (cont'd)
I always hire the same girl, stylish,
worships the magazine. And they turn
out to be disappointing and stupid.
She smiles. That smile that pierces .l\NDY to the core.
MIRANDA (cont'd)
But you, with your great resume ••. I
thought you would be different. I
thought, go ahead, hire the smart, fat
girl •••
ANDY eyes widen (she's not even remotely fat, of course.)
MIRANDA (cont'd)
I thought I was being clever. But it
turns out you are just as
disappointing as those other girls.
And the only person I have to blame
for your ineptitude is myself, for
hiring you.
ANDY is frozen where she sta.nds.
MIRANDA {cont'd}
You stranded me in the middle of
nowhere when my children needed me.
ANDY
If there was a way, any way I could
make it up to you--
MIRANDA
;i:'hat's all. 35.
And she goes back to her work. ANDY stands there a second, then
leaves. And we see her eyes start to well.
INT. RUNWAY DAY
ANDY.runs dawn the hall, biting back tears. She crosses paths
with N:CGEL, who aees "'Che e2prs.«;:u,i..on on h-GtX" £acA and. J;iulls hEl!r
into his office. INT. NIGEL'S OFFICE --DAY
NIGEL closes the door. She looks at him, lips trembling.
NIGEL
Let me guess. You were trying not to
cry the whole time you were with her? 36.
And she promptly bursts into tears. He puts his arm around her.
NIGEL (cont'd)
Wow. So been there.
ANDY
No matter what I do, I can't please
her. I've always done well at anything
I applied myself to, but this is so
hard. She's just so scary and horrible
and frightening and scary.
She sniffles, blows her nose. He looks at her.
What? NIGEL
Are you done?
NIGEL (cont'd)
You want me to say, oh, poor you,
Miranda is picking on you? Get real,
Cincinnati. Miranda Priestly is
impossible. Always has been, always
will be. Your job is not about
pleasing her. It's about surviving
her.
He studies her.
NIGEL (cont'd)
Andy, I've seen a lot of assistants
come and go. And you've got talent -
you're bright and hard-working. But
you're not committed to this job. I
bet you don't even read the magazine.
Beat. He looks at her.
NIGEL .(cont'd)
Andy, if you want this, start giving
this your all. Be who Miranda needs
you to be. Or else ••• quit. "._..· ANDY
Nigel, I don't want to give up. I
don't.
NIGEL
Then ••• what do you say? Are you in or
are you out?
ANDY
I'm in. I'll do what it takes. I·
swear ..
He looks at her.
NIGEL
Well, if that's the case .••
ANDY
Oh no •••.
NIGEL
Andy •••.
ANDY
Isn't there another. way? 37.
He shakes his'head •. And she realizes he's right. She sighs.
NIGEL
. ,Go ahead. Say it. Say the words.
ANDY
I can't. Please. Eave mercy.
NIGEL
Say it. Say those three little words
I've been dying to hear since I roet
you.
ANDY
(goddamn it)
Okay, fine. Make me over.
INT. CLOSET --DAY
With a grand gesture, NIGEL swings open the door to •••
••• a large room that's like a treasure cave, piled high with
shoes, bags, clothes, furs, jewelry.
NIGEL
The best fashion has to offer. And we
get the first look at everything. ANDY gapes, looks around the closet.
ANDY
How are we going to do this? I only
have eleven minutes left on my lunch
break.
NIGEL
Don't worry. My record is four minutes
head to toe.
She sees a beautiful, expensive beaded gown in the corner.
ANDY
Look at that.
She walks over to it, amazed.
ANDY (cont'd)
That's a James Holt. James Holt. Even
I've heard of him.
NIGEL
He's a genius. owes everything to
Miranda. That's Emily's dress for the
benefit at the museum in September.
ANDY
Do I .•• get to go to the benefit?
NIGEL
(laughs)
First you don't want shoes, now you
want a ball gown.
(shakes his head)
Only the first ass.istant goes to the
benefit.
NIGEL begins picking things out •••
NIGEL (cont'd)
Okay. Here we go.
He starts flinging clothing at her.
NIGEL (cont'd)
Christian Dior fitted blazer •.• skirt
by Tracy Reese ••. a little denim mini
from Chip & Pepper ... Clement Ribiero
cardigan •.•
Fling fling fling .... ANDY catches them. 38.
._/ INT. RUNWAY --DAY
ANDY, carrying her armful of clothing, is rushed down the
hallway into •••
INT. BEAUTY DEPARTMENT --LATER 39.
~..NDY is seated in front of a mirror, her hair and make-up being
fussed over by so many people we can't even see her.
INT. RUNWAY DAY
EMILY _is on ~he phone.
EMILY
I have no idea why Miranda hired her.
(she sighs)
I knew from the moment I saw her that
she was a complete and utter--
And suddenly ANDY appears in.her -gorgeous clothes, her make-up
impeccable, hair soft, loose a~d pretty.
She looks grown-up, sexy and above all sophistic.ated.
EMILY (cont'd)
{voice trailing)
--'-disaster.
Just then MIRANDA'S voice sails out.
MIRANDA
An-dre-a.
ANDY smi.les at EMILY. And walks into MIRANDA'S office.
INT. MIRANDA'S OFFICE
MIMNDA has her back turned, looking at some photos on a.light.
box in her office.
MIRANDA
I need these three blown up and
printed onto--
And just then she glances over at ANDY. The transformed ANDY.
And she gives ANDY an almost imperceptible nod· of approval.
Tb.en she quickly goes baok to what she was doing, her back
turned to ANDY. 40.
MIRANDA (cont'd)
--and tell him it's too saturated with
yellow, we need to bring up the pinks--
And behind her, ANDY smiles.
INT. CAFETERIA --DAY
ANDY strides in. Heads turn. Is that the same girl?
ANDY walks confidently under their stares and heads over .•.
.•• to the soup station. Where she proudly ladles out some corn
c:howder and puts it on her tray.
INT. RUNWAY --DAY
ANDY picks up the phone.
ANDY
Miranda Priestly's office .
•.. we pull out to see that while rolling calls, ANDY is also
:Ei:.ing things, doing a spread sheet and unwrapping presents.
She covers the receiver, holds up a box to .show EMILY.
ANDY {cont'd)
Charlie Rose gave Miranda a phone for
her birthday.
She holds up an expensive, fancy Bang & Olufsen phone.
EMILY
A phone. How tacky. Get rid of it
before she sees it.
ANDY
How do I do that?
INT. MCSORLEY'S --NIGHT
ANDY joins her friends and NATE. ANDY plops the phone on the
table.
But everyone barely looks at the phone. They're all pre-occupied
by her appearance.
·NATE
Wow.
)
·._/ ANDY
I know. Awesome phone, right? Bang &
Olufsen. Emily said I could keep it.
She keeps nattering happily.
ANDY (cont'd)
Hillary Clinton sent a birthday
present. And Nelson Mandela. And Lil'
Kim.
And as they continue to stare.
LILY
I can't believe this .is you. The girl
who wore the same sweater for three
years in college.
LILY looks at ANDY'S jacket.
LILY (cont'd)
Is that Chanel?
ANtlY
Don't be silly.
(almost under her breath)
~t•s Balenciaga. Anyway, it's just a·
few clothes for work. So I don't stand·
out.
DOUG
Wait.' So all the girls there look like
that?
ANDY
No. They're prettier. And thinner;
DOUG
Dammit, I love your job.
She reaches into her bag.
ANDY
I have more stuff. 41.
She hands out perfume, cosmetics, belts. DOUG picks.up one of
the perfume bottles and is about to spray it on·his hand.when
ANDY stops him.
ANDY (cont'd)
It's called "Pink". For women. DOUG
Men can be pink. I have a pink side.
LILY
Please. We're eating.
ANDY
You know who's coming into the office
Friday? John Updike.
NATE
Why, does he need pants?
ANDY
No, Smart Ass. The magazine publishes
some great writers.
LILY
Oh, yeah. Their article on the denim
mini changed my life.
They all laugh.
ANDY
(a bit peeved)
Just because it's a fashion magazine
doesn 't mean it can't be credibl.e.
Miranda has covered some real stories,
AIDS in Africa, domestic violence,
teenage drug abuse.
NATE shakes his head.
NATE
I think you're really starting to
drink the KoolAid.
Just th.en ANDY• S cell phone rings. NATE grabs it.
NATE (cont'd)
Let me guess.
ANDY
Give me the phone.
He checks. The name on the phone: MIRANDA.
NATE
It's the Dragon Lady herself.
ANDY
Give me the phone. 42. \.._ ... · ANDY grabs·for the phone. NATE tosses it to DOUG.
DOUG
I'll talk to her. Tell her she needs
to get her own scrambled eggs.
ANDY practically tackles h:i.m, grabs .the phone away.
ANDY
Come on, guys. Give me the fucking
phone!
They are all stunned by her vehemence. Including .ANDY.
ANDY (cont'd)
(into phone)
Hello, Miranda.
INT. TOWN CAR --NIGHT
MIRANDA is being driveri home.
MIRANDA
I need a messenger to pick up some
sketches from James Holt.
INT. 'RESTAURANT --NIGHT
ANDY on the phone.
ANDY
I'll take care of it myself·. Don't
worry about it. I'm leaving right now.
she hangs up.
.ANDY (cont'd)
You guys didn't need to be such
assholes.
And she exits. And all her friends exchange a look.
EXT. ELIAS-CLARKE --NIGHT
ANDY runs into Elias-Clarke.
EXT. TRIEECA STREET --NIGHT 43.
ANDY pulls up in front of a loft building in Tribeca in the town
oar~ 44.
INT. LOFT --NIGHT
ANDY rings the buzzer. No answer but she can hear VOICES behind
the door. She pushes it and it opens.
Inside she sees an industrial-style loft with a party going on.
ANDY looks around --it's one of those New York parties you
think you'll never be invited to, and there she is. She walks
over to one of the super hot women adorning the party.
ANDY
Is James Holt here?
She points to a handsome man by the window. JAMES HOLT, one of
the top designers, 40's, muscular, tan, dressed impeccably.
ANDY walks over to him.
ANDY (cont'd)
Hi, I'm Andy. I'm picking up some
sketches for Miranda Priestly.
JAMES
You must be the new Emily. Let me see.
He checks her out.
JAMES (cont'd)
Shrunken blazer with a long-sleeved
chiffon blouse. That outfit has Nigel
Kipling written all over it.
He hands her a folio with a handle.
JAMES (cont'd)
You work for Miranda, you must be in
desperate need of hard liquor.
ANDY
No, I--
JAMES
I insist. Come on.
He walks her to the bar. She tries not to stare at the party
GUESTS ..• is that Lenny Kravitz? Is that Julian Schnabel?
JAMES (cont'd)
Don't get me wrong. I worship Miranda.
She practically invented me.
(to the BARTENDER)
She'll have the punch.
(MORE) ) f \ . ~ ..... ·· JAMES {cont'd)
(hands her the punch)
It's deadly. Have funJ
And he walks away. ANDY clutches the glass of punch.
CHRISTIAN
He's right. I had the punch at James's
last party, woke up in Hoboken with my
pants wrapped around a telephone pole. 45.
She looks over. sees a great-looking, sophisticated man in his
30's who has an air of mischief.
His name is CHRISTIAN HARPER •.
He laughs. ANDY
I don't want to be rude to him, but I
want to go.
CRRISTIAN
No, you don't. You're looking
around .•• you're intrigued, even
titillated. .
ANDY
God, I love it when total strangers
tell me how I feel.
CHRISTIAN
Christian Harper •. Sorry £or being so
editorial.
(holds up his glass)
I blame the punch.
ANDY
Christian Harper? The writer?
(he nods)
You write for every magazine I love.
Your New Yorker piece on Al Sharpton
that won the National Magazine
Award ..• I. actually wrote a paper on
it senior year.
CHRISTIAN
Did it mention my good looks .and
killer charm?
ANDY
No, ]?ut it did :ment.:Lon a :few £aet:tial.·
errors and your unfortunate insistence
on using second person plural. CHRISTIAN
(laughs}
And what do you do?
ANDY
I work for Miranda Priestly.
He shakes his head.
CHRISTIAN
You're never going to make it.
ANDY
Excuse me?
CHRISTIAN
You're smart, you're nice, you have a
point of view. You can't do that job.
ANDY
You know nothing about me. You have no
idea what I'm capable of.
ANDY hands him her glass of punch.
ANDY (cont'd)
If you'll excuse me, I have to go.
She starts to leave.
CHRISTIAN
Let me guess. You have a boyfriend
waiting. From. . • not high school ..••
college? Moderately handsome guy,
devoted, about to ask you to move in
with him, but you're not sure .••.
She stares at him. Appalled. And, you know, intrigued.
ANDY
You. Are not a nice person.
CHRISTIAN
Nice to meet you, Miranda girl.
He walks away. Steam practically pours out of her ears.
ANDY
For your information, he's really
handsome! 46 ..
.This doesn't cause him to turn around, though it does .. cause a
few other people to stare. ANDY walks away, embarrassed. 47.
L, EXT. APARTMENT --NIGHT
ANDY'S walking back towards NATE'S apartment holding the folio.
She crosses paths with NATE.
NATE
So you got the nuclear briefcase from
the undisclosed location. I'm proud of
you.
ANDY
(surprised)
Where are you go{ng?
NATE
Doug and some of his yahoo friends are
playing Texas Hold 'Em at his
apartment. I'm gonna go get me some of
that Wall street money.
ANDY
But I came back so we could hang out.
NATE
(lightly)
Man, I'm sorry. You didn't make that
crystal clear when: you stormed off
after calling me an asshole.
ANDY
· Okay, look, I'm sorry about that--
He gives her a kiss,.
NATE
I'll see you later, okay?
ANDY
Nate, hold on a second.
Just . then NATE'S cell phone rings. NATE picks up ..
NATE
Hello?
(the way ANDY talks to
MIRANDA)
Sure, Doug! I'll get on it ASAP! A six
pack? No problem. Dutch .or Ge=an?
ANDY 1ooka at.h:Lm, hand on hip.
ANDY
Very funny. NATE
(into phone)
And what temperature would you like it
to be exactly?
He waves to ANDY and walks away.
INT. APARTMENT --EARLY MORNING
It's pitch black outside and NATE is fast asleep •.. 48.
... but ANDY is already awake, getting ready. And it's a more
complicated process now, selecting just the right outfit,
applying make-up ...
INT. OFFICE -- LATER --DAY
We see MIRANDA. She is studying a pile of sketches from the
folio ANDY picked up the night before.
INT. RUNWAY --DAY
ANDY is putting away dishes in the kitchen when MIRANDA appears.
MIRANDA
Where's Emi.ly?
ANDY
She went down to production, but
anything you need, Miranda, I'm on it.
MIRANDA
You're not going to sing, are you?
ANDY shakes her head. No. And MIRANDA sighs. I guess you'll do.
She hands ANDY a piece of paper.
MIRANDA (cont'd)
I need you to pull these back issues.
INT. TOWN CAR --DAY
MIRANDA and ANDY ride along in heavy traffic. MIRANDA is tapping
her foot, impatient. Finally she leans forward to ROY, the
driver.
MIRANDA
Just let us out here.
s.he gets out • .!'.NDY scrambles to grab her stuff and follow. 49 •
. EXT. DOWNTOWN STREET --DAY
MIRANDA sails down the street. MIRANDA walks fast, weaving in
and out of pedestrian traffic like a sports car on the Autobahn.
ANDY, in her heels, carrying a stack of heavy magazines, races
after ·her, Not easy.
Suddenly MIRANDA disappears from ANDY'S line of vision.
ANDY
Shit. Shit shit shit.
She finally sees MIRANDA, crossing the street.
ANDY tries to follow, ·stepping into the street without looking
both ways as •••
••• a car misses her by inches. The DRIVER leans out and
unleashes a string of Jersey-inflected swear words.
No time for ANDY to recover. she takes off after MIRANDA.
EXT. TRIBECA STREET --DAY
ANDY realizes they're on JAMES HOLT'S street. She catches up
with MIRANDA as she enters the building. ' '
INT. LOFT --DAY
MIRANDA wrangles the heavy .door to the loft elevator like a·
longshoreman. ANDY hesitates, unsure if she's per:mitted to be in
the elevator with MIRANDA. She sighs. ·
MIRANDA
Okay, fine. since we're in a hurry.
INT. ELEVATOR --DAY
Beat. MIRANDA and ANDY ride up together.
ANDY
Interesting building. Last time I was
here, James was having this party and--
MIRANDA looks at her.
ANDY (cont'd)
--and this is why you don't like to
ride up in the e1evator.w~th pGop1G.
MIRANDA smiles a tight little smile, Precisely. 50.
INT. LOFT --DAY
MIRANDA sweeps in. Her entrance is a surprise. JAMES HOLT runs
aver to greet MIRANDA. His ASSISTANTS stop what they're doing
and try not to openly stare.
MIRANDA and JAMES embrace.
JAMES
An impromptu visit. You are full of
surprises--
MIRANDA places an envelope onto his desk.
MIRANDA
The sketches you sent me. For fall.
MIRANDA walks around, looking at the pieces on the mannequins. A
hodgepodge of unfinished items.
JAMES
I was trying to capture the
intersection of East meets West. The
modern woman as Geisha meets rock star
with a little Desperate Housewives
thrown in.
MIRANDA stops in front of a red dress with too many flounces and
flourishes --and eyes it critically.
JAMES (cont'd)
But obviously, the collection is still
a work in progress.
MIRANDA
Actually, no, it isn't, my love.
He looks at her. I beg your pardon?
MIRANDA (cont'd)
You are not going to produce this
line. If you do, I will not put any of
it in the magazine, nor will you get
any department store orders.
JAMES
Miranda, I know the collection is edgy-
MIRANDA
I'm looking through the pieces
thinking kimonos, motorcycle jackets,
gingham •••
(shakes her head)
(MORE) . MIRANDA (cont'd)
Most of it, I don't get at all. What I
do get, I don't like. I cannot let you
do this to yourself. Or to me. My
reputation is on the line here too.
ANDY watches JAMES. The whole room is pin-drop silent.
MIRANDA (cont'd)
I gave you editorial coverage before
anyone else. I made people take notice
of you. I was the only editor in the
front.row of your first show in that
warehouse at the pier. In.the front
row, clapping. 51.
MIRANDA steps closer to JAMES, puts a hand on his shoulder.
MIRANDA (cont'd)
I remember every piece of that first
collection. The swing of the chiffon,
the vibrance of the embroidery.
She walk.a over to ANDY and takes the pile of magazines. Throws ·
each on the table in front of JllMES as she talks.
MIMNDA (cont'd)
September 1997, you revolutionize the
hemline, March 1998, you bring back
.femininity out of that horrible monk·
phase, June 2000, you're the first one
to do the watercolor florals and
February 2002, you radically rethink
the empire waist.
She leans.into him.
MIRANDA (cont'd)
Your .don't just dress a woman, you
embrace her, give her the love she
might never get from a real.man.
And now the room is dead silent, everyone rapt.
And MIRANDA is no longer remote. She's talking about something
she loves and it's written all over her. We see ANDY, watching
this change in her.
MIRANDA (cont'd)
You make a woman feel powerful,
special,.beautiful. Even if she ia
none or those things. Her Iir&t day on
the job, her wedding, her first date,
you are there for all the important
moments of a woman's life.
(MORE) MIRANDA (cont'd)
That is what you were put on the
planet to do. This, on the other hand--
She gestures the collection.
MIRANDA (cont'd)
--is just plain bad. Burn it. Think of
something else. I know it will be
divine. 52.
And with that, she gives him another kiss and sweeps over to the
elevator. ANDY scoops up the RUNWAYS and follows.
She turns. JAMES
Miranda--
JAMES (cont'd)
Thank you.
She nods. Eas no vanity at all about what she said. She exits.
And as MIRANDA goes, one of BOLT'S ASSISTANTS bursts into
applause. A few others join in. JAMES glares. T.hey stop.
INT. NATE'S APARTMENT -- NIGHT
NATE cooks for ANDY --he's a chef, and he makes a regular old
grilled cheese look absurdly enticing. She digs in, starving.
NATE
I think it sounds shitty.
ANDY
It was kind of harsh, but she was
being honest. .And she really inspired
him. Look, she is tough, but she gets
results. She has the best book in the
business.
NATE
Oh, really? The best book in the business. Well, that's justifies being
a flaming bitch.
ANDY
I'm just saying •.• she's just as tough
on herself. When I get in to work at
7:30, there's already a bunch of
emails from her, .starting at 5 AM and
the book is back in the office with her notes. I've never seen anyone, so
dedicated. I ·~ NATE
You know, I think you're developing a
nasty case of Stockholm syndrome,
where people identify with their
captors, It's like you want to be her
now.
ANDY
Would that be so bad?
He looks at her, Are you serious?
ANDY (cont'd)
I mean, she can eat as many grilled
cheeses as she wants and not gain a
pound.
Ee shakes his head.
ANDY (cont'd)
Nate, come on. It's me. Same old me.
With better outfits.
NATE
I likeq. your old outfits fine.
She gives him a look.
ANDY
So you don't ••• like my new clothes,
He shrugs. She looks at him.
ANDY (cont'd)
Really? What about this, This is brand
new. 53.
She gestures to her shirt. Starts unbuttoning buttone, revealing
a bra that costs more than her entire previous wardrobe •.
NATE.
Okay, that I like.
She laughs. Then he kisses her, picks her up and carries her
away from the table.
And just then ANDY'S cell phone rings. And they look at each
·other. And both know she's going to get it.·
INT. .RUNWAY --DAY
EMILY'S at her desk in the morning. J\NDY walks in and EMILY
immediately pulls her aside. EMILY
Oh, good. You're here. I need to talk
to you.
ANDY
Oh my God. What's wrong? I know. I
didn't get her cranberry bliss bar
yesterday, but they were all out and--
EMILY
That's not it.
ANDY
Is she mad about the thing with
Lagerfeld? I swear I had no idea he
was allergic to camellias.
EMILY
Andy, stop.
ANDY
If it's about the time I referred to
Proenza Schouler as she, I get it now. They are two men.
She finally stops to take a breath.
EMILY
Andy!
ANDY stares. What?
EMILY (cont'd)
Miranda told me you can start doing
the Book.
ANDY'S eyes go wide.
ANDY
You're kidding me. Wow. That means I
must have done something right. How
about that?
She smiles, very pleased.
EMILY
(deadpan)
Yeah. Whoopee. Okay, now •..
She leans forward. 54.
I -_,; \_.•
\.._ I EMILY (cont'd)
It's very important that you do
EXACTLY what I'm about to tell you.
ANDY nods, listening. 55.
.FLASH FORWARD TO:
'.i:.NT. RUNWAY --NIGHT
We hear EMILY'S voiceover as we see this happening.
EMILY (V.O.)
You wait at the office until all the
department heads have submitted their
pages and the book is assembled.
We see ANDY, waiting. The area around MIRANDA'S office is
totally quiet.
INT. MIRANDA'S OFFICE --NIGHT
ANDY drifts in and looks at MIRANDA'S office --the pictures of
.her with everyone from Desmond Tutu to Paris Hilton.
Then ANDY walks over ·to MIRANDA'S pristine white couch. Sits on
it. Hell, why.not. Lies down on it. Gingerly. Then--
INTERCOM
(loud)
Book' e ready!
And she jumps off the couch like she's been caught naked.
INT. RUNWAY --NIGHT
An editorial ASSISTANT brings ANDY The Book. It's heavy.
EMILY (V.O.)
Then you take Miranda's dry cleaning
from the closet. ·
We see ANDY do this --about a.dozen garments on hangers.
· EXT. ELIAS-CLARKE --NIGHT
ANDY walks· out, trying to juggle The Book and the dry cleaning.
EMILY (V.O.)
A car wi11 be waiting for you.
ROY opens the .door for ANDY. INT. TOWN CAR --NIGHT
ANDY whisks across town. It's late, the streets are quiet.
EXT. CENTRAL PARK WEST --NIGHT
ANDY swings down the street, feeling pretty confident.
EMILY (V.O.)
When you get to the apartment, the
doorman will have your name and he'll
let you up.
INT. MIRANDA'S LOBBY --NIGHT 56.
1:he Beresford, a white-glove co-op building on 81st and Central
Park West. The DOORMAN directs ANDY into the elevator.
EMILY (V.O.)
All you have to do is open the door,
step into the foyer, hang the clothes on the hook and leave the book on the
table.
INT. ELEVATOR --NIGHT
The ELEVATOR MAN lets ANDY aboard, presses the button for the
penthouse.
EMILY (V.O.)
The important thing is: just do those two things and leave. Don't talk to
anyone. Don't look at anyone. Miranda does not want you to disturb her
evening in any way.
FLASH BACK TO:
INT. RUNWAY --
DAY
ANDY looks at EMILY.
She smiles.· EMILY
You sure you got all that?.
ANDY
Of course. Book, dry cleaning,. hook, a
monkey could do that.
FLASH FORWARD AGAIN TO: \ 57.
,INT. ELEVATOR --NIGHT
ANDY waits. The Book and the dry cleaning are heavy. She tries
to adjust the weight.
INT, HALLWAY --NIGHT
.l\.NDY steps into the' hallway, dimly lit, with high ceilings and
huge mouldings. MIRANDA'S door is at the end of the hall.
And for some reason, ANDY finds her heart is racing;
She opens the door.
INT. MIRANDA'S FOYER --NIGHT
In contrast to the blinding brightness of MIRANDA'S office, her
apartment is dark, shadowy. The ceilings are ridiculously tall,
ANDY steps inside, her footsteps echoing through the foyer.
ANDY . .
••• dry-cleaning on the hook •••
She looks up. sees a hook. And is about to hang it. When she
sees another hook. Or is that a sconce? She.scans the.hall.
Wait, no, that's the hook.;. No, is that a gargoyle?
She picks the one that looks most like a .hook, Hangs the dry
cleaning. So far, no disasters. She lets out a breath of relief,
ANDY (cont'd)
••• book on the table •••
And you guessed it, There are two tables.
ANDY (cont'd)
Shit.
suddenly she hears a noise. It's a girl of about 8, walking into
the foyer. One of MIRANDA'S daughters, CASEY, carrying a violin
and a bow,
ANDY freezes. At first CASSIDY'S face is blank. But then ANDY
smiles. So CASSIDY smiles.
CASSIDY
Eli.
ANDY
Hi,
And CASSIDY points to one of the tables, using her bow. 58.
ANDY (cont'd)
Oh my God, thank you.
CASSIDY smiles. The briefest of moments between them and •..
.•• and suddenly they hear voices. MIRANDA and her husband,
STEPHEN are in the living room, a sliver of which is visible
from the foyer. Their voices are low but we can hear .••
MIRANDA
What did you want me to do? Walk out
in the middle of a photo shoot?
STEPHEN
I sat there for almost an hour ...
MIRANDA
We were in a loft near the Seaport. My
phone didn't work. I told you.
STEPHEN
••• and I knew what everyone in the
restaurant was thinking. There he is,
waiting for HER again--
And as he says this he stops, curious. There in the hall is
ANDY, frozen. With CASSIDY smiling at her.
And before ANDY can stop herself, her eyes float over to
STEPHEN'S. Eye contact. Her heart does a flip. And her eyes dart
over to MIRANDA and they make eye contact as well ...
... and MIRANDA gives ANDY a look of utter coldness, disgust and
:judgement, harsher than any look ANDY has gotten in the office.
:CNT. ELEVATOR -- NIGHT
ANDY gets in, heart pounding.
:INT. NATE'S APARTMENT --NIGHT
ANDY crawls into bed next to NATE. He takes her arm and wraps it
around himself.
NATE
You're shaking.
ANDY
I'm ... I'm okay.
But she's unable to relax, or even to close her eyes. 59.
IN'r. RUNWAY --DAY
ANDY walks in, already bracing herself,' and runs into EMILY,
emerging from MIRA!ilDA'S office, very upset.
ANDY
·okay, before you start freaking out,
it wasn't such a big deal. Cassidy
said hello, I said hello back, then I
glanced into the living room--
EMILY
You glanced? Why were you glancing?
Who said anything about glancing?
ANDY
You're right. I made a mistake. I
don't know what I was thinking, It waa
so stupid.
EMILY
You can't do things like this to me.
If she fires you, that'll jeopardize
Paris for rne.
ANDY
She's going tc fire me?
EMILY
.I don't know. She's not. happy •
. And they hear MIRANDA'S voice, ringing out from the office.
MIRANDA
An-dre-a •
. ANDY and EMILY exchange a 1.ook. oh I boy.
INT. MIRANDA'S OFFICE _;_ DAY
ANDY walks in, apprehensive.
ANDY
I'm really, really sorry Miranda.' I
was nervous and I--
MIRANDA
I need the new Harry Potter book for
the twins.
ANDY
um ..• great. I'll just run down to the
bookstore and-- · MIRANDA
Did you fall and smack your head on
the pavement?
ANDY
Not that I can recall.
MIRANDA
We have all the books.
to know what happens
manuscript just crune
need something to read
their Grandmother's.
ANDY
Fine. No problem.
MIRANDA girls want
I heard the
And the girls
on the train to
Oh, and one more thing ..• There will
be no more second chances.
INT. RUNWAY --LATER
ANDY paces, panicky. EMILY watches her.
ANDY
I see, so the publisher is in
London •.. can you give me that number?
It's for Miranda Priestly.
(jump cut to)
What is it for? We're doing a layout
on, um, sorcery-inspired fashion •••
( jump cut to)
Yes, I understand. Thank you.
ANDY (cont'd)
There's no way I can get that book by
early afternoon. She's after me,
Emily. She wants to fire me. She's
just prolonging the kill. Like an evil
cat with a tiny little unfashionable
mouse.
EMILY
Oh look, you're getting paranoid. Yay.
It's not just me.
Just then they hear:
MIRANDA
An-dre-al 60. INT. MIRANDA'S OFFICE --DAY
ANDY walks in.
MIRANDA
I'd like my steak.
ANDY
Smith .and Wollensky' s doesn't open
until 11:45--
MI:RANDA
Maybe we should call Cassidy and ask
her to take care of it, since she did
your job for you last night.
She smiles. The scary smile .
. EXT. SMITH AND WOLLENSKY' S --DAY
.!INDY flies into frame and raps on the door of the.closed
restaurant,. MARTY, the MANAGER walks over, recogn,izes her.
He unlocks the door, letting her in.
INT. SMITH AND WOLLENSKY'S -- DAY 61.
From the bar, ANDY watches the steak sizzle, pacing nervously.
ANDY'S ,cell phone rings. She grabs it.
ANDY
Anything? Can you try again? I would
really appreciate any leads at all •••
thanks.
She hangs up. MARTY looks at her.
MARTY
What an amazing job, working for·
someone like.Ms. Priestly.
ANDY
It is amazing. Lots cf fun~ And filled
with interesting challenges--
And out the window something.catches ANDY'S eye •••
We see what ANDY'S looking at-~ the newsstand right outside the
restaurant ••• The current issue of the New Yorker is featured
out front and: ANDY sees t:he byline, Cl!Rl:STL!'>N l:!Al'\PE'.R.
• • I -- - ----------
62.
INT. CHRISTIAN'S APARTMENT --DAY
A very chic, very masculine apartment in the Village. CHRISTIAN
is writing at a laptop when his phone rings.
We intercut between him and ANDY on the street.
CHRISTIAN
You're kidding, right? No one can get
that book. They guard that thing like
Fort Knox.
ANDY
I thought you knew everyone. Can't you
think of something?
CHRISTIAN
It's impossible. Just tell her.it
can't be done, Miranda Girl.
ANDY
Eave you met Miranda?
CHRISTIAN
.I'm sorry.
ANDY
That's okay. Thanks anyway.
l"NT. RUNWAY --DAY
ANDY runs down the hall with MIRANDA'S food. She passes EMILY.
ANDY
Is she back? Am I fired?
EMILY
You know, I rarely say this to people
who aren't me, but you need to calm
down.
ANDY ignores her, racing around getting the dishes and
silverware for MIRANDA'S steak.
INT. MIRANDA'S OFFICE --DAY
We see the steak, prettily arranged on MIRANDA'S china. ANDY
sets up the salt and pepper.
MIRANDA walks in. When MIRANDA sees the steak, she freezes. . __/ ~-· MIRANDA
What is that doing here? I ordered
this hours ago.
1\:NDY looks confused. Hours?
MIRANDA (cont'd)
Luckily, before I sta:i::ved to death,
Irv invited me to lunch. I will be
back at exactly 2:15. I want my.order
from Starbucks to be here. ·
She gestures to the steak.
MIRANDA (cont'd)
Get rid of that.
And before she exits •••
MIRANDA {cont'd}
If you don't have the Harry Potter by
then, don't bother coming back.
INT. KITCHEN --DAY 63.
ANDY carries. a .tray with all _the food on it into the kitchen •.
A beat, She looks down at the tray. And suppresses an urge to
throw the whole :thing at the wall,
She positions the tray over the garbage and tilts it, letting
everything --steak, china, silverware ---fall into the can.
INT. STARBUCKS --DAY
ANDY is on the cell phone. She watches MIRANDA'S coffee drink
being made.
ANDY
Come on. Please. You must know
someone .••
(to the BARRISTA)
Can you make it extra hot? Like,
center of the sun hot?
The BJl.RRISTA gives her a look .•
ANDY (cont'd).
Sorry, my boss is particular.
(i.nto phone)
Are you sure? You're my last shot.
(sighs) ·
All right, well, thanks for _trying. She hangs up. The BARRISTA hands her the coffee.
BARRISTA
Sounds l~ke a great job you have
there.
ANDY
Actually, it is. It's a fantastic job.
A million girls would kill for it.
And she starts to laugh. The girl stares at her.
EXT. STARBUCKS DAY 64.
ANDY walks out of the Starbucks with the order on a tray.
ANDY stands there a moment. People bustle around her, as she
finds herself at a literal crossroads. ·
She looks up at the building. Suddenly she stops a PASSERBY who
looks at her, curious. Yeah, lady?
ANDY
Want a mocha?
And ANDY starts passing out the stuff from Starbucks to people . ·->
on the street.
INT. KITCHEN -- DAY
NATE on the phone. Intercut with him and ANDY on the street.
NATE
.Quit? Are you sure?
ANDY
I failed. She's going to fire me anyway. Might as well beat her to the
punch.
NATE
Holy shit. Well, good for you.
Congratulations. You're free.
ANDY smiles, hangs up, and immediately her phone rings again.
She looks down. Assuming it's NATE.
ANDY
Hello?
CHRISTIAN (O.S.)
I'm brilliant. Really. Monuments
should be erected in my honor. ' 1, WE INTERCUT
Between ANDY on the street and CHRIST.IAN in his office.
1\NDY
You didn't.
CHRISTIAN
.ANDY
No. That would mean I actually. • .. did
something right.
CHRISTIAN
A friend of a friend ie .doing the
cover art. You can meet her at her
office this ·afternoon and make a copy.
Ii.NOY just stands there, stunned.
CHRISTIAN (cont'd)
Hello? Andy? What's wrong?
ANDY
The thing ••. See, I was about to.a.
CHRISTIAN
(groans)
Don't tell me you don't. want the .bo.ok
now. I had to make love to a woman the
size of a file cabinet to get it ••• 65 •
And we see ANDY. She looks up at the Elias-Clarke building,
teetering on a precipice.
CHRISTIAN (cont'd)
Do you want this or not?
·on ANDY, breathless--
EXT. STREET --DAY
ANDY runs down the street.
:BXT. STREET --DAY
,!sNDY runs out of an apartment building holding a large envelope •
. EXT. STREET -- DAY
,ANDY stands outside a Kinko's. She's on the phone. ANDY
I'm begging you. You have to stall
her. Just ten minutes.
INT. TOWN CAR --DAY 66.
We see ROY, driving MIRANDA and IRV back from lunch; He hangs up
the cell phone. Then he turns down a side street.
MIRANDA catches his eye in the mirror. What the hell?
ROY
Um ••• too much traffic on 5th. Putin's
in town.
MIRANDA makes an annoyed face.
INSERT
The tray with Miranda's Starbucks on it ••• We follow it down the
hall and see it being set on MIRANDA'S desk.
And beside it lands boom! an envelope. Widen out to see-
MIRANDA, looking at the envelope.
And then we see ANDY. She stands there, quiet, calm.
And if MIRANDA is amazed by what ANDY did, she doesn't show it.
She opens the envelope, looks in.
MIRANDA
One copy? What are my twins supposed
to do with that •.. share?
ANDY
Actually I made two cooies. And had
them color-copied, re-;et and bound so
they wouldn't look like manuscripts.
She smiles. MIRANDA nods, but still won't concede the point.
MIRANDA
And where exactly are those fabulous
copies? I don't see them anywhere.
INT. TRAIN --DAY
The MetroNorth from New York City to Bedford. QUICK CUT TO: I
\, 67.
In the front ·row, we see two matching pa.ire of tretorns, Seven
:jeans, pink Izods and hello Kitty barrettes ..•
..• and two matching Harry Potter manuscripts, every bit as
professional-looking as ANDY described them •..
••• being eagerly devoured by CASSIDY and CAROLINE on their way
ta their Grandmother's. A NANNY sits beside them.
CUT BACK TO:
INT.' OFFICE --DAY
,I\NDY picks up the envelope.
ANDY
This is an extra copy. To keep on file
just in case.
She smiles. Her faith in herself restored.
ANDY (cont'd)
{brightly)
Anything else I can do for you?
INT. 50 CARMINE --NIGHT
For the first time, ANDY is early to meet NATE., sitting ·in the
corner of an Italian restaurant when he .enters.
NATE
Bey, you look pretty relaxed after the
day you just had--
1\NDY
Nate, I have news--
·NATE
You do? So do I. I sent a bunch of
letters to restaurants in San Fran,
all my favorites, figuring, what the
·hell, got nothing to lose and look--
He shows her a letter.
NATE (cont'd)
I have an interview at Chez Panisse.
Can you believe .it?
ANDY Oh my God, That's amazing. NATE
The timing is perfect. You just quit
your job, so we .can go out together.
· If you like California, Andy, there's
a lot of great jobs that don't involve
working for psychopaths.
He looks at her.
NATE (cont'd)
What's your news? 6 8.
On her smile, trying to figure out how to break this to him.
INT. RUNWAY -- DAY
ANDY picks up the phone.
ANDY
Miranda Priestly's office!
She's multitasking as she did before -- answering the phone,
stuffing envelopes, sorting an accessory pile, but we can see
she's starting to get it down.
ANDY (cont'd)
Oh, hi ...
INT. GALLERY DAY
We see LILY, at work in a small office at the back of a gallery
in Chelsea.
ANDY ( O. S.)
The reservations are under Barnes.
LILY
Got it.
ANDY
I've been working so hard and he's not
that psyched about it, so ..• I just
want to make sure his birthday is fun.
INT. RUNWAY --, DAY
ANDY on the phone. The phone rings.
ANDY
Bye, Lily. Thanks.
(answers phone)
Miranda's Priestly's office ... l . ___.
J
\. ANDY'S interrupted by the loud sound of someone having a
coughing fit.
ANDY (cont'd)
I'll tell her you called. Thanks. 69.
ANDY looks over to where EMILY is sitting at her desk, blowing,
her nose. EMILY checks her face in her pocket mirror. Horrible.
ANDY (cont'd)
Are you okay?
·EMILY
I don't have time to NOT be okay. I'm
going to the benefit tonight.• If I
live that long.
;rust .then they• hear MIRANDA'S voice.
MIRANDA
An-dre-a! Em-i-lyl
INT, Milll:IDA'S OFFICE --DAY
.11.NDY and EMILY walk .in together.
. MIRANDA
I just want to make sure before the
benefit that you are both fully
prepped o·n the guest list.
ANDY and EMILY exchange a look.
ANDY
·Actually, I wasn't planning on going
to the benefit. I thought only the
first assistant went.
MIRANDA
Only when the first assistant isn't
revoltingly ill. You'll come and help
Emily.
On EMILY and ANDY'S surprised faces.
INT. RUNWAY --DAY
EMILY dumps something on ANDY'S ·lap --a book of what looks like
mug shots. EMILY starts flipping through,'pointing out people.
It is clear EMILY is a little miffed. 70.
EMILY
I don't see why she needs both of us.
She promptly dissolves into a coughing fit for about twenty
seconds.
ANDY
Don't look at me. It's Nate's birthday
tonight. This is the last thing I want
to do.
EMILY
That's the president of the Met--
ANDY keeps flipping through.
ANDY
I need to learn all these people by
tonight?
EMILY
Don't be silly.
She pulls out another big book of headshots •..
EMILY (cont'd)
You have to learn these too.
,Just then NIGEL bursts in.
NIGEL
What are you doing in here?
ANDY looks up at him.
NIGEL (cont'd)
Good god, we don't have a moment to
lose.
EXT. STREET --DAY
NIGEL trots down the street with ANDY in tow.
NIGEL
Black Tie. The highest level possible
in grooming and fashion. Few, if any,
can pull it off. Hair and makeup will
meet us there and Harry Winston is
sending over a £ew hauh1es to choose
from. 71.
INT, SHOWROOM/STUDIO --DAY
We're in Oscar de la.Renta's capacious showroom/studio. A large
logo that _reads "Oscar de la Ranta" is overhead,
SALES REPS bring _out dress after dress on a rack.
We see ANDY, overwhelmed •
. Suddenly OSCI\R himself appears. He and NIGEL exchange air
kisses.
OSCAR
Nigel, what can we do for you?·
NIGEL
We have an emergency red carpet
situation .•
Ee geetu~ee to ANDY.
NIGEL (cont"d)
Thing is, she's a 6.
We see the stunned looks on everyone's .faces, as if he'd said
she had an.e:Ktra a:rm.
OSCAR
I'll see what we can do.
INT. STUDIO --LATER
We see ANDY from behind as the MAKEUP ARTIST applies the
finishing touches.
NIGEL selects a necklace from an assortment of necklaces. Re
drapes it around ANDY'S neck.
NIGEL studies hie creation, proud, He sighs.
NIGEL
How do you feel?
ANDY
Well, let's see •••
EXT. STREET --NIGHT
We see a limousine gliding through the streets ••.
ANDY (V.O.)
~y feet are killing me, everything
pinches ••• 72.
EXT. METROPOLITAN MUSEUM OF ART --NIGHT
The Met, all lit and abuzz for a gala charity benefit.
A banner across the front of the museum reads "RUNWAY PRESENTS:
THE COSTUME INSTITUTE: IN BLACK AND WHITE." A red carpet crammed
with celebrities and photographers leads into the museUill.
ANDY (V.O.)
... my breasts are squeezed into a ball
and this hairpiece is like having a
boulder pinned to my head ..•
And suddenly the door opens and ANDY steps out onto the red
carpet.
And she looks unbelievable, gorgeous, perfect.
ANDY (V.O.) (cont'd)
Never felt better.
She takes a moment, then ducks around the red carpet, trotting
up the stairs behind the line of photographers.
Just then EMILY spots her.
EMILY
Oh my God, Andy. You look ••• chic.
But ANDY is busy staring at EMILY, in her strapless dress.
ANDY
Em •.. you look so thin.
EMILY
(flattered)
It's for Paris. I'm on a new diet. I
don't eat anything, and then, when I
feel like I'm about to faint, I eat a
cube of cheese.
ANDY
It's definitely working.
EMILY
I know. I'm just one stomach flu away
from my goal weight.
ANDY
That's ... great. Congrats.
EMILY smiles proudly, then dissolves into another round of bone
rattling coughs. i I I.
i
! I
I 73.
EMILY
Ready:!
INT. METROPOLITAN MUSEUM OF ART --NIGHT
ANDY and EMILY enter •. The scene takes ANDY'S breath away: the
lobby is packed with New York's elite. Everything in sight is
white --white tulips, bone white china, white candles, white
tablecloths and chair covered in white silk.
All the GUESTS are in black or white. EMILY looks Around.
EMILY
Everything has to go perfectly tonight
or she'll have my head. You have no
idea how many assistants she's fired
•RIGE:T before they were supposed to go
to Paris. That .can't happen to me.
ANDY
·We'll just make sure everything goes
smoothly, then.
EMILY
We need to make sure.we're there the
second she walks in.
ANDY
How will we find her?
Just then an audible murmur makes its way th.rough the crowda
They, along with everyone, swivel their heads in ti.me to see •••
..• a woman making an entrance into the party wearing a
spectacular red dress.
It's MIRANDA, of course, a ruby in a sea of monochrome.
EMILY
The crimson James Holt. She's a
genius.
It's the'awkward red dress James had in his studio, made over to
perfection.
EMILY and ANDY rush over to MIRANDA.
QUICK CUTS at the ball.
ANDY and EMILY stand at M:IRANDA'" e:!.d.e .,,,. ·she :fi.elde g:.<>ota.ns<>·
A DISTINGUISHED COUPLE approaches. MIRANDA
(smiling)
Emily? 74.
EMILY racks her brain. Which goes blank. She starts to panic.
EMILY
(fumbling)
That's •.. Wait .•.
Seeing EMILY struggle, ANDY leans in to MIRANDA.
ANDY
Ambassador Franklin. And that's the
woman he left his wife for. Rebecca.
The woman he's leaving HER for is
walking down the stairs.in Valentino.
MIRANDA greets the couple.
MIRl'.NDA
Ambassador, Rebecca. Lovely to see
you.
EMILY gets ANDY's attention and mouths "Thank you."
Just then ANDY sees a very fashionable WOMAN, with a more avant
garde look than MIRANDA, headed for them.
And she's being escorted by none other than •.. IRV.
EMILY whispers to ANDY.
EMILY
That's Jacqueline Follet.
ANDY
From French Runway? I thought Miranda
wanted her to come after she left.
EMILY
She did. Jacqueline puts her in the
worst mood.
JACQUELINE.and IRV head straight for MIRANDA.
MIRANDA
Good to see you, Irv.
IRV
Miranda, you look amazing. 75.
Then MIRANDA.turns to JACQUELINE. They•kiss the air behind each
,,ther • s ears, pretending to he happy to see each _other.
MIRANDA
Bonsoir, Cherie. Ta robe est rudement
chouette.
JACQUELINE
I like your dress too. Very •••
Americaine. sportif.
MIRANDA smile5, .hut looks like she'd rather throw darts at
JACQUELINE. ANDY quickly steps forward.
l'INDY
Alers, Jacqueline, dites-moi, avez
vous rencontre Brad Pitt?
JACQUELINE
Ah, no ....
ANDY
Venez avec moi.
(to MIRANDA}
Pardonnez-nous.
She pulls JACQUELINE across the room.
LATER
ANDY and EMILY are with MIRANDA who is talking to ELTON JORN.
Suddenly they're surprised by the appearance of MIRANDA'S
husband STEP~EN, quite drunk.
MIRANDA
Darling, there you are.
STEPHEN
It's a banner evening. Three people
have failed to recognize me, one
person called me Mr, Priestly and now
the damned bartender refuses to serve
me.
Everyone freezes. MIRANDA forces a laugh. EMILY emits a cough of
·shock, but 1\NDY quickly turns to ELTON, distracting him.
ANDY
zrm eorry to be GUoh an id~ot, but 1
think you are so awesome. I can sing
along to, like, fifty of your,songs ••.
(MORE) ANDY (cont'd)
I think Crocodile Rock is my favorite,
but I also love.Tiny Dancer ..• 76.
And while she chats with him, MIRANDA puts her arm around her.
husband and leads him gently away.
MIRANDA
Corne on, darling, let's get something to eat. I'm starved, aren't you?
And as she walks away, MIRANDA turns.
And looks at ANDY.
And MIRANDA mouths the words "Thank You."
ANDY and EMILY'S eyes both go wide. Holy shit.
EXT. MUSEUM --NIGHT
ANDY trots down the steps, exhilarated.
Checks her watch. Looks up. And sees CHRISTIAN, walking up the
steps, looking better than anyone ever should in a tuxedo.
He smiles and clutches his heart like he's been shot by cupid.
CHRISTIAN
You look amazing.
(he grins)
And I take it you still work for
Miranda.
ANDY
I am. Thanks to you .•• And I'm doing
great now.
CHRISTIAN
(laughs)
Oh, is that right?
ANDY
Sure is. Guess I'm not as nice as you
thought.
CHRISTIAN
God I hope not •.
He openly admires her in a way that makes it clear he's
imagining her with the dress
off. CHRISTIAN (cont'd)
If you didn't have that· stupid
boyfriend, I'd have to whisk you away
right here and now.
ANDY
Do you really say things like that to
people?
CHRISTIAN
Evidently.
ANDY
I have to go.
CHRISTIAN
.Say hello to the boyfriend for me. 77.
She tries to bite back an incriminating smile. Turns and races
towards her•1imo.
INT. TOWN CAR --NIGHT
ANDY is putting the finishing touches on wrapp.ing a present.
Then she starts ripping off her clothes, shoes, stockings. She·
grabs a pair of jeans, a tshirt.and some boots out of a bag and
starts to change.
INT. RESTAURANT --NIGHT
NATE, . DOUG and LILY are hanging out with NATE'S friends when.
ANDY walks in, She runs over, hugs NATE and sits down.'
ANDY
I'm so sorry I'm late. One moment
Miranda just announces I have to go to
the benefit, next thing you know I'm
in a crazy getup directing Isaac
Mizrahi to the raw bar .. _
They're kind of staring, so she tries to wind it down.
ANDY (cont'd)
But the weirdest thing was that
Miranda actually acted like a halfway
no:onal hllJllan being and ••• and ••.
And she can tell she's blathering.
ANDY (cont'd)
Anyway, I'm really sorry and. • • I'm
sorry. 7 8.
She grabs a menu.
ANDY (cont' d)
What's everyone getting?
Just then the WAITRESS walks over with change from the check.
And ANDY realizes. She's missed the whole dinner.
And without saying anything, NATE reaches over and takes
something off her head... ·
.•• her. tiara.
INT. SUBWAY --NIGHT
ANDY and NATE sit next to each other, surrounded by late night
passengers.
ANDY
.•• I must have lost track of time.
It's so strange. That's never happened
to me before. I'm really sorry I was
late. It won't happen again.
NATE gives her look. Yeah, right.
MUSIC .UP
A MONTAGE that shows that as ANDY'S career starts to take off,
her relationships continue to spiral downward.
--IN THE APARTMENT
ANDY wakes up. NATE is already gone.
-RUNWAY RECEPTION
ANDY steps off the elevator with all the other RUNWAY girls. And
now, with her confident stride and her fashionable attire, she
is indistinguishable from any of the others •••
--CENTRAL PARK
NATE, DOUG and LILY and a bunch of their friends play frisbee in
the park. The summer is beginning to turn int.o fall. Caroera
finds ANDY •..
... on the csll phone.
--RALPH LAUREN SHOWROOM I '-._., 79.
We see ANDY back, in the Ralph Lauren showroom. They wheel out a
rack of sweaters. ANDY flips though the skirts, confident,
s e leot:Lng and re,j ecting.
--APARTMENT
We see NATE in his apartment, alone, waiting fo,r ANDY. Finally
he picks up his jacket and walks out.
--RUNWAY
ANDY goes through the book with JOCELYN, clarifying MIRANDA'S
notes. A couple FASHION·,ASSISTANTS take notes as ANDY talks.
--ON THE STREET, DAWN
ANDY walks to work so early the sun is still rising. The air has
turned cold now.,. She pulls her coat closer around her.
--MCSORLEY'S
NATE, DOUG and LILY out for drinks. ANDY is nowhere to be found.
NATE' s cell phone rings. The caller id flashes "ANDY".
NATE turns off the ,ringer and ignor·es the call. DOUG and LILY
exchange a lo,ok.
INT. RECEPTION --DAY
A handsome Italian man, MASSIMO CORTILEONI, steps off the
elevator .. MIRANDA greets him. They airkiss.
MIRANDA
Massimo! Mio l\J:nore!
MASSIMO
Miranda! Belissimal
He rattles off some more compliments in Italian as she leads him
down the hall to her office.
MIRANDA
Oh, Massimo, stop. I'm a married
woman, you know.
She walks him by ANDY and EMILY.
MIRANDA (cont'd)
Andrea, this is Massimo Cortileoni,
pre~ident cf LVMB:.
(to MASSIMO}
If you need anything at all, just let
Andrea know. 80.
And with that she sweeps MASSIMO into the office. ANDY realizes
EMILY is staring at her.
She shrugs, as if what MIRANDA just did was no big deal. But
EMILY knows it is.
INT. RUNWAY NIGHT
ANDY waits for the book, no longer timid, blasting a song on the
stereo and singing along ..•
. ANDY
(to the Stones)
Ain't I hot enough? Ain't I rough
enough? Ain't I rich enough? I'm not
too blind to see .••
Suddenly the intercom sounds.
INTERCOM
Book's done.
ANDY
(still singing)
The book is done. I said, the book is
done ••.
INT. MIRANDA'S FOYER NIGHT
ANDY steps in, carrying the dry cleaning and The Book, moving
quickly. Suddenly she hears a voice, emerging from the dark.
MIRANDA
Andrea.
ANDY practically has a heart attack.
MIRANDA (cont'd)
Come in.
ANDY steps into the apartment, curious. And scared.
MIRANDA (cont'd)
As you know, Paris is the most
important week of the year for me. The
schedule of shows and interviews is
horrendous and I'm under a microscope.
A.NOY looks ~t her, not sure where this concerns her. MIRANDA (cont'd)
And so, as you can imagine, for that
week it is vital that I have the best
team possible with me, the meet
skilled individuals at the magazine.
And this is when ANDY starts to have a bad feeling.
ANDY
Yes, of course you do and--
MIRANDA
You're coming with me to Paris,
Andrea.
ANDY
Oh, no. No, no. You don't mean that.
Emily would die. Her whole life is
about Paris. She hasn't eaten in
weeks.
MIRANDA
It's not for you to tell me what I can
-and cannot do .. You are coming with me
to Paris.
ANDY
With all due respect, I can't do.that,
Miranda. I just can't. I've only been
at Runway for five months.
MIRANDA shrugs. Fine.
MIRANDA
Then you're fired.
ANDY
Excu.se me?
MIBANDA
If you don't come to Paris, I will
.assume you're not serious about your
job and I would have no choice but to.
dismiss you.
ANDY looks at her, stunned.
MIID\NDA {cont'd)
on the other hand, if you do~ good
job in Pa:cia and eont:i.nu.e .to ;i...mpJ::ea~
me; there' s no end to your future at ·
Runway or anyplace else. 81. She smiles. At her very most seductive.
MIRANDA (cont'd)
The decision is strictly up to you.
ANDY
But--
MIRANDA.
That's all.
INT. ELEVATOR --NIGHT
ANDY rides down in shock. She closes her eyes. Da:mmit.
EXT. CENTRAL PARK WEST --NIGHT 82.
ANDY walks out of MIRANDA'S building. ROY opens the door for
her, but she waves him away.
EXT. BROADWAY --NIGHT
ANDY walks downtown alone, thinking.
INT. ANDY'S APARTMENT --LATER
ANDY looks through .the clips of all her articles from college. ~)
And at a picture of herself at graduation, surrounded by her
parents, her relatives, her friends.
Her parents are beaming, exuding pride.
INT. RUNWAY --DAY
The desks outside MIRANDA'S office are empty. We hold for a few
beats.
Then ANDY comes in, walking slowly, still unsure.
And at that moment MIRANDA aDpears. They look at each other.
MIRANDA nods, almost imperceptibly. ANDY nods back.
And MIRANDA takes her coat off. ANDY holds out her arms to take
the coat from her.
But MIRANDA puts the coat on EMILY'S desk instead. Right in
front of EMILY'S Eiffel Tower screensaver.
And then MIRANDA strides into her office. ANDY sits down, trying
to grasp the magnitude of what just happened. And just then
MIRA!,,1)A pokes her head back in. MIRANDA
Don't forget to tell Emily.
And we see ANDY'S face. Me?
INT. RUNWAY -- DAY 83.
11:NDY is waiting for EMILY, dreading her arrival. Suddenly she
can't take it anymore. She dials the phone.
EXT, MIDTOWN STREET --DAY
EMILY flies down the street in even more than her usual tizzy.
ANDY (O.S.)
Emily--
EMILY
Sorry I'm late. I got there early and
realized I forgot to get more Hermes ·
scarves for the trip.
ANDY (o.s.)
Emily, I have to talk to you.
EMILY
I freaked out of course, but then I
just called Chantale at home and she
opened the store early, so I got them.
EMILY juggles a stack of the bright orange Hermes scarf boxes,
her purse, her cell phone.
EMILY almost mows down an OLD LADY. She mouths "Sorry."
ANDY
Okay, Emily. When you get in, I want
to talk to you about something-- ·
EMILY
I hope it's not another Miranda
problem--
ANDY
Not exactly.
EMILY
Good. Because I've got so much to deal
with before I go, I swear to God I
oan't even--
And that's when EMILY steps into the street.without looking. The
second she steps off the sidewalk--84.
Blam! EMILY is hit by a taxi.
We see her purse, her cell phone, her orange Hermes shopping
bag, some orange Hermes boxes, and some of the white scarves as
they fly through the air.
INT. LENOX HILL HOSPITAL DAY
ANDY sits in the waiting room, distraught.
INT. HOSPITAL ROOM --DAY
Lying in a hospital bed, her face with no make-up, wearing a
dumpy hospital robe, EMILY looks like what she is •••
... a skinny tired young GIRL.
ANDY stands by the window, arms folded, defensive.
EMILY
I don't care if she was going to fire
you or beat you with a hot poker, you
should have said no.
ANDY
I didn't have a choice. You know how
she is.
Just then an ORDERLY walks in with her dinner, laden with fattening foods --a cream soup, bread, pasta, cheese and
dessert.
EMILY grabs a pudding, peels off the foil top.
EMILY
What gets me about this whole thing
is, you're the one who pretends you
don't care about this stuff. You don't
care about fashion, you just want to
be a journalist, blah, blah, blah.
What a pile of bullshit.
She angrily finishes the last spoon of pudding, grabs a dinner
roll, which she starts to butter.
ANDY
Look, I know you're mad. And I don't
blame you.
EMILY
Face it, Andy. You sold your soul the
day you put on those Jimmy Choos. She bites off a hunk of dinner roll .••
. EMILY (cont'd)
{with her mouth full)
And you know what really kills me? The
clothes you're about to get. You don't
deserve 'them. You eat carbs, for ·
Christ's sake. God! It's so unfair.
(takes another bite)
Just go.
ANDY
Emily--
E~JLY
I said, go! .
INT. RUNWAY --DAY
ANDY sits in NIGEL'S office as NIGEL and the FASHION ASSISTANTS
swirl outfits in front of her.
NIGEL·
To accompany Miranda to a bistro?
Cuffed, charcoal gray Theory pants
with a black silk turtleneck by
Celine. For the tennis club where
she'll -receive private lessons? ,
Bootleg workout pants, zip-up hoodie
and tank top, all by Prada Sport. For
the front raw of the Chanel show? A
pleated schoolgirl skirt by Anna Sui
with a sheer white Miu Miu blouse and
Chanel spectators with a Michael Kors
blazer... ·
A BEAUTY EDITOR appears in front of ANDY with a cosmetic bag.
, BEAUTY EDITOR
Here are your shadows, li,ners,
lipsticks in matte, high-shine, long
lasting and clear, six mascaras from
light blue to pouty black, eyelash
curler and two eyelash combs, liquid,
solid and powder blush. 1\nd of course
your moisturizers: glimmering, tinted,
scented, unscented, hypo-allergenic,
alpha-hydroxy... ·
The B~~UTY EDITOR now puii= out~ sketch book with a different
page for each event, with labels like "Outdoor Daytilne" and
Relaxed Evening Glamour: NOT FOR BLACK TIE". ANDY
There's no way I can do all this.
NIGEL
Hopefully you won't have to. This is
for emergencies only. If for some
reason your hair and make-up people
can't make it.
ANDY
I have my own hair and make-up person?
They all laugh.
NIGEL
You don't get it. You will be with
Miranda every waking hour. You are
part of the image she reflects to the
world. You need to look right.
And suddenly more racks of clothing are rolled in.
NIGEL (cont'd)
And now for the evening attire ..•
on ANDY. There's more clothes?
INT, RUNWAY --NIGHT
The hubbub has died down. ANDY looks at NIGEL, exhausted.
NIGEL
On Saturday Night, Miranda is throwing
THE event of the Fashion Week, a
soiree honoring James Holt. I'll be.
there, of course, but you need to make
sure it goes without a hitch.
ANDY
sure. Great. Somebody shoot me.
NIGEL
You know the funny thing? Haven't
known you that long, but I'm gonna
really miss you.
She looks at him. What? He smiles.
NIGEL (cont'd)
Who's leaving Runway? Who got a new
job? Oh, yes. Me. 86. ANDY
You're kidding.me.
NIGEL
Jamee Holt just got like a billion
dollars from LVMH --you know, they
.have that dreamboat president,
Massimo. He's giving James money to
start his new line, and he needs a
partner.
{off her look)
,Miranda·knows. She put me up,for it.
ANDY
oh my God. Nigel, that's amazing. What
a fantastic job.,
NIGEL
Oh I know. Pays up the wazoo, lots of
money and power ••• what's not to like?
(grins at her, knowing)
People would kill for a job like that.
Re looks at her.
NIGEL (cont'd)
What the hell is wrong with you? No ,
one with a oile of free couture should
ever have that expression on their
face.
ANDY
I wish I could get excited about going
to Paris, but I still feel terrible--
NIGEL
You mean about Emily? Oh please. Emily
would have sold you out ten times
faster than you did. ,,
ANDY
That doesn't make it right.
NIGEL
Oh, please. Don't give me that Miss
America crap. You did what you had to
do. End of story. Andy, after Paris,
the sky's the limit for you.
ANDY takes this in. 87. NIGEL (cont'd)
Who knows, you might even be a size 4
one day.
She gives him a look.
NIGEL (cont'd)
Car picks you up tomorrow at 6 AM.
INT. CHELSEA GALLERY -- NIGHT 88.
LILY has curated a show at the gallery where she works. The
place bustle.s with groovy ART PEOPLE.
LILY runs around like she owns the place, much the way ANDY does
at RUNWAY now.
ANDY walks in, looks around, impressed by the art and the crowd.
LILY spots ANDY and runs over. They hug.
ANDY
Oh my God. Lily, look at this.
LILY
I'm just a junior curator.
ANDY
Stop that. This is amazing. I am so
proud of you.
LILY
I'm glad you came. I wasn't sure you
would be able to make it.
ANDY
What are you talking about? I wouldn't
miss this.
LILY looks at her, smiles.
ANDY (cont'd)
Okay, so lately I've missed a few
things ••. a lot of things •.• almost
everything.
LILY
(laughs)
You're here now. That's all that
matters.
LILY runs off to greet someone. ANDY walks over to DOUG who is •,_,
at the buffet, carefully piling shrimp on a tiny plate. L ANDY
Hey, Dougie.
DOUG
Hey. Got fired today. Want some
shrimp?
ANDY
(very surprised)
You got--
DOUG
I'm broke, I'm lying to my parents and
today I watched six episodes of Pimp
My Ride on Tivo. I feel AWESOME.
(extends the plate)
Seriously, take a shrimp.
ANDY
Doug, I'm so sorry.
DOUG
Don't be. I'm staring into the abyss.
But the abyss is cool.
·INT. CHELSEA GALLERY --LATER
ANDY waits for the bathroom. she hears a .voice,
CHRISTIAN
Rey, Miranda Girl.
She closes her eyes. Can't be. She turns. Yup.
ANDY
What are you doing here?
CHRISTIAN
Art. I like art. You know, I was just
thinking about you.
ANDY
Bull.
CHRISTIAN
I'm doing a profile of Gaultier for
New York and I was making plans for
Paris and I found myself wondering if
my Miranda girl would be there.
ANDY
Actually ••• 89. stop smiling. Why am I smiling?
ANDY (cont'd)
I am going •..
(suddenly feeling ashamed)
I just found out and--
CHRISTIAN
That's great. I'm staying at this
killer hotel in the Marais right
across the street from a falafel
restaurant that will change your life.
· ANDY
Sorry. I'll be too busy. Working.
You'll have to find someone else's
life to change.
CHRISTIAN
But that's just it. I'm starting to
wonder if I can. 90.
And with that, he leans in, plants a soft kiss on her cheek.
ANDY closes her eyes, blushing like crazy.
When she opens her eyes, CHRISTIAN is gone. And it's not for a
moment that she notices .•.
••. LILY, about ten feet away, staring at her, a look of
surprise and disgust on her face.
INT, CHELSEA GALLERY NIGHT
ANDY follows LILY through the gallery.
ANDY
He's just a guy I know from work.
LILY
Yeah. That looked like work.
ANDY
You're making a big a deal out of--
LILY
The .~.ndy I know is madly in love with
Nate; is always five minutes early and
thinks Old Navy is couture. For the
last 16 years I've known everything
about that Andy, down to her last
hangnail. But this person? She gestures to 1\1!1DY.
LILY (cont'd)
This glamazon who skulks around in
corners with some random hot fashion
guy? I don't get her.
ANDY tries to say something, but LILY interrupts.
LILY (cont'd)
In case you're interested, Nate is looking for you. 91.
She .indicates NATE across the room. He waves. She walks over to
him and gives him a kiss.
EXT, CHELSEA GALLERY --LATER TEAT NIGHT
NATE and ANDY walk together down the street away from the
gallery. The street is shiny from a recent rain,
NATE
I think it's great. Going to Paris. A
big opportunity.
ANDY
I know,, but it means I can't go to
California and--
NATE
Please. You were never corning with me.
ANDY
Look. I know you're upset because I've
been so busy, missed your birthday.
NATE
Andy, please. I don't care about that
stuff. It's you. You're changing.
ANDY
That's not true.
NATE
You used to be thoughtful, down-to
earth, no bullshit. When you started
that j.ob you laughed at the Runway
girls, their vanity, their pettiness,
the way they worshipped Miranda. And
now you~ve become one 0£ them. Some
new creature. Mirandy. ANDY
I don't understand what you're asking
me to do. Quit? I can't give up now.
I've worked too hard, come too far.
NATE
Andy, all I know , if I met you
today, I don't know if I'd even go
over and talk to you, let alone spend
two years of my life with you.
ANDY
You don't mean that.
NATE
Yeah, Andy. I do.
Beat. ANDY tries to catch her breath.
ANDY
Then maybe this trip is coming at a
good time. Maybe we should take a
break for a while. 92.
She stands there, waiting for him to protest, throw his arms around her. Instead, he.walks away.
ANDY (cont'd)
Nate!
He turns. And just then her phone rings. They both know who it
.is. And that she has to take the call.
NATE
In case you're wondering, the person
whose calls you always take, that's
the relationship you're in.
The phone keeps ringing.
NATE (cont'd)
I hope you two are very happy together.
And he walks away. ANDY clicks on the.phone.
ANDY
Hello, Miranda ••.
INT. AIRPLANE --DAY
MIRANDA and ANDY are in first-class. The tray of champagne and
orange juice comes around. MIR.!'1.NDA waves it off. ANDY does too. \
'-· 93.
INT. AIRPLANE --DAY
.I\.NDY goes back to the galley. Grabs a couple of the champagne
,glasses and downs them. The FLIGHT ATTENDANTS stare.
INT. AIRPLANE~- NIGHT
It's dark · now and everyone on the plane is asleep.
MIRANDA is asleep, mouth closed, make-up seamless, not a hair
out.of place, perfect even at rest.
We move over to ANDY, who sleeps like a normal person, hair
askew, mouth slightly open.
INT. LIMO --NIGHT
ANDY looks out the window, watching Paris at night whizzing by
her. She is in awe. MIRANDA is not even looking .out the window •
. EXT. PLACE DE VENDOME -- NIGHT
The Paris Ritz. MIRANDA'S limo pulls up.
INT, RITZ HOTEL SUITE --PARIS --NIGHT
The BELLMAN opens the door to a huge suite. ANDY looks confused.
ANDY
Wait. This is not right. Miranda is
staying in the suite.
BELLMAN
That's correct, Mademoiselle. Miranda
Priestly's suite is down the hall.
ANDY
(realizes)
This is~ room?
INT. MIRANDA'S RITZ HOTEL SUITE --NIGHT
ANDY walks into MIRANDA'S room, which.makes the other place look
like a dump. She stares.
MIRANDA
Get out the guest list. We need to
start working on the seating chart.
ANDY grabs .her notebockr tries not to gape at the luxuri..ou~
surroundings. MIRANDA (cont'd)
By all means, move at a glacial pace.
You know how that thrills me.
ANDY springs to attention.
INT. RITZ HOTEL ROOM --NIGHT 94.
ANDY, in the sumptuous Ritz robe, looks out the window at the
amazing view. Can't believe she's here. She smiles.
INT. MIRANDA'S RITZ HOTEL SUITE --DAY
The next morning. We see MIRANDA getting ready -- a team of
people works on her hair, make-up, pedicure, manicure ••.
We move across, through the wall .•.
INT. RITZ HOTEL ROOM --DAY
... to the room next door, where we see ANDY getting the exact
,~ame VIP treatment. She can't believe this is happening to her.
QUICK CUTS of ~..NDY and MIRANDA in Paris.
INT. FASHION SHOW -- .DAY
ANDY sits in the front row beside
.. looking at the clothes. The other
reaction to the clothes.
INT, PARIS RESTAURANT -- NIGHT MIRANDA. Half the INVITEES are
half are watching MIRANDA'S
A tiny restaurant on Rue de Richelieu called Dave where all the
fashion notables eat during Fashion Week.
MIRANDA dines with a tableful of designers, editors and
celebrities and ANDY is right there beside her.
INT. MIRANDA'S RITZ HOTEL SUITE -- DAY
A map of the inside of the chateau with tables arranged on it.
ANDY does the seating arrangements with MIRANDA looking over. her
shoulder, pointing.
EXT. FASHION SHOW NIGHT
The Versace show. MIRANDA walks by the paparazzi waiting outside
the show. They scream her name. She shows off her best smile.
ANDY squints, blinded by the flashbulbs. ' _,,,, I
'\-· INT. RITZ LOBBY --DAY
ANDY stands near MIRANDA who is in the lobby chatting with
STELLA MCCARTNEY when CHRISTIAN comes up beside ANDY,
CHRISTIAN
I think you owe me.
She turns. And is happy to see a friendly face.
ANDY·
Oh, do I?
CHRISTIAN
You working tonight?
ANDY
Actually, Miranda has a dinner.
CHRISTIAN
So you are free, Perfect. Oh, but
there's .a problem, huh? Le Boyfriend.
At the mention of this, ANDY.blushes slightly.
CHRISTIAN (cont'd)
Wait. Don't tell me, The boyfriend is·
non plus? Je auia tres tree deaole.
ANDY
Oh, you' re ·so full . of shit. You are
not desole at all.
CHRISTIAN
Yeah, not even a little. What time
should I pick you up tonight?
INT. RITZ HOTEL. ROOM --EVENING .
. ANDY is getting dressed in one of her many fab outfits.
INT. MIMNDA'S RITZ HOTEL SUITE --EVENING 95.
MIRANDA is just out of the shower when she hears a knock at the
door. She .opens it. And a BELLMAN hands her an envelope.
INT, RITZ HOTEL CORRIDOR DAY
ANDY walks down the hall to MIRANDA'S suite, feeling cheerful,
looking great. She knocks on_the door.
MIRANDA opens the door and immediately turns away, walking over
to the window. She looks out over the rooftops of Paris. 96.
INT. MIRANDA'S RITZ HOTEL SUITE --CONTINUOUS
ANDY follows, and her eyes widen as she notices something which
shocks her to the core .••
MIRANDA is wearing sweatpants.
ANDY
Um ••. I came to remind you, you're
having dinner at Natalie Lehman's
house in the country this evening
and .....
MIRANDA walks back over to the window without a word. Looks back
c,ut over the city.
MIRANDA
Do you know where I grew up?
11NDY shakes her head. Couldn't be more surprised by this
conversation if they were both on fire.
MIRANDA (cont'd)
Pearl River, New York. Right on the
border with Jersey. Cultural
highlight? The Nanuet Mall. My dad
owned a tire store.
(smiles)
But Pearl River is only .30 miles from
Manhattan on the Palisades Parkway. I
grew up reading Runway, Elle, Vogue,
sneaking into New York to stand in the
back of the shows, soaking it all up.
ANDY is perfectly still.
MIRANDA (cont'd)
When I was hired as Natalie's
assistant, I knew I would make it. I
knew I would be her someday. That's
all I ever wanted to be. The editor of
Runway •..
A long beat. And finally MIRANDA turns.
She has no make-up on. Her hair is damp and unstyled. And.she's
obviously been crying.
MIRANDA (cont'd)
We need to think of a way to keep it
out of New York press. ( "-'· ANDY looks at her, not understanding. MIRANDA points at an
envelope on the table.
MIRANDA (cont'd)
Divorce papers. Preliminary, of
course.
Al,"DY takes in the shock of this.
MIRANDA (cont'd)
Funny thing is, I thought Stephen and
I were going to make it. Third time's
the charm. I used to call him my Lucky
Third.
(she sighs)
At first they're always proud to.be
with me, proud to be with a powerful,
accomplished woman. They say they
don't want some little housewife. But
then ....
ANDY is watching her, just listening.
MIRANDA (cont'd)
I love him. I do. I just can't be what
he wants me to be.
(she shivers}
And my girls ••• another stepfather,
gone ... 97.
And she can't even bring herself to think this part through.
ANDY
You want. to take the evening off? I
can reschedule everything.
MIRANDA looks at her.
INT. RITZ HOTEL LOBBY NIGHT
We see MIRANDA, striding through the lobby. And what we notice
·is ••. she looks like regular MIRANDA. Don.e up, perfect,
confident walk.
EXT. RITZ .HOTEL --NIGHT
MIRANDA breezes out of the hotel, gets in the waiting Limo .
. INT. :r.,IMO --NIGHT
· MIRANDA closes the door, takes a deep breath. And now that she's
alone, for one second, her veneer cracks, just a little. MIRANDA
(to the DRiilER)
Let's go.
INT, L'AMBROISIE --NIGHT 98.
CHRISTIAN and ANDY have dinner in a tiny romantic restaurant on
the Place des Vosges.
He laughs. CHRISTIAN
Oh, come on. You hate her. She whips
you with tire chains.
ANDY
She can be tough to work for, but
there's another side to her.
CHRISTIAN
No. There isn't. She's a ball buster.
That's all.
ANDY
You wouldn't be saying that if she
were a man. You'd be admiring her
strength, her grit, her tenacity ...
but because she's a woman, those
things .make her a "ball-buster".
ANDY (cont'd)
What is so funny?
CHRISTIAN
You. Defending her. You've crossed
over to the dark side completely.
(smiles)
It's pretty sexy.
He grins. Pours her more wine.
INT. L'AMBROISIE NIGHT
They drink glass after glass of wine.
EXT. PARIS STREET --NIGHT
They walk home together through the Place Des Vosges.
ANDY
I never understood why everyone was so crazy about Paris, but now •.• \_ ' --·~ She swirls around.
ANDY (cont'd)
It's. So. Beautiful. 99.
And suddenly he catches one of her arms and almost like a dance
move pulls her into him and kisses her.
ANDY (cont'd)
I can't do this.
Another kiss.
ANDY (cont'd)
Nate and I only split up a few days
ago.
Another kiss.
ANDY (cont'd)
I've had too much wine and my
judgement is impaired.
Another kiss.
ANDY (cont'd)
I barely know you and I'm in a strange
city.
He kisses her again.
ANDY· (cont'd)
I'm out of reasons.
CHRISTIAN
Thank God.
INT. CHRISTIAN'S HOTEL ROOM --NIGHT
ANDY and CHRISTIAN are kissing on his bed. Ber phone ringe.
"Oops I Did it Again." ANDY ignores it. ·
But we see the caller ID. It says MOM & DAD.
DISSOLVE TO:
INT. CHRISTIAN'S HOTEL ROOM -- MORNING
ANDY wakes up. Ber careful hair and make-.up from the night before are wi1d1y askew, She rea1izes what ehG did. And that ahe
. has a headache. 100.
She sits up. Catches sight of herself in the mirror. Ouch. We
h,ear the sound of the shower running. CHRISTIAN calls out--
CHRISTIAN
Order room service. Anything you want.
ANDY
I have to go back to my room and--
CHRISTIAN
Can't hear you.
ANDY starts getting dressed. As she picks up her jacket, she
knocks over a few papers. And sees something sticking out.
A mock-up of a magazine. With the familiar RUNWAY logo. She
picks it up.
l"NT. SHOWER -- DAY
CHRISTIAN stands under the spray of water. Suddenly the shower
curtain is yanked back.
1>J;7)Y standing there, furious. She holds up the issue of mock-up.
ANDY
What the hell is this?
CHRISTIAN, cool as can be, steps out, nude and grabs a towel,
which he wraps around himself.
CHRISTIAN
It's a sample.
ANDY
Of?
CHRISTIAN
of what American Runway is going to
look like when Jacqueline is editing
it.
He pulls on at-shirt.
CHRISTIAN {cont'd)
We worked on it together. She's
bringing me in to run all the
editorial content of the magazine.
ANDY
They're replacing Miranda? \ .. _~-· CHRISTIAN
Are you really surprised? Runway is
one of the most expensive books in the
business. Jacqueline does the same
thing with a lot less money.
ANDY
_And that's the most important thing?
CHRISTIAN
Money is always the most important
thing.
ANDY
You think I've crossed over to the
dark side? Listen to yourself.
CHRISTIAN
Who said I was not ort the dark side?
ANDY.
This is a shitty thing to do to her,
·after all she's done for Elias-Clarke.
Miranda will be devastated. Runway is
her whole life.
CHRISTIAN
something tells me she'll .land ·on her
feet.
· (beat)
I guess it's not.the·worst thing that
you found out. You'll probably have to
look for a new job. Irv's going to
tell Miranda this morning at
breakfast. .
He turns to his closet and contemplates his sports coats.
CHRISTIAN (cont'd)
And I'm not worried about you. You·•ve
proven that you're more than capable
of fending for yourself. ·
He picks a jacket, puts it on, turns to ANDY •.•
only to find the door open. And ANDY gone.
INT. RITZ HOTEL CORRIDOR-- DAY 101.
ANDY races down the haii. He~ ceii phon~ ringe ~gain. She _lookg
.at it. MOM & DAD. She turns off the ringer.
She knocks on MIRANDA'S door. No answer. She thinks, dials. INT. NIGEL'S HOTEL ROOM DAY
NIGEL is just waking up in his hotel room in Paris.
ANDY
I've tried her cell fifty times ••.
NIGEL
Can't you just track her down at her
first appointment?
ANDY
I have to talk to her. Right now.
INT. RITZ LOBBY --DAY 102.
ANDY paces, unsure what to do. She dials MIRANDA'S number, yet
2,gain. Finally, MIRANDA picks up.
ANDY
Oh, thank God. Where are you?
MIRANDA
Excuse me?
ANDY
I need to talk to you. Right away.
MIRANDA
Don't have time. I'm having breakfast
with Irv. You should be busy all day
preparing for the James Holt party.
ANDY
Miranda, you don't understand. It's
very important. I have to tell you--
And the phone clicks off. MIRANDA has hung up.
ANDY (cont'd)
Shit!
This garners some stares. She sits down on a chair to think.
Her cell phone rings again and her heart leaps. MIRANDA. But no.
She picks up.
ANDY (cont'd)
Hey, Mam. Listen, I'm at work. It's
really crazy over here and--
We hear the voice of ANDY'S mother, HlillNAH. HANNAH (O.S.}
Before I say anything, don't be too
worried. He's fine.
ANDY
What are you talking about, Mom,
INT. CINCINNATI HOSPITAL --DAY
HANNAB is in the hospital, sitting beside RICHARD,
?,ANNAH
Your father had a heart attack. Last
night. Everything's fine now. They've
given him medication and he's resting
comfortably.
INT. RITZ LOBBY --DAY
ANDY clutches the phone.
ANDY
Oh my God. Should I ·come home?
INT. CINCINNATI HOSl?ITAL -·-DAY
E!ANNAH looks over at RICHARD, resting.
HANNAH (O.S.)
You know.your father. He wo.uld never
ask. And he knows how busy you are,
so ....
EXT. STARBUCKS -- DAY
We see ANDY, holding back tears.
HANNAH {O.S.)
I just wanted you to know, so you
could make your own decision. 103.
ANDY stands there a moment, teetering on a precipice. Then she
starts to walk, quickly. ·
EXT, PARIS STREET --DAY
ANDY dashes through Paris.
INT.. HOTEL CRILLON LOBBY -- DAY
ANDY runs up to the front desk. ANDY
Irv Ravitz?
INT. HOTEL CRILLON CORRIDOR DAY 104.
llNDY runs down a corridor. She paces a second, knowing she's
going to get her ass kicked, then knocks on the door.
The door opens. IRV stands there, surprised.
We see MIRANDA behind him. When she sees ANDY, she walks over.
Turns to IRV.
MIRANDA
Excuse us a moment.
!URANDA pulls ANDY .into the hall.
MIRANDA {cont'd)
Have you lost your mind?
ANDY
I have to talk to you.
MIRANDA
Whatever it is can wait until later.
MIRANDA walks into the room, closes the door in ANDY'S face.
INT. HOTEL CRILLON CORRIDOR --NIGHT
ANDY sits in the hallway, wondering what to do. Just then
MIRANDA comes out. ANDY springs up and follows her.
MIRANDA doesn't say anything, just .starts walking. ANDY follows.
ANDY
Is everything •.. did that go okay? I
mean, are you okay?
MIRANDA just keeps walking.
ANDY (cont'd)
Did he say anything about ••. ? I mean,
what did he say?
MIRANDA stops, aggravated.
MIRANDA
Now I know you've lost your mind. ANDY
I was just wondering •.• I mean, if
there's anything I can do.
MIR1Ul'DA
Yes, there is. Your 7gb.
And MIRANDA walks away. ANDY stands there.
EXT. CHATEAU --ESTABLISHING --EVENING 105.
A gorgeous 17th century castle in the. countryside. GUESTS are
arriving.
·ANDY is outside, working with the staff, coordinating arrivals.
She excuses herself for a moment.
We see her dial her cell phone.
EXT. CHATEAU --EVENING
A few seconds later. We se.e .!iNDY, standing outside the Chateau,
on the phone.
ANDY
Hey, Dad. Mom says you're doing great.
I just wanted you to know •.•
(listens)
.I'm going to come home and see you
just . as soon as Paris is over, .okay?
She closes her eyes, fighting back emotion.
ANDY {cont'd)
Thanks. I love you too.
INT, CHATEAU --EVENING
The chateau we saw in the opening with the party in full swing.
l'J!IDY is bustling around, checking all the details -- the.
seating, the• flowers, making sure the GUESTS are happy.
She spots CHRISTDIN, who raises a glass to her. She looks away.
INT. CHATEAU --EVENING
1\NDY watches MIRANDA as she greets the GUESTS --s.o corrposed, so
gracious. ANDY marvels.
Just then NIGEL clinks his fork on a glass. He's standing at the
podium on the dais, getting ready to speak. 106.
MIRANDA walks over, sits down on the dais. ANDY follows.
DISSOLVE TO:
INT. CHATEAU -- LATER
We pick up on the scene from the opening.
NIGEL
.•. one of the most elegant women ever
to walk the planet, I give you Miranda
Priestly.
We see ANDY, applauding, smiling, her eyes shining. MIRANDA
:steps to the podium and we hear that short SCREECH of feedback.
:she covers with a laugh, tries again.
MIRANDA
Thank you everyone. First I want to
congratulate James on his new line,
which is nothing short of miraculous.
,JAMES smiles at her, raises a glass of champagne.
MIRANDA (cont'd)
But before I tell you in detail about
how much I love James Holt, I want to
say a few words. Today is not just an
important night for me, for Runway,
and for ,James, but an important day
for someone else in this room •••
Her eyes land on ,JACQUELINE POLLET. ANDY watches. What the hell?
She shoots a look at CHRISTIAN. Can tell from the look on his
face he has no idea where this is going.
FLASH BACK TO:
INT.. HOTEL CRILLON SUITE -- DAY
Earlier that day. MIRANDA sits across from IRV.
IRV
Miranda, there's something I'd like. to
discuss with you and--
MIRANDA takes a piece of paper out of her Hermes portfolio and
pushes it towards him.
IRV (cont'd)
What is this? L MIRANDA
It's a list. 107.
FLASH FORWARD TO:
INT. CBATEAU -- DAY
MIRANDA continues.
MIRANDA
I have the privilege of announcing
that my comrade, Jacqueline Follet,.
editor-in-chief of the French edition
of Runway, will, as of next month, be--
'We see ANDY'S face. Holy shit. Looks at CHRISTIAN; Just as
:stu);\ned as she is.
FLASH BACK TO:
INT. HOTEL CRILLON SUITE -- DAY
IRV looks at the list.
She smiles. MIRANDA
As you know, I have an open invitation
from every other fashion magazine in
the world ..• Vogue, Elle, Harper's, ••
And if, for whatever reason, I had to
leave Runway •••
(indicates list)
•.• these are all the designers.who
have said they will give me first look
at their collections, this is the list
of photographers who will book time
with me first, and these are the top
mode.ls who will do the same.
MIRANDA ( cont 'd)
You know how I feel.about Runway, I
intend to be there as long as you'll
have me. So my intention is never to
use this list. But I do have it.
He looks at the list, then up at her. She's composed, cheerful.
MIRANDA {cont'd)
Now, you had something YOU wanted to
discuss?
FLASH FORWJ\RD TO: INT. CF..ATEAU --EVENING
MIRANDA continues.
MIRANDA
--as of next month, Jacqueline Follet
will be partnering with James Holt in
the new expansion of his business. The
brilliant Massimo has chosen her as
the new copresident of JH
International •••
' 108.
Jmd she indicates JACQUELINE, who waves. Everyone applauds.
JACQUELINE extends her hand to MASSIMO, who waves.
ANDY'S mouth falls open. She looks over at NIGEL. His face
betrays nothing. He applauds along with everyone else.
And ANDY looks to CHRISTIAN. Who is also shocked as hell.
MIRANDA (cont'd)
I know Jacqueline will be every bit
the comrade to James she has been to
me. Let's all wish her the best.
A hearty round of applause for JACQUELINE. MIRANDA smiles.
FLASH BACK TO:
INT. PARIS CAFE --DAY
We see MIRANDA sitting in the corner of a tiny cafe with JAMES
HOLT and MASSIMO. JACQUELINE enters, walks over to the table.
MIRANDA
Jacqueline, you remember Massimo from
LVMH •••
.FLASH FORWARD TO:
INT. CHATEAU -- EVENING
MIRANDA continues.
MIRANDA
And now, to the business at hand. A
celebration of one of my favorite
designers ...
She smiles at JAMES. ' \_.. 109.
INT. CF.ATEAU --LATER
I\NDY watches everyone swirling around MIRANDA. She walks over to
NIGEL among the ·crowd of well-wishers.
ANDY
You said it was your dream job.
He turns to her. Some emotion on his face·now.
, NIGEL
She's given me everything I have,
Andy. When it' s time, she' 11 pa:y me
back.
ANDY
You're sure about that?
NIGEL
No. But I hope for the best.
And he·rejoins the swirl. And ANDY sees CHRISTIAN, having a
drink, trying to cover. ANDY walks over to him.
ANDY
Don't feel bad, Christian. Most people
eventually wash up on the rocky shoals
of Miranda Priestly, right?
CHRISTIAN
So I've heard.
He looks at her. Her gaze back is level. Sc over this guy.
ANDY
Better luck next time •
. CHRISTIAN
Andy--
ANDY
That's all.
She turns away from him. Runs right into MIRANDA,
MIRANDA
I'm ready to go to.
And ANDY walks away, without looking back at CHRISTIAN. 110.
INT. LIMO --NIGHT
MIRANDA and ANDY ride along in the limo on their way back to
Paris. MIRANDA is relaxed, victorious.
ANDY nods. MIRANDA
You knew what they were planning.
MIRANDA (cont'd)
Christian had to brag about it. So
predictable. And you thought I didn't
know .
. ANDY nods again. MIRANDA laughs.
She smiles. MIRANDA (cont'd)
You think that's the first time I had
to defend myself? There's always
someone gunning for this job.
MIRANDA (cont'd)
I was impressed, though. How hard you
tried to warn me. And that, whatever
you thought was happening, you just
kept on doing your job.
She studies ANDY.
MIRANDA (cont'd)
I never thought I would say this, but
I see a lot of myself in you. Your sharpness, your focus, your ability to
see a move or two ahead. Above all,
your dedication.
ANDY
Thank you, Miranda.
MIRANDA
Your father was ill yet you chose to
stay and help me and help Runway •
. That's very admirable.
ANDY looks at her, stunned that she knows.
MIRANDA (cont'd)
Nigel told me. It was the right
choice, exactly what I would have done
when I was your age. 111.
MIRANDA looks out the window. They're approaching the next party
and the paparazzi are waiting outside, as the fabulous people
,stream into a Faris nightclub.
MIRANDA ( cont ' d)
Not everyone can do that. Push their
feelings aside.
J\,nd now she's speaking. as much to herself as to ANDY.
MIRANDA (cont'd)
The more powerful you get, the more
you'll be judged and scrutinized, on
display. You'll miss things -
vacations, sunsets, moments with your
family. Some people in your life will
never accept your priorities. Not
everyone can withstand that pressure,
Andy. But now you know that you can.
ANDY stares at her, blown away by what MIRANDA is saying.
MIRANDA {cont'd)
And so now you know that you can have
my life. You can do what I do. Because
you can sacrifice the things that need•
to be sacrificed.
ANDY
But what if I can't do that? I mean,
what if that's not what I want?
MIR.ANDA looks at her and smiles, and this time, for the first
time, her ·smile is almost maternal.
MIRANDA
Don't be silly, Andy. Of course that's
what you want. Everyone wants to be
me.
And with that she opens the door to the limo •.•
••• onto the red carpet where she is instantly embraced by the
flashing lights of the cameras.
ANDY quietly steps out behind MIRANDA. Squinting. She's never
~otten used to the lights.
MIRANDA moves down the red carpet. We follow her. And it's not
until MIRANDA is about to open the aoor that she realizes •••
ANDY is no longer beside her. 112.
EXT. CHAMPS ELYSeES -- NIGHT
We see ANDY, walking up the Champs Elysees in the dusky light:
She has never looked more beautiful. She is serene. And she is
free. The wind blows through her hair. She smiles.
Suddenly her phone rings. She looks down at it, having forgotten
it was in her hand. The name MIRANDA glows in the dim light.
ANDY doesn't break stride for a moment as she .••
.•• tosses the ringing phone into the nearest fountain.
INT. AIRPLANE -- DAY
.ANDY walks past the first class cabin ••• down the aisle, where
she squeezes into a coach seat.
EXT. STREET --DAY
We see ANDY, in her rental car, driving past Three Rivers
stadium in Cincinnati.
INT. HOUSE --CINCINNATI -- DAY
1'.NDY stands at the door·to the nice, unhip Midwestern house she
g·rew up in. The door opens • RICHARD, her dad.
. ANDY into his arms. And he holds her, smiling .
E:XT. AIRPORT --DAY
ANDY walks out of JFK. LILY is standing outside in her beat-up
Bonda Civic.
LILY
Town car's in the shop.
ANDY
Shut up.
~~hey smile at each other.
INT. COFFEE SHOP -- NIGHT
ANDY waits nervously. She is wearing jeans, an old sweater.
Still, she's different the hair, the shoes.
Suddenly NATE appears. ANDY
Thanks for coming. I thought you might
stand me up.
NATE
I thought about it.
ANDY
Nate, from the minute I quit my job,
all I've thought about was what I
would sa~ to you. I've rehearsed it in
my head a million times. How I would
apologize for being such a jerk, for
getting carried away --thinking that
what I was doing is mare important
than the people I care about it.
There's no excuse.far how I treated
you and how I let Miranda and my
ambition take me over until I became
this pod person ••• And now t~at you're
here ••• I feel like saying all that
isn't enough.
(beat)
I'm just so sorry.
NATE
I know you are.
ANDY
And I'm really happy for you. Lily
told me you got .the job in San
Francisco.
NATE
Yeah. How about that, huh? Can't
.believe it.
ANDY
I can. 113.
Beat. They smile at each other. Okay with each other. Even
friends, maybe.
Beat. NATE
So, how about you? What are you going
to do now?
1\NDY
Not sure. But I actually have a job
interv.tew today. 114.
NATE
And that's what you're wearing?
It takes her a while to get this. She bursts into laughter and
they both laugh.
INT. WAITING ROOM --DAY
ANDY sits nervously in the waiting room of the New York
observer, the total opposite of the Runway offices.
INT. OFFICE --DAY
ANDY sits across from a scruffy guy in his early forties.
EDITOR
You know our pay is crap.
ANDY
That's fine.
He looks at her resume.
EDITOR
I loved your clips. That thing on the
janitor's union ..• that's exactly what
we do here. ·
She smiles, humble now.
EDITOR {cont'd)
My only question is ... Runway? What
the hell kind of blip was that?
ANDY
Learned a lot. In the end, though, I
kind of screwed it up.
EDITOR
That's not what I hear.
ANDY looks at him, confused.
EDITOR (cont'd)
I called over there for a reference, left word with some snooty type girl, next thing you know I got a fax from a
Miranda Priestly--
ANDY blanches. L.
/ \
! EDITOR (cont'd}
. •. saying that of all the assistants
she had, you were by far her biggest
disappointment.
ANDY takes a deep bre_ath •••.
EDITOR (cont'd) ·
But that you are destined to be a
gigantic success and if I don '.t hire
you I'm an idiot.
on ANDY, stunned,
EDITOR {cont'd)
So you must have done something right.
EXT. STREET --DAY 115.
ANDY walks out of the job interview an_d out onto the street,
stunned.
EXT. STREET --DAY
,ANDY walks over to the Elias-Clarke building, looking at a place
that was, in .its way, a home to her •
. Ber eyes sweep up the building to the Runway offices.
INT. RUNWAY -- DAY.
We see EM:!LY, back at her desk. The camera widens out so we can
see ....
••. a new SECOND ASSISTANT, eager and nervous, in the place ANDY
used to sit.
EXT. STREET --DAY
ANDY looks up, thoughtful, and suddenly she sees MIRANDA walk
out of the building.
She stops. Looks over at MIRANDA.
And MIRANDA lpoks over, her eyee meeting ANDY.
A beat.
And then ANDY nods her head --in thanks, in salutation, and in
farewell ••• 116.
But MIRANDA does not react. She gets into the car.
ANDY shakes her head. That's MIRANDA. She smiles, then turns and
starts to walk down the street.
INT. CAR --DAY
MIRANDA gets in, sits back in her seat ... And through her window
she can see ...
~NDY, a bounce in her step, walking away •..
And MIRANDA, alone, where no one can see her, finally breaks
into a real smile. Then she nods to her driver.
EXT. STREET --DAY
We see MIRANDA' S limo pulling away ...
And ANDY, walking down the street, moving in different
directions further and further away as we ...
:FADE OUT . ) . ...__/
' ··---' | screenplays |
The volume element is a tensor density
I'm following Carrol's book on general relativity and in Chap. 2 he talks about tensor densities, differential forms and integration.
He says we can identify the integration measure $dx^{n}$ as $dx^{0} \wedge...\wedge dx^{n-1}$ where $\wedge$ is the wedge product between differential forms. Then he points out that the RHS is misleading because it looks like a tensor (an n form). In fact if you take two functions $f$ and $g$ and apply the exterior derivative you get the one-forms $df$ and $dg$, and then you can do the wedge product to get $df\wedge dg$ which is a 2-form. But in the case of $dx^{n}$ as $dx^{0} \wedge...\wedge dx^{n-1}$ he argues it's different because the functions appearing here are the coordinate functions themselves.
He then proceeds to prove that $dx^{n}$ as $dx^{0} \wedge...\wedge dx^{n-1}$ is actually a tensor density of weight 1 writing:
$dx^{0}\wedge...\wedge dx^{n-1}=\frac{1}{n!}\tilde \epsilon\_{\mu1..\mu n} dx^{\mu1} \wedge...\wedge dx^{\mu n}$
(here $\tilde \epsilon $ is the Levi Civita symbol)
Then under a transformation of coordinate $\tilde \epsilon$ stays the same by definition
while $dx^{\mu 1} \wedge ... \wedge dx^{\mu n}$ transforms as $\frac{dx^{\mu 1'}}
{dx^{\mu1 }}... \frac{dx^{\mu n'}}{dx^{\mu n}} dx'^{\mu 1} \wedge ... \wedge dx'^{\mu n}$.
So he concludes $\tilde \epsilon\_{\mu 1... \mu n} dx^{mu 1}\wedge ... \wedge dx^{\mu n}=|\frac{\partial x^{\mu}}{\partial x^{\mu' }}| \tilde \epsilon\_{\mu 1'... \mu n'} dx^{mu 1'}\wedge ... \wedge dx^{\mu n'} $ where $|\frac{\partial x^{\mu}}{\partial x^{\mu' }}|$
is the determinant of the Jacobian of the coordinate transformation.
what I don't understand is :
1)Why can he use in the proof that $dx^{\mu 1} \wedge ... \wedge dx^{\mu n}$ transforms as $\frac{dx^{\mu 1'}}
{dx^{\mu1 }}... \frac{dx^{\mu n'}}{dx^{\mu n}} dx'^{\mu 1} \wedge ... \wedge dx'^{\mu n}$ which is a TENSOR transformation law when he stated at first that $dx^{\mu 1} \wedge ... \wedge dx^{\mu n}$ was not a tensor?
2)why $\frac{dx^{\mu 1'}}
{dx^{\mu1 }}... \frac{dx^{\mu n'}}{dx^{\mu n}}= |\frac{\partial x^{\mu}}{\partial x^{\mu '}}|$ ? That would be true if the matrix of coordinate transformation was diagonal, so the determinant is just the product of the diagonal elements. How can it be true in general?
I'll restrict my attention to the 2D case at the moment; the general case is exactly the same, and just requires more writing.
1. Under a coordinate transformation $x\mapsto y$, a 1-form $\mathrm dx^\mu$ transforms as $\mathrm dx^\mu \mapsto \frac{\partial x^\mu}{\partial y^\nu} \mathrm dy^\nu$. As a result, the wedge product of two 1-forms $\mathrm dx^\mu \wedge \mathrm dx^\nu$ transforms as
$$\mathrm dx^\mu \wedge \mathrm dx^\nu \mapsto \left(\frac{\partial x^\mu}{\partial y^\alpha} \mathrm dy^\alpha\right)\wedge\left(\frac{\partial x^\nu}{\partial y^\beta} \mathrm dy^\beta\right) = \frac{\partial x^\mu}{\partial y^\alpha} \frac{\partial x^\nu}{\partial y^\beta} \mathrm dy^\alpha \wedge \mathrm dy^\beta$$
The extension to a generic $n$-form is straightforward.
2. Consider the volume form $\mathrm dx^0 \wedge \mathrm dx^1 = \frac{1}{2!} \epsilon\_{\mu\nu} \mathrm dx^\mu \wedge \mathrm dx^\nu$. Applying the transformation law above,
$$\epsilon\_{\mu\nu} \mathrm dx^\mu \wedge \mathrm dx^\nu \mapsto \epsilon\_{\mu\nu} \frac{\partial x^\mu}{\partial y^\alpha} \frac{\partial x^\nu}{\partial y^\beta} \mathrm dy^\alpha \wedge \mathrm dy^\beta$$
Note that for a $2\times 2$ matrix $A$ with entries $A^i\_{\ \ j}$, we have
$$\mathrm{det}(A) = A^0\_{\ \ 0} A^1\_{\ \ 1}- A^0\_{\ \ 1} A^1\_{\ \ 0}= \epsilon\_{i j} A^i\_{\ \ 0} A^j\_{\ \ 1}$$
$$\implies \epsilon\_{nm} \mathrm{det}(A) = \epsilon\_{ij} A^i\_{\ \ n} A^j\_{\ \ m}$$
Comparing this with what we see above,
$$\epsilon\_{\mu\nu} \frac{\partial x^\mu}{\partial y^\alpha} \frac{\partial x^\nu}{\partial y^\beta}= \mathrm{det}(J) \epsilon\_{\alpha\beta}$$
where $J$ is the Jacobian of the transformation. Therefore, we obtain
$$\mathrm dx^0 \wedge \mathrm dx^1 = \frac{1}{2!}\epsilon\_{\mu\nu}\mathrm dx^\mu \wedge \mathrm dx^\nu \mapsto \frac{\mathrm{det}(J)}{2!} \epsilon\_{\alpha\beta} \mathrm dy^\alpha\wedge \mathrm dy^\beta = \mathrm{det}(J) \mathrm dy^0 \wedge \mathrm dy^1$$
1. I don't have a copy of Carroll's book next to me, so I can't comment on what precisely he says. However, saying the wedge of $dx^i$'s is not a tensor (field) is just wrong. On a manifold we can take a chart $(U,\varphi)$, so $\varphi:U\to\varphi[U]\subset \Bbb{R}^n$. The $n$ component functions of $\varphi$ are traditionally written $(x^1,\dots, x^n)$ (or if you want to start your indices as $(x^0,\dots, x^{n-1})$, be my guest). Each $x^i$ is a function $x^i:U\to \Bbb{R}$. As such we are perfectly allowed to take its exterior derivative $dx^i$. This is now a differential $1$-form on the open set $U\subset M$. The wedge product of $n$ differential 1-forms on $U$ is again (by definition) a differential $n$-form on $U$, so $dx^1\wedge \cdots \wedge dx^n$ **is** a differential $n$-form on $U$.
Also, differential forms (on $U$) ARE tensor fields (on $U$), so it is also perfectly correct to say that $dx^1\wedge \cdots \wedge dx^n$ is a tensor field on $U$.
2. It seems you should look at one of the many equivalent ways of defining a determinant. Let's say $A$ is an $n\times n$ matrix; we denote the entry in row $i$, column $j$ as $a\_{ij}$. Then, one can define
\begin{align}
\det A&=\sum\_{\sigma \in S\_n}\text{sgn}(\sigma)\cdot a\_{1,\sigma(1)}\cdots a\_{n,\sigma(n)}
\end{align}
This is known as [Leibniz's formula for determinants.](https://en.wikipedia.org/wiki/Leibniz_formula_for_determinants) The physics way of writing this is that rather than writing a permutation $\sigma:\{1,\dots, n\}\to\{1,\dots, n\}$ as a function, we just display its outputs as $(\mu\_1,\dots, \mu\_n)$. The Levi-Civita symbol $\epsilon$ is literally the same thing as the sign of a permutation. So, one can write the above as
\begin{align}
\det A&= \sum \epsilon\_{\mu\_1\cdots \mu\_n}\cdot a\_{1,\mu\_1}\cdots a\_{n,\mu\_n}.
\end{align}
If you're instead more familiar with the Laplace formula i.e. "expansion along minors", then let us, temporarily, assume the equivalence between the Leibniz permutation and Laplace minor formulas. Then, by considering two charts $(U,\varphi=(x^1,\dots, x^n))$ and $(V,\psi=(y^1,\dots, y^n))$, with non-empty overlap $U\cap V\neq \emptyset$, we have
\begin{align}
dx^1\wedge \cdots \wedge dx^n&=\left(\frac{\partial x^1}{\partial y^{\nu\_1}}\,dy^{\nu\_1}\right)\wedge \cdots \wedge \left(\frac{\partial x^n}{\partial y^{\nu\_n}}\,dy^{\nu\_n}\right)\\
&=\left(\frac{\partial x^1}{\partial y^{\nu\_1}}\cdots \frac{\partial x^n}{\partial y^{\nu\_n}}\right)\cdot \left(dy^{\nu\_1}\wedge \cdots \wedge dy^{\nu\_n}\right)\\
&=\left(\frac{\partial x^1}{\partial y^{\nu\_1}}\cdots \frac{\partial x^n}{\partial y^{\nu\_n}}\right)\cdot \left(\epsilon^{\nu\_1,\dots, \nu\_n}\,dy^1\wedge \cdots \wedge dy^n\right)\\
&=\left(\epsilon^{\nu\_1,\dots, \nu\_n}\frac{\partial x^1}{\partial y^{\nu\_1}}\cdots \frac{\partial x^n}{\partial y^{\nu\_n}}\right)\,dy^1\wedge \cdots dy^n\\
&=\det \left(\frac{\partial x}{\partial y}\right)\, dy^1\wedge \cdots \wedge dy^n.
\end{align}
Throughout, $\epsilon^{\nu\_1,\cdots, \nu\_n}$ is just a symbol denoting the sign of the permutation which sends $i\in\{1,\dots, n\}$ to $\nu\_i\in\{1,\dots, n\}$.
---
**About Tensor Densities.**
Tensor densities are completely different beasts from tensor fields and differential forms (which are also tensor fields, as I mentioned above). For now I shall only focus on scalar densities. A scalar density of weight 1 can be obtained by "taking absolute values" of differential forms. Explicitly, recall that a differential $n$-form $\omega$ on an $n$-dimensional manifold $M$ is by definition an object (a mapping) which assigns to each point $p\in M$ an alternating multilinear functional $\omega\_p:\underbrace{T\_pM\times \cdots \times T\_pM}\_{\text{$n$ times}} \to \Bbb{R}$, i.e it eats $n$ vectors $v\_1,\dots, v\_n\in T\_pM$ and spits out a real number $\omega\_p(v\_1,\dots, v\_n)\in\Bbb{R}$. By taking absolute values, I just mean the object $|\omega|$ which assigns to each $p\in M$ and vectors $v\_1,\dots, v\_n\in T\_pM$, the real number $|\omega\_p(v\_1,\dots, v\_n)|\in\Bbb{R}$.
So, any differential $n$-form $\omega$ on $M$ has the property that once we specify a coordinate chart $(U,\varphi=(x^1,\dots, x^n))$, we can write (as an equality of differential forms on $U$)
\begin{align}
\omega&=f\_{(x)}\cdot dx^1\wedge \cdots \wedge dx^n,
\end{align}
for some unique function $f\_{(x)}:U\to\Bbb{R}$ (the subscript $x$ is just to emphasize that everything is with respect to the chart $\varphi=(x^1,\dots, x^n)$). Given a scalar density $\rho$ on $M$ of weight $1$, we can write it as
\begin{align}
\rho&= \widetilde{f}\_{(x)}\cdot |dx^1\wedge \cdots dx^n|,
\end{align}
for some other function $\widetilde{f\_{(x)}}:U\to\Bbb{R}$.\
The natural objects to integrate on manifolds are precisely scalar densities of weight $1$, because the transformation law for the coefficients is
\begin{align}
\rho&=\widetilde{f\_{(x)}}\cdot |dx^1\wedge \cdots dx^n| = \tilde{f\_{(x)}}\cdot \left|\det\left(\frac{\partial x}{\partial y}\right)\,dy^1\wedge \cdots dy^n\right|\\
&=\widetilde{f\_{(x)}}\cdot \left|\det \frac{\partial x}{\partial y}\right|\, \left|dy^1\wedge \cdots dy^n\right|
\end{align}
This factor of $\left|\det \frac{\partial x}{\partial y}\right|$ is exactly the reciprocal of the factor we pick up from the change-of-variables theorem for integral calculus in $\Bbb{R}^n$. i.e this cancellation is what allows us to define in a chart-independent manner the integral of a density over a chart domain as
\begin{align}
\int\_U\rho&:= \int\_{\varphi[U]}\widetilde{f\_{(x)}}\circ \varphi^{-1}\,\, d\lambda\\
&\equiv \int\_{\varphi[U]}\widetilde{f\_{(x)}}\left(\varphi^{-1}(a)\right)\,\,d\lambda(a)\\
&\equiv \int\_{\varphi[U]}\widetilde{f\_{(x)}}\left(\varphi^{-1}(a)\right)\,\,d^na,
\end{align}
here the $\equiv$ means "same thing different notation". Here, on the RHS, we're taking the scalar density $\rho$ and integrating its chart-representative function $\widetilde{f\_{(x)}}\circ \varphi^{-1}:\varphi[U]\subset \Bbb{R}^n\to\Bbb{R}$ with respect to $n$-dimensional Lebesgue measure. i.e it's a standard integral that you've always seen in multivariable calculus clsses, prior to learning anything manifolds. (ok if you don't know about Lebesgue measure and integrals, then just assume all the functions are smooth, and that all the sets are "nice", so that the RHS can be interpreted as a Riemann-integral in $n$-dimensions, so it really is the basic vanilla object).
By a technical partition of unity argument, one can then define $\int\_M\rho$, i.e an integral over the entire manifold.
Differential forms come into the picture for integration because if we have an orientation for the whole manifold, then one can construct an isomorphism between the set of scalar densities and the set of differential $n$-forms. This allows us to define the integral of $n$-forms over $n$-dimensional oriented manifolds. We like working with differential forms because they're very easy to calculate with and work with (primarily because of the simplicity of the Cartan calculus, i.e the nice manner in which all the operations like exterior derivative, Lie derivative, interior product all behave).
---
**Equivalence of Determinant Definitions.**
Regarding the equivalence between the Leibniz and Laplace formulae, I think the most efficient way to do it is by induction on the size, $n$, of the matrix. When $n=1$, they're clearly equal. Let us suppose as the induction hypothesis they are equal for matrices of size $n-1$. Then, for a matrix $A$ of size $n$, we have
\begin{align}
\sum\_{\sigma\in S\_n}\text{sgn}(\sigma)\cdot \prod\_{i=1}^na\_{i,\sigma(i)}&=\sum\_{j=1}^n\sum\_{\substack{\sigma\in S\_n\\\sigma(1)=j}}\text{sgn}(\sigma)\cdot a\_{1,j}\cdot \prod\_{i=2}^na\_{i,\sigma(i)}
\end{align}
All I've done here is note that we can split up the sum $\sum\_{\sigma\in S\_n}$ into $n$ parts, by specifying what $\sigma(1)$ can be. i.e adding up over all permutations is the same as adding up all permutations with $\sigma(1)=1$ plus all permutations with $\sigma(1)=2$ and so on. Note that in the product $\prod\_{i=2}^na\_{i,\sigma(i)}$, clearly none of the elements of $A$ from row $1$, nor column $j$ appear. In other words, these entries are precisely the matrix entries of the $(1,j)$ minor matrix, $C\_{1,j}$ (i.e the matrix $C\_{1,j}$ is obtained by deleting row $1$ and column $j$ from $A$).
Now, this is where one has to be slightly careful with indices and stuff. I feel like the more one tries to explain it, the more confusing it becomes, but I'll try my best (though at the end of the day, once you have this "outline", you should verify the details for yourself). Specifying a permutation $\sigma\in S\_n$ with $\sigma(1)=j$ is the same thing as specifying a certain permutation $\tau\in S\_{n-1}$ (because specifying a permutation in $S\_n$ means we need to define where each of the $n$ elements get sent to, but we're already fixing $\sigma(1)=j$, so we only need to define where the remaining $n-1$ terms get mapped to). The relationship between these two is that $\text{sgn}(\sigma)=(-1)^j\text{sgn}(\tau)$. So we have
\begin{align}
\sum\_{j=1}^n\sum\_{\substack{\sigma\in S\_n\\\sigma(1)=j}}\text{sgn}(\sigma)\cdot a\_{1,j}\cdot \prod\_{i=2}^na\_{i,\sigma(i)}&=
\sum\_{j=1}^n\sum\_{\tau\in S\_{n-1}}(-1)^j\text{sgn}(\tau)a\_{1,j}\cdot \prod\_{i=1}^{n-1}(C\_{1,j})\_{i,\tau(i)}\\
&=\sum\_{j=1}^n(-1)^j\cdot a\_{i,j}\cdot \left(\sum\_{\tau \in S\_{n-1}}\text{sgn}(\tau)\cdot \prod\_{i=1}^{n-1}(C\_{1,j})\_{i,\tau(i)}\right)\\
&=\sum\_{j=1}^n(-1)^j\cdot a\_{1,j}\cdot \det(C\_{1,j}).
\end{align}
Note that the product $\prod\_{i=2}^na\_{i,\sigma(i)}$ became a product $\prod\_{i=1}^{n-1}(C\_{1,j})\_{i,\tau(i)}$, because the exact same elements appear in both terms; we're just writing it with different notation. The last equality was by our induction hypothesis (which we can use since $C\_{1,j}$ is an $(n-1)\times (n-1)$ matrix). This shows that the Leibniz and Laplace formulas agree for the $n\times n$ matrix $A$, thereby completing the induction.
I think I know where I was wrong for the fist question: in $dx^{0}\wedge\ldots\wedge dx^{n-1}$ $0$...$n-1$ are labels while in $dx^{\mu\_1}\wedge\ldots\wedge dx^{\mu\_n}$ $\mu\_1 \mu\_n$ are real indices. So actually $dx^{\mu\_1}\wedge\ldots\wedge dx^{\mu\_n}$ is a form. But still the second question remains.
| stackexchange/physics |
toro - labb and coworkers have presented a fresh and interesting concept by demonstrating how the specific derivatives computed on the irc change with evolution of the reaction [ 15]:1\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \begin{array}{*{20}c } { { \text{reaction}}\;{\text{force } } : } \hfill & { { { f}_{\xi } } = - \frac{{de}}{{d\xi } } } \hfill \\\end{array } $ $ \end{document}2\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \begin{array}{*{20}c } { { \text{reaction}}\,{\text{electronic}}\,{\text{flux } } : } \hfill & { { { j}_{\xi } } \propto \frac{{d\mu } } { { d\xi } } } \hfill \\\end{array } , $ $ \end{document}e stands for the electronic energy of the system , = ( e/n) is the chemical potential of electrons and is the progress of the reaction on the irc .
other authors studied the reaction profiles for the global hardness : = ( e/n). torrent - sucarrat et al .
first found the non - symmetric stationary points for the hardness profiles in simple reactions ; the same group also studied the hardness modification through the molecular distortions along vibrational modes of polycyclic hydrocarbons .
the hardness stationary points discovered were less sensitive to the calculation technique than those for the energy profile .
ordon and tachibana presented an analysis for the profile of the molecular stiffness on the reaction path : g = d/d. these authors also presented an effort to determine the electronic flux between the regions in the reacting entity .
the conceptual density functional theory has developed a variety of concepts to characterize the electronic systems by taking the energy as a function of a number of electrons n and as a functional of the external potential (r ) .
the role of the specific external potential from the nuclei of a chemical entity has been analyzed by ordon and komorowski .
the authors analyzed the variety of energy derivatives over the nuclear displacement ( ri ) [ 13 , 14 ] . since the irc analysis operates with the variations of the atomic positions , the appropriate derivatives of the electronic energy over ri provide an equivalent description to the successfully used descriptors : f , j , eqs . 1 and 2 .
the goal of this present work is to apply existing conceptual dft apparatus to show an alternative formulation of f , j and their characteristic points on the irc .
an effort is made to escape the tyranny of the finite difference approximation , inevitable in any calculations involving ionization energy ( i ) and electron affinicty ( a ) , thus also the chemical potential =(i + a ) and global hardness , =(i - a ) .
specifically , the relation between the global softness ( s= ) and the electronic dipole polarizability changes on the irc have been studied computationally for the model reaction hf+cohcof .
for the purpose of the reaction path analysis , the unique irc coordinate is specified as . assuming the supermolecule approach to whatever reactant configuration may be , the dft operational regime is n = const , i.e. , the closed system or canonical ensemble approach .
the electronic energy e( ) , chemical potential , global hardness and global softness will vary with the reaction progress as a result of variable nuclear positions . to simplify the formalism , the concise notation for the derivatives is used throughout : = e , = e , etc .
the reaction force becomes [ 16 , 17]:3\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ { f_{\xi } } = -\sum\limits_i { \frac{{\partial e}}{{\partial { { \mathbf{r}}_i}}}\cdot \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } } = \sum\limits_i { { { \mathbf{f}}_i}\cdot \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } } .
$ $ \end{document}here fi stands for the hellman - feynman force acting on ith nucleus , the summation may be limited to atoms relevant for the reaction \documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \left ( { \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } \ne 0 } \right ) $ $ \end{document}. by the same token , the derivative of the chemical potential provides an alternative formulation for the electronic flux ( eq .
2):4\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ { j_{\xi } } = \frac{{d\mu } } { { d\xi } } = -\frac{{d{f_{\xi } } } } { dn } = -\sum\limits_i { \frac{{d{{\mathbf{f}}_i}}}{dn}\cdot \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } } = \sum\limits_i { { { \boldsymbol{\phi}}_i}\cdot \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } } .
$ $ \end{document } the derivative d / dn is taken at constant external potential , hence at ri = const ; the symbol i = -e has been used for the nuclear reactivity index . at the finite difference approximation
this index is calculated from the hellman - feynman forces in respective ions:5\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ { { \boldsymbol{\phi}}_i}=-\tfrac{1}{2}\left ( { \mathbf{f}_{{_i}}^{+}-\mathbf{f}_{{_i}}^{- } } \right ) .
$ $ \end{document } hence:6\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ { j_{\xi } } = -\frac{1}{2}\left ( { { f_{\xi}}^{+}-{f_{\xi}}^{- } } \right ) $ $ \end{document}\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ f_{\xi}^{+},f_{\xi}^{- } $ $ \end{document } are reaction forces calculated for the ionized forms of the molecule .
equations 4 and 6 provide the electronic flux value identical to the original definition ( eq . 1 ) within the finite difference approximation only if the summation extends to all atoms in the system ( see discussion and conclusions ) .
the derivative of hardness and softness is calculated by exploring the nuclear stiffness index gi = e:7\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ { { { \bf{g}}}_{i } } = \frac{1}{2}\left ( { { \bf{f}}_{i}^ { + } + { \bf{f}}_{i}^ { - } } \right ) - { { { \bf{f}}}_{i } } $ $ \end{document}8\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{{d\eta } } { { d\xi } } = -\frac{{{d^2}{f_{\xi } } } } { { d{n^2}}}=-\sum\limits_i { \frac{{{d^2}{{\mathbf{f}}_i}}}{{d{n^2}}}\cdot \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } } = -\sum\limits_i { { { \mathbf{g}}_i}\cdot \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } } .
$ $ \end{document } using identities provided by ordon , the derivative of global softness s becomes:9\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{ds } { { d\xi } } = -{s^2}\sum\limits_i { { { \mathbf{g}}_i}\cdot \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } } .
$ $ \end{document } the electronic dipole polarizability is by definition the second energy derivative over the external field : \documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ { \alpha_e}=\frac{{{d^2}e}}{{d{\varepsilon^2 } } } $ $ \end{document}. vela and gazques first demonstrated a linear relationship between e and the global softness of a system .
the reaction force extreme is found through the derivative:10\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{{d{f_{\xi } } } } { { d\xi } } = \sum\limits_i { \frac{{\partial { f_{\xi } } } } { { \partial { { \mathbf{r}}_i}}}\cdot } \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } = \sum\limits_i { \frac{\partial } { { \partial { { \mathbf{r}}_i}}}\left ( { \sum\limits_j { { { \mathbf{f}}_j}\cdot \frac{{d{{\mathbf{r}}_j}}}{{d\xi } } } } \right ) } \cdot \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } = \sum\limits_{i , j } { \frac{{\partial { { \mathbf{f}}_j}}}{{\partial { { \mathbf{r}}_i } } } } \cdot \frac{{d{{\mathbf{r}}_j}}}{{d\xi } } \cdot \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } $ $ \end{document}\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{\partial } { { \partial { { \mathbf{r}}_i}}}\frac{{d{{\mathbf{r}}_j}}}{{d\xi } } = \frac{{\partial { \delta_{ij } } } } { { \partial \xi } } = 0 $ $ \end{document } since rj are independent variables . the derivative \documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{{\partial { { \mathbf{f}}_j}}}{{\partial { { \mathbf{r}}_i}}}={k_{ij } } = { e^{{\left ( { rr } \right ) } } } $ $ \end{document } is an element of the force constants matrix and eq .
10 becomes identical to the reaction force constant , as discussed by other authors [ 19 , 20]:11\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{{d{f_{\xi } } } } { { d\xi } } = \sum\limits_{i , j } { { k_{ij } } } \frac{{d{{\mathbf{r}}_j}}}{{d\xi } } \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } = { k_{\xi } } .
$ $ \end{document}the conditions for the extreme reaction force is then k = 0 , as expected .
4:12\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{{d{j_{\xi } } } } { { d\xi } } = \sum\limits_{i , j } { { \lambda_{ij } } } \left ( \xi \right)\cdot \frac{{d{{\mathbf{r}}_j}}}{{d\xi } } \cdot \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } = \frac{1}{2}\left [ { k_{\xi}^{+}-k_{\xi}^{- } } \right ] .
$ $ \end{document}\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ k_{\xi}^{+},k_{\xi}^{- } $ $ \end{document } are reaction force constants calculated for the ionized species , respectively , ij stands for the component of the mode softening index introduced in earlier works from this laboratory : [ 8 , 21]13\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ { \lambda_{ij } } = \frac{{\partial { { \boldsymbol{\phi}}_j}}}{{\partial { { \mathbf{r}}_i}}}=\frac{{\partial { k_{ij } } } } { { \partial n}}\cong \frac{1}{2}\left [ { k_{ij}^{+}-k_{ij}^{- } } \right ] .
$ $ \end{document } the critical points on the electronic flux profile are determined by the dependence of the reaction force constants on the number of electrons k(n ) .
the extreme hardness and softness appear at the same point on the irc ( eqs . 8 and 9 ) : 14\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{{d\eta } } { { d\xi } } = { f_{\xi } } -\frac{1}{2}\left ( { f_{\xi}^{+}+f_{\xi}^{- } } \right)=0 .
$ $ \end{document } the critical points for the reaction force f ( eq . 10 ) , electronic flux j ( eq .
12 ) and hardness / softness appear to be determined independently , by different factors . the extreme of the electronic part of the dipole polarizability ( ri = const ) is found by definition from the derivative:15\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{{d{{{\underline{\underline{\boldsymbol{\upalpha}}}}}_e}}}{{d\xi } } = \frac{d}{{d\xi } } \frac{{{d^2}e}}{{d{{\boldsymbol{\upvarepsilon}}^2}}}=\frac{{{d^2}{f_{\xi } } } } { { d{{\boldsymbol{\upvarepsilon}}^2}}}=\frac{{{d^2}}}{{d{{\boldsymbol{\upvarepsilon}}^2}}}\sum\limits_i { { { \mathbf{f}}_i}\cdot \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } } = \sum\limits_i { \frac{{{d^2}{{\mathbf{f}}_i}}}{{d{{\boldsymbol{\upvarepsilon}}^2}}}\cdot \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } } .
$ $ \end{document } the derivative of force may be expressed using the hellman - feynman force at ith nucleus:16\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ { { \mathbf{f}}_i}=\mathbf{f}_{{_i}}^{n - n } + \int { \rho \left ( \mathbf{r } \right ) } \cdot { { \boldsymbol{\upvarepsilon}}_i}\left ( \mathbf{r } \right)d\mathbf{r}\;\mathrm{where}\;{{\boldsymbol{\upvarepsilon}}_i}\left ( \mathbf{r } \right)=-\frac{{{z_i}\left ( { { { \mathbf{r}}_i}-\mathbf{r } } \right)}}{{{{{\left| { { { \mathbf{r}}_i}-\mathbf{r } } \right|}}^3}}}. $ $ \end{document } hence:17\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{{d{{\mathbf{f}}_i}}}{{d\boldsymbol{\upvarepsilon}}}=\int \boldsymbol{\upalpha } \left ( \mathbf{r } \right){{\boldsymbol{\upvarepsilon}}_i}\left ( \mathbf{r } \right)d\mathbf{r } $ $ \end{document}and18\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{{d{{{\underline{\underline{\boldsymbol{\upalpha}}}}}_e}}}{{d\xi } } = \sum\limits_i { \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } } \cdot \int { \underline{\underline{{{{\boldsymbol{\upbeta}}_e}}}}\left ( \mathbf{r } \right){{\boldsymbol{\upvarepsilon}}_i}\left ( \mathbf{r } \right)d\mathbf{r}}. $ $ \end{document}the local polarization vector (r ) has been introduced by komorowski et al .
[ 22 , 23 ] as a tool to express the polarization justified fukui functions ; e(r ) is computable local electronic hyperpolarizability tensor . the formal result ( eq
. 18 ) indicates , that the meaningful contributions to the derivative of the electronic dipole polarizability on the irc that determines the polarizability extreme are due to atoms relevant for the reaction progress only \documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \left ( { \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } \ne 0 } \right ) $ $ \end{document}. the same is evident in \documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{{d\eta } } { { d\xi } } $ $ \end{document } and \documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{ds } { { d\xi } } $ $ \end{document } derivatives , eqs .
the reaction selected for this study has been already been studied : \documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \mathrm{hf}+\mathrm{co}\to \mathrm{hcof}. $ $ \end{document } its irc energy profile has been reproduced by the standard irc procedure at the mp2 level using the 6 - 311++g(3df,3pd ) basis set and the gaussian 09 code .
ionization energy ( i ) and electron affinity ( a ) were calculated for the geometry determined in each point on the reaction path .
electron dipole polarizability has been calculated using the finite field approximation , the trace of the polarization tensor has been calculated for each point . the reaction electronic flux calculated for the reaction
. the variable arrangement of atoms on the irc is shown in five characteristic points . within the reaction region ( limited by the points where the reaction force constant is zero ) ,
only minor geometry change occurs , the hydrogen moving slightly off the fluorine atom ( see also the toc picture).fig .
1reaction electronic flux j
calculated from the definition ( eq . 1 ) .
the arrangement of atoms is shown at the characteristic reaction points reaction electronic flux j
calculated from the definition ( eq . 1 ) .
the arrangement of atoms is shown at the characteristic reaction points electron dipole polarizability on the reaction path is shown in fig . 2 .
the results of quantum chemical computation for points on the irc have been approximated by a polynomial curve ( 8th degree ) to produce smooth and differentiable functions .
the extreme points ( maxima ) have been determined with the accuracy of this analytic approximation to the computed points.fig .
2variation of the electron dipole polarizability \documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \left ( { { { \overline{\alpha}}_e } } \right ) $ $ \end{document } and global softness calculated in two approximations : ( i - a ) and (
l-
h ) . position of the maximum has been marked on each curve variation of the electron dipole polarizability \documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \left ( { { { \overline{\alpha}}_e } } \right ) $ $ \end{document } and global softness calculated in two approximations : ( i - a ) and (
l-
h ) . position of the maximum has been marked on each curve
for the purpose of the reaction path analysis , the unique irc coordinate is specified as . assuming the supermolecule approach to whatever reactant configuration may be , the dft operational regime is n = const , i.e. , the closed system or canonical ensemble approach .
the electronic energy e( ) , chemical potential , global hardness and global softness will vary with the reaction progress as a result of variable nuclear positions . to simplify the formalism , the concise notation for the derivatives is used throughout : = e , = e , etc .
the reaction force becomes [ 16 , 17]:3\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ { f_{\xi } } = -\sum\limits_i { \frac{{\partial e}}{{\partial { { \mathbf{r}}_i}}}\cdot \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } } = \sum\limits_i { { { \mathbf{f}}_i}\cdot \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } } .
$ $ \end{document}here fi stands for the hellman - feynman force acting on ith nucleus , the summation may be limited to atoms relevant for the reaction \documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \left ( { \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } \ne 0 } \right ) $ $ \end{document}. by the same token , the derivative of the chemical potential provides an alternative formulation for the electronic flux ( eq .
2):4\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ { j_{\xi } } = \frac{{d\mu } } { { d\xi } } = -\frac{{d{f_{\xi } } } } { dn } = -\sum\limits_i { \frac{{d{{\mathbf{f}}_i}}}{dn}\cdot \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } } = \sum\limits_i { { { \boldsymbol{\phi}}_i}\cdot \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } } .
$ $ \end{document } the derivative d / dn is taken at constant external potential , hence at ri = const ; the symbol i = -e has been used for the nuclear reactivity index . at the finite difference approximation
this index is calculated from the hellman - feynman forces in respective ions:5\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ { { \boldsymbol{\phi}}_i}=-\tfrac{1}{2}\left ( { \mathbf{f}_{{_i}}^{+}-\mathbf{f}_{{_i}}^{- } } \right ) .
$ $ \end{document } hence:6\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ { j_{\xi } } = -\frac{1}{2}\left ( { { f_{\xi}}^{+}-{f_{\xi}}^{- } } \right ) $ $ \end{document}\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ f_{\xi}^{+},f_{\xi}^{- } $ $ \end{document } are reaction forces calculated for the ionized forms of the molecule .
equations 4 and 6 provide the electronic flux value identical to the original definition ( eq . 1 ) within the finite difference approximation only if the summation extends to all atoms in the system ( see discussion and conclusions ) .
the derivative of hardness and softness is calculated by exploring the nuclear stiffness index gi = e:7\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ { { { \bf{g}}}_{i } } = \frac{1}{2}\left ( { { \bf{f}}_{i}^ { + } + { \bf{f}}_{i}^ { - } } \right ) - { { { \bf{f}}}_{i } } $ $ \end{document}8\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{{d\eta } } { { d\xi } } = -\frac{{{d^2}{f_{\xi } } } } { { d{n^2}}}=-\sum\limits_i { \frac{{{d^2}{{\mathbf{f}}_i}}}{{d{n^2}}}\cdot \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } } = -\sum\limits_i { { { \mathbf{g}}_i}\cdot \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } } .
$ $ \end{document } using identities provided by ordon , the derivative of global softness s becomes:9\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{ds } { { d\xi } } = -{s^2}\sum\limits_i { { { \mathbf{g}}_i}\cdot \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } } .
$ $ \end{document } the electronic dipole polarizability is by definition the second energy derivative over the external field : \documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ { \alpha_e}=\frac{{{d^2}e}}{{d{\varepsilon^2 } } } $ $ \end{document}. vela and gazques first demonstrated a linear relationship between e and the global softness of a system .
the reaction force extreme is found through the derivative:10\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{{d{f_{\xi } } } } { { d\xi } } = \sum\limits_i { \frac{{\partial { f_{\xi } } } } { { \partial { { \mathbf{r}}_i}}}\cdot } \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } = \sum\limits_i { \frac{\partial } { { \partial { { \mathbf{r}}_i}}}\left ( { \sum\limits_j { { { \mathbf{f}}_j}\cdot \frac{{d{{\mathbf{r}}_j}}}{{d\xi } } } } \right ) } \cdot \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } = \sum\limits_{i , j } { \frac{{\partial { { \mathbf{f}}_j}}}{{\partial { { \mathbf{r}}_i } } } } \cdot \frac{{d{{\mathbf{r}}_j}}}{{d\xi } } \cdot \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } $ $ \end{document}\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{\partial } { { \partial { { \mathbf{r}}_i}}}\frac{{d{{\mathbf{r}}_j}}}{{d\xi } } = \frac{{\partial { \delta_{ij } } } } { { \partial \xi } } = 0 $ $ \end{document } since rj are independent variables . the derivative \documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{{\partial { { \mathbf{f}}_j}}}{{\partial { { \mathbf{r}}_i}}}={k_{ij } } = { e^{{\left ( { rr } \right ) } } } $ $ \end{document } is an element of the force constants matrix and eq . 10 becomes identical to the reaction force constant , as discussed by other authors [ 19 , 20]:11\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{{d{f_{\xi } } } } { { d\xi } } = \sum\limits_{i , j } { { k_{ij } } } \frac{{d{{\mathbf{r}}_j}}}{{d\xi } } \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } = { k_{\xi } } .
$ $ \end{document}the conditions for the extreme reaction force is then k = 0 , as expected .
the critical points for the electronic flux ( eq . 1 ) result formally by taking a derivative of eq .
4:12\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{{d{j_{\xi } } } } { { d\xi } } = \sum\limits_{i , j } { { \lambda_{ij } } } \left ( \xi \right)\cdot \frac{{d{{\mathbf{r}}_j}}}{{d\xi } } \cdot \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } = \frac{1}{2}\left [ { k_{\xi}^{+}-k_{\xi}^{- } } \right ] .
$ $ \end{document}\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ k_{\xi}^{+},k_{\xi}^{- } $ $ \end{document } are reaction force constants calculated for the ionized species , respectively , ij stands for the component of the mode softening index introduced in earlier works from this laboratory : [ 8 , 21]13\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ { \lambda_{ij } } = \frac{{\partial { { \boldsymbol{\phi}}_j}}}{{\partial { { \mathbf{r}}_i}}}=\frac{{\partial { k_{ij } } } } { { \partial n}}\cong \frac{1}{2}\left [ { k_{ij}^{+}-k_{ij}^{- } } \right ] .
$ $ \end{document } the critical points on the electronic flux profile are determined by the dependence of the reaction force constants on the number of electrons k(n ) .
the extreme hardness and softness appear at the same point on the irc ( eqs . 8 and 9 ) : 14\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{{d\eta } } { { d\xi } } = { f_{\xi } } -\frac{1}{2}\left ( { f_{\xi}^{+}+f_{\xi}^{- } } \right)=0 .
$ $ \end{document } the critical points for the reaction force f ( eq . 10 ) , electronic flux j ( eq .
12 ) and hardness / softness appear to be determined independently , by different factors .
the extreme of the electronic part of the dipole polarizability ( ri = const ) is found by definition from the derivative:15\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{{d{{{\underline{\underline{\boldsymbol{\upalpha}}}}}_e}}}{{d\xi } } = \frac{d}{{d\xi } } \frac{{{d^2}e}}{{d{{\boldsymbol{\upvarepsilon}}^2}}}=\frac{{{d^2}{f_{\xi } } } } { { d{{\boldsymbol{\upvarepsilon}}^2}}}=\frac{{{d^2}}}{{d{{\boldsymbol{\upvarepsilon}}^2}}}\sum\limits_i { { { \mathbf{f}}_i}\cdot \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } } = \sum\limits_i { \frac{{{d^2}{{\mathbf{f}}_i}}}{{d{{\boldsymbol{\upvarepsilon}}^2}}}\cdot \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } } .
$ $ \end{document } the derivative of force may be expressed using the hellman - feynman force at ith nucleus:16\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ { { \mathbf{f}}_i}=\mathbf{f}_{{_i}}^{n - n } + \int { \rho \left ( \mathbf{r } \right ) } \cdot { { \boldsymbol{\upvarepsilon}}_i}\left ( \mathbf{r } \right)d\mathbf{r}\;\mathrm{where}\;{{\boldsymbol{\upvarepsilon}}_i}\left ( \mathbf{r } \right)=-\frac{{{z_i}\left ( { { { \mathbf{r}}_i}-\mathbf{r } } \right)}}{{{{{\left| { { { \mathbf{r}}_i}-\mathbf{r } } \right|}}^3}}}. $ $ \end{document } hence:17\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{{d{{\mathbf{f}}_i}}}{{d\boldsymbol{\upvarepsilon}}}=\int \boldsymbol{\upalpha } \left ( \mathbf{r } \right){{\boldsymbol{\upvarepsilon}}_i}\left ( \mathbf{r } \right)d\mathbf{r } $ $ \end{document}and18\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{{d{{{\underline{\underline{\boldsymbol{\upalpha}}}}}_e}}}{{d\xi } } = \sum\limits_i { \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } } \cdot \int { \underline{\underline{{{{\boldsymbol{\upbeta}}_e}}}}\left ( \mathbf{r } \right){{\boldsymbol{\upvarepsilon}}_i}\left ( \mathbf{r } \right)d\mathbf{r}}. $ $ \end{document}the local polarization vector (r ) has been introduced by komorowski et al . [ 22 , 23 ] as a tool to express the polarization justified fukui functions ; e(r ) is computable local electronic hyperpolarizability tensor . the formal result ( eq
. 18 ) indicates , that the meaningful contributions to the derivative of the electronic dipole polarizability on the irc that determines the polarizability extreme are due to atoms relevant for the reaction progress only \documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \left ( { \frac{{d{{\mathbf{r}}_i}}}{{d\xi } } \ne 0 } \right ) $ $ \end{document}. the same is evident in \documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{{d\eta } } { { d\xi } } $ $ \end{document } and \documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \frac{ds } { { d\xi } } $ $ \end{document } derivatives , eqs . 8 and 9 .
the reaction selected for this study has been already been studied : \documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \mathrm{hf}+\mathrm{co}\to \mathrm{hcof}. $ $ \end{document } its irc energy profile has been reproduced by the standard irc procedure at the mp2 level using the 6 - 311++g(3df,3pd ) basis set and the gaussian 09 code .
ionization energy ( i ) and electron affinity ( a ) were calculated for the geometry determined in each point on the reaction path .
electron dipole polarizability has been calculated using the finite field approximation , the trace of the polarization tensor has been calculated for each point . the reaction electronic flux calculated for the reaction
. the variable arrangement of atoms on the irc is shown in five characteristic points . within the reaction region ( limited by the points where the reaction force constant is zero ) ,
only minor geometry change occurs , the hydrogen moving slightly off the fluorine atom ( see also the toc picture).fig .
1reaction electronic flux j
calculated from the definition ( eq . 1 ) .
the arrangement of atoms is shown at the characteristic reaction points reaction electronic flux j
calculated from the definition ( eq . 1 ) .
the arrangement of atoms is shown at the characteristic reaction points electron dipole polarizability on the reaction path is shown in fig . 2 .
the results of quantum chemical computation for points on the irc have been approximated by a polynomial curve ( 8th degree ) to produce smooth and differentiable functions .
the extreme points ( maxima ) have been determined with the accuracy of this analytic approximation to the computed points.fig .
2variation of the electron dipole polarizability \documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \left ( { { { \overline{\alpha}}_e } } \right ) $ $ \end{document } and global softness calculated in two approximations : ( i - a ) and (
l-
h ) .
position of the maximum has been marked on each curve variation of the electron dipole polarizability \documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \left ( { { { \overline{\alpha}}_e } } \right ) $ $ \end{document } and global softness calculated in two approximations : ( i - a ) and (
l-
h ) . position of the maximum has been marked on each curve
two results of the present work represent a novel contribution to the reaction path analysis .
the calculated electron dipole polarizability corroborates an earlier finding of the softest state in this reaction , away from its transition state .
however , the present result is obtained beyond the limiting finite difference approximation , which was also tested here in two typical modifications , exploring the computed i( ) and a( ) results ( mp2 level ) or the orbital energies ( ) on the hf level .
the qualitative agreement between the results of these two approaches can be explained on the ground of the relation between the softness ( s ) and the electron polarizability ( e ) , first indicated in the work from this laboratory and elaborated by vela and gazques to produce the rigorous result:19\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ \underline{\underline{{{\alpha_e}}}}=-s\left [ { { { { \left ( { \int { f\left ( \mathbf{r } \right ) } \mathbf{r}d\mathbf{r } } \right)}}^2}-\int { f\left ( \mathbf{r } \right)\mathbf{rr}d\mathbf{r } } } \right ] . $ $ \end{document } this result may be reformulated by introducing the global properties of the system instead of the fukui function f(r ) = d(r)/dn : electronic parts of the dipole moment ( me ) and of the quadruple moment of the system ( qe ) .
the scalar electron dipole polarizability is then:20\documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ { \alpha_e}=-\frac{s}{3}\sum\limits_{i = x , y , z } { \left [ { { { { \left ( { \frac{{d{m_{e , i } } } } { dn } } \right)}}^2}-\frac{{d{q_{e , ii } } } } { dn } } \right]}. $ $ \end{document}it is interesting to note in eq . 20 , that the polarizability calculated on the irc with no relation to differentiation over the number of electrons n is still roughly parallel to s = ( i - a ) , as if the variations of the electron dipole and quadruple moments were immaterial .
theoretical result for the derivative of e ( eq . 18 ) indicates , however , that this relation is not granted , especially when softness is calculated from the orbital energies , ( l-h ) . the non - zero contribution to de / d ( eq .
1618 ) comes from atoms relevant to the reaction in question : either close to the reaction center ( large field i ) or significant for the reaction coordinate ( non vanishing dri / d ) .
on the contrary , the global softness s may be dominated by the energies of orbitals possibly located far away from the reaction center .
the electronic flux is zero at the chemical potential minimum ; apparently this is a property of a softest state , not necessarily the transition state .
a quick search of a softest state is possible by means of the result in eq . 6 for zero flux , \documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ f_{\xi}^{+}=f_{\xi}^{- } $ $ \end{document } or , else , from eq . 14 for the softest state \documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ f_{\xi } = \frac{1}{2}\left ( { f_{\xi}^{+}+f_{\xi}^{- } } \right ) $ $ \end{document}. the interesting property of a softest state / zero flux is then the reaction force independent of the moderate ionization of a reacting system : \documentclass[12pt]{minimal }
\usepackage{amsmath }
\usepackage{wasysym }
\usepackage{amsfonts }
\usepackage{amssymb }
\usepackage{amsbsy }
\usepackage{mathrsfs }
\usepackage{upgreek }
\setlength{\oddsidemargin}{-69pt }
\begin{document}$$ f_{\xi}^{+}=f_{{_{\xi}}}^{-}={f_{\xi } } $ $ \end{document}. electronic flux extremes in fig . 1
do not coincide with k = 0 ; this is natural from the result of eq .
the theoretical result for the reaction electronic flux demonstrates a similar feature , here even more important .
the j itself ( eq . 6 ) and its derivative ( eq . 12 ) contains contributions from atoms significant for the reaction coordinate only ( dri / d 0 ) ; this result appears to be independent of the applied approximation level . for the reactions in large molecular systems calculation of the electronic flux and its derivatives from global properties exclusively ( eq . 2 ) may produce results irrelevant for the reaction in question , when either i , or a , or both are dominated by contributions from some far away regions in a system .
4 , even if used in the finite difference approximation ( eq . 6 ) , describes precisely the properties of the reaction center , including specific contributions from the rest of the molecule , if they are relevant for the reacting mode(dri / d 0 ) .
this appears to be a superior point of view as compared to the classical concept ( eq . 1 ) . | pubmed |
Harry Potter, Twilight 1. Chapter 1
My mother was so lonely. She had finally started dating, after I found that piece of paper with an address on it and wrote to the guy she got it from. I was grounded for a week, but she was happy. . . somewhat. She still hasn't gotten over my father's death, and I was getting sick of it. I was eleven, meaning my father died eleven years ago on the day I was born. She needs to get over him, and that may sound mean - since that is my father - but I just want my mother happy again.
"Mother! Hurry up! We're leaving!" I shouted, dragging my trunk to the fire place. My mother came out and she was in an exquisite gown.
"Have a date this evening, do you?" I teased.
She blushed, "NO! I want to see you off and we'll be meeting some friends I don't think you've seen there, is all."
"What friends?" I asked, a little concerned.
"Well, little Scorpious will be a few years older than you, but you'll meet him and Astoria Malfoy."
"Draco Malfoy's wife and son?" I asked.
She nodded, "Draco has three years left in Azkaban until he's let out and I wanted to see how Astoria's holding up. As well as Aunt Cissa."
"I've never met her," I mused.
My mother smiled, "She doesn't want to leave her house and she refuses to have guests. You see, after the war, the Malfoy name was ruined. I feel horible for that. . . " My mum mumbled the last bit so low that I had a hard time hearing it.
"Mr. Malfoy in jail is not your fault. From what you told me, he got himself captured."
"Right, well, we best be going, dear," My mother said suddenly. She seemed distanced, like she was remembering something.
She threw the Floo into the fire, "Platform Nine and Three Quarters!" she stated clearly.
She disappeared in a rush of flames. I threw the powder in as well and clutched my trunk to my chest before shouting, "Platform Nine and Three Quarters!"
I was going down tunnels until I was pulled out of one. I fell to the ground and my mother smiled as she helped me up. "You'll get used to it, dear. Now, the fires at school don't work, so don't do that. I'm sure you'll meet some nice people on the train. And remember, dear, if you get sorted, I want a letter in the morning of what house."
I nodded, "I promise to write every week, mother."
"Alright, come now."
She ushered me to a black haired lady standing next to a blonde haired lady that looked old and scared.
"Cissy! Astoria! So nice to see you!" My mother smiled. They each gave my mother hugs and turned to me. The blond lady spoke first.
"I'm your Aunt Cissy. Sorry we haven't really met before."
"It's quite alright. I'm Sahara."
"My, she looks just like her father," The black haired woman said. "My name's Astoria, I'm your mother's cousin. I will have to tell you some stories about your mother in school as well as when she was dating my husband."
"Astoria!" My mother laughed, "Don't scare the girl!"
"That's alright, mother. Just have fun on your date tonight!" I called.
"Why, dear, I -" I laughed as I made my way towards the train.
"You have a date tonight?" I heard Aunt Cissy asked mum.
"I'll kill her!" Mum laughed. "No, I don't have a date tonight. I have a date next weekend though."
"Who is he?" Astoria asked.
"Blake Summerlin."
"Oh, a pureblood! Dear, you found yourself a good catch. Rich, handsome, and from America's Salem school."
My mother bit her lip. "I don't know-"
"Oh, just give him a chance!" Aunt Cissy scolded.
I rolled my eyes and put my trunk into an empty compartment before sitting down. A blond boy, about a few years older than me, walked in.
"You must be my cousin," he said.
"My name's Sahara, and you are?"
"Scorpious," he said flatly. "Pleasure."
"Likewise."
His blonde hair was cut short and his gray eyes looked me over.
"You seem unafriad."
"Should I be afraid? Your father's put my mother through worse than being sent to school."
He laughed, "Is that what she told you? It's because of your mother that my father is in jail."
"Is that what your mother told you?" I countered. "And besides, I believe my mother was still in prison when your father went there. Get your facts straight."
"Fiesty, you have your grandmother's temper."
"I wouldn't know," I said honestly.
"I never met her but my mother showed me memories of before she switched sides. Did you know that your grandmother was a Death Eater?"
I nodded, "She switched sides, it doesn't bother me."
"Just wait until we get in school. Everyone will be talking about you."
"Oh, shut it, Malfoy," I growled. "Leave me be."
"No, I think I'll hang out here for a while."
"Why? I don't want you here and we obviously don't get along."
"If you get sorted into Slytherrin, I can make sure you have the best friends."
"I'm going to be in Gryffindor. Mother says I have the courage and the brains. Unlike you."
"Aunt Bella wouldn't say that," Scorpious said, paling.
"Oh, but she did. I might have added a few words."
"You'll most likely be in Ravenclaw like your filthy traitor-blood cousins."
"They are your cousins as well," I sighed.
He furrowed his eyebrow, "And your filthy Weasley family."
"Still related to you because of my mother," I smiled. "Sorry, but they are anything but filthy. They are sweet, caring, kind, and the complete opposite of you."
"Keep telling yourself that, Weasel."
"Did your father teach you that one?" I teased. "Uncle Ron told me that your father would call my family Weasel's, when really it was him that was turned into a ferret in fourth year."
"Why - I - You."
"Like I said, get your fact straight."
He stormed out of the compartment and I laughed. Not so much as five minutes later, there was a knock on the glass.
I opened it and smiled, "Can I help you?"
"All the other compartments are full. Do you mind if we sit with you?" A boy with sandy blonde hair asked, with two people being him. A girl with long black hair and green eyes as well as a boy with brown hair.
"Not at all, make yourselves at home," I said, letting them in.
I sat near the window and looked them over. "Are you first years as well?"
They nodded, "My name's Parker Lincoln," the blonde haired boy said. He had ice blue eyes that captured me and I smiled.
"Sophie Ingleton, Muggleborn," the black haired girl said. Her green eyes looked almost feline. She was pretty and I didn't need Aunt Alice to tell me that we would be friends.
"Kellen Summerlin," the brown haired boy said, "Pureblood."
"Summerlin?" I asked. "Any relation to Blake Summerlin?"
"He's my father. How do you know him?"
I flashed him a smile, "He's dating my mum. Which brings me to myself; Sahara Weasley, Pureblood. Which house do you think you'll be sorted into?"
"House?" Sophie and Parker asked.
"Yes, houses. There are four houses which determine which classes you have at what time. Raveclaw, Hufflepuff, Slytherrin - which produces all the bad wizards - and Gryffindor - of my Uncle Harry Potter and my other family members."
"Isn't your mother Bellatrix Raven Black?" Sophie asked.
"It was Weasley when she married, but I don't know if she changed it back after my father died, but yes."
"She's best friends with Hermione Granger, the Weasley brothers and sister, and Harry Potter!"
I smiled, "Yes, she is."
"Isn't your mother a criminal?" Kellen asked.
I looked at him, "No. She was wrongly convicted."
"Five years in Azkaban?" Kellen continued.
"When my grandmother switched sides, she stayed with my mother, and my mother was sent to five years for keeping Bellatrix with her. The Ministry was in uproar because it was unfair."
Kellen smiled, "Just checking. So I think I'm going to be in Gryffindor. What about you two?" he asked Sophie and Parker.
"I don't know. I am rather smart, so according to Hogwarts, A History, it would be Raveclaw, but my father says I'm brave, so maybe Gryffindor."
"I have no idea what I'll be in," Parker said.
"Did you grow up with magic?"
He shook his head, "My muggle grandparents took me in after my mum and dad died in a car accident."
"Oh, I'm sorry. But do you know what houses your parents were in?"
"I think it was Gryffindor."
"You'll most likely be there," Kellen said. "It's genetic, really."
The door opened and Scorpious along with a few boys appeared.
"Scorpious, please leave."
"Why, my dear cousin, you can't tell me what to do."
"I'll tell Aunt Cissy!" I laughed, "And maybe your mother. I know if I tell my mother you are bothering us, she will personally come after you. You know, you were a cute little two year old at her wedding."
He glared at me, "This isn't over."
"It is, dear cousin! But it is!" I called after him as I shut the compartment door.
"Who was that?"
"Scorpious Malfoy. My cousin."
"I'm sorry," Sophie said. "He seems. . . pleasant."
I snorted, "Anything but, and I've only known him for about two hours."
I sat back down next to Sophie and we got to talking about books, because like her, I've already read them all. These were going to be my friends this year, I knew it. And hopefully for the years following.
* * *
Alright, this is the sequel to 'Bellatrix Raven Who?' so read that first! Thank you and I'll keep you updated at least every week!
Awkward Reindeer (XxX Fleur-Delacour XxX)
2. Chapter 2
I snorted, "Anything but, and I've only known him for about two hours."
I sat back down next to Sophie and we got to talking about books, because like her, I've already read them all. These were going to be my friends this year, I knew it. And hopefully for the years following.
* * *
As soon as the train stopped, we exited the compartment and onto the platform.
"Firs' years! Firs' years 'is way!" A huge man yelled.
"Hagrid!" I shouted happily.
"Why, Sahara! What a pleasant surprise. I take it these are your friends?"
"Sophie Ingleton, Parker Lincoln, and Kellen Summerlin," I supplied.
"Well, ye know where te go, jus' wai' fer me, please," Hagrid said. I nodded.
"Follow me," I told them.
We walked among the students to the lake. Black Lake.
"Don't go in the lake," I told them. "There are merepeople and they are not the kindest people. There is a Giant Squid and he is rather friendly."
"You are bubbly, aren't you?" Kellen laughed.
"Mother says I'm always hyper, since I was born in the middle of the war, but I also believe that I have Aunt Luna's spoken-mind. Although, she is clearly crazy."
"I've heard about her," Kellen said. "Luna Lovegood. She believe in creatures that don't exist."
I snorted, "Wackspurts and Threstrals do exist."
"What are those?" Sophie asked, interested.
"I'll have to show you my book that she gave me of all the magical creatures we don't know exist. It's rather informing, really."
"So, how do we get to the castle?"
"Oh, you have to wait for Hagrid, because we take boats. We are in Hogsmead now, and you take boats across the lake, and a Professor takes you inside the castle to start sortings."
"I'm honestly excited," Parker said.
I smiled, "Me as well."
Hagrid came around with a group of first years. "Ever'one. Two to a boat! Don't fall out! The creatures in this lake are not friendly. Well, most."
The boats came out of no where.
"Sahara, do you mind sharing a boat with me?" Sophie asked.
"Sure," I smiled. We got in our boat and it automatically started to move forward.
"This is so amazing!" Sophie breathed.
"Wait until we get to the castle. My mother says its beautiful."
"I bet it is! It has to be, I mean, its a castle!"
I laughed, "It has to be, I know."
The boat rounded a corner and we gasped. "Woah!"
"It's beautiful!" Sophie exclaimed.
"I can't wait to see the inside!"
"Me neither!"
As soon as the boat docked, we got out quickly, and followed the throng of students to the patch of walkway outside of the boat house.
"We have got to get inside!" Parker said, trying to sneak away from the group. I grabbed his arm.
"If you leave the group, you'll miss the sorting and have no place to sleep tonight. I suggest you wait."
He grumbled and stood next to Kellen. Sophie gasped. "The carts! They're moving without anything pulling them!"
I looked at her confused. "What are you talking about? Can't you see the Threstrals?"
"Threstrals."
I gasped, "Right. You've never seen death. Nevermind. You can only see threstrals if you see death." We got in the carriage and it started to move.
"I see them as well," Kellen said.
"Who?" I asked him softly.
"My mum about five years ago. That's why we moved to England."
"Where did you live before that?"
"New York City, in America. I don't have an American accent anymore, but my father does."
"My mother lived in America for about a year, in Washington state."
"That's awesome!" Kellen said. "It's always rainy there! Like England."
I nodded, "That's what I assumed." We got out and a woman with grayish brown hair and glasses stood right at the top of the path.
"Alright, everyone!" the woman said. "Listen up! My name is Professor McGonnagall, I am the headmistress of Hogwarts. We are going to wait until everyone is situated, and then we are going to enter the Great Hall. Please keep up! I will call you by name and you will sit on the stool. After placing the object on your head, it will tell you which house you are in. You will then sit at that table, near the front. The eldest sit in back. Understood?"
"Yes, Professor," we chorus. We followed her through a courtyard and then we were at some huge doors. She paused for a moment and then opened them. We followed behind her and it was beautiful. There were candles floating in the middle of the ceiling, as well as some clouds and the moon. There were banners above each table, which I assumed declared the houses. There was a blue one - Ravenclaw, a red one - Gryffindor, a green one - Slytherrin, and a yellow - Hufflepuff. I couldn't wait.
I was going to be one of the last ones, because I was a W. In the middle of the stage, where the podium was, there was a stool with an old, rotten hat on it.
The Sorting Hat.
"When I call your names, please sit on the stool."
She rambled off names. And soon it was Sophie's turn.
"Ingleton, Sophie!" McGonnagall said.
She walked to the seat and hesitantly sat down. McGonnagall set the hat on her head.
"Gryffindor!" The table erupted into cheers.
A few more names and then "Lincoln, Parker!"
"Gryffindor!" the hat shouted, just before it touched his head.
He sat next to Sophie, and Kellen and I stood next to each other.
"Summerlin, Kellen!"
"Gryffindor!"
"Weasley, Sahara."
I hopped onto the stool and McGonnagall placed the hat on my head with a smile.
"Gryffindor!"
I smiled and sat next to Kellen.
"Zambini, Ares."
"Slytherrin!"
I laughed, "Deserved that, he did," I said to them. "His father is downright evil."
Sophie laughed.
"Let the feast, begin!" McGonnagall cried.
Food appeared on our plates and we stared at it wide eyed. I piled ham, potatoes, and corn onto my plate and dug in. Someone sat down next to me and smiled.
"Teddy!" I squealed, hugging him. "How are you and Victoire?"
"Excellent," He grinned. "How are you and no one?"
"Down right peachy," I said cheerily. Parker cleared his throat. "Oh, right. How rude of me. Teddy, this is Sophie, Kellen, and Parker. Guys and girl, this is my godbrother Teddy Lupin. Favorite family member of the whole bunch."
"Lupin? As in the old professor?" Sophie asked.
I nodded and Teddy seemed a little sad.
"It took a vampire being killed to kill my mum," Teddy said proudly.
"Vampires?" Sophie asked, shocked. "They're real?"
"Very much so," Teddy laughed. "My dad was a werewolf, and our family has the best vampires in it."
"Mum dated a vampire once. He's still after her."
"Isn't that dangerous?" Sophie asked shyly.
I nodded, "Extremely so."
"Teddy, what are you doing here?"
"I wanted to see my little cousin and I also wanted to give you this."
I looked at the letter he gave me confused. "What is-"
"You'll see soon."
I nodded and as soon as he left I opened it.
Dear Sahara,
Congrats, I knew you were going to get in Gryffindor. Listen, we're going to meet up at the Room of Requirements tonight at ten. Bring your friends if they'll come. Good luck on your classes:)
Teddy.
I looked at where he was sitting at then back at my friends.
"How do you feel to sneaking around tonight?"
"Will we get in trouble?" Sophie asked nervously.
"Not if we're sneaky."
McGonnagall had a knowing look in her eye as she looked at me. I avoided her gaze and looked at them. "The Room of Requirements is where Teddy and his friends want to meet up. They're fourth years."
"Why does he want to meet?"
I shrugged, "Most likely catching up. If you don't want to come, that's fine with me."
"I can't go. I need to study for classes tomorrow, sorry," Sophie said.
"That's quite all right," I assured her. The boys sighed.
"I'm not risking getting caught on my first day."
"Whatever," I smiled. "I'll see you tomorrow."
"Everyone!" McGonnagall announced. "I would like to welcome our first years, as well as returning students. And I would like to lay out some rules. The Forbidden Forest is indeed forbidden. All items on the Banned list are indeed banned, as well as any Zonkos Joke Shop and Weasley Wizard Wheezes products. Any students _found_ wandering the corridors," she stressed found and looked at me and then down the table to Teddy and his friends, "will be punsihed and given detention. Now, I would like to welcome our new teachers this year."
I looked down the teachers table and saw Neville Longbottom, but he had been here for years.
"Mister Edward Cullen will be your Potions master this year and Miss Bellatrix Black will be your Defense Against the Dark Arts teacher. And for your Care of Magical Creatures teacher, Mister Sirius Black."
The doors opened and my mum, Cousin Sirius, and Uncle Eddie - as I called him to get under his skin - strode through.
"That's my mum," I told them all. "And that's my Uncle Edward that's trying to get my mum in bed."
"He's what? Seventeen?" Sophie asked.
"Indeed, and my mum is twice his age, but don't tell her I told you."
My mum found me and winked. I rolled my eyes.
"Woah! Professor Black's!" Teddy and his friends shouted. My mum sent them looks and they quieted down. Sirius was laughing.
"And that's my cousin Sirius."
"He was a convict from Azkaban, correct?" Kellen asked.
I nodded, "He wasn't given a trial and it was wrong. The Dark Lord framed him for his actions and his ex-best friend framed him and killed his best friends in the process. Making it look like him."
"That's all! Off to bed, you lot," McGonnagall announced. I stood up and walked straight to my mum.
"Why didn't you tell me?" I laughed to them.
"Because Angela would have my head if you found out before her," Sirius said.
I glared at him and then turned to my mum. "Well?"
"Why do you think Teddy wants to meet in the Room of Requirement?"
"Fine. I'll see you then."
I smiled and followed my friends out the door, heading towards our common room.
"First years, follow me," a boy said. He must be a prefect.
My friends and the rest of the first years followed him up the stairs and I watched in amazement as they moved from one floor to another.
"The password is Godric," The boy said.
"Correct!" A plump lady in the painting said.
"You tell the Fat Lady the password and she will let you through," The boy continued.
"That paintings talk!" Sophie said, gazing around at the walls of portaits.
"That's so cool! I heard they can visit other paintings as well," I told her. She smiled.
"I have so much to learn."
"Tell me about it," Parker muttered.
I laughed.
"Your mum seems nice," Sophie smiled.
"She is, as is Sirius, but I'd watch our for Cullen. He is clingy."
Sophie nodded, "He isn't even that cute," she snorted.
I giggled. "We're going to be great friends, I can tell you that right now."
She smiled, "Great. I always wanted a cool friend."
"Just a warning, though. I speak my mind, so just fair warning," I told her.
"I know, and I love honesty, so I'll go to you if I need help picking out an outfit or such."
"I'll hold you to it," I told her smiling as we walked into the Common Room. It was homey and there were red and gold colors everywhere.
We all went to our rooms and I saw that Sophie and I, as well as a girl named Amanda, and other Jaymie, were in the same room. At nine fifty, there was a knock at my door. I opened it and saw a fifth year.
"Hey, um, Teddy was asking for you. He's waiting in the Common Room."
"Thanks," I told her, smiling.
I headed down to the Common Room and just saw Teddy.
"I thought your friends were coming," I told him.
"They weren't. But I figured yours wouldn't either, so . . . ta da!"
I rolled my eyes, "Let's go, bro."
"Cuz, sis. It's cuz."
I snorted, "Whatever."
* * *
Alright, this is the sequel to 'Bellatrix Raven Who?' so read that first! Thank you and I'll keep you updated at least every week!
Awkward Reindeer (XxX Fleur-Delacour XxX)
3. Chapter 3
I rolled my eyes, "Let's go, bro."
"Cuz, sis. It's cuz."
I snorted, "Whatever."
* * *
We walked the stairs up a flight and then went through a portrait. There were halls going off in every direction.
"Come on. This way," Teddy said.
I followed him to a wall. "This is-"
Just as I was about to say 'a wall' doors appeared and Teddy pulled them open.
"Alright, everyone!" Teddy said. "The party can start. I'm here!"
"Oh god. I can't believe I'm related to you," I moaned.
My mum laughed and hugged me.
"He's got a son," I told her.
"Who?" she asked confused.
"Blake."
Teddy raised his eyebrows and started to wiggle them. "Who's Blake?"
"Her boyfriend, maybe," I said before my mum could.
"We haven't done anything."
"Anyway, his son, Kellen Summerlin, is in my year," I told her. "Their mum died five years ago in New York City, so they moved here."
"We have a lot more in commont than i imagined," My mum whispered thoughtfully.
"Aunt Cissy told you to give him a chance!" I scolded.
She rolled her eyes and I hugged Sirius.
"Cuzzin' Sirius!" I squealed.
"Sahara!" he said in a girly tone. "O-M-G. So I was walking down the steet, and i like, totally, like, saw the cutest-"
"Do NOT finish that sentence," I shuddered. "I always knew you were gay, Sirius."
He huffed, "Am not! I am dating Angela!"
"She's mum's age!"
"So?" he asked.
I rolled my eyes. "Whatever."
"Sahara," Edward said, spreading his arms for a hug.
"Eddie," I said coldly, then turning around and sitting on the sofa, far from him. Teddy sat next to me and everyone sat across from me. My mum stiffened when Edward sat next to her. I glared at Edward.
"She's single," he reminded me.
"She obviously doesn't want to be near you," I remarked.
Teddy laughed, "I heard you told a certain someone to bug off on the train."
I flushed, "He was getting on my nerves!"
"Who?" Sirius and my mum asked instantly.
"Malfoy," I said flatly.
"Oh, she takes so much after me," my mum laughed. "It's surprising. The same thing happened to me in my first year. Let me guess, he started to shoot off things like 'My mum said. . .' 'My dad said. . .'-"
"Exactly! I told him to get his facts straight and that his dad is in prison and he can't save his scrawny butt from me. And I told him that if he picks on me or my friends, I will tell his mum, Aunt Cissy, or you. He shut up after that."
My mum laughed, "Oh, well done!"
Sirius was smiling, "You have your mum's witty come backs and your dad's quick thinking."
I smiled, "I'm just glad you guys are here!"
"Me as well. Why did we only find out today?" Teddy asked.
"Because we wanted to surprise you!" My mum cheered.
Edward took her hand and her hair turned red. "Let. Go. Of. My. Hand. NOW!" my mum said calmly. Edward dropped it immediately and I smirked.
"Fierce."
"As are you. I raised you well, and now you're a big girl and fighting her own battles! Oh, god! I'm going to lose my baby! She's going to get married! And she's going to have little kids running around the hous-"
"Mum!" I shouted. "Enough!"
My mum giggled. "Ugh, I too excited for my own good."
"So. . . what is Cullen doing here?" Teddy asked like he wasn't here.
"He's going to be teaching Potions because he wants to be near me, at all times."
"Is the curse still on the DADA position?" I asked mum.
She shook her head. "It's been gone as long as he's been gone."
"Thank god," Teddy mumbled. "I didn't want to lose you."
"You wouldn't have!" My mum said. "No curse can knock me out."
I yawned and my mum sighed. "Alright, alright. I'll see you in class tomorrow, both of you. Good luck and goodnight."
"Night," I told her.
We all walked out of the room together and my mum froze looking at a spot. I shook her, trying to snap her out of it, but Sirius waved me off.
"She's reliving memories of the war. Don't worry about it. And this one would have to be the worst memory."
"What memory is that?"
"Your dad died right up there," Sirius said softly, trying not to stir my mum, who just snapped out of it and was looking at me with a smile.
"Oh," I mumbled. "I didn't know."
"Alright. Off to bed, kiddies, before I give you both detention," My mum said sternly, with a hint of sadness and a hint of humor.
"Don't abuse your newfound powers, mum."
"I won't," she grinned.
Teddy and I ran back to our common rooms, avoiding Filch as best as we could.
"You have to watch our for his cat, Mrs. Norris. I swear, she's human."
I rolled my eye and followed him back to the portait.
"Password?" she asked.
"Godric," I said hastily.
"Correct," she said, swinging open. I ran up to my room with a little hug from Teddy, and sank down on my bed. I was so excited for tomorrow!
X X X
"Wingardium Leviosa!" Flitwick announced. "It levitated objects. Now, repeat after me. Wingardium Leviosa!"
"Wingardium Leviosa!" the class said in sync.
"Very good!" Flickwick cried happily. "Now, with the feathers in front of you, I want you to recite the charm and try to get said feather to float in the air. Now, if you will, swish an' flick." We followed his motions with our own wands. "There you go! Ready, begin!"
The room was filled in 'Wingardium Leviosa' and people arguing with others that their feathers moved.
I took a deep breath. "Wingardium Leviosa!" I said firmly.
The feather floated up perfectly and stopped about three feet from the desk.
"Very good!" Flitwick cried. "Ten points to Gryffindor!"
I smiled and let the feather fall back to my desk. Sophie smiled at me. "Good job."
"Thanks. Let me see yours."
"Wingardium Leviosa," she said softly. The feather floated up a few inches before falling back.
"Alright. You need to say if firmly," I told her. "You seem a little hesitant."
"Right, firmly." She closed her eyes and then opened them. "Wingardium Leviosa!" It was firm and should work perfectly.
It lifted into the air.
"I did it!" She whispered.
"Knew you could!" I encouraged.
She smiled before letting the feather drop.
"For homework, I want you to write an inch of parchment on objects that can be an objects that cannot be affected by this charm. Class dismissed." We rushed into the halls and Sophie turned to me.
"What class do you have next?" she asked.
"Defense with my mum."
"That'll be fun."
"I know it will be," I grinned.
She rolled her eyes, "I have that as well. Let's go."
We ran down the halls and made our way to Defense Against the Dark Arts class. As soon as the door opened, I saw about five people there, all from Slytherrin. My mother looked up from her desk.
"Good, some Gryffindor's to even out the class. Take seats anywhere," My mum smiled.
I nodded and Sophie pulled me into a seat beside her. I changed my hair to black hair, like my mum's, and curly. When my mum looked away, I quickly changed it to red and straight, like Aunt Ginny's. My mum nodded. I would ask her about that later. My mum seemed to know that because when she walked by she placed a piece of parchment on my desk. I quickly opened it and gasped at what it read.
_You looked like my mum._
Sophie looked at me, "How can you do that?"
"Some people have the genetic ability to change their appearance at will. My mum's family, as well as Teddy's mum and himself, are metamorphagus. We change appearances. My mum will probably show you in class for Defense's."
Sophie nodded but she was awed that I was able to do that. People started to filter in and I saw Parker and Kellen sit behind us.
"Welcome to class. My name is Professor Bellatrix Black. Call me Bella or Ms. Black. Professor makes me sound old," my mum chuckled. "Oh, and if you see Professor Cullen, tell him to stop hitting on me," she stage whispered.
I giggled, along with the rest of the class.
"What has Professor Cullen done to you?" A Slytherrin asked.
"He is being a clingy little monster," My mum said pleasantly. "And ladies, its against school rules for him to date any of you, sorry."
Most of the girls groaned, causing my mum to giggle. "He's nothing to special. Now, you probably heard some rumors about me, because people here gossip like old ladies. What have you heard and I'll set them straight?"
A few hands raised, but I kept mine down. I knew enough.
"Um, Mister Zambini."
"According to my father, you killed the Dark Lord."
"Frequently," my mum smiled. "He was a pesky little fellow."
The Gryffindor's all laughed while some Slytherrin's looked pissed.
"I heard you can create a force field?" A Gryffindor asked.
"Correct, Miss Juniper."
"Can you demonstrate?"
My mum smiled mischeiviously to me, "Miss Weasley?"
"Yes?"
"Care to be a guinea pig?"
"Like I have a choice," I mumbled. My mum encased a black shield around me and lifted me out of my seat. I sighed. "You know I don't like this, _Miss Black."_
"Right, sorry," My mum laughed. She set me down abruptly and I fell in my seat perfectly. "Miss Kessling, what is it that you've heard?"
"I've heard that you were in Azkaban for killing three people."
"Ah, yes. Yes. I was. I did kill _two _peopl-"
"Who?" A Slytherrin demanded.
"Alecto Carrows and Yaxley. To be fair, I was in the Order and if any of you are caught using unforgivables, you will be sentenced to Azkaban, and let me tell you, it is not a pretty place at all."
"What's it like there?" Someone asked.
My mum seemed to be in a trance as she spoke, "Cold, dark. All your happiness, just fades away. . . If the dementors catch you being happy, they come into your cell and then the next thing you know, you're unconscious."
"I heard you used Unforgivables during your sixth year," A Gryffindor boy asked.
"To be fair, I grew up in a war, and also, I was sentenced to five years in prisons for that. It is against the law to use the Unforgivables."
"Do you feel guilty?" A Slytherrin sneered.
"Everyday. It was a life that ended at my hands and it is unforgivable. Enough about the Unforgivables. Any other questions?"
Kellen raised his hand and my mum had a glint in her eyes. "Mister Summerlin?"
"I heard a rumor that you went to Azkaban as well for keeping your mother out of Ministry hands."
"That is true, because my mother switched sides. It was not right for her to go back to prison when she was helping. . ." My mum trailed off. "In the end she died for the Order, and her sacrifice was greatly appreciated by many Order members. She was a great friend to most and she made up for her lifetime of wrong in just a few short years."
"Why are you here, teaching?"
"Because, I always have wanted to teach and my best friend used to hold this position long ago. I did this to honor his memory."
"Who was he?"
"Professor Remus Lupin."
"The werewolf?" A slytherrin sneered. "All you Gryffindor's are the same."
My mother walked right up to that kids desk and leaned down so that she was towering over him but close enough for him to hear.
"Remus was a great man and he may have had a 'furry little problem' but that didn't make him any lesser of a person than you or me. He did great things during that war, and things that any person who says they knew him to be proud. I hope you feel ashamed, because you need to learn respect for all creatures, human or not. In fact, you aren't completely human, Mister Avery. I'll have you know that your father was the very one that nearly killed my ex-mother-in-law. You are a wizard. Half human, half magic. That makes all of us the same, because whether we have the werewolf gene or not, we are all the same and all have the same blood within us. I do not tolerate prejudice remarks or taunting in this class! Whether about your human state, your house, or family. Do you hear me?"
The class nodded quickly, but the Slytherrin kid was silent, fuming.
"Now! Enough with the questions. Time to learn Defense Against the Dark Arts!"
This class was definately going to be interesting.
* * *
Alright, this is the sequel to 'Bellatrix Raven Who?' so read that first! Thank you and I'll keep you updated at least every week!
Awkward Reindeer (XxX Fleur-Delacour XxX)
4. Chapter 4
The class nodded quickly, but the Slytherrin kid was silent, fuming.
"Now! Enough with the questions. Time to learn Defense Against the Dark Arts!"
This class was definately going to be interesting.
* * *
Defense class was interesting. My mum gave two Slytherrin's detention for talking about 'Mudbloods' and 'Filthy Half-Bloods'. Overall, it was interesting.
"Miss Black, what is your blood status?" A Slytherrin asked.
"I know you know, Mister Zambini. It is pureblood. The Black Family was Pureblood, was it not?"
"Are you married to Sirius Black?" A Gryffindor asked.
My mum laughed, "No, oh god no. He's my Uncle."
"Who are your parents?"
"Bellatrix Lestrange and Regulus Black," My mum said calmly. "Yes, both were Death Eaters, but I am not."
She pulled back her left arm as proof and everyone seemed to relax.
"But just because I am not a Death Eater does not mean that I do not give out detentions. And Mister Hopsinger needs to find better places to put his gum other than the bottom of his desk!" She whipped her head around and looked at Marshall Hopsinger, a Slytherrin.
"How did you-"
"Just like Mad-Eye Moody, I know all."
The Slytherrin grumbled and I rolled my eyes as my mother giggled. God, she was crazy.
"For homework, I want you to describe yourselves for me to get to know you better and that way I will be able to learn your strengths and weaknesses in defensive magic. At least two inches of parchment. Class dismissed."
We walked and my mum floated around the room, on her bubble. I rolled my eyes and Sophie was watching my mum in amazement. "She's powerful but crazy."
"I know," I laughed. "But she's awesome as well."
My mum winked and I groaned as I learned what class we had next. Potions.
"The fun shall begin," I groaned.
We walked to potions, the group of four, and sat down together. Edward smiled at me, "Sahara, glad to have you this period."
"Yeah, yeah, Eddie, cut the crap. I don't want to hear it."
Sophie giggled and Edward turned to her, "What's so funny?"
"You just got turned down by an eleven year old."
Eddie glared at me, "Don't call me Eddie."
"Sorry, Professor Eddie, sir," I smiled.
"You are just like your mum."
"I take that as a compliment, I hope you know. I would rather be like her than have you after me."
"He's the one that won't let your mother go?" Kellen asked.
I nodded, "His touch. . . bites. . . if you know what I mean."
Kellen looked over Eddie. "What are you? Definately not human, I know for sure."
"We'll be discussing that in class," Eddie said shortly.
People started to flock in and Sophie turned to me. "I don't see how your mum can turn him down. He's handsome."
"He broke my mum's heart."
Eddie flinched, having heard that, but no one else noticed. "After your father? Or before?" Kellen asked.
"Before," I said shortly. I didn't want to talk about my mum's personal life.
Sophie seemed to catch that. "Class is about to start. Shush."
I sent her a grateful look and she just smiled.
"Welcome class," Eddie started. "As you can probably tell, I know, I'm handsome."
I gagged and a lot of the girls glared at me.
"But, as I'm sure Miss Black has told you, I am off limits, being your teacher. Sorry, ladies."
"Pervert," I coughed.
A few of the guys laughed, but the girls kept glaring.
"Now, I can read minds," Edward said. "So I do know if you do something wrong or plan on doing something wrong." All of the boys straightened up and looked scared. "So that plan to get Moaning Myrtle after Miss Weasley, Mister Zambini, isn't going to work."
I laughed, "Honestly?" I turned to him. "I'll save you from the rejection later. No."
The class laughed and Zambini glared at me. "I wasn't going to ask you out, Weasley."
I looked at him closely, "Whoever said I said no to being asked out? You just assumed, Zambini."
"Shut up," he grumbled.
I rolled my eyes.
"Now, I know you suspect something is different about me, so I will tell you. I am not human. I am a vampire. Don't be alarmed!" Eddie said like it was a big deal. God, he is such an air head. "I won't harm you. I am purely a vegetarian, meaning I only drink animal blood."
"Is Miss Black a vampire as well?" Zambini asked. "Because you dated her and all."
"No, she's a witch. No vampire involved."
"Did you almost kill her?" A Gryffindor asked.
"Frequently, because her blood is more potent to me than most. But otherwise, you are all safe."
"Joy," I muttered.
"Now, turn to page one of your books. It's time to learn the qualities of potion making."
The class groaned.
"I like Miss Black's class better," I heard a Slytherrin mutter.
"Only because you want to get her in bed," His friend laughed under his breath.
"And because I don't like vampires. You never can trust them."
I just started to ignore them after that. Eddie was glaring at them. "Mister Zambini and Mister Hopsinger. I don't think you should degrade me when I can clearly hear it as clear as day. You aren't fooling anyone."
They flushed and sat back in their desks. "Now, start reading."
This class was going to suck. . . to the extreme.
* * *
Alright, this is the sequel to 'Bellatrix Raven Who?' so read that first! Thank you and I'll keep you updated at least every week!
Awkward Reindeer (XxX Fleur-Delacour XxX)
5. Chapter 5
I just started to ignore them after that. Eddie was glaring at them. "Mister Zambini and Mister Hopsinger. I don't think you should degrade me when I can clearly hear it as clear as day. You aren't fooling anyone."
They flushed and sat back in their desks. "Now, start reading."
This class was going to suck. . . to the extreme.
* * *
At dinner, Kellen, Sophie, Parker, and I ate and talked quietly about classes.
"Who's your favorite teacher?" Sophie asked. "Mine, by far, is Miss Black's class."
"My mum's as well," I smiled.
"I agree. I'm actually looking forward to her classes tomorrow," Kellen laughed. Parker just nodded in agreement. He was suddenly really quiet after my mum's class. I lookd at him, since he was sitting beside me. Sophie, bless her, noticed and started to talk to Kellen.
"Hey, what's wrong?" I asked him.
He looked at me. "Nothing. I was just thinking about my parents."
"Oh, right. I'm sorry."
"I just miss them, ya know?" he asked.
I nodded, "Yeah, I know what you mean. I never knew my father, and he never met me. Nor have I met my aunt, uncle, or anything else family related, besides Teddy's mum and the other Weasley's. How long has it been?"
"Since I was five. I remember them, but not really."
I nodded, "Yeah, five year old memories aren't the best. Did you go to Muggle schools?"
He nodded, "Up until fifth year."
"I think Muggle schools are fascinating! I've never been, of course, but it sounds wonderful. How Muggles can live without magic, its amazing!"
He laughed, "You never cease to amaze me. Muggle school is very boring. I love this place so much."
"Why are you so quiet, though?" I asked him.
"Your mum reminds me of mine. Her attitude is heartful and carefree. Like my grandma describes my mum to be."
"They aren't gone forever, ya know," I told him. "They are just invisible. I suspect that they are watching over you right now."
"Really?" He asked, hopeful.
I nodded, "Almost certain! No one is ever gone for good."
Sophie was watching us while talking detachedly with Kellen.
"So," I said to them, breaking up their conversation. "We have Astronomy tomorrow morning, with Ravenclaw. That will be fun."
"Ravenclaw?" Sophie asked. "Aren't they really smart?"
I nodded, "They crave knowledge. I'm surprised I didn't make it there."
Sophie laughed and noticed that Parker had brightened up considerably since I talked to him. "Wait until I get to the library! Professor McGonnagall will think that I will need to be resorted!"
I laughed, "I'm not letting you get out of Gryffindor. You are the only girl I can talk to!"
"You're the only girl I can talk to as well!" Sophie laughed back.
The two boys were watching us, concerned it seemed.
"What's up with you two?"
"Ah, we are discussing the knowledge of this school's library. I doubt you'd be interested," Sophie inquired.
"Did you hear about Quidittch?" I asked the three of them.
"Quidittch? What's that?" Parker and Sophie asked, while Kellen and I grinned.
"A wizarding sport, taking place on brooms. Which reminds me, we have flying lessons tomorrow after lunch. I heard that this is going to be the first year they let the first years try out for the team. Something about giving everyone a chance."
"That sounds awesome!" Kellen cheered.
I nodded, "I'm definately trying out for beater."
"Beater?"
"There are positions. It's like rugby or football - soccer in America. You have three different types of balls. The bludger is magically controlled and attacks people on the brooms. The quaffle is just a ball that you throw around. And the snitch. . ." I sighed. "The snitch is the golden ball, worth 150 points when caught. It has wings and flies around but its crazy fast. When the seeker catches it, the match is most likely won by that team. There are three chasers, that toss the quaffle around, two beaters, that hit the bludgers away from their players and to the other teams, one seeker, which catches the snitch, and there's one keeper, that keeps the three goal posts blocked and guarded. I'm trying out for Beater, like my dad. Are any of you going to try out?"
"I'm going to definately try out for chaser, definately," Kellen said.
"I'm not doing any sports. I'm definately not good with balance or sports in the Muggle world," Sophie muttered.
I nodded in understanding, and looked at Parker, "What about you?"
"I'm thinking keeper. Sounds fun," Parker smiled a real smile while drinking some pumpkin juice.
"That would be really great," I sighed. "Of course, if Sophie cheers us on like crazy."
Someone sat down next to me and I smiled. "Have you all decided if you're trying out?" Teddy asked.
I smirked. "Oh, Teddy, I'm going for Beater."
"Well, I think you'll get it. You throw a nasty right hook."
I laughed, "That was on your twelfth birthday! You'll never let me live it down!"
"You punched me when I turned twelve!" Teddy defended. "I have every right to bring it up."
I giggled, "Right, right. What about you?"
"Beater as well. If we both make it, I'll show you a thing or two."
I rolled my eyes.
"And you three?" Teddy asked my friends.
"Keeper," Parker muttered.
"Chaser," Kellen laughed.
"Nothing," Sophie smiled.
"Nothing?" Teddy asked, his hair turning blue.
"Well, I'm not one for sports."
Teddy laughed, "Book smart?"
"Exactly," she smiled, blushing slightly.
Teddy smiled, "Well, you can cheer us on."
"I plan on it," she smiled.
I rolled my eyes at their playful flirting. God, that's not disturbing.
After dinner, McGonnagall got up and wished us off to bed. When we made it to the Common Room, we got to work on our homework. Working with each other, making sure all the answers were right. I could get used to this. For good.
* * *
Alright, this is the sequel to 'Bellatrix Raven Who?' so read that first! Thank you and I'll keep you updated at least every week!
Awkward Reindeer (XxX Fleur-Delacour XxX)
6. Chapter 6
Teddy smiled, "Well, you can cheer us on."
"I plan on it," she smiled.
I rolled my eyes at their playful flirting. God, that's not disturbing.
After dinner, McGonnagall got up and wished us off to bed. When we made it to the Common Room, we got to work on our homework. Working with each other, making sure all the answers were right. I could get used to this. For good.
* * *
"Let me see!" Kellen, Parker, and I said, making our way through the crowd gathered around the bulletin board. We finally made it to the front and I scanned the list, pausing near the top.
GRYFFINDOR QUIDDITCH TEAM:
Seeker: Gin Cho
Beater: Sahara Weasley & Teddy Lupin
Chaser: Kellen Summerlin, Juniper Leives & Calisto Weaver
Keeper: James Prix
"Oh, Parker, I'm sorry," I told him.
"It's alright! I'll just try again next year," Parker mumbled.
I looked to Kellen for help and he grabbed Parker and dragged him aside. I found Teddy and grinned.
"You're going to teach me a thing or two, huh?"
"Oh, yes, cuz. Yes."
I grinned, "Keep what you say to your girlfriends a secret. I don't want to know."
He smirked, "Whatever."
I found Sophie hanging around by the fire, reading. I gasped when I saw what book that was. "Is that the '1000 ways to pass all of your classes' by Roman Jennings?"
"Sure is," Sophie smiled. I sat down next to her. "Congrats. I saw it as soon as they put it up."
"Of course you would," I smirked. "Thanks. Hey, when you finish that book, do you mind if I read it?"
"Not at all. You let me read that awesome book by Luna Lovegood-Potter last week. It will even us out."
I smiled, "Good. And if you want to meet Luna, I can arrange something if you'd like."
Sophie lit up, "Oh, would you!"
"Of course. I'll have my mum write her. Maybe, on Christmas break, we can all get together and you can meet them."
"That would be awesome!"
I grabbed my books and we made our way towards our classes after we ate a wonderful breakfast.
"Oi! Weasley! Ingleton!"
I turned towards the noise and groaned. "Hello, cousin. What do I owe this. . . spectacular. . . visit?"
"What are you doing hanging out with a Mudblood? You're a pureblood, Weasley."
"She's a Muggleborn, not that filthy word. And, Malfoy, just for the record, you are a piece of trash if you think you're something special. Just to let you know, I know all about when your dad and my mum used to date."
He narrowed his eyes at me, "Riiiiiight."
"It's true. You can even write your pathetic excuse of a father if you don't believe me. Oh, wait, your father's in Azkaban!"
I giggled like what my mum says my grandmother laughed like, and the turned around.
"See you during Christmas, _Scorpious_."
"Why, you little blood traitor!" He bellowed after me.
I faced him. "So is your father, Malfoy."
I turned back around and smiled at Sophie, "Don't listen to a word that ferret says."
"Ferret?"
"His dad passed down some genes. His father turned into a ferret during his fourth year. Now that you know the reason behind it, feel free to call him Ferret as often as you want."
Sophie laughed, "I like it. It suits him."
I nodded, "He's a conceited little blood purity prick."
"What does Mudblood mean?"
"It means that you are born from Muggles. It's an insult of the blood status though. Only Slytherin's usually call Muggleborns that. But, if others get mad enough, they can call you that. Just, try to ignore it. It's not really nice at all."
"Thank, Sahara. You are really nice to me. I can see us as best friends."
"I can too," I smiled. We went to our classes, all thoughts of Malfoy and his croonies forgotten. My mother'd be so proud.
* * *
Alright, this is the sequel to 'Bellatrix Raven Who?' so read that first! Thank you and I'll keep you updated at least every week!
Awkward Reindeer (XxX Fleur-Delacour XxX)
7. Chapter 7
"What the hell were you thinking!" My mother shouted at me as I sat in her office.
"He was being a little prick," I muttered, "He deserved it!"
"And you brought me into this! You brought his father into it! And you brought my past into this! Sahara! I don't want to be involved! You can tell him off, but don't stoop down to his level and insult him at the same time! Just don't. And if you ever insult him again, I'll ground you, Sahara."
"I'm sorry, Mother."
"You better be!"
I changed my hair to brown curls and my mother's face crumpled. "Please, don't use that face when I'm in the same room."
"Why?" I asked her. "Why not?"
"Because it looks just like my mother!" My mum whispered sitting own. "I can't look at it. She died during the war. In the Astronomy tower, to be exact. Just, don't do that to me, Sahara."
"Then let's make a compromise."
"No, I'm not going to let you get off the hook of anything," My mother said sternly. "Now go to bed."
"Night, mother."
"Love you, darling. Night."
I left her room without another word and headed towards the Gryffindor Common Room.
Just as I started to climb the stairs, a hand grabbed me and stopped me from moving.
I tensed and gripped my wand, "What?" I growled.
"Look, I want to apologize," the voice said.
I turned and the hand let me go. My eyes squinted, trying to find a name and face to the person in front of me. It was too dark.
"Who are you, first?"
"I'm shocked you don't recognize me, dear cousin."
I smirked, "Ah, yes, Scorpious, quite unforgettable. What's up, big cuz?"
He cleared his throat nervously, "I, um, wanted to say I'm sorry for all the bad things I've said to you and your Mud-"
I cleared my throat, and he caught the hint, "Right, um, your Muggleborn friend. It was innapropriate and immature."
I snorted, "What crawled up your ass and whispered in your ear to go good?"
"Well, I may have a friend that won't stop talking about someone and I figured, somethings going to happen eventually, so why not?"
"Who's this someone and who's this friend?"
"This someone is you, and this friend would kill me if I said anything."
I raised my eyebrow, "It isn't you, right?"
"No, Salazar's pants, no! Ares would never forgive-"
"So its Zambini that likes me," I laughed. "Oh-"
"Who's there!" A voice called.
My eyes widened. I grabbed Scorpious's arm, "Follow me."
I broke off into a sprint, Scorpious right on my heels. The seventh floor corridor never looked so inviting.
"We need a place to hide," I told him. "Filch'll-"
"Keep looking for us until he finds us, I know," Scorpious answered. "In here."
He opened a small wooden door that I didn't remember being there. He shoved me in and then himself. We were silent and I was pressing myself against the wall so he would be as far as possible from me. The door opened and I braced myself, but a voice just laughed.
"And history repeats," my mum's voice said. "I went out with Draco, and you're going out with Scorpy?"
My eyes flew open and I gasped, "What? God no! Mum! Filch was after us and we hid from him!"
She rolled her eyes, "That's the same excuse I used when Harry caught me in the closet with Draco."
"It's true, Aunt Bella. Nothing happened," Scorpy backed up. "I swear."
I changed my hair to a black, making it straight, and my skin tanner. "Besides, I have an admirer that isn't Scorpious."
My mum looked amused, "I don't want to hear about your personal lives. Please, Sahara, go to bed. Scorpious, I'll escort you to the Slytherrin common rooms."
I ran at full speed to the common room, not waiting a second. I whispered the password quickly before closing the door behind me. That was too close. Now, how can I charm Zambini? I mean, sure, he's pretty cute. . . Oh god, Kellen, Sophia, and Parker will kill me if they find out I like him.
8. Chapter 8
Defense the next morning was awkward. As soon as I walked in, my eyes met Ares and I blushed a little. I did not blush. I refused to let myself be seen blushing. So I tanned my skin and decided against red hair today. My hair turned from its rich auburn shade to a dark and mysterious noir. Green eyes turned violet. I could feel a confidence boost within me.
So, since Ares was still looking at me, I remet his gaze and offered a soft smile, almost near a smirk, but not quite. He smiled back and I let a shaky sigh of relief wash through me. I sat down on the chair next to Parker and noticed his questioning gaze.
"What?" I asked, confused.
"Did you just smile at Zambini? Ares Zambini?"
"No," I protested weakly. He raised his brow. "Why would I do that?"
"Maybe because you like him?" I shook my head and he opened his mouth to counterdict me.
"Because maybe you're spot on and I don't want to admit it," I smiled.
"Gross," he sighed. "I didn't need to know that."
"Oh, but Parker, you did," I said, smirking.
My mother strode in, her bag floating behind her on a bubble of dark air.
"Class, today we will be learning about," she dropped her bag on her desk, flicked her wand to something at the back of the room, and smiled. "Shapeshifters." The object she flicked her wand at floated up in front of her and dropped.
I was the first to recognize the object, because I was the first to gasp. Then more and more started to recognize it.
"What is it?" Sophie asked.
"This," Mother said, gesturing towards the lump at her feet. "Is a shapeshifter. If he ever comes to," she added as an afterthought.
She kicked the Indian boy softly on the side and it groaned. "Jake, if you never get up, I'm never going to have a chance to show them your ultra cool furryness," she sighed.
The Indian groaned again, "Not my fault the time difference sucks."
"Jake here, is a very good friend of mine," Mum told the class. I had never heard of him. Who was Jake? A boyfriend? "He is also Professor Edward Cullen's nemisis," she laughed. The man jumped up at the mention of the vamp.
"I knew I smelt leech when-"
My mum smacked the back of Jake's head, "We do not tolerate predjudice in my class, Mr. Black!" she scolded playfully. Hmm... "Now, Jake, please describe your transformation from a human to a wolf."
"Ms. Black, isn't that what a werewolf does, though? Wolves to human and vice versa?" some girl in Slytherrin asked.
My mum smiled, "That's what you'd think, Miss Hopsinger. But it is indeed quite different. A shapeshifter wolf and a werewolf look very different once their transformation is complete. Can anyone tell me why?"
"A shapeshifter is genetic," Sophie said. "But a werewolf is transfered through a bite. Shapeshifters also can change whenever they wish, whereas werewolves only change on the full moon."
"Very good, Miss Ingleton," Mum smiled. "Fifteen Points to Gryffindor. Miss Ingleton is correct! Shapeshifters and werewolves are very different. Shapeshifters also do not always change into a wolf. They can become a hawk, a snake, a badger, a lion, or even a raven."
She smiled at all of us and then turned to Jake the Indian. "Jake, please, tell us what its like."
"Make me sound like a science experiment," the boy grumbled. "Alright, when we phase - which is what my pack and I call changing into the wolf - its like a heat flash, and your body explodes painfully. All your bones crack. We sort of need lots of room because if we lost control while we phase, we can hurt anyone close to us. Our bodies always run a toasty and warm 101.9, so all the ladies love to cuddle up with us," he started, a strong American accent in his voice. My mum cleared her throat. "Oh, right, you guys are too young to know about that. Anyways," he continued. "Well, my pack and I, when we are wolves, can communicate to each other through a mind link kinda thing. We hear eachothers thoughts and that's really annoying, but we're all very close to each other. Anyways, we never have secrets."
My mum smiled, "Alright, Jacob, why don't you phase for them, show them what its like."
"Sure, sure," Jake/Jacob sighed, stepping back. "They are a little too close though."
My mum raised her hand and shoved the desks back, so that the back row was against the wall. There was a good fifteen feet between the front room, which contained Ares, Ares's friend Zeus, Parker, me, Sophie, and Kellen. My mother stepped to the back of the class, giving us all a clear view. I felt eyes on me to my right and used my hair as a curtain to peek at where they were coming from, without getting caught.
My eyes caught on Ares and I smiled softly to myself. I turned my head to see Jake close his brown eyes and then his body seemed to blur as a russet wolf exploded. My jaw dropped, I think. The wolf was huge. Maybe the size of a stallion. The russet fur looked warm and inviting. The wolf stood at its full height and opened its mouth, letting its tongue roll out. A few girls giggled, but I wasn't one of them.
He was obviously still a kid at heart. The wolf looked around the room, his eyes locking on Sophie. The wolf looked at her curiously before walking over to her and baring his teeth in a smile-like way. Sophie giggled and reached her hand out to pat him. The wolf sniffed it first and then moved its huge head towards her hand, where Sophie immediately started to rub behind his ears.
"Like a huge dog," she whispered to Kellen. The wolf let out a laugh deep in its throat and pounced towards my mother.
My mother laughed and I could barely whisper in his ear, "You so have some explaining to do."
"Why are there shredded clothes on the floor?" someone said.
"When a shapeshifter phases, the clothes don't stay on and pop and reappear between phases," My mum explained, chuckling to herself. "A shapeshifter is naked while in their animal form."
"Oh lordy!" I heard a girl behind me whisper. The unmistakable sound of paper waving as a fan reached my ears. Pathetic.
I rolled my eyes at her behavior and leaned back in my chair, crossing my arms.
"Now, Jake, shall we call Edward in here so you can demonstrate your strength?" My mother joked. She'd do more than anything to do that.
Jake barked, following my mother to the front of my room. "Now, I want you to write a three inch essay on the differences between shape shifters and werewolves, as well as the similarities. All of which will be due the day after tomorrow! Class dismissed."
I stood up, relieved and Sophie walked up to me.
"He was so hot," she whispered.
"Not you too!" I groaned. "He was not hot! He wasn't even cute! And he acted completely childish."
"You are such a guy!" Sophie protested. "Any girl with a decent set of eyes would realize how hot he was!"
I looked at her, coming to a stop in the middle of the hallway. "I didn't find him attractive after the first four seconds."
"But in the first three seconds, did you?" she teased.
"Maybe, but I don't any longer. You and him, have the best of luck together."
She giggled at the idea and started to walk away. My eyes shifted to the shadows and I saw Ares and his Slytherin friends talking.
"You coming?" she called from up the hall. Ares eyes snapped to see me standing there watching. My head turned to Sophie after a second, of staring at eachother.
"Yeah, sorry," I called back. I looked back to see Ares turning his head from my gaze and back to his friends. I sighed and walked to meet up with Sophie, Parker, and Kellen.
"Sophie, can I have a word with you for a moment?" a voice behind me said. I turned and saw my mum.
"Uh, yeah, sure Ms. Black. What about?" Sophie asked.
"Why don't we take this in my office. Could you three tell Edward that I'll be keeping Sophie for a few minutes past the bell?"
"Yeah, sure, Mum," I said, looking at Sophie. What was up now? She couldn't be in trouble. But Sophie was absolutely freaking out. She was pale and chewing on her bottom lip. She looked near tears and was shaking.
"No reason to freak," my mum laughed. "You're not in trouble. Come on. I have some good news, I think you'll find."
They walked back into her classroom and I shrugged at Parker and Kellen. "Let's go, ok? She'll be in Potions, hopefully."
"What do you think it was about?" Kellen asked as we neared Potions.
I shrugged, "But Mum said it was good news, so it can't be anything bad."
"If Sophie's version of good news is the same as your mum's," Kellen supplied.
Parker smirked, "This is already an interesting year, huh Sahara?"
"Shut up," I snapped. "I told you, nothing."
"What are you two talking about?" Kellen asked.
"Sahara likes a Slytherin boy."
"He likes me," I corrected.
"Who is it?" Kellen practically begged.
"No one!" I cried. "Let it drop!"
"It's not no one! It's -"
"Me," A voice said from behind me. Ugh, what is it with people always showing up behind me! My head slowly swivled around and I winced as my eyes met a dark brown.
"Ares," Parker finished lamely.
* * *
What do you think? When should Ares and Sahara get together, if they do, and how? Review your answers!
9. Chapter 9
"It's not no one! It's -"
"Me," A voice said from behind me. Ugh, what is it with people always showing up behind me! My head slowly swivled around and I winced as my eyes met a dark brown.
"Ares," Parker finished lamely.
* * *
"So, who told you, Weasley?" Ares said, looking me over.
"A very reliable source, Zambini."
"Really?" Ares said, his eyes resting on my face. "You don't seem so surprised."
"Your father and my mother absolutely hate eachother," I shrugged. "Besides, I suspected something in Potions when you'd always talk about me behind Eddie's back."
He smirked, nodding appreciatively. "First match of the year is Slytherrin and Gryffindor. We'll see who wins."
"Us Gryffindor's. I'm beater after all," I smirked.
"What a coincidence," Ares laughed. "I am as well."
I was trapped by that laugh. It was seductive, dark, but made me feel warm inside.
"I'll be sure not to knock you off your broom. Sometimes I can't control myself," I said flirtily.
"Hey, if you fall, don't tell any of your Gryffindors," Ares said stepping closer and dropping his voice so only I could hear. "I'll catch you."
I smiled at him, "Well, I won't be falling. But, you can still catch me. How about coffee sometime?"
"Friday night at Black Lake? Six o'clock sound good?" he chuckled.
"It sounds good," I nodded. "I'll bring the coffee."
"I'll meet you there. Oh, and another thing. . .Slytherrin will win," he whispered, before retreating back to his friends. Zeus was watching me closely.
"Over my dead body," I called as he walked away.
He spun around, "Easily arrangable!"
I play glared at him, and turned around, seeing Parker and Kellen's disbelieving stares.
"No way! You and him!"
"Hey," I defended. "I can date whoever I like."
"But he's a Slytherrin! And he's your cousin's friend!"
"He's not my cousin's friend. He's two years younger than my cousin. Besides, my cousin isn't so bad."
"Wait til Teddy hears about this."
"Oh, I'll tell him," I shrugged. "He doesn't mind. His girlfriend's in Ravenclaw."
"Who's his girlfriend?"
"Victoire Weasley. My cousin also."
"Intermarriage?" Kellen gagged. "That's gross."
"Hey, it keeps purebloods purebloods. And my mum was a pureblood because of two cousins having her. My father was distantly related to my mother, and they still married."
"But didn't their marriage only last-"
"Thirteen hours," I nodded. "He died on their wedding night. The same as I was born."
"That's terrible!" a voice said. I turned and saw Sophie walking towards us.
"What'd my mum want?"
"Oh, I'll tell you later tonight," she told me. "But, you first need to tell me what you were thinking when you agreed to a date with Ares Zambini."
"Hey," I defended. "I asked him."
"What!" she shouted.
Oops, I probably shouldn't have said that. . .
* * *
What do you think? When should Ares and Sahara get together, if they do, and how? Review your answers!
10. Chapter 10
"Hey," I defended. "I asked him."
"What!" she shouted.
Oops, I probably shouldn't have said that. . .
* * *
After hours of convincing Sophie that Ares couldn't be such a bad person, she finally told me what I wanted to know.
"So, we got to your mum's office," she said.
"And?" I begged when she stopped there.
"Well, that shapeshifter, Jake was there," she went on. "He was in human form and shirtless. So hot."
"He's a friend of my mum's which means he has to be forty!"
"He's only sixteen!" she cried, laughing. "He's like how old do I look and I said. . . 'um, twenty-three?' He laughed and said he was sixteen!"
"And then what happened!" I cried. "Please, stop the suspense! It's killing me!"
"You're mum had him explain the legends of his people. They stop aging until they stop turning into wolves," she smiled. "How cool is that? And they find their soul mates through something called imprinting."
"Like love at first sight," I sighed. "How romantic."
"Extremely. And guess what?" Her voice was eager and her body was jumping up and down from her hyperness.
"What?" I screamed. "There's more!"
"Loads more!" she laughed.
"Then tell me!" I smiled.
"He imprinted on me!"
She giggled as I froze, "That means. . . you'll be bound to him for eternity."
"I know. He's going to be staying at your mum's house for a while and during summer break, your mum said I could visit for a few weeks to get to know him better. How cool is that?"
"Amazing," I whispered. "So, he imprinted on you?"
"Keep up!" she laughed. "Yes!"
"So, you two are dating?"
"Well. . . when I get older, yes. I told him I just wanted to be friends right now. I think he's fine with that, as long as we write, he made me promise to write."
"And you're going to?"
"Well, yes!"
I laughed, "Alright. Enough excitement. There isn't anymore is there?"
She pretended to think about it, "Not that I can think of right now. So, what are you doing tomorrow?"
"I have a date," I smiled. She grimmaced. "And, no, you can't come to see how its done."
"Like I'd want to. Coffee at the lake, that's cheesy."
My jaw dropped, "Hey now, I think its romantic. Besides, I picked what we were drinking. He picked the lake. . . sorta. Ok, so it was about all me. But, he agreed."
"What if he blows you off? What if this is all just a prank?"
"Then its a prank," I shrugged. "I'll still kick his arse the day after tomorrow in Quidittch."
She laughed. "You would."
"You know me," I winked. I put my PJ's on before climbing into bed. "Night, Sophie!"
"Night, Sahara."
. . .
The summer air was sweet and the flowers from the valley could be smelt from the lake. The lake itself smelt of dew and honeysuckle.
"You came," I said, still gazing at the lake. I looked up and saw Ares in a white button up shirt and black pants.
"Well, of course."
I changed my appearance to my natural looks - red hair and brown eyes - and watched his reaction. He just smiled larger.
"You look beautiful in your red hair."
"So, I don't look beautiful in anything else?" I teased.
"I never said that," He chuckled. He took a seat across from me and pulled the coffee that I handed him in his hands. "You look beautiful in anything."
I felt my blush, but changed my skin a tanner color so that it wasn't noticeable. "I thank you, but you're flattery only gets you so far."
"Right, where was I going with this?" He asked himself. "That's right. So, you're favorite color?
"Twenty questions?" I guessed. He nodded, smirking. "I like it. My favorite color would be assumed red," I said. "But, in fact, it is green. It goes well with my hair and it was my father's favorite color."
"Slytherrin," he laughed.
"What's your favorite color?"
His eyes met mine and he answered without hesitation, "Brown."
"Brown?" I asked. "_Brown_?"
"It's a nice color. Warm," he defended.
"I'll give you that," I laughed.
"What is your . . . animagus form?" he grinned.
"Animagus?" I asked. "You're an animagus?"
"You have to answer my question first. That's how this works," he laughed.
"I'm not an animagus. I'd like to be, but I'm not. Now, you are an animagus?"
"Perhaps," he chuckled.
"What's your form?"
"Well, its my turn to ask you a question," he smirked.
"No fair!" I laughed. "You have to tell me now. I''m far too curious!"
"What's your mother and my father's fued about?" he asked.
"You'd know more than I do," I admitted. "Perhaps its because my mother accidently sent Scorpy's father to jail, who was your father's best friend. I wouldn't know though. Now, what's your form?"
He glanced around and then smirked. "I'll show you better than I can tell you." Without waiting, he phased into a wolf. It's fur was a caramel brown and his ears had white tips. The wolf was average size, but when I stood in shock, it came to about. . . four feet.
"You're beautiful," I whispered. I held out my hand and the wolf sniffed it, took a small lick, before sticking its head just in reach. My hand patted in between the ears. "Are you house trained, doggy?" I teased. The wolf growled and I giggled.
"That's awesome," I breathed. The wolf circled me, its fur rubbing against my bare skin. He was warm and I was just too surprised to not run in fear like my mind was telling me. "You won't eat me, right?"
The wolf growled, laying down on the ground. I went to its side, "So, I take it your unregistered." The wolf nodded, laying on its side so it could watch me. "And you don't want to register."
It shook its head.
"Is it true that your animagus form is the same as your patronus?"
It nodded, looking at me curiously. I pulled out my wand. "Let's try it then. If I were an animagus, what would my form be. . . Expecto Patronum!"
A white light shot out the end of my wand and the wolf jumped in surprise. My mother had told me how to practice. I had spent hours at home thinking of happy memories. I remember the one where she gave me a photo album of her and my father. That was the moment that I saw happiest.
The white light slowly dulled as I concentrated on flipping through the pages of the album, seeing my father's smiling face as he held my mother in his arms, her pregnant belly swollen under them. One picture stood out the most:
My father had his arms around my mother and a necklace was bright against her skin. But what caught my attention was that he was gazing at the camera with so much love in his eyes. And he was mouthing something. I tried to think of the words he was saying. I used to spend hours trying to figure it out, but I could never-
"I love you, daughter," a voice said. It was as whispery as the wind, but it held a masculine tone to it.
My eyes opened and I saw a little white dog, almost wolf in features, but from what my mother had showed me in some books we had at home when I had wanted a dog, it was a husky.
"A dog," I whispered.
The voice was still echoing in my head though. I had heard that voice all the time, if I was ever thinking about my father.
"Did you hear it?" Ares voice said.
"Hear what?" I whispered, staring at where the husky had just disappeared to. My wand had fallen out of my grasp.
"You're father's voice," he said softly.
"That was my father?" I said, looking into his eyes.
He nodded, smiling, "Just because he's gone doesn't mean he's not gone forever. I'd ask your mum about it."
"Yeah, I-I'll do that," I said, shaking my head.
"By the way, you'd make a cute husky," he chuckled. "I'll see you at the match tomorrow."
"Bye," I said, giving him a smile. He nodded in response and walked back towards the castle.
My father can talk to me? But he's dead. . .
* * *
Hey! What do you think! More to come soon:) Review! Oh, and don't forget to check out my blog! Link on profile or just copy this in new window:
http : / xxxfleur-delacourxxx. blogspot. com /
Just take out the spaces, dears:)
11. Chapter 11
"By the way, you'd make a cute husky," he chuckled. "I'll see you at the match tomorrow."
"Bye," I said, giving him a smile. He nodded in response and walked back towards the castle.
My father can talk to me? But he's dead. . .
* * *
"Gryffindor caught the snitch!" Sophie's voice cried into the microphone. "Gin Cho's done it! Gryffindor wins!"
We did a victory lap before landing. Teddy embraced me and I laughed as we all congradulated eachother.
"Good job, Gin!" I cried, hugging her. She was a third year, and absolutely lethal on the broom. "You did amazing out there."
"Thanks, Hara! You and Teddy were amazing! Kept those bludgers away from the entire team!"
"Thanks," I smiled. I saw the Slytherrin team land and they stormed past us. I saw Ares wink at us, mainly me, and I couldn't help but roll my eyes.
"Come on! Party in the Common Room!" Teddy shouted.
We followed him, laughing the entire way about how some of the Slytherrin's acted in the game, and opened the door to the Common Room to find that there were streamers and everyone that was in Gryffindor was in the room, drinks in hands.
"I for one, think that I want to make a toast!" James Prix cried. He was the team captain, keeper, and dating Calisto Weaver. They were both seventh years and hard-core Quidittch players. "To the first years who did amazing today! For their first game, they were wonderful!"
"To the first year players!" we all cried, taking a drink of the pumpkin juice. Kellen and I hugged, before I found Sophie and Parker in the crowd.
"Congrats!" Sophie cried, hugging Kellen and I at the same time. Parker shook Kellen's hand and hugged me.
"How was your boyfriend when he saw you guys win?" Parker asked.
"Boyfriend?" Teddy inquired, jumping to my side. "Who's this young lad we're talking about?"
"She went on a date with Ares Zambini yesterday," Parker said smugly. Teddy choked on his pumpkin juice. "And she came back happy as can be."
"He's nice," I sighed. "You guys have to get over the house prejudice."
"He's a Slytherrin!" Kellen cried.
"He's a nice guy," I defended. Teddy forced me to look at him.
"Does he play on the team?"
"Yeah, he's beater, why?"
"Beater. . . what does he look like?" Teddy demanded. His hair turned black and his skin tanned. He looked almost exactly like Ares. "Like this?"
I nodded, "Yeah, that's him. . . why?"
"Oh, just wondering. . . he's a decent Quidittch player, to say the least."
"Decent?" I snorted. "He was brilliant."
"You nearly clobbered him with the ball, mate," Kellen said to Teddy. "You attacked him with bludgers."
"He sent them right back," Teddy grinned. "Even trade."
"Says you!" Sophie laughed. She was obviously drunk.
"How many of those have you had?" I asked, taking the glass out of her hand and experimentally sniffing it. Firewhiskey? I'm going to kill James and Calisto.
"One. . . Four. . maybe three?" she giggled.
"Oh, god. That's it. We're going to bed. Come on. Night, boys!"
"Night, ladies!" Teddy smirked, returning to look his normal sandy haired and brown eyed self.
I slammed the bedroom door shut behind us and shoved her on her bed. She was sleeping as soon as my body hit mine. Without warning, I was asleep, dreaming of a certain tan skinned Italian.
* * *
Hey! What do you think! More to come soon:) Review! Oh, and don't forget to check out my blog! **There's a contest that ends Feb. 1st! **Link on profile or just copy this in new window:
http : / xxxfleur-delacourxxx. blogspot. com /
Just take out the spaces, dears:)
-Nastya
12. Chapter 12
Sorry, I think this is the last chap for today: Enjoy! And yes, Bella is confronted by Sahara in this chapter about chap. ten. Here:
* * *
"Mum?" I asked, knocking on my mother's open door that led to her office. She looked up. Sirius was across from her, and they were talking.
"What is it, dear?"
"I have a question. I know, its impossible, but I was wondering-" I cut myself off and blushed a little. "I hear dad's voice. Ares heard it too, Friday. . ."
My mother's eyes widened, "What did he say?"
"You believe me?"
She smiled shyly, "I heard it at his funeral. I think you did then as well. But I haven't heard anything since. . ."
"It said 'I love you, daughter'."
"What were you thinking of when you said it?" she asked. Sirius was flipping through a book furiously.
"Ares, well, he told me that animagi forms are the form of your patronus. So, I produced my patronus. I was thinking about the picture in that photo album and I remembered the picture of you guys in eachothers arms. You were pregnant and you had that necklace on that I see on your vanity all the time. You never wear it though. . . and well, he was saying something." My mum deflated when I said the last part. "And then I heard the voice."
"It's charmed in the picture," she sighed. "He charmed it as soon as it was developed. I thought- I'm sorry, Sahara."
"So, I didn't hear the voice. I just heard the charm? But I never heard the charm when I saw it in person."
My mother frowned, "I don't know what, then. Perhaps the charm doesn't work on you?" She closed her eyes for a moment. She seemed to be concentrating. She gasped suddenly, her eyes opening. "Sahara, where is the album?"
"In my room. . . why?" I asked.
Sirius stood, "In your room here?"
I nodded, confused, "What's going on?"
"Can you fetch it?" My mother asked. She seemed pleading with me. I returned about fifteen minutes later and handed her the black leatherbound album with silver lettering on the front. 'Bellatrix Lestrange II -Weasley, Fred Weasley, and our daughter'.
"Was this the first time you've heard it?" she asked.
I nodded, "Just in my head, like out of the blue. . ."
"You've heard it other ways?" Sirius asked, flipping through the album delicately.
"Well, I had dreams of him. Yeah, like, we'd play Quidittch, or -"
"Since how long ago?" My mother interrupted.
"A few months?" I shrugged. "I don't know."
"Sahara," My mother said, sitting in front of me and taking my upper arm delicately with both of hers. "I need you to try to remember. Think back, please."
"Why? What's going on?" I asked, a little confused and a little fearful.
"Sahara, just do what she says," Sirius muttered, staring at a picture in the book.
"Fine. . . it was before school started. It was. . . Uncle George's birthday, I think. I don't know really. It might have been before that. I was sitting in my room and then. . . I heard a voice that sounded like Uncle George's, but younger."
"What did it say?" she pressed.
I shrugged, "I don't know! Um. . ." I thought about it, gazing at the desk. "So beautiful. She needs. . . I don't remember the rest."
"Have you shown any signs of anything? Any signs of my powers?" My mother inquired. Her hand forming a black bubble around the album and pulling it from Sirius's grasp.
"Not that I know of. Should I?"
"Alright, honey," my mother said, handing me the book. "I want you to look at each picture. I think I figured something out. . ."
I sat down, crosslegged, on the floor. My mother opposite of me. Sirius was next to my mum.
"What is this for?"
"Just an experiment. Try it, please," My mother pleaded. Her eyes glistened with longing. I've never seen that in her before.
I took a deep breath, "Is there something special I should be thinking about?"
"Think about your father, his voice," my mother whispered. "Picture him."
"Does this have something to do with your powers?" I asked.
She gave me a small smile, "No, but it might have something to do with yours."
"Okay. . ." I said, a little put off. I didn't have any unnatural powers. I was fine the way I was and I didn't possess the special powers my mum did. I opened the book and stared at the first picture. Then the second. . . until I was on the last page. I stared at the last picture. His voice. . .
George but younger, I chanted in my head. I was almost there. Just a little more. . .
"Oh, Merlin!" my mother gasped.
"She's powerful," Sirius murmured. I looked up and my mother had tears in her eyes.
"Fred. . ." she sighed.
"What the bloody hell is going on? One minute I'm running through the halls and the next thing I know-" the familiar voice cut off and then there was a gasp. "Belly?"
My mother and Sirius were looking at something over my shoulder. I turned and smirked, "George, you really need to lay of the anti-aging potion. Angelina's going to start feeling old."
"Hello, Sahara," George smirked. "But I'm not George, that bloke's still ticking? Bloody hell, and married to Angelina!"
My mother gave a weak laugh, "What'd you expect? They've been inseperable since fifth year."
The George imposter was watching me, curiously. "Is this her?"
"Yes, Fred," My mother laughed waterly. "This is our daughter, Sahara."
My mother took a hesitant step forward and brought her hand to touch the man's shoulder - my father, I corrected. He wasn't real. He was dead. . .
My mother gave a whimper of heartbreak as her hand went right through my father's arm.
"You're not here," she whispered brokenly.
I wanted him real for her. I wanted him to come back and be there for my mother. I didn't want my mother to just forget him, but she needed to move on. But the way she held onto him the way she did - keeping everything of their days together - was pathetic. She need him or someone else. That Blake guy and her. . . I didn't see them getting anywhere, sadly. My mother and father, I realized as I watched them, were perfect for eachother. And you can never get anywhere better than perfect.
* * *
Hey! What do you think! More to come soon:) Review! Oh, and don't forget to check out my blog! **There's a contest that ends Feb. 1st! **Link on profile or just copy this in new window:
http : / xxxfleur-delacourxxx. blogspot. com /
Just take out the spaces, dears:)
-Nastya
13. Chapter 13
Hope y'all enjoy this one:) Fluff! Loads! Gag worthy!:
* * *
My father reached for my mom, and his hand landed on her shoulder.
"Sahara's powers return the dead back to life," he said in almost a whisper that I barely heard it. "And if she wants them real, they're real. If she wants us gone, the dead return gone. It's opposite of your powers. You can kill, but she can bring them to life."
"You-You're real," mom whispered, touching his cheek. The reunion was so touching that I felt my eyes build up with tears.
Sirius put his arm around my shoulders, smiling to himself as he watched them. I couldn't help but smile also as my mom wound her arms around him and buried her face into his neck.
My father has to stay real for her. I want him to stay real.
"I heard your voice," I said softly. "By the lake. Ares heard it too."
"If you're dating that Zambini bloke then we're going to have some serious discussions," the man that claimed to be my father chuckled, looking at me from over my mum's dead. His chin was rested just over my mum's hair. The embrace was so intimate that I desired to look away.
"We haven't really defined our relationship. More like, we went on a date, but nothing happened."
"And nothing should have," he chuckled.
For some reason, I found him easy to talk to. As if I had known him for a while.
"Teddy agrees with it," I defended. "As long as he's good Quidittch player, Teddy doesn't mind in the slightest."
"What does he play?" Father asked.
"Beater, as do I."
"Takes after you in that department," my mother laughed, pulling away.
"She should," he chuckled. "We're both worthy athletes."
My mother flushed, "Fred, please, not in front of her."
"What? I think what we did in our bedroom was like running-"
"Oh Merlin!" I cried. "I'm leaving you two alone. Sirius, you should go to your room as well. I do not want to know what my parents. . . I'm not even going to finish that sentence. Goodnight, you three."
I practically ran from the room, praying I could keep the vomit in. My parents, discussing their sex lives. I never thought I'd see the day. Really I didn't. I had the power to bring back the dead? Well, that's what dad said at least.
* * *
Hey! What do you think! More to come soon:) Review! Oh, and don't forget to check out my blog! **There's a contest that ends Feb. 1st! **Link on profile or just copy this in new window:
http : / xxxfleur-delacourxxx. blogspot. com /
Just take out the spaces, dears:)
-Nastya
14. Chapter 14
Hope y'all enjoy this one:) !:
* * *
Since the next day was Sunday, I decided to spend the day getting to know my dad better. But I thought it best to send a letter before hand. I did not want to walk in on them. . . doing the unthinkable.
So, when I recieved a reply, I told Sophie I was visiting my mum and then headed to Mum's office. My dad and mum were sitting by the fire, their knees touching as they faced each other. They looked amazing together.
"So," I said casually, shutting the door behind me.
My father cracked a smile, but didn't look towards me. "She so takes after you."
"Just wait," I heard my mum laugh. I walked towards them but stopped a few feet away. I sat awkwardly on the floor.
"When did you first start to hear me?" my father asked.
"Uncle George's birthday, more or less," I shrugged. "When did you find out of my powers?"
"I didn't, until it happened. Bella's powers are to stall, destroy - if she wants to - and capture. Your's are her opposite. You can create, move, and free. You don't have the shield, like she does, but you have something infinitely more powerful."
I saw my mother roll her eyes, "It's not a book, Fred. You can't change the story every time you tell it!"
"I wasn't!" he protested.
"Suuure," My mother sighed. "You're mind is your shield, Sahara. If you wish to bring someone back, you can think them back. If you wish to want someone to be set free, they are to be set free."
"So, like, if I wish to bring back. . . Teddy's parents for example, and I picture them back, here and alive, they'll come back?"
My mother hesitated and looked at Fred, my father.
"Are you sure this is a good idea, telling her?" My mother whispered to him. "What if she brings back the wrong people?"
"Like who? Voldemort?"
My mother went rigid, "That is not funny, Fred. It's possible she could and if she does, the wizarding world as we know it would be ruined."
Of course, I could hear them perfectly. I had learned how to transform my body parts in that of a vampire for times that my mother was being secretive. She told me that she had done such as well. Metamorphic powers came in handy.
"She wouldn't," my father insisted. He turned to me, and I acted as if I wasn't aware of them talking to me. "You cannot bring back the bad. Their souls are evil and dark, and not whole. The good are easier to bring back. Less concentration. Concentration you have, but do not when it comes to the dark."
"Who's definition of good?" I asked. "And bad? Your's? Mother's?"
"Who are you thinking of that might be questionable?" My mother asked.
I smirked, "Oh, its a surprise."
"Fred!" My mother screeched. "I told you this was a bad idea to tell her! She could bring them back! She could bring them all back!"
"Bring who?" I cried.
"The Death Eaters! You could bring them back! And if you do, the world will ruin. All Muggleborns will die, at the Dark Lord's hand or the Death Eater's. And things will not be as they are now. They'll be worse. You can't bring anyone that isn't an Order member back. I'm sorry, but you can't."
"So, I can bring back Teddy's parents?" I asked, smiling.
"I-" My mother hesitated. "I don't see why that would be a problem. But wait a while, until we know the outcome of stress relating to this on you. It's dangerous to meddle with the dead, Sahara."
"You've never even thought about it before," I said simply. "As long as you got my father back you don't care about the consequences."
"That's not true," my mother insisted, pain showing through her eyes. Her hair turned a darker shade of brown so that it was nearly black.
"'Tis and you know it," I told her, standing. "As long as you get what you want, which is my father, and your boyfriend, or did you forget about Blake? Kellen's father? Yeah, him." My mother paled and turned towards my father.
"He's not my boyfriend," My mother said mostly to me, but she was looking at dad. "He asked me out on a date and Hermione, Angela, and Narcissa were making me go. I did go, but it was a disaster. We clashed and it was absolutely dreadful! We would never have even made it to the second date. I swear to you, Fred, we did nothing."
"I expected you to move on, considering I've been dead for eleven years," my father said. "And I couldn't care less if you had a boyfriend."
My mother exhaled in relief, her hair lightening considerably.
"And your friend, Jake," I continued. "He imprinted on my best friend! She's eleven! And he's what? Forty?"
"I'm not even forty," My mother laughed. "He's sixteen."
"He was before he phased," I pointed out. "When was he born?"
"He's a year younger than me."
"So, he's thirty-two."
"Which is as old as her parents. They'll never approve!"
"When she gets sixteen, he'll stop phasing and grow old with her," My mother said gently. "She's your best friend, yes, but she decided this. He gave her a choice and she wants to be with him. Her life isn't your decision!"
"Of course its not!" I cried. I looked to my father, "Tell me that its absurd! She's been hanging around all of her ex-boyfriends and she's only now worried about my well-being because you're here."
"Sahara, that is not true. I always am concerned for you," My mother sighed. "When have I ever not been? You're overreacting. I don't know the consequences of bringing one back to life, as neither do you. We're taking precautions. If you bring back Tonks and Lupin, then you'll have to tell Teddy yourself. And you'll have to explain it to anyone that witnesses such a miracle."
I was at a loss for words. Was I overreacting?
"Maybe you should go and hang out with your friends," my mother suggested.
"I agree. Perhaps it best if you part yourself from the drama," Fred said.
I gave them a dirty look before storming from the room. I was not overreacting. Making the entire family, and friends, happy was not something that was to be taken lightly, sure. But it would make the world a better place! I was not overreacting.
* * *
Hey! What do you think! More to come soon:) Review!
Alright, so what do you think about the bringing the dead back to life thing? Should I go more in depth with it or do you like it how I described it.
Oh, and don't forget to check out my blog! Link on profile or just copy this in new window:
http : / xxxfleur-delacourxxx. blogspot. com /
Just take out the spaces, dears:)
-Nastya
15. Chapter 15
Sorry I haven't updated in a while. My laptop got a virus and won't turn on, meaning I lost all my work and future chaps. My other computers charger blew out and I am not updating from my iPod, writing with notepad;) so, sorry if it will take a while. It's not exactly easy. and thinks it knows what works I want, when I really don't. Ugh, anyways enjoy!
I settled in the astronomy tower with two pictures in my hands. It was way past curfew, but I knew no one would find me. According to my father I can create and bring things to life.
The first picture I held contained a woman that looked just like my mother. Her eye were a wise and calculating brown. Her hair, wild and untameable, was a deep chestnut and nearly black. And she was slender with high cheek bones.
My grandmother.
The other photo contained a pink haired woman and a scruff looking, but kind eyed, man. They were holding hands and waving at me with their others. Their smiles were contagious. I found myself smiling as well.
Let's see. . .
Closing my eyes, I picked up my grandmothers photo and concentrated on a woman just like my mother but older.
Every conture of her visible body. Everything my mother had told me. Every little thing I had read about her in cut out Prophet articles.
When I had her formed in my mind, I stopped. What do I do now? I didn't have a voice to pull. She wasn't contacting me.
But I had her image.
"Grandma?" I whispered. "Ya there? It's me, Sahara, your granddaughter. I don't think we've ever met. I dont remember anyway. So, I brought my father back to life yesterday. . . And my mom doesn't want me to bring anyone back just yet until they figure out what the side-effects are. But I'm not listening. Whenever my mum talks about you, she gets sad. She misses you. She always says that you died to young. What do you say to coming back, grandma? Please, just help me make this easier and come to me."
I sat in silence for a while, trying to get her body to appear in front of me.
It wasn't working.
"You going to sit there all night or bring back the wolf and his mate too?" a familiar voice asked.
My eyes flew open, sure I was in trouble now. The voice sounded like Mum's but the owner looked much older than my mum. Maybe a decade or so older. Which made sense.
"Oh my Merlin! I did it!" I whispered in shock.
My grandmother winked and sat down in front of me in Indian Style. "Do the same thing for Wolf-boy and Changer-Girl. And then we can go yell at your Mum together, alright?" the woman laughed.
I nodded slowly, picking up the other picture. I'd never done two at once before.
"Uh, my mum says that you like to go by Tonks, but, um, your real name is Nymphadora. I heard Mum and you were pretty close before the battle. Do you and your husband. . . Remus John Lupin mind coming back to the corporal world. Teddy really misses you, so does Aunt Andy. Both of you. Not to mention the Weasley's. Do you mind coming back, Cousins?"
"Wotcher, Sahara?" a chirpy voice spoke nearly seconds later. I jumped and my eyes went wide at the couple before me.
"I've done it!" I whispered. "Oh we have to go to Mum!"
"Who exactly are you?" the eldest man said. He looked about my grandmothers age. . . But he was holding the woman with the pink hairs hand, who I knew was seven years older than my Mum.
"Sahara Bellatrix Weasley," I replied. "Um, my Mum's Bellatrix Raven Black-Weasley."
"Oh of course!" Tonks cried. "You change your appearance! Well lead us to her! I have to tell her all the latest spirit gossip!"
I nodded slowly, "I wasn't really suppossed to bring you back just yet. . . So Mum will have my head, but follow me."
I led them from the Astronomy Tower to my Mum's office, dodging Mrs. Norris and Filch whenever they became a problem.
I swallowed hard and my Grandma put a hand on my shoulder.
The mahogany door was right in front of me. Tentatively, I raised a hand and knocked twice.
"Come in!" I heard my mother say softly. I opened the door.
"Um, I found someone looking for you," I told her sheepishly.
"Who-" she stopped herself as the three adults stepped in behind me. I saw my dad hop up from his position next to my mum on the sofa and walk up to me.
"Do you feel weak? Dizzy? Strained?" he asked. "We told you to wait, Sahara," he said sternly.
"I wanted to surprise Mum," I muttered.
My dad sighed, giving me a little wink, "I would've done the same thing."
I smile and stepped towards the couch as my dad shook hands with Lupin. "I have loads of products in mind to discuss with you. It pertains to werewolves and collars."
"No," Lupin laughed. "I am absolutely not-"
That's promptly when I passed out. I felt the world go black and my strained magic, that my mum and dad had warned me about caught up to me, giving a large backlash. The wood gave a hard and unsafe landing and I only remembered seeing a black bubble incase me as I knew no more.
Review! P.s. I havent been able to update because of that virus thing that fixed so I'm terribly sorry bug it wasn't my fault:) hope you enjoyed!
16. Chapter 16
"Sahara?" A voice whispered. I groaned and swatted at the object that was touching my shoulder. I was shook and I rolled over, only to fall off of something. I flew up straight, my eyes wide.
"Finally!" Sophie laughed. "You're going to miss the presents!"
I groaned and rubbed my eyes, my head still pounding from the stress of bringing back my grandmother and Teddy's parents. And that was three months ago.
"I'm coming," I said, standing and straightening my shirt. "Happy Christmas, Soph."
"Happy Christmas to you, too."
I brushed my teeth quickly before heading down stairs of Grimmauld Place and saw my mum and dad sitting by the tree.
"Happy Christmas," Mum greeted.
"To you guys too," I nodded.
"Hey, Sahara," Dad said.
"Yeah. . .?" I asked apprehensively.
"Your boyfriend wrote."
I groaned, "Dad, we've gone over this like fifty times. I like him, a lot, and I don't care if you don't like him. He's my boyfriend."
"His dad wrote me, too," Mum said. "A howler."
My eyes widened, "Oh . . ."
"Here's the letter he sent you, we didn't read it," Dad said. "And I quite like the bloke. He has a certain way about him that isn't hurtful like his father. . ." I took the letter from his hand and recognized the familiar scrawl that had my name on top. _S'hara W._
Sophie looked at me worriedly as I flipped it open and read it.
_Hara,_
_Happy Christmas. Sorry about what my dad sent your mum this morning. So not how your Christmas should have started. Miss you and I'll see you on the train in January._
_-Ares_
_P.S. I love the dragonhide gloves. I've been wanting a pair for years now! How'd you know? Hope you like your gift._
I smiled and folded up the letter, "Present time?"
"Go ahead," Mum sighed.
I squealed and Teddy, with his girlfriend - cousin Victoire - Sophie, Parker, and I dove for the tree.
Sirius rolled his eyes, "I remember when I was that young."
"What was that?" Mum asked. "A hundred years ago?"
"So funny, Bella," Sirius said sarcastically. "It was forty."
"And Angela still puts up with you?" George gasped, "If I were her, I would have dumped you when you turned forty."
"Shut up, George," Sirius laughed.
"He's the oldest of the bunch, it seems," Remus sighed. "Even I'm not that old."
"Shut up, Mooney," Sirius moaned.
"Breakfast is ready!" Angela cried. "When you all finish jibbering about your age, you can join me!"
I opened all of my presents, and I loved them all, but I especially loved the gift Ares gave me. A book on how to become an animagus. It brought back memories of our first date. I opened the cover to find a moving picture of a wolf, pacing back and forth before sticking its tongue out at the camera.
"Ooo, who's that?" Sirius asked. "It's a small thing."
"Ares," I replied, tracing the picture with my finger.
"He's a first year, isn't he?"
"Sure is," I smiled, looking up at my Uncle.
Sirius's eyes widened, "How in the world did he learn to be an animagus in his first year?"
I shrugged, "He showed me three months ago."
My mom's eyes even widened, "Wow. Honey, don't you dare drop him. He's rich, powerful, and has the looks."
"Mum!" I groaned.
"I'm serious!" Mum insisted. "I completely messed up with your father. Look at him. Completely gross looking, and he can hardly keep a patronus up."
I giggled as my father cried, "Oi! I am too good looking! I'm the better looking twin!"
"Keep telling yourself that, dear," Mum smirked.
"But you love me, so I can look however I want. And I just can't keep a patronus up because I don't have an outstanding happy memory. All my memories are happy."
Christmas break flew by. I got to spend some quality time with the father I never knew. He was hilarious, teaching me everything I needed to know in order to begin pranking the halls of Hogwarts. According to him, I had three months to make up for and needed to get started immediately.
* * *
So sorry I've taken forever to update! I hope you like this and please, review:) Next chapter will be up within the next twenty-four hours. I promise;)
-Nastya
17. Chapter 17
"Ares," I said cautiously, approaching him. His back was turned to me, his fingers gripping the metal bars of the Astronomy Tower. "What's wrong?"
"My father hates your family," Ares said quietly. I stopped next to him and looked down at the school yard below us. The transfiguration Courtyard.
"My mum hates your dad, too," I offered, shrugging.
"We can't keep doing this, Hara."
"What?" I whispered, looking up to him for the first time. "Doing what?"
"Us," he didn't meet my eyes. "My father. . . I can't keep doing this anymore."
"You mean your father won't let you," I spat, stepping away. "I see. Let's just do everything your father says, Ares."
"I-"
"No," I said, turning and walking briskly to the stairs. "I know what you mean to say. No need to say it twice. I refuse to let your father win, Ares." I looked over my shoulder as I descended the steps and met Ares' eyes. "You want to let him control you, then you lose me."
"Hara, please, I-"
"You what?" I spat.
"I'm sorry," he finished lamely, his hand dropping to his side. My heart kind of hurt at that. He wasn't even going to fight for me.
I nodded, "Me too. I'm sorry your father has ruined us."
And I left without looking back. I ran as fast as my legs could take me to the Gryffindor Common Room and said the password. The Fat Lady gave me a concerned look before swinging open. I took off into the Common Room but was grabbed.
"Sahara, what's wrong?"
Teddy's voice just made me lose it. I dissolved into tears and mumbled incoherently into his neck.
He sighed and picked me up, walking to the couch. He said something to one of his friends, James Prix, who walked over to the rest of the people in the Common Room and had them leave.
"What happened?"
"Ares!" I sobbed into his shoulder. "I - I went to talk to him! He said that we couldn't keep doing this! Our families hate each other!"
"So?" Teddy asked. "Hara, it's okay. You just have to show him what he's missing."
"I broke up with him!"
"Then why are you crying!" Teddy chuckled, confused, stroking my hair.
"I didn't mean it!" I told him. "I just sort of burst! And He didn't even fight for us! He just said he was sorry. And I said, I-I'm sorry too. Sorry your father ruined us! He's going to hate me! He has to hate me! I hate myself!"
"Hey," Teddy sighed, stroking my hair, and rubbing my back with his other arm. "It's okay. It's going to be alright. Just put on a brave face. All of your friends will be there for you. You know that."
I pulled away from him, not feeling assured. The tears were still in my eyes, "I don't know if I can even be in the same room as him."
"You only have four months until the end of term," Teddy smiled gently. "It's only January."
"And if he and I end up in detention together?"
"Then I'll get detention on purpose so you don't have to be alone with him."
Tears, still swimming in my vision, seemed to turn into appreciative tears, not ones of sorrow. "That's really nice of you, Teddy, but its unnecessary. I just won't get detention."
He laughed, "You are my favorite cousin, Hara. And that Zambini kid isn't good enough for you."
I hugged him, "Thanks, Teddy."
"Welcome, Hara."
I kept the brave face on in front of him until I got to my room, where I cast a silencing charm on my bed and disolved into hysteric sobs. _Ares..._
"Sahara! It's time for Defense!" Sophie called, opening my bed curtains. I groaned and rolled away from her, burying my head in the pillow. "Your mum is going to give you detention if you're late!"
I shot up at that. I didn't want to get detention. I did a quick charm Victoire taught me and I was clean, as well as clothed in a clean uniform.
"You so have to teach me that," Sophie laughed, grabbing my backpack and hand in one motion before running out of the dorm room. "Are we meeting up with Ares before class?"
I winced and shook my head as we exited the Common Room, "Not exactly."
"What?" Sophie asked, stopping mid-step. "What happened?"
"We broke up last night," I muttered, tears in my eyes. "I don't want to talk about it."
"I'll switch seats with you, then," Sophie smiled. "Alright, no more talk on the boy. We are going to have a full tear-free day!" She said sternly, eyeing the tears threatening to fall. "And we will have fun and smile and we _will_ not look at him or talk to him."
I nodded, giving a watery chuckle, "You are my best friend for an obvious reason, Sophie. Let's go."
* * *
i know these chapters are short, and you probably hate me for this chapter, but I have a reason for it:) Next chapter has a time skip! Review, please!
-Nastya
18. Chapter 18
"You look beautiful!" Sophie gasped.
I smiled and looked down at myself. My tight cocktail style gown was perfect on me, the colors of the Yule Ball itself. Blue, white, and it faded to black as it came together in the front. My mother lent me one of her gold necklaces with three ice blue tear drops on them. It was absolutely stunning. To match, I had diamond earrings that icicled down and glittered in the candle light. My bracelet was stretchy and had diamonds and the same ice blue tear drops from the necklace stretching around. And my heels were a glittery silver. I looked perfect.
"Thank you," I looked up and gasped. "Sophie! My Merlin! You look amazing! Jacob is going to fall to his knees for you!"
She blushed, her bright blue gown sparkling brightly as she turned towards the mirror. "You think?"
"I know," I assured her, smiling. She played with her curly brown hair for a moment, before nodding.
"Thanks."
"Let's go meet our dates," I smiled.
She caught the hint of sadness in my eyes, "You should dance with him tonight."
"I can't," I insisted, shaking my head. "That Hopsinger girl would rip my head off."
"You can take her," Sophie smiled.
I snorted, shaking my head, "Let's go before we come up with any dangerous plans."
We linked arms and grabbed our clutches before walking down the stairs from the Fourth Year girls dormitory.
"You girls look beautiful!" Parker blushed, looking us over.
I smiled at my date for this evening, "Thanks, Parker. You look dashing yourself." I let go of Sophie and straightened up his bowtie, before straightening his collar.
He smiled and offered his arm, "Shall we head to the ball?"
"We shall," I confirmed, taking his arm. Sophie was paired with Kellen. They'd be cute together, if Jacob hadn't imprinted on her.
The Yule Ball was exquisite looking. Crystals hung in the air, ice clinked together and snow rained from the ceiling before melting into oblivion when it reached just above Hagrid's head.
"It's beautiful," I gasped. This was the first year I had been here, since Fourth Years were the youngest allowed. And I was enchanted already.
"Let's dance," Parker smiled, dragging me out to the dance floor. I laughed dancing with him to some Weird Sisters song that was as old as my mum.
I couldn't help but look around, searching for the man I really wanted to be with tonight. I couldn't find his tan skin, nor his black hair. He must not be coming.
"Do you want some punch?" Parker asked as the song ended.
I nodded, "I'd love some!"
He laughed and told me to wait for him by the others. So I walked over to Sophie and Kellen, "How are you two so far?"
"It's wonderful!" Sophie giggled. "I've never seen anything so beautiful."
"I love. . ." He trailed off, his gaze over my shoulder. "She's beautiful."
"Sophie is," I agreed, smiling. "She could rival Fleur Weasley."
Sophie nudged me and pointed discreetly to my left. I turned and my heart stopped. Renee Hopsinger was being led into the Great Hall with a very handsome tanned man on her arm. The man I loved.
"I should . . . go," I whispered, turning.
"Sahara, wait!" Parker called loudly. He pressed a glass of punch into my hand and wrapped his arm around my shoulders. "To us four. We've made it this far, and we better make it three more years!"
I laughed nervously as I saw Ares approach us, and took a sip of the punch to distract myself. Renee flipped her hair over her shoulder as she spotted me and smirked evilly at me. I diverted my eyes and turned to Renee. "I'm going to the loo. I'll be back in five."
"I'll go with you."
"No," I shook my head, smiling. I looked over her shoulder and saw Jacob approaching. "Stay. I'll be fine."
I turned, handing Parker my glass, and diverted through the dancing crowd, accidentally bumping into Ares.
"Sorry," I murmured as I passed. He opened his mouth to say something, but I moved quickly away. The only time I heard him talk was when he was in class or loudly in the library while I was studying. There was a reason my grades were awful in Arithmancy.
"Sahara!" I stopped at the stairs that led from the Great Hall to the first floor. It was Ares. Do I ignore and wonder what he wanted? Or do I say something and cause myself to cry to sleep tonight? Tough choices. But I decided the last. Wanting to know what he would have said would kill me more. So I turned and met his dark eyes.
"What, Zambini? Come to ask me to chose better friends?" I snapped harshly.
He swallowed, "I deserved that." And so much more. "I just wanted to say, you look. . . beautiful."
I bit my lip, watching him for a moment, before turning so he couldn't see the tears in my eyes. I continued on up the stairs, only looking back to find him staring at the spot where I used to be. And he punched the wall hard enough that one of the portraits asked him if he was alright. That hurt the most. I wiped the tears that were forming and continued on to the loo. Merlin, I am such an idiot.
I should have said at least thank you. I stood by the sink and ran the tap water, to cover up the sound of my sobs. Merlin, I am so stupid!
"Sahara?" a familiar voice asked.
"Go away," I choked out, covering my face with my hands.
"Why are you crying?" a hand touched my shoulder.
I shrugged away from him, and turned to face the intruder of the woman's bathroom. "You shouldn't be in here."
"I don't care about the rules. A beauty like you shouldn't be crying the night of the Yule Ball."
I looked up at Uncle Edward, and he winced as he saw the smeared make-up, probably making me hideous. I used my metamorphic powers to have the make-up fade away and fix into the way it was before I started to tear up.
"You can hit on me all you want," I snapped, sniffling. "But you are one sick, sick boy."
I turned abruptly and went to walk out, but he grabbed my wrist tightly. I cried out under the pain of his grip.
"Let me go!" I demanded, trying to pull from his grasp.
"Sahara, you remind me of your mother. So beautiful. Just like her," Edward murmured, his face sickeningly close.
I jerked away and his grip on my wrist tightened until I heard it snap. I cried out in pain and tried to move away.
"Please, leave me alone," I whispered. "I didn't do anything to you. I swear. Please, leave me alone."
He jerked me towards him and I screamed as white hot pain sped up my am from my broken wrist.
"Sahara-"
"Let me go!" I cried, jerking away. Bad idea. Hot pain ran up my arm once again. Through my tears, I looked at Edward. "Why are you doing this?"
His eyes were a dark, dark black and a new type of fear settled in my stomach, "Because I'm so hungry."
"Please," I cried, struggling away from his rock hard grip. "Let me go. I have a Quidittch match in a week and I really can't miss that," I pleaded. "Please." I can't believe that a Quidittch match was running through my mind! I could be dead in five minutes and that's all I can think about.
His other hand grabbed my shoulders and I cursed myself for leaving my wand in my room. I didn't think I'd run into any trouble at the ball.
"Let her go," a strong voice said from the doorway. Edward paused, his teeth poised at my neck.
I chose that distraction to try to wrench myself free. "Let me go!" I shouted.
"Professor Cullen, let her go," the voice said.
"Mister Malfoy, I think you should not be in here."
"I already alerted her mother and Sirius Black," Scorpious continued. "They'll be here momentarily."
"Foolish boy," Edward spat. I whimpered in fear as his jaws came dangerously close to my skin.
"Stupify!"
I collapsed to the ground as Edward was wretched away from me. I clutched my wrist to my chest, forgetting that I was in a dress and draped on the floor.
"What is going on- Sahara!" Mum cried, running into the girls Loo. "Scorpious, what happened?"
"Professor Cullen was going to bite her. I could hear her screaming as I patrolled the halls, Miss Black," Scorpious replied. He had lightened up on me since he heard what happened between Ares and I nearly three years ago. Not to mention his father was getting out of jail this summer. "I stunned him so he would let her go."
My mother said a healing spell, letting my wrist glow before it healed. "Thank you, Scorpious. Fifty points to Slytherin. Sahara, you should go to Madame Pomphrey."
"I'm fine," I insisted stubbornly, standing. "He only broke my wrist, and you fixed that."
My eyes darted to Edward and I diverted them quickly, "Thanks, Scorpy."
He winced at the nickname, but nodded, "You're family," was his explanation.
"I insist you go to the hospital wing," Mum stressed.
"I'm going to go back to the ball," I sighed. "I just want to tell Sophie I'm going back to the Common Room."
Mum seemed reluctant, "I'll have the elves send you a dreamless sleeping draught."
"Mum-"
"Sahara," Mum warned.
I gave in, kissing her on the cheek, "Get rid of him."
"I will," she laughed. Scorpious joined me in the hall on my way to the Great Hall.
"Thank you," I said again to him. His gray eyes looked at me.
"He still misses you."
I ignored the spark in my chest, "He does?" Did that sound too desperate?
"He doesn't think anyone will be able to tell, but I've known him for a while. He does. And it drives me crazy."
I smiled slightly, "He doesn't miss me, Scorp. He has Renee Hopsinger to keep him company."
"For the night," Scorp corrected.
I raised an eyebrow, "Explain, please."
"He's trying to make a certain Gryffindor jealous. He really likes that friend of yours, Sophie."
I whirled on him, my eyes wide, "What!"
He smirked, "Only joking. But seriously, he's trying to make a young Weasley girl jealous."
I flushed and turned away, "Oh. . ."
"So, hot stuff, get your strut on and show him what he wants," Scorpious said, tapping my shoulder with his hand before walking off.
"I swear, you're gay, Scorpious!" I called after him. He just laughed. I walked into the Great Hall and made a bee-line to Sophie.
"Oh my god! What happened?" Sophie asked immediately. "Your make-ups a complete mess and there are bruises all over your arms!"
I winced and used my metamorphic powers to make that all invisible, "I'm fine. My mum took care of it," I smiled in reassurance when she looked like she didn't believe me. "I'm heading up to bed. Sorry, Parker, but there's always next year."
Parker rolled his eyes, "You go ahead. I'm having fun."
"I wasn't asking you to join," I laughed, thumping him outside the head. "See you guys. Have fun."
I hugged Sophie, and then left, saying hello to a few people and being dragged to dance with one of Scorpious' friends, Perseus.
"I'll see you around, Perse," I laughed as the song ended. He bowed to me and I curtsied back before ruffling his dark hair and walking out of the Great Hall. I paused, leaning against the wall as I took off my heels. God, my feet were killing me and I had only been in here for two hours or so. I rubbed my feet for a moment, to get nerve feelings back in them, before heading up the cool stone stairs.
"Can we talk?"
I jumped at the sudden noise that filled the silent castle. The only sound before was the faint music from the hall. "Who-?"
"It's Ares."
He stepped forward from behind a statue of a knight and looked me over.
"I'm going to bed," I said quietly, continuing up the steps.
"I'm sorry!" he called after me.
I looked down from the floor above and met his dark, glistening eyes, "I'm sorry, too."
"Can't we just talk about what happened?"
"I'm not going to let it happen again," I said in reasoning. "If your father even found out, we just would be ripped apart again, and I'm not going through that heartbreak for the second time."
"It was you who broke it off the first time."
I looked away as he said that, knowing it was true. "You said it yourself. Our families hate each other. There's nothing I can do about that."
"So the Lestrange's and the Weasley's didn't hate each other before your mum?" Ares challenged. "And look how they turned up. The Zambini's and the Weasley's hate each other now. But we can prove them wrong."
"I'm not going to get heartbroken again, Ares," I sighed. I ran a hand through my hair - a nervous habit - and clutched my heels with the other. "I'm not."
"Just give us a try," he urged.
"I'm sorry," I sighed. "I really am."
"Give me a reason why!" he called after me.
"Because you will pull the same bloody shit that you pulled on me the first time. How our families hate each other and then that will be it! Some stupid bloody feud will end us. And I won't let that happen, so I'm letting the feud win. But my heart will always," I said fiercly, stepping down the stairs so I was in front of him. "Always will be with you."
His hand reached and cupped my cheek, "Then forget the feud. Forget my father. I drop it all for you."
I swallowed, "I'm not going to even ask that of you."
I turned and heard his hand drop to his side as I ran up the stairs.
"I love you, Sahara!" he shouted after me.
I couldn't supress the smile that spread on my face, "I love you, too, Ares."
And I told the Fat Lady the password, 'Ravens are booky,' and slid into the Common Room, twirling around to imaginative music as my soul filled with life. He loved me! Oh, I could just sing! But. . . we'd never be together, not if he would loose everything for me. No. I'd never do that to him. I would force myself to be alone forever, if he had to loose his family. I couldn't do that. Not to him.
* * *
Long chapter:) And by far my favorite:) Lots of things happen, but I love the ending, because, well, it shows just how alike Sahara and Bella were when they were each other's age. BTW, Sahara is fifteen, since it is her fourth year, just thought I'd clear that up! Review, please, and tell me if you like!
-Nastya
19. Chapter 19
"So what happened last night?" Sophie asked at breakfast Christmas morning.
"Nothing," I sighed, taking a bite of toast. "I just had a little run in with Professor Cullen, Scorpious saved me, and then I ran into Ares."
Parker and Kellen raised an eyebrow at the last one, "You ran into Zambini? What happened!"
I grimaced, "I'd rather not talk about it."
"Then tell me," Sophie urged. "Please?"
I glanced at my three best friends before sighing, "He wants to give us another shot."
"That's great!" Sophie cried loudly, causing a few Gryffindor's a few seats down to glance over at us.
I shook my head, "No, it's not. Because the same thing will happen. His father will find out and then we'll end up apart again. So, I told him we can't do that."
"But you've been wanting to get back with him for years, Sahara!" Sophie pushed.
"I know," I sighed. "It's just, I think I'm more afraid of the rejection in the end, you know? He said he would give up his father, he would be disowned by him, in order for us to date."
"And?" Sophie squealed. "That's wonderful!"
"No, it's not!" I tried to make her see. "If he does that, I'll feel awful! I'll be making him lose everything he's ever known. And I will never do that." It was silent as Sophie realized why I couldn't. I'd be hurting him more than it would hurt if I stayed away. "He told me he loved me."
Parker and Kellen stiffened, "What?" What did you say?"
"It was the end. I was walking up the stairs and he shouted it up to me," I smiled softly at that, but shook my head. "I don't think he heard me, but I said I loved him too."
Sophie grabbed my shoulders and looked me straight in the eye, "Then you need to stop torturing yourself, corner the man, and snog his brains out!"
I laughed at that, but pulled away, turning my hair to a bright pink, "Sophie, come on."
"Sahara, really, I'm being serious. Even your mum wants you to go back with him, and she doesn't like them. You're miserable. I can see it!"
"I am not," I said hotly, pulling out of her grip. "I'm perfectly fine."
"You've been sitting alone in the Common Room when you're studying. And you run back from the library whenever you go."
"I don't like wandering the corridors alone," I protested weakly.
"That's bull," Kellen pointed out. "You love walking the corridors."
"Not alone. They're creepy," I reasoned.
Sophie rolled her eyes, "Riiiiight."
"They are!" I protested. As the Great Hall doors opened, Sophie smirked and looked at them. I knew who it was. So I made myself busy by taking a few long sips of pumpkin juice and concentrating on my toast as I waved my wand to spread the butter.
"He looks. . . annoyed," Kellen observed.
I scowled at him, knowing he wasn't helping the situation. Every freaking morning since the break-up, I'd avoid looking at him, they'd tell me what he'd look like against my wishes, and try to get me to talk to him. And I was not going to listen.
"Yeah. Probably because Renee's hanging off his arm," Parker laughed.
I took a vicious bite of the toast and felt my hair change to a vibrant purple. "I hate you guys," I muttered.
"We love you," Sophie insisted. "We're just trying to help you."
"It's not helping," I sighed. "You guys are just making me feel worse."
"Oh, come on. If you even look down in the dumps, your Mum will take ten points for one stupid thing in the halls today."
I smiled at that, "I know."
I looked up to the Head table and saw Mum, McGonnagall, Sirius, and Neville having a heated discussion about something. I frowned, "What's wrong with them?"
"I heard that McGonnagall doesn't want to sack Edward for what he did to you," Sophie murmured. "They placed a silencing charm around them. But they were screaming when I came in here. I'm the first one in here, you know, and as soon as they realized they weren't alone, they placed the charm. I caught the jist of it."
"They don't want to sack him?" I said incredulously. "He tried to eat me!"
"What?" Parker and Kellen shouted.
"What do you mean, Professor Cullen tried to eat you?" Sophie demanded.
"I went to the bathroom, to just breathe a little, you know?" I shrugged. "He cornered me, broke my wrist, and said he was hungry and was leaning into bite. Scorp got him. I'm fine."
"He can arrested for that!" Sophie cried. "He should be in Azkaban for assult on a student and threatening a witch!"
"Like they'll give that to him," I laughed, rolling my eyes. "That's the last thing they'll do."
"I'm going to kill him," Kellen swore. "Dammit, Hara, why didn't you tell us?"
"Last night was the Yule ball. I just wanted you guys to have fun," I shrugged. "It's fine."
"You could have died," Sophie said seriously.
I sighed and stood, "I'll see you guys at the pitch later, yeah?" Without waiting for a response, I walked to the Slytherin table.
"What in the hell is she doing?" I heard Kellen murmur to Parker and Sophie. I continued and shoved Scorpious over so I could sit.
"'ello, boys, girl," I smiled, leaning on Scorpious' side. He laughed, tousling my purple hair.
"Finally decided to join us, have you?" Scorpious asked. "You know Rowle, Pavell, and Pernell."
"Pleasure," I nodded to the three dreary looking boys. "And this is Emily Crouch, my girl."
I looked to the girl on the other side of Scorpious, "Take care of him. And, of course, you have to remember, that he hates pork, if you ever have the elves give him breakfast."
"I don't do elves," she replied cooly, looking me over.
"Then you're my new favorite," I smiled at her. She was pretty. Her golden brown hair was straight and flowed down her back, excentuating her curves. She had chocolate brown eyes and a heart-shaped face. She smiled at me suddenly.
"Did you go out with Ares Zambini?"
I opened my mouth to reply, but faltered a bit, "I-um, yes. It was brief."
"He's great in the sack, isn't he?" Emily asked.
Okay, maybe she wasn't my new favorite. "Wouldn't know, actually," I retorted, fire in my eyes, "We only were together three months in first year."
"Oh, we only dated for a month in second, "Emily assured me.
"Oh," I said, faking my cheerfulness. Scorpious could see where this was going and groaned. "So you were a slut! I heard, but, you know, you can't always believe rumors."
She scoffed and looked at me with disgust, "I am no slut."
"First stage is denial," I smirked, standing up. "And, Emily?"
"What?" she snarled at me.
"Don't forget to button up your shirt. It's really not helping your slutty case."
She gasped, her jaw dropped. I gave her a finger wave before kissing Scorp's cheek, "Your still my favorite cousin, Scorp. Don't tell Teddy."
He laughed richly and I waved to his friends before giving my three friends one last look. Oh, they were so dead. And I walked from the Great Halls to get ready for some flying time. I needed to get my mind off of things, and the bitter cold wind would do the trick.
* * *
What do you think? Next chapters a doozy:) review, please!
-Nastya
20. Chapter 20
"Sahara! Think fast!"
I spun my broom around to face Parker and see the Quaffle coming for me. I zoomed in its path and grabbed it before tossing it to Kellen. He threw it towards the empty goal and we started all over again. The breeze was really awful, not to mention the snow was thick and difficult to see through, but it made me think clearly.
I should just talk to Ares, see if we can become friends. Maybe just something so that I don't have to hate and avoid him every minute. Acquaintances is fine with me too.
"Hey, Sahara! We're going to go in! Sophie's freezing in those stands."
I looked down at Sophie, who was huddled in a blanket and gripping a cup of hot cocoa.
"Tell her I said to get warm!" I shouted over the wind. "I'll see you guys in a few."
"What are you doing?"
"I'm just going to keep flying around. I need to clear my head."
Parker looked at me concerned, but Kellen just nodded, tapping me on the shoulder, before flying down to the stands to get Sophie. Parker sighed, "Be careful, yeah?"
"Always am," I smiled.
He rolled his eyes, "Three hours, Sahara."
I saluted him and he laughed, flying away. I did a few laps around the pitch, just admiring the view, when I came to a halt. The Whomping Willow was in sights, and below it was a gray animal. Strange. I didn't think the game in the Forbidden Forest traveled. The wind was splitting against my ears, so I couldn't really tell if it was making noise, so I flew lower and closer to it until I was just a hundred feet away.
And I recognized it as the picture I used as a bookmark in my animagus book I recieved for Christmas three years ago.
"Ares," I whispered. As if he heard me, the wolf looked up and looked at me. I landed, casting a stunning charm at the Whomping Willow as it started to stir and walked towards the wolf.
"You're going to scare away all the first years," I said over the howl of the wind.
The wolf just watched me before turning away from me. I tucked my broom under my arm and stood next to him.
"I wasn't kidding, you know," I said quietly.
In an instant, he was in human form, looking up at the tree, "About what? You were right. My father will find a way between us again. I realized that last night."
"That's the last thing you heard me say?" I asked, looking at him, my eyes narrowing as the snow pelted against my face.
He nodded, his jaw tight.
I smiled to myself as I looked away, "You don't understand, then. When you said you loved me, I said it back, Ares."
His head whipped around to look at me and his eyes were wide. "What?"
"You honestly think I spent three years hating you?" I snorted. "I'm hurt you think so little of me. I was heartbroken that night and I spoke out of impulse. I thought you hated me for it, so I avoided you."
"I thought you hated me, and that's why you were avoiding me."
I laughed, "Looks like we both screwed up."
He chuckled and put his arm around my shoulder, "Does this change anything?"
"I don't know. I'm kind of scared to find out if it does," I admitted.
"Scared? I thought Gryffindor's were supposed to be brave."
I shrugged, "We have our moments. This just isn't one of mine."
"If we do anything. . . it has be secret from my father until I'm seventeen."
I looked up at him, his height dramatically different from mine now. "Two years?"
"Or I blow everything now," he smiled down at me. "From what I overheard from your friends, and your mind last night - by the way, remember to keep your Occulmency up - you don't want me to blow everything."
"I can do two years," I admitted. "But can you?"
He rolled his eyes, "Of course I can. I'm the expert at keeping things secret."
"Like Emily? Yeah, she's awful at keeping secrets."
"Emily?" Ares asked, stepping away from me. "What are you talking about?"
"Emily Crouch," I pronounced clearl. "You and her in second year."
"She's two years older than me," Ares laughed. "Why in the world would I ever even touch her?"
I suddenly felt really stupid, "She said-"
"She's always wanted me," Ares clarified. "Doesn't mean I want her."
"Oh. . ." I said, frowning. "Sorry. I just-"
"I haven't been with anyone, relationshipwise, other than you."
"And Renee?"
That had him laughing the hardest, "Hopsinger? I absolutely hate the girl. The only reason we went to the Yule ball was because I heard you were going with that Parker kid and Scorpious told me to go with her to make you jealous."
"Jealous?" I scoffed, rolling my eyes, "No idea what you're talking about."
"So it worked?" Ares grinned. "Wonderful. I'll have to thank Scorp for that."
"You boys are conspiring against me," I sighed, dramatically plopping myself onto the snow. He phased into a wolf, joining me on the ground. "I love that book you got me," I told him. At his confused glance, I continued, "For Christmas those years ago. I've been practicing."
He yipped excitedly and nudged me with his muzzle. I grinned and rolled onto my stomach before I burst into furry skin and paws for hands. I growled menacingly at the wolf, which caused him to place a paw over my back and stick me down onto the ground. I whinned in protest before falling silent.
_I don't know where this leaves us,_ I admitted, penetrating his mind with Legimens.
_Together, but in secret,_ was his reply.
_So if I say 'Get out of my way, Zambini,'_ I smirked into his mind. _I really mean, 'Meet me at the Room of Requirements tonight after dinner.'_
_And if I say, 'Has the Weasel outgrown her friends,' I really mean the same or, 'I'll see you there, hound-dog.'_
I laughed in my head and buried my face in the snow, _Horrible nickname, Italian._
_No, that was officially the worst nickname ever,_ Ares returned.
I stuck my tongue out at him and rolled over so that I was tucked into his side, _I'm going to hate not saying a word to my friends. If they ever find out, they'll hate me._
_Why not just tell them?_
I looked at him, sharply and cocked my head to the side, _But I thought we were secret?_
_Doesn't mean you can't tell your friends,_ Ares shrugged his large wolfy shoulders and rested on the ground. _Our dates really will be difficult, though. But I have a few things in mind._
_Do I get to know?_
_Meet me at the Room of Requirements tonight at eight,_ he answered. _You'll know then._
I rolled my eyes, making sure he saw that. _I'll see you then, Wolfie._
_Work on your nicknames by then, sweetcakes._
_You're going to make me barf_, I laughed, then turned back into my human form, grabbing my broom. "See you then. But I need to catch up so I can take a shower. I'm freezing."
He turned back into the handsome young British-Italian and bowed, "See you then, il mio amore."
I giggled like an idiot and mounted my broom before taking off to the castle. A stupid grin was on my face that I couldn't seem to wipe away. What are the odds?
* * *
Finally!:) That's it for today, I think! Now, I'm off to watch Supernatural:) Love it and I love you, if you reivew, so review, please!
-Nastya
21. Chapter 21
I bit my lip nervously as I stood outside of the Room of Requirements in a pair of jeans and a sweater. What in the world was going to happen? What did he want to do? And what would be on the other side of these doors? The last question was the most spoken question in my mind. I heard the bell tower chime eight and I took a deep breath before pacing back and forth on it three times.
_I need a place to talk to Ares. I need a place to talk to Ares. I need a-_
Two solid gold doors formed and I looked at them apprehensively before turning my hair a brilliant red and pulling one open. They were a lot heavier than they looked.
"Ah, you've made it," I heard Ares' voice say. "Right on time too!"
I gasped as the inside came into view. "Paris?"
Ares approached me, "Oui," he smiled. I toon him in, in a button up shirt and smart slacks, "You look beautiful."
"I-" I looked down at myself and saw a white flowy dress had replaced my jeans and sweater, "I was not wearing this when I came. . ."
"This room is magic," Ares said simply, laughing. I took in the room. A life-sized replica of the La Tour d'Eifel shined bronze up into the dark 'sky'. There was a patio undernearth the object where a table and a few roses were placed. Along the edges of the walls were fake shops, to give the look a final touch.
"This is amazing!" I breathed, spinning around to look at it all. "How can this all fit in one room?"
"This room just is that amazing," Ares shrugged, pulling out a chair for me.
"Thanks," I murmured, my cheeks becoming the infamous Weasley red. I made my skin turn a tanner color so that it was hidden. He sat across from me and looked above him at the tower's interrior. I followed suit, and then I heard his laugh.
"What's so funny?" I asked, looking back down. I stopped glaring at him when I saw two plates in front of each of us. One had snails, the other frogs. "Oh, no," I said, shaking my head and eying the dead frogs. "No way in hell am I eating those."
"Come on, just try the snails. I don't blame you for the frogs," Ares urged.
"No!" I laughed, squealing as he held out one towards me. I picked up the knife and held it pointing at him, "Don't you dare come any closer."
My giggles ruined my threatening look, but it was all good fun. He rolled his eyes and eat it, only leaving the shell. I wrinkled my nose in distaste, "Disgusting, Ares."
"It tastes amazing!" Ares insisted. "Try it!"
"No," I said firmly. "I do not eat living things!"
"You love the chicken-"
"Those aren't alive when I eat them," I laughed. "There is no way I will do that, no matter how slimy or dry they are!"
He leaned forward, wiggling his eyebrows, "Fine, try the frog then."
"Been there, done that. Aunt Fleur tied me to a chair and shoved it down my throat. Not an experience I'd like to repeat."
"Fine, fine," he rolled his eyes. Snapping his fingers, our plates disappeared and were replaced with a bowl of French Onion Soup and Rosemary Chicken with some souflee on the side. "Hope you like?"
"I have a good feeling I'll love," I nodded, eying the food.
"Wonderful, now a toast," Ares said, raising his wine glass. My eyes widened marginally when I saw that my wine glass was full of white champagne as well. I took it and lifted it to his height. "To secrets."
I rolled my eyes, but clinked glasses with him, "To secrets."
We took sips at the same time, watching each other with our eyes.
"I heard," Ares said seriously after taking a bite of his chicken, "That Professor Cullen's being sacked for attacking a student."
"That's true. Mum told me about it during Lunch."
"Do you know who he attacked?" Ares asked.
I smiled secretively, "I do." It was silent as he waited for me to continue, but I just put a slice of chicken in my mouth and chewed slowly, watching him.
"Well?"
I swallowed, "Well, what?"
"Who was it?" Ares asked eagerly.
I took another bite of chicken, holding out the suspense, before replying, "Me."
"What?" Ares whispered, shocked.
"You did see the bruises when I went back into the Great Hall, right?" I asked lightly. "I made them go away after Sophie said something, but yeah, I'm sure everyone's figured it out by now."
"After you left the Great Hall, I left. I didn't go back."
"Oh," I said softly, shrugging, "I didn't know that. But yes, he attacked me. Yes, I'm fine. Yes, my mum checked me out. And no, you cannot kill him. Did I answer everything you were going to ask?"
"Not quite," Ares said. "What did he want to attack you for?"
"He was hungry," I replied, before taking a bite of chicken.
"Who alerted your mum?"
"Scorpious," I replied.
"Bloody hell!" Ares cried. "What happened for _Scorpious_ to save you?"
I shrugged, and in a small voice said, "Eddie was going to eat me."
"Like suck your blood, eat you?" Ares asked.
"What other kind of eat-" I stopped myself, not wanting to go there. "Yes, that kind of eat me."
"And it took the Headmistress how long to decide to sack him?" Ares demanded.
"Gonnie didn't want to sack him," I replied, sipping my champagne. "He's a good teacher. An airhead, but a good teacher."
"But he attacked a student! He can go to Azkaban for that shit!"
"And he is," I replied, shrugging. "I don't really care what happens to him as long as he doesn't get near me."
"Is he a family friend or something?" Ares asked.
"Sort of," I said, thinking. "His sisters are family friends, as are his brothers, and his parents. But he's not really welcome. He tried to kill my father."
"And Luna Lovegood's a relative as well?"
I rolled my eyes, "No. She married Harry Potter, who's not really related to any of the family, except she's Mum's god-cousin. It's strange, I've really given up on trying to understand who's related or not."
"And so who is related to you?"
"Neville married Aunt Ginny, so he is. And Hermione married Ron. Sirius married a Muggleborn from America, Angela's her name. They got married last summer. George married Angelina Johnson, so her, and then Uncle Charlie's still unmarried, and Bill married Fleur, the Beauxbaton's Triwizard Champion."
"Holy crap," Ares laughed. "I'm already lost."
"Don't worry about it," I smiled.
"My families not even that large."
"Oh?" I asked, interested. I didn't really know anything about him. "Then start talking."
"My mum and dad," He said. "Only child. My dad has a million cousins in Italy. And my mum doesn't really have a big family."
"That's it?" I asked, shocked.
"Believe me, sweetheart, not all families out there are big."
"I know that," I laughed. "It's just. . . I don't know. I thought pureblood families were always big. But I guess not."
He shrugged, finishing off his food, "The Zambini's are a small pureblood family. Prestigious and high up, but small. For centuries, there has only been a single son born, and . . ." he shrugged. "They always marry a pureblood."
I got a sinking feeling in my stomach, "Ares?" His lips touched his champagne glass.
"Hmm?" he asked.
"Do you only like me because I'm a pureblood?" I asked. "And my family has the fame because of the war and my mum's powers?"
His eyes widened and he frowned, "Why would you think that?"
I fought the tears that threatened and turned my hair a dark curly black, like Grandma Trix's, and I took a sip of my champagne before replying, "It's just you said that they always marry a pureblood. And I'm a pureblood and perhaps the only reason you even remotely like me is because I'm a pureblood."
I knew this was too good to be true.
"No!" Ares insisted, taking my hand in his and giving it a firm squeeze, "I like you because you are funny, kind, sweet, and have an evil side to you when it comes to pranking."
"I get it from my father," I protested, before I remember what this was about. "And my blood has nothing to do about it?"
He met my eyes and I could hear the sincerity in his voice, "No. I like you for you, all blood aside."
I let out a sigh, that was close to one of relief. "Oh. . . well I'll admit this. I like your pureblood. Don't ever tell my mum I said that, because she'd skin me alive," I threatened as he chuckled. "But you are an added bonus."
"So the Weasley girl is prejudice," Ares smirked, eying me.
I rolled my eyes, "Slightly. I have no problems with Muggleborns, werewolves, or anything else." He raised an eyebrow, "I'm serious! Teddy's a were and he's like my brother!"
He choked on his tongue, "Lupin was a werewolf?"
"You can't tell anyone," I gasped, grabbing his forearm. "If he even thinks I told anyone, Harry will bloody roast me for dinner."
He started to think about it. Oh, Merlin, what have I done. Teddy's going to kill me, and then Uncle Harry will feed me to Edward! Ah, Mum's going to kill me too!
"Fine," he sighed. "I won't tell anyone."
"I'm serious, Ares."
"I won't," he insisted. "Now, you good for dessert?"
I rolled my eyes, but nodded my affirmation. Dessert sounded good.
* * *
The date! Part one, acutally. Part two, the last part, is coming in the next chapter! That's it for today, because I'm leaving the house and I won't have internet access for twenty four hours, so sorry, but this is all for today. Review, please, if you liked it!:)
-Nastya
22. Chapter 22
"How did you know that Crepes are my favorite dessert?" I asked, smirking as he shrugged in reply.
"I have your mum for a teacher, you know," Ares smirked.
My eyes widened as I cut the crepe with my fork, "Mum told you?"
"Who else would have?" Ares asked.
I nearly moaned as the strawberries and batter of the crepe melted in my mouth, "These are amazing!"
He laughed heartily and took a bite of his. Soft French music began to play and I raised my eyes to meet Ares. "Music?" I whispered.
"Dance with me?"
I hesitated, but set my fork down, nodding. He extended his long, elegant looking fingers towards me and offered me a smile that showed his brilliant white teeth. I took my hand and set my fingers on his. That was all he needed to whisk me away under the Eifle Tower.
One step. Two steps. Three steps. Spin. It was consistent with the soft French music and the accordian's beat set ours. "One day, I'm taking you to the real Eifle Tower," Ares promised in a soft whisper as he leaned down.
"Really?" I asked, looking up at him. He nodded and I smiled softly, "I'd like that."
"It'll be a surprise, though," he said suddenly. "I'll never tell you when it will happen."
I play pouted, stepping in closer to him as we spun yet again. "That's not very nice."
"I'm a Slytherin, love. We don't play nice," he whispered in my ear.
I couldn't help the giggle that escaped my lips. "Well I'm in Gryffindor, and I don't exactly play fair."
I spun out of his grasp as he tried to spin me and smirked at him, raising an eyebrow. He narrowed his eyes at me and took a step towards me, only I took one back, holding my white skirt in one hand and my finger pointed at him with the other. "Ah, ah. Don't you dare."
"Or what?" Ares challenged, taking another step forward.
"Or. . ." I thought about it. "Or I'll snog you."
"That's a very scary thought," Ares said seriously.
I nodded, just as serious, "I thought so too. I mean. . ." he took another step and I smiled slightly. "Who would want to snog you?"
I took a few paces until I was directly in front of him and ran a hand across his cheek before pressing the other onto his neck. His skin was so warm, so comforting. I leaned up and whispered, barely touching his lips, "But we don't play fair."
I placed a chaste kiss on him quickly before pulling away and giggling.
"I have a new idea," Ares whispered as I took a sip of my champagne, from behind me. His arms slid around my waist and pressed me against his broad chest. "When I say, 'Go back to the library, Weasley,' I mean 'I love you, Sahara.'"
"And when I say, 'Go run and cower, Zambini,' I really mean, 'I love you, too.'"
He placed a soft kiss against my neck and I bit my lip to stop the moan. Dear Merlin, what he did to me. . .
"You should really head back to the lion Common Rooms, Hara."
"Only if you go to the snake dungeon," I compromised, angling my head so more of my neck was exposed for him as e continued to place more kisses along my shoulder.
"Deal," Ares whispered. His warm breath fanned across my neck, causing me to shiver. He chuckled before spinning me around and placing a kiss on my lips.
My hands immediately went up to his hair, and he wound one hand in my hair, the other was pressed against the small of my back, guiding me closer.
"I really have to leave before Sophie runs to my mum," I whispered against him as I pulled away to breathe. "And that's the last thing I need."
"Ditto," he winked and released me. "Go on."
"Goodnight, Ares," I smiled shyly, kissing his cheek.
"Night, Sahara," he returned.
I walked towards the front doors of the Room and looked over my shoulder as he finished off his champagne. "Mutt."
"What?" he asked.
"My nickname for you. Mutt," I smiled.
He frowned, "That's awful, still."
"You don't get a say, mutt," I laughed, opening the door.
"Happy late Christmas!" he called after me.
"To you, too!" I returned.
I shut the doors behind me and disillusioned myself, amazed that my outfit was once again a sweater and jeans. I shook my head, "Magic. Oh, I love it."
When I got to the Common Room, I was met with three very angry friends. "It's nearly passed curfew, and where have you been?" Sophie demanded.
"I-" I was cut off by Parker.
"She's smiling," he exclaimed loudly. "Merlin, look, she's actually smiling like she did in first year!"
"Oh, you aren't," Kellen grinned.
"I-"
"She's what?" Sophie demanded.
I rolled my eyes, grabbing all of their hands, and shoving them on the sofa, before casting a silencing charm. "You can't tell anyone."
"Tell us now," they demanded together.
"Well, Ares and I ran into each other earlier today, right? After you guys went inside from the Pitch. And we were talking."
"No way!" Sophie cried. "You guys talked!"
"We apologized for how stupid we've been. And we met at the Room of Requirements tonight."
Kellen wiggled his eyebrows, "Sahara's got some."
I shook my head, my cheeks reddening, "No. We just had dinner. And it was a Paris setting. Looked just like Paris. Music was playing, real French food - better than Aunt Fleur's - and-" I cut myself off as I realized I was rambling, and blushed a darker red. "Anyway, we're a secret. Which means that you cannot say a word to anyone, especially not my mum or any of Ares friends."
"How long will you be a secret for?" Parker asked.
"Until he's seventeen," I told him. "So, I trust you, but you never know who will slip. That means that we're going to take precautions, such as you all are going to be placed under a tongue-twister charm."
"And the side-effects?" Kellen asked serious.
"You even start to say it, and your tongue ties in a knot. It's painful, but it will only be for nineteen months," I pleaded. "This can't get out. I'm dead serious."
"Do it," Sophie challenged. "I don't want to risk you losing what you've been waiting three years for."
Parker rolled his eyes. "Yeah, do you funky mojo."
Kellen just nodded. I waved my wand and all of their hands glew a brilliant blue. "Do you three swear not to mention anything we've discussed in the last half hour to anyone, until Ares Zambini turns seventeen?"
"We swear," they answered.
I squealed and hugged them all, "I freakin' love you guys, because you're always right."
Sophie yawned, "We're going to bed. Goodnight, boys."
"That's girl talk for 'I want all the juicy details'," Parker explained to Kellen.
I giggled, rolling my eyes, "Night."
"Yeah, whatever," Kellen smirked.
I ran up the stairs after Sophie, and we went straight to bed, me with a huge smile on my face. Ares was finally mine, and I wouldn't let him go without a fight. Pure and simple.
* * *
Sorry for the late update, but this is part two! I hope you like!:)))
-Nastya
23. Chapter 23
School resumed the same. The first few weeks were difficult. I couldn't talk about anything I felt towards Ares to anyone. But, by the time February rolled around, I was so much happier. Ares and I would have our dates every other Saturday. Of these two dates, they've always had a theme.
The first date was the second week of January. We went to Rome, Italy, and saw all of the same things that would be there for you to see. It was like a entire, fully built city, completely vacant for us to experience. I don't know how the Room did it, but whatever it was doing it couldn't stop.
Next, we 'went' to Sydney, Australia and just watched the opera house lights at sunset for hours before leaving.
And even though he was going to extreme lengths to keep me entertained, I would have been just fine sitting on the couch and watching Muggle films. But I wasn't complaining. This was absolutely fine, too. As long as I could spend time with him.
His birthday was April seventeenth. Which meant he'd be turning sixteen in only a few short months, and we'd only have a year to go. One year. I could do a year, definately.
My bookbag swung past my leg as I walked my way to the library. I needed to study for divination finals. She was a bat, but that didn't mean I can fail her class. And just because that stuff is junk doesn't mean I won't need it someday. Especially with my powers.
Which Ares still didn't know about. How would I tell him, anyway?
"Oh, yeah, my powers. You see, I can bring people back from the dead if I want to, but its no big deal."
No, that would be the rudest way to tell him. I don't know if I even can.
So with a sigh, I plopped down in a chair, and pulled my divination book out to read. God, stupid tea leaves. She'd say we all had the grim. Or we'd die a young and unfortunate fate. Or, Merlin forbid, we'd all get pregnant - guys too - by the age of seventeen. She was a complete crack-pot.
After two hours in the library, I noticed that it was getting late. I'd have to run back to the Common Room to make it back before curfew. Wonderful. I grabbed my books and hightailed it out of the library. Only three floors up, but the stairs didn't always cooperate.
Luckily, today, they did. I stated the new password to the Common Room, because it changed ever term, and the Fat Lady gave me a disappointed sigh before opening.
"Really, Hara?"
"I forgot my quill!" I groaned. "Is James sleeping?"
"Potter?" Sophie asked from her table by the window. Her books were propped open. "Yeah."
I sighed, "Well, whoever has it, gets it, now."
"Just wait until before breakfast and go. You can't get in trouble then."
"You are so smart," I laughed at Sophie. She just smiled before turning back to her book and scribbling furiously. "I'm going to bed. Don't make out with your parchment for too long, alright?"
"Yeah, yeah, whatever," she muttered, checking some facts.
I began walking up the stairs, glad that Eddie was finally gone. No more vampire to play up my mom or I. He gave me a headache just thinking about. Not to mention Alice when she wants to go shopping. Always sees the best deals in the Wizarding World. Sees- I stopped dead in my tracks, which was outside of the girls dorm. Oh my god!
"She saw me and him," I whispered. I slammed the dorm room door shut and began riffling through my things as fast as I could to get a new quill and some parchment. It was only Sophie and I in Gryffindor, that were fourth year girls, and so we got a whole room to ourselves. I began writing furiously on the parchment before reading it over.
Alice,
I know you saw something with me and the boy. You can't say a word. Burn this as soon as you read it. Please, Ali, you can't tell anyone, not even Jasper. It's only for a year. I'll let you take me to New York City, if you want. To shop. I don't care. Just don't tell. I'll explain why if you don't already know.
Love you, Ali,
Sahara
Oh god. I folded it into an envelope and placed a charm on it so only Alice could read it before it would self-distruct. Then, I placed it by the window and whistled long and hard. Three minutes of waiting later, and flapping of wings could be heard echoing off the castle walls.
"Take this to Alice," I murmured to the black bird - one of my mum's bird's offspring. It hooted softly, biting my finger with affection, and then flew off with the letter attached to its leg. It'd make it back by morning.
I fell to sleep with a clean conscious, ready for the day.
...
"I swear, Sahara, you really need to just get up and talk to your mum with whatever she's mad about," Sophie snapped. I looked up at Mum again, who was glaring at me from the Head table. I grimaced and looked away, swallowing hard.
"I don't even know what she's mad about! I didn't tell her jack squat about anything that would make her mad."
"Then you need to find out before she deducts five hundred points from Gryffindor. We can't let Slytherin win the house cup," Kellen said, nudging me. I sighed, but nodded and met my mum's eyes.
"Your office in five," I mouthed. She nodded, and stood, walking out of the Great Hall briskly, giving me a glare as she passed. I swallowed.
"If I die, you all know it was my mum, right?" I said weakly.
Sophie gave me a weak smile, "I'm sure everything is alright."
"Stop lying," I snapped. I stood and gave them a look, "Wish me luck?"
I gave a whimper as I turned and walked away. Oh god, she was going to skin me alive. What the hell is her problem?
"Mum?" I asked cautiously as I entered her office. My dad was sitting on the chair, reading the Prophet.
"I told you, Sahara. We hate them."
"Mum, I know what you feel towards them, but that doesn't change how I feel," I started to hastilly explain as she turned to me, her eyes blazing. I took a few steps backwards as she advanced towards me.
"Bella, stop it," Dad scolded. "You're scaring the poor girl. I don't even think she did it."
"Who in the world are you talking about?" Mum demanded. "Why did you bring Death Eaters back?"
"Who are you talking about?" I challenged.
"The Death Eaters that have been dead for fifteen years, Sahara. Who are you talking about?"
I exhaled in relief, "No one."
"She's lying," Dad chuckled.
"Sahara, I told you not to bring the Dark side back."
"I didn't bring anyone back since Grandma and Teddy's parents!" I cried. "Why would I do that? They killed thousands of people! And why would I want that?"
"Sahara, only you can bring them back!" she shouted. "Only you can bring people back from the dead. Did you bring them back?"
Fred placed a hand on her shoulder to try and calm her down, "Bella-"
"No, answer me, Sahara. Did you bring them back?"
"No!" I cried. "No!"
"Bella, that's enough!" Dad shouted. Mum gave me a glare before huffing and turning towards her desk. "Sahara, do you know anyone that could do this?"
"No," I said exasperated. "I didn't even know they were out!"
"See, Bella? I told you she didn't do it," Dad insisted. "She wouldn't do that."
"What do you mean? Death Eaters are back?" I said, panicky.
"Dolohov, Lucius Malfoy, others. They're back."
My eye widened, "Scorpious. . ." His crazy grandpa would probably come for him, just as his father gets out of jail. Just what he needs.
"What?" Mum snapped. "What do you know?"
"Bella!" Dad cried. "I'm seriously considering you go to bed early tonight."
Mum glared at dad, "There is nothing to decide, Fred. She brought them back."
"I didn't," I pleaded. "Why would I bring back the people that killed my own father?"
"She has a point there, love," Fred nodded. "I wouldn't bring back someone that killed me."
"Shut up, Fred," Mum said viciously, her hair turning a vibrant red, that could rival my hair color on a good day. "This has nothing to do with you."
"I beg to differ," Fred said calmly. "She's my daughter too."
"I didn't bring them back," I said near tears as my mother glared at me for even talking. What happened to her? She was. . . she was looking at me like I was Ares' father. And that hurt the most. She hated me. "Why don't you believe me?"
"Because I know you're lying!" Mum shouted. "Just like you're probably lying about not dating Ares!"
I looked at her like she was a stranger, "Who are you?"
"You know who I am. I am your mother," she grabbed my arm painfully tight and Dad grabbed mum and pushed her back by her shoulder.
"Bella."
"No, answer me. Are you dating Ares?"
"No," I spat, knowing I was lying, but I wasn't going to let her know. Just over a year left.
"Do you love him?"
"Bella!" Dad shouted. Her eyes snapped to his and she deflated. She let me go and stepped away.
"You've brought the enemy back, Miss Weasley," she said stiffly. My heart constricted painfully at her calling me just as any professor would. "You are no daughter of mine."
"Bella," Dad gasped. "This is foolish. Stop this."
I shook myself from Dad's grasp, and gave my mum - Professor Black - an icy glare, "We'll have it your way, Professor. But I never, ever, brought back the enemy. You brought this on yourself."
"Sahara-" Dad tried.
"I'll see you during summer holidays, Dad," I said stiffly. "Professor, I think I'll leave now."
My mum nodded hard, grabbing the firewhiskey bottle on her desk and taking a long swig. It's not even nine in the morning, mum.
"Sahara-" Dad grabbed my arm as I went down the stairs. "I know you're dating Ares," he said it so softly that Mum wouldn't be able to hear it through the shut door, but anyone in the room could. "I won't tell your mother. And. . . I think you should keep him. He's a really nice guy, nothing like his father."
"You can't tell anyone," I whispered. "Please. Mum hates me enough."
"She doesn't hate you-"
"Stop lying," I snapped. "She hates me. You saw her disown me right there because of something I didn't even do! She hates me-"
"I'll always be your father, no matter what Bella decides," Dad insisted, his blue eyes meeting mine. "And I won't, I swear, I won't ever disown you."
Tears pooled in my eyes, "Thanks. That means a lot."
"I'll always love you, kiddo. You can't get rid of me that easy."
I gave a watery chuckle and kissed his cheek, "I love you too, Daddy."
He released me from a bone crushing hug I didn't even see coming a minute later. "We're going to talk tonight in the Room of Requirements, alright?"
"I-" I hesitated. We were supposed to have a date tonight, Ares and I. "What about before dinner? I don't have classes."
"You're doing something tonight, aren't you?" he grinned.
"Maybe. . ." I said cautiously, waiting for him to blow up like Mum.
"Good for you, kiddo," he winked. "Just don't get caught outside of the Common Room past curfew."
I bit my lip to contain my grin, "Thanks, dad. I'll try my best."
"Remember, RoR this afternoon, right after lunch."
"I'll be there," I nodded. I opened the front door as he went back into Mum's office. Glass crashed. She was pissed. I opened the door slowly, and bit my lip to keep it from trembling. I was met with a muscled chest as I took a step forward. I gasped and stepped back, "I'm so sor-"
"What's wrong?" Ares' voice cut through my sentence. I looked up and saw him watching me with searching eyes.
"I'll tell you later. Nothing fancy, alright? Tonight just needs to be a small little sit-in."
He looked me over, his dark eyes showing concern, "Are you sure?"
"Yeah. I just need to sit down and relax," I assured him. I smiled softly at him with confidence I didn't feel. "I need to tell you something, is all."
"You sound . . . mad and depressed. Are you sure everything's alright?"
I shook my head, "I'm just so. . . confused."
I stepped past him, "See you later."
I disappeared to get to my Divination class. The only class of the day.
* * *
And the plot thickens! Who brought the Death eaters back? Tell me in a review, please! Thanks to all reading!
-Nastya
24. Chapter 24
"Please!" Trelawny cried, clutching my glass. "Tell us what you see!"
"In my tea leaves?" I asked sarcastically.
"Of course, my dear! Your cheek with get you killed. Such a tragic death," she muttered.
I rolled my eyes and flipped through my Divination book, "It says. . . that the dog is the grim and that the leash is control."
I rolled my eyes yet again as she gasped and grabbed my cup. "You, my dear, can control death!"
My eyes snapped to hers, and I let my powers hide my shock, by turning my skin a darker color, "That's the most messed up shit I've ever heard."
"Oh, but dear, it's true!" Trelawny gasped. "You have a collar on the Grim!"
I set my jaw and rolled my eyes, "I should have dropped this class last year."
"My dear, you wield great power, just like your mother!" Trelawny cried.
"Yeah, and my mother is crazy," I said. "So, that would make me crazy, too."
After arguing with her, and silently thanking that she never took any points away, class was dismissed and I headed down to lunch, completely annoyed.
"What's wrong with you?" Sophie asked.
"Dude, she had Trelawny," Parker snorted around his pumpkin juice. "Why wouldn't she be annoyed?"
"She looks pissed."
"What'd your mum want?" Kellen asked conversationally.
I plopped down agrilly, "She's not my mother anymore. She's Professor Black."
"Sahara, you don't mean that," Sophie said gently.
I met her eyes, "Mum disowned me, Sophie. Because of my powers involving something I didn't do. She doesn't believe me. Long story short, she's only Professor Black now."
"That's awful," Sophie gasped, her spoon clattering to the table.
I gave her a smirk, "Sure is. She'll believe me sooner or later."
"What does she think you did?"
"It'll be in the Prophet tomorrow, I'm guessing. But she just doesn't understand that I didn't bring them back. I mean, I hate the Death Eaters."
Kellen's eyes bulged, "She thinks you brought the Death Eaters back?"
I tightened my jaw, "Yep."
"But she knows you would never do that!" Parker exclaimed.
"Well, she doesn't know me, then," I said, looking up at the Head Table. Mum was smiling and talking to Neville Longbottom. Like. Nothing. Was. Wrong. That made me mad.
"And what did your dad say?" Sophie asked in a whisper.
"He's on my side. He knows I would never do that," I ran a hand through my purple hair and changed my eye color to a rainbow. "Figures the man that's known me for less than five years knows me better than Mum."
"You two used to be super close," Kellen said softly.
I shrugged, "After I brought back Trixy and Dad, we've spent less time together. We've just fallen apart and there's nothing really to do."
"And what'd Trelawny do to get under your skin?" Parker grinned.
"She read my tea leaves," I muttered, rolling my eyes. "Spouted about since my leaves showed the grim with a collar, I can control death. What a bunch of crap."
"That's interesting though. . . considering. . ." Sophie trailed off, shrugging.
"Considering what?" I asked, curious, and leaning forward.
"Considering your mum and you's powers," she finished.
I raised an eyebrow, but didn't comment. "Like I said, she's not my mum anymore." Lunch went by without much talk after that, and it was awkward.
"You wanted to meet," I said casually from my seat on a couch as my dad entered the Room of Requirements.
"So many memories in this place," Dad reminisced, sitting down across from me.
"Oh?"
"This is where we were when the war started. Well, we were actually at our wedding reception, but we came here when we got word. That's when we left. I didn't even last five minutes in the war before the ceiling crushed me."
I winced, but looked away towards a fire, "At least you died a hero. You saved countless of lives by taking out Rodolphus and Rabastian."
"Rodolphus is your step-grandfather, you know?" Dad said suddenly.
I frowned, "Unfortunately, yes, I know."
"You're related to nearly every Death Eater. . . except for the Zambini's."
"They're very close to one another," I shrugged. "Marry Italian beauties."
"Except for Blaise," Dad said quietly. "He broke tradition."
"By marrying a British girl," I murmured.
"And you and Ares. You've been with each other forever."
"We've only been dating for a month, dad," I sighed, rolling my eyes.
"You know, your mother and I were . . . intimate after only three days."
"Woah!" I said, shaking my head. "Too much details."
"Now I'm not discouraging you, but make sure that he's the one you can live with for the rest of your life. Because if something does happen, Hara, you really want to make sure he's the one."
"Dad, I'm a virgin," I said seriously, giving him a weirded out looked.
"Oi!" His hands snapped up to his ears. "Not such language! I'm your father!"
"Fine, I still have my V card, dad," I laughed.
"Good, good. You know, I lost mine when I was seventeen."
"Oh god," I moaned, shaking my head once more. "I don't want to hear this."
"Your mum was fifteen."
"Please make it stop!" I said, placing my hands over my face. This was torture.
"We loved each other instantly. And I just want you to know that if you ever decide to marry Ares, I'm here to walk you down the aisle."
I met dad's eyes, "I haven't even told him you're alive," I looked away ashamed. "I was going to tell him. But I didn't know how. I can't exactly be like 'I can bring people back from the dead.' And he'd think the same as mum. He'd think I brought those Death Eaters back. And that would kill me. He knows me better than anyone, but I just don't know how to tell him."
"I'd tell him soon," Dad said unfazed. "The less secrets, the better."
"We're going to meet here tonight. I was going to tell him then. But . . . if he thinks I brought those Death Eaters back, what if he. . . what if he dumped me?"
"There are plenty of boys out there-"
"There's no him out there, dad," I interrupted. "He's all I want. I love him more than I love life itself. I hurts, physically hurts, to think of a life without him. I can't smile. My chest feels like there's a weight on it. And whenever I see him, I feel. . . whole. It's so stupid to explain, but its real. And it scares me. But I can't move on from him. I spent three years trying, and I failed miserably."
"Then don't do anything to cause him to leave. Force him to listen to you explain it before he can even think about running."
I swallowed, "We're waiting to go public. Until he turns seventeen and his father can't disown him. Or take away his inheritence. I didn't want him to go through that either. I wanted him to just forget about me. It'd be easier, you know? If he could just live him life while I stayed in the shadows."
"For Merlin's sake, Sahara. Do you know what we were going to name you?"
"Mum said some Muggle name and she didn't like it."
"It wasn't Muggle," Fred insisted. "It was wizard. And she loved it. Sofiya Australias."
"What does that have to do with what I just said?" I asked, confused.
"That's not a name that just stays in the shadows," Dad smiled. "I wanted you to shine like a star. And be the star you are. Ares will keep you as polished as possible. He'll make you shine. He'll spoil you rotten. And he loves you," Dad took my hands and gave them a squeeze and he gave me this heart to heart talk. "And you love him back."
I nodded, "I do. I really do." Tears pooled into my eyes once more.
"Then tell him. Hold onto him. Bloody hell, even move in here with him if you have to. But I'm not going to let my little girl ruin a chance to be a princess. You're happy with him, are you not? Stay happy by staying with him. You smile whenever he's in the room, whether you realize it or not. You glow, Sahara. And you absolutely shine like the star you are."
"I thought you hated the Zambini's?" I asked.
"I had a sudden change of heart when I saw you two. I saw the before and after of the break up. And this petty feud between some ex-Death Eater and my family is not going to keep you two apart as long as I can help it."
I was touched, "Thanks, dad. I'll never let him go."
"That's my girl. Now, what I really wanted to talk to you about. When a man and a woman love each other-"
"Shut up, dad!" I cried. "I know how it works."
"Thank god," Dad sighed in relief. "I didn't think I could go on."
I laughed, "I'll be fine, dad. Promise."
"Good. And remember, if anything happens, I'll support you."
"Dad," I groaned. "Just stop."
"I'm just saying!" Dad defended.
"Dad?" I said after a few tense moments of silence.
"Yeah?" he asked.
"Why was mum acting so weird?"
He was silent.
"She blew up for something. She knows I would never do that!" I insisted.
"Do you remember her telling you about Azkaban?" Dad asked, making me confused. I nodded slowly. "She went there because the Ministry thought she was harbouring the enemy. A Death Eater, in particular."
"Grandma," I nodded.
"Exactly. She watched them die, Sahara. She could hear them being given the kiss. They walked right past her cell. She's just freaked out. She doesn't understand that you didn't do it. She knows you didn't, but the rational part of her brain is just overwhelmed."
I didn't believe that, "She looked imperio'd."
"You should have seen her sixteen years ago, when she first got out of Azkaban. She looked imperio'd then. This isn't the same thing. She'll come around once she calms down."
I swallowed hard, "I sure hope so."
"I guarantee it."
It's funny, how people can guarantee things. How they can guarantee it just like they can do it. But he couldn't promise this. He couldn't guarantee it. Because it was probably impossible.
* * *
Ah:) Next chapter's going to be the confession time! Review, please, and tell me what you think!
-Nastya
25. Chapter 25
A pair of jean shorts, a muggle tank top. That's all I was wearing for this and I was going to make sure he got the correct message. I wasn't a monster. I wasn't an insane person. I was just me.
"You've come," I said quietly from my laying down position on the couch. The doors to the Room of Requirement barely made a sound as they closed.
"What's wrong?"
"You heard what my Mum shouted, didn't you?" It wasn't mad. It's wasn't depressing. It was . . . neutral.
"Most."
"So you heard the part where I'm not her daughter anymore?" I asked, slight humor in my voice.
One, two, three, four, five. His feet stopped in front of me and I opened my eyes to see him leaning over me, one arm on the arm rest just above my head. The other was on the back of the couch for support. "Yeah."
"Do you know why?"
"Didn't understand that part," he admitted quietly.
"Did you lose a loved-one in the war. Not someone you'd remember, I suppose, but someone you want back to talk to?"
"Sure, my grandmother. Mum says she was very nice and pleasant to be around."
"What's her name?"
"Constantina Zambini."
I bit my lip, "Sit down and watch."
"Watch what?" he asked as he sat down at my feet, propping them up to his lap.
"Shhh," I whispered, closing my eyes. "Constantina Zambini, can you talk to us? Show yourself and meet your grandson?"
"Ciao," a soft voice said.
Ares jumped, and the couch shifted a little backwards.
"But-"
"My mum's power can kill people, Ares," I said, sitting up and pulling my feet from his lap as I watched between Constantina and Ares. "I bring them back."
"What does that have anything to do with us?"
"My dear," Constantina said, her ghost form rubbing a stray strand of her dark, ebony black hair from her tanned face. She looked like just a normal witch from Italy. Her brown eyes met mine. "You didn't those Death Eaters back willingly."
Blaise looked at me, "You brought Death Eaters back?"
"No, I'd never do that. Why would I bring Death Eaters back? They ruined my family."
"No, that's a lie," Constantina murmured, shaking her head sadly.
"I would have remembered bringing the enemy back," I said seriously.
"Exactly," Constantina said in an accented voice. "They obliviated you after they got what they wanted."
"Only my family and three of my friends knew about my powers."
"Let's not forget your extended family, and your family friends," Constantina smiled gently.
"They- they used me to get the Death Eaters back? But Lucius Malfoy was given the kiss. He died shortly after."
"Your powers restore the person. They heal them. Make them one again. That's the same thing that happened to Mr. Malfoy."
"Wait just a second," Ares said loudly. "You bring people back from the dead, and some Death Eaters, that died during the war, are back?"
I swallowed, "Yeah, just about."
"And you brought them back?" Ares said, frowning.
"Ares, dear," Constantina smiled. "She was forced to. Wand point, crucio'd. She was nearly killed. And they forced her to bring them back. The imperious curse is a lot tricker than you'd think."
"They obliviated me?" I gasped. "But-But I'd never do that! I know how to fight off the imperio curse!"
"Not when they're expecially skilled in that curse."
"But no one uses that curse anymore," Blaise insisted, his eyes darting between his grandmother and myself. "It's a useless one."
"Not in our family," Constantina shrugged. "We've always been skilled at that curse."
"You think Ares did that to me?" I cried. "He'd never do that."
"She's right," Ares said. "I'd never do an unforgivable on her. I'd never force her to do anything."
"But your father fought the war, Ares. He knows how to use those spells."
I paled and looked at Ares, "Your dad...oh my god!"
"How'd he get into the castle?" Ares demanded. "When was this?"
"Were you granted a day with your father a few weeks ago?" Constantina asked. "Was he allowed to come here during Christmas break?"
Ares paled, "Yes, but-"
My eyes widened in shock. That was news to me.
"He knows about her powers. She's no longer safe."
"Oh my god!" I hung my head in my hands and shook my head. "I brought them back!"
"Can you reverse it?"
"I have be touching them," I said through my hands. "I have to be holding their hands or something. It's like a bridge through my body to the other world."
"And these Death Eaters will kill you the second you get close to them," Ares whispered. He pulled my hands from my face, "You're never leaving my sight. I don't care if my father knows anymore. I hate him, just as I hate myself for bringing him here. You never leave my sight. You never wander off without someone with you."
"Who brought him to me?" I asked Constantina. "You said that extended family knew. But who would tell him? They all fought for the light side."
"Does Regulus Black sound familiar?" Constantina asked.
I frowned, "I brought him back a few years ago. Around Christmas time for my grandmother. But-"
"He's as light as others think."
I swallowed, "You're saying-"
"There's a traitor in your family. I must go. I was never meant to stay in this world for too long. You know how to reach me, Ares."
She was gone in a whisp of smoke. Ares grabbed my hand, "You're never. Leaving. My. Sight."
"I'm so sorry," I whispered, covering my face with my other hand as tears fell. God, I brought the enemy back. Ares wants to be disowned for me. As as flattering as that is, that's so selfish of me to do.
"Don't be. I can't you a secret forever."
"I have one more secret."
"Can't be that bad, can it?"
"My dad knows."
"But your dad's dead-"
"First year, when I was in the Hospital Wing for a week? Remember that?" He nodded. "Yeah, I brought four people back in one day. And I overworked myself. Dad, my grandmother, Teddy's parents. Those four. And then I brought back my grandfather, Sirius' brother. And. . . that's been it, really. I haven't had to bring anyone back since."
He was silent and he looked me over, "So you're dad knows. . . what exactly?"
"That we're together," I said softly. "Like, together. And . . ."
"He told you to break up with me," Ares nodded, knowing it was the obvious statement. "That's why it was supposed to stay a secret. One of the two reasons."
I laughed and his head whipped around to face me, his eyes wide, "What's funny about this?"
"My dad encouraged us," I giggled out, placing a hand on his shoulder. His face just went more confused. "And he gave me the talk. . . but I interrupted him. And he told me not to let you go."
"Well, I'm not going to let you go, so that's not a problem," he whispered.
"Good," I giggled, leaning up towards him and pressing my lips to his gently. "Because I'd beat you about the head if you did."
"Not the head!" he gasped dramatically.
I giggled against, nodding, "Right here," I pressed my lips to his temple, "Right here." I pressed my lips to his cheek bone. "Right here." A kiss to his nose. "And right here." I kissed the corner of his lips.
"You can't beat my beautiful face."
I pulled away so that I was far enough from him that I could look at him without going cross-eyed, and smiled, "All's fair in love, Ares."
He chuckled and pulled me down on top of him as he leaned back on the couch. My breath caught as I noticed how close he was to me. His body was so warm. "In love? How about all's fair in war."
"War?" I whispered, my breath fanning on his jaw. I felt one of his hands slid to my waist, the other held the hand that I had lifted to cup his cheek. I was breathing in ragged breaths, my chest brushing against his every second. He let go of my hand and brushed my hair to one side of my head, so that it was draping over my shoulder and onto his neck.
"There will be a war, now," Ares Zabini whispered. "And we'll be expected to fight."
"But your father," I insisted.
"My father will want me to fight with them," Ares confirmed. "And I may have to for a while."
I swallowed back the tears and rested my head into the crook of his neck, "You will promise me that this will only be a last resort. If you can find no other way out."
"I promise," he whispered.
With those words, my heart swelled with emotion. If a war would start. We'd be ripped apart.
"Don't ever leave me," I breathed into his ear.
"Never," he assured me. His head turned so that he could face me and I looked at him. His eyes were completely unguarded and I saw the raw emotions. Love, trust, promise. And lust.
"I love you," I whispered.
"I love you more," he chuckled. Before I could argue, he pressed his lips to mine with so much passion and fire that my arguments died in my throat. It was so sudden, that I didn't even catch it. Not even with my Quidittch speed could I stop him, but I was on my back and he was on top of me. One knee on either side of my thighs.
He pulled away and I blushed a deep crimson as he tried to catch his breath. Of course, I tanned my skin to hide it. "Don't hide it," he whispered, a hand stroking my cheek. "You look beautiful when you blush."
That just caused me to blush even darker, my tanner skin no match for it now.
"I am not," I insisted.
"You are," he nodded firmly.
And his lips attacked me as his hand slid up my shirt. I sucked in a sharp breath at the warmth of his hand against my skin and craved more. My hand involuntarily went to his button up shirt and I unbuttoned the first button. He pulled away from me suddenly and I frowned at the loss of contact.
"You're sure?" he asked.
I knew what he was referring to, "Was I stopping you?" I challenged, feeling brave.
He chuckled, rolling his eyes, as he shook his head, "No. But Sahara-"
"Then I'm sure," I said firmly. "Unless," I suddenly became selfconscious. "You don't want to, of course. I shouldn't have-I'm sorry."
I blushed yet again as I realized how foolish I sounded.
"I want to," Ares insisted. "Merlin, do I want to. It's just if you don't-"
"I do," I nodded to him. "I love you, Ares."
"And I love you," he smirked. He leaned down and pressed his lips to mine. My eyes fluttered closed instantly and I just let myself loose my senses and be completely encompassed in him.
* * *
A muuuch overdue update! Sorry:( But I hope you like the treat I put at the end? Surprise next chapter:)) Review, please!
-Nastya
26. Chapter 26
I fell off of the sofa. That was how I woke up. As my body thumped to the ground, I was up enough to feel my heart race as I saw the ground coming. Wonderful. The cold stone was even colder against my bare skin - I shot up at that and looked around. Where was I?
The events came back to me as I saw a naked Ares on the couch, smirking down at me.
"Have a nice fall," he greeted for the morning.
"Shut up," I muttered, my cheeks burning. "Morning."
"It's actually still the evening," he shrugged, flicking his wand. "We've only been asleep for four hours."
"Then it's like. . . eleven," I calculated in my head. He nodded, and stood up to pull his pants on. I scrambled up and grabbed my skirt and bra, putting them on quickly.
After I slid my sweater on, he approached me and wrapped his arms around my waist, "I love you."
"I love you, too," I smiled softly.
He pressed his lips to mine breifly, "You ready?"
I bit my lip and looked towards the RoR door, taking his hand, "Let's go."
We walked out of the doors and it felt like an anvil was dropped in my stomach. Oh, dear lord. What if Ares' father disowns him? What if the Death Eaters capture him for being with the enemy. The Weasley's. The blood-traitors. Uncle Harry told me loads of stories about him being in school, and the names called was one of them.
Weasel. Flame-top. Carrot-head. Awful names.
"Relax," Blaise murmured. "I won't let anything happen to you."
I bit my lip and looked at him, "It's you I'm worried about."
"Why's that?"
"The Death Eaters."
He rolled his eyes, "I'm indestructable. They can't hurt me."
"Sure," I giggled. "Indistructable. This is where I leave you."
He bowed, "My Lady."
"Leave," I giggled as he pinned me to the railing a second later.
"One kiss?"
I pecked his lips quickly, "Now, go. I can't let the enemy house know the password. And be careful. It's past curfew."
"I will," He winked and he disappeared. I looked over the railing to see if I could see him, but the staircases just look like a mass of black fog. Nothing was visible.
I hastilly said the password and went inside. God I loved him.
When I woke the next morning, it was because the sun was shining over my eyes. Just my eyes. I groaned and turned around, placing my pillow over my head, but it was too late. I was already up.
"Oh god," I murmured when I tried to move my legs. I was completely sore and pain shot up my abdomen.
"Hara?"
"I'm up," I sighed, throwing the pillow away from me.
"You okay?" she questioned.
"I'm just sore."
"That match is today."
"Damn it," I muttered. "Hey, you're good at healing spells, right?"
"What'd you do now?" Sophie sighed, opening one eye to look at me.
I gave her a sheepish grin, "I may have gotten a little carried away. . ."
"You didn't!" she cried.
My eyes widened, "Um-"
"How was it? Was it amazing?" Sophie demanded.
I sighed in relief that she wasn't mad that Ares and I shagged. "It was amazing. But can you tell me what that healing spell is?"
She flicked her wand and my stomach grew warm before it was cool again. I sat up and sighed in relief, "I so owe you, girl."
"No need. Was it awkward, afterwards?"
I shook my head, "Nope. I don't think so."
"Did you use protection?"
I looked at her, curiously, "Protection?"
"You know, like, something so you don't have a baby."
I froze, "There's stuff for that?"
"Yeah," she nodded. "What did you think there was?"
"There's nothing in the wizarding world for that, Sophie. There's an abortion spell - for the cheaters - but that's about it."
"What if you're pregnant!" Sophie cried.
I looked at her, "Doubt it."
"Come on, Sahara, be real. It's possible."
"I'd know," I insisted. "And I'm not."
"You won't know immediately. Sahara-"
"I'm not," I told her firmly. She was started to make me scared now.
"Let's go down to breakfast," she sighed.
I changed my clothes into my pre-game outfit and skipped with her to lunch.
"Guess what?" she smiled.
"What?"
"Prophet's out."
I swallowed hard as we sat down and the owls swooped down. "Oh," I whispered. A Prophet landed in front of me and I hesitantly took it before paying the bird."Let's see what trouble I'm believe to have caused this time."
I read the article. Of course I read the article. It was completely horrifying. Death Eaters spotted just outside of Northumberland. Death Eaters raping and torturing before killing an entire village. There were no survivors, but the Dark Mark was cast over the town. Something that hasn't been seen in nearly sixteen years.
I dropped the Prophet and put my head in my hands, "This is going to suck."
"Tell me about it," Parker said, sitting down. Kellen was not far behind.
"Yeah, Slytherin is already not talking to other tables. They're reclused."
I looked towards the Slytherin table and met Ares eyes. I gave him a soft smile before turning and looking at the rest of them. "They look like they're ready to fight."
"They probably have to. You said it yourself. Most Slytherin's come from Slytherin families," Sophie nodded, taking a bite of eggs.
I frowned, "I sure hope not. The first part, that is."
"Yeah, that's going to suck for them," Parker agreed.
"We'll have to fight too," I said quietly. "If they fight, we'll have to fight back."
"Yeah. . ." Kellen agreed. "They'll start with people of age, first."
"If the third war starts," Sophie sighed, "We'll all be expected to fight or ourselves, no matter what age."
"She's right," I nodded. "We will."
"They can't have first years fight!" Parker argued.
"That's not what we meant," Sophie hastilly explained.
"Anyone that wants to fight, will fight," Kellen finished. "Easy to understand. They can't stop people that want to fight. And we would need all the help we can get. The Death Eaters are skilled. And to not have a large force against them would be hopeless."
"Any child of a Death Eater could be at risk," Sophie continued. I knew she was saying this because she knew about Ares and Scorpious' father.
"Scorpious' father was caught on purpose," I told her. "He's not going to become a Death Eater."
"And Ares?"
"His father will want him to fight for their side," I admitted, sighing. "I just- I don't know."
"How will we know who are Death Eaters or not?" Parker asked suddenly. "They can't give out the Dark Marks. Bella's mum told the class that only you-know-who was capable of doing that."
"I don't know," I sighed. "We'll just have to learn who to and not to trust."
"Cheers to that," Sophie grumbled. She clinked glasses with my glass, which was on the table, and took a long drink of her pumpkin juice. "I'm going to the library. I need to look up my charms essay."
"I finished that last weekend if you want to look at mine," I offered.
"No, I need to stop looking at yours," she said firmly. "That was my New Year's resolution and I'm going to start obeying it."
I laughed as she strutted out of the hall. Oh, she'll never stick to it.
"Mind if I sit here?" I was already scooting over before the person could even finish their sentence.
"What's up, Scorpy?" I winked, breaking a piece of bacon apart.
"I got a message for you," Scorp smiled.
"Oh? A message? Is this going to be like a riddle or is it going to be a straightforward answer?"
"Answer," Scorpioius laughed. A few of the elder Gryffindor woman sighed and looked at him with dreamy eyes, "Before your game, take a little time to pick someone up and walk you down there. You know, like a date to the pitch."
I raised my eyebrow, "Pick him up?"
He grinned, "Aye."
"Alright, Mr. Pirate, if that's all-"
"He'll be by Hagrid's Hut."
I smiled, "Alright, leave, Slytherin!" I prodded him with my spoon and eyed him humorously. He didn't budge. "Slllthththththth," I sputtered. "That's a Gryfindor trying to relate to you sliminess. Now leave."
He grabbed Sophie's untouched spoon and pointed it at me like a sword, "You just said game on."
"Shut up," I grinned, "Leave."
"Nope."
"Fine. See you at the match, Slytherin captain."
I stood, giving him a last prodd with my spoon, before gesturing to the two boys, and we headed out of the Hall. I threw a smile over my shoulder before the doors shut behind me.
Ares smiled back.
* * *
What'd you think? You like it? Next chapter is a tiny time skip. Nothing too bad to worry about. Please, review!
-Nastya
27. Chapter 27
Three month time skip:
The end of the year this year wasn't a happy thing. Usually I'm glad that I won't see Ares for the summer, because then I don't have to feel the heartache and know what it's for. But now, it was the opposite. I would miss him greatly and I wouldn't be able to write him.
As we got off the train at King Cross, I noticed him approach his parents. I could feel his father's eyes on me as I grabbed my trunk and approached Molly with a fake smile on my face. "Let's go, yeah?"
"Of course, dear," she smiled. "The dogs are so excited to see you."
"Sirius' back?" I asked.
"Of course," she smiled. "They apparate straight from Hogsmeade."
"And mum?" I asked.
She grimaced, "Fred told me what happened, dear. I'm so sorry. She hasn't come home yet."
"Of course not," I said flatly. "Well, let's go, shall we?"
"Bye, Sahara!" Sophie called.
I smiled as I saw her with her parents. "Bye, Soph! See you later this summer!"
"You too!" she called.
I waved to Scorpious, who was standing with his mother, in line to use to Floo. He nodded back. Too high and mighty now to return the wave. Figures. I stuck my tongue out at him before taking Grandma Molly's arm and let her apparate me.
We landed at my home, really, all of the teacher's and Auror's homes. Grimmauld Place. We lived just wherever. All of us together. It didn't matter to us.
"Sahara!" Dad cried. I saw mum over his shoulder, look at me then look away and continue to read the Prophet.
"Hey, dad," I smiled, hugging him. "Haven't seen you in what? Three hours?"
"Feels like forever, huh?" Dad winked. "How's your new friend?"
"Better," I ammended, after a moment of hesitation.
"A new friend?" Grandma asked fom beside me.
"Yup. Ares and I are friends again. Nothing really's going on. We just talked a few times."
My mum slammed the paper down, "I forbid you from talking to him."
"I'm sorry, Professor Black, but you can't tell me who I can or cannot be friends with," I said as kindly as I could.
She glared at me, "You did bring them back, Sahara. And you will not talk to the Zabini boy again. Do you hear me?"
I grabbed my trunk, fed up with her telling me what to do. "You aren't my mother, Professor. You gave that right up."
I walked up the stairs before she could say anything more and slammed my door shut. Ugh, she infuriates me!
I was in for a long summer hanging out with my Grandma Molly, Trixy, and Sirius, as well as my dad whenever I could. But I'd try to avoid Mum at all costs.
Two month time skip:
The war was announced as starting yesterday, July fifteenth. Which meant, Ares was fighting for them now. I had gotten his letter, which he had sent while at Scorpious' home. He had the tattoo on his left arm. But it wasn't like the others. The others had to improvise. Had to devise a spell that would allow them to communicate with one another. His father had given it to him, after he threw a fit. I know this, because he sent me the memory.
But I still invited him anyway. Teddy was marrying Victoire next weekend. I asked him to be my date, because I didn't want to go with Parker. I like Parker, an all, but it was just too weird being a date with him and him trying something. He's my best friend, but not anything more.
I avoided my grandfather, too, Regulus Black. If he was on their side, then he was dangerous.
It was the day before the wedding that I got the reply from Ares. I had sent it to Scorpious to give to Ares. It must have taken awhile.
But he was coming. Which I immediately told my dad about. I knew mum was going to blow up, but I didn't care. She would be quiet for their wedding. She'd get me afterwards, was all. And really, I didn't care. I just had to see Ares once this summer.
"This is your dress," Alice smiled at me. I looked at the gown in her hands which was a soft pink color.
I smiled, "I love it already."
"Wonderful. Now get ready!"
"Mum's going to freak, yeah?" I asked as I slid the dress over my bra and panties.
She nodded, "But I'll tell her to shut up or else I'll bite her."
"She's not keen to biting, I take it?"
"Only when its your father," she laughed as I scrunched up my nose. "But no. It's very painful."
"Oh," I said, I kinda knew that but it was good to hear that Alice could threaten my mum into not flipping her juice over me bringing Ares. I looked out my bedroom window at the Burrow and nodded. "Time?"
She did some things at vampire speed at me before nodding. "He'll be here in five. Go over by the lake. He'll meet you there. Oh, and Sahara?"
"Yes?" I asked, admiring myself in the mirror.
"Don't do anything with him tonight. We just need to keep it a formal thing, and besides, it would ruin your dress."
I blushed, "Shut up, Alice."
Her tinkering laugh followed her out of my room. I sighed and walked down to the lake, my wand hooked underneath my bra, so that in case of emergency, it was accessable.
"You all alone down here?"
I looked up, blocking my eyes from the morning sun, "I didn't think you'd come."
"I did," Ares grinned. He offered his hand and I took it, brushing myself off. "You're a bridesmaid?"
"No, a cousin to the bride and groom," I giggled. I made sure no dirt was on my dress. "Come on, we have to get the good seats."
He laughed and wrapped his arm around my shoulders, "Let's just feed me to the wolves."
"Only Teddy's a wolf," I insisted. "And my mum, but Alice promised that she wouldn't do anything."
"Except poison me."
I caught Teddy's eye and he grinned, waving, and walking over, giving me a kiss on the forehead and offering his hand to Ares, who was looking at it uncertainly. I rolled my eyes and nudged Ares, "You're suppossed to shake it."
"Oh," he chuckled, embarrassed and shook Teddy's hand.
"Nice to have you here, mate," Teddy told Ares. "You don't want to stray to far away. Molly and her dad are cool with you here, dude, but her mum," he whistled. "Steer clear from her and don't let your drink out of your sight."
Ares laughed richly, "I'll do just that, Ted. Thanks for the heads up. And the invite, mate. Didn't think I'd get one."
"Hey, any _friend_," he said it like he knew, and he added a wink. "Of Sahara's is a friend of mine."
"You bastard," I hissed at Teddy. "Who told you!"
"Your dad gave me a little hint."
I groaned and sent Ares and apologetic look, "I'm sorry. My dad's still young."
Ares chuckled, and shrugged, "Whatever, mate. Thanks, still."
"Just don't go killing the guests and we'll get along fine," Teddy laughed. Music started. "That's my cue. Vic'll kill me if I'm late. See you at the reception. Sahara, save a dance for me."
"I will," I promised, grabbed Ares' arm and pulling him to two empty seats.
Dominique, Victoire's sister, was the first to walk down the aisle, with one of Teddy's friends. Then came Louie, Victoire's brother, with Sophie on his arm. James Potter, Uncle Harry's eldest son, was next with his sister, Lily Luna, and then Albus Severus with Roxy, Uncle George's only daughter. They were the perfect little bridesmaids and groomsmen. So adorable.
They said some words, McGonnagall - having rights to marry - gave them their vows, talked for a while, and then Teddy and Victoire kissed.
"Aww," I muttered when Teddy dipped Victoire lowly and snogged her senseless. She was let go a moment later and was blushing furiously and laughing. Oh, the Weasley blush.
"You actually find that romantic?" Ares asked as we made our way to the reception.
"Shut up," I muttered, batting a hand on his chest. "For them, that was about as romantic as it gets. I swear, Teddy is as serious as Sirius and as pranking as his father was in school."
"Hey, Sahara!" A shrill voice greeted me immediately. I hid my groan as I saw Dominique.
"Hey, Dominique."
"Who's your date?" she asked, eyeing Ares. She was going into first year next year, but I swear, she was as hormonal as a seventh year.
"This is Ares Zabini," I introduced. "Ares, this is my cousin, Dominique. She's Victoire's little sister. She's going into first year next year."
Ares smirked and leaned down, "It's so nice to meet some of Sahara's family. You're what, nine?"
Her flirtacious smile shut down as he finished. I hid my laugh as she turned a glare on him. "I'm eleven," she said flatly.
"You're really small for eleven," Ares said. "You're sure?"
I couldn't hide my smile, "Ares, could you be a dear and fetch the two of us some punch? Dominique has to go take her pictures."
Dominique glared at me, "I hate you, Sahara."
"You're eleven. You don't need to worry about boys until you're seventeen."
"You two are dating and he looks like he's in seventh year!" she argued.
"And I'm going into fifth, so is he," I told her softly. "Stop trying to date all of my guy friends. People will start to say bad things about you."
She huffed and walked away, giving her ass an extra shake. Slut.
Ares came back with two glasses of punch, "She's gone?"
"Thank god. She's already tried to kiss Parker and Kellen. And Teddy's friends. She's worse than she is now when the summer begins."
"Yikes."
"Tell me about it," I muttered. "I have a messed up family."
"Well, start to introduce me to people."
"Alright. It's huge, so if you forget someone's name, just call 'em mate," I told him. "They'll answer to anything, really." I used my pinky to point discreetly, "Over there is my dad and Uncle George."
"At the music booth?"
"Yeah . . ." I winced as my father and uncle started to dirty dance with each other. "Don't ask. Anyway, there's my Uncle George's wife, Angelina, with her daughter Roxy and her son Fred. Just call him Junior F. Um . . ." I pointed again. "There's My grandmother Molly with Grandma Trixy. And Regulus Black, who your grandmother told you about. And my grandpa Arthur."
"Woah, woah, woah," Ares said, laughing. "Just bring me on over there. You know I love people that love me."
"My mum's headed this way, so let's go this way," I said, seeing my mum's glaring red eyes approaching. I saw Alice right behind her, grab her arm. I took Ares just as that happened and dragged him over to both sets of Grandparents.
"Hey," I smiled.
"Ares!" Trixy cried, giving him a hug. His drink started to spill on her, but I was quick. I took my wand out and waved it, causing the drink to fall back into his cup. "We've heard so many good things about you!"
"Trixy, stop," I smiled. "You're embarrassing me."
"You haven't even seen embarrasssing," Molly insisted. "Hello, Ares, dear. You look dashing."
"Thank you, Mrs. Weasley," Ares smiled charmingly as Trixy let him go.
"Just call me Molly, dear," Molly smiled. "Everyone does. Even my own children. It's so tiring trying to figure out who you're talking to if everyone just shouts Mum all the time."
"Molly," Ares nodded, taking her hand and placing a kiss on her knuckles. She got all flustered and blushed.
I giggled, as did Arthur chuckle, "Welcome, son. Good to finally meet you."
"You too, sir," Ares nodded. "Strange seeing you here, Regulus."
Regulus's eyes widened a fraction, "Yeah, same. I thought you'd be off fighting with your father."
"Regulus!" Trixy hissed. "Knock it off."
"I thought you'd be off fighting with him too," Ares said stiffly.
I snorted, "Not here, please. Afterwards, definately." I turned to my grandfather Regulus, "Oh, and I'd like my memory back, Reg." I giggled suddenly and offered him a smile as his face went shocked. "I talk to the dead, remember?"
Molly's eyes widened and she looked at Ares quickly, before looking at me. "Let's go stop my father and Uncle from groping each other, Ares. It's very. . . disturbing," I laughed. "I'll see you all around later."
Molly smiled, hugging me, before turning to Regulus, "What was that all about?"
I was able to avoid my mother the entire wedding. And as I bid Ares goodbye, I gave him a little kiss on the cheek. "See you, Ares."
"I hate you," he winked.
"I hate you, too," I laughed. He apparated at that and I was left to the wolves alone.
* * *
I absolutely love this chap too:P Luv it! And if you like or love it too, please review!:)P
-Nastya
28. Chapter 28
Regulus was sent back to the land of the dead after they found out it was because of him that the Death Eaters were back. My mother had a smug, 'I told you so' look, on her face. She was right, I did bring them back.
"So, if he told Blaise-"
"Blaise got to me and obliviated me so I couldn't remember."
"So Blaise is leading them," Molly whispered.
"And his son," My mother smirked. "Has their Dark Mark."
I swallowed as Molly looked at me with an accusing glance, "What?"
"He was forced to. I have the memory. He sent it to me right after it happened. His father forced him to take it. Tortured him. It was awful. He didn't have a choice. And we both knew this would happen. He's still on our side. He just has to fight for them."
"Sahara," Molly sighed.
"He's not like them," I insisted.
"He's really not, Mum," Dad nodded. "I've been watching the boy for years now. He's not like his father at all. And he treats Sahara just as I treat Bella."
"You're dating!" Mum shrieked.
"I- No!" I insisted. "We're not! He broke my heart in first year. Why would I date him again just for it to happen again?"
"Because you love him," Mum hissed.
"Bella, enough," Dad snapped, grabbing her arm as she tried to lunge for me.
"I'm not dating him," I said strongly. "I'd never date him again."
Molly nodded, "Bella, no over reacting. The poor girl was tortured to bring those Death Eaters back. It's not her fault. Would you rather she be dead?" My mum shut up after that and bit her lip in shame. Good. She deserved it. "Sahara, dear, I need you to tell me everything you know."
"Well, I showed Ares my power. I brought back his grandmother temperarily, Constantina Zabini. And she told us. Both of us. He felt awful. He said he'd never talk to his father again if he can help it. And that -"
"Did he know that his father did that?"
"No," I insisted.
"Then I don't see what the problem is," Molly smiled at me.
My mother waved her wand suddenly, "Are you dating, Ares Zabini?"
I recognized it as the truth spell, but I smiled anyway and answered, "No."
She frowned suddenly, "But. . .but you-"
I couldn't be lying, because Ares had changed his name before the summer started. Curtousy of McGonnagall. He was Ares Perseus. No Zabini. He dropped his last name. And he'll retrieve it back before his seventeenth birthday. Very smart of him.
"I told you the truth, Professor. I wouldn't lie to a Professor. Your truth charm can tell you that."
My dad even showed his confusion.
"I'm not your professor."
"You are," I said stiffly. "If this is over with, I want to go to bed. So goodnight."
I stood abruptly, grabbing my wand, and smiling at my father and my grandparents before heading up to my room at Grimmauld Place. The summer was. . . normal-er after that.
Time skip eigth months:
"No, no, no, no, no, no, no," I repeated over and over again, the more I said it, the more hysterical it became. I was staring in the mirror and realized that something very, _very_ bad was happening.
"Sahara! Are you alright in here?" Sophie asked me on this Easter Sunday.
I gave a shaky nod, "Is Alice here yet?"
"She just arrived, why?" Sophie asked, looking me over. "Do you want me to go get her?"
I could only nod, and I turned the sink water on, before splashing my face. Oh, god.
Ares was turning seventeen in a month. We had a month. People knew we were on good terms, they just didn't know we were together. We came out as friends. But knew it would be too dangerous with the war coming to be publicly boyfriend and girlfriend.
And I still haven't told him. I couldn't tell him! I knew him, and I knew he'd throw everything away. I was seven months pregnant. Only Alice, Rosalie, and Sophie knew. I think McGonnagall did too, because she walked in on me one day as I was talking to Alice and Rosalie about names. They sometimes lived in the Room of Requirements and helped Sirius with his class.
"Sahara," Alice whispered. I took a deep breath as pain hit me once more. I didn't know if it was either the link Ares and I had, or a contraction. It better be the first one. We only handfasted a month ago.
Handfasting was a wizarding promise that we'd marry. It including everything about being married, except, you know, actually being married. I was still Sahara Weasley. Not Zabini. And part of our 'marriage' included a bond telling each other if one of us was in danger or pain.
"Is he caught in a fight?" I whispered, my fingers tightening on the white porcelain.
"No," she shook her head. "He's sitting with him mother and talking. He can feel your discomfort and pain though. He just said he needed to go meet Scorpious. He's on his way here."
"So its-" I couldn't finish as another contraction hit me.
"The Room of Requirement," Rosalie ordered Sophie. "We'll meet you there."
My metamorphic powers, as I had learned from Alice, hid my stomach well. I didn't have to lose any of my favorite clothes. "Alice," I gasped as he swung me on her back and took off. We reached the Room of Requirements a second later and I was dropped onto a soft bed. "You have to keep Ares away until its over. Tell him I tripped on the stairs and fell into some glass. I don't care. I have to tell him myself, though."
Alice nodded slowly, hesitantly, "I see the best outcome when you tell him."
"He hates me, doesn't he?" I guessed, falling back onto the bed. Rosalie shushed me and pressed her hand to my forehead to keep my temperature down.
"No," Alice shook her head. She winked, "It's nothing like that."
I sighed in relief, "I don't deserve him. We're in a war against each other and a child is the last thing I need."
"You're just like your mother," Alice smiled. " Alright, Rosalie, when I nod, tell her to push."
"It's too soon!" I gasped. "I'm only seven months!"
"You'll be fine," Alice nodded. "The child will as well."
"You promise?" I gasped as a contraction hit me. It was bloody too soon.
"I promise," Alice said firmly. "Now, ready?" I took a few deep breaths, nodding at each one.
"Push," Rosalie coaxed, gripping my hand.
I cried out, but ground my teeth together to stiffle it, as I pushed. God, it hurt.
"Stop," Rosalie said suddenly. I stopped immediately and took a few gasps of air.
"What's wrong?"
"Everything's fine," Alice soothed. "You're doing great. Two more good pushes and you'll have it out."
"You won't even tell me what it is?" I cried.
"Nope," Alice laughed.
"Push," Rosalie urged.
I took a deep breath and pushed, squeezing her hand for strength as hard as I could.
"I can see the head, Sahara," Alice told me. "Oh, it's beautiful. Alright, ready? Push."
I gave this push everything I had. I could feel the sweat on my face and neck, soaking my tank top. My belly was now swollen with the size of a basketball. I was rather large for seven months. Larger, Alice said, than my mother was with me at nine.
"The head's out, Hara. You're doing wonderful. Absolutely wonderful," Alice smiled. "Alright, one more and that's all."
"You said two," I spat out, glaring at her. God, this bloody well hurt! How did Grandma Molly do this six times? And once with two kids at once? She's a bloody superwoman!
"They weren't good enough!" Alice insisted. "Now, ready? PUSH!"
I gave this one everything. And I mean, absolutely everything. My heart, body, soul, mind, magic. Everything. Right now, I just wanted it out of me.
Sophie chose that moment to run in and she gasped just as I heard the most beautiful sound in the world.
A cry.
"It's beautiful," Sophie whispered as I collapsed onto the bed and took deep breaths to relax and calm myself.
"It's a girl," Alice told me softly. She wrapped a few fluffy pink blankets around my daughter before Sophie waved her wand. A birth certificate appeared out of no where.
"Where'd you learn that?" Rosalie asked softly.
"Madame Pomphrey is giving me private lessons to become a healer," Sophie insisted. "I asked her what the procedure was for child birth - a few weeks ago actually - and she taught me that spell."
"Do you want to hold her?" I nodded and shifted up onto the headboard of the bed and took the child into my arms. The girl was asleep already, so I couldn't see her eyes, but she was beautiful. Her face was heartshaped and bright pink, but I could see the perfect shade mixed between Ares' copper and my pale skin. She had his black hair with little red highlights, like my natural color, and as she slept, I saw them change into a yellow and gold. But only the red highlights. That's amazing.
"Ares can't get in," Alice said suddenly. "He's waiting right now for you."
"Outside this room?" I asked, my eyes widening.
She nodded, "He floo'd back using Sirius' fireplace."
I cursed under my breath and took my wand from beside me, casting a healing charm - the same healing charm Sophie used on me when I had lost my virginity. I was instantly healed and only slightly sore.
I closed my eyes and started to feel the room shift. _I need a room to keep my daughter in until after I tell Ares._ The bed turned into a couch, and there was one in front of me. Alice, Rosalie, and Sophie took their seat. I rose and went as fast as I could to the closet-like room that appeared, "Can someone do me a huge favor and stay in here with her until I tell Ares?"
They all rose and went in there, Sophie taking my daughter from my arms. I waved my wand to transfigure my white nightgown into a pair of sweatpants and a baggy t-shirt. I opened the front door and pretended to be surprised when I saw Ares.
"What are you doing here? Shouldn't you be at home?"
"You were in pain. And discomfort."
"I know," I nodded. "Why don't you sit down. I have something to tell you."
"Me too," Ares said quietly.
I nodded, "You go first, then."
He took a deep breath and looked me over, "You look like you just had a baby."
I snorted, how right he was. I waited for him to continue. "I-I'm engaged to someone."
I froze and I just looked at him. He was. . . engaged? My breath left me in a woosh. There goes me telling him I just had his child. I felt my bottom lip tremble, and I bit my lip to stop it. "I see. . ."
He nodded, looking to the ground, "My father wants us to get married the day after my birthday."
I stared at the cracks on the walls just over his shoulder as he looked up to me. I couldn't look at him. I knew we were too good to be true.
"You cheated on me?" I whispered.
"No!" Ares said immediately. "How could you even think that! . . . Ok, I can see how you would think that, but I'd never cheat on you. I just found out today."
"Who is she?" I needed to know.
"Renee Hopsinger."
I took a deep breath, but nodded, "Of course. She's pretty, a pureblood Death Eater supremest. It makes sense."
"So, we get married now," Ares said quietly. "I'll go run to McGonnagall right now and ask her if she'll marry us. We only need one witness. Bring someone. I could bring Scorpious. I don't care. But I can't marry her when I love you."
I met his eyes, confused, "But your father-"
"I told you, you always come first."
I bit my lip, "I have to tell you something first."
He looked at me expectantly. "Well?"
I hesitated. God, he was going to hate me. No matter what Alice said, he would.
* * *
My gma's with me so I can't be updating! But this had to come out and I sincerely apologize for the way it is. I'll be slowing wayyyyy down in the next chapter!:P Please, review!
-Nastya
29. Chapter 29
Alright, I really need to stop jumping all over the place in Bellatrix Raven Who? 2: Sahara Weasley. So I'm going to be editing both of the Bellatrix Raven Who stories all month this month. Because I've gotten reviews, which I really appreciate, because I've lost my mind over this story and I'm going to fix it! So, thank you to all of the people that have brought this to my attention! I'm going to fix it and I hope you like the end result. Stay tuned to reread the series and I'll post outfits and gifts and things at the end of the chapter, as well as on my profile if you don't feel like taking the spaces out of the link!
Thank you for your patience and critiquing! It means a lot to me:))
-Nastya
30. Chapter 30
"You remember how I was sick a few months ago, and I told you it was nothing?" I started.
He nodded slowly, "Yes. . . you're dying, aren't you?"
I laughed, shaking my head, "No. I'm not dying. I felt like I was dying, but I'm not. And I hope I won't for a very long time."
He eyed me worriedly, "What was it then? If you weren't dying. . .?"
"I was pregnant," I said it barely above a whisper. I knew he heard me because he went rigid. His face went deathly pale and he stared at me unseeingly.
It was a good five minutes for him to even begin to speak. My hands were clenched tightly around each other and were clammy. I couldn't look at him, so I kept my gaze on the floor.
"Who's the father?" his voice was shaky.
I met his eyes and drew a deep breath in, "You."
"Why didn't you tell me!" he demanded immediately.
"I-I don't know. I really don't. I thought it was best at the time. I didn't know until a few months ago myself and I was just scared. It was selfish, I know. . . Really selfish," I ammended, nodding. "But you have a daughter."
His eyes widened, "Where. . . where is she?"
"I wanted to ease this to you," I explained, standing up. I approached the door behind me and opened it quietly.
Alice smiled at me and gave me a wink, before taking the baby from a sleeping Sophie and pressing her into my arms. I smiled and fought back the tears that threatened to fall. She was still sleeping, her cheeks a flushed pink. "Two minutes tops," I promised them quietly.
"Yeah, we're leaving through this back door," Rosalie announced, opening a door which I saw led to Grimmauld Place. Interesting. I didn't know you could make portals to other places.
As I shut the door, I heard Ares get up immediately and he was in front of me in less than five seconds.
"She's beautiful," Ares whispered, pushing the blanket away from her face so he could see it all.
I nodded, "Do you want to hold her?"
He nodded slowly. "How do I-?"
I laughed, "Alright, hold your hands just like mine. The crook of your arm supports her head and her hand supports her bottom. It's easier than you think."
I gently placed our daughter into his arms and his eyes shined a little, but he cleared his throat and flushed embarrassed. "What's her name?"
"That's for you to decide," I told him gently. "I don't know."
"What do you think of Sidra Vega?" Ares asked after a moment of silence.
"What does it mean?" I whispered, looking at my daughter as her eyes peeked open.
"Star Born, Falling Star. All that are outside right now is shooting stars. It's the meteor shower that comes around once every twenty-two years."
"That's the meteor shower my parents got engaged under," I admitted, watching as her brown eyes met mine and a her lips tugged into a smile. So beautiful.
He looked up at me, "Then marry me under this one."
My head snapped up to look at him, "But-"
"I'm not marrying Renee," Ares told me. "We'll. . . we'll go right now. I'll bring McGonnagall here. I don't care. Will you marry me?"
I looked down at my daughter, "Is this a formal proposal?"
"Yes," he said strongly. "Now all you have to do is say yes."
I looked up, "Then we'll have a large wedding after school's over. The war's over. Both of our friends. Our families."
"That's a yes?"
I smiled, "Yes."
His breath left him in a woosh and he pressed his lips to mine. I shifted and wound one arm around his neck.
He pulled away first, "Your father."
I gave a laugh, "Ares, I really don't appreciate it when we're snogging you suddenly say my father."
He rolled his eyes, "No. I want your father to come."
"But-"
"Only if you want it, of course."
"Of course, but he's with my mum in her room."
"Not, actually. I ran into him in the hall. He said if I found you, he'd be in the library."
"Weird. . ."
"Maybe he just likes reading?" Ares suggested, shifting his arms so that Sidra Vega Zabini was propped up.
I shrugged and looked about us. The room had changed yet again. There was a few rose bushes. . . white roses only. . . and the ceiling hung light blue crystals. Candles were lit and floating around us in circles and there was a large leatherbound book in the middle of the room, on the floor.
"In an hour," Ares told me firmly.
"It's not like I'm going anywhere," I murmured.
He nodded, looking down at our daughter as though he forgot she was there. "I have a home," he said suddenly. "Where we can live. Where you can live. And it's safe. It's in the British Isles and only reachable by me and those I designate through the wards. My father knows nothing of it. Live with me there. You and our daughter."
The way he said 'our daughter' made shivers run down my spine.
"But the train ride-"
"Take this place as a passage there. I'll meet you and let you in."
I bit my lip, "I guess I'll have to, seeing as we may be married and all."
He grinned broadly, his smile reaching his eyes, "Yes. I'll go get McGonnagall."
"Albus is the password, Ares," I whispered as he passed me my daughter. She was back to sleeping again. And I was about to be married.
* * *
I'm rewriting all of my chapters of this story, because It realllly needs some work. So, stay tuned for fixed chapters! I'll be posting new chapters of this story simultaneously too!
-Nastya
31. Chapter 31
I don't even remember Minnie coming back.
But she was there, with my father. . . and my mother.
"What is she doing here?" I demanded, sitting up immediately from my chair. I had long put Sidra to a little basinet that appeared in the corner, and a white veil covered it well.
"She insisted on coming," Ares muttered. "I tried to convince her to stay, but she used the Professor card on me."
I cursed under my breath and watched my mother closely. She didn't even look at me. Fred was grinning broadly.
"And what would be the best way to procede?" Minnie asked.
I looked at Ares, "Simple? Short?"
My mum looked up with suspicion in her eyes, "What is the meaning of this, then?"
Ares cleared his throat, "Nothing, Professor Black."
"Just about everything," my father exclaimed. He hugged Ares. . . hugged him. I froze automatically, but Ares just shrugged at something my father whispered to him before nodding.
"Alright, then," Dad stated suddenly, pulling away. "We'll be sitting over here."
Both of my parents sat down on the couch. My mum was staring at her lap, a rigid frame in her shoulders.
"Are there any objections, before I begin?" McGonnagall asked.
My mum was silent and my dad smiled triumphantly and I realized with a jolt, she didn't know what we were doing.
"Wonderful," Minnie smiled. "Now, no objections, please."
I stared at Ares in wonder. How did he get her to even come here civilly?
"Do you, Ares Perseus Zabini, take Sahara Bellatrix Weasley to be your lawfully wedded wife? In sickness and in health until death do you two part?"
"I do," Ares said confidentally.
My mum sucked in a sharp breath and whispered furiously to my father. I could just make out the words.
"I don't fucking care, Fred. I'm not letting my daughter marry him! I was fine with them dating in first year, but I refuse to let her marry a Zabini!"
"Bella, dear, just be quiet and watch her," Fred whispered back.
"Do you, Sahara Bellatrix Weasley, take Ares Perseus Weasley to be your lawfully wedded husband? In sickness and in health, till death do you two part?"
"I do," I promised.
Minnie waved her wand, her eyes glistening dangerously, before nodding. "I now pronounce you wizard and wife. You may kiss your bride."
McGonnagall didn't even wait. She walked over to my parents immediately while Ares took me to him and kissed me gently.
"I love you," he whispered as he pulled away.
"I love you, too," I smiled. I felt a sudden hottness on my finger and realized that there were now platinum rings on our fingers. Elegant and Celtic knots. My ancestors were Celtic, but I didn't think-
"Picked them out myself a week ago," Ares said, looking down at my hands, holding them in his.
"A week ago?" I breathed, shocked.
He smirked, "I wasn't exactly going to let you get away from me, now was I?"
I giggled and leaned my forhead on his chest, only clothed in a white button up and some black slacks with leather shoes. Part of his uniform, almost. I was in a white dress - a simple summer dress - and whispered to him, "She's going to hate me even more."
"No," Ares chuckled, his hands winding around my waist and he pulled me closer to his chest. "This will make you two even closer."
"How?"
"She has a granddaughter. She's going to be ecstatic."
"She's going to file for custody, Ares. She'll go to the Ministry with this. I'm not taking chances."
"I still don't get why you two are fighting. Didn't you two resolve your issues a year ago?"
"She knows I didn't bring the Death Eaters back willingly," I nodded, my voice quiet so my parents couldn't hear me. "And she's appologized for accusing me of it. But she hates that I defended you, brought you to Teddy's wedding, and well, this. I've been keeping secrets from her. Major secrets."
"Then you only need to have a sit-down and come clean with her. Be calm. Be strong. And don't let her argue you and belittle you. You know what happened. You know the truth. Don't let her try to change that."
I sighed, "Why are you always right?"
"Well, someone in this relationship has to be," he stated cheekily.
I laughed suddenly, and pulled away from him, smacking his chest, "I'm always more right than you are, Air. Don't make that mistake."
He narrowed his eyes and I knew what was coming. I was quick, turning into a Husky dog and running away. He followed, leaping after me as a wolf.
"Wicked!" my father exclaimed.
"Oh, dear," Minnie sighed. "You two, knock it off! If I get a single piece of your shedding fur on my robes, I will put you into detention for a week!"
Ares froze immediately, his mouth opened innocently around my tail. I had frozen as well, and slowly transfigured back, "Right. . . sorry, Minnie."
She sighed and started to mumble to herself, "Both of you in my office in ten minutes. Bella, dear, please come to my office now."
My parents nodded and started to leave. Minnie stopped at the door and looked at me, "We'll sign the certificate and figure out how to deal with Sidra. Bring her, please."
I flushed as I realized that Ares was telling her things without me knowing, mostly in embarrassment that she knew before my mother. "Thank you, Minnie. For doing everything."
"You aren't my favorite Gryffindor for nothing," Minnie laughed before walking out.
I turned to Ares, "We're married."
And the reality of that came crashing down on me. He grinned, "Hey, Mrs. Zabini."
I flushed darkly and pressed my lips against his, "Mr. Zabini."
"Ugh," He said in disgust, "I don't have gray hair yet."
I giggled, "It's not long, now."
He frowned and went to the mirror in the corner, riffling his fingers through his black hair, "I don't have gray hair."
"Yet," I reminded him in a sing-songy voice as I opened the door Sidra was in. "My dear, how are we going to get you to the Headmistress's office?"
"We walk, of course," Ares said smugly, holding open the door. "It's past curfew, so we should be able to get there without being seen. It's only down the hall a bit."
"If you're sure," I sighed.
"Positive," he grinned. He paused a moment in front of me, his hand carressing our daughter's hair.
"Show time," I nodded. "Mum's going to kill you, as is dad, so I'm just going to say this now. Wand at the ready."
He laughed heartily, his wand already out and firmly in his hand, "Way ahead of you."
* * *
How you likey? Surprise! And now for the screaming!
-Nastya
32. Chapter 32
We entered Headmistress Minnie's office, as I was encouraged to call her on behalf of Dad. My mum didn't look towards the door as we entered. Dad did though and turned as pale as a sheet before falling out of his chair.
"Fred," Mum cried, concerned for him as she grabbed his arm and helped him to his feet, but his legs were shaking.
"W-What - but you - and no one - and I-" Dad stuttered, trying to spew a coherent sentence.
"Surprise," I said with a small smile.
Ares chuckled and walked over to the two seats set next to my father. My mother's seat was on the far end.
"What's wrong, Fred?" Mum demanded. "Do you feel ill?"
"I'm a bloody grandfather is what's ruddy wrong!" Fred gasped. "I'm too young to be a grandfather! I'm only in my thirties, for heaven's sake!"
"Grandfather?" Mum whispered, paling. She glanced up and gasped as she saw me holding a sleeping Sidra in my arms as I sat down. Ares was making strange faces at her.
"She's asleep, dumbo," I giggled, elbowing him.
I could see a light blush on his cheeks, "Oh."
McGonnagall's eyes twinkled as she looked at the five of us, "And who is this little one?"
"Sidra Vega Zabini," Ares stated proudly with a little hint of an accent. Hot.
My mum's eyes widended, "No."
"Will someone please explain why I wasn't informed!" Dad gasped, clutching his chest.
Ares and I looked at each other, "Um. . ."
"This is your que," Ares told me, smirking.
I elbowed him hard and downcast my eyes as I felt the three elder magic folk's eyes on me. "It was dangerous with the war. So I hid it with my metamorphic powers and -"
"How long ago was she born?" Mum demanded.
"Today," I admitted, wincing as her eyes darkened. "I was going to say something, but you hated me and I was going to tell Dad, but I haven't had time alone with him all year. And I was worried you all would get really disappointed. And Minnie might kick me out. And Mum would close my account, surely. And-" I stopped when McGonnagall opened her mouth and realized I was rambling. I blushed and looked down. "And I already did so much behind your back, I didn't think you'd even stay calm enough to understand reason."
"If it helps any, I didn't find out myself until five minutes ago," Ares inputted after I stopped, flushing deeply, and fidgeted in my seat.
"How wonderful!" McGonnagall decided, clasping her hands together. A thin smile appeared on her lips.
"Where will you stay?"
It was the first kind words my mother had spoken to me in nearly three years. Since I was a fourth year. And now I was a seventh year, a mother, and a wife. Something I never would have expected.
"I have a place for the three of us," Ares said when I didn't answer. Mainly, because of shock, and secondly because I didn't know how to answer. I didn't know if it was a secret. But by Ares answer, I knew it would be a hidden location.
"And during term?" My mother pressed.
I bit my lip, before admitting, "I didn't think about that."
"Obviously not," My mother replied hotly.
"We'll figure something out," Ares said calmly.
How in the world could he be calm while my mother chewed his ear off?
"And you're a Death Eater," Mum spat.
"And they're married," Dad said. "They can do whatever they want in their spare time. They are each other's for eternity, Bella. And I don't think he's fully a Death Eater."
"Show us your mark, Mr. Zabini," McGonnagall said quietly.
"You're barking mad!" I said immediately. "It doesn't matter if he's got the mark or not. I know who he is and what he's done. And Ares' Mark has nothing to do with this."
"It has everything to do with this, Sahara," My mother spat.
My grip on Ares' arm tightened, "No, it doesn't. You're just clouding your judgement with forgotten fears and lost memories. Ares isn't like the people that you saw in Azkaban. He's different. He's trusting. And -"
"And he's sitting right here," Ares interrupted, a smirk on his lips. I shut my mouth and hid my smile.
"Right, sorry."
"During school, I suggest they go to a trusted guardian," McGonnagall stated.
"But-" I protested.
"Unless you wish to drop out, Sahara?" McGonnagall asked.
I looked down at my daughter, "And if I do?"
"No," Ares said immediately. "That's not happening."
"And then who do you suggest?" Minnie asked.
"Teddy and Victoire," Fred nodded.
I looked at Ares, but he was already nodding, "And where are they?"
"In a safe house."
"And who's secret keeper?" I asked Minnie since she was giving the answers.
"That defeats the purpose of being secret keeper and safe," Minnie laughed. "But. I will ask them personally if they would like to take temperary care of your child. There are only two and a half months left of term. And then you'll all be free to go as you wish."
I did the math, "Two and a half months? That's mid-May."
"Precisely," Minnie nodded.
"Why so short?" Ares asked. "We've never done that before."
She looked as though she had swallowed a lemon, "The Death Eaters are getting stronger and we must send the students home before the last war repeats itself."
"And they won't return in the fall," I said once I realized where she was getting at.
"Exactly, Sahara. It is simply too dangerous. I will have Teddy come the night before to drop her off and you two will take whatever means necessary to your home. If you will all wait just a moment, I will Floo their secret keeper and ask."
"Take your time, Minnie," Dad winked. "We know you and your age are catching up to you."
"Mr. Weasley, I suggest you be quiet before I am forced to remove you from this school," Minnie said threateningly before rising and walking from the room.
My mum turned her gaze to me, "Can I hold her?"
My eyebrows shot to my hairline.
"No way!" Dad insisted, "I call it first, seeing as I'm her favorite father and all."
Ares was chuckling, "What's her middle name?"
"Vega," My mother answered immediately. My dad was right behind her, "Jane."
"Jane?" I asked outraged.
"Well, I thought. . . nevermind," Dad grinned. "I can hold her, right?"
"You got it wrong," I said seriously. I looked at Ares and he nodded to whatever question he saw in my face. That was all the encouragement I needed to stand and approach my mother.
"Sidra, meet your grandma Bella," I introduced.
"Oi!" Dad cried.
"And your grandfather Fred," I ammended, a smirk on my lips.
* * *
Ah, so now they know! Shocker right? Alright, so this entire week, I've been typing as much as I can, and I actually have an outline of how the end of the story is going to go. That means that this story will be wrapping up pretty soon, guys! So, please review! At least 13 chapters left!
-Nastya
33. Chapter 33
My mother held out her hands and took my daughter gently into her arms just as the fire behind Ares roared. He spun around faster than I've seen even the Cullen's move and his wand was pointed just under the intruders neck.
"Ares," I scolded. "It's only Teddy."
The wand didn't lower, "What were the colors of my shoes at your wedding?"
"Vibrant blue, mate," Teddy smirked. The wand finally lowered and Teddy nodded, "Thanks for being cautious."
"Can't be too careful," Ares smirked.
"Men," I muttered under my breath.
"And this is the little one!" Teddy smiled, approaching my mum. He leaned down and looked closely at my daughter's face. "I think she's cute enough to take."
"Glad you approve, mate," Ares chuckled, sitting in his seat and grabbing my hand so I sat next to him.
"Any kid of yours is fine with me, Zabini," Teddy winked. "And yours too, 'Hara."
"But it's such short notice-" I started to say.
"You're kidding right? Victoire was bouncing off the walls when I left. She can't wait."
"I want a letter every week on everything she does," I told him sternly. "Every last movement."
"Pictures as well?" Teddy teased. "Guarantee them all. I'll even send 'em to Minnie here to give to you."
I stood suddenly and leaped into his arms, "Thank you so much for doing this."
"What are cousins for?"
"Tough love?" I suggested. I pulled away. "And you have my key."
"Sure do, but that's not necessary," Teddy smiled. "We got our own stuff to use. Victoire's expecting in about six months."
I grinned wickedly, "Godmother?"
"I'll bring it up in a casual conversation," he smiled.
My mother stood and passed my daughter back to me. "I'll let you say goodbye."
I nodded, shifting my daughter in my arms and looked at Ares.
He was leaning right over our daughter and whispered to her almost too quiet for me to hear, "I love you, Princess. And if Teddy so much as doesn't give you anything you want, you write me and I'll send you two."
I scoffed and elbowed him hard in the gut, "No, you aren't, dear."
"Says you," Ares laughed.
"Exactly," I smiled, I then looked down at my daughter, "Alright. I love you, baby-doll. And Teddy and Victoire will take care of you while Daddy and I finish school." I kissed her forehead, "Keep her safe, Teddy."
"You don't even have to ask," Teddy smiled kindly. He took my daughter before giving a final wave and taking the Floo away. Ares sighed as he sat down and put his head in his hands.
"What happened today cannot be told to anyone. If any of the Death Eaters find out, they'll kill me," Ares said it quietly, but I could hear the desperate tone.
"Wizard's Oath," I told the three adults in the room.
McGonnagall nodded, "I think that would be wise."
"You don't trust us?" Mum asked.
"I don't know. Should I?" I returned, eying her. I preformed the spell while Ares waved his wand over his left hand. The wedding band glamoured into a Slytherin ring. But I could see through it to the golden band. "Do you promise not to mention anything about Ares, Sidra, or I being together, existing, or on good terms until the day after my seventeenth birthday?"
"I swear," they answered quietly. Minnie had a dangerous look in her eyes. She was up to something, but I didn't really care.
"I think it would be best if the two of you headed off to bed," Minnie said, standing.
"Of course, Minnie. It's nearly curfew," Ares said, standing.
"Wait, I'm not done," I said, grabbing Ares arm as he tried to leave.
Ares sighed and braced himself, "Get it over with."
I took a step back, assessing him before landing a solid punch to his jaw. I landed another punch to his left eye and then kneed him hard in the gut. "That should look convincing."
He chuckled, wincing as he worked his jaw, "You saw my mark while I was picking up my books in the library, flipped, and beat me up because you left your wand in your room."
"And that's why I love you," I giggled, kissing his cheek. "You come up with the best cover stories."
"You've only been thinking about it for weeks now," Ares laughed.
"Well, I have to find out eventually, don't I?" I returned. "Night, Ares."
He rolled his eyes and watched me leave him behind to my mother and father. The sharks.
I realized I just escaped a confrontation with my mother. Oh, this was sweet.
I was a mother and a wife now. And I would soon be a warrior in the war. I could feel it fast approaching.
* * *
Actually, thirteen chapters after this next one chapter after this. . . :P My bad. Anyway, I hope you like! Please, review! Tell me what you think should happen, how it should end!
-Nastya
34. Chapter 34
"Have you even begun studying for your NEWTs?" Sophie asked at breakfast.
"Nope," I answered.
"Sahara! This will determine everything! The NEWTs tell us what jobs we can have!"
"Too bad, Sophie. I have more important things to worry about."
"Like your beau?"
"Like the war," I answered coldly. She looked offended at my tone, but I didn't apologize. "I'm never talking to Ares again."
"What'd he do?" she demanded.
"It's what he could do that caused it," I replied.
"And?" she prompted.
"He has the Mark," I replied.
She gasped, "No."
"Yup. All those good for nothing Slytherin's have them, I reckon. And it's disgusting. Right now, I'm focusing on destroying the Death Eaters, then I'll worry about school."
"But the girl-"
"What girl?" I asked, showing her fake concern. She caught on.
"That girl in the hall yesterday," she said quietly. "Do you think she has the Mark too?"
"Probably," I sighed. "I don't know who does and who doesn't. But if I know anyone that does, I'll never talk to them again."
"Sahara-" Sophie tried to reason with me, and I knew she was serious.
"No. I'm an Order member. I am not on the side of the ones that kill for fun," I snapped.
"Jeeze, you're so touchy," Sophie grumbled, biting a piece of her toast.
"Good. I'm glad I amuse you."
She grabbed a piece of toast from a silver platter and lifted it to her mouth as she looked do the doors, but it fell from her hands. "What did you do to him?"
I looked up and saw a black eyed Ares. "Oh, that? That was nothing compared to what it was last night."
"But last night-"
"I'm finished talking about Zabini."
"Fine. Then you can talk to him, he's heading right over here."
I groaned and made myself busy, buttering my toast. "What, Zabini?"
"Don't forget, some of us don't have a choice. But when we get out of here. I will make sure to find you and kill you, Weasley."
"I'm so scared, Zabini, I'm shaking in my boots," I returned, sipping my tea.
"You should be scared, Weasley. I'll see you in battle."
"Same goes for you," I smirked, looking over my shoulder. My long red hair flipped and brushed against his arm, which was holding onto the table next to me.
"Until then."
"Get away from the brave house, Zabini. Slytherin is for cowards."
"You have some guts, Weasley."
"Yeah, I guess I do. What are you going to do about it?"
"Just wait," I promised, smirking. He smirked back and walked away.
"Jerk," I muttered.
Sophie laughed, "God, he looked awful."
"He'll look worse when the war comes in full force," I swore.
"Alright, you're really over playing this one," Sophie whispered.
"I sure am," I smirked.
My mum entered the Great Hall then and walked slowly down the aisle, her eyes wandering over the Slytherin's dangerously.
"Professor Bella!" Sophie called.
My mum stopped her footsteps and looked at Sophie, "Yes, Sophie?"
"You see, the Prophet hasn't been coming lately and I was wondering if you could tell us why," Sophie said. And it was actually a popular question. The Prophet wasn't coming and we couldn't figure out who was dying or was captured because of the war. And most of the students were already worried enough with NEWTs coming.
"That's what we'll be discusing in class today," my mother answered sadly before turning and walking away.
Sophie looked at me, "What was that about?"
"I don't know," I answered honestly, looking worriedly up towards the teacher's table. "But I don't think it's a good thing."
S-Z-S-Z-S-Z-S-Z-S-Z-S-Z-S-Z-S-Z-S-Z-S-Z-S-Z-S-Z-S-Z
"Many of you are worried about the war," Professor Bella started. "I know Sirius has probably told you about potions that would kill someone with only a drop. But there are also spells that only take a few words. These are called the Unforgivables. Who can tell me how many there are?" My mother's eyes looked over the classroom. Slowly, Sophie's hand rose.
"There are four, as of May thirty-first 1999. Sixteen years ago, the Ministry thought to add Sectumsempra to the list because of its horrific effects."
"Very good. Ten points to Gryffindor. Can someone tell me the least deadly of the four. The least painful, but still the very serious unforgivable? Mister Zabini!" My mother volunteered.
"The Imperious Curse," Ares answered quietly. He looked sick to me.
"Exactly," Mum smirked. She turned on her heel and grabbed a box. I winced as I saw what it was. Pygmy Puffs. She better not. "Today, I'll be showing you the curses on four Pygmy Puffs. Do not try these yourselves because otherwise you'll earn a one way ticket to Azkaban. Imperio."
The Pygmy Puff that was previously cuddled furthest away from her flew as a pink streak to my desk. I diverted my eyes and swallowed hard. It jumped into my hair and started to jump around before leaping over the desk. People were already laughing from the antics. But I was horrified.
This was awful what she was doing. And what did this have to do with the Prophet.
The pink Pygmy Puff landed on her desk and she placed it in a new box. "The next curse, Miss Hopsinger?"
"The Cruciatus Curse," she whispered.
"I can't hear you. Speak up," Mum said, her eyes flashing a red for a moment.
"The Cruciatus Curse," Renee stated loudly and clearly, giving my mum a glare.
"Yes. The nasty one." She turned, clicking her tongue as she looked over the Pygmy Puffs before pulling out a purple. "Crucio!"
The poor thing whimpered in pain before screeching as loud as its tiny lungs would allow. The purple creature writhed in front of Sophie and she was staring at it wide-eyed.
"Stop it!" I interrupted, my voice near hysterical. "Can't you see it's dying! Stop it!"
My mother continued the spell a second longer to spite me, and then ended it.
"The third one, Mister Summerlin?"
Kellen bit his lip, shaking his head.
"Don't know? Hmm . . . Miss Weasley?"
"I'm not going to say it," I said strongly, staring at the Blue Puff in her hands. "What you're doing is barbaric and is what got you put in Azkaban in the first place."
My mother's smug smile quickly turned into a scowl. She narrowed her eyes and I could see her close to snapping.
"Very well. This, class, is the killing curse. And only one person is known to have survived it. My very good friend, Harry Potter." She rested the Puff away from the class and on her desk. "Avada Kedavra."
It gave a squeak as it saw the light, and the only sound it made after contact was a thump as it fell to the table. My mother stared at it for a moment before turning to me. I could see her swallow tensely before nodding, "And the last curse was already given to us by Miss Ingleton. Sectumsempra. The Blood Curse."
The yellow Pygmy Puff was next and I felt my bottom lip tremble, "Sectumsempra!"
My breath came out in a strangled gasp and my hand quickly went to my mouth. I saw many people behind me flinch out of my peripheral vision. Slowly, blood appeared on my mother's hands as she held the Pygmy Puff for us all to see, and walked down the rows of students. She wanted us to have a good view.
"Heal it," I demanded. "Professor, please, you can't let it suffer."
"You're right," My mother nodded. She placed it on my desk. "Why don't you tell us the healing chant. The counter-curse?"
I shook my head, my eyes with tears, "I don't know it."
"Pity. It will die slowly and painfully then."
"Don't," I whispered. "Please, just heal it. It doesn't have to die."
"But, it does," my mother said, looking at me firmly. I used my Legimency to get access and she was repeating two words over and over again. The counter-curse.
I pursed my lips and took a deep breath, raising my wand and pointing it above the Puff. "Vulnera Sanentur.." I repeated the phrase for a few seconds as the blood soaked back into the squealing little rodent. Finally, it went limp and I looked at my mother.
"You killed it."
"Most do not survive the curse," My mother continued, flicking her wand. The animal went to the trash can, as did the one before it. "But those that do, are usually treated immediately. Vulnera Sanentur is the only two words you need to know to save a life. And they must be repeated over and over again until the wounds heal. Otherwise, it will just die. In this case, the Pygmy Puff died from heart failure of being in too much stress. Otherwise it would have lived."
"Professor, what does this have to do with the Prophet?" Sophie asked.
My mother smirked, "They were either killed, tortured, or Imperio'd to not make any more copies of the Prophet. Which means, we are completely unaware of how the war is going. Who is winning? Where are they? How close to the school are they? We don't know. And that's why letters are banned. No one is to write a letter to anyone. The owlery has been closed and all Owls are sent to your homes. Anti-owl spells have been placed around the castle. Only the teachers and Order members will know of something happening."
"But, Professor, there has to be a reason why Headmistress McGonagall would do this," Ares insisted.
My mother smiled, "Oh, there is." Her smiled turned sad. "A letter was sent last night to a certain Harriet Lunez. She died upon opening it."
"A student!" Sophie gasped. She turned to me, "She was a year below us. Gryffindor. It was a Slytherin. It had to have been."
"I thought the school was safe!" someone shouted.
"Hogwarts is supposed to be neutral."
"Enough!" My mother shouted over the mindless accusing shouts towards her. "We had no way of knowing until it was too late. Death Eaters sent that letter. We do not know if it was from a student here, or a Death Eater outside the walls. It was unnamed and unpostmarked. There was only one symbol etched into the parchment."
"And what was that?" Kellen asked.
My mother flicked her wand, the chalk board flipping over and revealing the mark. All of the Slytherin's gasped, as did I. I knew that mark. A swirled S, nearly looking like a twisted pipe cleaner was visible, as was a capital Z, stretching from one curl to another. The Zabini house engravement in all of their parchment as well as rings. It was even on his trunk. It couldn't have been-
"No one is allowed to leave, nor enter the castle until term ends."
"Professor-"
"This is not open for discussion. Now, for homework, I'd like twelve inches of parchment on the history of the Unforgivable Curses. Three inches for each curse. Class dismissed."
I grabbed my back and stood, walking briskly from the classroom, not even giving Ares a glance. He didn't do it. His father did. His father did everything to try to ruin us. And I trusted Ares. I knew he would do this.
But that didn't mean that one day he'd give into the temptation. One day he'd turn into a monster, like his father. It was entirely possible. No matter how much I wished it wasn't, it was. And we just need a long, long time until it actually happened.
* * *
And now there are thirteen more chapters after this! I'm onto writing them right now! Can't wait:) Review, please, and I'll be able to write faster!
-Nastya
35. Chapter 35
"Can you believe it?' Sophie asked. "She showed us the Unforgivables! That has to be illegal!"
"I think Minnie gave her permission," I mumbled, biting my chicken dinner absently. A image of the Pygmy Puff curling in on itself during its runin with the Cruciatus Curse flashed though my mind. My fork fell with a clatter and I pushed my plate away from me.
"You're not hungry?" Sophie asked as she looked towards my untouched rice and only a bite of chicken gone.
"I lost my appetite," I muttered. "I'll be in the library."
"Finally, you start studying for NEWTs."
"I'm not studying," I sighed, standing and walking from the hall. I could feel eyes on my back and ignored them. I knew Ares was worried. We hadn't said a single word to each other since breakfast, where it was really just a fake argument.
And since Mum's class this morning, I hadn't even looked at him. I couldn't.
"Sahara," I heard my voice be called. I looked up from my book on Defense and saw my mother.
"Yes?" I asked, setting my book down and placing a bookmark in the pages so I wouldn't lose my place.
"Can you come with me for a moment?"
"To where?" I didn't know what this was about and if I knew where, maybe I could figure something out.
"The Room of Requirement."
A scream-fest then. "Sure," I said quietly. I stacked my books up before following her fast steps up the stairs and to the Seventh floor, where a door was already waiting. Inside, was Sirius and Dad.
"A family reunion. Lovely."
"You hang with too many Slytherin's. They're starting to rub off on you."
I narrowed my eyes. How dare she- "How dare you make a judgement off of my friends! They all aren't like Blaise Zabini."
She sighed, "I shouldn't have said anything. I'm sorry. I don't want to fight, Sahara."
"Then don't start anything," I bit back.
She swallowed a retort and nodded, "Very well."
"What's this about?"
"Your powers," Sirius said.
"I'm not bringing back Regulus again," I said immediately.
Dad chuckled, "Not him. We're going to be discussing how to make them stronger."
"They're already strong," I argued, confused.
"No. We're going to make you able to control them," Mum told me. My father rose suddenly in the air in a black bubble that could only be created by Mum. "Rescue him."
"But-"
"Do it," Mum said.
I concentrated and saw a white light shoot out from my hands, but it disappeared just a foot away.
"Think about setting him free. I'm a Death Eater that's going to kill him. You need to -"
"My powers only counter yours, mother. They don't do anything to a Death Eater."
"That we know of. If we can tame your powers, we can see what they do to people and spells," Mum said seriously. "Now try again."
It took thirty minutes for me to even keep the light from disappearing. I was able to get it to glow in my hands for five minutes straight before it flickered out. The farthest it could go was two feet. My father was in the air ten feet away.
"Again, Sahara," Mum yawned.
I grew angry, "I can't do this, okay? My powers bring people back from the dead! I can't do the same things you can, okay!" White light burst from my hands and I waved them dramatically, "See! Nothing!"
Mum cleared her throat as the white light died down and I was able to see across the room. My father was sitting on the couch, and the bubble wasn't around him.
"Now do the same thing again, but without getting mad."
"Mad? That's an understatement," I muttered. But inside, I was elated. I had powers.
So I did the same thing, only nothing happened.
"Alright, we'll keep working on that. Now, can you make a shield?"
"I can only do what you've seen," I snapped.
"Alright then," Mum said happily. "We'll continue this tomorrow."
"What was the whole point of this, anyway?" I asked.
"The war is going to be coming here, Sahara. And we have to get your prepared to save as many people as you can."
"But I can't-"
"And I'll see you here tomorrow at the same time."
She walked from the room before I could even say something to reply and I was left with my father and Sirius.
"She really does feel bad for the way she treated you," Dad said.
"She sure shows it," I snapped.
Sirius sighed, putting his feet on the coffee table, "And that, my dear, is exactly what she's doing. She doesn't want to admit she was wrong, because she's too proud, but she does want to become close to you again. And therefore, you see, she is helping you with your powers to help protect you."
"That's the worst excuse I've ever heard."
"Ah, but its the truth," Dad nodded. "She's always been a weird one, your mother."
"Why did you two get married then?"
Dad smirked, "I love her. I couldn't live with her. And I knew she'd be going to Azkaban. You want to know what I wished for?"
"What?" I asked. Mum said he never told her, but it's been twenty-one years. Surely something happened already.
"That I'd live to see my grandchildren," he admitted. "The war did kill me, and I never even saw my daughter. But in the spirit land, I saw the future. Saw what you'd be able to do. And I saw that you'd have the most beautiful children. And that was enough for me to keep me satisfied. Granted, I was too handsome for heaven."
Sirius rolled his eyes, "What he's trying to say, Hara, is that he's glad you brought him back. He has a chance to see your kids once you're married."
"I know what he's trying to say," I smirked. Even though Dad's already seen my daughter, his granddaughter, Sirius didn't know that. "And you're welcome. I hope one day, your wish will come true."
"Did you make a wish last night?" he asked.
"No," I said, frowning. "I was kinda not paying attention."
Sirius rose an eyebrow, "It's going on tonight as well. Make a wish."
"Wishes are the most magical things that happen in our world," Dad said cryptically.
I nodded, taking a step towards the door, "See you two around, yeah?"
I shut the door behind me and headed to the Astronomy tower. Just as Sirius said, there was a meteor shower tonight as well. I leaned against the rail and made a wish that I hoped would come true with all my being. _I wish that Sidra will be safe for the rest of her life and nothing will harm her._
* * *
Twelve more! This chapter was a very good friend of mine:P Shows that Sahara and Bella are working on making amends! So, review and tell me what you think is going to happen in later chapters! PLease, review!
-Nastya
36. Chapter 36
When I came back to the Room of Requirements, the next night, I was surprised to see Harry Potter first. Then I saw Ares, which I raised an eyebrow in alarm about. Then I saw Sophie, Kellen, and Parker. Oh, dear.
"What in the world?" I asked.
"Well, in the world," Harry teased me, "I'm teaching all of you defense."
"But-"
"These are your friends and they are just as much of a target as you are."
I doubt that. "But Harry, I don't think that Zabini needs to be here," I said, "No Death Eaters allowed, remember?"
Harry frowned, spinning his wand in his hands, "I thought the two of you were friends."
"Were," Ares supplied, glaring at me. I could see the smirk on his lips, but knew no one else could. He was always so smirky that his neutral expression was eerie.
"My mistake then. . ." Harry said, a confused look on his face, "Mister Zabini, if you'll please head back to your dormitory, then."
"With pleasure."
When he left, his brisk footsteps caused him to bump into me.
I hissed, "Watch it, Zabini."
"You watch it," he retorted.
"Go cuddle up with your little snakes and leave the real lions to their games."
He clutched his wand menacingly, "I would watch your back if I were you, Weasley."
"You and who's army? Oh, that's right, your father's."
He narrowed his eyes, turning abruptly and slamming the door behind him. Maybe I went too far.
"Alright, that was a great show, but we need to get to work."
"Harry, just tell us what to do," I sighed.
"I want spells that you've yet to learn."
"In war, why don't we just use Unforgivables?" Kellen asked.
"Because, if they dodge and it hits someone you know, it would make you the traitor," Harry insisted. "Now, let's start. Filipendo."
After going through every spell in the book fifty times, he only then started to insist upon weird ones. Like bandage charms. He even had us do a flower sprouting charm.
"If I wanted to go through school again, Harry, I would have reread my books," I snapped after he asked us to do Aquamenti.
"You never know which spells you'll need in war. It doesn't hurt to be prepared."
"Prepared?" Parker complained. "I'm bloody exhausted and we haven't even started any physical duels! This is insane!"
"Come back tomorrow night, then. Sahara, your mother will be here to teach you more power enhancers."
"Joy," I muttered. "Night, Harry."
"Night, you three," Harry yawned before opening a door at the back of the room and leaving.
We made our way back to Gryffindor Common Room, slowly, and tiredly. The bell was ringing nine o'clock. An hour of spell casting. I might have wand-wrist in the morning.
"So what happened between you and Zabini."
"I saw his Mark," I told Kellen.
"You knew he was a Death Eater, Sahara. Don't feed me that crap. What happened between you two?"
Parker was always so invasive. So I made up a lie, "I caught him."
"With?"
"Renee," I replied. Sophie's eyes widened.
"When!"
"Last night," I replied.
"But-"
"That's why I was late coming back to the Common Room," I shrugged. "I was upset."
"You didn't break his teeth in?" Kellen seethed.
"Um, if I would have, Renee would have totally known something was up," I shrugged. "Anyway, Sophie, how's Jake?"
"I'm moving to America once school's out."
"What?" Parker, Kellen, and I asked at the same time. My tone was more a squeal and their's was disbelief.
"Well, we're sort of serious and he says that the pack needs him back there. So, I agreed to move there. I already told my parents that I was going to University there, but some details don't hurt to omit. And he wants me to meet his father and sisters."
"No way! When did he ask you?"
She mulled it over in her head, "About a week ago, I believe. I told him my answer yesterday after I talked it over with Professor Black."
"You talked to my Mum?"
"No, Sirius," Sophie laughed. "He said that if I really want to, I should. And I really want to."
"We have to have lunch every weekend, then," I ordered her. "And any puppies, I get godmother."
"Who else would I pick for that?" she laughed. "And only if I get godmother for your kids."
I thought about it, nodding, "Deal."
"There's birth control in the Muggle world, did you know that?"
"But it doesn't work for purebloods," I told her. "The magic in our system thinks its a poison and dilutes it. My mother already gave me this whole sh-peal."
"Shame. Do you realize what kind of figure you have?" Parker asked, looking me over.
"That's what my metamorphic powers are for, stupid," I said, ignoring his stare at my legs. "And besides, I don't plan on becoming pregnant anytime soon."
"You aren't even dating anyone to worry about that," Kellen laughed.
"Exactly," I smiled. Thank god they believed my lie. And although I felt awful about it, I had to do it. Ares and I had to appear not friends anymore. The war was approaching. We didn't know who to trust anymore with information. And being in love with a Death Eater is not something Order members approve of right now.
Besides, something big was coming. Something that would change us forever.
* * *
Eleven more! Review and you'll get a cookie! Who's in for a shocker?
-Nastya
37. Chapter 37
"Happy Birthday," I smiled, pressing my lips to Ares's lips. "You're seventeen today."
"Thanks, baby," Ares returned the smile and kissed me again.
I giggled and hopped out of his lap, grabbing my present from the chair. "I got you something."
"I told you not to-"
"I didn't listen," I smiled. "Now, do you want it now or after NEWTs?"
"Now, because I won't concentrate on my NEWTs without knowing what it is," Ares nodded.
I pouted, "Fine. But you can use it later, then."
His eyes widened in interest, "What is it?"
"You have to open it!" I giggled. I tossed the slender silver package towards him and he caught it easily with his training and Quidittch skills.
He looked at me for a moment, and I nodded in encouragement. He tore into the wrapping. "Careful!" I chided, sitting next to him on the couch, my legs crossed and facing him. The first thing he saw was a beater bat.
"No way!" he exclaimed. Then he saw the signature. "You got Viktor Krum to sign a beaters bat for my birthday?" Then he saw the picture frame. And the bat was immediately forgotten as he picked it up. "When was this?"
"Well, Sophie was sneaking around that day and she took this picture and gave it to me," I told him quietly as he picked it up and smoothed it down as he admired it. "I made a copy for myself, of course, but this one is the one that moves and I made sure you got it."
His fingers traced the forms on the picture. He was holding Sidra in his arms, looking down on her. It was only her first ten minutes of being welcomed to the Earth. And I was standing next to him, watching her as well. It was the perfect picture.
"And these?" He picked up another pile a moment later.
"Pictures Teddy gave Minnie. These were the best ones. The first time she rolled over. Her first giggle."
There were more of course, but he understood that as he flipped through them, a small smile on his lips. "We did good, didn't we?"
"We?" I asked, confused.
"We made this," he whispered. "You and me." He stopped on a picture of her giggling and kicking her legs. "And she's absolutely perfect."
"She is," I nodded.
"Good job."
"To you too," I smirked, resting my head on his shoulder. "I think she'll look like you when she's older."
"Why do you say that?" he asked, his head resting on top of mine. His shoulder dug into my ear, but it was comfortable.
"Because she has your face structure," I nodded, pointing towards her jaw line and cheek bones. "She's a mini you with my parts."
He chuckled, kissing my hair, "She's still absolutely beautiful."
"As handsome as her daddy," I said quietly.
"My father's coming tomorrow," he said. "Minerva's going to Floo him in. And once he's here, he's going to try to marry me to Renee."
"But it won't work."
"Exactly," Ares replied. "He's going to know."
"We'll make it work, somehow."
He nodded against me, "You're okay with that?"
"I wouldn't have married you if I wasn't."
He sighed in relief, "Don't walk down any corridors tomorrow without Parker and Kellen with you. Both of them. And don't go to the library at all, nor any place that's dark and shadowy. Tomorrow's Saturday, so we have no NEWTs. I want you to have the least likely of a chance that my father will find you."
I nodded, "I know. I won't do anything that will get me killed."
"Good," he nodded to himself. "And I won't leave Minnie's office until I know for sure that he had left the grounds. That's when I'll find you. I'll send you a patronus."
I grinned, "Or I could just follow you all day in dog form. Hide out in Minnie's office, where he won't see me."
"You're not going anywhere near him," Ares interrupted immediately, squashing my idea. "You'll stay with your friends."
I bit my lip, nodding, "Fine. But I want to know everything when you return."
"Of course."
"Now enough of this depressing talk," I said suddenly. "It's your birthday and you need to get to breakfast now so you're fed enough for NEWTs. So. . . get. And don't loose those things," I said sternly.
He chuckled, standing. I stood as well, kissing him on the lips passionately, "I love you."
"I love you too."
"Happy birthday, babe," I grinned before flouncing out of the Room of Requirement. His chuckle sounded as I left. Oh, he'd get it.
I was extremely excited, yet extremely nervous at the same time. Sidra was a month old. NEWTs were today. And Blaise Zabini was coming to the castle tomorrow to get him married to Renee Hopsinger, which wouldn't be able to happen, because he's already married to me. And on top of all that, I haven't studied a single lesson of my classes for NEWTs. Oh well. Not like I don't have millions of galleons that will support me through life anyway.
But I really did want a job as a healer, preferrably working at Hogwarts once Pomphrey retires.
I met up Sophie, Parker, and Kellen at breakfast and did a last minute cram of everything I needed to know for these tests. Which was a lot and there was no way I would be able to go over it all at breakfast.
"Didn't study?" Sophie guessed, sighing.
"SHhh!" I snapped, turning pages furiously in my seventh year books. "I'm trying to study."
Sophie just sighed and shook her head at me. "Pathetic."
"Shh," I insisted, turning to Transfiguration. I totally forgot about that class. . . oops.
"You haven't gone to Transfiguration classes in months," Kellen insisted.
"Yeah, every Thursday," I nodded.
"We had them every Tuesday, stupid," Sophie cried. "I can't believe you didn't go to Transfiguration!"
"That's why there were no Gryffindors," I mused. "Only Claws and Huffs."
"Oh for Merlin's sake, Sahara! You could never get a job!" Sophie exclaimed.
I shrugged and kept flipping through my notes. It was the same class. Just with different people. Not like I missed anything. I was absently chewing my bacon and reading over Ancient Runes, when Headmistress Minnie cleared her throat.
I set down my bacon, but not my book.
"All seventh years are asked to stay in the Great Hall. The rest of you, please, head to your classes for the day. Seventh years, your head of house will assign you to your seats for NEWTs testing."
I finished my ancient runes book and cried out in triumph, "Haha! Take that Sophie! I just studied everything for NEWTs in a breakfast!"
"You are so going to get Trolls," Sophie shook her head, frowning.
"Oi, Weasley!" I heard someone shout. I turned, meeting Ariana Phillips eyes.
"Yeah, Phillips?"
Her Head of House badge for Hufflepuff shone in the candle light.
"If you get all Excellents and Outstandings on your tests, I'll give you five hundred galleons."
I laughed, nodding, "You're on. And if I don't, I'll give you five hundred galleons."
"Wicked," she approved.
"There is no way she'll pass her tests just by studying for a half hour," her friend, Penelope, insisted. "If she fails, you owe me your Krum set."
"You're on," Ariana nodded, shaking her friends hand. "And Sahara, if you don't pass, you owe me a Viktor Krum bedroom set."
I snorted, unable to hold back my laughter, "Hey, I'll make it two."
"Pretty confident, Weasley, aren't you?" Zeus Hopsinger sneered.
"More confident that you," I retorted.
"Yeah, well, your little lost love is marrying my sister tomorrow," he sneered. The Hall was deathly quiet at that. All the seventh years gasped.
"Hmm, funny," I replied, smirking. "Tell me how that works out." I wagged my finger menacingly, "Oh, and Hopsinger?" He jerked his head in acknowledgement. "Renee's a little slut. I'd get her tested. Wouldn't want Zabini dying on her would you?"
The Gryffindor's bust out laughing at that, as did a few Claws and Huffs. "Sahara! The teachers can hear you!" Sophie whispered.
"Like she cares!" Kellen laughed. "This is epic. They can't do anything! We aren't students anymore. Our classes ended yesterday and this is just a test."
"Oi, Weasley, don't you dare talk about my fiancee that way," Ares sneered.
I pretended to be wounded, a smirk on my lips, "Oh, did I hurt poor Renee's feelings? Oh, I'm soooo sorry, slut." Parker was dying laughing. "I didn't mean it, honestly."
"If you're going to say something to her, you can say it to my face."
"Fine," I said breezily. "Ares Perseus Zabini. . . you are the biggest mistake I have ever made."
His jaw set and he glared at me, "Yeah? Your little Ingleton friend's mine."
Sophie made a little squeak and I spun around, looking at her. "What?"
"I-It was nothing, I swear!" Sophie insisted. "Nothing! W-We bumped into each other! Honest! That was all!"
I took a deep breath through my nose before facing Ares, "Good luck on your tests, Zabini. You'll need it more than I."
Oh, I wasn't acting this out anymore. The Sophie thing was pushing it and he knew that. Was he trying to push my boundaries?
"Alright, enough, enough, before I begin deducting points," Minnie said sharply. "Now all of you, one person per table." I scooted down the benches until I was four tables in. Sophie was at the front, her body the opposite angle of mine. I could see her clearly. Next, was Kellen, the same direction I was facing. Parker was a table next to me, facing me, and on my other side were a few more classmates I rarely spoke to. My back was to Ares. Which would make this entire testing easier.
It may have been his birthday, but he just crossed the line with messing with my best friend.
"You have until dinner. Please begin," Minnie sounded. Tests appeared in front of us and I began on Transfiguration. Oh, Ares was so in for it.
* * *
AH! Ares messed around with Sophie! What? That's right, readers. And for the full story, stay tuned for the next chapter, and review!
-Nastya
38. Chapter 38
I looked at the familiar faces that were gathered in the Room of Requirement. Sophie, Jake, Parker, Kellen, Mum, Dad, Sirius, Minnie, Slughorn, Ginny, Ron, Harry, Neville, Luna, Teddy, Victoire (which made me wonder if they left Sidra home alone), Lavender - Ron's wife - George, Angelina, Alicia, Oliver, Seamus, Molly, Arthur, Grandma Trixy, and some of the other Order members that had joined for this war.
It was uncharacteristically silent.
Sophie met my eyes and gave a small smile. Apparently, in our third year, she got a little tipsy and ran into Ares, giving him a thorough snogging before giggling and running off. Now, Ares and I weren't together then and I couldn't really be mad at her for that. It stung for a few hours, but I forgave her. I couldn't stay mad at my best friend for long.
"Sahara Bellatrix Weasley, you turned seventeen today, correct?" Remus Lupin asked. I jumped at the sudden noise, but nodded in affirmation. Even if that wasn't my true name anymore. "And you wish to become an Order member?"
"More than anything," I said immediately.
"And you pledge your loyalty to the Order and its cause?"
"For eternity," I nodded.
"And you agree that the Death Eaters have to be eliminated in order for the war to end."
"The ones that commit the crimes should be sent to Azkaban, yes."
"And you will attend every meeting regularly and without hesitation."
"As regularly as I comb my hair," I smirked.
"Very well. Hold out your left arm."
I did as he asked and knew I was getting the kickass tattoo of a phoenix on my arm. It was almost identical to the Dark Mark, only ours were easier to look at.
Three long feathers stuck out from the Phoenix's head as a symbol of this being the third war.
"Welcome to the Order," Lupin nodded to me.
I grinned, "Thanks."
I ran a finger over the mark after he removed his wand and noticed him nod. "First, I'd like to ask."
"Go ahead," I smiled, waiting.
"How do you destroy the Death Eaters you brought back?"
I winced and shrugged, "I have to touch them. And then, just like with Regulus, I have to will them away."
Lupin nodded, but it was my mother who spoke, "We need to come up with a plan to get the Death Eaters to become close enough to Sahara that she's able to send them back."
"What if we just killed them?" Jake asked, like it was obvious. I was already shaking my head.
"It doesn't work," Dad said. "When we come back, we're the age we were when we died, but we age as well. The only way we can die again is from old age. The Killing Curse doesn't affect us. . . because, well. . ."
"You're already dead," Mum nodded.
My father nodded, "And therefore, we're invincible until we die of old age or Sahara sends us back."
I bit my lip as eyes went to me.
"Which means we need to come up with a plan," Grandma Molly decided. "And how are we going to do that?"
There was silence as we pondered this question. "Why don't all of us think of something? And tomorrow we can meet here and come up with an ultimate plan."
Arthur's suggestion was the best so far.
"Now, we need to boogie," Sirius said. "This meetings over and I'm going to celebrate my grand-neice's birthday!"
He tossed me a bottle of firewhiskey, winking, "You have no classes tomorrow, so what the bloody hell are you waiting for?"
"Sirius!" Mum scolded, taking the bottle from my hands just as I went to open it, a wicked grin on my face. "That's entirely not appropriate in school."
"Whatever, Bells. Give it to me then," Dad asked.
"Absolutely not."
Hermione rolled her eyes, "Oh, let the girl have some fun, Bella. It's not everyday you turn seventeen."
"Sorry I'm late," Angela called as she entered. She was sporting a wicked bruise on her cheek and had a little one she was pulling behind her. Ah, their son.
"What happened to you?" Sirius demanded, examening her cheek. The firewhiskey was forgotten by him, but my mother did give it back as she went and picked up her baby cousin to play with.
"Little run-in with Rowle. They're guarding the castle and waiting," Angela shrugged.
"You could have gotten killed!" Sirius cried.
"I'm a Muggleborn, not helpless," Angela rolled her eyes. "It was just a stunning spell that knocked me into the gate. No damage done."
I grimaced at that. the Death Eaters must have been closing in on the school then. We only had two days until we'd be put on the train to leave.
"Sahara, I think it would be best if you three left tonight," Minnie said, standing next to me. "With the Death Eaters looming around, it will only be a matter of time until they penetrate the wards."
I swallowed and looked at the Order, which was talking to each other about war strategies.
"They don't know, though, Professor," I sighed.
"They do know that Mister Zabini is married, just not to who. You made sure of that the day Blaise arrived. It's strange, the way you two go back and forth in keeping your relationship public. I have a feeling that some people already have suspicions of what is truly going on."
I chuckled, "We are a pretty twisted pair, Professor."
"I will have Teddy Floo to his home to get Sidra while you go find Mister Zabini."
"Professor, must it be now?" I asked desperately, standing to keep our conversation from eavesdroppers.
"I believe it would be best."
"But just knowing about a Death Eater is a ticket to Azkaban, Professor. Some of them will only see him as a threat and act accordingly," I insisted in a fierce whisper.
"Sahara, I can personally vouch for you and Mister Zabini. As will your father and Sophie, as well as your mother. Merlin, even Sirius knows how different the boy is. The chances of you being thrown in Azkaban are highly unlikely."
"Just like they were for my mother," I retorted bitterly.
Minnie sighed, "I see why you would be afraid. But the case against your mother was an entirely different case."
"Yes, she was harbouring a turned Death Eater that was a convict. And I'm in love with a forcefully turned Death Eater that wants out, but can't because his father's the bloody leader! That really helps my case, Minerva."
She didn't comment on my harsh tone, nor my disrespect in using he first name unasked. Minnie was a teasing name, but Minerva told her I meant business. "I understand, Sahara. I believe that it would be best if you would go get Ares and when you come back, Sidra will be here for you."
I set my jaw defiantly, but nodded, "Fine. But if you're wrong about this, so help me, I will do everything I can to take you down with me."
Minnie's lips turned into a thin smile, her eyes showing amusement, "And I'd gladly be taken to Azkaban. I guarantee that you will not be in danger."
"Now that, Professor, is something you can't promise," I said quietly. I took a step away and headed towads the doors, "I'm going to the loo. Be back soon."
"Don't fall in!" George called.
"Shut up," I said menacingly, but ended up smirking and laughing on my way out. Oh, now I had to show them everything. My darkest secret. And not even Sophie knew it, my best friend.
* * *
So, now you know;) Please, review! Next chapter is the revelation!
-Nastya
39. Chapter 39
I was just turning to the Slytherin dungeons, when a hand grabbed me and pulled me into the shadows.
"You have no idea who you're messing with," I growled, snapping my arm out and elbowing the person in the face. I heard a sickening crunch.
"Bloody hell, Sahara! It's only me!" I heard Ares groan as he leaned against the wall, clutching his nose. I gasped.
"Oh, I'm so sorry! I'm just so on edge lately and I was looking for you!" I uttered in apology, pulling out my wand. I waved it instantly, hearing his nose snap back in place and the blood disappear. He gave a groan, but a toothy smile appeared.
"Don't worry about it. What were you looking for me for, love?" he asked, his hands resting on my waist. He pressed his lips to mine and whispered, "Happy birthday."
"Minnie wants to see you in the Room of Requirement. We're leaving tonight."
"But-"
"Her orders," I said bitterly. "Pack your things and meet me at the entrance in five. I have to go get my things."
"No need," Ares sighed. "Ponce!"
Even though Ares had just said the name as though he were talking to me, a pop sounded and a small elf appeared just by my ankles.
"Master asked for Ponce?" The creature asked.
"Pack up my things, as well as Sahara's, and take them to my personal manor. Tell the elves to set up the rooms for suitible living."
"Yes, Master," the elf bowed. He turned to me, "Mistress."
I gave him a smile as he apparated and took Ares' hand. "You ready?"
"They're going to kill me, aren't they?"
"Not until they kill me first," I said jokily. I tugged him with me towards the stairs.
"And why tonight? I thought we were leaving tomorrow night."
"Change of plans," I shrugged. "Apparently, Death Eaters are surrounding the school. And my grand-aunt was attacked as she came to the castle."
"Is she alright? Who was it?"
"Rowle," I answered sighing, reaching the fourth floor stairs. I waited for the stairs to settle before climbing them. "And she's fine. A little bruised up cheek. Her son was unharmed."
"She had her son with her?" Ares gasped, mainly due to the long walk from the dungeons to the seventh floor. I giggled,s haking my head.
"Well, she was coming to a little party. And all of the Order was there, so family as well. And besides, the kid's cute. He's what I picture our son to be like one day."
"You want to have more kids with me?" Ares asked quietly.
My eyes widened as I realized what I said, "I mean, uh, I sort of. . . if you wanted to, of course. . . and I - well, I know you probably want a son to teach Quidittch to. . . and I'm babbling like a Hufflepuff. I just, I don't know. Do you?"
"Merlin, yes!" he laughed. "But only after the war is over and everything's quieted down. I only want them safe."
I smiled, looking back at him as we approached the door. "That's why I love you."
"I love you, too."
"Always keeping me safe," I teased, touching his cheek and placing a kiss on his lips. It was just then that the door opened to the room of requirement and a laughing Lupin froze immediately. Ares turned his head so that his face was hidden and looking down the hall. My head, however, had the unfortunate fate of meeting Remus Lupin's gaze.
"Who is this?"
I swallowed uncomfortably and shifted on my foot, looking at Ares, "Um. Well, you see."
Ares turned his head to look at Lupin, "Hello."
"Oh my bloody Merlin," Remus whispered.
I frowned, but took Ares' hand and pulled him into the Room of Requirement, dodging George's hand that swung around as he spun, singing and drinking firewhiskey. The room grew deathly silent as they all saw Ares. The only sound was the doors slamming shut as the heavy stone rested in place.
"What is he doing here?" someone spat.
I met Sirius' eyes, "Ares' is here because he's my best friend and my husband and he deserves to celebrate with us."
"You're married to a Death Eater?"
"You showed him our faces!" Angelina cried.
"Most of you are family," I stated calmly. "I figured you could handle it."
"And I'm back!" Teddy sang into the quiet room as he stepped out of the fireplace. His grin vanashed when he saw the two crowds. Minnie, Fred, Mum, and I against the rest of the Order. Victoire stepped out behind him and joined my side of the room. Ares squeezed my hand tightly as he saw people pull out their wands.
"I thought you got rid of him," Sophie asked. "You told me that you caught him with Renee and you haven't talked since!"
I could see the betrayal in her eyes, "I couldn't exactly tell you I got married, could I? And I intended to tell everyone tomorrow anyway."
"He should be in Azkaban!" Ron cried. "Isn't his father the leader of those Death Eaters."
I frowned deeply and stepped closer to Teddy, "Thank you, Teddy. for getting her."
With my free hand, I took my growing daughter from his arms and heard them gasp.
"We're going to miss her. Hey, you got to bring her by to visit, yeah?"
"Every week, mate," Ares laughed, clapping him on the back. "And you'll visit us when your little ones out of the oven?"
"Mate, did you even have to ask? Of course I will," Teddy laughed, shaking his hand and kissing my cheek. "Don't forget. She's allergic to peanuts."
"What?" I asked, horrified. Peanuts were the greatest thing in the world.
"Yeah, I was eating peanuts and I kissed her cheek, she grew red angry blots all over her. Be careful, cuz."
"Thank you," I nodded, hugging him tightly. I met Victoire's eyes and she just smiled, nodding in understanding. I then looked at my Mum, who was smiling softly at me. Was I finally forgiven? I then looked towards the Order. "I will always fight for the Order. But I will not allow you to take him to Azkaban for being just a Death Eater's son. He may have the mark, but he's nothing like them and he'd never hurt any of you intentionally. We're leaving. But we'll see you in battle. And remember, I have your backs."
I threw a handful of Floo powder into the fire and stepped inside, clutching Ares' hand painfully as he quietly said the directions to our new home. The fire must have heard him, because we were gone before I could even take a breath.
* * *
They took it surprisingly well, right? No killings:) Review for more:)!
-Nastya
40. Chapter 40
We landed in a crisp autumn red foyer. Our trunks rested by the door. And the fireplace we stepped out of turned off immediately, breaking any connection to the Floo network it had.
"Wow," I breathed, looking around.
It was that moment that the two month old in my arms decided to wail.
"Oh, shhh," I whispered, rocking the girl slightly. "Don't cry. Don't cry for Mummy."
Her jet black hair, as short as could be, was tied in a little flower clip and her purple outfit was probably really hot on her. But that didn't stop her bright red face from crying.
"Shhhh," Ares whispered, pressing his head on my shoulder as he assessed the baby from over me. "Daddy's here. You're going to be alright, little Princess. I'm going to watch over you just like you need."
She quieted down, hearing Ares' voice, but still was crying hard enough to make her hiccup.
"Oh," I sighed, shaking my head as little giggles escaped me, "You're crying so hard you're making yourself hiccup. Stop that," I said in a baby-talk voice. I know I vowed not to do this, but it was the only thing I could think of. "Stop it, stop it, stop it."
She quieted a little more, so she was now just hiccuping between coos.
"I've got it," Ares said in triumph as he waved his wand around and presented me with an object. No, he didn't present it to me. He presented it to our daughter.
"A lion?" I asked, gazing down at the green and silver lion. Oh, the irony in that. What next, a red and gold snake?
"Hey, it shoes her what she's made of."
"She's a baby that doesn't even know what a lion is, Ares. And besides, a green lion? Are you trying to give Godric Gryffindor a heartattack?"
He smirked, nodding, "Yup. I figured, you know, his ghost roams this place so why not give him something to complain about."
My eyes widened as Sahara started to play with the lion and I turned my head to look at Ares, "We have Godric Gryffindor's ghost here?"
He winked, "Do we?"
"I'm asking you."
"It may be possible that I bought his daughter's home for us to live in. And he happened to die here in a brawl with his daughter's husband and himself. From which he haunted the residence to get revenge on his son-in-law."
"Dear Merlin, I think I love you, Ares," I whispered, shaking my head.
"And I haven't even given you the tour. If that was all it took to make you love me, I would have brought you here a long, long time ago."
"You had me since first year," I responded. "No ghosts necessary."
"Well, then at least let me give you the tour. You have been waiting long enough. It is quite rude to keep a lady waiting. I'm quite sorry for that, m'lady."
"Shut up and start showing me around," I giggled, slapping his chest.
"As you wish," he bowed dramatically before placing his hand upon my lower back and guiding me into the living room. I had no idea what the outside looked like, but I knew this place wasn't as elaborate as it looked like on the inside. It had to have been a simple three bedroom.
We ended up in the kitchen/dining room area and I sank down on one of the chairs, Sidra resting on my chest sound asleep. The walk had slowly lured her to sleep and I was thankful. This was going to be hell though. I'd get no sleep at all.
"So. . ."
"So?" I prompted as Ares didn't continue.
"You still haven't gotten your birthday present from me."
I flushed, "You didn't have to get me anything, Ares. This is enough already."
"Yeah, well, this wasn't your present in the first place. And besides, you got me something," he winked and walked towards the oven, and pulled something out. I expected it to be a burnt piece of food.
But it was only a letter. I flinched for nothing. Pathetic, Sahara. Absolutely pathetic. What's a letter going to do?
"Open it," Ares suggested as I stared at it.
I already recognized the handwriting.
"Ares. . ." I whispered, using my free hand to reach out and dig at the seal. It popped open and my gift was displayed for the world to see. Two tickets to Phantom of the Opera in a few months. A gift card to Purgatory - the spa in Knockturn Alley. And then there was a letter. The handwriting was what was on the envelope. My mother's.
"She gave this to me to give to you. It's sort of something I thought would cheer you up."
"Oh?" I whispered, scanning the contents.
"Mmhmm."
And indeed it did. She apologized for everything she accused me of, the way she treated me. And she promised to be there for me, Ares, and Sidra. And that was just what I wanted for my birthday.
My mother was back in my life.
And my daugher's too.
"Why don't we put her to sleep and then you and I can christen this house together?" Ares suggested, smirking seductively.
I giggled, "Show me her room."
He took my free hand and walked quietly up the stairs in the foyer to the bedroom that would be our daughters and I set her in the crib before turning to him. "And now we can christen this place as ours."
I nodded in affirmation, pressing my lips to his. As he pushed me against the wall, hungrilly kissing my neck a moment later. I moaned as his hands tried to work at the zipper behind me. But my dress would not budge.
"Damn it," Ares muttered against my collar bone.
He gripped my dress and I growled onto his jaw bone, "Don't you dare tear my dress off."
"It's sexy," Ares whined.
"Pull the zipper down, Ares, not up."
But it was too late, the moment was gone. Especially when Sidra chose that moment to begin crying.
I sighed, "She's probably hungry."
"So am I. So I'll make us some food and you can eat with me after you finish feeding her."
I nodded, but would not admit how scared I was as he pecked my lips and took off to the kitchen. I didn't even know how to breastfeed.
Oh Merlin, my baby was going to starve to death.
"Shh," I murmured as I picked up Sidra and started to bounce her as I paced in a circle. "Shh. . . Mummy will think of something to figure this out."
But apparently she had a different idea. She took a tiny hand and grabbed my breast, her mouth searching the fabric for something to feed off of.
She knew what she was doing. Alright, then. I waved my wand, causing my shirt to tear in half and slid my bra off of one side. Her fingers dug into my skin, but it didn't hurt. No. I take that back. As soon as she latched on, I gave a nearly inaudible gasp. Ok, that kinda hurt.
She continued to suck, obviously satisfied, because her eyes closed and her grip losened.
My first day of parenting and at least I did something right. Even if she was the one that showed me how to do it.
It's going to be a long seventeen years.
* * *
Ah, their first night parenting and Ares escaped;) Please, review! And thank you to everyone that's read and reviewed so far! We only have about seven chapters left and I really appreciate you guys:) Please, review!
-Nastya
41. Chapter 41
It was the Stag patronus that had interrupted my reading of the Prophet.
"The Death Eaters are closing in. Apparate to the Room of Requirement immediately for battle plans."
Uncle Harry's voice echoed throughout the house. I nodded, waving off the patronus as I transfigured my clothing into a tank top and soffe shorts. Ares came into the kitchen panting.
"The elves are watching her. I told them that if we don't return in four days, to pass her onto Teddy and Victoire."
I nodded, clutching my wand with my fingers as I stepped into his embrace, "I love you, Ares."
"I love you as well," he whispered. And he hugged me close, closing his eyes, as did I, while we just stayed in each other's arms for a moment. But when he tensed, I knew he was being called.
"I'll see you in battle," I told him quietly, touching his cheek. He pressed his lips to my forehead, whispering an apology before he apparated.
Tears built in my eyes, but I apparated anyway, landing in the Room of Requirement.
"Sahara! Thank god you're alright!" Dad cried, hugging me.
I gasped for air, "Of course I'm alright! Dad, I can't breathe!"
"Sorry," he grinned, releasing me from his vast hold. "How are you?"
"A little sleep deprived, but what can you expect, having a three month old that can barely roll over?" I teased.
"Must be hell."
"Eh, s'not that bad after a while," I shrugged. "You get used to it."
I spotted Mum and kissed my dad's cheek before heading over to her, "Tell me what I need to do and I'll do it."
"We're going to stun every Death Eater we see. After we get them all, we'll have you send them back. It will only be when the war is over."
"Good, tell everyone to stand around the portrait entrance in a moment. I have an announcement to make."
"You're not pregnant, right?" Mum asked cautiously.
I grinned, "I don't know, am I?"
She groaned, "I'm too young to be a grandmother," she muttered, walking away to pass my words along.
"You already are one, mother!" I called after her, laughing.
She flashed me a wink before I continued on, trying to find my friends. And I found them talking to the Cullen's.
"Alright," Sophie snapped, seeing me. "What the bloody hell was that stunt you pulled two weeks ago?"
"Um . . ." I hesitated. "Surprise?"
"Surprise? That's all you have to say?" She shrieked.
I grinned, "Yup."
"I hate you," she muttered, hugging me. "But I've missed you!"
"I've missed you too," I laughed. "Listen, I already told Mum, but you need to get everyone's attention for me to announce something in like five minutes."
"What's it about?"
"You'll see."
"I don't like the sound of this, Sahara."
I grinned, shrugging, "Who got all O's on their NEWTs?"
"You cheated," Sophie defended. "There had to have been no way! Where's the letter?"
I laughed and pulled out the letter I recieved from Minnie a few days ago. Sophie scanned it and gasped, looking up at me. "I can't believe it."
"Oi, Phillips, I got all O's!" I shouted towards her. She was across the hall, talking to her friend.
She looked up though, when she heard me and laughed, "No way!"
"Totally way!" Sophie defended me. "I'm staring right at it now. That's ruddy impossible!"
"When this is all bloody over, I'll give you your galleons, Weasley. Or do you go by Zabini now?"
I laughed, "Whatever you want to call me, Phillips."
"Weasley it is, then."
I smiled at Kellen and Parker, "You two better watch your backs."
"Have you met us?" Parker gasped, offended. "We are only the most careful people you've ever met."
"Kellen certainly isn't," I smirked. Kellen flushed as he ducked his head.
"How's Ariana doing?"
"You just talked to her," Kellen shrugged. "She insisted on being here, even though I refused. Date's set for next weekend."
"I'll get you two a little toaster, how's that? People still give those as wedding gifts, right?" I whispered to Sophie.
She nodded, rolling her eyes.
"It's going to be at the Burrow, because of Ariana's great-great grandmother being a Prewett or something like that."
"Aww, you'll be related to the family," I cooed, pinching his cheek.
"Where's Ares?" I heard someone said beside me.
I looked at Teddy and shrugged, "He- he has a little something to do before he joins us."
"Such as?"
"Spitting in my father's face," a proud voice said.
My eyes widened as I spun around to face my husband, "You didn't!"
"Totally did," Ares grinned. I leaped at him, attacking his lips.
"I totally freakin' love you."
"Hey, mate," Ares said to Teddy over my shoulder as he pulled me off of him, "If you want to get Vic horny, just spout some lie she wants to hear about you being brave and heroic."
I turned and faced Teddy, "Works on me everytime."
Teddy gagged and shook his head, "Don't tell me about your hormones. I'm your cousin, not your freakin' therapist."
"Sure?" I asked, confused. "I could have sworn-"
"No, Sahara," Teddy said firmly, but I could see the humor in his eyes.
A throat cleared, "I believe Sahara would like to say something."
I looked to see my mother, and grabbed Ares' hand, pulling him with me to the front of the crowd.
"All of you," I shouted to the crowd. "Ares and I have a plan. Keep the original, where you stun the Death Eaters and I take care of them. But remember. If a Death Eater gets the upper hand-"
"Apparate," Ares finished for me. "Get out of the way of the spell. The Death Eaters are brutal because they know they cannot die. Do not aim to kill. Aim to stun."
"And Ares and I will be working together out there. No one is to attack him in this room. Is that understood? He's a member of the light just like the rest of us."
My sentence was punctuated with Ares grasping his left forearm in pain. I nodded, "Go. I'll finish up here."
He nodded and apparated from the room. There were a few whispers at his mark having burned.
"Ares and I will be meeting in the transfiguration Court Yard. That is where most of the Death Eaters will enter," I said confidentally. Alice nodded in confirmation as a few people looked at her. I smiled, missing my old friend. "From there, my mother will meet with us and all Dementors that are coming that way will be crushed by her. Is that understood, mum?"
"Got it," Mum nodded.
"Those that I resurrected," I called. "Don't stop fighting no matter what. You're free and nothing can kill you now." They nodded. The four people that I had resurrected looked around the room at each other, giving a signal with their eyes. "And vampires, keep close on the students. Ares and I can take care of ourselves, but the others don't have special powers like Mum or I."
The Cullen's nodded - not even phased with their missing brother who was still rotting in Azkaban - and went to the students that needed it. Ariana, Penelope, Sophie, Kellen, and Parker.
"Sahara?"
"Yes, mum?" I asked as people started to leave the RoR.
"Did you get my letter?" she asked queitly. "I gave it to Ares, but I wasn't sure-"
"He gave it to me," I smiled. "I forgive you. I love you, Mum. And if anything happens to me out there, Teddy and Victoire are Sidra's godparents."
"Ares would still be alive."
I shook my head, "If we're going to be fighting together, he'd be the first to fall, then I'd get hit."
"Why would he be first?"
"He betrayed them, firstly, and he'd sacrifice himself for me. He believes Sidra needs me more than himself."
"He's right, you know. A child needs their mother until they are of age."
I smiled, "I know."
"I'm sorry I wasn't there for you for a few years."
"Don't worry about it. What's in the past is in the past. Besides, it's because of our little feud that Ares and I grew as close as we did in fourth year. I should be thanking you."
"I love you, Sahara."
"I love you, Mum," I smiled. The bells ringing in the Clock Tower caused the entire room to fall silent. The remaining people looked around, trying to figure out what the signal meant.
"That's our que. The Death Eaters are now entering the Quidittch pitch."
"How did you-"
"You honestly think I spent the last two weeks sitting around?" I asked, interrupting my mother as we both sprinted down to the Transfiguration Court Yard. I laughed, shaking my head. "No way. I contacted Parker and told him to keep a look out in the clock tower when the Death Eaters enter the grounds. Once they cross wards set on the Pitch, ring the bells. I've been preparing this for what seems like ages now."
"You really thought of everything?"
"What can I say? Being a mum has made me into a superwoman."
Mum laughed, but it quickly died down when we reached the Transfiguration Court Yard. The battle had already begun as George dueled Alecto Carrows. I recognized her from the Prophet just before the distributions of it had stopped.
But a rogue curse had strayed from their battle. The Killing Curse. I recognized it immediately, and try to put up my sheilds, just as my mother had taught me, but it was too late. "Remember what I taught you," Mum instructed just before it hit her. She didn't even flinch or move. She took it. She knew it was coming.
I hissed a curse, but searched around for Ares.
He wasn't here. I knelt next to my mother and tucked her wand under her shirt so no one would steal it from her. "I'll bring you back, Mum, I promise."
"Oh, now, this is positively touching," A cool voice said from behind me. I squeaked and turned around, only I was grabbed and felt the sensation of apparation before I could conjure a shield. I really need to practice conjuring shields.
We landed in the dark, moldy smelling home of some shop keeper in Hogsmeade. I winced as I saw his lifeless body in the corner. No wonder is smelt bad in here.
"What do you want with me?" I asked, seeing Blaise Zabini look at me, carefully.
"All in good time, daughter-in-law. All in good time."
My eyes widened as I realized he knew. What did he do to Ares? Where was Ares? Was he dead? My thoughts were silenced as I was slammed against the wall, and everything went black. Wonderful.
* * *
Uh oh:) Review and find out what Blaise wants with Sahara! Thank you for reading and reviewing and I hope to see more come in! 6 chaps left!
-Nastya
42. Chapter 42
I came to what must have been hours later. I groaned from my position on the floor and realized that my clothing was torn and disgusting looking. And I hurt in places that haven't hurt since I gave birth to Sidra. My eyes widened in realization and horror. He didn't!
"Ah, you're awake," the leader of the Death Eaters said casually from his position on the couch. I winced as I realized I was a few feet from the dead house owner and the stench was overwhelming. "I was beginning to think you'd miss all of the fun that's happening on the battle field."
"What did you do to Ares?" I demanded, feeling stronger than I felt. I was glad that my wand was still in my coat pocket. I could feel it digging into my side.
"Oh, my son?" Blaise asked, shrugging. "Nothing too damaging to his face. But he certainly will recieve a few stares from beautiful witches as he walks down the street a single man."
"So you're going to kill me?" I asked, raising an eyebrow.
"Of course I am, but me killing you would be too simple..." he looked me over, sighing. "And a waste of your abilities."
"My abilities?"
"To bring people back from the dead!" Blaise laughed. "Surely you can't forget that."
"Kind of hard not to," I muttered.
"You see, I have a proposition for you."
"Oh?" I said lightly. "Is that all?"
"Yes," he said, not bothering to comment on my sarcasm. He obviously didn't have the same humor as his son. "You see, I know all about my granddaughter." My eyes widened in fear. "Oh, yes, didn't Ares mention that he told me? He told me all about her. How her brown eyes twinkle in the sun. And how her black hair resembles his. Every last detail."
"Ares would never-"
"A little veratiserum works magnificentally, darling," Blaise laughed coldly.
I sagged against the wall in defeat as I realized that there was no hope for me or my daughter anymore.
"What do you want from me?"
He continued from where he left off, "I know all about Sidra Vega Zabini, Miss Sahara. I know also that you bring people back from the dead."
"Who do you want?" I whispered, sickened. He would either rape me again and again until he got me to comply with his rules, or he'd kill me.
"I think we both know the answer to that, Sahara."
I knew what he meant too. Or rather, who he meant.
"The Dark Lord for your daughter's life. If you want to keep your daughter alive, Sahara, then I do suggest you hurry up and bring the Dark Lord back to full power."
"I don't have the energy," I said earnestly. "I've been drained and I'm weak from when you hit my head on the stone."
He looked me over before waving his wand. I flinched, waiting for pain to be inflicted. But there was none. My clothes straightened and repaired themselves. And in front of me appeared a silver tray with an apple and some bread. A cup of water was next to it.
"Where is Ares?"
"Oh, he's fine," Blaise assured me, smirking. "Battling for the Death Eaters as we speak."
"And my daughter will not he harmed?" I asked as I bit into the apple.
"Not a single hair on her head will be misplaced and she will live to a very healthy age with her father."
I swallowed, closing my eyes. "What does he look like?"
I could hear the smirk in his tone as he replied. "Red eyes. Pale skin. Black cloaks that ooze darkness. And -"
I already knew, of course, I was just trying to stall from bringing back the most feared wizard in history. But it was too late. The picture had formed in my mind of what he was talking about.
A wand was instantly pressed to my throat and I gasped, whimpering in pain as Blaise caused me to shift my legs so I stood.
"My Lord," Blaise bowed. "We've been hoping for this day for seventeen years."
"Blaise," A slithering voice hissed. I opened my eyes, meeting a beady red pair. "Such a faithful follower you've proven to be. And who is this?"
"Sahara Bellatrix Weasley, my lord," Blaise answered instantly.
"A Weasel?" The Dark Lord asked, surveying me.
He really was ugly.
My hair turned a dark purple as I growled, "Do not call my family that-"
"Who are your parents, dear one?"
"Bellatrix Black and Fred Weasley," I spat.
"Such spirit. I had the same when I was your age."
"My Lord," Blaise said eagerly. "The girl is even more powerful than her mother!" He continued on excitedly as the man before me looked at me in interest. "She can bring people back from the dead."
"I can only bring back two in a days rest," I growled. "I was passed out for a week just by bringing back four."
I probably shouldn't have said that, because the Dark Lord chuckled and stepped closer. "Such magnificent powers. Is that how I have come back, then, Blaise?"
"Yes, my Lord. It took a few years to make sure her abilities were strong enough. But with some practice at forcing people back from the dead through her, I knew she would be ready."
"Ah, yes, you've brought back the Death Eaters that are fighting as we speak, am I correct?" the Dark Lord asked.
Blaise nodded, bowing, "Yes, my lord. That would be a correct statement."
"Then let us head into battle to see the people out fighting a lost cause for the Order's side."
"Of course, My Lord."
"Please, just let me go. I did as you asked. You can leave Sidra and I be. I won't cause you any trouble, I swear," I begged as Blaise dragged me out of the door with him and the Dark Lord.
"Shut up, you little chit."
"And who is this Sidra?"
"My daughter," I growled, narrowing my eyes at Voldemort. How dare he -
"Such a young age to have children, aren't you?" Voldemort asked, his tone was still harsh.
"Well, Ares Zabini and I are in love," I replied. "Why wait for the war to be over to start a family?"
"Zabini? Your son, Blaise?"
"Regrettably."
"Then the girl some respect. A pureblood and your daughter-in-law. Not to mention, Blaise, she did do you a favor. She did bring me back from the dead. And for that, she will in your debt forever. As well as mine."
I had the upper hand.
"Of course, My Lord." I was immediately released and nearly fell forward as my legs collapsed underneath me. I grabbed the wall and struggled to stand.
"Keep walking," Voldemort hissed.
"You shut up and walk," I snapped back.
His lip curled in anger, but he picked up his pace. Another wand-wave and I didn't feel sore, nor weak anymore. Blaise gestured for me to follow in front of him. And I did so, already trying to form a plan. Dear Merlin, please help me. Bloody hell, Godric's ghost that I've never seen, please help me.
I really think Ares did lie about Godric's ghost and our house history for that matter. Typical. Whatever got me horny at the time.
* * *
Five chaps! And uh oh! HE's BAAAAAACK! That's right, bitches! So, please, review and tell me what you think! Next chapter gets back into the action of the battle:P
-Nastya
43. Chapter 43
The sun was shifting through the castle's high roofs. The clouds of dust and ground up stone didn't make it easy to see. But you could certainly hear the crumbling of rocks and the sudden scream of a curse or charm. But as soon as people saw Voldemort, they froze in shock. I was still in step behind him as he walked through the Transfiguration Court Yard. He came across my mother's body and used his foot to examine her face.
"Don't touch her," I growled, trying to reach for my wand. Blaise grabbed my arms and prevented me from lunging at the Dark Lord.
Voldemort didn't acknowledge me as he tutted, "Such a waste of talent."
"She's not some trophy," I ground out.
"Of course not! She's a valuable fighter, especially for our side."
"I am not on your side."
"You did bring me to life, Miss Zabini."
I growled at him, and he just laughed obnoxiously. By now there was a crowd separated by allegiance placed before us.
"Yes, I am back," Voldemort announced. "All thanks to this beauty that is so fiesty."
I struggled in Blaise's grasp as I saw Ares' in the crowd of Death Eaters. My struggling became even more intense as Voldemort drew a wand from his robes. He was going to kill me.
"Hold her still, Blaise," Voldemort hissed. Louder, he spoke, "It has pleasured me greatly that she would approach Blaise with an offer to bring me back. All to assure her daughter's safety!" He laughed. "Oh, love. Such a petty emotion."
Blaise's grip on me tightened as Voldemort waved his wand to pull my sleeve up. He growled when he saw the Phoenix tattoo on my arm, but did not seemed deterred.
"Blaise, perhaps you should take her and brand her as your own."
"With pleasure, my Lord," Blaise said greedily. I was shoved to the ground and I cried out in pain as my body was sat atop of. My back dug into rocks and gravel from the fallen stones as Blaise straddled my waist. He ripped my shirt open and I whimpered, trying to shake him off of me. Instead, he did a charm to tie my hands above my hand and not move. I whimpered again as his wand touched just over my heart. "You'll always belong to me."
I screamed in blinding white hot pain as my skin felt as thought it was burning. It smelt like it was burning, too.
And it felt like my heart was going to burst into flames.
A second later it was gone and Blaise was off of me. I curled onto my stomach, sobbing into the ground. He just branded me like some cattle.
"Oh, how even the strongest have their weaknesses," Voldemort mused to the crowd. "How unfortunate. But the truth is, none of you have to go through with what she just did if you simply don't resist."
"We'll never follow you," A familiar voice snapped. Sophie. No, don't get yourself killed!
"And who are you?"
"Sophie Ingleton," she replied confidentally. Was Jake with her? "Werewolf imprint and Sahara's best friend."
"Don't tell me, there's a new Golden Trio."
"The Golden Quartet, actually," Kellen said, and I heard two sets of footsteps take a step forward. Must be Parker as well. I pressed a hand to my heart as the burning turned more intense. I felt it all throughout my body now.
"Hand back Sahara and we'll give you what you want," Sophie continued.
"What I want?" Voldemort repeated before he started laughing. "What do I want, little girl?"
"Control," Sophie replied, smirking.
What was she doing?
I lifted my head and met Ares' eyes. He sent me an apologetic look. Like it was his fault I was here. Which it wasn't. I shook my head slightly before pressing it to the cool stone ground. My shirt was ripped beyond Muggle repair and Blaise had my wand, so I was unable to get it back. Damn me and my unthinking-moves.
"My Lord, I suggest we kill her. Sahara is of no more use to us."
"Yes, yes, of course. She was useful. I suppose she has filled her purpose."
"Please, you can't," I pleaded as Blaise grabbed my hair and pulled me up to stand. The hand that was covering my wound and holding my shirt together went to my hair as I winced in pain. God, did the head have to be that sensitive. Not to mention he just knocked me out in the head too. Men are so inconsiderate.
"And give me one good reason."
I searched my brain deserately, "Because your wife really likes me and I'd hate for your marriage to crumble because you killed me."
"How considerate of you to think of someone else's marriage that is none of your business," Blaise started off sweetly, but shoved me to the ground again. I felt my head hit the stone hard, but didn't hear anything. I winced. "Ares, kill her."
"What?" I heard a squeak.
"Get over here, son."
Ares took a few tenative steps forward until he was in front of the crowd.
"Get over here, Ares," Blaise snapped. I swallowed back blood that was in my throat. Wonderful. I was going to die from bloodloss before my husband could kill me.
"Say your last words to your wife, son," Blaise drawled.
Ares clutched his wand in his hand and looked at me with determination. I was scared he would actually consider killing me for a moment. Just to end it.
"No."
There was a gasp from the Death Eaters and I could hear sighs of relief from the Order side.
"I'm sorry? What was that?" Blaise said, glancing at the Dark Lord. He grabbed Ares shoulder and said in a menacing voice, "Kill her now. You've disgraced this family enough. Kill her!"
"Father, you know what? I haven't disgraced the family. Grandmother approved of her. So did mother. And you know what? The only one that disgraced this family was you. You and grandfather. So let me spell it out to you. N-O. No."
"Why you insolent child!" Blaise shouted.
* * *
Four chapters! Shocker at the next one:) You'll cry, I hope it's that shocking and sad. Review, please!
-Nastya
44. Chapter 44
"Avada Kedavra!"
"No!" I cried in horror. The green light struck Ares' chest before he could even comprehend what was happening. He fell to the ground and I heard my body give a choked sob. I tried to righten by body to crawl towards him. But to no avail.
"Shut up," Blaise kicked me hard in the stomach and I fell back to the ground. I just looked at my husband and saw his black eyes staring at me, lifelessly. No spark.
Like when we were younger and first dating. His eyes held a spark of spunk, of mischeiviousness, and of fire. The burning of innocence when he looked upon you.
But as he lay here, I realized that what his father said was right. Blaise would get stares from the women, if he were alive. Three thin scars ran over the left side of his face. One went over his left eye, making it look red and puffy. He was marred.
His eyes, though. It was his eyes that I could not look away from. Pain, and love, and determination lined his eyes. Stress as well. But alas, no spark of his spunk. Nothing. Just the emotions he died with.
"No," I whispered, shaking my head. He couldn't have been dead.
"Don't you dare try to even bring him back," Blaise growled.
"He's your son," I choked out as I spat out blood. When did I sustain an injury that would cause me to bleed in the throat?
"As you can see, resistance is futile!" Voldemort shouted to the crowd. "Join us or die. Join us or you will meet a very painful and unfortunate fate." He took a step foward and waved his wand, causing me to flinch from my position on the floor. But the spell didn't hurt me like Ares' death did. No, this one forced me to rise to my feet. The Imperious Curse.
"You must understand, my dear. You'd make an exceptional follower," Voldemort began. I flinched as his hand carressed my cheek and turned my head away from him. But his hand grabbed my chin and made me look at him. "What do you say?"
I smirked, and nodded, "Sure. I'll join you. Right after I send you back to hell."
"Wha-?" But he was cut off as he crumpled to the ground.
"You shouldn't have touched my skin, Voldemort," I smirked. I willed him away and he vanished as dust in the wind.
I stood and looked at Blaise. "Did you not know about that little detail?"
"What did you do to him?" Blaise growled.
"He's in the land of gumdrops and sugarplum fairies," I said sarcastically. "Didn't Regulus tell you, Mister Zabini?"
"Tell me what?"
"Not only can I bring people back, but those that I brought back, I can take away just with a simple touch."
His eyes widened in alarm, "But-"
"And the longer they've been brought back, the faster it is to get rid of them," I continued.
I now had the Death Eaters attention.
"All it takes. . . is one touch."
Blaise brandished his wand, "And if we kill you?"
"Then your son never returns, your Lord will never see the moonlight, and your followers will remain."
"They don't disappear?"
Why lie? So I told the truth, "No."
"Good," his lip curled in triumph. His voice was bitter, cold. And it scared the crap out of me. But if he was going to kill me, then at least I deserved to die fighting. It was the warrior way to go.
I took a step back as he took one towards me and realized how weak I was. My magic was drained from bringing the Dark Lord back. Sidra would never remember her parents if I died. Sidra . . .
A spark of determination went through me and I straightened my stance. "What are you going to do, Mister Zabini? Kill me? Go ahead. You have my wand, do you not? I have no powers against you."
"That's right, you don't."
I smirked, "So what are you waiting for?"
"Sahara, don't!" Dad cried. Did he not remember what my mother taught me? He was there.
"Avada Kedavra!" Blaise shouted.
There were screams as the spell came out for me. But I was prepared. I held up my hand and a crystal colored sheild appeared in front of me, causing the spell to rebound and fly towards the sky. Blaise stumbled back in shock.
"Oh," I smirked deviously. "That's right. I'm not defenseless." I giggled, "Silly of me to forget."
His lip curled in anger, "You can't shoot spells at me."
I laughed outright, tilting my head back as my laughs echoed off the courtyard. "Are you as stupid as you look? No wonder they didn't send you to Azkaban during the second war. You see. . . I don't need to send spells at you."
"You cheat death," he accused. "You're a Hallow."
Interesting. I never thought of that. But I certainly wasn't thousands of years old.
"I can cheat death, yes. That was never a question," I shrugged. "But a Hallow? There are only three. And I'm not one. And all three of those Hallows belong to my Uncle. No one else."
* * *
Ah! Three chaps left! Were you surprised? And Ares is dead. . .:( Sorry!
-Nastya
45. Chapter 45
"Potter?" he guessed.
I smirked and gestured with my hand, "Hit me."
"Already did, sweetheart. It's funny, because I hit you in two different ways."
I curled my lip in anger, "You're a pig, that's why."
"You know what they say," Blaise laughed. "Like father, like son."
"Your father must have been a real ass," I remarked.
"Sectumsempra."
My shield deflected it into the crowd of Death Eaters and someone screamed as it hit them.
Good.
"Fillipendo!"
Every spell he shot at me deflected off my shield, but all in different places. He was searching for a weakness. And he was seriously dafter than he appeared. Just give it up. I'm stronger than you.
"You know, Blaise, there's one thing that you don't have."
"Imperio!"
"You already know what it is, don't you?" I taunted. My step closer set him over the edge.
"Fiedfyre!"
I was perfectly safe as it encompassed me. I patiently waited until the fire disappeared from around me.
"A woman who loves you."
"Crucio!" he shouted with fury.
"And the funny thing is," I continued. "You love her."
"You know nothing of what you speak of."
"Perhaps."
"You destroyed my son."
"He approached me and he loved me just as much as I love him," I spat, my sheild strengthening in my anger. "Why stop what we had for the war?"
"Because he was engaged!"
"That was after we handfasted," I smirked. "He approached me and told me all about your arranged marriage taking place the day after his seventeenth. We married that night."
"The night your daughter was born, right? You trapped him."
"He loves Sidra, as do I," I growled.
"You are so much like your mother," he smirked. "Getting knocked up. Then you have the baby the same day as your wedding."
That was weird, I'd give him that.
I turned, casually flipping my hair over my shoulder. I heard him do a stunning spell and I shot my hand out, my eyes dangerously glinting as it reflected over the new shield and hit him directly in the chest faster and closer than he expected. He dropped to the ground, out cold.
"Oops," I said with no emotion. I walked over to him, a shield around me as duels started between other Death Eaters and Order members. I plucked my wand from his left hand and stood up, but thought better of it. And slammed my heel down on his nose. Prick.
It was then that I stood and looked around the battlefield. No one dared fight me, because they couldn't hurt me. But they were thinking about it. So I knelt next to my mother and husband. They were close to each other. Only five feet, perhaps, apart. I placed a hand over my mother's and nodded. "I'll bring you back soon, Mum, I promise. I can't now."
I turned to Ares, "You as well, wolf."
I stood and flung myself into battle. Teddy was the first to fall that I saw. I would bring him back. He wasn't dead for good. He had a little baby to be there for in the next few months.
I used my wand to stun the Death Eater he was battling. Then I turned, looking for more.
"Watch your back, Hara!" A voice said from behind me. I had turned just in time to see Scorpy stun a Death Eater that was sneaking up on me.
"Thank you," I smiled. "What are you doing here?"
"My mum didn't want to get involved, but Dad and I came. Liked your little fight there with Blaise."
"I'm glad," I laughed, flicking my wand a little to stun a Death Eater at his right. "And thanks. I've missed you."
"And a daughter? Merlin, Sahara. You couldn't wait?"
I shrugged, "What can I say? I didn't have the heart to."
He smirked, grabbing my arm as a spell shot in my direction. He jerked me hard and pulled me out of the way.
"Be careful, Scorp."
"Will do. Oh, and one more thing."
"What?" I asked, impatient, as I shot spells towards a pair of Death Eaters fighting with Molly.
"Try not to over exhaust yourself. You have loads of time to get these people back."
"Thanks," I muttered, patting his shoulder before throwing myself into the pack of Death Eaters that were battling my father and Lupin.
"Sahara, what are you doing over here?" Dad shouted.
"Helping!" I called, placing a secure shield around me as fired stunning spells at the Death Eaters. I was completely exhausted, but I had to keep going. People were dying as we spoke, and this war had to end soon.
* * *
Two chapies:O Almost over! There will be no sequel, I've decided. So, please, don't ask for it. I just want to end this story where it will be. And I sure hope you like it:) Review and tell me what you want to happen!
-Nastya
46. Chapter 46
I collapsed on the ground. That was how I remember the last stun of the Death Eaters. It was the last one. Rodolphus Lestrange. And my grandmother had gotten him. Go Grandma Trixy.
"Sahara!" Dad cried, rushing over to me.
I didn't even care that I was half naked, my tank top still ripped in half, in front of him. At least I chose to wear my fancy black lace bra today.
"M fine," I mumbled, my arms shaking.
"Pomphrey!" he called. "I need you to get her a spot in the Great Hall!"
I was lifted up into his arms and realized how light I felt. My head was killing me still, but the battle had come first.
"She's bleeding profusely from the back of the head," Poppy observed, gently probbing me with her wand. I still winced. "And she's bleeding from her burn mark on the chest."
"Will you be able to get it off of her?"
"It's impossible. The brand runs to her heart. To take it off would kill her."
"Thank god she married a Zabini then."
I didn't hear what Poppy Pomphrey said in response, because I was doused in darkness. But it sounded strangely like, "She's dying."
S-Z-S-Z-S-Z
"Sahara?"
I groaned, swatting my hand to get Ares from playing with my eyelids.
"Ares, I know you're horny, but I'm not touching you. You bit me last time," I mumbled, turning away from him.
"Ok, that was far too much information for your father. Get up!"
I bolted upright immediately and my eyes widened in horror as I realized what I just said, "Oh my dear Merlin. Forget I said that. Forget the whole last five minutes."
"Your mother likes being bitten," Dad chuckled. I screamed and covered my ears. It was a few moments of him laughing to himself, before I took them away. "How are you feeling?"
"Better," I nodded.
"They've brought everyone that died in. All of the stunned Death Eaters are in the trophey room."
"How much damage to the castle?" I asked.
"Almost as much as the first war," Dad admitted. "You actually have a long list of visitors. But Poppy wouldn't let them in until after you woke up."
I yawned, stretching, "Who's the first on the list?"
"After me?"
"Duh," I said seriously.
"Well. . . there is Harry."
"After you? No Molly or anything?"
"Nope."
"Ugh," I muttered, searching for my wand. My father presented it to me after I threw all the blankets over me onto the empty cot besides me.
"Anyway, glad you're okay," he smiled. "I was really worried. Poppy thought you were dying there for a moment."
"Well, I'm not dead yet, so I think I'm in working function," I laughed.
"I'll go get Harry. You stay right here."
I nodded and dutifully sat, tucking my wand in my hair. I looked down at myself when I saw he was gone and my shirt was repaired. Probably his doing. My eyes scanned the hall until I saw the two bodies I wanted to see. Ares and Mum.
Ares was lying right next to her, which would have infuriated my mother to no end.
"George did that," Harry commented as he took a seat at the foot of my cot.
"I figured someone that knew how to get under her skin did," I smirked.
"Sahara, I need to ask you something, and I want you to answer honestly," Harry said seriously.
My smirk immediately faded, "What is it?"
"Will you answer honestly?"
"Of course. You know I can't lie to you, Uncle Harry."
"Is Ares a Death Eater?"
I knew it was that question. "He has the Mark," I started. "His father is a Death Eater. His father forced him to take it." Harry nodded, and his face told me he already knew this.
"Continue," Harry said after I was silent.
"We. . . we never really talked about what he did when he was with them," I admitted. "But he's not like them at all. He wanted us to win this war. He wanted them gone, even his own father."
He nodded, "That doesn't mean he's not a Death Eater."
"He didn't kill anyone intentionally, nor did he want to torture. He was forced to or he would have died. And with Sidra, he didn't want to leave me alone with her."
"She was only born three months ago, though, Sahara. What about before then?"
"He didn't kill at all," I swore. "He would have told me."
"And tortured?"
"It was required," I said softly.
"What was?"
"He's not a true Death Eater, Harry. Harry, please, you have to believe me. He'd never hurt anyone! I'm the one that beats him up!" Harry chuckled at that. "And he doesn't complain. Still, he'd never hurt even the feistiest of dragons. Or a bloody rabid hippogriff! He's not a Death Eater!"
Harry nodded after a moment, realizing my words were sincere. "Alright."
"That's all?" I asked as he rose from my cot.
He laughed, "What do you want me to do? Interrogate you for the next fifty bloody years?"
"True," I nodded. "So, tell me, when can I get down there and get rid of us some D's?"
Harry laughed, "As soon as you want to."
"Lead the way," I instructed immediately.
I leaped out of the cot and smiled innocently at him.
"You know where the trophey room is. And there are already a few Aurors down there to watch your back."
I hugged him, "If they try to cart Ares to Azkaban, please, get me immediately. He's not going anywhere without me."
"He's not going to Azkaban if I can help it, Sahara," Harry chuckled, hugging me back.
I looked at him, my eyes shining. "Thanks, Harry."
He only nodded as he saw me take off to destroy the only resistance we had left, the Death Eaters.
I didn't feel exhausted after I got rid of these creeps. I felt refreshed and relaxed.
So I let the Aurors in the room take the ones that I didn't bring back and lug them to Azkaban while I headed back up to the Great Hall and approached the cot with my mother and husband on it. I could feel their spirits still lingering.
"Come back," I whispered.
It was Ares who twitched first. Always a fighter. He then gasped for breath as his body sat straight up and ran a hand over his chest before he looked at me, "Bloody hell. I thought you wouldn't bring me back."
I smirked and giggled as he grabbed me, draping me over him and snogged me senseless.
"You-" kiss "are" kiss "amazing!" I giggled as he kept talking in broken sentences. "I" kiss "love" kiss "you" kiss "so much" The last kiss was hard and passionate.
"Get a room!" Dad shouted.
Ares held out his hand and I knew he flipped my father off. I gasped, pulling away and smacked his chest, "How rude!"
"Not as rude as watching you two snog," Mum commented.
I pulled myself off of Ares and tackled her into a hug, "It's all my fault you died! If I could have conjured that shield."
"You won for us, and that's all that matters."
"Not all," I told her.
"But you aren't pregnant right?" she asked immediately.
I laughed, "No. I'm not."
She sighed in relief, "Thank god." She turned to Ares, "Welcome to the family, Mister Zabini."
"You can call me Ares," Ares said smugly, his arm going around my shoulder as he tucked me into his side. I wrapped my arms around his waist as I laid my head on his chest, allowing one eye to look at my mother.
"Ares," my mother corrected, smirking. "Now, Sahara, I do believe you need to start bringing some of these people back. I know Tonks is about to pull her hair out over Teddy. And Victoire will throw a hot pan of cookies at you the next time you see her."
I giggled, picturing it. They both would, too. I kissed Ares' jaw. "Duty calls. Be good, babe. And don't provoke Uncle Ron, or Hermione."
"Fine, fine," he sighed. "Ruin all my fun."
"I'm just saving your arse," I said sweetly. I flouced off and went to each person that was dead on our side. Minnie, Teddy - a heart breaking lifeless Sophie and Kellen - Angela, and Sirius.
But my secret was out.
"You're the girl that brings back dead people!" I heard someone say. I turned and sighed when I saw Rita Skeeter.
"That'd be me," I groaned.
"What do you think of the war? Do you think that loving both the leader of the Death Eaters and his son let you survive?"
"How about we get this straight. I only ever loved Ares. I do not, nor have I ever loved Blaise Zabini. And get that through your head."
"Leave her alone!" Hermione growled, stepping in front of me, "Unless you'd like the Ministry to know about your little escapades in my school years as a little black bug."
"Oh, Hermione dear, lovely to see you," Rita said nervously. "Oh, is that Bellatrix Lestrange? I believe I'll have a word with her."
"Any word about what happened here, Rita, and I'll tell, I swear I will."
She gulped and nodded, before scurrying off.
"Hermione what was that about?" I asked, looking to see her asking my grandmother some questions. Pathetic.
"Oh, nothing, dear," Hermione smirked to herself. "Just nothing. No one out of this room will know about your powers. Possibly only the sheild part. Don't worry about that."
"But what did you mean-"
"Oh, you should return home to your baby. And celebrate well with Ares tonight. I have a feeling everyone will be having fun."
She was changing the subject. I decided to just let it go, and nodded. I talked to the Cullen's for a little while, glad to see them all well, and found Ariana Phillips sitting on a cot, nursing a broken arm.
"They're in my pocket," she laughed.
"You want the proof?"
She nodded, and I withdrew the envelope from my shoe, tossing it to her. She opened it with her good hand and shook her head, "You amaze me, Weasley."
"I try," I remarked. "Oh, and Phillips?" She tossed me the bag full of gold and raised an eyebrow, "I'll get you another bedroom set. How about this one signed?"
Her eyes widened, "No way."
"Totally way," I grinned. She squealed and I walked away laughing. I was five hundred galleons richer and I just single handedly eliminated the Death Eaters. I'd say things were back to normal.
* * *
The last chapter is coming up and is the epilogue. I hope you enjoyed it so far! I'm going to miss you guys!
-Nastya
47. Chapter 47
12 Years Later. . .
"You just run towards the wall," Teddy instructed his daughter.
"Eet doesn't 'urt at all," Victoire nodded.
The blonde woman with a slight purple tint to her hair, nodded and clutched the cart before her, carrying her trunk and a tawny owl.
"Want me to go first?" Teddy asked.
The girl shook her head, "I've got it. Just give me a moment."
The couple waited patiently, and finally the girl took off. "She so takes after you," Teddy said to Victoire.
"Isobel eez more like you. You always 'ated running zrough zee wall," Victoire replied, taking his hand as both of them walked casually through the wall.
On the other side of the brick wall between platforms Nine and Ten, a large red and black train sat. Isobel stared in wonderment as the whistle sounded
"It's beautiful," she gasped.
Teddy and Victoire smiled knowingly. "Just leave your cart by the doors of the train and the elves will load it up."
Isobel nodded and took off.
"When's Sahara and Ares getting here?"
"What makes you think we aren't already here?" a sarcastic tone said. Victoire jumped, but regained her composure.
"Hey, mate," Teddy greeted, clapping Ares on the bag as they hugged. "We haven't seen you since Molly's lunch a few weeks ago."
"We were a little busy," Sahara shrugged.
"'ello, Sidra. I think Isobel's looking for you on the train," Victoire mentioned.
"I'll see you later, Mum, Dad," Sidra said to her parents, kissing her father's cheek, before taking her cart and putting it by the others.
"Hello, Solomon," Teddy smiled at the eight year old boy, who dark skin like his fathers, contrasted his start white hair. This kid always showed off his metamorphic powers in public.
"Hey, Ted," Solomon said shyly.
"And you, Elisabetta," Teddy said, kneeling down so that he was eye level with the shy five year old. The red headed girl clung to her mother's legs, one hand stuck into her mouth as she sucked her thumb. "How are you?"
"Good," she mumbled around her hand.
"Find any cute boys?"
This caused Sahara to giggle and Ares to give him a warning look.
"Boys are gross," Elisabetta said stubbornly. "They are mean, too."
"Are not," Solomon argued.
"Are too," Elisabetta said in her sweet, quiet voice. "And even Mummy says so!"
The eight year old looked at his mother, "But-"
"Now, now," Sahara chided. "Not in public. Besides, don't you want to go to Grandpa's joke shop after the train leaves?"
"Yes," Solomon sighed.
Ares chuckled, "You two want to go out for drinks later?"
"Please," Victoire said eagerly.
"Eight o'clock sound good?" Ares asked as his wife tied Elisabetta's shoe laces.
The sandy haired boy and blonde nodded, "Leaky Cauldron?"
Sahara stood, her purple hair vibrant that Teddy had to sheild his eyes. She sent him an apologetic smile, "We'll see you then."
The train gave a final hoot and the conductor cried, "All aboard!"
Victoire grabbed Teddy's hand and enthusiastically pulled him towards the front of the train to wave to their only daughter.
"Oh, don't you remember last year when I did that to you?" Sahara asked wistfully, leanind on her husbands shoulder.
"All too well," Ares replied, in mock defeat. He lifted his left arm to wave to his daughter leaving down the tunnel. She waved enthusiastically back, noticing her father's sleeve slip down just enough to see the mark he was so ashamed to mention.
She could see the red, angry, puffy scars from where she sat with Isobel and a few of her other friends from school. The mark was now only pink lines from where her father - according to her mothe r - had tried to cut and get it of when she was three. She wished she could have seen the tattoo before it was destroyed, and remembered it. But as her father waved her off, her mother shyly waving as well, she wondered. "Was that mark from the war?" she had barely said it aloud, so she didn't worry about her friends hearing it. Her mother had one as well, only hers didn't have the same shape as her fathers. Could they have been from opposing sides? How romantic...
* * *
Finite Incantatum...
That's the end, folks, of the Bellatrix Raven Who? series. I'm sorry and it's been a great:) Tell me what you think in a review and read some of my other stories, please;)
-Nastya
48. Chapter 48
Ever since it was opened, ff. net had always been a place for avid fans- of ANYTHING- to feel at home. To express whatever is on our minds and truly let our love for characters, plotlines and scenarios shine through.
Now all of a sudden, FF. net has decided to go through a massive upheaval and remove thousands of stories from its library, some of the best fanfics ever written, gone, never to be read again. They are removing anything involving sexual situations, or violence, or inspired by a song, the list goes on. And we as readers see this as a gross waste of talent and incredible material.
fanfiction .net has always been a place for us writers to 'Unleash our imagination' as the tagline states, and now we are having that right to freedom of speech and expression taken away from us. Since when are they allowed to dictate what goes into our stories? They are OUR pieces of work. What if the violence or sexual content is part of the plotline? This whole situation is absurd. There are better ways to deal with 'inappropriate' content than to remove it altogether. What about adult filters? Age restrictions? There are so many other options!
So I'm asking please, for all us readers, writers, and fans alike... STOP THE DESTRUCTION OF FF .net!
Why can't Fanfiction make an MA rating for writers to use that has the above said age restriction? Sign the petition - link is near the bottom of my profile - and fight for all your favorite stories that have been deleted!
-Nastya Wynde
End file.
| fanfiction |
Carl William Schneider, age 82, of Imperial, Missouri passed away on Tuesday, October 23, 2018. Carl was born September 1, 1936.
Carl is survived by his wife, Sandy (nee Hinch) Schneider; children; Sherri (Ed) Paschall, Kathy (Jim) Robertson, Vickey (Chuck) Venegoni; and Rob (Kristi) Schneider; Grandchildren; Doug Paschall, Nichole (Andrew) Godi, Tom Gibson, Owen Venegoni, Landen Venegoni, Mason Venegoni, Lindsay Schneider and Will Schneider.
A memorial visitation for Carl will be held Saturday, October 27, 2018 from 1-4 pm at Heiligtag-Lang- Fendler Funeral Home, 1081 Jeffco Blvd, Arnold, Mo. 63010, followed by a memorial service at 4:00 PM.
In lieu of flowers memorial donations are appreciated to the Backstoppers and or Kidney Foundation.
Fond memories and expressions of sympathy may be shared at www.heiligtagfuneralhome.com for the Schneider family.
He was SO proud of his garden!
Hands up - don't shoot!! | slim_pajama |
Rostamabad-e Kuchak , also Romanized as Rostamābād-e Kūchak; also known as Rostamābād is a village in Kermajan Rural District, in the Central District of Kangavar County, Kermanshah Province, Iran. At the 2006 census, its population was 512, in 111 families.
References
Category:Populated places in Kangavar County | wikipedia |
Applying Gauss law to a disk-like distribution
In an paper titled: *"Mass Distribution in Rotating Thin-Disk Galaxies According to Newtonian Dynamics"* by Feng and Gallo:
<https://www.mdpi.com/2075-4434/2/2/199/htm>
the fourth paragraph of the Introduction reads:
>
> Unlike the spherically symmetric mass distribution that generates the local gravitational force at a given radial position only depending upon the amount of mass within that radius, the gravitational force due to a thin-disk mass distribution can be influenced by matter, both inside and outside that radius. Thus, the mass distribution in a thin-disk galaxy cannot be determined simply by applying Keplerian dynamics, which relates the mass within a radial position to the local rotation speed.
>
>
>
While I can see how applying Gauss' law may not always be useful, I do not understand how the law itself isn't applicable for a disk-like distribution. How is there an influence of matter from both inside and outside the radius of interest?
I think this is referring to [Newton's shell theorem](https://en.wikipedia.org/wiki/Shell_theorem), which
can be derived from Gauss's law for gravity.
Newton's shell theorem says that the gravitational influence of any *spherically symmetric* mass distribution on a body external to that mass distribution, can be dealt with by assuming that all the mass is concentrated at the centre. It further notes that the gravitational field *inside* any spherically symmetric mass distribution is zero. That means if you want to know the gravitational field within a spherically symmetric mass distribution, you only need to consider the mass interior to that position and treat it as a point-like mass at the center.
Gauss's Law for gravity is
$$\oint \vec{g} \cdot d\vec{A} = -4\pi G M\, , $$
where $M$ is the mass enclosed by the surface.
If the mass is spherically symmetric then we can do the closed surface integral over a sphere and the spherical symmetry tells us that $\vec{g}$ must be of constant magnitude over that surface *and* that it is directed radially (inwards). This means that the scalar product in the integral is trivial and the LHS is just $4\pi r^2 g\_r$ and we recover the Newton's shell theorem result.
Now consider a thin disk. What *surface* are you going to construct? There is an obvious symmetry in the disk plane which means that the gravitational field there will be of constant magnitude at a given radius and will be directed inwards. But what about above the disk plane? The field will not be of the same magnitude at a similar radius and it will also not be directed radially inwards. In fact, in the limit of an extremely large, uniform disk, if you move a little way out of the disk plane then the gravitational field will be pointed approximately directly back towards the disk plane. Thus the LHS of Gauss's law becomes non-trivial to evaluate.
Having said that: of course Gauss's Law is still *true*, it is just difficult to apply and a more tractable approach is to calculate the potential and take its gradient. The results for a uniform disk are surprisingly messy (see [Krough, Ng & Snyder 1982](https://ui.adsabs.harvard.edu/abs/1982CeMec..26..395K/abstract)).
But what about the claim that the mass exterior to some radius now has an influence. Well yes, for a non-spherically symmetric mass distribution that will be the case. If you remove all the mass from interior to some radius, all that Gauss's Law tells you is that since $M=0$, **the integral** on the LHS is also zero. But that does not tell you what the gravitational field is zero. It can be (and is) non-zero due to the non-spherically symmetric distribution of mass exterior to it. It is only for the spherically symmetric cases that the contributions from all parts exterior to the radius cancel out.
Further discussion of Feng & Gallo's ideas can be found [at Astronomy SE](https://astronomy.stackexchange.com/a/8366/2531).
| stackexchange/physics |
E is for Elections
February 25, 2017 February 27, 2017 / wrightsolution
One of only a handful of election posters during the February 2016 election.
It was interesting to me when we first arrived in Jamaica in 2015 that there would soon be a general election. We arrived to a similar situation in Nepal in 2013, but the circumstances were a lot different. In Nepal, free elections were almost a brand new concept and the country was still struggling to stop tire-burning demonstrations,molotov cocktails being lobbed on street corners and spontaneous rioting. Efforts were underway to prevent illegal voting and the city was transformed into a ghost town on election day, with all moving vehicles (except for official vehicles) banned from the street. Voters had to walk to polling stations in an effort to prevent bussing.
Here in Jamaica they have their own history of election violence, but in recent years it has been much less prelevant. Part of the tactics used to prevent election unrest includes control on the display of party materials, which was explained to me when I asked why there were so few political posters around. Instead of the usual visual blast spread all over a city during elections, Kingston only displayed a modest few. Close to the election date, we did see bus loads of orange-clad (PNP) and green-clad (JLP) supporters – the two main parties — as they headed off to rallys, and we watched their orange and green litter blowing down Hope Road on the days leading up to the vote. On 26th February 2016, Andrew Holness of the JLP was elected Prime Minister with very little civil unrest, and the Jamaican world moved on.
These experiences bring me to the US election, with primaries starting just as the Jamaican election finished. I feel that my whole time here has been one long — one very long — election season. Most Jamaicans that I know have access to cable TV with CNN and BBC coverage of what has been going on in US politics and are remarkably informed on the issues as well as the latest scandalous outburst. In fact, its kind of shocking how closely they follow — its clear that they are not listening to only one media source — and know the ins and outs of each new shenanigan. There's an overwhelming disbelief that US politics could be going so badly and that rules, precedents and established norms are being so openly flouted. I wonder how they feel about what they see in contrast with Jamaican corruption and I can only feel deeply embarrassed from where I stand, which appears to be somewhere in the first twenty minutes of a disaster movie.
I only feel more disheartened for my dear Filipino friends and what it must be like to live in a country that now openly murders people in the street, just a few short years since I lived there. Democracy is never to be taken for granted.
Home in Jamaica, Uncategorized
jamaican elections; jamaica; us elections; nepali elections 2014
← D is for Devotion
WPC: Nature's Good Match →
5 thoughts on "E is for Elections"
We have come a long way with elections in Jamaica. As you know, politics is always a source of huge excitement, but in terms of the administration it has jumped light years ahead compared to 20 or 30 years ago. I know this from my experience as a local observer at several elections in the past. Nevertheless, the corruption and "tribalism" associated with partisan politics is a lingering problem. It's interesting to compare different countries, though. As for the U.S. Elections… I would rather not comment on the result, but share the feelings of 90 per cent of Jamaicans!
Here's a post in the "A to Z Challenge" from my friend and fellow blogger, whom I met online (thank you, WordPress!) when she was still living in Nepal, but who quite coincidentally moved to Jamaica. We meet up for a Japanese "bento" every now and then. Here are her thoughts on elections, in Jamaica and other countries where she has lived…
Thanks for the reblog!
Born in the GDR I agree, that "Democracy is never to be taken for granted."
Regarding the interest of Jamaicans in the US elections, the reason may be that each family has someone who lives in the USA and works to support the family in Jamaica. So the elections in the US also affect most Jamaicans. Regarding the behavior of the new US president, many Jamaicans who have a double residence in the States are now withdrawing from there.
PS: I wonder what happens to the American economy when only people with an American passport can live and work there …
You are very correct that there are so many family connections with the US, and I'm sure that is a large part of the motivation to keep up with US politics. However, their interest far exceeds the average American's, which is a shame as if they paid more attention we might not be in the mess we are in now. | slim_pajama |
this note is concerned with the study of black hole solutions to the einstein - maxwell - dilaton system with negative cosmological constant , and in particular solutions in which the time and the space coordinates scale differently : @xmath1 , @xmath2 where @xmath3 is called the dynamical exponent .
this kind of scaling is observed in many condensed matter systems , and has been investigated with great detail from a holographic perspective since the seminal work @xcite , in which one includes an extra holographic coordinate , scaling as @xmath4 , with a boundary in which the field theory lives .
the precise relation between the field theory of interest and the dual holographic theory is not yet known , and a construction of the holographic dictionary for this theories is under current investigation @xcite . in @xcite , the authors proposed that gravitational theories realizing the lifshitz symmetry should asymptotically approach the so - called lifshitz metric @xmath5 which has @xmath6 killing vectors , related to the generators of the symmetry algebra in the field theory ( spatial rotations , spatial translations , time translations and dilatations ) @xcite .
such a metric can be obtained in einstein gravity only in the presence of matter fields .
most of the solutions constructed in the literature consider a system in which gravity is coupled to a massive vector field , described by the proca action . if the mass of the vector field has the appropriate value the metric is asymptotically lifshitz .
the caveat with the proca approach to asymptotically lifshitz black holes is that only a few solutions are known analytically ( and for specific values of dimensions , @xmath7 , and the dynamical exponent @xmath3 ) , and in top - down approaches the solution relies on numeric calculations @xcite . to find a generic solution for @xmath8 and @xmath9 it has proven useful to consider instead the einstein - maxwell - dilaton action with negative cosmological constant @xcite . following the holographic philosophy , the construction of black hole setups asymptotically approaching are interesting to describe thermal field theories . furthermore
, if the effects of a global @xmath10 symmetry in the field theory are to be included , one has to consider a gauge field in the bulk of the @xmath11-dimensional gravitational theory .
with this in mind we study the action @xcite @xmath12 + s_{gh } \ , \ ] ] where the second term is the gibbons - hawking term , needed to have a well defined variational problem for the graviton . below we will see that additional boundary terms must be added to obtain a finite on - shell action .
these terms and the gh term do not affect the equations of motion derived from the action , which present a solution describing a charged black hole / brane @xmath13 where we have set @xmath14 and @xmath15 is the amplitude of the scalar field .
notice that in the metric we have generalized the spatial section to admit @xmath16-dimensional maximally symmetric manifolds with positive , null or negative curvatures ( @xmath17 respectively ) . in the case @xmath18
one of the gauge fields acquires a phase and we do not consider it further .
the case @xmath19 can be obtained by taking the large - sphere - radius limit from the @xmath20 case @xcite .
we will focus in the last case in the following , keeping @xmath21 explicit in some expressions . from now on we will set @xmath22 for concreteness . in the @xmath23 limit , in which goes to the @xmath24 metric , this solution goes to the ads - reissner - nordstrm solution .
this model has been used to study the conditions that strongly interacting fermions should obey to satisfy the arpes sum rules @xcite .
the caveat this solution presents is the behavior of the @xmath25 gauge fields and the scalar @xmath26 .
these diverge at the boundary , and the variation relative to the killing vector @xmath27 is not vanishing , therefore spoiling the asymptotic lifshitz symmetry algebra .
we will not try to make sense of these fields in this note , and therefore the model we use must not be considered as a dual to a non - relativistic field theory , but as an ir effective theory that must be completed in the uv . from the solutions
and we can define charges associated to the badly behaved radial electric fields ( see equation below ) .
these charges are fixed in terms of @xmath7 , @xmath3 and @xmath15 ( contrary to the case in equation , where it is given by a free parameter @xmath28 ) .
this suggests that these two fields should be considered in an ensemble in which their charges are kept fixed .
the original einstein - maxwell - dilaton action is appropriate for an ensemble in which the charges can vary @xcite , and therefore it must be modified . in other words ,
the boundary condition for the gauge fields imposed at the boundary of spacetime is not a dirichlet boundary condition , but neumann . to account for this we have to supplement the action with a boundary term to make the variational problem well defined
this is accounted by @xmath29 where @xmath30 is
the boundary metric and @xmath31 is a unit vector orthogonal to @xmath32 hypersurfaces .
an alternative ( equivalent ) course of action is to perform a legendre transform of the action with respect to the electric fields under consideration @xcite .
this transformation changes the equations of motion , but - is still a solution , only that the fields @xmath33 and @xmath34 are not present in the new setup , since the solution has been already plugged into the legendre transformed action .
[ [ on - shell - action ] ] on - shell action + + + + + + + + + + + + + + + as usual in holography , the evaluation of the on - shell action diverges when one evaluates it at the boundary , and a renormalization procedure is needed . since the publication of the solution - , several papers appeared dealing with the holographic renormalization of asymptotically lifshitz spacetimes @xcite .
these , however , focus on the proca action , and we will not consider them in the following . indeed , the renormalization we describe in this section can be understood from the procedure for asymptotically ads spacetimes with a few changes . to construct the needed counterterm action in asymptotically @xmath35 spacetimes one has to solve a hamilton - jacobi equation @xcite , which can be done systematically by expanding the new term in a derivatives series . for a counterterm depending only on gravitational terms
this accounts to an expansion in powers of the boundary ricci scalar @xmath36 , contractions of the boundary ricci tensor @xmath37 , the boundary riemann tensor , and generic combinations of them .
here we denote the boundary metric as @xmath30 . the number of counterterms to add depends on the dimensionality of the theory under consideration .
generically , terms with @xmath38 ( and combinations of @xmath39 boundary ricci scalars , ricci tensors and riemann tensors with all indices contracted ) will be needed if the field theory dimension is @xmath40 . in the present case such terms
will regularize a field theory dimensionality @xmath41 .
this implies that to regularize the theory under consideration for generic @xmath3 we need to consider an infinite number of counterterms .
this is an impossible task , since for increasing value of @xmath39 the combinations of curvature quantities increase in number ( see @xcite for the generic expression up to sixth order in derivatives in asymptotically ads spacetimes ) .
there is one property of our solution we can use to circumvent this , though .
focusing in the @xmath20 case , the boundary metric has a @xmath42 topology and is static , implying that the boundary riemann tensor takes a very simple form : any component with an index along the @xmath43 direction vanishes , and the spatial part is that of a maximally symmetric @xmath16-dimensional manifold with positive curvature . in particular , this means that any contraction of @xmath39 boundary riemann tensors , ricci tensors and ricci scalars will be proportional to @xmath38 , implying that the counterterm , expressed partially on - shell , is a power series in @xmath36 . for fixed @xmath7 and @xmath3 we can truncate the @xmath36 series and find what are the coefficients weighting each power of the boundary ricci scalar to cancel divergences .
when several examples are worked out , we can find a generic expression for the coefficient in front of every power of the boundary ricci scalar , for arbitrary @xmath7 and @xmath3 . assuming that these coefficients are the first coefficients of the infinite series in @xmath36 , we induce the form of the @xmath44 coefficient accompanying @xmath45 in the series , and re - sum it .
after this is done we find the counterterm , was suggested in @xcite for @xmath46 , and in @xcite it was written for generic @xmath7 . ]
@xmath47 this counterterm precisely cancels the value of the on - shell action in the case where no black hole is present , meaning that we could have defined it by covariantizing the on - shell action ( using he boundary ricci scalar ) in the zero temperature , zero charge setup .
this is how the @xmath48 case was found in @xcite , and shows that the counterterm is valid in any number of dimensions and for arbitrary dynamical exponent @xmath9 , despite it being derived in the inductive way described before .
for the thermal case we obtain a finite renormalized on - shell action , @xmath49 , evaluated at a cutoff ( and taken to the boundary ) @xmath50 one could have also considered the legendre transformed action with respect to the physical charge @xmath51 .
it can be checked easily that the same counterterm does the job in this case , since the legendre transform is equivalent to the inclusion of a boundary term ( see equation and the comments around it ) , which in our case give a finite contribution .
after this consideration , the on - shell legendre transformed action reads @xmath52 [ [ internal - energy ] ] internal energy + + + + + + + + + + + + + + + the trick used in the renormalization of the on - shell action is not useful when we try to renormalize the stress - energy tensor in the field theory .
the reason is that we have used the fact that topology of the boundary metric is @xmath42 to express curvature invariants composed by the riemann tensor , the ricci tensor and the ricci scalar as powers of the ricci scalar alone .
however , the calculation of the boundary stress energy tensor involves a variation of the action with respect to the boundary metric , and this result will be sensitive to the precise combination of curvature tensors that we have . despite these considerations ,
let us write here the brown - york tensor as derived by considering the counterterm @xmath53 in principle , @xmath54 should have corrections involving terms proportional to contractions of curvature tensors with two free indices ( for example @xmath55 or @xmath56 ) . as an example , the lengthy expression one gets considering the most generic counterterm up to six derivatives of the boundary metric can be seen in @xcite .
now , the staticity of our solution implies that any component of the riemann tensor with an index in the time direction vanishes .
this in turn means that the @xmath57 component can still be evaluated , since the corrections to cancel for this component . with the evaluation of @xmath58
we can calculate the renormalized energy density in the field theory straightforwardly , obtaining @xmath59 with @xmath60 involving only the spatial direction components of the boundary metric , @xmath61 a killing vector and @xmath21 the unit vector orthogonal to @xmath62 surfaces .
this result coincides withe the komar mass result used in @xcite by subtracting a reference background .
the temperature can be defined from the inverse of the euclidean time by the absence of singularities when performing a wick rotation , giving an explicit expression @xmath63 that can be found in @xcite .
the mass parameter @xmath64 can be traded by the radius of the horizon , which is defined by @xmath65 .
the entropy is given , as usual , by the bekenstein - hawking formula @xmath66 .
the charge carried by the gauge field @xmath67 can be obtained from the gauss law , and the chemical potential associated to this charge in the field theory is obtained , as usual in the holographic context , from the value of the corresponding gauge field at the boundary .
these calculations give @xmath68 where we have used the usual boundary condition @xmath69 .
an analogous calculation for the chemical potential associated to the badly behaved fields @xmath70 and @xmath71 implies a divergent value .
however , as we work in an ensemble in which the charge associated to these fields is kept fixed , explicit factors of these chemical potentials will not appear in the thermodynamic relations .
[ [ thermodynamic - potentials ] ] thermodynamic potentials + + + + + + + + + + + + + + + + + + + + + + + + with the relations given above it is straightforward to check the relation @xmath72 with @xmath73 the temperature . actually , the differential thermodynamic relations in the grand - canonical ensemble ( in which @xmath74 is allowed to vary and the potential @xmath75 is fixed ) are also satisfied .
we then conclude that the renormalized on - shell action ( times the temperature ) corresponds to the free energy of the field theory in the grand - canonical ensemble . for the legendre transformed action one finds @xmath76 and looking at differential relations the identification with the free energy in the canonical ensemble
is realized .
this confirms the educated guess in @xcite , where these potentials were defined from the r.h.s .
of the previous two equations , without going through the renormalization procedure . in
we have subtracted the @xmath77 value to make contact with the analysis in that paper . here
@xmath78 is the energy with the value corresponding to the extremal solution subtracted .
[ [ phase - diagrams ] ] phase diagrams + + + + + + + + + + + + + + we show the dependence of the phase diagrams with the dynamical exponent in figure [ fig.phases ] , for both the canonical and grand - canonical ensembles . for @xmath79
the situation is analogous to the ads - reissner - nordstrm case discussed in @xcite ( which corresponds to the @xmath48 case in this note ) .
there is a line of first order phase transitions in the grand - canonical ensemble separating the thermal lifshitz solution ( no black hole but periodic euclidean time ) valid at low values of the temperature and the chemical potential , from the black hole setup . for large values of the chemical potential and vanishing temperature
the dominating solution is a finite - entropy extremal black hole , which is expected to decay into an unspecified ground state . in the canonical ensemble
there is a line of first order phase transitions between small and large black holes , terminating at a critical point above which we have a crossover . at @xmath80
we have the analogous to the hawking - page transition @xcite .
the shadowed region in this diagram marks electrically unstable setups . for @xmath81 the situation in the grand - canonical case stays unchanged , but in the canonical case the line of first order phase transitions gets reduced to just the critical point at @xmath80 , _
i.e. _ , to the hawking - page transition .
the electric instability also disappears for this value of the dynamical exponent . finally , for @xmath82 the phase diagrams simplifies in both ensembles .
in the grand - canonical one the first order transitions disappear and the black hole setup ( extremal black hole setup in the @xmath77 case ) dominates everywhere in the phase diagram , except at a critical value of the chemical potential ( for @xmath77 ) where the dominating solution is lifshitz spacetime . in the canonical ensemble we do not find any phase transition . [ cols="^,^,^ " , ]
we have studied the thermodynamics of the solution presented in @xcite using holographic renormalization to calculate the free and internal energies of the system , related to the on - shell action and the @xmath57 component of the boundary brown york tensor , respectively .
the fact that a counterterm can be given for generic values of @xmath7 and @xmath3 is possible due to the extremely simple boundary topology of the solution , which allows to re - sum the infinite series of counterterms . the most important limitation of this procedure being the impossibility to calculate the spatial components of the boundary stress - energy tensor . in this renormalization procedure
it is fundamental that we have performed the legendre transformation , or equivalently the addition of the boundary term in , canceling the divergent behavior of the gauge fields @xmath70 and @xmath71 in the on - shell action .
we expect to revisit the rle of the boundary - divergent fields and to provide an extended analysis of the renormalization procedure somewhere else .
i would like to thank stefan vandoren for his comments , collaboration and insight in @xcite .
this research is supported by the netherlands organization for scientic research ( nwo ) under the fom foundation research program .
i would like to thank also the front of galician - speaking scientists for encouragement s. kachru , x. liu and m. mulligan , phys .
d * 78 * ( 2008 ) 106005 [ arxiv:0808.1725 [ hep - th ] ] .
s. f. ross , class .
* 28 * ( 2011 )
215019 [ arxiv:1107.4451 [ hep - th ] ] . m. baggio , j. de boer and k. holsheimer , arxiv:1107.5562 [ hep - th ] .
r. b. mann and r. mcnees , jhep * 1110 * ( 2011 ) 129 [ arxiv:1107.5792 [ hep - th ] ] .
s. a. hartnoll , class .
* 26 * ( 2009 ) 224002 [ arxiv:0903.3246 [ hep - th ] ] . i. amado and a. f. faedo , jhep * 1107 * ( 2011 ) 004 [ arxiv:1105.4862 [ hep - th ] ]
. m. taylor , arxiv:0812.0530 [ hep - th ] .
j. tarrio and s. vandoren , jhep * 1109 * ( 2011 ) 017 [ arxiv:1105.6335 [ hep - th ] ] .
a. chamblin , r. emparan , c. v. johnson and r. c. myers , phys
. rev .
d * 60 * ( 1999 ) 064018 [ hep - th/9902170 ] .
u. gursoy , e. plauschinn , h. stoof and s. vandoren , arxiv:1112.5074 [ hep - th ] .
j. mcgreevy , adv .
high energy phys .
* 2010 * ( 2010 ) 723105 [ arxiv:0909.0518 [ hep - th ] ] . v. balasubramanian and p. kraus , commun
. math .
* 208 * ( 1999 ) 413 [ hep - th/9902121 ] .
p. kraus , f. larsen and r. siebelink , nucl .
b * 563 * ( 1999 ) 259 [ hep - th/9906127 ] .
r. b. mann , phys .
d * 60 * ( 1999 ) 104047 [ hep - th/9903229 ] .
s. das and r. b. mann , jhep * 0008 * ( 2000 ) 033 [ hep - th/0008028 ] .
s. w. hawking and d. n. page , commun . math .
* 87 * ( 1983 ) 577 . | arxiv |
The 1962 Windward Islands Tournament was an international football tournament hosted in Saint Lucia in 1961.
Final table
External links
competition profile at rsssf.com
Category:Football competitions in Grenada
Category:Windward Islands Tournament | wikipedia |
Harry Potter Harry Potter and the Knife
Disclaimer: I do not own any of the Harry Potter characters. I only own the characters I make up.
As the summer went by, Harry thought about one thing: Hogwarts.
On the 31st of July (Harry's Birthday) there was a knock on the Dursley's front door. Harry opened it to see who it was.
A girl was standing there. She was a few inches shorter than him, though she looked the same age. She had long, blond, almost white, hair in tight Shirley Temple ringlets.
"Hi. Is Mrs. Dursley there?" she asked. She had an accent, an American accent.
Aunt Petunia walked into the room saying, "Come in the living room and make it quick." She was using the same voice she used when she talked about the wizarding world. Harry quietly sat on the stairs and listened.
All he heard were the words Dumbledore, Hogwarts, and Harry. I must have heard wrong, he thought. Even after the girl left Harry couldn't stop thinking about her.
Harry hadn't heard from Rom all summer so Uncle Vernon offered to drive Harry to the train station (Uncle Vernon had been scared stiff ever since Lupin and Mad-eye Moody had confronted him.)
Ron and Hermione were waiting for Harry at Platform Nine and Three- Quarters.
"Harry! You made it! Oh, how we've missed you." Hermione stated as she gave Harry a hug.
"Nice to see you again, Harry. Let's get a seat on the train before they all fill up." Ron led the way.
After they had wandered around the train, Hermione threw her arms up in the air and exclaimed, "You were right, Ron. None of the compartments are empty."
"Did you try this one?" Harry asked as he slid open the door.
Sitting across from each other were Draco Malfoy and the girl who came to the Dursley's house that summer. Harry stood in the doorway gaping.
The girl was smiling but Draco Malfoy looked disgusted. He muttered "Bye" as he slid passed Harry, Ron, and Hermione.
"You guys can sit down if you want." The girl said as she slid her books off the seat next to her. Hermione filled that seat while Ron and Harry sat across.
"I'm Hermione, that's Harry, and that's Ron." When his name was mentioned, Harry weakly smiled and slightly raised his hand.
The girl responded by saying, "I'm Sophie."
"What year are you?" Hermione was curios about this girl and so was Harry.
"6th year, Gryffindor House." The conversation was like a see-saw with Hermione and Sophie on the ends.
"That's funny." Hermione had lowered her voice to a whisper. "Harry, Ron, and I are 6th years and in Gryffindor House too and.well.I never noticed you before."
End file.
| fanfiction |
Greenpeace USA
Give to Greenpeace
Monthly Single
Stories & Victories
Global Africa Arabic Argentina Australia Austria Belgium Brazil Bulgaria Canada Chile China Colombia Croatia Czech Republic Denmark East Asia EU Finland France Germany Greece Greenland Hong Kong Hungary India Indonesia International Israel Italy Japan Korea Luxembourg Mexico Netherlands New Zealand Norway Peru Philippines Poland Portugal Romania Russia Slovakia Slovenia Southeast Asia Spain Sweden Switzerland Taiwan Thailand Turkey UK USA
< Back to Research
Leasing Coal, Fueling Climate Change
How the federal coal leasing program undermines President Obama's Climate Plan
The United States' federal coal leasing program has come under increased scrutiny in recent years, as communities impacted by coal mining and export proposals, taxpayer advocates, and environmental groups have questioned the ability of the Bureau of Land Management (BLM) to ensure a fair return to US taxpayers and adjust to newer challenges such as climate change and coal export proposals. Recent audits from the Interior Department Inspector General (IG) and Government Accountability Office (GAO) both faulted BLM's inattention to increased coal exports, among other issues. However, the IG and GAO reviews fell far short of a comprehensive review of the coal leasing program, and did not attempt to calculate the total amount of taxpayer revenue that has been lost. Moreover, neither report addressed a more fundamental question: how can a federal program that increases the supply of coal be reconciled with President Obama's Climate Action Plan?
Download the PDF of "Leasing Coal, Fueling Climate Change"
This question is especially important in light of a recent federal court ruling, which blocked plans to expand a coal mine in Colorado because of the failure of the federal coal leasing program to properly consider the federal government's social cost of carbon figures and climate change impacts. This report focuses on the carbon pollution that has been unlocked by the federal coal leasing program during the Obama administration, and calculates the damages expected from those emissions, using the federal government's social cost of carbon figures as suggested by the federal court ruling. Without major changes, the federal coal leasing program will continue to undermine federal, state, and international efforts to reduce carbon pollution; the BLM Wyoming office plans to lease over 10 billion tons of coal in the coming years, dwarfing the emissions reductions expected from the Environmental Protection Agency's Clean Power Plan. Our conclusions:
I. The Bureau of Land Management has leased 2.2 billion tons of publicly owned coal during the Obama administration, unlocking 3.9 billion metric tons of carbon pollution.This is equivalent to the annual emissions of over 825 million passenger vehicles, and more than the 3.7 billion tons that was emitted in the entire European Union in 2012.
II. The carbon pollution from publicly owned coal leased during the Obama administration will cause damages estimated at between $52 billion and $530 billion, using the federal government's social cost of carbon estimates.In contrast, the total amount of revenue generated from those coal leases sales was $2.3 billion.
III. A ton of publicly owned coal leased during the Obama administration will, on average, cause damages estimated at between $22 and $237, using the federal government's social cost of carbon estimates – yet the average price per ton for those coal leases was only $1.03.
IV. The federal coal leasing program amounts to a major fossil fuel subsidy, favoring coal at the expense of cleaner forms of generating electricity.A recent federal court ruling rejected BLM's argument that increasing the supply of coal would not increase carbon pollution, in part because coal competes with cleaner methods of generating electricity. This conclusion is supported by the history of the coal leasing program, an International Monetary Fund report on fossil fuel subsidies, and common sense.
V. The Bureau of Land Management has not adjusted to the US coal mining industry's efforts to increase exports of publicly owned coal.The US coal mining industry is openly aiming to increase exports of publicly owned coal, and the federal coal leasing program has been faulted by multiple government audits for ignoring exports when determining the "fair market value" of leased coal. Nevertheless, BLM officials seem either unable or unwilling to adjust the coal leasing program to account for these major shifts in the market.
VI. Major exports of publicly owned coal would undermine global efforts to reduce carbon pollution.US coal exports have contributed to increased coal consumption in Europe, and partially offset US carbon pollution reductions. Allowing the coal industry to export major amounts of publicly owned coal to Asia would undermine global efforts to address climate change.
VII. The federal coal leasing program is the source of 40% of US coal extraction, with major impacts on coal markets and carbon pollution. One BLM field office in Wyoming recently proposed a plan that estimates new coal leases amounting to 10.2 billion tons, which would unlock an estimated 16.9 billion metric tons of carbon pollution.
VIII. A moratorium and comprehensive review of the federal coal leasing program is needed to ensure that it does not continue undermining President Obama's Climate Action Plan. Interior Secretary Sally Jewell and others in the Obama administration should take the President's call to climate action seriously, beginning with a moratorium and comprehensive review of the federal coal leasing program, including its role in fueling the climate crisis.
I. The Bureau of Land Management has leased 2.2 billion tons of publicly owned coal during the Obama administration, unlocking 3.9 billion metric tons of carbon pollution.
The role of the federal coal leasing program in increasing the supply of coal and carbon pollution was highlighted by a recent federal court ruling, which blocked Arch Coal's plan to expand a mine in Colorado. The June 27, 2014 ruling found that the Bureau of Land Management and Forest Service failed to properly consider the climate change impacts of the coal lease in their environmental review, specifically rejecting BLM's argument "that the same amount of coal will be burned whether or not" that particular coal lease was approved. The court ruling also pointed to the US federal government's Interagency Working Group on Social Cost of Carbon figures as a tool that is available but unused by the Bureau of Land Management to help quantify the climate change impacts from leased coal.
Although BLM has failed to consider the carbon pollution impacts of its coal leasing program, we can estimate those damages using the government's social cost of carbon figures. To do so, we must first determine the amount of carbon pollution that will be released from BLM's recent coal leases; this analysis will focus on coal that has been leased during the Obama administration.
BLM held sixteen successful "lease by application" (LBA) sales between 2009 and July 2014. We can calculate the carbon pollution from these lease sales by looking at the tons of coal in each lease, the energy content of the coal in each lease (in BTU/lb), and the amount of carbon pollution released per BTU, which varies depending upon the type of coal. The chart below shows the amount of carbon pollution expected to be released from each of the coal leases sold during the Obama administration, when the coal is burned. Note that this includes only the carbon pollution emitted when the coal is burned, and does not include the carbon and methane pollution associated with the mining, processing, and transporting of the coal.
This analysis shows that the BLM has leased 2,237,004,772 tons of publicly owned coal during the Obama administration, which has unlocked an estimated 3,922,481,766 metric tons of carbon pollution – nearly four gigatons. The vast majority of this leased coal, 98%, is from the Powder River Basin area of Wyoming and Montana.
This is a huge amount of carbon pollution, equivalent to the annual emissions of over 825 million passenger vehicles, and more than the 3.7 billion tons that was emitted in the entire European Union in 2012. (Emission Database for Global Atmospheric Research (EDGAR):Trends in Global CO2 Emissions 2013 Report table A1.2)
II. The carbon pollution from publicly owned coal leased during the Obama administration will cause damages estimated at between $52 billion and $530 billion, using the federal government's social cost of carbon estimates.
Although the Bureau of Land Management has failed to consider the carbon pollution impacts of its coal leasing program, other federal agencies like the Department of Energy and the Environmental Protection Agency do incorporate the benefits of reducing carbon pollution in decision making processes. To do so, federal agencies use figures from the government's Interagency Working Group on Social Cost of Carbon, which are estimates of some of the climate change damages suffered by society, expressed as a dollar figure per metric ton of CO2. According to the US Interagency Working Group on Social Cost of Carbon, this is meant to "allow agencies to incorporate the social benefits of reducing carbon dioxide (CO2) emissions into cost-benefit analyses of regulatory actions that impact cumulative global emissions." The recent federal court ruling against a coal lease in Colorado rejected the Bureau of Land Management's argument that quantifying the climate change impacts from leased coal is impossible, stating, "But a tool is and was available: the social cost of carbon protocol."
We can use the federal government's social cost of carbon figures to estimate the climate change damages from publicly owned coal that has been leased during the Obama administration, but first let's look briefly at how social cost of carbon figures work.
The US government's social cost of carbon estimates include four values, three of which are based on the average of the models used in the calculations, but vary depending on the discount rate use; 2.5%, 3.0%, or 5.0%. The fourth value also uses a 3% discount rate, but represents the 95th percentile across the models instead of the average, in order to try and include the potential for higher monetary damages caused by climate change. Many experts believe that the federal government's social cost of carbon estimates are too low, in part because "problems like droughts, higher food prices, lost fisheries, and some extreme weather are left out of the government's calculation." In fact, even the US Environmental Protection Agency, which is part of the Interagency Working Group, points out that, "As noted by the IPCC Fourth Assessment Report, it is "very likely that [SCC] underestimates" the damages." Nevertheless, since these social cost of carbon figures are used by other federal agencies, they provide a glimpse at one way the Interior Department could consider the impacts of climate change when managing coal on behalf of the American people.
The latest figures from the US Interagency Working Group on Social Cost of Carbon calculate a range of monetary damages expected to be caused by a metric ton of CO2 emitted in 2015; $12 (using a 5.0% discount rate), $38 (using a 3.0% discount rate), $58 (using a 2.5% discount rate), and $109, (using a 3.0% discount rate, 95th percentile).
Social cost of carbon figures increase each year, as increased carbon pollution further exacerbates climate change impacts, and the Interagency Working Group provides those figures at 5 year intervals. In 2020, they would be $12, $43, $65, $129; in 2025, $14, $48, $70, $144, and in 2030, $16, $52, $76, $159.
Because the social cost of carbon increases each year, calculations of how much climate change damages are expected because of the emissions from this coal should take into account when the coal is likely to be burned. While it's impossible to know precisely, since coal mining companies can adjust the amount of coal they extract as market conditions change, we will base our calculations on an assumption that this coal will be mined and burned during a period beginning in 2015 and ending in 2030. That is the period expected by the Interior Department according to a press release announcing the Wyoming coal lease sales, which stated that "revenue estimates are based on the future price of mined coal between 2015 and 2030." (Former Interior Secretary Ken Salazar's attempts to tout those revenues were undermined when local media revealed that he had overstated the figure "by a factor of 10," according to the executive director of the Wyoming Mining Association.)
To estimate the social cost of carbon damages from this coal, expected to be burned between 2015 and 2030, we calculated the social cost of carbon damages from the total amount of carbon pollution (3,922,481,766 metric tons of CO2) in 2015, 2020, 2025, and 2030, and then averaged those amounts. The result is that using a 5.0% discount rate, we would expect $52,953,503,841 in damages; 3.0% discount rate, $177,492,299,912; 2.5% discount rate, $263,786,898,764; and 3.0% discount rate, 95th percentile, $530,515,658,852.
In contrast, the total amount of revenue generated from those coal leases sales was $2,310,109,402.
Total social cost of carbon damages from 3,922,481,766 metric tons CO2 emitted 2015 – 2030
5.0% discount rate, average
$52,953,503,841
3.0% discount rate, 95th percentile
We can also calculate an average social cost of carbon figure for each ton of coal by dividing the total social cost of carbon damages by the total quantity of public coal leased during the Obama administration, 2,237,004,772 tons. The result is that on average, using a 5.0% discount rate, we would expect $22.21 in damages per ton of coal; 3.0% discount rate, $79.34 per ton of coal; 2.5% discount rate, $117.92 per ton of coal; and 3.0% discount rate, 95th percentile, $237.15 per ton of coal.
In contrast, the average price per ton for those coal leases was only $1.03.
Average social cost of carbon damages per ton of public coal leased during 2009 – July 2014
Note that these figures are the averages, and there would be variations for each coal lease based on its energy content (BTU/lb), type of coal and CO2 coefficient, and the period over which each coal lease may be mined and burned. Because the vast majority (96.5%) of this coal is from mines in Wyoming, these average results will most closely reflect those coal leases, which are sub-bituminous coal, with relatively low BTU values between 8501 and 9011, and as noted above, expected by the Interior Department to be mined between 2015 and 2030.
IV. The federal coal leasing program amounts to a major fossil fuel subsidy, favoring coal at the expense of cleaner forms of generating electricity.
A January 2013 report from the International Monetary Fund (IMF), Energy Subsidy Reform: Lessons and Implications, demonstrates that a failure to include the externalities of fossil fuels – such as the impacts of climate change and public health – represents the majority of fossil fuel subsidies globally. Because of this, the IMF data show that the United States is the top fossil fuel subsidizing nation, at over $500 billion each year. The IMF report notes how low coal prices lead to a particularly major subsidy: "For some products, such as coal, post-tax subsidies are substantial because prices are far below the levels needed to address negative environmental and health externalities." The IMF summarizes the problem:
The negative externalities from energy subsidies are substantial. Subsidies cause overconsumption of petroleum products, coal, and natural gas, and reduce incentives for investment in energy efficiency and renewable energy. This over-consumption in turn aggravates global warming and worsens local pollution.
A report from the Institute for Energy Economics and Financial Analysis (IEEFA) highlights how this dynamic has unfolded with the federal coal leasing program, a prime example of policies that fail to consider the climate change and public health impacts of subsidized coal:
The availability of cheap coal from the PRB has not only provided the industry with a price advantage that has allowed much deeper market penetration throughout the years—from 5 percent in 1982 to nearly 48 percent today—but it has also had significant implications for the nation's energy policy. For the past 30 years, the U.S. government has effectively selected coal as the primary energy source to power the nation's electric grid. In addition to its market penetration, analysts have concluded that coal's dominance has effectively prevented the development of public‐private partnership policies and programs to improve energy diversity in the United States.
The recent federal court ruling also noted how increased supplies of cheap coal must be considered in the context of other methods of generating electricity, to reject BLM's argument "that the same amount of coal will be burned whether or not" a particular coal lease is approved:
The production of coal in the North Fork exemption will increase the supply of cheap, low-sulfur coal. At some point this additional supply will impact the demand for coal relative to other fuel sources, and coal that otherwise would have been left in the ground will be burned.
V. The Bureau of Land Management has not adjusted to the US coal mining industry's efforts to increase exports of publicly owned coal.
Another problem with the federal coal leasing program is that Bureau of Land Management officials have failed to comprehend or adjust to the US coal mining industry's efforts to increase exports of publicly owned coal. The Interior Department Inspector General report determined that "BLM does not fully account for export potential in developing the FMVs" (Fair Market Values), and the GAO report highlighted the shortcomings of the Wyoming BLM office:
..economic and appraisal reports in Wyoming typically contained generic boilerplate statements about the possibility of coal exports in the future and the uncertainty surrounding them, rather than specific information on actual or predicted coal exports––even for proposed lease tracts that were adjacent to mines on federal leases that are currently exporting coal.
For several years, the US coal mining industry's efforts to increase exports of publicly owned coal has been widely reported and openly discussed within the coal industry, yet statements from BLM officials responsible for managing this publicly owned coal suggest that they are either somehow unaware of these developments, or deliberately ignoring them. For example, in December 2013, several months after the Inspector General report, the BLM's chief of solid minerals branch in Wyoming told Bloomberg BNA, "Our position in BLM Wyoming is that the coal isn't being used for export. We generally assume that the coal is going to be used for domestic use. We can't say that it will never be used for export, but right now, we're not seeing that. It's speculative at this point." Meanwhile, the CEO of Peabody Energy was touting his company's current exports of publicly owned coal from its North Antelope Rochelle mine to the Wall Street Journal:
Mines in Wyoming's Powder River Basin offer a healthy future for the U.S. coal industry, Mr. Boyce says. "We have the largest mine in the world there, and it has one of the lowest cost structures for a mine of its size," he says. "The coal there travels to all corners of the world."
A year and a half earlier, BLM Wyoming approved two major coal lease sales that allowed Peabody to add 1.1 billion tons of coal to that very coal mine. The Record of Decision for the Environmental Impacts Statement for those leases failed to consider export potential, and included boilerplate justifications that, "The public interest is served by leasing the South Porcupine LBA tract because doing so provides a reliable, continuous supply of stable and affordable energy for consumers throughout the country."
Arch Coal CEO John Eaves has also touted current exports of publicly owned coal from its West Elk mine in Colorado, the same mine that was recently blocked from expansion by the federal court ruling. During his company's fourth quarter 2013 earnings call, he stated: "As you know our West Elk mine in Colorado is heavily focused on the export market. As 50% of the mine's output were sold in the Europe, Latin America and Asia in 2013."
Ambre Energy, an Australian company that is pushing the Morrow Pacific and Millenium Bulk coal export terminal proposals in the Pacific Northwest, touts on its website that its Decker mine, which is publicly owned coal, is, "Geographically well-positioned for Asian market via export through the Pacific Northwest." The company even specified in a June 2013 presentation to the Wyoming Infrastructure Authority Breakfast that its business plan is to "Take competitive advantage of an undervalued US coal market."
Cloud Peak Energy currently exports publicly owned coal from its Spring Creek mine, and CEO Colin Marshall told investors during the company's fourth quarter 2012 earnings call that it is focused on building an "export-focused mine complex" around the mine.
Although the coal industry has argued that exports are currently a small portion of Powder River Basin coal production, this obscures that the industry hopes to boost exports in future years, as the Interior Department Inspector General report explained:
We believe that FMV determinations need to fully account for current and future export potential even if export volumes are relatively low at the present time. A coal mine is a long-term, commercial project, and operations may extend over decades. Exports from the Powder River Basin are expected to increase substantially in the coming years. Accordingly, all coal lease sales should fully recognize this factor in the valuation of the commodity.
More information about the export of publicly owned coal is detailed in the Sightline Institute report, "Unfair Market Value: By Ignoring Exports, BLM Underprices Federal Coal."
VI. Major exports of publicly owned coal would undermine global efforts to reduce carbon pollution.
As we've seen, the cheap coal made available by the federal coal leasing program has encouraged increased coal consumption in the United States for decades, at the expense of cleaner forms of energy. Combined with the US coal industry's efforts to boost exports, subsidized US coal could have a similar impact abroad, undermining global efforts to reduce carbon pollution.
Evidence of this dynamic can be seen in recent increases of US coal exports to Europe. The Tyndall Centre for Climate Change Research at the University of Manchester considered this in an October 2012 report, "Has US Shale Gas Reduced CO2 Emissions?," focused on the increase in US coal exports as US utilities reduced coal in favor of natural gas between 2008-2011:
The calculations presented in this report suggest that more than half of the emissions avoided in the US power sector may have been exported as coal. In total, this export is equivalent to 340 MtCO2 emissions elsewhere in the world, i.e. 52% of the 650 MtCO2 of potential emissions avoided within the US.
A March 2014 analysis from the CO2 Scorecard Group also considered this topic, and the US Energy Information Administration included the availability of "favorably priced U.S. exports of coal" as one of several factors that have increased coal consumption in Europe. Although some of the coal exported to Europe through East Coast and Gulf Coast terminals is publicly owned coal (such as from Arch Coal's West Elk mine in Colorado), the majority is not. If the US coal industry succeeds in exporting large quantities of publicly owned coal from the Powder River Basin, where most publicly owned coal is mined, to the Pacific seaborne coal market, it would have a similar effect, according to an economic analysis from Dr. Thomas Power, "The Greenhouse Gas Impact of Exporting Coal from the West Coast."
This paper concludes that the proposed coal export facilities in the Northwest will result in more coal consumption in Asia and undermine China's progress towards more efficient power generation and usage. Decisions the Northwest makes now will impact Chinese energy habits for the next half-century; the lower coal prices afforded by Northwest coal exports encourage burning coal and discourage the investments in energy efficiency that China has already undertaken.
The damage from a major increase in exports of publicly owned coal to Asian markets would go beyond encouraging more coal consumption in a region that is struggling to respond to an air pollution crisis. As the world's top emitting countries, efforts by the United States and China to increase cooperation and ambition to reduce carbon pollution are watched closely by other countries, businesses, and communities. Major exports of US publicly owned coal, obtained under outdated policies at subsidized prices, would send a troubling signal about the integrity and seriousness of the United States' climate policies.
VII. The federal coal leasing program is the source of 40% of US coal extraction, with major impacts on coal markets and carbon pollution.
The US Energy Information Administration reported that in 2013, 401 million tons of coal came from federal lands, 40.4% of total US coal extraction. By any measure, this is a huge quantity of coal, with a corresponding major effect on coal markets. This is especially true in the Western United States, as the IEEFA report noted:
Given that the United States owns almost all the coal in the region, the U.S. government holds an effective monopoly of western coal. As a result, government policies—or more precisely those of the DOI—are extremely influential and shape annual coal production levels and the market price of coal.
Of course, publicly owned coal also represents a major source of carbon pollution, as detailed in a 2012 report prepared for the Wilderness Society, "Greenhouse Gas Emissions from Fossil Energy Extracted from Federal Lands and Waters." That report showed that in 2009, "fossil fuel extraction from federal lands and waters by private leaseholders could have accounted for approximately 23% of total U.S. GHG emissions and 27% of all energy-related GHG emissions." The report also found that coal is responsible for most of the carbon pollution from those federally leased fossil fuels; in 2010, 888,946,650 metric tons of CO2, 57% of the total 1,550,638,866 metric tons of CO2.
But despite the major impacts of the federal coal leasing program on the price of coal and carbon pollution, it has been largely administered by state BLM offices, with minimal oversight from the Interior Department, much less the White House.
For example, the Buffalo Field Office of the Wyoming State BLM office has proposed a Regional Management Plan (RMP) and Environmental Impact Statement (EIS) which estimates 28 new coal leases amounting to 10.2 billion tons of coal. The Buffalo RMP proposal doesn't include sufficient detail to calculate the quantity of carbon pollution as precisely as this report did for coal already leased during the Obama administration, but it is possible to estimate the carbon pollution using the same methodology that BLM has used for similar Wyoming coal. For its environmental review of the Hay Creek II coal lease in Wyoming, BLM estimated CO2 emissions from the coal using an "emission factor of 1.659 metric tons CO2/ton of coal burned" and we can assume similar sub-bituminous coal with relatively low BTU values in the Buffalo RMP area. That would mean this BLM field office expects to lease coal that would unlock an estimated 16.9 billion metric tons of carbon pollution. In comparison, the Obama administration's Clean Power Plan is expected to reduce carbon pollution by 5.3 billion metric tons between 2020 and 2030, according to the Natural Resources Defense Council.
VIII. A moratorium and comprehensive review of the federal coal leasing program is needed to ensure that it does not continue undermining President Obama's Climate Action Plan.
Over a year ago, President Obama reminded us that "someday, our children, and our children's children, will look at us in the eye and they'll ask us, did we do all that we could when we had the chance to deal with this problem and leave them a cleaner, safer, more stable world?" But so far, the Bureau of Land Management and Interior Department have continued to ignore the carbon pollution from leasing publicly owned coal, and have failed to pursue meaningful reform of the program. The Interior Department has largely ignored repeated requests for reform from community and landowner groups in the Powder River Basin region, environmental groups, taxpayer advocates, and elected officials including Oregon Governor John Kitzhaber, Senator Ed Markey, and the US Congress Bicameral Task Force on Climate Change.
Interior Secretary Sally Jewell and others in the Obama administration should take the President's call to climate action seriously, beginning with a moratorium and comprehensive review of the federal coal leasing program, including its role in fueling the climate crisis.
Demand 100% Renewable Energy by 2030
Tell Congress
Tell Congress we need a strong Green New Deal!
We Need Your Voice. Join Us!
Want to learn more about tax-deductible giving, donating stock and estate planning?
Visit Greenpeace Fund, a nonprofit, 501(c)(3) charitable entity created to increase public awareness and understanding of environmental issues through research, the media and educational programs.
1300 Eye Street, NW, STE 1100 East, Washington, D.C. 20005 | 1-800-722-6995
Take action Donate
Fighting Climate Chaos
Protecting The Oceans
Defending Democracy
Protecting Forests
Issue Experts
Other Greenpeace USA Sites & Blogs Take Action Issues About | slim_pajama |
biological lipids in solution display several different lyotropic phases , and the implications this may have for biological function has been a subject of speculation for many years ( cullis et al . , 1985 ;
de kruijff 1997 ) .
lipid phase behavior depends upon several factors , some of which are intrinsic to the lipid architecture itself .
for example , an increase in the length of the hydrocarbon tails brings about transitions from lamellar , @xmath0 , to inverted hexagonal , @xmath1 , phases ( seddon , 1990 ) , while an increase in the volume of the headgroup brings about the reverse ( gruner , 1989 ) .
other factors regulating phase behavior are externally controlled , such as temperature , solvent concentration , and solvent ph ( hope and cullis , 1980 , seddon et al .
, 1983 , bezrukov et al . , 1999 ) .
it is these factors which are the focus of this paper .
lipid phase behavior has been addressed extensively by the construction of phenomenological free energy functions which contain terms describing , _ inter alia _ ,
bending , hydration , and interstitial energies ( helfrich , 1973 ; kirk et al . ,
1984 ; rand and parsegian , 1989 ; kozlov et al . ,
such approaches , which obtain their several parameters from experimental measurement of various quantities , are quite useful , particularly in correlating phase behavior with other thermodynamic properties .
nonetheless , it would clearly be desirable to derive all thermodynamic quantities , including the phase behavior , by applying statistical mechanics to a microscopic model of the system .
in addition to simplifying the description considerably , such approaches would correlate phase behavior with the the architectural properties of the lipid itself and its solvent .
analytic , mean - field , approaches of statistical mechanics have been applied to anhydrous lipids to investigate behavior of increasing complexity .
such methods have been combined with realistic models of lipid tails to determine how the hydrocarbon chains pack in aggregates and in bilayers ( marcelja , 1974 ; gruen , 1981 and 1985 ; ben - shaul et al .
1985 ; fattal and ben - shaul , 1994 ) .
results for the bilayer are in good agreement with molecular dynamic simulation ( heller et al . , 1993 ) .
these methods have shown that in a neutral , anhydrous system , the entropy of the lipid tails always favors the @xmath1 over the @xmath0 phase , and that a change in area per headgroup could bring about a transition between them ( steenhuizen et al . , 1991 ) .
aggregates , such as the lipid bilayer , in the presence of solvent have also been considered within the mean - field approach applied to lattice models ( leermakers and scheutjens , 1988 ) .
in addition to the tails , one must now model the solvent and the headgroups , and phosphatidylcholine and phosphatidylserine headgroups are among those which have been described ( meijer et al .
the method is flexible and has been applied to many different systems , including bilayers with trans - membrane guest molecules ( leermakers et al . ,
results are quite good , with the exception that the local volume fraction of solvent inside the bilayer is rather large , several orders of magnitude greater than that observed in experiment ( jacobs and white , 1989 ) . lattice models , however , are not well - suited to the description of transitions between phases of different symmetry .
recently similar methods were applied to a system of solvent and monoacyl lipid embedded in a continuous space , and the phase diagram was obtained by solving the mean - field theory exactly ( mller and schick , 1998 ) .
it displayed both @xmath0 and @xmath1 phases , so that the transition between them could be studied as a function of lipid architecture .
the dependence of the transition on the architectural parameters , length of tail and volume of headgroup , was that observed in experiment .
the fraction of solvent within the bilayers was again too large . in this paper
, we introduce a computationally more tractable model of a lipid than that employed by mller and schick , one whose hydrocarbon tails are modeled as flexible chains rather than within the rotational isomeric states framework ( flory , 1969 ; mattice and suter , 1994 ) employed earlier .
we first study the model with an uncharged headgroup .
its phase behavior , both with respect to variations in architecture and variations in solvent concentration , is as expected , and in agreement with experiment .
in particular , choosing model parameters appropriate to dioleoylphosphatidylethanolamine ( dope ) , we obtain a phase diagram similar to that observed ( gawrisch et al .
1992 , kozlov et al .
we extract the variation with temperature and solvent concentration of the lattice parameter of the inverted hexagonal phase , and compare it to experiment ( tate and gruner , 1989 , rand and fuller , 1994 ) .
the agreement is excellent .
we also find that the concentration of solvent within the bilayer is vanishingly small .
we then allow the headgroup to be negatively charged , introduce counter ions into the system , and include the coulomb interaction between all charges .
we show that the coulomb repulsion between the headgroups does _ not _ tend to stabilize the @xmath0 phase at the expense of the @xmath1 , but has the _ opposite _ effect .
lastly we turn on a short - ranged interaction between charges and neutral solvent , an interaction which models the thermally averaged interaction between charges and the dipole of water .
we then find that as the charge on the headgroup is turned on , the @xmath0 phase _ is _ stabilized with respect to the @xmath1 . in effect , as the charge on the headgroup increases , so too do the waters of hydration .
in addition , the counter ions which are attracted to the headgroup are also enlarged by their own waters of hydration .
it is the totality of these waters which effectively increases the headgroup volume and therefore stabilizes the lamellar phase .
the paper is organized as follows . in the next section ,
we introduce the model for the charged lipid , the solvent , and counter ions , specify all the interactions between them and set up the partition function of the system . in section iii
, we derive the self - consistent field theory for it . at the heart of the theory
are four self - consistent equations for the electrostatic potential of the system and the three effective fields which determine the headgroup , tail , and solvent densities .
one of these self - consistent conditions is simply the non - linear poisson - boltzmann equation . in section iv
, we expand all functions of position into a complete set of functions having a specified space - group symmetry , and rewrite the self - consistent equations in terms of the coefficients of these expansions .
these equations are solved numerically , and the free energies of the various phases computed .
a comparison of the free energies yields the phase diagram . in section
v , we present the phase diagram for the neutral lipid as a function of temperature and one architectural parameter .
we include here only the classical phases , lamellar , inverted and normal hexagonal , and inverted and normal body - centered - cubic , as well as the disordered phase . for the remainder of the section , we choose an architecture such that the anhydrous , neutral lipid orders into the @xmath1 phase .
results for the system in the presence of a neutral solvent , along with comparisons to experiment , are presented next . in section
vi , we consider the charged lipid .
we choose a water concentration such that the neutral lipid remains in the @xmath1 phase . by varying the counter ion concentration , we turn on the charge on the headgroup , and thus all coulomb interactions , but we keep the short - ranged interaction between charges and neutral solvent set to zero . we show that the @xmath1 phase is stabilized with respect to the @xmath0 rather than destabilized , a result completely analogous to that of polyelectrolytes ( nyrkova et al . , 1994 ) .
lastly we present our results for the case in which , in addition to the coulomb interaction , a short - ranged interaction between charges and solvent is turned on . here
we find that the @xmath0 is indeed stabilized with respect to the @xmath1 phase , in agreement with experiment ( hope and cullis , 1980 , bezrukov et al . , 1999 ) .
we consider a system composed of charged lipids , neutral solvent , and counter ions in a volume @xmath2 .
there are @xmath3 lipids , each of which consists of a head , with volume @xmath4 , and two equal length , completely flexible , tails each consisting of @xmath5 segments of volume @xmath6 .
each lipid tail is characterized by a radius of gyration @xmath7 , with @xmath8 the statistical segment length .
the heads carry a negative charge @xmath9 .
the solvent consists of @xmath10 neutral particles of volume @xmath11 , while the @xmath12 counter ions have charge @xmath13 and negligible volume , @xmath14 .
there are five dimensionless densities which totally specify the state of the system ; the number density of the headgroups , @xmath15 , of the tail segments , @xmath16 , and of the solvent , @xmath17 , and the charge density of the headgroups , @xmath18 , and of the counter ions , @xmath19 .
they can be written as @xmath20 we have chosen @xmath4 as a convenient volume to make all densities dimensionless . in the above , @xmath21 is the position of the @xmath22th solvent particle , and @xmath23 the position of the @xmath24th counter ion .
the configuration of the @xmath25th lipid is described by a space curve @xmath26 , where @xmath27 ranges from 0 , at the end of one tail , through @xmath28 at which the head is located , to @xmath29 , the end of the other tail .
the nominal probability that the charge on the headgroup of the @xmath25th lipid , @xmath30 , is equal to @xmath31 or 0 is @xmath32 or @xmath33 respectively . as we model the case in which charges can associate or disassociate from the headgroup , it will be necessary to average the partition function of the system with respect to the charge distribution .
this corresponds to an annealed distribution in the nomenclature of borukhov ( borukhov et al . , 1998 ) .
the concentrations of lipid , solvent , and free counter ions are controlled by chemical potentials .
in particular , increasing the number of _ free _ , positive , counter ions implies , by charge neutrality , an increase in the negative charge on the headgroups , and thus corresponds to an increase in the ph of the system .
the interactions among these elements are as follows .
first there is a repulsive , contact interaction between headgroup and tail segments , and also between solvent and tail segments .
the strength of the interaction is @xmath34 , where @xmath35 is boltzmann s constant and @xmath36 the absolute temperature .
second there is the coulomb interaction between all charges .
the dielectric constant of the solvent is denoted @xmath37 .
finally there is a contact interaction between all charges and the neutral solvent whose strength is @xmath38 .
this is to model the short - ranged , thermally averaged , interaction between charges and the dipole of water , an attractive interaction which decreases like @xmath39 and is of strength @xmath40 , where @xmath41 is the dipole moment of water ( israelachvili , 1985 ) .
thus the energy per unit volume of the system , @xmath42 , can be written @xmath43&= & 2\chi n\int{d{\bf r } \over v}[\hat\phi_h({\bf r})+\hat\phi_s({\bf r } ) ] \hat\phi_t({\bf r})\nonumber \\ & & + { \beta^*\over 8\pi}\int { d{\bf r}\over v}{d{\bf r'}\over r_g^2 } [ \hat p_h({\bf r})+\hat p_c({\bf r})]{1\over |{\bf r}-{\bf r'}| } [ \hat p_h({\bf r'})+\hat p_c({\bf r'})]\nonumber \\ & & -\lambda\int { d{\bf r}\over v}\hat\phi_s({\bf r})[\hat p_c({\bf r})-\hat p_h({\bf r})],\end{aligned}\ ] ] where @xmath44 is a dimensionless measure of the strength of the coulomb interaction .
the grand partition function ( matsen , 1995 ) of the system is @xmath45/kt}\right\ } \delta(1-\hat\phi_h-\gamma_s\hat\phi_s-\gamma_t\hat\phi_t).\end{aligned}\ ] ] here @xmath46 denotes a functional integral over the possible configurations of the @xmath25th lipid and in which , in addition to the boltzmann weight , the path is weighted by the factor @xmath47,$ ] with @xmath48={\cal n}\exp\left[-{1\over 8r_g^2 } \int_{s_1}^{s_2}ds |{d{\bf
r}(s)\over ds}|^2\right],\ ] ] with @xmath49 an unimportant normalization constant .
the notation @xmath50 denotes an integral over the probability distribution of the charge on the headgroup of the @xmath25th lipid .
we have enforced an incompressibility constraint on the system with the aid of the delta function @xmath51 , where @xmath52 , and @xmath53 .
the latter parameter is the lipid architectural parameter .
the relative volume of the headgroup with respect to that of the entire molecule is @xmath54 .
the model is now completely defined .
the solvent is specified by @xmath55 , its volume per particle relative to that of the headgroup , and the architecture of the lipid is characterized by @xmath56 .
there are three interactions , hydrophobic - hydrophilic , charge - charge , and charge - solvent , whose strengths are given by @xmath57 , @xmath58 , and @xmath59 respectively .
the external parameters are the temperature , conveniently specified in terms of a dimensionless temperature @xmath60 , the fugacity of the solvent , @xmath61 , and the fugacity of the free counter ions , @xmath62 , which , by charge neutrality , controls the charge on the lipid headgroups .
the characteristic length in the system is the radius of gyration , @xmath63 . in the next two sections we derive the self consistent field theory for the model , first in real space , and then in the following section , in fourier space
evaluation of the partition function of eq .
[ pf ] is difficult because the interactions are products of densities , each of which depends on the _ specific _ coordinates of one of the elements of the system .
this dependence is eliminated in a standard way .
we illustrate it on @xmath64 which , from its definition in eq .
[ head ] , depends on the coordinates of the headgroup , @xmath65 .
one introduces into the partition function the identity @xmath66d{\bf r}\right\},\end{aligned}\ ] ] in which @xmath67 does _ not _ depend on any specific coordinates of one of the elements of the system , but is simply a function of @xmath68 .
the integration on @xmath69 extends up the imaginary axis . inserting such identities for the five densities @xmath15 , @xmath16 , @xmath17 , @xmath70 , and @xmath71 , and a similar identity for the delta function expressing the incompressibility condition ,
one rewrites the partition function , eq .
[ pf ] , as @xmath72+z_c{\cal q}_c[u_c]+ z_s{\cal q}_s[w_s ] -e[\phi_h,\phi_t,\phi_s , p_h , p_c]/kt \ } \nonumber \\ & \times & \exp\left\ { { 1\over v_h}\int \left[w_h\phi_h+w_t\phi_t+w_s\phi_s+u_h p_h+u_c p_c+ \xi(1-\phi_h-\gamma_s\phi_s-\gamma_t\phi_t)\right]d{\bf r}\right\},\end{aligned}\ ] ] where @xmath73=\int \tilde{\cal d}{\bf r}_l\tilde{\cal d}q_{h } \exp\left\{-w_h({\bf r}_l(1/2))+q_{h}u_h({\bf r}_l(1/2))- \int_0 ^ 1ds w_t({\bf r}_l(s))\right\},\ ] ] is the partition function of a single lipid in external fields @xmath69 , @xmath74 , and @xmath75 , @xmath76=\int d{\bf r}_{c}\exp[-u_c({\bf r}_{c})],\ ] ] is the partition function of a single counter ion of unit positive charge in an external potential @xmath77 , and @xmath78=\int d{\bf r}_s\exp[-w_s({\bf r}_s)],\ ] ] is the partition function of a single solvent particle in the external field @xmath79 .
it is convenient to shift the zero of all chemical potentials so that @xmath80 , @xmath81 , and @xmath82 .
the partition function , eq .
[ pf2 ] , can then be written in the form @xmath83,\ ] ] with @xmath84\over v}- z_c{{\cal q}_c[u_c]\over v } -z_s{{\cal q}_s[w_s]\over v}+ { v_h\over kt v}e[\phi_h,\phi_t,\phi_s , p_h , p_c]\nonumber \\ & - & \int{d{\bf r}\over v}[w_h\phi_h+w_t\phi_t+w_s\phi_s+u_hp_h+u_cp_c + \xi(1-\phi_h-\gamma_s\phi_s-\gamma_t\phi_t)].\end{aligned}\ ] ] no approximations have been made to this point .
what has been accomplished is a rewriting of the partition function from a form , eq [ pf ] , in which all entities interact directly with one another , to a form , eqs .
[ pf3 ] and [ free1 ] , in which they interact indirectly with one another via fluctuating fields . although the integrals in eq .
[ pf3 ] over @xmath85 and @xmath86 could all be carried out , as they are no worse than gaussian , the integrals over the fields @xmath87 and @xmath77 can not .
therefore we employ the self - consistent field theory in which we replace the integral in eq .
[ pf3 ] by its integrand evaluated at its extremum .
the values of @xmath69 , @xmath88 , etc . which satisfy the extremum conditions will be denoted by the corresponding lower case letters @xmath89 , and @xmath90 , etc .
the equations which determine them are six self - consistent equations for the six fields @xmath89 , @xmath91 , @xmath92 , @xmath93 , @xmath94 , and @xmath95 .
they are @xmath96 as the field @xmath95 is easily eliminated , the six equations readily reduce to five .
the simplicity of eq . [ us ] reduces this , in practice , to a set of four equations .
the five densities @xmath90 , @xmath97 , @xmath98 , @xmath99 , and @xmath100 are functionals of all of the above fields except @xmath95 , and therefore close the cycle of self - consistent equations : @xmath101&=&-{\delta{\cal q}_l[w_h , w_t , u_h]\over\delta w_h({\bf r})}\\ \label{phit } \phi_t({\bf r})[w_h , w_t , u_h]&=&-{\delta{\cal q}_l[w_h , w_t , u_h]\over\delta w_t({\bf r})}\\ \phi_s({\bf r})[w_s]&=&-z_s{\delta{\cal q}_s[w_s]\over\delta w_s({\bf r})}\\ \label{phis } & = & z_s\exp[-w_s({\bf r})]\\ \label{headcharge } \rho_h({\bf r})[w_h , w_t , u_h]&\equiv&-{\delta{\cal q}_l[w_h , w_t , u_h]\over\delta u_h({\bf r})}\\ \label{rhoc } \rho_c({\bf r})[u_c]&=&-{\delta{\cal q}_c[u_c]\over\delta u_c({\bf r})}\\ \label{rhoc2 } & = & z_c\exp[-u_c({\bf r})]\end{aligned}\ ] ] the density @xmath102 is simply the expectation value of @xmath64 in the single lipid ensemble .
similar interpretations follow for the other densities .
note that one of the self - consistent equations , eq .
[ pb ] , is simply the non - linear poisson - boltzmann equation , and @xmath103 the electric potential . with the aid of the above equations , the mean - field free energy , @xmath104 , which is the free energy function of eq .
[ free1 ] evaluated at the mean - field values of the densities and fields , can be put in the form @xmath105 + z_c{\cal q}_c[u_c ] + z_s{\cal q}_s[w_s]\right)+ e[\phi_h,\phi_t,\phi_s,\rho_h,\rho_c ] , \\
\label{mffreeenergy } & = & kt(n_l+n_c+n_s)+e[\phi_h,\phi_t,\phi_s,\rho_h,\rho_c],\end{aligned}\ ] ] with @xmath106 given by eq .
[ energy ] .
the thermodynamic potential , @xmath107 , is that appropriate to an incompressible system calculated in the grand ensemble ; the negative of the osmotic pressure multiplied by the volume .
thus the above equation states that the osmotic pressure is the sum of the ideal , partial osmotic pressures plus a correction due to the interactions . within mean field theory ,
this correction is simply the energy per unit volume of the system .
we now specify that the charges in the system can associate with or disassociate from the headgroup in response to the local electrostatic potential .
this implies that the partition function of a single lipid , @xmath108 is to be averaged over the nominal charge distribution that @xmath109 with probability @xmath32 , and @xmath110 with probability @xmath33 ( borukhov et al . , 1998 ) .
the consequence of this averaging is that @xmath111 $ ] of eq .
[ lipidpf1 ] becomes @xmath112=\int \tilde{\cal d}{\bf r}_l \exp\left\{-w_{h , eff}({\bf r}_l(1/2))- \int_0 ^ 1ds w_t({\bf r}_l(s))\right\},\ ] ] where @xmath113\\ & = & w_h({\bf r})-\ln [ 1+p(\exp[u_h({\bf r})]-1)].\end{aligned}\ ] ] although this appears to introduce an unknown parameter @xmath32 into the problem , the condition of charge neutrality , @xmath114=0,\ ] ] relates this parameter to the fugacity of the counter ions , @xmath62 . in practice
, we use this fugacity to control the ph and the amount of charge on the lipids .
there remains only to specify how the single - lipid partition function is obtained .
one defines the end - segment distribution function @xmath115 + w_{h ,
eff}({\bf r}_l(t))\delta(t-1/2)+w_t({\bf r}_l(t))\right)\right\},\ ] ] which satisfies the equation @xmath116q({\bf r},s),\ ] ] with initial condition @xmath117 the partition function of the lipid is then @xmath118 from this expression for the single - lipid partition function and eqs .
[ phih ] , [ phit ] , and [ headcharge ] , one obtains expressions for the local density of the lipid heads @xmath119 q({\bf r},{1\over 2}-)q({\bf r},{1\over 2}-),\ ] ] of the lipid tails @xmath120 and of the charge density on the lipid heads @xmath121\over 1+p(\exp[u_h({\bf r})]-1 ) } \phi_h({\bf r}).\ ] ] to summarize : there are four self - consistent equations to be solved for the fields @xmath89 , @xmath91 , @xmath92 , and electrostatic potential @xmath41 . these equations , obtained from simple algebraic manipulation of eqs . [ sc1 ] to [ incompressibility ] , can be taken to be @xmath122,\\ \gamma_sw_h({\bf r})-w_s({\bf r})&=&2\chi n(\gamma_s-1)\phi_t({\bf r } ) + \lambda(\rho_c({\bf r})-\rho_h({\bf r})),\\ 1&=&\phi_h({\bf r})+\gamma_t\phi_t({\bf r})+\gamma_s\phi_s({\bf r}),\\ r_g^2\nabla^2u({\bf r})&=-&\beta^*(\rho_h({\bf r})+\rho_c({\bf r})).\end{aligned}\ ] ] note that we have chosen here to write the poisson - boltzmann equation , eq .
[ pb ] , in its local , rather than its integral form . when the four fields are known , the corresponding densities follow from eqs .
[ phis ] , [ rhoc2 ] , [ lipidheads ] , [ lipidtails ] , and [ lipidheadcharge ] . rather than attempt to solve these equations in real space , a difficult task for the periodic phases in which we are interested such as @xmath1
, we recast the equations in a form which makes straightforward their solution for a phase of arbitrary space - group symmetry ( matsen and schick , 1994 ) .
we note that the fields , densities , and the end point distribution function depend only on one coordinate @xmath68 . therefore in an ordered phase ,
these functions reflect the space - group symmetry of that phase . to make this symmetry manifest in the solution
, we expand all functions of position in a complete , orthonormal , set of functions , @xmath123 , each of which have the desired space group symmetry ; _ e.g. _ @xmath124 furthermore we choose the @xmath125 to be eigenfunctions of the laplacian @xmath126 where @xmath127 is a length scale for the phase .
the functions for the lamellar phase are clear .
they can be taken to be @xmath128,\qquad i\ge 2,\end{aligned}\ ] ] expressions for the unnormalized basis functions for other space - group symmetries can be found in x - ray tables ( henry and lonsdale , 1969 ) as they are intimately related to the bragg peaks . in the tables cited , those for the hexagonal phase , space group ( p6 m ) can be found on page 372 , and that of the bcc phase , space group ( im3 m ) on page 524 .
the four self - consistent equations become @xmath129,\\ \gamma_sw_{h;i}-w_{s;i}&=&2\chi n(\gamma_s-1)\phi_{t;i}+\lambda(\rho_{c;i}-\rho_{h;i}),\\ \delta_{1,i}&=&\phi_{h;i}+\gamma_t\phi_{t;i}+\gamma_s\phi_{s;i},\\ \label{sceq4 } { \lambda_ir_g^2\over d^2}u_i&=&\beta^*(\rho_{h;i}+\rho_{c;i})\end{aligned}\ ] ] to obtain the partition functions and densities , we proceed as follows . for any function @xmath130 , we can define a symmetric matrix @xmath131 note that @xmath132 , the coefficient of @xmath125 in the expansion of @xmath130 .
matrices corresponding to functions of @xmath130 , such as @xmath133 are evaluated by making an orthogonal transformation which diagonalizes @xmath134 . with this definition ,
[ phis ] and [ rhoc2 ] yield the solvent density and counter ion charge density @xmath135 to obtain the remaining densities , we need the end - point distribution function . from eq .
[ endpoint ] we obtain @xmath136q_j(s),\\ a_{ij}&=&{2r_g^2\over d^2}\lambda_i\delta_{ij}+ ( w_{t})_{ij},\end{aligned}\ ] ] with initial condition @xmath137 .
the solution of this equation is @xmath138 from this , the remaining densities follow from eqs .
[ lipidheads ] , [ lipidtails ] , and [ lipidheadcharge ] : @xmath139 with @xmath140 the mean - field free energy , eq .
[ mffreeenergy ] , takes the form @xmath141 with the mean - field energy being given by @xmath142.\ ] ] we have expressed the coulomb energy as a product of the charge densities and electrostatic potential . note that this free energy still depends parametrically on @xmath127 , the length scale of the phase , so that the value of @xmath127 which minimizes it must be determined .
once this is done , we compare the free energies obtained for phases of different space - group symmetry , and thereby determine the phase diagram of our model lipid system . the infinite set of self - consistent equations , eqs . [ sceq1 ] to [ sceq4 ]
must be truncated in order to be solved numerically .
we have employed up to 50 basis functions .
this truncation is sufficient to ensure , for @xmath143 and @xmath144 , an accuracy of @xmath145 in the free energy @xmath146 . as noted , one must also determine the length scale which minimizes the free energy .
this is usually straightforward as there is a single well - defined minimum for a phase of given symmetry at given thermodynamic parameters ; temperature , and chemical potentials .
were there more than one minimum , this would reflect a tendency for the system to phase separate into two phases with the same non - trivial space - group symmetry , an extremely unusual occurrence .
the single minimum that one finds normally is sharp , that is , the free energy varies rather rapidly with @xmath127 . only in cases in which phases are greatly swollen
is the minimum extremely shallow and difficult to locate .
we first apply our method to a neutral lipid . we show here
the phase behavior of the neutral lipid , in the absence and in the presence of solvent .
figure 1 shows the phase diagram of the pure lipid as a function of the dimensionless temperature @xmath147 , and the architecture of the lipid .
the latter is characterized by the single parameter @xmath54 which is the relative volume of the headgroup to that of the entire lipid .
it is analogous to , but not the same as , the single parameter used by israelachvili to characterize the geometry of lipids ( israelachvili , 1985 ) . shown
are the lamellar phase , @xmath0 , the normal and inverted hexagonal phases , @xmath148 and @xmath1 , and the normal and inverted body - centered cubic phases @xmath149 and @xmath150 .
the occurrence of bicontinuous phases will be discussed in a later paper .
one sees that the phase behavior is reasonable and in accord with packing considerations ; as the headgroup increases in volume , the system passes through a series of phases from the inverted ones with most curvature , through the lamellar phase , to the normal ones of most curvature .
we also note that as the temperature increases , the lamellar phase becomes unstable to one or the other of the hexagonal phases .
this is very clear for the @xmath148 phase , less so for the @xmath1 phase , but is true for the latter over much of the temperature range as the slope of the @xmath151 phase boundary is slightly positive below @xmath147 of about 0.045 .
this transition with temperature is well known in the analogous case of diblock copolymers ( leibler , 1980 ) . in order to model a lipid which , like phosphatidylserine , adopts the @xmath1 configuration when essentially neutral ( cullis et al .
1985 , bezrukov et al . , 1999 ) , we have chosen @xmath152 in our subsequent studies . for comparison , the value appropriate for dope , calculated from the molecular volumes in the literature ( rand and fuller , 1994 ) is @xmath153 . for the convenience of the reader interested in carrying out similar calculations , we present in table i the values of the first three non - trivial fourier components of the headgroup density @xmath102 , the lattice parameter @xmath154 , and the free energy @xmath155 for the @xmath0 , @xmath1 and @xmath150 phases at @xmath156 .
we note , in passing , that the relative intensities of x - ray bragg peaks can be determined directly from the fourier components of the various densities with which they are associated . the effect on this neutral lipid of the addition of a solvent of small volume , characterized by @xmath157 , close to the value of @xmath158 ( rand and fuller , 1994 ; kozlov et al . ,
1994 ) appropriate to water and a phosphatidylethanolamine headgroup , is shown in fig .
2 . there is a lamellar phase at small solvent volume fractions and low temperatures .
this phase becomes unstable with respect to the @xmath1 phase which envelops it at higher temperatures .
there is a large region of two - phase coexistence between the ordered lipid - rich phases and an almost pure solvent phase .
these features are reasonable , and are observed in the systems of aqueous dialkyl didodecylphosphatidylethanolamine and of diacyl diarachinoylphosphatidylethanolamine ( seddon et al , 1984 ) . of particular interest
is that we find a small temperature region of re - entrant hexagonal - lamellar - hexagonal transitions , an unusual feature which has been observed in dope ( gawrisch et al .
1992 , kozlov et al .
1994 ) . as a consequence
, there is an azeotrope at which the transition between lamellar and hexagonal phases occurs without a change in the concentration of water .
we have used the coordinates of this point , @xmath159 and @xmath160 , denoted @xmath161 and @xmath162 , to normalize the temperature and solvent - density axes .
there is a small region of @xmath150 in our phase diagram .
again , the possible occurrence of bicontinuous phases will be examined in a later publication .
the uncertainty in the temperature of the phase boundaries , @xmath163 introduced by the truncation of the number of basis functions , is approximately @xmath164 .
as the volume fraction of water is increased , we find that the period of all structures increases , as is expected . in fig .
3 , we compare experimental results on dope taken in the inverted hexagonal phase at a temperature @xmath165 , just above that of the azeotrope ( rand and fuller , 1994 ) , to our values calculated just above the azeotrope . knowing the molecular weight of dope , we convert the volume fraction of solvent , @xmath166 , which occurs in the calculation , to the experimental variable of weight fraction of water .
the lattice parameter of the hexagonal phase in the calculation , however , is measured in units of the radius of gyration of either lipid tail .
what value should be taken to model dope is unknown .
hence we have used in the comparison the lattice parameter @xmath127 , in units of @xmath167 , the lattice parameter at the azeotrope .
the agreement is excellent .
an effective value of the radius of gyration can be defined as that value which brings agreement between the calculated and measured lattice parameters . as
the former , at the azeotrope , is @xmath168 , and the latter is 58.9 ( rand and fuller , 1994 ) , the equivalent radius of gyration at the temperature of the azeotrope , @xmath169 , is 12.3 for a single tail , not unreasonable when compared to the extended length of a single chain of dope which is approximately 26 . as the temperature of the system is lowered , the period of all structures increases , which is due to the lengthening of the tails as their entropy decreases .
we would again like to compare our results with those of the dope system . in order to do so
, we must address the temperature dependence of the radius of gyration , @xmath63 , which appears in the theory , and which is not given _
a priori_. because the model chain is flexible , the radius of gyration is related to the mean square end - to - end distance , @xmath170 , by a numerical constant , @xmath171 , so their dependence on temperature is the same . to compare our results to dope
, we shall assume that the temperature dependence of the radius of gyration which appears in the calculation is the same as that given for lipid chains by the rotational isomeric states model , a model which describes the properties of such chains very well ( flory , 1969 ; mattice and suter , 1994 ) .
thus we assume @xmath172 where the angle @xmath173 takes the values @xmath174 and @xmath175 corresponding to @xmath176 , @xmath177 and @xmath178 configurations , and @xmath179 is a constant .
the statistical average of @xmath180 is @xmath181 with @xmath182 and @xmath183k . from the behavior with temperature of @xmath184 ,
the lattice parameter , @xmath185 , at any temperature can be obtained from @xmath186\over [ d(t_0)/r_g(t_0 ) ] } { r_g(t)\over r_g(t_0)}.\ ] ] again , it is the factor @xmath187 which occurs naturally in the calculation .
a comparison of the experimentally measured ( tate and gruner , 1989 ) and theoretically calculated lattice parameters _ vs. _ temperature is shown in fig .
4 . in part
( a ) , the variation of the parameter of the @xmath1 is shown at two different lipid weight fractions .
the agreement is very good . in part ( b ) , the comparison is made of the @xmath1 and @xmath0 parameters along the coexistence with excess water .
note that this comparison is a much more stringent test , for it requires not only that the dependence of the lattice parameters on solvent concentration and on temperature be reproduced well by the calculation , but also that the phase boundaries be given well .
considering these requirements , the agreement is rather good .
it should be noted that the agreement in 4(b)does not depend on the exact temperature of the triple point , which is difficult to locate precisely , but only on the existence of stable @xmath1 and @xmath0 phases which coexist with excess water . as seen in fig .
4(b ) , the lattice parameter of the @xmath1 phase is much larger than that of the @xmath0 at the triple point .
this is due to the coexistence with excess solvent , which swells the hexagonal cores , but which is only weakly present between the lamellae .
in contrast , when the lamellar and hexagonal phases are only in two - phase coexistence with one another and there is no excess solvent , the hexagonal phase in general has a smaller lattice parameter than the coexisting lamellar phase , as shown in fig .
this is due to the fact that over almost all of their coexistence region , the @xmath1 phase has a smaller volume fraction of solvent than does the @xmath0 phase , as can be seen from the phase diagram of fig .
2 . only over the re - entrant region , which occurs as the triple point is approached , does this balance shift .
this shift in the relative size of the latter parameters through the re - entrant region is in agreement with experiment ( kozlov et al . , 1994 ) .
it is of interest to determine if any one effect can be said to drive the transition from the @xmath1 to @xmath0 phase in the neutral system . to this end
we examine the individual terms in the thermodynamic potentials per unit volume @xmath188 of the @xmath0 and @xmath1 phases as the transition is crossed by increasing the solvent fugacity , @xmath61 , at constant temperature @xmath189 . in table
ii we show the contributions to the free energy per unit volume of the @xmath0 phase and that of the @xmath1 phase coming from the interaction energy , @xmath190 , the lipid tails , @xmath191 , and the solvent @xmath192 all contributions are evaluated at the transition itself , which occurs at @xmath193 , and are measured with respect to the free energy per unit volume of the disordered phase .
we also show the difference in the contribution of each term to the free energies of each phase , and the derivative of this difference with respect to the solvent fugacity .
the difference in the contribution of the entropy of the lipid tails is positive because , with the lipid architecture we have chosen , the large tail volume relative to that of the head favors the hexagonal phase .
the interaction energy favors the lamellar phase , as does the solvent , presumably because the interstices of that phase are two - dimensional , while those of the inverted hexagonal phase are one - dimensional .
the difference between the lipid entropy contributions decreases with increasing solvent concentration because the packing constraints in the @xmath1 phase become more severe as the size of the cores increases ( gruner , 1989 ) .
however it is apparent that neither this term , nor either of the others , changes so rapidly with solvent concentration compared to the others that any particular effect can be said to `` drive '' this transition .
we now turn on the negative charge of the headgroups by varying the chemical potential of the free counter ions while enforcing charge neutrality . increasing the density of free , positive , counter ions in our closed system is equivalent to increasing the magnitude of the negative charge density on the headgroups .
it therefore corresponds to an increase in the ph of an experimental system .
the charge on the headgroups is annealed , meaning that it is determined by the local value of the electrostatic potential , and therefore the headgroup charge varies with the location of that group .
the parameter @xmath58 , defined in eq .
[ betastar ] , measures the strength of the coulomb interaction .
it can be written as the ratio of two lengths , @xmath194 , where @xmath195 is the bjerrum length , and @xmath196 is a length characterizing the architecture of the lipid .
it is reasonable that @xmath58 be larger than or of order unity , and we have arbitrarily taken @xmath197 we find for this system that the effect of increasing headgroup charge is to decrease the temperature of all transitions . as an example , we show in fig .
6 the way the temperature , @xmath147 , of the transition between @xmath0 and @xmath1 phases varies with the magnitude of the average charge density of the headgroups @xmath198 .
the range of charge density corresponds to the headgroups varying from being neutral to fully charged .
the region beyond the almost vertical line at @xmath199 would correspond to the headgroups being charged with a probability greater than unity , and is therefore unphysical .
the maximum value of @xmath200 is slightly different in the two phases . over the physical range
, one sees a 10 % decrease in the transition temperature , and therefore , a stabilization of the @xmath1 phase with respect to the @xmath0 phase .
although at first surprising , this is a reasonable result , and can be understood as follows . in the neutral system , the single interaction parameter in the system , @xmath57 , is a measure of the tendency for the system to order , and is proportional to the inverse temperature .
when the charges are turned on , the coulomb repulsion between headgroups opposes ordering , and therefore has an effect similar to a decrease in @xmath57 or an increase in temperature .
as we have noted earlier , increasing the temperature causes the lamellar phase to become unstable to the hexagonal phase .
a complimentary view is to note that increasing the coulomb repulsion between headgroups increases the area per headgroup , and thus the area between headgroups , an effect which , again , is equivalent to increasing the temperature ( seddon and templer .
the increase in area permits the tails to splay further out , favoring the formation of the inverted hexagonal phase .
the very same result of increasing the density of charges in a system is seen in the lyotropic phases of polyelectrolytes .
there one finds that the phase diagram depends only on the ratio of @xmath57 to the charge on the polymer , at least in the absence of fluctuations ( nyrkova et al . , 1994 ) .
hence an increase in the charge is equivalent to a decrease in @xmath57 or an increase in temperature , leading to an instability of the lamellar phase .
we are confident , therefore , that the transition from @xmath0 to @xmath1 phases with increasing charge on the headgroups is the correct result of the model .
however it is completely opposite to the experimental results on phosphatidylserine in water ( hope and cullis , 1980 , bezrukov et al . , 1999 ) . hence there must be a crucial physical mechanism which is not included in the model which includes coulomb interactions only between objects with a net charge .
one such mechanism is the short - ranged attraction between the charges of the headgroup and the dipoles of the neutral water molecules which will cause the latter to aggregate around the former .
furthermore the counterions attracted to the head group will now also be associated with waters of hydration endowing them with a non - negligible volume .
the additional volume of all these waters will increase the effective volume of the headgroup , and therefore tend to stabilize the lamellar phase .
this additional volume will increase with the charge of the headgroup , and could be sufficient to counteract the coulomb repulsion tending to stabilize the hexagonal phase .
this competition is investigated next .
we now include in the system an attractive contact interaction between charges and the neutral solvent .
this models the short - ranged , thermally averaged , interaction between charges and the water dipole , one which varies with separation @xmath201 as @xmath202 , with @xmath41 the dipole moment of water and @xmath95 the bjerrum length .
the above expression is valid for distances such that @xmath203 for water , @xmath204 , and @xmath205 . to approximate this short - ranged interaction by a contact interaction of dimensionless strength @xmath59
is equivalent to employing @xmath206 evaluated at some fixed distance .
any reasonable choice shows that @xmath59 is small .
we have arbitrarily chosen @xmath207 , which corresponds to @xmath208 evaluated at @xmath209 , a distance within the regime in which the approximate expression for the charge - dipole interaction is valid .
the results for the system with the coulomb interaction of strength @xmath210 and which includes the interaction between charges and solvent of strength @xmath207 are qualitatively different from those of the charged lipids without this interaction .
the temperatures of all transitions between ordered phases now increase with increasing headgroup charge , whereas previously they decreased .
shown in fig .
7 is the temperature of the transition between @xmath1 and @xmath0 phases as a function of the magnitude of the average charge density on the headgroups .
one sees that with increasing headgroup charge , the inverted hexagonal phase becomes unstable with respect to the lamellar phase , just as in the experiments on phosphatidylserine in water ( hope and cullis , 1980 , bezrukov et al . , 1999 ) in fig .
8a we show the volume fraction profiles in the @xmath0 phase at a value of @xmath211 , @xmath212 , and temperature @xmath156 at which the @xmath213 transition occurs .
the position through the system is divided by the lattice parameter of the phase which , in units of the radius of gyration of the lipid , is @xmath214 all looks reasonable . in particular ,
the volume fraction of solvent within the bilayer is negligible .
this is true also when the lipid is neutral . in fig .
8b , the charge density profile of the same structure is shown .
one sees that the charge on the headgroup mimics , but does not reproduce , the headgroup volume fraction .
this is because the charge on the headgroup is not fixed , but varies with the local electrostatic potential .
the counter ion density is fairly uniform because we have employed a single dielectric constant , that of water , throughout the system .
were we to require that the dielectric constant be position - dependent , and to take the much lower value in the tail region appropriate to it , the counter ion density there would be much reduced . in figs . 9a and 9b we show the same quantities for the @xmath1 phase at the same value of @xmath62
the cut through the system is taken along the nearest - neighbor direction , and the distance is normalized to its lattice parameter @xmath215 again the wavelength of the @xmath1 phase is smaller than that of the @xmath0 phase because , in two - phase coexistence , _
i.e. _ in the absence of a reservoir of excess water , the cores of the cylinders are not swollen with water and the hexagonal phase contains a smaller volume fraction of water than does the lamellar phase .
one can infer from fig .
9a that in the nearest neighbor direction , there is far more interdigitation of lipid tails than in the lamellar phase .
this makes sense , as the tails must certainly stretch to fill the space between cores in the second - neighbor direction , so that interdigitation is expected in the nearest - neighbor direction . to investigate this transition further ,
we show in table iii the contributions in the @xmath0 phase and in the @xmath1 phase of the various terms in the thermodynamic potential per unit volume @xmath216 . here
@xmath217 is the hydrophilic - hydrophobic interaction proportional to @xmath218 , @xmath219 is the electrostatic interaction proportional to @xmath58 , and @xmath220 is the charge - solvent interaction proportional to @xmath59 . these contributions are evaluated at the transition itself , and are measured from the free energy per unit volume of the disordered phase .
we also show the difference between these contributions to each phase , and the derivatives of each of these differences with respect to the counter ion fugacity , @xmath62 .
there are several interesting things to note .
the electrostatic energy is a relatively small contribution to the free energy of each phase , and hardly differs between them .
therefore it does not have a large effect in bringing about the transition .
the contribution of the counter ions to the free energy of each phase is of the same order of magnitude as the electrostatic interaction and , like it , does not change rapidly with the counter ion fugacity .
the contribution of the short - range charge - solvent interaction is small , but it changes most rapidly with the counter ion fugacity , and therefore appears to be most important in actually bringing about the transition itself .
the physical mechanism in the experimental systems appears now to be clear .
the lipid with an almost neutral headgroup forms the @xmath1 phase because the volume of the headgroup is relatively small compared to that of the entire lipid .
as the charge on the headgroup is turned on , it attracts an increasing volume of waters of hydration via the attractive interaction between the charge and the dipoles of water .
in addition , more counter ions , enlarged by their own waters of hydration , are attracted to the headgroup .
thus the headgroup becomes effectively larger , and drives the transition to the @xmath0 phase . in doing so
, it overcomes the effect of the coulomb repulsion between headgroups which , in fact , opposes the transition to the @xmath0 phase .
we have argued earlier that an increase in coulomb repulsion was similar to an increase in temperature , and therefore its effect in favoring the @xmath1 phase could be understood from the phase diagram of fig .
1 . in a similar way ,
an increase in the strength of the charge - solvent interaction increases the volume fraction of the headgroup , so that one moves to the right in fig . 1 and stabilizes the lamellar phase
. the combined effect of increasing the headgroup charge is to increase the effective volume fraction of the headgroup and effective temperature .
the phase which is ultimately stabilized results from the competition of these two effects . by changing the strength of the coulomb interaction ,
we have verified that one can alter the effect of this competition , and not only stabilize the inverted hexagonal phase , but also bring about the inverted b.c.c .
phase or even the disordered phase , scenarios which are again understandable from our discussion and the phase diagram of fig
. 1 . but that the result of this competition can be the stabilization of the lamellar phase at the expense of the inverted hexagonal phase has been demonstrated by our model calculation , as well as by experiment .
we gratefully acknowledge useful communications with drs .
pieter cullis , john seddon , and sol gruner .
this work was supported in part by the national science foundation under grant numbers dmr9531161 and dmr9876864 .
one of us , ( ms ) , would like to thank the cea , saclay , for their gracious hospitality while this paper was being written .
bezrukov , s.m .
rand , i. vodyanoy , and v.a .
lipid packing stress and polypeptide aggregation : alamethicin channel probed by proton titration of lipid charge .
faraday discuss .
111:000 - 000 cullis , p.r .
hope , b. de kruijff , a.j .
verkleij , and c.p.s .
structural properties and functional roles of phospholipids in biological membranes . _ in _ phospholipid and cellular regulation , vol
. 1 . , j.f .
kuo ( ed . ) .
crc press , boca raton , florida 1 - 59 .
fattal , d.r . and a. ben - shaul
mean - field calculations of chain packing and conformational statistics in lipid bilayers : comparison with experiments and molecular dynamics studies .
_ biophys .
j. _ 67:983 - 995 .
gawrisch , k. , v.a parsegian , d.a .
hadjuk , m.w .
tate , s.m .
gruner , n.l .
fuller , and r.p .
energetics of a hexagonal - lamellar - hexagonal - phase transition sequence in dioleoylphosphatidylethanolamine membranes . _ biochemistry _ 31:2856 - 2864 .
kirk , g.l . and s.m .
lyotropic effects of alkanes and headgroup composition on the @xmath222 lipid liquid crystal phase transition : hydrocarbon packing _ versus _ intrinsic curvature .
_ j. physique _ 46:761 - 769 .
kozlov , m.m .
, s. leiken , and r.p . rand .
1994 . bending , hydration and interstitial energies quantitatively
account for the hexagonal - lamellar - hexagonal re - entrant phase transition in dioleoylphosphatidylethanolamine .
_ biophys .
j _ 67:1603 - 1611 .
nyrkova , i.a .
khokhlov,.and m. doi .
microdomain structures in polyelectrolyte systems : calculation of the phase diagram by direct minimization of the free energy .
_ macromolecules _ 27:4220 - 4230 .
seddon , j.m . ,
g. cevc , and d. marsh . 1983 .
calorimetric studies of the gel - fluid ( @xmath223 ) and lamellar - inverted hexagonal ( @xmath222 ) phase transitions in dialkyl- and diacylphosphatidylethanolamines .
_ biochemistry _
, 22:1280 - 1289 .
tate , m.w . and s.m .
gruner 1989 .
temperature dependence of the structural dimensions of the inverted hexagonal ( @xmath1 ) phase of phosphatidylethanolamine - containing membranes .
_ biochemistry _ 28:4245 - 4253 .
table i : : anhydrous , neutral lipid : the lattice parameter , the free energy , and the first 3 non - trivial fourier components of @xmath102 for @xmath224 , @xmath1 and @xmath150 phases at @xmath156 and @xmath225 .
recall that @xmath226 for all phases .
table ii : : neutral lipid : contributions to the free energy per unit volume and temperature in the @xmath0 phase and in the @xmath1 phase , the difference in these contributions , and the derivative of this difference with respect to the solvent fugacity .
all contributions are evaluated at the @xmath0 , @xmath1 transition occurring on the water - poor side of the azeotrope .
the solvent chemical potential at the transition is @xmath228 .
all contributions are measured with respect to the free energy of the disordered phase , ( @xmath127 ) . the temperature , @xmath189 .
@xmath229 , @xmath230 , and @xmath231 .
table iii : : charged lipid with both coulomb and charge - solvent interactions : contributions to the free energy per unit volume and temperature in the @xmath0 phase and in the @xmath1 phase , the difference in these contributions , and the derivative of this difference with respect to the counter ion fugacity .
all contributions are evaluated at the @xmath0 , @xmath1 transition , @xmath211 , and are measured with respect to the free energy of the disordered phase , ( @xmath127 ) . the temperature , @xmath156 , @xmath212 , @xmath233 , with @xmath234 being the hydrophilic - hydrophobic , coulomb , and charge - neutral interactions respectively , @xmath230 , @xmath231 , and @xmath235 , figure 1 : : phase diagram of the neutral lipid as a function of dimensionless temperature , @xmath237 , and relative headgroup volume , @xmath54 .
in addition to the disordered phase , @xmath127 , there are normal and inverted body - centered cubic phases , @xmath149 and @xmath150 , normal and inverted hexagonal phases , @xmath148 and @xmath1 , and the lamellar phase @xmath0 .
figure 2 : : phase diagram of a neutral lipid with @xmath152 in a solvent with @xmath238 as a function of temperature , @xmath239 , and fraction of solvent , @xmath240 , with @xmath161 and @xmath241 the temperature and volume fraction of solvent at the azeotrope .
figure 3 : : comparison of theoretically calculated and experimentally measured values of the lattice parameter @xmath242 of the @xmath1 phase at a temperature just above the azeotrope _ vs. _ weight fraction of water , @xmath243 .
the lattice parameter at the azeotrope is denoted @xmath167 .
figure 4 : : comparison of theoretically calculated and experimentally measured values of the lattice parameter , @xmath244 , _ vs.
_ absolute temperature @xmath36 ( a ) for two different weight fractions of lipid , @xmath245 , and ( b ) along coexistence with excess water .
the absolute temperature of the azeotrope is denoted @xmath161 .
figure 5 : : lattice parameter of the @xmath1 and @xmath0 phases along their mutual coexistence as a function of absolute temperature .
the absolute temperature of the azeotrope is denoted @xmath161 .
figure 6 : : transition temperature between @xmath0 and @xmath1 phases for the same lipid in figure 2 , but now with a charged headgroup .
the dimensionless strength of the coulomb interaction is @xmath210.the transition temperature is plotted as a function of the magnitude of the average charge density on the headgroups .
the solvent fugacity is fixed at @xmath212 .
figure 7 : : transition temperature between @xmath0 and @xmath1 phases for the same lipid as in figure 6 , but now including the interaction between charges and neutral solvent of strength @xmath207 .
the solvent fugacity is again fixed at @xmath246 figure 8 : : \a ) volume fraction distribution in the @xmath0 phase of the solvent , headgroups , and tails , in the above system at a counter ion chemical potential of @xmath211 corresponding to the @xmath222 transition .
the temperature is @xmath156 , and the lattice parameter of the lamellar phase is @xmath247 ; b ) charge densities arising from the headgroups , the counter ions , and the total charge density in the @xmath0 phase under the same conditions as in a ) .
figure 9 : : \a ) volume fraction distribution in the @xmath1 phase of the solvent , headgroups , and tails , in the above system at a counter ion chemical potential of @xmath211 corresponding to the @xmath222 transition .
the temperature is @xmath156 , and the lattice parameter of the inverted hexagonal phase is @xmath248 .
b ) charge densities arising from the headgroups , the counter ions , and the total charge density in the @xmath1 phase under the same conditions as in a ) . | arxiv |
VOX LUX
A TWENTY FIRST CENTURY PORTRAITim
WRITTEN BY BRADY CORBET
in 65mm‘-it is difficult enough to acquire fame. It is impossible to
change its nature once you've acquired it.’
- Ayn Rand
‘I’m perpetually lonely -- I'm half living my life between
reality and fantasy at all times.
- Lady Gaga
‘Any society based on domination supports and condones
violence.’
- bell hooks
‘What’s missing from pop music is danger.’
- Prince INT. LIVING ROOM - HOLIDAY MORNING - 1990
VIDEO FOOTAGE -
Open in a dark hallway. Someone off-camera fusses with the
video settings as they walk down a corridor towards a family gathering.
At the center of everyone’s attention we find a girl at four
years old. She wears a set of cowboy boots and a red cowboy hat. She stretches, practices aerobics. Her hair is teased and wild.
Another young girl who looks nearly identical sits off to the
side.
Despite the verbose nature of the text, a NARRATOR speaks
over the image in an unaffected tone.
NARRATOR
Celeste was born in America in
1986. Considering her parent’s background, education, and socioeconomic status - being on the losing side of “Reaganomics” - the name of Latin origin seemed an especially poetic choice. It carved her out some pre-determined destination; a route which to travel by.
She performs a sort of clumsy square dance in front of where her grandfather and uncle play a duet and sing at a Casio keyboard.
OFF-CAMERA VOICE
Celeste, look at me. Look at the camera.
She ignores the request.
NARRATOR
-and many years before CE-LE-STE rolled off the cultural tongue like a principled anecdote one senses they were born knowing; she might not have been described as all that special or conspicuously talented, however, she did possess that proverbial “something” which on occasion captured the attention of her teachers and young peers. 2.A few other family members cheer her on, laughing and gay,
but CELESTE is lost, staring at her feet trying not to trip in her stiff new boots.
OFF-CAMERA VOICE
Darling, look at me. Look up.
NARRATOR
Despite what naysayers or haters later perceived of her ingenuity, she was actually a very savvy businesswoman. In the beginning, she was kind and full of grace, and at least she wrote her own lyrics; no one could take that away from her.
The YOUNG GIRL finally acknowledge’s the OFF-CAMERA VOICE. Her eyes are blue and piercing. Her expression is possessed.
OFF-CAMERA VOICE
Can you sing us the song you sang to me in the car?
She doesn’t reply but her gaze remains locked on the lens.
FADE TO BLACK:
A BEAT OF SILENCE, THEN...
A booming orchestral score chugs, building towards a grand
swooning movement...
BLACK fades and gives way to a rush of color, shades of
violet and cyan.
The NARRATOR’s voice now fights to be heard over the
increasingly cacophonous sound. The shape of the recording evolves into something like a bad radio transmission.
NARRATOR
She would be 13 going on 14 years old in the year 2000, the dawn of the new millennium. 3.INSERT TITLE:
VOX LUX
Finally, the symphony begins to mimic the simpler chord
progressions of a contemporary pop song.
INSERT TITLE:
ACT I
Pop music overtakes the soundtrack.
INT. FAMILY ROOM BASEMENT - EVENING - 1999
WIDE ON -
A music video glows off a television box hinged to the
ceiling.
An empty treadmill is on at full-speed.
EXT. NEIGHBORHOOD STREET - EVENING
A SERIES OF TABLEAUS -
WIDE ON -A row of middle-class residences line a quiet neighborhood
street.
The mood is relentlessly sombre. An ominous dark blue hue
tints at dusk. 4.A few street lamps turn on with their timers and light pours
out living room windows from the television sets nestled inside.
EXT. TOWN MALL - EVENING
MEDIUM ON -
Street lamps buzz and after some time turn on in staggered
sets illuminating the mall lot. A few kids hang out smoking by the entrance
EXT. FAST FOOD CHAINS - EVENING
CLOSE ON -
One of the restaurant’s rotating signs.NEW ANGLE ON -Two different food chains compete for attention situated just
across from one another.
A black SUV pulls away from the drive-thru.
EXT. FOOTHILLS - LATER
A SERIES OF ANGLES -The SUV speeds fast across the landscape, a bad omen.It’s darker out with every new angle.
EXT. SCHOOL - NIGHT
SUPER WIDE ON -
A high school campus at night. Heaps of kids step out of
their parents’ cars. There’s an event on.
The SUV enters frame and the composition adjusts slightly to
the left compensating for the vehicle’s movement.
The distance, the quality of light - it’s sci-fi.
INT. SCHOOL CAFETERIA - NIGHT
It’s New Year’s eve.5.LONG LENS ON -
The camera meticulously pans the room. A middle school
cafeteria’s been set up as a makeshift dance hall.
Teens dance a bit provocatively with one another. A few
grind up and down each other’s thighs. They are having a great time. The energy is infectious, intoxicating.
After some time, a fight seems to break out for no apparent
reason. The music is too loud to make out anything specific of the conflict.
An adult supervisor, MS. DWYER, steps in to break up the
fight. One YOUNG MAN is left in tears. He seems deeply ashamed. MS. DWYER leans to him, putting an affectionate hand on his
shoulder. The kid brushes it off and we pan with him as he exits by himself.
EXT. PARKING LOT - CONTINUOUS
PAN RIGHT -
The YOUNG MAN steps out and walks across the lot.
EXT. HIGHWAY - MOMENTS LATER
CLOSE ON -
We track with the boy for an extended period of time. He
quivers and heaves deep visible breaths into the cold night air.
He hums a tune. After a while some light orchestra joins in
but before it can develop into much of anything, a hard cut
to-
INT. SCHOOL CAFETERIA - LATER
The students chant!
STUDENTS
10! 9! 8! 7! 6! 5! 4! 3! 2 --
Before the midnight kiss --6.INT. CLASSROOM - MORNING 2000
MEDIUM ON -
MS. DWYER stands near the front door of her classroom
welcoming students.
STUDENT
Good morning, Ms. Dwyer.
MS. DWYER
Welcome back. How was break?
STUDENT
Fine, thanks.
Kids file in pulling off winter jackets and taking their seats off-screen. CELESTE walks by unnoticed.
Another student, THERESE, stops to chat with MS. DWYER.
THERESE
Morning.
SFX: The bell rings.
MS. DWYER
Happy New Year. Did you change
your hair, Therese?
THERESE
My sister cut it. She’s a hairdresser.
MS. DWYER
Does she work in town? I’ve been wanting a cut like that.
THERESE
(flattered)
Really? She lives out of state. She was visiting us for the holidays but I can let you know when she’s back.
MS. DWYER
Would you mind?
THERESE
Sure, I can.
MS. DWYER walks over to her desk and sorts through a few papers.7.MS. DWYER
(enthusiastic)
Welcome back, everyone. Did you
have a good break?
A few reply “yes.”
MS. DWYER (CONT’D)
I got some news yesterday about our computer appeal.
EVAN
What is it?
MS. DWYER regards her watch.
MS. DWYER
I want to wait and share once everyone is here. We are just waiting on Adam and Elyse.
EVAN
Probably be awhile.
MS. DWYER
Why?
EVAN murmurs something to the kid next to him.
MS. DWYER (CONT’D)
Evan, whatever you’re saying to him, save it for after class. Let’s please not start the year at odds.
THERESE speaks up.
THERESE
I saw Adam 15 minutes ago.
MS. DWYER
Okay, then we’ll wait.
STUDENT 2
Are they giving us desktops?
MS. DWYER
I said we’ll wait --
The YOUNG MAN from the school dance opens the door interrupting the flow of conversation. MS. DWYER turns to address him...
YOUNG MAN
Excuse me.8.MS. DWYER
Yes?
He asserts himself.
YOUNG MAN
My name is Cullen Active.
MS. DWYER
What?
YOUNG MAN
My name is Cullen Active.
MS. DWYER
Yes, Cullen, I know.
The YOUNG MAN nimbly moves a handgun from the inner part of
his jacket and shoots MS. DWYER in the stomach in a single
shot.
The class shrieks and rush in a panic towards the back of the
class.
One girl sits frozen in her seat.CLOSE ON -A light smatter of blood adorns CELESTE’s face. Her mouth
slacks agape.
YOUNG MAN (O.S.)
Celeste?
Extended beat.
YOUNG MAN (CONT’D)
Celeste, go stand with the others.
CELESTE doesn’t move a muscle.
YOUNG MAN (CONT’D)
Please, Celeste.
She blinks.
CELESTE
Is she breathing-
YOUNG MAN (O.S.)
(deliberate)
No.
(MORE)9.Celeste, I need you to step away
from the windows because in a few minutes there will be an explosion.
There’s an audible gasp from the other students. One girl begs off-camera.
GIRL
(completely distressed)
What are you doing?! (beat) Why are you doing this?
BACK TO -
CULLEN, the YOUNG MAN, steps further inside revealing a
machine gun.
Everyone screams.CULLEN struggles lifting the heavy firearm but after a few
moments manages to fire it off at the ceiling. Debris falls into the room.
CELESTE (O.S.)
Stop!
BACK TO CLOSE-UP ON CELESTE -
CELESTE (CONT’D)
Please. Please stop. I am standing, I’ll stand.
CELESTE stands and camera booms up with her, accommodating her movement.
Focus is shallow as she decides to turn her back on CULLEN
and approach the group. Finally she reaches the others and turns around.
INT. AXIS OF SCHOOL HALLWAYS - MOMENTS LATER
Kids flood the hallways in terror. Adults hover over them
trying their best to coordinate a safe exit.
EXT. SCHOOL - MOMENTS LATER
Several kids hang from the second story of the school
lowering themselves to safety. YOUNG MAN (O.S.) (CONT'D)10.EXT. FOOTHILLS - MOMENTS LATER
SUPER WIDE ON -
From a distance, among the foothills, the campus is peaceful. After some time, a car explodes in the parking lot.
INT. CLASSROOM - MOMENTS LATER
CLOSE ON -
CELESTE’s expression falls between a state of shock and
grace... MS. DWYER’s class is evermore hysterical.
CELESTE
Cullen.
CULLEN sounds as if he might be crying now.
CELESTE (CONT’D)
Cullen, please let us go.
YOUNG MAN (O.S.)
I killed plenty of people. I can’t now.
CELESTE
Please.
CELESTE blinks a tear.
CELESTE (CONT’D)
Please at least let everyone else out of here and I’ll stay here with you.
YOUNG MAN (O.S.)
What are we going to do?
A moment passes before some words fall from Celeste’s mouth...
CELESTE
We’ll pray together.
She turns to comfort the girl next to her.
CELESTE (CONT’D)
Shh... It’s going to be okay,--11.A round of shots light up the screen and CELESTE is shot
through the side of her neck. She drops out of frame with
all of her weight in a loud thud.
INT. SCHOOL CAFETERIA - MOMENTS LATER
Officers cautiously file in according to a well-coordinated
protocol.
OFFICER
Clear.
INT. SCHOOL HALLWAYS - MOMENTS LATER
STEADICAM ON -
A SWAT team who seem to have entered the building from
another entrance make their way down the corridor.
SFX: We hear each voice as if over a police radio. It’s
disorienting and does not always correspond with the image as
there are additional officers coming over the feed.
They splinter off and check room after room for survivors.
The sequence is relentless, unsettling, redundant.
SWAT 1
Clear.
They push down further.
SWAT 1 (CONT’D)
Clear.
A new voice interjects over the radio.
OFF-CAMERA OFFICER
Request for immediate medical assistance. We have seven kids here, four in critical condition, not responding, three dead in the south-facing corridor’s girl’s bathroom, 1st floor.
Further, into the next room.
SWAT 1
Clear.
Further again, into the next room.12.SWAT 2
Clear on the left.
SWAT 1 enters the next door.
SWAT 1
Christ. I have three bodies,
fatally-wounded, adults, 1 female, 2 male, room 111.
SWAT 2
We’ll come back. Keep pushing.
SWAT 3
Shooter and hostages are last reported in the wing overhead... Stairs are coming up on the right.
We follow the team to the right and all the way up the stairs.
On the second floor now, the team checks room 211.
SWAT 1
Clear.
They move on to room 212 and open the door.
SWAT 3
(voice cracks in agony)
Oh no. Oh, no no no no.
MS. DWYER’s class appears dead. They lie piled on top of
each other in the back of the class.
CULLEN is also dead where he previously stood. There’s blood
absolutely everywhere.
Several students moan at the sound of the SWAT team. Several
members of the team rush to their aid.
SWAT 3 (CONT’D)
(to the students)
We’re going to get you out of here. We’re here to help.
SWAT 2 speaks into his radio.
SWAT 2
Room 212, second floor, east-facing corridor, suspect is deceased. Several hostages are still alive, critically injured. 13.EXT. AERIAL VIEW OF THE SCHOOL - LATER
SFX: Berlioz’s choral piece “La Damnation de Faust” rings
out...
The rich orchestral score swells over the view of the school
from a helicopter.
Bold FRONT CREDITS in primary hues roll up over the image in
a scroll.
INT. AMBULANCE - LATER
CREDITS SCROLL continues over the following...
SUPER WIDE ANGLE, HANDHELD ON - CELESTE is partially wrapped in foil, upside down on the
gurney. An oxygen mask covers her face.
The scene is frantic. Paramedics hover over her body.
PARAMEDIC
Celeste, you’re doing so good. You
just keep breathing, honey. You’re gonna feel a pinch at the base of your spine.
The piece of music Cullen hummed as he walked home alone before reprises over a NEW ANGLE ON CELESTE.
ULTRA SLOW MOTION -She seems to hum along underneath the mask.
INT. REHABILITATION CENTER - DAY
AN EXTENDED SERIES OF VÉRITÉ STYLE CLOSE-UPS -
Victims of the massacre exercise in pained, deliberate
movements. A few weeks have passed.
Some victims seem more adapted to their new circumstances
than others.
ANGLE ON -CELESTE’s neck is heavily bandaged. She slowly limps across
the space with her MOTHER and PHYSICAL THERAPIST at her side.
CELESTE’S MOTHER looks like she hasn’t slept in weeks.
CELESTE suddenly stops.14.CELESTE’S MOTHER
Tell us if you’re going to be sick
again.
CELESTE
I’m sorry...
CELESTE’S MOTHER
Don’t be sorry.
PHYSICAL THERAPIST
I’ve seen much worse. What are you feeling now?
CELESTE
I feel like I’m on a boat.
PHYSICAL THERAPIST
Nausea won’t subside?
CELESTE
It’s not just that. I just feel like I’m spinning. You think it’s in my head?
PHYSICAL THERAPIST
I don’t think it’s in your head at all. I just don’t think this has to do with the spinal injury. Are your ears ringing?
CELESTE
I need to sit.
CELESTE’S MOTHER
I’ll get your chair.
CELESTE’s MOTHER leaves CELESTE who breathes hard.
PHYSICAL THERAPIST
Take another step with me while we wait for your mom.
CELESTE takes another pained step.
Moments later she returns with a wheelchair.
CELESTE’S MOTHER
Sit, my love.
CELESTE sits sluggishly.15.CELESTE
Where’s dad and Eleanor?
CELESTE’S MOTHER
They went to get us some food.
PHYSICAL THERAPIST
Some of the other kids have
complained about ringing in their ears from the gun blasts. I’ll talk to your doctor.
INT. LAB ROOM - NIGHT
CELESTE’s body glides into a CAT scan. Her skin appears translucent underneath the violet lamp. Here, she looks like a cyborg.
INT. HOSPITAL ROOM - NIGHT
CELESTE’s older sister, ELEANOR (16), lies entangled in
CELESTE’s embrace. She cries for a long time holding onto
her sister tight.
The image is a kind of modern chiaroscuro; so dark that it
resembles something like a Bill Henson photograph.
ELEANOR
I’m so sorry I was sick. I should
have been there for you. I’m so grateful you’re alive. I think I would have died - or just killed myself. I don’t think I could have standed it. I’m here now and I am never going to leave you - ever.
CELESTE cries now too, smiles, and then breaks into a fit of laughter.
CELESTE
Oh, God, Ellie. I think I’ve done something terrible.
ELEANOR’s face wrinkles in anguish.
ELEANOR
It’s not your fault. What more could you have done? You’re safe with me. 16.INT. HOSPITAL ROOM - AFTERNOON
CELESTE lies in bed with a travel CASIO keyboard on her lap.
She plays with various settings and sound FX - future sounds, rainforest reverb.
NEW ANGLE ON -ELEANOR reads a magazine at the end of the hospital bed. Her
FATHER reads a book in a chair. Magazine clippings are taped all around CELESTE’S bed. Take-out containers and fast food bags additionally litter the scene.
A nurse enters...
NURSE
Some news people are here and are
requesting an interview.
CELESTE’S FATHER
Don’t look at me. It’s up to her.
CELESTE stops playing her keyboard...
CELESTE
I don’t want anyone to see me like this.
ELEANOR
You look fine.
CELESTE looks at ELEANOR...
CELESTE
Can you talk to them?
ELEANOR
Me? What am I supposed to say? I wasn’t there.
CELESTE
Just tell them how sorry we are for everyone that died.
ELEANOR looks at their dad.
CELESTE’S FATHER
(shrugs)
Call mom.
ELEANOR
Are you sure, Celeste?
CELESTE nods... 17.NURSE
I can take you to a telephone.
ELEANOR gets off the bed and exits the room with the NURSE.
CELESTE looks at her FATHER.
CELESTE
I think I want to try and sleep for
awhile.
He immediately stands, taking the hint.
CELESTE’S FATHER
Yeah, I was going to try and take your mom out and get her mind off things... You need anything more than the piano? I got a guitar in the basement. I can teach you to play it.
CELESTE
Thanks but it’s hard for me to tilt my head down.
CELESTE’S FATHER
All right, I’ll see you in the morning. I love you to the moon and back.
CELESTE
I know. Me too. Please don’t be sad.
CELESTE’S FATHER
I’m not sad. I’m relieved.
INT. HOSPITAL ROOM - LATER THAT NIGHT
ELEANOR lies with her head on CELESTE who plays a melody on her keyboard. Celeste seems to have something in mind but struggles to find the right note.
They begin to hum...SLOW FRONTAL PUSH IN ON CELESTE -The light from the hospital television set illuminates the
darkness of her concerned expression.
For a flash, she suddenly appears quite iconic.18.INT. PARK - NIGHT
One hundred persons walk in silence carrying candles beneath
their chins.
LOUDSPEAKER VOICE (O.S.)
Two sophomore students, Vanessa Cooke and Elyse Hanlin, remain in
critical condition. Hold them especially in your prayers and please join me in a moment of silence.
ANGLE ON -
CELESTE’s MOTHER and FATHER who push CELESTE in a wheelchair.
ELEANOR walks to the side.
INT. CHURCH - NIGHT
THREE QUARTER PROFILE ON -
FATHER CLIFF preaches in front of his congregation. He stops
to cry occasionally without affectation. His tone is direct and sincere. He breathes evenly trying to gather himself.
FATHER CLIFF
You’ll have to excuse me. These are
not only tears of profound sorrow but of profound joy, as well, because I see so many young faces here before me whom we helplessly feared for many hours forever lost.
The audience is audibly moved by his frankness.
FATHER CLIFF (CONT’D)
We are here to honor your heroism and mourn the loss of your loved ones and peers. First, I have a difficult request to put forth but as I see it, it’s the only way we might begin to move forward...
Heaving sobs ring out off-screen.19.FATHER CLIFF (CONT’D)
Ferocious anger and hatred caused
this and we can’t have any more anger around us this minute so I must ask you to include the perpetrator of these vicious attacks and his parents in our prayers tonight, as they too lost their child in January.
ANGLE ON -
Photographers stand at the side aisles. Bulbs flash again
and again.
FATHER CLIFF (CONT’D)
By this way of healing prayer, victims of the tragedy will be released from their own grief and rage in the afterlife, and they shall live forever in our hearts.Lives lost too young here on earth but with whom we all anxiously wait to be reunited. They walk with God now...
A SERIES OF PORTRAITS -
VARIOUS PARISHIONERS weep... The crowd largely dons their
school colors and team jerseys.
ANGLE ON -We finally reach ELEANOR and CELESTE who sit quietly like a
couple of nuns with their eyes reverently closed.
FATHER CLIFF (CONT’D)
We’ll be inviting Ridgewood students to take my place - share their thoughts, memories, feelings with all of you. To begin, please join me in welcoming a very brave young woman to the piano. She has prepared a piece of music for us all tonight. Celeste?
CELESTE uses a set of crutches to get herself to a piano that’s been set up with a microphone. She slides onto the bench and clears her throat... She really looks very beautiful. A necklace covers her bandaged neck.
Everyone claps for her in support.20.CELESTE
(into the mic)
Uh, I tried to prepare something to
say but I couldn’t really put my feelings into words exactly so I thought I’d try and do this instead. My sister, Ellie, helped me.
She starts meekly but after the first verse, her voice begins to rise up emotively.
CLOSE ON -CELESTE....
CELESTE (CONT’D)
(sings)
Don’t be afraid father, you raised
us well.I heard your voice cry out with the day’s first bell.And the bells tolled and the sirens rang o-utI can feel my chest tightening, squeezing on-to my he-art
The music moves through her. Whatever of it’s clumsiness, the performance is undeniably moving.
CELESTE (CONT’D)
(shouts, sings)
So, if fear is like fire then I’m burningAND if it’s fear you desire to locate in me, then I’m turning right back around and RUNNING INTO
THE TWENT-I-ETH CENTURYSo now I’m asking you , am I allowed
to ever sleep again? Am I allowed to ever dream again? How may I care-less-ly ever live care-free again?
SLOW PUSH IN ON -
A news crew adjusts their lens for a close-up.
NARRATOR
At the advice of her first ever
producer, Celeste would change the lyric from “I” to “we,” and shortly thereafter, the entire country fell into step with her sentiment.
(MORE)21.It was not her grief anymore, it
was their grief; no longer merely her experience, they reclaimed it as their own.
We push towards them, they push towards us.
NARRATOR (CONT’D)
The song would become an anthem for the nation. Simply put, it was a hit.
EXT. NEW YORK CITY - DAY
A SERIES OF BOLD, ICONIC SHOTS OF THE CITY. The score swells and pulses.
LONG LENS ON -Bright-eyed CELESTE is walking again. She and ELEANOR
traverse the avenue next to an unkempt rock and roll MANAGER.
Focus favors CELESTE as they walk amongst pedestrians. She looks like a star.
INT. RECORDING STUDIO - LATER
VÉRITÉ HANDHELD ON -
CELESTE stands in the mic room next to a SESSION BASSIST.
CELESTE
(sings)
Don’t be afraid father, you raised
us well.I heard your voice cry out with the day’s first bell.And the bells tolled and the sirens rang o-utI can feel my chest tightening, squeezing on-to my he-art
CELESTE stops and swallows.
CELESTE (CONT’D)
Sorry. I’m getting thrown off from hearing my own voice.
ANGLE ON -
MUSIC PRODUCER in the control room.NARRATOR (CONT'D)
22.MUSIC PRODUCER
You want me to pull that out?
CELESTE
If you can do that, thanks.
MUSIC PRODUCER
(mutters)
No problem.
BACK TO -
CELESTE & the SESSION BASSIST
SESSION BASSIST
You like when I come down to a G
for the refrain?
CELESTE
No, not that. I thought that was D, sorry.
SESSION BASSIST
That is the D, just next to it.
CELESTE
Oh! Then yes, I like the G.
ANGLE ON -
A team of Scandinavian producers, ELEANOR, several Heads of
Department, and CELESTE’s new MANAGER stand at the control board.
THE MANAGER hits a button so she can hear him.
THE MANAGER
you wanna step out for a moment,
get some fresh air?
INT. RECORDING STUDIO HALLWAY - MOMENTS LATER
HANDHELD ON-
THE MANAGER paces around CELESTE with ferocious, anxious
energy.
He stammers, stutters, hammers through the language...
THE MANAGER
you okay in there, you in over your
head?23.CELESTE
No, I’m good.
THE MANAGER
remember what I told you at your
parent’s place, the first time i saw you?
CELESTE blinks, not sure where he’s going with this.
THE MANAGER (CONT’D)
you just gotta shut your eyes and pretend like you’re in your bedroom. you’re just dancing in your bedroom and no one is looking at you. you don’t have a care in the world
CELESTE
Yeah.
THE MANAGER
(smiles)
you gotta tell me if i’m not making sense, okay? you got your head on so straight that half the time i forget you’re a kid. it’s okay if you don’t understand something and you need me to explain, okay?
CELESTE
That’s okay.
THE MANAGER
you gotta tune all these people out and just sing from your gut cause i know you’re trying to help out in there but we only got 45 minutes left or this all gets very expensive. don’t worry yourself too much with the technical stuff anyway because I’ll tell you, those people in there aren’t coming to listen to that fuckin’ bass player riff like he’s Jaco Pastorius. this
is your show. remember that and run it, okay?
CELESTE blinks.
CELESTE
Okay.24.THE MANAGER
you ready to head back in?
CELESTE
Yes, but can you do me a favor?
THE MANAGER
anything.
CELESTE
Can you watch your language around,
Eleanor? It really bothers her when people swear.
THE MANAGER
yeah, i’m sorry. i wasn’t thinking. i didn’t mean to swear at you. forgive me.
INT. RECORDING STUDIO - MOMENTS LATER
CLOSE ON -
CELESTE’s face who stands at the mic. A pair of headphones
crown her head.
MUSIC PRODUCER (O.S.)
I’ve just cut together something for the first and last verse and it actually seems like it’s working really well. We might be over-thinking it. In the bridge though, there’s a little crack or hiccup or something on the delivery of “So
now I’m asking...” so maybe let’s just take it from there?
CELESTE has assumed a new confidence.
CELESTE
Great. I’ll nail it and then can we get started on Please Remember?
MUSIC PRODUCER (O.S.)
Sorry but which section is that?
CELESTE
It’s the next track.
ANGLE ON -
The MUSIC PRODUCER behind the glass.25.MUSIC PRODUCER
Ah! Yes. Let’s get a head start
on tomorrow.
INT. CONFERENCE ROOM - AFTERNOON
The girls sit reading a magazine next to THE MANAGER.
NEW ANGLE ON -Camera pans with a young woman, MARKETING PR, as she enters
and sits at a dark conference table across CELESTE, ELEANOR, and THE MANAGER.
MARKETING PR
Sorry, I’m late. Thanks for waiting.
THE MANAGER nods.
MARKETING PR (CONT’D)
(to CELESTE and ELEANOR)
Have you girls been enjoying your stay?
ELEANOR
Yes, the hotel’s very nice.
CELESTE is focused, intuitively professional somehow.
CELESTE
Yes, it’s great. So, what’s next?
THE MANAGER
she beat me to the punch.
MARKETING PR clears her throat.
MARKETING PR
Well, a few things. First, I’ve been meaning to ask you if you have any background in dance or if your injury prevents you from...
CELESTE
I used to take ballet.
BEAT.
CELESTE (CONT’D)
And no, I just have to be careful.26.MARKETING PR
That’s great. Internally, we’ve
been discussing a few upcoming appearances we’d like to pitch you for and we’d love to set you up with a choreographer.
CELESTE
Okay. What kind of appearances?
MARKETING PR
In-store performances, things like that. It’s a great way to introduce your live experience to the public and a great way for you to get your feet wet, in turn.
Beat. Something heavy hangs in the air.
MARKETING PR (CONT’D)
Celeste, we really love what you do here-
CELESTE
Thanks.
MARKETING PR
-but after everything you’ve been through, I just think it’s necessary to be straight with you and let you know that there’s no guarantee these new tracks will work-
THE MANAGER
hey, hey, hey, she’s 14 years old. you don’t need to talk that way to the kid. talk to me that way, not her.
MARKETING PR is very firm with THE MANAGER.
MARKETING PR
Let me finish please. (back to Celeste) Before we go ahead making a lot of plans together, it would be unconscionable for me to not make a young person like yourself fully cognizant of the reality of the situation. You’ve given us a great demo to work with and we are going to pitch it hard but the rest is out of our hands. 27.CELESTE
It’s fine. If it works, great, if
not, that’s okay too.
MARKETING PR smiles. She removes some mock-ups from a file.
MARKETING PR
Onto the fun stuff then, this is what we had in mind in terms of artwork for the EP we’ll be sending to the stations. What do you think?
CELESTE
Yeah, it’s good, I like it.
THE MANAGER is unimpressed, a bit like a petulant kid.
THE MANAGER
less beige.
MARKETING PR
We can change the color. Right now, try and focus more on the feeling of the layout.
CELESTE looks at him.
CELESTE
I like it.
ELEANOR
I like it too.
THE MANAGER
great, they know what they like.
MARKETING PR
(simple)
That’s great, we love it. The lyric inside of the font gives it precedence - the sentient of a new voice being announced - but the most important thing to us is that you feel well-represented.
CELESTE
I feel well-represented.
INT. OFFICE HALLWAY - MOMENTS LATER
DOLLY ON -28.We urgently follow THE MANAGER, CELESTE, and ELEANOR.
THE MANAGER
as your representative, i’d like to
express how highly unusual and inappropriate that woman’s conduct was. i had no idea she was going to sit down and give you a list of reasons she’s not to be held accountable if she fails at her job. these sales people; five minutes into a meeting you know they couldn’t sell a life-jacket to natalie wood.
CELESTE
She was just telling me not to get my hopes up.
THE MANAGER
of course you should get your hopes up.
INT. HOTEL GYM - DAY
FOUR ANGLES ON -
CELESTE walks on a treadmill.After some time, she begins to adjust the settings to
something more challenging.
She sets her pace to a jog. Her breathing rises in intensity.
INT. BALLET STUDIO - DUSK
Quiet... The light is beautiful in the studio. Particle Mist
falls around.
VÉRITÉ HANDHELD ON -CELESTE and a CHOREOGRAPHER work on a series of moves for her
upcoming performances.
CHOREOGRAPHER
Keep your abdominal muscles as stiff as you can.
She does as she’s asked, leaps into his arms. She bites her lip.29.CHOREOGRAPHER (CONT’D)
Okay, almost, and again.
She repeats the steps and leaps into his arms.
CHOREOGRAPHER (CONT’D)
Better. Try again.
The CHOREOGRAPHER puts her down. She winces in pain.
CHOREOGRAPHER (CONT’D)
Are you all right? We can take a
break.
CELESTE
I’m fine, but can we turn the music on?
CHOREOGRAPHER
Yeah, let me put the disc on.
The choreographer steps over to a CD player as CELESTE walks around for a moment trying to shake the pain off.
CHOREOGRAPHER (CONT’D)
You ready?
CELESTE
Yes, I’m ready
The CHOREOGRAPHER presses play...
SFX: A NEW SONG OF CELESTE’S BLARES LOUD IN THE STUDIO SPACE.
ALREADY FROM THE FIRST FEW BARS, IT’S EXTREMELY EFFECTIVE, CATCHY.
CELESTE and her CHOREOGRAPHER begin again working on a series
of steps. She’s doing quite well.
CHOREOGRAPHER
Good!
She looks at him and takes a few more impressive steps.
CHOREOGRAPHER (CONT’D)
That’s great. Hold on..
He runs over and stops the disc, restarts.30.CHOREOGRAPHER (CONT’D)
(shouts over music)
Let’s do it again but this time try
and sing a little as we go and see how it feels. Focus on your breathing, otherwise, you won’t have enough air to get through the track.
She retraces the same steps and sings.
CELESTE
(sings along with the
recording of her own voice)
Remember how things used to be?! How good it felt in the back of your car with your arms aro-und me?Remember when you used to you loved me? Well, you can forget all that now because I’m moving to the big ci-ty.
CHOREOGRAPHER
Use your body to give your voice emphasis when it needs it!
She takes four steps, turns.
CELESTE
(sings)
Remember! When you used to have me?Well, hold on tight to that baby cause now it’s just a memory.
INT. HOTEL ROOM - BATHROOM - NIGHT
MEDIUM ON -
CELESTE and ELEANOR do their make up in the mirror. They look
straight out of a William Eggleston picture.
CELESTE
Did you call mom?
ELEANOR
Yeah. I told her you were busy.
CELESTE
How’d she sound?31.ELEANOR
I don’t know. Kind of sad. She
misses us.
CELESTE
We are going to be home so soon though.
ELEANOR
What if you get really big?
CELESTE
First of all, I don’t think that’s even happening and second, even if it did, it’s not like I wouldn’t come back home all the time.
CELESTE turns to look at ELEANOR.
CELESTE (CONT’D)
Are you sure I’m gonna be able to get in anywhere?
CELESTE keeps her face straight trying to present her “new look” to ELEANOR.
ELEANOR
Totally. You look like you’re 22.
CELESTE
No way.
ELEANOR
You do.
ELEANOR does a playful voice.
ELEANOR (CONT’D)
“Excuse me, sir, have you met my baby sister? She’s so sexy isn’t she?”
CELESTE
Shut up.
ELEANOR
It’s true.
SFX: A knock comes at the front door.
CELESTE exits.32.INT. HOTEL ROOM - CONTINUOUS
CELESTE enters frame and cracks open the door...
THE MANAGER
i got a call from that-
He whispers the next word.
THE MANAGER (CONT’D)
(whispers)
-bitch-
He continues in a normal voice.
THE MANAGER (CONT’D)
-we met with that you’ll want to
know about.
CELESTE
Is it bad?
THE MANAGER
are you gonna let me in?
CELESTE
Ellie’s getting dressed.
THE MANAGER stays in the doorframe.
THE MANAGER
they shopped it around to radio-
CELESTE
And what?!
THE MANAGER
(calm, collected)
-and we did it. Please Remember is testing in the mid-nineties.
CELESTE
What about the other ones?
THE MANAGER furrows his brow.
THE MANAGER
they did fine i think but we only needed one to work.
Beat.
THE MANAGER (CONT’D)
you don’t seem very excited.33.CELESTE
I am, I’m just overwhelmed, I
guess.
THE MANAGER
A & R is gonna send through a list of their acts they think you can open for in the spring.
CELESTE
I can’t believe this. Oh my god.
THE MANAGER
listen, i’m gonna send you home for
a week or two and i want you to rest up cause guess what? i’m taking you to stockholm after the break.
CELESTE
What?!
THE MANAGER
they want enough tracks for an album and i want you working with this guy. the best. you’d know his stuff if you knew he wrote it. he’s written everything - hits - and i told him to make space for you. he said okay if we come to him.
CELESTE
In Sweden?
THE MANAGER
whatever you got that’s half-written, ideas, whatever you got. let’s go lay it down.
ELEANOR steps out of the bathroom, having washed all her make-up off.
ELEANOR
See, I told you you would get really big.
ELEANOR smiles a half moon.
HARD CUT TO:34.SUPER FAST MOTION (8 FPS) DIGITAL VIDEO MONTAGE OF
CELESTE AND ELEANOR’S TRIP TO SWEDEN SET TO THE SCANDINAVIAN CHILDREN’S SONG, “DYRENE I AFRIKA.”
- The girls systematically test perfumes next to THE MANAGER at duty free in an airport.
- Various shots of rain on the European motorway. - Eleanor and Celeste sleep inside the van.
NARRATOR
Following a short visit home with
their parents, Celeste’s manager had the girls’ passports expedited and the three of them set flight for an unfamiliar, if not particularly exotic, foreign city where they would go on to have many uniquely first experiences...
- The girls arrive at Tor Erik’s studio, THE MANAGER makes introductions.
- A series of various recording sessions...- THE MANAGER sleeps on a couch.- The sun rises and sets and rises and sets.
NARRATOR (CONT’D)
Producer, Tor Erik Romstad, was
initially skeptical but grew increasingly infatuated with the inseparable sisters; and though he considered himself a beat up old atheist that had been “phoning it in” for some time in the pop music game”, he found the girls’ kind-hearted devotion to God, music, and most importantly, one another, to be altogether inspiring. Over the course of seven weeks, he would turn out some of his career’s most addictive hooks and melodies.
- The girls pray before bed in their hotel room.
- The girls eat room service.- The girls enter a bar.35.NARRATOR (CONT’D)
So far oblivious to the impending
deluge of notoriety these tracks would soon afford her, Celeste primarily enjoyed getting all this one-on-one time with Ellie. She never could have dreamed they would one day casually travel to Europe together, unsupervised and unattended. On weekends, Eleanor enjoyed playing the role of the big sister by taking Celeste around to the nearby bars and local dance clubs. Before the massacre at Ridgewood, Eleanor might never have dared to share these more disgraceful aspects of her recreational appetites with her young sibling, but considering all the suffering Celeste had endured, she was surely old enough now to take part in the more pleasurable parts of adulthood, also.
- The girls dance at a club.
- The girls ride on the back of two speeding motorbikes.
They clutch on to the helmeted young men who drive them.
- City lights streak the frame.- The girls fuck two slightly older boys side-by-side on a
snow mound near a street lamp.
- A new angle on CELESTE’s expression under the light
NARRATOR (CONT’D)
Celeste felt alive, creative, and
autonomous - in command of her own destiny.
INT. BATHROOM - MORNING
(Back to 65mm)
CELESTE vomits in the toilet.SFX: A phone rings incessantly.
ELEANOR
He’s calling again. Baby, we’re
gonna miss our flight.36.CELESTE
Tell him I don’t think I can get on
it.
ELEANOR
Yes, you can. I’ll take care of you.
CELESTE rolls her body off the toilet and collapses into her sister’s arms.
CELESTE
I feel so sick.
ELEANOR
You shouldn’t drink that much with your medication. You’ll be all right. Sometimes you just gotta push it so far that it scares you straight. It won’t happen again.
INT. TAXI - LATER
CELESTE and ELEANOR are a mess next to THE MANAGER scrunched in the back of a taxi.
THE MANAGER
i can’t believe this shit.
CELESTE
I’m sorry. I’m really sorry.
ELEANOR
No, I’m sorry. It’s my fault.
THE MANAGER
don’t tell me you’re sorry just don’t. do. it. it’s the same shit with you kids over and over again. your parents trusted me and i take that seriously.
ELEANOR smiles.
THE MANAGER (CONT’D)
are you smiling? don’t smile at me.
ELEANOR
It’s just that you’re funny. Don’t yell at me. 37.THE MANAGER
i’ll stop yelling when you wipe
that condescending beam off your face. and guess what? since you both have decided to completely fuck off and do whatever you please with zero consideration for what a terrible position you have put me in - morally, ethically, legally - from now on i veto your request and
will swear and curse as much as i please cause i’m not buying this innocent little girl shit you two are selling.
CELESTE
Fine, it’s a deal. Just stop yelling.
He looks at his watch.
THE MANAGER
you have roughly 13 hours to get your act together.
CELESTE
What happens in 13 hours?
THE MANAGER
i called the room ten times this morning. you’re going to la to make a video.
CELESTE shoots up in her seat.
CELESTE
What?!
EXT. LAX AIRPORT - NIGHT
WIDE ON -
Planes land like satellites falling from the stars. Lights blink across the landing strip’s intersections. HOLD ON THIS... HOLD, HOLD.
INT. ROCK VENUE BACKSTAGE - NIGHT
SFX: Hardcore punk music blares in the room downstairs.38.Backstage area is packed with 20 or so people in a room fit
for 5. CELESTE, ELEANOR, and the MANAGER are all among them.
LONG LENS ON -A lanky, British MUSICIAN, older than CELESTE, excuses
himself and walks over to talk to her. They shout to be heard over the volume.
MUSICIAN
(shouts)
Did you like the show?
CELESTE is caught off-guard.
CELESTE
Oh, I’m sorry but we actually just got off a plane and we missed it. I’m with my manager
She points.
CELESTE (CONT’D)
He’s over there. He wanted to come and say hi to someone.
MUSICIAN
That’s a shame. I think it went well tonight.
CELESTE
What’s your band called?
MUSICIAN
We were called Apex but my brother left the band so now we’re called Boy Friend.
CELESTE
Boy Friend? Really?
MUSICIAN
You don’t like it?
CELESTE
No, I do.
MUSICIAN
We don’t know if we like it. Sounds kind of quaint instead of subversive or something. We just picked it arbitrarily before coming to a gig one night. 39.There’s an awkward beat where young CELESTE doesn’t know how
to advance the conversation.
MUSICIAN (CONT’D)
Where are you coming from?
CELESTE
Oh, my sister and I are visiting from back east. We are only here a few days to make a video.
MUSICIAN
Are you in it?
CELESTE
I guess but I don’t really know yet. They haven’t told me but it’s a video for a song I made.
MUSICIAN
What kind of music do you make?!
CELESTE
I’m embarrassed to say.
MUSICIAN
Why?
CELESTE
Because I don’t want you to make fun of me.
MUSICIAN
I’m not going to make fun of you!
CELESTE
Pop music.
MUSICIAN
I love pop music.
CELESTE
No you don’t!
MUSICIAN
Of course I do. Who doesn’t love pop music?
INT. HOTEL HALLWAY - LATER
MUSICIAN leans heavy against CELESTE. She tries to open the door with her key but it doesn’t work.40.MUSICIAN
Do you have any drugs in the room?
CELESTE
Only pain killers.
MUSICIAN
(laughs)
Okay.
CELESTE
I have to go downstairs and get a
new card. I think I grabbed my sister’s key.
INT. HOTEL ROOM - NIGHT
HANDHELD ON -
It’s very dark. The faintest moonlight and city lights shine
off CELESTE’s skin. Nude, she performs the same choreography we saw briefly earlier with her choreographer for the MUSICIAN who cheers her on. The moment is warm and human. She looks softer and more fragile here than previously.
MUSICIAN
This is brilliant!
CELESTE
Shut up!
MUSICIAN
You left out a drop and crawl.
CELESTE
(extremely bashful)
I’m not doing that.
Beat.
CELESTE (CONT’D)
You do it.
MUSICIAN
Fine, I will. Get off my stage.
MUSICIAN hops off the bed, also nude, and playfully drops, crawls, and sloppily turns himself upside down. 41.INT. HOTEL ROOM - LATER
SFX: Shostakovich mournfully underscores the scene.
CELESTE lies next to MUSICIAN. The necklace which covers the
scar on her throat gives her appearance a sci-fi quality: The Woman Who Fell to Earth.
MUSICIAN is almost asleep in a dope haze. It gives a casual
air to the proceedings.
CELESTE
You make the same sort of music the boy who attacked me used to listen to.
MUSICIAN
Does that remind you of him?
CELESTE
It did just this moment.
MUSICIAN
I hope that doesn’t upset you too much.
CELESTE
It doesn’t. I think that when you meet someone who is going to become important to you that it forces us to look back at the past so we can get on with the future is all.
MUSICIAN opens his eyes, thinks.
MUSICIAN
In our defense, maybe it was the thing that pushed that kid over the edge or maybe it was the only thing that could have saved him and all those other poor kids.
CELESTE’s expression darkens.
MUSICIAN (CONT’D)
Anyhow, I’m glad you think I’ll be important to you.
CELESTE
I try not to think about it or talk about it.42.MUSICIAN
Why would you? I mean, what is
there to talk about?
CELESTE smiles.
CELESTE
That’s what I love about pop music, I think. I don’t want anyone to have to think too hard. I just want them to feel good.... Put your hand between my legs.
MUSICIAN responds.
CELESTE (CONT’D)
Inside.
He nods.
CELESTE (CONT’D)
(whispers)
Since last January, I have the same dream every night.
MUSICIAN
Tell me.
CELESTE
In my dream, I am speeding through a tunnel that won’t end.
MUSICIAN
You’re in a car?
CELESTE
No, it’s a motorbike - or maybe it’s not but I am wearing a helmet or something because my view is through some sort of a mask - and every time I turn these wide bends in the road, I drive past a body but I don’t stop for it.
MUSICIAN
A dead body?43.CELESTE
Not exactly but, lifeless - after
some time I realize that they are these doubles of me, like clones, that I’ve tried to send down the tunnel in my place but they’ve never made it to the end. They’re not ever the same age and they’re always laid out in a different configuration.
MUSICIAN
That makes sense.
CELESTE
Does it?
He wakes up a bit.
MUSICIAN
Sure - you almost died so now it’s easy to imagine yourself dead at any age.
CELESTE
But in the dream I know that I will never die.
MUSICIAN pushes into her deeper and makes a crude joke.
MUSICIAN
What’s at the end of the tunnel.
She laughs.
CELESTE
I always wake up before I get there but I’m so frightened because I’m going somewhere where no one can find me and no one knows my name.
INT. HOTEL HALLWAY - EARLY THE NEXT MORNING
CELESTE exits an elevator and tiptoes down the hallway. As she comes close to us, we see that tears stream down her face. She looks pretty strung out.
CAMERA pans and follows her to the end of the hall. She reaches her sister’s room and slips a key into the door.44.INT. HOTEL ROOM - CONTINUOUS
She opens the door and freezes upon the sight of THE MANAGER,
naked, sleeping next to ELEANOR.
CELESTE stands a long beat looking at them then...
CELESTE
Guys, wake up.
They don’t respond.
CELESTE (CONT’D)
Please, you gotta wake up.
ELEANOR suddenly shoots up in bed.
ELEANOR
What are you doing in here?
CELESTE
I had your key. Where’s the
remote?
CELESTE searches the room feverishly for a remote control.
CELESTE (CONT’D)
You gotta turn on the news.
ELEANOR is completely out of it. She shouts...
ELEANOR
GET OUT OF HERE!
CELESTE
Where’s. the. remote? A plane just crashed into a building in New York.
EXT. TUNNEL - DAY
A motorcycle speeds through a tunnel.
After some time...
LOUDPSEAKER VOICE
Now, slow to 40-
NEW ANGLE -A camera crew in a follow car tries to keep a steady pace
behind the motorcycle.45.CELESTE clutches a man on a motorcycle and she wears a very
distinctive mask.
CLOSE ON -CELESTE’s face. She lip syncs through the open hole for the
mouth.
CELESTE
(sings)
Take me by the hand to where no one knows my name.Make me feel different tonight or make me feel the same (as I used to...)But when I’m out on stage, it’s all for youWhen I can’t make the gradeI know who’s out there to pull me through (through)I’m sick and I’m tired of this party (party)All I can think is you and your body (body)
INT. TUNNEL - LATER
For a new set-up, CELESTE now has her face revealed to camera while a group of back-up dancers now wearing different variations of the mask from the previous shot lunge towards the center of the lens.
CELESTE
(lip syncs to playback)
(I keep singing) One for the money! two for the show! on three we get ready and - on four we go!(I keep hearing) One for the money! two for the show! on three we get ready and -on four we go!
NEW ANGLE ON -
In profile, we TRACK LEFT with the camera crew and dance
troupe as they perform, lunging over and over again at the camera and track set up in front of them. They each take turns vying for the front position.46.From this angle each gesture seems lightly absurd.
FADE TO BLACK:
INSERT TITLE:
ACT II
EXT. BRAC BEACH RESORT - DAY
ULTRA WIDE PANORAMA ON -
Due to the uniform aesthetic of the striped umbrellas it
resembles the 1950’s but the beachwear suggests that actually some years have passed.
After some time, a row of men dressed in masks enter the
frame and begin shooting at civilians. It takes a moment for the crowd to react and understand.
People begin running for their lives. Most run directly into the sea. Dozens are shot in the back and fall into the water.
The scene is horrific, brutal.
INT. ATLANTIC CITY HOTEL - MORNING
STEADICAM ON -
THE MANAGER, older now, even more disheveled, walks briskly
down the hall of an upscale hotel.
A stylist and a few PA’s exit a room and nod at him as they
pass. He turns to look at them keeping up his pace.
THE MANAGER
where are you going?
STYLIST
For a cigarette. She’s with make-up.
THE MANAGER
is she dressed?47.STYLIST
Hair wanted her before we start.
THE MANAGER
round tables are at 1.
STYLIST
That’s not on me. We started 40
minutes late.
THE MANAGER bites his lip.
THE MANAGER
how does she look?
STYLIST
Tired.
INT. HOTEL ROOM - MOMENTS LATER
A MAKE-UP ARTIST works on CELESTE who looks a bit worse for wear. It’s clear from her matured features that at least 15
years have passed. She’s dressed in nude spanks with her hair plastered down for a wig.
PROFILE ON -
CELESTE regards herself in the mirror.
CELESTE
What do you think?
MAKE-UP ARTIST
You look beautiful. I think it’s
enough of a statement with the brows. I don’t want to keep fussing with it too much.
CELESTE
(despondent)
Okay.
CELESTE lights up a cigarette. A knock comes at the door.
CELESTE (CONT’D)
Come in.
NEW ANGLE ON -
THE MANAGER enters...48.THE MANAGER
how‘s it going in here?
MAKE-UP ARTIST
20 minutes away.
THE MANAGER
great. (Beat) celeste, i need to
speak with you before we start today.
CELESTE
What is it?
THE MANAGER
it’s better in private.
CELESTE
Toni doesn’t care. What is it?
THE MANAGER gathers himself and speaks.
THE MANAGER
there’s a- shooting, they think it’s terrorism, in a beach town called brac in croatia.
CELESTE turns around in her chair.
CELESTE
We know someone who got hurt?
THE MANAGER
no, of course not. don’t worry. i guess there’s not really a lot of information yet but so far twenty people are dead and-
CELESTE
Hey, we finally got our act together; can’t cancel a show every time something terrible happens somewhere.
THE MANAGER opens his mouth to interrupt but fails to get a word in.
CELESTE (CONT’D)
No, listen, whatever it is, no one is going to think we are insensitive for playing a gig halfway around the world.49.THE MANAGER
it’s not that.
CELESTE
Who did it?
THE MANAGER
far as i know, nobody’s claimed
responsibility yet but let me finish.
CELESTE braces herself.
CELESTE
Okay.
THE MANAGER
the attackers were all wearing masks from our One For the Money video.
CELESTE furrows her brow.
CELESTE
What?
THE MANAGER
these guys all came out in masks and started shooting people at a beach resort.
CELESTE
How similar?
THE MANAGER
what?
CELESTE
The masks.
THE MANAGER
i don’t know, the same ones, i guess.
THE MANAGER runs his hands through his hair and shakes it out.
CELESTE
Okay. (beat) Why?
He shrugs.50.THE MANAGER
that’s as much as I know. you’re
going to get a lot of questions about it today and i want you to be prepared.
CELESTE
Fuck me. I can’t believe this is happening today.
BEAT. CELESTE thinks.
CELESTE (CONT’D)
Can we call off the press?
THE MANAGER
we can - but probably not without calling off tonight, as well.
CELESTE
What a mess.
THE MANAGER
josie thinks it looks bad to avoid it anyway. people are going to be on your side. we just need to face it head-on and be, ya know, astute in our response. we’re making arrangements now to hold a press conference downstairs at 4.
CELESTE
A press conference!? Are you kidding me?
THE MANAGER
it’ll be 5 minutes. i called josie and told her i need her here with us to prepare a statement. now.
INT. STAIRWELL/ CASINO / HOTEL LOBBY - LATER
STEADICAM ON -
CELESTE and her entourage walk briskly down a flight of
stairs and then through a casino.
CELESTE
Has anyone heard about Albertine? My phone’s dead.51.THE MANAGER
albertine is in the restaurant
having lunch. i’m walking you to see them right now.
CELESTE
Is she mad at me?
THE MANAGER
why would she be mad at you? she’s excited to be here.
JOSIE, THE PUBLICIST
I pushed roundtables until after press assembly so that hopefully allows us time for a few more details to pour in.
THE MANAGER
do I dare to ask if you’ve heard anything else yet?
JOSIE, THE PUBLICIST
Not really. The gist I have so far is that it might all be a coincidence-
CELESTE
A coincidence, how?
JOSIE, THE PUBLICIST
(exhales)
I don’t know, they stopped at a costume shop and picked up the first disguise, or whatever you want to call it, that they saw; but now the article SRK sent over speculates that it’s more likely that the group-
THE MANAGER
the gunmen.
JOSIE nods.
JOSIE, THE PUBLICIST
-are exploiting your image and body of work as a symbol of moral corruption in the west or something lunatic.52.THE MANAGER
given her history, i think we
really gotta try and view this as an opportunity to address a few important issues to celeste.
JOSIE, THE PUBLICIST
In all likelihood, “her history” is half the reason they decided to target her.
Then to CELESTE...
JOSIE, THE PUBLICIST (CONT’D)
You need to make it clear from the outset that you’re not canceling the show tonight or any upcoming dates because there’s not enough information yet to justify canceling.
CELESTE is totally strung out, distracted by all the commotion from the casino games and slot machines.
CELESTE
Which important issues to me? What did you mean?
THE MANAGER
gun violence
CELESTE
In Brac? Come on, let’s not try and see this as an “opportunity,” man .
THE MANAGER
don’t be nasty and sarcastic. i’m not trying to gloss over what’s happened, celeste. we’re here to protect you from getting hurt by this in any way.
JOSIE, THE PUBLICIST
Keep it focused on your outpour of love and mourning for the victims, and victims of violence all over the world.
CELESTE
Can I tell these guys to go fuck themselves? 53.JOSIE, THE PUBLICIST
Nobody’d blame you but don’t say
anything rash. I don’t want to leave anyone in that room a way to misconstrue what you’re really trying to say.
They turn a corner.
JOSIE, THE PUBLICIST (CONT’D)
It’s terrible that you’ve gotten dragged into this. Everyone out there will feel for you. Just speak from the heart.
CELESTE
I feel like I’m gonna throw up.
JOSIE, THE PUBLICIST
You want us to get you something?
CELESTE
No, it’s just my meds.
JOSIE, THE PUBLICIST
I’m gonna greet everyone and get us set up in the banquet hall. I’ll meet you back here in an hour.
THE MANAGER’s phone rings. They continue walking to the end of the hall and make a left into the lobby.
THE MANAGER
hello.(beat) i know, i didn’t forget but tell him I have to call them back in the morning, my time.
She furiously searches for any sign of ALBERTINE.
CELESTE
Are they in the restaurant?
THE MANAGER
i don’t know, let me call them. eleanor just said they were “downstairs.”
CELESTE spots them off-screen.
CELESTE
Why didn’t you guys come up to the green room?54.CAMERA WHIPS to reveal ELEANOR, a woman now, and ALBERTINE,
CELESTE’S 13 year-old DAUGHTER...
CELESTE (CONT’D)
Baby, you look so tired. Do you
want to come up to my room and take a nap?
CELESTE reaches out to her daughter in a warm embrace.
ALBERTINE
No, I’m really hungry.
Closer now, ALBERTINE looks strikingly like CELESTE when she was younger.
ELEANOR interjects...
ELEANOR
She wouldn’t eat anything I ordered
for her down here.
CELESTE
(to Albertine)
I don’t blame you. I had some room service upstairs earlier. It’s awful.
ALBERTINE
It’s not that. There was a lot of turbulence. It made me feel sick.
CELESTE
Did you have fun with Aunt Ellie?
ELEANOR speaks to THE MANAGER. It’s awkward.
ELEANOR
I showed her around our hometown.
THE MANAGER
(to Albertine)
hey, nice seeing you, ladies.
CELESTE
Did you have a good time with Grandma and Grandpa?
ALBERTINE
Yeah.
ELEANOR
How’d it go?55.CELESTE
What?
ELEANOR
The conference.
CELESTE seems like she’s almost already forgotten.
CELESTE
Haven’t done it yet. Today’s a sick
kind of joke.
ELEANOR
(protective of Albertine)
I know but let’s not talk about it now.
ALBERTINE
What’s wrong?
ELEANOR
None of your business. Grown up problems. Don’t worry about it.
CELESTE
Do you want to have lunch with me, honey?
CELESTE looks at ELEANOR and THE MANAGER.
CELESTE (CONT’D)
Can I take Albertine for a quick solo girl’s lunch?
ELEANOR seems like the decision-maker.
ELEANOR
(to Albertine)
Of course, but I need you back by 4 so we can get dressed for mom’s show.
(to CELESTE)
We bought outfits for tonight.
He says to ELEANOR...
THE MANAGER
she’ll have her back by 3.30.
Then to CELESTE...56.THE MANAGER (CONT’D)
celeste, can you stick around the
hotel please? i have to go upstairs and meet josie.
CELESTE
I need to get out of this place for a bit, clear my head.
THE MANAGER looks like he’s about to explode.
THE MANAGER
fine. let me call the hotel’s head of security and see if they can pick you up.
CELESTE
We don’t need a babysitter. I’m gonna walk Alby across the street for some food. Relax.
THE MANAGER
across the street? please be back before 3:30.
CELESTE throws a friendly arm around Albertine and starts walking her away from ELEANOR and THE MANAGER.
NOTE: The following is in one uninterrupted sequence shot
until otherwise noted.
CELESTE
(To ELEANOR) Go take a nap. I’ll bring her back to the room when we’re done.
CELESTE and ALBERTINE walk side-by-side through the lobby. From this angle, they look they could be friends, the same age.
CELESTE (CONT’D)
What do you want to eat?
ALBERTINE
I don’t know.
CELESTE
(messily)
What do you mean? Of course you know. I hate talking to kids your age now and they always say they “don’t know” about everything. Are you feeling depressed or what?57.ALBERTINE
No.
Some hotel guests seem to recognize CELESTE as she walks by.
CELESTE
I’m only teasing. Don’t listen to
me. Trying to get you to relax around me.
ALBERTINE
I am relaxed. I’m just uncomfortable because so many people are looking at us.
CELESTE hasn’t noticed.
CELESTE
That’s why I want us to get out of here. There’s gonna be cameras outside cause everyone knows we’re here. You wanna go around the back.
ALBERTINE
No, I’ll just walk ahead of you.
ALBERTINE speeds up her pace and puts her head down as she steps through the Hotel’s Front entrance.
CELESTE steps outside...
EXT. HOTEL / ATLANTIC CITY STRIP - CONTINUOUS
A team of photographers stand behind a barrier. CELESTE
walks by as quickly as she can.
PHOTOGRAPHERS
Celeste! Can you take a minute to talk with us? Celeste!
CELESTE waves as she walks by and continues.
We follow her around the bend and she turns around to speak
to someone off-screen.
CELESTE
Hey man! Please don’t follow me. I’m going to have lunch. I’ll be back here in 45 minutes and you can take as many pictures as you want. Can you leave me alone?58.Suddenly an outburst...
CELESTE (CONT’D)
I’m serious, man, get away from me.
Beat. She looks back again.
CELESTE (CONT’D)
Thank YOU. Jeez.
The camera pans up to the stretch of Atlantic City skyline as
as we follow CELESTE for the length of the block until she finally catches up with ALBERTINE.
CELESTE (CONT’D)
Hey, slow down.
ALBERTINE
I hate those people.
CELESTE
Everybody hates those people. Don’t think about it. You should have let ‘em take your picture back there cause you look so beautiful today.
ALBERTINE
No, I don’t. I just got off a plane. I don’t have any make-up on.
CELESTE
Can I give ya some of mine? I looked like a pterodactyl when I woke up this morning.
ALBERTINE sort of laughs at the joke.
CELESTE (CONT’D)
That’s the thanks you get for giving the gift of life. No good deed, unpunished. Little babies suck the life blood right out of ya.
ALBERTINE
Shut up, you look great, mom.
CELESTE
Thank christ for that. I’m better off than some of these other girls I meet.
ALBERTINE
Like who?59.CELESTE
I’m not telling!
ALBERTINE
Why, what’s wrong with them?
CELESTE
Nothing really, I just mean when I
flip through magazines I see all these girls I know and half the time, I’ve seen them naked in a dressing room or whatever so I know where they have an ugly birthmark or they got a tail cut off.
ALBERTINE shoots her a look.
ALBERTINE
Who had a tail?
CELESTE
Don’t look so excited cause I’m not telling you. I mean, come on, I wouldn’t want anyone spreading that kind of personal stuff about me around.
They arrive at the restaurant and enter but camera stays
positioned outside and views much of the rest of the scene through a window...
INT./ EXT. DINER - AFTERNOON
CELESTE and ALBERTINE sit down at an empty cafe table
opposite one another.
Heavy traffic reflects off the glass in front of us
throughout the shot.
CELESTE
It’s nice to sit with someone who doesn’t have their face buried in their phone.
ALBERTINE
Ellie took my phone away.
CELESTE
Well, she was probably right to take your phone away. That’s cool, you should listen to her.60.ALBERTINE
If she’s so cool then why do you
hate having her around?
CELESTE
I don’t hate having her around. I just wanted some alone time with you.
ALBERTINE
You act like you hate her.
CELESTE
Don’t say ugly things like that. That’s not true.
ALBERTINE
I’m not saying that you actually hate her, I’m just saying you act like it.
CELESTE
Well, sometimes I’ve got a short fuse, you know, cause I don’t sleep a lot and I’ve got a lot of stuff on my plate. There’s no money in music anymore. It’s all branded content and Virtual Reality. I do voices for a video game character now for Christ’s sake, and I make more money in an afternoon than all year on tour.
ALBERTINE
Then why do you leave us and go on tour for so long?
CELESTE blows a gasket but tries to keep a lid on it.
CELESTE
It’s a lot more complicated than that. If I don’t keep up with the times, the times leave without me, you know, and I got a lot of people to pay. More people than you can imagine. It’s a full-time job. It’s like I’m connected to the whole world all the time. I can hear everyone in my head.
ALBERTINE
I thought we were talking about Aunt Ellie.61.CELESTE
What do you want to talk about? Is
she okay?
ALBERTINE
She’s upset you don’t ever try and see her.
CELESTE
She told you this? That really pisses me off that she’s bringing our problems into my relationship with you cause that has nothing to do with you. You got that? Nothing.
ALBERTINE
What problems do you have with her?
You have everything she ever wanted.
CELESTE throws her hands up.
CELESTE
That’s ridiculous.
ALBERTINE
I’m serious. When we visited Grandpa he even showed us this video of her singing when you guys were little and he kept calling her Celeste. He was joking about it but I could tell it just made her feel bad.
CELESTE’s energy turns increasingly manic.
CELESTE
Hey, what can I say, your aunt has too many scruples and sometimes life just isn’t that fair.
Especially not nowadays.
CELESTE tries to come at her point from a different angle.
CELESTE (CONT’D)
People now will try and sell ya a TV monitor that plain as day looks like shit, but they call it “ultra,” “mega,” “triple hi-def,” whatever, and their business model relies on their customer’s unshakable stupidity.
(MORE)62.Deep down maybe we probably all
sense this - their intimate knowledge of our commitment to the lowest common denominator - but we go along with it anyway.
CELESTE laughs.
ALBERTINE
Okay-
CELESTE
I mean, I’m pretty sure that every year my videos look worse and worse but they're doing better and better. For example, they showed me this perfume thing we shot last year where I’m unfurling from a digital rose petal like Thumbelina and I thought it would ruin me! But here I am opening for 70,000.
ALBERTINE
Mom, what are you even talking about-
CELESTE lays down the law.
CELESTE
I’m letting you in on a secret cause I love you, that’s what. It doesn’t matter anymore if you’re Michelangelo or Michael & Angelo
from Ridgewood, you just need an angle. And Aunt Ellie never found an angle. She had her head in the clouds and then she decided to be jealous of my good fortune. She made her own choices and let me tell you, she could never do what I do, day in and day out. Luckily, she gets to go home to you every night and she doesn’t have any real life responsibilities because I finance her entire life.
ALBERTINE
Be quiet.
CELESTE
Don’t tell me to be quiet.
ALBERTINE rolls her eyes.CELESTE (CONT’D)
63.ALBERTINE
No, shh, I don’t mean it like
that... Isn’t that your song?
They stop and listen.
CELESTE
I’m sorry. Let me go ask them to turn it off.
CELESTE stands and walks over to the bar. Camera pans with her...
CELESTE (CONT’D)
Hey, can you turn that off please? We’re about to order some lunch and I’m trying to talk with my kid but all I can hear is my voice inside of my head.
BARTENDER
Yeah, sorry, my manager told me to put it on.
CELESTE
It’s fine, listen, can you send me over a drink and maybe a soda for her?
BARTENDER
What would you like?
CELESTE
I don’t know, a glass of white wine or something, whatever you have that isn’t gross. And can you put it in a plastic cup or something?
BARTENDER
Sure.
NOTE: End of sequence shot.
NEW ANGLE ON -CAMERA inside the restaurant; CELESTE walks into CLOSE-UP and
sits down.
CELESTE
Hey, I’m sorry to rag so much on Ellie. I know she’s doing her best. I’m having a shit day and I’m taking it out on her.64.ALBERTINE
Better her than me.
CELESTE
I never take it out on you.
ALBERTINE
Okay.
CELESTE
I don’t, do I?
Beat.
CELESTE (CONT’D)
Well, if I do, I don’t mean to.
CELESTE suddenly has tears in her eyes.
CELESTE (CONT’D)
Sometimes when you think it can’t
get any worse, you get diagnosed with some freakin’ disease, you know what I mean?
ALBERTINE shifts in her chair.
ALBERTINE
Are you sick, mom?
CELESTE wipes her face.
CELESTE
No, I don’t mean literally, I just mean sometimes you get kicked when you’re down.
CELESTE can’t stop crying.
CELESTE (CONT’D)
I’m sorry. I shouldn’t do this in front of you.
ALBERTINE
It’s fine.
CELESTE
(forces a smile)
No, it’s not. I’d slap me in the face if I was sitting across from me right now.
ALBERTINE
Really, it’s fine.65.CELESTE exhales and dramatically delivers.
CELESTE
Dan left me.
ALBERTINE
I know. I read about it.
CELESTE furrows her brow.
CELESTE
You read about it?! Aunt Ellie’s
not supposed to let you read all that gossip shit.
ALBERTINE
She can’t control everything I do like a watchdog.
CELESTE
Yeah, but I just wanted to be the one to tell you. I feel like big moments keep getting stolen away from me.
ALBERTINE
Mom. It’s fine. I don’t care. I don’t care about that guy.
CELESTE looks shocked.
CELESTE
I thought you loved Dan.
ALBERTINE
He was fine. I was just nice to him because he was nice to you.
A SERVER enters with CELESTE and ALBERTINE’s drinks.
SERVER
Here you are. Have you decided on something to eat?
CELESTE tries not to look up and let him see she’s crying.
CELESTE
I think we need another second with the menu. Thanks.
ALBERTINE
I just want the pasta with marinara.66.SERVER
You want me to put that in now or
want me to wait?
CELESTE
It’s fine, I don’t need anything. Just bring her some pasta.
The server walks away.
ALBERTINE
Why did he leave you?
CELESTE
Who said he left me?
ALBERTINE
You did.
CELESTE
Well, he didn’t. We left each other because if you love something you give it away.
ALBERTINE
Was he seeing someone else?
CELESTE
Is that what you read?
ALBERTINE
Yeah, it said he started dating some rich girl.
CELESTE
I don’t know. If he is, he didn’t tell me about it. I’m sure it’s just a fling. I’ve had flings too that I don’t want anyone to define my character by.
The RESTAURANT MANAGER suddenly interrupts the flow of conversation.
CELESTE keeps her face down.
RESTAURANT MANAGER
Drinks okay?
CELESTE
Yes, thank you.67.RESTAURANT MANAGER
I’m the manager here so let me know
personally if you need anything.
CELESTE
Will do, thanks.
BEAT. He doesn’t go away.
RESTAURANT MANAGER
You mind if I get a quick picture with you?
CELESTE
I’m sorry but now’s not a great time.
RESTAURANT MANAGER
It’s not for public use or anything. Just for me. It will only take a minute.
CELESTE finally looks up at him defiantly revealing the smeared make-up from her tears.
CELESTE
Is this really what you want a picture with? I’m trying to talk with my daughter.
RESTAURANT MANAGER
I’m sorry but you really don’t have to use that tone with me. I think I asked you very nicely.
ALBERTINE
Let’s just go.
Without warning, CELESTE suddenly slams her hands on the table.
RESTAURANT MANAGER
Alright, m’am. I was trying to be friendly with you but now I’m going to have to ask you to leave the restaurant.
CELESTE
Are you fucking serious, man?
RESTAURANT MANAGER
Please don’t use that language with me.68.CELESTE stands and gets in his face.
CELESTE
How dare you, motherfucker.
The RESTAURANT MANAGER calls over to the SERVER.
RESTAURANT MANAGER
Ally, can you call the cops please.
CELESTE
Who the fuck do you think you are.
RESTAURANT MANAGER
I was about to ask you the same
thing. I can smell that you have alcohol on your breath, miss, so I won’t take this personally.
CELESTE
Are you trying to embarrass me in front of my daughter.
RESTAURANT MANAGER
I didn’t even know you had a daughter. I just came over to be friendly and then you started shouting at me and now I’m telling you to leave my restaurant or I’m calling the cops.
ALBERTINE
Please, let’s go!
CELESTE considers her options and then turns exits the restaurant with ALBERTINE.
CELESTE
(on the way out)
You should be ashamed of yourself, prick.
The door shuts.
RESTAURANT MANAGER
No, you should be ashamed, miss.
The RESTAURANT MANAGER turns to his staff members.
RESTAURANT MANAGER (CONT’D)
Can you believe that crazy bitch? Mike, did you get that on camera? 69.EXT. ATLANTIC CITY STRIP - MOMENTS LATER
SFX: Richard Wagner’s Rienzi Cverture underscores the scene.
It violently fights the wind, conversation, and traffic
outside.
STEADICAM ON -We follow CELESTE who has her arms wrapped ALBERTINE’s
shoulders.
CELESTE
Let’s make a right here and go around the back so we don’t have to deal with all those shitheads out front.
They turn right and walk... Beat.
CELESTE (CONT’D)
I’m really sorry I lost my cool with that guy.
ALBERTINE
He was asking for it but I don’t want to talk about it.
CELESTE
You seem shook up. That kind of thing doesn’t happen all the time, you know, but sometimes it does and I gotta protect myself.
ALBERTINE
I said I don’t want to talk about it.
CELESTE
But baby, we gotta talk about it, otherwise, it’s just gonna hang in the air. Why don’t you want to talk to me?
ALBERTINE sulks.
CELESTE (CONT’D)
You got tears in your eyes. Come on, what is it?
ALBERTINE’s voice cracks with heartbreak but they never stop walking.70.ALBERTINE
(shattered)
I’m worried about you!
CELESTE
Worried about me?! Come on, you
don’t need to worry about ME. I’m solid. I worry about YOU. That’s my job, to worry about you.
ALBERTINE shakes her head.
ALBERTINE
You’re skinnier than I am.
CELESTE
That’s cause I’m in great shape from going out and dancing my ass off every night.
CELESTE squeezes her close. ALBERTINE wipes some tears off her face.
CELESTE (CONT’D)
Come on, baby. You’re breaking my heart. Listen up, what that guy said about me having alcohol on my breath; that was a terrible thing to imply in front of you and instead of just ignoring the elephant in the room, we need to talk about it, head-on.
CELESTE finds the words...
CELESTE (CONT’D)
I ordered a glass of wine from them in a plastic cup cause I needed to let go of some tension I’m having about tonight and I didn’t want you to think there was anything to worry about. I swear on your life I wasn’t drinking before that today. You don’t need to worry about stuff like that, okay?
The girls continue their walk and talk down the boulevard as diegetic sound fades out and the NARRATOR takes over.71.NARRATOR (O.S.)
In 2011, Celeste had drunk herself
blind, or more precisely, blind in
one eye, but had waited to tell a physician about the trouble she’d been having, too embarrassed to explain that while touring the less inhabited, and therefore less inhibited, parts of the southern United States, she had managed to damage the optic nerve in her left eye by ingesting various forms of methanol during a stint of binge drinking household cleaning products across three state lines. Shortly thereafter, when back at home, she found herself at the center of a very public dispute over a traffic collision and one pedestrian’s crushed left leg and pelvis.
The girls continue to walk and comfort each other.
NARRATOR (CONT’D)
The victim of this short-lived episode in her life saw an opportunity and seized it. That golden ticket came in the form of a nearly seventeen million dollar settlement which was to remain for all intents and purposes, under the table. All just another flame in the crowd of what Celeste perceived a decade-long witch hunt. Whatever it was, Celeste needed something big to pull her out of this mess, a show that could put Ellie, Albertine, and herself back on track.
ALBERTINE looks like she’s starting to let CELESTE cheer her up.
Diegtic sound resumes for a moment...
CELESTE
What is it? You got something else
on your mind?
ALBERTINE
It’s nothing.72.CELESTE
Stop it. What is it?
Diegtic sound fades out and the narrator resumes...
NARRATOR
Albertine had lost her virginity
the weekend prior to leaving for this first unveiling of Celeste’s 6th studio recording, Vox Lux, in Atlantic City, and yearned to share the galvanizing details with her mother. She had made herself sick with anticipation every day since and looked forward to the initial shock or sense of failure it might inspire in Celeste whom, albeit, no stranger to crimes of passion in her youth, had always spoken severely of young men; even warning of them more than mixing uppers with downers, for example.
The girls turn a corner into the backlot of the hotel where security stands already anticipating CELESTE’s re-entrance.
NARRATOR (CONT’D)
If all went according to plan, the news might just strike up a long-misplaced maternal instinct and Celeste would be forced to act as her confidant.
INT. HOTEL HALLWAY - LATER
ELEANOR answers the door to CELESTE.
ELEANOR
That was a fast-
ELEANOR sees that ALBERTINE isn’t with CELESTE.
ELEANOR (CONT’D)
Where’s Albertine?
CELESTE pushes past ELEANOR into the room.
INT. ELEANOR’S HOTEL ROOM - LATER
CELESTE paces circles around ELEANOR. She occasionally slurs
and stutters through her rant.73.CELESTE
I have her upstairs in my room
taking a pregnancy test cause apparently you’re so fucking incompetent that you let my daughter get fucked by some hick from town.
ELEANOR
She’s pregnant?
CELESTE throws her hands up.
CELESTE
Unless she’s as unlucky as me then probably not but I want her to feel the unease of waiting for the results to come in because a parent, or legal guardian,
disciplines the kid, doesn’t just hang out with them.
ELEANOR
I’m sorry. I had no idea.
CELESTE
You fucked up.
CELESTE holds up two fingers.
CELESTE (CONT’D)
Twice.
ELEANOR
I know you’re mad but-
CELESTE
How could I be so stupid?! If you did so badly with me how could I ever expect you to do right by her.
ELEANOR stammers...
ELEANOR
I knew she was seeing a guy but it didn’t seem physical, I swear.
CELESTE
Are you a retard?
ELEANOR
No.74.CELESTE
(slowly)
Ya know, Ellie, sometimes your jaw
slacks in this certain way like your life is just happening to you and you just look like a retard.
ELEANOR blinks, not sure how to respond. Tears stream down her face.
ELEANOR
Don’t say that about me.
CELESTE
Only crazy people get aggravated when you call them crazy so you must really be retarded.
ELEANOR
After everything I’ve done for you, how can you hate me so much?
CELESTE
Is that the kind of garbage you’ve been filling her head with? She told me all the shit you’ve been putting on her shoulders.
CELESTE uses two fingers to press the middle of ELEANOR’s skull.
CELESTE (CONT’D)
You have that hapless look like dad.
ELEANOR sits down in a chair and sobs.
HOLD ON THIS...
CELESTE (CONT’D)
I have a press conference then two
hours of round tables but I swear to God, Ellie, if my daughter comes back to me with that cross-eyed Guido’s kitten litter or Hepatitis Z, I’ll throw you off that balcony.
ELEANOR wipes the tears from her face.
ELEANOR
If you threaten me ever again, I’ll tell everyone I write your songs.
CELESTE chews her jaw.75.CELESTE
Today I’d say that’s a stock you
don’t want to buy into.
INT. HOTEL ROOM / MAKE-UP - LATER
A team of make- and hairstylists reset CELESTE’s face.
The STYLIST walks over with a new blouse for her to change
into...
STYLIST
Here you go, dear. That’s better.
THE MANAGER hovers around her, checking her out.
THE MANAGER
you look amazing. keep it simple. you’re gonna do great.
He squeezes her shoulders.
INT. PRESS ROOM - CONTINUOUS
CLOSE ON -
CELESTE is on-stage in front of a packed press room. Flashbulbs are blinding.
CELESTE
First I’d like to say that I have..
an outpour of love for victims of
this tragedy and victims of violence all over the world and I am deeply saddened to be associated with such an obscene and unnecessary tragedy... It’s a weird time we live in, and I guess, no matter how much we try and ignore these things that are really happening around us, they always find a way to creep in.
PRESS 1 (O.S.)
Jennifer Durst, WYNN NY, why do you think they targeted you? Do you assume there’s a connection to Ridgewood?76.CELESTE
No idea. I pretty much know as much
as you so far, and since nobody’s coming out and saying “we did this” yet, I’d really prefer not to speculate too much - but if they did pick that “disguise” on purpose I guess it’s cause they don’t like that I’m a woman or that I’m a successful woman. Maybe they don’t like that I had a kid when I was a kid. Maybe they think I’m a floozy. But I guess some of you think that too.
CELESTE shrugs and smiles.
CELESTE (CONT’D)
The way I have chosen to live my life goes against some people’s views about things.
PRESS 1 (O.S.)
Are there any links between you and central Europe?
CELESTE
I mean, not really. Not that I know of. I’ve never played there so I really don’t know.
MODERATOR chimes in.
MODERATOR (O.S.)
Next question... There, at the back.
PRESS 1
Sorry, I just have one more. Are you and the band still going forward with the show tonight?
CELESTE
There’s really not enough information yet for us to justify canceling and my dad always says, “never postpone joy,” so yeah, I’ll play if they let me.
CELESTE smiles and shrugs.77.PRESS 2 (O.S.)
Afternoon, Meredith Desh, Atlantic
City, Greater NorthEast, do you have anything you wish to communicate to the perpetrators of today’s attack?
There’s a LONG BEAT...
Hold on CELESTE. Bulbs flash over and over again.
CELESTE
(especially nonchalant)
Yeah, I’d like to tell them that
when I was a little girl I used to believe in God too...
The statement hangs in the air.
CELESTE (CONT’D)
-and if they ever come to their senses and they’d like something new to believe in, they can start believing in me cause I’m the new faith and I’m not afraid of them. Hell, I’d even like to extend an invite to my show tonight. I’ll be sure to put “cowards in masks” on the guest list.
PRESS 2
I’m sorry but can you clarify what you mean exactly?
ANGLE ON -
JOSIE and THE MANAGER bury their faces in their hands as arms
shoot up for further questioning.
BACK TO -
CELESTE.
CELESTE
I don’t know. I’m just making a
quip.
INT. ELEVATOR / HOTEL HALLWAY - MOMENTS LATER
CELESTE and her team are packed into an elevator.78.THE MANAGER
are you out of your fucking mind?
CELESTE
I don’t want to talk about it.
THE MANAGER
we coached you on what to say and
you said... the opposite. why the fuck would you start spewing all that weird shit out of your mouth?
CELESTE
You give it a try sometime. I was nervous.
THE MANAGER
i’m pretty certain if i follow, and correct me if i’m wrong, you compared yourself to some sort of a demigod and invited a group of terrorists to your fucking concert tonight.
CELESTE
Don’t give them so much credit, anyway, it was a joke.
THE MANAGER
not exactly how I think our sponsors are going to see it. do you actually believe that weird shit you said up there?
CELESTE
They wanted a show, I gave ‘em a show.
They arrive at their floor and step out.
JOSIE, THE PUBLICIST
Alright, this place is swarming with press. Can I kindly ask you both to keep your mouths shut until we are finished?
CELESTE winks at JOSIE.
CELESTE
Fine by me.
JOSIE says to THE MANAGER.79.JOSIE, THE PUBLICIST
Let me handle it. Go smoke a
cigarette or something.
INT. HOTEL ROOM / ROUND TABLES - LATER
JOSIE enters with CELESTE and tells the group...
CELESTE
(tongue in cheek)
hello everybody.
CELESTE seems even more strung out than before.
She sits down in front of four journalists and various
recording devices set up in front of her chair.
JOSIE, THE PUBLICIST
You have ten minutes, and as we currently have no more information regarding what’s happening across the Atlantic right now, I’d kindly like to ask everyone to keep the questions to tonight’s performance and the new album now as much as possible.
JOSIE turns and exits.
One journalist leads the charge.
JOURNALIST
Well, on that note then, can you
tell us what audiences can expect from the new album?
CELESTE
Sci-fi anthems. The concept with this one was to create an experience as relentless and addictive as possible.
A second JOURNALIST joins in...
JOURNALIST 2
I know we’ve just been asked to not talk about today’s attack but I guess I can’t help but let it contextualize my next question.
CELESTE
Okay...80.CELESTE bites her lip.
JOURNALIST 2
It just got me thinking, do you
feel that there’s been a shift in the culture where nihilist radical groups like this are increasingly keen on being perceived as superstars themselves?
CELESTE is suddenly lucid and precise in her language.
CELESTE
I mean, who cares? I was hesitant to even give a statement today because all these ultra-violent thugs want is to make headlines. If everyone paid them no attention, they'd cease to exist - and so would people like me. That’s the only link I see between them and superstars.
The group looks a little baffled by her digression.
CELESTE (CONT’D)
-but I couldn’t just ignore the casualties, ya know. Makes me sick.
JOURNALIST 2 writes down her statement.
JOURNALIST 2
Thanks for your answer, appreciate your candidness.
JOURNALIST
From the public’s perspective, this has been an-
The JOURNALIST chooses his words.
JOURNALIST (CONT’D)
-emotional few years for you, bizarre events today very much included. Can you shed light on the significance of these upcoming arena performances for you personally?
CELESTE
This is the culmination of my life’s work so far. You know, we worked on it for two years before bringing it to the public.81.JOURNALIST
Why two years?
CELESTE
Year before that I was under a lot
of stress after my accident-
CELESTE smiles a bashful grin.
CELESTE (CONT’D)
-and it’s an expensive event to put on, and we also waited on all the best people to become available to help us make it happen. I wanted all my best dancers back.
JOURNALIST
So, you consider these events a resurgence since the accident and arrest for “causing serious injury by dangerous driving?”
CELESTE blinks.
CELESTE
Injury, not serious injury. I never
stopped making music so I don’t consider it a “resurgence.” I just wanted to channel all that anxiety and suffering into something tangible, something positive.
JOURNALIST
Can you shed any light on why the case was abruptly dropped-
LONG BEAT.
CELESTE
I see what you’re doing.
JOURNALIST
You brought it up.
CELESTE
Don’t try and have me say “abruptly” anything.
CELESTE laughs and lights a cigarette.
CELESTE (CONT’D)
There are three classifications of gunshot wounds to the spine.
(MORE)82.I’m type three which is when the
bullet is actually inside the intervertebral disc space. Now, type three injuries are subdivided into (A) spinal lesion not
associated with perforation of abdominal viscera or (B) injury with perforation of abdominal organs. Thankfully, I’m type A., but it’s no secret to anybody that
I take meds for my injury and that I never shoulda been behind the wheel of a car that night.
CELESTE exhales and calls out for JOSIE.
CELESTE (CONT’D)
Josie!
JOURNALIST
I didn’t mean to upset you.
CELESTE
People used to talk about me like I was a hero and then all the sudden, I was lower than trailer trash. That’s what this show’s about; a rebirth.
JOSIE, THE PUBLICIST enters the room to stop the interview.
JOSIE, THE PUBLICIST
Time’s up.
JOURNALIST
Have you been at all in contact with the victim, Mr. Joel Hedlund?
CELESTE furrows her brow, suspicious.
JOSIE, THE PUBLICIST
Okay, that’s enough.
CELESTE
I said I can’t talk about it.
JOURNALIST
I thought we were talking about it just now.
JOSIE grabs CELESTE.CELESTE (CONT’D)
83.JOSIE, THE PUBLICIST
Does it not seem like an
insensitive time to be bringing this up? I’ve had it. You and I are through, Tommy. I’m sick of this kinda shit from you.
JOURNALIST
I’m doing my job, Josie.
CELESTE
This guy’s trying to kick me while I’m down.
JOSIE, THE PUBLICIST
Celeste, stop, this is over.
JOURNALIST
That’s not what I’m trying to do. I’m sorry you’ve misunderstood.
CELESTE
Why don’t you go and write about what happened to those innocent people today instead of trying to tear me down.
INT. HOTEL HALLWAY - CONTINUOUS
STEAICAM ON -
We follow JOSIE and CELESTE as they walk briskly down the
hall towards the stairwell. They pass several journalists sitting in folding chairs who are patiently waiting their turn for 10 minutes with CELESTE.
JOSIE, THE PUBLICIST
I’m standing everything down until after the show. I want you to go to your room and get some rest. SOME REST, okay? I’m serious. I’ll come get you at 6.30. What floor are you on?
CELESTE
One floor up. 1823.
INT. CELESTE’S SUITE - MOMENTS LATER
CELESTE enters to find THE MANAGER and ALBERTINE posed against her suite’s beachfront view in the middle of an embrace.84.CELESTE
Get your hands off her.
THE MANAGER squints his brow and lifts his hands from
ALBERTINE.
THE MANAGER
i came in here and she was crying by herself. she needed a hug.
CELESTE speaks only to ALBERTINE.
CELESTE
Go downstairs and get ready for the show.
ALBERTINE starts to rush past CELESTE but CELESTE catches her.
CELESTE (CONT’D)
Come on, don’t do that.
She whispers...
CELESTE (CONT’D)
I hope you didn’t take that thing I gave you. I over-reacted.
ALBERTINE doesn’t respond.
CELESTE (CONT’D)
What? You want me to shout it from the rooftops?
She pinches her daughter’s side.
CELESTE (CONT’D)
I’m just not ready for you to grow up is all. You’re my little girl. Forgive me?
ALBERTINE sort of smiles and nods her head.
CELESTE (CONT’D)
Hold on a minute.
CELESTE grabs a bouquet of flowers from a vase in her room and sets them next to some hotel stationary where she jots
down a crudely written
“I’m sorry I was a bitch” and sets
it on a rose.
CELESTE (CONT’D)
Give these to Ellie.85.She shoves the bouquet at ALBERTINE.
ALBERTINE
What’s this for?
CELESTE
For everything. Take them down and
I’ll meet you guys in the lobby. We’ll head over together. I love you.
ALBERTINE
Yeah, me too.
ALBERTINE kisses her mom and exits...
THE MANAGER (O.S.)
why aren’t you with Josie?
CELESTE is almost startled.
CELESTE
Jesus. I almost forgot you were standing there.
CAMERA pans over to THE MANAGER.
CELESTE (CONT’D)
Josie called off the rest of the day. Some guy was coming after me about Joel Hedlund and I just didn’t have the mental capacity or balls to take him on.
THE MANAGER
christ. i’ll go talk her off her a ledge.
CELESTE
No. Stay with me.
CELESTE sits down with her legs spread across from THE MANAGER.
CELESTE (CONT’D)
You got any stuff left from last night?
THE MANAGER
you think that’s a good idea right now?86.CELESTE
(frank, matter-of-fact)
I’m done yammering for the day.
THE MANAGER raises his eyebrows.
CELESTE (CONT’D)
What? Tonight’s second nature. I
gotta get out of my head, you know that. I’m getting myself all worked up from over-thinking everything. I keep picturing all those people screaming and running all over the sand.
THE MANAGER exhales, unsure.
CELESTE (CONT’D)
Come on, let’s just take what you have left. We won’t call for more until after the show and you can fuck me for a little while we’re high.
CELESTE comically holds her hand up for a high five. THE MANAGER laughs, give her a high-five, then holds onto her hand. In a way, they really love each other.
INT. HALLWAY - LATER
THE MANAGER exits holding the door open for CELESTE who is in
some fancy new wardrobe but looks obliterated.
THE MANAGER
Come on, everyone’s downstairs.
CELESTE trips out of the door, falls straight on her face.
THE MANAGER (CONT’D)
(deadpan)
You alright?
INT. VAN - EVENING
CELESTE seems almost dead in the backseat. ELEANOR, ALBERTINE, JOSIE, and THE MANAGER are all there, as well.
Suddenly, CELESTE pops up to exclaim...
CELESTE
Stop the car!87.THE MANAGER
We’re running late.
CELESTE
Just pull over for 2 minutes.
JOSIE, THE PUBLICIST
What is it?
CELESTE
I just need to do something for 2
minutes. Stop the fucking car!
EXT. VAN / BEACH - CONTINUOUS
The van pulls over and CELESTE jumps out.
CELESTE
Honey, come with me for a sec.
EXT. BEACH - MOMENTS LATER
ALBERTINE and CELESTE run up to the water and CELESTE kneels down.
CELESTE
(to Albertine)
Get down with me.
ALBERTINE is concerned.
ALBERTINE
What are you doing
CELESTE
Let’s just have a moment of silence together.
ALBERTINE cautiously kneels down.
CELESTE (CONT’D)
Let’s shut our eyes and hold everyone who’s suffering right now in our hearts.
ALBERTINE shuts her eyes...
NEW ANGLE ON -The water.88.EXT. ATLANTIC CITY STRIP - EVENING
A sign rotates advertising Celeste’s residence. The
advertisement boasts-
“CELESTE & THE DIRTY THIRTY PRESENTS VOX
LUX: LIVE”
EXT. BACKSTAGE LOT - CONTINUOUS
SFX: Constant percussion rises and falls in the mix.
Occasionally blending with the pre-show recordings inside the auditorium.
A security team awaits CELESTE’S arrival. After some time, a
van pulls up and CELESTE and her entourage exit the vehicle. JOSIE has to help CELESTE out of the sliding door.
FRANTIC HANDHELD ON -A PA speaks up...
PA
Can I help you Ms. Montgomery?
CELESTE
No one calls me that.
JOSIE, THE PUBLICIST
Give her some space. Are there
cameras back there?
PA
Not that I know of.
JOSIE, THE PUBLICIST
Tell your team if anyone is caught taking a picture of her, they’re fucking fired.
JOSIE turns her attention to CELESTE
JOSIE, THE PUBLICIST (CONT’D)
What can we get you?
CELESTE
I’m so thirsty.
JOSIE turns to the PA.89.JOSIE, THE PUBLICIST
Get her some sparkling water and
something to eat.
PA
Oh, sure, like what?
JOSIE, ELEANOR, and THE MANAGER are nearly dragging her into the back entrance of the auditorium.
JOSIE, THE PUBLICIST
Something with sugar.
CELESTE
Where’s Albertine?
ELEANOR
She’s behind you.
CELESTE
Take her to get something to drink.
ALBERTINE
We’re not leaving you. I’m right here.
CELESTE looks behind her to see ALBERTINE.
CELESTE
There you are. Don’t look so upset. Just go and get something to drink and get your seat.
INT. AUDITORIUM HALLWAY - CONTINUOUS
CELESTE’s LASER DIRECTOR greets her at the door.
LASER DIRECTOR
I just needed to quickly introduce myself. I’m stepping in for O’Malley tonight.
CELESTE looks at him but doesn’t respond.
JOSIE, THE PUBLICIST
Now’s not a great time.
The LASER DIRECTOR suddenly sees what terrible shape she’s in.
LASER DIRECTOR
Oh, sorry.90.CELESTE’s eyes focus...
CELESTE
Who’s O’Malley?
LASER DIRECTOR
Your laser director.
CELESTE
I’ve never met him. What happened
to him?
LASER DIRECTOR
He’s got a throat infection
CELESTE
-but this is the first show.
JOSIE cuts him off..
JOSIE, THE PUBLICIST
I said now isn’t a good time!
They keep walking. JOSIE looks across to THE MANAGER who has yet to say a word.
JOSIE, THE PUBLICIST (CONT’D)
I need you to call this RIGHT NOW if she can’t go on.
THE MANAGER
she’s fine. (to Celeste) stop with the histrionics, baby.
The PA walks ahead trying to make way for them.
PA
There’s a room prepared just here on the left.
The PA dictates a door on the left.
CELESTE
(shouts)
I KNOW! We’ve been here every day for a week.
CELESTE shakes everyone loose.
CELESTE (CONT’D)
Let go of me.
She braces herself against the doorframe. They enter the room. 91.CELESTE (CONT’D)
Everyone thinks I’m an idiot.
ELEANOR
No one thinks you’re an idiot.
CELESTE
(slurs)
Just, shut up-
THE MANAGER
don’t be a spoiled brat. you’re
embarrassing yourself.
CELESTE
(shouts)
Don’t call me brat!
ELEANOR says to JOSIE.
ELEANOR
Get her out of here.
Then to ALBERTINE. CELESTE shouts and rants behind her.
CELESTE
(belligerent shouting)
I’m sick of everyone talking about me like I’m not a person! I’m not
just a thing you can put on and wear!
ELEANOR
Baby, your mom needs me right now and I need you to go with Josie.
I’ll come out to you as soon as I can. Can you do that for me? I promise you everything is going to be all right, okay?
ALBERTINE
Okay.
ELEANOR
Okay.
ELEANOR shuts the door on the gang, leaving only CELESTE and THE MANAGER with her in the room.
THE MANAGER
don’t feed into this unhealthy behavior, ellie.
Then to Celeste, suddenly belligerent...92.THE MANAGER (CONT’D)
i’m sick and i’m tired of you
treating us like we’re not a person. how about that? at least everyone is out there talking and worrying about you, spoiled brat. no one will ever drum up a thing to say about the rest of us , spoiled
brat, and i don’t sit around whining about it.
ELEANOR
You too. GET OUT OF HERE!
CELESTE is an outright mess, sobbing and dazed.
THE MANAGER
seriously, she’ll be fine. she’s riding a bad wave that she’ll eventually come off of. we just need to snap some sense into her
Then back to Celeste, he says...
THE MANAGER (CONT'D)
you’re in a hole, isn’t that right, cel?
CELESTE has ceased to make much sense.
CELESTE
You can’t just press a button and take out your dishes!
THE MANAGER
okay, i think you’re really scaring everyone so you gotta just shut your eyes and pretend you’re the only one in the room. can you do that for me?
ELEANOR
I said get out.
THE MANAGER doesn’t budge.
ELEANOR (CONT’D)
Do you want me to call this off?
He exhales, kisses CELESTE on the forehead and exits.93.CELESTE
Everyone is talking about me like
I’m not a person right in front of them! They’re right in front of me when they do it!
ELEANOR holds CELESTE to her chest. CELESTE is an outright mess, sobbing and dazed.
ELEANOR
He’s a car salesman. Forget about him.
CELESTE
Ellie, they showed me these promos we shot and I looked so bad.
ELEANOR
What are you talking about?
CELESTE
No, don’t look at me like that, listen to me. They shot me with this new camera everyone told me is great but I looked so ugly. It made me want to die, Ellie.
ELEANOR seems possessed.
ELEANOR
You’re not gonna die.
CELESTE
I just want to be queen for them and sometimes I don’t feel like a queen at all, ya know? I’m so ugly underneath all this and if they only knew-
CELESTE cries with her eyes rolled back in her skull.
ELEANOR
I’m so grateful you’re alive and I’m here and I’m not going anywhere. Ever.
CELESTE has her face buried in her sister’s neck.
CELESTE
But the journalists can be so mean, Ellie.
They begin breathing in unison.94.ELEANOR
That’s because they’ve never made
anything they’re proud of, honey. You’re not here for them. You’re here for your fans. Tonight will be the greatest night of their lives and the public will be at your feet again. In just a few minutes, this nightmare you’ve been living will all be over, and it will have all been worth it... Let me help you get dressed.
INT. HALLWAY / UNDER THE STAGE - LATER
HANDHELD ON -
We follow CELESTE, the PA, and a few others down a long
corridor. She is now dressed in a surreal costume of white feathers and structured shoulder pads that make her look like a piece of Corbusier furniture.
SFX: An ambient drone. Percussion continues to amass. The
tension builds.
They finally reach Celeste’s TOUR MANAGER and a few others
who stand waiting for her.
PA
Here she is.
THE TOUR MANAGER
You look amazing!
CELESTE smiles, seems focused, less fucked up than before.
THE TOUR MANAGER (CONT’D)
Are you ready?
CELESTE
My daughter’s out there. Gotta make this amazing for her.
THE TOUR MANAGER
Let’s get started. (calls out) Everyone gather round me and Cel, will ya?
The band hold hands in a huddle. Her TOUR MANAGER leads a pre-show ritual.95.THE TOUR MANAGER (CONT’D)
I just want wanna say thank you for
this beautiful group of talented people. I’d like to take a moment to reflect on the last year and this crew who are like family. None of this would be possible without you. Now, are you psyched for tonight?
GROUP
Yeah!
THE TOUR MANAGER
Let’s give our girl some love!
They start to chant and rap.
CELESTE jumps around in the middle of the crew, she playfully
lunges at them like a prize-fighter.
The group chants a melodic mantra, singing “phenomenal” over
and over again. After a moment...
CELESTE
Who’s the badd-est bitch in the room!?
GROUP
You a-re!
CELESTE
Who’s the sickest b-and on the plan-et?
GROUP
We a-re.
THE TOUR MANAGER
Who makes this possible?
GROUP
We do!
THE TOUR MANAGER
Are we be gonna be good?!
GROUP
No!
THE TOUR MANAGER
Are we gonna be great?!
CELESTE is like a new person, completely in her element. 96.GROUP
NO!
THE TOUR MANAGER
Are we gonna be a-m-a-zing!?
GROUP
NO!
THE TOUR MANAGER
What are we gonna be then?!
GROUP
Phenomenal!
THE TOUR MANAGER
So, let us go higher and higher -
and higher - and higher - and higher - and higher - and higher -and higher - and higher - and higher, break!
She high fives the group breathes heavy, and steps to a platform where stylists put on a few finishing touches to hair and make up.
PA
10, 9, 8, 7, 6, 5, 4, 3, 2...
Following the countdown from 10 Celeste is finally elevated to the stage on a lift.
CAMERA stays tight on her on her rise up.
INT. STAGE - CONTINUOUS
CELESTE stands in silhouette against a set of massive
monitors that flash PAST, PRESENT, FUTURE over and over
again behind her.
The crowd of thousands is only occasionally illuminated in
brief flashes of light.
SFX: An ambient warble floods the space with sound.
Percussion occasionally rises and falls in the mix. She speaks into a mic saturated with vocal fx.
CELESTE
(heavy reverb)
TONIGHT.
(MORE)97.WE ARE GONNA BRING IT BACK TO WHERE
IT ALL BEGAN (began, began, began). You want to travel back in time with me?
The crowd cheers wildly.
CELESTE (CONT’D)
I can’t hear YOU!
The crowd cheers louder now.
CELESTE (CONT’D)
That’s right, bitches... As some of you might have heard, Celeste is Latin for... “heavenly.” Do you find me heavenly?
She suddenly strikes a new pose. Excessive cheering...
CELESTE (CONT'D)
Ha ha, I hear all you angels. 70,000 of my little angels.
She breathes heavy.
CELESTE (CONT’D)
So, tell me, how many of you out there have ever had a boy break your heart (heart, heart, heart)?
The crowd responds more and more to the playful tease.
CELESTE (CONT’D)
That’s what I thought - and how many of my little angels cry themselves to sleep at night because somebody called you an ugly name? Fat, hideous, slut. Well, guess what? People have been trying to take me down for years but I won’t STAY DOWN.
A wave of applause.
CELESTE (CONT’D)
Listen close cause tonight is for you, angels. I hear your prayers. This is the new New Testament and tonight is ALL FOR YOU (you, you, you, you, you).
A screen displaying a close-up of CELESTE’S face lights up behind her.CELESTE (CONT'D)
98.The monitors on the right and left flash VOICE, OF, LIGHT
over and over again.
CELESTE (CONT’D)
(no reverb)
Welcome to the VOX LUX tour, a
night you’re not soon to forget. EXALT ME ALL THE WAY UP PAST THE STARS. HIT IT!
THE BEAT DROPS and light shoots up in wide beams all around Celeste.
A new shift in the light reveals a backdrop of massive white
squares, something unusually architectural like graph paper.
Then suddenly 60 DANCERS DRESSED EXACTLY AS CELESTE enter
from the right and left and she is lost in the crowd of them. They occasionally strike unique poses.
CELESTE (CONT’D)
(sings in autotune)
VOX, LUX, RADIANT FLUX, FUTURE, POWER, NEVER, BETTER, VOX, LUX, RADIANT FLUX, FUTURE, CAN’T, COME SOONER, LOVE, SEX, PROMISE, DESIRE
CELESTE breaks into a regular singing voice, suddenly alone on stage.
CELESTE (CONT’D)
(sings)
Reading the papers making up stories (stories)I got 50 to life but who’s on the jury (jury)Ya never met me but you already know me (know me)The same old shit, the same old story (story)
CELESTE shifts her vocal style for the bridge...
CELESTE (CONT’D)
I’m made of stone, not boneMade up of steel, nothing re-al.But I’m looking at you looking at meAnd I can feel my heart begin to take a be-at
BACK to the CHORUS.99.CELESTE (CONT’D)
VOX, LUX, RADIANT FLUX, FUTURE,
POWER, NEVER, BETTER, VOX, LUX, RADIANT FLUX, FUTURE, CAN’T, COME SOONER
EVERYONE SINGS ALONG TO THE LYRICS.
The dancers return to the stage and lift CELESTE high above
them.
SFX: Berlioz’s choral piece “La Damnation de Faust” starts to
drown out all diegetic audio. A SERIES OF CLOSE-UPS -- Drummer, triumphant- Keyboards, triumphant- Violins, triumphant- THE MANAGER watches from the wings, triumphantSUPER SLOW MOTION ON -CELESTE’s face being carried and passed over by the dancers
underneath her.
HOLD ON THIS... HOLD.
NARRATOR
Late one night at the hospital,
following that fateful morning at Ridgewood, Celeste made a maddening claim that only her sister had ever sensed to be true. She recounted a story to Eleanor that went like this... Shortly after her classmate pulled the trigger and sent her to the place between life and death, a place that she could only really ever describe to Eleanor as a “rush of color;” she had met the devil and made a deal with him in exchange for her life. He whispered her melodies and she returned with a mission to bring great change to the next century.
BEAT.100.NARRATOR (CONT’D)
He said, “shut your eyes and repeat
after me.”
CELESTE begins to shut her eyes...
The NARRATOR speaks now at a very deliberate pace.
NARRATOR (CONT’D)
One for the money.
Two for the show. On three we get ready. And on four - come with me.
CELESTE’s expression conveys that though her spirit is exhausted at the peak of its achievement, it really has all been an achievement, nonetheless.
NEW ANGLE ON -ALBERTINE watches her mother from the from the front row.
CUT TO BLACK.
LOU REED’s “SWORD OF DAMOCLES” PLAYS LOUD, REDEMPTIVE,
TRIUMPHANT OVER FINAL CREDITS101. | screenplays |
Sookie Stackhouse/Southern Vampire Mysteries 1. Chapter 1
**Disclaimer: I owe everything to The Maker, Charlaine Harris, who is the nicest lady you will ever meet. Seriously. I owe her a lot! And to my TBC gang, thanks for a fantastic weekend at Comic Con!**
_I checked the locks. I checked the windows. I checked them again. I checked my packing list, saved on Google Docs so I could jot down anything that occurred to me, wherever I was. Checked the luggage, repacked everything at least 20 times._
.o0o.
My name is Sookie and I have OCD. Since I'm compelled, I'll tell you that stands for Obsessive Compulsive Disorder. Let me just also tell you, it is a JOY to live with. I also live with a little disorder known as Fibromyalgia. It's a real treat, too. It's basically two-pronged: pain and fatigue. If the pain isn't getting you on any given day, you're knocked over by a fatigue wave. Oodles of fun.
That's not to say my life sucks; it doesn't. Well, it kind of does. Some does. There are days I can't get out of bed. On those days, when I look around my bedroom and make mental lists (or Google Docs) of all the things I want to do or need to do when I feel up to it, my netbook is my best friend. I've even named it: Wee Pinky PC. (as opposed to my older, heavy, but infinitely cooler Mac)
The netbook is small and light enough that I can carry it around without it wearing me out, and it connects me to the world, via the little joy known as the Internet (thanks, Al Gore!). Of course, it also gets me into trouble, known as a little thing known as ebay, and compulsive online shopping, but that's another issue altogether.
The days when I can't get out of bed, those are the days I would feel trapped if it weren't for my netbook. I lurrrrvvvveee it; it's even pink, my "signature color"! LOL Sorry about the quotes and emoticons and online slang, BTW, it's kind of my thing. Or thang, as you would hear if you could hear me talk.
I'm from a small town in LA (or Looosiannna) called Bon Temps. "Laissez le Bon Temps Rouler" as I like to think. Let the good times roll! It's not much, but it's home. My ex-boyfriend, Bill, helped me fix up my old farmhouse with wi-fi so I can take my lil pink pal all over the place, and even out to my hammock in the yard and pick up the net. I used to work at a waitress at the local B&G, Merlotte's, but since being diagnosed with FM, that's just not happening anymore. I still pop in every now and again to see my old boss, Sam, who owns it, and my friends Arlene and Holly who still wait tables there. And, of course, Lafayette, the chef, who can make me smile on the worst days. He calls me pretty often to make sure my spirits are up. It can be hard to live out in the boonies in an old farmhouse sometimes.
That's why I'm glad Bill lives across the cemetery. We may not have made it as a couple, but we still soldier on as friends. I still remember what I liked about him - he's so calm and collected. Of course, that can get a bit dull when you're like me and love to laugh and have a bit of fun. Which, in the end, is why we didn't work out - our senses of humor didn't mesh. But, no harm no foul and we still hang out sometimes, which comes in handy since we're both pretty isolated out here. Bill's a computer programmer and works from home - talk about isolated!
I will admit to being lonely, though. Bill and I had a fun time between the sheets, and well, I'm in my prime here, and a girl has needs that products from can only fulfill for so long. A 'rabbit' like that doesn't have fuzzy legs and drape an arm over you at night.
For a while I thought something might happen with Sam, my old boss. We had a fun time flirting while I worked there, and he's certainly a great guy. We even went out on a date, and he's fixed some things around here that my shiftless brother, Jason, never seems to find time to get around to doing. But, for one reason and another, nothing ever came of it. Either I was dating Bill or Sam was dating a bartender; our timing was just off.
Thank God for Facebook. I'd have a totally empty life if it wasn't for that. Well, and my books. I'm a big reader - you have to be when you spend a lot of your life home-bound and bed-bound. I'm totally hooked on this series about a telepathic girl who hooks up with vampires. I know, right? It sounds totally implausible, but I'm telling you, they're like book crack - once you get started on them you're hooked!
I found a group of friends online who are also hooked on the books and we've become like a little family. We're even planning get-togethers - some of us have already met in small groups, which leads me up to why I'm packing and repacking, and making and checking lists: I'm going to Atlanta. Or, for more reasons than one to me, HOTlanta!
2. Chapter 2
So, what is in HOTlanta? The question, more precisely, is who is in HOTlanta? Before I answer that, let me go back a bit and tell you more about my little online "family."
We call ourselves The Berserker Circus, or TBC for short - after a character in one of the books we read who used to be a Viking. IKR? Sorry - I know, riiiiighht? Anyway, there are a passel of characters in our little group: the usual suspects - a few young gals you would expect to be reading these books AKA the stay at homes, the stuck at homes like me, the oddballs like some older women and then there's the really, really oddball. At first, when I saw his pic, I thought, he's either gay, in the closet still, or someone has stolen a pic of an actor or a model and used it as theirs, because there's no way a guy that hot can be straight and reading these books. Or worse, he's straight and picked up his girlfriend's copy and gotten hooked. Ugh.
But, after talking him through the group a while, it seemed that he was, in fact, straight, funny, really reading the books (he reads everything), smart, and mother of all mysteries, single.
Eric.
Oh, and that seemed to be his picture. I know this, because he posted a bunch, and updated ones of different hairstyles, and people would comment on them, people he seemingly worked with. It seemed he was an all-around likable guy. So what the hell was wrong with him? Why was he single? I was puzzled and I wasn't the only one. Some of us discussed amongst ourselves this guy who looked like a Norse god-blond hair, blue eyes, tall with broad shoulders-who seemed like the total package, yet reached his early 30s un-nabbed. What the dickens? It was a puzzler, all right.
While all these side conversations were going on, I was talking to Eric a bit more. We started by having a few conversations about the books-which "team" we were on, i.e. dark vampire or blond vampire (he was pro blond, of course, which I can't say as I blamed him, seeing as a) I'm blond myself and 2) the blond was fuckhot) or werewolf, whether the heroine should be more proactive or assertive, etc. He had strong opinions, but they were well thought out and not sexist. He wasn't overbearing about them, and he was very open to new ideas.
Even after talking with him and seeing his pics, I still held a tiny little pebble of doubt inside that this seemingly incredible guy was as gorgeous as his pics portrayed. During one of our online chats, he must've guessed something was bugging me. He had gotten pretty good at reading me; he seemed pretty sensitive.
VIKINGHOME_1: Whats up with u?
BNTMPS_RLZGRL: whaddya mean?
VIKINGHOME_1: whats bothering you? you seem weird tonight
BNTMPS_RLZGRL: nothing
VIKINGHOME_1: sookie its me
BNTMPS_RLZGRL: thats the thing.
VIKINGHOME_1: whats the thing?
BNTMPS_RLZGRL: IS it you? How is it possible for you to be so great so gorgeous and be single? im convinced you totes swiped some1 else's pics
VIKINGHOME_1: i can prove it if u want
BNTMPS_RLZGRL: how?
I heard a 'bing bong' and a window popped up requesting a video chat from VIKINGHOME_1. I panicked and scrambled a bit, looking frantically around my bedroom as if he was suddenly in there. I mean, I keep it as nice as I can, but there are days that I just crash and set things down where I collapse. Also, when you're stuck in bed a lot, your bedside table tends to play host to a jumbled mess of stuff.
A lot of people think that having OCD means you are automatically a compulsive cleaner. Not so. I can be, sometimes, and I am about some things, like having my clothes sorted a certain way and my shoes kept neat, etc. But sometimes things can get cluttered. Then I'll get hit all of a sudden when the clutter hits a certain level, and clean until it's all done.
When Eric's 'bing bong' came through, I ran around as fast as my swollen knees would let me that day, cleaning up the area he could see from my web cam, and then ran to the bathroom and ran a quick brush through my hair. I slapped on a little light makeup and ran back to the insistent 'bing bong' and, taking a deep breath, clicked 'accept.'
3. Chapter 3
A new window popped up and, once it came into focus, there indeed was Eric. A deep voice, rich and melodic and with a hint of a Southern accent, but just a hint, came out of my speakers. The gorgeous face smiled, and VIKINGFAN_1 said, "Hi, Sookie."
I started to type my response, but then realized I was having a video chat and when he realized the same thing, with a slight time delay, both Eric and I started laughing.
"So are you convinced I'm me?" he asked.
"Not yet," I said, smiling. "What's my deepest, darkest fear?" I referred to a late-night chat where we discussed the some of the big things in life.
"To die alone and be eaten by your cat Tina," he answered, right off the bat. No glancing off to the side for prompts; clearly no fugly little friend was feeding him lines. Was it possible this WAS Eric?
"Do I have any tattoos?" I asked, wanting to have a little fun.
"Yes, you have two," he answered, turning a little pink.
"What are they and where are they?"
"Piglet and a ladybug; one on each hip," he said, turning a deeper red. "And I'd love to see them." He cleared his throat a bit after the last part.
Well, that stumped me. This gorgeous guy wants to see MY hips? My admittedly NOT thin hips? Wow. Just, wow.
"Um, well. So, I guess you really are you!" I finally answered, blushing about ten shades of red myself.
He chuckled. "Yup, I really am me. So, um... now that's established, how are you feeling today?"
"I feel pretty good today, all things considered. It's a pretty good day, better now!" I grinned.
"I'm glad I could help!" He grinned back.
"But..."
His grin faded. "But what?"
"It's just, I have to run. I have a lunch date with my friend Sam. I'm sorry, Eric, I didn't plan on talking to you today or else I-"
"It's ok, Sookie, this was totally spur of the moment. But if it's okay with you, I'd like to talk to you again like this, and maybe over Skype? Maybe tomorrow evening? Say seven?"
"Seven it is." I smiled, a big, genuine smile.
"It's a date!" He gave me a killer smile in return. We said our mutual goodbyes and I clicked the little "X" in the corner and flopped back on the bed. Kicking my legs, I squealed at the top of my voice. I had a date! With the most gorgeous guy I'd ever seen! Who was smart! And funny! And read! Ok, so it was a video date, and he was in another state, but a girl's gotta hang onto whatever she can get these days. And, looking at the bright side, I had virtually (snigger) no chance of date rape. Not that date rape was EVER funny. But again, looking at all bright areas here.
I rolled off the bed and, knees aching from all the kicking, went to put on a clean t-shirt for my lunch date with Sam. Finally, I'd have something to talk about!
I got into my old Malibu and headed over to Merlotte's. I was no sooner in the door than I heard a familiar and much loved voice call out, "Girl! You is glowing! Whachu been up to, baby?"
I immediately blushed. Lafayette pulls no punches, has no filter, and does not understand the concept of "inside voice." What he thinks, he says. What he says, he says where everyone can hear. At least when it concerns someone else's business, at least.
"Hiya, cher, you do look happy today. Having a good day today?" Sam came out from his office behind the bar to give me his customary hug. I returned it with fervor.
"Hey, Sam," I squeezed. I waved over his shoulder. "Hey, Laffy. Could you please hush, by the way?" I laughed. I was in too good a mood to let a little thing like the entire town knowing my "bidness" bring me down. I released Sam and went over to my usual booth, where Holly waited tables. Don't get me wrong, I love Arlene and all, but Holly's just a little more on the ball. Arlene can get to talking and you food never gets to walking, if you feel me.
I ordered my usual Burger Lafayette plain, making sure Holly knew NO VEGGIES, fries and a regular Coke (no diet drinks for us FM people; excitotoxins cause accelerated pain levels) and sat back to chat with Sam. I knew Laffy would bring out my order-in order to get the scoop- so I just made small talk with him until it was ready. Ahhh, the joys of a small town.
4. Chapter 4
_Sorry for the delay - I got consumed by my other story, "The Fog." But, I'm still chugging away on Video Eric and FM/OCD Sookie! Beta'ed by the lovely Jamie!_
I had barely gotten settled into my booth when a Burger Lafayette (no veggies) with a side of fries and ranch dressing was plopped in front of me and Lafayette himself plopped his glittery tush into the seat across from me.
"Laf, how'd you get this done so fast? I JUST ordered," I asked.
"I bumped you in front of nosy ole' Mrs. Fortenberry," he replied. "Ray gon' make another one for her," he said with a wink.
"Lafayette, you are too bad," I scolded.
"You want me to give it to her?" he asked, making to grab the basket from me.
"No!" I snatched the basket. "I'm too hungry for principles right now."
He just chuckled. "Tha's what I thought."
"Stop fighting, children," Sam said, as he came and sat next to me in the booth. He waited until I had a mouthful of burger to ask, oh so casually, "So, Sook, what's got you so glowing today?" before taking a bite of his own lunch.
I swallowed a huge chunk of burger and choked a little, reaching for my Coke. "Well, I uh ... kinda mighta met someone."
"Ooohh, spill, girl!" Lafayette hooted. Sam just looked at me, evenly. "Really?" he asked. "Where?"
"Ummm ... online ..." I mumbled through a mouthful of fries.
"Where?" "What?" They asked at the same time.
"ONline," I said clearly.
They looked at each other for a long moment. Finally, Lafayette spoke. "You met him ... online?
"Uh-huh."
"And how you know he ain't a serial killer gon' chop you up?"
"He's nice! And cute!"
"So was Ted Bundy," said Sam. "Women loved him."
"Well, I've been talking to him for several months now, but today is the first time we've done a video chat."
"So you've seen him? You know what he look like? Fo sho?" Laf asked.
"Yeah, and he's _gorgeous_!"
"If he so good looking, why he need to meet women on the Internet? Why can't he just go to a bar or something?"
"I think maybe he has an issue like me. He seems to be home a lot. We haven't talked about it yet, but I'm going to get to the bottom of it, trust me. I'm aware of what you're getting at. The same thing's occurred to me."
"We just want you to be careful, _chere_. We couldn't stand it if anything happened to you," Sam said.
"I know, Sam, and I promise to be careful. Besides, he lives in Atlanta, so it's not like I'll be meeting him any time soon anyway. But we do have a video date at 7 tonight."
"Just don't have video sex on the first date is my rule," said Laf. "Oh, wait, I ain't got no rules!" We all laughed.
"Get back to work!" Sam chuckled as Laf slid out of the booth. Sam scooted over to the other side, and we finished our lunches, chatting about town gossip and just catching up. Then I ran home to get ready for my first ever video date!
End file.
| fanfiction |
Euoplos is a genus of Australian armored trapdoor spiders that was first described by W. J. Rainbow in 1914.
Species
it contains twenty species found in various geographical locations of Australia and Tasmania:
Euoplos bairnsdale Main, 1995 Australia Victoria
Euoplos ballidu Main, 2000 Australia Western Australia
Euoplos cornishi Rix, Wilson & Harvey, 2019 Australia Western Australia
Euoplos crenatus Wilson, Rix & Raven, 2019 Australia Queensland
Euoplos festivus Rainbow & Pulleine, 1918 Australia Western Australia
Euoplos goomboorian Wilson, Rix & Raven, 2019 Australia Queensland
Euoplos grandis Wilson & Rix, 2019 Australia Queensland
Euoplos hoggi Simon, 1908 Australia Western Australia, South Australia
Euoplos inornatus Rainbow & Pulleine, 1918 Australia Western Australia
Euoplos kalbarri Rix, Wilson & Harvey, 2019 Australia Western Australia
Euoplos mcmillani Main, 2000 Australia Western Australia
Euoplos ornatus Rainbow & Pulleine, 1918 Australia Queensland
Euoplos saplan Rix, Wilson & Harvey, 2019 Australia Western Australia
Euoplos similaris Rainbow & Pulleine, 1918 Australia Queensland
Euoplos spinnipes Rainbow, 1914 type Australia Queensland
Euoplos tasmanicus Hickman, 1928 Australia Tasmania
Euoplos thynnearum Wilson, Rix & Raven, 2019 Australia Queensland
Euoplos turrificus Wilson, Rix & Raven, 2019 Australia Queensland
Euoplos variabilis Rainbow & Pulleine, 1918 Australia Queensland, New South Wales
Euoplos victoriensis Main, 1995 Australia Victoria
See also
List of Idiopidae species
References
External links
Category:Idiopidae
Category:Mygalomorphae genera
Category:Spiders described in 1914
Category:Spiders of Australia | wikipedia |
the hypothalamus plays a pivotal role in mediating the central control of somatic energy metabolism and regulation of higher central nervous function throughout life this ability of the hypothalamus to act as a bridge between central and peripheral systems has made it an important target for the study of age - related decline in metabolism and cognition [ 13 ] .
hypothalamic neuronal structure and function are dynamically regulated by homeostatic challenges , including feeding , fasting , and physical activity [ 4 , 5 ] .
in addition , genetic animal models with perturbations of somatic energy metabolism have also been shown to exhibit significant alterations in hypothalamic plasticity .
the neuroendocrine control of food intake and energy expenditure is associated with , and likely dependent upon , hypothalamic synaptic plasticity . reinforcing the importance of energy metabolism , both cellular or somatic , in homeostatic stability during lifespan ,
multiple studies have demonstrated the ability of experimental interventions that either curtail energy intake ( caloric restriction ) or increase energy expenditure ( physical exercise ) to ameliorate age - related pathophysiology [ 711 ] .
severe disturbances in energy metabolism , such as those that occur in obesity that significantly disrupt healthy aging for multiple reasons , are therefore likely to be associated with disruption of hypothalamic neuroplasticity .
maladaptive circuit alterations may also contribute to deleterious increases in hunger and reduced energy expenditure in the context of excessive adiposity .
mice possessing an inactivating mutation of the cognate cytokine receptor for leptin , db / db mice , are obese , insulin resistant , and demonstrate an increased excitatory drive onto orexigenic neuropeptide y - expressing hypothalamic neurons .
leptin also contributes to the development of hypothalamic responsiveness and integration of food intake and metabolism and also promotes morphological plasticity among hypothalamic neurons in the adult brain .
various molecular transcriptomic signatures that respond to changes in energy intake and expenditure have now been characterized [ 1518 ] .
consistent with leptin 's role in energy metabolism , several leptin - responsive target genes have been identified in the hypothalamus [ 18 , 19 ] .
challenges to metabolic homeostasis , such as caloric restriction ( cr ) and voluntary wheel running [ 21 , 22 ] are also associated with changes in hypothalamic gene transcription .
both reduced energy intake , through cr , and increased energy expenditure , through wheel running , have been associated with neuroendocrine alterations that are likely to be accompanied by dynamic alterations in hypothalamic neuroplasticity [ 4 , 23 ] .
however , a comprehensive picture of the transcriptional alterations that occur in both diabetic and nondiabetic animals in response to complex energetic challenges that prolong life and health span in multiple species , such as cr or wheel running , has yet to be determined .
such a question is important considering the multiple alterations in hormone levels , feedback responses and receptor functionality that occur in distinct physiological contexts , as these may disrupt the efficacy of the applied antiaging interventions . in order to assess global alterations in gene expression patterns following energetic challenges , we compared hypothalamic transcriptional profiles , following running or cr , in a diabetic context , that is , leptin receptor - deficient ( db / db ) mice compared to non - diabetic c57bl/6 controls .
our study therefore is aimed at appreciating how the prevailing health context background can affect the applied therapeutic antiaging interventions of cr or exercise .
animal care and experimental procedures followed nih guidelines and were approved by the national institute on aging animal care and use committee ( 293-lns-2010 ) . for microarray analyses , male leptin receptor mutant ( db / db , n = 24 ) mice , bred on a c57bl/6 background , were purchased from the jackson laboratories .
age - matched male c57bl/6 mice ( wild type , n = 24 ) were used as controls . to validate the cycling conditions used to detect leptin mrna in the brain , hippocampal tissue from ( n = 3 ) ob / ob mice and ( n = 3 ) wild - type mice was obtained and analyzed .
mice from each genotype were kept in individual cages containing a running wheel equipped with an automated , computerized monitoring system .
the number of wheel rotations per day for each mouse was continuously recorded using medsci behavior monitoring software ( columbus instruments , columbus , oh ) .
an additional cohort of ( n = 6 ) c57bl/6 male mice and ( n = 8) db / db mice was used for in situ hybridization experiments , to confirm microarray data . during the initial two weeks of the experiment ,
all mice were fed ad libitum , and food weights were recorded daily by experimenters .
ad libitum feeding levels were initially monitored for control and db / db animals , and then a diet that would supply sixty percent of their individual mean food intake was applied to generate forty percent caloric restriction ( 40% cr ) .
this level of restricted feeding was chosen based on previous experiments [ 15 , 16 , 24 ] .
the vivarium was maintained on a twelve hour light / dark cycle ; all mice assigned to the cr diet were fed once daily at the onset of the dark period ( 18:00 hrs ) .
body weights were recorded on a weekly basis . for in situ hybridization , mice were deeply anesthetized with isoflurane , then perfused with 4% paraformaldehyde in phosphate buffer .
brains were postfixed in 4% paraformaldehyde with progressively increasing concentrations of sucrose , then stored at 80c prior to sectioning .
hemibrains were sectioned at 40 m in the coronal plane using a freezing microtome ( michrom m450 , fisher scientific , pittsburgh , pa ) .
sections were collected in a 1 : 6 series and stored in 4% paraformaldehyde . for microarray analysis and semiquantitative rt pcr ,
mice were anesthetized with isoflurane as described above , decapitated , and the brains were removed for hypothalamic dissection on ice . dissected hypothalamic samples were frozen on dry ice and stored at 80c prior to rna extraction .
trunk blood was collected for serum analyses of metabolic and stress hormones , lipids ; and ketone bodies and was stored at 80c until used . for measurement of fasting glucose levels ,
food was removed from the cages of the mice on the ad libitum diet , and the daily allotment of food was withheld from mice on the 40% cr diet , the evening before glucose testing ( 17:00 hrs ) . the following morning ,
animals were briefly restrained , and glucose levels were measured following tail nick using a therasense handheld analyzer ( therasense , alameda , ca ) .
cholesterol and triglycerides were measured from trunk blood ( after euthanization ) using a roche cobas fara ii robotic chemical analyzer according to the manufacturer 's specifications .
all reagents for these analyses were purchased from wako diagnostics ( richmond , va ) .
insulin and leptin concentrations in serum samples were determined by elisa ( crystal chem . , inc . , downers grove , il ) .
briefly , a microtiter plate coated with mouse antiinsulin or guinea pig antileptin antibody was washed three times with wash buffer ( 50 mm tris - buffered saline ( tbs ) containing tween 20 ) .
detection antibodies conjugated to the appropriate species were applied , and the plate was sealed and incubated for 2 hours while shaking .
once the color developed sufficiently ( 15 minutes ) , stop solution ( 1 n sulfuric acid ) was added , and the plate was read at 490 nm on an automatic plate reader ( perkin elmer hts 7000 plus bio assay reader , perkin elmer , waltham , ma ) .
corticosterone levels were measured using a commercially available radioimmunoassay ( ria ) kit ( diagnostic products corp .
serum was separated from trunk blood by centrifugation at 14,000 rpm for two minutes .
samples and corticosterone standards were thawed at room temperature and added to antibody - coated tubes in duplicate .
1.0 ml of ( i- ) labeled corticosterone was added , and each tube was vortexed before incubation for two hours at room temperature .
tubes were then decanted and counted using a packard cobra ( 5010 ) gamma counter .
rna isolation was carried out using the qiagen rneasy mini kit for animal tissues ( qiagen , inc . ,
, frozen tissues were cut into small pieces and allowed to thaw at 4c in rlt lysis buffer ( qiagen ) .
tissue sections were disrupted using a mini - beadbeater-8 and 1.0 mm glass beads ( biospec inc . ,
tissue samples were then centrifuged , the supernatant transferred to a second tube and centrifuged again for cell debris clarification .
the supernatant was added to 95% ethanol , mixed , and added to the binding columns .
the columns were centrifuged , washed several times and the bound rna was eluted using water .
the rna quality and quantity was checked using an agilent 2100 bioanalyzer and rna 6000 nano - chips .
total rna was used to generate biotin - labeled crna using the illumina totalprep rna amplification kit ( ambion ; austin , tx ) .
briefly , 0.5 g of total rna was first converted into single - stranded cdna with reverse transcriptase using an oligo - dt primer containing the t7 rna polymerase promoter site and then copied to produce double - stranded cdna molecules .
double - stranded cdna was used in an overnight in vitro transcription reaction where single - stranded rna ( crna ) was generated and labeled by incorporation of biotin-16-utp .
a total of 0.75 g of biotin - labeled crna was hybridized at 58c for 16 hours to illumina 's sentrix mouseref-8 expression beadchips ( illumina , san diego , ca ) .
arrays were then washed , blocked and the labeled crna was detected by staining with streptavidin - cy3 .
the arrays were scanned using an illumina beadstation 500x genetic analysis systems scanner , and the image data extracted using the illumina beadstudio software , version 3.0 .
microarray data were analyzed using diane 6.0 , a spreadsheet - based microarray analysis program based on the sas jmp7.0 system .
raw microarray data were subjected to filtering and z - normalization and tested for significant changes as described previously .
briefly , initial filtering identified genes with z - ratio 1.50 , with the z - ratio derived from the difference between the averages of the observed gene z scores , divided by the standard deviation of all of the differences for that particular comparison .
genes were then refined by calculating the false discovery rate ( fdr ) , which controls for the expected proportion of falsely rejected hypotheses , and including only those genes with fdr < 0.05 .
these data were further analyzed using a 2 3 anova design with significance set at p < 0.05 .
the anova design compared across genotype ( db / db versus c57bl/6 ) and environmental condition ( sedentary / ad libitum versus sedentary / caloric restriction versus runner / ad libitum ) .
this allowed us to identify transcripts that differed in their intensity across the various conditions in normal and leptin receptor - deficient mice . for functional genomic pathway analysis , specific significantly regulated gene lists
the reference gene set was defined through the ingenuity knowledge base ( genes only ) .
inclusion in a pathway was defined as having a direct or indirect relationship with that pathway . for each pathway identified , the inclusion of at least two genes was required from the input dataset with a probability value of < 0.05 .
the resultant data were also filtered by considering only those molecules and relationships , where species = mouse , and tissue = nervous system .
probe sequences were as follows : for pias2 , right primer agtgttactgggctttgctg , left primer tctcaaaggtgggcttagtg ; for slc17a6 , right primer tggcacatgtcatcctacag , left primer ccctccctttacaagctctc .
target genes were selected on the basis of significance derived from the microarray analysis , and on selective expression enrichment in the hypothalamus based on interrogation of the allen brain atlas .
leptin primer sequences were as follows : right primer tgtccaagatggaccagactc , left primer actggtctgaggcagggagca . animal tissue for in situ hybridization was processed in separate runs that were balanced to include equal numbers of animals from each experimental condition . in situ hybridization
densitometric analysis was performed upon scanned images generated using a typhoon phosphorimager ( ge healthcare , piscataway , nj ) . regions of interest from matched sections were user defined with imagequant ( ge healthcare ) by an experimenter blind to the specific experimental group conditions .
five bilateral sections were averaged to obtain a single score for each animal . in order to validate our microarray studies , which measured gene expression changes across the whole hypothalamus , we sampled across all hypothalamic nuclei for in situ hybridization analyses . sampling extended from the lateral preoptic area rostrally ( bregma + 0.14 mm ) to the lateral hypothalamic area caudally ( bregma 2.80 mm ) according to the atlas of paxinos and franklin .
anatomical sampling was balanced across groups to include one section containing the lateral preoptic area ( bregma + 0.14 mm to 0.22 mm ) ; one section spanning the anterior hypothalamic area , medial preoptic nucleus , suprachiasmatic nucleus , paraventricular nucleus , and lateral hypothalamus ( bregma 0.34 mm to bregma 1.06 mm ) ; one section containing paraventricular nucleus , ventromedial hypothalamus , arcuate nucleus , dorsomedial hypothalamic nucleus , and lateral hypothalamus ( bregma 1.22 mm to bregma 1.70 mm ) ; one section containing the posterior hypothalamic area , lateral hypothalamus , dorsomedial hypothalamus , ventromedial hypothalamus , and arcuate nucleus ( bregma 1.82 mm to bregma 2.30 mm ) ; one section containing the posterior hypothalamic area , lateral hypothalamus , and arcuate nucleus ( bregma 2.46 mm to bregma 2.80 mm ) .
primer sequences and expected product sizes are shown in table s1 supplementary matrial available online at doi : 10.1155/2012/732975 . for genes with multiple transcript variants ( igf1 and ntrk3 ) , biology workbench ( version 3.2 )
was used to align the sequences , and primers were generated based on the consensus sequence .
total rna samples were also treated with 1.0 l dnase i ( 2 u/l ; ambion , austin , tx ) to remove any genomic dna .
rna samples ( 0.5 g ) were converted to cdna using superscript iii reverse transcriptase ( invitrogen , carlsbad , ca ) with oligo - dt and random hexamers .
samples were also run in the absence of superscript iii to evaluate the potential for genomic dna contamination .
cdna samples ( 4.0 l ) were added to a 50 l pcr amplification using platinum pcr supermix ( invitrogen , carlsbad , ca ) , with gene - specific primers ( table s1 ) .
the linear range of pcr amplification for each primer set was determined in pilot experiments ( 2535 cycles ) .
cycling conditions were a single 5-minute step at 95c , followed by the appropriate number of amplification cycles , with annealing at 58c . for leptin detection ,
pcr products were verified with ddei restriction enzyme digest as described on the jackson laboratories website ( http://jaxmice.jax.org/protocols ) .
pcr products were run in a 1.2% agarose gel containing 0.5 g / ml ethidium bromide at 100 v for one hour .
images were acquired under ultraviolet light using a biorad chemidoc molecular imaging system ( biorad , hercules , ca ) .
band intensities were quantified using nih imagej ( http://rsbweb.nih.gov/ij/ ) and expressed relative to the band intensity for glyceraldehyde-3-phosphate dehydrogenase ( gapdh ) .
in situ hybridization and
semiquantitative pcr data were compared across genotypes using bidirectional student 's t - tests ( graphpad prism v.5 , la jolla , ca ) .
endocrine data were analyzed using one - way anova with planned post hoc comparisons ( sedentary c57bl/6 mice on the ad libitum diet compared to all other groups ; sedentary db / db mice on the ad libitum diet compared to db / db runners ; sedentary db / db mice on the ad libitum diet compared to db / db mice on cr ) .
the same post hoc planned comparisons were applied to the data on body weight gain and food intake following 2 3 repeated measures anova using spss version 18 .
in agreement with previous reports , the cr paradigm reduced body weight in both c57bl/6 ( wt ) and db / db mice ( figure 1(a ) ; f5,35 = 16.84 , p = 0.0001 ) [ 29 , 30 ] . in db
/ db mice , but not wt mice , voluntary wheel running also reduced body weight gain ( f5,35 = 2.94 , p = 0.02 ) .
effects on body weight occurred in the context of attenuated hyperphagia in db / db runners ( f5,35 = 3.71 , p = 0.01 ; figure 1(b ) ) , without any change in food intake in wt runners . fasting glucose levels were significantly reduced following cr in db / db mice ( figure 2(a ) ; f5,34 = 45.51 , p = 0.0001 ) . in wt mice ,
cr lowered circulating insulin levels , and in db / db mice , both running and cr significantly attenuated hyperinsulinemia ( figure 2(b ) ; f5,42 = 4.65 , p = 0.002 ) .
a strong trend towards reduced total cholesterol in runners of both genotypes was also evident ( figure 2(c ) ; f5,31 = 2.48 , p = 0.057 ) .
the significantly elevated serum triglycerides in db / db mice ( compared to wt ) were significantly attenuated following running or cr ( figure 2(d ) ; f5,31 = 24.54 , p = 0.0001 ) .
additionally , db / db mice demonstrated persistently elevated leptin levels , relative to wt mice ( figure 2(e ) ; f5,29 = 4.61 , p = 0.004 ) . in agreement with previous studies performed in the zucker rat model , running reversed the elevated corticosterone levels observed in db / db mice ( figure 2(f ) ; f5,30 = 11.81 , p = 0.0001 ) . to establish a baseline comparison for hypothalamic gene transcripts that differ significantly in their expression between db / db and wt mice under ad libitum feeding ( simplified to ad libitum ) and sedentary ( nonrunning ) conditions , we assessed global hypothalamic gene expression using an illumina bead microarray .
244 genes differed significantly in their expression between sedentary db / db and wt mice , the majority of which were upregulated ( 185 genes upregulated ; figure 3(a ) , table s2 ) . among upregulated genes ,
transcriptional regulators were prominently represented , for example , eukaryotic translation initiation factor 3 , subunit 1 ( eif3s1 ) , coiled - coil domain containing 94 ( ccdc94 ) , and deah ( asp - glu - ala - his ) box polypeptide 9 ( dhx9 ) .
among significantly downregulated transcripts ( in db / db compared to wt ) , a strong representation of enzymes , membrane proteins , and mitochondrial - related gene transcripts was evident , for example , ectonucleotide pyrophosphatase / phosphodiesterase 5 ( enpp5 ) , hla - b - associated transcript 5 ( bat5 ) , and translocase of outer mitochondrial membrane 22 ( tomm22 ) .
statistical signaling pathway analysis ( ingenuity pathway analysis : ipa ) of the gene transcripts differentially expressed between the db / db and wt mice under ad libitum , sedentary conditions were linked primarily with nervous system development , neurological disease , and molecular transport ( figure 3(b ) ) .
the specific genes associated with the regulation of these highest probability - scoring signaling pathways included amyloid beta precursor - like protein 2 ( aplp2 ) , cyclin - dependent kinase inhibitor 1b ( cdkn1b ) , amyloid precursor protein ( app ) , and metabotropic glutamate receptor type 7 ( grm7 ) . additionally functional gene networks , created using ipa algorithms , from this dataset included pathways linked to cell - to - cell signaling , as well as tissue and organ morphology . to validate multiple aspects of our hypothalamic microarray analysis , we characterized db / db - related differences in gene expression using in situ hybridization and semiquantitative reverse transcriptase pcr ( rt - pcr ) . we measured the expression of four chosen transcripts differentially expressed in db / db mice compared to wt . from our array data both protein inhibitor of activated stat2 ( pias2 ) and solute carrier family 17 ( sodium - dependent inorganic phosphate cotransporter ) member 6 ( slc17a6 ) were significantly upregulated in the hypothalamus of db / db mice compared to wt
. in situ hybridization of these genes confirmed their expression potentiation in db / db mice ( figures 3(c ) and 3(d ) ) . with rt - pcr ,
expression of glutathione peroxidase 7 ( gpx7 ) was elevated , and the expression of translocase of outer mitochondrial membrane 22 ( tomm22 ) was found to be reduced , both of which were consistent with the microarray results ( table s2 ) .
the wt mice employed in this study ran 6.68 1.45 km/24 hr . when comparing the gene transcripts differentially regulated by running in wt mice compared to their wt sedentary counterparts , we found that the majority of significantly altered genes were downregulated ( 58% ; figure 4(a ) ; table s3 ) in response to running .
this profound increase in activity potentiated the expression of transcripts involved with neuronal development and differentiation ( fk506 binding protein 5 , fkbp5 : ; sh3-domain grb2-like 1 , sh3gl1 : ; secreted frizzled - related protein 1 , sfrp1 : ) and chromatin remodelling ( vacuolar protein sorting 72 , vps72 : ) . running activity , in contrast , depressed hypothalamic expression of transcripts related to appetite and metabolism ( hypocretin / orexin , hcrt : ; lipocalin 2 , lcn2 ; leptin , lep ) as well as insulin receptor signaling ( tripartite motif - containing 72 , trim72 ) .
alterations in sfrp1 and fkbp5 and mrna expression were confirmed through rt - pcr ( figures 4(b ) , 4(c ) ) . both pcr and in situ hybridization were used to detect leptin mrna in the hypothalamus ( figure 4(d ) ) .
hypothalamic leptin mrna expression was detectable in sedentary mice using in situ hybridization ( figure 4(d ) ) , consistent with previous reports demonstrating endogenous leptin mrna expression in the hypothalamus [ 29 , 30 ] .
we compared hypothalamic leptin mrna in hypothalamus with mrna in white adipose tissue ( wat ) .
leptin mrna expression was lower in the hypothalamus than wat and as a control was absent in ob / ob hypothalamus ( figure 4(d ) ) . confirming our array data we found , with rt - pcr , that indeed hypothalamic leptin mrna was reduced with running ( figure 4(d ) ) .
investigating the signaling pathways populated by the differential running versus sedentary gene - set in wt mice .
nervous system development , molecular transport , and cell morphology .
genes implicated in nervous system development and function included leptin and the murine homolog of drosophila slit1 .
the gene encoding pou domain , class 3 , transcription factor 3 ( pou3f3 ) , was also represented in this category , as was the presynaptic modulator chordin ( chrd ) .
serotonin receptor 1b ( htr1b ) , sfrp1 , nk2 homeobox 1 ( nkx2 - 1 ) , and the progesterone receptor ( pgr ) were also included as components of the nervous system development pathway regulated by running in wt mice .
following cr implementation in wt mice , 521 genes were significantly altered in the hypothalamus compared to ad libitum - fed wt controls .
similar numbers of genes were significantly up- or downregulated ( 269 up - regulated , 225 downregulated ; figure 5(a ) , table s4 ) .
many of the upregulated transcripts are involved in regulating neurotransmission ( otoferlin , otof : wiskott - aldrich syndrome protein interacting protein family 1 , wipf1 ; neurotrophin receptor tyrosine kinase 3 , ntrk3 ; calcium / calmodulin kinase 1d , camk1d ) and differentiation ylp motif containing 1 ( ylpm1 ) .
cr in the wt animals , however , caused profound suppression of multiple energy - modulatory factors including insulin - like growth factor 1 ( igf1 ) , phospholipid transfer protein ( pltp ) , and neuronal ceroid lipofuscinosis 6 ( cln6 ) , which were significantly downregulated following cr .
changes in igf1 , ntrk3 , and camk1d were further validated by rt - pcr ( figures 5(b ) , 5(c ) ) .
band intensities for each of the validated genes confirmed the differences shown by the microarray results .
the functional pathways that were significantly altered in the c57bl/6 mice following cr included neurological disease , cell death , and cellular growth and proliferation ( figure 5(b ) ) .
ntrk3 , adenylate cyclase activating polypeptide 1 receptor 1 ( adcyap1r1 ) , e2f transcription factor 1 ( e2f1 ) and x - ray repair in chinese hamster cells 6 ( xrcc6 ) were represented within the neurological disease pathway .
reinforcing its pluripotent role in both endocrine and neuronal health status , igf1 was represented across multiple pathways , including nervous system development , cell growth and proliferation , and neurological disease ( figure 5(b ) ) .
diabetic db / db mice ran considerably less than their wt counterparts ( 0.33 0.08 km/24 hr ) .
consistent with this reduced drive for voluntary activity , considerably fewer hypothalamic genes ( compared to wt mice ) were differentially expressed following running in db / db mice .
240 genes met our criteria for differential expression following running ( compared to sedentary db / db mice ) in the db / db mouse hypothalamus .
of those genes , the majority ( 89% ) were upregulated ( figure 6(a ) ; table s5 ) .
significantly upregulated genes included transcripts associated with neuronal protein modification involving lysosomal or ubiquitin function ( n - acetylgalactosaminidase alpha , naga : hect domain and ankyrin repeat containing , hace1 ) , and cell growth and cycle progression ( neuregulin , nrg1 : heat repeat containing 5a , heatr5a ) . among the down - regulated transcripts several are prominent controllers of neuronal excitability and development ( glycine receptor alpha 1 , glra1 : t - box brain gene 1 , tbr1 ) , receptor expression stabilization ( sorting nexin 1 , snx1 ) , and pentose - phosphate metabolism ( ribulose-5-phosphate-3-epimerase , rpe ) .
changes in naga , tbr1 and nrg1 were further confirmed by rt - pcr ( figures 6 ( b ) , 6 ( c ) ) . band intensities for each of these genes were compared across db / db mice that ran or were sedentary , and the differences in band intensities were in accordance with the microarray results .
functional gene pathway analysis of the genes significantly altered in db / db mice after running , revealed that four major functional categories , nervous system development , small molecule biochemistry , tissue morphology , and lipid metabolism were significantly represented ( figure 6(b ) ) .
two genes associated with lipid metabolism and small molecule biochemistry , atp - binding cassette , sub - family d , member 2 ( abcd2 ) and nrg1 were influenced by running in db / db mice .
, t - box brain gene 1 ( tbr1 ) and interleukin 6 signal transducer ( il6st ) , were also differentially regulated following running in db / db mice .
quantitatively , the functional effects of cr implementation on hypothalamic gene transcription were more conserved across both metabolic context , that is , wt to db / db , than were the effects of running .
db / db mice exhibited statistically significant changes in 488 genes following cr , and the majority ( n = 287 transcripts ) were significantly down - regulated ( figure 7(a ) , table s6 ) . among the down - regulated genes were factors linked to transmembrane receptor ( kinesin family member 3a , kif3a ) and neuronal ion channel activity ( voltage - gated , type i , alpha subunit , scn1a ; glutamic acid decarboxylase 1 , gad1 ) . genes up - regulated following cr in db / db mice included transcripts for receptors and ligands associated with chemosensation and neuronal control of energy regulation ( formyl peptide receptor 2 , fpr2 : oxytocin , oxt ; pro - melanin - concentrating hormone , pmch ) .
the expressions of pmch , oxt , scn1a , and gad1 were further evaluated using rt - pcr ( figures 7(b ) , 7(c ) ) .
pmch and oxt were increased , and gad1 and scn1a were decreased in these assays , in accordance with the microarray data .
significantly populated signaling pathways recruited following cr in db / db mice included nervous system development , neurological disease , and cell - to - cell signaling ( figure 7(b ) ) .
gad1 , wingless - related integration site 7a ( wnt7a ) , and cyclin - dependent kinase inhibitor 1a ( cdkn1 ) were represented in the nervous system development functional network .
the significantly - populated signaling pathway neurological disease comprised both protein kinase , amp - activated , alpha 2 catalytic subunit ( prkaa2 ) and atp - binding cassette , subfamily d , member 2 ( abcd2 ) . under sedentary conditions with ad libitum feeding
, db / db mice differed from c57bl/6 mice in a manner that was primarily attributable to transcriptional upregulation ( figure 8(a ) ) .
numerically , there was a greater overlap between genotypes when comparing gene transcription following running ( figure 8(b ) ) , relative to comparison across genotypes following cr ( figure 8(c ) ) .
wheel running was associated with greater numbers of genes that were upregulated in db / db mice , while , in contrast , cr was predominantly associated with higher numbers of genes that were down - regulated in db / db mice ( figure 8(d ) ) .
31 distinct , significantly populated , pathways were represented across the entire dataset . among these pathways , only two categories contained genes that were significantly regulated across all experimental manipulations .
these two categories were nervous system development and tissue morphology , suggesting that they are highly conserved functions . to assess directly the ability of the
two imposed antiaging paradigms ( cr and running ) to modulate hypothalamic transcription in the diverse genomic backgrounds ( wt , db / db ) , we created venn diagrams of the specific transcriptomic effects .
we found that between the wt and db / db backgrounds , running appeared to regulate more common genes ( 302 : figure 9(a ) , table s7 ) compared to cr ( 127 : figure 9(b ) , table s8 ) .
however , despite the greater numerical conservancy of running effects ( compared to cr effects ) between wt and db / db , only 1.6% of these genes were regulated in the same direction between both mouse backgrounds ( figure 9(a ) histogram ) .
in contrast , for the cr paradigm imposition upon the wt and db / db mice , a considerably greater percentage of the commonly regulated genes ( 42.5% ) possessed the same polarity of expression across the two mouse genotypes . taking this coregulated subset of genes we investigated the potential biological functions of this conserved cr - mediated transcriptomic group ( figure 9(c ) ) .
we found that these cr effects upon hypothalamic transcription that were conserved in both wt and db / db mice were strongly associated with neuronal development ( nervous system development and function , tissue development ) and cellular architecture ( cellular movement , cellular assembly and organization ) ( figure 9(c ) ) .
therefore , it appears that the actions of the antiaging cr paradigm , related to neuronal remodelling / rewiring in the hypothalamus , can be effected in animals of differing metabolic backgrounds .
in contrast , the effects of running seem to be transcriptionally sensitive to the animals ' metabolic background .
an absence of leptin receptor signaling in the diabetic db - db mice significantly altered the expression of genes associated with excitatory synaptic transmission ( slc17a6 ) and neuronal development ( pias2 ) under ad libitum , sedentary conditions .
our data demonstrate that challenges to metabolic homeostasis regulated distinct hypothalamic gene - sets in wild - type and db / db mice .
although different genes were recruited following energetic challenges in wild - type and db / db mice , interestingly , transcriptional alterations following running or cr converged on functional pathways associated with nervous system development , suggesting that developmental signaling pathways are important for both neural circuit formation and plasticity in the adult hypothalamus .
caloric restriction has previously been shown to alter neuronal morphology in the hypothalamus and promotes synaptogenesis in select neuronal populations . in our study ,
a significant number of genes that play important roles in regulating synaptic plasticity and cytoskeletal motility were differentially expressed in response to energetic challenges ( e.g. , fkbp5 ; chrd ; hcrt ; app ) . while our current study is primarily focused on investigating global alterations in hypothalamic gene transcription
, the fact that we observed numerous significant alterations in the expression of multiple genes involved in regulating plasticity suggests the possibility that challenges to homeostasis can also reorganize circuitry across multiple other brain areas .
the hypothalamic effects are likely to develop following an extended period of adaptation to caloric restriction in particular , as few changes in hypothalamic gene expression have been reported in response to shorter durations of cr . as no other studies to date have profiled hypothalamic gene expression in the context of running , it is difficult to speculate on the time course for transcriptional adaptation and further studies are needed to investigate different time courses .
our data suggest that energetic challenges regulate gene transcription across the hypothalamus as a whole , and that the transcriptomic responses are dependent upon the genetic background ( i.e. , diabetic or nondiabetic ) .
we are planning future studies that will focus on characterizing the genomic responses to energetic challenges that occur in individual hypothalamic nuclei , as this would shed further light upon how distinct neuronal populations respond to energetic challenges .
additionally , we also plan to extend our analyses to investigate overall hypothalamic proteome changes in response to energetic challenges . due to the highly conserved nature of many neuroendocrine signaling pathways represented in our data , such as insulin / igf-1 , glucocorticoid , and androgen signaling , it is possible that the snapshot of transcriptional alterations captured in these experiments may include mechanisms for the establishment and maintenance of a metabolic set point in other species , with relevance for the prevention and treatment of obesity .
additionally , gaining a greater understanding of how different genetic backgrounds ( e.g. , diabetic or nondiabetic ) can alter hypothalamic transcriptomic responses to energetic challenges , could pave the way for the development of novel therapeutics for the treatment of hypothalamic dysfunction .
our data further suggests that therapeutic caloric restriction paradigms , or pharmacomimetics thereof , may be more readily applicable ( compared to exercise paradigms ) across different patients with diverse metabolic backgrounds . | pubmed |
"Kafka", by Lem Dobbs
KAFKA
by
Lem Dobbs
PRAGUE - MORNING
The Old Town is quiet. It's very early in the twisted
streets of this ancient ghetto. Dark corners casting a
medieval spell over a modern century oblivious to their
romance and mystery.
The River is the dividing line. Elegant gardens on the
opposite bank embracing the monotonous solemnity of the New
Town, tower steeples silhouetted against the sombre sky.
An empty motor bus rattles along a deserted street.
A Gothic bridge links the two halves of the strange city.
Its half-moon arches becoming circles as they meet their
reflections in the water. Thin mist swirls over the
cobblestones above.
A few boats in the water. Fishermen casting their lines in
silence. One or two lights now burning in buildings beyond.
In the Old Town Square the great clock on the cathedral
strikes six.
CUT:
A MAN'S FACE
His eyes filled with terror, beads of sweat crawling on his
brow.
He stands in the middle of a murky courtyard, perfectly
still. Waiting. Watching.
The balconies overlooking on successive floors, looming all
around him, are empty. All is quiet.
The man's name is EDUARD. He dares not move for fear of
missing a single sound. And then he hears it. A small noise
of movement nearby. He runs.
TINY ALLEYWAY
He runs alone in the dim light of the deserted morning.
CROOKED PASSAGEWAY
Running for his life.
NARROW LANE
Running on sheer pumping fear, long after the verge of
collapse.
BLACK TUNNEL
Coming out into the light, but by no means out of danger, he
allows himself a brief pause, gasping for air, just for a
moment looking back into the gloom, starting to retreat again
even as he does, then turning running ...
WINDING STREET
He runs on, past boarded-up houses and shuttered inns,
strange relics of the Middle Ages casting frightening
shadows.
AROUND A CORNER
Eduard appears suddenly, quickly flattens himself back
against the large notice board that covers the wall here,
layers of expressionistic theatre and film posters pasted on
it.
He breathes painfully in short bursts, as silently as he
can. He watches the corner he's just come from, the ornate
archway through which any pursuer must emerge.
Nothing there. But then a shadow moves.
Eduard's shoulders tense. His eyes widen. He holds his
breath.
The shadow ... spreading ...
Eduard edges away ever so slowly, keeping his unblinking gaze
on the archway, backing off, one arm brushing the notice
board as he feels his way along it, macabre images on the
posters, some torn and incomplete, revealing other fragments
behind, Eduard's eyes staring constant, no noise here at all
and --
A HAND! clamps over his face from behind. All of a sudden
and out of absolutely nowhere and not a thing he can do about
it.
But he tries, his hands coming up to grip the arm that grasps
him, an arm of iron.
The hand is huge. It covers Eduard's face almost entirely,
only one eye gaping bloodshot through the fingers, ghastly
fingers that, just for a second, seem almost inhuman, perhaps
even fingers that seem incompatible on the same hand, a hand
covered in scar tissue, starting to squeeze as it pulls
Eduard swiftly away.
CUT:
A ROW OF TYPEWRITERS - DAY
Clacketing incessantly under slightly more agile and refined
fingers. Beyond these, another row of desks. And beyond
that another, the office workers in their neat suits tapping
away.
And beyond that another, at which one worker scribbles
furiously at his figures, the next rolls a new sheet into his
typewriter, the next answers his clanging telephone, the next
rifles through the pages of a massive record book, the next
sits erect in his chair playing his machine like a piano, and
the last, by the window, dusty light streaming across him,
contemplatively taps the end of a pencil onto his desk. This
is KAFKA.
A rather tall young man with a kind, sensitive face.
sensitive perhaps because his eyes, ears, and nose seem
slightly bigger and more inquiring than most, and his gaze
one of almost unrelenting intensity.
He's looking off at something now.
A desk, not very far from his own. But empty. The chair
pushed squarely under it. The typewriter covered.
Kafka is wondering why -- when his concentration is
interrupted.
BURGEL
Kafka.
Kafka turns to see BURGEL, a creep.
BURGEL
The keeper of the files is still
waiting for your final summation
of the Erlanger claim.
KAFKA
I gave it to him yesterday.
BURGEL
(doesn't understand)
You didn't give it to me.
KAFKA
No, I left it in his office.
BURGEL
Did you see him?
KAFKA
I've never seen him. I don't
believe there is a keeper of the
files.
BURGEL
He's usually in the storage room
sorting things out. He can't
close the file on a case until he
has the concluding report.
KAFKA
He has it, he just hasn't noticed
it yet, all right?
BURGEL
Who's to say he ever will? He's
a timid old man and quite careful
not to tread on anyone's toes --
In fact, I'm the only one he trusts
and he wouldn't even look at a
document if it didn't first come
through me.
Burgel just won't go away. Kafka tries to get on with his
work.
BURGEL
In an organization as efficient as
ours, if a document once in a great
while gets lost it might never be
found at all.
KAFKA
(tiring of this)
Burgel, I thought it would be
easier, as long as I was passing --
BURGEL
But I'm the messenger. An error
like this damages my credibility.
KAFKA
Your credibility -- yes, it's well
known.
BURGEL
(flushed)
When I deliver a message the very
act of delivering it, you might say,
gives it an official stamp, and only
in this way are both the sender and
the receiver satisfied that it was
delivered at all.
KAFKA
I'll commit that to memory.
They stare at each other with mutual antagonism.
BURGEL
Your position in this firm is not
unassailable.
He waddles away.
KAFKA
Has one more look over at the empty desk before returning to
his work.
THE OFFICE
The desks make a checkerboard pattern of the huge floor as
Burgel calculates his path among them.
CUT:
LODGING HOUSE - MIDDAY
Kafka comes up the stairs to the top landing. He knocks on a
door. Waits. Knocks again. Leans a little closer to listen
for a moment, then goes away back down the stairs.
GROUND FLOOR
Kafka comes through the door that divides the stairs from the
hall, goes to knock on the door of the first apartment down
here.
BIZARRE VOICE
Yes?
KAFKA
I'm sorry to disturb you -- I
wonder if you know where my
friend Eduard is?
BIZARRE VOICE
I can't hear you! -- You'd better
come in.
APARTMENT
Kafka comes in tentatively, seeing the CONCIERGE in a far
corner of the cluttered room, in bed, covers tucked right up
to her chin.
KAFKA
-- I didn't want to bother you.
CONCIERGE
Well, you have. What do you
want?
KAFKA
(pointing upstairs)
My friend Eduard, I wonder if you've
seen him? He hasn't been in to
work, I thought he might be ill.
CUT:
STAIRS
The Concierge trudges up to the top floor, Kafka following
guiltily.
KAFKA
You didn't have to get out of
bed -- I could have taken the key.
CONCIERGE
Yes, I'm sure you could.
She treats him like dirt.
EDUARD'S ROOM
The door unlocks and the two of them come in. Kafka goes to
open the window curtain. He turns around to see the
Concierge already poking about in drawers.
He ignores her and looks around the room on his own. Eduard
isn't here. Nothing else seems out of place. He wonders
instead how he can dissuade the Concierge from her
unbelievable snooping.
KAFKA
Well, he's not here.
The Concierge takes a tie from one of the drawers and models
it over her own ample chest.
KAFKA
Do you think you ought to do
that?
She looks at him indignantly.
CONCIERGE
The manners of a tramp! It's my
house, isn't it?
CUT:
OFFICES - AFTERNOON
Kafka is in another section of the building, finding his way
through a department he's vaguely unfamiliar with. He
searches out a particular person -- a strikingly beautiful
woman with flaming hair and wild eyes.
KAFKA
Miss Rossmann?
GABRIELA looks around from a file cabinet.
KAFKA
I'm Kafka -- I work upstairs in
Accident --
GABRIELA
I know.
KAFKA
You're a friend of Eduard Raban's.
GABRIELA
Why would you suppose so?
KAFKA
Oh -- well, I thought he once
mentioned --
GABRIELA
(shuts file cabinet)
One of you must be mistaken.
He follows her to a counter where someone stamps the document
she thrusts forward without even glancing at her or it.
KAFKA
I'm sorry, but I just wondered --
GABRIELA
(brushing past him)
Excuse me, I have to copy this for
Central Docketing by 2:30.
Kafka watches her go -- then notices some smarmy young clerks
giggling over what they suppose was a romantic rebuff.
CUT:
KAFKA'S DEPARTMENT
Burgel sees Kafka coming back in toward his desk, immediately
walks to intersect him.
BURGEL
You're late -- I knew it would
happen one day.
Kafka ignores him utterly, leaving Burgel standing clutching
his files with a sour expression.
Kafka pauses at Eduard's desk, still untouched, then
continues on to his own.
OFFICE OF THE CHIEF CLERK
Partitioned off from the rest, but commanding a full view of
all. Through the glass windows the CHIEF CLERK, a stern-
Looking fellow, notices Kafka and takes his watch out of his
pocket for a look.
CUT:
THE OFFICE BELL - EVENING
RINGS, signalling the end of the work day. The office
workers clear their desks, start to leave.
OFFICE STAIRWELL
The office workers stream down the stairs that wind around a
central elevator shaft, the gated elevator grinding upwards
at the same time.
When Kafka reaches the ground floor he passes a pair of
SENIOR PARTNERS conferring together -- and does a double-take
when he hears his name mentioned -- then sees the two men
shake hands conclusively and turn away. Kafka continues
walking away himself, worried about his future.
OUTSIDE
The office workers pour out of the building, all going in
different directions. Three of them get jammed in the
doorway, untangle themselves, and Kafka is the next to
emerge.
CUT:
THE CONTINENTAL COFFEE HOUSE - NIGHT
A lively place, crowded with chattering, smoking, arguing
students, poets, painters ...
Kafka joins a group of friends. It's clear that this is a
regular gathering and, from their warm reception, considered
incomplete without him.
MARGARETE
-- This is our friend Anna who
works with us on the magazine.
KAFKA
Hello.
ANNA
I've been hearing all about you.
Kafka cringes.
ERNST
Don't worry, Kafka -- I championed
your virtues.
KAFKA
I'd like to hear them.
JULIUS
Anna's new to the city -- we
wouldn't frighten her needlessly.
KAFKA
I've lived all my life in this city
-- it frightens me. As it draws me
closer into its web.
STELLA
-- This is an ancient lament.
KAFKA
No, but do you realize why? -- it
has no present.
ANNA
-- I'm hoping to live in the Old
Quarter.
KAFKA
Even the so-called New Town isn't
so new. Only the people. People
of the future living in buildings
of the past.
(abruptly)
Has anyone seen Eduard?
MARGARETE
Who?
My friend Eduard from the office --
I've brought him here lots of times
-- you used to marvel at his travel
stories.
JULIUS
Oh, him.
KAFKA
What d'you mean, oh him? He's
a perfectly nice person, he's never
missed a day before.
ERNST
Perhaps he's taken up with those
traveling players you two were
so fond of.
KAFKA
No, it's me who always wanted to
run away with them -- except that
that life would be far too hectic
for me. I'm worried about him, no
one's seen him.
STELLA
Haven't you ever called in sick
and gone roaming about, free of
responsibility to anyone, if only
for a day?
KAFKA
When you work for a medical firm
you can't call in sick. They know
malingerers like a dog knows fleas.
ANNA
You work in the insurance department?
KAFKA
You have been hearing the sordid
side then.
MARGARETE
Be pleased -- you constantly inspire
people to take an interest in your
life.
ANNA
I should think it's very interesting
work.
Kafka shrugs shyly.
KAFKA
My father always said I had
no ambition.
CUT:
NEAR THE FRONT DOOR - LATER
Smoke heavier in the air, the coffee house more crowded with
strange groups of characters. Kafka and his friends
preparing to leave.
STELLA
The cabaret will be packed this
time of night -- we'll never get in.
JULIUS
Well, it has to be the cabaret
because there's nowhere else to go.
MARGARET
Home, I think.
JULIUS
Home?
MARGARET
(head on Ernst's shoulder)
You know I can't stay up late.
VOICE
Home is the last resort --
BIZZLEBEK
The owner of the voice. A man sitting at the bar nearby,
turning on his stool to face them. A dissipated dandy of a
man.
ERNST
(introducing him)
-- Do you know Bizzlebek --
the gravedigger?
BIZZLEBEK
Stonecutter, if you please.
MARGARETE
Sculptor, if only he'd admit it.
BIZZLEBEK
No one should admit being an artist
unless they're paid for it. If
you go to the cabaret mention my
name -- they'll find a table for you.
Turning round again.
ERNST
Bizzlebek has ways and means denied
lesser mortals. It comes from working
in the cemetery all day -- he's able
to transcent the physical world.
Bizz1ebek turns round again, with a bored sign.
BIZZLEBEK
No -- it only makes me view people
dispassionately as so many ... slabs.
He looks about, characterizing various coffee house types:
BIZZLEBEK
Quartz ... slate ... gravel ...
granite ... flint ...
(and then)
Marble.
It's GABRIELA from the office. Kafka is surprised to see
her, instinctively walking over to where she's sitting at a
far table.
JULIUS
My God, look, he's marching forward
willingly to make human contact.
Anna smiles. She's interested in Kafka. (Which means we
must see this warm attractive girl as a threat, a curse, a
trap!)
GABRIELA
--On the other hand, is an enticement. Kafka can't help
walking towards her. Sitting with her own friends, though
there is something less than friendly about them. Two men,
two women.
GABRIELA
(as Kafka comes over)
Hello again.
KAFKA
I've never seen you here before.
GABRIELA
Have you looked?
Kafka feels as awkward as she knows he feels. He looks to
her friends, expecting an introduction, but no one makes a
move.
KAFKA
Well -- nice to know life exists
outside the office.
GABRIELA
(ironic)
Yes.
Kafka nods goodbye and walks away, berating himself for
banality.
CUT:
OUTSIDE - NIGHT
Kafka resists going along with the others.
KAFKA
No, really, I have to go home too.
MARGARETE
We're keeping him from his true
vocation.
JULIUS
I know, he consists of writing.
We wouldn't be his friends if we
didn't threaten his solitude!
Julius is a little drunk. The others help him with his coat.
ANNA
Has a private moment with Kafka.
ANNA
Where do you live?
KAFKA
Up there.
He gestures in the direction of the River, and the castle
that looms on a far hill beyond, huge and brooding, regally
dominating the city.
ANNA
I tried finding a place on Castle
Hill when I arrived. I wanted to
share the majesty.
(The majesty of marriage is what he fears she represents.
This innocent scene could very well be a subjective
Kafkaesque nightmare as sinister in its own way as any of the
more outright horrific scenes to come.)
KAFKA
It's only majestic from here.
When you get closer you see it
for what it really is.
ANNA
What is it really?
KAFKA
A glorified office block. They
keep all the old records there --
the final resting place for facts
and figures that have ceased to
matter in the world of the living.
ANNA
Well, as long as I admire it from
afar it shouldn't worry me if it's
hollow.
(The castle of marriage tempts him -- but would suffocate
him.)
KAFKA
It's more than hollow. It's
stillborn. For all its size it
serves no purpose. It's just
there -- like death -- hovering
over a breathing city.
THE OTHERS
Turn back into the picture. Margarete pats Kafka
sympathetically.
MARGARETE
Don't worry about your friend --
I'm sure he'll turn up.
ERNST
(a parting word)
What are you working on, Kafka?
KAFKA
I'm writing a story about a man
who wakes up one morning to find
himself transformed into a giant
insect.
His friends glance at each other surreptitiously and don't
know what to say -- other than goodnight
KAFKA
Turns to go -- when he notices Bizzlebek leaning listlessly
in the coffee house doorway. A figure in the shadows.
BIZZLEBEK
I've read your stories. They're
fantastic.
KAFKA
(not sure if he
believes him)
I don't know what you could have
read.
BIZZLEBEK
Just what you've published.
KAFKA
-- In magazines nobody reads.
BIZZLEBEK
I read the one about the penal
colony.
KAFKA
(cautious)
Did you?
BIZZLEBEK
The needles inscribing the
judgement into the flesh of the
man.
(looks impressed)
Very good.
Kafka suspects he's being mocked. But perhaps not.
Bizzlebek steps out, buttoning his coat.
BIZZLEBEK
If I could sculpt as well as that,
I'd be quite proud of myself.
He's already quite proud of himself -- tossing his scarf over
his shoulder with a flourish -- and striding off into the
night.
CUT:
THE CASTLE - NIGHT
Seen from just below, from the ancient cemetery that borders
its high, impregnable, imperial walls. The all-seeing-eye of
the city. An awesome edifice.
THE BRIDGE OVER THE RIVER
Kafka walking across from the Old Quarter toward the New
Town.
He passes some working-class types who seem vaguely
threatening. Do they mutter some remark behind his back?
CUT:
ALCHEMISTS' ROW - NIGHT
A bizarre street. Tiny little houses that look fashioned by
a toymaker, all bunched tightly next to each other, forming a
continuous rooftop of odd configurations and angles and
pointed chimneys. The street named after practitioners of
the black arts and dark sciences who inhabited it in the
Sixteenth Century.
Kafka's house is toward the back, a light shining from the
single upper window. Through it, Kafka is seen sitting at
the only desk that really matters to him -- his writing one.
KAFKA'S ROOM
He's struggling to get a sentence right -- rereading it to
himself.
KAFKA
"As Gregor Samsa awoke one
morning from disturbing dreams
he ... from unsettling dreams ...
uneasy dreams ... Gregor Samsa ...
Gregor ...?"
(wondering)
Carl. George. Rudolf ...
Suddenly there's a loud KNOCK on the front door below.
DOWNSTAIRS
Kafka opens the tiny front door of this almost-miniature
little house. Two intimidating MEN stand outside, one tall,
one short, wearing similar black suits and grim expressions.
CUT:
ANOTHER DOOR - NIGHT
Kafka tries to match the exacting pace of his two warders,
flanking him as they walk him along a corridor, through
another doorway.
MORGUE
Kafka tugs his collar up a bit, his breath visible in the
air. He has a feeling what's going to be under the sheet on
the lonely trolley in the middle of the room before the first
man summons him over to it.
Kafka goes. The first man yanks the sheet off the face in
one quick movement. The face of Eduard. White and bloated,
the tongue jutting, the eyes bulging.
Kafka recoils, stepping back instinctively.
SECOND MAN
(still behind Kafka
at the door)
You know him?
KAFKA
... Yes.
FIRST MAN
His name is Eduard Raban?
KAFKA
... Yes.
And now he hears a stirring in a dark corner. He looks up
again.
A third man steps out of the shadows where he's been quietly
standing and walks over to Kafka. He is a severe man,
stolid, dedicated, and never smiles. He reminds Kafka of his
father.
MAN
(with an introductory
nod)
Inspector Grubach.
CUT:
INSPECTOR'S OFFICE - NIGHT
The Inspector behind his big desk. Kafka in front of it.
INSPECTOR
Kafka -- is that your real name?
KAFKA
Yes. Yes, of course -- why
wouldn't it be?
INSPECTOR
When was the last time you saw
Mr. Raban?
KAFKA
Wednesday. We left the office
together.
INSPECTOR
Did you go anywhere afterwards --
to have a drink perhaps?
KAFKA
No, we said goodbye outside the
building. He went off, as usual,
toward his house.
INSPECTOR
(consulting papers)
Your office is the Workmen's --
KAFKA
-- Accident and Compensation
Association.
INSPECTOR
Where you've been employed for
seven years.
KAFKA
Eight -- and seven months.
INSPECTOR
Engaged in the manufacture and
distribution of ... pills and so
forth.
KAFKA
Well -- other departments are, yes.
INSPECTOR
Would you describe your relationship
with the dead man as close?
KAFKA
Yes. Since he came to the office,
almost three years ago, we've
been quite good friends.
(pause)
How was Eduard ...
INSPECTOR
He was found in the River. Could
he swim?
KAFKA
I don't know.
INSPECTOR
Was he depressed?
KAFKA
No. He didn't seem to be. Do
you think he drowned himself?
INSPECTOR
Grown men don't normally fall
into the river, do they?
KAFKA
No, I suppose not.
INSPECTOR
(closing the file)
He might have had a drink or two,
despite what you think.
KAFKA
(as the interview
seems to be over)
Can I ask -- how you found me?
INSPECTOR
His landlady knew of no other
friends to refer us to.
KAFKA
I don't think he really had any.
He had no family either.
INSPECTOR
We know that.
Pause.
KAFKA
He wasn't a lonely man, though.
INSPECTOR
What makes you think so?
KAFKA
... Just a perception.
CUT:
HALLWAY
Kafka comes out of a door that closes behind him. He stands
and waits. At a high desk a POLICEMAN is reading a
newspaper. Without even looking up from it he extends his
arm and pushes Kafka slightly to one side so he's no longer
blocking the light.
Two other MEN are here waiting, sitting on a bench, sharing a
private joke. Kafka glances down at himself, wondering if
his appearance could in any way inspire ridicule.
The door opens again and the Inspector is back.
INSPECTOR
I don't usually involve myself
with you people in the Old Quarter
-- but the River runs its own course.
It won't be the last time it
deposits its unwanted debris on my
doorstep.
Pause.
KAFKA
Probably not.
INSPECTOR
Anyway, I'd like you to reflect
that in me you have -- I won't say
a friend, because we're complete
fencers, of course -- from
distinctly incompatible social
classes -- but to some extent, shall
we say, an interested third party.
KAFKA
I'll bear that in mind.
INSPECTOR
(hands Kafka his card)
-- Should you happen upon anything
that might be relevant.
He nods curtly at Kafka, and shuts his door.
THE TROLLEY
With Eduard's sheet-covered form on it, coming down the hall,
the SQUEAKING WHEELS of the thing loud on the wooden floor.
KAFKA
The noise causes him to turn around. He watches the trolley
as it's pushed past.
CUT:
AN OFFICE TROLLEY - DAY
Similarly coffin-like, loaded with files.
KAFKA
Edges out of the way to let it by, feeling as though it has
been made for him, is waiting for him.
He walks on to the Chief Clerk's office.
CHIEF CLERK'S OFFICE
Kafka comes in.
KAFKA
You wanted to see me, sir.
CHIEF CLERK
(indicates a chair)
Sit down, Kafka.
Kafka does. And the Chief Clerk stands up. He paces up and
down a bit, making Kafka awfully nervous before he finally
clears his throat and starts to get to the point.
CHIEF CLERK
You've been with the firm for
nearly nine years. You've done
your work diligently, there are no
complaints on that score. But
there's more to the job than the
work -- there are other people to
consider -- and frankly, Kafka, we
eel your social situation could
bear improving.
KAFKA
... My ... social situation?
CHIEF CLERK
You keep too much to yourself --
you're a lone wolf. It makes me
uneasy, and if it makes me uneasy
I can't imagine the impression you
make on lesser employees.
The Chief Clerk, towering over him, also reminds Kafka of his
father. Kafka tries putting up a defense.
KAFKA
To do my work well, I have little
time for --
CHIEF CLERK
You must make the time. Where
do you go off to in the lunch
hour?
KAFKA
I usually take lunch by the River.
CHIEF CLERK
It's not healthy, Kafka -- not for
you and not for your workmates. At
the annual dinner this month you
again failed to make an appearance.
KAFKA
I did not realize it was obligatory.
CHIEF CLERK
Have you never wondered -- and I
mention this only in passing --
(as he paces past and
Kafka turns his head)
why other clerks have advanced to
more responsible positions while you,
who have been here longer, have not?
KAFKA
No, sir.
CHIEF CLERK
Attitude, Kafka. It doesn't matter
how well you do your work -- you
still see it as something to be
gotten on with rather than something
to take an active interest in.
KAFKA
(leans forward in
rebuttal)
Well, I --
CHIEF CLERK
(keeps pacing)
Oh, I know you got along with that
poor fellow -- what was his name?
KAFKA
-- Eduard --
CHIEF CLERK
-- Yes -- Raban -- but he was too
much like you -- even more so
perhaps. He wasn't here as long as
you, so I didn't know him as well --
but I could see the influence he was
having. I simply want you to be
aware of this because you'll be
happier for it.
Kafka merely nods, starts to get up.
CHIEF CLERK
In any case -- don't ask me why --
the word has come down you're to
be promoted.
Kafka sits back down in the chair.
CHIEF CLERK
Your colleague's death has helped
precipitate the need, though I can
tell you it's been under
consideration for some time. You're
to be given two assistants and a
commensurate rise in salary.
(sits back behind
desk)
That's all.
Kafka nods once, starts to go again.
CHIEF CLERK
Kafka.
Kafka turns.
CHIEF CLERK
I understand you fancy yourself an
author.
KAFKA
(almost visibly
cringes)
In a small way.
CHIEF CLERK
You might find a more athletic
hobby -- put some color in your
cheeks.
He returns to his paperwork. Kafka leaves.
OUTSIDE CHIEF CLERK'S OFFICE
Walking away, Kafka notices Gabriela striding along an office
corridor -- and sneaky Burgel confronting her.
GABRIELA
She looks distressed, walking tall as if to bolster her
composure. Sneaky Burgel does not help matters by
characteristically appearing from the sidelines.
BURGEL
Good morning --
(she ignores him)
Or should I say good afternoon?
GABRIELA
Say what you like -- no one pays
the least attention.
BURGEL
(walking quickly
alongside her)
Oh, don't they? I think you
underestimate my station in this
office and overrate your own.
GABRIELA
Not today, Burgel. Send one of
your memos, write up one of your
communiques, but for God's sake
don't bother me today.
BURGEL
It's my place to offer advice, not
yours -- and by advising the Chief
Clerk of your unpunctuality it's
certainly not my situation that's
compromised, if that's what you're
implying.
GABRIELA
(stops to glare at
him)
You're just doing your job.
BURGEL
It's what I'm paid to do.
GABRIELA
You're detestable.
BURGEL
And you're late!
Suddenly, in a terrific release of pent-up emotion, she slaps
him hard across the cheek, the first of what would be a
flurry of blows if not for the fact that the unexpected force
of it throws Burgel reeling backwards before she can deliver
any more. Instead she rushes away, very upset.
KAFKA
As startled as the rest of the office by the incident.
Burgel recovers, straightening up in shock and
embarrassment. He immediately resolves to march directly to
the office of the Chief Clerk.
Seeing him coming, Kafka quickly starts away.
CUT:
THE ASSISTANTS - DAY
OSKAR and LUDWIG. They look almost the same. At first
glance almost identical. It's only a closer inspection that
shows them to be imperfect twins. Dressed in matching suits.
One is sitting on Kafka's new desk, the other in Kafka's new
chair. They're rummaging about in his papers, and whenever
one selects a particular document for closer scrutiny, the
other promptly snatches it out of his hand.
KAFKA
Coming this way, has paused, having spotted the weird duo.
THE ASSISTANTS
Continue with their mischief until one of them notices Kafka
coming and nudges the other so strongly he almost falls
over. They're both standing at attention, looking guilty, by
the time Kafka arrives.
KAFKA
My assistants, I presume.
ASSISTANTS
Yes -- that's us.
Kafka smiles at them, half in friendliness, half in amusement
at their quirky appearance.
KAFKA
(offers his hand)
I'm Kafka.
Oskar responds first, but Ludwig knocks his hand out of the
way to get there first.
LUDWIG
(shaking hands)
Ludwig.
OSKAR
(now it's his turn)
Oskar.
KAFKA
You look like brothers.
ASSISTANTS
Yes -- we do.
KAFKA
Have you worked here long?
ASSISTANTS
No, no, no -- quite a long time,
yes.
Kafka doesn't quite know what to make of these two, but they
seem pleasant enough fellows and they're looking at him with
such wide-eyed innocence he doesn't know what more to say to
them. So he turns to look around the new area he's been
assigned -- a burrow all to himself now -- even a personal
clothes peg on the wall for his coat.
The Assistants make stupid faces at each other behind his
back, but look serious again when he turns around.
KAFKA
Well, we'd better move things
from my old desk.
ASSISTANTS
Look at each other with identical frowns, then back at
Kafka. Oskar nods, as if to say "oh, all right, if we
must." And Ludwig grins.
CUT:
KAFKA'S NEW OFFICE - DAY
Kafka types up forms. He hears some noise and glances over
his shoulder to see how the Assistants are getting on --
they're sharing another desk, facing each other, and seem to
be working quietly, though with pouting expressions.
Kafka rolls a new form into the typewriter -- when a shadow
falls over the page.
GABRIELA
Eduard and I had lunch together
one day ... and you saw us.
Kafka looks up at her. He nods.
KAFKA
On the Embankment.
CUT:
THE EMBANKMENT - MIDDAY
Kafka and Gabriela stroll by the River, Kafka finishing off
his lunch as they go, occasionally offering tidbits to
Gabriela who either samples or refuses them.
GABRIELA
I was having an affair with
Eduard.
(notes Kafka's reaction)
He didn't tell you?
KAFKA
No.
GABRIELA
He would have. You were his best
friend. A better friend than me.
KAFKA
I suspected that he -- well.
GABRIELA
What?
KAFKA
That he was -- satisfied in that
regard. I didn't want to pry.
GABRIELA
(throws her hair
back proudly)
It's not that we wanted to deceive
anyone -- but you know how these
things are looked upon at the office.
Kafka lets out a smile at that. Gabriela is suspicious of
smiles.
GABRIELA
What's funny?
KAFKA
This morning it was suggested to
me that my own sense of office
fellowship could bear improving.
GABRIELA
As long as it's on their terms.
If your work and your private
life don't correspond to their
specifications you're labelled a
dangerous agitator -- with no
recourse whatsoever.
The gnarled, barren branches of a nearby tree shiver over the
two of them.
KAFKA
How long were you and Eduard --
GABRIELA
Two or three months, that's all.
(adds)
-- I seduced him.
HIGH TERRACE
A flight of stone steps takes them up here to this vantage
spot overlooking the River and the city beyond. Kafka stands
by a railing -- and the huge, distorted shadow of SOMEONE
looms suddenly on the high wall under him.
GABRIELA
You know as well as I do that he
didn't commit suicide.
Kafka looks at her.
KAFKA
No, I don't. I'm amazed that anyone
is able to bear life with any
assurance at all.
GABRIELA
Eduard didn't see it as something
that needed bearing.
KAFKA
The police would know the
difference, wouldn't they?
GABRIELA
Do you think people in the New
Town care what happens over here?
(nodding across the
water)
This will always be the ghetto.
KAFKA
He wasn't robbed. He was
identified by his wallet.
GABRIELA
And you believe everything the
authorities tell you.
KAFKA
When I have no reason to doubt.
GABRIELA
The very fact that they're
authorities should give you reason.
People will do anything to protect
their own interests. For all you
know he was killed at the hands of
the police.
KAFKA
-- What could he have done to
warrant that?
For a moment she seems about to tell him, but then looks
away. Kafka follows her gaze.
IN THE DISTANCE
Someone else has paused at the embankment wall further away
to stare at the roiling water. He's too far away to see
clearly. Probably nothing sinister about him at all.
Still ...
GABRIELA
Turns back to Kafka.
GABRIELA
Are you free tonight?
KAFKA
Tonight?
GABRIELA
There are some people I'd like you
to meet. Can you come to the
Musil district at eight o'clock?
KAFKA
... All right.
Her eyes lock on his for a moment. She's beautiful. He's
fearful.
GABRIELA
You almost married recently,
didn't you?
KAFKA
Last year. I -- it was broken
off.
GABRIELA
Eduard wanted to marry me.
KAFKA
And you ...?
GABRIELA
I'm suspicious of men who want
to marry. I believe they think
it's the only thing that will
make them equal to their fathers.
THE SHADOW ON THE WALL BENEATH
Disappears, the ominous black mass flowing off the large flat
surface as abruptly as it arrived. While up there on the
terrace we see Gabriela walk away from Kafka.
KAFKA
Stays where he is a moment, watching her. He may have found
his ideal woman.
KAFKA
(then follows
behind her)
-- I don't know the Musil
district.
GABRIELA
(without turning)
You won't have any trouble finding
it.
CUT:
FAT MEN - NIGHT
Sit laughing, jowls gyrating, around a table filled with an
abnormal amount of food. One of them stops laughing then,
and the others follow suit, one after the other in turn,
until they're all silent, looking at the same thing.
We're in a fancy restaurant, and the other customers have
also turned away from their dinners for the moment to stare
at the Man in Black who stands before the Fat Men.
The man wears a black mask as well. He presents the Fat Men
with a covered tray. They look at it, then back at him --
but he's walked away. They look at the tray again -- and one
of them lifts the cover. Underneath lies the classic black
bowling ball -- with a fuse burning at the top. The Fat Men
all try to stand up at once but --
BOOM! Their booth explodes with them in it.
At the doorway, holding a revolver loosely in one hand to
discourage heroes, the Man in Black turns calmly to face the
stunned restaurant.
MAN IN BLACK
(hoarse voice)
Long live anarchy!
He leaves. Fire in his wake.
CUT:
THE OLD TOWN - NIGHT
Kafka walks the crooked streets -- in the direction of the
plume of smoke and illumination coming from the burning
restaurant.
In the dark distance behind him there seems to be a person
following him.
NOISY BEER SHOP
Neighborhood denizens have come out, hearing all the
excitement not far away. Kafka walks past. He looks behind
him, but the following figure has gone.
TWISTED LITTLE STREET
Kafka comes around a curve -- and sees ahead a dark figure
a black cape standing waiting under a lone lamppost. When
Kafka gets a bit nearer, the figure starts to walk slowly
away, as if expecting Kafka to follow.
DIRTY YARD
The dark figure walks alongside a row of black window panes,
turning around the corner where they end. Kafka follows
around the corner -- and through a dingy doorway.
A LOPSIDED STAIRWAY
Leads him up to a large attic. Warning shadows.
ATTIC
Gloomy except for the light around a table at a far end.
Kafka advances, seeing Gabriela sitting there with her same
companions from the coffee house. Kafka stops in front of
the table.
VOICE FROM BEHIND
Please sit down.
Kafka turns to see the last of the group come in, having
obviously tailed him all along. A burly man with a BEARD.
The leader of this anarchist cell.
Kafka sits down, in between a SOLEMN man with a moustache and
a woman with a POCKMARKED face. The seedy YOUTH who led him
in completes the circle.
BEARDED ANARCHIST
We'll save the introductions.
(takes his seat)
We don't know yet if you're friend
or foe.
KAFKA
Strangers make better foes than
friends. Will you tell me who you
are altogether, if not individually?
POCKMARKED ANARCHIST
Heralds of a new age -- does that
sound immodest?
BEARDED ANARCHIST
You could say we represent the
unofficial view of a well-ordered
society.
KAFKA
(to Gabriela)
Ah -- we're back to the "authorities"
you spoke of.
GABRIELA
They're ubiquitous. What we try to
do ... is make them a little less so.
BEARDED ANARCHIST
Quite a disturbance tonight, yes?
And perhaps you recall last month --
the explosion at the Municipal
Courthouse that sent one of the
examining magistrates to join the
heavenly choir.
KAFKA
(disbelieving)
... Was Eduard one of you?
YOUTHFUL ANARCHIST
The last to join us, the first to
leave us.
Gabriela darts a fierce look at her overly-flippant
colleague. And Kafka is sad about his dead friend for a
different reason.
KAFKA
... Why take me into your confidence?
POCKMARKED ANARCHIST
That's obvious, isn't it? We
have an opening for a new member.
After a moment's pause, Kafka stands up.
GABRIELA
I nominated you as a possible
candidate. You were Eduard's good
friend. He read me some of your
work.
KAFKA
I've hardly published enough for
anyone to draw conclusions from.
GABRIELA
You strike me as a man with a
defined notion of injustice -- a
high concern for the lot of your
fellow men. And yet you're able to
remain an outsider. With the
concomitant air of ... superiority?
BEARDED ANARCHIST
In short, a higher man. It's what
we want. It's what we need.
Kafka notices that the Bearded Anarchist has a tattoo on the
back of his hand.
KAFKA
The distance to my fellow man is
for me quite a journey. As for
being an outsider, it's never been
a matter of choice.
YOUTHFUL ANARCHIST
(as Kafka starts to
leave)
-- They may have instituted proceedings
against you.
KAFKA
(turns)
What proceedings?
POCKMARKED ANARCHIST
Preliminary investigations may already
be underway.
BEARDED ANARCHIST
You were his friend. One link is
all they need.
Kafka sits down again. He tries not to be distracted by the
Solemn Anarchist who says nothing but who takes an uncommon
interest in seeing how many matches there are in the matchbox
he's been fiddling with.
GABRIELA
The day he died, Eduard was called
up to the Castle. Did you know that?
KAFKA
(shakes his head)
What of it?
GABRIELA
He was summoned to help correct a
minor discrepancy of some sort in
the Medical Records Division.
Apparently one of his claims was
relevant.
POCKMARKED ANARCHIST
-- Merely in the interests of order,
you understand. The officials at
the Castle like to cover their tracks.
GABRIELA
He was never seen alive again.
KAFKA
And you still maintain -- what?
That he was murdered.
GABRIELA
He was murdered.
A skylight casts moonglow over the proceedings.
BEARDED ANARCHIST
As you can imagine, a pass into
the Castle -- hardly ever granted --
was an opportunity we couldn't
ignore.
YOUTHFUL ANARCHIST
The Castle represents every
anachronism that needs to be destroyed
if progress is to be made.
BEARDED ANARCHIST
As you know, it's not the most
accessible location. Far from being
depressed, Eduard was particularly
excited when he brought us the news
of this chance invitation. He set off
that evening carrying one of our
custom-made briefcases instead of
his own.
GABRIELA
(gauging Kafka's reaction)
You're shocked at the thought of
Eduard tossing a bomb through a
window.
KAFKA
I have no right to be, I know. My
experience with real life is
practically nil.
GABRIELA
When you only see someone sitting at
a desk all day, it's liable to
create a false impression.
KAFKA
People must think the same of me --
a quiet, dependable person.
BEARDED ANARCHIST
You don't have to accept everything
as true, my friend. You need only
accept it as necessary.
GABRIELA
As the bomb never went off, we can
only assume he was caught with it --
and summarily executed.
POCKMARKED ANARCHIST
-- Merely in the interests of order.
BEARDED ANARCHIST
The formality of a trial would be too
costly for them. They're beginning
to understand that it's the ensuing
news of our actions that incites
support.
KAFKA
Propaganda of the dead?
YOUTHFUL ANARCHIST
The Castle will deny he was there
any longer than his business required.
They're just file clerks up there. No
doubt he was handed over to the police
with the utmost discretion.
BEARDED ANARCHIST
In any event, we've felt no
repercussions as yet. Eduard must not
have talked. You're the one they
contacted.
KAFKA
So that's who my foes are -- policemen
and file clerks. Law and order, you
might say.
The Solemn Anarchist looks up from his matchbox.
GABRIELA
You think what we're doing is so
wrong? And what are you doing?
Pursuing goodness? For what? To
answer to some supreme tribunal?
KAFKA
My only concern is the human
tribunal. Isn't it yours?
GABRIELA
Yes -- which is why "quiet,
dependable people" have to take
charge of their own lives.
KAFKA
At the cost of others? You accuse
people of murder without trial --
apparently without irony. Did you
go to the Castle with Eduard?
(apparently not)
Then you have no idea what really
might have happened that night at
all -- even before or after he got
there.
He stands to leave again.
GABRIELA
Your human tribunal will betray
you. Just as its members will be
betrayed when they find no supreme
one
Kafka starts walking away.
GABRIELA
Join us, Kafka.
Kafka keeps on going, the anarchists growing smaller as
they're left behind in their far corner of the long attic.
GABRIELA
It's sheer folly for anyone to
try to pull through alone.
CUT:
MANIACAL LAUGHTER - BEFORE DAWN
Seeming to emanate from pitch blackness -- but then suddenly,
fast, out of a tunnel under a bridge come running three
terrified VAGRANTS, roused from slumber and scared out
their wits by the ghastly, crazed CACKLING chasing after
them, ECHOING under the arches.
They're at the river's edge, all running wildly, slipping and
stumbling, every man for himself, as they desperately try to
escape from whatever madness is closing in behind them.
Now from out of the tunnel appears their pursuer, seen only
from the back, literally shaking with insane, involuntary,
howling LAUGHTER. A horrific human hyena, far further gone
than the sad wretches he's cornered here on this foul,
moss-covered ledge in the cold wind.
Seeing him, the vagrants freeze in their various positions --
then turn in panic to flee again as he starts after them,
moving like an animal, a killer predator, laughing horribly
as he goes.
The First Vagrant, propelled by fright, manages to make a
stunning leap up a wall to grab onto some overhanging chains
and pull himself up. The Second Vagrant finds himself
trapped at the edge of the ledge -- with the Laughing Man
choosing him as the one to go after first. He turns and
jumps into the river. The Laughing Man, face still unseen,
turns toward the climbing vagrant instead -- who clambers
over the top just in time as the Laughing Man's fingernails
claw the moldy wall beneath him.
The Third Vagrant has made it to some steps, and down them --
glancing back to see the Laughing Man coming after him -- to
the small patch of muddy beach at the bottom, grey river
water lapping at his ragged shoes. He doesn't know what to
do -- he doesn't know how to swim! The Laughing Man is
running down the steps now. The Vagrant starts wading out
into the water, crying out in fear as the HOWLS behind him
come closer and closer -- he throws himself forward,
splashing vainly -- and feels the Laughing Man grabbing his
ankles, pulling him back.
The Vagrant's screams join the Laughing Man's insane giggles
as they thrash around violently in the water. The Laughing
Man drags the Vagrant back to the beach, then back up the
Steps, the Vagrant struggling helplessly, his head banging
from step to step, his hands flailing around but finding
nothing to clutch onto, his screaming going unheeded in this
lonely part of the sleeping city.
The Laughing Man drags him on, back to the slippery ledge and
along it, dragging the Vagrant on his back through a filthy
sewer alongside the wall, the Vagrant's cries choked by the
stagnant water, but continuing as the Laughing Man drags him
back into the dark tunnel, under the bridge, the two of them
disappearing into the blackness again, their combined
SHRIEKING louder than ever as it ECHOES horribly around the
damp stone, then dimming as they go deeper and further away,
unseen, until the screaming and the laughter can no longer be
distinguished.
CUT:
KAFKA'S OFFICE - MORNING
Kafka walks toward his desk. Nearing, he sees the Assistants
laughing in lunacy between themselves. They hush up
immediately when they notice him, and are pretending to work
when he arrives. He watches them out of the corner of his
eye as he arranges himself at his chair.
KAFKA
How was your evening?
At this sign of sympathy they immediately scuttle their
chairs closer to him.
ASSISTANTS
Fine -- terrible.
KAFKA
(uncovering his
typewriter)
What was the matter with it?
OSKAR
(indicating Ludwig)
He can't sit still. Just when we
arrive at a nightclub he wants to
go to another one.
LUDWIG
(to Kafka)
You look tired.
OSKAR
(interrupting)
Gabriela Rossman was here looking
for you. Do you know her?
KAFKA
(looking up)
Do you?
OSKAR
We saw her naked once -- didn't we.
He elbows Ludwig violently.
LUDWIG
Women are all you have on your
mind!
OSKAR
She went to the roof to sunbathe
one lunch hour -- we watched her
changing.
KAFKA
I didn't realize you'd been here
that long.
OSKAR
You mean because it's been a while
since there was a sunny day? What
a good detective you are.
LUDWIG
They keep switching us from
department to department. He
doesn't mind because he can't sit
still.
OSKAR
We used to be in the supply section,
carrying boxes of medicine about
but we dropped too many of them.
LUDWIG
It's not too bad working here.
Kafka stands up, pleased for them in their innocence.
KAFKA
You don't think it's a horrible
double life from which there is
probably no escape but insanity?
The Assistants look at each other, perplexed by this
attitude.
LUDWIG
No.
KAFKA
I'm glad for you.
He starts to go.
OSKAR
(calling after him)
You should be content, you know!
The stick-like figure of Kafka turns into the long center
aisle, walking between the endless rows of busy desks. He
sidetracks, taking a shortcut along a narrower aisle toward
the exit he's heading for. Another clerk is coming the other
way and they both at the same instant turn sideways to sidle
efficiently by one another, an almost balletic maneuver,
perfected after years of office experience, nothing more than
a short breath of air passing between them.
CUT:
GABRIELA'S SECTION
Kafka working his way toward Gabriela's desk -- but he stops
before he gets to it, a familiar shiver running through him.
THE DESK
Empty. The chair pushed squarely under it. The typewriter
covered.
KAFKA
Stares at it -- then at the ermine Mr. Burgel who has once
again popped up out of nowhere.
BURGEL
Are you looking for Gabriela
Rossmann?
KAFKA
Yes.
Burgel bows sarcastically to hand Kafka an envelope. Then
chuckles spitefully, obviously knowing something Kafka does
not. He walks off, leaving Kafka uneasy.
CUT:
EDUARD'S LODGING HOUSE - DAY
Kafka bounds up the stairs.
EDUARD'S LANDING
The door to his room is open. Kafka goes in.
EDUARD'S ROOM
Kafka comes in. Gabriela is here, gathering up Eduard's
belongings from drawers.
GABRIELA
(hardly glancing at
him)
I'm collecting Eduard's things.
If there's anything you want, take
it or I'll give it to charity.
KAFKA
(taking her note
from his pocket)
Burgel gave me this -- what does
it mean?
GABRIELA
(now looks up)
Burgel! -- I didn't leave it with
him.
KAFKA
(going closer)
Why were you given notice?
GABRIELA
They're not obliged to tell.
KAFKA
It couldn't be for that incident
with Burgel the other day.
GABRIELA
Of course it could -- Burgel's
been trying to get me thrown out
as long as I can remember. He
could've killed Eduard.
KAFKA
You don't believe that.
GABRIELA
I wouldn't put it past him.
She's stuffed the last of the clothes into a small bag,
goes to take the few other possessions from shelves and
elsewhere.
Kafka notices that he's standing by a dumbwaiter. For lack
of anything better to do he pulls the rope to bring it up.
It's filled with more clothes. Gabriela comes over with her
bag, holding it out for him as Kafka puts the clothes in --
but not as many clothes as they thought. Behind the bundle,
hidden at the back, is a briefcase.
Gabriela recognizes it. Kafka sees her surprised reaction.
He removes the case and carefully flips the latches. Inside,
a complex mechanism, wires connected to a clock -- and a
clump of dynamite.
Kafka just looks at it sadly. He closes the case.
KAFKA
It seems I knew Eduard a little
bit, after all.
GROUND FLOOR OF BUILDING
The ratty old concierge peeks up the stairs inquisitively.
In the doorway of his room, a LODGER clips his fingernails at
a little folding table, neatly lining them up. The concierge
turns and notices.
CONCIERGE
Lodgers! Not one of them thinks
to spare me such spectacles!
She slams the door on him then returns to her own apartment,
slamming that door too. The hallway is empty now.
EDUARD'S ROOM
Gabriela turns to Kafka.
GABRIELA
You might think -- I thought so
myself at first -- that Burgel's
too insignificant to be dangerous.
But that's the very reason to beware!
It's the small men to watch out for
-- the ones who substitute method
for character.
KAFKA
(sighs at her
relentlessness)
Now you've fallen into his trap.
When he goes to bed at night
Burgel dreams of inspiring as much
fear in others as they inspire in
him.
GABRIELA
It's still easier for you to
understand suicide, isn't it.
She's got his number. He's so in awe of her he has to turn
away -- looking out the room's small window.
KAFKA
That street down there -- I
always used to call it the approach
road for suicides. It leads
straight down to the bridge and
the River.
GABRIELA
Burgel hated Eduard. And me. I'm
sure he knew about us -- and I'm
sure it drove him mad.
KAFKA
Burgel doesn't like anybody!
GABRIELA
He used to like me -- very much
more than I liked him.
KAFKA
He's jealous, yes, but that
jealous? He's too cautious.
Gabriela clears some more items off a mantelpiece with a
sweeping gesture.
GABRIELA
Of course he is -- the Castle
precincts are not the safest part
of the city after dark. People
disappear up there regularly. If
you want to lie in wait for someone,
that's the place to do it.
KAFKA
Now you're saying Eduard was lured
there?
GABRIELA
(puts away the last
few books)
How often does one of our clerks
have business in the house of records?
KAFKA
I've heard of it happening.
GABRIELA
And Burgel is the bringer of
messages, isn't he?
KAFKA
Usually.
Putting the bag down, Gabriela goes closer to Kafka, so close
he almost cowers.
GABRIELA
Or what if there really was an
error? -- I don't know what kind --
any kind that needed correcting --
and what if Burgel was responsible
for it? One mistake -- even a small
one in a firm like ours -- it could
cost him a promotion.
KAFKA
First these nameless authorities
were the root of all evil, now it's
insignificant Burgel. If indeed
there was a mistake -- and a minor
one at that -- you're suggesting
someone went to a lot of trouble
over something so trivial as to
not matter at all.
GABRIELA
What seems important to these
people is not determined by the
amount of work it entails -- you're
far from understanding the
authorities if you believe that.
KAFKA
Now Burgel's one of the authorities?
She turns away from him, reddening.
GABRIELA
For all his big talk he is. Does
he really have access to the Directors
of the firm as he always claims? --
or only the Deputy Managers -- people
of no importance whatsoever. Someone
ought to follow him for a change.
Kafka sees an opportunity to go to her, to try to calm her,
to make a timid approach to this woman.
KAFKA
You won't make any sense of it
while you're upset.
-- But she breaks away.
GABRIELA
Burgel is only there for one
purpose -- to spy on the employees
and report any and all indiscretions,
real or imagined. If he didn't
send Eduard to the Castle, you can
be damn sure he's in league with
whoever greeted him there.
(very upset now)
All those bastards are in league
with each other -- why can't you
see that!
She takes hold of him as if to shake some sense into him --
but really because she needs someone to hold.
KAFKA
... I don't see anything. I see
a message on its way to me -- with
all the right answers. Only it
never arrives -- it's always just
on its way.
Gabriela doesn't seem to be listening. She's looking around.
the little room, as if it's someone else she's holding ...
GABRIELA
Eduard ...
Her head against his, Kafka tentatively touches her hair
and she pulls away, the spell broken.
GABRIELA
Your ignorance of the way things
are here is so appalling that it
makes my head spin to listen to
you and compare what you say and
have in mind with the real situation!
She storms out, vehemently picking up her bag on the way out,
and slamming the door quakingly behind her.
Kafka is too astonished at her behavior to make a move for a
moment, then he glances at the bomb-case she's left behind,
then he goes out to the landing.
GABRIELA
Rushing down the stairs in anger, tearing open the door at
the middle landing and slamming that one too once past it.
KAFKA
Following her down.
GABRIELA
Coming down the final flight of stairs, disappearing through
the door at the bottom, slamming that one as well.
KAFKA
Almost caught up with her, coming down to the last door.
GROUND FLOOR HALLWAY
Kafka comes through the door from the stairs, out of breath,
and stops. He's too late. The hallway is empty. The front
door at the end of it is shut. He makes a face and a moment
later starts to go back up. Then stops again. Turns. Looks
back at the front door. ... The one he didn't hear slam.
OUTSIDE
The front door opens and Kafka steps out. He stands on the
stoop. He looks up the street one way. Deserted. He looks
down the street the other way. Deserted.
CUT:
INSIDE - DAY
Kafka leads the police Inspector back along the lodging house
hallway. The two subordinate policemen follow behind.
INSPECTOR
You said she was extremely upset.
People who are extremely upset --
Kafka -- are given to disappearing
in a hurry. They go and calm down
for a day or so and then they come
back.
They've come to the door to the stairs now.
KAFKA
But that's just my point -- she was
more than upset, she was livid.
She slammed every door on her way
downstairs -- except that one.
(points at front door)
I was just behind her and I didn't
even hear that one shut -- not at
all.
INSPECTOR
That's not what I call conclusive
evidence of an abduction.
KAFKA
If someone was waiting here in the
hallway to spirit her away, wouldn't
they have shut the door as quietly
as possible?
The Inspector stares at him. The two other policemen roll
their eyes at each other.
CUT:
EDUARD'S ROOM
Kafka keeps his eye on the two policemen as they poke around,
one of them getting close to the dumbwaiter.
INSPECTOR
Why would someone want to kidnap
this woman -- the name is Rossmann?
He says it rather derisively, separating the syllables of the
name.
KAFKA
You told me to contact you if
anything relevant came up --
Gabriela is relevant. When I
spoke to you before I didn't know
she'd been seeing Eduard.
INSPECTOR
That's been noted. But where
does it lead us? Unless you have
something more to add.
KAFKA
She's missing. I went to her house
and she hadn't returned there.
The policeman at the dumbwaiter peers down the shaft -- but
then moves on.
INSPECTOR
She lost her job today. Just
between you and me, I'd probably
go away and brood a bit myself.
He signals his men, time for them to go.
STAIRWAY
The two Policemen lead the way back down, the Inspector
behind them, Kafka remaining on the top landing.
KAFKA
(manages to blurt out)
Maybe it's true then what she said.
INSPECTOR
(pauses)
What did she say?
KAFKA
That the police may have allegiance
to something other than truth.
The two other policemen look at each other ominously. The
Inspector turns to them, giving them a look, and they go off
down the stairs. The Inspector plods back up to Kafka Like a
stern parent.
They confront each other, Kafka trying not to cringe too
baldly. Scary shadows around the bizarrely-angled stairway.
KAFKA
-- She didn't think Eduard
committed suicide.
(then)
Any more than I do.
(then)
She was convinced of it.
Pause.
INSPECTOR
I'm going to say something, and
I hope it's quite clear because
I won't be repeating it.
People treat Kafka like a child. And other people seem big
to him anyway. The Inspector leans his face very close.
INSPECTOR
We don't have to hunt for criminals.
We're drawn towards them. The
guilty show us the way.
He leaves Kafka alone on the top landing.
CUT:
CONTINENTAL COFFEE HOUSE - NIGHT
Kafka comes in, looks around, doesn't see his friends
anywhere. But at the bar, at his usual perch, is Bizzlebek,
the coffee house habitu�.
BIZZLEBEK
Where are your friends?
Kafka turns and looks at him.
KAFKA
Good question. Who are my friends ...
would also be of interest.
CUT:
TABLE
Bizzlebek sits listening to Kafka's tale of woe.
KAFKA
(staring into steaming
coffee cup)
Gabriela was right -- it's
easier for me to understand suicide.
I'm a practicing suicide.
BIZZLEBEK
(slightly mocking
as ever)
-- In what sense?
Kafka stares at men and women around the coffee house --
couples, holding hands, kissing.
KAFKA
Bachelorhood is just the slow
form. The bachelor doesn't sew
seeds. Only the moment matters.
The space he occupies grows
smaller and smaller -- until the
only space right for him is his
coffin.
Pause.
BIZZLEBEK
These strange stories you write --
they come naturally, do they?
KAFKA
Naturally? -- that's not the word
I would have chosen.
BIZZLEBEK
(seriously)
Where do you get your ideas?
(quickly)
Only joking -- I'm just joking.
(laughing)
Let's go to a brothel then,
Kafka, come on.
KAFKA
I haven't got the energy. I
mean, I have to conserve my energy.
BIZZLEBEK
Why do you work in that hideous
insurance office? -- dealing with
people who fall off ladders. Now
take me -- I make my living as a
stone mason. It's not my art --
but it's the tools of my art. You
could be -- a journalist.
Kafka shakes his head sadly. He's obviously heard
argument before.
KAFKA
That would be even worse -- it would
be a compromise.
BIZZLEBEK
Success or nothing?
KAFKA
No -- not even success. My writing
is not for making a living -- it's
for living. Not for other people,
it's for me.
He stares at a woman who reminds him slightly of Gabriela --
a sexy woman and the man with her treating her as a sexy
woman.
KAFKA
... I'm the exile. Gabriela was
right about that too.
CUT:
CHARLIE CHAPLIN - EVENING
Being chased around a table by a big bearded man in
flickering black-and-white.
AN AUDIENCE
Watching, laughing. A great sea of grinning teeth and teary
eyes.
Except one. Kafka sits grimly alone near the back. But
suddenly he's not alone -- the Bearded Anarchist has sat down
in front of him -- and now turns round, startlingly.
BEARDED ANARCHIST
We have another theory.
And the Pockmarked Anarchist is suddenly sitting beside him.
POCKMARKED ANARCHIST
We may have attached too little
importance to the reason Eduard
was summoned to the Castle to begin
with.
And the Youthful Anarchist is behind him, thrusting his head
suddenly forward.
YOUTHFUL ANARCHIST
-- To correct a small discrepancy,
you may recall.
The Solemn Anarchist is on Kafka's other side -- but he just
watches the movie.
POCKMARKED ANARCHIST
-- Ah, but what if it wasn't?
BEARDED ANARCHIST
-- Small.
YOUTHFUL ANARCHIST
-- What if it was a large
discrepancy?
Kafka's head keeps turning around as they speak.
POCKMARKED ANARCHIST
Yours is a very powerful and important
firm -- it has a lot at stake.
BEARDED ANARCHIST
Perhaps Eduard was closer than he
knew to discovering it and so had to
be silenced.
YOUTHFUL ANARCHIST
-- Or he was even more an innocent
victim than that -- he was chosen to
bear the blame if the crime was
uncovered by anyone else.
POCKMARKED ANARCHIST
-- The crime so scandalous that the
poor young clerk committed suicide
rather than own up to it.
KAFKA
That's mad.
POCKMARKED ANARCHIST
-- Oh, yes, it's mad.
The Solemn Anarchist suddenly laughs -- probably at Charlie
Chaplin.
KAFKA
-- You said so yourself the firm
is large and powerful. If the
discrepancy really was something
big, Eduard's responsibility would
still have to be small. No poor
young clerk could find himself in
such a fix.
POCKMARKED ANARCHIST
(sarcastic grunt)
When a scapegoat is needed, my
friend ...
BEARDED ANARCHIST
We have to know what he was working
on at the time of his death.
KAFKA
He worked on routine claims. His
visit to the Castle was probably as
minor a mission as he said it was.
POCKMARKED ANARCHIST
Why are you so aggressively
unimaginative? Eduard is no longer
the only casualty.
KAFKA
Then why haven't I been --
YOUTHFUL ANARCHIST
-- Kidnapped or murdered? Because
your connection with Eduard was
obvious and above board -- not as
easily misconstrued.
BEARDED ANARCHIST
-- Not secretive, therefore not
suspicious.
POCKMARKED ANARCHIST
-- Gabriela, on the other hand, had
made an enemy of this man Burgel.
KAFKA
(head turning, exasperated)
Oh, Burgel! Gabriela was having an
affair with Eduard. They were both
members of this group. If any
crime's been discovered and people
are paying for it, I'd look to
yourselves!
POCKMARKED ANARCHIST
The loyal civil servant. I suppose
you'll deny that shortchanging the
workers to whom compensation is due
is standard company policy.
BEARDED ANARCHIST
It wouldn't surprise us if the
discrepancy was between medicines
sent and medicines received.
YOUTHFUL ANARCHIST
-- People die for such discrepancies.
Kafka's head is spinning -- and the Solemn Anarchist suddenly
looks at him.
SOLEMN ANARCHIST
(the hoarse voice of the
restaurant bomber)
We must have a look at Eduard's
file.
cut:
STORAGE SECTION - DAY
Kafka follows the KEEPER OF THE FILES along labyrinthine
alleys between shelves packed with files. Walls are obscured
by columns of documents tied together, piled on top of each
other. There's Hardly room to move. Stacks of files are
everywhere, balancing precariously, even falling from time to
time, from sheer Pressure in all directions.
KEEPER
(vexed)
"Raban" -- that'll be nearly at
the back of the alphabet.
KAFKA
It usually is.
KEEPER
(snaps at him)
I'm not obliged to give you access,
you know -- not without authorization --
but I'll make an exception this one
time.
They turn down another row, walking further, turning again.
Kafka keeps flinching as thick bundles of documents CRASH
down around him, narrowly missing him.
KEEPER
(oblivious to the
danger)
I'm overworked as it is.
(finds the right
section)
"Raban" did you say?
KAFKA
Yes. Isn't it there?
The Keeper of the Files is rifling through folders -- causing
others to fall out onto Kafka who tries to catch them.
KEEPER
(pauses)
Wait a minute. "Raban?" Where
have I heard that name?
KAFKA
He's the clerk who died last week.
From the insurance department
The Keeper of the files looks extremely displeased. He
pushes past Kafka, going back the way they've come.
KAFKA
(follows anxiously)
What's the matter?
KEEPER
Why would we keep files on dead
employees? All old files are sent
up to the Castle. Do you think we
have room for two hundred years worth
personnel records?
KAFKA
(dodges another
paper landslide)
It's gone out so quickly?
KEEPER
Whenever an employee departs, shall
we say, it's up to the head of his
department to requisition his file,
reassign any outstanding claims,
and send it off.
KAFKA
-- You mean my Chief has it.
Documents come crashing down and we can't see Kafka and the
Keeper anymore.
CUT:
THE CHIEF CLERK - DAY
Looks up from his desk and sticks his chin out, which is his
way of asking Kafka what the hell he wants. Kafka dares to
come in.
KAFKA
Excuse me, sir -- I understand
you have Eduard Raban's file.
CHIEF CLERK
I do.
KAFKA
I wonder if I might look to see
if there's an address for family
-- I thought I'd like to write
to them.
The Chief Clerk has little time for such sentimentality. He
gives Kafka a little exasperated look before reaching down to
-- a right hand desk drawer -- which Kafka notices -- and
taking out a folder.
CHIEF CLERK
No -- just as I thought -- no
entry for family.
Kafka nods a bit, wondering what to do now.
CHIEF CLERK
Was there something else?
KAFKA
No -- I just -- I feel a sense of
obligation. He was my friend --
if I can be of any help -- closing
his affairs.
CHIEF CLERK
(putting file away
again)
No, there's only one report to
complete. I'll be doing it myself
and submitting it to the Castle
today or tomorrow.
KAFKA
(as ingenuously as
possible)
I see -- it's just the Erlanger
claim then.
CHIEF CLERK
(looks up)
The Orlac claim.
KAFKA
Sorry, yes -- well -- thank you,
sir.
The Chief Clerk watches him as he starts to leave.
CHIEF CLERK
Kafka.
Kafka reluctantly turns.
CHIEF CLERK
You're too sensitive. Let your
friend rest in peace.
(returning to
paperwork)
I've known suicides. Such a song-
and-dance about nothing.
Kafka nods once.
KAFKA
Yes, sir.
The Chief Clerk looks at him with seemingly genuine misguided
concern.
CHIEF CLERK
Give it up.
He goes back to his paperwork. Kafka leaves.
OUTSIDE CHIEF CLERK'S OFFICE
Kafka shuts the door behind him, breathes a sigh of relief.
CUT:
THE KEEPER OF THE FILES - DAY
Looking very annoyed, leading Kafka back through the stacks.
KEEPER
If it was Accounts you wanted
why did you ask for Employees?
KAFKA
Orlac is an account?
KEEPER
It's a factory in the northern
mountains. One of our best
customers.
(as they disappear
around a corner)
Without a proper request I'm not
obliged to do this, you understand
-- but I'll make an exception on
this one occasion.
ANOTHER ROW
Kafka glances nervously around as shelves CREAK threateningly
under the weight of documents. Up on a ladder, the Keeper of
the Files finds the Orlac folder.
KEEPER
At least the account is current
even if the employee isn't.
He pulls it out -- with great difficulty. The Orlac file is
very, very thick. Kafka prepares himself to catch it, but
the Keeper of the Files manages to hand it down to him
without serious injury. Still, it's quite cumbersome and
heavier than Kafka expects.
KEEPER
(coming down ladder)
That place has so many accidents,
it's a good thing the type of
peasants who live up there don't
seem to have any trouble propagating
their race.
Kafka winces at that slur but says nothing about it.
KAFKA
(leafing through pages)
All these in the last year?
KEEPER
You must have read about it in the
papers -- there was a terrible
cave-in. It wouldn't have been so
bad, but even the Medical Officer
for the district was killed!
KAFKA
I did read that. They gave him
a posthumous medal.
KEEPER
(nods)
Dr. Murnau was the bravest of men.
He spent an entire career in those
backwaters with no regard for
personal gain. A great loss.
KAFKA
(a particular document)
This is the cross-reference of
clerks who've worked on Orlac
claims?
KEEPER
(nods)
Is your friend's name among
them?
(Kafka shakes his
head)
Then he only worked on the one
case.
(taking file back
again)
Your Chief will send me the final
summation when he's finished with
it.
KAFKA
Once a file's been sent to the
Caste, is it possible to recall
it for review?
KEEPER
(going back up
ladder)
Of course not. Only by a Director
of the firm. Who'd want to let in
all kinds of riff-raff off the
streets?
KAFKA
What good are records if they're
not open for public inspection?
KEEPER
(stuffing file back
in place)
These laws have been with us for
centuries -- how can you doubt
them?
KAFKA
What if I petitioned one of the
Directors?
KEEPER
(coming back down)
You do not summon them -- they
summon you -- and this, of course,
hardly ever happens, if at all.
The Directors are an eccentric lot
and by nature cautious.
KAFKA
Where do our records go to in the
Castle?
KEEPER
(starting to walk
away)
We're a medical firm, aren't we?
They go to the Medical Records
Section.
KAFKA
I could always apply there.
KEEPER
It so happens, my dear simple sir,
that the Head of Medical Records at
the Castle is one of the Directors
of this firm.
Kafka scowls, and follows the Keeper of the Files in silence.
CUT:
THE OFFICE - EVENING
Kafka works at his desk, finger tapping at an adding machine.
He checks the office clock -- nearly the end of the day.
THE ASSISTANTS
One is sweeping the floor. The other is scribbling at their
desk. His pen blotches his paper. He has a fit and crumples
it up and throws it down.
KAFKA
Looks over at the Chief Clerk's office -- sees him writing
intently at his desk, pausing to turn on a lamp.
THE ASSISTANTS
The sweeping one bangs his knee against a desk and starts
hopping about. The pen of the other one leaks again. He
crumples up his new sheet and flings it away even more
angrily than before. Then he examines his pen, determines
that the cap at the back is loose, and starts banging it on
his desk in an attempt to tighten it -- while the other
assistant keeps jumping around holding his hurt kneecap.
KAFKA
Glances over his shoulder at them, starts to say something --
but then notices Burgel, not far away, sometimes blocked by
other employees, walking in the direction of the Chief
Clerk's office.
THE ASSISTANTS
The one assistant has just fixed his pen when the other one,
still hopping around, bumps into him, causing him to knock
over a bottle of ink. The two of them start shoving each
other about.
Kafka whirls around, can't ignore them any longer.
KAFKA
Do you mind!
The Assistants look at him, surprised at this outburst.
OSKAR
-- I was just trying to finish
some work!
KAFKA
You mean you've actually begun
some?
LUDWIG
(pointing at Oskar)
-- Just because he's done nothing
today, he doesn't want me to show
him up!
Oskar tries to lunge at Ludwig, but Kafka holds him back.
KAFKA
My assistants! You might as well
have fallen from the sky for all
the thought that was spent in
choosing you!
The Assistants look at each other sheepishly. Then smile at
Kafka, submissively or mockingly, it's hard to tell.
OSKAR
It's not our fault. We're
naturally nervous.
LUDWIG
And we're upset too.
KAFKA
What's the matter with you?
OSKAR
I can't make a simple statement
without him taking issue with it
KAFKA
-- You should meet my father.
LUDWIG
We've been together too long. His
personality is overflowing into
mine and vice versa.
OSKAR
-- How would you like to be in a
horrible situation like that?
KAFKA
He wouldn't. It's the nightmare of his life.
But now he's distracted again -- noticing Burgel walking away
from the Chief Clerk's office (without ever having seem him
actually enter it). And Burgel is carrying a parcel under
his arm.
KAFKA
(to Assistants again)
All right, you might as well go
home -- go on.
The Assistants do as they're told, Oskar returning to his
desk to clear up, turning his back on Ludwig -- at which
Ludwig immediately rushes up very close behind him and shakes
his fist strenuously at him, turning away quickly when Oskar
turns around again to try and catch Ludwig at it.
Kafka isn't paying them any attention anymore. He
efficiently cleans up his own space, keeping an eye on the
Chief Clerk's office.
When the office bell RINGS the Chief Clerk immediately turns
off his desk lamp, puts on his overcoat, and shuts his office
light on his way out.
Kafka doesn't think twice. He forces himself to start
walking to the Chief Clerk's office. Other departing office
employees crisscross past him, but he walks in a straight
line, businesslike, toward the Chief Clerk's office. He has
a piece of paper in his hand. He enters the Chief Clerk's
office, holds the paper out to drop on the Chief Clerk's desk
-- but lets it slip off onto the floor. When he bends to
retrieve it he quickly opens that bottom drawer where
Eduard's file was -- but it's now empty.
CUT:
DARK STREET - EVENING
Burgel walks along, adjusting the parcel under his arm.
KAFKA
Following him.
CUT:
ACROSS THE RIVER
Burgel heads into the Old Town.
KAFKA
Pauses in some shadows. He glances up at the distance, the
way Burgel is going, up at --
THE CASTLE
Almost glowing as it's outlined against the blue of the
darkening night.
CUT:
WHORES
Giving Kafka the eye as he goes past doorway after doorway
filled with their frightening/tempting forms. But he tries
never to lose focus on the small form of Burgel further up
the street.
Men milling about, up and down the street, prostitutes
roaming amongst them, Kafka negotiating his way through. An
urgent moment when he almost loses Burgel -- then sees him
turning down an alley. Kafka hurries after him, avoiding a
pair of drunken louts in the way.
FURTHER ON
The Castle visible, but still a little in the distance.
Kafka comes into view. He sees Burgel entering a building.
CUT:
UPSTAIRS HALLWAY
Very dingy. Burgel leaves the top of the stairs and walks
down to a room at the end.
DOWNSTAIRS
Kafka waits momentarily at the bottom, then goes up.
HALLWAY
Peeking around the corner, he sees a YOUNG GIRL embracing
Burgel in her doorway before letting him in.
CUT:
OUTSIDE
Kafka comes out of the building. He hears a noise, turns
around, sees Burgel and the girl on the tiny baroque balcony
outside her room. Kafka retreats into the shadows. He
watches the girl unwrap the parcel Burgel's given her. She
smiles as a box of chocolates is revealed.
KAFKA
Watches -- with an expression of guilt, sadness?
Until a door suddenly opens at his back. A MAN shuffles out
past him. A rather ugly WOMAN in a dressing gown holds the
door open, giving Kafka a cursory look. Beyond her inside, a
quick glimpse of MASOCHIST yelping as he's whipped.
WOMAN
Well, what're you waiting for?
She's nodding him inside. Kafka backs away from her and her
invitation.
CUT:
DIRTY YARD - NIGHT
Kafka heads for the dilapidated building or the anarchists.
DINGY DOORWAY
He goes through. A MOUSE scurries past him across the
threshold.
THE LOPSIDED STAIRWAY
Leads him up to the attic.
THE BEARDED ANARCHIST
Watches Kafka's approach. But sees nothing. His eyes are
wide open, but lifeless.
Kafka stops at the anarchists' table. They're all lying
around it on the floor except for the Pockmarked Anarchist
who's slumped over it, her face sunk in a pool of her own
blood.
The Youthful Anarchist lies on his back, mouth open, still
dribbling red. The Solemn Anarchist seems less than solemn
due to the almost comic, convoluted, broken-backed position
he's in. And the neck of the Bearded Anarchist is all
twisted.
Kafka just stares in disbelief -- then SCRATCH! -- a noise
from a spiral staircase close by, leading to the roof. Kafka
looks around in panic -- the attic entrance is too far to run
to and there's nowhere else to hide.
THE SPIRAL STAIRCASE
A man appears from above (MR. PICK). Legs draped in
expensive trousers, the skirt of his high-buttoned coat
flowing around them due to the breeze from the roof.
MR. PICK'S VOICE
-- Come on -- there's no one up
there. We're going now.
He raises his arm up to help down whoever it is he's talking
to. We hear a strange GROAN. Followed by the appearance --
unclear, from the back, face hidden, or otherwise blocked by
Mr. Pick -- of A STRANGE hunched figure. He moves in a
halting, cowering way. Mr. Pick helps him down the steps.
MR. PICK
That's it -- it's all right --
you've done very well.
Mr. Pick's voice is reassuring, though he has a dark,
diabolic face. They're at the bottom of the staircase now,
Mr. Pick leading his odd companion toward the exit. The odd
companion lurches towards the dead anarchists, but Mr. Pick
restrains him.
MR. PICK
Never mind them -- they'll be
attended to.
KAFKA
Pretending to be one of the dead anarchists. Hiding under
the large body of the Bearded Anarchist. Trying hard to
emulate his lack of movement. Blood from the Bearded
Anarchist's ear drips onto Kafka's face. He tries to blink
it away while his other eye remains fixed on the two figures
walking away to the doorway until they're through it and
gone.
After a moment, he unloads the Bearded Anarchist and softly
hurries over to the attic doorway.
STAIRS
The Strange Man utters another low moan as Mr. Pick leads him
like a dog down the creaking old steps.
KAFKA
Comes cautiously out onto the landing. He leans over the
bannister, watching the two figures slowly going down the
long stairs, vanishing from sight at a certain turn of the
staircase on every floor and coming into view after a moment
or so.
CUT:
STREET OUTSIDE
Mr. Pick and the Strange One walk away.
KAFKA
Follows at a respectable distance. He pauses when he hears a
WAGON -- looking back at the anarchists' building to see it
pulling up outside. The DRIVER jumps to the ground.
Kafka looks from the wagon to the two men walking away in the
distance and makes his choice -- continuing after the two
men.
CUT:
THE QUARRIES - NIGHT
On the outskirts of the city, beyond the Castle.
Mr. Pick and the Strange Man approach. Some distance behind
them, Kafka takes cover behind a tree, watching.
Mr. Pick leads the Strange Man down the central quarry to
where a third man, a LABORER by the look of him, is waiting.
Kafka finds a vantage point somewhere above the central
quarry. He flattens himself on the ground and peers over the
edge.
In the quarry, Mr. Pick steps back a pace from the Strange
Man as they meet up with the Laborer and suddenly grabs the
Strange Man, pinning his arms behind him, baring his chest
or the Laborer to stab a dagger into!
Kafka is shocked by the abruptness of this. He sees the
Strange Man slump to the ground. He crawls a little closer.
He sees the Laborer replace the knife in its sheath on his
belt, then help Mr. Pick drag the Strange Man off to some
side shadows where they dump him.
Kafka strains forward a little, trying to make out their
faces -- and the ground gives way!
MR. PICK AND THE LABORER
Spin around at the noise.
KAFKA
Lands at the bottom of the incline, dazed. He's still quite
far away from the other end of the quarry where they are.
MR. PICK AND THE LABORER
Look at each other once -- then go after the intruder.
KAFKA
Sees them coming. Scrambles to his feet. It takes him a
split second to establish his options. Namely, the best
route is back up the way he came. If only he can get up it
again as fast.
Mr. Pick and the Laborer start to run.
Kafka starts to climb. The incline is steep. The gravel is
loose. He slips back down.
Mr. Pick and the Laborer are gaining speed.
Kafka digs his fingers into the dirt, pulling himself up with
all his might, even though his shoes don't sustain holds.
Mr. Pick is a better runner than the burly Laborer. He's
almost there.
Kafka slips back down again. Mr. Pick could almost grab him
-- but Kafka literally throws himself up the slope again,
gasping -- and Mr. Pick stretches but can't reach that far
and Kafka's nearly at the top again -- Mr. Pick climbing
after him now -- and Kafka's arm comes over the edge, he
struggles over, kicking gravel back down in Mr. Pick's face.
Mr. Pick slides back down to the bottom -- and Kafka's gone.
The Laborer fell over Mr. Pick as he came crashing back down,
now Mr. Pick pushes him off in one direction while he goes
another.
CUT:
SLOPING STREET
Escaping back into the Old Quarter, Kafka runs downhill. But
even the momentum doesn't carry him as fast as he'd like.
SMALL SQUARE
A number of streets branching off. Kafka sees Mr. Pick
coming down one of them -- and the Laborer coming down
another. Kafka runs off along a third.
CIRCUITOUS PASSAGE
Kafka runs. Looks behind him. Mr. Pick is coming. He runs
faster, under a weird archway. Looks behind him. Mr. Pick
and the Laborer are coming. Kafka darts down a side street.
SIDE STREET
Another twisting little road. He winds around one corner
only to be met by another, the end of this street impossible
to determine.
BEHIND HIM
Mr. Pick and the Laborer are catching up.
KAFKA
Turns another corner and finds himself at the bottom of an
incredibly long flight of steps. A staired street. On and
on and on. He doesn't know if he can make it.
MR. PICK AND THE LABORER
Come around -- look at the steps -- look at each other. They
take deep breaths and start up.
THE TOP
Here they come, huffing and puffing.
THE BOTTOM
Kafka comes out from behind an extravagantly designed iron
gate grillwork. He sneaks away, back the way he came.
CUT:
THE CENTRAL QUARRY
The body of the Strange Man lies face down where it was
dropped.
Kafka walks toward it, looking around nervously in case
anyone's coming. Someone is. When he gets to the corpse he
hears the sound of an approaching WAGON. He crouches quickly
by the body to do what he's come here to do -- turn it over
to look at --
THE FACE
Of a monster. Horribly disfigured, scarred and stitched.
And it isn't the kind of patchwork mess caused by acid or
accident. There seems to be design behind it. Human
design. And beneath all this warped, mutilated flesh, almost
unrecognizable ... the features of the vagrant snatched from
the River.
KAFKA'S FACE
Revulsion. He goes.
THE WAGON
Parks above the quarry. The evil-looking Driver jumps down
and pulls a large sack off the back. He starts down into the
quarry.
KAFKA
Appears over another edge. He looks over at the wagon. He
sees that now the back is loaded up, and covered by a sheet
of tarpaulin.
CUT:
THE ANARCHISTS' ATTIC - NIGHT
All the bodies are gone. Even the floorboards and pieces of
furniture that might have had blood stains on them have been
torn away and removed. Kafka stands alone.
CUT:
THE CITY - NIGHT
An eerie moon shines over the Castle.
KAFKA'S HOUSE
He comes in. Before taking off his coat, he finds in a
pocket Inspector Grubach's card. But what can he do again
without evidence? He puts the card back in the pocket.
CUT:
KAFKA'S DESK - BEFORE DAWN
He sits writing into the night in his little room under a low
ceiling.
KAFKA'S VOICE
"-- oh, and thank you for the suit
from Father, although I don't know
why he didn't simply return it. If
it's too small for him why do you
immediately suppose it will fit me?
... Your son ... Your loving son ...
Your somewhat loving son ... Your
occasionally loving son ... Your
incapable-of-loving son ... Your
absolutely-bored-to-death-with-any-
kind-of-family-life son ..."
The BARKING of a DOG outside distracts him. He stands up to
stretch by his open window -- and we SEE that he's wearing a
suit that's far too big for him, sleeves overhanging his
skinny arms and ands, trouser bottoms drowning his shoes.
He looks out at the sky which is turning blue.
THE BRIDGE
Two men walk across the river.
A WAGON
Rolls along one of the moribund streets of the Old Town. The
Driver swivels in his seat, looking over his wide shoulder,
as if to see if he's being followed. The glint in his eye
suggests Evil.
KAFKA'S ROOM
Kafka puts a stamp on his letter, then adds it to the stack
of obsessive correspondence already piled on one corner of
his desk.
CUT:
THE OFFICE - EVENING
With an ink-pad stamp, Kafka POUNDS the date onto a
succession of documents.
THE OFFICE CLOCK
Strikes six.
THE ASSISTANTS
Jump in unison when the BELL goes off. Then in their hurry
to leave start shoving all their papers and whatnots
haphazardly into various drawers, opening and slamming them
regardless of whether or not the contents are fully inside,
resulting in a lot of crumpled documents and snapped pencils.
BURGEL
Suddenly hovering by Kafka's side, handing him something.
BURGEL
The Chief Clerk would like this
ready for tomorrow morning.
(oily)
He says it should only take you
an extra hour or two.
CUT:
THE OFFICE - NIGHT
Dead silence after the daily racket of typewriters and
telephones and adding machines. Kafka works alone in the
utterly deserted office building.
He looks out the window and sees a POLICEMAN walking by on
the street below. He thinks again about going to the law --
but goes back to work.
He hears a SOUND. He looks around. A sort of a SCRATCHING
sound. It's coming from the other end of the office
somewhere. Maybe the bathroom.
Kafka walks slowly back there. At the bathroom door he
pauses momentarily, then turns the handle to go inside.
BATHROOM
SCRATCH, SCRATCH. Kafka looks for the source of the sound --
and in sudden startled shock instantly finds it -- where a
huge arm has just been thrust through a small, high window --
and the ugly hand at the end of the arm is feeling around for
the window-latch.
Kafka starts backing away -- as the hand flips open the latch
-- and now the window, swinging open with a bang, and the
rest of the intruder starts coming into view -- out before
all of him appears Kafka has run out and slammed the door
behind him.
OFFICE
Kafka pulls a desk across the bathroom doorway.
BATHROOM
The MANIAC -- because that's what his posture and breathing,
seen from the back, suggest -- lurches into the bathroom from
the window.
OFFICE
Kafka grabs his coat -- and an umbrella off a rack. He looks
back at the bathroom -- the desk rocking back and forth as
the intruder behind the door pushes. Kafka runs away.
HALLWAY
He runs to the elevator, sliding open the gate.
OFFICE
CRASH! The desk tips over as the bathroom door is forced
open.
ELEVATOR
Kafka descending. The elevator cranking slowly downwards.
Then, nearing the ground floor, it slows down even further.
Then it suddenly stops dead. Kafka reaches for the walls to
steady himself. He looks through the gate, assessing the
distance to the ground floor below. He tries the gate but it
won't open.
KAFKA
(calls down there)
-- Help! HELP!
He looks around the tiny space of the elevator. The roof
hatch. He reaches up, pushes it open, starts to climb up --
and YAAHH! -- the Maniac's face appears in the opening! It's
another monster face -- this one even worse than the one
Kafka uncovered at the quarries. A groaning, drooling,
misshapen lump of wrinkled tissue. And its owner's arms now
come through to stretch after Kafka.
Kafka beats them back with the umbrella while still trying to
pull the unyielding gate open. The Maniac yelps as Kafka
bashes the umbrella up at him, dodging his head out of the
way each time the umbrella sweeps back at him, swinging his
thick arms wildly to ward off blows and try and snatch the
umbrella for himself. He finally retreats under the barrage
of blows and Kafka quickly takes the opportunity to lever
open the gate with the umbrella.
The Maniac's face reappears overhead. Kafka stabs the
umbrella up at him some more -- and the Maniac manages to
grab it. Kafka sits down on the elevator edge to jump down
to the ground floor and --
THE MANIAC
Lunges forward from above, scooping both arms down in a vain
attempt to catch Kafka just as he drops out of sight --
landing on the ground floor with a roll.
The Maniac HOWLS at his failure, his features even more
horribly contorted, Practically filling the small opening of
the roof hatch as he SHRIEKS. And as his atrocious face
comes CLOSER and CLOSER and CLOSER -- one of his eyeballs
falls out! -- POP! -- out of the socket suddenly -- dangling
into the elevator, hanging by a single sinewy bloody thread.
The Maniac cries out and reaches for the eyeball, bringing it
back up to try and stuff back in place ...
STREET OUTSIDE
Kafka runs away from the office building, in horror, off into
the night.
CUT:
KAFKA'S STREET - NIGHT
He stands at a corner, looking at his own house, scared even
to go home. But everything seems normal. He starts walking
there. But when he reaches his front door:
VOICE
Did you think you'd be safe back
in your little burrow?
Kafka turns. One of the Assistants stands next to him.
OTHER VOICE
No matter how deep a hole you dig
for yourself, the beast will always
find you.
Kafka turns the other way. The other Assistant is on his
other side. Kafka looks between the two of them.
OSKAR
We're to take you to the Castle.
Kafka might have expected this.
KAFKA
So. You're the guides up there.
And we thought it was Burgel.
One of the Assistants draws a revolver. The other chuckles.
LUDWIG
They wouldn't let Burgel into
the Castle. You should look upon
this as a great favor.
Kafka starts walking the way a flick of the revolver
indicates, the Assistants flanking him.
KAFKA
I don't want any favors from
the Castle -- just my rights.
LUDWIG
We answer directly to Ekman, the
Senior Partner -- he practically
runs the Castle. In a case like
this you're better off dealing with
the highest authority -- even
though it's equally futile.
OSKAR
When you speak to him you have to
lean quite near his right ear
because the left doesn't work so
well.
AROUND THE CORNER
They head up in the direction of the Castle.
KAFKA
For all your incompetence I was
beginning to think you were at
least loyal to me. You're very
good ham actors.
OSKAR
-- Just doing our job.
KAFKA
It's a farce.
LUDWIG
We think you'd better accept your
position instead of pointlessly
annoying us.
KAFKA
What position? Being prosecuted
in a case like this means having
already lost it.
OSKAR
Still, we're probably closer to you
at the moment than any of your
fellow human beings.
KAFKA
Close only by virtue of antithesis.
One of the Assistants keeps making a show of wiping his brow,
though it's by no means hot.
ANOTHER STREET
Kafka walks stiffly between the Assistants, the three of them
almost locked together as one unit, like lifeless matter.
KAFKA
(shaking his head)
My assistants. I should have known.
Nothing is given to me. I have to
acquire everything.
OSKAR
(laughs)
It's all right to be sarcastic in
private to us -- because we have a
sense of humor -- but when we're up
at the Castle we suggest you don't
make a fuss. It would spoil the
not unfavorable impression you make
in other respects.
LUDWIG
Frankly, we don't understand why
you've even bothered pursuing this
business.
KAFKA
It would be more accurate to say
that it has pursued me.
OSKAR
But your goal is so hard to reach.
Do you think the official network
would surrender to one man? We
would never think of attempting
anything remotely as difficult.
LUDWIG
My mother used to tell us of the
young man who decided to ride to
the next village and how she was
afraid that -- not even mentioning
accidents -- the span of a normal
happy life might fall far short of
the time needed for such a trip.
Kafka suddenly points at the ground.
KAFKA
You've dropped some money.
The Assistants immediately bend their heads to look -- and
Kafka bangs them together as hard as he can.
The Assistants sit on the ground in a stupefied daze while
Kafka's running footsteps echo around the dark street.
CUT:
CONTINENTAL COFFEE HOUSE - NIGHT
Bizzlebek, perched on his usual stool, turns to see Kafka at
his side.
KAFKA
You work in the cemetery.
BIZZLEBEK
A man must eat --
(raises glass)
And drink.
KAFKA
The Castle cemetery.
CUT:
CEMETERY - NIGHT
Ancient tombstones crumbling with age, slanting out of the
ground at bizarre angles, and cluttered so close together
that a way can scarcely be made between them.
Bizzlebek leads Kafka along the crooked little pathways,
overgrown with crawling weeds, upwards towards the high
section of the cemetery under the dark wall of the Castle.
Bizzlebek, who knows his way around, seems more cheerful here
than we've seen him before. Kafka more fearful. Wind
WHISTLES. Leaves RUSTLE. CREAKING trees cast ghastly
shadows. Scary tombs, all shapes and sizes, strange symbolic
symbols on them, mystical figures and designs.
Trying to keep up with Bizzlebek, Kafka spots a horrendous
shape looming ahead of him. He starts to bypass it -- and
jumps when a tall plant brushes against him.
BIZZLEBEK
(waits for Kafka)
Are you sure you wouldn't prefer
going through official channels?
The awful dark shape turns out to be no more than a
particularly large tombstone, crumbled in places to give it
an animal-like suggestion.
KAFKA
Official channels -- a lot of good
they've done me. My only hope is
to approach the officials personally.
He keeps walking -- and we SEE that he's carrying the bomb-
briefcase he found at Eduard's.
BIZZLEBEK
-- I'm flattered, of course, to be
considered a friend -- even without
knowing all the details.
(Kafka doesn't take
that cue)
-- To see such determination is
reward enough for me.
KAFKA
The Kafka men are famous for it,
you know. Delivering meat barefoot
in the depths of winter, picking up
sacks of flour with their teeth --
A BIRD rapidly swoops down from a tree, zipping past Kafka's
head with a shrieking SQUAWK!
KAFKA
(gulp)
-- Oh, yes, determination runs in
the family.
BIZZLEBEK
There is one thing I'd like you
to tell me.
KAFKA
I'm trying to find things out myself
-- that's the whole point.
BIZZLEBEK
What made you think I'd be able to
get you into the Castle?
KAFKA
The cemetery is nearer the Castle
than anywhere else -- wasn't it part
of the Castle originally? -- I
always assumed there'd be a gate or
something.
(stops again, concerned)
Isn't there?
BIZZLEBEK
In a manner of speaking.
CUT:
HIGHER GROUND - NIGHT
They're at the graves at the very back of the cemetery, right
up against the bottom of the Castle wall that stretches high
above them into the black sky of night.
Trees quiver around them. Shadows dance. Bizzlebek pauses
at a particular grave, apart from the others, more hidden by
overgrowth. He runs his fingertips over the old, strangely
lettered inscription. He looks around the graveyard, making
sure they're alone, then he moves to one side of the stone
and leans his weight against it, pushing. It shifts and
slides open, uncovering the hole that lies beneath.
BIZZLEBEK
I was restoring some stones here
in the upper section one day --
and I found this.
KAFKA
(unclear)
An empty tomb?
BIZZLEBEK
A cenotaph -- a monument to someone
whose remains ended up elsewhere.
But look --
Having lit the lantern he's brought with him, he holds it
over the dark hole -- revealing a shaft and the rungs of a
ladder.
BIZZLEBEK
The Castle gates were blockaded
in the time of the great plague --
it's an escape route.
(offers Kafka the
lantern)
Don't get stuck.
KAFKA
(accepts it)
Not a chance. I'm the thinnest
person I know.
THE SHAFT
Kafka starts to climb down, shoes loud on the rungs affixed
to the stone wall of this well. But then he remembers
something, pops back up.
KAFKA
-- You appreciate my writing.
BIZZLEBEK
(taken aback)
Yes.
KAFKA
Will you do me a favor then?
BIZZLEBEK
Another one?
KAFKA
If I don't see you later -- go
to my house and find my notebooks --
and destroy them. All my
manuscripts -- just burn them.
Please.
BIZZLEBEK
What an extraordinary request!
KAFKA
It's my last and final one.
BIZZLEBEK
Then its authority is in doubt.
KAFKA
A true friend would do it.
BIZZLEBEK
Not necessarily.
(a pointed look)
A wife would.
CUT:
SECRET PASSAGEWAY - NIGHT
A stooping Kafka makes his way along this gloomy underground
artery, the lantern lighting the way.
He comes to the end of it and what appears to be a little
door. He bends low to listen at it -- then unlocks the
latch. He pushes -- and the door moves forward.
OTHER SIDE
Kafka stands up -- and he's inside a big filing cabinet
drawer.
He steps out of it and looks around. He's in an entire room
full of file cabinet drawers. A morgue of file cabinet
drawers. He shuts the one he came out of before walking
away. "D-7" says the label on the outside of it.
CUT:
VAULTS AND CRYPTS
Kafka makes his way through the shadows down here in the
underground depths of the Castle. A fiery glow and noise
comes from an archway ahead of him. When he gets to it and
looks through he sees a sweating STOKER shoveling coal into a
giant furnace.
CUT:
NEAR THE END OF A THIN PASSAGEWAY
A sudden door SLAM. Kafka dodges back around a corner. He
HEARS: the quick cry of a man's agony, a scuffle of shoes on
hard stone floor, a dull thud, a wave of peculiar shouts,
running footsteps, more mumbled mingled voices -- which soon
die out, leaving silence.
AROUND THE CORNER
Kafka walks slowly, straining his neck a bit in expectation
of whatever lies ahead.
The passage brings him to a row of dungeon cells. A line of
doors with a barred window in each. One of them isn't closed
-- and lying across the threshold is the Laborer who chased
Kafka from the quarries the other night. The knife is gone
from his sheath and his scull is caved in, a wooden stool
lying on the floor beside him. At the other end of the row
of cells another door swings open at the top of a few steps.
SUDDENLY fingers spear through the bars of another cell to
touch Kafka! A GAUNT MAN inside.
GAUNT MAN
You've killed him! Like a dog!
Kafka dropped his lantern in surprise, and shrinks back,
CRUNCHING glass.
GAUNT MAN
-- They won't like that. Not a bit!
KAFKA
I didn't --
The inhabitants of the other cells start RATTLING their bars
and beseeching Kafka. He looks around, bewildered and
horrified. Hideous faces looking back at him.
GAUNT MAN
You'll incriminate the rest of us!
Let me out too!
Shuddering, Kafka is moving away, making it through the
shocking gauntlet, toward the door at the other end.
HORRIBLE VOICES
Help us! -- release us!
GAUNT MAN
(yelling above the din)
You're in the bowels now, my friend!
You've thrown yourself in it now!
A HAGGARD MAN who may have had his tongue cut out gestures
desperately at a lever on the wall to unlock the cells.
Kafka starts to tentatively reach for it -- when there's a
sudden SHRIEK beside him. He whirls to see, behind more
bars, the raving, convoluted face of the creature that
stalked him at his office (whose loose eye has now gone
completely) -- BANGING violently against his door.
GAUNT MAN
Let me out -- I'm all right -- they
haven't treated me yet! We can go
together!
But now the evil Mr. Pick appears at the end of the passage
from which Kafka came -- a gun in his hand.
MR. PICK
You!
Kafka yanks the lever and runs away. Mr. Pick FIRES after
him, starting to chase -- but the prisoners are coming out of
their cells -- coming for him.
CUT:
SPIRAL STONE STAIRWELL
Kafka runs upwards, around and around and around.
ANOTHER FLOOR
Here is a part of the Castle Kafka can understand -- office
workers toiling away. Kafka walks past one long row of them,
SCRIBES sitting at a single endless desk. They look like
students under examination, hunched over their writing, a
virtual conveyor belt of paperwork.
In the center of this floor is an actual conveyor -- a chain
pulley running slowly up and down, presumably throughout the
entire Castle, through small holes in the floor and ceiling.
There are little pockets on the chain which the clerks
continually pluck papers out of and slip papers into.
The ink bottle of one of the scribes runs dry. He takes it
over to a sink with three taps -- Hot, Cold -- and the third
one he turns -- Ink.
CUT:
CORRIDOR
Kafka passes a FRIENDLY CLERK.
FRIENDLY CLERK
Are you lost?
Kafka nearly laughs at the enormity of the question.
KAFKA
I'm, uh, looking for the
Medical Records Section.
Pause.
FRIENDLY CLERK
Oh, you're miles away. From here
you'll want to go left, left again,
right, right again, left then right,
right then left, and take the Blue
Staircase.
KAFKA
Thank you.
FRIENDLY CLERK
(going on his way)
-- I haven't seen you here before.
KAFKA
No ...
KAFKA
He stands there, a man in a suit with a briefcase in an
antiseptic corridor.
KAFKA
... I'm new.
CUT:
UNDERGROUND CELLS
Mr. Pick leans against a door, trying to keep back the
howling horde of prisoners pushing from the other side.
Another JAILER joins him, helping him to try and push the
door closed. Then a SECOND JAILER too. A bestial hand
reaches through and Mr. Pick presses his pistol muzzle into
the outstretched palm --
BANG!
-- A book falls to the floor like a pistol-shot -- and
Kafka hides back in shadows hoping no one heard. He's in a
round --
LIBRARY
-- Surrounded by books from floor to ceiling, even on the
tall door through which he entered. A sliver of light gives
it away -- and on the other side of it he hears FOOTSTEPS.
But they pass by.
There's another sliver of light indicating another door in
the books opposite him. He walks over and pulls on the
shelves. Here the dark wood is merely a disguising cover for
the shiny modern steel he discovers on the other side of it
And he finds more than that as he enters --
THE LABORATORY
A real mad scientist's workshop. Chemicals of bizarre colors
rush and FIZZ through mazes of glass pipes and beakers, in
some places boiling and steaming, in others frosting or
freezing. Circuits and test tubes flash and glow as sparks
and filamentary arcs CRACKLE with electric incandescence.
insane instruments and devices, interconnected with complex
wires, perform strange and villainous functions. It's the
most modern setting we've yet seen -- but at the same time
all this futuristic technology seems somehow archaic, as if
put together from old, familiar materials and elements, both
eccentric and eclectic.
The chain that runs through the floors of the Castle carrying
documents runs up and down through the laboratory too.
Amidst this feast for the eyes, what Kafka now focuses in on
a simple cigarette -- left smoking in an ashtray. And by
the look of the ash, not very long ago. Kafka looks around
anxiously -- notices an archway leading to another room.
CUT:
UNDERGROUND CRYPT
Mr Pick and the two Jailers can't hold back the dreadful
prisoners any longer. Mr. Pick runs, letting the Jailers
fend for themselves.
CUT:
LABORATORY - SMALLER ROOM
Kafka comes into what looks like a small museum -- vertical
glass cases in which naked BODIES float suspended in
preserving gelatin solution.
Kafka seems deadened himself by all that he's seeing -- until
he sees someone he recognizes. The Bearded Anarchist. Kafka
goes closer. Looking down, he sees that the Bearded
Anarchist has a hand missing. The other anarchists are here
in glass cases too. Now with a gasp Kafka turns around --
looking for Gabriela -- but she's not here.
CUT:
MAIN LAB
Holding himself together, and with new determination etched
on his face, Kafka walks to the center of the lab -- and an
operating table. Ignoring the implications of the table, he
sets down the bomb-briefcase -- flicking the latches to open
it.
The sight of the explosive mechanism inside causes him a
moment's hesitation, but a look round at various animal parts
hanging from hooks above the table or bobbing in jars
alongside sinister implements laid out in preparation for an
operation renews his anger -- and he decisively turns the
dial on the bomb's timer-clock, setting it to the maximum
allowance of one hour.
He closes the case and locks its latches. The case begins to
TICK.
Kafka takes it to a dark spot beneath the mass of elaborate
laboratory equipment, hides it under there, and leaves.
CUT:
CORRIDOR
Kafka tries finding his way back the way he came.
END OF CORRIDOR
Kafka looks down a long dark staircase -- a hint of light
glowing at the bottom.
BOTTOM OF STAIRCASE
Just as he reaches the light something lunges at him from one
side! It's the Laughing Man, hysterical as ever, face now
SEEN for the first time, SCREECHING, salivating, eyes
watering. The human hyena. His grin contorts his face from
ear to ear, his CACKLING is truly terrifying, and the hand he
stretches forward has a tattoo on it (Bearded Anarchist's
hand) -- a hand too big for his wrist -- reaching, reaching,
reaching for Kafka.
CUT:
DARK OFFICE - NIGHT
The Laughing Man pushes Kafka down into a chair and shakes
with uncontrollable sobbing shrieks.
Someone else is sitting in darkness behind a huge desk
(MURNAU). His hand holds out a small vial. The Laughing Man
grabs it and leaves, gulping down its contents voraciously.
MURNAU
I assume you're wondering ... what
all this has been about.
Kafka tries to see into the shadows.
KAFKA
Are you the Head of Medical
Records?
The door behind Kafka opens again and an officious bureaucrat
(EKMAN) comes in. He sits in a chair and looks at Kafka.
MURNAU
(to Ekman)
He's come on his own initiative.
(to Kafka)
-- Not something we encourage, mind
you, but we like to know it exists.
And he's stood up.
MURNAU
What it amounts to is simply this ...
He's coming around the desk. He's drying his hands on a
towel.
MURNAU
A piece of paper was delivered to
the wrong clerk. It was essential
he bring it back to us. These
complications have arisen because he
had friends -- like you, among
others -- friends unlikely to let a
sleeping dog lie.
He tosses the towel onto the desk. Ekman looks irritated by
this.
KAFKA
... A piece of paper ...
MURNAU
A mere slip.
(coming forward)
Your friend Mr. Raban dealt only
with claims that came in, another
department being responsible for
compensation that goes out -- this
is correct?
He places a fatherly hand on Kafka's shoulder.
MURNAU
(not quite in the
light yet)
Through a very unfortunate -- and
I might add extremely rare --
mishap, a document intended for
the one department was sent to
the other. And for the first
time -- though your friend
wasn't aware of it -- two and
two could have been put together
to make one.
KAFKA
(again)
... A piece of paper ...
MURNAU
(face bending into
the light)
You see, Kafka, in all cases
relating to the factory at
Orlac -- which is what this
paper referred to -- the
authority that puts in a
request and the authority that
grants it is, to all intents
and purposes, the same authority.
And he's an impressive, imposing figure of authority
himself. You'd probably trust him. You'd certainly respect
him. But if you look into his eyes, he's frightening.
CUT:
UNDERGROUND CRYPTS
Mr. Pick runs from the crazed prisoners chasing him. Fires
his gun back at them, dropping one or two -- but then runs
out of bullets.
The prisoners slowly surround him. He backs away. One of
those chains that run throughout the Castle has its base
here. Mr. Pick keeps backing up, unavoidably, the deranged
prisoners closing in -- until he falls backwards with a cry
into the grinding wheels of the chain-system.
Caught up in the chain, he's carried aloft with it, up to the
ceiling. The chain is the lifeline of the Castle and does
not, could not, ever stop. Instead it forces Mr. Pick to go
along with it, his head CRACKING through the glass or wood
"manhole" cover through which the chain passes.
CUT:
MURNAU'S OFFICE
Kafka tries not to flinch in the presence of this deadly
figure.
MURNAU
-- You seem amused.
KAFKA
It only amuses me in that
it gives me an insight into
the ludicrous bungling that
in some circumstances may
decide the life of a human being.
Ekman sighs -- as if at a difficult child.
MURNAU
It's merely a matter of
expediency. It's imperative
that my room to maneuver not
be hindered by ... bureaucratic
ramifications.
Ekman, who doesn't hear very well, directs one ear in
particular back and forth between the other two. Kafka just
keeps looking at the charismatic man pacing around him --
who's now lighting an expensive cigarette of the kind that
was in the ashtray at the lab.
MURNAU
-- If an obscure official up
there in the distant mountains
so far away from civilizing
influences happens to meet
with an unfortunate accident
-- and should he tragically die
in spite of the District Medical
Officer's strenuous efforts to
save him -- the firm wants to
see the next of kin pacified
and the disposition of the
remains handled with the
greatest possible ... efficiency.
KAFKA
(becoming clearer)
"Accident and Compensation" --
no one can accuse the firm of
not supplying exactly what it
promises.
MURNAU
(to Ekman)
I believe we've exceeded his
expectations.
KAFKA
(virtually to
himself)
I had the grandest of financial
plots in mind, the most
malevolent of personal motives,
conspiracy theories extending
to every ... authority I could
see.
(looks up)
And I find you. A body snatcher.
Murnau laughs.
MURNAU
Life is more than a Chinese
puzzle, my friend.
CUT:
FLOOR OF CLERKS
Uniformly, like a chorus line, the infinite row of clerks
turn their heads from their single endless desk when they
hear an awful NOISE:
Mr. Pick is breaking through from the floor below. The
inexorably rising chain has hauled him floor by floor through
the Castle, breaking open holes too small for his body,
shredding him along the way, and still carrying him upwards
...
CUT:
CASTLE CORRIDOR
Kafka walks along with Murnau and Ekman. The Laughing Man
holds Kafka's arm.
KAFKA
And I suppose Dr. Murnau didn't
die in a cave-in. You killed
him to free the Position of
Orlac Medical Officer for your
own ends.
MURNAU
Yes, well -- we're looking for
a new village now. If we stay
too long at one source ... people
become suspicious.
They pass another of those grinding chains carrying memos and
inter-office directives up and down.
MURNAU
But you're quite right that
he didn't die in that cave-in.
In fact, he didn't die at all.
He was simply recalled -- by
himself. As well as being Head
of Medical Records here and a
Director of your firm -- I'm
Dr. Murnau, of course.
The Laughing Man giggles crazily.
LIBRARY
The Laughing Man, subdued for a moment, merely smiles a
little, opening the door to let Kafka in first, guarding him
close. Dr. Murnau then leads the way across to his
laboratory door.
MURNAU
May I ask where your two
warders are?
KAFKA
Lying in the gutter where
they belong.
Murnau laughs, but then has to stop as it encourages the
Laughing Man, bringing forth a mad chuckle or two from him.
MURNAU
Pity. They're an amusing pair,
didn't you find? Absolute
innocents.
He pushes the tall door open into his lab.
LABORATORY
Murnau spreads his hands proudly as they enter, displaying
his amazing factory.
MURNAU
I so rarely get the chance of
showing my work to anybody --
anybody capable of appreciating
it, that is. You might say I'm
a student of human reaction.
Ekman, who's seen it all before, goes to lean somewhere,
bored.
KAFKA
The fact that it's live bodies
you practice your trade on
doesn't seem to matter to you.
MURNAU
On the contrary, it matters a
great deal. We're engaged in
immensely important research
here. I'm a revolutionary
too, you know -- but a much
more pragmatic one.
As if in response to that the Laughing Man convulses anew.
Ekman immediately turns to a shelf for another vial and goes
to give it to the Laughing Man.
MURNAU
-- I can't very well administer
experimental treatments to
corpses -- and if they become
corpses, why, they have their
uses too -- that's why speed is
essential. Living tissue, even
if its owner has passed on, is
our most valuable acquisition.
The Laughing Man gulps down the potion and starts to calm
down a little.
MURNAU
We've tried transfusions on
our ... volunteers. Unfortunately,
far from infusing superior
characteristics it's tended to
make them insane -- murderous
even -- a condition we've had
occasion to make use of.
THE HIDDEN BOMB-CASE
TICKING lightly away. The clock inside the bomb-case,
becoming visible as if by X-Ray, is SEEN to be a matter of
minutes away from blast-off.
THE LAB
Murnau walks to where the elaborate distillation processes
are going on. The very section where Kafka hid the bomb.
Kafka wipes his brow, quickly, conscious of Ekman staring at
him. Murnau gazes obsessively at his contraptions, his
piercing eyes following the routes of the flowing chemicals.
MURNAU
-- And the new patients they
bring me aren't usually as
dexterous as you've been in
evading us. Not perfect
specimens by any means, but
not the type of person who'll
be missed either.
KAFKA
What have you done with
Gabriela Rossmann?
MURNAU
As a matter of fact you've
caught us in a state of
considerable excitement. Our
latest preparation we believe
-- we pray -- is perfected.
It should take years off her.
He's concocting another potion now, pouring an acidic-looking
liquid from one container to another. Kafka is looking
increasingly worried.
MURNAU
And if not -- well, there are
always what I call my caprices
of vivisection.
He glances at the dangling animal parts. And now, finished
mixing his cocktail, he picks up some sort of suturing tool,
pressing the trigger on it to start the end burning and
SIZZLING.
MURNAU
Actually, if it weren't for
the aberrant dilemma posed by
someone like yourself --
continually asking for out-of-date
files -- I'd probably give up my
revisionist policies altogether.
I'm sure what we have to do is
start instead at the very
inception -- with the embryo --
from a single cell even.
(leers at Kafka)
The lure of the Golem -- the
man-made man. You appreciate
that, I know.
Ekman takes Kafka by the arm to lead him toward the operating
table. The Laughing Man moves in closer too, emitting a
psychotic chortle.
MURNAU
To corrupt the image of man
and then offer redemption ... This
is the dawn, Kafka. A new man is
being born here. A more resilient
man ... A superman.
Kafka attempts an escape around the operating table, but the
Laughing Man blocks his way and corrals him back to where he
was before. Dr. Murnau holds out the sinister aperitif for
Kafka to take and drink in toast.
MURNAU
To a new world -- of Gods
and monsters.
The glass comes closer and closer to Kafka's lips -- if he
leans away from it any further he'll be lying on the
operating table -- but now a WRENCHING noise makes everybody
turn.
The body of Mr. Pick, bloody and ragged, is dragged up with a
SMASH through a breaking floor-panel by the great chain.
Kafka has his chance. The next time anyone looks at him he's
holding the nozzle of the burning device under Ekman's
throat, finger on the trigger.
-- And on the other side of the laboratory a wide elevator
platform rises into view -- carrying the prisoners from the
dungeons!
KAFKA
Throws Ekman aside and runs away.
EKMAN
Falls to the floor, holding his hands up over his head with a
SCREAM as the ghastly creatures from the depths converge on
him -- but they pass him by -- intent on getting Murnau.
The last out of the elevator is the most horrible BEAST-MAN
yet -- and we finally see the use to which various
animal-parts have been put.
MURNAU
Just stands by the operating table, waiting for them. He
knows there's no way out and he's far too practical a man to
waste energy running or screaming.
CUT:
DOORWAYS
Kafka running through the Castle, through door after door
after door after door, leaving them all banging behind him,
back and forth.
CUT:
THE LABORATORY
Ekman stumbles to his feet, watching in horror as the
prisoners of the Castle strap Murnau to his own operating
table.
One by one, the prisoners file past the intricate surgical
tools neatly laid out on white cloth. Each prisoner selects
the implement of his choice.
Ekman, too, runs away out of the laboratory.
The Laughing Man, snickering, isn't sure whose side he's on.
But then, LAUGHTER BUILDING, he goes to join the others in
line.
CUT:
DOORWAYS
Kafka still running in the maze -- through a final door. And
he finds himself right back in --
THE LIBRARY
With the brightness of the laboratory facing him through its
open door. Horrible SOUNDS coming from in there.
THE HIDDEN BOMB-CASE
Almost time.
KAFKA
Running again, through the maze of corridors. He HEARS
running footsteps behind him -- looks back to see Ekman
running after him. Ekman catches up -- but runs past Kafka
in his panic to escape -- out onto a metal walkway around a
central area of offices.
THE LABORATORY
Murnau can't be seen, only the deranged men huddled closely
around the operating table.
THE HIDDEN BOMB-CASE
Abruptly stops ticking.
THE CENTRAL OFFICES
The floors SHUDDER as the BOOM in the laboratory is heard and
felt. The metal walkway breaks and Ekman goes sliding off it
-- while Kafka manages to hang on. He ducks his face down as
glass from all the surrounding office windows SHATTERS and
SHOWERS -- and then paper starts sailing down all around.
Literally a hailstorm of documents.
On the floor below where he fell, Ekman tries to stand, but
the falling flurry of paper keeps him at bay. He waves his
hands wildly trying to see his way through it all, but it's
too much. Now his feet are trapped in it. It's starting to
rise around his legs. Papers are fluttering down from floors
and floors of surrounding offices above, filling the air.
Ekman suffocates and drowns and disappears in the paper
piling up around him -- one lone arm and hand the last we see
of him.
THE LABORATORY
Totally wrecked -- and jutting out of the broken walls are
burst pipes -- spurting red, blue, and black INK everywhere.
THE CENTRAL OFFICES
Kafka is managing to climb back onto the unsafe metal walkway
-- when ZING! -- a bullet ricochets near him.
The Assistants! They've nearly fallen through another
doorway where the walkway on that side broke, but got each
other stuck in the door just in time. One of them is wildly
FIRING a revolver in Kafka's direction. The other tries to
grab it and both FIRE it together in all directions.
Kafka runs away, avoiding a snake of broken wire, flipping
about, SPARKING off the metal.
The Assistants, shoving each other, extricate themselves back
through their doorway to find another way to chase Kafka.
THE LABORATORY
The burst ink pipes drip empty. The sound of maniacal
LAUGHTER abruptly stops. The ink has filled the lab halfway
to the ceiling. It's covered everything and every ... body.
A last bubble pops, leaving a lake of ink with a surface
smooth as glass.
CUT:
UNDERGROUND FILE VAULT
Kafka has found his way back here -- rushing in. But wait:
Which file cabinet did he come out of? He's surrounded by
file cabinet drawers all alike. He starts running around,
pulling open drawers, trying to find the secret doorway
through one of them.
SPIRAL STONE STAIRCASE
Here come the Assistants, running round and round.
UNDERGROUND FILE VAULT
Kafka runs round and round, opening drawer after drawer. He
finds the one! Jumps in! Pulling it closed after him just
as --
-- the Assistants stumble in. They look at each other, then
immediately start rushing around opening drawers. They run
back and forth and all around, bumping into each other,
making themselves dizzy.
LUDWIG
(pulls open a drawer)
Oskar!
OSKAR
(turning from another)
Ludwig?
-- But Ludwig just pulls out a file folder.
LUDWIG
This is filed incorrectly!
OSKAR
Here too! They're all in a
dreadful muddle!
They start trading files back and forth, trying to put the
system back in order. The attention span of squirrels,
they've forgotten all about looking for Kafka.
CUT:
CASTLE GATES - DAWN
Opening. The police Inspector enters the main courtyard.
Behind him come the two secondary policemen. Behind them,
obscurely, a few more.
CASTLE COURTYARD
He and his men pause, reacting ...
... as the few wretched survivors of the Castle prison
stagger out of the shadows to greet them.
CUT:
EMBANKMENT - MORNING
On the Old Town side of the River. Foggy.
KAFKA
Walks slowly, tiredly. He looks up at the sky, but the sky
is a silver shield against anyone who looks for help from it.
FURTHER ON
Kafka stops. Turns. Did he hear something other than the
wind and the water?
FURTHER ON
He passes through a small park, approaching a gate on the
other side of it. Leaves RUSTLING. Mist swirling around
him. He opens the gate and -- BOO!
GABRIELA
Standing there, half in shadow, in profile. Her glorious
profile.
KAFKA
Gabriela! -- you did get away.
GABRIELA
I knew you walked this way to
work. I wanted to find you
before they did.
KAFKA
-- I've just come from the
Castle. It's over.
GABRIELA
(her eye glancing
far away)
Over? It's only over when
you can crawl to a clean little
spot on earth where the sun
sometimes shines and you can warm
yourself a bit.
Kafka is beginning to sense something quite wrong with her.
KAFKA
Gabriela ...?
GABRIELA
Should I tell you why I joined
our late lamented nihilists?
Why I became a murderer?
Because murder ... is bliss.
(looks at him)
It's easier than you might
think to absorb and assimilate
Evil -- once you've adopted its
procedure.
Kafka just watches her ... The breeze sings in
the air.
GABRIELA
Have you ever watched a person
deteriorate? Day by day. I
don't mean in a spiritual sense.
Kafka doesn't answer. She turns fully to him. The other
side of her beautiful face is ... fungus. Alive. Seething.
Frothing. Bubbling. Kafka backs away a couple of steps.
GABRIELA
Only two steps back? Even the
man they left to guard me
retreated further than that.
KAFKA
I -- I found your jailer.
GABRIELA
This is the result of their
elixir of youth. They were
to come and check on it during
the night. I contrived to
miss the appointment.
KAFKA
They're dead now. We can
get help.
GABRIELA
I know how they reward failure.
If they saw this I'd be rotting
in the quarries by the afternoon
-- with all the others.
KAFKA
There's a new potion -- he
said it was perfected.
GABRIELA
I know there is. And you're
what I have to bargain with.
For now you're the last one
in their way.
KAFKA
I told you, they're dead. It's
finished.
GABRIELA
Why should I believe a man who
never believed me? They're
absolutely right, you know --
guilt should never be doubted.
It's easier that way.
Kafka starts to back away some more. Gabriela starts to
follow him.
GABRIELA
I think you've just escaped for
the moment. Just as I did. As
Eduard did. As they let us do.
But only for the moment.
KAFKA
No -- not this time.
GABRIELA
I know better than you what
people will say when they have
to. When they brought me in
for questioning I informed on my
friends the very first day.
KAFKA
-- Listen to me --
GABRIELA
I do. Always. You understand
the world better than any of
us, Kafka. And what it's
becoming.
(pause)
I've always held you in the
highest regard.
And suddenly she's slashed a knife across Kafka's chest. He
shouts in pain, staggering backwards. She comes after him.
KAFKA
-- Gabriela!
She comes after him, blade glistening. Kafka does his best
to run.
THE BRIDGE
Kafka giddily staggers forward, one arm wrapped around his
bleeding chest, Gabriela close behind him. Too close for him
to get away. He turns to face her as he reaches the bridge
and as she comes upon him again with the knife, raising his
arm to block the thrust and hold her wrist back. She's
strong, though, made more so by her madness. She forces him
down to the ground, straddling him, the knife pushing
closer. Kafka gasps in pain, finally succumbs, no longer
able to hold his hand up in defense, simply shutting his eyes
with a terrible sigh to await the fatal stab.
It doesn't come. Almost. But not quite. Gabriela's arm
pauses, shaking in the cool, cloudy air, her sleeve trembling
in the breeze off the River, the sharp blade, inches from
Kafka's throat, flashing in the new day's light.
Gabriela stares away over the River, the destroyed half of
her face in shadow again, the other more strikingly beautiful
than ever. As Kafka watches, passive, she gets off him and
slowly walks to the wall of the bridge, letting the knife
drop from her hand along the way. Kafka manages to lift
himself to his knees, clutching his wound. He looks up.
Gabriela in one graceful movement climbs over the wall and
throws herself into the River.
Kafka lowers his head.
CUT:
CONTINENTAL COFFEE SHOP - MORNING
Quiet in here. Breakfast business not as crowded as
evening. Kafka sits alone at his usual table. Looking
dazed, almost in shock. Mostly just tired. Waiting. He
sips from his coffee cup. He COUGHS a little into his napkin
-- and notices blood on it.
He has a pen in his hand. Tapping it slowly on a newspaper
on the table ...
Bizzlebek comes into the coffee house. He sees Kafka sitting
in the far corner and gives a grand smile and wave. But then
he notices Kafka's other friends entering and he'd rather not
have to deal with them -- so he gives Kafka a "catch you
later" gesture and turns onto his own usual stool at the bar.
Kafka stares at his friends over there. They're taking off
their coats and greeting other people. The girl, Anna, is
the first to start walking to join him.
He starts to write, a first line that has occurred to him,
the pen moving as if he can't help himself ...
KAFKA'S VOICE
Dearest Father ...
Anna's approaching. Kafka just watches her coming. He
knows he'll end up going out with her, sleeping with her,
getting engaged to her ... We see the future on Kafka's
face
KAFKA'S VOICE
You asked me recently why I
maintain that I am afraid
of you ...
CUT:
KAFKA'S HOUSE - NIGHT
Alone again in his little room, Kafka writes on into the
night. The famous "Letter To His Father" is pages and pages
long. We notice too that his chest has been bandaged. He
COUGHS a little as he forces himself to keep writing.
KAFKA'S VOICE
Naturally things cannot in
reality fit together the way
the evidence does in my letter
-- life is more than a Chinese
puzzle. But in my opinion
something has been achieved
which so closely approximates
the truth that it might reassure
us both a little and make our
living and our dying easier.
FADE OUT
FADE IN
WATERFRONT WHARVES - MORNING
The Assistants sit on a big packing crate, brushing soot from
their suits, shaking dust out of their hair, fiddling with
the rips in their jackets and trousers.
LUDWIG
We could go back to the office.
Explain ourselves to the Chief
Clerk.
OSKAR
They'd drive us away. That
Kafka's made things very hot
for us.
LUDWIG
I understand he was wounded
in the lung.
OSKAR
(sulky)
It doesn't matter. It's too
late for all of us.
LUDWIG
(looks at O.)
What's to become of us now?
Oskar has a long think.
OSKAR
(looks at L.)
Amerika. That's the place to go.
Ludwig jumps off the box and gapes at Oskar, tremendously
impressed by this brainstorm.
LUDWIG
Everyone in Amerika has a
toaster in their building!
Oskar jumps down from the box.
OSKAR
Then that's the place for us!
LUDWIG
Amerika for us!
OSKAR
Amerika!
And, linking arms, they do a strange dance along the quay ...
Kafka
Writers : Lem Dobbs
Genres : Drama
User Comments
Back to IMSDb
| screenplays |
reproductive aging is associated with a decline in fertility , which begins in a moderate and steady fashion starting in the third to fourth decade but then accelerates rapidly after age 35 ( 1 ) .
a gradual diminution in the pool of ovarian follicles seems to underlie this decline ( 2 ) .
this age - related decrease in the follicle number and fertility is marked by an increase in follicular - phase serum follicle - stimulating hormone ( fsh ) levels .
this usually starts in women approaching 40 yr of age ( 3 ) and is followed several years later by an increase in luteinizing hormone ( lh ) ( 4 , 5 ) .
in addition , changes in estradiol ( e2 ) levels have been described in women with advanced reproductive age ( 5 ) .
various endocrinological markers have been used to assess the ovarian reserve , and the accurate and reliable determinations of serum ovarian aging marker levels are essential for safe and successful treatment ( 6 ) .
previous studies have suggested that anti - mllerian hormone ( amh ) and inhibin b play important roles as ovarian aging markers ( 7 ) .
amh is secreted by granulosa cells of ovarian follicles and appears to regulate the early follicular development ( 8) . according to a previous study
, serum amh levels decrease with increasing age ( 9 ) . on the other hand , inhibin b
is produced by granulosa cells which characteristically suppress the synthesis and secretion of fsh ( 10 ) .
in addition to its role as a fsh modulator , inhibin b appears to regulate the follicular development and promote follicular growth ( 11 ) .
other putative intraovarian regulators of follicle growth include the insulin - like growth factor ( igf ) family of proteins .
the igf system is one of several growth factor systems that probably serve adjunctive roles in ovarian follicle development ( 12 ) .
moreover , igfs may play an important role in the human preovulatory process , and igf - binding proteins ( igfbps ) may be valuable biochemical markers in the evaluation of oocytes maturity ( 13 ) .
igf - i in blood either circulates freely or is bound to binding proteins , mainly to igfbp-3 .
furthermore , serum igfbp-3 levels have been reported to be positively regulated by igf - i ( 14 ) .
a small number of studies have explored the positive relationships between follicular fluid igf - i and ovarian reserve and between follicular fluid igf - i and serum igf - i ( 5 ) . although serum igf - i levels have been reported to be downregulated in elderly women and to influence ovarian function ( 16 )
, the serum igf - i level is not widely used as an ovarian aging marker and its usefulness has not been clearly documented .
the present study was focused on the usefulness of several ovarian age markers in one population sample with respect to age and menopausal status .
even though the decreases of these hormones with age have been reported ( 7 , 9 , 16 ) , the data published to date are not comprehensive enough to reach a consensus regarding reference ranges .
moreover , no study has yet been conducted in an asian population on these hormones .
the purposes of this study were to investigate age - dependent and postmenopausal changes in the serum levels of amh , inhibin b , igf - i , igfbp-3 , and fsh and to identify which of these markers better reflects the aging process in korean women .
furthermore , this study provides diagnostic reference ranges of novel age markers , such as amh , inhibin b , and igf - i .
we recruited healthy , ovulatory women aged 20 - 29 yr ( n=48 ) , 30 - 39 yr ( n=33 ) , and 40 - 49 yr ( n=30 ) and postmenopausal women aged 50 - 59 yr ( n=33 ) .
premenopausal women were required to have regular menstrual cycles ( 24 - 35 days ) , and postmenopausal women were required to have been in physiologic menopause for at least 1 yr . no participant had any evidence of endocrine disorders ( normal prolactin and thyroid - stimulating hormone levels , and no evidence of polycystic ovarian syndrome ) , and all participants were required to have a body mass index ( bmi ) of 19 - 26 kg / m , both ovaries present , and an absence of medical or reproductive disorders ( including any history of infertility ) , and no participant was taking hormone medications .
blood samples were obtained by venipuncture on cycle day 3 from regularly menstruating women or at random from postmenopausal women to measure the serum levels of amh , inhibin b , igf - i , igfbp-3 , fsh , lh , and e2 .
samples from a given subject were analyzed for each hormone in the same assay to avoid inter - assay variation .
serum levels of lh and fsh were measured by immunoradiometric assay ( irma ) using commercial kits ( biosource , nivelles , belgium ) .
the detection limits of the assay were 0.2 miu / ml for lh and 0.1 miu / ml for fsh .
intra- and inter - assay coefficients of variation ( cv ) were 3.2% and 6.7% for lh , and 3.3% and 7.1% for fsh , respectively .
samples were analyzed for e2 using radioimmunoassay ( ria ) using commercial kits ( biosource , nivelles , belgium ) .
the detection limit of this assay was 10 pg / ml , and intra- and inter - assay cvs were 4.9% and 5.2% , respectively .
serum levels of igf - i and igfbp-3 were determined by irma using reagents supplied by diagnostic systems laboratories ( dsl inc . , webster , u.s.a . ) .
its detection limits were 2.06 ng / ml for igf - i and 0.5 ng / ml for igfbp-3 , and its intra- and inter - assay cvs were 5.1% and 9.1% for igf - i , and 5.2% and 7.1% for igfbp-3 , respectively .
serum levels of amh and inhibin b were determined using enzyme - linked immunosorbent assays ( elisa ) using commercial kits from diagnostic systems laboratories ( dsl inc . , webster , u.s.a . ) .
the detection limits of this assay were 0.017 ng / ml for amh and 7 pg / ml for inhibin b , and its intra- and inter - assay cvs were 4.6% and 8.0% for amh and 5.6% and 7.6% for inhibin b , respectively .
differences between age groups were tested by one - way analysis of variance ( anova ) , followed by turkey 's multiple comparison test .
the abilities of hormone levels to discriminate between pre- and postmenopause women were investigated using receiver operating characteristic ( roc ) analysis .
the diagnostic values of the various hormone markers were evaluated by comparing areas under the curves ( rocauc ) ( 23 ) .
chicago , il , u.s.a . ) , and p values of < 0.05 were considered statistically significant .
we drew fitting plots of hormone levels versus age . mean data values with error bar are presented in the fitting plots .
the x - axis was divided into intervals of 5 yr and each curve was fitted using linear , gaussian , lorentzian , and sigmoid functions using mathematica 5.0 ( wolfram research inc . ,
we recruited healthy , ovulatory women aged 20 - 29 yr ( n=48 ) , 30 - 39 yr ( n=33 ) , and 40 - 49 yr ( n=30 ) and postmenopausal women aged 50 - 59 yr ( n=33 ) .
premenopausal women were required to have regular menstrual cycles ( 24 - 35 days ) , and postmenopausal women were required to have been in physiologic menopause for at least 1 yr . no participant had any evidence of endocrine disorders ( normal prolactin and thyroid - stimulating hormone levels , and no evidence of polycystic ovarian syndrome ) , and all participants were required to have a body mass index ( bmi ) of 19 - 26 kg / m , both ovaries present , and an absence of medical or reproductive disorders ( including any history of infertility ) , and no participant was taking hormone medications .
blood samples were obtained by venipuncture on cycle day 3 from regularly menstruating women or at random from postmenopausal women to measure the serum levels of amh , inhibin b , igf - i , igfbp-3 , fsh , lh , and e2 .
samples from a given subject were analyzed for each hormone in the same assay to avoid inter - assay variation .
serum levels of lh and fsh were measured by immunoradiometric assay ( irma ) using commercial kits ( biosource , nivelles , belgium ) .
the detection limits of the assay were 0.2 miu / ml for lh and 0.1 miu / ml for fsh .
intra- and inter - assay coefficients of variation ( cv ) were 3.2% and 6.7% for lh , and 3.3% and 7.1% for fsh , respectively .
samples were analyzed for e2 using radioimmunoassay ( ria ) using commercial kits ( biosource , nivelles , belgium ) .
the detection limit of this assay was 10 pg / ml , and intra- and inter - assay cvs were 4.9% and 5.2% , respectively .
serum levels of igf - i and igfbp-3 were determined by irma using reagents supplied by diagnostic systems laboratories ( dsl inc . , webster , u.s.a . ) .
its detection limits were 2.06 ng / ml for igf - i and 0.5 ng / ml for igfbp-3 , and its intra- and inter - assay cvs were 5.1% and 9.1% for igf - i , and 5.2% and 7.1% for igfbp-3 , respectively .
serum levels of amh and inhibin b were determined using enzyme - linked immunosorbent assays ( elisa ) using commercial kits from diagnostic systems laboratories ( dsl inc . ,
the detection limits of this assay were 0.017 ng / ml for amh and 7 pg / ml for inhibin b , and its intra- and inter - assay cvs were 4.6% and 8.0% for amh and 5.6% and 7.6% for inhibin b , respectively .
differences between age groups were tested by one - way analysis of variance ( anova ) , followed by turkey 's multiple comparison test .
the abilities of hormone levels to discriminate between pre- and postmenopause women were investigated using receiver operating characteristic ( roc ) analysis .
the diagnostic values of the various hormone markers were evaluated by comparing areas under the curves ( rocauc ) ( 23 ) .
chicago , il , u.s.a . ) , and p values of < 0.05 were considered statistically significant .
the x - axis was divided into intervals of 5 yr and each curve was fitted using linear , gaussian , lorentzian , and sigmoid functions using mathematica 5.0 ( wolfram research inc . ,
the characteristics of the premenopausal subjects and their serum hormone levels on cycle day 3 are shown in table 1 .
serum levels of amh , igf - i , and igfbp-3 decreased and those of fsh increased significantly with age .
however , serum lh was higher and inhibin b was lower in women in their 20 - 30 's than in 40 's .
amh and igf - i levels consistently decreased with age , and showed significant changes across all ages , whereas igfbp-3 and fsh levels showed a significant difference only between women in their 30 's and 40 's .
median ages and serum hormone levels of premenopausal and postmenopausal women are presented in table 2 .
data for amh and inhibin b were not normally distributed in the postmenopausal women , mainly because the majority of values were below the detection limit . hence the data were presented as medians and ranges , and a nonparametric method was used for comparison between two groups .
premenopausal and postmenopausal women had median ages of 31 ( range 20 - 49 ) yr and 56 ( range 50 - 59 ) yr , respectively
. serum levels of lh , fsh , e2 , igf - i , amh , and inhibin b showed significant differences between pre- and postmenopausal women ( p<0.001 ) . however , serum igfbp-3 levels did not change significantly after menopause . as expected , lh and fsh levels in postmenopausal women were significantly higher and those of e2 , igf - i , amh and inhibin b levels were significantly lower than in premenopausal women .
amh was undetectable in 20 of 33 postmenopausal women , whereas it was only undetectable in 2 of 111 premenopausal women .
inhibin b was undetectable in all postmenopausal women and in 10 of 111 premenopausal women ; moreover , these 10 women were older than 40 yr old .
serum levels of amh and igf - i showed linear decreases from the earlier age ( fig .
1a , b ) , whereas fsh and lh levels showed sigmoid increases and showed greatest increase after menopause ( fig .
serum igfbp-3 levels were fitted using gaussian function with a minimum value at the boundary between pre- and postmenopause ( fig .
this analysis showed that the diagnostic accuracy of amh ( rocauc=0.943 ) for menopausal status was similar to those of fsh ( rocauc=0.998 ) , lh ( rocauc=0.996 ) , and inhibin b ( rocauc=0.945 ) , and was better than igf - i ( rocauc=0.875 ) .
when the point on a curve closest to the upper left corner of the box corresponding to 100% sensitivity and 100% specificity ( 0% false positivity ) was selected , it resulted in cutoff levels for amh of < 0.46 ng / ml and for inhibin b of < 0.4 pg / ml in terms of identifying postmenopausal subjects .
the sensitivity and specificity corresponding to these cutoffs were 92% and 97% for amh , and 91% and 100% for inhibin b , respectively , and the cutoff level of igf - i was < 231.5 ng / ml with a sensitivity and specificity of 90% and 76% , respectively .
the sensitivity and specificity of amh were similar to those of fsh , lh , and inhibin b , and were better than those of igf - i .
serum fsh levels increase in old reproductive age women , a fact that has been well documented and recognized for many years by many investigators ( 5 ) . in women approaching 40 yr of age
, serum fsh levels usually begin to rise , which reflects a reduction in the number of early antral follicles present that can be recruited to ovulate ( 3 ) .
serum fsh levels increase over time because inhibin b and e2 production are reduced by a diminished cohort of growing follicles ( 18 , 19 ) .
nevertheless , prior to age 40 , fsh levels are not correlated with age , which confirms the lack of correlation between fsh and age in women aged 20 - 35 ( 20 , 21 ) . however , the proper assessment of ovarian aging at an early stage is crucial in terms of counseling patients about their possibility of pregnancy , either spontaneously or during fertility therapy .
previous studies have reported that serum amh levels are closely related to the early antral follicle count , and moreover , this relationship was found to be remarkably more strong than those of inhibin b , e2 , fsh , or lh ( 8 , 9 , 22 ) .
the serum amh level decreased with ages in premenopausal women and postmenopausal women , which is in line with the findings of de vet et al .
, it was found that serum amh levels in normal ovulatory women reduced with advancing age before changes in other markers ( e.g. , fsh and inhibin b ) were apparent , and that amh was undetectable in most of postmenopausal women .
these results are in line with those of previous studies and suggest that amh could be used as a novel marker of ovarian aging . age - dependent decreases of igf - i may occur secondary to age - dependent reductions in growth hormone secretion ( 23 , 24 ) .
igf - i has been shown to serve as an intraovarian regulator of follicle function in rodents and to exerts a direct effects on human and rodent granulos a cell function ( 25 , 26 )
. moreover , igf - i , in conjunction with gonadotropins , appears to promote follicle growth ( 27 ) and steroid secretion ( 28 ) and to act as an antiatretic hormone ( 29 ) .
although serum igf - i levels have been reported to be attenuated in elderly women ( 16 ) and follicular fluid igf - i levels have been demonstrated to be related to the ovarian reserve ( 15 ) , serum igf - i levels are not widely used as an ovarian aging marker and the usefulness of serum igf - i has not been clearly documented in this context .
based on a high correlation between serum and follicular fluid levels of igf - i and on the positive correlation between follicular fluid level and an ovarian reserve ( 15 ) , it can be speculated that serum igf - i and ovarian reserve are positively correlated .
the present study demonstrates age - dependent and postmenopausal changes in the serum levels of igf - i , which suggests that serum igf - i is an another candidate marker of ovarian reserve .
the results of the present study indicate that serum levels of amh , igf - i , and igfbp-3 decrease and that those of fsh increase significantly with age in premenopausal women , but serum levels of inhibin b do not decrease significantly with age . in addition ,
fsh levels in normal ovulatory women in their 20 's and 30 's were similar , which is in line with previous reports on inhibin b and fsh ( 7 , 20 , 21 ) .
in contrast , serum levels of amh and igf - i were significantly different in women in these age groups .
it is noteworthy that serum levels of amh and igf - i significantly changed at earlier ages than did those of the other hormones in premenopausal women ; moreover , the main limitation of conventional ovarian reserve markers such as fsh , lh , and e2 is that their serum levels change relatively late .
inhibin b was practically undetectable after menopause , and amh was undetectable in 20 of the 33 postmenopausal women .
this is supposed to be because inhibin b and amh are produced by the granulosa cells of ovarian follicles ( 7 , 10 ) .
several studies have investigated changes in amh and inhibin b , and also found that they ultimately become undetectable after menopause ( 7 , 30 ) . to follow the age - dependent changes of each marker more precisely , we fitted their hormone level versus age plots .
after menopause , serum fsh and lh levels increase markedly and e2 and inhibin b levels decrease markedly , but no changes in these markers were observed during earlier premenopausal ages .
the fitting curves of the amh and igf - i serum levels versus ages showed a linear decrease from the earlier age .
the present study more precisely characterized the usefulness of amh and igf - i during early reproductive ages .
these results suggest that amh and igf - i are better markers of ovarian reserve in premenopausal women than other hormone markers , such as fsh , lh , e2 , and inhibin b. to determine whether amh or igf - i better reflects the aging process in women , we compared the diagnostic accuracies of hormone levels in terms of differentiating between pre- and postmenopausal status ( fig .
2 ) . rocauc analysis showed that the diagnostic accuracy of amh for menopausal status was similar to those of fsh , lh , e2 , and inhibin b , and that it was better than igf - i .
the reason for the inferiority of igf - i to amh and other markers appears to be that igf - i levels decrease continuously after menopause , whereas fsh , lh , and e2 levels are fairly stable and amh and inhibin b levels vanish after menopause . in conclusion ,
the present study provides strong evidences that the serum amh level is an important marker of reproductive aging in women .
it was also found that serum igf - i is a good candidate ovarian aging marker , especially in premenopausal women .
in addition , the results of this study provide useful reference data of serum amh ranges in korean populations . | pubmed |
* autocorrelation measurement : * we scan several cavities until we find one which contains a strongly coupled qd , as determined by the anticrossing behavior in photoluminescence between qd and cavity during temperature tuning
. then we direct the pulsed laser beam at the cavity and observe the reflected beam in cross - polarization . while tuning the local temperature with an additional heating beam , we adjust the probe beam coupling to optimize the qd - induced reflectivity drop , as described for the continuous - wave beam in ref.@xcite .
then we stop scanning and temperature - tune the qd and cavity onto resonance . with the pulsed probe beam at different detunings with respect to the anticrossing point , we measure the autocorrelation signal by passing the reflected probe through a grating filter ( to remove stray light ) followed by the hbt setup . to limit sample drift
, the alignment procedure is repeated for every data point in fig .
* data analysis : * the numerical model for the second - order coherence in fig.4 is based on numerical integration of the quantum master equation .
a time - dependent driving term in the hamiltonian represents the 40-ps excitation pulses .
the intensity of the drive field matches the intensity used in the experiment , representing one - third of saturation . in our experiment , this intensity was @xmath70 nw for the incident beam , measured before the objective lens .
the state of the qd / cavity is time - evolved using a quantum monte carlo approach , which we based on the qotoolbox of ref.@xcite .
the qd can emit into free space or into the cavity mode , which in turn dissipates energy into the output channel at the loss rate @xmath71 .
we then compute the autocorrelation on the output channel .
the simulation additionally accounts for qd blinking and laser background .
the full second - order coherence is calculated as weighted sum of the different contributions , @xmath72 where the autocorrelation function @xmath73 accounts for the qd bright state , @xmath74 for the qd - dark state ( calculated using @xmath75 ) , and @xmath76 for background laser signal ( a coherent state ) .
we then normalize by the simulated nearest neighbor peaks ( @xmath52 ) to obtain @xmath77 , as shown for example in fig.[fig : antibunch](d ) .
financial support was provided by the muri center for photonic quantum information systems ( aro / iarpa program supervised by dr .
tr govindan ) ) , onr young investigator award ( supervised by dr .
chagaan baatar ) and nsf .
d.e and i.f .
were also supported by the ndseg fellowship .
part of the work was performed at the stanford nanofabrication facility of nnin supported by the national science foundation . | arxiv |
is a CGI anime television series produced by Xebec now Sunrise Beyond based on Sony's Ape Escape video game franchise. The series aired on TV Tokyo between April 8, 2006 and September 29, 2007 and loosely adapts storylines from Million Monkeys, Ape Escape 3 and SaruSaru Big Mission.
Storyline
When Specter gets hold of a Pipo Helmet, he becomes intelligent and starts using monkeys to spread chaos around the world. Using their teleporter and gadgets, Kakeru, Hiroki, Natsumi and the Professor work to capture the monkeys and stop Specter's plans, later joined by virtual girl Charu and mech genius Haruka. It is revealed that Specter's true identity is Natsumi's pet monkey, Kuuta, who was transformed into Specter by a group called the Pipotrons. They host a game in virtual space, challenging Kakeru and his friends for Specter's freedom, but Specter escapes before they get there. The Pipotrons then challenge Kakeru and co to a tournament. Specter eventually learned about the kind things humans have done for monkeys, protects Kakeru and returns to being Kuuta.
Cast
Shizuka Ishikawa as Kakeru
Chika Sakamoto as Specter/Kuuta
Hideyuki Umezu as Hakase
Junko Minagawa as Hiroki
Tomoko Kawakami as Natsumi
Tomoe Hanba as Haruka
Rina Satou as Charu
Junko Takeuchi as Satoru
Ai Nonaka as Sayaka
Sayaka Ohara as Akie
External links
Saru Get You -On Air- XEBEC site Japanese
Saru Get You -On Air- 2nd Shogakugan site Japanese
Category:Ape Escape
Category:2006 anime television series
Category:2012 Japanese television series endings
Category:Anime television series based on video games
Category:Xebec studio | wikipedia |
Harry Potter Secret Admirer
"You should definitely do it, Harry!" Hermione argued from across the table, leaning over her study notes to talk to Harry without being overheard by neighbouring tables.
Ron, who plopped down next to Hermione as she was speaking, was out of the loop in this conversation "What should Harry do?"
"Send_ him_ a secret admirer note." She answered as if he were daft.
"Who?"
"You know..." She looked pointedly at Ron, willing him not to make her say it.
A light bulb clicked on above Ron's head "Oh...him, right."
Harry was starting to regret telling his two best friends the way he felt about a certain man.
It must have shown on his face because Ron added quickly "I'm not saying it's a bad thing, mate, I just don't see the appeal. If he makes you happy, then go for it, you know we'll be here whatever happens."
"Thanks, Ron." Harry appreciated the support of his closest friends, especially since they were the only ones who knew.
"So, back to my plan..."
"Hermione, this is never going to work, he'll just think it's someone being a git." Harry countered before she even began.
"No he won't, okay he might, but I am going to write it so you can't screw it up, plus I'm sure he is less familiar with my handwriting," she missed Ron's smirk and continued "I am going to bewitch it so it doesn't look like mine anyway."
"Okay, but meeting anonymously in 'The Three Broomsticks' is a bad idea, as soon as he sees me he will go the other way." Harry was not convinced.
There was a smile on Hermione's face that said Harry should just give in now, because she wasn't giving up "Oh, don't worry, I've got it all figured out, he won't even know you're there..."
X X X
"This is a really bad idea." Harry repeated for the four hundredth time that day.
"Shhh!" Hermione shushed him "You're invisible remember!" She hissed, adjusting the edge of the invisibility cloak.
'The Three Broomsticks' was packed; loud, busy and noisy; no one was going to notice he was talking. They had been sitting there for an hour already, Harry's 'secret admirer' was twenty minutes late and Harry was convinced he wasn't coming, he probably wouldn't have if he was the man.
He was about to tell this to Hermione and suggest they go back to Hogwarts, when none other than a black-haired, black-robed Severus Snape entered the pub. He looked around; searching the crowd. Snape spotted a free table in the back corner of the pub and sat down facing the door, he was able to see most of the pub from that angle. Harry suspected that was the point.
He sat staring at Snape for a full five minutes before Hermione prodded him in the ribs and whispered in where she thought his ear was "Well, he's here, go talk to him."
She nearly pushed Harry out of his seat "Okay, okay, I'm going."
"Good luck, mate." Ron held up his butter beer and gave him an encouraging smile.
Harry dodged and stepped around eight people before he made it to the table. He sat across from Snape, still invisible. He stared at the potions master for another minute, just watching him watch the room, finding the man before him fascinating and handsome in his own unique way, a way Harry felt most people missed.
He looked back at Ron and Hermione then back to Snape and took a deep breath.
'Here goes nothing.' He thought and pulled off the invisibly cloak, quickly stowing it next to him. "Hi, Professor." Harry said brightly.
Snape spun in his chair to face Harry "Potter?!" He said more surprised than disgusted. Harry had been a lot more pleasant in class recently, asking serious questions about potions and even managing to pass. He was actually smarter than Snape gave him credit for, but if Snape started to give Harry credit where it was due, he might let his affections become unchecked and that would be disastrous.
"Go away, I'm expecting someone...I think." He muttered the last part to himself.
"Yeah; me!" Harry announced happily, trying not to look like a scared rabbit.
"What do you mean 'you', Potter?" Snape already thought he knew what Harry meant, but he hoped to Merlin he was wrong.
"Is it obvious, Professor? I'm your secret admirer." He admitted to the older man.
"What? Don't be ridiculous, Potter, you don't admire me, what are you doing here?" Snape was getting angry, but somewhere deep, deep inside he hoped.
"Um, I hadn't really thought about it, to be honest I didn't think you'd show. But you did, which is great...um do you want a drink? My shout..." He offered, _not_ panicking.
"No, Potter, I don't want to drink with you. I see now I've been set up, it was foolish to come. See you in class on Monday." Snape swiftly got up and was out the door before Harry could say another word.
He ran out after the potions master, gripping the cloak in one hand "Professor!" He called out. Harry made it to the door and went outside, looking left and right he spotted Snape storming off in the direction of the castle.
"Professor Snape!" He tried again to no avail.
He ran after Snape, when he was catching up he called out in one last attempt "Severus!"
The black figure stopped and turned around to face his follower "Leave me alone, Potter, you don't want this and neither do I."
"Yes, I do, and I'm pretty sure you do too, that's why you pretend to hate me so much." Harry told him, coming to stand in front of his Professor.
Snape took Harry by the sleeve of his shirt and pulled him into an empty alley, where it was more private.
"Potter, this is foolish, you don't want me; I'm old, harsh, ugly and I'm your teacher. You would grow tired of me quickly and I would lose my job." Snape said, voice low, but not angry; to Harry he sounded sad and lonely.
"I don't believe any of that, Severus, how will you know if you don't give it a chance to become something? I can keep a secret." He tried to make Snape see it his way.
"Because I know it is merely a schoolboy crush and it is not worth risking my job over." Snape answered, leaning in closer, trying to put his point across.
Harry had the desire to kiss the potions master, his face was so close...Snape opened his mouth to speak again and Harry did it. He kissed Severus, moving his lips against older ones. Harry kissed him until Snape pulled away, stumbling back a step.
"Harry, please, this is not easy for me, do not do that again." There was no fury, only pain and sorrow.
"Then don't make it hard. Tell you what, give me a month and if you are not happier than you were before any of this, I will stop, leave you alone, never bring it up again. Just give me the time to prove we can work. If you don't, I will continue to try." Harry mentally crossed all his fingers and toes, hoping Snape would agree to his proposal.
Snape stood there for a good few minutes, looking at Harry as though he wasn't sure what to make of him. Finally he stepped forward and said very clearly "One month from today." Then he kissed the young wizard briefly "Now go back to your friends and inform them, I'm sure they're dying to know. See you later." And with that he was gone, leaving Harry Potter stunned in an alley and looking forward to the coming month with new relish.
X~X~X~X~X~X~X~X~X~X~X~X~X~X~X~X~X~X~X~~X~X~X~X~~X~XX~X~X~X~X
Hey guys, so I said ages ago that I was going to write a Snarry fic, and I finally did! My first Snarry fic! Its not much but I hope you enjoy it anyway, let me know, much love xox
End file.
| fanfiction |
Most appropriate representation of 3,4,4,5-tetramethylheptane [closed]
**Closed**. This question needs [details or clarity](/help/closed-questions). It is not currently accepting answers.
---
**Want to improve this question?** Add details and clarify the problem by [editing this post](/posts/163052/edit).
Closed last year.
[Improve this question](/posts/163052/edit)
Is there a specific correct way to draw the structure of 3,4,4,5-tetramethylheptane?
[](https://i.stack.imgur.com/pgsBG.png)
Generally, it cannot be said that a specific representation is “right” and that all others are “wrong”. Nevertheless, the relevant guidelines given in the [*Graphical Representation Standards for Chemical Structure Diagrams* (IUPAC Recommendations 2008)](http://dx.doi.org/10.1351/pac200880020277) read as follows:
>
> *GR-4.1.3 Atoms with four bonds drawn*
>
> Atoms with four bonds may be depicted in several different ways, with a preference among these ways determined by context.
>
> When two of the adjacent atoms are each connected to no additional atoms and two of the adjacent atoms are each connected to at least one additional atom, the four bonds should be separated by one 60° angle, an opposing 120° angle, and two 90° angles. Because of the 120° angle, this style will not disrupt the orientation of a chain in which it appears. (…)
>
>
>
Therefore, the structure diagram of 3,4,4,5-tetramethylheptane should look like this:
Note the 120° angles of the chain, which are missing in the examples given in the question.
| stackexchange/chemistry |
Confusion In A Problem Of Angular Momentum
Question :
Suppose you are standing on the edge of a spinning platform and step off at right angles to the edge (radially outward). Now consider it the other way. You are standing on the ground next to a spinning carousel and you step onto the platform at right angles to the edge (radially inward).
Options :
(A) There is no change in rotational speed of the carousel in either situation.
(B)There is a change in rotational speed in the first situation but not the second.
(C) There is a change in rotational speed in the second situation but not the first.
(D) There is a change in rotational speed in both instances.
The given Answer Is (C).
I think it should be (D).
My Approach:
I noticed that The Torque produced by friction in either cases will pass through the centre and hence Angular Momentum can be conserved from that point.
As we can see , in either cases Moment Of Inertia Of system is changing as the man is stepping up/down.
Hence , the angular velocity should change in both cases.
Where am I going Wrong?
So when you step off the plate you are still moving and so you are carrying the angular momentum with you, when you step on you get accelerated.
Similar problem to think about: if you are going along in a car and throw a rock out the side the rock is moving at the same speed as the car and hence the car doesn't speed up or slow down. If you throw the rock backwards, so that the rock was stationary, then the car would speed up
| stackexchange/physics |
pubmed |
|
recently , increasing attention has been paid on the understanding of linguistic systems by computational and analytical methods .
physicists , mathematicians , computer scientists and biologists apply their tools on the investigation of language capability , language change and language competition@xcite .
especially the similarity to biological systems opens the field of linguistics to methods of the far better understood evolutionary systems . for an overview
see refs.@xcite .
it is believed that a concept of `` universal grammar '' is fixed by some way in our genetic code enabling humans to learn languages fast during our childhood@xcite .
much attention has been paid on the evolution of this trait and the competition between different grammars@xcite . in these models
the different grammars compete by giving higher fitness to better competitors . because of
that it is possible to apply directly models already successfully used in evolutionary biology .
the competition between languages has been investigated in the last years analyzing the stability of an system of two or more languages@xcite as well as their size distribution@xcite . in our approach
we use a computational model _ without _ giving different fitness to agents with different language traits and without neglecting bilinguals .
models of that kind can be found in refs.@xcite .
this makes our model different from biological systems .
the knowledge of a different language does not imply a higher death probability ( we are aware that , unfortunately , there are quite many exceptions of that rule ) . in order to present an age structured model we build our one on the penna model@xcite . by the treatment of the genes like bits the model yields a rather realistic age
structure of a sexually reproducing population , and is additionally suitable for large population sizes due to its low computational cost .
the usage of an age structured model enables us to merge an age
dependent learning procedure with a model of language competition in order get more insight into their relation .
we will focus on the question whether a phase transition exists , as found in the models of refs.@xcite , between the state of dominance of one language and an uniform distribution ( also called fragmentation ) .
the paper is organized as follows : the next section explains the model , the following section presents the results of the model with respect to its parameter space .
the last section discusses the results and proposes further extensions of the model .
the model in this paper combines population genetics with age dependent language learning .
the presentation of the genetical part , with the purpose to yield a stable population having its characteristic age structure , will be provided only shortly to the reader . for a more detailed description of the penna model and its applications
we refer to refs.@xcite .
[ [ the - sexual - penna - model ] ] the sexual penna model + + + + + + + + + + + + + + + + + + + + + + is a individual based model where every agent is represented by its age and two strings ( diploid ) of 32 bits .
the bit strings are read in parallel .
every iteration after birth a new position on each of the bit
strings becomes visible .
a bit set to one corresponds to an harmful allele . at the beginning of a simulation
five positions are randomly chosen to be dominant ones .
if the position is dominant one bit of the two bit strings suffices to make the position represent a deleterious mutation . on the other positions both bits need to be set to one for deleterious effects . at the age
at which an agent has its third deleterious mutation it dies . in order to avoid population explosion
an additional factor limits its growth : the verhulst factor @xmath0 gives the probability of an agent to survive an iteration . here
@xmath1 is the current population size and @xmath2 the so called carrying capacity defining the maximum size of a population . after reaching the reproduction age
@xmath3 a female agent every iteration chooses randomly a male with age equal or older than @xmath4 in order to produce one offspring .
for each parent its two bit strings are randomly crossed and recombined .
both parents contribute one string to the offspring .
the offspring suffers one deleterious mutation at a randomly chosen position on each of its both new strings .
this high mutation rate lets the population reach a stationary distribution fast .
the two bit strings are initialized randomly .
generate a new language spoken by the child on a randomly chosen position.,scaledwidth=40.0% ] [ [ the - language - trait ] ] the language trait + + + + + + + + + + + + + + + + + + of an agent , that means its current ability to speak certain languages , is modelled in a similar way as the genetic strings of biological ageing .
the whole structure , a language should consist of , is neglected , and language is treated as an unit .
each agent contributes one additional bit string of @xmath5 bits representing its capability to speak a maximum of @xmath5 languages .
so an agent who has for instance its third bit set , speaks currently language @xmath6 ( eventually among others ) .
an agent can learn or forget a language only in youth during the first @xmath7 iterations after birth .
we call @xmath7 the _ maximum learning age_. older agents are not able to change their knowledge on languages .
the interaction between a young agent and a randomly chosen teaching agent works as follows : at first a random position on the language bit string is chosen .
the agent learns the language of that position if it is spoken by the teacher . if the agent already speaks more than one language it forgets the language of the chosen position if the teacher does not know it . in the other cases
no process of learning / forgetting is carried out .
let us illustrate the outcome of the interaction in computational terms : the language trait of an agent speaking zero or one language has an or operation with the teacher s one at the chosen position , otherwise an and operation .
the young agents s language traits are actualized in this way by @xmath8 different teachers at different positions per iteration .
@xmath9 means that the language traits are actualized once per iteration with a probability of @xmath10 . at birth
an offspring obtains its language trait as illustrated in figure [ fig : illustrate ] .
if both parents speak the same language the offspring will speak it as well . in the case that only one of the parents speaks a language the child learns it with a probability of @xmath10 .
additionally , the child can know a new language at birth with probability @xmath11 ( i.e. a randomly chosen bit position is set to one ) .
we call this probability @xmath11 of erroneous learning the _ mutation rate _ in the following because of its analogy to biological systems .
the bit string is initialized by chance at the beginning of a simulation .
this section will concentrate at first on the results of simulations with a trait of two languages ( @xmath12 ) .
the simulations are carried out for at least @xmath13 iterations or more for large population sizes .
all results present the final stationary state of a simulation .
a phase transition can be observed for the ratio between the number of speakers of different languages .
the ratio is averaged over the last @xmath14 time steps .
figure [ fig : phasetr1 ] shows the ratio versus the mutation rate , determining the control parameter , for different carrying capacities @xmath2 .
the simulations are carried out with a maximum learning age of @xmath15 and @xmath9 .
each point represents the outcome of a separate simulation .
the language ratio decreases fast at the critical point which is situated between @xmath16 and @xmath17 .
the transition separates the phase / state of about equal sizes for the two languages for small values of @xmath11 from the phase / state where one language dominates clearly the other one .
we can observe in figure [ fig : phasetr1 ] as well that the population size does not alter the shape of the transition .
thus this transition can be found for arbitrary population numbers and therefore corresponds to a real physical phase transition .
the language ratio increases strongly for low mutation rates .
a power law with an exponent of minus one is exhibited in figure [ fig : powerlaw ] .
this exponent is the same for all simulations presented here .
the parameters in the simulations are @xmath15 , @xmath9 and @xmath18 , i.e. the population consists of about @xmath19 agents . as well as with increasing amount @xmath8 of interaction per iteration.,scaledwidth=80.0% ] in figure [ fig : phase_interact ] the shape of the phase transition is compared for different values of @xmath7 and @xmath8 , parameters defining the amount of interaction between the agents . the carrying capacity @xmath20 fixes the population number at around @xmath21 .
the shape of the transition remains the same but is shifted to higher values of the mutation rate for increasing @xmath7 and @xmath8 .
the shift is a linear one with respect to each of both parameters .
the shift decreases for values of @xmath22 as expected due to the smaller number of individuals surviving up to ages much older than the reproduction age @xmath3 ( not shown ) .
the phase transition disappears and the only final state of the model is the dominant one for very large values of @xmath8 . in the following the results of simulations with a language trait consisting of more than two languages are compared to the previous ones .
the language ratio @xmath4 , the measure for a possible domination of one over the others , is now defined by @xmath23 where @xmath24 is the most spoken language , @xmath5 the number of languages , and @xmath25 the number of agents speaking language @xmath26 .
the simulations are carried out with @xmath27 and @xmath20 .
we used @xmath28 for @xmath29 , respectively in order to keep the interaction per language constant .
figure [ fig : numwords]a compares the shape of the transition for different numbers of languages .
the position of the critical point is shifted to smaller values of @xmath11 for more languages .
this means that the more languages compete against each other , the lower is the possibility to have a scenario where one language dominates the other ones .
figure [ fig : numwords]b compares the same simulations carried out with the initial state where all agents speak language @xmath30 .
the critical point is shifted to larger values of the mutation rate .
this dependence of the final state on the initialization , leading to a hysteresis , shows that the phase transition is of first order . here the jump from one phase into the other is located at the intersection of the transition curve and the curve for the ratio of two languages
. languages .
the critical point moves to smaller values of the mutation rate for increasing @xmath5 .
the phase transition is more abrupt . *
a * : for numbers of languages larger than two the curves collapse into one for values of @xmath11 in the left part where one language dominates the other ones . *
b * : the initialization with one language leads to a different result .
the transition shows a hysteresis for the simulations with more than two languages increasing with @xmath5.,title="fig:",scaledwidth=70.0% ] languages .
the critical point moves to smaller values of the mutation rate for increasing @xmath5 .
the phase transition is more abrupt . *
a * : for numbers of languages larger than two the curves collapse into one for values of @xmath11 in the left part where one language dominates the other ones .
* b * : the initialization with one language leads to a different result .
the transition shows a hysteresis for the simulations with more than two languages increasing with @xmath5.,title="fig:",scaledwidth=70.0% ] finally , we present a histogram of the hamming distances@xcite between all agents for simulations with 16 languages for different values of the mutation rate ( figure [ fig : hamming ] ) .
the parameters are the same as before .
the hamming distance is defined by the number of bits by which the two bit strings differ from each other . or , in other words , the number of bits which need to be changed to turn the language trait of an agent into that of the other one .
figure [ fig : hamming ] shows that the peak of the histogram of hamming distances turns from zero ( dominance ) to one ( no dominance ) at the critical point ( which here is located between @xmath31 and @xmath32 ) .
in our model of language competition a phase transition similar to the one for the competition of different grammars in ref.@xcite and the one for the competition of languages of ref.@xcite is observed .
nevertheless , working without fitness improvement for agents better adapted by their languages trait but with a sexual population with random mating makes the simulations useful to characterize current language competition .
the phase of an uniform distribution of the languages ( fragmentation ) suggests a scenario where these languages compete equally against each other maintaining a stable state of coexistence . in the other state one language dominates clearly the other ones .
the dependence of the phase transition point on the amount of language interaction as well as on the number of competing languages lets us make the following conclusions : there is no optimal value of maximum learning age for a language .
its increase shifts the critical point to larger values of the mutation rate .
thus a larger maximum learning age prevents the evolution of many languages where contact among speakers of different languages is strong .
the model shows also that a larger number of different languages decreases the possibility of dominance of one of them and makes the transition jump higher .
hence , the extinction of a language in a multilingual system can lead to a transition to the state where one language will begin to dominate all the other ones .
the phase transition analyzed in the presented model is of first order for simulations with many languages as found in the model of ref.@xcite .
the differences are that in our case , the transition is completely independent of the population size .
we do not know if the simplification of a language to a single bit leads to this discrepancy or if it is the usage of a model with sexual reproduction .
further analysis has to be done .
the model brought insight into the mechanisms of language competition but still much has to be done .
the results are similar to the ones of ref.@xcite .
nevertheless , our model presents another approach to understand language competition .
the design of an analytical model , for instance by diffusion equations similar to the ones used in ref.@xcite , without fitness would reveal if it is possible to obtain similar results with a mean field theory . the model presented in this paper can be extended by putting it on a lattice in order to investigate how the transition behaves with respect to a geographic distribution of languages .
another extension would be the substitution of random mating by assortative mating@xcite , a concept used frequently in the theory of biological speciation , in order to give different priorities to monolingual parents and bilingual ones . in order to understand language invasion ,
the model can be extended to include social structures .
i am funded by the daad ( deutscher akademischer austauschdienst ) and thank d. stauffer and s. moss de oliveira for comments on my manuscript . | arxiv |
Calculate the formula, and moles
>
> If $\ce{1.84\times10^{-4}}$ moles of element A was completely reacted with element B to create $\ce{1.231\times 10^19}$ molecules of $\ce{(A3B2)\_x}$ a hypothetical compound, what is the value of x?
>
>
>
I tried this:
---
$\pu{1 mol} = 6.02 \times 10^{23} ~\pu{molecules}$
$y~\pu{mol} = 1.231 \times 10^{19} ~\pu{molecules}$
$y = \pu{2.0449 \times 10^-5 mol}$
---
$\ce{(A\_3B\_2)\_x} : 1.84\times10^{-4}+ {2\over 3}(1.84\times10^{-4})=3.067\times10^{-4}$
So it produces $3.067\times10^{-4}$ mol of the compound
---
and, $3.067 \times 10^{-4}~\pu{mol} \div 2.0449 \times 10^{-5}~\pu{mol} = 15$
And since 1 compound has 5 atoms, $15 \div 5 =3$
Therefore, $x$ is 3
---
I am not sure if I did this question correctly. Even if I did, is there a more efficient and organized way of solving this problem?
At first you said that $x = \pu{2.0449\times10^−5 mol}$ and then later said $x=3$. It is clearly wrong even without going into the maths!
That said, I believe you are confusing the stoichiometry of the compound with the number of moles of the compound produced. The $x$ in $\ce{(A3B2)\_x}$ is a *part of the chemical formula* for that compound, and **not** the *moles of $\ce{(A3B2)}$ produced*.
For example, $\ce{AlCl3}$ usually exists as a *dimer* in gas phase, so we write it as $\ce{Al2Cl6}$ or simply $\ce{(AlCl3)2}$ for clarity. You should hence realize that the **$x$ in $\ce{(A3B2)\_x}$ represents the number of $\ce{A3B2}$ molecules that have *polymerized* together to form a *single* *molecule***. And the question states that $\pu{1.231\times10^19}$ of such *molecules* was produced.
With the conceptual clarity attained, we'll now solve the numerical. Note that the question says that all the moles of elemental A were obtained in the compound. This implies:
$$
\begin{align}
\text{moles of A in the compound} &= \text{original moles of elemental A}\\
\implies 3x\times(\text{moles of compound }\ce{A3B2})&=1.84\times10^{-4}
\end{align}
$$
Solving this, you'll get approximately $x=3$, which is the expected answer.
| stackexchange/chemistry |
Is ozone an electrophile in the ozonolysis reaction?
From the above mechanism it is clear to see that the electrons from the double bond attack one of the terminal oxygens in ozone, thus meaning it's an electrophile. How can this be? If you draw the resonance structures, the negative charge is concentrated on the terminal oxygens too. I am OK with the rest of the mechanism but I would never think to draw oxygen as an electrophile.
Electrons are concentrated on the two terminal oxygens in ozone but remember, ozone exhibits resonance. The electrons can be delocalized across each oxygen through p-orbitals.
So yes, at first if you think about the reaction in purely Coulombic terms then it doesn't make much sense. Why would electrons go to a region that already has a relative surfeit of electrons?
But what happens is that by attacking the terminal oxygen, the double bond effectively displaces electrons to the central, electron-deficient oxygen atom.
I'm sure someone can explain this in much greater detail with reference to molecular orbital theory but I'll leave that to someone else.
As Ben Norris mentioned in his comment, ozonolysis is better described as a pericyclic reaction. Pericyclic reactions fall outside of the usual nucleophile-electrophile paradigm. This reaction is an example of a dipolar cycloaddition, because ozone is a 1,3-dipole. Chemists have observed that electron-rich alkenes react faster with ozone than electron-poor alkenes. This implies that the alkene is providing the HOMO to the reaction and ozone is providing the LUMO. In nucleophile-electrophile reactions, the nucleophile reacts through its HOMO, and the electrophile reacts through its LUMO. So if you want to make an analogy between a dipolar cycloaddition and a nucleophile-electrophile reaction, you could say that the alkene is the 'nucleophile' and ozone is the 'electrophile.'
It's not always obvious that the 1,3-dipole is going to provide the LUMO in a dipolar cycloaddition, but we can speculate as to why ozone does. Oxygen is a very electronegative atom, so its atomic orbitals are lower energy than carbons. Since ozone is made up of three oxygens (with low energy atomic orbitals orbitals), its pi-system will be low energy with respect to an alkene's pi-system. Furthermore, the pi-system will be even lower energy due to placing a cation on an electronegative atom. These factors contribute to the LUMO being low energy relative to an alkene.
To a first approximation, if there's a positively charged oxygen in a compound, it can be assumed that compound will be electrophilic.
| stackexchange/chemistry |
helicobacter pylori infection has a worldwide prevalence and causes some serious damages to human health
. the infection increases the probability of gastric and duodenal ulcers , mucosa associated lymphoid tissue ( malt ) , lymphoma and gastric cancer ( 1 - 3 ) .
the prevalence rate varies worldwide ranging from 40% in developed countries to 80% in developing countries ( 4 ) .
helicobacter pylori infection occurs during childhood and may cause gastritis , typically without symptoms ( 5 ) . according to the global statistics ,
particularly the world health organization s , the global burden of diseases attributable to h. pylori infection , which consist of a wide range of digestive system diseases including gastritis , gastric cancer , gastrointestinal bleeding , gastric and duodenal ulcers and indigestion are growing ; and evidence shows that gastric cancer is the second leading cause of human mortality ( 6,7 ) . according to the iranian statistics ,
the prevalence of helicobacter pylori infection in the northern and southern iran has been more than 80% , and a significant part of the infected population faced subsequent diseases such as duodenal ulcer and gastric cancer ( 8,9 ) . in this regard , the lack of infection symptoms , especially through the childhood , is the main concern , which causes late start of the treatment process ( 10 ) . attributing the probability of getting the infection into the economic and social , genetic , ethnic and demographic factors is considered as another point of concern ( 11 ) .
one study showed the cost of illness per person per six - months for patients with gastro - esophageal reflux diseases ( gerd ) and dyspepsia alone was around ppp$ 111(320,609 i.r .
rials ) ppp , purchasing power parity- and ppp$ 120 ( 345,935 i.r . rials ) , respectively in 18,180 residents of tehran from may 2006 to december 2007(12 ) . also , the researchers in another study estimated the direct costs of disease for gerd , dyspepsia and their overlap to be ppp$ 97.7 and ppp$ 101.3 , respectively .
the indirect costs of diseases per patient was ppp$ 13.7 , ppp$ 12.1 , and ppp$ 32.7 , for gerd , dyspepsia and their overlap , respectively ( 13 ) .
there are different but considerable evidence about the economic burden of helicobacter pylori infection in other countries . in malaysia ( 2010 )
, the cost of dyspepsia per 1,000 population per year was estimated at us$ 14,816.1 and us$ 59,282.2 in rural and urban populations , respectively ( 14 ) .
the total cost of peptic ulcer disease and gastro- esophageal disease was us$ 424 million or us$ 63 per adult .
the share of direct cost is about 61% from the total cost ( 15 ) .
given the role and importance of timely and accurate diagnosis of infection in the treatment and control of digestive system diseases and disorders , the use of safe , accurate and optimal cost - effective diagnostic methods is of a great necessity .
diagnostic tests in two forms of invasive and noninvasive were introduced and used to diagnose helicobacter infection .
invasive tests include the rapid urease test and histological examination of gastric mucosal tissue and cell culture . on the other hand ,
non - invasive tests include serology ( such as immunoglobulin g and a ; antibodies against cell surface antigens ) , carbon urea breath test and faecal antigen tests ( 16 ) . in the meantime , the emphasis on invasive or noninvasive methods depends on some factors such as cost , accuracy and ease of use . among the above mentioned diagnostic tests ,
carbon urea breath test , due to its noninvasive nature and ease of use , has been addressed in several studies and many issues have been raised about its application ( 5 ) .
the high prevalence of helicobacter pylori between iranian population and the lack of decision - making evidence led us to conduct the current study .
this study encompasses descriptive and analytical implications about the significance of effective management of helicobacter pylori infection for iranian health policy makers .
given the significant importance of timely diagnosis of the mentioned infection and its impact on avoiding the imposition of significant costs on the health systems , this study aimed to measure and compare cost - effectiveness and cost - utility ratios of carbon 13 urea breath test , serology and histology among the iranian adult population using markov model .
economic evaluation type : this was a cost- effectiveness and cost- utility analysis that calculated and compared the cost per symptoms free cases and cost per qalys for treatment regimens of helicobacter pylori infection .
type of interventions : there are invasive and non - invasive diagnostic tests to detect the helicobacter pylori . in addition , there are different therapeutic regimes to eradicate it .
hence , according to the literature ( 16 - 19 ) , in this study , the economic evaluation compared strategies including both diagnostic and therapeutic methods .
the first three , called the test - and - treat regime are as follows : proton pomp inhibitor based triple treatment after infection detected by each of 13 cubt , serology , and histology tests .
study population and setting : we performed the calculations and comparisons on 100,000 hypothetical iranian adult population with uninvestigated dyspepsia who had not used non - steroidal anti - inflammatory drugs ( nsaid ) and had no symptoms of other diseases .
dates and sources of data : the data on the effectiveness and quality of life were obtained from previous studies published during the recent 10 years .
data about costs were collected through a field study in tehran from april 2014 to june 2014 . moreover , for sensitivity analysis , the cost data in iran s health services fee schedule ( 2014 ) was used alongside the field study .
modeling and assumptions : a markov model with a health services provider s perspective and one - year time horizon was used .
the model encompassed two cycles : in the first cycle , to detect the probable infection , all those suspected to have helicobacter pylori infection were asked to undergone of the three diagnostic tests ( 13 cubt , serology or histology ) .
if the test result was negative , the participants went to the first branch of the model and got the gastric acid anti- secretory regimen .
in this regimen , each individual takes two pantoprazole 40 mg tablets per day for four weeks . after eight weeks
if the symptoms are relieved , the individual reaches their mission state , but if the symptoms are not relieved , she / he falls in the recurrence state .
if the diagnostic test result was positive , the individual went on test - and - treat regime that contained a ppi based triple treatment . here
, the three diagnostic tests , with respect to their sensitivity and specificity and the number of patients were different in each treatment regimen .
therefore , we faced three sub - strategies : ( i ) if 13 cubt was used as the first diagnostic test , the sub - strategy would then be called ubt triple treatment ; ( ii ) if serology was used as the first diagnostic test , the sub - strategy would then be called serology triple treatment ; and ( iii ) if histology was the first diagnostic test , the sub - strategy would then be called histology triple treatment .
in this regimen ,
the patient takes two omeprazole 20 mg , four amoxicillin 500 mg and two clarithromycin 250 mg daily for four weeks .
also , 12 weeks after finishing the initial triple treatment , endoscopy was used to confirm the eradication , and symptoms - free state ( remission state).therefore , if the result was positive , the individual would be in the recurrence state and would need a long term care .
these strategies and the medications used to treat infection have been selected based on the international and national guidelines ( 20,21 ) and availability of the drugs in the pharmacopoeia and pharmaceutical market in iran .
for example , according to the new guidelines , amoxicillin 1000 mg is one of the drugs used in triple therapy , but due to the lack of compliance with the conditions prescribed by physicians in the country , inevitably , its equivalent , two capsules of amoxicillin 500 mg were used .
although the derivatives of the two medicines , benzimidazole and imidazopyridine , are the main medicines as proton pump inhibitors in the global market , pantoprazole 40 mg and/or omeprazole 20 mg are used in iran .
the explanation of each strategy has been provided as follows :
the model assumptions have been presented in table 1 .
the main outcomes were as follows : the estimated symptoms - free cases , and quality adjusted life years ( qalys ) at the end of two markov cycles .
the symptom - free cases were estimated through the multiplying the transition probabilities between the two markov cycles by supposed infected individuals entered to each markov state .
the qalys were calculated through multiplying the weights of utility- extracted from relevant studies- by the number of individual in each markov state .
costing : although there is a market price for any resource utilized to diagnose and treat the helicobacter pylori , many experts believe that the prices can not reflect the real costs , therefore , all related costs were calculated by the researchers independently . in this study
, the activity - based costing method was used to estimate the cost of each diagnostic procedure and subsequently the cost of two treatment strategies .
the data about performing the diagnostic tests have been collected through a field study in two private laboratories in tehran .
identification of the building process and activities of each strategy : two strategies have been considered for helicobacter pylori infection management : the proton - pump inhibitor - based triple therapy , and the gastric acid anti- secretory therapy , each of which includes some processes and activities .
as mentioned earlier , both strategies begin with invasive or non - invasive diagnostic tests and then the therapeutic phase is managed with respect to the positive or negative detection of helicobacter pylori infection .
if the result of the test is positive then the infected person pays appropriate visits to the doctor , consultations and medical procedures .
the therapeutic plan includes physician s examination and consultations , prescribing the drugs and finally investigating the eradication of infection .
classification of each activity according to the cost hierarchy : the output of the first step is called activity center . in this study
, there are three main activity costing centers : detection activities , therapeutic activities and follow - up activities .
the 13 c - ubt , serology and histology are three routine tests performed in laboratory setting .
13 c - ubt is a simple and fast test ( about 15- 40 minutes ) , usually done by a laboratory technician , but the results are interpreted by a specialist .
however , the histology and serology tests are more time consuming and need more medical equipment .
the therapeutic plan is the second important activity center that includes the ppi - based triple and anti- secretory regimen .
the physician s examinations , consultations , and prescriptions are the main activities in this phase .
the follow up phase is the final activity center that includes a physician s examination and a diagnostic test to confirm the eradication of the infection ( usually a biopsy - based test ) .
3 .identification and accumulation of the total costs of each activity : each activity has been broken down into two components of the consumed time , and motion or effort of production resource .
the histology test in the diagnostic phase contains the consumption of a share of each resource .
the tissue processor , tissue flat , light microscope , microtome and paraffin dispenser are the main equipment in the helicobacter pylori infection detection , but they are used to perform many microbiological tests . in this case , we divided the allocated time to helicobacter pylori infection detection to all the activity time of equipment during the past year .
the cost of manpower has been calculated through the time that was allocated to helicobacter pylori infection by histology .
with respect to the annual wages or salaries paid to each of them and the number of helicobacter pylori infection tests that are performed , the allocated times has been calculated and then the unit cost of the manpower was estimated . the space cost has been computed through multiplying the occupied area of histology test setting ( the equipment and manpower ) by the monetary value of a commercial unit in a central district in tehran .
the consumed energy costs were calculated with respect to the activity time of the histology equipment and its proportion from the total time of activity in the past year .
this principle has been performed for the cost of other helicobacter pylori infection tests and the management phases .
identification of the most appropriate cost drivers for each activity : as mentioned in the previous step , it is of great importance to allocate an appropriated measurement unit to each activity .
when we use resource- based costing , one of the most important steps is to determine the amount of consumption of resources ( manpower , equipment , space , energy , supplies and materials ) .
for example , in the diagnostic phase , the technician and physician s cost , is measured by the needed time to perform each test , or the energy cost is calculated through the kw per hour .
5 .
calculation of the unit costs : as the final step , the unit cost of each of the resources is calculated through dividing the total cost to the total amount of the produced services .
the histology unit cost was calculated through dividing the total costs related to manpower , equipment , material and supplies , space , administrative affairs etc .
, to the total accomplished tests .
table 2 demonstrates the costing components of each diagnostic test .
data were collected from the provider s self- reported costs and his / her bills and the iranian ministry of health and social security organization .
sensitivity analysis : to investigate the effects of the uncertainty of relevant input variables ( the prevalence of helicobacter pylori infection , the sensitivity and specificity of diagnostic tests , the probability transitions between health state , and the costs of diagnostic tests and therapeutics regimens ) , a probabilistic sensitivity analysis was conducted ( fig .
the probability distributions were specified for the mentioned variables , and the monte carlo simulation was performed for 1,000 iterate points .
the cost - effectiveness plane was drawn for considered strategies .
the markov model of helicobacter pylori infection therapeutic strategies
notes : h.p- : helicobacter pylori infection negative , antisec .
treat : gastric acid antisecretory treatment regimen , php_positive : the probability of helicobacter pylori infection is positive by each of diagnostic test , h.p+ triple treat : helicobacter pylori infection is positive and the triple treatment adopted to eradication , sym .
probability of symptoms free after anti- secretory treatment , php_pos._triple treat : probability of symptoms relief after ppi based triple treatment .
it should be noted that all calculations of the costs , cost - effectiveness and cost - utility ratios as well as drawing the markov model were done using microsoft excel 2010 .
the main outcomes were as follows : the estimated symptoms - free cases , and quality adjusted life years ( qalys ) at the end of two markov cycles .
the symptom - free cases were estimated through the multiplying the transition probabilities between the two markov cycles by supposed infected individuals entered to each markov state .
the qalys were calculated through multiplying the weights of utility- extracted from relevant studies- by the number of individual in each markov state .
costing : although there is a market price for any resource utilized to diagnose and treat the helicobacter pylori , many experts believe that the prices can not reflect the real costs , therefore , all related costs were calculated by the researchers independently . in this study ,
the activity - based costing method was used to estimate the cost of each diagnostic procedure and subsequently the cost of two treatment strategies .
the data about performing the diagnostic tests have been collected through a field study in two private laboratories in tehran .
identification of the building process and activities of each strategy : two strategies have been considered for helicobacter pylori infection management : the proton - pump inhibitor - based triple therapy , and the gastric acid anti- secretory therapy , each of which includes some processes and activities .
as mentioned earlier , both strategies begin with invasive or non - invasive diagnostic tests and then the therapeutic phase is managed with respect to the positive or negative detection of helicobacter pylori infection . if the result of the test is positive then the infected person pays appropriate visits to the doctor , consultations and medical procedures .
the therapeutic plan includes physician s examination and consultations , prescribing the drugs and finally investigating the eradication of infection .
classification of each activity according to the cost hierarchy : the output of the first step is called activity center . in this study
, there are three main activity costing centers : detection activities , therapeutic activities and follow - up activities .
the 13 c - ubt , serology and histology are three routine tests performed in laboratory setting .
13 c - ubt is a simple and fast test ( about 15- 40 minutes ) , usually done by a laboratory technician , but the results are interpreted by a specialist .
however , the histology and serology tests are more time consuming and need more medical equipment .
the therapeutic plan is the second important activity center that includes the ppi - based triple and anti- secretory regimen .
the physician s examinations , consultations , and prescriptions are the main activities in this phase .
the follow up phase is the final activity center that includes a physician s examination and a diagnostic test to confirm the eradication of the infection ( usually a biopsy - based test ) .
3 .identification and accumulation of the total costs of each activity : each activity has been broken down into two components of the consumed time , and motion or effort of production resource .
the histology test in the diagnostic phase contains the consumption of a share of each resource .
the tissue processor , tissue flat , light microscope , microtome and paraffin dispenser are the main equipment in the helicobacter pylori infection detection , but they are used to perform many microbiological tests . in this case , we divided the allocated time to helicobacter pylori infection detection to all the activity time of equipment during the past year .
the cost of manpower has been calculated through the time that was allocated to helicobacter pylori infection by histology .
with respect to the annual wages or salaries paid to each of them and the number of helicobacter pylori infection tests that are performed , the allocated times has been calculated and then the unit cost of the manpower was estimated . the space cost has been computed through multiplying the occupied area of histology test setting ( the equipment and manpower ) by the monetary value of a commercial unit in a central district in tehran .
the consumed energy costs were calculated with respect to the activity time of the histology equipment and its proportion from the total time of activity in the past year .
this principle has been performed for the cost of other helicobacter pylori infection tests and the management phases .
identification of the most appropriate cost drivers for each activity : as mentioned in the previous step , it is of great importance to allocate an appropriated measurement unit to each activity .
when we use resource- based costing , one of the most important steps is to determine the amount of consumption of resources ( manpower , equipment , space , energy , supplies and materials ) .
for example , in the diagnostic phase , the technician and physician s cost , is measured by the needed time to perform each test , or the energy cost is calculated through the kw per hour .
calculation of the unit costs : as the final step , the unit cost of each of the resources is calculated through dividing the total cost to the total amount of the produced services .
the histology unit cost was calculated through dividing the total costs related to manpower , equipment , material and supplies , space , administrative affairs etc . , to the total accomplished tests .
table 2 demonstrates the costing components of each diagnostic test . the resource used the market prices .
data were collected from the provider s self- reported costs and his / her bills and the iranian ministry of health and social security organization .
sensitivity analysis : to investigate the effects of the uncertainty of relevant input variables ( the prevalence of helicobacter pylori infection , the sensitivity and specificity of diagnostic tests , the probability transitions between health state , and the costs of diagnostic tests and therapeutics regimens ) , a probabilistic sensitivity analysis was conducted ( fig .
the probability distributions were specified for the mentioned variables , and the monte carlo simulation was performed for 1,000 iterate points .
the cost - effectiveness plane was drawn for considered strategies .
the markov model of helicobacter pylori infection therapeutic strategies
notes : h.p- : helicobacter pylori infection negative , antisec .
treat : gastric acid antisecretory treatment regimen , php_positive : the probability of helicobacter pylori infection is positive by each of diagnostic test , h.p+ triple treat : helicobacter pylori infection is positive and the triple treatment adopted to eradication , sym .
probability of symptoms free after anti- secretory treatment , php_pos._triple treat : probability of symptoms relief after ppi based triple treatment .
it should be noted that all calculations of the costs , cost - effectiveness and cost - utility ratios as well as drawing the markov model were done using microsoft excel 2010 .
the histology based triple treatment regimen was the most expensive , and the serology based anti- secretory regimens was the least expensive ( table 3 ) .
notes : all calculations related to 2014 april , when the 1us$ = 29650i.r.i rial . *
the us$ costs have been rounded . * * antiscretory regimens : two physicians examinations ( according to iranian physicians fees 2014)+ two pantoprazole 40 mg tablets per day for four weeks ( the panraprazole 40 mg price was obtained from the social security organization ) , * * * triple treatment regimens : four physicians examinations + two omeprazole 20 mg , 4 amoxicillin 500 mg and 2 clarithromycin 250 mg daily ( 4 weeks)+ endoscopy ( the endoscopy cost has been obtained from physicians fee schedule )
table 4 displays the cost per symptoms free results .
the results indicated that the ppi based triple treatment , when serology was the first diagnostic test , was at the lowest amount .
this result was also true about the cost per qaly ratio as well . also , in anti - secretory regimens , if serology were used as the first diagnostic test , the cost per symptoms free and cost per qaly would have been at the lowest amounts compared to other strategies .
notes : * comparators have been sorted based on the effectiveness -from the lowest to the highest . * * the figures should be multiplied by ( 10 ) . also , all of them were rounded .
table 3 : unit costs of each helicobacter pylori diagnosis and therapeutic regimen
cost- effectiveness results : the results of the calculations of cost - effectiveness and cost - utility of the four mentioned strategies are provided in table 4 .
the cost - effectiveness plane of symptoms free cases are shown in figure 2 , and the information on the cost per qalys is presented in the appendix .
helicobacter pylori symptoms - free of alternative strategies at the end of the cycles
sensitivity analysis : the results of the probabilistic sensitivity analysis through the monte carlo simulation are presented in cost - effectiveness planes in figures 3 to 6 , seperately .
the scatter plane of symptoms - free cases in triple treatment ( 13cubt as first diagnostic test vs. serology )
the scatter plane of symptoms- free cases in triple treatment strategy when serology was used as the first diagnostic test vs. histology is shown in figure 4 .
the scatter plane of symptoms - free cases in triple treatment ( serology as the first diagnostic test vs. histology )
the scatter plane of symptoms- free cases in anti - secretory treatment when histology was used as the first diagnostic test against ubt is presented in figure 5 .
the scatter plane of symptoms - free cases in antisecretory treatment ( histology as the first diagnostic test vs. ubt )
figure 2
shows the graphical results of table 2 , indicating that in triple treatment regimen , serology based strategy has clear dominancy to 13 cubt strategy in both aspects of cost per symptoms free and cost per qaly .
in addition , in figure 2 , in anti - secretory treatment regimen , the serology - based strategy was dominant to histology - based strategy .
costs : the unit costs of each strategy including both diagnostic and therapeutic phases are displayed in table 3 .
finally , the scatter planes of symptoms- free cases in antisecretory treatment when serology was used as the first diagnostic test against the serology is shown in figure 6 .
the scatter plane of symptoms - free in antisecretory treatment ( serology as the first diagnostic test against histology )
economic considerations are among the main dimensions when evaluating any health method or technology . with regards to the carbon-13 urea breath method
, the results of this study showed that the unit cost is 1,939,740 rials ( us$ 65.42 ) .
if this method is used as the first diagnostic method of helicobacter pylori infection , its unit cost in the triple therapy strategy would be 8,829,740 rials ( us $ 298 ) per patient , and in the gastric acid antisecretory therapy strategy- empirical strategy it equals to 1,281,000 rials ( us $ 43 ) per patient . on the other hand , if the serology method is used as the first diagnostic method of helicobacter pylori infection , its unit cost - all three types of immunoglobulin equals to 197,430 rials ( us$ 6.7 ) ; if the triple therapy is used for the patient , its unit cost equals to 6,748,320 ( us$ 228 ) ; and in the gastric acid antisecretory therapy strategy , its unit cost would be 672,960 rials ( us$ 23).with regards to the histology method , its unit cost equals to 2,569,940 rials ( us$ 86.7 ) ; and if this diagnostic method is used in the triple therapy strategy , its unit cost would be 9,278,050 rials ( us$ 313 ) ; and in the gastric acid antisecretory therapy strategy , the unit cost equals to 3,853,000 rials ( us$ 130 ) .
the cost per symptoms- free cases when the 13 cubt was used as the first diagnostic test against serology was 1,283,200 rials per symptoms- free cases and 1,492,103 rials cost per qalys in triple treatment strategy .
furthermore , the cost per symptoms free cases when serology was used as the first diagnostic test against histology was 291,736 and 339,226 rials cost per qalys . in antisecretory
strategy , when histology was used as the first diagnostic test against the ubt , the cost per symptoms free was 793,234 and 955,698 rials per qalys . finally , in this strategy , when serology was used as the first diagnostic histology test , the cost per symptoms- free cases was 368,947 rials and 444,512 rials per qalys .
the sensitivity analysis through the monte carlo approach with 95% confidence interval on the main key outcome variables ( the differences between costs , symptoms- free as the first outcome , qalys , cost per symptoms- free and cost per qalys ) showed a consistency in our results .
the differences in costs and outcomes ( symptoms free number or qalys ) had a relative smooth ( linear ) pattern .
nonetheless , a difference could be observed in antisecretory strategy when serology was used as the first diagnostic test against histology .
according to the calculations of the carbon-13 urea breath method ,
the high unit cost of the carbon-13 urea breath method , compared to the serology method , is nearly 10 times more expensive than the serology method . moreover , the lack of significant difference in the effectiveness of the two methods ( according to the literature review , the difference between the sensitivity of the carbon-13 urea breath method and the serology method was only 0.05 ) suggests no specific dominancy of the carbon-13 urea breath method over the serology method at high levels of the prevalence of the helicobacter pylori infection . on the other hand , with regards to the histology method
, the carbon-13 urea breath method has a comparative advantage in terms of the cost per symptoms- free and qalys , particularly in the gastric acid antisecretory therapy strategy , owing to the low cost difference ( the histology method is about 1.3 times more expensive than the carbon-13 urea breath method ) , and the approximate equality in the effectiveness of the two mentioned diagnostic methods .
results of a study conducted in canada reveals no superiority between the serology method and the carbon-13 urea breath method in terms of cost - effectiveness ( 19 ) .
although the carbon-13 urea breath is more expensive , it is remarkably effective and can reduce the endoscopy referral burden .
however , in sum , under the conditions of assumed parameters in the decision making model adopted by researchers of the current study , the carbon-13 urea breath method seems to be more cost - effective than the serology method . in general , the study concluded that the serology method is more appealing for patients with uninvestigated dyspepsia and at a low risk level .
a study was also conducted in spain which aimed to evaluate the economic aspects of the general strategies including test- and- treat and a treatment strategy without test ( 35).the authors concluded that overall , the treatment strategy was better than the test - treatment strategy in terms of cost - effectiveness .
furthermore , among the used test - treatment methods in the mentioned strategy , the serology - based method was the most cost - effective followed by the urease test and carbon-13 urea breath methods . in the meantime , the carbon-13 urea breath method was more cost - effective than the cell culture and histology methods .
in another study conducted in canada , the researchers concluded that the test - treatment strategy based on carbon-13 urea breath method has been more cost - effective than the other alternatives including endoscopy and serology methods .
while the diagnostic effectiveness of this test was more than the other two , it was the most expensive method , and applying it to detect helicobacter pylori infection at the primary level should be based on its use as the optimal method of detection ( 36 ) .
with respect to the existing prevalence of helicobacter pylori infection in iran , owing to the high price of the carbon-13 urea breath method , and lack of significant cost - effectiveness and cost utility superiority over the serology and histology , we recommend avoiding its application in large scale and for large population groups .
however if prescribed , given the significant safety and diagnostic effectiveness , carbon-13 urea breath method should be used only for specific age groups , particularly children , and its use for older age groups does not seem cost - effective . in case that the prevalence of the helicobacter pylori infection in iran increases to a threshold of 93% , the use of the carbon-13 urea breath method may be cost - effective .
lack of valid data extracted from the related studies about the probability of symptoms recurrence in antisecretory strategy and the quality of life gained in ppi based triple treatment strategy resulted in some restrictions in conducting the sensitivity analysis .
nevertheless , it seems that these two parameters did not have much effect on our main results .
the gastric cancer was one the most important outcomes of helicobacter pylori infection , but was not investigated in our study .
thus , we recommend an economic evaluation considering gastric cancer in the future studies .
| pubmed |
Rev. 5/09/00 (Buff)Rev. 5/11/00 (Salmon)Rev. 5/18/00 (Cherry)Rev. 5/30/00 (Tan)Rev. 6/01/00 (White)Rev. 6/05/00 (Blue)Rev. 6/12/00 (Pink)SWEET NOVEMBERbyKurt VoelkerBased on the screenplay "Sweet November"byHerman RaucherRevisions by Becky Johnston
SHOOTING DRAFTJune 12, 20004/5/00FADE IN:1EXT. SAN FRANCISCO - DAY1OPENING CREDITS and MUSIC play as dawn breaks over thecity by the bay. Sounds of intense SEXUAL EXERTION FADEUP.2INT. NELSON'S APARTMENT - BEDROOM - DAY2In what is more workout than lovemaking, NELSON MOSS (36)thrusts vigorously into ANGELICA (32), lying spread-eagled on her back. An ALARM goes off, and on cue,Nelson climaxes. OPENING CREDITS and MUSIC FADE OUT.Finished, Nelson hops to his feet on his way...NELSONThat was good...Ambivalent, Angelica watches as Nelson enters thebathroom.NELSONTop dog, big dog, bad dog...3INT. NELSON'S APARTMENT - BATHROOM - DAY3Nelson showers.NELSONWho's the best dog? It's my dog.4INT. NELSON'S APARTMENT - BEDROOM - DAY4Towel-wrapped, Nelson keeps talking as he crosses theroom.NELSONIt's the big, bad dog.Angelica pulls on her underwear as she watches Nelsonexit.5INT. NELSON'S APARTMENT - LIVING AREA - DAY5The penthouse is orderly and stark. Entering, Nelsongrabs an incoming fax, turns on a coffeemaker and picksup a remote control. Ignoring a stunning view of thecity, he closes the blinds and turns ON FIVE TELEVISIONS.4/5/002.6INT. NELSON'S APARTMENT - BEDROOM - DAY6Fax in hand, Nelson speed-dials on a cell phone as hepasses Angelica. Entering a walk-in closet, he dressesin a hurry.NELSONNumber one dog, dog at the top --ANGELICASlow down. We need to talk.NELSONVince?VINCE (V.O.)(over phone)How about those Vitagirl numbers?NELSON(into phone)Yeah, looking good.(to Angelica, fake innocent)Talk about what?He sees the look on her face, turns his head, rolls hiseyes and mouths "us" as she says:ANGELICAUs.He mouths "shit," then turns to flash her a reassuringsmile, holding up a finger to wait as he finishes hiscall.VINCE (V.O.)We're T-minus 72 hours from fastfood fame or oblivion. Ready tosign off on this copy?Nelson makes an apologetic face to Angelica, uses work toavoid dealing with her, hurries into the living room.NELSONAlmost. Meet you in twenty.7INT. NELSON'S APARTMENT - LIVING AREA - DAY7He hangs up the phone, and takes a deep breath. He is ina state of extremely jangled nerves. He pours a giantcoffee, praying Angelica will stay in the bedroom as hechannel-surfs on all five TVs, stopping on a hot dogcommercial.(CONTINUED)4/5/003.7CONTINUED:7Catching a good one, he switches sets to the samechannel. Braces himself as she enters, wearing undies.NELSONUs. Right. Hey -- isn't theresome kinda limit on 'us' talks?You know, one okay, two ifnecessary, three, cruel andunusual.He flashes a smile and bolts, evading her once again.8INT. NELSON'S APARTMENT - BEDROOM - DAY8Nelson re-enters the closet and finishes dressing,obsessed.NELSONGood dog, great dog...ANGELICAYou forgot about my parents,didn't you?He did.NELSONI can't make it. I'm sorry.ANGELICANelson, this is their third tripto the city. This is important tome.NELSONAnd this account is very importantto me.(sees how hurt she is)Come on, it's Doctor Diggety,it's practically an Americaninstitution.(stops)Hey -- does that play? Americaninstitution --ANGELICAStop it -- you know there areactually people who don't work 24hours a day. They stop. Relax.Have lives.Dressed in chic clothes, Nelson grabs his suitcase.(CONTINUED)4/5/004.8CONTINUED:8NELSONYeah, and I'm late for mine.He rushes out, the door slamming shut behind him.9INT. ELEVATOR - DAY9Sleepy Madison Avenue types surround Nelson, wide awakeas he talks on his cell phone.NELSON-- Look, I'm not sure I like thetagline anymore, it's working toohard, needs to be deadpan. Iwanna play with it for a fewhours --VINCE (V.O.)(over phone)Cut it out, man, copy's good.Apply the 'If it ain't broke'rule.10INT. JABE & DUNNE - DAY10The elevator opens onto an advertising agency, abuzz withactivity. Nelson is met by VINCE HOLLAND (36). Walkingside-by-side, both men continue talking into theirphones.NELSON(over phone)That rule applies to mediocrity.We want perfection.VINCE(over phone)What we want is a check, Nelson.And bonuses. And promotions.You worry too much.NELSONI worry because worrying aboutlosing keeps you winning.Suddenly aware of themselves, they pocket their phones asan OFFICE MANAGER hands Nelson an advertising award.OFFICE MANAGERCongrats, Nelson. You got the AdAge for the Pelican spot.(CONTINUED)4/5/005.10CONTINUED:10Unimpressed, Nelson starts to hand the award to hissecretary, BEATRICE (23) -- when Vince plucks it away.VINCEYou'll hide it like all theothers. Whereas I'll take it andput it where it belongs. Over mybed.Nelson picks up a stack of trades as he blows byBeatrice's desk on the way into his office. Vincefollows him in.BEATRICEGood morning, Mr. Moss. Vince.Greeting her, Nelson ignores Beatrice. Vince flirts.NELSON AND VINCEMorning, Beatrice.11INT. JABE AND DUNNE - NELSON'S OFFICE - DAY11A temple of California corporate cool, the place lookslike a hip playpen for a kid who never grew up.Nelson immediately settles down to work, furiously typingnew copy into his computer as Vince nervously peers overhis shoulder to observe the changes, wants to distracthim, change subject.VINCEHey, did you hear? Edgar Price iscoming out of retirement. Sayseverybody's ripping him off; mightas well get back in the game andrip himself off.NELSONEdgar Price, huh? He's great.VINCERemember that Mercedes spot hedid... a trillion years ago?(folds hands together as if in prayer)Genius.NELSONYeah, well maybe a trillion yearsfrom now some guy will say thesame about you. If you get offyour butt and work on this tag.(CONTINUED)4/5/006.11CONTINUED:11The door opens and their boss, RAEFORD DUNNE, pokes hishead in. He is as anxious as Vince and Nelson about thisaccount.DUNNEHow's my dream team? Got itlocked up?NELSONSure, chief. Just finessingsome --VINCEMinor details. Minor.11AINT. JABE AND DUNNE - ART DEPARTMENT - DAY11ANelson and Vince are walking into an art department.VINCECan't wait to show you theseboards -- I mean, they came outgreat, perfect. The best workI've ever done -- of course withyour help --(pauses)Client's gonna love 'em.By now they are inside the room and Nelson is quicklysurveying a set of storyboards which we don't see. Hejabs a finger as he indicates each one, all business.NELSONMake this night.VINCENelson --NELSONGive me a bonfire.VINCENelson, stop --NELSONMake this three quarter.(points to another board)Nastier. Give me more cleavage,more dogs --VINCENelly -- stop, stop, stop!(CONTINUED)4/5/007.11ACONTINUED:11AJust then, Beatrice enters the room, relieved to findNelson there.BEATRICEThere you are. Did you forgetyour one o'clock at the D.M.V.?NELSONSort of. Reschedule.BEATRICEThe deadline to renew is today.NELSONSo let it expire.BEATRICEIt was expired when you got theticket. That's why you have to go.NELSONBeatrice, I don't have time forthis. Wait till thepresentation's over...BEATRICEIf you don't renew today, they'llsuspend your license, which meansthe next time you get pulled over,they can throw you in jail. And Ibet you don't have time for that,either.A hush falls over the room.VINCENobody beats the D.M.V., Nels.Not even you.12INT. DMV - DAY12Nelson is in hell. The "appointments" line is endless,and a BABY behind him is SCREAMING. Checking his watch,Nelson is scribbling more copy in a notebook as theBABY'S PITCH climbs HIGHER.13INT. DMV - TEST ROOM - DAY13Annoyed beyond belief, Nelson waits as a PROCTOR passesout tests to a room full of random San Franciscans.(CONTINUED)4/5/008.13CONTINUED:13PROCTORThere'll be no talking, eating,ordrinking. If your personalhygiene becomes a distraction,you will be asked to leave --Running late, SARA (25), stumbles into the room. At thesame time, the paper bag in her arms ruptures, spilling amotley assortment of groceries. She gets down on herhands and knees starts picking them up, reaches for asalami log under Nelson's chair...PROCTORIf you need to go to the bathroom,raise your hand.SARACan you just pass me theColumbo...NELSONThe...?SARAThe salami... under your chair.PROCTORYou cannot take the test in thebathroom.Nelson reaches for the salami, hands it to her.NELSONHere you go.PROCTORIf you do not come back from thebathroom, you cannot pass thetest.During this, Sara has taken a seat next to Nelson.PROCTORYou may begin.14INT. DMV - TEST ROOM - DAY (LATER)14Halfway through the test, Nelson is beginning to fray.NELSONFalling rock zone... Christ.(CONTINUED)4/5/009.14CONTINUED:14Nelson's eyes wander over to Sarah's test.NELSONHey. Psst.Sara gives him a "cut it out" look and returns to hertest.NELSONNumber nine. True or false?SARAWhat? You wonder why? What?PROCTORExcuse me! Bring your testforward!Nelson hunkers down.SARAMe?PROCTORYes, you.SARABut I was just trying to tell himto stop...She's too ethical to rat, too annoyed to let him off thehook.SARA... talking to me.PROCTORBring your test forward!Sara reluctantly approaches the Proctor, who takes hertest.PROCTORYou may retake the test in 30days.SARAWhat?! 30 days! That's a longtime -- that's so unfair! Iwasn't doing anything --The immovable Proctor grimly shakes his head, points todoor. Steaming, Sara returns to her desk. Gathering herthings, she glares balefully at Nelson, who pretends notto notice.4/5/0010.15EXT. DMV - DAY15Nelson, talking on his phone, emerges from the DMV.NELSONNelson Moss for Vince. Did Rubintweak the music?VINCE (V.O.)No, he said it's fine.NELSONCut him. Get Johnson McDonald,give him the sample, he'll knowwhat I want.Just then he notices Sara sitting on the hood of his brandnew Mercedes, she gives him a jaunty wave.SARAHow'd the test go? Hope youpassed.He ignores her for a moment, something has caught his eye-- a beaten-up van with yapping dogs painted on it andthe words: 'BARKING MAD DOG GROOMERS AND DAY CARE.Sanity in a dog-eat-dog world.' It is parked next to hisMercedes.NELSON(into phone)Hey, Vince, what about this?'Barking mad for Doctor Diggety.Sanity in a dog-eat-dog world.'VINCE (V.O.)(over phone)Now I know you've lost your mind.SARACongratulations, you can read.She keeps sitting on his hood, staring at him.NELSON(to Vince)Call you back.He hangs up. Slowly walks over to her, not thrilledthat she's sitting on his car.NELSONCan I help you?SARACan you help me?(CONTINUED)4/5/0011.15CONTINUED:15NELSONYeah.She keeps staring, says nothing. He feels pinned by hergaze, peers around, then points to her van.NELSONOh -- that must be your van.SARAThis must be your car.NELSONAnd you can't drive? Right,right. This is how you make --He reaches for his wallet.NELSONOh, shit, right. Well, how much doyou make? Doesn't look like much.I'll cover your expenses --(reaches for money, decides against it, pulls out business card instead)Here, call my secretary, she'lltake care of it --She takes the card, peers quizzically at it.SARAIs this quest for redemptioncoming from true remorse, or areyou just worried that my sittingon your car will leave a big dent?NELSONThe dent, I guess.SARAThat's what I thought.There's a flicker of recognition in her eyes, as if shehas confirmed something in her own mind. He gestures toher -- get up. She doesn't budge. Annoyed, he reachesin his wallet and shoves a hundred dollar bill at her.SARAWhat are you doing?NELSONBuying redemption.(CONTINUED)4/5/0012.15CONTINUED: (2)15SARA(refuses money)Oh, redemption's not for saletoday.NELSONOkay, I guess I'm going to hell.Get off my car.Stunned, she gets off his CAR as he scrambles inside andROARS out of the lot.16INT. NELSON'S APARTMENT - NIGHT16Nelson works out at an intense pace on an treadmill ashe watches all five TV's. Other than shelves of glassvases and ceramics, the only other decor is a fish tankoccupied by a lone fish. The MICROWAVE BEEPS, Nelsonjumps off mumbling:NELSONWhat is it? It's a hot dog. It'sa hot dog. It's a...Opening the oven, he grabs a hot dog, nearly burns hishand.NELSONIt's a hot dog.(eureka)That's right! It's a hot dog!It's a hot dog!He cuts it and jabs a piece on a fork, just as the INTERCOMBUZZES. As he speaks he stares at the hot dog on fork.NELSONYeah?MANNY (V.O.)(over intercom)Mr. Moss, this is Manny downstairs,I gotta bit of a situation here. Acertain lady, she says...(whispers, embarrassed)Some very strange and personalthings about you.Nelson still stares at the hot dog on fork, transfixed.(CONTINUED)4/5/0013.16CONTINUED:16SARA (V.O.)(over intercom)Give me that thing.MANNY(over intercom)Miss, you can't do --Nelson hears SCUFFLING sounds filter over the INTERCOM.Then Sara's voice wafts up, honeyed and seductive.SARA (V.O.)Hey, big spender, come down here.I can't stop thinking about you.Nelson's bewildered, and intrigued. Checks his watch,mutters:NELSONTen minutes.(presses "talk")Okay. Be right down.As he walks away, he takes a bite of the hot dog on forkand nearly gags before spitting it out.17INT. NELSON'S BUILDING - LOBBY - DUSK17In sweats, Nelson comes out of the elevator. Sara is busylistening to a besotted MANNY tell her his whole lifestory.MANNY-- And then my ex-wife, she sayyou can't fix nothing, Manny, andshe leaves me for plumber --Sara finally notices Nelson approaching, flashes a smile.SARALook at that, Manny. My very ownPrince Charming.(to Nelson)I don't think I've ever met such aroyal asshole in my whole life.Nelson stops in his tracks, staggered. She is off on atoot.(CONTINUED)4/5/0014.17CONTINUED:17SARADoes your mother know you treatwomen like hookers? Or did sheraise you to think being nicemeans patronizing the wholeworld?MANNYUh-oh. I smell a problem.Nelson grabs Sara by the arm, whisks her outside.18EXT. NELSON'S BUILDING - DUSK18Nelson and Sara face off in the street.NELSONHow did you find me?She holds up the business card he gave her.SARAI'm smart.(pauses)And I need a ride.NELSONThis is a joke, right?(as she shakes her head)You want a ride -- from me?SARAYep. Face it, it's your fault Ican't drive. The least you cando is schlep me somewhere. It'squick, painless --NELSONI am not a schlepper.Manny knocks on the glass from the inside and holds up ahandwritten sign that reads, "You want me call police?"Nelson shakes his head. Turns back to Sara.NELSONBeen a ball, but some of us haveto work.SARADon't make me go too far.(CONTINUED)4/5/0015.18CONTINUED:18He makes a gesture, cutting her off, heads toward theentrance, Sara stops a clean-cut couple entering thebuilding.SARAMaybe you can help? This man --he's your neighbor, right -- hasbeen standing naked in his windowflashing his ass at me and I wanthim to stop --NELSONIgnore her, please.As the flustered couple scurries inside, Sara stops ayoung woman on her way out.SARAHi, how are you? We've got a caseof vodka and a bathtub full offudge upstairs, would you like tojoin us?NELSONStop it or I'll call the police.SARAGreat. Go ahead. I love thepolice.NELSONDo you have any shame at all?(pauses)No.19INT. MERCEDES - NIGHT19The picture of displeasure, Nelson drives. Sara checksout the luxe car, the leather, the lights on dash. Notimpressed.SARABy the way, my name's Sara Deever.(points)Okay, get in the right lane, putyour turn signal on --NELSONI know how to drive!SARAYou want to take the 80 toOakland --(CONTINUED)4/5/0016.19CONTINUED:19NELSONOakland? You said this would bequick.SARAI said it would be painless, too.Then, she flashes a warm, disarming smile, full ofcharm -- completely throwing him yet again.SARAIt's so nice of you to do this forme, Nelson. Sorry if I went toofar, but I really did need theride.20EXT. OAKLAND - NIGHT20In the midst of an industrial district, the Mercedespulls up near a nondescript building.21INT. MERCEDES - NIGHT21Sara pulls a flaming red wig out of her bag and puts iton. Nelson is not amused.NELSONHa-ha. What do you plan to dowith that?SARACommit a heinous crime. You'llwait, won't you?Sara snatches the keys out of the ignition.SARAOf course you will.She climbs out. Nelson bangs his head against thesteering wheel.NELSONWhat am I doing?22EXT. OAKLAND - NIGHT22Sara approaches the building. She goes in. Momentslater, an ALARM BLARES.4/5/0017.23INT. MERCEDES - NIGHT23The ALARM CLANGING, Nelson is frozen, completelyterrified, realizing this could be far more serious thanhe imagined.24EXT. OAKLAND - NIGHT24Carrying lumpy sacks, Sara flees the building.25INT. MERCEDES - NIGHT25Sara jumps in and jams the keys in the ignition.SARAGo! Go! Go!Nelson is so frightened, he obeys her and FIRES UP theCAR.26EXT. OAKLAND - NIGHT26Nelson's CAR SCREECHES into motion.27INT. MERCEDES - NIGHT27SARADon't you feel like Bonnie andClyde?NELSONThey got shot. Don't open it --I don't wanna know! This iscoercion -- entrapment!SARAWill you relax? They're just...To Nelson's amazement, Sara removes two squirming JackRussell puppies from the bag.SARA... some fine furry friends.(kisses puppies)Somebody was gonna slice open yourlittle heads and do nasty experimentson your brains, weren't they?She lets them go as the car stops for a light. Nelsonlashes out, furious.(CONTINUED)4/5/0018.27CONTINUED:27NELSONOff the leather, off the leather!(trying to compose himself)Let me get this straight. Youhumiliated me, harassed andexploited me -- just so -- I couldhelp you in some cute save-the-puppy caper? Off the leather!SARANot cool enough for you? Betterif we whacked a few people whilewe were at it?(points to traffic light)You can go on green in California.27AEXT. OAKLAND STREET - NIGHT27AThe MERCEDES swerves and SCREECHES as Nelson is assaultedby the slobbering pups.27BOMITTED27B&&27C27C28EXT. GAS STATION - NIGHT28The puppies tumble on the ground, Sara crouched on herknees plays with them as Nelson fills his tank with gas.Down the street he sees a police car scanning the block,its searchlight raking the buildings. His eyes light up.NELSONGet ready to go to jail, SaraDeever.SARAYou're not gonna tell them.The car is coming closer, Nelson nods, excited.NELSONOh yeah. Everything.SARA(holds her ground)Oh no, you won't, I have a hunchabout you.(CONTINUED)4/5/0019.28CONTINUED:28The car reaches them; as it glides past, Nelson meeklyraises his hand to wave, furious that he has capitulatedagain.SARASee? I knew you weren't as hard-ball as you act.Stone-faced, Nelson admits nothing. Keeps pumping gas.SARAHey, I have an idea. Let's takethem back to my place and givethem names --NELSONSounds like a million laughs, butI gotta work.SARAWhat kind of work?NELSONAdvertising.SARAOh, you mean you convince peoplethey need something completelyinessential and blight thelandscape in the process.NELSONBingo! That's me!SARAIs it fun? Do you enjoy it?NELSONPeople tend to enjoy what they'rereally good at.SARASo the answer is -- yes? You do.But does it make you happy?NELSONEveryone knows happiness is amyth, an extremely powerfulmyth --Sara's laugh starts as a snicker, builds to a full-blownhowl.(CONTINUED)4/5/0020.28CONTINUED: (2)28SARA-- Created by advertisers!NELSONExactly.SARASo what else makes you miserable,besides your job?Nelson doesn't answer.SARAWhat do you do for fun?He doesn't answer, but she acts as if they are conversing.SARAI didn't think so. No hobbies,diversions, kinky obsessions?(as he doesn't answer)I was afraid of that. Whatabout --Nelson rams the nozzle back into the pump.NELSONJust get in the car.29EXT. SARA'S BUILDING - NIGHT29The Mercedes pulls up to the curb.30INT. MERCEDES - NIGHT30SARAWould you like to come up for acup of cocoa?NELSONAs scintillating as the evening'sbeen, I'm afraid not.Sara is undeniably sincere and sexy, and even Nelson can'thelp but be tempted just a little.SARAI'll make a deal with you. Comeup for one cup, and I'll neverask you for another ride for aslong as I live.(CONTINUED)4/5/0021.30CONTINUED:30NELSONNo thanks.SARAOkay. See you tomorrow then.Sara starts to get out, but Nelson stops her.NELSONWhoa, whoa, whoa -- hold on.SARAIs eight o'clock good? You, me,Manny the doorman, that wholething?31INT. SARA'S LOFT - NIGHT31Deliberately chaotic, Sara's loft includes the fire polefrom the old station and plants galore. As the puppiescarouse in a pen, Sara sets two teacups on the kitchentable, where Nelson is sitting, aware of the fact thatshe is openly checking him out. He tries to strike anonchalant pose.SARAI can help you, Nelson. I have agift. A special ability to helpmen with... problems.Thinking this is a seduction tactic, he plays along.NELSONI don't have problems.SARAThat's usually the first sign.Nelson groans as she sits down across from him, deadserious.NELSONOf what?SARADenial. I think you work toomuch.NELSONRight. What do you know aboutwork?(CONTINUED)4/5/0022.31CONTINUED:31SARAPlenty. You admitted you donothing else, and it doesn't makeyou happy. How's that for screwylogic?NELSONI admitted nothing. I was silent.SARANo special interests. No pets.You hate dogs --NELSONBusted! Actually, I do have apet. A fish. Oscar.SARACold-blooded doesn't count.You're a walking case study:we've got anger, stress,repression, extreme distraction,egocentricity, and controlfreakism --NELSONControl freakism is not a word --SARALook at you, you're a workaholicin such an advanced stage that allyour intimacy skills have witheredaway to almost nothing. Leftuntreated, Nelson, you couldbecome emotionally extinct.Nelson rolls his eyes and drinks his cocoa, checking outher messy loft with a wary look, thinking who is thisfreak?NELSONOut of sheer, perverse curiosity,how does a lunatic like you help aguy like me?SARAYou live in a box. I could openthe lid, let some light in.NELSONWow that's deep. I feel curedalready, just hearing about it.(CONTINUED)4/5/0023.31CONTINUED: (2)31SARA(ignores him)If you want my help, it'll requirea commitment on your part. You'llhave to live here with me for onemonth, no more, no less, no workallowed.NELSONYou don't even know me, andyou're inviting me to move inwith you?Sara nods.NELSONHow's my girlfriend supposed tofeel about that?SARAYou don't have a girlfriend. Imean, you can feel it... there'ssomething intimate a woman leaveson a man. You don't have that.NELSONHer name's Angelica.SARAWell you know what? I feel sorryfor Angelica.NELSONGreat, I'll relay that to herwhen I leave. Which is rightabout now --SARAOctober's almost over. We canstart midnight on the first ofNovember. If you're brave enoughto commit, I will devote myselfentirely to you.Nelson gets up.NELSONBrave enough, but not stupidenough.(pause)Now listen up, moonbeam. Here'show it works. No more harassment,no more rides, no more extortion.(MORE)(CONTINUED)4/5/0024.31CONTINUED: (3)31NELSON (CONT'D)Next time you come to my building,I really will call the cops.Bye-bye.He leaves. Frowning, Sara reflects on her failedproposal.32INT. JABE AND DUNNE - CONFERENCE ROOM - DAY32At the end of a long table, Raeford Dunne sits next toBUDDY LEACH (65). Vince and agency staff fill one sideof the table. Leach and the Doctor Diggety brassoccupy the other. Leach's face does not betray oneemotion as he listens to Nelson's presentation.On the wall, white sheets of paper cover boards underneath.Nelson is at the top of his game, a consummate showman. Heis so amped up, he's practically throwing off sparks. Heholds up a board with an image on it -- a silly looking50's style hot dog cartoon figure -- Doctor Diggety.NELSONThis is your brand image, MisterLeach -- we polled your primarydemographic and you know whateighty-nine percent said:boring. Safe. We need to dropa bomb.(dropping the board)We don't want hot dogs safe.(working up a head of steam)What's in a hot dog? Don't tellme! I don't wanna know...He rips down a white sheet of paper to reveal an image ofa hot dog engulfed in flames: the hot dog from hell.NELSONThey're dangerous!(pauses)What are we selling here? We'reselling temptation -- desire --animal instincts -- gluttony --sin. We want to show man as hereally is... a savage... he needsfire, he needs food. He huntsand gathers, what does he get?(CONTINUED)4/5/0025.32CONTINUED:32Rips down another sheet of what looks like a cave mancooking hot dogs on a grill, his family of savageshuddled behind him.NELSONHe gets a hot dog!(pauses)We're pagans, we love our rituals-- our team hits the ball out ofthe park, we're screaming, we'reinsane. What do we want?Rips down another sheet of a crowd at baseball game pitchedforward screaming like monsters, all holding hot dogs.NELSONWe want a hot dog!(pauses)Let's go straight to your pre-teendemographic. Kids. The littleangels. They're not angels.They're monsters. You give thema tuna sandwich. They don't wanta tuna sandwich...(rips down another sheet)They want a hot dog!Board showing a little boy glumly holding up a tunasandwich and an apple, lusting after the hot dog in thehands of a cute girl next to him. Nelson rushes over toanother sheet.NELSONWe need women. We've got themothers, we need their daughters.Let's answer that age old question-- what does a woman really want?You know. I know --(rips sheet exposing another board)She wants a hot dog!He is like some rabid animal, all fired up.NELSONWe're hot blooded -- we need sex.We need a sinful, dangerous food.What is it?(rips another sheet)It's a hot dog! It's a hot dog!(CONTINUED)4/5/0026.32CONTINUED: (2)32He goes to the last sheet and rips it down. A pictureof a total babe in devil costume, all bright reds andcleavage, holding a pitchfork, a hot dog impaled on theprong. The gates of hell sizzling overhead. The words:"DOCTOR DIGGETY. IT'S A HOT DOG" at bottom. Nelsonpauses for dramatic effect.NELSONDoctor Diggety. It's a hot dog.There is a long pause as Nelson catches his breath andeveryone in the room turns to Leach to hear his reaction.MR. LEACHNo.NELSON(taken aback)No. What do you mean?MR. LEACHIt's not for us. You don'tunderstand our company.NELSONI don't understand? What did youask for? Edge.(points)This is edge.Not even willing to deal with Nelson, Leach turns toRaeford Dunne, as he prepares to leave.MR. LEACHWe'll be going with Baker, Bohanen.He gestures to his team, they rise, start to leave.Nelson starts to snap.NELSONExcuse me. I think you're makinga big mistake.DUNNENelson --Nelson grabs a sales chart, holds it up.NELSONI've seen your sales. You're introuble.(CONTINUED)4/5/0027.32CONTINUED: (3)32MR. LEACH(proudly)No. We are America's favoritehot dog, son.He keeps moving toward the door, and Nelson finally snaps.NELSONWere. You're a dinosaur. You'reflatlining. You're dead meat.MR. LEACH(spins around, furious)You just went too far, you littlepunk. I'm gonna tell you what Ireally think of your campaign.It's cheap, tasteless crap.NELSONWell that's funny, 'cause so isyour product.DUNNENelson, stop it --MR. LEACHI sell a wholesome hot dog, youprick --NELSONIt's mystery meat!DUNNENelson, I'm warning you --As Leach's minions hustle him out of the room, Vince andtwo other ad guys hold Nelson back. He shouts to Leach'sdeparting figure.NELSONIt's toxic waste in a tube!You're killing me! You'rekilling us!33INT. JABE AND DUNNE - DUNNE'S OFFICE - DAY33Dunne storms in, followed quickly by Nelson.DUNNEWhat the hell happened in there?(CONTINUED)4/5/0028.33CONTINUED:33NELSONI know -- can you believe thatasshole --DUNNEI've always said you're brilliant,Nelson. A goddamn machine, butone of these days you're gonna snap,and we're all gonna burn.NELSONWhat are you talking about, burn?DUNNEDo you have any idea what was atstake here? How many millions ofdollars we just lost? You justran my agency's name through thegutter --NELSONGutter? I'm the best thing thisagency's got!DUNNEDo you have any idea what was atstake here? How many millions ofdollars we just lost? You justran my agency's name through thegutter --NELSONGutter? I'm the best thing thiscompany's got!DUNNEConfusing style for substancedoesn't make you best. It makesyou a wreck. You need a vacation.Now.NELSONScrew vacation! Give me anotheraccount!DUNNENelson, did you hear me? Take avacation -- short or permanent,your choice/nobreakspace--(CONTINUED)4/5/0029.33CONTINUED: (2)33NELSONAre you threatening me?(laughs manically)That's hilarious. I'm two Cliosahead of the game, Ray, you can'tafford to lose me --DUNNEYou're fired.There's a dead silence for a few beats.NELSONSay that again, I don't think Iheard you.DUNNEI said you're fired!34INT. JABE AND DUNNE - LOBBY - DAY34Nelson hurtles through the lobby. Elevator doors open,Vince charges out. THROUGH plate glass window, seesNelson outside.VINCENels! Nelson, wait!35OMITTED3536INT. NELSON'S APARTMENT BUILDING - HALLWAY - DUSK36Nelson tries to unlock his door, his hands are shaking sobadly he fumbles with the key, labors to breathe.37INT. NELSON'S APARTMENT - DUSK37The door opens and Nelson enters, instantly deflating.He's very relieved to find Angelica emerging from thebedroom.NELSONGod, am I glad to see you.ANGELICAYou are?He notices she is carrying an overnight bag. She mustersher strength, mind made up.(CONTINUED)4/5/0030.37CONTINUED:37ANGELICANo muss, no fuss. Let's try to dothis with a little dignity, shallwe?She crosses toward the door, past him. He is shocked.NELSONThis is not a good time for this,Angelica.ANGELICAHard to believe but it's not yourcall, Nelson. I just finallyrealized... I can't stayinvolved with a man who doesn'teven know he's not involved.(awkwardly)So I guess this non-relationshipis officially a non-relationship.All her efforts to be cool are cracking. She looks away,pushing the corners of her eyes, trying to stop a tear.ANGELICAI tried to get close to you. Idid.NELSON(panicking)Wait -- please -- whatever I did --or said, I didn't mean, I'll bebetter --She knows he's lying, that's even more humiliating toher.NELSONPlease -- don't go.ANGELICAI'm not staying just because youdon't want to be alone.She exits, leaving Nelson alone in the silent penthouse.He approaches his display of glass and ceramics andstares at them blankly. Then, with a sudden, violentswipe, Nelson sends the entire collection crashing.Someone KNOCKS on the door.MANNY (O.S.)Mr. Moss? You okay?(CONTINUED)4/5/0031.37CONTINUED: (2)37NELSONI'm fine.Blood seeps from a cut on Nelson's hand.MANNY (O.S.)You gotta delivery.NELSONLeave it!MANNY (O.S.)I'm not sure you want me do that,sir. It's from the loco lady?The other night? She said I don'tdeliver it personal, she gonna --(voice lowers)I'm too shy to say it, Mister Moss.NELSONI said leave it!Nelson wraps a towel around his hand. Opening the door,he finds a tattered box. Stamped on the lid: NOVEMBER.The box starts to move. Horrified, Nelson lifts thelid/nobreakspace-- a Jack Russell puppy has a ridiculous-lookingHalloween hat tied to its head -- dangling from the hatis a key.38INT. NELSON'S BUILDING - LOBBY - DUSK38Nelson storms off the elevator carrying the box with theWHINING PUPPY inside.NELSONManny! Manny!Gone for the night, Manny has left a Polaroid of himselfin costume on a sign that reads, "Manny Say HappyHalloweens!" Activated by Nelson's movements, anelectric GOBLIN next to the sign CACKLES demonically.NELSONShit!39INT. NELSON'S APARTMENT - DUSK39On the phone, Nelson paces as the hyperactive PUPPY racesthrough the apartment -- sees the fish in the tank andstarts madly BARKING.(CONTINUED)4/5/0032.39CONTINUED:39NELSONYou're a delivery service. Youdeliver things.(to dog)Stop it! Shut up!DISPATCHER (V.O.)Not live animals, sir. Toodangerous.NELSONSo what you're saying is, if Ikill the dog, you'll take it.DISPATCHER (V.O.)Please don't kill the dog, sir.Nelson slams the phone down and watches in horror as theBARKING PUPPY lifts a leg and pees all over the carpet.40EXT. NELSON'S BUILDING - NIGHT40Holding the box, Nelson leans over to talk to a CABBY.NELSONI have an unusual request. But Iwill pay you two hundred dollars.CABBYGet lost, you sick son-of-a-bitch.As the CAB SCREECHES away, Nelson becomes unhinged.Starts howling in rage. Inside the box, the PUPPY BARKSin unison.41INT. SARA'S LOFT - NIGHT41CHURCH BELLS RING at the stroke of midnight as Sara packsa trunk. Seeing beyond the area from night before -- theloft includes an office cluster and a large bed. A keyturns in the door. The door swings open. Nelson standsthere looking like a disheveled madman. He carries thebox over to Sara.NELSONDo me a favor. Stay out of mylife. Good-bye.She removes the puppy from the box, kisses it, thenflashes one of her winning, adorable smiles.(CONTINUED)4/5/0033.41CONTINUED:41SARADid you think about my offer?NELSONThe last thing I feel like doingright now is playing the SaraDeever Mad Hatter Game.He puts the box down and moves towards the door.SARAWhat happened to your hand?NELSONNothing.SARAMay I look at it?NELSONWhy?Ernie has exhausted himself, collapses on the floor.SARABecause I'm a vampire. I knowsome things about first aid.Nelson warily allows her to examine his hand.NELSONWhat are you after? What do youwant from me?She leads him to the bathroom as he studies hersuspiciously.42INT. BATHROOM - NIGHT42Sara treats Nelson's hand.SARASo what'd you do today?NELSONWhat'd I do today?(pauses)I got fired.(pauses)They took the company car.(pauses)And my girlfriend left me.(CONTINUED)4/5/0034.42CONTINUED:42SARAPerfect.NELSONDefine 'perfect.'SARAIt's November first. Our monthto be together.NELSONYou're actually serious aboutthis, aren't you?SARAVery.NELSONYou think I'm just gonna dropeverything --SARASounds like you already have.NELSON-- Live here, and let you messwith my head for a whole month?SARAI wouldn't put it that way, butyeah, that's what you should do.Sara removes her sweater, revealing a very persuasiveundershirt, and then returns to working on his hand.NELSONSo this... whatever you callit --SARAHelp.Sara stands and starts unbuttoning Nelson's shirt.NELSONWhat are you doing?SARATaking your shirt off.NELSONWhy?(CONTINUED)4/5/0035.42CONTINUED: (2)42SARASo you can clean up.NELSONWhy?Out in the open now, the sexual tension between themintensifies.SARABecause you smell like puppy piss.Sara takes the shirt to the kitchen.43INT. SARA'S LOFT - BATHROOM - NIGHT (LATER)43Shirtless, Nelson seems bewildered, can't decide whetherto wash up or get out of there -- he catches hisreflection in the mirror, studies it for an answer,mutters:NELSONJust for the night.He turns on the water, leans down to wash his face.44INT. SARA'S LOFT - NIGHT44Sara sprays the shirt with detergent.She crosses the last day of October off a large wallcalendar and then tears the month away, revealingNovember.45OMITTED4546INT. SARA'S LOFT - NIGHT46Cleaned up, Nelson comes from the bathroom, Sara bringshim the shirt. Nelson sniffs it and puts it on. Theymove closer.They kiss. Channeling his desperation, Nelson lifts heronto the bed, spins her down and pulls at her clothes.SARAWait, Nelson, stop... stop.Sara pushes him back.(CONTINUED)4/5/0036.46CONTINUED:46NELSONWhat?SARALook at me. Gently. Slowly.He starts in just as aggressively, and again she stopshim.SARANelson, what are you doing?NELSONWhat does it look like I'm doing?SARAJust take it easy. It doesn'thave to be like this. We've gotall night.He stares at her for a long moment and then pulls away.NELSONTo hell with the whole goddamnthing.Nelson yanks on his clothes.47EXT. SARA'S BUILDING - NIGHT47Pouring rain. Wearing his suit with no shirt, Nelsonstorms out the door. Sara follows pulling her sweateron.SARANelson, wait a second! Would youstop for one second?He keeps going. A few pedestrians gawk, but most keepgoing.Nelson pulls Sara aside.NELSONI have no words to describe howtotally whacked you are!SARAWhat are you so pissed off about?!(CONTINUED)4/5/0037.47CONTINUED:47NELSONThis has been the day from hell,and the absolute last thing I needis you telling me what to do inthe sack!SARAPlease come back. I won't tellyou what to do. We don't evenhave to do anything. Just don'tgo.For a moment, Nelson's guard drops and his face betrayshow weary and shattered he is by the events of the day.She slips inside the opening in the crack.SARATell me what you want me to do,Nelson, and I'll do it. Tell me.48INT. SARA'S LOFT - NIGHT48Sitting on the bed, Nelson stares intently at Sara,standing in front of him.NELSONTake that off.Sara pulls her sweater over her head, revealing the samepersuasive undershirt he saw earlier.NELSONThat, too.Sara removes her shirt. Exposed, she waits for Nelson tomake the next move. Gently, he kisses her stomach. Ashe slowly works his way upward, a swooning Sara growsincreasingly breathless.SARAWould you like to be my November,Nelson?NELSONYes.Finally letting go, they meet in a deep, sensuous kiss.49EXT. SAN FRANCISCO - DAWN49Daylight returns to the hectic city.SWEET NOVEMBER - Rev. 5/11/0038.50INT. SARA'S LOFT - DAY50Alone in bed, Nelson is sound asleep, jerks bolt uprightscreaming -- a cross-eyed cat is gnawing at his toes.He grabs the cat by the scruff of neck, ready to hurl it,then guiltily peeks to see if Sara's around, muttering:NELSONNice cat... nice kitty...Sara's gone. Nelson abruptly drops the cat -- it streaksacross the bed and barrels out to the living area whereit is attacked by Ernie, the puppy. Sounds of FURRYFIGHTING ensue.Nelson jumps out, throws on his boxers, momentarilypuzzled -- where's the rest of his clothes? Grabs hiscell phone and heads over to a TV set surrounded byplants and ferns. He tries to turn it on, it doesn'twork. Shrugging, Nelson lowers himself to the floor andbegins a practiced routine of situps as he punches anumber on the phone.51INT. STARBUCKS - DAY51Vince winks at the CUTE CASHIER as he steps up to thefront of the line.VINCEDouble venti caffe latte and yourphone number.Vince's PHONE RINGS.CUTE CASHIER(ignoring the pass)Double venti caffe latte: 3.85.Wedging the phone between his ear and shoulder, Vincedigs cash out of his wallet.VINCENotorious Nelson! Holy Christman, I been trying to call you.What the hell is going on?INTERCUT BETWEEN Nelson and Vince.52INT. SARA'S LOFT - NELSON - DAY52exercising.(CONTINUED)SWEET NOVEMBER - Rev. 5/11/0039.52CONTINUED:52NELSONEdgar Price.VINCEEdgar Price?NELSONEdgar Price.VINCEEdgar Price? Wha... Wha... Wha...NELSONCan you get us a meeting?VINCEYou and me?NELSONYou and me. Edgar Price's newcompany. Game?53INT. STARBUCKS 53VINCEI will get us that meeting.Genuis. They stuck with me withthat knob, John Headley. I'mdying.54INT. SARA'S LOFT - DAY54Sara enters the loft.NELSONGotta go.VINCEYou're a genius, Moss! Anyoneever tell you that?!NELSONCall me.Hanging up, Nelson continues to exercise...(CONTINUED)SWEET NOVEMBER - 5/9/0039A.54CONTINUED: (A1)54SARAStop what you're doing right now!NELSONWhy?She reaches him, grabs the cell phone, swats him like ananny.SARABecause it's the same boring thingyou do every day and you can't dothat with me.NELSONRight.(points to TV)What's wrong with your TV? Itdoesn't work --SARAOf course it doesn't work, it'sa planter.(CONTINUED)4/5/0040.54CONTINUED:54NELSONRight.(pauses)Where are my clothes?Sara walks away, toward the kitchen.SARAI gave them away.NELSONYou what --SARADon't worry, I got you these --She throws a pair of jeans and sweatshirt at him. Theinsane CAT streaks past, SCREECHING. Nelson almost tripson it.SARAPoor Sasquatch. Catnip overdose.NELSON(holds up clothes)This is not 'helpful,' Sara.Give me my shirt and pants back.SARAClothes are clothes. All theydo is cover up a body.NELSONYeah, well, it's just that thisbody likes to be covered in itsown clothes.Sara grabs Ernie.SARAErnie, you're gonna stay with mefor a while until I find you somedecent parents.(turns back to Nelson)When do I get to meet yourparents?He stalks toward her, eyes burning.NELSONMy parents are dead.Sara sets Ernie on the floor.(CONTINUED)4/5/0041.54CONTINUED: (2)54SARAI'm sorry.NELSONSara, I am not amused. I wantmy clothes back. Now.SARAI told you, I gave them away.I'll never lie to you.Too defeated to fight, Nelson throws on the jeans andsweatshirt. The jeans are about four inches too short.As he is getting dressed, CHAS (30) shambles through thedoor, looks exhausted.CHASI slept three hours last night.Tried valerian root, melatonin...(points to sweatshirt on Nelson)Hey, that looks like mysweatshirt.Chas goes straight to the coffeemaker, pours a cup,kisses Sara.CHASYou know what finally put me tosleep? Jimmy Cagney. PublicEnemy. Violence as atranquilizer, how twisted isthat?Nelson staggers forward, too dazed to speak.CHASHello, you must be November.NELSONI must be November.SARAHis name is Nelson.CHAS(extends hand)I'm Chas. Keep the sweatshirt.It looks better on you.NELSONIs this some communal, culty,Squeaky and Charlie type of deal?(CONTINUED)SWEET NOVEMBER - Rev. 4/28/0042.54CONTINUED: (3)54CHAS(laughs)Funny. Much hipper than October.What a wanker.(checks his watch)Gotta go. See you around, Nelson.And just as quickly as he entered, he exits. As the doorshuts behind him, Nelson glares at Sara.NELSONI think I'll pull myself out ofmonthly rotation while I'm ahead.55INT. LOFT BUILDING - STAIRCASE - DAY55Nelson exits the loft, and Sara follows.SARA-- Nelson, I told you helping menis my gift.NELSONYou didn't tell me it was acottage industry. And who thehell was that, your pimp?SARAChas lives upstairs. We lookafter each other.NELSONIt doesn't seem like he needslooking after.SARAEveryone needs looking after,Nelson.56EXT. SARA'S BUILDING - DAY56On the street, they pass two old-guard bay area hippiesin their 60s -- husband and wife AL and OSIRIS. They'reunlocking the door to their bookstore, Christopher'sBooks, with pictures of Ginsberg and Ferlinghetti in thewindow.SARAHey, guys, this is Nelson.But Nelson's off, without saying a word to them. Sarabarrels after him.(CONTINUED)SWEET NOVEMBER - Rev. 4/28/00 PM43.56CONTINUED:56SARAThat was so rude! Al and Osirisare great! They were closepersonal friends of JackKerouac/nobreakspace--NELSONI don't care. I don't read.Diagonally across the street, a vegetable market. Thevendor, a Chinese woman, wags her finger and shouts atpictures of her family propped up on her Buddhist altar.Sara gives her a wave and continues with Nelson a fewsteps, where they encounter ABNER (10). He wears a redbalaclava, practices balancing on one leg. Seeing Sara,Abner stops balancing and avidly follows her as if shewere the Pied Piper. Nearby, a HOMELESS MAN rummagesthrough the garbage, incongruously dressed in the chicestgear imaginable.HOMELESS MANSara, can you spare fifteen bucks?SARAOkay, now you're just beinggreedy, Bruce. I already gaveyou those clothes.Nelson puts a brake on, gasps.NELSONJesus -- those are my Pradapants/nobreakspace-- my sweater --Petrified, Bruce takes off running.SARADoesn't it feel good to give?NELSONNo!Nelson calls after the Homeless Man.NELSONHey, hey. Give me back my pants.ABNERAre you November?NELSONWhere am I?(CONTINUED)4/5/0044.56CONTINUED: (2)56SARANelson, this is a great kid,you've got to meet him. Abner.He wants to set a world record.What's today's project, Abner?ABNERStanding on one leg.(hands Nelson watch)Would you time me, I have tobreak the current record of300 hours.NELSONNo.Abner does a head-to-toe on Nelson, doesn't like theattitude.ABNERNice pants -- expecting a flood?NELSONNice hat -- planning a bankrobbery?Bored with Nelson, Abner peels off in the otherdirection.SARAThat's pathetic -- you let aten-year-old wind you up?NELSONForget him, what's the deal withyou? You sleep with half thecity, get the whole neighborhoodinvolved?SARAWould you prefer I was a virgin?NELSONConsidering the alternative, yes.SARAThat tender tender male ego isbruised, isn't it?(sweetly, tenderly)I'm yours, Nelson Moss. Allyours.That sends alarms ringing in his confirmed bachelor'sbrain.(CONTINUED)4/5/0045.56CONTINUED: (3)56NELSONLook, Sara, you're great. You'rea very sexy, smart, interesting,somewhat unusual woman...She just looks at him so guilelessly, he fumbles.NELSONBut we... ah... don't know wherethis is... I always think it'sbest to clarify issues... thebeginning of... I'm not readyfor... I can't be your man-man...She starts to laugh so hard tears roll down her cheeks.SARAYou are the most egotisticallunkhead I've ever met!(settles down)It's one month, Nelson. Get it?Now he's insulted. And amazed. He's never been treatedthis way before. To save face, he acts tough.NELSONThe truth is, I don't have amonth. Time is money...SARAOkay. How long can you put yourbig fat lucrative career on holdto try this thing out? Wait aminute -- you're unemployed --NELSON(stung)You know, the more I think aboutit, this 'project' of yours feelslike an excuse to get laid.That hurts. She flushes, looks away. He feels bad,didn't expect her to react this way.NELSONI'm sorry, I didn't thinkyou'd...(gentler)I just don't understand why you'redoing this, is all.SARAI have my reasons.(CONTINUED)4/5/0046.56CONTINUED: (4)56She starts to walk. He comes abreast of her, chastened.NELSONStill friends?And like a brilliant emotional acrobat, she flips hermood back to lighthearted, done with consummate grace.SARAOnly if you give me what I want.NELSONWhat?SARATime.NELSONAll I can do is a day.57EXT. PACIFIC HEIGHTS SOCIETY BUILDING - DAY57Sara's Barking Mad Dog Day Care van is parked outside aritzy building.58INT. SOCIETY LADY'S HOUSE - DAY58Nelson stands stiffly behind Sara, who gesturesexpansively toward a rail-thin Nancy Kissinger-styleSOCIETY MATRON.SARA-- Nelson's helping me today. Heloves dogs.Sitting on the sofa, floor, chairs, posed like perfectlittle stuffed animals, are Society Lady's six beloveddogs. Immaculately groomed, heads daintily cocked, frontpaws folded over each other -- they are glaring coldly atNelson. Sara pats their heads as she clips leashes onthem.SARAAnd these are the best behaveddoggies in the whole wide world,aren't they? So elegant, sodignified. Just like their mommy. SOCIETY LADY (MATRON)(with supreme false modesty)I like to think so.4/5/0047.59EXT. PARK - DAY59Extremely put out, Nelson walks beside Sara -- each holdsthree dogs on leashes as they head up a path. The dogsdon't pull or tug, prance with military precision.NELSONAlways a thrill to explore newcareer possibilities. How much doyou charge for this?SARAI don't do it for the money.(shouts to dogs)Okay, guys, ready to be bad?All six tails begin to wag in furious unison.Incredulous, Nelson watches Sara unclip all thedogs from leashes and swat them on the rump.SARARaise some hell, fellas, and don'ttell Mommy!Suddenly, nothing short of pure canine bedlam isunleashed. The six prissy DOGS go insane -- race up thegreen, YIPPING and HOWLING, fighting with each other,rolling in the dirt, scrambling through mud puddles,BARKING at babies. Overjoyed, Sara runs with the pack,clapping her hands and shouting.SARABad dogs! Bad dogs! I'm so proudof you!Nelson rolls his eyes, checks his watch. Lurches backwhen a wet, muddy pooch shakes all over him.NELSONGet away from me!Another dog barrels up to Nelson. Desperate for a pet,the dog leaps up, licks and slobbers all over Nelson'shand.Disgusted, Nelson yanks his hand away. Sara shouts from fartheraway.SARABe nice to Winston -- he'sinsecure -- needs a lot ofaffection.NELSONI do not give affection to ahairy, dirty thing.(CONTINUED)4/5/0048.59CONTINUED:59Suddenly, Nelson is screaming. Winston has wrappedhimself around Nelson's leg and is feverishly humpingaway.NELSONGet him off me! I'm going tokill him!SARAWinston! That's enough! Comehere, boy!Winston comes running to her, throws himself on theground and lets her rub his back. Sara looks up to seeNelson storming off the green.60EXT. VAN - IN PARK - DAY60The van is parked near a hose. Nelson sits glumly indriver's seat. Outside, Sara hoses off all the filthydogs.61INT. VAN - DAY61Nelson checks his watch again. Peers at Sara in the sidemirror.NELSON'S POV - SIDE MIRRORShe is radiant, clearly gets so much genuine joy fromwhat she's doing, she couldn't look more beautiful.NELSONin van: stares, moved in spite of himself. Feels like ajerk for being so uptight. She comes to the window,breathless.SARALook at them -- aren't theyincredible?The dogs are soaking wet, shivering, waiting patientlyfor Sara to tell them what to do next.62INT. VAN - LATER62Trying to be a good sport, Nelson awkwardly helps Sara todry the dogs with hair driers. Winston starts to make amove toward Nelson.(CONTINUED)4/5/0049.62CONTINUED:62NELSONWinston. Stay away. You're notmy type.Sara smiles to herself, thrilled to see he's managed tobend, just this little bit.63EXT. PARK - ICE CREAM STAND - DUSK/SUNSET63Sara is licking an ice cream cone, counting money as shewaits for Nelson to make up his mind about his order.Her van is parked nearby.SARAThirty bucks, not bad for a fewhours work.Nelson's tempted to say something glib, but bites histongue. However, he can't help but register a look ofpity mixed with horror at how pathetic the earnings are.NELSONI'll go for the lemon sorbet.She almost chokes -- the look on her face is not unlikethe one he just made -- pure pity and horror.SARATell me something. When was thelast time you spent the whole dayoutdoors?NELSONI think... when my parentsdragged me to Alcatraz for theday, at the age of nine.He gets his sorbet and they start walking up the streettogether.NELSONNow you tell me something.SARAAnything.NELSONWhat's so enlightening about whatwe did today?(MORE)(CONTINUED)4/5/0050.63CONTINUED:63NELSON (CONT'D)(as she peers at him, confused)Why is letting some dogs go wild abetter way to live than my way?Granted, it was mildly amusing,but I gotta tell you, my third eyedidn't open.SARAThese things take time. You don'thave time.NELSONNo, seriously, it's a question ofvalues. Why is doing somethingfundamentally trivial better thanliving a responsible life, boringas that might seem to you?She is silent, he presses on. His tone is gentle,slightly teasing, but there's real truth to what he says.NELSONAnd who made you the expert, thedoctor, the guru? Why do you haveall the answers?Still, she is silent. He teases her.NELSONCome on, show me your resume.Just then, they pass a three-sided bus stop with a big adfor "DIVINE PETS.NET -- America's favorite pet store."Sara points.SARAI used to own that company, DivinePets.Nelson cracks up, her timing as usual is brilliant.NELSONUh-huh.SARAI did. But after a while itwasn't fun anymore. So I quit.NELSONWas that before or after youtoured as a stand-up comedienne?SARAOh, I never did that.4/5/0051.64INT. SARA'S LOFT - NIGHT64Nelson stands there somewhat bemused as Sara comes forwardwith a scarf, smiling.SARAThis will be good for you...She starts to blindfold him with the scarf.SARA... Sharpen your instincts.He laughs, oh goody a sex game, tries to grab her.SARANot those instincts. Okay, thisis the object --(as he grabs her again)Stop it -- I run around so youlose track of where I am.(as he's pushing the scarf down)Don't do that, leave it on --count to ten and try to find me.She secures the blindfold and races off. He pauses for amoment, then:NELSONOne two three -- I'm gonna getyou! Four five six -- I knowwhere you are! Seven eight nineten.(pauses)This is really stupid.He starts to walk, bumps into a chair, takes a few stepsmore, bumps into a table, a few steps more and he tripsover a stool and crashes on the floor.NELSONOw, shit!She runs over to him, laughing.SARAOh my God, you're really bad, youdidn't even get close.NELSON(tries to rip off scarf)This is funny?(CONTINUED)4/5/0052.64CONTINUED:64She helps him remove the scarf, still laughing. Onceagain, his flight mechanism kicks in and he wants out.He takes a deep breath, has to say something.NELSONSara, you're not gonna be upsetwhen I leave tonight...? I toldyou, one day.SARAYep. You told me. And you're aman of your word.NELSONDon't get me wrong, I appreciatewhat you're trying to do -- crazyas it may seem to me.SARAThat's me. Just... crazy.(sweetly)What are you more afraid of?Spending two consecutive nightswith a woman? Or discovering thiswhole thing might not be as crazyas you think?He is flummoxed for a moment.NELSONHard to say. I've definitelynever met a woman like you,though.SARAGood.He covertly checks the time.NELSONSo, maybe I should just hit theroad.SARAStay for dinner. I have yourfavorite.NELSONYou don't know my favorite.SARAYes, I do.(CONTINUED)4/5/0053.64CONTINUED: (2)64NELSONOh, yeah?SARALean steak, no fat?Her sweetness and sincerity get through, even to him.SARAGo on, stay for dinner, thenyou're free to go. No stringsattached.65EXT. SARA'S LOFT - DECK - NIGHT65Nelson and Sara have dinner on a plant-covered deck, litby strings of cheap lights. Ernie is begging at Nelson'sfeet.SARAMitch was my October. He was theshyest man I ever met. We focusedon confidence building.NELSONWas the patient cured?SARAMy treatment was a little tooeffective. We had to terminatethe month early.NELSONWhat about September?SARAThere was no September.Nelson feigns disbelief.SARAI'm not a weirdo about it.NELSONAugust?SARAPaul was so sad.NELSONNow he's happy?(CONTINUED)SWEET NOVEMBER - Rev. 5/4/0054.65CONTINUED:65SARANow he's gay.NELSONHappy gay or gay gay?SARAGay gay but very happy about it.Nelson has to ask:NELSONAnd you and all these guys...Nelson gestures suggestively.SARADoes it really matter?She flashes the most beguiling smile.NELSONI suppose attraction has nothingto do with it.The smile just becomes more beguiling, meaning: ofcourse.NELSONWhy a month?SARALong enough to be meaningful.Short enough to stay out oftrouble.NELSONYou defy every law of natureI know.SARAGood.The sound of a MAN LAUGHING drifts over from anotherporch.SARAListen... do you hear that? Whata wonderful laugh.(CONTINUED)SWEET NOVEMBER - Rev. 5/4/0055.65CONTINUED: (2)65She cocks her ear, listening to the MAN LAUGHING. Thenthey hear a BABY CRYING... a BASKETBALL GAME down thestreet, a DRUNK WOMAN SINGING like an alley cat. Asymphony of SOUNDS: lives being lived around them.SARADoesn't life just... take yourbreath away?Once again, he finds himself so moved by her, he iswordless. There is a long silence between them.SARAWhat's your secret dream, Nelson?NELSONI'm not much on that kind ofthing.SARACome on, everyone's got one.He listens to the SOUNDS, and takes a leap -- letshimself open up for a moment.NELSONMy father sold door-to-door.Vacuum cleaners, life insurance,for a while he sold plastic food.We were kind of the joke of theneighborhood. And believe me, theneighborhood was a pretty grim jokeitself.SARAWhere did you live?NELSONDaly City, just up the freeway...(pause)Anyway, after dinner every night,my dad would shut himself in theTV room and listen to 45s. FrankSinatra, Tony Bennett. For ayear or so, I desperately wantedto be a singer.SARAYou thought it would make himhappy?(CONTINUED)SWEET NOVEMBER - Rev. 5/4/0055A.65CONTINUED: (2A)65NELSONNo. I thought those guys wereeverything he wasn't. Successful,proud, in control...He stops himself -- feels too exposed, shocked that sucha sincerely-felt statement actually came from his lips.She feels his discomfort, reaches over and takes hishand.(CONTINUED)4/5/0056.65CONTINUED: (3)65SARAI'd like to hear you singsometime.NELSONThat will never happen.(wants to go; pulls back chair)Well, time to...SARAI'd like you to do something elsefor me, before you leave tonight.NELSONWhat?SARADo the dishes. I hate doingdishes.66INT. SARA'S LOFT - NIGHT66Nelson is washing the dishes. Sara sits on the floor,letting Ernie teethe by nipping her hand the way puppieslove to do.SARASo, what will you do when you gohome?NELSONI don't know, I don't really mapout my evenings...SARAI know. You'll turn on the TV.Get bored. Turn on your computer.Check out your work. Get bored.Surf the net. Get bored.(softly)And think of me.She stands up and leaves the kitchen. He seems torn,debates with himself as he finishes the dishes. Turns tosee Sara removing the last bit of her clothes beforeslipping into bed.SARAI'm making this as difficult as Ipossibly can.Nelson stares, his determination quickly waning.4/5/0057.67INT. SARA'S LOFT - NIGHT (LATER)67Raining. Nelson lies awake, studying Sara as rainyreflections of streetlights roll over her. Rising,he quietly dresses.68INT. NELSON'S APARTMENT - LIVING AREA - NIGHT68Raining. Nelson in his empty, sterile apartment, watch-ing TV. Bored, he flips from channel to channel. Turnsit OFF. Goes to his computer, looks at some work inprogress on it. Gets bored.SAME SCENE - LATERNelson surfing the net. Bored, he starts to disconnectwhen he thinks of something. He types in: "DIVINEPET.NET." His face slowly registers shock as the sitecomes up and he reads.CLOSE ON MONITORWeb site: Next to a picture of Sara and a blonde woman,who bears a striking resemblance to her -- the words:"SARA AND CLAIRE DEEVER, CO-FOUNDERS." The company isbased out of Indianapolis, Indiana.SAME SCENE - LATERNelson is typing something on his computer.CLOSE ON TYPINGHe has already written: "WATCH TV. WORK. SURF THE NET.GET BORED." And now he's typing -- "THINK OF ME."69INT. SARA'S LOFT - DAWN69Bathed in sunlight, Sara sleeps under a pile of blankets.Nelson tiptoes into the loft, carrying a travel bag. Ashe approaches the bed, ERNIE GROWLS dementedly, ready topounce.Nelson points a finger, is amazed when ERNIE STOPSGROWLING, THUMPS HIS TAIL ON FLOOR, awakening Sara.Overjoyed to see Nelson, Sara beckons him. Nelson slidesinto bed, kisses her.NELSONTry to be wrong once in a while.It would be good for my ego.4/5/0058.70INT. SARA'S BATHROOM - DAY70Nelson, wearing floral boxers, examines Sara's bathroom,frowning at the cast-iron tub. She is washing her face.NELSONDon't you have a shower? I hatesitting in dirty water.She lifts her head from the sink, water dripping, andlaughs.71INT. SARA'S BATHROOM - LATER71The two of them are sitting in a steaming tub, she iswashing his back.SARASee? That's not so bad, is it?(points)Can you grab some more soap?Reaching up to get the soap, he tries a cupboard door,surprised to find it locked.NELSONWhat do you keep in there?Secret, nasty toys?She raises an eyebrow; mock mysterious face. He findsthe soap on a counter, hands it to her.NELSONI looked up your web site lastnight. Your sister's pretty,looks a lot like you.SARAIt is not my web site. Not myanything, anymore.NELSONWhy'd you quit?SARAIt started out small. And it gotbig.NELSONThat's generally considered a goodthing in business.(CONTINUED)4/5/0059.71CONTINUED:71SARAEverything got big. Desires.Pressures. Lives. Egos. Ididn't like the big me. Not agood person. Not happy. And theamazing part is, I got out beforeit got really big, can youimagine.NELSONNo, I can't imagine you withmillions and millions ofdollars/nobreakspace--She sighs with relief, then beams happily as Chassaunters into the bathroom with his morning cup ofcoffee.CHASDid you switch beans or something?It tastes different.SARAHazelnut. You don't like it?CHASToo perfumy. Stick to classics --Nelson is so outraged by this intrusion he slaps thewater.NELSONExcuse me. Privacy? Heard of it?CHASHi, Nelson. Nice pecs, you mustwork out. Me, I don't have time.(pauses)And you look absolutely adorable.(as she gives him a look, he stops)Don't forget dinner's at eight,on the dressy side.He turns and walks out the door.NELSONDoesn't that guy know how to makehis own coffee?(off her stern look)I mean, what if he'd walked injust as I was...(reaches underwater)Doing this?(CONTINUED)SWEET NOVEMBER - Rev. 5/8/0060.71CONTINUED: (2)71She slaps the water with her hand.SARAStop it! We have important thingsto do today...72INT. MUNI TRAIN - DAY 72Nelson and Sara stand in a rail car crowded withcommuters. As the car jostles and bodies bump up againsthim, Nelson squirms with discomfort.NELSONI still don't see why we couldn'ttake a cab?SARABecause I make the rules, Nelson.Rules you must submit to, utterlyand completely.NELSONYou know, if you want to be adominatrix that badly, why don'twe just go buy you the leatherand get it over with.SARAKinky. Maybe even strangelyarousing. But if we took a cab,we'd miss out on all this.NELSONExactly.Sara studies Nelson, stiff and impenetrable once again.SARAYou know what this train is,Nelson?NELSONYou mean besides a buffet of badbreath and body odor?SARAIt's 55 lives. All happening atonce, in the exact same place, atthe exact same time. Imagine howmuch hope and lust and fear andlove are in this car, right now, atthis very moment. Look around.(CONTINUED)SWEET NOVEMBER - Rev. 5/8/0061.72CONTINUED:72NELSONI try not to.SARAI dare you. Look at someone,anyone. That woman by the door.A woman in her early 40s stands near one of the doors,her head leaning against the window as she stares out atthe passing city with a distant, detached expression.SARAWhat do you see?NELSONFemale, 32-45, primary householddecision maker. Watches 2.5 hoursof television a day, spends 27minutes at the grocery store,values price over brand.Ignoring him, Sara gazes at the woman with empathy andwonder.SARAI think she's a mother. I thinkshe loves her family so much ithurts. I think she'd throwherself in front of this train forthem if she had to. And I thinkwhen she gets into bed at night,she makes love to her husband likehe was the king of Egypt.As Sara enjoys the fruit of her imagination, Nelsonreconsiders the woman, this time seriously.NELSONI think she's got a dead-end job,a husband she can't remember whyshe married, and a kid who doesn'tunderstand any of it.Nelson's grim assessment rolls over Sara like a cloud,darkening her entire disposition.SARAMaybe. Maybe it's worse. Maybenothing about life even makessense to her anymore. Maybe somedays she wishes she could justquit pretending and end the wholegoddamn thing.(CONTINUED)SWEET NOVEMBER - Rev. 5/8/0062.72CONTINUED: (2)72Nelson stares, silenced by Sara's sudden bleakness.SARAYou want to go to the dark side,Nelson? I can get there fasterthan you can. Believe me.Looking away, Sara takes a deep breath and then smilesagain, as irrepressible as she was just moments before.SARABut what for? We see the world wechoose to see. And I think myfirst choice was a helluva lotmore fun, don't you?As the train jostles and jerks, Nelson and Sara searcheach other's eyes.73EXT. SAN FRANCISCO DOCKS - DAY73Hurrying down the pier, Sara waves when she spots Abnerwaiting patiently, holding a paper bag.SARAThere you are!Abner approaches, removing his balaclava. He's a cutekid, just shy and awkward. Nelson wants to make up foryesterday.NELSONHey, Abner, you've got a face andit's a good one, too!Abner giggles, as Nelson's PHONE RINGS.SARACell phones are outlawed in myworld.NELSONWhat can I say? The revolutionhas begun.She doesn't like this. Nelson answers the phone.VINCE (V.O.)Call me genius, I don't mind.NELSONWhat up, Vince?SWEET NOVEMBER - Rev. 6/1/0063.73AEXT. FINANCIAL DISTRICT - DAY73AVince gesticulates as he strides down a crowded sidewalk.VINCEFriday, November 17. You, me andEdgar Price.(shouts)Pucker your lips, we got themeeting!A74OMITTEDA74thruthruD74D7474EXT. SAN FRANCISCO DOCKS - DAY74Nelson steps away, sits on a nearby piling as Sara andAbner head toward the cluster of kids.NELSONYou're genius, Vince.VINCE (V.O.)About time you said so... Hey,heard about Angelica. Sorry, man,but truthfully? As much as I lovedher, I knew she wasn't for you.NELSONDid you? Funny you tell me now.VINCE (V.O.)Yeah, well, you know... discretion,valor... do I smell a new femalefriend?Nelson watches the other kids coldly survey Abner, as ifhe's too soft for this event. The tough kids areshowing off their remote-controlled sail boats: Most ofthem are simple, macho, tough -- they look like Mad Maxboats.NELSONWhat makes you say that?VINCE (V.O.)When my man skips his usualmorning check-in calls, I knowthere's estrogen in the air.(pauses)C'mon, c'mon, c'mon. Don't insultme. I have a life. Who is she?(CONTINUED)SWEET NOVEMBER - Rev. 6/1/0064.74CONTINUED:74NELSONYou wouldn't know her.VINCE (V.O.)But would I like her? On a scaleof nine to ten, is she --ABNER WITH KIDSpulls his boat out of a bag and the kids start to laugh.Abner's is a hand-made sailboat, full of whimsy andinvention, an eccentric work of art.KID #1Oh that's really cool, not.KID #2What is it? Pokeman's dinghy?The kids have gathered in a circle around Abner, they areintimidating, threatening. Becoming concerned, Saraturns to Nelson, waves him over.NELSON ON PHONENELSONListen, I gotta run, great news onthe Edgar thing --VINCE (V.O.)Wait, wait -- quick thumbnail -- Ineed a gossip fix here --NELSONSee you on the 17th.74ANEAR LAUNCH AREA74AHe hangs up and joins Sara and Abner as one of the BIGBROTHER ORGANIZERS tries to break the circle up.BIG BROTHER ORGANIZERCome on, all boats in the water?KID #1Except for this kid's.The kids leer contemptuously as Abner nervously stepsforward and lowers his sailboat into the water.(CONTINUED)SWEET NOVEMBER - Rev. 6/5/0065.74ACONTINUED:74AKID #2That's not a kid, that's a girl.ABNER(turns to Nelson)Maybe I'll just forget about it.NELSONNo, ignore them, Abner.KID #1(disdainfully)Abner?The kids huddled together, checking Abner out, hiss hisname.KIDSAbner.The Organizer comes forward, shaking his head telling thetough kids to stop. As he raises his arm holding astarter pistol, Nelson spots a techie nerd packing up amodel submarine on a nearby bench.NELSONHang in there. Just wait a minute.(whispers)Abner is a great name.74BANOTHER ANGLE74BAs the Organizer raises the pistol to fire, Nelson boltsover to the techie nerd.NELSONWanna make a hundred bucks?74CON TECHIE NERD74CCovertly slipping his remote-controlled sub into thewater.74DON RACE74DThe remote-controlled sailboats glide in the water.Suddenly, the lead boat tacks off course. The next leadboat tacks off course and out of position.KID #1Hey! My boat's all screwed up!(CONTINUED)SWEET NOVEMBER - Rev. 6/5/0066-66A.74DCONTINUED:74DKID #3What the hell --As the techie nerd snickers, Abner's boat starts sailingin a physically impossible straight line for the finishas the rest of the flotilla has to tack back and forth.WIDERAbner looks up at Nelson, who winks back. As his boatpasses the others, narrowly beating the last two boats tothe finish, Abner grins from ear to ear.ABNERI guess I'm winning.KID #1Hold on -- that little creep ischeating!ABNERNo, I'm not. My boat's justbetter.Abner's boat nudges the end of the pond; he calmlyannounces:ABNERSee? I guess I won.75EXT. STREET - DUSK75Nelson and Sara stand outside Abner's little house,watching him unlock the door. Before stepping in hewaves to them.ABNERCan we do that again? With cars,next time, maybe?Nelson nods, Sara shakes her head. Abner closes thedoor, smiling. The minute he's gone, Sara turns toNelson.(CONTINUED)4/5/0067.75CONTINUED:75SARASometimes a good idea is not agood idea, know what I mean?They start to cross the street toward her building.NELSONThose kids were laughing at him.Have you ever been laughed at?(pauses)Okay, cheating is... bad, I guess.SARAYeah, you're a father figure now.NELSONGet out of here -- father figure.The kid just met me.SARAYou're a man. When you don't knowwho your father is, you're notvery picky about your role models.She stops, stunned. A Circuit City man is standingoutside her building with a big box.SARAWhat's that?NELSONDon't be mad, I got you a littlepresent. A flat screen TV.SARAThat's not a 'little present' forme, it's a 'little present' foryou.(sweetly, but firmly, to Circuit City man)Take it back. Better yet, youkeep it. I never watch TV.She unlocks the door and leaves Nelson stunned outside.76INT. STAIRWELL - NIGHT76Carrying a bottle of wine, Nelson trudges up the stepswith Sara, feeling very put out.SARAStop pouting, we promised ChasCherry we'd come.(CONTINUED)4/5/0068.76CONTINUED:76NELSONOh we're calling everyone by firstand last names now? I don't wantto waste my night with Chas Cherry.I want to get naked with Sara Deever.SARAYou have a one-track mind, NelsonMoss. Trust me, you won't bebored. Chas Cherry's a great cook.77INT. CHAS'S LOFT - NIGHT77Nelson sitting across from Chas, who has metamorphosedinto an extravagantly made-up, gloriously stylishtransvestite.SARAThat was Chas. This is Cherry.Chas extends a manicured hand, Nelson is trying his hardestto go along with it, forcing himself to be hip, ebullient.NELSONGreat, great, this is very -- youknow -- Pink Flamingoes -- greatoutfit, and the makeup, wow.(faltering)Wow.BRANDON (O.S.)This wine is so Martha Stewart --BRANDON enters from the kitchen with the uncorked bottleof wine. Also fully crossed, Brandon's get-up is evenmore flamboyant than Chas's.BRANDONIn other words, perfect.SARAThat was Brandon. This is Brandy.NELSONBrandy and Cherry, great. So.Here we are... surprise!He laughs uncomfortably, working double-time to be cool.Chas and Brandon start to tease him, with a light touch.CHASDo you think he's uncomfortable?(CONTINUED)4/5/0069.77CONTINUED:77BRANDONAbout what?CHASI don't know, maybe he doesn'tlike...(points to the meal)Lamb stew.(to Nelson)I hope you're not vegetarian,Nelson, I forgot to ask.BRANDONActually, we just presumed youwere a meat eater.NELSONRight, right, you presumed right.Lamb stew, great.He is dying, desperate to get out of there.CHASCould it be the music? Maybeclassical Italian opera... justsets you on edge...BRANDONYou don't have anything againstItalians, do you?NELSONNo, I love Italy! I lovePuccini! I love Michelangeloand -- and --He looks in the other room, sees a TV playing.NELSONI just want to watch a little TV.CHASOh, we understand that need,completely.Nelson gets up and leaves the room in a hurry. Sara,Chas and Brandon exchange a look.78INT. LOFT - TV ROOM - NIGHT78Nelson sitting on sofa, watching a TV ad.(CONTINUED)4/5/0070.78CONTINUED:78CLOSE ON TVLycos commercial with man in kilt -- wind raising kilt up --dog running to castle -- dropping off a package. Pair ofboxer shorts for the man.CHAS (O.S.)I always liked this spot, but Iwould have remixed it, those twolines at the top get swallowed.BACK TO SCENESurprised, Nelson turns around to see Chas standingbehind him. Sara is next to him, rubbing her temples.SARAWho ate them? The dog?CHASDon't be Cruella, Sara. That'sone of Nelson's ads. He won GoldPencil for it.NELSON(surprised)How did you know that?Sara exchanges an embarrassed look with Chas, shrugs.SARAI meant to tell you, Cherry, I'msorry I meant Chas, works inadvertising, too.NELSON(smirks, bored)Really? What firm?CHASBaker, Bohanen...Nelson's smirk disappears.NELSONChas... Whatley?BRANDONOh look, baby's famous.Nelson's jaw drops, he is horrified.(CONTINUED)4/5/0071.78CONTINUED: (2)78NELSONOh my God, you have been thatChas... all this time?(it registers)Wait a minute, you didn't getthe Doctor Diggety accountdid you?CHASNelson, does it really matter?NELSONOh sure, maybe not to Cherry --but I bet it matters to Chas.I know it matters to Nelson.Just then, the PHONE RINGS. Sara picks it up. She isstill rubbing her temples, as if there's a headachecoming on.SARAHello?Nelson points an accusatory finger at Sara.NELSONShe should have told me.(pauses)I mean, this is... awkward. IfI'd known who you were...CHASYou would have been nicer to me?Thanks.They stop talking when they see how upset Sara is as shesays to the person on phone:SARAI said: he's busy. No I can'ttalk to you, either. Good-bye.She hangs up. Glares angrily at Chas, really rubbing hertemples.SARATen guesses who that was.CHASSara, it's not what you --(CONTINUED)4/5/0072.78CONTINUED: (3)78SARAHow long have you been doingthis behind my back? What doesshe want?She sees how confused Nelson is, tries to make light asshe backs out of the room.SARAOh, it doesn't matter. I'mgonna go downstairs.(to Nelson)I have a headache. You stay.And she hurries to the front door. Nelson looks worried,starts to go after her -- Chas shoots him a look -- lether go.NELSONWhat was that all about?CHASShe gets migraines.NELSONNo, the phone call. Who was that?CHASHer sister, Claire. Long story.(sees Nelson's look)I'm not telling it.79INT. SARA'S LOFT - NIGHT (LATER)79Clearly in pain, Sara locks the closet in the bathroom,comes out when she hears the DOOR OPEN. As Nelsonenters, she flashes a smile.SARAHey, sorry I lost it back there.NELSONThat's okay. Gives me a littleboost to know you're not perfect.(gently)Feeling better?SARAOh yeah. All gone.(CONTINUED)SWEET NOVEMBER - Rev. 5/11/0073.79CONTINUED:79NELSONChas told me it was your sister onthe phone. Why does that upsetyou so much?She shrugs and heads over to the bed. Throws on thecharm.SARARemember the part about gettingnaked -- we could do that now.NELSONDon't dodge me.(sits down beside her)Talk to me. What happened?She freezes up. Quite simply cannot tell him anything.He is really surprised, and a little hurt.NELSONThat's not fair. You expect me tobe so honest, so forthcoming...SARABut this is your month, not mine.She sees how mad he's getting, leans in and kisses him.SARANever go to bed angry.Aroused by the kiss, Nelson prolongs it, unzips herdress, slips his hand inside, caresses her back. Issurprised to feel her stiffen under his hands. He backsaway, studies her. He sees what she's trying to hide.NELSONYou're not feeling well are you?(as she gestures evasively)Maybe we'll get naked tomorrow,tonight we'll wear P.J.s.80INT. SARA'S LOFT - BEDROOM - MORNING80Sara and Nelson sound asleep, arms wrapped around eachother, both wearing pajamas. Hearing a KNOCK on door,ERNIE starts BARKING insanely. Pissed, Nelson liftshis head, shouting:(CONTINUED)SWEET NOVEMBER - Rev. 5/11/0074.80CONTINUED:80NELSONErnie, shut up.ERNIE keeps BARKING. Then Nelson hears a louder KNOCK.Annoyed, he rolls out of bed and heads for the door.Opening it, Nelson finds Abner with an old trunk besidehim.ABNERWanna buy some junk?NELSONAbner, it's, uhh... a littleearly.ABNERI think I can break the recordfor tallest house of cards, but Igotta buy 75 decks, so I thoughtmaybe I could sell some of mystuff.Awake, Sara listens as Nelson waves Abner in.NELSONYeah, sure... come on in.ON NELSON AND ABNERsitting on the living room floor as Abner pulls onecolorful, homemade toy after another out of the trunk.Composed entirely of found parts, the hand puppets,figurines and other toys are wildly original. BelievingSara is still asleep, Nelson and Abner speak softly:NELSONAbner, what is this stuff?ABNERI make my own toys. It'scheaper.Amazed, Nelson chuckles, but Abner takes it the wrong way.ABNERNever mind.Abner starts to put the toys away, but Nelson stops him.(CONTINUED)SWEET NOVEMBER - Rev. 5/11/0075.80CONTINUED: (2)80NELSONWhoa, whoa, wait a second.(beat)Why do you wanna set a worldrecord?ABNERI wanna be good at something.As Nelson studies Abner, Sara listens intently from thebed.NELSONDo you have any brothers orsisters?Abner shakes his head.NELSONNeither did I.Abner looks up at Nelson with a new sense of connection.NELSONIt's lonely sometimes, but youknow what?(pointing to his temple)It makes you use your imagination.It makes you creative. You'realready good at something, Abner.This stuff is incredible.Watching now, Sara smiles, as proud as she is touched.NELSONOther kids just buy toys at astore. All that takes is money.This stuff is ten times cooler.Abner, you're an artist.The affirmation sinking in, Abner smiles as he picks upa spider puppet.ABNERThey don't do much though.NELSONReally?Nelson puts his hand into a wild, red-eyed mad man puppetand brings it to life with a silly puppet voice:(CONTINUED)SWEET NOVEMBER - Rev. 5/11/0075A.80CONTINUED: (3)80NELSONI happen to do a lot, young man.Why just last night, I clonedmyself and then ate me for dinner.ABNER(smirking)I think I'm a little old for that.NELSONOh right... of course you are.Nelson now sees Sara is awake, and they exchange a grin.NELSONIn that case, I'm sure you'realso too old for this...raaaaaghhh!Nelson attacks with the mad man puppet and Abner, his kidinstincts kicking in, flees.ABNERAaaahhh!As Nelson and the mad man chase Abner and his spideraround the loft, ERNIE BARKS furiously. Cornering Abner,Nelson reaches out with the mad man puppet and tapsAbner's spider.NELSONYou're it.The chase reverses.ABNERRaaaaaaghhh!Gaining ground on Nelson, Abner rounds a corner and runssmack into Sara.SARANo running in this house!(scary alien voice)Unless I get to play!Sara whips Abner's one-eyed alien puppet out from behindher back and chases after its creator.SARAAh-hah-hah-hah-hah!(CONTINUED)SWEET NOVEMBER - Rev. 5/11/0076.80CONTINUED: (4)80Fleeing, Abner soon finds himself pursued by Sara, Nelsonand Ernie all at once.JUMP CUT TO:SAME SCENE - LATERas the game evolves, Abner and his spider puppet prowlingthe loft.Behind Abner, the mad man and the alien silently appearin doorways and above furniture, but when Abner spinsaround, they're gone. Even Ernie scampers past withAbner's wire dog strapped to his back, but Abner missesit.Finally, Abner outsmarts the grown-ups, backtracks andcatches them both in the kitchen, looking the other way.ABNERAhhh!SARAEeewwwwh!NELSONArrrrrrhhh!Sara and Nelson flee, but someone trips, and as theycollapse into a pile, Abner jumps on top, all threelaughing hysterically.81OMITTED81&&828283EXT. COFFEE SHOP - DAY83In very high spirits, the three of them sit at a tableoutside the coffee shop. Abner and Sara share a bananasplit. Abner is horrified to see the waitress bringNelson a fruit salad. Sara whispers to Abner.(CONTINUED)4/5/0077.83CONTINUED:83SARAI know, don't say anything.A Porsche pulls up to the curb, LEXY, a lingerie modelin the passenger seat, checks out the street.LEXYThe movie starts in ten minutes.Maybe we should skip it.A MAN jumps out of the car, says:MAN FROM CARDon't worry, babe, you'll getyour cappucino.Seeing Nelson, the Man stops dead in his tracks. It isVince. He whistles as he takes in the whole scene.VINCEOoooh. Somebody went domestic.Just then, Abner checks his watch, jumps up.ABNERGotta go. Mom's home for an hourbetween jobs!He runs off. Vince edges a little closer to Nelson'stable, checking Sara out head to toe.VINCEOkay, okay. Wow. Well, I guessit all makes sense. 'MysteryWoman Unveiled' on...(looks around)What street is this? Where am I?I'm lost!NELSONUm... Sara, Vince, Vince, Sara.Lexy calls out from the car, impatient to leave.LEXYVince, the movie...VINCE(doing a weighing of scales)The movie... the cappuccino...the movie... women.(CONTINUED)4/5/0078.83CONTINUED: (2)83SARAGod, that is one of the mostastute observations about femalebehavior I've ever heard. Are youa psychologist?VINCE(confused, laughs)Funny. She's funny. Right?That's good...(points to his car)Meet the lovely Lexy -- my manNelson, his woman Sara.SARAHey, Lexy.LEXYHi.VINCESee, they get along. Why don'tthe four of us go out togethersometime, you know, do somethingdepraved?Just then a WAITRESS comes out and Vince stops her.VINCEQuick order. Cappuccino.WAITRESS(harassed)Quick answer. No quick orders.And she walks back inside the coffee shop.VINCEI love this place. I'm gonna comehere every day. So I guess themovie wins.(winks to Sara)Keep you women happy, that's ourjob.(heading back to car)Don't forget, my man. The 20th.You, me, and God.(reaches his door)Sara -- a pleasure, and an honor.He gets in the car, REVS the ENGINE and off they go.Nelson is embarrassed, starts doing a tap dance.(CONTINUED)4/5/0079.83CONTINUED: (3)83NELSONHe's actually a good guy. Deepdown. Somewhere.SARAHe seemed okay.NELSONI just mean... the glibness...kind of wears you out after awhile.SARADo you always talk about yourfriends that way?NELSONNo. Fortunately, I don't haveany friends besides Vince)(raises his hands)Okay, I should be ashamed ofmyself, I'm a lousy human being.SARA(pauses, doesn't indulge him)So what is it? Some kind of boy'sclub, work friendship?NELSONI guess so. I don't examinecertain details of my life tooclosely.SARADo you trust him? Isn't that whatfriends are for?Nelson shrugs, then nods, then shakes his head, then nodsand shrugs again. She cracks up. He's unaware he'sdoing it.SARAWould you trust him to be therefor you...NELSONWhen?SARAIn a scary situation, let's say.(CONTINUED)4/5/0080.83CONTINUED: (4)83NELSONYou may have noticed -- I don'tput myself in those situations.SARA(the sweetest smile)Do you trust me?Aware of what he's doing now, Nelson shrugs, shakes hishead, nods. She hits him with a look.SARAShow me the house where you grewup.84EXT. HOUSE (OLD NEIGHBORHOOD) - DUSK84A decaying working-class neighborhood; "for sale" signsdot the front yards. Nelson's neglected old house has a"for sale" sign in front. He balks, feigningindifference.85INT. HOUSE - DUSK85She opens the front door, extends her hand to Nelsonwho's like a spooked horse out on the porch.SARAIt's just a house, Nelson.He takes a deep breath, still balking, then gives in.Holding Sara's hand, he enters and slowly wanders throughthe empty living room... memories, images, and soundswashing over him. He is silent for a long time, then:NELSONYou remember blue and it turns outto be green. Maybe it turns outwe were... happy once in a while.There is a set of double doors half open, leading to aroom beyond. Together they open the double doors andstep inside.86INT. OLD TV ROOM - DUSK86Humming a Frank Sinatra, she guides him to the centerof the room and begins to slow dance with him; after awhile, he whispers in her ear.(CONTINUED)SWEET NOVEMBER - Rev. 4/28/00 PM81.86CONTINUED:86NELSONSara, I may not know a lot ofthings...(gently)... but I do know how to slowdance. And you are terrible.Now, watch me, I'll teach you.As he teaches her how to slow dance, see the look of puregratitude on his face -- this is a big moment for him.He is crossing an irreversible line.SERIES OF SHOTSto show the passage of time.87INT. LOFT BATHROOM - DAY87Nelson lying in the bathtub, shakes his head. Sara ispainting his toenails. He doesn't like the color.88EXT. VEGETABLE STAND - DAY88The two of them buying vegetables; the Chinese womanholds up pictures of her family to Nelson, enjoying hisreaction.89INT. LOFT - NIGHT89Blindfolded, a naked Nelson gropes his way around theloft, trying to find Sara who is stripping and tossingher clothes at him, laughing.90EXT. STREET - DAY90The two of them taking another walk; CAMERA MOVES OFF ofNelson to reveal... he is walking Ernie, the puppy, on aleash.91INT. SARA'S LOFT - DAY91As Sara cuts her hair with a FLOWBEE, Nelson dresses inbusiness attire. Three weeks of November are crossed offthe large wall calendar. It is November 20th.(CONTINUED)4/5/0082.91CONTINUED:91NELSONEvery woman I know spends 200dollars on a haircut. You use avacuum cleaner.SARAQuit trying to change the subject.Visibly upset, Sara shuts OFF the SELF-GROOMING MACHINE.SARAYou made a commitment. Our timeisn't over.NELSONIt's one meeting.SARAWhy is going to some pow-wow withthat slicko Vince such a big deal?NELSONBecause it's probably the chanceof a lifetime, that's why.SARAWell, if it's a whole lifetime,just postpone it for one moreweek.NELSONSara, when Edgar Price says he'llmeet you, you don't say, 'Wait,how about next month?' You say,'Thank you. I'll be there.' He'sone of the greats. Where's myphone?SARAI hate it. I threw it out.OFF Nelson's look, Sara produces his cell phone and slamsit down on the table in front of him.SARAWhat if the Great One hires you tostart tomorrow?NELSONI should be so unlucky. My gizmo.Sara digs his memo recorder out of a hiding place.(CONTINUED)4/5/0083.91CONTINUED: (2)91SARAThat would ruin everything -- wehaven't finished! You haven'tsung for me yet. You promised youwould.Nelson pours a huge coffee.NELSONThat's a promise I know I didn'tmake, because that's a promise I'dnever keep.Nelson chugs the coffee and sets out to leave, sodistracted he forgets to say goodbye to Sara. As Sarawatches the door shut behind him, she begins to lookfrightened.SARA(to closed door)Nelson, please don't go.92INT. POWER RESTAURANT - DAY92An innocent-looking WAITRESS delivers lunch to Nelson,Vince and EDGAR PRICE (60). Nelson is essentially takingcommand of the meeting, showing the same coolprofessionalism he exhibited when he delivered hispresentation. As he talks, Edgar Price studies himcarefully.NELSONWe know a lot of guys who do thisfor the awards, Mr. Price, butthat's not us.Vince thoughtfully nods his head, then flashes a wickedsmile.VINCEThat doesn't mean we don't get theawards.NELSONBut still... we're not aboutacclaim, hand-holding, dinners,sending prostitutes to theclient...PRICEProstitutes? That's new.Sensing that Price is a hound dog, Vince cozies up.(CONTINUED)SWEET NOVEMBER - Rev. 5/4/0084.92CONTINUED:92VINCEYou've been retired for a longtime. We got stories for you.Price's eyes light up, he laughs. Vince seems worriedthat Nelson is coming off as a stick in the mud.NELSONWe're about the work. If the workis great, it speaks for itself.Vince nervously starts to fill the silence, when Pricespeaks.PRICEThat's all I need to know.(smiles, they're in)That, and -- married? Any kids?VINCEWe've avoided the family thing forsome time. All our lives.PRICEGood. Because if you're worriedabout 'quality of life' orpaternity leave or any other newage crap, much as I like you, wecan stop right now. I need to beyour full-time commitment.Nelson debates a moment, not sure he likes the tone, buthe plays along, playing politic.NELSONI can do that.VINCEIf only it were so easy withwomen.93EXT. CHINESE TEA SHOP - DAY93Chas and Sara walk toward the Chinese tea shop.CHASHe'll come back, even if he getsthe job.(CONTINUED)SWEET NOVEMBER - Rev. 5/3/0085.93CONTINUED:93SARAI'm not worried about it.(totally worried)You really think so?CHASMy God, I've never seen you likethis.SARAIt's just that... we still haveten days to go... and he was doingso well.CHASWhat's ten days when you'll boothim out in the end?SARATen days is a lifetime, Chas.(pauses)I should have locked him in. Ishould have tied him to the bed.CHASWouldn't have stopped him. I knowguys like Nelson. When push comesto shove, he's only gonna do whathe wants to.SARAThat's one of my favorite thingsabout him. It's also what scaresme. It's so amazing, Chas. Hewas changing, right before myeyes.CHASHappens to the best of us.4/5/0086.94INT. POWER RESTAURANT - DAY94Now Vince is doing a little song and dance for Price.VINCEJust so you know, I've got acouple clients in my hip pocket,some great leads for new accounts.So we come -- fully loaded.PRICEYou're not selling me a car,Holland, and frankly I'm notoverly impressed with you anyway.(to Nelson)But your reputation precedes you,and if I have to take him to getyou, I will. This is my offer.It's good as long as we're at thistable.Clearing their plates, the Waitress spills a drink. Itsoaks the napkin Price is writing on and pours into hislap.WAITRESSI'm sorry. I'm so sorry.PRICEYou know... we are what we do inthis world, sweetie, and you're awaitress. All that requires isthat you bring the food and drinkto and from the table withoutmaking a mess. That's it. Sowhen you screw up something soincredibly simple as that...well that just doesn't say a wholehelluva lot about you, does it?Stunned, the Waitress carries the dishes to a nearbywait-station where she breaks down and cries.VINCEWomen like that I give dumb a badname.ON NELSONas he watches the Waitress cry, then turns to appraisePrice, who doesn't skip a beat as he grabs a new napkin.(CONTINUED)SWEET NOVEMBER - Rev. 5/4/0087.94CONTINUED:94PRICEThey should fire her.(pauses)I always say -- a bad hirestrengthens the competition'shand. A good general feeds offhis enemy.NELSONActually, Sun Tzu said the lastline, in The Art of War.VINCEDid he? Interesting.Price starts to rewrite the offer. Suddenly he stands asif to leave, he's pulling a tactical maneuver to make themnervous.PRICEThat's right. Smart man, Nelson.Price writes the offer on the napkin. Vince picks it up,reads it, jaw dropping. Price grins -- loves his ownsense of drama -- extends his hand to Nelson. But Nelsondoes nothing. And Vince starts to freak.VINCENels? Are you there...?NELSONNot interested.PRICEYou don't like my offer?NELSONMr. Price... my father was a poorman... embarrassed by his ownlife. I swore I'd never end uplike him. I thought money andsuccess would be the difference.But you're rich and successful,and I don't wanna ever end up likeyou either. It's not the offer Idon't like... it's you.95OMITTED95SWEET NOVEMBER - Rev. 5/4/0088.96INT. POWER RESTAURANT - DAY96Vince and Nelson face each other, both aware of Price onhis cell phone only a few yards away. Vince is verynervous.VINCEAct normal, he's watching us.Price returns, casually drops the napkin with the offer onthe table. Vince picks it up, reads it, jaw dropping.Price grins -- loves his own sense of drama -- extends hishand to Nelson. But Nelson does nothing. And Vincestarts to freak.VINCENels? Are you there...?NELSONNot interested.PRICEYou don't like my offer?NELSONMr. Price... my father was a poorman... embarrassed by his ownlife. I swore I'd never end uplike him. I thought money andsuccess would be the difference.But you're rich and successful,and I don't wanna ever end up likeyou either. It's not the offer Idon't like... it's you.SWEET NOVEMBER - Rev. 5/3/0089.97EXT. POWER RESTAURANT - DAY97Nelson loosens his tie as he exits. Vince flies out.VINCEOkay, what the hell was that?You just shit in God's face, doyou realize that?!NELSONIf that's your God, you're in bigtrouble. The guy's not for me --VINCENot for you? Edgar Price is yourgoddamned soul daddy/nobreakspace-- you'repractically cloned from hisD.N.A. --NELSONNo. I am nothing like that man.If I am: shoot me.VINCEWhere's the gun?! Shoot me! Thisis my career, too, you know!(pauses)It's that new girl isn't it?She's got your balls in a jar.This is why domestic is dangerous,Nelson, this is why we stay wild --Nelson waves his arm as a cab passes. The cab stops.He opens the door, feels bad for Vince.NELSONI'm sorry I cost you the job,Vince.VINCENo, no, I don't need pity. Notfrom the man who dive-bombed hiscareer twice in one month.Nelson gets into the cab.NELSONNo. I guess you don't.And the cab takes off.98EXT. STREET - DAY98Sara walks down the street, wraps her scarf tighter,shaking. She rubs her temples, not feeling well. Keepswalking.(CONTINUED)SWEET NOVEMBER - Rev. 5/3/0090.98CONTINUED:98NELSON (O.S.)Have you ever heard of an aeridesodoratum?She looks over. Nelson is in a taxi, stuffed to thegills with flowers. He holds up an exotic purple orchid.NELSONIt reminded me of you.She takes the orchid, walks abreast of the cab as itslowly makes its way down the street.SARAYou got the job, didn't you?NELSONBest offer anyone ever made me.He hands her a bouquet of roses.SARAWhen do you start?NELSONWe had a hard time agreeing onthat.(hands her tulips)He suggested immediately.(hands more flowers)I suggested never.He hands her the biggest bunch of flowers of the batch.(CONTINUED)SWEET NOVEMBER - Rev. 4/28/0091.98CONTINUED: (2)98NELSONHe was the biggest prick I evermet, Sara.She has reached the front of her building. Howls withdelight, drops the flowers in her arms. Nelson leaps outof the cab, they kiss, flowers all around them.98AINT. SARA'S LOFT - NIGHT98ASara and Nelson are holding each other, asleep in bed.98BEXT. SAN FRANCISCO - NIGHT98BThe city sleeps.99INT. SARA'S LOFT - DAY99Nelson is brushing Ernie, who keeps squiggling back totry to bite him. Nelson may tolerate dogs now but he'snot St. Francis of Assisi -- he fake threatens to whackErnie with the brush, growling. Sara is poring over aslew of cookbooks checking out recipes for roast turkey.SARAHow does vegan turkey sound?NELSONVile. Come on, let's keep Ernie.SARANope. He got placed, he goes.NELSONBut you love this little monster.He doesn't notice that as she sets a book down, shedoubles back, holding her stomach as if nauseated.SARAThere's another one coming soon,I'll love him.NELSONCold, heartless woman.She smiles thinly, the wave of nausea passes and sheresumes perusing the books. Forces herself to soundbright.(CONTINUED)SWEET NOVEMBER - Rev. 5/8/0092.99CONTINUED:99SARAHow does turkey with Cajun oysterstuffing sound?NELSONOrdering sounds better.SARAYou can't order Thanksgivingdinner, this is one time in lifewhen it's good to be trad.NELSONIn that case, are you invitingyour family?SARANo. Holiday fights are a littletoo traditional for my taste ifyou know what I mean.NELSONWhat do you guys fight about?SARAMoney, religion, sex, Sara'sdecisions, Sara's 'unconventionallifestyle.' They think I'm afreak.NELSONYou are a freak.SARA(shrugs)Anyway, boring subject.The truth is she feels too shitty to talk, turns her headfrom him to hide another wave of nausea.NELSONI'm sure they miss you.SARAI know they do.She slams the book shut to indicate: end ofconversation.(CONTINUED)SWEET NOVEMBER - Rev. 5/8/0093.99CONTINUED: (2)99NELSONYou know, there's a good traditioncalled making up. Try it.SARASome day I'll have to.Someone KNOCKS on the door. Becoming more upset, anxiousto be alone, she pleads.SARANelson, will you walk down withhim, please?NELSONSure. Come on, boy.As Ernie trots off with him, Nelson opens the door,revealing a BURLY MAN.BURLY MANThe password is 'Mentos... Freshand Full of Life.'NELSONWhat else?The Man forces a smile and gives the thumbs-up sign.Nelson hands him Ernie's leash and follows them out. Themoment the door shuts, Sara rushes into the bathroom.100EXT. SARA'S BUILDING - DAY100The Burly Man exits with Ernie, followed by Nelson. Asthe Man leads Ernie toward his van, Ernie keeps peeringback at Nelson who meekly waves, genuinely sad.ABNER (O.S.)Why can't she keep one, for achange?Nelson looks down to find Abner, wearing his balaclavaand holding his skateboard.NELSONGuess she helps more this way.The two of them stand there watching the van pull away.ABNERI've been thinking aboutsomething.(CONTINUED)4/5/0094.100CONTINUED:100NELSONYou have? Glad to hear it.ABNERI'm thinking: if you wanna adoptme, you can. Father-Son Day's onMonday. It would be goodtiming.NELSONI don't quite know what to say,Abner.Sensing rejection, Abner looks away. Nearby, Al andOsiris are changing the window display in theirbookstore.NELSONI tell you what. I can't adoptyou, but I'll come to Father-SonDay if you want.ABNERPromise?NELSONPromise.An ecstatic grin spreads across Abner's face.ABNERWait till my mom hears!As Abner runs off, Osiris comes out to check the windowdisplay, waves to Nelson.OSIRISHey, Nelson, like the new display?NELSONBeautiful, Osiris. Always had asoft spot for Che Guevara.OSIRISHow's life? How's Sara?NELSONBoth are...(peers up at loft)Great.(CONTINUED)SWEET NOVEMBER - Rev.6/12/0095.100CONTINUED: (2)100He slowly takes in all the life on the street -- sees theChinese fruit vendor sweeping up her sidewalk, she nodsto him. In a thrift store nearby, a twelve-year-old girlpractices dance moves, peering at herself in a mirror.Nelson absorbs it all, feeling something he's never feltbefore: part of place. True contentment. Love. Hiseyes roam up to the billboard which was being replaced afew weeks ago. A new ad is up. It says: LIFE ISCHOICE, MAKE THE RIGHT ONE.There is a moment, a transcendent moment. If ever youcould see a person have a revelation, it would be righthere, right now. He spins on his heels and runs inside.101INT. SARA'S LOFT - BATHROOM - NIGHT101Sara's face is wet, and her hands tremble as she forcesdown pills. In raw frustration, she pounds her fists onthe counter. Hearing Nelson's FOOTSTEPS ON the STAIRS,she scrambles to pull herself together.102INT. SARA'S LOFT - DAY102Nelson enters, shouting.NELSONI have an announcement to make!He stops in the doorway to the bathroom. Sitting next tothe tub, Sara drinks more water.NELSONWhat's wrong? Are you okay?SARAYeah, I'm fine.Nelson enters the bathroom and gestures toward thelocked cabinet.NELSONWhat do you keep in there?SARANothing.NELSONNothing usually doesn't require alock. What's wrong?(CONTINUED)SWEET NOVEMBER - Rev.6/12/0096.102CONTINUED:102SARAI'm fine. So, what's the bigannouncement?NELSONCome on, Sara, talk to me.SARAAm I okay? No, I'm not okay.I have a migraine. And I missErnie.Sara returns to the kitchen and busies herself choppingvegetables. Nelson follows.SARASo, come on, what's your bigannouncement?NELSONMarry me.SARATechnically, shouldn't that be aquestion?NELSONWill you marry me?SARAAre you insane?NELSONYes, I am, and you should be veryproud of the work you've done.(kisses her)I stood on the street, Sara, andI realized: This is it. Lifewill never be better or sweeterthan this. I am happy. I'm inlove. Everything just clicked forme.SARAThat's incredibly sweet, but youdon't understand...NELSONYes, I do. It all makes sense: Iwant you, I want this life.Nelson's CELL PHONE RINGS inside one of the kitchencabinets. Nelson retrieves it and drops it into thewater-filled sink.(CONTINUED)SWEET NOVEMBER - Rev.6/12/0097.102CONTINUED: (2)102NELSONMarry me.He pulls off his watch and drops it into the sink aswell.NELSONMarry me, Sara.SARAYou're forgetting something.Sara moves to the refrigerator to gather more vegetables.NELSONWhat?SARAWe made a deal, remember?One month. That's it.NELSONDid you hear what I said? I saidI'm in love with you. I've neversaid that to anyone, ever.SARAWell then this is a really bigbreakthrough for you -- you canfinally say things that you couldnever say before.NELSONSara, I know you're not feelingwell, but I gotta say... I washoping for a different reaction.SARAWe made an arrangement, Nelson.One month and not a day more.That was our deal.NELSONScrew the deal. I just asked youto spend the rest of your lifewith me. Doesn't that meananything to you?SARAOf course it does.Sara tries to turn away, but Nelson won't let her.(CONTINUED)SWEET NOVEMBER - Rev.6/12/0098.102CONTINUED: (3)102NELSONYou said you'd never lie to me.SARAI haven't.NELSONThen look at me and tell me youdon't love me.Sara's eyes fill with tears.SARAPlease don't make me do this rightnow.She heads for the bathroom.NELSONDo what, tell the truth?SARA(stopping)This! What you want, what youneed... I can't give it to you,Nelson. Any of it. Ever.NELSONWhy not?SARA... because of me.NELSONWhat about you? For God's sake,Sara, please just tell me what'swrong. All I want is the truth.SARAI can't --Rushing into the bathroom, Sara slams the door behindher.NELSONSara?As he tries the door, Nelson hears her becoming violentlyill inside.NELSON(banging on the door)Sara? Sara! Sara!(CONTINUED)SWEET NOVEMBER - Rev.6/12/0099.102CONTINUED: (4)102Throwing his shoulder into the door, Nelson breaks itopen and finds Sara, slumped over by the tub, with vomitcovering the floor beside her.NELSONJesus.103INT. BATHROOM - DAY103Delirious and crying, Sara fumbles to cover the vomitwith a towel as Nelson bursts in.NELSONWhat the hell is going on?He sees the key in the cabinet door, lunges toward it.SARANo! You can't do that! Get out!She tries to stand up and stop him from unlocking thecabinet, but she's too weak. Yanking open the cabinet,he gapes speechlessly at over 90 bottles of prescriptionmedicine. Sara weakly pulls herself to her feet.Gathering a last surge, she angrily rips the shelves fromthe cabinet, sending scores of bottles rolling around the floor.(CONTINUED)SWEET NOVEMBER - Rev. 4/28/00 PM100.103CONTINUED:103SARAThere. Is that enough truth foryou?! Are you happy now?Sara hurls bottle after bottle at Nelson. He standsthere dumbly, lets them bounce off him.SARAYou just couldn't leave it alone,could you?! You just had to know!She turns to leave -- her body literally collapses andshe starts to crash to the floor. Nelson grabs her, sheis limp in his arms. He gently lies her down, panickingas she grows increasingly faint.NELSONSara, talk to me...(as she doesn't respond)Please... just talk to me, tellme what's wrong, so I can help.She closes her eyes. He is terrified, shakes her.NELSONSara? Sara!104INT. EMERGENCY ROOM - DUSK 104A bewildered Nelson sits in a curtained-off area in abusy emergency room, being grilled by a DOCTOR.Sara is conked out on a gurney, attached to an IV drip.DOCTORDo you have her medical records?NELSONNo.DOCTORWho's her doctor, so I can trackthem down...NELSONI don't know who her doctor is.The Doctor looks at him, taking stock of this shell-shocked man.(CONTINUED)SWEET NOVEMBER - Rev. 4/28/00 PM101.104CONTINUED:104DOCTORDo you have any idea what's wrongwith her?NELSONI'm sorry, I don't know anything.I called a friend of hers, maybehe...He peers around helplessly, sighs with relief when hesees Chas racing into the emergency room looking for him.105INT. HOSPITAL HALLWAY - DUSK105While Nelson stands off by himself, feeling exiled andhelpless, Chas confers with a NURSE outside Sara'shospital room. Nelson can see her in a bed, unconscious,hooked up to blinking machines and a web of IV's. Nelsonslowly comes over to Chas, taps him on the shoulder.NELSONI'm sinking. Fast.Chas and the Nurse exchange a look. The Nurse goes inthe room to check on Sara's vitals.CHASI'm sorry you had to find out thisway, Nelson. She was diagnosed fouryears ago. It's a non-Hodgkinslymphoma.Nelson is stunned.CHAS(shakes his head)Come on, let's get a drink.106INT. BAR - NIGHT106Nelson and Chas share a booth. Nelson has left his drinkuntouched, is desperately pumping Chas for information.NELSONWait a minute -- you said -- shestopped her treatments --(astonished)A year ago? How could she --(CONTINUED)SWEET NOVEMBER - Rev. 4/28/00102.106CONTINUED:106CHAS-- You're not listening, Nelson.For Christ's sake, bone marrowtransplants, chemo, experimentaltreatments... She stopped becausethey didn't work.(pauses)Nothing worked.Nelson finally takes a gulp of his drink to bracehimself. Tries to be brave.NELSONLook, I'm no doctor... but oneyear unchecked...Chas holds a clear honest gaze on NelsonCHASIt has spread everywhere.Nelson inhales sharply, like someone kicked him in thestomach. He is struggling not to cry and puts so muchenergy into the struggle, he deflects the emotion toanger.NELSONGod damn it. Talk about trust --talk about honesty -- how couldshe get involved with me and nottell me she was sick?Chas quietly sits there, lets him blow off steam.NELSONI mean, what was she thinking?CHASShe was thinking you'd be likeall the others. Just a month.That stops Nelson. Chas continues, his manner gentle,calm.CHASYou need to understand something,Nelson. Rules are how she copes.When life's out of control,people go to great lengths toinvent the illusion of control.(softly)Believe me, I know.(CONTINUED)4/5/00103.106CONTINUED: (2)106 NELSONThe rift with her family? That'swhat it's about, isn't it? Herrules?(as Chas is silent)Oh come on, Chas, I love her too,you're not betraying her.Chas studies Nelson, nods.CHASYes. She saw what was coming, butthey wouldn't let go, kept tryingto run her disease. So she tookoff.NELSONAnd came here?CHAS(nods)She told me since she couldn'tlive a normal life, she was gonnalive an abnormal one, best wayshe knew how.Nelson hangs his head, trying to collect himself.NELSONI don't get it, she loves lifemore than anyone I know, howcould she just... give up?CHASShe's not giving up. She's makingthe most of what she's got left.NELSONBut... I'm saying... she shouldfight it, instead of accepting...CHASFate? Why? What's so bad aboutacceptance, Nelson?Suddenly, all the emotions pour through the cracks andNelson just bursts into tears and cries like a baby.107INT. HOSPITAL - SARA'S ROOM - MORNING107Nelson steps into her room. She is awake, but drained.The strain between them is so palpable you can touch it.They're like two people spiritually exposed for the firsttime.(CONTINUED)4/5/00104.107CONTINUED:107NELSONHi. Feeling any...SARA(can read his mind)You want to know why I didn't tellyou, don't you?He sits down on the chair by the bed. Nods.SARAThis is why.She gestures to the whole set up: the room, her in bed,him standing there looking stricken, afraid to move.SARALook at us, look at you. Youprobably think I'll break if youtouch me, I'll crumble if yousay one harsh word. You measureevery step, every thought...(pauses)That's not how I want you to be.He leans forward, takes her hand and kisses it.NELSONThen I will learn to be better.SARAOh God, Nelson. If anyone could,it's you.She runs her fingers through his hair. They are silenta few beats.SARAWill you help me do something?NELSONAnything.SARAGet me out of this hellhole. Idon't want to die here.108INT. HOSPITAL - HALLWAY - DAY108Nelson holding Sara tightly, she walks like a child oneggshells, every step hurts her. They pass a NURSE.(CONTINUED)SWEET NOVEMBER - Rev. 4/28/00 PM105.108CONTINUED:108NELSONShe just wants to take a strolldown the hall.The Nurse nods and doesn't make a peep. They keep goingdown the hallway, Sara's knees buckle and he quicklylifts her up, carries her the rest of the way to theelevator. The Nurse sees them get into the elevator.NURSE #2Wait! She can't leave the floor!109EXT. HOSPITAL - DAY109Hurrying, Nelson helps Sara outside. The lights andnoise of oncoming CARS disorients her. He stepstoward the street, shouts:NELSONTaxi!! Hang on, baby. We'llget you home.110INT. SARA'S LOFT - DAY110Chas and Brandon wait. Suddenly, the door swings open,and Nelson enters with Sara in his arms. She is moaning,in pain.BRANDONOh, sweetie, let me take her...Nelson precariously transfers Sara to Brandon's care.Brandon barks an order to Chas.BRANDONGet the donnetal and codeine.(to Sara)We've got a nice hot bath for you,baby.Nelson watches helplessly as Brandon leads her into thebathroom, where he and Chas remove her clothes. Nelsonis so bereft, all he can do is stand outside the bathroomand literally bang his head against the wall.He moves to the doorway as they are lowering Sara intothe tub. He can't help himself, has to say something.NELSONListen, Sara, I know doctors,I can call...(CONTINUED)4/5/00106.110CONTINUED:110Her eyes meet his, she is deeply humiliated, hisses to Chas.SARAShut the door, just shut thedoor! I don't want him here.Tell him to -- go!Nelson can't move. Chas comes out, gently pushes Nelsonout, closes the bathroom door behind him.NELSONI can't stand by and do nothing,just watch her...(can hardly say it)Die.CHASThat's why she wants you to go.Wearing an ill-fitting coat and tie, Abner pushes throughthe front door. Chas immediately slips back into thebathroom and closes the door so Abner can't see.NELSONHey, Abner. Today's not gonnabe a great play day.ABNERNo, it's gonna be Father-SonDay. Did you forget?NELSONOh, God. I'm sorry, Ab, I can't.ABNERBut you promised.Abner looks shattered as Nelson struggles to remainpoised.NELSONRight.111INT. SCHOOL - CLASSROOM - DUSK111Teacher oversees a room of FOURTH-GRADERs and theirfathers.FOURTH-GRADERMy dad takes me fishing, too, andsometimes we go out for pizza andhe tells me about girls.(CONTINUED)4/5/00107.111CONTINUED:111The fathers chuckle as the boy sits. Glassy-eyed, Nelsonseems only half there, but he focuses when Abner stands.ABNERThis is Nelson. He's not my dad,but he does a lot of dad stuff,like he told me I should bemyself, and it was cool to becreative. And we made up agame called Dr. Shrink thatwas really fun. And he taughtme not to cheat. Mostly, he'smy friend.As Abner sits back down, Nelson smiles painfully.112EXT. STREET - DUSK112Nelson holds Abner's hand as they walk to Abner'shouse. Across the street, all the lights areblazing in Sara's loft.ABNERSee you tomorrow?NELSONI don't know, Ab. I'm probablynot gonna be around here tomorrow.ABNERHow come?NELSONI gotta do some thinking, make atough decision.ABNERShe says you're not respectingher choices or something likethat?Nelson looks at him, stunned. How did he know that?ABNERI dunno, you always see that onTV, women complaining and stuff.NELSON(overwhelming)I think you're the coolest kidI've ever met, Abner.4/5/00108.113INT. TAXI - NIGHT113Nelson slumped in back, in a daze. Outside, tableaux ofthe city glide past the window: a couple kissingagainst a car, an ambulance careening down a street,SIRENS BLARING, a blind man gingerly heading up asidewalk, led by a seeing-eye dog.114INT. NELSON'S APARTMENT - DAY114The penthouse is a mess. The door to the deck is open,and the curtains billow in the cold WIND. Fully-clothed,Nelson sleeps on the couch.115EXT. SAN FRANCISCO - NIGHT115Nelson sits on a bench overlooking the bay. Unshaven andunkempt, he stares out at the water and the night.116INT. SARA'S LOFT - DAY116Though not up to full strength, Sara looks much betterthan the last time we saw her. She's pulling a tray ofmuffins from the oven. Chas is chopping vegetables;they're making Thanksgiving dinner.SARAOuch! Shit! You bastard!She has burned her hand, drops the tray and muffins splatterall over the floor. Chas immediately rushes over, concerned.SARAIt's nothing, just a teenytiny little... ouch.Her face is red and mottled from trying not to cry.SARAReally, I'm fine, I'm reallyfine, we're going to have funtonight. Fun is a greatThanksgiving...(voice wobbles)Tradition.CHASCome here...She walks over and Chas enfolds her in a big hug. She isspinning, really distraught, afraid of what she's feeling.(CONTINUED)4/5/00109.116CONTINUED:116SARAHe asked me to marry him.CHASHe's not the first.SARAIt's the first time I wanted tosay yes.CHASDid you?SARANo. I let the whole thing go toofar.CHASFor...SARABoth of us. Besides it's a mootpoint. He's gone.She leans down to pick up the broken muffins strewn allover the floor.CHASHe'll be back.SARAI don't want him to come back.Look what I did to the muffins.She's becoming unraveled, has to keep the subjectchanged.SARAMaybe I can salvage a few ofthese...CHASYou know, it's okay to break yourown rules, Sara.SARAWhere's the mix? I'll startagain --CHASYou didn't mean to fall in love,but you did... it's okay to admityou need him.(CONTINUED)SWEET NOVEMBER - Rev. 4/28/00110.116CONTINUED: (2)116She stands up and throws some of the muffins into thewastebasket.SARAStop it, would you?She spins around to face him, eyes glittering.SARAWhat rule says I should put himthrough hell? All it will do ishurt him.CHASHe'll hurt no matter what.(pauses)Maybe you should let him decide.SARAMy life is not his decision.She turns her back on him, needs to compose herself.SARAYou shouldn't keep Brandonwaiting.He nods and starts to head out, stops.CHASLet yourself have some happiness,honey. You're entitled.117OMITTED117&&118118119 INT. LOFT - LATER119The table is set with a motley collection of mismatchedplates and silver, decorated with Abner's puppets. Thefeast is laid out for Brandon, Chas, Abner, Al andOsiris. Al raises a glass of wine in toast.ALHappy we-stole-your-land-and-killed-your-people day.Suddenly, CHRISTMAS MUSIC BLASTS and Sara bolts up asNelson swings in through the window over the fire escape.He is dressed as Santa Claus, carries a huge pack.(CONTINUED)SWEET NOVEMBER - Rev. 5/18/00111.119 CONTINUED:119NELSONMerry Christmas, Sara!SARAYou mean, Thanksgiving.NELSONNot for you. You shouldn't haveto wait.Astonished and moved, all of Sara's friends make a moveto leave.CHASMaybe we'll grab a turkey pot pieat the coffee shop.(pauses)Nice to see you, Nelson.Nelson nods, watches all of them leave, then turns backto Sara. He regards her with such tenderness, she isstruck speechless. He unties his big bag.NELSONFor you, sweet Sara, I bring thetwelve gifts of Christmas.As Nelson describes each gift, he removes it from thepack and hands it to Sara, beginning with a big salami.NELSONOne: The famous Columbo log.The salami that started it all.(digs out another gift -- wigs)Two: A kaleidoscope of coiffuresfor the Barking Mad Pet Crusader.He plops a wig on her head and returns to his bag.NELSONThree: A bullwhip for the dizzydominatrix. So you can rule yourworld in style, and whip me intoshape.He cracks the whip, and Sara shrieks.NELSONFour: 'Sara,' a custom-madefragrance capturing that specialsomething a woman leaves on a man.He opens the bottle and passes it under her nose.(CONTINUED)SWEET NOVEMBER - Rev. 5/18/00112.119 CONTINUED: (2)119SARAOh, Nelson. This is...NELSON... only the beginning. Five:Why Is Harriet So Hairy?, thedefinitive guide to understandingour transvestite friends.(another gift)Six! Tiny Bubbles -- for thoseleisurely soaks we love so much.He hands her the bottle of bubble bath, then pulls out aplastic Muni train, shakes it.NELSONSeven: A hundred Muni traintokens for the the many, manygreat rides of your life.He hands her the bus, then pulls out a C.D.NELSONEight: A collection of musicto swoon by. Which fits nicelywith gift number nine...He grabs her and spins her around the floor as he handsher some vouchers.NELSONDance classes at Mildred's Academyof Dance, guaranteed to get youoff my toes in a week.He runs to the door. Opens it.NELSONTen: For the gentlelady who hatesdoing the dishes... a dishwasher.SARANelson, please, this is toomuch...Nelson runs back to the door, reaches for a sack.NELSONIt's not enough. Eleven: Live inyour loft, back by popular demand,I give you...He shakes open the sack, out tumbles Ernie, the puppy.(CONTINUED)SWEET NOVEMBER - Rev. 5/18/00113.119 CONTINUED: (3)119NELSONErnie!Completely overwhelmed, Sara wraps her arms around Ernieand kisses him.NELSONAnd if this last gift doesn'tprove how much I love you, nothingwill.LOUD MUSIC KICKS IN as we --CUT TO:120INT. CABARET - NIGHT120On stage, Nelson, wearing a white dinner jacket and blacktie, sings "Time After Time."In the audience, Sara watches with glee as Nelson singsdirectly to her. Meanwhile, the diverse crowd goes wildfor the rare, unabashedly heterosexual performance.121INT. SARA'S BUILDING - STAIRWELL - NIGHT121Sara and Nelson arrive at Sara's door.(CONTINUED)SWEET NOVEMBER - Rev. 5/8/00114.121CONTINUED:121SARAYou were brilliant, Nelson, butI'm afraid I'm going to lose youto Vegas.NELSONNope.(pauses)Never.122INT. SARA'S LOFT - NIGHT122Sara enters and freezes. Novembers torn from innumerablecalendars are everywhere.Every reachable inch of wall space and half the furnitureare covered with the month. Nelson walks up behind Saraand wraps his arms around her.NELSONLook around, Sara... every monthis November... and I love youevery day.SARABut, Nelson... it's almost over.Nelson spins her around to face him.NELSONWho told me once that we see theworld we choose to see?(pauses)This is our month and it neverhas to end.SARABut you know that I'm --Nelson kisses her lightly on the lips.NELSONI surrender all attempts to controllife, yours or mine. I live forone thing: to love you. To makeyou happy. To live firmly andjoyously in the moment. Novemberis all I know and all I ever wantto know.(CONTINUED)4/5/00115.122CONTINUED:122Conflicting currents of joy and sadness play acrossSara's face. She kisses Nelson and hugs him with allher might.SARABy the way, that was three things.123INT. DMV - TEST ROOM - DAY123Sara retakes the driving test.124EXT. DMV - DAY124Sara exits waving her license, and Nelson wraps his armaround her.NELSONOkay, hot shot, now that you haveyour license, what do you wannado?SARATake a walk.125EXT. STREET - DAY125They are walking down the street, taking in all thefamiliar sights of the street.DISSOLVE TO:125AINT. MUNI TRAIN - DAY125AThe two of them licking ice cream cones as they look outthe train window, talking and laughing.126OMITTED126127INT. SARA'S LOFT - NIGHT127Nelson and Sara gently make love.As the BELLS of the nearby CHURCH RING TWELVE ominoustimes, Sara stares at the large wall calendar. Every dayof November but the last has been crossed off. KissingSara's neck, shoulders and breasts, Nelson doesn't seeher anguished face.4/5/00116.127AINT. SARA'S LOFT - SERIES OF SHOTS - NIGHT (LATER)127Aover the course of the night: Nelson and Sara soundasleep in each other's arms.Later, they disengage their hold, still asleep.Later, they come back together, embrace, still sleeping.Later, Nelson still asleep, Sara awake, reflecting.Later, Sara studying Nelson's face in repose, she iscoming to a decision.128OMITTED128thruthru130130131INT. SARA'S LOFT - DAWN 131Nelson wakes up as dawn is breaking, surprised to seeSara's not in bed with him. He peers around, sees herfully-dressed, pulling the Novembers off the wall one-by-one. Most are already piled up in her arms.NELSONWhat are you doing?Removing the last calendar, Sara opens her trunk. Mostof the gifts Nelson gave her are inside. She adds thecalendars.SARAI thought I'd keep half. I putthe other half in your bag.Sara drapes Nelson's travel bag over his shoulder.NELSONSara, stop this, please...Sara crosses the last day of November off the largecalendar. Then she tears the month off, revealingDecember.SARAIt's time for you to go, Nelson.NELSONWhat are you talking about?SARAOur month is over.(CONTINUED)4/5/00117.131CONTINUED:131NELSONHaven't we been through this ahundred times before? I'mnot going anywhere.She puts on a jacket.SARAI made you agree to a month for areason.NELSONBecause you're sick? I don't careif you're sick. The only thing Icare about is you.SARAThen that's why you should go.NELSONNo.SARAYou said you would stop trying tocontrol life, yours and mine.(firmly)Now you have to keep your word.She wraps a scarf around her neck, turns and heads towardthe door.NELSONWhere are you going?SARAOut. To give you time to leave.132EXT. SARA'S BUILDING - DAWN 132Sara steps into the dawn, trying to stay calm. Suddenlybreaks into a run as if she has to flee everything.Nelson careens out of the building in pursuit,practically dressing as he runs, throwing a jacket on.NELSONSara! Stop it! Come on, comeback!133EXT. CITY - DAWN 133Nelson chases Sara through the streets.NELSONSara!SWEET NOVEMBER - Rev. 4/28/00118.134EXT. PARK - DAWN 134The park is deserted. Halfway through, Nelson catchesher. They both gasp for air.NELSONSara, stop it. Will you pleasestop this, I'm not leaving you --I know you love me.SARAI do, Nelson. I've never feltanything like it. I never thoughtI'd have the chance and you gavethat to me.NELSONThen why are you doing this?SARABecause it's starting to happen,Nelson --NELSON-- It doesn't --SARA-- If you leave now, everythingwe had will stay perfect forever --NELSON-- Sara --SARA-- All we have is how you'llremember me and I need that memoryto be strong and alive --NELSON-- But I want --SARA-- If I know I'm remembered thatway then I can face anything.Can't you see, Nelson, you're myimmortality.NELSONI want to take care of you, Sara.SARAI'll be alright. I'm going home.They know I'm coming. They'reready.(beat)You said I come first.(CONTINUED)4/5/00119.134CONTINUED:134NELSONYou do.SARAThen try and understand. I needto do this.NELSONIt just doesn't seem...SARAJust like I need to know you'll goon and have the beautiful life youdeserve. I want you to fall inlove again someday, be a husband,have a family.NELSONI only want you.SARAYou have me forever. Now let mego.NELSONI can't believe you've even gotme considering this.(long pause)This is truly what you want.SARAYes. It is.NELSONAlright, Sara, alright.SARAClose your eyes, this time countto twenty. Go ahead.Nelson soaks up as much of her as he can. Thenreluctantly, he closes his eyes. Sara blindfoldshim with the scarf.NELSON... One, two, three, four, five,six --Sara stands on her tiptoes and whispers in his ear.SARAI love you, Nelson Moss.(CONTINUED)4/5/00120.134CONTINUED: (2)134NELSONI love you, Sara Deever.SARARemember me.NELSON... Seven, eight, nine, ten,eleven --As Nelson continues counting, Sara walks to a spot twentyyards behind him and waits at the foot of a statue.NELSON... Twelve, thirteen, fourteen,fifteen, sixteen, seventeen,eighteen, nineteen, twenty.Nelson steps forward. Then, turning, he walks straighttoward the statue and arrives at the exact spot Sarastood just a moment before.Slowly, he removes the scarf. Sara, of course, is gone.All around Nelson, shades of the park emerge in thedawning light.Looking down at the scarf in his hands, Nelson smiles.At the same time, dawn breaks, piercing the park withglimmering, amber light.Carefully wrapping the scarf twice around his neck,Nelson walks out of the park and into the street, justas a red Muni train slowly makes its way across theawakening city, its empty windows aglow in the dawn.FADE OUT.THE END | screenplays |
Venezuela competed at the 1992 Summer Olympics in Barcelona, Spain. 26 competitors, 22 men and 4 women, took part in 16 events in 8 sports.
Basketball
Men's Team Competition
Classification Round 9-12th place
11th place game
Roster
4. Víctor David Díaz
5. David Díaz
6. Melquiades Jaramillo
7. Nelson Solórzano
8. Rostin González
9. Luis Jiménez
10. Sam Shepherd
11. Carl Herrera
12. Omar Walcott
13. Gabriel Estaba
14. Iván Olivares
15. Alexander Nelcha
Boxing
Cycling
Four cyclists, three men and one woman, represented Venezuela in 1992.
Men's road race
Carlos Maya
Hussein Monsalve
Robinson Merchán
Women's sprint
Daniela Larreal
Diving
Men's 3m Springboard
Dario Di Fazio
Preliminary Round 332.43 points → did not advance, 25th place
Men's 10m Platform
Dario Di Fazio
Preliminary Round 317.04 → did not advance, 23rd place
Judo
Women's Half-Middleweight
Xiomara Griffith
Final 7th place
Women's Extra-Lightweight
María Villapol
Final 7th place
Men's Extra-Lightweight
Willis García
Final 7th place
Synchronized swimming
One synchronized swimmer represented Venezuela in 1992.
Women's solo
María Elena Giusti
Final 9th place
Weightlifting
Men's Flyweight
Humberto Fuentes
Men's Lightweight
José Medina
Men's Light-Heavyweight
Julio César Luña
Wrestling
See also
Venezuela at the 1991 Pan American Games
References
External links
Official Olympic Reports
Category:Nations at the 1992 Summer Olympics
1992
Summer Olympics | wikipedia |
Our worries about the environment are not only academic—they affect us personally. Yet there is a strange silence about the emotional impact of the ways in which we talk about the environment, which is so enmeshed with hopelessness: horrifying statistics and gut-wrenching images that threaten to seal the planet's fate. How can we best influence and enact a shift beyond "doom and gloom"? The letters in this Perspectives volume are responses to this dilemma. Through an exploration of new environmental narratives, this volume aims to stimulate readers to emotionally reflect on how we can embrace hope and resilience in our stories about the environment.
How to cite: Kelsey, Elin (ed.), "Beyond Doom and Gloom: An Exploration through Letters," RCC Perspectives 2014, no. 6. doi.org/10.5282/rcc/6804. | slim_pajama |
Explanation request for flashes of light [closed]
**Closed.** This question is [off-topic](/help/closed-questions). It is not currently accepting answers.
---
This question does not appear to be about physics within the scope defined in the [help center](https://physics.stackexchange.com/help/on-topic).
Closed 9 years ago.
[Improve this question](/posts/103184/edit)
I have observed what I believe to be the same phenomenon on two occasions and wanted to ask for possible explanations. Both times, I saw flashes of whitish light, near the ceiling of a room. They lasted only a small fraction of a second. They were not that bright: like a lamp turning on and off. They were in a part of the ceiling where there are no sources of light.
My guess: some unequal electrical charges in the air discharging. I haven't heard of this happening just randomly, powerfully enough that it can be seen.
(Potentially) Relevant details:
1) The first time, my girlfriend and I both saw and remarked on the flash at the same time. This is my only evidence that it wasn't just physiological.
2) Both flashes took place in Michigan. The second was in the bathroom of a heated university building during cold weather. I don't remember the circumstances of the first exactly, but I think it was in the living room of an air-conditioned house during the summer.
Thanks for any possible explanations. I'm not a physics student or anything, this is really just a curiosity for me. Also when I try to google this I only run into "paranormal phenomena" websites. :)
Also I'm not sure what tag to use, so people should feel free to change tags if there are more relevant ones.
Coincidence but it's possible that you had something either outside the house or even inside, moving and possibly with a mirror like surface and what you saw was a reflection.
I saw something similar once and resolved the puzzle to a Christmas ornament hanging outside, turning just right at one point to reflect light from the Sun.
| stackexchange/physics |
the authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest .
in infotaxis , the robot is provided with a statistical description of the odor plume that he uses to infer the probability that the source be located at any point of his internal grid - based probability map of the environment .
the statistical description of the odor plume is derived from the resolution of the following advection - diffusion equation for an odor source located at r0 and emitting
particles or patches at a rate r. the particles propagate with diffusivity d , have a mean lifetime described by and are advected by a mean current or wind v. u(r ) is the local concentration at location r and is the dirac delta function .
in such an environment , the mean frequency of odor encounters with a spherical sensor of radius
a follows the smoluchowski 's ( 1917 ) expression this model provides a framework by which to take into consideration the geometry of the environment when navigating .
it can be easily solved through numerical methods and makes it possible for autonomous robots to iteratively infer knowledge about their surrounding . in the continuous case , the solution to eq .
1 writes : for the non - continuous case , i.e. , under the influence of a pulsed odor source r(t ) at location r0 , we derived such function by solving the non - homogeneous diffusion - advection equation which , for the two - dimensional problem with mean vertical wind vy , takes the form :
let us consider the trace t = { ( r1,t1 ) , ( r2,t2), ,(rn , tn ) } of the hits ( odor encounters ) experienced by the searcher at locations x1, ,xn and times t1<,
,<tn < t during the path from its start to the current time t. the belief function is given by the posterior probability for the source to be located in r0 given the trace t where (t|r0 ) is the likelihood of experimenting the trace t for a source in r0 . in our robot implementation of infotaxis , consecutive detections are not considered as they belong to a same patch and are correlated ( see section materials and methods ) .
we therefore employ the following likelihood function ( from eq . 13 in supplementary materials of vergassola et al . , 2007 ) instead of the one considered in the original algorithm in which t represents the transitions from no - detection to detection , i.e. , new patches , and the vi 's are the time intervals of absence of detection .
6 that the absence of correlations permits to update the probability map without storing the whole history . indeed ,
pt+t(r0 ) = pt(r0 ) update t ( nparticles ) , where nparticles is the number of detections that the searcher experienced during the short time interval t .
for the decision - making , the robot moves in the direction that minimizes its local uncertainty about the location of the source .
the expected reduction of entropy reward function for the robot moving from ri to rj , consists of two terms : the first term ( eq .
7 ) evaluates the reduction of entropy if the source is found at the next step . reaching the source in rj
the second term ( eq . 8) corresponds to the reduction of entropy if the source is not found .
it occurs with probability 1 pt and s represents the information gain in rj coming from expected odor encounters .
the first term is seen as exploitative as it drives the searcher toward locations where the probability of finding the source is high .
the second term is explorative as it compels the searcher toward regions with lower probabilities of source discovery but high information gains . the expected reduction of entropy in the case where the source is not found derives from the probability sum of experiencing i new detections during the movement , where encounters are modeled by means of a poisson - distributed random variable i therefore accounting for all possible cases that new information is detected along the way ( either 1 , 2 or n encounters ) . | pubmed |
Bangladesh has chosen the Yak-130
Bangladesh had selected the Russian Yak-130 training aircraft.
Twenty-four aircraft will be acquired for an estimated $800 million.
Photo Credit : Russian MoD
The training aircraft market is full expansion. Just recently, Indonesia has received sixteen T- 50i training aircraft designed by the South Korean company KAI, Australia has signed a contract for the T -6C Texan-II by the American company Beechcraft, the M-346 Italian won over the Polish market and the HAL company from India has received new funding for the development project of the HTT-40 training aircraft.
Bangladesh has selected for its air force the Russian Yak- 130 training aircraft. Twenty- four aircraft will be acquired for an estimated $800 million. For this very competitive price of about $30 million per unit, not including parts, training and ground equipment the aircraft will be delivered with their basic configuration.
In addition to training, the Yak -130 is able to perform light combat missions. The choice for the Yak -130 is primarily dictated by Dhaka's' budgetary restrictions. They are to be financed by a $1 million credit from Moscow, subscribed to last year, and meant for the acquisition of military equipment.
BMD-4M for russian paratroopers Azerbaijan receives the twenty-four Mi-35Ms | slim_pajama |
Småland and the islands is a National Area of Sweden. The National Areas are a part of the Nomenclature of Territorial Units for Statistics NUTS of Sweden. The name derives from the fact that the area covers most of the historical province of Småland with the island provinces of Öland and Gotland, located in the Baltic Sea.
Geography
The Småland and the islands area is situated in the south-eastern part of Sweden. It is close to Denmark and it borders the riksområden of East Middle Sweden, West Sweden and South Sweden.
The most populous cities are Jönköping, Växjö, Kalmar, Visby, Västervik and Värnamo.
Economy
The Gross domestic product GDP of the region was 34.9 billion € in 2018, accounting for 7.4 of Swedish economic output. GDP per capita adjusted for purchasing power was 32,100 € or 106 of the EU27 average in the same year. The GDP per employee was 99 of the EU average.
Subdivision
Småland and the islands includes 4 counties:
See also
References
External links
Category:National Areas of Sweden
Category:Småland and the islands
Category:Götaland
Category:NUTS 2 statistical regions of the European Union | wikipedia |
Evans Bank @ Lafayette Square formerly Lafayette Square until November 8, 2019 is a Buffalo Metro Rail station near City Hall and is near the center of the Buffalo Central Business District at Lafayette Square located in the 400 block of Main Street between Lafayette Square and Mohawk Streets in the Free Fare Zone, which allows passengers free travel between Erie Canal Harbor station and Fountain Plaza station. Passengers continuing northbound past Fountain Plaza are required to have proof-of-payment. Lafayette Square station is the closest to the Buffalo & Erie County Public Library, located one block east at Washington and Clinton Streets. On February 28, 2019, The Buffalo News announced that Evans Bank, which opened its downtown headquarters in the Main-Court Building the previous October, bought the naming rights to the station for nearly $161,000 for five years and nearly $352,000 if extended to 10 years.
Bus routes
At Court and Main Streets heading east only:
1 William
2 Clinton
4 Broadway
At Court and Pearl Streets heading east, west or south:
1 William
2 Clinton
3 Grant inbound
4 Broadway
5 Niagara-Kenmore inbound
7 Baynes-Richmond inbound
8 Main inbound
11 Colvin inbound
20 Elmwood inbound
25 Delaware inbound
40 Grand Island inbound
60 Niagara Falls inbound
61 North Tonawanda inbound
64 Lockport inbound
66 Williamsville
67 Cleveland Hill
68 George Urban inbound
69 Alden outbound
74 Hamburg outbound
79 Tonawanda inbound
81 Eastside inbound
204 Airport-Downtown Express
At Lafayette Square and Washington Street heading south only:
6 Sycamore inbound
14 Abbott outbound
16 South Park outbound
24 Genesee inbound
42 Lackawanna outbound
70 East Aurora outbound
72 Orchard Park outbound
74 Hamburg inbound
76 Lotus Bay inbound
Notable places nearby
Evans Bank @ Lafayette Square station is located near:
Buffalo City Hall
Buffalo-Niagara Convention Center
Buffalo & Erie County Public Library Central Branch
Hotel Lafayette
Liberty Building
Main Place Tower
Rand Building
Statler Hotel now Statler Towers
See also
List of Buffalo Metro Rail stations
References
External links
station from Lafayette Square from Google Maps Street View
Category:Buffalo Metro Rail stations
Category:Railway stations in the United States opened in 1984
Category:1984 establishments in New York state | wikipedia |
Conservation of energy in a numerical simulation of a particle in magnetic field
I'm currently working on my physics project in Mathematica. My goal is to simulate a 3d trajectory of a charged particle, moving in constant magnetic field generated by a loop (with the electric current flow) and I have done most of my work.
I'm confident that code for calculating trajectories work properly (my teacher reviewed it) but then I need to eliminate not-real scenarios. In order to check is it real, my teacher advised me to check is the energy of particle conserved and then I met obstacles. I will try to show it on example.
Let's consider particle inside the loop with velocity $(v\_x,v\_y,0)$, it will only move in XY plane since Z component of velocity $= 0$ with very satysfying trajectory which looks like rosetta.
Then I look for function of kinetic energy:
$E\_k=\frac{1}{2}m|v^2|=\frac{1}{2}m({v\_x^2+v\_y^2+v\_z^2})$
There is my trajectory and graph of kinetic energy:
[](https://i.stack.imgur.com/mgVVv.png)
[![Function of V^2[t]](https://i.stack.imgur.com/HdC3f.png)](https://i.stack.imgur.com/HdC3f.png)
It looks a bit like a linear function. I'm not sure how to interpret but I know it's shaky since my project is based on numerical calculations (since most of trajectories can't be found analytically), but what is more important, it for sure is not constant. My first thought was that it is happening because part of the energy changed to potential energy, or there is a work made against the Lorentz's force. Before writing a post I of course made some research by myself and found that both of these things can't happen (or maybe I wrongly understood it).
It is not a single-case scenario. All of my $E\_k$ graphs don't show energy conservation, even in cases where I'm sure my trajectory is good. For example:
[](https://i.stack.imgur.com/uCMWY.png)
[](https://i.stack.imgur.com/Rw8D0.png)
Am I missing something? The goal of the project is to train our mathematica skills so model like this is above my math/physics knowledge. It isn't really that important since I'm using numerical calculations anyway. Maybe I wrongly understand my professor and energy isn't really conserved? In case you need it, I can show you separately graphs of $v\_x,v\_y,v\_z$, my code or anything you need.
Note the labelling of vertical axes on both graphs — all labels equal a constant value (3 and 4); so the perturbations of the speed on both graphs are probably negligible in their value and have emerged due to some approximations taken by Mathematica. You can also check it if you take $v\_x$, $v\_y$ and $v\_z$ for some arbitrary moments of time and calculate $v=\sqrt{v\_x^2+v\_y^2+v\_z^2}$ — you should get approximately the same answer for $v$.
| stackexchange/physics |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.